Style Salvage Speaks to... Hentsch Man

Back in May we discovered a new menswear brand whose design ethos and approach to retail struck a chord with us. As Steve was enjoying his guiltiest of pleasures, lying in a bubble bath whilst listening to the Monocle Weekly he learned about Hentsch Man. After hearing about the labels first pop up store venture we have followed the progress. Fast forward a few months and Hentsch Man is currently enjoying its second pop up venture which is open until 23rd December.

As mentioned in the previous post, the brand evolved from a seemingly simple search (in theory not practice) for the perfect white shirt. The two friends (Max and Alexia) set about designing their perfect shirt and when they felt they got it right, they placed a small order. After the shirts were soon snapped up by friends and family, the duo set about expanding their offering without compromising their core values of simplicity and function. Over the last year, the pair have added trousers, boxer shorts, footwear and luggage to create a more complete menswear collection. The collection has now found it's second temporary home in Princes Arcade off Jermyn Street. To celebrate we caught up with Alexia Hentsch and explored the new space and the evolving Hentsch Man offering...

The pop up store sign complete with festive decoration.

SS: Hentsch Man evolved from the seemingly simple search for the perfect white shirt. How did the quest for this wardrobe staple evolve in to the brand we see today?
Alexia Hentsch: Well, we started out thinking about our perfect white shirt and once we had made about three hundred we sold it to family and friends, soon selling out . As I come from a branding background we made a whole brand book and catalogue and all sorts of things to go with it which talked about a brand which really didn't exist yet. We got a little carried away and stated taking this brand book to everyone, places like Bergdorf, Harvey Nichols and all these people and they were really impressed with the idea but the product was lacking, we needed more than white shirts. So we went away for a year and came back with a full collection. We realised fairly early on that we didn't want to just sell white shirts. Now every season we add a new piece or a few garments. So first we had shirts, then moved on to trousers, jackets, sweaters and shorts...adding items as we go grow.

SS: As well as your own collection, you offer pieces picked up from your travels...
Alexia Hentsch: Yes we do, when we started developing the brand we found amazing products which exist and have been around for a long time and are products we really like. Rather than imitate them we acquired them to create the Hentsch Man look. Things like the Mediterranean espadrilles for the summer, Venetian velvet slippers, the sneakers...we try and have a new sneaker pick, hats, bags, so many things that we really like which exist already.

Furlane slippers and espadrilles

SS: Your values can be seen in the quality of our materials and production. How easy was it easy sourcing such quality mills, factories and skilled craftsman from across Europe?
Alexia Hentsch: Well finding them is pretty easy actually because there is such a manufacturing history in Europe and the industry still exists but it is just more expensive. Finding them is easy but sustaining it is hard. As we grow it gets more difficult. We are still in Europe and only in Europe which is great but I understand why luxury products cost what they do and why some brands choose to make things in China as it means they can increase volumes. In terms of local manufacturing we have quite a few funny stories, for example when it comes to our Venetian slippers we are working with a guy who produces them from his kitchen. So we can't bombard someone like that with huge orders in limited time lines and instead he's like 'I will deliver them when they are ready' so you can't really place orders with him and when it comes to colours he gives us what he have. The production can be unreliable but it is part of the charm as well. It is these types of pieces which can really accent our own collections and it is something we can use for our pop up ventures.

SS: A key element of the brand is this idea of building a gentleman's wardrobe and this is mirrored by the development of the brand...
Alexia Hentsch: Yes, exactly! I keep using this phrase which my business partner Max hates because he thinks its cheap but I like to use it anyway...we are trying to build a one stop shop for men to shop. A store for men who we think don't particularly like to shop and one which caters for all of their wardrobe needs. Obviously this will be for a particular look but we can dress them head to toe.

A colourful felt trilby.

SS: The pop up stores can be great in the sense that these men can come in and try on styles and then moving forward they know their size and can order online.
Alexia Hentsch: Yes and even though each season where we add new styles and cuts, we always keep the old ones as well as we build our inventory. So if you know your size in your favourite Jack shirt or trousers you can always go back and find them and they will always be there. We really want to build our offering along with our customer network.

SS: Is there a typical Hentsch Man?
Alexia Hentsch: Certainly. Although there is a whole crew of Monocle-ites, thanks to the two radio shows, and you can see them as soon as they walk through the door. You can tell that those guys have recently listened to the podcast and have visited us accordingly. Those guys tend to buy a lot of the more simpler stuff, like our white shirts and our simpler cut stuff. Then you get a bunch of more eccentric, dapper guys who love nothing more than a pair of pistachio pants. There are some older gentleman who love wearing our brighter colours and we love catering for them. It also depends upon where we are positioned. When we were in Notting Hill originally we had quite a younger, creative crew of guys, whereas now because of the footfall we get many more gentlemen.

The new store front in Princes Arcade.

SS: How have the two pop up store ventures compared?
Alexia Hentsch: It has been quite different. Obviously the foot fall is a lot better here but it is the Christmas season so it is difficult to tell as there is just a huge consuming element right now. This one has been great though because we are open twice as long. Weekends were a lot busier in the Notting Hill store whereas here, weekends are so much quieter and weekdays are really busy. It is a different vibe here, a little more serious although we've had a couple of really fun, busy events. I think I'd prefer to go back to a slightly more trendy area, we might not do as much business as such but we would be in the right place for attracting the right customer base. At the moment we are seeing older men who might love our trousers but they might not be as interested in our brand. Ultimately, we are going to be targeting a younger, working guy.

SS: When you started the brand did you envisage having a physical store or have you just taken advantage of the current retail landscape?
Alexia Hentsch: It really wasn't part of our idea at all, we were originally purely focused on online and then try wholesale. I actually read an article by Tyler in Monocle (The Retail Issue) in which he discussed how retail was suffering and how councils should fund small shop owners to keep spaces alive. I thought that this was a really great idea so I contacted a council and they obviously told me 'no' but it did make me think. I then dealt with it by finding the right space. So one day it was just a good idea and the next it was a reality but we never thought that is where we would be. Now we are thinking we'd like our own physical store. We think we'll do another pop up store for an additional season or two and then we'd like to be rooted. It would be great to have a permanent space which we can use as our office and showroom, store front. At the moment though as the line develops, the pop up stores are great because they allow us to make some noise and do something exciting.

A selection of colourful Joe trousers.

SS: The white shirt was the thing you designed for Hentsch Man but what was the last?
Alexia Hentsch: Just now we have only recently finished designing a sports jacket to be sampled for AW10. This is currently being made for now actually, I've not seen the finished sample yet. We are also designing sweaters but I'm not 100% happy with them. So this is what we have going on for AW10 but we have shorts for SS10 which is really exciting because we didn't have them last summer. Plus we have five new shirts in addition to the original Jack which is really exciting.

SS: How does the design dynamic work, do you work alongside Max?
Alexia Hentsch: I work on the designs alongside a pattern cutter and I do a lot of the research. I'm inspired by older fashion, especially from the 50s and 60s and then I get together with a pattern cutter and we have a play around with samples until we get something we like. We really want the direction of the brand to be simple, not to be over designed, just a simple cut with quality fabrics. So it is really more of a research process as opposed to a design one. The search for the fabrics is the most time consuming aspect of it all.

A table of Jack shirts.

SS: You've mentioned being inspired by the 50 and 60s, if you could go back in time to any experience any moment in style is this where you would choose?
Alexia Hentsch: Definitely, the 50s and 60s. It is so popular now because we see it on television and movies. I am obsessed with the art direction and costumes of Mad Men and I'm excited about seeing A Single Man when it comes out. Films like The Thomas Crown Affair are so inspiring, those guys knew how to dress. In terms of my own personal tastes I'd like to go back to the turn of the century when people were incredibly well dressed, they dressed up for the occasion, black tie for dinner, tophats and that kind of thing.

SS: I agree, it is a shame that over the last few decades it seems that men especially have lost the enjoyment of dressing...
Alexia Hentsch: Especially in the sense of dressing up. This is why I like this area because although it might not necessarily fit the brand you see such characters. The older generation and to some extent the younger guys who still dress up. They have canes, bowler hats and this area is so colorful. People often ask why I started a menswear brand and not women's and this is exactly why, the pleasure of a well dressed man. You see well dressed women everywhere and it has become the main feature of the fashion world. if you go to other cultures, for example India, men's attire is so much more elaborate and ornate than women's. What I like about western menswear dress is that the actual dressing is very structured and it hasn't changed to much but what you can change is the little details. Even if it is the look of today with jeans and sneakers, make them good sneakers with good jeans..but I do hark back to a more dressed up era.

A felt trilby which comes from a collaboration with a Parisian based miliner, Le cerise sur le chapeau.

SS: Is there an item of clothing or accessory that you'd like to see more men wear?
Alexia Hentsch: Jackets..good blazers, all the time. Hats as well. A good hat is a lot of fun but you just don't see it anymore. For us though, the hats have done spectacularly well. I guess they are brightly coloured so stick out to people but it is great to see.

SS: What are you current favourite pieces in store?
Alexia Hentsch: I think I will always like the white Jack shirt a little more than the rest but I love our trousers. The cut is really nice, tapered and long, reminiscent of the 60s really and they look really great.

Bags originally inspired by the postman's delivery bags in Argentina are now used as chic weekend bags.

SS: Finally, would you be able to share a few address book recommendation to our readers (hairdressers, tailors, cafes... anything you like really) which we will duly add to our Map.
Alexia Hentsch: I'd say the new APC store definitively. That great bookstore on Lambs Conduit street, Persephone. Oh and that lovely bakery in Bloomsbury, Bea's of Bloomsbury .

Hentsch Man's latest pop up store in Princes Arcade on Jermyn Street is open until 23rd December.

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Made to measure (part two)

Ever more ready for made for measure.

Following on seamlessly from yesterday’s introduction, I invite you to continue to accompany me through my virgin journey in to the tailored unknown. Thanks to Susie my experiences inside the tailoring studio have been visually documented. Here I describe my first fitting and in this post it is clear that my talented tailor has been busy. I have the utmost respect for a true tailor. It is something of a dying art, kept alive by the passionate few. People like the chaps at j.a. daye certainly help keep the tailoring ticker in good health.

The baste stage. My suit is beginning to take shape...and what an agreeable shape it is to as it proudly stands on the clothes rail.

A few days after our initial meeting I returned to the studio for my first fitting. As I entered the room I had no idea what to expect but excitedly looked for the first sight of my baste. A baste is a half-made suit that is not properly finished and only temporarily held together with white baste stitching. This allows it to be easily taken apart and remade. It is is the blueprint for the finished suit and can be radically altered if necessary. Thankfully, no drastic alterations were required, only a few tweaks.

A close up of the baste and my choice of sleeve lining.

From the above shots you might have noticed that only one arm is attached at this stage. The reason for this is that only one arm is needed to judge the length and pitch of the sleeve at this stage (unless the initial measuring established that the client had one arm significantly different to the other...). Why the left? Well, just because it is easier for a right handed tailor to make amends where required.

Finding the right pitch...

After reading Simon Crompton's recent bespoke suit fitting experiences I recalled that one of the most important things to discern in the sleeve at this stage is its correct pitch. By this I mean how it hangs in relation to the body. If there is more material in the back of the sleeve, it hangs forward, more in the front and it will hang further back. Unlike Simon it seems that my arm hangs a little forward. Ellis soon made the required adjustments by inserting a few pins where necessary.

Opting for a shorter sleeve...this shot captures the appearance of the cross hatch fabric extremely well.

Throughout this whole process I trusted and had full confidence in Ellis. He seemed to know exactly what I wanted. After succinctly describing exactly what I wanted the suit to be and how I would wear it, he was soon in tune with my way aesthetic. After I confessed that I was in the habit of rolling up my suit jacket sleeves during the Summer he suggested cutting them a little shorter to reveal more cuff. Furthermore, the addition of the polka dot sleeve lining would make for a more interesting reveal in the warmer months. As he expertly attacked the baste with pins my confidence and excitement continued to grow.

The re-pinning of the shoulder.

At one stage the eager eyed Ellis was not one hundred percent happy with how the shoulder was lying so re-cut it and re-pinned it to make it much tighter. We were soon both happy with the shoulder and sleeve and moved our attentions to the lapel and collar.

Showing off a little cuff and collar.

The obsessively observant amongst you might have noticed that I have changed shirts in this series of images. The reason I had to change out of my recently acquired Raf Simons x Fred Perry Polo and in to a white shirt is simply to ensure the suit is correctly fitted. The white shirt enabled Ellis and I to work out exactly how much cuff and collar we wanted the suit jacket to reveal. As we've declared time and time again on the blog, the real beauty of menswear lies in the details. I spent a great deal of time with Ellis ensuring that the details were well thought out, as the finished suit (should) ultimately demonstrates.

Working out the lapel

Following the good work on the front of the jacket, Ellis soon turned his attentions to the back of the jacket. I have to confess to possessing a highly curved back...a 'girlie' back if you will. The result is that most of the suit jackets I own do not sit well and there is a collection of cloth below my shoulders. Ellis attacked the cloth with pins once again and after a few insertions, I was soon left with a template which fitted me like a glove.

Hiding the flaws whilst accentuating the positives.

The real beauty of a well measured, well made suit is that it will hide any flaws and accentuate the positives. Rather than look a little odd, this suit jacket was sure to accentuate my silhouette in the most positive manner possible.

The sit down test.

When we were both pleased with the result in the mirror, Ellis asked me to perform a quick seated test to ensure I could sit comfortably in my new tailored second skin. Having passed with flying colours, the suit jacket was put to one side and the focus was on my lower half.

Making light work of the trousers...

I've always had trouble with trousers. Just ask my family. They will recall with much laughter how they used to buy school trousers which were aimed at children twice my age just so they could fit my expanded waist. These of course were far too long for me and I was something of a squat child and so my Nan had to amend them before I was able to wear them to school. I kid you not, even at a young age my trousers were wider than they were high. I can only laugh about it now. Thankfully, most of the puppy fat has gone but I'm rarely happy with how a pair of trousers fit me off the rack. However, as soon as I tried on this work in progress I knew these would become my new favourite trousers.

Showing off my Mr. Hare's...it would be rude not to.

The initial cut was near perfect. The odd little tweak on the length and fit were the only required amends. As I wanted this suit to be my ideal relaxed Sunday Best I opted to go a little higher and reveal a little more sock and shoe than I normally would. After investing so heavily in my shoe options in recent months it is only right that I wear trousers which show them off.

My final lining choices

As Ellis made light work of marking out my ideal pair of trousers we put the fast evolving baste to one side. This blueprint would soon be passed on to one of j.a. daye's expert local tailors to make my suit. Before it left the studio there were still a few finishing details to discuss. Most interestingly, for me at least, were the lining options. As mentioned yesterday, I had fallen for the idea of having a polka dot lined sleeve and contrasting striped body but I still had to choose which particular fabrics I wanted. To help me make my choice, Ellis brought out an array of different fabrics that he had collected on various trips to Japan and beyond. The array of options actually made my decision more difficult especially as I was enamoured with the traditional Japanese prints. Sensing my confusion, Ellis put forward the idea of adding a strip of my favourite print to the trim. It was an inspired idea. Decision made, I just had to play the waiting game.

The final sketched vision (below) combined with my re-cut and amended baste would soon make my sartorial dreams a reality. Tune in later this week for the final post on this series which will showcase the end result!

The final sketch...

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Reminded of rust

Having just returned from Hong Kong I am putting off unpacking my bulging suitcase, focusing instead on sharing one of of my favourite finds with you guys. As expected the shopping opportunities in this bustling city were immense and we certainly had a good crack at exploring all of them. It was obvious that we weren't the only ones enjoying the shopping culture as everywhere was so busy. Locals and tourists alike streamed through the streets and malls with a selection of bags in one hand and some kind of tasty treat in the other (be it egg balls, waffles, meat on a stick or smelly tofu). Despite the varied consuming opportunities it became obvious that one brand of shops reigned supreme, I.T. I.T launched in 1988 and introduced an eclectic mix of European brands to Hong Kong trendsetters. Twenty years might have gone by and this brand of shops is still doing just that. It was not my aim to leave the city with a couple of purchases from European designers but there was just too much on offer to turn a blind eye. I left the well stocked I.T store in Causeway Bay with a Raf Simons x Fred Perry Aw09 polo shirt.

Dazed Digital were first out of the blocks to unveil the collaboration.

For the third successive season, Raf Simons collaborated with Fred Perry for a collection based around the famous laurel. When the first round of images were released way back in June, I assumed that it was more of the same from this well matched pair. Even though I admired the collection I doubted whether there would be any significant design features which justified the increased prices for the famous laurel polo shirts. The above image and the rest of the spread taken from Robbie Spencer's styled shoot for Dazed & Confused captured the spirit of the collaboration but it didn't reveal its best feature, the metal effect. When I saw the pieces hanging on the rails of I.T for the first time I was blown away by the fabric effects and the metallic thirty leaf laurel polo shirt in particular...

A close up of the polo shirt.

For the third collaboration between Raf Simons and Fred Perry, inspiration was taken from the various stages of metal through rusting in both the fabrics choices and the metallic colour palette used. In an interview with Dazed Digital Simons informed us that "The inspiration came from the artist Carl Andre." The rusted metal treatment and enlarged embroidery combine to elevate the humble polo shirt in to something altogether more interesting. The pieces reminded me of the Patrick Ervell's SS10 collection. As mentioned previously, very little came out of the recent New York shows which provoked much excitement here at Style Salvage but Ervell's Decay in the Spring time was really something. Ever since I saw his presentation images I've been meaning to explore the aesthetic of rusting metal and it is certainly one I will revisit over the coming months now that I have this new polo shirt.

Worn with a mustard scarf from COS, drop crotch trousers picked up in a mall from Hong Kong, mustard socks from Uniqlo and Stingray Orwells from Mr Hare.

With each season, Simons and his team have a clear aesthetic to enable them to focus on the Fred Perry classics with an added twist and in this case it was through this marvellous metal effect. For me, the collaboration is gaining real momentum and long may it continue.

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Experiencing Harris Tweed

The story of Harris Tweed is one of a remote island community that lies between the Highlands of Scotland on the north west tip of Europe and the North Atlantic Ocean. I have lusted over this truly unique fabric and have longed to visit the beautiful setting in which it is created for some time now. Thankfully, the launch of the Nike Air Royalty Harris Tweed meant that myself and Susie were invited up by the sportswear giant. So, after traveling up to Glasgow we hopped on to an unnervingly small Flybe plane to be taken to the Isle of Lewis capital, Stornaway. From the comfort of our room in Braighe House, we watched the as the super strong winds, rain and sea spray beat down down on the window. Fortunately, the weather improved enough the following morning to enable Lorna Macualey of the Harris Tweed Authority to talk us through the creation process. I eagerly followed and snapped away at each well honed and practiced process from start to finish, documenting the intriguing relationship of mill and weaver. I should warn you, the below post is an epic one so why not make yourself a cup of tea and read on...

The Harris Tweed Centenary Label. Celebrating one hundred years of the Orb. 

Before I offer an abundance of 'factory porn' and talk you through the processes of what makes Harris Tweed so special, I have to acquaint you with the brand and give you a little background. It is arguably the most famous textile in the world. It is certainly the only cloth that is protected by an act of parliament. The Harris Tweed Authority took over from the Harris Tweed Association in 1993 by Act of Parliament. Thus the definition of Harris Tweed became statutory and forever tied the cloth to the Islands. In essence, Harris Tweed means a tweed which has been hand woven by the islanders at their homes in the Outer Hebrides, finished in the islands of Harris, Lewis, North Uist, Benbecula, South Uist and Barra (The Outer Hebrides) and made from pure virgin wool dyed and spun in the Outer Hebrides. Only cloth that fully conforms to this definition is entitled to bear the world famous “Orb” trademark which was granted to the islanders in 1910.

For such a burly and utilitarian fabric, Harris Tweed evokes an a great deal of romantically nostalgic feelings and the BBC4 series certainly captured this notion. The reason being is that the tweed is still woven by pedal-powered looms in the homes of Scottish sheep herders on the outermost fringe of the British Isles, just as it has been since 1846. Over the decades, the process has certainly evolved but it has always remained true to the basic principles which are enshrined, uniquely, in the Act. Today, Harris Tweed is the only handwoven fabric produced in commercial quantities. It once hung in every British wardrobe but with the rise of throwaway fashion all of that sadly stopped. If ever there was a time to wrap ourselves up in this beautiful, sustainable, ethnic British cloth it is now. One of the reasons that make this fabric so special to me is that its relationship with the setting in which it is made. The fabric and landscape are entwined. The myriad of Harris Tweed patterns are inspired by the ever changing landscape...  

The beautiful, ever changing landscape inspires the famous cloth.

In a previous post, I discussed how 2010 was make or break time for Harris Tweed. It is one of the most iconic fabrics in the world yet, as the Tweed series documented (if you missed it, it is available over on Vimeo) the outlook for the fabric was similar to the weather forecast for the Outer Hebrides in Winter, not all that sunny and bright. The BB4 series looked at the island industry in decline. With the closing of its largest mill, it was crunch time for the business. The story weaved of the British Isles most notable native cloth was both wonderful and frustrating. Thankfully, since the series ended there has been something of a revival and recovery shoots were now visible through the landscape hinting of a great green future. As the outside world is cottoning on, mood on the island has radically shifted and the weavers are busy. Life on the island is so much better and with Macualey as our guide, we saw the revival firsthand.

Following a tasty breakfast including the famous Stornoway black pudding, our whirlwind day began with a with a visit to Harris Tweed Hebrides, the award-winning company based at Shawbost on the west coast of the Isle of Lewis. The mill now accounts for more than 90 per cent of Harris Tweed production. The company was named Textile Brand of the Year 2009 at the Vogue.com Scottish Fashion Awards and given the major accolade for Outstanding Contribution at the 2009 Scottish Style Awards. The mill use a range of more than one hundred yarns which can be made up into thousands of patterns by our highly skilled workforce. They represent generations of experience in this craft industry and it was a pleasure to see them in action.

Visiting the largest mill, Harris Tweed Hebrides

The Harris Tweed story begins with pure virgin wools which are blended together to gain the advantages of their unique qualities and characteristics. Although most of the wool is grown principally on the Scottish mainland, in the early summer the island communities join together to round up and shear the local sheep which are dotted throughout the landscape. Once sheared the wool is taken to the factories of the main tweed producers where is is washed and then dyed. The coloured and white wools are weighed in predetermined proportions and then thoroughly blended then carded. The resultant yarn has a twist imparted to it as it is spun to give it maximum strength. The spun yarn is then warped. The warping process is vitally important process where the basic pattern is prepared by winding the threads to ensure an even tension throughout. The warp is then gathered in long hanks...

Documenting the initial mill processes. From raw material to processing and warping.

The warp is then delivered or collected, together with yarn for the weft, to the weavers. As described above, all Harris Tweed is hand woven on a treadle loom at each weaver's home. The relationship between the mill and the weaver is central to the production of Harris Tweed. Now, there are approximately one hundred and twenty active weavers but few are as famous or as well respected as Donald John MacKay. Don John is an independent weaver and has been at the forefront of the Harris Tweed revival in his far flung, remote outpost. He buys the yarns off a mill to fulfil his own tweed orders as opposed to being contracted by a mill to weave the cloth for them. Don John can work independently and create a business for himself as opposed to many other weavers who rely on the mills to get them business. In this sense, Harris Tweed is truly a subversive cloth as it is made by workers who own the means of production and produce in defiance of the global manufacturing trend. When the tweed enthusiast Patrick Grant of Nortons and Sons requires the fabric he turns to Don John.

Back in September 2004, MacKay and his wife, Maureen, were approached by the Harris Tweed Association on behalf of the sportswear giant Nike to produce a couple of metres of cloth. The duly sent a few samples of work to Nike's American headquarters and it soon snow balled in to the first full collaboration between the parties. Six years on and Nike have once again turned to the respected craftsman and we were invited in to the cramped confines of his eighteen foot by fourteen foot shed on the picturesque island of Harris. It is remarkable to see a multi national company like Nike work so closely with a single craftsmen. It is this dichotomy which makes this collaboration so covetable... 

Exploring Don John's intimate space and chronicling the weaving process on his pedal powered single loom. The final image which shows a magnified look at the cloth really captures the beauty of my tweed.

The tweed returns to the mill in its 'greasy state' and here it is finished. Dirt, oil and other impurities are removed by washing. The tweed then passes through the nimble and skilled hands of of the mending department where any loose ends and broken threads are rectified. This stage is an essential quality control activity and ensures that there are no imperfections. Various finishes can then be applied to the tweed. The final process is the examination by the independent Harris Tweed Authority, before application of the famous “Orb” trademark which is ironed on to the fabric as the ultimate seal of approval.

The finishing guarantees the utmost quality before the official stamp is ironed on.

Throughout the day, it was a pleasure to be able to show the finished shoe (that we were generously gifted) to the individuals who had helped make them. Both the mill workers and Don John gave the finished article their enthusiastic thumbs up. Each loved the finished design and were so pleased by the prominent Harris Tweed branding. The fruits of this collaboration, the Nike Sportswear x Harris Tweed Air Royalty Vac Tech shoes are of course now available from Offspring, 1948 and NikeTown London. The shoe features the trademark Harris Tweed material on the upper paired with a premium brown leather toe box and heel giving a quintessentially modern British look. The Swoosh is subtly hidden within the luxury cloth now appearing embossed and the tongue carries the signature Harris Tweed logo replacing the traditional Nike Sportswear logo. Adding to the design are tweed rope laces to give an outdoor inspired feel. They cost £75 only a limited run is available, so be quick if you fall for their charms.

Now, we couldn't resist braving the elements to take a few outfit shots in the beautiful setting. Despite the with bracing cold winds we had a lot of fun posing in front of the stunning environment. From the Callanish Stones (which we were told are actually older than Stone Henge) to the beaches of Harris we explored it all...

Braving the coastal chill in Stornoway. Nike Sportswear x Harris Tweed Air Royalty Vac Tech worn with Creep by Hiroshi Awai shirt, wool trousers from Uniqlo and crombie by ASOS.

The beautiful beach of Harris. Nike Sportswear x Harris Tweed Air Royalty Vac Tech worn with Creep by Hiroshi Awai shirt, wool zip scarf by Braille, wool trousers from Uniqlo and Crombie coat by ASOS.

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I hope the post demonstrates that at the very heart of Harris Tweed, there is an ability to combine centuries of tradition and heritage with creativity and a defiant sense of individuality. Hopefully the images capture the wonders of this cloth and the setting that is so integral to it. Having only returned on Monday night, I still long to go back. The glorious landscape and fabric are undeniably interwoven. Hopefully we will see an infestation of the flights that leave Edinburgh and Glasgow so that people can explore the scenes. It is breathtakingly beautiful – on Harris in the summer, turquoise waves lap on empty white beaches. Go in autumn or spring and you’ll never want to leave, and being there forces you to want some of it on your back. I’ve never come across another fabric that I lust after. It is wonderfully unique and this collaboration celebrates it so well. Here's hoping that this is just the beginning of a new era of Harris Tweed.

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