In today’s retail climate, the potency and longevity of products is more ephemeral than ever. The terms “premium,” “limited,” and “special edition” are thrown at items that fail to fit a sincere definition. Things just seem to appear. The who, how, and what aspect that tells a garment’s story—the story that makes it special—is lost in a mire of marketing banter.
While this view may seem overly negative (and, in fairness, it is), the nature of how the industry has evolved ironically makes it easier to identify the brands and people that work with an ethos that remains unvarnished to a core audience. As mainstream consumerism flattens the market, those who hold out for a more authentic approach stand out more clearly.
Richard Hobbs’ REAL REAL GENUINE produces limited, collaborative pieces that are true in nature. No marketing ploys, no ‘special holiday’ editions. Just garments and accessories (and even some fragrance) that are special because they ooze quality and personality. Hobbs translates a vast history of getting things made into an ethos of creating the best possible product, and he gives his customers the opportunity to join a rather exclusive club. I say this partly tongue in cheek, because while the numbers of the items are limited, the nature of the appeal is universal. RRG offers streetwear basics (denim, tees, and crews) that speak to an unspoken interest in the story, the quality, and the subtle differences which make “streetwear” appealing to so many people.
Mr. Hobbs and I exchanged emails over the course of (roughly) a fortnight.
- Nick Schonberger
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The idea of an umbrella company offering collaborative and on- off products reminds me, at first thought, of what Oki-Ni did when they started (not to say I am trying to draw comparisons). What was your inspiration for starting Real Real, and how do you come to partner with the people and brands that you do?
RICHARD: My original driving force when I decided to get Real Real up and running was to play to my strengths while making sure we delivered a great product that we could be really proud of. My experience and history has been mostly in the backroom. Working on sourcing and production, distribution and logistics, product development and design management. I knew when I started my own label (as opposed to the ones I have started which belonged to other people!) I could not pretend to be a “designer.” I would use my strengths and then work with people whose design talent and creative eye I admired and respected.
So, to start with, I called upon friends and colleagues from the past, all of whom were more than happy to help out at the beginning and also introduced me to some other people. Alyasha Owerka-Moore, Anthony Harrison, Nick T, the team at Blue Nail, Mr. Allnutt (and a few other nameless souls) all stepped up and then other connections came to the table. Now I actually have people approaching me to work on ideas, which is great.
There have been mentions of comparison to Oki-ni in terms of the collaboration element but there is one major difference. I remember when the Oki-ni store in London first opened and I visited shortly afterwards. I was living in Hong Kong at the time and leaving that day. I saw an item, I believe it was a pair of Evisu, and was ready to buy but it was going to take a few weeks for it to get to me. For me, as a consumer, I want instant gratification if I am on a retail floor and see something I like. The contrast between the environment I was in and the actual delivery to the consumer just seemed wrong. Needless to say I left, bagless!
The Oki-ni concept has now changed and, I believe, will be a much better offer.
The way that brands are publicized these days, and the spread and growth of "new" companies (at least in the public eye) seems to deny a few essential aspects of the garment industry. For example, sourcing and manufacture—most of us are completely lost as to what all that means. Could you give us a little primer on the basics of sourcing?
RICHARD: As much as anything good sourcing is about relationships. Many of the people I work with I have known for centuries, others are much more recent. With the older ones we have history and an understanding of what the other party needs, not just in terms of product but also as a business. As long as there are some mutually beneficial outcomes you can make the relationship work. Sometimes you need a favor, small quantities, quick turnarounds, a bit of flexibility. As long as you don't ask for those things all the time and give the manufacturer some volume and/or easy production along the road then most suppliers are happy to work with and support new brands. I have worked in production and sourcing for over 20 years now so even with new suppliers it is relatively easy for me to understand what their setup requires and find a way to work closely together. At the end of the day, it's all about trust and that is a two-way process that can only be proven over time. There are a few people in this game that take advantage of manufacturers and suppliers and they won't get far. If you are coming into the business or moving on from being a tee shirt label to making more complicated pieces with the associated logistics and quality issues, listen to your suppliers and work with them. It has be to be a supportive relationship not an antagonistic one. Alternatively, employ me as a consultant....
As to the nature of collaboration... again, that is one of the top buzzwords in this market segment, and what shines through with Real Real is that there is a genuine interest for both parties to create something exciting. One example is the Middleton boot. There is a balance in the design and style with the quality of the manufacture. In collaboration, how important is it to make sure that elements of construction and fabrication shine through in each product?
RICHARD: The collaborations will always be a part of what we do, but they have to be valid. When I started what I wanted to avoid was the whole trend of what was happening at the time which was two (or more - the worst example was 5 I think) brands sticking their logos on a tee shirt. The collabos are not in your face but it is all about quality in the design and the execution. So the overriding factors have to be design and manufacturing combined. Even our basic tees are custom made - no blanks in this house! The boots are a good example because we worked with Lodger footwear, a very specialised bespoke designer and producer, to give advise and guidance on materials and what would work or not and then also went to Alfred Sargent to actually have them made. Our role was really to make sure the product fit in with the whole jean aesthetic (I believe that everything we produce or introduce to the market has to have an affinity or can be worn with denim) and bring it to a receptive audience.
It's interesting that you mention a jean aesthetic. There are some brands (e.g., Seven) that hinge on the "premium" tag, but also on a cut that relies on some perception of being "dressed up." This is obviously completely different from proper denim. It’s less about versatility, which is what it seems you are talking about.
RICHARD: Most of my working life I have been involved in one way or another with denim. It's what I wear every day and I can't help but be immersed in the whole "lifestyle" of what I do…the same for most people around me and those I work with. And that has to reflect itself in any of the product that Real Real has, or will bring out.
I certainly would not say anything against the sort of brands you intimate as I do admire most of their business models. However, the recent (late 90's onwards) 'phenomenon' of premium denim has been very U.S., and particularly L.A., oriented. Interestingly, and without intention, a few people have talked about RRG as an English denim brand which I am actually very cool with hearing. If you go back over recent years there are not too many English denim brands that have appeared. The Seventies and early Eighties had their time but then it all moved to Europe, mainly France and Italy, then Scandinavia and West Coast America, with a few Oz sprinkles while the Japanese did their thing. There are some good UK denim brands but, in my opinion, they tend to grasp at a theme or get driven by mainstream fashion influences, whether that be Euro Sport & Street, American Urban, or the "Streetwear" that we all know and love. Some have tried to play up their English-ness but RRG just happens to be based in England and run by an English guy....
Since you mention English-ness, and the English are known for their clobber, whether it be Saville Row bespoke or the Kings Road style of a certain era, let me ask how you got involved in clothing and what initially inspired you.
RICHARD: To be honest I got into this business completely by accident. I was a University dropout trying to work out what I wanted to do and just ended up working in a pub and meeting some guys who were in the denim business. Before you could shake a stick I was going on photo shoots, hanging out with models, going to Florence shopping for the weekend, and driving all over the UK in a big old Volvo Estate. I thought this was much more fun than being a stockbroker or civil servant!!
I had always taken an interest in style and fashion but not in any focused or disciplined way. Looking back I would say that the looks that “influenced” me all came from music of my youth. Parts of punk, The Clash, Ian Dury, Rudeboy style, Paul Weller, Bristol Reggae, trip hop, early Britpop, etc. All really had their take on classic British style, denim of course, polo shirts, button downs, crombies and harringtons, sharp shoes, and suits.
Wow, that is literally an amazing story. Do you think that the interest in music and the related style helped you with some of the brands you've been involved in? Mecca, for example.
RICHARD: I can’t function without music! It’s always on in the office, car, portable MP3 player. I was involved with Mecca from day one when the first concept was pitched and the guys flew out to HK to get the first collection started. I had always taken an interest in hip hop, from Afrikaa Baambata and Sugarhill onwards, so working on Mecca was a great experience for the exposure to people and artists. Once you are in that loop, music and fashion do combine. But, in reality, that is the case in most fashion movements in that they do come out of a music scene. The style equates itself to a musical genre and tribes form. Today I just think it is so much more fluid—styles, fashion, and music criss-cross all over the place. Distribution channels and exposure to global happenings are there for the taking so it is what you make of it. That is why I really don’t want RRG to get pigeonholed as a street brand or premium or denim or whatever. I want to make amazing product that can be around for a long time and be embraced by anyone who appreciate quality and style, whatever their musical tribe…..
You raise a few interesting points I want to touch on. First, the nuts and bolts, and this is connected to my question about sourcing. Someone comes to you and says I've got an idea, I need to manufacture x, y and z. I have no idea what I'm doing. What happens next?
RICHARD: First question would be, "How deep are your pockets?"
What people don't always realise is exactly how much cash it takes before you can start to see an income, let alone a bottom line profit contribution. From idea to development samples, to selling tools, trade shows, marketing costs, financing of production, shipping, warehousing, agency costs, etc, etc. And then maybe two to three months after delivering to a store before getting paid in full means it can be easily one year before revenues come in. There are ways to shorten that cycle but the cost can still be huge.
That is why the tee shirt option is the easiest and quickest way to get started, but the step on from there to developing a full collection is a massive one. If you have the finance available, and of course, have a solid business plan, then getting product sourced is "relatively" easy.
Back to RRG. The descriptions of the products are really quirky, especially for the new ones. Additionally there is a bit of a tongue-in-cheek "this is the best you can have” flavor, which I really like. I think people often forget how much self-conception plays in the building of a company. What's not lost here is, well, you seem to be having a lot of fun with RRG.
RICHARD: You have to try and have a sense of humour! I started one brand a few years back that was geared around a fictitious designer. I created a whole life history and persona, we set up webcams showing him at work, issued press releases in his name, etc, etc. He even got invited to appear at industry seminars and there were people working for the company in sales who kept asking when they would eventually meet him!
So many other brands are smoke and mirrors, especially when it comes to product and the waffle that often accompanies. So if I am in the right frame of mind and the words are flowing then why not 'ave a larf!!
