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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Narielwalla's New Dandies

I first encountered the work of Hormazd Narielwalla gracing the walls of "A Fairytale About Fashion", an exhibition which ran during the festive season 0f 2008 at the EXIT gallery. Narielwalla's Dead Man’s Patterns was a design story that excited my sartorial imagination and I have kept a close on his artistic development ever since. Just last week, the current LCF PhD student informed me of the various recent advancements that have helped propel his work to a wider audience. These include a new website, fresh illustrative undertakings, an exhibition and another book. Over the coming months I will no doubt fill you in on every one of these nuggets of news but for now, I'd just like to share another body of his work, Trams. As soon as I visited his new site my eye was drawn to this series of artworks. Through a combination of photography, his own sketches and digital composition collages, this series is yet another playful collection of artwork that truly excites. The driving concept for this body of work is to capture a new-age dandy stuck between the past and the present. All the while questioning how a man should dress. These characters have a dandy-esque approach to life, spotless, immaculate and seemingly effortlessly stylish...

As you should all know by now, the artists work originates from sets of bespoke patterns. These patterns have recorded a history of intimate dialogues of customer measurements and fittings over a lifetime but no longer have any practical use to the cutter and are often discarded. Narielwalla takes these fragile pieces of parchment out of their original context and breathes fresh life in to them. The creases and careful folds, finely traced pencil marks and measurements are reimagined. The patterns are reinterpreted and resurrected. In Trams, Narielwalla has once again foraged his way through tailoring archives and shaken a heady cocktail of visual methods to narrate untold stories. I'm left contemplating the modern dandy.

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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Old Curiosity

The Old Curiosity Shop on Portsmouth Street was immortalised by Dickens' classic tale about a lovable old shopkeeper whose gambling threatens to ruin both him and his adored granddaughter, Nell. The building dates back to the sixteenth century, but this name was added after the novel was released, as it was thought to be the inspiration for Dickens' description of the antique shop. Regardless of the origins of the true Old Curiosity Shop, Patrick Grant has breathed fresh life in to the tale with the launch of the Tautz Curiosity Shop. At the end of a hugely successful year that has seen this distinguished sporting and military tailors secure coveted stockists and plaudits alike, most recently deservedly resulting in the award of Menswear Designer prize at the BFA's, Grant now dips his hand linked socked toe in online retail

The Tautz man has a classic English sensibility mixed with a kind of schoolboy humour; he likes to dress elegantly, but enjoys clothes with wit. This Curiosity Shop celebrates this vision.  The E. Tautz team have raided the tin trunk at the bottom of the bed and rifled through great uncle Peregrines attic to unearth a trove of gentlemanly treasures...

In addition to the unearthed nick nacks, they are offering the more usual Tautz fare; hand knitted woolies, fine stripey stockings, hand sewn ties and bows and so on. As you should all know by now, E. Tautz is a label which champions the notion of dressing properly and of men taking pride in what they wear. It creates simple cutting paired with bold accents of colour and pattern - cloths with scale and texture; big checks, fine flannels, and stripes. The shop is now open and consider my curiosity piqued.

Style Salvage Speaks to... Oliver Spencer

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

The inviting store front on Lamb's Conduit Street.

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

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

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

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

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

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

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

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

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

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

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

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

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

Thirty years of Ally Capellino

Raising a glass of Prosseco to the thirtieth anniversary of Ally Capellino

To mark the thirtieth anniversary of Ally Capellino's accessory and fashion label, the Wapping Project is home to an impressive retrospective exhibition of the designer's work. Last night I was fortunate enough to take my place at the opening and duly raised a glass of nicely chilled Prosseco to the label. The exhibition shows the evolution of the brand, from the clothing where it all started during the big hair and shoulders era of the 80's through to the modern 90s and then on to the accessory collection that we have all come to love and associate with the name Ally Capellino...

Ally Capellino's timeline is wonderful illustrated form on the leaflet I was handed upon entering the space. Notice the launch of menswear in 1986. I remember it well (I was two, ha).

This retrospective was borne from the fact that their faithful client base frequently boast about having owned this or that for twenty years or more and that they can't throw it away or, in some cases are even still wearing them! From the bin liners of designs and accessories donated they have managed to create a representative line up of that illustrates the narrative of the label perfectly.

A wall of portraits depicting people and their AC's. Portraits by Donald Christie and assisted by Tom Sloan.

Together with accessories from the archives, art director Rupert Blanchard has created a number of striking installations but I was particularly taken by Michelle Noel's impressive 'Wall of Bags' creation. The wall is a mix of vintage, new styles as well as a number of prototypes and ideas for the future. In addition to the obvious impact of seeing them all on one wall, it is important to stress that each bag has its own story. I personally love how the vintage bags have aged, the leathers and fabric get better as the years go by.

The Wall of Bags by Michelle Noel

Now, when I think of Ally Capellino my mind is full of covetable classics for men and women, satchels made from canvas and leather with names like Vanessa, Lionel and Jeremy which are all timeless and modern. However, the accessories line that I am most familiar with was not launched until 2000. The label has a past spanning twenty years that I had absolutely no idea about. So as I walked around the well curated space I followed the progression of the label, right from it's first womenswear collection in 1980, to the launch of Hearts of Oak in 1983 to designing Girl Guides and Brownie Uniforms in 1999. The area that obviously interests me most though is the launch of its menswear line in 1983...

I loved looking over the early menswear adverts and news pieces

"I'm very proud of the men's clothing that we did at Ally Capellino between 1985 and 1995. Our reputation for tailoring started by breaking rules blossomed under Juno's careful skills. Our fabrics were subtle in colour and cut and he always wore them well. We began with five button jackets and anchor sweaters and worked through linen shorts, suits and shirts. Our tailoring was done in Leeds at 'Sumrie' clothing which had been one of the big successful tailoring and outerwear manufacturers." Ally Capellino

One of the first menswear designs (please excuse my shadow!)

While admiring the suit pictured below I actually bumped in to the owner. The proud chap informed me that he had worn the suit at the Hong Kong handover ceremony in 1997. It was in remarkably good condition but he confessed that he had saved it for only special occasions. Simply tailored and it certainly would not look out of place in my wardrobe today. Having seen a few of the pieces up close a large part of me wishes that the label still produced menswear...

One of the early suits

Collaboration has been a key facet of the recent development of the label. In 2006, Ally created a collection of bags for Margaret Howell, Topshop and the bestselling artist’s set (pencil case, apron and satchel) for the Tate Modern Gallery. In 2008 the label created one of their most interesting collaborations with Apple. AO sees original Alley Capellino bags and sleeves tailor made for the variety of mac products, from leather sleeves for your Air to a despatch satchel for your pro. My particulat favourite is the below canvas sleeve. As part of the iconic AO range, it embodies quality and utilitarian design, neatly wrapping a notebook in quality canvas and leather...

My favourite piece from the AO range.

The exhibition concludes with a more familiar sight (to me atleast), the timeless, but never dull, range of bags that I'd happily sell an unnecessary body part in order to own. Each piece is made from beautiful durable leathers and fabrics that only improve with age and boy do I want to grow old with them. With their quiet branding they are meant to be worn, used and loved. “People should add something of themselves, so that the bags become theirs not mine,” comments Ally.

Temptation at every turn.

In addition to this exhibition, Ally Capellino has collaborated with Liberty to continue her thirtieth birthday celebrations. She has reworked two of her existing bags into exclusive styles for the homely department store. The ever popular (and one of my favourite) Frank rucksack has been produced in soft blue leather with contrasting tan leather buckles and lined with Liberty fabric. Ever since I saw it in March I've been in love. In addition to offering these bags exclusively Liberty is home to a Rupert Blanchard installation in the main stairwell.

No words can do this justice.

Apologies, I was momentarily sidetracked by a beautiful bag. Back to the retrospective exhibition for a moment...I urge you to make the trip to the Wapping Project if you can. The exhibition officially opens today and runs until the 6th June. If not, I'm sure you'll join me in toasting thirty years of Ally Capellino and if you are interested in seeing more from the collection then look out for an upcoming post from Susie (I excitedly shot a number of womenswear pieces and she'll no doubt want to feature the exhibition when she returns from New York).