Essential Journal Issue 26

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Issue 26

The Essential Journal F A S H I O N

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L I F E S T Y L E

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C U L T U R E

Buying manager Tom Saunders breaks down Jigsaw’s unique winter collection

Following the careers of Liverpool Food & Drink Festival’s past celebrity chefs

Talking with Aysha Tengiz, a knitter in the world of illustration

NEW! ARCHIPHONIC share thoughts on cut-price housing

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Made in the USA. This Autumn Tate Liverpool invites you to party with the pioneer of pop, Roy Lichtenstein. Page 38 Roy Lichtenstein, In the Car 1963 | National Galleries of Scotland. Photography Antonia Reeve. © Estate of Roy Lichtenstein/DACS 2017

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Issue 26

| The Essential Journal

Blue Air?

Issue 26

The Essential Journal |

Blue Air?

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TAT E L IV20E18R P O O L 22 SEP – 17 JUN

R OY N I E T S N E T LICH ARTIST ROOMS

IN F O C U S FREE

@TATELIVERPOOL #LICHTENSTEININFOCUS #ARTISTROOMS

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Roy Lichtenstein, In the Car 1963. Nationa of Roy Lichtenstein/DACS 2016.

Photography Antonia Reeve. (c) Estate

Issue 26

The Essential Journal |

Features

Contents 9

12 PAUL SMITH The British icon prepares to open on Manchester’s premier shopping street with a typically unique shop fit inspired by the city

PRIMER Recommending books on bricks, engineered apparel and raising a plant

14 JIGSAW: ALL IN ONE PIECE Buying manager Tom Saunders breaks down Jigsaw’s unique winter collection ONE THING DONE WELL: NOBLE DENIM An all-American denim company triumphs with customerdesigned jeans

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DAVE MYERS: EASY RIDER A Hairy Biker anticipates an appearance at the Liverpool Food & Drink Festival

18 SHADES OF COOL Zegna’s new eyewear collection has sunglasses for all seasons

A HANDSOME HOME: STYLISH TECH Talking through the tech accessory brands that restyle our homes

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CONTRIBUTORS Alan Smithee Angharad Jones Archiphonic Arron Dickinson Association of Illustrators Aysha Tengiz Dave Myers Iain Hoskins Jack Connor John Thornton

PUBLISHERS Singleton Publishing

34 TOM WILLIAMS’ CINEMA REVIEW Our cinema editor sizes up Steven Soderbergh’s Logan Lucky 37 CUT FROM A DIFFERENT CLOTH Talking to Aysha Tengiz, a knitter in the world of illustration 38 MADE IN THE USA Tate Liverpool invites you to party with pop’s pioneer, Roy Lichtenstein

26 HEADLINE FOODS Following the careers of Liverpool Food & Drink Festival’s past chefs

40 AN ARCHITECTS’ VIEW ON AFFORDABLE HOMES Co-founders of architecture practice ARCHIPHONIC share thoughts on cut-price housing

29 EVENTS ROUND UP Liverpool’s Puffin’ Rooms host Davidoff’s latest line of AVO cigars

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30 THE ESSENTIAL GUIDE TO: BIKING TO WORK Bikes, advice and accessories to get you commuting on two wheels

20 TO BEARD OR NOT TO BEARD? Breaking down how we should groom as Autumn comes around

27 NEIGHBOURHOOD BREW A conversation with Chris Holloway, head honcho at Neighbourhood Coffee

43 CANVAS THE: BARBERS Liverpool’s finest hairdressers reveal the best tips from the barbershop 44 THE IAIN HOSKINS COLUMN Our Jack of all trades columnist goes off on tribute bands 47 GENTS WE NEED TO TALK ABOUT: HAIRCUTS The clichés of a humble haircut are detailed and debated

EYES WIDE OPEN A deep dive into the Open Eye gallery as it celebrates its 40th birthday

EDITOR Davey Brett - d.brett@singletonpublishing.co.uk CREATIVE DIRECTOR Thomas Sumner - t.sumner@singletonpublishing.co.uk

CONTACT For all advertising enquiries please contact: sales@essentialjournal.co.uk For all other enquiries including guest editorial and feature opportunities please contact: info@essentialjournal.co.uk

WRITER Reuben Tasker CINEMA EDITOR Tom Williams

COVER IMAGE Roy Lichtenstein, In the Car 1963

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DESIGNER Jennifer Swaby INTERNS Sam Wike, Jack Connor

TERMS & CONDITIONS Under no circumstances must any part of this publication be reproduced without prior permission to 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 an 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 contributions own exclusive copyright to their own material that they have submitted as part of the publication.

All rights reserved.

Hair • Shave • Beard • Skin

The Primer WHAT WE'RE WATCHING:

WHAT WE'RE READING:

HOW TO GROW STUFF

BY ALICE VINCENT Of late, our editor has gotten into plants, specifically two plants. A tomato plant and another plant that neither him, nor his parents (who gifted him both) seem to know the name of. Sadly, at the time of writing the tomato plants are on the verge of plant heaven, but the mystery plant is doing well. Long story short, he’s into growing stuff now. Not gardening, because that involves a garden, time and tools. No, he’s into growing stuff; the odd herb for dinner a fern to brighten up the bathroom. Guiding him through his new love of watering, planting and moving plants in and out of the sun is ‘How To Grow Stuff ’ by Alice Vincent.

The book is the perfect starter for those wishing to brighten up their homes (often lacking gardens) with an array of basic flowers, herbs, vegetables and plants, providing easy-to-follow steps and advice on how to plant, maintain and enjoy a spot of green-fingered tinkering. Potentially a gateway drug to full-blown gardening, but we’ll let you know how it progresses.

THE PODCAST:

A NOTE FROM THE EDITOR

MONOCLE 24: THE STACK

Here at the Journal, we’ve always been a bit nerdy about magazines. We love reading them, holding them in our hands, showing them to our mates, writing about them and even putting one together. Hell, days have gone by where we even thought we were minor experts. That was until we started listening to Tom Edwards, host of The Stack. His podcast for Monocle 24 serves a half hour of print industry analysis every Saturday.

With a wide worldview, The Stack’s subjects range from heavy discussion to a more lighthearted roundup. Inviting the industry’s experts, Tom debates the greater role of a modern publication one week, zeroing in on niche titles like Sideburn Magazine another.

Recent episodes have covered the whole spectrum. The world of ‘slow journalism’ is explored with editor of the quarterly Delayed Gratification; whilst Monocle’s editor-in-chief joins to discuss the coverage of Barcelona’s recent terrorist attacks. For eye-opening insights into the world of print journalism and its pivotal role in the world today (and a reality check on your own perceived expert magazine knowledge), subscribe to The Stack.

“Change your life today. Don’t gamble on the future, act now, without delay.”

- Simone De Beauvoir We’re feeling motivated this month. A few days of rain has condemned summer to the history books and we don’t even mind, it’s time to jump head first into autumn.

Lovely-golden-still-a-bit-sunny-but-you-might-need-anew-coat autumn. In this issue we preview the upcoming Roy Lichtenstein exhibition at the Tate (which we’re very excited about, hence the cover) we try and persuade you to bike into work (with a couple of tips and recommendations), and welcome a new monthly architecture feature courtesy of the extremely interesting and articulate gents over at Archiphonic. There was also enough space for an interview with one of our favourite illustrators, a look at high-quality American denim and of course our trademark mixture of lifestyle, culture and style. The perfect companion to a rainy September day, if we do say so ourselves.

DAVID LYNCH: THE ART LIFE In the weird world of experimental film, it’s easy to get lost. But one man made it a whole lot easier for all of us. The one thing stranger than works like Twin Peaks and Blue Velvet is the creator behind them. David Lynch: The Art Life is a doc made up of 20 conversations with Hollywood’s first popular surrealist. Starting early on, we follow Lynch through his painting days to creating experimental film. It was a career jump that left his father dismayed, telling his son to quit his job and never have children.

Despite the heavier tones, The Art Life is a lovingly made portrait. Funded by a Kickstarter campaign, it took years to complete though you could never guess. The film’s three directors cut seamlessly between an upbringing in Idaho and the infamous production behind his debut Eraserhead. Olivia Neergaard-Holm, Rick Barnes and Jon Nguyen work together in matching Lynch’s weirdness. No other filmmakers or artists are mentioned in the conversations. The history of experimental film is also left untold, leaving Lynch in his own world to explain the power of “moving paintings with sound”. If you’re seeking idiosyncratic inspiration or offbeat insight, look no further than Lynch.

WHAT WE'RE EATING:

WHAT WE'RE DRINKING:

BAR IBERICO, Nottingham TOP ROPE BREWERY Craft brewers have the wildest inspirations. “Rap slang”, “adventure” and “black forest gateaux” are just some of the most unconventional influences we could find.

Similarly eccentric, the guys at Top Rope Brewery list pro wrestling, video games and 90’s nostalgia as inspirations for their IPA’s and pale ales. The microbrewery started just last year and is quickly becoming one of Liverpool’s beloved distilleries.

Founders Ben and Neil have taken a shared passion for wrestling to the max; the bottle artworks feature masked cartoon fighters, whilst the brewery’s name references a “high risk offence”: jumping from the top rope in the wrestling ring.

Our favourite drinks include “Aw… Here It Gose”, a Sevillian orange soda brewed with coriander and sea salt. The “Overkill IPA” is just as refreshing. The first collaboration between the duo has saw the drink helped their Liverpool Homebrew Club triumph in a brew-off against their Manchester rivals. These days, the signature drink is brewed with Chinook and Centennial hops. With rumours and rumblings of serious expansion, keep Top Rope in your sites for a raw glass to smack down.

We were in Nottingham recently- lovely place, lovely people. Lots of exciting music and menswear, great bars and everything within a short work. Wonderful. We also ate very, very well. Our friends over at Universal Works took us for a bite at Bar Iberico (the sister restaurant to the Lace Market’s Iberico World Tapas) and it was delicious; all shareable small plates perfect for chatting and eating, washed down with a few bottles of red. Highlights included the padron peppers (so simple yet so tasty, although watch out for the roulette pepper), crispy chicken and spicy jerez Sauce (sticky, sweet, with just enough crunch) and their expertly fried sweetcorn fritters with guindilla allioli. Their wood fired flatbreads are also definitely worth your time and we’ve made a note in our diaries to investigate the breakfast menu next time we’re in town.

INTRODUCING:

VISVIM With a handful of celebrity endorsements, Eric Clapton as a super fan and 17 years in the game, Visvim could be a wellknown name by now. But a low key profile over in its Tokyo HQ has kept it just off the radar. On the surface, Visvim is an inventive menswear brand that keep it simple. Founder Hiroki Nakamura picked the name because he liked v-lettered logos. No deeper meaning here, folks. Look into its past though, and find an eccentric list of inspiration; French workwear, Amish patchwork and Finnish Sami tribe culture were all influences for past collections. Its new releases aren’t exactly tribal, in fact, clues tell us it’s looking stateside. The cow leather Grizzly Boots wouldn’t look out of place on a Rockies trail, whilst the Skagway Hi Kapa trainers are patterned with paintings of Cowboys and Indians. Wherever it’s looking at next, Visvim is the unpredictable store that you should keep on your radar.

WHAT WE'RE EXPERIENCING:

WHAT WE’RE WEARING:

THE DETAILS A RARE WORD FROM ROY

You can’t look past pop art. Take this issue’s cover, In My Car by Roy Lichtenstein, one of our most eyegrabbing yet. The colourful caption-less picture is iconic, but what does it really mean? In a style with no clear answers, Lichtenstein let his art do the talking. His most expensive work Masterpiece is his best self-description. “My, soon you’ll have all New York clamoring for your work!” says a blonde woman to a painter, predicting Lichtenstein’s world-famous rise one year later. Along with fellow pop pioneer Andy Warhol, Roy didn’t have a revealall interview or a reputation for giving them.

However, in a rare 1966 documentary released by OpenCulture, the two artists sat down to demystify their pop art. While Warhol is guarded and gives no easy answers whilst Roy speaks confidently on his work and creative process in detail. “Almost all of our landscape seems to be made of the desire to sell products,” he explains. “This is the landscape that I’m interested in portraying.” Roy wasn’t pretentious but his interview is still a rare case; an artist dropping their guard in hopes they aren’t misunderstood. “I’m working in the style of, or at least parodies, everyday art and everyday society.” A definitive self-summary, no need for further reading.

MENSWEAR GIANTS

A KIND OF GUISE There’s no two words more reassuring than “German-engineered”. Practical and inventive, engineering sells Germany to the world.

Somewhere you wouldn’t expect to read “German engineered” though, is on a clothing tag. A Kind of Guise is proud of its country and it has written just that on every label. Based in Munich, the brand has caught our eye thanks to simple yet bold pieces that embody the German chic; something the rest of Europe is still trying to get a piece of. For this season’s arrivals, the brand go bolder with typically German looks that enrich the streets. Picks like its Bekko Baseball Shirt are cozy yet sleek. Along with the corduroy Kaschgai slacks, A Kind of Guise make comfortable clothes formal enough for a weekend work meeting. Both items are grey, brown and white, yet they still catch our eye.

Committed to comfort, its fits are often lightly brushed for that soft handfeel. Hand-made in Germany, of course.

JOHN SMEDLEY FACTORY TOUR

Tucked away among the rolling hills of Derbyshire’s Derwent Valley sits the world’s oldest manufacturing factory in continuous operation. The company in charge? John Smedley of course, and us being the lucky so and so’s that we are managed to bag ourselves a guided tour of the place this month. The whole experience was fascinating. From touring around the frenzied whirring of machinery old and new, watching the odd jumper pop out here and there to a browse of the John Smedley archives, of which many pieces have influenced the brand’s own flagship stores. The trip was insightful, not least due to the knowledge of our guide and the open and friendly nature of everyone there who were more than willing to talk you through their processes and work. Expect a full write up in our next issue.

ON OUR COFFEE TABLE:

100 CONTEMPORARY BRICK BUILDINGS Page after stunning page, Philip Jodidio’s latest architectural tome for Taschen is a masterpiece.

Compiling an eclectic collection of brick buildings over the last 15 years from around the world, ‘100 Contempory Brick Buildings’ is as much a masterclass in photographing architecture as it is a study into the most pure and basic of building materials. Chronicling a host of incredible brickwork buildings over two substantial volumes (better check the sturdiness of a shelf or table before placing it down), the book captures buildings through the seasons, stunning interiors and architectural plans, as well as masterful brick facades and structures ranging from the aweinspiring aerial triangle of the renovated Punta Della Dogana in Venice (Tadao Ando) to London’s very own Tate Modern Switch House (Herzog & De Meuron).

In our style section we talk Ermenegildo Zegna’s new eyewear collection, one that makes sunglasses essential even as summer ends. There’s mention of its story, starting with looms in the Alps to a family empire in its fourth generation. But a finer detail is just how successful the luxury name is. As reported

by Business of Fashion, Zegna has over 550 stores and revenue that stands in the billions, making it the largest menswear brand in the world. That’s quite a remarkable feat for a family business; even moreso seeing as it’s not quite a household name.

But who else is on top in menswear? The Brooks Brothers are one of the most successful, suiting men for nearly two centuries as America’s oldest retailers. The brand struggled late last century, with a series of owners including Marks & Spencers. Now though, the brand is stronger than ever with nearly 300 stores and outlets across the globe. Back in the UK, Gieves & Hawkes is another contender, with a Savile Row base and 100 stores around the UK and Asia. In unisex apparel, the highest earning names are Adidas and Nike, with Christian Dior ranking number one worth $43 billion.

LOOPWHEELS

Startup companies are always ambitious, but what happens when one reinvents the wheel? Partners in marriage and business, Sam and Gemma Pearce have done exactly that with Loopwheels. Their wheels are shock-absorbing and spokeless, originally designed for both bikes and wheelchairs.

The suspension works with a spring system between the hub and the rim. Once installed, rides are smoothed out on gravel paths and free from road buzz. Of all places to think up a new wheel, the inspiration came from waiting around in an airport.

Sam Pearce was twiddling thumbs until he saw a mum with her child in a pushchair. The wheels hit a kerb and the kid flung forward as a result. The idea of integral suspension in a wheel was worked on ever since, with funding on Kickstarter pushing Loopwheels into the bike market. These days, the company’s shifted its focus to wheelchairs, its filling an essential gap in the market. Although their 20 inch bike wheels may not be in stock, the Pearces will likely make a return as the company continues its journey.

Issue 26

PAUL SMITH X ESSENTIAL JOURNAL

12 | The Essential Journal

Paul Smith continues his career of innovative design for Autumn/Winter 2017. We rundown the range featuring feather print embroidery, modernist patterns, British tailoring and trans-seasonal travel suits

FEATHER PRINT

NO.9

Feathers are a focus for Paul Smith this season as a colourful new print features throughout the men’s and women’s collections

A new collection of embossed leather goods inspired by the award-winning façade of London’s flagship Paul Smith shop, No. 9 Albemarle Street

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STYLE

nspired by British gentleman naturalists and collectors, the new autumn/winter ’17 motif builds on Paul Smith’s reputation as an innovator in print design.

As well as appearing as a bold graphic, the feather is the symbol for the season, appearing in a wide range of forms and applications.

For men, the vibrant feather graphic is printed onto nylon bomber jackets, shirts and pocket squares. It also features as a subtle accent on jacket linings and pocket linings. Single feathers are also embroidered onto key outerwear and tailoring styles, Western shirts and the signature Basso trainer.

For women, all-over print feather shirts are styled under classic overcoats with feather embroidery. Feathers also appear printed onto purses and other small leather goods. Finally, delicate feathers attached to the bond of women’s hats give the feather a three-dimensional form.

Paul Smith’s in-house print design team created the new motif after being inspired by Victorian-era naturalists, who carefully documented their findings in drawings and taxidermy collections.

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o. 9 Albemarle Street’s patterned façade reinterprets the design language of the 18th Century Georgian townhouse beneath. The repeating elliptical motif of interlocking circles, rendered in cast iron, nods to ornamental Regency forms, creating a delicate, modernist pattern from a subversively heavyweight material.

The cast iron frontage firmly locates No. 9 Albemarle Street within its Mayfair surroundings, mirroring the area’s characteristic street furniture of iron railings, grates, balconies and lamp posts.

For the new leather goods collection embossed leather replaces cast iron. The traditional craft of leather production and embossing results in leather accessories that capture the same uniquely British amalgam of heavy industry and handcrafted construction.

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The Essential Journal | 13

STYLE

PAUL EXERCISES HIS SIMIAN STROLL PAUL SMITH X ESSENTIAL JOURNAL

Paul Smith will open on Manchester’s premier shopping street with a typically unique shop fit inspired by the city

BRITISH TAILORING

A SUIT TO TRAVEL IN

The history and tradition of British tailoring is celebrated this season as Paul Smith shines a spotlight on classic tailoring with a signature twist

Paul Smith continues to lead the way in travel tailoring as A Suit To Travel In returns in a series of new colours and fabric options for autumn/winter ’17

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reat tailoring has always been at the heart of Paul Smith, but this season clever design references and fabric selection put the focus on the British tailoring tradition. In addition to the existing men’s tailoring offer, two new jacket shapes have been added this season.

The first is a long, 82cm length jacket that references British Teddy Boy styling of the 1950s. This is complemented by another new shape with a square, strong shoulder line balanced by wider lapels.

Women’s tailoring introduces a refined, feminine take on what is traditionally a masculine archetype. While men’s and women’s styles share the same cloth, women’s designs have been engineered to fit the female form.

For outerwear, the best selling Epsom coat has been developed with a slightly slimmer shoulder, while the addition of ticket pockets and turnback cuffs is another reference to Teddy Boy tailoring.

The UK focus is strengthened with the fabric selection, where tactile tailoring cloths, including innately British patterns such as Prince of Wales check and Blackwatch tartan, all recall classic British tailoring. These authentic fabrics have been sourced from famed fabric mills such as Hardy Minnis and Lovat.

To ensure that tradition is balanced by modernity, detachable jacket liners add a technical edge to classic overcoats and the easy way of mixing sportswear with tailoring, as pioneered by Ray Petri’s Buffalo movement, is a recurring influence.

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urther building on its travel tailoring credentials, Paul Smith has developed two weights of A Suit To Travel In fabric with different climates in mind.

The original 100% wool suit remains at the core of the collection, while a new 84% wool, 16% mohair fabric blend has been added as a lighter option for warm and humid climates.

Both fabric options have the same high-twist construction and amazing crease recovery that A Suit To Travel In is famed for. Scrunch the suit in your hand and watch as it springs back, with the creases falling away before they’re allowed to form.

Mirroring Paul Smith’s focus on British fabrics for autumn/winter ‘17, A Suit To Travel In is also available in a classic houndstooth cloth that recalls traditional British tailoring. Plus, a series of muted trans-seasonal colours including pale blue, teal, lilac, damson and orange sit alongside the traditional colour options of navy, black and grey.

The British company is also expanding its travel range beyond tailoring. The wider Paul Smith Travel collection includes A Coat To Travel In, formal shoes with lightweight travel soles, a women’s Travel Dress and a new collection of compression socks named A Sock To Travel In, which launched in July 2017.

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ituated on New Cathedral Street in the heart of the city, the new shop will offer the latest Paul Smith collections for men and women. In addition to the seasonal stock of runway ready-to-wear fashion and accessories, many of the collaborative projects that Paul Smith is known for will be made available, while a dedicated suit room at the back of the shop will be continuously stocked with formalwear.

Making use of block colours of pink, red and green, the striking shop façade references the work of Mexican architect Luis Barragan – one of Paul’s favourites – and serves to create the impact and characterful features so synonymous with the brand.

Within the 140 square meter one level space, a 3 x 3 meter cube has been inlaid into the floor, representing the dimensions of Paul’s first shop in Nottingham.

“I’ve had a close relationship with Manchester and the surrounding area since the beginning of my career”, said Paul. “I’d spend a lot of time driving from Nottingham to visit the factories in the city that I was using to make early Paul Smith shirts - some of the first pieces I ever designed.”

Inside, the shop is filled with the signature architectural features and unique furniture that makes each Paul Smith shop unique. A polished concrete floor at the front leads to reclaimed woodblock flooring at the back, artfully blending old and new and leading the visitor seamlessly through the collections. Antique and specially sourced furniture will be showcased in the shop including 1960s Poul Volther armchairs, a drum umbrella stand and Harvey Probber side tables.

Much like a cabinet of wonders, the art wall a signature feature of all Paul Smith shops – will showcase a series of eclectic imagery and photographs taken by Paul, with selected pieces available for sale. This completes the atmosphere of fascination and lends the visitor a perfect insight into the inspiration behind the collections available. EJ

Issue 26

14 | The Essential Journal

STYLE

words by REUBEN TASKER

Jigsaw: All In One Piece Luxury high street retailer Jigsaw introduce a new autumn/winter collection, with buying manager Tom Saunders talking us through the stories behind it

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anvass the fashion hall of fame about the difference between fashion and style, you’ll probably hear the same thing. Fashion is temporary, style is permanent.

It’s a sentiment that’s driven designers and stylists to set trends and never follow them.

It’s also a statement that Jigsaw have taken fully on board in every release since its start in 1972. But it’s in menswear where the retailer has had a truly original history. Its Christ Bailey-styled outfit was selected for the Male Dress of the Year award back in 1998. A bold look, the fit was comprised of a silver-grey suit and ankle-length puffer jacket. Jigsaw stayed on the cutting edge throughout the ‘90s, expanding to Tokyo, launching its menswear brand and commissioning minimalist architects to design its London high-street stores.

These days you can find Jigsaw in the Duke St. Emporium on Mayfair. The flagship store is Jigsaw’s hub, bringing the brand together with The Shop at Bluebird for the first time.

With designer details at a high-street price, Jigsaw is still selling stylish clothes in inspiring surroundings. This year’s autumn and winter menswear collection is brave as ever, fully embracing the oncoming weather and elements. Drawing unique influence from retro Americana and the 1960s Winter Olympics, new releases like the Cashmere Woolen Beanie and Windowpane Check Scarf have got you covered. For frostier conditions, there’s the Italian Cotton Blizzard Coat and sharp knitwear crewnecks inspired by 60’s ski apparel. It’s hard strolling through autumn without denim on your back so Jigsaw decided to experiment. The Vegetal Dye Chore Jacket is a trend-setting two-ply: a garment-dyed workwear jacket. Its Bloomsbury Italian Denim Suit Jacket is similarly casual, if not for more formal nights out. Guiding us through the diverse collection is Jigsaw’s Tom Saunders.

With almost a decade in menswear, the buying manager has an acclaimed reputation. He was listed as one of Drapers' 30 under 30 in 2015, now bringing high calibre knowhow to the prestigious high-street retailer. EJ

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essential journal: Introduce yourself, what is your background? How long have you been at Jigsaw? What does your role involve? tom saunders: My name is Tom Saunders and I am the Buying Manager on Jigsaw Menswear.

I’ve been in the industry for almost 10 years now, always in buying, but prior to Jigsaw I worked with branded casualwear and specialised in tailoring and formalwear. My role is to drive the menswear strategy and three year plan, which covers everything from sourcing, sales and trading to liaising with the Retail, VM, Ecommerce, Marketing and PR teams.

Tell us about the new AW17 collection. What was the inspiration behind the pieces?

This season our design team took inspiration for our pre-collection from American abstract expressionist painter Kenneth Noland - the palette is paired-back with pops of primary blue, red and green. Going into winter, the 1960 Squaw Valley Olympics informs the narrative so it’s all about layering. Blizzard coats, heavy-gauge knitwear, plaids and shearling all feature.

Tell us about the fabrics used in this collection.

Provenance is everything at Jigsaw – we don’t compromise. Our shirting is all woven in Italy, Japan or Portugal. Our selvedge denim is woven by Kuroki in Japan and our Bloomsbury suits are tailored in Europe, woven in Italy and constructed with a half-canvas. I could go on but you get the idea! Expect to see plenty of flannels, quilting and garment dye corduroy in the collection.

We’ve also got some great cashmere knitwear this season; from a double faced cotton-cashmere jogger, to a wool/cashmere waffle, to a Mongolian pure cashmere crew neck. A personal favourite of mine is our Japanese cotton/ wool grandad collar shirt.

Tell us a bit about the Jigsaw brand.

Jigsaw was founded in north London in 1972 and was one of the original premium highstreet brands of the 90’s. Jigsaw Menswear was re-launched in 2012 and we currently operate out of three menswear standalone stores (Islington, Mayfair and Spitalfields), 15 mixed stores, as well as online. Jigsaw’s ethos is Style & Truth – the latest issue of our in-house publication has just been released.

What was your route into menswear?

I worked from the ground up, building my experience in various roles until I was identified as a strong candidate for John Lewis’ Management Development Programme. I started out in men’s brands, then moved on to formalwear as an Assistant Buyer. This role allowed me to develop extensive knowledge within tailoring and in 2013 I was promoted to Buyer on men’s formalwear. In 2015 I was one of Drapers’ 30 under 30 and I’ve been at Jigsaw for the past two years as Buying Manager on Menswear.

What would you have done as a career if you hadn’t chosen your current path?

When I was a boy I wanted to be a chef!

Who are your menswear heroes/heroines?

There’s a few obvious ones, but I’d have to say Bowie as The Thin White Duke. As a kid I remember my mum having an album by Robert Palmer - there’s a guy who knows his tailoring!

Are their specific touchstones in culture that inspire you? Whether that be music, design, photography or something else?

Music, definitely music. I also have a weakness for a nice piece of furniture and lighting – one day I’d love to own a Hans Wegner lounge chair.

Tell us about your daily routine.

Like most, my day starts with a coffee. I swear by my Alessi espresso maker – it’s such a simple thing but it works so well. When I get to work I’ll check the sales for the previous day

– it’s always great to see what customers are picking up. We hold fit sessions once a week when a model comes to our offices – this ensures we deliver the right design, fit and quality to the Jigsaw customer. Throughout the day, every day, we are in touch with our suppliers; maintaining contact is key to the development process. Each season we’ll travel to London, Paris and Milan to source fabrics, and to visit our factories.

What was the last book you read? Film you watched? Album you listened to?

I’ve been reading ‘Born to Run’ Bruce Springsteen’s autobiography. Honestly I can’t remember the last really good film I watched, but music is a big part of my life and I suppose my taste is quite diverse. Radiohead are pretty much a staple, but I also love a bit of the blues; B.B. King, Fleetwood Mac (Peter Green era).

Lately I’ve been listening to Badbadnotgood and I’ll always come back to Future Islands.

Where is your favourite place in the world?

I’ve just got back from my honeymoon – we visited a hotel called Miramonti which is near Merano in Northern Italy. It’s in the mountains so the scenery is incredible, and the hotel itself is like something out of a Bond film. Food was great too! Other than that I love South Africa – especially Franschhoek and Stellenbosch.

What are the three most timeless pieces of menswear?

You can’t beat a well-tailored suit, a decent pair of jeans and the faithful white t-shirt, but I think a classic watch and a good pair of shoes also go a long way!

What’s the riskiest thing you have ever done in your career? Did it pay off?

Probably passing on my degree placement at LCF in favour of getting straight into the industry. It’s personal preference and I had no idea if it would pay off, but I think experience in this industry counts for so much.

Issue 26

16 | The Essential Journal

WHAT’S ON Liverpool Philharmonic September – January Saturday 23 September 7.30pm

Sunday 15 October 7.30pm

Saturday 9 December 7.30pm

Saturday 14 October 2.30pm & 7.30pm

Wednesday 1 November 7:30pm

Friday 26 January 8pm

MIKE OLDFIELD’S TUBULAR BELLS – CASABLANCA: FILM WITH LIVE ORCHESTRA –

Wednesday 11 October 7:30pm

MIDGE URE, THE CHRISTIANS AND ALTERED IMAGES

A COUNTRY NIGHT IN NASHVILLE – RAY MEARS: BORN TO GO WILD –

KATE RUSBY AT CHRISTMAS –

DEAR ESTHER – LIVE

Tuesday 14 November 7.30pm

BILLY BRAGG: BRIDGES NOT WALLS

Box Office

liverpoolphil.com 0151 709 3789 – LiverpoolPhilharmonic @Liverpoolphil Image Kate Rusby

Issue 26

ONE THING DONE WELL:

NOBLE DENIM Our series of brands doing one clothing item especially well continues this month with Noble Denim

A

s Giorgio Armani once famously said, "Jeans represent democracy in fashion."

You can’t find a truer quote about trousers. Whether you shop designer or highstreet, we all have denim as a wardrobe staple. So with jeans in every catalogue, how does a denim brand stand out? As One Thing Done Well has taught us, often the key to quality is to focus. This month, the gentlemen behind Noble Denim are doing just that. The Ohio-based company is committed to making the perfect jean with a focus on sustainability. Their pairs are sophisticated but comfortable, made for the guy wanting a tailored fit whilst avoiding skinny jeans.

Noble started with humble beginnings. Co-founder Chris Sutton got into high quality denim back in 2012, wanting to know how to make one pair of jeans better than the next. To learn the craft he flew to Cardigan, Wales to meet with Hiut Denim. The grassroots label showed him how to produce the high-quality jeans he was searching for, and with newfound inspiration, Sutton headed back home to set up his own brand. Back in Cincinnati, Sutton found Christman Hersha, a computer programmer and the yin to Chris's yang. The duo made it their goal to become the most sustainable raw denim company in America. Starting as three part-time sewers, Noble quickly moved its production HQ to Tennessee. The team paid close attention, literally paying sowers extra to slow down and take their time for a quality finished pair. For other details, Noble source regionally.

There’s cotton from North Carolina, hardware from Kentucky and reclaimed leather from Amish saddle makers back in Tennessee. The result is a pair of well-sourced jeans spun by a single expert sewer.

Inspired by time-tested looks and shape, Noble make jeans in classic slim and tailored fits. Perfecting pairs over four years, the jeans are made of canvas fabrics and materials that are stylistic and always durable. Like the Truman or Earnest Slim Straight, its pairs come in different shapes and sizes, though what distinguishes Noble’s jeans is the level of customisation unmatched in the denim world. Customers can drop by their store in Cincinnati and design their own jeans, a brilliant idea the brand took online. For a personalised pair choose the fit, size, fabric, colour of details and even a back patch.

The Design Your Own approach is a new venture, but it’s a hit with customers and where Noble see themselves heading in the future. “It’s a natural evolution from our existing small batch process.” Notes Hersha. Tailored to its supporters, collections are made small with jeans individually numbered on the label. Building relationships both with the customer and the factories are other future goals, with a degree of exclusivity no matter how popular Noble will inevitably get.

Speaking of another brand doing one thing well, Hersha notes Brooklyn’s own Knickerbocker Manufacturing Company. Like Noble, Knickerbocker has a small team that craft vintage clothing with raw materials and sustainable thinking. Using antique machinery from the old factory they adopted, the team research intensely when designing, distinctly reproducing forgotten menswear of a former era. Seems like the future of high fashion isn’t always on the mass market. Starting from a cursory interest, this denim company now thrives off a passionate

#4

The Essential Journal | 17

“There’s cotton from North Carolina, hardware from Kentucky and reclaimed leather from Amish saddle makers back in Tennessee.

The result is a pair of wellsourced jeans spun by a single expert sewer.”

commitment to its final product. With more stock and a couple collaborations, Noble could conquer the jean world by now. But in keeping designs, deals and details on its own terms, it would rather rule on a lower key. EJ

words by REUBEN TASKER

Issue 26

18 | The Essential Journal

STYLE

words by REUBEN TASKER

SHADES OF COOL As the Italian luxury house Zegna unveil a new A/W 17 eyewear collection, we explain why sunglasses are in even on cloudy days

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ow summer’s over you’re likely to be off the beach and sulking to work. The days of donning a patterned shirt and flip-flops to stroll through shoreside terrace bars are now but summer memories. For nights out in autumn you’re layered up, dressed to impress with the freshest pieces. But there’s something missing, something integral in that laidback summertime wardrobe still unpacked from the suitcase on the floor.

Sunglasses, our second eyes on sunny days, are that missing seasonless essential. As proven by style icons of the silver screen like Steve Mcqueen and Robert Redford, a pair of understated shades is the key to a sophisticated look all year round. Tinted lenses and black horn-rimmed frames are vintage and nonchalant on cooler outings, whilst wood-framed shades match this season’s warm colours and low autumn sun.

That’s exactly why Zegna is two steps ahead with its new A/W 17/18 eyewear collection. The Italian luxury fashion house made its name tailoring luxury suits, starting in 1910 with looms in the Alps and now thriving with stores worldwide including Milan and New York. A prestigious label in its own right, Zegna

has also produced some our favourite suits for Gucci, Dunhill and Yves Saint Laurent. To this day, Zegna is the biggest menswear brand in the world by revenue.

For that reason, we assume you’re already pretty familiar with the name, but not with its reputation as eyewear pioneers. A family business for over 100 years, its Zegna’s fourth generation that has teamed up with fellow Italians, the Marcolin Eyewear group, for this striking new range.

The sunglasses have a distinct Italian style rarely seen outside of Trivero or Milan. The range faithfully toasts the past with keyhole bridge design and sophisticated frames made of wood and titanium. For a sharp look the glasses have fresher details like signature chevron rivets and wooden accents. Sophisticated and confident, some models are squared shaped with others built in a classic teardrop style. As a whole, the range is distinctly masculine and bold, catching eyes whilst keeping you cool and composed on bright mornings or leary nights. Whether it’s stormy out or even a little patchy, Zegna has helped make sunglasses a newly essential item in the modern man’s outfit. EJ

Issue 26

The Essential Journal | 19

Liverpool Liverpool A U UN N II Q A QU UEE

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Issue 26

20 | The Essential Journal

TOP PICKS

Hair IMPERIAL CLASSIC POMADE

Perfected in the ultra-stylish barber shops of L.A. this pom has a seriously strong hold and a toned down, low shine finish.

STYLE

words by JOHN THORNTON, themodernman.co.uk

To Beard Or Not To Beard?

The Pros and Cons of Going Full Brian Blessed It’s easy to accidentally-on-purpose let shaving and trimming slide during summer. Now autumn is creeping up on us, should you bring everything back in line or keep growing it out into full beard territory?

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here’s no two ways about it a well groomed beard looks great. It helps define your jaw and can add maturity to the most baby-faced of men.

The neatest beards still carry an air of ruggedness, and now they’re universally considered office-appropriate attire it’s a much classier way to add personality to your 9-to-5 style than a garish pair of socks.

Whilst wild’s all well and good, an overgrown, unkempt beard can leave you looking like you’ve gone feral. Always keep at least one of your hair and beard looking neat. If your hair is closely cropped you can get away with a bit more wildness on your beard, but keep it neat if you have a messier or longer hairstyle.

A lot of men abandon shaving because it feels like a chore - and a chore that leaves your face sore and stinging. But be

warned - beards absorb a lot of your natural moisture and can leave your skin itchy and flaky. Once it reaches a certain size it’ll need almost as much upkeep as daily shaving.

A decent face wash is enough for short beards, but bigger beards will benefit from a dedicated beard shampoo. Don’t be tempted to just use the ol’ Head & Shoulders - normal shampoo is designed to remove oil, but that’s in short supply in your beard zone. Beard shampoos boost moisture to keep your bristles soft and your skin happy, and you can really bring the best out of it with a beard oil or balm. Beard oil works essentially like moisturiser, hydrating your skin to stop it drying out whilst being a lot easier to work through a beard than a cream. Beard balms have a waxier formula - they’re similarly moisturising but also have a bit of

hold to keep longer beards under control.

Shaping your beard is where things get tricky. A clipper is fine for short and medium lengths but once your beard outgrows the guard it’ll require trimming with scissors. Getting the shape right can be challenging, and depends on both your beard hair type and your face shape.

Your best bet is to get your barber to sort it the first time so you’ve got a good foundation to maintain from then on.

There’s only truly one way to find out if a full beard’s for you - try it! Steer clear of the razor and trimmer for a month and see how it’s doing. Looking good? Stick with it for another four - by then the winter chill will be rolling in and you’ll be glad of the extra layer. A little longer and you’ll be reaching biblical levels right in time for Christmas. Just promise you won’t stick baubles in it? EJ

Shave ANTIGA BARBEARIA SAFETY RAZOR

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Beard PRORASO WOOD & SPICE BEARD OIL

This is my go-to beard oil. It’s got a great scent and a really light feel - not greasy at all.

Issue 26

The Essential Journal | 21

22 | The Essential Journal

STYLE

A Handsome Home:

Stylish Tech words by ANGHARD JONES coggles.com

Technology. Now a prominent part of everyday life that we can’t – or won’t – escape from.

After all, how could we live without that incessant refresh of Instagram? Where would we be without Google Maps?

(Probably heading in a more straightforward direction but there’s no fun in that)

W

ith this comes phone cables, wires, lose-able USB sticks and more, well, unsightly technology-related paraphernalia that just won’t do in a handsome home. If technology is going to play such a big part in our lives, then it may as well look good too – and become something you’d like to leave around for discerning guests to glance upon when visiting.

The two brands topping our list? Native Union and Master & Dynamic, both new to Coggles this season. The former is a Hong Kong-based outfit that takes award-winning design and applies it to phone cases, cables, iPhone docks and more. The brain childof John Brunner and Igor Duc, Native Union started out in 2009 and combines elevated user experience with sleek and minimal designs (headed up by Fabien Nauroy) that go beyond the plastic and non-descript that flood the market.It’s the little touches that set Native Union apart; the leather phone case, for example, with a slim pocket at the back for sloting your credit card in, or the Night Cable which comes with a nautical-inspired weighted knot to ensure dropped cables are a thing of the past.

The latter, meanwhile, is the perfect balance of the traditional and the modern, combining vintage-inspired style with cutting-edge sound technology to create headphones you’d want to show off in public. Master & Dynamic began in 2014 when founder Jonathan Levine came across a set of vintage headphones and wanted to bring back that same sense of quality design and longevity. In came premium leather and stainless steel headphones designed to last a lifetime – and with an unrivalled sound quality to boot. In just three years Master & Dynamic has received commercial and critical success, several accolades and is pretty much dominating the market for tech, music and design aficionados alike. EJ

Native Union and Master & Dynamic are both available at Coggles.com

Issue 26

Issue 26

The Essential Journal | 23

How will you be remembered ? “For those of us who create with our hands and minds, building is where we make our mark in this world, more than steel and concrete it is a collection of our initials signed in sweat.�

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Issue 26

24 | The Essential Journal

HANDCRAF TED

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INDEPENDENT

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SCIENTIFICALLY PURE

Alchemist Vodka Ltd. is an independent distillery operating in the shadow of the famous Anglican Cathedral within the heart of Liverpool City Center.

Liverpool is a city that perfectly blends the old with the new and at Alchemist Vodka we do the same. We have taken one of the oldest forms of Chemistry developed in the 12th Century and combined it with the most advanced scientific distillation methods to create handcrafted spirits that are free of molecular impurities.

Our Master Distiller brings decades of scientific expertise gained through a Masters and PhD in Chemistry from the University of Cambridge, to ensure that every drop of Alchemist Spirits meets our exacting ‘scientifically pure’ standards.

WWW . ALCHEMISTVODKA . COM

Issue 26

LIFESTYLE

The Essential Journal | 25

words by REUBEN TASKER interview by THOMAS SUMNER

Dave Myers: Easy Rider

A conversation with Dave Myers, one half of the dynamic cookery duo The Hairy Bikers, ahead of their appearance at the Liverpool Food & Drink Festival

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qual parts rubber tyres and grizzly beards, there’s few chefs as instantly recognisable as The Hairy Bikers. Named after the subject line in a producer’s email way back in 2004, the Hairy Bikers live up to their titles by exploring the culinary world on their beloved motorbikes. The brand is strong, with an astonishing 13 TV series and books under their belt. Their engines have driven them to the edge, with episodes following their journeys through South America and Asia, alongside experiences like weight-loss, going vegetarian and discovering the pubs that built Britain.

But the Bikers’ latest stop isn’t in Mississippi or Mount Fuji, but at Sefton Park for the 10th Anniversary of the Liverpool Food & Drink Festival. Ahead of their anticipated appearance, we tracked down the charismatic Cumbrian, Dave Myers to talk Bake Off, crack and Bangkok... EJ essential journal: Hi Dave, as we’ve got a bit of time I’ll begin with a personal question. With you being from Barrow-In-Furness, you’re not a Rugby League fan are you? dave myers: On and off actually. I used to be when I was a kid, I was one of those kids that went down south to see Barrow [Raiders] play Featherstone [Rovers] at Wembley. That was about 1960-something for the rugby League Challenge Cup. Then I picked up my Rugby again maybe four or five years ago when we were doing Hairy Dieters, because Martin Ostler, the rugby player that played for Barrow was our personal trainer. So I think if I didn’t go the rugby to support them he’d beast me even more. I’ve lost track and moved down south now. How’s Barrow doing?

Yeah, there not at Wembley any more, but they’re still around which is good. There’s plenty of clubs at their level across all sports that have disappeared in recent years but they’re still there.

It’s always been popular, I always remember the floodlit Rugby League and Eddie Waring commentating: “The sun sets down over the terrace”, it was all very romantic but it really was just cream-crackers-and-bovril rugby. I think I went there about four years ago with Martin when he was playing and it’s good, it hasn’t changed.

I ask because I’m from St. Helens originally, big St. Helens fan, so if there’s ever a Rugby League town involved, I always have to ask.

It’s a big part of Northern life, in school Tom Brophy was my Chemistry teacher. He also played for Barrow and high-level rugby as well, but it was funny having a teacher as a rugby player. It made me have a bit more respect for him than the others really.

Anyway, let’s talk about food. You were asked way back in 2008 what the next big thing in the world of food and drink would be, which you answered “baking.” So congratulations.

You know what, we were talking to the BBC around then and they gave us four half-hour programmes called The Hairy Bakers, that’s all and we couldn’t get a book away with it. Actually it was funny because we did Mum’s Know Best after that and I think we were the first ones to have that countryside look; all the mums brought the baking and everything. So you can imagine what we think, looks like somebody somewhere put two and two together.

When we did our research, it was the Federation of Master Bakers [Now known as Craft Bakers Association] that were pushing confectioners and people that supply cake-making material to up the ante and anticipate the baking explosion. In the previous two and a half years we’d been on the road all the time, and a lot of folks like making pies and bread but we never had an oven so coming back to the UK, it meant we had an oven and we were baking, but we were right about baking and Bake-Off ’s proof.

So what’s going to be the next big thing that we might see in the next 10 years?

I don’t know what’s next, I heard through the grapevine that the next issue is Mexican. I don’t know in terms of food, I think more real Mexican rather than Tex-Mex - that’s different, when everything’s covered in mince and chilli cheese in various options. We filmed in Mexico in 2006 and if you go south of Puebla and Oaxaca the food is absolutely unbelievable.

It’s healthy, it’s very corn-based, it’s good food, it ticks a lot of boxes in terms of flavour and health but it’s good food.

When we were researching the programme, we checked ourselves into a cookery school in Oaxaca. There we went to a market where there were 200-something varieties of chillies and each one had its purpose. It’s one of those cooking cultures that when it’s done properly, you know like Italian, it’s very simple but can be pretty pedantic. Real Mexican cookery is like that. It can be very complicated but when it’s done right, it’s fantastic.

Anyway for us the next one’s Mediterranean, so I’m going to say that Mediterranean is the next big thing. We’ve just done that, we spent three months in the Western Med and we’ve finished that and the book. The book’s [The Hairy Bikers’ Mediterranean Adventure] out in November and the telly’s on in February: A Mediterranean Adventure.

You’ve said that if you want to eat healthier you should be eating more Mediterranean dishes.

A Mediterranean diet is a balanced diet. The reason we picked the Med is because it’s on our doorstep and when we did the Baltic programme [The Hairy Bikers’ Northern Exposure] is because it’s accessible, you could take your motorbike down from Newcastle on the train to Amsterdam and then by lunchtime you were in the Baltic in Poland. Right there in Latvia and Estonia, it’s really on our doorstep.

With the air travel now and low-price airlines, you could be in the Mediterranean for less than 50 quid, so we tried to find the hidden Mediterranean. We started out in southern Italy, Bianco and Calabria and worked our way round to Sardinia, Corsica, the south of France, Menorca, Mallorca, and then to the coast of Valencia and Spain. [There’s an] Amazing food culture going back to the time of the Greeks, with thousands of years of culture going into what we have on the plate. It was fascinating and we learned so much. We think we know it, but we don’t so I’m quite excited about that, it’s been a good experience. We’ll be bringing some of that to Liverpool. We’re doing a sneak preview of our Italian stuff, we’re doing two stints with different food in each demonstration. We;ve got a Tandoori oven being true Notherner’s, so we’re going to use it for an Asianinspired menu and then the second one we’re doing a Stuffed Squid and Burrata with Grilled Peach Salad. It’s a sneak preview of what’s to come in our Mediterranean series.

Can you remember the first time that you ate an Indian meal and moreso the first time you ate Burrata and Parma ham?

With Indian certainly I remember I was a student that came down to Goldsmiths when I was

19 and I went to a curry house in Brockley in South London. That must have been in 1977; I went and recognised the smell of madras curry powder that was at the back of the cupboard in Barrow-In-Furness. I asked for the big crisps, the poppadoms and I’d never seen anything like it. Basically, the first two terms I spent my grant working my way through the curry house’s menu. Then I started cooking in South London, I went to the market in Peckham. In the Asian shops and most of those shops, like Liverpool, if you open your mouth and ask for advice people are more than happy to help. It’s cheap as well.

The first Italian food I ever had was when I used to work as a makeup artist at the BBCmy first job. When I was a trainee, one of the senior makeup artists took me for an Italian meal at a restaurant called Alatinos in Notting Hill, which for a lad from Barrow-In-Furness, a Notting Hill Italian was a bit of a one really.

I had my first lobster that night and actually I had some of her chicken caprese, it’s like chicken kiev and spaghetti milanese - again it’s so good y’know. That was going back, 1980 for my first proper Italian. That old fashioned Catori food, so simple. I can’t believe just how good, simple Italian food is. I discovered this year, it can be any pasta basically with black pepper and pecorino cheese, you just get butter, put three tablespoons of cracked black pepper in the butter and leave it for a sec. Then, you put 150g of grated pecorino or parmesan and leave it there to set and you mustn’t stir it, that’s all it is. Cook the pasta, keep some of the pasta in water, add the sauce to the pasta, keep stirring, add the water, it’s like the ground zero macaroni cheese and it’s unbelievably good. endendend

Issue 26

26 | The Essential Journal continued...

We can’t say it on the BBC but it’s like culinary crack, you can’t stop eating it.

It’s so good but it’s so minimal, a lot like your pasta with basil, it costs nothing, but when it’s done right it’s the best. I went back to Italy this year with my wife, we went to Naples for the first time and she had Italian food and we stayed at the Agriturismo farm houses, you do wonder why you bother eating anything else. Then of course you go home and fancy a curry and you’re off again.

Where’s your favourite place to visit for food? A country or even a city.

If I had to narrow it down I think Bangkok is somewhere that is very exciting to visit. The markets are great but the streets and culture in Bangkok is stunning. It’s that balance, there’s really such a marvellous balance with Thai food, food on the streets is incredible. A lot of apartments now are built without kitchens in Bangkok because people just don’t cook, people eat out on the streets all the time. Especially youngsters, why would I want to sit and eat on my own when I could be in the street with my friends? There’s leases for a lot of flats where cooking is forbidden. That’s why you see people on long tables in the street, laughing together, having a good time.

I do love Bangkok, you set out, it doesn’t cost much and the curries and the food and the vitality in the streets is great. The Thai are so food obsessed and for greetings, translated roughly as “Have you had your rice yet?”, is their version of “Good morning.” Have you been to Bangkok? I have not, no. It’s great, the food never disappoints you, the people never disappoint you, it’s magic.

I think one of our great treasures is that we’re a multicultural country and obviously Liverpool’s a multicultural city, I think more so than Italy certainly, we can eat around the world fairly authentically on our own doorstep and that’s such a good treasure. A festival like this, myself and Si two white English men come to a festival in Liverpool and it’s quite normal that we’re cooking Indian and Italian.

It’s our heritage as much as it is the original countries. I’m so proud of that with the UK and I hope it holds onto it.

You’ve got a radio show as well. (Yeah, The Hairy Rock Show on Planet Rock) and earlier this year you were on TV as the Hairy Builder. But what’s been your favourite non-food related venture?

I really enjoyed the Hairy Builder, it was odd not having Si there but, for me, it was great to indulge my interest. The big thing recently was Strictly, that was magic actually. Funny enough I was at the TV Choice Awards on Monday night nominated for Comfort Food, we didn’t win it but it was nice to be there. The Strictly lot were there, Simon Rimmer there’s now. How do you think he’ll do? I think he’ll do brilliantly - a dark horse, I love Simon, I like him very much, he’s at Liverpool Food Festival as well. I don’t know how he’s gonna manage that, he won’t realise it ‘til he gets there but I hope he gets with Karen [Clifton], the lady I was with, she’s brilliant. I genuinely did enjoy that very much, it’s nerve-racking, it’s scary, it’s ace but it’s one of those things, it’s funny. It tickles me really.

To finish, I recently took my mum to a restaurant in Liverpool called Maray and the they do this roasted cauliflower that she had and loved. She tried to replicate it at home and apparently my dad didn’t pass comment on it. Any tips?

I’ll be honest it’s something I never did, but I’ll tell you what, Michel Roux Junior does an ace one, he packs it first with yoghurt and spice and then roasts it. If I was gonna roast cauliflower I’d do it like that, he did it on Saturday Kitchen one morning and it’ll be on the Saturday Kitchen website. I could give you a load of bull but his is seriously good. It’s kind of like your GP referring you to a specialist!

LIFESTYLE

words by REUBEN TASKER

Headline Foods

As The Liverpool Food & Drink Festival turns ten, we look back on the star chefs that have served up fresh insight and tasty ingredients over the years

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iverpool’s love of food and drink should be known beyond its borders by now. A passion for food has always animated the people here – locals are named after the city dish Scouse after all.

That spirit is exactly why the Liverpool Food & Drink Festival has been such a celebration since it began in 2007. The festival toasts its tenth birthday this year, taking place in Sefton Park on the weekend of September 16th and 17th. Guests will get the opportunity to sample fantastic local food and drink, soak up the atmosphere and observe demos and masterclasses by top chefs. It wouldn’t be a festival without headliners, and the people behind the festival have always strived to showcase the most relevant cooks about. From local heroes and Michelin maestros to beloved household names, there’s been starpower from the start, serving up advice and tastes of their beloved dishes.

It’s hard starting with anyone but Paul Askew. Chef patron of The Art School, Paul won Visit England’s ‘Taste of England’ award for his fine-dining restaurant this year. But he’s no rookie, Paul was one of four chefs that oversaw the fest back in 2007. He’s shared advice and recipes every year since. This spring, Paul made his TV debut on BBC Two’s The Great British Menu, at one point getting a perfect score for a dish inspired by his mother’s favourite summertime flavours. Keeping it in the family, Colin and Gary Manning assisted Paul back in ‘07. The Mannings are managing brothers of 60 Hope Street, remaining

faithful to their family-owned business for 18 years. The two have given back to the city with cooking workshops and masterclasses across Liverpool’s schools. The only chef in the North West with Michelin stars, Paul Heathcote was the fourth to oversee the festival back in 2007. Though he’s retired his restaurant group and returned to event catering, Paul has since revealed plans to set up a new restaurant in Manchester this year.

Paul’s not the only cook that’s decided to join the North West chefs and opened restaurants in the Liverpool and Manchester. The explosive Marco Pierre White, Hell’s Kitchen’s Head Chef, hosted a festival masterclass in 2009, opening his Steakhouse Bar & Grill at Liverpool’s prestigious Hotel Indigo two years later. Former host of BBC’s Saturday Kitchen, James Martin followed his modern cooking showcase in 2010 by opening James Martin Manchester three years later. Just last year saw renowned Italian cook Gino D’Acampo whip up dishes and share stories of his celebrated career. The experience led him to open My Restaurant in Liverpool, welcoming guests with the finest cocktails and cicchetti.

For more unconventional followups, look no further than Masterchef’s John Torode. The judge moved on from his 2011 festival appearance in eccentric style, heading to Argentina, Malaysia and back to his home country of Australia for three series that introduced his unique takes on inspiring cuisine. Bake-Off favourite Paul Hollywood was equally unpredictable,

following his 2012 appearance by beginning a racing career, debuting in an Aston Martin GT4 at Silvertone’s Britcar Trophy Championship. Meanwhile, the ever-cool Levi Roots is celebrating his tenth year of success. The mastermind behind Reggae Reggae Sauce has been hosting roaring celebrations at Stratford’s Caribbean Smokehouse ‘rastaurant’ this year, honouring the ten years since his celebrated appearance on Dragon’s Den. It’s safe to say Liverpool’s Food & Drink Festival has had no shortage of starpower, and this year’s headliners are no exception.

Famed for exploring the culinary world on two tyres, The Hairy Bikers will pull up on the festival weekend to sample local dishes and even try their hand at preparing it themselves. With a busy schedule, they’ll also host a Q&A, showcase how to cook their favourite dishes and sign copies of their latest book The Hairy Dieters Go Veggie. Joining them is Simon Rimmer, star chef of Channel 4’s Sunday Brunch who will host the aptly named Simon Rimmer Show at a pop-up restaurant in the park.

The cooking show will see Simon invite a trio of Merseyside chefs to serve up tips and trade secrets, along with presentations on how to recreate their favourite dishes.

Joining him will be Mowgli’s Nisha Katona, Aiden Byrne of Manchester House and befittingly, Paul Askew of the Art School.

With further appearances from Gizzi Erskine, Anton Piotrowski and Anjula Devi, the festival is looking to be as filling as ever, remaining a firm favourite on Liverpool’s bustling calendar. EJ

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LIFESTYLE

The Essential Journal | 27

words by JACK CONNOR

Photography by Ian Macmichael Photography ianmacmichael.co.uk

Neighbourhood Brew

Inside an unassuming warehouse underneath a railway arch just north of the city centre, we catch up with Chris Holloway, owner of Neighbourhood Coffee to talk coffee, puns and Liverpool’s Food and Drink Festival

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eighbourhood Coffee is Liverpool’s first speciality roasters, dedicated to sourcing, roasting and brewing speciality coffee with a story to tell. “We are just enthusiastic and passionate about the story and want to tell it to people,” says Chris Holloway who, alongside Edward Peck owns Liverpool’s expert roastery. Coffee is commonly referred to as Black Gold or Java due to its economic value; something Chris disputes however, he is willing to acknowledge that “the coffee wave is starting to get going in a city that has such a vibrant independent culture.”

“Great coffee is one of those simple pleasures” suggests Chris, as the aroma of blackcurrant, vanilla and red berry coffee beans, which are in the latter stages of roasting behind us, permeate the air. Modestly, Chris believes that “a little bit of pleasure everyday is an accessible thing to produce,” a belief that

many would dispute. However, as our conversation turns towards the upcoming Liverpool Food and Drink Festival, Chris explains how he is eager to de-mystify this belief. Alongside his team of unique roasters and baristas, Chris will be exhibiting La Marzocco’s new espresso machine called the Linea Mini, or as he calls it, “weapons grade kit for people to play around with.” The Linea Mini is a kitchen-sized remodeling of the Linea Classic, a machine loved by professional baristas and coffee lovers alike.

In the second half of the stand there will be a cafe with cakes from Cuthbert’s bakehouse and a pop-up florist sourced from seasonal gardeners Agnes and Bee for visitors to enjoy.

Also, Neighbourhood will be allowing customers to purchase coffee from a wide selection of blends, grinding to order, as well as leading a grinding masterclass.

Like many independent roasters, roasting is a small part of Neighbourhood’s future. “The

next step is to keep on developing the wholesale coffee scene” affirms Chris who is in the process of setting up a community initiative in Brazil, as well as supporting what he calls, “back garden growers” throughout Africa.

Neighbourhood Coffee continue to push against a culture based on cheap coffee. All Neighbourhood’s coffee have names, usually puns on song titles in an attempt to make the process open and accessible for everyone. It is no longer an “Empire State of Grind.”

Chris has no part in the secret, hidden coffee circle he speaks of. He admits he has taken “a different way down the chain.” Yet, Neighbourhood Coffee thrive on its originality. “Origin is important, sourcing is amazing, however, I love seeing local businesses thrive and people getting passionate about coffee. I love the intrigue.” EJ

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28 | The Essential Journal

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Issue 26

The Essential Journal | 29

LIFESTYLE

words by ALAN SMITHEE

Events Round Up:

AVO Cigar Launch Puffin’ Rooms, Liverpool An exclusive event at Liverpool’s Puffin’ Rooms showcases the latest line of AVO cigars by Davidoff

S

unday, the precious Sabbath. A day for rest, relaxation and of course, a Pineapple Daiquiri. That’s how the order of service began at the exclusive AVO Cigar launch this month at the Puffin’ Rooms, as special guests were invited to sample a host of brand new cigars (exclusively sold at Turmeaus stores), as well as an array of delicious cocktails and small plates. Said Daiquiri, which each guest was presented with upon arrival was made with a four-year-old Flor De Cana rum and garnished with a wedge of dehydrated pineapple. Delicious.

The cigar lineup for the day was varied, mostly Dominican tobacco filler and binder leaves, wrapped in Ecuadorian tobacco to give the dark rich colour and luxurious look to the stick. The first to sample was the AVO Domaine, a figurado shaped cigar that is just under five inches with a 50 ring gauge. It bore tasting notes of butter and vanilla at the start, finishing off with earthy rich notes towards the end. The cigar itself was medium bodied.

During the first cigars, guests were treated to canapés of mini beef tartare as well as smoked salmon and keta caviar on new potato, followed by a first course of pulled pork

bao buns with pickled radish and rocket.

Cigar number two, which was the AVO Heritage Short Robusto, was a medium to full cigar, the stick coming in at four inches with a 50 ring gauge, with heavier notes to the previous cigar; dark chocolate and roasted nuts came from this particular blend, with some spiciness throughout. Accompanying this cigar was the afternoon’s second cocktail which caught us off guard a bit. The chocolate Old-Fashioned came in three parts; guests were first given an Old Fashioned glass with a large hand carved cube of ice; each guest was then poured their own pre-bottled chocolate-orange Old-Fashioned from individual glass bottles; then to finish off, the cocktail was garnished with a square of dark chocolate. Impressive in its construction, but also surprisingly smooth.

The cigar and cocktail were then complemented with the chef ’s main course: Serrano wrapped loin of rabbit with cranberry stuffing, laid out on a bed of warmed chickpeas and finished with micro herbs. Stunning, mouth-watering, sumptuous. Words do the combination very little justice. The final cigar of the day, the AVO Syncro Nicaraguan Short Robusto was then presented. A mix of Dominican, Nicaraguan and Peruvian filler, this box pressed cigar had a medium strength with tasting notes of spice and earthiness and a good rich sweetness overall. Paired with this cigar was a neat measure of Dalmore Cigar Malt whisky, the perfect way to cap off the afternoon along with the chef’s finishing course - a rich Banoffee Pie in shortbread tart case. We were truly spoilt. EJ

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30 | The Essential Journal

The Essential Guide:

BIKING TO WOR The bikes, accessories and tips to get you onto the saddle and loving life on two wheels

Types of Bikes

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et’s face it, the bus is crap. So is the train.

They’re both awful. The daily commute is awful. The sardine tin interiors, the noise leaking out of headphones and children’s faces, the queuing, the price of tickets, the lack of fresh air, not to mention the inevitable stench of piss. Oh, and what’s that rolling around your feet? An empty can of Special Brew with just enough washback to leave a little puddle? Lovely.

What if there was another way to get to work? A way that was enjoyable. That actually made you feel good.

That could spill over into the weekends. Turn into a hobby? Make you fitter, healthier, quicker and dare we say it, better at life?

Friend, there is another way. It’s called cycling.

You used to do it when you were younger. You loved it when you were younger, your life was built on it. It’s time to rekindle that love. The benefits are endless: cardiovascular exercise meaning increased fitness and a healthier heart (something difficult to fit into busy office-based work schedules), quicker journeys, a greener planet, increased brain power, better sleep, a healthier mind and even a natural high when you get off the saddle. Those who know, know.

So whether you’re dusting off an old rusty twowheeled tank in the garage or looking for a brand new steed, we’ve spoken to the experts, scoured the bike world for the best products and thrown in our own accumulated two pence to give you the lowdown on all things cycling. EJ

ROAD

MOUNTAIN

Fast, light, drop handlebars and thin tyres.

Ideal for racing, longer road-based cycling and triathlons, but also a good fit for a quicker daily commute and less serious downtime pursuits.

Chunky wheels, suspension, robust and extremely varied. Aimed at the outdoor set, but should not be overlooked for the commuter facing a daily pot-hole slalom to work.

HYBRID

FOLDABLE

Unsurprisingly, the best of many worlds.

Frames, wheels and gears will depend on what they’re influenced by, whether mountain, road or utility. Ideal for commuting.

Small tyres, a comfortable ride and compact when folded. Aimed at the city commuter, a foldable bike is ideal for incorporating into longer commutes involving public transport.

Essential Accessories HELMET

Listen, your hair is going to need a touch up when you get to your destination anyway and there’s nothing more unfashionable than strawberry jam up the kerb, so you’ll need a helmet. If you’ve got a more baseball/ skate style in mind, the Watt MIPS helmet by Bern is a ‘stylish’ (as stylish as a safety helmet can possibly be) alternative to the classic road bike shape. Otherwise, we’d recommend a Bontrager Starvos MIPS helmet or a Giro Savant. Both comfortable, relatively light and visible.

Day-glo is your friend.

LIGHTS

Be seen, be safe. It’s as simple as that.

It’s a legal requirement to have lights (front and back) on your bike so you may as well splash out on ones that last and require minimal effort to charge. We highly recommend USB lights that you can charge through your laptop, as replacing flat batteries in uncommon sizes is a drag. You can’t go wrong with a Lezyne Micro Drive 500XL Strip Drive Y11 Light Set. Durable rubber straps keep both firmly attached, they’re compact and their range of light functions will make sure you’re seen.

LOCK

Although the world of cycling is as fruitful, fun and perfect as we’ve made out, there are still people out there that want to spoil it, so make their job a nightmare with a solid lock. We’d recommend a D-lock (with a cable if you’ve got quick releases wheels) as a happy medium.

The Kryptonite Evolution Mini 7 Lock with 4 Foot Kryptoflex Cable Combo is our personal go to; strong, relatively light and compact, but for added peace of mind it’s worth splashing out on something from the Kryptonite New York range.

FIXED GEAR Hipster’s delight. Rarely subtle, functionality dwindles when faced with hilly terrain and an unforgiving surface, but love them or loathe them, they’re a bike to be seen on.

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The Essential Journal | 31

RK

OUR CHOICES

words by DAVEY BRETT

Our Two Pence On Cycling To Work

The Bikes The Full Stealth Street Weapon

CANNONDALE BAD BOY 1 2017 HYBRID BIKE The Cannondale Bad Boy series has been the definition of urban minimalist cycling for nearly 17 years. Now featuring a Gates belt drive for smooth and silent riding, and the attention-grabbing lefty fork design as well as a host of other commuter friendly features. Rock up to work looking like a badass.

The Stylish Public Transport Companion

BROMPTON M6L BARBOUR EDITION 2017 FOLDING BIKE

Brompton is the first and last word in folding bikes with unquestionably the most iconic frame design on the market. It has collaborated with purveyors of outdoor living Barbour to offer this limited-edition model with a Barbour manufactured waxed utility bag included, and a custom frame colour to boot.

The Urban Classic

PINNACLE ARKOSE LTD ADVENTURE ROAD BIKE Pinnacle bikes celebrated its 10th anniversary in 2017 with the release of three limited edition bikes. The Arkose LTD addition model offers electronic shifting and hydraulic brakes, along with this season’s must have tan wall tyres. The Arkose is perfect for everything from the daily grind to weekend bike packing adventures.

The Entry-Level Speed Demon

SPECIALIZED ALLEZ E5 ROAD BIKE 2017 Decathlon’s BTWIN do a great range of entry-level road bikes, but this Specialized number is our pick for the wannabe speed demon looking to shave time off their PB’s on the way to work. Light, quality frame, good stock wheels and tyres and a swish paint job sure to turn heads. Perfect for taking out on longer lycra-clad trips at the weekend.

THE LUXURY LONDON FIXIE: KENNEDY CITY BICYCLES KCB COPPER

Kennedy City Bicycles make its bikes from scratch in London and everything is custom, from the seat to the handlebars. Its also passionate about the little details, putting more love into seemingly ‘stock’ features than most. The KCB is a stunning example of its craftsmanship. If you’re going to get a fixie, you may as well get a copper plated one.

First things first, cycling to work is one of the best things you can do to improve your experience of going to work. There’s a million excuses you can throw around for not wanting to do it, but taking the leap and jumping on a bike outweighs them all.

You’ll be feeling the positives in no time.

In our opinion, the biggest consideration you need to make with regard to cycling to work is your speed. If you’re bombing it to the office each day giving it your best Wiggins impression, you’re going to approach things differently to if you’re gliding in on a low gear without a care in the world.

All you speed demons out there, you’re going to sweat, which means you won’t be commuting in your suit, or even smart casual wear. Shirts will get creased, trousers without a diamond-stitched crotch will eventually split in dangerous places and all that liquid pouring out of you is going to leave marks. We recommend using those extra few minutes you’ve accumulated to get changed at work, with a spare change of clothes. If there’s showers at work, perfect. If not, a quick wet wipe wash and a spray will do you fine. You can then optimise your ride into work with cycling specific clothing – think bib shorts, cleats and a jersey.

For those who favour getting to work in one piece over breaking the sound barrier, the ‘cycle clothing’ market is improving. The ‘Bulletproof’ chino trouser from Spoke London is a water repellent and hardwearing favourite of ours that still looks great off the bike, whilst fashion brand Rapha is practically a lone wolf when it comes to mixing the versatile and stylish. They’re a safe bet for a button down Oxford or a Merino jumper that doesn’t look like you’ve been dragged through a bush, post ride.

Everyone will need a solid bag and an Ortlieb messenger bag is a durable, good-looking waterproof choice. For more internal organisation, Osprey usually deliver. It might sound simple, but a good trick is being frugal with how much you actually travel with. Panniers are worth considering if you travel with bulk and want the bike to take the load.

The weather might put you off sometimes, but don’t let it defeat you. There’s plenty of Goretex to go around (the Gore One 1985 Goretex Shake Dry Jacket is NASA-esque). The quicker you cycle, the less time you’ll spend in the rain, but if it’s unavoidable there’s still plenty of over wear to keep you dry and your ride enjoyable.

Lock your bike up in a busy area, ideally near CCTV where it’s harder for people to steal. As a rule of thumb, you’ll want to fasten your lock higher up the bike. Learn how to change a flat tyre and always carry a puncture repair kit. Pro tip: Keep a pair of disposable gloves with said kit.

Assume that cars can’t see you, so be as visible as possible as well as confident. Stand your ground, be prominent and don’t let motorists force you into the kerb.

Carry extra snacks. Cycling requires more energy than sitting on the bus. Most importantly, enjoy yourself, be safe and make the most of your commute.

A big thank you to Joel Natale, the Buying Director of Evans Cycles for his recommendations

Issue 26

32 | The Essential Journal

CULTURE

words by DAVEY BRETT

EYES WIDE OPEN As Liverpool’s beloved Open Eye Gallery celebrates 40 long years of bringing eclectic and powerful photography to the city, we sat down with gallery director Sarah Fisher to chat community, perceptions and the future

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n 1973, a man called Colin Wilkinson left his teaching post in further education because he was fed up with the lack of imagination. Inspired by friends and a Canadian community initiative, in July of that year Colin set up the Merseyside Visual Communications Unit, Britain’s first community media project. His first idea for the name was Open Eye, but he felt it lacked gravitas. By 1975, MVCU being the mouthful that it was, changed back to Open Eye and come 1977 - settling into a space on the corner of Whitechapel and Hood Street in Liverpool - the Open Eye Gallery was born.

“At that time, photography wasn't seen as part of the art world, so none of the main galleries showed it at all. It's hard to imagine because it's very popular now in galleries.” Sarah Fisher, the gallery’s current director tells me as we sit in a room above the gallery space, a striking poster for Mitch Epstein’s 2011 exhibition, ‘American Power’, hanging next to us on the wall. “Open Eye was run by photographers at a point when photographers were very new, cameras were very new and very few people took photography seriously.”

It’s difficult to imagine a world before the

prominence of photography as we know it now, but in 40 years of existence, Liverpool’s Open Eye Gallery has seen one of the most remarkable transformations play out across its walls, the transformation of photography itself. Going from the preserve of journalists, commercial interests and the professional elite, in 40 years the photograph has been fully democratized to the point where it’s almost taken for granted, sharing a familiarity akin to the sky, or oxygen. We know when we open our eyes or reach for a breath, it will be there.

From day one the Open Eye gallery has been a hub for photography, but its involvement goes way beyond simply being a set of walls on which to hang imagery. Open Eye is a photography gallery space, a registered charity, an archive, a home to practicing photographers and a rarity. When talking about galleries and museums in general, there’s a particular model that has been the standard for a while. A model of connoisseurship in which ‘the gallery’ (the keepers of culture, the knowers best, the connoisseur) tell the masses what they should be educated on. Open Eye is not one of those galleries.

As Sarah puts it, “we’re not saying people

who spend their whole lives looking at photography around the world aren’t going to know something about photography. But if you put them together with the communities they serve, the likelihood is you'll come up with a much better cultural program than you would with just that individual and their own personal likes and dislikes.” If you add opportunity to that model of working with local communities, to exhibit and to practice, to ask questions and listen to experiences, to consider perceptions and issues, mix all of that together and you’ve got an insight into why the Open Eye gallery is what it is. A crucial institution in the nation’s cultural fabric.

As part of its birthday celebrations this year, the galleries’ research curator Dan Warner reached out to a host of visitors, contributors and staff for testimonials. The chronological roll call of comment and praise – presented on the walls of the gallery’s exterior – not only reads like a who’s who of the photography world, but is also soaked in opportunity, passion and a feeling of belonging. Tales of Liverpool, of admiration, of learning, being a part of a story, of being fearless and punching well above weights. There’s even a petrol bomb thrown into the mix for good measure.

To this day, community and quality still reign supreme at Open Eye. As do big projects that confound expectations - North: Identity, Photography and Fashion - being this year’s prime example. North was an exhibition that brought Turner Prize winners, internation-

The Essential Journal | 33

al icons of fashion, immersive video and (of course incredible) photography to Liverpool, but it also brought questions and thinking.

What has the north of England given to the cultural world as a whole? How is the North perceived? How has it influenced some of its greatest creative sons and daughters? Sarah reveals that the exhibition, of which the whole Open Eye team are extremely proud, was no easy feat.

“We were bringing stuff from all over the world and working with big name fashion designers like Paul Smith and Raf Simmons, people that we have no history with. We also managed to get funding from Adidas that enabled us to do it. The pillars that were done by a Hacienda designer had to be shipped from Milan and there's no way we could have afforded that, we had very very small budgets. The surprise was that we pulled it off.”

A roaring success, the exhibition attracted a great deal of media attention (W Magazine, Vogue Paris, i-D, Dazed, Guardian, The Independent, BBC Front Row) as well as visitors young and old. It will be shown in Somerset House this November and make its return to the north with a residency in Bradford. “I think that exhibition was very interesting because it sparked a lot of conversations with a lot people in different ways, sparked all over the place.”

Sarah says.

When talking about success and aims of the gallery, the measures are not necessarily numbers based. They want people through the

Untitled, John Stoddart, C. 1982

Open Eye, Wood Street, 1995-2011

Open Eye, Whitechaple, 1977-1989

Issue 26

door, but they want to spark a dialogue once they’re inside. Previous exhibitions at Open Eye have covered cultural exchange between Hong Kong and Liverpool, delved into the lives of minority communities and put a host of interesting topics in front of visitors. When talking to staff, one exhibition in particular seems to be a marker of the gallery’s ability to ignite discussion and immediate responses.

That exhibition was called Flat Death.

Flat Death was a challenging exhibition because death is a challenging subject. Combining photography projects by Edgar Martins and Jordan Baseman, the exhibition presented two bodies of work looking at how individuals and society deal with death. Heavy stuff, which required outsider opinions and a brave, but considered approach to material dealing with traumatic death and suicide. Although Sarah was slightly nervous about responses to the exhibition, she feels it’s important to discuss such topics in the public realm.

“We will continue to do those and we won't expect them to bring in loads and loads of people, because people find it difficult, but we still need to do that. I was terrified before the exhibition because I felt we could've got press which was a sort of gallery-exploits-people's-misery press, whereas what we'd actually done is try to talk about issues that weren't anywhere else in the public realm. If you are going through something, there are places you can go to like [mental health charity] Mind who are there to support you. Equally, there's a lot

of people that have been in that situation or have dealt with a family member basically saying that by the time it happened to them, it just happened. They didn't feel things like suicide could be spoken about in the public domain. So where is that going to happen? You’re not just going to walk into Mind if you’re in a normal situation, so where does that happen? As a society, where do we talk about those things?” A photography gallery is a good start.

When I ask Sarah if she feels the gallery has a ‘duty’ to wider society to talk about certain things, she feels it does. The example she gives is Zanele Muholi’s 2015 exhibition Vukani/ Rise, the first major presentation of Muholi’s work in the UK. The images explored issues surrounding the gay community in South Africa and clashes with common cultural thinking and perceptions. “We worked with Merseyside Police’s hate crime team, [LGBT+ arts festival] Homotopia and with others trying to bring young people and certain school groups into the gallery. We would basically be normalising being gay, but also questioning different levels of prejudice”. Sarah says.

“I think this is an important thing that photography can sometimes do in a more gentle way. That particular exhibition only had explicit images upstairs, in gallery three with a sign. The rest of it was images of people and we were very keen that we got younger people into the gallery. So if they did come from communities where they felt isolated, if they were gay or their friends felt isolated, 'here it is' in a main-

stream gallery, anyone can walk through the door.” Another example of challenging perception was Open Eye’s work with Taidhg Devlin for Dementia SURF (Service User Reference Forum), which was part of an exchange with Tate Liverpool. The project saw Devlin work with dementia sufferers to visualise their experiences and the results were poignant and telling.

Looking forward, Open Eye looks set to continue its innovative and community-led trajectory. Despite funding being a constant brooding presence in the back of communal minds and more of Sarah and the team’s resources and time taken up with plotting funding bids, the future looks set to mimic the successes of the past. “It is a political issue because if you look at the value of culture, for Liverpool and many major cities, culture is a huge part of the tourist offer.” says Sarah.

“If you look at a report called Impacts ‘08 which looked at the social, cultural and economic value of hosting the European Capital of Culture, done by an independent research body, there’s lots of research like that which basically suggests there is a huge economic value to culture in a city. And one can change perceptions of a city too if you look at perceptions of Liverpool through the ‘90s and then the way Liverpool has embedded culture, it's radically changed the position of Liverpool.”

“We also know that engaging with culture helps educational attainment. There's a huge body of evidence that looks at how it works within a health scenario, what sort of health benefits there can be around engaging with culture. Whether that's directly participating as a maker or engaging as somebody that goes to the theatre, there’s such a huge evidence base and yet the national spend on culture is minute. I can’t remember what the figures are but you're talking zero point something of GDP. It's really, really small. We know economically, culture is very powerful, but we also know this in terms of social cohesion, like understanding different communities through institutions like ours. There's a lot of evidence for that, but it increasingly becomes very hard for organisations that support culture to make the case against the obvious headline 'children services cut'.

Despite a slightly sombre note, the future of Open Eye is still extremely exciting. At the time of print, the exhibition Open 3: Affecting Change is coming to an end, ready to make way for Culture Shifts: Local, an exhibition of collaboratively produced photography from eight socially engaged photo projects across Liverpool. A new digital platform Photostories has been launched and a host of community-based initiatives including the New Photographers Forum and Associates Network are taking shape. Mysteries of the future aside, Sarah tells me there is one thing for sure: “From our perspective, the future can't just be the building. The building might be a sort of hub or where things end up, but it [the future] has to be either working internationally, using photography as a way of talking and developing international exchange or working locally. The idea of Open Eye has to move beyond a white box where we put stuff on walls. How we do that I don't know, but I think we've made steps towards that happening.”

Here’s to 40 more years of Open Eye, happy birthday. EJ

Issue 26

34 | The Essential Journal

CULTURE

words by TOM WILLIAMS

LOGAN LUCKY

Steven Soderbergh returns to the fray after a half-hearted hiatus with a subject he is no stranger to: elaborate heists.

Only this time he has swapped the Vegas suaveness of Clooney and co. in the Ocean’s Trilogy for the southern charm of the working-class Logan family

B

rothers Jimmy (Channing Tatum) and one-handed (not one-armed) Clyde (Adam Driver) are unfortunate bearers of the unlucky Logan curse, as is clear when Jimmy gets sacked from his job because of a gammy leg. As a result, he plots to pull off a heist at one of the most highprofile NASCAR events of the year. He assembles a crew including his lowkey petrol-head sister Mellie (Riley Keough) and the prison-bound Joe Bang (Daniel Craig) amongst a cohort of volatile characters.

The Southern setting is inescapably imprinted into the foundation of the film, from band t-shirts to NASCAR and beauty pageants, this certainly feels like an ode to the south – especially with the plethora of John Denver songs anchoring the film’s soundtrack. This film dodges the expected politics of a southern-based movie in the current climate of America and instead portrays a more folksy reality where the little man can triumph. This American ideal is what Jimmy loves about the south and like the origin story he tells his daughter about his favourite song, ‘Take Me Home, Country Roads’, he too hopes to be embedded in folklore.

As you’d expect from Soderbergh, the plot has been meticulously crafted as we see the rag-tag heroes fumble and soar through the intricate robbery. What separates this from Ocean’s is a great deal more heart and humour. The surprising emotional punch comes from Jimmy’s relationship with his daughter Sadie (Farrah Mackenzie) and his brother alike, who is excellently portrayed by Driver. Every actor brings humour to their role, a Patrick Bateman-esque scene from Sebastian Stan

contains an unexpected pocket of humour and even Seth MacFarlane’s obnoxious gum-chewing Brit has some comedic value. The biggest laughs, however, come from bomb-specialist Joe Bang, who shows off Daniel Craig’s incredibly funny streak, far from the monotone mumblings of his 007. One particularly amusing scene sees Bang outline the scientific reasoning behind his makeshift gummy bear bomb, whilst the Logan brothers watch on bemused by the renegade’s expertise.

The action is always kinetic, with swift camera movements and fast-paced montages highlighting the pragmatism of Jimmy in the ever-changing developments of his plan. He is a man of principal and tries to follow his ten rules for robbing a bank as strictly as he can, despite hiccups that occur along the way. The pace slows down towards the end, as is typical of Soderbergh, with final pieces of the narrative puzzle slowly revealing themselves in a heart-warming crescendo.

Although the director doesn’t go as far to completely subvert the simple hick stereotype often butchered on-screen, he does present them with heaps more affection. The simple moral codes of the two brothers are reflections of their honesty and integrity, and despite being criminals, their intentions are portrayed with a Robin Hood-style mantra.

This film does engage in some issues, like the murky presence of public relations in big-time criminal activity, but they are blissfully sidestepped by the veiled hope of the American dream.

The characters exist in a near fairy-tale reality where their mistakes and inattention to detail can be forgiven by this optimistic ideal – which, for the Logan brothers, is just about all they need. EJ

THIS FILM DODGES THE EXPECTED POLITICS OF A SOUTHERN-BASED MOVIE IN THE CURRENT CLIMATE OF AMERICA AND INSTEAD PORTRAYS A MORE FOLKSY REALITY WHERE THE LITTLE MAN CAN TRIUMPH.

Must See Films This Month

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/10

STYLE

Joe Bang is an icon

9

/10

SUBSTANCE

Soderbergh at his best

8

/10

ESSENTIALNESS

Some much needed love for the south

MOTHER!

BATTLE OF THE SEXES

CALL ME BY YOUR NAME

Darren Aronofsky returns with a scintillating film, pairing the brilliance of Jennifer Lawrence and Javier Bardem in an unmissable production.

Emma Stone and Steve Carell go head-tohead in a recreation of the infamous Billie Jean King vs Bobby Briggs tennis match of the 1970s.

A love story for the ages set against the backdrop of stunning 1983 Northern Italy.

Armie Hammer and Timothée Chalamet are unforgettable in this LGBT+ masterpiece.

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CULTURE

words by TOM WILLIAMS

STEVEN SODERBERGH’S REVOLUTIONARY DISTRIBUTION IDEA Soderbergh has long been a champion of a director having full creative control and decreasing the power of the Hollywood studio system. With Logan Lucky, he has reinvented the way films are distributed in order to do just that

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he Sex, Lies, and Videotape director outlined a very simple two-step process in order to maximise the profit going to those behind the camera. This involves selling foreign distribution rights (just shy of 30 million dollars in Logan Lucky’s case) as a means of maximising a film’s budget. Secondly, it requires, in his own words (talking to GQ), selling “everything except the movie showing up in a movie theatre”. This means offering the film to the likes of Netflix, airlines and television companies as a way of funding the marketing campaign.

As you can probably tell from the onslaught of terribly cropped film trailers on Snapchat and Facebook, Hollywood studios have an enormous role in advertising a film. In their heads, more awareness equals more bums on seats and therefore more money for them – as they often take roughly 15% of ticket sales.

Although this has some logic to it, Soderbergh prefers a far more concise approach by targeting particular areas where marketing is less prominent. He steered away from the big cities like New York, where attendance is review-driven and focused more on the middle and south of America.

In addition to this, he designed the trailers and posters for the campaign himself, taking out those damn meddling studio execs who overcook the process with bags of cash. Similarly, he decided to spend under a quarter of his advertising budget in the many weeks leading to the film’s release and saved the majority for right before it comes out in a heavier onslaught of advertising material as he believes it is the most effective form of marketing.

When securing a theatrical release, Soderbergh turned his head to independent company Bleeker Street, who shared his vision for more directorial control. This meant the fee could be less substantial (sub $1m) to allow Soderbergh to use its name to market the film.

Bleeker Street will benefit more lucratively from ticket sales and the eventual DVD release meaning neither party are short-changed, unlike the studio system.

The big question is: Has it worked? Put simply, yes. The film was in profit as soon as it opened (confirmed by Soderbergh in an interview with Little White Lies). However, what still remains to be seen is how much profit it accumulates as the weeks roll on. The model’s biggest pitfall has been its failure to capture the southern audience, where the film is based, much to Soderbergh’s confusion. Perhaps it’s Hollywood’s previous negative depictions of the south which has created an understandable aversion to these kind of films.

What is made clear from this experiment is that Steven Soderbergh remains a pioneer for the industry. His model may not be perfect yet, but hopefully other directors follow in his footsteps to avoid ultimate control being in the hands of the studios. If films of a similar calibre to Logan Lucky come about as a result, I definitely won’t be complaining. EJ

“IN ADDITION TO THIS, HE DESIGNED THE TRAILERS AND POSTERS FOR THE CAMPAIGN HIMSELF, TAKING OUT THOSE DAMN MEDDLING STUDIO EXECS WHO OVERCOOK THE PROCESS WITH BAGS OF CASH.”

WIND RIVER Jeremy Renner stars in Taylor Sheridan’s latest work, after the phenomenal Hell or High Water, as a veteran game tracker enlisted to investigate a murder.

IT The most recent Stephen King Adaptation has got a thumbs up from the man himself.

It is sure to give you a scare with Bill Skarsgård playing the notorious clown.

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Did you know?

Negligent coach operators can legally use tyres as old as 20 years. Old tyres destroy lives - don’t let this happen to someone you love.

Join the tyred campaign to change the law.

Join the tyred campaign @tyreduk | tyred.org.uk

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The Essential Journal | 37

Pictured, a selection of crops from Aysha’s work ‘Break Up Blanket” Head to ayshatengiz.com to see the complete work

brant and bolder range compared to the more earthy tones I used to use. I’ve also been experimenting with knitting which meant I had to design the work within a narrower range of colours and more limited level of detail. In my collaboration with the other artists for the show, we have developed a common colour palette and although our styles are all very different, this will bring coherence and a running theme throughout the show.

CULTURE

words by REUBEN TASKER

Cut From a Different Cloth A conversation with Aysha Tengiz, the embroider stitching between the margins of illustration

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f you’ve been paying attention to our interviews with the Association of Illustrators, you should note that some of their most celebrated members work between the margins of the illustrative world. As explained by the AOI themselves, ‘alternative illustration’ like sculpture, ceramics or digital drawing is just as captivating as a traditional pencil to pad approach - sometimes even moreso.

We sat down with Aysha Tengiz, whose alternative approach to illustration incorporates knitting and embroidery. Don’t get the wrong end of the stick though, Tengiz is an illustrator in the traditional sense too. Her paintings like ‘Adam & Stefano’ and ‘Rats’ showcase an animated colour palette on paper, whilst her ‘Jungle Mural’ painting broadcasts her talent to the public, lighting up the wall of Ludlow’s Chang Thai restaurant. What distinguishes Aysha though, is her embroidery and knitting, often mixed in with paint and pencil for eye-catching results. Look up her hand-stitched illustration used for the sleeve of “Yours (Marry Me)”, a single by electronic artist Rocky Nti. The cover is proof of how Tengiz’ style works so well regardless of the platform. From handmade toys and a football scarf to rugs handwoven in Turkey, Tengiz has made sure she’s stitching everywhere, never straying from her technicolour style. We caught up with Aysha to talk through her life and times so far. EJ

essential journal: Can you tell us a little about your upbringing and how this has influenced your work? aysha tengiz: I was born in Brighton and when I was eight, our family moved to Turkey to be near my dad’s family on a small island on the Aegean Coast. It’s a very beautiful place with olive groves down to the sea and fishing boats all around the front. The houses are Greek-influenced and my Turkish great-grandmother was part of the exchange of populations between Crete and Turkey after the First World War. Everyone had stories to tell. My sister and I had a lot of freedom – we’d go on horse rides every day and were surrounded by animals. We had goats, horses, dogs, a tortoise and there were wild cats everywhere. My sister and I built a whole fantasy world together, populated by animals and people we knew and we’d draw picture books and magazines.

My mum encouraged creativity just by making sure we always had a space to draw and a plentiful supply of pens and materials. We also read lots of illustrated children’s books – and having a younger brother meant we continued to read them. Quentin Blake has said that children’s books are a child’s first introduction to art and that’s certainly true for me. But I also felt art was all around me – the colours and the light and the everyday creativity of people. My dad built a cart for our horse and painted it and all the women in the family still knew how

to make lace, to crochet and to knit. My Turkish grandma taught me to knit. We came back to the UK when I was 13 but that experience stayed with me.

You’ve shared images of naturally handdyed wool and carpet weaving in Turkey.

How important is it to have a traditional approach to your work and why?

For my final piece at university I designed a Turkish carpet based on those childhood memories. The motifs and colours within Turkish carpets all have specific meanings and I wanted to use that within my design as well.

I had it made in Turkey in a village near where my dad grew up, it was hand woven by women in the traditional way. It was important to me that it was made in Turkey and when I went to pick it up I learned the traditional techniques of weaving and the process of dying and collecting the wool to be woven. This year I have been working on a second carpet that is currently in production. It’s to be displayed as part of a collaborative show with Caitlin McCarthy and Lisa Chisholm, which will be held at Daily Goods in Camberwell from the 12th of October. This carpet still uses the same traditional techniques but has been combined with a more contemporary illustrative approach. My colour palette has changed in the past year, partly as a consequence of working on a mural on which I used wall paint, giving me a more vi-

Talk me through your London works, how have you found life in the city - and why did you choose to use gouache to illustrate it?

I moved to London to study illustration at Camberwell College of Arts. I love living here as I’ve always lived in small towns and villages.

The city is an incredible place to study art and surround yourself with it. These paintings are from my second year studying. It was the first time I moved into a house with friends and felt truly independent, which is why I think I was drawn to paint my favourite parts of the city (one of which is my bedroom). I love the opaque quality gouache gives, which is one reason I enjoy using it. It’s also really easy to draw on once it’s dry which makes it great to combine with pen and pencil.

Where is your favourite place to be influenced and inspired?

I really can’t think of any place that particularly influences or inspires me because of course that happens all the time in a different variety of places. One thing I do notice is I do usually get new ideas and creative thoughts when I’m really really bored at work haha! I think it’s when my mind goes to that semi-conscious place like just before when you fall asleep.

You illustrated the cover of My Family and Other Animals, an autobiographical story by naturalist Gerald Durrell. Why did you choose this work...or did it choose you? Do you have a wishlist of other books you’d like to illustrate?

‘My Family and Other Animals’ is my favourite book, I think because of my connection with growing up in Turkey and the book being about a family moving to Greece I can connect with it on a lot of different levels. They’re surrounded by an array of hilarious characters both people and animals and I loved reading it when I lived there and still read it now. Aside from that it’s so beautifully written it would be hard not to love! I don’t have a wishlist but I would love the opportunity to illustrate a book and I’m really interested in the process of working with authors and interpreting their ideas.

What is illustration?!

Illustration to me is a way of telling a story, whether through pen, paint or knitting! I also think that illustration can simply be a way for someone to creatively express something in a way that just looks nice. It doesn’t always have to have a huge backstory behind it, sometimes things just look good. I’m happy to just give pleasure to the viewer. I want to hear people say ‘I like the look of that’.

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MADE IN N THE USA CULTURE

words by THOMAS SUMNER

This Autumn Tate Liverpool invites you to party with the pioneer of pop, Roy Lichtenstein With thanks to Tate Liverpool’s Curator, DarrenPih

inety-fifties USA was filled with optimism and acceleration.

Eyes began to turn square as nations huddled around television sets, captivated by the space race. No longer was media an early and late edition newspaper, it was now available around the clock in the form of magazines, film and tv.

Advertising took on a new form too. Black and white box-outs sat alongside last night’s Yankees scorecard turned into boldly coloured, large format, mass produced billboards.

This new generation of accelerated production led to the emergence of a new art movement, Pop Art. Lichtenstein and his contemporaries, such as Rauschenberg and Warhol began to question the role of an artist in a world of propagated imagery - something that is very apparent today, more so with photography than art perhaps, due to the popularity of Instagram and agility of the iPhone. The work reflected the acceleration of process and production, the optimism of a nation and a new generation. It discussed tensions between superficial and rigorous approaches through the replication of pre-existing imagery - comic strips - and asked if the subject could still be represented as a basic pattern of dots and stripes.

Fascinated by the arresting and emotionally charged imagery found in romance and war comics, Lichtenstein sought to recreate in paint the immediacy and impact of these simplified printed images. This display examines how the artist’s work draws on art history while also responding to cultural and political changes from the 1960s onwards.

Opening September 22nd with a free Friday night party - to which you are all invited - Tate Liverpool provides a rare opportunity to see a substantial group of Lichtenstein’s work in the North of England. It includes some 20 paintings, reliefs and works on paper by the artist known for his paintings based on comic strips, advertising imagery, and adaptations of works by other artists. EJ

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CULTURE

words by ARCHIPHONIC

Architectural Thoughts On:

AFFORDABLE HOMES Architecture isn’t just about bricks and mortar, but also the coordination of all the parts. From the micro to the macro, its considerations and final decisions will impact all in its ‘place’. Co-founders Dave B and Adam M started their architectural design practice ARCHIPHONIC, based in Liverpool, staying true to this manifesto and seeking to create spaces where memories are made. They join us to share some thoughts and views on topical and contemporary issues

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Images, clockwise from the top: ‘Lego Apartment’ Barbara Appolloni - ‘Escape One XL’ Escape Homes - ‘Carmel Place’ nArchitects - ‘La Cité Frugès’ Le Corbusier.

he year is 2020. We’re two years off another general election.

Mortgage rates have risen by 3%.

House prices have risen by almost £50,000. Cuts are made throughout the country and around 150,000 jobs have been lost in public administration, defence and social security. Over a million households living in privately rented accommodation are at risk of becoming homeless. People are asking, “why are homes STILL not affordable!” It’s for this reason that the question is being asked now by organisations like Shelter. It’s what might be labelled, a ‘hot topic’.

What is an affordable home? The connotation is low-level type housing which are in run down areas and attract social disorder and crime to areas which have an otherwise community spirit. It’s unfortunate that this idea has evolved this way as it’s certainly not the case.

The average salary in the UK is around £27,000, while the lower end of the scale can be as low as £8,000 a year. Average graduate positions are around £20,000. With banks looking to lend on approximately four times annual salary and asking for upwards of 5% deposits it is becoming increasingly difficult for the under 30s to get on the ladder. Therein lies the problem: not enough homes at an affordable price for the demand, not enough money available to afford one, not enough jobs to get one. This is the real explanation behind ‘affordable homes’.

Yes, there are government schemes to look at how to help put cash into the pockets of the first time buyer. Yes, there are incentives for buying new and protecting land for future development. The thing is that none of these are going to solve the problem. One solution is to increase the number of homes being built, which is being carried out and we have certainly seen more developments springing up.

Simple supply versus demand.

However, these are being confounded by the increased value of land, the increased cost of construction, and the increased profit requirements. The new homes have tags

surpassing the affordability of the common household and subsequently they do not help the problem. As well, new homes are being sold with ground rent conditions which increase should the leasehold be sold to another developer. It’s a messy situation.

Is there a solution? Possibly. Generation Rent has alluded to introducing rent controls, saying, “across Europe, private rent controls are the norm”. Lichfield Consultancy has a controversial standpoint on Green Belt saying that, “whilst Green Belt is not the only factor underlying the housing crisis, its combined effects are serious.” The Chartered Institute of Housing consider it another way, by stating we need to, “take a step back and make sure that welfare policies are not obstructing housing policies designed to make sure people can access a decent home at a price they can afford.”

It might simply be that we need to build smarter. Perhaps the idea of the conventional home needs to be evolved in order to consider how to create community and advance the

theme of neighbourhood. Looking to the Garden City movement and the areas they have created, it’s a real shame that these haven’t been looked to. The principle was considered

by Sir Ebenezer Howard in 1898 and involved creating self-contained communities surrounded by Green Belt, incorporating homes, industry and agriculture. Considered in some ways to be self-sufficient, the principles of the Garden City have been used in Port Sunlight (Wirral), Letchworth and Welwyn to name a few. These communities have a much different ‘feel’ to other areas of a similar age and thrive on the spirit of togetherness created through similar mindsets.

Perhaps the idea of ‘home’ should be evolved too. There have been many investigations into micro homes. Recently in America, Escape One XL, designed and created by Escape Homes measures under 400 square feet but has large windows over two levels connected by a staircase. It has a 3.4 metre ceiling in the central kitchen and two sleeping lofts at

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‘Carmel Place’ - nArchitects

“It might simply be that we need to build smarter.

Perhaps the idea of the conventional home needs to be evolved in order to consider how to create community and advance the theme of neighbourhood.” either end and the space as a whole is light.

More importantly, because the property does not require foundations and is classified as a recreational vehicle, it does not incur property tax. In Barcelona, Barbara Appolloni Architect created the ‘Lego Apartment’. It is a 258 square feet room with cabinet doors across the left side and ends with a step up to a balcony. Hidden behind the cabinet doors is a fully fitted kitchen with double-burner, dishwasher, sink, microwave, fridge and freezer.

Another cabinet folds down to create a four piece dining table. The seats are disguised as the stairs leading to the terrace looking over Barcelona, under which is a pull out double bed. There’s even a shower and sink with a private toilet.

Hong Kong architect Gary Chong has his impressive 344 square feet apartment, his family home until he bought it for $45,000.

His transformation of the property is unique in that its mirrored ceiling creates the illusion of space while the sliding partitions create 21 rooms including a kitchen, guest bedroom, library, dining room, laundry-room and a spa with an extra-large all singing all dancing bathtub.

Obviously, this way of living is very select and by no means are we suggesting the answer is isolation. However, its design ingenuity, making spaces work harder than normal and making them multi-purpose is important

and makes Chong’s space such a fascinating one. Of course, it’s not a new idea. Le Corbusier considered this integral to his designs for Cité Frugès and Unité d'habitation the principle of creating spaces that would be used for living: regardless of income, regardless of background. These were affordable housing, thought about in a way that disregards the connotations.

New York is a great example of a city being hit by its own housing crisis to the point where it holds a competition called My Micro NY. In 2014, Carmel Place won and at 302 square feet, without the requirement of altering the way we live is important. The ceilings are tall at 2.7 metres, the same height as a typical new build house floor to floor. The windows are almost floor-to-ceiling and they all have Juliet balconies which look over the city. 17 come with specially constructed furniture, 15 come unfurnished and eight units were set aside for homeless veterans. Perhaps these idealisms are not so removed from reality.

So, perhaps the housing crisis isn’t so much of an issue? Perhaps we don’t need to look for a solution to a problem? Perhaps, if we changed our thought process and stop looking for someone to blame, we would see it as an opportunity instead. Perhaps if we spent just a little bit more time designing and stopped building in panic we would produce a better result for all. EJ

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40 SLATER STREET, LIVERPOOL. L1 4BX THEMERCHANTLIVERPOOL.CO.UK

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Canvas The...

BARBERS W

we trust with our precious hair. Gatekeepers of our style and confidence, we thought it was about time we canvassed expert barbers on the essential topics. Talking haircut flops, timeless looks and barbershop etiquette, three of our favourite hairdressers open up on the lessons they’ve learned along their careers. EJ

photography by @joshuaevansphotography

e’ve all had conversation with our barbers, but how many of us know what’s really going on in their heads? Sure, small talk about the weather might hold you down until the black cape’s off, but there’s much more to learn from the experts

@cutthroatpete

@ianharrold1

Need advice ahead of your next haircut?

What to try? What to avoid? We sat down with three experts for snippets of advice from the barbershop

words by REUBEN TASKER

IAN HARROLD PETE CRANFIELD

CutThroatPete Barber Co. What is the worst haircut trend of all time?

I'm torn between a badly cut mullet or the emo cuts of the early 00's. I’d say it's the emo cuts. I'm not actually sure what they were going for with that look. I refused to do that cut a few times. As a barber, I feel your duty is not to do haircuts that can be mentioned in the worst hair category, advise your customers and consult with them properly and these nightmare looks can be avoided.

What is the most timeless haircut?

This has to be a side part. This can be cut so many different ways. You can make it look modern by adding a nice taper or fade or it can be softer and more conservative for the office types or the older gentleman. I feel like this cut will be around until I'm retired at least!

What are your customer pet hates?

I only have one really and it's punctuality. If someone's five minutes late, that's cool. The traffic might have been bad or something but if someone walks in 15-20 mins late, that grinds my gears. Especially if they don't apologise. Being late can potentially ruin my day, be punctual!!

Attitude Men’s Hair What is the worst haircut trend of all time?

The worst haircut trend of all time has to be the mullet, ask any barber this and they will wholeheartedly agree.

Look at 80’s Pat Sharp for instance. I have never given anyone a Mullet so there, I’m lucky. There has been quite a few time I have needed to talk clients out of a haircut.

However, when I started to cut hair the bowl haircut or wedge was very popular and it has to be said there have been clients that should never have worn that haircut.

What is the most timeless haircut?

The most timeless haircut has to be the side part. From the early days of mothers styling their children to look smart all the way up to the George Clooney on the red carpet. It’s a classic. One of my personal favourite haircuts is a haircut that was designed in 2005 by the American Crew Art team it is a long haircut called Morgan. The back and sides are razor cut and the top is cut with a heavy front that sits over the eyes.

What are your customer pet hates?

Customer punctuality has to be the biggest pet peeve of a barber, along with gentlemen stating that their wives have asked for their hair to be layered (when a section of hair is lifted to a 90° angle and cut, it is automatically a layer).

MIKEY MCGIRR

Neil Smith Men’s Hairdressing What is the worst haircut trend of all time?

I am relatively new to the barbering world so have never had the displeasure of cutting a mullet, otherwise that would be top of the list. For me though it’s the top knot, otherwise known as the man bun. If you are not Harry Styles or a Samurai, don’t bother.

What is the most timeless haircut?

It has to be the side part for me. Some barbers may say the pompadour as it has been around for hundreds of years and is still being used today. However, a little more recently, such as the 1920’s, 40’s and 60’s, the side part rocketed in popularity and is still being used today.

The great thing about it is it’s versatility. No matter the length of your hair or your age, the side part looks smart and timeless.

What are your customer pet hates?

I don’t have many. Obviously some customers are more particular than others, but as barbers we are in a priviledged position as we get to meet new people everyday and develop great friendships. If I had to say one thing it would be personal hygiene, there is nothing harder than cutting hair from a distance.

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COLUMN

words by IAIN HOSKINS

The Iain Hoskins Column I run bars close to venues where a great portion of their event schedules are filled with tribute acts. I shouldn’t bite the hand that feeds, but I’m totally perplexed why anybody would want to go and watch a pretend, far inferior version of a favourite band or artist

I

t’s a secret loathing I’ve felt for many years, quietly cringing when friends or family tell me they have been to see a tribute artist. My true response would be wanting to ask them why? Why would you pay money or waste your time – watching a karaoke version of an artist that you like.

Tribute bands and artists fill live music calendars everywhere from pubs to social clubs, gay bars to cabaret clubs, venues to concert arenas. It’s grown into a major industry, and far from being a bit of amateur fun, tribute performers have carved out whole careers based on their look and-sound-alikeness to bonifide pop stars.

I blame Stars in Your Eyes, the 90’s Granada TV entertainment show, where producers would transform dreary but quietly fame-hungry members of the public. Made-over to look like their favourite pop star, they stepped through the famous double-doors and dry ice and belted out their idol’s greatest hit to the voting public.

In some bizarre way, for the contestants, the transformation was meant to be seen as empowering. Apparently ‘dragging up’ as your chosen pop-star would really lift you out of the every-day mundanity. A strange spin-off from the main show was the predictable celebrity version which had the odd premise of pop stars (along with soap actors and newsreaders) dressing up

and performing as other pop stars.

So what’s the reason for seeing a tribute artist – something I find so distasteful, but many enjoy as an acceptable form of entertainment? Is it financial? I can’t afford to see Robbie Williams or Madonna in concert so I’ll go see the tribute version for a fraction of the price? Could it be the band have split up, don’t tour anymore, or most likely that they are dead?

The death of an icon, of course, is like spun gold for someone doing the rounds on the tribute circuit. The Whitneys, Georges, Bowies and Michael Jacksons all have multiple imitators constantly flogging themselves the length and breadth of the UK – keeping the superstar alive in people’s hearts and minds from Woking to Warrington.

And what’s in it for the person devoting their lives performing as some other person, singing someone else’s songs, poaching someone else’s fans? With a musical talent, looking back at a life lived would you be satisfied after a career pretending to be someone else?

Was that really the best use of your talent?

Some would argue it’s a way into the music industry for some, providing a legitimate route to performing in an exceptionally hard industry to break into. Ask yourself this though; have you ever heard of a successful artist today that has started off as an impersonator act?

I can’t think of any. I think it’s the opposite – the tribute mania is strangling new talent by taking up slots and opportunities at venues which should be championing innovative talent. Also, doesn’t it feel a little like cheating? An easy route to bookings and work, but ultimately a very shallow career lies ahead. Surely anybody with ambition and talent should want to perform and mark a creative direction as an artist themselves.

As the tribute act becomes an acceptable form of live entertainment, I wonder where it will end, especially when I see venues booking Daft Punk impersonators.

Is this the way things will go now with hot superstar DJs such as Tiesto, Hardwell and David Guetta, or dearly beloved DJ’s that have died such as Frankie Knuckles and Robert Miles having their own tribute version?

In a world where we live so far removed from authenticity – our mobiles and laptops substituting virtual communication for proper conversation – isn’t it best to try for the real thing? Instead of seeing the tribute version of Elton John, save up to go to Vegas or wherever to see the real one. If they are dead or split up, surely the DVD of the live album has got be better experience than the karaoke version. And for the performers, rather than pretend to be the star - use that talent to make you the star. EJ

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COLUMN

words by DAVEY BRETT

Gents, we need to talk about:

HAIRCUTS

In the fifth installment of our regular column – in which we use our pondering skills to delve deep into clichés, stereotypes, and seemingly unimportant male-orientated issues – we consider the good, the bad and the ugly of the humble haircut

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he American author Fran Lebowitz once said, ‘you’re only as good as your last haircut’. If that is truly the case, then most of my life I have been: a bit crap. I have never had a haircut that I can honestly say I have been over the moon with.

Same as last month, I’m going to have to put in a disclaimer: Barbers, it’s not you, it’s me. (In fact, maybe it is you a little bit, like the time I worked up the courage to get a ‘Peaky Blinders’ and you just happened to be the only barber that hadn’t seen perhaps the most influential pop culture influence on haircuts since David Beckham’s head.) Needless to say, for me and all involved, haircuts are difficult.

The formula is always the same. Go in, describe in simple terms what I want, sit patiently and politely saying nothing, when asked if it’s okay at the end quickly respond that it’s great in a calculated rush to leave and then hope it looks amazing after having a shower.

Chances are, it does not. Haircuts are the non-refundable shopping experience. The grow back guarantee always comes included, but you’ve got to wait a while to redeem it.

I have never really been a fan of the process either. Some people love it, a lad in our office gets his hair trimmed weekly, primarily as a chance to sit quietly in a relaxing chair and not have to speak to anyone for an extended period of time (surely there’s other ways to do this?) I personally find it slightly awkward. Watching myself in the mirror for in excess of twenty minutes, dressed as a tent, trying not to make eye contact with the man hovering around my head, maintaining enough small talk to not distract from the precious task at hand but still remaining friendly.

My favourite haircut of all time was the skinhead I was dared to get in my previous life as a supermarket security guard. The subsequent bet not only paid for the trim, but also left me flush and for a while, customers (thieves) were less threatening. The stickier fingered punter was more likely to try to walk out with something in silence, rather than threatening to ‘bounce it off my head’ if I didn’t let them through. People seemed to assume I was desperate to hear about the positive side of Brexit too, which became a drag.

Pondering haircuts for this article, I have decided that great haircuts lend themselves to good head shapes and versatile hair types, of which I have neither. I have a big square head and hair that feels like frayed rope made of a conditioned Brillo pad. It grows thick and fast into a natural shape akin to the standard issue haircut that they give to Lego men. Product gets lost among the strands, but thin it out too much and cut it too short and it resembles the texture and shape of a microphone. Barbers the world over have been giving me conflicting advice on how to tame it for twenty-four years.

Getting a train from Liverpool to Leeds recently (stunning scenery, but no wifi) I asked a colleague if he had ever taken a picture of his desired haircut to the barber before. To my surprise, he said that he had. Apparently this is the norm. Instead of badly communicating, pretending to know the number allotted to each shortness or pointing to the least bad portrait on the wall, you can simply show a picture to the bloke with the scissors and he can then just plant that on top of your head. Why has nobody told me this? I feel hair woke. I’m putting together a Pinterest board.

I’ll let you know how it goes. EJ

48 | The Essential Journal

Issue 26