Essential Journal - Issue 46

style

survey

lifestyle

drinking

dining

Ceramicist & QEST Scholar, Alice Walton chats craft

We discuss the evolution of cycling

Jaguar brings new meaning to made to measure

We are taken on a tour of South American wines

Jake O'Brien Murphy takes a look at the humble pierogi

page 14

page 23

page 30

page 43

page 45

In pursuit of a quality lifestyle

Issue 46

inside From classic cars to custom bikes, we celebrate the perpetual wonder of the humble wheel plus We ride shotgun around Monaco's iconic streets with David Gandy in that XK120 page 25

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NEW NEWJAGUAR JAGUARXE XE

THE THENEW NEWWA WA Y YTO TO GO GOYOUR YOUROWN OWNWA WA Y Y ..

Introducing Introducing the the new new Jaguar Jaguar XE. XE. Our Our most most refi refi ned ned and and advanced advanced sports sports saloon saloon now now looks looks even even more more distinctive distinctive and and dynamic, dynamic, with with itsits new new body body styling, styling,additional additionalwheel wheeloptions optionsand anda arefreshed refreshedpaint paint palette. palette.

We’ve We’ve signifi signifi cantly cantly enhanced enhanced the the interior interior with with some some ofof the the latest latest on-board on-board technology. technology.

It’s It’s the the first first Jaguar Jaguar toto integrate integrate wireless wireless phone phone charging, charging, and and with with Touch Touch Pro Pro Duo* Duo* – our – our most most advanced advanced car car infotainment infotainment system system ever ever – you – you can can stay stay eff eff ortlessly ortlessly connected connected toto your your world.** world.** And And thanks thanks toto our our Ingenium Ingenium engines, engines, developed developed and and built built inin the the UK, UK, XE XE isis asas effi effi cient cient asas it it isis seductive. seductive.

Hatfi Hatfi elds elds Jaguar Jaguar Liverpool Liverpool Columbus Columbus Quay, Quay, Riverside Riverside Drive, Drive, Liverpool, Liverpool, Merseyside Merseyside L3L3 4ED 4ED 0151 0151 728 728 2000 2000 hatfi hatfi elds.co.uk elds.co.uk

2 Emissions OffiOffi cialcial WLTP WLTP FuelFuel Consumption Consumption for the for the XE range XE range in mpg in mpg (I/100km): (I/100km): Combined Combined 50.750.7 – 30.5 – 30.5 (5.6(5.6 – 9.3).

– 9.3).

NEDCeq NEDCeq CO2CO Emissions 168 168 – 130 – 130 g/km. g/km.

TheThe figures figure p 2 and CO2CO and fuelfuel economy economy figures figures maymay varyvary according according to factors to factors such such as driving as driving styles, styles, environmental environmental conditions, conditions, loadload andand accessories. accessories. *Touch*Touch Pro Duo ProisDuo a standard is a standard feature feature on 20MY on 20MY XE HSE XEand HSE XE and HSE XEDynamic.

HSE Dynamic. **All in-car **All in-car features features shouldshould be used beby used drivers by drivers only when only safe whenfor safe them for to them do so. to do Drivers so. Drivers must ensure must ensure they are they in are full control in full control of their ofvehicle their vehicle at all times. at all times.

provided es provided are are as aas result a result of offi of cial official manufacturer’s manufacturer’s tests tests in accordance in accordance withwith EU legislation.

EU legislation.

ForFor comparison comparison purposes purposes only. only.

RealReal world world figures figures maymay differ. differ.

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DISCOVERY FROM £652 A MONTH ON PERSONAL CONTRACT HIRE PLUS INITIAL RENTAL OF £7,854.* 36 month term. Model pictured (including optional Silicon Silver Premium Metallic Paint) from £680 a month, plus initial rental in advance of £8,160. Based on a mileage of 10,000 miles per annum. Excess mileage charges apply.

Hatfields Land Rover Liverpool New Range Rover Evoque is as at home on city streets as it is on Riverside Drive, Liverpool, Merseyside L3 4EN mountainous roads.

It has all the capability credentials of a true landroverliverpool@hatfields.co.uk Land Rover but with all the city smarts too, such as ClearSight 0151 559 3000 Groundview* technology. This displays what’s underneath the hatfields.co.uk bonnet so you can keep an eye on those awkward high kerbs when parking. The Evoque really can do anything. Apart from avoid admiring glances.

Hatfields trading as Warrington Garages Ltd. is an introducer and not a supplier Hire.

Call or visitoftoContract book your test drive today.

Hatfields Land Rover Liverpool Riverside Drive, Liverpool, Merseyside L3 4EN 0151 3000 Official559 WLTP Fuel Consumption for the Discovery range in mpg (l/100km): Combined 23.6-33.6 (12.0-8.4). NEDCeq CO2 Emissions 222-197 g/km. The

figures provided are as a result of official manufacturer’s tests in accordance with EU legislation. For comparison purposes only. Real world figures may hatfields.co.uk differ. CO2 and fuel economy figures may vary according to factors such as driving styles, environmental conditions, load and accessories. *Important Information. Based on a Discovery 20MY SE 2.0L SD4 240HP Auto standard specification, with a mileage of 10,000 miles per annum, non-maintained. Vehicle must be returned in good condition to avoid further charges.

You will not own the vehicle. Excess mileage charges (at 24.65p per mile) and return conditions apply. Contract Hire subject to status. This promotion cannot be used together with other manufacturer’s promotions and is subject to availability at participating Retailers only for new vehicles ordered by 30th June 2019. Land Rover Contract Hire is a trading style of Lex Autolease Limited, Heathside Park, Heathside Park Road, Stockport SK3 0RB. Vehicle shown is a Discovery SE 2.0L SD4

Official WLTP Fuel Consumption for the Range Rover Evoque range in mpg (l/100km): Combined 28.5-44.9 (9.9-6.3). NEDCeq CO2 Emissions 188-143 g/km.

The figures provided are as a result of official manufacturer’s tests in accordance with EU legislation. For comparison purposes only. Real world figures may differ.

CO2 and fuel economy figures may vary according to factors such as driving styles, environmental conditions, load and accessories.

240HP Auto with optional Silicon Silver Premium Metallic Paint.

Nolita Grey on First Edition only for 12 months from launch. *ClearSight Groundview not available on First Edition. Requires 360 camera. All in-car features should be used by drivers only when safe to do so. Drivers must ensure they are in full control of the vehicle at all times.

Contents

Features

8 | THE PRIMER A rundown of the places we’ve been, the shows we've seen and the drinks we've enjoyed this month 10 | AN EXTRACT & BOOKS FOR THE MONTH AHEAD Gonzo journalist Hunter S. Thompson's vivid account of his time spent with the anarchic clan, Hell's Angels. Plus three books to read this month.

12 | ONE THING DONE WELL: CAFÉ DU CYCLISTE

Our series of brands doing one item especially well continues this month with the Café du Cycliste cycling jersey

47 | THE COURTYARD DAIRY

Since 2012, Andy and Kathy Swinscoe have proudly carried the torch for small-batch, farm-made cheese

25 | A ROAD LESS ORDINARY

We sit down with British model and self-confessed petrol head, David Gandy to discuss the bond between man and machine, honouring the greats, and satisfying man’s appetite for danger

35 | THE RECIPE: GRILLED OCTOPUS WITH SQUID INK LENTILS

Courtesy of Orexi! by Theo A. Michaels

Bolt founder, Andrew Almond, discusses the intersection between engineering and style, changes in the custom scene, and memories of his first bike

53 | RKZ: ON FAILURE

Recording artist and all-round creative, Rikesh Chauhan (aka RKZ), lets us in on his experience with failure and disappointment, where it took him, and what he learned from it

PUBLISHERS Singleton Publishing

CONTRIBUTORS Alice Walton Matthew Gonzalez Ian Harold Noah Rosen Suzanne Carlsen Danielle Shon Jess Morgan David Gandy Matt Cottrill

49 | BOLT LONDON

Nick Pears Dan Harvey Tommy Banks Jake O' Brien Ralph Canis Anna Southgate Rikesh Chauhan Adonis Michael

30 | PEDAL TO THE (TAILOR-MADE) METAL The latest collaboration between Jaguar and David Gandy brings a whole new meaning to the concept of made to measure 31 | THE ROADS OF MONTE CARLO Steeped in history as they are in beauty, the roads of Monte Carlo provided the perfect rite of passage for Jaguar Classic’s latest project

14 | MEET THE MAKERS: ALICE WALTON Our conversations on craft continue this 33 | HIGH SPIRITS SPOTLIGHT: WHISKY BARS month with ceramicist, John Smedley This month, we offer up a few must-try ambassador and QEST Scholar, Alice whisky hotspots to help those dram Walton dreams come true 15 | HOUSE COLOURS 36 | DRINKING WITH STEAM YARD The John Smedley dye house captures We pull in to Steam Yard, the rugged the brand’s passion for provenance Sheffield coffee shop that's carving out and eye for excellence in vivid colour its own unique sense of style 17 | ARTICLE OF NOTE: 39 | OUT OF THE BOX THE GINGHAM SHIRT La Marzocco UK & Ireland are bringing With its roots in Scottish design, but their flagship global event to Tonbridge with an undeniably English feel, the Castle this summer Gingham shirt has been an iconic Ben Sherman staple for over 50 years 41 | AT THE PASS WITH TOMMY BANKS 17 | THE NEW KIDS ON THE BLOCK This month Tommy discusses the surprising freedom of the drive to work Ben Sherman launch their collaboration with the Momentum Music Fund, 43 | PORTEÑO PRODIGIES putting the spotlight on some of the Fazenda’s resident wine expert and music industry’s rising stars menu curator, Chris Milner, takes us on a tour of his favourite South American 18 | STREETWEAR SARTORIALISM wines Oliver Spencer’s S/S‘20 lineup looks set to transcend borders and challenges 45 | ADDRESSING THE TABLE traditions This month, itinerant bartender and co-owner of Liverpool’s Present 21 | TAILORED THOUGHTS ON Company, Jake O'Brien Murphy, extols HOW TO BUY A SUIT PART III the myriad virtues of the humble pierogi This month Matthew Gonzalez, dispenses some below-the-belt 46 | BARRY'S BOOTCAMP wisdom with a guide to trousers Hustle for the Mustle, we take a look at how the original bootcampers stay one 21 | A CUT ABOVE lap ahead of the competition This month, Ian Harrold takes a more left field approach to the question of wheels 51 | TWIN ARROWS TRADING POST, ARIZONA An extract from: It’s a Gas! The Allure 23 | REACHING A CONSENSUS: CYCLING of the Gas Station This month, we reach out to those in the know to get their thoughts on the evolution of cycling 54 | COFFEE & COUNSEL WITH ADONIS MICHAEL Michael Rose & Baylis director, Adonis Michael ponders the potential potholes along the road to driverless cars

PARTNERSHIP MANAGER Lara Poynor l.poynor@singletonpublishing.co.uk

EDITOR Will Halbert | w.halbert@singletonpublishing.co.uk CREATIVE DIRECTOR Thomas Sumner | t.sumner@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

STAFF WRITER Elliot Ramsey TERMS & CONDITIONS LEAD DESIGNER Jennifer Swaby

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

FRONT COVER David Gandy & his Jaguar XK120, Monaco photographed by Patrick Gosling @beadyeyephotography

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

web www.essentialjournal.co.uk Issue 46 | The Essential Journal

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publication. All rights reserved.

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00084 - Essential Journal Advert July.indd All Pages

ROSENTHALER STR BERL I N

21/06/2019 12:09

THE PRIMER

‘Racing is life. Anything before or after is just waiting.’

FIVE-IN-FIVE Short but sweet Essential Journal Favourites

Steve MCQUEEN

A note from

Let me preface

the editor

this with a small

MUSIC

confession: I can’t drive a car, and the closest

Navigator by Liz Lawrence When you lose your compass

I’ve ever come to a motorcycle is

What We’ve been Watching

What’s on our Coffee Table

Chernobyl

The Way of All Flesh by Ambrose Parry

In Chernobyl, director Johan Renck and screenwriter Craig Mazin have created something that is by turns visceral, cerebral, and (despite its dizzyingly scientific foundations) wholly approachable. Part history lesson, part body horror, part procedural drama, Chernobyl is a remarkably cogent, grounded and affective work that navigates its subject matter with a cold intellectualism. Performances are impeccable, sound design harrowing, and cinematography oddly hypnotic. Without fear of descending into hyperbole, this is a miniseries classic (and - I’ll say it - an HBO highpoint) in the making. Truly essential viewing for more reasons than we have the space or the time to fully articulate here.

Ahead of Ambrose Parry’s hotly anticipated second novel The Art of Dying, due to be published by Canongate later this year, we have been revisiting the authorial duo’s chilling debut The Way of All Flesh to ready ourselves for our reinitiation into the dark world of 1840s Edinburgh. Following the trials of medical student Will Raven after he discovers a body, the novel brings Victorian Scotland to life in this modern take on the historical thriller genre. The pseudonym for husband and wife writing team Chris Brookmyre and Marisa Haetzman, Parry is being heralded as a daring new voice in contemporary crime fiction.

a leather jacket (in my defence, they say that always comes first).

My road cycling proficiency is so poor that it would be upstaged by my miniature dachshund, and despite my childlike zeal and unrelenting enthusiasm for extreme sports, my skateboard has been almost entirely rele-

PODCAST

How to Fail Stars chat about perceived failures

INSTAGRAM

The Way of all Flesh (Canongate) is available now

gated to an Instagram prop. You might think that this admission of complete and utter road illiteracy renders me entirely unqualified to curate an issue around the subject of wheels.

TV

That’s why I’ve employed the help of a few Essential friends along the way. To wit: this issue, David Gandy talks us through the maiden voyage of his newly-restored Jaguar XK120, Andrew Almond of Bolt Motorcycles gives us the lowdown on the London custom bike scene, and Rapha’s very own Jess Morgan provides her insight into the evolution of road cycling. I guess it’s true what they say: It’s not what you know, but who you

Where We’ve been Staying (and suggest you do too)

Where We’ve been Eating

Seattle

Bundobust and Duke Street Food & Drink Market, Liverpool

So you’ve found yourself ambling about Seattle with nothing to do, have you? An unlikely scenario, I’ll grant you that. But we have a plan all the same. Get your morning coffee from the monthly, rotating, roaster roster at the La Marzocco Café. Lunch can be found at the award-winning, street food-inpsired NUE (we suggest the Brazilian Acarajé). With your stomach lined, you may then proceed to procure your craft beer fix from the guys and gals at Cloudburst Brewing. A word of polite warning: You’re doing Seattle all wrong if you don’t stop off the T-Mobile Park to catch a Mariners game. And yes, the Garlic fries are mandatory. Top it all off with a good night’s sleep at the superlative Graduate Seattle Hotel. No need to thank us, all part of the job.

Two food and drink juggernauts opening up spectacular new venues in the same city within the same month? Be still our beating hearts. Bundo’s now-famous blend low-key-but-high-quality eats has finally found its way to Liverpool’s iconic Bold Street, putting some of the finest craft beers and vegetarian street food right on our doorstep.

And just a few streets over, Duke Street Food & Drink Market puts a high-class spin on communal eating. It is, by turns, an aesthetic, architectural tour de force and a solid testament to Liverpool’s independent spirit. In all honesty, it’s hard to pick our favourite stall. But with so much culinary talent under one roof, there’s no reason not to gorge yourself on the lot.

Killing Eve Dark comedy spy thriller returns

FILM

Birds of Passage Colombian drug trade origin story

know (and what they ride).

Enjoy.

Will HALBERT Editor 8

The Image Taken from Back in The Day, the Rise of Skateboarding: Photographs 1975-1980 William Sharp & Ozzie Ausband

Taken in part of the Mt. Baldy Pipeline in Upland, California, this image depicts three boys skateboarding in the aqueduct which was built in the 1950s to carry water from Arizona through to California. In the mid1970s, with no graffiti and very little interest from the burgeoning skateboarding community, Baldy was a haven for a select school of adolescent skaters seeking a refuge away from the heat of the Pacific coastline.

Now, as an iconic area of California’s skating landscape, people from all over still go to the aqueduct to ride the pipe, sharing in the cross-generational appeal of its unparalleled form.

The Essential Journal | Issue 46

Image credit: Ben Bentley

@designmilk Beautifully designed spaces shared daily

Image credit: William Sharp

THE IMAGE

Issue 46 | The Essential Journal

9

BOOKS

An Extract

Hell’s Angels words by Hunter S THOMPSON

Room to Dream

by David Lynch and Kristine McKenna

G

onzo journalist and literary roustabout Hunter S. Thompson spent almost two years living with the controversial Angels, riding up and down the coast, reveling in the anarchic spirit of their clan, and, as befits their name, raising hell. In true Thompson style, Hell’s Angels provides a vivid account of the author’s experiences with California’s most notorious motorcycle gang. The following extract offers a brief glimpse into the almost comical dissonance between the enduring myths and caricatures that surround the outlaw biker gang and the more cynical reality behind them. EJ

One of the most iconic and artistic filmmakers in recent history, David Lynch is famous internationally for co-creating the seminal TV series Twin Peaks and for writing and directing the films Mulholland Drive and Eraserhead. This new volume, at the intersection of traditional biography and avant-garde memoir, responds to his lengthy career and explores the impact that his own background and experiences have had on his phenomenal career.

Room to Dream (Canongate) is available now

T

he current boom in lightweight bikes relates to outlaw motorcycles the same way the bogus Hell's Angels Fan Club T-shirts relate to the real Hell's Angels. The little bikes are fun, handy and relatively safe...while the big ones are two­wheeled bombs, and the outlaws who ride them would rather walk than be seen on a Honda, Yamaha or Suzuki. Safety and respectability are the last things they want; their machines are dangerous, temperamental and expensive in every way, there has never been an outlaw who saw his bike as anything but a King Kong equalizer, and there has never been one, either, who had anything but contempt for the idea of good clean fun... which is one of the reasons they shun even the minimum safety measures that most cyclists take for granted. You will never see a Hell's Angel wearing a crash helmet. Nor do they wear the Brando-Dylan-style 'silver studded phantom' leather jackets, commonly associ­ated with motorcycle hoodlums and 'leather fetish cults'.

This viewpoint is limited to people who know nothing about motorcycles. Heavy leather jackets are standard even for New York's Madison Avenue Motorcycle Club, an executive-level gang whose members include a dentist, a film producer, a psychiatrist and a United Nations official. Ted Develet, the film producer, has lamented the image problem that he and the others run into with their leather jackets. 'But if you're practical you have to dress that way,' he explained. 'If you take a skid, it's a lot cheaper to shred that leather than to scrape off your own skin.'

It is also a lot less painful. An eight-inch circle of raw flesh on your back is awkward to live with and slow to heal. Professional motorcycle racers, who have learned the hard way, wear helmets, gloves and full-length leather suits.

But not the Hell's Angels. Anything safe, they want no part of.

They'll stoop to wearing shades or weird goggles on the road, but more for show than protection. The Angels don't want anybody to think they're hedging their bets. The leather jackets were in vogue until the mid-fifties, and many of the outlaws sewed their colours on them. But as their reputation grew and the police began closing in, one of the Frisco Angels came up with the idea of removable colours, to be snatched off and hidden in times of stress. This marked the era of the sleeveless denim vest. In the beginning most outlaws wore the colours on top of leather jackets, but in southern California it was too hot for that, so the Berdoo chapter pioneered the idea of wind in the armpits, no jackets at all - only colours. The next step, logically, will be the dropping of the Levis, and then the image will be complete - nothing but boots, beards, vests and bizarre decorations of the genitalia. A few of the older outlaws still wear leather jackets, especially around the Bay area, where the winters are cold, but they are definitely not the style, and any independent making a pitch for Angel membership would be rejected as 'corny and chickenshit' if he showed up in leather. HT

'Safety and

respectability are the last things they want; their machines are dangerous, temperamental and expensive in every way, there has never been an outlaw who saw his bike as

Harland Miller: In Shadows I Boogie

by Phaidon The most comprehensive monograph to date on the British artist and writer, Harland Miller, best known for his paintings based on the dust jackets of early Penguin paperbacks. This monograph covers nearly 20 years of his paintings, and features three newly commissioned essays by eminent art writers Michael Bracewell, Martin Herbert and Catherine Ince. It includes an illustrated chronology with photographs and ephemera from the artist's personal archive.

Harland Miller: In Shadows I Boogie (Phaidon) available now

anything but a King Kong equalizer...'

Hell's Angels Hunter S Thompson

Awards for Good Boys: Tales of Dating, Double Standards and Doom

by Shelby Lorman Let’s be honest, this will be uncomfortable reading for some. Lorman’s Awards for Good Boys attacks society’s odd habit of celebrating men for achieving baseline levels of human decency with a wellhoned (and hilarious) savagery. The book holds a mirror to those (mostly men) that co-opt, or else caricature, serious socio political movements (like feminism) for personal gain (or, you know, for sex).

It’s exactly because of this divisiveness, rather than in spite of it, that Awards for Good Boys feels like such essential reading.

Awards for Good Boys (Penguin) is available now

10

The Essential Journal | Issue 46

Find out more at johnsmedley.com/discover/legacy

t s i t r A c i m a r e C X y e l d e m S n h o J View our collections at: 55 Jermyn Street, London, SW1Y 6LX | 24 New Cavendish Street, London, W1G 8TX | 24 Brook Street, London, W1K 5DG | johnsmedley.com

no.

22 Café du Cycliste One Thing Done Well

Our series of brands doing one item especially well continues this month with the Café du Cycliste cycling jersey words by Will HALBERT

W

Image credit: Matt Wragg

hen it comes to the tricky world of technical performance wear, form and function are the rarest and most reluctant of bedfellows. That’s because, with very few exceptions, the middle ground between form and function is, well, exactly that: middling.

Mediocrity is, after all, the inevitable result of excessive compromise.

Enter premium cyclewear brand, Café du Cycliste. For the best part of 10 years, Café du Cycliste have combined staunch, technical excellence with modern Côte d'Azurian aesthetics.

With increasing verve and élan, they have created superlative cycle garments that fly the flag for the French penchant for style. And they have done this without a single thought to the idea of compromise.

Café du Cycliste owes its name and ethose to a small café in the back country of Nice; A place that was, by turns, a post-ride stop and a preride meeting place for cyclists of all classes. It was there that Remi Clermont, the creative (and athletic) force behind Café du Cycliste, saw a need for cycle wear that went beyond the cookie-cutter, club-colour-clad clothing of the pro-cycling scene. ‘I was fascinated by what people were wearing, what I was wearing,’ Remi recalls. ‘None of us were professionals, so why were we dressed as if we were? Logos, sponsors, team colours. For me, clothes are about feeling good and that is equally true on the bike as it is off the bike’.

True to this sentiment, The Francine Jersey - a staple in the Café du Cycliste line-up - bares all the marks of Remi’s quest for innovation through iteration. It’s a show-stopping performance piece that struts its stuff at the very intersection between form and function. The fierce technicality of the jersey’s high wicking, fast drying proprietary fabric is gleefully offset by the sleek aesthetics of its signature, Breton-inspired styling. The breezy, midweight construction and open mesh panels provide the protection and ventilation we’ve come to expect from premium cyclewear, while the classic fit and striking design keep things easy on the eye.

Café du Cyclists’ road-ready masterclass in performance wear aesthetics is the product of a ground-up, iterative approach to design that harks back to France’s workwear wonder years.

‘The “new wave” heritage in French fashion is interesting to me,’ says Remi, ‘because it goes against the vintage trend and offers legitimately modern design.’

With each piece designed, crafted and tested

by Remi himself, Café du Cycliste offers up a glowing entry into a nascent, heritage-inflected performance category. With a strong lineup of stylish, performance wear and an almost tongue-in-cheek approach to the all-too-French, post-heritage scene, the brand’s offerings are niche, no doubt. But it’s a niche from which Café du Cycliste continues to inspire and innovate without half measures, without apology, and entirely without compromise. EJ cafeducycliste.com 12

The Essential Journal | Issue 46

Royal warrants

& right royal futures

SirGordonBennett.com Pur veyor of Great British Goods

Welcome to a new destination for modern heritage brands. Brands that not only look splendid, are made well and work as intended but come with British provenance guaranteed. Discover a plethora of handcrafted products; from apothecary, grooming and accessories to homeware, kitchenware and workwear.

Issue 46 | The Essential Journal

13

ESSENTIAL JOURNAL X JOHN SMEDLEY worked with drawing and painting so decided to go to Wimbledon School of Art for my Foundation Course. With my mother’s influence, I decided that I wanted to continue exploring clay so decided to go to Brighton University to study on the Wood, Metal, Ceramics and Plastic course. I specialized in ceramics during these three years and haven’t looked back.

I now live and work in London since graduating from Ceramics & Glass from the Royal College of Art in 2018. I work part time in my studio and teach ceramics at the Victoria and Albert Museum and with the UK Crafts Council.

How long have you been doing it?

The first time I touched clay was during my foundation in Art at Wimbledon School of Art in 2006.

So 13 years now!

What other craftsmen stand out to you most and why?

The work of Anders Ruhwald has inspired me for quite a few years.

I love how his sculptures are so confident within a space and the quality of surface is so important in his pieces. Also, I find Agnes Martin’s meticulously rendered paintings mesmerising. I try to consider her subtle varying colour pallets and meditative processes when I make.

Did anything in particular inspire you to start your craft?

Annie Turner, who was my first ceramics teacher, inspired me to make in ceramics. She was very encouraging and pushed me to experiment. She always had time to give her advice and extol her expert knowledge.

Do you work with any other craftspeople to create your products?

No, not to make my sculptures, although I do work alongside other makers in my studio. I find this is helpful to share ideas and to ask for advice.

Meet the Makers

Alice Walton

words by Will HALBERT

14

moulding, slabbing and coiling.

What is your favourite part about what you do?

I think the fascinating thing about working with clay is that you can make anything you want. Your imagination is the only thing that restricts the process. I love experimenting to create different colours, mixing and blending tones to create more depth and exploring the point or pixel of repetition. I also enjoy seeing textures in my surroundings and imaging how to create them in clay.

How did you begin your career?

From an early age I knew I wanted to work with an artist practice. My mum is a textile designer and so I had been brought up in a creative home.

I enjoyed art at school but really only

What makes your craftsmanship most rewarding?

I love seeing people react to my work.

When I plan a sculpture, I consider the object from all angles so that the viewer can look and explore the form. Maybe the form changes from side to side to create intrigue. I want the viewer to be able to look at my sculptures from afar and to have one perception of the surface, then want to explore closer. Upon closer inspection, the surface decoration reveals layers of colours and hints at the time spent on the piece. I want to create exciting surfaces using traditional techniques in The Essential Journal | Issue 46

Image credit: Asia Werbel

Our conversations on craft continue this month with ceramicist, John Smedley ambassador and QEST Scholar, Alice Walton

How would you describe your craft?

I make decorative, sculptural objects from clay and I work with white stoneware and porcelain. I make sculptural and abstract forms that explore complex and intense surface textures and intend to provoke intrigue.

I work with coloured clay throughout its plastic and liquid states, aiming to highlight the meditative process of the material.

In a world that is increasingly changing minute by minute I attempt to slow down, allowing my work to steadily evolve, brick by brick, pin mark by pin mark, the time I spend on each sculpture is completely personal to me.All of the colours I create are made through colouring the clays with different additions of stains and oxides. I use a mixture of hand building techniques, press

What is the hardest part about what you do?

The hardest part of what I do to juggle all of my different day to day tasks whilst having to make sure that I know what stage of drying my sculptures are at. If a sculpture dries out too much it may crack or become too dry to finish working on. If it becomes too damp then it could flop, destroy the decorative texture that I have been working on, or not dry in time for a deadline. My busy days and days away from the studio for part time work can make this more difficult.

conventional ways.

Where did you learn the skills required for your role?

I studied a Foundation in Art and Design at Wimbledon School of Art. Next up was an Undergraduate Degree in Wood, Metal, Ceramics and Plastics at Brighton University, specialising in Ceramics. Finally, I studied Ceramics for my Masters Degree at the Royal College of Art. What has been the most important learning curve for you?

I think everything I have done is a constant learning curve. Setting up my own business, graduating from the RCA and now re-inventing myself as an artist that makes sculpture. This is all new and gives me daily aims to strive for.

Have you had any major pitfalls to overcome to maintain your craft?

I think any young emerging artist can relate to the financial difficulties

involved with setting up your own practice. I am from a fairly modest Alice wears Watts, £195 background, so I had to save available at johnsmedley.com for most of my adult life in order to afford my tuition at the RCA. For the past 10 years I’ve had to balance part-time work and my own business in order to be able to make ends meet and move my practice forward. I was fortunate enough to be awarded the QEST scholarship in my final year, which paid for a whole year’s fees at the RCA. I can’t overstate how much this has meant to me and my practice.

Has your craft evolved into other/ new skills over time?

Before attending the Royal College of Art I mainly made black and white tableware. I left making colourful non-functional sculpture. I think my work has evolved over the two years of my Masters considerably, and I have had to learn and plan my processes quite differently. From the

way I may build a piece to the way I would pack the kiln to fire it. I worked for three years at Brighton University as a ceramic technician so had time then to work with students problem solving with them. I think this time has helped with making my current work.

House Colours The John Smedley dye house captures the brand’s passion for provenance and eye for excellence in vivid colour words by Will HALBERT

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ou don’t create a 235 year-long legacy of excellence without some serious attention to the finer details.

That’s why all of John Smedley’s garment dyeing is carried out under the watchful eye of their own, trusted experts.

That’s right, the quality and consistency of John Smedley’s knitwear is achieved in their very own in-house dyeing facility. It’s there that the vibrant spring hues and subtle autumn tones for which the brand have become world-famous come to life. That is, with a little help from their very own spring water source. This spring water - closely monitored, tested and softened - is essential to providing each and every John Smedley garment its unrivalled and uniquely tactile charm.

Both the in-house dying facility and proprietary spring water represent just a few of the extra miles that have made the John Smedley journey such a rich and rewarding one to follow.

Both are above-and-beyond gestures that not only grant a John Smedley garment its unrivalled quality and softness, but also allow the brand to honour its continued commitment to sustainability and provenance. EJ

Issue 46 | The Essential Journal

We’ll be helping John Smedley celebrate its 235th birthday with a year-long look at its dedication to superior craftsmanship in all of its wild and wonderful forms. johnsmedley.com

How would you describe a day in your role?

When I am in the studio I travel by bus from South to East London, leaving at 8am. I spend the hour journey answering emails and drawing in my sketchbook. Once I arrive I try to begin making early.

I work best in the morning when it is quiet. I might be starting a new piece – so wedging clay, rolling or cutting sheets of clay and building with it. If I am decorating a piece, this may mean sitting and repeating a process over and over again. I may be pin-pricking a surface or cutting and rolling thin slithers of clay with a cocktail stick. I tend to work on these repetitive processes for a couple of hours at a time and listen to the radio or a podcast. I will get up every-sooften to give my arm a break. I am currently trying to teach myself to be ambidextrous so I can increase my making productivity. I leave to come home at 6pm and answer more emails or post on Instagram once I’m home.

What are the biggest challenges you face in what you do?

I think my biggest challenge in what I do is managing time. I have two part-time jobs, working at Flow Gallery in Notting Hill as well as teaching at the V&A Museum, and I have to juggle this with running my own business. I have to maintain my website and studio and make sure I am keeping up to date with exhibitions and networking events which are happening around me. I also need to make sure my work is unique and primarily stands out from other work. I do this because I love what I do but like any job there are highs and lows and things do get hard at times.

How have you stayed passionate and inspired by your craft?

I am passionate about my craft because I realise I couldn’t be happier doing any other job. I want to succeed to have a successful career but know that this will take time. I want to own a home and be able to travel and to do this I need to earn a living. By travelling and looking at my surroundings this then inspires new work. This constant loop of making, travelling and living inspires my craft and maintains my passion for making.

What made you choose this career and to work in this industry?

I have always wanted to work in a career that is creative. Also, I have always wanted to have a varied day and not to sit at a desk. I find that clay is so expressive and personally is the only material that I can react in this way to.

Do you have any plans to expand on what it is that you do?

Yes definitely. I have plans over the summer to progress some of my decorative techniques. As well as this I would like to develop my forms to become more dynamic and more directly reactive to my inspiration.

What are the main projects you are working on now?

I am currently working on my largest sculpture yet. This piece is going to be shown at Collect 2019 at the Saatchi Gallery. I am thrilled to be showing here as I always visited the exhibition when I was younger. I always dreamed to show here one day.

How would your customers describe your craft?

I hope my customers find my work intriguing, colourful and unique.

That’s what I’m aiming for anyway!

What are the accomplishments within your craft that you are most proud of?

I have recently been accepted into an exhibition in Milan at the gallery Officine Saffi. I was overwhelmed to

have been selected as 1 of 21 artists to exhibit out of 400 applicants. The exhibition is open during Milan Art Week, Milan Design Week and Salone del Mobile.

How would you describe your business in 3 words?

Exciting, unique ceramics.

How does working with Qest support you/your craft?

Firstly, being a QEST scholar feels like I am part of a family. Everyone looks out for one another and gives advice if needed. Also, the QEST team are incredibly friendly. They support my business by offering fantastic opportunities and by creating a network which feels incredibly positive and proactive. Finally, I think being awarded the QEST Scholarship gives me affirmation that what I am doing is right and gives me tremendous confidence that I need to become a successful maker.

How would you describe John Smedley?

Excellent quality, stylish, comfortable.

Do you have a favourite John Smedley piece, if so what?

I have a John Smedley jumper which was made in collaboration with Intoart which I love. I do really like John Smedley dresses too though.

They are comfortable and timeless and great to wear to Private Views.

What are you most excited about for the future?

I would like to continue to make one-off sculptures, upscaling and developing further my colour pallet and decoration techniques. I am most excited to explore how my work changes as my surrounding do, moving from an urban source of inspiration to a rural one. I hope to carry out further residencies to explore this, which will hopefully result in new exhibitions.

Find out more at johnsmedley.com/discover/legacy 15

Whether you are in need of a bespoke tailor for your special day or a business suit, we have exactly what you’re looking for.

At Harland Collier, the only limit is your imagination.

Metquarter, Liverpool For appointments call 07746 687 409 or email info@harlandcollier.com

ESSENTIAL JOURNAL X BEN SHERMAN

The New Kids on the Block Ben Sherman launch their collaboration with the Momentum Music Fund, putting the spotlight on some of the music industry’s rising stars words by Elliot RAMSEY

The House Gingham Shirt

Image credit: Thomas Sumner

With authentic two finger button-down collar, locker loop & tab branding Available at bensherman.co.uk

Article of Note

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his June, Ben Sherman hosted their first events with the Momentum Music Fund, as part of their partnership with the PRS Foundation. Having long been champions of the enduring relationship between music and fashion, the heritage clothing brand are playing their part in showcasing up-and-coming talent from around the country, celebrating the very best of British.

The first gig in the series was held on May 23rd at the Carnaby St. Store in London, featuring Babeheaven & Fur. The second headed east to the iconic venue, the Old Blue Last - a venue of rich history, having been built in 1700 on the site of Britain’s first purpose-built theatre.Renowned throughout the Victorian era as a working class pub, and having survived for over 300 years on the corner of Great Eastern Street and Curtain Road, the Old Blue Last is steeped in British heritage and was the perfect venue for Ben Sherman’s second event with PRS featuring Paris Youth Foundation, Zilo and Life. More recently, on June 13th, Ten Fé and CHILDCARE, also performed at Ben Sherman’s flagship Carnaby Street store as part of Carnaby Street Music Month.

Showcasing some of the UK’s best burgeoning stars, these events highlight Ben Sherman’s passion for promoting new, exciting talent from up and down the country. The clothing brand’s exciting new partnership with PRS is putting the spotlight on the new kids on the block, whose countercultural style reflects both Ben Sherman’s quintessential British ethos and ardent commitment to unconventionality in innovation. EJ Issue 46 | The Essential Journal

The Gingham Shirt With its roots in Scottish design, but with an undeniably English feel, the Gingham shirt has been an iconic Ben Sherman staple for over 50 years words by Elliot RAMSEY

H

'The Ben Sherman

aving first been produced in the UK in the factories and mills of Manchester in the 18th century, gingham has a quintessentially British history as a lightweight and versatile garment associated with subcultural style. From the classic white and black checked pattern favoured by mods in the 1950s and 60s, to the more daring colour choices popularised in recent years, the gingham shirt has proven that it has the staying power to transcend generational boundaries and maintain a timeless appeal.

From the mid-twentieth century, British mods, responding to the use of gingham in French and Italian tailoring, took the fabric and repurposed it as an informal, relaxed sartorial staple. Worn in part as a reaction to the rocker and Teddy Boy movements which had preceded them, the mods gave it a fresh, modern look and made it a symbol of resistance to the status quo. The Ben Sherman gingham’s two-finger button-down collar and branded top-pocket tab gave the garment a manifest edge over other checked shirts, oozing a style and sophistication that has earned it an iconic reputation for the last five decades.

With a clean, simple silhouette and woven using a 100% cotton staple yarn, the Ben Sherman gingham shirt is a benchmark of quality and authenticity - and its reputation as a timeless classic continues to develop to this day.

From its original association with Lambretta-riders and Vespa enthusiasts in the heyday of the mods, to its 21st century resurgence in popularity, the gingham shirt is an archetypal British institution which has continually reinvented itself and proven its versatility as a chief player in men’s style.

Renowned today as a quintessential trademark of British culture and inherited by new generations, the gingham shirt is, at its core, a statement. A marker of taste, modest yet modern, something for an outfit to be built around and which speaks to a rich history unwaveringly committed to tradition. As a classic heritage piece with a prestigious reputation, the gingham shirt - and Ben Sherman as a brand - represents the ultimate sartorial statement. Subversive in character, forward-thinking by nature, and peerless in quality. EJ

gingham shirt is a benchmark of quality and authenticity.'

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ESSENTIAL JOURNAL X OLIVER SPENCER

Streetwear Sartorialism Oliver Spencer’s S/S‘20 lineup looks set to transcend borders and challenges traditions words by Will HALBERT photography by Thom CORBISHLEY

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n many ways, a super-contemporary, open-air, street food arena turned 60’s Hong Kong night market provides the perfect visual metaphor for Oliver Spencer’s latest sartorial offerings. Vibrant yet sophisticated, modern yet classic, the collection not only draws a fine line between streetwear steez and classic sartorialism, it then proceeds to dance up and down said line with an enviable elegance and inimitable attitude. Taking obvious cues from Wong Kar-wai’s cinematic masterpiece In The Mood For Love, the Oliver Spencer S/S ’20 collection takes us on a journey through the Hong Kong of the early 1960s. With a host of deconstructed silhouettes and breezy, summer fabrics (think seersucker and light jersey) the collection offers a loving reflection of the energy and colours of the era. Likewise, striking hues of teal and burnt orange pair perfectly with a host of ecrus and contrasting blacks and navies to recreate the vibrancy of the oriental metropolis that is Hong-Kong.

Transportive though the collection is - in both its Oriental inspirations and Continental inflections - Oliver Spencer remains no less loyal to his London roots. Harrington jackets sit atop emphatically-collared polo shirts to betray a quintessentially British sensibility.

Those keeping up with our deep dives into Oliver Spencer’s sustainable efforts will see some familiar, flax-based faces here, too. It’s no secret that linen has been making a serious comeback over the last year or so, with Oliver Spencer leading the charge with some superlatively-cut, linen staples.

The S/S ‘20 line up is no exception, with linen and cotton/linen blends making up a sizeable chunk of the collection.

This is first-rate British tailoring, no doubt. But not as we know it. Oliver Spencer’s enviable mastery of fit and fabric, paired with his uniquely playful colour palette, come together to create a collection that gleefully eschews typical tailoring expectations to create something truly new, and perhaps even a little audacious. With a first-rate roster of easygoing, deconstructed silhouettes, Oliver Spencer has made tailoring as approachable as the humble tee shirt. EJ

'With a host of deconstructed silhouettes and breezy, summer fabrics the collection offers a loving reflection of the energy and colours of the era.'

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Tailored Thoughts on

How to Buy a Suit Part III

A Cut Above This month, Ian Harrold takes a more left field approach to the question of wheels

This month, Huntsman Cutter and resident Essential Journal columnist, Matthew Gonzalez, dispenses some below-the-belt wisdom with a guide to trousers words by Matthew GONZALEZ

I

n the final part of my three-article series on how to buy a suit, we are going to look at trousers. However, as offices are becoming more and more casual and men generally don’t wear suits as often as they once did, we will look at both suit and casual trousers for the office and everyday wear.

Over the years, workplaces across the world have become less formal, so even if you are wearing a suit to the office everyday it’s unlikely that you are wearing the coat the whole time.

Trousers, on the other hand, will not be going anywhere. So it’s wise to make sure that you are buying trousers that fit correctly and are styled appropriately.

The waist is the obvious starting point, but perhaps the trickiest to begin with due to the fact that it is the most personal part of the garment in terms of comfort. Personally, all my work suit trousers have braces on them for two reasons.

One: I hate very snug fitting trousers on my waist. I want to be able to go to lunch or have a drink after work without feeling like the fastener is going to potentially burst open at any moment.

When you wear braces with your trousers the waist should be just a little bit too big. The extra room allows the braces to do their job and hold the trousers in position. Secondly, by keeping the trousers in place on the waist the length will always be perfect, so you won't have to be adjusting your trousers every time you move. Conversely, if you like a firm fit on the waist then you don’t need to wear braces, so consider a belt or sides straps. Either will ensure that you are happy with how they sit.

Once you are happy with the waist, take a look at the side pockets. If the trousers are too tight across your hips the pockets will be pulled open. You will also be able to tell if the trousers are too tight by the side seam of the trouser. It should run near completely vertical. If you look in the mirror from the side and see that seam curving forward, it is a solid indicator that the trousers are too tight and not ‘balanced’ correctly. The centre back seam of your trousers should be laying flat without any extra cloth bunching up. Obviously if the cloth at the back of the trousers looks like it has been pulled tight, then it probably is. So ask a tailor if it can be let out.

Depending on whether you like a full cut or slim leg trouser will dictate how long they should be. Tailors generally follow the rule that slim trousers should be cut short to sit on top of the shoe and wide leg trousers should be cut long to sit over it. If you like the hem to have a turn up than make sure that it is at least 1 1/2” deep. Anything less and there is basically no point. If you need to get the trousers hemmed, then I would suggest asking your tailor to add heel tape to the backs. Essentially it is a bit of cloth that is sewn into the back of the hem to help protect the trousers from wearing thin from the heel. It is especially helpful on light weight material that is a lot more delicate and needs extra care.

When it comes to casual tailored trousers there are a few things keep in mind. If you are wearing cotton trousers never press a crease into them: they should alway be flat.

Personally, I like to wear a belt with my casual trousers and side straps with my suit trousers. While this isn’t a hard and fast rule, I have found it is a nice-yet-subtle way to differentiate between work and casual wear. Don’t be afraid of trying out a higher rise trouser, either. It may take some getting used to but, if you look at photos of menswear icons of the 20th century you might be surprised how nice a higher waisted trouser looks when it is casually paired with a polo.

As I have said before, you need to be comfortable in the clothing that you wear. Once you find the style or aesthetic that you like, try to remember some of the points that have been covered in these past few articles to ensure you are buying well fitted clothing. MG

'I want to be able to go to lunch or have a drink without feeling like the fastener is going to potentially burst open.'

' If you look in the

mirror from the side and see that seam curving forward, it's a solid indicator that the trousers are too tight.'

'As I have said before, you need to be comfortable in

words by Ian HARROLD

I

t might sound strange, but cars are not the first thing that spring to mind when it comes to wheels. Nor is the two-wheeled treacherousness of the motorbike the first port of call of my wandering mind when questions of wheels arise. For some reason, it’s the grainy, low-fi charm of the spinning vinyl that my mind offers up. And why not? There’s a lot to like about the humble vinyl record. Sure, it’s a dated medium, with major sway over hipsters and geriatrics and little in-between. But it’s a medium that puts two analogue fingers up to the digital drift in which we find ourselves nowadays.

It’s also a fitting, if not tenuous, visual metaphor of the ways in which things just keep turning, and never does that metaphor ring truer than in questions of style. What is style, after all, if not a spinning record? A series of revolutions that ultimately come to repeat themselves.

We see this across the multiple facets of style, but it’s at its most glaring when it comes the question of hair. Just look at the last three years as an example. In that time, we’ve moved from skin fades and slick backs - themselves throwback to the first spin of the record back in the 40s and 50s - to the longer, Stones-infused, Ramones-inflected locks of the 60s and 70s.

Indeed, with pomade fatigue setting and fades, well, fading fast, guys are looking to the more unstructured looks of the 60s and 70s as solid alternatives. There are refinements, of course: the grungy, I-woke-up-like-this nonchalance that used to define longer styles has been replaced with a little more care and deliberation.

Length and texture abound, but with a little more intent. Think Mick Jagger attending an interview for Apple.

From a barber’s perspective this can only be a good thing. A return to older styles ironically gives a chance for barbers to pick up newer skills.

This is especially true of those who came aboard the profession over the last five or so years, when longer, more textured styles were laying low for a while. When a style takes hold for as long as the fade has, barbers quickly find that their days are spent carving out the same style. There’s nothing wrong with that, necessarily, but it is nice when something new comes along and barbers get to blow out the cobwebs a little.

That said, it is interesting to watch these styles wax and wane as time goes by. And wax and wane they do, because if I know anything about questions of style, it’s that the record keeps spinning regardless, and those same great songs will always come back around. It’ll be fun so see what comes up next. Who knows? Maybe I’d better start brushing up on my bowl cuts and mullets. I feel another revolution coming on. IH

the clothing that you wear. '

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The Essential Journal | Issue 46

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Reaching a Consensus

Cycling

This month, we reach out to those in the know to get their thoughts on the evolution of cycling

'Everyday now you can pick from multiple morning group rides with varied speeds and distances. I'm sure coffee shops all over are seeing the difference image credit: Miguel Carraça

with hoards of cyclists filling their spaces.'

Noah ROSEN & Suzanne CARLSEN VéloColour, Toronto

image credit: Ali Tawfiq

First off, tell us a little about yourself and VéloColour.

Noah: I started VéloColour in 2008 after spending two years learning to paint for a local frame builder here in Toronto. The owner had decided to retire, I had my own art practice on the side but needed work so it was either going back to working in restaurants or starting my own custom painting business. Suzanne (business and life partner) has been there from the start but came on as business partner in 2013. We both have degrees in fine art and design, myself in sculpture and ceramics and Suzanne in jewellery and textiles.

We've been cyclists our entire lives and VéloColour is a great combination of all of our passions.

What does cycling mean to you?

How does it fit into the wider context of your day-to-day life?

Suzanne: We ride bikes every day and are year-round bicycle commuters. The Toronto roads, like many cities roads, are over congested with traffic and it seems to be exacerbated more recently with the likes of Uber, Lyft and so on. We really believe that bikes are a faster, more convenient and more enjoyable way of getting around. I get a real sense of freedom and independence when I'm on my bicycle and nothing is more satisfying than picking up a load of groceries or grabbing our daily necessities by bike. Some of my friends think I'm Issue 46 | The Essential Journal

crazy, especially for riding through the Toronto winters, but we've been living this way for so long we don't even think about it anymore.

What is your earliest cycling memory?

Noah: Probably riding to my friend’s house down the street. He was only twenty houses down but I wanted to ride my bike everywhere.

Suzanne: I got a white and pink BMX bike with hearts when I was about 5. It was the best thing ever. That summer, I spent pretty much every day riding up and down our street and would get so sad when I was called into the house when the sun was going down.

Would you say that cycling has evolved at all over the years?

Have people’s perceptions of the pastime changed?

Noah: It's amazing how road cycling has really exploded everywhere.

Everyday now you can pick from multiple morning group rides with varied speeds and distances. I'm sure coffee shops all over are seeing the difference with hoards of cyclists filling their spaces. I think, for many, we are still seen as an odd bunch of badly-styled, spandex wearers. While the sport has grown immensely, I haven't seen the crossover to everyday riding. For me, that is still the missing key.

How well-represented is cycling in your city? What is the cycling community like there?

Suzanne: Cycling is definitely

growing in Toronto in both the commuter side and road riding side. Unfortunately, a few years back we had a Mayor that started removing bike lanes, which is clearly regressive, but I'm hoping we've started to move past that. The city has a few really great community organizations, like Cycle TO, that are advocating hard and pushing for change. There are also a few socially-run enterprises that are encouraging and teaching kids from low-income neighbourhoods how to build, repair and ride bikes. We'd love to see the sport side become more diverse, especially since Toronto is one of, if not the most diverse city in North America, but it's hard to know how to make this happen. There has been huge growth in women-lead group rides over the last few years so it is great to see more females on the road and kicking ass.

hard -to-replace parts but a simple solution like the end caps makes a huge difference. I'd like to see more smart design like this to keep parts in use longer and make them more universal.

Do you have any cycling-based achievements or milestones that you’re particularly proud of?

Suzanne: Since we mainly cycle recreationally there aren't any crazy achievements we've received. I started racing cyclocross with Noah a few years back which was really exciting and now I probably enjoy it more than Noah does.

Noah: Not really. I don't have any major goals for my own cycling. I don't ride with a computer so I can't say how fast I ride or how many miles I log in a season. Racing cyclocross is super fun but I'll never be the

Provincial or National champion so I'm thinking about having good races.

Perhaps what I am most focused on now is how many days a year I ride and how few are spent in a car. To date for 2019 I have been in a car six times but cyclocross season always means more car travel.

What are you currently riding?

Suzanne: For my city bike I'm riding an old Raleigh set up single speed, you really don't need gears in Toronto. And my road bike (which I switch over to a cross bike in September) is a Grupetto/Marinoni.

Noah: My city bike is an old Miyata tourer with cantilever brakes. It's set up single speed with full fenders and a stainless rear carrier for a pannier. I've got a very nice Titanium Seven Mudhoney for cross races and gravel rides, though it is great with road tires for fast rides as well. For a little over a decade I've been riding a mid-eighties steel Olmo set-up with fairly modern Campagnolo Record 10-speed components. I love how the bike handles but I'm not retrogrouch.

And finally, do you have any advice for those looking to get into cycling more seriously? Any essential kit?

Noah: I'd say a good, medium priced bike is good enough for almost everybody. Cheap bikes and components will generally not ride or function as well but while the highend market has exploded you're often paying more for style than speed. Ride your bike a lot or a little but as often as possible and get comfortable on the bike and how it handles. Sit at the back of local group rides and learn about ride etiquette.

Fitness is not a replacement for smart cycling. The essential kit is obviously a well-designed VéloColour tool roll or saddle bag. Don't carry all your spares in your pockets, save those for food or a vest.

Where are things going from here?

Noah: My vision is of a more sustainable future. The bike industry is putting out so much new product with new group sets coming out multiple times a season and more gadgets than any of us can keep up with. I'd like to see things simplified, but that goes against the goal of selling product. I see the newer generation of wheels being a progressive shift, perhaps it was only for ease of manufacturing, but plug-in end caps for wheels mean that one wheel can handle multiple drop-out or thru-axle possibilities.

The lack of standardization in cycling has made things very difficult to deal with and creates a ton of waste with 23

CONSENSUS

First off, tell us a little about yourself and your role at Rapha.

I'm Jess Morgan, I was born in Camden but spent my formative years in South Wales before being drawn back to the capital to spend six years in art school (Central Saint Martins followed by the Royal College of Art). After this, I accepted that it was probably time to get a real job and started organising UK events for Rapha, and over the past seven years have moved from events to marketing to press and now look after PR and communications in the UK for Rapha.

Shön studios, Toronto

' Cycling for me is freedom in so many ways. It’s also been such an amazing tool for exploring new places. Touring First off, tell us a little about yourself and Schön Studio.

I’m a nationally certified welder and NDT engineer, and I founded Schön Studio about five years ago when I wanted to bring my love for art, cycling, and fabrication all into one.

What does cycling mean to you personally? How does it fit into the wider context of your day-to-day life?

Cycling for me is freedom in so many ways. I have been commuting by bike for most of my adult life – it’s so much better in a busy city to get where you want, on your own schedule, instead of having to wait around for a bus or sit in car traffic.

It’s also been such an amazing tool for exploring new places. Touring a new country by bike has given me so many adventures and memories.

What is your earliest cycling memory?

Getting my training wheels off and learning how to ride without them – my Mom ran behind me holding onto the seat and then let go without me knowing. I rode for half a block before I realized she wasn’t holding me up anymore. Then I fell over!

Would you say that cycling has evolved at all over the years? Have people’s perceptions of it changed?

I think it’s becoming more pertinent as a regular way of life and not a fringe activity. So many people I know, across all ages and career types, ride to work and use a bike as a critical tool in their life. Whether it’s to commute, to get your groceries, or to go meet your friends on the weekend, people are realizing it’s the better way.

How well-represented is cycling in your city? What is the cycling community like?

It’s ok. There have been a lot of infrastructure upgrades in the past few years, but it’s still severely 24

lacking. There’s still a big us-vsthem mentality when it comes to city planning and putting cars on priority over bikes. And then, of course, there’s the never ending battle against people who think it’s ok to park in bike lanes. The bike community itself is great – people are so passionate and will rally together to make positive change or the city.

a new country by bike has given me so many adventures and memories.'

What is your earliest cycling memory?

Being taught how to ride a bike at Primrose Hill when I was little, riding off the safety of the path, rolling a LONG way down the hill then bawling my eyes out, naturally.

Where do you see things going from here?

I hope that cycling infrastructure and advocacy continues to improve everywhere.

I see a shift in thinking to being more self-sufficient, eco-friendly, and community-oriented, all fuelled by cycling.

Do you have any cycling-based achievements or milestones that you’re particularly proud of?

My personal achievements have been in pushing myself beyond what I thought my athletic limits were. Competing in high-level races in the states, riding thousands of kilometers and meters of elevation in other countries.

What are you currently riding?

All my own builds – My Schön Road and Schön CX are my most frequently ridden.

Do you have any advice for those looking to get into cycling more seriously? Any essential kit?

Challenge yourself – you can do so much more than you think you’re capable of. In terms of essential kit, a good bike fit is everything. If you can go custom, that’s awesome, and I love getting people onto a bike that’s perfectly built for them. But if that’s not where you’re at yet – get fitted on your current bike.

You’d be amazed at how much of a difference small adjustments can make to your comfort, and ultimately your performance.

What does cycling mean to you personally? How does it fit into the wider context of your day-to-day life?

What began simply as a way to get from A to B has now taken over almost every part of my life. I started commuting by bike because I needed a cheap way to get around London, then I met some people in the fixed gear community and joined their social rides. Through that I got a job at Rapha, a cycling clothing brand, which helped me develop more of a passion for the sport and I began to dabble in road cycling and racing competitively.

Now a typical weekend for me inevitably includes racing with my team the North London ThunderCats, going on a social 100km ride around Essex or watching pro cycling on TV. Some people think it’s total madness but I’m absolutely in love with it.

JESS MORGAN

@scoot__ | Rapha, London

Would you say that cycling has evolved at all over the years?

Have people’s perceptions of the pastime changed?

I think it’s perceived as less of a niche sport now. So much success in the Olympics and the Tour de France has helped to normalise cycling, the grassroots scene is thriving and welcoming new people into the sport all the time and more

'There’s a lot more off-road riding happening now, with more people shunning roads for gravel and trails.'

people are picking up a bike to commute and realising that it’s not as scary as it looks.

How well-represented is cycling in your city? What is the cycling community like there?

London has a real variety of communities. I started off riding in the fixed gear community, which is how I met the friends I now race in a team with. Since then I’ve discovered the track community at Herne Hill Velodrome, roadies who get up at the crack of dawn for Regent’s Park laps every week, and a really friendly racing scene. There’s truly something for everyone in London, whatever floats your boat.

Where do you see things going from here?

There’s a lot more off-road riding happening now, with more people shunning roads for gravel and trails. Meanwhile the fixed gear racing scene is developing well, and I hope to win a race one day!

Do you have any cycling-based achievements or milestones that you’re particularly proud of?

I’m really proud of mixing it up in some fast and furious Red Hook Crits – fixed gear criterium races – and at the other end of the spectrum, riding 220 miles in one day on the Rapha Manchester to London challenge was an unforgettable day.

What are you currently riding?

I’ve got a carbon Ridley for road cycling, a custom-made Colossi team bike for racing and a steel Panasonic imported from Japan for riding around town and looking cool!

And finally, do you have any advice for those looking to get into cycling more seriously? Any essential kit?

The turning point for me was getting a bike computer (I have a Wahoo Bolt) and Strava to record my rides and upload them online.

It’s so motivating to see how fast you are compared to your friends and other people on the same roads – it really unlocked my inner racer.

Secondly, invest in some good quality kit like Rapha to keep you riding through all weather conditions. Cycling is a habit and the key to getting better is consistency, so if you’ve got the right layers to keep you comfortable, rain or shine, you’ll never have a reason not to get out and ride.

The Essential Journal | Issue 46

Image credit: Dan Glasser

Danielle SHÖN

COVER STORY

A Road Less Ordinary

Last month, we had the pleasure of helping David Gandy

christen said XK120 with a road trip along the Côte d’Azur, where we basked in the and glorypetrol of Monte Carlo’s We sit down with British modelspeed and self-confessed head, David Gandy to discuss the bond between man and machine, honouring the greats, and satisfying man’s appetite for danger

biennial ePrix. With its maiden voyage now squarely

behind it, weinterview reminisce over& Thomas the long, tyreby Will HALBERT SUMNERdust-laden, photography by Patrick GOSLING burned road at our heels.

Issue 46 | The Essential Journal

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COVER STORY

T

the classic car. I suppose a car like that holds a lot of magic for a lot of people. I think people from all walks of life can really get behind the journey of the XK120. The project itself comes from a very genuine place, a place of real passion and interest.

There’s a lot of heart under the hood of that car. I mean, I have some pretty high and exacting expectations. But Jaguar Classic really did exceed those expectations at every turn, if you’ll pardon the pun.

he dimmed lights and Dickensian décor of Shoreditch’s Bull in a China Shop is a far cry from the hustle and bustle of the busy streets outside, to be sure. But for a man as in-demand as David Gandy, it provides the perfect calm before the inevitable storm of London Fashion Week: A whirlwind of sights and sounds that, despite his busy schedule, David wouldn't miss for the world.

But we’re not here to talk about London Fashion Week, necessarily.

No, we’ve tucked ourselves away in the East End whisky den to discuss David’s now-infamous Jaguar XK120, lovingly restored in collaboration with the crack team behind the Jaguar Classic department.

Gandy’s restoration has garnered an awful lot of interest from pistonheads and relative pedestrians alike.

A fine case in point comes in the form of Bull in a China Shop’s eager and able bartender. With an almost uncanny sense of timing, the bartender delivers three tall measures of Kentucky's finest to the table and, as if plucking the words straight from our mouths, politely asks David how the Jaguar build is coming along. And that, dear reader, seems like as good a segue as any into the conversation that quickly followed. EJ

ej: Speaking of what’s under the hood, how did it drive for the first time?

Looking back at the footage, it certainly looked more straightforward than it was. There really was no time to shake the car down before we hit the road. So, let’s just say that the settings were a little rich when I first took her for a spin. She took a little taming. But those little adjustments are to be expected, and it’s in adversity that you find the story, I guess.

There’s no fun to be had in a road trip if it’s plain sailing from start to finish.

But it’s safe to say we made quite the entrance when we rolled into Monaco. The last few kinks are being ironed out as we speak. And you should be able to see the Jaguar up close at the St James RAC club at the end of July.

bartender: So, it’s safe to say there’s been a fair bit of interest around that old Jag of yours, then?

David Gandy: You could say that!

The support and attention that the XK120 has received has been amazing, it truly is a testament to the allure of

Were there ever any ‘pinch me’ moments on the road to Monaco?

A fair few, to be honest. The Jaguar Classic Department has done an incredible job with the fitout, so even laying eyes on the thing constitutes something of a ‘pinch me’ moment.

26

There was one instance that sticks in my mind though: I was heading down the motorway towards Monaco, flying at a good 90mph, passing between two trucks either side of me.

They’ve got no chance of seeing me.

In something like the XK120, you can feel every nanosecond of that pass, and finding that bite between 3rd and 4th gear to get me ahead of them both, becomes a much more involved experience.

But that’s the beauty of a classic car: each has its own intricacies and idiosyncrasies that you must come to understand and overcome. From the lack of power steering, servo brakes and ESP, to mastering the gearbox transmission and double-clutching.

There’s no hand-holding, it’s just man and machine. That becomes apparent very quickly in a car like the XK120.

Obviously, the XK120 is a performance car, built for racing. Is that something you’d be interested in doing?

Absolutely. I mean, the XK120 is a thrill to drive under optimal conditions. Can you imagine letting it loose on something like the Mille Miglia?

Brescia to Rome and back? That sort of race adds a whole new element to the driving experience. It’s not just you and the car anymore: it’s the ultimate test of trust between driver and co-driver. Who you have at your side for a race like that is vital: you need absolute faith in that person.

When they say ‘go’, you can’t question it, you can’t hesitate. You go. Whether that’s heading around a hairpin bend or overtaking another racer. I’ve been that person, the guy who shouts ‘go’

'There’s no hand-holding, it’s just man and machine.

That becomes apparent very quickly in a car like the XK120.'

only to have my driver hesitate and miss that split-second window. Your lives are in each other’s hands for 1000 miles of road. Thrilling stuff.

We were sad to hear that Norman Dewis [ Jaguar’s most distinguished test driver] passed away recently. Did you ever have the chance to speak with him?

Very sad news indeed. I had the pleasure of speaking with Norman a number of times. He was an absolute legend: A Jaguar test driver extraordinaire. When the E-type was launched in Geneva, Norman drove it 600 miles in just over 11 hours to get it from London to the stand in Geneva. He had to drive like a bat out of hell. But that was his speciality. After all, he is the guy who took the XK120, adapted it, and pushed it to an average of 170 mph to break the production speed record. His was a 33-year career that helped make Jaguar what it is today.

A great guy with one hell of a story behind him. In the times I met him I’d sit down for hours and just listen to the man, such incredible tales.

Of course, we’re guessing you didn’t always drive a classic Jaguar. Can you recall your first driving experience?

I remember it was during the summertime. Just me, my 1988 Ford Fiesta 1.1 L, and a mixtape cassette of songs I can’t really remember now.

I do, however, distinctly remember not really caring where I was headed, nor did I really care what I was driving. It wasn't about the car, it was the freedom that came with it. The simple act of driving just felt like complete The Essential Journal | Issue 46

COVER STORY freedom to me. Obviously, my taste in cars has changed somewhat over the years, but that feeling of freedom that comes with driving hasn’t changed much at all.

I suppose I’ve always had a bit of a fascination with cars. It’s just ingrained in me. I remember as a child I’d just sit in the back of my friend’s parents’ Datsun for hours and hours, playing car Top Trumps. If we weren’t doing that, we were attempting handbrake turns on our go-karts. As a kid, everything just seemed to revolve around cars.

I don't know where it comes from.

Certainly not my parents. I could roll up in a Lamborghini and leave the next day in a Vauxhall Nova and my father wouldn’t notice. When I was 18, I managed to crash my Peugeot 106 into a grassy bank near my parent’s house. My father had to come and collect me as the car was winched onto the back of a tow truck, and he’s never let me forget it. Even to this day, regardless of what I’m driving and despite the racing licence in my pocket, I hear him telling me to ‘mind the grassy banks’ as I leave. If anyone ever accuses me of being humble, I’ll certainly have my parents to thank.

What do think the allure is behind a classic car like the Jaguar XK120?

I don’t think anyone truly knows the answer to that question, even those heavily involved in the classic scene.

I think, to some extent, that childlike marvel comes into it. There’s certainly a nostalgic element to seeing the cars that populated the magazines

and movies that you watched as a kid come to life again.

There’s also the fact that contemporary cars have gotten so incredibly good nowadays: They’re hitting faster speeds and achieving much smoother rides. You don’t even have to be that good of a driver, as newer cars do an awful lot of the work for you. That’s great, but it does take the art out of it a little. Hitting those top speeds in a classic car is a much more physical experience for the simple fact that the classic isn’t holding your hand the whole time. It takes skill, concentration and more than a small appetite for danger. That taps into a way of driving that is now lost on a lot of people. It’s more akin to race driving: the stakes are higher, there’s an element of risk. I think it goes back to that age-old power play between man and machine.

Do you think there’s a difference between learning to drive and truly mastering a car?

Of course. You only have to look at the likes of the WRC drivers to be sure of that. When I think of those who can truly be called drivers, it’s the likes of Colin McRae and Richard Burns that immediately spring to mind.

We’re talking about guys that were controlling something to the very limit, the very edge of what’s humanly possible, and they were doing that amidst a host of adverse conditions like rain, mud and ice. One wrong move and that car is spitting you out.

Nothing but road, rock and 400ft drop. I’ve always had a tremendous

The XK120's interior boasts a superb, aged saddle tan leather throughout

Bespoke seats feature a latticed leather design for custom comfort

Two aero screens replace the original XK120's split windscreen

Issue 46 | The Essential Journal

amount of respect for those guys; their peerless, razor-sharp skills; and their utter defiance of the odds. That is mastery given form: if you ever see a rally driver in action, you can see it’s a question of instinct more than anything else. The car becomes an extension of the driver. It’s a level of skill and mastery to which I could only aspire.

Was there an element of that peril in the road to Monaco?

I wouldn’t say there was too much peril, not nearly on the level I’ve just mentioned. But there was a real rush to taking on those mountain passes of Monaco. And in a classic car, no less.

You’re tapping into a singular heritage, and you gain a whole new appreciation for the skill of those legendary drivers who did it all first.

Just look at Stirling Moss, averaging on almost 100mph across 1000 miles during his 1955 victory at Mille Miglia. Not hitting the hundred, but averaging on that speed over the duration of the race. It’s the stuff of legends, absolute madness. I can’t even comprehend the level of skill needed to pull that off. But therein lies the charm of the classic car, I guess: It’s a blend of passion, madness and the constant demand of absolute and unwavering skill.

The restoration of a classic car is no easy process. It’s very much a labour of love. Why do you think so many people choose to go through it?

We’re living in a digital age, I suppose.

We don’t really feel like we own very much anymore. There are certain groups of people resisting that drift.

Vinyl record sales are up by record levels. Film photography is experiencing a renaissance. People are investing more in their clothes based on the fabrics they’re made up of.

We’re seeing a return to the tactile, and a fascination with the older ways. We want that tangible, physical element back. Which I think explains people’s fascination with the process of restoring a classic car like the Jaguar, but it also explains why a lot of people don’t quite understand it.

In a world where everything

'The car becomes an extension of the driver.

It’s a level of skill and mastery to which I could only aspire.'

is immediately accessible, people expect things to happen overnight.

Oftentimes, we’ll see a car restored in the space of a one-hour TV show, which doesn’t really attest to the time and effort that probably went into it. We restored the Jaguar XK120 in around ten months, and even that is fast by most people’s standards. Some 2,800 man-hours. Exceptional work.

And it’s clear that Tim Leese and the Jaguar Classics team understand the sheer joy of building something, not to mention the oddly addictive nature of it all. I often tell myself that the next restoration will be my last.

And then I find myself, gin and tonic in hand, looking up piston heads. Or talking to Tim to see what we can work on next.

What is it about the 50s and 60s that never goes out of style? Do you

have any style icons yourself from that era?

That’s the eternal question, isn’t it?

We just can’t let it do. But if you think back to the style icons of the time: Paul Newman; Steve McQueen; James Dean - All speed freaks themselves, of course - it’s easy to see why. James Dean lived and died by his Porsche 550 Spyder, ‘Little Bastard’. Steve McQueen had this Mini-Cooper S Mark II that I was always particularly fond of. I’d love to get a hold of a Q-car like that myself for runs around London.

Paul Newman was a renowned racer in his own right, but it’s his sleeper cars that always intrigued me. He once decided to fit a Volvo 960 Wagon with a 380 horsepower Ford Racing V8 engine, topped with a Kenne Bell supercharger. I love that, it’s the sign of a true racer at heart, trying to hit top speeds in just about anything.

Do you think that explains our obsession with the styles that came out of that era?

I think so. But of course, it wasn’t really a question of style at the time, was it? These guys simply wanted to race. So, when you see them in their Belstaffs and their Barbours, you can see that they’re not wearing them for style necessarily. There’s a more utilitarian mindset to the whole thing.

There’s no denying that the likes of Dean, Newman and McQueen were true arbiters of style, but that was never really their goal. They were lauded as the most stylish men in the world, but I don’t think style entered the equation for them, not to any major degree. Theirs was a legacy of authenticity to which we can only aspire nowadays. I think the Jaguar Classic department understands that. They’re trying to keep that authenticity alive. There are less people learning to drive than ever. Shared taxi services are on the rise. The generation we grew up in, its interest in those classic driving experiences are waning. Jaguar Classics have given petrol heads like me an outlet in an increasingly driverless society. jaguarlandroverclassic.com 27

COVER STORY

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The Essential Journal | Issue 46

COVER STORY

From Wreck to Riches Having been found beneath a bush in California - or so the story goes David and the team at Jaguar Land Rover Classic worked tirelessly over 10 months, to transform the goodfor-glue chassis into the tailor-made treasure that took to the infamous streets of Monaco.

Jaguar XK120 photographed by Patrick Gosling

Issue 46 | The Essential Journal

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COVER STORY

Pedal to the (Tailor-made) Metal The latest collaboration between Jaguar and David Gandy brings a whole new meaning to the concept of made to measure words by Will HALBERT photography by Patrick GOSLING

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P

lacing the word ‘bespoke’ in the general vicinity of the name David Gandy is likely to evoke images of the model’s six-footsomething frame adorned with fabrics and fits from Savil Row’s finest. And rightly so. Over the course of his career, Gandy has made quite a name for himself as a paragon of bespoke style and first-rate sartorialism.

But to delve into the world of bespoke is, above all, to challenge the very limits and thresholds of a design paradigm. Bespoke is both risky and respectful, irreverent and intelligent. It’s a coming together of individual attitude and artistic vision that extends far beyond the realm of the sartorial and into broader, bolder territories.

It’s precisely in these territories that the Jaguar Classic team thrive. Boasting an alchemic blend of unadulterated aesthetic artistry and top-tier engineering, Tim Leese and the Jaguar Classic team have dedicated themselves to the meticulous restoration and recreation of some of the company’s most iconic cars. From the painstaking reproduction of the legendary, triple Le Mans-winning D‑type to the rigorous, hand-building of the XKSS, the Jaguar Classic team are nothing if not dedicated to their craft.

Now, ‘hand-built’ isn’t a term you’ll often find bandied about in today’s automotive industry. But David

Gandy’s XK120 is exactly that: it’s the result of over 2,800 man-hours and almost a year of development.

And the proof is in the pudding: it’s a souped-up showstopper with brawn and beauty in spades. Built from the body of a 1954 XK – located in California by Jaguar’s dedicated team of researchers - the restoration is a sleek and sophisticated little number that still turns heads despite the six and a half decades behind it.

And thanks to the experts at Jaguar Classic’s facility in Warwickshire, that beauty continues under the bonnet, too. The 180bhp of the 1954’s original straight-six engine has been ramped up to a formidable, but no less road-friendly 225bhp.

Newly-added steel bracings ensure that the engine’s core plugs stay along for the ride at higher speeds.

A dual-pipe exhaust system kicks the horsepower up another notch, while a purpose-built, racing-style gearbox allows for faster, cleaner shifting built to hold its own at top speeds.

Further race-ready flourishes such as the new, up-front, four-pot calliper disc brakes and fully adjustable dampers are built with control and customisation in mind.

‘Finding that balance between race ready aggression and road-friendly politeness with such a classic build was interesting to say the least,’ says Tim, ‘But Jaguar Classic is never one to shy away from a challenge.’ He’s not wrong: In Jaguar Classic, Tim Leese and his team have

made a playground out of conventional paradigms. The bespoke Jaguar XK120 is a four-wheeled foray into true, petrol head passion: a first rate, for-the-sheer-glory-of-it exercise in superlative engineering that, under the watchful eye of David Gandy, is not without a sartorial edge.

The sleek, blacker-than-black convertible is fitted with a racing style flip-top fuel cap, and two curve-top aero screens (replacing the original split windscreen). David’s addition of an aged and latticed saddle tan leather interior adds a touch of tailored flare to an otherwise utilitarian turn: ‘The classic leather seats of the XK120 were undeniably beautiful,’ admits David, ‘but they did tend to leave you sliding about a fair bit. The bespoke seats fix that'.

In further testament to the Jaguar’s bespoke nature, the two batteries that would usually sit behind the driver’s seat have been reduced to a single battery, which has been relocated to the passenger seat to accommodate David’s somewhat superlative stature. The same goes for the bespoke steering wheel, nipped and tucked to afford more leg room.

The last word in made to measure motoring, the Jaguar XK120 is more than just a poster boy of bespoke beauty: It’s a visual ode to the glory and prestige of Jaguar’s ride so far, and an awe-inspiring glimpse at the road that lies ahead. EJ

The Essential Journal | Issue 46

Image credit: Julien Lanoy

COVER STORY

The Roads of Monte Carlo Steeped in history as they are in beauty, the roads of Monte Carlo provided the perfect rite of passage for Jaguar Classic’s latest project words by Will HALBERT

I

t was once written that Monte Carlo - the crown jewel of Monaco - had long become an ‘international byword for the extravagant display and reckless dispersal of wealth’.

It is, after all, a principality wholly dedicated to the singular pursuit of living well and looking damn good while you’re at it. A haven for hedonists and high-rollers that, over the years, has garnered a reputation that extends far beyond the modest breadth and scale of the country that houses it (Monaco, as it happens, is one of the smallest countries in the world, second only to The Vatican).

With Nice to the West and the Italian border to the East, Monte Carlo casts a southward gaze over the scenic splendour of the Mediteranian. And yet, for the most part, its myriad of tourists and wealthy denizens are often found with their focus fixed firmly inward. And in all honesty, who could blame them? Home to landmarks like the Sainte-Dévote Chapel, Casino Monte Carlo and, of course, its accompanying Salle Garnier Opera house, it’s little surprise that the yacht-lined harbor - beautiful though it is, serves as a mere foreword to the charm and opulence of the story that lies inland.

There’s a calmer, more modest side to things, of course. Perched atop Monaco’s rocky headland you will find the winding streets of Le Rocher Monaco’s old town. It’s a place of unparalleled beauty and - with enough exploration - unrivalled tranquility. Home to the principality’s royal family, the St Martin gardens and an Oceanographic Museum, Le Rocher grants a serenity fit for a King. Or at the very least, a Prince.

For all of its cultural heritage and natural beauty, however, Monte Carlo has become renowned for its insatiable need for speed, and a not-so-subtle, star-studded, culture of showboating. We’re not complaining. With a taste for all things high-stakes and high-octane, it’s little wonder that Monte Carlo plays yearly host to the prestigious Formula One Grand Prix (and the now-biannual Formula E Monaco ePrix to boot). The singular charm and peril of Monte Carlo’s winding street circuit are further testament to the principality’s lasting appeal, and provided the perfect proving ground for David Gandy and Jaguar Classic’s newly-restored 1955 XK120. EJ

'A haven for hedonists and high-rollers that, over the years, has garnered a reputation that extends far beyond the modest breadth and scale of the country

Image credit: Patrick Gosling

that houses it.'

Issue 46 | The Essential Journal

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Timings given are indicative, actual timings may vary based on consultant and tests required.

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The Essential Journal | Issue 46

DRINKING We're teaming up with The Whisky Exchange to shed a little light on your (new) favourite drinks categories thewhiskyexchange.com

High Spirits Spotlight

WHISKY BARS This month, we offer up a few must-try whisky hotspots to help those dram dreams come true

W

here should you be heading to if you’re a fan of the malt spirit?

Well, whisky fans rejoice, we have rounded up the best whisky bars to lift your spirits this month.. TWE

Tried & Tested Tipples For a fan of Scottish, Irish, American or Japanese whisky, there is a whisky cocktail out there for everyone. Here are two delectable cocktails

words by The Whisky Exchange

we have picked out to whet your whistle and ignite your curiosity

Cottonopolis, Manchester

The Puffin’ Rooms, Liverpool

Situated in Manchester’s burgeoning Northern Quarter, the Japanese-inspired Cottonopolis Food & Liquor stands as both a proud nod to the city’s industrial heritage and as a key player in the North’s blossoming cocktail culture. Simple, strippedback and sophisticated by design, Cottonopolis’s award-winning drinks menu is based around Japanese yojijukugo. Do yourself a favour and check out their Nikka-based cocktail, The Weak are the Meat the Strong Eat: a weighty, whisky-forward and duckfat-washed concoction that boasts bite and balance. It’s both a testament to the bar’s experimental edge and a display of its pan-Asian inspiration.

By turns a jazz-inspired whisky den and late-night cigar parlour, The Puffin’ Rooms is a real commercial district crowd-pleaser.

Home to more than 200 of the world’s rarest whiskies, all available to try by the glass, this Liverpool bar is a one-stop shop for whisky aficionados and spirited beginners alike. The guys and gals over at The Puffin’ Rooms even go so far as to offer bespoke whisky tasting sessions, allowing guests to revel in the profiles and provenance of their favourite drams from across the globe.

Word on the street is that they even have a bottle of the ever-elusive Pappy Van Winkle 15 Year Old that they’re willing to share on a dram-by-dram basis.

Sexy Fish, Mayfair

Bull in a China Shop, Shoreditch

Sexy Fish in Mayfair is an arty, seductive, Asian dining and Japanese whisky specialist with an unparalleled selection of Japanese whiskies (405 at the last count) and is the place to go for very rare and exclusive whisky. With the recent launch of their new menu came the announcement of their own single-cask bottling of the much-sought-after Chichibu whisky. For £30 a measure this is a dreamy dram at a very reasonable price given the rarity, and you must ask to see the bottle: the stunning label design emulates the striking artistic design of their venue.

Very chic - a must try.

From Mayfair we head east to Shoreditch’s Bull in a China Shop.

Brother’s, Simon and Stephen Chan have built a destination for those in the know. Unassuming from the outside, this wonderfully rustic, Asian-inspired restaurant has a specialist whisky bar that’ll knock your socks off with the variety that’s crammed into a fairly small space. With over 30 rare and premium whiskies hailing from Scotland as well as Japan, and some of the most inventive whisky cocktails that you can find in the capital, this is certainly worth a visit. Keep an eye out for limited releases: Simon is fond of going in search of new and limited expressions.

Issue 46 | The Essential Journal

Dill with the Devil 50ml Elements of Islay Peat 25ml lime juice 20ml sugar syrup 15ml egg white 1 pinch fresh dill 5 dashes of absinthe

Michter’s Blackberry Julep 50ml Michter’s American Whiskey 15 mint leaves 15ml sugar syrup 4 blackberries 25ml cold blackberry tea

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SECTION

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ESSENTIAL JOURNAL X LA MARZOCCO

The Essential Journal | Issue 46

DINING

The Recipe

Grilled Octopus with Squid Ink Lentils Courtesy of Orexi! by Theo A. Michaels

Orexi! Out Now

I

remember trying to catch octopus as a kid while in Cyprus. Hunting for octopus (it is a hunt by the way, not a passive pastime like fishing) is an exercise in dexterity, intellect and speed – and it turns out octopuses have those traits in more abundance than ten-year-old Theo had. I never caught one.

Whenever you are going to grill, barbecue or fry an octopus, it always starts with a slow braise to tenderize it. Cooking it on a barbecue is wonderful. The raw heat of hot coals combined with the charcoal smokiness is divine. A super-hot grill makes the best alternative, however, which is how we’re going to do this one. You'll also need bread, wine and family for this.

Ingredients 1 octopus, about 2 kg/41/2 lb., prepared* (see Note below) 2 dried bay leaves 3 garlic cloves 1 lemon 1/2 teaspoon sumac a generous pinch of finely chopped fresh flat-leaf parsley 200 g/1 cup pre-cooked Puy lentils 1/2 teaspoon squid ink 1/2 red onion, thinly sliced 1 fresh red chilli/chile, deseeded and finely sliced salt and freshly ground black pepper olive oil, for drizzling

SERVES 8–12 Method * Note: Rinse the octopus and cut the hood from the body (just above the eyes). Cut just below the eyes to remove the tentacles, keeping them intact (discard the piece holding the eyes). Finally, push the beak from the centre of where the tentacles join.

Place the prepared octopus in a large pot with a few generous pinches of salt, the bay leaves and 2 of the garlic cloves. Cover with enough cold water to cover fully. Bring to a simmer and cook gently for about 45 minutes, until you can pierce the flesh with a knife with little resistance. Don’t overcook it, as the suckers on the tentacles will start to come off. Octopus has a habit of floating, so either place a lid on the pot or place a small saucer on top of the octopus to help keep it submerged.

Put the cooked octopus into a bowl with a few glugs of olive oil to stop it sticking. Peel a few strips of rind from the lemon and add to the bowl. Set this one side until ready to cook.

Meanwhile, mash the last garlic clove to a pulp with a little salt.

Whisk with a few glugs of olive oil and squeeze in about half the amount of lemon juice to oil. Add the sumac and finely chopped parsley and mix.

Mix the Puy lentils with the squid ink and season with a little pepper. When you are ready to grill/broil the octopus, separate the tentacles with a sharp knife and slice the hood into four pieces. Get the grill/broiler as hot as possible. Shake off the excess olive oil from the octopus, season with a pinch of salt, and then grill/broil it close to the heat for a few minutes until it crisps up. Turn the pieces over and char the other side.

Remove and brush over the garlic-lemon-sumac dressing.

Scatter the squid ink Puy lentils over a large platter dish, distribute the sliced red onion amongst the lentils, then randomly place the octopus over the top. Taste for seasoning and finish with a little sliced red chilli.

Issue 46 | The Essential Journal

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DRINKING

Drinking With

Steam Yard Over the last five years, Steam Yard has earned a solid

DRINKING WITH

reputation as a coffee shop that reflects the rugged charm of

Sheffield’s industrial heritage whilst also carving out its own, unique sense of style words by

Image credit: Department Two

Will HALBERT

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The Essential Journal | Issue 46

DRINKING

Get the Round In

Welcome to the Yard

Matt Cottrill & Nick Pears Quickfire questions answered in the time it takes the Steam Yard founders to whip up a couple of Gibraltars How would you describe Steam Yard’s overarching philosophy?

Nick: For us, it’s always been a question of simplicity and skill. Do something well, get better at it every day, and don’t make too much of a song and dance about it in the process. We never opened a coffee shop with the intention of making a fortune. We just wanted to do one thing well. That philosophy hasn’t changed.

Why do you think Steam Yard has been so well received in Sheffield?

Nick: Sheffield is a working town, it doesn’t suffer fools gladly, and it can see right through a rip-off. By the same token, with Sheffield being such an industrial town, quality speaks for itself here. People are prepared to spend their money where they know they’re getting a good product.

T

here’s no easy route to authenticity, nor is there a paint-by-numbers approach to originality. The fact that Sheffield coffee institution, Steam Yard, possesses both in abundance is a testament to its founders’ dedication to the long way around, to their true love for - and a ground-up understanding of their chosen craft. Sitting down with Nick Pears and Matt Cottrill, it’s clear they’re no fans of half measures. Theirs is a slower approach to an authentic experience, one that has been lovingly refined over time. An eye for detail, a natural obsession with origin, and an almost recreational approach to setting ever-higher standards for themselves has placed both Nick and Matt at the forefront of Sheffield's burgeoning independent scene. And, you know what? They make a mean cup of coffee too. EJ

The Ace in the Hole

Yarders Ice Cream

Matt: There’s also an element of trust, I think. People know by now that if we can’t do something the best we can, we won’t do it at all. We’re dealing in high quality, small scale, artisan products. At Steam Yard, you can be sure that you’re tasting the very best of something. That makes things slightly more expensive for the guest, and way more expensive for us, but it’s worth it. Quality is non-negotiable.

So, it’s fair to say that there’s more to Steam Yard than just its coffee?

Matt: Absolutely. We never really refer to ourselves as a speciality coffee shop, we strive to offer a much wider hospitality experience. A great cup of coffee just isn’t enough, it’s about the overall experience from the moment you arrive, to the moment you leave and beyond. We’re constantly asking ourselves what we can do to add more to that experience. Even after five years, we’re still hands-on, seeing what else we can tweak and optimise.

Nick: The only way to survive independently is to be as attentive as possible. Here in Sheffield, more than anywhere else, the independent scene has driven the standard much higher. Speciality is now just the standard. We like to think we go above and beyond that standard in just about every way we can. I think people can really get behind that. It becomes more of a lifestyle.

Matt: That said, we want people who’ve never even heard of a flat white to be able to come in and still feel welcome. Guests can enjoy our coffee or ice cream for what it is or delve deeper. Either way is good with us.

What made you try your hand at ice cream?

Matt: It was the next logical step for us. We’ve carried Bullion chocolate for a while now and it’s such an easy product to get behind. Max makes a great product. There are major parallels between coffee and chocolate, when you think about it: Provenance is just as important, as are the subtleties in tasting notes brought out by the roasting process. So it was exciting to bring the two together to make the UK’s first bean to bar ice cream.

People are more clued-in than ever when it comes to the nuances of coffee, but less so when it comes to other artisanal products like bean to bar chocolate. It’s cool to play a part in changing that.

Nick: It feeds back into our overall philosophy of making something the best we can. Whether we’re talking about coffee, clothes, or ice cream, when you’re parting with your money, you might as well buy the best. Also, who doesn’t love ice cream?

The Secret Ingredient:

Bullion Craft Chocolate

T

he California coastline is home to some of the finest ice-cream joints in the world.

Purveyors of real ice cream: the kind of ice cream people happily queue for, truly special stuff.

Steam Yard know this, they also know that trying the very best of something is a one-way street: there’s no going back. So, what do you do if you can’t bring San Fran’s finest back to the UK with you? Well, if you’re Steam Yard, you go ahead and make it yourself. Enter Yarders: The UK’s very first bean to bar ice cream. With a flavour and texture that must be tried to be believed, Yarders is a treat in the old-school sense of the word. Decadent without ever overstepping the mark, the single origin Ecuadorian chocolate at its base strikes a fine balance between intense and indulgent.

And to top it off, you can choose how you want it: straight up; affogato style; wedged between one of their fabled donuts or even blended into a milkshake. What’s not to love? EJ Issue 46 | The Essential Journal

A

t the heart of Yarders ice cream lies Bullion bean to bar chocolate. Bean to bar simply refers to small batch, single origin chocolate that gives primacy to provenance and demands a more exacting (not to mention ethical) method of production.

Under the impassioned eye of founder Max Scotford, Bullion is a chocolate that stays true to the bean from which it’s sourced. It’s both a celebration of terroir and a constant pursuit of a better product. It’s exactly this above-andbeyond, accept-no-substitutes philosophy that makes Bullion’s collaboration with Steam Yard so natural. With a shared obsession for origin and provenance, and a mutual desire to craft an authentic product to the highest quality, both Steam Yard and Bullion have come away with what can only be described as the fine wine of ice cream. EJ

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ESSENTIAL JOURNAL X LA MARZOCCO

Out of the Box La Marzocco UK & Ireland are bringing their flagship global event to Tonbridge Castle this summer words by Dan HARVEY

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talian artisans La Marzocco have been handcrafting some of the world’s finest espresso machines since 1927. Building a reputation for their reliability, durability, and timeless aesthetics, their espresso machines take centre stage in some of the world's finest coffee roasters, coffee shops and restaurants. But that’s not all they’re known for: they’re also famous for championing the concept of community, and for pushing the boundaries of the hospitality scene.

For that very reason, we’re excited to announce that the team at La Marzocco UK & Ireland are bringing their flagship global event, Out of the Box, to Tonbridge Castle on Saturday July 13th. Festivals and events are key to La Marzocco’s success and standing: they act as a physical embodiment of the Italian hospitality that runs through its veins. As such, all events are about inclusivity and community and everyone is invited to join the party. Out of the box is no exception.

Out of the Box first took place in Milan in 2009, and has since been held across the globe in cities such as Barcelona, Tokyo and Melbourne. In the UK, London and Leeds have both played host city.

This year, La Marzocco will be hosting the first Summer edition of the event at Tonbridge Castle, a unique and iconic setting that’s quickly building on its reputation as a key destination for premium food and drink experiences. Alongside The Essential Journal, La Marzocco will also be working closely with event sponsors Espresso Solutions, Grey Goose Vodka, Roborace, Falcon Coffees, BWT Best Water Technology and Northiam Dairy to up the ante on previous instalments of the event. Expect Coffee Roasters Villages, with 20 of the UK’s finest speciality coffee roasters; ranging from Liverpool stalwarts ‘Neighbourhood Coffee’ to Kent locals ‘Curve Coffee Roasters’, Cocktail Masterclasses with ‘Grey Goose Vodka’, Barista Workshops with La Marzocco Home, Sensory Coffee Experiences with ‘Falcon Coffees’, Bookable Dining Experiences courtesy of ‘The Old Fire Station’, Food and Drink stalls from local businesses, a Live Music Stage, an exclusive immersive virtual reality simulator with ‘Roborace’, Pop Up Shops with sponsors such as ‘Espresso Solutions’, La Marzocco’s original coffee competition ‘Crush the Rush’, panel discussions, face painting, family fun, and much more.

‘Living in Kent myself,’ says Paul Kelly, General Manager of La Marzocco UK & Ireland, ‘I am always inspired and impressed by the array of choices when it comes to summer festivals and unique food and drink experiences.

We’ve wanted to host a summer edition of Out of the Box since our first London edition in 2014, and we knew that Tonbridge Castle was the perfect setting. We can’t wait to meet and connect with the local community, and to invite our existing network to this inspired setting.’

La Marzocco’s goal is for all who come as guests to leave as friends. To that end, Out of the Box has always been a content-rich, destination event that aims to bring together local communities and out-of-town visitors alike. It’s a celebration of our shared passion of speciality coffee, food and drink that doubles up as a cultural event for seasoned hospitality professionals and young adults seeking advice and inspiration for a career in the hospitality industry. All money raised at Out of the Box will be donated to Rett UK and Project Waterfall.

'Out of the Box has always been a content-rich, destination event that aims to bring together local communities and out-oftown visitors alike.'

For more info and to grab your free ticket, visit www.ootb19.eventbrite.co.uk Issue 46 | The Essential Journal

39

What’s On September – November

Wednesday 4 September 7.30pm – Gods Thursday 5 September 7.30pm – Heroes Friday 6 September 7.30pm – Men

Mythos: A Trilogy

by Stephen Fry

Tuesday 12 November 7.30pm

Adam Ant Tuesday 19 November 7.30pm

Calexico and Iron & Wine Plus Lisa O’Neill

Wednesday 18 September 8pm

Out of the Ashes

An Evening with Boycott & Aggers Wednesday 2 October 8pm

Box Office 0151 709 3789 liverpoolphil.com

With Great PowerPoint Comes Great ResponsibilityPoint

Dave Gorman

Plus support Nick Doody

LiverpoolPhilharmonic liverpoolphil liverpool_philharmonic Principal Funders

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

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Media Partner

Image Mythos – Stephen Fry © David Cooper

The Essential Journal | Issue 46

COLUMN

At the Pass with

Tommy Banks This month Tommy Banks, chef & owner of Roots (York) and the Michelin-starred Black Swan at Oldstead, discusses the surprising freedom of the drive to work

S

peed freaks and petrol heads have something of a saying: ‘Freedom is a full tank.` It's a beautiful notion: the idea that all you need in life is a set of wheels and a tank of gas. But let’s be honest: It’s a term more typically used by those rocking a little something special under the hood. My brother, for example, is the proud owner of a souped-up Audi. You know the kind I mean: The kind of car that has its wheels set at such a low profile that hitting a speed-bump becomes a genuinely intimate experience.

Personally, I don’t drive a tricked-out Audi, I drive an environmentallypolite hybrid Lexus (no disrespect to the Audi, but the Lexus drives so well it's as if it were built for me). But I’m still a big believer in the idea that driving does provide a certain sense of freedom, maybe even a little rebellion. It might seem a little ironic, but this is particularly true in the case of the daily commute.

In my experience, there’s a lot to be said for the morning drive to work and the headspace that it provides. In its simplest form, it acts as a buffer zone between two opposing mindsets. It’s the grace period you need to overcome the morning’s mental inertia and get into gear (see what I did there?). It’s certainly the warm up I need for a more active mindset before getting into the restaurant.

That’s not to say that the daily commute isn’t without its own, small hint of revolt. If you really think about it, the drive to and from work monotonous though it can often be - is not without a certain element of rebellion. We live ever-busier lives, after all. We need to take whatever time we can for ourselves. It doesn’t sound like much, but that drive to work becomes a small act of defiance in that respect: Used well, it’s a great way to win back a little of your day. Now, this won’t sound particularly edgy or rebellious, but I think the humble podcast has played a huge part in that.

Through the podcast, we suddenly have this wealth of information at our disposal, and it’s more easily-digestible than ever. Thanks to the podcast, the ride to work is more than just a means to an end. It’s no longer a routine, it’s an experience. It’s a brief, transportive window to someplace else, taking you on a journey that goes far beyond the ride to work. Whether you’re listening to some innovator or entrepreneur wax poetic about their own success on How I Built This, or taking an emotional trip down someone else's memory lane with Desert Island Discs, a podcast can take you further than the car you’re in.

Naturally, they have their downsides too. As podcasts become more varied and widespread, the concept of ‘podcastination’ is starting to creep in. We while away the hours listening to other people’s thoughts, confusing our productivity with theirs. But used correctly, podcasts are great avenues to education and enrichment through entertainment. Pairing the drive to work with a podcast transforms that drive into something totally different: It becomes a small victory in that age-old power struggle that is the work-life balance.

We should take those victories where we can. Whether that’s blazing down the motorway in a tricked-out Audi, or gliding along in the safety, comfort and quality of that hybrid Lexus. TB

'We need to take whatever time we can for ourselves.

It doesn't sound like

words by Tommy BANKS

much, but that drive to work becomes a small act of defiance in that respect: Used well, it’s a great way to win back a little of the day.'

image credit: Debbie Porter

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

Issue 46 | The Essential Journal

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PERSONAL FINANCIAL H E A LT H C H E C K We specialise in providing face-to-face wealth management advice that is personally tailored to reflect your individual circumstances, building a long-term and trusted relationship.

Together, we create realistic and effective working plans, providing you with a clear direction towards meeting your financial goals. This includes clarifying your objectives and researching all the options available to you.

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Tel: 0151 224 8728 | Mob: 07454 229726 Email: ian.massey@sjpp.co.uk Web: www.ipmfinancialplanning.co.uk The Partner Practice is an Appointed Representative of and represents only St. James’s Place Wealth Management plc (which is authorised and regulated by the Financial Conduct Authority) for the purpose of advising solely on the group’s wealth management products and services, more details of which are set out on the group’s website www.sjp.co.uk/products. The ‘St. James’s Place Partnership’ and the titles ‘Partner’ and ‘Partner Practice’ are marketing terms used to describe St. James’s Place representatives.

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H2SJP31639 03/19

DRINKING

Porteño Prodigies Fazenda’s resident wine expert and menu curator, Chris Milner, takes us on a tour of his favourite South American wines words by Will HALBERT

I

t’s no secret that Fazenda has made quite a name for itself as a forerunner in the premium rodizio experience. Excelling in fresh, well-reared and perfectlyseared meats, you’d be forgiven for expecting the award-winning restaurant's wine selection to take a back seat to the menu’s more carnivore-forward offerings.

Sitting down with wine expert and menu curator, Chris Milner, however, it’s clear that Fazenda aren’t interested in sticking to the safe and recognisable.

They’re far more interested in taking us on a journey of the rich and diverse produce of South American viticulture and beyond. And that journey starts here, with Chris’ top three wine picks for those looking to immerse themselves in the finest wines that the Southern Cone has to offer. EJ

Perverso/La Maldita Solera

Vallisto Criolla 2018

Chile gets a bit of a bad rep in the world of wine.

The overproduction of Merlot has seen many winemakers adopt a quantity-over-quality ethos that has seen the humble grape fall into disrepute. Thank God, then, for the likes of Garage Wine Co., who are not only bringing a little prestige back to Chilean wines, but seem to be having a lot of fun doing it, too. Indeed, Perverso takes a more irreverent approach to the fine art of winemaking. Using the Solera system (usually reserved for the making of Brandy), Garage Wine Co. store and rotate their various barrels that do not stylistically fit into their main repertoire of wines, with a view to mixing them for something truly unique. The result is a refined, complex nose that boasts a blend of ripe fruit and pungent spices with a touch of leather, raw meat and licorice. An odd experience, to be sure, but an unforgettable one nonetheless. ‘This is not how wine should be made,’ concedes Chris, ‘But this is a truly exceptional wine, in the truest sense of the word. It flies in the face of logic and reason, to truly defy expectations.’

If ever there was a case to be made for Argentina stepping out of its Mendoza-based, Malbec-inflected comfort zones, this little Criolla would be it. In a surprising turn from a region with such a wellrecorded preference for bolder, punchier expressions, this is an altogether lighter, more summer-friendly style. Hailing from the Salta region of Argentina, the Vallista Criolla reveals a slight European charm, with notes of raspberries, redcurrants and even a hint of apple prevalent throughout. At 14%, it remains aromatic and fresh, with a total absence of oak leading to an even greater approachability. This is a summer wine, through and through. One might even be tempted to chill things down a few degrees (á la beaujolais) before drinking in the warmer months ahead. In Chris’ own words, ‘this is a beautiful rarity from a relatively unknown grape in the UK, well worth a try if you’re looking for a wine that will delight and surprise in equal measure.’

Issue 46 | The Essential Journal

Catena Appellation Paraje Altamira Malbec 2016 Family vintners for over 100 years, the Catenas are recognized by those in the know for their pioneering role in high-altitude viticulture and in leading Argentina’s Malbec revolution. Their 2016 Paraje Altamira Malbec makes it easy to see why they’re held in such high regard. Sourced from the vineyards of Altamira in the Uco Valley, this is everything you’d expect from a great Malbec and then some. It’s punchy, spicy and replete with dark fruit and subtle, chocolate notes. A good 12 months spent in oak further adds to the heft of the wine. Despite its intense flavours and lofty credentials, however, the wine remains balanced and quaffable, perfect for pairing with any number of Fazenda’s first-rate meats. Which is probably why Fazenda is the only place in the UK that you can get your Paraje Altamira fix. According to Chris, ‘This Fazenda exclusive is a true celebration of Argentinian terroir, and an experience quite beyond your typical Mendoza variants.’

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The Essential Journal | Issue 46

DINING

Addressing the Table This month, itinerant bartender and co-owner of Liverpool’s Present Company, Jake O'Brien Murphy, extols the myriad virtues of the humble pierogi words by Jake O'BRIEN MURPHY

L

et’s take a second to talk about butter. Melted butter in particular. Purely elemental, liquid sunshine; its applications are manifold. Its effects on food, and the soul, profoundly good. The great leveler, proving we are all cut from the same cloth. The unification of mankind will come with buttery toast in tow.

I want to talk about butter because recently I revisited Poland and I think it changed me. Praise be to the Samaritan reformers of butter.

Polish hospitality comes with a lot of baggage; born out of hardship and pragmatic romance. It resonates in a primordial sort of way. To sit at a Polish dining table is to enter into a non-negotiable agreement with your hosts; a meal means so much more than the sum of its ingredients and dishes. It has the weight of old-world extravagance, kinship and togetherness. The Polish table is a celebration of community and hard won traditions. There is seemingly a toasting salutation for any and every occasion. Which, for purely academic reasons, of course, suits me just fine. Polish vodka is, in my opinion, some of the finest in the world. I am willing to put money on anyone else being convinced of this by the time the deserts, or their heads, hit the table.

It was my first time in Wroclaw. A wonderfully modern city with a painfully cool emerging middle class. Perched perilously atop the razor’s edge of gentrification; soon to become the kind of people who ride fixie bikes to their cloud based design jobs. Who spend their weekends rock climbing and contorting into inhuman auto-falating shapes in reclaimed activewear and calling it “Bikram Yoga”. The loathsome individuals who spend their evenings pontificating about drinking vinegars and natural wine. I felt right at home. I felt even more at home in Jadka, the kind of place you see from some unknown distance on Instagram as a person you follow (just to hate) posts about it. The food was delicious, it smacked of that same Polish pragmatism I love so dearly. It was robust and hearty with subtle strokes of finesse.

Nothing could have prepared me for what was to follow, the staccato slurring of another “Sto Lat” began again as another dinner guest erupted into the same uproarious toast. A single pierogi was lay in front of me. Immaculately presented in a shimmering golden ether of butter. Now I have eaten pierogi all over Poland. In fact, I am not ashamed to say this wasn’t my first pierogi of the day. But, this was something entirely different. This was a pierogi for a new world. The interstellar mothership, powered by hot liquid butter that could set a new course for humanity.

When Alex Turner put the words of Dr. John Cooper Clarke’s “I wanna be yours” to music he had taken something already fundamentally good and somehow improved upon it. He had added butter. It just made sense. In the same way, whatever cosmic transubstantiation had taken place on my plate; it just made sense. I worship at the altar of the infinite butter dish. JOM

' To sit at a Polish

dining table is to enter into a nonnegotiable agreement with your hosts; a meal means so much more than the sum of its ingredients and dishes.'

Issue 46 | The Essential Journal

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LIFESTYLE

Barry's Bootcamp I Hustle for the Mustle

words by Ralph CANIS

t’s no secret that we live in a world of raising standards. Now, perhaps more than ever, people are pushing their personal boundaries and holding themselves to newer levels of accountability. In a world that seems determined to set the bar ever-higher, how does Barry’s Bootcamp manage to stay one lap ahead of the competition?

Is it down to Barry’s status as a worldwide phenomenon? An industry standard that extends from the West Coast of the United States to the North West of the United Kingdom? Is it on account of its effortless blend of fitness and lifestyle? Its uncanny knack for bringing some serious style to the daily hustle? Or might it be the Bootcamp’s first-rate sense of community that keeps the whole thing moving at such a pace? Or perhaps it’s the solid science behind it all; the fact that a Bootcamp workout goes above and beyond current fitness trends to deliver a scientifically-superior workout.

In truth, it’s all of these things and then some. This is, after all, serious HIIT training with a Hollywood edge, brought to you by true fitness experts with decades of experience at their pace-setting heels, and a real community spirit in their well-tuned hearts. This combination of style, science, and superlative community spirit provides all the fuel you’ll need to run faster, lift heavier, and generally just push harder than you ever thought possible.

That’s why we’ve decided to break a real sweat with Barry’s Bootcamp over the next six months. For the rest of the year, we’ll be taking a closer look at the winning combination of elements that come together to make Barry’s Bootcamp one of the best workouts in the world.

Bring a towel. EJ

'This is, after all,

serious HIIT training with a Hollywood edge, brought to you by true fitness experts with decades of experience at their pace-setting heels.'

You have no boundaries, so why should love?

Barry’s bootcamp is just as much about inclusivity as it is intensity. It’s about breaking a sweat and pushing your limits in a community of like-minded people. It’s the very manifestation of the fit fam philosophy. It should come as no surprise, then, that Barry’s Bootcamp is big on its Pride celebrations. True to Barry’s dedication to community and inclusivity here in the UK, Barry's will be holding a charity class in each of their studios with 100% of proceeds from the London studios going to London Pride, whilst up North in Manchester, all proceeds will head directly to the LGBTQ Foundation.

It makes perfect sense. For over two decades, Barry’s Bootcamp has dedicated itself to building a worldwide community, united by the concept of personal fulfilment. By joining in global Pride celebrations, Barry’s invites us to be the very best version of ourselves, together.

barrysbootcamp.com

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The Essential Journal | Issue 46

LIFESTYLE

Is there an element of seasonality to cheesemaking?

Definitely, grass grows differently throughout the year. What the animals are additionally being fed changes, as does the stage of their lactation. That all affects the milk.

Then the external temperatures and humidities affect the cheese making and maturing procedures. On a industrial scale, this is minimised by standardising and pasteurizing the milk, then using commercial cultures and 'sealed vats' to make cheese. Farm-made cheese doesn't employ that same level of standardisation, so it is less consistent and varies more throughout the year.

But that is something that should be celebrated, and that’s why we're keen to let customers taste before they buy. There isn't a 'best' season, just different.

Tell us a little about yourselves and Courtyard Dairy. How did you both get into cheese?

Many years ago I worked infine-dining, and we had a fabulous cheeseboard. But in those days at the top end, apart from Cheddar and Stilton everything was French. So it intrigued me how we had all these great dairy farms but didn't seem to make any real 'quality' artisan cheese. So I spoke to our French supplier and he said why don't you come abroad to France and do an apprenticeship in cheese-maturing.

So I did! I worked in a cheesemongers cave over there and learnt so much about small scale, raw-milk cheesemaking. It gave me a real good grounding so I returned to the UK and worked in Bath & London with cheesemongers down there before Kathy & I returned back North to set up The Courtyard Dairy in 2012.

Since returning from France we've seen the quality and range of British farm-cheese increase year-on-year and it's great to have been part of that resurgence.

There’s more to being a cheesemonger than selling cheese. What does a working day at The Courtyard Dairy entail?

The obvious stuff is the cutting, talking to customers, wrapping and talking about the cheeses and their profile. Aside from that my role entails a varied range of other items, my favourite being grading (where we taste through a range of different batches of the same cheese with the team and select the order in which we'll sell them and if we want to buy them). One of the interesting things about farmhouse cheese is you do get day-to-day variation so grading allows us to cherry-pick the days we think are the very best. One of my least favourite jobs (but essential) is working in the cheese store. As we mature cheeses ourselves these need a bit of care, from brushing to washing in salty water; all to improve them and bring out their best characteristics. We're one of the few cheesemongers to do this but it really helps add an extra depth of flavour and ensure we sell each cheese in tip-top condition.

Then there are the calls to chat to cheesemakers about tweaks to their making procedures, tasting profiles, changes on the farm etc.

Tell us a little about some of the cheesemakers you work with. How do you select them?

What we try and champion is traditionally-made, farmhouse cheese. So we have a selection profile in order of what we are looking for: primary is taste, followed by cheese-making methods (how traditional/hands-on the methods are in order to capture the best flavour in the milk). Then we look at farming methods (animal breeds, feeds, and the sustainability/ ethics of the farm), whether the cheese is raw or pasteurised and finally how local it is. The more boxes you can tick the better. If a new cheesemaker comes to us and they are keen to go down the right route, we will try and support them Issue 46 | The Essential Journal

The Courtyard Dairy Since 2012, Andy and Kathy Swinscoe have proudly carried the torch for small-batch, farm-made cheese words by Will HALBERT

L

ocated in the heart of the Yorkshire Dales, The Courtyard Dairy boasts a selection of the finest cheeses hailing from the British Isles and Europe. Helmed by Andy and Kathy Swinscoe, the award-winning store not only champions small, independent, farmhouse cheesemaking but also strives to offer more than the paltry selections at your average supermarket aisle. EJ

from the beginning, helping them develop their cheese in the right manner. One of the things I'm most proud of, is when you see a farm commercially making viable cheese and we've been involved in helping them down that route and getting them to that point of making cheese on their farm. It makes me happy to see a farm re-starting cheesemaking and making something unique to them. Fellstone Cheese, Stonebeck and Hebden Goat are three we've been heavily involved in, and it almost feels like our 'baby' too. It's great to see them doing well.

These are pretty small farms with small batch production methods as opposed to larger-scale, industrial production lines. Is this important to you?

Yes. I am all for industrial production, it is more efficient and keeps costs down. However, what I try to do here is champion farm-made cheese. Because I think that is important too, and vital we keep it alive. The reasons being; on a small scale you can be in more control of your inputs (like the feed, and raw milk) and can make a product

completely unique to you, you have potential therefore to make a more flavoursome cheese (it isn't about standardisation or cost). As value is added, they can also afford to farm more sustainably and ethically, using traditional breeds and farming methods. A lot of my producers also follow historic cheesemaking recipes and techniques.

These are all important to value and should keep going, in my opinion. Finally, this style of making keeps alive small scale-farms and keeps money in rural areas, as adding this value on the farm means that many cheesemaking farms provide 12-15 jobs off one herd, which would otherwise would be 1-2 jobs. But the main reason is all about flavour and getting something that is extremely tasty and unique to that farm. That's why we do it, the other reasons are just additional benefits.

How important is the concept of terroir when it comes to cheese?

It's one of things that makes truefarm cheesemaking great. There was once 2000 farm producers of Wensleydale. Each one would have been different, and different people

would have preferred different farms. Just as in the same way if you take a cake recipe and give it to 2000 people they will all make it slightly different. This is amplified on a farm level by tweaks to the recipe, using different equipment, different pasture and breeds, etc. Making true farm cheese means you’re make it of that place - that is one of the things that makes it so special.

Are there certain characteristics to British cheeses that set them apart from their Euro counterparts?

Historically yes, as we were more constrained to the climate, cow breeds, grass/hay that grows here, not to mention the utensils and storage methods that would have been unique to each area. But the world has become more global, and farming and food production has changed. As a result, versions of most cheeses are made everywhere.

But the minuscule details mean you will get a different result. You can start with the same recipe and if you are making cheese on the farm by hand, each farm will produce a slightly different result - that's one of the exciting things about it.

How important is the process of affinage to the taste of a cheese?

Farming and cheesemaking are the first two bits to get right. What we try and do at The Courtyard Dairy is 'affinage' or cheese maturing.

This basically involves keeping the cheese and maturing it (in different environments) to make sure it is sold at its peak.

It helps out some farms (as they will sell their cheese young to ensure cash flow), and with others it allows us to change the very nature of the cheese to get a different flavour.

It essentially boils down to me examining each individual cheese we get and determining how to make it taste its best. One of the reasons we have a great reputation is our attention to these details; we treat farm-cheese as the living product it is, rather than just something to put on a shelf. That allows us to sell each cheese at its peak.

Any advice for those looking to expand their own knowledge (and collection) of cheese?

Find a good cheesemonger and ask them what is good at the moment.

Another good method is to sign up to a monthly cheese club, that way you get random and different cheeses each month and you can slowly build up your arsenal.

What would your perfect cheese board be made up of?

That’s Tough! That's like asking a painter their favourite colours. It depends on time of year, mood and seasonality. But if I was to stick my head above the parapet; I love St James (a real expression of its terroir), Hafod Cheddar (soft, smooth and buttery Cheddar), Young Buck Blue (Northern Ireland's answer to Stilton, but more moist and less-aggressive), Hebden Goat and Baron Bigod Brie.

And lastly: Eating the rind, yay or nay?

Always try (unless you're spitting out cloth, wax or foil). The rind is often the most concentrated part of the cheese, so can be strong, particularly in older cheeses, but on younger softer cheeses it is really key to the flavour!

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The Essential Journal | Issue 46

CULTURE

Bolt London For six years, Bolt has stood at the heart of London’s custom motorcycle scene. We sit down with Bolt founder, Andrew Almond, to discuss the intersection between engineering and style, changes in the custom scene, and memories of his first bike interview by Will HALBERT

First off, tell us a little about the history behind Bolt London. How did you guys get started?

We started off in 2013, in a small arch in London Fields. It really was a great leap of faith at the beginning, with only a fistful of dollars to cover the first month’s rent. I am still amazed that we made it through those first few months. 9 months later, we moved to take on a huge space next door which we filled with a store, café and barber shop upstairs. Then, two years ago we moved to our current space, an old victorian stables that has been home to a custom motorcycle business since 1966, back when the Duguid Brothers made fairings and tanks for café racers.

Over the years, Bolt has evolved beyond just building bikes. Tell us a little about the brands you stock in your store. How do you select what you stock?

All I ever wanted to do with Bolt was to be different to anyone else, both here and the UK and globally. Almost all the stock we hold is exclusive to us in the UK, and we curate the stock to reference the different subcultural styles that have come from the rich history of motorcycling.

We are inspired by heritage styles, but we do not want to be a retrospective store. Rather, it's about a classic notion of style along with innovation.

We select brands in terms of quality and style. We love brands that care about the fabrics or the leather they use, which really is the base for any good garment. As time has gone on, we have moved to making more of our own garments because we felt we could offer something unique in terms of quality and style. Our approach is 'slow fashion', we produce garments to last, garments that will improve with time. We are not really interested in seasonal trends.

Andrew Almond

This ethos has led to a fair few collaborations over the years. Can you tell us a little about any upcoming collaborations?

We have a couture line launching this Autumn, which we have collaborated with Edie Ashley on. This is really exciting and really out there; something completely unique. We both ride motorcycles and came together on the belief that motorcycles are these beautifully-crafted unique machines and that motorcycle garments should be approached in the same way - with the same care, craft and workmanship. We also wanted to take our time to make things the way we wanted to, and one of these was to use only reclaimed fabrics. This has led us on wild adventures across the country to find fabrics and materials, scouring abandoned factories and mills and scoring some incredible finds.

We also have a collaboration with Barbour launching soon, a small capsule collection that we designed ourselves. It was a real privilege to work with a manufacturer who has a heritage in British Motorcycle Racing that dates back to the 1930s.

Has the custom scene changed much over the years? Is it opening up to a wider audience or becoming more niche?

All subcultures have a lifespan of around three to four years before they become suburbanised - everything from the Mods to the Rockers, Acid house to Jungle. Things can only stay sharp for a brief period before they become over-exposed by the mainstream. Over a decade in, it is inevitable that custom motorcycling has been subjected to the same forces. The DIY ethics and originality that defined it have gradually been replaced by a more mainstream commercial approach. But there will always be motorcycles and, with them, an underground movement. Things continue to evolve and we will remain on its leading edge.

Bolt London, Courtyard

How would you describe the custom scene in London specifically? How does it stack up against other countries?

London has always been at the forefront of subcultural trends and this is no less true with the custom motorcycle scene. Our greatest influence has to be the Rocker movement and the café racers. I love how both are constantly reinvented and kept relevant. There's something gritty about the way we approach things in London. You might have the sun-kissed beauty of California scene on one side, but there's something inherently cool about the British style.

Do you have any fond memories of your first bike?

It was a little Honda 50cc that I was given as a health worker in rural Mozambique. I would ride it through the bush from village to village on these dirt tracks for miles everyday, I loved the little thing.

It would often break down, though, which led to some terrifying experiences, from fending off snakes to being almost over-powered by an army of ants. Looking back, though, these were the greatest experiences.

What would your dream bike be?

Well, I recently came across a Norvin fiberglass tank from the 60's that was made in the same place as the shop is situated, and my dream would be to have the rest of it. A Norvin is a Norton frame with a Vincent engine, and in my eyes the quintessential café racer.

And lastly, what advice would you give to someone looking to buy their first motorcycle?

Well, I don't think it's always necessary to start with a 125cc and build up necessarily. Pass your full license and go for something a little bigger, you'll get the hang of it soon enough and won't regret it.

Issue 46 | The Essential Journal

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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 46

CULTURE

Twin Arrows Trading Post, Arizona words by Anna SOUTHGATE photography by Rick PISIO

An extract from: It’s a Gas! The Allure of the Gas Station

P Available now from gestalten.com

Issue 46 | The Essential Journal

hotographing abandoned buildings has become extremely popular around the world in the last decade. Capturing and displaying transience is particularly fascinating when a place tells a story of societal change.

In the case of gas stations, we now have an entire industry that must keep up with technological innovations such as e-mobility. Abandoned gas stations have a charm all of their own. Perhaps this is because they were built alongside roads (such as the iconic Route 66), putting their gradual decay on display as one drives past.

Or perhaps it is because gas stations were once more varied in their aesthetic. The market is dominated by a few large chains today, whereas it was divided between numerous small businesses throughout the twentieth century. This also meant that the architecture was more diverse. Examining abandoned gas stations gives us a glimpse into the past, one where cars meant more than status. They also represented freedom, with gas stations the springboards into the wild blue yonder.

This gas station in Flagstaff, Arizona, gets its name from the two arrows (formerly telephone poles) sticking out of the ground in front of the building. The owner handed this one-time Route 66 attraction over to nature when he left it more than 20 years ago. AS

“Examining abandoned gas stations gives us a glimpse into the past, one where cars meant more than status.”

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COLUMN

CALM

We are a movement against suicide, the single biggest killer of men under 45 in the UK. Get support and join the campaign at theCALMzone.net

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The Essential Journal | Issue 46

LIFESTYLE

RKZ: On Failure Recording artist and all-round creative, Rikesh Chauhan (aka RKZ), lets us in on his experience with failure and disappointment, where it took him, and what he learned from it In a social climate that practically forces us to present ourselves as high flying and perpetually motivated, it pays to be honest and open about our failures and how they affect us. It’s important to understand that failure doesn't define us, but that it’s often a necessary part of a longer process, and almost always a learning experience. EJ

T

here’s no feeling quite like the one of being backstage, knowing that you’ll soon be in front of a room full of people who are there to hear you sing your songs. You feel the adrenaline and butterflies coursing through you, you’re bouncing around with an unrelenting energy; you’re excited and petrified that you might forget your words. The same words you’ve written and rehearsed a million times over. You feed off the energy Issue 46 | The Essential Journal

in the room, the muffled sound of the crowd growing bigger, getting closer. It’s claustrophobic. It’s exhilarating. You feel like a rockstar.

Partly because, well, you are one.

The band—or rather, the group of individually brilliant solo musicians—and I had been rehearsing, recording, rehearsing and re-recording for a couple months’ in build-up to the gig. In addition to this, my guitarist and I were doing acoustic sets around the city to keep our sound fresh. Having

words by Rikesh CHAUHAN

a five-piece group-of-individuallybrilliant-solo-musicians is quite an expensive thing to upkeep. As I was the ‘billed artist’, sans label, I was paying for the rehearsal space, studio time, their individual fees, as well as project managing the whole thing. But it was entirely worth it as soon as we stepped on stage and the crowd began shifting in their seats to see us a little better. The rise and fall of the room continually rising, people beginning to groove and to drink, singing themselves into

merriment that stretches into the early hours of the morning. You’ve utterly charmed them, they’re hanging on to your every word. You crescendo into folklore (or so it feels in that moment) and the night ends, and into the cool air everyone hazily disperses. You’ve done it.

Everything you’ve ever dreamed of.

Now imagine, playing the exact same set - perhaps an even tighter, more refined version which you knew would absolutely kill - a few weeks later, in a dingy basement club to all of ten people. The outgoings were the same: band, rehearsal space, time. But with only a handful of tickets sold; we didn’t get enough people through the door to take a cut of the ticket sales. For a set that we absolutely loved playing, we found ourselves trying to get through it as quickly as possible.

The drunk woman that heckled me mid-set for coming across too cocky, telling me in no uncertain terms that I wasn’t that great, didn’t help much. The band were forlorn, as if they’d just been suckerpunched in the first round of the biggest fight of their lives. And it was all my fault.

The thought of quitting music entirely had never rang in my head as loudly as it did that evening. I went into hiding for a little while, which ended up being a couple of years. In that time, I kept recording music but I stopped performing. I spent more time doing other things - taking photos, creating content, and generally trying to keep myself occupied (read: distracted). My photography, to my pleasant surprise, picked up and I found

myself creating content for small brands in London. I then, sort of, fell into the world of menswear and I’ve managed to forge myself a career that I now feel like I was destined to pursue.

And the brilliance of it all?

By giving myself another focus, I became more and more inspired to write and record new music.

Slowly, silently, without any time restrictions or external pressure, I recorded and recorded and found a sound that changed my entire perspective of music, of creating and of art itself. The music I was making a few years back, it now seemed, wasn’t really true to me. The new stuff made me feel wholesome. It was MY sound. It wasn’t a sound I was taking, nor conforming to. It was mine. It is mine. It’s now an album - my first, which I’m releasing this summer.

By stepping away from my first love, I grew up and somehow managed to rediscover it in a whole new light. It’s like seeing a childhood best friend after years and realising the love is still there, just as strong as it used to be.

I guess, it’s really a case of the unexpectedness of it all. You never really know where life will take you and what it’ll throw your way. It made me learn to trust the journey, for that’s always the best part, anyway. And who knows. Maybe soon, I’ll find myself backstage again, waiting to reintroduce myself to a room full of people who are there to hear me sing my songs. thecalmzone.net 53

COLUMN

Coffee & Counsel with

Adonis Michael This month Michael Rose & Baylis director, Adonis Michael, ponders the potential potholes along the road to driverless cars words by Adonis MICHAEL

A

car is trundling along an average dual carriageway somewhere in England, with normal traffic flowing, the driver of the vehicle behind looks at a notification on his phone, a split second later he has ploughed into the car in front. The drivers hop out and swap details, if there is any injury then lawyers will almost certainly get involved. A claim will be submitted against the fault driver, (doesn’t take an LLB from Oxbridge to work out who was at fault here) and then his insurance will make the necessary payments.

This is the state of play today. Yes, there are more complicated liability disputes - especially when there are multiple vehicles involved or if the accident was on a roundabout - but generally these are easily settled with witness testimony and other evidence. All nice and simple, relatively speaking. But brace yourselves: there is a revolution afoot and the world as we know it is about to change with the widespread introduction of the long dreamt-about and recently talked-about autonomous cars. Indeed, things are about to get messy. Ford predicts it will offer fully autonomous, ride-sharing vehicles on public roads by 2021. And Tesla plans to have its first fleet of robotaxis, fully self driving by next year. The future is upon us!

Now that you’re sat down with your coffee, allow me to throw a few little quandaries at you. Just off the bat, using the aforementioned RTA as an example: Who would be to blame if it was an autonomous car? Is it the driver at fault, who never had control of the vehicle in the first place? Or is it down to the AI - or automated system developer - who created the driving software in the first place? Or the auto manufacturer who assembled and supplied the vehicle, maybe? You can take this even further: Would it be legal to take your hands completely off the steering wheel and leave the vehicle in control (Tesla are actually saying they will do away with the steering wheel altogether)? Should there be limits on what you can do in the car? Should you be allowed to browse social media or use your smartphone while the car navigates for you, for example?

And here’s an ethical one for you to think about in bed: The autonomous vehicle driving you along is giving you and your 4 pals a nice smooth 30mph ride, whilst you chit chat and listen to George Michael, suddenly someone runs into the road in front. It’s too late to brake in time and only evasive action can be taken. To the left, there is a mother pushing a pram. To the right a brick wall. How does the system decide what to do? Turn right and risk 5 lives; go straight ahead and almost certainly take out the pedestrian; or swing left with tragic consequence? Not something we want to think about really, is it?

The truth is, as a society we have only just started to consider the implications and consequences of this technology. The legal world will now need to step up and assist with policies, regulations and practices. The first step, of course, will be to actually understand the technology and how it works. I realise that I’m just raising question after question here, but that is where we are at, I’m afraid. Question marks abound, and there is such a long way to go before this transition will be seamless, leaving our roads a place of pure tranquillity. What is the insurance and product liability impact? How will privacy, security and customer data be handled? What happens when a vehicle experiences a data breach or cyber attack?

It’s said that history repeats itself, and with good reason, too. Let me take you back to August 17, 1896 if I may. No, they didn’t have driverless cars then, but let me tell you the story of Mrs Bridget Driscoll who, at 45 years old, became the first pedestrian in the world to be struck and killed by the revolutionary new Roger Benz horseless carriage (now more widely referred to as the humble car). But the Victorians weren’t too worried, the Locomotives on Highways Act came in shortly after and 120 odd years later everything is fine (legally speaking, of course). My drift is that, we’ve been here before and we’ve adapted accordingly. I expect new legislation to be passed and existing legislation to be adapted and, over time, we’ll get there. But there will almost certainly be a few potholes and speed bumps along the way. But I’m sure the wheels will keep turning regardless. AM

'The truth is, as a society we have only just started to consider the implications and consequences of this technology. The legal world will now need to step up and assist with policies, regulations and practises.'

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The Essential Journal | Issue 46

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