Winter style is often presented as sled riding through some New England forest, or enjoying a hearth redolent of roasting Indian corn, but reality is often less romantic. This time of year is flu season, which means for many people, winter at some point will be about Robitussin, hot tea, blankets, and cough drops. I’ve been holed up at home for the past few days trying to fight off a stubborn cold, stay warm, and sleep through the night despite fits of coughing. 

Nothing will cure a cold except time, but there are things you can do to make yourself feel better. The Chinese have an herbal remedy called Nin Jiom Pei Pa Koa, which does wonders for a sore throat, even if it tastes awful (I drink hot water mixed with a scoop of honey instead). Nasal sprays can help manage congestion, although you don’t want to use them for more than three days in a row. And wearing good loungewear feels so much better than laying around in sweatpants and a t-shirt. 

Years ago, Jacob Gallagher at The Wall Street Journal wrote a piece exploring whether men still wear pajamas. There aren’t many, and among those who do, some are apparently trying to sell others a set (Andy Spade, one of the founders behind Sleepy Jones, was quoted). The reasons given for PJs were predictable – they confer a better sense of self-respect when you’re at home (I have none to begin with, so that matters little), and they allow you to look presentable should an unexpected guest drop by (I have no social life, so that matters even less). 

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In some parts of the world, you can get by without a wallet, as cash and credit cards are totally unnecessary. These aren’t remote rural villages either, but rather metropolises such as Shenzhen, China, an urban hub for technological innovation that’s located just north of Hong Kong.

In an episode of The Wall Street Journal’s Moving Upstream, Jason Bellini shows how this Guangdong city operates as an almost-cashless society. Residents pay for everything from food to transport to consumer goods using only their smartphones, either by scanning QR codes or sending money via apps. Alibaba’s new grocery chain, Hemna, for example, looks like any other neighborhood supermarket. Except, shoppers can scan bar codes to look up more information about items, then pay at self-checkout stands by holding up their phone (some stores will even just scan your face). Three-quarters of the city’s fast food purchases are made using mobile devices, and taxi drivers prefer to take payment via WeChat. In 2016, Chinese citizens send a staggering $9 trillion through their mobile devices, and the number is only growing. 

We don’t think much of it, but wallet designs in the last five hundred years have tracked the changes in our political economy. And as society becomes ever more reliant on digital technologies, it’s hard not to think that we’re on the cusp of some new designs.

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No Man Walks Alone is an advertiser on this site, but also one of my favorite stores. In the last ten years, the average menswear shopper has become a lot more sophisticated – they know just as much about Neapolitan tailoring as they do about directional casualwear. No Man Walks Alone serves that kind of customer. They have classic suits and sport coats, but also interesting clothes for the weekend. It’s one of the few shops where a guy can pick up a wardrobe for almost any part of his life. 

This weekend marks their fifth year of doing business, and to celebrate, they’re holding a sale. For the next five days, you can take 20% off any order with the checkout code 5YEAR. The code even works on already-discounted sale items. Here are ten things I think are particularly worth a look:

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For all the guides on how to dress for your complexion, you only have to look at how black has been redeemed in the last ten years to see how color in fashion is often more about social meaning than simple color theory. During the late-aughts, menswear writers confidently declared that nobody should ever wear the color. Black suits are for morticians and the help. Black dress shirts are déclassé. Black trousers go with nothing. Black sport coats look like orphaned suit jackets. And black leathers don’t acquire the patina that makes a pair of well-polished, well-worn brown leather shoes so handsome. In fact, giving up square-toed black shoes in favor of more anatomically correct brown ones became something of a rite of passage for well-dressed men. And in binning those shoes, many have learned to avoid black entirely.

To be sure, some of those rules are sensible. Suits are typically easier to wear in navy or gray, rather than black, and black dress shirts are questionable at best. But as men have become more comfortable with fashion, black has seen a resurgence. It’s a color that connotes mystery, sophistication, power, elegance, and even sex appeal. It’s understated and urbane, dignified and dangerous. And for those reasons, black persists in menswear. 

In a New York Times article published earlier this year, Jonathan Wolfe asked Valerie Steele, the director at The Museum at the FIT and author of The Black Dress, why New York City’s unofficial uniform is about wearing black from head to toe. “It’s only some New Yorkers who wear black, but it’s the kind of people popularly identified with this city – fashion people, artists, and hipsters,” Steele answered. “New Yorkers start to become associated with wearing black in the late 1970s and early ’80s. That’s when you get a sort of perfect storm of different style tribes wearing the color.”

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When Hubert de Givenchy passed away earlier this year, many noted that his relationship with Audrey Hepburn helped set up today’s fashion-Hollywood complex – a system where designers dress famous faces so they can raise their brand’s profile and move units. Except, the relationship is so thoroughly deformed today, few would recognize the connection. Givenchy and Hepburn had an honest relationship and found in each other kindred spirits. They worked together to craft mutually supportive identities. Givenchy was Hepburn’s courtier; Hepburn was his muse. Today, however, clothiers and celebs work on a pay-for-play basis. Celebrities will profess their undying love for a brand one season, they say they like something entirely different the next. 

One of the few exceptions is Daniel Day-Lewis, who by all accounts has a genuine interest in style. He’s a second-generation Anderson & Sheppard customer and once studied shoemaking under the late Stefano Bemer. In preparing for his role in Phantom Thread, where he played the fastidious courtier Reynolds Woodcock, Day-Lewis learned how to cut, drape, and sew – at one point even recreating a Balenciaga dress all by himself (I admit to being skeptical, but that’s what was reported). George Glasgow Senior, of renowned British shoemaking institution G.J. Cleverley, tells me that when the actor is in London, he often stops by the shop to talk about shoes. “He has a keen eye and a very strong interest in clothes,” he says. 

So it was great to see Day-Lewis wearing the fisherman sweater pictured above, knowing it came from his wardrobe and that he had chosen it sincerely. The photo is from a W Magazine cover story published earlier this year. In it, he sports a striped Breton shirt, some heavy jewelry, and a fantastically rugged, moss-stitched sweater fashioned after something he inherited from his father. And true to form, instead of the sweater being supplied by a big name fashion house – who would have gladly paid for such exposure – it was from a small, unknown knitting cooperative located in British coastal town. My friend Pete wrote about it at Put This On: “The sweater caused a stir in knitting circles, and the knitters got to the bottom of it. His sweater, apparently, comes from a maker called Flamborough Marine, an outfit that still makes the sweaters entirely by hand.”

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Even if they’re both into style, the online communities for men’s clothing and fine horology exist on different islands. Guys who are into suits and Japanese workwear are often not that up on watches. And guys who are into watches are not always interested in clothes. These communities speak different languages, and have different standards for what makes something good. 

If you’re on this side of the divide – the one that’s more interested in menswear than mechanical movements – finding the right watch can be a challenge. For one, prices are dizzying. While you can get partially canvassed suits nowadays for $500, and full-grain leather shoes for half that amount, the ticket price for an entry-level, quality watch usually starts in the low four-figures – collector’s pieces are five-figures. That can make experimentation prohibitively expensive. Secondly, if you’re concerned about how to find a watch that actually complements the rest of your wardrobe, you have to learn a new visual language. Which watches go with suits, which go with workwear, and which go with contemporary menswear? 

I recently chatted with Greg Lellouche, co-founder of No Man Walks Alone (a sponsor on this site, although this isn’t a sponsored post) about how to find the right watch for any given wardrobe. Greg has been an avid watch collector since the late 1990s, when he bought his first one, the Sinn 142 ST you see him wearing above. Since then, he’s collected everything from vintage Rolexes to Speedmasters to Reversos. When he worked on Wall Street, Greg’s coworkers used to turn to him for advice when they were looking to buy a new wristwatch with their annual bonus. 

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Much of men’s style takes after British tailoring, when dress norms were set during a different time period and climate. This is why, when we imagine a fall wardrobe, we think of the kind of heavy tweeds and wool overcoats that used to be seen in periodicals such as Apparel Arts. And yet, today, the cold season has been noticeably pushed back – late September still feels like summer and we’re months away from heavy outerwear weather. The biggest challenge for dressing this time of year is managing the wide temperature swings that can bring warm afternoons into chilly nights. Back when he was still writing about men’s style, Will Boehlke used to call this “shoulder season.”

It’s easy to dress well for early autumn if you rely on suits and sport coats. Instead of lightweight Frescos and linens, you want jackets in ribbed corduroys, mid-weight tweeds (nothing too heavy), and worsted wools. Worsted is just another way of saying the wool fibers were combed before they were spun into yarn, which makes the resulting fabric a little smoother and clearer finished (as opposed to woolens, which are left uncombed and are consequently spongier). 

There’s also a class of fabrics colloquially referred to as faux or citified tweeds. These are smooth, tightly woven worsteds made in rustic patterns reminiscent of traditional checks. They carry the distinctive colors and patterns of Scottish estates, as well as the tonal range best associated with the British countryside – bark, moss, and heather. They wear warmer than true summer fabrics, but don’t trap as much heat as real tweeds. Which is to say that they fit exactly in the middle. A couple of faux tweeds, along with a heavier navy sport coat in hopsack, serge, or this Sportex, and you’d have your early-fall tailored wardrobe covered. 

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If prep ever makes a comeback, it’ll be because of lookbooks like Drake’s. For this coming fall/ winter season, they shot their collection of brushed Shetlands and tweedy outerwear against the collegiate Gothic architecture of Oxford University. The combination makes the photos look as though they were lifted straight out of Take Ivy. One of Drake’s employees, an Oxford alum who helped put this project together, led the team through his favorite parts of the campus and his old, familiar watering holes. 

Drake’s Creative Director, Michael Hill, doesn’t want you to think this is about Ivy Style, however. “We’ve always been inspired by Ivy clothing, but this isn’t about recreating a look,” he says. “It’s just that we’re close to Oxford and it’s a beautiful setting. Ivy is a style that inspires us greatly – we look back at provenance and history a lot. But this is also very much about doing something right for today, in our own way, and presenting our clothes in a manner that we feel was fun and playful.”

Playful is a good way to describe some of the new items this season. There’s a pocket square decorated with a spinning collage of space-floating astronauts (if you buy a truck-ton of those squares, I imagine they could make for cool wallpaper inside a nursery). I also like the single-stick London Undercover umbrellas that feature an archival print on the underside of the canopy, as well as the brightly colored, Kelim scarves (I bought the blue one). For the bold and fearless, there are block striped Shetlands coming soon. Those look as though Drake’s mashed together all the Shetland yarns they’ve run separately in the past and turned them into a single sweater. David Hockney, a man known for his eccentric embrace of color, would be proud. 

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