As the world gets smaller, so do our possessions. What may have been that stack of books and papers you’d schlep twenty years ago is now just a few PDF files. The daily newspaper is now online. And your iPod, which used to be a technological wonder that fit your entire music library into the palm of your hand, has disappeared into your phone. My daily carry nowadays is usually not more than my laptop and its accompanying charger – and all that neatly fits into a portfolio, which I think of as a modern briefcase. 

Folios are surprisingly uncommon here in the US, but they’re tremendously useful. For one, they’re easier to manage than a traditional briefcase. If you’re running through the city, climbing in and out of cabs, it’s easier to reach into your belongings when you don’t have to fumble through a bunch of clasps or buckles. Plus, unlike a backpack, a folio doesn’t have any straps that could ruin a tailored jacket’s shoulder line. 

The downside, of course, is that they don’t carry very much (by design). But who carries more than a couple of electronics nowadays? Lunch gets eaten on the go and I’m not health-conscious enough to carry a water bottle. Plus, leather bags are heavy, which means I only break them out when I need to. Take it from the Japanese, who are often photographed with a folio under their arm. If you’re walking around the city all day, you’d be happy to not have to carry around five pounds of luggage. 

Keep reading

 

In 1936, the editors of Apparel Arts published “Permanent Modern,” a fourteen-page article introducing their vision for the ideal menswear store. The article spares little in details. Included are elaborate floor plans and descriptions of the materials that should be used for the architecture, fixtures, and display cases. According to the editors, things should look modern, but not “voguish modern,” as you want to catch the customer’s eye, yet also make the place feel inviting. They even specified the lighting and air conditioning systems (two whole pages were dedicated to that). Should the reader want to implement their vision, they included a directory for the contractors, suppliers, and equipment manufacturers who could help with the store’s construction.

The store they imagined was grand – something like a Saks Fifth Avenue, but solely dedicated to men. There were five retail floors, each dedicated to a certain class of items. On the first floor, you had accessories and footwear. Moving up, there were sport, prep, and university clothes; then high-end tailoring; and finally moderately priced attire and boy’s clothing. The basement floor was to be a club lounge with fruitwood furniture and a fully stocked bar. And at the top-most floor, there would be a penthouse restaurant with an open-air dining terrace. Apparel Arts’ editors imagined that the terrace could be converted into a skating rink in the wintertime, which could also double as a stage for showing clothes on live models. 

 

Keep reading

It’s hard for me to imagine going without a pair of sneakers this time of year. Summer is about having the windows down and volume up, biking somewhere on a hot afternoon, and hanging your feet off a picnic bench while BBQ-ing with friends. Camp moccasins and penny loafers can be great for these sorts of things, but I also like having a pair of casual sneakers you can wear with jeans and camp collar shirts. 

I’ve cycled through a bunch over the years, but find I keep returning to the same ones (although, the first pair below were recently acquired). If you’re looking to get a pair this summer, here are some of my favorites. Since they’re mostly designer shoes based off classic silhouettes, I’ve included links to the originals, which are much more affordable. As sneakers go, the build quality between the low and high end of the spectrum is smaller than it is in dress shoes – almost everything is in design. I like the uniqueness of these versions, but their designers found the originals to be inspiring for a reason. 

Visvim Bamboo Skagways

Keep reading

Well, this is a surprise. The summer tweed I ran last year made it onto The Sartorialist, the first men’s style blog I ever followed. Pictured above is Kenji of Bryceland’s wearing the fabric in a handsome double-breasted. Bryceland’s, by the way, recently expanded into Hong Kong, which has made it possible for them to fulfill online orders. That means they now have a functioning webshop for those located outside of East Asia. 

Many thanks to everyone who supported that cloth run, by the way. It was genuinely fun to organize. Below are photos I’ve found around the web of people wearing the cloth – Max from the Armoury, Pete in San Francisco, Sartoria Formosa’s bespoke tailor Dionisio, Mitchell at Menswear Musings, and Andy from San Jose. 

No Man Walks Alone, a sponsor on this site, still has a few ready-to-wear sport coats made from the fabric. You can knock 10% off the listed price with the checkout code DWW10. It’s a wonderful cloth, I think, if you love the texture of tweed, but want something that’s light and breathable enough for summer. More details of the cloth can be found in this old post. I’m also planning to organize more custom cloth runs in the future, although I can’t imagine another one being featured at The Sartorialist. 

Keep reading

By their nature, basics aren’t very exciting to talk about, but they also form the backbone of our wardrobe. I imagine that’s one of the biggest challenges for Luca Faloni, a relatively new Italian company specializing in fine dress shirts, knitwear, and leather goods. They started in 2013 on the idea of selling high-end Italian products directly to consumers, cutting out the middleman and offering more value (a common marketing angle these days, even if the idea of value is more complicated in reality). But there’s an important difference between them and other brands doing the same thing. Since their items are so basic and simple, on first blush they can seem indistinguishable from the thousands of other products online. Think of how the market for white t-shirts work – since t-shirts are mostly fungible, they compete on price. 

Luca Faloni, the company’s founder and namesake, recognizes this. “We rely on word of mouth and repeat business,” he says. “Selling classic men’s shirts and knitwear on the internet comes with a lot of challenges, namely the customer can’t feel the materials. But we hope to offer such tremendous products, customers come back after their first purchase.” For Luca, this distinction on materials is paramount. He prides himself on using top-end Italian yarns, such as Cariaggi cashmere. In fact, the entire production process is done in Italy, from the yarn spinning to the cutting-and-sewing (although the fibers themselves are sourced elsewhere). 

The collection here is simple and likely wouldn’t catch many eyes on Instagram. In today’s attention economy, wardrobe basics such as these can fly by our screens. At the same time, they also form the foundation of the “casual Italian” look that’s popular among men who are trying to find new ways of dressing down their tailored clothing, or wear slightly more refined versions of casualwear. Luca Faloni has slim-fit linen shirts, in both spread and band collars, then some brushed cotton equivalents for cooler days. These are single-needle sewn with mother-of-pearl buttons and crows foot stitching (typical for this price point). They also have some basic knitwear, including plain crewnecks and shallower v-necks, as well as linen shorts. The entire collection has that semi-resort vibe that’s common in Italian casualwear. 

Keep reading

 

To understand male fashion today, you have to go back to The Great Masculine Renunciation. Somewhere around the time of Beau Brummell and The French Revolution, European elites traded their sumptuous garb for utilitarian clothes that underscored their commitment to work over aesthetics. Ornate fashion was for women, not “serious men” focused on living out a life of the mind. The difference between these two eras couldn’t be starker. Just compare how extravagantly King Louis XIV dressed to the sobriety of President Macron.

This split in history, which divides men’s dress like the BC and AD periods of the Gregorian calendar, explains our attitudes towards male jewelry. Jewelry has a strange place in the world of men’s accessories. Scarves, gloves, and wristwatches are acceptable because of their utility; pocket squares and neckties are OK for no other reason than tradition. But once you get beyond a modest wedding band, the idea of a man wearing something ornate, expensive, and metal seems tacky. They offend a certain sensibility we find difficult to pinpoint or even justify, but nonetheless stand by. 

After the Second World War, jewelry has come in and out of fashion depending on how we feel about gender and class. In the 1970s, when it was socially acceptable for men to show a more feminine side, hippies and counter-culture types wore bracelets and necklaces; high-flying business elites wore flat links with pinstriped suits in the ‘80s; and surfers have been known to use Saint Christopher medallions as good luck charms. Throughout these periods, many men have worn jewelry well – even magnificently. Like others in the Harlem Renaissance, Langston Hughes occasionally wore a silver onyx ring to show a bit of personality. Marlon Brando, James Dean, and Paul Newman sported chunky, silver ID bracelets with jeans and t-shirts. And Yves Saint Laurent, one of the chicest to ever wear a suit, accessorized with a precious metal bracelet. 

Keep reading

 

Most books on men’s tailoring aren’t very good. Many recycle the same Wikipedia entries, or they do little more than serve as PR mouthpieces for a company. Sometimes they have a few good photos, but they’re the sorts of things you look at once and never remember. Rare is a book like Lance Richardson’s House of Nutter, which is one of the best books on Savile Row I’ve read in years.

House of Nutter is about the life and times of Tommy Nutter, a Savile Row salesman who created one of the most important tailoring houses in the post-war era. During the ‘60s, most of Savile Row specialized in staid and conservative suits, often following old traditions. Nutter, who originally worked the front of house at Donaldson, Williamson & Ward, wanted something more daring – something bolder. And he was able to turn that dream into a reality through Edward Sexton, the technical genius behind the curtain. Together, they made a look that defined the 1970s. Their house style was full-bodied and long, with a leafy silhouette, strong shoulders, and lapels so enormous, they nearly grazed the sleeveheads. Edges were sometimes taped; patch pockets cut on a bias. Mick Jagger, John Lennon, and Elton John – among many other celebs – wore their bombastic creations, and the tailoring continues to inspire designers today. 

Richardson’s book is great because it captures all of the romance of the clothes, as well as the bespoke process, without falling for the naive illusions common among laypeople (or, frankly, most fashion writers). It doesn’t get misty-eyed about bespoke tailoring, but also doesn’t feel cynical or technically sterile. Most of all, Richardson’s book is about the very thing that give clothes life – culture. This is a book about rock ‘n roll, the gay London scene during the 1970s, and even AIDS epidemic (which ultimately took Tommy Nutter’s life). An excerpt from the preface:

Keep reading

 

English fashion designer Hardy Amies had a simple rule for getting dressed: if it looks right, it is right. The only rule for combining colors is to create a visually pleasing outfit, but doing so requires more than transplanting concepts from art theory books. Fashion isn’t like other art forms, to the degree it can be called an art form itself, and you can’t combine colors for an outfit in the way an artist would for a painting. There’s a social and emotional language to clothing. A neatly folded, white linen pocket square says business in a way that other squares don’t. 

Most people know the basics when it comes to color combinations. Grey trousers and blue jeans go with almost anything; dress shirts are often best in solid white and light blue. It’s moving beyond the basics that becomes challenging. How do you wear lighter colored sport coats? Which colors besides grey and tan work for trousers? How do you wear brighter, more unusual colors without looking like an Easter egg?

I recently spoke to Greg Lellouche about these questions. Greg, for those unfamiliar, is the founder of No Man Walks Alone (a sponsor on this site, although this isn’t a sponsored post). I’ve always admired Greg’s eye when it comes to color combinations. Before launching his online store, he worked as an investment banker on Wall Street, where he had to wear a suit-and-tie every day. At the same time, he often wears more progressive labels such as Stephen Schneider and Junya Watanabe on weekends. That appreciation for both classic men’s dress and avant garde casualwear, I think, gives him a unique perspective. Greg wears things that are a little off the beaten path, but in ways that I think are easy for others to adopt. 

Keep reading