ISSUE 61 - The Legacies Issue

THE

essential journal The pursuit of a quality lifestyle

"Stick to Your Guns."

Harrison Ford by Andy Gotts essentialjournal.co.uk

61

C R A F T E D T H E O L D W AY I N I TA LY F O R Y O U R E V E R Y D AY M O M E N T S

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CONTENTS

07.

28.

40.

The Primer Drinks, Eats & Chats

Rise of The Gentle Man

Staycation in Style with Hotel Café Royal

14.

RÆ-Inventing the Wheel with RÆBURN

22.

44.

50.

Article of Note Barbour x Engineered Garments

Artistry in Oak in Conversation with Sir David Adjaye

Article of Note The Land Rover Defender V8, Bond Edition

24.

Talking Shop with John Hickling & Glass Onion Vintage

35.

Cover Story: Behind The Lens & Beyond The Masks with Andy Gotts

42.

The Selling of Sleeping Beauty with Royal Lochnagar

49.

Small Beer's Big Thinking a Small Guide to Sustainable Living

54.

Columns & Thoughts

CONTRIBUTORS CONTACTS Andy Gotts MBE

Gordon & Macphail

Publishers

Partnership Manager

Maddox Gallery

Alastair Burgess

Essential Studio

Sam Dyson

Seb Beasant

Sam Trevethyen

essentialstudio.co.uk

s.dyson@essentialstudio.co.uk

Christopher Raeburn

Ryan Chetiyawardana

David Keyte

James Grundy

Editor

Lead Designer

John Hickling

Septime

Will Halbert

Christopher Gerrard

Ivo Zuazo

Phaidon

w.halbert@essentialstudio.co.uk

christopher.gerrard@essentialstudio.co.uk

Hotel Café Royal

Ruth Hansom

Royal Lochnagar

Chris Holden

Sir David Adjaye OBE

Mathew Gonzalez

Creative Director

Thomas Sumner t.sumner@essentialstudio.co.uk

Front Cover: Harrison Ford @essentialjournal essentialjournal.co.uk

Shot by: Andy Gotts Taken from: Icons: Portraits

by Andy Gotts

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

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A NOTE FROM THE EDITOR.

‘They say you really die the last time anybody says your name.'

– The Lawrence Arms

Hang around the same semantic field for any length of time and a sense of exhaustion is sure to creep in. I should know; I’ve waded hip-deep in ‘heritage,’ ‘tradition,’ and ‘time-honoured craft’ for as long as I can remember. I’ve proffered, tendered, and bandied such words with reckless, almost arrogant abandon - to the point where I forget their exact meaning, their exact weight, and measure. Semantic satiation, they call it.

You can’t blame me; they’re beautiful words, rich with the rose-tinted safety of nostalgia and the saccharinity of the backward glance. Sustainability, on the other hand, is a far uglier word for the simple fact that it’s laden with all the weight and dread and doom of time itself. It speaks to a different form of exhaustion: the exhaustion of our own, forward march.

It’s a ceaseless thing, that chase. Our minds race with the fevered visions of our myriad longings, blind to the wealth of material we’ve already amassed. It’s a sad story, millennia-long in its retelling and tired in its infinite repetition.

How nice it would be, then, if we reflected instead on other things. If we were more concerned with leaving the world that little bit nicer than the way we found it. If we stopped trying to get somewhere using other people’s unset, unformed futures as both fuel and collateral. If we stopped holding our potential happiness to ransom, convinced that happiness will come with the next milestone met or object acquired. How nice it would be if we focused instead on the things of value we'd like to leave behind.

THE PRIMER WHAT WE'VE BEEN DRINKING: The Whisky Exchange’s Annual Whisky Show Bottlings The Whisky Exchange invites whisky-lovers to embark on an ‘adventure of flavour’ with the launch of a series of single cask bottlings for Whisky Show 2021. Each label design tells a three-dimensional story with superhero characters symbolising the flavour compounds in whisky production. When viewed through 3D glasses, the labels trick the eye into perceiving three-dimensional shapes. Just as red and green lines can create an image that appears to leap off the page, so can flavour compounds evoke a favourite fruit, a piece of patisserie, or even a time or place. This illusory quality is a big part of what makes distilled spirits, and whisky in particular, so compelling – these artworks interpret the experience of drinking whisky. Our personal favourite? The Phenolic Phantom. It’s got a seaside smokiness that hits harder than a superhero with a point to prove. Cheers. www.thewhiskyexchange.com

WHERE WE'VE BEEN DRINKING: SOMA, Soho

This issue is dedicated to lessons learned and legacies left.

Enjoy!

Will HALBERT

Back in September, Will Bowlby and Rik Campbell (the duo behind the Indian-inspired restaurant group, Kricket) opened their first bar, SOMA. Located on Denman Street in Soho, SOMA is a modern and minimalistic take on the basement speakeasy that takes its name from the Hindu Moon God. The menu subscribes to a less-is-more philosophy that puts an elegant, elevated twist on a few familiar faces. We’re good with that. Especially when said less-is-more philosophy turns out bangers like the Old Fashioned-inspired, bourbon-heavy, toasted coconut-infused Jaggery. So once again, cheers. www.somasoho.com 7

FIVE in 5

WHO WE’VE BEEN TALKING TO: Seb Beasant, Torsa Studios

Interview by Will Halbert Photograph by George Marshall

Short, Sharp Selections From EJ Towers How would you define the Torsa customer?

We have a varied customer base. It’s split across two main segments. Mainly it’s creatives, working across design, publishing, advertising, and fashion. The second group is those working in finance, law, and those sorts of sectors. I think the appeal comes down to the brand’s minimal, Scandi-inspired aesthetic - we don’t even put our logo on our product. Our branding mechanism is our ‘T-stitch’, which has become synonymous with the brand - it represents the pursuit of better, something our customer strives for.

[WATCHING] PIG Cage, at his most mellow

[STREAMING] Squid Game Brutally watchable, even with subtitles

[FOLLOWING] @newyorknico Unofficial Talent Scout of NYC

[EATING] Mangal II Dalston’s one and only Ocakbasi

[LISTENING] Glow On - Turnstile A masterclass in genre-hopping hardcore 8

First off, what’s your story? Where are you from and what’s your background?

I was born and raised in London. My mother is Swedish, so I have a strong connection with Scandinavia and when I was younger, I spent most of my summers in a small village there, located on one of the many lakes. I studied Fashion Buying in Manchester but had been interested in fashion long before then. Apparel design, especially athletic wear, is fascinating to me because you have to balance style, form, and function. There are so many considerations beyond the actual garment itself.

You often talk about your admiration for the clean, Scandinavian aesthetic. What sparked this admiration and where was it cultivated?

As I said, my mum is Swedish and for 10 years we’d spend Summers in a small village in Sweden on the lake, where my grandmother and uncle lived. Life was so simple: the house was built by hand; we’d fish on the lake for food; we’d forage for dinner; there was no internet. This very simple upbringing shaped my views on design today. Scandinavian design is built on minimalism and simplicity, and I believe design is better this way too. In this digital age, there are so many brands vying for people’s attention. But for me, Scandinavian design strips this back. It’s all about doing things simply, but doing them very well.

There’s also a slight Japanese inflection in the mix, design-wise. How do both of those aesthetics work together in Torsa?

There are noticeable similarities between the two cultures from a design standpoint. Scandinavian design centres around clean, simple lines, minimalism, and functionality. Japan, shares many of the same philosophies but puts a greater emphasis on function, construction, and craft. At Torsa, we’re driven by the Japanese design principle of ‘Shibui’: unobtrusive beauty.

Simply put, the concept refers to a product that appears simple on the surface but retains a certain complexity, whether that’s in terms of textures, construction techniques, or intricate detailing.

Can you give us a brief rundown of the collection?

It’s a 5-piece collection designed specifically for training in and out of the gym. Being such a small collection, we made sure that each piece could be interchangeable. Breaking it down, we have two T-shirts. Our Onyx T-shirt is our super lightweight high-performance T-shirt. We then have our merino wool T-shirt which is ideal for training in changing conditions. To round off the tops, we have a ½ zip sweatshirt designed for trips to-and-from the gym and warm-ups. We then have one featherweight performance short, and a 4-way stretch water repellent training bottom.

Lastly, give us the Torsa elevator pitch.

How would you sum up the brand in one sentence?

Quite simply, Torsa is an athletic wear brand driven by product innovation, craft, and style. www.torsa.co.uk

WHAT WE’VE BEEN READING: Soled Out: The Golden Age of Sneaker Advertising Soled Out was lovingly written and compiled by Simon Wood aka ‘Woody’, founder of the legendary Sneaker Freaker magazine. Featuring superstar athletes and cultural icons such as Andre Agassi, Paula Abdul, Bugs Bunny, Bo Jackson, Michael Jordan, MC Hammer, Hulk Hogan, Shaquille O’Neal, and Sigourney Weaver, every page is laced with unforgettable graphics and outrageous trash talk. This is the sneaker business expressed in its own muscular image and grandiose prose. Soled Out is also an ode to the unapologetic, rule-breaking, whip-smart advertising talents that shaped a global industry and influenced generations of sneakerheads and sports enthusiasts.

Out now via Phaidon

WHAT WE SHOULD BE SHOUTING ABOUT: Got a suggestion, a tip-off or a project you think we'd like? Drop us a message and we could feature you in The Primer or FIVE in 5. @essentialjournal

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Florentijn Hofman, Rubber Duck, 2013. PVC, H. 16.5 m / 21 ft, temporary installation, Hong Kong. Courtesy Studio Florentijn Hofman

The Image: Bird: Exploring the Winged World.

RUBBER DUCK, FLORENTIJN HOFMAN

@phaidonsnaps

Published by Phaidon, £39.95

Essential Fits:

OLIVER SPENCER

Our three favourite fits from the Oliver Spencer AW21 collection.

Above: Buffalo Jacket Rhodes Green, Drawstring Trousers Rhodes Green, New York Special Shirt Fearnley Grey Inside: Millman Hooded Jacket Burrell Dark Moss Green , Blenheim Jumper Kintyre Multi, Drawstring Trousers Elsden Cream, Dock Hat Rib Turquoise Over Torridon Parka Selsey Navy, Drawstring Trousers Kendrick Charcoal, Porter-Yoshida & Co Orange 2-way Flex Duffle Bag

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AW21.

Shop online now at oliverspencer.co.uk

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THE COMPLETE PACKAGE FC Bayern Munich star Leroy Sané features in the new Fall 21 Nike Underwear campaign photography by Michael KROSNY Leroy Sané models Nike's Fall collection featuring their innovative Nike ReLuxe, a fabric made with at least 75% recycled fibres. As well as providing us with these glorious images of one of Germany's rising football stars lounging around and doing keepy-uppies in his drawers, the campaign highlights the brand’s ‘Move to Zero’ initiative; Nike's journey toward zero carbon and zero waste. It is a continuation of Nike's deep commitment to sustainability and is driven by the belief that protecting the planet means also protecting the future of sport against climate change. EJ

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RAE-INVENTING THE WHEEL We chat through the three 'R's, with RÆBURN Founder, Christopher Raeburn interview by Will HALBERT

First off, tell us a little about yourself and how RÆBURN came to be.

I started RÆBURN back in 2009. Before that, I graduated from the Royal College of Art. The seed that planted the idea for RÆBURN can actually be traced back to an original military parachute used by pilots all around the world. I took one parachute and made it into eight garments, sewing them all myself using an industrial sewing machine. Step by step, the brand has grown from there.

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Can you unpack RÆBURN’s three ‘R’s and how they relate to one another?

Sure, so the three main legs of RÆBURN boil down to ‘RÆMADE’, ‘RÆDUCED’, ‘RÆCYCLED’.

The idea for ‘RÆMADE in England’ is an obvious twist on the ‘Made in England’ mantra with a sustainably-minded twist. RÆMADE is our conceptual driving force. It combines craft, quality, and responsible design by crafting striking menswear pieces from unexpected surplus materials.

The idea is to take something that already exists

and make it into something new, contemporary, wearable, and cool, really. Of course, if ‘Raemade’ was all we had in our roster then we’d be pretty niche. So, we recently introduced two new elements to the collection: ‘RÆDUCED’ and ‘RÆCYCLED’. ‘RÆDUCED’ has a real focus on waste reduction minimising our carbon footprint by championing local manufacturing, small batch production, and responsible fibres where possible. ‘RÆCYCLED on the other hand, boils down to calling on the most functional recycled

whole narrative around sustainability has really blossomed. That’s great. What’s not so great is the cynical and misleading greenwashing that comes along with it. That really isn’t that good or helpful.

We’ve been pretty open that our approach to things just comes from common sense. It boils down to an old-school, make-do-and-mend way of making things. It’s really not that radical. It’s just a case of having a sensible, pragmatic approach to design.

The reason I use the word ‘responsible’ is that I think we have an obligation as a company to do the right thing. It’s also about building a relationship with people who wear RÆBURN. We want them to be invested in what we’re doing, what we’re creating. Ultimately, we want to make a difference with the work we do.

We’re pretty quick to abandon garments when they no longer serve us. There’s a total loss of emotional attachment to an object.

When reworking a garment, do you think it’s important for you to preserve some element of the garment’s original life/story?

I think that’s a really good point. Most people have no idea how things are made. Not just in terms of clothing but in a more general sense. Personally, I think it’s really important to do everything you can to explain how things are made. We’re really transparent in the way that we work as a business. We open up the studio for four days a week so that people can come along and really see how things are made. That’s how I approach it: I want to open up the doors, peel back the curtain, and really have a conversation.

How do you feel about the future of the industry in the wake of fast fashion? Do you eventually hope to be seen as less ‘radical’ as truly sustainable practices become the norm?

I have no criticism to level at fast fashion per se because I truly think it’s important that we all work together to find a better solution to the current problem in fashion. It’s not about playing the blame game; it’s about coming to terms with the fact that we’re simply making too much stuff.

If we, as businesses big and small, can all work together to turn that around and do things in a better way? Well, that’s going to make a real and lasting difference.

raeburndesign.co.uk RÆBURN AW21 Campaign imagery by Alastair Strong

materials from responsible manufacturing partners around the globe to create high-quality, technical pieces. That’s the business in a nutshell!

Looking back a little, what sparked your initial interest in militaria? Did you always see the fashion applications of military wear?

What was the ‘penny drop’ moment for you?

I think back to my time at art college; I was just really fascinated with materials themselves and their technical aspects.

Back then, the only place to really source those materials was through military surplus channels. Any other route was just too expensive or unobtainable. So, my original interest in the functionality of the materials themselves lead to the choice to use what already existed rather than buying brand new materials. It was a pragmatic choice as opposed to a philosophical one, really. But it soon opened my mind to more sustainable approaches to fashion and design.

Can you talk us through the concept of ‘responsible design’? What does it mean to you personally?

I think we have an obligation to be as responsible as we can in what we do; to make sensible, measured decisions. Over the last decade or so, the 15

"The Shocking Truth"

Grindhouse • GARMS •

with Levi's

Vintage Clothing words by Will HALBERT If there was anything to glean from the schlock horror flicks of cinema circa 1950, it was this: nothing is more terrifying than the American teenager. Think savage punks on a midnight binge of booze and violence; square-jawed boys brawling over the teenage bad girl; accidental deaths at an ill-fated chickie run.

It’s this sense of teenage rebellion that serves as the inspiration behind ‘The Shocking Truth’ from Levi’s Vintage Clothing. Taking its stylistic cues from the vivid colours and sensational imagery of the ‘50s B-movie poster, the autumn-winter collection features a roster of styles that call back to the celluloid cool of classic trash cinema. From leather jackets to satin bombers, camp collar shirts to geometric-print sweaters, ‘The Shocking Truth’ is a further example of LVC’s knack for reviving retro styles with modern inflections. We dig it. EJ

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E S S E N TI AL VO ICES: David Keyte 'Big Coat Season' David Keyte of Universal Works talks winter coats, warm fabrics, and world peace interview by Will HALBERT

From garment-dyed wovens, to printed camo, to Harris Tweeds, the fabrics are the real stars of the AW '21 show. How do you go about finding the fabrics that will feature in your collections? What qualities are you looking for?

Well, I would normally say I start by going to trade fabric fairs in Milan and Paris and London, but for the last 16 to 18 months of course that has not been possible, so it's been harder. Alongside the trade shows we also work directly with mills to develop fabrics and more hand-woven artisan things, normally travelling to do that in Japan and India, so for a while its been about Zoom and phone calls, all really horrible ways to judge fabrics. However, it has also proved we have a great relationship with many of our suppliers, as they know what we like and have found a way to get collections in front of us. They know I want great quality and great innovation at a fair price as well as interesting fabrics that are easy to care for and will last, but that also have that key point of difference, a spark or a certain attitude almost. New suppliers often ask me “what are you looking for” and I always say “I don't know until I see it".

Is it a challenge getting so many different materials, weights, and cuts to interact/cohere within a single collection? Or is that all part of the fun?

I have a pretty eclectic taste and I have a lot of different influences from utility and military through to fashion, sportswear and streetwear so I love to bring it all in every collection. We do this in garments as well as fabrics, and yes its definitely part of the fun and hopefully some of it works well and results in interesting and exciting combinations. Sometimes the right fabric in the wrong style or the wrong fabric in the right style makes the best piece.

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Can you talk us through a few of your favourite fabrics from the AW lineup? Any fabrics that speak to you personally? ​​Ahh, the old 'what's your favourite piece' question. Honestly, I do love it all otherwise it wouldn’t be there. It's a massive wardrobe for me really.

Maybe some fabrics shout louder to me, like the special Italian recycled tweed we found this winter, which I love and the new Harris tweeds and the crazy Paisley velvet from Japan. Then I get equally excited about a simple Moleskin overshirt fabric too. Super soft, tough and good looking at the same time. We also have a great oversized, heavy cotton plaid shirting we developed with a maker in Madras which is amazing. I could go on for hours.

Crossover pieces like the UW Lumber Jacket incorporate a little Americana charm into an otherwise British aesthetic. As a designer, what do you consider to be the biggest differences between British workwear and American workwear? Is it a question of fit, fabric, or a little of both?

I guess I am always influenced by both, so well spotted. My sensibilities are British, my background is here, and blue collar, along with sports and streetwear but I, like most of the fashion industry, love the ‘50s and ‘60s Americana too.

Those classic silhouettes and shapes move me for sure, but I am always trying to be up-to-date, to be for now and for today. Understanding the referencing is good, but being in the present day is the important thing.

There’s always been a great balance between aesthetics and function in Universal Works’ collections. Stylish, grounded, and hardy 20

without ever being overly showy, ornate, or precious. What do you put that down to? Do you think that’s the Midlands, working-class roots at play?

Short answer? Yes. The slightly longer answer is that I just like functional things, I don't like waste, I like understated things, I don't like showy. Is that a Midlands working class thing, or do I just have good taste? You can be the judge of that, not me.

That Olive Recycled Tweed Overcoat is the big coat to end all big coats. It conjures up images of rainy day football matches and early morning park walks with the dog. What rituals/big coat moments do you most associate with the colder months?

I have the coat and I really do want to go to the match in it, and I will. I guess while I love the walks in the park and the city with a big, cosy, warm coat on, for me the best memories are work trips in January to New York where its so ‘effin cold you need two big coats and gloves and a hat and a scarf - and I still love it. Maybe it's the ritual of taking off all the layers when you get to the coffee shop and enjoy that first cup of the day.

The last year or so has presented a major learning curve for us all, and you’ve often spoken about the importance of the ‘Universal Family’ amidst all the chaos. How have those learning curves and that extended family informed the AW ‘21 collection?

Honestly it's been tough. We thought for a while it was going to ruin us all, but then that's just money. For many, it has been a real human tragedy, too. Many people needlessly lost for sure, but also some great moments of realising that helping each other and caring for each other matters

more than anything else. Our Universal Family are all our friends and customers and suppliers and makers - all of them. Helping each other and supporting each other. That's what families do.

Lastly, I guess the pandemic taught me also about trust. It showed me who I could trust and maybe sometimes who I could not. That we all need to trust each other and have trust in ourselves and our abilities and understand that sometimes you can affect things and sometimes you can’t. It’s about trusting that you have the judgement to know the difference.

Comfortably cut yet hard-wearing, Universal Works has always been ahead of the curve in flying the flag for a more relaxed approach to menswear and tailoring. How does it feel to see the world play ‘catch up’ in the wake of the ‘new normal’?

I love it, although I've never been a fan of the phrase “loungewear” I guess Universal Works always did something you could lounge in comfortably, so yes, welcome to our world and happy for everyone to join us.

And finally, what are you most looking forward to as we round off 2021?

World peace, less bigotry, and more understanding would be a good start. But while we wait to see if that can be achieved, I will also be looking forward to a few parties with family, friends, and staff. It seems like so long since we have all been together to celebrate and well, just hang out together. So I guess what I'm looking forward to most is hugging those who matter to me again.

universalworks.co.uk

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BA RBOUR X E N GIN E E RE D GA RM E N T

BARBOUR X ENGINEERED GARMENTS

BAR B O U R X E N GIN E E RE D GA RM E N TS

A RTIC L E OF N OT E :

BA RB OU R X E N GI N E ERE D G AR MEN TS

Established in 1999 by japanese designer daiki suzuki, engineered garments was born out of a love of american workwear and traditional construction techniques with a japanese aesthetic. Their collaborations with south shields heritage brand, barbour, have long been a thing of legend.

The latest collaboration between barbour and engineered garments is no exception. The fivepiece collection sees barbour’s signature quilt styles expertly elevated to create unique garments that honour both brands’ most identifiable features.

Blurring the lines between classic and contemporary, the collection blends old-school militaria, classic workwear sensibilities, and a modern approach to fit. The result is a timely yet timeless collection for heritage heads and streetwear fiends alike.

WO R D S BY

W ILL HA L BE RT

BA R BO UR X EN GI N EE RE D G A RM EN T S

YOU CAN SHOP TH E BA R B O U R X EN G IN EER ED G A R MEN TS C O L L E C T I O N AT

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WWW.BARBOU R . C O . U K

UP CLOSE & PERSONAL

A CLOSER LOOK AT T HE EG X BAR B O U R CO LLECTI O N

The Barbour Pop Quilted Vest

The Barbour Pop Quilted vest is based on Engineered Garment’s signature utility vest in Barbour’s traditional 2” diamond quilting.

With a large practical central pocket at the front, it can be worn over a sweater or shirt and is sure to attract attention.

The Jankees Quilt

BA RB OU R X E N GI N E ERE D G AR MEN TS

The Loitery Quilt

The ultra-lightweight Loitery quilt (in traditional black and olive colourways) is a contemporary take on Barbour’s classic Liddesdale jacket. It’s semi-tailored with smart kick pleats, a revere cord collar, and trims.

The longer-length Jankees quilt comes with a fixed hood, shoulder overlays, and asymmetrical handwarmer pockets alongside two practical larger pockets. Perfect to throw on over jeans or chinos on cooler days, it’s warm and lightweight, and easy to wear.

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TALKING SHOP: JOHN HICKLING, GLASS ONION VINTAGE

Glass Onion founder and winner of the BFC Changemakers Prize, John Hickling, gives us the lowdown on a life dedicated to vintage clothing

First off, what sparked your interest in vintage goods in the first place? What was the appeal for you?

I loved finding hidden gems in vintage stores or charity shops. The appeal was always uncovering something that nobody else would be wearing. That’s still the appeal today. The positive environmental impact of buying vintage clothing wasn’t a consideration for me in my late teens, it was all about how the product looked and felt.

How did you go about turning that interest into a business? What were your initial steps?

During breaks between lectures at university I would visit every charity shop in Sheffield, building small collections of vintage clothing to sell in an eBay store. These collections would sell out every week giving me enough money to reinvest, go on nights out and buy music.

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I wrote to Elvis Presley’s karate instructor in Memphis, Tennessee, to bulk buy patches from him. I would spend hours hand sewing them onto vintage wrangler denim jackets which I found on Barnsley market. These would sell for £90-£120 at the time which gave me enough profit to start seeking out suppliers of used clothing where I could get volume. From here I would stand at student markets in Sheffield and Manchester during the week and travel to Camden market, London each weekend to trade and sleep in the van. I then saw an opportunity in wholesale. I had a knack for being able to source a volume of great products and knew many people who needed these products.

Talk us through the process as it stands today. What exactly does Glass Onion do? What does a typical day in your life look like?

We source and grade over 20,000kg of vintage clothing per week and our onsite sewing factory remakes over 12,000 recycled garments per month. These teams work together to deliver great vintage products to our website, store, events, and wholesale customers. We currently employ 56 people and are a real living wage employer.

Wholesale aside, there’s an element of repair in the mix too, right? Can you tell us a little about the idea behind the Remade Collections? Does this present a kind of middle ground between the expense of slow fashion and the excess of fast fashion?

The idea behind our remade collections is to take garments that already exist but no longer have a use and give them a new lease of life.

Consumers love newness, as I do, but by buying remade you are recycling textile waste. I believe

that vintage, used, and remade fashion is a great alternative to fast fashion, you can get exciting new pieces without causing further environmental harm.

How has the fashion industry changed over the years that you guys have been in business?

The fashion industry is becoming more conscious of business practices. Our Highstreet wholesale clients are proactively making improvements to the way they do business, and we are helping them with that. Used/vintage clothing is now more mainstream and acceptable which is presenting a big opportunity to make sustainability more accessible to everyday people.

How have people’s attitudes towards vintage or used clothing changed?

People’s attitudes towards vintage clothing have

changed dramatically. There was once a stigma to wearing secondhand clothing but this has now been removed. Wearing vintage/used clothing is now becoming mainstream practice, it's great!

Can you think of any garments in particular that are better when bought vintage?

In my opinion denim is much better when bought vintage. The feel and fades of the denim are great and it also takes 20,000 litres of water to make one pair of jeans and a t-shirt. This is another good reason to buy vintage denim.

Do you have any personal favourite pieces in the collection? Any painful one-that-gotaway moments from over the years?

I love the 1960s and 1970s Levi’s products mixed with old band tees. I sold my old Nirvana tees a few years ago. I still very much regret that.

What does winning the BFC Change Makers prize mean to you? How does it feel to see the hard work pay off?

It’s an honour to be acknowledged by the British fashion council, Swarovski, and the amazing panel of judges. It’s a landmark moment for us.

The hard work has not yet paid off, there is still a lot for us to do. I see the Changemaker prize as an extra push on the road to delivering our vision.

How does it feel to be considered a Change Maker? Did you ever imagine, back when you were selling pieces on eBay, that you’d be at the forefront of such an important movement?

It’s hard to consider ourselves changemakers as this is something we have done for years. My business started in my grandmother’s coal shed, at that time, I didn’t look past the end of the week!

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GAME CHANGERS & CHANGE MAKERS The BFC Changemakers Prize in Partnership with Swarovski Launched earlier this year, the new initiative aims to discover and celebrate the fashion industry’s unsung stars. Those who go above and beyond to strive for positive change, make outstanding contributions, and inspire others on their journey. The Prize was open to anyone working in the fashion industry, celebrating and promoting inclusivity, individual achievement, and innovative thought. Entrants were nominated by colleagues, peers, employers, and businesses, recognising their outstanding work.

In July, nine finalists were selected by a panel of industry experts including the likes of Caroline Rush, Giovanna Engelbert, Edward Enninful, Ib Kamara, Lily Cole, Tan France, and Munroe Bergdorf. On 2nd September, the three winners were announced, one for each of the pillars of the BFC’s Institute of Positive Fashion (IPF): Environment (John Hickling), People (Cyndia Harvey), and Community & Craftsmanship (Andrew Kenny).

You must see a fair few trends come and go over the years. What are your personal favourites?

Each generation puts their own twist (styling and customisation) on trends as they come back around, this keeps them all interesting to me.

I love seeing what is coming next.

What are the most important lessons you’ve learned about running a business over the years?

The most important lessons I’ve learned whilst building Glass Onion have been: Build a team with shared values. We have a great team who love our product, customers, and getting things done. Plan in detail, execute well, and put measures in place to review the results. Keep the customer and product at the top of the priority list.

Knowing what you know now, is there any advice you’d give to your younger self ?

Have fun. It gets better.

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Are you optimistic for the future of the fashion industry in light of current environmental concerns? Do you think we’re taking the necessary steps or is there more ground to cover?

I’m very optimistic for the future of the fashion industry. The fashion industry is creative and embraces change. It will not be easy and there is a lot of ground still to cover but there is a new generation of companies who are leading the change and Glass Onion is proud to be working amongst them.

And finally, what’s next for Glass Onion?

What’s next for Glass Onion is developing our website, opening stores, pop-up events, growing our team and sewing factory, and continuing to grow and develop our relationships with suppliers and our high street partners who we wholesale to.

Keep up with Glass Onion on @glassonionvintage

M O D E R N + S U S TA I N A B L E S W I M W E A R

CHESTUDIOS.CO.UK

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T H E OD ORE HE R ALD : R IS E OF T HE G E NT LE M A N Theodore Herald founder Ivo Zuazo talks soft tailoring, sustainable fashion, and seismic changes to the meaning of masculinity

interview by Robin CLEMENTSON

We have long supported a more considered way of dressing, where men feel at ease with what they are wearing without the need to be overly masculine or the loudest in the room. ‘Soft power,’ they call it. A recent introduction to new luxury menswear brand Theodore Herald, helped cement and, in a sense re-ignite our passion for this new-wave movement, where we can all enjoy an evolved representation of what it means to be a ‘gentle man’.

Drawing on an established Peruvian heritage and a made-in-Italy stamp of authority, Theodore Herald carries a focus on soft tailoring as well as premium Peruvian materials and knitwear including Royal Alpaca and Pima Cotton. This is modern attire that is effortlessly elegant, enjoyable to wear yet decidedly unpretentious - out with the stiff and stuffy, and in with soft tailoring and understated style.

Starting with soft, high quality tops and shirts, and slowly extending to offer the full range of contemporary menswear, Theodore Herald makes it possible to buy better but buy less as wearers embrace their inner ‘gent’ and start to reconstruct the old wardrobe. These clothes speak to the man who wants to stand out “quietly” with subtleties and finer detailing.

“I wanted to develop a knitwear line that would also be comfortable to wear in both physical and emotional sense,” says founder Ivo Zuazo. “Theodore Herald has been created to represent a new type of masculinity through simple, yet impactful craftsmanship. Every garment has a specific detail, for example, in our permanent collection we display more prominently our iconic “Quipu” hand stitch in Baby Alpaca 3-ply.

“Today, there is no such thing as one size fits all; no universal standard of masculinity. Our collections are proudly Peruvian, designed to stand the test of time as well as being sustainably sourced, incorporating recyclable materials as well as processes.” Theodore Herald is well worth a look. RC

Ivo, you talk about a new wave in menswear and mindset, can you explain?

Traditional stereotypes in menswear stigmatise male gender roles, where cultural pressures require men to be in control, act tough, and avoid showing emotions. Success means showing off wealth as well as dressing with an imposing attire.

These traditions and ideals of masculinity are rapidly being disbanded and disrupted and, a new, more positive, evolved representation of what it means to be male is finally taking hold.

How does Theodore Herald fit into this new-wave thinking? What are you doing differently?

I wanted to develop a brand that, first and foremost, would be comfortable to wear both physically and emotionally. But it’s not just about that. My vision is to create a menswear movement that represents and dresses men for a softer, more open, and positive sense of masculinity - increasingly known as ‘Soft Power. Today’s ‘gentle men’ are considered, considerate and conscious; they demonstrate strength yet they do not fear vulnerability. They exhibit empathy as well as energy.

Theodore Herald champions soft power as a force for good in the world. Our design direction, ‘effortlessly elegant yet decidedly unpretentious,’ gives a new generation of gentle men the opportunity to dress with comfort and consideration whilst allowing them to stand out quietly with subtleties and details.

In addition, our content marketing goes beyond the mere description of our high-quality garments by encouraging the new gentle man to rethink the traditional codes of masculinity, embrace soft power, and join our menswear movement.

Can you briefly explain why ‘Made in Peru’ is so important and integral to the Theodore Herald brand?

Peru has more than 5000 years of experience in textiles. PreInca cultures, such as Paracas and Nazca, cultivated cotton and natural dyes in the coastal valleys, while Chavin and Tiawanaku handcrafted fine knits and cloth from alpaca and vicuña in the highlands.

For centuries Peru has been a land of fine textiles and specialised textile workers. It’s no surprise then that Peru has long been favoured by several well-known luxury brands as the ideal country for sourcing high-quality cotton, alpaca, and vicuña as well as an inspiration for many collections. We chose Peru not only for the quality of its materials and manufacturing. The roots of the brand including the name and myself, the founder, are Peruvian.

I am a proud Peruvian and I always wanted to do something for my country, especially when my life and work have taken me so far away. We Peruvians have good raw materials and a

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strong manufacturing footprint, but we don’t have a relevant brand in the menswear world.

By creating the first modern, slow fashion, ethical Peruvian luxury menswear brand, I wanted to promote my country whilst offering something different to all menswear aficionados. For instance, you probably know cashmere, but how much do you know about the softness, quality, and positive environmental aspects of alpaca?

Last but not least, sustainability is critical for Theodore Herald and indeed for Peru. The vision of the country is not only to maintain our high-quality standards but also to become the most sustainable textile supplier in the world, encouraging responsible use of water and the environment and creating fair working conditions for our people while preserving our heritage in textiles. I do envision that a new wave of Peruvian brands will be heard in the years to come.

You often talk about aligning and believing in a character, and the need for a brand to make people ‘feel something’. How do you intend for this to take shape with Theodore Herald?

I believe that the responsibility of a brand goes beyond the product that it sells. A brand needs to have a clear purpose and point of view. A brand is followed and listened to by its customers, so a brand is in a unique position to have a strong voice and be a positive planet choice.

Our brand purpose is to create a menswear movement that represents – and dresses – a softer, more open, positive masculinity and champions soft power as a masculine force for good in the world. Our ambition is to create a space for positive masculinity that connects 100 million men. You’ll see this taking shape in our design direction, our content marketing, and in our plans to give back to our Peruvian communities as we promote the nurturing of the new generation of gentle men.

Can you talk us through the Theodore Herald collection as it stands today?

Our focus is on soft tailoring using premium Peruvian materials and knitwear. Our launch collection – Roots – boasts timeless styles for our permanent collection and more revealing and edgy styles for our expressive collection.

Two styles will be part of our Permanent Collection: our Round Neck Sweater and our Cardigan, both in 14-gauge Royal Alpaca. These are staple pieces that every man should have in their wardrobe. In these two pieces, you’ll see our iconic “Quipu” hand stitch in Baby Alpaca 3-ply. Our “Quipu” stitch is inspired by the artistic work of the Peruvian artist Jorge Eielson Three styles are more edgy and expressive: Our Polo Shirt (Zip-neck), Our Polo Shirt Knit and the T-shirt Knit, all short sleeves in mercerised, 18-gauge, Pima cotton.

The launch collection features highquality craftsmanship and detailing across the 30

five staple knitwear pieces. We put an enormous amount of time into developing these fine details since we believe that is how the new gentle man will like to distinguish himself.

Looking into the near future, we will continue focusing on Knitwear. The offering will continue to include a permanent collection in which we leverage our iconic stitch more prominently and a more expressive collection with different subtle details and more variety of colours. Across the offering, we will keep introducing new Peruvian yarns as we launch new styles extending our current offerings.

How do you want people to wear and feel about these initial pieces?

I want them to feel proud to wear an ethical brand with a clear purpose that they could relate to. I want them to feel proud to be part of our community, a movement that dresses the new generation of gentle men. I want them to feel proud to make a long-term investment in a high-quality garment with a timeless design.

I want them to feel proud to wear a brand that puts sustainability at the forefront of its mission and wants to contribute positively to our planet.

These kinds of movements tend not to occur in a vacuum. Are there any other brands that share your philosophies, any brands you that admire?

I follow brands with a clear brand purpose that want to be a force for good for the planet. Patagonia is a brand that I personally admire. In their mission statement, Patagonia acknowledge the fact that life on earth is under threat of extinction and they are committed to use the resources they have to do something about it.

Can you briefly highlight the sustainable and ethical elements of the Theodore Herald business?

Our ambition is to be a sustainable brand and I understand that we are not there yet. During the process of creating the brand, I went through the whole value chain to identify where I could implement sustainable practices despite the minimum order quantities limitations of startups like mine. It was surprising to me that I could do a lot more than I initially thought. First and foremost, we are a slow-fashion brand. Our collections will last longer than the usual fashion cycle and we encourage people to buy only what they need and when in need to buy clothing of better quality that will last. Our manufacturers are selected and approved based on their sustainable practices. Sure, there is always more work to be done, but I believe we are off to a great start. We have a three-year roadmap of initiatives looking into the future so, there is definitely more to come. I’m also working on how to give back to our communities in Peru, helping to raise a new generation of gentle men. www.theodoreherald.com

WWW.BARNBYWINDERMERE.COM

A leopard can’t change its spots.

But a Barnby Windermere shirt can.

In fact, you’ll find yourself dressing it up and down so easily that you’ll have a hard time working out if it looks best with denim, sweats or under your suit jacket – but here’s the big secret. It looks best with everything.

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STAND OUT VOICES: SUSTAINABLE DRINKING TESSUTI SIT DOWN WITH TITANS OF THE DRINKS INDUSTRY TO DISCUSS THE ALL-IMPORTANT ‘S’ WORD

ALASTAIR BURGESS

OWNER & OPERATOR, HAPPINESS FORGETS & EVER AFTER BAR

ON INDIVIDUAL RESPONSIBILITY:

“It’s a really tricky one. There’s only so much the individual can do. I think we need a wider-scale, legislative change. We need movement at a government level. The individual onus is obviously very important, and it’s worth considering different, less hands-on approaches to sustainability. We can drive change by actively choosing where to spend our money, for example. Supporting businesses with a sustainable programme to show that there’s a collective demand.”

ON OLD WAYS MADE NEW:

“The on-trade has to speak up and demand better from the big industry suppliers. We even need to re-evaluate the way we receive our booze. Single-use glass just isn’t the way anymore. That’s not even a new or revolutionary take on things. I’ve been in the industry for 25 years. People forget, but re-usable vessels to be the standard. Remember those old Grolsch bottles with the pop-lids? They were designed that way because the brewery used to refill them. Simple and effective. Same with the old Schweppes and Britvic bottles. It doesn’t have to be high-tech to be effective.”

t e ssut i.co.uk 32

JAMES GRUNDY

SAM TREVETHYEN

RYAN CHETIYAWARDANA

ON BEING THE UK’S FIRST DRY-FLOOR BREWERY:

ON DISCARDED SPIRITS AND THE SUSTAINABLE JOURNEY:

ON SUSTAINABILITY BACK IN THE DAY:

“The industry is very resource-intensive. One thing we set out to do at Small Beer Brew Co. was to address that intensiveness head-on. Water in beer production, for example, is vast. Historically speaking, anyway. Eight to ten pints of water are used to brew a single pint of beer, in fact. At Small Beer, we’ve managed to cut that down to just a pint of water. We’re able to do that in large part because we run the UK’s only entirely dry-floor brewery. That sounds incredibly dry on the surface but it’s fascinating in practice. Our kit is specially designed to recapture, recycle, and recirculate the water we use.”

“The future of luxury lies in sustainability, but the word ‘sustainability’ can be a little hazy at the best of times. It’s not very directional. At Discarded Spirits, we like to talk about the journey toward sustainability. One step at a time. We don’t all have to jump on a fully sustainable lifestyle - that’s a huge task. But, little by little, we can all get started on that journey towards a more sustainable lifestyle. We don’t need 10 people doing zero waste perfectly; we need 100 people doing it imperfectly. The idea of reusing creatively sits at the very core of what we do at Discarded. It really seeks to challenge the idea of what waste is. We like to talk about ‘trash to treasure’, or the ‘wonderful world of waste’.”

“When we first started exploring the idea of sustainability it was seen as a bit of an affront to the industry. It was seen as somewhat antithetical to an industry more concerned with delivering a luxury product or experience. But luxury and sustainability aren’t contradictory terms. It’s amazing to see just how much sustainable practice has become normalized over the years; it’s become very much a part of the fabric of the industry. Sustainability has become a very normal thing to talk about, which is essentially what we’ve been trying to fight towards.”

CO-FOUNDER, SMALL BEER BREW CO.

ON LEADING THE WAY FOR A SUSTAINABLE FUTURE:

“As a business in the drinks industry, we’re in a position to inspire others to make some changes.

That’s what we want to do here at Small Beer. We want to open our doors and share our learnings to show people effective methods of change within the brewing process. Often, one of the main reasons why change doesn’t occur within our industry, especially in brewing, is because people don’t question the standard practices. And why would they? It’s how things have always been done. But you’d be surprised what you can learn when you start questioning those norms.”

GLOBAL BRAND AMBASSADOR FOR DISCARDED SPIRITS

ON INDUSTRY INNOVATIONS:

“One of the most innovative developments I've seen within the industry of late comes from a company called ecoSPIRITS. Their proposition is pretty simple: end single-use glass. The reality is that the perfect bottle isn’t a bottle at all; single-use glass simply is not the best way to transport liquid.

EcoSPIRITS have developed a closed-loop distribution system that nearly eliminates packaging waste in the premium spirits supply chain. It’s essentially a metal box with a glass bladder; the equivalent of about six bottles of spirit. So instead of ordering six single-use bottles, you’d order this refillable ‘eco tote.’ It’s a truly circular delivery mechanic that combats one of the biggest sources of waste in the drinks industry.”

FOUNDER, LYANESS, SUPER LYAN & SILVER LYAN

ON THE MR LYAN APPROACH:

“The steps we’ve taken have evolved over the course of the 10 years we’ve been in business. From the early days, White Lyon was an exercise in sustainability. We had no waste. We were set up in a way that everything became very circular. With regards to raw ingredients, we’ve taken a very noseto-tail approach to everything. That’s been an exciting journey in and of itself. Teaming up with like-minded individuals to really get the most out of each and every ingredient. Over the years, we’ve come up with a few exciting solutions to common problems, and it’s been so rewarding to see how others have adopted these solutions and ran with them in their own ways.”

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BEHIND THE LENS & BEYOND THE MASKS: AN INTERVIEW WITH

ANDY GOTTS

Andy Gotts MBE gives us a glimpse of his latest book, his take on social media, and his tips of getting a smile from Harrison Ford

For the best part of three decades, photographer Andy Gotts MBE has garnered quite the reputation for his ability to capture portraits that feel both intimate and honest. In that time, Gotts has amassed an archive of famous faces, his repertoire replete with simple yet powerful celebrity portraits that tease out the person behind each guarded persona.

Eschewing the usual entourage of assistants in favour of a more intimate, one-on-one approach to the process, Gotts is as known for his expert lighting as he is his lightning-quick shoots.

No fuss, no fakery, just an in-your-face, flawsand-all honesty all-too lacking in modern photography. The result is a collection of unique and disarmingly intimate photographs shot through with a cheeky, visual ebullience that speaks not only to the unedited nature of his subjects but to the good nature of Gotts himself.

Let’s start from the beginning. Who or what sparked your interest in photography in the first place?

When I was 18, the very first BTEC in photography was launched. It happened to be in my home county. There were only 15 places, so we were kind of the guinea pigs, really! A guy I knew that worked in the Art Department wrote a letter to get me an in on the course and the rest is history.

The real big bang moment as far as I’m concerned goes back to Stephen Fry visiting my college all those years ago. He was doing a Q&A following a talk he gave and I took that opportunity to ask if he’d mind me taking his picture.

I remember it so clearly; he rolled his eyes at me and asked ‘will it be quick?’ I assured him it would be and off we went next door to snap his picture.

He gave me 90 seconds and it honestly changed the course of my life. That was the eureka moment for me.

BY

WILL HALBERT

That’s when I truly realised that I wanted to photograph famous people for a living.

Did you see it for the big break it was at the time?

It definitely felt significant. I mean, you have to think of it this way: there were no social media channels back then, no YouTube, no mobile phones. We didn’t even have Sky! We had four TV channels and Stephen was on three of them on a weekly basis. He was in Blackadder, Jeeves & Wooster, and A Bit of Fry and Laurie; he was a huge star. It opened some incredible doors for me.

Are you ever intimidated by the status and presence of those you shoot? Or does your process depend on you seeing these people as the humans they are?

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I'd say it's because of Stephen that I'm not, as it happens! The chain reaction set off by photographing Stephen Fry catapulted my career whether I was ready for it or not. It was very much a sink or swim moment for me; there was no real time to be intimidated.

You see, there was a particular shot I’d gotten of Fry that he absolutely loved. He passed my number on to Kenneth Branagh and Emma Thompson, as they’d seen the picture and wanted me to travel over to Highgate to capture something similar for them. It was through that visit that I met the likes of Derek Jakobi and Bob Hoskins. It all snowballed from Stephen Fry and it happened so quickly that I swiftly became rather immune to being starstruck! I simply had no time to be nervous.

I do get really excited though. Even to this day, I’m delighted at the thought of getting to capture these people. That excitement hasn’t faded one bit over the years.

Your photos have this inimitable intimacy to them. How do you manage to get your subjects to let their guard down to that degree?

Is it ever a challenge to instil that trust?

What’s your secret?

It’s very simple, actually: I’m my own assistant.

That goes a long way in photography, believe me.

Celebrity photographers are typically supported by an entourage of assistants and helpers, which

can really complicate the process and keep you at a distance from your subject. So working alone is key, as is shooting in a place that the subject is familiar with when possible. With very few exceptions I shoot my subjects in their own houses, on their terms. So no assistants and no studios.

I tend to work very quickly, too. I’ll normally have a shoot wrapped up in about 10 minutes.

The rest of the time is spent chatting and getting to know the subject. And by that, I mean really having a conversation; not grilling them, but finding a common ground. If all else fails, I always arrive at my shoots with a bottle of Champagne in hand, and I’ve been known to tell a rude joke or two [laughs]. It’s all about making the subject feel relaxed and conversational to the point where they forget they’re in the middle of a photo shoot.

If you impose the formality of a photoshoot upon someone, they’ll almost certainly clam up.

On the subject of imposing characters letting their guard down, could you tell us the story behind your Harrison Ford shoot?

Mr. Ford is known for being a pretty guarded, no-nonsense guy. How did you tease out that silliness?

You know what? Everyone I know seems to have that same opinion of Harrison Ford, that he hates having his picture taken and he’s not really a fan of promoting anything, etc., etc. But I honestly can’t speak to any of that; he was nothing but

lovely. I knew he was a big fan of vintage planes and flying, so that gave us lots to talk about. We spent most of the shoot just drinking coffee and talking airplanes, to be honest. You’d be surprised how quickly people relax into these things when they realise that you’re just trying to have a genuine conversation.

The Hollywood promotional cycle is such an exhausting one, after all. I think some celebrities just love the chance to talk about something other than their latest film for a change. He thanked me for being one of the only people that day who hadn’t asked him about Star Wars. We had a good laugh about that. Before long we were taking some pretty silly photos. Once he started pulling the funny faces, I couldn’t get him to stop.

Tell us a little bit about your recent book release, Icons.

It’s a work ten years in the making, really. I wanted to compile a book filled with the people that have brought so much joy to my life over the years. I wanted a collection of people that have inspired me and moved me; people I considered to be, well, my icons. When the Maddox Gallery came along with the idea of a formal exhibition, that solidified things more thoroughly in my mind.

The book launch coincided with an exhibition at the Maddox Gallery and I have to say, it was really quite flooring to see these images blown up to such a scale.

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Being able to appreciate every wrinkle, every smile, every freckle was quite the experience. I hope people get that same sense of awe from the book when they leaf through it.

Speaking of wrinkles and freckles, I know you have a strict ‘no Photoshop’ policy when it comes to your photography. Can you talk us through that philosophy a little?

I don’t retouch anything. I’m quite strict on that.

I’m probably one of the only celebrity photographers that doesn’t doctor his photography. I feel like that’s a bit of a downward spiral. You even see the paparazzi at red carpet events retouching their photos. It’s all a bit ridiculous. I don’t really understand the need for heavy editing, either. It just homogenizes everything, doesn’t it? It makes everything look the same and there’s simply no fun in that level of uniform flawlessness.

You could have 20 covers shot by 20 different photographers and there’d be no discernible difference between any of them. I don’t want to be a part of that. I want to stand out. I want to capture something unique, something human. Also, I’m rubbish at photoshop [laughs].

But seriously, I want to give the viewer the chance to see a famous person in a way only their families have seen them. Kate Moss, one of the most photographed women in the world, had the most beautiful reaction to my picture of her.

She took one look at it, put her arm around me, and said ‘Andy, this is exactly how my daughter sees me.’ That’s the greatest compliment anyone could ever give me. I want to celebrate people’s perceived flaws and idiosyncrasies, not erase them.

What’s your take, then, on the rise of Instagram and the budding community of photographers there? Do you think there’s a temptation to see photography as a quick and easy process? Or a less ‘natural’ one?

Social media is such a double-edged sword, isn’t it? Anyone with a phone camera can be a photographer now; it’s allowed people to get more creative in their day-to-day lives without the need for an expensive setup. That’s fantastic.

But on the flip side, it allows people to change reality in pretty significant ways. There are apps to make spots disappear, apps to make people thinner, apps to change a person’s complexion, it’s pretty terrifying as it runs the risk of setting some truly unrealistic beauty standards. People are beginning to apologise for simply being themselves. I think that’s a major downside: it’s distorting peoples’ perception of what is and isn’t natural. It goes against the kind of naturalness and individualism that I’ve tried to champion over the years.

You have been an inspiration for many photographers. But who inspires you? What photographers, historic or contemporary, do you look up to?

None at all. I try to stay away from other photographers, to be honest. I’m always worried that after any length of time spent looking at other peoples’ work, I might start to emulate it. It’s like having a song stuck in your head [laughs]. I look to artists from other media instead: I look to painters like Caravaggio, Rembrandt, and actors like Van Dyke and Paul Newman. I look to the

ways in which cinema plays with lighting to see if there’s anything from those schools of thought that I can bring into my photography. I find that any time spent exploring beyond your usual comfort zones and immediately obvious interests tends to pay off, creatively.

And finally, as a self-confessed ‘bloody nice guy’, do you have any advice for all the budding photographers out there?

Be yourself. It sounds like such a cliché, I know.

But you really need to find your own style and that can only really happen when you stop concerning yourself with the style of others. You need to find something that has value to you; something you truly care about and really, really want to put out into the world. That’s your starting point. Once you’ve found your niche - your little bit of what makes you you - you must protect it with everything you have. Don’t change or bend to fit the will or tastes of others. If you’re happy with it, don’t let anyone mess with it. Stick to your guns. And if anyone else loves what you do too?

Well, that’s just a lovely bonus, isn’t it?

www.andygotts.com All images courtesy of Andy Gotts MBE and taken from Icons: Portraits by Andy Gotts Andy Gotts Icons collection is available from the Maddox Gallery - www.maddoxgallery.com 38

MADE TO MEASURE

READY TO WEAR

FALL • WINTER S ARTO LUXU RYTAI LO R I N G .CO.U K

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STAYCATION IN STYLE: HOTEL CAFÉ ROYAL

As it turns out, some of the most memorable journeys are right at your doorstep. words by Will HALBERT

You know, you needn’t travel far to feel a million miles away. That’s the beauty of London I suppose: its faces are legion, its facets myriad.

There’s not a single brick in its millennia-strong foundations that couldn’t whisk you away on the winds of some tall tale or truer-than-true anecdote.

Regent Street’s Hotel Café Royal’s foundations were laid in 1865, which makes it a relatively young player in the grand scheme of London’s storied history. No matter. It’s since played host to roll call of artists, aristocrats, rockstars, supermodels, hedonists, and bon vivants, each imparting some small imprint upon the city’s rich tapestry.

So, while staycationing at Hotel Café Royal might not feel like a journey per se, it is most certainly a trip, as they say. And why not? The Café Royal is nothing short of transportive; like stepping into your favourite fiction. The whole place is shot through with this sleek, Nolanesque coolness. A classic, art-deco-meets-edochic aesthetic ripped straight from the set of Inception.

At ground level, The Green Bar harkens back to the glitz and glamour of Hollywood’s Golden Era; a noir-tipped ode to quiet luxury and confident excess. The joyous clinking of glasses, the sipping of drinks, and the occasional warm-hearted, high-spirited giggle do little to detract from the two-piece jazz band as they carry you from Regent Street to the Mississippi Delta in a flurry of notes.

The hotel proper is home to the kind of halls that hint at the greater, grander things to come.

And they’re true to their word, too. Stepping into any one of Café Royal’s suites will have you hurling superlatives and hyperboles at anyone in earshot. Below, the streets buzz busy and electric with the energy of a thousand stomping feet and smiling faces. A million more journeys unravelling right in front of you. Like I said: You needn’t travel far to feel a million miles away.

Hotel Café Royal stands as a stories-tall testament to that said same fact. EJ hotelcaferoyal.com

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THE SEL L I NG OF SLEEPI NG BEAU T Y The Royal Lochnagar Cask of Distinction presents a fairy tale 26 years in the making

Storytime, dear readers: Back in 1994, European oak cask #1289 was laid down at the behest of Lord MacFarlane of Bearsden, Chair of United Distillers and Vice-Chair of Scottish Ballet at the time. To commemorate the laying, Scottish artist, Norman Edgar, was tasked with eternalizing Scottish Ballet Principal dancer, Nicci Theis, in her iconic role as Princess Aurora (that’s Sleeping Beauty, for the uninitiated) upon the cask end. It was to be a donation with a difference: an investment in the future of Scotland’s national dance company.

Fast forward twenty-six years and The Sleeping Beauty has finally been awakened and, well, sold.

That’s right: each and every one of the cask’s bottlings has been snapped up at auction by whisky lovers and ballet fans alike. That includes the coveted Bottle #001, which came complete with the original cask end painted by Norman Edgar himself.

Every pound raised at auction has been donated to the Scottish Ballet Endowment Fund, with bottling and auction costs also being generously donated by Diageo and Whisky Auctioneer in further support of Scottish Ballet. We do love a fairy-tale ending. EJ

Below: Artist Norman Edgar [left] painting 'The Sleeping Beauty' whisky cask, 1994.

whiskyauctioneer.com Please drink responsibly 43

Pictured: Sir David Adjaye OBE

Artistry In Oak:

IN CONVERSATION WITH SIR DAVID ADJAYE

interview by Will HALBERT To celebrate the release of the oldest single malt Scotch ever bottled - Generations 80YO from Glenlivet Distillery - Gordon & MacPhail have teamed up with award-winning Ghanaian-British architect, Sir David Adjaye. Together, they have created a unique jewel-like decanter and oak pavilion that hints at the majesty and splendour of the liquid within. We catch up with Sir David Adjaye to discuss the method behind the magic.

Design is often described as a non-verbal narrative. What's the story you wanted to tell with this project?

It was important to convey a sense of origin. With the vertical struts, I wanted to surround the decanter and its precious contents in a ‘forest’ of 44

oak, into which light could enter and be refracted by the decanter. The whisky has spent eight decades in oak so it is fitting to have it revealed and displayed using nothing but the same organic material. The ambition was to create a vessel that reflects Gordon & MacPhail’s unique experience and tradition.

Can you talk us through some of the guiding principles that informed your design? What elements of Gordon & MacPhail’s storied history resonated with you personally?

I was interested in the opportunity to do something completely bespoke for a company that embodies artisanal craftsmanship. Working with Gordon & MacPhail allowed me to observe their

deep heritage of craft and labour, ingenuity and technique, which has been both defined and refined for over a century. I was really inspired to celebrate this through my own design. Principles of precision and an exploration into materiality were key to unlocking a design for the case and decanter that would meet the same standards as the product itself. Just like in architecture, the provocation here is to think beyond form. The ambition of the design was to cultivate a multisensory moment that would implore those lucky enough to consume this bespoke, to slow down and relish in the essence of its artisanal mastery. I loved Gordon & MacPhail’s rigour and obsession with their products and their craft - a romantic commitment that enables one to do exceptional things.

Drinking Scotch whisky has always been seen as a very involved and considered process, almost ritualistic at times. Did the way in which people drink inform your creative process at all?

Both the oak texture and the use of contrasting inner and outer refracted glass forms culminate in an elevated tactile experience. Even the act of opening it becomes a ceremonial and sensorial process. The gentle combination of liquid, weight, and form invokes a sense of care, responsibility, and slowness. As you pour, a sense of time fades and all that is understood is the preciousness of each drop of liquid.

Oak is a primary material, produced from the planet. I appreciate its preciousness as an integral part of the whisky-making process. I wanted to create a design that pays tribute to the role oak plays in transforming liquid into an elixir with almost magical properties. Timber contains a substantially low embodied energy; captures and stores Carbon; provides insulation and in its natural state the wood is non-toxic. Given my intimate knowledge of building with this material, I was excited to encounter the possibilities of oak at the scale of the decanter and case.

At first glance, whisky and architecture seem worlds apart, but they’re inextricably linked.

Both are concerned with leaving a lasting legacy. Are there any other philosophical overlaps that sprang to mind whilst working alongside Gordon & MacPhail?

Maturing a single malt Scotch over eight decades is an art. Architecture is an art form, something that - like the maturation of fine whisky - should never be rushed. Both Gordon & MacPhail and I share an investment in the future, both see the significance of creating something exceptional; part of a legacy for future generations.

This isn’t the first time you’ve put your creative hand design. How was this experience in particular?

I’ve done product design in the past but this particular project was unique to me. I was struck by the potential to create an experiential vessel, something that could become a tactile experience where every act of opening would become a ceremonial and sensorial process.

Inside: Bespoke decanter & oak pavilion, designed

by Sir David Adjaye and crafted by Glencairn Crystal Studios & Wardour Workshops, respectively.

Above: Original sketches by Sir David Adjaye Overleaf: Generations 80yr Cask 340 from Gordon & MacPhail

Decanter #1 is being auctioned by Sotheby’s with proceeds being donated to Trees for Life.

How important is the concept of sustainability to you? Are you hopeful for the steps we’re taking to achieve a more sustainable future?

Sustainability, especially in the 21st century, is an incredibly important facet of life that plays heavily within my work and the work of my firm. Not only is it a matter of caring for and restoring the environment and ecological counterparts but how this connects to humanity and communities as a means of changing our actions so as to create sustainable methodologies. My early work on social architecture as well as my thinking on biomimetic design and Indigenous African vernacular building techniques comes together to question and transform the future we’d like to see for ourselves.

adjaye.com gordonandmacphail.com Please drink responsibly 45

Article of Note

BE-OOM: RUNNING ON EMPTY Be-oom is directly translated as 'to empty' in Korean which, when you think about it, perfectly encapsulates the layered nuances of the brand's ethos.

This, after all, is a place for slowly sipping away at a cup of tea until it’s, well, empty. In turn, this has the meditative benefit of clearing the thoughts and, you guessed it, emptying the mind. You see where I’m going with this metaphor. The point is that Exmouth Market’s Be-oom is your one-stop shop for a slower approach to the art of carefully considered, Korean tea making. We’re big fans.

‘Drinking tea is a purifying and holistic experience through which the drinker can enjoy the authentic tastes of Korean tea,’ says Be-oom founder, Sooji. ‘Take a moment and find inner calmness by refreshing both body and mind.’ Of course, those looking for a less holistic approach are also free to knock back a carefully-crafted, Korean-inspired cocktail or two. We won’t judge. EJ

be-oom.com 46

Infusions:

AN EXCERPT FROM 'SEPTIME' Out now via Phaidon

"Every day, at the same time – late morning – the bartenders at Septime, Clamato, D’une île and La Cave examine the morning’s deliveries to find ingredients that they will use to make infusions.

From the start of their adventure, Théo and Bertrand – influenced by their experiences in gourmet restaurants, where at the end of the meal a waiter would arrive with a trolley filled with verbena and thyme and prepare herbal teas in front of the customer – decided to offer a non-alcoholic drink, served hot or cold, at the start, in the middle or at the end of each meal. They wanted this to be the most natural infusion possible, with no added sugar, and to be uniquely theirs – a drink that, like the offerings on the wine list, would be delicate, light and easy to digest.

This initiative was so successful that within months of opening Septime, it was not uncommon for a customer to enter the restaurant and ask to speak to the ‘maître-infuseur’ (master infuser).

Alex, the bartender, would greet the customer with a smile and present his new creations with a certain solemnity. The title was one he gave himself, and he took his role very seriously. He would spend hours inventing different concoctions based on aromatic herbs, zests, citrus fruits, flowers, fruit pulps, cherry stones (pits), fruit peel and strawberry stalks.

These infusions change daily, depending on the herbs, and other fruit and vegetable trimmings not used in cooking or baking, that are available.

Not only does this limit waste, it adds a poetic and natural touch to both the bar and the dining room, through the glistening, colourful jars filled with these infusions. Recipes are intuitive: compose your ‘bouquet’, pour simmering water over it, cover and infuse."

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Article of Note

CAFÉ MURANO: GNOCCING YOUR SOCKS OFF Very much in line with its prerogative and programming, Café Murano’s website tells me that it can be found in the heart of St James’s serving fresh, seasonal flavours. This is all true. And while I don’t disagree, I can’t help but think it’s selling itself short somewhat. Sure, the pasta at Café Murano is as fresh as it gets, and yeah, it’s gnocchi cacio & pepe will have your tastebuds doing backflips, but where the restaurant truly excels is in its atmosphere. This is a place of quiet calm amidst the constant chaos of St James’s; a place of such ease 48

and class that every dish or glass that I now care to recall comes with a soft, twinkly piano concerto. As if the place had a resident pianist on hand to tickle the ivories as I ate and drank away. It doesn't, of course, and I’m slowly lapsing into some seriously nostalgic territory so I’ll stop myself right there. But trust me on that gnocchi cacio & pepe. 'Drinking tea is a purifying and holistic experience through which the drinker can enjoy the authentic tastes of Korean tea,’ says Be-oom founder, Sooji. ‘Take a moment and find inner calmness by refreshing

both body and mind.’ Of course, those looking for a less holistic approach are also free to knock back a carefully-crafted, Korean-inspired cocktail or two.

We won’t judge. EJ

cafemurano.co.uk

S M A L L B EER 'S B IG T H IN KI N G A Small Guide to Sustainable Living

Do you remember the days when your G&T, ice coffee or even orange juice was served with a plastic straw? It may be a distant memory, but it was a catalyst for accelerating the global outlook on single use materials and despite its bad reputation, within that 0.55g of plastic is a whole tonne of hope. It stands for how small a change can be in order to make an impact, and when it comes to how you live your everyday, things are no different…

W H ER E TO START More than half the trick is giving yourself a break. No one person is in charge of everything (despite what some might think), so taking on sole responsibility for changing the world isn’t going to get you very far. Sustainability is a mindset and a conversation, it’s not a martyr-like checklist of dos and don’ts. It all starts with awareness, it all starts just like the plastic straw.

TH E SECR ET When you think about it...the smaller the behaviour, the more it feeds into daily life. The more you do on a daily basis, the more likely it is to become a habit. The longer term the habit, the bigger the impact. It quite simply puts the phrase ‘less is more’ on the map of conscientious living. While you may not be able to take on everything, sticking to just a few consistent habits lets the ripple effect do the rest.

OW N I T In the same way we instinctively know what our likes and dislikes are, making conscious choices for what’s good and what does good can be just as effortless. It’s a case of striving for progress over perfection. Be ready to face the fact that you will still do things that aren’t the best for our planet. The sooner you can own this, the easier it is to share what you’re doing without fear of hypocrisy. The more open you are, the more powerful your message and the more people will be inspired to join you.

Just think about what happened with plastic straws.

theoriginalsmallbeer.com 49

Coffee & Conversation

RUTH HANSOM, THE PRINCESS OF SHOREDITCH We sit down for a cup with Ruth Hansom, to chat through her culinary ethos and how she gets the best out of seasonal Shoreditch...

First off, tell us a little about yourself.

I’m Ruth Hansom. I’m Head Chef at the Princess of Shoreditch. We focus on a lot of British cuisines using classical French techniques. We’re really big on provenance, so it’s really important to me that we connect with suppliers and work with what they have to develop our menus.

How would you define the approach to food at Princess of Shoreditch?

I’d describe it as super seasonal, which essentially boils down to only using what’s ready and available at that moment. I have a list of suppliers that I call up to ask what’s ready and what’s at its best and I build a menu from there. It really helps us to deliver the best experience that we possibly can.

Why is the seasonal aspect so important to you?

Seasonality actually makes our job as chefs a lot easier. We’re simply using produce that’s at its best, so we really don’t have to do much to it to make a fantastic dish from it.

How do we shop with seasonality in mind?

If you can, shop at the small indies as they tend to champion local, seasonal produce. If that’s not an option then just look for the British-sourced produce at your local supermarket. If it’s available from the UK then that would suggest it’s in season. That’s always a good indication.

How important is the concept of local produce to you?

I mean, Brexit has obviously brought sourcing goods locally to the fore of peoples’ concerns. As we now know, it’s a lot easier to source things yourself from just up the road than it is to rely on long-distance couriers and longhaul flights. We source as locally as possible. We actually get our fish from little day boats on the south coast. They literally text me to tell me what they’ve caught that day and I can tweak the menu accordingly. I’ve got a great guy up in Cumbria who cures meat in a Himalayan salt chamber. All the bricks are made from Himalayan salt and the meat sits in there for around ten days before it’s ready. It really enhances the product.

What do you think the future of the industry looks like?

I think the industry is definitely starting to shape and change in major ways.

A lot of people are changing their eating habits by adopting a vegan or vegetarian lifestyle. That raises some really interesting prospects and opportunities. I’m not quite sold on 3D meat alternatives yet, but I’m intrigued by them all the same!

@ruthhansom theprincessofshoreditch.com 50

bring the cafe experience to your home

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Article of Note:

THE LAND ROVER DEFENDER V8 BOND EDITION

Available to order as a Defender 110 or 90 and inspired by the specification of the Defenders that appear in No Time To Die, the stealthy Defender V8 Bond Edition features an Extended Black Pack with 22-inch Luna Gloss Black alloy wheels, signature Xenon Blue front brake calipers, and a ‘Defender 007’ rear badge.

Naturally, the bespoke touches extend to the interior, with illuminated ‘Defender 007’ treadplates and a specially-developed, touchscreen start-up animation for the intuitive Pivi Pro infotainment system. It’s a nifty touch that also honours Land Rover’s longstanding partnership with the James Bond franchise.

Limited to just 300 cars around the world, each Defender is individually commissioned by the vehicle personalisation experts over at SV Bespoke and features a laser-etched ‘one of 300’ detailing. Perfect for careening through marshlands on a high-octane, top-secret, world-saving mission. Equally adept at last-minute trips to Waitrose. EJ hatfields.co.uk

COLUM NISTS

"AT FIRST GLANCE, THE IDEA OF A BEAUTIFUL TOOL MIGHT SEEM SLIGHTLY OXYMORONIC; TOOLS ARE ALWAYS SEEN AS UTILITARIAN, WHILE BEAUTY IS OFTEN SOUGHT IN ART AND ART ALONE. THE AJOTO PEN WAS ALWAYS ABOUT FINDING A WAY OF FUSING THE TWO. I THINK WE’VE DONE A PRETTY GOOD JOB. "

SHOW YOUR WORKING Brand founder & creative director, reveals his inner scribblings on the reation of the Ajoto pen

O

f all the questions we get asked as Ajoto, ‘why a pen?’ is up there with the most frequent of them. We didn’t start Ajoto with pens or stationery in mind. The evolution to developing The Pen was a little more serendipitous than that. We actually began Ajoto as a design studio and consultancy agency. We spent those early days formulating a process that reflected our personal ideology and ethos around design, manufacturing, marketing, retail, and of course, business.

So the pen started as an internal project, of sorts; a way of proving a point. But along the way, we fell in love with the process. We were, after all, creating an object that also presented our visions and convictions in tactile form.

We needed to pick something that would serve as a conduit for our ideas. The pen is, first and foremost, a tool. It’s something that we use every day, something we can hold and interact with. It’s universally understood and, for most, serves as an anchor for a whole host of creative processes. We read a quote once: ‘the pen is the printer for the brain’. One of the easiest ways to create, after all, is to put ink on paper. To do so is to translate abstract thoughts into something tangible; a few words, a simple sketch, or a concept for an entire architectural project.

At the time, though, the pen was seen as a connoisseur’s item, something of the past that had been left behind in the digital march.

Either that, or it was seen as a throwaway item.

We didn’t see anything that reflected our values in the world of stationery. Which is ironic, really, because the pen is one of the few shared tools that most creatives have in common. We wanted to find a common ground between the esoterism

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ajoto.com @ajoto

with Chris Holden

of the collector’s pen and the purpose and practicality of the everyday ballpoint. In short: we wanted to craft beautiful tools. At first glance, the idea of a beautiful tool might seem slightly oxymoronic; tools are always seen as utilitarian, while beauty is often sought in art and art alone. The Ajoto Pen was always about finding a way of fusing the two. I think we’ve done a pretty good job. Apple’s Jony Ive once said that ‘a product should feel inevitable’.

That’s what we wanted The Pen to be, fundamentally. We were striving for something simple and elegant; something that hides its complexity well and makes people think: ‘yeah, that’s what a pen should look like.’

The Pen has since marked a shift in our own personal philosophies. It helped us transition from being an agency that wanted to work with others to get their ideas out there, to realising we had ideas and convictions of our own that we wanted to explore. The Pen has served to those values. It was a way for us to make our mark with something simple and elegant, something that is practical yet holds a value beyond its function, something that invites collaboration and sparks conversation, something that will endure and, with a little time (and luck) become iconic. I hope that answers the question. CH

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CREATED BY

ESSENTIALSTUDIO.CO.UK 56

So when the time came to start going out again I went all in. As I run my own tailoring house now, I’ve steered away from the strict Savile Row rules of how to wear a suit and embraced mixing traditional and less formal styles. I don’t think that I am alone either, I’ve noticed when out to dinner or grabbing a drink with friends that there are plenty of men in London who clearly missed putting on a suit and now are trying to make up for lost time. Many of you have probably read articles either proclaiming the death of the suit or conversely its rebirth. The truth is that a suit has not died or been reborn, it has evolved. The lawyer friend who told me about his firms dress code policy followed it up by saying “it just means I can be more casual if i want to but I’d still rather wear a suit”. Across London men are mixing elements tailoring and casual wear. A fellow tailor I know often wears bold checked tweed suits with simple trainers and a jumper. Another recently commissioned a double breasted ox blood corduroy jacket with a shawl lapel that he wears both to work with flannel and cotton

THE NEW ERA OF MENSWEAR

"MANY OF YOU HAVE PROBABLY READ ARTICLES EITHER PROCLAIMING THE DEATH OF THE SUIT OR CONVERSELY ITS REBIRTH. THE TRUTH IS THAT A SUIT HASN'T DIED OR BEEN REBORN, IT HAS EVOLVED."

I

t has never been a easier time for men to get dressed. Given all that has happened over the last year and a half there has been a dynamic shift in menswear. Personally, since April, I’ve found myself dressing up more often than not. After working from home since March 2020, I’ve missed wearing suits. Now anytime I leave my house I wear a suit or at least some element of tailoring.

For others converse is true, a lawyer friend of mine told me that his firm had issued an updated dress code policy which states that it was no longer mandatory to wear a suit into the office unless they are meeting with a client. This is happening in offices across London and it looks like it is going to be the new normal. That said, it is pretty clear that my desire to dress up and offices relaxing their dress codes are both a direct result of prolonged working from home.

As a tailor, up until March of last year I was wearing suits every day. Even though tailoring is my passion, after almost a decade and a half of wearing suits day in and day out getting ready for work felt a bit monotonous. Don’t get me wrong, I love wearing suits but working on Savile Row often leaves little room for experimentation. For example, I was once told off for wearing a roll neck with a flannel suit I had on one Friday. Knitwear with a suit isn’t exactly ground breaking but nevertheless it isn’t ‘Savile Row’. So when lockdown hit I relished in the fact that I could roll out of bed and work in jeans and a t-shirt. That didn’t last long, at first it was great but I realised there is something enjoyable about dressing ‘properly’ for work.

Personally it helps get me into the right frame of mind.

@m.g.bespoke matthewgonzalez.co.uk

Tailored Thoughts Matthew Gonzalez

trousers and as a dinner suit with ruffled shirt and bow tie. Personally I have started making suits that are softer in construction, drawing on the mid century American style of relaxed fitting clothing that very comfortable to wear yet striking when you walk into a room. London is now bursting with craftspeople who are making clothing to fit this new era of dressing. It is now on us to see which styles we like and trying them out.

The past year and a half seems to have broken many of the rules around the way we dress and that is quite exciting as it means that men are able to explore styles that they might not have tried in the past. The new rule is that for the most part there are no rules, 2021 and beyond is an era for experimentation. It is a time to be as bold or toned down as you like, formal or casual because as we continue to learn lesson from the recent past one thing that is more obvious now than ever is that we should dress how we want to. MG

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UNDER THE INFLUENCE

I

’ll make no bones of the fact that booze has a tried-and-tested tendency to turn me into a loose-lipped, piss-and-vinegar pedant. In fact, I’ll be the first to admit that I’ve a chip on my shoulder at the best of times; drink just sees me dispense my two cents upon any poor soul polite or stupid enough to lend an ear. In this case that’s you, my friend. So sit down and stay a while. I’ve got a thing or two I want to get off my chest.

Now, you’re late and I’m already three drinks in, so let me catch you up on the bourbon-fuelled bugbear currently doing laps in my head.

It’s the term ‘influencer’. I hate it. I hate all that it stands for. I hate the soulless, self-important, palace-of-me cynicism that fuels it, and I hate the reckless, wanton violence and exploitation it lays the ground for. And now that I’m diving face first into drink number four, I’ll tell you why.

Before I do, let me preface the oncoming vitriol with a wee caveat: I love people who love things. I love the almost inexplicable, entirely unrelatable, and downright unapologetic geekery of those who are truly passionate about, well, just about anything. I love the deep divers and the connoisseurs, the snobs and eccentrics in any and all of their myriad forms. From watch collectors to train spotters, from tailoring nuts to fitness freaks. I love them all.

I love people with soul in the mix and skin in the game for the simple fact that they have - for want of a better cliché - put their money where their mouth is on more occasions than society might deem mentally sound. They’ve spent time, money and considerable effort sharpening their tools, mastering their trades and generally just jumping headlong into the far-flung reaches of some bizarre esotericism. That’s worth a thing or two in my book. That takes heart and soul.

I see neither heart nor soul in the influencer, though. No putting of money where the proverbial mouth is, and certainly no skin in the game. All I see is the pointless pursuit of the trivial; a cocksure and cynical celebration of the meaningless, the fleeting and the downright boring. I see walking, talking billboards and snake oil salesmen who simply shoehorn themselves into whatever movement proves most lucrative at any given moment. Each of them is content with - and accomplice to - a machine that turns people into brands, swaps income for exposure, and treats concepts like authenticity and morality like they were Play-Doe. It’s nothing new, I guess. Narratives of the self have always had a habit of derailing into the long grass of fantasy. Instagram just turned it into a paying gig. The influencer deals in false lives half lived and little fictions badly told. Those filtered pictures and empty captions are the lies they tell themselves before they run along to sell them to others.

Reality forever sacrificed to a filtered and fraudulent faximile. Dreams for sale. Just follow the hashtag. Link in bio.

The whole process isn’t just contrived; it’s downright Kafkaesque.

The influencer is awash in a kaleidoscopic, cacophonic, who’s-leading-who clusterfuck of collective, white noise narcissism. As a result, they all sport the same beige, minimalistic vibe in some perverse, hashtag-ridden, race to the digital bottom. It’s a twisted, sycophantic little feedback loop, make no mistake. Followers like and comment away as the influencer narrates each sponsored, paid-for post with the deftness and subtlety of a fart in a bathtub. Audacity unfettered.

Nonsense perpetual.

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@willhalbert

And Another Thing from our Editor Will HALBERT

Over the years, I’ve worked with - and kept the company of - content creators who do spectacular things by sheer dint of being true to themselves, their passions, and their areas of expertise. I truly respect that hustle. I respect those who double down, dig deep and carve out their own niche in a society that still finds itself woefully enamoured with the nine to five. So whatever war I wage with the influencer, don’t confuse it for scorn toward any creative audacious enough to carve a living out of what is, for the most part, a rigged game. The difference between the two is massive, and my respect for the latter is absolute. What I don’t respect is some two-bit chancer looking for a free meal and a pair of trainers. Because that’s not making a living, that’s fuelling a fire.

That’s pushing a lifestyle that doesn’t exist for a company you can’t vouch for to an audience you don’t give a shit about.

There are those who’ll say I’m no better.

After all, I’m a hashtag-toting, trend-hunting Editor in Chief who lives in a glass house so bullshit brittle that I’ve absolutely no business ruffling the feathers of any Insta-savvy entrepreneurs simply trying to earn a living.

They’d be dead right, too. I’m neck deep in the shit and I know it. But here’s the kicker: most of us are. We are the leisure generation, we’re defined by the memetic and the algorithmic.

Our spending is conspicuous, our excess unapologetic, and our dance unending. We’re dirty, rotten little mythmakers the lot of us. So here’s to us, I suppose.

Kurt Vonnegut once said that we are who we pretend to be. And if that’s the case, then I have just one last question for the influencer - and for the rest of us while we’re at it - before I finish this drink, settle my bill and hit the road. It’s a question I pose not with scorn or self-righteous indignation, but instead with a worried, almost motherly, you-okay-hun-inbox-me level of genuine, honest-to-god concern: Who the hell do we think we are? WH

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