reiss journal no.1

REISS JOURNAL No. 1S P R I N G S U M M E R 2 0 1 1

CELEBRATING 40 YEARSBACK TO THE 70s WITH MELANIE RICKEY

INSIDE THE REISS BUILDING BY NICK COMPTON THE NEW MENSWEAR WITH JAMES SHERWOOD

PLUS KEY LOOKS FOR SPRING/SUMMER

S P R I N G S U M M E R 2 0 1 1

Welcome to the very first Reiss Journal. This year we are an impressive 40 years old. To mark the occasion, we thought we’d give you an insight into what goes on be-hind the doors of our London headquarters and explain the story of our brand. On the following pages, we also preview our new Spring/Summer collections: easy, glam-orous womenswear that channels the freedom and spirit of the Seventies, and a hard-working menswear collection that revels in the finest quality materials and detailing. With over 100 stores worldwide, a bold expan-sion plan and an ever more envied sartorial savvy, we think we have plenty to celebrate. We hope you agree.

CELEBRATING40

YEARS

I N T R O D U C T I O N

REISS JOURNAL No. 1

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CONTENTS

SS11 WOMENSWEAR

THE FINER POINTSElEGaNT DETaIlING DEfINES

SPRING’S aCCESSORIES

PaGE 08

SS11 WOMENSWEAR

LIGHT AND SHADEfRESh NEw lOOkS

fOR SPRING

PaGE 04

ARchitEctuRE

TO BUILD A HOMETakING a TwIRl aROUND REISS’S

IMPRESSIvE lONDON hQ

PaGE 12

SS11 WOMENSWEAR

NEW OLD GLAMOURThE RETURN TO a SEvENTIES STylE

aND SPIRIT IN wOMENSwEaR

PaGE 28

SS11 MENSWEAR

THE QUIET MANa SUbTlE ShOw Of SaRTORIal

Savvy IN MENSwEaR

PaGE 18

SS11 MENSWEAR

LUXURY UTILITYTExTURE aND TEChNIQUE aRE ThE

MakING Of SPRING’S ESSENTIal ITEMS

PaGE 24

EDITOR

l aURa hOUSElEy

DESIGN & aRT DIRECTION

REISS CREaTIvE

S P R I N G S U M M E R 2 0 1 1

fOR MORE ab OUT RE IS S PlE aSE vIS IT

w w w.RE IS SONl INE.COM

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S S 1 1 w O M E N S w E a R

LIGHT AND

SHADE

STaRT afRESh IN SPR ING wITh

ClE aN l INES aND S IMPlE Sha PES fOR aN

EffORT lES Sly SE xy ST ylE

PHOTOGRAPHY

BRENDAN & BRENDAN

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l I G h T a N D S h a D E

Previous page HAzEL long tailored blazer.Opposite page left JEN dress, VIENNA waist belt.Opposite page right PEACOCK embroidery detail dress.Left PARADISA cascade back maxi dress, MAzIE clutch bag. Right DANIELLE maxi skirt, BLOSSOM t-shirt, RITAbuckled detail sandal.

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ElEGaNT DETa Il ING DE f INES

SPR ING ’S aCCES SORIES

THE FINER

POINTSPHOTOGRAPHY

aNDREw wOffINDEN

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T h E f I N E R P O I N T S

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Previous page BIRGIT asymmetric wedged sandal. Above CIARA tassle detail shoulder bag.Background JULES slouchy hobo bag, INEzdiamante plait sandal. Opposite top JEANNIE peep toe wedge boot. Opposite bottom DUKE lizard lock chain bag.

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T h E f I N E R P O I N T S

1 1

ThE RE IS S hE aDQUaRTERS IS MORE ThaN a MERE

bU IlD ING. I T ’S a SyMb Ol, aND a PRETT y

POwERfUl ONE aT ThaT, SayS N IC k COMPTON

TO BUILDA HOME

PHOTOGRAPHY

wIll PRyCE / PETER GUENZEl

T O b U I l D a h O M E

1 3

a R C h I T E C T U R E

The new Reiss headquarters at London’s Picton Place has a shimmering façade: it’s an architectural billboard designed to jolt the senses of jad-ed shoppers doing the Oxford Street shuffle. There is grand theatre in the ground floor flagship store, and a raw concrete eloquence to the offices and atelier that sit above them. At the heart of the building is a striking, twisting open staircase that connects the atelier and the de-sign rooms, the buyers and the management, all in a constant dialogue. This is a building that affects how you do business, and the kind of time you have while doing it.

Seven years ago David Reiss decided that he wanted to take his brand and business to the next level; to really up the ante. So he headed off to Japan for inspiration. Reiss hit Tokyo just as a new wave of store openings were rewriting the rules of retailing. There was Prada’s re-markable honeycomb glass box by Swiss architects Herzog & de Meu-ron, the team behind Tate Modern and Beijing’s ‘Bird’s Nest’ stadium. There was SANAA’s glowing lantern of a store for Dior, Toyo Ito’s stun-ning concrete tree house for Tod’s, Jun Aoki’s Louis Vuitton stores and Renzo Piano’s elegant glass-tile tower for Hermès.

The message to Reiss was clear. Architecture; radical, innovative and show-stopping, had become a key way of communicating what your brand means: where it is and where it wants to be. These buildings, as with much great architecture, were the works of a powerful, forward- thinking new elite. And Reiss wanted one for himself. “I saw this beauti-ful glass building, the Dior building, and I thought I would love to have an international headquarters in London that made this kind of power-ful statement,” says David Reiss.

At the time, Reiss were in the throws of designing their first New York store. “We came back and totally reappraised the West Broadway store. Instead of doing the hard-edged, cool design that people told me I had to do in SoHo, it instead became a kind of theatre,” says David. Reiss’s SoHo store opened to rave reviews and picked up the award for Best International Retail Interior from Design Week and the Retail Interior Awards.

Soon Reiss had the opportunity to push that concept further with a glit-tering London headquarters. A building owned by the London College of Fashion, 50 metres from Oxford Street, was coming up for sale. “I was like a Rottweiler,” says David. And he had to be, as there were 35 other bidders, many of them with the big pockets that come with being a major property developer. But Reiss finally won.

Michael Squire of Squire and Partners was one of the architects Reiss approached to make something of it. “David’s brief was for a building which acted as a strong brand statement,” says Michael Squire. “He wanted a beacon; an iconic building which would become synony-mous with the Reiss brand.”

Michael’s designs pushed the right buttons. “Our original, competition-winning design was for a translucent, layered facade of glass, giving the impression of a shimmering fabric which would glow; the facade’s colours changing with the fashion seasons,” explains Michael. “This idea was then developed, but with the innovative use of milled acrylic, creating a building which is truly iconic.”

But the building is far more than just a huge billboard. It is also a fantastic working environment, pulling together and integrating key elements of the business; design rooms, boardroom, the atelier, all orbiting a remark-able raw concrete staircase that is the dramatic centrepiece of the build-ing. Walk down this staircase and you can see everything that is going on – and everyone can see you. This is a building to keep moving in; one that encourages flow and energy. Everywhere things are happening. On the top floor there is a rather grand boardroom, but the table is piled high with samples and laptops, and most of an enormous back wall of impor-tant looking, leather-clad cabinets is, in effect, a giant clothing rail. It is two years since they moved into the building and David Reiss’s office looks underused: David is not the sort of man to sit in an office. And this build-ing allows him to move through his departments quickly and easily, to stand back and watch how individuals are working together, what con-nections are being made, how collections are growing.

This is also a generous building in the way that a great modern building can be generous. For all its critics, modern architecture and modernist architects understood one central truth: people like space and light. And contemporary architecture, at its best, has dedicated itself to giv-ing people as much of both as they can. For David, Michael Squire has created a civilised and creative space. “The acrylic facade restricts views into the building but allows transparency from inside, providing the office with a lot of natural light,” explains Michael. “And that is im-portant in creating an effective work space for the designers. The dou-ble-height volumes and open staircases are designed to complement the Reiss brand, reinforcing the building’s use as a creative, as well as a business space. And there are plenty of contemplative and inspiration-al spaces, encouraging the constant flow of ideas.”

It is the power of architecture that Reiss has come to understand over the last few years. And whether it is a glamorous glass box in LA, or in-serts into gothic buildings in Nottingham, Reiss’s new stores are, as David says, “powerful statements”. For Reiss, this smart use of architec-ture and location is now central to what the business does and how it talks about itself. And it’s something David loves getting involved with. “Once you have seen a space, you just immediately start thinking, what am I going to do with it? I love it.”

Nick Compton is Features Director of Wallpaper* magazine. He has written for most of the better sort of Sunday supplements as well as iD, Arena, Details and, a long time ago, The Face. He has a six year old son and lives, like most people these days, near London Fields in North London.

“hE waNTED a bE aCON: aN

ICONIC bU IlD ING ThaT wOUlD

bECOME SyNONyMOUS wITh

ThE RE IS S bRaND”MIChaEl SQUIRE, SQUIRE & PaRTNERS

“ I waNTED aN INTERNaT IONal

hE aDQUaRTERS IN lONDON

ThaT MaDE Th IS k IND

Of POwERfUl STaTEMENT”DavID REISS

1 4


Previous pageThe glistening façade of the BARRETT STREET flagship store and the open, airy, working spaces of the headquarters.Left A dramatic staircase cuts through the floors of the Reiss headquarters whilst the translucent exterior of the building allows light to flood into the workspaces.Bottom left, bottom right, bottom A fully functioning atelier is at the heart of the Picton Place headquarters.

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T h E R E I S S b U I l D I N G

whEThER IT IS a Gl aMOROUS Gl aS S b Ox IN l a ,

OR INSERTS INTO G OThIC bU IlD INGS IN NOTT INGhaM.

fOR RE IS S , Th IS SMaRT USE Of aRChITECTURE

aND lOCaT ION IS NOw CENTRal TO whaT ThE

bUS INES S DOES aND hOw IT TalkS ab OUT ITSElf

a R C h I T E C T U R E

Above The BARRETT STREET flagship store, London, makes use of a diverse collection of materials in its luxurious interior design.Right The BLEECKER STREET store in New York is like all Reiss stores; a window into the heart of a brand.Bottom the award winning WEST BROADWAY, New York flagship store.

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Top In Los Angeles, The NORTH ROBERTSON BOULEVARD store is the Reiss west coast outpost.Middle The WEST BROADWAY store, New York, won an award for its innovative design.Bottom The double height ceilings and crystal light feature of London’s VIGO STREET store creates a dramatic interior.


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S S 1 1 M E N S w E a R

The Quiet

Man

MEN’S faShION ha S lE fT bE h IND ThE ShOw-Off.

ONly SUbTlE ShOw S Of SaRTORI al Sav v y

NOw COUNT. JaMES ShERwOOD TakES a walk

ON ThE M I lD S IDE

PHOTOGRAPHY

bRENDaN & bRENDaN

1 8

The idea of excess is not playing very well in the current cultural and economic climate. Rather than wishing to be noticed, the well-dressed male wants to operate under the radar, and the sartorial mood is fa-vouring the quiet, immaculately dressed man whom it takes ten minutes to assess, rather than the show-off who assaults the eyes with silk cash-mere suiting shot through with gold pinstripe or some such nonsense.

The labels striking the correct note this season are the strong, mono-tone, silent types such as Bottega Veneta, Jil Sander and Calvin Klein, who are marrying well-made capsule wardrobe essentials with a sense of subtle style rather than full-on fashion. This is not about instant grati-fication nor is it about clothes that shout “I just want to be noticed”. Quite the reverse is the case for Spring/Summer 2011. Essentially, mens-

wear has returned to its foundations in Savile Row bespoke tailoring. And it is classic designs, often only gently reworked, that are pleasing a new generation of men. At Reiss, suiting is lighter, more unstructured, but no less sculptural or sharp. The new made-to-measure tailoring service is a timely addition. Colour is drained from the collection, stand-ing on the solid foundations of navy, black, stone, camel and cream. The shapes are formal but softly sculpted: a definitive dinner jacket, an unimpeachable navy pea coat, a narrow, less formal flat-front trouser or a knit with “it” reminiscent of Nineties Martin Margiela or Helmut Lang. The palette is clean, the lines are lean and the style is strict and almost school uniform simple. What a refreshing change.

James Sherwood has been the fashion and style critic for the Independent on Sunday, the Financial Times and the International Herald Tribune. He is currently editor-at-large for The Rake magazine and contributes to several other titles. When not authoring, curating or television broadcasting, Mr Sherwood might be found researching. Most recently, deep within the Royal Windsor archives.


ThE PalETTE IS ClE aN, ThE l INES aRE

lE aN aND ThE ST ylE IS STR ICT

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Previous page BAGSHOT chunky knit jumper.Opposite FELCOT moss stitch knit, PROMENADE slim fit formal trouser, KLERK double lace formal shoe.This page TIDE melange knit jumper, CLOVE long-sleeved collared T-shirt, PROM mens tailored short.

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This page HALE button-front henley T-shirt, DILLON cargo pants.Opposite EMERALD suit jacket, CHESHAM shirt, ABERTON tie.

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T h E Q U I E T M a N

2 3


LuxuryhaRD-wORkING ClOThES fOR ThE MODERN

MaN COMbINE fUNCT ION wITh lUx URy

PHOTOGRAPHY

bRENDaN & bRENDaN

2 4

l U x U R y U T I l I T y

Utility

Opposite Reiss PERSONAL TAILORING suit. A comprehensive made to measure service at select Reiss stores offers the customer the opportunity to create their ideal, exquisitely detailed, suit. 50 Italian and English fabric options, 32 jacket styling options and 12 trouser options are available. For more information please visitwww.reissonline.comThis page CHIPPERFIELD shoe. Naturally tanned, perforated soft leather moulds perfectly to the shape of the foot over time. A natural leather sole adds detailing and an overall clean silhouette offers a casual summer aesthetic.

2 5

S S 1 1 M E N S w E a RS S 1 1 M E N S w E a R

Left Reiss PERSONAL TAILORING suit.Below Reiss PERSONAL TAILORING suit, DRAFT shirt, ABBERTON tie. This Oxford Weave silk tie is a classic, staple gentlemans accessory. Wear it in deep navy to smarten and compliment or in a pop colour like electric blue to add expression and edge.

2 6

l U x U R y U T I l I T y

Left SHALE brogue.This hard-working mid-calf brogue boot demands to be taken out of context. It’s the ideal foil for one of our tailored suitsBelow DRAFT shirt.Bluff collared and cuffed (meaning without top stitching), the DRAFT shirt is perfect in its simplicity. The stretch poplin looks fresh beneath a jacket or with jeans.

2 7

ThE “DECaDE ThaT ST ylE fORG OT” IS bE ING DUSTED

Off aND lOOkS SET TO DEf INE ThE lOOk aND fEEl Of 201 1 .

MEl aNIE R ICkEy ExPl a INS why


NEWOLD

GLAMOUR

PHOTOGRAPHY

bRENDaN & bRENDaN

2 8

Previous page SYLVIE jumpsuit.This pageMain picture JERRY jumpsuit, FLYNN heels.Top NICO shirt dress, ROSS slim leg jean, CIARA tassle detail shoulder bag, FLYNN heels.Middle CHERRY double breasted tailored jacket, BONNIE long-sleeved striped t-shirt, BIRKIN high waist kick flare jean, CIARA tassle detailed shoulder bag, ELLISON chain detail belt, CEDAR wood platform sandal.Bottom DIANA one shoulder bodysuit, BIRKIN high waist kick flare jean, ELLISON chain detail belt, CEDAR wood platform sandal.

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There was a moment during London Fashion Week last September that remains etched in my mind’s eye. After battling through the traffic, my-self and Grazia editor Jane Bruton made Richard Nicoll’s show at the old Eurostar terminal in Waterloo with a few minutes to spare. The sun was shining beautifully, as it does in London during late September, and we paused outside the venue to watch a young woman in enormous denim flares, paisley silk shirt and wide-brimmed hat as she was being photographed. Her look was accessorised, not with a pout, but with a broad ear-to-ear smile.

This sun-drenched vignette took place days after Marc Jacobs Spring/Summer 2011 show, which was a Seventies romp inspired by the high camp disco glamour of the It girls of the day, including Angelica Huston, Marisa Berenson, Jerry Hall and Marie Helvin. It had followed Tom Ford’s debut show, a glam-fest modelled by Beyoncé (complete with massive afro) and Seventies supermodel Lauren Hutton. By the close of the catwalk show season, labels like Chloé, Stella McCartney and Phillip Lim had each contributed their grown-up career woman, casual weekend and camp-as-knickers interpretations of Seventies style. These looks were not vintage reis-sues, but modern day versions of Seventies fashion essentials, re-cast and idealised for 2011.

No garment escaped the redux. We saw wide-legged jeans, platform shoes, A-line skirts, cotton smocks, tunics, pant suits, flare-and-drape dresses, sequin tank tops, hotpants, maxi skirts and column evening dresses. As a seasoned fashion editor I could see this trend bearing down on us like a juggernaut.

It’s not just the clothes that seem fresh now, it is the lifestyle and attitude of the women who wore them the first time around too. The Seventies was a carefree, glamorous and groundbreaking time to be a woman – and it is that sense of freedom that appeals just as much as the cut of a pair of flares. By 1975, the Sex Discrimination Act had made it illegal to discriminate against women in education and recruitment, a woman had been elected leader of the British Conservative Party, Spare Rib

magazine was an important weekly read, and leaps had been made in women’s rights. For the first time in history, women went out to work en masse, and they were visible when they went out to play too. They had more freedoms than ever, they were enjoying them, and they needed the clothes to do it all in. Seventies woman leapt from pavements in Charlie perfume adverts, she fought crime in Charlie’s Angels, went clubbing at Studio 54, and when she danced, she imagined herself as the star of Saturday Night Fever. She was surrounded by glamorous, high achieving and, importantly, happy and satisfied role models. Let’s not forget Farrah’s beaming smile, Lynda Carter’s self-assurance or Lauren Hutton’s gappy grin. Heady times.

Far from being tasteless (as their tarnished reputation suggests), Seven-ties fashion classics, done right, are desirable, wearable modern clothes that still do what they were designed for in the first place: help us to look good and perform well at work and play. They are softer, lighter interpretations of familiar volumes and forms. Looking at the way Reiss has interpreted the look of the decade has been refreshing. There is no pastiche in the true blue of the denim flares. For David Reiss, the Seven-ties were formative years that saw his first foray into fashion. “I remem-ber it as probably the first time women dressed for themselves, be-cause they had places to go and things to do,” he says. “They no longer had to subdue themselves and fit a certain mould. I think our 1971 collection has always reflected that, but now our mainline collec-tion is taking a bit from that era too.”

And so here we are in 2011, and yes, I am hankering after a midi-length dress and a sequin vest to wear with my platform sandals. I’m even mid-dle-parting my hair. I’ve bought a pair of pale summer blue denim flares and this weekend I’m heading to The Box, London’s newest nightclub import from New York. The media here are calling it “Studio 54 for now”. It’s a no-cameras-allowed hedonistic party every night. For my first visit I’m thinking of Farrah-flicking my hair, but will be skipping a spritz of Charlie perfume. Some aspects of the Seventies are best left there.

Melanie Rickey is fashion editor at large of Grazia and Pop Magazines. To switch off after a hard day on the front line of fashion she watches CSI boxsets, much to the horror of her family who prefer BBC4.

ThE SEvENT IES wERE a CaREfREE ,

Gl aMOROUS aND GROUNDbRE akING

T IME TO bE a wOMaN

ThERE IS NO PaST IChE IN ThE TRUE

blUE Of ThE DEN IM fl aRES

fOR ThE f IRST T IME IN h ISTORy

wOMEN wENT OUT TO wORk

EN MaS SE , aND ThEy wERE vIS IblE

whEN ThEy wENT OUT TO Pl ay TOO

N E w O l D G l a M O U R

3 1

Previous page, first column left RAQUEL quilted leather jacket, ROSSslim leg jean, FLYNN heels. Previous page, firstcolumn right MILLIE sequin cami BIRKIN high waist kick flare jean CEDAR wood platform sandal.Previous page, second column left TUXEDO white shirt, BIRKIN high waist kick flare jean, CEDAR wooden platform sandal. Previous page, second column right TUXEDO floral shirt, BIRKIN high waist kick flare jean, ELLISON chain detail belt, CEDAR wood platform sandal.This page SOFIA jumpsuit.

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UK

LONDON

REISS BARRETT STREET10 BARRETT STREETLONDON W1U 1BAT. +44 (0)20 7486 6557

REISS BRENT CROSSUNIT A15BRENT CROSSLONDON NW4 3FPT. +44 (0)20 8202 9615

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REISS HAMPSTEAD10 HAMPSTEAD HIGH STREETHAMPSTEADLONDON NW3 1PXT. +44 (0)20 7435 1542

1971 REISS HAMPSTEAD 52-54 HEATH STREETHAMPSTEADLONDON NW3 1DLT. +44 (0)20 7794 8429

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REST OF ENGLAND

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REST OF UKNORTHERN IRELAND

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SCOTLAND

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