Essential Journal - Issue 42

style

survey

drinking

business

column

OTDW: The La Paz Baptista Worker Jacket

Those in the know give their thoughts on Pitti 95

The Whisky Exchange puts a spotlight on Mezcal

PUSH: The world’s most precise coffee tamper

Adonis gives his thoughts on legal highs

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PAGE 31

PAGE 40

PAGEA 45

PAGE 46

In pursuit of a quality lifestyle

Issue 42

Pitti Immagine Uomo 95 An enduring symbol of sartorial excellence? Or a breeding ground for stylistic self-indulgence? We delve into the peaks and troughs of this year’s Pitti.

www.essentialjournal.co.uk

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Features

Columns 21 TAILORED THOUGHTS ON THE PITTI UOMO MAN

10 BOOKS FOR THE MONTH AHEAD From razor sharp dissections of religious doctrine, to chilling descriptions of nuclear disaster, here’s our round up of books for the month ahead

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SARTO LUXURY TAILORING We catch up with Konstantinos Xenos & Andreas Doukanaris to discuss their thoughts on the ground covered so far and the long road ahead

A CUT ABOVE

This month, Ian Harrold ponders the importance of men holding other men accountable and, of course, that Gillette advert

37 AT THE PASS WITH TOMMY BANKS

This month Tommy Banks, chef & owner of Roots (York) and the Michelinstarred Black Swan at Oldstead, considers the odd similarities between denim and scallops

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40 DRINKING WITH IVY ASIA We find out firsthand that the Ivy Asia does things a little differently than its Spinningfield neighbours

ARCHITECTURAL THOUGHTS ON: THE GRAND TOUR

Sex, lies and copperplate - the tradition of the grand tour, and how it brought European knowledge, culture and style to Britain

Demystifying the common myths of medicinal marijuana over coffee with Michael Rose & Baylis director, Adonis Michael

Konstantinos Xenos Andreas Doukanaris Matthew Gonzalez Ian Harrold Mats Klingberg David Keyte Kevin Stone David Coggins Jeremy Kirkland Jose Miguel de Abreu Robert Spangle

PUBLISHERS Singleton Publishing James Sleater Takashi Okabe Tommy Banks Dan Harvey Liz Lock MW Dawn Davies Luke Mason Róisín Hanlon Pete Southern Adonis Michael

Issue 42 | The Essential Journal

20 ONE THING DONE WELL: LA PAZ Our series of brands doing one item especially well continues this month with the La Paz Baptista worker jacket 23 THE ’S’ WORD: AN INTRODUCTION Showcasing the more sustainable edge of Oliver Spencer’s 2019 collections 25 DRESS DOWN, DRESS WELL Exploring the hybrid artistry of smart casual with Loake’s new 'Viper Sole’ collection 27 TALKING SHOP: TRUNK In the eighth part of our regular series - in which we chat to the folks in charge of our favourite menswear stores - we speak to the dapper, Sweden-born gentleman behind Trunk Clothiers 29 ARTICLE OF NOTE: THE OXFORD SHIRT We dig deep into the Ben Sherman archives for a history lesson in great British style 30 FORZA TESSUTI Taking pride of place in Manchester’s iconic Trafford Centre, Tessuti’s latest store boasts quality and quantity in equal measure 31

REACHING A CONSENSUS-PITTI UOMO 95 We reach out to those in the know to get their personal insight on the hits and misses of this year’s Pitti trade show

35 CHOICE TIMING The team at David M. Robinson give us a run down of the stand out timepieces from this year’s Salon International de la Haute Horlogerie 36 THE RECIPE: BUTTERNUT CURRY WITH SPINACH & CASHEWS Compliments of Simple & Classic by Jane Hornby 38 THE SHOWROOM STORY SO FAR There’s more to La Marzocco than their high-end and hand-crafted espresso machines 39 HIGH SPIRITS SPOTLIGHT, MEZCAL Delving deep into the latest and greatest from The Whisky Exchange 42 A HANDSOME HOTEL: THE HOXTON, HOLBOURN A word or two on the homely charm of the Hoxton, Holbourn 45 HARD PRESSED We speak to Pete Southern of Clockwork Espresso to discuss the business end of the humble coffee tamper

46 COFFEE & COUNSEL WITH ADONIS MICHAEL

CONTRIBUTORS

THE PRIMER A rundown of the places we’ve been, the food we've eaten and the drinks we've enjoyed this month

8

This month, Huntsman Cutter and resident Essential Journal columnist, Matthew Gonzalez, ponders the parading peacocks of Pitti

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Contents

EDITOR Will Halbert w.halbert@singletonpublishing.co.uk CREATIVE DIRECTOR Thomas Sumner t.sumner@singletonpublishing.co.uk LEAD DESIGNER Jennifer Swaby FRONT COVER Pitti Uomo 95

by Jack Finnigan

Online web www.essentialjournal.co.uk @essentialjournal

@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.

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BENSHERMAN.CO.UK

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17/01/2019 16:31

THE PRIMER

Oscar WILDE A note from

I mean no great

the editor

disrespect to the late, great

Image credit: Laziz Hamani / Courtesy of Christian Dior

'You can never be overdressed or overeducated.'

what we've been watching FYRE: THE GREATEST PARTY THAT NEVER HAPPENED The latest in a long, long, long list of Netflix documentaries is a pretty engaging, if not woefully one-sided, account of a social media trainwreck in the making. Compelling stuff to be sure, but it all has to be taken with a hefty dose of irony. For a start, those who were duped come across like morons so positively allergic to their own money they were practically throwing it at people. More importantly, the documentary just happens to have been put together by FuckJerry, the very marketing company responsible for the social media campaign that stoked the flames of FYRE’s, well, fire, in the first place. If anything, FYRE is an effective enough cautionary tale of the vapid-but-dangerous superficiality of social media. But how on earth is that still a surprise to anyone?

Oscar Wilde. I

what we’ve been marvelling at CHRISTIAN DIOR: DESIGNER OF DREAMS AT THE V&A

mean, he’s a literary figure so

Spanning 1947 to the present day, the V&A’s latest exhibition traces the rich history and undeniably cultural impact of one of the 20th century's most influential couturiers, Christian Dior. Running from February through to July this year, the exhibition will explore both the enduring influence of the prestigious fashion house and Dior’s relationship with Britain. It’s the largest and most comprehensive overview of its kind, which goes a long way to explaining why tickets are already selling out. We suggest getting yours while you still can.

comically pervasive that he’s just as famous for all the stuff he never actually said. But in the context of the quotation above? He’s dead wrong. You see, if our visit to Florence’s most prestigious trade show, Pitti Uomo, taught us anything this month, it’s that you can indeed be overdressed. Woefully, garishly, apocalyptically overdressed. I’m talking, of course, about the fabled peacocks of Pitti: A band of cari-

the image

catures so blind to their own

NEWSIES AT SKEETER’S BRANCH, LEWIS W. HINE

excess that they’re practically tripping over each others velvet capes. But that’s just my two cents. Maybe I’m being a little unfair. Or maybe I’m just being a tad insecure.

Or maybe, just maybe, I’m smack-talking the ever-handsome peacocks of Pitti as a thinly-veiled humble brag

what's on our coffee table

what we're drinking

LEWIS W. HINE: AMERICA AT WORK (Taschen) available now

THE CASA DO FRANGO BLOODY MARY

America at Work features more than 300 photographs from the late, great Lewis W. Hine, whose trailblazing documentary images of early 20th-century working conditions helped to eventually overhaul United States labor laws. The book covers all eras of Hine’s work, including his pictures of child laborers, of new immigrants on Ellis Island, and of the construction of the Empire State Building. The book is as beautifully presented as it is remarkably sobering, and offers compelling insight into one of the first serious attempts to use the humble camera as a tool for social reform.

We’ve always harboured a firm belief that the Bloody Mary is the poached egg of the bartending world. It’s the litmus test of professional skill creative aptitude, if you will. It’s the kind of cocktail that’s rigid enough that you’re always more or less sure of what you’re getting, but malleable enough that there’s plenty of room for some off-the-wall self-expression. At Casa do Frango, that self-expression comes in the form of a peri peri salt rim and, wait for it, a chicken skin garnish. And just like that, the perfect Bloody Mary was found. Call off the search.

about going to Pitti. Which

what we're eating

I did. It’s the theme of this

THE PIES AT IDLE HANDS COFFEE, MANCHESTER

month’s issue, as it happens.

Let it be known that here at the Essential Journal, we like pies. And it just so happens that Manchester-based coffee connoisseurs, Idle Hands, have really, really good pies. Superlative pies, even. They have pies as far as the eye can see: Peanut butter pies, chocolate cream pies, lemon and poppy seed meringue pies, vegan cherry pies, blueberry pies, pecan pies, vegan peach hand pies. Bloody lovely, tasty pies. We might even be so bold as to say that Idle Hands do the best pies. But if anyone thinks they can can do better, send them over. We’d love to be proved wrong.

Enjoy.

Will HALBERT Editor 8

Taken from Peter Walther’s Lewis W. Hine: America at Work, ‘Newsies at Skeeter’s Branch’ is one of those, once-in-a-lifetime, now-or-never shots, that goes on to carve itself a permanent place in your memory. Stylistically, its impact has been largely diluted over the years, as photographers have come to adopt Hine’s stark contrast and grainy style as an edgy contrivance as opposed to a means of pertinent and prescient social commentary. Nevertheless, the shot is both a solid testament to the landmark nature of Hine’s sociopolitically-charged photography and a glowing endorsement of his belief that ‘photography can light up darkness and expose ignorance.’

The Essential Journal | Issue 42

Image credit: Lewis W. Hine / taschen.com

THE IMAGE

Issue 42 | The Essential Journal

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BOOKS

From razor sharp dissections of religious doctrine, to chilling descriptions of nuclear disaster, here’s our round up of books for the month ahead words by Will HALBERT

Drawing on hundreds of hours of interviews conducted over the course of more than ten years, as well as letters, unpublished memoirs, and documents from recently-declassified archives, Adam Higginbotham has written a harrowing and compelling narrative which brings the Chernobyl disaster to life through the eyes of the men and women who witnessed it firsthand. By all accounts, Higginbotham paints a picture that is more complex, more human, and more terrifying than the Soviet myth. As a result Midnight in Chernobyl not only represents a masterful non-fiction thriller but offers a definitive account of an event that changed history.

Midnight in Chernobyl

by Adam Higginbotham

Midnight in Chernobyl (Bantam Press) is available now

Far more than just a cookbook, A Work in Progress offers an unprecedented insight into the inner workings of restaurant Noma and its highly creative team of chefs. Recounting 12 months of the day-to-day life at Noma - from the trials of developing new dishes to the successes that come with winning the 50 Best Restaurant award - the journal provides a stunning, and often humorous, insight into the inner workings of the world’s most notorious restaurant. Reflective, insightful and compelling, René interweaves observations on creativity, collaboration and ambition, making A Work in Progress an important piece of reading for food lovers and general readers alike.

A Work in Progress: A Journal

by René Redzepi

René Redzepi: A Work in Progress (Phaidon) is out now

Bullshit Jobs: The Rise of Pointless Jobs and what we can do about it

by David Graeber

Not to be confused with a job that is, quite simply, shit, a bullshit job refers to a kind of Kafka-esque, phantom job. The kind of job that’s difficult to explain, the kind of job that wouldn’t be missed if it were to suddenly disappear. The kind of job that might not actually be a job at all, but an eternal series of hoops created by a broken-but-no-less self-perpetuating capitalist workforce that transforms work into an end in and of itself. Graeber’s assiduous and eye-opening work delves deep into our collectively absurd desire to serve a purpose that is, when we really get down to it, actually quite purposeless.

Bullshit Jobs (Allen Lane) is out now

The Four Horsemen

by Christopher HITCHENS, Richard DAWKINS, Sam HARRIS, and Daniel DENNETT

By turns erudite and irreverent, The Four Horsemen offers a faithful transcription of a conversation, indeed the only conversation of its kind, between four of the most outspoken and intellectually rigorous atheists in contemporary academia. Surprisingly, the most interesting moments in the text are not to be found when Hitchens, Dawkins, Harris and Dennett revel in their collective (and amusingly acerbic) shunning of theism, but rather, in the moments when they disagree. Couple that with a splendid foreword by intellectual confrère, Stephen Fry, and The Four Horsemen becomes essential reading regardless of your religious standing.

The Four Horsemen (Bantam Press) is available now

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The Death of Democracy: Hitler’s Rise to Power

by Benjamin Carter Hett

Benjamin Carter Hett’s latest work is a firstrate history lesson with a surprisingly prescient message for the world of today. Based on award-winning research and recently discovered archival material, The Death of Democracy offers a panoramic new survey of one of the most important periods in modern history. While books covering similar subjects are dime a dozen, Hett’s sharp prose and careful use of newfound material not only sets the work apart from that of his peers, but also effectively draws significant (and particularly scary) parallels with current socio-political climates.

The Death of Democracy (Windmill Books) will be available in March

The Essential Journal | Issue 42

C

M

Y

CM

MY

CY

CMY

K

STAND OUT CREATE YOUR OWN STYLE

www.tessuti.co.uk Issue 40 | The Essential Journal

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STYLE

words by Will HALBERT

We catch up with Konstantinos Xenos & Andreas Doukanaris to discuss their thoughts on the ground covered so far and the long road ahead

Image credit: @cetrastudio / Thomas Sumner / Jack Finnigan

Sarto Luxury Tailoring

Issue 42 | The Essential Journal

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STYLE

14

The Essential Journal | Issue 42

The Story so Far

L

STYLE

ast year, we had the pleasure of sitting down with Konstantinos Xenos & Andreas Doukanaris just four months into the opening of Sarto Luxury Tailoring. With a combined two decades of experience working alongside Savile Row’s finest, Sarto had already curated quite the client list in its first few months of business. And it was easy to see why: By avoiding traditional, stiff-upper-lip tailoring in favour of a more laidback, made-to-measure focus, the duo deconstructed the stuffy and often off-putting sartorial severity of tailoring without ever compromising on the quality of the final product.

Catching up with the duo at this year’s Pitti Uomo 95, it’s clear that not much has changed in that respect. The two are as uncompromising as ever in both their demand for quality and their desire to bring bespoke tailoring down to earth. Their brand new showroom is a glowing visual metaphor of that progress: A sleek and sophisticated little spot that’s as warm and welcoming as it is quietly confident.

More importantly, it’s the kind of showroom that better reflects Sarto’s approach to men’s tailoring. Sarto’s strength has always been their ability to prioritise the client’s journey. To that end, they’ve worked hard to offer a made-to-measure service that honours time-old traditions without harbouring any old-school pretensions. By all accounts, the new showroom not only paints the perfect picture of this journey-forward focus, but also boasts Sarto’s new-and-extended offerings.

'By avoiding traditional, stiff-upper-lip tailoring in favour of a more laid-back, made-to-measure focus, the duo deconstructed the stuffy and often off-putting sartorial severity of tailoring without ever compromising on the quality of the final product.'

Issue 42 | The Essential Journal

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STYLE

16

The Essential Journal | Issue 42

Summer of Sarto

Issue 42 | The Essential Journal

T

STYLE

he bespoke experience doesn’t end at the suit and Sarto know this all too well. ‘I think there’s been a real shift in styles of late,’ says Konstantinos. ‘While we’ll always specialise in suiting, there’s no reason why we can’t use those sartorial expertise - that same eye for detail - on a more relaxed range of clothing.’

Andreas is quick to agree: ‘The coming year will be all about relaxing our approach to menswear and offering a wider range of garments and styles.’ In this respect, Sarto find themselves in the rather enviable position of harnessing the tried-and-tested charm and quality of their favourite fabrics from Italy’s finest factories, and applying them to a more all-encompassing, 365-days-a-year range of menswear offerings.

From chinos, to polo shirts, to board shorts, Sarto now offer a full suite of menswear essentials that can benefit from that all-important personal touch. ‘It’s nice to see people looking beyond the limitations of the usual off-the-rail offerings in favour of something a little more personal’ adds Andreas. ‘That’s where we’ve always tried to come in. That will always be our strong point.’

The usual suspects are here, of course, with superlative fabrics from Loro Piana rubbing (no doubt finely-crafted) elbows with the likes of Vitale Barberis Canonico. But one of the most intriguing additions to Sarto’s services is their custom, made-to-measure, denim line. It’s the kind of simple but spirited, why-didn’t-I-thinkof-that offerings that set Sarto apart.

‘We’ve always said that we wanted to take the idea of personal customisation and self-expression to the next level,’ says Andreas, ‘and this year we’ve done exactly that. From the usual suits and shirting, to more out-there selections such as denim and bermuda shorts, we’re just as interested in outfitting the modern man for everyday endeavors as we are suiting them up for special occasions.’

And therein lies the key to Sarto’s ongoing success; by applying their sartorial know-how to a wider range of menswear staples, Andreas and Konstantinos transcend the usual limits of the humble tailor to provide something promisingly akin to a lifestyle brand.

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STYLE

Pitti Immagine Uomo 95

T

ucked away in the historic grounds of the Fortezza da Basso, Pitti Uomo has long stood as a timehonoured bastion of sartorial elegance and tailored charm. This year was no exception. Italy’s foremost menswear tradeshow was a hotbed of both haute-couture and streetwear style and ease.

‘For all the weight of its history and tradition, the January show feels fresh and exciting,’ Andreas remarks. ‘More relaxed tailoring and lightweight fabrics are making an appearance, and I’m excited to see where that takes us over the spring-summer season.’ ‘This is also a great time for us to catch up with old friends,’ adds Konstantinos. ‘This is almost as much of a social call as it is a professional one.’

Their own approach to dressing for Pitti is a fitting balance of business and pleasure. Favouring practicality over pretentiousness and achieving sophistication without ever being overstated, Sarto’s outfits were both an antidote to the rampant garishness of the Peacocks of Pitti and a solid indication of the fine fits and fabrics on offer at Sarto Luxury Tailoring.

"More relaxed tailoring

and lightweight fabrics are

making an appearance, and I’m excited to see where that takes us over the spring-

sartoluxurytailoring.co.uk

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summer season."

The Essential Journal | Issue 42

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19 La Paz One Thing Done Well

Our series of brands doing one item especially well continues this month with the La Paz Baptista worker jacket words by Will HALBERT

P

icture the scene: You’re walking through the coastal city of Porto. At your feet is the salt-licked and sand laden shores of Praia do Carneiro.

Looking up, you see clay roofs atop stucco buildings as they cling desperately but dutifully to Porto’s rustic riverbank in all its pastel glory. If you ask me, with a home like Porto, La Paz have it pretty easy on the inspiration front.

You see, while countries like Italy and France positively - and deservedly - scream of their maritime heritage and sartorial prestige, Portugal just sort of gets on with things in the safety of its off-kilter charm and understated elegance. And as a brand, La Paz capture this charm and style in each an every garment they produce.

La Paz is a little-known menswear label with an almost cult-like following amongst those that really know quality. Inspired by the Atlantic, its people and its traditions, La Paz works closely with some of the best local manufacturers to produce superlative goods that prove to be pretty much unrivalled in their quality and authenticity.

Their Baptista worker jacket is a shining example of this.

'La Paz’ love for the coastal majesty of their hometown is further reflected in the jacket’s adherence to hazy, earthen and oceanic color palettes.'

A heartfelt homage to the countless fisherman that have graced the Porto docks over the years, the Baptista worker jacket is not without a certain rugged, utilitarian charm. Made with wool, corduroy or heavy cotton twill depending on your preference, the hardy construction of the jacket is as resistant to the whims of inclement weather as it is to the uncertain tides of fashion. In short, the Baptista is a fad-proof staple with the kind of versatility that guarantees all-year wear. What's more, La Paz’ love for the coastal majesty of their hometown is further reflected in the jacket’s adherence to hazy, earthen and oceanic color palettes. It’s a strong visual corollary that lends the jacket a clear and immediate sense of place and authenticity.

Over the years, Portugal has quietly and consistently produced some of the finest fabrics known to the industry. Porto, in particular, has become a beacon for the well-made and the long-lasting. La Paz’ Baptista worker jacket is but another entry into that tradition. Solid in construction and more than a little romantic in its evocation of Porto’s timeless beauty, the jacket is as endearing as it is sure to be enduring. It’s the perfect attire for those who dream of a little sand underfoot and a little sea in their soul. EJ

lapaz.pt 20

The Essential Journal | Issue 42

STYLE

A Cut Above

Tailored Thoughts on

The Pitti Uomo Man

This month, Ian Harrold considers the importance of men holding other men

This month, Huntsman Cutter and resident Essential

accountable and, of course,

Journal columnist, Matthew Gonzalez, ponders the

that Gillette advert

parading peacocks of Pitti words by Matthew GONZALEZ

words by Ian HARROLD

J

anuary has come and gone, which means one thing in the world of international menswear: Pitti Uomo is finally behind us. Most people forget that Pitti is first and foremost a trade show for men’s clothing manufacturers, primarily because it has been transformed into a headline event for the world’s fashionistas to parade around the streets of Florence peacocking to their heart's delight. This is probably in the hopes that they will be photographed and published for all the world to see. It’s easy to laugh, roll one’s eyes, or even loathe these 21st century Macaronis, and for the most part we do. However, as easy as it is for us to mock the over-the-top sensationalism that is some of their clothing, they actually may contribute more to sartorial discourse than simply an Instagram story.

Not everyone who attends Pitti dresses outlandishly. There are many who simply attend the trade show. Many of those who do attend, manage to dress both eccentrically and stylishly. So, instead of focusing on the specifics of what they are wearing, let’s meditate on what their clothing means for the rest of us. At its periphery, fashion is a spectacle. One only needs to look at the world of haute couture for evidence of this. When clothing is worn as ‘art,’ it is at its most expressive, and its subsequent trickle down effect into pop culture is observable.

Fashion is a cyclical combination of self expression, a fleeting sense of nostalgia and innovation. It’s why we still have a love affair with the clothing from the 1940s, 50s and 60s, and not with the 1840s, 50s and 60s. Without testing the boundaries of what is acceptable to wear, clothing would be stagnant and we would all probably still be wearing togas or doublets. One of the reasons it is easy to mock the chaps at Pitti is because the evolution of men’s clothing moves at a snail’s pace. Women’s clothing over the past 100 years has continually pushed the boundaries.

Whether it was Josephine Baker going nearly topless and wearing her famed banana skirt back in 1920’s Paris or Lady Gaga wearing a dress made entirely of meat, women have always been bold enough to test the limits of acceptable attire. Meanwhile men, myself included, have by comparison remained relatively safe with our clothing. We, in large part, pine over the bespoke dinner suit that has been passed down by our great grandfathers or lust after a standard dark navy or charcoal suit that is on the runways of our preferred menswear designer.

The multi coloured ensembles of the Pitti man are a stark contrast to what we traditionally define as the acceptable norms for menswear. They are at the forefront of masculine expressiveness. Without the unabashed garishness of the Pitti man combining bold colours, oversize prints and multiple textures, menswear would continue to be the monochromatic uniform it once was in the early part of the 20th century.

These days, the boldest of men in the city might have the confidence to incorporate just one of those elements into his clothing, but that is in large part due to the fact there are men from Pitti who have been pushing the boundaries for years. The trickle down effect is very much at play here. At Pitti, clothing begins as art. Although the clothing is absurd and perhaps even a little shocking, after years of seeing men dress so boldly the rest of us become less shocked. We, the observers of this sartorial absurdity, begin to dissect and filter out elements that we like from these outfits and slowly we incorporate them into our own clothing. Thus, fashion continues on its path of evolution.

As much as we laugh at the chaps at Pitti, they are exploring new ways men can express themselves through their clothing. Will all of it catch on? I certainly hope not. But as they see men defying societal expectations of how we should dress, the average chap on the street might begin to feel empowered and to become a little more expressive with his clothing. So while most of us will never be Pitti Uomo peacocks, we should all be thankful that they exist. MG

'At its periphery, fashion is a spectacle ...When clothing is worn as ‘art,’ it is at its most expressive, and its subsequent trickle down effect into pop culture is observable.'

Issue 42 | The Essential Journal

S

o you might have noticed a little bit of upset around Gillette’s latest advert. In one fell swoop it seems the brand has turned tail on its former manly-man slant in favour of a more measured, less muscular approach to masculinity. It’s a pretty powerful piece of publicity, one that’s proved as divisive as it is debatable.

Naturally, you could say that Gillette’s ad is nothing more than a cynical ploy to stay relevant as a male grooming brand. Peak beard has no doubt had a pretty terrible effect on sales, and lord knows it’s difficult enough for a male grooming brand to win favour with a female audience (I’m looking at you, Lynx).

Will the ad help to sell razors? Who knows. But honestly, does it matter? Regardless of Gillette’s hidden (or not-so-hidden) commercial agenda, the ad hits on something that we all need to be talking about.

The gripe with ‘Toxic Masculinity’, while entirely justified, has become a tad diluted.

Just like the concept of ‘mansplaining’ before it, it’s become a catch-all phrase that’s as wrongly abused as it is rightly decried.

Gillette’s attack against the ‘boys will be boys’ mentality is a little more focussed, because it hones in on an ugly area of masculinity that both (or, if we’re going there, all) sexes should rile against unanimously: aggression, misogyny and generally just setting a bad example.

There’s nothing wrong with men holding other men to higher standards. ‘Men need to hold other men accountable,’ says a suited Terry Crews, and given his (quite literal) imposing stature, I’m inclined to agree.

As far as I can tell, it just seems a lot of guys feel a tad told off, scolded or even intruded upon. It’s as if the taking to task of the tired old ‘boys will be boys’ rhetoric is somehow an invasion upon some hallowed masculine turf. It isn’t. It’s a call for a collective denouncement of some dated and down right ugly male traits and an invitation to be better. Moving away from ridiculous masculine precepts towards a celebration of a fuller, healthier spectrum of male behaviors can only be a good thing. And to be perfectly honest, if you feel like Gillette’s latest advert is pissing all over your lawn then it’s a decent indication that you might be on the wrong side of the fence. IH

21

content creation placement a fantastic opportunity has arisen for a placement student to join our busy team at la marzocco uk & ireland within the marketing department. we currently have two offices in the uk, our head office in london and local office in leeds, where this role would be based out of. the role offers the opportunity to travel around the uk, working at a range of different events and festivals as well as interacting with our international family. this role would suit someone creative and driven who thinks outside the box, offering a highly rewarding learning experience.

to apply please email valentina@lamarzocco.com

key responsibilities:

• Working as part of the marketing team to produce high quality imagery and short form videos for social media campaigns and press advertorial and editorial initiatives. Plus, extended La Marzocco product focused content to aid the sales team in creating demand for La Marzocco.

• Supporting the creation of in-house content such as advertisements, brochures and online campaigns to bolster the specialty coffee community within the UK & Ireland.

• Supporting our reseller network with content support; filming and photographing in-house events, with a strong focus on La Marzocco. This to create content for both parties and encourage the network to run events with an emphasis on quality; machinery and coffee.

• Supporting the marketing department on all their needs regarding events.

Including assisting on the creation of promotional materials, and the distribution of these materials. It also includes support on the planning and coordination of events, including setting up, running and breaking down events.

we’re looking for someone who is:

• Proactive, with a positive can-do attitude.

• Someone who is creative and able to think innovatively • Able to share original ideas with regards to creating content but also fully support the ideas of the marketing team and work efficiently to any supplied briefs.

• They should be personable, strong communicators and be able to represent La Marzocco with a sense of fun professionalism.

• The candidate should have good working knowledge of a range of Adobe Suite programmes, specifically Premier Pro, Photoshop, Lightroom and Illustrator and it is preferred that they have experience using Wordpress, although training is available.

• Interest in speciality coffee preferable but not necessary.

about la marzocco: la marzocco, founded in 1927 by the bambi brothers, has traditionally specialized in producing high-end hand crafted espresso coffee machines geared towards excellence, a quality cup and style. the company is headquartered near florence, italy, with offices in auckland, barcelona, london, melbourne, milan, seattle, seoul, shanghai, stuttgart and sydney. la marzocco has over 330 employees and produces espresso coffee machines and grinders that are exported to over 100 countries with the support of its distributors and partners, making its presence known on the 5 continents.

ESSENTIAL JOURNAL X OLIVER SPENCER

The 'S' Word

An Introduction Showcasing the more sustainable edge of Oliver Spencer’s 2019 collections

Image credit: Courtesy of Oliver Spencer

words by Will HALBERT

F

or 250 years, The Royal Academy has existed to champion art and artists. It has provided an immersive space for artful appreciation and meaningful discussion for the most outspoken and forward thinking of individuals. During last month’s London Fashion Week, it proved to be the perfect venue for Oliver Spencer to showcase both the alpine charm and the sustainable edge of his upcoming AW19 collection.

We’ll be delving deeper into the perennial styles and staple pieces of Oliver Spencer’s AW offerings in due course. For now, though, let’s talk about Oliver Spencer’s continued dedication to sustainability, a dedication that is particularly evident in the imminent (like, hot-off-the-press, dropping-this-month imminent) Spring-Summer collection. Aptly titled ‘Wildflower’, the largely eco-friendly collection not only boasts a range of styles perfect for the warmer months ahead, it also strives for a more prominent use of eco-fabrics and low-impact production methods.

The light, loose and deconstructed tailoring for which Oliver Spencer has become renowned makes a welcome return, of course, with seersucker checked suiting demanding particular attention. Edging toward a more casual versatility are standout garments like the Carrington Jacket, while the Pablo Polo and the Grandad Bib Collar Shirt offer familiarly lightweight and breathable trans-seasonal staples that are bound to see some serious, year-round wear. But by all accounts, it’s the more prominent lean towards a more sustainable edge that has the collection feeling particularly fresh.

In many ways, the Spring-Summer collection feels like an extension of the collaborative art project between Oliver Spencer and award-winning, multi-sensory artist, Wolfgang Buttress. Taking place at Oliver Spencer’s Soho store on Berwick Street last summer, the ‘Reverie’ installation drew inspiration from mankind’s evolving relationship with the natural world. It’s this relationship with the natural world that has no doubt stoked Oliver Spencer’s interest in more environmentally responsible production methods. This was clear in the subsequent ‘Wildflower’ Spring-Summer show, where a flurry of flower-clad models wearing Oliver Spencer’s summertime offerings revealed further callbacks to Wolfgang’s stylistic synergy between Man and Mother Nature.

Now, it’s almost impossible to talk about sustainability without coming off pious and preachy.

But Oliver Spencer handles it with a modesty and an openness that makes the subject all the more approachable. The fashion industry isn’t exactly known for its regard for Mother Nature, but Oliver Spencer is dead-set on environmental progression throughout the business, which includes the implementation of low-impact fabrics into the collection (think GOTS certified organic cotton and undyed wools).

It’s a refreshingly candid angle: By his own admission, Oliver Spencer is trying his best, picking his battles, and striving to make sustainability an industry standard rather than a cynical selling point. In Oliver Spencer’s own words: ‘Making small changes will make a big difference to the planet we live on, and will help the next generation live a life with more opportunity’.

Merging premium tailoring with relaxed modern styles and silhouettes, the new Spring-Summer collection pretty much speaks for itself. But its clear message on sustainability makes Oliver Spencer a particularly easy brand to get behind.

And that’s exactly what we’ll be doing in the months to come. Over the course of the next few issues, we’ll be delving a little deeper into Oliver Spencer’s 2019 offerings, looking not only at the collections themselves, but the steps that Oliver Spencer is taking as a brand to be as sustainable and as accountable as possible. In short, we’ll be keeping an eye on Oliver Spencer. And we think you should be too. So watch this space. EJ

To shop the SS19 collection head to oliverspencer.co.uk Issue 42 | The Essential Journal

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ESSENTIAL JOURNAL X LOAKE

Image credit: Thomas Sumner

24

The Essential Journal | Issue 42

ESSENTIAL JOURNAL X LOAKE

Dress Down.

Dress Well.

A closer look at the Loake Viper Sole key styles

Exploring the hybrid artistry of smart casual with Loake’s new 'Viper Sole’ collection words by Will HALBERT

I

n the ever-evolving realm of men’s style, change is always just around the corner.

Over the years, the divide that once stood between sartorial sleek and casual cool has broken down in favour of an exciting menswear middle ground. Faced with this flow of constant evolution, it pays to stay hybrid.

This hybrid ethos can be seen in every aspect of men’s styling: Savile Row types can be seen relaxing their typical, sartorial severity in favour of less constructed lines, boxier silhouettes and the addition of more casual - even sporting - footwear choices to their tried-and tested suit combinations. Likewise, streetwear savants can be seen sharpening up somewhat; bringing a little light tailoring and richer, more diverse textures into the mix. On both sides of the spectrum, the result is a demand for a considered look with a more versatile appeal.

Stylistically speaking, it’s a tightrope act: A delicate balance of smart and casual. There’s a real artistry to the whole endeavour, a refusal to take on a style wholesale, opting instead to pick and choose the best elements from a range of styles to create a hybrid look that balances the smart and the casual, the traditional and the modern, the outstanding and the everyday.

A case in point would be Northamptonshire shoemakers, Loake, and their latest Viper Sole collection. It might come as a surprise to some, but it really shouldn’t. Loake’s forays into the middle ground of smart casual have always proved rich and rewarding. And how could they not be? As one of Britain’s oldest reigning shoemakers, Loake have been quietly combining traditional patterns with contemporary styling for many years.

The Viper Sole range is the latest iteration of the brand’s quietly confident and expertly-handled experimentation.

New to Loake’s Design Loake range - already renowned for combining contemporary design with traditional Loake craftsmanship - the Viper Sole comes in three distinct styles across five colourways. Each pair combines time-honoured shoemaking techniques and perennially popular styles with a less formal, more modern, and endlessly versatile aesthetic.

For too long, dressing down has been considered a compromise; an obligation to relax your style for the sake of The Essential Journal comfort and practicality. Loake’s Viper Sole range removes Editor, Will Halbert this sense of compromise by offering the style-conscious the wears the Loake style option to dress down, but dress well.

Cobra in tan The Cobra, the Python and the Mamba make up Loake’s Viper Sole range; a Derby brogue, a chukka boot and a Derby brogue boot, respectively.

All three styles come furnished with Loake’s exclusively designed and branded, ridged EVA sole. The EVA sole offers a lighter option than the company’s other leather and rubber soles whilst also boasting improved grip and traction for all year round wear.

As we’ve come to expect from Loake, each style is handcrafted using techniques that can be traced back to when the Loake family first started producing shoes, five generations and over 130 years ago.

All in all, Loake’s latest Viper Sole collection doesn’t feel like a compromise, but a carefully crafted middle ground with some serious mass appeal. For all of the brand’s dedication to age-old craft and time-honoured heritage, the Viper Sole range feels remarkably fresh and exciting. By all accounts, it’s another confident step forward for Design Loake: Contemporary, hybrid footwear with some serious bite. EJ

'There’s a real artistry to the

COBRA | Brown Pull-Up Goodyear Welted Viper Soles, Fully Leather Lined, Leather Insoles, Last Viper, F Fitting Sizes 6 to 11 inc half sizes, 12 & 13

whole endeavour, a refusal to take on a style wholesale, instead opting to pick and choose the best elements... to create a hybrid look that balances the smart and the casual, the traditional and the modern, the outstanding and the everyday.'

MAMBA | Tan Suede Goodyear Welted Viper Soles, Fully Leather Lined, Leather Insoles, Last Viper, F Fitting Sizes 6 to 11 inc half sizes, 12 & 13

PYTHON | Brown Pull-Up Goodyear Welted Viper Soles, Fully Leather Lined, Leather Insoles, Last Viper, F Fitting Sizes 6 to 11 inc half sizes, 12 & 13

Loake's Viper Sole Collection is now available at loake.co.uk

Issue 42 | The Essential Journal

25

What’s On March – September

Friday 14 June 8pm Music Room

Sunday 24 March 7.30pm

The Sensational 60s Experience

Sharon Shannon & Band With Special Guest Seckou Keita

Tuesday 9 April 7.30pm

Thursday 26 September 7.30pm Friday 27 September 7.30pm

King of Ghosts

Royal Liverpool Philharmonic Orchestra

And In The End: A Celebration of 50 Years of Abbey Road and Let It Be

Wednesday 10 April 8pm Paddy Crazy Horse Tour

Tommy Tiernan Friday 12 April 6.30pm

Box Office 0151 709 3789 liverpoolphil.com

Glyndebourne Film Screening

Handel’s Saul (cert. 12A)

LiverpoolPhilharmonic liverpoolphil liverpool_philharmonic Principal Funders

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

Media Partner

Image Handel’s Saul © Bill Cooper

STYLE

Talking Shop

Trunk Clothiers In the eighth part of our regular series - in which we chat to the folks in charge of our favourite menswear stores - we speak to the dapper, Sweden-born gentleman behind Trunk Clothiers

words by Will HALBERT photography by Thomas SUMNER

S

ince making its debut on Chiltern Street back in 2010, Trunk Clothiers has carved quite the niche for itself as a quietly-confident hotspot of carefully-curated and lovingly-edited menswear. We sit down with founder, Mats Klingberg, to discuss the celebrity status of Chiltern Street, the rise of smart casual and the challenges of opening a second store. EJ

First off, tell us a little about Trunk and the decision to set up shop here.

When we opened here in 2010, people were a little puzzled by our location. There wasn’t too much here at the time. Lots of the stores were empty. There was an odd contingency of bridal shops.

That’s really what Chiltern Street was known for back in the day. That, and shops for women with particularly big feet! The store that used to occupy this very unit was called Elephant Feet. It didn’t stick, for some odd reason. There’s still a few of those stores around here, though.

So ladies with big feet - and men who like women’s shoes, for that matter - are well catered for [laughs].

What can people expect when they pay a visit to Trunk?

Well, London is very department store driven. There’s a high staff turnover in the bigger stores that dominate the city. We were always looking to do something a little different, something more intimate and long-term. We like to get to know our customers. A lot of them become friends. This is something that I thought was missing from the London menswear scene at the time.

Owing to our location, things tend to stay pretty chilled out around here, which is actually ideal because it means that we can look after our customers better and concentrate on a warm and welcoming atmosphere. We don’t want to come off as heavy handed or overly commercial.

We’re something of an anti-shop in that respect.

What specific brands do you stock?

We’ve always strived to bring together a roster of brands that are typically quite hard to get in the UK. I hail from Sweden, so there were a good few Swedish brands to begin with. We’ve since grown to include a strong mix of brands from all over the world: England, America, Sweden, Japan, France, Germany. Generally, we look for smaller brands.

The ones that aren’t spending huge amounts on global advertising. continued...

Issue 42 | The Essential Journal

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STYLE

Think Crockett & Jones shoes, Gitman shirting, Merz b. Schwanen sweaters and Ichizawa Hanpu canvas bags.

Any personal favourite brand picks from yourself and the Trunks staff?

Well our own brand, simply named Trunk, is growing really quickly and organically. It’s not something we’ve tried to push just yet. It’s still very much under the radar, but it covers pretty much the full spectrum of menswear categories. Almost everything I’m wearing - except the shoes and socks - is Trunk. We source the best materials and factories to create these pieces: Portugal, Italy, Scotland.

There’s no real focus on seasonality, it’s more important that we focus on staple products that will serve our customers all year round.

I mean, a chino is a chino. You don’t need a new style of chino every season. Same goes for shirts and sweaters.

It also means we have more stock on hand when it’s most needed. The brands we stock are often small, and so are their production runs. So if something sells quickly, it’s often hard to replenish the stock to keep up with the demand. When it’s gone, it’s gone. Having our own garments made means we have greater control over availability.

And let’s not forget the creative element. It’s beyond rewarding to work so closely with makers and come away with something a little more unique. The creative backand-forth is wonderful.

What elements do you consider when deciding to stock a new brand?

It’s more a question of deciding what not to buy. We like to keep things curated and considered. Of course, if we have a lot of customers coming in and looking for a particular brand that we don’t carry, we’ll look into it. Our customers tend not to be too brand driven, though. They trust in our preferences and our selections.

Any noteworthy collaborations over the years?

We’ve done collaborations on and off over the years. We’ve done a few made-to-measure evenings with Gitman Brothers, for instance.

They’ve always been well-received.

The Japanese brand, Fujito too.

We’ve carried a few of their garments in in-store exclusive colours.

It’s always a bonus to have a few pieces that are exclusive to your store. It takes a little more effort, sure, but it’s something customers always appreciate. It’s our birthday next year, too, so expect a few more collaborations on the horizon.

Tell us a little about your other store, Trunk Labs.

So Trunk opened in 2010, and Trunk Labs opened three years later. We pretty much ran out of space in our first store, but we really wanted to keep the Trunk location. It wasn’t an easy decision, but it was a pragmatic one. We split our wares across two stores, our original store, Trunk, and Trunk Labs just a few doors down 28

'We don’t really like the concession approach here: We prefer to have different brands sharing the same rails. It encourages the customer to explore a little more and to be a little more open to brands they haven’t necessarily heard of before.' the street. It’s worked out really well.

There’s an organic split in the items available in each store. It allows us to edit our collections more carefully. We don’t really like the concession approach here: We prefer to have different brands sharing the same rails. It encourages the customer to explore a little more and to be a little more open to brands they haven’t necessarily heard of before.

What’s the typical age range of your customers?

From the very start we’ve had wonderful customers through our doors. Usually between the ages of 35 and 55. They like to dress well, but at the same time they have lots of other things going on. They want good quality and understated design, Nothing too shouty. Many of them are quite successful, but they’re not ones to show off their success. They appreciate quality and timeless design. And I think that’s exactly what we offer.

Would you say that the kind of customer that frequents Trunk is

a little more clued in to what they are buying?

Oh, they’re more clued in, for sure.

At this price range, people are more concerned with how things are made. They want to know where the factories are based, where materials are sourced, and of course, the heritage of the company making the garments. Naturally, it’s important for our staff to have an interest in those kinds of things, too. Don’t get me wrong, not everyone cares about those details, so it’s equally important that our sales assistants aren’t too pushy with the facts, either. In some cases, our customers have been wearing the likes of Crockett & Jones all their adult lives, so they don’t need the history lesson from us.

During your time in the industry, have you noticed any big changes in consumer tastes, concerns and spending habits?

It used to be that guys would always have to bring their significant others along to help them shop. We’ve come a long way since then and guys are more likely to fly solo whilst

shopping. We’re in a great position, in that we’ve earned the trust of our customers. People know that we’re not trying to push product on anyone in the interest of commission.

We’re not going to just let someone walk out in something that clearly doesn’t fit or suit them. We’ll suggest something else. It sounds like a cliché, but we really want people to look good and feel good.

Have you noticed any changes in retail over the years?

Thing are getting a little more casual, but in a good way. Off-the-rail suit sales are dropping for sure. I can’t speak for Savile Row, as I’m sure they’re always doing well, but guys are certainly more taken with the smart-casual side of the style spectrum. They’re no longer looking for the armour-like stiffness of the suit, they want comfort. That’s certainly where we position ourselves, but that’s also the general direction that the industry is headed in. trunkclothiers.com The Essential Journal | Issue 42

ESSENTIAL JOURNAL X BEN SHERMAN

The Ben Sherman Archive Collection Ben Sherman digs deep into their archives to bring back key pieces of the brand’s rich history words by Will HALBERT

Image credit: Omar Kaheel

S

ince 1963, when the company’s founder returned from the USA with a mission to change the face of men’s fashion, the Ben Sherman brand has been held in high regard in a number of music, fashion and pop culture scenes.

Featuring a number of distinctive designs, The Archive Collection seeks to celebrate the brand’s rich heritage and high standing through a re-exploration of their fabled back catalogue. Making up the Archive Collection this coming season is a selection of shirting, sweaters and jackets that offer a visual call-back to style’s golden years. Take a look at some of our favourites below. EJ

Article of Note

The Oxford Shirt We delve into the Ben Sherman archives for a history lesson in great British style words by Will HALBERT The Hanover Shirt

The Cambridge Shirt

F

rom polo-friendly, to preppy, to punk, the Oxford shirt has helped style a wide and wonderful range of subcultures over the course of its two-century-strong time in the spotlight, dutifully solving the dress-up-or-dress-down dilemma in the process. But where did it come from? What are its origins? And why on earth is it called an Oxford shirt in the first place? Read on to find out.

Originally created in a Scottish fabric mill in the early 19th century, the Oxford shirt was not a shirt at all, so to speak, but a fabric. One of four, in fact. Owing to some pretty clever marketing, the canny producers opted to name their fabrics after elite universities: Oxford, Cambridge, Yale and Harvard. Ultimately, the other three fabrics didn’t make the cut (if you’ll pardon the pun) while the Oxford began to thrive.

The lightweight and breathable construction of the Oxford fabric made for popular shirting among the Polo players of the British Raj, which is where the shirt was given its iconic, button-down collar. Necessity, they say, is the mother of invention, and this rings particularly true in the case of the Oxford. Polo players would often add their own buttons to keep their wayward collars in check during windy games.

From there, it wasn't long before a host of American Ivy Leaguers adopted the shirt and the polo-related prestige that came with it. Over the course of the 1920s and 30s, the button-down Oxford became a staple of preppy style and sophistication.

Enter Ben Sherman who, upon returning to the UK from The States in the early 1960s, saw a demand for the Oxford shirt in the wake of London’s emerging jazz scene. Taking cues from the calm and collected cool of Miles Davis and Dizzy Gillespie, Londoners were on the lookout for a statement shirt, and Ben Sherman was on hand to provide the goods.

A real dress-code chameleon with style and attitude to spare, the Oxford has since become the heartbeat of the Ben Sherman wardrobe, representing one of the UK’s most enduring style staples. From the Mods, to the Punks, to the Ska fiends, the Ben Sherman Oxford shirt has enjoyed some serious time in the spotlight. And in many ways, it feels like it’s just getting started. EJ

'Owing to some pretty clever marketing, the canny producers opted

Image credit: courtesy of Ben Sherman

to name their fabrics after elite universities: Oxford, Cambridge,

bensherman.co.uk

Yale and Harvard.'

The Archive Sweater Shop the Archive collection at bensherman.co.uk Issue 42 | The Essential Journal

29

ESSENTIAL JOURNAL X TESSUTI

Image credit: Thomas Sumner

Forza Tessuti Taking pride of place in Manchester’s iconic Trafford Centre, Tessuti’s latest store boasts quality and quantity in equal measure words by Will HALBERT

S

triking a much-needed balance between sleek, street style and sharper, more sartorial sophistication, Tessuti have always been forerunners of the premium menswear scene. The recent opening of their all-new store in Manchester’s Trafford Centre is yet another chapter in an ongoing success story. Mixing the best in technical outerwear from the likes of CP Company and Stone Island with more smart-casual staples from Sanders and Barbour International, Tessuti proves itself to be a hotbed of Italian heritage and best-of-British design.

Other highlights of the new store’s line-up include the rugged functionality of Parajumpers, who once again put an Alaskan spin on their Italian, adventure-ready outerwear.

Likewise, the latest collections from American prep favorites, RL POLO add a touch of almost gym-friendly fashion flair, while DSquared2 offer their famous mashup of the sporting and the glamourous, the laidback and the extravagant.

With clear focus on bold colours, street-ready versatility, and premium quality, Tessuti’s latest store has come away with a range of collections that will surely turn heads aplenty for the seasons to come. Be sure to check them out for yourself. EJ tessuti.co.uk

'The recent opening of their all-new store in Manchester's Trafford Centre is yet another chapter in an ongoing success story.'

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The Essential Journal | Issue 42

CONSENSUS

Reaching a Consensus

Pitti Uomo 95 We reach out to those in the know to get their personal insight on the hits and misses of this year’s Pitti trade show

interviews by Will HALBERT

in the likes of London, Paris and New York?

I’d say that other shows on the calendar are more business orientated, Pitti could be seen as more of a gathering, a kick off for the season.

a little more focussed on national markets.

David KEYTE Founder of Universal Works UK

What does Pitti mean to you? How would you define its significance?

It’s important for us to have a presence at Pitti as we have a growing audience in Italy. Pitti has a formidable reputation as the first major selling show of the season, which is further accentuated by the palace in which it all takes place. As such, it attracts a huge international audience, but it always manages to feel local.

How would you say Pitti has evolved over the years? Did you notice any major changes this year?

To be honest I’m not one to ask as I spend my time at Pitti pretty glued to the Universal Works stand! The new ‘I Go Out’ area - a blending of fashion and outdoors elements hosted in the Sala della Ronda - is one of my favourite new additions to Pitti.

It’s a pretty good indication of how Pitti continues to evolve. It’s been around for a long time after all, and will continue to be around for some time for sure.

How, in your opinion, does Pitti differ from other fashion-led events in the likes of London, Paris and New York?

Pitti is unique in the sense that everything is in one place as opposed to scattered about the city, as the case tends to be in Paris, London and New York. That certainly has its advantages for sellers. But Paris is the big one for me, that feels like it’s geared towards an international audience, while the others tend to feel Issue 42 | The Essential Journal

What are your thoughts on the peacocks of Pitti?

Again, I don’t really see much of it as I’m in work-mode. I’m primarily there to show our latest collections to buyers, so I try to ignore the peacock parade if I’m honest. But honestly, if people want to get dressed up and have their photo taken that’s their choice, as long as they’re having fun.

As long as people realise that the peacocking doesn’t define Pitti. It’s just not what Pitti’s about.

Were there any standout brands or clothiers that caught your eye this year?

I mean, Universal Works was pretty good! [laughs] Were there any emerging trends that you were particularly fond of?

Any you were less fond of?

Emerging trends aren’t really my thing, if I’m honest. In my opinion, trends are something to be avoided in favour of a lasting style. But it’s not really my place to criticise others, either.

And finally, what was your own approach to dressing for Pitti this year?

The same approach I opt for everyday: I wake up and consider what to wear. I ensure that my outfit is comfortable, considered and weather-appropriate (Florence is cold this time of year!). I hope it’s stylish, and then forget about it entirely and just go about enjoying my day.

Kevin STONE Marketing Director of Ben Sherman UK

What does Pitti mean to you? How would you define its significance in the industry?

I think Pitti Uomo is like a twice a year fashion blood transfusion, it reaffirms why we work in this industry.

It’s a chance to catch up with many friends and acquaintances, built over many years in the industry to check what’s happening in terms of trend and colour, be inspired and fall in love with the business yet again.

How would you say Pitti has evolved over the years? Did you notice any major changes this year?

I believe it evolves every year. It’s a very subtle evolution, as the show and venue always feels very familiar yet at the same time, new brands arrive, old brands re-invent themselves, and new artisans bring us new and exciting concepts.

How, in your opinion, does Pitti differ from other fashion-led events

Is it fair to say that Pitti is primarily a sartorial affair? Or do you think other elements of men's fashion are equally well-represented?

When you scratch below the surface, Pitti’s got all of the elements of a normal show. It’s just that the sartorial splendour shines through more, especially given the artisan nature of the way Italians dress. After all, for them, it’s a local show: Out of 30,000 visitors, over 50% will be Italian, with only 6 or 7% hailing from the UK. What are your thoughts on the peacocks of Pitti?

I find them amusing, I remember watching a flock of photographers obsessed with taking their pictures whilst right in front of them walked Sir Paul Smith and not a camera shutter twitched in his direction.

Were there any standout brands or clothiers that caught your eye this year?

Too many to mention, to be honest!

I loved the vibe in the ‘I Go Out’ section in Sala Della Ronda, Griffin looked strong in there, the WP area with their family of curated brands was on point as always.

Were there any Ben Sherman pieces that you were particularly excited to showcase this year?

The new workings of the Archive Product: a nod to the brand’s rich history with a modern sensibility.

I find [peacocks] amusing, I remember watching a flock of photographers obsessed with taking their pictures whilst right in front of them walked Sir Paul Smith and not a camera shutter twitched in his direction.'

- Kevin STONE

31

CONSENSUS

David COGGINS Columnist and author of Men and Style and Men and Manners USA First and foremost, tell us a little about yourself and what took you to Pitti?

I’m a writer. I’ve published a book called “Men and Style” and contribute to a number of magazines. I love Italian tailoring and I love Florence, so I go to Pitti partly just to experience being in a great city while a lot of my friends are there. I make a point to see what certain labels I admire are up to.

What does Pitti mean to you? How would you define its significance?

To me it’s a chance to celebrate Italian tailoring and a chance to see other great younger brands. It’s a place to see the best of what’s to come—though plenty of it is definitely not the best.

How would you say Pitti has evolved over the years? Did you notice any major changes this year?

Well it’s certainly more self-regarding than it used to be. I’ve been coming for the last five years so it already had begun to enter the social media fog by the time I began coming. But as you can imagine it’s not getting better.

puts them around men who are even more self-involved. So there’s a lot of preening. I think some of it is natural. And a lot of it is ridiculous costume wearing hoping for attention. Nobody needs to posture that much.

Now, people literally vacation to Pitti Uomo. I’m not kidding. I met some fellas that all took time off work to come out. They were dressed in their best and were having the time of their life. Pretty wild, right? Power to them.

Were there any standout brands or clothiers that caught your eye this year?

I’m always excited to see what Drake’s is up to. They’re friends of mine and they always have one of the most exciting booths. East Harbor Surplus had a lot of great military-inspired outerwear. I love Baudoin & Lange’s elegant loafers.

Fedeli has the most incredible lightweight knitted shirts in amazing colors. Ring Jacket continues to make really smart tailored clothing.

How, in your opinion, does Pitti differ from other fashion-related events in the likes of London, Paris and New York?

London, Paris and NYC are all pretty much invite only. You can’t really just buy a ticket and walk on in the way you can at Pitti Uomo. Rick Owens doesn’t sell tickets to his fashion show, but maybe that wouldn’t be such a bad idea?

Were there any emerging trends that you were particularly fond of?

There were a lot of wonderful overcoats, which is great for everybody.

I continued to see a lot of elegant different shades of browns, caramel and tan. There’s also a lot of texture—lovely corduroy and tweed.

Fall and winter clothes are always my favorite.

Any you were less fond of?

I’m never going to be as excited when tailoring companies go heavier into sportswear. It’s really hard to do both well and very few places can manage that.

And finally, what was your own approach to dressing for Pitti 95?

Ha! Well that’s a revealing question.

I wear what I would wear in any case.

A tweed sport coat, some moleskin trousers, a knit tie. An old scarf and an even older overcoat. Definitely dressed up, but looking like myself.

I think that’s the best policy in general and it works at Pitti too.

How, in your opinion, does Pitti differ from other fashion-led events in the likes of London, Paris and New York?

The fact that Pitti is in Florence, a very old city, preserves a lot of its charm. And the fact that there’s so much focus on tailoring also gives it some old-world appeal. It’s not nearly as much about fashion as other events.

Is it fair to say that Pitti is primarily a sartorial affair? Or do you think other elements of men's fashion are equally well-represented?

I think the strength is definitely sartorial. You can find whatever you’re looking for there. But tailored clothing is the strength of Pitti.

'I’m never going to be as excited when tailoring companies go heavier into sportswear.'

What are your thoughts on the peacocks of Pitti?

Well Pitti takes some of the most self-involved men in the world and 32

Jeremy KIRKLAND Creator and Host of Blamo! Podcast USA

What does Pitti mean to you personally? How would you define its significance in the industry?

Pitti means the world to me: It’s not only the place I truly fell in love with the entire menswear industry, but it’s also the first place I felt accepted by others. So much of Pitti is about catching up with other folks and meeting new ones. It’s far more than a trade show.

How would you say Pitti has evolved over the years? Did you notice any major changes this year?

Is it fair to say that Pitti is primarily a sartorial affair? Or do you think other elements of men's fashion are equally well-represented?

I would say the majority of the folks I see are all folks in their suits. But there are always folks there who are wearing things I would never imagine. Which is exactly why they’re at Pitti!

'Power to them. If they want to do it, it’s fine.

At the end of the day, fashion is really about being comfortable in your own skin. Who am I to judge?'

What are your thoughts on the peacocks of Pitti?

Power to them. If they want to do it, it’s fine. At the end of the day, fashion is really about being comfortable in your own skin. Who am I to judge?

Were there any standout brands, clothiers or individuals that caught your eye this year?

You can’t go to Pitti and not talk about Brunello Cucinelli. They’re one of the greatest brands on earth.

Period. I was also really impressed with Drake’s this year. I would also check out what the Japanese brand Coherence was doing and this killer Swedish underwear brand CDLP (yes underwear, it’s that good).

From what you saw, were there any emerging styles/trends that you were particularly fond of?

If anything, I would say folks are more comfortable with a wider silhouette. It’s nice to see folks moving away from skintight.

Any you were less fond of?

Top hats with long capes: It got gnarly out there.

And finally, what was your own approach to dressing for Pitti 95?

Layers. Wear layers. It’s freezing in the morning and by the afternoon you’re like, “Why am I wearing 10lbs of wool!?” Bring a down vest and shed as needed.

Jose MIGUEL DE ABREU Co-founder of La Paz clothing Portugal

What does Pitti mean to you? How would you define its significance?

Pitti is always the first show of the season, so it’s also where we get the first feedback from the work we have been developing over the last 6 months, so it’s always a good thermometer.

How would you say Pitti has evolved over the years? Did you notice any major changes this year?

Pitti has been a very transversal and complete trade show for many years now. I would say that this year in particular there were slightly fewer people but of a more professional mindset. Basically, there were more buyers and people working than there were people just looking to be seen.

How, in your opinion, does Pitti differ from other fashion-led events in the likes of London, Paris and New York?

It’s just that it’s a much bigger show offering a wider range of segments.

Is it fair to say that Pitti is primarily a sartorial affair? Or do you think other elements of men's fashion are equally well-represented?

No, as I’ve said nowadays it’s a very transversal trade show, you can find a bit of everything there, from the most commercial street wear to the more sartorial brands, with a bit of everything in between.

What are your thoughts on the peacocks of Pitti?

I mean, our approach towards clothing tends to go exactly the opposite way, meaning that we strive to produce comfortable and practical clothes for everyday living, in a very laid back style. But as everything in life, we respect everyone who contributes to the amazing Pitti fauna.

Were there any standout brands or clothiers that caught your eye this year?

Not really, to be honest with you. I really respect brands and projects that, above all, are consistent and can manage to keep doing what they do over the years in an independent way. Of late, I’ve found the market to be a little homogenized within each different market segment. The industry puts too much emphasis on marketing, which, in my opinion, doesn’t really add value to the final product.

The Essential Journal | Issue 42

CONSENSUS

Were there any emerging trends that you were particularly fond of?

Yeah, out of sheer nostalgia I really liked the 90s style and what it represented to my generation.

Any you were less fond of?

Anything that doesn’t make you comfortable in your own skin. You can spot that a mile off. It can be the wrong shoes, a tight jacket, a pair of too-high-high-heels that will make someone walk in a funny way. Anything that just doesn’t fit, regardless of brand or price tag, will not look good. Someone with proper class, no matter the age, the looks, or the money they may have, can look great wearing a second hand €20 jumper, but it doesn’t work the other way around. The most stylish people I know don’t spend much money on clothes.

'The industry puts too much emphasis on marketing, which, in my opinion, doesn’t really add value to the final product.'

image credit: Katherine Row (Robert Spangle)

And finally, what was your own approach to dressing for Pitti 95?

I don’t dress for Pitti, I’ll leave that to the peacocks. I dress according to my particular style and I tend to adapt it to the weather conditions I’m looking to face. One thing I don’t get is how people can just not wear socks and freeze their asses off just for the sake of looking good. It makes me laugh.

Robert SPANGLE Former marine, Savile Row tailor, and man behind the lens of A Thousand Yard Style UK First and foremost, tell us a little about yourself and the story of Thousand Yard Style. What took you to Pitti?

I first heard about Pitti Uomo when I was studying fashion in 2012. I was convinced it was just an Italian village with incredibly-dressed citizenry. Living in London in 2013, I learned it was an industry tradeshow. It was the first place I traveled to photograph.

What does Pitti mean to you? How would you define its significance?

Issue 42 | The Essential Journal

Industry aside, Pitti Uomo is a great example of tribe and self-elected identity in the 21st century. You have thousands of people from around the world transforming Florence into a menswear Mecca twice a year and bonding over passion-based, self-elected identity that trumps nationality, race and ethnicity. It's a pretty wonderful turn for the better if you ask me.

How would you say Pitti has evolved over the years? Did you notice any major changes this year?

Social media changed the event entirely. It’s less intimate than it once was, there is a huge social element now but it hasn’t come at any cost to the trade side of the show. This past season, things were a little more subdued, there was a feeling of settling changes.

How, in your opinion, does Pitti differ from other fashion-led events in the likes of London, Paris and New York?

It’s a trade show with a very specific sartorial focus, and the energy and importance of a major fashion week.

It also holds a real tribal quality in terms of the sense of belonging and community people attending feel, which is different from any other fashion event I have covered.

Is it fair to say that Pitti is primarily a sartorial affair? Or do you think other elements of men's fashion are equally well-represented?

It’s sartorial, but sartorial tastes and palettes change just like anything else.

What are your thoughts on the peacocks of Pitti?

Other people are hell. I don't think anyone should worry about how anyone is dressed but themselves.

But this goes hand in hand with the tribal aspect of Pitti: Tribes are as clearly defined by their members as by those they exclude. You could see the same dilemma in skateboarding with posers or music with scenesters.

Were there any standout brands or clothiers that caught your eye this year?

I never have as much time as I’d like to see the actual booths, however watching Drake’s evolve each season is a joy. Sciamat’s humorous dialogue and severe silhouettes were noteworthy. Arc’tyrex and Snow Peak also caught my eye.

Were there any emerging trends that you were particularly fond of?

Many of my favorite style guys were more restrained and severe than usual, grey and blacks, minimal. It was refreshing. I liked seeing Japanese design sensibilities manifest in soft, belted overcoats. Overall, people are loosening up their suits with volume and drape, which I adore.

Any you were less fond of?

I believe there were some guys wearing cover-up or foundation.

The more I think about that, the more it disturbs me.

And finally, what was your own approach to dressing for Pitti 95?

Operator chic.

I think it's going to be an exciting year for the Italian mill, Lanificio Cerruti, they have a fantastic 200 year history, but with a new CEO, Paolo Torello-Viera, I think the company is one to keep an eye on. Their cloths have always been fantastic and I think combining that with a visionary mindset the company is on a great course.

James SLEATER Co-founder of Savile Row tailors, Cad and The Dandy UK

First and foremost, tell us a little about yourself and the story of Cad & The Dandy.

We were established back in 2008 and, over the course of those ten years, we have become the largest tailors on Savile Row. We also have shops in New York and Stockholm What does Pitti mean to you? How would you define its significance?

It’s quite the mixed bag. But quite simply, Pitti provides the platform for the world’s menswear leaders to get together, check out emerging trends, meet suppliers and converse with writers. In that way it’s the perfect mix of business and pleasure.

How would you say Pitti has evolved over the years? Did you notice any major changes this year?

I’d say that this winter saw far fewer peacocks. Peacocks at Pitti are more dressed for attention. Few of them have genuine style but rely on bright, gaudy colours to get noticed. Sure, they make interesting subjects for the camera but they’re not exactly the beacons of how to dress that they think they are.

How, in your opinion, does Pitti differ from other fashion led events in the likes of London, Paris and New York?

The other shows in London, Paris, and New York are based around brands showing at largely separate locations whereas Pitti is less runway based and more trade show.

As it’s all held in the grounds of the Pitti Palace, Fortezza da Basso, it’s a much closer, more intimate affair.

What are your thoughts on the peacocks of Pitti?

I think it's a shame that the show has become a hotbed of people wanting their photo taken whilst walking as slowly as possible on fictional phone calls. These Peacocks are not to be imitated and thankfully the show has been trying to get the numbers to dwindle by removing the ‘wall of Pitti' where people would sit, purely hoping to be snapped by a passing photographer. There are a couple of great Youtube videos about the Pitti peacock that for those that have never encountered them should watch as compulsory viewing.

Were there any standout brands or clothiers that caught your eye this year?

Were there any emerging trends that you were particularly fond of?

I like the resurgence of tailoring with a more sporting edge. I am not sure I am yet convinced about trainers with suits, but I am a huge fan of more technical cloths that provide stretch and comfort with assets like water repellence.

Any you were less fond of?

Anyone that dresses with bright colours for the quick win of getting noticed. I think Paul Smith exploited that well in the 90s, but I think style is more sophisticated now with a consumer desire for more subtle individualism rather than shout out loud clothing.

And finally, what was your own approach to dressing for Pitti 95?

Too many people try too hard at Pitti and don’t look comfortable in their own clothes. I always believe in dressing everyday in a way that is comfortable and yet stylish. I like to wear my clothes and not for my clothes to wear me. I don’t wear trainers, as I find loafers and boots just as comfortable. I am fortunate that I make most of the clothes I wear, so I can invest the time in making sure that I know how each item will turn out. You have to learn what works for you by making mistakes and, luckily, I made mine 20 years ago rather than today.

'I love Americana vintage clothing, specifically: workwear and classical styles. So I try to incorporate those elements when thinking of what to wear.'

What does Pitti mean to you? How would you define its significance?

There is no event like Pitti anywhere in the world. The first time I visited Pitti was about 12 years ago. Although the number of visitors might be in decline, there is always great energy amongst the people there. We have a booth ourselves, and have been exhibiting over the last 3 years or so.

We use it to sell our magazine, chat to our customers, and try to find exciting new brands. I occasionally take photos for the magazine too.

How, in your opinion, does Pitti differ from other fashion led events in the likes of London, Paris and New York?

All those major cities have big corporate-style brand catwalks, very fashionista-type affairs. Florence, on the other hand, offers a slightly more relaxed and culturally-engaging event for me.

Is it fair to say that Pitti is primarily a sartorial affair? Or do you think other elements of men's fashion are well-represented?

It will always be the sartorial styles that dominate. But it’s always interesting to see just how people play with that idea of ‘sartorial’. People always add their individual flare to the concept. I think that’s the main reason behind why people still go to Pitti.

What are your thoughts on the peacocks of Pitti?

If I’m honest I kind of envy them.

They’re enjoying fashion, after all!

Were there any standout brands or clothiers that caught your eye this year?

Oh there were many, but I’m playing my cards close to my chest on that one!

Takashi OKABE Editor of Men’s File Tokyo and European Correspondent for Clutch Magazine Japan UK First and foremost, tell us a little about Clutch.

Clutch Magazine has been running over the last 6 years, mainly focusing on heritage, vintage, lifestyle fashion and we are known for working together with Men’s File Magazine.

Clutch has recently opened a shop called Clutch Café (yes, we have a bit of Café space too) in the middle of Fitzrovia, London. We deal with over 50 brands, mainly from Japan, carefully curating products that will last you a lifetime.

Were there any emerging trends that you were particularly fond of?

I was a big fan of the technical outerwear side of things. If you ask me, I think lifestyle brands, especially outdoor brands, will be very strong for the next few years.

Any you were less fond of?

I enjoy all elements of fashion, so I try to appreciate everything that others put out there in some way or another.

And finally, what was your own approach to dressing for Pitti 95?

I just try to wear what I like and what I believe in. I love Americana vintage clothing, specifically: workwear and classical styles. So I try to incorporate those elements when thinking of what to wear.

33

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The Essential Journal | Issue 42

STYLE

Choice Timing The team at David M. Robinson give us a run down of the stand out timepieces from this year’s Salon International de la Haute Horlogerie words by Miles KENNEY

TAG Heuer releases their new

IWC Schaffhausen presents a

2019 sees the release of Panerai's

Carrera Calibre Heuer 02T

new Spitfire line to add to their

latest concepts, remaining

Tourbillon Nanograph for 2019

Pilot’s watches collection

faithful to the brand's DNA

TAG Heuer unveiled its newest innovation - a hairspring made of a carbon composite which has been invented, patented and produced by the avant-garde Swiss watchmaker.

Celebrating the unique engineering expertise of the designers of this legendary British fighter aircraft, this latest launch is inspired by the puristic instrument design of the Mark II. An iconic navigation watch, the Mark II was produced in Schaffhausen for the Royal Air Force from 1948 and worn by many serving pilots and navigators of the time.

For many years, Panerai watches were produced exclusively for the Italian Navy. Panerai starts the year off strong as it launches a new partnership with Luna Rossa, the Challenger of Record team for the 36th edition of the America’s Cup. To celebrate this partnership, Panerai launches a new collection, the Submers-ible Luna Rossa (ref PAM01039).

This launch sees all Spitfire models released with IWC-manufactured calibres, along with their unprecedented robust and reliable movements.

Also, for the first time, IWC integrates a chronograph movement from the 69000 calibre family into a Pilot’s watch.

The new timepieces will play an integral role in the event, worn on the wrists of the Luna Rossa Sailing Team members, as the first stage of the America’s Cup World Series kicks off in Sardinia.

Bridging the gap between traditional watchmaking craftsmanship and state-of-the-industry innovation, the Carrera Calibre Heuer 02T Tourbillon Nanograph is fitted with a tourbillon feature which is amongst the most impressive complications a watch collector can own.

The most difficult part of a movement to produce because of the direct impact its minute tolerances has on the overall precision of a timepiece, this hairspring has been created by a team of TAG Heuer mathematicians, physicists and chemists.

TAG Heuer is the exclusive manufacturer of these hairsprings, which are designed and produced in its in-house laboratory in La Chaux-de-Fonds.

IWC Pilot’s Watch Chronograph Spitfire (ref.

IW387901) is the stand out piece from the Spitfire line. With an integrated chronograph movement from the 69000 calibre family, IWC have also reduced the case diameter to 41mm, whilst the pawlwinding system, which winds up on both sides, boasts an impressive power reserve of 46 hours.

Another exciting timepiece released at SIHH this year is inspired by French freediving champion Guillaume Nery, the Submersible Chrono Guillaume Néry Edition. This striking 47mm watch (ref.

PAM00982) is noted for its blue accents. Water resistant to 300 meters with a unidirectional rotating bezel and luminous white markers, it is designed with professional divers in mind.

For more information on the watches featured in this article visit davidmrobinson.co.uk

Issue 42 | The Essential Journal

35

DINING

The Recipe

Butternut Curry with Spinach & Cashews Compliments of Simple & Classic by Jane Hornby (Phaidon)

C

olourful, fragrant, and full of texture, this dish shows you don’t need meat to make a good curry. Lentils, chickpeas, and nuts add protein to the melting pot of vegetables and spices for a healthy, balanced meal. It would also make a great side dish to go with the Lamb & Potato Curry.

BUTTERNUT CURRY WITH SPINACH & CASHEWS

Simple & Classic

by Jane Hornby (Phaidon) is available now

Ingredients Medium butternut squash, 2 1/4lb (1kg) 1 onion 4 tbsp vegetable or sunflower oil 1 tbsp butter 2 cloves garlic 1 thumb-sized piece fresh ginger 1 small hot green chile (see note) 1 tsp ground turmeric 1 tsp cumin seeds 1 tsp ground coriander 2 cinnamon sticks 1 tbsp freeze-dried curry leaves (optional) 1/2 cup (100 g) red lentils 3 or 4 ripe tomatoes 1 (14-oz/400-g) can chickpeas, drained 3/4 cup (100 g) cashew nuts 2 large handfuls baby leaf spinach Salt and pepper Serve with chapatis, naan bread or rice along with relish or chutney Serves: 4 Preparation time: 25 minutes Cooking time: 35 minutes

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1 Peel the squash using a good peeler or a small sharp knife. Be careful, because the skin is tough. Cut into 4 pieces. Scoop out the seeds using a tablespoon. Cut the flesh into large cubes about 1 1/4 inches (3cm) across.

2 Halve and slice the onion. Put a large skillet, frying pan, or wok over medium-high heat. Add the oil and butter, wait for 30 seconds, then add the squash and onions, and season with salt and pepper. Cook for 5 minutes, stirring often, until the vegetables are starting to soften.

3 While the vegetables cook, thinly slice the garlic and finely grate the ginger. Slit the chile, without cutting through the stem (stalk) end. If using a larger, milder chile, seed and finely chop it, then add the flesh to the pan.

4 Boil a saucepan or kettle of water.

Stir the garlic, ginger, chile, spices, and curry leaves, if using, into the pan and cook for 2 minutes, until fragrant and the vegetables are coated in spice.

5 Stir in the lentils, then pour in 1 3/4 cups (400 ml) boiling water.

Stir, then cover and simmer for 10 minutes, stirring a few times.

While you wait, preheat the oven to 350°F/180°C/Gas Mark 4 and coarsely chop the tomatoes.

6 Stir the tomatoes in with the chickpeas, cover the pan again, then simmer for another 10 minutes, stirring once or twice. The lentils should be plump and tender. Squash one against the side of the pan to be sure. Season the curry with salt and pepper.

HOW HOT IS THE CHILE? Fat chilies tend to be milder. Smaller chilies, whether thin, finger length, or small and squat, are usually much hotter. In this recipe, a hot chile is simply split, but not chopped. This is a good way to add some heat and the flavor from a hot chile, without having to chop it or remove the seeds.

Remember, all chilies vary. So, before you start chopping, slice a little from the end of the chile, touch the cut end with your finger, then touch the tip of your tongue. If it’s hotter than you’d like, go easy—if it’s milder, use more, or add the seeds, too.

7 Next, toast the nuts. Sprinkle the nuts over a baking sheet and roast them in the oven for 5 minutes, or until golden 8 To finish the dish, stir in the spinach leaves and sprinkle the nuts over the top. The spinach will wilt from the heat of the curry. Serve with chapatis, naan breads, or rice and your favorite relish or chutney.

The Essential Journal | Issue 42

COLUMN

At the Pass with

Tommy Banks This month Tommy Banks, chef & owner of Roots (York) and the Michelin-starred Black Swan at Oldstead, considers the odd similarities between denim and scallops

words by Tommy BANKS

B

y and large, us chefs can often be a scruffy bunch. It’s not our fault, necessarily, we just happen to be dressed with function rather than form in mind.

Crocs - or Birkenstocks if you’re feeling fancy - used to be (and to some extent, still are) standard kitchen attire. You could often spot a chef a mile off in the pub, as they’d be the only ones who thought it was acceptable to wear a pair of crocs outside of the kitchen.

That’s not to say we’re totally devoid of style, however, and things have certainly relaxed a little bit nowadays in terms of kitchen uniforms. Slim fit jeans and trainers do the job just as well behind the pass, with the added benefit of feeling less like a uniform.

Obviously, the white chef jacket remains. It’s the last bastion of stylistic tradition in the kitchen, after all. But even that is often tailored for a more flattering fit and made of a more comfortable material.

At first glance, swapping Crocs for Nikes and tailoring your chef whites might seem like a bit of a faff, but it’s all about how you feel in what you’re wearing, even at work. Personally, I feel pretty good in my chef clobber and I’d like to think it shows. What you wear can often give you the boost you need to approach people differently, with a little more character or confidence.

I remember one time I left my chef whites in the car while it was being serviced, I was halfway back to York before I realised I didn’t have them.

I was set to host an evening with some 25 sommeliers all hailing from different restaurants that evening, so I had no choice but to buy a quick replacement. I felt the difference immediately. It was a cheap and nasty little number compared to my usual jacket, and the fit was horrible. Naturally, it threw me off for the entire evening. I just didn’t feel like myself.

How you think you look can really affect your work. At both Roots and The Black Swan at Oldstead, we swap to fresh aprons for evening service after a day’s prep. It’s an instant livener. You feel pretty refreshed and ready for service. What you wear often dictates how you feel (which then affects how you work). The same goes for the guests that visit our restaurant. It’s a beautiful thing to see: Each table brings a style of their own, and they look happiest when they’re at their most comfortable.

I know it sounds a little odd: A chef giving any kind of advice on questions of style. But there are a few parallels to be drawn between food and fashion. The biggest overlap is in quality, whether we’re talking about the quality of a fabric or the quality of an ingredient. You can make something look as good as you want, but if the quality isn’t there then you’ll soon find out. Take denim, for example. You can spot a well-made pair of jeans a mile off, they exude quality, and it holds up upon further inspection. It’s an odd analogy (so bare with me), but the same could be said for something like the scallop. A perfect, pearly, hand-dived scallop is hard to beat. It’s world class, it just oozes quality.

So you could say there’s certainly some overlap in the realms of food and fashion. I mean, I’d like to say that the food industry is more challenging, but I’m not so sure that’s true. I once shot a lovely little video with Mr Porter that had me modelling clothes in the middle of a full on blizzard. The video turned out great, but I’ll never forget how it felt to be walking through a mucky field in sub zero temperatures with my jacket open just to get a nice shot. Make no mistake, modelling is a dangerous business.

So, as a general rule, I prefer to stick to the relative warmth and safety of my restaurants’ kitchens, wearing a jacket that fits, in my slim jeans and a pair of shoes that aren’t bloody crocs. TB

'At first glance, swapping Crocs for Nikes and tailoring your chef whites might seem like a bit of a faff, but it’s all about how you feel in what

Image credit: Jack Finnigan

To find out more about Tommy's food head online: blackswanoldstead.co.uk rootsyork.com

Issue 42 | The Essential Journal

you’re wearing, even at work.'

37

DRINKING

Home Comforts Dan Harvey, La Marzocco’s Home Manager for the UK, talks us through the diminutive charm of the Linea Mini words by Dan HARVEY

Image credit: courtesy of La Marzocco

W

e are living in an age when consumers have become more conscious and curious of their purchases than ever before.

From knowing the traceability of a particular coffee to the overall ethos behind our most loved brands, we have a hunger for knowledge and a desire to curate our own, tangible experiences, even in the comfort of our own homes. Lifestyle brands, such as Rapha and Patagonia, enrich the lives of their customers by thinking outside of the box and offering something out of the ordinary. The popularity of these brands show that we’re in it for the long term; we want to be advocates for our favourite things.

'The machine retains the design and performance and quality of a La Marzocco machine but boasts a reduced footprint that makes it perfect for the kitchen' Born with the idea of our favourite things in mind, La Marzocco then introduced a new machine specifically designed for the home espresso enthusiast: the Linea Mini. With similar professional grade performance tucked away in a 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 retains the design and performance and quality of a La Marzocco machine but boasts a reduced footprint that makes it perfect for the kitchen, allowing 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. EJ

The Showroom Story So Far There’s more to La Marzocco than their high-end and hand-crafted espresso machines

words by Dan HARVEY

F

ounded in Italy in 1927, the proud Florentine company now has offices across the globe to support the growth of speciality coffee and hospitality. Their mission statement has always been to champion excellence in coffee through the manufacturing of the finest world class speciality coffee equipment, while encompassing people, heritage, technology and design.

Since their inception, La Marzocco have had many defining chapters, starting with the creation of their first espresso machine, The Fiorenza, in 1927. Further key moments include the production of the first espresso machine with a horizontal boiler in 1939, with the early 1990s witnessing the start of manufacturing on what is arguably their most iconic machine, the Linea Classic, which became an icon of the speciality coffee boom in the UK during the mid to late 2000s.

To further support the coffee community, including the consumers that drove this coffee boom forward, La Marzocco opened its first UK base in London in 2011. Going from strength to strength on a national level, consumers’ thirst for speciality coffee allowed La Marzocco to open their second UK base in Leeds, in July 2017. After seven memorable years in their original London base, 2019 saw the team move into an all-new showroom to allow the company to better cater to the specialty coffee community’s needs.

Both of La Marzocco’s showrooms are open community spaces 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 and their consumers, as well as to nurture a future generation of roasters, coffee shop owners, baristas, engineers and coffee enthusiasts.

Their new unique East London showroom is equipped to provide unparalleled levels of support to the commercial sector of the coffee community; with designated areas for tech and engineering support and a commercial-grade espresso equipment showroom. Recently, the equipment showroom was used to showcase the game-changing, paradigm shifting, 'StraightIn-Portafilter' innovation of the KB90.

The La Marzocco team have also crafted a separate floor at their new showroom that specifically focuses on their domestic platform, La Marzocco Home. Here, the La Marzocco team are able to welcome guests to test-drive the La Marzocco Home range and ask the experienced team a range of questions; from technical support through to selecting the perfect espresso. For all their progress and success, the La Marzocco showrooms continue to show that La Marzocco are all about those all-important conversations sparked around the coffee machine. EJ

'Their mission statement has always been to champion excellence in coffee through the manufacturing of the finest world class speciality coffee equipment, while encompassing people, heritage, technology and design.'

The new address is 6 Willow St, London, EC2A 4BH. The team looks forward to welcoming friends and partners, old and new to their brand new space throughout 2019. To arrange a viewing please email info.uk@lamarzocco.com

uk.lamarzoccohome.com 38

The Essential Journal | Issue 42

DRINKING

High Spirits Spotlight

Mezcal

A Word from the Experts words by Liz LOCK & MW Dawn DAVIES

Delving deep into the latest and greatest from The Whisky Exchange

M

ezcal is really finding its stride this year. Although most mezcals derive from the Oaxaca province of Mexico, there are nine states which can produce mezcal, and it can be made from around 50 different species of agave grown in those states (unlike Tequila, which is made specifically from blue agave). Mezcal is often known as the smokier brother of Tequila thanks to the cooking of the piña (heart of the agave plant), but terroir plays a big part in the production of mezcal and flavours are dictated by many factors such as weather conditions, the species of agave used, cooking method and time, and the distillation process. On the whole, where tequila offers and spice characters, most mezcals present an element of smoke and fruit. Mezcal is superb when mixed with tonic and makes a fantastic ‘negroni’ in the place of gin.

ILEGAL JOVEN

A quickfire Q&A with Monica Berg, drinks curator at Himkok, Oslo and co-creator of P(our) Symposium

3 words that best describe mezcal?

Flavourful, agricultural & pure How do you prefer to drink mezcal?

Always neat! Although a Mezcal Negroni is one of my go to cocktails.

Can you think of a classic cocktail that gets better with a little mezcal?

I think many classic cocktails lend themselves to a little mezcal - anything from a Margarita to a Bloody Mary.

Somebody walks into your bar and wants to see what mezcal is all about, how do you ease them into it?

I often make the comparison to scotch; tequila would be your blended whisky whilst mezcal would best be compared to single malt. It’s absolutely a product best described as an expression of the culture and ecology behind it.

70cl | 40% | £49.75

John Rexer lacked a good mezcal to stock in his bar, Café No Sé and so in 2004 he began smuggling artisanal mezcal from Oaxaca to Guatemala.

Soon it became local knowledge that this smooth and smoky spirit was available in the backroom but it wasn’t until late 2009 that Ilegal Mezcal became legal and available to buy. Hand corked, labeled and numbered, Ilegal Joven is un-aged with a full-bodied flavour. It hosts eucalyptus and mineral aromas complemented with hints of green apple and citrus. A delicious light smoke flavour with lingering heat makes this perfect on its own or to pair with tonic and ice.

Where’s the best place in town to get your mezcal fix?

These days, you can find a good selection of mezcal in many bars and restaurants. In my parts, I quite like Santo Remedio which is close to where I live but also Scarfes Bar and FARE in London.

BOZAL CUIXE MEZCAL

75cl | 47% | £61.45

MARCA NEGRA ESPADÍN MEZCAL

70cl | 51.5% | £59.95

The name, Bozal is translated to 'wild' or 'untamed' in Spanish and is reference to the wild species of agave, grown in the precarious hillsides of Oaxaca and Guerrero.

The range is made in small batches using traditional techniques to produce a pure style of mezcal. Cuixe is one of the most physically distinct species of agave with an unusual structure which can be difficult to harvest. This a complex mezcal with distinctive flavours of rich tropical fruit, followed by a smoky finish.

Distilled from estate-grown espadín, the most commonly used agave for mezcal averaging 7 to 10 years of age and double-distilled in pot stills. Marca Negra comes on a little stronger than most other Espadín Mezcal’s, yet the alcohol never overpowers the taste. This particular expression has spicy peppery notes that prove dry and fruity on the palate with a smoky body. We recommend you try this one neat.

Issue 42 | The Essential Journal

39

DRINKING

Drinking with

Ivy Asia Located on the second floor of The Ivy Manchester, Ivy Asia does things a little differently than its Spinningfield neighbours. The glitz and glamour of its glowing emerald, floor and its antique, gold-mirrored bar is offset by the poise and intelligence of its drinks offerings. Proving that extravagance needn’t come at the cost of sophistication, Ivy Asia is a welcomed addition to Manchester’s premium bar and restaurant scene image credit: courtesy of The Ivy

words by Will HALBERT

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The Essential Journal | Issue 42

DRINKING To book visit theivymanchester.com/ivy-asia

Get the Round in Featured Libation

Kyoto Lavendar

Luke Mason Quickfire questions answered in the time it takes Ivy Asia’s bar manager to smoke up a Plum Negroni So what’s your story, Luke?

Believe it or not, I’m from a shoe making background. It’s the family trade. I got into bartending early on and worked my way from barback to bar manager across a few different bars and companies. That’s the great thing about bartending; there’s so many ways of doing things and so many people to learn from. It’s all a case of being proactive.

A lot of your cocktails feature clear ice, and a pretty minimal aesthetic. Was that a conscious choice?

It was! Cocktails have started to lose their identity in a big way of late. All the pyrotechnics and one-upmanship have given people the impression that how a drink looks is more important than how it tastes.

There’s always room for a little theatre, but taste should always come first. I like to make cocktails that are pretty unassuming on the eye, but pack a punch on the palate.

And who developed the menu?

Ivy Asia trusted my instincts on the menu development. I wanted to keep the selection pretty minimal and well-edited. We’re not looking to overwhelm guests with page on page of cocktails. We’d rather have a solid selection of firm, well-made, soon-to-be favorites.

Who makes your rather sleek glassware?

They’re made by a lovely company by the name of Nude. They’re big on the notions of simplicity, decluttering and a general distilling down of design elements. We like to think we can relate to that here at Ivy Asia.

C

itric acid, manzana verde and coconut rum give the drink a crisp, clear appearance, while a little foam adds to the dessert-like splendour of the whole experience. Think boozy parma violets but without the sickly sweetness.

More than just a well-balanced, moreish cocktail, the Kyoto Lavender is a shining example of the bar’s overall approach to cocktail-making. By focussing on a clean, minimal aesthetic that favours taste over theatre, Ivy Asia have come away with a menu that’s confident and club friendly without the typically tacky trappings you might have come to expect from a late bar. In short, it’s a crowd-pleaser with class and we’re all for it. EJ

And finally, what’s your house shot?

I’d have to say plum sake. It’s sweet, mild and goes down easy.

Certainly a hit with guests and a pretty welcoming introduction to the world of sake.

'There’s always room for a little theatre, but taste should always come first. I like to make cocktails that are pretty unassuming on the eye, but pack a punch on the palate.'

The Ace in the Hole

Sake

The Japanese Whisky Collection

T

T

The Secret Ingredient

he Japanese rice wine not only plays its part in a number of Ivy Asia’s cocktails (be sure to sample the Smoked Plum Negroni for a masterclass in sake-based decadence), but also finds a sacred spot on Ivy Asia’s permanent menu. If you’re new to sake in general, do yourself a favour and try HeavenSake Junmai Ginjo, a Franco-Japanese entry into the premium sake category.

Boasting a bold, floral bouquet on the nose that’s quickly followed by hints of summer pears, red berries and muscat grapes on the palate, HeavenSake offers a softer, less acidic take on the traditional Japanese libation. EJ

Issue 42 | The Essential Journal

outed as home to one of the widest selections of Japanese whisky in Manchester, Ivy Asia is a veritable treasure trove of all things malted and peated. Served in generous 50ml measures, Ivy Asia’s Japanese whisky catalogue ranges from the now-familiar to the exceptionally rare. Old friends like Nikka and Hibiki sit alongside lesser-known expressions like Togouchi 18yr Old and Yamazakura 963 8yr.

More than anything, the Ivy Asia whisky menu serves as less of an indication of what’s on offer, and more of a list you’re going to want to work your way through. EJ

41

TRAVEL

Image credit: courtesy of The Hoxton

A Handsome Hotel

The Hoxton

Holborn

words by Will HALBERT

L

ocated in the heart of Holborn, a mere stone’s throw from The West End, lies The Hoxton.

Over the last five years or so, the hotel has garnered quite the name for itself as an open house hotel inspired by the city streets and busy scenes that colour them. As close to the action as it gets, The Hoxton is a masterclass in carefully-curated cool amidst the pandemonium of London’s relentlessly cosmopolitan pace.

In all honesty, the bar alone is enough for us to wax lyrical on the visual virtues of the hotel, but we’ll limit ourselves to the undeniable charm of the rooms themselves. You see, the real allure of the Hoxton lies in the design flourishes of their rather diminutive rooms, which range from Shoebox, to Snug, to Cozy (with the Roomy option adding a little more wriggle room, should you need it).

By all accounts, their shoebox rooms are perhaps the most impressive of their offerings. Not to detract from their other rooms, but there’s a cosy comfort to the smaller rooms that sets the Hoxton leagues apart from their competition, an expertly-edited but never excessive elegance that means they never really feel like a compromise.

A Queen size bed and a walk-in shower guarantee both a refined luxury and a great night’s sleep, while the room’s soft mood lighting and well-placed mirrors give the illusion of space that nevertheless retains a certain intimacy. The smaller furnishings are equally noteworthy, with a few well-leafed books and Dickensian wallpaper flourishes adding a touch of literary sophistication to your stay.

Compact but comfortable, a stay at the Hoxton is the hotel equivalent of a hot cup of tea and a warm hug at the end of the day. Despite its placing, the relative tranquility of a Hoxton room is a far cry from the hustle and bustle of the busy streets below. EJ

Book your stay by visiting thehoxton.com

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The Essential Journal | Issue 42

CULTURE

Architectural Thoughts on

The Grand Tour Sex, lies and copperplate - the tradition of the grand tour, and how it brought European knowledge, culture and style to Britain words by Róisín HANLON

T

he Grand Tour could be described as a sort of gap year for the Renaissance.

At its most popular in the 17th and 18th centuries, it was common for aristocratic families to send their children - generally their sons - travelling around Europe for months or even years. The trip was ostensibly about seeing the classics in situ - ruins, sculpture, paintings, murals. As well as the architectural greats - Florence for the Duomo and Palazzo Pitti, Rome for the Coliseum and the Vatican. But as well as the educational aim there was a hope that the trip would be an opportunity for the young men to mature and come of age.

Typically a young man - in his late teens or twenties - would be sent travelling with all expenses paid by his parents, and an older companion. In theory this companion or 'bearleader' would make travel arrangements, act as a travel guide and teacher and generally look after their charge. Realistically, these guides were employed by the family, and so relied upon their young charge for food and keep, meaning they generally had little to no control. These young men were, for the most part aristocrats with a full wallet - they could do whatever they wanted and had a seemingly free-pass to do so.

The hope was that travellers would interact with other Europeans, broadening their cultural horizons. Though often commonly held stereotypes were heightened, one guide advised 'The French courteous, Spanish lovely, Italians amorous, Germans clownish.' Grand tourists had a reputation for debauchery. There were more opportunities to drink, to gamble, and to meet new people than home. Many writers noted that women on the continent were more bold, more direct and much more liberated, than women in Britain at the time. A blind eye was certainly turned at home to some of the 'wilder’ activities of young men on these trips, and it was generally seen as a good thing that it was happening on the continent - and so far away from the rest of high society.

For some, the experience was truly one of cultural exchange. Jonathan Richardson was one such traveller who wrote a book detailing every painting, sculpture and drawing that he thought worth seeing along the Grand Tour, with notes and opinions on each one. He is obviously a traveller who was moved greatly by the works he saw - confessing to spending 10 hours in one sculpture gallery alone, completely engrossed by 'such a fleshy softness' carved in the marble. Although unimpressed by Correggio’s Madonna he wrote 'But the beauty! The morbidezza! The thought and expression!

Good God!' There was little information in Britain to learn about the classic arts and culture. So when young people returned from their travels with painting, sketches, and engravings of the things they had seen it would be something rarely seen in England before.

Some of those who undertook the tour then took the ideas that inspired them and created works here in the UK. Inigo Jones travelled extensively in Europe and designed many buildings which are now British landmarks, including Queen’s House at Greenwich and Covent Garden. Sculpture, painting, fashion and literature were all swayed by the influence of the returning Grand Tourers. In terms of architecture, the style that developed was Neo-classicism, and this is maybe one of our most prolific styles.

It is easy to overlook how influential this rite of passage was on British culture.

The rediscovery of classical architecture was largely due to the Grand Tour, some of the western world’s most famous landmarks are designed on classical principles, they are as far reaching as the United States Capitol Building. In the 19th century, trains and the start of travel agencies such as Thomas Cook meant that the grand tour routes became more widely accessible, and so lost some of its elitism. As time went by, the idea of traveling to the continent for an educational trip became more common. And this month our editors carried on this grand tradition - boldly traveling to Florence, to bring back all the Italians have to teach us poor plebs stuck back home. RH

'The trip was ostensibly about seeing the classics in situ - ruins, sculpture, paintings, murals.

As well as the architectural greats Florence for the Duomo and Palazzo Pitti, Rome for the Coliseum and the

image credit: Giuseppe Mondi/Unsplash

Vatican.'

Pictured Above 'The Duomo', Florence, completed in 1436 was visited and studied by many a Grand Tourer

Issue 42 | The Essential Journal

43

NOT JUST A BARBERS...

attitude

66 Rose Lane, Liverpool L18 0151 724 5277

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attitude TOPMAN Church Street, Liverpool1 0151 709 1844 (opt 6)

SHOP OR BOOK ONLINE AT www.attitudemenshair.co.uk

The Essential Journal | Issue 42

BUSINESS

Hard Pressed We speak to Pete Southern of Clockwork Espresso to discuss the business end of the humble coffee tamper interview by Thomas SUMNER

How's the coffee scene developing in the North East? Who do we need to check out?

It’s really taking off, which is great to see. The obvious one to mention is Flat Caps Coffee, run by Joe Meagher - one of the first names to serve really excellent coffee in Newcastle. BLK Coffee in Heaton is fantastic, and there are lots of other places popping up all over the North East - Holmeside Coffee in Sunderland, and my favourite brunch spot was Flat White Kitchen in Durham, although they’ve just opened a new location at Whitechurch which is also excellent.

Tell us about PUSH. PUSH is the world’s most precise coffee tamper. Coffee Tampers are used for compressing coffee grounds before brewing espresso in an espresso machine. Most of them are essentially a disc of metal on a stick, meaning the user has to be very careful to compress the grounds sufficiently, while also keeping the bed perfectly even and level. This is a difficult skill to master, and even the most experienced baristas often make mistakes. PUSH guarantees a perfectly level and consistent tamp for any user, while also significantly reducing the risk of injury to baristas. I started working in coffee in Melbourne in 2009. When I came back to the UK I bought a mobile coffee trailer at an auction, and ran it while at University and then for several years afterwards. After university I went to work for a company which made some very innovative DNA testing machines. While working there, I convinced the boss to buy a commercial espresso machine for the office and then found myself training my colleagues on how to use it. This was quite difficult, because while they were all highly intelligent, they had no desire to put in the level of practice required to be able to consistently make excellent coffee. This meant that they struggled to get the hang of tamping correctly, and complained that their coffee never tasted as good as when I made it. I decided I’d have a go at making a tamper which made it easier for them to get it right every time. I had an incredible amount of incredible tools and machinery to help me do that, but it still took almost a year of development, and around 50 prototypes to get it right.

Clockwork Espresso is currently a one product company, right?

If I’m honest, I was completely unprepared for the sudden surge in demand we had at the start, and it took us a long time to ramp up production in order to meet the constantly increasing demand for the product. For the first 18 months, we couldn’t make it fast enough, so pretty much all of our time was spent on trying to scale up, while maintaining the incredibly high quality standards we set from the start. In the short term, we’re about to launch some new sizes to cater for the less common machines and the home market. After that, we’ve got some more products which we’re working on, but unfortunately I can’t say much about them just yet - except that they’re still within coffee.

Your tamper was used by the winning barista in the UK championships a few years back. How did this exposure effect the business and how did you learn from it?

Yeah, that’s right. Maxwell Colonna-Dashwood was the UK champion in 2015, so he represented the UK in the World Championships that year in Seattle. I flew out to watch him compete, and that was the first time the world properly saw PUSH. I knew it would have a positive effect, but I completely underestimated how much of an effect it would have. When he was competing, I was sitting in the audience and when he picked up the prototype of PUSH to use it, there was an audible “what is that?” which was echoed in the comments on the livestream. I posted a link to our website in the comments, and within seconds it crashed. Over the next few days, weeks and months, we had thousands of visitors to our simple three page website. We allowed people to enter their email address to register their interest, and then when we publicly launched the pre-order for the product almost exactly a year later, we had customers in 23 countries within three weeks. It was amazing to have such a positive reception from this one event, but it would have been great to be more prepared to actually produce and sell the product. I remember at the expo which was hosting the WBC, I met several people who were trying to force cash into my hand to buy one of the handful of prototypes I had with me.

I'm sure we're all getting a little bored of Brexit, however what measures are you having to take justin-case and why?

Yeah, I think most business owners just want to know what they’re dealing with so they can get on with running their business. Exports account for over 90% of our sales, so not knowing what terms we (and our customers) will have to work with is pretty frustrating. As a contingency plan, I’ve registered for Estonian e-residency which will allow me to set up an Estonian business, and run it from anywhere in the world, without ever having to have a physical presence there. This will mean that we can do business with Europe, and the rest of the world, as a European business if we need to. There will be some obstacles to overcome in terms of either moving manufacturing from UK to Europe entirely, or setting up a second production facility on the continent if required. It’s not a bulletproof plan, but it’s the best we can come up with for now.

What's the next step for Clockwork Espresso?

We’ve got some exciting stuff coming up later this year - new products, partnerships with some incredible companies and lots more. We’re about to open our first funding round soon, so if there are any angel investors reading this who like the sound of us, get in touch.

Pictured Above Pete with the PUSH tamper

Issue 42 | The Essential Journal

clockworkespresso.com

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BUSINESS

Coffee & Counsel with

Adonis Michael Demystifying the common myths of medicinal marijuana over coffee with Michael Rose & Baylis director, Adonis Michael words by Adonis MICHAEL

W

hat is the difference between THC and CBD? Do you know your Rick Simpson from your Hash? Your Cannabis from your Marijuana? What’s legal and what’s not? Confusing isn’t it? Take a seat.

Across the globe and throughout the ages, societies have utilised Cannabis for its purported medicinal qualities.

Reports that suggest it was used as early as 2700 BC in Ancient China. Ancient India had an equal affinity with it — medicinally, religiously, recreationally, and spiritually. Throughout the Middle Ages, it was a widely used throughout the Middle East. In the early 1900s, Mexican immigrants entering the U.S. introduced marijuana to the country and, from there, the world.

Despite recreational use of the drug quickly becoming widespread, there was an immediate stigma attached to the drug. Those who smoked weed were viewed as debaucherous and troublesome and its use became associated with low-level criminality and teenage delinquency.

Fast forward to present day and we’ve seen a string of high profile cases demonstrating the miraculous benefits of marijuana and its ability to treat a range of illnesses. Indeed, the past 12 months have seen a revolution in the world of cannabis, its use, and the laws surrounding it here in the UK. As of 1st November 2018, for example, the government announced that certain patients can be prescribed cannabis for their ailments.

So why is it that we’re not seeing people casually puffing away on joints with Amsterdam-esque levels of reckless abandon as they stroll through town on the way to grab their oat milk flat whites? Well, let’s get legal for a minute: Cannabis is still illegal in the UK. It has been since 1971. Although there is mounting pressure for laws to be relaxed and certain police forces have a taken a more laid back approach to its recreational use, it remains a class B drug. So if you get caught smoking it, growing it or possessing it, then depending on the quantities you’re likely to face prosecution.

“Well, what’s all this hullabaloo about cannabis oil and why can I buy it over the counter then if it's illegal?” I hear you ask. Well take another sip of your coffee and let me explain.

You see: cannabis oil is made up of cannabinoids, such as THC and CBD, that are extracted from the cannabis plant. Marijuana (which comes from the actual cannabis flower) is the breed of cannabis that contains tetrahydrocannabinol (THC). This is the chemical that produces the psychotropic effects that get people high. CBD oil does not produce a high.

Why, you ask? Well, it has less than 0.2% of the psychoactive THC. Which is why it’s considered medicinal, and therefore legal, in the UK. In a nutshell, the THC oil gets people high the CBD oil doesn’t.

To actually be prescribed cannabis, you will have to be judged on a case-by-case basis, and only a specialist doctor can make the decision, not a GP. So for those of you planning on lighting up a spliff in your local coffee shop, I’m afraid you will have to wait a little longer. For now, you’ll just have to keep an eye out for cheap flights to Amsterdam. Or, if you’ve got a bit more money to burn (pun intended) and fancy getting a tan with your high, try California. AM

'...we’ve seen a string of high profile cases demonstrating the miraculous benefits of marijuana and its ability to treat a range of illnesses.'

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