Style Salvage - A men's fashion and style blog.

Inspired... Berthold AW12

noreply@blogger.com (Style Salvage Steve) — Thu, 26 Jan 2012 23:31:00 +0000

In 2009 Raimund Berthold launched his eponymous line of creative yet functional menswear. "I remember feeling that menswear was either a bit samey or too crazy and overwhelming in London. What I do is not about completely reinventing menswear," the designer states. The Central Saint Martins graduate's philosophy is simple; to design interesting, well made and inspirational clothing for everyday wear. His collections are characterised by a utilitarian sense of colour and a silhouette that is free from defined shape in nylon, neoprene and synthetic fabrics cut against natural wool and cotton. Berthold is confident, sophisticated and refined. His are bold clothes crafted for men lead by inventive design and fit – not by fashion. "I think it’s important that people can see where the clothes have come from, from where they have evolved," he proclaims. This blogger could not agree more with this sentiment. So, with these words ringing in my ears I visited the designer at his studio to see just where his AW12 collection came from. Here, Raimund introduces his methods and allows us to take a close look at his mood board...

"I stick found and shot images on my silver foil, I've been doing this for years and I just love the appearance of it, I throw these marathon blankets over everything really and they always look perfect. They aren't mood boards as such, for me, this collection of images merely provide a reminder to myself of a small detail. I take many of the photographs myself, from things I notice on the street to an empty glass in my kitchen, I enjoy taking them out of context and experimenting with them. One of the main inspirations for AW12 was a vintage garment that I found, an ancient brute of an army overcoat. It was the detailing; the zips and the use of velcro in particular. Much of the collection evolved from this item, I designed from this garment and it took me to places where I might not have gone otherwise. I had never thought about using velcro before..."

From a series of detail shots of a well worn overcoat from yesteryear to cropped modern day street style shots, Raimund's studio is dissected by this shimmering wall of curiosities...

A selection of Raimund's own photographs and scans of curiosities that played a part in shaping AW12.

"My design process is quite organic. There are two aspects to it really. First, my research either entails discovering a catalyst that sparks the thought process (and for this collection that was the army overcoat) or in other instances, I approach it with a clear mind and spend a day in the library going through book after book, collating images that do something and inspire me to start sketching. In both cases I keep the design quite loose initially. It is more about a feeling, a silhouette, shape, a length or rough details because I work with a pattern cutter. Now, if you sign off garments when you work with a factory, you have to be very specific but it is a real luxury to work with a pattern cutter or if you work on them yourself because you can think about it as you do it. When you start working on a garment you can uncover clever additions or notice amendments that elevate it, then of course it can all change again during the first fitting. This ability to change is important. There is only finality when the last toile is made." Raimund Berthold

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Details: Seeing Stars

noreply@blogger.com (Style Salvage Steve) — Wed, 25 Jan 2012 17:13:00 +0000

One of The Contemporary Fix team inside the Tokyo Fashion Week area at Pitti Uomo wearing Facetasm. Dazzled by a white shirt thanks to the addition of embroidered colourful stars.

AW12 Illustrated (Part One)

noreply@blogger.com (Style Salvage Steve) — Tue, 24 Jan 2012 19:42:00 +0000

The last few weeks have whizzed by and left an ever blurring vapour trail of memories of catwalk parades, presentations and tradeshows as designers and labels scattered across our fashion capitals unveiled their AW12 collections. As the 'fashun menswear machine' takes a much needed rest following its exploits in Florence, Milan and Paris, we thought it was the right time to pause the conveyor belt of look books and show reports and take stock.

Over the coming weeks we will take our time to explore and examine our favourite collections but first we'd like to offer a quick visual reminder. Now, going to the shows is a wonderful experience but looking over catwalk photos and reading somewhat tedious analysis afterwards can be a bit mind numbing. So, to help bring the day to life we enlisted the help of recent graduate Anne-Marie Jones (check out her blog if you can) to illustrate our favourite moments of the season so far. Highlights include Claire Malcolm's kaleidescopic celebration of grey flannel for Hardy Amies, Raf Simons' corporate army cloaked in leather for Jil Sander, Dries Van Noten's well tailored canvas showcasing his collaboration with Dutch graphic artists Gijs Frieling and Job Wouters, Kris Van Assche's uniform of sartorial sportswear for Dior Homme and Jonathan Saunder's eye poppingly printastic sophomore menswear collection. Here, the immediacy of Anne-Marie's artwork brings back a real sense of each show and captures just why each look was selected...

All artwork by Anne-Marie Jones especially for us.

Earlier this week Cathy Horyn noted that "there is such an emphasis these days on high-end luxury that many collections lack energy and certainly risk-taking" which wonderfully summarises the prevalent mood but, as captured by Anne-Marie, there were still moments that excited. The wheels of menswear have hardly been reinvented this season but a number of designers have polished the spokes...

Details... Contrast sleeves

noreply@blogger.com (Style Salvage Steve) — Mon, 23 Jan 2012 21:00:00 +0000

I fear that I'm becoming obsessed with fabric play at the moment. As I'm drunk on heady combinations, here's a closer look at the tweed sleeves on my Dries Van Noten jacket.

Uniform of Support

noreply@blogger.com (Style Salvage Steve) — Mon, 23 Jan 2012 13:52:00 +0000

Given Arsenal's current struggles I felt that I needed to do more to help the cause. Other than fill in at full back, what better way to offer myself than devise an Arsenal supporting uniform? With the top half of the ensemble already in place (shirt, scarf and the 125 Destroyer Jacket), a flash of red and white was needed for the lower without looking absolutely ridiculous. The solution was found in the discovery of a NikeiD voucher and, after a few mulled ciders during a festive dinner with friends, a pair of Nike Dunk Lows that would bring a tear to Arsene Wenger's eyes were conceived. A few weeks later and the trainers were born, delivered just in time for the not so Super Sunday. Yesterday was the perfect opportunity to wear them and even though they did little to improve the scoreline, they helped me see in Chinese New Year with the Lau clan and a table busting feast. Gung hay fat choy!

Polimoda introduces Erïk Bjerkesjö

noreply@blogger.com (Style Salvage Steve) — Sun, 22 Jan 2012 12:41:00 +0000

Pitti Uomo is far more than a tradeshow. Yes, as previously mentioned below, the eighty first edition helped showcase the AW12 collections of one thousand and thirty three brands in all manner of booths and presentations at the Fortezza da Basso but over the course of its scheduled four days the entire city of Florence becomes a platform for fashion. Rather than merely present products in a formulaic and expected manner, the series of well curated exhibitions, shows and events that are scattered throughout this beautiful setting spark excitement, thought and discovery. One of the real highlights of the latest edition was the debut of Polimoda Future Lab.

Polimoda is an Italian centre of excellence, recognised worldwide for its high quality, fashion-oriented, didactic offering that ranges from design and marketing to management and communication, always in close relation to the business world. Under the guidance of its Dean Linda Loppa, a world renowned name in the fashion education field that requires no introduction from me, Polimoda continues to grow and inspire. Now in its new premises of Villa Favard, set in a beautiful and ancient architectural complex on the banks of the river Arno, the Florentine creative institution unveiled a launching pad for graduates. Comprising of shows, installations, talks, workshops, Polimoda Future Lab is devoted to its former students and allows them present their vision of the future of fashion. Scheduled to coincide with Pitti Uomo 81, the first talent to be presented on this platform was Erïk Bjerkesjö.

Bjerkesjö, originally from Stockholm, was attracted to the promise of Polimoda and graduated with a Masters in Footwear and Accessories Design (2009-2010). He has since launched his own collection of clothing and accessories that marry his native eye with Florence's sense of aesthetics, its culture, art and crafts. There is an intriguing interplay between Swedish minimalism and the craftsmanship of Italy throughout that indicates the impact of his studies on his design. "Studying at Polimoda was in my opinion the best thing that has happened to me, two of my teachers and mentors included Patrick De Muynck and Diane Becker" revealed the design talent in an interview with Polimoda's very own Linda Loppa before continuing, "I learned a great deal, especially to believe in my vision and to create them without feeling forced." In addition to creative freedom, the opportunity to work with fashion companies and the proximity to areas of textile and leather production undoubtedly shaped his work. Each item of clothing and pair of shoes epitomises his singular vision and profound passion for well made design. Lets start with a look at his well crafted footwear...

Lookbook shots accompanied by my own shots from the presentation.

Credits: Art Direction by Magnus Liljebergh and set design: Joel Junsjö / Lundlund.

The hand bevelled waist, fine punching on its toe cap and sleekly rounded almond shaped soles are all bespoke details of his footwear collection whilst the application of eighteen carat gold pins add a touch of glamour and Erïk Bjerkesjö's meticulously etched signature on the upper element of the sole, in the historic logotype from the Tuscany region, symbolises the traditional mastery of local skills. From well honed Tuscan shoe making practises to crafting armour from aluminium by his own hand, the design process is extensive. The result is an assortments of exquisite handmade treasures, quintessentially beautiful with a dash of unmistakable traditional mastery.

Whilst respecting tradition, the design talent learns from the craftsmanship of Tuscany and is nothing short of inspired. In addition to technique, Bjerkesjö is inspired by these artisans. What they wear and how they look have helped shaped his design. With precise details, precious materials and exquisite skins, he aims to define a new concept of male elegance. Photographed by Magnus Klackenstam with Art Direction from Magnus Liljebergh, his look book for Galop Marquis captures this spirit wonderfully...

Having accompanied them in their personal growth and guided them in the search for their own path, Polimoda introduce a selection of their students to the public thanks to this new project, There can be little doubt that Polimoda Future Lab will introduce us to to future stars of the industry and Erïk Bjerkesjö might just be one of them.

Details: Pitti Print

noreply@blogger.com (Style Salvage Steve) — Mon, 16 Jan 2012 13:22:00 +0000

As Tommy Ton snapped away at the sartorial peacocks parading around Pitti Uomo, it was his own mix of print and textures that caught my eye. I love the mix of Patrik Ervell's braided horeshair strapped backpack and layering of his rose print jacket by Miharayasuhiro worn over a quilted jacket by Andrea Pompilio.

H? Katsukawa from Tokyo AW12

noreply@blogger.com (Style Salvage Steve) — Sun, 15 Jan 2012 19:53:00 +0000

For four days last week the sartorial disneyland that is Pitti Uomo opened its doors for the eighty first edition of the tradeshow to help showcase one thousand and thirty three brands at the Fortezza da Basso. Oh how my feet ached as I explore the fifty nine thousand square feet of exhibition space, bouncing from area to area with the aim to unearth the real gems of the season. One gleaming piece of treasure was the now familiar H? Katsukawa from Tokyo.

Under the moniker H? Katsukawa from Tokyo, Eiichi Katsukawa makes hand made, eye poppingly colourful shoes, along with wonderfully textured distressed Nibe leather brogues from his studio in Tokyo. From the moment I encountered his stand at Pitti Uomo Seventy Eight, his leather creations never fail to raise a wry smile whilst causing a lustful glint my eyes. Now, it wouldn't be Pitti without a long visit to his stand to marvel at his latest creations. For Katsukawa shoes should be enjoyed and loved rather than merely worn. In addition to being well crafted, they should bring a smile to the face of the wearer and the people who encounter them throughout the day. His last few collections of bold designs have undoubtedly done just that.

"I express the avant-garde style with new viewpoints and the day-to-dayness as enjoyments by creating a form of shoes. The essence of that form is intangible love" purred the craftsmen. Katsukawa fell in love with shoes when he worked in the shoe repair department at the Japanese retailer Isetan. After gaining experience in Tokyo, he moved to Northampton to study shoe design and production methods at the Tresham Institute’s Practical Design and Shoemaking Course. It was there that he had the opportunity to meet the great Paul Harnden. Following his graduation from the Institute, he studied further under Paul as a intern at Brighton before returning to Tokyo in October 2004. His passion for shoe making has since evolved whilst working at the Shinjuku Isetan men’s shoe repair center and through his participation in a number of successful collaborations. Katsukawa is currently focusing on his eponymous collection of handmade shoes and his carefully crafted offering is growing with each passing season.

For AW12, old favourites including the wonderfully distressed and texture rich Nibe leather brogues remain but are developed and joined with an injection of more casual options that seem to merge loafers with desert boots and bowling shoes. Katsukawa believes that good shoe design involves an intriguing balance of four elements; material, shape, pattern and style. This latest season sees the shoe designer shift the focus from material and on to the shape and style. Now, I had to wait some time for the order frenzy to quieten down as buyers surrounded the stand before taking a few shots of the collection...

A selection of shots taken at his stand.

Whilst positively beaming as he proudly talked through the collection, Katsukawa informed me that his designs are now available at Dover Street Market Ginza and L'Eclaireur in Paris as well as his original stockist, United Arrows. With huge interest from buyers present at Pitti Uomo, I wouldn't be surprised if a few more options were added to his stockist list.

Hardy Amies AW12

noreply@blogger.com (Style Salvage Steve) — Sat, 14 Jan 2012 18:29:00 +0000

Shortly after the life and work of Sir Hardy Amies was celebrated with an exhibition on the Row in 2009, Claire Malcolm was installed as the house's design director. One year on after showing her debut collection that received so much acclaim, the reinvigorated label of Hardy Amies was invited to open the AW12 season deep inside Florence's first railway station. As I was covering the show for Dazed Digital, I was able to take my seat to watch it all unfold. It was a kaleidoscopic celebration of the grey flannel suit that was grounded in Hardy Amies' personal links with Hollywood, royalty and heritage. With the desire to reinvent the twenty first century gentleman, Malcolm revelled and excelled in glamourising the seemingly humble sartorial staple. "Personally I love flannel, the texture and the feeling of it. It is the subtleties in menswear, the proportion, cut, fabric and playing with them. Here matte flannel is next to high shine" she exclaimed backstage. Every conceivable weave of flannel was on show and was specially commissioned from specialists Fox Brothers &; Co. Through this focus, the design talent was able to highlight a beauty in subtleties whilst drawing attention to the architecture of the suit.

A photograph of Hardy Amies in Berlin from the thirties graced the invitation and it was this image that sparked Malcolm's imagination. For her, the moment mirrored the Hollywood man of the period with his superhuman silhouette accentuated by a double breasted and luxurious overcoat. "I absolutely love Hardy's personal photographs, for me, it was more about him as a man than what he designed at that stage" confessed Malcolm as models circled to congratulate her. "He embodies that complex British gentleman, an amazing personality, with so much wit and style" she proudly declared. There can be little doubt that Hardy was a well travelled, confident man who could have walked straight out of a film script and it was the modern incarnation that strutted the runway in Florence. Much as the heritage of Hardy Amies has been built on the foundations of the quintessential Englishman's suit, there has always been a hint of international glamour and sense of modernity, here Malcolm certainly continued this tradition with pomp.

In addition to Hardy himself, one of the main reference points for Malcolm's collection was the staging and choreography of Busby Berkeley's musical classic, 'Gold Diggers of 1933.' The abstract performance of the film influenced the designer's modern take on this period. "Throughout the film there are these wonderful aerial shots that capture the movement of these girls and I was drawn to this idea of pure escapism" she gesticulated backstage before continuing, "The film itself is from the depression era and for the film to have so much glamour really appealed and mirrors Hardy perfectly." The collection oozed old Hollywood glam whilst still feeling contemporary. Describing the theme as 'Deco-Tron', abstract patterns ran dazzling throughout much like an Escher exhibition. From silk shirting and velvet evening jackets to Globetrotter luggage and nickel toecaps on the stunning footwear made in collaboration with blog favourite Mr Hare. As a child a kaleidoscope might have wowed you for a moment or two but Malcolm and co have managed to craft a much longer lasting spectacle here. Now, rather than talk incessantly about it, it is about time that I offered a selection of visuals that will make the point far better than these ramblings. Fortunately, both myself and Susie snapped away at the collection, both on the runway and backstage and here is a selection of my favourites...

A selection of mine and Susie's catwalk and backstage shots.

There is a common perception that the grey flannel suit is somewhat dull especially in light of its connotations of office wear but Malcolm took great pleasure in rubbishing this strain of thought. The collection itself was something of a celebration, an escapism of grey that breathed fresh life in to the House of Hardy Amies whilst staying true to the path walked so confidently by the founder himself. I'll leave you with the words that ended my backstage chat with the designer; "It is really about tailoring not being a ball and chain." Who can argue with that?

Third time lucky

noreply@blogger.com (Style Salvage Steve) — Sat, 14 Jan 2012 13:03:00 +0000

Over the last three New Year celebrations I have managed to lose my glasses twice. The first pair of tortoiseshell glasses from Bruno Chaussignand fell to their death on a grimy warehouse floor in Dalston. As the drunken fog lifted, its body like most of my recollection of the evening itself, were lost forever. For months I had searched the streets and stalked the Internet on the quest to unearth the perfect pair of glasses. Once found they were lost during an over enthusiastic dance move. Undeterred, after a little money squirreling, a replacement pair was on my nose and stayed there for some time. Somehow they even survived to welcome 2011 and months of wear followed. However, they would not take part in the countdown for 2012. I managed to lose them in my own home. Despite hour upon hour of fruitless searches, hopeless furniture moving and desperate spring cleaning, they are buried deep in the bowels of my flat. I've come to the conclusion that, as much as I love them perhaps a change is needed. So, rather than plump for a third pair I decided to look for a new frame. Throughout the comedy of errors that plagued my previous eyewear preference, there was one launch that raised my pulse and left me daydreaming of having them grace my nose. It was here I returned.

Early last year Oliver Peoples launched a limited edition Vintage collection with much fanfare and deservedly so. It consisted of three frames all known by their original names, The O’Malley, the 1955, and the OP 505. In efforts to retain the same craftsmanship and integrity of the original before it, founder and Chief Designer Larry Leight worked with original Japanese factory to reproduce this special batch of optics. As much as I admired the trip of frames, it was the OP 505 that really caught my eye.

A closer look at the detailing on my OP-505s

It was the first style introduced in the debut collection back in 1987 and featured a filigreed antique metal temple and bridge detailing. So, frustrated after a festive period of squinting and safe in the knowledge that a few frames remained I popped to 20 20 on Tottenham Court Road for a speedy solution. Following a long and trying (for the examiner rather than for me) eye examination my order was placed and the very next day, the OP-505 graced my face and followed me to Pitti Uomo.

Oliver Peoples Vintage OP-505s worn with...

contrast shirt by One Nine Zero Six and tweed sleeved zip up jacket by Dries Van Noten.

Having failed to take good care of my glasses on two occasions already, I'll strive to look after these as well as I can.

Details: Camo that demands attention

noreply@blogger.com (Style Salvage Steve) — Thu, 12 Jan 2012 21:55:00 +0000

Camouflage by definition is a method of concealment but Nam's jacket from General Idea was one of many items of clothing on display at Pitti Uomo that deserved attention.

Treasured Items... The Dandy Project

noreply@blogger.com (Style Salvage Steve) — Mon, 09 Jan 2012 11:06:00 +0000

Takahiro Miyashita's decision to bring his critically beloved avante-garde menswear label, Number (N)ine, to an end in AW09 his followers were left bereft. The label closed on a high with an exquisitely crafted and extravagantly layered range of clothes that delicately flickered between fashion and costume. It was a triumph that is difficult to forget. The unveiling of Miyashita's The Soloist, with its soft layers of faded romanticism, has helped comfort his supporters but they still cling on to the fruits of his previous endeavour. The Dandy Project is just one (an a remarkably good one at that) example. Here he shares his most treasured item...

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The Dandy Project and the Number (N)ine monkstrap shoes

"It would render me practically footless if I lost these Number (N)ine monkstrap shoes that I had purchased at the store's closing sale in New York two years ago. The silhouette is of a classic slim monkstrap shoe, but with punk-rock creeper detailing, tough and extremely walkable hard rubber soles by Continental, rendered in ever-wearable dark beige suede. Their era- and style-ambiguity make the shoes as great a base for dark and conceptual Belgian pieces as they would with full-on Americana, and the high vamp provides ample coverage that allows me to wear them even on the deadest day of winter."

"I've worn them so much so that the lines are going squiggly and the weave goes gaping open. There is a faint white stain on the left shoe (toothpaste fell; I was brushing in a hurry) that suggests perhaps a bird might have gone to the bathroom on my shoes, but I think I'll keep it on there."

"Number (N)ine is now defunct, and though the designer Takahiro Miyashita still brings his artisanal romance to his new line The Soloist, nothing would compare to the dark, theatrical exuberance that was Number (N)ine. In honor of the brilliant designer, I've affixed medal of sorts on one of the shoes: a vintage shoe clip from Kings County Salvage in Williamsburg. I could only hope that the intense brilliance of the rhinestones against the battered, seemingly bird-defiled creepers would be something Miyashita-san would find at the very least, agreeable." The Dandy Project

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Touching on Casely-Hayford SS12 all over again

noreply@blogger.com (Style Salvage Steve) — Sun, 08 Jan 2012 15:40:00 +0000

Back in January 2009 I stumbled across a debut collection of tailoring crafted for the twenty first century gentleman that left me day dreaming of becoming such a gentleman. Seasons have passed and although I'm no closer to meeting any modern day measure of a gentleman, I still dream and swoon at every Casely-Hayford collection. Since the house's inception, Casely-Hayford have forged a new handwriting of modern English style that have left this blogger sartorially excited. 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. With each season, the desire to own a Casely-Hayford dominated wardrobe grows.

The pair draw from English sub-cultures, English social uniforms, and take inspiration from the way sportswear has integrated itself into the everyday life of British street culture. It is an ever intriguing house that encourages change whilst being grounded in tradition. For their AW11 collection, the father and son design showcased an eloquent summation of the previous five collections and signified a real statement of intent. The pair have used the previous collections to individually explore key strands of the house DNA, from the luxury sportswear of SS09 to the Afropunk of SS10 and military detailing of AW10. Now each component has been placed and finely tuned, the house is able to carve out an exciting future. Entitled Touch, the SS12 collection focuses on light weight tactile cloths. Now, I had the good fortune of examining the collection up close back in February thanks to The Showroom Next Door and even though most events that occurred that far back have been long forgotten, memories of this collection have stayed with me. Months on, I still long to touch and this feeling has only intensified thanks to the unveiling of the look book over on Dazed Digital. I couldn't resist sharing the collection with you all over again.

It is a collection that longs to be groped. A showcase of texture, print and the tactile with fabric at its core. The collection researches how the House define singularity in a time of uniformity and reflects new cultural shifts through an unfamiliar juxtaposition of textures. This season evolves from a simple form; the white polo shirt, with its deep cultural identity. By presenting a rich combination of sports related fabrics in a new context Casely-Hayford with the Moodysson. The new patchwork polo shirt is made up of a fresh juxtaposition of sporting fabrics, each with a unique handle: towelling, piqué and mesh sit abrasively next to waffle, aertex and rib. Throughout, each fabric has been specially chosen for its touch and handle. From the super light high twist satin finish shirtings to the coarsely woven exclusive Jacquard from the Neill Johnstone Mill in Langholme Scotland whilst textured knitwear moves forward in harmony with the whole collection. The tailoring fabrics have been especially developed by the Savile Clifford Mill in Yorkshire for their particular dry handle; a subtle ‘burl’ effect weave creates a Braille like touch, and the driest fresco jacketing comes with a lovely element of surprise in the almost silent blue Black Watch Tartan. The season also marks the launch of a 'Made in England' shirting range that incorporates colour and modern design whilst being constructed by one of the oldest shirtmakers in the country. This direction has been maintained by developing a small range of artisan ‘Made in England’ Garsington Albert slippers. These slippers are hand crafted in England and come in three shades of stamped Mock Croc patterned leather. Garsington sits alongside Bentley, a distinctive brand signifier with its unique box quilted suede upper whilst Loach completes the footwear offering and continues the in demand John Moore Collaboration. Much as I bounced from rail to rail in the Showroom Next Door, my eyes richochet of each look book shot... and what a look book. Below, a few of my favourite looks are accompanied by my own detail shots from Paris...

Casely-Hayford aims to fulfill the requirements of the international man who experiences and absorbs many influences, yet chooses to distil this knowledge by maintaining a quiet confidence. With this confidence he may sometimes prefer subversion over reverence. He savours the point where anarchy and sartorialism merge; his lifestyle reflects the Casely-Hayford fusion between sportswear and tailoring to create an unwavering statement of modern British style. Shot by Katinka Herbert in two locations in Durham, Biddick Hall and Lambton Castle, the look book captures this spirit and lifestyle perfectly. The day dreaming continues...

Hiding in clouds

noreply@blogger.com (Style Salvage Steve) — Wed, 04 Jan 2012 13:18:00 +0000

As a child I was fascinated by clouds. I think my desire to analyse what was floating above all stemmed from a short lived and strange desire to be a TV News Weatherman. I was a strange child. During this phase and before I began dreaming of running out on to the Highbury turf, here was a moment when I could name any type of fluffy formation. From cumulonimbus to stratus, I knew them all. Such displays of nephology knowledge have now been replaced with an ominous looking cloud of confusion but I still enjoy looking up. Two recent acquisitions have reminded me of my childhood obsession but rather than imitate Michael Fish, the desire is now to embrace the textures and prints that have long held my imagination. One is a Christmas treat from Marwood and the other is my only sale purchase of the season, a knitted blazer from Liberty London Collection...

Hiding in clouds

Launched for Autumn/Winter 2011, Marwood’s debut collection showcased an exquisitely crafted range of ties and bow ties made with the finest fabrics such as woven silk, wool and traditional English lace. For SS12, influenced by the photography of William Eggleston that makes the mundane surprisingly beautiful and painting of Peter Doig that reflect a mood for summer, Becky French presents a brighter and more playful collection that continues the label's signature of matte finished textures and dazzling patterns throughout. During the ridiculously hot and hectic weekend that was Paris fashion week for me, I found captivating solace in this sophomore collection entitled Camouflage Clouds. It comes as little surprise that Marwood's well crafted offering has since caught the buyers eye and I'm so pleased that its ties are already or soon will be available in Japan, Hong Kong, Australia and New York. Driven by her passion for pattern, colour, nostalgia and detail orientated design, French has developed close working relationships with some of the country's most skilled and experienced craftspeople whilst breathing fresh life in to neckwear. The real highlight for me were the pieces of geometric lace from AW11 in an updated off-white laid over shades of sky blue. Having vocalised my love for one such tie in a crowded showroom in Paris, French felt the Christmas spirit and decided to spoil me by thanking me for my support.

The cobweb like formation over the sky blue shade

However, this stunning tie is just one component of my hiding in clouds outfit. The second was unearthed amongst the the bounty of bargains that were to be had in the basement of Liberty. During a sale swoop with Eliza, we bounced from rail to rail stopping to admire a stunning wool Dries Van Noten coat and Lou Dalton tailoring before getting excited over an assortment of garb from Liberty London Collection. Now, designers have long been inspired by Liberty's ever growing archive of prints. With an archive that is one hundred and thirty five years old, there is plenty to excite and inspire but I've rarely been excited by their own foray in to clothing design. However, this fully lined knitted wool blazer is something quite special. With its slashed pricetag and Eliza's approval it was too good an opportunity to miss.

A closer look at the Liberty print lining

Having been inspired by Marwood's SS12 collection, the Liberty London collection jacket continued the cloud theme perfectly. A cloud hiding outfit began to form in my mind and it was time to float away with it...

Knitted wool blazer from Liberty London collection worn with a leopard print shirt from R.Newbold x Goodhood and finished off with the Marwood tie.

Highlights of 2011

noreply@blogger.com (Style Salvage Steve) — Sat, 31 Dec 2011 10:42:00 +0000

Where has this year gone? In the way of blogging, 2011 has been a blur of shows, trips, presentations, studio visits and attempted style stalks. Now, we could not wave goodbye to 2011 without highlighting a few of our favourite posts from the year. Over the course of the last twelve months we have posted two hundred and something times and here are a selection that we are particularly proud of...

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2012 might not have been our most prolific in terms of style stalking but we served up some real treats. b magazine's very own Dal Chodha was one of favourites. We see the ever lovely Dal at various fashion shindigs and have always noted how well dressed he is. With this in mind we just could not resist style stalking him and thanks to the photography of Kasia Bobula we can. Here we follow the Central Saint Martins graduate as he lives and works in London as a writer, editor and consultant. No doubt his five day style diary will brighten up your week all over again...

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The fabric combinations in Braille's outerwear are always of particular note. Textural highlights in their recent AW11 collection, Our Damn Hands, include a waxed belted silk poncho, a textured wool pocket overcoat and a suede reversible corded bomber to name but a few. Shortly after speaking to the pair in a post that unveiled their look book, we could not resist an invitation to take a closer look at the designs. Here we explore their East London based studio and cop a feel of a few SS11 and AW11 season highlights.

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Everyone's obsessed with something and our Collections series highlight a few of our favourites. Here we explore Jason Dike's coat addiction. Now, Jason is a stylish chap who tends to avoid the limelight, preferring instead to focus on unearthing well crafted menswear labels from across the globe or featuring the latest product releases from our favourite brands for Selectism, Gentleman's Corner and Esquire. Whenever we see him around town, we never fail to admire his coat so we invited ourselves around to Casa de Menswear (Jason shares a flat with Daniel Jenkins) to rummage through his collection.

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Remarkably, this season was MAN’s thirteenth outing at London Fashion Week. Now, we should all know by now that the talent showcase is all about heralding what’s new in menswear but this lineup was one of the most exciting to date. For the SS12 roster, Martine Rose was joined by two newcomers, Matthew Miller and Shaun Samson. Both newbies are deservedly winning plaudits, competitions and buyers for their style and innovative garment techniques. In this post we focus on Shaun Samson's needle punch felting technique. Here we sit down with the design talent and chat through his design process before taking a closer look at his craft.

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Despite focusing most of my attention on tradeshow and showroom visits during my whistle-stop tour of Paris, I was fortunate enough to take my seat at one of the real highlight shows of the season so far, Woooyoungmi. Now, we have long admired how this label's garments are streamlined and enriched with details and styled finishes but for SS12 vibrant colour and print are added. This heady mix provided a most agreeable summer friendly cocktail. This blogger excitedly snapped away as the models paraded down the runway and captured just a selection of the them. Now, gorge on the detail all over again.

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Located in Yorkshire, traditional home of the English cloth mills, Abraham Moon is unique in being a fully vertical mill, with dyeing, blending, carding, spinning, weaving and finishing processes all taking place on one site. State of the art manufacturing allied to a highly skilled workforce enable a wide diversity of fabrics to be manufactured at competitive price levels – a prerequisite to success in today’s market place. The craftsmanship and well honed skills are essential to the product and it was a pleasure to be able to watch it all unfold in a space that has seen the same processes come together for over two centuries. It is little wonder why Joe Casely-Hayford partnered with them for his John Lewis range. As a self confessed factory pervert, you can only imagine how many photographs I took as I was guided through the nooks and crannies of this well oiled assembly line of craftsmanship. Here I managed to hone them down and used them to guide you through the main processes to turn fleece in to stunning fabric.

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The arrival of Anthem on Calvert Avenue has forced me to stretch out one more finger as I count the ever growing number of exciting menswear stores in the capital. Nestled nicely in to this area of East London and within a short walking distance from Present and the recently moved 3939, the store opened its doors at the end of August to widespread acclaim. Always preferring to let a store settle before making the first excited trip down, I finally visited the last week. Entering with high expectations, I left anything but disappointed. Occupying a space once home to a bookies, now, with its rug scattered concrete floor, bare brick walls and eclectic artworks not forgetting its mix of covetable design talent, it has been totally transformed in to a truly new independent store. The brainchild of Simon Spiteri, the award-winning fashion buyer credited with launching Liberty’s internationally renowned menswear department over seven years ago and his business partner Jeremy Baron. The shared vision for Anthem is one based firmly on handpicked quality from across the globe. As both were working behind the counter, it was an absolute pleasure to be talked through the store's offering by the men themselves.

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From the moment Commes des Garçons sprang to fame with its first presentation in Paris back in 1981, the world of fashion has never been the same. Comme des Garçons quickly became the preferred label of the avant-garde and the highly independent. Whenever I think of the label I'm reminded by a sentence penned by Cathy Horyn in her NY Times piece, Gang of Four. "Kawakubo has been making clothes for nearly 40 years, always under the label Comme des Garçons, which means ''like some boys'' and in a way suggests a gang." Over the last four decades, Kawakubo has amassed quite a gang of followers thanks to her radical approach to fashion design. Amongst them is One Nine Zero Six's very own Dean Webster who treasures a single breasted suit from 1988. Here he tells us the story behind it.

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As you all know, I caught the shoe bug a long time ago and could not shirk the opportunity to create my ultimate footwear for Autumn as part of the SIXby6bloggers project. To think that ideas that have been bouncing around my brain unreleased for years have now been realised is nothing short of remarkable. However, as exciting as the finished product is, one of the real highlights of the entire process came during a visit to Guimaraes in Portugal where I met the Six London team, had the opportunity to talk through my design with the craftsmen who were going to help realise my footwear fantasy and took a stroll through the factory where the majority of their men's shoes are made. As I was led around the family run factory, I eagerly snapped away at each well honed process and got a little carried away with closeups of machinery.

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We hope you've enjoyed our offering throughout 2011 but here's to kicking ass in 2012...or at the very least...many more posts. Happy New Year folks!

Cashing in this Christmas

noreply@blogger.com (Style Salvage Steve) — Fri, 30 Dec 2011 19:05:00 +0000

Since our first shared Tokyo experience back in May, Susie has popped back over too many times to mention. For the most part, I've looked on with green eyes and jealous heart as she rattles off tales of discovery but when she recently returned I was treated to an early Christmas present that kept me warm this festive season whilst putting a smile on my face and introducing me to my new favourite label, Cash Ca.

Whilst designing and consulting for the likes of John Smedley and Margaret Howell, knitwear specialist Craig Alexander started Cash Ca in 1999. Over the last twelve years, the label's refined cashmere and high quality merino knitwear collection has made a significant impact on the British market. However, for us atleast, the story took an interesting turn following a chance meeting between Alexander and influential Japanese streetwear designer Kazuki Kurashi in 2009 who was soon asked to direct the men's collection. Kurashi's clean aesthetic inspired a new phase of the label. The design marriage of Alexander and Kurashi is all about simple perfection and minimal embellishment but also lovely subtle, hidden detailing. This union caught Susie's eye in Shibuya's Garden, Located moments from where we first stayed and just opposite the Ragtag that bled my bank account dry, menswear store Garden escaped our shared attention. However, on Susie's most recent jaunt she waltzed inside and soon encountered my (current) dream wardrobe. Alongside Facetasm and Eo To To, she found herself grasping at the rails of Cash Ca and feeling the urge to splurge. The heady mix of details and the favoured mix of seasonal fabrics of wool, cotton and leather in the Donkey Stadium jacket meant that it was love at first sight for her and for me (oh she knows me so well!)...

Cash Ca Donkey Stadium Jacket worn with two of my own Japanese buys (a green shirt by Comme des Garcons Homme and fair isle print jumper by Discovered) trousers by Wooyoungmi and hi tops by Lanvin.

Now, thanks to a recent expansion of stockists and a fair bit of blog coverage, a few of you will be familiar with the label already but despite its English roots, the moment I unwrapped my Christmas present was the first time I really took notice of the knitwear brand. I'm now hooked and am far from the only one. In the three years since its launch, the Cash Ca men’s collection has become well established in Japan, now selling into sixty of the most directional retailers and departments stores across the country. The collection is now becoming established in Hong Kong and China with a plan to open a flagship shop in Hong Kong in 2012 and I've only just learned that London's very own The Hideout has the UK exclusive. Having been spoilt rotten this Christmas I'm now hooked on the label...I might just have to treat myself to more Cash Ca in the seasons ahead...

A festive weekend with b Magazine

noreply@blogger.com (Style Salvage Steve) — Sat, 24 Dec 2011 15:24:00 +0000

"The b family is not just fashion people and the store is not just for fashion people, it has a wider ranging reach than that" affirms Dal Chodha whilst tucking in to a Cinnamon bun in Soho's Nordic Bakery. "With all of the labels that it sells and has sold, none of them are pure fashion brands and that is precisely why the magazine isn't pure fashion, it just wouldn't make any sense if it were. It is a snapshot on how the b store customer lives. It is a mood board of their interests as much as it is ours" he smiles. We've met to discuss the fifth issue of b magazine and toast the tenth anniversary of b Store.

Now, as readers of this blog you should all know that London’s b store has long been a mecca for contemporary design. Whilst nurturing some of the best design talent in the capital and beyond, b store have been merging art, fashion and design seamlessly for ten years now. When Jason and Dal talked to b's very own Matthew Murphy and Kirk Beatie about the store as they first mooted the idea of a magazine it soon became clear that it contrary to its name, the b store is more than just four walls of retail. They described it as a world, the b store world and the eponymous publication explores this ever evolving and fascinating realm. As b store celebrates its tenth anniversary and moves in to its new home on Kingly Street, the fifth issue of b magazine reflects but also looks forward and, as seemingly with anything b related, excites.

"It is going out amongst a sea of titles. I used to love buying bi-annuals and I still do to some extent but I do feel that many are saying the same things to me" reveals Chodha with a discernible air of disappointment before defiantly declaring, "for Jason and I, it just makes us work harder. We want to make something that isn't like the other titles out there in what we cover." As with each visit to the institution of retail that is b Store, there is the chance to discover a new designer, an exhibition, a magazine or even just a moment when you talk to them and leave with something new. You can always expect to be surprised and the magazine echoes this spirit wonderfully. Just as the store has always been more than just a physical space, b magazine is more than a bi-annual.

From the first moment I picked up the debut issue of the store's publication back in September, it was clear that is was not your average fashion magazine. Created by long term collaborator and collection stylist Jason Highes and editor Dal Chodha, the title exposes the wider b Store ethos; passion in design and integrity in individuality with a knowing nod to more sartorial affairs. It sells ideas and it sells information. Editorially driven, b magazine looks at creatives from a wonderfully unique angle. It is a title to immerse yourself in and always is a pleasure to thumb.

From Chodha's interview with designer Martino Gamper.

Highlights of the issue include the Observer’s Eleanor Morgan highlighting the restaurateurs and meeting chefs behind some of London’s most exciting eating experiences from noodles made by foot in Soho to pigs heads in Shoreditch and Dal Chodha talking to the affable furniture designer Martino Gamper in his Hackney studio about his crusade for good mass-market design, while also stealing a look at Nancy Rohde’s chamomile lawn and Ally Capellino’s grape vines. However, the real gem is Ben Purdue's look at the origins of and continued evolution of the store.

A snapshot of b Store included in 'A Decade Under The Influence'

"It was really difficult at first to think about how we could cover the tenth anniversary. We never want the issue to feel like an advert for b store and thankfully people haven't see it like that. It has never been that and we didn't want to start on the fifth issue. It was difficult to dedicate such a big portion of the features to this subject without it being 'Oh, how amazing is the b store!?', immediately we knew it couldn't be something that I could write so we brought the lovely Ben Purdue in. Also, the people that we quoted had to people that we had never spoken to previously, we could very easily get a quote from Peter or from Christophe, but it was important to hear from the likes of Roksanda Ilinic, Mandi Lennard and Maureen Paley."

Christophe Lemaire gives thanks and celebrates the anniversary

Ben Perdue's reflective piece on a decade under the influence of b is packed full of choice quotes from friends and family of the store but there is one in particular line that is still bouncing around in my brain. Designer Roksanda Ilinic uttered, "They were and still are a laboratory for creative design and spirit." This simple line rings true and cuts to the very core of what makes b so special. PR legend and former neighbour of the store agrees by adding, "The b store customer was a real person, and it was about a respect for good design - particularly the new wave of designers coming through." b have always been ambassadors for and facilitators of young talent. Much in the same way as the boys have championed emerging talent on the rails of each incarnation of the store, Hughes and Chodha showcase this same spirit within the pages of b magazine. By shooting the likes of (deep breath) Casely-Hayford, Agi&Sam, Matthew Miller, Mohsin Ali, One Nine Zero Six, Satyenkumar and Christophe Lemaire to name but a small selection, the editorials are unlike any other title.

A Casely-Hayford blazer, top by Kye and shorts by Champion from 'The Luxury Gap' editorial shot by Laurence Ellis and with fashion by Jason Hughes.

"Our stockists pages is incredible because it really is so different from every other stockist page. It is about new-ness. We love looking for new things but not new fangled things that are short-lived. We'd never do a trends page for example. Casely-Hayford, Stephan Schneider, Christophe Lemaire are all labels that the store either sells or will never sell but nevertheless like. We purposely feature brands that you won't see in every other title. Jason has a brilliant way of pulling in these labels that you never think of, or would see them in that way. Designers that lend to us really enjoy seeing the results of what we do. Raimund for example, whose profile is building, is stunned when Jason styles his designs because he always shoots them in a way that surprises him and the Japanese socks by Ayame that grace the cover, certain people in fashion wear them but its about seeing them in a different light, its a case of reinvention. Alot of the pieces in that shoot were made for it and at times, that might be frustrating because we are a consumer title and it might leave them wanting things that they can't have, but with a biannual, you should be pushing the boundaries. We can be creative in that way."

Jacket and trousers by Agi&Sam and poloneck by John Smedley. From the 'Dubbing in the backyard' editorial, shot by Willem Jaspart and with fashion by Jason Hughes.

"We were an incubator. We never intended to be a luxury brand store and if a label gets above a certain point, it isn't for us anymore. If their brand evolves and they become something else then, of course, they should go on to do other things. Some have fallen by the wayside but some are extremely successful, and it's been great seeing that" Matthew Murphy.

Suit custom made for story by Satyenkumar and t shirt by Topman Design. From the 'Dubbing in the backyard' editorial, shot by Willem Jaspart and with fashion by Jason Hughes.

"It's about the same size as the last issue but it feels heavier. In terms of the balance between copy and images, there might be more imagery than previous issues and the fashion stories themselves require more attention than ever before. They require more time to take them in, Willem's cover story for example. This being our fifth issue, we decided to move them more than ever. We wanted to surprise the readers. You can't rest on just being a good magazine, it is never enough and you always have to do more, something different."

Part of London's most exciting dining experiences, Koya's John Devitt pictured with his favourite dish.

Much in the same way as there's a definite sense of b store maturing with the unveiling of the beautiful and custom furnished new Kingly Street space and numerous projects, b magazine grows with each issue. "With this issue more than ever, we've highlighted the idea of getting real experts in their field, Eleanor writes about food for the Observer, Teal who did the piece on Fanzines has written two books on the subject and is also a professor and course director at the London College of Communication" Chodha proudly states. The focus on building the already impressive list of contributors with respected individuals who have a real specialism in what they discuss, is something that is surprisingly quite unique. "There are a number of other titles who use wonderful writers but few have a real specialism."

Cathy Lomax's Arty magazine

"We haven't ever done anything that feels contrived or forced, It has to be natural and getting someone like Eleanor Morgan onboard, for me was really exciting because we want people with authority. As a consumer, after five issues of a magazine you do start wondering, am I going to continue buying it? You have to justify why people should continue to buy the title. We're working towards this. Firstly by guaranteeing that none of the information we print will be available anywhere else in any way, shape or form and secondly, it is important for people to feel like they are getting specialist advice or information. The title has definitely grown up, it helps to have people like Teal and Eleanor with their expertise and reputation on board. I feel proud that they like what we are doing and that they want to be involved in it as much as we want them to be involved in it."

Patrick Fry's No Zine

Given the anniversary, it came as little surprise that Chodha had moments of endearing reflection; "As the magazine is so much of what Jason and I and the boys are about at the b store, it would have to be something very different in a further ten years time and maybe, it might not be as relevant as it is now. It is important for us that we see it as something that is 'very now.' I'd much rather it have impact than for it to run out of steam or become stale."

At this moment in time, I cannot fathom b magazine ever becoming stale. The world b magazine weaves through and explores means that it is a publication that is nigh on impossible to put down. From the gardens of creatives to bodies of lesser known work, it concerns itself with the unexpected, uncharted or undocumented. It deals in everything with reassuring familiarity rather than the fantasy or purely aspirational that we have all grown accustomed to in the sea of fashion titles. One thing is for certain, this fifth issue, despite being well thumbed already will provide a welcome haven from the over indulgences of this festive period.

Treasured Items... Andrew Bunney

noreply@blogger.com (Style Salvage Steve) — Fri, 23 Dec 2011 21:55:00 +0000

As cash registers frantically ping for last minute presents and sellotape is manically stuck on to all manner of gaudy printed adorned gifts, I thought it an opportune moment to change the pace by serving up another treasured item. Here, Andrew Bunney (British Remains and Bunney) reveals the pride of his chambray shirt collection...

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Andrew Bunney and the Big Smith chambray shirt

"I go through phases with the clothes that I'm into - not that I would really consider myself faddish, but it is fashion... so consequently, I always want to discover something new. I want to enjoy, research, and find the best-in-field before I move on to something else. Finding the 'best of the best' is subjective of course, and it could be interpreted in many ways.

One of my earliest jobs was working as a vintage clothing buyer in NYC. This involved scouring warehouses, and sorting out the 'vintage' from the 'used'. Used clothing remained in the US, and the vintage styles were sent to Japan where they could sell for a premium. Today, probably more would stay in the US as the current boom for Americana shows little sign of abating. I had collected Chambray shirts on and off for years, and whilst I find many of the stitching or construction details interesting, my aim was really to find something to wear. The chambray shirt may be a classic, but has really only been the past few years in which companies have remade this style again, or started for the first time...

Here, I want to present this Big Smith chambray shirt made in the early 1960's. This Big Smith shirt has taken an unusual greenish hue, with parts of the original blue showing through in patches. It features side gussets, chain stitching, slightly translucent glassy buttons - many of the details that heritage brands would look to include - but this shirt, as with others of the same ilk, was intended to be cheap and to sell in volume.

The real charm to this shirt comes because of the ubiquity and the democratic price point. On the reverse, this particular shirt has been treated like a t-shirt or banner, and has been printed with a Clenched fist - the screen print is homemade, crude, and off-centre. The shirt looks to have been creased when printed towards the bottom of the arm. The shirt was used merely to carry the message.

This was found in Oakland, and of course I immediately thought of the Black Panther link. Here is a photo of co-founder of the party Bobby Seale wearing a chambray shirt in the late 60s. Or, could this shirt simply have been worn by a protester for a different cause around the same time. Life magazine features a cover with a clenched fist image, worn by a striker on the Harvard Campus in a completely different part of the country. Is there any way to confirm the provenance of this fist? A London-produced pamphlet features another rendition...

I doubt that I will ever know the true story of this shirt, but it captures a certain power and moment in time and for me, that spirit is enough." Andrew Bunney

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We hope the fat man in red brings you a future treasured item. Either way, enjoy some quality time with all of your family! Here's to taking a break from it all whilst eating and drinking far too much. Merry Christmas everyone!

Fox and Flyte

noreply@blogger.com (Style Salvage Steve) — Tue, 20 Dec 2011 13:28:00 +0000

An assortment of goodies from Fox and Flyte.

Trawling through markets and auctions for that perfect something can be a lot of fun but it can also be a nightmare of pain and wasted hours. During this time of widespread festive fuelled consumer abandon in particular, the thought of physical shopping is not that enticing. Thankfully, the recent unveiling of Fox and Flyte, a new online purveyor of well chosen vintage collections, can help you unearth a hidden gem of an item from the comfort of your home.

Fox and Flyte began as an idea between three close friends with a shared aesthetic, a passion for beautifully made things and a longing for grandeur. Duncan Campbell, Haeni Kim and Luke Edward Hall do the hunting and the user gets the handpicked and lovingly restored treasure. The trio combine their vast knowledge in the careful selection of the finest, most charming objects they can find. Abiding by William Morris' belief that having beautiful things in your home can improve the quality of your life, and the love and skill put in by the maker can reside in the object, and contribute to the life of the person who ended up with i, the friends certainly have a respect for craftsmanship and stewardship. From butter knives to taxidermy to Church's loafers, the site is a wonderfully curation of surprises but however different the items first appear they are linked through their shared quality, craftsmanship, value and an enticing beauty that forces you to click. Shortly after the store opened, we caught up with the trio behind it to talk shop, antiques and collaboration...

SS: What were your inspirations, your dreams, and the driving catalyst behind Fox and Flyte?

Fox and Flyte: The three of us have been friends for a long time and it was our dream to work together on a project one day. It was really about spending time together at the beginning and creating something. We spent a lot of time going to markets and auctions before we started Fox and Flyte and have always had an interest in beautifully made things and interiors so right from the outset that was a driving force.

Of course when it comes to antiques, you can spend your whole life devoted to the study of one small area or period, so we were never claiming to be experts but we felt that antiques are generally perceived to be stuffy and expensive and thus inaccessible to many, which doesn’t have to be the case at all. It was very important to us that the Fox and Flyte website not only presented these beautiful objects in a user-friendly fashion but also made them available and attractive to a new audience. The internet is such a great medium for it because it opens this world up to everyone. The potential outreach is limitless but in our experience, we found lots of great antiques dealers but not many great antique websites so that's what got us thinking. Lastly, we started Fox and Flyte with very little budget, no investors and no premises to open a shop, so a website that was clear and easy to use felt like a good idea.

It was much more about an aesthetic we love, combined with a way of working that tries to be a tiny bit altruistic. We live in an era of outsourced production, landfills and everything made of plastic. While it would be naïve to think that we could change this on our own, it didn’t feel like we wanted to contribute further to this situation. One of the most amazing things about antiques is that they are already here! It is very exciting for us to think about a time when things were made with care, skill, and even love. William Morris believed that having beautiful things in your home could actually improve the quality of your life, and the love and skill put in by the maker would actually reside in the object, and contribute to the life of the person who ended up with it. This might be a bit over the top if you’re talking about a teapot or a butter knife as opposed to a tapestry or a sculpture, but it’s really about a respect for craftsmanship and trying not to fill the world with more rubbish unnecessarily. I think we wanted to see whether we could introduce a new audience to this way of thinking, who perhaps may have never known it existed before, or felt they couldn’t be a part of it, as well as to appeal to those who are already interested.

SS: What does Fox and Flyte mean to you?

Fox and Flyte: It’s about bringing beautiful things to a new audience, showing young people that these things don’t have to be stuffy or prohibitively expensive, and hopefully, as time progresses, the opportunity to work with and support smaller producers and artisans working in traditional ways and keeping their expertise alive.

SS: You seek out objects with a story that have been made with passion and in many cases lovingly restored? Could you talk us through your sourcing methods?

Fox and Flyte: As we found out very early, dealers will never reveal their sources! Every time we bought something for the site, we would innocently ask the dealer where they found their stock, only to be met with a disdainful look. As we fit our work on the website around our other jobs, much of the sourcing takes place at the weekends, in the evenings, or sometimes very early mornings. There are a few auctions we have got to know quite well, as well as markets and fairs but it very much depends on what you find on the day. An auction that had great stock one week could have nothing the next week but that’s the nature of the business and part of the fun! Now that people know we’re doing this, we’ve also started to receive offers both from friends and strangers if they have something curious they think we might be interested in.

SS: From butter knives to taxidermy to Church's loafers, the site is wonderfully curated. I appreciate that this might be difficult to answer but which are the items that you are most excited and/or proud to have on site?

Fox and Flyte: The taxidermy peacock naturally wins the first prize. He really is a beautiful specimen and we went on quite an adventure to get him. We had been looking for years to find one and when he came into our lives it felt like it was meant to be. When looking for items to stock on the website, we try to hunt out the most curious of objects, and strike a balance between things that are beautiful and purely decorative (and sometimes ridiculous) and pieces that are more useful. We also love the mother of pearl plates we had recently and anything made of interesting materials like shagreen. When we designed the site, we added an archive section so that people could see what we had sold and the kind of things we’re likely to have again.

We love the idea of stewardship, which is particularly relevant to older things, with the idea that they were here before us and will be here when we’re gone, so the time you spend with an item, you’re really only looking after it. Because we don’t have a warehouse space, everything sold on the site lives at home with us before it’s sold. People sometimes ask if we’re sad to see things go, but if we’ve had an adventure finding something, fun photographing, cleaning and restoring it, and then the pleasure of living with it for a few days or weeks, there is almost a feeling of pride when someone buys it because it is moving to a new home and onto the next stage of its life.

SS: The site is launched with antique pieces, but you have started to collaborate with small producers on special one-off projects. What can you tell us about these?

Fox and Flyte: As we mentioned above, when we started the site, we really wanted to let it take its natural course and just wait to see what happened. The response was better than we could have hoped, but for us it’s very important to continue to develop, to innovate and of course, grow. We love the idea of working with small producers, initially in the UK, and finding people who we could work with to create small runs of products especially for Fox and Flyte, In our minds, the best collaborations are when both parties come away happy, and you create something better than either one of you could have produced alone. So it’s not about putting a Fox and Flyte label on someone else’s product but sharing our expertise and ideas to create something new. We have a few of these projects in the works but nothing is signed yet, so we won’t say too much, but for us it was really about thinking what would we want to see that we can’t find. If we’re looking for the perfect martini glass, or the most charming pocket square and we couldn’t see it anywhere, then why not make one ourselves? It goes back to our thinking at the very beginning when we sat down and thought to ourselves that we can’t be the only people in the universe who like this stuff!

We’d love to collaborate with skilled craftspeople who work in a variety of different fields. We’re thinking about curious objects for the home and person, so eventually we’d like to begin stocking and creating accessories and clothing. One third of Fox and Flyte, Luke Edward Hall, is currently in his final year studying Menswear Fashion Design at Central Saint Martins. He has been producing a small number of shirts and ties in Liberty print fabrics for the website, and we hope to incorporate more of his work into Fox and Flyte when he produces his final collection next year. We have also created a limited run of screen-printed posters with our friend Nicole Thompson, who is an excellent designer and prints all of her work completely by hand. As well as this, we’ve been working quite closely with the architectural designer Ben Pentreath, who has a shop in Bloomsbury, which has been a brilliant experience. We had a pop-up shop there for a few weeks in the autumn, and we plan to work with him again next year. He’s been an excellent mentor for us so far.

For future collaborations it’s important for us to find the right people to work with because it’s about sharing ideas. We can offer a platform to sell, as well as a new audience, and the collaborator can offer a wealth of expertise.

SS: What can we expect from Fox and Flyte in 2012 and beyond?

Fox and Flyte: I think as we learn more about this business, hopefully the website will get better and better. One of the comments we get most often is great website, wish there was more stock! Because we fit it into our working lives, and the way we source, clean, style, photograph and describe everything ourselves, this process takes a little bit of time but going into 2012 we are looking at ways to streamline this a bit and to become more efficient. We are also going to start working on more coherent collections of products to launch together, so it could be picnic, or brunch, or the Fox at sea, but it will be twenty or so products all relevant to the theme, all uploaded together. Finally, we are very excited to be getting underway with a few of our first Fox and Flyte product collaborations, which we think people will love. Details to be announced early in the New Year so watch this space!

All imagery supplied by Fox and Flyte

Treasured Items... Sergei Sviatchenko

noreply@blogger.com (Style Salvage Steve) — Mon, 19 Dec 2011 15:09:00 +0000

This season Costume National asked Sergei Sviatchenko from Close Up And Private to give his take on the AW11 collection. The result is “The Beetles News”. A mix of photography and collage the projects takes its inspiration from a Beatles performance in Milan back in 1965. The subject matter comes as no surprise because when we first featured the wonderful detail shots that Close Up And Private is now known for, the lens was focused on Sviatchenko's sartorial homage to the fab four. Shortly after the news of the collaboration arrived in our festive filled inbox, we asked the artist to reveal his treasured item. Fittingly, his choice of a bespoke flannel suit has a connection with Liverpool's finest...

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Sergei Sviatchenko and the bespoke flannel birthday suit

"My most cherished wardrobe item is a bespoke flannel suit, made at Westbourne House. The suit was designed by Paul Smith and made by Christopher Tarling.

Now, I first met Paul many years ago when I visited London and explored Notting Hill in tremendous rain. I sought shelter from the torrential downpour in Westbourne House, one of Paul Smith stores in London. By chance, I came to talk to Paul and he later drove me back to my hotel. Since this encounter, we have met at many of his shows in Paris, London and Milan. It has developed into a very interesting relationship.

When I turned fifty, Paul designed a birthday suit for me. Given that I am such a big fan and collector of The Beatles, the lining was based on the cover of their album "Sgt. Pepper's Lonely Hearts Club Band" Inside the pocket there is a hand written note that simply reads, "Happy Birthday from Paul." There is only one suit like this." Sergei Sviatchenko

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As I'm sure you are all aware, Close Up And Private is an on going project by Sviatchenko which looks to capture the spirit of modern style, as seen through the subtle shades of the individual. We have long been admirers and love the project celebrates classic details alongside contemporary looks through a unique form of photographic documentary. After all, the real beauty of menswear is in the details and this series celebrates them daily.

Weekend Reading... b Magazine AW11

noreply@blogger.com (Style Salvage Steve) — Sat, 17 Dec 2011 13:06:00 +0000

The fifth issue of b Store’s eponymous publication dropped on Friday and it afforded the perfect opportunity to visit their new space on Kingly Street. Along with the issue I left with a couple of early Christmas presents for myself (if you can, go this weekend for yourself). Given that this marks b Store's tenth anniversary, the issue, aptly and hum inducingly named PUSH IT REAL GOOD, is decidedly reflective with an excellent piece penned piece by Ben Purdue. Also in this issue, the Observer’s Eleanor Morgan meets the restaurateurs and chefs behind some of London’s most exciting eating experiences from noodles made by foot in Soho to pigs heads in Shoreditch. The writer Michael Nottingham introduces a photographic portfolio by James Pearson-Howes, which takes a unique look at British life. The graphic-design historian and author of The Typographic Experiment, Teal Triggs profiles four fanzine creators keeping the DIY ethos of print, paper and staples alive. b Magazine’s editor, Dal Chodha, talks to the affable furniture designer Martino Gamper in his Hackney studio about his crusade for good mass-market design, while also stealing a look at Nancy Rohde’s chamomile lawn and Ally Capellino’s grape vines. Fashion is courtesy of Sam Ranger who shoots with Aitken Jolly; b’s editorial and creative director Jason Hughes shoots with Willem Jaspert (the cover story) and Laurence Ellis; and Steven Westgarth shoots a spring/summer 2012 preview with Tom Allen.

I'm currently working on a more in depth feature on the issue which includes an interview with the ever lovely Dal Chodha but in the meantime, I just wanted to share its cover with you. For research purposes I read the pdf version during a recent weekend jaunt to the Kentish coast. As my Nan sat fast asleep in her armchair, TV blaring I was lost in the issue. Enthralled in the copy and dazzled by the inspiring imagery, I'm looking forward to losing myself all over again this weekend with the physical copy...whilst pondering just how Jason Hughes managed to expertly customise a John Smedley roll neck with Ayame socks.

My Coat, My Gift from Wooyoungmi

noreply@blogger.com (Style Salvage Steve) — Wed, 14 Dec 2011 14:32:00 +0000

After seemingly months of mild, indifferent weather the first real signs of winter have induced more than a few 'brrrrr, it's a bitt nippy out' exclamations. As the mercury tumbles, I've been reaching for the neglected knits and trust winter warmers. Others might complain about the cold spell but I love these chilly mornings. These moments to layer, wrap and protect in an assortment of comfortable and practical fabrics are some of the most exciting and interesting. However, I've had to wait on my winter coat until now...

Now, you should recall that I took part in the London edition of a Wooyoungmi's collaborative project, My Coat, My Gift. Whilst raising money for Art Against Knives, the label joined forces with Selfridges in a celebration of both the classic Wooyoungmi coat 'No. 51' and the rising creative talent the city. Amazingly I was asked. The auction might have long passed but last week my own version of my collaborative coat arrived. Oh, I love it so and this weekend saw its first outing...

My own My Coat, My Gift coat from Wooyoungmi made extra warm with the addition of a wool scarf from COS, worn with thick wool trousers from Topman Design and my British Remains creepers.

I've already rambled about my creative inspiration and input in a previous post but the simple reason why I love the jacket so down to the skills of Wooyoungmi's design team. The talented bunch managed to interpret my excitedly blurted out key words and fabric ideas and create my ideal version of their classic coat. My own My Coat, My Gift is full of texture, layers and fabric play...

A few detail shots.

Of course, it is amazing to have had the opportunity to rework one of my favourite designer's most recognised pieces (not to mention meet the lovely sister's themselves) but the real reason for this whole collaboration was to raise money for Art Against Knives, a charity using creativity to tackle knife crime in the capital. Now, I've only worn the coat a few days now but I've already been greeted with more than a few "oooh nice coat!" Moving forward, for every compliment the coat receives, I'll donate a pound to the charity.

Braille SS12

noreply@blogger.com (StyleSalvage) — Tue, 13 Dec 2011 19:20:00 +0000

Braille burst on to the scene at Vauxhall Fashion Scout back in February of last year and they've since gone from strength to strength. London based design duo, Benjamin Vorono and Samuel Kientsch, are able to design garments that can effortlessly slide in to any man's wardrobe. The accomplished debut, A Gentle Wake, was a concise exploration of menswear garments composed of Yorkshire tweeds and Scottish waxed cottons. A wonderfully tactile and functional collection that caught the eye of press and buyers alike. Over the last few seasons, the talented pair have carved their own niche on the London and internal scene, offering collections showcasing the best of British fabrics and manufacturing in cuts that suit the modern gentleman. Ever since the label first came to our attention, we've kept a keen eye on its continued rise and we couldn't resist catching up with the pair to talk through their SS12 collection, Current Affairs.

Where previous collections have seen the pair research design movements, artists or natural phenomenon, SS12 sees an exploration of the social world around them. "This collection was our most socially influenced to date, specifically a general feeling of disillusionment. The unrest that began to bubble up in certain areas and continues to spread throughout the globe was the main focus," explains Vorono. In a year which has seen so much social unrest play out on the news it should come as little surprise that they were drawn to a feeling of growing disillusionment.

Despite the change in mood, this collection, like the ones before it, showcases a wonderful sense of texture. Once again, pieces reveal a heady cocktail of hard and delicately luxurious fabrics. In all of their garments, Vorono and Kientsch tread an intriguing balance beam between the strong and the delicate. From waxed cotton silk shirts, oxidised print tailoring to corded rain coats and suede shorts, this collection leaves me longing to touch it. Garments are crafted in such a way that they are both inherently 'masculine' yet genteel in the same moment. For SS12, the duo introduce subtle military elements to their expanding sartorial arsenal. "There is a definite militaristic element to the collection but not in the traditional sense, obviously no epaulets or military style buttons were used but it is a tougher direction for us, which we are really happy about" Kientsch excitedly explains before adding "as with all of our collections the main focus is on wearability and transition. Hopefully regardless of season or event you can get away with wearing them whenever and however you choose."

Now, I could wax lyrical about the collection but I think Current Affair's stunning lookbook translates the beauty of the collection far better than my words. So I'll pass you over to Darren Karl Smith's imagery...

Lookbook credits:

Photography by Darren Karl-Smith and assisted by Yi Chen. Modelled by Tristan Pigott. Grooming by Hiroshi Matsushita. Production by Lulu Presents.

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Given that it has been almost ten months since we last spoke with Braille, so I asked the pair how 2011 has treated them. "We’re still feeling really fresh and young as a brand. Evolution is at the core of the label. As we gain a greater awareness of what our customers are actually looking for it allows us to run a tighter ship focusing on offering products that actually have a place in the market but also longevity and usefulness." At the end of the last post, I hinted that it would prove a big year and there can be little doubt that they've taken many steps forward but the menswear market, despite growing a tremendous amount, is still a tough one for an emerging label. A point that Kientsch concedes, "we still feel like the market is very hesitant to take on new designers, which is really a shame because there are plenty of more exciting menswear ideas floating around than are actually offered in the shops." However, rather than become disillusioned with the general nervousness that many buyers are unfortunately afflicted with, Braille are keen to continue carving out their niche. "There is opportunity to push a more refined look without taking the comfort that men really desire in clothing and we hope to be a part of this movement" Vorono adds with an air of defiance. I have every confidence that the pair will succeed.

Having set an impressive design marker over the last few seasons 2012 is an important year for Braille. "We really want to reach a more global audience from a retail perspective and feel we’re at the stage to be taken on by larger retailers." Once pressed on the design developments Kientsch revealed that the pair "we’re really pleased that our waxed cotton supplier has sponsored a portion of the Autumn/Winter 2012 collection so you can expect to see even more weatherproof outerwear" and hinted that collage, which they have started to experiment with previously, will become a more integral component of collections in the future. I, for one, am looking forward to watching this label continue grow.

Treasured Items... Mr Hare

noreply@blogger.com (Style Salvage Steve) — Sat, 10 Dec 2011 10:05:00 +0000

There are few occasions where my two passions, Arsenal and menswear, collide. Today, as our other obsession celebrates its one hundred and twenty fifth birthday, we're pleased to share a fitting treasured item with you. Regular readers will know just how much we love Mr Hare. As you should all know by now he makes beautiful shoes but we love him that bit more as he's a fellow Gooner. As statues of Arsenal legends were being unveiled to press and fans alike outside of the Emirates Stadium, Hare revealed his most treasured possession, a customised NSW Nike Destroyer jacket. Now, as we have said before, every item has a story to tell and this jacked is packed full of personal narrative. With his choice of customisation for the sportswear giant's most iconic piece of outerwear, our favourite shoe designer has celebrated his passions...

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Mr Hare and the customised Nike Destroyer Jacket

"I wanted an Arsenal Destroyer jacket, just like the one you have actually. I had been looking for the perfect black bomber jacket everywhere for ages. The only one I had seen that I liked was a Hermes one but that was something like £5,000 and it got to the stage where I was contemplating giving the credit card a bashing but I'm so glad that I didn't. After the Hermes incident where I practically had to slap myself out of being stupid, I was drawn to a Givenchy one but they were just so damn small. When this came out, I was just over the moon. It's just so perfect. However, I was away when they were released and I missed out. I went in and pleaded with them but then they said 'don't worry, we can do something much better' before leading me off to the customisation room. An awesome surprise. It was then the case of choosing all of the added features that I wanted. I could do almost anything. The only limitations that I encountered involved the positioning of the embroidery work due to their grid system which is why the double exclamation mark Mr Hare logo on a patch, along with the A. In all it only took a few days.

I've had it two weeks now and it is already my most treasured item. I don't have many treasured possessions but this is one of them. It is so personal to me. The line on the back is my favourite feature. As it is a Destroyer jacket, I thought about what I'd like to destroy and the one thing it came down to was racism in authority. This line is the best description of defeating it. It comes from Dead Prez, you'll know the track as soon as it plays but you might not necessarily be familiar with the line..." Mr Hare

On Hare's strict instructions we just had to share the video with you. Watch it.
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It might only be a recent acquisition but there can be little doubt that this jacket is a most treasured item. From the embroidered official Arsenal 'A' above his initials to an official unveiling of his new double exclamation mark logo to a sentenced spat by Dead Prez adorning the back, this jacket could only be worn by Mr Hare. Come on you reds.

Martine Rose SS12

noreply@blogger.com (Style Salvage Steve) — Thu, 08 Dec 2011 18:42:00 +0000

The relentless pace of fashion, with its waves of shows, unveilings and releases can be somewhat bewildering. Each season passes in such a way that for those of us immersed in it all, we can often lose all sense of time. There is little opportunity to take stock. However, today's announcement of NEWGEN sponsorship for AW12, affords a welcome chance to see just how far the smorgasbord of emerging menswear design talent has developed. The menswear sponsorship, courtesy of Topman, was awarded to Christopher Shannon and J.W. Anderson for catwalk shows whilst Lou Dalton, Martine Rose and Matthew Miller all receive well deserved salon presentations and the likes of blog favourites Bunney, Christopher Raeburn and Sibling all have a place in the heady design cocktail that are the installations. Like many of the designers themselves, this blog has grown up with this band of names. It gives me great pleasure to see this talented take the next step on each of their labels journeys. The announcement made me realise just how much Martine Rose has evolved.

In the space of seven seasons, Rose is a design that has worked hard to craft solid foundations for her eponymous label and cement her place in the competitive menswear scene and with much success. She has collaborated with Wallpaper Magazine and Timberland, CAT boots and was one of the designers selected to take part in Selfridges 'Bright Young Things' project, which saw designers produce a window display for the exclusive store, design and exclusive product, and stock one-off pieces in store. Her previous collections have included ambitious installations at Blacks members club before the days of her sponsorship, Somerset House and most recently as part of MAN and all have been well received by press and the industry alike. Fantastic Man's very own Charlie Porter has described her as "one of the most exciting designers working in London right now. The way she brings originality with her colour and choice of cloth to traditional menswear staples is ingenious." This season, her obvious talent was showcased in one of the strongest MAN lineups to date back in September for SS12. For her seventh collection, Rose was drawn to the 70s skate scene and many of the boys that walked the show were skaters themselves. It was one of the most talked about collections of the season so it should come as little surprise that she has now been awarded her own salon presentation. Her advancement is so well deserved and I'm looking forward to the coming seasons and beyond.

Whilst excited by the future, it is about time that I explored her highly acclaimed SS12 collection. With this in mind and long before the announcement was made, I caught up with the designer to learn more about her latest collection. Whilst researching for the season, the design talent revisited the exuberant documentary account of the rebirth of skateboarding in the early seventies Dogtown and Z boys. "I was captivated once again" and she was soon drawn in to this world of on the edge creativity. The collection itself showcases sheer fabrics and washed denims, reminiscent of the sun bleached sidewalks. Rose looked to scene icons including the legendary Zephr team and Kurt Cobain for inspiration. Her colourful mood board was a patchwork of "mostly womenswear, Kurt Cobain performing in a dress and Jay Adams." It was Kobain's ability to subvert the perception of the 20th century man, with his appearances in dresses and skirts that led to fabric and silhouette experimentation. The designer goes on to explain; "I loved the idea of men wearing womenswear and being really sexy, an almost uber male which, for me, was about conveying an attitude. The confidence and fragility of youth, the arrogance, the swagger." This duality is key for the season as Rose effortlessly bounces between soft and hard, bright and washed out, sheer and graphic. "I was looking at old Thrasher Mags from the 70's and old skated/surf footage, my research was constantly flitting between really bold and angry, to soft focus footage of sun bleached swimming pools. I used a lot of sheers, layered over highlighter coloured T's, which translated this feeling, and graphic prints, such as the Sticker print which was inspired by the skater stickers which cover the boards."

Rose's exploration of 1970’s skate culture extends to the fruits of her collaboration with Icon Brand. "The collaboration with Icon Brand felt like a natural pairing. Having their origins as a surf brand, there were obviously lots of crossovers this season. Their jewellery was perfect as it is all about found objects, so they are beautiful objects within themselves, that we took and then hand painted with enamel paint to use as embellishments for bandanas. Pieces are featured heavily throughout as customised embellishments and jewellery components are utilised in accessories and on the garments themselves. It looks as though this is just the start of a long term collaboration. "Working with them is fantastic, as their product is already so beautiful and fun, it has such a sense of humour. It has been fab to take their pieces and use in a different way. We are developing the collaboration into more wearable pieces so watch this space!"

Throughout, Rose reimagines a lost but not forgotten generation, a band of the weird, a selection of rebels and outcasts that struck against the mainstream and created their own subculture. With the sheer shirts which are layered over brights and graffiti inspired print, the collection showcases fantastic fabric play and offers freedom to how the garments are worn. Rose has captured the confidence and fragility of youth quite wonderfully. However, the designer concedes that "I don't really expect someone to wear and buy a full look, I mean, fantastic if they do, but for me it's more about how they interpret for themselves what I have designed. The interpretation is the best part!" To supplement the catwalk show and to help bring the collection to life, Hidden Agency created a short film that took the form of a trailer for a documentary about an imaginary skater who embodies the rebellion, vulnerability, and creativity that was central to Martine’s inspiration and SS12 collection. Below are a selection of stills that caught my eye...

Stills from Hidden's short for Martine Rose. The full film can be viewed here.

Our conversation concluded with me asking Martine Rose how her self titled has evolved since its inception and her response is a fitting way to end this post. "For the better I hope. I feel like I am making more confident decisions, I am getting to know the 'Martine Rose man' better, and we're getting on very well, I like him." As her talent blossoms, she's not the only one enjoying getting acquainted with the Martine Rose man.