bench autumn/winter 2012 brand book
DESCRIPTION
A book about people making it happenTRANSCRIPT
AW / 2012
A BOOK ABOUT PEOPLE
MAKING IT HAPPEN
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This is a book about people who
make things happen.
The people around the world who
don’t take no for an answer. The people
who don’t wait for things to be handed
to them. The people who go out there
and do it themselves.
This is Bench. Self-Made. We
celebrate the hard-working and multi-
talented guys and girls with vision and
ambition. The ones who aren’t afraid to
get their hands dirty. The ones crafting
their own futures and changing the
faces – and the streets – of the cities
they live in. In the pages that follow
we take a closer look at this active and
independent attitude in cities around the
world, the dynamic people that drive it
and the new collection inspired by it.
A self-made success in its own
right, Bench. has evolved from a group
of friends selling their t-shirt designs
in Manchester to a global lifestyle
brand. So we recognise and admire the
determination and commitment needed
to take on the world. Self-Made sets out
to explore, document and inspire. And to
shine the spotlight on those who deserve
it, who always follow their own path.
As we start to collect these stories,
the highs and the lows, this book is
dedicated to the ones who understand
that life is simply what you make of it.
AW / 2012
Campaign Film
SCAN TO WATCH THE FILM
SELF- MADE HISTORY
Laying roots in 1989, Bench.
has steadily grown to become
a global lifestyle brand. It took
a lot of blood, sweat and tears
to do it, so we know what it’s
like to claw your way to the top
with nothing but hard work and
determination to get you there.
Emerging into a fast-paced
world of extreme sports and a
music scene that was dictating
the sound of the globe, from
the heart of Madchester came
a small line of purpose-built
clothes: stylish and simple, and
designed for the city streets
we work in. There we were,
capturing the attitude of a new
generation, determined to
change the world. And change
it we did.
“Bench. was started by a
couple of guys wanting to add
their handwriting to the ongoing
story of BMX/Skate style. Season
by season we grew it, clothes
that we rode in, worked in,
studied in, partied in and woke
up in.”
Jon White, Bench.
By the end of the 90s Bench.
was a bustling hub of creatives,
designers and innovators
making real fashion for young
men and women. Growing but
always grounded, its humble
and earnest attitude earned it
an army of loyal followers who
knew what it was about. Every
new artist, club and event the
brand worked with broke new
ground and Bench. became
known for being at the cutting
edge. From the Haçienda
to the Warehouse Project,
Snowbombing and Melt, we’ve
always been at the front, giving
it our all.
BENCH. AW/2012 3p
The city dwellers are longing for the great
outdoors, the rugged terrain and the unknown.
They are getting lost and finding the world. This
season’s collection is a story of adventure and
exploration, with clothes built for comfort and
versatility.
Accomplished and functional, the line goes
back to the origins of the brand. Military details,
multi-pockets and wild craft-influenced trims all
come together in workwear created for the journey.
The line is also a dedication to the misfits: the
attention seekers and the unconventional, living
life loud. Rugged and unapologetic, these pieces
were inspired by the photographers capturing the
late night stories: the Nirvana exhibition in Seattle,
Berlin street art, the underground parties in London
and festivals around the world. With a nod to 90s
grunge, it’s impulsive and irreverent, with pieces
essential for the fast-paced living.
With a colour palette built over two phases,
the first is drenched in Autumn. Fallen leaves on
the city streets with khaki, rusty shades of orange,
saturated reds and burgundy, mixed with staple
neutrals.
The second is daybreak on a bright, icy winter
morning. Jaded colours from the night grow to
bold tones with crisp clarity. Frostbitten evergreens
and strong pine hues mingle with lighter tones
and strong magenta pink and deep teal provide a
contrast clash.
AW/12INSPIRATIONWOMEN’S COLLECTION
BENCH. AW/2012 5p
The AW12 range combines Bench.’s heritage
with a functional approach to clothes. Reaching
new heights and new landscapes, the line brings
the hills and the mountains to the city. Nordic-
inspired sweat fabrics and shaggy fleece linings
give the collection a modern winter feel. Practical,
down-to-earth and utilitarian details mixed with
traditional finishes and features create a unique,
fresh style.
The supporting theme is the culture clash.
inspired by new media, music and technologies.
Always on, always plugged in, the line is created
for a digital world awash with sights and sounds.
The connected generation, experiencing life and
friendships in full colour.
Sharing the same base colour palette as the
womenswear line, phase two is all about the bright
lights of the skyscrapers. Bright pop tones glimmer
against black, charcoal and deep navy. Offbeat
brights bring character and twist to the traditional
winter palette, whilst a rustic influence comes in
the form of Seal Brown, Picante and Blue Mirage
for a more traditional feel.
MEN’S COLLECTION
A/W 2012
jacket BMKA1520B LABOUR B shirt BMAA1074B ACRE B
BENCH. AW/2012 7p
HIM: knitwear BMFA1082 KRYPTON trousers BMNA1225 KEMPSTON
HER: knitwear BLFA1127 TURBULENCE jeans BLMA0250-1 FRET V1
jacket BMKA1474 DINKSY knitwear BMFA1094 KAKAZE shirt BMAA0945D CONI D jeans BMMA0236-1 ANTHEMIC
jacket BMKA1495 FRAISER jersey BMGA2685 INTERIM jeans BMAA0230-1 PIEZO
BENCH. AW/2012 9p
jacket BMKA1474 DINKSY knitwear BMFA1094 KAKAZE shirt BMAA0945D CONI D jeans BMMA0236-1 ANTHEMIC
HIM: jacket BMKA1496 LAYO shirt BMAA1047 ARKANSAS trousers BMNA1207 C IRVING C
HER: jacket BLKA1605 RASCAL dress BLSA1391 DROPPER earmuffs BLZA0076 KUKI
HIM: shirt BMAA1034 MESSER knitwear BMFA1090 KRANKY trousers BMNA1222 KIRKHAM
HER: knitwear BLFA1127 TURBULENCE dress BLSA1359 HALF CENT
BENCH. AW/2012 11p
HIM: jacket BMKA1495 FRAISER jersey BMGA2685 INTERIM jeans BMMA0230-1 PIEZO
HIM: jacket BMKA1496 LAYO trousers BMNA1207 C IRVING C
HER: jacket BLKA1605 RASCAL t-shirt BLGA2475 SPLUSHY trousers BLNA1331 MUSHABOOM
HER: jacket BLKA1605 RASCAL dress BLSA1391 DROPPER
HIM: jacket BMKA1492 KEVINHER: knitwear BLFA1140 LOGISH jeans BLMAO254-1 PICK
Everyone has it in them to do something great,
they might just need a bit of a push.
Whether meeting that person who’s truly
passionate about what they do or stumbling across
something that really gets you going, all you need
is a spark.
Here we meet some of the inspirational guys
and girls around the world who are doing just that,
something great. Discovering what it means to
succeed, we get to the bottom of what motivates
them, what scares them and ultimately what they
get out of the hard graft.
In the first of a series of profiles, we show that
you don’t have to have a stack of cash to get the
ball rolling. And you don’t always need a stamp on
a piece of paper to be qualified to make an honest
go of it. Laying their lives bare in order to inspire
a global workforce to get off their sofas and move
mountains, this book makes sure their stories are
heard.
From Portland to Berlin it’s their dedication
that’s driving them forward, changing their lives
and the cities around them. Leaving a mark on the
world.
We’re giving the stage to the people who aren’t
always bringing in the money, but are always doing
it their way: the guys getting shit done.
MEETING
THE
MAKERS
JORDAN
HuFNAGEL:
SHIFTING
GEARS
What’s your set up?
I am a custom bicycle maker and I share a large
metal workshop in Portland, Oregon with my friend
James Crowe. He’s a custom motorcycle fabricator.
We have a traditional metal shop full of things
like manual milling machines, lathes, sheet metal
shaping machines, saws, grinders and hand tools.
James and I both work a ton and we try to make
all our time spent outside of the shop as rad as
possible. That usually means things like camping,
motorcycling and swimming. Together we just
started a new company called West America. It’s
more focused on all our parts, rather than being
hyper focused on our other respective companies.
With West America we are creating an outlet for us
to share stories, focus on some new products and
get lost more often.
So how does a bicycle maker end up in Portland?
I moved to Portland at the end of 2004. I had been
living in Austin, Texas for a few years at the time
and was eagerly searching for the next spot. I spent
most of 2004 on various road trips zig-zagging
back and forth across the States, only spending a
few months at home. It was awesome and exciting.
That brought my first visit to the Northwestern
United States. When I got to Portland it was
summer time. Portland was in its full glory, packed
with life and motivated people, surrounded by
mountains and rivers. I felt like I’d found the place
I was looking for. I extended my stay on that visit
and when I got back to Austin I just bought a one-
way ticket back immediately.
Portland has developed quite the reputation in
America, especially in recent years, what is it that
you love about the city?
Portland is the kind of place where you can really
put your energy into whatever you want to be
doing. It’s a cool town and the rent is cheap, so
you’re not working your brains out just to pay the
bills. More importantly, the community is really
supportive here. There is a lot of opportunity - if
you want it. These things make it a hotbed for the
modern American craftsperson. On top of what
the city has going for it, Oregon itself is amazing.
extremely diverse eco-systems and beauty
everywhere.
There’s something about bicycles that get
people going. Not just the chain and the cranks,
but the ride. And in recent years the cycling scene
around the world has exploded.
No longer just for the sportsman or the
conscious commuter, cycling has become a
lifestyle choice for an ever-expanding community
of adorers. With bike cafes popping up on every
street corner and group rides like Critical Mass
getting larger every month, the taste for the tarmac
is getting stronger.
And with it, so is the appreciation for the
machine itself. Riders of all levels are looking into
more bespoke bikes than off-the-peg models.
Whether track, road or cyclo-cross, building a bike
is a process that takes patience, dedication and
unbelievably fine-tuned skill. Frame-builders are
artists of metal, and the craft often passes down
through generations.
Bikes have ruled the streets in Portland,
America, for a long time, and here cycling has
enjoyed the same surging success as it has in
London, New York and Berlin. Nestled in the
city streets is frame-builder Jordan Hufnagel’s
workshop, which he shares with his long time
friend, James Crowe.
Hufnagel started out building frames over
five years as a way of earning cash to do what he
loves – cycling and building stuff. Producing only
custom-built bikes, each one of his creations is
totally unique and involves painstaking detail and
craftsmanship.
www.hufnagelcycles.com
BENCH. AW/2012 15p
To many, cycling has become almost a religion. At what age did you
fall in love with the ride?
I don’t have the clearest memories of my first rides. I’m always glad
to be reminded, with pictures, that it was a Care Bears bike. Super
funny and kind of a standout as far as my childhood possessions go.
My pops is from Pittsburgh, PA and because of that most of what I
had was in Pittsburgh Steelers black and gold. Always looking tough
despite my bright blond bowl cut and summer baby tan. My second
bike was a Huffy Racing 50. In black and gold, of course. And I
loved it dearly. Our parents were old school and unstressed about
supervision. So my pals and I were getting lost in the woods and
getting into trouble on our bikes as early as I can remember. No hand
holding and lots of quick learning. I loved the speed and freedom of
bikes right away.
Your bikes are a seamless blend of modern aesthetics and
traditional craftsmanship, how did you build and hone your skills to
become the expert you are today?
My dad raised me to appreciate and be competent with tools, and I’ve
always been into making stuff. But, when I decided to do this I felt
like I needed to get a little more education to jump start me. I started
off taking a general welding class at a community college and during
that term I skipped out of town to take a couple of week-long frame
building intensives at a school called UBI. The classes set you up with
the very basics of frame building - exactly what I was looking for.
During all that time and the year prior, I’d been working my ass off at
two jobs, saving every penny to buy equipment and tooling so I could
have my own shop. Then, that’s where the real learning begins. I just
spent every moment I could in there working to be better and learn
more. There are a ton of skills to learn in relation to frame building
and you’re always finding more and working to get better at the ones
you already know. That’s one of the most important parts of being
a craftsperson, to always be learning even when doing something
you’ve done a thousand times.
Is there a universal starting point for you when building a bike?
The starting point is always finding out what the bike is going to be
used for. Once I have a clear vision of that, I can start letting my brain
run with ideas to make it rad. I don’t think there is a particular part
or detail that makes a beautiful bike, it’s more a sum of all parts. It
has to be a total package. I prefer a simple, reserved aesthetic. One
strip of flair that lets the craftsmanship shine. Pre-paint finishing work
is of huge priority to me. I want my bikes to be stunners even when
stripped of their paint.
BENCH. AW/2012 17p
What kind of jobs have you had before and what
did you learn from them?
I’ve done all kinds of stuff. Bike shops, working
with kids, restaurants, bars, construction, sheet
metal fabrication. All of which have taught me a lot
and given me a well-rounded base for interacting
with the world. Owning your own business
means wearing a lot of hats, and having a diverse
background helps you to be more prepared for
whatever comes your way..
Have you always wanted to go it alone?
For sure. Never had much fun walking to another’s
beat. I’ve always wanted to do my own thing,
exactly how I thought it should be done.
What are the most important qualities to have
when you’re trying to set up a business?
Confidence, and comfort in poverty. The hardest
part about starting a business is making the jump
from talking about it to doing it. One of the things
about the internet and communication these days
is this melting pot of inspiration that’s out there.
Being alone in your taste is becoming a rare thing.
There are huge numbers of people seeing the
same things, getting stoked about the same things,
wanting the same things. Chances are, if it’s a
business you really want to see happen, there are
thousands of people out there that feel the same
and that will support you. You just have to go for
it and get it in front of them. Also, don’t half ass it
and be honest with yourself. Otherwise the ride
will suck.
But starting out on your own can be a daunting
task, did you have worries about making it work?
I’m an eternal optimist, and I know that it’s always
going to work out. I’ve hit many obstacles along
the way and I’m still here. Money and burnout are
the two biggest ones, and they feed each other.
Anyone who does work like this will tell you that
the money isn’t great and the hours can be taxing.
Allowing myself the time to step back and clear my
head, followed by determination to push through
the hard times, has kept me at it.
What are your tips for someone looking to build
their own bike?
Practice on a lot of scraps before digging into a
frame, and make sure the tubes are clean and they
fit up tight.
What wisdom would you offer to someone
looking to start their own business?
Just go for it. The worst that can happen is you lose
your money, and you can always make more money.
So what’s your ride?
I ride a classically designed porteur bicycle made
for speedy city function, with a large flat rack out
front .
ESTABLISHED:
In the fi rst of this series of profi les, we look
at the people who’ve made it. The ones who are
already there. The people who are decades down
the line and know the pay-off for sticking with the
hard work. Because sometimes you can’t even
think about where you’ll be next week, let alone
imagine how the sweat might pay off years down
the line.
These skilled and dedicated people have honed
their craft and now they’re here to tell us how
it’s done, how patience, willingness to learn and
commitment to a passion can give you a job and a
life that you truly love.
ESTABLISHED:
In the fi rst of this series of profi les, we look
at the people who’ve made it. The ones who are
already there. The people who are decades down
the line and know the pay-off for sticking with the
hard work. Because sometimes you can’t even
think about where you’ll be next week, let alone
imagine how the sweat might pay off years down
the line.
These skilled and dedicated people have honed
their craft and now they’re here to tell us how
it’s done, how patience, willingness to learn and
commitment to a passion can give you a job and a
life that you truly love.
MICK SPRATT SOuND ENGINEERMICK SPRATT SOuND ENGINEER
Mick Spratt is 40 years self-made. An expert in the fi eld of sound
engineering and the art of building the perfect PA system, Mick
established Wigwam Acoustics in 1979, and has been providing
sound systems for the loudest and fi nest musicians, bands and
venues for over a quarter of a century. The company supplied the
internationally renowned Haçienda in Manchester, its last ever PA
system, after Peter Hook called Mick in to have a look at the club’s
ailing sound. It was Mick who set them straight. Bench found its feet
in the midst of the ‘Madchester’ scene of which the Haçienda was
so pivotal a part. It went on to sponsor the club’s global tour. But for
Mick, it was far from the crashing noise and excitement of the late-
80s Manchester, where his journey into the world of sound began.
For him, his story starts four decades ago in a church belonging to a
small town just outside of Rochdale.
“I kicked off building PAs for a band because they couldn’t afford
it,” Mick says, “I ended up being in the band, but I think I only got
drafted in because I could build things. ‘Sure you can be in the band…
because you can make speakers.’” Probably for the best, as Mick
describes his playing ability as modest: “Three and a half chords. And
I don’t read music.” In true DIY-style, Mick’s career was born out of
enthusiasm and carved by necessity. His talents would see the band
becoming a vehicle for enterprise, albeit slightly unorthodox. “We did
the Rochdale Festival in 1972. From there we continued to make this
gear and then sell it to keep the band on the road. Basically [it was]
wheeler-dealing, because we couldn’t afford the gear on our own. We
made and sold loudspeakers to universities, colleges and other bands.
They’d see us and say ‘Nice PA, where’d you get it?’ and we’d say, ‘Oh,
we made it.’ ‘Can we buy one?’ ‘Well, you can buy that one, and we’ll
make a new one.’ We’d literally sell the band’s gear off the stage.”
While this might paint the picture of a rock 'n' roll punk, the truth
behind Mick’s abilities as a speaker-head is that he was actually a bit
of an anorak. “I was just interested, a real PA geek. I used to buy all
the magazines and make things, you know? I got some drawings for
American loud speakers, JBL, in about '72, 40 years ago.”
Mick and his bandmates were getting what they needed by any
means, “We bought from wholesale suppliers and we managed to blag
them from various places. If you’re motivated enough you can make all
sorts of things work.”
In 1978 Mick sold all the band’s gear and bought a branded PA and
has been in business full-time since '79, renting out systems. The band
folded, although they did get together last year for
a reunion that Mick describes as being like “Spinal
Tap. I mean the singer is 70. I think it’s better to
leave the past alone sometimes.” When Peter Hook
brought Mick in to look at the Haçienda’s sound
system, it was a reality check. Over the years many a
PA system had made the walls shake inside the club,
but according to Mick, “They weren’t brilliant. They
used to have a lot of issues with them. I don’t think
they paid enough money, they were trying to do it
on the cheap.”
Mick ensured that the system they installed for
Hooky “was amazing. You could feel the blinking
pavement rumbling outside, there was that much
bass in it. That’s what you want.”
The system’s whereabouts since the Haçienda
closed its doors in 1997 are unknown. “We’ve heard
it’s in Japan somewhere, but it’s only hearsay. I don’t
know if there’s any truth in that.”
So how exactly do you go about creating a
bespoke system for a club with as much reverence
and cherished memory around it as the great
Haçienda of Madchester? “[We] looked at the style
of music fi rst. Then we took the equipment down
there and said, right, play the music through this
system. You ask the question, ‘is that what you want
to hear?’ You audition it. Then somebody goes
‘that’s it’.”
After his early days of touring with Manchester
bands at just 16 (“I can’t even remember any of
the names of the bands, it’s that bloody long ago”)
in a van with “a bit of PA”, Mick went on to study
electronic engineering at Bolton Tech. He failed his
O-levels the fi rst time because “I was in a band, so
I re-sat them. The difference on the second attempt
was that I wasn’t touring in a band”.
“There was a company called Mitrex Electronics
and there was a guy there called Roland Lumby.
Roland designed an amplifi er that was basically
indestructible, and this was in the early 70s. I went
to work for him building amplifi ers in '72. I don’t
know why he let me, I think he just took a chance
on me.” Roland Lumby is still sworn by locals as the
man for amp repair in Salford.
Nowadays Mick and his business partner Chris,
along with the rest of his team, are providing sound
for the likes of Coldplay and Guns N’ Roses, as well
as half of the rest of the world’s superstars. If you’ve been to more
than a few large scale music shows in the past decade, it’s likely that
you’ve experienced their handiwork. Mick is proof, as if more were
needed, that humble beginnings from the likes of Manchester give
birth to big sounds and big people, who go on to shape the world.
bag BMXA0655 GERVAIS
BENCH. AW/2012 23p
MORE ON BENCH
Our collection spans hundreds of pieces,
from clothing to bags and accessories,
with each detail and graphic inspired by
the lifestyles and the energy of the people
who wear them. We can’t show them all,
but here’s a snapshot of some of the other
pieces we love.
To explore the full Bench range, go to
www.bench.co.uk
BENCH. AW/2012 25p
Opposite page, clockwise from top left: shirt BMLA0905 EVASER hat BLWA0349 HATSU earmuffs BLZA0349 KINSEY jeans BLMA0270-7 bag BLXA0669 HARLOT DRUMMING
This Page, clockwise from top left: hat BMWA0499 HUGO bag BLXA0674 HAPPEN hat BLWA0346 HOUGH bag BLXA0690 HAGEL dress BLSA1396 BARKKING
BENCH. AW/2012 27p
Opposite page, clockwise from top left: bag BMXA0679 HERCULES shirt BMAA1074B ACRE B bag BMXA0673 HENDRY shirt BMAA1053 KIPPER.
This Page, clockwise from top left: knitwear BMFA1096 KIEV hat BMWA0501 HARIEM scarf BMVA0232 HUBERT
HIM: jacket BMKA1476 KAWARA sweat BMEA2042 KIDDER jeans BMMA0235-4 MIX V
HER: gilet BLKA1600 TRICKSTER sweat BLEA3057 CANDISH skirt BLDA0930 HAPPY
BENCH. AW/2012 29p
HIM: jacket BMKA1495 FRAISER sweat BMEA2071 KLOOT t-shirt BMGA2847 FACTORY jeans BMMA0230-2 PIEZO
HER: sweat BLEA3084 ACEBASE jeans BLMA0267-2 LOUDSPEAKER
knitwear BMFA1096 KIEV knitwear BMFA1098 KULTER
jacket BMKA1485 OFFKICK sweat BMEA2043 jeans BMMA226-1 CHORD
gilet BLKA1650 CONSPIRE sweat BLEA3125 DEWHOLME shirt BLAA0914 BOCOCA
BENCH. AW/2012 31p
HIM: gilet BMKA1466 KITCHO shirt BMAA1037 FALA jeans BMMA226-1 CHORD
HER: jacket BLKA1579 RASLO t-shirt BLGA2457 WHATHARE jeans BLMA0250-2 FRET V2 scalf BLVA0285 HUDSON
jacket BLKA1587B MISTER B sweat BLEA3046 BERNIE shirt BLAA0905 EVASER
jacket BLKA1587B MISTER B sweat BLEA3046 BERNIE shirt BLAA0905 EVASER trousers BLNA1301B PRAIA B
BENCH. AW/2012 33p
jacket BMKA1475 KIPPER jeans BMMA0224-1 BREAKS
LIFTING THE HOODWe spend a lot of time crafting and
perfecting our products. Every stitch and
every fabric is considered and tailored to
meet the demands of a city lifestyle. In
the following pages we deconstruct our
processes, to spotlight the quality and the
detail that goes into every piece.
fur trim: acrylic based faux fur
main fabric: pu coated cotton nylon
body and hood lining: micro-fleece
sleeve: lining taffeta
wadding: soft touch waterproof wadding
rib: 2x2 rib
garment wash: rinse
embroideries: front placket and central on
hood panel
trims: total used 18
wash care labels: x2
inner back patch and hanger loop sign off:
used on 12w1 jackets
fabric consumption : 1.79m
man hours to make garment: 5898 sec.
amount of thread used per garment: 386m
KIDDER C (BLKA1298C)
BENCH. AW/2012 35p
main fabric: pu coated cotton nylonbody and hood lining: microfleece
sleeve lining taffeta
rib: 2x2 rib
fur trim: fake fur acrylic based fur embroiderys x2: front placket & central on
hood panel
main fabric: 600D polyester with PVC backing; outer binding: herringbone; branding label: laser cut woven; zip: dark gunmetal; zip pull: PU,
seal brown; contrast fabric: PU; webbing: seal brown; fastening: ladder locks, and metal components; lining: 210D nylon and PU backing
HERCULES (BMXA0679)
BENCH. AW/2012 37p
Berlin has a difficult past. In the 20s the city was the world’s
leading textiles centre, with 750 factories, but when it was torn apart
by war, many of the designers fled, demolishing the city’s talent
resource, and with it, its reputation.
However, recent decades have seen life breathed once again
into Berlin’s streets. The cheap living costs and abundance of space
have driven the city’s revival as a global cultural capital. It’s the
resilience and determination of the place that drives its unique brand
of creativity and this is the reason why people from around the world
are rushing to fill the suburbs.
Millicent Nobis is just one of those people. Travelling to Berlin
from her native Australia, she has a hand in many projects. Earning a
name for herself as a model and a fashion blogger, she finally found
her creative outlet in jewellery. And from the German capital she
creates and pushes her label, Mies Nobis.
www.miesnobis.com
MILLICENT
NOBIS:
THE WORK
OF BEAuTY
MILLICENT NOBUS: SKILLET COLLECTION
BENCH. AW/2012 39p
You’ve got a lot going on, does your work keep
you busy?
Last week I spent a lot of time drinking prosecco
and crazily sandpapering metal and wood cutouts
into a new collection that I decided to create a
week before a group show. And two days ago I
flew to Paris to present my label, Mies Nobis, at
Première Classe.
Have you always known that you wanted to work
in fashion?
When I was little my parents dragged me and
my sisters (four girls under 12) around Europe for
a nightmarish few months. In London (actually
the outskirts somewhere near Essex, but London
sounds better) I saw a shop called Milly’s Boutique
and it occurred to me that it would be fun to have
my own shop. I studied fashion design in Sydney
but quickly lost interest in actually graduating. Now
I really like jewellery. As I always say, it’s easier to
wear an experimental piece of jewellery than an
eccentric piece of clothing.
How have you learnt your craft? What skills go
into it? Have you always been craft-focused?
I’ve always liked creating things with my hands.
Throughout the years, I’ve had tiny wax dolls that
slept in matchboxes, felt mice, pottery dolphin
sculptures, twisted safety pin jewellery, feather
earrings sold at Bondi Markets - oh, the list goes on
and on. I love discovering new techniques and I’m
actually pretty much self-taught. It’s funny, when
I was studying and being trained in the traditional
methods of fashion design and production, I sort
of lost interest. Maybe it’s the joy of figuring out a
new medium.
What’s your production process?
I’m currently making my “Tier” pieces, for which
I’m laser cutting brass, wood, plexiglass and
stainless steel shapes. And soon maybe porcelain,
but that’s all in the experimental stage. Then
it’s sanding, polishing, tinting, lacquering and
wrapping together with copper wire or waxed
cotton cord into industrial-looking statement
pendants.
How do you get inspired to create your pieces?
Ideas pop into my head quite randomly, or I’m
inspired by thinking about how I can use a certain
process or material I discover. The most important
part is taking care of the small details to produce
something that looks really nice even close-up.
Sometimes I get lost in finishing something but this
is very important for producing something you can
be proud of.
How much did you think it through before you set
up your label?
I just started really. It’s probably smarter to do it with
some kind of financial plan but I thought, “I like
creating jewellery”. So I spent all my money doing
that, and got to a point where I thought I should try
and actually make some money to keep it going.
To do this you need to love what you do and have
determination. Also a bit of a disregard for your own
well-being probably helps you to “slave labour”
yourself a bit.
Was there a part of you that was worried about
giving it a shot?
I can’t say I’ve thought about it so much. What’s
the worse that could happen? I try, I fail, I end up
bankrupt maybe, I lose all my love of creating and I
get a nice safe office job to pay off my debts. A lot
of people I know are quite happy with nice, safe
office jobs.
What did you learn on your journey from earring-
seller on Bondi Beach to hotly-tipped designer?
My life is an endless list of side jobs, thinking about
them is a little depressing. I’ve had jobs in retail
where I learned that I never want to do retail ever
again in my life. I’ve been a waitress, a barmaid,
a model. I learned the exact drinking water &
peeing timetable that ensures your belly is as flat
as possible when they are ready to shoot. I also
learned that dating a chef can be fun.
What made you switch from the beach life of
Australia to the colder climates of Berlin?
I came to Berlin in 2010. I’d wanted to come and
live here for a while to improve my German, but
I didn’t expect to stay so long – or speak so little
German. People always say Berlin is free but that
really is the sense I get from it. I think everyone
feels like there’s space to really be who they are
here. Sydney is quite different to that. I love Sydney
because of my history – my family and friends – but
really, I am “in love” with Berlin.
What do you love about being independent?
I always wanted to do my own thing design/
creative wise, I am not great at compromising in
that aspect. I love it because I am quite good at
being independent and it’s always fun doing things
you are good at!
And what’s your favourite piece of your
jewellery?
The next piece. The one that’s floating around
my head looking perfect and amazing before
it’s tarnished with the realities of actually being
created.
BENCH. AW/2012 41p
INGRID DONAT FuRNITuRE DESIGNER
French furniture designer Ingrid
Donat is doing what she loves, and
what she was born to do. Turning her
back on education to go it alone, for
20 years she’s been steadily building a
stunning body of work that combines
interior design with the beauty of fi ne
art. Designing and building all her
own work, she is self-made
“I started simply making furniture
for my house.” says Donat, from
her home based on the outskirts
of Paris “I’m surrounded by my
pieces at home because my house
is my starting point, it’s where I
work.”
Born in Paris in 1957 into a
family of artists and architects, it was
always in her blood to sculpt, mould
and change her surroundings “I’ve
always made pieces of furniture for
myself, but started professionally at a
relatively late age of 40.”
In 1975 she enrolled at the École
des Beaux-Arts in Paris and, in the
bright lights of the city’s bustling
creative scene, her passion for
sculpture fl ourished. Her talent and
unique approach were noticed quickly
by the upper echelons of the capital’s
scene who were keen for her to
improve “It was Sylva Bernt, sculptor
and companion of André Arbus
[who] taught me different techniques
of sculpture. Diego Giacometti and
Cesar encouraged me to develop my
work.”
For Donat, the creating of
furniture is more than just knocking
bits of wood together to sit the TV
on, her pieces are works of art in
their own right, “First and foremost
I’m a sculptor and I keep to the
traditional techniques of sculpture.”
Her background in art means she has
an appreciation for how these things Images courtesy of Carpenters Workshop Gallery
of beauty should work together “I love [it] that the
furniture is discreet, elegant, and doesn’t immediately
attract the eye: pieces that fi t in with the harmony
of a room, leaving the works of art, the painting, the
sculptures to stand out fi rst, [and] that we can discover
the details, the work, the refi nement when the eye
fi nally rests on the furniture itself.”
“What I like is working directly with my hands, if
the materials allow me to do so.” It’s the fact that Ingrid
looks at furniture through a sculptor’s eyes that allows
each of her pieces to have their own identity and visual
story. However, the approach means each work is a
time-intensive labour of love.
“The creative phase can be very fast but sometimes
very long,” she explains, “It depends on the inspiration.
Sometimes I explore the routes that I like immediately,
sometimes I put them aside to pick up later. There are
phases [that come] after, such as moulding, casting,
chasing and patina. They take a long time. I produce
ten or so new pieces each year.”
“The fi rst step is the design and the production
of a prototype in wood. After that I develop the
material of the furniture that will form the fi nal piece.
Sometimes, when I decide it’s right, I sculpt elements
and afterwards we adapt each element. Then into
the moulds, we pour molten bronze. Following this
is a step called chasing, which is cleaning elements
in bronze and then welding them together. The fi nal
step is the patina. It burns directly onto the bronze and
oxidises it. This gives the deep colours and nuances.
And at the end: a layer of wax.”
Donat is now a resident a The Carpenters
Workshop in Paris, a gallery dedicated to discovering
new and ground-breaking design-art. It’s the gallery
that looks after the fi nancials because as Ingrid says
“I’m not completely disconnected from the business
side of things but my passion is for working with
interiors. What I know is that I work by instinct, and
I work primarily for me, if that pleases some fans, I’m
thrilled.”
www.ingriddonat.com
BENCH. AW/2012 45p
BENCH. AuDIODESIGN AND COLOUR
The look is all clean lines. A blend of
vibrant brights and earthy neutrals, with the
subtle Bench. signature detailing. Easy to
wear, and understated with an urban edge and
distinctly Bench.
Available in four colour-ways: black/white,
black/grey, black/hot pink, green/neon yellow.
FEATURES
In-line mic for play/pause, track control
and taking/making calls. iPhone® compatible.
Foldable headset for compact storage.
Lightweight design. Flat, anti-tangle cable.
Cushioned headband for enhanced comfort
and fi t. Plush, cushioned ear pads for comfort
and bass seal. Gold-plated, rust-proof plug.
SOUND QUALITY
Suited to all music tastes the Bench 2012
Headphone Collection delivers high quality
sound. The closed cup design excludes
ambient noise and provides great sound
isolation whilst dynamic frequency response
from 20 Hz to 20 kHz ensures that the sound
combines high, medium frequencies and
bass for detail and depth. Rich bass notes
without compromise to the mid or high-range
and excellent clarity provide purer sound
experience.
BENCH. AW/2012BENCH. AW/2012 4545pp
BENCH. BENCH. AuDIOAuDIODESIGN AND COLOURDESIGN AND COLOUR
The look is all clean lines. A blend of The look is all clean lines. A blend of
vibrant brights and earthy neutrals, with the vibrant brights and earthy neutrals, with the
subtle Bench. signature detailing. Easy to subtle Bench. signature detailing. Easy to
wear, and understated with an urban edge and wear, and understated with an urban edge and
distinctly Bench.distinctly Bench.
Available in four colour-ways: black/white, Available in four colour-ways: black/white,
black/grey, black/hot pink, green/neon yellow.black/grey, black/hot pink, green/neon yellow.
FEATURESFEATURES
In-line mic for play/pause, track control In-line mic for play/pause, track control
and taking/making calls. iPhone® compatible. and taking/making calls. iPhone® compatible.
Foldable headset for compact storage. Foldable headset for compact storage.
Lightweight design. Flat, anti-tangle cable. Lightweight design. Flat, anti-tangle cable.
Cushioned headband for enhanced comfort Cushioned headband for enhanced comfort
and fi t. Plush, cushioned ear pads for comfort and fi t. Plush, cushioned ear pads for comfort
and bass seal. Gold-plated, rust-proof plug.and bass seal. Gold-plated, rust-proof plug.
SOUND QUALITYSOUND QUALITY
Suited to all music tastes the Bench 2012 Suited to all music tastes the Bench 2012
Headphone Collection delivers high quality Headphone Collection delivers high quality
sound. The closed cup design excludes sound. The closed cup design excludes
ambient noise and provides great sound ambient noise and provides great sound
isolation whilst dynamic frequency response isolation whilst dynamic frequency response
from 20 Hz to 20 kHz ensures that the sound from 20 Hz to 20 kHz ensures that the sound
combines high, medium frequencies and combines high, medium frequencies and
bass for detail and depth. Rich bass notes bass for detail and depth. Rich bass notes
without compromise to the mid or high-range without compromise to the mid or high-range
and excellent clarity provide purer sound and excellent clarity provide purer sound
experience.experience.
FIT FORPuRPOSE
From industrial beginnings, denim has become
the uniform of the global workforce on a mission,
out there getting their hands dirty. Humble,
unassuming and now a global phenomenon,
they’re the ultimate example of style and
substance. No nonsense, just fi t for purpose.
Our jeans are designed for the people who
wear them. Shaped by fast-paced scenes around
the world, they refl ect the energy of the people
driving change.
Bench. denim. Stitched for city streets.
BENCH. AW/2012 47p
FLY DETAIL INSPIRED BY 1/4 ZIP
BENCH. CORP FULL STOP RIVETDOUBLE BELT LOOP
AW12 sees a new line of washes that use hand-
fi nished fabrics, created to capture the look of a
well-worn pair of jeans. The collection adopts
lightly faded black, rich indigo, weathered-look
rustic cords, rum-raisin and deeply saturated blue.
Stripped back to an overall clean and simple
feel, the range has been fi nished off with iconic
Bench. detailing that forms the design DNA – the
off centre, quarter zip, the double belt loop and the
full stop – putting their stamp on the line.
The soft hand feel fabrics for comfort and the
super stretch compact denim used to create our
skinny styles make sure our range adapts to a life
on the move.
BENCH. AW/2012 49pBENCH. AW/2012 49p
BENCH. BACK PATCH
SELF- MADE PRESENTS
To celebrate the launch of the new AW12
denim collection, we set out to find out more
about the people who inspired it. In a series of
short films, we explore the range while following
these inspiring young people as they show us their
streets and their lives.
BENCH. AW/2012 51p
Since its inception in 2011, NTS Radio has
been setting the standards across London for
independent radio stations.
Holding down the fort at the Gillett Square
HQ, on-air producer Sam Cunniffe knows
exactly what kind of blood, sweat and tears
it’s taken to build one of the most respected
and talked-about music developments
around in little over a year. With the station’s
schedule reading like a “who’s who” of the
capital’s pioneering producers and artists, its
beats are the soundtrack to the area’s creative
community.
In the fi rst of our fi lms surrounding the
Denim Range, Sam offers us a glimpse of the
inner workings of the station. Exploring the role
of independent radio in London, we see the
wires and sockets, the gaffer tape and coffee
cups, and the faces behind the voices.
We follow Sam, kitted out in Bench. jeans,
to a hidden, appointment-only warehouse fi lled
with rare and sought-after vinyl. As he carefully
selects records for the party that evening, which
he runs and promotes, LIFE, he explains the role
music has in his life and why it inspires him to
push boundaries through the station, the events
and his own.
SAM CuNNIFFE
jacket BMKA1523 LYNDEN sweat BMEA2139 LARSON jeans BMMA0224-1 BREAKS
SCAN TO WATCH THE FILM
From beginning as a volunteer in Rough Trade West
record shop, to becoming a staggeringly-young record
label boss, 21-year-old Cherish Kaya hasn’t found her
age an obstacle in her rise.
Having proven her mettle as an artist herself,
playing in bands such as Ipso Facto and Florence + The
Machine, it was while scouting for Columbia Records
that Cherish developed an ear for talent.
Realising she knew a good thing when she heard it,
she quickly decided that by going it alone she’d have
the freedom to create something bold. In June 2012,
Cherish launched Kaya Kaya Records, a subsidiary of
the groundbreaking independent label XL Recordings.
With a select team of hand-picked artists that she
believes in, she’s determined to make people sit up
and listen.
We captured Cherish’s journey as she prepared
to launch the label, confi dently taking on the city in
a pair of Bench’s fi nest blues. Our fi lm follows her in
the run-up to her debut event at Birthdays in Dalston
as she explains the highs and lows of making a go of
it, and refl ects on what is really just the fi rst step of her
next big adventure.
CHERISH KAYA
jeans BLMA 0250-2 FRET V2
SCAN TO WATCH THE FILM
BENCH. AW/2012 53p
jacket BLKA1634 SPARKLER knitwear BLFA1159 SNOW SHOWER shirt BLAA0912 LUMBERJILLIAN jeans BLMA0251-1 FREQUENCY
HIM: jacket BMKA1466 KITCHO knitwear BMFA1081 KARIBOU trousers BMNA1207C IRVING C
HER: shirt BLAA0909 PRIVATE knitwear BLFA1114B FANCY THAT B t-shirt BLGA2463 TYPOE skirt BLDA0934 FLYPAST
jacket BLKA1646 HUYTON knitwear BLFA1147 MAJORAMA dress BLSA1421 CLASSIC BLEARY hat BLWA0354 HEXONE
BENCH. AW/2012 55p
jacket BMKA1535 LASSO sweat BMEA2144 BALLBROOK t-shirt BMGA2892 ADDERLEY jeans BMMA0236-2 ANTHEMIC
HIM: shirt BMAA1075 ALPHA
HER: jacket BLKA1644 LANG knitwear BLFA1174 CREWTON trousers BLNA1331 MUSHABOOM
HER: jacket BLKA1635 LAKSO dress BLSA1400 DAMSELS
HIM: jacket BMKA1512 LYME knitwear BMFA1111 LYKKIE jeans BMMA0226-2 CHORD 2
BENCH. AW/2012 57p
HER: jacket BLKA1639 BEST knitwear BLFA1171 HOOD TOWN dress BLSA1392 HIPSTA
HIM: jacket BMKA1524 LOCAL t-shirt BMGA2888 LASER trousers BMNA1207D IRVING D
HIM: t-shirt BMGA2761B JUROR B sweat BMEA1962 B INCE B jacket BMKA1472 ELECTRONICA jeans BMMA0224-1 BREAKS
HER: jacket BLKA1597 GREENLAND sweat BLEA3057 CANDISH
jacket BMKA1522 LEONARD shirt BMAA1066 LOOP trousers BMNA1230 LOWERY
BENCH. AW/2012 59p
M.THOMAS
&
A.JOHNS:
CONCRETE
JuNGLE
The world’s pretty well-equipped when it
comes to finding spots for skating. With a vast
network of purpose-built parks - not to mention
entire cities of benches and curbs - there’s always a
place to grind.
But the scene’s always had a rebellious streak,
and in recent years they’ve been taking up arms.
With cement mixers and shovels, they’re building
their own places to skate, perfectly formed and
made to measure.
In the summer of 2011, a group of friends set
out to turn an abandoned pool in South London
into their own private spot. A spot that’s secret and
illegal, the location is not to be revealed until after
its demolition. Adam Johns and Martyn Thomas
were part of that group. They tell us what it was
like to be involved with such a big build and why
they’ve decided to take part in another.
How long Have you been building?
AJ: I’ve built numerous things over the years, to skate with my friends,
including jump ramps, quarter pipes, grind boxes, sketchy drop-ins,
an attempted mini ramp and even a tarmac skate park, which we
built with the money the council donated to one of the skateboarders’
dads’, who was a builder, to create a skate park for us. All of us kids
helped and no one had laid tarmac before. It was the worst quality
material and was a total fail. But we skated it for a good while anyway.
Does skateboarding naturally lend itself to the more hands-on
person?
MT: I think skaters have been building stuff forever, if not building
then re-appropriating. Banks, ledges, pools, stairs, all get used or
“fixed” to skate. They already have the ideas to build, it’s just a matter
of finding people who are into taking it a stage further.
AJ: Whether it’s creating your own skateboard companies or
building your own skate parks, there’s always been a DIY element in
skateboarding. So we now have skater-run, park-building companies.
Where do you even start planning and tackling something so huge?
AJ: The latest spot we are building, I actually found on Google
Earth. Total luck. We decided to set out on a wet Saturday morning
in March to check it out, with some tools just in case it had any
potential. As soon as we got there it was obvious, “Yes, we can
build something here”, and without hesitation we started moving
dirt and stones into position. We levered up some large paving slabs,
cemented them into place against a wall, and four hours later we’d
built a wall ride.
BENCH. AW/2012 61p
MT: It’s a collaborative process, with everyone bouncing ideas
around. So it’s all down to who you have in your team. If you have
a lot of street skaters in your team you will most likely come up with
designs that reflect that. And a lot of it is spontaneous. I’ve watched
the key players all deep in discussion about what to build and where.
All of them getting very excited about how hard, or f*cked up, it will
be to try and skate it when it’s done. It’s a great atmosphere.
What kind of commitment does it take?
MT: Everybody puts in a lot of money for concrete, dedicates whole
weekends to prepping the rubble and the flashing (wooden frames),
then there’s mixing and pouring up to a ton or two of concrete by
hand. Having spent a few days sweating with these guys, I can vouch
for how much hard work it is and how much dedication it needs.
What’s the biggest worry in the build team?
MT: Getting found out before we even get to skate it, that would be
hard. Though, depending on the location they might allow you to
stay. The more unused and hidden the location, the more valuable it
is to the build team.
AJ: All you can do is be discrete and tidy so as not to draw too much
attention to what you are doing. I believe that when it looks like you
are working hard, people just presume you are meant to be there.
Hi-vis jackets can almost make you invisible. The more interesting
terrains and environments excite and inspire me, but it can be a very
temporary thing. That is why you have to take advantage when you
can, get motivated and get organised or you will miss out on a new
opportunity.
Is the worry of demolition why you try to keep it as secret as
possible?
MT: When you find a spot to skate, word gets out and then it gets hit
by everyone. Sites are being kept secret because it is so much work to
get one built, you want it to last as long as possible. Skateboards have
a nasty habit of making things fall apart.
Slaving away at the weekend with a cement mixer is like taking on a
second job that doesn’t pay. What kicks do you get out of it?
MT: Pride in skating something that you actually build with blood,
sweat and your friends. It’s way more rewarding than kicking back
with a cup of tea and admiring the shelves you just
put up in your house, that’s for sure.
AJ: It gives us all our very own secret to enjoy. For
a certain time. All skateboarders would rather ride
something built by other skateboarders as opposed
to those built by the car park building firms, which
built a lot of parks in small towns during the 90s,
when councils didn’t want to spend much money
on proper spots. Plus it’s always challenging to
skate because of its handmade quality. And there
are no kids on scooters to crash into.
The second project is due to be demolished when
the land is cleared; how will it feel to stand and
watch the ship going down?
MT: There are videos called “The Strongest of the
Strange” that feature an impressive build - one that
inspired me and many others. They had to stand by
and watch it get demolished, and it must have been
hard. But they built another. And another. We’ve
not yet had to stand by and watch everyone’s hard
work be destroyed, but it will happen. I guess it’s
just important to make the most of it and not rely
on it lasting forever.
AJ: You are a little gutted. But you have to accept
from the start that it may not be there tomorrow.
You can’t dwell on what might happen, as that
may not happen for a long time. You would never
consider doing it in the first place if you couldn’t
accept that reality.
A build of this size involves a pretty hefty
amount of skill, how did you guys get the sort of
construction knowledge you need?
AJ: There has been more forward planning
involved at times, when friends who actually build
skate parks for a living came on site. They brought
plywood shuttering as a template for the transition
shape or ready made pool coping. You can always
accomplish something if you’re motivated enough
to get your hands dirty and work together.
MT: This inspired a lot of the others to buy the
right tools and learn how to work the concrete
themselves. Within a few days of building, the guys
really knew their stuff and I found myself getting
taught by my friends who were still pretty fresh to
it. I was blown away and inspired by the whole
operation.
BENCH. AW/2012 63p
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