Essential Journal - Issue 38

style

drinking

interview

photography

culture

Bracing for the cold with Parajumpers

The cocktail craft according to Cottonopolis

Behind the lens with Leighton Baines

Fine art meets photography with Andreas Neumann

Architectural thoughts on Brutalism

page 21

page 28

page 34

page 45

page 46

I n

p u r s u i t

o f

a

q u a l i t y

l i f e s t y l e

I s s u e

38

'It’s something I aspire to in all my work — a lack of preciousness that makes things more human and honest, a willingness to receive what’s there in the moment and to let go of the result.'

Jeff BRIDGES

www.essentialjournal.co.uk

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18MY DISCOVERY FROM £579 A MONTH ON PERSONAL CONTRACT HIRE PLUS INITIAL RENTAL OF £6,948* 36 month term. Model pictured (including optional Silicon Silver Premium Metallic Paint) from £612 a month, plus initial rental in advance of £7,344. Based on a mileage of 10,000 miles per annum.

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Extra Urban 38.7-67.3 (7.3-4.2); 33.6-60.1 2 26.0-43.5 (10.9-6.5).

CO2 emissions 254-171 g/km.

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For comparison For comparison purposes only. Real world figures mayEU differ. responsibly on andpurposes off road.only. Real world figures may differ. Drive responsibly on and off road.

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For comparison purposes only. Real world figures may differ. Drive responsibly on and off road.

Features

Contents 8

THE PRIMER A rundown of the books catching our eye, the places we’ve been and what we’ve been watching over the last month

12

CROCKETT & JONES We delve into the brand’s enduring influence, its commitment to superior quality, and its penchant for constant boundary breaking

15

TESSUTI TAKEOVER This month’s Tessuti AW18 takeover serves up a masterful balance between elegant style and rugged durability 18 FOR THE PIONEERS Take a look at Tessuti’s impressive Autumn-Winter lineup 20 THE ESSENTIAL GUIDE TO REYKJAVIK We explore the small city with a real lust for life 21 ONE THING DONE WELL Our series of brands doing one item of clothing especially well continues with the Parajumpers down-insulated jackets

24 TAILORED THOUGHTS ON: PHOTOGRAPHY Huntsman cutter and resident tailoring columnist Matthew Gonzalez turns his attentions to the art of photography 24 A CUT ABOVE Ian Harrold considers the creative overlap between barbering and photography

TESSUTI TAKEOVER Page 15

27 HIGH SPIRITS Liz Lock and The Whisky Exchange talk us through another month in the world of fine spirits 28 DRINKING WITH: COTTONOPOLIS This month, we get the liquid lowdown from award-winning restaurant and cocktail bar, Cottonopolis 31

HIGH SPIRITS Page 27

THE GALLERY We offer up an essential collection of the thoughts and theories behind some of our favourite photography 33 INTO THE MINDS OF MASTERS A look at the latest book for the best-selling author, Henry Carroll 34 TACTILE & IMPERFECT: THE FINE ART OF FILM PHOTOGRAPHY We sit down with Everton left back and avid photographer, Leighton Baines, to talk about the celluloid charm of analogue photography 37 A SIDE EYE FOR PHOTOGRAPHY Our roundup of artists for whom photography has become more than just a passing passion project 39 DREAM SPOOL A small collection of the images we wish we’d taken ourselves

CROCKETT & JONES Page 12

LEIGHTON BAINES Page 34

46 ARCHITECTURAL THOUGHTS ON: BRUTALISM This month, our resident expert, Róisín Hanlon, discusses the most unfairly maligned of architectural movements

Online web www.essentialjournal.co.uk @essentialjournal

CONTRIBUTORS Andreas Newman Doherty Evans & Stott Francesco Mellina Gethin Jones Henry Carroll Ian Harrold James Szumowski Joe Shutter Pockets Leighton Baines Liz Lock Matthew Gonzalez Rhodes-Wood Reece Feeney Róisín Hanlon Tessuti

Issue 38 | The Essential Journal

PUBLISHERS Singleton Publishing EDITOR Will Halbert w.halbert@singletonpublishing.co.uk CREATIVE DIRECTOR Thomas Sumner t.sumner@singletonpublishing.co.uk LEAD DESIGNER Jennifer Swaby FRONT COVER Jeff Bridges photographed by Axel Dupeux | eyevine quote from Pictures by Jeff Bridges

@essentialjournal @TEJOURNAL

PARTNERSHIP MANAGER Lara Poynor l.poynor@singletonpublishing.co.uk For all advertising enquiries please contact: sales@essentialjournal.co.uk For all other enquiries including guest editorial and feature opportunities please contact: info@essentialjournal.co.uk

TERMS & CONDITIONS Under no circumstances must any part of this publication be reproduced without prior permission to the publisher. Whilst every effort is taken, the publisher shall not be held responsible for any errors.

Furthermore, the publisher shall not be held responsible for any advertising material/content. Please also note that the views and opinions written within this publication do not necessarily represent the views and opinions of the publisher. All prices and details stated within this publication are correct at the time of print, however these are subject to change and the publisher shall not be held responsible for these. Third party contributions own exclusive copyright to their own material that they have submitted as part of the publication. All rights reserved.

5

LIFESTYLE

LIFESTYLE

Coniston

BY APPOINTMENT TO HRH THE PRINCE OF WALES MANUFACTURER AND SUPPLIER OF FOOTWEAR CROCKETT & JONES LIMITED, NORTHAMPTON

MADE IN ENGLAND | SINCE 1879

CROCKETTANDJONES.COM

A classic high-leg Derby Boot made in England, using the finest Country Scotch Grain or Rough-out Suede

THE PRIMER

'There is nothing worse than a sharp image of a fuzzy concept.'

– Ansel Adams

A note from

No great

the editor

disrespect to

Where we’ve been Visiting THE PHOTOGRAPHERS’ GALLERY I mean, where else would we go for inspiration for this month’s issue? The Photographers’ Gallery. Their latest exhibition, Silver Lake Drive, is a major new exhibition marking the first mid-career survey of American photographer and filmmaker, Alex Prager. Displaying the last decade of Prager’s rich career over two gallery floors, the exhibition encompasses over 40 photographs including her trademark, large-scale Technicolor works and complete filmography. It was a bracing insight into Prager’s merging of art, fashion, photography and film that engaged as much as it entertained.

What we’ve been (looking forward to) eating COTTONOPOLIS SUNDAY ROASTS

the late, great Ansel Adams, but sometimes - just sometimes - it pays to keep things a little less focussed. Sure, a sharp eye is fine and dandy, but it always risks missing the

Crowd #3 (Pelican Beach), 2013 | © Alex Prager Studio and Lehmann Maupin, New York and Hong Kong.

Courtesy Alex Prager Studio, Lehmann Maupin, New York and Hong Kong

Maybe it’s the residual effects of last month’s food and drink issue, but after sitting down with Gethin and the team at Cottonopolis Food & Liquor (pg28), we can’t get their roast dinners out of our minds. The Manchester-based maestros of mixology have turned their sights on the humble Sunday roast, and we couldn’t be happier. Their Sunday Coravin Club is a nice touch, too. Using the wonders of the Coravin Wine System, Cottonopolis can tap into rare and exclusive wines without having to charge by the bottle. Of course, that’s not so say you can’t buy the whole bottle if you want to. I mean, who are we to judge?

bigger picture. That’s why, this month, we’ve taken to pondering the general range

What we’ve been talking about

and scope (and endless

OLIVER SWEENEY’S SHOE TATTOOING SERVICE

associated puns, apparently) of photography. From the snow-capped mountains and

What we’ve been watching

candid wildlife of Iceland’s

THEY SHALL NOT GROW OLD

present-day tundras, to the beer-stained bar floors of Liverpool’s post-punk era; from candid shots of city streets to the filtered frenzy of the Chicago stock exchange. From profession, to passion project, to pasttime, we’ve filled the pages of this month’s issue with a purposefully fuzzy and userfriendly celebration of all things digital and celluloid.

Will HABLERT Editor

8

Shoe tattoos should come as no surprise, really. I mean, leather is skin after all. So it stands to reason that it should serve as another canvas for a little sartorial self-expression. Queue Oliver Sweeney and their novel shoe tattooing service. ‘If you want to leave a lasting legacy,’ say the guys over at Oliver Sweeney, ‘sometimes you have to make a mark.’ Using actual ink and a real tattoo gun, Oliver Sweeney’s Tattooiest-in-Chief will add one final, hand-finished flourish to your favourite tan leather shoes.

what's on our coffee table KATE MOSS, MARIO SORRENTI

The word daredevil springs to mind when describing the images that Steve McCurry has captured over the years. Always willing to put himself right in the thick of things if it means snapping a small piece of history. This personal archive takes you through 14 untold stories from the man himself. From India’s railways in 1983, to the fallout in the first Gulf War in 1991. Almost every image within the book will have you set down your coffee and pull the book closer.

Full of emotionally-charged imagery, the book gifts us with some of the rawest insights into the world’s hardest-hitting events and their effects.

Capturing the moments leading up to Calvin Klein’s now-iconic Obsession campaign, Kate is a raw, candid and intimate collection of never-before-seen images of one of history’s most revered and rebellious supermodels. Taken from the archives of photographer and ex-boyfriend, Mario Sorrenti, the collection celebrates the dawn of two legendary careers, and chronicles the start of the highly influential aesthetic of 1990s fashion photography.

As the image opposite shows, Kate is not only a disarming portfolio of one of contemporary culture's most iconic figures, but is also a significant entry into the annals of fashion and photography history.

Untold: The Stories Behind The Photographs (Phaidon) is available now

Kate (Phaidon) is available now

A far cry from the escapist fictions of The Hobbit and Lord of the Rings, Peter Jackson turns his visual mastery to the ground-breaking restoration of archival footage of the First World War. Co-commissioned by 14-18 NOW, the UK’s arts programme for the First World War centenary, and Imperial War Museums, They Shall Not Grow Old has been created exclusively of original footage from Imperial War Museums’ film archive and audio from BBC archives. It’s a technical marvel, but its real value lies in the way in which They Shall Not Grow Old strips away the disconnect of a century of history to place us face to face with the harsh - and on rare occasion, humorous - reality of the First World War.

What We've been reading UNTOLD: THE STORIES BEHIND THE PHOTOGRAPHS, STEVE MCCURRY

The Essential Journal | Issue 38

Image credit: Mario Sorrenti

THE IMAGE

Issue 38 | The Essential Journal

9

50 CARNABY STREET LONDON

8 MANESTY ’S LANE LIVERPOOL

LINK STREET BIRMINGHAM

BENSHERMAN.CO.UK

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T H E H E ART O F S OU L C OL L EC T I ON

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23/10/2018 17:27

PARTNER CONTENT

Crockett Jones

&

Forever Forward

For Crockett & Jones, historically superior craftsmanship is the standard, not the selling point

Crockett & Jones, however, have never been one for falling victim to their own nostalgia or for resting on their long list of laurels. For them, heritage provides little more than a century-and-a-halfstrong foundation of knowledge and knowhow upon which they continue to strive for greater heights.

Speaking with some of the country’s leading menswear stores and bespoke tailors, it becomes clearer still that Crockett & Jones have come to redefine the very concept of the heritage brand.

Their high standing in style-conscious and sartorial circles is a testament to the brand’s enduring influence, its commitment to superior quality, and its penchant for boundary breaking. EJ The Essential Journal | Issue 38

Image credit: courtesy of Crockett & Jones

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F

or too many brands, the heritage moniker all-to-often serves as an anchor; a sad and sorry ball and chain that stops a brand dead in its tracks, unable to evolve. For others, it’s an invitation to rest on former glories; a safety blanket that prevents a brand from reaching its full potential.

It would be easy for Crockett & Jones to fall back on these said same anchors and safety blankets.

After all, they’ve produced some of the world’s finest footwear since 1879. In Northampton no less; the shoemaking capital of England. And they’ve done so, continuously, under the impassioned eye of the same founding family.

PARTNER CONTENT

The Westbourne Oxford Shoe

The Pembroke Full-Brogue Derby Shoe

The Coniston Derby Boot

Rhodes-Wood, Harrogate

Doherty Evans & Stott, Manchester

Pockets, Shrewsbury

A

D

L

discerning gentlemen’s outfitters offering Savile Row levels of bespoke tailoring, Rhodes-Wood have been dressing the satorial minded for over 30 years. It’s no secret that the beauty of bespoke tailoring lies in the smaller details, and the Westbourne - a firm Crockett & Jones classic has those details in spades. From the fine calf leather upper to the under-laid facing, punched toe cap, the Westbourne Oxford is a celebration of all things sartorial. And what better way to prove that than by pairing the classic Crockett & Jones Oxford with a hand-canvassed, grey flannel suit boasting all over sartorial stitching from Rome?

‘A suit should be worn, it should not wear the owner. The same goes for the shoes,’ says store owner and solid sartorialist, Jeremy. ‘The Westbourne is a firm favourite for that very reason: it offers comfort, class and durability in equal measure.’

Worn with a handmade, end-on-end shirt, a 36oz English silk tie, and accompanying pocket square, The Westbourne is both a celebration of Crockett & Jones’ glory days, and confident nod to the fact that their best days lie ahead of them.

Westbourne, Chestnut Burnished Calf, Main Line Collection Fitting: E | Last: 348 | English Size: 6-12.5 | Sole: Single Leather

Issue 38 | The Essential Journal

oherty Evans & Stott are a dab hand at balancing the classic with the contemporary. For the Manchester-based purveyors of fine tailoring and superlative garments, working with Crockett & Jones is more than just a perfect fit, it’s a match made in sartorial heaven. ‘The Crockett & Jones Pembroke is one of our best-selling styles,’ says Doherty Evans & Stott co-owner, Matthew Evans. ‘It’s such a classic brogue at first glance, but the styling and shape give you a very versatile and contemporary look.’

Here, DE&S take that versatility to task with a look that bears all the hallmarks of true heritage, but with a few forward-thinking flourishes. A classically-cut and custom-made, double-breasted jacket sits alongside a pair of corduroy chinos. The modern, zero-break cuffing on the chinos takes the Crockett & Jones Pembroke from a firm full stop to a show-stopping point of exclamation.

Pembroke, Tan Scotch Country Grain, Main Line Collection Fitting: E | Last: 325 | English Size: 6-12.5 | Sole: Danite Rubber

ocated in the heart of the historic market town of Shrewsbury, Pocket’s flagship store boasts five floors of premium designer apparel, among which Crockett & Jones have become a solid mainstay.

‘Not only do their shoes retain a superior attention to detail, quality, and durability, they’re also timeless enough to go with any look.’ With a narrow last and svelte toe box, The Coniston boot lends itself perfectly to more casual ensembles and slimmer silhouettes.

Seen here paired with a slim-fit, beige chino and olive, four-button overshirt the country grain charm of the Coniston boot provides the perfect working example of how a shoe can make an outfit: ‘As good as they are, the chinos didn’t truly pop until I paired them with the boots,’ says Pocket’s sales assistant, Luke. ‘From the fit of the boot to the colour of the leather, The Coniston really sets the whole look off.’

Coniston, Dark Brown Scotch Country Grain, Main Line Collection Fitting: E | Last: 325 | English Size: 6-12.5 | Sole: Dainite Rubber

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THE ESSENTIAL JOURNAL for

Shot among the rolling landscapes and stunning vistas of Iceland’s striking capital, Tessuti’s Autumn-Winter campaign strikes a masterful balance between elegant style and rugged durability. From Italian maestros of military-inspired outerwear, Parajumpers, to Toronto-born expedition-ready giants, Canada Goose, Tessuti’s latest collection is

tessuti.co.uk

both carefully-curated and tailor-made for the colder months to come.

16

BRAVING THE ELEMENTS: JOE SHUTTER A creative entrepreneur with both an eye for photography and a taste for the great outdoors, Joe Shutter is the perfect fit for Tessuti’s For the Pioneers campaign

First off, tell us a little about yourself.

My name is Joe and I am the man behind the lens at Joe Shutter. Over the last few years, I have carved out an adventure-filled life here in Iceland, the land of fire and ice. Through my blog, vlog and photography, I provide a glimpse of Iceland and invite others to join me on my explorations.

How long have you been into photography?

It’s in my DNA! For as long as I can remember, I’ve had more than a casual interest in photography.

My dad is both a photographer and a writer: He captured such spectacular imagery of wonders like the Amazon rainforests, really groundbreaking stuff at the time.

We actually have every single issue of National Geographic, going all the way back to 1973. I swear, that kind of collection is the closest thing you can get to time travel!

What drew you to Iceland specifically?

I didn’t move there for the landscapes at first, that’s for sure. I headed out there for my Masters and I completely fell in love. The landscapes are breathtaking and the locals have such a profound respect for it. It all evolved from there. I started offering tours because it let me bring together two of my favourite things: Photography and teaching. Offering in-the-field, on-the-road photography courses is the stuff of dreams; I get to teach my passion with passion. That really resonates with people.

What are the main challenges of shooting in a place like Iceland?

Shooting out here takes time, patience and a sense of adventure.

A vast proportion of the country is entirely inaccessible for most of the year. Certain roads and paths only open up for a month or two. There’s a mesmerising network of roads out

there, leading to some of the most spectacular views: Through rivers, over lava fields, across canyons, up mountains, volcanoes, the works.

Obviously, the weather is an issue.

The winds are fierce and multidirectional and hail is never far away.

Umbrellas are no good here, that’s for sure. But of course the weather is also one of Iceland’s most beautiful gifts. It carves the landscape. The hardship really pays off. Nothing worth doing is easy.

How do you prepare yourself for those conditions?

The right kit helps! There’s some truly tough terrain out there, so the Land Rover is a godsend. It's not only up for most tasks, it also looks damn good in the process. It can really take a beating and keep powering on. You can even repair it right there in the field if need be. My go-to is a Defender TD5 Special Vehicles model that I call Balthazar, it took a little while to find but it was worth it.

words by Will HALBERT photography by Joe SHUTTER

"OBVIOUSLY, THE WEATHER IS AN ISSUE. THE WINDS ARE FIERCE AND MULTIDIRECTIONAL AND HAIL IS NEVER FAR AWAY. BUT OF COURSE THE WEATHER IS ALSO ONE OF ICELAND’S MOST BEAUTIFUL GIFTS. IT CARVES THE LANDSCAPE."

I got the chance to field test a Parajumpers jacket not so long ago.

I’m a big fan. It’s the details more than anything, there’s a nice mix of form and function, but also a cool sense of technicality, too. Those chunky metal hooks are a real winner. Perfectly fitting with the Land Rover's aesthetic, too.

Tell us a little about your workshops.

Our last 10-man Melrakki Arctic Fox Photography workshop was a pretty life-changing journey through the Westfjords. Every last one of us, crew and all, were truly inspired by the stuff we saw out there. Where else are you likely to see five polar bears in one day? Epic stuff.

Next August, we’re doing it all again! We’re calling it Silent Arctic, as we’re taking an electric schooner to glide silently through the world's largest fjord system.

Are you bringing anything new to

17

On The Move: Be sure to keep this one in your diary, running until December visit Joe Shutter’s Photography Exhibition at Tessuti, Chester - 30 Bridge Street, CH1 1NQ

Find out more about Joe Shutter’s adventures over on his blog (joeshutter.com) and his Instagram feed (@joe_shutter)

THE SILENT ARCTIC ADVENTURE WORKSHOP An expedition for the ages Last August, Joe Shutter took a handful of lucky adventurers on a full-scale expedition of Northeast Greenland on an eight-day adventure and photography workshop. Travelling by electric schooner, explorers delved headlong into some of Greenland’s most awe-inspiring fjords, some of which measured up to 216 miles in length. The result was an unforgettable, once-in-a-lifetime exploration of Greenland’s stunning visual splendour and immense scale. High above the Arctic Circle and aided by 16 hours of late summer daylight, the small group of explorers had the opportunity to photograph stretches well beyond the limits of their imagination. Tiny, remote villages buried away in places you never thought possible. The majestic Ummimak, or Musk Ox, and other forms of Arctic life (including the odd polar bear) wear seen from the silent vessel. Next year, Joe plans to help another lucky group of willing explorers embark on a journey that will take them far beyond the average photography workshop.

next year's workshop?

Well, we now have The Space, which rounds the whole workshop experience off. Thanks to this brand new communal creative hub, we can do all of our own printing post-shoot.

There’s a full studio over there, giving us scope for some really experimental stuff!

And finally, talk us through some of your most trusted photography gear.

As far as cameras are concerned, it’s always been Nikon for me. My dad always shot Nikon, and has a pretty impressive repertoire of lenses to go along with his years of experience.

My king, queen, jack set up is my Nikon D850, along with my D810 and finally my D750. I always work with three cameras. You never know what can happen out there so it pays to be ready for anything. Nikon hits that sweet spot between full professional specs and approachability. If you’re looking to start out yourself, you can't go wrong with any of them.

TESSUTI AW '18

18

FOR THE PIONEERS Featuring the latest and greatest from the likes of Parajumpers, Belstaff, Pyrenex and Canada Goose, Tessuti’s AW 2018 campaign matches form with function as the tempratures fall. Check out the full collection at tessuti.co.uk

Joe is wearing: Canada Goose Langford Padded Parka Jacket

Asa is wearing: Pyrenex Authentic Padded Shiny Jacket

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19

Joe & Asa are wearing: Parajumpers Right Hand Parka Jacket and Gobi Padded Bomber Jacket

Joe is wearing: Belstaff Racemaster Jacket

Joe & Asa are wearing: Canada Goose Maitland Padded Parka Jacket and Brookvale Padded Jacket

Joe & Asa are wearing: Parajumpers Gobi Padded Bomber Jacket

20

The Essential Guide to

words by Reece FEENEY

A small city with a lust for life, Reykjavik is quickly becoming one of the trendiest and most talked about of Northern getaways

morning

BERGSSON

Since its arrival in 2012, Bergsson has been regarded as a popular hangout amongst locals and tourists who care about what they eat. Open 7 till 7, the early bird café entices its customers with some real quality produce. Whether it be a full Icelandic breakfast or a cake or two, the vegetarian and vegan friendly restaurant has it all for those chilled,

evening

early morning rise-and-shiners. Promoting good vibes throughout the day, this is a place to unwrap your scarf and plan your day in the city over a well-made coffee and a Bergsson cake.

bergsson.net

RIO REYKJAVIK

For the all-important evening meal, we suggest Rio. A friendly, fresh South American restaurant with a hint of Asian modification, Rio’s approach focuses not just on its mouth-watering food but the overall experience. Rio has an intriguing menu that offers classic South American dishes with a seafood

20

midday

rioreykjavik.com

MARSHALLHUSID (THE MARSHALL HOUSE)

If art and culture are two hobbies that float your fishing boat, then The Marshall House - located in the upcoming Grandi district should definitely be on your radar. Originally a fish factory back in 1948, the building has since been re-imagined as a cultural art centre and restaurant. The Marshall House and its trendy surroundings have something

night focus and an Icelandic twist. Our advice?

The vegan tacos are not to be missed!

H

aving the title of the world’s most northerly capital, Reykjavik provides its tourists with a rich aroma of creative soul, all the while offering some fantastic architecture and show stopping nightlife; the ‘key three’, you might say. We’ve taken the liberty of locating a few brunch spots and cocktail hideouts that offer a splash of independence alongside a drizzle of northern colour.

for even the most casual of art enthusiasts.

The built-in seafood restaurant is on-hand for a light bite and midday drink once you're done feasting your eyes on the gallery.

marshallhusid.is

KOL

After a night-time stroll through the heart of the city, a cocktail or two is likely to be on your agenda. Kol takes you on an exploration into the art of cocktail making by categorising their drinks menu into five subcategories that range from heavy-hitters to mocktails.

With options like A Total Witch Hunt and

Cyanide & Happiness, the oddball names of the cocktails often add as much flavour as the liquor in them.

kolrestaurant.is

One Thing Done Well

21

Our series of brands doing one item especially well continues this month with Parajumpers’ down insulated jackets words by James SZUMOWSKI

I

t’s rare for an Italian designer to suggest that it is the function of their product, rather than its form, that evokes the most pride.

But the Parajumpers range is designed with the long haul in mind.

The inspiration behind Parajumpers’ design ethos boils down to two chance discoveries during outerwear designer, Massimo Rossetti’s time in Alaska back in 2001. The first was the oversized zipped front pocket of an Anchorage fireman’s jacket, big enough to store his helmet. The second, a conversation with a member of the Alaska-based 210th USAF Rescue Squadron. And so it was that Parajumpers’ brand identity was forged from tall tales of helicopter flights, mountain rescues and heroic deeds.

Since then, Parajumpers has created a niche for itself that not only separates it from the crowd through quality, but also design. A hard-wearing nylon oxford shell guarantees durability while the inner lamination layer and melded shoulder, pit and hood seams keep the wearer dry. In a further nod to functionality, the oversized outer cargo pocket opens to reveal miniature mesh pockets

"SINCE THEN, PARAJUMPERS HAS CREATED A NICHE FOR ITSELF THAT NOT ONLY SEPARATES IT FROM THE CROWD THROUGH QUALITY, BUT ALSO DESIGN." sized for iPods, mobile phones and wallets. Further flourishes such as the tactile parachutist's hook collar fastening identifies the jacket as a true Parajumpers piece, acting as a beacon for fellow gear-heads.

On the arm, a small zipped pocket sits below the classic and unmistakable (and removeable) Parajumpers patch. It is the customisation of the jacket that enamours it to so many prospective buyers. The hood, fur trimming, patch and even the interior insulation layer can be removed, ensuring the jacket remains wearable in any environment.

The jackets also feature two hand warming front pockets, a small zipped shoulder pocket, interior layer inside pockets for those things you want to keep really close to your heart, and reinforced sections around the elbow, the most heavily stressed part of any outer layer.

Parajumpers offer a number of variants on their winter jacket, each one warm, waterproof and endlessly customizable. Their jackets are also as carefully-designed as they are responsibly-sourced.

Parajumpers use only ethically-farmed down and fur in their clothing, and even offer vegetarian versions of their most popular designs. Ethical, beautiful and adventure-ready, Parajumpers provide the perfect meeting point between intuitive design and solid, uncompromising functionality. EJ

The Parajumpers range is available at tessuti.co.uk 21

LIFESTYLE

available at

22

The Essential Journal | Issue 38

What’s On

October– November

Saturday 13 October 7.30pm

On The Waterfront: Film with Live Orchestra (cert PG) Thursday 1 November 8.30pm Music Room

Saturday 10 November 7.30pm Homotopia Festival

John Waters: This Filthy World Sunday 25 November 7.30pm Film

Liverpool Arab Arts Festival

Cairokee

Bohemian Rhapsody (cert TBC)

Sunday 4 November 12pm Music Room

Troika Klezmer Kabaret Box Office 0151 709 3789 liverpoolphil.com

Friday 9 November 7.30pm

Russell Watson

LiverpoolPhilharmonic liverpoolphil liverpool_philharmonic Principal Funders

Principal Partners Thanks to the City of Liverpool for its financial support

Media Partner

Image Bohemian Rhapsody

STYLE

Tailored Thoughts on:

Photography Huntsman cutter and resident tailoring columnist Matthew Gonzalez turns his attentions to the art of photography

This month, Ian Harrold considers the creative

words by Matthew GONZALEZ

A

t its core, photography tells a story. It's the reason we use that tired cliché 'a picture is worth a thousand words'. During the Great Depression, photographer Dorothea Lange famously took portraits of impoverished Dust Bowl era migrant workers. In many cases she would shoot her subject from a low angle, looking upward. It was a technique that would make us, the observer, feel small and the subject big. They would tower over us, while we glimpsed into their world of hardship. Lange used her camera to remind us that everyone, regardless of their age, race or economic circumstance is valuable. She showed us that even those who we can very easily pity, possess untold amounts of grace and dignity. At her core she was a storyteller. Photography's ability to convey stories is why it resonates with us so much.

It's also why that favourite picture of yourself (the one where the camera angle and lighting are perfect so you've never looked better) means so much to you, because it captures a memory of you at your aesthetic best; it's a tangible document that allows you to forever bask in the momentary bliss of photogenic perfection.

Clothing is another great communicator. Our wardrobes are material signifiers which inform the world of who we are publicly and privately. Our clothing can indicate what we do professionally, our religious beliefs, the music we like and even our political affiliations. Naturally, clothing has long been an interesting subject for photographers. Tailoring and photography specifically have always been comfortable bedfellows.

The long elegant lines of a well-tailored jacket and the razor sharp creases of pressed trousers naturally possess the physical elements that make a good photograph. However, those elements alone don't produce a great picture. As viewers, we require a story. We want a reason to study a photo. Lange, like all great photographers, seemed to sear the intangible backstories of her subjects on to film and that is what still draws us into great pictures today. When it comes to fashion photography a professional model whose sole purpose is to look good wearing a suit is usually aesthetically pleasing and very stylish, but it can lack a sense of authenticity. Conversely 'street' photography seems to pin down the very essence of what fashion photography is supposed to be, the tangible manifestation of personal creativity and passion coming together through clothing.

We can most easily see this online. Instagram has been an amazing platform to showcase photographers who are seemingly inspired by the relationship between a person and their clothing. Jamie Ferguson (@JKFman) and Scott Schuman (@thesartorialist) are just two of many who come to mind when thinking of photographers who showcase 'regular' men and women (i.e. non celebrities) in their own clothing.

Seeing a photo of an otherwise regular passerby dressed exquisitely, not because it's their job or because some stylist had kitted them out, but instead because they are passionate about how they dress, is far more interesting than almost anything coming out of a studio. Great photographers are able to sense and capture that passion on film. When scrolling through JKFman's account one will see a variety of posed and candid shots of well-dressed men expressing themselves by wearing their own clothing. More often than not the men in Ferguson's feed are suited up. He is a master of showcasing the richness and character of men's suiting that lies beneath the polarised conventional wisdom that a suit is either a boring city uniform or an outlandish peacock outfit (just think the worst of what Pitti has to offer for a mental image). In doing so, he has discovered a new archetypal urban male. One that is drawn to the formal lines of tailoring without feeling obliged to conform to the conventional expectations of long standing sartorial dogma. The suit can be yours to interpret and if other people like it, all the better!

If fashion photography is about telling the story of clothing and the people wearing them, then the best photographs are the ones that feel genuine. It's why celebrity models in fashion adverts can sometimes feel a bit strange and disjointed. It's also why we are so drawn to the subtextual narrative of great photographs. We, as consumers of photography, in galleries, museums, magazines and on social media want to be mesmerised by it. A great photo should linger in our minds like a song we love and can't get out of our heads.

Photography is visceral. At its very worst fashion photography should be a bunch of pretty pictures. However, at its best it should inspire us to dress in a way that makes us comfortable to express who we truly are. MG

'We, as consumers of photography, in galleries, museums, magazines and on social media want to be mesmerised by it. A great photo should linger in our minds like a song we love and can't get out of our heads.'

24

A Cut Above overlap between barbering and photography words by Ian HARROLD

In a time when people can make money by literally taking pictures of their own food, it’s easy to throw around a little ‘everyone’s a photographer’ insta-cynicism. But our drift towards the medium does make sense. Unlike other art forms, photography is something you can do from the get-go. Sure, it takes skill and dedication to get good. But it’s probably one of the more instantly accessible of art forms.

When you think about it, there’s not a lot of areas in life where photography doesn’t overlap in some way. And that rings particularly true in the world of barbering, where photography is both a means of self-promotion and self-expression.

Creativity is, after all, a gateway to more creativity. And barbering is, above all, a creative industry. That might sound a little pretentious, but you only have to look at the work of Alan Beak, for example, to see that there’s more to barbering than a functional haircut: There’s a real desire to push things that little bit further.

And so, the usual, self-promoting headshot of your latest cut quickly becomes a foray into portrait photography. Before you know it, barbers have entire photography studios set up in their shops, or they’re taking to the streets, perfecting a whole new craft on top of barbering. In certain circles American Crew founder, David Raccuglia, is better known for his photography than his hair product empire, for example.

There are other instances where barbering and photography go hand in hand more directly: in the roles of the session barbers like Jody Taylor for example. Working on various fashion shoot locations, Jody is tasked with creating on-thespot hairstyles for covershots and editorials for the likes of Vogue and New York Times. Session barbering is a high pressure form of barbering, one that’s intrinsically linked with the camera.

And of course, as barbering enjoys its time in the social spotlight, there are the barbers that often spend as much time in front of the camera as they do behind the chair. The guys over at Schorem in Rotterdam, for example, are a dab hand at injecting a touch of character to the shop with their team shots and individual profiles.

At first glance, it’s an odd combination of two very different crafts, but when you get down to it, it’s easy to see why barbering - with its eye for detail, its obsession for angles and composition, and its constant drive for perfection - would find a kindred spirit in the visual work of the photographer. IH

The Essential Journal | Issue 38

New collection inspired by

SE EASON TWO S ASON TWO

Out on Blu-ray™ and DVD on 22nd October

© 2018 Left Bank Pictures (Television) Limited. All Rights Reserved.

Issue 37 | The Essential Journal ESSENTIAL-JOURNAL-AD-260X355MM.indd 1

25 20/09/2018 14:27

Sweeney takes the Leeds Celebrate the new Oliver Sweeney collection with a night of drinks and live tattooing.

Get your complimentary initial tattoos with any purchase on the night.

Thursday November 8th | 38 - 40 County Arcade, Victoria Quarter, Leeds LS1 6BH

RSVP to events@essentialjournal.co.uk

DRINKING

High Spirits A month’s worth of comings and goings in the world of The Whisky Exchange words by Liz LOCK

F

rom the classic, Hollywood charm of Terry O’Neill’s black and white photography to the vibrant, lavish work of drinks photographer, Addie Chinn, this month has been quite the visual affair. Good looks aren’t everything, though. We all know that it’s what’s on the inside that counts. And that rings particularly true when you’re talking about the rare beauty of a New Zealand whisky or the natural charm of a mezcal created by none other than George Clooney.

Read on for drinks as easy on the eye as they are on the taste buds.

Who we're visiting What we're drinking

The American Bar

Casamigos Mezcal

image credit: 'Who we're following' Addie Chinn | 'Who we're visitng' Terry O'Neill

So it may have slipped from the top spot on the official World’s 50 Best Bars list, but the American Bar is still firmly one of the world’s best (number two in fact). Titled Every Moment Tells a Story, the current cocktail menu is inspired by photographs taken by the great Terry O’Neill which have hung on the walls of the American Bar for many years. Each cocktail tells a story of the picture it represents... my personal favourite being Life And Times: A delicious blend of Diplomatico Mantuano rum, umeshu (a Japanese liqueur), white port, rosemary honey water and tonic. The picture it represents is a moment of closeness captured between John Huston and Ava Gardner on the set of The Life and Times of Judge Roy Bean in 1972.

Famed for its superb tequila, Casamigos (created

by George Clooney and his close friends Rande Gerber and Mike Meldman) has introduced a mezcal (everyone do a dance because mezcal is hotter than Icarus’ wings right now). There are many types of mezcal - this one is Joven (or Blanco as some people prefer) and offers delicate tones of smoke, a little hint of liquorice alongside plenty of fruity flavours including pomegranate, banana and mango, and some herbal aromas too. If you’re going to start a discovery of mezcal, this is one worth starting with. £60.95 - Available exclusively at thewhiskyexchange.com

The Savoy Hotel, 100 Strand, London, WC2R 0EZ Mon - Sat, 11:30am - 12am | Sun, 12pm-12am fairmont.com

what we're mixing Kyrö Koskue Gin & Juice Just like Scandinavian design, this recipe from Finnish distillery Kyrö is simplicity defined. Serve it ice cold or piping hot - of course, now that the Summer is gone, it’s definitely best served piping hot on Bonfire Night.

Kyrö’s Koskue Gin is an aged rye-based gin that’s matured in small oak barrels. Aged gin can be difficult to get right but these guys have perfected it.

INGREDIENTS 40ml Kyrö Koskue Gin 80ml cloudy apple juice Apple slice METHOD Heat the apple juice in a pan until piping hot. Add gin and garnish with an apple slice.

what we're dramming New Zealand 18 Year Old Double Wood Whisky from New Zealand is a bit of a rarity and this beautifully complex blended malt from closed distillery, Willowbank (previously the world’s southernmost distillery) is a real treasure.

The whisky has been through an unconventional double maturation in ex-bourbon barrels and in French oak New Zealand wine casks, which gives it plenty of lingering dark fruit notes and woody spice. Exclusive to The Whisky Exchange. £99.95 – Available exclusively at: thewhiskyexchange.com Issue 38 | The Essential Journal

Who we're following @addiechinn Photographer Addie’s Instagram feed makes you want to dive head first into so many cocktails.

He’s a bit of a name in the drinks industry and works with some of the best brands in the business. One look at his shots and you can see why. I do love that his drinks pics are interspersed with self-portraits, mince pies, dogs and stunning landscapes.

27

DRINKING

Drinking with

Cottonopolis Situated in Manchester’s burgeoning Northern Quarter, the Japanese-inspired Cottonopolis Food & Liquor stands as both a proud nod to the city’s industrial heritage and as a key player in the North’s blossoming cocktail culture words by Will HALBERT

Image Credits: Lucas Smith | Menu Design & Artwork: Jack Kimberly

28

The Essential Journal | Issue 38

DRINKING

The Ace in the Hole:

Get the Round in:

The Food Menus

Quickfire questions answered in the time it takes Cottonopolis’ General Manager to finish teaching me how to use chopsticks

Gethin Jones Tell us a little about the idea behind the name of the bar It’s a nod to the city’s history more than anything. Back in the eighteen hundreds, Manchester was nicknamed ‘Cottonopolis’ for its central role in the cotton industry. It’s the reason that most of the buildings around here have such a similar vibe to them; they’re almost all Grade II listed buildings.

Who designed your (now award-winning) menu?

The team and I designed the drinks, but the menu design and its illustrations are down to the wonderful talents of graphic designer, Jack Kimberley. Check out his other work online (jack-kimberley.info) and on Instagram (@_Jackkimberley). Thank me later.

What are the challenges that come with being a high-volume bar?

It’s important for us have the freedom to be experimental with our menu without getting too niche.

But it’s also important for us to be respected by our industry peers. The challenge lies in finding that balance. We strive to stay welcoming and approachable to less seasoned drinkers whilst also contributing something new and exciting to the drinks industry.

S

plit into the categories of ice, fire, oil and steam, the Cottonopolis food menu has a visual flare that more than matches the charm of its open kitchen. From the light, fresh zest of yellowfin tuna sashimi, to the subtle spice of the Loch Duart Salmon, to the weightier decadence of Goosnargh Chicken Yakitori in rich, peanut sauce, the menu offers variety and virtuosity in equal measure. And for the nightowls, Cottonopolis even offers a down-and-dirty, ‘Japanese Junk’ menu from 10pm.

What’s in the pipeline over the next few months?

We’ve just introduced our twist on a Sunday Roast. Think Wagyu Beef rump, Karaage Chicken and Kurobuta pork, all washed down with some seriously top tier wines that you can now enjoy by the glass thanks to our Coravin Club.

And finally, what’s your house shot?

Plantation Pineapple Rum, no contest. It packs a punch but still has the flavour and the nuance to keep things polite and enjoyable.

Featured Libation:

The Award Winner:

The Weak are the Meat the Strong Eat

The Idioms Menu

S

imple, stripped-back, and sophisticated by design, it comes as little surprise that Cottonopolis' idioms menu has just won Imbibe Magazine’s ‘avant garde drinks list of the year’ and ‘best overall drinks list of the year’.

By basing the menu around Japanese Yojijukugo (traditional, four-character, idiomatic pearls of Japanese wisdom) the Cottonopolis team have taken the elusive art of cocktail-naming to new heights. And with only 13 carefully-curated drinks on offer, the menu boasts a confident balance between boundary-pushing easydrinkers and innovative, straight-up sippers.

Issue 38 | The Essential Journal

B

y all accounts, Cottonopolis’ The Weak are the Meat the Strong Eat is both a testament to the bar’s experimental edge and a display of its pan-Asian inspiration. True to its name, it’s a cocktail that comes on strong in the best of ways: It’s a weighty, whisky-forward and duck fat-washed concoction that boasts bite and balance. The blend of Nikka from the Barrel and blood orange liqueur offers a bracing first contact that’s quickly mellowed by the fruity, floral finish of Byrrh and Pedro Ximenez Sherry.

Driving the savoury splendour of the whole thing home once and for all, the cocktail even comes with a pork crackling garnish.

29

LIFESTYLE

55 Jermyn Street, London, SW1Y 6LX

|

24 Brook Street, London, W1K 5DG

www.johnsmedley.com

An essential collection of the thoughts and theories behind some of our favourite photography

'I love photography because I use it as a visual diary of the caught moment.'

'I’ve always loved the work of Martin Parr, so street photography seemed like the most obvious place to start.'

‘I take photographs not only with my eyes, but with my entire body.’

Paul SMITH

Leighton BAINES

Daidō MORIYAMA

page 37

page 34

page 33

'I was lucky enough to witness a very special time in Liverpool’s cultural history.'

'Ultimately our work is all about trying to create a sense of a place through a series of images.'

'I was around Queens of the Stone Age for so long that Josh started referring to me as their camera-player.'

Francesco MELLINA

Haarkon

Andreas NEUMANN

page 40

page 43

page 45

31

PHOTOGRAPHY

Into the Minds of Masters

Method to the Madness Our own take on some of the imparted wisdom of Photographers on Photography

‘A photograph is usually looked at -

Henry Carroll’s latest book sees technicality take a backseat to philosophy in the best of ways

seldom looked into.’

Ansel ADAMS

words by Will HALBERT

I

n his internationally best-selling ‘Read This If You Want to Take Great Photographs’ series, Henry Carroll provided an approachable, jargon-free and user-friendly guide to photography. The series laid the technical foundations for budding photographers to get the most out of their newfound passion.

His latest book, however, takes a more philosophical approach. Photographers on Photography: How the Masters See, Think and Shoot offers inspiration and insight from some of the world’s most renowned photographers. The carefully-curated wisdom of 50 photographers is designed to inspire, inform and challenge in equal measure. From the chilling, black and white reportages of Ishiuchi Miyako, to the uncanny, double-exposed portraiture of Alvin Langdon Coburn, Photographers on Photography presents an engaging and educational survey into the age-old craft of photography.

Henry Carroll on... ...running his own company It can be incredibly rewarding, but only if you expect to have to work harder and be more stressed out than you might be working for someone else. At least in the short term.

We often focus purely on the aesthetics without really looking deeper into the context or message of an image. The story behind and within the image counts, and even an out-offocus shot can be a good one if it captures your attention for long enough that it evokes some sort of narrative.

‘I take photoPhotographers on Photography: How the Masters See, Think and Shoot (Laurence King Publishing) is available now through laurenceking.com

graphs not only with my eyes, but with my entire body.’

Daidō MORIYAMA

...getting into photography You don’t get into photography. Photography gets into you. ...keeping things simple It’s the hardest thing to do, which is why most things are too complicated.

Photography often seems like such a detached and observational process, but sometimes the photographer has to get more involved than you think. After speaking to so many photographers this issue, we’ve come to realise that you often have to be willing to get into the thick of it for the sake of great work.

...luck versus skill I think it takes a lot of skill to be lucky. ...iPhone photography It’s great to have a camera on you all the time to document ideas and experiences. We’re seeing different kinds of images because of that and some artists are exploring the use of camera phones in interesting ways. I think, on the whole, I’m neither snobby about it or particularly excited about it. ...his favorite photograph It’s impossible to pick a favourite photograph. It’s like picking your favourite food or song. It depends on your mood and current tastes both of which change all the time. ...his growing collection of plastic tea stirrers Yes, I have the world’s largest collection of disposable plastic tea stirrers. I’m interested in them from the point of view of industrial design and disposability. It’s fascinating that something that would function just as well as an unadorned plastic ‘stick’ manifests itself through so many different designs. I’ve recently started documenting my collection by placing them on images or texts that in some way add to the story or design of the stirrer.

Check out my Instagram hashtag #TeaStirrersOfTheWorld.

Issue 38 | The Essential Journal

‘Things usually don’t develop quite as imagined, but that often leads to the best work.’

Esther TEICHMANN

The idea of the happy accident would border on cliché if it didn’t often ring so true. It’s easy to forget in today’s digital-forward society, but in the days of film it was often the developing process that gave a shot its character. The real beauty to this little pearl of wisdom lies in how it can be taken literally or figuratively.

33

PHOTOGRAPHY

Tactile & Imperfect: The Fine Art of Film Photography Everton left back and avid photographer, Leighton Baines, gives his two cents on the celluloid charm of analogue photography words by Will HALBERT photography by Leighton BAINES

On the analogue process With film photography, there’s a real sense that there’s something at stake, there’s a pressure to it. I like that. People often say that if you want to really learn photography then you need to go analogue. I’m not sure that’s true. I mean, digital gives you a safety net, there’s a margin of error and that’s important starting out. After all, you’re going to make a lot of mistakes. But at least with film photography, even your mistakes have a little charm to them. In some cases they’re even your best work.

On street photography fundamentals I’ve always loved the work of Martin Parr, so street photography seemed like the most obvious place to start.

Street photography takes away the need for a subject. Or at the very least, it allows the subject to come to you. But street photography comes with its own set of challenges: You find yourself at the mercy of the city’s constant and chaotic motion and the odd dance of the day’s light.

After a while, it changes the way you see things. You find yourself taking mental and literal notes of particular lightfall in particular places at particular times. You break everything down into colours and compositions.

On access and portraiture I’m lucky in the sense that my career has allowed me to meet some very interesting people over the years.

The idea that I’m able to capture moments that are of interest to other people is a cool one; whether that’s at Everton’s training ground, backstage at a gig or even in the studio 34

'...street photography comes with its own set of challenges: You find yourself at the mercy of the city’s constant and chaotic motion and the odd dance of the day’s light.'

during the recording process. But, more than anything, it’s the idea of tapping into other creative streams that really interests me. I like being around people who are passionate about their craft - whatever that is and learning from them.

Lately, I’ve tried to move on from street photography to take a stab at portraiture, it’s a challenging shift even if the set ups do look simple.

There’s something to be said for the likes of Platon, whose set up looks simple enough, but who manages to capture some really powerful imagery.

On his own cameras The first camera I picked up was a Nikon FM2. I had no idea what I was doing, I just saw that Don McCullin has used one. The Hasselblad 500 The Essential Journal | Issue 38

PHOTOGRAPHY

FURTHER READING Color Correction

by Ernst Haas 'One of the first books on photography I ever read, really instructional and still a constant point of reference.'

Kodachrome

by Luigi Ghirri ‘A masterclass in colour and composition. Ghirri taught me that there’s a real beauty in simplicity.’

Silver Lake Drive

by Alex Prager ‘More indicative of where I am now, moving on from candid street photography towards more measured material.’

FURTHER VIEWING McCullin (2012) ‘An inspirational and, at times, harrowing tale of one of history’s most prominent photojournalists.’

Finding Vivian Maier (2013)

A Lens on Liverpool Marrying long-standing interest in street photography a budding love for portraiture, we spent a morning roaming the streets of Liverpool with Leighton and his Hasselblad. With just 12 exposures to play with, the morning offered a brief window into Leighton’s creative process and the subjects that caught his eye.

‘The idea that someone could be so secretive about their passion for photography that they’d hide their entire works away is baffling, but it makes for a seriously intriguing watch.’

Abstract: The Art of Design (2017) ‘A really engaging show in general, but the episode on British photographer Platon - the guy who shot Vladimir Putin for the cover of Time Magazine in 2007 - offer some real insight into his process.’

FURTHER LISTENING The Candid Frame ‘Some pretty in-depth and weighty conversations with a range of big names from the world of photography.’

A Small Voice ‘A great fortnightly podcast from Photographer, Ben Smith, with a nice variety of established and up-andcoming photographers.’

Off Camera with Sam Jones ‘Great interviews with some of Hollywood's most notable figures. And Sam Jones is a great photographer in his own right.

Issue 38 | The Essential Journal

CM came next, it’s a medium format loaded with 120mm film, which presents its own set of challenges. Then there’s the Leica. An M6 rangefinder in my case. The M series has such an iconic and coveted status: It’s almost as much about the camera’s performance as its looks. The M6 in particular is pretty special, it was discontinued a while ago and was one of the last of the M series to take film. It’s become my go to for most things. I had a horrible moment not so long ago when I actually dropped it. I was able to find a guy who could fix it using the parts from another two salvaged Leica M6s. Good old camera repair is a lost art in itself, in many ways.

On developing in the darkroom I love it: It’s such a tactile and imperfect process. Lightbox over in West Kirby has been a great place to get to grips with the whole process, whether that’s through workshops or just providing a place to develop your own film. It’s such an important part of photography that a lot of people seem to have forgotten about, but everything that goes into the devel-

opment process imparts character.

There’s an honest charm to that, because it’s the flaws that keep things interesting. We’ve come a long, long way in the field of photography. And while, on the one hand, you know full well that photography is backed by hard science, there’s something in the development process that retains a little magic.

On his next project I don’t really think in terms of projects, because I still feel like there’s still so much for me to learn. I’ve moved from street photography to portraiture because I’m interested in the more practical and measured side of photography. I was looking at the work of Alex Prager not too long ago, and that’s an avenue I’d really like to explore. Prager’s work is so intricately planned; I can’t even imagine the level of planning and forethought that that must take. I’m not saying that’s the direction I want to take, but it’s definitely something I’d like to explore. That’s how my brain works, I need to know exactly how something’s done before I can move on to something else. EJ 35

LIVERPOOL

LONDON

MANCHESTER

ALTRINCHAM

DAVIDMROBINSON.CO.UK

PHOTOGRAPHY

Allen Ginsberg, Beacon Theatre, New York, 1995, Michael STIPE | Featured in Volume 1 (Damiani) available now

A Side-Eye for Photography words by Reece FENEEY

Jeff BRIDGES Known for bringing characters to life on screen such as Californian Slacker The Dude, Jeff Bridges also keeps an ace card up his sleeve: He loves to shoot. Who knew? It turns out that the guy with quite possibly the best haircut in Hollywood loves to take out his Widelux for behind the scenes shots and selfies with fellow silver screen giants. The Fisher King has been shooting film sets since the early 1980’s, providing a hidden archive of rich black and white film images that capture the life of a film set throughout the star's illustrious career.

Jason LEE A jack of all trades, Jason Lee, is best known for portraying Earl Hickey in the popular American sitcom My Name Is Earl. Aside from making a name for himself in the skateboarding bracket in the early 1990’s, Lee has been into creating instant film images for many years. His love of curating organically-induced film images shines through his work, showcasing an array landscape shots of a rural America. His work creates a mixed aesthetic of loneliness and distinctive influence from his early skating days.

Issue 38 | The Essential Journal

Matt HELDERS Arctic Monkeys member, Matt Helders often swaps his drum sticks for the camera lens. With a brave preference for film photography, the drummer’s Instagram account is a real feast for the eyes. His shots of music legends such as Iggy Pop sit alongside everyday life pieces. Matt also put a photo book together for the Arctic Monkeys' latest album, with shots as reminiscent of Stanley Kubrick as the album itself. He’s also kind enough to add his lens and camera models into each of his Instagram posts. A true gent.

Michael STIPE A beautiful approach to photography, much like his songwriting ability, Michael Stipe of American rock band R.E.M has been into photography for most of his music career. In his new book, Volume 1 (1980-2015), Stipe takes us on an awe-inspiring journey of mind and soul. From intimate black and white portraits, to a poignant shot of Kurt Cobain’s hands, Stipe captures a certain inner beauty throughout. I’m confident that if Michael Stipe did not become a worldwide music phenomenon, he could have been pretty handy as a professional photographer.

Lenny KRAVITZ Lenny Kravitz is a figure who has inspired many through sheer musicality and a cooler-than-cool persona: A deadly duo that has secured his place in music history. But Kravitz is also a keen photographer. His work is currently being exhibited at Skylight Modern Space in New York City. It focuses on a celebrity party with stars such as Harvey Keitel and daughter Zoe Kravitz drenched in black and white negatives. The images are almost as cool as the man himself.

Dennis HOPPER The late star and coveted director of the silver screen has forever loved art, filmmaking and the use of a film camera. His passion for photography stems back to his shooting of Warhol’s pop art parties in New York in the 1960s. Hopper’s imagery varies from street landscapes of downtown California to a young Jane Fonda, and can be found in books like On The Road and Colors, The Polaroids.

The innovative and unpredictable Hollywood rogue never pinned down his image style, one minute he would seem to be using classic film cameras, the next a polaroid, all the makings of a most charismatic creator.

@takenbypaul

Paul SMITH With his pencil is firmly in his pocket, one of Britain’s most prominent fashion designers, Sir Paul Smith loves nothing more than to travel around the world and take photographs. Smith’s playful nature is reflected in his photography, which makes for a light hearted approach to capturing everyday pictures. The clothing veteran splits his time between creating eye-popping stripe designs and capturing images that have become a visual story of his life:

‘I love photography because I use it as a visual diary of the caught moment, something I inherited from my amateur photographer father.’

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Gursky’s work remains refreshingly proud of its own artifice: ‘Since 1992 I have consciously made use of the possibilities offered by electronic picture processing, so as to emphasise formal elements that will enhance the picture, or, for example, to apply a picture concept that in real terms of perspective would be impossible to realise.’

Gursky’s image avoids the trap of representation by instead attempting to highlight the brash exuberant kineticism of the stock market as a thing in itself. Here, Gursky doesn’t capture the stock exchange in itself, but the concept that lies behind it.

Gursky’s Chicago, Tate’s Constellations: Highlights from the Nation’s Collection of Modern Art.

Much of German-born Andreas Gursky’s work centres around the human element of the contemporary global economy; his images of banks, stock exchanges and global corporate headquarters are often depicted as a hive of human activity.

Chicago, Board of Trade II is a good example of this focus (or lack thereof). The numerous overlapping images that make up this piece not only imbue the work with a sense of movement, but also serve to underline the inherent unreality of the image. In a world where filters and underhanded photo manipulation attempt to pass for natural, undoctored imagery,

Tate Liverpool

Chicago, Board of Trade II (1999), Andreas GURSKY Courtesy of

Andreas Gursky, born 1955 | Chicago, Board of Trade II 1999 | Photograph, colour, Chromogenic print, on paper | 1574 x 2840 mm | Tate. Presented by the artist 2000 | © Courtesy Monika Sprueth Galerie, Koeln / VG Bild-Kunst, Bonn and DACS, London 2016

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Sandra & Sonia, Francesco MELLINA

Italian-born, Francesco Mellina, once observed that the power of photojournalist, Don McCullin’s work lay in the fact that he was willing to get into the thick of things. Mellina’s subjects are a far cry from the war-torn environs of Vietnam and Northern Ireland, but his work is no less a masterclass in close quarter, on-the-spot photography.

In the 70s and 80s, Mellina captured some of the biggest names in music - from the The Ramones to The Clash, to Talking Heads. More importantly, he played a key role in documenting some of Liverpool’s most iconic music subcultures.

His book, Revealed: Youth Culture, Pop Culture, Subculture, has a

beautifully-honest, mostly candid, and on-the-pulse rawness to it that can only have come from Francesco wading through the crowds himself.

According to Mellina: ‘The crowds were always the energy. If you didn’t have a crowd it didn’t matter who played. Any venue has the potential be great, but it’s the people that ultimately make it so.’

His book is a striking collection of knee-jerk, in-the-thick-of it shots that not only hark back to the golden era of gig-going, but also capture a beautifully paradoxical time in Liverpool’s history: ‘I was lucky enough to witness a very special time in Liverpool’s cultural history,’ says Mellina.

‘Politically we were in the shit, but as you can see, we were having a ball.’

Francesco Mellina’s Revealed: Youth Culture, Pop Culture, Subculture (March Design) is out now.

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The Merchant, Liverpool 26th December 2018 11pm Tickets via Skiddle A clubnight devoted to all things ABBA.

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AFTER MIDNIGHT

Barbican Conservatory, London, Haarkon

Under the collective monniker of Haarkon, both India Hobson and Magnus Edmondson have made a name for themselves as skilled photographers, avid explorers and all-round visual storytellers. Their first book of published work, Glasshouse Greenhouse, is a glowing testament to their sense of adventure. On paper, a coffee table book dedicated to some of the world’s most ornate and lavish greenhouses is niche even by coffee table book standards. But for Haarkon, it’s tangible proof of their eye for detail, their passion for adventure, and their penchant for visual narrative:

‘Ultimately our work is all about trying to create a sense of a place through a series of images rather than trying to sum it up with just one.

Photography for us is about storytelling, whether that’s for a product, brand or destination, and that’s really what drives us - capturing minor details that others might not have noticed and being able to communicate those nuances to celebrate what makes our subject unique.’

Glasshouse Greenhouse breathes new life into the endearing quality of the passion project, and gives a whole new meaning to the notion that a picture paints a thousand words.

Glasshouse Greenhouse (Pavilion) is available now.

Further Haarkon adventures can be found online (www.haarkon.co.uk) and via their Instagram (@haarkon_)

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American Valhalla, Andreas NEUMANN

There’s a razor-sharp line between photography and fine art, and German-born visual artist, Andreas Neumann, treads it with a most enviable and inimitable elegance. Neumann’s work betrays a distinctly baroque sensibility: A perpetual power play between light and dark that creates a Caravaggio-esque, chiaroscuro charm.

His 2016 book, Lucha: A Tribute, is a vivid journey behind and beyond the mask of the Mexican luchador. Likewise, his 2017 directorial debut, American Valhalla, is a uniquely-intimate documentary that captures the near folkloric collaboration of two of the biggest rock acts in modern history: Iggy Pop and Queens of the Stone Age frontman, Josh Homme.

Charting the development of Iggy Pop and Josh Homme’s self-funded and secretly-recorded Post Pop Depression album, Neumann’s American Valhalla transcends the realms of photography and documentary to achieve something more akin to a collaborative, multimedia art project.

‘After the work with Queens and Iggy Pop, a lot of people as-

sume I’m a band photographer. But it goes a lot further than that.

I really couldn’t have done this kind of work with anyone else: It was a journey unique to us and us alone. I was around Queens of the Stone Age for so long that Josh started referring to me as their camera-player.’

The documentary will also form the basis of Neumann’s second book, also titled American Valhalla. It makes perfect sense. After all, if Josh and Iggy provided Post Pop Depression with a sound, it’s safe to say that Neumann gave it a face.

The image of a leather-clad, slick-haired Josh astride his custom-made Falcon motorcycle - pictured above - is proof of the palpable synergy between both artists. By all accounts, it’s an image only Neumann could have taken. Like the folded arms and white t-shirt of a young Marlon Brando or the Baracuta-clad cool of a too-fast-to-live James Dean, Neumann’s vision of Josh in the California heat of the Joshua Tree desert bears all the hallmarks of photography history in the making.

Andreas Neumann’s Lucha: A Tribute, is out now and available at atributelucha.com. His latest book, American Valhalla, will be available soon at americanvalhalla.com You can also check out his other work online at andreasneumannart.com and via his Instagram @neumanvision.

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CULTURE

Architectural Thoughts On:

Brutalism This month our resident expert, Róisín Hanlon, discusses the most unfairly maligned of architectural movements words by Róisín HANLON

MIA Emergency Control Centre. D Gogiashvili, Tbilisi, Georgia, 2012 © 2018 Pedro E Guerrero Archives

B

Available now, the Atlas of Brutalist Architecture (Phaidon) is the only book to thoroughly document the world's finest examples of Brutalist architecture. More than 850 buildings - existing and demolished, classic and contemporary - are organized geographically into nine continental regions.

An essential coffee table addition for architects and art aficionados alike.

Image Credits: Courtesy of Phaidon

rutalism is certainly one of the most contentious styles of architecture. Characteristics of the style include; strong lines, geometric forms, raw materials, exposed structure and "memorability of image". Though often decried as ugly and bleak, many key brutalist buildings were designed by City councils in the post-war period with a hopeful ethos. Pioneering new ways of building high-density, affordable housing that was also low-rise and liveable. In the 60s and 70s brutalism was synonymous with socially-progressive architecture, but by the early 21st century it was synonymous with car parks.

In recent years people are rediscovering brutalism and it has started to shake off this drab image, to some controversy. Unlike many other styles, everyone has an opinion. And those opinions tend to be strong. Preston Bus Station and Birmingham Central Library are both great examples of just how engaged the public can get over brutalist monuments.

Whilst some people can't wait to see the wrecking balls out in force, others are signing petitions and campaigning. Ian Fleming famously named one of Bond’s adversaries after architect Ernö Goldfinger – such was his hatred for the style.

So what is it about brutalism that means it has such a vivid place in the public consciousness? Perhaps it is the fact that this is a style that loves the lens, and is therefore prevalent in all media forms: The uncompromising forms of brutalist structures make it a favourite subject of photographers. Simon Phipps grew up in 1970s Milton Keynes as the son of two architects, and is now a photographer who often chooses brutalism as his subject. His choice of black and white imagery allows the forms, surfaces and contrasts to highlight "a stripped down aesthetic for a bare bones architecture". Quality of surface is such an important aspect of this style and is shown so eloquently in his photos. He captures a curving concrete staircase at Eros House, by Rodney Gordon. You can tell the concrete has been poured on site into wooden shuttering, as you can see every grain and knot imprinted upon the concrete. It is a tactile image - you know how it would feel to trail your fingers on that bannister.

The clean lines and stark materials of this style also mean that it can be something of a canvas against which to frame a subject. Cinematographers frequently use brutalism in movies, TV and music videos for sets. The style has been used as a way of locating the viewer in the past. It often sets the scene for spy movies - instantly placing us in a midcentury Cold War atmosphere. BBC One’s The Game used Birmingham’s Central Library extensively. The central open core, surrounded by glazed offices – originally promoting openess and transparency - leant itself brilliantly to an office full of suspicious spies watching and suspecting each other constantly.

When not taking us back to past times, brutalism is also often used to place us in the future. In Channel 4’s recent Electric Dreams locations such as Neave Brown's Alexandra Road Estate was used as a backdrop; immediately giving the impression of a severe and gritty reality. Ben Wheatley's High Rise uses a fictional brutalist tower block as the setting for his adaptation of the JG Ballard novel. Starting as an affluent and aspirational haven - with all modcons included in the building so no one ever has to leave - the population begins spiralling into a tribal anarchy, fighting over the resources that seems so lavish. Several sites were used as filming locations, in particular Bangor Leisure Centre. The forms and surfaces of the locations are as much a feature of the film as any of the characters; taking centre stage in most frames. And this says a lot about the duality of brutalism, the same sets and structures can depict at once - a glamorous, sensuous structure as well as a daunting, overbearing monolith. It all depends on the frame through which you look at it. RH

Grand Central Water Tower. GAPP Architects & Urban Designers, Midrand, South Afica, 1996

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The Essential Journal | Issue 38

CULTURE

Issue 37 | The Essential Journal

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