What it Means to Be “Made in Italy”


My Italian has gotten good enough that I can understand pretty much everything the locals say to me. The only words I consistently miss are the English words that they insert into conversation like french fries stuck in a spaghetti carbonara. WTF is “Nike” when it rhymes with “hike”? “Levi’s” when it rhymes with “heavies”? “Ee Red Hot Keelee Pepper?” But one English phrase comes up so often in conversation, at least within the rag trade, that I can pick it up on the first take: “Made In Italy.”

Cosa Vuol Dire “Made In Italy”?

To understand the meaning of “Made In Italy,” you have to go back to the genesis of the Italian nation, in the second half of the 19th century. Before that, Italy was a geographic concept, but not a political or cultural one. There was no real sense of an “Italian people” in the same way as there was already for the Germans, who formed a nation around the same time. Italy became one country not through collaboration, but through conquest by the Piedmont in the far north, which might as well have been Sweden as far as many Italians were concerned. If you think of Italy as a boot, the Piedmont would be the knee. A knee the rest of the peninsula would feel at their throats.

Citizens of the newly formed Italian state had little shared history, so newly-crowned propagandists created one, often relying on Roman iconography. Over the following decades, nationalistic myths hypertrophied into fascism – also largely a Northern phenomenon. Italy’s defeat in World War II broke this fever, but at a huge cost. The War was, for Italy, also a civil war, mostly pitting North against South, breaking open all the fissures that had been plastered over at the nation’s birth.

Two industries recreated Italian identity following the war – the film industry, and the fashion industry. Film helped the country understand its experience with the war and the poverty that followed. Fashion gave Italians a new nationalistic myth. Its appeals were more to the artistic achievements of the Italian Renaissance than the empire-building of the Roman era, and it helped that the industry’s first successes were in Tuscany, birthplace of Michelangelo. The Sala Bianca in the Pitti Palace hosted the first Italian fashion show in 1951, as well as Brioni’s men’s fashion show, famously the first of its kind, in 1952. Italian designers were able to capture something of the uniquely Italian approach to luxury and craft that had eluded the stuffy couturiers and tailors of Paris and Savile Row. As post-war realist film gave way to Fellini’s surrealist fantasies, Marcello Mastroianni became the guy everyone wanted to look, dress, and act like. And he wore Italian suits.

Allure, but Insecure

By 1980, the industry had grown tremendously, but had become something different. It had mostly moved to Milan, the industrial behemoth of the North. And it had begun to shift its focus from brands like Brioni to emerging giants like Armani and Ferre’. It was at this point that the “Made In Italy” campaign began, with the ambitious goal of branding an entire country. As one politico at Pitti’s “Opening Ceremony” said this year,” ‘Made In Italy’ is not just about selling fashion – it’s about selling Italian quality of life.” “Made In Italy” was intended to convey more than just the country of origin, but elegance, sophistication, craftsmanship – as if Leonardo DaVinci himself had blessed every stitch.

The campaign has been a massive success. Armani remains one of the most valuable brands in all of fashion. Gucci, Prada, and Zegna aren’t far behind. The manufacturing infrastructure that supports these brands is now also used by brands from Huntsman to Tom Ford to Ralph Lauren Purple Label, all of which are Made In Italy.

But the future is uncertain. At the Pitti’s Opening Ceremony, politician after politician announced their full support for the Italian fashion industry, for Pitti as a trade show, and their belief in the enduring allure of Italian luxury. Each one pledged a re-investment in “Made In Italy”. Which is what you do when you’re worried that a good idea’s time is running out.

The worries come mostly from China. A decade ago, there were no Chinese factories that could produce an approximation of Italian goods. Even if you stuck a “Made In Italy” label on a Chinese product, it wouldn’t fool anybody who cared enough to know the difference. Today, that’s no longer true. Chinese workers can produce high quality – they just can’t sell it at a high price without the “Made In Italy” label. As a result, there’s a lot of money to be made by someone who can figure out how to get that label on a Chinese product.

The Competition

A few miles outside of Florence is a town called Prato. The Pitti Opening Ceremony panel referenced it a few times as a major player within the Italian fashion industry, as in “Milan, Florence, and Prato.” I had never heard of Prato, and you probably haven’t either. But it is home to about 3,500 workshops that produce clothing, textiles, and accessories. The majority of people working in these workshops are Chinese.

Nor is it the only population of Chinese workers within Italy. There’s even a Chinese neighborhood on the outskirts of Naples that includes garment workshops. Of course, their work gets the “Made In Italy” label – how could it not?

But other products can get the label too, even if only some of the manufacture occurred inside Italian borders. It may not even take very much work on a product within Italy to make it “Made In Italy”. This is because the percentage of Italian work that goes into a product is calculated based on cost, rather than time (which would be difficult to measure anyway). Since wages in Italy are much higher than in China, you could have most of the work done in China for $4.90, pay an Italian $5.10 to put on the finishing touches, and the entire thing can get stamped “Made In Italy.”

It goes without saying that Italians have no monopoly on craftsmanship or design taste. There is no reason a well-trained Chinese person can’t do at least as good a job as an Italian. One way to view this development is that Italians traded for decades on a promise of inherent superiority, and Chinese workers have now proven that promise false. Not only have they become just as good as “Made In Italy,” they have become “Made In Italy.”

But it’s difficult for native-born Italians to be so generous. For one thing, competition from immigrants eats away at Italian wages and profits. Heirs of businesses that span multiple generations worry that they will have to choose between keeping their companies afloat and maintaining the quality and integrity of their product. For another, if customers hear about Chinese workers in Italian factories, the mystique of Leonardo’s blessing seems to lose its luster. Finally, and perhaps most importantly, it’s hard to maintain national pride in “Made In Italy” when many of the workers behind it are foreign. So opinions are strong. Companies that dilute “Made In Italy” by employing immigrants or moving production overseas are considered traitors who don’t respect their product or their heritage.

Protecting the Brand

The backlash prompted some political movement in 2010. The Italian government raided factories in Prato and found illegal immigrants working there. It also passed a law restricting further the products that can use the “Made In Italy” label, including creating a new “100% Made In Italy” label that can be used only by products completely made in Italy.

But this is a losing battle. Illegal immigration is difficult to prevent. Italy’s national laws on product labeling are constrained by EU rules, since there is a free trade agreement among all member countries. The new levels of “Made In Italy” only confuse the consumer and sound defensive. Consider this Pitti booth insistently declaring itself “Absolutely Made In Italy”:

Doesn’t exactly instill you with confidence. When they start using intensifying adverbs, you know it’s bad.
The most encouraging development for Italian manufacturing in the past few years is not new regulations, but rising prices elsewhere. Alberto Merola told me that his glove company, Merola, saw some of its private label clients take production to cheaper countries a few years ago, but now many are coming back. “If the workers are good,” he said, “they get paid, no matter where they are.”

Claudio and Stefano Merola

Even if “Made In Italy” is eventually doomed, it can look forward a long and stately decadence. Right now, Italy is still sexy. Pitti has been such a huge success that the Italian government is trying to replicate it with other trade shows – further support for the Milan show, and collaborative shows with the US in New York and with China in Shanghai.

Italy already exports 62% of the clothing it makes. In the end it may be this that finally dilutes the Italian national brand beyond recognition. Many of the Italian brands I spoke to at Pitti were there hoping to attract Asian buyers. At one stand, I was shown a wall of double-breasted plaid waistcoats, complete with watch chains. After some discussion, they brought out from hiding a very nice plain navy overcoat that they planned to show the Italian buyers the following week in Milan. I wonder how many of the chained waistcoats they have to sell before they stop producing the navy overcoats. How much “Italian quality of life” can you sell and still have some left?

-David Isle


This article was originally published on Styleforum.net on Feb. 4, 2015.

Styleforum Maker Space – Belisario Camicie

This January, at Pitti Uomo 93 in Florence, Italy, Styleforum will be hosting its inaugural Maker Space. The Styleforum Maker Space is an open space designed to exhibit the work of small brands and artisans interested in showing to both wholesale buyers and retail consumers. Click on the banner to visit the official page of the event and RSVP as a visitor.

belisario camicie su misura styleforum maker space

We are proud to introduce one of the makers that will attend the Maker Space: Belisario Camicie, a shirtmaker from Abruzzo, has been operating for over a century, specializing in handmade shirts. The concept of “su misura” is still the core value of the brand, which prides itself in working exclusively with the best Italian fabrics, many of which from the Albini group. Belisario can also service foreign customers through an online ordering system.

The options to personalize a shirt are almost endless: their online customization interface takes the customer through several steps, providing different options regarding darts, pleats, patterns, cuffs, collars, fusing, and ultimately, buttons. Additionally, Belisario has a patented horizontal buttonhole, located right below the infamous crotch button; this detail helps with the shirt staying tucked.

Each shirt is carefully made by hand, made to each customer’s measurements or to predefined patterns (if you are an easy fit). Your measurements can be uploaded using the interface on the website for a smooth and personalized shopping experience.

Belisario shirts are created by the expert hands of 22 experienced seamstresses of the Abruzzo area – which means you are getting a product 100% made in Italy, and supporting a family operated company that’s been around for three generations.

belisario camicie made to measure made in italy maker space styleforum

At the Maker Space, you’ll have the chance to touch and feel the fabrics for yourself, and get measured by Marco’s expert hands. Click here to visit Belisario’s website.


Visit the Styleforum Maker Space official thread on the forum.

Alternative Outfit Inspiration from Pitti Uomo

Alternative Outfit Inspiration from Pitti Uomo st

Do you know how difficult it is to find a purple blazer that doesn’t come with a picture of Prince on its accompanying costume box? It’s certainly not easy, and that’s one of the reasons I really love this photo for a bit of alternative summer inspiration. Combined with the grey band-collar popover, it’s a really nice, washed-out color combination that’s eye-catching in a good way – and a far cry from the garish neon colors that are no doubt on display on the wall just out of sight. It’s interesting – to me – how much of Pitti has inflitrated Styleforum and is now seen as normal, and I don’t think it’s a bad thing. In the USA, men’s tailoring gets more relaxed every year, and it’s nice to see an outfit that makes you excited about tailored wear, rather than bored. This is relaxed, it’s worn well, and even the lilac straw hat doesn’t look out of place – because come on, it’s Pitti.

I’ve said it before a million times, but there are countless well-dressed men at Pitti, and that includes those who dress well outside the confines of the very real Styleforum Groupthink. It’s a pity that the only ones who get the press continue to be the peacocks, especially as the shift in the last few seasons has been towards streetwear peacocks – a different subspecies, I suppose, but an equally boring one.

Perhaps what I like best about the photo, though, is that it shows one of style’s real truths: it’s more about how you wear the clothes than what you’re wearing, and less about centimeter-perfect fit from top to bottom. When you meet stylish people at Pitti, they come across as stylish not across the main plaza of the Fortezza, but in conversation. This man’s at home in his clothing, and you should be too.

Pitti Uomo Outfit Inspiration from Andreas Klow

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This week, I thought it would be fun to take some Pitti Uomo outfit inspiration from Andreas Klow, who has been our photographer in Florence for Pitti Uomo 92. In particular, I quite like this picture – not one he took, but one he’s in, so that we can see how the photographer himself dresses. Of course, he’s in good company: he’s standing next to Simon Crompton of Permanent Style and Greg Lellouche of SF affiliate No Man Walks Alone, both of whom are some of the better-dressed men at Pitti each season, but he’s holding his own very well.

I also like that this picture shows one of the big draws of Pitti: the cordial atmosphere outside the Fortezza, and how generally good-natured people are despite the heat. After all, Pitti is as much a chance to see old friends (and shake on some business deals) as it is a tradeshow – and a chance to enjoy a lot of free cocktails.

In this photo, I particularly like how Andreas has paired dark colors in a way that still manages to look summery and comfortable. A green jacket is a great and oft-overlooked option, and Andreas (well, all three of these handsome gents) does a great job showing how relaxed and comfortable and generally un-stuffy tailoring can look. It’s neither restrictive nor is it overwrought in Pitti Peacock fashion – all in all, a great summer look.

Oh, and it looks as though beards are still in fashion, so if you’re fortunate enough to be able to grow a nice one (sob), I suppose you can take comfort in your facial hair being on-trend (though why you’d want a beard for summer I don’t know).

Our garments this week are all relaxed, summery options – and all Italian, of course. When you’re considering your summer tailored outfits, consider some less traditional, more saturated colors, and enjoy the change of pace.

Streetstyle Photos from Pitti Uomo 92, Day 2

Day 2 is over, and once again Andreas has put together a selection of his best streetstyle photos from Pitti Uomo 92. See any familiar faces?

All photos: Andreas Klow

Pitti Uomo 92 Streetstyle Day 1

Pitti Uomo 92 Streetstyle Day 3

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Introducing: 1st PAT-RN

There is quite a bit of “workwear” shown at Pitti Uomo, and I use the scare quotes for a reason. I’m not usually one to complain about a lack of functionality in clothing, but it’s difficult not to think that most of what is presented as workwear is a joke: flimsy, trend-driven, and beyond that, boring and unflattering. Not so with 1ST PAT-RN, the project of  Cristiano Berto and Sylvia Piccin. This is a brand that combines elements of workwear, trad-wear, and ivy-style to offer what I’d describe as nostalgic explorer-wear.

1st pat-rn styleforum

Cristiano and Sylvia

Before you balk at that description, the clothing isn’t costumey in the vein of Haversack or even hardcore in the way of Nigel Cabourn. Nonetheless, it does evoke some of the same feelings of the gentleman (or gentlewoman, as there are women’s pieces as well) traveler, with a regular selection of blazers and chore jackets set atop tapered chinos and denim.

There are two aspects that set 1ST PAT-RN apart: meticulous fabric choice, and smart, largely modern (if vintage-inspired) cuts. The combination results in clothing that is both pleasant to wear and very wearable, with a narrow but fulfilling range of styles. The pieces that most grabbed my interest during our visit were a pair of lovely straight-legged 4-pocket trousers in an indigo twill, and the very handsome chore jackets – in particular, a model in deutschleder that was made specially for Manufactum Magazin (which I hope makes its way into the main collection).

Fans of layering will rejoice, as there are enough interesting mid-layers (vests, knits and the like) to provide a good backbone to the very strong basics; as will those of us who are always looking for an escape from slim jeans and trousers – you’ll find both straight legs and pleats here, which look very nice when presented with chunky footwear. 1ST PAT-RN has also worked with Timex to release a handful of special dials and straps, which makes a great deal of sense when you’ve seen the clothes. They’re similar in style – 1ST PAT-RN is deceptively complex, well thought-out, and utilitarian – but with an enduring attractiveness that’s both compelling and hard to ignore, no matter your personal style.


See photos from Pitti, as well as images from the S/S2017 lookbook, in the slideshow below

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@child_of_scorn

The 3 Wildest Brands at Pitti Uomo 91

In addition to some of the best classic menswear brands, the best accessories, and the all-around best brands, period, Pitti plays host to some crazy and crazily impressive work. Here are three of the wildest brands at Pitti Uomo 91, brought to you by the discerning eye of Arianna Reggio.


OLD RANDA

One of the makers that impressed me the most at Pitti was Old Randa. Andrea, the creative mind behind the brand, caught my eye with his eclectic style. With his thin figure, the arms covered in tattoos, and the slim, straight moustache, he made me think that, if Baudelaire had been alive in 2017, that’s exactly what he would look like.

Since I am an incredibly frivolous person and I tend to dedicate attention to people with charm, I immediately approached Andrea to find out if his creations were as compelling as his style.

This is how I got swallowed up in a spiral of art, history, and tradition that almost left me overwhelmed as if I were drunk.

Andrea is a patina master, which means that he specializes in the art of dyeing leather. Because of his strong personality and his personal background (he worked in theater before dedicating his time to the Old Randa project) his creations are rather unique. Think Bontoni shoes tripping on acid.

Bright colors, such as absinthe green, bright purple, and mustard yellow, are combined using no apparent logic, and they make the shoes look like the skin of exotic, venomous animals.

I pointed at a pair of brogues that looked as if they were coated in the red marble adorning the Medici chapel in Florence.

“Ah, those!” said Andrea with a smile. “I dye them using wine must.”

As it always happens when I hear the word “wine,” I pricked up my ears.

“I retrieved an ancient recipe for making wine in the Ancient Rome. I dip the shoes in the must using an amphorae until they’re almost completely black, and then I polish away the excess until beauty is revealed.”

Then he flipped the shoes to expose the sole, and I was, if possible, even more blown away. On the leather sole of the shoe was impressed the strange figure of an animal; Andrea explained that he has always been fascinated by the drawings of ancient European explorers, who, coming back from their adventures, would try to illustrate the exotic, unknown animals such as lions, peacocks, elephants, and crocodiles. Because these representations were solely based on the memory of the explorers, they were incredibly inaccurate, and looking at them today they seem the drawings of mythological creatures.

I collected Jasper, who didn’t get a single word of the conversation – which was in Italian – and I walked away asking myself if this encounter really happened or I was still getting over last night’s prosecco.  Or if this whole Pitti thing was a dream, and I had just woken up to find out I was at some batshit crazy contemporary art vernissage in Copenhagen.

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FRANCESCO MAGLIA

Francesco Maglia is a big, ruddy man that, if it wasn’t for his perfectly tailored clothes, could easily be mistaken for Santa Claus. I timidly peeked inside their booth attracted by the varicolored umbrellas sprouting from rudimental metal tins, and Francesco Maglia literally dragged me inside and introduced me to his little crew – which were all family members.

“Hello, my dear,” he solemnly said, “I am Francesco V, and this is Francesco VI, my son.”

“Oh.” That’s pretty much everything I managed to say, partly because I was trying to figure out if the guy was shitting me, and partly because my hand had started to go numb in his vise.

“So…what’s going on here? You guys make some pretty awesome umbrellas,” I said, deciding that adulation is always a safe option. Besides, their umbrellas really are quite amazing: they look sturdy and practical, but with a range of colors and shapes that denote careful research in aesthetics. I would say that they’re the type of umbrellas I wouldn’t mind using to beat up a mugger on the bus, only to clamorously open it in a dramatic gesture a minute later and walk away in style, chin to the sky.

“We, young lady,” said Francesco V in his deep, low voice, “We are some of the best umbrella makers in the world.”

I stared at him for a long moment, finding myself speechless again. He said that in such a calm, confident way that I believed him immediately. He proceeded without giving me the time to process the information.

“Everything we sell is exclusively made in our workshop. We are a five-generation umbrella makers and we still use the same methods and processes that Francesco I used when he opened the workshop. Each umbrella requires more than 70 steps to make.

“You like that?” he asked, noticing I was eyeing a beautiful umbrella in cobalt blue.

“It’s really nice,” I replied sincerely, “The wood seems quite solid!”

“It is. It’s a single piece of wood. A whole branch of walnut, actually.”

Francesco went on explaining how they only use the best wood branches to make their handles, and how laborious the process is.

“First, you have to select the branches. Then, you have to straighten them, and that requires a lot of time – up to 6 months – during which the maker steams the wood and softens it in order to bend it to the correct shape.”

I suddenly felt reverential respect for this man, who was clearly passionate about his profession and was taking the time to illustrate his art to me. It broke me a little when his face changed to a sadder expression as he told me that people don’t seem to care about quality anymore.

“People don’t understand that an umbrella like this is an heirloom piece that will last through more than one generation, because my umbrellas simply don’t break. My sister has had hers for over 30 years, and we just recently replaced the canopy: it looks like new again.

“The demand is so low that we had to come to terms with some of our offerings; for example, we are no longer able to offer silk as a choice.  Our fabric is now a blend of cotton, silk, and wool.”

His big smile came back as soon as I told him that I work for a menswear forum (it took a while before he understood what that was) where quality is not only appreciated, but also worshipped like a goddess, and I promised to introduce his brand to the community.

I walked away after one last, vigorous handshake that thankfully didn’t make my $3 Hello Kitty umbrella fall off my tote bag. That would have been embarrassing.

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ESSENZIALMENTE LAURA

Since both Jasper and I have the sense of direction of a blind mole in a maze, we found ourselves lost in the main pavilion more than once trying to find the shopping area, which was supposed to be a pretty big deal this year. During one of our aimless wanderings, we ended up in the area dedicated to maîtres parfumeurs, as in: the beauty section.

Honestly, I feel pretty at ease around beauty aisles, so I suggested going through them in hope to find the shops and maybe even a perfume to bring home as a souvenir.

“But…what does beauty have to do with Pitti Uomo?” objected Jasper.

Oh, God. Men. Always asking irrelevant questions.

“Aren’t you a big connoisseur of fragrances yourself?”

“Yes, but…is this a good use of our time?”

I stared at my colleague in dismay: he succeeded in the attempt of making me feel more guilty than my husband ever has.

“Fine. Let’s go this way, perhaps we will find the…”

“Ohh, look! Roses!” breathed Jasper, waltzing towards the stand of Essenzialmente Laura, which had rows upon rows of elegant perfume bottles protected by crystal cloches.

I followed him to the stand, where a woman was elegantly waving her hand, spraying perfume all around.

“This is Mystic Rose,” she said smiling at us. “It’s part of our collection dedicated to the Bible.

“Roses are a biblical symbol of wisdom and purity. The thorns represent the sins, and the Church itself is oftentimes represented with a rose. Do you like it?”

Jasper seemed pleased with the smell of Mystic Rose, so the woman showed us the rest of the Bible collection.

“This is Incense of the Churches of Rome,” she announced, spraying off the fragrance on a piece of paper and handing it to us.

“It smells…like a church,” I commented stupidly, but I did mean what I said. If you ever entered a big cathedral in Europe – whether it’s Notre Dame or St. Peter’s, you know what I’m referring to: that smell of melted wax, incense, and wood has probably been the same for centuries. It is actually not unpleasant: it instantly brought me back to my trip to Bruges, when I had one of the most intense sensorial experiences of my life. I was walking down the aisle of the enormous cathedral in the central square of the city, and someone started playing the harp in a little hidden chapel. If you have never heard the sound of a harp resonating through the marble walls of a church, let me tell you: it was the most poetical sound my ears have ever perceived, and even if I chased it desperately in hundreds of harp concerts after that day, I was never able to grasp that celestial melody again. It was one, ephemeral moment of pure beauty, and it’s lost forever.

That’s what I was thinking when I smelled Incense of the Churches of Rome: I felt grateful for the privilege of having shared the stage with Beauty one day many years ago, in a semi-desert church in Belgium inundated with the morning light.

Perhaps it’s not a perfume I would wear on a daily basis, but the melancholy those notes of incense instilled in me is more precious than the average “I’d have sex with myself” fragrance.

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So here we are! Hopefully you enjoyed reading about the more unconventional people and brands that populate Pitti Uomo. Watching the photos online and reading about it on fashion magazines and blogs doesn’t even begin to explain the variety of incredible personalities that you can encounter. If you take the time to talk to them, they’ll tell you stories – their stories – that will transcend the menswear field, and you’ll find yourself wondering if you really should be listening to these mad individuals rather than concentrating on the clothes and the products.

Oh, but you can’t help that,” whispers a voice in my head: “We’re all mad here.

The 2 Coolest Brands at Pitti Uomo 91

This year, we went to Pitti with an open mind. New brands awaited. New collections! We saw much, and much that we saw was good. And as hard as it is to see thousands of vendors, let alone pick favorites from among them, we’ve narrowed our top picks down to just two brands – one streetwear, one classic menswear. Part of that is because in addition to looking great, being made to a high standard, and offering a compelling viewpoint in a saturated market, both of these brands have that something special – and by something special, we mean style.


Streetwear: De Bonne Facture

Although still a young brand, De Bonne Facture is no longer a newcomer. We visited their showroom last year, which you can read about here, and they’re now stocked in multiple countries, as well as across the US. Despite the modest growth (and despite LeBron apparently appearing at least once in the knitwear), De Bonne Facture remains married to two things: the first is Déborah’s (the designer) almost manic insistence on quality. I have to say, it’s almost distressing to examine a garment at Pitti and not see a single errant stitch or thread – but it speaks to the exacting standards to which the clothes are manufactured.

The second defining characteristic of De Bonne Facture is harder to quantify, and it’s also a big part of the reason we’ve selected it. Personally, I’m convinced it has something to do with Déborah herself. Arianna did mention her briefly, but she does have a strange magic about her. Part of me thinks that De Bonne Facture is so good primarily because Déborah wills it, in a Jedi kind of way – althou perhaps it’s as simple (and as socially complex) as having excellent taste. She’s unapologetic, and firmly herself, and the garments reflect both those traits. She also wears her own clothing most of the time, and tells me she’s frustrated when people ask if and when she’ll make a women’s collection. In her words, she already does – De Bonne Facture is not so much unisex in the way of early 00’s names like Rad Hourani, but rather almost sexless. The clothes are so successful simply as objects that they don’t require a clothes-hanger-thin model to show them off.

What’s certain is that Déborah has an eye for matching materials with garments. Everything feels right – all the pieces have an appropriate heft; you’re not thinking “If only” about any of the details. When you try on the coats, the pockets are wear they should be. The shoulders sit well. Similarly, the trousers are cut to go with shoes or sneakers. The accessories aren’t an afterthought so much as a well-considered finishing touch. Even the jeans, which in the past Déborah has told me they only made because “Everyone has to make a jean,” are dyed in natural indigo and cut with a slight carrot shape that fits perfectly with the silhouette echoed across the collection.

Speaking of the collection, there are a few new pieces that are absolute standouts. One is a robe coat done in a highly textured wool-blend, and as much as I’d love to take credit for inspiring said garment during our last visit, I admit that I’m not that influential. Either way, it’s beautiful, with a nice heft that makes it drape very nicely. The other piece is a suede varsity-style jacket lined in cream shearling which really has to be seen to be appreciated. Otherwise, you can expect high-quality knits (inspired by traditional shapes but well updated), comfortable trousers, and really (truly) nice shirts and even henleys.

Ultimately, De Bonne Facture is special in part because of the restraint the garments show. As usual, the clothes retain their classic, muted colors. Navy and camel have been joined by a light clay color that lends itself particularly well to outerwear. Everything is nicely textured without being overwrought, and the details that are included (such as a special loop, taken from an old military coat, that keeps the belt on the new robe coat in place) don’t feel extraneous or intrusive. They are, like Déborah herself, uncompromising, and I can’t wait to see how the brand grows.

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Classic Menswear: Camoshita

Camoshita is, by this point, a household name on Styleforum. As is Yasuto Kamoshita, who – I swear – is, every single day, the best-dressed man at Pitti Uomo. The guy is a legend – there are plenty of men at Pitti Uomo who I would describe as “well-dressed,” but very few who are “elegant.” Yasuto Kamoshita is the latter.

So are his clothes. Camoshita, despite being something of a love letter to – simultaneously – Ivy style and the golden age of Hollywood, possesses an innate sense of playfulness that’s very modern. It’s tailored clothing that’s relaxed, not just in silhouette – Camoshita regularly plays with loose, comfortable shapes – but in style. For example, a knit wool hoody worn under a plaid field jacket and over a band-collar shirt looks perfectly at home next to a double-breasted suit.

I always look forward to seeing the Camoshita booth. And it’s not just because the clothes are nice, but that the experience of seeing them is so well thought out. Many brands at Pitti only have the space or inclination to present a rack of clothing for you to sift through. Camoshita, by contrast, is overrun with lovingly-styled displays of the clothing. I’m not even really a #menswear guy, and it’s menswear heaven. It was one of two brands – the other being Snow Peak – where Arianna was compelled to mention that we didn’t need a picture of every detail on every garment, and could we please go somewhere else now.

Unfortunately, the light inside the booth is still not the greatest for pictures, but we’ve tried to snap a few for you (by we, I mean Arianna), and perhaps you can at the very least get a sense of the silhouette – a loose, almost egg shape on top – primarily through the slightly oversized outerwear, and a slim but relaxed trouser on the bottom made up the bulk of the offerings. In particular, I appreciate that there’s no single decade that Camoshita presents, in the way that other brands have collections devoted to 90’s style, or 50’s-style suiting, or that sort of thing. Although you can look at the collection and see some reference points – is that Dick Tracy over there? – nothing is even remotely costumey, and everything has been elevated with pleasantly modern fits and finishes.

Again, it’s the ineffable that pushed Camoshita into our top pick. The way it all works seamlessly together, the way the fabrics and cuts are considered, even down to the way it’s styled – all in all, Camoshita is a collection in the truest (fashion) sense of the word. It stands alone, reliant only on itself and some good ol’ romance, and it sure as hell impresses.

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Despite being, in many respects, drastically different, both Camoshita and De Bonne Facture share the same sense of being much more than the sum of their parts. That said, they’re also similar in that each part is beautiful in and of itself. They ooze style – not just in the way they look, but the way they feel and what they stand for. For now, feel free to tell us which of the two brands you’d rather wear every day – and if you visited Pitti, what you thought the standouts were.

The Best Accessories at Pitti Uomo 91

The Best Accessories Brands at Pitti Uomo

1. Ana Lemata

Ana Lemata is less a milliner than a textile artist who happens to make hats – and “passionate” doesn’t begin to describe her approach to her craft. Her hats are by turns whimsical, elegant, and romantic, ranging from traditional designs to hats that are barely recognizable as hats until they’re worn.

Ana was trained by the former milliner to Queen Mother Elizabeth of England, though she also carries a Ph.D in art history. Both skill and knowledge are on display in all her wares, and one gets the feeling that her hats wouldn’t be out of place in the Guggenheim Bilbao. But don’t let the incredible artistry fool you – these hats, made of materials such as beaver felt, vicuna, and straw – are made to last as long as the wearer, with proper care. And, while there are a host of ready-made options available upon inquiry, Ana relishes the opportunity to make bespoke hats for discerning clients.

If you’re in the market for something hand-made, unique, and sure to bring you years of happiness, you should act soon – currently, Ana’s prices are almost criminally low considering the materials used and the amount of work that goes into each piece.

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2. PB 0110

One of the most interesting pieces we saw at Pitti was this undyed leather backpack by PB 0110. This is a German brand that manufactures primarily sleek, modern leather accessories; very much in the vein of Scandinavian design but with a slightly more streetwear bent to them. What that means is that instead of rigid perfection you get a product with a bit more personality than the stereotypically featureless accessories people still tend to associate with ubiquitous minimalism.

Like most of the companies that show at Pitti, PB 0110 is eager to tout the lasting quality of its products. Normally, I’m wary of these claims, but pictures of well-used leather bags suggest that perhaps there’s more than marketing spin to the statements.

Though the articles are available in a range of colors and styles, the undyed leathers are probably the stand-out. Perfect for lugging around your rolls of dead-stock denim and small-batch-roasted coffee beans.

3. The Bespoke Dudes Eyewear

If you spend any time involved in the #menswear community online, you’ve probably heard of The Bespoke Dudes – or at least of the founder, Fabio Attanasio, who’s a veritable Instagram celebrity. The eyewear is based on classic – mostly 50’s and 60’s – styles, but updated for a more modern look. Every pair, whether wire or acetate, is manufactured and hand-finished in Italy, and if nothing else it’s a great alternative to the Luxottica behemoth. Of course, you’ll have to make sure the shapes and widths work for your face, but the details, lenses, and finishes may just pull you away from that free pair of sunnies you keep in your car’s cupholder.

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4. La Portegna

We’ve been singing the praises of La Portegna since at least 2014, and nothing has changed our appreciation for these lightweight travel goods and accessories. While in years past the offerings were very voyage-focused, La Portegna has expanded somewhat to include a wider range of women’s goods, along with shoes and sneakers for both sexes. The latter being, as José told me, a natural extension of the brand, despite (his words) the ubiquity of minimal sneakers.

To me, the appeal of La Portegna is how good the products feel in the hand, and how comforting it is to bring them with you on a daily – or irregular – basis. The designs and leathers continue to be attractive to both the eye and the hand, and offer a relieving middle ground when one is faced on all sides by heavy leather weekenders and Nylon carryalls. And, to José’s credit, his (leather-soled) espadrilles are the only espadrilles I’ve ever considered wearing.

Oh, and if you’re looking for a backpack in La Portegna’s beautiful and long-wearing ‘Sol’ leather, the wait is over.

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(Disclosure: La Portegna provided Styleforum with sponsored goods for a different project in 2015)

5. Merola

Merola is an old standby of Italian glovemaking, and for good reason. Since 1885, they’ve managed not only to hang on to their manufacturing pedigree, but they’ve adapted their line to fit the needs (and hands) of everyone from Kate Winslet in Titanic to your average guy with a smartphone. Of particular note were the gloves lined with tie silk, which is a touch that I can see many Styleforum members finding attractive – and comfortable. The materials and linings remain sumptuous, the finishing top-notch, and the number of styles available mean it’s pretty likely that you’ll be able to find something to keep your hands both warm and stylish, whether you’re riding a vintage bicycle or just nonchalantly stuffing your gloves in the pocket of your overcoat.

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Three Great Classic Menswear Brands at Pitti 91

While there are hundreds and hundreds of brands that show at Pitti Uomo, many of them deserving of your time and attention, it takes something special to stand out from the crowd. Here are three great classic menswear brands at Pitti 91, all of which we thought had that little extra.


1. Peter Nappi

I’ve been following Peter Nappi, off and on, for several years now – though this is the first time I’ve had a chance to see their wares in person. My interest has largely been devoted to their line of handsome work boots, which are about as streetwear-friendly as you can get. But this season, Peter Nappi has introdced a new line of beautifully-patinated shoes that, at least in the warm browns that were shown at Pitti, are perfect for less-formal tailored clothing, or even dressed-up casual wear. I was most impressed by the wholecuts, which I thought had not only a shape that would be conducive to a range of outfits, but a honey-gold warmth that I can see pairing very nicely with, say, sage-green trousers, as well as worn denim. If you’d rather wear something a little slicker with your jeans and jacket, perhaps a pair of suede zip-up harness boots is what you’re after. Those, I have to say, were gorgeous.

Peter Nappi is based in Nashville, but the entire line is made in Italy, and most of the products are Blake-stitched. However, there is a line of completely handmade Goodyear-welted workboots, should you want to branch out.

-Jasper

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2. Fioroni Cashmere 

Fioroni cashmere caught our eye at Pitti Uomo for the delicate nuances of their incredibly soft cashmere sweaters, but our interest deepened when we learned about Fioroni’s innovative techniques and philosophy. The brand stands against animal cruelty and uses only the finest Mongolian cashmere that is spun in Italy, while the leather is sourced exclusively from the food industry. Every sweater is finished by hand using pure cashmere thread.

The most interesting products we spotted were the Duvet line and the bio cashmere. After weaving, the Duvet garments are washed for an hour in water coming from the Lake Trasimeno, which is rich in iron and gives the cashmere an extra soft, compact, and virtually pill-less texture.

The Bio Cashmere is dyed using exclusively natural pigments; we spotted oak-dyed cashmere in the most beautiful taupe hue, and olive-dyed knits in a delicate pastel green. The colors of the Bio Cashmere line are pleasantly muted and, just like indigo-dyed garments, they take on character as they age and get washed.

-Arianna

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3. Massimo La Porta 

Massimo La Porta is a Neapolitan shirtmaker who learned the art of shirt making from his uncle Pino Borriello, one of the first shirtmaker in Naples in the 1940s. His goal is to provide a product that follows the steps of the traditional Neapolitan tailoring as well as contemporary style.

Each shirt goes through twelve hand-stitching steps: collar,  button holes, shoulders, and hips are hand-finished, and the Australian mother-of-pearl buttons are sewn by hand using a lily-stitch. The armholes are not sewn along with the hip seams; instead, they are hand-finished using a technique named “curl.”

Although there are many well-known Neapolitan shirtmakers, La Porta’s wares caught our eye due primarily to the range of fabrics on display. Particularly appealing to Jasper was (unsurprisingly) a medium-blue chambray shirt with exposed selvage detailing, though there were plenty of interesting patterns perfect for casual use alongside the more classic stripes and solids.

Arianna

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