The Gentleman Magazine Issue 10 | August 2018 | Seite 61

I have an arsenal of painting techniques that I have developed
during 22 years of Photoshop practice. I rarely start with a
concept or any clear idea of what the final product is going
to be. I just improvise; creating and rejecting until something
solid emerges that I can pursue. From then on, it’s a dialogue
between me an d the design to find the best version of itself.
Many ideas don’t lead anywhere, but they may serve as an
ingredient that I can use in later designs, like a sort of dried
herb that can be stirred in. The whole process is like cooking.
Q5: You are known for your silk pocket squares and ties, what
made you add a dressing gown to the collection?
A: 2 years ago my Wife and I went on holiday to Japan. We
travelled extensively and spent some time in Kanazawa, the
home of Kaga Yuzen fabric dyeing; a technique that dates back
some 500 years. We saw a lot of spectacular silk Kimonos painted
using this technique. I came back wanting to make a Kimono
collection for men. However, I soon calmed down and realized
that I could only ever make a pastiche of Japanese culture. So
instead, I translated the idea into the western equivalent, which
is the Men’s Silk Dressing gown. The early prototypes were
made by local dress makers from a pattern I found online. Not
perfect, but subsequent samples working from a customised
pattern by several London garment manufacturers got me to
the point I am now.
Q7: You champion “Made In England” How has this helped
your brand stand out?
A: It has an obvious appeal to overseas customers who recognise
the long tradition of luxury products that England and the
rest of Britain is known for. On a personal note by producing
everything in the UK I have built up very close relationships
with everyone connected to my brand. This is measured each
Christmas by the amount of chocolate that passes between us.
Q8: What advice would you give our readers who are looking
to up their style?
A: Start with a pocket square. Don’t be afraid of adding one to
any jacket. It creates a flash of colour and draws the eye from
distance. The ‘volume’ can be turned up or down by how much
you reveal of it. It immediately tells the world that you are
wearing something because you want to and not because you
have to.
Q9: Silk is your fabric of choice, would that ever change?
A: Silk will always remain my first choice for pocket squares and
dressing gowns. It really is the gold standard and the perfect
canvas for presenting designs that contain a lot of intricate
detail and colour. Although I am also developing a Men’s long
Winter scarf in a cashmere/lambswool mix for AW19.
Q6: Are you seeing more men move back to wearing a pocket
square for everyday life or is it still for that special occasion? Q10: Are you able to give an insight of what could come next
to your collections?
A: Yes and men of all ages too. When I started 9 years ago,
there were far fewer brands making Men’s accessories and
their design styles were often limited to plain, paisley or the
odd coloured circle. Since then there has been a flood of new
brands entering the market, partly because the pocket square
is the simplest product to make compared to a neck tie or a
dressing gown. But It’s also a great canvas to float ideas on. So
now with so much choice, I’m certain more men are wearing
them and on more occasions. A: There will be several additional designs to my dressing gown
collection next year. New pocket square collections for the
forthcoming Spring/Summer and Autumn/Winter and one or
two surprises that even I don’t know about yet.
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