logo
Graydon Carter's guide to London: Maison François, Anderson & Sheppard and collecting canoes

Graydon Carter's guide to London: Maison François, Anderson & Sheppard and collecting canoes

Sign up for the best picks from our travel, fashion and lifestyle writers.
Sign up
I would like to be emailed about offers, event and updates from Evening Standard. Read our privacy notice.
Graydon Carter, whose new book is out now, has never owned a flat in London; these are his favourite spots when he visits from New York.
Home is …
Greenwich Village. I've lived in New York for almost half a century. Our current apartment is about 200 feet from my first apartment. I know, a distinct lack of imagination.
Where do you stay in London?
We used to love the Draycott, just off Sloane Square. No spa or proper dining room. And the bathroom showers were tortuous. But it was charming, filled with books, and the rooms had gas fireplaces. Nina Campbell had done the interiors. It was sold recently and went through a renovation that stripped it of all its charm.
Where was your first flat in the city?
I've never owned a London flat — my loss.
I was fired from the Evening Standard by fax by the editor Paul Dacre. I couldn't really blame him
Graydon Carter
What was your first job in London?
I did a column for this paper once. It was about the goings on in New York. I was fired by fax by the editor Paul Dacre. I couldn't really blame him. The column wasn't particularly good.
Where would you recommend for a first date?
A walk along the Embankment. It's peaceful and you get a sense of the vast history of the city as well as the bustling newness of it.
Which shops would you visit to buy presents?
I do believe that the Anderson & Sheppard haberdashery shop is about as perfect as perfect gets. I also love Anya Hindmarch's little village of shops in Chelsea.
My wife and I love to split a pasta starter and then a branzino
The best London meal you've had?
At the River Café, with my wife, our youngest son Spike and his wife Pip, and two dear friends, Lucy and Mark Cornell. My wife and I love to split a pasta starter and then a branzino.
The River Cafe in Hammersmith
Courtesy
What would you do if you were Mayor for the day?
Allow smoking in restaurants. Outlaw any car worth more than £100,000. Switch driving lanes to the right side. Force the owners of the Draycott to restore the hotel to its former self.
Who is the most iconic Londoner?
Gussie Fink-Nottle from the Jeeves novels. Or Admiral Nelson. Maybe Tony Hancock.
Richard Garnett as Augustus 'Gussie' Fink-Nottle and Hugh Laurie as Bertie Wooster in the 1990 'Jeeves and Wooster' TV adaptation
Rex Features
Where do you have fun?
I happen to love restaurants. So somewhere to eat. And drink.
Where do you exercise in London?
I don't. I know, shameful.
Have you ever had a run-in with a London police officer?
No, thankfully.
Where do you let your hair down?
Not really enough hair to let down anymore. Also, you must think that I'm a much younger person than I am.
What's your biggest extravagance?
It used to be Anderson & Sheppard suits. Now it's brightly coloured Hermès handkerchiefs. I've downsized.
What's your London secret?
The roast chicken at Maison François.
Dishes at Maison Francois
Steven Joyce
What's your favourite work of art in London?
What are you up to at the moment for work?
I have a memoir called When the Going Was Good to promote. And organising and editing the next issues of our weekly news, features and arts dispatch, Air Mail.
What do you collect?
I have five canoes of varying size. All of them made by the Old Town Canoe Company in Maine. One of them is a hundred-year-old war canoe that can hold 12.
Which podcast are you currently obsessed with?
The Rest is History and The Rest is Entertainment.
Your favourite grooming spot?
If I ever do decide to experience a professional shave, I'd probably go to Taylor on Jermyn Street.
What apps do you depend on?
Nothing too exotic. Uber and Google Maps. I'm hopeless with directions.
Who is your hero?
Si Newhouse, my old boss at Condé Nast. No man who held so much sway over the minds and tastes of the upper reaches of civilisation ever wore his influence more lightly. He was like a second father to me. And I adored him.

Orange background

Try Our AI Features

Explore what Daily8 AI can do for you:

Comments

No comments yet...

Related Articles

Dior Paris show is sweet relief for anyone wanting to flex a cooler muscle
Dior Paris show is sweet relief for anyone wanting to flex a cooler muscle

The Guardian

timea day ago

  • The Guardian

Dior Paris show is sweet relief for anyone wanting to flex a cooler muscle

Even Anna Wintour can only be in one place at a time. And rather than Paris, where Jonathan Anderson made his Dior debut on Friday, the most powerful person in fashion was in Venice for the Bezos/Sánchez wedding shortly after relinquishing her role as editor-in-chief at American Vogue. But unlike the wedding of the year, Anderson's show proved to be sweet relief for anyone wanting to flex a cooler, chicer muscle. Perched on wooden cubes within the Cour du Dôme des Invalides sat plenty of VIP clout: Daniel Craig, Donatella Versace and Roger Federer. Most of the Arnault family, who own Dior and routinely joust with Jeff Bezos over who has more money, were present. Even Rihanna, pregnant in a Dior pastel waistcoat, was relatively punctual. Anderson is known for his sharp eye and crafty, mercurial taste – few people have shaped the red carpet and ultimately the high street into the hype machine it is today. But Dior is a different challenge. As the first creative director of menswear and womenswear since Christian Dior himself, the designer needs to revamp LVMH's second biggest brand, with estimated revenues far greater than at his former label, Loewe. 'I can't stand here and say I'm not nervous, that it is not petrifying,' he said backstage before the show, wearing his trademark Levi's and a plaid Dior shirt. 'Dior is on billboards. It's on Rihanna. It's transcendent. But this is the starting point – I've been here four months, and the first five shows will show different aspects. Some will contradict; others will be completely radical.' Some designers get critical acclaim, others sell a lot of clothes – a rare few have a talent to do both, but that's the hope with Anderson. Because of tariff wars and a decline in the luxury market, LVMH shares have halved from their 2023 peak. 'Delphine [Arnault] and I, we talked about changing the quality, about upping the game,' Anderson said. Opening the show was a bar jacket in Donegal tweed. More interested in how a look is put together than the clothes themselves, Anderson styled it with a pair of thick cream cargo shorts cut from 15 metres of fabric and layered up like a Viennetta. Knitted vests were a through line, as were ties and neck ruffles, and plenty of colour – greens, pinks and blues. Dior, he says, is a house of colour, in part because it offsets the 'house grey' that features on billboards, Dior clothes labels he redesigned and the Parisian sky. A puffer gilet was circularly cut and placed over a formal shirt, while summer coats and capes came knitted or in pleated bright colours. One was even based on an original Dior shape 'that would have cost the equivalent of a Ferrari', except here it was styled with trainers. There were even jeans – skinny and baggy, in indigo and green. The look was preppy and eccentric, with shades of Loewe, JW Anderson, and even Uniqlo in the puffers, among the classic Dior shapes. On Anderson's original moodboard were Warholian images of the artist Jean-Michel Basquiat and the socialite Lee Radziwill, alongside classic Dior dresses such as the Delft and Cigale. The idea was to take each look into the present, 'to recontextualise it', he said. He even took his predecessor Maria Grazia Chiuri's book bag totes and put a 'new skin' on them, in the form of Dracula and Les Liaisons Dangereuses. It's these hyperspecific references that give Anderson's work a pleasing temporality, and will no doubt sell well – here at Dior, and whatever high street shop will no doubt copy him. Sign up to Fashion Statement Style, with substance: what's really trending this week, a roundup of the best fashion journalism and your wardrobe dilemmas solved after newsletter promotion Anderson is the latest big name to arrive at an established brand. 'I'm not the only person going into a big house at the moment, but we need to let the dust settle,' he said, adding that he didn't 'want to chop it all down. It's just a continuation.' A great believer in the Jim Jarmusch approach to art – steal, adapt, borrow – he said: 'Ownership in fashion is devastating. Copy [in design] is what you do. Because there will always be someone after you.'

Dior Paris show is sweet relief for anyone wanting to flex a cooler muscle
Dior Paris show is sweet relief for anyone wanting to flex a cooler muscle

The Guardian

timea day ago

  • The Guardian

Dior Paris show is sweet relief for anyone wanting to flex a cooler muscle

Even Anna Wintour can only be in one place at a time. And rather than Paris, where Jonathan Anderson made his Dior debut on Friday, the most powerful person in fashion was in Venice for the Bezos/Sánchez wedding shortly after relinquishing her role as editor-in-chief at American Vogue. And unlike the wedding of the year, Anderson's show proved to be sweet relief for anyone wanting to flex a cooler, chicer muscle. Perched on wooden cubes within the Cour du Dôme Des Invalides sat plenty of VIP clout: Daniel Craig, Donatella Versace and Roger Federer. Most of the Arnault family, who own Dior and routinely joust with Jeff Bezos over who has more money, were present. Even Rihanna, pregnant in a Dior pastel waistcoat, was relatively punctual. Anderson is known for his sharp eye and crafty, mercurial taste – few people have shaped the red carpet and ultimately the high street into the hype machine it is today. But Dior is a different challenge. As the first creative director of menswear and womenswear since Christian Dior himself, the designer needs to revamp LVMH's second biggest brand, with estimated revenues far greater than his former label, Loewe. 'I can't stand here and say I'm not nervous, that it is not petrifying', he said backstage before the show, wearing his trademark Levi's and a plaid Dior shirt. 'Dior is on billboards. It's on Rihanna. It's transcendent. But this is the starting point – I've been here four months, and the first five shows will show different aspects. Some will contradict; others will be completely radical.' Some designers get critical acclaim; others sell a lot of clothes – a rare few have a talent to do both, but that's the hope with Anderson. Because of tariff wars, and a decline in the luxury market, LVMH shares have halved from their 2023 peak. 'Delphine [Arnault] and I, we talked about changing the quality, about upping the game,' Anderson said. Opening the show was a bar jacket designed in Donegal tweed, from Ireland. More interested in how a look is put together than the clothes themselves, he styled it with a pair of thick cream cargo shorts cut from 15 metres of fabric and layered up like a Viennetta. Knitted vests were a through line, as were ties and neck ruffles, and plenty of colour – greens and pinks and blues. Dior, he says, is a house of colour, in part because it offsets the 'house grey' that featured on billboards, Dior clothes labels he redesigned and the Parisian sky. A puffer gilet was circularly cut and placed over a formal shirt, while summer coats and capes came knitted or in pleated bright colours. One was even based on an original Dior shape, 'that would have cost the equivalent of a Ferrari', except here it was styled with trainers. There were even jeans – skinny and baggy, in indigo and green. The look was preppy and eccentric, with shades of Loewe, JW Anderson and even in the puffers, Uniqlo, among the classic Dior shapes. On Anderson's original moodboard were Warholian images of Basquiat and the socialite Lee Radziwill, alongside classic Dior dresses, such as the Delft and Cigale dresses. The idea was to take each look into the present, 'to recontextualise it'. He even took his predecessor Maria Grazia Chiuri's book bag totes and put a 'new skin' on them, in the form of Dracula and Les Liaisons Dangereuses. It's these hyperspecific references that give Anderson's work a pleasing temporality, and will no doubt sell well – here at Dior, and whatever high street shop will no doubt copy him. Sign up to Fashion Statement Style, with substance: what's really trending this week, a roundup of the best fashion journalism and your wardrobe dilemmas solved after newsletter promotion Anderson is the latest big name to arrive at an established brand. 'I'm not the only person going into a big house at the moment, but we need to let the dust settle,' he said, adding that he didn't 'want to chop it all down. It's just a continuation.' A great believer in the Jim Jarmusch approach to art – steal, adapt, borrow – he said: 'Ownership in fashion is devastating. Copy [in design] is what you do. Because there will always be someone after you.'

Jonathan Anderson reboots Dior menswear with subtle subversion and commercial savvy
Jonathan Anderson reboots Dior menswear with subtle subversion and commercial savvy

Fashion United

timea day ago

  • Fashion United

Jonathan Anderson reboots Dior menswear with subtle subversion and commercial savvy

Jonathan Anderson walked on to the Dior stage on Friday with the hardest brief in luxury fashion: reignite a 9.5 billion euro powerhouse whose growth has begun to slow and whose identity, at least on the men's side, has drifted since the Hedi Slimane era. The 40-year-old Northern Irishman is hardly a novice. LVMH took a minority stake in his JW Anderson label in 2013 and, in the same breath, installed him at Loewe, where he built the once-sleepy Spanish brand into a cult enterprise (and created the Puzzle bag in the process). The inevitable next step, Dior, finally materialised this spring after a messy sequence of leaks: a departure from Loewe, an initial appointment to menswear, and, following Maria Grazia Chiuri's exit last month, full control of every Dior line. A marketing breadcrumb trail In the week before the show, Dior's image machine offered clues. American art royalty Jean-Michel Basquiat and socialite Lee Radziwill, both captured by Andy Warhol, floated across mood-board teasers. A shaky Super-8-style film lingered on peonies, a chateau and a wooden canoe adrift on still water. Viewers, like the canoe, were asked to wait. Context: revenue up, momentum down The waiting has had real-world stakes. Dior's turnover quadrupled between 2017 and 2023, yet HSBC flagged a slowdown from Q1 2024, citing consumer resistance perhaps to relentless price hikes and shifting priorites. Delphine Arnault, Dior's chief executive, now talks less about fireworks and more about 'quality and craft'. For Anderson, the unspoken mandate is clear: deliver covetable product, bags, sneakers, ready-to-wear, and a point of view that can translate into sustained demand. Dior Men's SS26. Credits: ©Launchmetrics/spotlight Dior Men's SS26. Credits: ©Launchmetrics/spotlight The collection: Saltburn meets Warhol On the runway the pressure translated into nonchalance. Shirts half-tucked, collars popped, one trouser leg rolled, looks that recalled the louche decadence of Saltburn spliced with a Warholian downtown shrug. The tailoring, less razor-sharp than Slimane's fabled skinny suit, was offset by playful twists: a vampiric cape, a cable-knit in peony pink, Oscar-Wilde bows adorning the neck, coats in drapey tweeds. Anderson's British eccentricity surfaced in tailcoats fastened with Napoleonic buttons and the ubiquitous look of a chino and polo shirt was reimagined as a nod to aristocratic decay, pleated, loose, and worn with the ease of someone who has never had to try too hard. Dior Men's SS26. Credits: ©Launchmetrics/spotlight Dior Men's SS26. Credits: ©Launchmetrics/spotlight Were the cargo shorts and polos special? Perhaps not. But in their casual iteration they reset the palette, signalling that everyday wear is once again fair game for high fashion, and, crucially, high turnover. Commercial chess moves Accessories telegraphed intent: a hybrid sneaker-deck shoe, bright book bags, sweaters emblazoned with a refreshed lower-case Dior logo—bait for Gen Z and a lodestar for retail. Denim returned with pocket stitching first introduced by Slimane, proof that Anderson is willing to cannibalise house history where it works. And all this is only the start. By LVMH arithmetic Anderson will produce roughly 18 collections a year across men's, women's, leather goods and his own label, a workload that would fell lesser talents. Yet his track record suggests an ability to inject nuance into the mundane: tweak a heel, pop a collar, ignite a cash register. Dior Men's SS26. Credits: ©Launchmetrics/spotlight Dior Men's SS26. Credits: ©Launchmetrics/spotlight What the creases say Christian Dior once championed post-war polish; Anderson's wrinkled shirts propose something different. Perhaps dressing up now feels performative, or perhaps life—pandemic, conflict, cost-of-living angst—is simply too short to iron. Either way, Anderson has staked out a fresh clearing in the Dior forest. The real test will be whether this studied casualness converts into queues outside the stores. In a year, the peonies, like the revenue charts, will show whether the house is blooming again. Dior Men's SS26. Credits: ©Launchmetrics/spotlight Dior Men's SS26. Credits: ©Launchmetrics/spotlight

DOWNLOAD THE APP

Get Started Now: Download the App

Ready to dive into a world of global content with local flavor? Download Daily8 app today from your preferred app store and start exploring.
app-storeplay-store