Search Results for: italian tailoring

For the past five years, if not longer, luxury goods magazines have been publishing the same story about China every week. The market there is booming, thanks to China’s economic growth, but consumers are said to be “unsophisticated.” Most buy luxury goods as status symbols, rather than for the quality they offer. As a person who’s half-Chinese, it’s hard to not get defensive over these characterizations, but it’s also hard to pretend they aren’t true.

There are some exceptions, however. George Wang – better known to some as maomao on StyleForum and Beijing1980 on Tumblr – recently opened a menswear boutique in Beijing. Named BRIO, which is Italian for spirit or verve, it offers the kind of classic, softly tailored Italian style that George has always championed. George was in San Francisco last week, so we met at La Farina for lunch and chatted about his new store.

BRIO is an impressive two stories. The first floor, which is street level, holds all of the shop’s menswear offerings. The second floor is downstairs, where you can find a lounge as well as a barbershop (BRIO has an in-house barber who can give a shave and a cut). The idea is make a space where men can hang out, relax, and have a drink; not just buy clothes. Photos show that the lounge is still a work-in-progress, but the space so far looks exceptionally nice.

So does the list of brands. There are some British makers, such as Begg, Edward Green, and Sanders (BRIO will be carrying Sanders’ Playboy chukkas, which were made famous by Steve McQueen). The rest, however, is largely Italian. The store will have Sartoria Dalcuore for suits, Stefano Bemer for shoes, Rota for trousers, and G. Inglese for shirts. Other brands include:

My friend Gianluca, who directed the films O'Mast and I Colori di Antonio, just released a new project in collaboration with Italy’s oldest mill, Vitale Barberis Caonico. Titled Tailor’s Tips, it features VBC’s master tailor, Giovanni Barberis Organista, talking about how he makes a classic Ulster – a heavy piece of English outerwear defined by its half-belted back, patch pockets, and unique collar style. Hard to find off-the-rack nowadays, as fewer and fewer men wear “dress coats” (or dress anything, for that matter). The closest we really get to them in the United States are polo coats, although they don’t really have the same rustic feel. 

In any case, I’m told that this is a twelve-part series, and that a new episode will be released once a month. Just note that you may have to turn on closed captions in the control panel, which will pop up when you hover your mouse over the video (Mr. Organista speaks in Italian). As always, it’s a pleasure to see Gianluca’s work, as he’s one of the few directors doing work on the craft of custom tailoring. 

I may be speaking too soon – as this jacket is still in transit to me – but this Russell plaid sport coat by Steed may be the best tailored jacket I will ever own. It was inspired by a photo of George Frazier, a writer who started his career as a jazz critic before moving on to more general topics. In 1960, Esquire published his essay titled “The Art of Wearing Clothes,” which in my opinion, is one of the best pieces of writing on men’s style that has ever been penned. A must read, if you haven’t already.

Russell plaid is a distinctive check. It’s something like a tan glen plaid, but with the horizontal stripes stripped away, so only the vertical ones remain. For the lateral sections, there are dark, thin lines, typically in plum, brown, or rust orange, which help balance the rest of the pattern. You can find it in the form of a made-to-order hacking jacket at Leonard Logsdail, or in Harrisons and Hardy Minnis’ books if you’re going bespoke. Mine is from Harrisons (Porter & Harding’s Hartwist No. 32137), which is a darker color than the beigey version you’ll find from Hardy.

This jacket reflects Steed’s house style well, although I did have some things adjusted. The quarters are cut slightly more open, to give the jacket a dynamic look, but aren’t so open that I feel they define its style. I also asked for flapped welted pockets, rather than my usual patch, as I felt they’d give the tweed a certain kind of refinement. Additionally, I had the details done up in a more American or Italian sensibility, rather than British. The front is made with a 3/2 roll and a cheeky three buttons on each sleeve, rather than Steed’s default of four.

Except for Gianluca Migliarotti’s tributes to Italian tailoring, my favorite menswear films have all been BBC documentaries.  Unfortunately, they’re difficult to view unless you’re in the UK, but you can find clips here and there on Vimeo and YouTube. Someone in the Netherlands also once uploaded the full-video files on a server many years ago, and remarkably enough, they’re still there. He has Savile Row (parts 1, 2, and 3), British Style Genius (parts 1, 2, 3, 4, and 5), Tweed (parts 1, 2, and 3), Charles at 60, and Ozwald Boateng: Why Style Matters. The first three are especially good, with British Style Genius and Tweed being very difficult to find in full-length form anywhere else. 

The latest BBC project is The Fabric of Britain, a three-part series on British knitwear, wallpaper, and embroidery. I’ve embedded part one, The Golden Age of Knitting, above. Partly because it’s the beginning of fall, so knitwear is naturally on my mind, and partly because next to tailored clothing and shoes, I’m fanatical about sweaters. What’s not to like? You put them on, look great, and feel like someone is giving you a warm hug all day.