Treasured Items... Hugo Lavin

As Susie dozed in the reclined seat adjacent to me, Varón Magazine was my ever alert and engaging companion for the duration of my flight to Los Angeles. As the rest of the cabin daydreamed of Hollywood, I was engrossed in the monochrome mastery contained within volume six of the handsome title. Simply meaning male in Spanish and only seen through a filter of grayscale, Varón is a complex publication. With editorials that strive for a certain timeless and effortless aesthetic alongside text that encourages the reader to think. With Daniel Whitmore's cover gaze provoking intrigue on the shelves, we asked Varón Magazine's Fashion Director Hugo Lavin to share the tale of his most cherished wardrobe item. Here, the Spanish born, London based fashion spins the yarns behind his favourite sweater. It might not (thankfully, see below) have won him a party prize but it's nevertheless a worthy wool winner...

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Hugo Lavin and the unknown sailor sweater

"I stumbled across this sailor sweater at a charity shop as I searched for a potential prize winning entry for a party themed as 'The ugliest sweater party'. When I saw it it seemed to whisper my name. I instantly fell for its charms and couldn't resist it for three pounds. Obviously I didn't win the ugliest sweater award, as it was the best one on show.

It doesn't have any identifiable branding. It's made of very thick wool and reminds me the of the city where I come from: Santander. Sailor men arrive every morning to the port with this chunky sweatesr and their rain-coat. As a child I developed an obsession with the sea. Also, it reminds me that my adopted city of London and the North of Spain are very similar, so I feel at home.

The sweater itself is quite small but I love this kind of feeling that a garment it's getting small because you're growing up (back in the days to my childhood). This tiny, deep blue sailor wool sweater has probably been alive for a long time but will be continue with its new life with me for many years to come. Here's to a long life for the unknown sailor sweater." Hugo Lavin

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Hare Raising

"When I started making shoes I didn’t know the first thing about doing so," Marc Hare begins before taking a sip of wine. As we sit in a quiet corner of an East London bar for an interview feature for Volume 6 of Varon (out on shelves now), we reflect on the whirlwind of success that has continued to fire his footwear label forward. Both the sit down and glass of white are richly deserved. To illustrate the tale behind the evolution of the label we'd like to focus your attention on how the Miller and Orwell have helped define and shape its path. I propose the apt toast of 'He who hares wins' before delving in to the narrative.

Now, Mr. Hare has always a been a work in progress driven by one man's passion and it shows no sign of resting on its well crafted heels. You know the story well. Conceived at a roadside tapas bar in the foothills of the Sierra Nevada Mountains, Andalusia during the summer of 2008, Mr Hare, the brand not the man, was born out of his realisation that there just were not enough shoes in the world that he liked. Thankfully for our feet, he decided to do something about it. From this epiphany it took a mere three hundred and sixty days for his creations to land on the shop floor at Dover Street Market.

"I had nothing to lose when I started the label. The equation was simple, to either build something or sit with nothing. It was an easy decision. I was fortunate because at the time I was thirty seven years old, I had a long history of working in PR, in retail and the commercial side. I had experience in all of the daunting things that people coming out of college face. As I didn't have any other commitments, I was completely and utterly focused on what I was doing and I still am." One step after another, all eyes remain transfixed by Mr. Hare's fancy feet.

"I’ve had to take little steps and learn how to do things and you’ll see that every season we branch out into different little areas." From season to season, there is a constant sense of evolution and at times revolution. One companion from the start, even when Hare was just a man with a dream, was the Miller. The story of this five hold Oxford shoe is the Mr. Hare fairytale. The original Miller began its life sketched in the mind of a frustrated fashion marketeer.

"I worked for a Swedish clothing company who were famous for their skinny tailoring. I had all of their suits but needed a pair of fly black shoes to wear with them. I went to Jerymn Street because I thought I wanted something quite classic but just couldn't find what I had in mind. I wanted something sharper. At the time I didn't know that I'd be the person to fill the gap, but I left the street knowing that such a gap existed. Ultimately The Miller was my answer, a straight forward classic shoe with contemporary lines. It wasn't so stuffy that it had to stick to the rules. A classic Oxford has certain characteristics already so it was all about adjusting them to just how I wanted." Mr. Hare might not have a formal design background but he is a lover, a tweaker, an alchemist.

"I liken the process to mixing your favourite cocktail, you have the recognisable ingredients and then just make it how you want. At the time, there were so many shoes that had massive toe springs and I just found them to be utterly hideous. The toe spring was the thing to be removed, we then elongated it further because I didn't want it to appear stubby in any way and to ensure it was as elegant as it could

be." See a snapshot of the shake-up behind the Miller below.

The evolution of the Miller.

As much as I admire the fruits of Mr. Hare's work in constant progress that is the Miller, it is their old friend the Orwell. The Orwell has shape shifted and morphed into a number of label favourites. The handsome family. "Along with the Miller, the Orwell has stood the test of time. Every iteration of the Orwell looks fantastic and it has spawned the King Tubby and the Genet, it has many, many children whilst the Miller is pretty much the original,we've added colours, used different leathers and stiffened up the sole but essentially it is the same shoe." Take a closer look at a few of the famous offspring of the Orwell family album below...

From Orwell to Stingray Orwell to all manner of King Tubby.

Hare is not a man that stands still and once again the Miller, mirrors the man. "It's the shoe that we treat like a Dunk or an Air Force 1, the challenge is coming every season with a fresh, new Miller. The amount of directions that you can take it in and the things that you can do with it is really pleasing. If I cut my whole company down to a one pair, it would have to be the Miller and we'd still have a company that you could run forever and ever and ever."

From daydreams to designs, firsts to the lasts, everything was made in the UK. "Up to that point it was very much a British point of view. For me and it's well documented, England makes the best quality, toughest shoes in the world but at the same time, it's very difficult to go to an English factory as a nobody with an idea and to get it made at the price you need. That's still the case now. So I went to Italy because I could. Now I go to Italy as often as I can. During the sampling process, I'm there every two weeks for about three months. I used to go quite sporadically but now that I've got sales staff and general managers, I can spend longer and hope to have periods where I'm out there full time. Even just six months ago, there was myself and James. Two guys running everything. Just like at the very beginning, where I could just concentrate on the product, now that the infrastructure is there I can concentrate on it again and push it even more. With everything that we've learned, the product that's out in a years time should be next level. Ultimately, my aim is to one day by a factory in Northampton and drag it in to the twenty first century and actually get a truly modern British shoe company going again" Hare's relationships with the master craftsmen of Tuscany are thriving but as ever, he's looking ahead. Out of breath, we'll be trying to keep up with this Hare raising talent and remember.. he who Hares wins.

Reading... Buttoned-Up

Fantastic Man's Buttoned-Up book... 

inside a shirt by Patrik Ervell and t-shirt by Christopher Shannon.

"The simple act of fastening a shirt's highest button and the plainness of the look it creates belies a variety of intricate and complex intentions," Gert Jonkers and Jop van Bennekom declare in unison to begin Fantastic Man's exploration of the buttoned-up shirt. To mark one hundred and fifty years of the London Underground, Penguin have released twelve books to celebrate each line and our favourite men's fashion biannual trundles along the East London Line and notices that few shirt buttons are left undone. Encompassing music, street style, fashion, portraits, an examination of an examination of collar shapes and archive images, the reader is taken on an enthralling expedition. 

Having enjoyed the journey from Paul Flynn's schoolboy rebellion to admiring Jop van Bennekom's close ups of construction, eavesdropping on Gert Jonker's conversation with Neil Tennant to stalking the style of today's East London boys, it is Alexander Fury's essay that has left the lasting impression. In his entry, Alexander Fury asks and duly answers an interesting question. "So how much significance can we ascribe to the buttoning and unbuttoning of a collar? In fashion circles, it's the equivalent to a tectonic shift: it may seem small, but it often ricochets off the Richter scale." It certainly is. The tinkering of button undoing by Tom Ford at Gucci has long been felt whilst the precision of the lean precision of Hedi Slimane at Dior Homme still reverberates today. From Ford's sexualisation to Prada's seedier experiments and Simons' continued exertion of youthful control to Ossendrijver's blurring of formal and casual, the effects of button fastening ripple long after the shirt has been tossed in to the laundry basket. 

A visual statement. A revelment of sartorial (dis)comfort. An act of social rebellion. A historical mark. A celebration of a subculture. A mark of territory. Over its one hundred and twelve pages, the paperback demonstrates that just how the seemingly simple act of button fastening has all manner of repercussions. Ultimately it is a celebration of a detail, a quirk of individual and collective style. Are you buttoned-up? What does your shirt styling say about you?

Treasured Items... John Holt

As soon as I picked up the first issue John Holt's Law magazine (on the recommendation of Goodhood's very own Kyle Stewart) I knew that I had discovered a title with a refreshing point of view. For its editor Holt, style is everywhere - all you have to do is keep your eyes open. Law is a bi-annual magazine that revels in revealing what others miss and serves to document the ups and downs of the beautiful everyday. Unsurprisingly his 'Treasured Items' pick demonstrates that treasure can be found anywhere. From a market stall bargain, Holt has added his own personality in a similar fashion to how he has approached the print world. Here the editor shares its story...

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John Holt and his lucky charms...

"It’s my pride and joy, always close to my heart. I got the gold chain for £10 from a stall on the old Open Market in Brighton. I didn’t know how much it was worth at the time and fortunately neither did the man who was manning the stand for his wife. I was studying fashion and was therefore skint and used to spending a couple of quid on makeshift chains out of the glass cabinets in charity shops. They never lasted long and I missed the feeling of something round my neck, as those who wear a chain or a watch or a ring will know, you get used to each other. After much deliberation we did the deal and I’m pleased to say we did. Since then I’ve taken it to one of those ‘WE BUY GOLD’ kiosks and lets just say I don’t think he would have been too popular with the wife that night. All I know is it hasn’t turned to silver like the others.

My mum gave me the horseshoe that her best friend gave to her for a 21st birthday present. Some people say you shouldn’t turn horseshoes upside down because you will lose all your luck, I say it showers me with every step. The crown is from Edinburgh castle, which my pal and I visited whilst on a trip round the coast of Scotland in his Transit. I can’t speak highly enough of that country, the locals and the scenery. I guess you could also say the crown is a symbol of my love for our queen, she’s inside the back page of the magazine. I thought if she’s ever going to be in an issue then in this diamond jubilee it must be. The shell is a fossilised unicorns horn, which I found on a beach in Wales and from the acorn a mighty magazine, will grow.

Two times too many I’ve come close to losing this chain and its charms. Once after a scuffle in town and twice climbing up the old Astoria in Brighton to paste up LAW posters at night. On both occasions I’ve managed to get it back but getting away with it by the skin of my teeth like that has led me to think about stopping wearing it, because I can’t bear to go through the heart sinking feeling of losing it again. Perhaps that is the mark of a truly treasured item, too rare to find another too treasured to wear." John Holt

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Treasured Items... Simon Chilvers

As we are all shown glimpses in to the future with the unveiling of the SS13 season and as AW12 product lands on to many a shop floor, it is all too easy to become muddled and confused about the present and the past. Over the last year or so we've been asking a selection of our favourite menswear personalities to 'show and tell' their most treasured items with us. The series helps us to look back as opposed to continuously leaning forward. From wedding bands to battered sneakers, airport security puzzling bracelets to lost but not forgotten t shirts, we've shared the stories behind all manner of cherished objects.

In addition to helping us change the pace of the blog, the feature asks our invited guests to question their wardrobe and how they wear their clothes. Some treasured items have revealed themselves instantly but most have required a little more searching. For stylist and journalist Simon Chilvers, it was the latter. After much thought and searching (both wardrobe and soul), here Chilvers shares the tale of a well worn Marc by Marc Jabobs t-shirt...    

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Simon Chilvers and the old favourite designer t shirt

"Apparently when it comes to clothes I am a bit of a slut. When asked to dish my wardrobe’s most treasured, I looked at the wardrobe only to realise that there really isn’t much in there that has enough history to quantify the “treasured” tag. Yes, there’s a pair of old jeans that I always carry in hand luggage because I’ve invested too much time wearing them in to lose them to a cheap airline, and there are some trusty basics always on rotation, but when it comes to talking point clothes most of them feel too new.

In the end I chose this old Marc by Marc Jacobs t-shirt not because it’s the most brilliantly designed thing in the world – I’m not even that crazy about clowns or white t-shirts – but because there’s something youthful and rock ‘n’ roll about it. I love its old battered look. I rolled around the floor of a marquee in it during a particularly wild dance routine at one of my friend’s birthday parties and it has the faded stains to prove it. 

It also reminds me of being on holidays with its faint whiff of suntan lotion. Being so worn in and baggy its become ideal for wearing on the beach, which is really the only time I wear it in public these days.

I hold various affections for the Marc label too. It was one of the first designer brands I hankered after. I liked its quirky graphics, it’s 1970s references – I still wear an old Marc sweatshirt with a drawing of a girl’s head poking over the top of a wall that I persuaded my mum to buy me from Harvey Nicks. Neither of us had ever been into Harvey Nicks before that.

On my first trips to New York, before there was a Marc store in London, I always went to the shop on Bleecker Street where they sold loads of old tat with the MJ initials on it – mirrors, pens, condoms. I thought it was brilliant. I also bought a pair of dark red leather shoes from there, which I wore to complete death.

I wear a t-shirt most days. I’ll wear shirts, though I prefer short-sleeve ones - the best are from Marni because they’re cut loose - but I’m much happier and more comfortable in a t-shirt. Though as I get older I suppose that might change.

My current favourites are an oversized one from KIDDA by Christopher Shannon – it’s grey, blue and paisley. It also features Christopher’s initials CS on it, which also happen to be my initials in reverse. Then there’s the Christopher Kane printed “turbine” tee, which is busy and has a slightly higher neck line than your average crew – it’s a small detail but a nice one. It looks great with dark jeans. And lastly, a Dries Van Noten purple ikat print t-shirt from spring/summer 2010 - that one is the t-shirt equivalent of a comfort blanket." Simon Chilvers.

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Midweek Reading... We Can Be Heroes

"I’ve had the negatives stashed away in the attic for all these years, the majority never printed, let alone published" admits the photographer and graphic designer Graham Smith who found himself at the vortex of creativity and youth cultures that spun out of the capital in the 1980s with camera in hand. Thankfully, these almost forgotten photographs were published by Unbound and the result is We Can Be Heroes. "As a teenager seeing The Clash and The Sex Pistols changed his life" he continues. Punks empowering message of 'Get up off your arse and do something creative' struck home. Whereas most picked up guitars, Smith's weapon of choice was his faithful Olympus OM 2 camera. "Then I shot the emerging London clubbing scene that rose from Punk’s ashes." From gigs to Soho nights and warehouse parties, Smith's images captured the potent youthful energy of London clubland from 1976 to 1984.

We Can Be Heroes offers much more than just a snapshot of a different time of partying. As well as around five hundred of Smith's photos (most unseen) and a supporting narrative from his good friend Chris Sullivan, there's an introduction from Robert Elms, memoirs by Boy George, Gary Kemp and Steve Strange and countless pithy quotes from more than fifty of the main faces on the scene, plus play lists for each of the clubs. It's a beautifully designed piece of social history told by those that created the scene. Whether you'd like to be reminded by these moments or simply inspired by a different time, this is a book to get lost in.

"So much has changed since Graham was fist a kid with a camera that it seems many worlds away. Looking again at these pictures after all these years, it's not just another lifetime but a different universe. Yet so many of the seeds of those changes, of the life we now lead, and the land we now live in, were planted in that couple of years, by that small group of overdressed, overheated youth hungry for fun and dressed for destiny."

Robert Elms on the impact of London Clubland in the early 80s

Just a small selection of Smith's images that caught my eye.

Thanks to the support of its readers the book was fully funded and released at the tail end of last year. If inspired (and you should be), you can still buy the book exclusively from Unbound.

A festive weekend with b Magazine

"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.

Weekend Reading... b Magazine AW11

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.

Weekend Reading... It's Nice That and 032c

With Susie continuing to rack up her airmiles, I too have decided to escape the capital for the weekend but am only heading as far as the Kent coast. Two days of battling the elements (particularly the wind) and elderly Christmas shoppers awaits. Accompanying me on this festive jaunt are two of my favourite publications, the recently tinkered with It's Nice That and the ever hard to put down 032c. The former has experienced something of a transformation for its seventh issue and inadvertently but rather appropriately explores the future of publishing. Features that I can't wait to immerse myself in the beautifully repackaged It's Nice That include profiles of celebrated documentary photographer Martin Parr, interviews with i-D founder Terry Jones and a free comic by the talented illustrator Sophy Hollington. Meanwhile, after more than a decade of tracing the underlying forces of today's creative, 032c takes stock and lays out the concepts that have emerged from its editorial exploration under the manifesto like umbrella of What We Believe. Whilst looking back, the issue treats the well fed mind of the reader with features on Russian tango dancer turned designer Serge Chermayeff, the original Mad Man Ivan Chermayeef and Supreme to name just a few. A weekend of stolen moments to read awaits.  

Weekend Reading... A long sit down with LAW

Just one week ago I poured myself a cuppa and excitedly flicked through two printed finds, LAW and The Travel Almanac. As the latter has received a fair bit of attention already, I'd like to return to the former. LAW is a platform to portray the beautiful in the everyday. This limited edition bi-annual magazine revels in revealing what others miss. A self titled 'bomb shelter for creative collaboration between the talented youth of today with grit in their teeth and something to say.' For its editor John Holt, style is everywhere. Far away from a runway or glossy publication, it can be an act or a gesture, an accent or slang. It is simply everywhere, all one has to do is look. To help fund the title, John Holt sold his dream car, a 1974 Ford Escort Mark 1. Fittingly, a classic of British style sacrificed to celebrate the wider everyday. LAW is a title concerned with documenting the over looked and giving people a sense of belonging and recognition that they ordinarily might not receive. The aim is to make fashion accessible by challenging perception that it's an elitist world by showing that it surrounds us all. Throughout its fifty three page, it pauses to shine the spotlight on a patchwork of everyday eye catchers including passionate shop owners, matchmakers, tailors, brand devotees, dilapidated funparks and cursed football kits.

In amongst the grey concrete walls, LAW is a window to the world of of the current and undercurrent. A cross section of people, places and items that others blindly walk past, making it even more important to document. The bi-annual shines the spotlight on facets of Britain and localised symbols that would ordinarily not be known outside of these shores. Lets press our noses to the glasses and see...

John Holt sold his dream car, a 1974 Ford Escort Mark 1, to make his dream magazine. A classic of British style sacrificed to celebrate the wider everyday.

The featured sneaker collection of Rob Prentice. "There's almost a Nike culture in sneaker collecting", he notes with a smile. From ebay finds to splurges, this collection details Prentice pure elation for kicks.

Forgotten dreams of an English Summer featuring Christopher Shannon and Air Max 90s.

Dean Powell's Adidas archive. "When I was a kid everybody had Adidas Santiago football boots and I think the first trainers I had were black and white Adidas Kick." Three stripes, a wealth of knowledge and a fortune of stories.

Shirley Webb's editorial is close to home. Dreamland is a waiting to be restored themepark in my hometown of Margate. 

The famous grey Manchester United away shirt. United's record in this kit was as follows. Lost 4 and Drew 1.  A furious Ferguson demand that his team change out of it at halftime at The Dell. They were 3-0 down at Southampton. 

From Dave Imms series Butchers.

Giles Peacock has kept every pair of boots he has worn since he was seven. Above is a just a taster of the collection.

Beauty in the everyday right through to the back page. LAW's pebble dash print.

Here's hoping that LAW will continue to archive real characters and document a cacophony of historic British traces as they shift, evolve and disappear from our surroundings. I'll leave you with words uttered by Jason Evans...

"I differentiate between fashion and style, I think fashion is an industry and style is an inherent quality and I'm much more interested in style than fashion"