Thursday, 18 April 2024

At home in Wiltshire with Robert Kime's managing director Orlando Atty

 





HOUSES

At home in Wiltshire with Robert Kime's managing director Orlando Atty

 

The shock of Robert Kime’s death in August reverberated across the interiors industry, not least with his tight-knit team. Among them is managing director Orlando Atty, who has inherited the responsibility of guiding the multi-faceted business that Robert developed

 

By Liz Elliot

28 December 2022

Dean Hearne

https://www.houseandgarden.co.uk/gallery/orlando-atty-robert-kime#intcid=_houseandgarden-bottom-recirc_ae51a4fa-2051-4410-9c11-cd68d189780c_similar2-3

 

When Orlando Atty began working as an assistant at Robert Kime 13 years ago, few, Orlando included, would have imagined that he would eventually be running what is one of the most influential businesses in the world of antiques, fabrics and interior decoration. He was appointed managing director in 2016 and, although so many of us were shocked at Robert’s sudden death in August 2022, there was, thankfully, a clear succession plan already in place. At the time of writing, the small team at Robert Kime is in the middle of implementing this plan far earlier than anticipated. Some of the photographs featured in these pages were taken nearly a year ago and include a portrait of Robert and Orlando at the company’s treasure-filled warehouse in Wiltshire.

 

In 2010, Orlando had just completed a degree in business studies at the University of the West of England in Bristol when he landed a job at Robert Kime’s antiques warehouse in Marlborough, Wiltshire. It was meant to be a temporary role, but he caught the bug and never left. ‘From the moment I entered the storeroom, I was fascinated,’ he recalls.

 

He started working in Robert’s shop in 2012. At that time located on Museum Street, WC1, it was an almost Dickensian treasure trove of pieces and Orlando realised how much he had to learn. Slowly, his footsteps fell in behind Robert’s. ‘I was like a dry sponge soaking up everything I could,’ he says. ‘Above all, Robert was a very gentle and generous teacher.’ The pair went on buying and site trips, with Orlando learning to recognise pieces of integrity and beauty, to absorb the genius loci of a room and to feel the balance of a space.

 

From 2013, Orlando worked alongside Robert on some of his projects, as well overseeing his own commissions – always under his mentor’s watchful eye. Following Robert’s stroke, more responsibility had fallen onto Orlando’s shoulders. It was he who suggested the company move to Pimlico from Museum Street. Though charming, the latter space was on several floors, so difficult to manage, and it was a little off the interiors beaten track. It was also Orlando’s task to find somewhere for Robert to live nearby. Featured in House & Garden in October 2018, this memorably beautiful flat was to be Robert’s last home.

 

Orlando and his wife Charlie, who married in 2019, had been living in London. But when Charlie was made redundant from her job in event management, the need for them to live in the capital became less obvious. Expecting their first child, they started to look for a house around Marlborough.

 

The house-hunting process began. The property they initially wanted fell through, but the estate agent mentioned that there was another option that might work, though it was not yet on the market. It was only when Charlie went to see that particular house – an 18th-century cottage down a quiet country lane leading to the village church and within easy reach of the Downs – and liked it immediately that the agent admitted it was his own home. The couple bought it.

 

Pressured by the impending arrival of a new baby, due in just three months’ time, Orlando managed to create new bathrooms as well as a new kitchen and dining space. ‘I really like the kitchen,’ he says. ‘It’s a good space to be in, although I don’t like the floor. But in the three weeks it took to build the kitchen, there was no time to replace the floor.’ His timing proved to be excellent – only days after its completion, baby Phoebe arrived. And two years after that, in July 2022, her brother Rafferty was born.

 

The cottage is the very essence of cosy and inviting, and is an ideal place in which to spend Christmas. The sitting room is dominated by an enormous sofa, big enough to allow the entire family to sit together by the fire. Even the presence of armchairs and consoles leaves room for the tree, which was transported on the roof of Orlando’s old Land Rover. Both he and Charlie are adept at creating Christmas decorations from things collected on their daily walks with their working cocker spaniel, Bailey, so they can drape garlands of holly, berries and ivy over the fireplaces and pictures, and hang ebullient wreaths on the doors.

 

Orlando splits his time between Marlborough and London, going wherever he is needed. The company’s Pimlico base is an enviable place to be. Robert Kime was a master story teller – the best of his kind. But the company has always been very much a team affair. Robert and Orlando worked very closely with Claire Jackson, who is director of Robert Kime Design and head of projects, and Christopher Payne, head of antiques. ‘Robert was good at bringing people together,’ Christopher says. ‘The business is essentially people-based. Our clients become friends as well as being customers.’ It is the kind of place where everyone mucks in to create the finished product, which is one of the reasons why they do not take on more than a few selected projects at a time.

 

Over the last year, projects that had originated with Robert have been transferring seamlessly to be overseen by Orlando. Ringing in his ears will no doubt be any number of words of wisdom – usually very simple – imparted by Robert over the years: ‘It is all about balance: a beautiful rug and a not-so-distinguished table can add character to an interior. Don’t complicate a room for the sake of it. It should never look clever, but always at ease with itself’.

 

Robert Kime: robertkime.com

Tuesday, 16 April 2024

Photographer John Slemp Discusses His "Bomber Boys - WWII Flight Jacket ...





“ Rating: 5/5 stars. Received my copy of Bomber Boys in quick time! Beautifully packed and presented for a safe trip all the way to Melbourne, Australia. Worth every penny, beautifully photographed and written. Already a standard on our main coffee table for everyone to see! Accompanies my Eastman A-2 replica jacket perfectly. ”

— Raymond Clegg

 

“ Awesome compilation and thrilled to have the Book. ”

— Louise Powell

 

“ Rating: 5/5 stars. This book is a true work of heart and a work of art. My husband was amazed and truly so was I. I’m glad I didn’t wait to give it to him. It will be enjoyed for years to come. Thank you for all the time and effort you put into creating it. What a gift! ”

— Laurie Bennett

 

Description

“Bomber Boys – WWII Flight Jacket Art” by John Slemp is the most comprehensive visual record of A-2 jackets ever produced. Slemp, an award-winning photographer, has captured the tactile beauty of the leather and the artwork that adorns the jackets in archival quality. Over 100 jackets representing all World War II theaters from both museums and private owners, along with artifacts and personal accounts, reveal a visual diary of a man’s service in the U.S. Army Air Corps.

 

The 12 x 12, 398-page coffee table book captures the imaginations of those unfamiliar with this seldom seen genre of military folk art. The highly individualistic art depicted on World War II “bomber jackets” continues to fascinate, educate, and entertain to this day. Painted on the back of leather A-2 work jackets, these collectible uniform items depict the attitudes of young airmen subjected to the vagaries of modern warfare in the sky, and the successes, failures, and eventual triumphs of surviving 35 missions over stubbornly defended enemy territory.

 

“I’m not sure anyone ever sits down and consciously decides to write a book about the leather jackets worn by American aircrew during World War II. Yet, that’s precisely what happened after I began photographing A–2 flight jackets in 2014,” stated Slemp. “As the number of jackets photographed grew, the stories of their owners began to weigh more heavily on my mind. I began to realize that the jackets were mobile signposts reflecting the distinct mortal challenges every flyer faced. Initially, I was drawn to the artwork and symbology, but as I more fully understood their cultural and historical implications, I became more engaged. The emotion these jackets engender has been nothing short of astounding. To illustrate that point is the case of the daughter of a WWII flyer who, during an early exhibition of the work, stood in front of a print of her dad’s jacket for almost two hours. As we were leaving, she pulled me aside and said in a quivering voice, ‘You have no idea what this means to me.’ It was a telling moment and has provided continuing incentive to bring the work to fruition.”

 

Slemp photographed over 160 A-2 jackets for the project including jackets from the National Museum of the United States Air Force, the 390th Memorial Museum, 475th Fighter Group Museum, Allen Airways Flying Museum, Indiana Military Museum, The Air Zoo Aerospace & Science Museum, Lowndes County Historical Society Museum, March Field Air Museum, Minnesota Historical Society, National Naval Aviation Museum, San Diego Air & Space Museum, and the Smithsonian Air & Space Museum. Additionally, 37 jackets are from private collections that can only be seen in this book.

 

In addition to jackets like actor Jimmy Stewart’s, readers will find jackets and portraits of pilots, radio operators, Women Airforce Service Pilots, and even a member of the original unit who dropped supplies behind enemy lines. All of their stories inspired the art.

 

Given the highly collectible nature of the jackets, Slemp has included information on care for the jackets by renowned professional conservator Rachel Waters; information for collectors on how to find them, what to avoid, and how to establish provenance by Jeff Shrader of Antique Roadshow fame; and their influence on fashion over the years by subject matter expert Laura McLaws Helms.

 

To help the novice understand the experience of airmen from pilot to ball turret, Slemp has included six beautiful aircraft illustrations from artist John Mollison. In addition, a surprise from Mollison awaits the reader on the inside of the dust jacket.

 

Mollison is famously quoted as saying, “When an old man dies, a library burns”. This lies at the very heart of why this book is so important. Slemp commented, “While photographing Brigadier General Charles McGee of the Tuskegee Airmen, I asked him why (at 101 years of age) he was still at the AirVenture airshow meeting kids. He simply replied, ‘It’s important to tell these stories.’ I felt like I got marching orders that day.”






Sunday, 14 April 2024

A Gentleman's London, Episode Three: Lock & Co.

Lock & Co. Hatters 6 St James's Street, London












The distinctive dome of the Coke, otherwise known as the bowler, has defined some of modern history's most unforgettable images since it was created by Lock & Co in 1849.
From Charlie Chaplin's slapsticking on the silent screen, to the outlaws and lawmen riding the Wild West, its unmistakable silhouette has made it as much of an icon as any of its wearers.


Lock Story

Although the Coke (pronounced "cook") is celebrated for its style now, its creation stems from something altogether more sensible: nobleman Edward Coke, younger brother of the 2nd Earl of Leicester, wanted a superior hat to that of the top hat which kept falling off his gamekeepers' heads on the Holkham Hall estate in Norfolk. Coke wanted to create a hat that was hardy enough to protect heads from low-hanging branches and poacher attacks so on 25th August 1849, he trod the boards of Lock to place an order.

A prototype was swiftly made by Lock's chief hatmaker, Thomas Bowler, hence how it received its other more recognisable moniker. On inspection, Edward Coke tossed the hat to the floor - and proceeded to jump on it to assess its durability. It duly passed this colourful test and the bill for 12 shillings was settled. To this day the Earl of Leicester continues to purchase the hat, to which his ancestor gave his name, for his gamekeepers after they have completed one year of service.

 But the Coke's popularity did not stop on these shores - British railroad workers in western America wore the wind-resistant hat as did Derby-goers and those wishing to rise through the social ranks. But the practical hats were quickly adopted by Wild West outlaws such as Butch Cassidy and Billy and the Kid, before Stetson introduced its 'Boss of the Plains' in 1865. In the 1920's, the Coke hat was even chosen as the official headdress for South American women of Aymara and Quechua, thanks to railroad workers taking them across the pond to Bolivia.

Today the Coke remains one of Lock's best-selling styles, both for suited and booted City-wearers and those who wish to treasure a piece of this story. From being worn by Patrick Macnee in the Avengers and John Cleese in Monty Python to being immortalised in art by Rene Magritte, the Coke is Lock's masterpiece.

 Lock Story



 
Lock & Co. Hatters (formally James Lock and Company Limited) is the world's oldest hat shop, the world's 34th oldest family-owned business and is a Royal warrant holder. Its shop is located at 6 St James's Street, London and is a Grade II* listed building.

History
The company was founded in 1676 by Robert Davis. His son Charles continued the business and took James Lock (1731–1806) on as an apprentice in 1747. James later married Charles Davis's only child, Mary. When Davis died in 1759, James Lock inherited the company from his former master, and the Lock family, James's descendants, still own and run the company today. The shop has been in its current location since 1765.

The company is responsible for the origination of the bowler hat. In 1849, Edward Coke, nephew of Thomas Coke, 1st Earl of Leicester and the younger brother of Thomas Coke, 2nd Earl of Leicester, requested a hat to solve the problem of gamekeepers' headgear. Traditional top hats were too fragile and too tall (often getting knocked off by low branches) for the job. The company commissioned London hat-makers William and Thomas Bowler to solve the problem. Anecdotally, when Coke returned for his new hat, he dropped it on the floor and stamped on it twice to test its strength before paying 12 shillings and leaving satisfied.

Admiral Lord Nelson wore a bicorne of the brand’s into the Battle of Trafalgar complete with eye-shade. The eternally rakish Beau Brummell procured its hats as part of his sartorial arsenal. Winston Churchill adopted their Cambridge and Homburg hats as sartorial signatures and Anthony Eden was never without his trusty Lock Homburg.

Notable customers include Admiral Lord Nelson, Oscar Wilde and Douglas Fairbanks Jr (who lived in a flat above the shop),[3] Laurence Olivier, Charlie Chaplin, Jackie Chan, Cecil Beaton, Michael Palin, Alec Guinness, Jeremy Irons, Donald Sinden, Marc Sinden, Jackie Onassis, Eric Clapton, Duke of Windsor, Gary Oldman, Pierce Brosnan, Jon Voight, Victor Borge, Peter O'Toole and David Beckham.

Lock & Co. is a Royal warrant holder as Hatter to Prince Philip, Duke of Edinburgh and Charles, Prince of Wales.

More History and Heritage : https://www.lockhatters.co.uk/heritage/


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Wednesday, 10 April 2024

The largeot work trousers by Largeot et coltin


 

https://www.largeotetcoltin.com/content/26-qui-sommes_nous

 

Traditional work trousers

The largeot is a pair of trousers made of heavy fabric, moleskin or velvet, intended primarily for manual work.

 

Its loose shape at the hips and thighs, offers ease to the craftsman who wears it, allowing him to bend down and be comfortable. The bottom, tightened around the ankles, prevents tripping.

 

The wideot is available in low or high waist, as in the photo opposite, ideal for cold weather.

 

It has classic Italian pockets, a wallet pocket that is often buttoned, a ruler pocket on the right side and a pocket for the pocket watch on the belt.

 

The origin of the Largeot

The largeot was born from the fashion for "floatard" trousers, in vogue in the first half of the nineteenth century, which led to the wearing of horsemen's trousers "à la hussarde" and the first reflections on clothing suitable for hard labour.

 

It was Adolphe Lafont, considered the "father" of the largeot, who first industrialized these trousers and made them popular. In 1896, this tailor from Lyon registered his trademark, which would become a very important textile company in the region.

 

His first model was a largeot for the construction workers. Black for carpenters and roofers, cream for stonemasons, it takes on the characteristic half-hussar shapes (wide at the thigh and narrowed at the calf) and half-ball (wide on the thigh, a little less on the calf and narrowed on the ankle).


https://www.largeotetcoltin.com/content/26-qui-sommes_nous

 

Un pantalon de travail traditionnel

Le largeot est un pantalon en tissu lourd, moleskine ou velours, destiné tout d’abord au travail manuel.

 

Sa forme ample aux hanches et aux cuisses, offre une aisance à l'artisan qui le porte, lui permetant de se baisser et d’être à l’aise. Le bas, reserré sur les chevilles, évite quant à lui de trébucher.

 

Le largeot existe en taille basse ou en taille haute, comme sur la photo ci-contre, idéal par temps froid.

 

Il dispose de poches, classiques, à l’italienne, d’une poche portefeuille souvent boutonnée, d’une poche mètre sur le coté droit et d’une poche pour la montre à gousset sur la ceinture.

 


L’origine du Largeot

Le largeot est né de la mode des pantalons « flottard », en vogue dans la première moitié du XIXème, qui conduit aux port des pantalons de cavaliers « à la hussarde » et aux premières réflexions sur les vêtements propres aux travaux de force.

 

C’est Adolphe Lafont, considéré comme le « père » du largeot, qui industrialise pour la première fois ce pantalon et qui le rendit populaire. Ce tailleur Lyonnais dépose en 1896 sa marque, qui deviendra une entreprise du textile très importante de la région.

 

Son premier modèle est un largeot pour les compagnons du bâtiment. Noir pour les charpentiers et couvreurs, crème pour les Tailleurs de pierre, il reprend les formes caractéristiques demi-hussard (large à la cuisse et rétrécie sur le mollet) et demi-ballon (large sur la cuisse, un peu moins sur le mollet et rétrécie sur la cheville).



Largeot et coltin

https://www.largeotetcoltin.com/content/26-qui-sommes_nous

 

Specialist in traditional workwear

It all started in 2008, when Jean Copleutre, the founder, was only 17 years old: "I was finishing my studies in carpentry with the Compagnons du Devoir. Seeing how difficult it was for my colleagues and I to find our traditional workwear, it seemed obvious to me to carry out a forward-looking project.

 

Largeot and Coltin's store

Specialist in traditional workwear

Based in the heart of the Pays de la Loire, Largeot & Coltin is a family business specialising in the distribution of high-end workwear and traditional tools.

 

Our Goals

Your well-being at work is our priority, Largeot & Coltin selects for you the best references manufactured for more than 75% of them in France and Europe. With a stock of more than 300m², we are aware that your satisfaction depends on the delivery of your favorite products in 24/48 hours.

 

Strong values

Largeot et Coltin is convinced that by limiting the number of intermediaries, working in partnership with major workwear brands and respecting precise specifications, it is able to offer you the best workwear manufactured in a reasoned way, in France and Europe, at the most reasonable quality/price ratio.

 

Largeot & Coltin has stock to deliver quickly

Brand Story

It was on a sunny day in May 2012 and in the modest student room of its founder, Jean Copleutre that Largeot & Coltin's activity began.

 

The idea of creating an online website for the sale of traditional workwear had come a few years earlier, in 2008, when Jean was finishing his studies with the Compagnons du devoir in carpentry.

 

Led by professionals who are aware of the needs of craftsmen and work directly with the best French and European manufacturers, Largeot & Coltin offers a wide range of products at the best value for money.

 

In the heart of the vineyards

Today the family business is based in the west of France, in a small town located in the heart of Layon, a stone's throw from Angers.

 

If your destiny offers you the chance to come to this beautiful region that is Anjou, do not hesitate to discover our store which opened its doors in September 2016.


Largeot et coltin

https://www.largeotetcoltin.com/content/26-qui-sommes_nous

 

Spécialiste du vêtement de travail traditionnel

Tout a commencé en 2008, alors que Jean Copleutre, le fondateur n'avais que 17 ans “Je terminais mes études en menuiserie chez les Compagnons du Devoir. Constatant la difficulté que nous avions, mes collègues et moi-même, à trouver nos vêtements de travail traditionnels, il m'a paru évident de mener un projet tourné vers l'avenir.

 

Le magasin de Largeot et coltin

Spécialiste du vêtement de travail traditionnel

Basée au cœur des Pays de la Loire, Largeot & Coltin est une entreprise familiale spécialisée dans la distribution de vêtements de travail et d'outillage traditionnel haut de gamme.

 

Nos objectifs

Votre bien être au travail est notre priorité, Largeot & Coltin sélectionne pour vous les meilleures références fabriquées pour plus de 75% d'entre-elles en France et en Europe. Avec un stock de plus de 300m², nous sommes conscients que votre satisfaction passe par la livraison de vos produits préférés en 24/48 heures.

 

Des valeurs fortes

Largeot et Coltin a la conviction qu'en limitant le nombre d'intermédiaires, en travaillant en partenariat avec des grandes marques de vêtements de travail et en respectant un cahier des charges précis, elle est en mesure de vous offrir le meilleur des vêtements de travail fabriqués de façon raisonnée, en France et en Europe, au rapport qualité/prix le plus raisonnable.

 

Largeot et coltin a du stock pour livrer rapidement

Histoire de la marque

C'est par une journée ensoleillée de mai 2012 et dans la modeste chambre étudiante de son fondateur, Jean Copleutre que l'activité de Largeot & Coltin a commencée.

 

L'idée de créer un site internet de vente en ligne de vêtements de travail traditionnels était venue quelques années plus tôt, en 2008, alors que Jean terminait ses études chez les Compagnons du devoir en menuiserie.

 

Dirigée par des professionnels sensibilisés aux besoins des artisans et travaillant directement avec les meilleurs fabricants Français et Européens, Largeot & Coltin propose une large gamme de produits au meilleur rapport qualité/prix.

 

Au coeur des vignes

Aujourd'hui l'entreprise familiale est basée dans l'ouest de la France, dans une petite ville située au coeur du Layon, à deux pas d'Angers.

 

Si votre destin vous offre la chance de venir jusqu'à cette belle région qu'est l'Anjou, n'hésitez pas à découvrir notre magasin qui a ouvert ses portes en septembre 2016.