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We at Lodger love the craftsmanship and tradition that goes into making a fine pair of shoes. The Gentleman's Corner is an online forum to share that passion with our customers as well as reveal a glimpse of our own creative process. Jump into the conversation.
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Once upon a time, all distilleries were small.
Whether they made whisky or gin, the two spirits traditionally distilled in the UK, the scale of these historic operations was modest, in many cases domestic. Distilling was carried out at home as a means of preserving fruit, preparing simple medicines and, of course, supplying alcohol for drinking.
Then [...]
Launching in Spring of 2008, UK label, Hentsch Man was founded by Alexia Hentsch. “We actually first called the company Jack Shirt - but needed to find a name that was entirely copyright proof,” says Alexia. “Hentsch Man was easy - as it’s my name, it’s difficult to contest. And we liked the play on the word ‘henchman’.”
Prior to launching Hentsch Man, Alexia worked at Winkreative, Tyler Brule’s branding agency, for three years. It was this experience that helped give Alexia enough know how to launch the brand, which she did with her partner Max von Hurter.
Focusing on the basics of clothing, the Hentsch Man philosophy is to make “good, lasting and relatively inexpensive clothing. We’re not so interested in high-fashion, we’re about function, practicality and pleasure. We make clothes for men who want to look good, but don’t have the time or patience to scour the earth for them.”
Despite only launching two years ago, Hentsch Man is already stocked in Opening Ceremony, something which was planned from the start. In an interview with Hearty Magazine, she said that they originally turned down stocking the product, but did like the concept itself. “They told us to go off and make some more products and come back. So about a year later, we went to see them with eight shirts and four trousers. That’s when they took us on as our sales agents. Since then, they’re been distributing our brand in the US and Japan, as well as stocking us in their stores.”
The clothes themselves are made in Portugal, with the knitwear coming from Scotland and the footwear for Spain and Italy respectively. When it comes to the topic of prestige, Alexia states that “Prestige goes a long way with customers. People feel very comforted by the ‘made in Italy’ label, or something with a longstanding manufacturing heritage. This is especially true in this economic climate as, as you say, people want to know where their money is going. However, the quality needs to live up to the reputation, especially as today in age everything is so easily copied. Cheap versions of luxury products are available everywhere. So luxury needs to stay lux, if not it will loose to it’s cheaper competition.”
Our AW’10 collection is on its way into the Lodger shop in the coming weeks (watch this space), but we’re already well under way developing our A/W’11 line up. For AW’10, Annejkh drew upon from the antique, rich colours of the Old Masters. For AW’11 we’ve sought inspiration from vintage ski and mountaineering pursuits and their accompanying paraphernalia.
Our research took us back to the Shoe Collection at the Northampton Museum and its rich seam of shoe history. Our day turning over racks of shoeboxes yielded many ski and mountaineering boots from the ‘30s, ‘40s and ‘50s.
We’ve been seduced by the hardy, chunky aesthetic: the heavier leathers, double leather soles and robust hardware. The buckle straps across the instep were intended to provide extra support and grip (to the admittedly ill-suited ankle-height boots!), the square toes were designed to fit into the bone crunching non-release bear trap bindings on old wooden skis.
But we’ve also been taken by the more subtle details: the contrast stitching on the uppers and welt, the woven, colourful laces and snug lining materials.
One of the more intriguing details was the variety of welts we came across and the visual impact these can have on the finished shoe.
Needless to say, you can expect to see a move on from our classic antiqued storm welts come 2011.
The collection remains under wraps (and on paper) for now, but there are more sneak previews to come from the design department as the sampling process progresses this coming Autumn.
One of the positives of a trend like the current ‘made in England’ trend is that it can open doors to brands who might’ve have been ignored previously. S.E.H Kelly are an example of this.
Launched in 2009, SEH Kelly is made up primarily of two people in Sarah Kelly (the designer) and Paul Vincent. The duo had previously worked in the clothing industry for just under a decade, including a few years for a house on Saville Row. “[Saville Row] is a terrific, fascinating place to work,” they say. “In our time there, we’ve worked predominately with domestic suppliers and production facilities - it was apparent for a long, long time that when we started something of our own, English mills and factories would be at the heart of it.”
The UK based label is obsessed with the UK textile and clothing industry, their experience at the Row strengthening their stance. “We’ve seen a good number of the establishments we work with close down - irrevocable loss of livelihoods and generations of region-specific skills and knowledge,” they say. “Having witnessed this at first hand, we’re resolved to working with people and establishments across the country that retain local industry and craftsmanship. Every stage of production, no exceptions or allowances made.”
True to their stance, everything from SEH Kelly is made in England, at either Somerset, London or Nottingham respectively. Whilst the fabrics come from the Cotswolds, Cumbria, Lanchashire and other parts of England. “For shirting, we use brushed cotton/wool mixes and cotton pinpoints” whilst using corduroy and tougher cotton fabrics for their outerwear. They use of English materials extends to their Corozo and horn buttons, both of which are made in England.
When it comes to the topic of prestige in clothing, the duo state that, “Being mindful of what’s in your wallet is nothing new, and nor is wanting to know a product inside-out before you part with your money - what seems different is that the mindset is stronger and more widespread than in recent years.
The economic downturn might be one factor. Another, more positive one, is the ease with which consumers can get hold of information and share it among themselves — they’re no longer beholden to press, brands or traditional media for facts and opinions. And that, we think, must be a good thing. Long may it continue.”
This marks the beginning of a new series of posts tracking the making of a Huntsman tweed shooting suit. A three-piece with plus-twos in one of this year’s house tweeds (above, right, and second from the left on the sleeves).
The tweed is a revival of one first made in 1968. Every two years Huntsman commissions a range of new tweeds from the 450-year-old Islay Woolen Mill in the Inner Hebrides, which resurrect an old design from the firm’s archives. (It has been using that mill for the past 12 years, ever since it was recommended by a client from San Francisco who stumbled across it while in Scotland.)
The pattern for the collection is taken from the old design, as are the colours for one tweed, while the background colours for the rest are standard browns, lovat, biscuit etc. The precise colour combinations are chosen by Hunstman staff (and occasionally clients) when they receive a large blanket from the mill covering 50-odd swatches (this series will feature a post on the new blanket when it arrives later in the year).
The mill receives guidance from general manager Peter Smith and his team. In the current collection, for example, Peter suggested a lot of lilac in the green tweed you can see on the model above. Despite that, and the rather unusual shade of blue, this tweed was one of the first to sell out. Then again, to retain their uniqueness only 60 metres of the tweeds are ordered each time – since some customers order a shooting suit with both plus-twos and trousers, that 60 metres doesn’t go very far.
To publicise the tweeds this year, Huntsman made up the lovely patched jacket you can see below, featuring tweeds from the 1960s to the present. Although it was only a showpiece for the window, they ended up selling four of the jackets – though some customers requested a little less pink here, a bit more blue there. It takes the idea of commissioning cloth to a whole new level.
The 2011/12 tweeds will revive the pattern from 1977 - the yellow with large twill you can see on the far right, centre, on the jacket above. Above that is a brown tweed with red check from 2001, to its left is a pink from 2004, going left still is a sparse check from 2008 and next to that is the 1968/2010 check with horizontal brown stripe I am having made.
There is also an 1980s check there, the orange and cream on the far left, centre. And below that is a grey check from 1999. It’s interesting to see how patterns and colours change over time, from the simple to the variegated, and which ones are considered suitable for the present day. Fashions come full circle.
I’m pleased with my tweed – I think the browns and blues will make it easy to wear casually with jeans or cords. And the brown background is slightly more modern than the greens or biscuit.
Next: Design and measuring
Photography: Andy Barnham
The earliest memory I have of my father is watching him reading the paper in the garden, wearing a white T-shirt, sun-drenched jeans and classic black Gucci loafers, with no socks. I assume this is where my (healthy) obsession with footwear began. And this sockless style has become in vogue in menswear recently, perhaps fueled by the success of sites like The Sartorialist and the American designer Thom Browne.
There is something elegant about the sockless look when executed with a quality lace-up or loafer, injecting an air of informality into the look of a tailored trouser. It’s about the carefree lifestyle, and the image of someone who spends their day relaxing in a square with an espresso. Don’t get me wrong, I love socks, tall, striped, coloured, and especially when all I ever see on the morning commute is monotonous greys and black.
The sockless style can be hazardous for shoes, however. For instance, the interior heel of my loafers has become worn and slightly stretched, so this is not for the faint-hearted. I would suggest a little talcum powder here and there as well to avoid any unpleasant smells. Just make sure you always air them out after use (like raw denim, I’ve heard putting them in the freezer for a short stint can work wonders).
For those of you looking to inject some leisure into your footwear, consider losing the socks.
Christian Kimber (Style Sage)
