Friday, 17 April 2026

Classic British Cars - Made in Coventry - BBC British Documentary / ALVIS starts at 10:26./ Revived company: Historic British brand Alvis returns with continuation cars.


Revived company

In 2012 Alvis announced it would offer five variants of its cars.These included both 4.3 litre and 3 litre chassis derivatives. In 2019, a sixth model was released to coincide with the agreement for Meiji Sangyo to be the distributor for Asia.

 

In 2021, the firm was featured in the BBC Four documentary Classic British Cars: Made in Coventry and released its Graber Super Coupe continuation car, with a convertible version due out in 2022.

 






Historic British brand Alvis returns with continuation cars

Viknesh Vijayenthiran Viknesh Vijayenthiran July 25, 2019

Historic British brand Alvis, founded in 1919 and at one point the employer of Alec Issigonis, the designer of the original Mini, is back building beauties as part of a continuation series of cars.

https://www.motorauthority.com/news/1124203_historic-british-brand-alvis-returns-with-continuation-cars

 

The original passenger arm of Alvis (there was also production of military vehicles and race cars) ceased production in 1967 and transferred all assets the following year to a company known as Red Triangle, which was started by several former employees and to this day is focused on parts, servicing and restoration of existing Alvis cars.

 

However, Red Triangle in 2009 sold the rights to the Alvis name and some of the intellectual property to a new entity, the Alvis Car Company, which the following year started churning out Alvis continuation cars, in some cases using original chassis and engines stored safely for over 50 years.

 

The modern Alvis has now extended its range of continuation cars. It is offering six body styles based on two chassis, known as the 3-Litre and 4.3-Litre, with the cars built according to original factory blueprints. The chassis names refer to the engines they feature, in both cases naturally aspirated inline-6 units.

 

The cars include both pre- and post-World War II cars, though only the post-war cars feature original chassis. Those based on the 3-Litre chassis include the Park Ward Drop Head, Graber Super Coupe and Graber Super Cabriolet, while those based on the 4.3-Liter chassis include the Vanden Plas Tourer, Bertelli Coupe and Lancefield Concealed Hood. The time it takes to build one of the cars can stretch up to 5,000 hours.

 

“Our models are, literally, what Alvis would have created had it not halted production for over 50 years,” said Alan Stote, owner of the modern Alvis. “The factory had planned to build 150 4.3-Litre chassis in 1938. As the site suffered serious damage by bombing in 1940, only 73 chassis were completed so we will continue that series, with new chassis, built to the original drawings.”

 

We should point out that some changes have been implemented to meet modern emissions and crash safety regulations. Some of the cars can also be ordered with automatic transmissions, power steering, climate control, and audio systems. Buyers can also opt for a three-piece Alvis luggage set lined in Connolly leather.

 

In an interesting twist, Alvis has just signed a deal with Meiji Sangyo for distribution of its continuation cars in Japan. The Tokyo-based company was the same distributor for Alvis cars back in the 1950s.

https://thealviscarcompany.co.uk/

 




The Continuation Series

The Alvis Car Company are manufacturing to special order a limited number of famous Alvis models. They are faithful to the original design and by using our Works Drawings from the period they retain all their traditional character and quality, yet are emission compliant. The cars carry Alvis chassis numbers and engine numbers which follow on from the last in the model sequence, which is why they have been designated the Continuation Series.

 

Meet the Alvis continuation series – a storied name in British motoring history is back

 

The Alvis name is more than a century old yet you can still order a factory-fresh model from its impressive back catalogue, thanks to the survival of its unique archive

 

https://www.wallpaper.com/art/bmw-celebrates-half-a-century-of-its-pioneering-art-car-project-with-exhibitions-and-more

 

‘The Alvis name is known mostly only to car nerds. People under 50 may have heard of it but won’t know much about it,’ concedes Alan Stote, the current custodian of the Alvis name and the man behind its revival. ‘I don’t think that’s a bad thing,’ he adds. ‘People are looking for difference now. They want to be seen to have made an unusual choice.’

 

An Alvis is certainly an unusual choice given modern sensibilities. However, it is more than this fabled difference that explains a readiness to spend upwards of £325,000 on a hand-built ‘modern’ Alvis. The newly revived company – which last built a car in 1967 – has so far made ten, with two under construction and a third on order, enough to keep it busy until sometime in 2026.

 

Established in 1919 by Thomas George John and renamed the Alvis Car and Engineering Company in 1921, the firm evolved from making engines and components to become a luxurious car maker, relying on coachbuilders to create the bodywork for its innovative underpinnings. In its heyday, it was said to rival the other major British luxury carmaker of the time, Rolls-Royce. Among its most famous models in the 1930s were the exotic art seco-era Bertelli Sports Coupe, the Vanden Plas Tourer and the Lancefield Concealed Hood.

 

It was Alvis that invented the first independent front suspension, the first front-wheel drive cars, and the first all-synchromesh gearbox. The flying ace Douglas Bader drove an Alvis, as did Benjamin Britten and the Duke of Edinburgh. And so, more recently, did auto parts entrepreneur and pre-war car collector Stote.

 

After Alvis ceased production in 1967, there remained a small repair and servicing business for its select owners. But what drew Stote to acquire the name 30 years ago was a love of history and a desire to preserve it: remarkably, Alvis’ archive was complete since inception and remained in one place, in Kenilworth, near Coventry. That included not just 25,000 original engineering drawings but a large, mothballed inventory of components, including over 30 complete and unused engines. The rebirth of Alvis was plotted.

 

‘As repair and servicing jobs gradually got harder and more complex [depending on what other mechanics had done to the cars over the years], building a new car was in many ways easier and more predictable, especially when you have all the components,’ Stote explains. ‘Other companies have of course got into the business of completely remodelling vintage cars. I concluded it had to be a better job if it was done by the original OEM.’

 

Stote stresses that the ‘new’ Alvis cars are not rebuilds or replicas but are part of a new kind of 'continuation series', as he calls it. Just don’t expect – like a new Rolls-Royce – the most high-tech of vehicles; some of the new Alvis cars will still be powered by a 4.3 litre in-line six-cylinder engine designed by the company in 1936.

 

Today, buyers can specify one of several continuation models, spanning decades of Alvis’ history. From the 4.3 litre-powered Vanden Plas Tourer to the smooth lines of the 1935 Bertelli Sports Coupe and the Lancefield ‘concealed hood’ model, to the post-war Park Ward Drop Head Coupe and Graber Coupe/Cabriolet, Alvis exists in a distinct and rarefied place, hand-building new cars using the same methods as they used 90 years ago. ‘I’ve been very pleased by the relaunch, but actually Alvis really made it easy for me, because everything was already there,’ says Stote. ‘I just had to take it on.’

 

Josh Sims

Josh Sims is a journalist contributing to the likes of The Times, Esquire and the BBC. He's the author of many books on style, including Retro Watches (Thames & Hudson).


Thursday, 16 April 2026

BLADEN SUPASAX / GREAT BRITISH ATTIRE SINCE 1917


BLADEN
GREAT BRITISH ATTIRE SINCE 1917

For many years Bladen has been a closely guarded secret for the select few, with awareness (and occasional jacket) passed down from one generation to another.

But finally the time has come to introduce Bladen Original and Bladen 1917, our range of business suits, town coats and dress suits, to a slightly wider, but equally discerning clientele.
Bladen first caught the attention of the well heeled gentry in the final years of the Great War, in 1917.

Established by two brothers, William and Arthur Bladen, the company originally supplied riding wear to the country classes. Quality was always the watchword as the label grew, with jackets, breeches and cavalry twills made from the finest cloth the British Isles had to offer.

Today that quality is still what makes Bladen so special, with details and designs that continue to delight.

Now under the custodianship of Wensum Tailoring, the Bladen brand is available to discerning clientele through a growing network of gentleman’s outfitters.
With the highest standards of traditional craftsmanship, meticulous attention to detail, the finest fabrics and unique designs, all combined with a truly British heritage, Bladen is perhaps not for everyone. Thankfully.

CRAFTSMANSHIP

One cannot hurry quality. Which is why a Bladen jacket takes up to six weeks to create.

For those fascinated by such things, our interlinings are natural canvas, including pure horsehair, with a four piece chest set. For the rest of us that simply means your Bladen jacket will provide a near perfect and lasting fit across the chest and shoulders.

Linings are in satin or tinto filo, whilst our buttons are real horn, mother of pearl or corozo and are traditionally cross stitched. A flower loop provides the finishing touch to ensure your jacket is ready for any occasion.

All our trousers have a locker loop as standard whilst a curtain waistband with a rubber grip ensures your shirt is held in place .


We are especially proud that the British Isles has remained the preferred source for all of our fabrics since 1917, with the Scottish Borders in particular providing our most sought after cloths.

Truly a product of the landscape where they are made, there is nothing to match the fabrics from these mills whether in colour, quality, feel or enduring style.

Exclusive to Bladen are two very special fabrics - Supasax and Supasax Lite. Both use two-ply Saxony Woollen Yarn, whilst Supasax Lite is twisted with two-ply worsted yarn - to provide enhanced strength and lightness.

Reading about our fabrics can only ever tell you part of the story - the real magic is how the fabric feels to the touch and drapes to your shape - and for that you simply have to try one.









Tuesday, 14 April 2026

Vintage Pytchley Hacking Jacket. Brought to you by JEEVES


 Brought to you by JEEVES, TWEEDLAND ( Image: JEEVES IN PARIS, some years ago )


Pytchley hacking jackets are considered iconic, vintage British equestrian garments, highly regarded for their quality, tailoring, and durability in country sports. Renowned for producing top-tier tweed jackets and riding coats, the Pytchley brand has long been a favorite among traditional country equestrian customers, often compared to esteemed makers like Harry Hall.

 

Origins and Heritage

Equestrian Roots: The hacking jacket itself (or "hack") originated in the 18th/19th century as a practical coat for informal pleasure riding, distinct from formal hunting attire.

Pytchley's Role: Pytchley established itself as a premier tailor for these garments, creating robust jackets designed for riding, shooting, and country life.

Vintage Status: Today, original Pytchley jackets are considered "signature pieces" and are highly sought after by vintage collectors and lovers of traditional tweed.

Key Features of Pytchley Jackets

Hard-Wearing Material: Known for using durable, often thornproof, tweed fabric.

Tailored Design: Renowned for their tailored fit, often featuring a three-button design, slanted pockets, and a central vent at the back for comfort in the saddle.

Distinctive Details: Some Pytchley jackets are known for unique touches, such as grey striped tweed or horse head buttons.

Tailoring Quality: Often compared to the high quality found in Harry Hall riding wear, Pytchley is recognized as a staple of British heritage equestrian fashion.

For those looking for the robust, authentic and timeless Hacking Jacket, Pytchley offers a quality, often comparable to Harry Hall ...

This specimen was found in a Vintage shop where he pleaded to be recognized and rescued from Oblivion.

Greetings JEEVES ( António Sérgio Rosa de Carvalho )


Pytchley Tweeds

"Pytchley Tweed are an iconic vintage tweed and are highly desired by our tweed experts as they are truly a signature piece for most of our traditional country equestrian customers. Pytchley are renowned for tailored tweed jackets and equestrian horse-riding coats.

These jackets are hard wearing some with tight weaves, thornproof, or just made to last and ideally for the sporting gentleman who enjoys riding, shooting, hunting and the outside country life."

Pytchley Advertisement.





Sunday, 12 April 2026

Clothes Minded: Fashionable Essays About Finding Yourself by Christine Morrison


Clothes Minded: Fashionable Essays About Finding Yourself Paperback – December 4, 2025

by Christine Morrison (Author)

 

What do our clothes say about who we are — andwho we’re striving tobe?

 

In Clothes Minded: Fashionable Essays About Finding Yourself, renowned journalist Christine Morrison weaves together fashion, memory and identity in a collection that’s as emotionally resonant as it is sharply observed. With savvy and self-awareness, she explores how we use clothing not just to show up in the world, but to shape, survive, and sometimes, escape it. Growing up inspired by fashion magazines and The Official Preppy Handbook, Morrison worked in advertising and led in an executive role at Calvin Klein before reinventing herself as a writer for iconic fashion and beauty brands. She brings a rare blend of industry insight and personal vulnerability as she shares her journey through love, loss, marriage, motherhood, and the ongoing process of figuring out who she really is beneath the clothes.

 

Morrison also turns the lens outward, sharing candid reflections and style takeaways from some of fashion and beauty’s most respected voices—stylists, designers, founders, and creatives who know how personal style can shape a life, including Sarah Clary, April Gargiulo, Daryl K, Roz Kaur, Nikki Kule, Joyce Lee, Stacy London, Megan Papay, Meg Strachan, April Uchitel, Tiffany Wendel, and Meg Younger.

 

Whether you’re standing in front of your closet trying to figure out what to wear or wondering how our outfits tell our stories, look to Clothes Minded for a warm, funny, and deeply honest exploration of the layers we put on—and the people we keep discovering underneath.


Clothes Minded: Fashionable Essays About Finding Yourself by Christine Morrison

Clothes Minded: Fashionable Essays About Finding Yourself is a collection of personal essays by Christine Morrison, a former Calvin Klein executive and journalist. Published in December 2025, the book explores the intersection of fashion, memory, and identity, illustrating how clothing choices shape self-discovery.

 

Book Overview

Themes: The essays follow Morrison's life from the 1990s to the present, using her wardrobe as a "map" to navigate milestones like career changes, marriage, motherhood, and aging.

Structure: In addition to Morrison's personal stories, the book features an epilogue titled "Famous Last Words," which includes style reflections from fashion industry leaders such as Sarah Clary, Stacy London, and Joyce Lee.

Format: It is available in paperback and eBook formats, typically spanning approximately 218 pages.

 

About the Author

Christine Morrison is the creator of writing in black and white, a Substack newsletter focused on fashion and beauty through the lens of aging. Her professional background includes serving as a Vice President at Calvin Klein, and her journalistic work has appeared in The Washington Post and The Boston Globe.

 

Availability

You can find the book at several major retailers:

Amazon

Barnes & Noble

Bookshop.org



The Making of a Designer.

Joyce Lee’s Instinctual Rise to Creative Director

 

Christine Morrison

Apr 08, 2026

https://writinginblackandwhite.substack.com/p/the-making-of-a-designer

 

The ethos of Clothes Minded: Fashionable Essays About Finding Yourself is that fashion isn’t just an aesthetic choice. It reveals who we are and who we’re becoming. Over time, the pieces we’re drawn to—and experiment with—begin to carry meaning, quietly documenting our growth and shaping our identity.

 

For creative director Joyce Lee, those early sparks of curiosity and instinct set the course for a career defined by ingenuity, determination and a love for detail. I’m honored to feature her in the Clothes Minded Epilogue, aptly titled Famous Last Words, among voices of trailblazers in fashion and beauty reflecting on how discovering personal style shaped their lives. Joyce’s story is one of many featured in the book, which explores the powerful ways fashion influences who we are and who we aspire to be. Her story stayed with me — as it will with you:

 

What I love about Joyce’s story is how clearly it illustrates something from our own journeys: the things we’re drawn to when we’re young are rarely random. As Joyce has earned her place in fashion design after decades of work, I was curious about the role shoes play in her life today:

 

How do the pieces you gravitate toward today reflect who you’ve become — as a mother, as a full-time creative director?

 

These days I’m really drawn to pieces that feel thoughtful and well made. I care a lot about quality materials, good construction, and designs that can move with me throughout the day. My life has a lot of different parts now, so I like things that are versatile but still feel special.

 

I tend to gravitate toward clean lines, but I always want a little something extra. A detail, a proportion, or a subtle twist that gives it personality. That’s very much how I approach my work too, whether it’s for my brands or how I think about my Substack. It’s all filtered through the same lens.

 

Becoming a mom has definitely made me more intentional. I don’t want a lot of things, I just want the right things. Pieces that last, that feel good, and that really reflect who I am.

 

For Joyce Lee, it’s always been about the details.

In your early years, shoes felt like freedom, as much as freedom of expression. What do they represent to you now?

 

They still feel like freedom, just in a different way.

 

When I was younger, it was more about imagining what I could do, and who I could be. Shoes felt like a way to step into different versions of myself. Now it feels more grounded. It’s less about becoming and more about being.

 

Shoes still have that transformative quality, but now they’re supporting my real life. Running between things, traveling, working, being a mom. They have to function, but they also still carry that sense of identity.

 

I also think shoes hold a lot of memories. I can look at certain pairs and immediately remember a moment or a phase of my life. So they still represent freedom, but now it’s more about feeling comfortable and confident in who I already am.

 

How does someone who once made shoes out of soda rings think about the meaning of getting dressed now?

 

I think that mindset is still very much a part of me.

 

Making those jelly shoes was really just me trying to solve a problem in a creative way. I wanted something but couldn’t have it, so I figured out my own version. I still approach getting dressed like that.

 

It’s not always about having the perfect piece. It’s about seeing what you have and making it work in a way that feels like you. Sometimes that means investing in something beautiful that you’ll keep for a long time. Other times it’s about how you style it or make it your own.

 

I’ve always believed that personal style is something you build over time. It’s not handed to you. Getting dressed is still one of the ways I express that every day, just a little more refined now.

 

I couldn’t agree more. As I wrote in the last chapter of Clothes Minded:

 

My looks are a visual diary of every version of myself. And just a glance in my closet reveals how I’ve matured. I no longer need to seek attention; I am visible to those who matter. I don’t demand perfection. I celebrate presence. I don’t believe in “the one that got away”—not a boyfriend, a job or a blazer. I am exactly where I am meant to be, wearing what belongs on me.

 

Eleanor Roosevelt once said, “Happiness is not a goal; it’s a by-product of a life well lived.” The same goes for our style—it naturally emerges when we’re honest about who we are and the life we want to lead.