Editorial

WEATHER WARNING: EXTREME CHANCE OF LAYERS

Sat, 04 Dec 2021 00:00:00 GMT

The cyclical nature of fashion is ever-present; trends come and go, season on season wardrobes transpire from the climate that surrounds them. For now, it’s outerwear season. Darkening skylines, dropping temperatures, the winter months present a swarm of sartorial opportunities to layer up, protect, and allow us to fully immerse ourselves in the colder climates.

This season has brought about wider moments to fill your outdoor needs. Among those come technical down jackets to the wool-dressed overcoat, with offerings that are endless. Privilege arrives in a statement piece, often a jacket or coat: a stand-out number, built for purpose in an unpredictable weather space.

With a weather warning insight, SEVENSTORE swapped the surroundings of the North West of England for the sites of Scotland’s, Dunblane. Tucked away, up a beaten track and hidden among the veteran Scots Pine trees, Tamano Farm’s serene 6-acre holding was the backdrop for escapism, and the unflawed landscape for the closure of AW21.

Moncler, Snow Peak, And Wander and C.P. Company elevate their environs with a mismatch of autumnal, earthy tones, masking a foundation made for the outdoors. Down fabrication and progressive manufacture make for an unwavering commitment to new technology, all while insurances are made with a continued relevance to luxury, technical and outerwear nuances.

Shop the latest collection of outerwear in-store and online now.

ADIDAS STOCKHOLM: A SPOONFUL OF SCANDINAVIA ON MERSEYSIDE

Fri, 03 Dec 2021 00:00:00 GMT

What is Scouse? Over the course of the last century, to different people, to different generations, and to different sections of society, the word has taken on very different meanings. It’s been used as a term of endearment, a stick to beat Merseyside with, an integral part of football chants on both sides of Stanley Park and the M62, and as a simple name for a simple dish synonymous with the port of Liverpool.

In a scene in the 1964 Beatles film A Hard Days Night, George Harrison is sarcastically labelled a “Scouse of distinction” by John Lennon for trying to come across as sophisticated. This, at the height of Beatlemania, is perhaps one of the first and most famous uses of ‘Scouse’ in popular culture. It not only is a clear indicator of time and place – as Liverpudlian accents hardened in the late 60s and 70s, ‘Scouse’ would become ‘Scouser’ in more ways than one – but also illustrates the word’s solid working-class roots; Even suburban Lennon felt comfortable ribbing George for trying to be posh.

The roots of ‘Scouse’ go much further back than the swinging ‘60s and the Fab Four however, and as with most things Merseyside that aren’t football or Beatles, the story looks out to sea…

By the late 1870’s and early 1880’s the number of Scandinavian emigrants passing through Liverpool per year, on their way to a new life in the new world, had reached 50,000. In 1870 a Scandinavian priest had been appointed to visit boarding houses and hostels that were housing the new emigrants across the city. By 1883 however, such was the size of this Scandinavian congregation, the Danish consul for Merseyside Anders Kruuse Caröe commissioned his son to build a committed centre of worship on Park Lane, just a short walk from the docks that had acted as a gateway to the city for so many of his compatriots. Thanks to the kind nepotism of Caröe, and some good old-fashioned Scandinavian efficiency, Gustav Adolf Church – or the Scandinavian Seaman’s Church – was completed just a year later in 1884, and opened its doors to offer a place of worship and boarding for those arriving from Sweden, Norway and the rest of Scandinavia.

The Caröes and their striking octagonal masterpiece left their impression on the city of Liverpool, but it was the simple, affordable dish that came across the ocean with weary Scandinavian seamen that would make the most indelible mark on Merseyside. Swedish Lapskojs was a simple stew made from leftover meat and vegetables. When sailors weren’t sailing or resting they were eating, and over the course of the next century, Lapskojs would become Scouse, and Liverpudlians – such was their affinity with the dish – would become Scousers.

SEVENSTORE caught up with Mo Yaro, a native Liverpudlian who has been living in Stockholm since 2014, to check out Liverpool’s incredible Scandinavian church to discuss the similarities and differences between the Swedish capital and his hometown, and to visit SKAUS to see what 2021’s iteration of an icon tastes like…

“You see a lot of things when you come back that you didn’t notice before you lived in Stockholm. Similarities, the influence. Even being in the church and hearing people speak Swedish, it sparks something in you, you know?” explains Mo, grinning from ear to ear. “It kind of reminds me how Scousers are. You know when you go somewhere and you hear a Scouse accent, and you’re like ‘THAT’S Scouse. What is he doing here? Or what is she doing here?”

“The first thing I knew about the church was when I lived here, and my ex who was Swedish told me about it, and I was kind of surprised, but you think about it and this area is called ‘The Baltic Triangle’ and you’re like… ah, yeah. Of course, it’s not that surprising. I think it’s Liverpool in a nutshell, really. Diverse comes to mind. I would say the cities are very similar. Stockholm is a diverse city, with some rough areas, and there’s a lot of cultural exchange in those areas.”

Mo, who was one of the instigators of the Baltic Triangle’s now iconic live music venue 24 Kitchen Street, left Liverpool in 2014 in search of something a little more sedate. With his then partner, he set up life in her homeland of Sweden.

“I was a bit, like… what’s Sweden like? I was expecting it to be all countryside and rolling hills, blonde girls called Helga. I got to Stockholm and was absolutely blown away. It’s a beautiful place, and a brilliant city. The big difference between Sweden and here is, when you’re in Sweden you look around and nature is all around you. It’s always a stones throw away. Stockholm has a lot more of a conservative approach to society. People are a little more closed off. Everybody really respects each other’s space, but almost to a degree where it all becomes quite closed off.

Over here it’s more about the people. Scousers are so rich, in terms of character and warmth. People will just turn around and have a full-on conversation with you about anything, even if you don’t know them. They’re so open, and give so much of themselves so willingly. Coming back you really notice that, and that’s a big difference culturally.”

Over a bowl of Scouse in Allerton Road’s SKAUS, a Scandinavian inspired cafe south of the city centre, Mo shared more about his connection to Stockholm and the place he grew up. Common themes emerged, and they all Linked back to the people who first made that journey across the ocean.

“You can see the influence, and you can still hear the accent around Liverpool. Like Scousers, Swedes are very curious people. They get out there, they get around the world. They’re adaptable, and they’re travellers. I suppose that’s where the crux of this story comes from.

There’s a huge connection to Liverpool in Stockholm, and on the surface that’s predominantly through football. I work in a school and we have hundreds of kids, they all ask me where I’m from and when I say Liverpool they go mad. They’re all running up to me shouting talking to me about Liverpool and Mo Salah, and it’s kind of hard to figure out how that has happened. They’re all absolutely fanatical. They’re real, real football fans and they love Liverpool, but it goes deeper than that.

Connecting an alliance between Stockholm and Liverpool, adidas’ Stockholm rendition from their famed City Series collection conceived such connection. Adorned in blue and yellow so often associated with Sweden, the low-profile silhouette matches up classic imprints of suede, gold-foil detailing and three stripe branding for another definitive model.

The adidas Stockholm sneaker is available to register to purchase on SEVENSTORE Launches now.

Writer: Dan Sandison
Photographer: Jon Turton
Special thanks: Mo Yaro

The adidas Stockholm sneaker is available to register to purchase on SEVENSTORE Launches now.

ANZ: A SYMBIOSIS BETWEEN MUSIC, FASHION AND ART

Fri, 26 Nov 2021 00:00:00 GMT

The thought of the weekend arrives in anticipation as early as Monday sometimes. As the sun sets, the working day hits the finish line and people’s heads turn towards the club; pre-drink rituals, party playlists and the question on everyone’s lips: what to wear for a night out?
London-born, Manchester-based DJ and Producer, Anz knows this all too well. Where pre-party playlists and daytime jingles make the perfect backdrop for unearthing her genre-spanning mixes, such intricate combinations derive from a childhood brimming with Luther Vandross or Patrice Rushen, and her parents’ transportation of their youthful Nigerian soundtrack to UK shores. Ringing through her household, as well as nostalgic early morning car rides; soul, funk and boogie chimed effortlessly, colouring days with a new soundscape for future Anz.

SEVENSTORE sat down with Anz to discuss growing up, Manchester’s nightlife and her adoration for 1017 ALYX 9SM.

Fuelled from a young-age – with credit due to Anz’s parents – an expansive range of tastes, genres and eclectic mixes from Afrobeat to Earth, Wind & Fire became prominent in stimulating her to take on a role behind the decks. Such venture was set in stone as Anz recalls, “I remember being really small and asking my parents for about £5k worth of Pioneer gear and rightfully getting laughed out of the room, but later in life it came from regularly volunteering to put on tracks at afters and pre’s [drinks]. I think I’ve always been inclined to try and add to the soundtrack of whatever’s going on, so I guess DJing is just that in an official capacity.” Fleshed out from your typical parties, with an inclination to provide the soundtrack to any occasion, Anz really started to come into her own when she left the big city lights of London for the streets of Manchester. Her creative process is unique, left-field and distinctive – a method she refers to as “stacking” – where layers of different sounds from a polarity of genres come together, illustrating a connective piece of production.

Starting a career as a DJ can be difficult enough but living in London can often help. Connections, club nights and making yourself familiar with the capital’s biggest record labels can arguably give it an upper hand over other cities in the UK. Anz took the opposite route and headed out of her hometown to the North West to study an undergraduate degree in Liverpool. Building a close-knit trace to the city’s rave scene with club nights and new acquaintances, it wasn’t long before she took the short trip over to Manchester where an “intangible” feeling, and a comforting “togetherness” left her unable to shake off an unmissable sense of belonging that the city had placed on her. She had to move. “There’s a really specific warmth. Plus, whenever I get a weekend at home, I’m absolutely spoilt for choice with things to do and nights to go to; it feels very healthy!” adds, Anz.

The move to the North West has proved a worthy venture for the DJ and Producer. A change that set her onto the next level and turned up the gears. Her ascendancy as a DJ has been noted, but that has also followed with a regular NTS show where she devotes her residency to a mirage of her own productions, blurring genres of tech, breakbeat, disco and funk. “I don’t think I knew there was an NTS chatroom until about 2-3 years of being a resident! explains, Anz. As she recounts what her 4 years on the show has turned into, from finding “That balance between an hour of silently mixing tracks vs chattering away on mic and getting into the spirit of live radio. Guest hosting the Do!! You!!! Breakfast Show a few times shifted my outlook on what a show could look and feel like”. Her experience from DJ to Host has opened new avenues, not only with the progression of her own tracks, but with new sectors of the industry as such.
This year alone, Anz has released an EP, crowned DJ Mag’s Breakthrough DJ Of the Year, wrote a countless number of tracks during lockdown periods and set up her own record label, OTMI, short for ‘Otras Mitades’, which is Spanish for ‘other halves’. Recalling a message from her friend, Anz stresses, “My immediate visceral response was ‘no way, I can’t’, by the next morning I’d figured out the name and concept of the label and sketched out the OTMI logo. It all happened in and around the sharp focus on BLM in 2020, and as we were all examining black equity and erasure in dance music, it was like the perfect storm.” Trapping a passion project together, her label is a chance for Anz to unleash a backlog of unreleased tracks into the world with no overhanging industry input on her shoulders. It’s a channel for her complete vision, control and definitive artistic integrity.

Where control and artistic aesthetic is present, Anz is always at the forefront of her look. When it comes to her style, she fuses nostalgic imitations with elements of practicality. “I also love going back through history at the aesthetics of ground-breaking movements and people, from the Williams sisters’ iconic braids on tennis courts to the sanctity and impact of the Panther’s uniforms”, she explains, while her everyday fashion choices “are definitely curbed by the need for practicality, but I constantly look at influential brands, movements and moments, and the interplay between cultural significance and aesthetic presentation - from the evergreen styles of 90s rave fashion to Dionne from Clueless’ iconic co-ords.” Anz has a refined hold on her own style and where it arrives from. A merging pot of tastes that make for a true interpersonal style, adapting from subtle takes on historic nuances for everyday wear.

Much like Anz, artists are aware of the association fashion has with creativity and its representation of varying cultures, countries, genre to gender. “There is a symbiosis between art, music and fashion, but I think the shorthand for this association is presentation of culture. Art, music and fashion are like bookmarks or timestamps for human history; they show us where we’re at, where we’ve been and where we might be heading. So, when the three link up with authenticity and find their place in the cultural canon, it’s really special.”

When taking up her role behind the decks, Anz likes to keep things simple and practical. “My style is 100% for the club. But while there’s something very fun in introducing impractical garments to practical situations, I am super passionate about streetwear and clothes that you can move in, clothes that fit your life.” Extending into practical style situations, Anz describes 1017 ALYX 9SM is a brand that she is always drawn to for its ability to remain “wearable”, in both club and street settings. “None of the pieces inhibit dancing or moving to the next spot.” Something which bodes well for the work of Matthew M. Williams as he is designer ingrained in DJ culture - a coincidence or a conscious design choice? That latter makes more sense.

There is no doubt people have shifted their mindset over the past couple of years – post-pandemic – whether it is the way they live there life, work or even dress. With Anz, she remains in constant competition with her past self with a forethought to her future... “As long as I work at trying to do things that’d make past-me proud, I can wrap up each year feeling positive and ready for the next.”

The latest collection of 1017 ALYX 9SM is available in-store and online now.

Headpiece by @sirayprolyat

SCOUSE SANTA'S GIFT GUIDE TO CHRISTMAS

Thurs, 25 Nov 2021 00:00:00 GMT

Scouse Santa is back! Sleigh bells are clattering, stockings are at the ready, and everyone’s wish lists are in order. New brands or old, stocking fillers to glittering winter essentials, let’s join him to take in all this year’s best from SEVENSTORE’s expansive offering.

Moncler jackets to Needles cardigans, Stüssy’s beach-bold accessories, with a dabbling of 110s, Scouse Santa’s looking for a fresh festive period ahead. Picking out full-laden looks; trackies and tops paired with stacked combos of Nike, New Balance and Clarks Originals. Fill your boots (or stockings) with collectible bits and luxury pieces, Liverpool to Tokyo, Medicom and Peter Walsh. He’s got it all covered with the latest brands, styles, home bits, and of course, trainees.

Scouse Santa’s Gift Guide is the complete place for Stocking Fillers, Winter Essentials, Footwear, Luxury Gifts, topped off with a sprinkling of Gifts Under £100 and £300.

STOCKING FILLERS

Add a contemporary touch to your stocking filler this year with Snow Peak’s camping essentials, fragrant-fresh from Comme des Garçons and some festive reading from IDEA publications.

WINTER ESSENTIALS

Winter essentials helps with an easing into the colder seasons adding elevated outtakes for the turning of the year. Acne Studios, ERL and Salomon S-Lab are all on hand for premium injections of comfort and warmth.

FOOTWEAR

Leading the charge into the festive period; Nike, New Balance and The North Face guarantee gift worthy footwear favourites with collaboration, innovation and next year’s new preference all in place.

LUXURY GIFTS

Are you a lover of the lucrative gift? From small to large, with labels like Off-White, Casablanca and Rick Owens, Scouse Santa's curation is here to spread the cheer we need this Christmas.

GIFTS UNDER £100

Maybe you don’t want to splash the cash too much, but still give a thought that counts. A skatedeck from Moscow or a trip to Tokyo with Medicom X Have A Good Time keeps you in touch with the small side of trends.

GIFTS UNDER £300

Needles, The North Face and Brain Dead, from Tokyo via the rest of the world, Scouse Santa’s Gift Guide gives you gifts to remember, from small to big impact, all for under £300.

BREAKING STEREOTYPES ONE PAINTING AT A TIME

Weds, 17 Nov 2021 00:00:00 GMT

This year was a celebration: 50 years of the existence of C.P. Company. A brand succinct with Italian origins, born under the inimitable guise of Massimo Osti, C.P. Company has grown over five decades with profound ascendency. Recognised on a global scale, from hurtling through Europe in a chariot of subcultures to revolutionising the way clothes are constructed.

One destination that remains integral to the C.P. Company story is the North West of England. Style conscious Northern men have garnered a special relationship with the Italian outfitters over the past 50 years, a partnership which was celebrated in C.P. Company’s anniversary exhibition, ‘Cinquanta’, in Darwin, Lancashire, early this year.

A stone’s throw from the exhibition’s setting, Artist Adil Amin was born in Blackburn, after his parents moved there from Pakistan in the late 1970’s. After studying Fine Art at Blackburn College, Adil has worked in several varying fields while developing his painting practice – of which was helped on by the recent global pandemic, reaffirming his love for art.

Following an exhibition at Prism Contemporary, Blackburn, Adil became Prism’s Associate Artist for the British Textile Biennial, creating his body of work, ‘The Hoodie Series’. For the launch of the Cinquanta exhibition, Adil was invited to extend his series using images of Blackburn’s British Asian C.P. Company fans. Youths who had re-appropriated the brand from its location in white football terrace culture of the North West, a history which has spanned three decades, originating with Blackburn’s young travelling to Europe to seek out Italian sports and casual wear brands.

Adil Amin’s images of young Asian men sit alongside self-portraits, created in dripping, dark, motion filled paintwork. The hoodie serves as a motif in his work, representing the symbolic nature of the hood across street, gang or football culture.

Alex Zawadzki, Curator & Creative Producer for the British Textile Biennial spoke to Adil Amin about the representation and inspiration for his work, growing up in the North West and why C.P. Company is the brand to break down stereotypes.

Alex: Talk to me about your new series of paintings, recently exhibited alongside ‘Cinquanta,’ the 50-year anniversary exhibition of C.P. Company and the launch of their collaboration with adidas Spezial in Darwen. Who are the subjects in your paintings?

Adil: I was asked to create paintings of young South Asian men who have appropriated the C.P. [Company] brand. Who’ve customised it to their own lifestyle and culture. I wanted to break stereotypes and the narrative that only white males… particularly football hooligans from the North West, are associated with the Italian brand.

The people in my work are mostly friends and two are current students at Blackburn College who I don't personally know. Residents and locals of the town. Artist Jamie Holman fixed me up with this commission with The British Textile Biennial after making me guest artist at the Prism Contemporary Summer Show in August 2021; and he shared some photographs he had taken of students around Blackburn College wearing C.P. for me to paint from.

Alex: C.P. Company and adidas clothing have retained a kind of sub-cultural identity in places like Blackburn and Darwen. Now it’s been handed down to the next generation of wearers. Did these brands resonate for you growing up in the area? What did these styles represent at the time?

Adil: I'd heard of adidas from an early age, like a lot of people who are into football. It's first three letters 'ADI' reminded me how I spell my 1st name. I was into a lot of sports so that's where my fashion style comes from. I kind of blended hip-hop culture with sportswear like I’d seen in rap music videos; and on athletes, footballers and basketball players. I still clearly remember seeing David Beckham when I was like 14/15 in an adidas Predator commercial for the first time, and when the movie 'Bend It Like Beckham’ came out; the main character is played by a young South Asian woman who plays football. It connected with my own identity.

Hoodies in general, I think of as a uniform for the streets, like a cap it's an accessory and can become a necessity at times if you need a disguise. There are different ways you can wear them, which gives people more room for individuality. C.P. Clothing I didn't acknowledge till my late 20s. I could never afford C.P. as a young guy unfortunately!

Alex: 30 years ago, Blackburn was a raw place to live. People wearing these clothes largely represented criminality, gang affiliations or football hooliganism. Do you think that still stands?

Adil: I think it does still stand but there's always going to be people that just like the look and some who just want to give others the impression that they are about that life. Hoodies, I think are going to be a part of street/gang culture for a long time. The C.P. Goggle hoodies are a very unique design which extends the identity of the garment - which I think is one of the main factors for its popularity amongst young Northern men.

Alex: The hoodie is a key motif in your work. What does it represent for you?

Adil: It represents a uniform made to be worn in the streets for people within certain neighbourhoods but has even been seen worn by royalty in recent times. With recent trends in street music glamorising the balaclava or 'bally', I see the C.P. hoodie with the goggles used a lot. It covers your eyes so you’re almost unrecognisable, having similar intentions by its wearers.

Hoodies have been linked with sports athletes, but it was hip hop culture where it started to become popular. The garment helps hide the face and the head especially in the dark, when someone is hooded up in a dark coloured jacket.

Alex: As an artist, how do you feel about these intersections between art, fashion, style and commercial design?

Adil: I feel it’s great. I think it's an untapped territory especially when artists are working in such challenging times.

Alex: Is your work emotionally led - are you representing things you see or the things you feel?

Adil: Yes, it is, and I'm representing both. What I see makes me feel and what I feel makes me see things, if that makes sense.

Alex: Has your approach to painting been informed by the subjects you paint?

Adil: I had the idea of painting self-portraits in hoodies in 2010 at university. I hadn't seen them much when visiting galleries. My work is mainly autobiographical. I felt like my work was coming from a dark place. How some humans can be overshadowed and overlooked in society due to circumstances. The hoodie within the self-portraits shows hidden parts of the face which resemble people that aren't seen and heard in society.

Alex: Who are you interested in at the moment - which artists do you follow and draw inspiration from?

Adil: I've mainly focused on myself the last 2 years. I've always drawn inspiration from the life and works of Vincent Van Gogh. I love works by Egon Schiele, Lucian Freud, Peter Doig, Monet, Cézanne but the style I think my work most relates to is Elizabeth Peyton. The minimalism in her portraits and brush work the way she applies it in her strokes were things I started to emulate because I'd seen her work.

I believe it is very important to acknowledge and be inspired by other artists and creatives when creating my own work.

Alex: What other sources inform your work?

Adil: God's gift. Society. Religion. Being a British Muslim. Integration through a clash of civilisations with a purpose to achieve coherent communities. It all informs my work. I really wanted to be a rapper growing up. Music helps me to relax, or sometimes gets me hyped. It enhances and sways me into different moods which transfers to the canvas through brushwork and mixing colours. It helps bring a strong energy and confidence to my work.

I, like many young people, were influenced by street music Hip Hop, Rap, Grime and Drill today. Street music and sportswear go hand in hand like the NBA and Hip Hop music/ culture. I believe sportswear is a part of streetwear. Hip Hop artists were dressing very similarly especially in the 90s with basketball stars like Allen Iverson and Michael Jordan having great influences in fashion and style.

Alex: You put down the paint brushes for 10 years… how and why did you stop painting and then begin again and how did that hiatus impact your work?

Adil: I knew I was decent at GCSE, and I was told by my Art teacher that I was bone idle lazy. So, I put in some dedication and achieved a B. I refused the only A level I was offered, which was Art. At the time I thought 'why would I want to do art?’

Two years later after working in a factory and as a business apprentice I decided to go study Art at College. I went onto study BA Fine Art in 2008. In 2011 I hadn't succeeded in creating a website and failed to do a 10-minute presentation in front of 10 people, so I didn't graduate. I just knew I had a 2:1 in my head for painting.

I returned to Blackburn to help in my father's jewellery business but was shortly fired by my uncle for what I thought was unfair dismissal. This is where I hit rock bottom and fully gave myself to the streets. Abusing my God given talent. I'd slowly killed my dream. I wished I had stayed in Birmingham where I studied, to continue to pursue Art instead of thinking I’d help my father. Help which he didn't need. I kept sinking deeper into street life. I returned to Blackburn in January 2018 and started working in Asda and the pandemic hit after 2 years.

I had had enough by now and thought it’s time to work for myself. A lorry driver told me 'Painting is your priority’- unloading lorries for Asda comes second. That idea shifted my thought pattern, and my portfolio began to grow. I thought to myself, ‘I'm not one to just work in a global pandemic on 9 quid an hour.' There had to be more for me. So, I started buying canvas and paints. I was just in full rebel mode!

I think now I’m painting again - I’m not caring about what people think of the work as much. I’m practicing and experimenting. I think my practice has developed quite a lot through that. I've kind of just been warming up and getting used to it again. I need to upgrade my studio though.

Alex: I came across you through my gallery and the studios next door, and we started to build a relationship over the last year. In a smaller town like Blackburn, how has connecting with other artists and people in the industry impacted your work over that time?

Adil: It's a massive privilege. The feedback I received from Jamie Holman throughout the year has been very helpful to my work. To just have another artist look and love my work means so much. Then he offered me the C.P. Company commission. This only turned the heat up under me!

Alex: What’s coming up next for you?

Adil: My exhibition from British Textile Biennial is coming to Liverpool at SEVENSTORE. It’ll be on show throughout November.

Interview by Alex Zawadzki
Thanks to Adil Amin

Adil Amin's exhibition is on show at SEVENSTORE Baltic Triangle store now.

THE FINAL YOUTH CULTURE FASHION CLASH

Tues, 16 Nov 2021 00:00:00 GMT

NORTH WEST ENGLAND, EARLY 2000S

Nowadays when we discuss the “culture war”, we think of inane, overpaid columnists drumming up tension on Twitter with breathless rants about snowflake millennials, wokeness, or the importance of instilling British values in service stations, or whatever dreadful polemic is floating through their heads at any given moment. In thinking about these stale conflicts that play out on our feeds and in the papers, thoughts about when “culture war” could have meant something different, what the last subculture battle was to play out offline, and how it was defined by what we wore.

At the turn of the millennium in the North West of England, aesthetics and style tribes for teenagers were split into two key camps, and clearly divided. Lacoste shell suits and Rockport boots were a ubiquitous uniform for teenagers on Merseyside in the early 2000s, with Kappa, Sergio Tacchini and Reebok Classics similarly popular, and these kids more likely to be into Scouse house or Oasis than imported American nu-metal acts.

Liverpool’s love affair with Lacoste started in the 80s, particularly amongst its fashionable football supporters, and retained a stronghold during the Wade Smith era, but the brand became canon in 2004 when Michel Lacoste picked the city to house the brand’s largest store in the UK. Speaking to the Liverpool ECHO at the time, Lacoste said: “the crocodile has been very happy in Liverpool for a long time. I believe the Lacoste name is already a success in the city and we now hope to go on to further successes.” At the time, the brand’s biggest seller in Liverpool was the men’s two-tone tracksuit in mid-blue, navy and white. This look, often with trousers tucked into socks, complete with short-back-and-sides, defined “the scally” of the 2000s, a term that Aaron Daniels, editor of Liverpool’s Scally Magazine, says was used condescendingly by people outside of the city. “To be a scally is to be both worldly and a home bird; experiencing cultures across Europe through following your football team, or through the inherent sense of exploration passed on through our forefathers who worked the docks at the height of the city’s port being a gateway to the rest of the world,” he says. “The values and characteristics attached to being a scally – roguish, considerate, having a sense of camaraderie, an air of moral socialism, and being tough and resilient – tend not to change over time. The scally of 2021 and the scally of 2000 are similar in this sense. Where they differ is the clothes and the hairstyles, yet they are similar in the sense that a scally will forever be interested in the ‘latest’ material and aesthetic attire.”

“I think Liverpool has always done its own thing and ignored the status quo in the rest of the country,” says Mundial’s Head of Brand, Skem-born Dan Sandison. “I think this was most prominently apparent in the 80s, 90s, 2000s, while the rest of the country went Gucci belt and leather jacket crazy, Liverpool pinned luxury sportswear to its mast. ‘Chav’ is seen as a derogatory term, but Scousers had the scally, something that I don't think was seen to be putting someone down. It was about celebrating your background and showing that being from a working-class community didn't mean you had to be looked down on, you could own expensive clothes, you could go to far-flung places to get them. The rest of the country might have thought the look was "chavvy", but that was an irrelevance to those who were wearing it.”

Merseyside’s other dominant look amongst its adolescents was “the mosher”, a catchall phrase for alternative kids that arrived in the UK by way of the hardcore punk scenes in Washington D.C and the legendary band Bad Brains, whose Jamaican lead singer would encourage crowds to “mash it up”, which was misheard by audiences and the term travelled round the world as “mosh”, still used today.

In the early 2000s, “mosher” was a generic phrase for a style that amalgamated the goth, the skater, and the punk. Fashion brands were unimportant, even rejected, but huge, baggy jeans were de rigueur, accompanied by enormous, metal wallet chains. Gothic font band t-shirts have since been adopted by behemoths such as Balenciaga and Justin Bieber, but in a way that feels expensive and distant. In the early 2000s moshers wore merchandise by Pantera, Amen, Cradle Of Filth and Marilyn Manson, and didn’t really care that it was bootlegged, an outlook that separated the two tribes – fake adidas would have got you laughed out of school. In direct contrast, it was common to leave a metal show to be greeted with a crowd of blokes cheerfully ripping off the band inside, with fake hoodies and long-sleeved shirts laid out on the pavement, being snapped up by punters on their way out.

“In my school having “blag” clothes was a catalyst for ridicule,” says the online editor of 10 Magazine Paul Toner, born and raised in Liverpool. “I remember there was a phase when everyone was wearing American Apparel hoodies, and it was costing everyone’s parents £50 a pop for these basic hoodies with nothing on them. If you were wearing one in school, people would literally peel the back of your hoodie down to check your label to see if it was authentic or not. Fashion is about being part of a club, and teens were going out their way to make sure they ‘bought’ their way into that club. Even though it’s totally obscene for kids to be going around wearing rig outs which cost hundreds of pounds.”

Battles between factions of Britain’s youth are a storied part of its subculture history – see Mods vs Rockers on Brighton beaches, Teddy Boys vs Punks on London roads – but a less romanticised or archived face-off is Y2K’s Scallies vs Moshers, a war of attitudes that’s possibly too recent for nostalgia, and too late to be documented with film photography. It was a time when you could be laughed at or chased out of the park for wearing the wrong t-shirt, having the wrong haircut, listening to the wrong tunes. In an accelerated age where the internet has flattened subcultures, multiplied the amount of style tribes into the thousands, and taken a lot of feuding online, this was the final British youth culture clash, an ideological battle that played out on the streets, in city centres, and in local parks, places that are now increasingly surveilled or slowly privatised. It was a simpler time, when you could garner a rough idea of people’s taste and attitude when you walked past them on the street, unlike today when people’s dress sense won’t necessarily help you decode what they’re about.

Quiggins was Liverpool city centre’s hotbed of counterculture, a sprawling, rickety, four storey building that was the essential marketplace for Merseyside metalheads. A network of small underground businesses selling punk gear, bric-a-brac, hair dye, and jewellery, its Brook Cafe in the heart of the building was the go-to meeting place for any mosher, and a safe space for kids experimenting with alternative fashion, or the way they presented their gender. The walls of Quiggins were a place where scallies and moshers existed in relative harmony, united by the shops peddling bongs, Rizlas, bootleg CDs, legal magic mushrooms and dodgy herbal weed. “While scallies wore Lacoste tracksuits, Quiggins and the city's alternative scene thrived,” says Sandison. “I think it's natural that Liverpool gets a reputation for sportswear as, in the main, that is the look. It's a port city though, and it's always been a melting pot of conflicting cultures. I wouldn't say growing up that these youth tribes lived peacefully side by side, but I would say Merseyside sees them co-exist more naturally than other parts of the world.”

In 2006, Quiggins was knocked down, despite a protracted campaign to save it and 100,000 people signing a petition demanding that it stayed. As part of Liverpool City Council’s Capital of Culture bid, it drew up plans to acquire Quiggins and knock it down to create the shopping and leisure complex that’s now known as Liverpool One. The plan was approved by John Prescott and Quiggins was gone, a ships-in-the-night moment when it came to what culture meant to the people who were running the city.

“Liverpool city centre has seen a lot of the life sucked out of it the sense that groups like scallies, goths or moshers have no place to interact as groups of friends – or opposition in the case of the old Chavasse Park – due to commercialisation, privatisation, and increased policing and criminalisation of young people in public spaces,” says Aaron Daniels. “It is more and more difficult for young people to make their mark in central areas because of this, and this has seen a decline in counterculture and a move to a more mainstream and non-independent culture.”

Robi Morris grew up in Toxteth and gained notoriety playing the spoof Scouse rapper Riuven, a character who used the Nike tick as part of his logo and wrote boisterous, hilarious raps about his home city like “What Lad” or “Tha LIV”, a local internet hit that was Bluetoothed all over the city. Morris was also an early YouTuber, uploading videos of him freestyling in the park, aimlessly kicking traffic cones around, or overdubbing cartoons to make hits like “Scouse Pingu”. In 2008 he opened the Liverpool ECHO Arena alongside Ringo Starr to mixed reactions – those who were in on Riuven loved it, others were bemused by something they thought painted Liverpool in a bad light.

“People often refer to what I did as ‘truly Scouse’,” says Morris. “That was never supposed to be it at all, and I kind of find this offensive. I was honing in on a type of individual that existed all over the world. It was only ever ‘Scouse’ because that was what I experienced growing up in Toxteth.” Morris grew up hanging around at Quiggins and the also now-closed rock club The Krazy House, and describes his look as “the baggiest trousers you could get, usually made by Dickies. A heavy metal band t-shirt or hoodie, long and sometimes dyed, dreaded or braided hair and piercings. We would have a key chain hanging from our trousers that was sometimes an actual motorbike gear chain. A chunky pair of DC Shoes trainers and a beanie hat.”

He says the internet has changed the concept of teenage fashion rivalries. “I think the internet has changed people's mentality a lot,” he says. “Back then we didn't have this. These days it's all about being different and standing out from the crowd via the web. We have groups and forums for people to express themselves and the support of the whole world to back us up.”

When you’re too young to get into pubs and clubs, it’s inevitable that teenagers have a destination, and it was especially important in the Pay As U Go, pre-smartphone era – you needed a place where you could rely on people to be. In Liverpool, outside the magistrates’ courts was the hangout spot, a funny location given that it was a hotbed of petty crime. It was also a relatively harmonious concrete savannah for scallies and moshers, bonded by bumming cigarettes, looking to score weed, or finding someone who looked old enough to get served at an off-license. Despite occasional disagreements and skirmishes, it was largely a place where ceasefire made sense. “Without goths or scallies, Liverpool city centre would be a desolate place,” says Toner. “When I was growing up, the goths always hung about on the courts, or Quiggins, but every time I head into town now, there’s a real mix of style tribes. Never did I think that one day goths and scallies could be part of the same friendship groups, but today you see New Rocks and 110s walking side by side.”

In the early 2000s, before technology made being at home more fun, every British town had its magnetic hangouts for teenagers, where the rivers overflowed with White Lightning and MD2020. “In Milton Keynes, all the alternative kids gathered around 'the tree' – a big oak tree that grew in the middle of the shopping centre, in a kind of semi-enclosed courtyard,” says fashion writer Emma Hope Allwood. “Very MK. It was also where the Virgin Megastore was, if memory serves, where I probably got my System of a Down posters. I never felt cool enough to hang out at the tree, which unfortunately died and was removed at some point in the last decade.”

Allwood, who would have described herself as an emo growing up, clearly remembers a nervousness about her and her friends expressing themselves through what they wore. “When I was 13, the sense that someone could have a problem with you because of how you dressed was a very real one, especially in a small town: that's why emos travelled in packs,” says Allwood. “I remember hanging out with some other alternative kids and being aware that we were vulnerable in that sense – though maybe the most that happened other than comments was having rocks thrown at us. For my gay male friends who very clearly transgressed ideas of gender and sexuality, the threat of actual harm was much more real. I think it was a really formative period in that sense: I learned that style and clothing and gender and self-presentation have the power to change how you move through the world.”

Technology has changed this type of targeting over fashion in many ways – it’s taken a lot of rivalry into the digital world, but it’s also vastly increased the available archive and influences that young people have for clothing and self-expression. “I don’t think we see these types of culture now because young people today have grown up with access to every reference point at their fingertips,” says Allwood. “Plus, it’s much easier to access cheap clothing in any style under the sun, so they can indulge in a subcultural and stylistic bricolage and flit between looks rather than having to commit to one aesthetic. I think this generation also realised they have bigger issues to fight.”

It feels unlikely that we’ll ever see battles like this again – the line between on and offline no longer exists – and the idea that there are just a few aesthetics or tribes available to people growing up feels completely ancient. Enough time has passed for the signifiers to be adopted into the palatable mainstream – luxury houses have long drawn on the looks sported by young, working-class people who were simultaneously being demonised in the media, and the gothic fonts that once cause moral panic amongst parents are now sported by some of the world’s biggest pop stars. Crucially though, city centres aren’t for people to hang out in anymore. The early 2000s were a simple time for teenagers in the North West to assume a uniform that marked out what type of person they wanted to be (and be perceived as), and the last counterculture battle, the final youth culture fashion clash.

Artwork by Jacob Chabeaux
Words by Thomas Gorton

ERL: THE BEACH BUM

Thurs, 11 Nov 2021 00:00:00 GMT

Eli Russell Linnetz is a wunderkind. Distinguished by his kitsch design lexicon – psychedelic print meets glam rock meets Americana – Linnetz’ magpie vision is funnelled through his abbreviate label, ERL. But for Autumn/Winter 21, this ethos channels a refreshed narrative. Founded in 2018, their latest collection welcomes a melancholic shift for the turn of the season, ushering a pragmatic refinement to the label’s fun fuelled design approach.

Home to its famed eclectic boardwalk and ERL’s headquarters, the creative microcosm of Venice Beach stretches a mere two and a half miles, yet its reputation, renowned. A hub for artists, makers and tourists, Wales’ jagged shoreline is a seemingly far departure, yet both strike a synergy. Skaters, surfers and sun beaten sidewalks are replaced with salty dunes; a relaxed joie de vivre swapped for a charged spirit of youthful adventure. Nestled on the border of Swansea’s limestone coast, SEVENSTORE travels to the North-Westerly alcove of Three Cliffs Bay to dissect the harmonious dichotomy between the two terrains, showcasing ERL’s appeal beyond the American waters.

Despite this juxtaposition, this playground of childlike exploration pulls on ERL’s inherently American strings – an excitement that pulsates through a functional wardrobe of elevated essentials, easily worn with little thought and maximum impact. The latest seasonal curation of plush knitwear, layered fleece and earthy palette’s echo sedimentary geology - ripples and rolls of baked terracottas, warm toffees and rich ochres underpin the collection, creating a distillation of tonal staples. Fleshed with soft marls, waffled cottons and subtle graphic branding, the collection is a more mature vein, yet ERL’s heart persists: Linnetz’ focus on practicality stands uncompromised.

The collection, aptly named ‘The Final Frontier,’ draws on an exploratory narrative. A multi-hyphenate, Linnetz cites film as a large source of inspiration, first spawned after studying Screenwriting, aiming to marry influences beyond the sartorial world. Defined as an undiscoverable, unhospitable place, the collection is a combatting response to its title, where Linnetz acts as the outfitter to the avid adventurer. The cinematic scope of Three Cliffs Bay lies at the crux of this narrative, where the setting’s magnitude mirrors that of Linnetz’ ascension into fashion’s upper echelon.

Across the pond, collaborations with the likes of Nike and Comme des Garçons Parfums have further imprinted Linnetz’ indelible mark in the contemporary industry. Bolstered by a practise stemming from creative direction, photography and set design, in addition to working with leading talent – note Lady Gaga, Naomi Osaka and the Kardashian-West’s as collaborators – and, most recently dressing rapper A$AP Rocky for this year’s annual Met Gala, Linnetz’ ode to ‘Americanness’ merely transcends an ideology to a celebration of those he works alongside.

The Welsh coast may stand as an unorthodox setting for Linnetz’ newest Autumn/Winter collection yet it remains this: a portrayal that ERL’s garments are destined for discovering, irrespective of temperature, location or continent.

The latest collection of ERL is available in-store and online now.

The latest collection of ERL is available in-store and online now.

ADIDAS ORIGINALS BY WALES BONNER: A COLLABORATION THAT MAKES SENSE

Sat, 06 Nov 2021 00:00:00 GMT

There’s an excitement and prestige around Grace Wales Bonner that places her beyond her years. The 29-year-old has carved herself out to be one of London’s most exciting designers, first with menswear, then womenswear, when she began showing co-ed in 2018. A graduate of the esteemed art college Central Saint Martins – a pillar of London’s creative scene, which boasts Alexander McQueen, John Galliano and Phoebe Philo as alumni – her collections are beautifully crafted, steeped in cultural codes, and fed by an extensive amount of research that cements her namesake brand as one of the finest luxury labels to operate out of British shores.

The brand is synonymous with sleek tailoring, served with a dollop of nostalgic sportswear which has seen the designer explore notions of Black identity. “She’s stayed true to her core aesthetic and intellectual concerns, and she makes clothes that people want to wear and that feel easy to put together and combine with one’s existing wardrobe,” says Jay McCauley Bowstead, a cultural and historical studies lecturer at London College of Fashion and author of Menswear Revolution. “None of that is easy, of course, but she’s managed it.”

On the eve of the pandemic, through to January 2021, Wales Bonner produced a triptych of collections which explored the threads between Britain and the Caribbean. Beginning with the Lovers Rock scene of seventies London, the designer moved through to the lasting influence of Jamaican dancehall culture, before landing on the wardrobe of Black British scholars who came from across the world in the 1980s to study at Oxbridge. The designer described the collection as the wardrobe of the “Outsider Intellectual”, writing that these academics represented “a real and radiant community of scholars, poets and artists from the Caribbean, India and West Africa, whose work and writings advanced postcolonial discourse.”

Within the collection – dubbed Black Sunlight – Bonner introduced the latest instalment of her adidas Originals collaboration, which has been a smash hit in the fashion world. Speaking to Vogue, the designer said: “I was trying to imagine a fictional university that is a lot more multicultural. Maybe what their team kits for a track program might look like.”

It could be easy to dismiss adidas Originals by Wales Bonner as another hype-driven collaboration. Yet as Sam Cole, Associate Style Editor at Highsnobiety, explains: “Younger buyers are looking for substance in their purchases, and I think the stories at the heart of the brand give it that weight. Race and identity politics, like it or not, are a dynamic part of modern society and how we perceive and celebrate ourselves. For myself, as someone with dual heritage, I’m drawn to these contexts. It gives the brand life and makes it relatable.”

As Bowstead points out, “the Wales Bonner adidas collaboration picks up on ‘70s references that are part of the DNA of her label, as well as references to the early ‘80s: decades marking a point at which sporting apparel becomes important to subculture and youth culture.” For designer Sam Nowell, it’s Bonner’s affection for ‘70s styles, that is synonymous with adidas sportswear, that makes the team-up special. “It’s up there with my favourite collaborations of the past few years. Wales Bonner is able to reference 70’s adidas wear that falls in line with her own practice and the garments as a result work in isolation or as part of her collections,” he says.

The collection sees Wales Bonner revive ‘60s jerseys to make each piece feel lived in, exaggerating the collars on plum-coloured tracksuits and printing anoraks and t-shirts with a special motif that reads ‘Wales Bonner adidas Originals Literary Academy’.

“I think [the collaboration] is a great way for fans of the Wales Bonner brand to buy pieces from her at a lower price point, but that still feel authentic to the brand, because adidas has such history with the communities – particularly those in Jamaica, and London – in her reference points,” says Lauren Cochrane, Senior Writer at The Guardian.

Cole agrees: “Brands with history as extensive as adidas exist within a “cross-cultural” space, they’ve been adopted as the uniform for a diverse mix of subcultural and countercultural movements. I think this bodes well with Wales Bonner’s exploration of multiculturalism, identity, and race. These aren’t easy contexts to explore and the personal and societal contexts as the heart of the brand affords Three Stripes a pretty unique opportunity to showcase itself four dimensionally. We’ve all seen adidas at football games, on the ground and in the stands, but how is adidas perceived within other cultural groups? With Wales Bonner, this can be explored organically, authentically, and with a contemporary edge.”

Fashion is stuck on nostalgia, with the pandemic only adding to our collective longing to “relive moments in time that looked more exciting through style”, as pointed out by Cole. What sets Bonner’s mining of the seventies apart is her ability to remix the style codes of that era, blending sportswear and tailoring to give classic items like the tracksuit a whole new meaning.

“Huge sportswear brands can feel very removed from that sort of humanness if you will, despite the fact that every single one of us has something from them,” adds Dal Chodha Editor-in-Chief of Archivist Addendum. “All of those [sportswear] brands are so embedded in our sartorial histories. And Grace’s clothes are the same to the people who buy them – they tell a very human story.”

For Cochrane, it’s Wales Bonner’s unapologetic intellectualism that makes her an ideal collaborator for a brand like adidas. “Wales Bonner has managed to create a brand that produces beautiful, well-made and wearable clothes that also has the imagination, story-telling and point of view that very much shows that fashion is not just about clothes,” she says. “The research is phenomenal and goes across moments in time such as fifties Paris by way of James Baldwin, nineties dancehall in Jamaica and Haile Selassie in Ethiopia in the thirties. These thoughts and moods infuse her clothes in a celebratory way and beautiful way. Her work is close to art, really.”

adidas Originals by Wales Bonner will be available in-store and online from 15 NOV 21.

Artwork by Jazz Grant
Words by Paul Toner

6 MONCLER 1017 ALYX 9SM

Thurs, 04 Nov 2021 00:00:00 GMT

Going beyond product, embracing culture, exploring creativity, nurturing experiences while crossing different worlds and different energies, bringing communities together in a journey into the unexpected – this is MONDOGENIUS. A digitally led experience across 5 cities and through the vision of 11 designers, all under one show.

One of the designers taking part in this new chapter for Moncler Genius is Matthew M. Williams of 1017 ALYX 9SM. Partnering for the third time, Moncler and 1017 ALYX 9SM is a step up in confluence of close-knit relationships, sharing different areas of expertise and applying signature 1017 ALYX 9SM codes to the history of Moncler. Creating a fierce beauty from realism and the uncompromising facts of life is his unique gift, merging hyper technicality with a crafted feel for his utilitarian collections. A dual approach of blending innovative construction with eye-catching metalware has shaped his collaboration with Moncler Genius since the start, establishing a distinctive design language that is both urgently metropolitan and instinctively of the moment.

Growing up in California, over the course of his 10-year career, Williams has collaborated with the best in the world of art, music and fashion, creating a refined aesthetic based on the foundations of subculture. From his humble beginnings working alongside Virgil Abloh and Heron Preston, Williams’ 1017 ALYX 9SM has been the result of passionate deviations into research and development work inspired by youth in California and global urbanites. Alongside 1017 ALYX 9SM, Matthew M. Williams was appointed Creative Director of the Givenchy fashion house in 2020.

“In these ever-evolving times, I truly believe in the power of connecting communities around the world through experiences. The greatest inspirations I had in my life came directly from people and at Moncler we know that the more we inspire people, the more they inspire us. This is the principle that guided the creation of Moncler Genius for 2021,” said Moncler Chairman and CEO Remo Ruffini.

The codes of signature 1017 ALYX 9SM hardware make Williams’ design so distinct. Leading this charge of stand-out embellishments are the buckles that find themselves around the collars of jackets, the waists of pants and infused into a range of headwear. Known to be inspired by the rollercoasters from Six Flags amusement park in the US, the famed buckle detail is the utilitarian touch that puts Williams’ design into a new dimension. The merging of advanced innovation and crafted feel is the 1017 ALYX 9SM signature, swiftly translating Moncler’s mountain ethos to within a fast metropolitan setting.

6 MONCLER 1017 ALYX 9SM is available to purchase online now.

CLOT: THE BRAND THAT BUILT A BRIDGE BETWEEN EAST & WEST

Tues, 02 Nov 2021 00:00:00 GMT

It’s hard to research CLOT without coming across their ‘Bridging the gap between East and West’ mantra that they are rightfully proud of.
The East has a lengthy history with streetwear that dates back to Japan in the early 1990s when pioneers like Hiroshi Fujiwara, Nigo and Jun Takahashi, as well as a host of other names, began paving their own way. With a fascination for Western, but particularly American, pop culture, style and music, they interpreted this with their own identity and forged a new visual language. This cohabitation of crossing cultures brought to life the differences and few similarities East and West heritage possess, creating a bridge for the future between the two.

With that in mind, Yang Lui’s East meets West infographic series shows the discrepancies of life from either end of the globe; from sleeping patterns, transportation, social activities, to attitudes on property and public space. This is an ever-changing domain, but more recently the confluence of East and West - through difference - has played an integral part in shaping designers from Tokyo to London, and New York, while establishing sartorial nuances derivative of a whirlwind of different cultures.

An occupant of this East meets West ascendancy and a basis for traditional identity, CLOT is the brainchild of both Kevin Poon and Edison Chen. Established in 2003 as a streetwear label offering carefully designed apparel and goods that honour customary uniform, but with a Western influence.
Kevin Poon was born in Hong Kong before moving to Chicago, with a back-and-forth between the two, he finally landed in Los Angeles. During this time in LA, he interned at Interscope Records - a record label that fostered the likes of Dr Dre, Snoop Dogg and Eminem. At the time of interning, Poon was also studying Finance at Pepperdine University in California. In between studying and working at Interscope, Poon was importing and exporting sneakers for his friends in the US and Hong Kong, merging both sides of the sneaker community where sneakers may not have been available in America and vice versa. Poon spent more time selling sneakers to rappers than actually doing his day job, which he was eventually fired for. This, although may not have been great at the time, lay down the foundation for Poon’s foray into streetwear and ultimately tapped into CLOT’s mantra of bridging the gap between East and West, before it was even a thought.

It became apparent to Poon that he did not want a desk job and he started to explore new avenues. Being educated and working in America and then going back to Hong Kong, Poon realised there wasn’t really a market for street culture in his homeland. After hanging out with Edison Chen, the two together set up shop in Hong Kong, which was a success – attracting brands like A Bathing Ape, Neighborhood, as well as making the realisation that there were great brands coming out of Japan and America, but none from Hong Kong. That is how CLOT came to fruition.

As the son of a Hong Kong industry titan, Chen took a slightly different path up until co-founding CLOT; he was both an actor and music artist, two outlets which he has dabbled in alongside CLOT. This early crossover between two opposites in terms of tradition and culture only heightened Poon and Chen’s fascination with bringing them closer together through apparel, footwear and accessories. In the years since, it has become one of the most revered names in streetwear and sportswear as well as being synonymous with high-profile footwear collaborations with Nike, Fragment Design and Visvim. But, with that aside, CLOT stands for more than that: it is a symbol of individuality, local culture and anti-establishment ideals.

CLOT means, ‘Exactly what it says. All these new ideas and trendsetters gather in one area and get clotted up; this so-called area is named CLOT Inc.’ CLOT is embedded in the country’s street culture and has helped shape the scene they are enamoured with by adhering to tradition and subverting the normal in a city where originally is hard to come by. In the time since, it has paid dividends and that is a reason why CLOT are collaborative powerhouses, with not many names that haven’t seen the CLOT paint brush applied to them.

Expanding past just a fashion label, CLOT launched JUICE as a retail space and lifestyle store. Curated with the latest fashion brands JUICE is an extension of CLOT, celebrating individuality, helping bridge the gap between the East and the West. Opening its doors in 2004, the retail space has become a concept for book signings, events, activations and launch parties. JUICE’s retail presence is astounding: in Hong Kong alone, there are four locations, as well as seven others in Taiwan, Beijing, Shanghai, Chengdu and Los Angeles.

Notable and pivotal events that have happened along the way cementing CLOT’s legacy include their 2006 ‘collaboration’ with Kanye West, which actually never saw a public release, on an Air Max 1 dubbed ‘Touch The Sky’ after the name of West’s tour. The term collaboration is used loosely as only four pairs were made, two for Kanye and two for Edinson Chen.

To talk about CLOT’s collaborative history without mentioning Nike would be sacrilege; it can be traced back to 2006 when the pair released their sneaker together: the ‘Air Max 1 Kiss of Death’. Like mentioned, the sneaker takes inspiration from traditional Chinese acupuncture with Edison saying, ‘We wanted to make a strongly Chinese flavoured shoe no matter what the base of the shoe was.’ Later on, in 2013, CLOT and Nike revisited this concept and released the ‘Kiss of Death 2’. This was a real stepping stone for the pair's relationship as it marked the beginning of an exploratory journey into traditional Chinese culture for both Nike and CLOT, marrying that ever-present East-meets-West connection.

Footwear isn’t the only collaborative avenue CLOT has explored; they have dabbled in contemporary art as another expressive medium. Ever since their 2004 inception, CLOT has been regularly collaborating with MEDICOM TOY, specifically their ‘Bearbrick’ figure - a bear-like collectible figure that has been the basis for projects with the likes of KAWS and Keith Haring. Notable projects between CLOT and MEDICOM TOY, specifically on Bearbricks, include the inaugural CLOT X Pepsi Bearbrick Pack from 2004, 2014’s ‘Valentines Day’ pack that derived inspiration from traditional Chinese marriage wear and the ‘Black Silk’ pack developed by Nike and CLOT released in 2020. What is particularly interesting about ‘Bearbrick’ figures and the collaborations that come with them is the crossover between fashion and art, making art more accessible for streetwear enthusiasts and those who are familiar with CLOT.

Today, Kevin Poon and Edison Chen continue to keep CLOT on the right tracks but from a distance. Poon looks over the business end of the brand while Chen takes care of the creative side of things. That way it works so they can both explore other disciplines aside from fashion. Poon has taken his love of art from CLOT to become part of a new generation of art collectors with a vast array of emerging and established artists from Asia and the West, most of which are identified from his hip hop influenced background. As he is a collector by nature, Poon’s venture in art was inevitable, firstly into his Chinese roots of contemporary art then amassing popular names such as KAWS, Futura 2000 and Daniel Arsham. On the other side of the coin, Edison Chen operates a more low-key life these days, working between CLOT and family life, keeping his finger on the pulse with the brand’s expanding plethora of collaborative journeys.

CLOT remain at the helm of contemporary streetwear with the label most recently taking a step back into their Chinese heritage. Traditional textiles, silhouettes and patterns made the streetwear connoisseurs step-out of their comfort zone and cleverly shine in on modernised Asian infusions, while still tapping into the streetwear market. Their legacy is hard to dispute, especially in the collaborative sphere where you see them subverting the norm and adopting cues from their homegrown culture; it isn’t very often that giants like Nike play ball like that. As 2021 draws closer to an end, CLOT’s reach is growing, alongside the sartorial bridge between East-meets-West, putting a fresh perspective on everyday designs to an international audience.

The latest collection of CLOT is available in-store and online now.

Artwork by Henry Spiers

NEW BALANCE 990V2: FORMULA FOR THE FUTURE

Thurs, 28 Oct 2021 00:00:00 GMT

Craftsmanship, comfort and heritage – the make-up of New Balance, what they stand for and what they frequently achieve. The profound aspect of the Boston-based brand is their unequivocal rise through time, consistently hitting spots in the market with sneakers that work for everyone. The centrepiece of this unfolds from the pillar of the 990 series, and its ability to turn reinvention into revolution.

Looking at the 990 series of late, it has arguably been the finest time for the brand. A period that has attracted a wealth of newfound customers, collaborators and a whole host of reworked silhouettes. From Stüssy, JJJound to Aime Leon Dore and Levis Strauss & Co, the 990 series has plunged New Balance’s sporting framework into the contemporary fashion sphere with no signs of stopping anytime soon. But to make this mark, such predecessors before this period had to create the story, build from the ground up and charge headfirst into the highly competitive sneaker market with ounces of hope and a relatively unknown assumption of how things would pan out. In this case it worked. Better than anyone expected.

The initial inception of the famed franchise hit the shelves in 1982. At the time it was the most expensive sneaker released by New Balance, so if that wasn’t a statement, being the first out of the gates added an extra sense of nerves to those behind it. The New Balance 990v1 was like nothing that had come before, the desire of the brand was to "develop the very best running shoe they were capable of", combining New Balance’s latest technology with Made in USA craftsmanship. The 990v1’s monetary inaccessibly and enhanced performance nuance made it more desirable, whether you were a serious runner or looking to invest.

It wasn't until 16 years later that New Balance updated the 990 series. Next in line was the 990v2. Divergent in design, indulgent in new technology and a fresh face of suede, the 990v2 was a step forward and step up for the 990 series. Technical innovation arrived in the form of repurposed uppers and sole-injected ABZORB technology – consisting of foam cushioning and compression, for optimised shock absorption. Slip-resistant rubber spanned across the ENCAP sole unit to combine with the sneaker's soft, but durable suede uppers. This wasn't like anything they had done before, although the successor to the 990v1, the 990v2 signified a polarity between the two, showcasing the progression of New Balance's modernisation over the last 16 years. For those 16 years when the 990 series was non-existent, New Balance continued in the intervening period with models from the 995 all the up to the 999. Essential to the 990 series' newest execution, time had passed, technology had advanced and the next in line was in the waiting.

To this date the 16-year gap between the 990v1 and the 990v2 has been the biggest in the series. From 1982 to 1998, the world was in a state of evolvement, towns were becoming cities and technical powerhouses were being formed. The internet was conceived, email was connecting the world from opposite ends and Google was a fresh concept, arriving the same year as the 990v2. But why did New Balance wait so long between the two? The wait was paired with research and development, progression in technology and the ability to touch point into never-done-before aesthetics. New Balance had tried and tested such improvements in the interim period with other contemporary models similar to the 990v2. Making a strive for change, switching up their game and entering a new fold of design was the outcome. This prolonged absence from the 990 series was paramount to the execution of the 990v2 and without it, it begs the question - would the 990 series be where it is today?

"Established new design formula for future iterations" - the mantra behind the 1998 edition, emblazoned on all New Balance’s 990v2 adverts at the time. The sneaker arrived as a somewhat suggestive statement of intent from New Balance; to push forward design for the next catalogue of silhouettes. The introduction of the silhouette in 1998 was somewhat admirable and timely, paving the path and without it, would the 990 series be held in such high regard? Would the v3, v4, v5 and next year’s v6 be possible? That’s not for us to answer. But what we do know is that is changed the course of New Balance, giving the brand a formula for the future.

Fast forward to 2021 and New Balance are gearing up to re-release the original in the wake of the 990 series’ 40th anniversary next year. Adorned in the brand’s ever-represent grey glory and suede accents, the 990v2’s innovative touches are still present to this day and remain as important as ever. Whether or not it stands on the podium with its peers or not often shouted about, the New Balance 990v2 is the unassuming face of change for the series and the backbone to its ascendancy.

The New Balance 990v2 is available to register to purchase on SEVENSTORE Launches now.

Artwork by Callum Abbott

BRINGING THE SENSIBILITY OF FASHION TO THE OUTDOOR WORLD WITH AND WANDER

Tues, 26 Oct 2021 00:00:00 GMT

And Wander is a bridge between fashion and outdoor wear. Born from a desire to explore nature and the mountains, the Japanese label is a combined project refined from experience to create their own sensation of the outdoors, catered for the city and beyond.

Their delivery of a stylish strategy is captured from the designers’ work within the fashion industry for Issey Miyake. With an aim to capture trends, And Wander is an objective to motivate people, setting target on the perfect outdoor clothing, where people working in cities can reach out to visit on weekends or summer trips.

SEVENSTORE spoke to founder's Keita Ikeuchi and Mihoko Mori on their time at Issey Miyake, creativity and why the combination of fashion and function works well with And Wander.

SEVENSTORE: Once upon a time you both worked at Issey Miyake, how did you find yourselves starting up a technical outdoors brand?

And Wander: While working as designers at Issey Miyake, we both had an interest in outdoor activities which followed with backpacking trips also. As we could never find suitable outdoor clothing, we decided to design them ourselves which was the beginning of And Wander.

SEVENSTORE: How has your time and experiences at Issey Miyake shaped you as a designer today?

And Wander: During our time at Issy Miyake we certainly learned all the ropes of creation to the production side. Quality is the main goal whatever the design.

SEVENSTORE: How does your design approach differ from And Wander and Issey Miyake, especially as they are two very different brands?

And Wander: Issey Miyake is a collection brand whereas And Wander create functional products suitable for outdoor activities. Our experiences in working in the “fashion” world and creating outdoor wear is quite similar. We are always very excited to start a new collection from the design point of view but we also feel challenged with the production side as we work with a lot of technical fabrics that need to be satisfactory to meet our standards, but basically the approach is the same.

SEVENSTORE: How did And Wander get its name?

And Wander: We decided on the word of “wander” when we thought about the brand philosophy by our aspiration of how to enjoy experience in the mountains and having people understand how relaxing it is to enjoy the nature and not just for only backpacking.

On the other hand, “Wandervogel” is the origin of etymological word of the German language, but we like the part of background spirit aspiration to be free.

SEVENSTORE: What three words would best describe And Wander and why?

And Wander: It seems a bit difficult to answer…

SEVENSTORE: What is your most favourite part of your job?

And Wander: The creation side obviously but we also get a lot of satisfaction selling our goods as we believe they will improve their outdoor lives.

SEVENSTORE: And Wander is a considered outdoors brand, along with Arc’teryx and Salomon S-LAB. Did you ever consider And Wander and similar outdoors brands to become so relevant in fashion today?

And Wander: There are many great brands in the industry, however we believe there is no brand background DNA like our unique previous career.

Also, we are particularly Japanese brand that have a positive effect to make unique value.

SEVENSTORE: Do you feel as though And Wander is now going beyond providing outdoors gear? Now catering for people outside of the climbing community.

And Wander: Soon, we would like to develop the brand as there is a great demand for our products for everyday life as much as in the urban cities like more rural towns.

SEVENSTORE: Now that the landscape of fashion is changing and potential custom, does this ever cross your mind within your creative process?

And Wander: We are focusing on our creative process that doesn’t have large effects on production.

SEVENSTORE: What inspires and drives your creativity?

And Wander: Inspiration comes from various experiences; as we are outdoor people ourselves each time we think how to improve our products, be it developing new fabrics, seeking new (and old) sewing technologies, and of course the general mood of trends, culture and art. Having our own store also gives us the feedback from our staff or clients.

SEVENSTORE: Your collections develop a strong connection between style and function. What comes first, the design or the story?

And Wander: Actually, there is no seasonal concept but perhaps the design comes before the story.

SEVENSTORE: Function is always at the forefront when designing for the outdoors, but is it also just as important to have an interesting/fashion element that initially attracts people to the garment?

And Wander: Our products must be functional for outdoor activities as well as urban life but we hope our products also inspire a certain fashion sensibility.

SEVENSTORE: And Wander teamed have teamed up with Salomon on a special collaboration, how did this come about and how did you find working with others in the industry?

And Wander: We found Salomon shoes at a multi brand store in Paris which we decided to use in our 2017AW look book. We were then contacted by Salomon who had seen the catalogue. The following year we had a meeting at Annecy HQ design office after Paris FW and this is how the collaboration started.

It’s quite an honor and important to have this partnership as we believe we have the same creative view and the commercial side has been very positive for us all.

SEVENSTORE: Do you have any aspirations/ ideas in which you’d like to achieve in the coming years?

And Wander: We are considering some different concept shops to emphasize the brand worldview, also enhancing the functionality of the products that have been successful.

SEVENSTORE: In the midst of all the chaos surrounding Covid-19, How did you adapt to it? How have you managed to fill your time? And how has it affected And Wander? How will fashion adapt? & respond?

And Wander: Japan has struggled in this situation also, but we are currently controlling the minimum staff and limited time in our office. Furthermore, our shop has been temporarily closed for 3 weeks and our new concept shop opening has been postponed. Things don’t always work out as we expected, we have been trying to stay at home during these uncertain and unpredicted time all over the world. Hopefully this situation gets resolved soon so we can advance with our plans.

Shop the latest collection of And Wander in-store and online now.

POSTCARDS FROM JERSEY: DAVID CULLEN OF UNSEEN FOOTWEAR

Tues, 19 Oct 2021 00:00:00 GMT

Muted, minimal, understated – Unseen Footwear boasts no obvious branding bar an embossment on the tongue and heel mark, conveying a “reaction against the brand driven logo mania” of the contemporary landscape. For their Creative Director David Cullen, style is classic, with Unseen driven to strike a balance between heritage and modernity. Chronicling the label’s birth on the offshore island of Jersey to its growing international reputation, SEVENSTORE delves into Cullen’s world to learn more about the label’s affinity with craft footwear.

Cullen’s parents emigrated from Glasgow to Jersey in the 1970s, where an adolescence spent on the island’s coastline led him to see beyond its tourist reputation. ‘Normally when I meet people they go, ‘ah, my Gran used to go to Jersey...’ but it’s very cosmopolitan,’ he stresses, where its non-EU status has swiftly avoided any implications of Brexit. A Channel Islands native, university eventually took David to Glasgow, where a career in buying spawned a gradual frustration - Suitable footwear that satisfied consumer, the company and quality, was lacking. In his own experience, the “continuous increase in price” in the current market “didn’t justify the product,” subsequently leading to the brands inception in the Summer of 2019. Born out of a “love for well-made product, with simple and clean design,” which, Cullen admits, “the Italians do extremely well,” the Mediterranean joie de vivre eventually became the perfect proving ground for the label’s fruition.

Located in the Eastern Italian coastal town of Civitanova, Unseen’s finishing factory is also home to luxury leaders TODS, Prada and The Kering Group, with each shoe component sourced within a fifteen-mile radius of its manufacture. Despite Cullen being the masthead of the label, there is an inherent sense of keeping consumer and craftsman at the crux of the conversation. “Our two Italian agents Vito and Raf and I toured Civitanova, visited sole and fabric suppliers and met with the factory owner and his family,” he explains, with a “personal approach being important” to the company’s manufacturing process. Bolstered by a setting rich in footwear production, the 4^th generation factory and in-house design team work in synergy, creating product for the everyday that aims to stand the test of time. Hand laced, handmade, hand packaged – Like its namesake, Unseen Footwear operates with a humble modesty, wishing to retain an ethos founded on traditional craft, to champion minimalism in a sea of oversaturation.

Rooted in unwavering technicality, plush suede, rich leather and durable cotton bodies are supported on a Vibram sole spine; Where there is comfort, there is classicism, offering considered footwear for the discerning customer. Aiming to overlook the “shock factor,” Unseen also wishes to answer many of the industry’s most pressing questions, addressing the environmental impact of production and distribution within wider manufacturing standards. For Cullen, “good quality is the highest form of sustainability,” where alongside the development of permanent styles, the desire to innovate is ever-present. Experimenting with materiality has led to the birth of their first “100% sustainable sneaker,” comprising of cork-hemp soles and recycled linings - Considering the planet hasn’t been compromised in bringing premium product to market.

Despite Italian production being integral to the label, the heart of Unseen beats from the Jersey coast. Situated North-Westerly of the French border, the reputation of the five by nine-mile island is arguably steeped in tourism more so than fashion, that has in hindsight, proved somewhat of a challenge in the post-pandemic climate. Home to a mere 100,000 residents, the location “certainly makes things more complicated... I was initially planning to be based in London,” Cullen explains, but the forced changes have “been a blessing in disguise,” where the island’s famed landscape has been a malleable canvas for campaign locations, and is home to a small, close knit team. Of which, David can individually name, each responsible for the daily running of the quickly expanding company.

When design’s past is reinvented for the present day, what can be said for the future of Unseen Footwear? Simply put, “to see the brand in the best stores in the best places around the world,” he tells us. The development of an existing women’s collection and brand partnerships aim to amplify the brand’s cut-through-the-noise spirit, bound by the seas of Italy and the shores of the Channel Islands - Local sourcing, with an international perspective.

The latest collection of Unseen footwear is available in-store and online now.

THE CYCLICAL NATURE OF MKI MIYUKI ZOKU

Thurs, 14 Oct 2021 00:00:00 GMT

Let’s stroll back to the streets of summer 1964. A prosperous chapter in the history of Japanese fashion where foundations positioned themselves towards a shift in the country’s fashion trends.

One destination where all of this took place was Ginza. A popular upscale shopping neighbourhood situated in Tokyo, it became the breeding ground of fashion for that era. 1964 was particularly vital, a year when American style hit the shores of Japan, flooding the streets of Tokyo with hints of Ivy nuance. Chinos, blazers, button down shirts and penny loafers started to make appearances in the wardrobes of Ginza’s fashion inhabitants, while inspiration derived from American cues, film stars and classic rock ‘n’ roll heroes, striking the words “American Dream” in every sense.

Adorned in a facade of American grace, youths would loiter around their favourite stores on Miyuki Street. This was later termed the Miyuki Zoku ("Zoku" meaning subculture or social group). A phenomenon in Japan in the 60’s, fast-forward 50 years and the moniker has been adopted by independent Leeds based brand, MKI Miyuki Zoku. With over a decade of experience, MKI have embraced the core spirit of the Miyuki Zoku of 1964, creating a brand that offers quality, designer-led garments that are accessible in both, affordability and wearability.

Leading the brand into existence in the North of England is MKI’s Founder, Vik Tailor. Vik oversees all areas of the company, from design and implementation to communications and logistics. Although his first fashion venture, Vik’s experience of fashion came from those closest to him, “I come from quite a design orientated family. Both generations above me were and are in the creative industries, so it was always in my DNA to be in the arts”. But it wasn’t until a number of hurdles in architecture until Vik “turned towards my other passion in life, which was menswear”. From working the bottom up, retail at the age of 16, starting at high street stores to small independents, then onto big departments stores, Vik laid the framework and experience for what was to be MKI.

Nestled in Leeds Corn Exchange – ‘A historic centre of commerce, reimagined for a new century’, MKI opened their first space in 2010. A symbiotic statement from the foundations of the MKI name, and its first retail setting, Vik felt that “this concept was just as relevant then as it is now.” Bringing forward eras of the past, MKI is the result of, “Fusing experiences in London with independent Korean and Japanese labels and bringing that experience to my city,” just like the original Miyuki Zoku brought Ivy league from America to Japan in 1964, Vik and his team brought Japan to Leeds in 2010.

The undertones of the Miyuki Zoku play as a reference point for Vik and his team. Where consideration in his design is helped along the way with cherry picked nuances of the famed Ivy league-Japanese era. “Connotations of dress code and style always point back to elements of the way they dressed. From wide legged, cropped trousers to varsity jackets…design cues can always be synonymous with this concept.” Experimenting in his first ever design foray, which was a diamond quilted leather jacket, MKI have come a long way, from being an independent multi-brand store to an in-house label, to then having over 50 premium doors globally.

From that one leather jacket, that is how the brand began. The continual growth of MKI has prospered into casualwear, sherpa collections, accessories and more. A prolific growth, but a one that may have swayed them from their original Ivy league roots. Vik’s considered design approach shows, “We always try to nod to our roots and original concept. Of course, not all our collections have deep rooted connotations of Ivy league style, but we try to look back where we can. The lines get slightly blurred when we start designing fully technical outerwear with taped seams and hydrophobic fabrics. Not something they wore back in the 60's, but building collections that are all interchangeable and wearable as sets is something we can take from our MKI heritage.” With this comes a striking of balance between heritage, their Ivy league roots and a sense of modernity to the table. It is not always about looking back, but what is happening in the present, as well as the future, and MKI epitomise this notion.

The turn of the year led the MKI to take stock of what they have achieved and what was their next step. With an air of nostalgia, MKI launched their Varsity College collection – a 20-piece capsule comprising of heavyweight jersey, premium melton wool and leather varsity jackets, finished with matching New Era collaborative headwear. Embedded in classic drops of Ivy league nuance, was it a coincidence or a forethought to go back to the initial concepts of the brand? Vik states, “This was considered when designing the college collection. Previous drops had perhaps lost our nod to the original concept (of MKI), so we wanted to bring it back with updated versions of products and styles from the archive.” It is almost as if the idea of American cues of the brand’s initial conception has come full circle. 11 years on from the beginning, Vik and his team have took note, gone back to their roots and celebrated this amalgam of east-meets-west design.

The MKI team is still relatively small, however this comes as an advantage, “the capacity to continually learn in all areas of the business is huge. We’re constantly growing and evolving the brand so we’re naturally learning as we go along”, says Vik. The small operation is a personal affair, presenting a unique intrinsic value to the brand with an ‘all hands-on deck’ approach. With that approach, his summary is simple, “The initial ideas for garments and collections are usually stemmed from the needs and wants of our team. We all live in the brand, and we only move forward with collections if we know we would personally wear them. We try to steer clear from full trend led products, although at times this is unavoidable.”

It’s noted that MKI have exceeded their own expectations. Although still deemed as an independent offering, Vik and his team have created a contemporary streetwear brand with global attraction. Their ethos, matched with design spirit, and an inherent internal creative culture has allowed them to tap into relevant genres, trends and subcultures, while still looking back and making a nod to their roots, Miyuki Zoku.

The latest collection of MKI Miyuki Zoku is available in-store and online now.

RAVE ONE: A PHOTOGRAPHIC HISTORY OF THE HACIENDA

Tues, 12 Oct 2021 00:00:00 GMT

Cataloguing one of Manchester’s cultural hotspots, The Haçienda, Peter J Walsh immersed himself into the legendary landmark with his latest book, “RAVE ONE”.

The third in a trio of IDEA dancing youth books alongside Ibiza ’89 and Spike Island, “RAVE ONE” showcases the iconic institution in all its glory. Sweat-soaked scenes, raucous atmospheres, and the starting point of historical music movements, Walsh captures it all.

A cornerstone to the early acid house scene in Manchester, The Haçienda was the epicentre of a culture shift. Peter J Walsh was always a punter before house music arrived on the scene, when he wasn’t taking photographs, he’d still be there. Living in the shadow of challenging political ruling, The Haçienda was a transformative space where youths would come together for a sense of escapism, togetherness and cooperation.

RAVE ONE by Peter J Walsh will be available in-store and online from 15 OCT 21.

C.P. COMPANY: CINQUANTA

Fri, 08 Oct 2021 00:00:00 GMT

THROUGH A LENS DARKLY

The importance of outerwear for Northern men has a long history. The emergence of the Scuttlers, style-conscious adolescent gangs in 1870s Manchester, coincided with the emergence of 'monkey parades' in which working-class men took to the streets each Sunday to parade in their finest attire. A century later, with the emergence of the Perry Boys, Dressers and Casuals of the 1970s, it was on the football terraces that Northern men continued to flaunt their best rig-outs. Because of their inherent one-upmanship, it wasn't long before these men had discovered and adopted the latest Italian outerwear from C.P. Company. It is a relationship that has lasted 50 years and is currently explored in the current exhibition CINQUANTA in Darwen, Lancashire, as part of the British Textile Biennial.As part of a series of events organised by the Westminster Menswear Archive, Paul Harvey, Aitor Throup, Lorenzo Osti, and Gary Aspden addressed their personal and professional relationships with the brand. What became apparent was the significance of location and time in the history of C.P. Company.

Paul Harvey spoke about how exciting it was that the exhibition was in the North. He said, "This idea of this company that comes from Bologna, a very exotic and beautiful city in Italy and the world it clashes with this world in Darwen, is I think incredibly interesting. It's something incredibly risky, I mean, I don't think that many brands would do it, but I think it's been a brilliant idea."

While Aitor Throup revealed that it was on the terraces at Burnley FC that he first encountered a Mille Miglia jacket: "When I was about 13, I suddenly became aware of this uniform, and it left a feeling inside me that hasn't left me yet. It deeply inspired me. Something had happened where C.P. Company had managed to embed fantasy into reality.

Lorenzo confessed that it was only relatively recently realised the almost fanatical adulteration that Northern men had for his father, Massimo Osti and C.P. Company. Indeed, this obsessiveness was on display at last Thursday's private view, with as many grails on display on the men attending the event as in the actual exhibition.

The audience and the exhibition demonstrated how skilfully the brand has navigated the inherent demands of time within the fashion business to develop outerwear that has outlasted the mere vagaries of fashion to become timeless.

Given the time-based nature of fashion, it is probably unsurprising that most brands prefer to operate within a linear understanding of time. In this system, fashion is highly regulated and adheres to a strict timetable for its creation, production, and consumption. This temporal regulation demands that each season brands present themselves to the consumer as being at the forefront of endless innovation and advancement. However, this fabrication of time within the fashion system simultaneously elevates the new and dismisses its past. It means that fashion companies rarely reflect on their history without wanting to revise it.

However, while C.P. Company appears to follow a similar linear approach to time, with seasonal collections included in the fashion calendar, many of its design approaches are purposely antilinear. It has continuously looked to its past to imagine the future, and in doing so, has evolved a fashion-specific perspective to how it interprets time.

The anniversary book C.P. Company 971 – 021. An Informal History of Italian Sportswear made this evident. Fifty individuals wore their favourite garments from the brand's history. Despite featuring clothing spanning five decades, the men managed to look both modern and contemporary.

C.P. Company's CINQUANTA archive show in Darwen, Lancashire, exemplifies their antilinear approach to design. Rather than being shown in chronological order, the garments are categorised by referencing their materiality. Sections are devoted to Nylon, Rubber Flax, and Tinto Terra. Or they are presented to examine ongoing design methods, such as Hybrid Outerwear or Continuative Garments, emphasising the circularity of these approaches to design.

The exhibition's layout further emphasises this analysis of the clothing as evidence of their antilinear approach to design. Each garment is presented forensically, mounted between Perspex sheets like massive slides to be examined under a microscope. Giant racks allow the viewer to move each slide, and in doing so, illuminate a large digital screen with additional information about the outfit.

This scientific approach enables the connections across the decades to be revealed. This detailed analysis allows visitors to understand how the company has continually revisited and refined materiality, processes, and garment research over the last five decades. Indeed, it enables us to see that even at their most imaginative, such as Moreno Ferrari's Transformables collection, in which clothing metamorphosises into tents, kits, or chairs, these products remain within the logical constraints of product design. Indeed, the more one examines the clothing on display, the clearer it becomes that the conceptualisation of time and its relationship to fashion plays an intrinsic part in C.P. Company's history.

In 1988 Osti designed a jacket inspired by Italian racing car drivers, with lenses embedded into the hood and a lens mounted onto the left sleeve enabling the wearer to view their watch. At the time, this iconic jacket was referred to as the Mille Miglia after the famous endurance rally established in 1927. It has since been revisited throughout the company's history and is now referred to as the goggle jacket.

The inclusion of a lens on the left sleeve of this prototype garment, however, is significant. While it undeniably serves as a functional aspect of the jacket for racing car drivers, its conceptuality exemplifies C.P. Company's approach to design and temporal matters. Both physically and metaphorically, when wearing this jacket, we witness time through our attire. Further, given the mythical nature of the Mille Miglia rally, time is framed as neither linear nor antilinear, but as uchronic, that is, referring to a time that is hypothetical or imaginary.

Later, in 1991 Massimo Osti famously devised the production of Continuative Garments, removing himself from the intolerable pressure of the linear timeline of the fashion system. Items under this range would be reproduced season after season, allowing for changes in colour or materiality, but without the need to constantly reinvent garments that were already resolved.

In this respect, parallels can be drawn between the Mille Miglia and Christian Dior's Bar Jacket presented in 1947 as part of the 'New Look'. Both revolutionised their respective fields of womenswear and menswear. Both set a framework for each new creative director to work within and explore their interpretation of these garments. In the CINQUANTA exhibition, there are multiple examples from Aitor Throup, Massimo Osti, Paul Harvey, and Alessandro Pungetti. It's fascinating to see how they compare to each other and the subtitle reinterpretation that each designer brings to this continuative garment.

The Urban Protection range from 1997 onwards is also on display, and with the advantage of hindsight, we can see how this radical departure for C.P. Company was also concerned with time. The collection focused on the impending arrival of the twenty-first century, proposing a series of interventions to mitigate perceived threats from man's urban environment. It echoed the uchronic future-time depicted in films like 2001 Space Odyssey and Star Wars and the utopian vision of clothing anticipated by the Italian Futurists in the early twentieth century. In particular, the Italian Futurist Ernesto Michahelles, working under the pseudonym of Thayaht, designed the TuTa, or what we now have come to call the boiler suit or overall. This revolutionary intervention by an artist to create a rational and utopian garment can be seen as a direct forerunner for the Urban Protection range in its attempt to make clothing that aimed to be functional, democratic and transcend the restrictions of fashion.

This reoccurrence of time being seen through clothing can also be seen in the introduction to the C.P. Archivio book published in 1994. The opening paragraph reads:

Imagine stopping time. To go back to the past to browse the culture of the years spent. Imagine, then, to discover an archive that contains more than 20 000 items of clothing that have made the history of recent decades. Imagine passing them one by one under your eyes and reliving the sensations that made them born and the stories that made them unforgettable.
For ten days, we don't need to imagine stopping time. The CINQUANTA exhibition is a once-in-a-lifetime opportunity to see all of these artefacts simultaneously and discover how they interact across the decades in a considerably more complicated vision of time than we may ordinarily understand.

Written by: Professor Andrew Groves
Director, Westminster Menswear Archive

The CINQUANTA exhibition is in Darwen, Lancashire, as part of the British Textile Biennial. It is open until Sunday 10^th October 2021. You can book free entry tickets here:

https://www.eventbrite.com/o/cp-company-34752022143

Shop the latest collection of C.P. Company in-store and online now.

BRAIN DEAD DROP 4 COLLECTION

Thurs, 07 Oct 2021 00:00:00 GMT

Brain Dead have returned with their pre-AW21 ‘Drop 4’ collection, celebrating the changing of the seasons with a multitude of layering options inspired by the colder days.

Titled ‘Drop 4’, the release was shot by legendary Dutch photographer and visual artist Paul Kooiker. With Kooiker’s photographic process being highly regarded for relishing in imperfections, he has become well renowned for his post production work and photo manipulation. Kooiker’s expertise shine right through the latest Brain Dead collection, where he brings life to mannequins dressed in weather warming products such as fuzzy sweatshirts, three-quarter zip jackets and long sleeve t-shirts.

The latest collection of Brain Dead will be available in-store and online from 08 OCT 21.

The latest collection of Brain Dead will be available in-store and online from 08 OCT 21.

GREY DAYZ

Fri, 01 Oct 2021 00:00:00 GMT

October is upon us; summer has escaped us, and Autumn is starting to make its mark on our everyday. As the changing of the seasons shift, so does the weather. With grey days of masked sunlight and falling temperatures, rain and wind, wardrobes need to be altered, layered, and functional.

Think cloudy days, darker nights, and the first sighting of an Arc’teryx jacket. From Snow Peak to A.P.C., mountaineering with Canada Goose and Russia’s Rassvet, SEVENSTORE have selected a neutral display of grey garments and accessories to ease you into the fall of the year.

SNOW PEAK THERMAL BOA FLEECE JACKET

Heading out for a weekend camping trip? Look no further than Snow Peak. Elegant, minimalist garments specifically catered for that outdoor adventure everyone is seeking. Lightweight, durable and Polartec fabrication is taking a new route into the newfound, outdoors uprise.

NIKE FREE RUN 2 SNEAKER

Transforming a running staple to city-ready styling, Nike’s Free Run 2 sneaker encapsulates unprecedented comfort with mix-material hues, adorned in a grey palette.

JUNYA WATANABE MAN X CARHARTT WIP STILL BACK SCRIPT HOODY

Junya Watanabe MAN embed a distinct douse of Japanese design into Carhartt WIP’s essential collection. This comforting classic sits on the peripheral between Japan and America, giving off a multifaceted vision of statement staples.

A-COLD-WALL GREY CELL BUCKET HAT

A directional line informed by Samuel Ross’ graphic design background, A-COLD-WALL picks up on a concise touch of streamlined grey designs, catering towards contemporary streetwear and modern-day youth.

CANADA GOOSE FREESTYLE VEST

Canada Goose push function-first into the luxury world. Taking simple cuts of outerwear to the peak of their powers, the Canadian brand are the driving force of the outdoor realm, supplying rainy days in Liverpool and expeditions in the Arctic.

A.P.C. LARGE LOGO ECHARPE ANGELE SCARF

A.P.C. help us layer up with the heavy branded Echarpe Angele Scarf. Often made up with minimalist details, the Parisian men’s outfit portray a casual, yet polished take on contemporary ready-to-wear.

RASSVET SUN LOGO SWEATPANT

Rassvet transports Russian skate culture to the North West with a collection devoted to comforting, long-lasting appeal. Through a heavy-laden collection of streetwear, Rassvet shine a brighter light on grey days, with nods to avant-garde art and lively bursts of colour.

NAPAPIJRI X PATTA

Thurs, 30 Sept 2021 00:00:00 GMT

Napapijri has joined hands with Patta to create a capsule collection worthy of the two brands' legacies. After presenting Napa x Martine Rose last year through a pop-up store at their Zeedijk 93 location, Patta have grown closer and have gone to the drawing board to create something truly novel and representative of their backgrounds. The Italian brand gained prominence through the 90s for creating high quality travel bags before going on to create apparel defined by the iconic anorak cut and choice of premium materials. Ever since, Napa’s outerwear has wanted to inspire authentic self-expression and a pioneering spirit.

Since Patta opened its Chapter in Milano, paying homage to the design ethos of Italian brands has been at the forefront of how they wish to move forward. They have taken the visual language of the Napa brand and applied it to classic streetwear staples which they are known for providing. This collection takes shape in the form of an All-over print T-Shirt, Longsleeve T-Shirts and a Skidoo Jacket.

The Napapijri X Patta collection will be available in-store and online from 02 OCT 21.

CASABLANCA’S CHARAF TAJER: LOOKING AT THE BEAUTY OF THE WORLD

Tues, 21 Sept 2021 00:00:00 GMT

The North West is often associated with a drowning of unfortunate weather and today is no different. It’s mid-September, the summer days have finally escaped us, and the momentum of Autumn/Winter 21 is in full motion. As we wait for our Zoom meeting to connect, it’s easy to picture life beyond these shores; crisp white beaches, translucent oceans and breath-taking architecture. A short summary synonymous with not only the beauty of the world, but with one brand - Casablanca.

As the Zoom meeting starts, Charaf Tajer – Founder and Creative Director of Casablanca - is on the other side of the line. A self-confessed lover of travel and exploration, it’s easy to assume he is somewhere hotter than we are - which is noted from the trickling of sunlight in his backdrop. Not an easy man to get a hold of, let alone spend 30 minutes chatting, Tajer and Casablanca have been non-stop since the brand’s fruition back in 2018. Three years have passed since their inaugural SS19 show and the Parisian-based brand have hit a niche in the market with an enchanting aura of leisure and luxury to which Tajer connotes as ‘après-sport’. The uprise of Casablanca hasn’t gone unnoticed, and 2020 was dazzled in a multitude of nominations; from a LVMH final nomination, the International Woolmark Prize and ANDAM Fashion Award, the brand’s existence has been relatively short-lived, but a one that has already made a mark.

On the inside, the idea for the brand has always been on the mind of Tajer. Recalling the first instances, Tajer opens, “It is the result of some many years of collecting clothes and fancying sort of lifestyles and all of that. But it’s true, the name of Casablanca came later, but the idea of the brand was in my mind, but I didn’t know there was a place for it in the market. So, I was dreaming more and looking for those clothes, but I didn’t really find them the way I wanted them.” A hallmark for the years of work that has gone on behind closed doors for Tajer and his team. Work on creative thinking, taking in inspiration and finding the correct time to introduce Casablanca into the world was paramount to its swift ascendency and well-deserved accolades.

Those years leading up to Casablanca’s execution, Tajer amassed a wealth of experience that would later prove pivotal in his brand’s life cycle. Parisian-born to Moroccan parents, Tajer grew up in the French capital shrouded by influence in a vivacious melting pot of culture. “I think it was interesting because when we were younger, we didn’t know we were outsiders, but by growing we learnt that we were. But what was important was the position I learned to have when I was younger and clothing-wise, it was important as we dressed to position ourselves in a certain way - a bit rebellious, but in classy clothes and I think that has stayed with me until now.” This interpretation on fashion and clothes gave Tajer an outsiders view from a young age, while feeling a sense of differentiation from others who surrounded him in Paris. Dressing inversely and adapting to this society was a lesson he nurtured. This acclimatisation led to a world of creativity; firstly within architecture, then onto fashion, where he really staked his claim. Working for the likes of renowned streetwear brand Pigalle, collaborating with Off-White and consulting for Supreme, Tajer’s ascendency mirrored the quick lifespan of Casablanca. This succession proved positive and created a marking point for him, placing his foot firmly through the fashion door.

Growing up in Paris - a haven of global arts and culture, with a rich 19^th century cityscape – seemed to inspire Tajer. Elegant hotels, classic and international music, and a deep love for French architecture is what spawned the foundation to Tajer’s design. From an early age, the sense of place and its enthusing beauty has remained a present fixture in his life. Casablanca acts as a portal for Tajer to showcase this eloquent representation and its lifestyle, referred to as ‘idealism’. “All of this, on my travels and the cultures of my staff members. All the ideas and experiences we have, we put it in the brand and give something new”, says Tajer. The face of Casablanca is rooted in place, with each collection dedicated to specific cities, events and lifestyles. The DNA of the brand is very much influenced by experience and travel, and why shouldn’t it be? Casablanca is a personal channel for Tajer’s creative expression.

From AW20 to the latest AW21, Casablanca have championed this certain sense of place. AW20 swam the crystal-clear waters of Italy’s Lake Garda, and as the pandemic started to take over the world, Tajer landed in Hawaii. A tropic state, surf-paradise and nucleus for the idea behind the Casablanca SS21 – “After the Rain Comes the Rainbow” collection – amply named to take a positive swing on the surroundings of the world, the capsule was an offering of light accentuated in all of Casablanca’s exuberant glory. For AW21, Casablanca encapsulated it all; place, events and lifestyle into one collection. Taking inspiration from the picturesque city of Monaco, the Grand Prix, casinos, late night glamour and luxurious backdrops of the French Riviera, this season is a dream of a bygone era. The collection combines the daytime aesthetic of sportswear with late-night luxury of casinos: tracksuits to tuxedos, racing to gambling.

“You know if you want to simplify the brand Casablanca in one sentence it would be – “looking at the beauty of the world”. That’s kind of our slogan, if you will. I think we live in a world full of beauty and super amazing cultures, and super strong codes around the world. I’m having fun playing with those codes. We love using them, this is the biggest inspiration. Look at the beauty of the world, how it is and have our take on the codes that the world has. Which is super amazing, you know. There is so many things to see and explore. I think for me the brand is a window for looking at the beauty at the world.” – Charaf Tajer, Casablanca.

Tajer has made Casablanca a vehicle, showing a new audience the world from his point of view. Highlighting this notion for a new consumer is something which plays on his mind, “For the new generation it is important to point these things at them. In pop culture of today it’s not necessarily the place. It’s so interesting to point the great designers, great architects and the nature of the world through the brand. It is a good reason for the brand to exist.” Taking himself into the shoes of a new generation, Tajer alludes to what he wants from a consumers view. Thinking of both, his perspective and his audience conjures an interpretation of art, with influence from all over the world.

Casablanca’s short-lived existence is one that has been merited in high regard. The press referred to the brand as “Casablanca, the Hermès of Generation Z”. A fitting comparison for Tajer, who grew up looking up at the likes of Hermès and Cartier, filling a void of true Parisian passion. Like Hermès and Cartier, Tajer wants Casablanca to leave the same influence on Generation Z as they did on him. “I find it super interesting that we can play on the codes of classic French brands and create a new classic for the new generation.” Although fashion now and fashion when he was young may seem worlds apart, Casablanca remain in touch with nuances of the past, with charms of longevity seeping their way through Tajer’s words and distinct design code.

As we look to the future, it is hard to picture what fashion will be like, nevermind what state the world will be in. Questions of sustainability are clouding modern business practices and in Casablanca’s case it’s different to normal. Tajer’s creative output could be compromised, but at the ultimate expense of the very thing that keeps his passion alive and breathing – the world. “The clothes are not made to be disposable; we love to dream of our clothes being in the hands of many people, and in 20/30 years time I dream to have it in vintage stores. People say it’s Casablanca vintage and I think it is very important for us that the clothes are used for one season, but they stay amazing forever.” Finding balance between what works for Casablanca while being a sustainable outfit in the arms of fashion will appease Tajer, his audience and ultimately, the beauty of the world.

It is clear to see from Tajer’s own words, ambitions and continual product expression that the emphasis on place is ingrained into the anatomy of Casablanca. Growing up in mixed settings of Paris and the Moroccan hub of Casablanca has inspired and grown his affinity for old-world elegance. Tajer’s seeks to take such experience and embed it into his vision of new-world elegance, complimenting contemporary dress with luxury textures and surroundings. Casablanca is an embodiment of this, the world, and the beauty it is shrouded in.

The latest collection of Casablanca is available in-store and online now.

Artwork by Henry Spiers

NIKE AIR MAX BW OG: SCOUSE IN THIS HOUSE

Thurs, 16 Sept 2021 00:00:00 GMT

Subculture is born on UK dancefloors. Style tribes have been twisted, shaped, and morphed inside pubs, clubs and illegal raves across the country – spawning local movements which have ricocheted on a global scale.

The North West's catalogue of super clubs has each played a profound influence in shaping fashion culture today. While venues such as The Haçienda in Manchester, Liverpool's Cream, and Wigan Pier have each closed their doors, the musical genres, and the communities they've created, have turned rave clobber, and going out garb into popular, everyday dress.

Whilst The Haçienda is largely regarded as the birthplace for acid house, and Madchester's baggy casualwear that came along with it, Liverpool's nightlife has built subcultures of its own. Scouse house, or as it’s sometimes known, UK bounce, is a particular off-shoot of hard dance music, created within Liverpool's shores. A playful genre pushed by young, working-class bedroom producers across the city at the tail end of the nineties, the upbeat, hedonistic nature of the music was inspired by hard-hitting house music popular in The Netherlands at the time.

Unlike the harsh, blow-your-head-off stylings of gabber, the bouncy, bassline-driven scouse house represented a newfound optimism amongst young Scousers. It was the turn of the millennium and living for the weekend got a whole other meaning when clubs like 051 and The Pleasure Rooms were christening a new era of clubbing in the city.

Like all dance music movements, scouse house came with its own uniforms. Like many Nike trainers, the Nike Air Max BW alongside the likes 110’s and TN’s through the 2000s, became the unofficial footwear for those going out raving in places like Wigan. A style first adopted by Dutch skinheads – flinging their bodies around in candy-coloured shellsuits at warehouse raves in the 1990s.

Two decades on from when scouse house took hold of inner-city clubbing, the Nike Air Max BW is making a resurgence. The Persian Violet, a popular model amongst trainer ravers through the '90s, is ready to dress veteran ravers all over again, alongside a new legion of first-time clubbers.

To mark the re-launch, we wanted to tell the story of scouse house, by those who created it, the clubbers who lived for it and the next generation who are carrying the torch for what could very well be a scouse house resurgence in a post-pandemic world. Rave on.

The Nike Air Max BW is available to register to purchase on SEVENSTORE Launches now.

Thomas Tuft

As the founder and director of Liverpool’s 3B Records, Thomas Tuft was at the forefront of the scouse house movement. The first record store to stock independent, scouse house records from the city’s up-and-coming producers through the 2000s, it was actually inside 3B’s hallowed halls that the name of the genre was christened.

“Andy Nicholson, who was a Techno DJ who worked behind the counter, coined the phrase. “Why don’t we just call it scouse house?” he said. Everybody laughed, then Pez – the boss at the time – turned around and said ‘That’s what we should call it’. You couldn’t pigeonhole it. Within two weeks, people were coming in asking if we had any scouse house – that’s how it started."

Rob Cain

Playing to generous smiles and wide-eyed teens at the likes of 051, The Pleasure Rooms and the Buzz Club, Rob Cain was one of the most prevalent DJs pushing scouse house across the city’s clubs. Now teaching music tech to budding musicians, he is shaping a new generation of potential dancefloor masters.

“When I first went out, it was still a pants and shirt affair. You’d have your school kecks on, your dad’s best Ben Sherman shirt and that would be you ready for the 051, if you could get in. What I found when I started playing places like Wigan Pier, they wore trainers and shorts – lots of Air Max."

Rich Furness

Whilst the likes of Rob Cain were behind the decks, Rich Furness was on the dancefloor. A scouse house fanatic from his mid-teens, Furness is a leading figurehead in keeping the bouncy house dream alive, playing to nostalgic crowds at the likes of Bongo’s Bingo and keeping the vibe alive across multiple scouse house Instagram accounts.

“I got into scouse house in the late ‘90s, around the time I was listening to happy hardcore tapes. Scouse house was all over the radio. The likes of Radio City and Juice FM would be broadcasting live from a lot of the clubs. I remember distinctly staying up on Saturday nights in 1997 to record the Buzz Club live. I was 15, that was the main way of getting music for free. I would imagine what those clubs would be like.

DONK

Self-described “playful fashion anarchists”, Manchester’s gobbiest fashion duo, Donk, are infiltrating the industry with their upcycled designs. Inspired by everything from cartoons and club culture, to their days blutoothing donk tracks on the back of the school bus, the terrible twosome hope to build a creative hub up’t north to rival that of the south.

Sam: “With any work we do, it’s based around being northern and working-class. These places, Liverpool, Manchester, they’ve always had club culture as it’s a way of escaping reality. A lot of club culture exists from people just living for the weekend. With Donk, we wanted to pick a name of something that felt reminiscent, homely. It’s just a perfect title for our brand.”

Madi: “[Scouse house] is just fun, isn’t it? I’m much more fun when I’m out with my mates and they’re playing donk or bassline, and it’s coming back more and more.”

Videography: Ben Brook
Editor: Charles Gamble
Words: Paul Toner
Soundtrack: Rob Cain

Special thanks to Rob Cain, Rich Furness, Thomas Tuft & Donk.

TOKYO DESIGN STUDIO NEW BALANCE: A GLOBAL CREATIVE CULTURE

Tues, 14 Sept 2021 00:00:00 GMT

New Balance are a brand on rapid ascendency: much-loved for their essential sneaker rotation supplying everyone from your casual grandad, olympic athletes, and streetwear natives looking for their next collaborative fascination. From the idyllic surroundings of the Flimby factory in England to the streets of the USA, via the mysterious site of Tokyo Design Studio’s ‘T-House’, the Boston-based outfit have become a cultural obsession on a worldwide scale.

Marrying connections with global measure has allowed New Balance to shed their skin from past eras. This longstanding relationship across continents has put the brand at the forefront of relevant marketplaces, consumers, and trends to place themselves at the very helm of footwear, from Boston to Tokyo. A product of such process is Tokyo Design Studio. Established in 2012, Tokyo Design Studio (TDS) began developing items for global release in late 2014, four years later TDS launched Tokyo Design Studio New Balance in autumn 2018, where utilising unique specifications and branding of existing New Balance product gave people something to sit up and take note, before it would really start making moves.

Although situated in the hub of Tokyo’s Nihonbashi Hamacho area, Tokyo Design Studio New Balance is regarded as a worldwide affair. Comprising of members from the Japanese and USA design teams – Shugo Moritani, Design Manager of Tokyo Design Studio and T-House, and James Lee, Senior Footwear Designer for Energy Lifestyle offered SEVENSTORE an insight into the workings of Tokyo Design Studio, the global connection of New Balance and the platform in which the inventive Niobium Concept 2 was built on.

Managing projects and the creatives housed in the team of Tokyo Design Studio, Designer Manager, Shugo Moritani’s overview is clear and concise, “Through Japan’s unique sensibility and skilful craftsmanship, and the pursuit of truth and quality, the studio develops products that drive design and innovation forward.” A fitting notion, direct from the horse’s mouth. This rings true in their ability to push through barriers of classic American design, offering the likes of previously released, highly sought-after renditions of New Balance’s RC_1300 and 574, not to forget a hefty collection of collaborative journeys with fellow Japanese brands; Snow Peak, Auralee and Nanamica. With that in mind, there is a dedication to Japanese design and the brands it has exported. But the uniqueness paves way with traditional skills, processes and materials used for a modern perspective on New Balance.

Collaboration is not only a present feature with other brands and creatives, but also inherently internal at Tokyo Design Studio. “Tokyo Design Studio is purely built with global members, different perspectives and backgrounds. I think that makes TDS special and unique, with respecting each other, we have an open creative culture to exchange and share ideas, even at different locations,” says Shugo, who is based at ‘T-House’ in Tokyo, whereas James Lee who supports concept creation at Tokyo Design Studio is based in Boston. Giving that they are both situated on opposite ends of the globe, there is always going to be drawbacks, especially throughout the pandemic. However, it also lures huge positives that may not be so clear until you delve a little deeper. A rich sense of purpose and design from each of Tokyo Design Studio’s teams have fulfilled both, the US and Japan into one entity. A notion that gives Tokyo Design Studio New Balance its distinct narrative and nature.

The latest incarnation from this cross-cultural crossover is the Niobium Concept 2. A blend of fashion and the outdoors, this progressive hybrid of sneaker-sandal-mule captures trail-like design with high-end material innovation. Taking Japan’s newest weekend hobby to the US.

Encapsulating the inner sanctum of collaboration, this silhouette is a project aimed to bring the American and Japanese markets closer. “It was initially spearheaded by Japanese influence, but ultimately, it’s a combination of both. I had the fortunate opportunity to be based out of Tokyo during the ideation of Niobium Concept 1 and the beginning stages of Niobium Concept 2, so being immersed in Japanese culture and marketplace at the time really helped shape my approach to these projects. While it’s not uncommon to see people wearing trail sandals and slip ons in Tokyo, it’s not really a big thing in the US. The idea was to try to bridge that gap with this silhouette”, James explains. His intentions fit those of the TDS New Balance realm, bringing cultures together, when they may seem worlds apart. With such confluence, a favourite among the team was used - “a lot of us were already wearing the Hierrov5, so we were personally fans of the shoe.” A US Made trail-like runner with foam-like comfort was a centrepiece for reinforcing that gap which James alludes to.

New Balance is inherently a sportswear brand. Technical know-how and sporting merit lays within their foundations. The changing course of outdoor fashion and their adaptation into these markets have paved great significance. As the Niobium Concept was there, Tokyo Design Studio enlisted the help and collaborative rights of Japan’s outdoor lifestyle curators, Snow Peak, to give them a sense of this deviation into the outdoor landscape. “Collaboration brought us significant growth, learnings, inspirations, and I think it is very important to imagine products and values that can never be done alone and to share them with our customers,” recalls Shugo. Allowing the design frames of Tokyo Design Studio New Balance to not be shifted, but to be enhanced in a way to fall gracefully into both fashion and the outdoors. Talking on design, James adds, “I didn’t feel like we had to switch our process, instead Snow Peak’s expertise in outdoor function, innovation, and craftsmanship really helped us to elevate our product to the next level” – this allowed for the next step, and the next Niobium Concept 2.

The hybridity of the Niobium Concept 2 caters to two worlds: outdoor and fashion, arriving from the stimulation and design of two houses under one roof, Boston and Tokyo. What is apparent is that the shift in trends has played into the hands of Tokyo Design Studio’s vision, as Shugo concludes, “Fashion, sports and outdoor hybrids seem to be an established trend in Tokyo. People in Tokyo always enjoy styling.” The conception of the Niobium silhouette was about forging people’s tastes of the modern day into their everyday life with emphasis on Japanese styling cues and function. Backing this idea of uprising outdoor design, James finishes on Shugo’s point, “I do think this crossover is becoming more normalised in general. Fashion, sports, and outdoors all borrow inspiration from each other. Sports and outdoors are both rooted in functionality, and I don’t think functionality really goes away.”

This vision of blurring the lines between fashion, sports and the outdoors is becoming more present in the day-to-day and Tokyo Design Studio have catered into this with the Niobium. But what stands out is the collaborative conversation that makes such ideas come to fruition, cater to specific styles and bring together opposite sides of the globe. Tokyo Design Studio New Balance is not specific to one city and one genre, but provides to all through a global creative culture.

The Tokyo Design Studio New Balance Niobium Concept 2 is available to register to purchase on SEVENSTORE Launches now.

Special thanks to Shugo Moritani and James Lee.
Imagery: Sabukaru

COMMUNITY CULTIVATION: SNOW PEAK'S NEXT GENERATION

Weds, 08 Sept 2021 00:00:00 GMT

Born on the unforgiving terrain of Japan’s Mount Tanigawa, Snow Peak was founded by Yukio Yamai, a Japanese mountaineer and outdoors devotee from Tsubame-Sanjo. Unsatisfied by the equipment he was using at the time, Yamai set out to change his fortunes by creating innovative mountaineering gear that would stand the test of time - sparking the flame that would go onto create a bedrock that is now known as Snow Peak.

Through its more than 60 years of history and a family tree deeply ingrained in Snow Peak, the integral mission has always remained the same; to cultivate a strong connection to the outdoors, always evolving, innovating and creating new approaches. That, in a way has always been a target met by Snow Peak. Their impeccable footprint on Japanese camping and the outdoors has shone through modern camping cookware, minimalist dining set-ups, tents, and more recently a collection of highly functional garments; suited to sit in the grounds of outdoor fashion resurgence.

That correct move into clothing came to light in 2014 when Yukio’s granddaughter, Lisa Yamai – the third generation to take the helm of the brand – launched Snow Peak apparel. Designed in the same vein as Snow Peak’s camping offering, priority is put on functionality of the garments, which are tested rigorously to suit the outdoor landscape, with efficient transitions into urban city life. The crossover into the outerwear garment space is a timely one considering fashion’s ascending rapport with the genre – propelling outerwear brands such as Arc’teryx, And Wander and Snow Peak into the peripheral of contemporary style.

This confluence of fashion and the outdoors has brought about a new generation, consumer, and audience who have in tone adopted the outdoor lifestyle more so than ever before. Although ubiquitously known across the globe, the desirable casual camping trip which once showered the vast plains of the Lake District is now seeing a rife uprise, where Snow Peak’s expansive Living Lodges and Hozuki Lanterns are leading the charge. While Snow Peak is built on years of heritage, their continued research and development has paved a clear path to the top, putting them ahead of the rest, looking towards camping of tomorrow.

Adopting Snow Peak’s motto – ‘We Are All Users’ – creative communities have been given a new lease of life through outdoor exploration; inspired by the forward-thinking, eclectic offering of Snow Peak design.

Welcoming Snow Peak for Autumn/Winter 21, SEVENSTORE partnered with Orienteer Mapazine put to practice the brand’s outdoor collection in a photo documentation of organised activities held at the brand’s very own camping site in Godalming, Surrey. Framed from an amalgamation of creative individuals with an interest in the outdoor community, photography was captured by Orienteer Mapazine’s Rory Griffin with participants; Ollie Olanipekun from birdwatching collective, Flock Together, Rob Boyd from SOAR Running, Zaineb and Olivia from Athene Club, Louis Holl, Erik and Filip, founders of The Steep Learning Group and Nick Harlow who is a Forager for Stockport restaurant, Where The Light Gets In.

The latest collection of Snow Peak is available to purchase in-store and online now

Photography: Rory Griffin
Videographer: James Cray
Video Editor: Louis Hvejsel Bork
Artwork: Henry Spiers

UNDER THE RADAR

Tues, 07 Sept 2021 00:00:00 GMT

Although many of us are fixated on the launches calendar thinking; what’s coming next? How do I get a pair of the next Dunk or Yeezy? Do I really need another pair of grey New Balance? Yes, of course you do. It’s easy to forget about the product that keeps these brands ticking, the silhouettes which may not be regarded into ‘hype’ status, but that doesn’t mean they aren’t as important.

Whatever day of the week, whatever event you’re attending, you always need a curated selection of footwear to choose from. Now that summer is coming to a close, sliders and sandals are navigating themselves away from the wardrobe, replacing them is a more substantial assortment that may have slipped under the radar over the past month.

NIKE AIR MAX 96 II OG SNEAKER

A newly found resurgence of retro-releases have inundated the market as of late, and the Nike Air Max 96 II OG is no exception. Proceeding with its 25^th anniversary this year, the Mystic Teal colourway arrives in reissued form with neutral tones of black and white, concluded in effervescent teal touches.

NEW BALANCE MIUS M992 SNEAKER

A classic by design, style and substance, New Balance’s MIUS 992 needs no introduction, but we’ll give it one anyway. Resurrected from the early 00s, and way ahead of its time then, the MIUS 992 remains still a stalwart today; adapted in new colourways and collaborations to bring heritage to the forefront of the sneaker landscape.

SALOMON S-LAB ODYSSEY MID ADVANCED SNEAKER

Coherent with its outdoor lineage, Salomon S-Lab blends essential function with leading sports footwear, while still turning heads in the streetwear sphere. A combination of outdoors fashion and hiking design aesthetics has landed Salomon a prized place on the mountain with technically diverse and performance-enhanced footwear.

CLARKS ORIGINALS TAPESTRY WALLABEE BOOT

The Wallabee is ubiquitous to Clarks and everything they encompass as a brand. Evolving such a bedrock for many brands can be a tricky affair, as the cliché suggests, ‘If it ain’t broke don’t fix it?’ Rather than fix anything, Clarks Originals have modified their Wallabee silhouette in boot formation, with vintage-inspired tapestry and its omnipresent gum sole unit.

NIKE AIR MAX PRE-DAY LX SNEAKER

Think of the past and the future, in one. The Nike Air Max Pre-Day encapsulates this with retro-running aesthetics, energised air units and recycled uppers to keep sustainability at the forefront. Made from at least 20% recycled materials, it takes you toward Nike’s quest for zero waste.

adidas ULTRA 4D ‘MIAMI HURRICANES’ SNEAKER

adidas take us back to 2016 with the Miami Hurricanes colourway. Once famed in UltraBOOST glory, comfort and cushioning accentuated the sneaker’s premium runner offering. Times have moved on and the introduction of adidas’ 4D technology is a step above previous incarnations, with digitally printed cushioning a flawless fixture for your next 5km.

Shop the latest footwear in-store and online now.

OOF GALLERY: THE BEAUTY OF ART AND FOOTBALL

Thurs, 02 Sept 2021 00:00:00 GMT

Art and football magazine, OOF has taken over Grade II listed Warmington House on the grounds of Tottenham Hotspur Stadium to create a world-class contemporary art gallery.

OOF is a biannual magazine that looks at the relationship between art and football. Over the course of their lifespan, the publication has featured articles on (and by) artists including Juergen Teller, Chris Ofili, Rose Wylie, Lubaina Himid and many others. The aim of the magazine isn’t just to look at art that depicts football, but to explore how artists use football to comment on society.

After three years of curating exhibitions across London, OOF’s first permanent home is a public-facing art space in the heart of North London – working with aspiring young artists and established names. This is a merging of contemporary art, but with a football edge.

The inaugural exhibition is ‘BALLS’, a group show of twisted, manipulated sculptures of footballs, featuring artists including Sarah Lucas, Marcus Harvey and Hank William Thomas, alongside rising art stars like Lindsey Mendick and Jazz Grant. SEVENSTORE spoke to Co-founder & Curator Justin Hammond on the combination of art and football, the community spirit football has encapsulated, and the importance of addressing issues in sport through art forms.

SEVENSTORE: Could you introduce yourself & tell us a bit about the role you played in the exhibition?

Justin: I'm Justin and I run OOF Gallery with Jennie Hammond and Eddy Frankel. 'BALLS' is the first exhibition in our new space at Warmington House in Tottenham. The idea for the show came from a set of images I posted on Instagram showing footballs that had been turned into sculptures or art installations. I called them 'Useless Footballs' because the essential function of the balls had been taken away. You could argue that a concrete football by Sarah Lucas (one of the works in our show) is pointless because you can't kick it without seriously damaging your foot. The fact that you'd be kicking a valuable artwork throws up connotations about the usefulness of art.

SEVENSTORE: How did the exhibition come to fruition?

Justin: OOF started life as a biannual art and football magazine in 2018. We still make the mag and we're currently working on issue eight, due out in November. Over the past few years the concept of OOF has expanded and we've put on exhibitions, hosted an event at Tate Modern, released artist-designed football shirts and staged The OOF Cup. We reached the point where we were ready to do something totally unique, so opening up the world's first contemporary art gallery dedicated to football seemed like a good idea.

SEVENSTORE: This summer was a reminder that football connects people, bringing elements of togetherness and celebration in the aftermath of an unpredictable 18 months. Was this just a coincidence the gallery came this summer or was it spurred on by the euros’ spirit?

Justin: Well, a couple of our previous exhibitions have coincided with major tournaments (including 2019's 'ULTRA: Art for the Women's World Cup') but we initially planned to open this show at the beginning of 2021. Covid restrictions forced us to push back until the end of July.

SEVENSTORE: Often not thought of in the same worlds, why did you choose to combine the worlds of art and football into one?

Justin: They're my twin passions. The reaction to the first issue of the mag gave us the confidence to commission writers and artists who'd never previously considered football as appropriate subject matter. OOF often focuses on the problematic side of football culture, and good artists can tap into that. Sometimes it's way more interesting if the artist isn't a huge football fan because it offers up a fresh perspective.

SEVENSTORE: The gallery is a showcase of different footballs in different lifeforms and iterations, but what else does the Balls Gallery represent to its audience?

Justin: That's the beauty of this particular exhibition because, on one level, 'BALLS' is incredibly simple and direct. But strip away the surface and each sculpture has its own story. Some are fun, like Kieran Leach's interpretation of a Stone Age football, while others might invoke painful memories. Our staff can talk you through the show if you want to delve a bit deeper.

SEVENSTORE: We must talk about the destination also, how did that come about? & Why did you choose to exhibit there?

Justin: I know Warmington House well because it was the home of the Spurs Supporters Club in the 1980s. I used to pop in there before the match when I was a kid. It's not your typical gallery because it has more of a domestic feel, with fireplaces and wooden floorboards, but hopefully that means it's less intimidating than a white cube. It's important for us that visitors feel like they belong. The building has a long history with Spurs supporters, so that's a big plus, but the shows aren't just aimed at them. There's work that references other teams like Lana Locke's 'Celery FC', and the themes of the show are universal. I mean, we could have just knocked up a bunch of prints of Glenn Hoddle and made a killing but that's not what we're about.

SEVENSTORE: How important was it for the exhibition to be placed in Tottenham? In a community which may not be as associated with the artworld like Mayfair would be.

Justin: Yeah, the location's essential because we want to engage the local community and give them a world class art gallery to be proud of. Bringing big name artists like Hank Willis Thomas to N17, rather than Mayfair, might seem like a radical move but it makes perfect sense to us.

SEVENSTORE: Why do you feel it is important for fans of football to experience art in this way? A way they may not have been interested in before, perhaps?

Justin: As a teenager, I got into contemporary art because I was obsessed with bands and record sleeves. The artworld just wasn't on my radar. I didn't go to galleries or read books on artists, so record cover art was the gateway. And I know football can do the exact same thing for a kid who thinks art isn't meant for them. OOF Gallery is inclusive and open to everyone. There's no snobbery here.

SEVENSTORE: Do you think this is a good way to connect communities, just like football does in society? It is bringing people from all walks of life and interests together, under one roof?

Justin: Exactly. Football engages a gigantic global audience. It triggers passionate debate and acts as a catalyst for countless millions to come together week in week out. We always say that football is the quintessential communal experience and easily achieves what art always strives to do: it makes people feel.

SEVENSTORE: Is there a select piece of work which is your favourite & could you tell us why?

Justin: That's a tough one because I'm proud of all the work in the show and my favourites change on a daily basis. If I have to pick one out today, I'd say JJ Guest's bone china 'Balls' because of its bold simplicity and also because of what it meant for the artist to exhibit it here. It deals with the struggles of a young man coming to terms with his sexuality and how football culture initially represented a barrier to that.

SEVENSTORE: Alongside humorous and thought-provoking presentations of art, it is worth noting some of the work included touches on discrimination in football, which is still unfortunately apparent in today’s game. Could you talk a bit about the inclusion of this work? & was this something which was influenced by the events in the Euro 2020 final?

Justin: Jazz Grant's 'Canary in a Coal Mine' uses imagery of football crowds from the 70s and 80s to talk about hostility towards black footballers. It was originally inspired by the tragic story of Justin Fashanu, but following England's defeat in the World Cup Final and the racist abuse aimed at Marcus Rashford, Jadon Sancho and Bukayo Saka, the work suddenly took on a new layer of relevance. There's also a sculpture by Lindsey Mendick called 'You Make it so Hard to Love You (Tainted Love)' that deals with the same horrific incident. Just like so many people, Lindsey got swept up in the excitement of England's journey to the final despite not really being a dedicated football fan. But reading about the abuse left her feeling disgusted and disconnected with the game. Consequently, her ceramic football sculpture is twisted, slug-infested and ripped apart at the seams.

OOF Gallery
Warmington House
744 High Road
London
N17 0AP

Artists include: Nicola Costantino, Paul Deller, Dario Escobar, Rosie Gibbens, JJ Guest, Jazz Grant, Marcus Harvey, Richard Hughes, Abigail Lane, Kieran Leach, Lana Locke, Sarah Lucas, Lindsey Mendick, Laurent Perbos, Hank Willis Thomas, Gavin Turk & Dominic Watson.

All images: Installation view, BALLS at OOF Gallery. Photo by Tom Carter. Copyright and courtesy OOF Gallery

Special thanks to Justin Hammond

HERON PRESTON: FROM FLICKR TO THE FUTURE

Fri, 27 Aug 2021 00:00:00 GMT

Heron Preston is more than Virgil Abloh’s mate. Before Been Trill, his collective with the Off-White founder, 1017 ALYX 9SM’s Matthew M. Williams and JJJound’s Justin Saunders, Preston was busy making moves on the East Coast.

Armed with a camera in one hand and a skateboard in the other, Preston relocated from California to study in the Big Apple in 2004, where he began to document the streets, style and students in and around Brooklyn. What started as a blog in the early days of Flickr, quickly garnered a cult following and Preston’s brainchild was soon taken from HTML to hardback; ‘The Young and The Banging’ was born.

By day, the now defunct hub of 255 Elizabeth Street was an invite only NikeiD Design Studio. A mecca for sneaker stalwarts, designer led customisation sessions and exclusive drops engraved the discrete downtown space into the history of New York’s streetwear scene. By night, it became the setting for the launch of the book that would catalyse Preston’s emergence into the global industry, having captured the keen eye and subsequent sponsorship of Nike’s Julian Cahn.

Aided by Nike’s mentorship, ‘The Young and The Banging’ is Preston’s love letter to streetwear, spawned from a “fascination with people”. Featuring hundreds of polaroid scans of Brat Pack cliques and the styles of real New Yorkers, “the nerds, the weirdos and the skaters” are celebrated. Branded with Preston’s signature orange hue, faces from the likes of art schools Parsons and Pratt Institute, as well as Preston’s own friends, sit alongside snaps of the favourite restaurants of locals, to personal essays and interviews.

Within a sea of yearbook portraits and scribbled chalkboards, launch attendee’s branded Preston “the Founder of Coolness,” with supermodel Ruby Aldridge, photographer Ryan McGinley and Opening Ceremony’s Dylan Kawahara amongst the extensive roster of guests. United by Preston’s desire to capture where “living in Downtown feels like a big kid’s high school... where restaurants are like cafeterias and the streets, our hallways” transformative school years are honed with one event, and one book, providing solace for outsiders. Gossip on the bleachers, deface your locker, flirt in the halls; where school provided community for discovering subculture and likeminded people, ‘The Young and The Banging’ wished to ignite the same.

Brooklyn provided the perfect proving ground for Preston, where his upcoming venture with DJ collective Been Trill would further catalyse his position on the international stage. Alongside the next generation of East Coast creatives, merchandise and DJ sets were spawned from a collective fascination with low-fi visuals and hi-fi sound. Within the early Internet boom, Been Trill married mix tapes, GIFs and early rendering with vintage advertising, resulting in a hotchpotch of traditional American values, with a modern global outlook. For Preston and Been Trill’s fellow founders, this view persists in their current ventures, with the likes of Off-White, JJJound and 1017 ALYX 9SM still influencing the streetwear zeitgeist over a decade later.
Preston’s blog is now defunct, but its legacy for the brand, immutable. What was born on Brooklyn’s streets, has now reached stratospheric heights since its initial launch in 2017. Citing his notable collaboration with NASA, Preston’s championing of technology is cyclical. ‘Streetwear for outer space’ elevated apparel inspired by Brooklyn, to the cosmos – literally – where, as such in all of Preston’s collaborative projects, pragmatic, artisanal product remains uncompromised. Partnerships with the likes of Calvin Klein and Levis Strauss & Co, extend Preston’s desire to root experimentation in production, where ‘works in progress’ surpass mistakes and unorthodox details take precedence over methodical rule.

Underlined by utilitarian staples, Preston’s sartorial aesthetic is as much practical as it is a maxim of contemporary luxury. His context of reinvented workwear features a marriage of apparel, for work and for play - New York hustle with finesse. A subsequent collaboration with Carhartt WIP extended this notion, where famed silhouettes such as the Double Knee Pant and the Payton Vest were stamped with Preston’s Cyrillic signature and distinct citric tags. Its launch event and workshop in Tokyo in 2018, affirmed Preston’s international vision, yet one that doesn’t forget that communities and making them first inspired him. Citing that the future lies in ‘giving people the power to make things their own,’ these collaborations are intrinsic to his ethos, acting as further intersections of function and luxury, streetwear and workwear. However, despite the undeniable growth of his brand, the early message of ‘The Young and The Banging’ still boasts the same integral ethos, one centred around personalisation, production and people.

Noted by his orange branding tags, the prevalence of Preston’s trademark hue transcends merely as an aesthetic choice, acting as a connection between his label’s future and its initial roots in New York. The orange Sixth Avenue Metro line runs through the heart of Brooklyn, crowned by an orange stripe on the city’s flag. Orange has been integral to Preston’s vision since the birth of his label, as has his experimentation with technology and community, first spawned in the primitive days of ‘The Young and The Banging.’

Over a decade on from the launch at 255 Elizabeth Street, Preston’s innate wild child streak persists. Painted orange wall scrawling’s encouraged disruptive calls to action, an attitude that propelled the designer from the basements of Brooklyn’s sneaker stores to the forefront of New York’s streetwear scene. A product of the social media age, Preston’s early Flickr tag line comes full circle, conveying his desire to innovate and summarising his fruitful career succinctly: “Hi my name is Heron and I believe in side hustles.”

The latest collection of Heron Preston is available in-store and online now.

Artwork by Henry Spiers

KAMIKIRI: WHERE EAST MEETS NORTH WEST

Weds, 25 Aug 2021 00:00:00 GMT

Japan is a nation of balance: where a legacy of fierceness stands, so does one of humility. As such, the Nike Air Max 95 holds many similarities. An undeniable reputation, alongside a quiet confidence – a famed silhouette that has stood the test of time, relying on heritage, as opposed to clout. Although seemingly stark differences between the two, for Liverpool barber James Ahmed, they hold a special affinity in both his heart, and his shop.

Before we met James, we killed time in a local family run café down the road, packed with locals and a palpable Scouse community spirit in Liverpool’s leafy suburb of Aigburth Vale. Standing proud on the adjacent residential street, Kamikiri Barbers is reminiscent of Tokyo’s unassuming back alleys, sandwiched between houses and crowned with its notable citric green accents. Kamikiri was birthed after some “forced reflection” during COVID, where, despite eighteen years in the trade, Ahmed “started thinking it was time to open up a shop” in December last year.

In between hourly appointments, the various talismans that pepper his shop are hard to ignore - books on manga and anime figurines all extend his love for the culture, fuelled by a “subconscious or conscious influence from Japan as a kid... Computer games – SEGA, Nintendo – all that stuff.” Despite the shop’s Eastern inspiration, James’ intentions behind Kamikiri are clear: “I wanted to have something that was mine,” he explains, “but I didn’t want the shop to seem like a gimmick, where it’s all Japan.” This rings true; The shop is refreshingly minimal, a suntrap that marries a respect for the culture alongside his own passions, such as photographs of him and his niece and Japanese art books – the personal and professional work in close symbiosis.

The shop is small – just big enough for our team – but despite Kamikiri’s size, in true Scouse sentiment, the humour is rich and the welcome, even more so. In parallel with his shop, James’ presence is one of understated ease, where good chat is guaranteed alongside a clean cut. His decision to set up shop outside the City Centre was a conscious one – “I’d always liked the space... I grew up round here and liked how it was smackbang in the middle of the houses” he explains, encouraged by Aigburth Vale’s greenery to aid his passion for running outside of work hours.

Kamikiri lends its name to ‘yokai’ – generational tales from Japanese folklore – where small creatures with blade-like claws snip locks from those in an unaware slumber. Replace claws with electric clippers, and behold: Kamikiri Barbers. Building the shop to fruition was a natural journey for Ahmed, first sparked by his hairdresser aunt. “After leaving school, I thought, I’m not that academic... but I’m good with my hands,” he tells us, “So, I thought I’d give it a go.” What started with a somewhat “disappointing” hairdressing qualification eventually became “a baptism of fire,” later evolving into a love for barbering that took James from full time retail, to a tactile trade. Although a formal training in both, we joke a full balayage and highlights isn’t on the cards anytime soon. After first hearing of Kamikiri on his Twitter newsfeed, the name stuck, and James’ brainchild was born.

With a history dating back to Japan’s Edo Period, it was important for James to modernise Kamikiri and “bring it into the 21^st Century,” where his distinct logo reps Nikes, a barber’s comb and traditional claw-like hands. His Sonic the Hedgehog inspired motif – “you see the hair and the spikes at the back?” – was initially drafted by his friend and local graphic designer Mike Walsh. “Mike first put him in a pair of 97s, which I thought was kinda funny...” he says, with later designs paying homage to the proclaimed sneaker of the city, the Nike Air Max 95. Like a Samurai’s armour, sneakers are rooted in protection, status and heritage, with the Air Max 95 especially, garnering a cult following in Liverpool above any other UK city. Hailed locally as 110s – the sneaker’s original cost – a distinct community of loyal North-Westerners have elevated Sergio Lozano’s anatomy inspired design to one engrained in the Scouse psyche, with the newest iteration marrying East Asia with streetwear irreverence. Building a formidable skeleton of Japanese imagery, the new model features a spine of monochrome gradient overlays harnessed with mesh ribs. Contrast laces and a padded collar are accentuated with a blood red swoosh signature, cushioned by an Air Max heel unit.

According to James, Liverpool is a city brimming with distinction, where the subcultures of the Mersey favour “a proud uniform with few variations,” with the Air Max 95 at the crux of Liverpool’s sartorial trademark. He notes that four decades of rapid regeneration have birthed a wave of “solidarity and Scouse pride” amongst locals, where “misconceptions of the city” can overlook a hub of culture, history and craft.

As our chat wraps up, conversation eventually turns to the future of the shop, with the Scouse humility omnipresent in James’ answer: “I just want to do something where I can earn the money I need, with the social aspect of it” he says. Barbering is Ahmed’s bread and butter with no desire “to turn it into this big business.” One thing is for certain, though, for James, where there is community, there is passion, with the latter also ringing true for Liverpool’s signature sneaker.

The Nike Air Max 95 QS ‘Japan’ Sneaker is available in-store and online now.

Special thanks to James Ahmed / Kamikiri
Illustration by une Arthur Ortega

A SPLASH OF PINK

Thurs, 19 Aug 2021 00:00:00 GMT

Often tinged with hints of love and romance, pink’s effervescent nature is masked with a sense of vibrancy. Associated with uplifting shades and the positive side to the spectrum, society’s perception of the colour pink has continuously transitioned over time.

The mid-19^th century was an era where men in the western world predominantly wore dark colours, therefore the shift for light, pastel palettes were left as an option for females. Marilyn Monroe and Jackie Kennedy served as the markers for pink’s luxury in the 1960s, however, once the 1980s arrived punk bands like The Clash and The Ramones give a new meaning to the colour. With more recent cultures of music and celebrity changing, the course of pink is now considered a colour for both – blurring the lines of gender-colour stereotypes.

SEVENSTORE have dialled into their pink catalogue, pulling out a round-up a pastel picks from Arc’teryx, ERL, Rick Owens and many more.

Here in the North West it’s not always the driest of regions which is why Arc’teryx is an all-round favourite, any time of the year. Eye-catching in colouration, the Atom SL Jacket is compact and light making it an easy option for when the temperature drops and functional weatherproofing is a need.

ERL – SWEATPANT

Designed by Eli Russell Linnetz, ERL is a portrayal of LA’s youth culture. A rich collection evoking an air of nostalgia, ERL and Linnetz’ work is genderless, ironic and effervescent across facets of knitwear, shirting and casual comforts.

ACNE STUDIOS – EDMUND LUREX T-SHIRT

Dominating the Scandinavian sphere of ready-to-wear, Acne Studios remain at full throttle, turning heads with bright colours and intellectual takes on modern day minimalism. The Edmund Lurex T-Shirt transports organically grown cotton into lively signature branding and oversized fits.

NIKE – EVERYDAY PLUS CUSHIONED SOCKS

Talking comfort to the next level underlines Nike's ethos. Match that comfort and technology with a foray into the tie-dye know-how adopted in Nike’s Everyday Plus Cushioned Socks. Corresponding colours to match your every sneaker enriches a whirlwind of outfits from gym wear, athleisure and streetwear nuances.

RICK OWENS – FELPHA GRANBURY SWEATSHIRT

Often threaded in a hallmark of black, gothic influence, Rick Owens takes a different approach to his ready-to-wear this season. Vibrancy at the opposite end of the spectrum relocates Owens’ vision, elevating the Felpha Granbury Sweatshirt from under the radar to the forefront of design.

VAULT BY VANS X ARIES

Mon, 16 Aug 2021 00:00:00 GMT

Vans’ Vault division is stepping up their game in terms of collaborative releases. Having recently teamed up with the likes of FDMTL, Bedwin and The Heartbreakers, and JJJound, the Californian footwear outfit presses onto another collaboration, this time with Sofia Prantera and her brand, Aries.

Creative expression into the streetwear sphere has always been at the centre of the Aries ethos. Their collaboration with Vans Vault extends this tradition, pairing stand-out printing and patterns to deliver unconventional iterations of the classic Vans silhouettes that dictate the modern skate sphere.

The conception of the partnership was born from the idea of mixing up every part of the silhouette. Incoherent graphics and logos, random colours and apocalyptic stories appear to break the rules of the norm. The phrases ‘Go Your Own Way’ and ‘Art Trip’ reinforce the message of individuality that is shared by both, Vans and Aries.

The collection spans both footwear and clothing styles with the inclusion of the OG Authentic LX, OG SK8-Mid LX, OG Era LX, and the OG Chukka LX, all varying in multiple colourways. Domineering touchpoints on the ‘Weed Muted’ OG Authentic LX incorporates multi-colour marijuana leaf patterning on the uppers, sidewall art and yellow colourblocking on the classic vulcanized sole unit.

Complimenting the vibrant array of footwear, the head-to-toe collaboration includes an equally bold co-branded hoody, a multicolour short sleeved tie-dye t-shirt and a knit jacquard beanie.

The Vans Vault X Aries collection will be available in-store and online from 11 SEPT 21.

USE HEARING PROTECTION: THE EARLY YEARS OF FACTORY RECORDS

Sat, 14 Aug 2021 00:00:00 GMT

Use Hearing Protection: The Early Years Of Factory Records is a celebration into one of the city’s most influential record labels. Showcasing Manchester’s place at the heart of Britain’s music and creative industries, the exhibition highlights Factory Records and how their innovative work in music, technology and design gave Manchester an authentic voice, culture and distinct identity, still prevalent today.

Telling the story of Factory Records’ early years from 1978 to 1982, 50 artefacts have been chosen from the official Factory catalogue, including creations from Joy Division, New Order and The Durutti Column, as well as work from Peter Saville, previously unseen items from the Factory archives, and objects loaned from the estates of both Tony Wilson and Rob Gretton, the former manager of Joy Division and New Order.

Situated at Manchester’s Science and Industry Museum with curation and support from Jon Savage, Mat Bancroft, and Stuart Wheeley at Warner Music UK, the exhibition plays host to an immersive understanding into the world of Factory Records. Experience a night out with a tribute to The Factory night at the Russell Club with technologies that made the label’s sound so unique, including a mixing desk and synthesiser.

SEVENSTORE spoke to one of the curators of the exhibition, Mat Bancroft about how it came to fruition, the distinctive voice of Factory Records and why it has transcended into the fashion world of many present eras.
SEVENSTORE: Could you introduce yourself & tell us a bit about the role you played in the exhibition of Use Hearing Protection: The Early Years of Factory Records?

Mat: Hi, I’m Mat Bancroft, independent Curator, Archivist and Art Director.

I’d worked on the exhibition True Faith in 2017 at Manchester Art Gallery which was part of MIF and was about the artistic legacy and influence of Joy Division and New Order. It was curated by Matthew Higgs who is the Director of White Columns in New York, and the Writer and Curator Jon Savage. Following that I was approached about developing an exhibition that acknowledged the 40^th Anniversary of Factory Records. I suggested Jon work on the project with me and we co-curate and so we worked up the idea of focussing on the early years of Factory, looking at some of the influences and limiting our scope to numbers 1-50 in the Factory cataloguing system, which took us from Peter Saville’s iconic first poster for The Factory Club to New Order’s debut album Movement.

SEVENSTORE: How did the exhibition come to fruition?

Mat: After developing the idea Warner Music UK came on board as a supporter and I approached Chelsea Space in London with the proposal which they were keen to be part of. We had initially looked to secure a Manchester venue but for various reasons it wasn’t possible at the time. For the exhibition at Chelsea Space we had loaned items from Tony Wilson’s Archive, held at the Science + Industry Museum and that began conversations with Jan Hicks who is the Curator of this exhibition at S+IM about the exhibition moving there and expanding in content and context but still staying within the FAC 1-50 range.

SEVENSTORE: Why was it so important to highlight the early years of Factory Records?

Mat: We felt that it was a period that had been underexplored in exhibition, both in relation to the influences behind Factory and the direct creative involvement of the five Factory Partners. Like the start of any major project or company or idea this is Factory in its purest form, idealistic, exciting, inclusive, brave, intelligent, diverse. Factory’s focus was never money, the quality and integrity of the idea and the presentation and impact of the ‘artefact’ was always more important and this early period is free of the financial issues Factory would encounter in later years.

SEVENSTORE: What makes this exhibition a step forward from the display hosted at Chelsea Space, London in 2019?

Mat: The exhibition at the Science + Industry Museum expands in both scope and scale. It’s also moving from an art gallery to a museum environment and so it needs to be curated in a slightly different way. Chelsea Space is a perfectly formed small scale space and we liked that the majority of the items were contained together in a single room. It allowed you to take in the whole 1-50 catalogue in one go - with supporting materials and consider just how much amazing diverse work had been created in a four-year period.

S+IM is naturally a much larger exhibition space which allows for a deeper look into what influenced Factory - Punk, the Situationist International, the landscape of the city at the time, the roles of the founders of Factory and the emerging technology. It’s also allowed for the opportunity to look at some lesser known stories like the important women who worked at, or were connected to Factory in this period. A greater level of supporting materials on show, some important instruments, a selection of photographs of period Manchester curated by The Peoples Archive and British Culture Archive, rare film footage etc, so it’s expanded in all directions within a space designed by Ben Kelly.

SEVENSTORE: Why do you think now was important to highlight the legacy of Factory Records?

Mat: As mentioned earlier the instigator was to acknowledge the 40^th anniversary of the launch of Factory Records. More broadly Jon and I had access to some important archives and could see new or alternate stories within them that hadn’t been told in exhibition before. The creative work Tony Wilson was doing (flyers, handbills), while still working at Granada for The Factory Club nights and Rob Gretton’s vision for Joy Division and in turn Factory as a project not dictated to by money, allowing more creative freedom with a vision for supporting local artists and industry.

I also think it’s worth introducing the Factory story to new generations who might only be aware of Joy Division and New Order. I personally think it’s an incredibly inspiring story of do it yourself creativity and vision.

SEVENSTORE: Looking back, the impact Factory Records had on the music scene in Manchester was iconic and paved the way for eras of subculture. Why do you think it was so important and integral at the time?

Mat: I don’t think any other record label was so intrinsically linked to the city they were from and based in. Of course, many labels reflect their place of origin and impact on that city or town but in Factory’s case they had the desire to improve Manchester’s cultural landscape through opportunity and experience. They could see that in what was a post-industrial city by the late 1970’s, the new industry for the city could be media and culture. The first real physical manifestation of this idea is what comes next in the Factory catalogue with FAC 51 The Haçienda, which this exhibition introduces to you as you exit.

SEVENSTORE: Joy Division, New Order and Happy Mondays are important musical touchpoints of the North West, but they have also crossed over into genres of art and fashion, in particular into the works of Raf Simons and Supreme as of late. Why do you think the Factory Records scene has become so recognised and re-used through many different facets up until the present day?

Mat: I think it’s primarily due to the visual brilliance of Peter Saville’s work. Factory has a strong aesthetic which he established from the first Factory poster. Historically record covers have always been important visual statements, references and influences for people and his covers for Joy Division and New Order continue to resonate and inspire. They are ultimately incredibly cool images wrapping great songs by two perpetually cool bands, in the case of Joy Division almost the ultimate cool band. For someone like Raf Simons they are also part of his adolescence and so referencing them is completely natural for a designer who utilises subcultural and pop cultural influences regularly.

As fashions and trends change and reappear bands with a strong visual identity can be utilised to establish a direct link to a period. LVC have done that very thing recently in collaborating with Central Station for their Spring/Summer 21 Acid House Remastered collection. They are also hopefully celebrating great design and it’s a natural way of educating people in the beautiful way that fashion and pop culture can.

SEVENSTORE: How do you think the city of Manchester influenced the label and the bands on Factory Records?

Mat: It naturally changes at different times but for this period of Factory, the post-industrial landscape is crucial and influences both the sound and aesthetic of Factory. You can both see and hear the influence. Joy Division’s sound clearly reflects their environment, and though Ian Curtis’s lyrics also document his internal struggles, that is also poetically connected to the external landscape of Manchester. A Certain Ratio include a graphic of The Metropolitan-Vickers Tower, within the Trafford Park Industrial Estate on some of their releases and industrial and technological language can be noted on various sleeves and posters. As a label based in a northern city Factory also uses local industry where possible, printers, designers, filmmakers and manufacturers and so creates a new economy and system of production.

There is also a natural resistance to the political and social circumstances of the time affecting Manchester and other northern cities, whether it be the solidifying of capitalism as prime motivation for living, or being ‘happy’ or the ideology of the police at the time and the poor living conditions for many. Factory enabled opportunities for reactionary artistic statements and is a collaborative venture, following the ethos and inclusivity of Punk.

SEVENSTORE: Would you agree it is fair to say Factory Records shaped Manchester’s music, design and culture in the years following its rise?

Mat: Yes, I’d agree generally with that, though it wouldn’t be alone of course. The Buzzcocks and their label New Hormones could be seen as a template or pre-cursor to elements of Factory, and in some ways a band like The Smiths are almost a reaction to much of what could be thought of as a ‘Factory sound’ or ‘Factory aesthetic’ and they have a massive impact on the city and establish a separate visual strand that reflects on Manchester’s history and cultural heritage. Overall though I don’t think Manchester is the city it is without Factory and the ideas it proposed of what Manchester could be. The designers who worked with and for Factory, Peter Saville, Trevor Johnson (Johnson Panas), Central Station, Mark Farrow, Martyn Atkins, Ben Kelly amongst many others created some of the most iconic pop culture design and form of any era and undoubtedly inspired other creatively minded people in the city.

SEVENSTORE: How would you encapsulate Factory Records, those involved with it and Manchester’s distinct identity to someone who has never been to the city or heard about Factory Records before?

Mat: It’s quite difficult to encapsulate in some ways. I think Tony Wilson sums up the story pretty well at the start of the Joy Division documentary - “I don’t see this as the story of a pop group, I see this as a story of a city that once upon a time was shiny and bold and revolutionary and then suddenly 30 years later is shiny and revolutionary all over again and at the heart of this transformation is a bunch of groups and one group in particular.”

In addition to this ‘bunch of groups’ are the five Factory partners, Tony Wilson, Alan Erasmus, Peter Saville, Martin Hannett and Rob Gretton. They had a vision for Factory and for Manchester and they approached things with an integrity and truth. Factory established the foundations of which modern Manchester is built on.

Special thanks to Mat Bancroft & The Science & Industry Museum

NEW BALANCE TOKYO DESIGN STUDIO X SNOW PEAK NIOBIUM CONCEPT 2

Fri, 13 Aug 2021 00:00:00 GMT

New Balance and Snow Peak have unveiled their fourth collaboration together, a project entitled the Niobium Concept 2 with the helping hand of Tokyo Design Studio.

Building on the initial Niobium sneaker, which included a 3-in-1 combination that could be transformed from a boot to sneaker and then to sandal. The Concept 2 focuses fully on the sandal side of things: crossing over elements of the outdoors with fashion cues.

The Niobium Concept 2 is based on ultimate two-way design cues of utility and transformation featuring the sole unit from New Balance’s best-selling trail running sneaker, Fresh Foam Hierro enabling a smooth transition from sandals to mules.

Providing a staple improvement to the sole unit with shock absorption included, the Fresh Foam addition brings structure to the silhouette with an added Vibram gripped outsole for day-to-day activities and trail exploration. In addition, the upper comes complete with breathable mesh material and touches of highly durable synthetic leather throughout.

The collaboration is inspired by Snow Peak’s project “Home to Camp”, highlighting the process of walking from the paved road to the field.

The New Balance X Snow Peak Niobium Concept 2 is available to purchase on SEVENSTORE Launches now.

NEW SEASON, NEW BRANDS AW21

Thurs, 12 Aug 2021 00:00:00 GMT

As we immerse ourselves in the British summertime with perfected outfits of artist-laden shirting and shorts to fit the hotter climate, SEVENSTORE look towards the upcoming season of Autumn/Winter 2021.

Steeped in a range of versatility, we have covered all basis; outerwear, casualwear, contemporary and luxury, all giving the perfect amalgam for any situation, outing, event or weather condition, but it’ll most likely be raining here in the North West of England.

When a new season arrives, so does a new collection of brands. Plotting and planning the next additions to your wardrobe, from old catalogues to lookbooks, the obsession of searching high and low for that new lucrative garment remains all the same. Japan, England, New York and Sweden amongst others, are the destinations in which a fruitful array of offerings for the winter months lay, providing a new front for SEVENSTORE and this new chapter.

KLATTERMUSEN

Being situated in the North West of England, you have to be hardened to the unpredictable weather conditions it throws up – more so, rain, so any outdoor brand is welcomed with open arms. New in line for the new AW21 season is Swedish mountaineering brand, Klattermusen. Eco-conscious and innovative, Klattermusen’s design has been shaped by the needs and experiences of local climbers in the mountain village of Åre, Sweden. Through rigorous testing and functional craft, 40 years of expertise in creating high performance apparel and equipment – combining utility, durability and environment know-how has placed the outerwear advocates at the top of their division.

GRAMICCI

Fancy a spot of trekking or climbing in the Peak District? Look no further than Gramicci. With over 30 years experience within the outdoor game, Gramicci have a pioneering sense of passion and innovation which does not end with product. Born out of a garage in 1982 by climber and adventurer Mike Graham, Gramicci’s core ethos hasn’t changed, with the search for freedom a catalyst for their ongoing work. Known for their modern take on climbing inspired wear, Gramicci’s simple but effective appeal has been picked up in the realms of contemporary streetwear and unsurprisingly, gorpcore.

HERON PRESTON

Heron Preston launched his career in fashion alongside 1017 ALYX 9SM’s Matthew M. Williams and Off-White, Louis Vuitton head honcho, Virgil Abloh with the streetwear collective Been Trill. Regarded as an artist, creative director and DJ, the San Franciscan native has worked with the likes of Kanye West, Nike, Carhartt WIP and GAP, and founded his own namesake label in 2016. Merging his awareness for sustainability and better environmental manufacturing practices with streetwear sensibilities, Preston aims to produce a contemporary exploration and adaptation of the street landscape while touching on different disciplines such as art, lifestyle and music.

COLE BUXTON

Formed on a concept of daily essentials, Cole Buxton have built a noteworthy foundation of authentic British sportswear set within their own rules. The concept was initially conceived in 2014, to redefine what we perceive as contemporary sportswear and cater for the everyday modern landscape. With a continuous refining of a core garment offering, founder’s Cole Buxton and Jonny Wilson have tackled questions of sustainably by creating garments that are everlasting, in both style and substance. With their first flagship now open, Cole Buxton are set to take their contemporary spin on streetwear from the inner sanctum of London to a global audience.

SNOW PEAK

Adding to the SEVENSTORE outdoor catalogue for AW21 is Japanese brand Snow Peak. Originating from the famous Japanese mountain, Tanigawa, where founder Yukio Yamai challenged his personal experiences of adventure and exploration, Snow Peak’s strong connection with the outdoors is one that has nurtured from the continuous settings of Japan and into the Yamai’s home in Sanjo City. Technically advanced tents, Japanese cookware and a plethora of ultra-protective garments make Snow Peak’s minimalist vision for the outdoors a lifestyle choice for a growing audience for both, nature enthusiasts and city dwellers alike.

GOOPiMADE

Established in Taipei, Taiwan, GOOPiMADE is built on a love for the quality of fabrics, functionality and design. Workwear garments with a specific cut and fabrication is what attracted the GOOPiMADE founders to explore, creating outdoor style with a military aesthetic. Not confined to a specific schedule or seasonal collections, the creative group behind GOOPiMADE tend to navigate a relaxed approach to output with one or two items a month, and at the end of year you’ll have a full catalogue of items to choose from. GOOPiMADE have worked with many artists and designers within Japan, Hong Kong and Taiwan with the same ethos, as they look to expand their market into Europe and the US in the not too distant future.

adidas SPEZIAL

Originally released as a handball shoe in the brand’s native country of Germany in 1979, the adidas Spezial has come along way since then. A foray through the 80s and an integral part in terrace casuals and football culture, the popularity of the Spezial eventually declined. Long-time adidas collaborator, Gary Aspden resurrected the silhouette back in 2013, spurring on collaborative capsules of footwear and clothing ever since. Each collection makes a touchpoint to the history of archival adidas and places significant subcultural cues such as Northern Soul, the Mod-era and acid jazz of the 1990s, as well as tapping into collaborations with the likes of Goldie, Liam Gallagher and New Order.

CLOT

CLOT’s impressive back catalogue needs no introduction. The Hong Kong streetwear and sneaker boutique founded in 2003 by Edison Chen and Kevin Poon have cemented their status as one of the world’s leading collaborators in the industry. Nike, Dr. Martens, John Elliot, Medicom, Stüssy and Sacai, amongst others have been treated to a CLOT partnership. Binding together cultures of the east and west, CLOT is a mixture of entities that ultimately nod to the brand’s streetwear heritage. As well as expanding from sneakers to clothing into a sleek collection of homeware accessories, CLOT’s cross-cultural swap over lands on the shores of Liverpool for the first time with a fresh perspective on contemporary design.

Coming soon to SEVENSTORE.

Artwork by Henry Spiers

MONCLER GENIUS: 7 MONCLER FRGMT HIROSHI FUJIWARA

Weds, 11 Aug 2021 00:00:00 GMT

Moncler have enlisted global streetwear designer, Hiroshi Fujiwara for the latest instalment of the Genius collaborations project. Known as a godfather of Ura-Harajuku fashion and head of Fragment Design, Hiroshi has many faces such as a creator, producer and a musician. This background underscores his approach to crafting collections: wide-reaching reference, extensive sampling and offbeat collaborations, all fused together by his cultural sixth sense. He approaches fashion from a personal, if not egotistical, point of view: in making clothing that he himself would like to wear, Fujiwara touches a chord in his followers.

At Moncler, Fujiwara merges functional design and mysterious slogans with the brand’s technical expertise, delivering seemingly normal pieces that are in fact full of hidden surprises. The first drop of 7 MONCLER FRGMT HIROSHI FUJIWARA 2021 focuses on lighter, mid-season items. For men, the range features bombers, puffers, workwear jackets, a diverse range of outerwear that nods to the designer’s streetwear heritage, and sophisticated takes on jersey tops, sweatshirts, Bermuda shorts and trousers.

And always with an eye on tomorrow, Fujiwara has created a few garments with sustainable features. A puffed-out anorak is crafted in organic cotton and sustainable fabrics, while quilted jackets include fabrics made with recycled nylon, and adorned with recycled brass snap buttons.

The slogan of the season that runs along the back of a jacket, sounds rather matter-of-fact: WORLD OF MONCLER. Whether right side up or upside down, read from any perspective its acronym, WOM, always reads the same. This reflects Fujiwara’s consistent take on Moncler. He embraces its heritage, strength and uniqueness, the pinnacle of innovation, finest design, and communication as a distinctive whole.

As ever for Fujiwara, the collection involves different collaborations across a spectrum of subcultures. British leather specialist Lewis Leathers returns to the fold, collaborating on a new version of their classic 441 Cyclone jacket, whilst interpretations of the iconic Chuck 70, a modern ode to the Chuck Taylor All Star, and Jack Purcell were created with Converse. The collection also includes an array of hats, beanies and bucket hats.

The 7 MONCLER FRGMT HIROSHI FUJIWARA collection will be available to purchase online from 8 JULY 21.

SCOUSERS HERE, SCOUSERS THERE, SCOUSERS EVERYWHERE: MACCA

Tues, 10 Aug 2021 00:00:00 GMT

They say wherever you go in the world, you’ll bump into a Scouser. SEVENSTORE’s latest feature, ‘Scousers Here, Scousers There, Scousers Everywhere’, not only puts that theory to the test, but seeks out our city’s most exceptional figures living in places you mightn’t expect.

Being from a sea-facing port settlement, the people of Liverpool have always been more concerned with what’s beyond the Atlantic, than what’s inland. From the Merchant Seaman of Liverpool who boarded Cunard Ships throughout the centuries, to our football fans of the 70s and 80s that traversed Europe in search of new experiences (and trainers): travel is in our DNA. In this series we’ll be interviewing the sons and daughters of our city, who’ve gone national and international with their talents, exporting the Liverpool brand to pastures new. Or to steal and refine a quote from John Lennon about bandmate George, we’re in search of “Scousers of Distinction”. Let’s start in our nation’s capital, shall we?

DJ, radio host and Sunday League legend of Hackney Marshes, Adam McAleavey who was recently described as the third most famous Macca from Liverpool. Impressive, considering the city produced Paul McCartney and Steve McManaman.

In his four and a half years since arriving in London, Macca has bagged himself a show on the world’s most listened to online radio station, NTS, a DJ residency at Soho House, and cemented a place in London’s trendiest amateur football club, The Gun. Not bad going for a kid from West Derby.

We spent a Friday afternoon with Adam to see what he gets up to down there, and investigate what it’s actually like being a Scouser in That London…

SEVENSTORE: How do people respond to the Scouse tones, then? Old stereotypes die hard? Or are perceptions better down there these days?

Adam: 85% of the time it’s nothing but respect. It’s heart-warming and overwhelmingly positive. You get a nod of approval and there’s a lot of ‘oh, my uncle’s, auntie’s boyfriend was from Liverpool, and he was the best’. I have people stop me on the street, because they hear the accent. It’s embarrassing sometimes! In a good way!

The 15% is very rare, but when it comes out it’s weird. It’s like the last form of accepted discrimination. I’ve learned to shoot it down quickly though. “Mimicking my voice or asking me to say ‘Chicken’ isn’t funny mate”. Time has moved on.

But generally, there’s a lot of love for us.

SEVENSTORE: What attributes, in your opinion, define scousers?

Adam: All of the obvious cliches exist, but the cliches are there for a reason to be honest. And it goes deeper than that.

One… We’re a laugh. We don’t take ourselves too seriously. We’re just funnier, aren’t we!? My girlfriend, who’s from Oxford, conceded this recently. Like, look at the Beatles, they were just wittier and sharper than anything or anyone that’s gone before. It’s like me and you have just come into this brekkie gaffe and said to the Turkish owner ‘Alright mate, mind if we do a photoshoot in here?’ I don’t think a lot of people could do that.

Sometimes it gets a bit edgy down here, but I know my wit and pride can get me out of most situations. Liverpool’s got this love-hate thing going on in England, but when people find out you’re a Scouser in London, whether they like that or not, they respect it. But yeah, big things for a Scouser are wit and pride, which equals strength.

SEVENSTORE: What do you miss most about home?

Adam: My best mates, even though they call me a London divvy. I went back recently with my girlfriend, and you see the place differently. I did have to stop and take a moment, down by the docks. The city is actually beautiful. Another thing I miss though is water. Even if you can’t see it, you can feel it. Or not feel it.

SEVENSTORE: Is it fair to say that wherever you go in the world, you’ll bump into a Scouser?

Adam: I think the simple answer is yes! I’ll be honest, I don’t go looking for it here. I didn’t come to London to find a Liverpool crew. When you bump into someone from Liverpool here though, you’re filled with so much warmth. As much as I don’t go looking for it, I think we gravitate towards each other, and will always look out for each other.

SEVENSTORE: What made you want to fly the nest?

Adam: When I was seventeen or eighteen and started working on Bold Street- getting into my trainees and music on a different level- I went to New York and it just blew my head off. I knew then, that at some point, I’d have to go and be in a mega city, at least for a while. I’ve been to New York ten times since and I think all those visits were about me getting a taste of something I couldn’t get in Liverpool. I applied for a VISA for Canada, got it, then fell in love and followed a girl to London. The relationship didn’t work out, but at that point I’d got a feel for London, and I liked coming down here as a person from Liverpool. I just thought, ‘let’s have it’! I just wanted to see what was out there, really.

SEVENSTORE: You’ve established yourself as a staple of NTS, London’s hippest radio station. How did that happen?

Adam: It started in Liverpool to be honest, but it’s been five years of graft, really. One of my mate’s had booked Charlie Bones to play The Kazimier Garden in Liverpool, who does the breakfast show on NTS. It was 2015, I didn’t know Charlie at this point, but I used to put gigs on with Paddy Quinn- who I owe a lot of my musical knowledge to by the way- so a friend asked if I could look after his act over that weekend. Usually, the DJ’s come in, do the gig, get paid and fuck off on the first train home in the morning. But the day after the gig, I was sat in my flat on Rodney Street and this guy Charlie phones me and says ’alright, are you Macca? Do you know anywhere decent for brekkie?’ The rest is history, as they say.

At that time, putting parties on in Liverpool, NTS felt like a world away. Everest. Like, how do I get there? I went on Charlie’s show a couple of times after that, which translated as good radio, and I ended up covering him when he was off on holiday or sick. People started asking me, ‘when are you getting your own show, Macca?’ Eventually I got the courage to ask for that, and we set up the One Glove show in 2020. The best thing is they just let me be myself. I can switch from Bone, Thugs and Harmony to Simply Red. It’s the best radio station in the world. Every day I’m on, I’m honoured.

SEVENSTORE: Would it be a stretch to describe a Scouser as exotic once they leave Liverpool?

Adam: Mate, I can only say how I feel in London, and trips to NY, but 100%. I’ve said it before and I’ll say it again, I’m more exotic than foreign nationals in London. Remember that time when we were in New York? And a waitress in Bushwick asked us what language we were speaking? It doesn’t get more exotic than that! Getting asked what language you’re speaking when you’re speaking English!

SEVENSTORE: Tell us about some of your favourite spots in London? Where should we go if we head down?

Adam: I’m probably not the man to tell you where to eat in Soho or Shoreditch. I live in Lower Clapton, have done since I moved down here, so I endorse coming to these local areas that aren’t on that influencers Instagram. There’s only so many £7 avocados on toast you can have.
Where I’m living now is like 50/50 between gentrification and the old school. It’s about balance isn’t it. I’d say let’s go and get a cocktail at Behind This Wall, where you’ll get the best liquor you’ve ever had, but then let’s go and get a four quid pint at that old boozer, The Flynn up the road. You’re getting two different worlds, and I’m happy in both. So, there are two recommendations for you.

The energy is still in this area. The same can be said for Gillett Square, Dalston, where NTS’ station is. Although it’s a disgrace what developers are trying to do around those ways. Shout out to Marcous at Kaffa Coffee, The Vegan Ethiopian Cafe there, where you’ll get lovely coffee and beer and a warm welcome. Save Gillett Square. Save Ridley Road Market.

SEVENSTORE: What are the biggest assets of being a Scouser in a new city?

Adam: Through my experiences in Liverpool, I never once felt overawed or intimidated by London. We get enough exposure to things in Liverpool, so that by the time you get to London, it shouldn’t worry you in any way. I think the main benefit is that when you open your mouth here, you’re a talking point. The Scouse accent gets you into, and gets you out of, situations. You offer something unique that 99.9% of people in London can’t. I’ve always considered my accent and where I’m from as being something that’s helped me, not hindered me. And I always wonder why people lose their accents when they move to new cities? It’s definitely a choice.

SEVENSTORE: How do the lads at Hipster football team The Gun feel about having a Scouser in the ranks?

Adam: They love it mate! They couldn’t be happier! The thing is, going into the new season, there’s going to be three or four more of us. They’ve welcomed me with open arms to be fair, they’ve let me be myself and they’ve let me bring my own thing to the club as well. I’m the mouth, they know I can take a ribbing on the chin, but I’ll give it back. My girlfriend came to watch a game once and afterwards she was like, “You’re a gobshite, aren’t you?”
But I think that’s just how we’ve been taught to play in Liverpool. You fight fair, but you fight, and level the playing field where you can. I’ve managed to get myself a good role, helping run the team now, so hopefully after a difficult few seasons, we can get back to winning ways.

SEVENSTORE: Keeping with the football theme, we hear you’re a massive Blue. What are your expectations for Everton next season?

Adam: No comment. Pass. I’m crestfallen. The thing is I’ve grown up as an Evertonian all my life, so I don’t know any better. But what’s happened with Carlo in the last few months has really hit me quite hard. To be honest, I try not to let the football bother me, I’ve got to a point where I’d rather play, and a major part of that is because I can’t fucking be arsed watching Everton anymore. But I’ll be watching when the season starts.

Carlo leaving undermines the whole project. So, expectations? None. It’s the hope that kills you.

You know me lad, I’m as level-headed an Evertonian as they come. I’m OK with the Rafa appointment. The guy’s a proven pro, he takes no shit and is a top tier tactician. Anyway, why are we getting all emotional? Surely getting binned by Carlo is enough to remind us there’s no loyalty in football, it’s a business.

SEVENSTORE: What can we expect from Macca in the next few years?

Adam: More of the same! I’d like to do more radio and play more gigs abroad and across the country, trying to get the party started. But my main love is radio. I’d take a daily show over a live performance at Glastonbury.

I’ve nearly done five years in London now, and I’m only getting started. That’s how I feel. I’ll be checking in on Liverpool all the time, like. It’s always a pleasure to come home.

Words by Jon Turton
Photography by Jon Turton & Beth Morrison
Special thanks to Adam McAleavey

RAF SIMONS 'TEENAGE DREAMS'

Mon, 09 Aug 2021 00:00:00 GMT

Connotations of the Mod ethos conjure riotous weekends at Brighton beach, and the care-free Summer of Love stirs San Franciscan flower power - a far cry from the historical streets of Raf Simons’ base in Antwerp.

For Spring/Summer 21, the Belgian designer portrays a modern revolution, where streamlined, unisex silhouettes are laced with pastels to form the crux of his ‘Teenage Dreams’ collection. Here, Simons’ shapes a love letter to the zeitgeist of subculture that has fuelled the eponymous label since its inception in 1995. Transcending beyond just era defining silhouettes, attitudes of youth driven defiance and liberation underline his latest sartorial venture. In an ode to one of the industry’s leading authorities, SEVENSTORE documents the playful irreverence of Raf Simons’ ‘Teenage Dreams’ collection, with an editorial inspired by the safe haven of teenage bedrooms, a museum of subculture and expression in itself, capturing the dichotomy between youth and adulthood.

His latest collection mirrors the core of the label – conveying a carefree attitude to European minimalism. Touching on the North West’s own, Joy Division offers a melancholic cry of inspiration, in parallel with the kaleidoscopic palettes of ‘Alice in Wonderland’ and ‘Alien.’ Despite this hotchpotch of visual inspiration, the collection offers a stark unifying element. In true house style, ‘Teenage Dreams’ is, above all, pragmatic. Extending the latest branch of the label’s tree, heavyweight cotton, flared denims and buttery leathers offer product with purpose, where utility is shone through the lens of luxury. Streamlined silhouettes are met with longline hems and spliced jackets alongside avant-garde footwear; Simons shows a desire to place visual history in the realm of the everyday.

Screen printed family photographs of those at the label’s creative helm and rife sloganeering are married with iterations of Simons’ youth - where statements of revolt are slashed across jackets, t-shirts and hoody’s alike. Where there are rallying cries, there is hope; Where there is desire for change, there is an appreciation of heritage.

Simons’ cyclical guise into the anatomy of generational style, culture and politics is apt. Reeling from the effects of Coronavirus as well as the long-awaited Black Lives Matter and #MeToo movements, disdain for the present day is met with an idealistic future, where fashion comes as a vehicle to help drive this narrative. Under the glare of Mod Vespa mirrors, ‘Teenage Dreams,’ aids as a uniting catalyst for revolution. “Welcome home,” Simons says, where freedom of thought and freedom of dress is celebrated.

The latest collection of Raf Simons is available in-store and online now.

FASHION'S GOING FOR GOLD

Sun, 08 Aug 2021 00:00:00 GMT

Every four years the Olympic Games arrives at a city across the world. Since 1896, there have been 28 summer Olympic Games held in 23 cities and although a year later than first anticipated, the Summer Olympics rolls onto the South East Asian shores of Tokyo, becoming the first city and country within the continent to host the event twice. The first of which came in 1964, a time shrouded in Beatles mania, the uprise and first world title of one of boxing’s greats – Cassius Clay – now known as Muhammed Ali, and the inaugural setting for Asia’s first holding of the games.

The setting of Tokyo's cityscape has come full span since 1964. Challenged through a global pandemic of the past 18 months, transitioning life from video calls to face–to–face meet ups, internet to communal activities, Tokyo 2020 has now been given the green light, a year later than expected. From 1964 to 2021, SEVENSTORE move through the years to explore the fashion behind the games, and which designers and brands have made their firm stance on the Olympic podium.

At the first modern Olympic Games which was held in 1896, athletes and teams wore their own clothes or uniforms which represented their own athletics clubs, it was nothing like it is now. As time proceeded through the 20th century, Olympic teams were becoming more associated to their own culture through the use of uniforms, colours and designs, which slowly but surely opened the door and turned heads towards brands and designers that would soon be taking the world of fashion to the Olympic stage.

As the Montreal Olympic Games in 1976 arrived, the foot was already in the door with Team USA's first inkling of this fashion–olympic collaboration. American fashion designer, Halston, best known for his minimalist, clean designs adorned in mid–70’s nightclubs became a phenomenon and placed him as 'one of the most visible designers on the global stage' at that time. He was at the top of his game, it was followed by being enlisted to create uniforms for both Team USA’s summer and winter Olympic games that year. For the summer games, Halston shied away from the red, white and blue that symbolised the American nation and opted for a more minimal approach such as white t–shirts, zip jackets and dark blue trousers, much to the divided opinion of the media who turned their noses up at his basic approach.

1980 was the turn of the first–ever Olympic games to be held in Eastern Europe with 80 nations making the trip to Moscow, the smallest number since 1956. Led by the United States, 66 countries boycotted the games because of the Soviet–Afghan War. Although, they never turned up for the summer games, the team were planning on being dressed by leading American denim manufacturer, Levis Strauss and Co. Enriched in a sense of American history, provoking national pride, the uniforms created were a showcase of the 'Great Out West'. Complete with shearling jackets, gloves, plaid shirts and cowboy hats, it was deemed a lot better than its predecessor, Halston. As well as producing something new, never–seen–before in the Olympian world, Levis Strauss and Co. had pledged to distribute 17,000 pairs of jeans and t–shirts to ticket holders and ground workers for the games, bringing together the community pride deeply threaded in Olympic history.

Imbued by the nation four years previous, the western inspired trend continued with Team USA at the winter games. With the mood of minimalistic Halston very much a past thought, the summer Olympics for the American’s produced a more casual outing, again courtesy of Levis Strauss and Co. They adopted what Halston didn’t in 1976 by choosing the colours red, white and blue zip jackets, track pants and baseball caps for a relaxed, comforting approach. Less layering, shearling jackets, more elasticated waists and striping was the feature, which would start to envelope the fitness craze of the 1980's.

As brand partnerships, collaborations with team uniforms and sponsorships started to infiltrate the Olympian marketplace, individual athletes were making fashion stances on their own to get the world talking. American track and field athlete, Ed Moses notched up 122 consecutive races between 1977 and 1987, of which he won 107 consecutive finals and he held world record for 400m hurdles four times. Beyond his sporting talent, his trademark were his dark sunglasses he wore during most of his races – a somewhat good luck charm. Seoul in 1988, where Moses won bronze, he wore iconic Aviator style sunglasses paired with various gold chains. A far cry away from modern day athletics, where personal style isn't so prominent on the athletics track or even in the rules these days.

As attention for the Olympics grew, the use of brands throughout each sporting event was gaining momentum year-after-year. From kitting out teams, sponsoring events and providing equipment, the branded guise has blossomed into a foundation for such events to take place with the objective to meet the needs of organisers and most importantly, the athletes involved. Step forward world record sprinter, Michael Johnson – a multi gold-medallist for Team USA who used the power of his iconic Nike Track spikes to get the world talking and ultimately, achieve. Johnson wanted all the lightweight, stable, functionality that track spikes bring, but recalled that he 'wanted it to look very cool' too. To take on Johnson's request, Nike enlisted innovative designer Tobie Hatfield, brother of famed Air Max 95 designer, Tinker Hatfield to the case. Purposeful, minimalist design was at the centrefold with an overriding approach to style. The golden track shoes were a statement of his era on the track, placing him into the renowned TIME magazine, connecting the world's of sport, fashion and design onto a global scale.

From then on in, fashion became instrumental within the Olympics. Barcelona 1992 was a true sense a cross pollination between sport and those who occupied the fashion world. The playing field was set for two Japanese designers – Issey Miyake and Hanae Mori to see which of the national uniforms they had designed best captured the spirit of contemporary Japanese culture. Issey Miyake created something new, futuristic and basic at the same time for the Lithuania team. A craft of cleverness that represented the colours of a nation first free from the Soviet Union, competing in their inaugural Olympics. Hanae Mori cloaked her design with a devotion to the traditions of her native Japan. The main inspiration for her uniform was the Hinomaru – Japan's national flag, with a large red disk and white background. Easily recognisable, clean and simple - the collection was a mirror image devoted to business-like suits for both men and women use.

As Japan is a topic of conversation, let's touch on one of Japan’s most influential exports - Rei Kawakubo. Kawakubo graduated in 1964, the year the Olympics touched down in Tokyo for the first time, in tandem with the games she has grown into a leading authority within the industry with her early work looking towards the aforementioned Hanae Mori as a source of inspiration. Following in the footsteps of her Japanese counterpart, Rei Kawakubo and her brand, Comme des Garçons worked alongside Speedo to develop a one of a kind look for Team USA featuring their favourable red, white and blue colours. Kawakubo’s touch of visionary design joined metallic calligraphy, painted by artist Inoue Yu-ichi evoking 'Kokoro' - representative of the heart, spirit and mind. Originally announced in 2008, the patriotic touches of Kawakubo's project led to world record achievements and gold medals at the Beijing games as well as being regarded as the "fastest swimsuit out there" by U.S Olympic Gold Medalist, Natalie Coughlin.

In 2012, London was the first city to host the modern games three times, as well as being the first where every sport had female competitors - setting the precedent and becoming a blueprint for future Olympics. The motto 'Inspire a Generation' was embellished in the lead up to the games when it was announced Stella McCartney would design kits for Team GB, making her the first time anyone from the world of couture had designed a full team kit. Her collaboration with adidas, who she had worked with before on her own brand was set out from the start to capture what makes Britain British, breaking down the iconic image of the union jack and turning it into something more contemporary and fashionable.

Throughout the longstanding history of the late 1990's, several brands took the torch of responsibility to design the Team USA uniforms. American fashion designer, Ralph Lauren has been instrumental in this, putting the nation on top of the global Olympics fashion conversation since 2008 and continuing to do so to this day. Unisex looks outfitted with caps, navy blazers and white trousers began his first years in 2008, with much the same colouration paying the way through 2012, 2016 and now into 2021. This year, the go-to preppy styling of Ralph Lauren was ever present with sustainability the key focus. Pre-treated dyeing processes, plant-based materials and agricultural biproducts are set to make up the collection which will be adorned in closing and opening ceremonies. All made within the US, the athletes are said be to ambassadors for American style, culture and sportsmanship through the lens of Ralph Lauren’s sustainable vision for the games.

The connection between the Olympics and fashion has been something which has transpired more so than ever within the 21st century - more and more names are beginning partnerships with teams globally and creating this lineage between the two. Apart from the names already mentioned, there has been a multitude of other names which fall in line with the Olympics dress code. Lacoste for France, Gorgio Armani for Italy and Christian Louboutin for Cuba, all made appearances at Rio in 2016. Taking sportswear, Italian fashion stalwarts and French footwear design from the Brazilian capital to the rest of the world, via the games.

Ahead of this year's Olympics in Tokyo, Nike unveiled a collaborations project in 2020 at its Future Sport Forum. Taking place during New York Fashion Week, the sportswear giants partnered with Jun Takahashi’s Undercover, Chitose Abe's Sacai, Yoon Ahn’s AMBUSH as well as Virgil Abloh's Off-White and Matthew M. Williams of 1017 ALYX 9SM. All of which designed a distinct sport-infused collection to highlight the unification of sport, creating new expressions to accompany the upcoming games. Each collection honed in on their unique interpretations of sports while building from their own design codes with their respective brands. Virgil Abloh energized one of Nike’s signature sport performance lines with graffiti-inspired graphics and a stark yellow and black colour palette, whilst Yoon's Nike X AMBUSH collection tapped into the vibrancy of colour with Japan's famous anime culture.

Along with Nike's five leading collaborators for their Future Sports Forum, they continue to be at the core of the games. This year at Tokyo, Nike will sponsor skateboarding, a sport which will be involved in the Olympics for the very first time. From building itself up through underground roots, favourable names such as Tony Hawk and Fucking Awesome's Jason Dill helped propel the skating world into the mainstream eye and out of its subcultural significance. Nike's sponsor will be housed on the kits of Team USA, France and Brazil with design and art direction being produced by their long-time collaborator, Piet Parra. Known for his distinct art disciplines within his own brand, Parra's unique approach to colouration, pop-art imagery and regular spots in Nike's collaborative chain have brought him to the forefront. A regular skater from 1988 onwards, his early years influenced by skating brought him on a journey of art and into fashion. Nike and skateboarding are two entities grown together through Nike SB, and to have them connected on the main stage with a skater and collaborator, all fits together like the perfect jigsaw puzzle.

Where Team USA are a dominant force in the history of Olympics, smaller teams have yet to make their mark in sporting merit. The West African country of Liberia is a nation who have sent athletes to the Olympics games since 1956 without winning a single medal. Could Tokyo be their year? To help guide them to their first podium place, Telfar Clemens - Liberian-American fashion designer, DJ and founder of the brand TELFAR will be striking for gold with the design of the Liberian uniforms for this summer. After being approached by Liberian sprinter, Emmanuel Matadi, Clemens and his team have made around 70 items for the games – spanning from leggings, sweats, travel bags, track spikes and unitards. The collection features Telfar's signature details, unisex approach and strategically placed stars of the nations flag. This, for Clemens, is his first foray into sportwear and is a chance to showcase a patriotic runway swathed in a proud sense of heritage and style.

From the Olympic games' incarnation in 1984, through the 20th century and up until this present day, the sartorial injection into this sporting realm has flourished into new dimensions. With an ever-growing line of sportswear brands surrounding team jerseys, uniforms and sponsorships, it has now taken on a new lease of life in the form of fashion. Starting off with Team USA's Halston, Levis Strauss and Co. to couture interjections from Issey Miyake, Stella McCartney and onto future projects from Nike, AMBUSH and Virgil Abloh's Off-White, it seems that the Olympics is more than just sport, but more of a patriotic message of design, culture and a cross junction of new art disciplines on a global scale.

Artwork by Henry Spiers

DR. MARTENS: MADE IN ENGLAND

Sat, 07 Aug 2021 00:00:00 GMT

Dr. Martens’ Made in England range is recognised by all; the 1461, 1460 and the 2976 Chelsea Boots all remain at the core of the brand. Infiltrating a variation of subcultures worldwide, they have become a mainstay to a collection of uniforms, styles and genre defining looks.

Dr. Martens and eye_C highlight an alternative approach to styling such iconic silhouettes, which takes them away from the norm. A youthful approach inspired by classic Ivy league, where oversized layers, styles and casual basics make up the majority has given these longstanding pillars of the brand a new lease of life.

Underlining Dr. Martens’ unique versatility and scope on styling, the Made in England line is a blank canvas for expression into summer 2021.

Shop the latest collection of Dr. Martens in-store and online now.

Images by: eye_C

FOOTWEAR FOR THE SUMMER MONTHS

Weds, 16 Jun 2021 00:00:00 GMT

With summer in full swing and temperatures eventually heating up, it’s time for a refresh. As we switch sweatpants for shorts and hoody’s for t-shirts, new ventures to the beach, the park and the pub to watch the Euros, all ask the question of what to wear on your feet?

Keeping in mind comfort, feel and fabrication while you’re out and about are the main thing. You want practical shoes to meet each occasion and come out on top when it comes to looks.

SEVENSTORE have compiled a curation of silhouettes that meet the needs of casual, comfort and up-to-date styling for the summer of 2021.

CLARKS ORIGINALS – WALLABEE SUEDE SHOE

Clarks Originals navigate the space between casual and smart. The Wallabee shoe is suited to a multitude of outings and occasions. Wearable, distinctive and iconic around the world, this Maple suede offering can be worn with shorts, trousers or a comfier approach to summer with sweatpants.

SUICOKE – KISEE V SANDAL

Arriving in fully re-stocked form, Suicoke fuse bold, contemporary iterations of versatile sandals into the summer landscape. Transcending from their Japanese roots, the brand’s humble beginnings in producing small accessories has turned them into one of the modern-day sandal stalwarts.

MONCLER – BASILE SLIDES

Moncler are often found treading mountain ranges in the French alps with a wide-ranging collection of outerwear. As the brand have grown into a global empire of lifestyle fashion, collections away from the outdoor realm have pushed them into new seasons with the tricolour tinted slides a showcase for their profound uprise.

MAISON MARGIELA – REPLICA PAINT LOW SNEAKER

An integral part to Maison Margiela’s footwear collection, the Replica garners inspiration from the German army trainer. Added with modern construction and paint splatter colouration, it remains a mainstay in the contemporary wardrobe year-on-year.

NEW BALANCE - MIUK M991 SNEAKER

Known for world renowned quality and heritage, New Balance’s 991 series arrives from the Flimby factory injected with a colouration of pastel pink, a combination of pigskin suede, and breathable mesh for an optimised comfort and look.

STEPNEY WORKERS CLUB – DELLOW S-STRIKE CANVAS SNEAKER

Taking clubs to a new level this summer, Stepney Workers Club construct an elegant approach to the UK’s footwear offerings. A combination of traditional methods run through the brand’s hardwearing, reliable summer outtake, where casual meets in the middle of sports and high-fashion.

NIKE – WAFFLE 2 SP SNEAKER

As we think of the summer months, we think of bright warming colours to sit with the occupying weather. Nike’s Waffle 2 SP Sneaker adds stand-out appeal to your wardrobe, while remaining true to its retro roots.

ACNE STUDIOS – N3W RUNNER SNEAKER

Acne Studios’ N3w Runner Sneaker taps into the athletic tropes of the 1990s, transporting such style nods to the summer of 2021 with an inclusion of transparent muted tones.

COMME DES GARÇONS X CONVERSE - CHUCK TAYLOR 7O OX SNEAKER

A famed Converse favourite through the masses, this collaboration between Rei Kawakubo’s Comme des Garçons imprints a heart-shaped infusion onto the summer months ahead.

All available to purchase in-store and online now.

24 Hour Party People: The Legacy and Fashion of the North West’s Super-Clubs

Thurs, 10 Jun 2021 00:00:00 GMT

POSTAL SPRING/SUMMER 2021

Tues, 08 Jun 2021 00:00:00 GMT

Dissected from the heartland of Scotland’s Dundee, Postal return with a dedicated variation of vibrant summer essentials for their brand-new collection.

After previously teaming up with Glaswegian DJ, Jasper James on a collection enticed into raves of the 90’s and warehouse parties of that era, Postal come back with something slightly different. Their Spring/Summer 21 collection revisits experimental screen-printing recipes where by four different colours next to each other create an illusion in which the branding is showcased differently throughout. Alongside this innovative screen-printing method, other parts of the collection are highlighted when captured by flash or under light.

Branded logos, typography and a cascade of summer-hitting basics such as the Smudge T-shirt and the Studio Fraz T-Shirt all bring the brand forward without deviating too much away from their objective. Embroidered graphics created by a young, local designer in Dundee continues to elevate creatives, giving them a platform for their work. New styles for the summer include the eagerly anticipated Crinkle Shorts and Track Pant – both of which take in overarching themes of Italian sportswear and bring it to the forefront of Scottish youth culture.

Planted amongst a new wave of British streetwear design, what was once started as a passion project, is now vouched by Off White and Louis Vuitton’s Virgil Abloh, and continues to gather and grow a loyal community through a curation of casual basics.

The latest collection of Postal is available in-store and online from 11 JUNE 21.

C.P. COMPANY: SERVING A PURPOSE

Fri, 04 Jun 2021 00:00:00 GMT

C.P. COMPANY:
SERVING A PURPOSE

C.P. Company's progression through the fashion setting has played host to a myriad of audiences, subcultures and shifts – from the functionality of vintage military, work and sportswear to standing on the shoulders of high-fashion. All of which has been built from its founder and leading creative spine, Massimo Osti.

Osti looked at redefining garments for functional purposes and identifying what was needed to last a lifetime. His success, both pre and post C.P. Company has had a longstanding influence on designers, brands and consumers of modern-day fashion. Documenting the guise of Osti’s influence, SEVENSTORE enlisted brothers - Tayler Prince-Fraser and Koen Prince-Fraser – founders of Original Shift, Shift Productions and their own brand, Last Pick – for an everyday journey into C.P. Company’s function, impact and sustainability.

A myriad of audiences, subcultures and shifts – from the functionality of vintage military, work and sportswear to standing on the shoulders of high-fashion.

Taking strides over to Croydon, South London – the destination in which Shift inhabits – the founding team made up of Tayler, Koen, Ali and Alex walk us through their everyday surroundings; from their studio space, local café, a town centre stroll and as well as a woodland area where the two brothers spent their formative years. A collation of imagery from each setting, using a 360-camera capture the true essence of C.P. Company’s adaptability to new worlds within both, fashion and lifestyle.

Massimo Osti and C.P. Company has become integral in influencing the way Shifts works. Speaking to Tayler on the core values, he emphases that “Sustainability as a business” is something which they are very much built on and continue to look for ways to grow within this realm. Under the Shift umbrella is Original Shift - a new-age publication that creates written content, editorials and commentary on subjects that hold cultural significance, Shift productions where they have created campaigns and music videos for brands such as NIKE and Sony Music. As well as their own brand, Last Pick – drawing on past experiences and references with a key message to “produce products when we feel they can serve a purpose.”

A collation of imagery from each setting, using a 360-camera capture the true essence of C.P. Company’s adaptability to new worlds within both, fashion and lifestyle.

C.P. Company’s overarching notion and long-lasting design of “The long-term picture, not just thinking about the now” has become interlinked within the message of Shift and their fundamental model to push for sustainability through equally renowned content, products and purposeful meaning with the hope of creating something that will live as long as Massimo Osti’s legacy.

The latest collection of C.P. Company is available in-store and online now.

Special thanks to Original Shift.

NIKE AIR MAX 96 II: 25 YEARS ON THE STREETS

Weds, 26 May 2021 00:00:00 GMT

NIKE AIR MAX 96 II
25 YEARS ON THE STREETS

2021 marks the re-release of the Air Max 96 II, an iconic trainer that’s left its footprint on streets across the world. While the neighbourhoods around it changed, and a technological revolution altered forever the ways in which we live and think, the model stayed the same, keeping its look and feel for two and a half decades.

This digital zine 25 Years On The Streets celebrates the relaunch of the Air Max 96 II and 25 years of Liverpool. Liverpool is a unique place, steeped in a rich cultural history, populated by fiercely outspoken and loyal people, all full of opinions about the place that they call home. According to them, how has it evolved over the past 25 years, for better or worse? What are their stories? And what does the future hold?

This is the city according to the people that make it tick, with contributions from the history-making, newly-elected Joanne Anderson, the first black female mayor in the UK. We head to Metal Liverpool, the arts organisation based in Edge Hill at the iconic railway station. A cab driver shows us the city through his eyes, and a landlord explains why her pub Ye Cracke is different from other city centre boozers. The founder of Raggas talks about Liverpool’s historic Afro Caribbean community and recommends something off the menu, while the owner of legendary Lodge Lane boxing gym Golden Gloves stresses the importance of community, and Liverpool’s rich, diverse history.

The result is six different voices in one place, talking about their love for one city. This is 25 Years On The Streets.

The Nike Air Max 96 II is available to purchase in-store and online now

COMME DES GARÇONS PLAY: THROUGH THE EYES OF REI KAWAKUBO

Weds, 19 May 2021 00:00:00 GMT

Since her debut in Paris in 1981, Rei Kawakubo has been heralded for straying from the norm, challenging inner perceptions of fashion and flipping them on their head. This high-concept observation and implementation of Kawakubo’s vision has set the base to the thriving Comme des Garçons empire we know and love today.

With an underpinned highbrow, architectural approach to radical design, Comme des Garçons’ take on fashion is distinct and unobvious. The ever-growing Comme des Garçons fashion house is a playground for a multitude of diffusion lines that have streamed the marketplace since its inception - ultimately catering to the tastes of a broader consumer base and spreading their wings worldwide. Comme des Garçons SHIRT, Homme, BLACK and the favourable PLAY line amongst others, stand under this empire. All of which possess their own unique identity and philosophy.

PLAY stands in its own merit, away from the high-fashion stage that dominates Rei Kawakubo’s universe. Launching in 2002, the label was initially described as “a sign, a symbol, a feeling”, and as it became more apparent, this referred to the brand’s highly-recognisable heart-shaped logo. The PLAY project takes elements of essential wardrobe garments; t-shirts, cardigans and hoodies, with minimal styling and fabrication, before adding a sense of substance and distinction with heart-shaped designs. As the years have passed, the logo has been interpreted in various iterations; big and small, front and back, green and black, as well as making it onto the admired canvas walls of Converse’s Chuck Taylor 70 silhouette.

Comme des Garçons PLAY is defined by heart-shaped significance. Year-on-year the brand encapsulates elements of Kawakubo’s universe and brings them to the mainstream fashion domain. SEVENSTORE joined forces with Rachel Noble – a digital artist and designer – to reimagine the PLAY world with a display of identifiable infusions of the heart-shaped design, bringing this stand-out logo to life.

Where did the heart-shaped logo derive from? The answer is Filip Pagowski. Born in Poland, Filip Pagowski is a graphic artist known for often treading the lines of the unusual. His ascendency came from working on low budget videos, illustrations, animations and window displays for different publications in and around New York. He deviated into the world of fashion with his work for The New Yorker Magazine in the 1990s and first started working for Comme des Garçons in 1992 as a model in some of their Men’s Paris Fashion Week shows. Rei Kawakubo was not aware at the time that Pagowski had worked for the brand before 1999 when they came together for an artistic collaboration. His abnormal take on art aligned with the perspectives and approach set out by Kawakubo’s Comme des Garçons, shining through similarities between differentiation and new interpretations.

Pagowski never consciously created art for specific garments or collections, the association between the two came later. Kawakubo would select from numerous workings what would be the image for certain collections, brochures and posters. His heart-shaped logo was never intended for the label, it was picked up after Kawakubo needed an image which was identifiable, simple and would become the representation of a brand. Not connected to anything, Pagowski then got an idea of a red heart with a set of eyes. Little did he imagine at the time it would go onto become what it is today.

Kawakubo’s touch on the world of visual artistry is a territory that she has explored numerous times throughout the Comme des Garçons lifespan. Filip Pagowski is just one individual in a continuous flow of collaborations with artists and curations set up by the fashion house. Comme des Garçons SHIRT enlisted graffiti artist Futura for their Autumn/ Winter 20 collection last year, with each piece covered in colourful graffiti synonymous with the artist’s aesthetic. As well as Futura, Comme des Garçons have worked with Chinese artist Yu Minjun, New York City-based artist Adam Lucas and are rumoured to be working with American artist and designer KAWS on their upcoming Autumn/ Winter 21 collection. Kawakubo’s realm has always played on connections and possibilities from one facet to another, and art is a prominent mainstay within this revolutionary fixture.

Art serves as an identification for most brands. The heart-shaped logo being as distinctive as it is, is almost the selling point to the collection. Each and every piece adorned with such branding takes it away from the rest, drawing an individual’s eyes to these bold iterations of the heart logo. The significance of branding always attempts to take centre stage, where a relatively simple object can lead to a number of interesting variations, from the most basic to the most luxurious.

The use of the heart-shaped logo brought to mind other definitive, favourable logos that are synonymous with brands of today. Gucci’s monogram double G logo, Louis Vuitton’s ‘LV’ branding, Nike’s signature swoosh - they are all instantly recognisable and give each brand that sound out significance across the globe. One of the most recognisable symbols, in pop and cultures of the modern era is the smiley face. Obvious to some as being a representation of happiness, it has also taken on other forms of expression throughout time, dipping into ideas, brands, artists, musical movements and television programmes. From Nirvana symbolisation to Talking Heads’ Psycho Killer, the smiley face continues to wove itself into culture, never seemingly going out of date. In the realm of fashion, Kapital, Supreme and Undercover have all used the smiley face in different incarnations to propel a specific collection or idea. It has become remembered in time as instantly recognisable and allows brands, artists and ideas to be easily referenced and called-out.

Shop the latest collection of Comme des Garçons PLAY in-store and online now.

Artwork & Design: Rachel Noble

HOMME PLISSE ISSEY MIYAKE: AN ILLUSTRATED EXPRESSION OF DANCE

Thurs, 13 May 2021 00:00:00 GMT

The picturesque beauty of Scotland’s Glencoe is a faraway juncture from any fashion house, runway or retail space. It is infact quite the opposite. Carved out from awe-inspiring deep valleys and towering mountain-tops that take you through the heart of an ancient volcano, it is the gateway to the highlands and the setting for SEVENSTORE’s Spring/Summer 21 Homme Plisse Issey Miyake editorial.

On the surface, Scotland and Japan are worlds apart – population is succinct with different ends of the spectrum and the cultures of both remain very much contrasted. But one common denominator meets within the middle, and that is the landscapes they occupy. Japan’s beauty falls with three quarters of the nation covered in forests, mountains and a whole host of volcanos. As for Scotland, it is very much made up of a vast desolate wilderness acting as a stronghold for lochs, beaches and munros. Bringing this impeccable backdrop into the main frame, Japan and Scotland combine when the eternal green plains of the Highlands meet the architectural construction of Homme Plisse Issey Miyake’s pleats.

Presented through an illustrated expression of dance, SEVENSTORE enlist Katie James – a Scottish Dancer, Movement Director and Yoga Teacher - to shine a light on the intricacies of Miyake’s signature pleating design. Katie’s career has allowed her to perform for small audiences, collaborate with artists of different disciplines and push the parameters of performance. Through her exclusive choreography and performance, Katie highlights the freedom of movement Homme Plisse Issey Miyake possesses, bringing the brand’s composition of form and function to the foreground.

The latest collection of Homme Plissé Issey Miyake is available in-store and online now.

ARC'TERYX: THE CASE STUDY

Fri, 07 May 2021 00:00:00 GMT

Located in the Canadian Coast Mountain wilderness, in the foothills of North Vancouver; the brand, gathering place and global manufacturing house for Arc’teryx lays. A destination secured for an endless absorption of the outdoors and the birthplace for a continuation into long-lasting progressive design.

Arc’teryx’s fruition represents the idea of evolution and the mission to drive forward development in the outdoor world. Archaeopteryx Lithographica - of which the name Arc’teryx is taken - symbolises the link between dinosaurs and their avian successors. This idea of growth which has ingrained itself into the roots of Arc’teryx brings to light their own exploration into the natural world.

Founded by climbers in 1989, Arc’teryx has remained in the hands of the same people ever since. A collection of devoted individuals that make up a community of like-minded occupations; new-age designers, product developers, explorers and outdoor experts - all of which hold the same sense of communion for a fruitful adventure into innovative, purposeful design.

SEVENSTORE spoke to two authorities in the outerwear world; Jim who heads up Arc’teryx’s UK Area Sales and 114.index - a personally curated Instagram account focused on the world of technical and functional garments – to dissect the Arc’teryx brand; from the surroundings that make them so special to the significant rise of gorpcore, sustainability, collaboration, and their innovative search for the best design.

THE OUTDOORS

Arc’teryx’s philosophy of design challenges outdoor experiences by bringing simple solutions to every consumer - with the advantage of having the great outdoors in their backyard. That backyard is nestled in the North Vancouver coastline, allowing for a spirited spell of discovery and immersion into new, unfound territories, whether that be factory based or a mountain climb into the perpetual wilderness.

From oceans to rainforests, mountains and glaciers, this area encapsulates it all. Vast expanses barely touched by humans and will potentially remain untouched forever host rapidly changing climates and unnerving surroundings that need the correct community of people to get the very best out of every thought and idea. Studying such spaces and testing the water with new products and materials has gave Arc’teryx the insider perspective and allowed them to understand what will work and what will fail before it even steps foot into the marketplace.

“It’s the foundation on which everything Arc’teryx is built. Arc’teryx’s home in North Vancouver backs onto the coastal mountain ranges of British Columbia, this is where our HQ and Design Centre are to this day. Our factory ARC1 is just 20-minutes in the car or a 40-minute bike ride away – this allows product to be designed, prototyped and tested all within a 15-mile radius”, explains Jim – Arc’teryx, UK Area Sales Manager.

It is a testament to the brand and the Arc’teryx community that they continue to stay committed to challenge such environments, as well as pushing forward the human investigation of the outdoors. Clear from their humble beginnings, it has always been a learning curve and growing into new territories has brought about new ideas. 114.index adds, “I think that also from the beginning before the first apparel collection – when it was harnesses and climbing equipment - it’s been apparent that Arc’teryx really commit to the design wholeheartedly. That clearly carried through to the apparel and still does season to season.” From the core they have used their environment to grow each and every collection – accessories has elevated into apparel and their steady familiarity with the outdoors has aligned with new abilities to produce, develop and encapsulate a true, functional visionary of design.

It also begs the question whether the brand’s progressive output could be maintained if it wasn’t for such an environment. Mountain ranges across the world can provide inspiration, but the plot surrounding Arc’teryx illustrates there is no better proving ground. As Jim explained, it’s a close-by connection with not many miles between factory, testing and the headquarters. Having one of the most unpopulated wilderness regions in the world on your doorstep; with 40 different species of native trees, 75% of Canada’s bird and mammal species as well as covering of rainforest makes the perfect recipe for research and development, allowing Arc’teryx to stay ahead of the curve.

DESIGN

Arc’teryx’s motto stems from the idea that there is always a better way. To dissect this down and look at each segment of the business; research, development, production – there is always room to evolve. Evolve the design, make it more durable, make it lighter, make it weatherproof and make it better to perform in real life conditions. Every product follows this same set of rules and the same ideology from one to another.

The design process can take several hours and hundreds of operations to manufacture. A direct opposite from the worlds of fast-fashion and mass production today, Arc’teryx's quality always comes first and foremost - it’s not about pushing out the numbers. Which in turn stands the foundationds for their take on sustainability, highlighted by Jim that “Evolution of design rather than re-invention. This gives a timeless refined look providing the wearer longevity and therefore value for money.” To get these results the brand have cherry-picked an experienced team where experts with diverse skills and outdoor knowledge collaborate to make the best products possible.

Ideas come from places of curiosity and experience where design is needed, or for a particular item that does not exist. Over 20 years ago Arc’teryx built the Alpha SV Jacket in a special relationship with W.L. Gore and since that day the evolution of the garment has saw many different iterations, new additions and developed materials. It has remained one of the bedrocks to the brand, representing a huge step in their search for innovation, as well as paving the way for new ideas in the field.

“The evolution in design is an obvious one, I love how they used the Alpha SV to show Gore themselves how much better their fabric and Gore-seam tape could be. Personally, from a wearer’s perspective though, I haven’t found a shell jacket from any brand that fits as well as Arc’teryx’s do. Even though through each model there’s slight differences, the consistency on the areas that make a difference to how the jacket feels, is impressive.” – 114.index

Arc’teryx design and implementation is the result of a committed continuation of their workforce challenging new environments, materials and innovation. Since 1989, they have made products more efficient by reducing what you have to carry on your back, making the best out of every outdoor experience. From that day on, regardless of assumption and boundaries, the push and motivation towards their field of work comes from curiosity, experience and a profound knowledge of the world around us.

GORPCORE

A concept created by New York Magazine’s The Cut in 2017, “Gorpcore” is a presentation of the outdoors; outerwear fleeces, vibrant puffer jackets, technical trousers and trail-mix sneakers have that always frequented the backdrop, but now have converged with the notions of the fashion world. Think about those weekends hiking in the mountains wearing waterproofs, backpacks and functional clothing – now add a pair of Salomon S-Lab’s or Nike ACG into the equation.

Arc’teryx has become a longstanding pillar of gorpcore’s rise and the infatuation of ‘hiker-wear’ has placed them at the centre of the distinguished genre. The emergence of gorpcore is a simple sum which adds together the outdoors and fashion. Explaining his thoughts on the rise of outdoor wear, Jim adds, “I think products with purpose are inherently cool, they exist for a reason to solve a problem. The products are aesthetically pleasing due to meaningful design and the benefits of lightweight, durable, easy to care for clothing/footwear are easy to quantify for the wearer.” Which makes sense as to why Arc’teryx has become embroiled in such movement, and why functional garments, although not always used for purpose have came under the spotlight.

Products that serve a purpose are held in high-regard and with the changing perspectives of consumers, this can be proof as to why the trend has hit new heights of late. “People are fed up spending hundreds of pounds and receiving inferior products, or products that don’t serve the wearer any purpose. Sure, there’s definitely some form of “hype” as there always is with trend cycles which will be helping it along, but it seems to have more traction in terms of peoples habits out with just the clothes. To sum things up, celebs have been wearing more “outdoor” clothing recently, the rise of niche Instagram accounts is also a major factor I think, and people’s attitudes have been changing gradually towards more of a “what can my wardrobe do for me?” mindset.”

However, gorpcore is not as simple as global brands picking up ideas from Arc’teryx and coming out with a new, reflective puffer jacket that’ll last one trip. It’s slow trickling amalgam of how it is put together, made with an aura of great, functional design that further it into the fashion sphere - a look consisting of Arc’teryx’s Atom Hoody with a pair of technical pants, trail-like sneakers and GORE-TEX® protected cross-body bag springs to mind.

But how did this all come about? Natives of the hills have all treaded down the street in their hiking gear, but little did they imagine it to be matched in Fashion Week. Notable figures in fashion have shone a light on the gorpcore trend in recent years with Frank Ocean at Paris Fashion Week in 2019, who was dubbed ‘the High-End Euro Hiker’ and Virgil Abloh who incorporated Arc’teryx into his Off-White Women’s runway show in Autumn/Winter 2020, although not affiliated with the brand and later dismissed, Abloh essentially used Arc’teryx jackets without permission, trying to capitalize on the uprising trend.

Set aside from the elitist runways of fashion capitals around the world, Jim alludes to his earlier years where the bones of the trend were always in his day-to-day, “In my world I’ve never been too far from a GORE-TEX® coat, fleece, mountain cap pair of trail shoes. I went to college in the Lake District where buying your first down jacket was right of passage. Without doubt there is more interest in techwear - lockdown and working from home has put a focus on dressing comfortably, and many other brands who typically have no place on a hillside are trying their hand at functional clothing and the technical look.” Where the different facets of the rising genre have been proven to be there, it has only just been picked upon over recent years by a select few that have brought it to the mainstream fashion sphere – where the whole world is watching.

“A better way to view it, in my opinion, is that they have realised that the outdoors should be just as cultural as something like skating. It shows that the brand is switched on and not maintaining what can sometimes be a bit of an elitist stance like some outdoor brands not absorbing the culture that their gear has been appropriated into.” – 114.index

People of the North West have essentially adopted the underbelly of what the trend is for some time. Technical garments, both jackets and pants - often dominant in weatherproofing fabrication to protect them from the rolling cascade of rain and wind that plagues their shores - have become an everyday uniform, especially within Liverpool. Tied down with their favourable Air Max 95, the gorpcore nuances may have always been rampant in this landscape and today its no new feature to them, but it certainly is to the rest of the world.

COLLABORATION

Arc’teryx have a limited spectrum associated to collaboration. That isn’t a negative take on the brand, but an admirable approach. They remain committed to mainline product, whether it be research, exploration, design or manufacturing, they are not distracted from what others are doing, what consumers in fashion are looking for or what trends are swirling around the mixing pot.

“We’re not overtly fashionable and we’re not following micro-trends” was the words on the lips of Arc’teryx’s Design VP, Dan Green in 2020. It was this notion that led to thinking about collaboration, and when considering Arc’teryx, they don’t intentionally collaborate with other brands with only a few select (Beams & Palace) – with Jil Sander coming later in the year – that have seen the light of day. They are a brand built on integrity and keep their ideas close to their chest without straying from a function-first approach.

With Arc’teryx's crossvergence into the Palace realm in 2020, it was a time for the brand to appeal to a new consumer. 114.index suggests it to be a good thing for brands like Arc’teryx, but without comprising their initial objective, “Collaborations are good for brands if each part brings something different to the table. That’s what they should be like at least, they’ve been rinsed with a new one weekly these days. That being said, I don’t think it really changes the work of the brand and thinking of the Palace collab I personally liked it. It did seem slightly rushed, but I get the impression Arc’teryx were strict with how much creative freedom they allow and that’s a good thing for me. It shows confidence in themselves and that they don’t want to dilute their DNA.” In a marketplace so swept away by serious demand for multi-branded product, they have had a handful, and even then, they don’t come easy. But it is a definitely proven to be a way of reaching a new audience and treading ground that were unfamiliar before.

“Collaborations have, and will broaden our reach to speak to people who may never have heard of us, this could be a globally available collaborative design, existing product edit, or a local Artist Series in association with one of our brands stores.” Jim, speaking on his thoughts of collaboration." - Jim - Arc'teryx, UK Area Sales Manager.

Easing in and out of their lane from time-to-time seems best for the Canadian brand. Since the introduction of the Veilance line in 2009 – which is catered to match the functional needs of city-goers - they have opened the door to a new audience. Succeeding Veilance was Japanese contemporaries, Beams and after that London skate residents, Palace – both of which furthered the brand to a different world of buyers, all within a varying array of cultures, not just the outdoor community.

The crave for outdoor essentials have become a part of today’s everyday wardrobe. Appealing to new people through collaboration, even if Arc’teryx are hesitant to do so, it may be beneficial in the long run. These new customers may not be too eager for a 15-mile hike in the Peak District or vertical rock climb in Yosemite Valley, but they are connected for different reasons, not solely for the purpose of performance and function.

SUSTAINABILITY

Arc’teryx was conceived in the late ‘80s when humanities realisation of individual consumption and decline of the world’s ecosystems was slowly becoming a reality. Now more than 30 years on from the beginning of the brand, those first realisations have been bubbling at the surface and are now seemingly dripping over the edge. The mindset of Arc’teryx and their community didn’t overly consider those affects at first, but they now regard them as a major consideration.

As time has gone on, the playgrounds they frequent have become significantly more under threat than ever before. But without such environments still existing the way they do, what will Arc’teryx cater for? Melting glaciers, deforestation, and the threat to wildlife all pose greater thought, not only to Arc’teryx but to the wider world. But it does raise the question as to whether the outdoor community are more pressured to change. Jim states that, “It’s essential – it’s not optional, we all must make decisions to reduce our impact on the planet. We’d be hypocritical if we encouraged exploration of wild spaces without being part of the movement to protect them.” That inherent link to the outdoor space makes it important for brands like Arc’teryx and others in their realm to back the corners of their breeding grounds, to spearhead a new-norm within the outdoor fashion landscape that change must arrive, if it already hasn’t done so.

“I think that everybody should be feeling more pressure to further their individual sustainability, with the amount of post-consumer waste and fast fashion dominated industry shining a bad light on clothing as a whole. I mean this in the cultural sense too, as that’s often overlooked by most folks. The Outer Peace program Arc’teryx are running is really nice because it opens up the outdoors to once marginalised groups, and this in turn opens up a wider love for nature, which is often a gateway to a more sustainable lifestyle.” – 114.index

Sustainability has overtime become ingrained into the Arc’teryx ethos as they try to overcome problems and still develop, design and manufacture product of same stature. But that is where problems may arise and conflict with their mantra to maintain and progress with purposeful design. Honest how it would work for both, the brand and the environment around them, Arc’teryx have treaded difficult ground searching for new ways, materials and textiles to withhold such accomplished design. Do Arc’teryx sacrifice technical performance for a less functional, hard-wearing garment? Their answer is simply, no – what they do is change their philosophy. Arc’teryx believe that building products to last is the most powerful lever for minimizing their impact. Jim explains, “I’m hopeful that we’ll lead in renewable textiles and a more circular economy, with tough, versatile products that will enable our users to reduce what they need to consume. Hopefully this model can be shared with other brands and be both meaningful and long lasting.” Durability and performance have been a guiding influence from the outset – if a specific product is built to last with outstanding quality, dedicated research and design, there is no need for a customer to buy another one – spreading out a lifetime of sustainability.

Segmented into five areas of the Arc’teryx world, a definitive conclusion draws out the parallels between the Canadian brand's steady concourse of design, to sustainability, collaboration, gorpcore and the outdoors. All of which highlight the brand's integrity to serve while still riding the cultural wave of shifting patterns and outsider influence. Reaching far into the world through exposure has allowed Arc’teryx to maintain a consumer base ranging from London’s streetwear scene, North Vancouver’s mountainscape and Paris Fashion Week’s elite.

The latest collection of Arc’teryx is available in-store and online now.

Special thanks to Jim - Arc'teryx, UK Area Sales Manager & 114.index
Artwork by: Henry Spiers

SUMUYYA KHADER IS PRINTING A CREATIVE COMMUNITY

Thurs, 06 May 2021 00:00:00 GMT

Sumuyya is in her studio when we arrive, poking our heads around the entrance of Aspen Yard – a sun trap just off the main road in residential Toxteth. Her richly coloured, layered prints hang on the walls and sit on each surface, with works-in-progress on the desk and poking out of drawers. They’re the product of her love for visual arts, Liverpool, and the risograph machine in the left-hand corner.

"It’s only my lunchbreak don’t worry about it" she says as we apologise for being 10 minutes late, welcomed by a sun-drenched courtyard and her wry smile. Granby Press, a print studio founded and run by Khader, is tucked in the back corner of Aspen Yard, a series of creative spaces rented out by Granby Workshop.

Sumuyya’s Granby Press represents the success of creative community in the area. "My idea for it is to be a form of open access – anyone can learn about how to communicate visually. That’s my big picture idea. Right now, it’s starting conversations with people who want to explore print, and want to find out about what is possible. I have an idea, what can you offer me to get it printed, and get it out to a wider reach. Down the line the plan is to hold workshops, get some self-publishing and stuff going for people." It’s helped creatives make an environment in which they can keep creating.
It’s community resource and opportunity that is needed across the city, too. "North Liverpool has the same problems – being left to dereliction and then ‘rebranded’ as a regeneration zone. No one knows what that means? What actually are you regenerating?"

Sumuyya’s day job is at Granby Workshop, as Operations Manager. The Workshop was the engine room of Granby Four Streets, its craftspeople create architectural ceramics – designer-led manufacturing of unique tiles, homeware and fireplaces that were originally used in the Granby Four Streets renovation, and are now shipped worldwide. Local artists running - and growing – a business that in turn trains and employs more local creatives. That feels like the start of genuine regeneration, a practice of rebuilding through investing in people rather than in bricks and mortar.

"When I was very young, I grew up in the area for a period of time, and for as long as I remember its always been community, and people, and energy – the Caribbean centre was open and it had fairs on… and that was the energy that I remember. That was like, early '90s. It’s not the high street, it’s a different vibe." That was viewed through the rose-tinted lens of a care-free child, sure, but when we get talking about the Liverpool creative community, there are definitely parallels. "Liverpool right now for me, is just like you see people buzzing and just doing things, it amps you up – makes you want to do the same - that’s how creativity should be fostered. You see someone do something cool. And you try to do something better. It might not work, so you try it again. It doesn’t work so you try it again. That’s the vibe and that’s the energy. Creativity should always be connected. It doesn’t have to be down in the dumps."

And whether she see herself in this light or not, Khader plays a huge part in this creative domino effect. In 2020, she created a series of billboard-style artworks in collaboration with five Liverpool artists. Shining a light on Liverpool’s Black community and on creatives rarely getting a platform to display their work in a large public forum, 'Without Walls' was a project spearheaded by Sumuyya, funded by Arts Council England and Culture Liverpool. For such a powerful exhibition, "the Without Walls thing was a one-page form." For artists with something to say, but no funding (so, everyone), it’s worth pitching for whatever schemes are available, however flawed the process feels: "You’re asking visual artists to write full pitches. If people are applying for funding, start local, and ask people. Find people who have done it before – it’s such a niche world."

With Granby Press, Khader gives local people the opportunity to use the risograph machine bought off the back of a successful GoFundMe campaign:

I'm currently trying to set up Granby Press - a community-based printing service. I need your help to invest in a risograph machine & drums to get printing!

“I had a machine, it broke, it was sitting broken for years, and then that’s how the idea of Granby press came about.” The idea raised more than double its target – a demonstration of how in touch Sumuyya is with the area as it is vindication for a good idea.

“Visually it’s really interesting, you can be as precise as you want and t just might not work. Or it’ll be a bit off but create something new. It’s also relatively quick process, which for me – someone who works a day job – I can sit at home and set all the files up, then come in on a Saturday morning and just print.”
“For me my communication has always been visual. Black visual art is the thing for me, and I know that Liverpool has a strong history of self-publishing. It’s important for people to remember that it’s possible to write something down, and share it. If you want to do a poetry anthology, it doesn’t have to be a big thing published by penguin, you can just give it to a handful of friends, and you’re a writer still, a poet. That’s always been my view.”

But what about when your art gains traction, and commerciality comes knocking? It’s a stumbling block for pretty much every creative when your first commissions start coming in. Khader has worked with the likes of Penguin Random House and the FA, and knows the industry’s pitfalls. “Learn your worth and stick to it. I’ve said no to so many things, even in Liverpool – stuff that I’d absolutely love to do - but I’m not painting a mural for you for free because you’ve now realised that black lives matter and that Liverpool is full of black people, so let’s get a black woman to paint something. You get asked to do something for free, or something for exposure, or something for a really low fee. The tricky thing is saying, ok, well this is what I want [to be paid] to do that work, and these are the reasons why. It’s a whole shit show, any visual artist, any musician struggles with it.”

Sumuyya’s experiences securing funding, getting commissioned, and working on her own and with corporates is invaluable info for any creative, and is the sort of thing that makes creative communities so valuable – the ability to pass on experiences and insider knowledge to other artists wrestling with organisations who don’t understand the value of their work. Post-pandemic, she hopes Granby Press can become something of a creative hub.

"I’m just one person, and one person can’t be a community. At some point we’ll build it into a community, a collective or whatever it may be, but it won’t happen overnight. I really don’t want it to, to be honest."

We nearly break her studio door pulling it out of shot to get a few more pictures before we leave, and that scouse wit comes out again: it’s sound lads, wreck the place then leave, yeah’ - makes us sound like a failed community regeneration project.

Special thanks to Sumuyya Khader
Photography by Jonathan Turton

WHAT IS MAISON MARGIELA'S LEGACY TODAY?

Tues, 27 Apr 2021 00:00:00 GMT

Attempting to define the influence Maison Margiela has had on the fashion industry comes as a tremendous task. Nor is it possible to imagine brands such as Vetements, Raf Simons and Rick Owens existing today if the house’s founder, Martin Margiela, hadn’t opened the doors of his atelier in 1988.

Many norms that occupy contemporary fashion were unconsciously pioneered by Margiela. Whether it be garment deconstruction, fabric upcycling or staging fashion shows in unconventional locations – one of his most memorable being a neglected children’s playground on the outskirts of Paris in 1989 – Margiela did it first.

After spending two decades as fashion’s ballsiest disrupter, Martin Margiela retired from fashion in 2008, leaving his eponymous label in the hands of Italian entrepreneur Renzo Rosso, who had bought the brand six years earlier in 2002. Upon winning a Belgian Fashion Award in 2018, Margiela explained in a letter: “I felt that I could not cope any more with the worldwide increasing pressure and the overgrowing demands of trade. I also regretted the overdose of information carried by social media, destroying the ‘thrill of wait’ and cancelling every effect of surprise, which was so fundamental for me.”

The brand today is headed by John Galliano – another notoriously controversial figure in fashion – who builds his collections on the foundations Martin Margiela left behind. Slashed, unfinished hemlines, bold shapes and the cloven-footed Tabi boot – all Martin Margiela signifiers – are the pillars of Galliano’s collections for the house. Since taking the helm at Margiela in 2014, Galliano has since adopted an elusiveness when dealing with the press like that of his predecessor.

To this day, the house’s founder is yet to be professionally photographed, and the very rare occasion that he gives an interview to a newspaper or magazine publication, it has always been done via email or fax. Even in ‘Martin Margiela: In His Own Words’, the 2019 documentary – where for the first time we hear Margiela speak of the ups-and-downs of his trailblazing career – his face never appears on camera. In an industry built on image, where cultural juggernauts like Karl Lagerfeld at Chanel, or Kim Jones at Dior, have come to define fashion of the now, Martin Margiela’s mystique is even more enticing; driving forward the appeal surrounding both him and his former brand.

A creative genius, though a man of very little words: the legacy of Maison Martin Margiela is left to be told by those who were there, and a new generation of artists, writers, curators, collectors and designers who have been shaped by the work of this creative enigma. Here’s what they have to say.

Willy Ndatira

With an encyclopaedic knowledge of all things fashion, art and culture, Willy Ndatira – AKA Willy Cult – is a creative consultant, designer and podcast host who has worked with Gucci, AnOther Man and Fantastic Man, where he is currently Consulting Editor.

When did you first get introduced to Maison Margiela? What drew you to the brand?

“I was 20 or 21 in design school. I couldn’t afford the clothes back then but I liked the way Martin Margiela and the team designed and presented their work. They were very skilled and were imaginative. The clothes had a laid-back elegance. They elevated everyday objects, second hand garments and vintage clothes into something interesting.”

What is your standout Margiela moment?

“All the shows and look books are great but the fake tabloid newspaper was one of the best in my mind because it was a comment on the late 90s obsession with celebrity culture. The 20th anniversary show is a must see on YouTube. It was for Spring Summer 2009 and the band DEUS played live. It’s basically a kind of retrospective of his past collections.”

Do you own any Margiela pieces?

“I have moved multiple times and lost things. I still have a pair of painted boots somewhere in storage. I recently bought a pair of Tabi slippers in black leather. My favourite items from the past were a denim jacket which was inside out and painted jeans which felt like leather pants. I was in San Francisco when his collaboration with H&M dropped. I bought a faceless watch, which I thought was a great commentary on the fact that nobody tells the time by looking at their watch. We look at our phones. Today if you buy a watch it’s more as a jewellery piece.”

How do you think John Galliano's vision for the house compares to that of its founder, Martin Margiela?

“I don’t like comparing designers. But they are both geniuses in their own way and are leaving a great legacy behind. I did enjoy the house when Matthieu Blazy was the head designer. I do like the winter coats and suits Galliano has been designing. And the fashion films he has been making with Nick Knight to present his collections during the lockdown. They’re really brilliant, people should check them out on ShowStudio.com.”

What influence do you think Margiela has on the industry today?

“We wouldn’t have Demna Gvasalia’s Vetements and Balenciaga without Margiela. He paved the way for designers who subvert or are inspired by the street and everyday objects or clothes. Martin Margiela’s collections are filled with great ideas waiting to be reinterpreted for the 21st century. Similarly to Rei Kawakubo of Comme des Garçons, whom I love. They are both “designer’s designers”, meaning that other designers find inspiration in their work.”

What do you think the brand's legacy is?

“How to design or work with complex concepts without being complicated. When you watch a documentary about Martin Margiela, all his ideas were either personal (based on his life’s journey) or he was problem solving. He created a universe which we still want to buy into. And he had a wicked sense of humour in his approach to fashion design. It will be interesting to see what happens now that he is going into art.”

Alexandre Samson

As a curator and fashion historian at Palais Galliera, Alexandre Samson was the brains behind ‘Margiela Galliera 1989-2009’ in 2018; the first French retrospective dedicated to Margiela.

What is your standout Margiela collection?

“The Stockman collection (SS97): steps and studies of clothes, common vocabulary of designers and couturiers since the 19th century, are worn as real clothes, showing the essence of fashion itself.”

Do you own any Margiela pieces?

“I have original Tabi boots in black leather, offered by my best friend. I'm still wearing them to challenge myself to dare.”

How do you think John Galliano's vision for the house compares to that of its founder, Martin Margiela?

“John Galliano is one of the greatest designers since the late 80s. His approach on deconstructing clothes, first experienced at Dior, is now fully operational for Maison Margiela, enriched with his unique taste for baroque.”

How was the experience working with Martin Margiela whilst curating ‘Margiela / Galliera, 1989-2009’?

“Our collaboration was, from the beginning, a discussion at every step – where we shared ideas all together. He’s a dream to work with. I’m lucky.”

If you could own any Margiela piece from the brand's archive, which would it be?

“Lately, I dreamed about an oversized black pre-destroyed knit turtle neck pullover from FW2000. It's an obsession I can't explain.”

What influence do you think Margiela has on the industry today?

“Martin Margiela is one of the rare contemporary creators to fully question the fashion system, from its conception (using all that fashion has always hidden: linings, manufacturing processes), to its presentation (by nonstandard shows) through its uses. His influence in fashion was immediate."

What do you think the brand's legacy is?

“About independence and freedom in creativity.”

Inge Grognard

An industry renowned make-up artist who today works for brands such as Givenchy and Balenciaga, as well as publications Vogue Italia and AnOther, Inge Grognard worked on every Margiela show from 1988 to 2010.

When did you first get introduced to Maison Margiela?

“Martin is a friend from when I was 14, so a long time before he started his house.”

Do you still own any Margiela pieces?

“I gave almost 100 pieces to the MOMU in a long loan but kept a few jackets and coats, also the Tabi boots from the first collection, and yes, I still wear them.”

How would you describe working with Martin Margiela on those early shows?

“It was about friendship, trust and freedom.”

What was your wildest memory from working on a Margiela show?

“The first was quite chaotic for me, working in small dark spaces, I didn't have an overview because all my assistants were in different places. But at the end when we finished, I was happy.”

What influence do you think Margiela has on the industry today?

“A huge one, his vision on clothes; to recuperate existing pieces, stamped with the original date; to make new clothes out of old pieces; his proportions.”

What do you think the brand's legacy is?

“For me, he wrote history in fashion like the big ones before.”

Kristina de Coninck

Similarly to Inge Grognard, Kristina de Coninck was instrumental to the Margiela early years, becoming one of the brand’s synonymous models and ultimately muse for the brand. For AW17, she made her return to the catwalk, this time for Margiela’s Belgian contemporary – and Antwerp Six member – Dries Van Noten.

When did you first get introduced to Maison Margiela?

“Inge Grognard and Ronald Stoops introduced me to them at the end of the eighties.”

What was it like walking a Margiela show?

“Always exciting, entering Martin's world is a thrill! Total look Maison Martin Margiela, dressed by hem, that is pure happiness!”

What is your standout moment modelling for Margiela?

The confetti, the patchouli, the rose petals, the music, how to describe modelling for Martin? One word: magic. No need to say that the clothes and accessories are so adorable. I loved the show where he painted my legs with gold paint though!”

Do you own any Margiela pieces?

An apron in 'drap de laine' (wool fabric), I chose that one after the show because I love the simplest MMM pieces. I still wear it with a t-shirt. A little cotton top from the 'Terrain Vague' is a piece that I cherish because just looking at it gives me a good feeling. One of my favourite pieces is a long brown skirt in cotton, made out of pants! He made that skirt in a [miniature] version for Barbie, combined with a tiny leather jacket!”

How do you think John Galliano's vision for the house compares to that of its founder, Martin Margiela?

“John Galiano brings his own personality to the Maison Margiela house, I think he respects Martin Margiela in his own way of course. Each person is unique.”

If you could own any Margiela piece from the brand's archive, which would it be and why?

“I would love to own the tattoo sleeves, then I can take them everywhere with me in my purse”

What influence do you think Margiela has on the industry today?

“He stimulates creativity.”

Luis Ruiz

A growing Margiela collector, Luis Ruiz – AKA @mmmarchives on Instagram – has pieces dating back all the way to the late nineties.

When did you first get introduced to Maison Margiela?

“I was introduced by my fashion professor who was just casually telling small details about Margiela. And curiously sparked in me to do more research on my own.”

What is your standout Margiela collection?

“To me, the most significant collection has to be SS 1990 for many reasons. The location of the venue was perfect. Rather than hosting his show in a grand hall, he had the runway held near a kids’ playground. Margiela also asked the kids for help to create the invitations. Having the kids be front row and the press in the back was just a powerful move. The clothing was executed amazingly and certain garments were also showcasing his early use of recycling older materials.”

When did you start collecting?

“I came across an original 1992 Margiela painted denim jacket and a skirt for sale for $100 and immediately I knew it was worth something. I met up with the person who owned it in Houston Texas, it was in perfect condition. The set had been my first pieces for my collection. My professor convinced me to not sell the set and to keep it as a start to my collection.”

How do you think John Galliano's vision for the house compares to that of its founder, Martin Margiela?

“John Galliano has given the house of Margiela a new modern, while still keeping Martin Margiela’s presence.”

If you could own any Margiela piece from the brand's archive, which would it be and why?

“The number one piece I love more than anything is the reconstructed glove top from 2001 in white. The concept and the construction of the garment was executed perfectly; it is definitely museum worthy.”

What influence do you think Margiela has on the industry today?

“Today Margiela’s most known thing is the Tabi boot. The tabi boot has been relevant ever since it was first showcased in 1989. I don’t see the Tabi going away anytime soon.”

Ronald Stoops

Seminal photographer Ronald Stoops captured the bustling creative scene in Antwerp throughout the nineties, photographing the work of Margiela both on the catwalk and on the streets. He is married to Inge Grognard.

When did you first get introduced to Maison Margiela?

“I met him at the Academy of Antwerp, in that period I was modelling for some students.”

What is your standout Margiela collection?

“The first one with the red footsteps [SS89]. It was much more than only fashion. It was new, arty and conceptual. New kind of models (streetcasting), heavy, trashy make up. I photographed those moments but unfortunately a lot of the negatives got lost.”

Do you still own any Margiela pieces?

“Yes, I do. I never bought a piece because I was paid with pieces for my pictures. I still have jackets and sweaters. All pieces are timeless.”

How was the experience shooting the Margiela community back in the day?

“I was free, we understood each other and spoke the same language. My wife [Inge Grognard] was one of his best friends, that made things also easier. There was never a commercial thought behind the pictures.”

What was your wildest memory from working on a Margiela show?

“Everything about his first show.”

What influence do you think Margiela has on the industry today?

“He wrote history in fashion and his way of recycling is nowadays a very important issue in fashion.”

Words & Interview by: Paul Toner
Artwork & Design by: Henry Spiers
Special thanks to Willy Ndatira, Alexandre Samson, Inge Grognard, Kristina de Coninck, Luiz Ruiz & Ronald Stoops

The latest collection of Maison Margiela is available in-store and online now.

NEW BALANCE 992: THE ULTIMATE STYLING TRAINER

Thurs, 22 Apr 2021 00:00:00 GMT

Sportswear stalwarts, New Balance are an embodiment of consistency with the brand focused on bringing a confluence of both, the sporting and fashion world into one entity. In recent years, their stance on collaboration and reissues have played an integral part in making such marriage a successful affair. But above all else, one sneaker or as they call it in the North West – trainer, has stood at the top, placing the brand at new heights. That trainer is the New Balance 992.

With the conception of the 992 coming in the early 2000’s, it arrived way ahead of its time. A chunky midsole, ABZORB technology and New Balance’s signature grey suede upper – the silhouette was like nothing seen or done before. A far away juncture from the space-age runners of the noughties. The trainer’s compelling domain came and faded into the marketplace, to then be re-introduced in 2020. A close call to the original, the 2020 release was met with huge demand, new colourways and unforgettable partnerships. But it was the grey suede affair that remained the bedrock, a favourable feature and a canvas for ongoing trends.

Such trends have been bubbling away at the surface, forming a fraction of the nucleus that makes up the region of the North West. Defined by passion and pride, commitment and drive, the North West has always been a melting pot of influence. The inhabitants of such surroundings represent different catchment areas, a vast array of style tropes and personalities all indicative of such a profound, distinguishable culture.

Come rain or shine, the North West is often set aside from the rest. A destination certainly not dictated by the weather, but always with a jacket in hand has flourished through the late 1900’s, early 2000’s and into the present day with a multitude of insular trends. How these people dress is an honest depiction that truly represents what is great about the region and how it continuously strives as a vehicle for expression.

SEVENSTORE’s latest ode to its own North Western territory unites each touch-point of these trends; whether it be an utterance of Arc’teryx, a contemporary nod to Asia through Visvim, or a casual take on Americana with Stüssy and Sporty & Rich, the New Balance 992 is the final piece to the jigsaw, binding together a dose of daily looks and transitional wardrobes. From each individual person to a merging community, the New Balance 992 is the ultimate styling trainer for all.

The New Balance 992 will be available to purchase in-store and online from 28 APR 21.

Shop the latest collection of New Balance in-store and online now.

UNDERCOVER - FROM NECESSITY TO LUXURY: THE EVOLUTION OF FACE COVERINGS DURING COVID-19

Tues, 20 Apr 2021 00:00:00 GMT

The Westminster Menswear Archive announces Undercover, a major new exhibition revealing how face coverings have evolved in response to COVID-19 over the last 12 months.

Opening on 11^th May 2021, which is one year on from when the UK government first advised people to wear face coverings in enclosed public settings, the exhibition will explore how masks have evolved from being a functional PPE object in short supply, to becoming an everyday object worn by millions all over the world. The simple face covering, which appears to be an uncomplicated object has quickly shifted into a symbolic and contentious artefact.

The exhibition will present 52 unique face coverings arranged in chronological order, examining how rapidly the fashion industry adapted to production, manufacturing, and online marketing to meet the changing consumer demands. The brands involved responded quickly to support the global effort to produce PPE for medical personnel and as masks become more mandatory, this shifted to labels developing and manufacturing face coverings for their own customers.

It will explore how these ordinary objects have been transformed from their medical origins to become a highly desirable fashion accessory produced by companies ranging from adidas to Louis Vuitton. While these masks appear to be non-gendered, their design, marketing, and wearing reveal long-running narratives within menswear concerned with ideas of protection, risk, and masculinity.

The exhibition features examples from adidas, Balenciaga, Burberry, C.P. Company, Liam Hodges, Aluhwalia, Mulberry, Raeburn, Christopher Kane, Master-piece, JW Anderson, Levi's, Louis Vuitton, Off-White, Paul & Shark, Paul Smith, Vivienne Westwood and many more.

Speaking of how the idea of Undercover came to fruition, curator Professor Andrew Groves said, “We wanted to use the face coverings to reveal the stories of how designers and brands have responded to the challenges posed by COVID-19. Many of these brands have provided PPE and scrubs to front-line medical staff while also raising significant amounts of money for charity.”

As designers and brands were providing PPE to front-line staff in the midst of the global pandemic, they had to navigate to maintain their businesses and adapt production and processes, while considering a new-found, mandatory product. “One of our remits is to ensure that we capture and record the response from the menswear industry to this moment. Twelve months ago, virtually no menswear brand was producing face coverings. So, this is an incredibly significant time in which a new product category has been developed, formalised, and then been adopted. The events that led to this and the reactions of designers, politicians, and consumers tell a compelling story,” added Professor Andrew Groves.

“For many years, menswear designers have used masks as a subversive motif. From C.P. Company's iconic Metropolis jacket with its built-in face mask from 1997 to Vexed Generation's use of face coverings as a means of concealment from CCTV back in the mid-1990s. In recent years, we've seen the rise of designer face masks from Off-White and A-COLD-WALL*, who created a capsule collection in 2018 that included a protective dust mask.”

Face coverings took on a new lease of life in the past year with consumers divulging into brands like Louis Vuitton and Paul Smith for their newest addition. But it remains to be seen if there is a future for them in the marketplace. Professor Andrew Groves concluded, “It's difficult to predict how we will feel about masks in five years. If the pandemic is over, they may reappear as a menswear accessory. However, they may be viewed as tainted objects, too emotionally tied to the present moment, and something we would all prefer not to see again. For that reason alone, it was critical for us to collect and document the last year.”

Dates: 11 May – 5 June 2021
Opening Hours: 24 hours
Website: www.mensweararchive.com

Funded by the University of Westminster Arts, Communication and Culture Research Community. Undercover is curated by Professor Andrew Groves and Dr Danielle Sprecher.

Special thanks to Professor Andrew Groves, Director of the Westminster Menswear Archive, University of Westminster.

THE NORTH FACE: THERE IS STILL MORE EXPLORING TO BE DONE

Weds, 14 Apr 2021 00:00:00 GMT

We all know of The North Face, whether it’s having grown up around the older guys on your estate donning black The North Face jackets and 110s or from your old man rocking a Denali fleece. As my interest in fashion flourished, I was enamoured by that ‘Half Dome’ logo, but in a context of my own, just like you.

Underpinned by the free-spirited, adventure-fuelled motto of ‘Never Stop Exploring’, The North Face has garnered a reputation that is tough to rival. At face value, the influence of The North Face is hard to comprehend but, when you break it down and look at it in chapters, you begin to see the full-force of the effect. What was originally started in the 1960s as a modest husband-and-wife duo by Douglas Tompkins and Susie Tompkins Buell making climbing accessories they did not have access to - again, another example of an outdoors brand born out of necessity - has become one of the most iconic brands on the planet; not necessarily a deliberate move by the brand itself. Entirely rooted in exploration, the logo alone, inspired by the north of the ‘Half Dome’ in Yosemite, California, speaks volumes of their values.

Throughout the article, we will touch on iconic moments in pop culture that have solidified the brands position, to collaborations with fashion houses like Gucci and the way it has been adopted by folk all across the world; some for function, some for form, some for both. When we consider the effect of The North Face, we look at a number of factors that have contributed to the maintenance of their reputation throughout the brands lifeline. To truly get to the bottom of this, we need to go deep into the belly of the beast, ask the right questions to the right people and understand what has made The North Face the powerhouse of today. There’s more to the brand than the Nuptse and Mountain Parka, but their impact on the world is irrefutable.

To get a broader and more honest perspective of The North Face, I reached out to three individuals for their different experiences, past and present, with the brand. First of all, Jake Ivill, a born-and-bred Northerner who lives and breaths The North Face and Nike 110’s; secondly, Material Archive, an Instagram account dedicated to sharing knowledge about materials; and, finally, Climber, Liam Furneaux, who runs account Advanced Rock, a page that is devoted to climbing and everything outdoors-related.

By stripping things back to basics, we can fully understand the whole picture and look at how The North Face has evolved in the 55 years since its inception and see the steps that have contributed to the overwhelming influence from the mountaineering label. Back in 1966, husband and wife duo, Douglas Tompkins and Susie Tompkins Buell, started The North Face as a small, mountaineering specialist store that stocked a comprehensive range of high-performance climbing and backpacking equipment in San Francisco, California. Two years later, the company relocated to the other side of the San Francisco Bay, Berkeley, with a change of direction in mind: to design and manufacture their own range of high-specification mountaineering gear. By turning their attention towards developing their own product they could stand by, they could attest to the quality and outfit a devoted following of avid outdoor athletes. With their reputation blooming among the right circles, The North Face began sponsoring expeditions to far-flung and largely untouched regions, giving birth to their mantra, ‘Never Stop Exploring’. Since their inception through to present day, they have been consistently ‘pushing the boundaries which speaks volumes for the brand’, Advanced Rock points out to me.

Throughout the 70's and 80's, The North Face emerged as a favourite for outdoors aficionados and became entrenched as a brand of choice among skiers - later leading to them developing a range of extreme ski-wear - partly thanks to their embracing of the 70s free-spirited attitude held by the aforementioned. As the end of the 1980s rolled around, The North Face was an all-encompassing supplier of tents, high-performance outerwear, ski-wear, sleeping bags and packs. To this day, ‘I do see a large number of other climbers either wearing TNF or using their packs to store all of their gear’ - Advanced Rock notes - reaffirming their position as a supplier of all functional outdoor-oriented products.

The 1990's proved to be a tale of two halves for The North Face. Their reputation as a manufacturer of purpose-built technical pieces preceded itself as they were recruited to supply protective clothing for the 1989-1990 TransAntarctica Expedition. Skiing for seven consecutive months across 4,000 miles of untouched Antarctica, the six intrepid adventurers, led by Will Steger and Dr. Jean-Louise Etienne, battled 100mph winds and temperatures that plunged below -100 degrees F. In the most primitive form, each of their lives depended on what they wore: custom-built, Eskimo-styled clothing provided by The North Face with their own signature twist. The clothing was designed by Mark Erickson of Erickson Outdoors who took previous failings of similar TransAntarctic expeditions on board and turned that knowledge into a practical application; for example, he avoided cotton as it tends to absorb moisture, therefore the clothing would inevitably freeze up. In addition, Erickson opted for a GORE-TEX membrane - in fact, W. L. Gore and Associates was a primary sponsor of the expedition - in the construction of said parkas which was optimal for moisture management; it prevented sleet, rain and snow from entering while allowing sweat to escape. To heighten visibility for safety and television appearance, bright colours like purple and orange were used on the clothing. Up until this point, The North Face was recognised by its devote following but now it had been propelled onto the world stage thanks to extensive media coverage of the escapade. In fact, this occasion was so iconic that The North Face has referenced the original clothing a number of times: the first time was in 1990 when they put out a TransAntarctica collection that featured GORE-TEX stitching and the six-flag logo representing America, Britain, France, Japan, Russia and China. Two other times include their Spring/Summer ‘17 collaboration with Supreme and a capsule collection in late 2019. It’s a testament to their overriding reputation. The North Face holds the ability to, on a number of occasions, reference a historical event they partook in and sell it without the perception of it being watered down. Lo-and-behold, The North Face effect, the brands ability to craft ‘innovative products whilst still being true to their heritage and staple products’ is unmatched, as mentioned by Material Archive.

“In my opinion the Futurelight™ technology is definitely something special in terms of textile innovation. A really competitive material in the world of waterproof membranes, being the only one created using a nano-fiber structure, with optimal air permeability.” – Material Archive

While their involvement in the 1990 TransAnarctica expedition worked wonders for their reputation as an outdoor gear specialist, the space they occupied was becoming increasingly crowded with the likes of Patagonia and LL Bean, all jostling for top spot. Unfortunately, despite the reputation they'd maintained for over two decades, The North Face filed for bankruptcy in 1993. The company was then sold at auction and thus, once again, the brand changed hands to a group who would eventually be named, The North Face Inc.

“The brands ability to be adopted by global subcultures has allowed The North Face to be exposed to new audiences, gaining traction in newfound places that may have seemed out of the question before.”

While The North Face was recognised by its mantra ‘Never Stop Exploring’, it was their involvement in New York’s hip hop scene that would ultimately propel them to newfound heights, one of the main catalysts behind the brands modern success. 1993 became a crucial turning point for the brand. The East Coast of America is known for its bitterly cold winters and The North Face apparel seemed like a suitable antidote to that problem. It was at this point that a number of rappers including Method Man of Wu-Tang Clan, LL Cool J and Notorious B.I.G were pictured donning the brands most insulating goose down jackets, propelling the brand to become an icon amongst the youth of New York. Throughout the 90's, it became a style of status which has transcended through to modern day, ‘While also not pushing it on any certain type of person, the right, cool people have always found it without having to have it marketed towards them’, Jake Ivill told me. As well as being adopted by those early hip hop pioneers, it was a symbol of Grime music in the U.K sported by the likes of AJ Tracey, further showing the brands influence in all circles. Despite its growing popularity amongst youth worldwide, and seemingly cult-like status; The North Face maintained its reputation as a high-performance brand, whilst engaging with those outside its core audience.

“It's just iconic in a really low-key way while maintaining an air of internationality about it. I'm wearing it because of lads on an estate in the north of England but it could quite easily be because of hip hop videos so you're almost wearing it with multiple meanings like there's not just one source for liking it you find it when you find it.” – Jake Ivill

After that pivotal turning point in the early 90's, The North Face was later acquired by VF Corp - the parent company for the likes of Vans and Timberland - in 2000. But, the Millennium has been kind to The North Face as it continues to be a cultural force in fashion, collaborating with those from all sectors of the industry, from prestigious fashion houses such as Gucci to designers like Junya Watanabe MAN and HYKE and the skate brand Supreme. We could write a feature-length article on The North Face collaborations alone! You wouldn’t expect a company the size of The North Face to have such an extensive collaborative portfolio, but they operate in a league of their own. Early on, they recognised the importance of joining forces with other brands, no matter how different they may seem which Material Archive credits them for, as mentioned in the following, ‘By choosing the right collaborations over the years, it gave the brand a way to be associated with different subcultures without losing its identity as an outdoor clothing label.’ Through collaboration, they strengthened their ability to reach new audiences and diversify.

To the delight and despise of many, Gucci and The North Face collaborated in January of this year (2021) across a range of outerwear, accessories, skirts, dresses, backpacks and, for the fans of luxury Gorpcore, a tent and sleeping bag. Much like Supreme and Louis Vuitton’s collaboration in 2017, this was a real crowd splitter but, once again, only served to heighten the profile of The North Face. While their partnership with Gucci is not to the taste of everyone, it is a stark reminder of their ability to permeate even the most exclusive of fashion circles. Also, it actually marked the first time Gucci has partnered with another brand while under the watchful eye of Creative Director, Alessandro Michele.

The brand now has multiple diffusion labels which are highly-sought after all around the world; whether it be their South-Korean White Label or Japanese exclusive, Purple Label, led by Nanamica’s Eichiro Homma. With each line designed with a different purpose, aesthetic and function in mind, there’s a bit of The North Face out there for everyone. Purple Label, for example, ‘adds an extra element to what they offer’ as they put a contemporary menswear spin on pieces from their rich archive, staying true to their heritage whilst reaching out to new, unfound areas. Another of their lines that we are yet to mention is Steep Tech; originally released in 1991, it was one of their first athlete-designed collections brought to fruition by skier, Scot Schmidt. Built with function and performance in mind, Steep Tech honours The North Face’s original commitment to design but it also allowed athletes to perform at their highest possible capabilities with space for avalanche beacons, ski tools and sunglasses. In 2021, the collection has been reinterpreted in a street context, reaffirmed by collaborations with Supreme in years gone by. Key pieces in the Steep Tech range include the Tech Down Anorak, Apogee Anorak and a series of graphic-emblazoned pieces, all evoking a sense of nostalgia birthed from that original 1991 collection - emotion sells. Much like their approach to collaborating with other brands, The North Face recognises that through these diffusion lines with distinct identities, they can tap into consumers outside of their core identity.

“The climbers they work with and sponsor are all pushing the boundaries which speaks volumes for the brand. When I'm out climbing, I do see a large number of other climbers either wearing TNF or using their packs to store all of their gear.” – Liam Furneaux

The North Face is held in a particularly high regard in the North of England where connections and community runs deep. Jake reminds me that the brand still holds ‘that element of one-upmanship’, even if you’re popping down to the local shop on the corner, if you’re wearing your The North Face Nuptse then it commands respect. To really convey the prestige and reputation of The North Face, we had to speak to someone who lives and breathes the North - Jake Ivill. ‘I grew up on an estate in Little Hulton (between Salford and Bolton) that was near the Henri Lloyd factory, and we were all kitted out in that because there were plenty of questionable family and friends around that were backdooring their coats through questionable means. But, all the older lads had black The North Face jackets and 110s or Shox on which made them look mean and unapproachable on the precinct and, even more so, they looked so cool - proper gang mentality.' The North West of England isn’t renowned for its pristine weather - it rains 50% of the time - so its symbiotic relationship with The North Face, and outerwear in general, is wholesome and genuine while still demonstrating that you know your stuff. If you could squeeze in a summary, it would be along the lines of this, ‘No matter what, when you’re in town, abroad or on the internet, you attract those lads with the same stories, and not just from estates in the North West, all over England.’ On the other side of the country, having grown up in Bristol, Advanced Rock’s first sightings of The North Face came around 10 years ago when the older guys who were skating they would sport Nuptse jackets with Nike SB’s and tracksuit bottoms, a very similar experience to Material Archive.

What started as a humble and modest mountaineering specialist store has gone on to become one of the world's most iconic brands, whether you recognise the Half Dome logo, know the name or own a piece of The North Face gear. While some companies are where they are through spending millions upon millions on marketing and PR, The North Face’s commitment to quality and diversification has them continuing to soar. The Half Dome has transcended beyond the outdoors into realms that the late Doug Tompkins could never have fathomed, from Grime music to estates in Little Hulton and on the back of Method Man. As sustainability becomes more of a priority and further advancements are made in the way of material technology, particularly in regards to their FutureLight material, there is plenty more exploring to be done.

The latest collection of The North Face is available in-store and online now.

Words: Ali George Hinkins
Special thanks to Jake Ivill, Material Archive & Advanced Rock

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