EJ Issue 27

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3rd Anniversary | Issue 27

The Essential Journal F A S H I O N

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L I F E S T Y L E

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C U L T U R E

Men’s fashion model Richard Biedul talks through his personas and modelling success

Our resident coffee “expert” assembles the Holy Trinity of Home Brew

We take a look at Jaguar’s history told through four cars, ahead of the E-Pace launch

Archiphonic break down architecture’s shaky relationship with mother nature

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HARRISON FORD “We are all flawed as human beings..."

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

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Features

Contents 9

PRIMER Festivals, fragrances and football shirts introduce our anniversary issue

14 THE REAL RICHIE Richard Biedul talks through his personas and modelling success

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WHAT INFLUENCES DAVID KEYTE?

Speaking with the founder of Nottingham-based menswear ‘brand’ (sorry David) Universal Works

29 MIDDLE-EIGHT

LA MARZOCCO

Florence’s iconic coffee connoisseur take a look at their ever-evolving industry, celebrate milestones and invite us to their annual knees up at Out of the Box

ONE THING DONE WELL: JOHN SMEDLEY KNITWEAR The story of a 230-year old label and their world-class knitwear

18 A CUT ABOVE Cornerstone and Boldking face-off with Gillette in the battle of the blades 20 THE WHISKY EXCHANGE The bottles we need to know for all palates and occasions 21 A HANDSOME HOME: THE HOME BAR Celebrating the home bar, featuring drinks and glassware to impress 23 RECIPE OF THE MONTH: POLPETTE SAPORITE ALLA BIRRA Serving a traditional dish with Recipes From An Italian Butcher 24 FIVE WHISKEYS AND FIVE SONGS Liverpool’s Puffin’ Rooms pair alcoholic refreshments with an evening soundtrack

26 TIME TO DARE

Tudor enlist David Beckham, Lady Gaga and the New Zealand All Blacks for a daring watch collection

CONTRIBUTORS Alan Smithee Alice Vincent Angharad Jones Brian Lishak Burr Settles Dan Harvey, La Marzocco Dario Carnera David Keyte Ellis Barrie Floyd Norman Iain Hoskins COVER IMAGE Harrison Ford

Ionna T, Archiphonic Jodia Natapradja John Thornton Kimberley Adams Oliver Krugar Olga Karput Richie Bediul Scott Sheffield Valentina Suter Whisky Exchange

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51 A DRESSING THE PAST A Stranger Things stylist discusses 1980s’ appeal and apparel

PUBLISHERS Singleton Publishing EDITOR Davey Brett - d.brett@singletonpublishing.co.uk CREATIVE DIRECTOR Thomas Sumner - t.sumner@singletonpublishing.co.uk

38 POSTCARDS Creatives in Bern, Sydney, Moscow and Cape Town unveil city secrets 41 ARCHITECTURAL THOUGHTS ON: NATURAL DISASTERS Breaking down architecture’s shaky relationship with mother nature 42 THE FUTURE OF: ANIMATION Disney’s first African-American animator predicts his industry’s future 45 COSMIC GREETINGS A York-based illustrator unravels his art, music and fantasy creations 48 HARRISON FORD Our cover star teleports behind the scenes for Blade Runner 2049 50 TOM WILLIAMS’ CINEMA REVIEW Touching upon Blade Runner, Hans Zimmer and autumn’s film highlights 55 THE ESSENTIAL GUIDE TO: MAN SKILLS Advice, tools and reading material for honing an essential set of skills 56 CANVAS THE: TAILORS Savile Row’s finest tailors offer masterly advice for suiting up

25 HOLY TRINITY OF HOME BREW Our resident coffee “expert” puts together the dream home espresso set up

57 BOOKS OF THE MONTH Nature, classic albums and Tom Hanks are among literary recommendations

27 THE EVOLUTION OF THE BIG CAT We take a look at Jaguar’s history told through cars, ahead of the E-Pace launch

58 THE IAIN HOSKINS COLUMN Celebrating the legacy of New York’s new-wave/no-wave culture

28 EVERYTHING, INCLUDING THE KITCHEN SINK Italian brand Smeg continue their reign with luxury designed kitchenware

61 GENTS, WE NEED TO TALK ABOUT: GARDENING Debunking the stereotypes of homegrown horticulture

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

WRITER Reuben Tasker CINEMA EDITOR Tom Williams DESIGNER Jennifer Swaby INTERNS Megan Storey, Martha Hollingsworth

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

All rights reserved.

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The Primer WHAT WE'RE READING:

WHAT WE'RE WATCHING:

FIRES

BY TOM WARD Tom Ward’s third book Fires represents a bit of a full circle moment for our editor. Not one for fiction, the last novel he read was Ward’s debut, A Departure, a hugely enjoyable dystopian road trip that showcased a myriad of horror and cinematic influences as well as a knack for gripping storytelling. Since then, Ward has been shortlisted for the People’s Book Prize, released his first short story collection and been awarded the PPA New Consumer Magazine Journalist of the Year Award for his work as features editor at Men’s Health.

Meanwhile, our editor has not touched fiction during this time, until this month when a copy

dropped through his letterbox. What becomes apparent very early on is that Fires is a compelling novel. Beginning with a heartstopping inferno and the death of a fireman’s family, the plot twists its way through a search for answers, set among among austerity, abandonment and corruption. Timely, difficult to put down and a welcome reintroduction to fiction. Bravo Mr Ward.

Fires is out on November 2 and is available for pre-order on Amazon

WHAT WE'RE EATING:

A NOTE FROM THE EDITOR

THE GRILL ON THE SQUARE, LEEDS We’ve been to The Grill On The Square a lot recently. Partly due to being in Leeds more than usual, but also due to our love of a solid steak now and again. There’s something unbeatable about a quality piece of steak isn’t there? As a good friend of ours would say, it’s ‘posh comfort food’. It would seem The Grill on the Square seem to be especially versed in steak, with a menu boasting quality up and down, whether it’s a classic Scotch Sirloin or a premium Australian Aberdeen Black Fillet, you know there’s serious expertise and process behind the cut on your plate. There’s also seafood, cocktails, wine and most importantly a certain atmosphere. Warm surroundings, lights dimmed, the right volume of music and a layout for entertaining, as well as being left alone. The steaks though, take our word.

Visit The Grill on the Square at 31-33 E Parade, Leeds LS1 5PS; blackhouse.uk.com/leeds

Happy Birthday to us. Three whole years of The Essential Journal. Before you start getting any ideas, don’t go sending us any presents (our address is in the masthead), we’re fine for gifts (we’re partial to spirits, cars, clothes and watches). Jokes aside, it’s been a real pleasure to put this magazine together over the years and on behalf of the team, we’d like to thank everyone that has supported, contributed and been involved along the way.

We’d also like to say a special thank you to everyone involved in this issue. We couldn’t be more proud of it.

We’ve toured the streets of Nottingham with the founder of Universal Works, we’ve seen the beating heart of John Smedley, got to the crux of what makes Stranger Things so great, talked innovation with a cartoon veteran and gone global with the help of travel advice from friends around the world. There’s also new and regular features in abundance. We hope you enjoy reading it as much we have enjoyed putting it together.

Bored of Netflix, we covered the prestigious BFI London Film Festival this month. Out of 300 films from over 50 countries, Andrey Zvyagintsev’s Loveless took home the Best Film of the Night award. Meanwhile, John Trengove won the Best First Film award for The Wound. But it wasn’t just the trophy holders that stood out for us. Steve Carrell, Bryan Cranston and Laurence Fishburne are the perfect combination in Last Flag Flying.

Following hits like Boyhood, Richard Linklater’s black comedy tells the story of three war vets journeying to bury Doc’s (Steve Carell) son after he dies on duty.

Adam Sandler returns to quality cinema with a dramatic singing role in The Meyerowitz Stories. Alongside an all-star cast with direction from Noah Baumbach, Sandler stars as a dysfunctional brother living in his father’s shadow. Other highlights include John Carroll Lynch’s Lucky. Lynch’s debut as a director and Harry Dean Stanton’s final film, Lucky tells the story of a 90-year-old atheist searching for enlightenment. For behind the scenes insight, keep your eyes on Tom Williams’ coverage in following issues. Michel Hazanavicius (director of The Artist) divulges future films whilst Josh Safdie talks bleaching Robert Pattinson’s hair in his new thriller Good Time.

The 61st BFI London Film Festival took place from 4-15 October. The Meyerowitz Stories will have selected screenings from 13 October.

THE PODCAST:

FRESH AIR

the book. The second thread is Pare’s gift for capturing moments, scenes and viewpoints of a building, inside and out, that even the architect that designed the building is often unaware of. The images that result from these threads are not only a fascinating insight, but as pointed out in the book, provide an experience of the buildings that even a visit in person would not mimic.

Unsurprisingly, due to her book tour publicity commitments, Hillary Rodham Clinton has been doing the podcast rounds. The most revealing thus far however, is her appearance on Terry Gross’s NPR podcast, Fresh Air. Gross has had Hillary on the podcast before to discuss political issues, one of which included federal marriage equality, with said clip going viral after Gross questioned her long-term commitment to the issue. This time round, Gross discusses the election, touching upon well-spotted, seemingly minor but illuminating details. There’s a much less adversarial atmosphere in this episode, but Gross still does well to probe, tease and highlight detail whilst remaining polite and wise. Nothing we didn’t already know from Hilary herself, but a breezy new addition to our podcast list

The Colours of Light will be released November 14, 2017 on Phaidon.

Pre-order the book at phaidon.com

Find Hillary Clinton’s Fresh Air podcast online at NPR.org/podcasts. Listen to Fresh Air weekdays at 17:00 on NPR.

ON OUR COFFEE TABLE:

THE COLOURS OF LIGHT There’s two extremely enjoyable threads interwoven into the second edition of Tadao Ando’s ‘The Colours of Light’. The first thread is the relationship between the iconic architect Ando and the photographer Richard Pare, who contributed the images to the book and printed them himself. The relationship is a warm one, Pare has photographed a great chunk of the self-taught Japanese architect’s work at a crucial part of the latter’s career, chronicling an ongoing evolution of work, and has become somewhat of a visual biographer.

The two speak fondly of each other throughout

LOADS OF FILMS AT THE BFI LONDON FILM FESTIVAL

WHAT WE'RE EXPERIENCING:

WHAT WE'RE THANKFUL FOR:

ORTLIEB VELOCITY BACK PACK As proclaimed in the last issue from the double pages of the ‘Essential Guide’, you should be biking to work. It’s great, it’s healthy, it’s… read the last issue for more details. Of course, being the super keen bus shunners that we are, we didn’t need informing of the benefits. We do however need a little motivation from time to time. There’s nothing more threatening to a morning cycle into work than waking up, opening the curtains and being confronted by biblical rains of Noah-baiting proportions.

Even the most enthusiastic biker might have second thoughts and look for excuses, one of which being the safety of precious cargo. Fear not, get yourself an Ortlieb Velocity Backpack.

Our editor did just that, and after waiting for four consecutive days for it to rain, it monsooned. Not only did it keep his laptop, precious notepads and everything else he carried in its Poppins-esque cavern dry as a bone (where others have failed), it also gave him zero excuses to never bike into work ever again (apart from laziness, of course).

Ortlieb’s Velocity Backpack is available at Evans Cycles; evanscycles.com

FESTIVAL NUMBER 6 Overheard in the office this month: “Portmeirion is one of the most picturesque places I have ever visited in the UK.” Big statement indeed. But why was a member of the EJ team talking up a small Welsh tourist village with such praise? Festival Number 6 of course. Last month saw the multi award-winning festival’s sixth rendition in all of its rainy, entertaining glory and boy, was it fun. Flaming Lips, Bloc Party, Mogwai, Kate Tempest, Wild Beasts (a fitting farewell), Jagwar Ma all impressed and there’s few better places to watch music and camp than in the festival’s Grade II-listed surroundings framed by mountains, estuary and woodlands. The food was great too, where were one pound scotch eggs wrapped in falafel at Leeds Fest ‘05? Sign us up for next year, we’ll make sure we bring a poncho.

For more information and coverage, visit festivalnumber6.com

INTRODUCING:

ESSENTIAL ITEM

LE LABO FRAGRANCES Claimless, conceptless and cruelty-free that’s how Le Labo is defining its fresh arrivals.

These New York perfumers keep it simple with its newest collection. Much like the controls on a new shower, grooming can get complicated with eccentric trends like squid ink shower gel. So Le Labo’s aim to simplify your life in the bathroom is more than welcome. Its mandarin-scented shower oil stream-lines the daily routine, with argan oil to tone and coconut to moisturise. The body scrub is mixed with coffee seeds to exfoliate, whilst its body cream uses avocado to repair and nourish skin.

For a sharp shave, its Americana-inspired grooming collection hits the mark. Get a smooth cut with its shaving cream that soothes with sage and chamomile. When you’re done, protect your pores with an after shave infused with rosemary and sunflower. While its grooming line isn’t too versatile, it captures the familiar rugged scent that greeted the barbershop regulars of years past.

Check out Le Labo’s newest releases by visiting lelabofragrances.com

SHADOW RUCKSACK THE EDIT BY ASPINAL OF LONDON

in association with Coggles.com featured from left to right

Universal Works Men’s Bakers Jacket in Navy £149 Folk Crew Neck T-Shirt in Orange £42 Our Legacy Denim Chinos in Overdyed Black £150 Universal Works Loose Fisherman Jumper in Aran £103 Paul Smith Basso Leather Cupsole Trainers in Quiet White £250 Aspinal of London Shadow Rucksack in Black £495 All items are available at Coggles.com

Aspinal of London has quickly become a quintessential luxury British brand. But that wasn’t always the case. Founder Iain Burton once sold his handcrafted leather journals in museums and gallery gift shops. These days, its collections are aimed at the modern businessman with high-end leather goods made to last a lifetime. Marrying contemporary and traditional design, its products are both smart and practical without compromising a luxury look. Aspinal’s Shadow Rucksack is a standout piece, the essential accessory for any modern gentleman. Stylistically retro with modern appeal, the preppy bag is made from Italian calf leather, finished with brass buckle hardware and a sleek, fabric-lined interior.

There’s also comfortable shoulder pads, reinforced seams and a welcome selection of pockets. Marks and scuffs are easily solved, just polish them out with some beeswax. Even if you’re looking for a relaxed style, the Shadow Rucksacks only look better with time, and what’s better than aging gracefully? Elsewhere, its extensive range of luxury leather cabin bags, suitcases and holdalls are your travel companions for every journey.

THE DETAILS LOYLE CARNER AND VINTAGE FOOTBALL SHIRTS It has been a busy year for cheeky Croydon hip hop artist Loyle Carner. January saw the release of his debut album ‘Yesterday’s Gone’ and by July it had been nominated for the Mercury Prize. This month he’s been on a nationwide tour and we managed to catch his sold out show in Liverpool, Carner bouncing around the stage, mixing confessional storytelling and crowdpleasing, upbeat, influence-on-sleeve hip hop. What impressed us most this month however, was his inspired use of Twitter to stockpile vintage football shirts. What started as a simple bargaining tool - one fan trying to trade a 1990 Sweden home top for guestlist to a Dublin gig - soon turned into a full on guestlist shirt exchange.

Carner was offered a host of classics including the classic blue England 1990, mid 90s Ajax (potentially fake), vintage Argentina and even a 2001 Palace top. No Everton, Chelsea or United though, that’s enough to get you kicked out.

The Yesterday’s Gone Tour continues through Europe until 4th November.

Yesterday’s Gone is available everywhere on Virgin EMI.

FILM STARS THAT HAVE HOBBIES Who knew that loveable Hollywood everyman Tom Hanks was a writer? Of course he’s written for the big and mediumsized screen, but a hobby that translates into pages too? It got us thinking, who else in Hollywood has a hobby? Turns out, quite a few of them and after a bit of surface level research, here’s a few: Angelina Jolie has collected weapons from when she was young, most notably daggers and knives. Tom Cruise, David Beckham and Will Smith are all keen on fencing. Ben Stiller is a Trekkie. Vin Diesel is probably the world’s most famous Dungeons and Dragons player. Colin Farrell line dances.

Nick Offerman is a huge woodwork enthusiast, so much so that he runs a workshop and wrote a book about it, called Good Clean Fun: Misadventures in Sawdust at Offerman Woodshop. Mila Kunis used to play World of Warcraft and Kristen Wiig went to art school and continues to write in her spare time.

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The Essential Journal | 11

New Collection Inspired by

Season One - On Blu-ray™ and DVD on 16th October © 2016 Left Bank Pictures (Television) Limited. All Rights Reserved

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Coffee pleasure –

freshly ground, not capsuled.

Roger Federer Inspirational role model, world record holder of Grand Slam wins, greatest tennis player of all time – and coffee lover.

The perfect espresso thanks to P.E.P.®. The E8 from JURA wows even the most discerning coffee lovers like Roger Federer with its choice of coffees.

The one-touch automatic coffee machine prepares twelve different specialities to professional barista standard. To create the perfect ristretto and espresso, it features a world first: the Pulse Extraction Process (P.E.P.®). A TFT display makes operation intuitive and convenient. All elements are easily accessible from the front, while the Intelligent Water System (I.W.S.®) detects the filter automatically. Price: £1100.00 JURA – If you love coffee.

Available from JURA Store London ( 148 Marylebone Road ), Harrods Jura Concession, Selfridges, johnlewis.com, aol.com and uk.jura.com

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STYLE

words by DAVEY BRETT

What Inspires David Keyte?

I

n case you were wondering, in David Keyte’s opinion, the best bus stops to watch old men are on the Kingsland Road.

Not down towards Shoreditch, but up towards Dalston. Basically, the further up Kingsland Road you go, the more interesting the old blokes look. As David puts it, “a nice mixture of Turkish old men and East London old men mashing it up. Some funny little trilbies, Adidas trainers, tweed jackets.” Don’t get the wrong impression, we’re just talking about David’s inspirations. “People always ask me where my inspiration comes from, and old men wear too many layers and don’t care what they put together and that’s why it always looks amazing. Jackets that used to fit them, Adidas tracksuits from ’72.”

David Keyte, the man we’re in Nottingham to see, is the founder of Universal Works. He is what people in football or boxing might call a journeyman, with the sort of early employment history you wish your local Labour MP had. Having worked as a sign painter, miner and fishmonger, he got his big break managing Paul Smith’s original Nottingham store before ascending into sales and working at a host of other menswear brands including Maharishi. In 2008, he founded Universal Works.

Universal Works make honest, stylish and well-made menswear out of quality fabrics that they spend a lot of time and effort picking out.

Blue collar work wear and David’s formative years growing up around blokes that wore uniforms to work (and suits to go out) are always the go to references to describe their clothes. But to boil the brand, Universal Works, down to David’s

dad being a baker and the brand’s subsequent bakers jacket (which people seem to do a lot), is to do David a disservice. There’s more to it than that, like old men at bus stops for instance, and books of matches.

We went to Nottingham to see what else influences David Keyte. *** We meet David and his partner Stephanie one morning in the Waste Design studio in the centre of Nottingham. Universal Works have worked with Waste numerous times before, but most recently they collaborated on the AW17 catalogue. Said catalogue features not only a host of models in optically challenging positions, but also some pretty nifty ‘scanimation’, ‘an animation process that combines the “persistence of vision” principle with a striped overlay to give the illusion of movement.’

As we arrive, David and Waste studio founder Norman are rustling through a bin bag full of hundreds of matchbooks. The collection came from a friend who owned a pub, inheriting the bagful from a businessman who was a collector. The bag has served as inspiration for an upcoming collection, as has Wes Anderson, of whom David is a fan. We head out into the city for a guided tour.

Nottingham, where Universal Works is based, and the surrounding area seem to be a bit of a clothes mecca. As well as Universal Works, the area is home to Sunspel, John Smedley (admittedly slightly further afield in industrial revolution country) and of course Paul Smith - the city was home to Smith’s original store. A store David

Photography courtesy of Universal Works

We headed over to Nottingham to hang out with Universal Works founder and menswear designer David Keyte to chat about old men at bus stops, football hooligans, the importance of product and see what else inspires him aside from his dad (who was a baker)

knows well, having managed it for fifteen years.

“I don’t think I convinced him I could run the shop, I think he was just impressed with my enthusiasm. I turned up wearing the same jacket that he was wearing. They didn’t have that many jackets in those days. When I bought it, the guy said ‘oh yeah, Paul wears that suit a lot.’” David tells us as we sit down for lunch at Cartwheel Coffee, a fitting location next door to Paul Smith.

Lunch with David and Stephanie is an education. They talk about working at Paul Smith and how David’s love for clothes eventually pulled him into the business. He talks honestly about ‘product’, and about how it’s important to him to try his best to not fuck up the planet making his clothes.

He says he wished he could use more organic cotton, but people don’t realise that Marks & Spencer have literally bought all of it. He speaks fondly of Japan and the head of a courier company out there asking him to design uniforms for them. He appreciates a good uniform.

After lunch, we continue through Nottingham, David the knowledgeable tour guide. Restaurants, shops and pubs are all pointed out before we get to their own shop above Rough Trade. The store is immaculate, bright and airy. The guys from Waste Studio did the fit out and its one to be proud of. David explains that Rough Trade let them use the events space below for screenings and music. Ten minutes later and we’re in David’s car en route to the office. We chat about the city’s recent prodigal sons Sleaford Mods and delve into

David’s own musical tastes, open but rooted in the soulboy culture of his youth. He was also briefly a punk, but getting beaten up for having super skinny jeans soon sorted that out.

During our visit, Universal Works are moving out of their offices, which gives you an indication as to how friendly they really are, letting us frolic around asking them questions with less than a month until their big move. A short notice period has been unkind to them, the building’s owner giving them a month, before the building is refurbished for student halls. The building itself is tall and industrial, a former mill. Our first port of call is the distribution room. A wide open space with boxes sat poised for stores worldwide. David has met most, if not all of his stockists, and him and Stephanie regularly travel to visit the stores worldwide, becoming friends with the people that sell their clothes. Whether it’s Lee from Liverpool’s Weaver’s Door or Martin from Toronto’s Uncle Otis, Universal Works will have met them all, had a coffee and talked shop.

Looking stockists in the eye is important for David and it’s the same with collaborations. As we walk between rows of identical boxes looking for names we recognise (The Hip Store here, Oi Polloi there), David says it’s essential that he meets the people he works with. You get the sense this is a very personal thing, it comes with the honesty ingrained in the brand. He has to be sure. The only collaborator he hasn’t met with face to face thus far is Slovakian footwear brand Novesta, although

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despite this he says it’s one of the best collaborations he’s done. No nonsense. “It was great, no messing about. I sent him an email one night and within about 15 minutes he had replied saying let’s do it.”

The tour takes the rest of the office in and staff are happy to stop and chat, despite AW17 currently being shipped, despite the impending move (every piece of stock, every last trinket) and despite the fact that they must be busy enough as it is. David even takes time out to show us the upcoming collaboration with independent department store, The Hambledon. The fabric for the collaboration, a standout spotted olive and navy fabric, Japanese Camo, was also the brand’s first foray into women’s wear.

As we sit at the table in the office, we steal a chance to delve into Universal Works’ iconic silhouettes. Why those shapes? Why that signature anti-slim leg? David’s answer is simple. “It’s entirely the fit I want to wear.” But there’s also more to it. Back in the 80s, Paul Smith bought a shirt factory near Derby called Newbold which had been there for around a hundred years. Primarily a shirt factory, they also made uniforms, military stuff, even garments for dustmen and had amassed quite the archive. Paul not only knew he was buying into history with the factory, but he had clocked early on from visiting Japan, that the Japanese appreciated the classic ‘authentic’ British workwear-style clothing. He knew he could present Newbold, a genuine brand with history, to the Japanese and they would love it.

“There was a designer who worked for Paul, called Derek, utter genius. Still works there now and I worked with him on it. It was the 80s and it was basically blue collar work wear.” David pauses. “And it absolutely died. Did well in Japan for a while, but it was exactly what I wanted to do.

Mixing fashion with a certain silhouette of the 80s, this blue collar work wear, whilst thinking military, Savile Row, it was actually quite English.

It didn’t work then, but come 2010 it was spot on.

2008, shops were full of it. The world came to look at something I liked, as something they were interested in.”

It’s all a case of timing. As David puts it, “classic things are always classic, they’re just not necessarily classic in that silhouette. The same grey marl sweatshirt would have been cool in 1952 and it’s been cool every decade since, but the shape has been quite different. Very different.” These changes are clear in Universal Works’ output, with their jumpers much looser than they were ten years ago. It’s not that the the company is pandering to trends, personal tastes change too.

David wanted everyone to wear a looser pant, but knew others wouldn’t, so he made the narrowest pant he was comfortable with putting on because he wouldn’t be comfortable if it wasn’t him. The subsequent pair of trousers is the brand’s most successful to date. Rarely photographed, rarely promoted, simple cotton, but everyone loves them. *** It’s a warm evening and we’re sat with David in The Angel pub, a small microbrewery in the centre of Nottingham with a very good Pale Ale. The beer garden discussion has moved away from old men at bus stops - a discussion that was initiated with the mention of their innate ability to layer up - to nostalgia and how when reminiscing, the imagination sometimes takes hold. Due to the uniform project, a Japanese magazine had asked David for his favourite uniforms. One was the Nero jacketed waiters at London restaurant St John Bread & Wine, “They’ve got a bit of attitude and I think that’s why I like it. You go on the internet and it’s all just pictures of food, people need to take more notice of the uniforms.”

“The other uniform is that Indian porter in some really dusty weird little railway station, who has this amazing sort of British military tunic and a white skirt. That’s one of the best uniforms. The magazine says, ‘Can you get us a picture?’ It was apparently banned under the British, so there isn’t any photographs of it. But there’s porters that are independent from the railways. So I’m

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AW17 in David’s words:

“So we got this fabric, that you’re meant to make bags out of and we made knitwear. That is a piece of knitting made in the next town after us, Long Eaton.

That’s actually a copy of this Indian mad woven fabric. [At first] We sold a third of it, then everyone that received the AW17 booklet was like, send us that!”

“Wool fleece. What’s interesting about this photo shoot is I spend my life trying to convince people to wear looser trousers, but when you’re on the floor, gravity makes the trouser go down to the leg, so it makes it look like you’re wearing relatively thin trousers. They’re all wearing loose trousers.”

“Another one of those funny striped fabrics. I had this thing in my head with the Navajo thing looking like a traditional English thing or Scottish thing. This is from a traditional Portuguese mill where we buy our Melton. Invented in Melton Mowbray, those red coats they wear when they’re hunting, that’s Melton.”

“Cords are having a moment.

You can quote me on that one.”

“The moleskine stuff is great. An overshirt, but a jacket really. Gets you shirt prices. You just have to write ‘shirt’ on stuff.”

“Get married in that suit if you wanted to. That is actually very nice suiting.

The lapel jacket and trouser that you could call a suit, but it’s got none of the internal construction, more like a traditional work jacket.”

AW17 photographs courtesy of Universal Works

speaking to someone in Japan about this, and I’m saying ‘what I meant was…’ That’s the thing about when you start to reminisce, your imagination takes over.”

There’s always flecks of nostalgia, it’s ingrained in Universal Works, but there’s also humour. “I’ve spent my life in total admiration for the product that’s come around Stone Island and I have never owned a piece of it, because I didn’t want somebody to fucking kill me to nick it.” David tells us, as we delve into his appreciation of terrace culture. He also jokes about Liam Gallagher buying a bomber jacket in the sale.

In case you were wondering, David Keyte is inspired by a lot of things. He appreciates Commes Des Garcon and he thinks Kickstarter is a good thing, although he finds its usage in fashion strange. He wanted to be a graphic designer when he was young, but he didn’t know such a thing existed. He travels to India and Japan quite regularly and he’s also a keen runner. Don’t ask him what his favourite pieces are in his collections because they’re all his favourite. And finally, it might irk him, but I would recommend asking him about the brand, because when he responds he’ll be at his most honest and passionate, typifying what Universal Works is all about.

“I constantly say to people when they’re asking about the brand, I say we’re not a brand, we’re a company who make clothes. Brands were invented to make money, we were invented to make clothes.” EJ

Looking for a place to stay in Nottingham? We recommend the Lace Market Hotel Tucked away in the historical centre of Nottingham is the Lace Market Hotel. The Grade II-listed Georgian townhouse, which sits on the cobbles at the former centre of the world’s lace trade (Nottingham Contemporary is on the same street, whilst the centre of town is a short stroll away), boasts a perfect central location minus the hustle and bustle. Quaint Georgian street views greet guests from the windows, and inside, art-deco styling gives the hotel a luxurious and serene boutique feel. World class amenities await everyone, whether it’s a single, double, superior or studio suite. We were lucky enough to try the latter and can vouch for the quality. Picturesque views of the nearby St Mary’s church, Orla Kiely toiletries and a free-standing bath to enjoy them in. For those thirsty or peckish, a fine choice awaits. The rustic Cock and Hoop next door is the perfect place to sink ales and eat pub grub, but for something fancier, there’s no need to leave the hotel. The Merchants restaurant, helmed by young but accomplished chef Ben Chaplin is a gem to have downstairs.

With an impressive menu ranging from breakfast through to dinner, there’s a wide array of mouth-watering dishes. The equally impressive Saint Bar is open til late. EJ

The Real Richie A man of many personas, Richard Biedul talks us through a crazed day in the life of a model

Issue 27

STYLE words by REUBEN TASKER

Photography by Joe Harper

16 | The Essential Journal

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The Essential Journal | 17

“I really want to use this platform to champion british craftsmanship, to showcase the product in its natural habitat and to increase the visibility of our domestic fashion and manufacturing industry.”

favourite item for this season is my cashmere Watchman hat from Lock & Co x Johnstons of Elgin. I’ve actually just taken delivery of 6 custom made colour ways for AW17. You can’t have too much of good thing, right?

model life is easy to stereotype. Looking good on camera seems simple for some, but waking at dawn and splitting time around the world is anything but. Guarded everywhere but a runway or photoshoot, the life of a model is hard to pin down. It’s no easier for Richard Biedul, a grizzled runway figure with a story to tell. He first sat down with us in Issue One, becoming our first treasured cover star. A former lawyer, Richard’s modelling career was a relatively new endeavour. Splitting time between New York and London, the conversation was typically eccentric. There were tales of Glastonbury pranks, mentoring in Shenzhen and chance encounters with Bill Clinton and Eva Longoria.

Anything but tedious, Biedul leads a fast-paced and impulsive model life.

Since then Biedul-mania has intensified.

Richard has starred in editorials for L’Optimum, Reiss and Dunhill, even fronting Lui Italia’s November issue. With no signs of slowing down yet, 2017 could well be Richard’s busiest year, featuring in shows for Etro, Oliver Spencer and Brunello Cucinelli. Ranking 47 in GQ’s best-dressed men of the year isn’t bad either.

So before he jets up the A-List, we sat down with Biedul once more to find out what life’s like for a model in 2017. EJ What are you currently looking out for when picking an Autumn outfit? What’s your favourite clothing item this season?

Earthy natural tones and bold rich textures such as corduroy, flannel and cashmere. My

You have mentioned taking on different personas for different clients. Do you have a favourite? Which one best resembles the real Richie?

I think that as time has gone on the real Richard has become a part of each and every persona that I’ve been asked to play. More so recently than in the past. It seems like clients now want some form of authenticity to be projected into the imagery, and because of this I have been allowed on occasion to direct or even style myself.

As a bearded man, relatively older in the world of modelling, where do you see the future of modelling going? More inclusive?

Less so?

This is a tough question to answer. Everyone wants to see more diversity on the catwalk (in race, age, body shape) but any transition will take time. Over recent years there has definitely been a shift and I hope it continues.

Fashion is for the many not the few. I mean we all wear clothes, right? So it should be more inclusive, taking into account the fact that we are all different. You just have to look at the casting of designers such as Oliver Spencer, Etro and Balenciga. All of which use men of all ages and races.

What were some of the main challenges transitioning from law to the runway?

My main challenge was coming to terms with the fact that everything in this industry was out of my control. As a lawyer you’re taught to analyse the facts and to create a solution to a problem. As a model, you are nothing more than a prop, or conduit to selling the product to the client. When it comes to castings for example you either fit the client’s aesthetic or you don’t. You can’t change a thing. I spent my first few months on the job asking for feedback from castings so that I could try and adapt to fit the clients wants or needs but unfortunately you don’t get feedback in this business. I guess

the easiest way to explain it is - the shoe either fits or it doesn’t. As time went on I quickly realised that I couldn’t affect the casting process other than by trying to keep fit and healthy and by taking an active interest in the product and client.

Were there any significant lessons you learned early on? Perhaps in an embarrassing way?

Coming from a corporate environment to a creative fashion environment was a seismic shift for me. Which of course led to way too many embarrassing moments to mention. Whilst I may come across relatively ‘cool’ on camera, I can assure you I am not. You boys know me, I’m just a normal guy who happened to be in the right place and the right time.

Being scouted at 27, how accessible do you find the world of modelling? Have you found other models coming from a similar background to yours?

I’ve never come across another ex-lawyer, but I’ve met many aspiring lawyers-to-be. Their drive to succeed in the legal industry is very inspiring. Juggling Law degrees with transatlantic flights is not an easy thing. As for whether the industry is accessible, I think the answer is yes. I’ve met men from so many different walks of life, Rob Knighton was signed in his 50s and was a carpenter before becoming a model (and now actor), Guillaume Macè was signed in his 30s and was (and still is) an architect. My good friend Max Hearne was signed in his late 20’s when he was still working in construction.

You told us about mentoring at the Elite Model Look World Final in Shenzhen, China. How did you find that role and would you consider yourself a good teacher?

It was a great experience to have the opportunity to pass on my knowledge of the industry to those just starting out on their journey.

Some of the boys and girls that we mentored on that project have actually become some of the biggest names in the industry. If anything they could probably pass on some of their knowledge to me now. Try to teach this old dog some new tricks.

You have spoken on Soho’s transformation in recent years, how has this impacted your relationship with the neighbourhood?

I’m still a staunch advocate of Soho, whilst the places I frequent may have changed over the years the people haven’t. It remains one of my favourite places in the world.

Do your interests or inspirations outside of fashion ever inform your work or approach?

At the start of the year, I started thinking about future proofing my career. Whilst I will always have the legal industry to go back to, I wanted to start thinking seriously about transitioning to a role on the other side of the camera.

I’ve always been obsessed with creating beautiful imagery but I don’t have the innate skill set to become a photographer. And truth be told I don’t want to try and learn to take photographs. I am more interested in developing and delivering concepts. Having no background in this industry however doesn’t help. The only knowledge I have has been gleaned from my time as a model. Whilst I am on set I am always listening, learning and contributing where I can. It all started with small styling suggestions, which before I knew it would lead into discussions on lighting and creative direction. Then I was being asked by my piers to take roles on their projects, which subsequently turned into taking roles on magazine shoots and now with commercial clients.

Most recently I was offered the opportunity to art direct and produce my first stand alone editorial (which will be out first week of November). I’m excited to share the results with you all. It will be the first chance to show everyone in the industry that “I’m not just a pretty face”. I want to cultivate a very distinct aesthetic. So people will know it’s one of my stories the moment they see the opening page.

I’ve got a great team around me who really understand what I’m trying to do. I’m in a very privileged position. I really want to use this platform to champion british craftsmanship, to showcase the product in its natural habitat and to increase the visibility of our domestic fashion and manufacturing industry. We have some of the most talented designers producing product in the UK and I for one want to help to sell this to the world.

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18 | The Essential Journal

LEEDS

LIVERPOOL

MANCHESTER

GR ANAR Y WH AR F

EXCHANGE FLAGS

SPINNINGFIELDS

EDINBURGH GEORGE S TREET

Coming early 2018

: @FazendaGroup

Issue 27

#5

The Essential Journal | 19

ONE THING DONE WELL:

JOHN SMEDLEY Our series of brands doing an item of clothing especially well continues this month with John Smedley knitwear

Y

ou can never underplay how old John Smedley knitwear is. Place the brand’s 230 plus years of existence on a timeline and its trajectory from 1784 to this day outstretches clothing brands, household names, even nations.

Older than most fashion houses and a mere eight years younger than the United States of America, the brand that sat at the forefront of the industrial revolution remains one of the nation’s foremost heritage brands.

Heritage isn’t just a badge though, a rosette that reads ‘we’re extremely old, buy our stuff ’. With Smedley’s long illustrious timeline of existence comes a level of experience that transfers to its garments. When you’ve been doing one thing (well) consistently, for so long, it tends to transfer to the quality of the product. When I ask head of design and marketing, Jess Mcguire-Dudley, why Smedley knitwear is the best in the world her reasons channel history, but don’t rest on it.

She references the Smedley factory being the oldest manufacturing factory in the world but also the materials that they use in garment making, having maintained relationships with their current merino farmers for some 50 years. There’s a mention of the famous Sea Island cotton too, as well as the balance of new technology with age old craftsmanship. Every garment is washed in the local spring water, which gives the knitwear its unique handle and many items are hand-finished, using techniques such as hand cutting necklines and hand stitching for finer details. New Japanese sewing machines compliment long-serving industrial relics on the Lea Bridge factory floor.

We’ve experienced the processes first hand on a recent trip.

The brand has always innovated too.

As Mcguire-Dudley points out, knitwear design was not the only area the brand pioneered. “The brand is iconic and steeped in a truly rich heritage, but what really attracted me to it, was a small story about how the original John Smedley was one of the pioneers in not

“The brand is iconic and steeped in a truly rich heritage, but what really attracted me to it, was a small story about how the original John Smedley was one of the pioneers in not only knitwear design, but also branding...”

words by REUBEN TASKER

only knitwear design, but also branding, at a time when most clothing was sold under purely department stores names, without any true ‘brands’. He had the foresight to ensure his name was placed on every garment, creating a symbol of quality forever linked to his brand. At the time I remember thinking this was amazing and so innovative for that period of time.”

Not only has quality persisted at Smedley, but so has style. Its output is a roll call of individual items made to last and feel great, but also to look stylish, many timeless.

When thinking of the brand’s garments, the ‘Bobby’ jumper and ‘Isis’ polo shirt are good places to start. Both are extremely stylish, can be dressed up or down, feel great to the touch and have plenty of famous admirers. Both have stood the test of time. The ‘Isis’ polo, the brand’s first ever short sleeve polo, originally produced in 1932 has remained the same ever since, its classic features untouched and gone on to inspire a host of polo styles since. The ‘Bobby’ meanwhile, remains a wardrobe staple, a must have jumper, 100 per cent extra fine merino wool, v neck and perfect for smart or casual. ‘Skyfall’ is its most iconic film outing of late. When asked how perceptions of knitwear have changed, Mcguire-Dudley feels perceptions of knitwear have shifted. “Previously it may have been seen as an add on item or a single wardrobe piece such as the sweater for example, now people are understanding how versatile knitted product can be and brands such as ourselves are embracing this to create new categories. This season for example we launched the first John Smedley knitted, fully tailored suit alongside knitted coats, dresses, accessories and of course sweaters.”

AW17 is also touched upon, with reference to the way in which raw materials are being explored. “We’ve explored not only existing and new fibres, but also the environment that cultivates these fibres, the collection is tactile and natural using new fibres such as alpaca, wild silks and boucle. Silhouettes are chunky befitting an outdoorsy feel and the colour palette showcases variants of green from khaki to bright grass like shades alongside flares of burnt orange, rich charcoals and tones of blue.”

“The pinnacle piece to our collection is ‘The Black Sheep x John Smedley’ which celebrates one of the most unusual fibres of black sheep wool. The black sheep are unfortunately often culled from the herd as their wool cannot be over dyed and takes on the factors of their environment creating individual shades. We saw a real beauty in this and wanted to showcase the individuality of these sheep and their rare wool. So we created a capsule collection blending this unique fibre with our cashmere and merino yarns to remove any scratchiness on the skin. Each piece is truly unique as the wool’s colour is determined by the sheep’s environment with the wool appearing as a mix of black, charcoal, natural brown and grey shades.”

When asked for another brand doing one thing well, Jess singles out another British heritage brand. “Trickers shoes do a fantastic job of blending its heritage with modern British craftsmanship. It is true to what it does best, and yet can deliver contemporary innovation because its dedication to quality is showcased across every category.”

In a world where every brand wants a story, Smedley sits atop a heritage that can’t be purchased on the spot or thought up in a boardroom. Its a heritage and quality that is only purchasable with the currencies of experience and time. A heritage that is evident in every garment it makes. EJ

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20 | The Essential Journal

STYLE

words byJOHN THORNTON, themoderman.co.uk

A CUT ABOVE Three razors, one test - Which will come out on top?

EXTRA WAYS TO BOOST YOUR SHAVE

ANTHONY PRE-SHAVE OIL

Need extra protection whilst you shave? Use a preshave oil underneath your shaving cream - they’re great for minimising tugging too.

A

few years ago your shaving choices were pretty limited - you used a Mach 3, or you grew a beard. But now, innovative startups like Cornerstone and Boldking are challenging Gillette. We pitted them against each other to see if Gillette is still the king of the bathroom jungle.

First up was Gillette’s Fusion ProShield - with 5 blades, a trimming blade, and new lubricating strips before and after the blades.

There’s plenty of Gillette bashing in the grooming industry but fair play, the ProShield does the job. Tugging and pulling were minimal, and the ProShield strip helps you angle the blades just right for less irritation - though the blades dulled quickly. The razor is a hit, but there are plenty of better options to the ProShield Shave Gel. Next up was Cornerstone. Designed to be easier and cheaper than Gillette, its swanky subscription service is tailored to your shaving habits and each blade is roughly £1 cheaper.

Instead of planet-wrecking plastic beads, its preshave scrub uses volcanic sand. Turns out, rubbing sand on your face feels like, er, rubbing sand on your face.

Sure, it smooths your skin, but I’m not sure it’s worth the harsh feel. The shave gel was a genuine revelation though. The low foam formula helps you follow every contour of your face, and it got all 3 razors gliding across with minimal tugging. It’s quick, easy, smooth and massively recommended - regardless of your razor choices.

The latest iteration of the Cornerstone razor is built around customer feedback, and features five blades and a trimming edge. It’s light on bells and whistles but heavyweight where it counts. Whilst maybe not quite as sharp as the ProShield on first shave, it hardly dulled at all, and definitely proved itself as a viable alternative to Gillette. Its post-shave balm was cool and gentle and wrapped up a great all round shaving package.

And now for something (almost) completely different - Boldking. Rather than cramming in as many blades as possible, Boldking’s razor has three blades spaced much further apart, to try reduce tugging and clogging.

For me, this felt less comfortable than its competition, but it’s proved really popular with other men - if you hate normal multi-blades it’s well worth a look, especially at it’s wallet-friendly price (it’s the cheapest here by a distance).

Whilst the razor has room for improvement, the Aftershave Cream was an absolute stunner. Creamier than yoghurt and packing more moisture than an Amazonian rainforest, it absorbed really easily and left my skin feeling cool and super smooth. Frankly, I’d call it the real standout of the whole process.

Razor-wise, Gillette just sneak it, but Cornerstone are hot on its tails. With Cornerstone’s Shave Gel and Boldking’s Aftershave Cream being the real stars, this test shows that the razor is only part of the process preparation and recovery are just as important, and a few changes can make a real difference. EJ

MUH008 MUHLE DARK WOOD SHAVING BRUSH

Whipping your lather up with a shaving brush doesn’t just make it thicker, the brush exfoliates your skin and helps raise your stubble, for all round smoother shaving.

VFX049 VULFIX MANNIN MACH 3

Still sticking with your trusty ol’ Mach 3? Give it an aesthetic overhaul with this classy tortoise shell razor handle.

Issue 27

The Essential Journal | 21

WHAT’S ON Advert Liverpool Philharmonic October – January

Wednesday 1 November 7.30pm

RAY MEARS: BORN TO GO WILD Saturday 11 November 7.30pm The Music of Dolly Parton & Kenny Rogers

ISLANDS IN THE STREAM Tuesday 14 November 7.30pm

BILLY BRAGG: BRIDGES NOT WALLS Sunday 3 December 8pm

LAUGHTERHOUSE Saturday 9 December 7.30pm

KATE RUSBY AT CHRISTMAS Friday 26 January 8pm

DEAR ESTHER – LIVE

Box Office

liverpoolphil.com 0151 709 3789 – LiverpoolPhilharmonic @liverpoolphil Image Billy Bragg © Murdo McLeod

Issue 27

22 | The Essential Journal

LIFESTYLE

WHISKY EXCHANGE X ESSENTIAL JOURNAL

Because You Need to Know The change in the seasons gives you the perfect excuse to start drinking something new, and the fast approaching festive period means it’s time to start thinking about gifts. Get started early with these new releases at The Whisky Exchange. Whether you’re a lover of the malt spirit or prefer a tot of rum, this season offers something new for all palates

Nearly fifty years after the end of the Royal Navy rum ration, this 100% demerara rum from Guyana represents the very style of rum that would have featured at the heart of the daily ration once enjoyed by our naval servicemen. It is a wonderfully rich and heavy rum made with demerara sugar that was distilled in Guyana in 1975 and has been ageing in the barrel ever since. Black Tot 40 Year Old is a truly unique elixir that will captivate anyone who tastes it.

All featured bottles are available at www.thewhiskyexchange.com

Nikka Coffey Gin Nikka Coffey Vodka £45.75 / £40.95 While Nikka is primarily known for its award- winning Japanese whiskies, the company also has a long history of distilling white spirits for sale in Japan and for the first time, Nikka has developed stunning new gin and vodka expressions using its ‘Coffey still’ which are now available in the UK. The rich and mellow spirit at the heart of the gin makes way to great complexity with a refreshing burst of Japanese citrus, the delicate fruitiness of apples, and tangy hints of Japanese Sansho pepper. Nikka Coffey Vodka captures the smooth and delicate taste of distilled corn and barley spirits which are skilfully blended. This is a gin and vodka like you’ve never experienced.

Black Tot 40 Year Old Rum £1,500

Bowmore 2001 15 Year Old The Whisky Exchange Exclusive from Signatory £160 Get in quick if you want to get your hands on a bottle of this rare malt spirit. Independent bottling company Signatory has bottled this Bowmore 15 Year Old just for The Whisky Exchange and because it’s from one single cask, there are only just over 230 bottles available once they’re gone there will be no (bow)more.

Our expert taster says you can expect a soft, rounded and chewy whisky, with sun-drenched mangoes sat beside crunchy Granny Smiths, savoury minerality with tarred ropes and earthy peat smoke balanced by charcoal and stony beach rockpools! Now that sounds interesting!

Frapin 1993 Cognac £140 Bottled by The Whisky Exchange themselves, this single-vintage Cognac comes from the highly regarded house of Frapin. Aged for more than two decades, this rich and fruity spirit shows off the character of Grande Champagne, the most highly rated area in Cognac.

You can expect a silky smooth Cognac with hints of baked apple and cinnamon, nutmeg and roasted almonds. Sounds ideal for Autumn!

Cotswolds Distillery ‘Inaugural Release’ Single Malt Whisky £44.95

North of Scotland 50 Year Old £950

Compass Box Phenomenology £150

Provenance is crucial to the creation of the first ever whisky from the Cotswolds - the distillery has committed to using only Cotswolds-grown, floor-malted barley in all their single malt whiskies. With their Dry Gin having won ‘Best London Dry Gin’ at the 2016 World Gin Awards, these guys know their distilling stuff, and their first whisky is just as good. Rich and fruity with significant depth for a young whisky, it has been aged in a combination of ex-Bourbon barrels and toasted red wine casks.

This exceptional single grain Scotch whisky is an investment in history since it is the first and only official bottling from the North of Scotland Distillery Co in Alloa. The distillery started producing whisky in 1957 but it closed in 1980 without having released an official bottling.

This is a rare chance to taste long-aged whisky from this lost distillery and experience a drop of history. And it won’t disappoint thanks to more than 50 years ageing in bourbon casks.

Leap into the unknown with this limited-edition blended malt, inspired by phenomenology - ‘the study of consciousness and the objects of direct experience’. To encourage people to experience this whisky without preconceptions, Compass Box has not released any tasting notes, or even listed which single malts make up this blend. All we know is that they were selected due to their distinct and different flavour profiles, something that promises a complex and surprising whisky.

Issue 27

LIFESTYLE

The Essential Journal | 23

words by ANGHARAD JONES, coggles.com

A Handsome Home:

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

I

t’s not all doom and gloom and self-imposed ostracization though; this is a season to play the host, to show you’re a dab hand at entertaining and prove your living room can give whatever new speakeasy-cum-experimental-cocktail-bar your friends can’t stop talking about a run for its money.

It all starts with the home bar, the retro throwback to be very much embraced.

Forget all preconceptions of a home bar though; the new bar is sleek, modern and unfussy. The old bar cart in your grandparents’ house, used for creating drinks that one must sit on the edge of the sofa and sip politely whilst trying not to make eye contact with your weird ‘uncle’, this is not.

The host in a handsome home is at ease with the bar, all-knowing yet understated and unintimidating. The bar should be a conversation stimulator rather than overbearer, adjacent to one’s evening rather than at the centre of it. Think more James Bond (preferably any actor other than Pierce Brosnan – sorry Pierce) than Tom Cruise in Cocktail.

First up, you’ll need to stock your bar.

A premium vodka and gin is a good place to start, as they act as the base of a lot of cocktails. Bourbon – a winter warmer on its own, or for putting together an Old Fashioned or Whiskey Sour – is a solid contender for a home bar, as are aperitifs like vermouth and Aperol (or Campari if you’re sick of #AperolSpritz clogging your Instagram feed). Angostura bitters are the finishing touch of any good drink and will become your new can’t-live-without. And then of course there’s the wine – white, to be chilled; red, to be decanted half an hour before serving.

Of course, you’ll need the glassware to go with your new-found barman status and this is where Coggles steps in (subtle). London brand LSA International has been perfecting its craft over the last 50 years, resulting in a collection that has a glass designed for every tipple – white wine, red wine, champagne, whisky, beer, gin…you name it – as well as a selection of carafes and decanters that come complete with a solid wooden base (very Mad Men).

For a contemporary design-led touch, look north to Georg Jensen and Broste Copenhagen. Both coming into their own during Denmark’s mid-century design movement, today Georg Jensen creates sleek yet sturdy carafes and pitchers that are bound to receive a few admiring glances, while darker Nordic-inspired decanters and tumblers come courtesy of Broste Copenhagen.

LSA International, Georg Jensen and Broste Copenhagen are all available at Coggles.com

Issue 27

24 | The Essential Journal

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Issue 27

The Essential Journal | 25

LIFESTYLE

words by DAVEY BRETT

Recipe of the Month:

Polpette Saporite Alla Birra (Meatballs Cooked in Beer) This month we delve into Recipes From An Italian Butcher for an old country take on the hearty meatball

SERVES 4 Preparation: 30 minutes Cooking: 1 hour INGREDIENTS 200g stale bread, torn into chunks full-fat (whole) milk, to soak 300g ground beef 300g sausage, removed from its casing 2 eggs few chives, chopped 1 sprig parsley, chopped 2⁄3 cup (80g) all-purpose plain flour 2 tablespoons olive oil knob of butter 3 onions, chopped 1 litre beer 1 tablespoon tomato purée 1 sprig thyme, leaves only salt and pepper

METHOD Soak the bread in a little milk in a bowl for about 3 minutes, then drain. In another bowl, mix the ground (minced) beef with the crumbled sausage, eggs, drained bread, some of the chopped chives, and parsley. Season with salt and pepper.

Spread the flour out on a plate. Using damp hands, shape the mixture into balls, about the size of a walnut, and roll in the flour to coat.

Heat the oil and butter in a large, deep skillet (frying pan) over medium heat, add the meatballs, and cook for about 10 minutes, or until golden brown. To brown the meatballs without them falling apart, shake repeatedly in the skillet so that they roll themselves in the oil and butter and brown on all sides. Do this in batches to avoid overcrowding the skillet.

Remove from the skillet and set aside.

Add the chopped onions to the same skillet, pour in the beer, a little at a time, and let evaporate. Add the tomato paste (purée) and thyme leaves, and season with salt and pepper.

Cook for 15 minutes then return the meatballs to the pan with the sauce, and cook for another 20 minutes. Sprinkle with chopped chives and serve.

I

t would seem that meat is having somewhat of a polarizing moment. The headlines are rife with tales of chicken factory horror and fast food sponsored rainforest destruction, whilst closer to home, there seems to be a growing divide. On one side, you’ve got the gym fanatics, literally mail-ordering meat in bulk to aid their gains, whilst trendy restaurants seem to revel in pushing the humble burger to ever more grotesque heights. Six foot, 70 patty, cheese-o-rama burger sprinkled with Haribo Tangfastics anyone?

On the other hand, you’ve got those shunning meat. Whether driven by the realization that eating loads of red meat is unhealthy, a growing sense of environmental awareness or just trendy band-wagoning, for every bathtub-sized steak challenge, there’s a bag of quinoa being showered over a salad a few doors down. This month’s recipe, Polpette Saporite Alla Birra (Meatballs cooked in beer), comes from a middle ground. The cookbook that it hails from, Recipes From An Italian Butcher, is a charming and rustic collection of meat

orientated recipes from what they would describe in The Sopranos as, ‘the old country’. The recipes originate from the iconic 1950s cookbook Il cucchiaio d’argento and were collected from all over Italy. What connects them all is the idea of meat being a luxury. In what is largely a peasant cuisine, meat was scarce, so when it did come around, whether a show-stopping joint or even a kilo of mince, you made the most of it.

What results is a cookbook where the running theme is respect. Sectioned according to types of meat and concentrating on the arts of roasting, stewing and braising, Recipes From An Italian Butcher provides an array of mouth-watering recipes that at their core are simple, honest and often inexpensive. They’re recipes not for special occasions, but for meat as a special occasion. A collection of recipes that make you want to go to your local butcher and have a chat (there’s plenty of wisdom to be mined on equipment, choosing and ageing meat), bring a piece of meat home and really do it justice, using the best fresh ingredients and age-old techniques.

Meatballs cooked in beer is a good place to begin. EJ

Six foot, 70 patty, cheese-orama burger sprinkled with Haribo Tangfastics anyone?

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26 | The Essential Journal

Five Whiskeys and Five Songs

LIFESTYLE words by ALAN SMITHEE

We team up with Liverpool’s Puffin’ Rooms to pair the perfect evening soundtrack with the best tipples around

OCTOMORE 7.4 VIRGIN OAK ISLAY, 61.4% ABV The Piano Has Been Drinking Tom Waits

LONGROW 18 YEAR OLD CAMPBELTOWN, 46% ABV Where Did You Sleep Last Night Lead Belly

MICHEL COUVREUR OVER-AGED SINGLE MALT WHISKEY 43% ABV, FRANCE Sympathique - Pink Martini A blend of Scottish distilled single malts, the Michel Couvreur Overaged whiskey is an easy going drink that belies a palate of sweetness contributed by the Burgundian Sherry Oak casks the liquid is matured in. A good dram to start a night with, only to be complimented by the almost innocent tones of Pink Martini’s Sympathique; a song that at first evokes memories of being in the sunshine and enjoying long days of summer. Based on a short ode by the French poet Guillaume Apollinaire, the lyrics roughly translate to “I do not want to work; I want to forget, and then I smoke.”

This amazing 18-year-old single malt is from the Campbeltown region of Scotland from the Springbank Distillery. This double distilled, heavily peated single malt lends its character from its malts being peat dried for up to 48 hours to give the distinct Campbeltown smokiness.

This is a whisky that develops well into the night, starting off quite floral, fruity and layered then gently tickles you at the end with smokiness that is none to harsh, with a slightly oily finish.

As the night starts to draw to a close, what better way than to listen to the dulcet blues tones of Lead Belly’s Where Did You Sleep Last Night?

Although Nirvana’s version of this eerie tune carries its own following, nothing can compare to the original; from the rough recording of Lead Belly’s simplistic guitar playing to his awe inspiring Louisiana drawl.

OLD WELLER ORIGINAL ANTIQUE 107, 53.5% ABV Need Your Love So Bad Fleetwood Mac Wheated bourbon from the Buffalo Trace range, this spirit is practically made in the same distillery as the infamous, as well as elusive, Pappy Van Winckle 20 year-old bourbon.

The no age statement bourbon has strong notes of vanilla and an almost creamy spiciness coming to the fore, with a complex but well-balanced palate to continue the night with.

Bourbon that is best drunk to Fleetwood Mac’s slow burning, blues-lead Need Your Love So Bad, best spent on a long Sunday afternoon relaxing and forgetting about the week gone by.

A whisky to help put you to sleep, the Octomore 7.4 is the world’s most super heavily peated whisky, coming in at 167 ppm. This super rich, smoky thick concoction was the brainchild of the Bruichladdich distillery within the region of Islay, an area most known for its peated whisky. 25% of it was aged entirely in virgin oak casks, while 75% of it is matured for seven years in various bourbon and virgin oak casks. The Octomore evokes tasting notes of red fruit and toasted oak, whilst a drop of water releases its phenolic content giving flavour notes of coconut, clove and honey with strong spicy characteristics and a lingering burn to finish. Of course, what better way to finish the night than with a bit of Tom Waits?

The Piano Has Been Drinking is the type of song one would slur to whilst leaning on the bar, unsuccessfully persuading the bartender to extend the last call. Of course, after a couple of drams of Octomore, you will not only sound like Tom Waits after a heavy night, but also feel like him the next morning.

SAZERAC RYE 6 YEAR OLD 45% ABV Moonshine - Foy Vance (feat. Kacey Musgraves) Predominantly rye based, although there is corn and malt mixed into the blend, the Sazerac Rye whisky is a perfect follow on from Old Weller bourbon. Originating from the Sazerac Coffee House in New Orleans, this almost syrupy spirit houses flavour notes of allspice and orange peel on its own. However, you can’t have the Sazerac Rye without trying it in a classic Sazerac cocktail.

Mix the rye with sugar, few dashes of Peychaud’s bitters, possibly some brandy if you’ re inclined, then rinse your glass in absinthe and pour your libation. A short, sipping cocktail that lingers on the palate, excellent whilst listening to Foy Vance’s Moonshine - a little bit of modern country to enlighten the night.

Issue 27

LIFESTYLE

The Essential Journal | 27

words by THOMAS SUMNER

Holy Trinity of Home Brew Do unto others as you would have them do unto you (Brew your coffee as you would have the barista brew)

I

t is well commented on here at Essential Towers, that I am the resident coffee nerd or snob or geek or on the rare occasion they are being complimentary, though maybe a little too complimentary, aficionado. It’s true that I have bags of unground beans sat on my desk, waiting to be tried out down at Root Speciality Coffee here in Liverpool.

It’s true that the first thing I research when travelling is where to get my morning cup, only the best will do.

And yes it is true that I often drop facts such as, “Did you know umami is now classed as one of the 5 main tastes?”. Boy don’t I sound like fun. No an aficionado I am not, but an advocate I am.

They laugh, but little do they know that my advocacy of third and fourth wave coffee culture, will one day make their £1.20 computerised “coffee” from the local discount store, taste not so...digital.

As with most commercial communities, as they begin to expand on the high street it’s never too long before a member of said community begins designing for the home. When it comes to speciality coffee, bringing it into the home has two major benefits. Firstly, you can now make serious coffee shop quality coffee at home...with a little bit of practice mind. Secondly, and most importantly, coffee roasters, shop owners and baristas once again have to up their game to offer something not yet available in the domestic kitchen.

So please, put your pods down, step away from the automated machine, leave the syrup to stick to the shelf and without further ado, may I introduce to you the holy trinity of Home Brew - Ikawa, Comandante and La Marzocco. EJ IKAWA AT HOME - ROASTER “Improve the value chain for smallholder producers and benefit the global coffee industry and drinkers by improving quality and appreciation of excellent coffee”

COMANDANTE IRONHEART- GRINDER “We love our little masterpiece. It shows our heritage from Bavaria and the Black Forest regions in Germany.”

LA MARZOCCO LINEA MINI - ESPRESSO MACHINE “By putting the ‘at home’ barista firmly in the driver’s seat, the Linea Mini allows you to bask in the daily ritual and anticipation of espresso preparation.”

This machine has its curves in all the right places AND it roasts coffee. Built in their workshop in London, Ikawa are inventors of the first digital roaster, compact enough to sit on your kitchen worktop.

The perfect cup of home brewed coffee starts with the beans and IKAWA have carefully curated a menu from iconic origins around the world, that are available to purchase through their website. Pair this with fully customisable roast recipes, designed by experts and your enthusiasm for coffee is about to head to the next level.

The roasting process is extremely simple, choose the correct recipe on the app and add the beans to the roaster. A little too hands off? The serious fun comes with the customisation of the roast recipes. Thankfully, as a novice, the simplicity overflows to the customisation without diluting the experience. Adjust the temperature, time and airflow for a seriously personalised brew.

We’re not short on options when it comes to grinders for the home, manual or automatic. But when building the research for this article, there was one name mentioned far more than any other, by professionals and enthusiasts alike. Comandante.

Everything about Comandante’s hand grinders, screams German engineering. Even before you take a closer look, it feels valuable - and like it could do a little damage - just sitting in your hand. The Ironheart (pictured), with it’s burrs (grinding mechanics) made from ultra-hard carbonic steel, grinds your coffee perfectly for every brew method, but most importantly can produce the finest grinds, with impeccable grind-size consistency for espresso.

Though featuring the Ironheart, we were also lucky enough to try out the C40 Nitro Blade in its mantle piece worthy wood veneer. The quality of our weekend filter went to the next level.

This isn’t the first, nor will it be the last time we feature the Linea Mini in the Journal. In fact, this isn’t the only time we’re featuring it in this issue. So I won’t steal anyone’s thunder and will try not to repeat what has been said in the past.

This machine should be displayed at MoMA alongside the Chemex. Instead it’s in your kitchen.

As with the Ikawa roaster and Comandante grinder, the Linea Mini delivers an almost truly engaging coffee-at-home experience, placing you front and centre to produce professional quality coffee. Enough said.

Be sure to read La Marzocco’s eight-page supplement at the centre of this issue of The Essential Journal

*Top Tip: Store them in the airtight Ikawa container for at least a week to get the best flavour.

For more information on and to purchase your own Comandante grinder head to www.comandantegrinder.com

For more information on and to purchase your own Ikawa At Home roaster head to www.ikawacoffee.com

For more information on and to purchase the Linea Mini head to uk.lamarzocco.com/linea-mini

Pictured clockwise from top: The Ikawa At Home Roaster with Comandante Carbon Grinder and La Marzocco Espresso Machine Ikawa Roaster and smartphone App Comandante Ironheart Grinder The finished product, a Flat White

Issue 27

28 | The Essential Journal

STYLE

words by REUBEN TASKER

TIME TO DARE The legendary watchmakers at Tudor announce a daring new campaign, spearheaded by David Beckham, Lady Gaga and the New Zealand All Blacks

W

ith 2,000 watches made every day, Rolex is one of the world’s most powerful brands. Journey back in time and it’s easy to figure out why. A year after inventing the first wristwatch with an auto-changing date, founder Hans Wilsdorf took to the stage in 1946 for a new announcement. Already a leading watchmaker, Hans conceptualised a model with “the standards of dependability for which Rolex is famous... [to] sell at a modest price.”

Introducing his first and only subsidiary, Wilsdorf formed the Tudor Watch Company.

In the years since, Montres Tudor SA, or Tudor for short, has established itself with innovation after innovation. They started with signature Oyster models combining style, reliability and accomplished watchmaking. The company honoured the Tudor dynasty, adorning its pieces with a red rose insignia. Unlike its namesake though, Tudor continues to survive through innovation.

Its pioneering drive shows no signs of slowing down.

The end of last decade saw Tudor refocus its strategy and sharpen a brand identity. It launched new pieces like the Glamour and Grantour, whilst collaborating with Porsche as a “Timing Partner”. New models were launched the following year, but it’s Tudor’s latest campaign that’s the most adventurous to date. The “Born to Dare” signature was introduced this year, with David Beckham, Lady Gaga and New Zealand’s rugby union team chosen as brand ambassadors. The series is designed for the daring individuals on land, airborne or even underwater. The range also toasts Hans Wilsdorf ’s vision, manufacturing watches to withstand nature’s harshest conditions.

With a philosophy of honouring classic design whilst rejecting status quo, the Born to Dare range faithfully lives up to its name. The Black Bay Bronze is encased in goldtone bronze especially forged for water resistance, with alloy paying tribute to the French Navy. Going deeper, the Pelagos is the traditionally designed diver’s watch. Built to plummet 500m underwater, the piece’s square-tipped hands can be read at a glance, honouring

Tudor’s diver watches from 1969 onwards. Elsewhere, The North Flag embodies an on-ground sporty style.

There’s sleek details and hybrid steel-ceramic design, inspired by a model worn by the British North Greenland Expedition in 1952.

Partnering with jewelle ry and watch crafters David M. Robinson, the Born to Dare campaign has made its bold arrival in Liverpool. With two De Beers Diamond Awards under his belt, Mr. Robinson has the perfect home for this new Tudor era. “We are very excited to introduce Tudor watches to our flagship Liverpool One showroom, where they will sit alongside our selection of the finest Swiss watch manufacturers in the world” confirms general manager Karl Irwin. For a sophisticated look on Earth’s edge, defy the status quo with Tudor’s boldest endeavour yet. EJ

Tudor’s “Born to Dare” range can be found at David M. Robinson’s showroom; 4-6 S John St, Liverpool L1 8BJ

Issue 27

The Essential Journal | 29

The Evolution of the Big Cat As Jaguar prepares to launch its E-Pace, we look at the recent developments which have pushed the quintessential British carmaker forward

The Swallow Sidecar Company. Ring any bells? Probably not. It should do though, because that’s where the story of Jaguar - the quintessential British luxury car brand begins. Founded in 1922, by 1935 Swallow had diversified and in September of that year its first motorcar, the SS two and a half litre sports saloon rolled off the production line. From thereon, as its famous motto proclaimed, it has been ‘grace, space, pace’.

Not content to rest on that motto, the last decade especially has seen radical change inspired by the the past, present and future. In a celebration of the iconic British carmaker, we’ve picked out the five cars at the forefront of the Jaguar revolution. EJ

LIFESTYLE

Hatfields Placed High in The Sunday Times Grant Thornton Top Track 250

T

he Liverpool-based Jaguar retailer this October scooped a place on the Sunday Times’s prestigious league table alongside a host of household names and established brands. The table, which plots Britain’s top 250 mid-market private companies by their turnover over the previous year saw Hatfields place at an impressive 76. The rankings table was published in the Sunday Times’s business section on 7 October. Speaking on the achievement, Hatfield’s M.D, Gareth Williams said: “We are delighted to announce that Hatfields placed No 76 in this year’s Sunday Times Grant Thornton Top Track 250, which was published in the Business section in October.

At Hatfields, we continue to grow thanks to our investment in people and facilities and with the support of our loyal and valued customers.

We’d like to say a special thank you to our workforce and to our valued customers for choosing Hatfield.”

www.hatfields.liverpool.jaguar.co.uk

words by ALAN SMITHEE

THE E-TYPE ZERO

THE E-PACE

We’re not going to beat around the bush. Here at the Essential Journal, we’re very much in the ‘The E-Type is the best looking car ever’ camp, so the idea of a fully electric version that looks exactly the same but with enhanced performance is well up our street. At this year’s Land Rover fest, Jaguar Land Rover Classic turned a dream for many into a reality, presenting what is undoubtedly the world’s most beautiful electric car.

The project was not only an interesting statement of innovation, but also a huge step forward for future proofing classic car ownership.

Before it has even launched, the E-Pace is already a record breaker. The compact SUV, due to be released in late October set a Guinness World Record for the longest barrel roll jump in a production vehicle as part of its launch (literally) event earlier this year. The E-Pace, only the second SUV in the Jaguar fleet, shows an even closer resemblance to the F-type, with sporty styling and a lower, stealthier ride. The inside also channels a sports car theme, as well as not lacking on tech. 4G Wi-Fi and a super-sized touchscreen will be as standard.

THE F-PACE

THE F-TYPE SVR

Launched in 2016, the Jaguar F-Pace was a revelation for the brand.

Despite a crossover SUV being new territory, the flagship model came and it conquered. Winning both the Car of the Year and Car Design of the Year at the 2017 World Car of the Year awards, it also has the title of Jaguar’s fastest selling global model. All of this must have come as little surprise to Ian Callum who designed the car. Its sporty looks, which channel distinctive elements of the F-Type combine with terrific performance. We were lucky enough to drive one in preparation for this issue and we can confirm the hype is warranted.

Still one of the best looking cars on the market, mixing vintage and modern design elements, the original F-type was released in 2013 and proved to be a cat among the pigeons in the sports market challenging the supremacy of competitors Audi, Aston Martin and Porsche. The visible E-type influences can’t have done the car any harm either. The latest incarnation of the F-Type, the SVR is the meanest of the lot, packing 575ps and a top speed of around 200mph. The folks over at Jaguar Land Rover Special Vehicle Operations have made not only the first ever Jaguar SVR, but the lightest and fastest F-type yet.

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30 | The Essential Journal

LIFESTYLE

words by DAVEY BRETT

Everything, Including the Kitchen Sink Designers of one of the most iconic kitchen appliances ever, Italian luxury kitchen brand Smeg is not just a pretty fridge

G

uess when the Smeg FAB style fridge was first launched, just guess. 1950s? Incorrect. 1960s?

Wrong again. The Smeg fridge, probably one of the most iconic kitchen appliances ever, was launched in 1997. Of course, you’d be forgiven for thinking it was closer to the decade which inspired its soft curves, glossy enamel and bold colours.

But in the ever-advancing modern tech kitchen where your smart phone is talking to your fridge and your Amazon Echo is chatting to the toaster about your shopping list, few brands provide a better beacon of retro than Smeg.

Founded in 1948 by Vittorio Bertazzoni in the town of Guastalla near Reggio Emilia, Smeg (standing for Smalterie Metallurgiche Emiliane Guastalla) is an Italian company that first and foremost makes designer kitchen appliances. Beginning life as an enameling and metalwork company, by the 1950s, the company had produced one of the first automatic ignition cookers and by the ‘60s the company added dishwashers to its range. A quick jump to the modern day and its kitchen portfolio is vast, ranging from white goods to hobs, hoods, taps and coffee machines. The brand produce most appliances, including the kitchen sink.

This September saw further additions.

The family-owned company, whose headquarters remain in its home town of Guastalla, launched a new flagship store on London’s Regent Street. Nestled among the newly redeveloped St James’ Market, the store boasts three floors, London’s largest single pane glass windows and a range of over 300 Smeg products including produce from Montecoppe, the family’s own farm. Produce includes cheeses, balsamic vinegars and wines exclusive to Smeg stores. As you would expect, the space is majestic. All smoothness and shine, a gallery space for kitchen appliances. The basement is also impressive, featuring a purpose-built theatre for cooking demonstrations with tiered seating.

The brand’s trademark FAB style smooth curves, pastel colours and shiny enamel have recently been channeled elsewhere too. Both the new HBF02 hand blender and KLF04 variable temperature kettle channel the brand’s iconic 1950s design whilst encompassing superior built quality and practicality. The former has a range of carefully crafted attachments for optimum food processing, whilst the latter can heat the water temperature up according to whatever drink you’re making. Green and black tea deserve their appropriate temperatures and Smeg have cottoned on.

The biggest pull of Smeg of course, has always been design. The iconic shape, style and ever-changing colour palette has always been eye-catching. It’s a luxurious status symbol, a kitchen monument to bygone days when fridges especially in this country, weren’t even that common, but they’ve still managed to imprint a certain feeling of nostalgia in the common pop culture imagination. Now, with its ever expanding range, it’s not just the fridge that can bring an icon into your kitchen. EJ

featured inside

La Marzocco presents Out of the Box

Meet Piero Bambi, designer of the modern espresso revolution

A cultural celebration, bringing together the local community through a shared passion for amazing coffee

Paul Kelly talks origins, attitudes, spaces and events The defining chapters of La Marzocco

Duke Studios, Leeds LS10 1HD 02/12/17 ootb17.eventbrite.co.uk

2017’s cultural celebration of all things caffeinated The Linea Mini: Rise of the home barista The names and faces making OOTB 2017 unmissable

“We are and have been since the beginning as courageous and curious as the coffeemakers.” - Piero Bambi

2 La Marzocco x The Essential Journal

piero bambi

Founded in 1927 by brothers Bruno and Giuseppe Bambi, La Marzocco takes pride in its Florentine Foundations; sharing the same bir thplace as the Italian Renaissance and home to Da Vinci, Michelangelo and Brunelleschi

a

s we celebrate our 90th anniversary, it seems only fitting that La Marzocco would earn a reputation for making superbly crafted and uniquely designed espresso machines, all handmade in Florence with great attention to detail and constant innovation.

Throughout its lifespan, La Marzocco has had several defining chapters. These include invention of the horizontal boiler in 1939.

This revolutionized commercial coffee consumption by making it possible to add more group heads as well as simplifying the task of operating the machine. In 1989, Giuseppe’s son, Piero, designed the Linea Classic, a machine which would become the face of the modern espresso revolution.

Do you remember the best espresso you ever drank?

It would be a lie ... especially since very recently, I did not have very high expectations. You must keep in mind that the espresso here in Italy is a basic drink. An Italian person would notice more quickly if there is anything wrong with the shot of espresso he is offered.

Today this is a bit different. I have learnt a lot from young people, and from our clients around the world.

As an Italian, do you like the very light coffee that seems to be prevailing?

I think that these developments are extremely interesting. One should keep both ears and eyes open, even at my age. Otherwise one can never evolve; one remains at a standstill... some years ago, in Oslo, I met Tim Wendelboe, who is Norwegian – well, the coffee that guy manages to produce is absolutely amazing. Even if it contains a little extra fruity taste, I would very much prefer it to the old way (laughs).

If you take a look at many of the “third wave” baristas, it seems that rather than the classic connoisseurs there are cultural icons behind the filter machines, like tattooed pop stars. Do you understand this development?

uk.lamarzocco.com

“and they do it with such a research spirit and such passion... how could it be otherwise? Here you can find admiration rather than arrogance.”

Absolutely, this world is deeply fascinating for me. These youths dedicate themselves wholeheartedly to this theme – which is vital for me – and they do it with such a research spirit and such passion...how could it be otherwise? Here you can find admiration rather than arrogance. The fact that the espresso coffee machines are once again in the limelight brings me great joy. There are days when I am here at the firm and I am amazed; I cannot believe it’s true….

With La Marzocco and machines like Strada that represent status symbols of technical feasibility, you have become an integral part of this scenario, and to a certain extent, you have also contributed to its forging. What distinguishes you from the other manufacturers?

First of all the fact that we are on the same wavelength as our clients! We are and have been since the beginning as courageous and curious as the coffeemakers, and we honestly listen to them; we take their suggestions seriously. The trick is the same, it hasn’t changed: that is, to learn from history – and dare to try something new!

Indeed, at La Marzocco, you never rested on your laurels.

At a time when everyone around the world manufactured vertically, in 1939, my father Giuseppe developed the horizontal boiler. Nobody took him seriously when, at the end of the sixties, he started testing the first dual boiler machines, which then culminated in the GS. And even the first semiautomatic group was created by us. Or let’s take the materials

used as an example: everyone relied on copper and brass as of the seventies, while we started using only stainless steel for our boilers, brew groups and filter holders.

Going back to your father, was he such a tireless person as he is perceived to be?

Far be it from me idolising him, but that’s the way it is: my father had an extremely strong personality with an over-whelming will.

For him, absolute commitment to his own work used to take priority: Giuseppe practically lived in his factory. If by tirelessness you mean to say the fact that he was at home, on multiple levels, then you are right. My father had a lot of talents, from designing the product, to traditional knowhow in several areas, to sales.

When I was young, many times I used to go down to the factory to look at the machines and tools. Sometimes my father even used to let me use the milling machine which made an overwhelming noise.

So, since an early age I started to be fascinated by all this, and this hasn’t changed over the years.

Currently you produce more than 10,000 machines a year, with worldwide exportation spanning over more than 90 countries.

I would like your honest opinion about this, does the company still have an Italian identity?

Of course. From a logistics point of view, maybe things are now more organised and less chaotic than before, but in essence we’re the same. If it weren’t so, I wouldn’t be here every day, now that I am 84 years old.

La Marzocco x The Essential Journal 3

paul kelly Paul Kelly, General Manager of La Marzocco UK, explains the origin story of how La Marzocco built its presence within the UK and how this was born out of a shift in consumer attitudes.

Also known for their events, he gives us his take on the impor tance of social spaces in the specialty coffee community, including their La Marzocco Local in office in Leeds and this December’s ‘Out of the Box’ event.

The La Marzocco UK office was set up in 2012, why was that the perfect time to open?

The driving force behind opening a space in London in 2012 was not to have a generic office, but to have a community centre where we could begin to bring our partners together. This created a platform where we could talk openly and honestly and help grow the industry into what it has become today.

Speciality coffee really started to build in 2007 and La Marzocco could sense a change in the coffee community and feel a passion for quality starting to build. The UK consumer was searching for that meaningful experience; the affordable luxury. They uncovered this by exploring independent cafes and roasteries, each with their own distinct personality and becoming popular places in their local communities. La Marzocco saw this and decided that this growth warranted a space in the capital.

In establishing La Marzocco UK, the relationships between us, the roaster, the café operator and the consumer became strengthened and created intense customer loyalty. These are the same sentiments that allowed us to open our second UK hub this year in Leeds City Centre, home of this years Out of the Box. Opening the Leeds space, and stepping into the speciality coffee community in the North, reminds us of the early days of setting up La Marzocco UK. We continue to look forward to what lies ahead and what will be inspiring us in 2018 and beyond.

La Marzocco are also known for their events that are crafted for the coffee community. What makes these events so important to you?

We don’t just see ourselves as manufacturers but as partners to a community that strives to deliver quality.

We work very closely with a network of coffee roasteries and equipment suppliers that act as our distributors in the UK. Working closely with our partners, we thrive to help them expand their businesses and continue to spread the love of specialty coffee throughout the UK; from the most rigorously sourced coffee beans to the use of the world’s finest espresso machines.

One of the sure-fire ways of doing this is getting out on the road and running fun, laidback, informative and exciting events. Our events always have an open-door policy and we welcome everyone, from coffee professionals to interested beginners.

It’s important for us to help our industry grow and this is why we always welcome new faces looking to learn more about specialty coffee. We nurture our pre-existing partners and advocates whist also wanting to inspire the next generation, no matter what age or background. We want them to bring new ideas and approaches to an industry that is happy to look to the future and how to progress going forward.

Throughout the year we support events such as The Glasgow Coffee Festival and Cup North in Manchester. Since 2012 we have played a pivotal role in The London Coffee Festival. Our involvement at these events is to provide roasters and independent coffee shops with an opportunity to showcase their brand and create a platform for building relationships and cultivating community.

uk.lamarzocco.com

4 La Marzocco x The Essential Journal

a history of la marz 1927 Giuseppe Bambi is a brass artisan living in Florence, Italy. Following in the footsteps of his father and grandfather, Bambi operates a small workshop, fulfilling contracts to design and craft train headlights for the National Railway Company.

Bambi is approached by a businessman named Mr. Galletti, who sees a business opportunity in the burgeoning Italian café culture. Galletti asks Bambi to build 12 espresso machines so he can sell them to cafes in Florence. Bambi creates The Fiorenza but Galletti is unable to sell the machine.

1960

1947-50

Creation of the ‘Eureka’ machine designed by the brothers in the immediate aftermath of the Second World War. The Eureka was generated by a horizontal boiler which had, by then, become commonly used by all manufacturers since the patent, not renewed because of the war, had been forfeited.

La Marzocco move to a new factory located in the hills above Florence.

The new factory is bought with the help of the Tuscany Region, that granted a loan at a subsidised rate to many artisan companies. The new factory was big enough for starting a new activity, interior design, particularly bar counters. For this, La Marzocco needed help from carpenters, bricklayers, painters, electricians and an architect. The shops created by Giuseppe Bambi were so well built that the Accademia Delle Belle Arti of Florence used to take their students their.

U.S entrepreneur Kent Bakke and a small group of friends travel to Italy to meet various machine manufacturers with the goal of becoming US distributors. Their travels take them to La Marzocco and they work out an agreement to import La Marzocco machines to the US.

1978

1939

1951-53

1970

1987

The Bambi brothers are innovative from the start, continually working to create a better machine. After years of prototypes, they turn the vertical boiler on its side, creating the first horizontal espresso machine, the Marus.

La Marzocco secures the patent on the horizontal espresso machine but was left to expire during the Italian bureaucratic upheaval following World War II and no examples of the Marus survived. Few espresso machines from this period survived, as metals were used to support the war.

First La Marzocco machines produced with the new Lever brewing system; strong hydraulic pressure, mechanically created by a strong spring, on a piston which pushed hot water through ground coffee, creating what would later be known as “crema-caffé”.

La Marzocco is the first espresso machine manufacturer to build an espresso machine with two independent boilers — one for steam, and one for brewing coffee. The Dual Boiler System was the last project developed by Giuseppe Bambi. He thought that the brewing temperature was as important as, maybe even more important than the brewing pressure.

The technology introduced in the La Marzocco GS is the foundation on which future La Marzocco espresso machines are built.

The owners of Starbucks decide to sell their roasting business and original director of marketing and operations, Howard Schulz, buys the company. Previously leaving Starbucks to set up Il Giornale, an experimental business brining Italian Café Culture, along with La Marzocco GS machines, to the US, Schulz rebrands Il Giornale as Starbucks and begins the retail expansion.

The Fiorenza

uk.lamarzocco.com

The first lever machines being the ‘National’, ‘Mondial’ and ‘Rondine’.

Lever machines are the standard configuration for espresso machines for roughly a decade.

The ‘Eureka’ Machine

Mondial

La Marzocco GS

Factory in the hills above Florence

La Marzocco x The Essential Journal 5

zocco

2017 saw La Marzocco celebrate their 90th anniversary; a huge milestone in a history full of key events, breakthroughs and discoveries. Casting an eye back to 1927 and travelling through the subsequent years, we look at some of the defining moments in the history of La Marzocco

1990

The Linea is introduced as the newest La Marzocco Model which thrives on demand with its dedicated steam boiler. Its clean lines and simple charm furnish the many cafés, roasters, and chains whose names have defined the specialty coffee industry and has buoyed the development of the specialty coffee industry since the early 1990s.

which has helped cement the company as creators of some of the world’s finest espresso machines. La Marzocco’s unique philosophy, distinct heritage, advanced technology and Italian design are the perfect tools for extracting the finest espresso; here’s how it came to be so…

2009-16

By the end of the decade, Starbucks becomes a giant institution and switches to super automatic espresso machines.

The seed had been planted by this stage and a new breed of independent roasters and cafes began to appear.

Many of the founders of these independents began their journeys on La Marzocco and the Linea becomes the face of the Third Wave coffee movement.

The La Marzocco engineering group set out to take the most advanced La Marzocco technology and translate it for a home espresso machine. The gs3 features a thermal stability system, including a preheating system, digital PID controller, saturated groups, a dual-boiler system, and digital display. These features make for a luxury espresso preparation platform: everything you could hope for as someone who wants to enjoy the best-quality espresso at home

La Marzocco worked with the world’s finest coffee professionals to design an espresso machine. This panel of experts was named the “Street Team.”

The Strada, Italian for “street,” was named in their honour. Street Team input resulted in the most technologically advanced espresso machine with a barista-friendly design. This means a lower profile to invite customer engagement in a café setting, while also providing the barista with an open, expansive work area, and a design that encourages creativity and customization so that each machine can be unique.

2000

2009

2013

The boom of the Third Wave of coffee allows La Marzocco to continue in its creative and technological endeavours and multiple new models appear throughout the new Millenium.

La Marzocco relocates to a new factory in the community of Scarperia.

La Marzocco‘s new home is in the Tuscan countryside about 25 kilometers north east of Florence. La Marzocco‘s new factory allows for improved working conditions, as well as increased production and efficiencies, and boasts a beautiful showroom and training centre.

2007

The community of the Third Wave continues to seek ways to gather, challenge one another to grow and move coffee forward. La Marzocco develops key relationships with baristas, who provide valuable input that is incorporated into La Marzocco’s development process.

Specifically, a growing demand for highly stable brew temperature drives La Marzocco to develop machines that will become the most temperaturestable on the market.

The Linea

GS3

2015

The Linea PB, designed by and named in recognition of Piero Bambi, features the iconic La Marzocco polished stainless steel body, updated with simplified lines and a lower profile. The machine is equipped with exclusive, user friendly interface software that gives the barista direct functional control over boiler temperature and brewing volume as well as other options. The PB is the first La Marzocco machine equipped with the new generation of proprietary electronics and iconic three-button interface. The Linea PB’s lower profile and increased work area also make it practical, without abandoning world renown Italian design.

The Strada

The Linea PB

Inspired by the Linea Classic, the Linea Mini achieves the temperature stability and energy efficiency of the saturated brew group in a reduced footprint.

The Linea Mini is handmade with the same components used in our commercial machines and continues to drive the home-espresso revolution.

The Linea Mini

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6 La Marzocco x The Essential Journal

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he Speciality Coffee scene in the North of the UK continues to flourish and inspire, which led La Marzocco to open doors on their first ‘La Marzocco Local’ office in Leeds city centre in July this year.

‘La Marzocco Local’ is fundamentally an open community space to be used for events, educational activities, networking and showroom experiences: cuppings, competitions, inspirational talks and cross brand evenings. This is in an impassioned effort to encourage growth from the players within the industry as well as nurturing the future generation of roasters, coffee shop owners, baristas, engineers and coffee enthusiasts. Specialty coffee continues to go from strength the strength and the La Marzocco Local office is another tool in which to help the specialty boom continue.

Florence, Italy and customised La Marzocco Scooters.

“It’s so exciting to do events where we get to see new faces, mixed in with some familiar ones, and we’re delighted to be hosting our first Northern Out of the Box as we focus on coffee growth throughout the UK. Expect the same energy and excitement from past Out of the Box events, underlining why we took the move to open our first ‘La Marzocco Local’ office in Leeds in 2017” – Paul Kelly.

Out of the Box is a destination event that is rich in content and dedicated to La Marzocco’s partners, followers and coffee enthusiasts from across the UK and beyond. It is a cultural celebration, bringing together the local community through a shared passion for amazing coffee. Last year’s event in London saw 1,000 guests attend and take part in a day overloaded with content; not just for coffee aficionados but for absolute beginners too.

The day is jam packed with a range of industry insider panels including discussions on Coffee and Cycling Culture, Product Development and Café Design and Management. Guests can witness the UK debut of some new and exclusive equipment as well as the chance to watch the finals of the SCA UK Coffee in Good Spirits & Latte Art championships. Visitors can also try some of Europe’s finest roasters at The True Artisan Café as well as getting hands on with workshops & masterclasses ran by our event partners. Event partners for Out of the Box include Grey Goose Vodka, Falcon Coffees, Espresso Solutions, Marco Beverage Systems, IKAWA Coffee, Caffeine Culture and Caffeine Magazine.

The event is tailored to be a hands-on experience with the competitions encouraging aspirational baristas to take part in the coming years. The inclusion of industry panels, covering a wide range of topics from ‘Coffee and Cycling Culture’ to ‘Product Design from Conception to Birth’, aims to inform inquisitive minds so they can continue to progress in their careers.

When all the serious coffee stuff is over, in true La Marzocco style, you can expect an evening full of music, street food, drinks and plenty of prizes at the La Marzocco Christmas After Party! Prizes include a trip to the La Marzocco factory in

out of the box On December 2nd, La Marzocco are taking Out of the Box to the Nor th of the UK with this year’s event taking place at Duke Studios in Leeds.

uk.lamarzocco.com

Out of the Box will take place on Saturday 2nd December from 10am at Duke Studios, 3 Sheaf St, Leeds, LS10 1HD Guests can register now for free at:

http://ootb17.eventbrite.co.uk

La Marzocco x The Essential Journal 7

at home We are living in an age where consumers have become more conscious and curious of their purchases than ever before. From knowing the traceability of a par ticular coffee to the overall ethos behind their most loved brands, we have a hunger for knowledge and the thirst for experience.

a

s the offerings from the food and drink sector got more complex and plentiful in the past two decades; the desire to curate your own, tangible experiences at home, on your own terms has grown massively. Lifestyle brands enrich the lives of their customers by offering something out of the ordinary, thinking out of the box. La Marzocco is a company that creates long term advocates, with one of its main goals being ‘to build relationships so that we enrich the lives of others’.

As time moves on, La Marzocco keeps it eyes on the future but with its heart rooted in its past successes. Born from the iconic Linea Classic, in 2015 the company introduced a new machine specifically designed for the home espresso enthusiast: the Linea Mini. With similar professional grade performance, but in a much more compact and ergonomic package, the Linea Mini has a dual boiler system to allow optimal brewing and powerful steaming.

It also boasts pre-programmed, pre-infusion, a hidden water reservoir, an easily accessible temperature dial and LED barista lights so you can always closely inspect the espresso’s extraction. The machine, with reduced footprint, presents the design and performance of a La Marzocco, including quality technological components, redesigned for the kitchen.

The popularity of fully automated, bean to cup and pod style machines allowed us to be passive consumers by pushing a button and letting the machine make a coffee on its terms.

However, as we crave more engaging and long-lasting experiences, La Marzocco has created a home espresso machine which allows you to be the curator of your own coffee experience. As more people delve deeper into the world of speciality coffee, the more they understand the multitude of variables that come in to play when making high-grade brewed coffee. The Linea Mini allows the home barista to adjust, fine-tune and control these variables themselves.

By putting the ‘at home’ barista firmly in the driver’s seat, the Linea Mini allows you to bask in the daily ritual and anticipation of espresso preparation.

As speciality coffee shops continue to grow and develop their business, the domestic speciality market also enters a new and exciting stage. The Linea Mini has allowed the home barista to bring the fourth wave coffee movement into their own kitchens and will continue to see the rise of the home barista.

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8 La Marzocco x The Essential Journal

out of the box official partners La Marzocco is proud to par tner with the following companies to guarantee that Out of the Box is an event you do not want to miss

For the last 20 years, every aspect of the creation of Grey Goose has been focused on crafting vodka of unmatched quality. The finest French ingredients, 100% traceable from field to bottle, combined to create a naturally rich and full-bodied taste. These three simple truths craft Grey Goose - a vodka you can taste.

From field to bottle, our Cellar Master François Thibault oversees every step in the creation of Grey Goose vodka. Unparalleled smoothness and exceptional taste, this is Grey Goose, the World’s Best Tasting Vodka.

IKAWA is the inventor of the world’s first digital micro coffee roasters that enable you to get the best from your green beans. If you’re a coffee grower, trader, roaster, geek or coffee lover we can help you take your coffee to the next level. Its coffee roasters are proudly manufactured by IKAWA in London. Ikawa combine award winning design, precision engineering and cutting-edge app technology to allow you to roast coffee however you like. www.ikawacoffee.com

Caffeine Magazine is the award-winning magazine for coffee lovers. At the heart of the speciality coffee scene it champions artisan roasters and cafés and brings you all the interesting stories that any coffee consumer needs to know. From helping the people improve their home coffee experience to opening their horizons to the wide and wonderful world of coffee in all its guises. www.caffeinemag.com

www.greygoose.com

Since 2012, Espresso Solutions has been supplying the UK’s baristas, cafés, engineers, roasters and coffee professionals with all the tools they need to stay on top of their game. Your ally in the coffee industry: Distributing spare parts, barista accessories & more.

UK partner of La Marzocco, 3Temp & Acaia. www.espresso-solutions.co.uk

Falcon Specialty source and import the finest green coffees from Africa, Latin America and Asia, developing long-lasting relationships with producers, providing agronomy training and supporting everyone in the supply chain – from farmer, exporter, roaster and barista. As a standard, it pays a premium above the cost of production and is completely transparent in its work, aiming to have a positive impact wherever it trades, initiating projects at origin and channeling revenue back to coffee producing regions.

Caffeine Culture is a new social video channel for anyone who loves coffee. It’ll show you how to make the perfect cappuccino and where to find the best cortado in town. Caffeine Culture will inspire you, surprise you and revive you. www.delightful.media

www.falconcoffees.com

Headquartered in Dublin, Ireland, Marco Beverage Systems Ltd designs and manufactures leading hot water delivery systems. Providing the global food service market with innovative and quality solutions for coffee and tea brewing since 1980, Marco provides excellent and reliable service with integrity and accountability. www.marcobeveragesystems.com

With a company motto of people first, business second, Duke is not your usual work space provider.

Duke Studios also provide creative meeting and event space available to anyone looking for something different. Our spaces are not corporate and do not follow the hotel conferencing model; providing interesting and creative spaces that will help you to think and achieve great stuff. www.duke-studios.com

Through the day Sheaf St Cafeteria offers delicious coffee, considered breakfasts and light lunches.

Moving through into the evening the Sheaf St Cafeteria provides a carefully curated drinks menu, and hearty bar snacks. A social space and a destination open to all.

With a new lease of life being poured into a red brick Victorian factory on the cusp of the South side of the River Aire, Duke Studios and Grub & Grog have come together to establish a destination that offers the people of the city a space to enjoy as somewhere to meet, eat and drink. www.sheafstcafeteria.com

uk.lamarzocco.com

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The Essential Journal | 39

Advert

Issue 27

40 | The Essential Journal

TRAVEL

words by REUBEN TASKER

POSTCARDS

T

Snapshots of advice and ideas from around the globe here’s few things worse than being a tourist. That is, if you’re transported to a city only to be head down in a tourist guide.

Loud, crowded and predictable, tourist-targeting sites can be the anchor on your international voyage. At the Journal, we’re always looking out for fresher advice. Whether it’s from a grassroots fashion label or an eccentric artist causing a stir, we’re constantly searching for sharp insight around the world. For this series titled Postcards, we’re asking creative professionals around the globe to introduce us to the cities they are based. Focusing on city secrets and neighbourhoods under transformation, we reached out to those in the know to lend some generous guidance to an unsuspecting visitor.

CAPE TOWN, SOUTH AFRICA Oliver Kruger, Independent Photojournalist

MOSCOW, RUSSIA Olga Karput, Kuznetskiy Most 20

Oliver Kruger is a documentary photographer based in Cape Town, South Africa. Through ongoing series’ like Golden Youth, Kruger documents new trends in South Africa’s youth culture.

Olga Karput is the founder of KM20, a high-end retailer, café and blog. They house Russia’s renaissance brands like Gosha and Nina Donis, alongside international brands like Off White, JW Anderson and Reebok.

They also sell Doza, an organic juice brewed in-store.

lift up all members of our communities. It all seems to be aimed at those with money rather than those without.

Generally, where is the future of Cape Town?

Definitely in how we manage water and land usage, the development of poorer communities and how we extend education and social care to those that have been denied it. We need to ensure that everybody is accounted for, not just the wealthy and those serving them.

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

I would have to say the waterfront.

A walk up the India Venster route to the top of Table Mountain is essential if you are feeling able. The best beach in Cape Town is Boulders Beach if the South-Easter isn’t windy.

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

As far as bars go I would say it is Yours Truly on Kloof Street. It’s unencumbered, informal and always ready to have a good time. If a deciding factor for restaurants is the quality of the food it would have to be Hallelujah just off Kloof Nek Road, but for a good Cape Town experience it would be Dias Tavern.

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

That’s a tricky question. Much of Cape Town is developing along financial and property development lines, but not for inclusivity and to

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

The balance we seem to have of work, outdoors living, food and access to outdoor activities and beautiful places. That said a vast number of people in Cape Town do not have ready access to those things.

When’s the best time to visit?

The best time is most definitely March into early April, then there’s the the Endless Daze festival in November.

“WE NEED TO ENSURE THAT EVERYBODY IS ACCOUNTED FOR, NOT JUST THE WEALTHY AND THOSE SERVING THEM.”

What's Moscow's best kept secret?

And what's a tourist trap to avoid?

Material Yoga Studio on Bolshaya Dmitrovka street. There are no tourist traps to avoid in Moscow.

The city combines beautiful, ugly, old and swinging. It’s a boiling mix of energy. It makes no sense in keeping your eyes closed and only visiting trendy places. Enjoy it!

“THE MORE TRIPS I TAKE, THE BETTER I UNDERSTAND THERE IS NO FASHION CITY LIKE MOSCOW. WHEN IT COMES TO IT, WE HAVE A LOT OF THAT TALENT AND CREATIVE POTENTIAL. JUST GIVE US TIME.”

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

KM20 on Stoleshnikov lane, 2. A forward thinking biodynamic wine list is complemented by one of the best city views. Or, if you are in the mood for something classy and traditional there’s Pushkin Restaurant on Tverskoy Boulevard.

Very Russian. Very luxury.

What's a neighborhood or district in the city that's transforming for the better?

Moscow has been looking like a huge construction site for years. When a part of it is reconstructed, another part is taken over and so on. This way the whole city is becoming better every day. Just pick any part of it.

Generally, what do you think the future holds for Moscow and high fashion?

The more trips I take, the better I understand there is no fashion city like Moscow. When it comes to it, we have a lot of that talent and creative

potential. Just give us time. At least, we know how to dress up.

What makes you base in Moscow and not anywhere else?

We are very comfortable and proud to be where we are - in Moscow. At the same time, we know our influence is far more than that. It was a desire to make a fashion revolution and change the city’s landscape that moved me to open the store back in 2009. And it’s still moving me. Before KM20 was opened, there had been no place like this in Moscow, a measuring point for everything fashion, culture, music and parties connected.

The store literally became the top must-visit loction. This is not only about clothes, but also about creating a certain lifestyle. Since KM20’s opening we’ve managed to raise a whole new generation, appreciating everything we do. Launching the brand new online shop accessible to clients all over the world made KM20 global in 2015. And we can’t be happier now, as KM20 is moving to the new location not far from the first one in 2017. It’s a high three-storey building - situated in the heart of Moscow, right on Stoleshnikov lane - with stairs and elevators leading to the shopping floors, underground parking garage and restaurant on the rooftop.

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

The best time for visiting is the beginning of the year, when all the locals are going away for vacations.

The city is yours. If you find snow romantic. Otherwise I’d say May August, weather wise are the best and you can actually walk through the city.

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The Essential Journal | 41

“WE LIVE IN A CULTURALLY DIVERSE COSMOPOLITAN CITY SURROUNDED BY WILDERNESS AND WATER WHERE ACTIVITY REIGNS OVER CALAMITY. ”

SYDNEY, AUSTRALIA Jodia Natapradja, Sydney Romantics

BERN, SWITZERLAND Valentina Suter, Kornhausforum

Jodia Natapradja is the founder, owner and creative director of Sydney Romantics. His ‘Australian Made’ label designs and produces lightweight clothing for everyday wear. Inspired by the capital, Sydney Romantics have outlets across the country and overseas in Singapore.

Valentina is a Project Assistant for Kornhausforum, a museum that showcases Bernese life and community.

She’s also an artist and photographer, with work exhibited in Bern, Basel and Zurich. Her work has featured in Zeit and WAD Magazine.

What’s Sydney’s best kept secret (an unknown location that you’re willing to share?) And what’s a tourist trap to avoid?

Great Mackerel Beach is north of Sydney and can only be reached by foot or boat. The 45 minute hike along the coastline is personally my choice. Once you get there you’ll feel like you’re on the set of Wes Anderson’s Moonrise Kingdom. Personally, I try to avoid Bondi Beach as much as I can although the coastal walk from Bondi to Bronte is a must.

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

I think you should avoid the Zytglogge at 12AM. It’s too crowded and you will wait with plenty of tourists for the clock to play. Also, the Bärengraben (Bear Pit) is overrated. Even if the place got bigger during the last few years, it’s still just captured wild animals.

A walk by the River Aare is always a good alternative. It’s very relaxing and in the summer you can swim in it and the river flow carry you. Though only for good swimmers, this is a really unique and Bernese thing to do. The Münsterplattform is a nice place in the middle of the old town by the Münster church, from there the river is only a five minute walk.

The Gurten mountain is also a good place to visit. The view from up there is stunning, even if the weather is bad. On the valley station you can visit one of the most creative houses in Bern with a great cultural programme.

with great drinks, you should go to the Kreissaal in the center near the Zytglogge.

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

The Sous Le Pont in the cultural center Reitschule is my favorite restaurant. The food is delicious and the people are fun and very friendly. To experience an authentic bar

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

Anytime is good. In my opinion the best festival in Switzerland is the Bad Bonn Kilbi in Düdingen near Bern. It’s 30 minutes by train and takes place every year in the end of spring.

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

As touristy as it is you can’t beat the experience of having a drink at the Opera Bar underneath the Opera House. Drinking at the water’s edge at one of the most beautiful harbours in the world never gets old. Plus the mushroom burger is A+. Personally, my favourite bar is the Golden Age Cinema bar in Surry Hills.

What’s a neighborhood or district in the city that’s transforming for the better?

The entire Inner West and western suburbs of Sydney are finally getting the light they deserve. They’re by far the most culturally diverse areas of Sydney. Sky-rocketing real estate prices and inner city lockout laws mean that a big chunk of the population are moving and the centre of Sydney is moving west.

Generally, what do you think the future holds for Sydney and high fashion?

I think high fashion in Sydney is dying because we don’t have the culture to support it. Lifestyle brands is where the future lies. We live in a culturally diverse cosmopolitan city

surrounded by wilderness and water where activity reigns over calamity.

Our products need to represent this easy going way of life.

What makes you base in Sydney and not anywhere else?

I’ve travelled all over the world and come to realise that we’re in the perfect position to see the world upside down. We have a flavour that’s unique and it’s time for a rebrand.

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

Best seasons are autumn and spring, you very rarely get a bad day. Sun’s out and the breeze is fresh. If you’re into music, then Laneway Festival is the one to look out for. In recent times, Vivid Sydney is where the entire city shows off its light displays with live shows too, but it gets unbelievably busy. Come anytime, there’s always something to do and see and the food is world class at any level.

“IT’S A SMALL CITY WITH A LOT OF NATURE AROUND WHICH IS VERY QUICK TO REACH

BY BICYCLE OR PUBLIC TRANSPORT.”

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

I like the western part of Bern, it’s a good contrast to the museum-like old town and there is still space for transformation. Bümpliz-Oberbottigen, for example, is like a village with old houses but right beside it you can see skyscrapers and industrial buildings. You can walk half an hour and find yourself in the middle of the forest or by the water. There are some nice thrift stores and the best public swimming baths in Bern, Freibad Weyermannshaus.

Why do you base in Bern and nowhere else?

I actually plan to move abroad. I lived in the French part of Switzerland for several years during my studies. But still, I couldn’t imagine a better place to come back to in Switzerland.

Bern is very relaxed. You can sit in a café the whole afternoon, reading a newspaper or just looking around letting thoughts pass. You won’t be the only one. It’s a small city with a lot of nature around which is very quick to reach by bicycle or public transport. The culture is great and diverse. Concerts, theatre and exhibitions take place every week.

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CULTURE

The Essential Journal | 43

Image: Fa-Bo Showroom designed by Kengo Kuma and associates. Image Credit: Takumi Ota

Issue 27

words by IOANNA T, Archiphonic.co.uk

Architectural Thoughts On: Natural Disasters Architecture isn’t just about bricks and mortar, but also the coordination of all the parts. From the micro to the macro, its considerations and final decisions will impact all in its ‘place’. Co-founders Dave B and Adam M started their architectural design practice ARCHIPHONIC, based in Liverpool, staying true to this manifesto and seeking to create spaces where memories are made. This month, practice member Ioanna T joins us to share some thoughts.

H

urricanes, storms, earthquakes, and floods make up stories of ruins and remnants. They are stories that keep repeating themselves in different times and places. What is always common in these events however, is the aggressiveness of the way in which nature reveals the past. We tend to overlook the decisions that have caused the effect.

The act is related to what it has removed. The decision rests on those who shape and form the built environments we live in.

When trying to determine the reasons for a natural disaster, the questions are usually associated with the aftereffects of it, such as the emergent need for shelter, and the regeneration of the affected communities. Architects from all over the world have been creatively involved with the concept of the temporary shelter offering clever alternatives. Meanwhile, famous architects such as Renzo Piano, Shigeru Ban and Alejandro Aravena have been working on disaster recovery projects that focus on the restoration of afflicted areas.

The same is echoed in the thematic approaches of architectural competitions that have been announced in relation to natural disasters. For example, past architectural competitions such as ‘Post-Quake Visions’ run by Young Architects Competition or ‘Exploring Post Earthquake Reconstruction’ run by Architects in Mission are very much case specific and looking for restorative and recreative design approaches. It’s generally assumed that we are mainly interested in investigating the architecture after the natural disaster and not in envisioning the architecture for the natural

disaster. So, it is very crucial to turn around the discourse and focus more on the possible interactions that extreme natural phenomena could have with the architecture that surround us. It is quite intriguing to wonder what kind of systems, structures, morphologies, or aesthetics would an architecture for disaster suggest and eventually, how these suggestions would challenge the architectural norms.

The topic really brings to question why we build at all. Looking at the symbol of “the primitive hut” by Marc Antine Laugier. Simply, he discusses the origins and practice of architecture. The relationship between man and nature could be considered as a fundamental basis for the creation of architecture.

We return to these notions just to realise that the major concern of the architect-man has always been the setting of protective frames between him and nature. Thus, one simplistic purpose of architectural practice is the need for shelter, but addressing the circumstances of emergencies by just providing people with shelters is just a temporary solution and not an advancement to the problematic.

Nature can be hostile and act in extreme aggressiveness. There is a saying that ‘violence brings violence as a response’, in architectural terms, the violent response is the implementation of rigid structures, forms and material. A good example of that statement is Fa-bo Showroom designed by Kengo Kuma and Associates. The initial concrete building has been tethered to the ground with carbon fibres to provide earthquake protection. Our culture has been evolving through bypassing nature and through resisting to the limitations that

are implemented by the natural order. The Fabo building is stubbornly tied to the ground against all the lurking forces of nature. The crucial question is of high philosophical value and difficult to be answered. Should we go against nature once again or go along with it?

What if we endorsed these extreme eventful manifestations of nature and follow its course instead of preventing nature to claim back its land? What if while creating architecture we included in our design concept the idea of possible eventful instant deaths of the artefact itself?

The way we deal with the aftereffects of a natural disaster determines the future impact of the next. The most absolute approach aligned with the previous statements of acceptance would be the relocation to safer places, treating disaster as a clean slate opportunity.

Such an example is the case of the earthquake in Gibellina, Italy. Gibellina was abandoned and recreated in another location as the New Gibellina. The ruins of the abandoned city were turned into a landscape art memorial of the earthquake by Alberto Burri. So, it seems that we need the memory of a disastrous event. That need is expressed by the design of the corresponding museums such as Wenchuan Earthquake museum in China. Extreme natural phenomena have always been reforming the landscape of our environment. Should we let a natural disaster leave traces or transform the streets and buildings of our cities, towns, and villages?

A moderate approach for an architecture for disaster is possible and could be expressed by designing architecture in transitional

states of existence. Again, it’s the responsibility of those in the built environment to find solutions and predict a building’s failure to resist. The objective is to suggest an architecture that combines both resilient and shelter architecture principles. Technological improvements in the structure and materials can provide the possibility of creating an essential core of living (the resilient part) that encloses critical components such as water and power supply. Expendable structures and materials that are already proposed by shelter architecture design would complement an architecture in transition.

Alejandro Aravena’s elemental architecture is a version of the system described. In his project Quinta Monroy in Chile a half good designed home is provided, with the intention of being completed by the occupiers in a more improvised and casual way. Respectively an architecture for disaster could imitate these principles incorporating two distinctive parts. The resilient one, framing the transient, the temporary or the perishable. Jun Sekino’s school in northern Thailand realised after a disastrous earthquake is another good example of such a practice. The architecture of the specific school does inscribe into its design both notions or resilient and perishable.

Probably, we should look more into these conditional practices more. There is a chance to discover an Architecture for disaster that is already here. EJ Archiphonic are an architectural design practice based in Liverpool. For more information visit archiphonic.co.uk

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CULTURE

The Future of:

ANIMATION words by REUBEN TASKER Experts across different industries talk through their past breakthroughs and look forward to what the future holds.

This issue we speak to celebrated Disney animator, Floyd Norman

W

hat does the future hold for the working world? With tech taking over, headlines have everyone thinking about future-proof jobs again. But the stories vary. One week, the Bank of England’s chief economist warns 15 million UK jobs will be automated. Next thing, reports conclude there’s only been one career made obsolete by automation: the elevator operator. Jobs going down? The truth is innovation throughout history has always sparked debate in the working world. ‘Luddite’, probably the favourite retort for someone scared of innovation, was the name of the 1811 Nottinghamshire weavers that destroyed the looms replacing their jobs. Since then, tractors, computers and even bowling alley pinsetters have all revolutionised work around the world.

Preparing for the future, this new series features conversations with veteran experts across different industries. We’ll find out what the future holds for them, their craft and what career breakthroughs have taught them about the unknown. Starting us off is Floyd Norman. The 80-year old animator was the first African-American cartoonist at Disney, who continues to impact animation and stir up his own brand of “trouble.” Calling from his office at Walt Disney Studios in California, he spoke to us about embracing tech, bluffing business heads and how a bizarre computer obsession saved his career.

What was a revolutionary breakthrough during your career that changed the way you work?

FLOYD NORMAN: That’s a difficult one because here at the Walt Disney Studios there have been constant innovations. From the very beginning of the studio there have been many technological breakthroughs, even before I got here. One of the first major breakthroughs during my tenure here in the late ‘50s into the early ‘60s, was the photocopy process Xerox.

This enabled us to transfer our drawings from paper to sheets of acetate. Before, that was all handmade, hand traced and then we had technology to do that work for us.

ESSENTIAL JOURNAL:

Would you credit that as a standout breakthrough?

It was the first breakthrough that we took notice of. Nearly a decade later we moved to digital paint, where we actually used a computer to paint the cells. The next move was a decade after, when the entire post-production process was done digitally, when the computer took over mundane jobs like inking and painting and compositing. These were the major changes I saw during my time here at Walt Disney Animation.

How did you personally react during that drastic shift?

In my case it was positive for the most part.

While I did regret that hand drawn, traditional animation had been marginalised, I knew this

transition was coming anyway. I knew as far back as the ‘70s, I could just see the way the progress was tracking, so I prepared myself for it. Many people were caught unaware. It hit them like a tonne of bricks. But I’ve always found it’s important to look ahead, to not get yourself stuck in a rut or to assume things are gonna be the same forever. Wherever I liked it or not, change was going to happen so I might as well embrace it.

What were the first signs that change was coming and how did you prepare for it?

It’s strange and I honestly do not know why this happened in my life. But back in the ‘70s, I began taking an interest in computers. Now, keep in mind I had no computer background, I had no mathematical background, I was not a coder, I had no interest in programming and yet I began to study computer technology.

For some reason it began to fascinate me.

I began to dig through bookstores and find every book I could find on this technology that was only beginning to emerge. I studied programming languages. I learned about the hardware. I began to immerse myself in computer technology even though I’m anything but. I knew that this technology was going to impact our business in a profound way and because of that I thought it would be wise to be knowledgeable in this area. I began to prepare myself as far back as the 1970s for the technological revolution that I knew would eventually come.

That's really interesting.

It really is because you would think that an artist would have no interest whatsoever in technology.

What's’ the biggest difference between then and now as an animator?

The biggest difference today is that animation is so successful. When I began in this business, it was hardly considered a business. People would warn their children “don’t go into animation because there’s no future in it. You’re not gonna find a job and if you do, it’s not going to be steady.” So animation back in the 1950s

was regarded as a strange, odd, quirky little business. And why would anybody with any common sense want to enter such a crazy, unstable business?

Today, that is the total opposite. Animation is hugely successful. There are more animation studios than ever employing literally thousands of people. The films that are produced make millions of dollars. I would say that is the biggest change since I began in the 1950s, where this business was regarded as a dying business with no future and anybody who wanted to enter it must be out of their minds.

technological innovation as a negative thing. It could be overwhelmingly positive. I would say there are more jobs today in animation than ever before, so even though technology has invaded the animation workplace, even as it has cut out a number of jobs, it actually created more jobs, there are more people employed today than ever before in the history of this crazy business.

Once again, the benefits were overwhelmingly positive. More people working, more product being created, more money being made — as the business has been pushed forward because of technology.

Where do you see the next boom in your industry coming from?

Well it’s probably going to be one of the new platforms. Now, there are many platforms emerging today. There are many small studios producing what they call ‘shortform content’ possibly for the internet or for other platforms yet to be invented. It’s one of those things where the future is uncertain. But there’s going to be a future there’s no doubt about that, since media is pretty much a part of everybody’s life today.

There’s gonna be a need for content so what that platform is going to be, I really can’t tell you. I can guess, I can speculate, but even the big corporations that are in this business don’t know where it’s headed. They try their best to second guess. They try their best to look forward, to scope out what the future might be, but nobody really knows. Even those that say they do are just putting us on [laughs].

A young animator flies out to California for his first day at Disney. What advice would you give them to future-proof their animation career?

First of all, learn your history. Learn about the business that you’re entering. One of the things I did as a young kid was learning about all of those that came before me. It’s important to know your history, it’s important to have a solid foundation with which to build. I would tell all the young students that look forward, be aware of what has come before you. Know about the history of this business, about the legacy of this business.

I always tell my students to not focus so narrowly. Don’t study one thing but study everything. From music, dance, archeology, architecture whatever it might be, learn as much as you can because this will inform everything you do. Educate yourself and everything else will take care of itself. You’ll learn about the business as you work in the business. Much of my education here at Disney didn’t even start until I was hired here, but I had prepared myself with the fundamentals attending art school. But really, your education begins on that first day of work, when eventually the ball is in your court. And then you have to come up with answers.

The great unknown.

Yeah, it truly is the great unknown. That’s not necessarily a bad thing.

How will machines and automation change animation?

BBack in the 1950s, If I were to look forward and speculate what the year 2000 might be like, I doubt if I could’ve predicted where we were headed. It may open up greater opportunities, it may provide more jobs not fewer jobs.

You don’t have to look toward the future and

Following screenings at AMC Disney Springs last month, Floyd Norman: An Animated Life is available everywhere.

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FRÉDÉRIC DATY

advert International artist, Frédéric Daty, will be making an appearance at Castle Fine Art on Church Alley to launch his brand new collection Ombres de Ville, which pays homage to the city of Liverpool.

Please contact the gallery if you would like to be added to the guest list.

An exhibition of Frédéric’s work will be on display until the end of November

“My artwork is made of hand cut steel pieces, welded, polished, finished and then laid out to create a 3D fresco.”

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46 | The Essential Journal

There’s something stirring at the Soho Juice Co.

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words by REUBEN TASKER

Adam’s work can be found at adamhigton.com

COSMIC GREETINGS

Adam Higton is an escapist artist, painting collages for a magical natural world

S

andwiched between a summer gone and a bitter winter ahead, we’re cooling off this autumn season. Night skies are getting darker and darker, but leaves brighten out-of-office strolls with tones of yellow, orange and gold. Glance at one of Adam Higton’s paintings and you’ll find the same colours, along with playful splashes of blue and pink.

Autumn is an important season for Higton, a York-based collagist with work exhibited from Paris to Chicago. “It makes me feel cosy, feeling cosy makes me feel motivated to make art”.

The art itself is nothing but distinct. Peruse his portfolio and you’ll find flowers, forests and wizards too, all drawn in a friendly, childlike style. Nature is a focus for Higton, who can be normally found sketching scenes from a fictional suburb called The Cosmic Neighbourhood. Not just a fine artist, The Cosmic Neighbourhood is also Higton’s stage name when making music, usually through improvised jams pasted together like his autumnal collages. He’s already two albums down on Kit Records, but Adam’s definitive creation is probably Florian. A wandering child artist with magical powers, Florian appears in Higton’s comic strips and assorted prints. Caretaking a depressed flower one week and striving for an art career the next, Florian is the most self-reflective of Higton’s characters. We tracked Adam down for some real world artistic insight. EJ

The subject of your art, both musically and on canvas, is a fictional suburb called The Cosmic Neighbourhood. What are the real life inspirations behind this place?

The Cosmic Neighbourhood is a mystical leafy suburb where witches, elves, children and animals live side by side harmoniously. I am trying to document the daily goings-on of this world through my art and music. For the collage pieces I use a limited colour palette, which I hoped would also act as some sort of signature. This was inspired by the works of Dick Bruna. With the music, my friend Alex Tucker inspired me to work with loop pedals and Tara Burke taught me to layer up samples. The artist Hugh Metcalfe inspired me to loosen up and not be too precious over my recordings. Cluster’s Sowiesoso inspired me to get back into recording music after a few years and Brian Eno’s Another Green World inspired me to combine songs with shorter, experimental pieces.

I would say one of the most influential records in my collection has to be David Cain’s The Seasons. I love how the music on this record is endearing but also has these creepy undertones which I find funny. Usually if I’m sketching ideas and I put this record on, something will come to me. On the record are the words: “Houses like Skulls stare through uncurtained windows.” That really got me thinking about creating a strange suburb to inhabit my characters.

Even when illustrating heavier subjects like class division, scenes and characters in

your work are distinctly youthful and innocent. How would you explain your signature style?

I love challenging briefs where I am forced to adapt to something outside of the cosmic comfort zone. It’s all about finding a good middle ground. It needs to be relevant to the subject matter but for me, it’s just as important that it looks like my work.

Is my work inspired by my childhood? Not specifically, no. I had a normal upbringing on a council estate with a state education. Growing up, I met some interesting characters and experienced some weird things: seeing 50 people fighting in the street, hearing about how someone on my road was shot in the leg and my sex education school teacher quitting the profession to become a stripper. I guess

I’m not phased too much by those heavier subjects, if anything I really enjoy working on them and adapting them in a way that suits me and my style of work.

The character Florian appears to have biographical characteristics, he feels daunted as a freelance illustrator yet remarks that “Soon everyone will know my name!”

Do you anticipate fame and fortune?

I made the Florian comic strips for AIGA Eye on Design, just when I had quit my part-time employment to move up north and undertake full time care of our son. I worked in the evenings and weekends on my illustration. It was pretty daunting, but it seems to be working pretty well so far.

The comics were supposed to be biographical to some extent and yes, I think all illustrators anticipate being famous to begin with. It’s good to have ambitions. For me personally, if I can support my family by making art then I have achieved everything I ever wanted. That’s a good feeling. You have to be patient, learn to deal with rejection and it’s so unpredictable.

You might finish a good job for a big client, then it goes quiet for a while. In the next sequence of that particular comic strip, Florian thought he got his big break and then came the disappointment in realising that his name was spelt incorrectly. This actually happened once, I was credited as Adam Highton. Oh well.

Generally, what’s the biggest difference between creating music and visual art?

For me personally, they are very similar. I always make everything in one sitting. I can’t start a song and go back to it a day or two later, it’s all very impulsive. The same goes when I make visual art. I don’t tend to overthink or overplan and I keep my mind open to improvisation. I start off with a basic idea and see where the rest takes me.

Improvisation plays a big role in your creative process, do you have any projects that have manifested over a long period?

Yeah. I like the idea of using the collages I’ve made and transforming them into other things. Right now I’m working on a series of small-latch hook rugs. It takes ages to make one but it’s so rewarding when you see the im-

age emerge over time. My partner is also an artist, her name is Emma Crockatt. We have started making a new body of work together in the evenings where I will draw something and she will paint it. I would love to learn to weave but I haven’t got room for a big loom at home. We have these big white walls in our back garden and it would be nice to make some mosaics of my collages. I would love to do a piece of public art at a school or a train station or something.

You designed a scarf, beer label and even a ouija board for the Beach Gallery. How do you approach off-canvas creations?

Whenever I approach making a product like clothing or badges, I try and make something that I would wear or use myself. I have been lucky to work with Beach on some fun projects. I have a book called The Dictionary of the Occult. It’s very hammy, I love it. For the ouija board, I did a drawing of one thing from that book with every letter. I worked again with the manufacturer Clearcut Creation on a witch puzzle where all of the facial features are pieces of the puzzle. The scarves were really popular, I’ve since made another one and a bobble hat too. Its nice to see the images once they’ve been turned into knitwear.

I’ve started working with this really nice guy called Woodie In the United States, who runs a company called Ball and Chain. We have talked about making knitwear for children which would be amazing. I’ve just finished working with him on a box of halloween goodies. For that I used a variety of drawings and collage pieces. One of the badges will be a glow in the dark enamel badge of a ghost, that could be the coolest product so far. I can’t wait to see them all.

Tell us about your process behind published work for the The New York Times and Zeit Magazine.

Those pieces were great to work on. It’s because they have really good art directors who pretty much give me free reign to translate the article into something visually interesting.

I get excited when I am asked to work with them and normally take a walk to gather my ideas. It seems I almost always go with my first idea. I make the work, we work together afterwards and tweak it to make it look slightly more relevant to the text.

Your art seems informed by the 1960s and the psychedelic era. What particularly draws you to this period? Perhaps an escape from our current times?

I wasn’t around then, but it seems like it was such a golden era for creativity. Amazing records being made and really good children’s books and television programmes. It seemed like people back then invested a lot of time experimenting, pushing the boundaries and coming up with really interesting results. If there was a time machine, I would like to have lived for a while back then and seen Silver Apples play live in New York when they had the big drum kit.

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J O I N U S T H I S W I N T E R AT

Experience modern Chinese cuisine in unique surroundings, located on East Parade, Leeds city centre and in the heart of Manchester’s Spinningfields district.

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www. themerchantliverpool.co.uk 40 Slater Street, Liverpool. L1 4BX

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FEATURE

words by MILES KENNY

There’s a Ford in Your Future Childhood hero to generations and renaissance actor for the history books, Harrison Ford has sealed his legacy with Blade Runner 2049. Teleporting behind the scenes, Ford speaks of heroism, lost loves and flying high in his 70s

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“I think that's much more interesting than playing the sort of slick, classic, All-American hero. We are all flawed as human beings and the only thing which gives life and substance to characters in movies are the flaws and contradictions which define them.�

arrison Ford is experiencing a career renaissance, at least when it comes to film franchises. First he agreed to reprise a character that he long claimed to dislike - Han Solo - in Star Wars: The Force Awakens. Then he was convinced by Steven Spielberg to appear in a fifth instalment of Raiders of the Lost Ark, currently projected for release in 2020. In the meantime, Ford is revisiting an iconic figure from his acting repertoire - Rick Deckard - the sullen, battle-scarred police detective from Blade Runner, the 1982 sci-fi film directed by Ridley Scott that would go on to become a cult classic.

Now, in Blade Runner 2049, directed by Denis Villeneuve (Arrival, Sicario), 75-year-old Harrison Ford returns to the role some thirty years after Deckard and his replicant lover Rachel disappeared without a trace into the Canadian Rockies.

Ford discusses his motives for reprising Deckard, working with Ryan Gosling, and why he’ll never stop working. EJ

essential journal: What made you want to do Blade Runner 2049? harrison ford: The character is woven into the story in a way that intrigued me. There's a very strong emotional context. The relationship between the character Deckard - that I play - and other characters is fascinating. I think it's interesting to develop a character after a period of time - to revisit a character.

I think it's fascinating that the original film postulated a technology, which, in many ways, we've surpassed, and, in other ways, we're not quite there. And this film takes into account the 30 years that have passed; it references technologies that actually are in place now, and also - to me, which is a little bit more interesting - acknowledges and deals with some of the ethical considerations that technology presents us with.

How do you feel now that it's completed and about to be released?

It's just a fantastic ride...A visually stunning movie, complicated, intensely-developed plot, character relationships. It's a fantastic experience.

What was your experience like working with Ryan Gosling?

Ryan brings a real, original emotional intelligence. I never knew what I was going to get (while playing a scene with Gosling), which is a good thing.

Ryan and my first big scene was talking about the history of Deckard, what he was up to for the last 30 years, and I just found it unexpectedly emotional.

Is Deckard a replicant?

(At the beginning of shooting Blade Runner) I asked Ridley whether or not he thought that the character I was playing was a Replicant.

Well, I never got a straight answer. Which is okay, I guess.

But I thought it was important that the audience be able to have a human representative on screen, somebody that they could have an emotional understanding of. Ridley didn't think that was all that important. But I didn't play Deckard as a replicant.

I think that it's a wonderful storytelling mechanism for that question to be left unanswered. I love that people are still curious about it.

Most of your characters, even your screen heroes, tend to be flawed, conflicted, or otherwise unglamorous. Is that a deliberate choice on your part?

Yes. I have never been interested in playing heroes. I've certainly never been interested in playing a character that didn't have a degree of complication even when they were meant to be, ultimately, heroic.

I think that's much more interesting than playing the sort of slick, classic, All-American hero. We are all flawed as human beings and the only thing which gives life and substance to characters in movies are the flaws and contradictions which define them. I would like to think that those un-heroic elements are what have helped me have some longevity in this business.

When did you first realise as a teenager that acting was something you wanted to do with your life?

My father was in the advertising business and he produced and directed radio and television commercials. And I was fascinated by Sky King, until I went to the studio one day with my Dad and met a pudgy little man (actor Kirby Grant) who didn't fit my image of Sky King. But I think that tweaked my interest in the whole business

of show business.

But you went to college to study philosophy as it turned out?

Yes, I was a philosophy major and I wasn't doing very well. In an effort to try and find something in the course book that sounded like it was a cinch to help bring my grade point average up, I picked drama.

There was a girl I had a huge crush on who was taking acting classes and it was an easy way to get closer to her. Having failed to read the course description all the way through, I didn't realize it involved standing up on stage and acting (Laughs) .

What about the girl?

Naturally, the girl wasn't interested in me at all but I discovered I loved acting even though my first couple of theatre performances terrified me and that made me angry...so I was determined to get over that knee-knocking feeling of panic and develop some fearlessness.

And when I did, I also found that what I was engaged in, with people trying to tell a story, was something that felt better than any other thing I'd ever done before. It felt like I had found some kind of purpose in being part of storytelling and finding an outlet to work with other people.

Is it important for you to keep on working?

A real man should never rest on his laurels.

He should prove his mettle every day. That has nothing to do with being macho, but with taking responsibility for yourself and your family. With all my experiences, I have to say that I still struggle with a lot of the same problems and frustrations I've always had in life. But I do know how to better manage it all and approach problems and make my way through life with a little more grace and honour.

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words by TOM WILLIAMS

BLADE RUNNER 2049

What does it mean to be human? This was the question pondered by Ridley Scott in the original 1982 Blade Runner and more forcefully in the director’s betterreceived recuts. It’s an existential fear that captivated an audience, especially when set against the gritty backdrop of a dystopian future Los Angeles

D

enis Villeneuve was an obvious choice to direct a sequel, after his excellent sci-fi achievement in Arrival, which felt as refreshing to the genre as Blade Runner did back in the 80s. His love for the original is clear in every inch of the physical design which does justice to Scott’s unique vision.

Unsurprisingly, this continuation takes us to the year 2049 where replicant Blade Runner K (Ryan Gosling) is struggling with thematically similar ideas about existence and mortality. After his own (possibly implanted) memories align with his detective work as a skin-job police officer, he opts to find the whereabouts of Deckard (Harrison Ford) who has been AWOL for 30 years.

K is a displaced individual, not cared about by his human colleagues on the police force and alone with nothing but his A.I. companion, Joi (Ana de Armas).

Essentially a holographic cigarette commercial from the 50s: she is subservient and exists to fulfil his every need as was programmed by Jared Leto’s Wallace Corporation. Despite de Armas’ great performance, her character unfortunately has little to offer besides being a harrowing reminder of how emotions that seem so authentic are merely simulated.

This rendition lacks the character building of the first foray and given its massive run time, it’s crying out for more detail. One of the most interesting performances is Carla Juri as Dr. An

a Stelline, a creator of replicant memories; Juri is unfortunately underutilised given how enigmatic she is in her few scenes. Jared Leto also disappoints as the main antagonist in what is a pretty bland performance, nowhere near the complexity of Rutger Hauer’s Roy Batty. However, his accomplice Luv (Sylvia Hoeks) is a far more enticing character and has a much greater engagement with K – presumably as an allegory for his own conflict with love as a concept.

Gosling’s character actually seems closer to Batty than Deckard from the original, with his untethered aggression and crushing compassion (a comparison made clear by his desire to protect Deckard in a rainy showdown). These traits are unsurprisingly suffocated by hours of blank expressions – the cornerstone of Ryan Gosling’s career – where time could be better spent developing the plethora of interesting characters. Villeneuve’s film is visually intoxicating and shows off some of Deakins’ best cinematography.

The scenes within the seedy Los Angeles of the future are claustrophobic, and as recognisably gritty as the original. These images contrast beautifully to the scandi-style design of Wallace’s modern lair and the stark landscapes of the offworld that give us a more expansive look at the Blade Runner universe. However, if you’ve gone to the big screen for more than just a tremendous visceral experience, you may have to wait until Blade Runner 2079. EJ

“VILLENEUVE’S FILM IS VISUALLY INTOXICATING AND SHOWS OFF SOME OF DEAKINS’ BEST CINEMATOGRAPHY”

Must See Films This Month

9

/10

STYLE

This is undeniably beautiful

6.5

/10

SUBSTANCE

Bad character development plagues this sequel

6

/10

ESSENTIALNESS

An adequate tribute to the original

CALL ME BY YOUR NAME

THE FLORIDA PROJECT

GOOD TIME

A transcendent look at first love based on the novel by André Aciman. Armie Hammer and Timothée Chalamet are fantastic in this instant classic.

Undoubtedly one of the best films of the year. Based around the poverty-stricken areas in the shadow of Disneyland, it follows the story of Moonee (Brooklynn Prince) and her mother Halley (Bria Vinaite) as they navigate through summer.

Features an incredible performance from Willem Dafoe.

Directed by Benny and Josh Safdie, this sees a gritty Robert Pattinson try to free his brother from a prison after their failed bank robbery. Expect unrelenting intensity and incredible performances all round.

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words by TOM WILLIAMS

HAS HANS ZIMMER BECOME TOO DOMINANT IN BIG BUDGET BLOCKBUSTERS? The German composer is an undeniable genius and has been at the forefront of the industry for over three decades. He has composed the likes of Rain Man, The Thin Red Line, and most recently Blade Runner 2049.

H

owever, this endeavour with Deckard and co. had an air of contention about it, with Jóhann Jóhannsson (long-time Villeneuve collaborator behind the music of Sicario, Prisoners and Arrival) being booted off to make way for the composing juggernaut. This begs the question: has Zimmer become too ubiquitous in modern day blockbusters?

As powerful and moving his scores are, they are in danger of becoming predictable and cliched. His famous bwaum (popularised by Inception) is now so commonplace it feels incredibly forced and a means of easily adding drama to a scene – especially as it features in almost every superhero trailer (and there is a hell of a lot of them) in recent times. This is perhaps not completely Hans’ doing as many composers are mimicking the effect due to its popularity and potential for emotional manipulation, but he planted the seed.

In the last four years he has scored (amongst many others) the following: The Boss Baby, Dunkirk, Hidden Figures, The Amazing Spider-Man 2, Batman vs Superman, Kung Fu Panda 3 and Chappie. This shows how widespread his influence is on the industry, especially the movies that are aiming for big profits. Don’t get me wrong he more or less always delivers, even The Boss Baby had some bangers (“Welcome to Baby Corp” is a stand out) – but is he just too predictable an option?

Since The Thin Red Line changed his musical direction towards a more technological path, he has been using the aforementioned bwaum, shepard tones and synthesisers to great effect in almost every one of his films. Dunkirk had an irrefutably excellent soundtrack as the intensity of the film suited him perfectly. However, it gets to a point where film soundtracks are becoming too peripheral to the action, where Zimmer’s style is so frequently heard it becomes the norm.

This was a problem in Blade Runner 2049, where few of his compositions had any effect on me, excluding the powerful Tears in Rain rehash from the original. This is not to say the score wasn’t good, just that it faded too far into the background without pulling the same emotional punch as the ’82 classic.

The song “Flight to LAPD” feels like it could have been put into Christopher Nolan’s Batman trilogy without anyone noticing. This leaves me questioning what Jóhann Jóhannsson’s score sounded like? Because if it was anything like the brooding and pulsating score for Arrival, it could have been something special. Maybe we’ll find out in 25 years if there’s a final cut?

I would never suggest Zimmer should stop composing, but maybe he could pick and choose his projects more succinctly so we get more refined and unique soundtracks like that of Dunkirk. He clearly has appeal as probably the most bankable composer in Hollywood, and in a time where blockbusters aren’t getting the same amount of revenue as they used to it’s no surprise he is attached to so many movies as a safe, reliable option. EJ

“IN THE LAST FOUR YEARS HE HAS SCORED (AMONGST MANY OTHERS) THE FOLLOWING: THE BOSS BABY, DUNKIRK, HIDDEN FIGURES, THE AMAZING SPIDERMAN 2, BATMAN VS SUPERMAN, KUNG FU PANDA 3 AND CHAPPIE. THIS SHOWS HOW WIDESPREAD HIS INFLUENCE IS ON THE INDUSTRY”

THE KILLING OF A SACRED DEER

PROFESSOR MARSTON AND THE WONDER WOMEN

Yorgos Lanthimos partners up with Colin Farrell again for another laconic instalment. A lot darker than previous film The Lobster, a creepy teenage boy (Barry Keoghan) forces a surgeon (Farrell) to make a tremendous sacrifice after his father’s death.

The most recent Stephen King Adaptation has got a thumbs up from the man himself. It is sure to give you a scare with Bill Skarsgård playing the notorious clown.

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words by REUBEN TASKER

A Dressing the Past

Kimberley Adams, a Stranger Things’ signature stylist explains the allure of the ‘80s

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o longer a revival, our fascination with the 1980s has outlasted the decade itself. To the critics, it’s an era of the worst trends, t-shirts, and tunes of the 20th century. Yet seeing its influence year after year, it's clear that the ‘80s are truly underrated. Jokes about mullets and Rick Astley aside, the ‘80s are being taken seriously these days, both as a time for important art and as a setting for gripping storytelling. There’s no better crowd-pleaser than Stranger Things, a horror slash sci-fi Netflix series that took the world by storm last summer. Masterminded by The Duffer Brothers, the story follows a kidnapped boy that’s chased after by his mother (Winona Ryder), a police chief (David Harbour), bike riding friends and monsters from another world. The show’s a hit, amassing 14 million US viewers in its first month alone.

The key to that success is in the details.

For these nostalgic stories, a quirky one-liner and a synth-pop soundtrack is just as important as the script. Maybe the most important detail though, is an iconic throwback wardrobe. Dressing the past isn’t easy. That’s a challenge for Kimberley Adams, one of the show’s signature stylists.

It’s tough styling characters in a time gone by, but there’s few more prepared than Adams.

Her break came in the late ‘80s, assisting on

Wes Craven’s comedy-horror Shocker. Since then, she’s done wardrobe work for ‘80s-era productions like Killing Reagan and Boogie Nights, as well as household hits like Barton Fink, Patriot Games and Sleepless In Seattle. She sat down to discuss nerds, Stranger Things and the allure of the ‘80s. EJ How would you personally define the ‘80s? What are some standout moments, people and trends that embody the era for you?

KIMBERLEY ADAMS: The early ‘80s had the clicks as we called them. The preps, soc’s, jocks, nerds, loadies. MTV opened up a whole new world of trends to follow before the internet moved into our homes. Post-recession, consumerism exploded and lots of attractive clothing, and hair, happened by the second half of the 80’s.

ESSENTIAL JOURNAL:

Talk us through your process. How do you conceptualise your costumes?

I put together a team and then break down the script or scripts. In this case we had a few.

Then I put together detailed moodboards for all the characters and key scenes. Putting together visuals in a collage form is where I work out the various looks amongst characters, before sketches or shopping. It allows for discussion of character looks amongst all involved. Then, with brilliant casting, actors and

characters magically come together in a fitting room and characters come to life.

How did the storyline of Stranger Things play into the outfits you designed?

The story is key to concepting out the characters. In Stranger Things it was important that the characters were true to life, not caricatures of what people think they remember of the 80’s, especially early 80’s in Indiana. Each person has their own backstory and quirks, and I like to tap into that with their closets and layer it into how they wear their clothing. Since the season was to take place over just a week or so, I created closets for each character to mix and match clothing.

I built a closet of multiples for the characters that would need them since the kids had to be stunt doubled so often, plus they would be growing over the five months of shooting.

In your opinion, what makes the 80’s aesthetic so magnetic to audiences?

Maybe it’s the hindsight of a time where life was good and the economy was on the rise and the internet had not taken over our lives!

It’s that warm fuzzy kind of feeling in our memory. It was wild how so many people fell in love with Barbara. I think it’s because she was so real and honest in her bad fitting jeans and frilly neck tops with big glasses and her

Pee Chee folder.

Describe the process of fitting actors with the costumes you’ve made for them. What’s that relationship like?

Fittings are where the characters really start to come alive. To watch an actor transform into a character in front of your eyes is probably the most rewarding part of my job.

I love working with actors to find the truth in their characters through their closets. The psychology of clothing is something I find so fascinating.

Tell us about that.

Costumes are part of the storytelling process, grounding the characters in the world of the story being told. Clothes enable the actors to step into the mind of the character being played, as well as aid the audience in subliminally understanding that character’s psyche.

What each character wears and how they wear it is part of the emotional fabric that forms that character. As a costume designer you are always trying to find the truth in each character so that the story can be told without visually interrupting.

Stranger Things season two is available on Netflix now

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The Essential Journal | 57

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Issue 27

58 | The Essential Journal

The Essential Guide:

SKILLS The advice, tips and reading material to help you hone the essential set of skills

H

aven’t you heard? There’s a skills shortage.

We don’t make anything anymore, Brexit is coming and the workforce is lacking and the brain drain and … no, we’re not talking about that skills shortage. We’re talking about the one concerning the modern man.

We’ve been thinking a lot recently and noticing things. For instance, have you noticed that whenever people of a certain vintage see a pram, they go on a tangent about making go karts when they were younger? A tangent that usually moves on to how people these days can’t change a fuse, let alone put up a shelf. Another observation of ours is despite a lot of instant bravado and sudden serious survival know how, whether it’s a campfire or the barbecue, people don’t really

Gardening

know how to properly light a fire. Then there’s going on holiday, and the standard issue barman conversation. “Thanks Pedro, such fantastic English, better than ours. We’re terrible back home, we don’t really do languages.”

There’s something to be said for skills. Not Liam Neeson’s very particular set or Napoleon Dynamite trying to impress girls. More like a mixture of useful, fulfilling and dare we say it, all round essential skills. Basic stuff you should know how to do, that could be built upon, that would help you in your day to day life and make you feel better. With the help of some skilled people, we’ve put together a small collection of those skills, along with some advice on honing them, helpful reading material and the odd tool here and there.

Thank us later. EJ

Cooking

ALICE VINCENT

ELLIS BARRIE

Journalist and Gardening Columnist at The Telegraph, Author of ‘How To Grow Stuff: Easy, no-stress gardening for beginners’

Chef and Co-founder of Marram Grass in Anglesey, former (and favourite ever) The Great British Menu contestant

Why is gardening (or growing stuff) a rewarding skill to have?

I think it makes you think about things in a practical way at a time when we're increasingly aided by technology and lateral thought is too swiftly replaced by a click of a button. Gardening, and growing stuff, has been popular for centuries because it's the act of controlling the natural world - of ushering flowers to bloom or seeds to germinate, to create natural scenes where there was only concrete before. But mostly, it's just very relaxing. You can't tap on your phone when you have dirt on your hands, and you'll be amazed at how time can vanish when you pop out just to do a quick job. I'm yet to find even a cynic not be a little happy when those first green shoots emerge.

What are the five essential ingredients every man should have in their kitchen?

I would have to say pork, eggs and a good cheese. Then I would have a good spice, maybe a Ras el hanout and maybe broccoli or spinach. Something to give a healthy energetic boost full of dopamine to push a positive day.

With a nod to the calendar, what can people plant now and begin prepping for next year both inside and out?

Rocket is a great, easy-to-grow leaf that can be sown now (depending on where you live, and what variety you use) either inside or out and will last all through winter, either inside or out. Parsley, basil and mint will all thrive happily inside over winter. As for next year, get your bulbs in now - daffodils, crocuses and muscari can be planted outside for colour in those dreary early days of winter. All of them can be found in How to Grow Stuff, too.

What are a few crucial tips or pieces of advice that you would like to share with a budding grower of stuff?

Do not fret if things die! They inevitably will, and it won't necessarily be your fault.

Just make sure you take a good, long look at why it has died - is the soil too dry, too wet? Was it squished into a pot, or left in shade or extreme sun? You'll learn from your experiences. And just don't be afraid

to give it a go. What's the worse thing that can happen? You'll be amazed at how easily some plants will take hold, and your gardening enthusiasm with it.

What items/tools/plants are worth splashing out on? What're your own personal favourites?

I actually garden on a really small budget, and always have. I grow edibles in re-usable supermarket bags and prefer to plant with my hands rather than any particular tools. Saying that, it's worth getting good pots with proper drainage holes and boosting that drainage with hydroleca clay pebbles if you're a container gardener whether inside or out - as this will prevent your plants from root rot and drowning.

I buy my plants from a variety of places whether that's the supermarket or from online, specialist plant-sellers. If you're starting out I'd say not to spend too much because it can be disheartening if things don't work out. However, I would endorse Ehlo containers, which have reservoirs to aid watering and are great for urban gardeners, Bay & Box for their sleek aesthetic and Delfland Nurseries for their excellent range of organic edibles.

What meal should every man be able to make?

I think everyone should be able to nail a good roast on the bone. Something impressive which requires a little bit of work.

Nail that and start playing around, add different herbs and different spices, have fun with it.

What are the essential tools that every man should have in their kitchen? Any specific recommendations?

In my opinion, tools and gadgets are essential. They make the job easier and fun.

First, invest in good knives and keep them sharp. That way they’ll make for quicker and safer prep work. I'm a Wusthof Knives man but shop around and pick them up, see how they handle. Get a Japanese Mandoline, you can spin any veg around and make lasagne sheets from it. It's great for healthy options and again it preps food so quick that you don't need to be in the kitchen for long. I'd also invest in a Thermomix, you can do literally anything in them, from making bread to toasting spices. Also invest in a non-stick pan. A big one so you can use it for everything.

Spend well and look after it.

What ingredients should we be using more of?

Quality ingredients. By that I mean know what you’re cooking. If you’re using spices, find the best. If you’re cooking meat know where it's from, make sure it's of high

welfare and care, this assures better flavour. Also make sure you support local traders and producers. These individuals tend to have a passion and when someone’s passion is the product that ends up on your plate, I can guarantee you that it’ll result in a better meal.

What're your top tips for the kitchen?

Cook with confidence. Season with salt, acidity and sweetness as this will balance your food. Season small and add, remember you can't take away. Fresh fish is the best fish, cook it quick to keep It juicy.

A fillet of sea bass from the counter will cook between five and seven minutes.

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The Essential Journal | 59

FEATURE words by DAVEY BRETT

Survival

Languages BURR SETTLES

SCOTT HEFFIELD

Director of Training and Product Development at the Bear Grylls Survival Academy

Software Engineer and Research Scientist at Duolingo

What’s the essential advice for setting up a fire?

Remember your fire triangle – oxygen, fuel, heat. Without one, there is no fire.

Then think preparation. First, find dry ground, clear an area for your fire and then spend some time finding the right fuel. You will need tinder (something which catches fire easily), kindling (small sticks) and a range of large bits of timber.

Next, get the base of the fire off the ground particularly if the ground is damp but also to aid air supply. I like to build a little raft on the ground of about 3 – 4 layers of sticks in a criss-cross fashion. Now get your tinder and some kindling standing by. Now, light your tinder and gently add kindling either in a hand held bunch or by carefully placing on to the flames in a wigwam fashion.

Learning a language is a lot like going to the gym: people want to do it, but it’s difficult for many to turn it into a regular routine. And just as it’s impossible to lose weight or become fit overnight, the same is true for learning a language. The key to success is to make it a habit.

Our research team analysed the behaviour and learning patterns of Duolingo users and identified three key habits that determine success in learning a new language:

What do you need to know when building a shelter?

You need to find an area which will lend itself to protecting you. Find a location if possible that has flat ground, is out of the wind and weather and is close enough to water to use it but not so close that you could get caught up in a flash flood. Now build a structure of any type and using any materials available. Keep the roof low, set the entry in to the shelter out of the wind and make sure that it is secure and stable, you don’t want it coming down on you in the night. Think of utilizing any waterproof materials you might have and if you don’t have bits of metal or plastic sheeting, use the layer system to build several layers on the roof with bushes, straw, grass or turf. Finally, think about insulation. Get as much light weight material on the roof and sides as you can and importantly, inside. The floor area should be at least half a metre high with fern, grass, hay or any other soft material to keep you off the cold ground.

What are three do’s or don’ts when first find yourself in a survival situation?

Don’t Panic. Do stop, stay calm, breath eand make a plan. Don’t leave a relatively safe area like a building, tent or airframe.

Do consolidate all your equipment, water and food. Don’t waste valuable energy.

Do think of your priorities for survival which are protection, rescue, water and food. And remember, in an extreme environment, help and rescue may not be coming. It may be down to you and your skills to rescue yourself.

What are some essential accessories a survival expert should always carry?

A good compass, I use a Silver Ranger (and know how to use it) and a good knife, I use a fix bladed knife such as the Gerber Ultimate.

Study daily, especially at bedtime Studies have shown that sleep helps with improved language learning, and we have found that Duolingo users who study for 15 minutes every day before bedtime have an advantage over other users.

Consistent daily practice is also key.

Especially when you are just starting out, it’s worthwhile to develop a daily routine and study a few times a day to keep your memory fresh. Our data suggest that you’re more likely both to stick with it and to learn more in the long run.

Avoid binge studying To successfully learn a language, one of the keys is to not binge, as this has been shown to decrease learning and retention. Instead, develop a habit of distributed practice, or a number of short study sessions over a longer period of time. In order to master a language, you are better off studying a consistent amount — no matter how small — as regularly as possible.

Regularly review material It can be tempting to plow ahead and learn as much new material as you can, but chances are, you will forget what you learned unless you spend time reviewing it. More than a century of psychology research has found that you are more likely to remember ideas and concepts if you

regularly review old material. This helps the knowledge work its way from your short-term memory into your long-term memory.

While those are our main tips for learners, we also believe it's helpful for people learning new languages to take advantage of additional resources like listening to podcasts and watching YouTube videos in the languages they're learning; in fact, many of our users tell us this helps them get even better in languages they're learning.

Issue 27

60 | The Essential Journal

Canvass The...

TAILORS

FEATURE words by REUBEN TASKER

For the finest sartorial advice and stories we went down to Savile Row, quizzing London’s master tailors on stories, rules and influences

DARIO CARNERA

Head Cutter at Huntsman What is the most unusual suit that you have been asked to produce?

It would have to be three blue and white tie-dyed all in one siren suits to be worn at Burning Man. What one style rule would you never break?

Wearing an incorrectly styled dinner suit. A dinner suit should have single button front fastening, four real holes to the cuff, jetted coat pockets - no flaps and no vents. Trousers should have one row of braid with straight side pockets and plain bottoms.

Name the person that has influenced you most from Savile Row? As well as (of course) Mr Colin Hammick, I have been influenced by many people through my career and owe so much to so many. But, the two people that had the biggest influence upon me were the Fallon brothers, Keith and Ian. Although completely different from each other, they were both excellent tailors and I was lucky enough to receive training from them both as a young cutter. I will always be grateful to them both for the time they spent with me and the skills that they passed on.

What’s your favourite non-tailored clothing item?

I have hidden away a handmade, hand-rolled silk tie from Arnis of Paris. A wonderful place that sadly no longer exists. It is still carefully packaged in its box awaiting a very special occasion.

WILLIAM SKINNER Pictured Brian Lishak (left) with Richard Anderson

BRIAN LISHAK

Co-founder at Richard Anderson What is the most unusual suit that you have been asked to produce?

Rather than the most unusual suit, I prefer two unusual suit requests. The first was a telephone call from a lady who asked if we could make a velvet smoking jacket for her husband’s 107th birthday. At his fitting I asked him how his son, who lived in New York where I had previously looked after him, was. He replied, “he is well but not so good on his legs now”. His son was in his 80s.

The other was similar, a very meek client from Ohio who had great difficulty in making decisions and always sought my guidance ordering. He phoned and told me that he had discovered his friends were ‘secretly’ throwing a party to celebrate his 90th birthday. I told him that it was going to be his day and he should have something special and recommended a black sequin dinner jacket, similar to one we had made for Bryan Ferry. Unable to imagine himself wearing it, I arranged to show him a model in Chicago. Early on Saturday morning, despite my prompting, he could not make the decision. My next

customer, a stunning lady who’s extremely extrovert and runs her own company entered, saw Fred and said, “you look fantastic!”. Without hesitation he ordered it, wore it and sent me local newspaper cuttings of the event - he was the star and had a ball.

What one style rule would you never break?

Never be seen with unpolished shoes.

Name the person that has influenced you most from Savile Row? My mentor, the late Fred Lintott OBE. He was a father figure who taught me all his skills until his sudden death in 1982.

What’s your favourite non-tailored clothing item?

A beautiful navy open-weave blazer, Richard Anderson’s first product circa 2001 and looking as good as ever today.

Managing Director at Dege & Skinner

What is the most unusual suit you have been asked to produce?

We were asked to produce a Vegan suit a couple of years ago - we were able to make it having researched all the non-animal materials and trimmings available to us.

We have also made clothes for young men who hadn’t reached their teenage years - they still had a lot of growing to do and the life-span of the suit was somewhat reduced.

What is the one style rule that you would never break?

Not making a waistcoat long enough so that it doesn’t cover all the shirt.

Name the person that has influenced you the most from Savile Row? My Father – he guided me in understanding what Savile Row Bespoke tailoring stands for and what is needed to take care of our customers’ requirements What’s your favourite non-tailored clothing item?

Casual jackets that take my eye.

Issue 27

The Essential Journal | 61

Books for the Month Ahead

A selection of what we’ve been reading this month, featuring nature, classics and a president we dearly miss

The Big Nature One

CULTURE words by DAVEY BRETT & REUBEN TASKER

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

The Luxury Photo Tome

BLUE PLANET II (BBC Books/Ebury)

by Mark Brownlow & James Honeyborne

Literature

ANNIE LEIBOVITZ: PORTRAITS 2005 - 2016 (Phaidon)

by Annie Leibovitz

The first time David Attenborough saw a shark on camera was over 60 years ago. It was 1956, a film editor had burst into a cutting room calling David next door.

The footage was an unfocused, jolting shot of a shark swimming at the camera lense, before flashing triangle-shaped teeth and disappearing into the black. The anecdote, which appears in an early passage of the fantastic Blue Planet II, is just one highlight in a sea of stories. This is the fantastic companion to a new series of Blue Planet, originally the first comprehensive series on the history of the world’s oceans. The weighty catalogue features 200 stunning photographs and stills from the Natural History Unit’s voyages. Each chapter animates a different habitat of the oceanic world, from a Caribbean whale called Digit to armoured octopuses off South African coasts.

One of cinema’s warmest voices and most recognisable faces, Tom Hanks has always been a Hollywood treasure.

Forrest Gump, Cast Away and Philadelphia are just a few highlights in a career nearly impossible to summarise.

But did you know Tom Hanks has been a writer for over 20 years? From That Thing You Do to Band of Brothers, Hanks has penned stories exclusively for the big screen, until now. Uncommon Type is Tom’s literary debut, a 17-set collection of short stories both intelligent and heartwarming. The narratives vary, though all distantly following the American dream. There’s a war-scarred veteran, a lucky D-list actor, four DIY astronauts and a teenage surfer that stumbles into his father’s secret life.

Some hilarious, some heartbreaking, Hanks’ storytelling range is as deep and wide as his Oscar-winning performances. An essential introduction into the creative mind of Hollywood’s friendliest face.

It has been a little over over 40 years since Annie Leibovitz began her career as a staff photographer at Rolling Stone magazine and to this day, very little has changed about her photographic style. Witty, personal and always unique, Leibovitz has made a career of capturing iconic people in a style that is easily recognisable. Her latest collection of portraits, the first to be published on Phaidon, is a majestic who’s who of the last decade with subjects from the worlds of art, sport, music, politics, business and more. A collection of people that have shaped our culture. The luxurious oversized volume features several portraits that have never before been published as well as an essay by the best-selling writer Alexandra Fuller and an afterword by Leibovitz herself.

UNCOMMON TYPE: SOME STORIES (William Heinemann)

by Tom Hanks

The One That Makes Us Miss Obama

WE WERE EIGHT YEARS IN POWER: AN AMERICAN TRAGEDY (One World)

by Te-Nehisi Coates

On a hot July evening in 2007, former comic book writer Te-Nehisi Coates visited Detroit’s Saint Paul Church In Christ. There, the writer witnessed comedian Bill Cosby summon his inner activist. “We are not a pitiful race of people. We are a bright race who can move with the best!” yelled Cosby to a packed, ad-libbing crowd. A year later, This Is How We Lost to the White Man, Coates’ piece for The Atlantic, critiqued the audacity of Bill Cosby’s conservatism and led to a beloved column. Today, Coates is a national correspondent at The Atlantic, reporting America’s complicated race relations in the years following that summer evening. We Were Eight Years In Power focuses on those years, from Obama’s unprecedented entrance to the election of Donald Trump, who Coates labels the “first white president.” An American Tragedy breaks down the Obama administration year-by-year, through lived experiences and astute observations, all linked through iconic essays.

The One That We Wish We’d Thought Of

RUTH AND MARTIN’S ALBUM CLUB (Unbound)

by Martin Fitzgerald Of all the blogs floating around in their respective sphere, Ruth and Martin’s Album Club is the one we wish we had thought of. Such a simple yet effective concept: Get an interesting well-known celebrity guest, make them listen to a classic album they’ve never listened to, add some informative context to that album, add some more detail to make the interviews even more interesting and then get said person’s take on the album. A fresh, fascinating and really well done take on the humble album review and now after 70 plus blog posts, there’s a book.

J.K Rowling (Violent Femmes by Violent Femmes), Tim Farron (Straight Outta Compton by N.W.A) and Richard Osman (For Your Pleasure by Roxy Music) stand out, not least because of the reactions of famous people, but also the well written music history and insight provided by Martin before each review. The book is as much an education as it is a chronicle of reviews and we challenge you not to discover a previously unheard classic after reading it.

The Other Nature One

THE MAN WHO CLIMBS TREES (WH Allen)

by James Aldred We’ve got a lot of time for eloquently written books on niche topics that we would otherwise never have thought about. Largely relegated to our youth, climbing trees hadn’t crossed our mind for years until recently picking up a copy of James Aldred’s memoir. The Man Who Climbs Trees charts Aldred’s life and career, climbing the world’s tallest and most challenging trees as a freelance cameraman, working for the likes of the BBC and National Geographic. A window into another world, the book takes the reader from The New Forest to Borneo and beyond in a vibrantly descriptive account of his time hanging from branches and navigating the canopies of the world’s lungs. The book charts many fearless adventures including terrifying insect encounters galore. The most transportive moments however are when Aldred himself takes a second to revel in a particular moment, whether softly spinning in the breeze, overcome with emotion or taking a moment to look up at the progress of other climbers further up a tree and contemplating himself one day reaching similar heights.

Issue 27

62 | The Essential Journal

COLUMN

words by IAIN HOSKINS

The Iain Hoskins Column I defy you to find a more alluring era in modern time than the early 80’s New York downtown new/no-wave scene. Its creative frisson enriched pop-culture for decades and provided a legacy for film, music, fashion, art and culture that we will probably never see again

I

t was the colliding of many worlds. The American-dream utopia of the 50’s and 60’s had died and been replaced by the hippy counter-culture and a country in crisis following the Vietnam War. Identities had shifted with previously unheard voices– such as civil rights, feminism and gay liberation now uprising. In New York, as industries of old eventually gave way to the explosion of Wall Street – it left with it a shell of a city.

The once shining jewel in America’s crown, the ‘Big Apple’ was now dubbed by Time Magazine in its infamous cover, ‘The Rotten Apple’. It was a call to arms, of how far the city had fallen. New York was bankrupt, with murder and crime completely out of control – leading to a population exodus. The many empty buildings and warehouses left were reclaimed by artists, creatives and immigrants as their own. Traditional capitalism had failed as mainstream America looked inward for answers. Meanwhile New York was exploding with the repression of centuries, finally finding its outlet through new artistic freedoms.

While mainstream America had ditched disco, New York took it back underground, with clubs and gig venues, becoming the nucleus of the art, music and fashion scenes. CBGB, Limelight, Paradise Garage, Fun House and Danceteria became stuff of legends; lighting the blue touch paper for dance music that would later become the biggest cultural revolution of the late twentieth century.

Out of what many called New York’s bleakest era – gave birth to the cultural shock waves that influenced popular culture to this day. Rap, House-music, modern-art all can trace its lineage back to the New York downtown, Bronx and Harlem scenes.

Like a painter might do with its muse, I made my choices of where I wanted to live. Scenes and cultures become a magnetic force you get drawn to. To worship it, project it, be a part of it, live it - be it. For reasons far deeper than a job opportunity at various points in my life I moved to the cities that called me; London, Liverpool, Ibiza (an Island not technically a city), Manchester, New York and LA. When the serious realization hit me that I wanted to become an actor after many years of messing about, it had to be New York. My quintessential New York experience was complete when I got my place at the method acting mecca, The Lee Strasberg Theatre Institute.

As my audition for Lee Strasberg had taken place in London, the first time I had set foot on New York soil was the day I moved there with two suitcases, not much cash and as they say ‘a pocket full of dreams’. Two decades on from the New York era of my fantasy, I was living in the once notorious district of Hell’s Kitchen. However, the post 9/11 construct and following the reign of city mayor Rudy Giuliani, New York had given way to a new breed of gentrification. The clean-up of Manhattan saw the mid-town sex-industry kicked out and as actor Rupert Everett noted in his memoir; the only hookers left on

42nd Street were Minnie and Mickey Mouse.

A sanitized version of its previous self left me a little disappointed at first. I guess in some ways I expected to walk straight off the plane and onto the set of Mean Streets, Taxi Driver, Desperately Seeking Susan and Midnight Cowboy. Time doesn’t stand still – especially true in NYC, with the abandoned loft squats from two decades earlier now with an asking price of $2m.

This month I got very excited about the London Barbican season celebrating this very era. The Grime and the Glamour, consisted of screenings of lost works and the independent films set at this seminal time. The season’s centre-piece was a retrospective of the late artist Jean Michelle Basquiat. An affiliate of both Keith Haring and Andy Warhol, Basquiat’s street art defined the era’s visual representation. Viewing this extensive collection, which was so intertwined with the fashion, music and film cultures of the day it was impossible not to feel a huge feeling of loss for simpler, less self-aware and more creative times.

It felt slightly strange to feel such strong nostalgia for a period I never lived in. I assume it was probably how people of that time might have felt about the 1960’s.

But really, culture can only find its true appreciation in retrospect with artists such as Basquiat only finding their real influence after their death. The butterfly effect of the cultural trailblazers often unappreciated and unknown in their time, the real significance comes in their legacy for future generations. EJ

Issue 27

The Essential Journal | 63

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64 | The Essential Journal

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Issue 27

The Essential Journal | 65

COLUMN

words by DAVEY BRETT

Gents, we need to talk about:

GARDENING

In the sixth instalment of our regular column – in which we use our pondering skills to delve deep into clichés, stereotypes, and seemingly unimportant male-orientated issues – we consider gardening, mother nature’s version of arts and crafts

W

hen I was younger and my friends’ parents used to come round to our house during summer to pick them up, my Dad would always give them onions. The routine was always the same. Warm greetings, a slightly pressured tour of the garden and then the gifting of vegetables.

Usually onions and potatoes but also carrots and sometimes mushrooms. No matter what, during summer, if you picked up your kid from our house, chances are you’d be coming back with half a weekly shop’s worth of free, organic, nutritious gear from the well-kept and ever bountiful garden of Papa B. As a child I always found it a bit embarrassing, but in hindsight, my best mate’s mom probably loved it.

Fast forward 14 years and I’m sat writing this at my desk, taking time out to flick green flies off a reduced-price chilli plant I bought in the B&Q bargain bin. The little critters, bogey-like in their camouflage, are giving my chilli plant grief around its sprouting leaves. Next to the chilli plant is a small plant with furry green leaves and the odd white flower which was also knocking about in the cheap bit.

Next to that is a small, neat lemon tree attached to an equally small trellis. The lemon tree was more expensive than a round for six at Wetherspoon’s on a Monday, but cheaper than a standard Premier League match day ticket. The tree has somehow managed to produce one supermarket-sized, waxy green lemon. Said fruit is half the size of the tree itself, and after a few weeks nurturing has quickly began to ripen and edge towards yellow. If this lemon were to somehow fall off before ripening, due to human or unnatural causes, I think it would dramatically affect my week. Previous points considered, I seem to have got into gardening.

All of this of course leads back to my dad. Somehow, after a visit to see my parents earlier this year I came back with two tomato plants. A later visit resulted in the gifting of another

plant, a low maintenance mysterious being which seems to grow out of its modest pot like handkerchiefs from a clown’s sleeve. Then came a house visit to the garden centre which turned into a bit of a spree and now here I am, sat in my room; windowsill covered in plants, herbs and flowers in pots outside my window and a garden full of buried food.

Growing things is addictive. You might scoff, but go out, buy a plant, water it for a bit and tell me it doesn’t spark something inside. I am still like you, I enjoy beer, boxing, football, nice clothes and riding my bike really fast, but growing things stirs something that those do not. Without going too Oppenheimer here, it’s life and death. It’s trial and error. It’s a free lemon here and a sprig of thyme to sprinkle onto your dinner there. Like all good addictive hobbies, it’s also extremely customisable. The garden centre is the new Toys R’ Us (RIP), full of things to buy and potentially waste money on. Plant food is protein powder.

Plant pots are cycling Lycra. Plants are the new vinyl record, download or video game.

More importantly, growing stuff (or gardening, depending on your predicament) is a kickback. There’s no screens in the garden. I’m doing stuff with those things on the end of my arms that’s not swiping or pressing buttons. I’m getting dirt on them, wholesome hard work dirt. I’m investing in something that does not immediately pay out, I’m learning a level of patience.

There’s that comforting feeling of going back to basics. It’s impressive to look at something and feel a level of involvement in a living thing. Maybe that’s what having kids is like? (See, it’s bloody philosophical, it has a way of making you think.)

All of this and I’ve only just started. I have so much more ahead, battles with slugs, the inevitability of netting, meals made of ingredients I have produced, not to mention the return of summer and a bit of colour on my windowsill. Who knows, maybe I’ll go full circle like my dad and produce so many lemons I’ll have to start giving them away. EJ

66 | The Essential Journal

Issue 27

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Issue 27

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The Essential Journal | 67

Issue 27

68 | The Essential Journal

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