Essential Journal Issue 28

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Issue 28

The Essential Journal F A S H I O N

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L I F E S T Y L E

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C U L T U R E

One Thing Done Well takes a closer look at New York City eyewear brand Moscot

We delve into Lisboeta for a traditional offering from Europe’s up and coming city

How to start your own whisky collection with the founder of The Whisky Exchange

A list of essential spots from our Great Romanian Roadtrip

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Sir Paul Smith “Paul, George [Best] has done a runner again. Take the ‘Roller" Page 13

W W W. E S S E N T I A L J O U R N A L . C O . U K

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Issue 28

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Issue 28

The Essential Journal |

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Features

21 INTO THE GREAT WHITE YONDER We catch up with adventurer Scott Sears ahead of his gruelling expedition to become the youngest ever person to walk unassisted to the South Pole

Contents

27 PROMOTION:

MCARTHUR GLEN CHESHIRE OAKS DESIGNER OUTLET Still hitting a brick wall when it comes to deciding what to buy who this Christmas or are you on the hunt for a wardrobe refresh come boxing day? Cheshire Oaks has it sorted

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THE PRIMER North Korean airlines, podcast wisdom and the Godfather of Grime

40 THE GREAT ROMANIAN ROADTRIP A list of favourite spots from our great Romanian roadtrip

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COVER STORY: A SERIES OF ENCOUNTERS WITH SIR PAUL SMITH We sit down with Paul Smith in his new Manchester store and later in his legendary office to ask among others things, what keeps him going?

43 POSTCARDS The latest installment of our regular travel feature, this time with best kept secrets in Georgia and Portugal

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ONE THING DONE WELL: MOSCOT EYEWEAR Our regular feature continues with iconic New York city eyewear brand Moscot

18 THE BATTLE OF THE TRANSATLANTIC ESSENTIALS We pit British staples against their American counterparts 22 WINTER GROOMING TIPS From turning up your moisturiser to turning down your shower 25 UTILITY We go for a mooch around Liverpool’s favourite gift and furniture boutique 26 RECIPE OF THE MONTH A taste of Portuguese cuisine with Lisboeta 35 THE WHISKY EXCHANGE We sit down for a dram with owner Sukhinder Singh, to get the inside scoop on collecting whisky

23 A HANDSOME HOME: DARK INTERIORS Move over clean minimalist white walls of late, style contributor Angharad Jones takes a look at a new richer, darker home style that’s on the rise

49 SNAPSHOTS ALONG THE SPECTRUM

36 TATTU We meet Head Chef, Clifton Muil and discover how taste, travel and tradition has influenced the latest menu 39 JURA Swiss bean-to-cup coffee machine makers have all your at home needs wrapped up with five of their best

45 ARCHITECTURAL THOUGHTS ON: THE RIBA STIRLING PRIZE 2017 In the latest installment of their regular feature, Archiphonic share their thoughts on the finalists of the RIBA Stirling Prize 2017 52 CASTLE GALLERIES Managing Director, Ian Weatherby-Blythe tells us what questions to ask before buying your first piece of art 54 TOM WILLIAMS' CINEMA REVIEW This month we delve into the Safdie Brothers masterpiece ‘Good Time’, interview one half of the directing duo Josh and preview films for the month ahead 56 BOOKS FOR THE MONTH AHEAD Including Rolling Stone magazine, Paul Smith’s pencil and the perfect architectural travelling companion 58 THE IAIN HOSKINS COLUMN This month, Iain riffs on... iconic Liverpool club, Cream 59 GENTS, WE NEED TO TALK ABOUT: NOT GOING TO THE GYM The latest edition of our regular column delves into the gym and why our columnist is avoiding it

Berlin-based creative, Stephanie Lund of toitoitoi sits down with iconic British architect John Pawson to talk photography, hammocks and his latest book CONTRIBUTORS Adam M Angharad Jones Cheshire Oaks Clifton Muil Conor Rees Iain Hoskins Iain Weatherby-Blythe John Pawson John Thornton Josh Safdie Maka Batiashvili Rafic Daud Russel Bisset Scott Sears Sir Paul Smith Stephanie Lund Sukhinder Singh Zachary Moscot

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PUBLISHERS Singleton Publishing EDITOR Davey Brett - d.brett@singletonpublishing.co.uk CREATIVE DIRECTOR Thomas Sumner - t.sumner@singletonpublishing.co.uk STAFF WRITER Reuben Tasker DESIGNER Jennifer Swaby CINEMA EDITOR Tom Williams INTERNS Megan Storey, Martha Hollingsworth COVER IMAGE Sir Paul Smith

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

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

All rights reserved.

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Issue 28

JAGU

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UAR

y to milan, rome, alicante, and now palma de mallorca

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THE NEW RANGE ROVER VELAR

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Now available for test drive, contact us to find out more.

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Issue 28

The Primer WHAT WE'RE WATCHING: WHAT WE'RE READING:

ESKIBOY

BY WILEY

Mark our words, at some point this Christmas, grime is going to come up in conversation.

Whether it’s talking to your younger siblings about what they’ve been listening to, or your family elders wondering what’s happening on Top of the Pops, grime will be mentioned. The man who pioneered the genre? Wiley of course.

‘Eskiboy’ is his long-awaited autobiography and as expected, it’s utterly brilliant. Charting his rise from harsh beginnings to pirate radio and literally building a genre of music, the book is a vivid and revealing account from the godfather of grime himself. The book is refreshing too, with written cameos from

friends and collaborators as well as brutal eloquently written honesty throughout. A welcome change to the predictable selection of Smiths, punk and Dylan biographies in the music section of Waterstones.

NETFLIX Eskiboy (WIlliam Heinemann)is out now

WHAT WE'RE EATING:

A NOTE FROM THE EDITOR “An honest man is always a child.”

Socrates

ROOT COFFEE'S 'NORWAY MEETS MEXICO'

We would like to let you in on a bit of a secret.

Next time you go to Root Coffee in Liverpool, tucked in behind the Premier Inn on Hanover Street, treat yourself to the ‘Norway Meets Mexico’ with everything on it. Holy moly, wowsers trousers, it is divine. Otherworldly, aesthetically vivid, delicious, stacked, filling, it is a real showboat lunch option, the sort to impress people with, the sort to fuel your entire day. Guaranteed like-harvest on instagram too, it looks phenomenal, it’s always all eyes on the plate as the staff drop it off, bit like somebody bringing a birthday cake out in a restaurant. A toasted bagel, poached egg, loads of avocado, loads of smoked salmon, bit of rocket and plenty of sauce. Quinoa on the side too, as well as grated beetroot and splashes of dressing. Our editor ate it four days in a row a few weeks back and won’t stop talking about it.

Root is well-known as a specialist coffee hub, from flat whites to the recent introduction of nitro cold brew, but next time you’re in there, give it a try. @rootcoffeeliv

If there’s a theme that’s running through this issue, it’s not Christmas. There’s no photo-shopped snow or sausage roll Jesus i’m afraid. Not to worry, I’m sure you’ll be able to get your fix elsewhere. This issue is instead a very creative one, as we quiz two titans of British design in Sir Paul Smith and John Pawson. Both are youthful beyond their years and both were a pleasure to interview. Friendly gentlemen, both very modest and happy to sit down and have a conversation. (We’re proud to say a miniature lamb banana statue now sits in Paul Smith’s legendary office, courtesy of us.) Elsewhere, we’ve road-tripped Romania, shared our judgements on this year’s RIBA Sterling Prize, spoken to New York icons Moscot and reminisced on the superclubs of yesteryear. If there was a theme, we’d say it was ‘eternal youth’, but you’ll have to read between the lines to tease it out. Merry Christmas from everyone at The Essential Journal and a happy new year. Take care and enjoy yourselves.

Root Coffee; 52 Hanover St, Liverpool L1 4AF

ON OUR COFFEE TABLE:

DEAR SKY - ARTHUR MEBIUS There’s something infinitely fascinating about North Korea. Despite the now regular stream of images we see in the media, it’s still as if what we’re presented of the hermit kingdom is only a scraping of the surface. Dear Sky, a photography book by dutch photographer Arthur Mebius provides a fascinating insight into the country away from the curated and often presented images of the nation’s capital, instead concentrating on Air Koryo (the former Choson Minhang Korean Airways), the state-owned national airline. Mebius, a selfconfessed aviation fan, undertook the project

over three trips to North Korea as part of a tourist group and the resultant book is a revealing look at the regime’s national carrier.

Despite the airline’s 1-star Skytrax rating - a rating based more on the airline’s international circumstances than its safety and service standards - the imagery tells a story of uniformity, detail and an airline rooted in the era of sophisticated air travel.

Dear Sky is available now at dearskybook.com

Is this the Netflix Christmas? Quite possibly.

There’s always been a solid box set collection on the entertainment streaming behemoth, but it feels like this year the Netflix original offering of film and box set shows has gone into overdrive. If you haven’t already finished Stranger Things, finish it because the The Sinner, Mindhunter and Godless are waiting to fulfil your bingeing needs. The latter, a slowburning western counts Steven Soderbergh among the credits and Jack O’Connell among the casting ranks. Deep South drama Mudbound is a gripping account of World War II soldiers returning to racially-segregated Mississippi. Jim & Andy: The Great Beyond is also a must see, a behind-the-scenes documentary charting the tumultuous making of Man on the Moon (1999), the biographical comedy about American entertainer Andy Kaufman. Bizarre, hilarious and very much peak-Carey.

THE PODCAST:

THE LONGFORM PODCAST

In terms of episode quality, the average episode of the journalism and literary interview-based Longform podcast usually stands at a consistent nine out of ten on our own carefully calibrated podcast episode quality scale. Every now and then however, Longform will throw up a real scale defying gem of an episode. An eleven out of ten that is perhaps emotional or just extremely insightful, or surprising. Past examples include interviews with Ed Caesar, Te-Nehisi Coates and John Grisham, but the most recent is episode 268 with Jim Nelson, editor of American GQ. As well as an in-depth list of his favourite GQ articles and countless quotable snippets of wisdom, Nelson charts the varied trajectory of his own career which began with television news at CNN, took him to Hollywood writing for sitcoms and then into magazines. Most surprising, is despite his position, Nelson avoids social media. He also interned at a magazine when he was thirty years old to get a foot into the business, a risk that paid off.

Available to download on iTunes; longform.org

THE EXRACT:

Priceless Advice With Musician/DJ Lost Frequencies Felix De Laet, better known as Lost Frequencies, is a multi chart-topping and platinum DJ who broke out of the Belgium house community in 2014. The global smash hits ‘Are You With Me’, ‘Reality’, ‘Beautiful Life’ and much more have amassed over an astonishing 1.2 billion views across Youtube and Spotify in the past three years.

We had time to ask Felix a simple question, how did he make a name for himself and what advice would he like to offer to aspiring musicians. It’s a question that cuts out all the fluff and gets right to the valuable point.

99% LIFESTYLE www.99PercentLifestyle.com Twitter: @99PercentLifest Instagram: @99PercentLifestyle

LF: I have always had an interest in music, every genre you can think of such as rock, dance, hip-hop, and it wasn’t until I started experimenting myself that I realised what could be made digitally.

My father gifted me a computer, several years ago now, and I taught myself music on Garage Band at first. The great thing about the internet is that you can teach yourself techniques and educate yourself further on certain things, which is exactly what I did. I learnt a

lot on YouTube via tutorials and it grew from there.

Armada first got interested in me when I had a message from them on SoundCloud – I thought my friends were playing a trick on me – but it was the real deal and everything grew from there, from one person discovering my music online.

For any aspiring musicians out there that want to turn music into a job then I would say that you need to be prepared to work hard, night and day. You need to understand that you will be working crazy hours and that spending a long time away from home and a lot of travelling is the basis of what artists do. But if you want it enough, you’ll make it work.

CR: Felix broke out after someone heard his music on Soundcloud. Famous US entrepreneur Gary Vaynerchuk once gave some advice for musicians who wanted to break out in the music industry, he simply said that you are only one piece of content/song away from making it.

This paraphrased quote compliments the story and advice from Felix De Laet perfectly.

WHAT WE'RE DRINKING:

THE DETAILS UNIVERSAL WORKS X LOGIQUEST UNIFORM

Last issue, we touched upon Nottingham-based makers of fine clothing (they’re not a brand) Universal Works and their collaboration with new Japanese courier service Logiquest, and this month the collaboration inally launched. The collaboration came about when UW Co-director and designer David Keyte was approached by the head of the courier service to design a uniform for them. It’s hoped the uniform will attract a younger workforce and change the image of a courier, with pieces including unstructured suiting, overshirts, yellow windbreakers and trademark UW silhouettes. We’re obviously jealous, but also inspired. It begs the question why more companies aren’t making small but strategic efforts to improve the look and feel of their workforce. A far cry from the time Trinny and Susannah designed uniforms for the supermarket Somerfield.

NORTHERN MONK: NORTHERN MONK PATRONS PROJECTS 4.03 DDH DOUBLE MANGO LASSI IPA The third offering from what we hope is an everlasting collaboration, Northern Monk and tropical-fruit-fanatic-turned-illustrator Drew Millward. The two have once again pulled it out of the bag, the fridge and the keg with their Double Dry Hopped Mango Lassi IPA. In awe of both the beer and the artwork (which you can now hang on your wall - drewmillward.com) we put it to NM founder Russel Bisset whether great artwork makes great beer...

Do you think the artwork on a can is able to enhance the flavour of a beer?

Russell Bisset: No. Is the short answer.

However I wholeheartedly believe that the packaging can enhance the user experience. I believe drinking beer is all about experience.

That experience starts when you see the beer on the shelf and continues when you’re reading the label on the train home. If you can connect with people, make them laugh, inform them of something, help them engage more with what you’re doing or just make that journey pass faster, then you’re winning. I liken it to buying a record when growing up and you’d be on the bus and desperate to interact with it in some way because listening to it wasn’t an option until you got home. You’d devour the sleeve notes cover to cover trying to absorb as much as possible and get as close to the record as you could without listening to it. Sometimes you want something cold wet and fizzy because it’s 30c and you’re more interested in not cremating your burgers on the BBQ. Sometimes you want to sit down and read about the thought process behind a beer, what inspired the brewers to brew it, the artist that produced the illustration, the hops used, the EBC, the IBU. I like to think we cater for both.

WHAT WE'RE WEARING

THE DISASTER ARTIST

THE EDIT FOLK

in association with Coggles.com featured from left to right Universal Works N1 Jacket – Military Olive | £200 YMC Chino Turtle Neck Top Ecru / Navy | £125

Barbour Brignall Lambswool Scarf Olive/ Brown | £26.95 Nudie Jeans Lean Dean Slim Jeans Dry Cold Black | £89 PS By Paul Smith Hamilton Suede Lace Up Boots Anthracite | £235 Folk Interference Roll Neck Jumper Ecru | £160 All items are available at Coggles.com

Style without drama is the motto of the 15-yearold ‘street wear and architect-designer’ aesthetic clothing brand, Folk. Creating casual clothing with a modern British spin, the focus is on the little extra details you may not appreciate until after you buy. Taking inspiration from the rag trade and labels with no obvious branding, Folk began producing apparel which avoided the trend spotlight.

Knowing their customers are “media savvy guys with a flair for technology who have their fingers on the pulse”, they focus on taking care of their own, creating clothes with them in mind. A trio of quality, exclusive fabrics and attention to detail is what makes Folk the successful brand it is today. A staple of the Folk collections, and a necessity for surviving in the peak of winter is the Interference Roll Neck. A lamb’s wool and nylon blend knit, it is a key piece for layering in any Folk man’s wardrobe. Featuring bold patches in a reverse knit on the sleeves and body, the ecru jumper will be a key feature in your wardrobe for A/W.

folkclothing.com

It was always inevitable, wasn’t it? It was too bad in such a great way not to be taken up for an eventual Hollywood comedy. The Disaster Artist, James Franco and co’s latest is an adaption of the best-selling book by Greg Sestero and Tom Bissell which charts the making of what many deem as the worst film ever made. It’s hilarious and bittersweet at times, just like The Room itself, but it also makes you think, was he in on it? Was all of this part of the plan? Although the cost to make the film is often disputed, has Wiseau managed to recoup the reported $6 million production costs with the steady stream of international novelty screenings and DVD sales? Was his five year hire of a prominent LA advertising board the best marketing campaign ever? Are the rumours true that he is planning to convert the film to 3D for more cinematic releases? So many questions, but what’s certain is The Disaster Artist is only going to add to the unstoppable cult momentum of Wiseau’s finest work.

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YOUR LIFE, STYLED.

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words by DAVEY BRETT photography by THOMAS SUMNER

Paul Smith: A Series of Encounters After more than five decades in the clothes game, Sir Paul Smith shows no signs of slowing down. Last month, we caught up with Britain’s foremost male fashion designer to ask among other things, what keeps him going?

“I just think one day

a very large double decker red bus will fall on my head...”

1 T

here’s a moment during his talk to fashion students at Manchester’s Whitworth gallery when Sir Paul Smith, the iconic one man international fashion b(r)and, turns into a sheep. A merino sheep, to be precise. The transformation is only brief, a quick drop to all fours, hand gestures to indicate an especially long coat of wool and then back to his feet to explain the intensive weaving process, but the transformation is rather telling.

In part, it illustrates how at a grand old age of 71, Smith is still extremely nimble, but also at the grand old age of 71 he is still having fun.

The first time I encounter Paul Smith, he’s in his new Manchester store, a bright glass-fronted space, with trinkets galore and a host of garments for men and women. More precise details stand out too. On the wall opposite the till is a grid of shelves each exhibiting a Paul Smith designed Anglepoise lamp. Spread across the interior walls are a collection of works by Jean Basquiat and stacked up on one of the tables are a curious set of wooden cubes, glass fronted, with small delicate models inside. Twist a handle on the side and the model moves. Everything in the store, from furniture to artwork as well as clothes is for sale. A feature of Paul Smith stores that has continued

from the early days.

Those early days, or the Paul Smith story, is one well known. Lad from Beeston near Nottingham, a serious cycling enthusiast, has a serious cycling accident. Whilst in hospital, befriends the local art kids and is introduced to the world of art and fashion. Takes evening classes in tailoring and moves in with the love of his life, Pauline (Royal College of Art graduate, couture fashion enthusiast), whilst working in a clothing warehouse showroom.

His window displays impress and soon get him a job as a buyer. Joins Lincroft Kilgour of Savile Row, where some of his designs are worn

by George Best. His first shop, Paul Smith Vêtements pour Hommes launches in 1970 in Nottingham and it’s all up from there. Smith now sits upon a fashion empire that has 39 directly owned shops, 180 franchises in over 60 countries and 250 stores in Japan. In 2015 the brand had a turnover of £192m.

Speaking of George Best, that’s where our conversation begins. Well, sort of. I come to the interview bearing gifts, one of which is a bar of Romanian chocolate and immediately, Smith has a story. “I’ve got his [Nicolae Ceaușescu, infamous Romanian dictator] old tracksuit.” He says. “A friend of mine who visits that whole area, he did a really lovely book called ‘CCCP’

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it’s all on Soviet architecture. He’s called Frederic Chaubin. He’s instantly got this tracksuit. So I got it in this funny old equivalent of a Tesco bag. Anyway, I’m a big chocolate fan, thank you.”

When asked about Manchester, for Smith, George Best comes to mind. He mentions coming to Lancashire when he was younger, buying fabric from merchants and later it was all about the clubs, notably the Hacienda, “Peter Saville, he’s a mate of mine, I see him most weekends for a coffee”, but it’s the world’s first real celebrity footballer that seems to stick. “My boss used to say, ‘Paul, George has done a runner again. take the Roller’, because they had two Rolls Royces at the time, ‘go pick him up from the Heathrow lounge.’ Rest of the day we’d hang out.”

“Then I’d be trying to get up to Nottingham, and he’d be like ‘which club we going to?’. He used to just get on a plane to London. I had a flat in Putney and he used to stay at the flat, we’d get something to eat. I think he was fascinated. We got on really well because I never talked about football. He was just fascinated with lateral conversation, about architecture. Stuff I was interested in. He’d never had a conversation about architecture in his life. It wasn’t heavy. I’d say like, ‘Oh I like the simplicity of that building, or that Gothic building.’ Then he’d be like, interested. It was a release.” At a time when the tabloid headlines were ablaze with stories of George Best going missing, it’s funny to imagine the two pootling through London together, pointing out buildings under the nose of The Sun. Smith has admirable patience. As I ask him two duff questions about books and films, despite not being much of a reader or watcher, he makes the effort to give a relevant answer.

“I’m not a big reader, because my mind is very active, very all over the place.” He says.

“On holiday I’ll read. I quite like biographies or autobiographies because I can draw parallels with them. I’ve read obvious things, Yves Saint Lauren, Dior. I’m a big mate with Hanif Kureishi, so I’ve read most of his books because he gives me them and then tests me when we go for a coffee. I think, fuck, I need to read this book. So normally I read about four pages, get the drift and then go ‘it’s fantastic, I love that bit where…’ I’ve got thousands of books, but they’re nearly all graphic design, architecture, photography, art, so I give them to my studio.”

That’s not to say he doesn’t try.

“I was on holiday, pretending to read because my wife reads a lot, and she said, “Darling, you know you’re holding the book upside

down.” I was like, ‘Ah, yeah.’ I was trying to be all cool.”

As we sit in the corner of his store, I quiz him on a variety of topics and the answers are always informative and amusing, his conversation free-flowing and animated. He still keeps in touch with everyone that has passed through the brand, “It’s really lovely with Paul Smith because you never really fall out of contact with anyone,” and as far as cycling routes go, he’s a big fan of Richmond Park and a hilly slog near his house in Lucca, Italy.

Travel has been key to his success and although there’s still places he would like to see – Patagonia is up there – his ‘visited’ list is long.

You name it, he’s been there, whether for a week, day or even an hour. “I flew from Shanghai to Beijing on Air China. A very long long time ago. And they took off as people were still getting to their seats which was quite interesting and one man next to me had a chicken with him.” He quips.

Our chat in his Manchester store comes to an end with a classic dose of Smith positivity and humour. I ask him if he’s ever had a particularly bad trip and he says never. “I’ve never really had a bad day, I’m very privileged. I’m really privileged. I’m a very positive person, I think every day is a new beginning, I just think one day a very large double decker red bus will fall

child

“Be -like,

but not

child -ish.”

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on my head, which will be, obviously a freak.”

Everyone in the vicinity quickly collectively touches wood. I depart for his talk at the Whitworth Gallery and as I exit, Smith hoists himself up onto the till for a doting photographer.

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he second time I encounter Paul Smith, it’s at the Whitworth Gallery and he has just tripped over a speaker as he waits to be introduced ahead of his talk to fashion students and the public. Nobody really notices, but he styles it out well. Today, Smith is being introduced by former Labour MP for Rochdale, Lorna Fitzsimons. She reveals that she attended a Paul Smith talk when she was an arts student. Another notable name in the crowd that day? One Lee Alexander McQueen.

Paul Smith is a very good public speaker.

He’s articulate, funny, charismatic and knows how to work a crowd. As he talks about his early years and the enlightenment that came with befriending the art school kids after his cycling accident, he quips about his previous naivety.

“I thought Bauhaus was a housing estate near Nottingham.” He talks about the importance of meeting his future wife Pauline and moving in with her two kids, two long-haired cats and two Afghan hounds, the latter he related to.

“We both have long hair and big noses.” Pauline taught him the basics of making clothes at the kitchen table, her expert knowledge of the flowing and elegant proportions of couture proved vital to Smith’s education. As did night classes in tailoring, courtesy of a tutor with a past in military clothing.

Introductions and life stories aside, Paul Smith continues his talk with probably the most memorable part. Standing parallel to the front of the stage, Smith takes up what can only be described as the ancient Egyptian stance. Arms in a ‘Z’ shape, palms flat and fingers wiggling. The hand pointing backwards, as Smith explains, is “Monday to Thursday”, while the other hand, forward-facing, represents “Friday to Saturday”. The hand facing backwards represents the realities of earning and surviving, the forward facing hand being the fun of creativity, and both have to be balanced. “I had to realise that VAT didn’t mean vodka and tonic.” He says.

From thereon it’s a mixture of life lessons and insight, all highly quotable. “Make room to break the rules.” “You can’t do it without doing it.” “Do things that are right, not things that are easy.” It’s an inspirational and revealing talk.

photograph courtesy of Paul Smith

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***

It’s clear that Smith thinks the creative world is over-saturated, whether with designers, photographers, magazines, clothes brands, shops or even just choices, but that’s not to say he doesn’t think people can make something of it, it’s just more difficult than when he began and it requires more of the familiar basics: humour, ingenuity and of course, effort. “You have to push yourself to think differently.” He says.

Creativity is also explored, specifically the power of the camera viewfinder and its ability to inform his work. ‘Work’ being a vast term in this case, including everything from shop fronts to the presentation of a belt in a store to the tearing of a few sheets of Paperchase tissue paper informing the design of a rug. This is Smith at his most fascinating, a theatrical recreation of ‘classic with a twist’, explaining how often unassuming features of daily life have inspired a particular piece. A beach hut morphs into a jumper, a bunch of flowers to a dress. It’s around this point that Smith asks the audience if they would like him to be a merino sheep. “Be child-like, but not childish” he says, as he finishes the talk.

3 T

***

he third time I encounter Paul Smith, he’s greeting me at the reception of his London HQ. Spritely as always, clad in the same blue check suit, white shirt and white trainers (albeit different socks) as previous encounters, he leads me to his office via a four story staircase that doubles up as a gallery.

The walls lined with photographs and artwork. Most notably, attached to the staircase wall is a display case exhibiting a half bitten shoe and a small picture of the dog that was responsible. Smith chuckles as he points it out. I get to the top floor and make my long-awaited entrance into the office of Paul Smith.

Walking into Paul Smith’s office carries a feeling not too dissimilar to walking into the Houses of Parliament for the first time. If you’ve never visited parliament, perhaps swap it out for say, Grand Central Station in New York, or The Vatican or a notable tourist attraction. There’s a familiarity, you’ve seen this place on television or in a magazine countless times, you’ve heard other people describe it, but there’s unfamiliarity too, you’re seeing it from different angles, you’re suddenly hyper aware of detail and there’s also a level of disbelief. Am I really here? It’s a place to soak in.

All soaked in, Paul walks me around the two rooms of his office. It really is an astonishing space, a collection like no other. Despite being a mass of ‘things’, it feels curated as opposed to hoarded. All the famous landmarks are there, the endless books, stacked up as far as the eye can see, the windowsill full of analogue cameras, the meeting table he described in his talk, where he and his staff “sit

down with lots of naughty chocolates, loads of books, some Joy Division on the speakers” and riff through future projects. There’s the artwork, the massive Anglepoise lamp, the pile of cycle jerseys many of which are signed by household names and of course the bikes, of which there are many.

There’s also things that you might not necessarily ever think of, but exist. For instance, Paul shows me a mechanical hand that when turned on, methodically drums its fingers on the table. He jokes that he puts it up his sleeve in meetings and turns it on when he gets bored. Next he pulls out a small box. Inside? The peanut nativity (as in all the characters made out of peanuts and their shells).

A child called Margo sent it to his office years ago. “She used to send a lot of stuff.” He says.

What happened to her? I ask. “She works at the UN now.”

It has no doubt been said before, but the penny doesn’t drop until he points out a sketch of the office’s resident toy gorilla, George.

“Quentin [Blake] dropped by the office not long ago and drew it for us.” Paul says. Willy Wonka. He’s a fashion Willy Wonka. His slender frame (like one of Blake’s illustrations), his eccentricity, his creative imagination, his charismatic nature and as he leads us through the floors of his buildings, there’s a chocolate factory feeling of curiosity and excitement as to what’s behind the door.

Smith takes in every floor. The pattern department, the leather department, even the architecture department, in which they run a ‘material of the month’ competition. Previous samples are all laid out on a table; wall tiles made of compacted pencil shavings; walls covered in dominoes and film negatives combined to give a stained glass window effect.

We go from showroom to showroom, marketing and PR to design. Smith always excitably

greeting a member of staff or showing off a particular detail.

At the end of the tour as we walk back up the stairs to get to his office, I steal the chance to ask him a few final questions before I depart. Why, despite being in the position he’s in, does he remain so friendly, so grounded, so approachable? In a field where so many people at his level are the exact opposite, unapproachable, not grounded, unfriendly – how come he is different? His answer is simple and sincere.

“At the end of the day, it’s only clothes.” My final question is even simpler. What keeps Sir Paul Smith going? He chuckles.

“Love of life is the answer. Being positive.

I swim every morning around 5ish. Go to bed around 10ish. If I’m at home I’m happy to go to bed early. The missus is reading and I’m there holding my book upside down.” EJ

16 | The Essential Journal

Issue 28

Issue 28

ONE THING DONE WELL:

MOSCOT Our series of brands doing one item of menswear especially well continues this month with MOSCOT eyewear

B photography courtesy of Moscot

#6 The Essential Journal | 17

y no means should a great story be the sole reason for buying into a product, but that’s not to say a great story doesn’t help. The story of MOSCOT eyewear is an especially irresistible one. Not because of drama, or plot twists or because they invented glasses. The MOSCOT story is irresistible because it has a cinematic quality to it. It is about a family that over five generations have stuck to what they were good at through thick and thin, and because they got so good at it, and because they amassed such a following both locally in New York and internationally, high and low-profile, they built a truly iconic eyewear brand.

As fifth generation Moscot and Vice President/Chief Design Officer, Zachary, puts it: “MOSCOT is rare in the sense that it is a multi-generational American heritage brand focused only on eyewear. Try to find another one of those. The Moscot’s never strayed from their expertise in optics and properly fitting glasses and continue to hone in on their craft.”

The MOSCOT story began as Belarusian immigrant, Hyman Moscot, arrived in New York via Ellis Island in 1889. Hyman, who was in his 20s and had previously worked in optical before arriving, sold readymade eyeglasses from a pushcart on Orchard Street. Said Street, on Manhattan’s famed Lower East Side, would continue to be at the heart of the MOSCOT brand for over a century. With a loyal following amassed, a first retail store was opened at 94 Rivington Street, followed by a new and lasting home on the corner of Orchard and Delancey.

The brand would remain there for over 8 decades. Only after their home was bought for development did they move and even then, it was only over the road.

More than likely, you’ll know what a pair of MOSCOT glasses look like. You’ll appreciate they’re iconic, without necessarily knowing. For instance, have you ever seen a picture of Truman Capote wearing those black glasses, same as Buddy Holly? Have you ever seen Andy Warhol wearing those clear ones? They’re MOSCOT (Lemtosh and Miltzen styles respectively). Johnny

words by DAVEY BRETT

Depp in Secret Window Lemtosh again. Theirs are particular styles and silhouettes that stand out, glasses that throughout history have always been on famous faces. Some silhouettes will be more prominent than others at different times, but key to the MOSCOT appeal is they always carry a classic aesthetic that affords them a timeless feel. Zachary puts it more succinctly: “Over the decades at MOSCOT, frame materials and frame shapes have evolved. Different time periods in fashion and New York City culture call for particular looks and styles. Nonetheless, there have always been key shapes that maintain integrity and timeless appeal. For example, we found that rounder styles stay more relevant as they fit the anatomy of the face quite well. MOSCOT has always been known for having round frames in all forms and sizes and it is typically the rounder or rounded-square shapes that we like to call Classiconic™.”

It’s not just about the shape though. Materials are key when it comes to style and comfort. “Materials are getting smarter.” Zach says. “One of our favorites is acetate as it is not only a good-looking material, but also a comfortable and malleable one. We often use acetate and combine it with our metal frames as well, creating a mixed media vibe that both men and women can wear.

At MOSCOT we are keen on the fit, so it is important we use materials that allow us to adjust a frame to one’s face and head shape. Comfort is paramount, and the fit is crucial to ensure clear sight through the lens. We constantly assess the latest lens materials in the market, in both optical and sunglass, and we progressively update our frame construction with newer metal offerings, engraving details, screws, hinges, and coatings.”

One can only wonder what MOSCOT would be like if it wasn’t born and bred in the big apple. The city is part of its DNA. Rumour has it that an old MOSCOT billboard was the inspiration for the Doctor T. J. Eckleburg billboard described in F. Scott Fitzgerald’s ‘The Great Gatsby’. The brand’s stores in various incarnations have always been a New York staple and being situated in a neighbourhood that before its revival was home to a host of artists and creative types (and often shadier characters) only served to propel the brand forward.

Key to the brand’s relationship with the city was their unfaltering commitment to top notch service and fairness. A consistent neighbourhood optometrist attitude.

Another brand doing one thing well courtesy of MOSCOT? Alden of New England, a family-owned heritage boot maker. Zachary admires their commitment to heritage and tradition, crafting quality made goods and sticking with what they do best. The suggestion comes as little surprise, with attributes very close to home.EJ

"One can only wonder what MOSCOT would be like if it wasn't born and bred in the big apple.

The city is part of its DNA."

Issue 28

18 | The Essential Journal

STYLE

words by MEGAN STOREY & MARTHA HOLLINGSWORTH

vs We pit British icons against their cross-atlantic counterparts THE JACKET

BARBOUR

FILSON

In the UK, we all know Barbour as the essential wax jacket. With their familiar waxy finish and corduroy collars, the jackets were born in 1894, as an “allpurpose double breasted outdoor coat, used to protect the wearer against foul weather in all situation”. Originally produced as a wax cape for riding or driving carriages, they featured braces fastened over the body so they could be pulled back as opposed to being taken off. Today, Barbour continues to operate in the North East, the classic wax jackets are manufactured by hand in Simonside, producing over 3,000 garments a week. With many styles and colours available, from the traditional Beaufort to the classic Durham, it is no wonder they’re a firm British favourite. Widely available in stores and worn by the likes of Ewan McGregor and even the Queen, the wax jacket is a winter staple.

Filson is one of the best known and largest outdoor brands in the US. Steeped in a rich American history, the founder C.C Filson started the company in the late 17th century to fulfil the need for durable, high-quality work-wear for the Yukon Gold Rush. As the gold fever cooled off, Filson began focusing on creating clothing for the rugged outdoorsmen. “Tough, comfortable outdoor clothing for hunters and anglers, engineers and explorers, mariners and miners.” It was in this period the original design for the Cruiser Jacket was born. A jacket originally created for mining, hunting and fly fishing, the design has surpassed its utilitarian roots and transcended into an everyday menswear staple. The durable fabric and hard-wearing fastenings ensure the jacket withstands the test of time.

THE SHOES

TRICKERS

WOLVERINE

Kicking about since 1829, Trickers is one of the longest established shoemakers in England. Growing a reputation for outstanding manufacturing quality, they are the maker of choice for heavy country boots and shoes. Originally designed for farming, the boots are simple in execution and the waterproof country footwear is what their devoted customers value so highly today. Undergoing redevelopment in the 1920’s, the classic boot continues to be sworn by for its comfort, practicality and durability. Trickers have since expanded into a variety of town and country shoes and lightweight suede footwear for all occasions, combining style and comfort in one.

Born in 1883, Wolverine Shoe and Tanning Corporation was established by Mr. G.A Krause and uncle Mr. F Hirth in Rockford, Michigan. The brand has over two centuries of tannery trade experience. Their expertise in leather meant that Wolverine was able to develop a unique method of processing shell horsehide which made it soft and pliable. This advancement lead to the introduction of the iconic Wolverine 1000 Miles boot, a hand-crafted, durable shoe said to give you one thousand miles of wear. Said footwear was viewed as the backbone of the American industrial revolution; putting boots on the ground for railroads, skyscrapers and highways. Today the same respect and care goes into creating each pair, in an intricate 300 step process ensuring long-lasting shoes, extra-comfort and timeless style.

THE SPECS

CUTLER AND GROSS

OLIVER PEOPLES

British luxury eyewear brand Cutler and Gross combine impressive Italian craftsmanship with indisputably cool style. Their iconic sunglasses and optical frames come in a range of classic shapes and styles, updated seasonally with on trend splashes of colour. Each design is numbered and remains free from brazen logos, allowing the frames to speak for themselves. The subtle round style of the 1234 glasses makes it a favorable choice amongst their loyal customers.

Featuring an Italian acetate core and wide keyhole bridge, these glasses are certainly a stand out pair. Brand fans include the legendary David Hockney, Grace Jones, Sir Elton John and Madonna as well as a many of the most recognisable faces in the worlds of art, design, music and film.

A brand born in the heart of West Hollywood, on Sunset Boulevard, Oliver Peoples was founded in 1987 upon the opening of its first boutique. The distinctive Los Angeles culture – elements of fashion, film, art, music – continues to influence the vibe of the brand today. Each frame is hand crafted with careful attention to detail and intricate technical processes. Oliver Peoples frames are manufactured in limited quantities with a deliberate anti-logo labelling, relying on superior craftsmanship and the unique Californian brand culture to endorse their products. Inspired by the classic frames worn by the LA Dodgers’ former owner and made famous in the American Psycho film, the O’Malley RX frame is one of the most recognisable Oliver Peoples designs; rounded lenses, hand-laid pins and a substantial five-barrel hinge make them a classic.

THE SHIRT

OLIVER SPENCER Starting out working on a stall in Portobello market, abandoning studenthood, Oliver’s love for garments and cloth flourished. With the philosophy that quality didn’t have to mean formality and casual didn’t have to mean carelessness, Oliver Spencer began creating timeless menswear pieces to last a lifetime. Wanting to create something new, he designed a range of clothing which married both the quality and craft of premium tailoring, with a relaxed, contemporary style.

The UK born brand can take you from the office to dinner, with carefully designed shirts in a style for every occasion. Whether it’s the granddad shirt, the Eton collar or the New York special, each is carefully created with your lifestyle in mind. The range of checks, stripes or if you prefer, plain, makes the choice between warm indigo and Hutton charcoal that little bit harder.

GITMAN With their roots tracing back to the 1930’s, Gitman hold a name synonymous with rich American heritage manufacturing. As one of the few remaining shirt makers with their production all based in the USA, their trademark remains strong. After leaving New York, Max Gitman opened the Ashland Shirt and Pyjama Company, before the Gitman Bros brand was born in 1978. Their selection of shirts and ties are all made by skilled artisans who bring quality, history and individuality to each garment they make. In 2008, after a successful journey in the industry, they launched Gitman Vintage paying tribute to the brand’s rich heritage alongside a unique interpretation of the past. Reworking patterns, scale and construction and tweaking them with dyes to create a whole new meaning.

Look no further for a variety of flannel, denim, corduroy or velvet shirts in every colour possible.

Issue 28

The Essential Journal | 19

WHAT’S ON Liverpool Philharmonic December – March Sunday 3 December 8pm

LAUGHTERHOUSE – Sunday 3 December 8pm Music Room

MOULETTES –

Saturday 9 December 7.30pm

KATE RUSBY AT CHRISTMAS – Sunday 24 December 11am & 2pm Film

IT’S A WONDERFUL LIFE – Friday 26 January 8pm

DEAR ESTHER – LIVE – Sunday 18 March 7.30pm Acoustic Tour 2018

LEVELLERS

Box Office

liverpoolphil.com 0151 709 3789 – LiverpoolPhilharmonic @Liverpoolphil Image Kate Rusby

Issue 28

20 | The Essential Journal

• OP EN I N G D E CE M BE R 16TH 2017 • IN TH E V ERY H EA RT O F LIV ERPOOL , L 1 , H1780 TA P & STILL O FFERS A U NI QUE E XP ERIEN C E, WE H AV E O U R OWN B R E W E RY A ND DISTILLERY CO MPLEMEN TED BY S I M PLY COO K ED FO O D WITH TH E FIN EST QUAL I T Y IN G RED IEN TS...

TO MAKE A BOOKING OR DISCUSS AN E VE N T PLEASE CALL BECKY ON

0151 305 1292 h 17 8 0 t a p st i l l . c o . u k 62-64 Bridgewater St, Baltic Triangle L1 0AY

Issue 28

LIFESTYLE

The Essential Journal | 21

words by DAVEY BRETT

INTO THE GREAT WHITE YONDER As adventurer Scott Sears embarks on a gruelling expedition to become the youngest ever person to walk unassisted to the South Pole, we caught him on the eve of his adventure to delve into preparation, supplies and whether he’s allowed to take an ipod

B

y the time you read this, Scott Sears will already be there, trekking through one of the most unforgiving and inhospitable parts of the planet. Sears, a lieutenant in the First Battalion Royal Gurkha Rifles, is attempting to become the youngest person to walk solo to the South Pole, completely unassisted and unaided. If successful, at the age of 26, he will beat the record by two years. The expedition, which will see temperatures range from 0 to -60 and take in a route that passes through crevasse fields (massive cracks in the ice as deep as 100m and as wide as 20), glaciers and the Antarctic plateau, is at minimum a huge challenge and at maximum, potentially deadly.

As part of the 1130km trek, Sears is also looking to raise £25,000 for the Gurkha Welfare Trust which will go towards helping to rebuild schools destroyed in the Nepalese earthquake of April 2015. Fittingly, British-made extreme weather clothing company, Shackleton (named after the explorer himself) will provide a range of clothes for the expedition, with Sears wearing an upgraded version of the brand’s polar range. Luckily for him all Shackleton clothing is quality tested in Antarctica. On the eve of his departure (to Chile, and then Hercules Inlet at the southern end of Antarctica’s Weddell Sea) we quizzed him on the challenges ahead. EJ essential journal: On the eve of the expedition how do you feel? Are you nervous? Is there a level of mental preparation you have to do? Are there techniques? scott sears: I’m definitely excited more than anything, there are obviously nerves as well but I’ve been looking forward to this moment for two years so I’m just elated it is finally here. For me it is important to feel confident going into the start of the expedition, the week leading up to departure I’ve been going over all my kit, rehearsing in my head everything that could go wrong - how I would then deal with it, mentally being prepared for any outcome helps build confidence in my plan.

Aside from the obvious overarching danger of death (sorry to bring this up), what obstacles will you face?

Crevasses are by far my biggest danger. As a solo traveller I obviously don’t have anyone I can be roped up to, so the only real fix is avoidance. My route takes me around the most heavily crevassed areas which are known through previous expedition reports and aerial photography.

The next biggest danger to my life will probably be my own decision making, as you get more and more fatigued both mentally and physically, your decision making can become seriously impaired. Especially if you have been in a white-out with very little visual stimulation either.

It is essential that I am constantly questioning my own decisions and making sure I’ve considered everything before setting off, tiny mistakes can be catastrophic in an environment as inhospitable as the Antarctic.

Talk us through your training regime. How does your gym preparation for this expedition differ from your typical military regime?

I’m very fortunate that being in the light infantry, we have to carry everything on our backs when we are out in the field. I have spent the last two years out in Brunei in the jungle where resupply is even more difficult, so we would be carrying even heavier loads than normal.

It wasn’t uncommon to be carrying over half your body weight through some horrific terrain. I’ve combined a strength and conditions program alongside the military physical training as well. There is also no substitute for getting out there and dragging two tyres to recreate the strain of pulling a pulk (sled).

What's the most intense endurence expedition you have done prior to this?

I crossed Svalbard [a Norwegian archipelago between mainland Norway and the North Pole] from West to East earlier this year by myself, there is the threat of polar bears there which adds an entirely different element to travelling solo. I had horrific conditions the entire time I was there and it was great preparation for Antarctic Gurkha.

Talk us through the navigation and survival preparation you have done for the expedition.

All my navigation has come through the Army. When you are in the jungle you can’t see more than 5 metres in front of you a lot of the time, you have to do everything off a bearing and pacings, not dissimilar to an Antarctic whiteout. I’ll also have a GPS in Antarctica to be able to confirm my exact location.

Are you allowed to take an iPod? A camera? How will you deal with the issue of boredom?

Thankfully I’ll have my iPod with me! I’m a country

“Thankfully I’ll have my iPod with me! I’m a country music fanatic so that will be the majority of my listening!”

music fanatic so that will be the majority of my listening, I’ll also have a mix of podcasts and audiobooks. I am indeed [taking a camera], I’ll be recording everything from start to finish which will hopefully be released later in the year.

Talk us through your attire for the expedition. How many layers?

I was fortunate to work with the Shackleton Company here in the UK to build a pretty impenetrable layer of clothing. On the outside I have an enormous down jacket that is good down to -65C, this is for when I am stationary or putting up my tent. When I’m skiing I’ll have an outer wind proof layer with hood and fur ruff, then a thin down layer, followed by polar fleece and a merino onesie under that. Sweat is your biggest enemy in the polar regions so I’ll be constantly stripping layers to ensure I am regulating my temperature.

Talk us through your supplies I’ll have enough food and fuel to keep me alive for 50 days alone on the ice. This works out at more than 325, 000 calories and 5 gallons of fuel for my stove. I’ll be burning between 7000-9000 calories a day so the vast majority of my 100kg will be food.

Issue 28

22 | The Essential Journal

LIFESTYLE

words by JOHN THONRTON, themodernman.co.uk

Top Winter Grooming Tips From turning up your moisturiser to turning down your shower

Y

ou’d think the heat of summer would be when your body dries out, but it’s actually the harsh winds and sandpaper-dry central heating air of winter that leave you cracked like a desert. Cracked skin, frazzled hair, ruined hands - it really is the most wonderful time of the year. Here’s how to keep everything running as smooth as Santa’s production line.

Getting from your bed to the bathroom can feel like forty miles across frozen tundra, so once you reach the sanctuary of your shower you probably want to crank the heat up - but piping hot water isn’t good for your skin any time of the year, let alone winter. It’s a surefire way of leaving your hair and skin dryer than the nut roast-afterthought served up to vegetarians on Christmas Day. You don’t need an ice bath, but keep the temperature to a gentle warm.

Cut back on shampooing too - try going an extra day without it to help maintain your hair’s natural oil, it’s in shorter supply in winter - and opt for an extra hydrating conditioner to further moisturise your hair.

Speaking of hair, December’s not the time for a skinfade (unless you want your ears glowing like a certain reindeer’s nose). Keep it a grade or two longer on the sides, with a little extra on top too. You may find you want a lighter styling product to handle your longer locks, so switch to a styling cream for a gunk-free natural finish.

Growing your beard out is a good call too, just keep the skin underneath hydrated with a few drops of beard oil.

It goes without saying, but moisturiser is more important than ever - it’s probably worth switching to a richer, extra-hydrating formula. Most of your body’s repairs happen whilst you rest, so start moisturising before bed too to improve your skin’s recovery. Exfoliating an extra time a week will help remove dry cells, stopping them clogging your pores.

Looking for alcohol-free products will also help to not dry your skin out, and whilst it’s unlikely to crop up in your grooming products, something else to watch out for is wool. Itchy jumpers, scarves and gloves can further irritate already dry and sensitised, whilst exacerbating conditions like eczema. If it feels itchy on the rack, it’s odds on to cause issues once it’s on you. Opt for a softer-wool blend, or get savvy with layering cotton.

Finally, we come to your hands. They take the brunt of the winter battering, often turning from dry to scabby and scaly. All the same rules apply - wash your hands with cooler water and use alcohol-free soaps and richer hand creams. Another great, though not so fashion-forward, tip is to invest in a pair of rubber gloves for when you’re washing up...or use it as an excuse to ask Santa for a dishwasher - let’s be honest, it’s time you stopped asking for that train set. EJ

Issue 28

STYLE

The Essential Journal | 23

words by ANGHARAD JONES, coggles.com

A Handsome Home:

Dark Interiors

photography courtesy of coggles.com

Nights are drawing in, the festive season is dangerously close and the desire to forgo nights out in the city for an evening at home is becoming an ever-increasing reality. Welcome to winter, folks.

T

here’s been a noticeable shift in interiors of late. That clean minimalism of white walls and teak furnishings that has dominated the best of spaces over the past few years is evolving, with darker, heavily pigmented hues now being adopted over their stark counterparts.

It’s a richer, more dramatic take on décor but it’s also one that feels contemporary and very now.

The reason behind this 360 in décor is (as ever) open to interpretation. It may simply be a desire for something completely different, or perhaps it’s the first sign of an anti-millennial pink movement. Looking deeper, it could be (as we’ve seen in fashion) a reaction to global political instability, with designers using their platform to reflect the times we live in. Either way it’s a refreshing take on decorating a space, it’s one that’s likely to stick around and it just so happens that it makes for a very handsome home.

It comes as no surprise that the Danes, with their eye for design and penchant for Nordic Noir, are amongst the first to adopt this moodier take on interiors, and Copenhagen-based brand Menu is at the forefront.

Managing to take this look and apply it to the strippedback aesthetic that has become the brand’s signature, Menu’s latest pieces are timeless rather than simply part of a trend to be replaced in a few seasons’ time.

This season’s selection of Menu at Coggles is a mix of the clean lines and modernist silhouettes made famous by Denmark’s mid-century designers, industrial-inspired design and a variety of deeper shades that sit alongside its existing cult favourites. Expect modern pieces finished in charcoal greys, jet blacks and rich olive greens balanced with brass, coated steel and raw concrete that will fit seamlessly into your existing space. It’s a welcome move to the dark side, as if you ever needed the excuse. EJ Menu is available at Coggles.com

24 | The Essential Journal

Issue 28

Issue 28

The Essential Journal | 25

UTILITY STYLE

words & photography by MEGAN STOREY & MARTHA HOLLINGSWORTH

An iconic member of Liverpool’s independent shopping scene, Utility is a trilogy of stores capable of filling your home with smart scandi furniture to curing your secret santa brick wall.

We stopped by each location to discover festive treats and new furnishings for the new year

First Stop.

Utility Gift Boutique 86 Bold Street

Second Stop.

Utility Home Store 60 Bold Street

Third Stop.

L1 Utility Gift Boutique 8 Paradise Place

One of two locations situated on Bold Street, Utility Gift store is a mecca for all things gift wrap and greetings card. A curated collection of witty worded and quirky designs means you’re guaranteed to find exactly what you want to say for any occasion. As well as having the wrapping covered, Utility also offers an assortment of unique gifts and carefully selected paraphernalia. From stationary to ceramics, bookends to candles, Utility’s philosophy that the pleasure of gift buying should not be hampered by budget limitations is truly embodied through their selection of products. The store hosts an edited selection of world renowned brands as well as flying the flag for regional design. For patriotic Liverpool inhabitants or admirers of the city, Utility features an eclectic variety of Merseyside merchandise including prints of Liverpool’s iconic architecture, skyline mugs and even miniature replicas of the area’s distinctive purple wheelie bins. All products in the Bold Street No.86 store are well-designed and hand-picked, ensuring an easy search for the perfect present - no matter who you’re buying for.

Number 60 Bold Street is home to Utility’s Home store. A small but perfectly formed boutique of contemporary furniture and well-designed homeware. Their intelligently selected collection of chairs, tables and storage units ranges from cutting edge, modern styles to classic icons of design. A rich choice of textures and materials means you can combine styles to create a unique arrangement suited perfectly to your taste.

With best-selling brands, such as Hay, Droog and Normaan sitting pride of place within the sleek interior, it is unsurprising that a Scandinavian aesthetic stretches across the entire store. Chic pendant lamps hang from the ceiling whilst a scattering of floor lamps are interspersed throughout the back of the store. A multitude of armchairs, coffee tables and ottomans also accompany the selection of sofas; imagining the ideal upholstery set-up for customers to seek inspiration. As well as the larger pieces, Utility also stocks a range of eclectic home accessories to add the finishing touches within any room of the house. Whether its utilitarian storage solutions, unconventional dining table centre pieces or adding a pop of colour with luxurious soft furnishings, you can find something to satisfy any homeware conundrum.

Located in the heart of Liverpool’s most popular shopping destination, Liverpool One, Utility Gift store has an array of uniquely curated items. With a refreshing and airy store space it is easy to find yourself overly engaged in the display of heavily decorated wall space. From lighting to scented candles, stationery to furniture, Utility is a place with everything for anyone, anytime. No matter whether you’re looking for something romantic or humorous, for friends or family, the gift Utility store offers a helping hand for those more difficult gift’ees. This particular store offers a charming medley of jewellery and watches alongside their iconic gifting.

Featuring well known brands such as Skagen, Daniel Wellington, Mondaine, Komono and Dansk Smykkenkunst, their refined selection of necklaces, earrings and luxury watches are a unique selling point for the store, offering a combination of high and lower end priced gifts. The contemporary, stylish jewellery is carefully designed by Europe’s leading and innovative designers and are the perfect present for birthdays, Christmas, anniversaries or even a treat for yourself, making Utility the go to place for stress free buying.

Issue 28

26 | The Essential Journal

LIFESTYLE

words by DAVEY BRETT

Recipe of the Month:

Migas De Couve Frisada e Cogumelos (Kale Migas with Mushrooms) This month we delve into Lisboeta for a traditional dinner offering from Europe’s go to up and coming city

SERVES 4 INGREDIENTS 80g white button mushrooms, thinly sliced 50ml extra-virgin olive oil, plus extra to serve 160g cornbread, sourdough or other rustic loaf cut into cubes 2 tablespoons olive oil 2 tablespoons pork fat 2 garlic cloves, crushed A small bunch of coriander, stalks and leaves finely chopped 100g kale, sliced Smoked paprika, to taste Sea salt flakes and ground white pepper

METHOD Put the mushrooms in a bowl. Pour on the extra-virgin olive oil, season with salt, pepper and paprika and stir. Set aside to marinate while you cook the Migas.

Put the bread in another bowl and pour over boiling water to just cover it. Season with salt, pepper and paprika, stir well and set aside.

Heat the olive oil and pork fat in a pan over a medium heat. Add the garlic and coriander (reserving some coriander leaves to garnish, if you like) and cook gently until fragrant. Increase the heat slightly, add the kale and fry for a few minutes until it starts to wilt. Add the soaked bread and cook for about 10 minutes, pressing it down with a spatula. As it cooks, incorporate it with the kale and let any liquid evaporate.

When it crisps around the edges, turn it over and continue to fry until golden brown. The final texture should be crispy on the outside and soft inside, a little like bubble and squeak.

Transfer to a serving dish and spoon the marinated mushrooms on top. Serve immediately.

H

ave you been to Lisbon yet? If you haven’t, you should. Not because it’s at the top of all those lists or because the trendy people in your office swear by it, but because it’s genuinely delightful. It’s warm, colourful and quaint, a pleasing balance of very old (Lisbon is the oldest city in Western Europe) and very new with a lot going on. Alongside a recent boom in tourism, a culinary revolution has also sprung to the fore.

A proud ‘Lisboeta’ (the Portuguese word for someone from the city) himself, Nino Mendes left the Portuguese capital as a plucky teenager looking to travel and pursue an interest in marine biology. Food peaked his interest in Miami and upon realising he could carve out a career in cuisine, more travelling led him to London where he finally settled. Mendes’s new Portuguese restaurant Taberna do Mercado follows on from the success of Hoxton’s Bacchus and other London culinary outings including The Loft Project, paparazzi hotspot Chiltern Firehouse and Viajante where he was awarded a Michelin star.

With Lisboeta, Mendes celebrates the food of the city in which he was born. As he admits in his book, Portuguese cuisine is one that is often overlooked. It’s fair to say most people’s go to reference is likely the local high street’s cheekiest Peri Peri establishment. Few are likely to touch upon Migas for instance, a light dish with texture built upon a fragrant base of soaked bread infused with herbs and spices, fried until golden. Migas is just one of a host of new and exciting recipes in Lisboeta. Seafood is prominent, as are cured meats and the aromatic mix of coriander and paprika. Most surprising however, is the effort put into snacks. We can confirm that salt cod cakes and prawn turnovers go perfect with a beer and yes, those little custard tarts you had on your last Airbnb city break are in there too. The best place to begin? A simple, healthy and sumptuous Kale Migas with Mushrooms. Delicioso. EJ

We can confirm that salt cod cakes and prawn turnovers go perfect with a beer and yes, those little custard tarts you had on your last Airbnb city break are in there too.

Recipe extract taken from Lisboeta: Recipes from Portugal’s City of Light by Nuno Mendes (Bloomsbury, £26)

OUTLET. CHRISTMAS SHOPPING AT MCARTHURGLEN DESIGNER OUTLET CHESHIRE OAKS

Cheshire Oaks is the UK’s largest designer outlet where you’ll find all your Christmas wishes for up to 60% less, located just 30 minutes from Liverpool and 45 minutes from Manchester.

Cheshire Oaks Designer Outlet, Ellesmere Port, Cheshire, CH65 9JJ @cheshireoaksdesigneroutlet

McArthur Glen Cheshire Oaks Designer Outlet x The Essential Journal

WHAT’S ON IN: CHESHIRE OAKS It’s the most wonderful time of the year at Cheshire Oaks Designer Outlet. Festivities kicked off last month with a night of live music and an explosive firework display to mark the switch-on of the 90ft walk-in Christmas tree.

Throughout December, all the stores are open until 10pm for midweek shopping to ensure you check everything off your Christmas gift list, with plenty of savings to be had across the entire designer outlet, from up to 60% off the RRP at Paul Smith, free gift wrapping at L’Occitane and discounted designer watches at Watch Station.

After a full day picking up yuletide goodies, dine in a selection of restaurants offering dishes bursting with seasonal flavours. Stretching across the entire advent season, Cheshire Oaks is also offering a whole host of festive fun and entertainment, with something special for every member of the family.

T: +44 (0) 151 348 5600 OPENING HOURS Late night shopping during December until 10pm.

Christmas Eve 10:00am - 17:00pm Christmas Day CLOSED Boxing Day 08:00am - 19:00pm New Year’s Eve 10:00am - 18:00pm New Year’s Day 11:00am - 17:00pm

PERSONALISATION AVAILABLE IN STORE

COMPLIMENTARY GIFT WRAPPING

CHESHIRE OAKS CHRISTMAS SALE

Make it personal with complimentary monogramming and engraving at the following stores: Fossil, Radley, Ugg, Thornton’s, Lindt and Belstaff.

Struggle with wrapping those Christmas treats, take the stress out of Christmas and enjoy free gift wrapping/boxing at: Molton Brown, Rituals, Links of London, L’Occitane, Paul Smith and Osprey London.

Save even more on outlet prices at the Cheshire Oaks Christmas Sale, with up to 70% off the RRP. Sale starts 8am Boxing Day.

McArthur Glen Cheshire Oaks Designer Outlet x The Essential Journal

FOR HIM. Treat the men in your life to the perfect present this Christmas with a range of designer accessories, luxury body care or modern apparel for all occasions. Cheshire Oaks has something for everyone, so make your Christmas shopping that little less chaotic and find all your gifts in one place.

THE PRACTICAL GENTLEMAN’S PARCEL The perfect collection of accessories to fill any style savvy gentlemen’s wardrobe. From a set of statement cufflinks to a classic leather belt, this giftbox has every base covered.

Kurt Geiger Navy Maltby Desert Boot RRP: £99.00 | Outlet: £69.00

Moss Bros Fairisle Socks RRP: £10.00 | Outlet: £8.00

Ted Baker Bomber Jacket RRP: £109.00 | Outlet: £69.00

Wrap up warm in our selection of seasonal outwear, accessories & footwear Diesel B-Star Belt RRP: £40.00 | Outlet: £26.00

Thomas Pink Cufflinks RRP: £99.00 | Outlet: £39.00

Fossil Brown Mens Workbag RRP: £189.00 | Outlet: £122.00

Rituals Samurai Gift Set RRP: £29.50 | Outlet: £20.65

McArthur Glen Cheshire Oaks Designer Outlet x The Essential Journal

FOR HER. Find a unique selection of incredible gifts sure to fulfil every lucky lady’s Christmas wish list. Whether it’s a glitzy bag perfect for the party season or a luxurious coat ready for cold winter walks, Cheshire Oaks is the place to satisfy all your gifting desires.

THE PARTY PARCEL Dressing for the party season has never been easier with this giftbox. Pair these glitzy heels with an equally dazzling bag and throw over a shearling jacket for heading home after a night of dancing.

Joules Knitted Bobble Hat RRP: £19.95 | Outlet: £13.95

Rituals Voyage En Inde Perfume RRP: £39.00 | Outlet: £27.30

Kurt Geiger Lara Heels RRP: £79.00 | Outlet: £39.00 Jack Wills Chepmel Overcoat in Damson RRP: £198.00 | Outlet: £132.00

Osprey London The Madison Leather Backpack RRP: £225.00 | Outlet: £125.00

Get festive season ready with our range of glam party accessories Reiss Black Leather Shearling Jacket RRP: £795.00 | Outlet: £595.00

Kurt Geiger Rocky Sport X Body RRP: £49.00 | Outlet: £39.00

Michael Kors Access Bradshaw Smartwatch RRP: £359.00 | Outlet: £179.00

Molton Brown Delicious Rhubarb & Rose Cracker RRP: £40.00 | Outlet: £22.00

McArthur Glen Cheshire Oaks Designer Outlet x The Essential Journal

FOR FOR KIDS. HOME.

Don’t forget the little ones this Christmas, with a range of fun and exciting toys, clothing and accessories they will be entertained all day long.

Treat a loved one to an indulgent homeware essential this festive season.

Gap Outlet Teddy Knit Jumper Outlet Exclusive: £19.95

Whittard of Chelsea Christmas Pudding Biscuits Outlet: £7.00, 3 for 2 on all purchases

Cath Kidston Mug RRP: £6.50 | Outlet: £4.00 Monsoon Sequin Party Dress RRP: £24.00 | Outlet: £35.00

Cath Kidston Shark Mini Rucksack RRP: £24.00 | Outlet: £16.00

Find the perfect gifts for your little ones this Christmas with our Christmas guide Molton Brown Juniper Berries & Pine Candle RRP: £40.00 | Outlet: £27.30

Timberland Kids Tan Boots RRP: £35.00 | Outlet: £20.00

M&S Frankincense & Myrrh Room Spray RRP: £5.00 | Outlet: £3.50

Cadbury Heroes Cracker Outlet Exclusive: £2.99

Lacoste Pink Polo Shirt RRP: £40.00 | Outlet: £20.00

Gift Card

McArthur Glen Cheshire Oaks Designer Outlet x The Essential Journal

CHRISTMAS CORNER OUR FESTIVE MARKET IS BACK! Christmas Corner is back this year, bigger and better than ever. For those laden with goodies, head to the corner accessible via the magical archways at McArthurGlen Cheshire Oaks. The Après themed bar will be decked and decorated in traditional style, ideal for those looking to warm up with mouth-watering food and warming winter drinks. Keep toasty in one of the snug huts, perfect for a pit-stop after a long day of shopping or why not visit the band stand to get in the festive spirit with a variety of musical performances guaranteed to get you singing. The Christmas Corner hosts a carousel, a German bar selling beers and

gluhwein, festive swing grill and the Cheshire Cheese & Wine Company pop-up store.

For those with a sweet tooth, hot chocolate, crepes and pick ‘n’ mix will all be available to satisfy those sugary cravings. For that extra special present, visit one of the Christmas Corner huts to find gift ideas with an especially thoughtful touch. Personalised decorations or wooden gifts will make the perfect present for the person who has everything.

At Cheshire Oaks’ Christmas corner, there is something for everyone and everything you need to add some festive fun to a successful shopping trip.

WEEKEND ENTERTAINMENT: In the run up to Christmas, Cheshire Oaks has all the weekend entertainment every festive fanatic needs. Live entertainment will help spread the Christmas spirit, ranging from musical performances with a festive twist including opera singers to barbershop quartets and much more, there’s something for the whole family.

For the little one’s, pop over to the magical Christmas tree and see Santa on his sleigh to share your Christmas lists. (*see website for further information) EUROPE’S LARGEST WALK-IN CHRISTMAS TREE

The tree is 90ft high

It weighs 18-ton

Has 100,000 bulbs

More than 5 miles of fairy lights

20,000 small red baubles

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THE WHISKY EXCHANGE X ESSENTIAL JOURNAL

A GUIDE TO BUYING WHISKY We sat down for a dram with owner of The Whisky Exchange, Sukhinder Singh, to get the inside scoop on collecting whisky, what to look out for and special bottles

essential journal: Where is a good place to begin when starting a whisky collection? sukhinder singh: I strongly believe, you should only collect whisky if you like whisky.

There’s a lot of people that come to us and say, ‘I’m interested in buying whisky as an investment, to collect.’ The first question I’ll ask is, do you like whisky? And they’ll say ‘no.’ So I say, don’t do it. A collectible whisky is one foremost where the whisky is top quality. Of course, it needs to be limited. I think if at any point you hear a whisky that you love is being discontinued, that’s the perfect time to buy, because if you like it that much, other people must like it that much. They’ll always look for it, hence the secondary market evolves.

Of course, the big names are famous and big for a reason. That they’re good. The likes of Glen Mhor, Glenmorangie, Macallan, I’m not saying every single whisky from their portfolio is amazing, but most of them are and they’re all launching limited products each year.

Who’re the names within the industry that’re worth keeping an eye on and collecting?

The new kids on the block, for me, who’re doing the superb job and producing amazing whisky which is becoming collectible, one is Kavalan from Taiwan. Everyone’s been talking about Japanese whisky for five or six years, but for me the new kid on the block is Taiwan. The old faithful? Bowmore. We run a competition every year, ‘Whisky of the Year’, which is a blind tasting that comes down to a final list of seven or eight whiskys and then we put them in front of a panel of 60 people and we select a whisky of the year within certain criteria. Bowmore 15 won this year and is one of the superstars to look out for in the future.

What should new collectors look for and what should they avoid?

For me, the most important thing is, how good is the whisky? First and foremost. Don’t run off and buy every limited edition. Check what

you like, trust your own pallet and see what other people are saying. I think world whisky is now getting interesting, there’s a lot of new craft distilleries starting up around the UK, good and bad. I think some of them will produce good stuff, so it’s about looking out for them.

When is a good time to buy?

When bottles are released. When new products are released, that’s the time. The demand is absolutely phenomenal, everything we get through the door sells out very quickly. A simple example, and in honestly I don’t get it, it shocks me even though I have been in this for a long time. In October, there was a new product launched, Yamazaki 18-year-old Mizunara Cask from Japan. A thousand pounds a bottle, not a lot of bottles. Sold out in two minutes as you would expect and already it’s trading for £2000 to £2500. Do your research, buy at the beginning.

When’s the best time to drink?

Any time, any place, anywhere. With whisky, the reason people have fallen in love with whisky is, I think what they’ve realized is that it’s an evolving product. It keeps changing in the bottle. It changes with time, place, who you’re with. You open a bottle and you try it and you go that’s really nice. You go back to it tomorrow, it tastes different. You back to it on the third day, tastes different again. You go back to it on the fourth day, it tastes like the first day.

Why would you advise someone to collect whisky over say art?

It’s different, I would only collect it if you enjoy it. What I’d say is if you’re collecting as an investment and it doesn’t go up, you can always go back and drink it. You can’t do that with art.

I think because people are so open to challenging their taste buds, for me, whisky is more complex than any other spirit.

What’s the most special bottle within your collection?

There’s always that first, which was special. I think when I was collecting, initially I started collecting and not drinking. So the first bottle I ever opened was Springbank 21 years old which in those days were legendary and today are legendary still. It was amazing. My journey through that bottle blew me away. I think my first sip was like, this is really good, then the next day I was like this is really really good, third day this is amazing. We’re always challenging ourselves to try something so rare, I’m talking bottles from a hundred years ago. Late 1800s. To find one is already difficult and if I find one, it’s going in the collection, I always want two.

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Interior photography by James Brown Photography | Food photography by Joe Giacomet

“...we have to think creatively about how we want to present the dish; Tattu is about celebrating art in all its forms and we like to replicate that with our presentation.�

Tattu Leeds

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offer. At 8 over 8, another London-based restaurant, I started to understand the possibilities of and the directions in which Chinese cuisine could be taken.

You pride yourself on your knowledge of regional China and have taken inspiration from different regions for the new menu. I wonder if you could give us a whistle stop tour of your favourite regions, what you found there and how they have inspired the latest menu?

Cantonese style...

In Guangzhou they like to use traditional cooking techniques and blends of flavour. This is an area we take inspiration from for the foundations of any new dish we look to create at Tattu. It is real nose to tail cooking, with stern and bold statements of flavours, there are no ingredients without a purpose. This is one of the main processes I try to instil in our team, so that each chef approaches menu development in the same way, ensuring every ingredient has a place within their dish.

Szechuan or Sichuan...

Here they are absolute masters of broths and sauces.

Szechuan sauce itself is infamous for its fiery, peppery flavours, however the blend of ingredients is actually very intricate. Balances of acidity, salt, sugar, fats and spices are crucial to build the correct layers to any Asian sauce. It’s this influence that really helped me understand the layers and depth of flavours involved in Chinese cooking.

Hunan...

Another region renowned for its bold use of chilli and pepper. This region helped my understanding of using woks and how to create dishes in these special pieces of equipment. The flow and order in which to build dishes in a wok is essential to texture and taste. Any errors and, quite simply, you don't have a dish. Hunan taught me to organise myself and work at an incredibly fast pace – it is a strenuous piece of kit, mentally and physically.

LIFESTYLE

TATTU X ESSENTIAL JOURNAL

Tattu. Ensuring Every Ingredient has a Place We sit down with Head Chef, Clifton Muil ahead of another busy service at Tattu Manchester and discover how taste, travel and tradition has influenced the pennine-spanning restaurant’s latest menu essential journal: Can you tell us a little about yourself, what it was like growing up in South Africa, the food, early influences/ers, your first kitchen job. clifton muil: My first kitchen job was in the Royal Hotel in Durban, I studied all aspects of the hospitality industry there and learnt my trade inside and out. The cuisine in South Africa draws influences from all continents so it was exciting to work with so many different cultures in one place. Because of this, I was exposed to produce from all over the world at a very early stage in my career which was really exciting as a young chef. The quality of produce at the hotel was always paramount, we cooked with some of the best fresh seafood and meat available – it was a very inspirational place to learn.

Where did your interest in Chinese cuisine stem from? Is this something you picked up back home in South Africa?

The first Pan Asian restaurant I worked at in Chelsea, London, really kick started an interest in Chinese cuisine for me back in 2004. I became a little obsessed with the wonderful balance of flavours that Chinese food has to

Shanghai...

Masters of the celebratory dim sum. Dim sum is a huge part of our menu at Tattu, and a good 30% of it is inspired by this region specifically. A bustling and busy city, speed is crucial to the food that is served in Shanghai.

A big draw of my experiences here are from the street vendors, what you see created with some of the simplest produce is truly incredible.

Singapore...

Although this is a separate island, not part of China, Singapore influences our menu hugely. All of Asia inspires what we do and Malaysia is no different.

Another interesting use of spicing married up with traditional techniques, matches perfectly with what we try to achieve on our menu.

You must have notepads full of recipe ideas when you're developing new menus. How do you whittle these down to those that appear on the final menu?

First of all I start with the produce, I like to look at the ingredients in front of me and then create an identity with a dish. We always start with the basic Chinese flavours and elements of sweetness, spice, acidity and so on, then we look at how we can augment it, and start to play around with textures and flavours. Finally, we have to think creatively about how we want to present the dish; Tattu is about celebrating art in all its forms and we like to replicate that with our presentation.

You must have travelled to your fair share of the world's "food capitals" and perhaps even worked in a few. How do Manchester and Leeds compare?

Manchester’s restaurant scene has evolved dramatically in the three years I’ve been here, you can find all sorts of excellent food across the city and in the surrounding suburbs. Leeds is also following a very similar pattern, where the interest in diverse cultures and flavours is ever growing. We feel like we're in the market place at the right time and always aim to bring something unique and exciting to the dining scene in both cities.

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An independent, family owned business celebrating 12 years of delivering an Authentic American Canadian Breakfast & Brunch menu moosecoee.co - @moosecoee

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JURA:

Championing Quality, Design & Performance

Brits are becoming more discerning when it comes to their love of fresh coffee and are increasingly seeking out Barista-style brews at home.

Swiss bean-to-cup coffee machine makers JURA, believe that you shouldn’t have to compromise when it comes to the quality of the coffee you enjoy, and they have all your at home needs wrapped up with five of their best

PROMOTION

JURA X ESSENTIAL JOURNAL

A1

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Delivering a deliciously indulgent wake up call, the A1 is ideal for espresso enthusiasts and also offers plenty of choice of strengths, temperatures and cup sizes. We could blind you with the science behind the A1, but the bottom line is that this Swiss-made machine makes quality barista-style espresso with golden crema every time.

If you’re seeking an incredible coffee maker that won’t take up your valuable kitchen space, the sexy, slim-line A7 is perfect for all kitchen sizes and compact enough to squeeze into the smallest of spaces – although you’ll most likely want this gadget on show. Featuring a stunning Piano White finish, it makes espresso, cappuccino and latte macchiato at just the touch of the button.

If the J6 is seen as the Ferrari of coffee machines, then the Z8 is Jura’s Bugatti Veyron! This showstopper will make you the host with the most, thanks to the Z8’s ability to produce more than 20 specialty barista-style coffees at just a touch of its 4.3” touchscreen. If you like getting creative, the Z8 will also let you change the settings on each of its programmed specialty coffees and save them under a personalised combination to ensure you get your perfect serve every time.

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The award-winning E8 coffee machine does it all, offering revolutionary technology that extracts the perfect coffee flavour from the beans, a one touch function, and a super stylish finish. This celebrated model is capable of making up to 12 specialities, from fiery ristretto, to rich espresso and frothy cappuccino, to silky flat white, it can even can even make two cups simultaneously.

The J6 has been described as “the coffee equivalent of swinging into a car park in a Ferrari”, by the tech buffs Stuff Magazine. This fully automated machine is perfect for gadget-minded guys and girls as it features smart technology that will allow you to save your favourite settings for a one-touch route to your perfect serve. Plus, it can even be controlled by your phone and it’s self-cleaning too!

For more information head to uk.jura.com

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THE GREAT ROMANIAN ROAD TRIP CULTURE

words & photography by DAVEY BRETT

A few months back, we road-tripped across part of the fastest growing economy in the EU to see what the country had to offer. Here’s a list of essential stops we found along the way

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A big thank you to Blue Air and ALIS Travel for their help and hospitality, for flights to Romania visit blueairweb.com; ALIS Travel are the go to for organising all holiday things Romania, for more info visit alisholidays.ro

Pictured, clockwise from centre: Peles Castle Lampusna Guesthouse Kalnoky Guesthouse Bear Lake, Sovata north of Brasov A view from Bran Castle

A

utumn in Romania, specifically Transylvania, looks like a Microsoft desktop wallpaper.

Just an impossibly crisp image, bursting with colour, perfectly lit, really vivid saturated shades of orange, yellow and red. As we drive through the country, a mixture of winding hillside roads, panoramas of rich tri-colour forested mountains, quaint gothic towns and vast agricultural plains roll out as we stare out of the window. The montage we are confronted with from the minibus windows is a far cry from the often politically charged ignorance that has risen to the fore over previous years in the UK. For a week in October, thanks to Blue Air and ALIS Travel, we had the opportunity to partake in a Romanian road trip, flying into the capital city of Bucharest and out of ClujNapoca a week later. In between, we drove over 600km across Romania, mostly through Transylvania. The trip was an eye opener. Here are our recommended stops for the essential Romanian road trip. EJ SINAIA The first destination on our road trip is Sinaia, roughly a two-hour drive from Bucharest, situated among the Carpathian Mountains.

We arrive at night, so we’re unaware of how

beautiful our surroundings are, but the noticeably fresher alpine air, almost menthol in its taste, suggests we’re much higher up than before. The view from our balcony at the Hotel RINA the next morning reveals all. The mist hovers over the fur treetops catching the sun for much of the morning, giving a whimsical cotton wool effect and you don’t have to look far to see snowy peaks and an unspoiled light blue sky above. The hotel is comfortable and luxurious, with its slightly dated features only adding to its charm, bringing to mind a James Bond stop off if he were pursuing a villain by ski.

Nearby, Peles Castle is a must-visit. We were lucky enough to be granted a private tour of the Neo-Renaissance castle, not far from Sinaia up winding mountainside roads.

Construction of the castle was initiated by King Carol I of Romania in 1873, with the building completed in 1914. As is a common theme with many of the castles in Romania, infamous dictator Nicolae Ceaușescu’s purge of royalty took the castle into state hands. The revolution in 1989 re-established the castle as a heritage site and it soon re-opened to the public.

BRAN CASTLE AND RASNOV FORTRESS So, you’re probably thinking, ‘Transylvania?

Why hasn’t he mentioned Dracula yet? That’s

all there is to Transylvania? Surely?’ Well no, it isn’t, but we admit you probably should visit Bran Castle, former home of Vlad the Impaler (notable influence behind Bram Stoker’s Dracula). The medieval fortress which sits atop a rocky outcrop separating two valleys is a far cry from Peles, but a great viewpoint for stunning vistas. The nearby area brings to mind the British seaside with its stalls of uniform souvenirs, but take little away from the area’s mythical charm.

Rasnov Fortress is another must for stunning vistas and panoramas, offering a 360 degree view of the surrounding forests, mountains and agricultural plains of Brasov County. Nothing less than stunning, a perfect Autumn destination as nearby forests show off their richest colour pallete and the mountains are capped with snow.

MICLOSOARA A personal favourite on the trip was Miclosoara, one of the best-preserved medieval villages in Transylvania. Of course, it wouldn’t be Transylvanian without a castle, but the story here is one of different regal traditions. The castle and a nearby guesthouse, is owned by one Count Tibor Kalnoky, a 25th generation Kalnoky.

The Count, a close friend of Prince Charles

(who also owns property in the area, notably his own scenic retreat) is a champion of local tourism, working to create conservation areas as well as safeguarding local environmental and architectural heritage. The village itself is the perfect relaxing retreat and although we don’t ride, the best way to take in the nearby rural splendor is apparently by horseback.

Tours can be organised.

SALINA PRAID AND LAMPUSNA Salina Praid is a salt mine, a salt mine you have to visit. Not just to marvel at the sheer scale of the caverns (Spoiler alert: They’re gigantic), the textures of the sheer cave walls or rope walks and activities, but because a visit might actually improve your health, the saline air having health benefits. There’s also an area that details the history of the mine as well as a beautiful chapel.

Lampusna guesthouse is special. The former hunting lodge of Nicolae Ceaușescu, tucked away in thick forest at the end of a modest dirt track, is deep in no phone signal territory and better for it. A place known for entertaining, previous guests included communist heavyweights including Gorbachev and Tito. If you can, try and stay in the main bedroom, favourite of Ceaușescu himself.

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TRAVEL

POSTCARDS words by REUBEN TASKER

For this series titled Postcards, we’re asking 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 an unsuspecting visitor

RAFIC DAUD LISBON, PORTUGAL Rafic Daud is the CEO and co-founder of Undandy, a sartorial made-to-order shoemaker. Handcrafted in Portugal, the entrepreneur has worked to disrupt the high-end shoe market. The company has featured in Forbes and Business Insider. it’s the spirit of the Portuguese to keep adapting and moving forward.

It is true that there is no going back as we move deeper into a world of 3D printing, of mass production that traditional shoemaking is becoming scarcer but it is exactly because of that, that I believe that traditional craftsmanship will prevail. One of the core philosophies behind Undandy is the blend between the digital era and traditional craftsmanship with a direct-tocustomer approach.

MAKA BATIASHVILI TBILISI, GEORGIA Maka Batiashvili is an artist and documentarian, specialising in painting, book illustration and visual art. She is represented by Project Artbeat, has featured in The Art Newspaper and Art Rader and has had a solo exhibition this year at Tbilisi’s Moving Gallery.

What’s a tourist trap to avoid in Tbilisi and what is the essential alternative?

The Chardin area, considered as Tbilisi's downtown, is packed with clubs, cafés and souvenir shops that can be pricy and lack spirit. I think alternatives can be found in different areas. You may get something interesting at the Dry Bridge Bazaar for instance or feel more authenticity in various small cafés located nearby.

Tbilisi's best kept secret (that you’re willing to share)?

Anyone may explore something new by strolling in the Sololaki or Mtatsminda areas, which can’t be spotted on the map. You can find interesting doorways or unique single buildings that have a long history. I like some of the smaller wineries too, they may not have the best promotion but are very welcoming to visitors.

What’s a restaurant or bar that best captures the spirit of Tbilisi?

There are some dive bars in Tbilisi, one of which is actually named Dive Bar. I find it very interesting as it's freestyle, more like a clubhouse, where international people as well as locals gather. It reflects a modern free society where people can enjoy their time in Georgia and share experiences.

What’s a neighbourhood or district that’s transforming for the better?

The renewed Agmashenebeli Avenue is a nice start for more quality social events. We were lacking pedestrian streets for such activities.

The Plekhanov area is very diverse.

A multifunctional hotspot Fabrika is also located there, which is a developing space for various openair or indoor gatherings.

Generally, where is the future of Tbilisi headed?

It's noteworthy that we are part of the visa-free regime in the Schengen area, it shows our readiness to be more westernised. As the number of cultural festivals or events increases, so will the number of tourists. Of course, wine tourism is becoming more popular, this contributes to Georgia's economy and again, makes the country more diverse and lively.

What’s the finest quality of your Tbilisi, something that makes you proud that you can’t seem to find anywhere else?

People! It's something that everyone notices. I must mention hospitality again, even though it has been mentioned numerous times. I hope this won’t change as more people visit.

When’s the best time to visit?

Spring is most lively. There are lots of exhibitions, film, photography and art festivals, the weather is pleasant too. Or in autumn when it's vintage time, you may visit Kakheti’s wine regions or attend tasting events in the capital. The Tbilisi International Festival of Theatre, open-air concerts and Artisterium are top events for me.

What keeps you based in Lisbon and not anywhere else?

I was born and raised in Lisbon, so the city holds a special place in my heart, but if I wasn’t, I would probably choose to base Undandy here. The city actually has the ideal conditions for a start-up like Undandy- a phenomenal geographical location in European, the quality of labour, people extremely proficient in English and that’s before we even get started on the beautiful weather and breath-taking beaches just 30 minutes from the city centre. It’s really exciting to see the hive and burgeoning activity of start-ups, coming out of Lisbon right now.

Not only that but the incredible long-standing history of craftsmanship established here with skilled cobblers, makes Portugal the ideal location for us as an ecommerce site making handcrafted shoes.

Generally, what do you think the future holds for Lisbon and shoemaking?

Well there doesn’t seem to be a week that goes by without Lisbon making it onto the list of the best cities in Europe to visit, move to etc. The city is definitely gaining popularity for both tourists and expats, looking for that perfect work life balance. As for the future of Lisbon, it’s tough to predict, but after the 2008 financial crash it’s great to see the city thriving again,

What's Lisbon's best kept secret?

And what's a tourist trap to avoid?

One thing that is often overlooked about Lisbon is the wealth of hidden nature and vista points in the heart of the city, such as Jardim de Torel which has a spectacular view of the city centre all the way to the river Tejo. Well worth the hike up one of Lisbon’s notorious seven hills.

We also have Monsanto, which is the largest urban forest in Europe.

A tourist trap to avoid? Definitely the restaurants in Baixa which are, more often than not, overpriced and definitely not traditional cozina Portugesa. The trick always is to observe the other customers seated, if there’s older Portuguese locals sat down, you’re likely onto a winner.

What place can you go for a drink that best captures the spirit of Lisbon?

The Insolito rooftop bar at Decadente in Principe Real is one of the best cocktail bars, and has a great view of the city above the Miradouro de Sao Pedro de Alcantara. It’s got one of the very first elevators in the city, so before you even get to the bar you get a taste of historic Lisbon. You can’t go wrong with an old fashioned in one hand overlooking the beautiful city.

When's the best time to visit? Are there any noteworthy events and festivals we should know about?

Summer is incredible here, where you can take advantage of the beaches just 30 minutes outside the city. But the best time I would say is in late September when the majority of the tourists have left and the weather is good enough to enjoy, yet not too hot to explore.

There are some great outdoor festivals during the summer, my favourites include Cool Jazz in Oeiras and Festival Ao Largo.

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words by ADAM M, archiphonic.co.uk

Architectural Thoughts On:

THE STERLING PRIZE 2017 Architecture isn’t just about bricks and mortar, but also the coordination of all the parts. From the micro to the macro, its considerations and final decisions will impact all in its ‘place’. Co-founders Dave B and Adam M started their architectural design practice ARCHIPHONIC, based in Liverpool, staying true to this manifesto and seeking to create spaces where memories are made. This month, Adam M shares his thoughts on this year’s Stirling Prize.

Hastings Pier by drMM

photography of Hastings Pier

by Alex de Rijke for dMMR

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“ ‘It represents everything architecture should be; to fade into the background allowing for events to happen that would not without the structures presence.’ “

I

ts Tuesday 31st October, 2017. We were invited by the Royal Institute of British Architects to attend a gathering in their Northern Offices where six local firms would present their favourite building shortlisted for architecture’s highest accolade in the UK, ‘The Stirling Prize’. They were not from the firms shortlisted, only presenting the projects they liked best.

We were not the judges, but we certainly acted like them.

At the end was a video link to the award presentation held in London so we could see who the eventual winner was.

The first presentation was about Barretts Grove, by Amin Taha + Groupwork. It is described as “a characterful building in a disjointed urban street,” which it indeed is and why I don’t mind going on the record as saying that it was my favourite. We were told by the presenter that the materiality is kept simple and that the underlying concept, was that of ‘The Three Little Pigs’ due to the presence of straw (wicker), wood, and bricks and its neighbour; a primary school. It is a simple series of dwellings, stacked on top of one another and most appealing is that it is simple, cost effective whilst not appearing cheap. This is hard to achieve and executed fantastically here, but I concede that it is not ‘exciting’.

Next we heard about The British Museum World Conservation and Exhibitions Centre by Rogers Stirk Harbour + Partners. An elegant solution to a difficult question of storage, laboratories, conservation, additional facilities, and a new exhibition gallery. Oddly, the majority of this project is underground and that which is visible to the naked eye is designed to be subservient to The British Museum. It achieved its goals and remains an interesting building, but perhaps it’s the scale of the building that left us underwhelmed or perhaps it was the nature of our profession to look for fault. If we were to be really judgemental, and we were, there were elements that led us to disappointment like blinds that had etchings of fossils which were graphically put together rather than impressions of true ones. It was an interesting building, but there were many of us that felt it to be too easy a choice due to its complexity.

The City of Glasgow College – City Campus suffered the same fate. Perhaps its scale and complexity couldn’t be appreciated fully or the design moves were not as engaging

as later projects in the shortlist. Either way, the project was engaging with the limited palette of materials and interesting development of the elevations but it split the room and left us waiting with anticipation on the remaining schemes.

We soon embarked upon a sea themed duo of projects on the shortlist with ‘Command of the Oceans’ by Baynes and Mitchell Architects and Hastings Pier by dRMM Architects.

‘Command of the Oceans’ is described as a “champion for progressive conservation, inventive re-use and adaptation of existing fabric.”

In short, it is a new visitor entrance for the facility and is purposefully striking against the neighbouring white timber clad buildings by choosing to be clad in black zinc. The creation of a raised entrance via a ramp won the architects the project. Needless to say, this is an interesting project with many aspects to enjoy in its simplicity.

The second sea based project was Hastings Pier. A collaborative community project working with the Council, the solution to rebuilding the pier was elegant and refined. Apparently, on the day that the dRMM were to present their proposal, the pier which had fallen to a fire, was still smouldering. Certainly there would have been a tense atmosphere at their pitch. They chose to place a visitor centre close to the middle, rather than the most likely assumed position at the end, in order to allow for opportunities of community use. The large open space closest to the sea allows for a strong relationship with the temperament of the ocean. The small centre allows for some respite, but the cladding - salvaged from the fire-damaged pier - creates a relationship of old and new. This project is certainly interesting, but the room remained split. It was a shed on a timber deck. Some argued its validity in being on the shortlist at all.

Lastly, was the project named ‘Photography Studio’ which represented the smallest proposal at 505 m². The materiality is predominantly concrete, with existing brick built party walls and timber window frames. The courtyard scheme however didn’t spike the interest of the judgement fed crowd and perhaps the simplicity was just too simple.

To reiterate, we were not the judges, but were certainly judgemental.

It left many in attendance questioning whether it was most appropriately awarded or not. Some asked if, “a small structure on a pier should be considered at all, considering this is an award for the building of the year.” Others stated that, “it represents everything architecture should be; to fade into the background allowing for events to happen that would not without the structures presence.” It was not for us to decide, but did leave us questioning the state of architecture now and if, out of all the buildings that had been built that year, the best should be awarded to a pier.

Albeit an elegant one? EJ

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The Essential Journal | 49

words by STEPHANIE LUND, toitoitoiluv.com

Snapshots Along The Spectrum

photograph of John Pawson by Johnny Nghiem

Issue 28

Despite being a man known for white, John Pawson’s latest photography book ‘Spectrum’ is a rich photographic journey through colour. We caught up with the architect and designer at his studio to discuss his latest book, unfortunate hammocks and his love of photography

J

ohn Pawson has had a bit of a strange morning. Travelling to work on the tube, he noticed a lady get on the train and stand next to him. Although he doesn’t usually do it, in his mind, he made a guess at her age. 30 he thought, “same as me.” But then, as the train entered a tunnel and the window transformed into a mirror, Pawson spotted the reflection. “I suddenly saw the two of us in the glass and I saw this 70-year-old man and this 30-year-old woman. I logically worked it out. Obviously I don’t look the same age as I think I do.” He says, as we sit down at a sleek white table for the interview. To be fair to John Pawson, albeit a little tiredness from the night before, he looks great for 70.

‘Spectrum’, Pawson’s latest book, is what brings us to his Kings Cross studio. Unassuming from the outside, the interior is everything you would expect from a Pawson space. Grey concrete floors, white walls, white desks. The

only colour in the room in which our interview takes place is the full wall of books to our side.

‘Spectrum’ is a collection of 320 images (which as the name suggests) gradually change in colour across the spectrum from white to black.

In the book’s forward, Pawson admits he is rather unfairly pigeonholed as someone that only does white, so his latest book comes as a somewhat bucking of the trend.

Unsurprisingly, it’s a visually satisfying book. The idea of gradual colour change which Phaidon took to Pawson was a novel one and it’s a tome that is as enjoyable to randomly dip into as it is to browse back to front. Pawson has long been a lover of photography, some may even say addict. As he thumbs through the book in front of us, he radiates a subtle sense of pride in the project. Not just the images, but the texture of the modest front cover and the way it has been bound.

Before properly touching upon the book, we ask him about his past, specifically an ice-

breaker about hammocks. He chuckles when we bring it up. “Well I learned of course that hammocks are very difficult to lay in and to get in and get out of.” He says. The story goes that when Pawson was at boarding school he set up a hammock in his dorm. The hammock was strung up between the window and the back of the door. Needless to say, when the door opened, the hammock no longer did its job, but the whole experience perhaps indicated a deeper inclination. “I just liked the room without the bed in it.”

Pawson’s work is minimal, spacious. You get the sense he still doesn’t want a bed in the room, let alone many other pieces of furniture.

A quick glance at his previous work, largely private commissions for homes (look up the Paros Houses, Okinawa House, Casa Delle Bottere) as well as boat interiors, places of religious worship (Moritzkirche, Nový Dvůr Industry) and of course London’s Design Museum, all showcase an appreciation for open minimal spaces

that are clear, light and airy.

Travel is another key feature of Pawson’s latest book, but also a key feature of his life.

Upon leaving school, instead of going to university, he travelled extensively over land. “It was a thing to do in the sixties.” He says. “You know, the hippy trail. So I went to India, it took me six months to get there and then six months in India, then six months in Australia.”

He eventually came back, through New York, at the behest of his father and took on the family clothing business. His time there proved unsuccessful and a few years later he was back on a plane, this time heading out on a trip to Japan. His time shadowing iconic Japanese architect and designer Shiro Kuramata would prove vital.

“I love Yorkshire, but obviously I wasn’t going to survive outside of a metropolis for long.

It took me ages to get to London. I was 30 by the time I got to London. From Halifax I went to Japan, and even in Japan, I wasn’t in Tokyo I

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was in Nagoya, I finally got to a metropolis when I was 28 or something in Tokyo, so I made up for it.” He says. Pawson returned from Japan and enrolled at the Architectural Association School of Architecture in London. He established his own practise in 1981.

Partial to a tangent or two and as we chat, Pawson sometimes veers off. If you have ever wondered, his favourite James Bond is David Niven. He’s also heard a rumour that Jamie Bell of Billy Elliot fame is next in line. Pawson is calm when he speaks, measured in his responses and very polite. He is curious when being interviewed, asking his own questions, eager to listen. He also speaks proudly of his children, his son Caius, who works at XL Records and has two Mercury Prizes to his name courtesy of The xx and Sampha, whom he discovered. “I’m very proud, very proud of all of my children. All creative. All independent.”

When asked about the relationship with his clients, Pawson admits he’s got better with age. “I just think you have to be careful if you’re doing a job. It’s very easy to step out of line and it’s unfair. They’re paying for a service and they should get that. The nicer they are, the harder I try in a way, because you don’t want anything to go wrong, but I’ve learned to be able to…”

He pauses, before continuing. “When I was younger I had so many blow ups with clients.

You cannot do that really. You can mesh with everyone, even if for a short time.”

“I remember when I was very young, in some super jobs, but had a very low threshold because I found it very stressful. When I thought the client was being unreasonable, I would react and burn bridges. I remember this brilliant thing with Leslie Waddington going to Roy Lichtenstein in New York, straight from me, being incredibly rude and stupid and juvenile and boring Roy Lichtenstein with how boring and terrible I was.” It’s safe to say he is calmer now.

Past clients of Pawson’s include Calvin Klein, Karl Lagerfeld, Martha Stewart and the late writer Bruce Chatwin. Although close to his clients, he’s always careful to listen. “For me, it’s always a collaboration and I’m very lucky too, all of my clients are always very interesting, very bright, very talented and have amazing ideas. Listening to them is really important. That’s another really important thing, I’ve learned to listen. I’ve noticed with younger people, you see them thinking all of the time, they’re listening to you. They appear to be listening, then you can see them thinking I’m going to wait until he stops and this is what I’m going to say.”

We delve back into Spectrum and talk photography. Pawson loves photography, you could say he is addicted. Despite reports saying he takes around 500 daily, he admits the average number is slightly less, although that’s not to say he isn’t sitting on an impressive archive. Before the prominence of digital, Pawson was taking 3 or 4 rolls to Snappy Snaps on a daily basis, costing him a fortune. Now, with advances in cameras and memory, his enthusiasm for taking pictures has risen exponentially and he treats digital with the same care, meticulous detail and value that most would reserve for film. Nothing is deleted, everything is archived.

“Well, Max [Gleeson, Pawson’s employee] he got fed up with me and iPhoto, it had about 250,000 [images] and iPhoto is not designed for that and it was getting slow. I have the most powerful computers from Apple, but it’s a software thing, so he migrated to Lightroom.

The work ones are sorted by project and we tend to edit as we go along. Poor Max had to go through 250,000 and I think he was going through like 10,000 a day. He was completely alert. Nick [Barba] has been through them as well. Amazing. Very talented.”

The surprising admission behind the importance of photography in Pawson’s work is

Spectrum (Phaidon) is available now

that he doesn’t sketch (the second is he doesn’t really do maths, both of which some may say are crucial skills for architects). When questioned about being happy with the book, Pawson admits a level of contentedness. “I get to a point where it’s as I want it. Touch wood. So far, they all still stand up. That’s what’s nice about doing books, it’s a finite period of time and lots of other things, whereas buildings have a life of their own and there’s so many people involved and it’s very very difficult to retain this level of control on a building. We’ve gone through a lot of iterations and colours and testing.”

Split into pairs, the book’s square cropped images bring to mind Instagram, of which Pawson is a regularly user. When asked if he has a social media manager, he admits he doesn’t, but sometimes he runs it past Max and Nick.

“I say that and then I ignore them.” He quips.

“Sometimes I get fed up and think why did I sign up to do one a day? I was quite naïve and just started, Catherine [Pawson’s wife] enrolled me and posted the first one. I said I don’t want to do it, I don’t want to do it. I don’t advertise anything or promote my work on it.

I have always taken photographs as a tool for the work, sort of inspiration or remembering things, being able to show people something that might inform something we’re doing.” He continues, “The Instagram is all part of that really. It’s just collecting things that I like and I was amazed that people started following.”

As is often the case when talking about social media, conversation takes the inevitable turn into it;s all-encompassing nature and the issue of followers. “Instagram is the most pow-

erful one. It’s curious because slowly everybody is on Instagram.” He says. “I was going to say my parents’ friends, but they’re not alive, my friends and my children’s parents are all joining. They’re not quite sure what they’re doing, but they realise they have to join.”

Pawson’s following currently stands at 120k, from not necessarily trying, but he does wonder how people get more. He recently asked someone he’d met with a huge online following how they did it, but the answer was unsatisfactory. “He said, ‘oh, the three things you’ve got to do is, use a good camera,’ and I can’t remember the other two, but they’re on similar lines. But they made no sense whatsoever. I just felt like he was saying, ‘I’m not giving you any secrets.’”

As our time comes with Pawson comes to an end, we briefly touch upon the office dynamic. His response is telling, channelling his thoughts that morning on the tube.

“We’ve never had a hierarchy here. The money has always been dependent on age. I have always tried to organize it so everyone gets enough so that they never have to think about it, but people always find something, that they don’t feel it should or shouldn’t be, but it sort of works.”

“When I look out, I think I’m your age, but that’s an old person’s view. I tend to get confused in the office, because I think everyone is the same. I certainly treat everybody the same. I like it to be equal, but to be honest, I want the best people and it depends who turns up, but I’m conscious all the time that everyone is happy.” EJ

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FRI 29TH DEC 2017

Tickets available: dice.fm

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CULTURE

For Every High Street and Home words by REUBEN TASKER

With 36 locations across the UK, Castle Galleries brings art to the high street in an approachable and innovative space to begin your art collection. We spoke with managing director, Ian Weatherby-Blythe about how it all started, what questions to ask before buying and how he rates his own artistic skills essential journal: How did you first approach making art accessible to the high street? ian weatherby-blythe: One of the main reasons I started Castle Galleries all those years ago was that I felt there was nowhere that the general public could buy good art from and I felt that the art world was so unnecessarily ostentatious and unapproachable that it needed changing.

I decided to open an art gallery that I personally would feel comfortable buying art from. Starting with just one gallery based in Stratford-upon-Avon, this model has proved extremely successful for Castle Galleries and we now have 36 galleries across the UK. We’ve worked hard to make art approachable and friendly in everything we do – from our sales approach to the way we describe artwork in our marketing materials.

When selecting art to sell and showcase in your galleries, how does an artist make the cut?

All of the work hanging on our gallery walls is supplied by the UK’s leading fine art publisher, Washington Green Fine Art. Washington Green has over 35 years' experience in publishing and artist management and we officially merged with the company in 2005.

We continually strive to innovate, create and excite through a diverse portfolio of artists and, in order to make the cut, we’re looking for an artist to be the finest, or have the potential to be the finest, in their field.

They need to be founded upon creativity, integrity and have a true a passion for art.

However, they’ve also got to be commercially viable - there is no point in signing an artist who can only produce a few paintings a year.

What should a buyer look out for when in-

vesting in a piece of art? What makes the value of art increase?

In recent years, the global art market has hugely increased in value, leading some to see art as a huge investment opportunity.

Buying art is a very personal thing – I think you should always buy a piece of art because you love it, not to make money from it. However, a lot of people do buy art as an investment and do very well out of it. If you were to twist my arm, I would say that the more a famous a person is, the more valuable their art becomes.

Many see the painting itself as just one piece of the final work. Frames, walls and the room also play a big role. What should a new buyer be thinking about, regarding their home, before purchasing?

The great thing about art is that it can transform even the most empty and lifeless of spaces into something with character and beauty.

A carefully selected piece has the ability to create the illusion of more space, brightness, texture and even movement. The power really is in the buyer’s hands.

If you’ve found a piece of art you truly love, you’ll find place in your home to suit it. However it’s worth considering practical factors such as how much wall space you have, the style of the room you’re buying the art for and the lighting available.

A good art consultant will be willing to accommodate a client’s request to view art in their home to see how a particular piece will work in their own space and alongside the rest of their collection.

With different artists, paintings and galleries in cities around the country, how do you keep the Castle Galleries brand consistent?

When opening a new gallery, our main goal is to maintain consistency across our network.

We want all of our gallery spaces to have a similar feel, an approachable and welcoming vibe and, in general, for visitors to be able to recognise the gallery as a Castle gallery as soon as they walk in.

For every gallery we do look for ways to tie in with the local scene and heritage, and a great way to do this is with the art we exhibit.

For example, we recently held an exhibition of Liverpool-themed sculptures by international artist, Frédéric Daty, which captured some of Liverpool’s most recognisable icons, such as The Beatles, Albert Docks and the Cathedral.”

profitable outlets across the gallery network.

A strong online presence also assists gallery footfall as clients often browse work online before visiting the gallery to see it in the flesh.

We also represent the World’s first ‘augmentists’, Scarlet Raven and Marc Marot, whose paintings come alive when you flash an iPad at them!

As with anything, though, the rise of technology does come with its drawbacks. For example, it’s difficult for somebody purchasing online to appreciate the true quality, size and detail of a piece unless they view it in person.

What roles do the internet and tech innovations play in art dealership? Blessing or a curse?

In my view, tech innovations are a blessing.

The internet has made art accessible to more people than ever before - people can even buy our art today without setting foot in a gallery thanks to our online retail offering.

We began trading online in 2012 and we haven’t looked back. Our e-commerce sales team is now a team of five and it’s one of the most

What was the first piece of art you remember purchasing?

My first piece of art was a Disney animation cel. At the time I couldn’t believe you could own a piece of history signed by someone as monumental as Walt Disney. I actually feel the same way about our Stan Lee signed Marvel graphics today.”

“Buying art is a very personal thing – I think you should always buy a piece of art because you love it, not to make money from it.“

Do you or have you ever made art yourself?

I’m afraid I can’t paint or draw to save my life, which is probably why I really appreciate those who can.

As an art dealer, how important is knowledge of both art and business? Is one more important than the other?

As an art dealer, art knowledge is far more important than business knowledge. Our job is to educate and excite people about art. We are passionate about our art and our artists, so sharing that knowledge is what we do. Also, I don’t really care about the traditional art business - it’s so not the ‘Castle way’.”

Ian Weatherby-Blythe is group managing director of Castle Fine Art and Washington Green Fine Art

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GROUP

WWW.THENUVEGROUP.COM 0333 44 33 240

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CULTURE

words by TOM WILLIAMS

We chatted with one half of the Safdie brothers, older sibling Josh, about directing Robert Pattinson, Good Time’s influences and the poignant final scene

Are there any other specific influences you drew on?

I heard a lot of people say the movie is like Dog Day Afternoon meets Rain Man and I love Rain Man so that makes sense.

I thought Robert Pattinson was amazing and channelled Vincent Gallo, was he a figure in mind when constructing the character?

That’s funny, I’ve heard a lot of people say that. I used to be close with Vincent – he’s a genius. One of the smartest people I’ve ever met and known – funniest too. The short answer is no, I think he would have done a great job as Connie as well though. I think something must be happening in the cosmos…. I did get to know him quite well and it was a very educational relationship, so I guess a part of him could have bled into it. But the character was more inspired by Gary Gilmore and Jack Abbott and some of the characters from people I’ve met in real life, so maybe Gallo subconsciously too.

What was Robert Pattinson like to work with as a collaborator?

He was unbelievably committed and didn’t complain once which was very admirable because Buddy Duress complained a lot [laughs]. I had to say to him “look, Rob hasn’t complained once and he’s working twice the hours you are!” and he was like “I don’t give a shit about Rob! He has millions of dollars in his bank account why the fuck would I care about what he has to say!”. Yeah but, he was committed right from the very beginning and when I started to share early drafts and also subsequently the character biography when he was on set doing The Lost City of Z, we were talking a lot and he was so involved. I remember before I sent him the first draft and was just sending him the character biography, he would send me script notes from that movie and there were a lot of them, so I was expecting a lot of notes but that was exciting to me. The big thing was how do we give the impression that Connie was street casted and it’s not Robert Pattinson playing the role, but more Connie Nikas just playing himself.

Did you enjoy making Robert Pattinson grittier and greasing him up a bit?

I mean, I would send him screen grabs from the show Cops often and I was interested in him being one of these kind of every day stars, like the stars in their own movie – this pockmarking was something I was very interested in with him. Yeah, and I mean my girlfriend even said this was the sexiest he has ever looked and I kind of agree, so I think he actually looks great and sort of beautiful in the film.

Did you die his hair on set?

Yeah it was done on set but not by himself, we had someone come by and do it – we tried a peach colour at first, but it looked too kind of designer-y. So we wanted a shittier bleach effect, but the problem was that we’d already dyed his hair black for the movie and permed it – his hair was falling out like crazy in lumps! And he was nervous about it because his hair was just like fucking falling out! He looked like a nuclear fallout victim.

There was this moment, the first day of shooting with his dyed hair, when we were shooting with him, Buddy

“...our Dad would say the only thing you have is each other and that will remain the constant until the day we die... ‘you’re partners in crime’.” and Taliah and it was them leaving the house to go into the car and everyone was taking a picture, everyone with their 35mm cameras, it was that moment we knew we’d created something iconic.

Yeah - the costume design was perfect.

Yeah the costume department, Miyako Bellizzi and Mordechai Rubinstein, were incredible, but Mordechai had never worked on a movie before. He worked for Marc Jacobs and his job was to stand outside and just stare at people and take pictures and just report on every day fashion.

Are there any similarities between your relationship with your co-director and brother Benny and Connie and Nick’s on screen?

I guess that growing up our Dad would say the only thing you have is each other and that will remain the constant until the day we die, long after our folks pass. He would always use the phrase “you’re partners in crime” and we were. Y’know I remember one time where I got arrested and they didn’t arrest Benny and he was just there like what should I do, and I said, “call mum, tell her I was arrested and I’ll call her from the precinct” and he looked at the cop and was like “He didn’t do anything wrong!”. I think with Benny I see him as an extension of myself and likewise with him and me, like he has a kid and I see Cosmo almost like my own son. I can relate to Connie in the sense, that he’s this person who has been outcast from society and his brother is also an outcast as a disabled person, but he doesn’t want him to be labelled disabled because he sees that as accepting the societal label and he sees that as a reflection of his own insecurities.

How do you two split the directorial responsibilities?

I find it hard to answer that question, I work with the camera a lot and benny works with the sound. Y’know I worked a lot more with rob behind the camera, but Benny was obviously involved more with in front of the camera as an actor himself. Y’know it’s kind of a vibe based thing, I write the film and Benny edits the film. I do a lot more research and then come back and use him as a bouncing board for my research.

With the final scene, obviously the credits roll over it, I was wondering is that a stylistic choice or is it designed so people don’t leave and acknowledge everyone involved in making the movie?

It’s more of a conceptual idea, when credits roll in a movie it’s telling you it’s over. So, it’s great if you can use that emotionally. If we put a scene that is the emotional peak of the movie – to not be precious about that moment and its emotional intensity - and to say it’s disposable and be like “you can leave if you want!” is incredible. It’s saying something about how America treats the disabled: you can either get up and leave or acknowledge the problem, it’s up to you.

GOOD IMES

A lot of people have made comparisons to Drive, was Winding Refn an influence or is it just conjecture?

No, not really. The Driver by Walter Hill was a reference and always is, but no not Drive specifically. I think because of neon and Ryan Gosling with the blonde hair, and the electronic soundtrack people make the connection.

But, as a side note, the opening of drive is incredible.

I

f you’ve ever watched a trashy cop show and wondered where the criminals come from and why they do what they do, then look no further. Robert Pattinson is superb as Connie Nikas, a pragmatic and scummy outlaw, in this neon-drenched thriller The Safdie brothers are two of the most exciting names in American independent cinema, as was made clear from their eye-opening and street-casted Heaven Knows What. Good Time similarly explores the underbelly of New York, the birthplace of the directorial duo, who are not averse to the wrongdoers that exist in the city’s gritty shadow.

The influence of Scorsese and his street realism is ingrained in this movie like gum on a Manhattan sidewalk. Travis Bickle declared in the seminal Taxi Driver that all the animals come out at night, which is evident as morally-bankrupt Connie Nikas meanders through the evening after a poorly thought out bank robbery goes awry. This crook is the first to point to his animalistic qualities, believing himself to be a dog in a previous life, which is fitting given his increasingly stray appearance as the night descends further into madness.

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MUST SEE FILMS THIS MONTH

THE FLORIDA PROJECT There’s still time to catch one of the films of the year, boasting a career best from Willem Dafoe, in what is a remarkable look at the lower class of America.

THOR: RAGNAROK Taika Waititi’s refreshing addition to the Marvel universe which is arguably the best instalment of the all-conquering franchise.

TIMES BAD

What elevates Connie slightly above your average twobit criminal is his relationship with his mentally-handicapped brother, and partner in crime, Nick Nikas (Benny Safdie). After the heist goes wrong and Nick is incarcerated, we follow Connie’s exhausting journey to try and release his brother from the cruel system. The pacing of the film is stunning with there rarely being a chance to think, for us as the viewer and the characters on screen.

Josh and Benny Safdie capture the frenzied nature of Connie’s decision making as he endears and endangers various people around him in order to get what he wants.

In fact, they borrow techniques from shows like Cops (with handheld cameras and helicopter shots aplenty) in order to ramp up the throbbing energy of the film.

A lot of Connie’s angst comes from both his and Nick’s marginalisation from society, albeit for completely different reasons. He is defiant and stubborn in his rejection of his brother’s label as a disabled person, uttering “Is that what you think you are?” when interrupting one of his scheduled appointments with a psychiatrist. Meanwhile, he’s a deadbeat who separates himself from those in similar predicaments to him, considering himself a more aligned individual despite

9

MUDBOUND /10

STYLE

Electric and intense

9

The story of two men returning from WW2 to work on a farm in Mississippi. The world is a different place and they have to try and adjust to the post-war landscape.

/10

SUBSTANCE

A remarkable insight into the marginalised people of America

9

/10

ESSENTIALNESS

A career best from Pattinson

his twisted morality.

Good Time boasts an array of phenomenal cameos, with the likes of Jennifer Jason Leigh, Barkhad Abdi, and debutant Taliah Webster all impressing. The stand out appearance comes from Buddy Duress as Ray, who is a halfway house between Jesse Pinkman and Joe Pesci with his annoying, but weirdly charming, manner.

After a mishap pushes Ray and Connie together, the film plummets into a new realm of intensity as the two stumble through the neon landscape. What anchors the non-stop action is the film’s electronic original score which is emotional-filled and immersing in its synthy style. Its sinister undercurrent goes perfectly with the bravura of the film and highlights the dissonance between the films playfully ironic title and the gritty subject matter.

The naturalistic feel of Good Time makes it a truly outstanding piece of cinema which is as engrossing and important as archetypal New York films of the past. The climax is heart-breaking and, after the credits roll over it, you leave completely enamoured with a new powerhouse of American cinema, the Safdie brothers. EJ

THE DISASTER ARTIST The story behind the worst film of all time, The Room. James Franco impresses as Tommy Wiseau reincarnated as we witness the story behind the movie, including several spot-on remakes of scenes.

78/52 An informative look at one of the most incredible scenes in movie history, Hitchcock’s shower scene in Psycho.

A great watch for any lovers of the visionary director.

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CULTURE

5 Books for the Month Ahead words by DAVEY BRETT & THOMAS SUMNER

Including a guided tour of the world’s architecture, a cultural behemoth and a closer look at the humble pencil

The One To Make You Think THE RUNAWAY SPECIES: HOW HUMAN CREATIVITY REMAKES THE WORLD

by Anthony Brandt and David Eagleman (Canongate) Ever sat and thought what sets you, a modern human apart from say, I don’t know, a squirrel? I’d put money on your answer being “No” or at the very least, “No, not really”. I can’t say I have either, not until picking up and sitting down to read The Runaway Species. Here a neuroscientist and composer, take you on a tour of human creativity, deep into the cognitive software we are programmed with. Software that allows Picasso to paint a masterpiece, NASA scientists to return the Apollo 13 shuttle safely to Earth and Steve Jobs to ‘revolutionise’ the way we listen to music. By Brandt and Eagleman laying before you the key elements that allow humans to innovate, not only will you truly understand why we are different from the squirrel, you will also “...meet the challenge of remaking our constantly shifting world.” TS

This month’s books are now available at all good bookshops

MA BOYLE’S NOW TAKING C H R I S T M A S PA R T Y B O O K I N G S

3 COURSES £25 PER PERSON VIEW OUR MENU AT

WWW.MABOYLES.COM OR HIRE OUR PRIVATE PARTY SPACE FOR YOUR CHRISTMAS KNEES UP! 0151 236 0070 | ma@maboylesliverpool.com www.maboyles.com Ma Boyle’s Alehouse & Eatery, The Tower Building, The Strand, Liverpool L3 1LG

The ‘Music’ Biography Of The Year That’s Bigger Than Mere Music STICKY FINGERS: THE LIFE AND TIMES OF JANN WENNER AND ROLLING STONE MAGAZINE

by Joe Hagan (Canongate) On Sunday September 17, Jann Wenner and his son Gus, announced they were planning to sell their remaining stake in Rolling Stone magazine, the iconic music (and everything else) title that the elder Wenner founded in 1967. The release of Joe Hagan’s biography then is timely. Pulled from extensive interviews with Wenner, the founder’s vast archive as well as original reporting, there’s no disputing that ‘Sticky Fingers’ is the ultimate inside account of not only one of the most well-known magazines in history, but of a particular part of history itself. Music, rock and roll excess, driving around San Francisco with John Lennon, overdoses, sex, presidential campaigns, the worst president ever, counter-culture, sub-culture, private lives, secret histories, Hunter S Thompson, Annie Leibovitz, you name it, it’s in there.

Never since its inception was Rolling Stone just a music magazine and as a result, ‘Sticky Fingers’ is rich in inside stories that transcend culture. DB

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The One That Is A Testament To The Craft Of Writing THE NINTH HOUR

by Alice McDermott (Bloomsbury)

The One That Sheds Light On An Essential Tool THE SECRET LIFE OF THE PENCIL

by Alex Hammond & Mike Tinney (Laurence King)

The One You Need To Consult For Your Next City Break DESTINATION ARCHITECTURE Phaidon Editors (Phaidon)

We’re not going to lie to you, award-winning author and three-time Pulitzer Prize nominee Alice McDermott’s latest novel is not easy-going. It begins with a suicide in gritty 1940s Brooklyn and then moves on to the realities of living among nuns when the breadwinner relationship breaks down. The themes echo ‘The Lost Child of Philomena Lee’ which was adapted for the oscar-nominated biographical drama, Philomena (‘The Ninth Hour’ has also been optioned for a film) and at first glance, is not light reading. But, McDermott’s ability to develop characters, and really delve into the intricate moral decision-making going through their minds is what makes ‘The Ninth Hour’ a difficult novel to put down. The writing is rich, descriptive but never wasteful of words and her ability to dissect the timeless internal battles of Catholicism is second to none. DB

We’ve all got a draw full of ‘em at home. Many chewed during a daydream, snapped in anger or left blunt because you’ve mislaid your sharpener - it’s probably in that same draw somewhere. But some people actually respect their pencils, some pay a lot of money for them and some make a lot money from them. In The Secret Life of the Pencil, celebrated creatives relieve their grip to allow Hammond, Tinney and the reader time to get up close and personal with their mark maker. From Stephen Fry to Tracey Emmin’s modest wooden pencil, to this issue’s cover star, Sir Paul Smith’s £3000 jewel-like scribe, each a fascinating portrait of its owner. A beautiful demonstration of how in the digital age, the pencil is no longer just a simple work tool, but a much loved totem of creativity. TS

Food, fashion, friendliness — a city is distinguished by many things. Visually though, there’s little that defines a city more than its architecture. Whether a result of spontaneous cultural development or centuries-old planning, architecture shapes our perspective of culture and history worldwide. Conceived and edited

by Phaidon editors, Destination Architecture is the compact companion for contemporary construction.

Featuring 1,000 buildings from architects both rising and established, this catalogue pairs words and images for a comprehensive travel guide. For a building bucket list or cursory skim, Destination Architecture ticks all the right boxes. RT

SUNDAY ROAST SERVED EVERY WEEK FROM MIDDAY UNTIL 9PM

RESERVE A TABLE T: 0151 236 0070 E: ma@maboylesliverpool.

Tower Building, The Strand, Liverpool L3 1LG

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COLUMN

words by IAIN HOSKINS

The Iain Hoskins Column This year, home-grown international club brand Cream celebrated a quarter of a century in business with a series of spectacular anniversary shows blending classic vintage with new, but while Cream still reigns supreme, the future of the nightlife industry around it looks far from certain

Cream

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or the youth today, the landscape that Cream was born into, must seem unimaginable. The nightlife offering back in Liverpool in 1992 consisted of traditional pubs, some student dives, a few old-style discotheques and a small splattering of nights and parties for the burgeoning house scene that had sprung up in warehouses.

The early 90s had several competing magnetic forces, all of which created the perfect breeding ground for the scene to explode. After a decade of Tory rule, economically, Liverpool was at its lowest ebb but the availability of disused commercial buildings from its industrial past meant easy access for the entrepreneurial promoters wanting to set up parties of their own. Margaret Thatcher’s managed decline project for Liverpool had worked, and the city centre was a ghost of its former boom years as Britain’s premier port.

The success of warehouse and outdoor raves and the subsequent police crackdown brought Acid House back into nightclubs.

Cream’s modest start - with the first few parties only managing a couple of hundred people through the doors – dramatically changed. Within two years people were traveling from all over the country to experience what Cream had to offer, packing in 3000 people every Saturday, with as many again outside. Its promoters and founders James Barton and Darren Hughes found themselves not just as successful party promoters but as CEOs of one of the most influential brands of its day, with offshoots into clothing ranges, record labels, festivals, management companies and residencies all over the world.

And like what the Beatles did for Liverpool in the 60s, the city rose once again. Anyone working in the inner circle of Cream will tell you, for specifically a 5-year period ‘94 to ‘99, Liverpool seemed like it was at the centre of the universe. Change was in the air, but for me as an 18-year-old working in Cream’s feeder bar, MelloMello, looking back at that period it’s still hard to comprehend the seismic change we were a part of then.

Clubbers would start arriving early on Saturday afternoon from all over the country (Europe very often), waiting and camped out on the parameters of Wolstenholme Square so they could get in as soon as the doors opened. Accents, languages and most importantly cultures fused with the common worship. Bricklayers queuing alongside bankers, drag-queens alongside doctors and inside, god as a DJ - the crème de la crème (no pun intended) of the international dance music scene.

Cream set the bar, created the industry and became the pioneer of what was the biggest youth movement since the 1960s. Across the years, there were many contenders to Cream’s crown of course and although it expanded internationally, Liverpool was always very much its heart and soul.

The ebb and flow of the past 25 years in the fickle world of tastes and trends has seen it sail close to the wind many times, but even amid a very choppy backdrop its future following its acquisition by Live Nation feels more assured than ever. The re-invention of Cream from a nightclub brand to a festival brand has seen it forge a path that doesn’t depend on the fickle nature of a local market, since it’s stopped its weekly nights at its former

home Nation on its 10th Birthday.

Nightclubs have had a particularly hard time over the past 10 years. The bar scene that initially developed to compliment what the clubs were doing, pretty much saturated Liverpool and most other similar cities.

Bars, with their more relaxed licenses generally mean no entrance fee, are open as late as clubs, have dancefloors, DJs and lightshows and none of the hassle of queuing and being searched as you enter. Unless you are looking for a very specialized offering the music is largely the same.

Many today would struggle to see the difference between these super-bars and clubs. For that reason, Cream’s move to festivals and big scale events like its anniversary Steel Yard shows, is the natural evolution. As bars have become the clubs of today then the surviving, successful super-club brands have become large-scale event spectacles.

The land values of where these clubs occupied are now prime-real estate, so in most cases the economics just don’t add up anymore. City centre apartments are filling the gaps left by retail and noise-issues are forcing closures by those clubs already struggling against the tide of rising costs and stagnant wages.

Liverpool’s resurrection owes a huge debt to what Cream did for the city. Against a backdrop of a hostile press, an uninterested government and national ridicule from shows such as Harry Enfield’s ‘Scousers’, it morphed into a modern inclusive European city with, like Cream, creativity, entrepreneurship and fighting spirit at its heart. EJ Iain Hoskins is the former Director of Music for Cream

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advert

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COLUMN

words by DAVEY BRETT

Gents, we need to talk about:

NOT GOING TO THE GYM

photograph Elizabeth Lies

In the sixth 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 gym, and specifically, not joining it

C

an you feel it? Of course you can bloody feel it. It’s building, it’s a runaway train of pure bloody oomph careering through your body tubes. It’s incredible is what it is. It’s a feeling like no other. It’s the pump and you know where you get the pump, don’t you? Pump palace, casa del pumpos. The gym of course, a place that I, a grown man, have never once been to in my life.

The gym is an interesting one. I haven’t been, so I can’t accurately tell you what happens there, but I have seen the popular 2004 comedy motion picture ‘Dodgeball: A True Underdog Story’ so I have a faint idea. The spaces themselves are usually quite large, waterproof, brightly lit and tend to contain a range of fascinating equipment which at first glance, looks like it is used for torture.

On closer inspection however, one soon realises that the equipment is actually for fitness and often mimics popular contemporary activities such as running, climbing stairs and lifting the wheels of a train whilst lying on your back. Attendees are encouraged to wear a particular ventilated uniform, sometimes with a dash of high-vis, but always with a simple tick logo to symbolise: ‘Correct, I am at the gym.’

I almost joined one recently, having been really into the idea for about two weeks. My housemates often frequent and seeing their enthusiasm, toned arms

and carefully curated Tupperware containers of highprotein foods got me thinking. Maybe I should join the gym? They recommended it, said it made them feel good, healthy, strong. They enjoy their pursuit of gains very much. I briefly considered gains and even got as far as the sign up page, which was a bit like booking train tickets. Would I be travelling to Henchville or Gainsborough during peak or off-peak times? Should I be committing to a longer journey to avoid signing on fees? It was all a bit much.

See, there’s also the fact I don’t know what I’m doing. I’m nervous, gyms are intense places. They’re places of people working hard, but they’re also places of peacocking. There’s a culture, unspoken rules and conventions that are completely alien to me. That’s just the venue itself, on the side you’ve got the overall regime too. Not drinking pints, watching your intake of protein (and all the other stuff ), supplements and deciding what you actually want from the gym.

Gains, losses, bulking, stripping, the whole shebang.

Where do you begin? The gym is intimidating to the uninitiated newcomer.

At the heart of my avoidance of the gym however, is an ideal. A romantic vision of fitness and strength.

A stockiness that’s helmed in mineshafts and construction sites, montages of running through the

streets of rainy overcast former industrial cities, up steps whilst pretending to box. You may think this all stems from having coincidentally seen Rocky (and spin-off, Creed) recently but it’s more than that. There’s just something unattractively artificial about fitness in a place that plays house music and has little screens everywhere for watching TV. It’s at odds with the mental picture I have of dimly lit parks with the solitary man in a grey marl Lonsdale tracksuit doing pull-ups on the monkey bars.

Of course, there’s one more factor in all of this, the one older than gyms themselves, but still very much the key ingredient: motivation. Even at the most high-end branches of Globogym, there’s no vending machine for the big M. It doesn’t come as part of the welcome pack when you sign up either. As well as the pump, lycra, peacocking and protein, the gym is rife with clichés and one of which is of not actually going.

New Years resolutions gone rogue, buying the kit but wearing it on the sofa, good intentions fizzled out.

That’s why for now, the gym is on hold. I’ve got the dumbells, the 100 press-up challenge in my browser favourites and my eye on the pull up bar in the park.

Until they’ve been dealt with sufficiently, my gym avoiding streak shall continue. EJ

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PROMOTION

THE JEWEL IN THE RACE CALENDAR’S CROWN CHESTER RACECOURSE X ESSENTIAL JOURNAL

Chester Racecourse have announced a new running order across the opening three day spectacular; The Boodles May Festival which will provide a compelling narrative to the highlight in Chester’s racing calendar.

2018’s festival promises to be an unmissable experience for racegoers and TV viewers alike

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he 2017 Boodles May Festival was a triumph, with superstar filly Enable and Investec Derby winner Wings of Eagles among those taking to the Roodee turf. Chester’s mix of competitive handicaps combined with Group races and fantastic crowds cemented the May Festival’s importance in the racing calendar.

Wednesday 9 May will be City Day, a celebration of our location, heritage and community. Following the traditional curtain raiser of the Lily Agnes Stakes, the 100th running of the Chester Vase will take centre stage alongside the Cheshire Oaks. Both races provide racegoers the opportunity to witness the races that produced the winners of the 2017 Investec Oaks and Derby on the same card.

Thursday’s Ladies Day will offer a mix of competitive handicaps and top class Group races, contrasting with the vibrancy of an enthusiastic stylish crowd – an amalgam only Chester can deliver. The Ormonde and Dee Stakes will be the feature races of the day and with a roll call of honourable winners, the stakes both on and off the track are high.

The final day of the Boodles May Festival culminates with the highest profile race of the three days, the Chester Cup - the most valuable race of the three day festival. Supported by the Huxley Stakes, Chester Cup Day will command the largest crowd of the three days and a palpable atmosphere, impossible to bottle.

Expecting fierce competition from the worthiest contenders, Chester will also endeavour to incentivise and attract visiting owners from all tiers of the sport throughout the season. Continuing with the industry’s first appearance money scheme, a £500 minimum payment contribution to every owner with a runner in 2018 is guaranteed, once again demonstrating that our obligation to Horsemen is paramount.

Commitment from 2017’s May Festival partners has been demonstrated with support again in 2018. Boodles take the mantle of Title Sponsor for a sixth consecutive year, whilst 188 Bet honour the sponsorship of the Chester Cup for a second year running. Long-standing and Principle Partner MBNA will sponsor the prestigious Chester Vase for the 14th consecutive year.

Further information on these valuable partnerships will be made available in the coming weeks.

Chester’s Chief Executive, Richard Thomas, said: “The success story of this year’s Boodles May Festival really set the bar for 2018. We have implemented a number of changes to ensure momentum is kept across the three day programme and we deliver a spectacular experience for horsemen, racegoers and viewers alike. We’re pleased our 2017 partners felt the affinity with Chester valuable enough to renew their relationships for 2018 and look forward to working closely with them again to successfully deliver mutually beneficial partnerships into another new season on the Roodee.”

Tickets, Badges and Hospitality packages for the 2018 Boodles May Festival and all Chester fixtures are now on sale, with discounted offers available on selected fixtures.

For information and to buy, visit chester-races.com or call 01244

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“The recent changes to the 2018 Boodles May Festival promise to make it the most spectacular in our long history. Our unique and intoxicating mix of watching supreme equine athletes competing on the historic Roodee turf, contrasting with the vibrancy of an enthusiastic stylish crowd make it an experience not to be missed.�

Andrew Morris, General Manager Chester Racecourse

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