Essential Journal - Issue 41

style

survey

drinking

column

business

OTDW: The 3sixteen heavyweight hoody

Those in-the-know give their thoughts on streetwear

The Whisky Exchange give us their top trends of 2019

Tommy Banks questions his ability to start 2019 off right

We discuss the evolution of the modern office

page 12

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PAGE 46

In pursuit of a quality lifestyle

Issue 41

A cultural phenomenon at its apex? Or a cynical cash-in at its saturation point? We look at the past, present, and potential futures of streetwear.

www.essentialjournal.co.uk

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Features

Contents Columns

27

TAILORED THOUGHTS ON STREETWEAR

13

A HISTORY OF STREETWEAR

To find out where it all began we consulted Highsnobiety's The Incomplete Guide to Street Fashion and Culture

This month Hunstman cutter and EJ columnist, Matthew Gonzalez questions whether streetwear has lost its soul

27

A CUT ABOVE

This month, Ian Harrold ponders the importance of a skincare regime that lasts longer than your New Year’s resolutions

35

AT THE PASS WITH TOMMY BANKS

32

DRINKING WITH GRIDIRON BY COMO

Balancing lofty sophistication with offhanded cool, drinking with Gridiron offers an experience far beyond your garden variety hotel tipple

In the first installment of his monthly column Michelin Starred chef, Tommy Banks considers the complexities of starting the year off properly

46

COFFEE & COUNSEL WITH ADONIS MICHAEL

THE PRIMER A rundown of the places we’ve been, the food we've eaten and the drinks we've enjoyed this month

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10 BOOKS FOR THE MONTH AHEAD From the lauded forefathers of the modern architectural world, to frat boy billionaires of the Silicon Valley vanguard 12

ONE THING DONE WELL: 3SIXTEEN Our series of brands doing one item especially well continues this month with the 3sixteen heavyweight hoody

14 FROM STITCH TO SCREEN: DRIVE’S BOMBER JACKET Discussing the origins, virtues and potential pitfalls of the silver screen’s most iconic styles 17

TALKING SHOP: OUTSIDERS STORE In the seventh part of our regular series, we speak to the guys at Outsiders Store’s newly-opened London site

21

REACHING A CONSENSUS: STREETWEAR From London to Los Angeles, we reach out to those in the know to get their personal insight on the history and heritage of streetwear

29 MAKING A STATEMENT WITH DAVID M ROBINSON A foolproof guide to getting that special something for that special someone this Valentine’s Day 31

HIGH SPIRITS Dawn Davies, Master of Wine and head buyer for The Whisky Exchange, gives us the lowdown on what’s set to trend in 2019

34 THE RECIPE: MACKEREL, RHUBARB, BAY LEAF Compliments of A Very Serious Cookbook by Contra Wildair 36 TO KILL A MOCKTAIL We sit down with Seedlip founder, Ben Branson, to discuss the death of the mocktail and the rise of alcohol free spirits 38 A HANDSOME HOTEL THE INTERCONTINENTAL BORDEAUX A French masterclass in 5-star luxury 41 A CENTENARY OF COUNTER-CULTURE Discarded by high school students in favour of a daydream, we revisit an art & design teacher's pin-up as it celebrates its centenary 43 ARCHITECTURAL THOUGHTS ON: PARASITIC ARCHITECTURE Róisín Hanlon takes a look at the sometimes playful, sometimes political and always unexpected parasitic architecture 45 INTERNATIONAL SUPERHITS: DITTO MUSIC We speak with Matt Parsons of Ditto Music to learn how he and his brother Lee went from disillusioned musicians to worldwide chart toppers

Reflecting on the evolution of the modern office over coffee with Michael Rose & Baylis director, Adonis Michael

Online web www.essentialjournal.co.uk @essentialjournal

CONTRIBUTORS Adonis Michael Ben Branson Ben Neuhaus Bethany Heggarty Blair Lucio Danny Hodgson Erin Benach Gary Janes Ian Harrold Jojo Elgarcie Matt Parsons Matthew Gonzalez Nicholas Wyles Ralph Canis Rio Hollan Róisín Hanlon Tommy Banks

Issue 41 | The Essential Journal

PUBLISHERS Singleton Publishing EDITOR Will Halbert w.halbert@singletonpublishing.co.uk CREATIVE DIRECTOR Thomas Sumner t.sumner@singletonpublishing.co.uk LEAD DESIGNER Jennifer Swaby FRONT COVER Pharrell Williams Dimitrios Kambouris/Getty Images

@essentialjournal @TEJOURNAL

PARTNERSHIP MANAGER Lara Poynor l.poynor@singletonpublishing.co.uk 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

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 any advertising material/content. Please also note that the views and opinions written within this publication do not necessarily represent the views and opinions of the publisher. All prices and details stated within this publication are correct at the time of print, however these are subject to change and the publisher shall not be held responsible for these. Third party contributions own exclusive copyright to their own material that they have submitted as part of the publication. All rights reserved.

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THE PRIMER

‘To do a dull thing with style is preferable to doing a dangerous thing without it.’

what we're eating BELZAN X PUBLIC A six-course tasting menu and curated drinks flight, brought to you by two of the North’s finest venues. What’s not to love? The latest collaboration between Liverpool’s Belzan and Sheffield’s Public saw two back-to-back evenings of stellar food, superlative drinks and some pretty spectacular company. Not only does this latest crossover stand as a shining example of The North’s growing dominance over the UK’s food and drink scene, it also makes for a pretty compelling argument against Dry January. Not that we needed one in the first place.

Charles Bukowski

Streetwear the editor is, above all, a paradox.

It operates in a precarious space between fast and slow fashion, between high and low culture, between timeless style and fleeting gimmick.

Dada-esque in its marmite-like appeal, streetwear is both the pariah and the poster boy of contemporary fashion. It is a cultural phenomenon that has sparked debate and divided opinion for almost three decades.

It’s a style and a mindset that boasts historical relevance and creative overlap in spades. And it also happens to be the underlying theme of this month’s issue.

Enjoy.

what we’ve been watching

A note from

Will HALBERT Editor

8

BIRD BOX We’ll just come right out and say it: Bird Box is not a good film, but it is a good time. Its premise is derivative, its underlying themes hackneyed and its direction downright ham-fisted. But it’s not without a certain (no doubt unintentional) B-movie charm. At the very least, it’s an exercise in no-stakes, one-watch, popcorn fodder that revels in its own mediocrity and is all the better for it. Which, truth be told, is more than we can say for Bandersnatch.

Available now on Netflix

what's on our coffee table THE INCOMPLETE HIGHSNOBIETY GUIDE TO STREET FASHION AND CULTURE In true Highsnobiety form, The Incomplete tells the story of how the high and low ends of the fashion spectrum met in the middle, creating something that was far greater than the sum of its parts. By all accounts it's an eye-opening glimpse into the history and geography of the fashion industry’s most notorious black sheep. As the name suggests, the book offers more of a story-so-far than a fondlook-back at the streetwear phenomenon, and it’s all the stronger for it.

the image

what we wish we were wearing

AIR JORDAN XII OLIVER SPENCER AW19 Earlier this month, we were lucky enough to get down to London Fashion Week to scope out the newest offerings from Oliver Spencer’s AW19 collection. The latest line sees the brand delve deeper still into the seas of sustainability, with 30% of the AW line being made from eco-fabrics. Industry-leading ethics in mind, expect further refinement of Oliver Spencer’s already outstanding fits and silhouettes, with an added lean towards the brand’s now-famous championing of slow fashion fundamentals.

what we're drinking THE NEGRONI Anyone smart enough to be following us on Instagram might have noticed that we spent some time in Italy this month for Pitti Uomo 95. We know, it’s a tough job, but someone’s gotta to do it. It wasn’t all Vespa-spotting and sartorial sightseeing, however. Sometimes we had to get down to the serious business of, well, drinking. And nothing says business quite like the classic Negroni. Herbaceous, audacious, and divisive by design - the bittersweet bite of a Negroni or two was just the ticket after a long, hard day spent dodging the wide-brimmed hats of the peacocks of Pitti.

On June 11, 1997, Michael Jordan overcame fever and fatigue to guide his team to a monumental victory over Utah in a crucial Game Five. The win gave Chicago a 3-2 series advantage en route to its fifth title.

Jordan’s heroics that evening are forever etched in playoff lore.

By the same token, the Air Jordan XIIs he wore have become a thing of sneaker legend. Both Jordan’s performance and the iconic status of the sneaker pay equal credence to ( Jordan founding father) Howard “H” White’s belief that ‘greatness always finds a way to overcome.’

The Essential Journal | Issue 41

Image credit: Courtesy of Nike

THE IMAGE

Issue 41 | The Essential Journal

9

BOOKS

From the lauded forefathers of the modern architectural world, to frat boy billionaires of the Silicon Valley vanguard, here’s our round up of books for the month ahead words by Will HALBERT

One of the single most significant figures in the history of modernist architecture, Le Corbusier needs very little introduction. By all accounts, Le Corbusier Le Grand is a fitting ode to the man’s legacy. With a foreword by renowned French historian, Jean-Louis Cohen and art historian Tim Benton, Le Corbusier Le Grand is as visually arresting as it is thought-provoking.

A visual biography of sorts, this all-new paperback edition is home to around 2,000 images and previously unpublished documents, paintings and personal correspondences from the man himself. An archival achievement of the highest order, Phaidon’s Le Corbusier Le Grand is essential reading for those with even a fleeting interest in modernist architecture.

Le Corbusier le Grand

by Phaidon

Le Corbusier le Grand (Phaidon) will be available in February

Speculative in places, scientifically rigorous in others. Gabor Maté’s When the Body Says No is an interesting read when approached from a pedestrian, science for public understanding standpoint. Maté provides a sensational-yetapproachable means of describing the nature of the body’s various ailments (referring to autoimmune diseases as a civil war within the body is one such clever metaphor). In an era of mindfulness and general acceptance of the connection between mind and body, When the Body Says No is an interesting and timely entry into the genre.

Engaging without ever sacrificing its accessibility, When the Body Says No offers a compelling read without descending wholesale into any mind over matter cliché.

When the Body Says No

by Gabor Maté

When the Body Says No (Vermilion) is available now

How to Turn Down a Billion Dollars

by Billy Gallagher

In How to Turn Down a Billion Dollars, Billy Gallagher (former Stanford classmate of Snapchat founders, Evan Spiegel and Bobby Murphy) weaves a tense and compelling narrative around the rise of social media’s most misunderstood app. Reader’s without so much as a passing interest in - or understanding of - Snapchat should still find themselves charmed by Gallagher’s fast-paced and thoroughly engaging little romp through the skeletons of Snapchat’s now publicly-owned closet. The book not only provides insight into Silicon Valley’s aggressively competitive start-up culture, but also paints a vivid (and potentially film-worthy) picture of a frat boy fantasy turned billion dollar money spinner.

How to Turn Down a Billion Dollars (Virgin Books) is available now

Brick

by William Hill Good As You: 30 Years of Gay Britain

by Paul Flynn

In Good as You, esteemed journalist Paul Flynn offers a sensational, sincere and semi-autobiographical account of the trials and tribulations of homosexuality in Great Britain. Charting three decades of societal, political and (pop) cultural upheaval with peerless poise and aplomb, Flynn's book is essential reading for anyone looking to verse themselves on Britain’s long road to gay equality. With Flynn’s eloquence matched only by his candidness, the book is also just a bloody good read. By turns hilarious and deeply poignant, Good as You is a timely and down right necessary work that further solidifies Flynn’s eminence as a pop-culture writer.

Good As You (Ebury Press) is available now

It’s a well known fact that here at The Essential Journal, we’re a fan of the little details.

And there’s no better symbol for the little things than the humble brick. Clearly, architect William Hill shares our enthusiasm. Arranged to promote comparison and spark discussion, Brick takes the reader on a global tour of intriguing and inspiring structures in a celebration of their finer constituent parts. An American arts centre sits next to an English castle, a French war memorial is shown alongside a Russian cathedral, and a Uruguayan church next to a school in Burkina Faso. It’s an oddly engaging work for such a simple premise, and a glowing testament to the small details that make a huge impact.

Brick (Phaidon) is available now

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The Essential Journal | Issue 41

Issue 40 | The Essential Journal

11

no.

18 3sixteen One Thing Done Well

words by Will HALBERT

Our series of brands doing one item especially well continues this month with the 3sixteen heavyweight hoody

F

Image credit: Lel Burnett (www.lelburnett.uk)

or the last fifteen years, Andrew Chen and Johan Lam of NYC-based, premium menswear brand, 3sixteen have dominated the denim scene by adhering to one, simple principle: Produce garments that, with time and wear, become well-aged but never old. This guiding philosophy is evident in everything they now produce.

From their denim, to their shirting, to their more casual basics, each and every garment produced by 3sixteen is designed to become a permanent fixture in both their lineup and your wardrobe.

Their heavyweight hoody is no exception.

Now, to make your mark on such a wellknown and oft-worn wardrobe staple is no mean feat, but 3sixteen’s quiet confidence and inspired design impart a level of refinement quite unheard of in the realm of the humble hoody.

Authoritative yet understated, minimal yet detail-driven, the 3sixteen heavyweight hoody has quickly become a calling card for the brand’s line of casual basics, one that more than lives up to the ‘well-aged, never old’ ethos of their fabled denim wares.

The ultra thick, custom knit fabric makes for a hefty, rigid first wear that softens and moulds to the wearer’s frame over time. A double set of custom YKK zippers - each garnished with premium rawhide leather toggles - allows for greater customisation of the hoody’s overall silhouette. The absence of pull-strings creates a stripped-back and streamlined aesthetic that boasts form and function in equal measure.

These are small touches to be sure, but they elevate the hoody beyond its typically casual trappings towards a more tailored edge. In their heavyweight hoody, 3sixteen haven’t just set the benchmark in minimal, functional, for-the-longhaul design, they’ve created the last hoody you’ll ever realistically need.

This focus on form, function and subtle flourish have made the hoody a popular choice for those looking for a premium take on a menswear basic. Danny Hodgson, founder of Rivet & Hide, London’s foremost purveyors of rare denim and premium, heritage-forward menswear, explains the brand’s enduring appeal: ‘Their garments transition streetwear and classic style with ease’, he says. ‘Their fabrics are flawless, their designs minimal, and their fits peerless. The hoody’s have always been popular with Rivet & Hide customers for their versatility, working as well on their own as they do layered under 3sixteen truckers and stadium jackets.’

And that’s the understated beauty of 3sixteen’s approach: Everything is produced with the bigger picture in mind. Nothing is superfluous. Theirs is a measured minimalism that speaks volumes without ever really raising its voice. ‘When I was planning to open Rivet & Hide on Windmill Street,’ recalls Danny, ‘I sought Andrew’s advice on the shop fitout. He said something that really stuck in my mind: “You only get one chance to make a first impression.”’ A premium staple forged in the fires of streetwear’s glory days, the heavyweight hoody is both a testament to 3sixteen’s clean aesthetic and a celebration of the brand’s uncanny knack for flawless first impressions. EJ

The 3sixteen heavyweight hoody is available now from rivetandhide.com 12

The Essential Journal | Issue 41

STYLE

A History of

Streetwear Wondering where it all began, we consulted Highsnobiety's The Incomplete Guide to Street Fashion and Culture and found there's more to a signature than meets the eye

'Around the time that New York sneaker culture was in its infancy, Shawn Stussy was developing a reputation on the West Coast as a talented surfboard shaper with a penchant for punk and new wave-inspired graphics. His uncle, fine artist Jan Stüssy, was known for signing his works with a signature reminiscent of graffiti hand-styles. So Shawn Stussy began putting his own signature on his boards, and eventually began putting it on a series of graphic T-shirts.

Partnering with Certified Public Accountant Frank Sinatra Jr., the two started the Stüssy clothing line in 1980. For years, the two kept their day jobs as they tried to get the brand off the ground. What they offered was an alternative to the day-glo surf brands of the era, opting for dark primary-colored staples, like beach pants with an elasticated waist and button-down flannel shirts inspired by vintage offerings from JC Penney. …Since its inception, Stüssy was very discerning about the stores that carried it. There were concerns about the brand getting too big, and losing the authenticity it was founded upon. What the brand realized early on was that skaters, graffiti artists, DJs, and other cultural progenitors were keenly aware of high fashion brands like Chanel, Gucci, and COMME des GARCONS, but noticed the divide between how those labels spoke to a monied consumer versus one that was culturally rich instead. Its clothes helped cross the barrier between the cognoscenti aware of luxury brands and the casual sportswear they naturally gravitated towards.

Eventually, UNION began carrying Stüssy, where it was an instant hit.

In fact, it was so successful that Jebbia and Fusco took their first trip to Los Angeles to convince the brand they should open a flagship store in New York City. The two stayed at the Chateau Marmont, where they happened to run into Robert “3D” Del Naja and Andy “Mushroom” Vowles of British trip-hop group Massive Attack. They expressed that they were in town to talk to the Stüssy crew, and the musicians were very aware of the up-and-coming label, and happened to be fans. Stüssy opened its first flagship store in 1990, around the corner from UNION. Stüssy’s global influence boils down to one moment: The foundation of the International Stüssy Tribe. As the brand got more successful, it afforded Shawn Stussy the opportunity to travel the world. He met a ton of like-minded creatives, like Hiroshi Fujiwara in Tokyo and Michael Kopelman in London. Through these associations, the global streetwear community was established, and the kind of club-friendly casual gear that Stüssy made proliferated around the world, and inspired global tastemakers to start brands of their own.

In the middle of the ‘90s, Shawn Stussy left the company he started due to a combination of creative differences and a desire to go back to a simpler life. James Jebbia struck out on his own soon after, founding Supreme in 1994.' EJ

'Its clothes helped cross the barrier between the cognoscenti aware of luxury brands

words by Jian DELEON from The Incomplete Highsnobiety Guide to Street Fashion and Culture (Gestalten) availabe now

and the casual sportswear they naturally gravitated

Image & Text credit: from The Incomplete Highsnobiety Guide to Street Fashion and Culture, Copyright gestalten 2018. Text by Jian DeLeon.

towards.'

Issue 41 | The Essential Journal

13

STYLE

From Stitch to Screen

Drive’s Bomber Jacket We discuss the origins, virtues and potential words by Will HALBERT

pitfalls of the silver screen’s most iconic styles

F

irst, a preface: ‘Iconic’ is a silly little word. Toothless, overused, and bandied about to the point of near meaningless. But in the realm of silver screen style, you might concede that there are certain pieces or outfits that deserve the title. Travis Bickle’s M-65, Johnny Strabler’s leather jacket, Jim Stark’s harrington, they all belong to a stylistic canon that - gun to your head - you would be forgiven for describing as ‘iconic’.

The scorpion-embroidered, satin bomber jacket seen in Nicolas Winding Refn’s 2011 cult favourite, Drive, is a modern entry into that said same canon. Alongside the bombastic synth beats of the film’s soundtrack and Ryan Gosling’s impeccably vacant stare and awkward smile, the bomber jacket has become one of the film’s most enduring features.

Sure, it’s a bold and brazen little number that would border on the ridiculous in most real life scenarios, but it pairs perfectly with the neon-drenched hyper-violence of Refn’s cinematic vision.

But how exactly did the jacket come to be? Erin Benach, lead costume designer on Drive sheds some light on the process behind the piece: ‘We were inspired by a Korean souvenir jacket from the early 1950s,’ Erin recalls. ‘We changed the shape, of course: square inset shoulders instead of raglan sleeves. And we altered the technique of the quilting to be proper cross hatch quilting. We also designed our own embroidery: The scorpion.’

The result was a statement piece that made an immediate impression: ‘On the very first day of shooting,’ says Erin, ‘the Director of Photography panned the camera up Ryan from the back very slowly. I was sitting behind a monitor at the time and I got very kind of hot and agitated. I felt like people were looking at me on set. That was the moment I realized something big was going to happen with this jacket.’

Unlike the timeless, effortless classicism of the wardrobes of Taxi Driver, The Wild One and Rebel Without a Cause, however, Drive’s satin bomber possesses a certain aesthetic loudness that makes it pretty hard to work into your regular outfit rotations. ‘We tested about 25 different white and silver satin swatches at the camera test one week before we started shooting. We knew it would be bright, but we also felt like it was important to the story and well in fitting with the movie’s aesthetic’.

And there’s the kicker: Los Angeles has quite the knack for pulling off some pretty outlandish looks with enviable ease, especially in the movies. But on our rain-slicked and perpetually overcast shores? The Drive jacket shifts from California steez to Blackpool kitch in a New York minute. Regardless, the jacket has seen a steady run of replicas in the years following Drive’s release, and Erin is humble in her response to their varying levels of quality: ‘I’ve seen it copied millions of times, some good and some, well, not so good,’ jokes Erin. ‘All I ask is that it’s copied properly and looks good. I don’t want to see a bunch of crappy knock offs.’

The takeaway here, I suppose, is that the classics are classics for good reason, but they also have a time and a place. More often than not, that place is on the film set and not - despite our strongest impulses to the contrary in our wardrobes. The Drive jacket shows us how a few wise design decisions can elevate a film from a quick hit to a solid classic, but it’s also a warning that just because you can, doesn’t mean you should. The same goes for the use of the word ‘iconic’. EJ

'Sure, it’s a bold and brazen little number that would border on the ridiculous in most real life scenarios, but it pairs perfectly with hyper-violence of Refn’s cinematic vision.'

Pictured above Ryan Gosling during the filming of Drive

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The Essential Journal | Issue 41

image credit: courtesy of Erin Benach

the neon-drenched

RETROSPECTIVE

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Talking Shop

Outsiders Store

Coal Drops Yard, London In the seventh part of our regular series, we speak to the guys at Outsiders Storeâ&#x20AC;&#x2122;s newly-opened London site words by Will HALBERT

Issue 41 | The Essential Journal

photography by Robin HUGHES

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C

oal Drops Yard marks the second Outsiders Store location and their first in London. Once the marshalling yards of Great Britain's industrial revolution, Coal Drops Yard has since been repurposed as a modern space to shop, eat and drink. With its rugged-yet-charming industrial edge, the Yard is the perfect spot for Outsiders’ cooly utilitarian style and ethos. We catch up with Nicholas Wyles, General Manager of Outsiders Store, to talk about the store’s philosophy, its most coveted brands, and why you can’t put an age on style. EJ

How would you describe Outsiders and the garments on offer there?

There’s a question. Summed up succinctly we’re a lifestyle driven outdoor store, I suppose. We’re into outdoor clothing but look to style it differently and we’re more about the positive escapism that the outdoors can offer rather than conquering anything. On the garments front, essentially we seek product which is versatile, ethical where possible, and has a function.

What specific brands do you stock? What can customers coming into the store expect?

Hopefully a fresh approach. We wanted to create a relaxed atmosphere where you can pick up interesting pieces from the big outdoor brands like Patagonia, Fjällräven and Arc’teryx as well as contemporary lifestyle brands doing good things such as Battenwear, Gramicci and Kestin Hare.

Any personal favourite brand picks from yourself and the Outsiders staff?

Montbell has been going down pretty well with the guys in store, it’s a brand we were excited to stock which isn’t often seen on these shores. Personally I’m into really technical stuff like Arc’teryx, aside from that I appreciate what Satta are doing which we’ve got coming for Spring/Summer.

How are things at the new Coal Drops Yard store going?

It’s early days there. We were drawn to it because it’s a fantastic space and we saw potential but it’s also a completely new space for London so it’ll take a little while for CDY to become the place where people head to shop. There are some great shops, and top class food and coffee places, so it’s just a case of people getting down there and getting used to King’s Cross as a retail area as it’s never really been that.

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The Essential Journal | Issue 41

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How are the garments at the higher end of the price scale received? Would you say that the kind of customer that frequents Outsiders is a little more clued in to what they are buying?

I think people don’t mind paying for quality and products that have longevity. Our customers are ultimately seeking products that will last, look good and are functional.

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

Right now people are more careful with their spending, that’s probably got something to do with the political turmoil we’ve found ourselves in of late. Generally speaking online is the big growth area as there’s fewer people out shopping nowadays.

Do you notice any trends coming through in London and beyond of late?

There’s definitely a lean towards technical outdoor footwear like approach shoes and chunky Hoka One One runners.

Would you say that Outsiders has a particular type of customer?

Predominantly our customers are brand savvy and interested in clothing that’s made for the outdoors. Hopefully we cover people coming at the shop from a few different angles – whether they need a quality waterproof jacket for the commute or the mountains, or are looking to buy something from a brand that’s a little more tricky to track down over here, like Montbell or Battenwear.

What’s the age range of your customers?

Robin in the office said it’s about psychographics, it’s more about their lifestyle and attitude. Which is more interesting than 18 - 60 right? Pocket money or pension, everyone’s welcome.

Personally, do you have any key style influences? Are there any watershed style moments for you?

Mid ‘90s New York Hip Hop and older folks found on mid-morning trains to the hills. outsidersstore.com Issue 41 | The Essential Journal

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The Essential Journal | Issue 40

STYLE

Reaching a Consensus

Streetwear From London to Los Angeles, we reach out to those in the know to get their personal insight on the history and heritage of streetwear

interviews by Will HALBERT

What does the term streetwear mean to you?

It makes me think of the clothes we wore growing up, skateboarding and hanging out in the streets every night.

I’m glad I caught the backend of that era where we had to create our own fun from nothing (pre smartphones, haha).

I think streetwear has a lot to do with style too. How it’s put together and worn is important. In my eyes it’s mainly clothing with relaxed silhouettes, quite simple in design and very casual. I suppose it evolved from underground scenes and was originally protesting against the mainstream.

Jojo ELGARICE Owner of Jojo’s General Store Sheffield, UK

Three brands, past and present, that best encapsulate streetwear for you?

I don’t think I could choose three specific brands because I think it has a lot to do with how you wear it and where you’re from. I think the brands that best showcase streetwear aren’t actually streetwear brands, but are brands that have been adopted by different subcultures. I watched some great footage of some B-Boys from Manchester in the 1980’s recently, everyone was wearing tracksuits & Adidas shell toes but one guy is wearing a Burberry Nova Check golf jacket with matching bucket hat, for me this really encapsulates streetwear and street style and shows how someone takes something and makes it their own. In The States, in the early days of streetwear, it was very much surf orientated with brands like Ocean Pacific & Life's a Beach. Later on in the 90s it became more influenced by Hip Hop with brands like Polo Sport by Ralph Lauren, Tommy Hilfiger, Helly Hansen, Champion, Timberland, Nike, Adidas, Kangol etc.

In the UK, people were wearing different stuff depending what subculture they were part of at the time like Addict, Silas, Holmes, Lacoste, Bape, even outdoors brands like Berghaus & Mountain Equipment were adopted.

I think the casuals/dressers culture in the UK was also very prominent, with many Italian Sportswear brands being of prime choice.

It’s undeniable that skateboarding has influenced a lot of streetwear, too. Especially with the global success of brands like Supreme & Palace, but I think many other skate brands also played their part too. Independent, Blind, Shorty’s, Zero, Toy Machine etc., were all hugely popular in the 90s with this culture as well as British brands like Blueprint & Heroin which had loads of iconic designs at the time.

Do you think streetwear has influenced fashion scenes outside of its own?

Yes, most definitely and it seems to keep on growing. Streetwear has influenced huge luxury brands from what they are designing and selling and even who is designing it. The collaborations between brands that people thought were impossible have happened. An obvious example would be Supreme x Louis Vuitton. The crossover between the two is becoming more prominent.

Can you think of any streetwear brands that have moved or grown beyond their original scenes?

I think Stüssy is a great example of that. Shawn Stussy originally started scrawling his signature on surfboards that he’d handmade in the Early 80s. After that he started making clothing and selling it out of the boot of his car with the now-famous branding on. The brand grew and started to really take off and many would argue that surf culture is where streetwear really evolved from. The brand was big in the surf, skate, hip hop and even punk scenes, so it really had a wide audience over many subcultures.

What role, if any, do you see streetwear playing in 2019?

I think it will play a big role yet again, and there will be a continuation of ‘luxury’ brands referencing sportswear & streetwear. It’s crazy to think that brands like Gucci are now making printed logo sweatshirts and hoodies which are inspired by vintage Gucci bootlegs from the 80s and 90s, and selling them for £500 to £900 each. Although very clever and hugely ironic, I still think it’s crackers!

Can you put an age on streetwear? Should you?

Not at all, I think everyone should always dress to their own tastes and style.

Do elements of streetwear influence your own style principles?

Yes there’s definitely a hint, although I love heritage clothing and really old stuff from the 30s and 40s, I also like to mix it up too with gear of all eras for a more contemporary look.

Do elements of streetwear influence what you carry in your own store?

Maybe certain aspects, yes. We stock quite a bit of vintage Stone Island & CP Company which has made a slight crossover into the streetwear world over the past few years. We also stock lots of original military, workwear & sportswear, which is the inspiration and influence behind many modern clothing designs, including those found in streetwear.

We try to carry clothing which is timeless and will stand the test of time in durability, functionality and style.

Issue 41 | The Essential Journal

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STYLE

What’s On

February – April

Wednesday 20 February 8pm

Wednesday 10 April 8pm

In Aid of Alder Hey Children’s Charity, Claire House Children’s Hospice and Pete Fitzmaurice

Paddy Crazy Horse Tour

Sunday 24 February 8pm

Tuesday 16 April 7.30pm Film

Laughterhouse Live Special Dr Michael Mosley

Tommy Tiernan

Mary Queen of Scots (cert. 15)

Wednesday 13 March 7.30pm Film

Stan & Ollie (cert. PG) Box Office 0151 709 3789 liverpoolphil.com

Sunday 24 March 2019 7.30pm

The Sensational 60s Experience

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The Essential Journal | Issue 41

STYLE

What does the term streetwear mean to you?

Well, people love to label things. And there are levels of streetwear. You could view Universal Works or Engineered Garments as streetwear, depending on how it’s worn, but that’s not who they are: They're more adapted classics with new design. I always think of streetwear in its common usage as something that is heavily labeled, and more of a turnoff in my book, because it usually comes with an expiration date. But again, there's shades of grey in that too.

Three brands, past and present, that best encapsulate streetwear for you?

I’d have to go with Stüssy, Carhartt WIP and Supreme.

Do you think streetwear has influenced fashion scenes outside of its own?

Absolutely. Streetwear has worked its way into the large fashion design houses, and has touched the heritage realm as well. I can't say that I like all that it's done, because it has caused a bit of a fashion victim status for people and oversaturated the market with needless hype. But I definitely believe there are some brands that have staying power, and will be able to evolve.

Blair LUCIO Owner of General Quarters Los Angeles, USA

Can you think of any streetwear brands that have moved or grown beyond their original scenes?

Not really. Usually when that happens, it’s because a scene is either saturated or dead, and those who hyped it the hardest are over it and move on to the next hype thing. But if you have style, you have it. And it can't always be defined. That's more what I like seeing.

What role, if any, do you see streetwear playing in 2019?

I think we'll see more of the same in 2019: A lot of bad design being sold as good design just because a certain brand makes it. And that’s where hype kills the party. It’s a real shame, because if the people buying into certain streetwear labels knew their real backstory, or looked a little further than their own fashion comfort zones, they might be surprised that the ‘designer’ they like, doesn't actually design the product they hype over.

But I do believe people are getting wise to the hype train: they’re less likely to stick to just one thing. That includes myself. As more of a heritage man, I see that there’s so much more fun to be had when you add other elements rather than just sticking to one niche, like streetwear and vintage.

Can you put an age on streetwear? Should you?

I don't think you need to. But I will say this: The younger the consumer, the less they care about how products are made, and what their longevity is. They really don’t care as long as they are seen wearing it.

Do elements of streetwear influence your own style principles?

I love to see everything that's out there. But for the influence it has on me, my two guys here at General Quarters have shown me that you can really mix it up. Personally, I'm more inspired by the sneakers of the 80s - like Jordan 1s and Adidas - and the outerwear and colors of the 90s, than I am current streetwear. I'm a white-tee-everyday kinda guy, and mostly fatigues or trousers, but I’m having fun pairing classics, icons, and color with my usual look these days.

Do elements of streetwear influence what you carry in your own store?

Mostly in terms of color more than anything. Some of the graphics for sure. We're definitely not a streetwear shop, but we get every type of customer through our doors, and we've had a lot of really positive feedback on the way were changing it up in here. It’s a breath of fresh air for us as well: To be able to spread our wings a little bit outside of the normal heritage and classic styling for which we've been known for so long.

What does the term streetwear mean to you? How would you define it?

The term streetwear is working class in origin and normally associated with a musical affiliation. It is the willingness of youth to appropriate or re-appropriate clothing to create a unique identity which is neither forced on you by your parents or any other establishment or authoritarian agency.

Are there any brands, past and present, that best encapsulate streetwear for you?

There too many to mention! Ben Sherman, Fred Perry, Levis, Dr Martens, Carhartt, Nike, Adidas, the list goes on.

Where do you see streetwear right now?

I’m far too old and uninformed to know what’s really relevant for youth culture, but I do know there are so many influences available to rebel against that the ingenuity of youth and the willingness, indeed need, to carve your own identity is as strong as it ever was.

Gary JANES Design and Development Manager, Barbour South Sheilds, UK

Do you think streetwear has influenced fashion scenes outside of its own?

I’ve been around long enough to have, in my time, been a skin, a mod, a ted, a rockabilly and a punk! All great fun reflecting my journey of musical discovery. Of all these, even the the tropes of punk, influenced the upper echelons of haute couture: Zandra Rhodes, Stephen Sprouse, even Karl Lagerfeld. And for a more lasting influence, sportswear has dominated and continues to inform all levels of society: Think Balenciaga or Versace trainers, for example.

Can you think of any streetwear brands that have moved or grown beyond their original scenes?

I think each and every brand I’ve already mentioned continue to change, evolve and grow, always managing to remain relevant as brands.

What role, if any, do you see streetwear playing in 2019?

Fashion is driven by boredom! Streetwear’s ultimate purpose has always been to relieve this ennui. I don’t see this changing in the coming year.

Can you put an age on streetwear? Should you?

If we’re talking about not being able to wear certain things after a certain age then evidence of aging punks and teds would easily refute this. They know it's attitudinal, not biological.

Do elements of streetwear influence your own design/style principles?

All my formative style principles were forged in my youth. I may have formally learned more but I still know how to wear a 3-button jacket properly, thanks to my older brother showing me as a 14 year old boy back in 1970.

Issue 41 | The Essential Journal

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LIFESTYLE

NOUN. / The catalogue of stereotypes aimed at making you a manly man, proper bloke or a top lad.

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What does the term streetwear mean to you?

Streetwear encapsulates trends found on the street and inspired by subcultures. For me, streetwear offers intrigue through a window to the lifestyle and the belief system of the wearer.

Three brands, past and present, that best encapsulates streetwear for you?

Brands like Stüssy and A Bathing Ape really have dominated the streetwear scene in the past and continue to do so.

However, these brands are really pushing the bar of what streetwear evokes in design, branding and lifestyle: HERESY, Ader Error and Wacko Maria. We really love Perks and Mini too!

Do you think streetwear has influenced fashion scenes outside of its own?

Most definitely, streetwear is all over the catwalk these days. Almost every high-end brand is interpreting elements of streetwear in their own lines or diffusion lines.

Bethany HEGGARTY & Rio HOLLAND Co-founders of Pam Pam London, UK

Can you think of any streetwear brands that have moved or grown beyond their original scenes?

Carhartt WIP is a good example of this. Grown from a work/trade environment where it served a functional purpose, it rebirthed as Carhartt WIP, straight into street culture again.

What role, if any, do you see streetwear playing in 2019?

Streetwear is an integral part of fashion nowadays. I think there will be lots more collabs with music artists, high-end designers and even more engagement with streetwear influencers.

Can you put an age on streetwear? Should you?

There is definitely no age on streetwear! It’s amazing because streetwear can be interpreted so differently depending on the individual. We love seeing people styling HERESY and Carhartt WIP, mixing some old streetwear influences with the new.

Do elements of streetwear influence your own style principles?

Our buyers often go for the streetwear-type pieces within our clothing brand assortment. We love quirky graphics and a bit of randomness in the design. Structured, heavy cotton fabrics never go amiss either!

Do elements of streetwear influence what you carry in your own store?

One of our favourite streetwear brands we stock is HERESY. They’re a lovely brand offering a range of graphic tees, sweatshirts and hoodies as well as heavy weight cotton trousers and jackets all inspired by folklore. It’s quite unique and very cool. They really encapsulate the best of streetwear in our minds.

What does the term streetwear mean to you?

It has and will always mean, get in where you don't necessarily fit in. Streetwear to me has been the style that was anti-style. Mashing up elements of workwear, surf, skate, music, Americana, rave, and countless other influences and giving ne'er-do-wells and socialoutliers a stylistic voice.

Three brands, past and present, that best encapsulate streetwear for you?

Stüssy, Fuct, FreshJive. To paraphrase Bobby Hundreds, you might as well refer to streetwear as Stüssy. Stüssy invented it. It is still relevant. And no other brand that ever did it, or will ever do it, would/will exist without sitting on Stüssy's shoulders. I still love the brand, and I still wear the brand. Stüssy paved the way for what I do now, and I'm forever grateful. I didn't stray from Stüssy very often coming up, but when I did, it was always Fuct or FreshJive. For present brands I really dig WTAPS and Neighborhood. That's more than three. Oops.

Ben NEUHAUS Owner/Proprietor of Snake Oil Provisions Long Beach, California, USA

Do you think streetwear has influenced fashion scenes outside of its own?

The influence streetwear has had on virtually every brand on earth is undeniable, from Levi's to Gucci to even heritage brands. It's funny how unaware so many brands are of the undeniable influence streetwear has on their designs. It's in our unconscious now, and knowing the roots of what we do separates the men from the boys, so to speak.

Can you think of any streetwear brands that have moved or grown beyond their original scenes?

I can. Streetwear definitely blurs lines between cultures, encompasses so many facets of fashion, and appears in every aspect of pop culture. When there's a Supreme sticker featured in an Apple commercial, then you know. The most relevant example here is the path 3sixteen has taken. Most customers in our world now know that 3sixteen started as a strictly streetwear brand, solely consisting of graphic tees to, today, consistently designing and manufacturing some of the best jeans, shirting, and outerwear on the market. They pay respect regularly to their etiology, but are widely known and respected by the heritage menswear community as well. I think 3sixteen is the living, breathing embodiment of what it can look like to stay true to your roots but also allow yourself the room to branch out and grow organically.

What role, if any, do you see streetwear playing in 2019?

The same role it's always played. Some brands and pieces are constants and have true staying power. Some not so much. Just like anything, I think it comes down to evolve or die.

Can you put an age on streetwear? Should you?

I think it's ageless. Just like 501's and a white t-shirt. You can see a 15 year old kid and his 65 year old grandad both wearing checkerboard slip-ons, Dickies, a graphic tee, and a snapback, and it's perfectly natural. If you took the same dudes and decked them out in Off White then I'd think it wasn't so natural.

Do elements of streetwear influence your own style principles?

I will always love sneakers. I still wear and buy the shit out of them. At the risk of aging myself, I've had an obsession with Nike for over 30 years. It's in my chemical make up. How I styled sneakers definitely transitioned through the years.

Today, I wear them with menswear-y stuff like it's my paying job. The past year, I've seen more and more 'denim dudes' in Air Jordan 1's than I can count. I'm not saying I started that trend, but I may have unintentionally started that trend.

I'm not mad though. It doesn't matter to me when (or if) someone gets into streetwear. For some folks, it happens later in life, and that's okay, too. From a shop/ brand perspective, SOP will always do streetwear-inspired graphic tees and snapbacks. It's in our roots, and we want to have fun with our in-house projects or why the hell even do them?!

Do elements of streetwear influence what you carry in your own store?

Welp, as stated above, our SOP stuffs will always be streetwear inspired, and RGT and 3sixteen do a great job of letting their streetwear DNA influence their approach to design. Another example in our brand roster is Earl's Apparel (aka Stan Ray), which has become something of a cult favorite in the shop. The fatigue slacks have a higher-rise approachable anti-fit with great taper that got quickly picked up by our dudes who skate. Bobby Milwaukee, our shop manager, wears his all the time with 70s Chucks and Vibergs. And we have a lot of women who wear both the fatigue pants and jackets.

Actually, there's been so much demand from women SOP customers that we're bringing the brand into our women's shop, Snake Eyes Society, this spring.

Issue 41 | The Essential Journal

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Fashion, Lifestyle, Dining, Culture & Opinion All in pursuit of a quality lifestyle

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The Essential Journal | Issue 36

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STYLE

Tailored Thoughts on

A Cut Above

Being a Savile Row tailor, I am not going to pretend to be

This month, Ian Harrold

an authority on streetwear. However, as a craftsman and

ponders the importance

an observer of men’s style I believe I can legitimately ask

of a skincare regime that

the following; Has streetwear lost its soul?

lasts longer than your

Streetwear

New Year’s resolutions

words by Matthew GONZALEZ

O

ver the past 20 years, streetwear has been hijacked by designer labels who slowly replaced individuality with exclusivity. They muddled its meaning by drawing inspiration from various subcultures. Appropriating the visual elements of hippies, surfers, skateboarders, punks and rappers to create a modern genre of clothing that is more or less generic. It isn’t that modern streetwear doesn’t look good, it’s designed well and aesthetically pleasing. The problem is that modern streetwear seems to be incredibly expensive yet devoid of any semblance of authenticity.

So what happened? In the beginning streetwear actually represented people. It wasn’t worn for fashion it was who you were. This pre dates skateboarders and hippies and arguably began during the golden age of Hollywood.

In the 1950s A Streetcar Named Desire and Rebel Without a Cause hit cinema screens and have been influencing how we dress ever since.

They helped create the t-shirt and jeans look that has been a staple for men ever since. It was such a pure form of clothing because it was a style that didn’t come from a brand, it predated them. Marlon Brando and James Deans, became icons because of it. Back then when a film came out that was it. They weren’t merchandised like they are today.

There weren’t any subsequent products to buy off the back of them.

Teens would see a film, copy it then make it their own. In that sense Hollywood both portrayed and helped to propagate a new style that represented a young and individualistic generation.

Yves Saint Laurent was the first designer to take notice of the importance of streetwear when he designed an entire haute couture collection inspired by the stylish young women hanging around the Paris’ Left Bank. It was the first time that any designer looked to outside of society's elites to create high design. In some ways this collection was a foreshadowing of streetwear's future demise.

It didn’t happen quickly though. After YSL’s collection, fashion trends largely followed their traditional cycles and young people continued to dress how they wanted. The hippies came and went with their free spirited style and flowing silhouettes while the 70s ushered in tight bell bottoms trousers and vibrant glam rock colour palettes.

By the 80s there was something different in the air. Hip hop, skateboarding, surfing and MTV were all on the rise. Media was shifting demographically towards younger consumers and street brands began to proliferate. The birth of modern streetwear came in the form of one brand, Stüssy. The iconic signature logo that was first emblazoned on surfboards then on t-shirts and hats were originally sold out of founder, Shawn Stussy’s car in Orange County California. Perhaps inadvertently. he created a entirely new genre of clothing. It was a pure as Dean and Brando’s 1950s t-shirt and jeans because it was first and foremost a local surf brand.

Early streetwear brands embodied that notion of corporeal representations of personal identity but over time as its appeal grew brands recognised the revenue potential of the industry grew on global scales. Micheal Jordan’s deal with Nike to create Air Jordans was an early sign of the commercialisation to come. There was essentially two divergent paths a brand could take; Large global sales at relative low prices or as the Jordan model followed, exclusivity that followed a demand-side economic model. As we all know today exclusivity is winning. Brands like Supreme, Palace or Yeezy use exclusivity as a prime driver for their brand's appeal. Sadly it is an approach that completely undercuts its own integrity.

Streetwear is seemingly at its saturation point. Aside from the host of up market brands that are producing collections, illustrious fashion houses are fully embracing this genre of clothing. Louis Vuitton under Virgil Abloh produced a collection that looks like it stepped right out of LA’s 1990s streetwear scene but the idea of paying hundreds or even thousands of pounds for clothing that was inspired by teenagers who defined and shaped that era from their pocket money seems to betray the entire concept of the style. In time, streetwear will be out of the lime light. Designers will focus on different styles and trends, streetwear will likely go back to a point where it was a few decades ago. Being born out of subcultures that show irreverence for the establishment. So, has streetwear lost its soul? For the moment, probably, but in time, if left alone by the socialites and fashionistas it will one day regain it authenticity. MG

'It isn’t that modern streetwear doesn’t look good, it’s designed well and aesthetically pleasing. The problem is that modern streetwear seems to be incredibly expensive yet devoid of any semblance of authenticity.'

Issue 41 | The Essential Journal

words by Ian HARROLD

I

t’s a time honoured tradition: You’re little over a week into the New Year; the seemingly endless, end-of-year binge drinking has well and truly chewed you up and spat you out. You’re pre-Christmas haircut is growing out fast and you’ve noticed the vague outline of a new chin that you swear wasn’t there a few weeks ago. In short: You’re a mess and resolutions are in order.

The problem is that, despite our newyear-new-me zeal, most resolutions are likely to burn out before the month is through.

This is particularly true of any skin care regimes you might have decided to put in place to fix the corpse-like complexion that last year has left you with.

The way I see it, there are two big reasons for this. For starters, most men limit their skincare repertoire to whatever they happen to be gifted over Christmas. Once that’s ran out and they’ve weighed up the cost of the whole thing themselves, the routine becomes a little less appealing. In this respect, any good skin regimen is subject to budgeting, but a little education goes a long way, too.

My advice? Buy better, buy less. You don’t have to go in for the whole range; just pick and choose what you need. But know this: What a lot of people fail to realise is that price is, more often than not, a good indication of the quality of the ingredients in the mix. More expensive brands are packed full of richer ingredients that will nourish the skin over time. Cheaper options have a habit of filling things out with alcohol and surfactants that can often irritate more than soothe. Find a balance, learn what works for you, and budget accordingly.

The second big reason is a general lack of patience: We don’t see the effects quickly enough. That’s understandable: When you’re forking out on expensive products you want to see a difference pretty sharpish. Many of these regimes have a cumulative effect that’s often hard to see at first, and it’s easy to forget that it takes time for your skin to adjust to the extra help.

This is especially true in the winter, when your skin is faced with a constant barrage of environmental stresses. This plays a bigger part in skin issues than you’d expect. Not only is the cold sure to give your face a beating, but so will the measures you take to keep warm. Things like electric heaters and you car’s air con are notorious for drying your skin out. Those hitting the gym more over the next few months will find also their skin in extra need of hydration. It’s winter, the cards are stacked against you as it is, so be patient.

So in short: Happy New Year. Make good on your New Year’s resolutions for as long as you can, be kind to your skin and patient with whatever you use to protect it, and above all, get a bloody haircut. IH 27

STYLE

DMR WHITE GOLD ‘EMBRACE’ DIAMOND EARRINGS. Selected by Sophie Corness DMR Liverpool. Price £3380 “The perfect versatile option, this pair of DMR ‘Embrace’ earrings can be worn two ways; either alone as a classic diamond stud, or with the addition of the ear jacket completely transforming them and adding an extra touch of sparkle to really make a statement for more special occasions.”

ROLEX DATEJUST 36 IN YELLOW ROLESOR. Selected by Chinda Jim DMR Manchester. Price £15,400 “A stylish combination of 18ct yellow gold and Oyster steel. This Rolex Datejust watch’s dial is a stunning olive green, an iconic colour for Rolex. Diamonds set in its Roman numerals VI and XI makes the dial shimmer with elegance.”

Making a Statement with David M Robinson A foolproof guide to getting that special something for that special someone this Valentine’s Day TUDOR PELAGOS WATCH Selected by Melanie Ricks DMR London. Priced at £3160 “With sports designs taking the world by storm you really can’t go wrong with this lightweight titanium 42mm Tudor Pelagos. A satin finish and matt bezel gives it an urban look, with fast reacting luminescence and the option of a rubber strap to make it a go-to piece for today’s wearer. Waterproof up to 500m and a patented extension strap give you peace of mind with the holiday season soon approaching.”

MONT BLANC TIMEWALKER CUFFLINKS. Selected by Alex Martin-Wright DMR Liverpool, Price £260 “Mont Blanc’s Timewalker cufflinks celebrate understated style and elegance perfectly. The timeless round shape in stainless steel, with black PVD finish and red stones is inspired by the crown of the iconic Timewalker watch.

This stylish pair of cufflinks adds a contemporary touch to one's style and personality.”

Issue 41 | The Essential Journal

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DRINKING

SCT18174 TESSUTI ESSENTIAL CLUB AD 260x355mm FA.indd 1

21/01/2019 14:23

DRINKING

High Spirits Dawn Davies, Master of Wine and head buyer for The Whisky Exchange, gives us the lowdown on what’s set to trend in 2019

words by Dawn DAVIES

MEZCAL

RUM

Despite its popularity behind the bar for some years as a bartender’s favourite, mezcal hasn’t yet had its turn in the spotlight. Perhaps now, with a little bit of ‘gin-fatigue’ setting in, and a growing need for something new to mix with tonic, it’s time for this smokey, fruity little number to shine.

Mezcal is made in the Oaxaca province of Mexico from agave plants, in the same vein as Tequila but with different agave species. Where tequila offers pepper and spice characters, mezcal presents smoke and fruit. Try it mixed with tonic (trust us) or even as a replacement for gin in your Negroni.

There’s something special happening in rum at the moment; a gradual show of interest in the styles of rum that connoisseurs have known about for some time. The majority of rum is made using column-still distillation to feed the demand for blended rums and high volume, but increasingly there is more of a passion for pot-still distillation in batches which tends to create a richer and fuller-flavoured rum.

Then there’s agricole rums, made exclusively from sugar cane instead of molasses, and what you could call ‘pure rum’ with no added sugar, flavourings or colourings. Gone are the days when we have to choose between dark sticky and sweet, or clear and harsh. Producers are creating more liquid that’ll make any whisky-drinker fall for rum.

Case in Point: Ilegal Joven If you want to discover mezcal for the first time, Ilegal Joven is a damn fine place to start.

Desperate for a good Mezcal to stock at his bar, Café No Sé, John Rexer began smuggling artisanal Mezcal from Oaxaca to Guatemala in 2004. Once in his bar, it didn't take long for word to get out about this smooth and smoky spirit that was only available from the backroom at Café No Sé. Soon, this Mezcal was being carried in the luggage of travellers passing from Guatemala to America and beyond. In late 2009, Ilegal Mezcal became legal.

Case in Point: Foursquare Veritas White Rum Richard Seale of Foursquare Distillery in Barbados is leading the charge for this new generation of rum, and the rather unique Veritas white rum - a collaboration between Foursquare and Hampden Estate - is a testament to the quality that can be created. This is a white rum like you’ve never tasted before.

A blend of traditional Coffey still (column) and pot still rums, and with no filtration or added sugars, this is round and rich with a hint of green banana and a fantastic freshness on the finish. It makes one hell of a Daiquiri!

£49.75, thewhiskyexchange.com

£33.95, thewhiskyexchange.com

INDEPENDENT WHISKY BOTTLERS

SOUTHERN-HEMISPHERE SPIRITS

NON-ALCOHOLIC SPIRITS

Good things are happening south of the Equator.

They’ve actually been happening for some time but no-one has been paying attention. Well, now it’s time to sit up and listen. South Africa is producing some awesome spirits including Geometric Gin using Cape botanicals, and the deliciously smooth Oude Molen Cape Brandy, a brandy made in exactly the same way as Cognac just not in the Cognac region, hence ‘brandy’.

NON-ALCOHOLIC SPIRITS

Case in Point: Ceder’s Classic Ceder's is distilled in the same way as gin, just without the alcohol. This classic version focuses on juniper, coriander and rose-geranium botanicals and is delicious served with Mediterranean tonic. Ceder's was created by a husband and wife team who combined their origins of South Africa (botanicals) and Sweden (spring water) to craft unique alcohol-free spirits.

Case in Point: New Zealand 18 Year Old Double Wood Blended Further afield, New Zealand has for some years created dram-worthy whiskies including this little number from closed distillery, Willowbank in Dunedin – the world's southernmost distillery until its destruction in the late 1990s. After an unconventional double maturation – a quartet of ex-bourbon barrels followed by a lengthy period in French oak New Zealand wine casks – this is a complex 18-year-old full of full-bodied, lingering dark fruit notes and woody spice.

£19.95, thewhiskyexchange.com

£99.95, thewhiskyexchange.com

It’s been like music to the ears of every designated driver or non-drinker on the planet: Something other than Diet Coke to drink. There’s absolutely no doubt that this is a booming trend, as more producers look to create interesting and flavoursome ‘spirits’ or alternatives to alcohol.

Issue 41 | The Essential Journal

If you’re a whisky enthusiast, it is definitely worth finding out a little more about independent bottlers. This is a whisky category that’s only going to go from strength to strength as more people realise that you can get your hands on some truly unique liquid that would never have otherwise been released.

Very few scotch whisky distilleries keep everything they make. If the distillery has no need for casks of liquid – maybe the whisky has not developed the key flavours and aromas needed for that distillery’s own style, or maybe it’s simply surplus to requirements – then said casks will be sold to independent bottlers who might blend, marry and age the liquid to their own desires, and release whiskies, usually in small numbers, that will never be seen again.

Case in Point: Glenturret 2004 Sherry Cask Connoisseurs Choice Gordon & MacPhail have been selecting, maturing and bottling whisky since 1895 so they really know what they’re doing. This 2004 sherry-matured, single-cask Glenturret is an exclusive release for The Whisky Exchange and we love it. It’s rich and spicy with stacks of juicy berries and raisins. £94.95, thewhiskyexchange.com

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DRINKING

Drinking with

Gridiron From its open-flame, live-fire grill, to its seasonally-minded, ethically-sourced food menu, thereâ&#x20AC;&#x2122;s a lot to love about Gridiron by Como. The barâ&#x20AC;&#x2122;s cocktail offerings are no exception. Balancing lofty sophistication with offhanded cool, drinking with Gridiron offers an experience far beyond your garden variety hotel tipple.

Image Credits: Lisa Linder

words by Will HALBERT

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The essential journal | issue 41

DRINKING

Featured Libation

White Russian

Get the Round in

Liam Davy Quickfire questions answered in the time it takes Gridiron’s bar manager to finish his Seedlip & Tonic How would you describe the ethos behind your cocktails?

We wanted a menu that was both an ode to the cocktails of yesteryear and one that stood on its own two feet. More importantly still, the menu had to complement our food offerings. It’s no good having a fancy cocktail menu if all it wants to do is spar with your food! That kind of self-restrained minimalism takes real skill. Luckily Max, Noel, and our bartenders have that skill in spades.

Speaking of minimal, your glassware has a pretty elegant simplicity to it. Who’s behind that?

Our glassware is the work of Italian glassmakers, Luigi Bormioli. We wanted a range of glassware that matched the style and sophistication of our menu, but also hinted at its simplicity, its lack of pretence.

The Luigi Bormioli range does that job perfectly.

I notice you’re drinking a Seedlip & Tonic. What are your thoughts on Dry January?

I know it scares a lot of bars, but it’s a good opportunity for bars to up the ante on their booze-free options. For the longest time, non alcoholic options were no more than an afterthought on menus.

As demand for alcohol-free options rises, it’s nice to see the likes of [Seedlip founder] Ben Branson do his part to come up with an option that actually tastes of something.

A

far cry from the creamy, calorie heavy, and sure-to-curdle excess of the traditional White Russian, the Gridiron variant offers equal measures of the bar’s signature poise and sophistication. Pairing Absolut Elyx with cold brew coffee makes for a silky smooth and nuanced experience that eschews the White Russian’s typical syrup-ridden sweetness, while the addition of miso and clarified milk adds a touch of mixological magic to the whole affair. The result is a dialled-down cocktail that retains the richness and mouthfeel of the original without submitting to its former garishness. And the best part? No milk moustache. EJ

What are your thoughts on sustainability in the food and drinks industry?

It’s a topic that has gained some real traction of late, and rightly so. It’s nice to see that we’re moving towards a stage where sustainability is no longer a novelty issue, but an industry standard. It’s not something we need to shout about, necessarily, as it should be constantly at work in the background.

And finally, what’s your house shot?

Given that I’m partaking in Dry January myself, I’d have to say it’s shots of Seedlip all round!

The Secret Ingredient

The Ace in the Hole

The Wine Menus

U

nder the watchful eye of celebrated wine expert, Fiona Beckett, the Gridiron wine menu is a veritable who’s who of venerable vino. With a selection that ranges from big, bold, new world wines to more familiar European favourites, the Gridiron wine selection boasts breadth and depth in equal measure (and does a great job of highlighting the woefully under-quaffed Chablis and Grenache in the process). Likewise, the ‘Under the Counter’ menu - expertly elaborated by in-house sommelier, Lucy Ward (formerly of Noble Rot and Dinner by Heston) - is a similarly terroir-forward tour de force. Boasting an artful and confident balance of stoic traditionalism and contemporary accessibility, Lucy’s menu makes for a compelling and carefully-curated drinking experience that caters for all. EJ

Issue 41 | The Essential Journal

The Venning Brothers

P

laying fast and loose with the term ‘secret ingredient’, perhaps, but Noel and Max Venning are an all-important element of Gridiron’s cocktails. Veteran brothers of the food and drinks sector, Noel and Max had already made quite a name for themselves before opening their very own Dalston cocktail bar, Three Sheets. Specialising in weekly, rotating, seasonal menus with an experimental twist, they were the obvious choice to help develop Gridiron's cocktail offerings. From pandan-infused Old Fashioneds to tequila highballs, Noel and Max’s carefully-curated cocktail menu boasts an exciting roster of elevated classics, all of which are designed to compliment Gridiron’s food menu. Quietly confident, forward-thinking and refreshingly free of pretence, Gridiron’s menu is both a celebration of cocktail culture’s rich history and an exciting glimpse into its promising future. EJ

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DINING

The Recipe

Mackerel, Rhubarb, Bay Leaf Compliments of A Very Serious Cookbook by Contra Wildair (Phaidon)

W

e use fruit a lot in savory applications, especially if it’s in season and not being used for desserts. It’s sweet, yeah, but really I like fruit in savory applications for its acidity, and rhubarb is king of the acidic fruit. The kind of rhubarb we get in New York is rarely that deep ruby color but mostly pretty green. It gets its insane acidity from oxalic acid (sorrel and rhubarb both have this, which explains why they both have that same unique tanginess), making the juice super potent. Aside from juicing it raw, we also gently cook it to make a tea, which still has plenty of brightness, but with a touch of sweetness for better balance.

Even though the fish is sort of cooked in this dish, there’s so much fresh, acidic liquid that it’s almost like eating a ceviche. Spanish mackerel is much thicker and meatier than Boston mackerel, which makes it heartier but also easier to cut with a spoon when eating in something like a broth.

Image Credits: Matty Yangwoo Kim

MACKEREL, RHUBARB, BAY LEAF Ingredients For the Rhubarb Broth 400g rhubarb 500g water 30g sugar ½ umeboshi Kosher salt Fresh lemon juice

A Very Serious Cookbook

by Contra Wildair (Phaidon) is available now

For the Mackerel and Assembly 8 Spanish mackerel fillets 200g olive oil, plus more for the spring onions 100g canola (rapeseed) oil 50g unsalted butter, at room temp.

200g kohlrabi, peeled Fresh lemon juice Kosher salt 160g small, thin, wild spring onions Bay Leaf Oil 1.2kg neutral oil 180g fresh bay (or wild bay) leaves Serves 4

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Rhubarb Broth 1 Peel the rhubarb and trim the ends.

Combine the water, rhubarb peels and scraps, and sugar in a heatproof medium bowl and cover it tightly with plastic wrap (cling film).

2 Set the bowlover a pot of simmering water for about 1 hour. This will encourage the rhubarb to sweat out its juices and infuse the water. Strain this “rhubarb tea” into a bowl and let cool.

3 Run the peeled rhubarb stalks through a juicer. Combine the rhubarb juice with the rhubarb tea. Add the umeboshi and season with salt and lemon.

Bay Leaf Oil Heat the oil in a medium pot to 180°F (82°C). Add the bay leaves and remove from the heat. Let cool completely. Once the oil is cold, transfer to a blender and puree until smooth. Strain through a fine-mesh sieve lined with cheesecloth. Cover and refrigerate.

Mackerel & Assembly 1 Place the mackerel skin side down on a work surface and slice each mackerel fillet into thirds but do not cut through the skin.

2 Preheat the oven to 300°F (150°C/ Gas Mark 2. Heat the 200 grams of olive oil and the canola (rapeseed) oil in a large, wide pot over medium-low heat to 132°F (56°C).

3 Let the mackerel sit at room temperature for 10 minutes before adding to the oil. Cook, undisturbed, until fish is about 50 percent cooked (it should be white around the edges, but still rather opaque in the center.

4 Using a fish spatula, lift the mackerel fillets out of the oil and onto a sheet pan, skin side up. Place in the oven for 2 minutes just to finish cooking.

5 Remove from the oven and brush the skins with the softened butter.

Using a kitchen torch or Searzall, torch the skin of the mackerel until

it’s browned, bubbling, and lightly crisped.

6 Slice the kohlrabi into slabs about ¼ inch (1.25 cm) thick, then into sticks ¼ inch (1.25 cm) wide.

Cut them into matchsticks 2 inches (5 cm) long. Place in a medium bowl and season with lemon juice and salt.Cut the spring onions into 2-inch (5 cm) pieces (they should be the same size as the kohlrabi).

7 Heat a medium cast-iron skillet over high heat. Once the pan is very hot add the spring onions and cook, tossing to get them wilted and evenly charred, 2–3 minutes. Remove from the heat and toss with olive oil and season with salt.

8 To plate, place 6 pieces of mackerel in each dish and ladle about ¼ cup of rhubarb broth over. Top with the kohlrabi and spring onions and drizzle with the bay leaf oil.

The Essential Journal | Issue 41

COLUMN

At the Pass with

Tommy Banks In the first installment of his monthly column, Tommy Banks, chef & owner of Roots (York) and Michelin Starred The Black Swan at Oldstead, considers the complexities of starting the year off "properly"

L

et me just start by saying this: If you’re doing Veganuary this year then all the power to you, but you’re doing it in the wrong month. If I were you, I’d be doing it in July and August when the very best fruit and veg are around!

But it seems we’re all in the mood for radical change when the new year rolls around. Dry January is a prime example. We make it through the Christmas festivities only to swear off drink for a whole month. To be perfectly honest, I’ve never really seen the point for the majority of people. For the most part, people drink so little in January anyway that Dry January basically boils down to a few Saturday nights in. Hardly all that radical; it just makes for a rather quiet month for restaurants (my own included). And for those inclined towards more frequent drinking, what’s the point in doing it for a month only to get straight back on it in February? Baffling.

For the hospitality industry, January is basically Christmas: We have our staff parties and celebrations in January as the restaurants tend to be a little quieter. So I’ve really got no chance of a Dry January. Not to mention the fact that I’ve just been gifted a fridge full of beer over Christmas. It would be downright rude of me not to drink.

So you could say Dry January leaves me a little perplexed. Our Yorkbased restaurant, Roots, had a visit from a well-known food critic not so long ago who was also doing Dry January, and I have to say, it caught us a little off guard. As much as you try to treat writers and reviewers like the general public, it’s difficult not to ask front of house to report back on how they appear to be enjoying the food. A homemade cordial, as delicious as they are, doesn’t really pair to the same effect as a beer or glass of wine. So if, by some twist of fate, said critic happens to give us a dodgy review, we’re blaming it on the soft drinks.

Maybe I’m just a little bitter about the whole thing. Generally speaking, working in this industry makes it more difficult to stay in shape. Even getting to the gym for the occasional workout can be difficult. But as a man who spends his working day surrounded by food, I know full well that it’s something I really ought to do. I managed to squeeze in a few games of football over Christmas and it was an eye opener: I realised just how unfit I am. If I don’t do something now, I fear it’s going to become extremely difficult to get into shape as I hit my thirties.

Even my dad has gotten involved in the fitness craze. He’s well into this 5:2 intermittent fasting diet, and he’s got a rowing machine precariously set up across his living room. And I mean precarious, as his house isn’t big by any stretch of the imagination. So his new toy sits diagonally in between the TV and sofa.

You’d think that limiting your calories with the likes of the 5:2 diet would leave you a little flat, but he says he feels the opposite. I know we all need to take fad diets with a pinch of salt, but maybe he’s onto something. Our head chef at The Black Swan has cancelled the dessert portion of the staff dinner, as the staff would demolish it only to wind up sleepy and sluggish for the rest of the shift. Not that I’m one to judge: I’m the kind of guy who takes 3 spoonfuls of something to taste it when one would definitely do.

Quality control: It’s a thankless job but someone has to do it.

In the end, I suppose it’s hard to knock anyone who’s trying to start their year off right and get a little healthier. And Dry January, though it pains me to admit it, is a great step in that direction. Who knows, maybe I’ll try a month off the booze myself at some point. Once I work my way through the fridge-full of Christmas beer, that is. EJ

'Our head chef at The Black Swan has

words by Tommy BANKS

cancelled the dessert portion of the staff dinner as the staff would demolish it only to wind up sleepy and sluggish for the rest of the shift.'

Image Credits: Jack Finnigan

To find out more about Tommy's food head online: blackswanoldstead.co.uk rootsyork.com

Issue 41 | The Essential Journal

35

DRINKING

To Kill a Mocktail We sit down with Seedlip founder, Ben Branson, to discuss the death of the mocktail and the rise of alcohol free spirits words by Will HALBERT

First off, tell us a little about yourself and your background My name is Ben Branson, I’m the Founder of Seedlip, the world’s first distilled non-alcoholic spirits brand. Seedlip is inspired by my family’s 300 years of farming heritage in North Lincolnshire.

I’m forever curious, continually tinkering and I’m obsessed with books (as my 3000 strong collection of 1940s Penguin Books proves)! My other great love is the natural world, a countryside boy to the bone and definitely happiest in a field rather than a city!

How did the idea behind Seedlip come about? What was the motivation behind it?

Back in 2013, whilst researching interesting herbs I could grow at home, I came across a book written in 1651 called The Art of Distillation that documented distilled herbal remedies – both alcoholic & non-alcoholic. Out of curiosity I bought a copper still and began experimenting in my kitchen.

Three months later I was out for dinner at a nice restaurant in London, not drinking and got offered this pink, fruity, sweet, childish mocktail. I felt like an idiot, it didn’t go with the food, and it wasn’t a great experience. Surely there must be a better way! The dots began to 36

join and I spent the next two years working with my still, my mother on the ingredients, my father on the design and slowly beginning to believe that maybe we could begin to solve the 'what to drink when you’re not drinking' dilemma with a different approach to non-alcoholic drinks. No more mocktails!

What's the story behind the name?

In the 17th century, farmers used baskets called Seedlips to sow seed.

My grandmother told me this story about my family when I was searching for a name for the company.

She nailed it! It honours my family’s farming background and literally explains our process of taking the wonderful plants we work with from Seed to Lip. How on earth did you come across an original copy of The Art of Distillation?

The book was originally published in London and written by a physician John French and the more I got into distilling at home and the more I learnt about how people’s drinking habits were changing and that there was a growing need for a drink that wasn’t just fruit juice and syrups, well, the more adamant I became that I had to try and track down a copy!

I contacted the British Library,

they actually own the original copy that was in King George III’s collection of books and they allowed me to go and see it, I then emailed over 15 antique book sellers in the UK and eventually one came back to me. It was by far the most expensive book I’ve ever bought but we are very proud to own a copy of The Art of Distillation from 1664, it’s the only other copy we can find in the world and fitting that we have now published a book of our own with Penguin!

Without revealing any trade secrets, how exactly does one go about producing a distilled, non-alcoholic spirit? It almost sounds like an oxymoron.

Ha! I guess it’s like electric cars or online shopping…the times change!

It takes 6 weeks to make a bottle of Seedlip and we have developed a

coveted, bespoke process for each individual plant we work with to capture its true character.

This begins with sourcing the best produce, through to a cold maceration in specific ratios of neutral grain spirit and water for particular amounts of time before this individual mash is distilled in a copper pot still, the alcohol content removed and concentrated distillate of each plant collected, blended, filtered and then bottled. We don’t add any sugar, sweetener or artificial flavours.

As we often see in low-abv beers, it's quite a challenge coming away with something with depth and complexity without the higher ABV there to help things along. How did you work such wonders with Seedlip's flavour without the booze?

In short it’s very technically chal-

lenging! Alcohol carries flavour, is a very effective solvent and preservative so the irony is rather than fight it and not use it, we actually embraced it and use it at the beginning of our process. The tricky bit was then actually the removal and understanding that each ingredient behaves differently.

Clearly, Seedlip has been welcomed with open arms by bartenders ( judging by the number of award-winning bartenders playing around with your spirit). Was that the kind of response you expected, or did you expect people to be a little more hesitant?

I had no idea what to expect! I got told enough times “that’ll never work!” that yes, I definitely doubted whether anyone would take this seriously!

When you’re a one man band The Essential Journal | Issue 41

DRINKING

Image Credits: Rob Lawson

hand-labelling bottles in your kitchen, packing them into boxes and then putting them in the back of your car, delivering them, then standing in a shop as I did in Selfridges in London for four hours each day, then serving Seedlip cocktails at events in the evening and then going home and doing it all again…. It’s both bloody hard and exhilarating!

Never did I even dream that 3 years later, Seedlip would be in over 25 countries, that I’d have the most amazing team and that we would be working with over 250 Michelin star restaurants, 8 of the world’s top ten cocktail bars and iconic retailers like Selfridges. Well. It’s just been surreal and further proof of the need for high quality non-alcoholic options!

Can you tell us a little about your Issue 41 | The Essential Journal

'I was out for dinner at a nice restaurant in London, not drinking and got offered this pink, fruity, sweet, childish mocktail.

I felt like an idiot, it didn’t go with the food, and it wasn’t a great experience.

Surely there must be a better way!'

Nolo campaign?

We believe socialising should be about inclusivity, flavour and the experience. So last year we launched N o l o ® the first No & Low alcohol cocktail concept. It was a 2 night global event across 16x bars in 16x cities, all No & Low alcohol cocktails using Seedlip and we have just announced N o l o ® partnerships on board Virgin Atlantic and with Soho House.

Can you talk us through the three expressions of Seedlip currently available?

There are three products now in the range all which pair beautifully with Fever Tree tonic water, served over ice & a good garnish!

Seedlip Spice 94 is aromatic and woody with a great warm spice and citrus character from the allspice berries, cardamom, American Oak

and grapefruit peel distillates we use. Seedlip Garden 108 is bright and fresh using English peas from my farm, floral herbs like rosemary and thyme and peppery undertones from the English variety of hops we use. Seedlip Grove 42 is zesty and complex with three kinds of orange and a fragrant character from lemongrass, ginger and Japanese sansho peppercorns.

We have also just launched a cocktail recipe book with Penguin and 25 of the world’s best bartenders, there are over 100 recipes to make at home from nice and easy ones to some really complex cocktails.

And finally, what's next for yourself and Seedlip?

We have an incredibly exciting year ahead and I still feel like we are just scratching the surface of the

potential and possibilities for this category. We want to continue to lead and expand the category and will be launching a sister brand to Seedlip called Æcorn Aperitifs in the Spring.

We are also building an apothecary laboratory and experimental plant nursery on my farm, which will be run by our Head of Horticulture, Tom Harfleet.

We are resolutely committed to solving the dilemma of ‘what to drink when you’re not drinking’ on a global scale as quickly and brilliantly as possible. If the growth we have experienced with Seedlip so far is anything to go by, this category has potential beyond my reasoning or comprehension!

Ben Branson’s Seedlip: The Cocktail Book (Bantam Press) is available now 37

TRAVEL

image credit: Taylor Yandell

A Handsome Hotel

The InterContinental words by Ralph CANIS

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Bordeaux

B

oasting lavish, five star luxury in the very heart of Bordeaux, The InterContinental is a phoenix-like tour de force to be reckoned with. Originally built in 1789, the building itself was instrumental in Bordeaux’s UNESCO world heritage status. Recently renovated following a long period of disuse, The InterContinental makes a solid first impression by sheer dint of its location. It stands as a formidable sight amongst the surrounding architecture already gracing the Place de la Comédie, rubbing elbows with similarly splendid exteriors such as that of the world-renowned Grand Théâtre.

By all accounts, The InterContinental’s fabled façade offers an enticing promise of the interior extravange that awaits inside inside. And thanks to the bold artistic vision of award-winning French architect and interior designer, Jacques Garcia, the hotel more than delivers on this promise. Each and every one of the hotel’s 130 rooms and 44 suits is a love letter to the majesty and splendour of fine French sophistiaction.

A neoclassical core with a modern flourish is the l'ordre du jour, with Napoleon III style velvet upholstery, silk curtains and other such fanciful flourishes throughout the five star hotel. Likewise, the 2 Michelin-starred Le Pressoir d’Argent adds a touch of gastronomic flare very much in keeping with the French’s penchant for fine dining. Situated on the first floor of the InterContinental, this Gordon Ramsay-led restaurant takes its name from the dining room’s centrepiece: A rare Christofle solid silver lobster press, one of only five in the world, And lastly, offering spectacular views and superlative drinks with equal gusto, The InterContinental’s rooftop terrace, The Night Beach, is a must-see. Boasting some truly unforgettable panoramas, the terrace is both an Instagrammer’s dream and a glowing testament to The InterContinentals constant pursuit of five star perfection. EJ

The Essential Journal | Issue 41

CULTURE

ALL THE TRADITION BEHIND THE

Unique Brazilian way of serving

LEEDS

LIVERPOOL

MANCHESTER

EDINBURGH

GRANARY WHARF

EXCHANGE FLAGS

SPINNINGFIELDS

GEORGE STREET

BIRMINGHAM COLMORE ROW

: @FazendaGroup

Issue 40 | The Essential Journal

: @FazendaGroup

: @Fazenda.Group

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CULTURE

Image Credits: Tillmann Franzen, tillmann-franzen.com | VG Bild-Kunst, Bonn 2018

The Essential Journal | Issue 41

40

CULTURE

A Centenary of Counter-Culture Discarded by high school students in favour of a daydream, we revisit an art & design teachers pin-up as it celebrates its centenary words by Thomas SUMNER

Pictured above and left Dessau Bauhausgebaeude by T.Franzen

Issue 41 | The Essential Journal

B

auhaus. Probably a vague high school memory for most, but the 1920s German institution is quite possibly the most influential art school of the 20th Century. Its teaching style and bringing together of art, society and technology continues to have a major influence to this day. Much like the school itself, faculty members such as Wassily Kandinsky, Ludwig Mies van der Rohe and Paul Klee likely bring back faint memories of 4th period art or day trips to the Tate, rather than the lasting influence of their radical visions that our underappreciated art teachers intended to ingrain in our ‘art is just an extension of break’ adolescent minds.

Despite the turbulent political uprising of the time and universal cultural conservatism experienced in the aftermath of WWI, the Bauhaus offered an optimistic and internationalist vision of the future. Influenced by the reuniting of manufacturing and creativity, spearheaded by the Art Nouveau and Arts & Crafts movements, Walter Gropius (the school’s founder and first director) set out to quash the industry hierarchy to bring architecture, textiles and furniture design on par with fine art. Combining these practices ultimately allowed complete works of art to be enjoyed and experienced by the masses, rather than owned as a luxury by the few.

Having developed his vision and a proposal for a new school whilst serving on the front line in 1916, Gropius - a serial collaborator - became director of the Weimar Academy of Fine Arts in 1919. It was during this same year he developed the Bauhaus manifesto and would combine the Academy of Fine Arts with the School of Applied Arts to create the Bauhaus.

As the German far-right grew in popularity as did criticism of Gropius’ and the school’s international outlook and socialist views, deeming the principles to be more inline with Communist Russia than the German cultural tradition of the day.

Rapidly growing in power and influence the far-right cut the school’s funding, leaving Gropius in search of a second home to relocate his vision, esteemed faculty and students. Settling on Dessau (two hours south-west of Berlin, by today’s money) it was here he had his most famous work realised, in the way of the Bauhaus itself. Built in 1926, the new school building embodied his vision of new architecture.

As pressure continued to mount from the far-right, Gropius resigned as Director in 1928 and handed the reins to Hannes Meyer, director of the department of architecture.

The lesser-known of the three directors, Meyer’s time at the helm was short lived.

Though he brought the school its two most important commissions and for the first time, saw it turn a profit, it would be his communist views and political influence on the school, its teaching and students that would lead to his ousting. Having removed Meyer amid political unease, Dessau’s Chief Mayor turned to Germany’s avant-garde and Ludwig Mies van der Rohe, but only after an unsuccessful bid to reinstate Gropius. Being politically-neutral Mies (for short) would keep the school clear of any further political butting of heads.

Though perhaps known more for his time and work in the USA, established architect Mies led the Bauhaus through its final years (1930-33) during which the Nazi party continued to gain popularity ultimately coming into power on the 30th January 1933.

During this time, Meis, who saw the political attention as an annoyance, didn’t allow it to distract him from implementing his own theories on modern design. Merging furniture design and metal work, for example, into interior design, Meis shifted the Bauhaus’ focus almost completely to architecture, leaving some faculty members spending more time in the meisterhaus rather than the klassenzimmer. Having gained partial control of Dessau, the Nazi party closed the school in 1933.

This did not deter Mies who, investing his own funds, moved the school and it’s students to a derelict factory in Berlin. With the students breathing new life into the forgotten building, the Nazi party were hot on their heels. The Gestapo raided and closed it down just a year after it’s opening, suspicions having been raised of it producing anti-Nazi propaganda. After a successful protest to reopen the school, its director and remaining faculty members voluntarily closed it down as conditions had been set to replace professors with those who better supported Nazi principles.

As the once radical and forever-imitated school reaches its centenary, its influence is as present as ever. Around the world, after 30 years of mass consumerism and digitisation, we have turned our attention and appreciation back to tangible craft. Many a USA city skyline features a Bauhaus faculty member’s handiwork, be it designed by them or a student of theirs, with the modern day offices within those skyscrapers adorned by both legitimate and rip-off Bauhaus furniture. And I wouldn’t doubt a Klee and Kandinsky dominates the entrance halls of some, prompting an office worker to daydream a while of 4th period art class. EJ

41

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CULTURE

Architectural Thoughts on

Parasitic Architecture This month our resident architecture columnist, Róisín considers the untapped potential of Parasitic architecture words by Róisín HANLON

P

arasitic architecture is one of the most informal types of architecture. Sometimes playful, sometimes political, it can be used as a way of hacking the ordinary streetscape and doing something completely unexpected Oase no.7 was created by Haus-RuckerCo for a 1972 arts festival.

A pneumatic bubble emerged from a first floor window of the Fridericianum museum. After crossing the window threshold the visitor would descend a scaffold staircase onto a platform suspended right in the centre of the sphere. Upon this platform were plants, two palm trees and a hammock suspended in between. Here the visitor could lounge in their own private oasis. Albeit an oasis completely exposed to the street in all directions - left right, above and below. On first glance just an art piece playfully bringing an element of nature and relaxation into an urban environment, this piece is somewhat satirical - the pod is completely private - someone inside is physically isolated, whilst completely visible. There is absolutely nowhere to hide.

Really interesting parasitic design makes us look at a space that we may not even have realised was under-utilised. Fernando Abellanas designed a small studio for himself nestled between the concrete beams of a bridge in Valencia. The setting is brutal and urban but with Abellanas’ light materials and playful construction the installation has a cosy, dreamy quality to it, much like a child’s tree house. The structure is a platform suspended on wheels from the beams which can be moved along the underside of the bridge using a handcrank. Much like a swallows nest, the studio uses a high-up corner that most passers by wouldn’t even look at, let alone design an installation for.

In his paraSITE series Michael Rakowitz designs parasitic architecture with the homeless in mind.

His plastic shelters attach to air and heating outlets on the side of buildings. The outgoing air inflates the structures creating a semi-rigid form, whilst also warming the enclosure. As they are small with low head height, the structures are more like sleeping bags, bypassing any laws about erecting tents on streets.

Rakowtiz designs the units with the occupants in mind - designing the sections, windows and form of the structure around the living requirements of the occupants.

One of the paraSITE series (shelter for George L.) was created on a budget of just $5 with plastic bags and bin liners. This truly shows just how much parasitic architecture can be an accessible form of architecture. In 2009 Montreal based magazine L’Itineraire printed instructions for how to make your own paraSITE pod.

With a small amount of money and a little creativity, almost anyone can go out and perform their very own guerilla architecture - and test the limits of what you can create in the public realm. RH

'Really interesting parasitic design makes us look at a space that we may not even have realised was

Image Credits: Jose Manuel Pedrajas

under-utilised.'

Issue 40 | The Essential Journal

43

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The Essential Journal | Issue 41

BUSINESS

International Superhits As HMV once again waves the white flag from the high street, we speak with Matt Parsons of international record label, Ditto Music, to learn how he and his brother, Lee, went from disillusioned musicians to worldwide chart toppers interview by Thomas SUMNER

I believe you're off to NYC - how do you occupy your time during the flight?

I'll be preparing for the many meetings I have in New York. We are moving into a new field for us (Blockchain) so I'm learning and developing our ideas. And re-reading George Orwell’s 1984. I love literature that makes you think. For years Lee and I have been reading mainly non-fiction; we have to always keep learning, growing, evolving.

I imagine you're 'hidden' to the typical music consumer, how would you introduce DITTO? We’ve worked with Ed Sheeran, Sam Smith, Stormzy and still today many household names. In 2018, Ditto had a track in the UK Top 40 every week for 9 months, but we do tend to stay behind the scenes.

We want to give artists the opportunities we didn't have as a band. Me and my brother Lee played in bands for 10 years and around 2005 we signed a brief deal with EMI that just left us disillusioned. We wanted to put our records out, but back then there was no way for a band to release music without a label. So we invented a company that did that. Our friends were in bands and they wanted to release music too - and Ditto Music was born.

We have kept evolving over the years, introducing new unique ways to help independent artists. Into 2019 we look after 200,000 artists and labels worldwide. Ditto provides worldwide record label services, distribution and marketing through our 22 offices in 19 countries. We launched Record Label In A Box in 2015 and have helped over 2000 people start their own record labels and make a viable career.

Right now we're about to launch our Blockchain solution and, of course, we launched a chain of coffee shops in the UK, which will extend this year to Spain, Sweden, the US and Australia. In March 2019 we launch our own recording studio in London with free recording time for any acts we find promising.

What does the industry look like now compared to when you started out?

In 2005 there was barely any social media, so there was no way for a band to promote and release music to their own fans without a label and so much talent was wasted. I went to my first conference (Midem in Cannes) in 2007 and there were maybe 10,000 people there. These days the industry is much smaller and you find that the ones who continue creating, evolving and giving an honest solution to a valid problem have stuck the course. For artists, there are so many more opportunities than before. We are no longer dictated to by labels, artists can carve their own career and at Ditto we are expanding to offer help with every corner of that career, moving to a 360 service.

How did the popularity of digital/streaming effect the way you operated? Does it continue to challenge you?

Ditto began in the pre-streaming era with downloads on the rise and physical in decline. Now we’ve seen the downturn of downloads, which streaming has replaced and is booming. In 2010 streaming was under 10% of Ditto artists income, now it’s 85-90%. We reacted and adapted by identifying the best way to promote music via streaming platforms, then positioned ourselves to have the right relationships to make that happen. Ditto is now the biggest independent music provider for playlists on all major platforms. The only challenge is thinking of new ways to use the latest technology and cultural movements to help our artists, and that’s our daily focus.

How does HMV's current troubles effect you? Have you ever had a particularly troublesome period and how did you deal with it?

On a personal level, it makes me smile as HMV refused to stock our band's CD back in 2005 as we didn't have a distributor - so we became one. Their shortsightedness forced us to forge our own path. On a wider scale, it’s a footnote in the demise of major labels as its mostly their products that were stocked.

We have faced a couple of setbacks over the years but we have always turned it round, created our own solution and its made us stronger. In 2011 we launched in the US on the basis of an investor who (once we landed) backed out. Lee and I took a massive pay cut and self-financed the US staff and offices for a year. Just like 2006, we again had no money and only our zealous work ethic to guide us. That year we went from 2,000 to 18,000 US users and received multiple awards. Now we work with amazing US artists like Chance The Rapper and Yung Fume. Every challenge really is an opportunity.

Pictured Above Brothers Lee and Matt sat outside Ditto Coffee, Liverpool

Issue 41 | The Essential Journal

You're venturing into the world of coffee, is it important to diversify and do you have any other 'side-projects' in the works?

Lee and I travel a lot and we usually end up meeting in or frequenting coffee shops. We fell in love with the Melbourne coffee scene and looked at bringing the concept to the UK. It seemed obvious to find the middle ground between coffee and music, giving artists a platform on the high street and helping the local scene. So we hired Liverpool coffee guru Natasha Murphy to make the shops a reality and I worked on the music aspect and aesthetic.

Each shop supports the local music scene by selling records from local artists and labels. We have regular in-store shows from local acts, a demo dropbox so local acts can play live and even get signed to our label for a worldwide record deal. And there is the Wall of Fame, highlighting the most exciting upcoming local acts, as well as a library where people can enjoy all kinds of books about music and the industry over a great coffee. The Liverpool shop opened in November, Manchester (Oxford St) opens February, Shoreditch in April and Barcelona, Stockholm, Melbourne and Nashville over the summer.

It is VITAL to diversify. Its what has kept Ditto at the forefront for 13 years and guaranteed our success.

If your customers change, you must.

As for side-projects, I've mentioned the music related development. We will become a 360 service company by 2020, challenging the majors head-on. Outside of music, we’re expanding Ditto Coffee globally alongside our own range of beverages, including Ditto gin, Ditto IPA and Ditto cider launching Spring 2019. Beyond that and our blockchain projects, you will continue to see a more visible Ditto presence as we expand the brand into all aspects of life that excites us.

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BUSINESS

Coffee & Counsel with

Adonis Michael Reflecting on the evolution of the modern office over coffee with Michael Rose & Baylis director, Adonis Michael words by Adonis MICHAEL

P

icture the scene, an oxblood chesterfield armchair sits behind a green leather top desk surrounded by dark panel wood furniture. A silver-haired exec in a wide pinstripe suit calls his secretary in to dictate a letter for him while an exhausted, petrified, junior lawyer working an 80-hour week sits attentively at his side for instructions on the next task. Outside there are 15 more desks of tired and stressed individuals tapping away frantically. And there you have it: The classic office. Luckily, those days are already over, or at the very least, they’re dying out. But as we move forward to the next generation of office spaces, what are we likely to find?

Traditionally, the focus has always been on the Gordon Gekko type character as the focal point of a corporation. A Wall Street-esque figure at the helm, orchestrating and ruthlessly driving things forward. Of late, however, we’re seeing a move towards the idea of teams working together in a happy, engaging environment where high achievers produce great things. And for this to be effective, it is the wellbeing and happiness of employees within any organisation that become paramount.

The facts speak for themselves – a happier workforce is a more productive one. There is a direct correlation between the two, and the big corporations already realise this. What makes people happy? Well, Plants do. So does natural light. Small steps, but studies have shown that, time and again, natural light and greenery reduce stress whilst boosting positivity, creativity and performance.

This will bring to our offices of tomorrow more outdoor spaces, more roof and indoor gardens and, perhaps, more glass. Offices 10 years from now will be environments where individuals are happy to spend most of their day, a place where people can interact, or detach themselves if they so choose. Offices will provide different environments for different phases of work and to suit different people.

Naturally, there may always be traditional desk spaces, but the same offices will also be furnished with bean bags or giant balls for seats with people using VR headsets. There will be break out rooms or sensory deprivation cocoons to help you clear your mind and step back. There will be open-plan, social, co-working spaces that encourage collaboration.

The choice will be yours. Providing you are hitting your all-important OKRs (Objectives and Key Results).

We only need to take a glimpse at what Google and Apple are doing to get an idea of what the future holds. Of course, not every company can create something like ‘Apple Park’, but I expect there to be a trickle down, and we will see versions of this on our doorsteps very soon. I foresee more integrated services such as childcare facilities, dry cleaning services, hairdressing, banks, yoga classes and gyms. I also hope to see more regulation in the workplace, a bigger emphasis on physical and mental wellbeing: lighting, screen hours and comfort will all be monitored as will people’s personal stress levels.

I expect the next few years will finally spell the end of the nine-to-five. Death to the traditional working day will come with the widespread implementation of ‘agile working’, which won’t just mean the ability to work from home but also more flexible working arrangements, the ability to work in other locations and purchase additional leave.

I’ll leave you with this: I think the biggest message for companies to take on board for the next five to ten years is to invest in your people, and you know what? Buying a few plants for the office can’t hurt either. AM

'...studies have shown that, time and again, natural light and greenery reduce stress whilst boosting positivity, creativity and performance.'

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The Essential Journal | Issue 41

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