Alfred Sargent Hannover boots review

Here in Australia, English shoes still reign supreme. Personally I think British country shoes can look nice with denim too; in fact, half of my shoes are English!

Alfred Sargent (AS), in particular, was a brand which has always interested me, though in my early days of shoe collecting they had been going through a difficult period. By the time AS had re-structured and relaunched their brand & line-up, my focus had shifted away from matters of clothing and this blog went on hiatus.

So it is with much excitement that I can show you a pair of Alfred Sargent’s Hannover boots on the blog today!

Overview

As a shoemaker, AS has a long and distinguished history, handcrafting footwear out of Northamptonshire since 1899. When I first started wearing English boots, their burgundy zug grain Veldtschoen boots was near the top of my wish-list, though I had mostly stuck with Tricker’s at that time.

During the early 2010s, AS relaunched their line-up, focusing on the higher-end market with corresponding upgrades to their shoes. Certainly the styling had been improved significantly, with suggestions that perhaps this was in some way related to having G&G sharing the same factory space for a few years.

The boots that caught my eye were their brogue derby boots; the Hannover boots that we have here is their brogue derby boot made with a walnut pebble/scotch grain calf leather.

Although not quite as rugged as true field shoes – think William Lennon – the Hannover is nevertheless ‘country’ enough to be part of my work boot collection.

Shape & Fit

The Hannover boots utilises AS’s 87 last, made on a standard width of F. It is 6″ tall from the midsole.

A wider G fitting is available through customisation.

The toe profile is relatively low and sloped compared with American shoes. The flattened curve is common among British and Australian boots, and is a fair bit dressier in appearance compared with round, bulbous workboot toes.

The heel is also quite closely fitted despite the 360 degree Goodyear construct. The back end of the shoe runs very straight.

The instep is a little bit tighter, compared with, say, Tricker’s Stow, but the Hannover is by no means uncomfortable.

The F width is a little narrower compared with most work boots, but is not uncomfortable. I would suggest a G width for people with wider feet.

In terms of the length, the Hannover fits true to British/Australian size. Simply minus 1 from your usual US Brannock’s size. You may want to size half up for wearing with thicker boot socks.

Leather

This walnut scotch grain calf leather is oilier than most other scotch/pebble grain leathers I’ve come across on British boots. This is a good thing, I think; I had found the scotch grain leathers on Tricker’s boots to be too dry, and from other Northampton makers to be too plastic-y.

Scotch grain leather is a type of embossed leather, rather than a pure shrunken grain leather. However, this walnut scotch calf is by no means low quality. It has a nice temper, good oiliness and consistent colour.

The leather is 1.5 mm thick, ~ 4 oz.

The lining and insoles are made out of tan and natural leathers of good quality. The lining leather, in particular, is soft and comfortable with a nice grain to boot.

Construction

The Hannover is nicely detailed and well put together. It is a full brogue (a.k.a. wing-tip), and as such features broguing and pinking throughout, which has been done neatly. I especially like the “M” shaped broguing on the upper/shaft.

Additionally, the toe caps are burnished.

The full Goodyear welt construct is nicely executed in the Storm welt variant.

The tonal stitching throughout, even on the mid-sole, further lends to the Hannover’s elegant appearance, as does the darker-than-natural staining of the natural mid-sole leathers.

At the mid-sole, you will additionally find that what started as a double mid-sole at the front is skivved down from just before the midpoint along the length of the boot, terminating into a single mid-sole at the midpoint. This creates somewhat of an arch, though the Hannover does not feature the extensive and built-in arch support on some work boots.

I really like the construct of the tongue, being one-piece with a smaller secondary piece at the front. Seven antique eyelets are present – nicely spaced and secured.

The top is cut, no rolled edges or collaring. The edge is not burnished – a feature you may find on higher end Japanese and Korean work boots.

The back-stay is layered beneath the one-piece counter, with a pull-tab at the top which features a subtly embossed AS logo. Another interesting feature is that the counter terminates with the upper, where they meet the vamp.

The inside is fully and very nicely lined with a soft, tan calf. Each boot also features an internal panel on which pertinent information are written by hand!

All in all, the Hannover has a very layered design, yet is not too chunky with the 4 oz leather.

There was only one cosmetic flaw I could find on these Hannover boots – apart from some uneven staining of the soles/welt – and that is the line of discolouration near the front of each boot, where the leather meets the storm welt. You can see this in many of the photos shown so far, and I’m guessing this was due to the lasting process. To my relief, the leather grain was not cut or damaged, and I was able to resolve this problem with some Saphir polish.

Sole Unit & Misc.

The Hannover boots here feature full Commando soles and heels.

A double leather option is available through customisation.

The stitching sits in a channel, and is neatly sewn.

Opinion

The Alfred Sargent Hannover boots is certainly a very recent but fine example of the English country brogue derby boot.

Apart from the discolouration lines near the welt – which I easily fixed – there is nothing I can complain about with the Hannover. This is a very detailed boot, containing many small features mentioned previously that really demonstrate AS’s attention to minutiae.

At £288 excluding VATS (£345 for EU folks), the Hannover is priced similarly to its most direct competition, Tricker’s Stow. Certainly not a cheap boot as far as ready-to-wear country/work shoes go, although the Hannover is more competitively priced compared with most higher-end, similarly bench-made North American boots.

Let’s do a few comparisons:

The Hannover is a much nicer boot compared with full brogue boots offered by many of AS’s Northampton rivals – better constructed, with a nicer leather, than boots from Grenson, Loake, etc. AS’s offering is a little more expensive, but not by too much – there is a wide enough gap in quality that I would not consider buying another brogue boot, except perhaps Tricker’s Stow, at this time.

Compared with Tricker’s Stow? The overall level of construct is of similar merit. I do like how the tongue is made on the Hannover better than that on the Stow. Further, I think the Hannover is more elegant compared to most of the Stow boots I’ve seen, and has a more comfortable lining leather. The Stow, however, comes in an almost infinite number of colour and material configurations – there is something for everybody! Between the Hannover & the Stow, I wouldn’t necessarily recommend one over the other, depending on the exact configuration of the Stow of course.

In terms of comparing Alfred Sargent’s Hannover to American boots? Tricky discussion right here, and I suppose my opinions come from the perspective of someone who is interested in leather and workwear goods:

The Hannover is more elegant & refined in design, more neatly constructed, with fewer cosmetic flaws compared with higher end or more fashionable American makes. It is a lighter boot, made with thinner leather and a more compact insole. I believe the Hannover, similar to the Stow, represents better value compared with sleeker American “service toe” boots or any of Alden’s offerings, being at least 20% cheaper. Ultimately though, English country boots and Pacific North-Western American boots are different enough that both styles can exist in the same shoe cabinet. (Of course, my many American readers of this blog might consider buying local to be a virtue, but that’s an entirely different discussion.)

To conclude, I’m very impressed with my first pair of Alfred Sargent boots. Over the past few days, they’ve really grown on me and I find a lot of joy in wearing these Hannover boots. If it wasn’t for the leather discolouration at the front of the boots, I would have been completely satisfied by this purchase – which is a rare occurrence indeed.

Alfred Sargent boots are easily available through the major English online retailers. Definitely check them out!

Alfred Sargent Hannover boots review

Pailot River (Red Moon) – short rider wallet 1 week update

Normally I would wait a bit longer before updating a particular leather craft on this blog, but Pailot River’s vegetable tanned saddle leather is evolving so fast, my documentation really has to be more frequent.

To see what it looked like on Day 1, see the original review here.

Check this out, only after 1 full week of wear:

Day 7

The patina has developed rather quickly in two main ways – the colour and depth of shine.

No feeding or conditioning, only a quick sun-tan after day 2, and lots of honest wear.

Day 3

Let’s take a closer look at the incredible patination:

Day 7 – warm light
Day 7 – cold light
Day 7 – cold light
Day 7 – warm light

I haven’t encountered many leathers that age as nicely, tending towards a warm, red tone. The deep shine, though, is very unique!

You’ll probably notice there is a bit of staining near the bottom of the PR logo – I’ll be cleaning that off, and hope to show you the cleaning result next week.

Pailot River (Red Moon) – short rider wallet 1 week update

Don’t Mourn, Organize – bridle horsehide coin pouch retirement

It’s time to say goodbye to an old friend!

This little guy is going to be put on display along with a couple of other retired leather goods.

Back in 2012, Scott at Don’t Mourn, Organize was kind enough to share with me this experimental bridle horsehide from Clayton tannery. It was vegetable tanned, coloured, curried and then set – a very cool way to do horsehide!

This pouch was designed by me to be a stitch-less construct. To be honest, the rivets and buttons have held up better than I imagined, given this is a back-pocket coin wallet.

The leather has held up incredibly well, having held coins and being sat on daily for 4 years. The grain patina is really unique, achieving a rare kind of shine that you sometimes might see on nicely curried vegetable tanned leathers after some wears.

This interesting shine and grain variegation can be seen discerned under different angles and lighting.

I think Clayton has since made a chrome-tanned version of this horsehide that a couple of jacket makers are using at the moment.

The NOS mil spec. Dot snaps have faded from black to brass, smooth and very shiny.

The copper rivets have oxidised quite a bit, but I’ve cleaned then up.

Who knows, might put it back into rotation in another few years?

Don’t Mourn, Organize – bridle horsehide coin pouch retirement

mill – #8 shell cordovan Elliot wallet review

Through my recent foray into Instagram, I discovered that a few of my blog readers from the early days of the indigoshrimp blog have been active in leather crafting, setting up their own workshops and brands over the past few years. Unlike me – who is terrible at making stuff – some of these guys are pretty good. Tom of Hawkmoth Leather Co. is one such comrade, and today I hope to introduce to you another!

Rocky is a leather craftsman operating out of Brisbane, a small city in Australia where I grew up. Rocky has recently launched his official webstore after 8 years of crafting.

mill is the name of his workshop, and he focuses on entirely hand-made carry goods.

I made the pot purri, Rocky made the wallet in the wrapping.
I made the potpourri, Rocky made the wallet in the wrapping.

Featured today is an Elliot card wallet that has been hand-made by Rocky out of Horween tannery’s #8 shell cordovan. Let’s take a look:

Design

What we have here is a minimalist, single compartment design that is folded out of one piece of leather. The single compartment is sized to hold a small stack of cards, a couple of dozen folded bills or a handful of coins. When folded, it measured 8.3 cm wide, 10.9 cm long, and less than 1 cm in thickness.

The one piece construct is supplemented by a small, secondary piece of leather that forms the edge lining of the flap. The smooth backside of the shell cordovan conveniently acts as lining for the wallet.

A deep curve is cut with the apex sitting in the middle of the compartment, allowing easier retrieval of contents. Apart from the curve, the rest of the piece features fairly straight lines.

Leather

Shell cordovan is difficult to photograph, especially colours like #8. They also tend to show different tones under different lighting and with changing angles. Most of the photos here show this shell in cold sunlight, so as to glimpse its true colour. Under more intense or warmer sunlight, like in the last two photos, the colour can be darker and closer to chocolate brown in appearance.

What about shell cordovan?

Five years ago I wrote a piece regarding shell – read here.

Despite the massively increased popularity of shell cordovan over the past few years, my opinion remains the same – it’s an excellent, slow-made product by Horween and other tanneries, but I would still consider it very much a type of leather that is best combined with workwear. It is a durable material stuffed full of oils & waxes. Whilst it scratches easily, the marks are easy to repair as there is no grain.

#8 in particular, is the darkest in Horween’s #-series of shell colours, which are produced by increasing layers of Horween’s famous red shell dye. The rarely encountered #2 leather is light red, #4 is deep red, #6 is dark red, and our #8 here is usually closer to brown. Outside of black, #8 is probably the most traditional and most common of Horween’s shell cordovan colours. It is also one of the colours with the most potential for patination, usually revealing more redness over time.

My best description of the true colour on this #8 wallet would be “black cherry”.

Construct

This wallet is hand-made in its entirety.

Hand-cut. Hand saddle-stitched. Hand burnished.

The stitching is done with linen threading of moderate thickness, density of about 7 SPI.

The tan thread colour contrasts with the dark colour of the #8 shell cordovan, and does reveal minor irregularities in the hand-stitch around the curve of the flap. Keep in mind that shell is a difficult leather to hand-stitch, and Rocky has done so without the use of creasing to guide & hold the stitches.

The cutting is done fairly precisely. All the outer edges as well as the inner compartment edge have been very nicely burnished by hand.

Opinion

This is a smart little card wallet for the man who does not carry too much with him. Alternatively, it makes a good secondary holder to a main wallet, for things like coins, business cards or travel passes.

For me, the essence of this card wallet is “simply hand made”. It is minimalist, with mostly straight edges on the outside…and yet, even though this is a fairly simple wallet, all aspects of construction were completed by hand with simple hand-tools. Perhaps it’s in this point, and also the customisable and personal nature of Rocky’s craft, that differentiates this shell card wallet from many of the dozens of other shell wallets on the market.

I think this wallet would also look nice with non-contrast stitching, or denser, European-style stitch-work. For your own preferences, keep in mind that Rocky is very happy to satisfy custom requests.

At AUD $165 (~USD $120), Rocky’s card wallet is good value as far as a Horween shell cordovan product goes. It is rare to come across a hand-stitched shell cordovan card wallet near this price – maybe consider this an opening special! The same wallet made with vegetable tanned cowhide RRP at AUD $70 (~ USD $50).

Definitely have a look at the mill webstore and check out other examples of Rocky’s work. Just like me, Rocky is very interested in trying different leathers – he stocks an amazing variety of not only shells, but also superb veg tanned Italian, French & Australian leathers. You can contact him at mill or through his Instagram account @millnrocky

mill – #8 shell cordovan Elliot wallet review

Pailot River (Red Moon) – short rider wallet PR-SR01B review

My first piece of high-end leathercraft was a Red Moon cellphone holder from even before I started blogging, back when flip-phones were all the rage. I had very little understanding of leathers or their patination, but my Samurai Jeans dealer at the time recommended that I give Red Moon a try.

Little did I know at the time, that phone holder was the beginning of what would be a long-term obsession with leather.

Photo from 2009, the holder having darkened after some use.
My first Red Moon. Photo from 2009, the holder having darkened after some use.

I remember the first time I handled Red Moon’s natural vegetable tanned leather – so pale, yet so supple, with good thickness and a nice temper – it was dramatically different from the calfskin goods I had been using up until that point. The way the Red Moon holder changed over the first few weeks was dramatic too, and took on a beauty in grain development & patina that I have been fascinated with ever since.

After coming back to the hobby recently, I was glad to learn that Red Moon founder Keiichiro Goto had launched a high end leather brand in 2011 – Pailot River – with pieces handcrafted in the Village Works atelier, manned by Red Moon’s core group of young leather craftsmen.

Thanks to the folks at Denimio, an official stockist through whom the entire range of Pailot River’s collection is available for made-to-order, I’m excited to review this PR-SR01B short wallet from Pailot River’s “Street Rider” series of wallets.

Design

This is a short wallet, an uncommon size between a bifold and a mid-wallet.

It measures 11 cm in vertical length, 9 cm in horizontal width, and 2.2 cm in thickness when compressed.

The outshell consists of two pieces of leather, with the inner piece trimmed and sewn to make the notes compartment. The ridge construction in the middle of the compartment allows for better folding.

The Pailot River logo is heat-embossed unto the outshell – nicely done, no cracks.

In design and shape it is a simplification of Red Moon’s iconic HR-01 ver. 2 pattern – the wallet being reviewed does not feature the classic concho clip or an internal zipper – which fits my personal preference of having no hardware in my smaller wallets.

The HR-01 ver. 2 design is fairly layered, and you can see that it does not lack for compartments despite its size. Given this is the zipper-less model, effectively we end up with 3 full-sized card compartments with one large notes compartment.

The compartments on the right and top left are made from one piece of leather, whilst the bottom left is made of two. These compartments will hold your cards securely, despite lacking any sealing mechanism; accessing the cards is pretty easy, although since you cannot see the cards when you open the wallet, you’ll have to start remembering which cards live in each compartment😛

This model is unlined. The corium side of the leather is smoothly burnished.

You can also see in the photo below that the corners have small circles cut in, a clever way to minimize any distortions of the leather with use.

The notes compartment is spacious and not too tall. In the photo above you can see that Australian notes will sit approximately 1 cm below the border of the outshell. Despite being larger than traditional billfolds, this wallet is just as easy to use in terms of accessing money.

Leather

Before the founding of Pailot River, for many years Red Moon has been well known for their proprietary saddle leather – in many ways spearheading the natural leather hobby within vintage and workwear circles. Since then, enthusiasts have been guessing as to where and how this leather is produced.

Village Works, for the first time ever, has agreed to disclose some factual details about this leather for me to share with you: First, the steer hides used are mostly North America in origin, with 30% being domestic Japanese hides. Second, the hides are tanned in Himeji – the traditional epicentre of Japanese leather tanning, famous for Himekawa (“white leather”). Thirdly, the leather is vegetable tanned in tanning pits, with a recipe unchanged from the early days of Red Moon’s founding – this tannage takes a minimum of 3 months, and may extend up to 6 months depending on factors such as temperature and humidity.

In addition to the above information, I am also guessing that this leather has been further processed once the basic tanning is finished – this is inferred through two observations: One, this leather is a shade darker compared with dry, unfinished natural leather which usually looks almost white. Two, the leather is very slippery and shiny on the surface, to a degree I have never encountered on unfinished leathers.

My theory is that this leather has been further stuffed with oils once dried – which then further modifies the temper and the patina potential of the grain – all without altering the pale, fleshy-pink colour too much. Japanese tanners often call this type of leather “extra lipid”. I have heard that neatsfoot oil and cod oil are commonly used for this purpose, but I cannot confirm the use of this technique for the saddle leather we are seeing here.

Whatever the actual process, the end result is that Pailot River’s natural leather is not like the usual saddle leather that you might find at your local leather supply store. What I notice is a smoother grain, a colour that is slightly darker compared with true natural, a tone tending towards pink, a more flexible temper, a ‘wet’ handfeel, and an increase in ‘responsiveness” that I can only explain by assuming the extra oil content leads to quicker oxidation.

You can also see on the macro photo above that this saddle leather has much more ‘growth’ compared with other veg tanned leathers, and is more akin to Baker’s oak bark leather in grain texture and definition.

The reasons? Gentle pit tannage of course🙂

The leather also seems to be glazed or waxed, and is much more slippery & shiny compared with most natural leathers. This is best appreciated in the photo below, when the leather is illuminated with LED lighting.

The backside of the leather is hand burnished with a glass instrument.

This natural saddle leather is 4 oz (1.6mm).

Construction

This wallet was made in the Village Works atelier, though like all Pailot River pieces, it is made by one craftsman from cutting to finishing. This is not a production line wallet. The craftsman’s signature stamp in Chinese characters feature on the certificate of authenticity.

The layer construction is quite remarkable, especially considering the minimised stitching and clever folding – this is a smart, optimised design. Each layer is individually stitched on the other, then closed, then attached with another layer, and so on. Indeed, what you see here is the refinement of Red Moon’s first wallet design back in 1993.

The lock-stitching is sewn with vintage needle & awl machines Seiko cylinder stitcher (Singer Roller Foot reproduction; many thanks for the correction to Ray Lansburg). Examining the stitching closely, they appear straight & well-spaced, with a density of around 7 SPI. A point of difference in the machine work here is the stitch tension & tightness; notice how the thread sits flat against the grain without any use of grooves, but at the same time does not cut into the leather excessively. The stitch holes produced by Village Work’s machines punches through the leather very cleanly, and does not flare out the leather grain around the holes in any way.

The advantage of using such specialist machinery is that the resulting lock-stitch is more durable over time compared with similar stitching done with regular single-needle sewing machines, as a tighter stitch is produced in a smaller hole.

Here is the stitching process on a similar wallet at Village Works, explained by Goto:

Village Works states that different circumstances call for either machine or hand stitch. While a few leather craftsmen I know would say a saddle-stitch sewn by experienced hands would be superior in any given circumstance, I am no where near expert enough to contradict Goto, so I will leave this up to you to debate! Nevertheless, a hand-stitched version of the HR-01 is available, at a premium of 5000 yen compared with the machine stitched version, accounting extra time required for hand-stitching.

A little known but interesting feature of this wallet is that no leather glue has been used in putting it together and the wallet relies on the precise cutting & sewing of the pieces to keep the sum of the whole intact & aligned. This has the advantage of allowing the wallet to better mold to the user through small movements of the different layers, and also allows for complete repairs by restitching and re-burnishing the individual pieces after a few years of use. I am quite impressed by how well all the many individual pieces come together without the use of glue, especially on what is a fairly complicated and multilayered short wallet. This well-matched alignment is most evident when observing the wallet from the sides.

Unlike Red Moon wallets where only the outer edges are burnished, Pailot River’s pieces have all edges of each component piece fully burnished by hand. Even the backsides of the leather is burnished using a glass tool.

The burnish work here is slightly better compared with most Red Moon pieces I have handled over the years.

Opinion

At 33,000 yen, this is not the cheapest short wallet out there. However, comparing this wallet to other made in Japan workshop leathercrafts, it can be considered to be pretty good value given the precise make, the “one craftsman” approach, the tested & refined design, and the aging potential of their proprietary saddle leather.

The level of craftsmanship and detailing is fairly high, one tier above most other workshop productions, and in finer details are a step above even Red Moon’s regular offerings. A few people have asked how I would compare Red Moon to Kawatako: after handling this Pailot River wallet, I would say that although Kawatako offers interesting bridle and coloured leathers, Pailot River’s construction is better within the same price bracket. Here, I am considering the clean stitch-work, precise cutting, decent all-round burnishing and a multi-layered but very functional & tested design.

Further, if you are a fan of growing your own grain patina on natural leather, Red Moon / Pailot River’s saddle leather is one of the best for this purpose, made with a tanning recipe that was established 20 years ago, able to produce fantastic dark tones and superb lustre over time.

On aspects such as burnishing, hand-stitching and metal composition of hardware, Pailot River may not reach the the absolute highest standards of a master craftsman, for which you might expect edges that feel like glass & reflect like mirrors, dense hand-sewing, or conchos made of fine silver…but keep in mind this type of craftsmanship in Japan could very well cost you a minimum of 50% more than what you’d expect to pay for a Pailot River wallet.

Red Moon wallets have always had a distinct and unmistakable southwestern Americana aesthetic, and Pailot River’s offerings don’t deviate too much from this rugged, Native American inspired look.

Although sized nicely in between a bifold and a midwallet, don’t mistake this wallet for fashion carry piece. Consider the decent thickness at 2.2 cm, the result of several layers of 4 oz leather…this wallet was very much made for denimheads and heritage clothing enthusiasts.

All in all, would I recommend this Pailot River wallet?   Yes!

Both Keiichiro Goto and his Red Moon wallets are legendary among leather circles, and, through Pailot River, Mr. RedMoon manages to raise the bar again.

For people just starting their leather journey, a Red Moon piece could be an ideal beginning. Those with a higher budget should definitely consider Pailot River’s offerings. To me, Pailot River feels like a step upwards from workshop crafting, offering products that are somewhere in between workshop MTO and true bespoke crafting.

All in all, I’m very happy to own another product from the Village Works atelier.

Pailot River and Red Moon leathercrafts are made-to-order by Village Works when purchased through Denimio, with a make-time of approximately 2 weeks. With free shipping worldwide, full Village Works warranty and options for repairs & servicing, Denimio is by far the most convenient and economical way of purchasing Village Works’ crafts. Check them out here.

Pailot River (Red Moon) – short rider wallet PR-SR01B review

Hawkmoth Leather Co. Natural belt – feeding

After the first couple of days wear, I gave my Hawkmoth Leather Co. Natural belt a feed.

Original review here.

Although not absolutely necessary, I thought the oak bark leather could do with a bit more juice for oxidization (which causes patination), given its unfinished nature.

I chose to use Sedgwick’s leather conditioner – it’s one of the few commercially prepared leather feeds that I would use for my own leathers, outside of basic animal oil.

If you look back to most of the photos from the initial review (linked above), you will find that the leather has darkened ever so slightly after feeding.

The “mellow yellow” that is characteristic of oak bark leather is beginning to appear.

Even though each hide of oak bark leather differs slightly in grain and temper, as I can tell by comparing my various oak bark belts – it is a natural and hand-processed product after all – that yellow tone to the patination is consistent, an effect of the unique tannage.

You can also see in the photo below how the belt has already moulded to my waist. The curvature was not there to begin with – I only know a couple of makers who cut curved straps – and had developed only in two days.

Very exciting to see how this will turn out in the Australian climate, especially with summer approaching!

Hawkmoth Leather Co. Natural belt – feeding

Karanimal’s contest Samurai jeans

Fellow denimhead Matt (karanimal) is representing Australia in the Denimio Oni vs. Samurai contest.

Here is his Samurai 710xx jeans after 128 days and an enzyme wash with Sugar Cane’s denim care pack:

Photo courtesy of Matt K.
Photo courtesy of Matt K.

Incredible honeycombs and whiskering. That’s a whole lot of fades for 4 months!

All the best for the competition mate🙂

Karanimal’s contest Samurai jeans