Shot on a beautiful Summer’s day, our first editorial feature focuses on one of the best stretches of road you will find anywhere in the world – the A2, better known as the Antrim Coast Road. thebureaubelfast.com/editorial/antrimcoastpart1/
“The term “cordwainer” is an Anglicization of the French word cordonnier, which means shoemaker, introduced into the English language after the Norman invasion in 1066. The word was derived from the city of Cordoba in the south of Spain, a stronghold of the mighty Omeyyad Kalifs until its fall in the 12th century. Moorish Cordoba was celebrated in the early Middle Ages for silversmithing and the production of cordouan leather, called “cordwain” in England. Originally made from the skin of the Musoli goat, then found in Corsica, Sardinia, and elsewhere, this leather was tawed with alum after a method supposedly known only to the Moors. Crusaders brought home much plunder and loot, including the finest leather the English shoemakers had seen. Gradually cordouan, or cordovan leather became the material most in demand for the finest footwear in all of Europe. The English term cordwainer first appears in 1100. Since this date the term cordouan, or cordovan leather, has been applied to several varieties of leather. Today cordovan leather is a vegetable tanned horse “shell,” and like the Medieval cordwain is used only for the highest quality shoes. Since the Middle Ages the title of cordwainer has been selected by the shoemakers and used loosely. Generally it refered to a certain class of boot and shoemakers. The first English guild who called themselves cordwainers was founded at Oxford in 1131. “Cordwainers” was also the choice of the London shoemakers, who organized a guild before 1160, and the Worshipful Company of Cordwainers has used this title since receiving its first Ordinances in 1272. The first English cordwainers, or shoemakers, landed at Jamestown, Virginia, established in 1607–– the first permanent English settlement on this continent, from which began the overseas expansion of the English–speaking peoples, the earliest outpost of the British Empire and the first beginnings of the United States of America.. Captain John Smith has been alleged to have been a cordwainer, but this is unlikely. This historic adventure of settlement was in part supported by investments made by the London cordwainers.Shoemakers, tanners, and other tradesmen arrived in Jamestown by 1610, and the secretary of Virginia recorded flourishing shoe and leather trades there by 1616. The first English shoemaker to arrive in America whose name has been preserved, was Christopher Nelme, who sailed from Bristol, England and reached Virginia in 1619. Nearly one year later, the first Pilgrim settlers landed in Massachusetts. The first shoemakers who followed the trade there arrived in 1629. A distinction preserved by cordwainers since the earliest times is, that a cordwainer works only with new leather, whereas a cobbler works with old. Cobblers have always been repairers, frequently prohibited by law from making shoes. Going so far as to collect worn–out footwear, cut it apart, and remanufacture cheap shoes entirely form salvaged leather, cobblers have contended with cordwainers since the Middle Ages. In 16th–century London, the cordwainers solved their conflicts with the cobblers of that city by placing them under the authority of the cordwainers’ guild, thus merging with them.Whenever shoemakers have organized, they have shown a clear preference for the title cordwainer, conscious of the distinguished history and tradition it conveys. Today’s cordwainer is no exception. The current generation of boot and shoemakers includes a growing number of tradesmen and tradeswomen, who having largely adopted traditional hand–sewn techniques supplemented by simple machines, continue to practice skills established centuries ago. In the face of declining domestic footwear production, it can easily be said that the future of this trade lays in its past, and is being insured by the these modern cordwainers.” Source – thehcc.org
Check out Cheryl and Jennifer’s exhibition at the Engine Room Gallery, just round the corner from our store until June 1st. “The exhibition comprises a series of interpretive portraits of individuals whom the artists perceive as ‘Unsung’. Cheryl Bleakley’s muses are a mixture of talented individuals or those who show incredible strength in their character and who do not seek the limelight, characteristics which feel to be inherent in our culture. She presents portraits of artists, musicians and medical practitioners. Amongst her portraits, Jennifer Baumeister includes street children and child soldiers. They explore the power and exposure of portraiture juxtaposed against the characteristics of their chosen muses. This exhibition is a rare opportunity to sing the unsung.”
The Crown is an institution, an extravagantly ornate Victorian pub which is as much full of locals as it is tourists. In the late 19th century, the owner’s son persuaded Italian craftsmen who traveled to Belfast to work on new churches, to lend their expertise on the decoration of the pub. Intricate mosaic tiling, hand–carved woodwork, the alter–style red granite bar and the 10 snugs all strike you as soon as you walk in the door. It is a sensory overload in the best way possible. The lion guarded snugs with their gun metal plates for striking matches, antique bells and stained glass are it’s most known feature, famously recreated in a London film studio in 1947 for Carol Reed’s Odd Man Out, which starred James Mason as an on–the–run IRA man fatally wounded in a robbery and taking refuge. But it is not just the decor which has appealed throughout the years. It has always been regarded as a neutral venue where people from all sides of the divide as well as visitors, tourists and international journalists all felt at ease and no one cared who cared who you were and you could speak freely. The Crown, Great Victoria St, Belfast. Thanks to Journeyfor, Ciaran and C.R.
A brand that we have a long history with, from seeing them in the late 80’s Paul Smith stores to stocking them throughout the years, Oliver People’s have offered a consistent and quality product that can only be admired. We have put together a quick fit guide using the silhouettes available in our store – From the larger Daddy B’s and XXV’s, to the finer Gregory Peck and M–4. Photo 1 Richie – Bernardo, Gareth – Daddy B. Photo 2 Gareth – XXV, Richie – The Soloist Teardrop. Photo 3 Richie – Sheldrake, Gareth – XXV. Photo 4 Richie – M–4, Gareth – Bernardo. Photo 5 Richie – Gregory Peck, Gareth – Benedict. Oliver Peoples at The Bureau
Local artist Colin Davidson’s Trickers arrived back today after being sent off to the factory for a resole. Probably my favourite Tricker, worn in beautifully, and the way you can see some paint spots really adds to the worn–in look. If you are in need of a resole, please contact us and we can arrange it for you. Almost anything can be done and you do not need to go for the same sole again. Check Colin’s work here http://colindavidson.com/
A long time supporter and friend of The Bureau called to let us see his recent collection of beautiful, and mystifying acrylic paint drawings by the acclaimed Irish artist Ciaran Lennon. The works are on paper and gesso board 58×78cm. Click on through to view some of his collection and you can see more of Ciaran’s art over on his website. www.ciaranlennon.com