Cashing in this Christmas

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

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

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

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

A visit to Goodhood

Throughout this blog's lifetime I have periodically bemoaned the lack of truly exciting stores in the capital. I have even defiantly declared that I can count the number of well stocked stores on one hand but there have been a number of additions that have forced me to impugn my previous statement. Over the course of the last twelve months alone I've welcomed Hostem, 3939, LN-CC, Trunk and Anthem to name but another handfull. However, as great as these newcomers are and as much as they should be lauded, I've neglected one or two that have been right under my nose. Hoxton's very own Goodhood is one of them.

Designers and partners Kyle Stweart and Jo Sindle unveiled this backstreet boutique back in 2007 and the backstreet boutique has since evolved in to one of London's finest stores. Timeout recently declared it to be the seventh best store in London and their AW11 look book, Beneath the Canvas, left many a blogger breathless whilst its collaboration with R. Newbold is enough to make a grown man soil himself in excitment. Now housed over two floors, the contemporary concept space showcases an international cocktail of independent and rare brands. A considered edit of old favourites and new discoveries it never fails to excite and inspire. The shared vision for Goodhood is one based firmly on handpicked quality from across the globe. Last weekend I arranged an early morning store visit and was welcomed by Kyle. Battling the fatigue of recent fatherhood, the passionate owner was proud to discuss his other offspring, the blossoming Goodhood. It was an absolute pleasure to be talked through the store's offering by the man himself.

"The addition of the menswear floor has been really important for our development," Kyle declares whilst admiring the increasingly busy area before him. Like everything good in this world, the store could not be rushed and the menswear space naturally evolved through the considered addition of brands and demands of the ever growing customer base. "Evolution as opposed to revolution, I think I remember seeing that on an Arsenal plaque a few years back but it works for us too" and as a Gooner myself, how could I argue with that?  "It is important for us to stick to our style and to add in to it naturally. There are moments when there is a great deal of hype around certain things at certain times and we just try to ignore it. We're never going to buy in to something just because it is hyped. We always try and judge everything on a quality level, is it value for money and qualitative." Once asked how he'd describe the style of the store, he quickly responds with, "in my head, I describe our style as indie, it can be high end or low end, it is just a feeling and everything is mixed in together." Where so many retail spaces have distinct areas, Goodhood opts to create looks that effortlessly blend labels. 

With a salivation inducing brand list that includes the likes of Junya Watanabe Man, Carharrt Heritage, Paul Smith, Tender and Monitaly to name but a few,  it is an eclectic mix but everything sits effortlessly next to one another. That said, it is anything but one dimensional. It echoes any artfully compiled wardrobe. A little of this, a dash of that, all at various price points whilst making perfect sense together. "We're drawn to the style of the East End. it has a certain look. Some people wrongly reduce it to skinny jeans, or have in their mind an idea of Frankie Cocosa but that's not true. For us it is the most stylish area in London. We're watching everybody and are now part of the community, servicing them." 

"Myself and Jo don't come from retail backgrounds. Our buying has certainly improved, as has the balance between everything. I look around at everything now and I'm really happy." A happiness that is undeniably shared and taken advantage of by the customer. Specifically looking at AW11, I pressed Kyle to talk me through of his favourites and unsurprisingly, given the amount to truly covet, he struggled before excitedly bouncing across the room. "I love it all really. The exclusive Mark McNairy's, Head Porter Plus which is a small but perfect delivery. I particularly love the fur lined ring boot from Quoddy. It is just a shame that, even in November, we are still waiting for Winter..." The store just the oozes the personality of the buying duo. Now, I could continue to wax lyrical about the store but I'd only bore you, the best way to get a feel of the place is to explore it. Take my hand and let me lead you through the space of AW11 wardrobe fillers...

As soon as you walk down the stairs you are confronted with temptation. Oh how I would have loved to have picked up the Mackintosh and Junya Watanabe rain coat. Even with a twenty per cent sale on all outerwear, the jacket is still out of reach..

So much to covet in such a tight space.

I was instantly drawn to this Junya Watanabe Man parka. 

"His are pieces that you are going to keep for the rest of your life. I've got Junya jackets that are over five years old and I still love wearing them. There is always that level of detail and quality of components that combine to create a truly special garment. We're always excited to get Junya in and people respond to it really well. It is a label, that even young guys see as an investment." 

Kyle on Junya Watanabe.

"Unrivaled is another label that always excites us." Another label picked up from Japan, Unrivaled was born out of the original "Let it Ride," label that was founded by Kiichiro-San. "There is always something special about their clothes whether it be in style or details."

You all know how much I love the British Remains' First Creepers.

"For us it is really important to have picked up footwear like that. The Creeper is rooted in outsider British culture as opposed to the wave of hunting and prep wear we've seen recently. We wanted to push forward." Kyle on the British Remains' First Creeper

Specifically designed for Goodhood these fur lined Quoddy's continue their tradition of creating the ultimate in comfort and quality.

A wall of streetwear tempation. Head Porter Plus, Norse Projects, Pigalle, Spring Courts and Vans.

Exclusive to the Goodhood Store this collaboration derby work shoe fuses a classic McNairy design with the Goodhood touch and stamp of approval.

PAM's take on the classic chino. Wish I had picked them up sooner because they no longer have my size. Nice detailing with the use of floral corduroy, subtly seen on the back welt pocket, button loops and the outer part of the turn up hem.

 I took advantage of the store's excellent array of difficult to source publications and zines. Somewhat spoilt for choice I turned to Kyle for his recommendations. I left with the debut issue of LAW and the second issue of the The Travel Almanac but was tempted by so much more.

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Whilst there has been much fanfare about the retail revolution of the East (of London), this backstreet boutique has quietly gone about its business and evolved in to one of the finest independent stores in the capital. "Every season it is getting deeper, we are buying in to more lines quite simply because we can. When you open a store it can be a long term struggle getting the brands to sell to you, there's a lot of politics involved. It is a work in progress and we're constantly working on it. It's certainly much easier now to persuade people to come on board and I'd like to continue to add the labels we've had our eye on." I, for one, cannot wait to see which labels join the already bulging brand list. Looking further ahead, Kyle Stewart revealed something that quickened the pulse even more; "we've got plans, we've got the gallery space across the road which has just re-opened. I'd actually love to open more shops on this street and am even dreaming of a hotel right on the corner. You see it in Japan, where stores take over a street and I think it works really well." Here's to the evolution (not revolution) of Goodhood and Coronet Street. The evolution is nigh.

Here's to the evolution (not revolution) of Goodhood and Coronet Street.

The Documentary And A Dream AW11

The Autumn/Winter 2011 edition of J. Lindeberg's ‘The Documentary and A Dream’ is the fifth in their series of Biannual Books. The weighty publication was borne out of the desire to tell the complete story of the brand and share their thoughts and values on a level beyond commercial aspects of marketing principles. Each season creatives from various disciplines are invited to freely interpret the seasonal collection and capture a particular theme within the spirit of J. Lindeberg. Here, the talented team have strived to capture the dualism that the label revels in. The quintessentially Scandinavian competing and complimenting the quintessentially continental. Hard clashes with soft, worn against new to create fascinating encounters.

Once again, the contributors list is an impressive one. Joining Creative Director Jörgen Ringstrand are new collaborators David St John-James, Robbie Spencer, Gerry Johansson and Carlotta Manaigo working alongside existing team members including Olivier Zahm, Skye Parrot, Andreas Sjödin, Carl-Johan Paulin, Hannes Hetta, Marine Braunschvig, Marcus Dunberg, Göran Åkestam, Tinka Luiga, Eric Guillemain, Andreas Carlsbecker and Lars Johnson.

The book was launched last night in J. Lindeberg's stunning office and showroom. Now that the hangover sets in and memories of toasting the book thump around my brain, I'm fully aware that the book has now been released. This fifth edition is now available to view at J. Lindeberg stores and online. The narrative it weaves is one that expands way beyond the realms of the standard look book and runway views we are all accustomed to seeing. Throughout the book you are treated to inspiring art works, collages, interviews and an array of wonderful imagery. However, before you go and thumb through it I'd like to share a few of my favourite pages with you...

Book images supplied by J. Lindeberg. The full book is now available online to view.

Christopher O'Brien AW11

Each year the various graduate shows scattered throughout the calendar and country remind us all that there is so much young talent out there in the UK. For us, there is little better than discovering it before watching it develop with us. However, despite our ever present eagerness a few talents are missed. Now, Central Saint Martins' MA graduate show is undoubtedly one of the most exciting places to discover the fashion stars of the future but this years crop passed me by. Months have passed since the show and I've only just stumbled across the obvious talent of Christopher O'Brien thanks to the designer's pro activeness and a keen buy from LN-CC. O'Brien's crinkled, minimal wardrobe of well tailored staples might have slipped past my blogging radar but it certainly caught the trained retail eye of John Skelton who duly bought the collection for his forward thinking store. 

As well as working as a freelance stylist and costume designer during his studies at Central Saint Martins, O’Brien honed his skills with placements at Jonathan Saunders, Jens Laugesen and E. Tautz. That's quite the education and the fruits of these experiences and influences can be seen in his accomplished MA graduate collection. At its wrinkled heart the abstraction of the male silhouette through the manipulation of fabric and layering in a distinctive yet restrained manner. The use of distressed and crinkled fabrics throughout his accomplished graduate collection creates individual subtleties and sense of life. I'm instantly reminded of the collection that saw Christopher Bailey emerge as one of the best menswear designers of his generation, Burberry's Cumpled Classics collection for SS09. However, here the real spirit of the collection is grounded in ideals of minimalist menswear and traditional tailoring but O'Brien develops the theme by exploring the creative potential of inherited shapes and textures. Before we take a look at the collection itself, we had to sit down with the designer to learn more about his work and his hopes for the future.

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SS: What were your inspirations, your dreams and the driving catalyst for launching Christopher O'Brien?

Christopher O'Brien: I think there are a few reasons for starting Christopher O'Brien, chance being a big factor in that John Skelton saw my look book and decided to stock my collection. I also think that my drive comes form proving certain people wrong that told me I wouldn't do it. My inspirations and reason for Christopher O'Brien is to hopefully gain recognition within the industry and for people to like what I do.

SS: Aside from it being your name, what does Christopher O'Brien mean to you?

Christopher O'Brien: I'm not to precious about myself, I am lucky enough to enjoy my career and hope that Christopher O'Brien develops into something natural and easy for people to connect with.

SS: Describe the moment you realized you wanted to be a menswear designer?

Christopher O'Brien: I started out as a womenswear designer and always had a very androgynous style that I felt would suit men. It was while I was working for Jens Laugesen that I decided I would be a lot more comfortable if I transferred to menswear so I applied the the MA to help me build a portfolio.

SS: What were the first and last items you remember designing?

Christopher O'Brien: The first thing was a very tragic dress made out of orange peel, I was on an Art and  Design foundation and it seamed like a good idea (at the time). The last thing, tech pieces for E. Tautz

SS: While studying for your MA in menswear design, you worked as an intern for large periods of time for Jonathan Saunders and Giorgio Armani. More recently, you worked for design advisor firm Jens Laugesen and as you were about to graduate, you worked for E. Tautz who duly offered you a designing position. What did these experiences teach you? How did these experience shape you as a designer?

Christopher O'Brien: I think that internships are a very important part to your education, I learnt more at Jonathan's in my spell there than probably my whole BA, it is reality and shows you how the industry really works. I wasn't actually going to go to my interview at Jens because I thought I had bagged a job at Jil Sander but it was probably the best career move I ever made as Jil fell through and I think I learnt so much more working in close proximity to him than I ever would in a big company. He was a very demanding boss but helped me to develop my design process more than anyone, we constantly worked on different projects. I think he is a true designer in the sense that every project we did was integral and stuck to a concept. In terms of how these experiences have shaped me, I think they taught me a pretty good work ethic, and just to try things, if they don't work, move on and don't worry.

SS: In your eponymous debut collection, you take a progressive stance on conventions of layering and minimalism, and draws on influences from art to sportswear to photography. Can you talk us through the inspiration for the collection?

Christopher O'Brien: The main point of inspiration was a photo of some refugees in the paper, I just really liked the different layers they were wearing and it made me think about the way we wear clothes. When we put a jacket or coat on it often crinkles the garment under and I just wanted to look at bringing that effect to the top layer where you wouldn't expect it. I took it pretty extreme but as it was my MA collection with no restraints I figured it was a good time to push notions of what a man would wear.

SS: How would you describe the collection in your own words?

Christopher O'Brien: The collection has at its heart the abstraction of the male silhouette through the manipulation of fabric and layering in a distinctive yet restrained manner. The use of distressed and crinkled fabrics throughout each design creates individual subtleties and elements of awkwardness, which at first glance are not immediately apparent. Whilst the spirit of the collection is in tune with ideas of minimalist menswear and traditional tailoring, albeit in a disassociated way, it develops its theme by amalgamating these conventions with styles drawn from elsewhere.

SS: Were you taken aback by LN-CC's interest in the collection?

Christopher O'Brien: I really like the guys at LN-CC and like the whole concept to the shop, I think they push boundaries with what they stock and don't want to be like any other shop which gives opportunities to designers like me. I'm happy it happened so hopefully it will go well.

SS: What excites you about the future of menswear?

Christopher O'Brien: Being involved in some kind of capacity.

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A scan of the image that sparked O'Brien's collection.

Throughout, the design process O'Brien looked to sportswear to art and photography, especially Derek Ridger’s brilliant pictures and to wartime images from the middle east. These images showcase garment layering in unconventional ways and hint at the effects of using a constricting layer within the garments make them appear disturbed. This idea became a way of bringing an uneasy and crinkled effect to the top layer of the silhouette. This in essence creates a textile that becomes the garment itself, encouraging a different view to the normal conceptions of menswear and preconceived ideas on layering. Taking further inspiration from Francis Bacon's 'Man in blue' series, the collection takes muted blue and aligns it against the contrast of striking white in order to convey further the angular composition that the manipulation of fabric and layering offers in abstracting the male silhouette.  Now, I could continue to wax lyrical about the collection but it really is high time that I shared his look book with you all...

Look book images supplied by Christopher O'Brien

Despite my obvious support for exciting graduate talent, it is extremely rare that I encounter a collection that could easily slip in to my everyday wear. I'd happily add Christopher O'Brien to my wardrobe and it should come as no surprise that a number of pieces have already sold out over on LN-CC. I'm sure we will be hearing the name  Christopher O'Brien a great deal in the coming seasons and beyond.

Unpicking the seams... British Remains' First Creeper

Following years of discussion centred around aspects of Britain that they like, hate and mourn, Daryl Saunders and Andrew Bunney launched British Remains. Unveiled last summer, the debut range of t shirts and totes set the tone by celebrating facets of Britain and localised symbols that would ordinarily not be known outside of these shores. Amongst the neglected and the forgotten rubble of Britain, London brickwork, toilet signage and Generation X were all highlighted. In offerings since, the pair have focused their design attention on the Royal Wedding and most recently celebrated the sneering youth spirit of 'them' and 'us'. For AW11, they reveal their first shoe - First Creeper.

Adopted by various youth tribes and factions of the British underground throughout the last half century, the wonderfully named shoe still has the ability to excite by providing quite the visual statement. A heady mix of comfort and rebellion. Traditionally a suede shoe with thick crepe soles, the creeper was borne out of necessity in the years following World War II. British soldiers returning from the desert wars had worn suede boots to which they had attached improvised rubber soles made from old rubber tyres. It is a Mary Shelley tale of a shoe. Returning to London, unsurprisingly the ex-soldiers were attracted to the most desirable undesirable “night spots”of Kings Cross and Soho. As they found their pleasure, they were still wearing this rubber sole footwear or derivatives that had been put together by their cobblers. Creeping around brothels was enough to give the shoes their name. Now, the brothel creeper immediately evokes images of youth, musical movements and hints at the more rebellious corners of society. 

With the mere mention of brothel creepers today, one immediately thinks of George Cox. Therefore, it should come as little surprise that the First Creeper was made in its spiritual home. In 1906, George James Cox founded his shoe company in the heart of England's traditional shoe making region, Northamptonshire. Crafting high quality traditional footwear at first, the company quickly gained fame for the iconic styles that would come to inspire generation after generation of subcultures. From the brothel creepers of the 1950s to the winkle pickers of the 1960s, George Cox have still produce delightful underground styles. Not interested in costume, British Remains wanted to create a creeper that stayed true its tradition whilst making creating a far more accessible shoe. With the thick crepe sole and aggressive notched leather welt softened by the simple suede leather derby upper, their First Creeper undoubtedly pulls it off. From the moment Bunney posted an image of the initial sample back in May over on honeyee, I just knew my ever growing shoe collection needed them. I've obsessed and dreamed about them ever since. Yesterday, following a quick visit to Goodhood my feet's dreams came true. To mark this happy moment and even before I took them out for a pavement stomp, I caught up with Bunney to learn more about my latest fixation...

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British Remains' First Creeper

SS: The First Creeper marks British Remains' first foray in to footwear design. What attracted you to the creeper?

Andrew Bunney: As the name suggests, the label is an exploration into the rubble of Britain. Amongst the neglected and the forgotten there are often gems, and the Creeper shoe represents something really exciting. The nature and shape of the shoe, the nefarious associations that it had, and connotations today make it something quite challenging to wear.

SS: What was your starting point/initial inspiration?

Andrew Bunney: Thinking about British style and British youth cultures, there is always an exciting moment where the looks start to merge and change into something new. What I believe in is creating products that different kinds of people can wear in their own unique way, something that I've done throughout my career. To make something with character that captures the imagination of people into all kinds of things is very special.

SS: Could you talk us through your research and how it impacted on the design? For example, I recall that you mentioned that the sole is the same height as many vintage styles.

Andrew Bunney: It's always interesting to see how things have progressed or changed over the years, and many of the creeper soles today are very high - very cartoon-ish. The classic styles didn't always have soles this high, and of course the idea was always to make this more accessible for today. We used the same height of sole that was used in the past, which would have been sold in places like 'Let It Rock' - one of the most important places for styles to butt up against one another.

SS: How did you go about stamping your take on this iconic shoe?

Andrew Bunney: The most important thing is to push forward - we're not interested in making costume. There are many things I like about vintage Creeper styles, but I want to make something that is relevant to what we're wearing today. The thick sole or aggressive looking welt are very much a 'Creeper', but the simple derby upper makes it much more wearable, and more modern.

SS: Craft and local manufacture are obviously very important to you. Collaboration with local craftsmen and heritage is an integral facet of your brand identity. Here you teamed up with George Cox, how did you identify the individuals to help realise your design?

Andrew Bunney: In some ways today, I think many have lost sight of the manufacturer or have a very hazy understanding of what that means. Of course, we want to find the best factory or the manufacturer for anything that we're making. Despite the many copies by other brands, this style is synonymous with the manufacturer George Cox - there is no other company to go to. However, I don't really think of this as a collaboration - simply using the 'correct' place to make a certain product.

SS: What items can we look forward to in the near and far future from British Remains?

Andrew Bunney: We want to make things that are surprising, and things that make one think a little. It's not interesting to make something unwearable, but for those that are sensitive to details, something challenging - even if it is slight - makes you feel a little more alive.

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I could happily listen to Bunney all day, everyday. Following this discussion I could only love my latest acquisition even more. This morning, I took a closer look at them before eagerly jumping straight in to them for the first time...

A closer look ar British Remains' First Creeper with the help of a few detail shots. In the last shot, I teamed them up with black wool trousers by Topman Design and socks by Wigwam. 

Through tits exploration of Britain, past and present, British Remains stirs up odd feelings about this island of ours. What it means to be British, what it once meant and how it has evolved. The class struggle, the rise and fall of subcultures, everyday symbols that are often overlooked. These are all things that make Britain so interesting. With its gradual evolution, I'm looking forward to watching this label continue to grow.

Gee Whiz

During my time in Tokyo this Spring, I enthusiastically pinballed my away across the sprawling city and discovered a myriad of concept spaces both large and small. One of the real highlights was Yuichi Yoshii's The Contemporary Fix. The two floored space takes a gallery approach, installing limited-time exhibitions that spotlight individual brands. The ground level is an inviting cafe and bar that rewards and rejuvenates customers with a welcome respite from consumerism whilst the second is dedicated to offering a selection of the finest Japanese labels. During my visit I was afforded the opportunity to examine a vast offering from Phenomenon, Visvim, Bedwin and The Heartbreakers, Facetasm and SASQUATCHfabrix to name but a few. However, atleast one label slipped under my radar. Thankfully, Susie was recently dispatched to cover Japan Fashion Week and on the very last day she was wowed by the Yoshii curated series of shows, Versus Tokyo. It was here that she was properly introduced to Whiz Limited.

Hiroaki Shitano launched his label in AW 2000. First as simply “Whiz”, then opting to add “Limited” three years later. His line, originally consisting of handmade printed tees for his closest friends, slowly grew in popularity and encouraged him to expanding his 'individual clothing' concept. Inspired by his native surroundings, Shitano is ever evolving his own Tokyo streetstyle outlook. Whilst being impressed with Whiz Limited's colourful parade for SS12, Susie was inspired to revisit The Contemporary Fix to treat me to a little present from the label's AW11 offering. The collection showcases a heady cocktail of prints and patterns, ranging from plaid to Native American tribal designs, to help breathe new life in to familiar staples. 

AW11 look book shots courtesy of Whiz Limited

Even confronted with the well stocked rails of The Contemporary Fix, Susie still managed to keep a clear head and plumped for the item (having had a chance to look at the entire collection) I would have snapped up for myself. A breton reimagined with the simple addition of a tribal knit trim.  

For me, the real beauty of menswear is in the details. After all, it is the small details which are so often overlooked and neglected which can transform any mediocre outfit in to something special. I've said this many times and will ever tire of saying it opting instead to celebrate the designers and individuals who take as much pleasure in celebrating and exploring them as I do. With Whiz Limited, Shitano is one such designer.