The makers of S.E.H Kelly

As a self confessed factory fetishist, I like nothing more than traveling the length and breadth of these Isles and beyond to get my next fix. However, it just isn't possible to practice craft voyeurism as much as I'd like to. Thankfully, S.E.H. Kelly's captivating website offers a welcome glimpse in to their network of makers. Every aspect of every garment is made with the domestic clothing industry, with steadfast adherence to quality and the sturdiness of British make and makers celebrates them.  Now, there are far, far simpler, quicker and cheaper ways to get garments made. S.E.H. Kelly use these suppliers and craftsmen because they know them, trust them, like them - as individuals and as establishments - and even more importantly for the finished garments, like the qualities and the idiosyncrasies of British cloth and a British make. It tends to be sturdier and heavier, and those qualities go on to inform their covetable garments.

The label is a true celebration of British craftsmanship. Garments begin life at the duo's design studio in London, before being developed into patterns with a local pattern-cutter. Materials, are duly sourced from an assortment of outstanding regional mills and co-operatives — their provenance running across this land. The garments are then cut, sewn, and finished by hand — and, for knitwear, knitted — by a handful of workrooms and factories, many of which are specialist makers of one type of garment. Tucked away as they are across the Isles, the Makers series allows them to be seen. Knowing my love for the series, SEH Kelly's very own Paul Vincent offered to share an edit of images and musings from a selection of makers, including a few that have not been seen before...

----------

Wool and mohair mill, Yorkshire

"There used to be dozens of mills where this mill stands in West Yorkshire. Now there’s just a few, and most of them have banded together under the same ownership. What’s fascinating here is how many different generations the building and the contraptions within it span. The pictures here are from the oldest part of the mill. The processes and exactitudes haven’t changed a jot for half a century — and in many cases, much longer than that. Every time we go up, we invariably come back with something new. Last time it was a terrific flecked mohair. We also recently used a marvellous thick chalkstripe suiting from here which we used it for some overskirts."

----------

Workroom, North London

"This factory in North London is one of a few we work with. They’re a close-knit bunch, these factories. Everyone knows each other, and has worked with one another at some point or other. These guys specialise in outerwear, and when we started out with them, make quality immediately went up a notch. You get a feel for a factory the first time you visit. There’s a good atmosphere here, workers’ kids can often be found running about the place, and tea-breaks are regular and bountiful. It’s a real familial vibe, which is reassuring. One of photo here is their button-hole machine. Worth its weight in gold, the well-maintained button-hole machine."

----------

Woolen mill, the Cotswolds

"This is a woollen and tweed supplier based in the Cotswolds. Last time we went we encountered a bunch of interesting stuff, like a super-heavy tweed that was once used to line the interiors of high-end automobiles, and a new range of all-natural and un-dyed wools, of which there has apparently been a surge in demand of late. Here you can see the wooden shuttle looms they’ve used over the ages, and some other archaic-looking contraptions and parts. Really should ask what they’re for."

----------

Buttons maker, the Midlands

"Not all buttons are created equal. At least, that’s what we tell ourselves. We’ve been working with the same button maker since we began. In fact, since before we began — they’re a place we first encountered during our time on Savile Row. Not only do we work with the same place every time, we mostly get the same buttons: matte horn ones with a satisfying little dimple in the middle. Of all the makers, this is the noisiest — the din of all those buttons rattling around the place rings in your ears for hours after you’ve left."

----------

Cashmere mill, West Yorkshire

"This place supplies the great and the good of the international fashion industry. And us. We’ve worked with them for a while, and they know what we like. If we had our way, we’d order meters by the dozen, but as it stands, because their stuff is at the top end of the market, and the prices match, we have to be selective. Our most recent acquisition was a charcoal wool-cashmere “birdseye”. Stupefyingly lovely stuff. And we’ve got some very lightweight wools lined up for spring. Wool mightn’t be the first thing you’d associate with spring, but the stuff’s so good — and our spring-time cloth options are limited compared to winter — that it’s all but impossible to pass up. The shots here are of the teasel-gig: a curious machine over which cloth is rolled to soften it up."

----------

Unpicking the seams... British Remains' First Creeper

Following years of discussion centred around aspects of Britain that they like, hate and mourn, Daryl Saunders and Andrew Bunney launched British Remains. Unveiled last summer, the debut range of t shirts and totes set the tone by celebrating facets of Britain and localised symbols that would ordinarily not be known outside of these shores. Amongst the neglected and the forgotten rubble of Britain, London brickwork, toilet signage and Generation X were all highlighted. In offerings since, the pair have focused their design attention on the Royal Wedding and most recently celebrated the sneering youth spirit of 'them' and 'us'. For AW11, they reveal their first shoe - First Creeper.

Adopted by various youth tribes and factions of the British underground throughout the last half century, the wonderfully named shoe still has the ability to excite by providing quite the visual statement. A heady mix of comfort and rebellion. Traditionally a suede shoe with thick crepe soles, the creeper was borne out of necessity in the years following World War II. British soldiers returning from the desert wars had worn suede boots to which they had attached improvised rubber soles made from old rubber tyres. It is a Mary Shelley tale of a shoe. Returning to London, unsurprisingly the ex-soldiers were attracted to the most desirable undesirable “night spots”of Kings Cross and Soho. As they found their pleasure, they were still wearing this rubber sole footwear or derivatives that had been put together by their cobblers. Creeping around brothels was enough to give the shoes their name. Now, the brothel creeper immediately evokes images of youth, musical movements and hints at the more rebellious corners of society. 

With the mere mention of brothel creepers today, one immediately thinks of George Cox. Therefore, it should come as little surprise that the First Creeper was made in its spiritual home. In 1906, George James Cox founded his shoe company in the heart of England's traditional shoe making region, Northamptonshire. Crafting high quality traditional footwear at first, the company quickly gained fame for the iconic styles that would come to inspire generation after generation of subcultures. From the brothel creepers of the 1950s to the winkle pickers of the 1960s, George Cox have still produce delightful underground styles. Not interested in costume, British Remains wanted to create a creeper that stayed true its tradition whilst making creating a far more accessible shoe. With the thick crepe sole and aggressive notched leather welt softened by the simple suede leather derby upper, their First Creeper undoubtedly pulls it off. From the moment Bunney posted an image of the initial sample back in May over on honeyee, I just knew my ever growing shoe collection needed them. I've obsessed and dreamed about them ever since. Yesterday, following a quick visit to Goodhood my feet's dreams came true. To mark this happy moment and even before I took them out for a pavement stomp, I caught up with Bunney to learn more about my latest fixation...

----------

British Remains' First Creeper

SS: The First Creeper marks British Remains' first foray in to footwear design. What attracted you to the creeper?

Andrew Bunney: As the name suggests, the label is an exploration into the rubble of Britain. Amongst the neglected and the forgotten there are often gems, and the Creeper shoe represents something really exciting. The nature and shape of the shoe, the nefarious associations that it had, and connotations today make it something quite challenging to wear.

SS: What was your starting point/initial inspiration?

Andrew Bunney: Thinking about British style and British youth cultures, there is always an exciting moment where the looks start to merge and change into something new. What I believe in is creating products that different kinds of people can wear in their own unique way, something that I've done throughout my career. To make something with character that captures the imagination of people into all kinds of things is very special.

SS: Could you talk us through your research and how it impacted on the design? For example, I recall that you mentioned that the sole is the same height as many vintage styles.

Andrew Bunney: It's always interesting to see how things have progressed or changed over the years, and many of the creeper soles today are very high - very cartoon-ish. The classic styles didn't always have soles this high, and of course the idea was always to make this more accessible for today. We used the same height of sole that was used in the past, which would have been sold in places like 'Let It Rock' - one of the most important places for styles to butt up against one another.

SS: How did you go about stamping your take on this iconic shoe?

Andrew Bunney: The most important thing is to push forward - we're not interested in making costume. There are many things I like about vintage Creeper styles, but I want to make something that is relevant to what we're wearing today. The thick sole or aggressive looking welt are very much a 'Creeper', but the simple derby upper makes it much more wearable, and more modern.

SS: Craft and local manufacture are obviously very important to you. Collaboration with local craftsmen and heritage is an integral facet of your brand identity. Here you teamed up with George Cox, how did you identify the individuals to help realise your design?

Andrew Bunney: In some ways today, I think many have lost sight of the manufacturer or have a very hazy understanding of what that means. Of course, we want to find the best factory or the manufacturer for anything that we're making. Despite the many copies by other brands, this style is synonymous with the manufacturer George Cox - there is no other company to go to. However, I don't really think of this as a collaboration - simply using the 'correct' place to make a certain product.

SS: What items can we look forward to in the near and far future from British Remains?

Andrew Bunney: We want to make things that are surprising, and things that make one think a little. It's not interesting to make something unwearable, but for those that are sensitive to details, something challenging - even if it is slight - makes you feel a little more alive.

----------

I could happily listen to Bunney all day, everyday. Following this discussion I could only love my latest acquisition even more. This morning, I took a closer look at them before eagerly jumping straight in to them for the first time...

A closer look ar British Remains' First Creeper with the help of a few detail shots. In the last shot, I teamed them up with black wool trousers by Topman Design and socks by Wigwam. 

Through tits exploration of Britain, past and present, British Remains stirs up odd feelings about this island of ours. What it means to be British, what it once meant and how it has evolved. The class struggle, the rise and fall of subcultures, everyday symbols that are often overlooked. These are all things that make Britain so interesting. With its gradual evolution, I'm looking forward to watching this label continue to grow.

The craft of Moon

As mentioned just over a week ago, this season sees sees John Lewis unveil its fourth yet first full scale exclusive collection designed by the great Joe Casely-Hayford. Recognised for his innovation and ability to produce definitive future classics, Casely-Hayford's range celebrates the best of British sartorialism through a series of unique collaborations with some of the UK's leading heritage companies. For AWll, Casely-Hayford continues to build on the strong foundations laid in the three previous capsule collections. Having established a strong following through exclusive collaborations with some of the UK’s finest heritage manufacturers. From key seasonal outerwear created out of fabric woven in England by the Abraham Moon Mills in Yorkshire to a great Fair Isle pattern Yoke pullover that is knitted in 100% Wool by crafts people in the Donegal Mountains and shirting showcasing one of the first ever Liberty prints to be digitally created, the collaboration celebrates all that these islands have to offer. Through this series of collaborations with specialists and true craftsman, the range showcases unique cloths whilst reintroducing a few updated British classics to the wider audience of the high street. During my excited ramblings I mentioned the fact that I was invited to watch the Moons craftsmen at work at their Guiseley factory. I eagerly followed and snapped away at each well honed and practiced process from start to finish. 

Before I offer an abundance of 'factory porn' and talk you through the processes of what makes Moon fabric so special I have to acquaint you with the brand and give you a little background. The name might not feel that familiar on first reading but I'm quite sure that you've seen or indeed worn their work without even knowing it. In addition to apparel, its textiles are used for growing accessories and furnishings arms. Abraham Moon and Sons is a family owned company that assures luxurious quality whilst continuously evolving to meet the ever changing needs of the industry. The current Managing Director is John Walsh, the fourth generation of the family which succeeded the Moon dynasty. Since 1837 when Abraham Moon founded the company, bales of raw wool have been arriving at their factory to begin the process of creating beautiful fabrics. Located in Yorkshire, traditional home of the English cloth mills, the company is unique in being a fully vertical mill, with dyeing, blending, carding, spinning, weaving and finishing processes all taking place on one site. State of the art manufacturing allied to a highly skilled workforce enable a wide diversity of fabrics to be manufactured at competitive price levels – a prerequisite to success in today’s market place. The craftsmanship and well honed skills are essential to the product and it was a pleasure to be able to watch it all unfold in a space that has seen the same processes come together for over two centuries. It is little wonder why Casely-Hayford partnered with them.

As a self confessed factory pervert, you can only imagine how many photographs I took as I was guided through the nooks and crannies of this well oiled assembly line of craftsmanship. I have managed to hone them down and will now use them to guide you through the main processes to turn fleece in to stunning fabric.

----------

From fleece to fabric

The first stage begins with the delivery of the finest raw wool which is from sought across the globe and delivered to their site in Guiseley. The merino lambswool is predominantly from South Africa and the Shetland quality pure new wool is from New Zealand. The raw wool then goes to the dye house, to be dyed using precise combinations and a secret cocktail of dye, pressure, temperature and time. They can currently dye their wool in over five hundred different shades and colours. Within the Dye House they keep a library of shade standards and recipes to ensure continuity of each glorious colour year and year.

Huge bundles of tightly packed fur are delivered to Guiseley.

I was infatuated with the texture of the fleece as I watched the men unpack it before on embarking on the dyeing process.

Part of me wanted to throw myself in to the dyeing cauldrons.

Just one of the hues that caught my eye,

Now, the real secret to creating beautifully rich colour is in the blend. During this stage up to seven different coloured wools can be used in the recipe for each yarn. It is this process that gives tweeds, heathers and plaids their wonderfully unique and rich texture. Moons prides itself on its arsenal of hues and I was dazzled by the spectrum on offer...

Once dyed it is transferred in to the blending rooms by this giant vacuum.

The blending process is particularly beautiful

Once blended, the mix is then transferred to the carding area.

The next process, carding is essential in producing soft, smooth fabrics. The blended wool lubricated with a little water and oil is run through a series of combed rollers that tease the fibres one way and then the other. Whilst providing alignment and conformity, the process also rids the wool of any last impurities and ensures the finished fabrics are smooth and soft to the touch.

A close up of the blended wool before it is passed through the carding rollers...

The carding machine

A close up of the candy floss like excess.

The carding process in action.

A sea of rollers teasing the fibres each and every way.

The rich web of coloured wool is then spun in to a huge range of dazzling yarns. Their six frames draw out the wool and put a precise number of twists per inch in to the wool, resulting in a fine but ultimately strong thread ideal for fabrics used in clothing and furnishings alike. The yarn is then wound on to cones going through a check to ensure continuity. Any faults are cut out of the thread and the ends are thermally joined together to produce a yarn that will weave in to smooth fabrics. The cones, holding up to sixteen thousand metres of yarn are then ready to be sent to warping and weaving.

The intricate movement of the yarn as it is fed from one machine to another is quite breathtaking.

The wool begins to take on a more familiar appearance.

The cones of yarn are then wound over a swift and a warp is made for weaving. This can be a complicated process depending upon the intricacy of the pattern in the finished fabric. I was treated to a to a variety during my time in the mill. Precise lengths of different coloured yarn can be required in a single vertical thread and up to two thousand threads may be required for a width of fabric. Mind blowing. These have to all be held in exact order to ensure accurate and uniform patterns and designs. The warping process is one of the most beautiful...

Feeding the yarn over the drum or swift.

The precise lengths of different yarn are fed on to the drum.

A spiderweb of yarn.

A close up of the warping process.

Exacting standards.

Warped fabric ready to be weaved.

The weaving process is the loudest and is where the real magic happens. The space is filled with a percussion of machinery. The work here might be less hands on than it once would’ve been but it is no less impressive and bewildering to the eye. It is here where many different yarns are woven together in intricate weaves to create stunning fabrics. The mill uses Rapier looms, to take the weft (horizontal thread) across the warp threads and they are capable of weaving up to thirty thousand metres of cloth per week. The machines work at a dizzying pace and volume but the below shots document the process in a much more peaceful light...

An array of fabrics were being weaved during my time in the mill.

Now, we are almost there. Newly woven fabric is then scoured, milled and dried. The oils that were used to aid manufacture of the fabric are removed. This is when the wonderful and luxurious feel of these fabrics begins to become apparent. The final step sees each length of fabric finished by careful pressing, using steam and specialised equipment to remove any shrinkage and complete the process of creating remarkable fabrics.

A selection of heritage fabrics on display.

As I walked through and looked on at each process of construction, the balance between old but proven techniques and machinery from various eras since the industrial revolution, really left a lasting impression on me. Quality begins on the sheep farms, the water used in the mill and Moons' honed processes from dye house to finishing. Each inch of fabric is inspected at the three main stages of the manufacturing process, when it comes off the loom, after finishing and again before it leaves the factory. With Moon you can be sure that you get nothing less than quality wool. I'll leave you a few close up shots of the finished lambswool fabrics used in the collaboration...

Moon is a company that continues to learn and strive for the highest quality. It was a real pleasure to watch them work and after spending a few hours there, it is obvious why Joe Casely-Hayford and John Lewis chose to work with them once again for this project. Next year Moon celebrates its one hundred and seventy fifth birthday, here's hoping to many more successful years of great British fabric production.