Looking around Pitti, I wanted to photograph the people that were more visually interesting to me. Sometimes, those were characters who bordered on the absurd. But in general, my goal was to photograph those who I felt would be more interesting to users of Styleforum, people who tended to have a more conservative or classic aesthetic.Continue reading
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Here’s a selection of some of the best and most interesting outfits from Pitti Uomo 95. The
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Part of being a classic menswear guy for me is the ability to have products that last a long time. We oftentimes rationalize higher priced purchases because of the quality that goes into them. Suits with full canvassing, tailors cutting a pattern with extra seam allowance so the suit can still be modified fit when we gain or lose weight, or shoes welted instead of glued so that they can be resoled, thereby having a longer lifespan. While for many this is a justification, it also serves as a deciding economic factor or a philosophical factor when purchasing a product.
In the case of Standard Fair, they have designed a product around quality and lifespan. Whereas most other sneakers are not designed to be resoled, Standard Fair bucked that concept and designed a piece of footwear from the sole up, building it to be resolable. The shoes are made in the United States in Maine, sourced with quality leathers from Italian leather mills that work with historic, labor intensive methods to produce vegetable-tanned full grain leather. They have selected leathers from two members of the Italian True Vegetable Tanned Leather Consortium, Conceria Walpier (for white vegetable tanned leather), and Conceria Tempesti (for the other colors). Created on top of camp soles (more on that in a bit), the shoes are stitched using blake methods to allow the sole to be replaced. And while it is difficult to find individuals to resole blake shoes in the USA (not as difficult in countries like Italy), Standard Fair offers a resoling and refinishing service, to help keep your shoes nice and functional. Overall, the company is aiming to provide you with a product that will last a long time with proper care.
When asked to provide a review as a Styleforum user–more so lurker–I decided to let Standard Fair send me whichever color pathway of the Sport Camp they wanted. It didn’t matter so much to me because I own a pair similar to them from another small footwear manufacturer Collegium, also from a similar leather mill, and I own Buttero in both black and white color pathways. In the end, Mike, the well informed, friendly proprietor and creator of Standard Fair, opted to send me black. While they wouldn’t have been my first choice, I had decided that I would go into this review focusing on the quality and design, not on trying to make sure I am overly biased based on choosing a preferred color pathway (which would have been the white for me, seeing as how veg-tanned white leather sounds utterly strange and exciting to me). I’d like to think that this helped make me a touch more objective when considering the shoe.
So you understand, I’m not unfamiliar with “stitched construction” sneakers, especially margom soles. I have bought several pairs of margom cup stitched sneakers thinking that I could get them to be resoled. In the end, I am incredibly disappointed with the longetivity of the margom cup soles, seeing as how I feel the soles wear through rather quickly. After a little under two years of semi-regular wear (with rotation), a pair of shoes from Buttero has horrible soft spots on the rubber. I had reached out to Buttero to inquire as to if they were resoleable, seeing as how they are stitched, and the Italian company confirmed with me and their factory that they cannot be resoled because they are glued, that the stitching is superficial.
As I wrote earlier, part of what separates Standard Fair from other makers, besides the construction, is the transparency in sourcing and material design. Mike is willing to let you know exactly where materials are being sourced, and they have a space on their website showing you from where each component, down to the most minute like the insole or laces, are being manufactured or originated. Their openness is refreshing, seeing as how few other brands are willing to discuss their manufacturers or sourcing. In addition, the choice of manufacturing the products in places such as the USA speaks to their commitment to quality manufacturing. Mike acknowledges that just because a product says its made in a certain country (England, USA, Italy) does not mean that the product is going to be of good quality. However, his careful sourcing of suppliers and manufacturers has put Standard Fair at the top of the game in terms of quality. I feel that the quality of the materials that went into this shoe are better than those that went into Buttero. To me, having felt the two sneakers side by side, Buttero feels more like a fashion brand, while Mike’s Standard Fair feels truly like a quality focused brand.
Aesthetically, Standard Fair opted for a few little stylistic choices to set them off from more minimalistic competitors. The shoes have heel and tongue patches of the same leather, flesh out. In theory, this leather should continue to develop a patina through wear as well. The soles are tone on tone, matched against the leather upper color. There is also a loop on the tongue, to run the laces through and keep the tongue up. Overall they are fairly streamlined, and I can picture the white pair being a staple in my wardrobe. The black works well especially in winter since it doesn’t attract too much attention, especially as the leather has gained a matte patina through the few weeks of pretty intense wear, giving the shoes a more lived-in look.
The camp soles are something that you don’t really see on sneakers. For those of you that are not aware, they are found on a lot of preppier, New England styled, casual footwear, including moccasins from makers Quoddy, Rancourt, and Yuketen. The concept behind the camp sole was to have a lightweight, sturdy yet comfortable rubber sole that would allow comfort based footwear, like a moccasin, to be worn when lounging around outside–during a weekend getaway for instance at your local New England summer lake. Prior to Standard Fair, it would be only common to see a camp sole on a moccasin, oftentimes handsewn. Because the soles have a nice grain to them, they provide good traction, and the wedge cutout found on many of them keep the sole nice and light. It makes a lot of sense to pair this sole with sneakers for that reason and thinking about it, I can imagine we will some other manufacturers emulating this in the future.
Because they are Blake stitched, the sole breaks in a bit more rapidly, seeing as how it features a thick, rubber sole sourced from Sao Paulo. The sole material feels comfortable. I don’t feel any stress standing on my feet since the support on the arch especially is incredibly nice for a sneaker.
While they are true to size, for individuals with a higher instep or a wider foot, I would suggest a half size up. Having gone TTS based on the suggestion of Mike, I found that my feet, especially when laced tightly, by the end of the day wanted a little bit more breathing room. The leather, while it has broken in, is still a stiffer leather (its a feature of the specific leather mill), and so it probably would have been beneficial to have extra space at the beginning, especially seeing as how with thicker socks, my feet feel rather tight in the shoe. Going forward into warmer seasons, the shoes will work nicely with thinner socks.
Would I buy these shoes? Yes. Because of the resolability, the quality materials and the ability to gain a patina, through wear, especially on the Chestnut and Honey colorways, you have a pair of shoes that can last you a very, very long time with upkeep and wear. If you are someone who truly respects quality and craftsmanship, these are for you. They also have a design that many may find that they like, even if it is a touch less minimalist because of the flesh out patches on the heel and tongue. Don’t let those patches deter you from considering the shoes since they are less distracting when on the foot than it appears in photos. Personally, my pick would be the white or Honey color pathways. You really aren’t going to find other sneakers that will last you a lifetime with proper care with good support that will gain a nice patina over time.
Join the discussion on the forum on the Standard Fair Official Affiliate Thread.
This is not a sponsored article; to read Styleforum’s review policy, please click here.
There are a lot of shoe brands out there. Many of the foreign favorites are heritage brands with a strong history in manufacturing; some brands are start-ups, created by shoe lovers, with an emphasize on leaving their mark on the shoe world. Jonathan Abel is a young brand from Singapore, developed and designed by shoe fans, striving to produce something functional and of good quality that would appeal to both a mass market audience as well as shoe fans. The shoes are made in Portugal, a region less known than Spain or England or the US for Goodyear welted designs, but with a few manufacturers that specialize in them, including Carlos Santos. Jonathan Abel’s designs–especially among the Goodyear welted models–are not loud, evoking a classic aesthetic while flourishing a hint of contemporary style in the silhouette.
When I was asked by one of the employees at Styleforum if I would be willing to write a review of my impressions of a pair of shoes from Jonathan Abel, I said sure. Before saying yes, I made sure there were some shoes that I would like, and a few of their styles appealed to me. Because the brand writes that they make Goodyear welted shoes (though you can find Blake welted shoes), I opted to select a Goodyear welted pair, going for their Noah longwing derby model in tan. Normally I like neither longwings nor derbies, but the aesthetic with the last seemed to be more flattering and elegant, somewhat less clunky than normal on account of a good balance between each dimension on the last. I thought I might as well take more of a risk with something that I normally avoid. And I’m pleasantly surprised, having found that the design and aesthetic of the shoe is so well balanced, it’s quickly become a shoe I can imagine using for a variety of occasions. In addition, they have received quite a few positive comments on the street, something which just doesn’t happen with most of my more conservative shoes (like Crockett and Jones).
On their site and in their affiliate thread, Jonathan Abel writes that their shoes are made with leathers from higher-end tanneries including du Puy and Annonay. For this pair, they used leather from Weinheimer Tannery, which, albeit not as famous as du Puy and Annonay (employed for other models), produces some exquisite leather used by other top-end manufacturers. Historically, one of the best German tanneries was Freudenberg Tannery, which moved from Germany to Poland on account of environmental legislation and changes; Weinheimer Leder split off from Freudenberg group and produces leather for footwear following the rigorous methods and techniques originally used by the Freudenberg tannery. Such leather is used by other, more established menswear favorites including Crockett and Jones, Gaziano and Girling, J. Fitzpatrick.
The biggest complaint that I have for the company regarding their site and product descriptions is that they do not list the correct corresponding leather on the site for each model, and I only found out which leather was used by reaching out to them. Many consumers may only be familiar with more well-known tanneries like du Puy or Annonay, let alone be familiar with any tanneries at all, but for sake of transparency and accuracy, I wish they updated the site with better listings.
The leather for my shoe is on the softer side for break-in. One of the creators of Jonathan Abel remarked they selected a softer leather from Weinheimer that is much softer than those from du Puy in order to decrease the break-in period for their clients. This is quite true in my experience; the shoe was rather comfortable from the first few wears. If you are looking for a goodyear-welted shoe that has a quick break in period, go for these. I sometimes feel like I’m wearing something Blake welted, rather than Goodyear welted on account of how comfortable the sole and shoe is. However, in contrast to Blake welted shoes, the soles appear to have much more resiliency for water and heavy use based on running around in them through wet grass, puddles, and other moist terrain.
The leather is nothing to discount either. Over time, the shoes will look amazing with proper care. I think that with a mirror shine and some antiquing on the toe they would look exquisite. As they continue to be used and taken care of, I’ll aim to polish them in that style.
Concerning construction: the stitching is clean, the broguing is clean, and the leather laces don’t feel like they are going to fall apart. To be honest, I’ve gotten shoes from Peal and Co. (Crockett and Jones make) with more asymmetries and little finishing problems then the pair from Jonathan Abel. I do wish the shoes featured closed channel soles. But based on my experience wearing these ones through grass (wet and dry), dirt, rocks, sidewalk, concrete, through puddles, among other venues, the soles have held up exceedingly well, with minimal wear. I also chose not to rotate them with other shoes as I normally would, using only a shoe tree at night, and am still amazed by how little wear the soles show. They didn’t skimp on the leather soles quality.
Packaging wise, the shoes had an interesting box that folds upon itself, with two ribbons that loop through to create handles. I’m sure they could also be tied to make a bow, but during shipping, the courier opened the box to take a look at the shoes.
For fit, I would suggest staying to your normal size. I’m a US 8 or 8.5, depending on the last. However, I oftentimes have problems with certain lasts on account of my foot volume and width. With European lasts, I usually have less of a problem because oftentimes there is more space for the arch of the foot. Looking at their lasts, I decided that the best for my foot would likely be a rounder last, so I opted for something with their R385 (soft round last). Because of my fitting difficulties, when reaching out to them to coordinate the shoe pair for review, they suggested I take size 42 based on my measured foot width, but that actually ended up being a disaster, and I had to send the shoes back because they were oversized with too much volume on the instep. In this case, I overemphasized my difficulties in fitting a pair of shoes, and so they had erred on the side of caution based on foot measurements. Based on my experiences, I would once again suggest sticking with your normal size, because the lasts are fairly traditional. I do wish they made half sizes since I might even consider sizing down half a size on account of the extra room found in a derby.
Overall, in terms of quality, these are quite the pair of shoes. In terms of price to quality ratio, these are a great option for those of your looking for simple, clean shoes that are made with quality leathers and construction. I would recommend them and choose them over Allen Edmonds in most cases since I prefer the slightly more elegant and European styled lasts. The welting is on par with Carmina or Cobbler Union (even though it lacks the closed channel soles you would find on each of them). I quite like the pair I received and would consider ordering from them in the future, especially if another model pops up that I like. I think that should you find a pair that you like and appreciate quality shoes at a good price, or you are looking to start your dress shoe collection, Jonathan Abel is an excellent option to consider.
Please note, once again, that these shoes were given to me to provide a fair, honest review. They provided no input on what sort of content they wanted in the review, so everything I am saying is of my own choice.
Join the discussion on the forum on the Jonathan Abel Official Affiliate Thread.
This is not a sponsored article; to read Styleforum’s review policy, please click here.
There are coffee table books, and then there are good coffee table books. We Are Dandy (2017), written by Nathaniel Adams with photography by Rose Callahan, is an excellent one. The book features an interesting lifestyle focused approach exploring the wardrobes and lives of Dandies from around the world, following on the success of their first book, I Am Dandy (2013).
I had the pleasure of meeting Rose Callahan at the Dapper Day Expo in Anaheim, CA, this spring, and found the book absolutely enticing. Both Rose and her husband, Kelly Bray, were engaging and were fun to talk to about the book, as well as some of the characters within it. We ended up talking a bit about some of the Japanese Dandies, with their unique syncretic aesthetic that blend classic Americana with traditional Japanese clothing, some of which was reminiscent of Meiji period style. And–of course–Western style bars in Japan.
Looking through both of the books, it was clear to me that Rose had created a marvelous work that captures the ethos of the subjects, conveying what it means to be a dandy in the modern day, and showcasing the personalities and lifestyles of many of the subjects. As such, we agreed to arrange for an interview to discuss the book further, since it seemed it would be of interest for many Styleforum classic menswear aficionados, dandy or not.
The Dandy books came out of a series of works that Rose created, starting in 2008. This began as a personal project, the portraits being subjects that came to her through kismet-more or less. Having shot only a few portraits with Dandies in the first couple of years, the project was slow at first, and finally took off in 2010, when she collaborated with the Fine and Dandy Shop, working with a fair number of their customers. The Dandy Portrait blog was a result of a suggestion from Matt and Enrique of Fine and Dandy Shop.
From the blog, Rose came into contact with Nathaniel Adams, a writer who had been researching Dandies as a contemporary movement in addition to historical research. Gestalten commissioned a book from the works, and following the success of I Am Dandy, which focused on Dandies in New York, Toronto, they commissioned a second book, in which they could explore Dandies worldwide.
Rose remarks: “We had a little more money, with less time to create it,” so they sought through connections contact with various subjects, who would put them in contact with other potential subjects, and in turn arranged meet-ups with various subjects. While their goal was to create a book that captured the Dandy’s personality and lifestyle by capturing photos in environments dear to them, in some cases because of the limited time, they had to arrange to have subjects meet them in spaces that they would already be at (Henrik Hjerl, “The Butler”, is one such example, meeting up with them during Pitti Uomo).
On a whirlwind tour through Europe–Italy, Germany, Belgium, England, France–with stints down to South Africa and Japan, and the occasional Dandy in North America (New York, Los Angeles, Toronto), Rose captured many subjects, not all of which managed to make it into the book’s 50+ Dandies on account of constraints.
In contrast to the first book, Rose remarks: “In the transition from the first book to the second book, we asked ourselves [Natty and I]–okay, what are we going for [stylewise], and we decided to not really focus on businesses or people involved in the fashion industry, but more to go after people who had really strong personalities, stories, and style.” As such, legendary menswear individuals like Edward Sexton, Lino Ieluzzi, Yasuto Kamoshita appear in We Are Dandy, alongside others that are relatively unknown but fascinating none-the-less. But in the case of each of these subjects, they each had interesting styles and were more rounded as individuals. “Because we made decisions to visit people at their homes as much as possible, there are a lot more homes and environments involved in the second book. The characters that were interesting were not those necessarily involved in just selling stuff, or for lack of a better of a better word, #menswear.” Their goal in creating the book was to include those people who embodied the spirit of their style, or were “the people who do things whether someone is looking or not.”
Early on in the book, writer Nathaniel Adams writes and categorizes four styles of Dandy as possible frameworks in which to understand them and their behavior. Rose, looking back in retrospect, believes that what made for a really engaging subject was that they “crossed boundaries,” or that they were not easily defined in one category or another. They were “bons vivants,” with hidden stories and lively personalities. One example of this is Gian Maurizio Fercioni, a Milanese Dandy who, walking down the street might appear to be an elegant Italian gentleman, but he is the father of tattoos in Italy, creating the first tattoo shop, and is covered with tattoos under his clothes.
As such, the point of this project was to focus on individuals and their unique style, revealing the hidden behind their lifestyles, personalities and aesthetic. Some of the individuals, especially those in Japan, showcased their style as a sort of hybridity between Eastern and Western aesthetics, simultaneously drawing on ideas of iki or sprezzatura or chic. Takanori Nakamura, a Tokyo based dandy and journalist, has a wardrobe of both traditional Japanese haori, double-breasted suits lined in prints of paintings by Ito Jakuchu, breaking boundaries with aesthetic choices (such as using colors divergent from tradition) that are both Western and Eastern. In his life, he practices kendo, loves the way of the tea (chadō), but also is a trained sommelier and aficionado of cigars. These portraits of the lives of these dandies, especially mixing the various cultural elements, is what really makes this book shine.
Another example of those breaking boundaries were the subjects located in South Africa. They oftentimes mixed their cultural heritage and memories of their past with more contemporary and western clothing. While other dandies in Europe or Tokyo would sometimes dress in vintage clothes, the crossing of the boundaries of time and cultural memory was represented in their lives and personal pasts. They wanted to capture their looks in spaces that were representative of the communities in which they grew up–areas that were quite literally, unadorned buildings with dirt floors.
Rose remarks: “The guys in South Africa, to me, from how I experienced it, they felt it was very important to be a part of a group, to feel that they were all together, a rather African sensibility, this sense of community identity. They wanted to be together as a crew, saying they wanted to do this because we can show other young people that they can do it too.” In her thoughts, this inclusiveness, and desire to share their experiences in sartorialism, is quite different than the Europeans, who were more concerned with themselves as individuals.
“To me, this was amazing, because people in London and New York, they don’t talk about it [being dandies]. They are not inclined to help the next generation [of men]. I was impressed because being young men themselves, they felt a desire to help out the next generation. They thought that if they can rise up then they can help others to rise as well.”
One of the Johannesburg dandies, Loux, said, “you can sleep in a shack, you can sleep under a bridge–but you can still look smart.”
Many people think that being a dandy or being stylish requires a lot of money, but that isn’t the case as Rose discovers visiting the African dandies. Rose remarks that “everyone looks like they have to be rich to do this, but I don’t believe that, because there are so many ways to have style–without money. It either takes money or the time and the desire. For those without the economic means, this is a matter of collecting clothing over the years–it is a matter of time and energy–digging through flea markets and thrift stores and places like that. With the guys in South Africa, they show this and hit the point home.”
I decided to ask Rose if she had any advice for those aspiring Dandies out there, or for those #menswear personalities that have their social media personalities. Her best advice to create visually engaging content is to “be yourself”:
“Be an interesting person. Live an interesting life. Whatever or whoever you are, be that one hundred percent. It is really important even if you might be experimenting with style. Some of the dandies in the book are in their 60s and 70s, and they still look amazing. There is a lifetime for refining your style, finding what is interesting, being curious visually. Your style can evolve over time with your personality.
“You have to keep on, always think about what is interesting to you, what is enjoyable to you, and move towards that because then your personality comes out. It is our personality that is unique. Be yourself despite all the other voices out there, be true to yourself. It is often hard for young people because they often feel weird about it.”
You can see some of Rose’s latest works showcased in the Dandy Lion Project, a traveling curated exhibition that focuses on Black Dandies created by Shantrelle P. Lewis. The exhibit has helped to demonstrate the sartorial decisions of Black men around the world prior to colonialism, formulating new understandings of narratives of Black masculinity through historical and contemporary portraiture of Black sartorialism.
Additionally, you can see on social media such as Instagram more of the sartorial and dandy styles of African dandies through #afrodandy, created by some of the South African dandies featured in We Are Dandy.
ABOUT THE BOOK
Around the world, dandies embrace style while respecting their local cultural traditions. Dandyism transcends fashion —it is a committed way of life. An international survey of the global dandy community from the creators of I am Dandy.
From America to Africa to Asia, dandyism is a way of life. It is fashion in the best sense, self-esteem through style. And, in every country, it takes a unique form as dandies draw on the local context and fashion culture to shape their looks. We are Dandy throws open the doors of the wardrobe and explores the dandy as a global phenomenon.
With texts as witty as the subjects are stylish, the book pokes between the folds to let us know these exceptional individuals. For them, their dandy fashion is more than a trend or a phase, it is who they are, the outer expression of their inner selves. Photographs and profiles paired with clever histories reveal what it takes to look your best around the world. We are Dandy unfolds with a foreword by the illustrious Dita Von Teese, that conveys the authenticity of these aesthetes, their passions, and their bravely curated philosophies.
Nathaniel “Natty” Adams has been involved with the historical and contemporary Dandy phenomenon for many years —it even informs his own wardrobe. A research grant aided the studied journalist in traveling around the world and into the eclectic homes of various Dandies.
New York is more than the current home of filmmaker and photographer, Rose Callahan; the city is also the site and start of her involvement with the Dandy. In 2008, she created the blog The Dandy Portraits, where she documents the many facets of the modern gentleman. Shortly afterwards, she met Natty Adams and the idea for I am Dandy was born.
Last year, green was quite popular as a color pathway for menswear, and I must admit I think I’ve picked up more green items in the last year than I have ever purchased before. In the past, I had purchased a green accessory here or there, such as a a pocket square or a tie, or a pair of green socks (Vert Academie of course!) but green clothing was fewer and far in between; a waxed Barbour jacket, a pair of cotton trousers, and a sport coat in a linen silk blend were the only green items present in my closet.
Despite the lack of green clothing, seeing all the outfits posted on Styleforum and Instagram, I came to a realization that green is not an enemy; green garments are quite useful in most people’s wardrobes, providing lots of diverse shades and hues for each season. Even if it seems that green is not year-round as an option, I have come to believe that green is one of the perfect colors to use in your wardrobe as a unifying color pathway, but with different ranges for each season, providing ample selections that are appropriate strictly for either Fall/Winter or Spring/Summer.
One problem is that most people–myself included–fail to understand just how diverse green can be: when you think green, oftentimes one or two shades pop up in your mind. However, you have to break that conception and look beyond your a priori imagination of an outfit. For instance, green includes the various tones that form other colors that you might have in your wardrobe already. These include olive, dark khaki, moss, in addition to the more common or true greens like bottle green, hunter, forest, and the like. With plenty of different shades and hues to choose from, the color suits many different occasions.
I find it easiest to think about the overall wardrobe by categories, organized by functionality and type. By dividing your wardrobe into garment types, we can categorize them in the following ways which will allow you to then better understand what colors serve which roles in each category: outerwear, tailoring, trousers (bottoms), tops, shoes and accessories. If your wardrobe is already established-following internet suggestions, most likely you have a lot of a few staple colors–either blues, grays or browns. However, green can go well with most of these colors and has a place in each wardrobe segment. As I noted above, the green shade/hue varies depending on the time of year and the garment type. As a general rule of thumb, the less vibrant a green is–like most colors–the more appropriate it is for winter or fall garments.
As follows is a brief analysis of each category:
Tops obviously include all the garments you wear at base layers above the waist. For green, I believe that in many cases, a sweater or cardigan is more likely a better garment to invest in than a shirt (honestly, how many green classical shirtings can you think of?). That isn’t to say that a shirt in your wardrobe in green would not look nice, it is just to say that it is less likely you are going to find a staple piece you are going to love; plus, a sweater or cardigan can serve as a layering piece, meaning basic blue and white shirts would be appropriate underneath it. The only exception here is that polo shirts may be a cheaper and easier to find options for a forest green top.
Sweaters, especially with forest green or sage green tones, work wonderfully for fall/winter staples, seeing as how they go with all the earthy tones that you would have access to, without adding something too contrasting in an outfit. The goal in selecting a green sweater would be to add visual interest to the top half of the outfit; instead of using go to hell pants and lending visual interest at the bottom, green sweaters work as a color block for the upper body when the sweater is the final layer. If it is under a coat or jacket, it can serve as a mid-contrast layer to bridge the color of a coat and the shirt or pants. On the opposite spectrum, you might choose to wear a warmer sweater to provide contrast, blocking your lower body with green-toned trousers (think moss or dark khaki).
For shirts, you can likely imagine more vibrant colors working best without additional layers (no one wants you to wear a lime green shirt let alone with a sweater over it). In fact, I would go out on a limb and say that saturated colors, being more summery, require fewer layers to achieve that light visual aesthetic. As such, pastel or mid-toned greens work well as a shirt or top when paired with a more neutral cream or light colored pant.
You see plenty of pants that have green tones in them. While go to hell colors work for summer or spring (bright mint or ivy green pants), you are better off investing in forest, olive, moss, and in general earth-toned green shades, seeing as how they are easily used as replacements for pants that you would normally wear (khaki, tan, brown, navy). In addition, because the green adds visual interest to the bottom part of the outfit (color blocking the bottom in place of the top) solid green trousers can make patterns look less busy on the top: for instance, a tweed jacket with a windowpane check will look milder when paired with green trousers than a similar jacket worn with brown or a more similar tonal pant. The darker nature of most green trouser options helps balance out the top half of an outfit. In this case, dark hunter green, pine green, forest green or the like are excellent color choices.
The most expensive additions to your wardrobe should be your outerwear and tailoring. Outerwear is perhaps my favorite category in my wardrobe. And the beautiful thing about outerwear is that there are easy to find green options: old military jackets, field jackets, waxed cotton jackets, parkas and the like are all traditional or relatively easy items to locate which serve plenty of use. Many of these garments have a specific color that is characteristic of them: for instance, Barbour with it’s olive waxed cotton; or military jackets like the M-65 with its army green or the Vietnam-era jungle jackets; parkas with their green or dark khaki fabric. Because outerwear is oftentimes used only for three seasons, the colors for the garments lend themselves to darker, less saturated colors. Naturally, there are exceptions: If you don’t mind an eccentric touch, a coat in panno casentino in its traditional, saturated emerald color, is a great addition to a sartorial wardrobe.
If you are a Styleforum user, chances are tailoring gets you excited. Whether you are buying off the rack, made to measure, or bespoke, it isn’t as if green options do not exist. Regardless of wherever you source your green sport coat or suit, I would suggest erring towards the side of darker and muted green, as you don’t want to run the risk of being mistaken for a leprechaun. The best part of green in tailoring is that it can be found as an accent in a lot of different weeds; plaids or checks provide you the opportunity to feature some green in your outfit without looking over the top. It also works well in that sense for winter, seeing as how such fabrics are oftentimes heavier weight.
With that warning aside, personally, I do have a jacket that borders on Cyan/Green, which is appropriate for summer months, but seeing as how it is almost a mint cream, it works only with lighter colors that have no sort of warmth in them at all (optical whites or light blues or cool grays). That isn’t to say I can’t make a good looking outfit wearing that jacket–it is just that it is less versatile and in that sense, it becomes a more difficult piece to use–and therefore it is harder to justify its existence. Lighter colored greens in tailoring should probably only find their way into your wardrobe if you live in warm or perpetual summer locations, or you wish to exhibit a bit of a Riviera style while on vacation. They do not really look appropriate at anything other than a spring/summer party or a coastal getaway.
My other true-green garment is a mid/dark green hopsack sport coat that works well for winter and fall, mostly because the colors lend themselves to other shades, and it doesn’t look too festive or overwhelming.
The easiest way to up your green game is to use accessories. Most blues or browns will go well with some ties or pocket squares that contain a green element. They are the cheapest path for you to invest in using green as an accent, and you can identify which colors will go well with the green by just holding it up to a jacket or shirt that you are thinking of wearing it with. Silk printed squares help you identify what shades of green complement or contrast other colors, enabling you to better understand how that particular shade will work in your wardrobe with different colored articles. Because pocket squares are oftentimes some of the cheapest accessories (outside of socks, though not everyone attempts to show off their socks), investing in green accessories is the perfect way to change up your wardrobe if it is already firmly established with the essentials and you are not seeking any other major investments in tailoring or the like.
While shoes can be classified as their own category in your wardrobe, green leather is not that common, and I’ve only rarely seen a pair or two of green shoes (in suede!). As such, I would treat the shoes as an accessory here, and will only write that browns without warmth and red tones, meaning browns with greener tones, will pair nicely with greens in your wardrobe.
Obviously, certain shades of green invoke different sentiments or tropes, so paying attention to what you are wearing is still a necessity. It doesn’t make sense to dress completely in green unless you wanted to look foolish (or you’re an “influencer” visiting Pitti Uomo). However, the diversity in the color and the fact that many of us spend time outdoors now instead of just stuck in an office means that green has become an acceptable color pathway to utilize, and therefore should be treated as another major asset in our menswear toolbox, alongside blue, browns and grays.
Day 1: I wonder when I’m going to launder this shirt… Maybe I should wash it in the sink as I’m traveling…
I had the genuine pleasure of meeting Francis and Jennifer at the Styleforum Maker Space this year during Pitti. The two minds behind GIIN are–without a doubt–a pleasure to speak with about many things, including their products. It is genuinely a pleasure when you meet people who are passionate about their work; on account of shared interests in menswear, the satisfaction is multiplied. Speaking with them about their materials, manufacturing, the ideas that went into the design, and their brand goals, therefore, was a remarkable experience.
GIIN’s slogan is Elevated Essentials, which precisely sums up their products. Between the boutonniere (see my review here) and their undergarments, you get the sense that Frank is striving to do things differently with his products. The products have been imbued with Frank’s desire to improve and innovate, and are in many ways his attempt to elevate something as humble as an undershirt into something that transcends the norm.
Day 2: Why not wear it again… it doesn’t smell?
Over dinner at Berberè, I recollect both of them speaking about how much waste they find in the clothing industry. The prime example for them were generic cotton undershirts, designed–more or less–to be disposable. These undershirts serve their purpose, being worn a few times, then they disappear into landfills when they no longer are in pristine condition. Following them from a commodity chain perspective, everything becomes an afterthought: the quality of the cotton; the rapid production; the cheap mistreated labor. Every aspect of what is ethical or warrants quality is ignored to streamline prices.
Instead of approaching their products as if they were disposable, GIIN chose to approach their clients with sincerity and a desire to show their products quality and refinement. I’ll provide an example of this sincerity–if you were not aware, GIIN had a giveaway and a Styleforum member won the contest but was outside of the sizes that they made. Rather than turn the winner away with an apology, they custom made the product for the client, because they felt everyone should be entitled to quality products.
As such, quality to Frank is in the details and life cycle of the object. The products that Frank is creating and has created, he won’t bring to market unless he’s more than satisfied; he tests all of his products repeatedly before they are made for the market. Each shirt he wears and washes around 100 times, in order to ensure that they maintain quality. As such, the life of wear that the shirt receives is accelerated in order to witness first hand how well the product will hold up.
Day 5: I’m surprised by how comfortable this shirt has been as a base layer under the Texas sun… I thought I would be sweating to death…
When talking to Francis, I mentioned to him that I never wear undershirts except when I’m wearing something like a turtleneck sweater. I know that there are two schools of thought concerning this: one that extra layers make you sweat more and overheating; the other that extra layers help prevent you from showing sweat stains and protect your shirt. Having lived in humid Houston, I fell into the school of thought that more layers == bad sweating. Of course, that is only true when outside, because after wandering indoors from the summer heat, you feel trapped inside an icebox.
Frank offered to change my mind by offering me a shirt and a pair of underwear to see how I liked them. He firmly believed that I would come around to his mentality after I would have tried his engineered undergarments. Just so you understand, this was pure generosity-nothing was expected in return except that I provide my honest feedback to him. I told him sure, and decided to start wearing the garments the next day or two so I could provide him feedback immediately.
After wearing the garments for one day, I decided I would write a review, because I actually liked the garments. I will point out that–in the end–I’m still not a wearer of undershirts all that often, but I see that they are useful, and even when worn in warm/hot environments they actually serve a use to prevent odors and staining.
I provided Frank my feedback regarding the undergarments. One note is that I actually put them on inside out the first day, seeing as how there are no stitches or sewn in labels. Instead, the fabric pieces are bonded together using a high-end seamless bonding method. The raglan sleeve adds for ease of movement, and the laser cut ends without seams lie invisibly under shirts or other layers. Frank is especially proud of his boxers because they have a three-dimensional aspect to them which help support the male package, rather than squeeze it flush against the body or leg. Of course, in so doing this, there is no fly, which might be a deal breaker for some men.
For me, however, while I will sing praises about the undershirt (hence the title of review), I will note that I’m not the biggest fan of the boxers. I enjoy the support that they provide and I don’t mind the lack of a fly opening, but rather, the biggest complaint that I have is that the underwear is a low/medium rise; I personally prefer higher rise, but this is a personal preference. It isn’t as if the boxers are even unreasonably low rise: it more is just that this cut of underwear is not something that I would normally gravitate toward. However, there is a benefit here for some men: the lower rise works well with lower rise pants or jeans.
Day 8: They do not know… No one has said anything… Perhaps undershirts really do work well at preventing body odor?
Frank told me that I could reuse the undershirt when traveling by washing it in the sink/shower, then hang dry so it would be ready the next morning, stating that odors would disappear. I tried that at first, but came to realize that just by hanging the undershirt, the smells took care of themselves without added washing. As such, when I was embarking and packing for an almost two-week trip, I decided to take both the boxers and the undershirt to put it through its paces, seeing how it holds up in a wide variety of environments, temperatures, and under various garments.
In the end, I spent close to two weeks (thirteen days total) wearing the same undershirt. Of course, yes, it took on some odors over that time, but after hanging it up every night it rid itself of any scents, leaving barely perceptible–if any–noticeable odors.
Day 10: I mentioned casually in conversation to some of the others with whom I was traveling that I‘m testing an undershirt for someone, that I’ve been wearing it repeatedly… since we were in Texas, DC and Iowa…
As I’ve said before, normally I don’t wear undershirts since I sweat a lot; I find them stuffy, I find that I sweat more than normal with the extra layers, and I find them not helpful. But this might actually be not a function of the undershirt, but a function of the terrible quality cotton that goes into cheap undershirts. However, the GIIN undershirt works exceptionally well at preventing excessive sweating because of the wicking nature of the fabric (the fabric is a combination of high twist cotton, polyester and lycra). When I’m stuck in a middle seat on a plane, I normally smell terrible by the end of the flight because I’m sweating since I can’t spread out my arms. However, coming off the plane each time, I wasn’t scolded and avoided by anyone (including those I work with). I noticed changing at the hotel that my shirts did not smell bad; if anything the undershirt acted as a shield to prevent further sweating. Because the shirt is seamless and form-fitting, it is not noticeable that you are wearing an undershirt either.
Day 13: I’m coming home to my spouse… I wonder if she–with her sensitive nose–will put an end to this experiment as delusion…
At thirty dollars a piece, before trying one, I would have said the undershirts were pricey. However, after seeing what they can do, putting it through the paces, experiencing the quality and construction first hand and hearing about went into designing and manufacturing the product, I feel the price is completely fair.
For sizing, I got a small, which in reality might be a touch tight when it began being worn. I probably should have gone with a medium; however, they are fairly forgiving seeing as how the fabric has a lot of stretch. As such, order either true to size, or if you order a size smaller, you will feel just more support from the tighter fabric. I think that the tighter fit also helped improve my posture, seeing as how the tighter fit on the raglan shoulders made me more conscious of how I was sitting, and that I should sit up straighter. That, however, is another story, and for each person to decide.
Day 14: Although it doesn’t smell… Maybe I should put an end to this experiment for the sake of my wife. I also have a bunch of other clothes I can wear again…
For those that were curious-or just plain repulsed-yes, I did wash my other clothes as I was traveling.
You can purchase GIIN undergarments on the official website.
If you have questions regarding the product, you can ask them on GIIN’s Official Thread on the forum.
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Despite being ubiquitous, belts are oftentimes overlooked as an accessory. Like many others on the forum, I personally wear a lot of trousers with fitted waistbands or side adjusters, so I oftentimes go out without wearing a belt for the simple fact it isn’t necessary. However, a good belt can make an outfit more polished or–to the masses–a bit more complete. I’ve been asked more than once if I left it behind at airport security. On the other hand, I oftentimes receive compliments when I wear a nicer belt, and I have never received as many comments on a belt (especially within such a short time frame) as the ones I’ve gotten for these belts from Atelier Bertrand.
The mastermind behind the eponymous, Parisian Atelier Bertrand, is Jerome Bertrand. The brand is a reflection of his idea that high quality, luxury leather goods can be available at a reasonable cost. Jerome has been an extreme pleasure to speak with; he is enthusiastic about his brand and is knowledgeable about every aspect of the product, the different leathers, tanneries, artisans, et cetera. I’ve rarely experienced this level of knowledge and passion from someone in the industry.
I received an offer from Jerome to write a review of one of his reversible leather belts. After thinking through my collection and wardrobe, I decided I ought to get something that was unlike the other belts I owned, so I opted for his taupe and navy blue. It was a hard choice because many of his belts have interesting color pathways (e.g. the cigar and red), but the taupe boxcalf won my heart with a sort of particular elegance. Jerome was generous enough to send me another belt in the black and Prussian blue pathway since I had remarked to him about how lovely that color was as well. Because of this, for complete disclosure, in addition to reviewing the belts, I decided to help Jerome with the English copy on his website in order to show some extra appreciation and help him out as a young brand.
Upon receipt of the belts, I was impressed by the leather quality, especially on the box calf side. The tumbled/grain leather is also lovely, partly on account of the particular shades of blue, but unlike most belts in a grain leather, the boxcalf reinforces and lends structure to the end product. In my extensive email dialogue with Jerome, I learned that he selects leathers from quality tanneries like Haas or Deggerman for a variety of his products. For his belts, he uses lesser known and smaller producers that maintain the same level of quality. Because his products and brand is based in France, he has access to a large network of tanneries, many of which employ still historical, artisan methods in their work. The box calf on the taupe belt is some of the best I’ve felt (and would be lovely as the secondary color on a pair of spectators). For both belts, for each side, there are no noticeable muscular/fat striations or blemishes, and the full grain calfskin holds its own as a truly luxury leather in both appearance and feel.
GIVE REVERSIBLE BELTS A CHANCE
I had never owned a reversible belt before, so I didn’t know what to expect going into this review, and it took me a bit of time to understand that the tongue of the belt is actually supposed to go under the belt and buckle, making it appear very streamlined. Jerome commented that the reversible belt is ideal with a suit because it provides a clean look (and I couldn’t agree more). After using it a couple times, it became quite logical and easy to put on and take off the belt.
Please note that when you purchase a belt, I recommend going for a belt that is a size up from what you would normally wear. Jerome sells his belts in European sizes, and after a long discussion, he convinced me upon his recommendation I get the size greater than what I thought was a direct conversion for what I normally wear. In the secondary belt Jerome sent me, he gave me the size I originally asked for, which, though it fits, was more difficult to tighten because of how you push the belt buckle through the hole directly, rather than slide it on with a more traditional belt buckle. I measured the length of the holes to the buckle, and even though the length was the same, I had a harder time fitting into the smaller belt (this could also be from the Fall Winter gut I’ve been accumulating from all my culinary indulgences). However, as with most clothing fits, your mileage may vary.
In terms of construction, the finishing on the belt is top notch. The stitching is done as a mix of both machine and hand, with the hand stitching reinforcing the machine stitching so that the belt lasts longer. The thread matches the colors of the leather, and there is no contrast on either side of the belt. The holes were punched cleanly – and you can spot that immediately given the sleek and minimalistic look of the belt. The edge is extremely consistent and even, and it also matches the darker color of each belt’s pathway. The solid brass (nickel free) buckles are made in Italy and are only available in a silver tone. This quality finishing is a reflection of the type of manufacturers that Jerome uses: Entreprise du Patrimoine Vivant.
For those of you unfamiliar with French manufacturing, companies can be classified as living heritage companies, or Entreprise du Patrimoine Vivant, EPV for short. These companies are essentially the pride of French manufacturing and tradition and make goods in traditional methods. Jerome chooses to work with EPV companies as much as possible, simply because he ends up getting better quality goods. The leathers he uses are from EPV tanneries, and likewise, his EPV manufacturer is in Limoges and produces goods for luxury brands renowned for quality.
While talking with Jerome, I asked if he was using the EPV companies in part as a marketing tool, since in Europe, especially in Italy and France, there is a strong appreciation of culture and heritage; for the French, it is an appreciation for “cultural capital.” However, for Jerome, it is less about the marketing of methods that are part of historical French culture; he employs EPV makers because the heart and soul that goes into the objects made by these heritage brands oftentimes result in a better product. Although this is a qualitative measurement–the ethos of an object cannot directly translate into a sort of material value–I would agree with his assessment.
The appreciation of such products, however, comes with an awareness of the nature of a product: for example, people who know about shoes tend to love Edward Green not merely because it is a status symbol, but because it has a cultural heritage that imbues the objects with value; you know what type of care went into making it. The same can be said for hand-sewn shirts and suiting. Likewise, Atelier Bertrand provides excellent quality goods which are worth the price to informed consumers because they recognize and understand what is quality in such goods.
Jerome is looking to provide reasonably priced leather goods by offering pre-orders each month, offering products made from high-quality tanneries like Haas. He can thereby reduce their cost because he already has sold some of the product, ensuring demand and not ending up with a lot of dead stock. With leather goods this excellent, Atelier Bertrand should have no problem selling its wares, and I can highly recommend them if you are going for a streamlined European look with belts such as these; their wares are on par with and are a more affordable luxury than Hermès (who he is clearly taking aim at with these belts), and you can experience higher quality when compared to many traditional brands while not devastating your wallet.
Atelier Bertrand Official Website
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