style
column
survey
lifestyle
drinking
Ben Sherman turns up the volume with PRS
Matthew Gonzalez talks us through the perfect jacket
We reach out and discuss the concept of style
James Scroggs on the soundtrack to his life
Throwing the perfect Martini at The Connaught
page 20
page 23
page 33
page 37
page 46
In pursuit of a quality lifestyle
Issue 45
Evolving or eternal? Timeless or trending? We delve into the multiple facets of personal style
www.essentialjournal.co.uk
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Middle Eight Columns
Contents
23 | TAILORED THOUGHTS ON HOW TO BUY A SUIT PART I
Huntsman Cutter and resident Essential Journal columnist, Matthew Gonzalez, offers up some advice on buying the perfect waistcoat
23 | A CUT ABOVE
Ian Harrold ponders the intricacies and idiosyncrasies of personal style
39 | AT THE PASS WITH TOMMY BANKS
This month Tommy discusses the finer points of food-based style
8 | THE PRIMER A rundown of the places we’ve been, the films we’ve seen and the books we’ve enjoyed this month 10 | AN EXTRACT & BOOKS FOR THE MONTH AHEAD Pedro Baños lets us in on the unwritten rules and hidden power plays of geopolitics 13 | FROM CASK TO COAT We take a closer look at the inspired collaboration between menswear designer, Kestin Hare and whisky distillery, BenRiach
16 | MEET THE LOCALS SEVEN WOLVES, NORWICH Getting a lay of the local land from Nick Snell, Director of independent store, Seven Wolves
STAND OUT
Tessuti celebrate personal style with stand out power couple, Elliot ‘Example’ Gleave and Erin McNaught
51 | ARCHITECTURAL THOUGHTS ON INSTAGRAM This month, our resident architectural columnist, Róisín Hanlon looks at the works and philosophies of the award-winning integrated design practice, Snøhetta
16 | THE 'S' WORD WITH OLIVER SPENCER This month, we chat with Oliver Spencer’s Head of Sustainability, Bleue Burnham, about the slow but steady road to ethical style 19 | THE JEWEL IN THE CROWN David M Robinson continues its 50th anniversary celebrations by basking in the heritage of the Betfred British Masters
FEATURING INTERVIEW WITH EXAMPLE We catch up with Example to talk style, music, and the perks of working alongside your wife
54 | COFFEE & COUNSEL WITH ADONIS MICHAEL Michael Rose & Baylis director, Adonis Michael ponders the formalities and informalities of dressing for the office
RALPH LAUREN: THE DESIGNER BEHIND YOUR FAVOURITE DESIGNER Achieving the American dream, stitch by stitch
CONTRIBUTORS Adonis Michael Agostino Perrone Arran Cross Babeheaven Bleue Burnham CHILDCARE Dan Harvey Elliot Gleves Erin Mcnaught Fern Merrills Ian Harrold Jaime Bartlett James Scroggs
PUBLISHERS Singleton Publishing Life Matt Lovell Matthew Gonzalez Nick Snell Paris Youth Foundation Rob Hampton Róisín Hanlon Ten Fé Tom Sands Tommy Banks
20 | IN THE GREEN ROOM WITH BEN SHERMAN The brand’s partnership with PRS is set to turn up the volume on some truly spectacular acts 24 | HANDSOME HOME, SCENT SUBLIME Award-winning candle makers, Owen Drew, take us on a journey of the senses with their first foray into perfume
THE ESSENTIAL GUIDE TO BRISBANE Our guide to getting around the Capital of Queensland like a true Brisbanite
37 | ‘THIS ONE’S OPTIMISTIC’ CALM’s James Scroggs meditates on the music that has soundtracked his life 40 | THE RECIPE IRANIAN HERB FRITTERS Compliments of Yotam Ottolenghi, SIMPLE & Rovi 41 |
14 | MEET THE MAKERS TOM SANDS We sit down with expert luthier, QEST Scholar, and John Smedley Ambassador, Tom Sands, to discuss his ongoing pursuit of guitar making perfection
Essential Journal x Tessuti
33 | REACHING A CONSENSUS STYLE We reach out to those in the know to get their thoughts on the concept of style
PEARLS OF LONDON: THE OYSTERMEN Serving up passion and provenance without the pretense
43 | DOWN FROM LONDON The La Marzocco Southern Roadshow continues with a stop off at Cliftonville coffee shop and allround social hub, Cliffs 45 |
HIGH SPIRITS SPOTLIGHT RUM This month, Master of Wine, Dawn Davies helps us to navigate the world of rum
46 | DRINKING WITH THE CONNAUGHT, LONDON Standing at the vanguard of the London cocktail scene, The Connaught has spent ten years turning the classic hotel cocktail bar into a repertoire of rich narratives 51 |
A FEAST FOR THE EYES We take a glimpse at the winner of the Pink Lady Food Photographer of the Year Award, an ode to Chinese mythology
53 | HIVE RISE Exploring the importance of style as a means of environmental change with Norway’s foremost integrated design studio, Snøhetta
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EDITOR Will Halbert - w.halbert@singletonpublishing.co.uk STAFF WRITER Elliot Ramsey
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FRONT COVER John Smedley
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
web www.essentialjournal.co.uk Issue 45 | The Essential Journal
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publication. All rights reserved.
5
N I C H O L AS S I N CLA IR RAPPER
B USH Y MU SI CI AN
TO M R AVEN S C R O F T D J & B R OA D C A S T ER
JA ME S C H UT E R ARTI ST
108 COMMERCIAL STREET LONDON
50 CARNABY STREET LONDON
BENSHERMAN.CO.UK
00067 - Essential Journal Series Icons.indd All Pages
8 MANESTY ’S LANE LIVERPOOL
LINK STREET BIRMINGHAM
13/05/2019 11:49
THE PRIMER
FIVE-IN-FIVE
‘Style is knowing who
Short but sweet Essential
you are, what you want
Journal Favourites
to say, and not giving a
MUSIC
A note from
When it comes to
the editor
questions of style,
Image: Ed Taylor
damn.’ - Gore Vidal
confusion abounds.
The Night Café - Please Throwback to noughties indie pop
Style is, after all, complex in its sim-
What We’ve been Picking
What’s on our Coffee Table
Rhubarb
This Storm (Penguin: William Heinemann)
This month we headed over to Tomlinson’s Farm in Pudsey, West Yorkshire to lend a helping hand in picking the year’s first crop of raspberry rhubarb. Farmer Robert, at the helm of his fourth generation family farm, grows several varieties and supplies the crop to Square Root Soda, a drink’s company based in London, which they use to produce their seasonal rhubarb soda. The finest quality raspberry rhubarb goes into their sodas, with no chemical additives, resulting in a sweet, refreshing and balanced drink grown from uniquely British ingredients.
The second installment of his second L.A. Quartet series, James Ellroy’s latest novel begins in the aftermath of Pearl Harbour and paints a damning picture of a society in a state of unrest. His masterful prose superbly captures the mood of 1940s Los Angeles, unsettled by the presence of Nazis in its streets and overlaid by the impending internment of Japanese-Americans. Featuring all the hallmarks of a classic noir thriller, this gritty novel’s characters are sat on the cusp of immorality, straying frequently into the realm of corruption and warping beyond measure our conception of good and evil.
plicity. One thing is for certain: style doesn’t end with the way you dress. As a matter of fact, it barely begins with the way you dress. Style is not your morning coffee order, but it is your morning routine. It’s not your best foot forward, but it is the way you walk. Style is heard in the words you
PODCAST
use to fill empty spaces in conversa-
Athletico Mince Football podcast turned eccentric chat-show
tion. It’s also heard in the words you don’t use to fill empty spaces in conversation. Style does not come down to the whisky you drink, but how you
@geometryclub Architecture and geometry align
treat the bartender when you order it. Style isn’t something you either have
TV
or you don’t. It’s something you have whether you like it or not. It’s a self truth. Inalienable, inevitable, and inimitable. Style is you with your guard down. Style is not, nor should it ever be, an exclamation point. But it is, on occasions such as these, a question mark. With that in mind, consider this issue our attempt to address that very question mark. Enjoy.
A brief but notable aside: We had the honour of placing ‘highly commended’ fat this year's Newsawards. Proving that taking second place is not without a certain style all of its own.
Will HALBERT Editor 8
Where We've been Visiting
What We've been Watching
Ben Sherman’s Carnaby Street Store Reopening
Avengers Endgame
To celebrate the reopening of their flagship Carnaby Street store, Ben Sherman hosted an event in early May featuring a first look at their new collection, as well as a live DJ set from the inimitable Dean Chalkley. The event also marked the opening of Dean’s new pop-up exhibition, Vital Vinyl, a journey through his formidable record collection, accompanied by written accounts of his own personal connection to the music he loves and how it has influenced his life. 5o Carnaby Street, Soho, London, W1F 9QA
The Image Piada Masquespacio (opposite)
Say what you want about the relentless bombast of Marvel’s decade-long, multi-franchise superhero saga, but they sure know how to write an ending. Avengers Endgame provides a cathartic, fitting, and often touching conclusion to an ambitious project. Providing a thrilling climax while also ushering in new and exciting possibilities for future story arcs, this Marvel mashup never crumbles under the weight of fan’s expectations. Which, if we’re totally honest, is a lot more than we can say for the latest series of Game of Thrones. Benioff and Weiss take note: this is how you make an exit.
Line of Duty Police trio expose corrupt coppers
FILM
Pokémon Detective Pikachu You had me at Ryan
The Piada restaurant is a unique Italian gem situated right in the heart of one of Lyon’s most creative neighbourhoods: The Confluence. Well known for its diverse eateries and ambitious, modern architecture, it is well-established as the artistic hub of France’s second largest city. Piada itself, owned by siblings Mathilde and Arthur Plaza who were raised in France by Italian parents, strives to deliver quality Italian street food geared towards a young clientele, and its interior, perfectly complements the menu’s contemporary take on classic cuisine. Inspired by the quirk of 1950s Italian pop culture, Masquespacio combine traditional features such as mosaic tiles and globe lamps with kitsch colour combinations and modern functionality. Gold finishings, potted plants and mirrored surfaces deliver a classic feel of modernity to the space, while neon signs and pastel backdrops bring a Wes Anderson aesthetic to traditional deli design. The Essential Journal | Issue 45
Image credit: p. 045 »Photo Luis Beltrán, from Delicious Places, gestalten 2019« | www.gestalten.com
THE IMAGE
Piada Masquespacio - from the book 'Delicious Places' published by Gestalten
Issue 45 | The Essential Journal
9
BOOKS
Books for the month ahead
An Extract
How They Rule The World: The 22 Secret Strategies of Global Power Pedro Baños lets us in on the unwritten rules and hidden power plays of geopolitics words by Pedro BAÑOS
How they Rule the World by Pedro Baños. Published by Ebury Press is out now
T
he contemporary political landscape is one in which certain forms of public discourse are tolerated or prioritised over others. Media organisations with vested interests report on current affairs with varying degrees of bias, and the internet has become an anonymised zone in which people have the power to express their opinions without fear of public ostracisation. As the below excerpt shows, this international bestseller from Pedro Baños (newly translated by Jethro Soutar) explores sociological theory, the nature of public opinion, and the ways in which these opinions can be controlled in order to shape a narrative of mainstream consensus. EJ
The Spiral of Silence The spiral of silence theory remains as valid today as when it was first outlined by German political scientist Elisabeth Noelle-Neumann in 1977. She understood public opinion as being a pre-determined and self-serving vision of reality that is imposed upon a society; individuals have no choice but to follow the dominant attitudes of the day, even if their way of thinking is at odds with it. According to Noelle-Neumann, social pressure has such a strong grip on people that few dare to have different opinions from those that are dominant, out of fear of being ostracised or marginalised. Her central argument is that, in a society where unconventional or politically incorrect opinions are systematically silenced by the media, it is the individuals themselves who, seeing that their opinions aren’t reflected, choose not to express them in public, so as not to risk social exclusion. This phenomenon had previously been explored by Alexis de Tocqueville, one of the fathers of classic sociology, in considering attitudes towards the church in mideighteenth-century France: ‘Those who continue to believe in the doctrines of the church are afraid of being left on their own with their faithfulness and, fearing society more than error, declare that they share the opinion of the majority.’ According to Chilean journalist Rubén Dittus, the spiral of silence can be summarised as four basic assumptions: society threatens to marginalise any individual that strays from the mainstream; people are innately afraid of being isolated; as a consequence of this fear, they seek to latch onto popular opinions; and as a result of these calculations, they adjust or repress their own opinions. This leads people to express what they really think in more indirect ways. One of these today is commenting on online news stories. In this virtual and anonymised space they feel able to say things they dare not express anywhere their views might be overheard or recorded. It can be interesting to analyse how others react to these outpourings of unfiltered opinion. The obvious conclusion is that public opinion differs considerably from what might be as - sumed to be the majority view. The other conclusion is that there is a rare sincerity to these comments, which are made anonymously and without fear of stigmatisation. They perhaps provide some indication of how afraid people are to say what they think in societies that are supposedly democratic and free. This situation has practical repercussions, as the outcome of recent elections and referenda in a number of countries has shown. Mainstream media outlets expect a certain result, find polls to back it up – and are then surprised by the actual outcome. Shocking results can occur when people vote not for the choice that was being imposed on them, but for what they actually want, safe in the knowledge that their opinion will remain confidential. PB
Marc Jacobs Illustrated by Marc Jacobs A celebration of the innovative fashion designer Marc Jacobs, this brand new monograph follows his incredible career through three decades, from his infamous 1993 Perry Ellis Grunge collection through to his current Spring/Summer 2019 clothing line. Featuring illustrations from American Vogue’s former creative director Grace Coddington, Jacobs’ iconic looks are brought to life on the page, complemented by his own reflections on his artistic inspiration and cultural influences. Marc Jacobs Illustrated (Phaidon) is available now
Do Pause by Robert Poynton In a world where our value is determined by our productivity, when do we find the time to pause? Robert Poynton’s incisive new book muses on the importance of pausing to our personal wellbeing, and meditates on the power of reconnecting with ourselves and others. He offers practical advice on how to recalibrate our understanding of work-life balance and encourages us to make a little more time for pauses in our lives. Do Pause (The Do Book Company) is available now
The Way of All Flesh by Ambrose Parry
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The Essential Journal | Issue 45
Find out more at johnsmedley.com/discover/legacy
s d n a S Tom r e i h Lut X y e l d e m S n h o J
View our collections at: 55 Jermyn Street, London, SW1Y 6LX | 24 New Cavendish Street, London, W1G 8TX | 24 Brook Street, London, W1K 5DG | johnsmedley.com
STYLE
an exclusive summer event, in a unique setting, celebrating the world of speciality coffee, food and drink. featuring the roasters village, interactive workshops, dining experiences, panel discussions, competitions, live music and much more.
tonbridge castle, kent
ootb19.eventbrite.co.uk 12
The Essential Journal | Issue 45
Image Credit: Matthew Wiseman
STYLE
From Cask to Coat We take a closer look at the inspired collaboration between menswear designer, Kestin Hare and Speyside whisky distillery, BenRiach words by Elliot RAMSEY
F
or his latest collection, A Summer on Speyside, Kestin Hare has teamed up with the BenRiach whisky distillery, based in the renowned Speyside region of Scotland, to produce five fresh, heritage-inspired garments. All uniquely influenced by the traditional distilling methods of BenRiach and the architecture of the area, this unconventional collaboration marks the celebration of two uniquely Scottish creations. Founded in 1898 by John Duff, the BenRiach distillery has a rich and varied history, and is one of two remaining distilleries in Speyside that uses malted barley from its own on-site floor maltings. With these distinct methods at the heart of its practice, it is now well known for producing some of the most experimental casks in the area, through its novel and creative approaches to the distillation process. As a relatively young brand, Kestin Hare was established in 2014 with the clear aim of producing high quality, wearable fashion for the modern man. Part of its mission is to champion the quality and character of UK manufacturing, all the while capturing the quirks and peculiarities of Hare’s native Scotland. Using the finest British, Japanese and Italian cloth, the brand strives to push the boundaries of functional, concept-driven fashion. Conceived with the landscape of Speyside in mind, the collection follows a pastoral colour palette inspired by the golden sand and green grass found within the area. This is a love letter to the region’s natural beauty and a homecoming, reflecting on summers spent revelling in the charm of its unspoilt environment. Influenced by golfing and fishing attire, the collection takes the best of what BenRiach represents and translates it into a series of garments inspired by history and characterised by a sense of Scottish pride. Featuring five new garments including the Shop Coat, the Torness Parka and the Traveller Jacket, Hare’s latest collection is produced in conjunction with Dundee-based fabric mill Halley Stevensons, who dye the clothing using traditional techniques to represent the hues of BenRiach’s Curiositas Aged 10 Years and the unpeated four cask matured Aged 21 Years. Also taking inspiration from the distillery’s eclectic whisky casks, Hare has created a digital cask print which is featured on the lightweight ripstop nylon of the Fatigue Short and the Storr Pant. A Summer on Speyside has functionality at its heart, using water-resistant fabrics to strike the perfect balance between durable fashion and timeless, minimalist design, and as Hare himself notes: ‘We have developed a high impact capsule collection which reflects real depth and meaning to the story’. But, ultimately, what ties together these two uniquely Scottish brands is their common ethos of striving to produce a product as much inspired by history as it is committed to the pursuit of quality and integrity. EJ
'Conceived with the landscape of Speyside in mind...This is a love letter to the region’s natural beauty and a homecoming, reflecting on summers spent revelling in the charm of its unspoilt environmen.'
Issue 45 | The Essential Journal
13
ESSENTIAL JOURNAL X JOHN SMEDLEY
Tom wears Oxland Jacket £330 available from www.johnsmedley.com
Meet the Makers
Tom Sands We sit down with expert luthier, QEST Scholar, and John Smedley Ambassador, Tom Sands, to discuss his ongoing pursuit of guitar making perfection words by Will HALBERT
How would you describe your craft? Bespoke steel string acoustic guitar making - or, lutherie. What is your favourite part about what you do? Getting to know my clients, exploring new materials, pushing the boundaries of design. How did you begin your career? When I was 17, a friend wanted to build a bass guitar for a Design and Technology A level project. I’ve always been a maker of things, and I agreed to help him make the guitar in exchange for bass guitar lessons. So that was my real introduction into guitarmaking, although I had no idea it was a feasible career that people did. So, after studying Product Design at the Glasgow School of Art, I trained as a cabinetmaker specialising in high end bespoke furniture. I left my job when I felt unsatisfied with the disconnect between myself and the clients I was making for. Having discovered that there were people all around the world who made high-end guitars for a living, I wrote to the very best of them and secured an apprenticeship with the ‘king’ of guitarmaking, Ervin Somogyi, in Oakland, California. How long have you been doing it? I started my guitar making apprenticeship in 2014, and finished it two years later. I’ve been running my own business in the UK since I returned from California.
14
What other Craftspeople stand out to you most and why? Joseph Walsh, for pushing the boundaries of his medium and straddling the craft world and the art world. Did anything in particular inspire you to start your craft? My own experience as a player, as well as my inherent love of making things - especially things as intimate and valued as a guitar, made to the client's needs. Do you work with any other craftspeople to create your products? I often work with Keith Robson, who manufactures high-end tuning machines that are later installed onto my instrument. What is your criteria for working with fellow craftsmen/women? They must be either at the top of or aspiring to be at the top of - their craft. They must be innovative and push their field of craft forward. They must live and breathe their craft, like I do. What is the hardest part about what you do? Managing a client’s expectations is very tricky. There is no universal language for ‘sound’, and so when somebody comes to me with a particular sound in mind, it’s hard to know that you have fully understood what they have communicated to you.
The Essential Journal | Issue 45
We’ll be helping John Smedley celebrate its 235th birthday with a year-long look at its dedication to superior craftsmanship in all of its wild and wonderful forms. johnsmedley.com
ESSENTIAL JOURNAL X JOHN SMEDLEY
World (Class) Heritage
What makes your craftsmanship most rewarding? Delivering a finished guitar to the client and seeing their appreciation. What has been the most important learning curve for you? Patience. Definitely patience. Have you had any major pitfalls to overcome to maintain your craft? Recently, the person who lacquers my guitars fell ill with a problem with his eyesight, and was subsequently unable to work on my instruments. Since I had clients expecting a guitar within a deadline, I had no choice but to find someone else to do the job. I
'I always say part of what I do is build guitars and the other part is build relationships, and my clients all tell me they agree with this analysis' tried three different people on three different guitars. One of them absolutely destroyed my careful woodwork on the headstock of one of them, and it took several days to fix it, during which I wasn’t sure it was going to be possible. This was a real setback, but having fixed it, it represents a valuable lesson. I will now be building my own spray booth to ensure I have security next time. Has your craft evolved into other/ new skills over time? I am constantly working with new and different materials, which require different practice; for example, copper within my rosette designs. How would you describe a day in your role? Half of my time is spent running the business, half is spent making guitars. The other half is training my assistant and putting out fires. The remaining quarter is playing with the dog. What are the biggest challenges you face in what you do? Guitar making is enormously stressful. Sometimes you have to drill through a completely finished guitar, to install something like a pickup, and it can be absolutely terrifying because one wrong move and the entire build will be ruined. As well as this, keeping a head above my competition is a real challenge, but it keeps you going. How have you stayed passionate and inspired by your craft? Each guitar I make teaches me something, because I push boundaries on each. And, I love what I do, and it’s a constant struggle to be able to do what I do for a living - so that’s
Issue 45 | The Essential Journal
another part of what keeps you motivated. You have to. What made you choose this career and to work in this industry? My love of making, and of the guitar.
With 235 years of continuous production under its belt, John Smedley proves time and time again that it’s got the staying power to succeed in a diverse and ever-evolving market
What are the main projects you are working on now? I’m working on a batch of six guitars; most are bespoke for clients who have ordered them, but one is for a world-class demo guitarist of mine, and one is for a guitar dealer in Singapore. How would your customers describe your craft? One client described ordering a guitar from me as ‘really about the relationship’. I always say part of what I do is build guitars and the other part is build relationships, and my clients all tell me they agree with this analysis of what I do. What are the accomplishments within your work in craftsmanship that you are most proud of? Forming a relationship with one of the top guitarists in the world, and designing and building a signature guitar for him. How would you describe your company/business in 3 words? Progressive, holistic, luxury. How does working with QEST support you/your craft? QEST’s support enabled me to go to California and take up my apprenticeship there.
words by Elliot RAMSEY
H
aving continually produced their textiles at their Lea Mills factory in Matlock, Derbyshire since 1784, John Smedley has a unique claim to heritage and a manifest passion for producing quality, quintessentially British knitwear. Recently, the brand have taken to renovating a collection of vacant cottages on the site of its mill. Originally built to accommodate the company’s employees, John Smedley is breathing new life into its home by restoring the estate to its former glory, re-using original materials to maintain the distinctive identity of each building. As a World Heritage Site and with a claim to being one of the world’s longest running factory sites, the restoration of their Grade II listed cottages mirrors the ethos behind the brand’s clothing and speaks to its desire to couple old with new. EJ
How would you describe John Smedley? Quality clothes for life. Do you have a favourite John Smedley piece, if so what? Black Zachary Roll Neck. To brave the Yorkshire winters. What are you most excited about for the future? To see my assistant complete her first guitar under my guidance. Find out more and how you can be apart of it at johnsmedley.com/discover/legacy 15
ESSENTIAL JOURNAL X OLIVER SPENCER This year we have teamed up with the Lambs Conduit St. based designer to follow his efforts in becoming a more sustainable outfit oliverspencer.co.uk
Meet the Locals
Seven Wolves Getting a lay of the local land from Nick Snell, Director of independent Norwich store, Seven Wolves
What is your city’s best kept secret? I’m not sure it’s much of a secret anymore, but The Plantation Garden, is a real hidden gem. It’s an old, Victorian garden that fell into disrepair after the Second World War, but it’s since been restored and it’s pretty glorious. Well worth a visit. Where’s the best place to get your morning coffee? Strangers Coffee Co. is a must if you’re into your coffee. It’s an independent, artisan coffee shop that roasts its own speciality coffee. They’ve also got some great homemade cakes. Hard to go wrong, really. Any good food spots that you’d recommend? Wow, how long have you got? There’s Brick Pizza for all your pizza needs, Wolf and Social offers a more communal, small plates vibe, while Jive Kitchen hits the spot if Mexican is more your thing. Then there’s Blue Joanna, Artel, Cafe 33, Hickman’s. Honestly, I could go on! Where’s the best spot for a post-work drink? There are a few good spots. Redwell Brewery is great for a little evening beer and The Birdcage is great if cocktails are more your thing. The Bicycle is perfect if you want a couple of tapas with your after work tipple, too. Any must-see monuments, buildings, installations or works of art we should check out while we’re here? You can’t beat the classics: Norwich Cathedral and Norwich Castle are two wonderful spots for a little Norwich history. The Sainsbury Centre for Visual Arts is a must too, if you're looking for something a little more contemporary. Have you noticed a shift towards a more sustainable way of living in your city? Where? Oh for sure. There’s a huge upsurge in vegan living and greener shopping in Norwich nowadays. You’ve got the likes of Resource, for example: A zero waste supermarket. And then there’s The Greengrocers store which has sustainability at the very core of what it does. It’s nice to see the whole thing gaining traction. Is there a particular neighbourhood or area that’s transforming for the better? Or any other coming-soon moments that you're looking forward to? Norwich is an ever evolving hub for independently minded movements, it’s honestly getting better by the minute. The forthcoming Wild Paths Festival is definitely something to look forward to, coming this October. Do you have any personal favourite items from the new Oliver Spencer Spring Summer 19 line-up? The Cowboy jacket in Evering Stone is a strong contender for me. It’s a nice blend of smart casual, almost like sartorial workwear. The linen has a really nice, slubby texture to it, too. It has tonnes of character, and it will only get better with age. @sevenwolvesmen | 4 Bridge Street, Cambridge, CBA 1UA 16
The 'S' Word This month, we chat with Oliver Spencer’s Head of Sustainability, Bleue Burnham, about the slow but steady road to ethical style words by Will HALBERT
O
ver the last few months, we’ve extolled the virtues of Oliver Spencer’s singularly sustainable approach to style. We’ve waxed lyrical over the brand’s forward drive for a fashion industry that doesn’t cost the earth, and we’ve even managed to delve into the myriad of eco-friendly materials that make it all possible. This month, we look to the man behind many of those efforts: Oliver Spencer’s Head of Sustainability, Bleue Burnham. Over the course of the last three years, Bleue has helped to solidify the moral, ethical and philosophical positioning of the Oliver Spencer brand. He has done this by striving to develop a measured and honest sustainability strategy that encompasses everything from fabric selection to energy production, packaging methods to repairs facilities. As a result, Oliver Spencer has made quite the name for itself as a slow fashion brand that has quietly but confidently pushed the boundaries of the sustainability sector. But where did it all begin? For Bleue, it started on the shop floor of Oliver Spencer’s Lambs Conduit Street store. ‘I have always been into clothing and style in general,’ says Bleue. ‘So working on the shop floor for a brand I was already a big fan of felt like a natural first step. From the shop floor, you learn a lot about product; how people engage with clothing when shopping and the retail calendar. The shop floor of our Lambs Conduit Street store is very unique as our head offices are just below both stores.’ Having both the shop floor and head office in such close proximity allowed Bleue to understand the Oliver Spencer brand from the ground up. Contact with every facet of the business not only proved vital to Bleue’s understanding of how the brand ticks, but also afforded him clearer insight into the sustainable vision that Oliver Spencer was working towards, the challenges he faced in its realisation, and the mark he was looking to make on the industry in the long run. ‘The company has the perfect positioning for positive progress because everyone here cares about the impact we have,’ says Bleue. ‘I studied environmental sustainability at university. And after working for Oli in the shop for a few months I put together a proposal of how I thought we should move forward.’ Oli agreed, and the rest is history. ‘Over the last couple of years,’ Bleue recalls, ‘we have transitioned just over a third of our collection to use low footprint fabrics such as organic cotton and European linens, we now power all of our stores and our head office from renewable energy, we have reduced our packaging footprint by 36,000 kg per year, we have planted 300 trees with the Woodland Trust and we have tried to engage our customers and anyone who is interested on what we are doing and why it's important.’ These are far from the non-committal, commercially-driven baby steps of a brand trying to ride on the coattails of the fashion sea-change, these are genuine, heartfelt leaps into the great unknowns of environmentally sustainable fashion. It’s a scary place to be. But with people like Bleue on its side, Oliver Spencer is finding its way with a surprising openness and an unwavering confidence. ‘There isn't a golden position for us, it's a process of continual development’ says Bleue, suggesting that, for all the progress made so far, Bleue and the gang are just getting started. EJ
'...we now power all of our stores and our head office from renewable energy, we have reduced our packaging footprint by 36,000 kg per year, we have planted 300 trees with the Woodland Trust...'
The Essential Journal | Issue 45
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Issue 45 | The Essential Journal
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STYLE
The Jewel in the Crown David M Robinson continues its 50th anniversary celebrations by basking in the heritage of the Betfred British Masters words by Elliot RAMSEY
Diamond Necklace, worth, £20,000 was donated to the tournament
Issue 45 | The Essential Journal
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his year’s Betfred British Masters, which took place from the 8th to the 12th of May at the Hillside Golf Club in Merseyside, was a particularly special occasion for its official supplier, David M Robinson. This year, the jewellery designer and manufacturer, founded in Liverpool in 1969, celebrated its 50th anniversary, and had several pieces from its exclusive collection feature prominently throughout the tournament to commemorate the company’s rich history. The family-run business, renowned for producing and stocking some of the finest jewellery, has dedicated itself to high quality craftsmanship since its founder was first developing his expertise five decades ago in a small Liverpool workshop. The recipient of two De Beers Diamond International Awards, received in 1964 and 1969, respectively, DMR is a company dedicated to tradition, innovation and artistry in design. A stockist of luxury timepieces from Rolex to Omega and TAG Heuer, the brand are also loyal to the principle of creating bespoke pieces, peerless in quality and personalised to the wearer. David Robinson himself trained each of his employees to consider the story of each item of jewellery, and this has given the company a keen focus on producing both the very finest in hallmark and heritage. Playing a starring role throughout the Masters tournament, DMR donated a variety of luxury prizes for the event’s Pro-Am, including vouchers to spend in the brand’s four UK showrooms and an elegant diamond necklace, valued at £20,000, for the player with the most combined birdies and eagles. With Southport-born golfer, Tommy Fleetwood stepping up to host and DMR as its official supplier, this year’s Betfred British Masters certainly had a real North West feel, and the tournament’s Merseyside setting only added to the excitement. As DMR’s Managing Director, John Robinson, shared: ‘Currently celebrating a hugely exciting 50th anniversary year at DMR, the opportunity to support the Betfred British Masters taking place on our doorstep was one that we could not miss.’ In the same year as it celebrates its five-decade-long legacy, the company are also in the midst of a period of transition, undertaking a large expansion of their Manchester showroom which will re-open in June after renovations are complete. One of the most important years in their history, DMR are showing that they’re a brand in touch with their roots, but one with their sights clearly set on the future. EJ
'The opportunity to support the Betfred British Masters taking place on our doorstep was one that we could not miss.'
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ESSENTIAL JOURNAL X BEN SHERMAN
Babeheaven
In the Green Room with
Ben Sherman Ben Sherman’s partnership with PRS is set to turn up the volume on some truly spectacular acts words by Will HALBERT
Paris Youth Foundation
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or over 50 years, Ben Sherman has made a strong case for the connection between music and fashion. In the process, it’s become synonymous with some of history’s most vivid and vibrant musical subcultures. The brand’s ongoing partnership with PRS aims to further celebrate the bond between music and style with a series of gigs set to showcase the best in up-and-coming, musical talent. We caught up with Ben Sherman and PRS’s lineup of bands ahead of their upcoming, London-wide gigs this summer to talk style, songwriting and their earliest memories of the Ben Sherman brand. EJ CHILDCARE How did CHILDCARE begin and where does the name come from? CHILDCARE is the brainchild of our frontman, Ed, who used to be one of West London’s most in-demand male nannies before forming the band. How has being born and raised in London informed your music taste? London is one of the most diverse and eclectic cities in the world so you’re always interacting with a wide range of musicians and genres. We pluck inspiration from all over the place; Rich is a techno DJ for example, Emma is a jazz singer and Ed is a ferocious reader which is probably why his lyrics are so interesting. London is also so huge and sprawling that you can create whatever you want without fear of judgement - surely
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someone out there’s gonna be into it! How do your tracks come about? What is the process for making music? Ed tends to come up with the initial idea and brings it to the table for the rest of us to chew on. We then jam over it and work out parts and arrangements. What has been the biggest pinch me moment since starting CHILDCARE? You can’t beat the first time you hear your song on the radio. Headlining the BBC Introducing stage at Reading and Leeds was also top notch; we’re playing the Radio 1 stage there this year which makes for a very exciting comeback. Being chosen as a PRS Foundation momentum artist is an amazing achievement, what do you hope to gain from their funding and support? The money we were kindly awarded by the PRS Foundation is sadly long gone but funded our last headline tour. Without them, we may still be nannying.
PARIS YOUTH FOUNDATION Tell us about the band. How do you all know each other and how did Paris Youth Foundation begin? A couple of us have been friends for 10 years or more, we grew up going to the same gigs and festivals and The Essential Journal | Issue 45
ESSENTIAL JOURNAL X BEN SHERMAN dreamt about doing it ourselves one day. We then adopted a few friends from an amazing music university in Liverpool called LIPA and gave it a go. We released our first song, and a week later we were on BBC Music Introducing as artist of the week and we booked our first ever gig at Reading Festival. Sounds too good to be true but I promise it isn't. We haven’t looked back since. Liverpool has produced so many brilliant musicians and bands. How has growing up in Liverpool informed your music taste? Liverpool is one of the most famous music cities in the world. If you're making music in our city, even if you're unaware of it, the city will be having an effect on you. Music is in the city’s blood. Anyone who is writing music in the city has the city’s history and passion for music flowing through them. The Nights are for Thinking About You, what can you tell us about this EP? What is something you haven’t told anyone about this EP? We've been working hard on it for a long time and now it's out we're so proud of it. It's four songs that tell a story of a long distance break up and all the silly things we do for love. If you know our band at all, you know we love a sad song and this EP is no exception. I keep saying that I wanted to write sad songs but not conventional ones so I keep describing them as sad songs you can dance to. Something I've never told anyone about this EP is that I wrote ‘I Can't Keep up With Your Love’ (which is the last song on the EP) three days before we went in to record it.
CHILDCARE
You will soon be playing at the Ben Sherman store on Carnaby St, what draws you to working with the brand? It's one of the most iconic brands in the world. I don't think there's anywhere in the world that won't have heard of Ben Sherman. We all grew up wearing the brand, and for us to be asked to work together with them is a massive deal. We can't wait to test our new Ben Sherman stage wardrobe out. What does Ben Sherman mean to you? Ben Sherman means tradition and history to us. It's been around forever and will be around forever. It's a staple in anyone’s wardrobe and everyone at one point in their life will have owned something Ben Sherman. We're very proud to be working alongside such a prestigious brand. Being chosen as a PRS Foundation momentum artist is an amazing achievement, what do you hope to gain from their support? PRS have helped us out dramatically. We probably wouldn't be answering these questions without them. They give us the financial stability and backing to pursue our dream. We are able to tour the country without worrying about the boring aspects of petrol and van hire and concentrate on the important part the music. We will be eternally grateful to them.
TEN FÉ How has being born and raised in the UK informed your music taste? Sitting on the top deck of a Birmingham bus, watching the rain droplets dribble down the window with the grey pavements below me listening to ‘I Wanna be Adored’ over and over again as I came home from school. Or going up to the Licky Hills to eat mushrooms and listen to Led Zeppelin 1, feeling my brain evaporate. My first pint of Guinness and Black in a Sikh pub in Handsworth. Dancing round the back room to Bhangra with my mate's uncles. It has all informed everything I understand about music. Ten Fé is on tour right now, what’s the best thing about going on tour? Seeing other cultures and people. It's a total privilege. I have no time for anyone who complains about life on the road. We've just had lunch in Mikulov, right on the border between Czech Republic and Austria on the way to our show in Prague tonight. There's a enormous monastery on the hill above the town and the skies here are massive and Oyster Card blue. It beats Subway on Seven Sisters Road, where I usually am at this time on a Friday. I love it all. Ten Fé is a very trendy band. What are your influences when it comes to clothing style? Trendy. Well, if you say you so [laughs]. We love clothes, definitely. We're always on the hunt for vintage shops whenever we get into a new town. I don't really buy new clothes. When it comes to style - I think it's pretty simple: pick someone you like the look of and copy what they wear - John Lennon, John Wayne, John McDonnell - there's no shame in it.
Issue 45 | The Essential Journal
Ten Fé
Just don't overthink it. You will soon be playing at the Ben Sherman store on Carnaby St, what draws you to working with the brand? I'm not a mod, but it's always struck me that Ben Sherman had integrity and a strong identity ‘cos of its association with the mods. In terms of working with brands in general, I'll always be up for working with a clothing one, just feels more personal. What does Ben Sherman mean to you? It's Britishness. And like I say, its association with the mods. Being chosen as a PRS Foundation momentum artist is an amazing achievement, what do you hope to gain from their support? We're gaining a lot. The tour of the States we just did - spreading the Ten Fé message and eating all those hamburgers - wouldn't have been possible without PRS support. They also sorted us a Spotify partnership - which is wicked too. Anyone who helps spread the message of this band gets a massive hug from me - so thanks all!
BABEHEAVEN How did Babeheaven form? We’re childhood friends, we met through playing football in Hyde Park on weekends with our families and started hanging out and making music after working on the same street for a few years. Where did the name Babeheaven come from? It came from just trying out a lot of names one night at a party, and then finding Babeheaven pretty funny, we had a song we wanted to upload so we just used it without really thinking about it too much. We will be releasing a bigger project towards the end of the year! Fashion and music have always been aligned, how does music influence the band’s style and vice versa? My own style has always been influenced by the music I listened to when
'Ben Sherman always related to kind of any indie rock moment of my life and reminds me so much of my teenage years.' I was growing up and also by my parents. I love the R&B aesthetic - bright colours, big jeans - but I don't think I take it all the way. Living and growing up around a market means we have always been able to find great vintage clothes, so I mix that in too to create a style that is my own. We are naturally very interested in fashion and have a lot of friends in the fashion world, so our style (and music) is mostly influenced by our London lifestyle and local community. Growing up in the 90s and 00s, what does Ben Sherman mean to you? Ben Sherman is a heritage brand- I had a jacket when I was growing up and have always loved the knitwear and cardigans. Ben Sherman always related to kind of any indie rock moment of my life and reminds me of my teens. Being chosen as a PRS Foundation momentum artist is an amazing achievement, what do you hope to gain from support? It’s amazing and can help us to tour and build our fanbase and continue to create the music we want to be making.
is how we formed. What projects do you have coming up this year that you can tell us about? LP number 2 is slated for release later on this year - we can’t wait for it to be out there. It’s honestly the best thing we have ever done and it will be a proud moment come release day. A first taste is available now through Moral Fibre (our first single off this body of work) - go check it! LIFE’s music is constantly talking and analysing the society we live in. What is your message? We believe in music and that music is the best and quickest way of escapism and finding comfort. As a band, that’s the most important aspect of creating music. In terms of social commentary we very much write about the present, the here and now of what’s going on around us and how our community work shapes what we see and describe in our lyrics. We would never shy from commenting on our own personal strife or that of vulnerable young people around us as we strongly feel music doesn’t need to be filtered but instead help improve dialogue around certain matters. What are 3 items of clothing each of the band couldn’t live without? A good suit, essential life wear; Proper socks, not too thick not too thin and with a little bit of style; Blue French smock and worker jackets. In your eyes, what does Ben Sherman stand for? Ben Sherman is all about the essential, tailored suit. A real British fashion look that bangs constantly over time. I had a Ben Sherman bag all through school for my football kit.
LIFE Tell us about the band. How do you all know each other and how did LIFE begin? We met when we were kicked out of heaven. When we landed in Hell and then broke out with hockey sticks and marigolds to form a collective at the epicentre of planet earth. A place called Hull. Hull is a community and DIY led city that once told the king to go f*ck himself. I’m pretty sure this
Being chosen as a PRS Foundation momentum artist is an amazing achievement, what do you hope to gain from their support? The PRS Foundation momentum funding was vital to our trajectory and has played a massive part in our story. It gave us the freedom to release our debut album, Popular Music, in 2017. Before this we just released singles as that’s all we could afford to do. 21
ESSENTIAL JOURNAL X OLIVER SPENCER
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www.spireliverpool.com 22
The Essential Journal | Issue 45
COLUMN
Tailored Thoughts on
How to Buy a Suit Part II
A Cut Above This month, Ian ponders the intricacies and idiosyncrasies of personal style words by Ian HARROLD
This month, Huntsman Cutter and resident Essential Journal columnist, Matthew Gonzalez, offers up some advice on buying the perfect waistcoat words by Matthew GONZALEZ
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ast month, we examined the key features of a well-fitting, ready-to-wear suit. Today, we are going to look at the second garment in our three-part series and explore what to look out for when trying on a waistcoat. Regardless of whether you are buying a two-or-three-piece suit, each garment has to strike a harmony with the others. For example, you wouldn't wear a well-fitted waistcoat with a jacket that is two inches too big in the waist: It would just look disjointed as an ensemble, devoid of any harmony. So, just as we used the lens of contemporary tailoring to examine the fit of a jacket last month, so we shall too, this month, with the waistcoat. The waistcoat is an all-too-often overlooked garment in a man’s wardrobe. Aside from its brief moment in the limelight when Gareth Southgate wore one during the World Cup, it hasn’t been given much attention. While it seems pretty straightforward, it’s actually a very difficult garment to get right. So, when you are trying it on, make sure you look out for the following: Just like the jacket, you don’t want anything that is either too tight or too loose. However, it should feel a touch more snug than a suit jacket. When you button up the waistcoat, you never want to see the buttons pulling when fastened because that obviously means you are not going to be able to sit down without the fear of them popping off under the pressure. If you can, try and take a seat while trying on a waistcoat. It makes sense to do so, because if you work in an office the last thing you want to do is have to unbutton it just to feel comfortable. Let’s face it, the whole point of wearing a suit these days is to exude a sense of refined professionalism, and an unbuttoned waistcoat won’t help you create that image. Another all-too-common mistake men make is the length of the waistcoat. It should always be long enough to more than cover the entire waistband of your trousers. From a tailor’s perspective there is nothing worse than seeing a guy wearing a waistcoat where the back of his shirt is hanging out out like an awkward tail. In all honesty, it would be better to buy a waistcoat that is a fraction too long than one that is too short. While a long waistcoat might throw out your ideal proportions a short waistcoat ruins your entire silhouette, so far as I am concerned, don’t buy it. If you are buying a three-piece suit, think about about how much of the waistcoat is on show when your properly fitting jacket is buttoned up. A rule of thumb that I use with my bespoke clients at Huntsman is to cut it for the ‘V’ of the waistcoat, finished just below the third button down from the top of a man’s shirt. Of course, this can depend on your height and shape, but that is usually a good starting point. The last aspect of the waistcoat to look out for is the back neck. This is something that will only reveal itself as a problem once the waistcoat settles on you, so keep it on for a few minutes and move around in it before you try and spot it. Ideally, you want your waistcoat to fully cover the yoke of your shirt and just slightly overlap the bottom edge of your shirt collar. As you move around, you might notice that the waistcoat slides back quite a bit, and you will see an inch of your shirt. It’s certainly worth keeping an eye out for this. But in all honesty, it is so common in ready-towear waistcoats that if everything else is alright then my advice would be to go ahead and buy it. At the end of the day, it is hard to find an off-the-rack suit that fits perfectly. That is precisely why alteration tailors exist. Keeping an eye out for these finer details when it comes to your ready-towear purchases will help you look your best and feel your best, while also ensuring that you are getting a great suit. As I have said in the past, designer labels are great but don’t limit yourself to the big names. Try on as many suits as possible until you find what cut is right for you. Even in the realm of bespoke, I would much rather buy a suit from some off-label brand that fits than splash out on a big name that doesn’t. MG
'The waistcoat is an all-too-often overlooked garment in a man’s wardrobe.'
'Just like the jacket, you don’t want anything that is too tight or too loose. It should feel more snug than a suit jacket.'
'Keeping an eye out for these finer details when it comes to your readyto-wear purchases will
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ne should either be a work of art, or wear a work of art, says my old pal Oscar Wilde; you can never be overdressed or overeducated; a well-tied tie is the first serious step in life. The truth is, the late, great Oscar Wilde had a lot to say on style, and one hell of a way of saying it, too. But my favourite little pearl of wisdom is this one: Be yourself, because everyone else is taken. Wise words. You see, style comes from a delicate (some might say volatile) blend of self-confidence and authenticity. A well-considered style makes an impression without saying a word; it’s a means of announcing who you are and what you’re about the moment you step into a room. That sounds a little overstated, I’ll give you that, but it’s true. Style is, the very least, a personal uniform. Sure, it’s a canvas upon which you can express your uniqueness and individuality, but there’s also a level of conformity to the whole thing. A strong sense of personal style lends a sense stability, balance and continuity to your day to day endeavours. At its best, style becomes a suit of armour, something that fortifies on those days when you’re off your vibe. It’s a harsh truth, but before people get to know the real you, they’re more apt to judge you by what they see around you wrist or on your feet. For that reason alone, men are more brand driven than they’d like to think. From the Stone Island jacket, to the bespoke, Savile Row suit, to the Rolex watch, it’s the details that make up the bigger picture, and that picture sends a message that’s often louder than words. Of course, there’s more to style than the clothes you wear and the money you spend. Style is a coming together of a number of elements: Grooming, demeanor, manners, you name it. And it’s never set in stone, either. Style changes, but it’s never without its nods to tradition. There’s a reason why the likes of James Dean and Elvis Presley are still icons. By the same token, certain styles only really become available to you at a certain age. Forcing a particular style before you’ve reached the age and acumen to really pull it off will only see you coming off like a walking, talking anachronism. Like I said, it’s about authenticity. That’s not to say that we shouldn’t experiment and push the boundaries a little. After all, it was my other good friend, William Shakespeare, that once told me that all the world’s a stage, and all the men and women merely players. But style isn’t an act. It has to be genuine or it falls flat. If you’re not being true to yourself then the personal uniform thing goes right out the window. Without a little authenticity in the mix you’re just in fancy dress. You could say I’m overthinking things a little. Maybe I am, maybe I’m not. At the end of the day, your personal style is exactly that: personal. But you can’t deny that sends a loud-and-clear message to those you meet on a daily basis. So it pays to really consider what you want that message to be. IH
help you look your best and feel your best.'
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ESSENTIAL JOURNAL X OWEN DREW
Scent Sublime A Award-winning candle makers, Owen Drew, take us on a journey of the senses with their first foray into perfume words by Will HALBERT
Coming soon to owendrewcandles.com
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ll too often overlooked, your choice in perfume is more than an afterthought on a finished look. It’s a nuance of the narrative that is your personal style. An understated little somethin’ somethin’ that elevates your ensemble by transcending the visual, by soaring above and beyond the aesthetic. A well-selected scent betrays both a quiet confidence and a bold statement of intent. Owen Drew, award-winning purveyors of small batch, handmade candles know this all too well. They understand the significance of scent and its ability to move you, its power to evoke memories and moods in equal measure. The latest addition to Owen Drew’s rich repertoire of scents and smells comes in the form of a their signature perfume. The first of its kind for the candle makers, this unisex scent is as well-travelled as it is lovingly crafted. Boasting all-natural ingredients, Owen Drew’s fledgling fragrance is a ground up, labour of love, a layered experience developed alongside a secret, master perfume house in Grasse, France. Top notes of Bulgarian rose otto bring a delicate florality to the fore, exactly what you’d expect from the petals of one of the rarest flowers in the world. Heart notes of Indian night-blooming Jasmine add a subtle sweetness, while the base notes of exotic Oud oil, agarwood and blended Arabic oils round things off with a lingering spice. Drew’s love of perfume stems from fond memories of his late godmother Nuala, who wore her own blend of Chanel No. 19 and Chanel No. 5. The smell of these combined fragrances, jokingly referred to as Chanel no. 24, evoked such vivid childhood memories for Drew that he was stirred to create something that would be equally memorable for others, and so the fragrance was born. Drew is a firm believer in the idea that a perfume is one of the best accessories one can wear. A scent is, after all, the surest way to evoke a distant memory of - or create a permanent association with - a person. With this flagship fragrance, Owen Drew offer a lot more than just the last word in affordable luxury, they offer the last piece of the puzzle: The full stop (or exclamation mark) on your signature style. EJ
'Top notes of Bulgarian rose otto bring a delicate florality to the fore, exactly what you’d expect from the petals of one of the rarest flowers in the world'
The Essential Journal | Issue 45
Essential Journal x
Tessuti celebrate personal style with stand out power couple, Elliot ‘Example’ Gleave and Erin McNaught
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essuti’s latest Spring/Summer campaign is a celebration of the creativity and style of those who strive to stand out from the crowd. An ode to trend-setters and style leaders alike. There are few couples who personify the stand out spirit more than
rapper, songwriter and record producer, Example and his model-turned-actress wife, Erin. This Summer, Tessuti and The Essential Journal joined Example and Erin in the iconic city of Brisbane to discuss their own personal styles and what it was like to be the faces of the latest #StandOut campaign.
Essential Journal x Tessuti
industry means that you constantly have stylists just throwing ideas at you. No one actually sits and asks you what you wanna wear. And that can lead to some dodgy wardrobe choices. I’d say my style has changed from album to album. Now that I’ve left the major label system and I’m making music independently, my personal style is coming through a little more, and it really veers towards comfort. That said, one of the great things about living between Australia and the UK is getting to mix my styles up a bit and finding things that no one else has heard of.
SPEAKING OF, I HEAR YOU HAVE AN ENTIRE WARDROBE OF TRACKSUITS AT HOME. IS THAT TRUE? HOW MANY DO YOU THINK ARE IN THERE?
INTERVIEW WITH EXAMPLE We caught up with Example ahead of his gig at The Curtain to talk style, music, and the perks of working alongside your wife FIRST OFF, LET’S TALK STYLE: WHAT DOES STYLE MEAN TO YOU? AND HOW WOULD YOU DEFINE YOUR OWN STYLE? Wow, how long have you got? I think the most important thing for me is just being comfortable. When sportswear came back in a couple of years ago, and everyone was like ‘right, forget suits and jeans and trousers and shirts’, that was a big turning point for me. When I realised I could turn up to a wedding in a tracksuit if I wanted to, I just thought, ‘wow, I never want this era to end’ [laughs]. But really, I like to mix a little designer stuff with newer, up-andcoming streetwear brands that no one really knows yet. I’ve been fortunate enough in my career that people often want to send me things. But I’ve always been careful not to take things from people unless I genuinely love what they’re putting out. Growing up in the nineties I used to be well into the UK garage and jungle scene. So I’d always wind up blowing a week’s wages on Moschino jeans or a Versace shirt, I really loved the brands. It’s great to be working with them now.
"GROWING UP IN THE NINETIES I USED TO BE WELL INTO THE UK GARAGE AND JUNGLE SCENE. SO I’D ALWAYS WIND UP BLOWING A WEEK’S WAGES ON MOSCHINO JEANS OR A VERSACE SHIRT, I REALLY LOVED THE BRANDS. IT’S GREAT TO BE WORKING WITH THEM NOW."
WOULD YOU SAY THAT STYLE AND MUSIC GO HAND-IN-HAND? Oh yeah, I’d say so. When I first got into the music industry at 21 or 22, my style was much harder to pin down. I went to a school in South London, so I loved grunge just as much as I loved garage and UK hip hop. And that mix really translated to what I wore, too. I was always this big mash-up of styles. And the same has always gone for the music I make, too; it’s electronic music, but I sing and I rap. There are elements of blues in there at times, too. So I don’t really know how to describe my style in the same way that I don’t really know how to describe my music. It’s just a mash-up that somehow works, because it’s authentic to me and the way I do things. But yeah, there’s definitely a connection between the two.
EVER ROCKED ANY STYLES THAT YOU LOOK BACK ON AND WONDER, ‘WHAT WAS I THINKING!?’ I think that happens to everyone every couple of years doesn't it?! [laughs] That’s the beauty of fashion, to be honest. Working in the music
Let’s just say a lot! They’ve just sort of piled up over the years. Some I bought for myself, Some were gifted to me. Others I’d keep after wearing them for a music video. And yeah, before I knew it, I realised I had a tracksuit cupboard. All this time I’ve been giving my wife, Erin, a hard time for all the stuff in her wardrobe when it’s me with the issue! Some of them are classics though. Like, some of them are old Adidas and Puma bits. Some date back to my first music videos in my early days in the industry, so there’s a lot of sentimental value to them. The same goes for trainers, if I’m honest. At one point I probably had about 35 pairs. I think I have about 100 hundred now, as I’ve slowly tried to gift them off to my good friends. Even though I think I’ve reined it in a bit, it’s still a bit of a problem. In fact, the more I hear myself out loud the more I think I should just auction the lot off. It sounds like a problem, [laughs] it doesn't sound healthy, does it?
SO, YOU JUST GOT BACK FROM SHOOTING WITH THE TESSUTI LOT IN OZ FOR THEIR STAND OUT CAMPAIGN. HOW WAS THAT? Tessuti were already on my radar as I tend to travel back to the UK a lot. Outside of London, in the North, everyone knows about them. It wasn’t until I actually got the chance to pop into one of their stores that I realised ‘wow, this store’s actually me!’ In all seriousness, in this line of work there are a lot of people that will say yes to anything. But that’s not me: Whether we’re talking about featuring on a track, playing at a festival, or working with a particular brand, I won’t do it if I don’t like it, or if it doesn’t feel authentic. So working with Tessuti just felt right. When Tessuti approached me and my wife about featuring in their Stand Out campaign, it just made a lot of sense. I mean, it was a lot of
fun to do, but it also feels authentic to me, and that’s important. It was a natural fit.
WHAT WAS IT LIKE GETTING THE CHANCE TO WORK ALONGSIDE ERIN? It was humbling, that’s for sure! I mean, we must have taken thousands of pictures over the course of the shoot, and every one of Erin’s was spot on. Mine? Less so [laughs]. I mean, she’s a natural! But it was a lot of fun. Not just getting to work with the guys at Tessuti, but also working alongside Erin. We’ve worked together a lot over the years, but we've never had the chance to work on a high profile shoot together. So this was a first for both of us. It’s one of those things we can tick off as a couple.
HOW WOULD YOU SAY YOUR STYLES COMPARE? DO THEY COMPLIMENT EACH OTHER? I think our styles fit pretty naturally together. Obviously, we do have the odd argument when it comes to dress codes. I’m never one for dressing up for award ceremonies. I mean, I’d never want anyone to think I was taking them seriously [laughs]. But Erin is more a fan of dressing up for those sorts of occasions. So yeah, there’s a little tug of war every now and again. But as you can see from the Stand Out shots, our styles complement one another quite nicely.
AND FINALLY, TELL US A LITTLE BIT ABOUT WHAT YOU’RE DOING AT THE MOMENT, ANY UPCOMING PROJECTS TO LOOK OUT FOR? Well since I set up my own record label I’m sort of doing everything myself now. When Tessuti first got in touch I’d just put out my latest single, ‘All Night’. If you check out the video, it’s just me and my wife having a laugh in our living room. The Stand Out Campaign kind of feels like an extension of that vibe, of that single. I’ve got another single coming out in a couple of months. I think the toughest decision to make at this point - and it’s a good problem to have really - is whether or not I feature Erin in the next video too. ‘All Night’ has hit like 10 million views now, and as much as I’d like to think it’s all about the music, I’m pretty sure that Erin has played a huge part in its success. But it all led us to here, and there’s talks of doing a few more collaborations with Tessuti down the line. Which is always fun.Other than that, I’ve just got a busy summer of festivals lined up. Back and forth from Australia to London because I love what I do. Either that or I love jetlag.
Essential Journal x Tessuti
THE ESSENTIAL GUIDE TO BRISBANE From coffee stops to yoga spots, here’s our guide to getting around the Capital of Queensland like a true Brisbanite
The Boom Boom Room
Shri Yoga
Pablo & Rusty's
Isle's Lane
Winn Lane
The Boom Boom Room
Pablo & Rusty's
Isle's Lane
Shri Yoga
Winn Lane
The First Round
The Morning Coffee
The Evening Feed
The Evening Detox
The Afternoon Shopping Spree
Nights out don’t come much slicker than The Boom Boom Room. A stylish and opulent basement-level cocktail lounge born out of the rubble of a century-old bank, The Boom Boom Room fuses edgy, avant-garde design with top tier table service. This underground bar not only boasts an expertly curated cocktail menu, but is also home to The Vault. A veritable who’s-who of some of the finest and rarest spirits on (and off) the market, The Vault also allows you to store your own bottle for your inevitable return visit.
Initially launched as a cafe on Sydney’s North Shore with a small off-site roastery, Pablo & Rusty’s has since evolved into one of the biggest and best-loved roasters in Oz. Both of their Sydney CBD and Brisbane CBD sites still operate as fully-fledged coffee shops, and continue raising the bar on the country’s already burgeoning coffee scene. With a firm focus on sustainability and stewardship, Pablo & Rusty’s aims to ensure that the coffee industry has a long, bright and environmentally sound future. The Brisbane-based coffee shop focusses on technology and innovation as a means of creating a positive impact on the planet and providing a working example for other businesses to follow. Well worth a visit if you like your caffeine fix to come with healthy dose of ethics.
What’s a ‘micro-pub', I hear you ask? Simply put, a micro-pub is pretty much any venue that prefers to serve local produce while also creating a hub for the local community. Posh pub grub with a little community spirit, if you will. Isles Lane ticks all of these boxes and then some. A deliberately simple design aesthetic meets top quality food to create a beautiful yet understated little spot in the heart of the city. From the porchetta with caramelized apples and pineapple chutney, to the organic whole rotisserie chicken, the menu is designed to share with friends. Do yourself a favour and give their signature lobster roll a punt. You’ll not be disappointed.
When it comes to fitting in a little R&R during your Brissy escape, there are few better options than the ancient Indian practice of Yoga. Yoga not only yields countless benefits for your mind, body and soul, but also welcomes people of all ages and abilities. Shri Yoga is Brisbane’s home for top quality yoga and meditation education. With a passion quality instruction and a penchant for non-heated, alignment-based classes, Shri’s classes range from challenging, to playful, to quiet and contemplative. They’re the perfect means of rest and recuperation between your Brisbane escapades.
Hidden behind historic Shannon's building, home to the iconic Zoo live music venue, Winn Lane is a real hive of activity for Brisbane's creatives, and an absolute goldmine for those looking for something a little different. Populated by a host of independent artisans, fashion designers, hair stylists, and food enthusiasts, Winn Lane is a one-stop shop for all things vintage, cult and contemporary. Fittingly located in Fortitude Valley - an area of commercial innovation and a hub for creative energy - the laneway is a welcome addition to the already eclectic mix of the precinct.
pabloandrustys.com.au
isleslane.co
theboomboomroom.com.au
shriyoga.au winnlane.com.au
Stone Island
Tommy Hilfiger | Love Moschino
Tommy Hilfiger
Billionaire Boys Club
Moschino
Missoni
Tessuti's Spring/Summer 2019 collection, featuring Stone Island, Love Moschino, Tommy Hilfiger, Missoni & Billionaire Boys Club
Essential Journal x Tessuti
shop now at Tessuti.com
Essential Journal x Tessuti
RALPH FF LAUREN: THE DESIGNER BEHIND YOUR FAVOURITE DESIGNER
orefather of prep and fabled curator of the quintessentially American wardrobe, Ralph Lauren the brand, just like Ralph Lauren the man, represents a name so ubiquitous it almost needs no introduction. Almost. Known predominantly for its preppy, Ivy League standing, Ralph Lauren seems like an unlikely forerunner in the streetwear scene. But in some ways, that’s precisely
what it is. Ralph Lauren is a brand very much forged in the flames of the hussle; rags to riches, through and through. Ralph Lauren built the brand from a single drawer in the Empire State Building over 50 years ago and, in doing so, became uniquely responsible for the birth of the lifestyle brand as we know it today. That’s not to say that our man Ralph has endured all these years by rolling out season upon season of beach towels and scented candles. No, we’re not talking about that kind of lifestyle. We’re talking about a singular, almost obsessive passion for style that celebrates the rich, associative ties between what you wear and how you live; how you dress and who you are. He did this by curating a unique and coherent visual style that took its cues from a myriad of cinematic, musical, and of course sporting references. The result? POLO. Ivy league given form; a sartorial style that sings of the academic elite; a little slice of the american dream. It’s POLO’s one-of-a-kind mash-up of prestige and mass appeal that has provided the foundations for the brand’s five decade-long success streak. Ralph Lauren is, by turns, the first word in haute couture and the last word in streetwear style and ease. It’s one of the first brands to truly capture the American dream, and with it, the hearts and minds of early-adopting fashionistas and classic style curators alike. And how could it be any other way? For over 50 years, Ralph Lauren has shaped the way we perceive and create menswear. It knows no bounds, no age bracket, no so-last-year expiration dates. Ralph Lauren has become a universal language: A collective, communal social history, bound by a unique style and propelled by a singular vision. In the words of Ralph Lauren himself: ‘I don’t design clothes. I design dreams’.
Achieving the American dream, stitch by stitch
"IT’S ONE OF THE FIRST BRANDS TO TRULY CAPTURE THE AMERICAN DREAM, AND WITH IT, THE HEARTS AND MINDS OF EARLY-ADOPTING FASHIONISTAS AND CLASSIC STYLE CURATORS ALIKE. AND HOW COULD IT BE ANY OTHER WAY?"
CONSENSUS
Reaching a Consensus
Style
We reach out to those in the know to get their thoughts on the concept of style
Jamie BARTLETT
Co-founder of Banton Frameworks, makers of quality eyewear
'I believe people self edit to the point of where their clothes are boring because they live in fear of someone coming Andrew ALFORD
Interior designer & Chief Creative Officer of Graduate Hotels & AJ Capital
image credit: Ryan Edmund (Andrew Alford) / Jamie Bartlett (Jamie Bartlett )
What does the concept of style mean to you? One word, freedom. Freedom is my ultimate currency, much more so than money. That is a tough lesson to learn in life. So often style is associated with the cost of the garments, but in my mind true style means having the confidence to live a free life and wear whatever the hell you want regardless of trends or dollar signs. How would you describe your own, personal style? I recently told someone that my style is the combination of eight year old me, seventeen year old me, and twenty-six year old me. When I was a child, I was very preppy. Every day was khaki pants and Izod sweaters. When I was a teenager, my sense of rebellion kicked in and I began dressing in unusual combinations of thrift store finds. In my twenties, I moved to New York and became aware of the designers that would become my ultimate inspirations, Rei Kawakubo, Walter Van Beirendonck, Alexander McQueen, Christian Lacroix. What I have found in my forties is that I have cultivated my own sense of punk rock eccentric preppy that perfectly blends all the eras of my life and all of my inspirations. I think there is also something to be said for being an age where I’m not as worried about sex anymore. True story, most people don’t want to have sex with a clown [laughs]. Issue 44 | The Essential Journal
across a photo on How does style factor into what you do? I design interiors for hotels and restaurants for a living, so the obvious answer is style is everything. With that said, I try to localize all of my designs to be a stage or runway for the users of the space to show off their style, while still infusing my sensibilities, beliefs, and sense of humor. Do you have any style icons or key influences that spring to mind? Pee Wee Herman, Ashley Longshore, John Waters, Bjork, Tierra Whack. Is there a particular era in time that stands out for you in terms of style? This is a broad answer, I love all fashion eras before social media. I love how open the modern era can be with sharing sources and imagery, however with that I think is a sense of permanence in everyone’s minds. In the more exuberant eras of fashion like the late 60s, 70s, and 80s, people didn’t worry about how time would judge them because they didn’t think about their pictures being in the public domain for eternity. Their pictures only lived in family photo albums. All too often now, I believe people self edit to the point of where their clothes are boring because they live in fear of someone coming across a photo on Instagram twenty years from now. I say f*ck it. I laugh at myself now and plan on laughing at myself twenty years from now. Are there any elements of style that you’re glad to see the back of?
Urban lumberjacks, man buns, overly precious grooming, shit written on people’s asses, and the term ‘well made basics.’ Life is too short for basics. Are there any that you miss? Floral pirate shirts, clown harnesses, giant neon green mohawks, Farrah Fawcett bangs, candy underwear, and inflatable mens’ skirts. Not sure if some of those things ever existed, but I miss them. Do you think there’s more to style than the way you dress? Yes, there is of course an intangible element to style. For myself, I want life to be filled with mischievous laughter and people with a glint in their eye that says ‘Let’s throw a molotov cocktail of silliness and then have a little pee dribble out while we laugh.’ I try to have my style reflect that, both to entertain myself, as well as to attract that energy into my life. I think it is the energy of intent that defines style.
Instagram twenty years from now. I say f*ck it.'
What does the concept of style mean to you? That’s a tough one because things can be designed from the inside out or the outside in. Purists argue that good design has functionality at its heart whilst others feel that aesthetics play a more important role. Personally, I feel that the best design fulfils a function in a way that that doesn’t overpromise its purpose. The style is what results from its function which is largely representative of the technology of a product’s era. How would you describe your own, personal style? Arriving at my late twenties, my style has changed over the past while. Given that I manufacture an ‘accessory’ myself, my choices have migrated towards evergreen/capsule items that have been made to last. I don’t buy new clothes very often because I’ve made the choice to make better, more ethical decisions about my clothing. This comes at a higher cost but my clothing style is now generally minimal, plain and quality-focused. Recently, I’ve become far more attentive to textiles and fabrics, especially denim as it wears-in so beautifully. How does style factor into what you do? Because I work in a factory environment, I think it’s important to portray the values that we impart in our products. Whether I’m making glasses frames or in the studio, my style is probably a reflection of what I pursue in terms of timeless, well-established classic style.
How do you think people will look back at this decade in terms of its predominant styles? What do you think will come to define it? I think we will look back and judge the “influencers” who somehow garnered thousands of hearts in red boxes with their boring ‘boho’ or ‘urban maker’ aesthetics. On the flip side, I think we will look back and love that social media opened the world up to true style voices from around the world who could be seen, heard and easily understood without the help of anyone but themselves. 33
CONSENSUS
'The best design fulfils a function in a way that that doesn’t overpromise its purpose. The style is what results from its function.' Do you have any style icons or key influences that spring to mind? Funnily enough, I was working on an article the other day and was looking into Samuel L Jackson. That man has unbelievable dress style, mixing outrageous colours within sartorial dress. I couldn’t wear such vibrant colours but I think as a style icon, he defies his age (70) amazingly well through his attire. He always seems to wear very simple garments but to great effect. Simple is best. Is there a particular era in time that stands out for you in terms of style? 1920’s. No question. It was that middle ground where utilitarian stuffiness met with liberal fashion and free thinking. It was still a very formal era but the clothes and style were simply superb. Especially the hats. Are there any elements of style that you’re glad to see the back of? 90’s baggy jeans with the frayed denim at the bottom of each leg. Wished that never happened and I’m sad to have been momentarily a part of it. Oh yea, and bucket hats. Are there any that you miss? I’m just glad to see corduroy again. Thought it was gone forever but it’s nice it’s back. Do you think there’s more to style than the way you dress? Definitely. I spent a lot of time around fashion/clothing designers at University. The way that garments fall or rest on the human body is so interesting. A person with really poor posture or even a lack of confidence can stifle the life from clothes. I think style comes from both what you wear and how you wear it. How do you think people will look back at this decade in terms of its predominant styles? What do you think will come to define it? I think this decade has shown a degree of polarisation in terms of style. I’m gutted about the 90’s trainspotting-look coming back, simply because it’s been less than two decades since it first reared its head. At the other end of the scale, I think there’s been an encouraging push towards ethical fashion. With factors such as veganism and climate change, I’d hope we could look back at the “teenies” as the beginning of a slow-down on fast fashion. Moving towards 2020, it’d be amazing to see more sustainable regulations on clothing manufacture. 34
Arran CROSS & Fern MERRILLS
Co-founders of Sheffield-based creative studio, Department Two
What does the concept of style mean to you? A: I feel that style is absolutely individual. It’s the ability, or inability, to tell a story through your clothes. It’s putting things together in a way that’s individual but considered. F: Being confident in how you look and what you're wearing, but also being willing to change things up once in a while. It's more than about your clothes. How would you describe your own, personal style? A: I wear a lot of vintage military stuff and also some modern takes on traditional workwear. So Apocalypse Now meets DIY SOS. Conversely, I also love tailoring so will try and pull green and khaki tones through when selecting cloth for suits. F: Honestly? At the minute I think it's lacking. I'm still finding it. But I aspire for simple and classic. How does style factor into what you do? A: I wear a lot of denim and chore jackets. I can’t live without pockets when I’m on a job. It’s functional but I do still like to look good. I’ll also wear relaxed tailoring for important meetings or at Pitti. I’ve been lucky enough to have a few suits made and would recommend it to anyone. F: What I do has helped me find and be comfortable in - my style, I think. I have to dress practically and comfortably, in ways I would have at
one point thought of as too masculine. I'm quite tall and I used to compensate for what I thought was an 'unfeminine' feature by choosing super feminine clothes. I don't feel like I need to do that anymore. I'm not dressing for other people. My job has been a big part of that. Do you have any style icons or key influences that spring to mind? A: The classics: Newman and McQueen. As a brand, Drake’s is a big influence on me too. They do everything right. F: Villanelle from Killing Eve. Is there a particular era in time that stands out for you in terms of style? A: Definitely the 1960s and early 70s. That era saw military clothing, particularly the M65 jacket, leak in to civilian culture through returning troops and the anti-war movement. That influenced menswear for the next five decades. F: I kind of love the flamboyance of the 80s. More to look at that imitate, though. Are there any elements of style that you’re glad to see the back of? A: I’ll be glad to see streetwear drop off a bit. I don’t get it. F: Low slung denim from the early 2000s. Are there any that you miss? A: I guess it sounds a bit old-fashioned, but I miss people making an effort for travel like they used to. I’m
'It’s the ability, or inability, to tell a story through your clothes. It’s putting things together in a way that’s individual but considered.
not talking shirt and tie but I have seen things you wouldn’t believe in airport lounges. F: Not really. There's nothing to miss if you keep going with the trends you like. Do you think there’s more to style than the way you dress? A: Style is so much more - from the width of your lapel, to the books on your shelf to how you take your coffee. I feel like when you’re younger all these are conscious decisions you make to paint a picture of yourself. When you grow up a bit you become confident and get into your rhythm. Style is about confidence, I guess. F: Definitely. It's about the way you carry yourself and the way you engage with people. It's about being comfortable and confident in who you are, and letting that shine through without trying to outshine anyone else. How do you think people will look back at this decade in terms of its predominant styles? What do you think will come to define it? A: I don’t think it’ll be revered like the some of the other decades. I think people will probably be quite confused by it. Things move so quickly and there’s so much going on it’s hard to define the decade’s style. F: Performative minimalism. Also jumpsuits.
The Essential Journal | Issue 45
What’s On May – July
Friday 24 May 7.30pm
Saturday 13 July 7.30pm Royal Liverpool Philharmonic Orchestra
Opera North Aida
Nashville Classics
Sunday 9 June 7.30pm
The Solid Gold Rock n Roll Show
Wednesday 24 July 7.30pm
k.d. lang
Plus support Grigoryan Brothers
Sunday 16 June 7.30pm
Autism Together: Future 50 Wednesday 19 June 7.30pm There’s No Place Like Home
80th Birthday Celebration of Liverpool Philharmonic Hall and The Wizard of Oz (cert U)
Box Office 0151 709 3789 liverpoolphil.com LiverpoolPhilharmonic liverpoolphil liverpool_philharmonic
Principal Funders
Principal Partners Thanks to the City of Liverpool for its financial support
Issue 45 | The Essential Journal
Media Partner
Image Opera North Aida © Guy Farrow
35
SECTION
CALM
We are a movement against suicide, the single biggest killer of men under 45 in the UK. Get support and join the campaign at theCALMzone.net
LIFESTYLE
H
I'm not here. (How to Disappear Completely, Thom York, Radiohead)
ave you ever read that novel about a man who lives his life through the sentiments of famous music lyrics? Not Nick Hornby’s seminal ‘High Fidelity’, the other one. No? That’s because I wrote it and it was shit. I have never shared it with anyone. Self-indulgent drivel. Flexing about all the music I knew intimately and collected tirelessly from the age of about 10. And moaning about how life is unfair because my first love had dumped me for a ‘better man’ - a man to whom she is now married with a lovely big family. Some 30,000 words penned from the age of 30, I called my novel ‘Apology for an Accident’ - named after a song about desertion by my lyrical obsession of the time, American Music Club.
Yes that period was tough. Music both kept me awake and put me to sleep. The novel was started, then sensibly shelved. The book was burned. But that day’s dark into dawn literally changed my life - for the better. The shock of our collapse forced me to reflect on where I was going and by whose rules I living. The certainty of a linear journey to success instilled in you through your upbringing, the balance of right and privilege, all thrown into a moral panic, all the myths of masculinity battered, bruised and broken. Within weeks I seemed to be behaving like a man in crisis. But actually I was a man finding an entirely new centre of gravity: me.
When you left, you took all memory of me with you. Leaving me with no hope of every being loved. (Apology for An Accident, Mark Eitzel, American Music Club) 17 years on, I have some perspective on it. So forgive me for re-enacting my grandest folly (a novel) based on my grandest failure (a first marriage) and the sense of purpose I have felt since...all through the lyrics of Radiohead. Why? Because I went to school with the gentlemen of Radiohead. (Mic fumble). In fact, I used to do pottery after school with Thom York. They were Headless Chickens, On A Friday, and by the time I was writing for my university newspaper, a band whose debut ep ‘Drill’ was spilling from bargain bins at all the local record stores. Tribal pride meant I bought as many as I could afford and passed them on to anyone I knew. In the midst of my irrepressible journalistic bias, I secured an interview with them supporting an indie also-ran called Kingmaker at Nottingham Trent Poly. But I was summarily excommunicated by their PR team for suggesting they had been a terrible school funk band in a former life (perhaps a little unfair, if only a little untrue). Suffice to say, I am a fanboy. Every album since seems to have mirrored my life-stages. Still do. In this time at university, I met my first love. We both separated from school sweethearts to get together. We started on our perfect journey in 1991 and married in 1998. She was the one. She looks like the real thing She tastes like the real thing My fake plastic love. (Fake Plastic Trees, Thom York, Radiohead) Cut to a hot Saturday evening, July 1st 2000. Radiohead unveil 'Kid A’ & ‘Amnesiac’ albums at the Royal Festival Hall – a complete volte-face away from their celebrated generational rock into liquid spaces. A Meltdown. They opened with ‘Optimistic’. Issue 45 | The Essential Journal
That there That's not me I go where I please. (How to Disappear Completely, Thom York, Radiohead)
‘This One’s Optimistic’ Reflecting on his follies and failures through the lens of his long-hidden novel, James Scroggs meditates on the music that has soundtracked his life and shaped his relationships words by James SCROGGS
W
e all have particular memories, both good and bad, which we associate with particular pieces of music. Triggered by the mere sound of a familiar song, long-forgotten milestones in our lives and moments of note can be brought to life and reimagined in a new light. The chair of CALM (Campaign Against Living Miserably) takes us on a journey through his life’s lows and highs, all illustrated through the songs of Radiohead. EJ
They closed with ‘How to Disappear Completely’. Between those twin peaks, the rest is history. It was a new beginning for the band. And me. My wife decided not to join me that evening. She opted to play Good Samaritan to a work colleague helping him move into a new flat. On Monday July 3rd, she returned from work to announce she was leaving me - ultimately for him. I was crushed. With distance, I can see I had
been excelling on a perfectly middle class, Catholic trajectory. Married to my college sweetheart. Graduate trainee in London. Executive fast-tracker. Company Car. Sharp suits. Gym at 6am. Run around Hyde Park every lunchtime. 2 pack at least. An accelerated path towards being crowned on a middle-aged pedestal of success. Doing the right thing. According to the book. At about 4 am on Tuesday July 4th, I saw first light over the Thames
reflecting on my extraordinary loss. With newspapers endlessly inking the generational crisis around divorce rates in that period, I had been reduced to a simple statistic: a statistic of failure. In a little while I'll be gone The moment's already passed Yeah it's gone And I'm not here This isn't happening
In 2006, I met Jane Powell. Weeks before, she had established the charity CALM: Campaign Against Living Miserably. She bloodied my nose with statistics about male suicide - what we now call the ‘holy shit numbers’. But it was the narrative around those statistics that resonated so strongly - the need for men to challenge society’s pre-determined path; to break the binary of masculine success or failure. I became a patron and now Chair the organization. As the creative director of MTV said at our internal conference that year, ‘Don’t be afraid to fail. But if you’re going to fail, do it spectacularly.’ I knew failure. And I was a better man for it. So I left the corporate machine, to embrace an entrepreneurial life of side-hustles and #fails. I have since managed bands. Mentored many young men and women. Consulted with start-ups and brands looking for purpose. Continue my charity work. And as pictured, I am now the ‘Twat in a Hat’ of Soho, as founder of a unsiex workwear brand M.C.Overalls, standing proudly alongside and celebrating a growing community of enterprising people who don’t fear their future. Who are prepared to put the graft in. Roll with the punches. Bleed a little. And I have re-married. I am a middle-aged man embracing a life of apparently wilful confusion, an endless drive for how you can determine many paths to happiness, to earn our place in the world, to pivot around life’s hurdles, to keep moving forward. To have hope. Thankfully, I haven’t started that second book yet. But trust me, I will try. They say we all have a book in us. Question is whether we should expect anyone to read it. ‘Try the best you can. Best you can is good enough.’ (Optimistic, Thom York, Radiohead)
37
LAUNCHING JUNE 2019 masonsliverpool.co.uk masonsliverpool
masonslpl Seel Street, Liverpool
masonsliverpool
DINING
At the Pass with
Tommy Banks This month Tommy Banks, chef & owner of Roots (York) and the Michelin-starred Black Swan at Oldstead, discusses the finer points of food-based style
I
t’s no secret that I’m a big fan of cricket (or maybe it is. In which case, surprise!), so whenever questions of style pop up in conversation, my first point of reference is always exactly that, cricket. That might sound a little odd, but bear with me. You see, in terms of cricket, style really comes down to the way you play. The cricketer Ian Bell, comes to mind here. He is the most stylish batsman I’ve ever seen. There’s a real sense of satisfaction to watching his shots. They’re so easy, so measured and controlled. He’ll play a shot meticulously. Of course, you have other players who get by on brute strength alone, and that can be entertaining in its own right. But there’s something especially satisfying about watching Bell just sort of caress the ball. There is this impression of minimal effort, maximum output. All very, very classy. And that’s a pretty good (if not long-winded) segue into style, if you ask me. Style is, after all, the sweet spot between power and restraint. Flair and reservedness. And while style is largely a visual affair, it filters through to all we do. It goes beyond a way of dressing and runs deeper than the way something looks. Never is this more true than in the restaurant, where style boils down to understanding, confidence and restraint. It takes time to master style, in that sense. You can always spot a newcomer - in any walk of life, I guess - by their tendency to nervously overdo things. As you grow more confident in your craft, you learn to rein it in, and with that restraint comes sophistication, and with that sophistication comes style. Style isn't everything, though, and giving it priority over substance is always a concern, especially in my line of work. Sure, your dish might look like a million dollars, but that’s not going to be appreciated for long if said dish tastes like a bicycle seat. And it’s so sad to see, because you can have a fairly minimal, stylish looking dish that still packs a lot of flavour. A pretty dish is fine and dandy, but it’s the flavour that needs to speak for itself. One of our winter dishes at Roots, for example, is essentially a bowl of dressed kale with a little cured and grated egg yolk. It’s easy on the eye but it makes a real impression on the tongue. That’s probably my favourite kind of dish; the sort that looks pretty unassuming until you take a bite and BANG, it hits you. I suppose style will always be subjective; no two people really have the same idea of what style means to them (despite the copycat nature of the whole thing). From a restaurant perspective, we try to keep the styles of Black Swan and Roots distinct from one another, but when it comes to the philosophy behind the food, then nothing changes: maximum flavour, delicious food, reserved sophistication. The way I see it, you get two opportunities to impress when it comes to food: when you first lay eyes on a dish, and when you take your first bite. One should always compliment the other. And handling both with confidence and (and a little humble restraint) is, in my eyes, a true sign of style. TB
'Never is this more true than in the restaurant,
words by Tommy BANKS
where style boils down to understanding, confidence and restraint. As you grow more
To find out more about Tommy's food head online: blackswanoldstead.co.uk rootsyork.com
confident in your craft, you learn to rein it in, and with that restraint comes sophistication, and with that sophisti-
Image Credit: Jack Finnigan
cation comes style.'
Issue 45 | The Essential Journal
39
DINING
The Recipe
Iranian Herb Fritters Compliments of Yotam Ottolenghi, SIMPLE & Rovi
T
hese can be snacked on as they are, at room temperature, or else served with a green tahini sauce and some extra herbs. If you want to make the tahini sauce then just blitz together 50g tahini, 30g parsley, ½ crushed garlic clove, 2 tbsp lemon juice and 1∕8 tsp salt. Once this is all in the blender, blitz for 30 seconds and pour in 125ml water. Holding back on the water allows the parsley to get really broken up and turns the sauce as green as can be. This sauce is lovely spooned over all sorts of things – grilled meat and fish and roasted vegetables, for example – so double or triple the batch and keep it in the fridge. It keeps well for about 5 days. You might want to thin it with a little water or lemon juice to get it back to the right consistency. These fritters are a bit of a fridge raid, using up whatever herbs you have around. As long as you keep the total net weight the same and use a mixture of herbs, this will still work wonderfully. The batter will keep, uncooked, for 1 day in the fridge. Alternatively, pile the fritters into pitta bread with condiments: a combination of yoghurt, chilli sauce, pickled vegetables and tahini works well. You’d just need one fritter per person, rather than two. EJ
Makes 8 fritters to serve 4–8 (depending on whether everyone is having one, in a pitta, or two as they are) Ingredients 40g dill, finely chopped 40g basil leaves, finely chopped 40g coriander leaves, finely chopped 1½ tsp ground cumin 50g fresh breadcrumbs (about 2 slices, crusts left on if soft) 3 tbsp barberries (or currants, see p.301) 25g walnut halves, lightly toasted 8 large eggs, beaten 60ml sunflower oil, for frying salt
Method 1. Place all the ingredients, apart from the oil, in a large bowl with ½ teaspoon of salt. Mix well to combine and set aside. 2. Put 2 tablespoons of oil into a large non-stick pan and place on a medium high heat. Once hot, add ladles of batter to the pan.
Image Credits: SIMPLE & Rovi
Do 4 fritters at a time, if you can – you want each of them to be about 12cm wide – otherwise just do 2 or 3 at a time. Fry for 1–2 minutes on each side, until crisp and golden-brown. Transfer to a kitchen paper-lined plate and set aside while you continue with the remaining batter and oil. 3. Serve either warm or at room temperature.
Simple (Ebury Press) is available now 40
The Essential Journal | Issue 45
DINING
Pearls of London: The Oystermen Serving up passion and provenance without the pretense words by Will HALBERT
T
ucked away in the West End’s Covent Garden, The Oystermen Seafood Bar & Kitchen showcases the finest and freshest oysters and seafood that the British Isles has to offer. We sat down with co-founders, Rob Hampton and Matt Lovell, to discuss the importance of building a strong team, planning ahead, and always putting the guest experience first. EJ First off, can you tell me little bit about how you guys met, and how The Oystermen came to be? Rob: We met back in 2013, when Matt interviewed me for a job and we hit it off straight away. Aside from the fact that we were working with fish and seafood, which we both obviously love, we really bonded over the importance of the complete hospitality experience: How important it was for diners to enjoy the whole package; food and drink, service and ambience to all complement each other.
the game so long, nothing we really came up against was unexpected. My advice to any looking to go along this journey is plan, plan and plan some more. Ask all the right questions to those in the know – nothing is ever too dumb to ask. There can be a great number of pitfalls along the way and best to be prepared. Don’t ignore your financial planning too – this never ends but having enough cash flow to see you through launch and the inevitable quieter months is imperative. If you don’t forecast the cash flow, you’ll be left in the position of making cuts, which in turn ends up damaging service and your brand.
Where did the interest in oysters in particular come from? Matt: For me it was holidaying in France while growing up. We always used to stay down on the Ile de Noirmoutier, and Oysters were massively in abundance. I can’t remember exactly when it started, but once it did, there was no stopping me. Rob: My first restaurant job was in a seafood restaurant. That’s where I first tried oysters and it all kind of snowballed from there.
What kind of dining experience do you guys try to cultivate at Oystermen? Rob: Totally relaxed. I’m someone who naturally doesn’t really get on with fine dining, I’m a messy kind of eater, and always get embarrassed about the amount of food that is in my beard! We have always wanted to bring the excellence of product that we get, through our insanely talented chefs, to the table in a manner that is fun, informal and relaxed. What’s really important though, is that standards must remain high. It’s really important not to forget that our customers are paying good money, for a good product, so this has to be delivered professionally. It’s a fine line, a real art, but we have an awesome team - trained by us - that deliver that balance consistently.
Were there any unexpected challenges to opening a seafood bar and kitchen in London? Any advice to young chefs looking to open their own place? Matt: To be honest we have been in
How do both the restaurant fit-out and wider Oystermen team accommodate that? Matt: The fit out was a total DIY job. Front of House wise, our GM Andrea worked with us through the Pop-Up
Issue 45 | The Essential Journal
days and so was well-versed in the kind of experience we wanted to create. Really with front of house, it’s all about finding nice, friendly people, regardless of experience. There is so much that can be taught, but the key things are natural, either you have it or you don’t. Rob: The chef team all fell into place once we got Head Chef Alex on board. All the key members of the team had worked with him previously so he was well aware of their skillset and also that they were the type of people that could all get on in a very intimate, open kitchen space. Let’s talk about the oysters themselves: You guys work directly with oyster farmers as much as possible. Why is that so important to you? Rob: It’s all about taste and freshness really. When buying direct we can ensure the oysters pass through the fewest possible hands in the shortest amount of time possible. We know they haven’t been sitting for ages in a wholesaler’s warehouse or something like that. The personal relationships are also important; if there ever is a problem with the product, anything weather related or anything like that, we can always just pick up the phone and talk directly to the people that know. And every day is a school day with these guys. It’s a tricky business farming oysters, and boy, are they good at it. Does this mean you tend to work with the same farmers on a regular basis? Can you tell us a little about them? Matt: Our days of the week in the restaurant are fairly consistent, so as a rule our ordering is pretty standardised barring any problems. We tend to order pretty consistently
as well. The guys over at Carlingford Oysters - The Louët Feisser family are incredible innovators and their product reflects this. Closer to home, the guys from Maldon Oysters up on the Blackwater are producing amazing oysters at a really amazing price and driving them into town everyday themselves, which is a real asset to us. Without their flexibility, our lives would be much harder. And of course, over at Whitstable, which is really establishing itself as the kind of spiritual home of English oysters, they are really upping the game. Their trellis-grown oysters are amazing, but their wild pearls are truly out of this world! How important is the concept of provenance when it comes to oysters? How much does ‘meroir’ affect flavour? Rob: Provenance is very important. We sell varieties from up to 8 farms around the UK, and when tasting alongside each other, you can really taste the difference. Obviously, being local, we get a lot from the South East, where the clay soils give a much more earthy taste. Up in North Wales, on the other hand, where there is a large amount of slate and granite, the oysters tend to have a more metallic, ‘clean’ taste. The West coast of Ireland is special for the kind of peat flavours that permeate the flesh. So in short, yes: ‘meroir’ definitely impacts on flavour! Of course, your offerings go beyond oysters. Tell us a little bit about what else we can expect to find on the Oystermen menu. Matt: We have a wonderful chef team, who have trained and worked in some of the best restaurants in London. We pretty much give them the freedom to come up with new menu items as and when they please based on the season and seasonality of ingredients. Rob and I always have the final say to ensure they fit the brief. We sell a lot of whole crabs, all priced by weight and served simple, cracked, and opened. We always have a number of fresh fish mains, too. At the moment, the highlight is a whole Mackerel with a freekeh salad. Typically, starters lean towards cured and raw dishes. Sardines are amazing at the moment, as is our trout tartar. What sort of drinks do you feel best compliment oysters? Matt: This is entirely subjective. I love a clean, crisp white. Something like a Muscadet, or of course Champagne. Rob is more of a beer man, and our Oyster Stout collab with The Canopy Beer Co. is the perfect accompaniment here, nice rich sweet malts work perfectly with the soft salinity of the added oysters. Tell us a little more about the Oyster Stout. How did that come about? Rob: When we were just starting out, in our pop-up years, we did a couple of events with Canopy Brewery in Herne Hill and just got chatting with
the owners and the brewers over beers and got all excited about it. The Imperial Stout was a one off for Christmas 2016 (although it has aged amazingly, and there are still a few bottles knocking round under my stairs). It was 8.5% and an absolute belter. When we opened the restaurant, we decided we needed to tone it down a little bit, and so worked together to create an ‘everyday’ version, which we pulled back to 5%. It still has 200 oysters (Maldon’s) per 1000l of beer, so you still get a lovely salinity, but you can drink a few more of these ones before calling it a day. Say someone walks into Oystermen with no real prior experience with seafood. How do you guide them through the experience? What do you recommend they start with? Matt: This is exactly why we sell oysters individually and do our weekday happy hour (6 Oysters and a glass of bubbly for £10, Monday-Friday 3-5pm). We want them to be as accessible as possible. We also try and do a few different things to make the whole thing more approachable. We had lunch with a friend yesterday, for example, who said he has always struggled with the texture of oysters, so we got him to try cooked oysters. Same flavour, but firmer, dressed up a little and he absolutely loved them. I like to think of these cooked oysters as a bit of a gateway drug: Once we get you hooked, you’ll be eating them as nature intended soon enough. Don’t shock yourself in to it though, if you’re a little apprehensive. Take your time. Smell the oyster first – it really does bring the aroma of the fresh sea air. Next, taste a little of the liquor (the salt water surrounding the flesh) – this is a big salty hit. By tasting this first, you’re not going to get the shock of briney salt water. Lastly, slide the oyster in to your mouth. At The Oystermen, we always release the bottom adductor muscle so it’s slides off the shell with ease. Also: Always chew your oyster. I think just swallowing the oyster is where some people’s dislike comes from. The flavours of minerals, sweetness, creaminess will all come through when bitten in to. If you come to The Oystermen and have never tried oysters before, all of our staff will take the time to walk you through it. It’s a fabulous experience. And lastly, what’s next for you guys? Any new projects in the pipeline? Rob: The Oystermen well and truly isn’t a “roll-out” brand. If the right site comes up in the future, we’d consider doing another one. But this isn’t a chain. We have a few other ideas we are working on, a few things close to our hearts and lots more seafood, but it’s a tricky and competitive old market out there and we need to make sure we find the right place. There’s no rush for us, slow and steady and all that.
oystermen.co.uk 41
42
ESSENTIAL JOURNAL X LA MARZOCCO
Out of the Box
This year we'll be championing speciality coffee & discussing crossindustry challenges with espresso machine stalwarts, La Marzocco uk.lamarzocco.com
La Marzocco bring back Out of the Box for 2019, to be held at Tonbridge Castle this July
O
ut of the Box is an engaging and welcoming event that is open to all and an event that offers particular focus on the artisan coffee, food and drink communities as well as seeking to inspire the consumer, who's looking for the best in premium food and drink, and also the potential business owner. The La Marzocco team want guests to leave feeling inspired and enthused as they progress in their speciality journey. The event will be rich in content that tailors to both the bourgeoning barista and the longterm coffee connoisseur. The day will compromise of hands-on classes and demonstrations (ranging from cocktail masterclasses to cooking demonstrations), exclusive panel discussions, a La Marzocco original Coffee Competition, Roasters Villages, Wine and Beer sponsors and vendors, bookable food experiences and a live music stage. OOTB Tonbridge Castle Saturday 13th July 2019 ootb19.eventbrite.co.uk
Next we head to Eastbourne, on Thursday 30th May. Here are a couple of our favourite coffee and cocktail spots Urban Ground @urbangroundeb A highlight of Eastbourne’s coffee scene, Urban Ground serve high quality food and drink with an emphasis on local sourcing and ethical produce. Nelson Coffee @nelsoncoffeeco Nelson Coffee is a cosy but lively café specialising in coffee, small plates, cocktails, wine and great tunes. Skylark @skylarkeastbourne Relaxed, contemporary bistro, Skylark serve up some of the best produce that Sussex has to offer, from breakfast through to dinner. Bottle Grove @bottlegrove Showcasing some of the best independent breweries in the world, Bottle Grove bar and café stock over 100 different craft beers. Eastbourne Cocktail Club @eastbournecocktailclub With an enviable selection of spirits, wines and cocktails on offer, Eastbourne Cocktail Club is a buzzing venue with an eclectic collection of rock ‘n’ roll memorabilia. southernroadshow-eastbourne.eventbrite.co.uk
Issue 45 | The Essential Journal
Down From London The La Marzocco Southern Roadshow continues with a stop off at Cliftonville coffee shop and all-round social hub, Cliffs words by Dan HARVEY
N
othing says community quite like Cliffs. All at once a cafe, record shop, yoga studio, hair salon and coffee roastery, Cliffs is a shining example of just what you can achieve when you work together. It’s little surprise, then, that it should provide the perfect venue for a little discussion on the topic of community, a subject that lies at the very core La Marzocco’s overarching philosophy. Joining both The Essential Journal and La Marzocco were three wonderful panelists: vocalist, songwriter and vocal coach, Hughie Gavin; Learning Officer at Margate’s Turner Contemporary, Molly Molloy; and La Marzocco’s UK Sales Manager, Paul Kelly. Below are some of the standout sentiments from the evening’s conversation. DH On the sense of community in Margate Molly: There’s a great, welcoming atmosphere here. People want to see other people succeed. It’s important for us to see pioneers taking risks on new spots. This is a place where people are brave enough to make those decisions. People are more open to the new and the daring here. That’s refreshing. Being by the sea also has a certain charm to it, I think that helps. Cliffs plays a huge part in that community aspect. People often make reference to BC, before Cliffs, which is pretty funny. But it does speak to the communal significance of the coffee shop. By the same token, the art centre provides platforms for people to get together and learn from one another, we’ve worked with the likes of POW! (Power of Women) And Pride in an effort to do just that, they’re certainly community highlights of mine. On the effects of big business on smaller communities Paul: Community is a precious thing. It needs to be nurtured. So yeah, there’s a need to protect from bigger businesses to some extent because you don’t want to compromise a place’s authenticity. That’s not to say big businesses are uniformly bad, or that we need to fear them. But community is a fragile thing, precisely because everybody is so emotionally invested in small businesses. On changes in Margate’s community Hughie: There’s still something of a divide between old and new Margate. There’s a little bit of resentment, which is kind of understandable when you look at the sheer amount of change that has occured. I mean, Margate has really prospered as a result, but that inevitably comes with some less desirable effects such as raising rent costs, etc. What I’ve tried to do by setting up my choir is get everybody involved, to kick-start a little interaction and dialogue. Community thrives when people share. It’s important to make sure there’s no sense of exclusivity or of people feeling left out. Those that’ve been here longer call us DFLs (Down From London). So there is a level of separation to some extent, or a sense of communities within communities. But those divides are good, in a sense, because they push you out of your comfort zones and force you to engage in different ways with different people. Again, spaces like Cliffs are great because they provide a common ground to address those divides and learn from one another. Big changes are always scary, even if those changes are ultimately positive. On starting your own business Paul: First things first: Don’t fear the community, make it work for you. And I don’t mean turn them into labourers [laughs], I mean get involved with them, learn from them, and don’t be afraid of them learning from you. If people start doing the same as you somewhere down the line, then it probably means your doing something right. We opened our shoreditch office as both a community space and a showroom. It’s a place to break bread, have a conversation, and learn from one another. Secondly: Be brave, have a go, and stick with it. It won’t always be easy. And lastly, have fun with it! Enjoy the journey. That’s far more important than the destination.
Coming Along for the Ride Espresso Solutions @espressosolutions
Espresso Solutions are a key supplier to the UK coffee industry; selling everything from spare parts to water treatment through to the most premium barista accessories. Founded in 2012, this family run business loves being involved with the coffee community and regularly support and sponsor competitions and events; working with speciality coffee roasters, premium coffee manufacturers and coffee aficionados across the country. Fourpure Brewing @fourpure
With an unrivalled passion for beer and an envious bank of inspiration developed from their travels, Fourpure have been at the forefront of craft beer since 2013. Their approach to exceptional brewing is all about attention to detail and not cutting corners, in an age-old industry they aspire to constantly innovate, and were the first brewery to can their core range back in 2014 and in 2017 were named the Most Innovative and Brewery Business of the Year.
Head to www.uk.lamarzocco.com/southern-soul/ and follow @lamarzoccouk for continued updates and spotlights on each of the roadshow’s host town and cities 43
PERSONAL FINANCIAL H E A LT H C H E C K We specialise in providing face-to-face wealth management advice that is personally tailored to reflect your individual circumstances, building a long-term and trusted relationship. Together, we create realistic and effective working plans, providing you with a clear direction towards meeting your financial goals. This includes clarifying your objectives and researching all the options available to you. We have the experience to help you successfully secure and enhance your financial future by offering specialist advice in a wide range of areas, including investment, retirement, and tax and estate planning. Contact Ian Massey DipPFS for further information.
IPM FINANCIAL PLANNING LTD Associate Partner Practice of St. James’s Place Wealth Management
Tel: 0151 224 8728 | Mob: 07454 229726 Email: ian.massey@sjpp.co.uk Web: www.ipmfinancialplanning.co.uk The Partner Practice is an Appointed Representative of and represents only St. James’s Place Wealth Management plc (which is authorised and regulated by the Financial Conduct Authority) for the purpose of advising solely on the group’s wealth management products and services, more details of which are set out on the group’s website www.sjp.co.uk/products. The ‘St. James’s Place Partnership’ and the titles ‘Partner’ and ‘Partner Practice’ are marketing terms used to describe St. James’s Place representatives. 44
H2SJP31639 03/19 The Essential Journal | Issue 45
DRINKING
High Spirits Spotlight
Serving Suggestion:
RUM
This month, Master of Wine, Dawn Davies helps us to navigate the world of rum
Mulata Daisy Agostino Perrone,
words by The Whisky Exchange
F
rom fiery overproof to complex pot still, rum can be a tricky landscape to navigate. Each country and distillery has its own inimitable take on this spirit and with new distilleries and products entering the market every day, it’s near-impossible to keep pondering over which rum to choose based on its colour. One white rum, for example, could taste of tropical fruits, whilst another may have notes of green vegetables! So, how exactly do we make an executive decision over what to sip without understanding the flavours? To help keep things nice and simple (we appreciate that not everyone wants to understand the intricacies of pot-and-column-still distillation) we have created flavour camps to help you to explore the best of rum. TWE
Head of Mixology at The Connaught London, offers up one of his favourite signature rum concoctions
Ingredients 40 ml Bacardi Heritage 44% rum 20 ml freshly squeezed lime juice 1 bar spoon of caster sugar ½ spoon of fennel seeds 20 ml Crème de Cacao 10 ml Galliano l’Autentico
Tropical and Fruity Hampden Estate Rum, £54.95
Fruity and Spicy Veritas White Rum, £33.95
Hampden is known for producing incredibly high-ester rums that are created using wild fermentation and packed full of funky fruity flavour. On top of that there's no added sugar, it's all distilled in pot stills and it's fully matured in the tropics: a combination that adds up to rum heaven.
An absolutely delicious rum, created from a blend of Coffey column still rum from Foursquare and pot still rum from Hampden. Absolutely nothing else has been added and this has not been filtered.
'A big intense flavour explosion that will wow the senses, a tropical fruit salad with pineapple, ripe banana, papaya and mango with sweet spices and a hint of funk. A rum for the bold at heart'
Issue 45 | The Essential Journal
'Round and rich on the palate with a hint of green banana and a fantastic freshness on the finish. This makes one hell of a Daiquiri'
Rich and Treacly Diplomatico Reserva Exclusiva Rum, £41.95 A fabulous Venezuelan dark golden rum, distilled from molasses in a copper pot still before 12 years of ageing. Rich, sweet and fruity, this rum offers some truly fantastic quality for the money. The makers themselves recommend you serve it after dinner with delicious candied orange dipped in chocolate. 'A rum for those that like to take it easy, treacle, fresh vanilla pods, sultanas, rum and raisin ice cream. Sip this rum over ice or if you really want to be self-indulgent pour it over ice cream for a dinner party delight'
Method In a mixing tin, muddle a bar spoon of fennel seeds into the mix of Bacardi Superior Heritage rum, crème de cacao and freshly squeezed lime juice and caster sugar. Shake and serve up in a Galliano L’Autentico-washed coupette to enhance fragrance and add a touch of spice. A dark chocolate powder rim adds further depth and a lasting finish to the mix. Herbaceous and Grassy Clairin Communal Rum, £37.25 This is a blend of the four Clairins from the four communes of Cavaillon, Barraderes, Pignon and St Michel de l’Attalaye. It is produced naturally with no herbicides or pesticides, and fermented using natural yeasts in small Alembic stills.
According to Ago himself, ‘you can taste all the ingredients in a layer of flavour that keeps developing on the palate over time. It’s a gourmet cocktail, elaborated as a chef in fine dining would elaborate a dish’. Whether you enjoy it for its afternoon freshness or its evening decadence is up to you.
'It has an incredible perfume with notes of pear tree blossom, fresh sugar cane juice and almonds. The palate is seductive and vibrant with pear, nectarine and a hint of white pepper and green chillies.'
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DRINKING
DRINKING WITH
Drinking With
The Connaught, London Standing at the vanguard of the London cocktail scene, The Connaught has spent ten years turning the classic hotel cocktail bar into a repertoire of rich narratives, nuanced innovations and world-class service words by Will HALBERT
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The Essential Journal | Issue 45
DRINKING
The Ace in the Hole:
The Martini Trolley
Get the Round In
Agostino Perrone Quick fire questions answered in the time it takes The Connaught’s Director of Mixology to throw one of his famous Connaught Martinis How has the bar scene changed over the last ten years? Over the past decade, cocktail culture has flourished, with us increasingly injecting creativity in the bar and its offering on one side, and drinkers gradually appreciating innovative and premium flavour combinations on the other. The mix of these factors has triggered an evolution in both taste and hospitality, which translates into more freedom of expression behind and beyond the bar. From the variety and availability of ingredients and producers, to the distinctive touch you can add to the service, you can really mould a special venue by staying true to your own, unique vision. Would you say the guest has also changed? Absolutely. Guests are so much more knowledgeable today, and even those who are not drinks connoisseurs walk into the bar with an unprecedented curiosity and a fascination for our work. They appreciate and praise the quality of a cocktail and enjoy the narrative that goes with it. As the selection of cocktails has broadened providing a wider and more sophisticated choice, so has the variety of tastes and personalities to cater for. However, thanks to the dedication that we put into approaching our guests we can establish a rapport that helps us tailor the drinking experience to each one of them. How would you describe The Connaught experience? It’s both a memorable journey and an escape. Stepping foot in The Connaught always feels a little magic: You’re in a dimension where time slows down, ready to embark on a fine drinking experience, which is what I always aim to provide. As I always say: ‘Straight up with style, and don’t forget the smile.’
T
here’s no more fitting a visual metaphor for The Connaught’s masterful blend of tradition and innovation than its timehonoured Martini trolley. A mobile cart from which the Connaught’s mixologists dispense some of the finest Martinis - and with them, some of the finest drinking experiences - in London. A collection of bespoke bitters invites a little innovation to the whole affair and give you the chance to pick your own twist on the classic. Here, ice is an ingredient as important as any other. A silent partner, stirred up like you're fixing a drink in a church on Sunday. A near silent whisper through the liquid silk that is the gin and bitters mix. A single olive, spiked to extract its allimportant essence. ‘We’ve had a few of the James Bonds come in over the years,’ Ago recalls when asked about the faux pas of shaking the classic cocktail. ‘We’ve had to set them all straight on a thing or two when it comes to the Martini.’ EJ
Featured Libation:
Silver Mirror
T
he beer cocktail is an all-too-often overlooked option on the drinks list of your average bar. The Connaught, however, is far from your average bar. Their Silver Mirror cocktail - a mix of vodka, amaro, champagne and lager - is an appropriately audacious little showstopper with boldness and body to spare. Herbaceous and cola-esque upfront, the amaroforward, beer-tinged edge of the cocktail boasts a depth and finish not often found in longer drinks. The addition of Small Beer’s Dark Lager not only grants the cocktail some serious texture, but proves a fitting ode to The Connaught's penchant for innovation and experimentation within classic paradigms. Playful yet grounded, experimental yet oddly classic, it’s little wonder that the Silver Mirror finds itself in the Finesse section of The Connaught's splendid cocktail offerings. EJ Issue 45 | The Essential Journal
Tell us a little about the cocktail menu. The Essence pays tribute to ten years of The Connaught, drawing from its foundation while also taking a glance into the future. It reflects the bar's identity throughout its many structural elements - from its iconic architecture and unique atmosphere, to the talented team and affectionate guests, and, of course, the dedication and craft that goes into each cocktail. It’s a balance of tradition and innovation with a passionate narrative and theatricality thrown in for good measure. What’s the idea behind the cocktail cards? The entire guest journey at The Connaught is designed to leave a mark in their memory, and the cocktail card serves the same purpose. It’s a tangible keepsake that goes a long way, a little souvenir of the visitors' stay that allows them to take a piece of our bar away and recreate our cocktails at home.
The Secret Ingredient:
Connaught Bespoke Anniversary Gin
L
imited to one thousand bottles, The Connaught’s bespoke anniversary gin carries all the heft and gravitas of a well-earned trophy, and so it should. It is, after all, a celebration of the prestige of both the bar itself and its larger-than-life Director of Mixology, Agostino Perrone. Even by gin’s standards, this is a well-travelled liquid to be sure. Its production has taken Ago from Italy’s Amalfi Coast, to the vineyards of Bordeaux, to the heady spice souks of Marrakech in search of the finest botanicals and distillates. The Bordeaux eau de vie at the gin’s core lends a silky, red wine charm to the liquid that expertly offsets the crisp citrus hit and fine minerality of its signature Amalfi lemon peels. Prestige in a bottle, excellence by the drop, the Connaught Bar Gin offers a fond nod to classic gins while boasting a singular character all of its own. By all accounts, it’s a glowing endorsement of the decade of innovative cocktail craftsmanship ushered in by Ago Perrone and his team, notably Giorgio Bargiani, his Head Mixologist and right hand man. EJ
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CULTURE
Image Credit: Jianhui Liao (China)
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The Essential Journal | Issue 45
CULTURE
A Feast for the Eyes We take a glimpse at the winner of the Pink Lady Food Photographer of the Year Award, an ode to Chinese mythology, cultural history and the importance of food in community celebration words by Elliot RAMSEY
P
ortraying the beauty and sincerity of communal eating, this joyful image captures the celebration of the Chinese goddess Nuwa’s birthday, marked each year from the first to the eighteenth day of the lunar calendar. Wearing traditional Qing Dynasty costumes, villagers gather together to eat from a giant bowl of noodles, sharing in the delights of their collective cultural histories. ‘Cauldron Noodles’, taken by Chinese photographer Jianhui Liao, won the Pink Lady Food Photographer of the Year Award 2019, the world’s leading accolade for outstanding food photography. Liao was presented with the award in April at a ceremony in London hosted by legendary musician and cheesemaker Alex James, and with an audience of over 400 guests and celebrities from within the food and photography industries. Held at the Mall Galleries and sponsored by Champagne Taittinger, the event featured Liao’s image as the star of the show, having been selected from over 9,000 photographs from photographers from 77 different countries. His atmospheric and heartwarming image won him £5,000 and represents a phenomenal standard of storytelling and cultural celebration through the medium of photography. EJ
Issue 45 | The Essential Journal
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NOT JUST A BARBERS...
attitude
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attitude TOPMAN Church Street, Liverpool1 0151 709 1844 (opt 6)
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The Essential Journal | Issue 45
CULTURE
Architectural Thoughts on
Snøhetta This month, our resident architectural columnist, Róisín Hanlon looks at the works & philosophies of the award-winning integrated design practice, Snøhetta words by Róisín HANLON
F
ormed 30 years ago in Norway, Snøhetta brought together architects and landscape architects to form a multi-disciplinary workshop with the goal of designing collaboratively. Over the last three decades, they have grown to become an internationally renowned practice with offices in Paris, Stockholm, Innsbruck, San Francisco, New York, Hong Kong and Adelaide. Still formed of architects and landscape architects; the team also includes; artists, graphic designers product designers and interior architects. This month Snøhetta: Collective Intuition is released. A book produced by the team itself which gives us an insight into this award winning-practice’s way of designing. From the outset of the book, one of the main drivers that becomes clear is the idea of narrative: Creating a story for the user. This method helps to locate the user - not just within the narrative of the building but also the context of the world at large. The narrative of the book itself is captivating, switching easily between analysis and prose to lead us through their projects. Chapters of the book begin with short stories or verses – almost like a chorus line. These lead us into the themes of the chapter to come. The story of the orange seller is one example. The buyer holds up three fingers to illustrate three oranges, but the seller holds up four fingers – using the three gaps in between his fingers to count the same amount. This precedes the chapter on generosity and collective ownership. We are encouraged to think about negative spaces - or the spaces leftover around a form - and consider how these areas present possibilities. ‘Transpositioning’ is possibly one of Snøhetta’s greatest secret ingredients. It is the method by which they encourage someone to work outside of their usual job role - so a graphic designer may work on a landscape, or an architect on a logo. This playfulness with roles is supposed to encourage outside-the-box thinking, by using someone who is not trapped in the tried-and-tested methods of their discipline to take a fresh new look. During this process the team avoid diagrams and models and instead experiment with narratives and concepts, which is fairly unusual. The theory is that a narrative can remain fluid and adaptable for much longer than something set on paper, meaning that the design process doesn’t become too constricted too early. These design methods help to ensure the success of one of the things Snøhetta are well known for: Successful integration of architecture and landscape. A coined termed by Snøhetta a while ago - ‘form follows environment’ - expresses this. The company does not place the architect at the top of a design team hierarchy, with landscapers and other designers as sub-consultants placed under the umbrella of the architect’s expertise. Instead the aim is to have a cyclical process – where ideas can form landscape, but also where landscaping can have qualities and forms of its own which can then, in turn, feed back into the overall design. Another of Snøhetta’s design threads is the idea of generosity. Spaces created by their buildings which don’t necessarily have a prescribed purpose but provide opportunities for users to create their own agendas. One project which beautifully interweaves all of these key design threads is the Norwegian National Opera and Ballet in Oslo. The practice’s principle of ‘generosity’ works as one of the main drivers in this design. There was much debate in Norway as to whether or not public money should be used to construct something as exclusive as an opera house. Snøhetta took a Norwegian law allemannsretten or ‘the right to roam’, which historically applies to the right to public access all over the Norwegian countryside. Taking allemannsretten and instead applying it to this urban structure, they used the building to form a series of public plazas and event spaces. The whole building is designed to be ‘keyless’ meaning that the public can enter the building at all hours and roam around. Production areas have windows- allowing glimpses into costumes, sets and the like in production, which promotes the same kind of interdisciplinary interest that Snøhetta themselves practice. The external floors, walls and roofs all fold elegantly into each other, allowing a visitor to ascend from the outside of the building up and onto the roof, all without necessarily entering the building. They have created a public realm that flows over and through the building. The rooftop plazas are regularly in use – not just for organised events such as film screenings and simulcast operas, but also informally, by the public - dog walking, site-seeing, tai chi, even skiing. ‘the plaza becomes a place where art and everyday life combine for anyone who cares to join in.’ RH
''Transpositioning’ is possibly one of Snøhetta’s greatest secret ingredients... This playfulness with roles is supposed to encourage outsidethe-box thinking, by using someone who is not trapped in the tried-and-tested methods of their discipline to take a
Image Credit: Vidar Nordli-Mathisen / Oliver Cole
fresh new look.'
Issue 45 | The Essential Journal
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COLUMN
COMING SOON
A CERTAIN RATIO (DJ SET) - ANDY CARROLL - ANTI SOCIAL JAZZ CLUB BBQS - BERNIE CONNOR - DJ MASEO (DE LA SOUL) - JADE LI JAMES ORGAN - JOSEPH KAYE & ELLIOT FERGUSON LACES OUT AFTERPARTY - MADONNATHON - NIGHTCRAWLER PIZZA NO FAKIN - ROOT HOUSEPLANTS POP UP - SPEAKERBOXXX STEALING SHEEP (DJ SET) - SUPERSTITION - TINY DANCER (ELTON JOHN CLUB NIGHT)
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The Essential Journal | Issue 45
CULTURE
An Extract
Hive Rise Exploring the importance of style as a means of environmental change with Norway’s foremost integrated design studio, Snøhetta words by SNØHETTA
Snøhetta: Collective Intuition (Phaidon) is available now, £59.95
E
stablished in 1989 by Craig Dykers and Kjetil Trædal Thorsen, Snøhetta is the only Architectural design company to have twice won the World Architecture Award for Best Cultural Building. With offices in Oslo, Innsbruck, San Francisco, and New York, and projects all over the world, Snøhetta has become one of the most important architecture practices in operation today. Phaidon’s Snøhetta: Collective Intuition represents the first in-depth monograph on one of the most important contemporary architecture practices working today. The excerpt below presents a convincing and prescient argument for the role of style as both an all-important conversation-starter and an effective method of serious, socio-cultural reform. EJ
Vulkan Beehives, 2014. Oslo, Norway Insects, birds, and other pollinators are an integral part of our ecosystem, vital to the propagation of both wild and cultivated plants. Among the world’s most important pollinators are bees, which support fully one-third of all food growth in the world. In recent decades, however, bee colonies have suffered a devastating blow at the hands of pesticides and habitat loss. In 2014, we began our close collaboration with the passionate apiarist Alexander Du Rietz, who approached us with the goal of expanding his traditional beekeeping practice into an urban context. The Vulkan Beehives were born out of a joint mission to raise social consciousness around colony collapse, and to provide a new model for urban housing for our agricultural partners. Situated along the western bank of the Akerselva river, the Vulkan area of Oslo provides a unique window into the history of the city. Beginning in the Middle Ages, and since Oslo’s founding, Vulkan became a hotbed for industrial activity. Up until the 1960s, when the last factory closed, the riverfront was lined with brickworks sawmills, steel foundries, and other industrial structures. After nearly half a century of darkness and disrepair, a large redevelopment project began in 2004, led by property owners Aspelin Ramm. The aim was to revitalize the neighbourhood and transform the post-industrial landscape into a full-scale model of architectural innovation and environmental sustainability. With the creation of new parks and the conversion of surviving structures for new uses, such as the industrial-hall-turned-food-market at Mathallen, Vulkan has evolved into a vibrant cultural district. Keeping urban longevity in mind, the Vulkan Beehives were included as part of this larger project, broadening the scheme’s discourse on the relationships that link art and architecture to a more sustainable society. For his first urban beekeeping initiative, Du Rietz could have commissioned a carpenter to craft a beautiful set of traditional, woodworked beehives. However, our collaboration focused instead on the design of an attractive external shell that could be efficiently fabricated and inexpensively replicated. With this shell, the Vulkan Beehives are different from traditional hives, providing an enclosed, weather-protected space for the bees, as well as for the monitoring and sensory equipment that collects data on the bees’ activity. The pair of hexagonal birch-plywood towers are lacquered in a warm honey color and inscribed with a honeycomb pattern, encasing traditional beehive boxes and the technical elements that support the hives. Their intriguing sculptural form is intended to attract the attention of people in the entrance plaza below, piquing curiosity and stimulating conversation. The visibility of the project spreads knowledge about the global initiative of beekeeping beyond local grassroots organizations and environmentalists to the general public. Today, the Akerselva river is surrounded by local farms and green spaces, supplying access to pollen, nectar, and water, as well as providing an ideal backyard for bee habitats to flourish. The Vulkan Beehives perch on the roof between Mathallen and contemporary dance center Dansens Hus, and are home to two queens, one of whom is affectionately named Sonja after the queen of Norway. An on-site urban beekeeper tends to the bees’ needs daily, aided by monitoring devices that track rainfall, temperature, and even the amount of honey they produce. Some of the honey is also sold in the shops downstairs at Mathallen. Around 160,000 bees thrive inside the two hives—our densest housing project to date. At Snøhetta, the bulk of our work is designed in the service of human beings, but always with a broader understanding of how the habitats and environments we shape impact our non-human cohabitants, be they flora or fauna. Some projects, like this one, are designed to encourage greater attention to those relationships. Here, the primary function of the structure is not for the production of honey or other bee-related products, but rather for the expansion of habitat for a population at risk. By stimulating curiosity and signaling the symbiotic relationship between humans and bees, this sculptural urban intervention will hopefully encourage us to safeguard the delicate relationships that exist among more residents of our ecosystems. Excerpt from Snøhetta: Collective Intuition (Phaidon)
Issue 45 | The Essential Journal
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BUSINESS
Coffee & Counsel with
Adonis Michael This month Michael Rose & Baylis director, Adonis Michael, ponders the pros and cons of professional dress codes words by Adonis MICHAEL
O
scar Wilde once said, ‘You can never be overdressed or overeducated.’ Whilst the latter may still be true, there are mounting arguments to challenge the former. Our ideas about dressing to impress and what is considered appropriate for business have shifted dramatically over the last decade, let alone the late 19th Century, when Oscar was scribbling away with his feather quill. To be clear, this is not a piece deliberating the latest trends from London Fashion week, what’s hot and what’s not, before all you GQ readers get in a huff and tell me that double monk straps are so last year! This is about business fashion, or dress codes. Bear with me while I reach for my Oxford English Dictionary: ‘A dress code is a set of standards that companies develop to help provide their employees with guidance about what is appropriate to wear to work.’ Why do companies even have dress codes? Again, I’m not talking about a butcher wearing his obligatory white overalls or a surgeon with his gloves and uber-hygienic, sterile blue scrubs, so put functionality to one side for a moment. I’m talking about dress codes that don’t address a specific, functional requirement. Does the dress code have a measurable impact on a company’s attainment of its goals? Or more importantly still, does it affect its bottom line? ‘Dress smart, think smart.’ That was the long-held belief in the corporate world. Going further, the dress code is a way of communicating the culture of a company and what its values are, it could even be said that it is an extension of the company brand, it gives it an identity. From an employee’s perspective, it provides a sense of belonging in the workplace, and abiding to this code reinforces the ‘team ideal.’ But, Facebook and Google will be the first to argue that a dress code has no bearing whatsoever on its bottom line. Mark Zuckerberg is often seen in casual T-shirts and jeans whilst being CEO of one of the biggest companies on the planet. So let’s peer through the looking glass at Google HQ. Hundreds of people wearing all manner of clothing, jeans, T-shirts, shorts, dresses, trainers, sandals, skirts, it’s a mish mash. That’s because there is no dress code, and last time I checked that company was worth about a trillion dollars. So they must know something right? Not only that, they consistently top the list of best companies to work for. Ok then, easy: I’ll tell all my solicitors they can come in wearing their favourite Lacoste tracksuits as of Monday. Not so fast. Just because ‘no dress code’ works well for a company like Google or the cool graphic design company whose offices are in that converted warehouse, it doesn’t mean that it would work well for a client-facing firm of Lawyers for example. Would you like to go into a meeting with your lawyer to arrange an important commercial contract only to find him sitting there in a pair of Air Max and his favourite Stone Island T-shirt? Valid question. Maybe you would, maybe you wouldn’t. Answers on a postcard please. In a top 20 firm I once worked for, the employees - when asked - actually voted to retain the dress code. It turned out that having so much freedom to decide what to wear each day was too much of a stress. And if we flip it round, it would probably seem equally as odd if we were to take a peek into Google and Facebook HQ to find everyone wearing three-piece pinstripe suits. So what’s the answer? In a phrase: Cut your cloth accordingly (see what I did there?). It can work for some companies but isn’t suitable for others. Not yet anyway. There is also a happy medium here, a middle ground. My office operates a loose dress code, meaning that there is no specific uniform, but we are expected to dress smart. What you wear and how you wear it is up to you, as long as it’s smart. As of yet, no one has come in wearing trainers and ripped jeans. That said, sometimes a solicitor who doesn’t have meetings may wear smart trousers, shoes and a short sleeve shirt with no tie, this is fine. Other days he may come in wearing his Saville Row suit and tie ready for court. This is also fine. It all comes down to trusting people’s judgement. And to make things even better, one day a month we have dress down Fridays and everyone is happy. I’ll let you in on a little secret, though: I have commissioned a forensic accountant to provide me with a report on productivity levels for these dress down days. Come back in 6 weeks for the big reveal and maybe a change in my views. AM
'The dress code is a way of communicating the culture of a company and what its values are, it could even be said that it is an extension of the company brand, it gives it an identity'
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The Essential Journal | Issue 45
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