AW / 2012

A BOOK ABOUT PEOPLE

MAKING IT HAPPEN

Jord

an H

ufna

gel:

qu

ali

ty m

at

ter

s: b

uil

din

g w

or

ld c

lass

bic

ycle

s

Mill

icen

t N

obis

: a Je

wel

ler

’s P

ro

ces

s a

nd

Fo

rm

M. T

hom

as &

A. J

ohns

: sec

ret

sK

ate

Par

Ks

in l

on

do

n

Mic

k Sp

ratt

: bu

ild

ing

tH

e H

ac

ien

da

so

un

d s

yst

em

Ingr

id D

onat

: sc

ulP

tin

g y

ou

r s

ur

ro

un

din

gs

This is a book about people who

make things happen.

The people around the world who

don’t take no for an answer. The people

who don’t wait for things to be handed

to them. The people who go out there

and do it themselves.

This is Bench. Self-Made. We

celebrate the hard-working and multi-

talented guys and girls with vision and

ambition. The ones who aren’t afraid to

get their hands dirty. The ones crafting

their own futures and changing the

faces – and the streets – of the cities

they live in. In the pages that follow

we take a closer look at this active and

independent attitude in cities around the

world, the dynamic people that drive it

and the new collection inspired by it.

A self-made success in its own

right, Bench. has evolved from a group

of friends selling their t-shirt designs

in Manchester to a global lifestyle

brand. So we recognise and admire the

determination and commitment needed

to take on the world. Self-Made sets out

to explore, document and inspire. And to

shine the spotlight on those who deserve

it, who always follow their own path.

As we start to collect these stories,

the highs and the lows, this book is

dedicated to the ones who understand

that life is simply what you make of it.

AW / 2012

Campaign Film

SCAN TO WATCH THE FILM

SELF- MADE HISTORY

Laying roots in 1989, Bench.

has steadily grown to become

a global lifestyle brand. It took

a lot of blood, sweat and tears

to do it, so we know what it’s

like to claw your way to the top

with nothing but hard work and

determination to get you there.

Emerging into a fast-paced

world of extreme sports and a

music scene that was dictating

the sound of the globe, from

the heart of Madchester came

a small line of purpose-built

clothes: stylish and simple, and

designed for the city streets

we work in. There we were,

capturing the attitude of a new

generation, determined to

change the world. And change

it we did.

“Bench. was started by a

couple of guys wanting to add

their handwriting to the ongoing

story of BMX/Skate style. Season

by season we grew it, clothes

that we rode in, worked in,

studied in, partied in and woke

up in.”

Jon White, Bench.

By the end of the 90s Bench.

was a bustling hub of creatives,

designers and innovators

making real fashion for young

men and women. Growing but

always grounded, its humble

and earnest attitude earned it

an army of loyal followers who

knew what it was about. Every

new artist, club and event the

brand worked with broke new

ground and Bench. became

known for being at the cutting

edge. From the Haçienda

to the Warehouse Project,

Snowbombing and Melt, we’ve

always been at the front, giving

it our all.

BENCH. AW/2012 3p

The city dwellers are longing for the great

outdoors, the rugged terrain and the unknown.

They are getting lost and finding the world. This

season’s collection is a story of adventure and

exploration, with clothes built for comfort and

versatility.

Accomplished and functional, the line goes

back to the origins of the brand. Military details,

multi-pockets and wild craft-influenced trims all

come together in workwear created for the journey.

The line is also a dedication to the misfits: the

attention seekers and the unconventional, living

life loud. Rugged and unapologetic, these pieces

were inspired by the photographers capturing the

late night stories: the Nirvana exhibition in Seattle,

Berlin street art, the underground parties in London

and festivals around the world. With a nod to 90s

grunge, it’s impulsive and irreverent, with pieces

essential for the fast-paced living.

With a colour palette built over two phases,

the first is drenched in Autumn. Fallen leaves on

the city streets with khaki, rusty shades of orange,

saturated reds and burgundy, mixed with staple

neutrals.

The second is daybreak on a bright, icy winter

morning. Jaded colours from the night grow to

bold tones with crisp clarity. Frostbitten evergreens

and strong pine hues mingle with lighter tones

and strong magenta pink and deep teal provide a

contrast clash.

AW/12INSPIRATIONWOMEN’S COLLECTION

BENCH. AW/2012 5p

The AW12 range combines Bench.’s heritage

with a functional approach to clothes. Reaching

new heights and new landscapes, the line brings

the hills and the mountains to the city. Nordic-

inspired sweat fabrics and shaggy fleece linings

give the collection a modern winter feel. Practical,

down-to-earth and utilitarian details mixed with

traditional finishes and features create a unique,

fresh style.

The supporting theme is the culture clash.

inspired by new media, music and technologies.

Always on, always plugged in, the line is created

for a digital world awash with sights and sounds.

The connected generation, experiencing life and

friendships in full colour.

Sharing the same base colour palette as the

womenswear line, phase two is all about the bright

lights of the skyscrapers. Bright pop tones glimmer

against black, charcoal and deep navy. Offbeat

brights bring character and twist to the traditional

winter palette, whilst a rustic influence comes in

the form of Seal Brown, Picante and Blue Mirage

for a more traditional feel.

MEN’S COLLECTION

A/W 2012

jacket BMKA1520B LABOUR B shirt BMAA1074B ACRE B

BENCH. AW/2012 7p

HIM: knitwear BMFA1082 KRYPTON trousers BMNA1225 KEMPSTON

HER: knitwear BLFA1127 TURBULENCE jeans BLMA0250-1 FRET V1

jacket BMKA1474 DINKSY knitwear BMFA1094 KAKAZE shirt BMAA0945D CONI D jeans BMMA0236-1 ANTHEMIC

jacket BMKA1495 FRAISER jersey BMGA2685 INTERIM jeans BMAA0230-1 PIEZO

BENCH. AW/2012 9p

jacket BMKA1474 DINKSY knitwear BMFA1094 KAKAZE shirt BMAA0945D CONI D jeans BMMA0236-1 ANTHEMIC

HIM: jacket BMKA1496 LAYO shirt BMAA1047 ARKANSAS trousers BMNA1207 C IRVING C

HER: jacket BLKA1605 RASCAL dress BLSA1391 DROPPER earmuffs BLZA0076 KUKI

HIM: shirt BMAA1034 MESSER knitwear BMFA1090 KRANKY trousers BMNA1222 KIRKHAM

HER: knitwear BLFA1127 TURBULENCE dress BLSA1359 HALF CENT

BENCH. AW/2012 11p

HIM: jacket BMKA1495 FRAISER jersey BMGA2685 INTERIM jeans BMMA0230-1 PIEZO

HIM: jacket BMKA1496 LAYO trousers BMNA1207 C IRVING C

HER: jacket BLKA1605 RASCAL t-shirt BLGA2475 SPLUSHY trousers BLNA1331 MUSHABOOM

HER: jacket BLKA1605 RASCAL dress BLSA1391 DROPPER

HIM: jacket BMKA1492 KEVINHER: knitwear BLFA1140 LOGISH jeans BLMAO254-1 PICK

Everyone has it in them to do something great,

they might just need a bit of a push.

Whether meeting that person who’s truly

passionate about what they do or stumbling across

something that really gets you going, all you need

is a spark.

Here we meet some of the inspirational guys

and girls around the world who are doing just that,

something great. Discovering what it means to

succeed, we get to the bottom of what motivates

them, what scares them and ultimately what they

get out of the hard graft.

In the first of a series of profiles, we show that

you don’t have to have a stack of cash to get the

ball rolling. And you don’t always need a stamp on

a piece of paper to be qualified to make an honest

go of it. Laying their lives bare in order to inspire

a global workforce to get off their sofas and move

mountains, this book makes sure their stories are

heard.

From Portland to Berlin it’s their dedication

that’s driving them forward, changing their lives

and the cities around them. Leaving a mark on the

world.

We’re giving the stage to the people who aren’t

always bringing in the money, but are always doing

it their way: the guys getting shit done.

MEETING

THE

MAKERS

JORDAN

HuFNAGEL:

SHIFTING

GEARS

What’s your set up?

I am a custom bicycle maker and I share a large

metal workshop in Portland, Oregon with my friend

James Crowe. He’s a custom motorcycle fabricator.

We have a traditional metal shop full of things

like manual milling machines, lathes, sheet metal

shaping machines, saws, grinders and hand tools.

James and I both work a ton and we try to make

all our time spent outside of the shop as rad as

possible. That usually means things like camping,

motorcycling and swimming. Together we just

started a new company called West America. It’s

more focused on all our parts, rather than being

hyper focused on our other respective companies.

With West America we are creating an outlet for us

to share stories, focus on some new products and

get lost more often.

So how does a bicycle maker end up in Portland?

I moved to Portland at the end of 2004. I had been

living in Austin, Texas for a few years at the time

and was eagerly searching for the next spot. I spent

most of 2004 on various road trips zig-zagging

back and forth across the States, only spending a

few months at home. It was awesome and exciting.

That brought my first visit to the Northwestern

United States. When I got to Portland it was

summer time. Portland was in its full glory, packed

with life and motivated people, surrounded by

mountains and rivers. I felt like I’d found the place

I was looking for. I extended my stay on that visit

and when I got back to Austin I just bought a one-

way ticket back immediately.

Portland has developed quite the reputation in

America, especially in recent years, what is it that

you love about the city?

Portland is the kind of place where you can really

put your energy into whatever you want to be

doing. It’s a cool town and the rent is cheap, so

you’re not working your brains out just to pay the

bills. More importantly, the community is really

supportive here. There is a lot of opportunity - if

you want it. These things make it a hotbed for the

modern American craftsperson. On top of what

the city has going for it, Oregon itself is amazing.

extremely diverse eco-systems and beauty

everywhere.

There’s something about bicycles that get

people going. Not just the chain and the cranks,

but the ride. And in recent years the cycling scene

around the world has exploded.

No longer just for the sportsman or the

conscious commuter, cycling has become a

lifestyle choice for an ever-expanding community

of adorers. With bike cafes popping up on every

street corner and group rides like Critical Mass

getting larger every month, the taste for the tarmac

is getting stronger.

And with it, so is the appreciation for the

machine itself. Riders of all levels are looking into

more bespoke bikes than off-the-peg models.

Whether track, road or cyclo-cross, building a bike

is a process that takes patience, dedication and

unbelievably fine-tuned skill. Frame-builders are

artists of metal, and the craft often passes down

through generations.

Bikes have ruled the streets in Portland,

America, for a long time, and here cycling has

enjoyed the same surging success as it has in

London, New York and Berlin. Nestled in the

city streets is frame-builder Jordan Hufnagel’s

workshop, which he shares with his long time

friend, James Crowe.

Hufnagel started out building frames over

five years as a way of earning cash to do what he

loves – cycling and building stuff. Producing only

custom-built bikes, each one of his creations is

totally unique and involves painstaking detail and

craftsmanship.

www.hufnagelcycles.com

BENCH. AW/2012 15p

To many, cycling has become almost a religion. At what age did you

fall in love with the ride?

I don’t have the clearest memories of my first rides. I’m always glad

to be reminded, with pictures, that it was a Care Bears bike. Super

funny and kind of a standout as far as my childhood possessions go.

My pops is from Pittsburgh, PA and because of that most of what I

had was in Pittsburgh Steelers black and gold. Always looking tough

despite my bright blond bowl cut and summer baby tan. My second

bike was a Huffy Racing 50. In black and gold, of course. And I

loved it dearly. Our parents were old school and unstressed about

supervision. So my pals and I were getting lost in the woods and

getting into trouble on our bikes as early as I can remember. No hand

holding and lots of quick learning. I loved the speed and freedom of

bikes right away.

Your bikes are a seamless blend of modern aesthetics and

traditional craftsmanship, how did you build and hone your skills to

become the expert you are today?

My dad raised me to appreciate and be competent with tools, and I’ve

always been into making stuff. But, when I decided to do this I felt

like I needed to get a little more education to jump start me. I started

off taking a general welding class at a community college and during

that term I skipped out of town to take a couple of week-long frame

building intensives at a school called UBI. The classes set you up with

the very basics of frame building - exactly what I was looking for.

During all that time and the year prior, I’d been working my ass off at

two jobs, saving every penny to buy equipment and tooling so I could

have my own shop. Then, that’s where the real learning begins. I just

spent every moment I could in there working to be better and learn

more. There are a ton of skills to learn in relation to frame building

and you’re always finding more and working to get better at the ones

you already know. That’s one of the most important parts of being

a craftsperson, to always be learning even when doing something

you’ve done a thousand times.

Is there a universal starting point for you when building a bike?

The starting point is always finding out what the bike is going to be

used for. Once I have a clear vision of that, I can start letting my brain

run with ideas to make it rad. I don’t think there is a particular part

or detail that makes a beautiful bike, it’s more a sum of all parts. It

has to be a total package. I prefer a simple, reserved aesthetic. One

strip of flair that lets the craftsmanship shine. Pre-paint finishing work

is of huge priority to me. I want my bikes to be stunners even when

stripped of their paint.

BENCH. AW/2012 17p

What kind of jobs have you had before and what

did you learn from them?

I’ve done all kinds of stuff. Bike shops, working

with kids, restaurants, bars, construction, sheet

metal fabrication. All of which have taught me a lot

and given me a well-rounded base for interacting

with the world. Owning your own business

means wearing a lot of hats, and having a diverse

background helps you to be more prepared for

whatever comes your way..

Have you always wanted to go it alone?

For sure. Never had much fun walking to another’s

beat. I’ve always wanted to do my own thing,

exactly how I thought it should be done.

What are the most important qualities to have

when you’re trying to set up a business?

Confidence, and comfort in poverty. The hardest

part about starting a business is making the jump

from talking about it to doing it. One of the things

about the internet and communication these days

is this melting pot of inspiration that’s out there.

Being alone in your taste is becoming a rare thing.

There are huge numbers of people seeing the

same things, getting stoked about the same things,

wanting the same things. Chances are, if it’s a

business you really want to see happen, there are

thousands of people out there that feel the same

and that will support you. You just have to go for

it and get it in front of them. Also, don’t half ass it

and be honest with yourself. Otherwise the ride

will suck.

But starting out on your own can be a daunting

task, did you have worries about making it work?

I’m an eternal optimist, and I know that it’s always

going to work out. I’ve hit many obstacles along

the way and I’m still here. Money and burnout are

the two biggest ones, and they feed each other.

Anyone who does work like this will tell you that

the money isn’t great and the hours can be taxing.

Allowing myself the time to step back and clear my

head, followed by determination to push through

the hard times, has kept me at it.

What are your tips for someone looking to build

their own bike?

Practice on a lot of scraps before digging into a

frame, and make sure the tubes are clean and they

fit up tight.

What wisdom would you offer to someone

looking to start their own business?

Just go for it. The worst that can happen is you lose

your money, and you can always make more money.

So what’s your ride?

I ride a classically designed porteur bicycle made

for speedy city function, with a large flat rack out

front .

ESTABLISHED:

In the fi rst of this series of profi les, we look

at the people who’ve made it. The ones who are

already there. The people who are decades down

the line and know the pay-off for sticking with the

hard work. Because sometimes you can’t even

think about where you’ll be next week, let alone

imagine how the sweat might pay off years down

the line.

These skilled and dedicated people have honed

their craft and now they’re here to tell us how

it’s done, how patience, willingness to learn and

commitment to a passion can give you a job and a

life that you truly love.

ESTABLISHED:

In the fi rst of this series of profi les, we look

at the people who’ve made it. The ones who are

already there. The people who are decades down

the line and know the pay-off for sticking with the

hard work. Because sometimes you can’t even

think about where you’ll be next week, let alone

imagine how the sweat might pay off years down

the line.

These skilled and dedicated people have honed

their craft and now they’re here to tell us how

it’s done, how patience, willingness to learn and

commitment to a passion can give you a job and a

life that you truly love.

MICK SPRATT SOuND ENGINEERMICK SPRATT SOuND ENGINEER

Mick Spratt is 40 years self-made. An expert in the fi eld of sound

engineering and the art of building the perfect PA system, Mick

established Wigwam Acoustics in 1979, and has been providing

sound systems for the loudest and fi nest musicians, bands and

venues for over a quarter of a century. The company supplied the

internationally renowned Haçienda in Manchester, its last ever PA

system, after Peter Hook called Mick in to have a look at the club’s

ailing sound. It was Mick who set them straight. Bench found its feet

in the midst of the ‘Madchester’ scene of which the Haçienda was

so pivotal a part. It went on to sponsor the club’s global tour. But for

Mick, it was far from the crashing noise and excitement of the late-

80s Manchester, where his journey into the world of sound began.

For him, his story starts four decades ago in a church belonging to a

small town just outside of Rochdale.

“I kicked off building PAs for a band because they couldn’t afford

it,” Mick says, “I ended up being in the band, but I think I only got

drafted in because I could build things. ‘Sure you can be in the band…

because you can make speakers.’” Probably for the best, as Mick

describes his playing ability as modest: “Three and a half chords. And

I don’t read music.” In true DIY-style, Mick’s career was born out of

enthusiasm and carved by necessity. His talents would see the band

becoming a vehicle for enterprise, albeit slightly unorthodox. “We did

the Rochdale Festival in 1972. From there we continued to make this

gear and then sell it to keep the band on the road. Basically [it was]

wheeler-dealing, because we couldn’t afford the gear on our own. We

made and sold loudspeakers to universities, colleges and other bands.

They’d see us and say ‘Nice PA, where’d you get it?’ and we’d say, ‘Oh,

we made it.’ ‘Can we buy one?’ ‘Well, you can buy that one, and we’ll

make a new one.’ We’d literally sell the band’s gear off the stage.”

While this might paint the picture of a rock 'n' roll punk, the truth

behind Mick’s abilities as a speaker-head is that he was actually a bit

of an anorak. “I was just interested, a real PA geek. I used to buy all

the magazines and make things, you know? I got some drawings for

American loud speakers, JBL, in about '72, 40 years ago.”

Mick and his bandmates were getting what they needed by any

means, “We bought from wholesale suppliers and we managed to blag

them from various places. If you’re motivated enough you can make all

sorts of things work.”

In 1978 Mick sold all the band’s gear and bought a branded PA and

has been in business full-time since '79, renting out systems. The band

folded, although they did get together last year for

a reunion that Mick describes as being like “Spinal

Tap. I mean the singer is 70. I think it’s better to

leave the past alone sometimes.” When Peter Hook

brought Mick in to look at the Haçienda’s sound

system, it was a reality check. Over the years many a

PA system had made the walls shake inside the club,

but according to Mick, “They weren’t brilliant. They

used to have a lot of issues with them. I don’t think

they paid enough money, they were trying to do it

on the cheap.”

Mick ensured that the system they installed for

Hooky “was amazing. You could feel the blinking

pavement rumbling outside, there was that much

bass in it. That’s what you want.”

The system’s whereabouts since the Haçienda

closed its doors in 1997 are unknown. “We’ve heard

it’s in Japan somewhere, but it’s only hearsay. I don’t

know if there’s any truth in that.”

So how exactly do you go about creating a

bespoke system for a club with as much reverence

and cherished memory around it as the great

Haçienda of Madchester? “[We] looked at the style

of music fi rst. Then we took the equipment down

there and said, right, play the music through this

system. You ask the question, ‘is that what you want

to hear?’ You audition it. Then somebody goes

‘that’s it’.”

After his early days of touring with Manchester

bands at just 16 (“I can’t even remember any of

the names of the bands, it’s that bloody long ago”)

in a van with “a bit of PA”, Mick went on to study

electronic engineering at Bolton Tech. He failed his

O-levels the fi rst time because “I was in a band, so

I re-sat them. The difference on the second attempt

was that I wasn’t touring in a band”.

“There was a company called Mitrex Electronics

and there was a guy there called Roland Lumby.

Roland designed an amplifi er that was basically

indestructible, and this was in the early 70s. I went

to work for him building amplifi ers in '72. I don’t

know why he let me, I think he just took a chance

on me.” Roland Lumby is still sworn by locals as the

man for amp repair in Salford.

Nowadays Mick and his business partner Chris,

along with the rest of his team, are providing sound

for the likes of Coldplay and Guns N’ Roses, as well

as half of the rest of the world’s superstars. If you’ve been to more

than a few large scale music shows in the past decade, it’s likely that

you’ve experienced their handiwork. Mick is proof, as if more were

needed, that humble beginnings from the likes of Manchester give

birth to big sounds and big people, who go on to shape the world.

bag BMXA0655 GERVAIS

BENCH. AW/2012 23p

MORE ON BENCH

Our collection spans hundreds of pieces,

from clothing to bags and accessories,

with each detail and graphic inspired by

the lifestyles and the energy of the people

who wear them. We can’t show them all,

but here’s a snapshot of some of the other

pieces we love.

To explore the full Bench range, go to

www.bench.co.uk

BENCH. AW/2012 25p

Opposite page, clockwise from top left: shirt BMLA0905 EVASER hat BLWA0349 HATSU earmuffs BLZA0349 KINSEY jeans BLMA0270-7 bag BLXA0669 HARLOT DRUMMING

This Page, clockwise from top left: hat BMWA0499 HUGO bag BLXA0674 HAPPEN hat BLWA0346 HOUGH bag BLXA0690 HAGEL dress BLSA1396 BARKKING

BENCH. AW/2012 27p

Opposite page, clockwise from top left: bag BMXA0679 HERCULES shirt BMAA1074B ACRE B bag BMXA0673 HENDRY shirt BMAA1053 KIPPER.

This Page, clockwise from top left: knitwear BMFA1096 KIEV hat BMWA0501 HARIEM scarf BMVA0232 HUBERT

HIM: jacket BMKA1476 KAWARA sweat BMEA2042 KIDDER jeans BMMA0235-4 MIX V

HER: gilet BLKA1600 TRICKSTER sweat BLEA3057 CANDISH skirt BLDA0930 HAPPY

BENCH. AW/2012 29p

HIM: jacket BMKA1495 FRAISER sweat BMEA2071 KLOOT t-shirt BMGA2847 FACTORY jeans BMMA0230-2 PIEZO

HER: sweat BLEA3084 ACEBASE jeans BLMA0267-2 LOUDSPEAKER

knitwear BMFA1096 KIEV knitwear BMFA1098 KULTER

jacket BMKA1485 OFFKICK sweat BMEA2043 jeans BMMA226-1 CHORD

gilet BLKA1650 CONSPIRE sweat BLEA3125 DEWHOLME shirt BLAA0914 BOCOCA

BENCH. AW/2012 31p

HIM: gilet BMKA1466 KITCHO shirt BMAA1037 FALA jeans BMMA226-1 CHORD

HER: jacket BLKA1579 RASLO t-shirt BLGA2457 WHATHARE jeans BLMA0250-2 FRET V2 scalf BLVA0285 HUDSON

jacket BLKA1587B MISTER B sweat BLEA3046 BERNIE shirt BLAA0905 EVASER

jacket BLKA1587B MISTER B sweat BLEA3046 BERNIE shirt BLAA0905 EVASER trousers BLNA1301B PRAIA B

BENCH. AW/2012 33p

jacket BMKA1475 KIPPER jeans BMMA0224-1 BREAKS

LIFTING THE HOODWe spend a lot of time crafting and

perfecting our products. Every stitch and

every fabric is considered and tailored to

meet the demands of a city lifestyle. In

the following pages we deconstruct our

processes, to spotlight the quality and the

detail that goes into every piece.

fur trim: acrylic based faux fur

main fabric: pu coated cotton nylon

body and hood lining: micro-fleece

sleeve: lining taffeta

wadding: soft touch waterproof wadding

rib: 2x2 rib

garment wash: rinse

embroideries: front placket and central on

hood panel

trims: total used 18

wash care labels: x2

inner back patch and hanger loop sign off:

used on 12w1 jackets

fabric consumption : 1.79m

man hours to make garment: 5898 sec.

amount of thread used per garment: 386m

KIDDER C (BLKA1298C)

BENCH. AW/2012 35p

main fabric: pu coated cotton nylonbody and hood lining: microfleece

sleeve lining taffeta

rib: 2x2 rib

fur trim: fake fur acrylic based fur embroiderys x2: front placket & central on

hood panel

main fabric: 600D polyester with PVC backing; outer binding: herringbone; branding label: laser cut woven; zip: dark gunmetal; zip pull: PU,

seal brown; contrast fabric: PU; webbing: seal brown; fastening: ladder locks, and metal components; lining: 210D nylon and PU backing

HERCULES (BMXA0679)

BENCH. AW/2012 37p

Berlin has a difficult past. In the 20s the city was the world’s

leading textiles centre, with 750 factories, but when it was torn apart

by war, many of the designers fled, demolishing the city’s talent

resource, and with it, its reputation.

However, recent decades have seen life breathed once again

into Berlin’s streets. The cheap living costs and abundance of space

have driven the city’s revival as a global cultural capital. It’s the

resilience and determination of the place that drives its unique brand

of creativity and this is the reason why people from around the world

are rushing to fill the suburbs.

Millicent Nobis is just one of those people. Travelling to Berlin

from her native Australia, she has a hand in many projects. Earning a

name for herself as a model and a fashion blogger, she finally found

her creative outlet in jewellery. And from the German capital she

creates and pushes her label, Mies Nobis.

www.miesnobis.com

MILLICENT

NOBIS:

THE WORK

OF BEAuTY

MILLICENT NOBUS: SKILLET COLLECTION

BENCH. AW/2012 39p

You’ve got a lot going on, does your work keep

you busy?

Last week I spent a lot of time drinking prosecco

and crazily sandpapering metal and wood cutouts

into a new collection that I decided to create a

week before a group show. And two days ago I

flew to Paris to present my label, Mies Nobis, at

Première Classe.

Have you always known that you wanted to work

in fashion?

When I was little my parents dragged me and

my sisters (four girls under 12) around Europe for

a nightmarish few months. In London (actually

the outskirts somewhere near Essex, but London

sounds better) I saw a shop called Milly’s Boutique

and it occurred to me that it would be fun to have

my own shop. I studied fashion design in Sydney

but quickly lost interest in actually graduating. Now

I really like jewellery. As I always say, it’s easier to

wear an experimental piece of jewellery than an

eccentric piece of clothing.

How have you learnt your craft? What skills go

into it? Have you always been craft-focused?

I’ve always liked creating things with my hands.

Throughout the years, I’ve had tiny wax dolls that

slept in matchboxes, felt mice, pottery dolphin

sculptures, twisted safety pin jewellery, feather

earrings sold at Bondi Markets - oh, the list goes on

and on. I love discovering new techniques and I’m

actually pretty much self-taught. It’s funny, when

I was studying and being trained in the traditional

methods of fashion design and production, I sort

of lost interest. Maybe it’s the joy of figuring out a

new medium.

What’s your production process?

I’m currently making my “Tier” pieces, for which

I’m laser cutting brass, wood, plexiglass and

stainless steel shapes. And soon maybe porcelain,

but that’s all in the experimental stage. Then

it’s sanding, polishing, tinting, lacquering and

wrapping together with copper wire or waxed

cotton cord into industrial-looking statement

pendants.

How do you get inspired to create your pieces?

Ideas pop into my head quite randomly, or I’m

inspired by thinking about how I can use a certain

process or material I discover. The most important

part is taking care of the small details to produce

something that looks really nice even close-up.

Sometimes I get lost in finishing something but this

is very important for producing something you can

be proud of.

How much did you think it through before you set

up your label?

I just started really. It’s probably smarter to do it with

some kind of financial plan but I thought, “I like

creating jewellery”. So I spent all my money doing

that, and got to a point where I thought I should try

and actually make some money to keep it going.

To do this you need to love what you do and have

determination. Also a bit of a disregard for your own

well-being probably helps you to “slave labour”

yourself a bit.

Was there a part of you that was worried about

giving it a shot?

I can’t say I’ve thought about it so much. What’s

the worse that could happen? I try, I fail, I end up

bankrupt maybe, I lose all my love of creating and I

get a nice safe office job to pay off my debts. A lot

of people I know are quite happy with nice, safe

office jobs.

What did you learn on your journey from earring-

seller on Bondi Beach to hotly-tipped designer?

My life is an endless list of side jobs, thinking about

them is a little depressing. I’ve had jobs in retail

where I learned that I never want to do retail ever

again in my life. I’ve been a waitress, a barmaid,

a model. I learned the exact drinking water &

peeing timetable that ensures your belly is as flat

as possible when they are ready to shoot. I also

learned that dating a chef can be fun.

What made you switch from the beach life of

Australia to the colder climates of Berlin?

I came to Berlin in 2010. I’d wanted to come and

live here for a while to improve my German, but

I didn’t expect to stay so long – or speak so little

German. People always say Berlin is free but that

really is the sense I get from it. I think everyone

feels like there’s space to really be who they are

here. Sydney is quite different to that. I love Sydney

because of my history – my family and friends – but

really, I am “in love” with Berlin.

What do you love about being independent?

I always wanted to do my own thing design/

creative wise, I am not great at compromising in

that aspect. I love it because I am quite good at

being independent and it’s always fun doing things

you are good at!

And what’s your favourite piece of your

jewellery?

The next piece. The one that’s floating around

my head looking perfect and amazing before

it’s tarnished with the realities of actually being

created.

BENCH. AW/2012 41p

INGRID DONAT FuRNITuRE DESIGNER

French furniture designer Ingrid

Donat is doing what she loves, and

what she was born to do. Turning her

back on education to go it alone, for

20 years she’s been steadily building a

stunning body of work that combines

interior design with the beauty of fi ne

art. Designing and building all her

own work, she is self-made

“I started simply making furniture

for my house.” says Donat, from

her home based on the outskirts

of Paris “I’m surrounded by my

pieces at home because my house

is my starting point, it’s where I

work.”

Born in Paris in 1957 into a

family of artists and architects, it was

always in her blood to sculpt, mould

and change her surroundings “I’ve

always made pieces of furniture for

myself, but started professionally at a

relatively late age of 40.”

In 1975 she enrolled at the École

des Beaux-Arts in Paris and, in the

bright lights of the city’s bustling

creative scene, her passion for

sculpture fl ourished. Her talent and

unique approach were noticed quickly

by the upper echelons of the capital’s

scene who were keen for her to

improve “It was Sylva Bernt, sculptor

and companion of André Arbus

[who] taught me different techniques

of sculpture. Diego Giacometti and

Cesar encouraged me to develop my

work.”

For Donat, the creating of

furniture is more than just knocking

bits of wood together to sit the TV

on, her pieces are works of art in

their own right, “First and foremost

I’m a sculptor and I keep to the

traditional techniques of sculpture.”

Her background in art means she has

an appreciation for how these things Images courtesy of Carpenters Workshop Gallery

of beauty should work together “I love [it] that the

furniture is discreet, elegant, and doesn’t immediately

attract the eye: pieces that fi t in with the harmony

of a room, leaving the works of art, the painting, the

sculptures to stand out fi rst, [and] that we can discover

the details, the work, the refi nement when the eye

fi nally rests on the furniture itself.”

“What I like is working directly with my hands, if

the materials allow me to do so.” It’s the fact that Ingrid

looks at furniture through a sculptor’s eyes that allows

each of her pieces to have their own identity and visual

story. However, the approach means each work is a

time-intensive labour of love.

“The creative phase can be very fast but sometimes

very long,” she explains, “It depends on the inspiration.

Sometimes I explore the routes that I like immediately,

sometimes I put them aside to pick up later. There are

phases [that come] after, such as moulding, casting,

chasing and patina. They take a long time. I produce

ten or so new pieces each year.”

“The fi rst step is the design and the production

of a prototype in wood. After that I develop the

material of the furniture that will form the fi nal piece.

Sometimes, when I decide it’s right, I sculpt elements

and afterwards we adapt each element. Then into

the moulds, we pour molten bronze. Following this

is a step called chasing, which is cleaning elements

in bronze and then welding them together. The fi nal

step is the patina. It burns directly onto the bronze and

oxidises it. This gives the deep colours and nuances.

And at the end: a layer of wax.”

Donat is now a resident a The Carpenters

Workshop in Paris, a gallery dedicated to discovering

new and ground-breaking design-art. It’s the gallery

that looks after the fi nancials because as Ingrid says

“I’m not completely disconnected from the business

side of things but my passion is for working with

interiors. What I know is that I work by instinct, and

I work primarily for me, if that pleases some fans, I’m

thrilled.”

www.ingriddonat.com

BENCH. AW/2012 45p

BENCH. AuDIODESIGN AND COLOUR

The look is all clean lines. A blend of

vibrant brights and earthy neutrals, with the

subtle Bench. signature detailing. Easy to

wear, and understated with an urban edge and

distinctly Bench.

Available in four colour-ways: black/white,

black/grey, black/hot pink, green/neon yellow.

FEATURES

In-line mic for play/pause, track control

and taking/making calls. iPhone® compatible.

Foldable headset for compact storage.

Lightweight design. Flat, anti-tangle cable.

Cushioned headband for enhanced comfort

and fi t. Plush, cushioned ear pads for comfort

and bass seal. Gold-plated, rust-proof plug.

SOUND QUALITY

Suited to all music tastes the Bench 2012

Headphone Collection delivers high quality

sound. The closed cup design excludes

ambient noise and provides great sound

isolation whilst dynamic frequency response

from 20 Hz to 20 kHz ensures that the sound

combines high, medium frequencies and

bass for detail and depth. Rich bass notes

without compromise to the mid or high-range

and excellent clarity provide purer sound

experience.

BENCH. AW/2012BENCH. AW/2012 4545pp

BENCH. BENCH. AuDIOAuDIODESIGN AND COLOURDESIGN AND COLOUR

The look is all clean lines. A blend of The look is all clean lines. A blend of

vibrant brights and earthy neutrals, with the vibrant brights and earthy neutrals, with the

subtle Bench. signature detailing. Easy to subtle Bench. signature detailing. Easy to

wear, and understated with an urban edge and wear, and understated with an urban edge and

distinctly Bench.distinctly Bench.

Available in four colour-ways: black/white, Available in four colour-ways: black/white,

black/grey, black/hot pink, green/neon yellow.black/grey, black/hot pink, green/neon yellow.

FEATURESFEATURES

In-line mic for play/pause, track control In-line mic for play/pause, track control

and taking/making calls. iPhone® compatible. and taking/making calls. iPhone® compatible.

Foldable headset for compact storage. Foldable headset for compact storage.

Lightweight design. Flat, anti-tangle cable. Lightweight design. Flat, anti-tangle cable.

Cushioned headband for enhanced comfort Cushioned headband for enhanced comfort

and fi t. Plush, cushioned ear pads for comfort and fi t. Plush, cushioned ear pads for comfort

and bass seal. Gold-plated, rust-proof plug.and bass seal. Gold-plated, rust-proof plug.

SOUND QUALITYSOUND QUALITY

Suited to all music tastes the Bench 2012 Suited to all music tastes the Bench 2012

Headphone Collection delivers high quality Headphone Collection delivers high quality

sound. The closed cup design excludes sound. The closed cup design excludes

ambient noise and provides great sound ambient noise and provides great sound

isolation whilst dynamic frequency response isolation whilst dynamic frequency response

from 20 Hz to 20 kHz ensures that the sound from 20 Hz to 20 kHz ensures that the sound

combines high, medium frequencies and combines high, medium frequencies and

bass for detail and depth. Rich bass notes bass for detail and depth. Rich bass notes

without compromise to the mid or high-range without compromise to the mid or high-range

and excellent clarity provide purer sound and excellent clarity provide purer sound

experience.experience.

FIT FORPuRPOSE

From industrial beginnings, denim has become

the uniform of the global workforce on a mission,

out there getting their hands dirty. Humble,

unassuming and now a global phenomenon,

they’re the ultimate example of style and

substance. No nonsense, just fi t for purpose.

Our jeans are designed for the people who

wear them. Shaped by fast-paced scenes around

the world, they refl ect the energy of the people

driving change.

Bench. denim. Stitched for city streets.

BENCH. AW/2012 47p

FLY DETAIL INSPIRED BY 1/4 ZIP

BENCH. CORP FULL STOP RIVETDOUBLE BELT LOOP

AW12 sees a new line of washes that use hand-

fi nished fabrics, created to capture the look of a

well-worn pair of jeans. The collection adopts

lightly faded black, rich indigo, weathered-look

rustic cords, rum-raisin and deeply saturated blue.

Stripped back to an overall clean and simple

feel, the range has been fi nished off with iconic

Bench. detailing that forms the design DNA – the

off centre, quarter zip, the double belt loop and the

full stop – putting their stamp on the line.

The soft hand feel fabrics for comfort and the

super stretch compact denim used to create our

skinny styles make sure our range adapts to a life

on the move.

BENCH. AW/2012 49pBENCH. AW/2012 49p

BENCH. BACK PATCH

SELF- MADE PRESENTS

To celebrate the launch of the new AW12

denim collection, we set out to find out more

about the people who inspired it. In a series of

short films, we explore the range while following

these inspiring young people as they show us their

streets and their lives.

BENCH. AW/2012 51p

Since its inception in 2011, NTS Radio has

been setting the standards across London for

independent radio stations.

Holding down the fort at the Gillett Square

HQ, on-air producer Sam Cunniffe knows

exactly what kind of blood, sweat and tears

it’s taken to build one of the most respected

and talked-about music developments

around in little over a year. With the station’s

schedule reading like a “who’s who” of the

capital’s pioneering producers and artists, its

beats are the soundtrack to the area’s creative

community.

In the fi rst of our fi lms surrounding the

Denim Range, Sam offers us a glimpse of the

inner workings of the station. Exploring the role

of independent radio in London, we see the

wires and sockets, the gaffer tape and coffee

cups, and the faces behind the voices.

We follow Sam, kitted out in Bench. jeans,

to a hidden, appointment-only warehouse fi lled

with rare and sought-after vinyl. As he carefully

selects records for the party that evening, which

he runs and promotes, LIFE, he explains the role

music has in his life and why it inspires him to

push boundaries through the station, the events

and his own.

SAM CuNNIFFE

jacket BMKA1523 LYNDEN sweat BMEA2139 LARSON jeans BMMA0224-1 BREAKS

SCAN TO WATCH THE FILM

From beginning as a volunteer in Rough Trade West

record shop, to becoming a staggeringly-young record

label boss, 21-year-old Cherish Kaya hasn’t found her

age an obstacle in her rise.

Having proven her mettle as an artist herself,

playing in bands such as Ipso Facto and Florence + The

Machine, it was while scouting for Columbia Records

that Cherish developed an ear for talent.

Realising she knew a good thing when she heard it,

she quickly decided that by going it alone she’d have

the freedom to create something bold. In June 2012,

Cherish launched Kaya Kaya Records, a subsidiary of

the groundbreaking independent label XL Recordings.

With a select team of hand-picked artists that she

believes in, she’s determined to make people sit up

and listen.

We captured Cherish’s journey as she prepared

to launch the label, confi dently taking on the city in

a pair of Bench’s fi nest blues. Our fi lm follows her in

the run-up to her debut event at Birthdays in Dalston

as she explains the highs and lows of making a go of

it, and refl ects on what is really just the fi rst step of her

next big adventure.

CHERISH KAYA

jeans BLMA 0250-2 FRET V2

SCAN TO WATCH THE FILM

BENCH. AW/2012 53p

jacket BLKA1634 SPARKLER knitwear BLFA1159 SNOW SHOWER shirt BLAA0912 LUMBERJILLIAN jeans BLMA0251-1 FREQUENCY

HIM: jacket BMKA1466 KITCHO knitwear BMFA1081 KARIBOU trousers BMNA1207C IRVING C

HER: shirt BLAA0909 PRIVATE knitwear BLFA1114B FANCY THAT B t-shirt BLGA2463 TYPOE skirt BLDA0934 FLYPAST

jacket BLKA1646 HUYTON knitwear BLFA1147 MAJORAMA dress BLSA1421 CLASSIC BLEARY hat BLWA0354 HEXONE

BENCH. AW/2012 55p

jacket BMKA1535 LASSO sweat BMEA2144 BALLBROOK t-shirt BMGA2892 ADDERLEY jeans BMMA0236-2 ANTHEMIC

HIM: shirt BMAA1075 ALPHA

HER: jacket BLKA1644 LANG knitwear BLFA1174 CREWTON trousers BLNA1331 MUSHABOOM

HER: jacket BLKA1635 LAKSO dress BLSA1400 DAMSELS

HIM: jacket BMKA1512 LYME knitwear BMFA1111 LYKKIE jeans BMMA0226-2 CHORD 2

BENCH. AW/2012 57p

HER: jacket BLKA1639 BEST knitwear BLFA1171 HOOD TOWN dress BLSA1392 HIPSTA

HIM: jacket BMKA1524 LOCAL t-shirt BMGA2888 LASER trousers BMNA1207D IRVING D

HIM: t-shirt BMGA2761B JUROR B sweat BMEA1962 B INCE B jacket BMKA1472 ELECTRONICA jeans BMMA0224-1 BREAKS

HER: jacket BLKA1597 GREENLAND sweat BLEA3057 CANDISH

jacket BMKA1522 LEONARD shirt BMAA1066 LOOP trousers BMNA1230 LOWERY

BENCH. AW/2012 59p

M.THOMAS

&

A.JOHNS:

CONCRETE

JuNGLE

The world’s pretty well-equipped when it

comes to finding spots for skating. With a vast

network of purpose-built parks - not to mention

entire cities of benches and curbs - there’s always a

place to grind.

But the scene’s always had a rebellious streak,

and in recent years they’ve been taking up arms.

With cement mixers and shovels, they’re building

their own places to skate, perfectly formed and

made to measure.

In the summer of 2011, a group of friends set

out to turn an abandoned pool in South London

into their own private spot. A spot that’s secret and

illegal, the location is not to be revealed until after

its demolition. Adam Johns and Martyn Thomas

were part of that group. They tell us what it was

like to be involved with such a big build and why

they’ve decided to take part in another.

How long Have you been building?

AJ: I’ve built numerous things over the years, to skate with my friends,

including jump ramps, quarter pipes, grind boxes, sketchy drop-ins,

an attempted mini ramp and even a tarmac skate park, which we

built with the money the council donated to one of the skateboarders’

dads’, who was a builder, to create a skate park for us. All of us kids

helped and no one had laid tarmac before. It was the worst quality

material and was a total fail. But we skated it for a good while anyway.

Does skateboarding naturally lend itself to the more hands-on

person?

MT: I think skaters have been building stuff forever, if not building

then re-appropriating. Banks, ledges, pools, stairs, all get used or

“fixed” to skate. They already have the ideas to build, it’s just a matter

of finding people who are into taking it a stage further.

AJ: Whether it’s creating your own skateboard companies or

building your own skate parks, there’s always been a DIY element in

skateboarding. So we now have skater-run, park-building companies.

Where do you even start planning and tackling something so huge?

AJ: The latest spot we are building, I actually found on Google

Earth. Total luck. We decided to set out on a wet Saturday morning

in March to check it out, with some tools just in case it had any

potential. As soon as we got there it was obvious, “Yes, we can

build something here”, and without hesitation we started moving

dirt and stones into position. We levered up some large paving slabs,

cemented them into place against a wall, and four hours later we’d

built a wall ride.

BENCH. AW/2012 61p

MT: It’s a collaborative process, with everyone bouncing ideas

around. So it’s all down to who you have in your team. If you have

a lot of street skaters in your team you will most likely come up with

designs that reflect that. And a lot of it is spontaneous. I’ve watched

the key players all deep in discussion about what to build and where.

All of them getting very excited about how hard, or f*cked up, it will

be to try and skate it when it’s done. It’s a great atmosphere.

What kind of commitment does it take?

MT: Everybody puts in a lot of money for concrete, dedicates whole

weekends to prepping the rubble and the flashing (wooden frames),

then there’s mixing and pouring up to a ton or two of concrete by

hand. Having spent a few days sweating with these guys, I can vouch

for how much hard work it is and how much dedication it needs.

What’s the biggest worry in the build team?

MT: Getting found out before we even get to skate it, that would be

hard. Though, depending on the location they might allow you to

stay. The more unused and hidden the location, the more valuable it

is to the build team.

AJ: All you can do is be discrete and tidy so as not to draw too much

attention to what you are doing. I believe that when it looks like you

are working hard, people just presume you are meant to be there.

Hi-vis jackets can almost make you invisible. The more interesting

terrains and environments excite and inspire me, but it can be a very

temporary thing. That is why you have to take advantage when you

can, get motivated and get organised or you will miss out on a new

opportunity.

Is the worry of demolition why you try to keep it as secret as

possible?

MT: When you find a spot to skate, word gets out and then it gets hit

by everyone. Sites are being kept secret because it is so much work to

get one built, you want it to last as long as possible. Skateboards have

a nasty habit of making things fall apart.

Slaving away at the weekend with a cement mixer is like taking on a

second job that doesn’t pay. What kicks do you get out of it?

MT: Pride in skating something that you actually build with blood,

sweat and your friends. It’s way more rewarding than kicking back

with a cup of tea and admiring the shelves you just

put up in your house, that’s for sure.

AJ: It gives us all our very own secret to enjoy. For

a certain time. All skateboarders would rather ride

something built by other skateboarders as opposed

to those built by the car park building firms, which

built a lot of parks in small towns during the 90s,

when councils didn’t want to spend much money

on proper spots. Plus it’s always challenging to

skate because of its handmade quality. And there

are no kids on scooters to crash into.

The second project is due to be demolished when

the land is cleared; how will it feel to stand and

watch the ship going down?

MT: There are videos called “The Strongest of the

Strange” that feature an impressive build - one that

inspired me and many others. They had to stand by

and watch it get demolished, and it must have been

hard. But they built another. And another. We’ve

not yet had to stand by and watch everyone’s hard

work be destroyed, but it will happen. I guess it’s

just important to make the most of it and not rely

on it lasting forever.

AJ: You are a little gutted. But you have to accept

from the start that it may not be there tomorrow.

You can’t dwell on what might happen, as that

may not happen for a long time. You would never

consider doing it in the first place if you couldn’t

accept that reality.

A build of this size involves a pretty hefty

amount of skill, how did you guys get the sort of

construction knowledge you need?

AJ: There has been more forward planning

involved at times, when friends who actually build

skate parks for a living came on site. They brought

plywood shuttering as a template for the transition

shape or ready made pool coping. You can always

accomplish something if you’re motivated enough

to get your hands dirty and work together.

MT: This inspired a lot of the others to buy the

right tools and learn how to work the concrete

themselves. Within a few days of building, the guys

really knew their stuff and I found myself getting

taught by my friends who were still pretty fresh to

it. I was blown away and inspired by the whole

operation.

BENCH. AW/2012 63p

WIN lots of Bench stuff.

Follow @bench_clothing using

hashtag #tweet2win to be in

with the chance to take home a

weekly prize

AW / 2012

Get 10% off your next

Purchase online at:

BENCH.CO.UK

CODE: SELFMADE12

HEAD TO FACEBOOK

AND TELL US YOUR

STORY TO ENTER

THE SELF MADE

COMPETITION FOR

THE CHANCE TO WIN

£1000 FUNDING,

GLOBAL EXPOSURE

AND MENTORING

FROM EXPERTS.

BROWSE Behind The Scenes from

Bench’s latest photo-shoots, plus

pin to our styling boards. Pinterest.

pinterest.com/benchoriginal

JOIN US at Facebook.com/

benchoffical to keep up with

Bench news, exclusive content

and competitions

CATCH up with Bench in Space.

Be inspired by Bench Self Made.

Plus the latest fashion trends.

Bench.co.uk/blog

WATCH OUT for more Bench Live

exclusives at YouTube.com/benchlovesu

BE INSPIRED by Bench

Search benchoriginal

FOLLOW US at

bench-clothing.tumblr.com

WWW.BENCH.CO.UK

WWW.BENCHSELFMADE.COM