Friends of Gloverall is a project that celebrates the people we've built genuine relationships with - those whose work, values, and lifestyle resonate deeply with who we are at Gloverall. These are creatives, makers, and thinkers who care about how things are made, where they're made, and the impact they leave behind.
We're kicking things off with Mike Holmes, a Manchester-based headwear designer and founder of The Long Shot. Known for his modern, hands-on approach to UK manufacturing - and for our previous collaboration on the Renewed Hulme Cap - Mike felt like the natural choice to launch this new series.
As part of the project, we caught up with Mike for a conversation about craftsmanship, community, and what gives him hope for the future of British making.
The Long Shot Exp is about slow, intentional craftsmanship. How do you stay true to that in a fast-moving world?
"I work alone in a small workshop at home, which naturally slows everything down and lets me give each piece proper attention. When the world feels like it's racing, it's my family and a tight circle of creative friends who keep me grounded. We all share similar references and subcultures, and we remind each other to stick to the path we chose: doing things thoroughly, with care, even if that means staying niche and resisting the chase."
Why does local, small-batch making matter - not just for your products, but for the people who wear them?
"Small batch gives me the time to add care, detail and, honestly, love. It also brings in customers who want something a little different and who believe in the story behind an object. That first purchase is a leap of faith; over time, those people often become friends. Local making builds that sense of connection and community: you see the hands behind the thing you wear, and you feel part of something more considered than mass production."
You worked with us on the Renewed Hulme Cap - how did it feel to be part of something that reimagines what already exists?
"Working with Gloverall's deadstock corduroy instantly focused the project, stripping away endless options and sharpening the design thinking. I like constraints - they echo the DIY spirit I grew up with in skate culture: use what's available, make it yours, build something better from what's already there."
"Reworking surplus fabric into a cap felt aligned with my values and with the project's aim to give materials a second life with purpose."
What role does outerwear play in your workshop life - and what did you love about the Gloverall Thompson Varsity Jacket you chose?
"I work from a workshop in my garden, so for six months of the year it's cold, and outerwear is essential kit."
"The Thompson Varsity Jacket hits the sweet spot: warm, practical, short enough for the machine, and easy to move in."
"Stylistically it carries that classic sportswear lineage - if you know, you know - without shouting. Finding out it nods to Daley Thompson was the icing on the cake: a subtle, joyful bit of Britishness that feels inclusive rather than nostalgic for nostalgia's sake."
How does your own approach to design and making reflect your personal values?
"Everything I do is value-led: make fewer things, make them well, and make them for a reason."
"I can be a bit contrary and avoid the obvious move just because it's trending, but that protects the work from becoming noise. I'm mindful of resources; when a product feels justified, thought through, durable, and cared for, it earns its place. The way I design and make is simply an extension of those values."
What do you think the future of British-made fashion looks like - and what gives you hope?
"Hope looks like bigger heritage brands partnering with small UK makers, skills being nurtured locally, and graduates getting incubator support so they can set up close to home rather than defaulting to far-flung production. You can already see the steps: education spaces in Manchester, communities forming around making, and collaborations like this one with Gloverall that connect heritage and craft. On a human level, it's the interactions, the repeat customers, and the recognition for doing one thing well that tell me there's a real future for thoughtful British making."
