The Original Type-I
Here's a brand new take on the denim jacket which started it all; the Type-I. By pairing this piece with mid-century college graphics, and some Ivy League chinos, this off white denim brings a lighter approach to the classic casual style, and just in time for Spring!
The Timeless Twin Pocket Type-II
Ever felt like bringing some denim into the more formal side of your wardrobe? In our humble opinion, raw denim is a great option for achieving this look, with a crisp finish and plenty of 1950's character. Pair your raw indigo with some lighter chinos, and low-profile loafers, to add a touch of heritage to your smart style.
The Beloved Type-III 'Trucker'
For laid back comfort and style, the Type-III is a great go-to option. Adding a pop of vibrant colour to your well-worn indigos is a superb way to update the feel of this iconic jacket, while moving into the warmer seasons. Try pairing this with some pure indigo jeans to help the colours stand out even more.
The Traditional Workwear 'Chore' Jacket
This titan of American workwear is a surprisingly versatile option, which pairs well with wider silhouettes, and plenty of layering up when the temperature drop. Instead of sticking to denim, we've inlcuded elements of vintgae military design, along with sportswear, to accentuate the boxy shape of this piece.
Taking its inspiration from the U.S. Army’s MA-1 flight jacket, the Tanker series boasts utilitarian design, with a rugged nylon outer shell, contrasted with modern nuances of design, which neatly tie together the brand’s ideologies. Hailed as ‘the perfect all-rounder’ for its rugged functionality, it might come as a surprise that this beloved design is to see something of a re-birth for 2025, with the current iteration of the Tanker range being archived to collector’s item status. While the brand have been tight lipped about exactly what form these changes will take, one thing is for sure; Tanker will never be the same again. So, today we’ve decided to celebrate the very last drop we are to receive of this iconic collection, and highlight four versatile styles which have become synonymous with the nylon beauty that is, Tanker.
Daypack/Backpack
For simple, casual style, we don’t need to look any further than Porter’s backpack collection. A rugged nylon outer shell is met with a padded nylon interior in bold ‘rescue orange’ colour, reminiscent of the most famous of American military flight jackets. In this range, the brand include padded shoulder straps for comfort on the go, and multiple storage compartments for your day-to-day needs. As always, expect ingenious access solutions, and hidden zippers to easily get to your essentials.
Duffle Bag
There is no better feeling than when you can escape for the weekend, and when you do, you really need a duffle bag as the perfect companion! The classic barrel shape allows for maximum storage, while adjustable and removable straps mean that this bag can be comfortably thrown over the shoulder, or lugged around using its grab handles. Porter’s Tanker duffle bag brings a fresh, luxurious feel to the overnight stay, drawing on heritage influence to carve a new identity.
Shoulder Bag
Porter’s collection of shoulder bags are perhaps the most varied in the Tanker collection, with designs which offer functionality in a casual or formal environment. Ease of access to your essentials is a big part of the shoulder bag, and the brand have that down to a T, with various functional pockets on the exterior, and interior. Whether you are carrying out your daily commute, or pushing your luggage needs to a weekend away, Porter have considered a little of something for everyone.
Waist Bag
An absolute essential piece for day-to-day city life, the waist bag provides protection for your valuables, and easy access when you need it. By sitting close to the body, you can feel safe and secure, while accessorising your look with Sage Green, Iron Blue, or Black. Reinforced clip fasteners, multiple zip secured pockets, and the very same ‘rescue orange’ padded nylon interior that gives this range its edge. Explore Tanker’s waist bag portfolio, for the perfect accessory to boost your casual look.
Crisp Denim with a Formal Edge
What better reason to roll a thick indigo cuff than to show off a bold sock choice? This pairing shows the fun that you can have with your formal look, by letting a glimpse of interest show, between your jean and loafer.
Refined Comfort
Anonymous Ism’s intricate patterns are the perfect way to boost your casual look. Why not try using all natural tones to emphasise a relaxed style as we transition into a new season?
Powerful Natural Tones
Combining comfort and style can never be a bad thing, and using a bold sock choice to make an ecru jean pop is even better. Vibrant colours blend these natural tones in a unique way, and are a great way to update your casual look.
Bold Colour, Battered Denim
The timeless pairing of a well broken in jean with a white sneaker is a beloved one for us. But have you ever tried breaking that combo up with a bold pop of colour? Use Anonymous Ism’s vivid colour choices to craft your own take on this classic look.
ONI’s relaxed tapered fit does exactly what you think it might, and it does it to perfection. Allowing a little more room in the thigh, and boasting a comfortable mid-rise, this cut offers superb freedom of movement in the upper leg, and is the perfect option for those who like a little more sag in the seat, or those with a larger thigh. Ingeniously however, the brand have included a subtle taper to this design, which crafts a modern silhouette, and slim the leg to flatter.
This 622-DIZR jean is a great option for those who might have struggled to find the perfect jean because of big thighs, and those who want a little more breathability in their tapered style.
Pair the Relaxed Tapered fit with a low-profile sneaker or shoe, to allow the jean’s cut to flow naturally, and avoid excess bulk at the bottom.
The Regular Tapered cut is the perfect option for anyone seeking a modern silhouette, which effortlessly blends smart and casual territories. This classic five pocket jean features slightly less room in the thigh than its older brother, which allows for a slimming effect in the upper leg, while a comfortable mid-rise sits below the natural waist to accentuate the narrow profile.
A slight taper leads down to the hem from the knee, which offers a super clean finish. This popular 902ZR option works well with a formal shoe, for office and meeting situations, but can also be worn casually with a work boot or sneakers. Try experimenting with your smart and casual styles, and see why this cut is a firm customer favourite.
Other Regular Tapered models include: 122, 902, 240, 612, 602, 540, 926, 669, 642, 932, 882. 632, 982
The ideal option to flatter a slighter frame, ONI’s Slim Tapered cut offers a comfortable mid-rise, with a narrow thigh which tapers subtly to the ankle. Leaning more towards the casual side of the spectrum, this modern cut boasts a snug fit, which has been carefully considered for comfort, and matches perfectly with sneakers, or low-profile shoes or boots.
If you’re concerned about the weight of the denim, then fear not! The brand have woven their fabric on a purposefully low weave, like on this 679ZR, which allows the fabric a superior breathability, and will mould to the way you move over time, making the jean uniquely yours.
Other Slim Tapered models include: 540, 541, 506, 679, 544, 881, 920, 640, 546, 689, 665, 676, 686, 626, 666, 512, 417
Now here’s a silhouette that really says laid back! Offering a wider leg entry, with a little more room in the thigh, and absolutely no taper down to the ankle, this 200 cut allows for superb freedom of movement and comfort. Not usually known for their wider cuts, the brand have compensated for the leg shape with a slightly higher rise, which flatters the form on the waist.
This early 20th century style has boomed recently, with many moving away from narrower cuts in favour of looseness, and we feel it is a really versatile look. Pair the Wide Straight fit with just about any shoe you like, but beware, it lends itself better to a more casual outfit!
Now, any denim brand worth their salt has to offer a classic mid-century cut, which evokes the effortless cool of the ‘golden era’ Levi’s 501. ONI’s Regular Straight fit, the 288ZR-BK ticks that box with style and elegance, offering a little more room in the thigh, before going straight down from the knee. A mid-rise allows this cut to be worn in many ways; tuck your shirt in for a smart/casual approach, or let your sweatshirt hang over for a relaxed style.
Again, this straight leg allows for versatile shoe pairings, and actually look great with a more formal Derby style, or even a Work Boot.
Other Regular Straight models include: 246, 266, 288, 525, 575, 511, 022, 206, 245, 299, 277
Designed to compliment those with a slighter frame, and more classical leanings, the Slim Straight from ONI is narrow in the thigh, before going straight down to the ankle from the knee. The brand understands perfectly that, just because you might be slimmer in thigh, it doesn’t necessarily mean that you want to wear skinny jeans!
A mid-to-low rise has been added to the 510SHM model, which balances the cut nicely, and, as with the other straight leg options pairs nicely with a more formal shoe for work days, or with low or high-profile sneakers when you want to dress down for the weekend!
Other Slim Straight models include: 510, 727, 546, 517, 547, 548, 107, 247, 717, 707, 536, 585, 552, 562, 527
]]>Look I - Lightweight wool, and pastel tones
Natural and pastel knits have moved into a special spot in menswear in recent seasons, adding a subtle tonal touch of colour which breathes new life into your daily look. This option is perfect for all four seasons.
Look II - Early 20th Century style
It's hard to miss the buzz around early model knits, which add a subtle style statement which feels fresh, whilst drawing on vintage designs. This 1920's inspired option features bold details which add interest into your casual look, while retaining a formal feel.
Look III - Natural tones for a relaxed feel
Blending broken in denim with a slightly more formal upper body helps to bring out the beaty of both. The bold natural colour of this knit compliments the blues of the jeans effortlessly, for a laid back week-end feel.
Look IIII - Cozy English knits, with classic heritage design
A boxy fit piece of knitwear is sometimes just the thing you need to blow away the cold weather blues, but pairing it with some iconic chambray is a great way to bring out its natural tones. This comfortable look is the perfect way to ease into a winter vacation.
Look V - Turtleneck knits with military heritage
The iconic turtleneck is a wardrobe essential for many men, but instead of traditional formal pairings, we've decided to match this style from Merz b. Schwanen with some military fatigues, for a new take, which adds a casual element.
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Look I - Perfectly Aged Denim
Now, we all know that denim is a wonderful thing, but at certain times of the year we need to forgo the heavy stuff in favour of the lighter weight options. Autumn is exactly that time, and though we are breaking free of London summer’s blistering heat, for most it isn’t quite time for the 25oz denim just yet. This is why we have opted for the beautifully authentic ‘Dartford’ range of pre-aged denim from FULLCOUNT.
There are those who would wait years to achieve fades this real, and now the brand have taken to stress out of the task, with a remarkably supple denim which remains as durable as ever, but without stifling in the heat!
Look II - Authentic Heritage Workwear
John Gluckow’s latest collection certainly doesn’t disappoint, drawing influence from the rarest of vintage pieces from the man’s incredibly vast collection, this is a brand which overlooks no detail, and is known for their quality in construction. The piece we are celebrating today is the remarkable ‘Miner’s Henley’, which evokes the spirit of early 20th-Century American workwear, and is cut from a heavyweight brushed cotton fabric, with a unique warming feel, making it perfect for the cooler months.
Look III - Denim & Stripes
While maintaining a lighter approach with the use of this 4051 Stripe Tee from the latest Warehouse & Co collection, we’ve warmed things up with this brilliant take on the iconic Type-II jacket from Freewheelers & Co. Falling under the brand’s Vanishing West sub-label, this jacket playfully uses a faded black denim which breaks denim tradition, whilst maintaining all of the original durable features. To finish this off, we’ve paired these pieces with FULLCOUNT’s new 0105EC jean, which boasts a wide leg, and a perfect natural ecru colour fabric.
Look IIII - Military Casual
Warehouse & Co always go the extra mile when it comes to detail, and this 4091 USN ‘Squib’ tee is no exception to that rule. Every nuance of the garment has been carefully studied to ensure that it is as close to the original Naval undergarments of the 1940’s as possible, even boasting an authentic USN stencil on the front. For a touch of contrast, we’ve paired this superb tee with FULLCOUNT’s ecru denim Type-I jacket, which offers a boxy shape, and a comfortable mid-weight fabric.
Look V - Autumnal Woolens
Hartford’s new range of woollen garments have already proven a hit amongst our customers, but as the nights start to draw in, they really come into their own. The brand have sourced their wools for quality above all others, and have used traditional designs in their craft, to timeless effect. This Shetland Crew in Rose colour bridges the gap between the seasons effortlessly, with the wool’s naturally warming properties taking care of the drop in temperature, and the feel good vibe the colour working in perfect harmony.
]]>Known for their attention to detail, Freewheelers have gone all out in their quest for perfection, and they are pretty close to the mark if you ask us! Using a 100% cotton, 14oz denim which has been expertly woven using five different short fibre American cottons, the brand have developed a fabric which feels, and looks like it has come straight from the golden age of denim production. The jacket is weighty without being overbearing, but has been gently rinsed, creating a luxuriously supple feeling, and also removing any excess shrinkage.
As for the shape, well that’s where we really start to lust over this design! Taking their inspiration from the iconic 1947 Levi’s Type-I, this jacket is cut short in the body to sit neatly on top of the hip, made for a time when the rise of pants would have been higher. The body too is a vintage boxy shape, with sewn in knife pleats on the front to allow for maximum freedom of movement and breathability. The back of this jacket boasts the iconic bloused shape, with a custom manufactured buckle back, which can be easily used to cinch in the shape of the waist.
With no detail overlooked in their craftsmanship and design, the brand have used 100% cotton, gold contrast thread; no nasty poly blends to be found here! The beauty of this choice is that the thread will decay over time for the perfect vintage effect. A single chest pocket sits proudly on the left hand side, with a traditional button flap which serves to protect your valuables, and at the corners of the pocket (and cuffs, and cinch back), you’ll find custom branded punch through copper rivets, designed to age beautifully over time.
The steel tuck buttons which line the selvedge iD button plate have themselves been carefully considered. These steel buttons are one of the most instantly recognisable icons of the denim world, but the brand have gone one step further and developed rounded off button backs, reminiscent of the earliest denim production. At the bottom of the button plate we find a distinct selvedge run off, which indicates only one thing; these jackets are made on vintage machines! Yes, to ensure the authenticity of their product, the brand use only the original American machines to craft their art, resulting in a finished piece which feels just as good as those made by the famous Levi Strauss company in the 1940’s.
In all, if you’re in the market for an original Levi’s Type-I, you might want to consider The Vanishing West instead, as the quality is unparalleled, and you’ll save yourself a pretty penny in the process! At Son of a Stag, we stock the Freewheelers’ 506xx from a size 36 for the slighter shape, all the way up to a 48, for the ‘big and tall' customer. So now there’s no need for the whole family not to look their best!
]]>For most of us looking for a finely crafted pair of shoes, we like to go to brand’s with a lot of experience. But when it comes to longevity and time earned expertise, the brand we are talking about today makes its competitors look like mere footwear toddlers. Known to have been crafting their wares as early as 1774, the Birkenstock brand has become so iconic, that their reach extends to every corner of the planet. If casual comfort, and effortless style are things which prick up your ears (as they rightfully should!), then Birkenstock has to be the final word.
But for all our appreciation of this remarkable company, we thought it might be a good idea to have a little think about how they got to where they are today! Won’t you join us?
The year is 1774, and in the rural German countryside, two brothers are painstakingly hand-crafting the shoes which would give birth to an empire. They oversee every step, from the production of the leather, forming the last, to hammering on every sole with their bare hands. Their era isn’t one of prosperity, but of economical turmoil and back-breaking labour, and for the poorest communities, a single pair of shoes was something you would have for life, and even pass them down to the next generation, so they had to be robust! Enter the brothers Birkenstock.
Flash forward more than a hundred years and the fruits of the Industrial Revolution have fed much of continental Europe, and transformed economies and everyday life for its inhabitants. Railroads changed the way that business could be done both in reach and volume, and the invention of electricity empowered cities, pushing them forward into a brighter future. New factories and machinery rapidly developed the way that the brand crafted their shoes, no longer with the need to perform all of the jobs by hand, and allowing them to up their production to meet the demands of the emerging middle class of hungry consumers. And after all, why shouldn’t a forward thinking society wear forward thinking shoes?
Konrad Birkenstock, the great grandson of Johann Adam Birkenstock was instrumental in the company’s development, moving production to Frankfurt in 1895, and began working on the world’s first anatomically shaped shoe last. With careful consideration, the young Konrad crafted a last with a balled heel for comfort, a malleable sole, and most importantly the distinction between one’s left and right foot! If not for this man, we might all still be shuffling around the streets in incredible discomfort, and for that, we salute you Konrad!
Never one to rest on his own accomplishments, the young Herr Birkenstock felt that his customers deserved more than just separate shoes for each foot; he wholeheartedly believed they should be comfortable too! And so in 1902, he developed the first insole. Previously only used to heal damaged feet, he pioneered the use of insoles for everyday foot health, experimenting for the following decade with materials to provide the best comfort, and in 1913 he applied for the copyright of the company’s first orthopaedic footbed, made from latex and cork. His new found freedom of travel allowed to neighbouring countries to push his new invention, quickly winning over the masses, and as a result he was able to set up a purpose built facility in Friedberg to mass produce footbeds for the first time.
When the baton was handed to the next generation of Birkenstock, Konrad’s son Carl was eager to follow in his father’s footsteps. In 1936 he developed a shoe under the ideology of Naturgewolltes Gehen, roughly translated to ‘walking as nature intended’, a shoe which would prove impossible to mass produce, but would pave the way for the future of the company. Now onto a new generation, and another Karl! In 1963, Karl Birkenstock (son of Carl) introduced a comfortable sandal which was directly inspired by the Brutalist movement in modern architecture, a principal where the exposed workings of a building would add to its beauty. And while this shoe didn’t held more court with healthcare professionals than the fashion focused, its conception would lay the groundwork for the designs that we know and love today.
Crafted from natural materials, and with comfort at their core, Birkenstock released the Zurich sandal in 1964, the Arizona in 1973, and the Boston in 1976. And from here the designs have changed very little simply because sometimes when it’s right, it’s right. Of course the company have attracted collaborations from some of the worlds most cutting edge brands and fashion designers, but undeniably the brand has reached a peak for which the determined German family was striving. Whether its on the catwalk, in the factories, or on the feet of tech entrepreneurs, Birkenstock’s shoes have an undeniable appeal, and an unparalleled comfort. So next time you throw on your favourite Stocks, don’t forget to say a little thank you to the family who just wouldn’t give up in their quest for your comfort.
Some of you will know that this household name of a company actually began life as a grocery and clothing business, with a special focus on food items. But in 1911 the brand shifted its focus to meet the needs of America’s growing labour force, and began to manufacture workwear apparel. From mechanics to railroad workers, delivery men to cattle hands, Lee offered a product which was every bit as good as their famous competitors in San Francisco, and with a strong desire to become the leader of the pack, the brand made a marketing decision which has brought us here today.
Buddy Lee first hit the scene as a method of dressing up window displays, but the demand for these 1 foot childlike dolls caught the company by surprise. Everyone wanted a piece of the action, and so H. D Lee Mercantile leapt into action, creating a series of dolls which any member of there customer base could access. Sporting stars, Coca Cola delivery drivers, locomotive engineers, farmers and tradesmen all found themselves represented in this creation, a unifying symbol of the American spirit ideology of hard work and doing your bit, and at $1.25, these Buddies were within reach for most of America’s work force.
The dolls were first introduced in 1920, and progressed over the next three decades to paint an ever moving picture of the American working man, and a reference of American culture and its economy. In his book ‘Denim: from Cowboys to Catwalks’, Graham Marsh recalls an anecdotal story of a tragic flooding in Lee’s Kansas distribution centre in 1951. Every piece of the factories stock hold was ruined except for these adorable figurines which had a secret up their sleeves; they could swim! Newspaper reports of the time gave stories of factory workers swimming in the streets to save dozens of drowning babies, all still perfectly dressed in their miniature Lee outfits.
Over the years these dolls have become increasingly rare, and of course with that their value has risen at a similar rate to London’s housing market. Like much of the world’s best vintage pieces, Japan has a thriving racket for these denim veterans, with counterfeits even being produced with incredible authenticity. Yes, it seams that our dreams of owning one of these original figurines is getting further and further away. But, fortunately for us, our company CEO here at Son of a Stag has something of a thing for them, and has been building his collection throughout his career in denim. So, thanks to Rudy, today we’d like to introduce you to just a fraction of his collection, some of his ‘best buddies’ if you will, so we can all appreciate this odd icon, which has cemented itsel
]]>It’s a bright early- May afternoon in East London, and for today’s shoot, we’ve been very lucky to be invited to the home of long time friends of the company, photographers extraordinares, film makers, home makers, and possessors of great taste, Toby & Theresa Thomas.
The Thomas’ have worked with Son of a Stag individually, and together, through the mediums of photography and video, ultimately helping us to achieve our creative vision, which has been invaluable to us over the years. Now part of the in house team at SOAS, Theresa switches roles for the day to be shot by Josh, along with her utterly charming family.
Their home is located smack dab in the middle of Shoreditch’s most frequented nightlife scenes, though being welcomed in through the large entryway, all the noise of the city seems to somehow fade away. Toby & Theresa have used the space in the opening portion of their house to brilliant effect, tastefully positioning their furniture and art work in a way which allows you to feel the volume of the room, but without losing the unmistakeable warmth of a family home. And, if their considered decoration wasn’t enough to welcome us in, then the charismatic enthusiasm of their nearly two year old son, Abel certainly was. He commands the space with the joy of an actor who is giving his finest performance of his favourite play, with determined ‘no’s’, and ‘diggers’ at every turn.
The opening of the house leads into a bright, high ceilinged living room which looks out onto a bustling square, and glancing out of the window, the contrast of the bustling streets with the tranquility of their space makes you feel like you are in a safe place, something to be treasured when thinking of the qualities of what a home should be. Adjacent to that is a large study where the pair work, and have meetings, and next to that is the kitchen where the coffee is brewing. The smell carries through the lower portion of the house, and compliments the tones of the wood and the paint in the living areas. Time to get to work!
The family gather on the couch, and with an air of excitement, and uncertainty, Abel tries on his very first pair of selvedge jeans. This future cover star is a natural, and he sets about putting the denim through its paces in a way that any discerning denim fan surely would. Toby and Theresa talk us through some of the artwork they have collected over the years, a lot of which has been crafted by friends of theirs in the artistic community of East London and further afield, and the pair have a playful discussion about what goes best where, and it is clear that they have a lot of fun in curating the appearance of their home together. And these conversations are of huge importance, because they have done a superb job of making a home which is at once welcoming, personal, warm, bright, and lived in. We promised to be on our behaviour, and are told that we are welcome back any time! We’ll definitely be taking them up on that.
Theresa wears: Freewheelers & Co 506XX ‘The Vanishing West’ Type-I Denim Jacket, Spellbound 43-713 13.5oz Loose Cut Jean, Rototo Double Face Crew Sock, Merz B. Schwanen CTO2VJ Crew Neck Tee, Warehouse & Co 4088 L/S Stripe Tee
Toby wears: Catch Ball ‘Military Standard x East Harbour Surplus’ Canvas Sneaker, Edwin Sentinal Rip Stop Pant, Merz B. Schwanen CCWC01 Knit Crew waffle Pullover, Full Count 1201 U.S. Army Combat Chino, Paraboot Michael Marche Shoe, Merz B. Schwanen CSWOS02 Oversized Crew Neck Sweatshirt, Spellbound 48-576T Quilted Zip Vest
Abel wears: Full Count ‘My First Jeans’ Kids Denim Gift Box, Toy Diggers Model’s Own
Misc: Toys McCoy TMC1934 S/S Military Sweatshirt
To this day Sanders Shoes is still a family run business, now in its 4th generation. Renowned for their high-quality leather skins and superior craftsmanship, each shoe is made using the same techniques that made them so successful in the first place. They are now responsible for producing over 2000 pairs of the finest quality shoes and boots every week, and are proud recipients of the coveted ISO9001 Quality Assurance certification. As a long standing bastion of quality and design integrity, Sanders have supplied their wares to footwear connoisseurs from every echelon of society; from providing durable shoes for the working people, to being a long time supplier to the ministry of defence, even producing an archive of military designs called the Heritage collection.
So, how did it all begin? William Benjamin Sanders worked in London as an apprentice to the shoe and boot trade from an early age, where his passion for the craft began. Starting out as a clicker (a person who cuts out the uppers of shoes from pieces of leather using a flexible knife that clicks as it changes direction), he quickly gained hands on experience with this time worn trade. After the Franco Prussian War, he returned to his hometown, Rushden in 1871 with the vision of setting up his own shoe making business, with his brother. Two years later the dream became a reality, and the brothers had their workshop in the centre of Rushden. With just five craftsmen to help cope with the high demand, it was labour intensive work, exasperated by the size of their team. But by 1912 the rise in orders meant the brothers could expand, and they moved premises to Spencer Road, located on the outskirts of Rushden, taking around 70 workers with them.
Machinery started to become more advanced and the introduction of Charles Goodyear’s ‘Goodyear welting’ machine sped up the process of shoemaking exponentially. When the First World War began the demand for boots was at its highest peak, and at this time the factory was producing almost 6000 pairs of army boots per week. And even though the war ended in 1918 the demand for shoes did not, with 5000-6000 pairs of shoes being dispatched and delivered to customers all over England every seven days.
Everything was going so well; business was booming and profits were up, but tragedy struck 1924 when Thomas discovered a fire at the factory on a Saturday afternoon. It was considered one of the biggest blows to the business, with everything but the contents of the safe being consumed by the fire. The cause of the blaze remains a mystery, but it is believed that it started in the clicking department. The estimated damage was reported at £45,000 (which is the equivalent of £2.8million today).
Putting this misfortune immediately behind them, the Sanders brothers went on to rebuild the factory in the most modern, up to date style, installing the latest in cutting edge ‘B.U.’ machinery. They were able to extend the factory to include a closing and dispatch department, meaning the whole process could be done under one roof, which was a first at the time. A year later Mr William Sanders retired from the business and passed it down to his three sons, William, Thomas and Leslie.
And while the story of this beloved British shoemaker reads like a rags to riches Hollywood plot, it has far from reached its end. Sanders & Sanders continue to craft some of the finest shoes and boots to ever come out of this country, and aren’t showing any signs of slowing down.
]]>As we alluded, this jacket offered the troops something which hadn’t really been on the table before, and that is a quick drying garment which can be easily packed away, without adding much weight to the load. With a specially considered fabric, specifically chosen for its quick drying properties, Buzz Rickson’s have meticulously reproduced the cotton poplin to closely resemble those of the originals in the 1960’s. This choice was absolutely essential to the troops, to avoid being weighed down by rainwater from tropical storms. But while this fabric has been densely woven for durability, it remains remarkably lightweight, and easily packed away into a small bundle. That’s military ingenuity at it’s best!
For functionality, the Tropical Combat Coat features four expandable front pockets which have been cleverly designed with a pleated feature, for maximum storage capabilities. This allowed troops to easily stow away rations, equipment or maps along the way! A button flap pocket was added for security, proudly displaying the sets of period correct Urea buttons, which have become so synonymous with this era. The same buttons can be found on the concealed front button plate, which has been designed to protect the wearers torso from the elements, reducing risk of colds or flu when wet.
A buttoned cuff allows the sleeve to be easily rolled, while form and fit have been considered by the addition of waist adjuster tabs to add comfort and ease of movement when in transit. Shoulder epaulettes allow for military caps and Daisy Mae’s to be quickly stored away whilst remaining accessible for protection from the tropical sun’s scorching rays. In order to remain true to the period of design, the brand have manufactured a cotton care label which sits inside the right hand side of the jacket, which carefully illustrated how to wash and care for the garment. Subtle details are illuminated here, including the drainage holes at the bottom of each pocket, which allow rain water to quickly flow out.
Though this jacket was born out of a period of intense war, and political unrest, it has been carried into civilian life by veterans and then the gen pop, for various reasons. One such reason is that this jacket has been so well designed for versatility, and practicality, that it serves a day to day purpose in city and rural life. Another is that, for many, military clothing has become a symbol of anti-war sentiment which was so prevalent during the late 1960’s into the 70’s. Tropical jackets and M-65’s would be decorated with peace symbols, and flowers, to illustrate the absurdity of war. Whatever your stance, it is undeniable that this jacket has endured to become a modern classic of menswear, with versions being offered up from some of the world’s best producers of vintage inspired reproduction, to high street chains with scant regard for quality.
We think that this Buzz Rickson’s iteration gives a lot of bang for your buck, but we also carry versions from Toys McCoy, and Freewheelers & Co. So if you’re feeling inspired, why not head down to Son of a Stag to try a few on for size? You might just find you’ll be won over by this versatile summer piece!
]]>Tucked quietly away on the south side of London’s Shadwell Basin, you might be forgiven for missing this spot. The Prospect of Whitby is sandwiched between nondescript modern architecture which punctuate the age of this 1520 establishment, but what its neighbours lack in history, this pub certainly makes up for. On entering, you can immediately feel the weight of the past under your feet. The ceilings are low, the corners are dark, and there isn’t a room in this building in which you don’t need to climb at least one step to enter. If Peter Pan and his ‘lost boys’ were drinkers, not children, this would probably be a world in which they would find themselves quite comfortable. It takes no time for us to find a spot in the upper room which overlooks the river, and we are able to quickly unwind after a woking day, a crucial feature for any pub worth its salt, but an increasingly rare one to find in the capital.
But what about that unusual name? Owing to the pub's questionable early occupants of pirates and thieves, this building earned the nickname among locals of ‘The Devil’s Tavern’. But with a strong desire to distance his business from this, the landlord set to work, and the premises quickly became recognised as “that pub by The Prospect of Whitby”, a ship which had been docked nearby. But is seems that this early reputation wasn’t completely unfair. No small part of this pub’s underworld legend is attributed to its proximity to ‘the execution dock’, a spot in which pirates were regularly hanged because of crimes they didn’t quite get away with, and in fact, the pub boasts a replica gallows which hangs from the back entrance over the murky waters of The Thames river. The 17th Century lawmaker and King James II supporter, Judge Jeffreys, also favoured this bolt-hole, himself charged with taking the lives of hundreds of Catholics who apposed the monarch, and in the process earned himself the nickname of ‘Hanging Judge Jeffries’.
The room that we’re sat in should, on paper, do nothing to ease your mood or make you feel at home, but somehow it works. Directly opposite my seat is a plaque which reminds us that this room used to house bare knuckle boxing matches, and the occasional cock fight, activities designed to excite the spirit of the sailors from Stevenson’s literature, but which seem at odds with the delicately placed china cabinets, and uneven floorboards. But to play with the contrasts of English eccentricity further, we are told that this drinking spot was favoured by revered legends of the silver screen, icons of world literature, and even royalty. Paul Newman, Judy Garland, Frank Sinatra, Charles Dickens, Samuel Pepys, Prince Rainier of Monaco, and artists Turner and Whistler have all sunk a pint in the rooms of The Prospect of Whitby, a building drenched in the history of some of the world’s greatest heroes and villains.
In all honesty, we were initially drawn here on the promise of “bloody good chips”, and while Josh and Theresa had visited before, I’m almost ashamed to admit that I hadn’t heard of the place. But then, isn’t that the special thing about this city? That it never fails to show you something new of itself? That just when you feel that you have earned the right to give a stranger directions without consulting your phone, London opens up its coat and invites you on an exciting new adventure, right on your doorstep. The Prospect of Whitby has charmed us, and we’ll definitely be back!
The Prospect of Whitby is located at 57 Wapping Wall, London, E1W 3SH
Open seven days a week.
For this pub trip, Theresa wears: Toys McCoy TMC1934 S/S Military Sweatshirt (Smoky Pink), Warehouse & Co ‘2nd Hand’ Type-I Denim Jacket (Used Wash)
Josh wears: Buzz Rickson’s Tropical Combat Coat (Olive), Full Count 0106 13.7oz Wide Straight Jean, Catch Ball ‘Military Standard x East Harbour Surplus Canvas Sneaker (Anchor Black)
David wears: Warehouse & Co 4088 L/S Stripe Tee (Navy/Off White), Paraboot Michael Marche Shoe (Nut Velours Whiskey), Full Count S0105W 14.4oz ‘WWII’ Wide Straight Jean (Rinsed)
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Look 01: Military Casual
A personal favourite amongst the Michael brothers is this Whiskey Velours suede option. This luxurious leather tones down the shoe, allowing it to be styled easily with natural colourways, and casual military pieces like this brilliant ‘Taxi Driver’ edition of the M-65 by Toys McCoy.
Look 02: Laid Back Sportswear
Ever thought about leather shoes with sweatpants? Well, we hadn’t either until the Michael came into our lives! This Marron colour option goes great with the red of Warehouse & Co’s 3022 check shirt, while these Buzz Rickson sweats offer a wider range of comfort.
Look 03: Evening Wear Indigo
Aside from our daily denim ensembles, it’s nice to get a bit dressed up from time to time. And wouldn’t you know it, but our pal Micheal is with us every step of the way! These pieces from Warehouse & Co offer a sharper look for evening time, and the Noir leather option finishes the look perfectly.
Look 04: Daily Denim Style
It’s always nice to team some of your most worn in denim with fresh indigo! And thanks to the good people at FULLCOUNT, we have more than enough options to choose from. Their incredible range of pre-aged indigos is highlighted here by the Dartford wash Type-I jacket, while the subtle Café leather of this Michael option really lets the denim do the talking.
Look 05: Ivy Weekend
This casual Ivy look is tried and tested, and is a great way to let simple pieces breathe. This knit from Merz b. Schwanen bridges the gap between smart and casual, while these battered Dartford wash jeans from FULLCOUNT provide a contrast to that. Paraboot’s Nubuck Gringo leather is a great pairing for this look, as the leather picks up elements of your own character as you wear them in!
]]>At the start of this process, you’ll need to gather up a few things, and believe us, you aren’t going to want to skimp on the tools you use here. Red Wing offer a range of great care products for their shoes, and it’s well worth investing in some of their Mink Oil, and Leather Cream. You’ll also need a good quality horsehair brush, a set of shoe trees, some warm water with very mild soap mixed through, and a clean rag.
Step 01: The Prep
Remove the laces from both boots and use that horsehair brush to dust off any build up that might have accumulated. Get right into the welt and into the tongue if you can. Then prepare a bowl of warm water and mild soap solution. Stir the solution until you get a light foam.
Step 02: The Initial Clean
Use your clean rag to apply a fine coat of the water solution to the boots, taking special care to get right in to all of the nooks and crannies. Don’t use too much water so that the boots are soaked, but just enough to remove any excess grime. Set the boots to one side to allow to dry fully. They should be fine after around one hour.
Step 03: Apply the Mink Oil
If you have a set of shoe trees, now would be a great time to fit them into the boots, as this will allow for a good all over finish for the oil. Now, place a towel over your knees, and open the mink oil up, and using a clean rag, slowly massage the oil into the surface of the leather, being sure to hit every spot evenly. This product will really help to put some of the moisture back into the leather, that it will have lost over time. Again, let the oil dry for around an hour before moving onto the next step.
Step 04: Apply the Leather Cream
When you’re sure the Mink Oil is dry, give the boots another quick polish using the same horsehair brush, then open up the Leather Cream. Following the same process, apply an even layer of the cream, which will further hydrate the leather to stop it from drying out and eventually cracking. This cream has been specially developed to treat the leather without darkening the colour, so it works well even with lighter leathers!
Step 05: New Laces
After waiting an hour for that final step to dry, we like nothing better than popping a brand new set of laces into the boots, to give them a new lease of life!
The soles of all the Red Wing boots we sell at Son of a Stag are fully replaceable, that means all you have to do is take care of the leather, keep it hydrated and clean every now and then, and they’ll be your worthy companions for a decade of winters or more! We hope you find this process as therapeutic as we do!
]]>STEP 01: MAKING THE DECISION
One thing which is important to consider is just how much you want your jeans to shrink. Again, the hotter the water, and the longer you’re in said water, the more width and length you will lose, but if you have a pair of oversized jeans, and your aim is to make them mould to the shape of your body, then you might want to consider another approach. The bath soak, in our humble opinion, is the best option to choose when you have jeans which are already a pretty good fit, or perhaps one inch too big, and this is because the jeans will pull in to the shape of your legs when in the water, and once they hit your legs, they can’t go any further! So, if you have a new pair of straight or slim jeans, and you want to give them a little more of your personal shape while softening the denim, this approach might just be the one for you! (Editors note: wider jeans will still shrink in the water, but you don’t necessarily have to be in them to do so, so you might save yourself some mess!)
STEP 02: PREPARING THE TUB
Make sure that your tub is clean, and that any traces of bleach or cleaning product are long gone before starting to fill it up. If the bath tub isn’t your own, then it might be worth asking permission beforehand, as the indigo can leave blue streaks on the enamel. Be sure to properly consider the temperature of the water, as this will effect the results of the shrink. The hotter the water, the more the jeans will shrink, but bear in mind that you will be in there for up to half an hour; too hot and you might burn your legs, too cold and you could catch a cold!
STEP 03: GET IN THERE!
When the tub is around two thirds full, you can get yourself in there! Make sure to have something nearby to keep yourself occupied; a beverage, a book, or some music. Always take extra special care when using electrics around water, or you could find yourself with a nasty shock! As we mentioned before, around half an hour is a good time to be aiming for, that will allow the denim to react with the water, and fully do its thing. So, now that you’ve drunk your beer, out you pop!
STEP 04: DRYING YOUR JEANS
When getting out of the tub, take care not to bend your knees too much, as that can cause the wet jeans to go out of shape. While you’re watching the beautiful shades of indigo wash down the drain, take your jeans off, do the buttons back up again, and hang them somewhere that they can dry naturally. The head of your shower would be perfect, but if you don’t have that option, a clothes line would work too; basically somewhere where you don’t mind making a bit of a mess!
STEP 05: WEAR THEM HARD!
After allowing your jeans to dry fully, you can try them on for size. You should notice that the bath soaking method has allowed the denim to soften, whilst forming the jeans into a shape which makes them feel like they were designed just for you! The only thing you need to do now is wear them, and wear them hard!
]]>What will be talking about today is probably the most common of the soaking methods, and is actually the one which I go for myself, and recommend to people if this is their first venture into raw denim. The benefits are plain to see with this approach, and while it won’t be everyone’s first choice, it really is a great way to make the fabric much more supple, and remove a lot of the excess shrinkage. So, follow us as we talk you through each step of the this exciting process.
STEP 01: MAKING THE DECISION
For most of us, the stand out benefit of soaking your jeans is to break down the rigidity of the fabric, making them much more comfortable to wear, and much more easy to break in. But did you know that this process can help to lengthen the lifespan of your jeans? It’s true! By soaking your jeans, all the points of tension across the garment are softened, meaning that there is altogether less friction in the jean, and therefore less ripping and abrasion. Some denim fans opt to keep their denim raw, with the hope of creating more unique, and localised fades, but that comes at the expense of the fabric. Soaking your jeans will allow for great natural fades all over, and continued soaking when they are dirty will ensure that your precious selvedge investment remain fighting fit! So, that’s that; now time to get your hands wet!
STEP 02: PREPARING THE TUB
Make sure your tub, or receptacle is clean and free from dirt, and start to fill it up. You’re going to want to think long and hard about the temperature of the water, as though this isn’t an exact science, the hotter the water, the more your jeans will shrink. Therefore if your goal is to simply soften the fabric, you might want to add little, to no heat at all! No detergent is necessary for this process, and you’re going to need to fill your bath with enough water to ensure the jeans are fully submerged. So a little over half way.
STEP 03: THROW THEM IN!
For the soak, you’ll want to fasten all of the buttons on the jeans, and turn them inside out. This will reduce the stress of any nasty lines popping up in the fabric, and will ensure that, if your jeans shrink, they will do so nice and evenly. Gently place them into the bath and watch them do their thing! You’ll see all of the oxygen escaping from the fabric as the jeans are submerged, and depending on the weight of the fabric, you might want to pick up some old (clean) coffee cups to weigh down the denim in the water. You can then leave them in there for anywhere up to an hour.
STEP 04: DRYING YOUR JEANS
Getting your jeans out of the tub can be a messy process, so be careful to put down some towels so they don’t turn your floors blue with indigo water. You might also want to consult with anyone you live with before embarking on the process, just because it’s nice to be considerate. One golden rule here; DO NOT TUMBLE DRY YOUR JEANS! This will really damage the fabric, and while some might want to give them a light spin in the washing machine, this too can create those ugly white lines which break through the surface of the indigo. So, for best results, you should let them dry naturally! Outside is ideal, but if weather or space don’t permit that, then just pop them on the head of your shower to let all of that blue water drain out.
STEP 05: WEAR AND ENJOY!
After leaving your jeans to dry completely, you can turn them the right way round, and see how they fit! You’ll find that the fabric will initially have a stiff, starchy feel, but don’t worry, that will go after even a couple of wears.
That first initial soak will have taken a little of the indigo away, but don’t worry, you still have plenty left in there, so be careful for the first month or so about sitting on white couches! By treating your jeans to this process, they are much more prepared for any adventure that you want to throw at them. Now wear them hard, and enjoy!
Check out the video below, for a detailed look on how this process works!
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We’re sat in a small room to the back of the building, to shelter the audio equipment from a drum lesson in the main hall of the church. Already, our interest is piqued. Our host has a very calming heir, and seems perfectly at home in his surroundings, and we are quickly aware that his passion for the community knows no bounds. For a hearty discussion on the people and history of Spitalfields, it seems we’ve come to the right place.
So, to start us off Darren, can you tell us a little bit about the Church building itself, and how you became part of it?
Well, the Church was designed by Nicholas Hawksmoor, and was built in 1729. There was a whole Protestant community of weavers, the Huguenots, who had come over from France because they were being persecuted by the Catholic state. The Huguenots arrived in East London at a time when the government and the church of England weren’t very happy about having non-conformists groups around who were organising separately, and so this building was designed to invite them into the Church of England. When you come into the building, one of the things that people always notice is the enormous plaster coat of arms, and though that might look a bit odd to us, it was designed to reassure those people that the state was on their side, and encouraging them in their Protestant faith, unlike the state they’d come from.
As a result of that, a lot of the 18th Century houses in the area were actually built for the community of Huguenots weavers, and if you look at the houses around, you’ll see that a lot of them have these big gallery windows on the top floor, specifically designed to enable these silk weavers to work more effectively.
That’s really interesting, and obviously this area has quite a rich history of textile production, but I hadn’t ever put the two together. But that community of Huguenots probably played a big part in that reputation being built?
That’s exactly right, and not an accident at all! It all starts in the 18th Century with the Huguenots, weaving silks and cotton fabrics, and it spreads out from there. And obviously when the Jewish community moved into the area, they played a big part in keeping that going.
But there’s always been a sort of moving in, and a moving out in this part of London; people arriving, and building communities to some extent, who will then move on to other parts of London or the UK. There is a constant shift, and it continues to attract people who are wanting to engage, not necessarily just with textiles, but with all of the cultural creative industries, which thrive in the area. That is a big part of what helps communities to grow. We’ve been here at Christ Church for eight years now, and have certainly seen a lot of changes in that time even.
And that’s what makes Shoreditch such an exciting place to be!
Yeah, exactly!
Shoreditch is a community woven from all different cultures, and backgrounds, and economical positions, but why do you feel that it is so important to reach all corners of the community with the work that you do with the Church?
Yeah you’re right, there are people who are super rich in the area, who are living right on top of people who are in social housing, who aren’t doing very well, or sub-letting a property which isn’t in very good condition. I think there aren’t really many places where those different communities have any points of contact at all with each other. They tend to go to different schools, use different health services, shop in different places, and I think one of the most amazing things about this building is that we do get contact with that breadth of people from all sorts of different social backgrounds.
I just think that it’s important that we hear each other’s experiences, and that we hear our common humanity, if you like, and that we aren’t demonising each other. There are all sorts of ways that we could help each other, and there are all sorts of benefits which are available through the state, through formal schemes, but actually, the best thing is when communities are really supporting one another, and there is a personal link, and just seeing that happen within our Life groups, that is something which gives me a lot of joy.
That’s brilliant. Are there any particular outreach programs that you are excited about at the moment? Anything that Christ Church has going on, with helping, and contributing to the community in mind?
Well, obviously the last couple of years have been particularly challenging, there have been people within our local community who have really struggled in that time with lockdown, with schools not being open, particularly families with small children. If you’ve got to isolate on your own, or with a housemate, that’s hard enough, but if you’ve got to isolate with four small children, or six, or ten small children, that is a whole different ball game. The food bank was our main initiative, where we actually helped people with the provisions that they needed. These were families who would have had their mid day meals provided by the school, for free, so when school provision wasn’t there, it left people a bit stuck.
So being able to respond to that was great, and that was like a crisis response, and we were able to help hundreds of families by doing that. But now we’re in the place where we’re thinking about, how do we carry on supporting those families, and getting alongside them in a way which is a little bit more collaborative, and we’re thinking about whether something like a community supermarket might be viable, something where we can come alongside our neighbours and help the people who most need it.
After a long day in the pulpit, are there any records that you reach for to help you relax? Anything you can escape with?
I mean, I listen to a lot of worship music, but also a bit of Elbow, Bonobo, and Royal Blood. Those are sort of my go-to’s at the moment. But I’m also very nostalgic for bands like Joy Division and that kind of stuff.
That’s great! Do you ever blast out New Order, or Joy Division here when the congregation has gone home?
Haha, no but we do with Royal Blood. I’ve played them at full volume while we’re putting the chairs away!
That must be quite impressive in a building like this!
Through our work, we meet a lot of interesting people such as yourself, but also day to day in the shop, and the thing that ties them all together is denim. Denim has its own story for everybody, and everyone has their own personal relationship with this fabric, because it takes on elements of our character, and we are all individual. We just wandered if you had any of your own denim stories that you’d like to share with us, or anything that you look for in particular when you’re buying denim?
Well, I’ve got a vintage Lee denim jacket with a fur collar, which I just can’t let go of, and every time I think ‘I’ve got to throw this out’, I don’t, and then I’m wearing it again. It’s been a staple for me for decades now, and it’s one of the originals!
Keep a hold of that one, if you keep coming back to it then it sounds like it was made for you!
How do you like to spend your down time in the area? Is there a particular place other than the church which makes you feel good?
Well, my down time is the gym! Haha. I go to the gym in Shoreditch, but the other main thing is that me and my wife love just getting a coffee, and going to sit in Arnold Circus, and we just watch the world go by. People doing their yoga, walking their dogs, and you see all the wildlife, and the rats, and everything coming together in harmony.
And then from time to time we’ll go to Albion on Boundary Street, and sit outside if the weather is nice. We’re sort of people watchers.
The start of the year can be a hard time for many. We’ve all heard of the January blues, and it follows a period of celebration, which isn’t always a happy time for everyone. Can you offer any advice to those who might want to reach out and help our community, in that difficult period at the start of the year?
Obviously we’ve been through two years of pandemic, and that has really impacted people more than they’ve realised. Before Covid, we had a mental health pandemic, and now after Covid a lot of people are not thinking their best thoughts, or feeling their best feelings. They’re stressed, and they’re anxious, and they’re not sure what is coming next, and I think that giving yourself and other people permission to not be at your best is really important. Being kind to people helps a lot, because no-one is on their best game at the moment.
It’s ok to be anxious, it’s ok to be sad, because it’s a worrying time, and there is a lot of sadness around. But get involved with stuff where you hear from other people. It’s really easy to look inside, and think ‘I need to think about me’, but actually there’s something really helpful, and therapeutic, and positive about, you know, volunteering for the food bank or something like that, and getting involved to meet with people and hearing stories from people who are struggling too, but are doing ok, or who are struggling against much worse odds than ourselves, and it all just gives you a different perspective.
And those are all things that don’t cost us anything to contribute, but make a big difference.
Exactly, just a couple of hours in the evening or morning, once a month, and it is a really positive thing to do.
So, good for others, and good for ourselves! Finally, what does the future look like to you, for the Shoreditch community? For the next ten years say?
Oh my goodness. Shoreditch over the next ten years? It’s a really hard one to call right now, I think. It’s potentially a real time of opportunity. With everything that has happened politically and economically, and all the ways that Britain is linking up with the rest of the world, means that East London and Shoreditch is in a different place than we ever could have imagined, say five years ago. And I think there are challenges there, but it could also be a real time of opportunity. I see this part of London becoming more diverse, in a different way. All the gaps and spaces that have been left will be filled by new communities, I believe. And I’d really love to see the creative communities flourishing again, not just in the way they were previously, but again, rediscovering that edge, and that kind of freshness, that I think, over the last few years, for very obvious reasons, we lost a bit.
Thank you so much for your time Darren, and we’ll hope to catch up with you again soon!
]]>So what is the 43200G, and how did it earn its place in denim’s rich history? Let’s take a look.
Beginning its life in the early years of the 20th Century, the ‘Union Special Sewing Machine Company’ of Huntley, Illinois, developed the 43200G as a bag-sealing machine for rapid industrial use, but it wasn’t long before it found its true calling. Levi’s, Wrangler, Lee, and Carhartt all knew that the best way to hem their early model jeans was with this machine, and this machine only. Inspired by the roping effect achieved by this unique chain stitch hemming machine, the Levi Strauss Company used the first generation models of the 43200G throughout the golden age of their denim production, until cheaper, more cost efficient options were made available to the quickly expanding business. Their need to produce clothes for the masses soon resulted in the machine falling out of favour, but here at Son of a Stag, we’ve kept our collection of vintage machines ticking along nicely.
The beauty of these machines is simple; A folding device allows the hem to be fed into the jaws of this denim behemoth, while an incredibly powerful presser foot holds your jeans in place. Following this, a delicate balance of tensions in the upper and lower threads creates a chain which offsets the hem, and causes those incredible roping effects which have become so beloved within heritage denim. And, while modern machines have tried to replicate this result, none have even gotten close. Legend has it that ‘Union Special’ ceased production of the 43200G simply because it became too expensive to build, resulting in a machine which is now as rare as it is indispensable. And that reasoning seems sound; these machines were built to withstand the end of the world! A solid body houses an intricate system of loops, hooks, and thread paths, which run together on such a knife’s edge of margin of error, that it is almost poetic, and while much of a tailor’s skill lies in the precision of the hand, or the placement of a stitch, this is really one situation where it pays to have the right tools!
At Son of a Stag, we pride ourselves in putting in the leg work to find the very best denim manufacturers from Japan, and the U.S.A, and take the time to consider every piece in our inventory, to make sure that the quality stands above all others. Every jean which we alter for our customers goes through one of our collection of trusty 43200G machines, maintained in our dedicated workshop, and what’s more, we offer complimentary chain stitching on any jean bought from us for the duration of its life.
So, if like us you want the very best from your denim, then why not treat it to the best, with the Union Special 43200G, denim’s original work horse!
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At the end of the year of 1992, he decided to go his own way, and founded a company with quality and tradition at its heart. Finding a name for the company seemed to come easily for Tsujita-san; stemming from a love of baseball, and equated to the position in which the fledgeling company now found itself, he opted for the name, Full Count. Tsujita-san recalls, “the image of a ‘full count’ is, you know, 3 balls and 2 strikes, right? So the very next moment you’re either going to strike out, or you’re going going to get a hit…it’s that charged moment when things are going to go one way or the other.” So, from one great American tradition to another, Tsujita-san’s denim brand had its own distinct identity amongst a fresh young group of denim makers, who would later be known around the world as ‘The Osaka 5’.
The early day’s of Japan’s denim boom of at the start of the 90’s saw the birth of long standing denim giants of the east, and such a hub of creative energy spurred on a competitive aspect of the denim community, which drove each brand to produce the best denim in the country, and even the world. For Tsujita-san, it was important not to overlook the the roots of denim, and to understand that path that had brought them to this point. And so, he used all of the knowledge he had acquired in dealing with vintage Levi’s XX jeans, and brought the world of heritage denim to life in the east. His brand was the first to use only 100% cotton threads, an important detail of heritage denim manufacturing which had long been overlooked in favour of poly blend cottons which are cheaper, and more time efficient to produce. The same can be said for the production of the denim fabric itself; Tsujita-san had to source the looms which were no longer in use, and carefully oversee the production of the first Full Count denim at the Shinya Mills, in Ibara. It won’t surprise you to learn that almost all of the denim for the brand is still produced in the same mills, where there are four looms reserved exclusively for Full Count’s use. Mr Tsujita’s painstaking attention to quality control not only conjures the old adage of ‘if it ain’t broke, don’t fix it’, but also creates its own of ‘if it’s broke, fix it, and maintain it!’
Of course, one of the things which stands this brand out from the crowd is their use of hand picked, long-staple Zimbabwean cotton. Full Count’s denim has become synonymous with this cotton, and displays the lengths that Tsujita-san will go to so ensure that quality and authenticity take precedence over speed and convenience. “I decided that every element would be done with no compromise whatsoever”, he explains in a recent interview, displaying a key quality that has made his brand so beloved throughout the denim world. And to compliment this, very little has been changed in the last thirty years when it comes to their key designs, though the recent move to remove the brand’s golden arches has allowed the denim to speak for itself. Mr Tsujita’s desire in doing this is to provide his customers with a product that they can come back to time after time, and always have the same quality fit and finish, a benefit of assurance which is so hard to find in the denim world, but is worth its weight in gold.
Full Count aren’t merely a brand who concern themselves with denim history however, they are denim history! And future for that matter! Tsujita-san’s passion for finely crafted vintage inspired denim doesn’t restrict him to the history books, but instead he uses a keen aye and a modern mind to bring denim firmly into the 21st century. Modern silhouettes, and patterns of current pop culture icons find their way into Full Count’s denim practice, along with inspired collaborations, and playful additions to the collection including the ‘My First Jeans’ collection for toddlers, and the DIY arcuate kit of the 1100-19W WWII jean, all of which result in a brand which maintains a powerful identity as not only leaders of the modern heritage, but forerunners in denim’s bright future.
We’re still inspired every day by this brand after a long partnership, here at Son of a Stag, and we will look forward to another 30 years of some of the finest denim manufacturing that the world has to offer. Happy Anniversary, and congratulations, Full Count!
The first thing that we wanted to ask you really was if you could tell us a little bit about your journey, how you came to be living in London, and how you found your voice in poetry? Is it something that you’ve always immersed yourself in? When did you know that poetry was for you?
Well, I always knew that poetry was an art form that I could connect with. It was introduced to me very early in my life; even before schooling in Jamaica there is a poetic rhythm in Jamaica, the way of life is poetic to start with, the way the work day is scheduled, the movement of the people, the songs on the radio, the sounds of the animals, the agriculture around you - there is a poetry there. I picked up on poetry because it is so important in my culture, in that it is used in the reggae music I grew up with, it is used for spoken word, and so I was hearing it all the time. I admired it, and I saw that it had a power to arrest people’s attention. In a space where I wanted to share ideas, in school for example, I thought that poetry connected with my peers, a lot more easily than making a speech. So I was writing poetry from a very young age. It was just a hobby, and I did it for fun, to make people either think or laugh, or consider, or cry, or evoke emotion.
I had been to England very early on in the 80’s, as part of an exchange programme, and I fell in love with the city of London. And the same poetry that I was feeling in Jamaica, I was feeling in London; the movement of the busses and the taxis, the movement of the people. The whole thing was poetic, and I started to write about it. I studied law in America, and I went to the only law school in America which had a one year exchange programme with England, and in your second year you could opt to come to London to study, so I did that, and when I came here, I never went back. I felt more a sense of home here in the UK.
In 2015 you performed your poem, ‘Slow Down’ at a TED Talk. Having gone through a global pandemic, and a national lockdown, life for many feels even faster than it ever has, even though we have become more restricted. Does the sentiment of your poem still ring true to you, and in what ways do you think it has changed?
I think the lockdown was devastating for a lot of people, when you think about how it affected people’s mental wellbeing, and people’s ability to work or make money. But, on the other side of it, because people were forced to slow down, it made people reconsider their priorities, and many people started new things; learning another language, learning the importance of visiting family. I started drawing cartoons every day, based on the political situation. You’re locked in your house, and so people started to discover their local parks and outside spaces, the value of walking. And some of those habits have stayed around. People have said, ‘well, this worked for me during lockdown, maybe I should take this forward into this new opening. And maybe I don’t have to go back to the pace that I was working at before,’ because people discover the value of slowing down.
I went to an island once, in Thailand, called Koh Tan. And in Koh Tan there is no electricity, there are cats but there are no dogs because of the sonar emitted by the large bat population, and the children have to go on a boat to go to school. Apparently sometimes the wealthy go to Koh Tan for a week, just to force themselves - because there is no electricity; when it’s dark you have to go to bed, when it’s light you wake up, and it rebalances the circadian rhythm, and gets them appreciating the business of working with nature, and not working against nature. I think all of these things can be reminders that we can be more simpatico with our nature. Sometimes, by speeding up you think that you’re getting more, but actually you’re missing out. And that’s sometimes the value of slowing down, and just seeing more, and experiencing more; it’s in that context that I wrote that poem. We all know that you could be working long and hard, and not be as rewarded as working considered, and smart and just taking time. Slowing down was enforced upon us, and now we realise that we can enforce it on ourselves.
How do you feel that the focus of your poetry has changed over the last five years, and how optimistic do you feel about the future?
Well, there was a time when I refused to write any romance poetry; I thought that ‘If I’m going to be a poet, I must be a serious poet, writing about serious things.’ I was forced to write a romance poem when I was invited to a valentines day event at the House of Commons. And they said, ‘no, we don’t want anything about love of mother nature, or anything like that’, so I made myself do it, and I discovered that, by doing it, it was really appreciated, and people came up to me to say ‘can we buy your book?’. And I realised that you shouldn’t put limitations on your work, you should be open to write about everything. So right now, I don’t adopt a particular style, I feel that I should experiment in writing in different ways, and on a range of subjects. There should be no subject that I’m afraid to write about or explore.
Another way it has changed for me is that, if you’re waiting for an inspiration to write, you will have a very small number of poems. But if you want to be a consummate writer, and have the discipline of writing, then you can truly start to generate a body of work. What I’ve just expressed is a sort of western way of thinking, of gathering a lot of something, but that’s not the value of the haiku poets. What I discovered when I was looking at haiku, is that some of the greatest writers don’t have a lot of poems. Their rating is not in the number of poetry that they write, but in the quality of the poems. If you look at Bashō, and Onitsura, it was about writing that one beautiful poem. I’d like to keep a balance of the two; that quality, but also that practice of repeating a task, and getting better at it.
The last question is about the duality of your careers. You have your very, sort of, facts and figures career as a successful lawyer, and the very purely artistic, and from the soul career of being a poet. How do you find that those two intertwine with each other; do you get to use much of your artistry in your legal work? And vice versa.
Absolutely, I think they influence each other. There was a limiting belief in certain families when I was growing up, which was that ‘you’re either academic, or you’re sporty.’ Some parents would tell their children, “you’re not playing football, because you need to do your work”. And actually, everyone can see the evidence now of people who do both, and one helps the other. I’ve always felt that you need to have a balance in your life, doing a number of things which compliment each other. So, I’ve always thought that the creative side, and the academic side could work together.
A lot of my poetry is actually about law, and critiquing the system of law that we have. And I can critique in a creative way. I’m working with the Windrush compensation claims now, and I’ve written two plays about it, and one of those plays I’m taking to Edinburgh festival. My work in the law, I need an outlet. So yes, I’m trying to get justice for the clients, but I find an outlet so I write a play, the play then gets taken on, and the play is then used to bring in more clients. So I think they can work together.
No matter what area of life people are working in, if they allow themselves to engage in their interests, they’ll find that it will actually improve their work, not diminish it.
Also, there is the aspect of your poetic and philosophical stance of slowing down, considering the decision, must apply brilliantly to your legal work. If you can take a step back and say, ‘actually, what is the right thing to do here’. That’s quite a poetic way to look at it.
Definitely, it is important to think through legal issues in that way, but it doesn’t always help your bottom line, in terms of making money from law. The courts want a longer process, which means that the client is paying more. And I get this with divorce clients as well; the amount of people I’ve sat down with and found there was just one thing they’re arguing about, and we could just negotiate that thing. And that is about slowing down and not just rushing. The first reaction is often self, and ego, but if you think about it, the right response might be, ‘let me subjugate self, for a bigger cause’, so in law it is definitely, definitely important to bring in the creative side.
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Type-I:
The piece that has come to be known as the Type-I was spawned from the original ‘blouse’ jackets, and had an initial life span of around 40 years. First introduced in the early 1900’s, and given the lot number 506XX by Levi’s, the Type-I has several instantly recognisable features. In order to compliment the high-rise of the trousers of the day, the 506XX was cut short in the body, and offers a boxy shape which has become synonymous with this style. This cut, along with sewn in front knife pleats, allowed for superior comfort and ease of movement when working the fields or out on horseback. A single pocket adorns the left chest of this design for convenience and functionality, with the most recognisable options featuring a buttoned flap, though earlier models would stick to just the iconic punch through copper rivet tops. A leather brand patch can be found on the neck of these Type-I designs also, but perhaps the most iconic feature is the cinch-back. These early adjustable cinches were designed to alter the shape of the body, and were initially made from silver, though around the time of the Second World War production switched to bronze to save on costs. Some purists out there might be shocked to know that some opted to cut this ‘buckle-back’ off completely! Sacrilege!
Type-II
The early 1950’s saw the birth of 506XX’s younger, more modern brother; efficiently called the 507XX. Changes in style and manufacturing at the time meant that jeans were becoming more fitted on the waist, and no longer needed suspenders to hold them up, therefore we find that the Type-II is cut a little longer than its predecessor, in order to meet the comfortable mid-to-high rise. All of the boxiness that we loved from the Type-I is still there on the Type-II however, with the iconic sewn in knife pleats adorning the front with contrast yellow stitching, complemented by further pleats on the back. Perhaps the most recognisable change would be the addition of a second button flap chest pocket, giving this piece its lust worthy symmetry, and adding to its functionality. The cinch-back is gone! Instead giving way to more convenient buttoned waistband adjusters, a feature which would endure to the present day. In order to save on materials, the punched through copper rivets have been replaced by durable bar tacks at the stress points of the pockets. This iconic piece is favoured by rockers and rebels, mechanics and farmers, and the rich and the famous!
Type-III
In the Type-III we find the jacket which has perhaps been most commonly reproduced by luxury brands, heritage denim, and high street conglomerates alike. It is a pillar of the denim world, and has permeated popular subcultures as varied as Punk and Pop. First introduced in 1962 by Levi Strauss, the Type-III has several marked differences from earlier iterations. It is the first to feature a duo of ‘pointed’ button flap pockets, with the pockets themselves this time being sewn into the interior of the jacket, the opening welted below the flap. The slimmer cut of the Type-III comes courtesy of sewn in ‘V’ shaped seams on the front, and a pair of flat felled seams on the back. Altogether a more modern shape, the boxiness which the Types-I, and II offered are a distant memory, with the comfort that their spaciousness provided being taken over by a narrower silhouette. A card brand patch can be found on the neck of the traditional Type-III, a cost saving decision which would save the inventors millions of dollars over the decades.
Why not browse our full range of Type-I, II, and III jackets on our website today, for a view of how each brand puts their own individual touch on these timeless pieces.
]]>The Hawaiian shirt, officially known as the ‘aloha shirt’ as we all know, is brightly coloured, loose-fitting and adorned with wild patterns. By opposing the social norms it has become a counter-culture icon and something that every man needs in his summer wardrobe. But where did it all start?
Well, it potentially started with Captain James Cook, a British explorer known for his voyages in the Pacific Ocean and Australia. It is noted that he would have been the first to introduce the western shirt to the islands following an unexpected visit in 1778, with missionaries who subsequently taught the Hawaiians how to sew.
Hawaii is known for its remarkable mix of ethnicities. Looking back in history the islands were populated almost entirely by Hawaiians in the 1800s, however, due to the increasing influx of Americans and Europeans who brought with them new diseases, the population of Hawaiians was decimated in the first two decades of the century. Fast forward to the 1850s and we see the start of Chinese immigration, the late 1870s saw the arrival of the Portuguese, the late 1880s brought the Japanese, and after 1900 came the Koreans and Filipinos. The result today means Hawaii boasts extraordinary diversity, and it is clear that the influence of the many Asian immigrants was pivotal in the creation of the famed shirt.
Sadly it's very difficult to identify the exact origin of the aloha shirt or its creator, however, we know that it first made an appearance in the 1920s/ early 1930s. Rumour has it that Japanese tailor Kōichirō Miyamoto, the owner of Honolulu based dry goods store “Musa-Shiya the Shirtmaker’, started a buzz by making shirts out of colourful Japanese prints. However, this has contended with the idea that it was actually Chinese merchant Ellery Chun of the store in Waikiki, known as “King-Smith Clothiers and Dry Goods” who started it all! Or it could have simply been a college student who created a prototype of the button-down collared shirt made out of yukata (the same cloth used by Japanese women to produce work kimonos)? Who knows!
What we do know is that it was in fact Ellery Chun who trademarked the term “aloha shirt” in 1936, and it has stuck ever since. In fact, the Hawaiian shirt had such an appeal to both natives and visitors, that within a decade Honolulu had 275 tailors making them! During this time the small Pacific Islands enjoyed an unexpectedly vibrant trade in textiles from Japan, which was the only place with the willingness and knowledge to make small runs of complex, handmade fabrics.
So how did a shirt that was made in Hawaii for Hawaiians and tourists of Hawaii end up on virtually everyone's radar? It’s simple, really. Almost 30 years after it was trademarked, Elvis Presley brought it to mainstream minds by donning a red floral version in the 1961 film Blue Hawaii. This brought the aloha shirt to the forefront of popular culture with a powerful blast of subdued Rock’n’Roll. Before that, it was thanks to Frank Sinatra in From Here to Eternity (1953), and since then we’ve seen it favoured by Al Pacino in Scarface (1983), Christian Slater in True Romance (1993), and more recently Brad Pitt in Once Upon a Time in Hollywood (2019).
In other words, the Hawaiian shirt is here to stay, so if you don’t already own one or even if you do, it's time you got yourself a new piece of historic Pacific Island fashion in your closet because this bad boy is never going out of fashion.
]]>Cris Cole is best known as the creator of the award-winning and BAFTA nominated British TV series Mad Dogs which rose to fame in 2015-2016. He has also found fame with the movies Pelican Blood (2010) and more recently Ana (2020). Christine St. John is known for her role in Mad Dogs as well as short movies The Angola Deception (2014) and The Audition (2003). Read on to find out how they met, their childhood dreams, their favourite denim and what’s next in store for the couple.
Welcome Cris and Christine, thanks for joining us, can you tell us a bit about yourselves - where have you come from today?
[Cris] We live in West London although we travel a lot for both work and pleasure. Travel is our passion. We started walking to Son of Stag during lockdown as we could not travel, which is a 12 miles round trip. It’s a great way to see bits of London you are not used to seeing at street level.
Yes, lockdown really did help us all appreciate the little things in life hey! So where did you two meet?
[Cris] In the pub, like most people our age!
Nothing like a bit of romance over a pint! So, Cris, you worked as a professional guitarist & Bass player for 15 years, playing in bands including Jimmy The Hoover, The Directions and The Hollywood Killers - what's your best rock ‘n’ roll story?
[Cris] I think most of them are either libellous or not suitable for publication! There were plenty of Spinal Tap moments though. I remember doing a show in a club that had a revolving stage and during the show, somebody obviously pressed the button and we ‘revolved…. our drummer got compacted!
Ha, now that’s a moment you’re never going to forget! What was it that made you put the guitar down and pick up the pen to turn writing into a career?
[Cris] I just got lucky really. I wrote a spec script and somebody bought it and so I kept going. Seemed a little less challenging than the music industry which I think had had enough of me anyway.
I think it's down to more than luck! You had huge success with the award-winning and BAFTA-nominated British TV Series Mad Dogs. Where did the inspiration for the show come from?
[Cris] Oddly, it came from a conversation with the actors. Specifically, Marc Warren & Phil Glenister were keen on doing a show together and we knocked around various ideas before we landed on one about four ordinary men getting in a big mess on holiday.
That’s fantastic, it's not often the actors get the chance to help shape the show or movie they will be starring in. Do you wish you could make more episodes of Mad Dogs? Or are you happy with how it has ended?
[Cris] I think it probably went on long enough. Also, after the UK version, I made the American version so it was a fair few years for me. I do feel some TV shows can out-stay their welcome, and it’s best to stop before things run out of puff. Having said that, there have been discussions about revisiting the characters in later life. I suppose one should never say never!
Ooh now that’s exciting… fingers crossed for a reunion! So, Christine, what was it like working with Cris on Mad Dogs?
[Christine] It was a blast. We were filming in South Africa so it was all great fun. And I got to get my head blown off on camera which was a first for me.
A very memorable moment for us all! Would you like to work on more projects together?
[Christine] Of course!
Well, that's good to know, you clearly make a great team! Was this always what you both wanted to do, what was your childhood dream?
[Cris] I wanted to play for Chelsea (and still do)
[Christine] I wanted to travel the world (and still do)
Well, there’s still time for you both! Cris, you released a film last year titled Ana starring Andy Garcia, this was your first time producing a movie, how did it feel? Can you tell us where the story came from?
[Cris] Making a movie is a bit like trying to land a spaceship on the moon…it’s complicated. But ultimately rewarding…. if you don’t crash the spaceship. As for the idea, I’d always loved the movie Paper Moon starring Tatum and Ryan O’Neil and wanted to try and write something similar about a father and daughter relationship, an odd couple pair who may or may not be related. Setting it in Puerto Rico after Hurricane Maria was an interesting twist for an offbeat road movie.
Paper Moon is a classic, and we’re sure Ana will be too. Christine, which do you prefer acting on screen or on stage?
[Christine] Stage, 100%. Theatres are cosy, film sets are not!
I’m sure they’re not! So what has been your favourite on-stage performance?
[Christine] I wrote my one-woman play ‘Bette Davis on the Edge’ as a professional lifeline for myself. I wasn't ready to stop working but roles for women after a certain age are few and far between….it is changing now post #MeToo and BLM…there is much more diversity even within the past couple of years which is fantastic.
I began researching my play in 2009 when roles came to a sudden stop. I discovered so many misconceptions about Bette Davis and her professional relationships, most especially with Joan Crawford. This has become so overly exaggerated over the years (by male writers!)
How interesting, so is there a particular way that you like to research your projects? Bette Davis is such an interesting character that there must have been mountains of information to sift through?
[Christine] I researched at the Bette Davis archival collection at Boston University and the Motion Picture Academy in LA, and UCLA. I felt an enormous sense of responsibility to get Bette Davis’s story accurate. I learned that a piece can be entertaining with the truth. Her real nemesis was Jack Warner (head of Warners Brothers Studio), not Joan Crawford.
My play's world premiere was in September 2014, in Michigan City Indiana. I was so happy by the joyful reception it received, having performed it all over the world! Bette Davis remains, 30 years after her death, a true global icon.
I played 16 different roles (mostly men) in the 90-minute play. My final performance was in Addis Ababa, Ethiopia 19, October 2019, a fundraiser for the Meseret Yirga Centre. The extremely high altitude in Addis was the most unique challenge. The outdoor event at Zoma Museum, under the star-filled night sky, was a great success with young Ethiopian filmmakers and Hollywood fans in attendance.
What an achievement and a great way to honour the great Bette Davis! Can you tell us more about the fundraising campaign for the Meseret Yirga Dance Centre?
[Cris] We met Meseret in Addis over 20 years ago. She is now Ethiopia’s first woman choreographer. She teaches dance to street kids, the disabled and the elderly, basically anyone who would like a dance class, but gets overlooked or excluded. She’s an amazing woman and what she does is life-affirming.
Wow, she sounds amazing. What inspired you both to get involved?
[Cris] She was able to buy a small piece of land in Addis and asked us if we could help fundraise to build a dance studio - we thought ‘well, we have no idea how, but why not try. We did a GoFundMe page: ‘Buy a Brick for a Tenner’, and Christine toured her one-woman show “Bette Davis on The Edge’ around the world (including in Addis) to raise money…. and of course, we did lots of begging and bullying people and in the end, raised over £60,000 and it got built! Which was amazing.
You must both be very proud, is there a way for us or our followers to get involved?
[Christine] Yes - The centre still needs support and some finishing touches so please feel free to contribute, even if it’s only a couple of quid on our PayPal page on the website: www.meseretdancestudio.com
Such a great cause, thank you for sharing! So, what’s next in the pipeline for you both?
[Cris] I have about ten projects in development in the UK and US, but you never know what’s going to go next.
[Christine] Throughout lockdown I have been involved with zoom play readings with chums in New York City…we call ourselves, “Grumpy Old Pro’s”.
I am currently preparing to play Martha in a zoom performance/reading of that light-hearted comedy….'Who’s Afraid of Virginia Woolf’!
You two certainly enjoy being busy! Whether at work or not, how would you describe your style?
[Cris] Wow, hard to say. I think we both enjoy vintage designs - the Japanese take on old Americana is always fun. Basically, we’re jeans and t-shirt people. And of course good walking shoes/boots. Not forgetting a beanie.
Jeans & t-shirt people are our kind of people! What’s your go-to pair of jeans and why?
[Cris] It seems to change from season to season - you get new favourites! We are both loving the Oni Kihannen 18 oz jeans we bought from you guys. They have a really nice feel and we love the ‘weft'…is that the right word?!
ONI Denim is a strong choice, one of our favourites here too! In your own words what makes Son of a Stag the ultimate destination for menswear?
[Christine] And womenswear! We just really like the clothes and the general vibe of the place. Rudy and Linda are such good company and know so much about what they’re selling. It’s all very relaxed and a great area of London to go to.
East London is the place to be! Any other favourite destinations in the area to share?
[Christine] There’s a little Bangladeshi cafe around the corner in Brick Lane called Amar Gaon that has some really nice vegan dishes.
Good tip, we will be sure to check it out! Thank you both so much for your time today, it’s been an absolute pleasure.
]]>Now, the 02527ZR jacket might appear at first glance as your regular Type III trucker, but regular is not in the order of business for ONI. No, this particular Type III blends the worlds of heritage denim tradition with an unrelenting pursuit for fabric innovation; and whilst this model is packed with traditional detail, they aren’t necessarily where we might expect to find them. Instead, the brand has opted to play with elements of the past, present, and future, to create something truly postmodern, and timeless.
Let’s begin at the start then. The 02527 is a standard fit ‘Type III’ which takes its influence from what is perhaps the most common denim jacket shape in fashion history and popular culture. There are few brands out there, from high street to luxury, who haven’t tried their hand at this iteration of the trucker, with varying levels of success and credibility, but on the surface, this attempt from Japan’s own ONI brand is very much like the originals produced by the Levi Company. It has a slightly slimmer shape than the Type I, or Type II, and features a full button plate, waist epaulettes, a buttoned cuff, and two western style, button-down chest pockets. But perhaps the most obvious way in which this offering is unlike the others is for the sheer beauty of the fabric.
ONI’s ‘Secret Denim’ is the stuff of legend in the denim world, but how much do we really know about it? Not a lot, is the unfortunate answer! We know that it weighs in at a whopping twenty ounces, that it is woven by one old man on a collection of vintage American shuttle looms, and that this weaving is done at such a low tension that it results in what is commonly called a ‘perfectly imperfect’ finish. The beige dyed weft harks back to the very early days of denim production, and the loose weave allows these natural cotton threads to creep through the green/blue surface of the denim at irregular intervals, in a way that resembles an old grain sack, and is at once heritage personified, and unlike anything we’ve ever seen before!
This super low tension weave is so beloved for two main reasons. The first being that it moves to your body in a way that other denim simply doesn’t do. With every wear, this 20oz denim demon takes everything that you can throw at it, learning how you move, which arm you favour, and where you keep your keys or wallet. If you were to put on a friend's jacket in a rush, which is exactly this shape and model, it would fit you in a completely different way. To put it more succinctly, this unique denim allows this jacket to be more ‘made to measure’ than a bespoke option could ever be. The second reason that people love this denim so much is for the glorious fades that it produces, and especially with this raw option. Every thick thread plays off with the one next to it, shedding precious indigo as it does so, and producing a full-colour palette of greens, blues, and beiges for your friends and colleagues to lust after.
One thing that those with a keen eye might notice as being out of place on this model are the buttons. The brand has chosen to design a set of custom made doughnut buttons, pressed with the heritage ‘Laurel Wreath’ motif. These buttons are normally reserved for garments that date back to a time long before the Type III even existed, and yet here they are in 2021, gracing the button plate of this Jacket! Purists out there recoil in horror. But why should they?! This jacket isn’t supposed to tick every box in the heritage list, it isn’t designed for those who only want to look backwards, it is a playful doff of the cap to all things denim that has come and gone, and those which will one day become. And if that wasn’t enough, those dastardly, and devious denim masters have even opted for a pink line selvedge button plate! On a Type III! How very dare they!
Whatever your stance in this argument, it is difficult to argue that this design either plays by the rules or simply follows tradition. Instead, this mysterious company designs as they (he) see fit, including details that don’t belong, but we wouldn’t want to live without. The future of design needs thinkers like this, and we feel very lucky to have them as part of our catalogue here at Son of a Stag.
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Hey Luke, thanks for joining us today! As someone who has achieved so much in the music scene, tell us, did you always know what you wanted to be when you were growing up?
Oh man - I was honestly so lost for so long I never really gave it a huge amount of thought outside of just doing art - I went to art college - I wanted to be an architect, then interior design.
But then “rave” happened and I just knew I needed to do something relating to that!
Haha! I guess that means music has always been a big part of your life?
Yes totally from such a young age. I loved collecting. Mostly cassettes from the age of 12 / 13 - I grew up in Cyprus and moved back when I was 15, so records weren’t really a thing until I came back to the UK. Then I started collecting 7 inches, then albums. Playing all that music to people felt like a natural progression. Discovering and sharing music has always been a huge thing for me.
Wow, sounds like you started your music collection at a very early age, what was the first record you bought?
The first cassette I bought was Dexys Midnight Runners… The first Vinyl was Madonna, Holiday. I was obsessed with her!
Who doesn't love a bit of Madonna! So what was your first experience of DJing like?
My first gig was a house party in Barnet. I remember just thinking I was awesome and that was that. In hindsight, I'm pretty sure I was absolutely terrible. The music was great though - I just hadn’t developed the skill set.
A night to never forget hey? You started your production team Freaks with Justin Harris in 1996, how did you two meet?
We were introduced at Middlesex University student Union on a Friday night. It was peak rave years and Middlesex was jumping off massively. We hit it off and promised to work together - then eventually it happened. I went over to his studio and we worked on Ep and that was the beginning of a wonderful friendship.
Sounds like it was meant to be! So great when you can build a business with a friend… getting back to business, which DJ’s inspired you the most and why?
I have to say the top of the list would be Derrick Carter but actually, there is a huge list of Chicago DJs that have blown my mind over the years. Chicago was my school - watching those masters at work was just a whole other level of craftsmanship. Gemini, Diz, Ron Trent, Chez Damier, Farley Jackmaster Funk - Lil Louis - DJing is in their DNA. The way records are played, mixed together - the programming …it's just another level of talent.
We couldn’t agree more, Chicago had a great scene! You were on the road a lot during your time, can you tell us your favourite/most memorable experiences?
I think number one was Doing at Glade Festival after a Freaks live performance and Cajmere got on the mic unannounced and proceeded to do vocals over my whole set. It was dark and people were coming up and asking where I got the A Capella from and then saw him standing next to me. That was epic.
Playing with Derrick Carter at Yellow in Japan. We had just done a Classic party and it went on and on for hours - 13, 14 hours - people just lost their minds then we came out of the club and it had snowed. It was magical.
More recently we did a party at Glitterbox x Printworks. It was the week before everything shut down and the party was epic. I guess it will always stay in my mind - DJing to 6000 people not knowing what was ahead of us. I will always remember that.
I think we all have a pre-pandemic memory that we hold close to our hearts, but it sounds like you had a party never to forget! How badly has COVID19 affected the industry?
Well, it's shut us down from the live aspect. Everyone has their different story but in all honesty, I’ve been very fortunate. I’ve been working in the industry for 30 years plus - and have ridden the peaks and troughs and perils of the business. I had to put myself in a situation that allowed me not to be solely reliant on gig income - the hustle has always been very real. . It's heartbreaking to watch so many friends and colleagues have to go through the sudden demise of their entire business, but in the same breath amazing to watch those that have been forced to get their hustle on to survive.
It has been a testing time, what do you think the future holds for you and the events industry? Do you have any upcoming events?
I’m enjoying writing and producing alongside A&R - this year has allowed me to get focused in that space. I’ve been working on some pretty major projects that will start to see the light of day over the next 12 months - Gig wise yes I have Gala festival - Defected Croatia and Defected at Drumshed in July and some other amazing gigs towards the later part of the year which will be announced in next few months.
Awesome, we will be sure to keep a lookout for your announcements! After everything that’s happened in the last year, a lot of people have seen it as a time to reflect, I’m sure you have too, can you tell us what’s been your biggest challenge and best achievement?
The biggest challenge was coming to terms with the grief of losing one of my musical partners, Kenny Hawkes, to addiction. It made me evaluate my own situation, realising that it could have been me. That is when I found sobriety and turned my life around - it's been 10 years now and has definitely positively affected me as a person, which in turn has changed my life.
Being sober for 10 years is probably my greatest achievement also.
That really is something to be proud of Luke. I'm sure it hasn’t been an easy ride. Something I know you’re fond of is your heritage style. What's your go-to outfit for behind the decks?
After music, it's clothes for me. I feel it is so important to be switching things up and keeping it fresh. I’m back on my ‘Hats” thing again. I have a huge collection that I stopped wearing but decided to try that out again - currently wearing a full count cap.
Like to keep the T-Shirts fresh and exciting - don’t tend to wear denim when gigging but again it depends. The main thing is that it's a full “outfit.”
A full “outfit” really is the main thing, we totally get it! So you don’t wear denim when you’re gigging but when you do wear denim what's your go-to brand?
Huge Full Count fan - love their jeans. Spellbound is the top for me though - from the denim to the chinos - jackets …amazing denim. ONI is also a big fave.
You sure do know what you like! Thank you for your time today Luke, we will be sure to stay posted on Resident Advisor for your upcoming events and we hope to see you in-store again soon!
]]>Now, some might say that the quality of the brand can be measured by how they tackle the iconic WWII model jean, but fortunately for Full Count, this is a song in which they are very well versed. Since its inception in 1993, the brand has been carving its own path in the denim history books, by drawing on tradition whilst keeping one eye fixed on the future, producing many Second World War models along the way. Together with peer companies, these Japanese virtuoso’s have boldly claimed the title of the ‘home of denim’ for themselves, arguably outpacing the west in the production of fabric and design innovation. Of course, the brand has input all of this knowledge and heritage tenacity into this new offering which we will now jump right into.
For those who aren’t familiar with what is commonly called the WWII model, we are talking about a jean which is inspired by American denim production of the first half of the 1940s. It was a country under the dark cloud of the Second World War, where battles of the past were thrust back into the population’s current memory, and when the present and future were both unwritten and unclear. Rationing had taken hold of the country, limiting the number of fabrics and materials which could be used for garment construction, with precious resources redirected to factories focused on aiding the front line troops. There was no time for luxury or decadence, and although the world of fashion didn’t grind to a complete holt, there were numerous corners cut to adhere to government guidelines. If we can use the Levi’s 1944 model as the touchstone against which to measure all other WWII jeans, we will notice that the things which stand it apart include; an unriveted watch pocket which helped to save on precious metals, pocket bags which would be made from whatever fabric would be lying around, and one less steel fly-button than we might be used to.
The S0105W has all these iconic qualities, but the thing which makes this jean so authentic, in very much the same way as all Full Count jeans, is the denim. When we utter this brand’s name, the words ‘Zimbabwean cotton’ are bound to follow duly, earning us a reputation as a denim geek or nerd. But good things come to those who nerd hard, and that is exactly what Mikiharu Tsujita found when he went in search of the cotton which most closely resembled that of his favourite jeans from childhood. The thing which is so special about this cotton from Zimbabwe is that it is all at once soft and sturdy. Traditional hand picking methods allow the lustrously long strands of cotton to be unbroken, giving the cotton integrity which can’t be achieved when the plant is harvested by heavy-duty, modern machines. These long strains are then woven into denim on the original 1960’s XX shuttle looms from America, and the result is truly the closest you can get to the original standard of denim without building yourself a time machine.
Needless to say, you can find this denim in a 13.75oz weight in this WWII model, which has been carefully rinsed to remove much of the excess shrinkage. Over time this fabric treats its wearer to new realms of comfort, as the long strains of cotton allow the material to form to your body with ease, and produce natural fades which will have your denim friends cursing you until they are blue in the face (or indigo in the face!). The deep colour on this denim has been paired with traditional ‘laurel wreath’ doughnut buttons. One copper on the waistband, and three steel on the button-fly. Punched through copper rivets can be found throughout, including concealed back pocket rivets, though as you will remember, the watch pocket has been left bare which allows the subtle pink selvedge line to peak out.
The pocket bags have been cut from a traditionally slubby flannel in muted monochrome tones, and are unbelievably comfortable. This feature is always something I look forward to in a WWII model, and Full Count hasn’t disappointed me at all. The loose weave of this flannel cotton provides something of a tricky sensation; heavyweight and light at the same time, and honestly, when I first saw them I thought they might be a little overpowering, but not at all. Now I have my hands constantly plunged into these front pockets, like a schoolboy who has been sent to the headmaster.
The S0105W stays faithful to the shape of jeans of the time its influence, boasting a comfortable loose/straight fit with a high rise that sits comfortably around the natural waist. A little more room is given in the thigh than previous iterations of the 0105, resembling a closer fit to the new ‘plain pocket’ models from the brand. Pairing this roomy fit with the mid-weight, 13.75oz denim, has resulted in one of my all-time favourite Full Count jeans, and if you are a fan of a looser fit, then this might just be the feature-packed option for you.
In all, the attention to detail is what makes this model a great buy. I’ve been wearing mine for around a month now, and all the characteristic signs of wear that I usually get are beginning to show in a way that forges a relationship between the human and inanimate object. The rivets on the right pocket are shining slightly more because I am left-handed, and the bottom of the left-back pocket is slightly worn from my horn comb. Yes, these jeans are unquestionably mine, and a part of me as any pair of jeans worth its salt should be. Yet they are still throwing up little nuances of detail which I had failed to notice in the past. The single needle back pockets boast imperfectly imperfect lines, as though they had been thrown through a vintage Singer machine in a manic production line, which is something I noticed after a week of wear.
It feels like the S0105W has many more secrets to tell over time, and I can’t wait to hear them. Oh, and for the raw denim lover, Full Count has just released a dry version which is crisp and clean, and will take you on a wild journey through time and space. Go on, you won’t be sorry you did. I certainly wasn’t!
]]>Warehouse & Co have long held an enviable reputation for quality and close attention to heritage detail. As part of the famous ‘Osaka Five’, the brand has carved itself a path to vintage-inspired glory since brothers Kenichi and Kenji Shiotani started the company way back in 1995. For 25 years now, Warehouse & Co have been world-renowned for producing hard-wearing, long-lasting, quality garments, with inspiration being drawn from archival pieces and fashions history books. From raw selvedge denim to melton wool varsity wear and the most comfortable sneakers you will ever own. This brand has stuck closely to traditional manufacturing techniques, using vintage machinery to create a design empire that is unfaltering when it comes to quality.
Although Warehouse & Co is best known for their denim lines, sweatshirts have also been a big part of their signature style since the beginning, replicating American vintage all the way. Warehouse & Co go to every effort to achieve the same features from the past, using loopwheel knitting machines. The loopwheel machine was pioneered in the mid-1920s and later patented in 1926 by Italian Guiseppe Negra. The machines are so rare now they can only be found in two factories in the world, located in Germany (Merz B Schwanen) and Japan. Loopwheel knitting refers to the manufacturing process of the fabric, by using cylinders set up at specific circumferences, the loopwheel machines weave cloth around them, letting the fabric hang and fall from the machine as it knits. The results are a low tension weave creating a denser and softer fabric in a tube-shape that creates the perfect vintage garments with no side seams. The Japanese call it ‘tsuriami ki’ – hanging knit machine.
The 1930s came to be known as the “golden age” of Hollywood. The 1940s were mainly focused on World War II and the 1950s was a decade marked by the post-war boom... a lot happened in these 3 decades but something remained the same, sweatshirts were always a staple item of clothing in every man's wardrobe, with features changing ever so slightly throughout the years to update the look and feel, keeping up with the then modern times.
Warehouse & Co have recreated a sweatshirt to mark each decade using the same loopwheel machines of the time to produce the most authentic garments you can purchase to date. In the 1920s the material used for sweatshirts shifted from wool to cotton and thus marking the new beginning for the iconic sweats we know and love today.
The 467 is a replication from an early 1930s archival piece and reflects a time when sportswear was creeping more and more into a daily dress, and no longer restricted to the track or gym. This is an era that saw traditional sportswear transition from heavy, and uncomfortable wool garments, into a much more breathable all-cotton alternative. The 467 from Warehouse & Co. bridges the gap between these two materials, as the original would have most definitely been made from wool. The brand has instead opted to craft a heritage sweat from 100% cotton, so the wearer gets the iconic vintage shape with the luxurious comfort of loop wheeled cotton. As the garment has been constructed on a vintage flat lock, twin needle machine, it features seams that are much more durable than modern construction would allow. Distinct characteristics on this model are a vintage ‘double v’ insert mirrored on the front and back, no seams on the shoulders to create a relaxed fit, and cuffs that feature a unique, eye-catching cutaway detail which allows for great freedom of movement to let the cuff slip up the arm without losing its shape.
The brand's most famous sweatshirt is the 401, with no change to the design for 20 years now, it's simple but rich in detail. It emulates the classic styles from the 1930s, featuring a slightly longer knitted cuff and waistband, a drop shoulder and an iconic double v neck construction. The waistband is cut from a ribbed 100% cotton and was designed to be easily tucked into a pair of flat-front chinos, which were common casual wear of the time. Each v-shaped gusset bears four-needle stitches which serve to distinguish the garment even further and creates a unique patina as the garment is worn and washed over time. Its boxy shape is complemented by the lack of side seams, a feature of the loop-wheel technique which ensures that the shape of the fabric maintains its integrity, and enhances comfort and durability.
This classic sweatshirt has been a Warehouse & Co signature for more than 20 years. It is luxuriously soft and hard-wearing. The brushed fleece, also known as cotton fleece lined is a reproduction of the heritage fabrics used to distinguish a generation of high-quality American outerwear. The brand modified their machines to achieve a uniquely vintage flat seamed overlocking effect achieved by threading between two needle stitches. They have included a freedom sleeve in this design for ultimate freedom of movement, a design feature that harks back to the mid-century origins of the sweatshirt. The cuffs and waistband are cut a little longer, to allow the cuffs to be easily rolled to fit, and for the waistband to be effortlessly tucked into your trousers in true 1940’s style.
The 404 is a sweatshirt to represent the time during the 1940s to the 1950s. This style was invented for athletic wear, allowing maximum movement whilst maintaining a comfortable and cohesive look. One of the main features of this model is specifically designed to enhance that superior range of movement, and comes in the form of a curved seam between the sleeve and the body, also known as the “freedom sleeve”. This style was born at a time when the two-needle sewing technique was king! A striking aspect of this stitching is a one-of-a-kind ageing pattern that will be unique to every wearer, and with longer cuffs and waistband, it provides a relaxed fit for superior comfort.
From the ‘2nd hand’ series, the 474 showcases a 1950s shape with period-correct short cuffs and waistband. It is produced using special treatment of laser marking, washing and sun fading to achieve authentic vintage faded colours. Made from the same yarn as the brand's 4601 t-shirts it has been expertly woven providing a beautifully soft, vintage feel cotton to ensure supreme comfort and durability. Unlike the previous eras, the 474 features a single-v insert at the front, giving it that ultimate 1950s feel.
The S2000xx takes its inspiration from early 1940s denim when World War II had spilt across the Atlantic and dragged the Americans into its chaos. It was a time of great economic and political stress, of rationing, of killing and cruelty, and uncertainty about what the future held. During these years the majority of the American garment construction industry was forced to refocus their efforts towards military purposes, or cut back on the materials they would have been accustomed to using in peacetime with the idea that it might be better implemented in artillery or uniform factories. We all know the history of the WWII model jeans which have foregone pocket arcuate stitching in favour of painted ones and watch pockets which go unriveted to save on metal, but it is interesting to consider the effect that this period of strain had on the jacket that started it all; the Type-I.
The first of many noteworthy features is that this piece comes from Warehouse & Co’s new ‘Dead Stock Blue’ range. Since 1993 this brand has built a reputation for excellence, and have characteristically strived for perfection in weaving a fabric which most closely resembles raw denim from the 1940s for this jacket. It is a beautifully clean and crisp fabric of the deepest indigo colour and has been left unwashed to ‘shrink-to-fit’ (Side note, you might want to try a size down in this one if you aren’t intending to wash it!). Yes, you’re going to have to put the work in with this one, but it will all be worth it as the tight weave of this 13.5oz denim has a whole lifetime of wear which is ready to become uniquely yours. Also, this ’Dead Stock’ label might send a shiver right down the middle of the bank card for most, especially talking about untouched denim from the ’40s, ’50s and ’60s, but this option from the Japanese veterans is just about as close as you can get without re-mortgaging your house. A beautiful piece of denim history at a shockingly affordable price? Can it be possible?! Of course, it can! But wait, there’s more! The features which make this jacket so unique, and so authentic, are exactly those which stand it apart from other Type-I models the brand have released and as mentioned before, they are related to their period of inspiration. So what ‘rations’ have been put on this design which makes it so sought after?
While S2000xx is similar to others which have been released by the brand, its subtle differences are clear to see. We might recognise that the single chest pocket is still there, but to save precious denim, this one goes without a flap and button. Instead, two punched copper rivets hold the pocket corners in place. There is something unusual about the button plate too. Four buttons instead of the traditional five have been used for the front closure to save on steel, and the heritage ‘laurel wreath’ donut buttons which we might expect from early models have been replaced by simpler branded steel ‘tuck’ buttons. For collectors, these redactions only serve to make this jacket more of a rare gem; less mass-produced, and easy to date to a particular time and place, which in turn offers a historical context that is arguably the most valuable element, and serves to tell the garment’s story.
Type-I models typically have a cinch-back, and this one is no different. Well, it is and it isn’t. For a period of such great rationing, the cinch featured on the S2000xx is incredibly detailed. Intricate patterns have been pressed into the lip of this cinch, which further adds to the heritage feel of the tooth prong design, and if there was ever any doubt of the hardware’s durability, the word ‘solide’ has been pressed into the tooth bar. It’s hard to say why this extravagant design detail finds itself on a WWII model; could it be a throwaway inclusion by an artistic smithy, or simply a way of using up the cinches which were available before the war? We may never know.
Finer details of this beautifully boxy shaped denim giant are the custom woven rayon ‘GENUS’ tab in a subtle shade of pink which compliments the button plate’s selvedge line, the deerskin leather patch which has been detailed with a heritage brand logo, and single stitch runoffs on the collar ends, which suggest such speed of manufacture, that there was simply no time to snip them off!
In all, this jacket brilliantly embodies everything we love about vintage denim. It combines brilliant materials with timeless design and carefully chosen details which draw from the past and pave the way for the future. We salute your ingenuity, Warehouse & Co, and for giving us a ‘Dead Stock’ Type-I which is just about as close to the real thing as we may ever get!
]]>The piece that we are talking about today is born of a garment which was introduced to the military world by the Dutch in the 1800’s. The Pije Coat had a design which served the purpose of protecting naval personnel from bitter arctic winds. The iconic double breasted front serves the function of folding over itself to provide a barrier from the elements, whilst the high collar is rigid enough to stand on its own and protect the wearer’s neck. For American iterations of this coat, a ten button front signifies that the garment was made pre-1945, with military production ceasing after the end of the Second World War and anything less than that is usually attributed to the latter half of the 20th century.
So why then, knowing what I know about the brilliant Buzz Rickson brand and their unwavering attention to stitch for stitch replica detail, am I sitting here looking at a coat which is not like the others? The answer, of course is that this particular model of Pea Coat is part of the masterful collaboration with novelist William Gibson which the brand launched in the 2000’s.
This edition of the hallowed garment is notable for one major change... it’s black! Yes, gone are those traditional naval blues, and in their place blossoms a darker shade which is much more suited to this great author. Deep black 36oz melton wool is what makes up the shell of this coat which sounds like a staggering weight, but once this coat is on your shoulders it feels as though it has always been yours. It doesn’t fit like traditional pea coats at all. In fact, in spite of the weight this coat is far from cumbersome. A slimmer cut in the arm and waist allows the form of the coat to effortlessly mould to the shape of your body, providing comfort which makes me wish I had never tried it on! I simply can’t go back to my old Pea Coat now.
The pockets have been cut from a luxuriously soft and warming thick wale corduroy and are one of this coat’s great secrets. They are a camel colour and the only part of this coat which isn’t as black as the night sky (that’s to be kept between you and me by the way). Dressing these traditional side entry pockets we find soft leather trimmings which add a touch of nuanced detail, subtly setting this coat apart from others in the military arsenal. Added luxury comes in the form of a cotton/satin lining throughout, in the perfect percentages (57 to 43) to allow for comfort without feeling too silky. One standard size interior pocket has been featured on this model on the right hand side, with an added traditional sailor’s watch pocket on the right.
While this brilliant edition of the iconic coat eschews some of the classic detailing that we may have come to expect, there are some features which are a subtle nod to the origins of its military credentials. Perhaps my favourite are the ten ’13 star and anchor’ buttons which proudly adorn the form and have been faithfully crafted from sturdy Bakelite. The really interesting thing about this is that the 13 stars on the circumference of the button are there to represent the first 13 states of America after it declared independence from the British and became a blinding signal of their new military prowess. A punch of added heritage authenticity comes in the form of the brand’s custom woven ‘Naval Clothing Factory’ product label, which can be found inside the right hand breast flap.
In all this coat is a welcome step away from the reproduction world that we know and love the brand for. It is heavy duty personified and yet elegantly avoids the bulkiness of other iterations. It provides nuances of sophistication to an already timeless piece and breathes fresh black air into the sartorial history books. It is an instant classic within a classic and I for one am ready to add this piece to my coat collection.
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