Advent - Day Twenty Three

3939 launched as a lifestyle and retail concept located in the basement of a well loved Japanese restaurant, Life just last month. Set up by three creative friends in Tatsuo, Pippa and Peter. Both the physical and digital spaces showcase the trios unique ideas, collaborations and exclusive products which have been developed in association with the craftsmen and talent that they all adore. This is a truly independent project driven forward by the determination to offer something different. 3939 incorporates a unique point of view and leaves me excited in the process. Having provided me with a wealth of present options for my nearest and dearest, I just had to find out what was on Tatsuo Hino's Christmas list and here it is...

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ELEPHANT RING BY DOG STATE

The item is the 'Elephant Ring' by Dog State . I have actually ordered to have it resized for me when I am back from Japan early next year. It is made by my friend, Toshi, who is based in London and trained at the Great Frog for eight years as residential shop keeper and designer. What I like about it is that the detailing about the face is so intricate. I cannot wait to wear this!

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LEWIS D LTD 204A FLYING BOOTS

My ideal Christmas gift would be the Lewis D Ltd Flying boots with shearing inside. I recently tried a pair on at the Lewis Leathers store. They were reintroduced the boots back into the range after carefully researching them right down the to the correct buckles of the original pair from the 30s. The shearling lining is sourced from a Tannery in the West Country, the leather nowadays is a high grade Cowhide for durability during everyday wear, soles are leather and the heels are rubber with a pattern identical to those found on many vintage RAF flying boots. They are a classic with heritage, sleek but modern and functional boot commanding a reasonable price (£350) for what they are.

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Unpicking the seams of Menswear Day: Carolyn Massey AW10

Patterns on display at Massey's studio.

As we've said countless times in recent posts, Menswear Day was a huge success as the diversity of menswear design talent on show was both staggering and exciting. However, now that a few days days have past and countless show reports have been penned and posted across the online landscape some would like to draw a line under the day and move on. Not us. As much as we enjoyed the day itself we felt a definite need to learn more about our favourite collections by speaking to the designers themselves and by getting up close and personal to their designs. Catwalk shows are pure theatre and rarely fail to demonstrate the emotions and themes of the collections but most of the time, both of us are left wanting more. With this as our driving motivation, over the coming couple of weeks we will seek out the designs that caught our eye on that hectic, frantic day and take the odd time out with the designers and their creations. Given our well documented sartorial love affair with Carolyn Massey and the fact that she kicked off proceedings at the day itself, it is only fitting that we begin this series of posts with her.

Carolyn Massey's AW10 collection takes its inspiration from a body of military patterns sourced from an anonymous donor. A few leading critics have made a real point of Massey using this archive of pieces but after having a good nosey around her workspace last year it soon became clear that Massey is at her happiest when researching something she has found, so this comes as little surprise to us. By taking elements from pieces she has seen and found while combining them with her vision for menswear she create something new. For this collection the initial inspiration came from the patterns which were toiled and fitted them and edited into a more contemporary story. A darker military aesthetic is explored in union suits, flight suits and smocks released exclusively for Massey's research.

In addition to the delicate detailing and beautiful craftsmanship we have come to expect from the designer, this season sees the label diversify in to printing techniques. Massey developed a wonderfully deconstructed print based on Ray Johnson's postal art and worked with print designer, Sam Cotton to allow the print to repeat and fade and ultimately mirroring the 'lived in' military uniforms and the nostalgic feeling running throughout this collection. You might recall that when Carolyn recently went to Tokyo she kept an image diary for us and that one particular entry confessed her love for the Tokyo morning skyline. For the AW10 collection the muted hues of the Tokyo morning sunrise inspire the colour palette and echo the rose tinted, worn and faded feel to the prints perfectly. At the show itself we were particularly struck by the layered and textured styling of the looks and to achieve this Massey has continued to build and develop her accessories line, knitted hats and scarves were presented along with lavish knitted balaclavas. Also, this season saw her unveil her collaboration with Tabio, the Japanese sock specialist and Style Salvage favourite, which has seen her produce a stunning men's collection.

Armed with a bag full of pastries and our camera we met up with the designer on Sunday morning to both congratulate her on a wonderful show and to learn as much as we could about the collection. Be warned, the result is quite a meaty post but it's definitely worth the read as we talk to the designer about her inspirations, her love of knitwear and the collaboration with Tabio and her hopes for the future...

A rail of utter temptation; a tale of textures and prints.

Style Salvage: The collection is entitled Obsolete Prototype C53 and takes its inspiration from a body of military patterns sourced from an anonymous donor. Were the patterns themselves the starting point?
Carolyn Massey: My work is always a continuing work in progress, it grows and expands with each season but yes, it was this encounter with the donor... well, actually it's an organisation. Due to my passion for reviving things from the past and bringing them in to a more contemporary light they saw that and wanted to help me and hence the donation of the patterns. We started working on them really, really quickly, toiling them up and creating looks we could experiment with. Some were awful and I always think that you have to be extremely careful when you are looking backwards to go forwards. As I've not been going sixty years and don't have an archive of my own, I am drawing on a archive of what I know.

SS: Someone like Kim Jones for example, he has a huge archive to play with at Dunhill, do you look at him with a tint of envy in your eyes?
Carolyn Massey: Exactly, I would love to work for an old house one day and that would be the first thing that I would do. I don't understand how designers can ignore the past; I think you have to contextualise where you are in order to move forward. So, for this collection, we started toiling up very early, fitting them and looking at things and binning a few things and going from there.

One of the prints designed in collaboration with print designer Sam Cotton. Massey had been to see the Ray Johnston exhibition at the Raven Row gallery and was inspired to create postal prints. The faded nature of them is reflected in the silk twill.

SS: Did you find any interesting or novel garment constructions, like you did with the cape from AW09 (which was cut in one piece)?
Carolyn Massey: There were some really great things actually. There was a coat which had a sword pocket in the back- it was all about the positioning of everything, we discovered an ergonomic line of where you would draw your sword from.

SS: There was one coat in particular that both of us loved- the voluminous grey overcoat, was this the one?
Carolyn Massey: Yes, that was the one. For me, elements like the positioning of pockets and how that changes how you stand in a garment fascinate me.

One of the grey overcoats that we both fell head over heels for!

SS: This season sees you experiment and play with the silhouette. A lot of the looks see a teaming of relaxed and loose tops with tighter bottoms...
Carolyn Massey: I think it was more balanced in regard to the collection as a whole but in terms of the styling for the show that was definitely the case. I am quite bored of this straight up and down skinny thing and I think that we are evolving beyond that and are pushing things forward.

SS: There was evolved way of layering and a sense of the clothes being lived in and a richness of subtle textures...
Carolyn Massey: The aged and lived in look is something that I really love. It comes down from my interest of handing down garments from generation to generation. One of the first projects I did as a student was to make a suit out of one of my grandfather's and how the shapes of his body had changed the shape of the jacket. So that has always been fascinating to me.

Exquisite soft, romantic tailoring.

SS: The colour palette was inspired by the muted hues of the Tokyo morning skyline. Looking back at your Tokyo diary for us we can see a great example and can see how it translates quite beautifully in to the realised designs...
Carolyn Massey: Ha, I'm glad you remembered! Whenever I go I am just so jet lagged and this combined with excitement to be there means I am often awake at three in the morning and not able to sleep. I am always inspired by the landscape and I'm up sketching in the early hours. It is just so beautiful. The soft hues also translate to the fabrics used as well.

A quick glance at the ever expanding accessories line

SS: The textures for this season are so interesting. The Lurex jumpsuit is particularly amazing and such a statement piece.
Carolyn Massey: Well a lot of people have said that it would be great for the weekend. For me, when you are showing, you have to have pieces which are interesting and light hearted. You can take it all a bit too seriously, at the end of the day it is fashion and you should be making a statement. The model who wore that, Mathieu, was perfect. If you do those types of pieces you have to ensure that the casting is spot on.

SS: With each season you are building on your accessories line...

Carolyn Massey: Yes, we did a lot more knitwear and as you can see from the table, I love knitwear! I love working on accessories and have grown this side of the line over the last few seasons. I'm always quite obsessed with building up a silhouette around the neck with scarfs and around the head and this is something that we will continue.

Aw10 sees the second collaboration with her comrade and luxury men's jewellery designer, Hannah Martin. Hand crafted new medals and badges, these symbolic objects were given a lustrous patina for new life.

SS: This season sees the unveiling of your collaboration with Tabio. How did the collaboration arise and how happy with you with the results?
Carolyn Massey: It was amazing and I'm really pleased with it all. I started working with them a couple of seasons ago when I was just borrowing items from the shop. During my Tokyo travels I've been able to have meetings with them. They are brilliant because they are obsessed with quality of make and a huge product development section. I've always loved the brand. I proposed this to them and they were really up for it. They've never worked with designer in this way before, they have in house designers in Japan and this is the first time they've collaborated with an outside designer. So I did some designs and set them off and they looked at them and they were like "wow!" I can't wait to see them on sale!

The fruits of Massey's collaboration with Tabio.

SS: Congratulations are in order, we've only just heard the news that you've been awarded Unica's On Stage project! Well done! What can you tell us about the award?
Carolyn Massey: Thank you! I am so pleased and honoured. It was awarded by a panel of people including Vogue Italia's Franca Sozzani, and Pier Luigi Piana, Chairman of Unica. Every season they select ten designers to receive the award which involves a trip to Milan where you will be able to meet with the mills and select your fabrics and work alongside the mills. I feel so honoured because not only is it awarded internationally but across women's and men's as well. It is such a lovely thing to do so I am extremely pleased.

SS: What can we expect from Carolyn Massey over the coming seasons?
Carolyn Massey: I'd really like to build on the success of what I do with Topman and the collaborative projects that I do by working with companies that I love. The collaboration with Topman seems to be going really well. When my sales are high I am always so inspired and it pushes me forward, I am quite driven by sales really because then I know I'm doing the right thing. The bottom line of all of this is sales. It is brilliant to do catwalk shows but the real boost comes from success on the shop floor. At the end of the day we are designing for people out there. I got really excited by one of the looks in the show because it felt as though it had come 360, I tend to be inspired by the people I meet or the guys I see on the street through people watching and one of the looks is genius because I can see it walking down the streets in Hackney. For me, it is a complete validation of what I am doing, it comes from there and will go back there.

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For those eager to get their hands on a piece of Carolyn Massey we have news of a Sample Sale Spectacular. We missed out on the last one but were told tales of absolute bargains, so if you are in town over the next coming days, we suggest you swing by and take a look for yourself...

Menswear Installations AW11: Bunney

Bunney's table at the NEWGEN MEN and Fashion East Installations.

As previously discussed, jewellery line Bunney was launched after its creator was drawn to the idea of coming up with something everybody or anybody could wear...even nervous individuals like myself. Andrew Bunney longed to create objects that look like something one may be used to yet recast in a new light with precious metals, becoming new, yet at the same time, familiar. Ultimately, he wanted to make something precious that anybody could use. Over the course of a few seasons, he has been quietly navigating an elegant and refined men's jewellery offering that have grabbed my attention and left me experimenting. Seeking out the last bastions of British craftsmen and learning all about their trade. This season, I have had two opportunities to inspect the latest additions to the lineup including the beautifully crafted series of padlocks, a well defined lucky rabbit's foot and a Gallic makeover given to the studs. The Showroom Next Door provided the first opportunity and this was quickly followed by Bunney's addition to the exciting design talent showcase that made up NEWGEN MEN and Fashion East's Installations. Despite the hectic nature of Menswear Day, the latter afforded an opportunity to speak with the man himself and to learn more about his well crafted additions... 

Bunney's jewels on display

SS: Your offering has evolved from a single item to something of a magpie's haven. Could you talk us through the latest additions?

Andrew Bunney: I started Bunney with the simple idea to make something precious that anybody could use. This season I've investigated padlocks, charms and chains. I want to grow the line steadily, and try to keep coming up with something unique and exciting.

SS: The Padlocks were inspired by the practice of Love Padlocking in Paris and beyond. Where did you first encounter this practice? What was it about them that resonated with you?

Andrew Bunney: It was Paris where I first saw this idea. Talking to people these past few days at the showroom, I realise a lot of people that have seen these locks were excited to encounter it for the first time too. Instantly I was drawn by the spectacle - a huge array of padlocks, most bearing some kind of inscription, attached for the length of the bridge. Thinking about it later, the idea is really very special. Someone took this common, ordinary item, and by appropriation gives it a different purpose and meaning. I like how it has become a new kind of symbol for a lot of people. I also like personalisation, and the idea that someone would engrave the silver-lock with a message in a similar way to those attached to the bridge is very appealing to me. It speaks of a time when people used to personalise more of their possessions.

A closer look at the studs

SS: Now, I know that these items were a long time in the making. Could you tell us the story?

Andrew Bunney: For me, there are a few things which make jewellery quite different to clothing. Firstly it is the value in the materials used, secondly the longevity of the pieces - it isn't unusual for things to last for generations! Thirdly, the idea of the gift is very important.

I decided that it would be very special to create padlocks in precious metals, and I looked to see if anyone was making anything like that. It's quite common to find small charms, but never anything that really works as a lock with a key and mechanism. As I researched more about locks, I realised how important an object it was to the UK. Once upon a time, when Britain was growing an Empire, a small town outside of Wolverhampton called Willenhall was charged by Elizabeth the 1st to make locks. Yale, Squire, Chubb, all these companies that you see on your front door all came from this one town.

I started talking with a Museum to see if anyone was still handmaking locks, and I became really fascinated when I saw how traditional hand-made padlocks were put together. In some ways it looks very simple, which really added to the charm. Through a very long process I found what I believe to be the final locksmiths working, a father and son team, that can create an object like this although they had never tried anything as small or in these kind of metals.

A closer look at the Old English Padlocks

SS: These certainly aren't your average padlock. Could you talk us through some of the processes?

Andrew Bunney: Once the sizes were decided, I had locks made to the specifications that I wanted. The locksmiths had to develop the internal workings, and when that was ready it went to one of the workshops that I use to work out how best to construct it in silver. The mechanism cannot be silver because of durability, but everything else is. The style is known as the 'Old English Padlock', and this is very much the traditional English shape.

SS: What has been the locksmiths reaction to your pieces?

Andrew Bunney: The Locksmith isn't a trade that receives a lot of attention, and they aren't normally making something known for beauty, so possibly bemusement at first! But as the work progressed they understood more and the attention was really appreciated. It's actually very remarkable to see what they can do on a day to day basis - opening locks that have long lost their keys and making replacements, restoration work for Buckingham Palace, very unique problem solving. Converting it to silver isn't straightforward, so again it took a lot of patience.

The beautifully carved paw. Yes, you've seen this image before but I love it so.

SS: Onto the lucky rabbit's foot. The detailing is remarkable. Firstly, what inspired this piece? Secondly, how did it evolve in to the stunning piece we see today?

Andrew Bunney: The Rabbit's foot is seen as lucky in many cultures, and for many years. Today I think it is known as a popular symbol or charm used by bikers - you can often see them with white ones, or sometimes dyed bright colours too. I see it as a natural fit or emblem for Bunney, something that anyone can wear.

I had wanted to make a chain with no clasp at the back of the neck so it could fit anybody, and I wanted to have charms that people could wear with it. I designed a chain that has clasps to hang items from, rather than to attach together. This time I have a small padlock and the Rabbit's Foot.

The paw or foot itself has been carved by an artist in London that specialises in making sculptures of animals, and so he worked from his studies and an original biker-style rabbits foot. The foot is cast silver, and a polished cap is added.

The Tricolor Flag studs

SS: This season the studs receive a decidedly French makeover...

Andrew Bunney: Because this season the theme came from the Paris Love Locks, I thought it would be nice to make studs to reflect the Tricolor Flag. These are made with stones and then set in a silver mount - it's an update from the styles I made for Soph/Uniform Experiment last year.

SS: Finally, what's next for Bunney?

Andrew Bunney: To make new things and expand gradually. There are a few things I'm thinking about, but you'll have to wait and see!

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Style Salvage Speaks to... Hannah Martin

With a prestigious Central St Martins design education and a handful of awards behind her, it comes as no surprise that Hannah Martin is shaking up the world of luxury jewellery as we know it. We have heard so much about her since we've been blogging but our visit to The Modern Gentry back in December provided the first opportunity to inspect her designs in person. It is difficult not to be blown away. Her luxurious and decadent collections are described as ‘jewellery for men, that girlfriends will steal’ and if Steve had a piece in his possession he would certainly sleep with one eye open from fear of Susie pilfering it. The look is elegant, sexy and decidedly rock n’ roll. Soon after this visit we set out to learn more about her and the craft of jewellery design and what better way than to visit Hannah Martin at her studio for a cup of tea and a chat. Here we talk to the designer about her work placement at Cartier, Russian gangsters, the influence of Count Saint Germain on her next collection and seeing her at LFW through her collaborations with Carolyn Massey and Hannah Marshall...

A look at Hannah Martin's work bench...

Style Salvage: What were your inspirations, your dreams and the driving catalyst behind launching your own line?
Hannah Martin: I really started the idea for my brand in my final year at Central Saint Martins. I'm not sure what started me off on the idea of designing men's jewellery specifically but I was extremely interested in ideas of gender and wrote my thesis on it. I was super interested in the idea of swapping, I focused on masculinity and how it has always had this arc and it is the bits at either end which sees a mix with femininity and this for me is the really exciting part.

SS: And it is always evolving as well…
Hannah Martin: Absolutely. When I was doing this five years ago, it really opened my eyes and I guess it was then that I began to want to dress men and explore the boundaries of where I could go. I had a thing at college whee I wanted to make pearls that men would wear and I think I managed it with the black pearls. The other thing that really influenced me was I had this amazing work placement at Cartier for a couple of months before my final year and that totally swung me as well. I was working on such amazing pieces and I learnt so much, everything was incredible and glamorous. I soon realised that I had to work in luxury but at the same time it wasn't really me. At the time I was hanging out in these dirty rock bars that the French do so well with Hedi Slimane types in Breton tops but then going to work in a formal setting making beautiful these which had no real relevance to that. I went back to college with the idea of mingling these two worlds. All the while asking why can't men have beautiful things like I had been designing for women, why can't you make it more accessible? I looked at the options for men's jewellery and there was nothing unless you want to wear a skull or something resembling a car part. However now I like the fact that I don't really see it as menswear menswear, of course it begins with a male muse but I love the thought of women wearing it too.

 It is fun blurring the boundaries.

Martin's desk: A hive of activity.

SS: Which menswear designers do you love and which designers could you see the Hannah Martin man wearing?
Hannah Martin: I really love quite a few of the obvious ones, I love Raf and I've always loved Margiela, I think it has to be someone a bit edgier. I used to like Rick Owens but I'm not so sure anymore. Obviously, I love Carolyn's designs. The majority of my pieces are styled in quite a punk way so I love working with Carolyn because she isn't obviously that but her designs do have an element to them, there is a twist to her work. I've always loved the idea of working with Lanvin, making something a bit more classic. I want to make classic pieces as well as fashion pieces.

SS: Having been at the centre of London's jewellery craft and trade since medieval times, Hatton Gardens undoubtedly has a great deal of history and experienced craft. However, I have to confess that before I interviewed you for the Modern Gentry piece I knew nothing about it. What make the area so special to you? In the sense of craftsmanship at the very least, Hatton Gardens and Savile Row can be linked...
Hannah Martin: Certainly but in many ways it is not like Savile Row. It is actually just down the road from here and if you walk down it as a member of the public there is a lot of toot, it is the one jewellery street so you will see quite a few 'cheap diamond rings here' signs and I think that is wrong. Savile Row has kept some of its integrity. They've both definitely experienced a demise but Savile Row is coming on a lot stronger and quicker with people are doing more interesting things out in the public sphere. The way I link them together and why it feels like there is such great synergy between them is the production. There aren't that many places left in England where there is this level of traditional craftsmanship in such a centred way

Rings in the making.

SS: There are only a handful that spring to mind, shoes in Northampton for example..
Hannah Martin: Exactly and it is very sad. I'm not going to completely sing the praises of Hatton Gardens because it is not all of amazing quality but there are some real craftsmen there who have been there for many years, using the same workbenches in these almost, hidden world workshops. It is a shame because I do feel that is a dying trade and I wish that they would do something a bit cleverer in the same way as Savile Row has done with the likes of Patrick (Grant) who have brought fresh life to it all.

SS: You could so be the Patrick Grant of jewellery!
Hannah Martin: Hahaha...maybe. I don't think I could handle a store right now but maybe a showroom...There are some really interesting things going on around here and it is a shame that they are doing it behind closed doors. It is a really interesting place and it is a shame that people don't know more about it.

SS: How do you source the craftsmen you use?
Hannah Martin: All through word of mouth. It can be a little hit and miss. Every job is so specific. There is somebody who will do the stone setting, another for the polishing, someone else will do the finishing so a lot of the time we are running in and out of various different workshops in the area. it is great having everyone so local though!

Tools of the trade...

SS: Talk us through the first and last items you remember designing for Hannah Martin...

Hannah Martin: Oooh the first thing I did were a pair of cufflinks. That shape came from a pair of spurs that I designed at college. I've still got them somewhere. I made them out of silver and they had horns at the back, rubies set inside and Stingray skin straps. They were amazing but are an example of the type of thing that you could only do at college because I'm not sure there is a market for them. However, I managed to take the angular shape from them and apply it to the cufflinks. I wanted them to be appear like something had been stabbed through a shirt, a thorn rather than something typically ornate and classic. As for the last piece, well I've just finished off designing a new collection but it will mean nothing as yet because I've not made anything yet. The last actual piece that I've made was for Carolyn (Massey) actually but in terms of my own brand, the big sovereign rings from the Vincent collection which were some of my favourites. Actually I've expanded on this idea for the new collection, I love playing with something so chavvy and creating something new.

SS: We recently read that the new collection will be released in parts as opposed to fully to mark one season.
Hannah Martin: Yes, I'm going to drop the collection throughout the year. It is such a massive thing to create a collection twice a year so we want to drip feed the pieces so that people can actually have time to look at all of the pieces as opposed to scanning an entire collection and missing things. We want to be able to tell the complete story. The first release should be towards the end of March or mid April and then we will do something every couple of months.

A pair of hinged cufflinks.

SS: As for the collection itself, does it have a strong character like you had with Vincent?
Hannah Martin: I always have a story because it is so important to my design process. There is this character called Count Saint Germain. You don't know if he's fictional or historical, I don't think anyone has been too sure but he's popped up over a three hundred year period, coming up in Russian history during the Tsarist time to French history and the Revolution. I first heard about him when I was researching in to my whole Russian thing and he is always described as extremely well dressed but not extravagantly so...aside from the jewels on his hands. He is supposed to be an alchemist, someone who can obviously live forever because he has been noted throughout time and always described in the same way. When we began researching him on the Internet there are some people who think he is still around somewhere. With this in mind I wanted the collection to be both ancient and super modern. By bringing in lots of colour in to it, almost neon stones against a black background. I've been looking at lots of geometry and alchemy. I have this vision of an empty landscape with this man walking across it. A spooky world where you don't know which era it is. It is less specific than Vincent maybe but certainly more mystical.

SS: Your creative process and strong sense of character and narrative really lend your collections to film presentations and you worked with Ian Rodney Wooldridge in the past to help bring some of the characters to life. Is this something you will continue?
Hannah Martin: We've actually made the first film for the new collection already and it was show during the launch of Modern Gentry and it was show on Showstudio (it can be viewed here). We are going to do a few though and will hopefully release one with every section of the collection. We want this one in particular to be more like a story.

Two of my favourite pieces from the Vincent collection. The signet facet cufflinks and and the empty medallion.


SS: In recent seasons you have worked with Carolyn Massey and Hannah Marshall. How important is collaboration to the label?
Hannah Martin: It is really important. As a brand I have backed away from fashion week because it is so difficult to place ourselves in this world because our product is not as seasonal. So we decided to make our own schedule. So, the collaborations are a great way for us to still have a presence which is the more business way of looking at them but also, I just really love doing them. Creatively they are a great challenge. It is so fun to crate something for the catwalk and it is so different from what I do. Also, working with another designer is great and I have good relationships with both of them. Carolyn and I have really similar tastes and we are excited by the same things and it is fun swapping thoughts and ideas. So creatively it is so inspiring.

SS: Who would you love to collaborate with in the future?


Hannah Martin: Oh my...there are just so many! You get so used to working small scale, for myself and small designers that you forget about the possibilities of working with a huge house. Lanvin is my absolute dream. Also, I'd quite like to do something with Thom Browne actually.

SS: How do you see the Hannah Martin brand developing over the next few years?
Hannah Martin: I'd love for it to expand. At the minute we have some amazing key stockists and our business plan has always been to build up slowly, making trips to Japan and New York. We've really found that actually going to the city really helps and makes everything much more accessible that fitting it around during fashion week. We are London centric at the moment but we'll be working with a new store in Manchester soon which will stock a great mix of designers including Comme. We are looking to find another one or two stockists in the UK, New York etc to continue to build the brand slowly. We will definitely continue to work on the film collaborations and the collaborations with amazing designers like Carolyn and Hannah.

Vincent facet signet and the empty sovereign.



SS: What item of clothing (if any) do you wish that more men wore?


Hannah Martin: Jewellery in general but rings in particular. I love men in rings. I always start with rings when I design a collection. Men tend to struggle with them because it might be easier to wear a pendant, they are used to wearing a watch so things around the wrist are far easier. Using my boyfriend as an example, I made him a ring and he was completely overwhelmed by it. He had a real fear of rings but thankfully I got him over it, so the story has a happy ending. He used to have a real fear of anything on his fingers but now he can't leave the house without it. I love signet rings and anything on the little finger for men works extremely well. Rings are still something of a sticking point. That sovereign ring is quite a piece to wear but looks amazing.

SS: If you could go back in time and experience any fashion moment, what would it be?


Hannah Martin: I love everything about the 30s. Any architecture, furniture and clothing wise because it isn't as flash as the 20s and everything is toned down.

Finally, would you be able to share a few address book recommendations to our readers (hairdressers, tailors, cafes…anything you like really) which we will duly add to our map?
Hannah Martin: I'll give you some great local places. The Eagle pub is just behind the studio and it is really amazing. Also, Medcalf is a restaurant just off Exmouth Market and it is always great.

The Gentleman Line Link bracelet from Vincent.

Showroom Next Door For AW11

For the last three seasons my London Fashion Week has begun with an elongated visit to the ever fruitful, Touba Distrubution curated, Showroom Next Door. Why should AW11 be any different? So, before I was seduced by the charms of b Store's reimagined, My Own Private Idaho inspired functional menswear whilst nodding along to the sounds of Blood Music (more on that later), I explored the latest Showroom. Spread over two floors on Grosvenor Street, the space has once again became my dream walk-in wardrobe. 

The Showroom space exemplifies everything that I find exciting about menswear design in London; namely it's diversity and constant sense of sartorial evolution and revolution. This season is is no different. In fact, I'm pleased to say that it has managed to improve and grow further. Fode, Yuko and Trevor strive to showcase a diverse collection of international designers but above all seek to provide a platform for both established and exciting new British talents. The AW11 lineup reflect their hard work and passion. Casely-Hayford, Mr Hare, Mohsin Ali, Armando Cabral, H by Harris, Chauncey, Hannah Martin and Bunney read like a who's who of men's fashion. These are undoubtedly exciting times for menswear and I'm so pleased that there are platforms like the Showroom Next Door that help to showcase the obvious and abundant talent that call this capital of ours its home. Over the course of the coming week, whenever I have a spare moment, I will locate myself in these inspiring surroundings and speak with each of the designers in turn for more in depth posting. However, whilst the initial excitement bounces around inside of my enthused brain, I have to share my initial thoughts on the highlights of the season...

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Chauncey

Chauncey is a Brussels-based menswear label and combines the talents of designer Nathalie Bouhana and her photographer partner David Sdika. It is a relatively recent discovery for this blogger but it is a label that I've been hearing an awful lot of good things about so it is great to finally be able to marvel at it in person. Having previously designed knitwear for Hermès, Salvatore Ferragamo and Anne Valérie Hash, Nathalie certainly has an eye for luxury knits. Creative, minimalist but exclusive, Chauncey prides itself on European craftsmanship. Aside from the rich colour palette there is no eccentricity, just quality and modern design. Extreme precision and the highest quality yarns and manufacturers. An "elegant gentleman traveler" look with a slice of Belgian surrealism. These are knits that your skin longs to touch.

Unsurprisingly, I'm particularly fond of the polka dot number in grey.

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H by Harris

The H by Harris label heralds the new school in desirable contemporary accessories. Harris designs aptly uses the term 'luxury fatigues' to define his unique style. Regular readers will recall that the debut H by Harris collection comprised itself of two lines, the Q hand quilted nappa leather and the SH wax hide leather collection. Both left me wanting to sell an organ or turn to a life of crime just to have one hanging off his arm. Since then, Harris has slowly but surely added new styles to covet.

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Hannah Martin

With a prestigious Central St Martins design education and a handful of awards behind her, it should come as no surprise that Hannah Martin is shaking up the world of luxury jewellery as we know it. Her luxurious and decadent collections are described as ‘jewellery for men, that girlfriends will steal’ and if I had a piece in my possession I would certainly sleep with one eye open from fear of Susie pilfering it. The look is elegant yet decidedly rock n’ roll. Each time I see her well crafted designs I am utterly blown away. Every collection has a strong narrative and I cannot wait to speak with Hannah to hear all about the character behind the latest offering.

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Bunney

Andrew Bunney longed to create objects that look like something one may be used to yet recast in a new light with precious metals, becoming new, yet at the same time, familiar. Ultimately, Bunney was drawn to the idea of coming up with something everybody or anybody could wear...even nervous individuals like myself. For the last few seasons, he has been quietly navigating an elegant and refined men's jewellery offering that have grabbed my attention and left me experimenting. The Bunney offering has evolved from a single item - a large size silver pyramid stud which came in a set of three to something of a magpie's haven. For the latest season, the fruits of his search to create series of padlocks can finally be enjoyed. Inspired by the practice of Love Padlocking in Paris and beyond, Bunney sought the last bastions of British craftsmen to create his precious padlocks.  

A beautifully crafted lucky rabbit's foot. The ideal way to mark the year of the rabbit.

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Mr Hare

Oh Mr. Hare, how much we love you and your creations. The brand has been close to our hearts the moment we heard that our favourite shoeist was creating something out of his obsession. Since then, the brand has deservedly gone from strength to strength. His fine leather creations can now be found across the world in an expanding selection of much loved retail outlets, from Selfridges to Colette to Beams. In his continued quest to dominant the world of shoes, Mr Hare has unveiled his latest collection and there might be a few surprises. Given our affection to the brand, I will merely tease with a few looks before going in to great detail with the man himself very soon.

Beautiful boots, subtle branding (check out the four hares and a swan) and even a Vibram sole. Stunning stuff from our favourite shoeist.

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Casely-Hayford

Now in its sixth season Casely-Hayford is undeniably forging a new handwriting of modern English style and here they serve up a huge collection. The father and son design duo have created a signature style of relaxed masculine proportions and exquisite tailoring, all the while fused with an injection of the raw energy of London's dynamic culture that constantly inspires them. With each season, the design duo begin with the desire to capture, play and experiment with the duality of English Sartorialism and British Anarchy. In creating a new collection their driving motivation is to capture the feelings of an ever-changing environment and to communicate society's natural inclination to move forward. The clothes start from a traditional stand point, but rather than being nostalgic and whimsical, they choose to reflect the spirit of twenty first century gentleman - a character conscious of many reference points yet someone who chooses to distill his style into a concise statement. Things have moved on since the days of the Duke of Windsor, and although he is a great inspiration and a foundation for the brand, the modern sartorialist has a different appetite. Their requirements, desires, and practical needs are frequently drawn towards a synergy between the formal and athletic. For this collection, the duo include the requirement and need of protection and comfort against the elements. This sartorial cocktail runs throughout the outerwear, tailoring and accessories. There is always a narrative at the core of what they do, connecting each collection to the last and making foundations for the next. 

As always, the collection is designed in London and made in Japan. Fine English fabrics are combined with the signature House cut and Japanese artisan construction to create a unique design statement and commitment to enduring quality.

The fabric combination are always a delight. Each item is full of details. I could literally spend hours closely examining the contents of each rail.

With a collection taking up over three rails of Showroom space, Casely-Hayford now offer the complete wardrobe. But that is not enough. Now, we have some exciting news to share. The design duo are launching their first luxury sneaker for AW11. The house have created a new streamlined Hi silhouette on a unique last with a modern minimal aesthetic. The sneakers have been designed to compliment the relaxed masculine proportions of fine tailoring and jersey suiting that the brand has become renowned for. Premium grained leather and fine quality suede trim dominate the upper, set on a sole crafted from a unique vulcanised rubber that will undoubtedly become a defining feature of the signature Casely-Hayford Hanbury sneaker. These will be available in select stores from July 2011 but here's a sneak peek...

The Hanbury will no doubt cause a flutter or two.

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The Showroom Next Door is an inviting and vibrant place where fashion, art and craftsmanship collide and can be appreciated side by side. If you are in town and have a spare moment, please do drop in. However, do not despair if you can't it in yourself, over the course of the next week I will be enthusing over the highlights in detail. In the meantime, I'm off to bed and long to wake up with the Showroom as my wardrobe.