Style Icons: B&Tailor

As I’ve moved forward in my style journey, I find myself looking toward more contemporary dressers for inspiration. There’s nothing wrong with looking at old pictures of Jimmy Stewart or Laurence Fellows illustrations, but the fact remains that those sources are finite!

That’s why I’m drawn to contemporary guys that have a bit of vintage flair, like Bryceland’s. But while they can skew more workwear, the guys at Seoul’s B&Tailor find ways to keep vintage style (across different eras) alive in an elegant and modern way.

B&Tailor and Chad Park were the subjects of one of my first blog posts that covered contemporary style. Stumbling across their account was a big moment for me, as it showed me that there was still a place for high rise trousers, pleats, and wide lapels. Started in 1980 by Jung Yul Park, the brand has already made quite a name for itself, taking fittings all over the world and even creating a casual RTW line called Chadprom, no doubt named after his son Chad. To most of my friends, they are a great source of inspiration and a bit of an aspirational goal for clothing.

It probably helps that Park’s sons Chad and Chang have worked hard to brand the company, with Chad being the face of B&Tailor, expertly shot by Chang for their Tumblr and Instagram profiles. With natural light, somber expression, and fantastic clothing, the pictures rack up engagement on all social media, presenting an almost streetwear-esque way of making clothing look cool. As the brand has grown, they’ve also included more pictures of their other staff, consistently making their associates style icons in their own right. But let’s look at how their style specifically appeals to me.

Like with Brycelands, the vintage appeal comes down to two things: the design of their tailoring and the way they choose their accessories. First, let’s explore the jackets. The jackets are cut with an extended shoulder, featuring a broad chest and nipped waist, echoing the draped figures in the 1930s and 1940s. Of course, this isn’t something new as the English have been doing that for a long time; the real charm is in their lapel treatments.

Their standard notch is quite wide (looks like it approaches over 4 inches), with a notch placed quite low compared to most brands. B&Tailor goes a step further by making the notch’s “mouth” go pretty wide (almost a full 90 degrees) yet without making it go too far into the body of the lapel. The resulting “droopy notch” not only makes the chest appear fuller but it appears to be lifted directly from the detailing on a 30s-40s suit. For their peak lapels, they maintain the width but again place the peak low. While models definitely vary, Chad and the rest of the B&Tailor crew tend to favor a peak that juts out far from the collar, recalling both vintage designs and the treatment favored by Polo Ralph Lauren in its early days. Whether it’s a notch or peak lapel, the lines are accentuated with a slightly lower lowered buttoning stance for a classic look (which is pretty 1940s to me).

The high rise is standard for B&Tailor (a trait that extends to even their Chadprom denim), which is always a sign of classic style. In fact, the rise seems higher than most, appearing to sit a little above the navel. Pleats are also a welcome sight among their tailoring, which when combined with a fuller leg, makes for an “old school” look. Most of the complaints about vintage style usually concern how baggy trousers can look, but luckily B&Tailor ensures that they are expertly tailored, done with a shivering break to prevent pooling at the ankle and a hearty cuff.

While we can talk about the cuts and designs of their suits, the real style comes in how they wear it and how they spruce it up with accessories. If you go on any of their social media platforms, you’ll see that they always prefer long collars, whether it’s pinned, a button-down, or a spread; in general, a longer collar makes for an “older look,” evoking the spearpoint collars. They match their shirts with a variety of great sevenfold ties, in foulards, abstract prints, and colorful stripes. Like I said before, wearing these with a striped shirt brings to mind the styles of the 1930s-1940s where there was a lot of similar styling. The look can be a bit bold for some (especially compared to the minimal approach from Brycelands), but they carry the look with confidence.

They also have a few novelty pieces that I feel are directly lifted from casual 1940s-1950’s styles. One example, in particular, is their Hollywood waist trousers, complete with “dropped loops”. This design, which is essentially a continuous waistband with loops placed fractions of an inch below the top, was a trend in the mid-1940s until the 1950s, worn by young men with extremely thin belts. It strikes me as particularly interesting move since most gentlemen today prefer suspenders or side tabs for keeping their trousers up.

Keeping with this casual vintage design, they’ve also done a few runs of cuban collar shirts, which have been increasingly popular during the past year. While they are technically known as cuban collars to most, I’ve always called them “loop collars” since vintage pieces have the top button fastened via a loop rather than a normal buttonhole cut into the fabric. They wear them their tailoring, which makes for a cool, sartorial-casual look that skews more vintage-inspired due to their fuller cut.

They also have a few idiosyncrasies that make their style unique; at some points, they experimented with multi-stripe vintage fabric, which was the norm back in the Golden Era (flat, plain suits weren’t common). They’ve also created cropped sweaters and jackets that are just begging to be worn with high rise trousers. Their love of turtlenecks even brings to mind some 1960s-1970s inspired looks. A big one is their latest preference for designing DBs that can be rolled to a 6×1 configuration. While these were a trend in the 1930s-1940s, it’s most commonly seen from Armani in 1980s-90s, emphasized further by their bold (power?) tie combos. B&Tailor keeps this vibe going by wearing their high waisted, light wash denim with their tailoring. Who would have thought that the 1980s-90s have a place in classic menswear?

I could keep writing about the observations that I’ve seen from B&Tailor, but the best thing to do is to look at the pictures and see it for yourself. There’s something about this brand that seems old school and yet not anachronistic at all, as they take their cues from different eras and mix them together to create such a unique look not just with the sartorial designs, but with the styling. Even Chad Park’s glasses skip around with different styles. In any case, I think they’re a good source of inspiration, not only for regular wear but for a great indication of making vintage-inspired style look wearable (and elegant) in the modern day.

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The Best Menswear Stores for Shopping in Florence during Pitti Uomo

By Cristina Ferro

Florence is the city where the Italian fashion system was founded. In Florence you can find a world made of highly skilled artisans and their expertise: In fact, its history and traditions made it possible to create the perfect network for an emerging fashion market.
Florence is still a great place for menswear shopping. We have great boutiques and workshops where tradition is at its best. Here’s a selection of menswear boutiques for menswear shopping to visit during Pitti Uomo:

Eredi Chiarini

Let’s start with the most iconic and famous boutique: Eredi Chiarini is a must-visit place for menswear shopping in Florence. As far as I can remember, It’s always been a landmark for gentlemen as well as for young professionals. I remember our dad and older brothers used to buy their garments from Eredi Chiarini when I was a little girl in the 80’s!
This amazing clothing store opened in 1970; shortly after, they began to manufacture jackets, pants, shirts, and suits in line with the style of Italian and British accessories such as ties, bags, umbrellas, hats and shoes that they carry in store.
You can get your tailored garments done at Eredi Chiarini, as they collaborate with the most prestigious Italian tailors and offer a great selection of fabrics.

Address: Via Porta Rossa 33/R Firenze

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Tie Your Tie

Many of you may be familiar with Franco Minucci. He started working in menswear as an agent for some of the most important brands in the early 80’s. Through the years, he developed a personal fashion aesthetic that came to fulfillment with the opening of his own menswear shop, which offers the highest quality merchandise, in 1984.
After Mr. Franco Minucci founded the Tie your Tie Shop in Florence, he established its factory of marvelous artisanal ties. His inspiration for the shop comes from the concept of “beauty and simplicity”, and his values can be found in the details of these gorgeous creations, as well as in the highest quality items selected for his menswear boutique.
Ties are definitely the key player here, especially the “Sette Pieghe”, the original sevenfold ties.
Mr. Minucci says that the inspiration for the Sette Pieghe comes from the colors and designs from mid 19th century fashion. The Sette Pieghe ties were a great success as soon as they were released and still are made by hand using fine cloths provided by world-famous suppliers.

Address: Piazza de’ Rucellai 8r Firenze


Liverano & Liverano

Liverano & Liverano is one of the most important tailoring houses in Florence, as well as one of the few remaining from an era where dressing well was not considered a flair, but rather a requirement for any respectable man. The Liverano brothers’ business started at the end of the 1960’s in Florence, in Santa Maria Novella. Twenty years later, they moved the business to Via de’ Fossi, where it is still located today.
It’s not uncommon to walk inside and find Antonio Liverano in the house, at work at the cutting table. This is what made him one of the most respectful and admired personalities in the modern Florentine tailoring scene.
The Florentine tailoring style is all about slightly extended, soft, and generous shoulder, short jacket bottom, wide chest, low positioned pocket to create a V-shaped jacket whose bottom borders are cut away. This is still Liverano’s signature style.
The Florentine tradition requires a three-button configuration, and in the tailoring house they always remind their clients of the golden rule: with a cutaway style, you need to close only the central button!
In Via de’ Fossi you will find tailors who have worked with Liverano for over 40 years as well as some young, equally skilled ones.

Address: Via de’ Fossi, 43 Firenze


Piero Puliti


Piero Puliti started his career in fashion in Florence, working in the trendiest menswear shops if the 1970’s. After a few years, he started his business as a fashion designer, creating his own prêt-a-porter collections.
Later on, his love for menswear brought him to open a shop of his own in the heart of downtown Florence, not far from the Duomo and Piazza Della Signoria. He still runs a small, marvelous boutique where his creations and his taste and style in decorating spaces are manifest to the visitors; in this small boutique, his vision and creations are crystal clear. Piero is known to be one of the best tiemakers in town.

Address: Via Del Corso 51/R Firenze


Dimitri Villoresi

The leather industry is one of the most important ones in Tuscany; we are very proud of our leather artisans, and some of them stand out for being of a kind in terms of quality and style. Dimitri Villoresi is one of those.
Dimitri runs his workshop in Oltrarno, where he personally stitches his creations. Dimitri’s workshop, DV Bags, is a charming place that is hidden away from the main touristic areas and guided tours.
Dimitri Villoresi can be considered a visionary poet and an artist. He is one of the pioneers in the movement that looks back to true craftsmanship: he only uses the traditional tools of a by-gone era, and none of his creations ever see a sewing machine. His instruments are the cobblers’ knives, awls, scissors, needles, and thread.

The Dimitri Villoresi workshop is also a training center: here, the old art of leatherworking is passed on to the new generations through individual, personalized courses.

My favorite bag is La Sporta, a traditional “shopping bag” suitable for daily use. As Dimitri says, “it is an open container where you just put your things straight in and they stay there”. Such a pure and essential design for men and women alike!

Address: Via dell’Ardiglione 22 Firenze


Marina Calamai

Here’s another designer from team Oltrarno! Marina is an artist who runs a beautiful studio in Oltrarno, in Palazzo Guicciardini, in the heart of the coolest district in Florence. Her handiwork focuses mainly on painting and the creation of amazing pieces of furniture and homeware objects. Through the years, she has taken inspirations from the most diverse fields: food, science, and nature.
Marina also is a skilled goldsmith. If you get to know her, you’ll love her jewelry. And her men’s collections are just as inspiring and creative as the rest of the items you’ll see visiting her atelier.
Her cufflinks remind me of a shackle (perfect for sailing lovers!), physics and its formulas (Quantum teleportation formula), the shape of Santo Spirito church, Nautilus fossils, champagne corks, musical notes (specifically the Chroma), and finally the latest creation: the Bond-inspired shape of a Martini cocktail.
You should visit her studio and experience this connection between fashion, arts, and science!

Address: Via Santo Spirito, 14 Firenze

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Bernardo

If you lived in Florence and you were looking for high quality, timeless, and classic pieces for your wardrobe, you would likely be a regular customer of Bernardo’s, and an acquaintance of Andrea, the owner. I know more than a man who has made of this tiny menswear boutique their #1 choice when it comes to menswear shopping.
Bernardo is a small, charming boutique in Via Porta Rossa, exquisitely piled in 23 square meters or less. In such a tiny space, they manage to carry so many great clothes! The store has existed for over thirty years and it’s known for the excellent selection of brands and the great customer service: clients are cared of and advised by Andrea and his employees.
Bernardo also offers an excellent custom-made tailoring service. Indeed, the most peculiar trait of this boutique is the precision they have when helping a client. This is why gentlemen in Florence have always considered it one of the best places for menswear finds and true Made-in-Italy classic pieces.

Address: Via Porta Rossa 87/r Firenze

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Tacs Casentino

Not far from Bernardo, walking through the streets around via Tornabuoni (the luxury goods shopping street in Florence) you might take a turn and find yourself in a totally different universe. It’s a colorful place that reminds me of wildlife, history, and traditions: it’s the world of TACS Casentino.
You may know that Casentino is a valley located in Eastern Tuscany north of Arezzo. It is famous for its naturalistic beauty, wild forests, Etruscan sites, Romanesque churches, and Medieval castles, as well as for the traditional fabric that takes its name.
The production of the panno casentino started in the mid 19th century, and with time, its manufacturers developed the techniques to give the Casentino fabric its peculiar characteristics: the traditional ricciolo (curl), and the soft hand with an irregular surface.
Originally, Casentino fabric was often dyed in colors we wouldn’t expect to see today; the most typical color was a very bold red. Today, we all know its most iconic colors are bright orange and green, but maybe not everyone knows that these tones were the result of a mistake occurred in the dyeing process!
In this small boutique, you will find every model and color of coats and accessories in Casentino, as well as collections in fustian and cashmere.

Address: Borgo Santi Apostoli 43 R Firenze

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Cristina Ferro is an image consultant based in Florence, Italy. You can visit her official website here.

In Memoriam: Eredi Chiarini, Florence, Italy

In 2015, the old location for Florence’s iconic Eredi Chiarini closed, and then moved to a new location a few blocks away.  I’ve not been to the new one (hopefully, I’ll go next year), but the old one was definitely memorable enough to merit a posthumous review.  Eredi Chiarini used to sit nearly directly across from Luisa via Roma, seemingly in stern reproach to the excess of the latter store, which is best described as Zoolander goes to Ibiza circa 2000.

The first year I went to the modern, social media and blogger inundated incarnation of Pitti Uomo, I did not go to Eredi Chiarini.  Or rather, I did not get into the store, which is one of the few that actually had a line to get in.  Never a fan of lines, I skipped it for a full year, peering in long enough only to see that they carried Church’s shoes and Ralph Lauren clothing and had a lot of dark wood and winding staircases.

The next year, I did wait in line – I either had more time to waste or I just couldn’t deal with Luisa via Roma again – and I was rewarded with that characteristic buzz and click that tells you that you have been chosen.

The old store was built in the style of haberdasheries of decades ago, with a narrow lobby guarded by mannequins in tasteful tailored and casual clothing, yellow-lit and warm. A narrow staircase lead to a small, patinated wood- and leather-adorned room, with sneakers from Pantofola d’Oro and Buttero display ed on the wall to the right; and to the left, shelves of Church’s shoes and other English and American makers. In the main room, there was more wood, and more racks and shelves of shoes and clothing in the Italian-preppy style, which integrates iconic English (Drake’s, Church’s, Trickers, Derek Rose) and American (Ralph Lauren, Alden) brands with Italian tailored and casual brands.  The overall vibe was an Italian version of a mythical Anglo-American haberdashery.  Much like Italian American food, it was both distinct from its original inspirations, and very enjoyable.  And frankly, a great respite to the white-and-chrome severity of more… modern stores.

The Sartorialist, whom we have to thank as the premier chronicler of #menswear in the mid 2000s, called Eredi Chiarini one of his favorite stores.  There is certainly a lot to like about it for any aficionado of Italian tailoring, with the enviable, though wallet-hurting, choice between Kiton, Attolini, and Caruso, just to name a few; or classic casualwear – you could easily make up an outfit with Drumohr knitwear, Joseph Cohen jeans, and an Esemplare coat, to blend with the enviably well put together Italian throng that would pass to and fro between Eredi Chiarini and its much gaudier counterpart across the street.  I could easily see about 95% of Styleforum’s “Classic Menswear” readers and posters being fans of this store, (the remaining 5% being the real holdouts that either pine for a high fidelity representation of preppy, or Italian tailoring purists.)

If asked to outfit a man for a week at the tradeshows, (one day I may go back to Florence purely for play), and for a bucolic weekend over on the hilly side of Florence, or further out in Tuscany, and if money were no object, I’d very confidently make Eredi my one stop shop in Florence.  It is certainly among the best handful of classic menswear stores in Florence, and perhaps the best “overall” store.

I’m not sure whether I’ll have a chance to visit the new store this coming winter, but if I do, I’ll see if the “sala denim” in the new store can match the charm of the old.

Sartoria Formosa, Napoli.

Sartoria Formosa has perhaps one of the best reputations in Naples. The tailoring house is tucked away in the same courtyard as E&G Cappelli, right on Via Cavallerizza, between Via Mille and Via Cavallerizza. It’s a small, woody courtyard–not a lot of foot traffic. However, the workmanship brings its own clientele, and people throughout Naples say the best double-breasted jackets are made here.

The original proprietor, Mario Formosa, passed away somewhat recently, and his son Gennaro now runs the shop. Gennaro is an incredibly warm and gracious gentleman. I came with Gianluca Migliarotti, the director of O’Mast, and he welcomed us both into the workshop by offering us some espresso (a cultural custom for Neapolitan tailors). While we chatted, I noticed three tailors fastidiously sewing away, one of whom was a particularly young man. A good sign for those of us who hope to see Neapolitan tailoring continue well into the future.

Gennaro showed me three garments. The first was one of the double breasted jackets that his father was known for. It was a 6 x 2 jacket (six buttons, two functioning) with peak lapels, extended front darts, and slightly puckered sleeves. The natural, soft shoulders (spalla scesa) and subtly sweeping lapel made it something to behold. The second was a navy single-breasted jacket with a few details that you commonly see in Naples—3/2 roll, soft shoulders, extended front darts, and slightly extended lapels to accentuate the chest. Instead of patch pockets, however, there were jetted ones, and in place of the double stitching, there were single seams that ran right up to the edge. These details gave it a nice, sober look. Finally, Gennaro pulled out a grey herringbone coat that his tailors were working on. It was slightly shaped in the waist, and had a beautiful curved roll towards the buttoning point.

Across from the laboratorio is another workspace, which functions partly as a showroom and partly as a working area for a custom denim line that Gennaro is developing. The jeans had a very continental feel, meaning the fabrics were slightly softer and the fit slightly slimmer. There were also some shirts on display, which made me think Formosa did custom shirts here as well. The collars were exactly the kind you see everywhere in Naples—somewhat high collar bands with soft, long points.

Later that evening, Gianluca and I were walking around Chiaia when we bumped into Gennaro again, who happened to be on his way driving home from work. “Come in,” Gennaro said. “I’ll show you the rest of Naples!” Ever the host, he took us through Bagnoli and Posillipo, two western seaside districts where Roman ruins run up right to the water’s edge. The region sits high above the city, and you can see Mount Vesuvius, the Bay of Pozzuoli, and much of Naples itself. The views were spectacular, and you could see the water and city sparkle below the cliffs. After he dropped me off at my hotel, I smiled on my day well spent.

Showroom and laboratorio
Via Cavallerizza a Chiaia, 37
80121 Naples
Tel. +39 081.41.45.92

Showroom
Via della Moscova, 30
20121 Milan
Tel. +39 02.89.45.34.90/91

One beautiful coat, three angles.

 

The standard Formosa 6×2 double breasted, Gianluca, and a glimpse of your humble author.

 

Peak.

 

A single-breasted jacket from Formosa. Note the lapel proportions, elegant roll, and jetted pockets.

 

Notch.

 

 

Formosa double breasted suit with tonal buttons.

 

Collar options, from Italian to really Italian.

 

 

Fabrics and some jeans Formosa’s new denim line.

 

I hope that’s a pinup calendar behind the jacket rack.

 

 

SF10: the philosophy of Revolver San Francisco.

Robert Patterson runs Revolver San Francisco, a shop and gallery that has stocked plenty of the lines Styleforum joneses for: Yuketen, Monitaly, Creep, Crate, and Journal Standard, among others. Revolver’s stock and atmosphere are very Pacific—somewhere between the Haight and Japan. But Revolver is just one among several successful projects that Robert is involved in in San Francisco. Ahead of Styleforum’s 10th anniversary events, in which Revolver will take part, Fok-Yan Leung talked with him about his philosophy.

Fok-Yan Leung: Robert, could you tell me a little about the history of your store and projects?

Robert Patterson: Experimental geography. We run lots of small, interesting projects that intersect. From Revolver, our first retail store in Lower Haight, to Voyager on Valencia, to our ramen restaurant in the Mission, to our upcoming Japanese sweet shop Suica—everything builds on an exploration of geography.

Each of our projects is built up from prior things. It’s fun to build things and see them grow. Different places require different things. Revolver was first. Revolver is sort of fancier and homier, cosy and neighborhood like the Lower Haight—off the beaten and hidden. Voyager is more exploratory and collaborative.

Ken Ken Ramen is food based. It grows out of our love of Japan and ramen. Taka, my business partner and head chef, and I met at Revolver over a shared interest over some Japanese brands, specifically Yuketen footwear. Today they all intersect in our commitment to quality service, attention to customers, and having fun! [Editor’s note: Ken Ken also serves Boba Guys, a project from a Styleforum/Superfuture member]

FYL: How do you go about buying for the store?  On the phone, you told me that it was a neighborhood store. How has that affected your decisions when you are in NYC, or LA, or LV, or at some other tradeshow?

RP: Again, geography comes into play. We’re really rooted in being part of Northern California and finding wares that are practical, fun, a little bit off and strange. Pieces that reflect the climate, people, and place that we live in.

And while do sell unique and fashion-forward items from emerging brands, part of the reason I think people like Revolver is that we are very focused on a meeting a local demand and reality. At Revolver customers find jeans that suit everyone, like those jackets in herringbone tweed that thirty year olds buy to spend Saturday afternoons with their girlfriends at the bar around the corner. This local reality is a stranger to many trendy boutiques that aim for an international clientele and find that the most appealing customers are those that come from far away. We’re a general store in that respect and really enjoying selling to a wide range of people from cool kids stocking up on the new threads from emerging brands like Hixsept to more classic tailored pieces from old brands like CP Shades that just work on everyone.

 

 

FYL: How do you differentiate yourself from the competition?

RP: Service, our staff, and collaboration. We’re pretty proud of the service we provide to customers and aim to meet almost any requirement they have. Again without support from local everyday customers we wouldn’t have any place in the city to have fun. Also we have an excellent growing team. Nearly everyone who works at Revolver makes interesting product and partakes in our 20% rule—which allows them to spend 20% of their paid time on any project that they find interesting. Valerie, our manager, makes a beautiful line of jewelry. Julia, another staffer, makes home wares and crafts; another curates our vintage collection; others make and manage our growing in-house collection, etc. Their passion for their own products that we carry differentiates us both in staff and product and allows them to focus on bettering the stores for customers.

Lastly we’re all about collaboration. We love working on unique strange projects. We’ve worked with guys at Upper Playground to surfy kids at Mollusk Surf Shop to perfect gals from Spartan in Austin on store pop-ups, events, other items, etc. We love working with other people on fun projects to get our batteries recharged and to see things from different angles. Always a good thing in our opinion.

FYL: Could you tell us a bit about the lesser known brands you carry.

RP: We love exploring brands from around the world—especially ones that lend to our unisex aesthetic. Denham the Jeanmaker—men’s/women’s denim line with technical outerwear and jackets. Super well-respected and based on a combination of heritage research and forward design.

Hixsept/Etudes from France is just the perfect unknown men’s brand, with great tailoring, quality, and fit. Sort of a surfy Engineered Garments. Really beautiful, simple, but still forward.

Sifr from Singapore/Indonesia is just awesome. They make really amazing men’s wear, simple jungle pants, great relaxed blazers, and wonderful chukkas.

Satcas is awesome basics line from Indonesia that just sells out every season. Great nylon hooded fisherman jackets, jungle cloth jackets.

Workers from Japan. Like Roy of Self Edge—one guy on a mission to create a huge growing reproduction line. Always out of stock but beautiful reproduction pieces using amazing fabrics. Hard even for us to get—these are just standout products that are amazing.

CP Shades—wonderful linen wear that reminds you of Kapital/45 RPM but more accessible. Flowing wrinkled grey linen dress shirts and stranger wool vests. We worked with them on slimming everything down for our store. True Bolinas / California relaxed hippie wear.

FYL: Could you tell me about your house brand?

RP: Dillon Montara—named after two beaches we love in California. It’s a growing collection – all made in San Francisco. Tapered jeans, unisex dress shirts in heavy Japanese fabrics. We’re working with an ex-Levi’s guy on fits and patterns. Our dress shirts have a great slim but classic block and the jeans have little details, but we’re still having fun. It’s nice having a retail outlet to explore and we have a great relationship with a garment factory to produce small quantities of pieces.

FYL: Could you tell me a bit about your ramen place (I’m sorta hungry right now?)

RP: Revolver is where I met Taka Hori, one of the other owners of Ken Ken Ramen—our ramen restaurant in the Mission. Taka loves Yuketen and always came to our stores to check out new drops. Having lived in Japan myself, a friendship emerged and we started working on our ramen project together. Just like many of the brands we carry—we make everything in-house using premium products and passion. We love ramen and strive to make a beautiful, lovingly produced product.  Similar to Revolver—at Ken Ken we aim to please both our customers and staff to make good product that are made of local parts but part of a larger whole. It might sound strange, but these all collate.

FYL: How did your experiences in Japan (aside from the ramen) affect your approach to retail?

RP: Service and quality. We only wish we could be as good as some of the stores/restaurants in Japan.  Having lived in Japan there is a real commitment to quality and service.

FYL: If you were to give advice to someone starting a clothing store, or a ramen house, what would you say?

RP: Find a passion and explore it in your own way. Don’t over plan or worry about failure. Start with a step and just enjoy the ride and where things go.

Shopping Naples: Magnifique.

There’s English Style and then there’s English Style, and located just a few steps away from London House is Magnifique Naples, a store with a real Anglo sensibility about it.

Magnifique Naples is a small but densely packed shop that has been on via Filangieri for nearly 50 years. Inside, an entire wall of neatly stacked cashmere sweaters sits behind brightly patterned tartan scarves and colorful umbrellas, which, of course, are made with dense wood or whangee handles. On the other side of the shop are English wool fabrics and fine cotton shirtings for the store’s made-to-measure programs, as well as tweed flat caps, English-style shoes, and various leather goods. Go a bit further back still and you’ll find a display case with accessories like leather-covered flasks, uniquely designed wooden calendars, and English cufflinks.

C’est…

The whole shop feels like a place in England that vanished sometime around the 1930s. You walk in and expect to smell wet tweed, pipe tobacco, and old army coats packed into wooden crates. Except you don’t. The store holds all the charm of the Old England, but with newer goods.

In the back of the shop I met the its founder, Signore Mario Esposito, who sat in a heavy chair as he monitored the shop’s floor like a ship’s captain. Signore Esposito is a no-nonsense looking man. He wore a navy knit tie, bengal-striped shirt, and a blue blazer, and he looked quite serious with his furrowed brow. Still, I approached and told him how wonderful I thought the store was. I don’t think he understood any of my English, but seeing how enthused I was, he cracked a smile and spun a monologue in Italian, which I couldn’t understand. Even after all these years, however, you could tell this man’s heart was in this shop, and he enjoyed meeting people who properly appreciated it.

Not everything in the store is British though. For example, Mario’s son Dario showed me some Valgrisa jackets they were carrying. Valgrisa is an Italian outerwear company that’s inspired by the traditional, indigenous cultures surrounding the Aosta Valley. One of the jackets was based on the Valley’s alpine guide coats, and another was modeled off of the Royal Park’s Hunting Guards uniform. Though both were Italian, however, they fit in well with the shop’s British sensibility.

As Dario later explained to me, his father created this store in order to give men a taste of England and the scent of Naples. I think they’ve done just that.

Magnifique Naples
Via Filangieri, 18
Naples, Italy 80121

Knitwear and accessories at Magnifique.

 

Among the neatest collection of fabrics I’ve ever seen in a working shop.

 

Bundled tartans.

 

Let me just check my calendar… yes, it’s a drinking day.

 

Outerwear in an unusual cut from Valgrisa.

 

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Brollys.

Messy splendor at Magnifique.

Shopping Rome: Jaja Camiceria

Giuseppe Rossi of Jaja Camiceria. Nice shirt.

 

By serendipity, I found Jaja Camiceria while walking around Rome one day trying to find a good lunch. I’ve always believed that when you’re in a touristy area, you’re better off searching for food off the beaten paths. So while walking down a smaller side street near the Spanish steps, I came across this custom tailoring shop.

Jaja has been around for almost 45 years, but changed ownership two years ago and is now run by Giuseppe Rossi. The shop’s front room is where he meets and fits clients, and all the shirts are made in the back. Giuseppe does all the custom pattern making and cutting, and he and three of his tailors do the sewing.

Since everything is bespoke and handmade, they only produce four shirts a day. Hand-sewn seams go around each of the armholes and down the plackets, and distinctive mother-of-pearl buttons slide through the handmade buttonholes.  The side seams, hems, and collars are made by machine, but they’re done with such a high stitch count (nine per centimeter) that they’re barely perceptible.

Signore Rossi was nice enough to demonstrate for me some of his handwork. Taking one of his current client’s shirts, he slowly and patiently hand stitched up the placket. As he later showed me, monograms are also genuinely hand embroidered, which you could tell by examining the back of embroidered fabric. Truly hand-embroidered monograms lack the small piece of fabric on the back that’s attached on machine embroidery to prevent wrinkling.

Prices for custom shirts start at $260, and go up from there depending on the detailing and fabric. Due to how much work is involved in cutting the first pattern, there is a minimum three shirts for the first order. Jaja can also make boxers out of their Italian shirtings for $50, as well as pajamas out of soft cotton flannels for $235. Looking back, I wish I had ordered a couple of monogrammed boxers. Who can’t use a pair of Italian boxers with a shadowed monogram?

Jaja Camiceria
Via Belsiana 7A
Rome, Italy

Signore Rossi stitches a placket.

Handwork on a Jaja placket.

 

Bolts of fabric at Jaja.

 

Collar styles at Jaja.

 

Spreads.

 

Hand-embroidered monogram from Jaja.

 

A man is not fully dressed until he has a pocket square in his pajama pocket.

 

Embroidered boxers--better than writing your name on the waistband with a sharpie.

All photos and text by Derek Guy. Check out Derek’s other sartorial endeavors at Die, Workwear and Put This On.

A visit to Panico, Naples, part II

Antonio Panico adjusts an Ulster coat.

See also part I of Derek’s piece on Panico.

If you know your way around, some of the best food can be had in Naples. Our dinner with Antonio Panico, for example, took place at Pizzeria Mattozzi, a modest restaurant located just a short walk from Rubinacci. I was actually there earlier that day, but foolishly ordered the pasta. The key, I think, is to always order dishes that use mozzarella, which in Naples is made from the rich milk of water buffaloes. Panico ordered six or seven dishes for us to share, most of which had lots of mozzarella (including pizza, of course).

At dinner with us were Mrs. Panico, who was wearing a lovely dress and fur coat, and two of Panico’s Japanese clients, both of whom turned out to be young dandies. One was wearing a pair of grey flannel trousers and a gun club jacket with softly constructed, roped shoulders, three patch pockets, and a rather clean chest. His jacket was slightly more fitted, which is what I assumed he asked for, given his age. His friend had on charcoal trousers and a navy sport coat with two patch pockets, barchetta breast pocket, and sloping, bald shoulders. Signore Panico came dressed in what he wore earlier in the day—a navy suit, light blue shirt, burgundy oxford-weave tie, and pair of black suede chukkas. In addition, he had on a matching burgundy wool scarf and navy Ulster overcoat that he undoubtedly tailored himself. When he wore the Ulster, he would flip the back collar up, as is often done with this style of overcoat, and it flared out in the most handsome way. The overall look was very masculine.

I asked Panico at dinner about the famous safari jacket he made when he was at London House. “I don’t even think about it anymore,” he said. “But if you’d like, I have some other safari jackets in my workshop. Come by tomorrow, I will show you.” I actually had an 8-hour appointment at Isaia’s factory the next day, but Panico assured me that it didn’t matter. He works until very late at night.

The following evening, I stopped by the atelier. Again, as is the custom, Panico welcomed me in and offered me coffee. This time, there were also cigars and chocolates on the coffee table, and on the other side of the room, where there had been wool suiting, there were now two extremely large bouquets of flowers, presumably from happy customers. Panico and I chatted for a bit before a knock came at the door. An older, slightly heavier set Neapolitan gentleman came in. He had thick, wavy silver hair and a grey chalkstripe flannel suit to match. It turned out he has been a client of Panico’s for 30 years, back when the Maestro was at Rubinacci. Now he lives in New York and does business in South Korea and Western Europe. When he can, he stops by Naples to have his clothes made.

“Thank you for the espresso,” he said to Panico’s assistant. He passed on the chocolate, but took one of the cigars. Panico then handed him a lighter.

The gentleman was very worried about the European debt crisis, so we talked for a bit about the European Central Bank, whether Italy should return to the lira, and if the Euro was a doomed idea from the start. After about 20 minutes, the gentleman turned to Panico and, almost as if he just remembered, asked about his jacket. Panico then politely asked for my permission to bring the client to the fitting room, to which I replied, “Certainly, please.”

The fitting is a private affair, of course, and when the two men returned, we continued to chat about various subjects—modernity, family, and traveling. Soon another knock came at the door and a gentleman with neatly brushed-back brown hair appeared. He didn’t seem like he had time to chat, so Panico asked us to excuse him while he brought the client to the back. The silver-haired gentleman and I continued our conversation, and when the Maestro returned, the topic naturally wended its way to tailoring. “Ah yes, the safari jackets,” Panico said, and then nodded, “Let me show you.”

He brought out three belted jackets. One is made from linen, another from cotton, and the last from cashmere. Without any of the structure of lining or canvas, they wear rather light. Panico motioned me to try on a few. Once they were on, he belted them up, pulled up the collar, and straightened them out. I admired them for a moment in the mirror, appreciating their stylish, unique look. Next, Panico had me try on a few Ulster overcoats, which weren’t too unlike the one he wore the night before. These are made from heavy, thick wools and they have an incredible life to them, particularly in the way the lapel line majestically rolls past the buttoning point.

Panico seems to excel in this kind of construction—shaping heavy, thick fabrics beautifully and making them feel as light as possible. They drape wonderfully from the shoulders, and even with the rougher cloths, there’s the signature spalla camicia sleevehead. The silhouette also harkens back to the Golden Age of Italian style—the 1950s and ‘60s – when suits were a bit fuller and had more bravado. Panico’s tailoring, in this sense, feels grand, aristocratic, elegant, and very masculine.

I thought about this for a moment while looking in the mirror. There’s been enough hand wringing over whether there will be enough skilled tailors in the future. Many Master Tailors don’t have apprentices, and the modern economy no longer allows people to enter into the trade at an early age (Panico began training at age 12). More importantly than that, however, is the problem of taste. There seems to be two generations in Naples. The older generation likes a fuller, elegant cut, while the younger generation likes things more fitted and fashionable. I personally have no doubts that there will be skilled cutters here in 20 or 30 years, but it’s not clear whether there will be people with Panico’s level of taste in the future. For those of us who appreciate that 1950s-60s era of Italian style, such silhouettes may be more and more difficult to obtain in 30 years’ time.

Back in the main room, the original silver-haired gentleman and I decided that we’ve bothered the Maestro enough, and that it’s time we leave him to his work. We bade him farewell, and Panico asked that we visit him again when we’re in town.

As many may recall, Filangieri posted this old article at Ask Andy About Clothes many years ago, before AAAC’s servers crashed. In it, he gives his account of having a suit made in Naples, and waxes romantic on not only the garments, but also the process, experience, and social nature of the transaction. His article is almost undoubtedly about Panico, but I think it represents many other tailors here as well. For example, on the day I met Gianluca, the director of O’Mast, he had just gotten back from his tailor, where he had not only stopped by for a fitting, but also to share lunch.

This kind of kind of gentleman’s approach to business is only really practiced among a certain segment of tailors, however. They tend to be from an older generation, and are often cutters running smaller operations. Perhaps because of age or culture, they don’t seem interested in maximizing profits. Their business is steady and loyal. Their clients bring their sons and close friends, and those people stay for decades before doing the same. In some cases, if the Maestro doesn’t think someone is worthy of being fitted, he may even politely turn down the business. For these men, tailoring is as much more about their sense of personal pride than it is about money, and the people they work with aren’t just customers, but also friends.

To be sure, one shouldn’t get the impression that you can go to Naples and buy this experience as though it were part of a pre-packaged ride. It’s not as though for 2,000 Euros you’ll get a bespoke suit and two espressos, but for 500 more, you’ll get lunch. They’re natural extensions of real relationships. Foreigners who come here, on the other hand, often don’t speak Italian, let alone Neapolitan, and the tailors certainly don’t speak English (at least the older ones). Perhaps both parties can get by with enough gestures and pointing to have a suit made, and maybe a cup of espresso will be offered, but these aren’t the same things. The “Neapolitan ‘sartoria’ experience,” as Filangieri calls it, is still alive, but one gets the impression that it’s only for locals.

Unfortunately, as this older generation ages and eventually departs, so may this social dimension of Naples’ tailoring culture. Many of the other houses are too new, too big, or too busy to engage in such things. Even if they had the time, young people tend to approach business differently. This kind of transition could be likened to the evolution of barbershops in America. While they were once places for socializing and leisure, they’re now places where you simply make an appointment and have your hair cut. Neither the barbers nor the clients have the time or inclination to socialize in the same way anymore. As one young salesman at a sartoria told me, “We live in a much busier time now. I can barely get all my work done; I certainly don’t have time to have coffee with everyone. That kind of way of doing business is from a different time.”

And more caffeine.

 

Flowers in the salotto.

Ulster coat, rear view.

Shoulder detail on Ulster coat.

A raglan sleeve overcoat at Panico.

Coat in progress at Panico.

A coat in progress in Panico's fabric room.

Panico shows off a cashmere safari jacket.

A cotton safari jacket.

A tailcoat from Panico.

Lovely lapel roll on a tweed jacket.

Spalla camicia on a tweed jacket.

All photos and text by Derek Guy. Check out Derek’s other sartorial endeavors at Die, Workwear and Put This On.

A visit to Panico Naples (part I).

Lu Tung, a Chinese poet during the T’ang Dynasty, has a poem about drinking seven cups of tea. The first cup moistens his lips and throat; the second breaks his loneliness; the fourth makes him perspire; and by the sixth and seventh, he’s called to the gods. I imagine this might happen to you if you visit too many tailors in a day in Naples. Many will offer you a small cup of espresso when you come in (sometimes called na tazzulella e café in the local dialect).“Ve site giè pigliato o’ cafè?”(Have you had coffee?), they’ll ask. It doesn’t matter if you have or haven’t. The Maestro will when you’re his guest, so you should, too.

Antonio Panico.

This is how my meeting with Antonio Panico began. Panico, if you didn’t already know, is a legendary tailor in Naples. He was a cutter for London House after Vincenzo Attolini left, and his relationship with Mariano Rubinacci was as close as Vincenzo’s relationship with Gennaro Rubinacci. Together they made important achievements in Neapolitan tailoring. The most well-known is perhaps the summer safari jacket they made out of seven-ounce cloth, which is so light that it’s traditionally only used for papal clothing. These days, Panico has his own tailoring house, for which he’s the only cutter.

Gianluca, the director of O’Mast, brought me to the workshop, which is located in the ritzy district of Chiaia. It was evening, however, and already dark, so I didn’t have a good sense of where we were going. From what I could tell, we went down one of the quieter streets, entered a courtyard, went up some marble stairs, and knocked on a door that I could barely see in front of me. When the door opened, a softly lit room with warm red walls appeared and standing in front of us was Panico, dressed in a navy suit, light blue shirt (which I later found out was made by Matuozzo), burgundy oxford-weave tie, and black suede chukkas.

“Ah, Gianluca,” Panico said with a gentle smile. He welcomed us in, and asked us the customary “Ve site giè pigliato o’ cafè?” We agreed to have some, so Panico asked his assistant to bring out three espressos and for us to sit down.

The main room where Panico hosts his guests is beautifully decorated. On the walls hang original paintings and antique prints. On one side of the room, a dark wooden table with matching chairs holds the Sotheby’s auction catalog for the Duke and & Duchess of Windsor collections, a large book about Neapolitan nobles, and, on my visit, some piles of neatly stacked wool suiting that Panico had just received. On the other side of the room is a desk with small sculptures and an array of heavy, sharp shears. (Panico took delight in showing me how each pair of shears made their own unique “snipping” sound.) Near the desk are two armchairs and a couch, all of which are upholstered in a beautiful blue and gold fabric. In front of these seats is a red marble coffee table with stacks of magazines and books on men’s style and, on that evening, a silver tray with our three cups of espresso.

We sat and chatted about Naples, Gianluca’s new film, and how business has been. Panico has a deep, almost guttural voice, and his face is almost always very serious. He’s less than impressed when I tell him I write for various men’s style blogs. “I don’t like the internet,” he said while holding a cigarette between his puckered lips. He then lights it with a matchstick, tosses the match on the coffee table, and pulls out a cell phone from his jacket pocket. “I was told I had to get this, but otherwise, I dislike technology. I haven’t even seen my own website.” It might sound like hyperbole, but I believe him. I told him that I’d seen it and it’s quite nice. He shrugged and took a drag from his cigarette.

After a bit of chatting, our conversation naturally led to tailoring. I asked to see some of his work and he brought out a completely unlined, unstructured, cream dupioni silk jacket. It’s single breasted with notch lapels, two patched hip pockets, and a barchetta breast pocket. Its beautiful, nubby hand stitching matched the nubby cloth well, and the construction is so light that it truly fit like a shirt. Gianluca and I tried on a few more jackets, including a heavy brown herringbone tweed with “typical” Neapolitan details—patch pockets, an extended front dart, completely unpadded shoulders, and spalla camicia sleeves. The chest was full, but not so much that it draped near the armholes, and it came in a bit at the waist to give the wearer some shape. The silhouette reminded me a lot of the elegant clothing Italian men wore in the 1960s. I asked Panico if he had to treat these heavy, thick cloths in any particular way in order to achieve such softness and lightness. He motioned with his hands, like he’s working through fabric. “I break its balls,” he smiled.

Panico then gave us a tour of his workshop. A room next to where we sipped espresso is where he keeps most of his suitings, as well as a couple of coats that he’s working on. He noted that he likes to collect vintage cloths, even if clients tend to favor newer materials. Like many tailors, he finds the older stock tends to drape better. The room behind that is the fitting room, which holds a beautiful three-way mirror and another couch. Finally, to the left is Panico’s workroom. I saw a few jackets hanging from the shelves, presumably waiting for clients’ fittings, and chalked up fabrics on the table. Panico only does his pattern drafting and cutting here; the sewing and ironing takes place off-premise. I didn’t see any paper patterns, so perhaps Panico is one of the few tailors who directly draws on the cloth.

We returned to the main room, where we were having coffee, and Panico told us that two of his Japanese clients just came in from Tokyo. He and his wife were having dinner with them later that evening, and he invited us to join. Of course, dinner with the Maestro would be quite an honor, so we accepted. Gianluca and I gathered our things and went back to our separate hotels so that we could prepare for the evening.

Antonio Panico lights up the room.

Salotto (where Panico greets clients)

Decor, including shears, in the salotto.

 

Dupioni silk jacket; completely unstructured.

 

Spalla camicia shoulder on Dupioni jacket.

More detail inside the Dupioni jacket.

 

A spalla camicia shoulder in tweed.

The fabric room at Panico.

 

Panico’s working shears.

A jacket in progress in Panico’s workroom.

Another jacket in progress in the workroom.

A final in-progress jacket, giving an idea of Panico’s cut and detailing.

Read part II of Derek’s visit with Antonio Panico.

All photos and text by Derek Guy. Check out Derek’s other sartorial endeavors at Die, Workwear and Put This On.

Attainable style with the Knottery.

One of the benefits of the recent boom in interest men’s clothing has been the sprouting of grassroots companies that fulfill the niche-y desires of hobbyists—Styleforum favorite Howard Yount, for example, or startup the Knottery, which launched last summer. Based in Brooklyn, the Knottery is run by friends Jay Arem and Jack Fischman, who make limited runs of men’s accessories: ties, pocket squares, and belts among them. Overwhelmingly, their items are well-made and often infused with a humor that cuts the potential mustiness of the men’s furnishings business.

Cable knit wool tie from the Knottery (“The Watercarrier”).

Tempted by the low prices the Knottery offers (ties start at $25; less than the sale price of most fine neckwear), I picked up a couple of wool models last fall, a square-ended cable knit tie in navy and a tweedy, point-ended model with a chambray keeper. The ties knot well and are nicely proportioned—most are 3 inches at the widest, some knits a little narrower. The company does not intend to compete with the neckwear you’ll find in the salons of Napoli that Derek has been covering; rather they offer “affordable style for the initiated; attainable style to the beginner.” To me that’s a worthwhile niche to fill.

I spoke with Jay about getting the Knottery off the ground, and what he and Jack have in store.

Pete Anderson: How did you first get into the business of men’s accessories?

Jay Arem: I had been an avid internet style blog reader for the last few years. I had been working as a manager of a branch of an energy company, and always wanted to do something more creative, but couldn’t find my platform. I had originally wanted to blog, but after many nights staring at the blinking cursor on a blank word document, I realized that it wasn’t gonna work. The accessory business idea started as a joke between me and my now-partner, then-friend Jack after a movie one night. He had been involved in a bunch of different e-commerce ventures in the past but never retail or “fashion.” I made a crude mockup of a site on PowerPoint and emailed him the next day. We agreed to each invest $500 and in the worst case have a bunch of ties to give out as gifts for the rest of our lives.

PA: When exactly did you launch? The Knottery is well past worst case now—you stock ties, pocket squares, lapel flair, and small leather goods. What’s been the most interesting stuff to source?

JA: We went live in June 2011. We have fun every day. Each item presents its own challenge to source. Jack and I both share an interest in production, fabrication, and the sort. While the internet does offer many opportunities to find sourcing for a plethora of items, it remains difficult to find manufacturers of specific items.

PA: Was it truly a from-scratch operation, starting up? Did you have relationships that you could take advantage of at the start, as far as manufacturing, design, etc.?

JA: The whole thing began as a hobby. The website was hard-coded on a per hour basis by freelancers from that original mock-up. The designing was all from scratch. We had a few leads for overseas manufacturing from some of Jack’s other dealings to start out.

PA: The ties you guys carry are interesting–they rely a lot on knits, non-silk fabrics, and texture. Where do you think you get your design sense/aesthetic taste?

JA: It kind of came about from two separate directions: One, we began with fabrics that we could source at lower quantities, not going the standard route of buying direct from silk mills.  Two, we wanted to make ties that we would own and wear. As two guys who have “dressed up” every day for the better part of the last decade, our aesthetic leans toward the dressed up casual look.

PA: That look  seems to be pretty on-trend with a lot of men’s clothing right now: suits and ties for men who choose to wear them, rather than men trying only to meet the minimum requirements of a dress code.  Regarding your fabric choices and sources, is working outside what may be the standard business model for makers–e.g., not buying from silk mills directly–a method you plan on continuing, or was it more a matter of necessity?

JA: A bit of both. It also allowed/forced us into pushing the boundaries of conventional fabric sourcing. One of our first ties were made from an Etsy purchase I had sitting in my closet for about a year. On the other hand we also want to produce some “regular” ties and therefore buy some materials from mills, such as a grenadine we are in the middle of perfecting.

PA: I assume that Etsy fabric made for a small run. How many ties do you usually do per design? Can you tell us a little about construction of the Knottery ties?

JA: We do 50-100 per style usually. Construction, because of the unconventional nature of some of our fabrics we have played and experimented with different linings each time. We continually strive to achieve and are constantly learning more about what makes a tie great. We have sewn many a tie sample ourselves to test out different linings and silhouette dimensions pre-production. Currently most of our ties are lined and self tipped (when possible).

PA: Regarding construction–are your ties all made in one place, or is it sort of make-em-where-it-makes-sense? There’s a great “brewery” based in Maryland called Stillwater that is really just a guy who makes beer at various breweries, depending on what he wants to make and what capabilities he needs.

Also, the Knottery’s non-knottable goods–how did the belts, lapel flowers, and eyeglass “chains” come about?

JA: We use three different factories, depending on the item. The other categories were just a natural extension of what we were doing. Our mission statement has become: “if we want it, let’s try to make it.” That is why we have a cap coming in in the next week or so [eds note: a collaboration with Fairends].

PA: How has reception to the Knottery’s stuff been? To what do you attribute success so far?

JA: We have gotten great feedback. We love what we do and some of the best parts of all this have been meeting people who have similar passions, getting emails from different people just wanting to say hello or make a suggestion.

PA: I should follow up on the production question—one of my ties is marked “Made in USA”—are the factories all in the states?  The ties I’ve seen from you are, in my opinion, very good value, as I bought them for $25. Your current tie prices sell for $25 to $35, and made-in-USA belts all under $70. Do you expect to be able to keep retail prices low as you grow?

JA: We use a factory in China for some of our ties. We use this factory because frankly it wasn’t possible to achieve certain ties at the price points where we needed to be. We are all for Made in the USA , but we put quality and affordability before country of origin.

We hope to continue keeping our prices the same or close to what they are.

PA: I think shoppers appreciate honesty as far as country of origin goes, although made-in-Italy and made-in-USA, among others, will always carry value. One last question—there’s a winking humor in much of what the Knottery does: from your web copy to your designs, including the dub-monk club tie. Where does that come from?

JA: We wholeheartedly agree about the origin carrying value, and continually search for more avenues of U.S. production.

The humor is a natural representation of our brand because its a natural representation of Jack and me as friends. Our daily goal is to outwit one another. For the sake of this interview, I usually am the winner.

Thanks Jay!

Visit the Knottery, or contact them at info@theknottery.com.

My tweed tie from the Knottery.

Cable knit detail on The Watercarrier tie.

 

Tweed tie with chambray keeper.