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Ralph Lauren will always have a special place in my heart. It’s the one company I really admired growing up – more in terms of how it was appropriated by streetwear culture, rather than the preppy Americana crowd it was originally intended for. I also think few companies have been as consistent and as great for so long. There isn’t much from their archive that I don’t think looks good today (just slim up some of the ‘90s stuff, Ralph!). 

About ten years ago, the now defunct Japanese menswear magazine Free & Easy published a special issue on Ralph Lauren (I put up a few pages from it here). Most of the clothes featured are long gone, of course. They were made sometime between the 1970s and ‘90s, although styles like them can still be found on Ralph Lauren’s site. For obsessives, vintage pieces come with a bit of provenance, but since some have become collectors’ items, prices can sky rocket into the thousands. Assuming you can even find them in the first place. 

For anyone trying to build a menswear company, Christian Kimber should be a case study. He’s a young, 28 year-old designer, born and bred in the south of England, but now living as a transplant in Australia. Over the last three years, he’s built a small, globally distributed label – carried at boutiques such as Gentry, as well as major department stores such as Bloomingdales – and recently opened his own brick-and-mortar store in Melbourne (at a time when everyone says B&Ms are dead). 

Christian is proof positive that you can do a lot if you’re driven to create. He doesn’t have any formal training – no fashion degree or design internship. As he puts it, everything has been sort of like “running a food truck in order to build up to a restaurant.” Three years ago, he was working odd jobs here in there in London’s fashion industry, doing sales work for My Wardrobe and Selfridges, then a bit of marketing for E. Tautz. It was from being in and around Savile Row that he picked up his love for tailoring. 

“At some point, I wanted a pair of olive suede tassel loafers,” he said. “I couldn’t find what I wanted, so I decided to make my own.” Christian designed the prototype, put together a run at a factory, and quickly sold through his inventory online. Most people with that success would charge forward, but Christian took a step back to think more about what he wanted to do with his newfound brand. “I took about a year-and-a-half off to really think about what sort of company would reflect me.” 

I like clothes in the summer that make you feel like you’re at home. Loosely-cut linen shirts that feel like pajamas, softly-tailored sport coats that disappear from your mind, and unlined loafers that wear like bedroom slippers. With the right clothes, every cafe and office can vaguely feel like you’re still bumming around your living room. 

I recently picked up a new pair of unlined pennies – Edward Green’s Harrow, which I’ve been pining over for years. On the surface, they’re just an unlined loafer with a pie-crust apron, much like you’d find on the company’s Dovers. The design, however, is actually by Wildsmith, a famed bespoke shoemaking firm that lasted for seven generations before shutting down. The company used to travel with some of London’s best tailoring companies, offering what they called their “three s’s”: shoes, shirts, and suits. 

The style was originally a bespoke country-house shoe made for King George VI, younger brother to the Duke of Windsor, Edward VIII. As the story goes, they were made slightly big so that he could wear them indoors with shooting hose. At some point, Wildsmith shut down the bespoke side of their operation and sold ready-made shoes produced by Edward Green (and, at times, Crockett & Jones). That’s how the Wildsmith loafer became the Edward Green Harrow. 

I found this photo on a friend’s Twitter feed last year. It’s from 1985 and shows the old Holliday & Brown shop in London. For those unfamiliar, Holliday & Brown was a legendary English tie-maker back in the day, although they also made shirts and dressing gowns. Here, one of their customers is being fitted for an ancient madder gown, with a sales associate showing what the sleeves will look like once they’re shortened.

I’ve been wanting an ancient madder gown ever since. Soft and chalky, I imagine wearing one would feel like you’re wrapped in a thin suede. Unfortunately, it seems they’re are no longer available today – at least in the kind of dusty, muted prints you see above. 

Some years ago, scientists found that two of the three dyes used to make madder caused cancer in rats. Which meant, when printers dyed their silks and dumped the solutions out to disposal plants, they risked getting carcinogens into water supplies. They never found a way to filter out those chemicals, so the dyes were banned and replaced with synthetics. Today, only the third dye (indigo) remains in its original form.  

Summer is a good time for lighter-colored shoes, but they’re not always the easiest to wear. Outside of plain white sneakers – which are admittedly pretty useful, even if ubiquitous – colors that are lighter than mid-brown often stick out too much from your trousers. Most men want to wear things that draw the eye upwards, putting the focus on their shirt, tie, and jacket combination. Lighter-colored shoes, on the other hand, often draw the eye down. 

There are a lots of exceptions. Tan shoes can look great with a pale gray suit, if only because they’re darker than the trousers (the other combination, tan shoes with a navy suit, almost always looks terrible for the opposite reason). I also think they work well with low-contrast ensembles, such as these in this post, or when the shoes are balanced out with a lighter-colored jacket. 

There are also some shoes that are just iconic, such as white buckskins. Having started with students at Princeton in the 1950s, white bucks quickly spread throughout the Ivy League school system, becoming “the shoe” for the style-conscious. Usual combinations included tan chinos or grey flannels, with the dirtiness of the buckskin being a source of pride (much like a well-worn button-down collar). They’re less commonly seen today, but their association with traditional American style endures. 

End made another round of markdowns and added some new things to their sale section last night. There are some surprisingly good deals, especially when you consider that some of their prices are already lower than what you’d pay in the US (mostly thanks to them discounting for VAT). 

Among some of the more surprising finds, there are Inis Meain and SNS Herning sweaters starting at $115.  Inis Meain’s linen crewnecks, for example, are just $119 (well below the $400+ you’d pay in the US). I wear mine with leather jackets on weekends. There’s also a good selection of Barbour jackets starting at $105, raw denim jeans for $89, and Buttero sneakers for just $115. 

Some other things I like:

Nothing softens the look of a leather jacket like suede. A plush, napped leather can be a good way to tone down the utilitarian origins of a bomber jacket or cafe racer – making them friendlier versions of their rugged counterparts. Want to wear a leather A-2 without looking like you’ve just stepped off the set of Top Gun? Or a double rider without people mistaking you for a Hells Angel? Get them in suede. 

The material can be particularly nice in the warmer months since it absorbs light. That gives the jacket a softer, more sophisticated appearance on a bright day than some of your smoother, shinier leathers. Plus, much like suede shoes, you can use them to add texture. A suede jacket lends visual interest to a plainer t-shirt or henley, but it also won’t clash with a patterned shirt. In the colder seasons, you can team one with a speckled Donegal sweater or cabled Aran for a texture-on-texture look. 

I recently picked up this suede five-zip from Maison Margiela (on sale at the moment at SSENSE). The design has been with the company for over ten years now, making it one of the more enduring non-traditional styles. It has long, diagonal zips across the chest – giving it an edge – although it’s still easy enough to wear with slim jeans or wool trousers. Pictured above: my Margiela jacket with a Barena henley, pair of 3sixteen jeans, and some Saint Laurent sneakers (the quality of the sneakers is admittedly terrible, especially for the price. Readers would be better off with Common Projects Achilles mid-tops in white). 

The term bespoke has a lot of marketing cachet nowadays. It’s used to describe anything and everything. There are bespoke salads, crackers, bacon, bicycles, cardboard boxes, and financial services. There’s even a ready-to-wear clothing line called Bespoken. 

Most of this is just harmless marketing hype – a way for brands to defend themselves against commodification – but some of it is disconcerting if you care about actual bespoke tailoring. Lots of made-to-measure and made-to-order services these days describe themselves as bespoke, even when they’re not, which makes it difficult for the casual consumer to know exactly what he’s getting. 

A couple of weeks ago, Simon Crompton wrote a basic primer on the differences between ready-to-wear, made-to-measure, and bespoke (it’s the start of a longer guide on how to buy tailored clothing). The info here will be nothing new for anyone who’s been interested in custom clothes for a while, but it’s the kind of thing that helps sets parameters for those just getting acquainted.  

I’m fairly straightforward when it comes to tailored clothing. For shirts, I mostly wear light blues in stripes and solids – the latter in slightly more textured weaves than poplin (which I find too boring). End-on-end, oxford, and a heavier twill works well. A bold butcher stripe is a nice way to add visual interest to a tie-less, sport coat ensemble, while a solid blue shirt will serve as a nice background for any tie and jacket combination. As usual, I find if you limit the number of patterns you wear to two, you don’t have to think as much about pattern coordination. 

In contrast, my casualwear is all over the place, but lately I’ve been wearing shirts that are slightly more off-beat than your standard button-ups (or even the ever-reliable white tee). Outerwear tends to be simpler this time of year – assuming you can wear a jacket at all – so sometimes wearing an interesting shirt is about as much as you can do on a warm day. Four options I’ve been relying on: 

With all the interest in heritage brands and sneakers these days, I’m surprised there aren’t more articles about Norman Walsh. They’re the last British-owned sneaker company still producing in the UK. I recently picked up a pair of their blue and white Ensign running shoes. Originally designed for the Bolton Harriers to compete in the 1981 New York Marathon, they have that retro runner feel I’ve been enjoying so much (aka NarcDad shoes, for those who remember). 

Like the Harrier club, Norman Walsh is located in Bolton, which used to be a large textile production center before Britain lost most of its cotton industry. It’s also the birthplace of running shoes. Back in the 1890s, the town’s J.W. Foster & Sons (which would later become Reebok) developed the style by stripping away cricket shoes to make them more agile, and then adding spikes for traction. Norman Walsh himself served as an apprentice here before starting his own label in 1961. 

Fifty-five years later, his company remains. Their shoes are much beloved by British trail and fell runners – the latter being a term for people who race up hills (which, to be honest, sounds like a sport invented by a couple of fun-loving, drunk Brits). Along with athletic shoes, they also have a range of casual styles for people who like to wear their runners off the trails.