Essential Journal - Issue 49.5 by The Essential Journal

culture

style

drinking

column

lifestyle

Meet the Makers with John Smedley

Crockett & Jones Turn 140

Booze and Bivalves with Maison Premiere

Tommy Banks Talks Sports

La Marzocco Talk Steam and Style

page 12

page 16

page 42

page 45

page 49

In pursuit of a quality lifestyle

Issue 49.5

the style issue

The timeless, the trending, and everything in between.We dedicate this issue to all things style

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ALL-ELECTRIC ALL-ELECTRIC I-PACE I-PACE

ENJOY ENJOY A A LONG-TERM LONG-TERM INVESTMENT, INVESTMENT, IMMEDIATELY IMMEDIATELY ..

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Hatfields HatfieldsJaguar JaguarLiverpool Liverpool Columbus ColumbusQuay, Quay,Riverside RiversideDrive, Drive, Liverpool, Liverpool,Merseyside MerseysideL3 L34ED 4ED 0151 0151728 7282000 2000 hatfields.co.uk hatfields.co.uk

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NEW RANGE ROVER EVOQUE

CAPABLE. NEW RANGE ROVER EVOQUE YET INCAPABLE OF BLENDING IN. CAPABLE. YET INCAPABLE OF BLENDING IN.

New Range Rover Evoque is as at home on city streets as it is on mountainous roads. It has all the capability credentials of a true Land Rover but with all the city smarts too, such as ClearSight Groundview* technology. This displays what’s underneath the bonnet so you can keep an eye on those awkward high kerbs whenRange parking. TheEvoque Evoqueisreally do on anything. Apart New Rover as atcan home city streets asfrom it is on avoid admiring glances. mountainous roads. It has all the capability credentials of a true Land Rover but with all the city smarts too, such as ClearSight Call or visit to book your test drive today. Groundview* technology. This displays what’s underneath the bonnet so you can keep an eye on those awkward high kerbs Hatfields LandThe Rover Liverpool when parking. Evoque really can do anything. Apart from Riverside Drive, Liverpool, Merseyside L3 4EN avoid admiring glances. 0151 559 3000 Call or visit to book your test drive today. hatfields.co.uk Hatfields Land Rover Liverpool Riverside Drive, Merseyside L3Rover 4ENEvoque range in mpg (l/100km): Combined 28.5-44.9 (9.9-6.3). NEDCeq CO2 Emissions 188-143 g/km. Official WLTP Fuel Liverpool, Consumption for the Range 0151 559 3000 The figures provided are as a result of official manufacturer’s tests in accordance with EU legislation. For comparison purposes only. Real world figures may differ. CO and fuel economy figures may vary according to factors such as driving styles, environmental conditions, load and accessories.

2 hatfields.co.uk

Nolita Grey on First Edition only for 12 months from launch. *ClearSight Groundview not available on First Edition. Requires 360 camera. All in-car features should be used by drivers only when safe to do so. Drivers must ensure they are in full control of the vehicle at all times.

Official WLTP Fuel Consumption for the Range Rover Evoque range in mpg (l/100km): Combined 28.5-44.9 (9.9-6.3). NEDCeq CO2 Emissions 188-143 g/km. The figures provided are as a result of official manufacturer’s tests in accordance with EU legislation. For comparison purposes only. Real world figures may differ. CO2 and fuel economy figures may vary according to factors such as driving styles, environmental conditions, load and accessories. Nolita Grey on First Edition only for 12 months from launch. *ClearSight Groundview not available on First Edition. Requires 360 camera. All in-car features should be used by drivers only when safe to do so. Drivers must ensure they are in full control of the vehicle at all times.

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CONTENTS

THE ESSENTIAL JOURNAL

Contents 8

A Note from the Editor

The Primer A run down of who we've been talking to, staying with, watching and reading One Thing Done Well: The Level Collective Winnats Roll Top Backpack is a tangible manifestation of The Level Collective’s dedication to all things ethical, sustainable and independent

Meet the Makers: David Snoo Wilson David Snoo Wilson talks us through the beautiful alchemy of melting metal

Crockett & Jones' Ode to the Process Crockett & Jones’ 140th Collection is a heartfelt, heritage-inflected celebration of the story so far

Style Archives: The Parka An enduring icon of great British style, the parka coat has a distinguished legacy in the long history of menswear A Fond Lookback: Mez SandersGreen, Life Life frontman, Mez Sanders-Green, recalls his formative years growing up in the city of Hull

Brimmed & Bespoke Marcel Rodrigues adds a touch of custom flare to an all-important but underappreciated wardrobe staple

Sartorial Selvedge Blackhorse Lane Ateliers throw a little Savile Row-esque sophistication into the world of denim, and they do so right here, in the UK

Red Room Ready Merging fashion and fitness like no one else, Barry’s has everything you need to break a sweat in style

Staying in Style The Ace Manhattan is both a hive of boutique drinking and dining and a paragon of peerless style

High Spirits The Whisky Exchange offer up some solid recommendations for your next (or first) big whisky purchase

On the Pass With Tommy Banks Tommy Banks discusses the common ground between cricket and the kitchen

Drinking With: Mason Premiere Maison Premiere brings a touch of class to the rugged charm of Brooklyn’s Williamsburg

Tailored Thoughts On: Social Media Matthew Gonzalez warns of the dangers of taking the filtered at face value

A Cut Above Ian Harrold talks individuality, authenticity, and fashion fatalism

Tee Talk Nick Pears gives his two cents on the finer points

The Fine Art of Menswear Curation Doherty Evans & Stott go above and beyond seasonal trends to deliver something more akin to a house style

Calm and Collected Cool With an authentic and honest approach to fashion, Melka of Sweden’s latest lineup is a posterboy for Swedish style pragmatism

On the Road: Four Unique Paths, One Secret Destination Never Bound By Boundaries: Tessuti’s Stand Out 2019 Autumn/Winter campaign takes them to the land of fire and ice to flex their bar-raising, ante-upping, boundary-breaking style

Steam-powered Style Stefano Della Pierta helps us to better understand what it takes to envision and create a La Marzocco espresso machine

Addressing the Table According to Jake, there’s something to be said about the clarity that comes with keeping a critical distance from all things cool

Architectural Thoughts on Urban Agriculture Róisín Hanlon weighs in on the good, the bad, and the ugly sides of the architectural world

Coffee and Counsel Adonis Michael discusses the myriad reasons why manners maketh the man

Stefano Della Pierta Tommy Banks

‘Fashion is the armor to survive the reality of everyday life.’ Bill Cunningham

ure, fashion is as much a statement of intent as it is a suit of armour, but I’ve always been of the opinion that it is, above all, a fickle thing. Don’t get me wrong, style, though arguably more fixed in its ways that fashion, is equally apt to boggle, beguile and blindside. They’re both confusing, Kafkaesque little constructs, replete with topsy-turvy rules, regulations and contradictions made all the more ridiculous by the fact that we wrote the damn things ourselves. We all know the parable of the Emperor’s New Clothes: The guy with more vanity than sense, more money than taste, and more yes-men than actual friends. It’s a fine cautionary tale against buying into fashion’s many fictions; a collective folly we’ve all been guilty of at some point, I’m sure.

'Style is at its best when people admit to themselves that it’s not a science. Nor is style really an art. At best it’s a game, one that we don’t really understand but kind of go along with anyway' When approached with a sense of humour, fashion becomes an odd metaphor for life in many ways. We can feign all the authority and control we can muster, but we can’t hide the fact that, for the most part, we’re making it all up as we go along. Style is at its best when people admit to themselves that it’s not a science. Nor is style really an art. At best it’s a game, one that we don’t really understand but kind of go along with anyway. At worst it’s a series of happy accidents that we’re happy to take credit for when the chips are up. Which is pretty freeing, when you think about it. So lighten up; wear the socks and sandals, mix your patterns, double up your denim. You do you, as they say. It’s your armour, after all. Don it with honesty, don it with as much authenticity, enthusiasm and conviction as you can. Or, you know, do it without so much as a second thought. Either is totally fine. But do it for yourself, because style done for anyone other than yourself is sure to see you stripped of your armour and left, well, naked. Will HALBERT Editor

PUBLISHERS Singleton Publishing

CONTRIBUTORS Adonis Michael Amy Hughes Ben Walgate Bilgehan 'Han' Ates Dan Harvey David Snoo Wilson Dawn Davies Ian Harrold Jake O'Brien Murphy Marcel Rodrigues Matthew Gonzalez Mez Sanders-Green Miles Kenney Nick Pears Róisín Hanlon

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

EDITOR Will Halbert w.halbert@singletonpublishing.co.uk

For all advertising enquiries please contact: sales@essentialjournal.co.uk

CREATIVE DIRECTOR Thomas Sumner t.sumner@singletonpublishing.co.uk

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

LEAD DESIGNER - Jennifer Swaby STAFF WRITER - Elliot Ramsey

TERMS & CONDITIONS Under no circumstances must any part of this publication be reproduced without prior permission to the publisher. Whilst every effort is taken, the publisher shall not be held responsible for any errors.

FRONT COVER Marlon Brando | A Streetcar Named Desire cineclassico/Alamy Stock Photo

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

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NEW COLLECTION AVAILABLE ONLINE AND IN SELECTED STOCKISTS GIBSONLONDON.COM

EssentialJournal.co.uk 00020 - Gibson Essential Journal Ad.indd All Pages

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Who We’ve Been Talking To

Ben Walgate Tillingham Wines

Who We're Congratulating

Universal Works The artistic vision of former Paul Smith and designer, David Keyte, Universal Works has long since been the last word in simple, honest menswear that puts fit, design and wearability above all else. This year marks Universal Works’ tenth year of merging British-inflected workwear with smarter, more occasion-friendly attire. The brand’s Autumn-Winter ‘19 collection sees the brand further solidify this balance with a thoughtful and considered collection of mainstays and new additions. Drawing loosely on Aesop's fable of the Hare and the Tortoise (a story that preaches the importance of a calm and consistent approach to all things worth doing) the lineup boasts a vibrantly sporty edge that sings of the brand’s signature style whilst still managing to push things forward. Talk about celebrating in style.

What We've Been Mixing:

Unhindered, a Cocktail Compliments of Pippa Guy

What We've Been Watching

Fruity, enticing, and full of character, Black Tot Rum boasts a rich, golden marriage of fruity Barbadian, full bodied Guyanese and vibrant Jamaican Rums that warms the soul. Each sip releases the richness of tropical fruits, the sweetness of Caribbean cakes, a lacing of intense espresso, and a finish of sweet spices. And as Pippa Guy (formerly of The Savoy’s American bar) reveals, it makes a mean cocktail too. Ingredients 40ml Black Tot 20ml Cynar 20ml Oloroso sherry 3 dashes Angostura bitters Garnish: Orange peel Method Combine all ingredients except the orange peel in a mixing glass filled with ice. Stir for 20-30 seconds and strain into a chilled coupette glass. Gently twist a thin piece of orange peel over the glass before dropping it in.

Joker Cynical, exploitative and ultimately forgettable, Todd Phillp’s Joker is a desperate and uneven attempt to make a grown up film that, quite like Joker’s eponymous protagonist, falls flat on its arse one too many times. The weight and heft of Joaquin Phoenix’s performance is unsurprisingly impressive. But the rest? Not so much. Don’t get me wrong, Joker isn’t a bad film, per se. It can’t be, really. It’s a derivative, cut-and-paste, Frankenstain’s Monster of a film that has so shamelessly and meticulously aped bigger, better films that it never really has the opportunity to fully derail itself. Its Scorscese stabilisers are fixed on too tight for there to be any risk of that. That the film is a cheap, vacuous facsimile of Taxi Driver is not its biggest crime, however: Joker simply isn’t as edgy, relevant, or even as interesting as it thinks it is. This is the agsty, filmic equivalent of angrily throwing shit at a wall to see what sticks. Sure, you make a bit of a scene in the process. But at the end of the day, you’re still left with a wall covered in shit.

[Insta] @Frannerd Cartoons aimed right at feels

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[Music] Life A Picture of Good Health

Are there any additional challenges associated with producing wine here in the UK, especially when working with low-intervention methods? A lot of people say that natural farming and winemaking aren’t suited to the UK, as our climate is more marginal. I think this is, in part, an excuse by some for not trying harder and also down to a lack of understanding of the benefits and the principals of this approach. First of all, a vine - like all plants - requires a healthy living soil for the uptake of nutrition and also for its own immune system. If you don’t have a healthy soil, the disease issues are greater. there's a greater impetus to farm in this way. As for the wine making itself, I find that our inherently higher acidities, combined with our long growing season, make for wines that are inherently quite resilient to spoilage. The wines - when made with a low-intervention approach - have great longevity in the bottle. Hand planting 10,000 vines at your farm must have been quite the challenge. What was the motivation behind it? Cultivation can be bad for the soil and bad for the environment. I thought that through lots of compost additions and cover crops I would have done enough to get away with hand planting. In the end the vines struggled a bit. This year, we planted 26,000 and chose to cultivate, the results we much much better. It’s been a learning curve. Now all the vines are in the ground, we will avoid cultivation - as we do herbicides - and control the competition (aka weeds) around the vine by mechanical/manual means. It’s just for the establishment phase and in the long run means our soils will be healthier. I hear that some of your wines are the product of Qvevri ageing. How does this impact the final wine? Which of your wines would you say best exemplify the benefits of this technique? We use qvevri here. I have 14 now. We also have concrete vats, various formats of Oak and also stainless steel. They all have an impact on the wine. Sometimes, some of the wines from qvevri take on the taste of the clay, other times not. My favourite so far has been the Qvevri Artego from 2017. We’ve just released a Qvevri white blend which is shaping up to be really really good. This one I finished in barrel for 6 months, though, to soften the perception of clay in the wine. Do you think people’s interest in - and attitude towards British wines have changed in recent years? Do you think more natural wine processes have opened the category up? English wine and Welsh wines have come a long way, and the success and renown of the top sparkling has provided a platform for other wine styles to gain acceptance. What myself and the handful of other, more experimental, winemakers are doing will have broadened the category a bit, I’m sure. It's great to see now that there’s some diversity in the UK industry. Are there any grape varieties that have made a comeback thanks to low-intervention winemaking? Are you working with any (relatively) lesser-known grapes yourself? What’s becoming apparent (to me at least) is that the less trendy varietals like Regent and Müller-Thurgau and the like can make really good, characterful still wines when using a more sympathetic, natural approach. These are now is short supply, whereas a big oversupply of chardonnay and pinot noir is starting to be the norm.

Five-in-Five

[TV] Criminal Taut and tense investigative thriller

First off, what’s your story? What sparked your interest in biodynamic wine in the first place? I was working in a wine shop whilst at uni. This would have been back in 2001. I’d worked in hospitality and wine shops before then, but at this particular point in time I first started to find out about biodynamics. It was a combination of learning about some of the characters and the philosophy behind the wines, but mainly the wines themselves, which had an energy and sense of place that really stood out. I soon went off to visit some of these producers and it was while in a vineyard in Burgundy that I realised that all I wanted to do was farm and make wines in this way.

[Book] This Guy Sharply dressed and masterfully framed

[Podcast] Mad Chat Unpacking madness and mental health

How are the plans for the Tillingham guests rooms and restaurant coming along?

We’re now open! The 11 rooms all look beautiful, and the restaurant and wine bar are serving up our own food from the farm as well as our wines, and a great selection of my favourite natural wines from around the world. The weekends from now until Christmas are filling up fast.

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Find out more at johnsmedley.com/discover/legacy

n o s l i W o o n S d i v a D r e d n u o F l l e B X y e l d e m S n h Jo 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

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25 The Level Collective One Thing Done Well

As solidly built as it is consciously sourced, the Winnats Roll Top Backpack is a tangible manifestation of The Level Collective’s dedication to all things ethical, sustainable and independent words by Will HALBERT

s it stands, Sheffieldians are pretty renowned for a certain to-the-point and down-the-line directness. Which, when you think about it, goes a long way to explaining The Level Collective’s name. About as to-the-point and down-the-line as it gets, The Level Collective is a catchy little encapsulation of exactly what the brand is all about: Balance, connection, and collaboration. The brand revels in its pursuit of a balanced life and its dedication to meaningful toil. Carving a niche between hard graft and restful connection, The Level Collective strives to connect with other artists, makers and creators with an equal interest in freedom and responsible production. ‘We believe that as humans; the clothing we wear, how they are made, and the brands we choose to support; are all an expression of our values and identity,’ says founder, Mark Musgrave. ‘Our money is our voting token.’ They also happen to make some pretty spectacular backpacks, their Winnats Roll Top backpack being a fine case in point. As direct and down-the-line as The Level Collective’s branding suggests, the Winnats occupies an intriguing intersection between rugged, adventure-ready wares and stylish, urban-inflected accessory. The outer shell comes in the form of a custom, rough-and-ready, waxed, organic, cotton canvas from Scotland’s one and only Halley Stevensons. Its internal padding eschews any nasty petrochemicals in favour of repurposed, wool-rich fiber from Yorkshire carpet makers. Veg-tanned, Derbyshire-made leather makes up the buckle loops, grab handle & logo patch (though vegan options are also available), while laser-cut, 316 grade, steel buckles round things off in a suitably utilitarian manner. In truth, there’s a lot to boast about here. But The Level Collective aren’t interested in bragging rights, they’re far more focussed on offering a solid, consciously-sourced product (from clothing to tools to accessories) that will not only go the distance, but bring people closer together in the process. ‘We partner with collaborators, not suppliers,’ asserts Mark, ‘to create beautiful, functional products that are designed to be enjoyed for many years – products which gain character and beauty with age – products that wear-in, not out.’ In further defiance of the fast fashion paradigm, each and every Winnats Roll Top is made to order (right here in the UK), and comes with the promise of a dedicated repair service. It’s the little touches and extra miles such as these that prove that The Level Collective is more than just a catchy name; it’s both an overarching philosophy and a heartfelt and genuine statement of intent. EJ thelevelcollective.com

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www.chestudios.co.uk EssentialJournal.co.uk

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THE ESSENTIAL JOURNAL x JOHN SMEDLEY

Meet the Makers

David Snoo Wilson We talk to Bristol based bell caster, QEST Scholar and John Smedley Ambassador, David Snoo Wilson about the beautiful alchemy of melting metal words by Will HALBERT

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THE ESSENTIAL JOURNAL x JOHN SMEDLEY

How would you describe your craft? Bell casting specifically. Art casting more generally. What is your favourite part about what you do? Aside from making the highest quality objects, I get a huge amount of satisfaction out of teaching, especially when you facilitate people making things well. To play the role of the alchemist and to help their ideas come to life, it’s one of the best things you could ever possible to in my eyes.

David is wearing the 8.Singular John Smedley Sweater

to its own rich history of Britishness and its strong ties to the world’s finest, noble fibres words by Will HALBERT

n October 14th John Smedley will launch their official 235 collection as part of Wool Week 2019. For the first time in history John Smedley will present a three-fibre capsule collection across menswear and womenswear featuring British Guanaco, British Alpaca, and British Sheep’s wool. These pieces are not only crafted in Britain, but entirely farmed, spun, knitted and hand finished right here in the UK. While British Sheep and Alpaca may be well-known fibres, John Smedley’s collection will mark the first ever British Guanaco garments in the entire world, Never before spun for a brand or company, this fibre, which is second only in the world to Vicuna in fineness, is extremely rare and will be offered in a single, unisex style of which only 25 in the world will be made available exclusively at John Smedley’s London stores. The collection offers not only the finest noble fibres, but a completely ethical and sustainable product that can be traced back to the individual animals. The silhouettes offer a classic crew neck and a roll neck, alongside hat and scarf accessories. EJ

What other craftsmen stand out to you most and why? Ford Hallam, immediately springs to mind. He’s a very skilled metal worker. He is also the only nonnative artist to have been adopted into Japan’s ancient decorative metalworking tradition, which says it all really. Did anything in particular inspire you to start your craft? It all came about by accident really. I discovered my love for it all while teaching. I was inspired by the look in the student’s eyes as they witnessed the sight of molten bronze for the first time. It leaves quite an impression.

Ore and Ingot’s mobile foundry serves to engage the wider creative community whilst preserving traditional arts in contemporary practice words by Will HALBERT

n exemplary metal caster in his own right, David Snoo Wilson is also one half of Bristol-based, travelling foundry, Ore & Ingot. Joined by Jo Lathwood, the duo travel the country showcasing their portable foundry with a view to sharing their metal casting skills to all who share their passion. Their aim is to create a hub that will draw in local artists and help them to preserve skills that are frequently overlooked - if not entirely forgotten - by art institutions. Both the spirit of collaboration and the dedication to preserving traditional skills lie at the heart of the John Smedley philosophy, as they have done for 235 years. It’s little wonder, then, that the efforts of Ore & Ingot should strike such a chord with Britain’s oldest and greatest purveyor of fine knitwear. Both John Smedley and Ore & Ingot stand as bastions of an uncompromising heritage, bringing traditional methods to a contemporary market. EJ

The Icons have Arrived anniversary this year, John Smedley looks

How long have you been doing it? I’ve been casting metal generally for about 12 years now. I’ve been casting bells since 2011, and then really specialising in it for the last five years or so.

Ore & Ingot

In celebration of the brand’s 235th year

How did you begin your career? I fell into it by accident, really. As is often the case with most people’s vocations, I suspect. They tend to find you.

Quality Forged in Fire:

STYLE

What is the hardest part about what you do? It’s hard to choose between the long hours, the low pay, and the self doubt. But they come with the territory, and the rewards of the craft far outweigh the challenges. Where did you learn the skills required for your role? I’m self taught for the most part. Though sculptor, film-maker, and composer Marcus Vergette had a huge influence on my work. I’d recommend that anyone interested in the art of bell casting should check his work out. How would you describe a typical day in your role? That’s the beauty of being a craftsman: I do so many different and diverse things in a single day, and very few of them are typical. What are the biggest challenges you face in what you do? Securing work flow is always a challenge. Working for yourself is very different to the regular nine-to-five. There’s no promise of a paycheck at the end of the month. That said, the pouring of the metal into a mould is probably the most exciting and trepidacious part of what I do. You’ve dedicated a lot of time, effort and emotion into a piece, and in many ways you’re still

waiting for it to be born. How have you stayed passionate and inspired by your craft? It helps to push yourself out of your comfort zone, by constantly striving for better and by trying to push technologies not typically associated with my craft. Bell bronze has been assumed best for bell casting over the last three centuries, for example. But there are so many more alloys to try. And variables in the casting process, too, from fuel type to cooling rate. Gathering this knowledge and experimenting is an exciting prospect indeed.

'To play the role of the alchemist and to help their ideas come to life, it's one of the best things you could possibly do in my eyes.' Do you have any plans to expand on what it is that you do? Many, but that would be telling, wouldn’t it? Like I said, it’s all about pushing yourself beyond your comfort zones.

What are the main projects you are working on now? I’m currently working on a miniature harmonic canon, which is pretty exciting. How would your customers describe your craft? ‘Niche’, I’d imagine. What are the accomplishments within your work in craftsmanship that you are most proud of? Give me ten years and I’ll have a better answer for that. How would you describe your work in three words? Niche castings galore. How does working with QEST support you and your craft? QEST have been a huge help. They are particularly good at promoting what you do, which is important. Sometimes you can get so wrapped up in the cask at hand that actually getting the word out slips by the wayside a little. How would you describe John Smedley? Long term excellence in the wool trade. Do you have a favourite John Smedley piece, if so what? The Crowford crew neck jumper is a winner for me. A chunky knit with a sumptuous feel and a solid fit. Can’t go wrong, really. johnsmedley.co.uk/discover/legacy

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140th

BY APPOINTMENT TO HRH THE PRINCE OF WALES MANUFACTURER AND SUPPLIER OF FOOTWEAR CROCKETT & JONES LIMITED, NORTHAMPTON

MADE IN ENGLAND | SINCE 1879

Anniversary Collection

CROCKETTANDJONES.COM

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Crockett & Jones'

Ode to the Process By deftly merging time-honoured techniques with cutting-edge design sensibilities, the Crockett & Jones’ 140th Collection is a heartfelt, heritage-inflected celebration of the story so far

words by Will HALBERT

hey say that to truly understand someone, you have to walk a mile in their shoes. To walk a mile in another’s shoes - after all - is to understand the challenges they’ve faced, the storms they’ve weathered, and the obstacles they’ve overcome. To walk a mile in a pair of Crockett & Jones shoes specifically is to celebrate the family-owned brand’s unparalleled heritage, to marvel at its century-old processes, and to revel in its 140 years of excellence. It is also, ultimately, to walk around in a damn fine pair of shoes. And by all accounts and standards, shoes don’t come much finer than Crockett & Jones’ 140th Anniversary Collection. A carefully-curated trio of styles, the 140th Collection offers a ground-up celebration of just what it is that the Northampton lodestars do best: create timeless shoes with a contemporary edge that honour age-old traditions. The Perry, for instance, offers a sleek and sophisticated Oxford style for the modern man. A sartorial stalwart brought right up to speed, the Perry shoe is both a testament to the brand’s eye for detail and a celebration of its rich back catalogue. Inspired by a deep dive into the Crockett & Jones archives, the Perry boasts a classic, 1920s swan neck design. The added pop of pebbled, Willow Grain leather against the smoother, sleeker Black Calf creates

'In honour of the benchmark collection, each of the three styles is cut in limited numbers of 140 pairs, and each is

crockettandjones.com

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the leather Dark Brown Antique Calf & Dark Brown Willow Grain the sole Rendenback Leather Sole the collection 140th Anniversary Collection

a textured, nuanced shoe for the discerning gentleman. Flexing its more casual credentials, the Magee offers a slick, streets-ofLondon-ready style with sprezzatura to spare. The laceless construction and added side gussets make for an easy on, easy off nonchalance that nevertheless retains a certain, authoritative appeal. Antique Calf uppers and handstitched, Willow Grain, gusseted sides make for a stripped-back, versatile shoe that feels just as at home in the boardroom as the beer hall. And for the dandies, the boulevardiers and the general men about town, there’s the Turner. A single strapped, wing-capped, demi-boot boasting a two leather combination. A pin-punched, willow grain strap sits atop a hand-polished, antique calf leather to provide a tonal and textural flourish as refined as the boot itself. A single, handmade and polished buckle and Rendenbach leather sole add further class and clout to an already immaculate boot. In honour of the benchmark collection, each of the three styles is cut in limited numbers of 140 pairs, and each is constructed around the all-new Crockett & Jones 140 Last. If the Crockett & Jones 140th Collection is the work of art (and we defy anyone to suggest that it isn’t), then the 140 Last is best considered the canvas upon which that art shines. Itself a wonderful visual metaphor of Crockett & Jones’ iterative, accept-no-substitutes, ready-whenit’s-ready approach to the craft, Last 140 was the result of months of model making, sampling and test fitting before becoming the very foundations of the 140th Collection. Almost a century and a half has passed since Charles Jones and Sir James Crockett joined forces to create what is now regarded as one of the finest shoemakers in the world. The Crockett & Jones 140th Collection is both a fond look back at that fateful meeting and a bold step forward into a new era of British shoemaking. Walking a mile in any of these shoes is to join Crockett & Jones on that very same journey. Available this October. EJ

Magee

constructed around the all-new Crockett & Jones 140 Last.'

the leather Tan Antique Calf & Tan Willow Grain the sole Rendenbach Leather Sole the collection 140th Anniversary Collection

Image Credit: Courtesty of Crockett & Jones

THE ESSENTIAL JOURNAL x CROCKETT & JONES

Turner

the leather Black Calf & Black Willow Grain the sole Rendenbach Leather Sole the collection140th Anniversary Collection

Perry

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THE ESSENTIAL JOURNAL X BEN SHERMAN

Style Archives

The Parka

A Fond Look Back

Mez Sanders -Green, Life Life frontman, Mez Sanders-Green, recalls his formative years growing up in the city of Hull words by Mez SANDERS-GREEN

What were you getting up to in your younger days? In my very young days I was into separating my dinosaur collection into herbivores and carnivores. I also did this with my trains and tanks into steam and diesel. I guess my OCD has stuck with me since, but I did move onto other things like listening to tapes of 70s punk, early 80s art rock and new wave with my Dad and brother on our way to school. Once I hit the hedonistic heights of my teens, I mainly focused on dressing like I was in The Strokes, smoking roll ups and going out most nights. I guess all three things have shaped me being in a band as a career. Any albums, songs or artists that provided the soundtrack to those years? Yeah definitely - The Fall, The Clash, Joy Division, Talking Heads, The Modern Lovers, The Pogues, The Strokes, Interpol, LCD Soundsystem to name a few. How would you describe your style back then? What were you wearing? Slim trousers with a vintage t-shirt, always tucked. I’m all about a suit. Been rocking some Sherman’s recently.

Ben Sherman Archive Parka, £295 Available Online

An enduring icon of great British style, the parka coat has a distinguished legacy in the long history of menswear words by Will HALBERT

his might come as a surprise to some, but the origins of the parka extend far beyond the pre-Mod phenomena of weekend trainspotting. In fact, the parka format was originally created by the Inuit people as a functional way to protect themselves from the freezing polar conditions. Traditionally worn by women, this practical cold weather coat included a baby pouch, as well as the fur-lined hood and longer-fitting body that are both retained in most modern designs. Things have come a long way since then, however. In western culture, the parka gained prominence through the US military wear of the 1950s. Typically found in sage green with the snorkel-esque, fur-lined hood, the parka was both simple and practical. As is so often the case in the realm of military wear, further variations - such as the fishtail parka, developed during the Korean War - were created out of sheer climatic necessity. Adopted by British subcultures during the late 1950s and early 1960s, particularly that of the Mod movement, the parka became a symbol of youthful rebellion. Due to a mix of originality, relative inexpensiveness and broad availability (thanks, in large part to army surplus stores), its position as a quintessential Mod staple was secured. From a practical point of view, the parka was warm, robust and had a long design; making it ideal for wearing over sharp suits whilstriding a scooter. All very relevant to the look of the time. Iconic photographs of mods on scooters during the bank holiday riots of the 60s, The Who’s Quadrophenia album cover, the mod-inspired film of the same name and its adoption by the Britpop movement are just a few of the reasons the parka has cemented its place in pop culture history. Fast forward to 2019 and the parka remains a seasonal wardrobe essential. Its timeless silhouette has been re-booted, re-worked and re-imagined up and down the high street and the catwalk alike. EJ

'Adopted by British subcultures during the late 1950s and early 1960s,

particularly that of the Mod movement, the

parka became a symbol

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of youthful rebellion.'

Were you a member of any clubs, bands, collectives or projects back in the day? I messed around with my best friend Loz (original member of The Neat and LIFE alongside me) in my mam’s house, playing garage-type music just on a bass and a guitar. No percussion. It sounded dank. Where would you typically hang out? In Hull, we had a bit of a party house on Grafton Street. The house had a lot of rotating tenants and a lot of parties were had. Were you into any magazines, zines, or publications? At Sixth Form I used to read NME back to back when it had a bit more weight to it. You can get some great zines at the moment. Check out So Young Magazine and our friends at DIY. What kind of hobbies were you into? Phase one: Being a teenage mutant ninja turtle Phase two: Listening to music all day long Phase three: Pretending to be being in a band Phase four: Being in a band What kinds of gigs and events were you going to? Any early gig or event memories? Me and my brother went to lots of music festivals with our parents instead of going on holiday abroad. We would do two or three a year from an early age. How would you describe Hull back in those days? Moving to Hull as a young teen started my journey as a musician. I’ve never looked back and the city has shaped who I am. NP Life's latest album 'A Picture of Good Health' is out now

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A Cut Above

Tailored Thoughts On

Social Media

Is an individual style truly achievable? Or are we destined to follow in the footsteps of those

Instagram may be relatively new in the grand scheme

that came before us? Ian Harr-

of things, but is it ushering in an era of old school excess? Matthew

old weighs in on the concepts of

Gonzales warns of the dangers of taking the filtered at face value

individuality, authenticity, and fashion fatalism

words by Matthew GONZALEZ

words by Ian HARROLD

ithout wanting to sound egotistical, I think I can say that I have a pretty good life. I was able to move from Los Angeles to the UK so I could pursue a career as a Savile Row tailor. From that, I’ve been able to make a living which allows me to slowly save up to buy a house, go out for the occasional after work drink, spring for a nice meal every once and a while and even book the odd holiday. So why is it that, even with all I have, it only takes a few minutes of scrolling through Instagram to make my life feel suddenly inadequate? The truth is social media has completely changed our perception of what is actually valuable in life and I think it's time that we recognise it. I’m sure many of you already know what I am talking about. Aside from friends and family, most of us are probably following some cool kid, influencer or celebrity whose IG feed is filled with images that put our lives to shame. There is no way most of us could seemingly travel around the world, hopping between five star hotel suites for half the year, but if you look at certain corners of Instagram, it feels almost commonplace. On top of that, there are all the posts about frequenting Michelin-starred restaurants, night clubs, cars, clothing, watches and anything else that costs a small fortune to buy. Most of us can only imagine what getting these things for ourselves would be like because with the sums involved it means it's just unrealistic. The problem is that the more we see of it, the more we start wanting it for ourselves. Ironically though, one of the main reasons we desire these things is because they’re unattainable. So the closest we can get to that kind of lifestyle is by editing our own. As a consequence we end up posting photos that are curated versions of ourselves with the intention of not only getting likes from our friends but also, and sometimes more importantly, from people we have never met before. We’ve become obsessed with proving to the world

'The problem is that the more we see of it, the more we start wanting it for ourselves. Ironically though, one of the main reasons we desire these things is because they're unattainable. So the closest we can get to that kind of lifestyle is by editing our own.' that we're ‘living our best lives’ even though I am pretty sure that the rest of the world doesn’t actually care. Surprisingly enough it’s not the photos alone that have changed our perspective so dramatically. It’s actually the hashtags that have done a lot of the work. For example, if you saw a photo of a young attractive couple sitting at the edge of an infinity pool in some resort in the Maldives you might be a little jealous that it is them and not you but you would move on with your life. However, once we start linking those kinds of images with hashtags like #lifegoals or whatever else people think up to humble brag about their lives we subconsciously use those pairings as metrics on which we judge our own lives. We start to unknowingly ask ourselves “If they have already achieved their ‘life goals’ why haven’t I?” In many ways Instagram has re-popularised the late 19th century notion of conspicuous consumption where the upper classes would show off their wealth by spending extravagantly on everything. It was an era of garish consumerism that placed value on vanity instead of substance. While it may not be as ostentatious today, there are plenty of examples of conspicuous consumption everywhere in modern life. Every time we post a photo because we want people to see the ultra cool place we’re at we are participating in a conspicuous lifestyle. Posed photos that are meant to appear candid and edited ones that make normal life more aesthetically pleasing all reinforce the narrative that there is only value in vanity. There is nothing wrong with the fact that social media allows us to take a look at how some people live their extravagant lives. For one, it's interesting to see but, it's important to remember that every one of those glossy images has been just as carefully selected, edited and captioned as we do with our own photos. With that in mind, it might be worth considering the next time you are out doing something ‘gramable’ that, instead of instantly grabbing your phone, take a second to enjoy whatever it is that you are doing, because by simply being present in that moment you will get a lot more out of life then a few likes. MG

n truth, there are few inevitabilities in life, but one sure-and-steady, constant is the undeniable, inalienable fact that one day, you will dress like your parents. Which is funny, because we spend so much of our younger years trying desperately to avoid it; acting out with a myriad of garishly ill-fitting and wholly uncomfortable garms in the odd and elusive name of self expression. But that’s the beauty of style, it’s part statement, part learning curve. Genuine style, after all, is a question of incremental development. It’s a series of subtle tweaks and touches that refine what you already have. Style is a constant work in progress, and it stands to reason that the older folk, for the most part, have gotten pretty good at it. I think that’s because style isn’t really a question of how good you look, necessarily. That’s entirely subjective. It’s more about confidence and authenticity. As you get older, you feel less of a need to stand out. In your younger years your style serves as little more than a billboard for you favourite brands, bands, and misdirected teenage angst; you yearn for a style that screams. As you mature, however, standing out becomes less of a concern. That’s not to say that you start to conform, not necessarily. You just start to clue into the idea that subtlety can speak volumes about a person too. We live in an age where the visual push has never been more forceful. There was a time when people had to rely on album covers and movie posters to take cues from their style icons. The era of Google Images, Pinterest and, of course, Instagram, has seen to it that nothing stays still, everything changes, and almost nothing is radical. Tattoos, for instance, have never said less about a person. Don’t get me wrong, I like them. But they’re all-too often slapped on with such reckless abandon nowadays that they start to drown each other out. They’ve lost that subcultural edge. A neck tattoo, for instance, is more likely to suggest that you make a mean macchiato, rather than acting as a record of any criminal antecedents or gang affiliations. I suppose, to some extent, style is a visual representation of where we are in life at a particular moment, financially and philosophically. There’s more to life than style, of course. And you certainly don’t have to spend a fortune to acquire style. But authenticity? Being true yourself? Things like that are worth their weight in gold. But is it really possible? How many of us can truly say that we dress for ourselves and ourselves alone? Every choice we make is informed by some prior baggage or influence. So can we ever truly be ourselves? And does it even really matter if, on a long enough time scale, we’re destined to dress like our parents anyway? EJ @ianharrold1

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Whether you are in need of a bespoke tailor for your special day or a business suit, we have exactly what youâ&#x20AC;&#x2122;re looking for. At Harland Collier, the only limit is your imagination. Metquarter, Liverpool For appointments call 07746 687 409 or email info@harlandcollier.com EssentialJournal.co.uk

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A strategic creative agency with a global reach.

Branding & Design Web Development Content Creation Photography & Videography Art Direction Creative Campaign Management Publishing

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Tee Talk

The Fine Art of Menswear Curation

Nick Pears, of Sheffield coffee institution Steam Yard Coffee, gives his two cents on the finer points of the humble tee shirt words by Nick PEARS

t seems like a bad time of year to be talking about T-shirts whilst we all start to wish we could be hugged by a pre-warmed alpaca for the next six months, but underneath all those layers each day, many of us put on the basics. As is the case with most of today’s classic style items, the tee shirt started out as little more than standard issue sportswear (or underwear) for the military. Always in white - except for the odd off green number as the Second World War began - the humble tee took Marines and the Navy to some pretty hot climates. Veterans soon returned home and adopted them as casual clothing. I’m sure pops didn’t approve when - in the 50s - Marlon Brando rocked up atop motorised steed in a torso-hugging little white number, making their wives, daughters (and sons) go weak at the knees. Before long, a host of others joined the list of white tee poster boys. You know the names: James Dean, Steve McQueen, Elvis, John Lennon and co., each one cooler than a snow storm in an igloo. Fast forward to present day and a small handful of menswear obsessives have gone full circle, making plain white tees to those famous original fits, by the original means of the 50s and 60s. Ask anyone with a real eye for detail and they’ll all tell you the same thing: The way something is made really, really matters. Yes, the more work that goes into a tee shirt, the more money you’re likely to have to part with. But you’re less likely to have to replace it, and that’s the difference. The move towards better made, longer lasting goods leads to a more sustainable way of living. Not just for the wearer, but the whole blue spec we happen to live on. Excuse the list of personal favourites here, but Merz B Schwanen, National Athletic Goods, Lady White Co, Velva Sheen and the very solid Revolver Sportswear are all brands you should have your eye on. They all do things in a way that makes their tees a worthy investment. Ultimately, they want you to wear the hell out of their garments, and they’ve gone to great lengths to source uniquely stunning fabrics and turn them into exceptionally wearable, friends-forlife-threads by way of truly traditional techniques. These techniques are a far cry from fast fashion: they can be incredibly time consuming processes that often rely on vintage looms and tubular knitting processes (tubular knitting creates a garment that has no side seams, real comfy). It can take hours to make just one piece, a piece that doesn’t then go on to become a crop top when your other half just slings it on a boil wash. They come at a higher price than your average tee, but that’s because they’re far from average. These tees age with you. They stay in shape like the day you bought them. They have the soul of the maker in every thread and stitch. In short, they are basics that are far from basic. If you fancy feeling the difference for yourself, then brick and mortar stores like Arnold & Co. (Sheffield) and Rivet & Hide (London and Manchester) and Son of a Stag (London) have got you covered. EJ

With their latest Autumn-Winter lookbook, independent Manchester sartorialists, Doherty Evans & Stott go above and beyond seasonal trends to deliver something more akin to a house style words by Will HALBERT

et it be known that the following, somewhat barbed, critique of a common overstatement is delivered in full knowledge of the fact that I am one of its most shameless perpetrators. But I’ll be damned if the word ‘curated’ isn’t about as criminally overused as it is woefully misunderstood. Curation is not a case of simply choosing a thing to be showcased alongside another thing, nor is it a case (in the digital realm) of sharing a bunch of material from other people’s accounts (sorry, influencers). To curate, by traditional definitions, is to collect, to edit, to omit and to refine with an extreme and exacting selectiveness. It is a painstaking, meticulous process, carried out with a view to displaying, and preserving, only the very best example of something (The word ‘curate’ - after all - comes from the Latin word ‘curare’, meaning ‘to take care of’ or ‘to look after’). Done well, curation goes beyond a simple, slapdash selection of random sights and sounds to create a cohesive whole: A mood; a context; a vibe; a style. And that, without even a hint of exaggeration, hyperbole or romanticism, is exactly what Doherty Evans & Stott have managed to achieve with their latest Autumn Winter lookbook. By harnessing the rich palettes and bold textures of some of Italy’s finest makers and placing them amidst the might and splendour of the British countryside, the Manchester-based menswear experts have curated a bold (dare I say, casual?) collection that deviates from the trio’s more sartorial underpinnings to pretty marvellous effect. Here, Aspesi’s peerless shirting and top-tier outerwear sits effortlessly above signature trouser styles from Venetian heavyweights, Incotex. Boglioli make up the bulk of the jacket offerings; a solid choice considering the Brescia-born brand have spent four generations turning jacket deconstruction into an art form. More traditionally tailored (and hand-finished) flourishes come in the form of Caruso’s polo shirts and blazers. The direction of the lookbook sees the gents at Doherty Evans & Stott truly flexing their luxury menswear credentials. ‘This is a great reflection of where we’re at right now,’ says co-founder, Matthew Evans. A modest understatement, to say the least. For all intents and purposes, the lookbook offers a strong working model for what a boutique menswear store really ought to be about: Well-edited collections, curated with knowledge and authority to resonate with an established (and respected) customer base. In a high street climate all too willing to insult its consumers’ intelligence (not to mention tastes) with a careless, callous and generally ill-conceived collection of one wear wonders, Doherty Evans & Stott’s Autumn-Winter lookbook serves as both a benchmark in their creative output and an all-important marker of mutual respect between boutique shop and discerning shopper. EJ

'The direction of the

lookbook sees the gents at Doherty Evans & Stott truly flexing

their luxury menswear credentials.'

dohertyevansandstott.co.uk | @dohertyevansstott

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Calm and Collected Cool With an authentic and honest approach to fashion, Melka of Sweden’s latest lineup is a posterboy for Swedish style pragmatism words by Will HALBERT

tyle is a funny thing, isn’t it? It’s as unique to the individual as it is contingent upon societal influence. It’s undeniably singular, yet somehow geographically determined. Wholly idiosyncratic yet collectively curated. Take the Italians, for example. Ever the posterboys of Mediteranian chic, Italians are known for a studied carelessness, a certain I-woke-up-like-this stylistic nonchalance that gives the impression that the whole lot of them were just born classy. Then there’s the perpetual fashion pendulum that is the French, forever swinging back and forth between a timeless, Côte d'Azurian cool and a more pensive, Parisian reservedness. But the Swedes? The Swedes do things a little differently. They’re stylish, no doubt, but pragmatically so. Understated but never effortless, theirs is an almost clinical cool, a stripped-back and modestly-confident aesthetic that’s so of its place that it’s pretty hard to emulate. Those looking to pull it off authentically are going to need a little help. Enter Swedish heritage brand, Melka. Established over 70 years ago, Melka has long become synonymous with thoughtfully-designed pieces that reflect a distinctly Swedish style ethos. Their latest collection stays true to that legacy, boasting a solid selection of staple pieces to help build a transitional wardrobe for the modern man. With a conscious lean toward layers and longevity, Melka eschews the traditional churn of fast fashion, aiming instead to offer timeless styles set to outlive seasonal trends. The 33-piece collection has its roots firmly within the Swedish aesthetic. Simple, well thought out pieces in an easy-to-wear colour palette come together to create an infinite combination of wardrobe staples. Though the lineup is peppered with faithful nods to Melka’s extensive archive (think cotton navy macs and classic, button-down striped shirts), it also finds itself elevated with a few modern - though no less modest - touches. Breton tops in soft cotton, moss-green knitted cardigans and statement, tartan checked jackets offer up further instances of Swedish stylistic pragmatism with a subtly rugged, workwear-esque inflection. With its clean lines, faithful callbacks and simple-yet-solid construction, Melka of Sweden has found a way to make the previously inimitable easily accessible. EJ melka.com | @melkastudios

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ON THE ROAD Four Unique Paths, One Secret Destination

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fter such a huge summer, lesser style authorities would simply kick back, content with coasting on the impetus and infamousness of former glories. But this is Tessuti we’re

talking about; they’re all about standing out, not standing still. So how exactly do you follow up on a Summer spent blazing across the sun soaked scenes of Brisbane (with Example and his entourage, no less)? Well, if you’re Tessuti, you take four brands, each one famous for having carved their own paths and forged their own unique and enduring philosophies. You invite them to a top secret location in the heart of Reykjavik, and you let them do what they do best: Forge their own unique path, in their own unique way, with neither limit nor boundary. Tessuti - Never Bound by Boundaries.

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LIFESTYLE

PARAJUMPERS The DC3 Crash Site of Sólheimasandur

pend enough time venturing across the black sand and gravel stretches of Iceland’s Southern Coast and you’re sure to find the gnarled and weathered remains of the now iconic Douglas DC-3.

Article of Note

Having crash-landed back in ‘73, the rusted remains of the aircraft stand in tall testament to man’s staunch defiance against the elements. On that note alone, Parajumpers must have felt right at home.

Inspired by Anchorage’s 210th Rescue Squadron, Parajumpers offer high quality outerwear that delivers on both performance and style. Ethical, beautiful and always adventure-ready, Parajumpers are all about finding that perfect balance between intuitive design and solid, uncompromising functionality. Starting their adventure amidst the weathered remains of the downed DC3 was the perfect way to put design and functionality to the test.

Gobi Bomber Jacket

s practical as it is versatile, the Parajumper Gobi Bomber Jacket offers the perfect visual metaphor of exactly what it is that the brand do so well: Deliver on-point, fashion-forward outerwear that doesn’t skimp on the smaller details. With a two-way, full-zip fasten and classic fit (not to mention five front pockets, two internal pockets, and a detachable carabiner neck fasten), the Gobi Bomber jacket oozes cool, comfort and convenience.

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MOOSEKNUCKLES The Black Sand Beaches

t’s no secret that life gets that little bit more interesting when you put your phone down. And as far as reasons for putting said phone down go, the Black Sand beaches of Southern Iceland’s Reynisfjara

are up there with the best of ‘em. Showcasing the full splendour of Iceland’s majesty, the beaches are as famous for their stunning views as they are for their biting cold.

With temperatures dipping as low as minus ten degrees, the Black Sand Beaches not only allowed Canadian troublemakers, Moose Knuckles, to showcase their outerwear performance credentials, they also provided the perfect visual metaphor for the brand’s ‘real life awaits’ philosophy. Moving away from the clutter of performance-heavy design, Moose Knuckles has carved out quite a niche for itself by creating fashion-inflected pieces that retain the functionality of extreme weather coats.

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Article of Note

The 3Q Jacket

onger than a bomber, shorter than a parka, the 3Q (as in ¾) jacket offers warmth and protection without ever compromising on mobility. The quilted design allows for a slim fit, while the heavy duty YKK metal zippers make getting your keys or phone from your pockets a breeze. Featuring the blue trimmed hood, and classic, metal sleeve logo, the 3Q Jacket is Moose Knuckles’ most sophisticated version of their warmest jacket.

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STYLE

omplicate things all you want, but freedom can often be as simple as two wheels and a waxed jacket. And where better to put such a notion to the test than the winding roads en route to Reykjavik? It’s

out on those roads, after all, where the elegant beauty of Iceland’s seemingly endless fields of green and the elemental ruggedness of its glaciers collide to spectacular effect.

And if there’s one thing that British heritage brand, Belstaff knows well, it’s the coming together of the beautiful, the rugged and the spectacular. Belstaff has long since been the first word in classic, heritage style that holds its own in the 21st century. From expeditions to motorsports, catwalks to film sets, Belstaff has proven itself - time and time again - to be as versatile as it is iconic.

B E L S T A F F The Glacier Roads Article of Note

The Waxed Racemaster

racing its roots back to 1909, seminal British label Belstaff infuse their pieces with their true spirit of adventure. The Wax Racemaster Jacket is no exception. Offering a stripped-back, shortened version of their famous coat, the Racemaster is the perfect, café racer style jacket. The black, waxed cotton outer is both stylish and protective, adding a rugged edge to a long-standing outerwear staple.

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Where better to illustrate Holland and Cooper’s masterful balance of elegant style and rugged durability than the rolling landscapes and stunning vistas of Salakot Farm? The wild hors-

es and even wilder, cascading waterfalls proved to be the perfect match for the brand’s signature style. In Jade Holland Cooper’s own words; ‘I have always been fascinated by the timeless beauty of the horse and man's long-standing Image Credit: Dan Watson

relationship to it. This obsession with horses and the influence they have had on fashion throughout the ages has been a constant source of design inspiration for me.’

A true celebration of British excellence, Holland Cooper combines luxurious suede and leather with their iconic Scottish woven tweed and wool pieces. The result is a range that effortlessly bridges the gap between town and country, offering a carefully-curated and tailor-made style that’s perfect for the colder months to come.

HOLLANDCOOPER Skalakot Farm

Article of Note:

The Aspen Belt Jacket

esigned with a fashion-forward aesthetic in mind and functionality at its core, the Aspen Jacket is a versatile and sophisticated little number that’s sure to become a must-have Winter essential. Boasting a hand-plated, gold, signature buckle for secure fastening around the middle and a faux fur trimmed hood, the Aspen Jacket offers up a classic piece of British design.

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FOOD & DRINK

SOME LIKE IT HOT Our guide to keeping warm and caffeinated in the land of fire and ice Iceland is one of the most picturesque cities on earth and is host to an array of restaurants and bars for you to visit. Here is our ultimate guide for food in Iceland, so take a look at are some of our favourite spots. And if the Belstaff Roadmaster is anything to

Breakfast

Image Credit: Andrew R ichardson

Early In The Morning Start your day the right way and enjoy your breakfast at this amazing brunch destination. Open 7am-10am every day, when they say, early, they mean early. This place is always packed and has a buzz in the air as you are served all of your favourite breakfast staples. The Laundromat Café Step into a truly atmospheric restaurant, with incredible décor that is totally Instagram-worthy. This cafe is a quirky location that serves great breakfast with everything from pancakes to açaí bowls and more.

Lunch Icelandic Street Food Here we have the perfect place to immerse yourself in Icelandic culture. Enjoy a twist on traditional tapas with Icelandic dishes that promise to tantalise your taste buds. Choose from a selection of food favourites including, stew, soup and something sweet for dessert. Block Burger For the best burger in town, head to Block Burger for some lunch. Pick your favourite burger, add some fries and finish with an ice-cold soda. There are plenty of options to choose from and the vegetarian picks are particularly delicious.

Dinner Burro Tapas Steaks Head out into Reykjavik and indulge yourself in some of the best food around. Choose from a selection of tapas, or treat yourself to the perfect steak. Our favourite dish has to be the sushi that is authentic and fresh. Blue Lagoon Iceland Lava Restaurant Sit back, relax and enjoy your dinner with a breathtaking view. Situated next to Iceland’s famous Blue Lagoon, the Lava Restaurant serves an array of Michelin Star dishes that look and taste great. A truly luxurious destination that is worth a visit.

Drinks Pablo Discobar Pablo Discobar is completely unique, a little bit wacky, but ultimately very cool. Make sure to make use of their Happy Hour which is between 4pm-6pm every day. You are guaranteed to have an unforgettable night in this quirky bar.

go by, it’s with good reason, too. Easily one of Belstaff's most recognisable designs, the

One for the Road:

Roadmaster combines both traditional and

THE BELSTAFF ROADMASTER

contemporary elements to offer a highpoint

in style, form and function.

Aside from the obvious, utilitarian charm ver heard of a proprietary eponym?

of the close-to-the body cut, the Roadmaster

A proprietary eponym refers to a

is also imbued with an elegantly ergonom-

brand that has become so good at

ic edge. Boasting a streamlined silhouette

what it does, so singular in its hold over the

(which is further enhanced by the belted

public’s gaze and admiration, that it actual-

waist) and rugged, four pocket design, the

ly comes to refer to the entire category to

Roadmasters motorsport credentials are plac-

which it belongs. Following me so far? I’m

ed front and centre as the coat’s main pull.

talking about brands so tried and tested, so well-loved that we use their name even when

The exterior of the jacket is crafted from

we’re referring to other brands. You don’t ask

Belstaff's signature 6oz waxed cotton, which

for acetylsalicylic acid, you ask for Aspirin.

provides ample protection from the elements

You don’t ask for an adhesive bandage, you

and just so happens to contrast beautifully

ask for a Band-Aid.

against the vintage style patch and check cotton interior. The underarm vents, throat latch

This is exactly the situation in which British

and snap cuffs make for further practical

heritage brand, Belstaff, find themselves.

additions that sing of the jacket’s fine, racing

Over the course of its 90 some years, Belstaff

heritage, while the signature antique brass

has become synonymous with the waxed mo-

hardware adds refined yet understated detail-

torcycle jacket. They’re the bench mark, the

ing. For all the Roadmaster’s racing pedigree

industry standard. All of which is to say that

and historical prestige, however, the jacket’s

you don’t ask for a waxed motorcycle jacket.

real appeal lies in the fact that you don’t even

You ask for a Belstaff.

have to own a bike to pull it off.

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THE ESSENTIAL JOURNAL

W W W.T E S S U T I . C O. U K

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STYLE

Tell us a little about yourself. How did you get into the art of hat making? My journey in high-end men’s fashion started on Savile Row, where I worked as a trainee tailor and sales person for Cad and the Dandy. I always wore hats and one day I decided to try making custom hats, offering a similar experience that you can expect when purchasing a bespoke suit. Long story short, I researched the history of hat making, traditional techniques, invested in antique hat making equipment, fine tuned my skills and, hey presto, Marcel Rodrigues was Born. What does the concept of style mean to you? How would you describe your own, personal style in general? Style is a lot more than how you dress. It’s the way you carry yourself, it’s about having confidence in what your wearing. With being a custom hatter it’s all about style. We create hats for our clients that suit their own personal style and lifestyle. Style to me is not a trend but rather a way of reflecting your individuality and personality. My personal style I would describe as being eclectic. I like mixing fine tailoring with vintage with a twist of skater/surfer. Do you have a preferred style of hat, or a style that's particularly popular with clients? I prefer making on-off works of art - something that is different and stands out. I often have a brief from a client for a bespoke order and will make the hat to that brief. But overall, I love creating something different that stands out as an original piece. How long does the bespoke hat making process typically take? What are the steps along the way? It takes up to eight hours to make a hat. The process starts off with steaming the fur felt hat body until it’s soft before blocking the hat on an open crown hat block. I’ll then steam the brim down and using a tool called a foot tolliker - I’ll start making a nice clean break between the brim and the crown. After leaving the hat to dry, it’s time to pounce the hat. This essentially means sanding down the long hairs to give the hat lovely smooth, soft hand. Once the hat is pounced I’ll then singe any remaining long hairs and proceed to cut the brim to size. When brim has been cut to size, it’s time to start making the sweatband to the correct size before stitching it in place within the hat. The next step is steaming and shaping the crown before tacking on the ribbon and bow. The brim is then ironed flat and on of our embroidered linings is placed. The hat is then finished off with one of our signature beaded safety pins and other bespoke, artistic detailing such as hand stitching, embroidery, paint, beads, fabric detailing, feathers etc.

Image Credit, Courtesy of Department Two

For those new to the realm of brimmed hats, what advice would you give on how they should fit? Is there a particular style they should start out with? Well it is important that the hat is in proportion to your body shape and height. Fit is very important - I always say to my clients you should just feel the hat sitting on your head, it shouldn’t be too tight or too loose. People have a tendency to push hats too far down on the head. For those who are wanting their first ever hat, I’d say go for something custom which suits your lifestyle and personality and that you’re comfortable in. That way you can create something special to you that is designed with you specifically in mind. People often feel they don’t suit hats but are converted when they start off with a hat is designed to suit their proportions and fits correctly.

Brimmed & Bespoke Despite often being confined to considers of the shirt on your back and the leather around your feet, there’s more to the term ‘bespoke’ than suits and boots. Saville Row tailor turned custom hatter, Marcel Rodrigues, adds a touch of custom flare to an all-important but underappreciated wardrobe staple words by Will HALBERT

Is there a particular era in time that stands out for you in terms of style? There are two for me: The first is the 50s when the majority of men were wearing hats (though you also had your rockers, which is important). Second for me is the 1970s - the golden age of skateboarding in my eyes. You had Dogtown and Z boys. This was an era that just screamed cool, there was so much influence from the surf scene and this really showed in the 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 people will look at this decade and split it into two categories. Refined tailoring and vintage clothing. People have been far more adventurous by mixing the two and really making it work. I do hope it continues. Do you have any style icons or key influences that spring to mind? For me, Steve McQueen and James Dean are my style icons. But it could also be someone who may be at the beach or who comes into my shop and are just really cool and there are elements which I love of their own personal style. And lastly, what's your personal favourite way to style a hat? I don’t really have a particular way of styling my hats. They are a staple in my wardrobe, so I wear them with everything. That’s my philosophy towards hats in general: when I’m making a hat I ensure it works with everything I have. My hats should always look good with anything I have on.

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What’s On November – December

Sunday 17 November 7pm Film

Tuesday 10 December 7.30pm Film

Merry Christmas Mr Lawrence (cert 15)

Elf (cert PG)

Tuesday 19 November 7.30pm

Calexico and Iron and Wine Wednesday 20 November 8pm Music Room

AKA Trio Saturday 23 November 7.30pm Royal Liverpool Philharmonic Orchestra

Elton John – 50 Years of Your Song

Monday 16 December 8pm Music Room

Awake, Arise – A Christmas Show For Our Times Saturday 28 December 7.30pm Sunday 29 December 7.30pm

Ghostbusters: Film with Live Orchestra (cert PG) Box Office 0151 709 3789 liverpoolphil.com LiverpoolPhilharmonic liverpoolphil liverpool_philharmonic

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STYLE

Sartorial Selvedge While the world of denim has always been synonymous with the rough and ready. Blackhorse Lane Ateliers are throwing a little Savile Row-esque sophistication into the mix, and theyâ&#x20AC;&#x2122;re doing so right here, in the UK words by Will HALBERT

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STYLE

aving opened their workshop doors doors in 2015, Blackhorse Lane Ateliers has quickly become a point of reference for the style-forward and the craft-minded alike. London’s only craft jeans maker, its aesthetic leans heavily on the pre-fast fashion, over-spec’d and structured tailoring of jeans as they were known at the turn of the 19th century. We sit down with the BLA team to talk about the allure of tailoring, the creation of craft camaraderie, and the importance of a more sustainable approach to style. EJ What’s the story behind Blackhorse Lane Ateliers? How did you come around to making denim goods? When we started Blackhorse Lane Ateliers 4 years ago, we were dissatisfied with fashion’s impact on the environment. Having 30 years of London-based manufacturing experience, [founder] Han says that it was painful to witness and watch London’s heritage of craft skills and knowledge disappearing. We believed that there was a huge problem with the quality of garments. A resurgence in craft-based beer and bread businesses led us to consider a new approach to the apparent disconnection between the makers and customers of such items, including with a similar democratic thing: jeans. By and large, do you think we’re seeing a greater interest in all things craft? Are people more interested in the process behind the product? Absolutely. BLA started after witnessing a resurgence in craft

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making. Nowadays, there’s a greater understanding of ‘slow fashion’ and what that entails, though there is still perhaps a misconception around the fact that everything is made by hand. Crafted means consideration of details and functionality. In many ways, we look to Bauhaus design principles, and by giving customers the chance to see the process first hand in our workshop, they gain a greater appreciation for the craft. Sometimes, it works the other way, where the ‘London Craft Jean Maker’ headline on our shop window draws people in, as they’re interested in the London Craft element and what that means. One of the most striking things about your jeans is that they're as clean and beautiful on the inside as they are on the outside. Can you talk us through some of the more tailored flourishes to be found in a pair of BLA denim? Why are they so important to you? Tailoring principles demand that there should be no messy threads or ‘overlocking’. Construction should, wherever possible, be hidden. This is partly for the image, but also because it generally means that the item will last longer. Our fabrics are the very best quality, chosen not only for how they look, but how they will wear and wash. Without good quality fabrics, then no matter how you make something, the garment won’t have as much life. We look to traditional construction techniques, such as the one-piece fly found one original jeans dating back to 1873. It’s stronger in engineering than a faster-produced, two-piece fly. Our pocket bags are constructed out of heavier

twill, too, with a hidden coin pocket to prevent holes developing quickly. The pocket’s raw edges are contained within the jean side seams for added strength at all-important pressure points. Belt loops are sewn into the waistband, rather than on top, which again ensures strength when you’re pulling your jeans up, off, or pushing a belt through. The seams are felled where possible - including the underarms of our jackets and inseams of ourjeans - which not only makes them flatter but stronger. I won’t get too technical, but think Chinese finger trap; felled seams offer that kind of binding strength. The selvedge ID is the design detail that all denim heads are after, and we keep this beauty even in the jeans pocket and for shirting. All of these details are important for the functionality and durability of clothing, but it also creates a connection with wearers. We put the effort and care into our garments, so the wearers are more likely to look after the garment too. Where do you source your denim from? We have close relationships with mills in Turkey (Isko), Japan (Kurabo and Nihon Menpu) and Italy (Candiani and Berto). We choose the denims from these mills for their quality, but also their environmental footprint - the mills are also transparent with their production. Prices reflect the fabric making processes, and the transportation. Turkey, for example, is closer to us, with cotton farms close by to them. So the cost is reduced in comparison to Japanese prices, whose mills source their cotton from Africa.

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You guys are also big on your denim repairs. Does that require any special machinery? We hem our jeans here in-store using a Union Special chain stitch machine. They’re pretty hard to come by nowadays, but the authentic element is important to us. We also use an old-school Singer that reinforces with zig-zag stitching, and we also use standard flat bed machines if we’re patching. But honestly, the beauty of mending lies in the fact that each repair is different; sometimes we even have to ditch the machines and opt for good old fashioned hand work. There’s more to BLA than your superlative jeans. The factory itself has become quite the community hub. Was that always the goal? Is the concept of community important? The community aspect was always the goal. In fact, the factory was chosen not only for its large windows and light space, but for the inclusion of the fully-equipped kitchen. The separate studios allow makers to rent the space and be involved in BLA. Community has become - in recent years - more and more important, with the need to engage and converse with each other becoming a bigger priority. Communities provide support, and by having a maker community - not only within our factory but around Blackhorse Lane and the wider Walthamstow area - we are able to make connections with each other. Any advice for anyone new to the world of raw denim? What pair of BLA denim would you recommend

they start with? Each style has different characteristics. We would only recommend a pair of jeans to suit. That isn’t a cop out, but rather a confidence in our few styles having been designed to suit a wide range of bodies. We’re still working on this, and are gradually releasing new styles of jeans, for men and women, plus jackets, shirts, dresses and knitwear. If you’re new to raw denim, you would either go for Japanese selvedge denim because you’ve heard that’s the best, or you’d go for a Turkish denim because it’s softer to begin with and so takes less work to wear in. Our advice would be to come to our Coal Drops Yard store and give the jeans a go. Even if you’re not ready to purchase yet, we’d like to show you why you should consider our jeans above all others. And lastly, do you have any plans to introduce any new fits or fabrics in the near future? We have very recently released around 10 new styles, with more to come. This has increased our women’s range drastically. We are now able to cater for those not in the market for jeans, or already have our jeans but want to continue generously supporting us. We are a small team, so as we produce garments, we can’t get them online for our international or non-London customers straight away. However, having the physical items allows us with small product runs to see if we did get it right with the fit and fabric choice. So far, we’re very pleased and our customers are giving great feedback on our efforts.

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THE ESSENTIAL JOURNAL x LA MARZOCCO

FOOD & DRINK

CALM

We are a movement against suicide, the single biggest killer of men under 45 in the UK. Get support and join the campaign atÂ theCALMzone.net

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LIFESTYLE

THE ESSENTIAL JOURNAL X BARRY'S

Red Room Ready Merging fashion and fitness like no one else, Barry’s has everything you need to break a A word from the experts:

Amy Hughes Barry’s Manchester '‘As a Barry’s MCR trainer and lululemon Ambassador, I am lucky enough to get to wear athletic apparel for my job and to be affiliated with two of my favourite brands! The lululemon and Barry’s Stronger As One collaboration was extra special to me. Barry’s apparel is not only functional, but also super stylish, and I personally get motivated to train when I feel good in my kit. It’s also so fun to see clients representing Barry’s Manchester in the studio and on the streets with our local core collections and spotting our reusable Barry’s retail bags. Our community is strong in the UK and this proves we are more than just a workout!’ LS

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sweat in style words by Miles KENNEY

lready known the world over for their peerless, signature workouts, Barry’s Bootcamp also offer a pretty spectacular shopping experience. Earlier this year, their long-standing collaboration with lululemon reached new heights as they released their Stronger As One collection. Carefully designed in collaboration with Barry's top trainers, each piece is guaranteed to keep pace with the intensity of Barry’s 60-minute signature workout. The collection features pieces such as the Adapt The Strap Bra, designed exclusively for Barry’s. The Adapt the Strap Bra features an innovative, easy to use strap adjuster at the front that allows the wearer to tighten it as the workout ramps up and loosen it as the workout starts to wind down. Muchloved lululemon signature styles have also received a little Barry’s twist. Think embossed, ‘Stronger As One’ tights, built with lululemon’s famous and full-on, Luxtreme fabric, but adorned with an exclusive Barry’s print. lululemon isn’t the only collaboration you’ll find in the studios though, Barry’s has joined forces with other luxury and boutique fitness labels such as PE Nation and Splits 59 to bring fans of the Red Room a slice of the best high-fashion sportswear and leisurewear on the market. For those looking to keep things local, Barry’s has you covered. It’s a global brand, no doubt, but each Barry’s studio represents a unique community offering its own little something special. No matter what city you’re in, you’ll find core, location-specific items, each displaying the staple Barry’s logo and your home location. In the UK, these pieces are developed locally using sustainable fabrics like bamboo. That way, you can help the environment while you break a sweat - bamboo is 50% more absorbent than cotton. Everything we’ve mentioned is available in studios now, so next time you’re booked in for an hour in the infamous Red Room, why not reward yourself with a little post-workout, retail recovery? EJ

'In the UK, these pieces are developed locally using sustainable fabrics like bamboo. That way, you can help the environment while you break a sweat - bamboo is 50% more absorbent than cotton.'

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t s a f k a e r B of e The Hom An independent, family owned restaurant delivering an authentic American-Canadian Breakfast & Brunch menu NOW OPEN PICCADILLY, MANCHESTER Piccadilly Approach Manchester, M1 2GH

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CROSBY, LIVERPOOL 157 College Rd, Crosby Liverpool, L23 3AS

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Staying in Style

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words by Will HALBERT

Amidst the hustle and bustle of Manhattan’s NoMad district stands Ace Hotel New York, at once a hive of boutique drinking and dining and a paragon of peerless style

'They're small touches, but they're indicative of Ace's desire to deliver more than just a place to sleep. Flourishes aside, the rooms themselves are edgy, spacious and utilitarian by design.'

here’s something to be said for a hotel that goes the extra mile to make your stay the main event of your holiday. 506 words worth of something, as it happens. So here goes: As much in service as in looks, Ace Hotel is nothing if not a masterclass in going the extra mile. Many of the rooms not only boast the kind of beds you could quite literally get lost in, some even come adorned with additional flourishes like acoustic guitars (in my case, much appreciated but criminally underplayed) and record players (because if you’re not kicking your Manhattan mornings off with the endearingly lo-fi, white knuckle energy of a Clash LP then you owe yourself an apology). They’re small touches, to be sure. But they’re indicative of Ace’s desire to deliver more than just a place to sleep. Flourishes aside, the rooms

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themselves are edgy, spacious and utilitarian by design. They’re the kind of rooms that Dashiel Hammett might well have designed. You know, if interior design had tickled his fancy as opposed to weaving tales of the hard boiled, the gun toting and the downright rotten. There’s a slick-but-minimal, mid-century cool to each room’s aesthetic. Clothes racks are fashioned from repurposed plumbing pipes, hanging steel boxes replace the more traditional closet as a storage option, and Smeg fridges lend their vintage appeal to many of the rooms. Ace’s penchant for material re-appropriation isn’t just a conscious callback to the NoMad district’s fashion and garment history, it’s a mission statement, a visual manifesto. Ace Hotel doesn’t shout, it whispers. The same cannot be said for the lobby, which is joyously (and perpetually) alive with the

public. They tread through the lobby crowds flexing some serious vocal virtuosity, eliciting a taverna-like camaraderie amongst the hotel’s evening guests.Topping things off is the adjoining Breslin, a low-key, low-light and seemingly never not busy restaurant and bar. It’s an ohso cool and ever-so-slightly British bistro with some killer dishes on the menu, including a pie that would give The Ace’s aforementioned hotel beds a Napoleon complex. In truth, it’s hard to truly sum up the feel and magnitude of Manhattan’s Ace Hotel, but the word ‘improvisational’ springs to mind. Not in the sense of haphazardly making things up. This is no series of lucky breaks that Ace Hotel has on its hands. Ace’s design ethos is as playful as it is measured and masterful, it’s the aesthetic and architectural equivalent of Bebop Jazz: A fluid and frantic whirring of styles and attitudes that charm the senses without ever fully overwhelming them. As a result, it’s hard to downplay the hotel’s appeal. When the hotel stay becomes a holiday in its own right, it’s a fairly solid indication you’re doing something seriously right. acehotel.com

Image Credits, Courtesy of Stephen Kent Johnson

conversations of Ace’s myriad guests as they eb and flow to the helter skelter cadence of keyboard tapping, glass clinking and general, hipsterly hedonism. The lobby, in all of its vaguely baroque splendour, is part meeting place, part communal working hub, and part operatic stage. And I mean this quite literally. On select nights, the lobby sets the stage for The People’s Opera; A group of New York based Opera Singers seeking to make opera accessible to the general

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Â£17.50

per person

Take the hassle out of Christmas party planning with our Festive Feast On arrival

Welcome drink + Beer Snacks PLENTY of

Sprout Bhajis + Festive Curry PLUS a sharing menu of

Okra Fries + Onion, Kale & Broccoli Bhajis + Bhel Puri + Bundo Chaat + Gobi & Mushroom Manchurian + Vada Pav + Ragda Pethis + Massala Dosa + Egg Bhurji + Chole Saag + Paneer & Mushroom Tikka + Paneer Kadai + Pav Bhaji Bookings

Groups of 8+ Enquire at the bar or email: christmas@bundobust.com LEEDS 6 Mill Hill LS1 5DQ

MANCHESTER 61 Piccadilly (Basement) M1 2AG

LIVERPOOL 17/19 bold street (1st floor) l1 4dn

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DRINKING

THE ESSENTIAL JOURNAL X WHISKY EXCHANGE

Dream Drams

Whether it’s as an investment, a celebration of that special occasion, or the start of a budding collection, a little education on old and rare whiskies can never go amiss. The Whisky Exchange offer up some solid recommendations for your next (or first) big purchase

he more time a whisky spends in a cask, the more the spirit will interact with the oak and develop in flavour. As the spirit slowly evaporates over time and each cask yields only a limited number of bottles, these gems become rarer and more exclusive. Over the decades, the way that whisky is produced has also changed, and old whiskies can be a window into history. Discovering and celebrating the often-forgotten character of whiskies from the past is an exciting exploration. We asked Sukhinder Singh, co-founder and owner of The Whisky Exchange, to share some of his favourite old and rare whiskies, each with their own very different characteristics. TWE

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Dream Dram Destinations Not quite ready to take the plunge on a full bottle? Discover the best places in the country to try a dram of old and rare whisky

The Devil’s Advocate, Edinburgh Hidden away in the historic and atmospheric Old Town of Edinburgh, The Devil’s Advocate is an attractive space set with bare brick, old stone and cosy booths. By all accounts, it’s the perfect place to savour a dram. The alluringly well-stocked bar boasts more than 400 whiskies and features many rare, one-off bottlings, with new additions appearing every week.

Boisdale of Canary Wharf, London

ABERLOUR 1964 / 25 YEARS OLD / ABERLOUR / 70CL / 40% / £1,200

GLENURY ROYAL 1970 / 36 YEARS OLD / GLENURY ROYAL / 75CL / 43% / £750

LONGMORN 1967 / 45 YEARS OLD / GORDON & MACPHAIL / 70CL / 43% / £1000

GLEN GRANT 1951 / 62 YEARS OLD / GORDON & MACPHAIL / 70CL / 40% / £2,800

This Aberlour is an old bottling from the late 1980s, a time when the distillery realised that it had hidden gems deep in its Speyside warehouses. It’s one of the distillery’s early vintage releases, something that wasn’t very common at the time.

This is one of only a handful of long-aged, distillery-bottled releases of Glenury Royal, making this 1970-vintage a very special whisky from a long-closed distillery. Impeccable cask selection has led to this being perhaps the best of Diageo's releases from the distillery.

An incredibly priced Longmorn, bottled by Gordon & MacPhail from their well-stocked warehouses. Distilled in 1967 and matured in sherry casks, this is a very complex malt, layered with fruit and spice from almost a half-century in oak.

This is an exceptionally rare bottling that yet again comes from Gordon & MacPhail’s unbeaten stocks of whisky across Scotland, including some of the best casks of Glen Grant in existence.

SUKHINDER SAYS

“Aberlour is famed for

“A whisky from a lost

“One of my favourite

“Super-aged malts today are

maturing its whiskies in

distillery that closed in 1985;

distilleries, a malt that has

incredibly difficult to find,

sherry casks, and this was

one that should never have

matured beautifully over a

and their prices are usually

distilled in the 1960s during

closed. A fruity malt with

long period of time.”

in the tens of thousands of

its golden era of production.

sandalwood and dried fruit.

pounds. This bottling from

A lovely soft and sherried

A classy dram.”

2013 is matured in sherry

malt.”

casks, creating an elegant and complex, sherried malt.”

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Set on the second floor of the Canary Wharf favourite, Boisdale’s whisky bar is a 12-metre long ‘glowing amber wall of liquid gold’ with 1000 whiskies to ponder over. Fortunately, there’s a team of knowledgeable bartenders to lead you through the extensive whisky menu full of old and rare drams to try.

The Pot Still, Glasgow Specialising in whisky, the 150-yearold bar boasts more than 700 bottles in an idyllic setting, with dark woods, vintage seats and Victorian features, as well as good beer. The owners go to extreme lengths to get hold of the rarest malts and ensure that each visitor is matched up with their perfect dram.

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WHISKY

SPIRITS

C H A M PA G N E

SECTION

WINE

The UKâ&#x20AC;&#x2122;s finest selection of old and rare spirits

VISIT OUR LONDON SHOPS FITZROVIA

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Call: 020 7100 9888 fitzrovia@thewhiskyexchange.com

Call: 020 7100 0088 coventgarden@thewhiskyexchange.com

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HALLOWEEN WEEK 25TH OCT : LOST ART SOUNDSYSTEM 26TH OCT : DRE OF THE DEAD 31ST OCT : AN ALL THAT X MELODIC DISTRACTION 1ST NOV : CARL COMBOVER 2ND NOV : FAT WHITE FAMILY DJ SET 3RD NOV: LOYLE CARNER AFTER PARTY FEAT NO FAKIN & ANTI SOCIAL JAZZ CLUB

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COLUMN

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SECTION

49 45

On the Pass with

Tommy Banks The field of play might be a little different, but according to Tommy Banks, there’s a fair bit of common ground between playing cricket and working in a kitchen

words by Tommy BANKS

’ll make no bones of the fact that I love sports. In truth, I’m sure most people do, in some way or another. Even those with no real interest in sports will probably admit to some appreciation of its foundations, or at least relate to some of the principles they put forward: integrity, camaraderie, discipline and excellence are all things we aspire to, and any respect for those elements will tie you to the core values of sport, in some way. And even if you don’t go in for those sorts of things, there’s still the sheer escapist charm of it all. Despite our penchant for screaming at screens and criticising plays with some feigned, professional knowledge you’ve somehow just acquired, the truth is that sports render us utterly powerless. We have no control over how things will play out, so there’s no choice but to sit back (or lean forward, eagerly) and enjoy the ride. There’s a lovely freedom to that. Looking back, the summer just gone was an incredible time to be a cricket fan (and if there’s one thing you’re going to glean from this, it’s that I’m very much a cricket fan). We had both the World Cup and the Ashes. I was at the Cricket World Cup Final when England won on the final bowl. And while I wasn’t at Headingley, I watched intently as Ben Stokes, by some miracle, practically won the test singlehandedly. That’s the true beauty of cricket, I think; the unpredictability of it all. There’s always the potential for uproar and upset, a means of disrupting the status quo. Nothing is ever really a given. Everything is possible. Test Cricket is, well, exactly that. It’s the ultimate test. It may not be so bad standing outside all day here in the UK, but imagine doing it in Australia in 40 degree heat with 40,000 Aussies on your back. Or in India, with the heat and humidity wearing you down while you contend with some of the world’s best spin bowlers. It’s a real grind and the pressure is constantly on. You can play well for 4.5 days and then one silly mistake could cost you the whole thing. It’s exhilarating stuff, and I think that - for the most part - it’s possible to draw a number of parallels between cricket and working in the kitchen. I played at a fairly high league cricket level between the ages of 14 and 19, often with guys twice my age. I’d say I’ve learned an awful lot from the principles of cricket (and gleaned a fair few life lessons from the time spent in the pub after games, too). Much like restaurant work, cricket is a team sport that nevertheless relies on the skill and prowess of the individual. Each and every person in the kitchen - as on the field - has a real responsibility not just to themselves, but to their entire team. When batting, for example, you take on some serious responsibility. If you struggle under the pressure, the next person is going to have to double down even harder. So it’s down to you to fight for the next person as much as for yourself. I’d say that applies perfectly to life in the restaurant kitchen. Ultimately, success in cricket is a question of having a bunch of uniquely-skilled and like-minded individuals performing to the highest standard possible. I feel pretty lucky to have been able to carry that said same ethos into the kitchens at Roots and The Black Swan. There’s some serious room for self-expression in both fields, too. All the truly great cricketers are a little unorthodox, and I think the same goes for chefs. Granted, unlike cricket, great food is entirely subjective, so that adds another layer of complexity to the whole thing. Just think of the team at El Bulli years back. Those guys were the first to offer multicourse menus (sounds pretty standard now, but it was revolutionary at the time). They were doing some truly groundbreaking (and downright weird) work: Taking a carrot, turning it into juice and then serving it as spaghetti, that sort of thing. Mind bending, envelope pushing stuff. One of the major lessons I’ve taken away from my time playing cricket is that you can’t coach or train any one person the same way, because you’ll lose that unorthodox edge. You risk losing exactly what it is that makes that person unique. But if you nurture ambition, and find a way to make it work for the betterment of the entire team, then you just might turn your key players into game changers. TB

Find out more about Tommy's food online at: blackswanoldstead.co.uk | rootsyork.com

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Drinking With

Maison Premiere Inspired by the parlors of Paris and the saloons of the Big Easy, Maison Premiere brings a touch of class to the rugged charm of Brooklynâ&#x20AC;&#x2122;s Williamsburg words by Will HALBERT

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Image Credits, Eric Medsker

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et us dispense with any coyness in the first instance: Maison Premiere isn’t simply the best of its kind, it’s one of a kind. Now, the days are numbered for the cynical anachronism that is your average speakeasy and we all know it. But Maison Premiere is far from average, and to call it a speakeasy is to do it a monumental disservice. This is a bar at the very top of its game, powered by a host of bartenders that sling cocktails with a competence and a confidence unparalleled. Theirs is a passion so potent that it’s likely to intoxicate industry veterans and more casual drinks tourists in equal measure. That the place also happens to look a million dollars is just a bonus. EJ

Featured Libation

Maison Jungle Bird

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Get the Round In

Maison Premiere Quick fire questions answered in the time it takes Maison Premiere to shuck a couple of oysters How long has Maison Premiere been doing its thing? Where did the idea come from? Maison Premiere was founded in 2011 by restaurateurs Joshua Boissy and Krystof Zizka. We like to say Maison Premiere is equal parts Paris, New York and New Orleans. Has the bar scene in Brooklyn changed much in the time you guys have been around? When we first entered the scene, specialty cocktails were still pretty unique and hard to find. It's changed exponentially since then, especially in Brooklyn. Cocktail drinking has become much more fun and comfortable, and it's not as serious as it once was, which has resulted in more dynamic menus, concepts and even more visual cocktails. Are their any particular drink & oyster pairing you'd recommend? Overall, I'd recommend pairing rounder, softer martini styles with larger, more caloric oysters. For sharper, more dry martini styles, I'd recommend pairing oysters that are more briny and from really cold water (usually East Coast or Canada oysters). If you have a slightly lower ABV martini where you're able to take longer sips, you want to pair those with a larger oyster. Likewise, if you have a slightly higher ABV martini, you want to pair those with a smaller, more delicate oyster. It's also important to take texture into account. When you're drinking a sharper, more dry martini, you want something with a bit of crunch, a characteristic you're more likely to find with East Coast or Canada oysters. You guys take your absinthe pretty seriously, how many bottles do you have back there? Our official list ranges from 20 to 25 bottles, but we also have a significant collection of off-menu, historical, or hard to find bottles, about 30 - 35 bottles at any given time. In total, we usually have around 60 bottles. Any personal favorites we should try? Germain-Robin is an early craft distiller, one of the first in the country. It's a Swiss style blanche, so there's zero color to it, and as an outlier absinthe, there are notes of mint, tea and rose. And lastly, any recommendations on where to head next in Brooklyn? I always like to recommend Donna. It's the nicest mixture of a fun, social atmosphere with a really talented bar team. There's great food, too.

Ace in the Hole

The Raw Bar

he Maison Jungle Bird is a glowing visual, olfactory and gustatory metaphor for exactly what Maison Premiere’s bar program does best. Which, if you didn’t already have an inkling, involves taking a selection of turn-of-the-century, cocktail classics and deftly, respectfully elevating them. To that end, the bar team at Maison Premiere have an uncanny knack for imparting all-new layers of complexity to a classic without ever losing its core appeal. In the Maison Jungle Bird, Hamilton Jamaican Black rum, Cruzan Black Strap rum come together to create an intensely bracing, but oddly butterscotch soft, introduction. Campari levels things out somewhat, adding a dry bite and a touch of that much-loved, chinotto bitterness. A little pineapple juice stops the booze-forward concoction from ever overstepping its mark. By turns tiki and chic, the Maison Jungle Bird is a highpoint in the understated charm and nuance of the classic cocktail. EJ

ake a peek beyond the (admittedly spectacular) horseshoe bar and you’ll find Maison Premiere’s real raison d'être, the raw bar. Boasting a selection of more than thirty oyster varieties - all sourced through direct, established relationships with the farmers - the bar has carved out a cool niche serving up some serious seafood thrills by the half shell. From the meaty, briny charm of the handcrafted, hairloom oysters of Virginia’s Eastern shores, to the bright and mineral bivalves of Washington’s Penn Cove, Maison Premiere’s oyster list is an all-out celebration of American merroir. And the best part? You can enjoy each and every one of the oysters on Maison Premiere’s carefully curated menu for a dollar a piece during their daily happy hour. EJ

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visit la marzocco in london & leeds whether it's an espresso machine for your coffee shop, office or home; the doors at la marzocco uk & ireland are open to come and meet the team. contact us today: la marzocco uk & ireland 6 willow street london, ec2a 4bh t. +44 207 253 1644

la marzocco local suite l3.03, the leeming building, leeds, ls2 7jf t. +44 113 243 6672 info.uk@lamarzocco.com

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LIFESTYLE

Stefano Della Pierta, Product Designer at La Marzocco

Steam-powered

Style We sat down with Product Designer of La Marzocco, Stefano Della Pierta, to better understand what it takes to envision and create a La Marzocco espresso machine interview by Will HALBERT

ased at La Marzocco’s headquarters in Scarperia, Italy, it’s safe to say that Stefano plays a crucial role within the company’s R&D team. Trained by none other than the son of La Marzocco’s founder, Piero Bambi, Stefano has been given the knowledge and knowhow to continue the legacy of the world’s most renowned espresso machine. We sit down with the man himself to talk form, function, and the future of the coffee scene. EJ What is the main role of design when it comes to creating a new machine? The external design has to be the last piece of the puzzle, and has to be as durable as all of the pieces inside. The design has to be timeless; a barista will use it every day and it has to adapt to the growing consumerism it may face through the years. This is why we always start with a classic shape, focusing on the details that feed the unique model.

production and quality standards. In terms of designing the mechanics of the machine, how does the process begin and when? We always start from the functionality of the machine, because the aesthetics should never some at the compromise of the machine’s functionality. It’s not possible to create a shape that’s unrelated to the internal components of the machine, because the sight of the machine has to hint at what’s inside. It has to be the entry point to discover the new functions and innovations that lie within. What makes a successful design, in your opinion? For us, a successful design is the combination of all the aspects we mentioned in the previous point, it has to last long without looking dated or “out of fashion” and has to be the gateway to its internal features.

environmentally conscious, how are La Marzocco adapting? Are there any visual changes to the machines - much like electric cars looking visually different from traditional petrol-based cars? We want to give the barista an espresso machine that they will treasure for a long time and following a trend won’t do that. We must also be environmentally conscious, respecting how our machine will perform consistently and bring value to the coffee bean by not wasting the work of the farmers, pickers, traders, and roasters.

'Every machine has to be reliable and easy to maintain. We are not only making a piece of art, but machines that have to aid the barista and technicians.' What are the top priorities when designing a new machine? Every machine has to be a La Marzocco first. It has to be recognized before even looking at the logo. Secondly, every machine has to be reliable and easy to maintain. We are not only making a piece of art, but machines that have to aid the barista and technicians. Thirdly, every time we start thinking of a new aesthetic, we have to think about how it will reach our

What ultimately makes a La Marzocco machine a La Marzocco machine. Is there a trademark that makes it instantly identifiable? I think that the use of stainless steel and classic La Marzocco shapes is the obvious answer. But you really get a feel for the machine once it’s installed and running. That is when you can truly feel the essence of La Marzocco.

With the world becoming more

Above Top: Steve Ortiz, LM Home Bench tester, Custom Yellow 2 Group KB90

La Marzocco is built on the Bambi lineage, but with Piero having stepped back who is the new guard when it comes to design? I’m working with Piero Bambi every day trying to learn from him. I’m really lucky to have the possibility to stay close to a maestro like him. Together, we design every new aesthetic.

Our friends at Ditto Coffee just received their custom Linea PB, and you have some pretty special custom machines at the factory, too. Why is the idea of customization important to you, and how do you make sure it doesn't lose its La Marzocco identity? La Marzocco has offered customization since the very beginning. We’ve designed machines to fit a coffee shop counter’s particular shape, for instance. We’ve also designed bigger machines to services busier shops, such as the 4-group corner machine. These machines were hand made, working closely with customers to develop shape and functionality from as early as the 50s. We love custom jobs as we feel that it is part of our DNA. It also gives us a chance to learn from baristas to create better designs in the future.

For more from La Marzocco UK & Ireland head to Lamarzoccohome.com

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Addressing the Table In a society so often blinded by the trending, the novel, and the downright asinine, there’s something to be said about the calm and clarity that comes with keeping a critical distance from all things cool

words by Jake O'BRIEN MURPHY

am not cool. Even in saying the word; I stumble over it, like I’m wearing my tragically uncool teenage retainer. For one agonising summer ‘Jesus Sandals’ became second hand for my actual name. I was the wheezing mass of pre-pubescent belly rolls and lisp spit on the school yard sporting open toed sandals. I exist in someone else's world, like an after school club refugee. At one point I lived in East London, where I worked in bars with cool names and functional interiors. I served people with imaginary job titles like “Cloud Architect” and worked with polyamarous bartenders with geometrically perfect haircuts. One of whom looked like a set of porcelain cheekbones dressed in a peacoat. If you need further proof, I have just used the pronoun ‘whom’ in an actual sentence. My partner is an Artist. She populates our home with totems of how undeniably cool she is. Old Super 8 film cameras with full reels and a broken piano that obviously she can still play. There’s art I don’t understand everywhere. In short; I am a sheep in reclaimed french workwear. The main advantage to life on the fringe of the vacuous world of style, is clarity of vision. You manage to cultivate a strong resistance to the banal nonsense that systematically shifts every fifteen minutes. It manifests itself as a built-in imperviousness to the bullshit rhetoric and the inane benefits that new trends purport to bring with them. Recently, a stranger tried to convert me to tongue scraping. A practise wherein you scrape the topmost dermis of your oh-so-sensitive and oh-so-fleshy tongue away to remove built up toxins. Which is apparently a thing we need

'Insidious computer algorithms are spewing out new variations of technicolour gin. What does purple gin taste like anyway?' to worry about now. How I have managed twenty six rotations of the sun dragging a wad of fatally poisonous tongue tissue around? I’m not quite sure. But I think I’ll chance my luck just a little longer. In the booze industry we have reached terminal velocity. New trends are burning up on atmospheric entry before I can even cast a self-righteous glance over them. Insidious computer algorithms are spewing out new variations of techni-colour gin. What does purple taste like anyway? Or my favourite nugget of pointless hipster nonsense; ‘hand labelled’. What does that mean exactly? I have a theory; There isn’t a single itsy-bitsy scrap of anything vaguely unique or interesting about this particular macguffin. So someone at the top level chooses to populate the most prime advertising media, the label, with the information that somewhere in Dalston underpaid post graduates are made to put them there. Chicken and egg stuff. There are, however, some wonderfully affirming things happening amongst all the calamity. Empirical Spirits, are redefining what distilled spirits can be with their particular brand of irreverence and technical insight. Making some of the most mind-bending and thought-provoking spirits I have ever come into contact with. ‘Fallen Pony’, for example, defies any rational categorisation, tasting exactly how I imagine a liquified kaleidoscope would taste. Most pleasingly to taste, and to say out loud, is the ‘F*ck Trump and his Stupid F*cking Wall’. Which peers past the caustic heft of capsicum into a resplendent garden of habanero fruitiness. All done while looking like a time travelling synth-pop biker gang operating out of a crash landed spaceship somewhere in Copenhagen. Oh, and they hand label the bottles. How cool. JOB

@jakeobrienmurphy | @presentcompany.bar

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NOT JUST A BARBERS...

attitude

66 Rose Lane, Liverpool L18 0151 724 5277

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attitude TOPMAN Church Street, Liverpool1 0151 709 1844 (opt 6)

SHOP OR BOOK ONLINE AT www.attitudemenshair.co.uk

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Architectural Thoughts On

Beauty Is beauty in the eye of the beholder? Or is it the business of awards committees and sociocultural mandates? Róisín Hanlon discusses the good, the bad, and the ugly sides of the architectural world

words by Róisín HANLON

t the Conservative Party Conference last month, the new National Design Guide was released. It builds on the ‘Building Better Building Beautiful’ commission established last year. The aims of the guide - and the commission in general - is to promote beautiful and enduring buildings. In practice, the document largely reiterates other established government design guides, without adding much that is groundbreaking. However, the focus on the concept of beauty, raises interesting questions. There is a strong notion of stopping ‘ugly buildings’ from getting built. But what is an ‘ugly building’? With something as subjective as design, it is debatable whether or not there can be something so simple as a right or wrong decision on whether or not something is ugly or beautiful. Previous housing minister Kit Malthouse described the commission as a defence against uninspiring and low-quality developer-led buildings. The kind of copy and paste structures that developers place indiscriminately across the country. The kind of housing that Malvina Reynolds sang about in her 1962 song Little Boxes: ‘They're all made out of ticky tacky / And they all look just the same.’ Obviously, it is good to encourage councils to push for good innovative design, what Malthouse described as ‘the different, the interesting, the unusual, the eccentric, the familiar, the personal.’ But what the commission has not yet done, and I believe will struggle to honestly do, is define what actually physically constitutes these criteria, beyond generic terms. This same commission has suggested that councils should not only deny planning permission to bad designs, but go a step further and publicise these ‘ugly’ designs and name and shame the architects responsible. I’m sure there is an element of schadenfreude about this proposal which appeals to the architecture community; an opportunity to highlight the lazy design of your peers, and publically no less. How delicious. But practically, this could be problematic on many levels. The pressure of scrutiny would most likely stifle creativity and experimentation. Would anyone really want to put forward work that – if disliked by the local council – would end up being on a public shame list? The other key issue here is again the idea of subjectivity. What qualifies a local councillor to decide what everyone can and will find ugly. Aiming to build better homes is a good goal to have. But we shouldn’t just be distracted by sweeping ideas of beauty and ugliness. There are so many other qualities desirable in good housing – longevity, comfort, sustainability, and a sense of place to name a few. The beginning of October usually sees the awarding of two very different architectural awards. The Stirling Prize is probably the most prestigious prize to be had in the UK. The RIBA outlines some of its criteria - ‘design vision; innovation and originality; capacity to stimulate, engage and delight occupants and visitors; accessibility and sustainability; how fit the building is for its purpose; the level of client satisfaction.’ This year’s winner is Goldsmith Street by Mikhail Riches with Cathy Hawley. The project comprises just under 100 council houses for Norwich City Council. Judge Julia Barfield said ‘These desirable, spacious, low-energy properties should be the norm for all council housing.’ Housing minister Robert Jenrick has been quick to highlight this scheme and its relevance to the commissions goals - ‘I want to see the delivery of better-designed homes, especially social housing like the gold standard set in Norwich, and expect more developers to follow the example set by the project’s architects.’ The second award of the season is BD’s Carbuncle Cup. This is supposed to be a light-hearted award, calling out ‘crimes against architecture’. The name comes from a comment made by Prince Charles describing a proposed extension to the National Gallery as ‘a monstrous carbuncle on the face of a much-loved and elegant friend’. The irony here, that Prince Charles was perhaps not aware of, is that when first designed and built the original building or ‘elegant friend’ was not overwhelmingly popular. It was described as a ‘nasty little pokey hole’ as well as ‘mean and utilitarian’. Here we have, then, an example of just how much tastes - and the very concept of beauty - can change. One generation’s carbuncle might be another generation’s treasure. RH

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Coffee and Counsel

Adonis Michael

In the world of business, first impressions can go a long, long way. Michael Rose & Baylis director, Adonis Michael, discusses the myriad reasons why manners maketh the man

words by Adonis MICHAEL

can’t decide what’s worse, the wet and flimsy handshake or the bone cruncher; the person who keeps checking their social media or the one who keeps taking calls; the guy who blabbers on or the man who hardly says a word. In the course of business, I’ve experienced all of these, and needless to say that our endeavours did not progress past the first meeting. Business Etiquette is a funny old thing. Take a seat and let’s discuss. First off let’s be clear: Business etiquette differs from region to region and from country to country, and as I’m limited to a strict word count for this column, I won’t be going into the niches and nuances of etiquette as it concerns different regions. I will save the intricacies of sipping Yamazaki 12 Year and locking eyes when bowing for the upcoming Japanese themed issue (you heard it here first, but don’t quote me on it). For the purposes of this piece, we will focus on some key pillars of business etiquette right here on home soil. What is it anyway? Well there are no rules and regulations here, no written ones, anyway. In a nutshell, it’s about building relationships with other people. It’s about providing basic, social comfort and creating an environment where others feel comfortable and secure. This is possible through better communication, and communication is a sensitive thing. A look too long, a handshake too strong, a drink too many, and that deal you were about to seal or that job you were about to secure quickly turns into dust. Some people are naturally charismatic and they don’t need to think twice about charming their way into a deal or a high flying job, but for those looking to hone their skills a little, here are my top three tips on business etiquette. 1 Know the Names Repeatedly getting someone’s name wrong or forgetting it all together and having to ask for it again is a major setback. It shows a lack of respect. Give others respect by not only knowing their names but also using their names. This is a very simple yet powerful technique which will increase goodwill and communication. 2 Focus Concentrate on the meeting at hand and listen to what people are saying. If you are constantly checking your phone or taking calls then this says ‘I have other priorities’ or, worse still, ‘you’re just not that important to me.’ But let’s be honest, this is the modern world and we all have other commitments or other deals on going. It may be that there is a crucial call you have to take. If this is the case, then excuse yourself politely and ask if you may take a call. When you return, apologise and explain (without over divulging)) why you had to take the call. They will understand, but don’t make a habit of it. Allow this once, anymore and it's downright rude. 3 Establish Common Ground There is always more than one person or business that will be able to offer what you can. The reason you will be chosen over the next is because you are likable. People want to do business with people they like. It’s as simple as that. A great way to get your personality across is by establishing common ground. Maybe they’ve just come back from a holiday at a place you’ve been to. Or maybe they’ve got a dog, or support the same football team (as you, not their dog). Whatever it may be, there will be something that you will have in common. It’s up to you to pick up on it and ask a few questions. It’s a small touch that will go a long, long way, but only if it comes from a genuine place. Don’t push it, and certainly and don’t be fake. No one likes a try hard. MRB

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Essential Journal - Issue 49.5

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High Spirits