Discovering Lewis Leathers

Disovering Lewis Leathers

Known for their distinctive motorbike jackets, Lewis Leathers is one of the UK’s most enduring clothing companies. It is true heritage brand. Founded in 1892 as a “Tailoring and Outfitters Shop,” it began stocking protective clothing for motorists and aviators from inception. It has survived wars, dramatic changes in social history and the ever changing winds of fashion for almost one hundred and twenty years. However, until very recently I knew nothing about them. My eyes were open wide to this institution of leather the moment they came across Andrew Bunney's breathtaking biker jacket during my visit to Dr Martens. Bunney has long been a convert to their jackets and as soon as I touched one of his own jackets (he currently has three and is looking to add a fourth) I too became a disciple. As I began to drool over the soft grey leather of his biker jacket he informed me that he had conducted an in depth feature on the store for Honeyee and I'm pleased to find that it is now live.

Images from the Honeyee feature. Photographs by Tommy.

At its height in the 1970s, Lewis Leathers had six shops nationwide in Sheffield, Birmingham and London. The stores offered boots, accessories and made-to-measure leather jackets but by 1986 all had closed. Remaining as a made-to-order business for many years, Lewis Leathers have recently opened a new London shop close to the original address of 104 Great Portland Street. Never forgetting the initial goal to outfit members of Britain’s cycling community. The spirit of D. Lewis remains and with it a consistent balance between function as riding product and fashion icon.

Family-owned until 1981 when the company changed hands, the helm eventually fell to Derek Harris. Harris has been the owner of Lewis Leathers since 2003 although his involvement with the brand stretches back some 20 years. In actual fact, his involvement with the brand began as a customer. His passion and obsession led him to research the true company history, the products’ evolution and Lewis Leathers’ significance in UK motorcycling and fashion culture. Bunney talks at length with the charismatic and knowledgeable, fifth generation owner and I heartily recommend that you make yourself a cup of tea and partake in a spot of interesting procrastination. I've been inspired by this piece and will make the trip to Lewis Leathers, so you can expect a follow up feature to be posted at some point next week.

Style Salvage Speaks to... 1205

As you all know both of us are interested in the interplay between the social constructs of masculinity with style and menswear. We have been meaning to discuss the relationship in a series of posts for some time now but however many posts we draft, we ultimately do not know quite where to begin. Thankfully a number of designers are posing and examining the questions for us and the resulting collections are full of variety and interest. With 1205 Paula Gerbase offers a unique concept of a functional unisex wardrobe – pieces for men and women that can be worn by either.

After graduating with a BA in Womenswear from Central Saint Martins she worked for Alistair Carr and Gareth Pugh before beginning her couture tailoring training on Savile Row with Hardy Amies and Kilgour. At Kilgour she began a long term collaboration with Carlo Brandelli. After five years working as Head Designer at Kilgour, Gerbase launched her own label 1205 with it's debut collection, 'One', due for s/s10. As a consequence of her menswear and couture training, quality of cut and fabric are paramount in Gerbase’s designs. The design process begins with fabric, looking at everything in a microscopic way, resulting in a unique, modern, almost clinical point of view. Earlier this week I was invited to see the debut capsule collection of menswear, womenswear and unisex pieces at her store/studio located at Kingly Court (Unit 1.3). Regardless of gender the collection showcases Gerbase’s trademark sensitive use of luxury fabrics and erudite pattern construction for a modern-contemporary muse. While admiring the collection I took the opportunity to sit down with the designer to discuss the label in more detail. Below we talk about how experiences at CSM, working with Alistair Carr and on Savile Row alike influenced her design aesthetic and take a closer look at her designs for SS11.

The shop front in Kingly Court.

Style Salvage: You graduated with a BA in womenswear from Central Saint Martins, as a student were your collections influenced by tailoring or did this evolve from your internships and through working with the likes of Carlo Brandelli at Kilgour?
Paula Gerbase: I actually started working with Carlo two years before I graduated. He needed a second person and he called Willie from Central Saint Martins and she recommended me because she knew I was keen to get in to tailoring and I ended up working alongside him practically full time during my final year. As for my final collection, it certainly had some tailoring influences but I used handmade lace from Brazil. So my tailoring influences were already there during my time as a student. I was interested in getting tailoring experience and learning how to make pieces correctly. I also worked with at Hardy Amies to really learn, they made me sit there and watch for some time before I was able to make anything.

Paula makes these origami leaves herself and I just love the subtle branding on the safety pins which are used instead of labels. With the 1205 pin, not only is it completely removable, but it can be placed anywhere the wearer likes. Paula loves the idea of the 1205 customer using the pin to add their own interpretation to the garments. It gives each piece a more personal aspect which is part of their ethos.

SS: You have worked with an amazing array of design talent. You worked with Alistair Carr and Gareth Pugh before beginning your couture tailoring training on Savile Row with Hardy Amies. From this, you went on to work at Kilgour - a move which let to a long term collaboration with then Creative Director Carlo Brandelli. What did these experiences teach you?
Paula Berbase: My main internship was with Alistair, it was here that I really got involved with the constructive side of things and then I realised that I wanted to get in to tailoring. This decision came at the right time because there was an opening at Kilgour. I started working there for only one day a week because he was unsure whether at first but then it slowly built up to a full time opportunity. So before I was full time at Kilgour, It was at this time that I was also working at Hardy Amies and I would work here for the rest of the week from nine until five. As my workload at Kilgour began to increase I did less and less at Hardy Amies. All of these experiences have really helped form my design aesthetic. At the beginning I could never have known that I would become so closely involved in tailoring but people have always told me that I can be quite severe, so in a way I knew tailoring would be right for me because of the way I think. it just fit. 1205 was a natural progression from what I had learned in pure tailoring and menswear and going back to my original passion.

I just love this silk Georgette scarf (available from oki-ni in addition to 1205 directly)

SS: We are always intrigued by numbers, tell us about the name...
Paula Gerbase: 1205 is simply the day I was born! Some people have asked me why I don't say 'Birthday' because they think it means the same thing but it doesn't ....your Birthday is a day that happens every year and usually means a party and lots of people calling you etc etc etc... A big fuss which I don't like! 'The day I was born' only happened once, and to me it signifies the beginning. A fresh start, which was what this project was supposed to be to me. Also, the reason I wanted to have only numbers is because of my slightly complicated history. Born in Brazil, German mom, Italian dad, traveling around with them during my life living in different places, learning different languages I wanted something that meant the same thing in all languages and everyone could in fact say in their own language so it became personal to each person. 'Douze - Zero - Cinq' in French or 'Tolv - Null - Fem' in Norwegian etc etc.

One of the real standout pieces from the collection is this tailored cardigan (available from oki-ni as well as 1205 directly).

SS: So that was the driving catalyst behind launching 1205?
Paula Gerbase: I certainly wanted to return to the more feminine side of things but to still keep my masculine element. The idea of a unisex wardrobe was very important to me. I think if something is well made and the fabric is great then it should not matter whose wearing it.

Lightweight 100% white linen summer shirt with a patch pocket, granddad collar and grey and cream mother of pearl buttons. Once again this is available from oki-ni as well as 1205
€171.38$232.03¥20675.60

SS: So, in terms of your approach to design do you think of both body forms when designing...
Paula Gerbase: I guess that I take both in to account but my more menswear bits are quite feminine and my more feminine pieces are in some way masculine also...
SS: So your design approach is quite fluid. I think our ideas of what is masculine and feminine are always shifting anyway. Previously, especially coming from a tailoring background, a garment had to be made in a certain way
Paula Gerbase: Yes, completely. I'm not interested in the strict rules of tailoring as such. For example that a pocket needs to be in a specific place, or there at all in some cases. I understand what they are but I don't necessarily have to follow them.
SS: At the end of the day rules are always there to be broken or should at least be tested.
Paula Gerbase: It is quite freeing not having to follow them actually.

One of the rails in store, blurring the lines between the sexes.

SS: Are you conscious of pieces lending themselves more obviously to menswear or womenswear?
Paula Gerbase: I tend to see it as a collection over anything else. For the SS10 collection it is more feminine and for AW10 it is more masculine but the both just happened that way, both felt right. With the AW10 I took the decision to shoot it on a female model only because so many people have questioned the idea of a unisex piece and I wanted to surprise people and it will hopefully make people that bit more open. I like the idea that people might be confused a little at first because it means they are thinking about it. For me, it is great being able to play with fabric in a menswear way for women and it is nice to experiment in a womenswear way with cutting.
SS: I think that the concept and understanding of unisex clothing here is a little behind where it could and should be, when compared to other countries at least...
Paula Gerbase: I find it really surprising, I always thought people were more open minded. For AW10, if you see each piece you might assume that it is menswear but it can be worn extremely well by women also and I wanted to demonstrate that in the look book. Of course there are quite a few people like yourself who get it straight away, for others it might take a little time. I've just tried to push it because I feel it is right, at least for this. The reaction of journalists is always interesting. They are not quite sure where to put us really. They try to put collections in to boxes and we do not necessarily fit them. Buyers tend to place us in menswear but that is mainly because of my history. The customer is always more open to experiment with the pieces.

I was particularly taken with the prints. Paula photographed wool and blew them up to create them

SS: In terms of SS10, this is actually the first time I've seen it in person but the importance of prints and lightweight tailoring hits me straight off. What are the other themes running through to the collection?
Paula Gerbase: Comfort, playing with colour and mixing fabrics. For example using jersey and cotton in trousers, adding a jersey back makes them so much more comfortable. One of my favourite pieces is the tailored cardigan which is unstructured and hangs loosely with no fastening. It has shoulder pads but is extremely lightweight, it has piping but there is no fastening.
SS: At this point of the year I am always searching for my idea of a perfect Spring/Summer jacket and this is perfect. It is a wonderful example of relaxed tailoring.
Paula Gerbase: A formal jacket is great but this is so comfortable . I wanted to design pieces that could be thrown on. To still ensure that the wearer was dressed appropriately while the pieces feel so light. I enjoyed playing with jersey and cotton throughout the collection.

SS: One of the great things about having your own store like this one is that you can see how customers react to your clothes. Since the opening how have you enjoyed the experience?
Paula Gerbase: I've never had a store before but I enjoy it very much. As I'm always working here as well people were a little tentative coming in at first but it is quite odd for someone to be shopping in and around someones work environment. It is fun seeing people discover the store. Plus the set up of the store allows customers to ask questions about the pieces directly to me which is great. Initially we had more female customers because we opened without a number of pieces because we were still waiting on some of our garments to be made, as we produce everything in the UK it can take a little longer but since we've had all of our stock on sale and introduced a male mannequin to the display we've actually had more men coming in. I've been pleased by how guys have reacted to the collection. I love watching customers pick out pieces to try on without even asking me if they are meant for men or women. It makes me so happy because it proves that I'm on to something.

1205 Made in England

SS: You've mentioned that most of the production happens here in London. It is so refreshing to hear that because it is so rare...
Paula Gerbase: As much of it as possible takes place here in London. It just felt right. I love the idea of having a transparency in the way in which we work and this involves how our products are made. I enjoy working with craftsmen, I can spend hours talking to someone about a stitch or fabric construction and it is great being able to see them in London and to talk through pieces with them. They can give me suggestions, I'm not selfish in that way at all, in fact I enjoy bouncing ideas off with them.
SS: We have such a great history of tailoring here in London but it is seen as a dying trade in some quarters. So it is great to see a new brand embrace it, use it and to learn from these craftsmen.
Paula Gerbase: Definitely. I'll do a lot of the cutting but there are times where I'll have a question and I go back to cutters on Savile Row because those are the people that I know and we'll work on something. There are younger people coming through, whether or not they stay there depends upon the number of opportunities. It is great working with the mix of people drawn to Savile Row.

SS: And where are the fabrics sourced?
Paula Gerbase: They are English and Italian. I have really good relationships with certain mills that I worked with at Kilgour and I just really enjoyed working with them. I used to design the fabrics at the old place, it was nice to continue these relationships in a different way with this line.

In the middle of the shop floor is Paula's workstation and she let me take a quick peep at her beautiful sketches for SS11. Customers frequently ask her to sketch them something on the spot.

SS: How do you see brand evolving over the coming few seasons?
Paula Gerbase: One of the most obvious differences between menswear and womenswear collections is that womenswear can shift, swap and change with each season but menswear tends to be more gradual in its development and this is more attune to how I work. I want to push the idea of cut and playing with fabric and textures.

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A first look at Fred Perry AW10

Fred Perry's AW10 Look Book.

Another round of AW10 collections to slap in my tired face to snap me back in to a state of sartorial alertness was Fred Perry. Having only just celebrated its one hundredth birthday last year, this is an iconic brand that is far from resting on its laurels (pun intended, ha!). The brand continues to retain and develop its unique roots in the British history of street fashion and music. Its products have consistently been adopted as part of the uniform of choice for elements of our subculture. From Mods, Suedeheads, Ska/Two Tone, Punk, New Wave, Casuals/Perry Boys, Britpop, Electronic/Rave and the latest Indie revival - the Laurel has been ever present. Passed from generation as an understated timeless and collectible true classic. The press day gave me the opportunity to investigate the AW10 Laurel collection and the chance to sneak a peak at the next stage of the successful collaborations with Raf Simons and Stussy. First up, I thought I'd share the first look at the Laurel look book...

These two images showcase my favourite looks. Such simple layering but oh so effective. Left; Long sleeve indigo shirt. Right; Long sleeve indigo shirt worn with knitted blazer and pleated trousers.

I have been a fan of the Laurel Wreath collection for some time now because not only does it showcase the purity of the more heritage pieces but also offers a more contemporary look and feel based on authentic values. Below are a few of my favourite looks...

Long sleeve multi button collar shirt.

Long sleeve striped print shirt in liquorice (left) and ash (right)

In addition to offering reworked Fred Perry classics, the Laurel collection is branching out for AW10 and beyond by working with a number of British brands to create a number of key wardrobe staples. First up the duffle coat. Fashions come and go, but the duffle coat remains a staple in many a stylish wardrobe and Fred Perry have recognised this by working with one of the best makers around, Gloverall. Gloverall have been producing their famous duffle coats for over 50 years, starting in a London factory close to St Paul's Cathedral and still made in England to this day, the name Gloverall has always been synonymous with the duffle coat and it is great to see a brand like Fred Perry tap in to their expertise.

Twin tipped raglan shirt and Gloverall duffle coat.

As well as working with true British heritage brands in the coming months, the Laurel collection sees the brand use a number of truly British fabrics. Most excitingly, Harris Tweed. For AW10, they use the fabric for Harrington jackets, ties and weekend bags. It is the most iconic of all tweeds, woven by hand, and adored for decades the world over. Or it was. For such a burly and utilitarian fabric, Harris Tweed evokes an a great deal of romantically nostalgic feelings and this series certainly captures this. The reason being is that the tweed is still woven by pedal-powered looms in the homes of Scottish sheep herders on the outermost fringe of the British Isles, just as it has been since 1846. 2010 is make or break time for the tweed and it is great to see brands like Fred Perry use it throughout their collection.

Raf Simons' successful collaboration with Fred Perry continues into AW10. The collaboration started off positively and it has only gone from strength to strength.Again, the collection is strongly made up of Simons' own interpretation of the iconic polo shirt, the use of fine knits and great cuts working extremely well with the legendary brand and logo. Each season sees Simons rework the classic laurel logo and here he creates a boy scout badge. As ever, Simons has taken inspiration from the fabrics and textures of classic Fred Perry sportswear but has created a more complete offering with a number of interesting and colourful pieces. A great deal caught my eye as I wandered around the room but key piece that captured my attention was the the long sleeved polo knit (below centre). It is the item that I can't stop thinking about, I just love the knitted sleeve detailing and have never seen anything quite like it.

Raf Simons x Fred Perry Aw10 - I was particularly taken by the use of colour throughout the impressive and diverse offering.

In addition to being able to gaze in to the future season, the press day afforded my first opportunity to inspect the recently launched (and soon to be available to purchase) Blank Canvas collection. This collaboration sees two quintessentially British institutions join forces on a classic four piece range for Fred Perry. The series sees two iconic Liberty of London prints, 'Mark' (paisley) and 'Edenham' (floral) and sees reworked classic pique shirts, a black Harrington jacket, polo shirts and plimsolls. Now that the sun is out I just can't help myself from wanting to dabble with Liberty of London prints...

A closer look at the Blank Canvas collection.

The gift of KZO

While Susie was grounded in New York for an extra week due to the Volcanic Ash billowing out of Iceland she used her time wisely by visiting a number of designers at their studios, experimented with a spot of DIY and even went shopping...for me! I think you'll agree that this is the best type of shopping. So, when I finally saw her huffing and puffing down our corridor followed by more luggage than she left with she was was excitedly clutching a bag from Aloha Rag. Her excitement soon erred towards apprehension as she handed me the bag as doubts whether or not I'd like it began to creep in...the words "If you don't like it, I'll have it" rang out as I tore open the bag like a spoilt brat on Christmas morning. As I discovered the unstructured patterned knit blazer inside her concern soon evaporated as I let out some exclamation of joy.

The present that Susie can borrow but not steal off me. KZO Knit Unstructured blazer worn over Silver Spoon Attire shirt and wool trousers by Unconditional.

I had only recently become aware of KZO after stumbling across them on oki-ni while searching for the perfect pair of casual shorts for the (hopefully) warm months ahead. This wonderful gift made me dig a little deeper on the brand. KZO might be based in the Arts District of Los Angeles but there is a distinctively Japanese aesthetic that is intertwined with and seen through a US West Coast lens. The reason for this is KZO took its name after creative director and brand founder Joel Knornschild's American-Japanese grandfather, Kazuo Iwasaki. Kazuo translates to Peaceful Man. From a young age, Joel fell in love with photography, cinema and film and each collection is designed around a cinematic process that begins with a video treatment, soundtrack and visual storyboard. A video camera capturing unfolding stories always accompanies him. Fashion, music and film collided when Joel began writing and directing music videos for various bands in the US and Japan, and from there KZO evolved.

KZO's Into the blue, out of the black

The SS10 collection that drew Susie's gaze is titled 'Into the blue, out of the black' is made up of an indigo, black, blood red, heather gray, sky blue, charcoal and sky blue palette. Pieces include chambray woven shirts, organic fabric knits, tom Japanese selvage denim and mosaic fleeces. However, the real highlight of the collection is the €231.08$312.87¥27878.71 soft unstructured jacket in a blue and cream cotton mix that Susie expertly picked out. Regular readers will know that I tend to avoid prints and patterns (polka dots aside) by playing it safe all too often but this is something I'm keen to work on. Having had this piece at my disposal for the last week I have to say that I've enjoyed injecting a dash of pattern in to an outfit and this present has given a little more confidence to experiment.

Two of my favourite looks from KZO's SS10 look book.

Replacing my bed for Bedouin

The table of Bedouin bags snapped me back in to a state of sartorial alertness.

For the past couple of days I have been walking around press days in a cloud of sickness induced apathy. Of course I have seen a great number of collections that would normally leave me open mouthed and clammy palmed but I found it difficult to become as excited as I really should do because when I've not been in bed I've longed to rest my weary head. I was soon snapped out of it though after I encountered Bedouin. Bedouin make well designed high quality bags that can snap any man back in to a state of sartorial alertness. Every aspect of their leather creations is thought through in extreme detail. The bags are hand made in England, using a level of craftsmanship and attention to detail that English luggage makers are known and admired for. The bags are inspired by traditional craft, geometric art, the macabre and surrealism and are designed for comfort and durability.

An everyday bag, ideal for the daily commute and will fit all your daily essentials comfortably.

In addition to being hand crafted in England, the very best of materials are sourced from across Europe. Fabrics are sourced from the best British suppliers for their quality, durability and feel. The leathers are European or British and are naturally tanned using vegetable tanning agents. Stitching is of the highest quality and weight. Each is made with waterproof waxed cotton or canvas (120z Rhinowax is used for the tote and messenger) and designed with the specific function fully in mind. The hardware on the bags is sourced from the best engineering companies, zippers are from Switzerland and the Cobra buckles are forged in Austria and are noted for being the worlds strongest buckle.

The Mamluke - a great weekend away bag or a larger daily bag.

What sets these bags apart is that they are beautifully made and perfectly proportioned for each use. The Mamluke overnight bag, the Barbary messenger bag, the Janissary laptop bag and the Medina tote are all fit for purpose, like any good piece of design. These bags will certainly protect your belongings. At Bedouin they believe in quality and each purchase should last a lifetime. They do not believe in disposable fashion and an endless replacement cycle; buy quality and buy it once. They are extremely confident of the quality and workmanship of their bags, which is why they offer a lifetime guarantee on materials and workmanship from normal wear and tear. Everything is cut by hand and then stitched on a couple of heavyweight machines, there are no shortcuts taken in the creation of these bags.

The new look Medina tote bag particularly caught my eye.

You might have seen a well written piece in the new and improved fashion section of the Times this morning (available to view online here). In the well written piece that saw the stylist examine the handbag fixation he was forced to declare that "this (Bedouin) newly launched hand made in England brand has done for me what the Alexa and Hillier are doing for my lady friends." To put it simply he had found a collection of bags that he would happily parade around town regardless of whether they were empty or not and confessed that he now needs one in every colour. After seeing the bags up close I can certainly see where he was coming from.

Update: I have just seen another great piece on Bedouin over on Gentleman's Corner. Via this piece I learnt that the brand is headed up by Silas Grant, a CSM graduate and ex senior design specialist at Nokia. Grant says, “In my opinion, selling a bad product on the prestige of your brand is a short term strategy, and not sustainable for the long term. Classic quality never goes out of fashion. I keep the prices really tight at Bedouin, but quality does cost more. Buy quality and buy it once”.

The Barbary - a large capacity professional Courier Bag designed to fit the body, contract and expand depending on the load being carried.

Bedouin base the design of each bag on the metaphor of the Bedouin tent. A nomadic shelter, rugged and weatherproof on the outside, whereas inside they offer luxury, shelter and comfort. Their bags follow the same metaphor, rugged and durable on the outside, dust proof and water resistant. Inside, printed linings and padded compartments provide secure storage for any personal possessions. I personally love the addition of the distinctive and macabre illustrations that decorate each of the bags interior cotton linings. These are far from your typical 'manbags' and I'm pleased that I swapped my bed for Bedouin.

A look inside the Barbary.

Style Salvage Speaks to... Oliver Spencer

Oliver Spencer founded his eponymous label in 2002 and has always made clothing that is seen rather than heard. Oli wanted a collection that mirrored his own wardrobe; a bridge between popular street wear and traditional tailoring. He approaches everything from a luxury standpoint but then injects functionality to create collections that combine classic English style with hints of Americana and Japanese ideas to consistently dish out a modern sophisticated aesthetic. Quality fabrics. Modern fits. Old school construction. Characteristic details. Exquisite craftsmanship. This recipe remains today. It is undeniably a modern British brand. More than half the line is made in the UK and while striving for quality Oli sources the fabrics and buttons before overseeing how it's all sewn. So, when we were invited to pop down to the flagship store on Lamb's Conduit Street to see the store and to speak with Oli we jumped at the chance. We've said many times on the blog that strolling down this special street in Bloomsbury feels like a little retail reconnaissance and Oliver Spencer has played no small part in that. Here we learn more about the evolution of the brand from Favourbrook, the community spirit of Lamb's Conduit Street, the importance of craft and manufacture and how Oli sees the brand evolving over the next few years...

The inviting store front on Lamb's Conduit Street.

SS: How did it all start for you? What were your inspirations, your dreams and the driving catalyst behind Oliver Spencer?
Oliver Spencer: It all started with some corduroy suits. I was doing more and more work for our other label Favourbrook that was becoming more and more luxe utilitarian/casual. I like the whole un-constructed thing. At that time a dark brown corduroy suit washed, unstructured was a big turning point for me. I wore it virtually every day.

SS: Aside from it being your name, what does Oliver Spencer mean to you?
Oliver Spencer: It’s Englishness. I am lucky enough to have two interesting straight forward names, I think it tends to stick in peoples heads, at least we would like to hope so! Otherwise I still find it a bit weird!

SS: When you founded the label back in 2002 you wanted a collection that mirrored your own wardrobe; a bridge between popular streetwear and tailoring. Does this recipe still remain? How has the label evolved over the years?
Oliver Spencer: Yes this recipe does still remain. I still make everything for myself. Colour has been the main influence going forward, primary colours are a big area in menswear.

SS: What were the first and last item you remember designing?
Oliver Spencer: First item was a waistcoat. The last was a cardigan.

SS: Craft and local manufacture are obviously very important to you as over half the line is made here in the UK. You must work with some extremely small and remote factories. Is it difficult to find them and how has your relationships grown over the years?
Oliver Spencer: No it is not difficult to find the factories, you just need to know how. Most of the factories that we work with, we have developed so they work to within our specifications. The main one that we use is an ex Burberry factory, so they have all the tools and the experience for the job. We love making in the UK.

SS: Now on to your wonderful store. Lambs Conduit Street (as profiled by Monocle last year) shows what can be achieved in retail areas as it champions a real community spirit. Whenever I speak to brands looking for a premises of their own they often dream about this stretch of Bloomsbury. How easy was it to come by? And what, do you think, makes the street so special?
Oliver Spencer: The street has great community in it, with a mix of local and professional, generally very open minded people. Key to the whole mix is three or four great pubs, which means it is a good place to go out at night too. My friend Cathal from Folk introduced me to the street and I have never looked back.

SS: What are your favourite pieces in store at the moment?
Oliver Spencer: Chukka Boots in blue suede with a white sole. Tennyson Red Navigator Jacket.

SS: How has the menswear landscape changed since you launched the label? What excites you about the future of menswear?
Oliver Spencer: Sorry to bang on about it but colour! This is the way forward for menswear. We have become more casual in the right way over the years and we use a lot of detailing. Our mantle is to be seen and not heard.

SS: Collaborations are a key facet of the brand. During the last couple of weeks we've seen the unveiling of your travel shirt with Monocle and your capsule shoe collection for Topman. What have been your favourite collaborations to date? Who would you love to work with in the future?
Oliver Spencer: For me collaborations at the beginning were brought to mind for Junya Watanabe for Commes des Garcons. Future collaborations, I have to think carefully about this as we get approached a lot and it is important that brand synergy is on the same playing field. All I can say is it will definitely be an English brand.

SS: How do you see the brand developing over the next few years?
Oliver Spencer: Footwear will develop for us. Accessories, bags and trousers I believe will be the main growth area.

SS: Finally, would you be able to share a few address book recommendation to our readers which we will duly add to our map...
Oliver Spencer: Badlams Hairdresser’s on 37 Lambs Conduit Street (Bloomsbury, London WC1N 3NG). The Espresso Room on Great Ormond Street (31-35 Great Ormond Street, London WC1N 3HZ) and Café Gitan in New York.

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If you are ever in and around Bloomsbury you just have to stroll down Lamb's Conduit Street and pop in Oliver Spencer.

Advent - Day Fourteen

So, here we are, day fourteen of our Advent calendar and I am full of cold. Despite my incessant sniffles and grumbles, the show must go on. Today we feature the commercial desires of one of the most active men in the industry, Steve Monaghan. Sane Communications is an agency for a selection of some of the finest fashion and lifestyle brands and covetable products on the market. His client list reads like a who's who of menswear and includes oi polloi, Lavenham, Bedouin, Happy Socks and Penfield to name just a few. Here's what's on his Christmas list...

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DARK HORN HANDLE WALKING STICK


"A walking cane and a field spaniel. The field spaniel would be called Murdoch X and the cane would come from here."

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Hentsch Man AW10

Hentsch Man Aw10

Back in May last year we discovered a new menswear brand whose design ethos and approach to retail struck a chord with us. We have been following the continued rise of Hentsch Man ever since. The brand evolved from a seemingly simple search (in theory not practice) for the perfect white shirt. The two friends (Max and Alexia) set about designing their perfect shirt and when they felt they got it right, they placed a small order. After the shirts were soon snapped up by friends and family, the duo set about expanding their offering without compromising their core values of simplicity and function. Over the last year, we have watched with interest as the pair have added trousers, boxer shorts, footwear and luggage to create a more complete menswear collection. Earlier this week I was lucky enough to be talked through the AW10 collection by Alexia and there are quite a few exciting additions to share with you. Over the course of this post I will attempt to offer you the same journey I was fortunate enough to take supported by quotes from the lady herself and an exclusive look at their AW10 look book...

As in every collection, they have the original Jack shirt. This is Alexia's "own personal favourite, probably because it was the first piece we designed. Due to their cut I just think they make guys look really good." They've added three new shirts which have really added a new dimension to the collection, in Benny, denim and Sunday. The Sunday shirt is a button down and the cut is a little square making it a more causal shirt choice. In previous seasons they've received some feedback that their other shirts are too elegant in a way, so they wanted to have a few more relaxed offerings. In addition to the Sunday, they have added a denim shirt which comes in two washes, the washed is super soft and the other is influenced by work wear. Finally, they have added a flannel shirt, which again is more of a casual weekend shirt based on a casual workman's shirt. The looser fit and double pockets make it ideal for a dressed down look. The new shirts have certainly added a more relaxed dimension to the collection.

The collection for AW10 has really grown with this season and in addition to the new shirts, they have added sweaters and jackets. Firstly, there is the Simon striped sweaters and cardigans which are all produced in Scotland and come in three gorgeous striped colourways. There is another new sweater addition to the line which is a hand made, heavy knit that can have a customised pattern added to it. Alexia enthusiastically confessed that this piece has worked extremely well with their buyers in the States who have integrated the logo of their stores in to the knit.

As for the jackets, Alexia was inspired by Wes Anderson's Fantastic Mr Fox and his breathtaking double breasted corduroy jacket. Mr Fox's ensemble of a tight-fitting corduroy suit was based on fabric from one of the dandyish forty year olds own suits and it certainly captured the sartorial imagination of quite a few of us. Mr Fox's suit is made of orange/brown-ish corduroy and this really inspired Alexia Hentsch. It came as no surprise to see that its hero sports a natty double-breasted version of Anderson's own beloved suit, (as captured by the Sartorialist on at least one occasion) tastefully accessorised with a few ears of wheat in the breast pocket. The whole look is akin the colour of a leaf in autumn, in fact Anderson and his team wanted the whole film to look like Autumn. It is little wonder then that this film's style resonates so strongly, as you all know, I am obsessed by the colours of the season and dressing accordingly. Hentsch Man have been making their Joe trousers in corduroy for a couple of seasons now in navy, coral, ochre, aubergine and sky blue. Alexia casually remarked that "AW10 felt the right time to make two piece corduroy suits" and it is difficult to disagree, I'd love to wear one. Their cords come in bright hues and there is something quite exciting and fun about seeing a corduroy suit in coral and sky blue. A mustard suit might be too much for some, certainly not for me but you could always wear them as separates. If these eye poppingly colourful jackets and trousers are still too much,the corduroy offering has been extended in to ties. I've not encountered a cord tie before and I just love the subtle texture of them, I could not stop stroking them. Finally on the jacket front, Hentsch Man have added a couple of safer options, one of which is a beautiful tweed jacket that has the same slim cut silhouette.

"The Autumn/winter season tends to be so drab, everything is grey and blue but we wanted one or two items that just bring a smile to your face. Since the beginning we have experimented with colour and been surprised by the reaction. The very first pair of trousers we did a few seasons ago now came in just a few colours; navy, bright red and pistachio green. We made so many of the navy ones because we thought they'd be the ones to sell but in reality it was the pistachio and red ones which just flew off of the shelves. I think it is because everybody has navy trousers but our customers tend to be the ones who are inclined to push it that bit more." - Alexia Hentsch

The role of colour in a man's wardrobe, particularly during the colder months is an interesting one. I feel that with the help of a certain Japanese high street retailer attitudes have shifted. As mentioned in previous posts, I have injected a much needed shot of colour in to my wardrobe's jugular in recent months. I have mentioned the 'Uniqlo effect' at least twice before on the blog and the Japanese retailing power house is still having an effect on the colours hanging on my wardrobe rail and I've had a a great deal of fun experimenting with the various hues. Walk in to any Uniqlo store and you are instantly hit with an almost overwhelming number of colour variations and it has certainly had an effect on most male attitudes to colour. These colour variations confuse the mind initially but ultimately inspire. The available colour ranges have helped seduce me and many other men away from more muted tones. It is great to see brands such as Hentsch Man offer a similarly colourful but extremely well made and lasting alternative. Due to my recent colour experimentation I've discovered that there are a number of colours that actually suit my natural colouring and tones. Colours that I would have previously steered well clear of now grace my back and wrap around my neck. Even if some colours don't work together, it is fun trying.

Having first heard about the label watched the development of the label ever since I first discovered it via Monocle, it is great to see the labels naturally evolved collection of pieces with each new season. It takes seasons to grow and it refreshing to see that Hentsch Man have not forced anything. What began as a shirt company where they investigated different fabrics and cuts to design the ultimate line of shirts has slowly but surely developed. The next logical step was to add trousers and then they've grown from there, systematically adding new products. It is now only one or two pieces away from a complete collection and I for one am chomping at the bit to see what Alexia and Max have in store for SS10. In the meantime though, I am going to daydream about wearing a sky blue corduroy suit...

A near complete, colourful collection for Aw10

Albam AW10

We might not have reached mid August yet but my sweaty, aching limbs are longing to be protected by soft, texture rich fabrics as the hot, stagnant air is replaced with something a little more fresh and biting. During the press day madness back in April I encountered a dream rail of autumnal essentials at Cube. For AW10, Albam have gone back to their starting principle of creating the essential items within a man’s wardrobe, from the classic white t-shirt, through to the Italian made suit and an English crafted Pea Coat and from August to December, each month will see a capsule collection dropped into store. The first of which is imminent and to provoke a little excitement the guys posted the first batch of look book images over on their 'Behind the Scenes' blog.

Shawl collar knit. A perennial brand favourite

Knitwear is produced by a factory for which this AW10 collection will sadly be the last collection they make. The focus is on pieces inspired by the factory’s archive which counts the 1980’s America’s cup yacht team, the military and the Royal family as customers. Styles include the ‘Submariner’ roll neck and the shawl collar cardigan (a perennial favourite of Albam).

Each piece, when released, will be a numbered piece of one hundred produced.

Artisan waistcoat and chambray shirt.

The Albam signature of white details has been revisited to make them more integral to the garment itself. Highlights of this are seen in the linking of the knitwear in ecru yarn, only visible when the garment is opened up. This can also be seen in the taped seam garments creating an internal framework to the pieces.

Artisan pea coat.

Outerwear has become a focus of Albam since the release of the Fisherman’s Cagoule in 2007. Key pieces include the Workwear Jacket in a bonded cotton weave with polar fleece on the inside, which gives a more structured garment whilst being light and warm. Wax fabric also remains key with a workwear style that is crafted from wax cloth as a lightweight casual rain jacket and a Pea Coat, made from an oiled duck canvas from the USA.

Trail parka

The key pieces that embody the ‘Modern Crafted Clothing’ concept are the taped Ventile styles of the Alpine Jacket and Rain Mac. Designed and crafted in England these are waterproof garments, which combine Albam’s love of the outdoors with the forgotten expertise of one of the factories used.

Ventile mac and backpack.

This is just a handful of the styles that are coming through this winter at Albam. Throughout the ‘Essentials’ the styles remain cleanly designed with a focus on fabrication and construction. A number of the developments have arisen following discussions with customers about what they are wanting and where they themselves want to go with things. I love how the guys have remained true to their founding concept, slowly developing and growing their range all the while letting the right customers find them. I'm looking in stocking up on a few new season essentials.