Issue 52, the Pitti issue

THE

essential journal In pursuit of a quality lifestyle

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essentialjournal.co.uk

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Official WLTP Fuel Consumption for the 20MY Discovery Sport range in mpg (1/100km): Combined 28.3 – 47.8 (10.0 – 5.9). NEDCeq CO2 Emissions 185 – 140 g/ 2 CO THE ESSENTIAL JOURNALfigures may vary according to factors such as driving styles, environmental conditions, load and accessories. may differ. fuel economy 2 and

/km.

TheThe figures provided are are as aas result of official manufacturer’s teststests in accordance withwith EU legislation.

For For comparison purposes only.only.

RealReal world figures 0 g/km. figures provided a result of official manufacturer’s in accordance EU legislation. comparison purposes world figures

Sleek, athletic, distinctive, this new model takes the Jaguar XE in an exciting new direction.

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Official WLTP Fuel Consumption for the XE 20MY range in mpg (l/100km): Combined 30.5 - 50.7 (5.6-9.3). NEDCeq CO2 Emissions 168-130 g/km. The figures provided are a result of official manufacturer’s tests in accordance with EU legislation. For comparison purposes only. Real world figures may differ. CO 2 and 4 as THE ESSENTIAL JOURNAL fuel economy figures may vary according to factors such as driving styles, environmental conditions, load and accessories.

Contents CONTRIBUTORS Adonis Michael Alistair Guy Candice Lau Gustav Peterson Ian Harrold Jake O'Brien Murphy Matthew Gonzalez Mathias le Févre Paul Walker Peter Jüriado Róisín Hanlon Tommy Banks

PUBLISHERS Singleton Publishing EDITOR Will Halbert w.halbert@singletonpublishing.co.uk CREATIVE DIRECTOR Thomas Sumner t.sumner@singletonpublishing.co.uk LEAD DESIGNER Jennifer Swaby FRONT COVER Alistair Guy & Mathias le Févre Photography by Eva Espresso PARTNERSHIP MANAGER Elliot Ramsey e.ramsey@singletonpublishing.co.uk

44 The Recipe: Buckwheat Lasagne with Broccoli courtesy of PHAIDON

7 The Primer words Will HALBERT

27 A Cut Above words Ian HARROLD

10 The Image

28 Archival Authenticity: Levi's Vintage Clothing words Will HALBERT

46 Drinking with Campari words Will HALBERT

30 The Pitti Style Debrief words Will HALBERT

48 On the Pass with Tommy Banks words Tommy BANKS

14 Meet the Makers: Candice Lau words Will HALBERT

34 What They Wore words Will HALBERT

50 Addressing the Table words Jake O'BRIEN MURPHY

18 Understated Elegance: Stenströms Shirting words Will HALBERT

37 Pitti Unconventional: LIMITATO words Will HALBERT

53 Essential Thoughts On: Style words The Essential Journal Team

21 Tessuti Diaries: Pitti Uomo Ninety-Seven words Will HALBERT

39 Fabric of Time: Walker Slater words & interview Will HALBERT

54 The Globe According to Illustrators and Storytellers courtesy of GESTALTEN

12 One Thing Done Well: Project TWLV words Will HALBERT

24 Behind the Badge: Moose Knuckles words Will HALBERT 27 Tailored Thoughts On: Quality Shoes words Matthew GONZALEZ

41 And Another Thing: Pitti Uomo 97 words Will HALBERT 42 Keeping the Craft Alive words Will HALBERT

57 Architectural Thoughts On Winter Gardens words Róisín HANLON 58 Coffee and Counsel with Adonis Michael words Adonis MICHAEL

@TEJOURNAL @essentialjournal @essentialjournal web essentialjournal.co.uk TERMS & CONDITIONS Under no circumstances must any part of this publication be reproduced without prior permission of the publisher. Whilst every effort is taken, the publisher shall not be held responsible for any errors. Furthermore, the publisher shall not be held responsible for any advertising material/content. Please also note that the views and opinions written within this publication do not necessarily represent the views and opinions of the publisher. All prices and details stated within this publication are correct at the time of print, however these are subject to change and the publisher shall not be held responsible for these. Third party contributors own exclusive copyright to their own material that they have submitted as part of the publication. All rights reserved.

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Find out more at johnsmedley.com/discover/legacy

u a L ndice

Ca

r e k r o W r e

Leath

X y e l d e m S n h o J

6 THE ESSENTIAL JOURNAL 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

THE PRIMER

THE PRIMER

‘Pride relates more to our opinion of ourselves, vanity to what we would have others think of us.'

- Jane Austen

A Note from the Editor

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What We're Wishing We Hadn't Seen:

Star Wars: Rise of Skywalker Star Wars fans, you are categorically the worst. You’re a loud, id-ridden, impossible-to-please lot. You’re the football fans that don’t actually play, but have no grievances watching on, heckling players and doling out useless stratagems from some entirely-imagined point of authority.

It’s in large part thanks to this heckling that poor JJ Abrams spends the first half of the Rise of Skywalker trying to right the (perceived) wrongs of The Last Jedi, before reserving the second half for desperately, begrudgingly pandering to you: a portion of the audience that really ought to have been ignored completely. A ‘ re you not entertained?!’ screams Abrams aloud as he pens the final pages of the script. ‘Is this not why you are here?!’ he laments, sobbing into the furry chest of some stupid-looking Porg plush.

Suffice it to say that The Rise of Skywalker plays out like some overwrought, adolescent fan fiction. It’s shoddy, badly paced and poorly executed. It’s vapid, contrived and stupid in the worst, most offensive of ways. And you know what, Star Wars fans? It’s all your bloody fault.

Babu Frik is a stroke of genius, though.

hen you really get down to it, fashion - and with fashion, style - are vanities of sorts. In truth, I’m never really sure if either phenomenon (and they are indeed two entirely separate phenomena) is a question of bold self-expression or contrived selfcuration. Are we dressing as we’d like, or simply as we’d like to be seen? Most would proclaim the former, but they’d be lying to themselves if they didn’t admit that the opinions of others come into the equation to some degree.

A ' re we dressing as we'd like, or simply as we'd like to be seen? Most would proclaim the former, but they'd be lying to themselves if they didn't admit that the opinions of others come into the equation.'

Pitti Uomo is a fine example of that tension. Sure, there are those that will tell themselves (and others) that they’ve arrived at Fortezza da Basso dressed as their authentic selves, that they’re above the peacocking. But those people have still made a more or less conscious effort to stand against Pitti’s infamous theatricality. Which, in itself, betrays a need to be seen in a particular way: a vanity.

What am I getting at? That fashion and style are vanities, and that there’s absolutely nothing wrong with that. Oh, and that what you have in your hands is the Pitti Uomo Edition of The Essential Journal. Enjoy!

Will HALBERT Editor

What We’ve Been Coveting:

The Rag Parade X Klaxon Howl Collection With a shared love for timeless, quality clothing, and a mutual rejection of fast fashion paradigms, any collaboration between Sheffield’s Rag Parade and Toronto’s Klaxon Howl was always going to be pretty exceptional. That the ‘Cadet’ Pullover Smock and ‘Greenock’ Full-zip Anorak are both exceptional entries into the menswear canon is, then, a surprise to absoutely no one. Hand-crafted in Toronto by the husband and wife team behind Klaxon Howl, both are made from vintage NOS (new old stock) fabrics, both are lined with a Japanese cotton poplin, and both wear their timelessly classic, cinema-inflected credentials on their deadstock cut-and-sewn sleeves.

The ‘Cadet’ Pullover Smock takes its commando-chic cues from the likes of On Her Majesty’s Secret Service. The small arm sleeve pouch, the large, zip-close, chest pocket the two top-and-side entry hand warmer pockets offer a utilitarian outerwear option fit for any rogue agent. Likewise, the burnt orange vibrancy of the ‘Greenock’ Anorak’s windproof weather cloth, together with its four-pocket parka design, harks back to the post ‘Nam gravitas of Michael Cimino’s The Deer Hunter.

So yeah, there’s a retro vibe at play here. But it’s an unfussy, trend-proof, timeless kind of retro. The kind of retro that never makes a scene nor goes out of style. Bottom line? Both the ‘Cadet’ and the ‘Greenock’ are as classically cool as they are endlessly wearable. Grab one while you can. Supplies are limited. @ragparadesheffield | @klaxonhowl

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Who We’ve Been Talking To:

Gustav Peterson, co-founder of LIMITATO What's the inspiration behind LIMITATO? How did you guys meet?

Myself and co-founder Emrik Olausson are friends from childhood and lived in adjacent neighbourhoods as kids, we became close friends over the years.

The inspiration comes from art and the idea that we want to stand out in an authentic way. To create something that has a story to tell. It’s like walking into a house with no art on the walls, compared to a house that does - it may not look better, but gives a story and something with more substance.

We wanted to do something authentic, something to buy into - something with a substantial value, not just to wear, but for eternity.

Where We’ve Been Eating:

Wolf At The Door, Manchester On the face of it, Wolf At The Door isn’t exactly a revolutionary concept. It feels like in the last decade every man and his dog has opened up a small plates restaurant and begun stocking natural wines, brewing their own kombucha and harping on about seasonal produce.

Throw a stone in Manchester’s trendy Northern Quarter and it’ll likely land outside one such establishment. But despite the wave of mediocrity this culinary trend has birthed, Wolf At The Door truly manages to stand apart from the crowd. It’s conceptual enough to take its guests on a journey but appetising enough to be enjoyed for what it is: bloody good food. Try the pressed potato with brown crab and the cured sea bass. @watd_nq

What We’re Looking Forward to Reading:

The Leathercraft Handbook by Candice Lau Featured alongside John Smedley in this month’s ‘Meet the Makers’ segment, Candice Lau has made quite the name for herself on account of her peerless leatherworking skills. True to the spirit of her craft, Candice’s all-new book, The Leathercraft Handbook sees her set to share her craft wisdom.

Offering up a contemporary twist on the age-old craft of leatherworking, The Leathercraft Handbook guides you through all the skills, tools, and techniques you need to make beautiful and durable leather pieces, from elegant accessories to stylish homewares. The beautifully-presented book gives you the opportunity to try your hand at more than 20 step-by-step projects, complete with easy-to-follow tutorials and templates that can be scaled up or down. Ranging from a classic glasses case to a chic tote bag, the pieces are suitable for beginners through to experienced leatherworkers and feature inspiration on how to make the designs your own.

Due for release this February, The Leathercraft Handbook comes as recommended reading for anyone looking to take up a new craft in the coming year.

available to pre-order now at

And where does the name come from?

LIMITATO in Latin basically means limited edition. It refers to something that cannot come back or be repeated.

How do you select the artists you work with? Is there a particular style or subculture that you gravitate towards?

You could say that we have elements of a rock n’ roll inspired vibe, something with a bit of character and power. We try to find artists that stand out from the crowd - artists that represent the best at what they do. We strive to give those people, as well as LIMITATO, a platform to present their amazing work to a larger audience.

Your tees and hoodies feel as luxurious and spectacular as they look. Can you talk us through their construction?

We buy fabric from the most important yarn producer in Portugal, who in turn is supplied from places such as Peru and Italy. We use a Peruvian cotton which is then mercerised to achieve a luxurious feel that contrasts nicely with the matte velvet, which we print and then have embroidered onto garments.

If you could work with any artist, past or present, who would that be?

John Baldessari. He was one of the most authentic artists out there. Sadly, he just passed away only recently, but he has collaborated with some of the most amazing artists. His conceptual work is both fun and interactive and something we haven’t done before.

What can we expect to see from LIMITATO in 2020?

Coming up, we have the pop-up store next to Bulgari on Richard Branson’s Virgin Voyagers. We are also expanding our collections and launching a sneaker line this summer.

Also in the summer we have plans to do something we have never done before. Keep your eyes on Paris.

And lastly, do you have any advice for those looking to take a similar path and start their own brand in today's competitive market?

Don’t copy us [laughs]. No, in all seriousness: Be yourself; stay true; and try to be original. Always strive toward authenticity.

studiocandicelau.com

@LIMITATO

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THE IMAGE

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STYLE

One Thing Done Well

Project TWLV Italian construction meets Swedish style in Project TWLV’s street-ready and sartorially-infused Flame Boot words by Will HALBERT

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The Flame Boot is available from your friendly, neighbourhood mom ‘n pop shop, ButterScotch (butterscotchlb.com)

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Image Credits, Sterling Reed (sterlingreed.us)

here’s a handful of reasons as to why Swedish-Italian bootmakers, Project TWLV, should find themselves exhibiting within the fabled halls of Futuro Maschile. Located at the Fortezza da Basso’s Arena Strozzi, the collections on display at Futuro Maschile each excel in menswear elegance with a modern edge. Having garnered quite the following in recent years for their masterful balance of the classic and the contemporary, Project TWLV fit the stall’s ethos like the fine, calfskin linings that grace a number of their boots.

Project TWLV is the brainchild of footwear designer, Antonio Panella and business partner, Henrik Hobik.

Matching minimal, Swedish design with peerless, Italian craftsmanship, Project TWLV’s carefully-curated line up balances a sleek and sophisticated edge with a timelessly rugged charm. Take the Flame Boot, for instance. Best considered the Chelsea boot 2.0, the Flame’s fine leather makeup and slim silhouette imbues the boot with some serious crossover appeal as both a standout dress boot and a solid, rough-and-ready, day-to-day mainstay. Blake stitched and calf leather lined, the boot has construction credentials that more than match its clean aesthetic, which is exactly what you’d expect from a duo whose list of former employers includes the likes of Paul Smith, Caterpillar and Wolverine.

Now, while the Goodyear Welt has a justifiably stellar reputation for turning a good shoe into a truly great investment, it’s worth noting that it’s not the only construction option out there. True to the brand’s Italian provenance, the Flame Boot’s Blake Rapid Construction allows the Flame Boot to maintain its slender profile and flexibility without compromising on its lasting durability.

Bottom line? Rugged charm really doesn’t come more, well, charming than Project TWLV’s Flame Boot.

It offers a stylish design, a sturdy build, and a lasting appeal that makes it as well-suited to the motorbike as it is to the boardroom. More importantly still, it perfectly encapsulates the brand’s desire to deliver a finely-curated, contemporary boot collection boasting exquisite craftsmanship and championing true authenticity. EJ

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STYLE

How would you describe your craft?

My craft is the exploration of contemporary design whilst using centuries-old leather working techniques to create the pieces.

What is your favourite part about what you do?

I love the challenge of figuring out how to translate a drawing into a three dimensional shape using leather and leather working techniques.

How did you begin your career?

My career as a leather craftsperson started at a very specific moment and, since then, it has grown to what I am today. In 2011, my boss from a previous career in design offered to buy me an industrial sewing machine for Christmas. At the same time, a colleague gave me a piece of hide he had lying around at home. So I crudely cut into the leather with kitchen scissors and the needle on the machine fumbled through the thick leather in an attempt to make a bag.

Finally, I managed to make my first leather bag, badly sewn yet beautifully shaped. From that moment, I decided that I needed to learn the leather crafting skills that would make my work more refined. Since then, I started working with leather. Initially as a hobby but, over time, it became my career.

What other craftspeople stand out to you most and why?

My teachers at the Scuola del Cuoio in Florence have been absolutely inspirational. Their attention to detail, from the way they hold their tools and how they organise their work bench to the tapping of the foot on the sewing machine, is really a part of their practice that is cultivated.

Undoubtedly, their work is indicative of their expertise. I’ve also recently tried my hand at mosaics, and I think this is also truly an incredible craft. It is incredibly intricate and there are a great wealth of artefacts out there, all over the world. I love the medium and how you can create an entire image by simply using tiles.

Meet the Makers

Candice Lau We sit down with leather worker, QEST scholar, and John Smedley Ambassador, Candice Lau, to discuss the challenges and rewards of putting a contemporary twist on a centuries-old technique words by Will HALBERT

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Did anything in particular inspire you to start your craft?

My desire to work with my hands and work on more three-dimensional work, as opposed to the digital design which I had been doing previous to this, was really what propelled me to pursue leatherwork. In the very beginning, it was the only thing that I wanted to do when I got home from work and on the weekends.

Do you work with any other craftspeople to create your products?

Yes, I do sometimes do collaborations with book binders and silversmiths for various projects.

What is your criteria for working with fellow craftspeople?

I like working with people who are equally as passionate about their work as I am. Those who share the same level of curiosity so that we can learn from each other’s craft.

It is also integral for me that we share the same level of professionalism and attention to detail in our work.

STYLE to type before making the attempt on leather. Learning this aspect of the craft has really propelled me to another level of making.

Have you had any major pitfalls to overcome to maintain your craft?

Like every artist and craftsperson, a large part of the work is getting your name out there, telling the story of the craft to the audience, and educating clients on the intricacies of the work. Whilst many who have approached me for commissions have been very understanding of my work and the craft, there are others who compare my work and prices on the high street.

Learning to say ‘no’ to working with these sorts of clients is difficult when the craft is your only source of income. However, as my skills and work progress, this has begun to change.

Has your craft evolved into other skills over time?

I began my craft working specifically on hand stitching (the art of saddle stitching). However, over time, I have begun to appreciate machine work, which allows different possibilities that can’t be done with hand stitching. This has enabled me to experiment with different weights of leather and designs which I couldn’t have done in the past.

How would you describe a day in your role?

I often begin with emails. I then head into the studio and focus on the making. The making is often accompanied by listening to podcasts. Designing and visualising new ideas often happens whilst I am sitting on the bus, walking, or getting lost in my head on the weekends.

What is the hardest part about what you do?

Telling my story and showing my work to the right audience.

Hand-crafted Rebellion

What makes your craftsmanship most rewarding?

The curiosity of others to understand your craft. Their appreciation for the time, effort and skill that goes into the work itself.

Where did you learn the skills required for your role?

When I realised I wanted to learn leather crafting skills, I joined a small workshop in Hong Kong to learn saddle stitching, and then pattern making at the College of Fashion. I taught myself through trial and error and practice along the way, until I received the scholarship through QEST to study at the Scuola del Cuoio in Florence, Italy, to learn from the masters of the craft.

What has been the most important learning curve for you?

Although many people often don’t recognise this as a part of leatherwork, learning pattern-making was really a huge learning curve. This is really the beginning of making a 2D piece of hide into a 3D object.

In the process of pattern making, there is the mathematics and the precision, the visualisation of the process of making and how it will turn out. It really is the biggest challenge in the craft. One can view this as the initial pro-

The Felix Collection celebrates the enticing duality of Candice Lau’s engaging designs The Leathercraft Handbook

words Will HALBERT

- A Step-By-Step Guide to Techniques and Projects is available to pre-order now at studiocandicelau.com

I

nspired by her recent journey to Asia, the latest collection from Studio Candice Lau represents a visual and tactile celebration of the newly-emerging creative identities forged in cities like Beijing, Hong Kong and Shanghai.

The Felix Collection is a personal study of the dynamic undertone of individuals in amongst the billions of inhabitants of those cities. It harks back to their communities’ ingenious and daring methods of disrupting the norm in secretive and playful ways.

Featuring a selection of backpacks, totes, clutches and even hanging planters, the Felix range presents a seemingly obedient exterior boasting strong, block colours and angles. Inside, however, Candice Lau’s own handdrawn motifs betray a more rebellious, playful individuality. Staying true to Studio Candice Lau’s ethos, the bags are individually handcrafted in her London workshop using Italian cowhide and British Millerain canvas. EJ

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STYLE What are the biggest challenges you face in what you do?

For me, the most difficult challenge is finding help in production when a big order comes in. As a small business, it is difficult to hire someone as the amount of work that comes in is not often consistent.

How have you stayed passionate and inspired by your craft?

Learning other crafts and talking to other makers has kept me passionate and inspired by leatherwork. Watching others work at their craft often inspires me to dream about new creative possibilities and how their skills, techniques, and design can be adapted to my own work.

Candice Lau is wearing

What made you choose this career and to work in this industry?

Leatherwork is really something that makes me wake up everyday without feeling sad that I have to go to work.

I’m always excited about turning a piece of hide into a bag. I still get up everyday with this sort of enthusiasm.

That enthusiasm tells me that this is what I want to do.

the Edmee Sweater, £145.

Available to purchase at johnsmedley.com

Do you have any plans to expand on what it is that you do?

I am in the process of moving in a more experimental direction, exploring surface design on leather and ways of manipulating the hide. This may possibly give way to new directions and collections.

What are the main projects you are working on now?

At the moment, I am writing a book on leatherwork with new designs and workshop ideas to enable novice makers to learn the art of leatherwork.

How would your customers describe your craft?

I believe they see my work as contemporary yet executed using techniques that are honed through traditional practice.

What are the accomplishments within your craft that you are most proud of ?

I am most proud of some of the work I produced during my time at the Scuola Del Cuoio in Florence. There were techniques that I learned there and applied that I never thought I would be able to accomplish.

How would you describe your business in three words?

Evolving, Colourful and Fun How does working with QEST support you and your craft?

Whilst my bags are often colourful and contemporary, the audience are often unaware of the craft and skill that is involved in making them.

Through the events at QEST, I’ve been invited to demonstrate the craft, allowing me to really showcase the technical aspect of my work and talk about the crafting side of the whole story.

How would you describe John Smedley?

I think John Smedley has stayed true to beautiful classic lines to create knitwear that has longevity and is accessible to a large audience.

Do you have a favourite John Smedley piece?

I think it is quite rare to find knitted skirts and trousers.

Therefore, I do love the Joanie and Moran pieces.

What are you most excited about for the future?

I am most excited about taking my business in a more experimental direction, especially with the challenge with John Smedley to create an item of clothing that blends knitwear with leather. EJ johnsmedley.com

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Metquarter, Liverpool | 07746 687 409 | info@harlandcollier.com THE ESSENTIAL JOURNAL

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STYLE

Understated Elegance:

Stenströms Shirting We take a stroll through Pitti’s Padiglione Centrale to catch up with Stenströms’ Creative Director, Peter Jüriado

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words by Will HALBERT

STYLE

We offer enough options that anyone in the market should find exactly what they’re looking for. Whether that’s a button-under, a button down, or even a full cut-away collar, we make it and we make it well. The same goes for fits and fabrics. That lack of compromise in quality tends to make for a shirt that will go the distance. The most important thing by far, however, is to stay true to your values and use the best materials. Quality never goes out of style, after all.

W

ith intricate detailing and sartorial flare woven into the brand’s very DNA, Swedish shirtmakers, Stenströms continues to challenge and test itself. As averse to the shortcut as they are to the easy road, each and every one of their shirts consist of 23 separate components, undergoes 60 different operations, and is checked at five critical inspection stations along its production. Talk about an eye for detail. Peter Juriado talks us through the challenges of creating timeless shirting for the modern man. EJ First off, tell us a little about the story behind Stenströms?

We started life as a small shop back in 1899. Just to put things into perspective, that’s 13 years before the Titanic went down. Founder August Stenström used to sell fine shirts to visiting, seafaring ship captains. Naturally, word spread and demand grew.

August slowly built up a reputation for producing the highest-quality shirts in the land, many of the most elegant men from throughout Scandinavia insisted on owning a Stenströms shirt for themselves. They soon became a point of pride. And the rest - as they so often say - is history. We’re still family-owned to this day, too.

Can you talk us through some of the finer details that set a Stenströms shirt apart?

Good question! A Stenströms shirt really is a celebration of the finer details. For starters, we all know how stiff and unwelcoming a new shirt can be, so all of our collars and cuffs have a much softer hand. This really makes a difference for those wearing a shirt from day to day, and adds a touch of luxury for those who don’t wear them very often.

We use mother of pearl buttons on the majority of our shirts, which is a far more durable and sustainable option when compared with plastic and the like.

Not to get too technical, but all seams are French seams. So, basically, when you turn our shirt inside out, it looks the same as on the outside. Like I say, it’s about the finer details.

You guys are all about the long-lasting and wellmade. What are the most important aspects of designing a trend-proof shirt?

A ' Stenströms shirt really is a celebration of the finer details.'

How would you describe the Stenströms style? Would you say that your Swedish provenance plays a part in your philosophy and style?

Yes, we think it does. We Swedes are quite simple when it comes to our approach to style: Clean lines, high quality fabrics, trustworthy sources. The Swedish word ‘lagom’ comes into play when we approach questions of style. It means just the right amount – not too much and not too little. In terms of philosophy, we have been around since 1899, and that means something.We work closely with our customers and suppliers to strike up a long-term relationship. Up in the north, we have to stick together and be kind.

Do you have a personal, go-to, style of shirt?

Personally, I always lean towards the white shirt or the indigo shirt. Both are shirts that can be worn and styled in so many ways. More formal, more casual, with a tie or without, loose fitting or tight fitting. They’re summer wear and they’re winter ready.

They’re two shirts that should be in every man's wardrobe.

The humble shirt is a wardrobe staple, but many guys get a little confused about what shirt to wear and when. Could you talk us through a couple of collar options and when they’re most appropriate?

Ah, that depends entirely on what you are wearing the shirt for! If the lapels on the blazer are wide, you can wear our one-piece collar, or even a nice cutaway. It also depends if it is a formal occasion.

If it is, then you might like to wear a cutaway or a more classic collar. Under a sweater? Our button-down works really well. But then again, a button down can be just as appropriate with a blazer and a pair of chinos.

How long have you guys been exhibiting at Pitti, and what does it mean to you personally?

We’ve exhibited for three seasons now. Pitti is very important to us. It’s a place where we can meet both customers, potential customers, potential agents and, of course, colleagues. Pitti has changed a lot over the years, though. Of late, it’s become a place for showing off, and a bit of an influencer’s playground. But it’s still a wonderful event to be a part of.

Did you remark upon any emerging trends or styles coming out of Pitti 97?

Both soft colours and burned colours seemed to feature prominently. Wide lapels on blazers are very much still a thing, as are oversized fits and patterned shirts. Street style seems to find itself better-represented year after year, and there was a great mixing of the formal with the casual, which is great to see. Sneakers or trainers with suits is making a comeback, it seems. And of course, we had some wonderful things on display too [laughs].

And lastly, what does Stenströms have in-store for us this AW2020? Any standout fabrics or fits?

We have a few great flannel offerings in the new collections which I think people will really appreciate. We’re also experimenting with fabrics that have a nice surface texture, like bouclé yarn, and micro patterns will feature more prominently too.

We’ll be rolling out bold stripes in nice autumnal colours, and we’re looking forward to seeing how people will react to the one-piece collar that features on some of our flannel too. We’ll also be taking a further step into our quest for sophisticated luxury with a range of herringbone, cashmere, yak, and lambswool knitwear options.

So do keep an eye out! stenstroms.com

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Tessuti Diaries:

Pitti Uomo Ninety-Seven words by Will HALBERT photography by Thomas SUMNER

When so completely and utterly awash in out-there styles and general, wayward ostentatiousness, it’s easy to forget that Pitti Uomo is, at its heart, a business affair. The Essential Journal joins luxury retailer, Tessuti in Florence to get down to the brass tacks of fashion...

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Day One: Outerwear Overload Where to start? Day one of Pitti 97’s offerings are promising to say the least.

With a loud-and-clear leaning on all things casual and military, the day was dominated by outerwear brands offering up the perfect remedy for any overly-sartorial stuffiness that often comes with the trade show territory.

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talian outerwear experts, Outhere get things off to a flying start. Specifically, their A ' dvanced+' range boasts a plethora of boundary-pushing, eye-popping, proprietary fabrics that inject some much needed fun into the outerwear sector. Outerwear with some serious street edge, Outhere's standout exhibits included topographical, thermoreactive, and reflective garments tailor-made to raise the roof. More than a couple of the jackets on display literally glowed in the dark, and we're honestly all for it. A masterclass in streetsmart, affordable luxury, Outhere are the one to

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watch for pushing the envelope and raising the proverbial bar this AW2020.

Likewise, Parajumpers continue to impress this year, with one of its most carefully-curated collections to date.

Leaning on the staunchly utilitarian vibe of previous years, the Italian-born brand ups the ante with some serious, operator-chic, military styling. Think heavyweight navy and olive outerwear solutions in hefty, waxy fabrics and graced with chunky-knit collars (not to mention the trademark metal trappings that we’ve all come to know and love). Pair that with a few truly inspired, shawl-collar knit offerings and you have a collection all set to warm necks and turn heads in equal doses.

And lastly, Canadian masters of luxury outerwear, Mackage, continue to perfect their trademark elegant minimalism with a collection of simple-yet-vibrant coating options. What's most exciting here (besides their incredible ice sculpture installations, of course) is Mackage's continued foray into woollen fabrics.

Stand out pieces include tartan check bomber jackets that bring a touch of tailored class to a brand that has already well and truly mastered the balance between form and function.

STYLE

Day Two: Sustainable Style Day two at Pitti 97 sees us swerve the peacock pretense in favour of more subtle and sustainable streetwear styles. With the tides of fashion turning toward eco-friendly fabric options, it was nice to see a few Tessuti favourites leading the way towards a more ethical fashion model.

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ritish shoemakers, Grenson, have already made a name for themselves for their dedication to well-made shoes that just get better with age. Not only have they applied that said same footwear philosophy to the creation of some seriously stand out, resoleable sneakers, they've also decided to offer vegan variants of some of their most-loved leather-based boots and shoes.

Sustainable shoes for a style that never fades? We like their thinking.

Italian yacht-masters, Paul & Shark continue to outdo themselves this coming season with a range of

outerwear styles that not only look spectacular, but do their part to save the planet while they're at it. Catching up with them at this year’s Pitti, it was clear that they've truly gone all out in their eco endeavours. From their use of eco-wool, recycled down and organic cottons, to their founding of the plastic-cutting ‘Save the Sea’ Project, Paul & Shark offer seafaring style that reflects and respects its nautical roots.

And last but not least, French outerwear pioneers, Pyrenex offer up a collaborative approach to sustainability. Teaming up with none other than grassroots British brand, Universal Works, Pyrenex have come away with a limited (and sure to be much-coveted) collection that puts style and sustainability on the same pedestal. As is the standard with the French heritage brand, their long-standing Oeko-Tex certification guarantees the absence of any harmful substances in their garments, while their famous eco-conception allows Pyrenex to minimise the environmental impact of their products at every level of the production line.

All in all, day two at Pitti offered a glimpse into the environmentally friendly future of the fashion industry, and served as a solid reminder that stand out style needn't cost the earth.

Day Three: Out of Bounds You know what they say; you gotta save the best ‘till last. While Pitti 97 was an unforgettable feast of sights, sounds and stand out styles, we’d be lying if we said it wasn’t our good friends and all-round troublemakers over at Moose Knuckles who truly brought the noise.

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ince its launch in 2007 by Ryerson design graduates Mark Peros and Will Poho, Moose Knuckles has become synonymous with impeccable craftsmanship, enduring quality, and in-your-face attitude.

We’re happy to report that nothing has changed in that respect. But it’s safe to say that the Canadian-to-the-core brand still has a fair few tricks up its expertly-crafted sleeves.

As we saw, their upcoming Speed of Light collection sees the brand put an even more audacious spin on their classically clean designs. Think reflective, sprawling signage, lenticular labels, and even a few exciting forays into layering.

And as if making some of the best outerwear in the industry isn’t enough, Moose Knuckles also know how to throw one hell of a party. With their trademark go-bigor-go-home attitude, Moose Knuckles hit us with an afterparty so big that it literally didn’t fit within the walls of Pitti’s famous Fortezza da Basso.

Instead, Moose Knuckles took over the Palazzo Capponi for a night of craft beers and audible bangers.

The famous fresco of the Palazzo’s Sala Poccetti became the canvas for the brand’s trippy, technicoloured light show. And if that wasn’t enough, the guests were free to check out the pop-up tattoo parlour for some post-party, Pitti Ink. We won’t tell you what we got, or where we got it. Sorry, mom.

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Behind the badge.

With a Canadian-to-the-core attitude and some serious outerwear credentials, Moose Knuckles offer extreme weather protection without getting all dorky about it

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words by Will HALBERT t’s no secret to anyone who knows a thing or two about outerwear that these Canandian renegades produce some of the leanest, meanest and mightiest coating solutions in the business. But you won’t catch them bragging about it. They don’t need to.

Ten seconds in one of their superlatively-crafted parkas or bombers is all it takes to make a believer out of anybody.

But if, by some twist of fate, Moose Knuckles did find themselves in a bragging mood, they might start with the impeccable fit, the uncompromising construction, or the sheer, minimal perfection of the whole damn thing. They might then go on to flaunt the brand’s truer-than-true, tried-and-tested outerwear credentials, waxing lyrical about their coats’ ability to withstand the coldest Canadian winters. Maybe they’d throw in a humble brag about the long-as-your-arm list of celebrity endorsements that the brand enjoys, from Sheck Wes to Lil’ Kim, or even a little something something about their gold collection.

You know, their range of bombers and parkas that are literally lined in gold and bearing a 24 karat gold logo.

In the grand scheme of things, the winter coat is all-too-often relegated to the role of the grandpa in the fashion industry. Sure, it’s practical, reliable, and probably has a fair few stories to go along with it. But they’re rarely much fun to be around. In an industry awash in the stiff and the stuffy, Moose Knuckles is better considered the mic-swinging, guitar-spinning, beer-chugging brother you never had.

But like I said, Moose Knuckles don’t really go in for the whole bragging thing. They’re too busy enjoying themselves, I guess. A quick, to the point, ‘we’re warm AF’ message adorns their homepage and they’re happy to leave it at that. Safe in the knowledge that the quality of a Moose Knuckles jacket truly speaks for itself. EJ

Shop Moose Knuckles online at tessuti.co.uk

Stand Out Spots We offer up an essential guide to getting your food and drink fix in the city of Florence Simbiosi Organic

No one does coffee quite like the Italians. But you can’t deny there’s a certain wham, bam, thank you ma’am urgency to it that’s a little shocking to our oh-so-British sensibilities. Enter Simbiosi Organic, a vegan-friendly, speciality coffee joint with a more relaxed approach to things. The coffee is on-point, the breakfast delicious, and there’s seating aplenty should you want to stick around and people watch.

@simbiosicoffee

The Breakfast Spot

Ditta Artigianale

Did you know that the Italians call a croissant a cornetto? True story. It means little horn, and you can find them pretty much anywhere in Italy. Nowhere does them quite like Ditta Artigianale, though. And that goes for the rest of their offerings, too. From their light snacks to fuller, more robust brunch offerings (not to mention their craft beers), Ditta Artigianale offer great food and even better atmosphere any time of day.

@dittaartigianale

The Afternoon Bite

Tamerò

It’s pizza and pasta, but not as we know it. Once a mechanic’s workshop, Tamerò's interior retains much of the gritty vibe of its former function with textured walls, exposed air-conditioning ducts and wayward graffiti. Their pasta is made fresh, by hand and daily. The same goes for their dough. To do pasta well in Florence is almost a given, to do it better than anyone else is an artform.

@tamero_firenze

The Evening Meal

Harry’s Bar

An undisputed Florentine institution since 1952, Harry’s Bar is not only famous for having invented the Bellini, but has also garnered quite the reputation for its international clientele and impeccable service. Whether you’re drinking or dining, Harry’s Bar is a must see. The prices are high but the sheer experiential joy of it all makes it more than worth it.

That view of the Arno ain’t half bad, either.

@harrysbarflorence

The Nightcap

King Grizzly

You’re in Italy, home of the aperitif. That you’re going to indulge in the occasional Spritz is pretty much a given. But even so, there’s only so much Campari you can drink before it starts to feel like you’re snacking on a pocketful of two pence pieces.

King Grizzly offers the perfect remedy in the form of beer, glorious beer. From local ales to US crafts, King Grizzly stands as a bastion of all that is golden, pale, hopped and wheated.

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fb.com/kingrizzlybirroteca

The Palate Cleanser

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COLUMN

Tailored Thoughts On:

Quality Shoes New year, new shoe? Matthew Gonzalez lends some expert advice on choosing footwear fit for the next decade (and beyond)

A Cut Above Why do we so often go out of our way to make an impression on someone? Ian Harrold waxes zoological on peacocking and man's need to stand out

words by Matthew GONZALEZ

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few years ago, I was talking to a colleague about getting a new pair of shoes for myself and he said something that has always stuck with me: ‘Spend as much as you can afford on mattresses and shoes, because if you are not in one then you are probably in the other.’ It’s advice that’s worth remembering. Pretty much from the moment that we get up to the time we go to bed, we are in some kind of footwear. And if you work in a place where you’re expected to wear a suit, then comfort is just as important as style. So, in order to kick the new year off on the right foot (get it?), let’s examine some of the key elements you should consider when buying shoes.

Every guy who is interested in tailored clothing knows the importance of shoes. It used to be said that you could always judge a man’s character by the shoes on his feet and the watch on his wrist. It might be a little outdated now, but it’s safe to say that a well-designed shoe can really elevate a man’s wardrobe. If you need something for work, then keep it simple. Either a classic plain oxford (with or without a cap toe) such as the ‘Micheal’ (£525) from George Cleverly or an elegant whole-cut like the A ‘ lex’ (£440) from Crockett & Jones will always be in style. Simple lines on footwear will forever look professional, so it’s a timeless and safe option for the office. While the old ‘never wear brown in town’ rule still applies in some industries, don’t think that black is your only option these days. A nice shade of dark chocolate is a great addition to your collection. And more importantly, it is understated enough to be on par with a classic black.

If you are looking for something to wear casually, high-laced boots are a great option. They can be easily paired with tailored trousers or denim, so it’s a style that you can wear every day should you want to. Monlo Blahnik’s ‘Cambridge’ (£895) which comes in an earthy brown suede with a brogued cap toe might be a bit pricey just after the holiday season, but it’s a real show stopper if budget allows.

If high lace isn’t really your style, Carmina make an unlined chukka boot (€420) in a navy suede that is great for denim and cotton chinos.

There is no point walking around in shoes all day that are going to kill your feet, regardless of how good they look, so this is where comfort comes into play. When you try on a pair of shoes, you can pretty much tell if they fit - but comfort is in large part down to construction. For example, a leather sole is the most traditional in shoe making, but it can be stiff and will 100% slip when you are walking down the street in the rain. Rubber, on the other hand, will give you a bit more grip when on wet surfaces and will be less rigid when it comes to the break in.

You may have heard the term ‘Goodyear welt’ when looking into shoes. Essentially, it refers to how the sole is attached to the leather upper. Goodyear welted shoes are arguably the best, as they have a layer of cork in them for added comfort and they can very easily be resoled by any proficient cobbler.

That is where cost and value come into the mix. While the few shoe companies that I have mentioned do sell shoes at a premium, they’re pretty much guaranteed to last a lifetime. Regular polishing, moisturising and the odd resole once or twice a decade will mean that if you pay a few hundred pounds up front, you will have something to wear for years.

The oldest pair I have in my closet is 13 years old. I have had them resoled once and I am ashamed to say that I haven’t actually taken great care of them. Even so, 13 years is a hell of a long time for a pair of shoes. There will be hardly a day in your life when you don’t have to wear shoes, so if you are looking to start the new year with your best foot forward (last one, I promise), then invest as much as you can, keep everything simple, and you will have a pair of shoes that you can wear for decades to come. MG

words by IAN HARROLD

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here are those that would compare us with animals, our need to stand out and show strength representing some throwback to a long-dead, biological imperative to procreate and keep things moving forward.

The most obvious animal, given the theme and drift of this issue is, of course, the peacock. The symbology of the peacock extends far beyond the walls of Pitti.

We see examples of peacocking everywhere we look in our day-to-day lives, and it’s very rarely a good thing.

Overall, I think it’s because there’s an inherent insecurity to any level of ostentatiousness. A sense of having to compensate for some unseen deficit. There’s a defensiveness about the whole thing too. You have those so scared of not fitting in that they throw these wild stylistic haymakers in the opposite direction. They desperately try to stand out, as if that were the goal all along. We’re insecure by nature, I suppose, and our attempts to project a more confident, more successful, or more defiant self often cost far more than they’re worth.

When bought for all the wrong reasons, the suits, the watches, the cars - those classic metrics of success and stability - often see us overstretching and living beyond our means. At best, that level of showboating is nothing more than a series of shallow facades and empty power plays. At worst, it becomes a costly display of strength that often leaves you reeling under the surface. In wanting to exude the calm and collected dominance of the lion, we wind up more closely resembling the fragility of the swan: All style and grace up top, but frantically flailing about beneath the surface.

Leaving the confused animal references and pop psychology to one side, what it all really comes down to is good, old fashioned self branding. And if we follow that idea of self branding to its logical conclusion, then it stands to reason that each and every one of us has a target demographic; a particular subset of people that we are consciously trying to make an impression on.

Which begs the question that if said demographic doesn’t allow us to simply be ourselves - unapologetically and without facade or defence - then why are we trying so damn hard to make such an impression on it?

I guess what I’m really trying to say is that peacocks are weird, and we should all just do whatever we want and let that attract whatever bloody animal it attracts. IH

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Archival Authenticity:

Levi’s Vintage Clothing For the poets, free thinkers, folk singers and general rebelrousers out there, this one goes out to you words by Will HALBERT

“The LVC 'Folk City' Collection offers a series of callbacks to the rugged charm of vintage Americana.”

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s widely recognised as it is widely worn, Levi’s has long been considered a powerhouse of popular, contemporary fashion. The role of its premium range, Levi’s Vintage Clothing, by contrast, is an altogether slower and more curatorial affair.

Faithfully capturing both the spirit of American workwear and irreverence of the American counter-cultural attitude, Levi’s Vintage Clothing reproduces the fits, fabrics and much-loved details of bygone eras. Their AW ‘Folk City’ collection is one such fabric-forward foray into the standout styles of yesteryear.

With a leaning on the enduring styles of the beatniks and bohemians that populated the Greenwich Village Folk revival of the 60s, the LVC ‘Folk City’ Collection offers a series of callbacks to the rugged charm of vintage Americana. Think chambray shirts and sherpa jackets; sawtooth button downs and the perennial, blue-blooded, selvedge staple that is the 501 five-pocket jean.

Each and every piece in the collection is so lovingly and sensitively reproduced that they seem to have stepped straight out of the coffee houses and dimly-lit drinking dens that made Manhattan’s West Side such an epicenter of folk music back in the day.

And why would it be any other way? By turns arbiters of style and archivers of fashion history, Levi’s is a brand steeped in lore and legend aplenty. They understand - perhaps more than anyone else - the joy that comes with the fond look back. That they should turn their hand to chronicling the visual and audible delights of the Greenwich Village folk scene isn’t just inspired, it’s pitch perfect. EJ For more information head to levi.com

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× Bill Amberg

www.savoirbeds.com

London

Paris

New York

Düsseldorf

Moscow

Berlin

Shanghai

Hong Kong

Seoul

Taipei

Singapore

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COVER STORY STORY COVER

The Pitti Style Debrief Style emissaries, Alistair Guy and Mathias le Fèvre, give their two cents on this year’s Pitti Uomo interview by Will HALBERT photography by Eva ESPRESSO 30

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eaturing a flurry of fashion’s boldest cuts and finest fabrics, Pitti Uomo can be a dizzying affair at the best of times. Lucky for us, we have esteemed menswear experts, Alistair Guy and Mathias le Fèvre, on hand to break things down for us. EJ First off, can tell us a little about yourselves and what brought you to Pitti?

MLF: My name is Mathias le Fèvre. I was born and raised in Denmark, but my passion for classic menswear brought me to London which has now become home.

I work within the world of fashion on both sides of the camera, I model and tell stories with heritage brands as a creative director.

AG: I’m a photographer and creative menswear brand collaborator. I was visiting some of the brands I work with as well as meeting with a few new ones.

'It is beautiful seeing everyone come together to celebrate their love for style.'

How would you say Pitti has evolved over the years? Did you notice any major changes this year compared to previous iterations?

AG: Honestly, I think it’s just gotten bigger and better over the years.

MLF: When I first started attending Pitti Uomo, I quickly became familiar with a wave of attendees known as ‘the peacocks’. Guys who would go to the show wearing over the top outfits, with the sole purpose of standing outside waiting to having their picture taken and hoping to end up in a magazine. It’s become a sort of an insider joke. During the latest show I felt that this circus had much less of a presence. The end of Pitti Peacocks?

Or perhaps just a cold winter? I can’t tell.

Clockwise from left on opposite page: Mathias le Févre and Alistair Guy at Pitti Uomo 97.

MLF: Pitti Uomo stands out for its location, community and hospitality. Taking place in Florence, it could not be more magical.

How, in your opinion, does Pitti differ from other fashion-led events in the likes of London, Paris and New York?

AG: It’s an amazing event, but I think it’s easy to forget that, unlike events in London, Paris and New York, Pitti Uomo isn’t a fashion week: it’s a menswear trade show first and foremost. So that business element is always more prominent in Pitti than elsewhere.

What does Pitti Uomo mean to you personally?

How would you define its significance?

MLF: Pitti Uomo is one of the most important events within the world of menswear. It is a trade show which is mostly known for its core of classic garms and tailoring.

It has also become the gathering place for well-dressed and stylish gentlemen from all over the world.

AG: For me personally, it’s probably the best way to see menswear brands globally. After all, Pitti Uomo showcases over 1,200 brands over the course of its four-day event.

So it’s a question of business as much as pleasure?

MLF: Exactly. I attend the fair in Florence twice a year to explore my favourite brands’ latest collections, honour appointments with my international clients, and catch up with industry friends. Attendees are a mix of brand representatives, journalists, photographers, enthusiasts, etc. and it is beautiful seeing everyone come together to celebrate their love for style.

Image courtesy of Kewin Connin Jackson

Were there any standout brands or clothiers that caught your eye this year?

AG: My favourite brands on exhibition this year had to be the Scottish, family-owned Johnstons of Elgin, along with Italy’s own Canali and Serafina Silks. Spanish shoemakers, Carmina, were exhibiting some excellent pieces, too. And on the British side of things, collections from Eton shirts and Globe-Trotter were also very impressive.

MLF: What impressed me the most was completely unexpected but utterly fascinating.

FISKARS, the Finish utilities brand, best known for their iconic orange-handled scissors, have teamed up with fashion and textile designer, Maria Kokeila. They hosted a presentation set in the most beautiful Florentine mansion, where they launched their first-ever clothing and accessory collection designed for gardening and urban exploring.

Were there any emerging trends or looks that you were particularly fond of at this year’s Pitti?

AG: This season, I’m rather enjoying wearing cords again, so it was nice to see them featuring more prominently at this year’s Pitti. And of course, present and correct was the all-time classic roll neck jumper. It never goes out of style.

MLF: There was a lot of streetwear on show. It usually stands in contrast to the suiting, but this season showed a particular step towards a fusion. A big trend was to break up the structured tailoring with casual and urban elements. Think bucket hats, sneakers, oversized sunglasses, hoodies and colourful beanies. A look that I am all for, but haven’t quite figured out myself.

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'But my favourite piece by far was the epic, cashmere and silk, dressing gown by Johnstons of Elgin, which I wore along with some silk pyjamas, Carimina suede slippers, Christopher Cloos shades and a Laird Hatters' brimmed hat for good measure.'

Did you spot any styles you were a little less fond of?

AG: I think there’s often a tendency to over style and over dress at Pitti. This year, I saw entirely too much accessorising for my liking. Moderation, as they say, is key.

MLF: Cowboy hats.

And finally, what was your own approach to dressing for Pitti 97? Can you talk us through a few of your outfits?

AG: I had a couple of looks that I was really fond of, including some amazing pieces from the likes of E.Tautz and Daks London. But my favourite piece by far was the epic, cashmere and silk, dressing gown by Johnstons of Elgin, which I wore along with some silk pyjamas, Carmina suede slippers, Christopher Cloos shades and a Laird Hatters’ brimmed hat for good measure.

MLF: I wore a couple of vintage suits designed by Tommy Nutter and cut by Edward Sexton. The first took its cues from classic 70s styling and featured his iconic lapels and roped shoulders, the jacket was extra long and the trousers super wide. I layered it with a roll neck, a cream silk shirt and a brown knit tie. The overcoat coat was double-breasted and created a beautiful drape of camel, burgundy and navy cashmere checks.

The second was a retro check worn with a pink pin-collar shirt and a navy paisley tie. The shoes; red horse bit loafers that perfectly paired with the Florentine sun. On the last day, I wore double Prince of Wales.

A double breasted suit cut from a charcoal Prince of Wales cloth. As a contrasting layer I layered it with a mid grey overcoat, which carried the same check but in a bigger format. @eva.espresso | @mathiaslefevre | @alistairguy

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What They Wore A closer look at the brands that kept the boys suited and booted words by Will HALBERT JOHNSTONS OF ELGIN Undisputed kings of cashmere, Scotland’s Johnstons of Elgin are incredibly selective when it comes to their fabric selection. Each one of the 15 types of cashmere is carefully chosen for its unique properties, no mean feat when you consider just how selective the heritage brand can be. But it’s exactly this selectiveness that sets the brand apart. You see, when a consumer buys low cost cashmere, they’re usually buying into inferior, heavily bleached fabrics produced in high volume for the mass market. Each and every Johnstons of Elgin garment is crafted and inspected to the same, centuries-old standard of excellence. To invest in a Johnstons of Elgin piece is to celebrate that excellence.

DAKS LONDON 2019 was something of a landmark year for British heritage brand, Daks London. They turned 125. From their humble beginnings on Middlesex Street in 1894, to their head office, design headquarters, and flagship store at 10 Old Bond Street, Daks is a London brand through and through. Boasting a range of superlative knitwear options and some truly spectacular bespoke tailoring credentials, never has a brand made 125 years of excellence look so easy. But then, what else would you expect from a brand that holds not one, not two, but three Royal Warrants?

CHRISTOPHER CLOOS The preferred visors for all bon vivants, Chirstopher Cloos specialise in classic frames with a chic, contemporary edge. Bringing the best of Danish minimalism to the notoriously garish and over-elaborate world of eyewear, the Copenhagen-based brand feels like a breath of fresh air. That they make timeless and versatile frames is one thing, that they already have such a strong collection, and at such a reasonable price, is another entirely. Their vintage-inspired Paloma frame is a personal favourite.

EDWARD SEXTON It’s safe to say that the gents at Edward Sexton do things a little differently. Eschewing the traditional Savile Row trappings in favour of a spot in London’s Knightsbridge, the bespoke suit makers stand a league apart as true, sartorial renegades. Their list of clients is accordly eccentric; from Mick Jagger to Harry Styles, Mark Ronson to Naomi Campbell, Edward Sexton have cut cloth for the best of them. With pedigree and panache in equal abundance, Edward Sexton leads the way with a uniquely instinctive and design-driven approach to bespoke tailoring that goes above and beyond Savile Row tradition.

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Pitti Unconventional: LIMITATO Offering all new perspectives on street style, the Gothenburg-based LIMITATO sees casual wear soar to some serious, art house heights words by Will HALBERT

o too many and for too long, streetwear was synonymous with the lo-fi, and the low cost. It boiled down to stock tees sporting dodgy, do-it-yourself screen prints, all sold at delusional premiums.

Taking pride of place in Pitti’s Archivi, The Unconventional Stand seeks to set the record straight. Boasting a curated collection of streetwear brands that each showcase gritty, considered design, luxury construction, and hyper-technical materials, Unconventional offers the perfect visual metaphor for streetwear’s balancing act at the razor’s edge between art and fashion.

Taking that intersection to literal levels is Gothenburg-based avant gardists, LIMITATO. Working closely with some of the world’s most illustrious artists and photographers, the brand create finely-made and limited edition garments that showcase the exceptional calibre of each featured artist’s work. To that end, their list of collaborators is long, eclectic, and ever growing. From the mixed media works of Craig Alan and Laurence Gartel to the photographic marvels of Gered Mankowitz and the late, great Terry O’Neill, LIMITATO tap into that quintessentially streetwear-esque penchant for self-expression and collaboration.

‘There are few things that grab hold of us like art,’ says co-founder Emrik Olausson. ‘It awakens our imagination and creativity, it feeds our ability to innovate and change. Art makes us ignore differences, reach out and connect across barriers and engage honestly in ways only deeply social experiences can do.’ That’s what LIMITATO is all about.

From a technical standpoint, the difference in LIMITATO’s fabric offerings is as tactile as it is visual. Each work of licensed art is printed atop a rich velvet rectangle that replicates the mottled, uneven surface of paint on canvas. A thick embroidered border gives it the appearance of the work having been mounted on the garment.

The tees themselves are crafted from mercerised Peruvian cotton in a further, luxurious flourish.

‘It’s all about bringing art together with fashion, and selecting the right artists through the real art world’ says Gustav Peterson when asked about what drives a brand like LIMITATO. ‘We strive to find the right people to work with, people who mean something. We undertake extensive research to try to get the right people on board via various galleries and collectors who have access to new artists.’

That they should find themselves exhibiting amidst Pitti’s Unconventional Project is, then, of little surprise.

With firm foundations of expression, collaboration, and authenticity underfoot, LIMITATO tap into the highbrow and the street level in equal measure. Make no mistake, this is a range of inspired clothing that not only sings of streetswear’s most honest endeavours, but also achieves the lofty heights of wearable art. EJ

limitato.shop

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STYLE

Fabric of Time: Walker Slater With edgy cuts and contemporary house styles, Walker Slater proves that the charm of tweed extends far beyond its country origins words & interview by Will HALBERT

D

id you know that Harris Tweed counts itself amongst one of the oldest certification marks in the history of fabric and fashion? It’s true, to meet the legally-prescribed definition of Harris Tweed, tweed has to adhere to a strict series of specifications. Only then is it deemed fit to bare the mark of the orb. I didn’t know any of this ten minutes prior to meeting Walker Slater co-founder, Paul Walker at this year’s Pitti Uomo 97. But over the course of our conversation, I learned as much about about tweed’s rich past as I did about its glowing future. EJ First off, how is this year’s edition of Pitti treating you so far?

It’s been a really successful showcase for us! We’ll certainly be heading home with a renewed energy, that’s for sure.

We’ve exhibited here in Florence for many years, on and off. So it’s always a pleasure to catch up with other brands and meet new people.

So what’s the story behind Walker Slater? How did the brand come to be?

Walker Slater started life 30 years ago. Myself and Frances Slater had initially started designing and manufacturing clothing from a farmhouse close to Laggan in the Scottish Highlands. Initially, we were living each day as it came, with no real strategy in place. Our first garments were printed hoodies produced in an out-building on the farm using an old machine we’d bought. The shift into knitwear and wool came about when we were asked by a farmer to make pieces for him using old cuts of fabric.

That’s when we truly found our calling. And then things truly took off around ‘97, when we started to make tweed suits to sit alongside our shirting, knitwear and casual pieces. Our first shop opened in Edinburgh’s historic Old Town with our first branded 'Swing Jacket’ launching shortly afterwards. There have been some changes along the way, of course. For example, while Walker Slater has always been the business name, the first shop was actually called Odd Man Out. That’s since changed, but the craft behind it hasn’t, and we still occupy that said same store to this day.

How important is the concept of provenance when we talk about tweed?

Hugely important. I think the majority of people associate tweed with Scotland’s Harris Tweed ( from the Outer Hebrides) and Ireland’s County Donegal tweed, and rightly so. Tweed is a moisture resistant, durable, outdoor fabric that stands up well to the climate north of the border and across the Irish Sea, so it’s very much born out of necessity, it’s very of its place. At Walker Slater, we have collaborated with Harris Tweed for a number of years to create some seriously robust tweed offerings that call back to that provenance whilst offering something new.

Does tweed truly make for a hardier garment?

Absolutely. As I’ve said, tweed is a tough, moisture-resistant fabric that can withstand the harsh weather climates with ease. As such, it not only makes for a solid outerwear option that is popular across varied social groups - from workers through to gentry - it’s also tough enough to really go the distance.

So there’s an element of sustainability at play in your tweed offerings?

You know what they say, the most sustainable options are those already in your wardrobe, those that you can wear time and time again. Tweed fits that bill nicely. It’s also a relatively small-batch affair. Our Harris Tweed, for example, is woven in the homes of islanders to this day, so it can still be considered a cottage industry product.

There’s also the fact that tweed carries natural oils and is biodegradable, so can effectively go back into the earth when you’re finally done with it.

Tweed has often been described as the denim of Scotland. In what ways do you think it’s similar?

I can fully appreciate the link! Denim is a very specialised field, and there are some real connoisseurs within that industry. The quality and craft coming out of places like Japan are outstanding. Like denim, tweed is a durable, timeless fabric that truly sings of its origins. Again, the artisanal elements involved in the creation of tweed garments - the intricate detailing inherent to the products

that they help create - mirror that of denim. We just have to think about the islanders that create the Harris Tweed fabrics to get that sense of craft and place.

How do you explain the renewed interest in tweed in popular culture?

It has its surges, but the interest in tweed never really goes away, Obviously, with the heritage behind the fabric in Scotland and Ireland, I think there is a natural and historic affinity toward tweed in the UK. We just keep coming back to it. That refined, weekend getaway in the country vibe still appeals to so many, whether they actually do holiday in the country or not! So there’s certainly a renewed lifestyle element in the mix.

Over the years, there have been various collaborations with the likes of Harris Tweed and fashion/interior designers, car manufacturers and the like. So there has always been a healthy interest in the fabric. And of course, we have prominent TV shows like Peaky Blinders and Sherlock - which do a great job of highlighting the inherent coolness of tweed.

How does Walker Slater manage to balance the history and heritage of tweed with a more contemporary sense of style?

At Walker Slater, we embrace the history and heritage of tweed fully, but we understand that is has to be wearable above all else.

To that end, we blend that heritage and aesthetic with contemporary cuts and colour-ways to offer classic tweed with a fresh-yet-refined twist. Tweed also offers those timeless designs that are always being-reinvented such as Houndstooth, Herringbone and the Prince of Wales check.

Finally, what have you got in store for us in 2020?

Well, the big news has to be the launch of our all-new Great Queen Street store in February. We’ve been working on it tirelessly over the last few months and we’re looking forward to opening. There’s an existing, smaller store on the same street right now, we’re going to use that to focus more specifically on our womenswear options.

So do keep an eye out.

walkerslater.com

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STYLE

WHISKY

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SPIRITS

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COLUMN

And Another Thing:

Pitti Uomo 97 As cantankerous and contentious by trade as he is by nature, EJ Editor Will Halbert waxes acerbic on the Peacocks of Pitti and the fine line between fashion and fancy dress words by Will HALBERT

O

stentatious to the point of outright absurdity, the peacocks of Pitti are as far from the age-old, Italian, art of sprezzatura as Post Malone is to Beethoven’s Ninth. They’re walking, pretend-phone talking anachronisms; preening, bastardised simulacra of authenticity and style.

But if the 97th iteration of Florence’s Pitti Uomo is anything to go by, they’re also something of a dying breed. Their infamously

histrionic sartorialism seemed in shorter supply this year, their contrived, contorted, and not-even-close-to-candid gazes less plentiful. Those we did see looked lonely, lost and confused. A fine case in point comes into view while we navigate Fortezza da Basso’s crowds in search of coffee and a good sit down. We watch on as he stands before a small crowd of photographers pretending not to see them, naturally. He takes an absurdly long drag from a cheap cigar and exhales as slowly as he physically can. The mob snap the snakelike climb of the smoke as it rounds the brim of his hat and escapes into Firenze air. You know the shot. You’ve seen it before. We all have. Satisfied, the crowds quickly move on in search of more ten-gallon hats atop twenty-gallon heads. The solitary peacock, alone now as he was before, is finally free to cough his sodding lungs up. His throat scorched from an excessive but undeniably photogenic flex, his demeanour is less sartorial maestro and more awkward kid at a cosplay convention.

But this isn’t news, is it? In truth, irksome and outdated though they are, there’s little sport in poking fun at the peacocks, especially now as they stand a monkstrap’s step away from complete and utter oblivion. They have long been the low-hanging fruit of self-professed sartorialists and self-made style gurus, each one desperately trying to push their own, oh-so-unique, coolerthan-you agendas at the expense of others’ stylistic overreaching. And it’s a shame, really. Because with the peacocking insisting in one direction, and the elitists insisting in the other, one runs the risk of missing some truly spectacular fits, fabrics and styles as they nonchalantly flutter by, enviably aloof and joyously free from the protracted pantomime that is Pitti’s main square.

I suppose Pitti is already rife with such unparalleled fashion tribalism that it really doesn’t need my cynicism throwing fuel to the fire. And I suppose further still that it doesn’t really matter anyway, does it? As much in fashion as in our day-to-day lives, we’re all making it up as we go along anyway. What did I wear to Pitti, I hear you ask? I wore the same jeans as I did last year. You know, because I’m oh-so-unique and cooler than you. WH

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STYLE

Keeping the Craft Alive The House of Graff ’s Apprenticeship Programme represents a scintillating celebration of a centuries-old craft

“It is our duty, operating at the forefront of the industry, to ensure that

words by Will HALBERT

this artistry is safeguarded.”

T

o take the hidden wonders of the earth and transform them into pieces of fine jewellery that move the heart and stir the soul is no mean feat, by any standard. But for over half a century, haut diamantaires, Graff, have done exactly that. Operating at the very pinnacle of the high jewellery industry, Graff have sought out and crafted diamonds of true brilliance and rarity from their London stores since 1960. That the house also happens to have developed a world-class apprenticeship programme along the way is but another perfectly-set gem in Graff ’s rich collection of marvels.

And it’s only fitting, really. After all, both Laurence Graff, founder of the House, and Raymond Graff, director of the Graff workshop, began their careers as young apprentices in small, London workshops. ‘I became an apprentice at 15 years old, embarking on simple tasks to help the craftsmen,’ recalls Laurence Graff, OBE. ‘But being surrounded by beautiful stones ignited a passion within me - I truly believe that working with diamonds is what I was born to do.’ Situated in Mayfair, London, the Graff jewellery workshop is one of the largest of its kind in Europe, boasting more than 60 traditional jewellers’ benches. This gives them all the necessary workshop real estate to train apprentices, in-house and to their fullest. Several of the House’s master craftsmen joined the company as apprentices over 40 years ago, and they are now some of the most talented and experienced artisans in the world. A ‘ pprentices make up approximately 10% of our craftsmen workforce and they are absolutely crucial to the preservation of these precious skills,’ Raymond Graff explains. ‘It is our duty, operating at the forefront of the industry, to ensure that this artistry is safeguarded.’

In a world dominated by the fast, the easy and the shallow, the House’s dedication to creating new generations of skilled craftspeople is both a shining point of difference and a true celebration of the craft that lies at the very heart of Graff ’s operation. EJ For more information on Graff ’s apprenticeship programme, head to graff.com

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DINING

The Recipe:

Buckwheat Lasagne with Broccoli Compliments of The Vegetarian Silver Spoon (Phaidon), out 12th March

Ingredients

Method

For the Filling: • 2¼ lb broccoli • 1 savoy cabbage • 2 tablespoons butter • 2 shallots, thinly sliced • ½ cup ricotta cheese • 2 3 cup grated Parmesan cheese • Freshly grated nutmeg • ½ teaspoon salt • Pepper

Make the pasta: Sift both types of flour together directly onto a clean work surface, form them into a mound, and make a well in the center. Break the eggs into the well and use a fork to gradually combine them with the flour until a dough comes together. Knead the dough until smooth. Wrap in plastic wrap (cling film) and let rest for 30 minutes.

Béchamel Sauce • 2 tablespoons butter • 2 tablespoons plain flour • 2 cups milk • 3½ oz Emmental cheese, diced • Grated Parmesan cheese, to taste • Salt and pepper To Assemble: • Butter, for greasing • 1 teaspoon olive oil • Salt and pepper

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Make the filling: Bring a large saucepan of salted water to a boil. Add the broccoli and cook for 2 minutes, or until bright green but still crisp. Use a slotted spoon to transfer the broccoli to a colander to drain. Repeat with the cabbage.

In a large saucepan, melt the butter over medium-low heat. Add the shallots and cook gently for a few minutes, then add the cabbage and broccoli. Cover and cook, stirring occasionally, for 5 minutes, or until the vegetables have softened. Remove from the heat and let cool, then stir in the ricotta, Parmesan, nutmeg, and salt and season with pepper.

Make the béchamel: In a small saucepan, melt the butter over medium heat. Add the flour and stir, cooking until the flour has browned slightly, about 1 minute. Gradually add the milk, stirring continuously. Continue cooking the sauce until it thickens, about 10 minutes. Add the Emmental then remove from the heat and season with parmesan, salt, and pepper.

Assemble the lasagna: Roll out the pasta, cut it into noodles (sheets), and let dry for 20 minutes. Meanwhile bring a large saucepan of salted water to a boil. Add the olive oil, then add the pasta, a few pieces at a time. When the noodles rise to the surface, remove them with a slotted spoon and spread them out flat on a clean kitchen towel.

Preheat the oven to 350ºF (180ºC). Grease a large baking dish with butter.

Place a layer of pasta in the bottom of the prepared baking dish, cover with half the vegetables, then spread with 1 3 of the béchamel sauce. Repeat, ending with the béchamel. Bake for 20 to 25 minutes, until golden. Serve hot.

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DRINKING

Drinking With:

Campari Herbaceous, audacious, and divisive by design, Campari is the bittersweet backbone of many a cocktail. We task the bartenders of Liverpool’s Buyers Club with mixing up a few Campari classics words by Will HALBERT photography by Thomas SUMNER

C

ampari belongs to a family of bitter Italian liqueurs known as apéritifs (or aperitivi, if we’re sticking with the Italian). First created

by Gaspare Campari back in 1860, the aperitivo boasts a singularly dry, orange bitterness every bit as distinctive as its copper-red hue. As intense as it is inimitable, Campari is a blend of chinotto, cascarilla and a proprietary mix of herbs that can be enjoyed on the rocks, long, or as part of a cocktail. What cocktails exactly? We’re so glad you asked. EJ campari.com

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DRINKING

NEGRONI

NEGRONI SBAGLIATO

The Negroni is both a benchmark in the rich canon of the classic cocktail and a liquid embodiment of simplicity done perfectly.

Equal parts Campari, gin and sweet vermouth, it’s a bold and bracing little number that puts the bittersweet bite of the Campari front and centre. Not a big fan of gin? Subbing it out for a little bourbon, scotch, or rye offers the same florality of the Italian classic but with an added, American edge.

Italy’s most famous happy accident, the Negroni Sbagliato is a most fabled back bar foul up. The Sbagliato drink is rumoured to have been invented at Milan’s Bar Basso by accident, when a bartender accidentally used sparkling wine instead of gin in their Negroni. Italian for ‘mistake’, the Sbagliato adds an accidental dose of buoyancy to the Negroni’s world-renowned bitterness.

Mistake or not, it’s certainly worth a sip-it-and-see.

1 oz Gin 1oz Campari 1oz Sweet Vermouth

1 oz Campari 1oz Sweet Vermouth Top with Prosecco

OLD PAL

GARIBALDI

More aggressive and all together a little rougher around the edges than the classic Negroni, the Old Pal subs gin for rye and swaps out the sweet vermouth for a dry (and typically French) variant. The final mix is also served straight up, as opposed to over ice. It’s the perfect option for those who like their cocktails on the stiffer side.

Named after Italian revolutionary Giuseppe Garibaldi - who was a central figure in the unification of Italy - this cocktail calls on just two ingredients: Campari (obviously) and fresh orange juice. Legend has it that the Campari acts as a nod to the red shirts worn by Garibaldi’s freedom fighters, while the orange harks back to Sicily. We can’t honestly say we’re too fussed on its heritage or provenance, but we can confirm the Garibaldi makes for one hell of a breakfast cocktail.

11/2 oz Rye Whiskey 3/4 oz Campari 3/4 oz Dry Vermouth

11/2 oz Campari Freshly-squeezed Orange Juice

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COLUMN

On the Pass with

Tommy Banks There’s more to the Michelin-starred drinks menu than an endless list of grape varieties. Tommy Banks gives his thoughts on the rise of craft beer in fine dining words by Tommy BANKS

F

or all the wisdom that my third decade promises to bring with it, it also presents a few drawbacks. Specifically, hangovers hit that little bit harder than they used to, and extra pounds pile on just that little bit easier too.

All of which means that if I’m going out for a pint, or if I’m headed over to a mate’s for much of the same, then I want to make it count. I don’t want to be drinking the generic stuff.

All of which is a pretty long-winded way of admitting that I’ve become a bit of a beer snob of late. The good news is I’m not alone; I think we all have to some point, and that’s by no means a bad thing. Now, there was a time when turning up to a friend’s house with a tall, garish can of something strong, hazy and invariably unpronounceable would elicit more than a little friendly ridicule. But that has quickly changed. The rise of craft beer over the last decade or so has slowly seen some truly spectacular and really quite outthere brews appearing in fine dining spots and Michelin-starred restaurants across the country, and I’m all for it.

Craft beer, despite its more casual origins, now finds itself taking equal pride of place alongside the finest wine on most drinks menus. No mean feat, as some of these beers sport some pretty outlandish labels compared to their more modest, grape-based counterparts. Some might find a little out of place for a restaurant like The Black Swan.

My personal take on it is that if you believe in someone’s product so much, then you should be willing to serve it in your restaurant whether the label is a little leftfield or not. There’s a lot to be said for respecting a product and its producers, and that includes honouring how they like to represent themselves visually.

At the Black Swan, we have two collaborative beers in our repertoire. We have a gose by the name of Spruce Kiss that we made with Huddersfield’s Magic Rock. It’s a lovely, sour little number using Douglas Fir straight from our farm. Then there’s Slocken, an amazingly approachable wheat beer that we brewed with our friends over at Bad Seed Brewery.

There are a few more in the works, but making a beer comes with a new set of challenges for us. With cooking, we can create what we want as needed, and we can switch things up and tweak things on the fly if things aren’t necessarily working out how we’d like. With a beer, you’re pretty much locked in brew-to-brew. Once that thing’s in the can there’s no going back. And when you’re having to produce a minimum order of cans then the stakes can feel even higher. It’s a real risk to produce something new in the beer world. If it doesn’t go to plan you’re stuck with thousands of cans that you might not sell.

I think it’s more than worth the effort, though. Beer is such a personal thing. I think of the pint of Timothy Taylor’s that will typically accompany my Sunday roast, the Guinness I’ll drink while I watch the rugby, that lovely double dry-hopped IPA from North Brew Co that I’ll most likely drink on that rare Friday night off. Each one is more than just a beer, each one in inextricably linked to an occasion, time, place or ritual. Without getting too dramatic, there’s an emotional connection at play.

I remember my first few beers as a younger man, for example. There was a pub back home that my mate and I would often frequent. A little earlier than we should have, I must admit. We’d spend the week living off chips and gravy in the school canteen just so we’d have a little money left for the weekend. We’d take whatever coins we’d saved to this little rundown pub and we’d have a few pints. Sure, that pub was nothing to write home about, but I have some great memories of it, and I look back fondly at the evenings spent there simply drinking beers with friends.

That pub, as it happens, was The Black Swan. We bought it in 2006 and it’s come an awful long way, if I do say so myself. My hope is that, over the years, we’ve provided people with some equally lovely memories along the way (and improved the décor a little too, of course). And if we’ve unleashed the inner beer snob in one or two guests along the way, then all the better. TB

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

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What’s On

February – March

Tuesday 18 February 8pm Music Room

Monday 9 March 7.30pm Film Screening

Gill Landry

Brief Encounter (cert PG)

Thursday 20 February 8pm

Sunday 15 March 7.30pm

Foil, Arms and Hog: Swines

Kodo

Friday 21 February 7.30pm

Soul Legends Friday 21 February 8pm Music Room

Emily Portman, Rob Harbron & Emma Reid with National Youth Folk Ensemble

Box Office 0151 709 3789 liverpoolphil.com LiverpoolPhilharmonic liverpoolphil liverpool_philharmonic Image Kodo

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COLUMN

Addressing the Table with

Jake O'Brien Murphy There’s a world of difference between being able to mix a drink and being a world-class bartender. Jake O’Brien Murphy extols the virtues of the latter words by Jake O'BRIEN MURPHY

L

ooking outside in, there’s nothing out of the ordinary about Satan's Whiskers. People dart past, never looking up in that London-commuter way that suggests they have nowhere to be but they’re running late regardless. At night a neon sign splashes brilliant red across the unbroken heft of double-deckers. You’d be forgiven for assuming it’s just another place to grab a drink. You might even miss the bar altogether. That relaxed anonymity is very much a part of what makes Satan's Whiskers so bewitching.

Step inside and the air ripples with old school hip-hop. There’s an assured calm across the bar. Ease is orchestrated as drinks tumble forward at a rhythmic pace to happy tables. Taxidermy fringes the walls. My favourite (if I were pushed to pick my favourite stuffed animal) is the chicken-snake hybrid that surveys it all. I’m going to say it; Satan’s is the bar you tell your friends about; it's the place to drink some of the best classic cocktails in London and it’s also the place that taught me that being faithful to the source material and being delicious are two very separate matters altogether. Just try their Manhattan and you'll get it.

Bartenders drink at Satan’s; I don’t know if there’s an occasion I’ve visited and not spotted a bartender or two enjoying a night off. They’re there for the same reason I am.

It’s not because the drinks are incredible, which they are. It isn’t even because of the After Eight that rides side saddle to the bill and takes the sting out of the inevitable expense accrued. It’s because, no matter what they are drinking or who they are drinking with, when they are in Satan's, they are being looked after.

There’s something to be said about a group of people who approach the mechanics of cocktails and flavour with such unabated rigour. When they apply that same consideration to the people sitting in front of them, special things can happen. No one typifies this more than Nicole Sykes, bartender-in-resident at Satan’s Whiskers and all-around brilliant human. Annoyingly, she’s as humble as she is talented, so my compounded inadequacies and jealous nature can’t even tip the scale to make me hate her. Her ‘Ladder’, a drink created for Bacardi Legacy, sits comfortably on Satan's universally-adored menu.

'It was born into the right family, got the UCAS points, work experience and resumé to be a classic cocktail. But what sets it apart - what makes it something more than just another drink, is Nicole’s impetus for making it in the first place.'

It was born into the right family, got the UCAS points, work experience and resume to be a classic cocktail. But what sets it apart - what makes it something more than just another drink, is Nicole’s impetus for making it in the first place. “Look, no one gets anywhere on their own, you need help and that’s okay,’ she tells me, making the Ladder from muscle memory. ‘There's a long line of people who helped me here. There are people who still help me now, and I suppose my takeaway from this is that I want to be a part of that culture. I want to help people too. You need someone to give you a leg up onto the ladder.

You need someone to foot the ladder when you’re halfway up.’

Nicole is using her platform to offer support, training and structure to anyone who asks for it, and is asking others to help her in the cyclical nature of self-improvement and collaboration. She's one of the best there is when she's making drinks, and what is clear after listening to her talk about Satan's, her cocktail, and her ideas is that she's got a lot more to give than just mixed drinks. If you can’t make it to Satan’s, don’t worry, I'm sure you'll find a ‘Ladder’ near you soon. JOM

@jakeobrienmurphy

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PA ZZOV E R O.CO M

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essential THOUGHTS on: STYLE The Essential Journal team sit down to dole out their two cents on the subject of style words Elliot RAMSEY, Will HALBERT, Tom SUMNER

COLUMN What does the concept of style mean to you personally?

ER: Style, for me, is a way of communicating with the rest of the world. Everything we wear says something about our character and people make judgements of us based on this. I enjoy the freedom that style affords us - to curate people’s perceptions of us, to be creative, to stand out. Style always speaks before we do.

TS: I guess it’s an expression of your personality. An extension of yourself; a visual representation of yourself.

WH: It’s one big game, really. Nobody really knows the rules to it, but they’ll be damned if they’re going to admit it. That’s not a criticism; it’s exactly that lack of clarity that makes it so much fun. I love the fact that style can be orchestrated or effortless, and that there’s absolutely no way to tell the difference between the two.

How would you describe your own, personal style?

ER: I’m a real creature of habit, so once I find something I like, I’ll wear it over and over again. I don’t think I’ve stepped out of the house without a pair of Dr. Martens on my feet for about six years. I like a minimalist look - roll necks, shirts, plain tees, dark trousers and thick coats have made up most of my winter wardrobe. Pretty much everything I own is a dark or quite earthy tone, too - I think it’s a classic style.

TS: I’m not sure I can anymore. I think I used to have that question nailed, but over the past year or so, I’ve given less of a shit about really thinking about what I wear. A typical outfit of mine is a white t-shirt, Uniqlo sweater, 3sixteen jeans (recent purchase), some nicely textured, thick socks and then either my Chippewa boots or New Balance 997hs. Sometimes, I wear a bright orange Universal Works jacket, other times, a beige La Labourer workers coat. I quite like caps to.

So maybe relaxed workwear.

WH: I dislike the pomp and pretension of the word, but ‘rugged’ fits the bill pretty well. I opt for simple, well-made stuff, nothing too fine, ornate or overly branded. A plain, heavyweight, loopwheeled tee (Studio D’artisan, mostly), some equally heavyweight selvedge denim (Blackhorse Lane Ateliers, presently), and a pair of welted boots (Red Wing Heritage, invariably) are my daily go-tos. My Schott Perfecto leather jacket is a perennial mainstay, too.

In exactly three words, how might others define it?

ER: Repetitive, predictable, inoffensive?

WH: Tiny beanie man!

TS: Boot wearing hipster.

Any particular styles you wish you could pull off yourself ?

ER: I’ve always had a bit of an obsession with dungarees. I had a pair I loved when I was a kid and I sometimes question if I could still pull off the look now. The logical answer is always a resounding ‘no’. I’d probably end up looking more like a painter-decorator, anyway.

TS: I wish I dressed more like Nigel Cabourn and David Keyte (Universal Works), but I’m not sure some heritage dungarees would go down so well in Liverpool and I just can’t get comfortable in a pair of loose fitting trousers as much as I want to, it just doesn’t sit right when I look in the changing room mirror. We were with Richie Beidul once and he had these incredible Northern Soul-style white flared trousers on. My god, I wanted them so bad. They made him look like he was dancing through London, on and off the tube.

WH: Looser, boxier fits in general. Don’t get me wrong, I don’t go in for anything aggressively slim or overly tailored as it is, but boxier fits make me feel all out of proportion. It’s a great look on others, but as soon as I try it out, I immediately think I look like David Byrne in that enormous ‘Girlfriend is Better’ suit. You know the one.

Any major style regrets over the years?

TS: Yeah, I dyed my fringe red once. Just my fringe. I was 16 and rebellious, okay?

ER: The mere thought of anything I wore in the noughties makes my stomach churn. I was a bit of a pound shop goth.

I never quite committed to the look, but most of my wardrobe was black, studded and had chains hanging off it. I was deep, I had feelings, and the world needed to know.

WH: I regret taking so long to feel comfortable in myself. I think a person looks their best when they genuinely feel good in what they’re wearing, and that often means bucking trends and disregarding other people’s opinions. I’m not saying I’m more unique now, far from it, but I am more assured. By the same token, I regret any time I ever shit on someone else’s style specifically. Broad strokes are fair game, but no one individual should ever have to defend what they wear or how they wear it.

Who, or where, do you look to for inspiration?

ER: One of the wonderful things about my job is getting to connect and work with some amazing brands. The pages of EJ are probably one of my main sources of inspiration, as well as a few other fashion publications.

WH: Instagram has been an amazing tool for seeing how people run with particular styles while carving out their own, iterative, niches. Style is anything but static, after all. It never hurts to look to the guys and girls who dress people for a living, either. Ben and Miranda over at Snake Oil Provisions can pull pretty much anything off. The gents at Rivet & Hide make the hard, heritage edge of their wares look effortless, too.

TS: Probably still look to the streets of Toronto for most of my inspiration and especially what’s being stocked at Parks & Province, I trust those guys. Then, as previously mentioned, David Keyte of Uni Works and what they are bringing out - bold patterned stuff. Then there’s Thomas Von Stuff on Instagram and probably a couple others. Anything athletic wear or workwear inspired by the 50s, there's some awesome trainers coming out of Japan right now. And I shouldn't forget Mano at All Blues Co. in Leeds!

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CULTURE

THE GLOBE ACCORDING TO ILLUSTRATORS AND STORYTELLERS The world of contemporary mapmaking is brought up-to-date in this revised and expanded edition of a best-selling book courtesy of GESTALTEN

FF

or centuries we have used the tools of cartography to represent both our immediate surroundings and the world at large—and to convey them to others. In our age of satellite navigation systems and Google Maps, personal interpretations of the geography around us are becoming even more relevant. Contemporary maps have evolved into platforms for cutting-edge illustration, experimental data visualization, and personal visual storytelling.

A new generation of designers, illustrators, and mapmakers has been discovering their passion for various forms of illustrative cartography and A Map of the World is a compelling collection of their work.

It showcases specific regions, characterizes local scenes, generates moods, and tells stories beyond sheer navigation. From accurate and surprisingly detailed representations to personal, naïve, and modernistic interpretations, the featured projects in this updated version range from maps and atlases inspired by classic forms to cartographic experiments and editorial illustrations.

A Map of the World (Gestalten, £35) is available now

Image Courtesy of Image Courtesy of A Map of the World: The Globe According to Illustrators and Storytellers (Gestalten)

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JESSE KASSEL KREUZBERG NEIGHBORHOOD MAP ♦ Designed to accompany a free mini-guide to local stores, cafés, and places of interest, Kassel’s map of Berlin’s Kreuzberg neighborhood shows a quirky bird’s eye view of the area. While fun, the map is geographically accurate with streets labeled clearly. ➥

B E R LI N / G E R M A N Y, 2 0 1 8 , F O R TA KE aWA L K. i n

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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

COLUMN

Architectural Thoughts On:

Winter Gardens As the colder months creep on and we seek refuge from the bite of winter, Róisín turns her attention to the perennial charm of the glasshouse words by Róisín HANLON

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inter gardens can go by a few names: you may know them as glasshouses, palmhouses, greenhouses, orangeries. Until the mid 19th century, there was a tax on glass and windows, meaning that until then, a glasshouse was something spectacularly expensive and reserved only for the elite. Popular amongst the Victorians, they were mostly found in places like private estates and botanical gardens.

They were largely status symbols, perfect for displaying exotics plants and flowers sourced from far and wide across the Empire. But as the years have gone on, materials have become cheaper and more accessible and so the delight of the glasshouse has become increasingly more accessible and build-able.

In 2003, Sheffield Winter Gardens became the largest new glasshouse built in the UK in roughly a hundred years. The largest since the Crystal Palace, which brought a taste of exotic and far flung climes to London, where its form created an oasis separated from the unpredictable British climate outside. Sheffield Winter Garden picked up where this tradition left off but without the colonial overtones. The design team swapped out the steel of classic glasshouses for glulam - or Glued Laminated Timber.

This material is made from tin strips of timber glued and pressed together under high pressure, giving strong beams capable of creating the tall, elegant arches at the winter garden.

Just a few years previously, perhaps the most famous of these structures was completed at the other end of the country. The Eden Project completely radicalised the architecture of glasshouses. Instead of the classic forms of glass framed with steel, the Eden projects biomes take inspiration from natural forms such as soap bubbles. The domes were envisioned to nestle into the landscape onsite - adapting to the curves and drops in the land. The transparent roofs and walls are formed with a structure of ETFE cushions - essentially a series of hexagonal plastic pockets entrapping air, creating a rigid but lightweight form. Now 20 years on, the Eden Project is taking its vision to Lancashire with Eden Project North. This new site will aim to continue the Eden Project’s work of education, ecology and entertainment whilst also re-imagining the seaside town of Morecambe as a tourism destination with a new focus on a ‘sense of wonder and connection with the natural world’. Like the site in Cornwall, the architecture will aim to be iconic and intrinsic to the project as a whole. Grimshaw are again the architects for the project, so we can probably expect an architecture which - if not the same as the Cornwall project - has a family likeness. Early designs have been submitted for planning permission, with a predicted opening in 2023.

Winter Gardens are also effective on a much smaller scale. Five years ago, Assemble won the Turner Prize for the work they did with Granby Community Land Trust in Liverpool. The Granby Four Streets project took derelict properties and renovated them, creating affordable, beautiful homes whilst retaining the strong Granby community. The project had a range of outcomes, including Granby Workshop, which creates innovative ceramics and concrete such as ‘Granby brick’ using rubble from local demolition work.

The attention gained from the Turner Prize win made an early concept of Assemble possible - a Winter Garden hidden amongst the houses. It became clear during surveys that there were two houses on Cairns Street that would not be suitable for renovation into homes. From the outside you could almost mistake these for just another two of the terraced houses, but inside there is a dramatic transformation. The left house has been stripped out to create a triple height space full of plants and a full height tree. The left hand house is split between triple-height space and a small artist residency on the first floor. The entire roof is replaced with a delicate glass roof, which pours light into this dramatic yet homely space. The space is free to enter, offering a range of activities for local residents; from workshops and activities, a friendly chat and a cuppa, or just a moment of reflection and connection to nature even in the depths of winter. RH

@roisinhan

COLUMN

Coffee & Counsel with

Adonis Michael As the new decade kicks in and we ponder what lies in store for us all, Adonis takes one last look back at the things he'd like to see left squarely in the last decade words by Adonis MICHAEL

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s we charge headfirst into 2020 full of good intentions and already counting down the days until dry January is over, let’s take a look back at the preceding year. There was plenty of good in there, of course, but on this occasion - and tying in with my present mood - I want to take a look at the things from 2019 that I never want to see or hear about again. So in true raindrops on roses and whiskers on kittens style, here are three of my least favourite things that I would quite happily see consigned to the deep, dark corners of Room 101.

Brexit. It was a struggle to even bring myself to type the word. Those 6 horrible letters jumbled together to form a two-syllable sound that sends shivers down my spine.

I am fairly certain that I speak for the vast majority of people on this one, regardless of your age, background, job or political allegiances. I don’t want to discuss it, debate it or dispute it ever again. Please, please, please, can we just leave this one in 2019 and get on with our lives once and for all? Too much time has been lost, too much money spent, and too much energy wasted. I feel bad even writing 100 words on it. 100 words too many, 100 words I will never get back, so moving swiftly on.

Vaping. It was supposed to be the next big thing, wasn’t it? It was lauded as a revolutionary product, one that would rid us of the evils of smoking. Here, we finally had a clean and healthy alternative to tar and tobacco. Almost overnight, every high street seemed to have a vape store, and plumes of vapour were emanating from every car, bar and office. It was becoming culturally acceptable to pull out your vape pen almost anywhere. That is, until the research kicked in and it was discovered that E cigarettes and vapes deliver nicotine about as efficiently as a regular cigarette, turning a whole new generation into nicotine addicts and, worse still, there are even recorded serious illness cases and deaths from Vaping. 2019 was not a good year for the industry. Hopefully it will be a nail in the coffin.

'So CBD can help with anxiety and may assist with sleep. But when it finds itself in sports drinks, mascara and protein bars, what benefit is there to the consumer other than to justify a tripling of the price?'

CBD. Dedicated EJ readers may recall my piece early in 2019 about medicinal marijuana. Well, look how far we’ve come since then. Allow me to be clear on this: I am a fan of CBD oil, and genuinely believe that the benefits are there if used properly and in the right doses. Its legalisation also marks a progressive step, and the research so far is supportive although it is still early days. This is great. What’s not great is seeing CBD oil everywhere I turn. I can’t walk into a gym, coffee shop, spa or petrol station without seeing the latest product infused with CBD. Okay, so CBD can help with anxiety and may assist with sleep. But when it finds itself in sports drinks, mascara and protein bars, what benefit is there to the consumer other than to justify a tripling of the price? Let's just rewind and go back to basics on this one. And for the love of all that is mellow, can we please leave the CBD toilet paper back in 2019 where it belongs. AM

michaelroseandbaylis.com

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