Our local style of folk wrestling formed part of Cherchbi’s very early inspiration. The sight of strong men (and women) taking part in this physical, contact sport incongruously dressed in beautifully hand-embroidered velvet trunks and vests is fascinating, to me at least. So too is the sport’s local heritage, and the deep-rooted passion that extends through generations of wrestling families.

My first attempt to contact David failed, an email lost in a spam folder I imagine. I was reminded of his work again after reading Alex Jackson’s piece in Port magazine. We met and   immediately struck up another rambling conversation; the documentation of rural and folk culture, wrestling, Herdwick sheep (obviously) and Cumbria in general.

My first idea to connect Herdwyck bags with Cumberland Westmorland wrestling didn’t see the light of day. A single pocket inside each bag made in velvet rather that cotton lining and hand embroidered with a design based on a local fern. I actually had 20 of these patch pockets made with the original brand name Atkynson, this name was rejected soon after in favour of Cherchbi, the velvet panels placed into our archive, a costly sampling exercise. Now, having met David and been entirely captivated by the quality and content of his work, a second opportunity to connect Cumbrian tradition with Cherchbi presents itself.

We’re discussing ideas for a combined project, perhaps this year or next. A certainty though is that a selection of David’s Tek Hod images will be displayed alongside our Herdwyck bags at designjunction in London, Sept 18 – 22 2013. A date for your diary.

David’s work is produced in very limited editions, no more than eight I believe, and is available to purchase. Please contact us or him directly for further details. Do allow for a slight delay in reply, David is currently in Iceland photographing the Icelandic version of the sport, Glima wrestling.

There are many beautiful towns and villages in the area, some almost entirely constructed of  flint and red brick buildings in the vernacular style. We based ourselves in Langham, a perfect example and well positioned to reach the coastal settlements of Wells, Morston, Blakeney and Cley by tandem. The ‘Norfolk is flat’ myth was dispelled on our first evening, pedalling to Wells for a beach walk we enjoyed the outward freewheel down to Stiffkey and burned off our fish & chips as we returned up the hill. We watched a barn owl, glowing white in the dusk as it glided silently overhead, an appropriate reward for our efforts.

Holt is a bustling Georgian market town peppered with thriving independent shops and galleries. A visit to Old Town was a trip priority. We’ve both admired and purchased from afar, our first visit to the shop lived up to all expectations. The company makes traditional British workwear to order in it’s first floor workshop. The shop itself reflects the clothing, a simple presentation of unashamedly traditional quality and service to an appreciative and loyal customer. We spent an hour or so chatting to ‘former Woolworth’s Saturday girl’ Miss Willey about knitwear, fabric mills and British manufacturing in general whilst trying a variety of garments. We used our second anniversary, the theme being cotton, as an excuse to each make a purchase.

Another local destination of note is the Bluejacket in Morston, a workshop gallery offering an  eclectic trove from a six person collective. Luke Scott‘s selection of antiques is wonderfully diverse, Ned Hamond hand makes lighting in wood and copper and Roberta Hamond knits Gansey’s, (a local design of Navy woollen fishing jumper, the name a probable corruption of ‘Guernsey’) in traditional styles, commissions undertaken. The workshop takes it’s name from the Bluejacket, a ‘billyboy’ ketch which traded from Blakeney Harbour in the late 19th century.

The images themselves are the result of a photoshoot last week with Jim Lincoln, the man behind the lens of every Cherchbi shoot so far and Leo Scott, a photography professional himself who on this occasion shows his talent as a fine model for our bags. If Leo’s outfits catch your eye, they are the work of S.E.H. Kelly, one of the most exciting menswear brands at work in Britain today (and the subject of another Journal posts which can be found here). We strongly encourage a visit to their website or workshop where many more of their creations can be viewed and purchased.

Both the Tenter Workbag and Barrett Flap Brief are now available in the Cherchbi Shop.

Charleston House

At the top of my list sits Charleston, the idyllic country home of the Bloomsbury group and shrine to true British bohemia. The artist Vanessa Bell (sister of Virginia Woolf) moved into this Sussex farmhouse with her husband Duncan Grant in 1916. The house quickly became a retreat from the city for artists, writers and intellectuals – Virginia and Leonard Woolf, E.M. Forster and Roger Fry were all frequent visitors. Charleston’s interior is an absolute riot of faded colour, pattern and texture. Inspired by Italian fresco painting and the Post-impressionists, Bell and Grant decorated every wall, door and piece of furniture – leaving no surface untouched. Thankfully, the house is presented to look like it did in its heyday – works by Renoir, Picasso and Delacroix hang alongside richly patterned textiles, hand-painted lamps, old wooden easels, musical instruments and countless shelves of books. Charleston is one of the most vividly characterful houses that I’ve ever had the pleasure of coming across. In short: dreamy.

The Dunmore Pineapple

Really, do I need to explain why I’m so desperate to visit Dunmore? Isn’t it obvious? It’s a folly. With a gigantic pineapple resting on top. Who doesn’t love an ornamental pineapple? Nobody, obviously! (We’re proud owners of pineapple-shaped bedside lamps and a pineapple-shaped ice bucket. Not quite a folly but it’ll do for now.) Situated in Dunmore Park, Scotland, this elaborate summerhouse was built in the 18^th century by Lord Dunmore and can be rented out privately through The Landmark Trust. The fourteen metre-high, intricately carved stone pineapple is often agreed to be the most spectacular architectural use of the exotic motif, which became popular in Europe after its discovery by Christopher Columbus as a symbol of power, wealth and hospitality.

Hardwick Hall

Designed for the formidable Bess of Hardwick in the late sixteenth century, Hardwick Hall is one of the earliest examples of English Renaissance architecture. Standing proudly atop a hill and overlooking the Derbyshire countryside, I reckon Hardwick’s perfect symmetrical frontage and enormous windows might just have blessed the place with one of the most impressive and imposing (and every so slightly unnerving) country house exteriors of them all. The famous old saying – ‘Hardwick Hall, more glass than wall’ – sounds just about right. It’s exceptionally large and numerous windows were a powerful statement of wealth at a time when glass was an expensive luxury.

Castle Howard

Ah, Castle Howard…  glorious, glorious Castle Howard. Sir John Vanbrugh and Nicholas Hawksmoor designed this sprawling baroque mansion for the 3rd Earl of Carlisle between 1699 and 1712. It has been the home of the Howard family for more than 300 years, but I (and countless others) know it better as Brideshead Castle, that most beloved of all fictional country houses. The ancestral pile starred as Brideshead in both the original 80s television series and the 2008 film, and is now practically synonymous with the bewitching (yet tragically doomed) Flyte family. Make sure not to miss the mighty Atlas Fountain and the exquisite Temple of the Four Winds (where Sebastian and Charles’s frivolous wine-drinking scene was shot). If you need me, I’ll be there, sipping champagne and lazing with Aloysius…

Luke Edward Hall

London has a number of tall buildings with public access to high floors, however the perspective from floor 68 of The Shard, at around 800 feet above ground level is more akin with that from an aeroplane window. The obvious difference of course is that this view is static thus allowing careful observation of the intricacies of the city spreading for many miles in every direction.

All discussion of the building’s architectural merits and suitability to the London skyline ceased as we stepped onto the viewing floor. Whatever your opinion of the building, the outward view is undeniably breathtaking. High cloud didn’t affect the visibility, we arrived late afternoon and spent an enjoyable two hours until dusk, recognising the familiar and marvelling at the spectacular shape and pattern afforded by this unusual perspective. Hopefully the images do this some justice. Highly recommended if in London.

We quickly learned that with mannequins, as most things, you get what you pay for. The mass market left us cold. Advice came from John Rogers at Lissom & Muster who suggested Proportion; a visit to their website then Clerkenwell showroom confirmed their reputation for high quality and innovation. Their client list is a roll call of fashion and costume’s great and good; McQueen, Westwood, the V & A to name but three. The fact that they manufacture everything to the customers specification just a few miles from us in their east London factory confirmed the decision.

Proportion’s collection of mannequins, bustforms and presentation devices is mind-boggling, literally thousands of available options backed up by an archive of many thousands more. Our selection for Mr Cherchbi would be a calico-covered vintage bust form, metal stand, head and articulated arms. We visited the factory to photograph the first stages of making; mould halves are joined and lined with a layer of recycled papier mache. Two further layers of recycled paper are added, these bound with plaster of Paris. Mr Cherchbi needs arms to carry bags so additional layers are added to the torso sides to support these. The form spends 24 hours in the drying room before the addition of a wadding layer and the hand-stitched calico outer, which is then stained (a special recipe, tea and coffee was mentioned), and sanded to finish. The head is produced using the same method. Finally the fully articulated wooden arms and hands are added. The whole process can take up to six weeks.

Leaving the drying room we toured other departments, observing fibreglass mannequins in all stages of production, and upstairs through the design room as master moulds were being prepared. The quality of work produced by Proportion is undeniably high, two professional sculptors are employed when entirely new form shapes are to be produced, and through every subsequent stage the quality of materials used and the skills with which they’re applied is clearly evident.

I leave the creative bustle of the factory and experience a sensory jolt on entering a different bustle on Blackhorse Lane. How typical of London and brilliantly British; an inconspicuous east end factory quietly turning out such fine quality product to grace the ateliers of the worlds best fashion houses. Welcome to the company, Mr Cherchbi.

We later learned that the purchase was a personal treat, a reward for gaining admission to Cambridge University. Great news, a privilege to know one of our bags is regarded in this way.

These tests show different thread thickness, SPI (stitches per inch), thread tension, needle size (thickness), number of run backs (or back stitches) and bevel lines (embossed channels in which the stitch line sits).

We don’t imagine each of these individual elements will be noticeable on the finished article, perhaps none will be. But in some small way they all contribute to a distinctive robustness of finish that we’re certain will be apparent. It may be the reason one wallet is selected over another, or only recognised after much use. Either way, we’re confident each piece will become a well used and much cherished accessory.

If it wasn’t obvious already, we’re sure that this short Journal post confirms our mildly obsessive approach to our work. We do hope this is viewed positively.

At the start of the week our focus was the new Cherchbi Small Leather Goods collection. Design development is well under way, expertly handled for us by Sarah Williams. We don’t use the word lightly, Sarah hand makes bespoke leather trunks and cases in extraordinary designs under her own label Williams British Handmade. She is putting her undeniable talent to work on eight of our new designs; a variety of wallets, card holders, pen cases and document cases are all on the bench right now. In the images you can see the Pass Card Wallet, Six Card Wallet, Zip Coin Case and Document Case in various stages of work. It’s possible to just make out the well-worn saddle leather of a Four Card Wallet wear-test sample that’s been used daily since 2009. The incredible patina a testament to our hide selection and the tanning skill of Joseph Clayton. The fact that we wear-test for four years is an indication that we’re serious about this new collection.

Many tweaks and refinements were made to each design and new samples will be reviewed in April at which time they will be presented to selected press. The first few pieces will be available from cherchbi.co.uk this autumn. Please do get in touch if you would like any further information or have any questions.

Savile Row began to be associated with tailoring when, in the nineteenth century, Beau Brummell, that iconic figure of Regency England, swapped breeches for full-length trousers and established a new way of dressing for men. He patronised the tailors that had started to congregate on the Burlington Estate, and by the early 1800s, some had opened premises on Savile Row itself. Before long, the area’s sartorial authority had been established.

Gieves & Hawkes, perhaps the Row’s most famous outlet, and an amalgamation of two very old businesses (Hawkes & Co, founded in 1771, moved to the Row in 1912), can be found occupying a large, gleaming and very grand building at the best address of Number One Savile Row. Entering the shop in 2013 is akin to stepping into a sort of gentleman’s megastore, a one-stop shop where you can pick up a cashmere v-neck and an Edwardian silver topped match striker and have your handmade Oxfords expertly shined at the same time. Along with Gieves, one can’t talk of Savile Row without mentioning the illustrious Sir Hardy Amies, who established his own couture house at Number Fourteen in 1946. More than half a century later, the beautiful townhouse still stands proudly underneath a flag bearing Sir Hardy’s name. Pop in and take a look at the newly relaunched (and highly sumptuous) menswear. Whilst you’re on the Row, make sure to pay a visit to Drakes, a treasure trove of silk handkerchiefs and one of my favourite shops in the whole of London. I’m collecting them – handkerchiefs – my drawers are stuffed full of the things in a dizzying range of patterns, from paisleys and polka dots to dachshunds and flamingoes. Just south of Savile Row lies Jermyn Street, another historically brilliant spot for menswear, and once home to the 1^st Duke of Marlborough (as well as the infamous occultist Aleister Crowley). If you’re after a bespoke shirtmaker, look no further than this esteemed row of shops. It’s excellent for English shoes too – Edward Green, Crocket & Jones, Church’s and Tricker’s all have outlets here.

Of course, shopping for menswear in London isn’t all about bespoke. (This requires a bank balance much greater than mine at this point, sadly). With Savile Row and Jermyn Street, it’s the idea of heritage, history and romance that has always captivated me, perhaps even more so than the clothes themselves. Luckily, numerous new menswear shops have sprung up in several districts across the capital over the past few years and as far as I’m concerned, there are two destinations in particular that should be on the radar for all interested men. Lamb’s Conduit Street in Bloomsbury is one of them. This quiet row of shops has the feel of a village high street and is home to many wonderful independent shops selling goods for the home as well as clothing for men and women. Oliver Spencer, Universal Works, Folk and Private White V.C. all have shops here, so you need cast your eye no further if you happen to be a fan of modern, everyday clothing with an old style twist. The other site of note is Shoreditch – it has become a great hunting ground for menswear of late. Present, the contemporary retail space and coffee shop on Shoreditch High Street stocks an array of brands under one roof, as does the excellent Anthem on nearby Calvert Avenue. Anthem’s owner, ex-City trader Simon Spiteri, worked as a menswear buyer at Liberty before breaking free and setting up shop by himself. French label A.P.C. and MHL by Margaret Howell reside just around the corner, as does the independent store Hostem (with interiors designed by the ‘eccentric assemblage’ duo and artist/interior designers James Plumb, of who I am an enormous fan.)

So there we are – Mayfair may reign supreme in the realms of high-end menswear, but these two locations could surely give the more established spots a run for their money when it comes to passion and creativity…  Until I’m decked out in a beautifully crafted bespoke suit (give it a few years), these streets are where I’ll continue with my shopping for the time being. Though not quite as famous or as steeped in history as their older, more elegant brothers, they’ve got a similar spritely magic about them, that’s for certain.

Luke Edward Hall