Essential Journal Issue 31

Issue 31

Issue 31

The Essential Journal |

1

7

Issue 31

ON THE COFFEE TABLE:

NEW YORK. PORTRAIT OF A CITY

BY REUEL GOLDEN It’s easy to forget how many of the most iconic images in time are unique to one city in particular.

Whether it’s a group of workmen sat atop a steel girder 69 storeys up eating lunch (taken by Charles C. Ebbets) or an American sailor embracing a lady in Times Square on VJ Day (Alfred Eisenstadt). The theme, more often than not, is the big apple. The city is a hub for the iconic, whether entertainment, industry, buildings, characters and as a result its history is rich in photographic evidence. ‘New York Portrait of a City’ is the foremost photobook on the city and compiles a wide array of impressive imagery from 1850 up to the current day. Complete with insightful introductions to each period and a fantastic guide to watching, reading and listening all things New York in the back, the book is an enthralling city retrospective. (Pictured, an image

by Esther Bubley from 1951. Bubley was fond of the interaction between the streets and elevated trains lines, many of which were torn down flooding the city floor with light.)

New York. Portrait of a City is available now

The Essential Journal |

9

10 | The Essential Journal

THE IMAGE

Wes Anderson going for a spin on Agatha’s pink bicycle, freighted down with Mendl’s boxes.

C. Martin Scali. As featured in The Wes Anderson Collection: The Grand Budapest Hotel by Matt Zoller Seitz and Anne Washburn (Abrams)

Issue 31

Issue 31

The Essential Journal | 13

STYLE

The Influence of Anderson In the world of Wes Anderson, inspiration is a two-way street. We’ve selected our favourite in-film fashions, notable collaborations and Anderson-inspired catwalk collections words by Will HALBERT

1

14 | The Essential Journal

Issue 31

1 & 2 Decidedly Tenenbaum-inspired looks from Gucci’s Pre-Fall 2018 collection. (Available at Selfridges) | 3 The Royal Tenanbaums' Chaz, Ari and Uzi in matching Adidas Firebird tracksuits | 4 (L-R) Owen Wilson, Jason Schwartzman & Adrien Brody in The Darjeeling Limited wearing bespoke Louis Vuitton suits | 5 Levi Cossack Jacket

2

O

ver the years and across an entire filmography, Wes Anderson and his celluloid cohorts have fostered a somewhat symbiotic relationship between film and fashion. It should come as little surprise then, that Anderson’s endearing exercises in visual virtuosity not only showcase the latest and greatest from the catwalks of Milan, Paris and London, but inspire them too. Gucci’s creative director, Alessandro Michele, is one such Andersonian-inspired trailblazer. Michele ushered in a daring change in artistic direction for Gucci when he took the reins in 2015. Forerunning and forward-thinking fashionista, Vogue, were quick to comment on

3

a distinctly Andersonian influence running through Michele’s first catwalk offerings as head of the empire. At the 2015 Milan Fashion Week, Michele swapped out sleeker silhouettes for bolder, box-ier cuts and vintage inspired textures. The result was a quirky and markedly Andersonian aesthetic that revelled a playfulness and whimsicality quite uncharacteristic of the stoic Milanese powerhouse that is Gucci.

Fast forward to Gucci’s Pre-Fall 2018 lookbook, shot in Rome by none other than Peter Schlesinger. The collection offers up further Royal Tenenbaums-esque combinations, such as the oddly iconic sporting headband and and juxtaposing, oversized, camel suit jacket à la Riche Tenenbaum. EJ

The Marc Jacob/Louis Vuitton Suits The Darjeeling Limited

4

The Darjeeling Limited’s very own posters boys of preppy privilege can be seen galavanting around India in fully-bespoke, Marc Jacobs-designed, Louis Vuitton suits and accompanying collaborative valises.

Designed by Jacobs towards the end of his 7-year tenure at Louis Vuitton, the eagle-eyed amongst you might have spotted that the suits in question are flannel, back-belted riffs on the classic Norfolk sporting suit.

The said-same style of suit makes a second appearance seven years later in The Grand Budapest Hotel, where it is worn by both Jude Law and Tom Wilkinson.

Issue 31

The Essential Journal | 15

Levis Vintage: A Testament to the Timeless For a man so categorically uninterested in questions of style, Einstein sure made one hell of a fashion statement

I

The Firebird Tracksuit The Royal Tenenbaums

Riding Leathers The Grand Budapest Hotel

Without a doubt, the utilitarian, ocean blue boiler suits and matching Adidas Rom Runners of The Life Aquatic with Steve Zissou are every bit as memorable as the film’s furtive Jaguar Shark. The real showstoppers, however, are the Team Zissou’s sneaker sponsors: None other than Adidas themselves.

Based on the classic Rom Runner, the Zissou shoe quickly became a much-coveted customization following its silver-screen cameo. Last year - a full 13 years after the film’s initial release - Adidas dropped a limited run of 100 pairs of the Zissou’s Rom Runners. They’re all but sold out. Trust us. We checked.

By all accounts, Chas Tenenbaum’s Adidas Firebird tracksuit is as instantly recognisable as it is endearingly garish. Unfortunately, the original tracksuit can only be found by the most of thrifters and replica hunters. For those willing to spend big, however, Gucci’s 2017 Technical Jersey offers up a similarly riotous sportswear combo that wears its Royal Tenenbaums-inspired excess on its orange, polyester-cotton blend, jacquard-trimmed sleeve.

The tracksuit is perfectly suited for sporting events, all round leisure activities and, of course, routine, OCD-driven, PTSD-fuelled fire safety drills with the kids.

The Grand Budapest Hotel’s almost-silent assassin, J.G. Jopling has but a handful of lines throughout the film, but his leather riding coat - designed by award-winning Milena Canonero and made by none other than Prada - speaks for itself.

A knee-length nod to the German Kradmantel, Jopling’s leather riding coat cuts a villainously efficient figure, complete with a button-down, drunk pocket and paired perfectly with his Waris Ahluwalia-designed, twin-set knuckle-dusters. The quiet confidence and no-nonsense nature of the leather coat makes it a worthy addition to any wardrobe. Knuckle-dusters? Not so much.

The Levis Menlo Cossack jacket is on sale at selected retailers now. Limited numbers only. Photo credits go to the fine gentleman over at Cultizm.com

image credit: Cultizm

The Adidas Rom Runners The Life Aquatic with Steve Zissou

n 2016, Albert Einstein’s iconic leather jacket - a 1930s Levis Menlo Cossack unlined leather jacket, to be precise - sold for a staggering £110,500 at a Christie’s auction in London. Einstein purchased the jacket during his application for permanent US residency, and is said to have worn it pretty much constantly since. The jacket, along with its wearer, can even be seen on the front cover of the April 1938 edition of Time magazine.

As luck would have it, the winning bid was placed by none other than Levi Strauss & Co’s historian, Tracey Panek. Levis have since released a limited run of 500 painstakingly precise reproductions of the jacket. Made entirely of sheep leather, the reissued design features distinct details such as a rounded collar and cuffs, angled welt pockets, cinch straps, and corozo button details. The Levi’s Menlo Cossack replica jacket is available at select retailers now and comes with a custom fragrance developed by Brooklyn-based perfume house, D.S. & Durga and a replica, as well as a replica of the bid-winning padel.

On the subject of leather jackets and the wearers thereof, there are, of course, more likely candidates that spring to mind. Marlon Brando, for instance, is a veritable posterboy of calm, collected - and above all leather-clad - cool in László Benedek’s 1953 biker epic, The Wild One. Likewise, Johnny Ramone unleased the punk-rock potential of Schott NYC’s famous Perfecto biker jacket (insisting that his fellow bandmates wore cheaper alternatives). But it’s the sheer unassuming and utilitarian nature of Einstein’s Cossack, its unwavering practicality, that best encapsulates the timeless appeal of the leather jacket. Leopold Infeld, a colleague of Einstein's from Princeton University, sums up the theoretical physicist's pragmatic approach to fashion rather succinctly: ‘Long hair minimised the need for the barber. Socks can be done without. One leather jacket solves the coat problems for many years.’

In this practicality, I’m reminded of Wes Anderson's J.G. Jopling; a most cruel and efficient enforcer of the Desgoffe-und-Taxis estate in The Grand Budapest Hotel. Now, does the stone-faced assassin care about how the jacket looks compared to how it performs? Probably not. Is he all the cooler for this indifference? Most certainly. And that’s the odd, indifferent beauty of a classic leather jacket in a nutshell. It’s a statement piece that couldn’t really give a damn if you’re listening. It’s utilitarian, coldly pragmatic but undeniably timeless.

Which brings me right back to Einstein's shawl-collar Cossack. It’s a garment that has transcended its status as mere object of fashion to become a tangible link to an otherwise intangible past. The original jacket is almost a century old now, and is said to still carry the lingering scent of Einstein’s favourite tobacco. Is there anything more timeless than that?

5

16 | The Essential Journal

Issue 31

PROMOTION

The Devil is in the Details Because it’s often the smallest things that make the biggest impact, here’s our turf-up approach to putting together a winning outfit that will carry you first past the fashion post

words by Will HALBERT

C

hester Racecourse have teamed up with the UK’s largest designer outlet, McArthurGlen Cheshire Oaks, to present this season’s Official Style Guide. The guide will showcase some carefully selected ensembles from the extensive range of fashion brands available at Cheshire Oaks. As official Media Partner to this year’s style collaboration; The Essential Journal will be unveiling an exclusive printed edition of the Style Guide in next month’s edition.

However, with less than eight weeks until the gates open on a new season of stylish racegoers, we’re offering up an initial series of subtle touches and bottom-up, sartorial tweaks to consider before finally taking the plunge on your race day suit. EJ

The Socks Provided your suit fits as it should, chances are you’ll have some sock on show at some point during your race day. Bottom line? They require more thought than you’d think. Now, to match with your shoes or your trousers?

That is the question. Our advice? Match with neither.

Instead, introduce a subtle intermission between fabric and leather that echoes either your tie or pocket square.

Where to find them: Paul Smith The Belt Die-hard sartorialists will insist that a well-fitting suit doesn’t need a belt. We beg to differ. Not only does a quality belt create a much needed divide for taller silhouettes, it will also offer a subtle, well-rounded compliment to your choice of shoes.

Where to find it: Hackett The Cuffs Often overlooked but never to be underestimated, nothing says well-dressed like a solid set of cufflinks.

Cufflinks are a clear sign that you’ve gone the extra mile to complete your look. Be careful not to overdo it, though: Play it safe with silver. The silver cufflink will complement any and all dress shirts. Better yet, a solid silver cufflink won’t distract from your choice of watch, nor will it undermine that carefully-considered, allimportant cuff line.

Where to find them: Thomas Pink The Watch By turns practical and stylish, the humble watch speaks volumes without ever making too much of a fuss. The right watch will not only mark you out as a man of particularly discerning tastes, but will also offer a subtle suggestion that you’ve got the high-roller credentials of a committed race-goer.

Where to find it: Tag Heuer

The Tie At centre mass, the tie is almost always going to be the first thing people notice, so it deserves some careful consideration. Silk ties with a little sheen offer a sense of sleek sophistication, while more textured, woolen fabrics are a surefire, smart-casual success. Knitted ties can offer an all-important middle ground for dressing up or down. The tie pin is always a valid option, for those that like to accessorise their accessories.

Where to find it: Moss Bros The Sunglasses Few things do the modern gentleman more favours than the perfect pair of sunglasses. Flattering, practical, and a dab hand at hiding any race-related over-indulgences, the right sunglasses will help you channel your inner Steve McQueen or Daniel Craig at the flick of a hinge.

Keep it classic with timeless, Aviator, Wayfarer or Clubmaster-esque silhouettes for a style you can rely on year in, year out.

Where to find them: Fossil

The Pocket Square Serving the suited for almost a century, the pocket square is one of the greatest weapons in your sartorial arsenal. The pocket square allows for that one unique flourish amidst the masses of the suited and booted.

From Frank Sinatra to Daniel Craig, the pocket square is a tried and tested means of confident self-expression.

The Hat Not just for the ladies, the right hat can really put the finishing touch on any look. But it’s a risky business if you’re not sure of the options. Often overlooked, the flat cap offers up a peaky-blinders-esque, sartorial alternative to the sporty baseball cap. Done properly, the fedora can also add an old-school edge to more contemporary looks. That is, if you’re daring enough to commit to one.

Where to find it: Reiss

Where to find it: Ted Baker

Issue 31

The Essential Journal | 17

STYLE

Chester Racecourse's 2018 Style Guide X The Essential Journal Essential Journal is proud to be this years Official Media partner for Chester Racecourse's 2018 Style Guide, in partnership with McArthur Glen Designer Outlet Cheshire Oaks words by Will HALBERT

T

he oldest racecourse in England, Chester Racecourse is ready to write an exciting new chapter in its already compelling style narrative and The Essential Journal is delighted to be telling the story alongside them.

This year’s Style Guide will be revealed ahead of Chester’s flagship meeting; the Boodles May Festival.

Beginning on the 9th of May, this three day opener is set to up the equestrian ante and build on an already solid tradition of high-

stakes, on-turf race action. Official Style Partner, McArthurGlen Designer Outlet Cheshire Oaks, will be showcasing a range of looks sure to inspire some creativity and assist in planning the perfect race day ensemble.

At The Essential Journal, we pride ourselves on forever operating at the forefront of men’s fashion, and with Chester Racecourse and McArthurGlen Designer Outlet Cheshire Oaks at our side, we can honestly say that we are there in the very best of company.EJ

20 | The Essential Journal

Issue 31

STYLE

Keeping a Stiff Upper Lip Regardless A look behind the moustaches of The Grand Budapest Hotel words by Will HALBERT

I

f there’s one thing that stands out more than The Grand Budapest Hotel’s singularly symmetrical grandeur, supersaturated set-pieces and sharp tailoring, it’s the myriad marvellous moustaches, beards and hairstyles which adorn the film’s leading men. Now, maintaining a grooming standard that lives up to Anderson’s meticulous eye for detail is no mean feat. After all, the film’s wide range of beards and moustaches are apt to be as wayward and whimsical as the devilish hoteliers and villainous aristocrats that wear them.

Enter Captain Fawcett’s range of Simply First Class Gentleman’s Grooming Requisites. With a repertoire replete with waxes, oils and fragrances, the good Captain prides himself on the ability to provide the perfect product for whatever situation the modern gentleman should find himself in. It should come as no surprise, then, that Captain Fawcett’s suite of grooming products was called upon by hair and makeup maestra (and longtime Anderson collaborator), Frances Hannon.

Indeed, Hannon relied upon Fawcett’s waxes, balms and oils to shape, trim, and tame the famous facial foliage of The Grand Budapest Hotel.

By all accounts, Monsieur Gustave (Ralph Fiennes) and his impeccable moustache offer up a visual metaphor of Anderson’s cinematic aesthetic: Both are painstakingly prim, precise and picture perfect. In the Captain’s own words: "There are few real auteurs making films these days, yet Mr Anderson is most certainly one whom I hold in the highest esteem. There really is no-one else like him.” The Captain continues: “I am a man of particular tastes and find the superb symmetry and fine colour of his shots give me great pleasure. His meticulous compositions are realised with a precision to which I aspire every time I wax my whiskers."

Hand-made in small batches, Captain Fawcett offers up a selection of timelessly elegant yet confidently understated options for the modern man. From the sandalwood scents of his firm hold Expedition Strength Moustache Wax to the soothing, shea butter softness of his Post-shave Balm, the Captain’s range caters to the hirsute and the baby-faced in equal measure. He even offers a fragrance or two that would give Monsieur Gustave’s infamous L’Aire de Panache a run for its money. From concierges to police captains, lobby boys to literature laureates, aristocrats to assassins, Captain Fawcett’s fortuitous connection with the heroes and villains of The Grand Budapest Hotel proves that whoever you are and whatever your endeavour, to be well-groomed is to be well-armed. EJ Captain Fawcett’s full range of grooming requisites can be perused and purchased online at wwwcaptainfawcett.com

1 A selection of Captain Fawcett’s grooming products including his Private Stock Beard Oil and Beard Balm | 2 Ricki Hall | 3 Private Stock Beard Oil and Moustache Wax

1

Issue 31

The Essential Journal | 21

COLUMN

A Cut Above This month, Ian Harrold of Attitude Barbers looks at the importance of communication and explains why a bad hairstyle cuts both ways 2 The Captain's Collaborations More recently, Captain Fawcett has worked with style trailblazer and heartbreaker, Ricki Hall, as well as with grooming eminence and educator, Sid Sottung, to produce a contemporary range of bespoke oils and scents for the modern man. The Captain Fawcett x Ricki Hall ‘Booze and Baccy’ oil and fragrance range offers up a rich and complex blend of honeyed tobacco leaves, aromatic frankincense and fresh hops. The Captain Fawcett x Sid Sottung ‘Barberism’ collection, on the other hand, revels in a singularly sophisticated alchemy of citrus and cedarwood supported by notes of rose, galbanum and patchouli.

3

words by Ian HARROLD

D

o you know why they started putting condom machines in pub toilets? Because gents, being the smooth talkers that they are, were too shy to ask for them over the counter. Let’s face it, men are terrible talkers at the best of times. And when it comes to approaching the barber chair, they’re generally better at chatting to their own reflection than to their barber.

But a haircut is one of the few things you probably can’t get in a pub toilet (don’t fact check me on that), so it’s important to be able to talk openly with your barber about what it is you want exactly. If you don’t speak up, there’s a chance you’ll find yourself stuck with something that you neither wanted nor asked for (the same goes for pub toilets).

All too often, guys will sit in the barber chair with plans of radical re-styles on the tip of their tongues, but are reduced - through sheer timidity - to requests for ‘the usual’ or ‘just an inch of the top.’ Now, let’s be honest with ourselves for a moment: An inch can mean a lot of things to a lot of gentlemen, depending on what it is they’re talking about. But when it comes to hair?

The inch gets a whole lot shorter. Bottom line? It’s up to the barber to make sure the client knows exactly what they’re asking for before a sharpen-up becomes a buzzcut.

To this end, it helps when barbers listen attentively - and respond honestly - to their clients. They need to know how long the client is willing to spend on their hair in the morning; what products they are willing to use. Not everyone has the time and the inclination for high-maintenance hairstyles. A barber can make any cut look good while the client is in the chair. The real test is if he can keep it looking good once the client is out of it.

In the end, it all comes down to honesty and openness without arrogance (hair-wise; the opposite goes for inches). The client has to be confident enough to communicate exactly what they want (with pictures if necessary; we’re not psychic) and the barber has to be both confident enough in his understanding of the client’s idea and candid enough in his opinion of it. The barber is not there to judge, by any means, but he’s not there to bare silent witness either.

With over 25 years of experience, Ian Harrold is the owner of three barbershops and is a member of the American Crew International ‘All Star’ Ambassador team.

LIFESTYLE

A Handsome Home:

Lighting

A

words by Shaun DONNELLY s the so-called Beast From The East tightened its icy grip on the UK earlier this month, many of us found ourselves forced into an extended period of indoor dwelling. It got us thinking about the Danish lifestyle trend Hygge and the importance of creating interior spaces that we enjoy spending time in.

Being used to harsh winter weather, Scandinavians have learnt not just to endure, but to enjoy indoor living.

It’s something many of us are keen to do too and while we’ve been quick to introduce homely pleasures like soft furnishings, scented candles and extended coffee breaks, there has been a tendency to overlook one of the most important elements of creating a pleasurable environment - lighting.

The right interior lighting can affect the atmosphere, the perceived size and the overall functionality of your space so it’s important to get it right. Pendant lighting (pictured, Suspence Copper™ Pendant light) to illuminate the room, mood lighting to create ambience and task lighting to accommodate reading are all elements to consider but with so much to choose from it may be difficult to know where to start. Luckily for us, our friends at Lightyears have simplified matters.

Forming the lighting arm of the Danish design powerhouse Republic of Fritz Hansen, Lightyears reputation has been built on a history of exquisite craftsmanship, quality, and timeless design. Combining elements of traditional and contemporary design, the Copenhagen based company has created a simple, versatile collection that will fit seamlessly into your existing space. EJ

image credit: Republic of Fritz Hansen™

The full Lightyears catalogue is available at utilitydesign.co.uk

0151 305 2431

Issue 31

The Essential Journal | 25

LIFESTYLE

The Whos, Whats and Wheres of The Whisky Exchange A month’s worth of comings and goings in the world of fine spirits words by Liz LOCK

What we're drinking: Nikka Coffey Gin Japanese gin is definitely having a moment.

This utterly delicious creation from Nikka, the masters of Japanese whisky, has been named our Spirit of the Year 2018 and for good reason. Named after the still in which it is made (nothing to do with coffee!), Coffey Gin is made with eleven botanicals including

Who we're following:

amanatsu, yuzu and sansho pepper from Japan, alongside coriander, citrus peels and apple juice. The Japanese citrus fruits give this gin multi-layered citrus notes and a zesty, long finish. Guaranteed to up your Negroni game.

What we're mixing: £47.95, thewhiskyexchange.com

Who we're visiting:

@OURWHISKY Our friends Becky Paskin, Editor of Scotchwhisky.com, and Georgie Bell, Global Whisky Educator, recently launched a campaign called Our Whisky to highlight the inclusiveness of whisky and the variety of its drinkers. It started with a photographic series on social media of women celebrating their love for whisky to challenge opinions of what a whisky drinker looks like. Check them out @ourwhisky across social media and share it with your whisky-loving, female friends!

The Claymore Swift We probably can’t call it a new bar any more, but Swift puts a smile on our faces with every visit, so we keep coming back. That must be the reason it was named Best New International Cocktail Bar at the hottest industry event, Tales Of The Cocktail, in New Orleans last July.

With a regularly rotating cocktail menu and a

bar team who know how to knock up a perfect classic, the ground floor bar is the place for a pre-dinner cocktail. Post-dinner, it’s all about heading downstairs to peruse their extensive whisky list. To be honest, we could just stay put all evening…every evening.

12 Old Compton Street, London

Created by Rhys Wilson, formerly of award-winning bar, Happiness Forgets.

The Claymore is a deliciously easy way to make Champagne and Scotch whisky go that little bit further.

Ingredients 45ml Chivas Regal 18yo 15ml Champagne cordial Combine ingredients and stir over ice.

Strain and serve straight up in a coupe. Garnish with an edible flower.

What we're dramming: Elements of Islay PEAT The whisky-makers behind Elements of Islay have created this superb marriage of smoky Islay single malts that embodies the island's distinct character. The PEAT Full Proof expression offers plenty of smoky and full-on coastal notes, focusing on Islay’s most famous flavour – peat. It’s bottled at cask strength, a bracing

59.3%, in order to deliver all that classic Islay personality. However, if you prefer your peaty whiskies a little more approachable simply add a drop of water. What’s more, PEAT Full Proof has just won the Daily Dram category in the 2017 Malt Maniacs Awards. Slàinte!

£36.95, thewhiskyexchange.com

How to make Champagne cordial: 2 parts Champagne with 1 part sugar, and simmer on a medium heat for 15-20 minutes, stirring regularly. Don’t forget to add a touch of malic acid powder (5ml for every 500ml Champagne).

Bottle it and will keep in the fridge for a week – perfect for the long Easter weekend.

Issue 31

The Essential Journal | 27

LIFESTYLE

The Perfect Pairing A choice selection of whistle whetting options for your next Wes Anderson marathon words by Dan ORLEY

The Royal Tenenbaums (2001) DH Table Beer (3.5% ABV) by Wylam Brewery The Royal Tenenbaums follows a family of reunited geniuses and prodigies. Together, they wreak havoc as they say goodbye to a father they never loved, dying of a pretend cancer that he doesn't have. Since this movie is at its core a film about family, enjoy Wylam's DH Table Beer, a dry hopped table beer with a low enough ABV for the whole family to enjoy.

image credit: Neptune Brewing, Wild Beer Co, Northern Monk, Matt Hickman

The Life Aquatic With Steve Zissou (2004) Geyser Gose (5.5% ABV) by Two Roads x Evil Twins

Bottle Rocket (1996) LDS MCR NCL Double IPA (8.5% ABV) by Track Brewing x North Brewing Co x Wylam Brewery

Rushmore (1998) On the Bounty Chocolate & Coconut Stout (5.8% ABV) by Neptune Brewing

Anderson’s debut boldly asks the question “What if three below-average people joined forces to elaborately attempt something unspectacular?” Instead of this question, ask yourself: “What if three fast-rising breweries joined forces to make an amazing beer?”

The answer is the Track Brewing, North Brewing Co and Wylam Brewery collaboration LDS MCR NCL. This opaque double IPA hides its 8.7% ABV behind a tropical juice hop flavour that’s easily enjoyed by novice and experienced beer lovers alike.

Rushmore is a high-brow comedy taking place at a highbrow academy where an adolescent and full-blown adult become friends before attempting to destroy each other in a variety of remarkably childish ways. Take it all in while sipping on Neptune Brewery’s On the Bounty, which is a high-brow adult stout pumped full of cacao nibs and coconut essence. These flavours show that a high-brow beer can deeply satisfy your inner child.

Zissou clads Bill Murray, Willem Dafoe and the rest of the cast in the most unflattering shade of blue you’ve ever seen while filming a documentary of themselves hunting for a shark. Explore the sea like you’re part of the gang with the Two Roads and Evil Twins collaboration Geyser Gose, a gose (sour wheat-style ale) made with Icelandic moss, sea kelp, and birch smoked sea salt. Unfortunately, Jaguar shark essence could not be obtained.

The Darjeeling Limited (2007) Storm in a Teacup Earl Grey Infused IPA (6% ABV)

by Wild Weather Ales The Darjeeling Limited focuses on the familiar Anderson trio of Owen Wilson, Adrien Brody, and Jason Schwartzman as brothers attempting to become reacquainted after their father’s death while exploring India. Wild Weather Ale’s Storm in a Teacup is an Earl Grey IPA whose taste may not take you to India, but will help calm your soul when you realize that your brother has tricked you into confronting your mother in the Himalayas.

The Grand Budapest Hotel (2014) Lollihop West Coast IPA (6.6% ABV) by Sibeeria Grand Budapest Hotel is a hilarious comedy in which (spoiler alert) every character you care for dies. This movie puts an Eastern European twist on art heists, prison breaks, and forbidden love, so enjoy it with Lollihop by Prague’s Sibeeria, a familiar west-coast style American IPA with a Czech Republic spin.

Fantastic Mr. Fox (2009) Rooting Around (7% ABV) by Wild Beer Co Fantastic Mr. Fox is a story for all ages adapted from the Roald Dahl book of the same name. Mr Fox and his band of animal friends must save their burrow from three vengeful farmers in order to preserve their way of life in the most stop motion animatedly way they possibly can. Celebrate all that is nature with one of the seasonal versions of Wild Beer Company’s Rooting Around, an ancient gruit style beer made with leaves, roots, and anything else that happens to be lying around that time of year.

Moonrise Kingdom (2012) Campire Strannik Imperial Stout (10% ABV)

by Northern Monk Moonrise Kingdom highlights Anderson’s ability to be both over the top while remaining so subtle that you’re not sure whether to cry from laughter or genuine dismay. Sam and Suzy try everything to escape police, parents, and social services in order to allow their young love to blossom. Moonrise Kingdom takes place in multiple campgrounds as well as in the cove from which the movie receives its title. Northern Monk’s Campfire Strannik is the perfect beer for this film, a smoke and marshmallow 10% ABV imperial stout.

Isle of Dogs (2018) Samurais and Unicorns Imperial Pilsner (7.1% ABV)

by The Great Divide and Breakside Brewery Isle of Dogs tells the story of exiled dogs on Trash Island in Japan helping a young man attempt to find his long lost bodyguard dog Spots. Although unsure what to make of this film yet, it obviously demands a beer of Japanese influence. The Great Divide and Breakside Brewery collaboration Samurais and Unicorns is a 7.1%ABV imperial pilsner that is easy to enjoy and almost impossible to fully comprehend. Just like your favourite Wes Anderson flick.

Issue 31

The Essential Journal | 29

TRAVEL

Postcards For our regular series, we ask creative professionals around the globe to introduce us to the cities they are based. Focusing on city secrets and neighbourhoods under transformation, we reached out to those in the know to lend some generous guidance to unsuspecting visitors

Austin, Texas Jarod NEECE Senior Film Programmer SXSW Film Festival and Conference

Jarod Neece has been with the (SXSW) Film Festival and Conference in Austin,TX since 2002. He is the festival’s Senior Film Programmer and has been a juror or panelist at a number of festivals and organizations, including Fantasia, Sundance, TIFF, Sitges, Cannes & Independent Film Week. He is also the co-founder and editor of the popular Austin food blog, TacoJournalism.com and co-author of best selling books, Austin Breakfast Tacos: The Story of the Most Important Taco of the Day and The Tacos of Texas What's a bar or restaurant (or both) that best captures the spirit of Austin?

Casino El Camino feels like Austin to me, a little grungy, lots of characters and the burgers are some of the best in town. Matt’s El Rancho is also an iconic place for me in Austin. LBJ (Lyndon B. Johnson) ate here and it’s an Austin Institution.

The queso and margaritas flow freely.

Paris, France

What's a neighbourhood that's transforming for the better?

The Eastside - There have been and still are issues around gentrification and displacement in this part of town. A historically Black & Latino neighborhood that is a vibrant community, full of culture, and history. Longtime residents are working together with new residents to find a balance and co-exist and The City of Austin has also established a new task force to help these issues and some have hope for the future.

Albane DE FORCEVILLE PR & Cultural Manager The Hoxton, Paris

Albane is PR & Cultural Manager at The Hoxton, Paris. The Hoxton is a series of open house hotels inspired by the diversity and originality of their respective areas. The first opened in Shoreditch in 2006 and the Paris site opened in 2017. More than just a bed for the night, The Hoxton offers events programmes and meeting spaces alongside its vibrant restaurants and bars What's Paris's best kept secret... that you're willing to share?

Go to the Vert-Galant’s square during spring/summer time with a bottle of wine and your lover for an outstanding sunset and magical moment.

What's a bar or restaurant (or both) that best captures the spirit of Paris?

Pigalle is the new Parisian scene where everyone is going at the moment. In particular these great places capture the spirit of the city: Le Bouillon Pigalle, Le Mansart, Le Dépanneur, PNY, Flesh and Pink Mamma What's a neighbourhood that's transforming for the better?

Le Sentier where The Hoxton, Paris opened last August. A lot of interesting brands and restaurants have opened up here lately,

including: Bambou, Sezane, Echo, Mode Trotter, Le Fou. This district is experiencing a real revolution.

When is the best time to visit?

Springtime in the Hill Country is probably the best time to be in Austin. The weather is beautiful, but not scorching hot, the wildflowers are blooming, the birds are chirping, and the iced coffee makes its triumphant annual comeback at coffee shops.

When is the best time to visit?

Weekdays are the best.

What is a tourist trap to avoid and the essential alternative?

Do not follow tourists and never go on a tour bus. Instead, lose yourself in the Paris streets. The city is quite small so it’s very easy to walk from Rive Droite to Rive Gauche and it’s here where you will discover the best of the city. Avoid the restaurants in the Quartier Latin (Rue Mouffetard etc) which are very much a cliché and where only tourists go. They’re not even good. A good resource for finding is Le Fooding.com and for great things to do, check out the blog My Little Paris.

What is Austin's best kept secret... that you're willing to share?

I think Lost Creek on the Barton Creek Greenbelt is pretty special and is an Austin gem. It’s a hidden mile long trail to a crystal clear swimming hole and when the creek is flowing, there is a pretty fancy waterfall in action. It's just 15 minutes from downtown Austin but feels light-years away.

What is a tourist trap to avoid and the essential alternative?

I am gonna have to go with Torchy’s Tacos. I am not trying be a hater, but they are just sub-par tacos and not what people should be cutting their breakfast taco teeth on when someplace like Veracruz All natural is just sitting there, banging out handmade tortillas and delicious tacos made with the most important ingredient there is, love.

32 | The Essential Journal

Issue 31

TRAVEL

The Other Side of Train Travel If you think luxury train travel is a free croissant and a table lamp, think again. We caught up with Simon Pielow, co-founder of the Luxury Train Club to discuss the world’s most luxurious rail journeys

words by Davey BRETT

A

lmost everyone likes something about train travel. Simon Pielow, co-founder of the Luxury Train Club, tells me. I think he makes a good point. Whether it’s watching the world go by outside the window or the opportunity to sit and make the most of an inevitable journey, rail travel (on a good journey) is both beautiful and relaxing. It’s the sort of travel that inspires books and carries a certain romance. The rail travel Simon deals in however, although sharing the same tracks, is a world away from the average first class commute.

“Luxury trains vary from the iconic Venice SimplonOrient-Express, to the 15-day journeys on the TransSiberian, to the adventurous Tren Crucero Ecuador and excursions on London’s luxury train the British Pullman.” Simon says. “Around 30 luxury trains around the world differ one from the other.” Everything about luxury train travel is special. The routes take in everything: spectacular countryside, mountains, endless tundra, rolling deserts and coastal vistas.

Passengers are treated to scenery that’s more often than not, impenetrable by car. If a country has a rail map, it’s likely to have a luxury train ready to reveal the secrets of its landscape.

The trains themselves are palaces on wheels. The stunning bespoke interiors of dining and meeting cars are perfect for spending days watching the world pass by, whilst palatial sleeping quarters are perfect for drifting off to the gentle hum of train on track.

All trains have a dedicated team of stewards, bar and cabin staff that take pride in their respective train and are able to see a passenger’s every need. High quality cuisine from talented onboard chefs and vast and often complimentary drinks selections mirror the journeys cultural elements and there are ample opportunities for excursions. We asked Simon for a few recommendations and he did not disappoint. EJ For more information on luxury train travel; visit luxurytrainclub.com

1

THE MAHARAJAS' EXPRESS, INDIA Winner of the ‘Leading Luxury Train’ award at the World Travel Awards (for six consecutive years in a row), The Maharajas' Express is arguably the world’s most luxurious train travel experience. With routes across western and central India, the train is a perfect way to get across the country in style, whilst taking in some of the world’s most famous historical sites. The train takes passengers back to the elegance of a bygone era, whilst maintaining all the modern comforts, catering for 88 passengers. Special train suspension even makes for a smoother ride and Presidential Suites come with a bathtub, need we say more?

BELMOND ANDEAN EXPLORER, PERU The Belmond Andean Explorer (pictured above) operates along one of the world’s highest rail routes in the Peruvian Andes and is South America’s first luxury sleeper train. The train itself boasts two restaurant cars, piano bar/ lounge, outdoor observation deck, spa treatment car and eleven accommodation carriages which range from deluxe doubles to more modest bunks. The train takes in the Peruvian highlands as well as the Andean Plains and Lake Titicaca. An onboard Peruvian chef provides sumptuous dishes inspired by local delicacies.

2

Issue 31

The Essential Journal | 33

1 Andean Explorer | 2 Ghan, Gold Service Dining | 3 Maharajas Express | 4 VSOE Grand Suite, Paris | 5 Shongolo Express

3

4

THE GHAN, AUSTRALIA One of the world’s most iconic train journeys deserves to be travelled in luxury. The Ghan, which bisects the country in half from Adelaide in the south to Darwin in the tropical north, takes in some of Australia’s most vivid scenery crossing red desert, grass plains and lush greenery. Platinum cabins on the journey offer double beds, spacious en-suite bathroom and full room service. Interiors are finished in Tasmanian Myrtle and by day, beds fold to make way for a luxurious lounge space. Excursions can be organised along the route, but nothing beats an early morning coffee watching an outback sunrise.

THE SHONGOLOLO EXPRESS, AFRICA

VENICE SIMPLON ORIENT EXPRESS, EUROPE

Named after the Zulu word for a large brown millipede, this impressive service winds its way through the southern half of Africa, taking in a variety of countries including Botswana, Mozambique, Namibia, South Africa, Zambia and Zimbabwe. The Emerald Suites are the train’s largest and these are complemented by beautiful dining and observational cars. The train travels through the night, with passengers waking up each morning to a new destination and a host of the continent's ‘must see’ destinations. A great opportunity for a once in a lifetime safari by rail.

A true railway icon, the Venice Simplon-Orient express is a work of art, as well as a household name. Romance, adventure and the mystery of the past are all intimately bound up in journeys that visit some of the most alluring continental cities Europe has to offer. Few trains still exist from a more gracious, elegant age of travel.

Vintage cabins, delicious afternoon teas and exquisite dining with lively on-board entertainment make a journey aboard this icon one of the world's finest travel experiences.

Pack your finest attire and expect champagne, a baby grand piano in the bar car and mosaic tiled loos.

5

34 | The Essential Journal

Issue 31

TRAVEL

A Journey Well Travelled We checked in with the team behind new London boutique hotel, The Pilgrm, to chat how attention to detail and innovation, rather than technology, is the future of improving your stay

T

he team behind The Pilgrm Hotel don’t think you need a button to close a blind. Nor do they think innovation in hotels is simply about technology. What interests them is the finer details.

Not in a chintzy way, there’s no flock (the correct term is actually ‘game’) of towel swans on the bed or embroidered slippers in every room, instead theirs is a measured and intelligent attention to detail where the driving question, as Steph Thrasyvoulou (Development Director and Co-Founder) puts it, is always “is this worth it?”

The majestic wooden stairs and balustrade for instance, that greet customers upon arrival were worth it, as was the quaint coffee bar below, giving the reception area a cosy European cafe atmosphere.

image credit: Jason Bailey

words by Davey BRETT

A detail that wasn’t worth it, was the reception desk. Afterall, when the bulk of the check-in process is completed online, all that’s needed is a friendly staff member to welcome you and show you to your room. The most tedious part of staying in a hotel is done in an instant.

Every part of The Pilgrm experience has been meticulously thought out in this way, organically responding to the building at hand, a space combining four Paddington townhouses. From the impressive selection of world-renowned cocktails (with a twist) in the hotel’s bar, to the font used on each room’s welcome letter. It’s all a mixture of great design, functionality and character.

“The idea was this well-travelled experience,” CEO and Co-founder, Jason Catifeoglou, tells me as we

sit for coffee in the restaurant. “It’s about creating something made beautifully, in the UK by great people, some of whom are a dying breed of craftsmen who are reviving the art of what they do. But also, it’s about bringing flavours from around the world. The idea of doing a lot less, but presenting a new idea of luxury.”

Walking around the hotel with Jason and Steph, The Pilgrm experience begins to unfold and the attention to detail blossoms.

Much of the furniture and flooring is reclaimed, which as Jason points out, has a particular connotation.

“I remember having conversations that were basically, reclaimed equals expensive, which meant we couldn’t do it. But we started digging into it and found that people approach reclaimed in a particular way that has a certain price tag.”

The team instead opted for a purer take on reclaimed, creating a toolbox of furniture, materials, flooring, carpets and colours, repurposing seemingly unusable items to a point of rebirth. Jason points out a nearby cabinet that was originally from the Natural History Museum, whilst much of the furniture surrounding us in the restaurant was sourced from various markets and auctions. The mahogany parquet floor below us was bought it in bulk (over 3000 square metres) in sometimes unusable condition from hospitals, schools, army gyms. “It’s about putting the effort into the craft of making it beautiful. Most people want it to arrive like this, but it’s not that easy,” says Jason.

The rooms and design are testament to Jason, Stev and their business partner Andreas’s

personal tastes. Rather than sitting down on day one with a collection of identical rooms and a definitive plan, the process was continuous, an organic moodboard that played out over text message. One of the team would alert the others to a scented soap, another day it might be a selection of must-buy furniture at a flea market.

What they were left with is not only a real treat to experience, but also a London hotelier’s wake up call. From the check-in process to dining in the restaurant, the charming bathrooms and pantry areas (a different way of doing a tea and coffee station in each room) to the four smallest rooms (which were fitted with bunks to make use of the room), everything looks and feels fantastic, but it also sets a precedent. Hotels take note, the beauty is in the detail. EJ

Issue 31

The Essential Journal | 37

CULTURE

Architectural Thoughts On:

image credit: Sandy Steele-Perkins

Treehouse This month, ARCHIPHONIC’s Adam M considers the place of the treehouse and how a staple of youth has fed into the architecture of adulthood words by Adam M

1

38 | The Essential Journal

Issue 31

B

1 & 3 The Woodman's Treehouse | 2&4 Treehotel-Mirrorcube

4

image credit: Åke E:son Lindman

3

image credit: Sandy Steele-Perkins

2

5

image credit: Sandy Steele-Perkins

orn from our naive childhood desires, treehouses have always been a customary practice during our youth. Perhaps it is the contrast to our homes, providing privacy or the removal from the sociological norm, with hidden recesses to stash comic books or simply to hide? Perhaps it is even the act of building something that sits above the ground, removed from our traditional context?

The genesis of the idea could be in the ‘primitive hut’, theorised by Marc-Antoine Laugier in his paper ‘The Essay on Architecture’. First published in 1753, he considers the human need for shelter. During a period of ornamentation, the Baroque movement, he argued for the reconsideration of the simple hut. He discusses the qualities of this architecture: column, entablature (supportive member), pediment (top member), floors, and openings. Although we see this as much in treehouse as we do in the Empire State Building, maybe it is our desire to create a ‘primitive hut’ that pushes us to create treehouses?

The idea of privacy is seen strongly in ‘Mirrorcube’

by Tham & Videgård Arkitekter (pictured), set in Harads, Sweden. Hanging four meters above ground, supported only by members hugging the tree, the structure is clad in mirrored glass to reflect its surroundings and the sky. Its windows give a 360-degree view whilst its construction makes use of high tech materials and products used when exploring remote places in harsh climates. It contains a living space, double bed, bathroom, and a roof terrace while entry is gained from a rope bridge connected to the next tree. Maybe this isn’t enough? Maybe it’s too high-tech to really feel at one with nature whilst not having the longevity a house should have.

‘Dursely Treehouse’, designed by Millar Howard Workshop (pictured), is a 200-square-metre property 40ft in the air. Spending over £355,000 to achieve their goal, the clients were left with a four-bed home in a previously forgotten and neglected half acre of woodland. The site had a sentimentality for the client as he used to peek upon the area through a fence when he was growing up.

The problem in this instance was building a home where there were many tree protection orders, but so long as the roots were not damaged, the solution was a treehouse. This resulted in a property that is supported with long screw piles and a steel frame. Clad in larch, it blends in with its context and has panoramic views to take in all of its surroundings. There are no comforts lost here. This is a treehouse where a family can live among the natural environment, be protected from the elements and still maintain privacy.

However, there is a treehouse that takes the principle even further, notably one from the RIBA House of the Year Award 2017 long list, ‘Woodman’s Tree House’ by Brownie Ernst and Marks (pictured). Set in an area of outstanding natural beauty in Dorset, it demonstrates how there is a middle ground relating to comfort and the relationship with the tree. Supported in a similar way to Dursely Treehouse, the materiality of timber is seen throughout, with a contrast of copper and soft furnishings to complete the arrangement.

It includes a bespoke kitchen, copper bathtub, leather armchairs, king size bed, wood burning stove, open-air shower, wood fired oven, open-air hot tub, and private sauna. A floor-window looks over a stream, the bathtub and kitchen both have views through the trees, and a skylight looks at leaves blowing in the wind.

It has a modern bathroom, living areas and a flushing toilet with hot running water. It truly is an exemplar of treehouse living and represents all facets of the ‘Primitive Hut’, both ‘tree’ and ‘house’ in that order, neither compromised by the other. EJ

40 | The Essential Journal

Issue 31

CULTURE

The Never Ending Summer The sun never sets for fashion photographer turned fine artist, Raphael Mazzucco, as Castle Fine Art - the UK’s leading group of high street galleries - found out when they made the 3,000 mile journey to visit Raphael and his family at his home in Montauk, NY. words by Robyn SMITH

L

1

2

3

5

For further details about Raphael’s art, and for the opportunity to meet the artist this spring turn to page 41.

1 "... a shrine to all things beautiful" | 2 Mazzucco's studio | 3 Photoshoot on Hither Hills State Park | 4 Welcome to Montauk! | 5 "...immerse yourself in Raphael's creative world."

4

image credit: © Washington Green 2018

ocated at the east end of the Long Island peninsula, Montauk is the destination du jour thanks to its Hamptons-esque exclusivity offset by a deeply creative and infinitely more relaxed culture. Known charmingly as ‘The End’, it has long attracted the notice of Hollywood and, as a result, Montauk has been a regular filming location and provided the backdrop for a multitude of blockbusters and popular TV series over the years. You may not know it, but you’ll certainly recognise it. The inhabitants themselves are a veritable hall of fame, and the area itself has played host to many of the biggest names of our time over the years; from Pulitzer Prize winning writers to politicians, musicians such as The Rolling Stones and artists including Andy Warhol, among other names of note.

It’s with little wonder that Raphael has chosen to call Montauk home. Inspiration is ever-present, from the beaches to the dramatic clifftops, the imposing lighthouse to the eclectic architecture and beyond. His self-designed house, as stylish and flawlessly executed as one might imagine, is a shrine to all things beautiful.

Nothing is too modern, overtly vintage, shamelessly rustic or in fact occupies any genre in particular…it simply all works together and harmonises to form one of the most personal embodiments of an aesthetic one might ever experience.

The visit saw the team from Castle Fine Art tour this cultural oasis, taking in all the sites that inspire Raphael.

They were privileged to walk the shoreline with him, to watch him gather the stones, driftwood, sand and other materials that so frequently feature in his art underneath the joyful and untamed splashes of colour synonymous with his work. Only after engaging with Raphael in his natural habitat, so to speak, did they truly realise how organic a process it is for him when he works. Montauk gives him everything he needs; it provides a backdrop that requires no editing, embellishments that need no adornment and a host of people moving continually in and around his creative space to keep him inspired and engaged. Having met with his friends and family, it was immediately apparent not only how much they form part of his muse, but also how much he in turn engenders creativeness in others.

There will be an opportunity for you to immerse yourself in Raphael’s creative world, as April 2018 sees the release of his collector’s edition book; The Never-Ending Summer. With stunning behind the scenes photography and exclusive memoirs from his closest family, models and muses, a host of contemporaries and of course his own journal, this publication paints a fascinating picture of life on location with Raphael Mazzucco. EJ

Issue 31

The Essential Journal | 43

CULTURE

Inside the World of Wes Anderson We reached out to his colleagues and friends of Wes to paint a picture of the enigmatic director words by Davey BRETT

1

MATT ZOLLER SEITZ

image credit: Max Dalton

image credit: Martin Scali

Author of The Wes Anderson Collection. He is also Editor-inchief of RogerEburt.com, the TV critic for New York Magazine and Vulture.com, and a finalist for the Pulitzer Prize in Criticism It always seems odd, perhaps from a British perspective, that Wes Anderson is from Texas. He doesn't come across very Texan. Do you think the state and its culture has influenced him in any way?

I don't think so. I met him in 1994 in Dallas, not long after we'd both graduated from our respective colleges, and he already seemed to have what you might call an ‘international’ sensibility, although he didn't start seriously traveling until The Royal Tenenbaums started to appear in international film festivals. He grew up reading The New Yorker and watching foreign films and reading literature from all over the world, so he was never provincial.

What other places do you think have had a big impact on him and his films?

Wes is influenced by every place he's visited and every movie he's seen. He absorbs all of it. He was originally going to set The Darjeeling Limited in France, and decided on a whim to set it in India instead after seeing the restored version of The River (1951).

From the early days of watching Wes's films and speaking to him, did you notice a spark? Does his

success come as a surprise or was it to be expected?

I wasn't hugely surprised that Wes went on to have a successful career as a director, although I confess being a bit worried early on when his first film didn't make money and the reviews were mixed. But after Rushmore I knew he was going to be around a while. What's been heartening to me is seeing certain films of his find a very big audience, The Royal Tenenbaums and The Grand Budapest Hotel in particular. Wes and the Wilson brothers, Owen and Luke, struck me immediately as people who seemed to already be comfortable with the idea of being famous.

Why do you think Wes's films are so popular? Can you think of another director with such an obsessed-about style?

I think it's the enthusiasm inherent in the way he directs that carries a lot of the enthusiasm for his work. His films are fun to watch, even when they're sad or dark.

There's a snap to the imagery and the music.

What is Wes like in person? Is he the same as when you first met him? What personal attributes do you think he has that have aided his career?

44 | The Essential Journal

Can you see Wes and Owen Wilson working together again in the future? What's their relationship like? Do they bring out the best in each other?

I hope that Wes and Owen work together as writers again, but I have to assume there's a reason why it's never happened. I have no idea what that might be. People sometimes grow out of partnerships. As far as I know, they're friends. Owen has continued to act in Wes' movies even though they aren't writing them together.

to see one little part of it.

Assuming you have seen Isle of Dogs, is The Life Aquatic with Steve Zissou still your favourite film of his?

The Life Aquatic is still my personal favorite, although if I had to choose what I think of as his best film, I'd probably have to go with either Rushmore or The Grand Budapest Hotel, with Fantastic Mr. Fox creeping up a bit more every time I re-watch it.

Can you see Anderson's influences in other contemporary films? Or do you think that people are nervous to mimic such a personal and welldocumented style?

His influence has been immense.

Not only was there a spate of films in the aughts that pretty blatantly aped certain aspects of his style, like Juno, Napoleon Dynamite and Everything is Illuminated, he's had a big impact on advertising (not just his own ads, but ads that go for an Andersonian feeling), on fashion, on music curation for soundtracks, even on film school cliches. I have watched a lot of student films produced by high school and college students in the past decade, and if I had a dollar for every time I've seen a young director whip-panning between people having a deadpan conversation in profile, or snap-zooming from a close-up to a symmetrically framed wide shot, or having people walk in slow-motion to an old English pop song, I could buy The Life Aquatic back from Disney and release it in theaters again.

What are the most common mistakes when it comes to Wes Anderson? What might surprise people about him? What do people not know?

I don't think most people have any idea of how good Wes is at planning things. I've learned a lot from him about the value of pre-visualization.

He kind of pre-directs every movie before he's set foot on set, and that's what allows him to control the tone of every scene and not waste money shooting things a particular way when he doesn't need to, or building an entire set when you're only going

1 Tony Revolori as Zero, standing in front of a green screen, Mendl’s box in hand. | 2 The sequence in The Grand Budapest Hotel in which the train bearing Zero and M. Gustave is stopped in a barley field by government troops. | 3 Isle of Dogs | 4 A Mendl’s delivery truck parked outside of the 1932 façade, after the ZigZag takeover.

2

ERICA DORN Lead Graphic Designer on Isle of Dogs What has it been like working with Wes Anderson on Isle of Dogs?

There was never a dull moment! It has been a privilege to have been included in Wes’s creative process, which is utterly unique. He is very hands-on, so he likes to directly oversee the work, and engage with everyone from the heads of the departments to the assistants. That means you’re acclimatized much more quickly to his thought processes and his references. The first few months felt like a crash-course in learning the ‘Wes Anderson Method’ – a bit like learning a new language.

"YOU CAN ALWAYS RECOGNIZE A WES ANDERSON FILM, EVEN WITH YOUR EYES CLOSED."

Do any stories stick out from working with Wes? I think my favourite one was an email forwarded from the script supervisor to myself, the production designer and the head of the puppet department. To give you a bit of context, every single piece of design, whether it’s an accessory on a puppet or a background prop or a graphic, is seen and checked (and often revised)

by Wes, sometimes several times.

But for him the creative process is very organic, so the fact that he has agreed to something, or even the fact that it has already been made, doesn’t much count for anything – just because something was fine last week doesn’t mean that it can’t be changed or improved. So nothing is really ever ‘done’ – just current. It took us a while to understand this, until we finally got the email asking us “to strike the word ‘approved’ out of the entire process”. I think this made the production designer cry a little bit on the inside, but it’s still my favourite email because it’s such a perfect Wes-ism.

How does he compare to working

with other directors?

I can’t tell you from my personal experience, because Wes is the only director I’ve ever worked with. But often, with film graphics, if you’ve managed to blend the work into the scenery and not be noticed, you’ve done a great job. Wes’s films are very different in that he really celebrates the graphics, and they are always a really key part of the visual identity of his worlds. So there’s a lot of pressure to get it right, but it’s also very rewarding.

When people mention Wes Anderson, there’s always that mention of ‘finer details’… do you think that lends itself especially well to graphic design?

Absolutely, and even more so because this is a stop-motion animation and every set is built from scratch. Although Wes embraces the traditional methods of using models and miniatures, on screen he’s pushing the limits of how real they can look. In order to make a 2cm plane ticket or a 1.5cm ID card look real, the small print needs to be incredibly small, the paper extra-smooth (even the slightest texture looks like watercolour paper when blown up full-screen) and the text has to be extra sharp. Everyone on the graphics team literally had a jeweller’s loupe, a gift from the art department coordinator, to check the quality of our work.

Does he like to be involved in every aspect?

Yes. So much so that I’m secretly convinced he is a set of triplets pretending to be one person. To be so deeply involved in every detail of every department on a project of this scale, there’s no other explanation.

image credit: © 2014 Twentieth Century Fox Film Corporation

In person, Wes is charming and a bit reserved. He seems to naturally claim the spotlight although I don't get the impression that he's necessarily demanding that.

He's very conscious of being Wes Anderson, a public figure with a particular look and style and way of presenting himself. I don't think he's the same person as when I first met him because that was almost 25 years ago, and we're both a lot older than we were then. Life changes a person. I definitely think he's more seasoned and has a much more sophisticated sense of how to get what he wants from people, and how to avoid outcomes he doesn't want. One thing he does that's very distinctive is, when he says what he wants, he often phrases it as a question. Like, "What if we did X?" There are times when he doesn't actually want to know what you think, he's just telling you how he'd like things to be done. But the question mark at the end of the sentence makes it seem less dictatorial.

Issue 31

Issue 31

The Essential Journal | 45

ANDY GENT Head of Puppets Department on Isle of Dogs, also worked on Fantastic Mr. Fox and The Grand Budapest Hotel

image credit: Martin Scali

What has it been like working with Wes Anderson on Fantastic Mr. Fox and Isle of Dogs?

What came over on Fantastic Mr. Fox was, we had a sense of animation and what we had done before and he was really hoping to come up with something new, so he pushed us very hard. I’m not sure if we were quite prepared for that interest and attention to detail, which is unusual for stop motion because that’s what we thrive on.

He was like ‘let’s try this’ and ‘let’s push this a bit further’ and you’d get a question from him like ‘why can’t you do it like that? Let’s try it.’ It took us all a bit by surprise.

On this one [The Isle of Dogs], the sheer scale of it is massive. Absolutely massive. Three times bigger than Fantastic Mr. Fox. Do any stories stick out from the various films you’ve worked on together?

We met him quite a few times on the three films and he’s always incredibly polite, not really shy, just sort of considerate. That’s how he comes over when you meet him.

Once you’ve done a few things with him, there’s definitely a huge sense of trust that comes out and that’s a nice feeling. He does pull you into his world and you’re constantly surprised. When we were trying to figure out the colour for one of the characters in the film, Wes walked past a store somewhere in London one day and took a photograph of it because of the range of colours. So the reference for the colour of one of these dogs was just this incredible high end fashion store. We were like, ‘So, is it one of these?’ and he said ‘Well, it could be in there, we’ve just got to find it.’ There’s lots of little moments like that.

There was one character in the film, that we were doing some tweaks on, hundreds and hundreds of puppets in different scales, 68 people working every hour of the day to get these things done. In classic Wes style he’d ask for a little safety pin to be moved on the cheek of the character. I said no problem, of course we’ll get that done and then I got a lovely email back saying, ‘Thanks Andy, I appreciate it. I know you’re swamped at the moment and this film is what one might say, ‘puppet heavy’. It was the understatement of the year.

Do you guys get to hang out with him?

Funnily enough, one of the early meetings on the film we were

talking about the puppets and he was saying how he would like to come up to the studio and see it before it gets really crazy. I said we can go look at it now if you have time?

And he asked how I usually got there. I said, well I cycle and he said, ‘I’ll come with you then. Has anybody got a bike that I could borrow?’

You could see all of the grownups in the production, thinking ‘no no no no, if there’s an accident on the canal patch, this could be end of it all.’ He’s like that, you get to do fun things with him. On Fantastic Mr. Fox, he was based away and we would communicate with emails, sending an enormous amount of information on an hourly basis.

We didn’t really see him on set that much and it forces you to communicate clearly. He’d pop in occasionally if we was around but I think he has to work in his own organized way. I’m sending emails, the animators are, the production design are and within ten minutes, he’s back to you, night or day. I don’t know how he manages it.

How does he compare with other directors?

I think every director’s different, but attention to detail. I’ve not worked with anybody like it. He’s also an incredibly knowledgeable film historian. That comes over pretty quickly when you talk to him. What we found was he’s extremely interested in costume and music. He’s got an amazing encyclopedia of music and that soundtracks his world.

Costume really comes out from our point of view. He’s very interested with the look and feel of things. He’s an art director’s director really. You could be building a set that’s say, Trafalgar Square, and he wants to see what pin badge artwork you’ve used for someone in the crowd. The level of detail is unbelievable.

Did he talk more widely about animation?

When we first started [on Isle of Dogs], he gave us a list of 40 films that he said we should watch straight away, that were going to be useful for us to get into the feel of what he was making. There was quite a lot of Studio Ghibli in there.

It’s not just live action, it’s all films.

I think Wes is fond of stop motion because if you’re an art director’s director, what’s better than saying I want the entire world making? Not just the actors and the sets, every single thing.

4

ADAM STOCKHAUSEN Production Designer on Isle of Dogs, The Grand Budapest Hotel (winner of the Academy Award for Best Production Design), Moonrise Kingdom and Art Director on The Darjeeling Limited What has it been like working with Wes Anderson on Isle of Dogs?

Isle of Dogs has been tremendously fun. I really loved the story from the first reading and found the world of the film - from Megasaki to Trash Island - to be deeply inspiring and rich with detail and possibility. I knew very little about stop motion animation going in, and so working with Paul Harrod and watching him design and build these amazing worlds was a real pleasure. Although we’ve done miniatures on the other films recently, there’s a meticulous level of detail both in finish and engineering that Paul and his team were doing that I was amazed by.

Do any stories stick out from working with Wes? I remember the whole process of shooting on a real train in India on The Darjeeling Limited - on the live tracks with all of the real train traffic. There are so many rational reasons for why other directors might want to shoot scenes like that on a soundstage: ease, comfort, controllability, etc.

With Wes though, the experience of the place and of the making is an inseparable part of the final product. I think that’s very special.

"THE STORY OF ATARI AND SPOTS IN ISLE OF DOGS CAME AS A COMPLETE SURPRISE. SO UNIQUE AND DIFFERENT FROM WHAT WE HAVE DONE TOGETHER BEFORE."

When

people

mention

Wes

Anderson, there’s always that mention of ‘finer details’... do you think that lends itself especially to production design?

Yes, absolutely! Wes is deeply involved in every aspect. He plans and considers every detail of the frame.

That often involves production design - sets, props, dressing, etc - but also costumes, sound, music. Every detail is considered. I do think he has a love of the small details in visual design, from the smallest props to the maps and graphics.

Did working with Wes Anderson surprise you in any way?

There are constant surprises. I’d say first that the stories Wes tells are always a surprise. The story of Atari and Spots [in Isle of Dogs] came as a complete surprise. So unique and different from what we have done together before. On the live action films we are always going to surprising and interesting places and meeting the most amazing people. On Moonrise Kingdom we scouted Clingstone, a wild house that is shingled on the inside built clinging to a stone in the middle of Narragansett Bay. It’s the kind of place you’d never ever find or get to on your own.

What do you think makes Wes Anderson such a special film director?

Is it a particular human attribute?

That’s an interesting question! I think all artists are really showing us how they see the world, and Wes sees the world in an incredibly special way, which he shares with us through a camera rather than on a canvas.

46 | The Essential Journal

Issue 31

FELICIE HAYMOZ Character Designer on Isle of Dogs and Fantastic Mr Fox What has it been like working with Wes Anderson on Fantastic Mr Fox and Isle of Dogs?

When I worked on Fantastic Mr. Fox, I was part of the art department crew, and I was working closely with art director Nelson Lowry, who was in charge of the whole look of the production. He was taking directions from Wes in the form of a thousand emails, and passing it down to us. On Isle of Dogs, I was involved very early in the process. I was the only artist designing a full cast of puppets, so the producers needed me to get a head start. I was working from home and sending my daily designs to Wes directly. I would receive a ton of emails from him, with little sketches of some characters, a lot of reference pictures and very precise feedback regarding pants length and name tags. From my experience, it feels like he knows very precisely what he wants, so it's up to you to wander until you get it right.

Do any stories stick out from working with Wes? I was designing this tattoo that Mayor Kobayashi has on his back, it will probably be on screen for half a second, but it took a week to get it right. Just one of these little details that makes Wes Anderson's movies so nice to watch again and again. So I was drawing this tattoo, it had a big cat figure in the middle, because all the meanies in Isle of Dogs like cats, and I added clouds and flames in the style of Japanese woodblock prints. Wes kept asking me to make that tattoo pink and pastel-colored and after a few days it looked like an Italian gelato stand. I remember thinking for the first time: maybe I should just go ahead and make those flames red, because, for once, he didn't really know how to make this look cool. Maybe he's not a big tattoo guy.

How does he compare to working with other directors?

Wes is the most detail oriented person I've worked with, and I really enjoy that. I know that he will spot every minute detail of a design.

I mentioned getting feedback on pants length and it is not a joke. A lot of time went into drawing hems on pants, changing lapels and buttons, designing patterns for dresses and kimonos. For Isle of Dogs, Wes wanted to use specific references

for the characters. I watched a lot of Kurosawa movies and re-watched the Studio Ghibli movies. The art department had a huge folder of still images from those films, and fun Japanese commercials from the 50s, so I would always pick elements from the references. Sometimes, Wes would ask me where a hat or a pair of glasses came from, and I had to browse through thousand of pictures to try to find where I had picked that idea from. Isle of Dogs is very nerdy and obsessive in that sense, it's definitely a tribute to Japanese cinema.

When people mention Wes Anderson, there’s always that mention of ‘finer details’… do you think that lends itself especially well to graphic design? Does he like to be involved in every aspect?

Based on my experience I would say so. I remember during the shooting of Fantastic Mr. Fox, the animators would receive little clips of Wes miming each scene! That's pretty involved, I'm not sure other directors go that far. I think that he enjoys the slow pace of the animation process. It allows him to validate each step and consider all the minute details involved in each frame of the film.

Did working with Wes Anderson surprise you in any way?

I was definitely surprised when I heard that Wes was going to be directing another animation film, and I was surprised when I was

asked to work on it. I used to lament that there would never be another adventure like Fantastic Mr. Fox for me. Then work started, I was sitting at my desk day after day, and I was in the groove. So the next thing on my list would be: bodyguard sumos wearing short silk kimonos? Sure, nothing surprising there.

What do you think makes Wes Anderson such a special director? Do you think it’s a particular human attribute?

It is a particular superhuman attribute: I'm pretty sure he never sleeps. I have always gotten a response to my emails in minutes, even in the middle of the night, when I was working in NYC and he was in France, 6 hours ahead. More importantly, I think that his particular love for films is what makes him such a special director. You have to love the peculiar grace and quirks of animation to push it as far as he did with Fantastic Mr. Fox and Isle of Dogs. When he talks about the films and directors he admires, it makes you want to run home and watch movies. Someone should ask Wes Anderson to write an anthology of his favorite films. EJ

"I REMEMBER DURING THE SHOOTING OF FANTASTIC MR.FOX, THE ANIMATORS WOULD RECEIVE LITTLE CLIPS OF WES MIMING EACH SCENE! THAT'S PRETTY INVOLVED, I'M NOT SURE OTHER DIRECTORS GO THAT FAR."

D MEN D M O REC A FRIEN 0 ÂŁ5 O US T CEIVE A RE IFT AND AZON G R AM CHE U O V

E N E RGY

Are you one of the 86% of businesses who overspend on their electricity and gas?

The Nuve Advantage We have direct access to all suppliers, obtaining preferential rates to maximise your savings We do the shopping round for you – gathering tariff options and advising you on the best available package Let us do the hard work so you can focus on what you do best

GET IN TOUCH

Issue 31

The Essential Journal | 55

COLUMN

words by Davey BRETT

Gents, we need to talk about:

The Perfect Pub In the ninth instalment of our regular column – in which we use our pondering skills to delve deep into clichés, stereotypes, and seemingly unimportant male-orientated issues – we consider the components of the perfect pub

G

ents, I am on the lookout for the perfect pub. Before we begin, let’s get something straight. The perfect pub is not the perfect bar, nor is it the perfect restaurant. The perfect pub does not have the prefix ‘fun’, ‘gastro’ or ‘party’. Of course, those places all represent a crucial strand in life’s rich tapestry of drinking establishments, but the perfect pub they are not. Anyway, the perfect pub, have you seen it anywhere?

To begin with, it’s a very particular shape. We rarely consider pubs as feats of architecture, but the layout of the perfect pub is special. It has been honed by decades of separation - whether class, gender or purpose (your dad’s old enough to explain all that to you) - and sculpted into a collection of spaces. It’s made the use of materials too. A lot of wood, much of it carved, but there’s also glass and tiles inside and out. Inside there’s pockets to have private conversations, snugs to read the paper and larger areas to strike up conversation and build up an atmosphere. The exterior has seen better days, but that adds to its charm. Make sure to close the door when you enter and exit. There’s a double door to keep the heat in because nobody likes a draught.

The perfect pub isn’t on Tripadvisor and you will not ‘tag’ yourself there in the virtual world. The staff are friendly, but they’re not arse kissers. There’s an unspoken relationship where they do their job and you do yours. Everyone is welcome, but the locals have a right to caution. Although a place for adults, children at the perfect pub, like dogs, are welcome as long as they don’t make a scene. There’s an old sweet dispenser on the wall which will give kids roughly nine Skittles for twenty pence. That, along with live sport and listening to stories should keep them occupied. As long as they’re tall enough and sensible, they may use the pool table.

Now, the drinks at the perfect pub are solid, but modest. Don’t get me wrong, I’m craftier than Blue Peter and Art Attack combined when it comes to beer, but the perfect pub isn’t your local hops emporium. There’s a few lagers, a mild, a bitter and a cider. There’s shorts for your mom and nan, J20 and mixer for the kids. The crisps are of the Lineker variety and bags of nuts (and Scampi Fries) are attached to pieces of card hanging on the wall. There might be a spread of sausage rolls and the like on a Sunday, but those are for the sports team.

If you want something to do at the perfect pub, sit

there and ponder your life or talk to a local. The place is full of characters both mystical and bittersweet, nod at them when you see them on the street, entertain their views and listen to their stories. In the perfect pub you can watch the football, darts or pool, but don’t do the latter if it obstructs the former. The pool table will have a well maintained surface of felt, so don’t let your kids mess it up. The perfect pub has music, but it’s the volume that matters, not too quiet to hear a pin drop, not too loud to render conversation pointless. The type of music is irrelevant, it’s the volume that counts.

There’s the odd barfly in the perfect pub, but if you’re sat there in the middle of a swarm, fishing brave little pilots out of your pint, then you’re not in the right place. Still, the perfect pub is perfect because of its imperfections. The toilets aren’t luxurious, but they do the job. There’s soap in the dispenser, it doesn’t matter if the dryer feels like a whisper. You can smoke out the front and last orders is flexible. The perfect pub is consistent and that’s why you’re a regular.

Anyway, if you find the perfect pub, let me know. I’m still on the lookout for it. EJ