This season we've made sure there's plenty of Hickory to choose from, here's a little rundown of what's available...
First up there's the tried and tested OG and 80s Painter Pants, no nonsense, no faff, just solid dependable pants for everyday wear. Then there's the Double knee pants, these are favourites among those that need that little extra toughness and a slightly looser fit.
(Pictured above - OG Painter in Hickory Mix)
Comfortable, tough, and really useful is how we'd describe our bibs and we think our Earl’s Bibs are just how dungarees should be. No gimmicks — just plenty of handy pockets and a roomy, relaxed fit.
(Pictured above - Earls Bib in Black Stone)
Following the smash introduction of Hickory Mix in SS23 we're back with an update; Painter Pants, Coverall jacket and Earls Bibs all featuring three alternating hickory colours across each style.
(Pictured above - OG Painter in Hickory Mix)
And this season our Hickory stripe pants and bottoms have all been stonewashed, giving them a subtle faded appearance. Whichever style you go for, there'll be no need to break them in, they all look great from the off.
]]>With spring finally sprouting and the frost starting to thaw, we’re proud to present our SS24 range—a collection of tough, everyday clothing that combines hard wearing functional flavour with a serious dose of pastel colour. There’s a lot going on here, but if we were to sum it all up, we’d probably call it Balearic workwear—the kind of clothing that works just as well from beach to bar, workshop to coffee shop—relaxed, yet hard-working.
Up first… the new stuff. The Zip Off Pants are exactly what you think they are—a super-functional pair of convertible trousers that can be transformed into shorts in mere seconds thanks to those handy zips. You’ll never get caught out by the sun again.
There’s also the Double Knee Shorts—the summer cousins of our Double Knee Pants. The pants have only been around for a year or so but have already become a firm Stan fan favourite, so it only made sense to make a hot-weather version. As you’d expect, these are reassuringly tough, making them great for skating or climbing or anything else that requires a bit of extra reinforcement. Continuing the ‘sturdy shorts’ theme, the Cargo Shorts and the Fat Shorts are both built for action—with relaxed shape and plenty of pocket space ensuring you’ll be king of the campsite.
As for jackets, the Pop Smock is a super easy-to-wear over-the-head smock, made from lightweight cotton, whilst the Coach Jacket is a prime piece of laid-back summer outerwear crafted out of NYCO ripstop. You know those summer nights when there’s a slight chill in the air? Well—that’s when these things come in handy. They’ll also work over a hoodie or sweatshirt when autumn comes around.
Back by seriously popular demand, our Hickory Mix pattern is a prime example of the kind of technicolour workwear that sums up our SS24 range. Yep, it’s every bits as hard-wearing as you’d expect from this time-honoured railroad fabric, but thanks to that contrast patchwork panelling design, it’s anything but traditional, adding a modern twist to mainstays like our Coverall Jacket, Earls Bibs Dungarees and Painter Pants.
The Big Job Painter Pants are back in the building too—and this time we’ve pushed the boat right out with a few new colour options like Agave Stone Hickory and a French workwear-inspired light blue. If you like our Painter Pants, but want something a bit roomier with a baggier shape, then these are the pants to go for.
And don’t worry if pastel hues and patchwork hickory ain’t for you—there’s also plenty of navy and olive stuff too if you like your workwear on the subtler end of the spectrum. 52 years after we started making work pants in our Texas factory, we’re still dedicated to making durable, all-purpose gear—we’ve just widened our palette a bit.
]]>It’s something that ebbs and flows softly, giving off that fresh optimism of a new season but nostalgic still. Lots of light bokeh and vintage tones if it was put to film hah. I also wanted to do a mix that felt timeless, making it re-listenable and ultimately very enjoyable tone-wise.
Since our last Stan Radio mix we’ve been pretty flat out with releases on the label. Shout out to the SB crew who did a record with us in 2023… Moonee, SoulWun, Tiptoes, Philippa, Joe Cleen, Intr0beatz, Ruff Stuff & Bress Underground.
We also did another instalment of our Dancing With Friends compilation album that came out on some limited edition juicy orange vinyl which everyone seemed to love.
Other than that it’s been business as usual with our radio shows and guest mix series where we’ve had some absolutely lovely episodes from the likes of Wallace, Dam Swindle, Juliet Mendoza, Melle Brown and a v. v. special 400th landmark episode from Radio Slave.
TRACKLIST
Edmondson - Remind me in an hour
Tour-Maubourg & Ismael Ndir - Ode To Love (Panorama Version)
Hnny - Kindness
I Gemin - Introfall (Autumn)
Mndsgn - (my)PLEASURE ft. Liv.e
Scruscru - Water Ripples
De La Soul - Stakes Is High (Instrumental) [Excerpt]
Jéroboam - Mystic Beauty Part 1 & 2
Leon Lowman - Open
Jack J - Closing The Door
Jonny Sender - Zhivago Zhivago
Space Ghost - Emotional Freedom (Ambient Mix)
Uniile - A Jazz Thing
Bobby Donny Soundsystem - Sippin
Ancient Deep - Early Werk feat. Carlos Mena
Makèz x Life On Planets - Running from the Noise (Edit)
Manuel Daquart - The Vibe
Unknown Artist - Ijzeren Rots
Edmondson - - Willows
Manabu Nagayama & Soichi Terada - Low Tension (1991 Original Version)
Linkwood - Love Lost
Pastor T.L. Barrett And The Youth For Christ Choir - How Would You Like To Have A Nice Hawaiian Punch? Excerpt 1
Pastor T.L. Barrett And The Youth For Christ Choir - Father I Stretch My Hands
Slick Rick - CEO Outro
]]>Enjoy!
Video and editing - Max Weston
Direction - Gavin Campbell
]]>When it comes to hobbies or pastimes or whatever you want to call those trivial activities that sort of make life worth living, not many are quite as pure or as stripped-back as surfing.
Billy Dingley makes it even purer—choosing to surf the waves on boards he’s shaped by hand in his Cornwall workshop. Using the same tried-and-tested methods that board shapers would have used as far back as the 60s, he transforms formless chunks of polyurethane foam into majestic works of functional art—building quite the name for himself in the process.
We called in at his workshop to find out more…
How did you get into shaping boards in the first place? A lot of people might surf, but not many decide to go the next step and make their own boards.
Back in the day a lot of the surfers would have to make their own boards—and they were only as good as the boards they could make. Because the people I looked up to had done it, I thought there was no reason why I couldn’t do it. So I just went for it. I think as a surfer, there’s nothing more complete than building your own boards—it ties it all in.
What was your first board? Do you remember the first one you made?
My first one was a little fish, and it actually went surprisingly well. I was really shocked how well it turned out considering it was the first one I made. It snowballed from there—friends started wanting them and then it turned into a proper thing.
What’s the process of making a board? They’re made of foam aren’t they?
The inside is a polyurethane foam—like a lightweight expanded foam that’s really soft. So I get a blank and then I shape it to the desired shape the customer wants using my planer and some sanding blocks. And then you put the fibreglass resin on top to give it its strength. You don’t want them too heavy—so you’ve got that light core and then the fibreglass for strength. It’s one of those things that’s quite hard to understand until you see it for yourself—it’s a really interesting process.
How do you go about learning something like that? Were you just sat watching YouTube videos?
Pretty much—I’m self taught, so everything I’ve learned was from the internet until recently when I’ve been getting a bit of help from friends I have met in the trade. It’s quite a hard industry to get into because people don’t tend to share knowledge.
What’s the creative element of shaping a board—how do they differ from shaper to shaper?
Everyone buys into your finesse—that’s what separates you from the rest. One of my main selling points besides the shapes is the colour work I do—the way I put the colour on. It’s nothing new, but it’s a style I like. And then because mine are all custom—everything for the board is bespoke to the customer.
I know with a lot of hands on craft things there’s almost that flow state where you don’t really need to think. Do you get that with shaping boards?
Definitely. Without sounding cliche, it is almost like meditation as you’re completely focussed on doing it, and nothing else. And that’s cool, because I can be having the worst day ever, and then I’ll go into work and I’ll just think about shaping boards and nothing else. I suppose it’s similar to surfing in a way—the way you’re just focussed on what you’re doing. I think that’s why I really like it—there aren’t too many things where you can really do that.
It’s easy to be distracted in life, but I can’t imagine you can be checking your phone when you’re trying to shape a board… or ride a wave.
No—I put my phone on ‘Do Not Disturb’, put my music on and indulge into it. It’s one of those weird jobs where you have to be in the groove to do it. It’s quite a creative thing—it’s not the kind of job you can just turn up and do—you really need to be in the groove to do it. I’m not sure why, but if I’m happy and having a good day, then I know I’ll produce something much better. I suppose it’s about your state of mind, and being able to focus on what you’re doing.
I get what you mean—when you’re happy and content, there’s a lightness in what you do—you’re not struggling and forcing things like you are when you’re angry. Most things work better when you let them be.
Yeah—it’s the kind of process where it’s actually better to do it slower. The faster you try and do it, the more you mess up, so you end up chasing your tail trying to fix things. Slower is faster. I don’t rush—it’s done when it’s done. I always want to put out the highest quality possible—and I think that’s what’s built my brand up. I try not to put out rubbish because I know it’ll come back to me.
What’s your setup? You built your workshop didn’t you?
It’s essentially just a shed on my parent’s drive. It’s pretty classic, as we’re right by the sea so I can get to the beach in one minute. But yeah, it’s essentially just a glorified shed. People are always really surprised when they come to see me, thinking I was in a proper industrial unit or something.
That sounds ideal. So you can go straight from finishing a board to getting into the sea?
Yeah—and that’s great because it’s a really healthy balance. I can work, and then go surfing when I want. Because we’re always chasing the tide and there’s no specific times to surf, as a surfer I really don’t see there being a better job. And working for myself I can pick my hours and choose my schedule.
And what about clothes? Are the certain things you find yourself wearing for shaping boards?
In summer time I’ll just be barefoot, in shorts and a t-shirt, but when I’m glassing and sanding I’ll wear stuff that’s more hardwearing. There’s a lot of stuff flinging around, and you’re holding power tools—so it’s got to be tough stuff to withstand all the chemicals and resin flying all over the place.
I imagine there’s quite a buzz when you finally get out there in the waves on a board you’ve made.
Definitely. You get a lot of sentiment out of a surfboard—because of all the places you go with it and the good waves you’ve surfed, you do end up having a bond. And riding one of your own boards is so much more thrilling than one you haven’t created. You’ve put all that time into making it, and then actually getting to enjoy riding it is super satisfying. But it’s not always like that… I’ve made boards and been really disappointed—but that’s just the trial and error of it. I’m very proud walking down the beach carrying one of my boards—that feeling that you’ve made this thing, and then you’re using it.
I suppose surfing is very pure. Things like cycling or photography are really led by tech, but a surfboard is a masterpiece of simplicity.
It’s a very weird thing, surfing—I always trip out about how weird it is, and how I spend all my time thinking about it. From the outside, it’s a very peculiar thing to do, but it really is amazing—my entire life is built around surfing now. Everything I do is for surfing. Before I worked nine-to-five and would then go surfing, but now my nine-to-five is surfing. There’s no escape from it.
Has the way people make boards changed since the 60s?
It hasn’t changed massively. The construction hasn’t changed much from what it was, but there are always people trying to reinvent the wheel. There’s a lot of gimmicky stuff out there, but I build mine using the traditional methods—the tried and tested ways they made them back in the day. Those methods haven’t failed, so I don’t see a reason to change them.
Talking to you about this, you seem like quite an old soul.
I’m an old man in a young man’s body. I guess you could say I’m a traditionalist. A lot of the boards I make are based on old designs from the 70s. They worked then, and they still work now. I don’t really try and reinvent it—I prefer to go with what is proven to work and add my flair to it.
And it’s not like they’re just some retro wall pieces either. They’re still built for performance.
That’s the thing about surf boards—they are functional art—and the most important thing is how they perform. The colour is just an addition.
What is it about that era in particular that resonates with you?
You see old surfing videos from back then, and it just looks like such a good life—they’re hanging out on the beach, surfing with friends… but more than that, the main thing that attracts me to that eras of boards is that I really enjoy the way the surfboards ride. I’m way more interested in working on boards if I enjoy surfing on them—I put a lot more effort into them.
It definitely feels like surfing is a full-on lifestyle for you—it’s not just something you do for a few hours here and there every summer.
Yeah—being a surfer does become a complete lifestyle. Everything I do is based around surfing—from my work to the clothes I wear. My life is very simple—there’s nothing really that complicated going on. I like surfing, and I like making surfboards, and it all ties in together.
I think surfing typically was an outcast activity—you were a bit of a rebel if you were a surf bum—it was frowned upon to be on the beach all day, not getting a proper job. But I think now people can do it as a career, people take it a bit more seriously. I don’t think people would take my surfing seriously if I didn’t do this full time as a way to actually make a living. People would just think I was dossing around.
You mean the work sort of validates it?
When I started doing this, I don’t think my parents saw me making a job out of it—they just thought I was messing around. But now my dad has realised that people are really interested in what I’m doing, he’s really happy. I wouldn’t have been able to do this without him—he’s an artist, so as soon as I was doing something creative, he was really excited. I think creativity was ingrained in me from a young age—my dad has built a living doing what he loves doing, and that’s the goal isn’t it? To be able to do what you love, every day.
Definitely. Maybe a tough question to answer, but what is it about surfing that has you so hooked?
When you’re on a wave, you’re in the moment because there's never going to be another wave the same—it’s the most present activity you could possibly do—you’re only thinking about that one thing. Everytime you go out, you’re battling different conditions and facing new challenges. I guess the feeling of always wanting more is what makes it so addictive.
—
Words by Sam Waller.
Special thanks to Billy Dingley, see more of his work on his website and his Instagram.
Video by Wax Weston.
Music prod. iv dimension
Concept and directing by Gavin Campbell.
]]>The history books might say the blues were born on the Mississippi Delta, but ask a Texan their thoughts on the subject and they’ll probably tell you something a little different. Or as Blind Lemon Jefferson put it, “The blues came from Texas, loping like a mule.”
Emanating from oil fields, lumber yards and bustling street corners, an alternative strain of the blues grew out of the Lone Star State in the early 20th century, as African Americans transformed spirituals, work songs and field hollers into a unique take on the twelve-bar blues.
The Texas blues were defined almost by lack of strict definition, with the huge size of the state and its diverse culture creating a vast fusion of styles and sounds that borrowed from Cajuns, cowboys and the Caribbean, along with folk ballads and East European polka. That said—it was still most definitely, undeniably ‘the blues’—short, sharp stories of blue collar life (and death).
Sort of like with hip hop and the endless discussion between East and West Coast, this music didn’t exist in a vacuum—with Texas blues and Delta blues both building off each other. For example, one of the oldest known blues songs—an ode to Texas city life called ‘Dallas Blues’—was immensely popular and relentlessly covered along the Mississippi, whilst the only known recordings of Robert Johnson (the legendary Delta bluesman who sold his soul to the devil in return for his guitar skills) were laid down in Texas.
Lightnin’ Hopkins is perhaps one of the most notorious proponents of Texas blues. Born in 1912 on a farm just west of Crockett, the small crossroads city where Stan Ray still makes a good chunk of its trousers, Samuel John Hopkins was maybe destined to become blues royalty.
At just eight years old he met the legendary godfather of Texas blues, Blind Lemon Jefferson at a church picnic—and it wasn’t long before he was playing alongside the guitarist at church gatherings—quickly picking up the tricks of the trade before going it alone, zig zagging across Texas, guitar in hand.
With his unique sound which combined Jefferson’s stripped-back style with a streak of self-deprecating humour, Hopkins could be heard everywhere from gin joints to city buses as he travelled from town to town in search of a paying crowd. Like his mentor, Hopkins was a proficient recording artist—and whilst some of the earlier blues artists might have played their whole life with barely a 78 single to show for it, it’s thought that he laid down somewhere between 800 and 1000 tracks in his lifetime.
By the ‘40s he’d had a string of records on local labels like Aladdin and Gold Star, although by the 50s his rootsy songs of country hardships were seen as quaint and old fashioned in comparison to the glitz and shine of modern rock ‘n’ roll. But then, just when it seemed like the blues was falling out of favour—the scales tipped. As people became bored of the bubblegum, the folk revival of the early 60s sent young listeners in search of raw and authentic sounds—and a new batch of labels sprung up to seek out honest and original music.
Arhoolie Records was one such label—cutting definitive recordings of Hopkins along with other Texas blues mainstays like Mance Lipscomb, ‘Black Ace’ Turner and Melvin ‘Little Sun’ Jackson. Although based in San Francisco, Arhoolie played a key part in the preservation of the Texas blues, bringing the music to a wider audience and elevating the artists to legend status, pitching them as no nonsense relics of a tougher age—the real deal in the face of modern commercialism.
The fact Hopkins was still around helped too—and unlike the countless cult artists who don’t live to see their success, he could actually enjoy his newfound appreciation—going from playing on street corners to Japanese concert halls. That said, he always stayed true to his Texas roots—and like Stan Ray, he can still be found in Crockett—where his statue sits, guitar in hand, just across the road from the bar he used to play 70 years ago.
Words by Sam Waller.
]]>
Mark since contributed to a number of Fat City’s Mystic Brew compliation series, held down a residency at the infamously eclectic Friends and Family parties, plus guest DJ spots in and around the UK and Europe. Alongside this Mark also worked on his own club night Searchin’ based around funk and soul music, C’mon Feet focusing more on hip hop, as well promoting a series of charity fundraiser festivals for the Mine Action Group working to eradicate landmines.
We’re big fans of Mark and his music and we’re blessed to have him featured. As well as his DJ mixes you can also catch him on Instagram where he regularly highlights rare and sometimes obscure 45s. Give him a follow, trust us, you’ll not be disappointed - @markt45
In his own words:
"it starts off pretty normal with the slow soul that I love, but then goes a bit freestyle with hip hop, french, Brazilian and salsa bits thrown in. Like most of my mixes its very laidback but hopefully provides a smooth journey across the genres and highlights some of the music I'm currently collecting. Although I did DJ in the past, I'm much more of a digger / collector these days and DJing and social media to me is about showcasing the music and pushing the lesser known gems to the listener".
]]>
In her words:
"Special thanks to St Ritz & Dizonord’s team, Chouferbad and Apiento who have opened up my musical horizons during the past two years and to Dylan Julien for the runway!”
Tracklisting:
1 Drawing Future Life - 1969
2 The Pharaohs - Rinse Dreams
3 Giuliano Sorgini - Curiosita
4 Nu Genea - Ddoje Facce
5 Domenique Dumont - Quand
6 Saada Bonaire - More Women
7 Parallel Dance Ensemble - Shopping Cart
8 Sexual Harrassment - I need a freak
9 The Mauscowicz Dance Band - Wie Niet Weg is is Giezen
10 Supermax - African Blood
11 Eberhard Schoener - Why don’t you answer
12 Grauzone - Eisbaer
13 Paul Mc Cartney - Good Night Tonight
Enjoy!
]]>Starting at the top, the Desert Walker Jacket is a new one for this season. Always keen to look beyond the obvious when it comes to references and inspiration, this jacket is our loose interpretation of the beige bomber worn by Dean Stockwell in Wim Wenders’ 1984 classic, Paris, Texas. Making something new out of something old, we took the short shape and elasticated waistband of the original, and gave it a slightly more militant flavour with the addition of that winter-ready synthetic fill and those sizable pockets on the front. It’s sort of a bomber, and sort of not—ideal when you’re wanting a winter coat with a bit of a difference.
The Pork Chop Jacket is another fresh design—a hard-wearing work jacket with some unique front pockets (no prizes for guessing why this jacket gets its name then…). A modern version of a chore jacket, it’s got a roomy, boxy fit, with elasticated cuffs to bring it up to date. That cotton lining makes it feel a lot more luxurious than most work jackets too.
Then there’s the Zip Shirt. As you’ve probably deduced, this has a big zip which runs down the front, which along with those sneaky handwarmer pockets help to move this firmly into overshirt territory, whilst that bright plaid brings to mind either Twin Peaks or early 90s West Coast hip hop, depending on who you ask. Both strong reference points.
What else? Well, along with these new designs, we've also been adding some subtle tweaks to our classic pieces to make them even more wearable. like updating the shape of the collar on our Coverall Jackets or reworking our Earls Bibs—with a bit more room around the waist and shorter legs for a more functional shape.
We’ve also updated our denim—rounding the rear pockets off for a smoother silhouette—and adding a new shape to the mix. Dubbed the Wide 5, these ones are, as you’d probably guess, the widest jeans we make, with a roomy fit and slightly tapered legs.
The Big Job Pants—effectively a baggier version of our Painter Pants are back by popular demand—this time made from some seriously hard-wearing cotton twill, whilst we’ve dusted off some particularly nice ripstop cotton for our Cargo Pants, Fatigues and OG Painters. This is the kind of thing that’s maybe hard to convey on the internet, but this super-crisp, tightly woven ripstop is, in our eyes, pretty much perfect. You’ll know what we mean when you feel it for yourself.
Along with all this, we’ve pulled out all the stops with our graphic tees and sweats—this time taking inspiration from something particularly close to our Texan roots—the pioneering blues of Lightnin’ Hopkins. Oh yeah, and for when the mercury drops we’ve also got the Down Parka, Down Vest and our much-loved fleece gear returning soon—so keep those eyes peeled for those. Yep, there’s a lot to like.
Shop AW23
]]>Ben Manzone is a native of New York, and has been a DJ in NYC for 22 years. He is the admin & curator of There Is No Planet Earth Instagram account; an audio/visual archive that focuses on the history of House, Disco, Techno and the club culture of 80’s-90’s New York, Chicago, and Detroit, as well as Classic Vogue Ballroom footage. Ben has also been involved with Deep Cut Brooklyn disco party, Foreal People and Party Line; a roving loft/warehouse DIY function, hosting legendary guest DJ’s such as Tony Humphries & Honey Dijon, as well as the Queer party On & On. Additionally, Ben was one half of Techno production group ‘Sycorax’.
In his own words:
"This mix is inspired by storied NYC House institutions: Body & Soul, Shelter, 718 Sessions & Junior Vasquez at Sound Factory... The vibe is vocal oriented but funky, soulful, and deep! It's got early 90's tracks, and mid 90's disco infused chicago house, as well as gospel heavy contemporary tracks! This mix is really a snapshot of what I'd typically play out at clubs in NYC."
Enjoy!
]]>
Whether it’s a bottle of wine poised next to a sun lounger, or a hot cup of freshly poured tea, Niamh Birch has a knack for capturing those fleeting moments that are all too often overlooked.
With thick paint and a loose, unrestricted style, her paintings of the real world in full colour are a million miles from the backlit screens and video calls we're often made to believe rule today’s landscape. Put simply, she paints the things in life that truly matter.
We recently caught up with her at her studio in Hackney to discuss her work, her inspirations and how she knows she’s finally finished a painting…
Maybe an obvious first question—but how did you get into painting in the first place?
I first started painting in college on an arts course after discovering a Cornish Painter Kurt Jackson. He paints landscapes and seascapes and was also the Artist in Residence for Glastonbury Festival, which I thought was the coolest thing ever—I still do. Growing up in North Devon, naturally those coastal factors were the foundations of my early work which soon evolved.
How do you approach a new painting? Do you work from sketchbooks or is it just a case of getting something straight down on the canvas?
There’s a fair amount of sitting, staring and overthinking and then an impulsive moment arrives where the ‘just bloody get on with it’ thought enters. I’ll try and plan what’s going on the canvas but most of the time it’ll start off as a sporadic drawing, which I’ll build up in layers, normally working on a few works at a time. I’ll also flip back through sketchbooks if I’m stuck and normally find something useful pretty quick.
When you’re in the middle of a painting, what are you thinking about? Or do you get into that flow state thing when you aren’t thinking at all?
The aim is to be in that flow state, where you’re not really thinking, just doing. That feeling alone is often a reminder of why I paint. If that’s not happening—which often it’s not—I’m probably thinking that last paint stroke was a very bad move. Now the painting is momentarily ruined, this song's shit, I need some fresh air, I’m hungry, work on something else, and repeat.
And when is it finished? Is there a point when you know it’s done and everything clicks?
Sometimes it takes a painting a month or so of sitting in the corner of my studio for me to realise it’s already finished. Other times it’s when that on/off flow state comes to an end and after a few touch ups, it’s that satisfying last throw down of the paint brush to know it’s done.
Whether it’s a sleeping cat or a kitchen table, your work captures those nice moments in life that can often be overlooked—are your paintings a case of trying to shine a light on these everyday things?
Exactly that. I started painting prominent objects around the house, starting with Mum's glass of red, kitchen crockery and the bathtub. Reinstating the importance of home; from interior decoration to the warmth and comfort of togetherness and everyday acts of service. It’s the smaller gestures and quality time that hold great importance to life’s joys and I’m currently painting domestic settings that celebrate that.
How do you choose a subject in the first place? Is it that thing of grabbing something that resonates with you—whether that’s taking a photo or jotting down a note?
I take a lot of photos of scenes and objects like tabletops, quirky or old furniture, patterned wallpaper and peoples sitting postures to return to when deciding on subjects for a painting. Anything that resonates with me at that moment in time—often it’s an instant decision to recreate a feature within the photo, or it’ll take hours of ideas going back and forth with some drawing in between.
I might be wrong, but it feels like there’s been a movement back towards more figurative painting—with artists painting things that people can relate to or understand instead of more abstract stuff. Why do you think this is?
With social media and technology advances, our generation is virtually more connected than ever, but less so in real life, often struggling with constructive communication and being present.
Painting the human form can open up conversations about the importance of human touch, intimacy, presence and connection. I’ve started to introduce figurative elements within domestic and interior spaces in my work to capture a certain living character that still life forms can sometimes hold.
Seeing as this is for Stan Ray, I better ask about clothes a bit—do you have a painting uniform? What makes good clothes to paint in?
Most of the time, a shit load of layers. Like most studios it gets WELL cold here so my uniform consists of day-to-day clothes I’ve accidentally ruined with oil paint—a bit of an un-chic mess. My current studio is at the very top of an old warehouse in Hackney Wick, so it also roasts in summer. Something along the lines of organised chaos, I’d call it. My mum often uses the phrase ‘happy as a pig in shit’ so imagine something along those lines.
Whatever artists choose to wear, the commonality is clothes acting like an exclusive uniform which is individual to one's character. I like painting clothes to be comfortable, hard-wearing and preferably loose fitting.
What else do you need around you to make a good painting? I know with writing some days it’s easier than others—and sometimes it can feel impossible—do you have any tricks or rituals that make painting easier for you, whether it’s putting a certain album on or painting at a certain time of day?
Radio, music, podcasts, desert island discs are always on shuffle, background noise is essential. Anything featuring Stevie Nicks, Sade, Gill-Scott Heron and the Do You Radio archives will improve one of those days. As long as I’ve had a decent breakfast, a sunny bike commute and then begin with a brew, I’m sweet.
This question maybe goes back to the start a bit—everyone paints when they’re a kid, but what made you stick with it?
Honestly god knows. Whenever I questioned a career in painting, the overriding thought knowing there’s nothing else I would put my mind or devotion to as much as I am with Art (without really knowing it at the start) surfaces. You watch artists grow and follow their successes and it’s a reminder that it can be done. If I were to give up, I think I’d have done it by now.
Very special thanks to Niamh Birch, you can see more of her work here and here.
Video by Max Weston
Photography by Gavin Campbell
Words by Sam Waller
]]>Introducing Stan Radio 36, from London based Kojay.
Kojay has become a prominent figure in the capital city's music scene, gaining momentum as an exciting and versatile Dj. Having played at various venues such as Corsica Studios, Jumbi Peckham, Hootenanny Brixton, and Tola Peckham, Kojay's dynamic mixes showcase his diverse range of influences, spanning from Jazz and Broken Beat to house and techno. Kojay is also recognized for his radio work, having featured on Soho Radio, Refuge Worldwide, Kindred, and Balamii Radio, among others.
Kojay has blessed us with an hour of House and Broken, setting the tone for spring and some milder weather.
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Welcome the 'Big Job' Painter Pant; an oversized version of our classic Painter Pants. They share the same functional details as the originals, like handy utility pockets and rock solid triple stitching but with an overall more relaxed silhouette.
If you've ever wanted a bit more volume in your Painter Pants, these are for you.
This season we present a fresh selection of colours with Agave, Cactus Flower and Dusk and in addition to classic Painters Pants and Box Jackets, we've extended the range to include Double Knee Painter Pants, Earl's Bibs and our new for '23 Big Job Painter Pant.
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Patrick Little, from the UK, started collecting records roughly 20 years ago and at the same time started working at Vinyl Exchange - Manchester’s best known 2nd hand record store.
He’s thrown various parties over the years, most notably several with Jon K at Brilliant Corners, London.
He has been a regular guest and occasional host of the NTS DoYou! breakfast show and still makes occasional appearances on the new DoYou! radio station and Skylab Melbourne when time allows.
Patrick moved to Australia and subsequently launched Shari-Vari Records online in June 2021, specialising in Ambient, Experimental, House, Techno, Soul, Disco, Dub & Tropical sounds. Following the success of his online store he opened in a physical space, a shop in shop at Shop Man-tle, the retail space of Perth brand Man-tle. Fast forward to today and Shari-Vari records is based in a stand-alone shop in Perth’s historic State Buildings.
Outside of his heavy involvement with music, records and Djing, Patrick also had a long and successful career in fashion and menswear, with stints at Oi Polloi and Norse Projects and not forgetting his work for Gimme 5, Adsum, Studio Nicholson and also Stan Ray!
We’re blessed to finally feature this mix, it’s a treat.
Enjoy.
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Whilst our design dates back to the mid-70s, the archetypal front-bib work overall design stretches back even further—and whilst dates are a little hazy, American workwear companies were making them as far back in the late 19th century. A development of an earlier, more basic form of workwear unglamorously known as ‘slops’ (which were basically baggy, featureless overalls), these ‘denim waist overalls’ were built for the new wave of miners, farmers, factory workers and mechanics who were forging a new frontier—a direct reaction to the rigours of the industrial revolution.
A far cry from an afternoon hot-desking in an air-conditioned creative suite, these muddy, oily, jobs required serious clothing that could put up with serious stick, year after year after year. Function was firmly at the forefront—and for good reason. Superfluous details would only get in the way, and with ‘health and safety’ still a distant concept, the risk of getting chewed up by high-powered machinery was always lurking.
Bib overalls (as dungarees were known in the States) were the perfect solution. Designed to be worn ‘over all’, they were roomy enough to cover a shirt and trousers, keeping the wearer and their clothes out of harm’s way. Copper rivets and triple stitching kept things reassuringly sturdy, whilst the array of pockets meant tools could always be kept to hand.
The sheer simplicity was also part of their appeal, and whilst modern workwear can often rely on technical fabrics and complex construction, ripped knees or torn pocket-bags on denim or hickory dungarees were an easy fix that could be quickly sorted by anyone with a sewing needle and a bit of surplus fabric.
Worn widely across the U.S. for a whole host of jobs, dungarees soon became a symbol of the working man… and by the time the heavy artillery of the first World War were wheeled into action, a symbol of the working woman too. With millions of women sent to toil away in factories or on farms, long skirts were replaced with utilitarian work-wear, and by WW2 the images of Rosie the Riveter or the Land Girls became synonymous with the battle at the home-front. As one particularly patronising American government advert asked, "Can you use an electric mixer? If so, you can learn to operate a drill."
The idea of ‘dungarees as a symbol’ has lived pretty much as long as dungarees have been around. In the 1920s there was even a group dedicated to them known as the ‘Overalls Club’. With wild inflation after WW1 causing clothes prices to rise, a surprisingly large group of activists across the USA took to wearing affordable overalls—not just for manual labour, but in offices and courts too—touting functional work-wear as the antithesis to overpriced formal garb. Ironically this new demand for dungarees ended up forcing the prices up, with a regular pair shooting up from two dollars to six. What’s more, it was thought by some that the whole thing was a conspiracy dreamt up by southern cotton growers to up the price of their product.
Whilst the Overalls Club only lasted a few years, the political power of dungarees didn’t wane, and in the 1960s they played parts in both civil rights and women’s lib demonstrations, with activists like Stokely Carmichael and James Forman often marching in denim overalls. Like the duffle coat or the M-65 jacket, dungarees lived a double life—equally at home in a foundry or a picket line. Their humble, functional nature marked them firmly as ‘anti-fashion’, the perfect statement of authenticity and realness in the face of gaudy excess and lavish gimmickry, which is probably why so many bands and musicians have worn ‘em over the years.
From Ronnie Wood to Tupac Shakur, via Dexy’s, Andre 3000, Michael Stipe, Patti Smith, the Fugees… and Marshall Mathers in his ‘hockey mask and chainsaw’ era, the sheer list of people who’ve worn them is too big to cram in this mere article. In an industry heavily based around image and aspiration, the simple act of wearing something functional and affordable has become a statement in itself.
The fact that they’re really comfortable, they’re really tough, and they’re really useful probably helps too. That’s how we like to make ours. Following our classic recipe, we think our Earl’s Bibs are just how dungarees should be. No weird gimmicks or superfluous details here—just heavyweight 14oz cotton duck, plenty of handy pockets and a roomy, relaxed shape. Whether you’re raising a barn, baking a swanky bread loaf or making a stand, they’re just right.
Words by Sam Waller.
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It's probably the question we get asked the most, so here, we aim to do away with any confusion and break down which is which...
In simple terms, the OG (on the left) is the straighter, more relaxed fit of the two, with the 80s version (on the right) being slimmer through the leg.
If you like your pants loose and relaxed go for the OG, if you like your pants slimmer and more fitted go for the 80s fit.
Pro tip. Quickly identify which is which by the back pockets; the OG features a squared profile, while the 80s version feature a rounded profile.
We've used our Natural Drill Painter Pants to illustrate the differences between the two fits, but whatever colour, fit or fabric you choose, all of the fundamental details such as hammer loop, utility pockets and triple stitched flat-felled seams will be consistent throughout.
]]>Former fashion linchpin and all-round legend; Ming, delivers the latest sound instalment for Stan Radio, with his 5pm mix.
Ming has been a friend of Stan for many years, from back in the days when he used to run arguably Birmingham’s best menswear store ‘Atoo’. For people in the midlands and beyond who liked clothes, the good stuff, it was THE place to go. Many friendships and communities were formed because of that store.
Fast forward to today and Atoo is no more, they sadly closed the doors for the last time in 2014. It’s not all bad news though, as following the closure of the store Ming changed industries completely and after subsequent residencies, street food pop ups and a lot of labour, he opened Eat Vietnam; An incredible restaurant in Birmingham’s Stirchley area , offering noodles, curry & stir-fry, plus shared plates & other Vietnamese fare.
Alongside his culinary explorations Ming has always been a huge fan of good music, both listening and playing, so it only made sense that we ask him to give us a little taster of what he’s digging at the moment.
So here we have it, a 1 hour mix of obscure gems and low key bangers and as he says ‘Music you can listen to whatever the hour of the day or night”.
Thank you Ming.
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The Wide 5 is a new style for AW22. As you’d expect, these are the widest jeans we make, with more space in the seat and the thighs for a classic baggy shape. They’re still made exactly the same way as the rest of our jeans, just a little roomier for a time-honoured 90s flavour.
Then there’s the 5 Pocket Straights. We introduced these last season and they’ve fast become a bit of a fan favourite thanks to their great everyday shape which works well across the board. With a regular fit, a mid rise and straight legs, these sit right in the middle of our denim range, working just as well with a button-down shirt worn out for a meal as they do with a fleece out for a morning stroll.
And finally, there’s our ever-reliable 5 Pocket Tapers. Whilst these aren’t ‘slim’ or ‘skinny’ by any means, they’ve got tapered legs for a slightly sharper fit (sort of like the 80s Painter Pants, without the brush loop).
Whilst they all fit slightly differently, each pair is made in the same factory in Turkey, with the same details and the same 13oz denim. Reading about denim weight can get a bit confusing, but as far as we’re concerned this stuff is perfect. It’s thick enough to put up with some serious stick, without being so heavy that you feel like you’re stomping about in mediaeval armour. In short, it’s slap bang in ‘goldilocks’ territory—just right for work and play.
Keeping things tough, bar-tacks (lines of heavy stitching often found in vintage work-wear) add a bit of reinforcement to the stress points (like the rear pocket entries), whilst those canvas pocket bags should stay strong and hole-free, no matter what you cram in them.
Copper rivets keep the front pockets firmly fixed, and there’s triple-stitching on the rear yoke
Oh yeah, and as you’ve no doubt guessed, they’ve got the tried-and-tested five pocket configuration that’s been used on jeans since the early 19th century—two on the front, two on the back, and that little one just inside the right pocket originally devised for pocket watches.
All that stuff aside, there’s not much else we really need to say as far as features or details are concerned. The beauty of a good pair of jeans often lies in simplicity, rather than over-complication, so we made sure nothing extra was added that wasn’t needed. If it’s hard-wearing, no nonsense trousers you’re after, then our 5 Pocket Jeans will see you right. And if you really do need more pockets, there’s always our Painter Pants or Cargo Pants…
Browse our Denim collection here.
The Down Jacket was a new design for last winter that’s back by popular demand this year. Design-wise, it’s a nod to the time-honoured down-filled winter coats of the 1970s and ‘80s—a big, down-filled coat that wouldn’t look out of place shovelling snow in a Montana driveway, or on a hike in the Rocky Mountains.
That said, it’s not some throwback reproduction piece, and we’ve moved things up to date a bit with a contemporary shape (vintage outdoor jackets often had quite short arms) and a modern fabric.
It’s made from what’s known as a two layer nylon Oxford. This stuff is woven in the same pattern as the cotton Oxford cloth you’d maybe find on an Ivy League style button-down shirt, but because it’s made from nylon, it’s a whole lot tougher. It’s also got a water-resistant membrane, helping to keep the rain at bay even on the worst winter days.
We’ve also made the Down Vest. Made from the same double-layer Oxford nylon as the Down Jacket, this is pretty much the perfect cold weather layering piece—and it works just as well over a work-jacket on a crisp autumn day as it does under a big parka when the frost has well and truly set in.
The Mountain Parka is a new design for this season. As you’ve maybe guessed, it’s our version of the classic mountain parkas of the 1970s, with a big insulated hood and a high collar to keep you fully shielded. The outer shell is that same water-resistant double-layer Oxford stuff we’ve already mentioned a few times here, whilst inside there’s a full insulated lining. A bit lighter than the Down Jacket, this is a prime slice of everyday winter outerwear.
Our fleeces pull from the same era—with items like the High Pile Fleece, the Fleece Layer Cardigan and the Fleece Layer Vest taking inspiration from the sherpa fleece jackets developed in the late ‘70s. Unlike the more modern ‘micro-fleece’ fabric often used today, the early fleeces were made of thick, deep-pile polyester—almost like a synthetic shearling. Anyway, it’s that chunky fleece we’ve used—giving all the warmth of a wool jumper, without the weight.
This season we’ve ramped our fleeces up a notch—and the High Pile Fleece now features a two-way zip, as well as nylon patches on the elbows for a bit of extra protection. This season’s Vest now has nylon shoulder yokes too—which gives a bit of shower protection when the clouds open and adds another layer of reinforcement and comfort when you’re using a backpack.
As ever, the Layer Cardigan is still perhaps the most useful item of clothing we’ve ever devised. Sort of like the stripped-back younger brother of the Pile Fleece, it’s the kind of thing that you’ll find yourself reaching for a lot, and thanks to its low profile it works great under a waterproof shell when you need a bit of extra warmth.
And as you’d expect, all this stuff is put together the Stan Ray way—built to last, and designed for serious wear.
See our full outerwear range here.
Felix Joy, Bristol born and bred DJ has been hosting parties in the city for many years as part of Sip The Juice and recently gained larger appeal through his radio show on SWU.FM. having listeners throughout the U.K and as far around the world as New Zeland, Canada, Malta and even Iraq! No stranger to the bargain bin selections as well as deeper cuts too often playing Boogie, Rnb, House and most likely some wedding bangers as well.
"This mix is roughly and end of summer mix for me, these are a lot of songs I've played around at festivals and on the radio, upbeat boogie selections with some house and other bits thrown in how I'd normally play a gig. I've put a couple of my own productions in as well as a nod to other Bristol based Producers Admin and Felix Dickinson whose tracks in this mix, I've enjoyed playing a lot. Hopefully this will keep the listener feeling summery even as Autumn begins to roll in."
Good news for all pizza fans. We’ve worked with Bristol’s Pizza Bianchi on a limited run of tees celebrating everyone’s favourite meal. Designed by visual culture magpie Turbo Island, the tees combine two of the world’s greatest wonders… well-crafted pizza and finely-honed workwear.
To coincide with the launch of the tees, on Saturday the 6th of August we’re throwing a bit of a party down at Pizza Bianchi’s fine restaurant, with some special, limited Stan Ray pizzas and shakes inspired by our Texan roots on the menu, as well as music courtesy of DJ Felix Joy. Everyone’s invited.
Until then, we caught up with Pizza Bianchi’s Mitch Church about dough, toppings and the importance of doing things a little differently. Like us, Pizza Bianchi are influenced by time-honoured Americana, without being stuck in the past. Taking classic ingredients and adding a unique modern flavour is the name of the game for this lot—serving up pizza, milkshakes and various other culinary delights from their restaurant in the heart of Bristol.
Starting things off, what’s the story behind Pizza Bianchi?
Well originally two cousins, Ben and Dom, started Pasta Loco. That was their first restaurant and they’ve now got five - Pasta Loco, Pasta Ripiena, Bianchis, Cotto and then Pizza Bianchi, which started out as a pop-up during lockdown out of the back of Lakota Gardens - which is an infamous club in Bristol. And that was the time when there was just outside dining. But then they got a spot for Pizza Bianchi up from the Triangle—an old American diner called Rocotillos.
I’ve heard of that—it was quite an iconic Bristol spot wasn’t it?
Yeah, it had been there for maybe 25 or 30 years, doing milkshakes and burgers. It had been empty for about a year, but then we gave it a big revamp, whilst keeping the diner style with the red and white tiles. We kept that American feel and added in the Italian flavour too. As a nod to Rocotillos, we kept the milkshakes, although we’ve tweaked the menu a bit. We’re still making them in those classic silver tins for that Americana vibe.
From little takeaways to swanky restaurants, a lot of places sell pizza, but what sets Pizza Bianchi apart? You seem to have quite a fanbase.
I think our pizza is amazing. We’ve got a central kitchen where we make all of our dough which benefits from a walk-in fridge. That means that although we’re quite a small spot, we’ve got the space to make this really great dough and allow it to ferment for the time it needs. It’s not sour-dough, but a lot of time and effort goes into it.
I suppose the better the initial ingredients are and the better the dough is, the better the pizza is going to turn out.
Yeah, it’s bangin’. Also, I guess the service aspect sets us apart. Things are a bit different at Pizza Bianchi to our other restaurants—the music’s pretty pumping and it’s a bit more laid back—but it’s still got that high level of service. That’s what a lot of people talk about in our reviews.
You mentioned how it differs from your other restaurants—it almost seems like pizza places operate outside of how other food spots work. You don’t want to have to get dressed up for a slice of pizza.
Exactly yeah—another thing that makes us different is that we’ve got Bristol’s first pizza hatch, like in America where you can go and grab an arm-length slice to takeaway. You can rock up on your lunch break, grab a slice and a drink within a minute. And we’re the only pizza joint in Bristol who does that.
It’s weird that more places don’t do that. It’s such a great idea that works so well in New York, yet why is it impossible to get a simple slice of pizza in the UK? All we seem to get is stuffy takeaway pizzas.
I don’t know—it’s weird isn’t it? I guess you’ve got to be in the right place. In London there are a couple of places that do that, but there’s not many. For something like that, you want the pizza to be high quality, and the restaurant has to be in the right spot to make it work. We’re on the Triangle in Bristol, which is super central—so a slice for a couple of quid is sort of ideal.
That’s perfect - it certainly beats a cold, damp meal deal. Obviously lock-down was a huge thing for restaurants—how did it change the idea of Pizza Bianchi?
Suddenly people weren’t allowed to eat in restaurants anymore, so we had to change a lot—that takeaway aspect became a big thing. And also, our other restaurants sell pasta—and that’s maybe not the best food to get as a takeaway. It doesn’t really work. But yeah, you had to be innovative, and I guess pizza was one of those ideas—and it’s Italian, like the other things we do.
There are quite a few genres of pizza… from those napoli ones to a New York type slice. Where does Pizza Bianchi sit on the pizza spectrum?
They’re sort of in the middle. We use the same dough across the board—from the big pizzas to the takeaway slices. Because the dough is made with 48-hour fermentation, it gives the pizzas that amazing crust and chewiness. Ours have a bit more back to them than some pizzas—they’re bangin’.
We do a mix of traditional pizzas—the Italian ones, like our Tuscan with sausages, shallots and wild broccoli—and then something more creative. We like to mix things up a bit. Like with Stan Ray - we wanted to reference their Texas roots, so there’s a kind of BBQ nod, then with a classy Italian twist on it. We like to do things that are a little bit different.
What are your specialities?
Obviously the margherita is a big seller, but we also do a piccante. It has salami, ‘nduja and naga mayo. Naga is an Indian chilli that is a favourite amongst the Bianchis crew and part of the family heritage as well as Italian, so we use it to make our own spicy mayo, and that’s one of our big sellers.
Why do you think that people love pizza so much? 99% of people love pizza.
Why does everybody love pizza? I don’t know—I guess it’s kind of like sandwiches. If you put something either on or in bread, it’s pretty much going to be nice, right? And then there’s the convenience and the fast food angle. People grow up on pizza don’t they? Everyone remembers having pizza at parties as a kid. It’s got that Italian and American flavour, and it sort of hits that memory on the head really. The Teenage Mutant Ninja Turtles loved pizza.
They tick a few boxes. A quiche is technically similar—but it’s not like there’s the same culture around quiches… or flans, for that matter.
Yeah there really isn’t. Poor flan—we need to start the Bianchi Flan Company. Also maybe people like pizzas because they’re naughty? There’s all that cheese.
I know Pizza Express did a ‘healthy pizza’ where they cut out the middle and put a salad in there. It was almost like to make a healthy pizza they had to remove most of it. We won’t be doing that anytime soon.
There was a phase a few years ago where there were some wild pizza fusions getting churned out… pizzas with mini-burgers around the edge or maybe sausages crammed in the crust. Can pizza toppings go too far?
I think so. There are a couple of spots that I know that do some pretty wild toppings, and there’s probably a place for it, but I don’t really want more than five ingredients on my pizza, keep it Napoli style where less is more . You can have something relatively simple, with high quality ingredients. Nothing too mad. Obviously little Bianchis twists like naga mayo on the side are nice though!
You don’t want some Yorkshire puddings and a dollop of gravy on top then?
It’s the same as the stuffed crust. I don’t need my crust stuffed with some gross cheese.
Yeah it sort of defeats the point of a pizza. What else is in the pipeline for Pizza Bianchi then?
We’ve got a couple of exciting things going on. We’re going to do a few pop-ups and music events, as well as some film nights at our new event space Centrale, where people can come along, have some pizza, watch a film and chill out.
It seems like nowadays a restaurant needs to be more than just a restaurant. You can’t just flick the open sign on and expect people to walk in.
Yeah, like you said, everyone loves pizza, but you’ve got to keep it exciting. Pizza is great, but you’ve got to make sure people still know you’re there. There are a lot of restaurants in Bristol, so you’ve got to keep things interesting and fresh. Being innovative and linking up with other people, keeping it fun basically. That’s sort of what my job is about here, and I love it.
It’s maybe the same with clothes shops or any real physical spaces these days. When it’s so easy to stay at home and order something online, you’ve got to offer something a bit more unique.
You’ve got to be one step ahead. There’s got to be a reason someone is going to come to you instead of somewhere else. A lot of it comes down to service. If you go to a shop and someone looks after you, then you’re probably going to go back, instead of trawling the internet. It’s the same with our restaurant—you can come down, chill out, have an Aperol Spritz and catch a vibe.
Definitely. Are people fully embracing the dining out experience again?
Yeah I think people are definitely back out, but it’s just a funny old time now with the cost of living being so high coming straight after covid. Things are good, but it’s a rollercoaster.
The act of going out and meeting friends and getting food is a pretty timeless thing.
Yeah—if you’re not keeping it fresh and people aren’t coming, you’re not going to be around for long. It’s the same situation with people at home—prices of food we use for ingredients go up for us the same as they do at the supermarket. But I think we do a good job—you’ve just got to keep your eye on the ball and be a restaurant that provides an experience, always thinking outside the box.
It seems like you’ve done a good job of that. Rounding this off now so you can get back to work, if you could only have one pizza topping for the rest of your life… what are you having?
I’d probably go for a slice of pepperoni with a side of naga mayo, or I’d maybe give Dom a shout out to his special—a margherita with extra garlic and extra chilli. It’s like a souped up margherita. I’m a fan of it. If not, I’d have picante—that’s the one I talked about with the salami, but I maybe couldn’t have that all the time…
The Stan Ray Pizza Bianchi tees are available on our website and at Pizza Bianchi from the 6th of August.
Interview by our friend Sam Waller.
All Staff pictured wearing our Double Knee Painter Pants in Natural Drill and Black.
STAN RAY TEAMS UP WITH PAUL SMITH ON WORKWEAR CAPSULE COLLECTION
We are pleased to announce a collaboration collection between PS Paul Smith Happy and Stan Ray uniting each brand’s idiosyncratic perspective.
Stemming from Paul’s long-time appreciation of heritage workwear, the partnership allows both brand’s distinct personalities to shine. Combining Stan Ray’s workwear credentials with PS Paul Smith Happy’s light-hearted, everyday spirit, the 10-piece capsule represents a fresh, versatile and truly modern interpretation of street and casualwear.
Founded in 1972 in Texas, the quintessentially US brand Stan Ray has decades of experience crafting hard-wearing, utilitarian clothing, governed by the motto “designed for wear and movement, with minimum fuss and maximum practicality”.
Comprising ready to wear and accessories, namely T-shirts, jackets, cargo trousers, shorts, tote bags and caps, the collaboration collection marries utilitarian design with pops of colour and print.
A patchwork theme is present throughout the collection with iconic Stan Ray pieces – like the Painter’s Pant, Shop Jacket and Fatigue Shorts – available in two-tone and camouflage colourways.
Made from typically robust fabric choices, including cotton drill, ripstop and military-inspired sateen and crafted using durable chain-stitching, the pieces also boast an array of practical details, including snap fastenings, patch and flap pockets and hammer loops.
Co-branded colourful jersey T-shirts, featuring a mash-up of the brands’ respective logos, provide a graphic element, while accessories including trucker caps and tote bags round out the collection.
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Some things lend themselves particularly well to film—the streets of New York… high-speed car chases… the neon lights in rainy Tokyo. Surfing can probably be added to the list. The combination of blue skies, crashing waves and bold motion make for easy cinematic gold—and few harvested this visual gold better than Bruce Brown.
In the early 60s, a time when surfing was being crudely assimilated by the mainstream, Bruce’s 16mm camera captured not just the surfers in the water, but the dirtbag lifestyle they lived on dry land—the beat-up old cars they drove, and the remote beaches they slept on.
Whilst it’d be wrong to say Bruce invented the surf film—that accolade probably goes to an earlier filmmaker called Bud Browne (no relation, note the ‘e’)—it was Bruce who helped bridge the gap between actual surfers and the rest of the cinema-going public when his 1964 classic Endless Summer finally made it to the big screen.
Like the effortless wave carving he documented, Bruce’s trajectory from California surfer to acclaimed filmmaker seemed deceptively simple. He first photographed surfing so his mum could understand what he did all day, and by the early 60s he’d made a string of self-funded full-length documentaries which he’d tour around the country, such as Slippery When Wet and Waterlogged.
By 1963, with surfing bigger than ever, Bruce was convinced that a well-made honest surf film could also appeal to the masses, and in the midst of the surf-craze, show them what it was really about. Endless Summer was the result.
His most elaborate production (even if the ‘crew’ did just consist of Bruce and his Bolex camera) the film was originally meant to document a trip to South Africa with surfers Mike Hinson and Robert August, but when they realised it was cheaper to buy round-the-world tickets, a full world tour was concocted, chasing the sun across the globe, taking in untapped beaches from Nigeria to New Zealand.
In contrast with fresh-faced teens of the ‘beach party’ films endlessly released throughout the decade, the surfers depicted in The Endless Summer lived a raw existence more in line with The Dharma Bums than Gidget—trekking down dusty desert tracks in old trucks and sharing waves with fishing boats.
The film originally toured around the States as a silent picture—with Brown narrating the action night after night—before it was finally picked up by a distributor in 1966. Emerging at the same time as America’s bold new wave of cinema (less studio fan-fare, more real life), The Endless Summer was a surprise hit—inspiring those who didn’t surf to grab a board, and those who did surf, to hitch a ride further afield in search of the perfect wave.
Five years later, Bruce turned his lens on another one of his passions, motorbike racing, with On Any Sunday—once again inspiring a generation in the process. Whilst the film itself, narrated by Steve McQueen, helped show the characters and community around motorcycles, the infamous opening sequence—featuring a gang of kids racing old cruiser bikes on a dusty track—was perhaps even more influential, and helped to popularise the new phenomenon of BMX riding far beyond California.
Bruce passed away in 2017, but his legacy lives on in surfing and beyond. Everything from Thomas Campbell’s hazy 16mm films like Sprout and Seedling, to the anything-goes DIY nature of the Runman films can be traced back to the films made by Bruce Brown. And what’s more, his influence rippled beyond the beach—and it’s not too much of an overstatement to say that the worlds of skate, BMX and snowboarding films also owe a lot to the format that Bruce pioneered, still echoing his half-documentary, half-music-video style even now (albeit without the slightly dated narration).
Maybe the universal appeal of his films lay somewhere in their simplicity. As he said in one of his last interviews, “I just wanted to take pictures of me and my buddies surfing, just to show people.” And when the sun is shining and the waves are good, what more do you need?
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At the top we’ve got the Painter Shorts. As you’d probably expect, these are sturdy utility shorts, complete with plenty of pockets space, as well as the all-important hammer loop and paint-brush pocket on the lower thigh.
If you’re tired of flimsy shorts that barely last the summer, then these are probably the shorts for you. Built to the same spec as our much-loved Painter Pants, they’re real tough cookies—with tried and tested workwear details like triple-stitched seams and bartacks keeping things reassuringly sturdy.
The Fatigue Shorts are another warm-weather take on a Stan Ray classic, this time based on our Fatigue Pants. To be honest, these probably don’t need much of an introduction really—they’re the same classic Fatigues we’ve been making since back in the 70s, cut with summer in mind. That means the same military grade cotton sateen fabric and those same trademark rectangle front pockets you’d find on our trousers, making these ideal outdoor shorts—perfect for hiking, biking and camping.
If you’re after a cleaner, more subtle alternative to cargo shorts, these are the ones.
For those who like things on the baggier side, there are the Fat Shorts. Sort of like the laid back younger brother of the Fatigue Shorts, these are both longer and wider—making them the baggiest shorts we make.
That fabric deserves a mention too. It’s a custom-washed sateen which has a really nice vintage flavour to it—tastefully worn-in but most definitely not worn-out.
And now for something a bit different. The Rec Shorts (or Recreation Shorts to give ‘em their full title) are sort of a hybrid of beach shorts and climbing shorts, made with leisure firmly in mind. Keeping things relaxed, they’ve got an elasticated drawstring waist (although there are belt loops too if you’re a strict belt wearer), and are made from super-crisp lightweight tropical poplin that’s ideal for stuffy summer afternoons.
Shape-wise, these are the shortest shorts we make (unless you count our Miki or Volley swimming shorts), making them a good option for anyone looking for something a touch smarter. That’s not to say they’re not up to any outdoor adventures, but they’ll work just as well with an Oxford shirt at a garden party as they will with a fleece at the campsite.
And for those heading to the beach, there are the Miki Shorts. Our take on the stripped-back shorts worn by surfers in the 1960s, they’re classically styled swimming shorts, made from lightweight taslan fabric that dries reassuringly quickly.
With that classic shape they’re a bit more subtle than most swimming shorts, meaning that not only do they work great in the water, but they also look good out of it—and you don’t have to change out of them when you head off the beach and into town
Check out the full shorts collection.
]]>We’ve made a limited collection constructed from authentic deadstock camouflage fabrics found in our Crockett, Texas factory. Using deadstock Realtree and Photo Stalk fabric that’s been sitting in our fabric vault for over three decades, we’ve crafted unique versions of our Original Fatigues, our Painter Pants, our Tote Bag and our 4 Pocket Jacket.
The fabric was originally made back in the 1980s—the early days of modern hunting camouflage, when hunters moved away from reappropriating military designs to creating their own patterns which catered to their environment. Tigerstripe might have worked out in the dense jungles of Asia, but it didn’t offer much camouflage for hunters hiding out in the forests of North America—so new ideas were needed.
One new idea was Realtree—a camouflage first sketched by archer Bill Jordan whilst sitting in his parent’s backyard. Inspired by an old oak tree, the pattern layered twigs and leaves over a background of bark—mimicking the 3D nature of real woodland. Although this intricate pattern would have been difficult to print a decade earlier, developments in technology meant that Jordan’s design could be applied to all manner of surfaces.
The success of Realtree paved the way for countless other specialist hunting camos—each designed to fade into a specific version of the American wilderness, from arid deserts to damp riverbanks. Faded Sage was created for grouse hunters, whilst Photostalk was a photorealistic woodland camo for deer stalkers. Both are nigh-on impossible to get hold of these days, so we were pretty pleased when we stumbled upon our old stash—and it only made sense to make use of it.
All made in the US—in the same factory where we used to work with these fabrics all those years ago—these pieces are ideal for those who want to blend into the countryside… or stand out in the city. Due to the deadstock nature of this stuff, these pieces are highly limited, so if you’re after a serious slice of camouflage, don’t hang about.
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