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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Advent - Day Fifteen

Apologies for the late unveiling of day fifteen of our Advent calendar but for us, the day was something of a write off. This blogger barely left the soothing comfort of his duvet as his head and throat felt abused and unqestionably inhuman. Thankfully, matters have improved enough to return the much missed glow of the laptop long enough to reveal what is on Patrick Grant's wish list this Christmas.

Just last week Grant was deservedly crowned Menswear Designer of the Year at this year's BFAs where he declared that "it's been a really remarkable year for us  (E. Tautz) and this award makes a rather nice early Christmas present." His personal style as well as his work at both the houses of Tautz and Nortons & Sons has received much attention on the pages of this blog, so who better to ask to take part in our festive feature? So, in addition to receiving awards, here's what's on his Christmas list...

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DAWES ULTRA GALAXY TOURING BIKE

"I think I'd like a Dawes Ultra Galaxy, simply the finest touring bicycle, still built in England, from the bike makers to the British Army. Might be just the thing to finally get me on that cycle tour of the Western Isles I've been banging on about for years."

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British menswear in 2010 and beyond

Now, I had started to embark on an epic review post and spent a few hours revising bookmarks and admiring saved images. I began reminiscing over the colour rich Jil Sander SS111 show which was held in the elaborate garden of a spectacular villa in the far hilly reaches of Florence, the dazzling lazer display at the culmination of JW Anderson's SS11 show, experiencing the making of Harris Tweed in the Outer Hebrides and my numerous retail discoveries throughout the year. The last twelve months have been fruitful and have seen us enthuse, reveal and discuss a myriad of menswear subjects over the course of three hundred and eight posts. However, having seen the gluttony of 'Best of' lists clogging the arteries of the blogosphere, I have decided to take a different stance. Yes, 2010 has been a good year but how can we make 2011 a great year?

Having given the subject more thought than any of the other aforementioned volume of posts, I decided to look at the state of British menswear. Menswear Day during London Fashion Week has certainly  continued to grow over the course of two schedule packed days in 2010. Presentations, catwalk shows and film screenings have all celebrated the exciting diversity of menswear design talent which uniquely exists in this capital of ours. It has been hugely exciting to see stalwarts of Savile Row sit so comfortably alongside high street regulars, established designers and enthralling new talent alike. Both  days helped cause a sartorial stir or two whilst collectively flying the flag of menswear and tiring me out in the process. Dense, exciting schedules and flag waving aside, I have found myself with more questions than answers when I come to give British menswear design the once over. Have these ever evolving moments really pushed British menswear design forward as far as they can? Is Menswear Day enough? Are retailers really supporting the talent? Can the design talent that I celebrate forge viable and successful businesses? Are we, as consumers, doing enough?

In moments of questioning, it is always helpful to turn to a different voice.  As I have enjoyed so many discussions with menswear retailer Daniel Jenkins this year, it was fitting to hear his thoughts on the subject... 

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"What is the point of British menswear? Now I must confess to being redhanded and place my cards upon the table. Anyone who receives a Christmas or birthday present from me is accepting ill gotten gains funded by British fashion.

Confession aside I have no interest in using this article to promote the labels that we already sell and those that we will sell in the future. I believe in what we buy and therefore if it doesn't sell I take full responsibility. This leads into my main point, Steve mentioned the end of year review to me a few months ago. I'll admit I was slightly wrapped up in finding the best flat white in London (Woman in Present if you are interested always go for the 6oz). Dalston cliche aside it made me think. So much so I had a rant which I have managed to slightly temper. Two days later I was fortunate to be invited to take an economist around the Whitechapel Gallery with the aim of ignoring the art and discussing the future of British fashion. The question was should British fashion be 'saved' or not. I spent two hours arguing for its survival then received a text message about something far more important and realised the charade was up. Perhaps it shouldn't be 'saved'. 'Saving' as it currently stands could in fact damage it further.

I see it like this. I understand that many within the industry disagree with me and think me a fool for expressing my views however, I simply cannot go on any longer labouring under the pretence that this situation is adequate, normal or acceptable. Despite this year having spent more time with my head in books than look books trying to figure life out, I have seen enough to realise that in terms of sheer design the industry in the UK is in rude health. I don't care who you are or what you do I simply cannot understand any argument claiming that there is better design talent outside of the United Kingdom. Yesterday, Steve and Eliza ran a feature on Joe Casley Hayford, a sublime talent who along with Charlie is changing how the world dresses. This is what we do in the UK. We set the parameters. Yet the press discussion about the best labels, the most exciting stores, the items that men truly would sell their girlfriend for always includes items predominately from outside of this sceptred isle. Why is this? The power of paid for advertising or a deeper and more dangerous issue? We are in real danger of losing a lot of talent which if given a little bit more of a push could really achieve something.

We have a dedicated 'Menswear' day at London fashion week. This I applaud for its intention and execution - this year it was highly professional, but it isn't enough. I'm bored with the conversation that the menswear industry in the UK will simply never be profitable enough. This is sheer nonsense perpetuated by those unwilling to take a risk. We need to ask ourselves why isn't it working. Why are labels having trouble cementing themselves? Each time I read an article about how rosy British menswear is I'm reminded of John Le Carre's words in 1963 'men condemned to death are subject to sudden moments of elation; as if, like moths in the fire, their destruction were coincidental with attainment'.

Please don't confuse me with someone wishing to do damage to the industry. Yes my suit may be painted black and I might admire and enjoy  Auden's poetry noir whilst taking a wistful glance through memories but, I just want to give those with talent in this country a fair and level playing field. If they fail then so be it. They would always have done so. To deny them the opportunity to succeed or fail because they aren't immediately commercially viable is criminal. I understand the financial implications better than most. We are funded solely by sales. If we do not sell we cannot continue operating. I believe that we have a duty to promote those that perhaps would not be given the chance elsewhere. Yes we profit from it, I run a business and I attempt daily to challenge Tony Wilson's mantra regarding history and money  - failing probably on both counts - because someone once took a chance on Ralph Lauren, Alexander McQueen and anyone you could care to mention. Yes, these were business decisions but they were also seven inch leap's from heart to head.

There are those making a difference and there are solutions which have been proffered from greater communication between independent stores and the BFC, increased presence at Paris fashion week - London falls outside of the majority of foreign buyers' schedule each season. An understanding that talent in this country does occasionally need guidance in making sure that they aren't let down by manufacturers, stores and other parts of the 'fashion chain'. If these steps were undertaken I'd be part way to happiness and if the BFC or anyone with ideas regarding how we can turn 2011 into a watershed, wishes to contact me then I'm ready, daniel@danieljenkins.co.uk"

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I don't know about you but I found myself nodding quite a bit throughout this rant. More, on a number of different levels, can be done. For me, one of the real positives of the year has seen the real gems of British menswear take important steps towards Paris. The LONDON ShowROOMS have been successfully running for five seasons now but SS11 saw it extend to include some of the best emerging menswear talent in the UK. The scheme, a joint collaboration by the British Fashion Council, Fashion East and The Centre for Fashion Enterprise took fourteen designers to show in Paris. The likes of Bernstock Speirs, Blaak, BOYOstudio, Carolyn Massey, Christopher Kane Men's, Christopher Raeburn, Miharayasuhiro + Husam el Odeh eyewear, James Long, Katie Eary, KTZ, Lou Dalton, Omar Kashoura and Tim Soar were all present. Their designs showcased at a time in line with the real buying season. Regardless of talent, in order to survive, our favourite designers require sales and even though Menswear Day is wonderful theatre, I'd love to see the very best of our talent continue to charm the world. Here's to British menswear design talent winning over buyers and consumers in the same way that it has won critical plaudits in recent seasons.

Casely-Hayford SS11: The Light Through the Darkness

Much of the last twelve months have whizzed right by me, a great deal has been forgotten for one reason or another. There have, however, been a few moments which have seen the dazzlingly fast rotating clock hands stop completely, allowing me ample opportunity to soak up the scene before me. Thankfully time was stopped during my visit to the SS11 Showroom Next Door and my heart still skips a beat or two as memories of Casely-Hayford's The Light Through the Darkness fills my memory. Having enthused over the collection back in September, it is my absolute pleasure to offer first sight of the look book with you...

Cover image; Circeo washed shirt jacket in deep red cotton, Azuil collarless shirt in white Panama cotton, Algonquin tailored track pants in Morning stripe jersey.

Casely-Hayford's fifth collection consolidates their now signature style of relaxed masculine proportions, fused with an injection of London's cocktail of youth culture. Since its inception, the label has explored the intriguing duality of English sartorialism and British anarchy but now shapes a unique aesthetic that sees the emergence of the 'Sartorial Nomad' from the shadows of the darkened sensibility of their Afro Punk of the season before. Here, Casely-Hayford visit the the idea of the transcultural traveler, whose identity is an amalgamation of the many countries and influences that once or now surround him.

Looking at this collection, I'm reminded of the photography of Etienne Dehau. In his book about the Bedouin tribes and nomadic peoples of Arabia, the photographer took us to the heart of this immense region, tracking the ancient incense route and the nomadic Bedouins. Dehau's wonderful photographs illustrated the culture of these Arabs – a word that originally meant ‘people of the desert’ – as they move from camp to camp within a land that is both hostile and overwhelming. For SS11, Casely-Hayford have reimagined the nomad. The taletend design duo turn to the purity and tranquil energy of the Bedouin nomad in order to seek out something real and something minimal negating the excess so prevalent during the last decade. The Light Through the Darkness communicates ideas of a rebirth for a new decade. There is a discordant synergy is brought to the forefront of the collection as exquisite tailoring is worn over nomadic white shirts, referencing looks often seen in the confluence of London's East End. Here, the cut is unrestrictive and loose yet it still manages to remain masculine and athletic. Fabrics are natural, colours earthy and the silhouette voluminous but minimal...

Left; Moonstone jacket in grey tarmac wool, Lapis pale grey herringbone drawstring jacket, Algonquin tailored track pants in Morning stripe jersey, Brett olive jersey l/s t shirt and Turbeville allotment creeper. 

Right; Luxor stone cotton workwear jacket with turned black hem and Cinnabar navy ribbed cotton fatigue pants.

 

Left; Volga gathered coat in greige wool,  Azul white Panama cotton collarless shirt, Algonquin Morning stripe tailored track pants and Turbeville allotment creeper. 

Right; Circeo washed shirt jacket in grey/check reverse cotton, Cato natural linen curved pocket waistcoat, Algonquin Morning stripe tailored track pants and Isherwood brown leather sandals.

Left; Aldous 2SB, greige wool jacket, Ventura coat in stone crushed jersey, Ambar blue/white cotton wrap shirt. Algonquin tailored track pants in Morning stripe jersey and Isherwood brown leather sandals. 

Right; Marmor marine cotton knit cardigan with Touareg pattern front, Alba Henley in Touareg pattern cotton, Algonquin Morning stripe tailored track pants and Isherwood brown leather sandals.

Left; Ventura coat in stone crushed jersey, Arandis grey ribbed cotton waistcoat, Ambar blue/white cotton wrap shirt, Belgris tapered natural linen pants and Isherwood brown leather sandals.

Right; Tropf bi-colour minimal Mac, Belgris tapered natural linen pants and Isherwood brown leather sandals.

Left; Tourmaline blousen double jacket in navy/black cotton,  Afyon scoop neck stone crushed jersey t-shirt, Cinnabar stone ribbed cotton fatigue pants.

Right; Ventura coat in stone crushed jersey, Cato natural linen curved pocket waistcoat, Anatol white cotton Chino, Alba Henley in Touareg pattern cotton and Isherwood brown leather sandals.

Left; Tourmaline blousen double jacket in navy in khaki cotton, Tardos long shirt in white self-stripe twill, Cosmic white cotton laced Punk Nomad trouser and Quartz black leather Casely-Hayford for John Moore Ghillie brothelcreeper.

Right; Belvoir navy canvas reversible coat, Agra bellows pocket waistcoat in navy organic cotton, Tardos long shirt in white self-stripe twill, Cosmic white cotton laced Punk Nomad trouser and Quartz black leather Casely-Hayford for John Moore Ghillie brothelcreeper.

Left; Tardos long shirt in white self-stripe twill, Cosmic white cotton laced Punk Nomad trouser and Quartz black leather Casely-Hayford for John Moore Ghillie brothelcreeper.

Right; Aldous 2SB greige wool jacket, Ambar blue/white cotton wrap shirt, Basalto flat front trouser in greige wool and Bentley brown leather quilted slipper. 

Quartz black leather Casely-Hayford for John Moore Ghillie brothelcreeper.

Look book credits
Photography: Katinka Herbert
Photography assistant: Christopher Kennedy
Art direction: Casely-Hayford & Son
Model: Yussef Yu, Fine Artist.

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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.

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

Advent - Day Twelve

Not many designers would be comfortable designing clothes for the Clash and U2 to Gieves & Hawkes but Joe Casely-Hayford isn't just any designer. Casely-Hayford has always started from a traditional standpoint before subverting it in that English way. With the collaboration with John Lewis going from strength to strength and plans currently afoot with Barney's, Isetan and Comme des Garçons in Japan we will no doubt hearing a lot more from this design legend in 2011.  I cannot wait. But first...what would he like to unwrap on Christmas morning... 

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W S FOSTER & SON BROGUES

"I rarely clothes shop, on the occasions I do I tend to prefer something classic which transcends fashion.

Shoes have long been a weakness; I have over the years amassed an embarrassing number of English shoes. My passion remains strong, for Christmas I would be pleased to receive a pair of these rather tasty brogues. They are by W S Foster and Son on Jermyn Street London W.1 and work well in either a formal or casual context."

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The return of Joe Casely-Hayford for John Lewis

hat better way to start your Friday than to receive a fright from Sibling before the facilitation of further excitement with the news of the return of Joe Casely-Hayford for John Lewis for AW10. What more, the collection is soon to hit shop floors and has doubled in size from its preceding SS10 range. The sophomore collection of this intriguing collaboration once again celebrates true craftsmanship and home grown British manufacturing. With collaborations with remote mills in Yorkshire, tartan experts in Selkirk and respected bag maker Chapman to name but a few, the collection once again brings seemingly specialist products to a wider audience without losing any of the integrity that make their products special. The High Street just got that bit more interesting...

"Our Aw10 collection draws influence from a celebrated group of 20th century British artists, a number of whom were members of the famous St Ives Artist Colony set up in 1928. Our clothes have inherited the strong spirit of this movement and adopted the sculptor Henry Moore's idea of continuity and endurance, words which embody the ethos of this project"

Joe Casely Hayford

The debut thirty piece capsule collection for SS10 celebrated the best of authentic British design while providing a complete wardrobe, encompassing everything from jackets to shoes. It was, not surprisingly, extremely well received. AW10 sees Casely-Hayford build upon this concept of collaboration with the finest British manufacturers to crate a range of future classic designs. Following the success of last season's partnership with Barbour, the new collection includes a winter version of the extremely popular Bezique semi tailored blazer (which I of course nabbed for myself last season), and the introduction of a unique waxed cotton and Melton padded Pea Coat (as shown above). Simply stunning. With over fifty pieces in the collection and prices ranging from £60 to £400 ther really is something for every man.


The new collection sees the introduction of two key seasonal overcoats, the Pallas and the Paris. Both are derived from the classic Chesterfield Topcoat. Both are reinventions of a stalwart of a true Englishman's wardrobe. The Pallas is crafted from coarse Marling and Evans Melange tweed and has a lightweight quilted body, giving it an otherwise formal topcoat a unique and contemporary sporty twist. Meanwhile, the Paris continues the Chesterfield theme but includes new features including dropped shoulders and a matching lightweight, padded zip out gilet. The cloth has been exclusively developed and woven by the Abraham Moon mill in Yorkshire. If all that wasn't exciting enough, the season sees Joe Casely-Hayford launch his first exclusively crafted suit for the High Street. Utilising a transeasonal super 130s Savile Clifford travel worsted cloth the suit will be something every man should have hanging in his wardrobe.

The increased collection size has enabled Casely-Hayford to expand the range of accessories on offer to include two new satchels developed with the respected bag maker Chapman, who is one of only a handful heritage luggage manufacturers still producing entirely in the UK. Through joining forces with the tartan experts Lochcarron of Selkirk, Casely-Hayford has designed two new bold check lambswool and cashmere mix scarves. Regular readers will remember the effect that last seasons Pukk leather brogues had on me. Made by Cheaney, the beautiful brogues captured my imagination the moment I saw them, this seasons incarnation have had the same affect on me. The Mentor shoe, a new take on the classic Oxford, uses sophisticated design elements including an integral punched toe cap and a chamfered Goodyear Welted sole to make a shoe both wonderfully stylish yet practical. The Mentor is from Cheaney and is once again produced using traditional methods by Northampton craftsmen. Earlier this week I was fortunate enough to be invited to their Desborough factory to watch the final batch of shoes being crafted. It was an amazing experience and I'll be posting an in depth feature on the processes involved early next week. Keep your eyes peeled!

Sibling's Comic Horror Shoot

For Aw10 Sibling took us on a creepy journey for their fourth collection. Last February, deep inside Somerset House's East Wing we were led down the staircase, round the corner and through the door and in to Dr Frankenstein’s laboratory and into a world of fright and fear. Creative agency This is Real Art worked with Sibling to publicise this ‘Comic Horror’ collection. The agency came up with the idea of photographing scared-looking models wearing the clothes. They wanted to capture moments of genuine expressions of fear. Of course, the best way to do this is to really scare the models.

Working with the production company COY! and photographer Sean de Sparengo, an eerie environment was created, using total darkness and a bespoke fright inducing soundtrack. The models were led into the studio, unable to see a thing and made to stand on a spot for several minutes. They were then scared using an incredibly loud horror noise. Simultaneously, the photographs were taken and the look book created.



The video brings backs haunting memories. A few months ago now, I went to Ghost Stories, a truly terrifying theatrical experience written and directed by The League of Gentlemen's master of the macabre, Jeremy Dyson, and Andy Nyman, co-creator and director of Derren Brown's television and stage shows and star of Dead Set and Severance. Had there been a video camera catching my squeals and moments of skin jumping, the evidence would undoubtedly have looked remarkably similar to the models here. I both shudder and smile at the thought and share each models pain.

With each season the design trio combine the wonderful craft of knitwear with an added sense of humour. In fact, when we interviewed them earlier this year they conceded that "Sibling is all about humour in a very English way that may come across as being a bit silly at times." This video certainly encapsulates just that. I'm looking forward to seeing what the design trio create next. Roll on next month and Menswear Day!

Advent - Day Eleven

Over the last five seasons Casely-Hayford have created a signature style of relaxed masculine sartorial proportions, fused with an injection of London's heady cocktail of youth culture. They have fast become one of our favourite labels. As a weekend treat we decided to reveal what the father and son design duo wanted to find wrapped up underneath their Christmas tree this year. First up, Charlie Casely-Hayford dreams up an authentic pair of black mining boots to add to his ever growing collection of 10 hole and 2 hole styles... 

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AUTHENTIC BLACK MINING BOOTS

"I'd love to find a pair of authentic black mining boots under my tree this Christmas. I wear a pair of boots and a suit almost everyday, so I've acquired quite a few different 10 hole and 12 hole styles over the years.

These American 12 hole mining boots would be the pinnacle of my collection and make my other boots look like girl's plimsolls. They have a Vibram outsole steel toe, a stainless steel bottom plate, a Goodyear patented flex-welt construction, a steel shank and a waterproof GORE-TEX Bootie... It doesn't say, but they're probably bulletproof as well."

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Press Day Highlights: Satyenkumar AW10

Fashion156 previewed this shot from Satyenkumar's AW10 collection just before LFW.

Satyenkumar never fails to deliver a collection that combines timeless tailoring with modern hybrid classics. AW10 is no exception. Satyen is a designer who has always quietly gone about his business of creating quality tailored causal wear for us modern eccentric English playboys, almost going unnoticed at times. Regular readers will remember that I fell head over heels for the true celebration of colour that was his 'Reflection through a lens collection' for SS10, so I was more than a touch disappointed when he was unable to take his place on schedule at Menswear Day (showing instead at Stitch). Last week however, I was afforded the opportunity to inspect his designs at Cube's press day and fell in love all over again...

The collection focuses around a combination of fabricated challenged tailoring of classics with a subtle element of sports detailing to create pieces which are seemingly timeless yet modern. Undeniably masculine yet with a number of subtle feminine fabrications running through it which create a featherlight collection for Autumn/Winter. Highlight pieces include a panel tailored bomber, moleskin jeans, crepe satin jogging pants, raglan and colour blocked shirts, tailored sweats, alpaca knits, Swarovski separates and my personal highlights of quilted jacquard and power net raincoats. Also, I have to point out that his pieces are exclusively manufactured in the UK using a majority of materials from British suppliers.

Bret Easton Ellis takes central stage this season with his controversial fictional characters blurring with one another to inspire this collection. We are invited in to the twisted world and minds of of the likes of the graphically materialistic yuppie Patrick Bateman to the have it all Beverly Hills brat Julian about to bring it down to less than zero around Clay. You might have noticed that the Menswear Day shows were a little light on colour as many designers delivered a unsurprisingly dark, industrial, almost sombre colour palette. Not Satyen. The mood is set around dominant colours of charcoal hues over midnight with accents of flesh, blood red, bruised mauve and cobalt. An assortment of colour, all with dark, slightly menacing undertones. Below are a few of my favourite shots from the look book...

Satyenkumar's Less than Zero

Having seen how strong this collection was in person, I hope to see Satyenkumar take his place at the ever growing Menswear Day for SS11.

Advent - Day Ten

When we mooted the idea of asking our favourite figures of menswear to take part in our Advent feature we wanted to think big. Well, they don't get much bigger than Paul Smith, do they? Having fallen in to the world of fashion by accident he opened his own boutique in Nottingham in 1970. Forty years on and there are twelve different collections bearing his name and his impact on British fashion is immeasurable. Sir Paul Smith is a living legend and amazingly he (via his pr) agreed to take part in our feature. Here's what's on his Christmas list...

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CANON POWERSHOT G10



“I would really like a Canon Powershot G10 camera for Christmas. I always carry a camera around with me because I like to take a lot of photos and you never know what you are going to come across.”

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Magazines In The Spotlight... Man About Town

The relaunched Man About Town

Have you noticed that there has been an incessant drumming noise over the last few weeks or so? It that has followed me wherever I've gone, there has been no escape from it. After using my Quincy M. E investigative skills to the maximum the root cause is the collective, impatient wait for the new issue of Fantastic Man. To be honest, my fingers subconsciously joined in the percussion chorus. They are even rhythmically tapping at my desk as I type this. My hands are longing to grasp the next installment of my favourite Gentleman's Style journal. The vast majority of printed men's style journalism pales in comparison. As the focus on writing quality is frequently sacrificed by more commercial demands, my interest and level of engagement with the pages diminishes. Fortunately, it isn't all doom and gloom, there have been a couple of slivers of printed style sustenance in the shape of one freshly launched magazine and one that has been given a lick of paint and a new owner. The recently launched gentleman's magazine, Dapper Dan helped fill the void as I jut couldn't put this inspiring publication down for over a week. The most recent piece of printed style sustenance came in the form of the newly relaunched Man About Town...

Pardon my French...the Paris issue.

Man About Town was first launched in 1952 by John Taylor, a former Fleet Air Arm pilot who cut his journalistic teeth on Savile Row as the long standing editor of trade journal Tailor & Cutter. The launched magazine was very much in his own image, "a magazine that helps you to be good...at being bad." Despite folding in 1967, its debonair demeanour and irreverent manner lived on. Thankfully the publication was given a breath of fresh air and became my second biannual of choice. For the sixth issue, Huw Gwyther (Managing Director of Visual Talent Ltd, the Publishers of Wonderland) proudly presents the new, improved version with the appointment of Paris based writer and editor Philip Utz at the helm. In addition to his editorship of Man About Town, Philip will be pursuing his activities as Editor-at-Large of Numéro and Numéro Homme so he is undoubtedly a journalistic force that we'll all be reading a great deal from in the coming seasons. Despite having Kickass and Nowhere Boy star, Aaron Johnson (as shot by the talented Alasdair McLellan) on the cover, the first issue overseen by the new Editorial team (Spring/Summer 2010) is a special Paris-themed edition and it is difficult not to fall for the Gallic charm. The story written over the two hundred and fifty six pages is largely about Paris and, give or take the rising English actor and odd Russian supermodel they've stuck to the plot...

One of my favourite features of the magazine has always been the Men About Town. One day I hope to see someone I know. Here we are introduced to the Frenchmen that matter including; the thinking man Sacha Sperling, the artsman Xavier Veilhan, the sportsmen Paul-Henri Mathieu and the ladiesman Melvil Poupaud.

Shirt tales with French Shirt maker Charvet. Having dressed everyone from Oscar Wilde to Oscar Niemeyer, this piece takes us on a tour of the illustrious Parisian House.

The Paris by the Book feature reminds me that it really is about time that I picked up a book again...I'm concerned that my reading age is sliding backwards.

The pages that I see myself turning back to again and again for reference is the Parisian Powerhouses feature. There's no denying that Paris is still home to some of the world's most storied fashion houses. Here, the editor knocks at the door of Balmain, Dior, Hermes and Lanvin. To be honest, I found elements of Philip Utz' questioning to be somewhat grating but overall each interview is a great read. The piece on Lanvin confirmed that I am in complete awe of Lucas.

In addition to looking at the architecture and literature of the capital we are afforded another dimension of the city by the piece on La Garde Republicaine. It is a stirring spectacle of men in uniforms.

Class Act sees Willy Vanderperre and Joe McKenna combine to create my favourite editorial of the season so far. It showcases a deft combination of prep and sportswear.

Catting Around is an editorial that I know EJ will absolutely love. Kasper Kasprzyk and Way Perry combine to create a feline friendly spread focusing on the new romantic elements of menswear.

Cry Baby, the modern day Pompadour sees Didier Malige transform Man About Town's pretty boys from a bad hair day by whipping their tresses in to pert '50s Quiffs'

Ralph Lauren might not be the most Parisian of designers but the rare interview with the man himself and accompanying spread (wonderfully styled by Simon Foxton) is most timely. The feature celebrates the opening of his sprawling thirteen thousand square foot store on Paris' Boulevard Saint Germain.

The finger tapping has momentarily subsided. The relaunched Man About Town certainly offers a welcome antidote to a great deal of mediocre men's style magazines. However, I have to confess that I have little doubt that the new Creative Director, the talented Frank Durand might just had taken a sneaky glimpse in the direction of Amsterdam when the layout was confirmed. While these pages will entertain and inspire for some time, my hands are still itching to get their hands on issue eleven of Fantastic Man.