Best Media 2018: ‘Die, Workwear!’ (or, why we need independent voices)

Best Media 2018: ‘Die, Workwear!’ (or, why we need independent voices)

Friday, January 26th 2018
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Best Media of the Year: Die Workwear!

Runners up: The Rake, Plaza Uomo

In a world overflowing with new media, it seems very little of it is any good.

Only a handful of publications received more than two votes in our Media of the Year category (part of the inaugural Permanent Style Awards), and of those one was Hodinkee, which doesn't even cover menswear.

Several readers also pushed for a 'bad media of the year' category, to punish those publications they saw as selling out and sacrificing all credibility.

 

The out-and-out winner, with more votes than the next five combined, was Die Workwear!, a blog run by American Derek Guy.

This surprised me and, perhaps more, Derek.

I love Derek's writing, which is well-researched, insightful and eloquent. He also writes regularly and professionally, which is almost as rare.

But to win by this margin is striking. There is clearly an appetite for the old-fashioned, personal blog that is knowledgeable but accessible, practical but original.

Some of the comments that Permanent Style readers added to their vote included:

"I think what Derek is doing at Die, Workwear! has been superb. The information as well as the media that he provides to illustrate his points are always on point and relevant. And although I feel that sometimes this world of classic menswear can be a bit snobbish at times, he has always written in a style that is erudite, while still being straightforward."

"Best media is undoubtedly Die, Workwear! Derek is a genuine guy, who writes approachable and interesting articles about menswear. He is able to talk about the romanticism surrounding tailoring, while avoiding getting swept up in it. He also has suggestions for less affluent readers when possible."

"Derek Guy of Die Workwear, whose writing always conveys his excitement about clothing, and provides a varied palette of ideas and inspiration for what and how to wear things."

"Die, Workwear. A unique and satisfying blog not just for the wide sartorial range, but also for the intellectuality, the knowledge of history, and the photography collections."

I chatted to Derek last week about the award.

Permanent Style: How do you feel about being voted the best media in classic menswear, and by such a margin? 
Derek Guy: Honestly, very surprised. I think when you create anything online, you wrestle with all the insecurities that come with wondering if something is good enough to put out there. I've never been happy with my own work. I often wish I had more time to polish up the writing or dig deeper into a topic. So, it was genuinely nice (and very surprising) to see some people like my site enough to nominate it.
How would you describe the aims of your site, and how you would differentiate yourself from other blogs or media? 
Most blogs nowadays are very focused. They're about a specific style or approach, or they have a mission in terms of what they want to do for their readers.
My site is basically about whatever I happen to be interested in at the moment, and I have very broad taste, which one of the reasons why I was surprised to see my site nominated. I'm just as interested in contemporary ready-to-wear brands as I am in bespoke tailoring.
I'd like to think that I write for a similarly minded audience, although I find most people are either interested in capital-f fashion or traditional men's clothing - it's rarely both.
I also try to write about classic men's clothing without any of the pretension and class appeal that sometimes surrounds this genre. One of my favourite posts from you is the one titled "I Am Not A Gentleman." I don't care for the moral baiting that sometimes happens in this category, so I try to write about things in a way that shares my enthusiasm without getting into the pretence.
Likewise, I try to write about designer clothing and ready-to-wear brands without feeding into the hype of must-haves and celebrity endorsements. I think of my site as being half about quality and how things are made, the other half about design and the simple joy that can be had through clothes.
I think fashion should be fun and relevant to people's lives, making them feel better, not worse. There's a lot of stuff out there that feeds into class and social anxiety. And while I admittedly write about expensive things, partly because the things that excites enthusiasts are often expensive, I also try to include more affordable alternatives where I can (this is admittedly easier on my site than yours since I talk about ready-to-wear).
Lastly, I try to focus on things I love, rather than things I hate. Again, part of the general view that content is better when it's fun and positive, adding to people's lives and feeling relevant, rather than making them feel worse about themselves, their possessions, or the world. There's enough stuff nowadays to be upset about, things more important than clothing, we don't need to add pants to the list.
What principles lie behind what you do? 
My boss at Put This On, Jesse Thorn, wrote an editorial policy for our site a few years ago and I've stuck with it, even at my own site.
It's pretty straightforward. I don't write or publish sponsored posts, or include sponsored content in my posts. I return or donate to charity all review garments. I disclose when I write about an advertiser. And I don't let my business relationships get in the way of my editorial objectivity.
I started reading menswear blogs a little over ten years ago, and I try to keep what initially drew me into blogs over magazines. The content was honest, driven by enthusiasm, and there was a clear voice from the writer - things felt personal. I try to maintain that in my writing.
How do you feel about the volume of media today, from blogs to brand websites to social media? 
It's overwhelming, and I sometimes worry there are fewer independent voices. Ten years ago, when I first started reading men's style blogs, there were dozens and dozens of sites. Now, that field had dramatically narrowed. I still read many style blogs, but more and more of them are larger media organizations. It's harder to find those independent voices.
I suppose I worry about how much online media nowadays is just driven by branded content or larger companies. Or how much is simply just the "content" side of brand's website, which is obviously organized around selling you products. And how much people's online time is taken up by sites such as Instagram, which rarely goes beyond a photograph.
I don't know where online media is going, but I hope there will continue to be space for independent menswear writers who are just talking about things from an enthusiast's point of view. I think there's something special about that category.
Some things I've been heartened by: it won't please Permanent Style readers, but I like the new GQ Style site (a separate section from GQ's main page). I think the content there is much better than what many mainstream organizations are doing.
I also like many of the podcasts that are coming out, such as Blamo!, which are clearly just for enthusiasts. I'm proud of the work my colleagues create at Put This On, one of the sites I work for. And I like that certain mainstream writers, such as Jacob Gallagher at The Wall Street Journal, are writing from the heart. So long as online media remains genuine and smart, I think that's a good thing.
How do you feel about the name of your site? 
It's absolutely awful. I never thought the site would be seen by more than a couple of friends, and the site's name was partly a friendly jab at a buddy's love for workwear. And, as I'm sure others have noticed, I like workwear a lot more than I used to.
You can only imagine how embarrassing it is to email designers asking for quotes. It's like, "Hi, I'm a huge fan of your workwear line and was wondering if I could get a quote from you for my site, Die, Workwear!?" I either have to make a conscious decision to leave off the exclamation point, misspelling my own blog's name, or include it and seem even more schizophrenic.
If you include a new category next year for Worst Blog Name, I think I'm more deserving of that award. Nobody really comes close to me in that regard.
On the upside, I can't tell you how much spam I've received over the years from actual workwear manufacturers based in Pakistan and China trying to offer me wholesale prices on work uniforms. Things such as actual coveralls, heavy duty gloves, and whatever you'd wear to operate a forklift. It's my punishment, I suppose. I think they think the 'Die' in my blog's name is German for 'The'.
Who did you, or would you have, nominated for the other PS awards?
For brand of the year, in terms of innovation, I'd nominate Stoffa. They've not only done a lot in terms of bringing a new, slightly more contemporary style to classic men's clothing, but they also have a very interesting business model.
While they sell some accessories online, the bulk of the business is in made-to-measure, sold direct to consumers through trunk shows. There's less waste here in terms of inventory, which is great for the environment, and it seems like it's a way forward at a time when brands are both trying to figure out how to escape the problem of commodification, as well as sell things without a robust brick-and-mortar distribution system. There's a lot to Stoffa that I think is just absolutely brilliant in terms of design and business model.
For best customer experience of the year, I'd echo those who nominated Skoaktiebolaget and No Man Walks Alone (both advertisers on my site, but also stores I personally patronise). I think the early-20th century model of fashion retailing is dying. Old, huge department stores such as Saks Fifth Avenue used to be famous for their service, but I don't know if they have the expertise anymore to compete against these smaller, more specialized boutiques.
To be sure, there are lots of online stores nowadays that offer world class products, but I often find myself going back to Skoak and NMWA for shoes and causalwear. I just find myself relying on them for sizing advice and ideas on how something from their store can be worn. And I trust them, where I may not if I were at a huge department store.
For best dressed, I'd go with Bruce Boyer for the inaugural year. There's something special about how little his style has changed. He's always championed the same classic, American style, but worn in a way that feels natural in today's increasingly casual world. It doesn't look like a costume, which admittedly can happen with certain classic clothes. Yet, he always looks terrific - his clothes suit him.
Plus, he's an incredibly gracious and kind person, with interests that go beyond clothing. Online, we often think of style as this kind of disembodied thing, so it's about clothes alone. But in reality, so much of this is about personality. For actual, real life style, I think Bruce is great.
Thanks Derek, and congratulations. The award is highly deserved. 

Best Customer Service 2018: No Man Walks Alone (or, the future of retail)

Best Customer Service 2018: No Man Walks Alone (or, the future of retail)

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Best Customer Service of the Year: No Man Walks Alone

Runners up: The Anderson & Sheppard Haberdashery, Skoaktiebolaget

Although there were many categories we could have selected for our Permanent Style awards - launched earlier this month - Customer Service was the one I was most excited about.

Good customer service is something rarely highlighted in the fashion world, yet it is core to so many of the things we value.

Personal service is an obvious attraction of bespoke tailoring, together with a relationship that deepens over time. But it’s no less important to the popularity of good independent stores.

Strong relationships with salespeople, and trust in the way a shop is curated, can lead to a mutually beneficial relationship of loyal, repeat customers that look forward to the shop experience.

Greg in the NMWA showroom. Photo:fromsqualortoballer.com

It was gratifying, therefore, to see that this awards category received more votes or nominations than any other, as well as more comments.

Customers were keen to relate their experiences, and extend their thanks, to the three brands that quickly dominated the votes: Skoaktiebolaget, the Anderson & Sheppard Haberdashery, and No Man Walks Alone.

Comments about NMWA (which won this year, with A&S second and Skoak third), included:

“My drop-in visit in November was one of the, if not the, most enjoyable shopping experiences I’ve had. They were willing to let me try on a bunch of things and offered excellent style advice. I’m hard pressed to think of a better experience shopping both online and offline.”

“Always generous with time for answers to questions and when small things have gone wrong with shipping or orders ... been humble in apologies and more than made up for it.”

“Greg and Kyle are quick to answer questions, and are more than happy to accommodate my requests – even when those requests cost them time and money”

A heart being warmed

When I talked to Greg [Lellouche, NMWA founder, pictured above] last week, he related how lovely it was to see these comments come in.

“It was incredible, and frankly really heart-warming.”

“One of the downsides of running an online store is you rarely meet satisfied customers. People re-order, and you talk to people on the phone, but who phones a store to say how happy they are?”

NMWA has an active thread on StyleForum, where they answer a lot of questions, but these are largely practical. There are few excuses just to tell NMWA how they good they are.

Suits hanging at NMWA. Photo: fromsqualortoballer.com

Interestingly, the three brands shortlisted for this award are all very different kinds of shop.

A&S is all about physical relationships and service, without much emphasis on e-commerce. Skoak is a lovely physical shop, but with a very active online presence. And NMWA is entirely online (apart from the odd trunk show or appointment).

However, both NMWA and Skoak have consciously tried to replicate the customer service of a physical store.

“We’re so happy people think they’re getting a good experience. We spend so much time responding to queries, talking on the phone, giving personal advice," says Greg. "Nothing is scripted, everything comes from us.”

A Formosa jacket in the showroom

It helps a lot that Greg and Kyle are in the NMWA stockroom, surrounded by the product.

“The reason so many shops give you stock answers is that the staff just don’t know it very well. They’re in an office, and the product is somewhere else,” Greg says.

“We can just go find something if a customer has a question we don’t know the answer to. I can go grab the jacket and say ‘Yes, actually there is a coin pocket in the trousers’.”

The most common queries are about sizing, followed by advice on the texture or character of the garment, followed by styling.

“Someone might email to ask what ties a jacket would go with. We’ll usually go and grab three or four we like, and send back a picture showing the combinations,” says Greg.

Greg having a basted fitting in the showroom

Interestingly, when NMWA was founded, the biggest concern was removing the normal obstacles to online purchases, rather than trying to replicate a physical shop.

“I wanted to give the customer every type of information possible - sizing, weight of cloth, original and consistent photography,” says Greg. “We would often go back to our partners again and again, asking for more info.”

In the end, though, he learnt that different men just shop in different ways, and there’s no point trying to change them.

“Some people love measurements, and their precision,” he says. “Others just want to phone you up and say they normally wear a 46. Those two won’t ever swap.”

As e-commerce becomes more and more prevalent, I think customer service will become the key way customers differentiate between them.

I’m pleased to have such a deserved winner in NMWA this year, and look forward to recognising more such stores in the future.

Saman Amel made-to-measure jacket: Review

Saman Amel made-to-measure jacket: Review

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It’s so enjoyable writing good reviews.

It is valuable to write balanced, semi-critical pieces of course, and this is a core part of Permanent Style. But you always feel very conscious of the effect the criticism will have, and bad even if it’s accurate.

Enjoyably, there is almost nothing bad to say about this Saman Amel made-to-measure jacket. It is simply superb, in terms of style, fit, craft and value.

Which is even more pleasurable to say, given what lovely people Saman and Dag are.

I first wrote about Saman Amel in September 2017, when they first came to London. They’ve been here another time since (when we had the first fitting) and Saman is here next month again (February 8-10).

I say fitting, but given this is made to measure and not bespoke, the jacket was pretty much finished at that second meeting. Nothing was basted, with any adjustments requiring opening up the seams.

This restriction of made to measure is one reason Saman says he takes the measuring process so seriously - and that showed at this second meeting.

All the fundamentals were perfect - the balance front and back, side to side, the clean close fit around the neck. I don’t think I’ve ever had a piece of tailoring that fit this well at this stage.

The only things we changed were to balance the sleeve length and put a little more shape in the back.

The jacket was sent a few weeks later, and I showed it to them in Stockholm when we met at the atelier. It was perfect.

As per usual, the photography here doesn’t necessarily do justice to the fit. Until you start moving (or the wind starts blowing) the fit is beautiful and clean through the waist, for example.

And you can see how lovely it is in the back - below. (Bear in mind also that this is a very soft, lightweight jacketing - Loro Piana wool, 320g).

The only thing I might change is to give a touch more space in the waist. It's perfect over a shirt, but doesn't give much room for a little knitwear (as here).

Often adding a bit in the waist like this doesn't visibly change the line, but allows the jacket to hang a little more easily. Making jackets tighter even if it doesn't slim the lines is a frequent mistake men make with bespoke or MTM suits. 

These fit points are important, because there are also cheaper jackets in the Saman Amel range that would fit just as well, but involve less hand work.

My jacket is from the Neapolitan line, which starts at £2200 for a two-piece suit. Jackets start at £1800 and mine (in Loro Piana cloth) was £1950.

But the Toscana line starts at £1400 for a suit, and there is even a business-suit range with limited cloths at £1200.

The major difference with the Napoli line is that it has hand-padded lapels, which give a touch more shape to the chest (albeit less that with most English suits, given the lightweight canvas).

The other handwork in the Napoli line includes hand-attached lining, -sewn buttonholes, -attached buttons, -sewn gorgeline, -picked stitching, and -attached pockets.

Plus the functional work you’d expect on any good MTM or RTW suit, such as a hand-attached collar.

Many of these things will be points that Permanent Style readers like and will value. But for others, the Toscana line is a great option.

In terms of style details, it is noticeable how Saman pitches the top of his patch pockets forwards, which makes them more functional (above).

Round Neapolitan patch pockets look lovely, but can often be impractical given the narrowness of the opening. A slanted top solves that problem.

The shoulder is very soft but slightly extended, which gives a subtle impression of width without more padding. The chest is fairly clean and close, and the lapels wide.

In fact, the one thing I would change about the Saman Amel style is the gorgeline, which is very high and - as a result - makes the wide lapel look even wider.

It's also striking how open the foreparts are (below the waist button) but relatively straight - not as curved as some Neapolitans and in keeping with the line of the lapel. 

An unusual aspect that was picked up on Instagram a while ago is the strip of lining Saman has included underneath the two vents (above).

This is intended to keep the two sides of the jacket together, and keep the vent in place, when you put your hands in and out of your pockets.

I was initially sceptical about this. It reminded me of those horrendous shirt stays that attach to your socks.

But actually, you never see this strip when wearing the jacket, even when putting your hands in and out, and it functions perfectly.

It’s something Saman would only use on those with a big seat, and it is an issue I occasionally have - no matter how much the vent overlaps.

As discussed in more depth on the first post on Saman Amel, their styling is also a big attraction.

Both Saman and Dag are very fashion aware, and their monotone aesthetic of grey, cream, brown and navy feels very grown-up as well as very modern.

Their input on the cloth selection, as well as the brown corozo buttons and green lining, was useful.

I’ve also tried the made-to-measure knitwear (which I will write about separately) and am rather taken with the cut of the cashmere hoodies, which are more formal than most despite their raglan sleeve.

Lastly, I would say that I am very happy with the cloth selection.

I've long wanted a Prince-of-Wales sports jacket with a touch more texture and some brown in it, to make it a more suitable jacket than my Anderson & Sheppard flannel

The disadvantage of a grey jacket, of course, is that it cannot go with grey trousers and so is limited to charcoal, cream, green and then tans/browns. But I think that will be enough. 

Details:

  • Cloth: Loro Piana, Jackets and Trousers – Collezione 627 bunch, 320gr/mt, 100% Super 120's wool.
  • Tie: Ralph Lauren Purple Label, charcoal cashmere
  • Trousers: Drake’s ready-to-wear cavalry twill, from my collection with them
  • Shirt: White spread-collar, bespoke from Luca Avitabile
  • Cardigan: Grey ‘Finagon’ from John Smedley (my design, sadly no longer available)
  • Handkerchief: Yellow silk from Rubinacci
  • Shoes: Bespoke oxfords from Cleverley

Saman is back in London for the next trunk show on February 8-10. Appointments can be made through [email protected]. There aren't many appointments left for those days, but they will be back again two months' later.

Photography: Jamie Ferguson @jkf_man

The Shirtmakers Symposium – The video debate

The Shirtmakers Symposium – The video debate

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Below you can find the full video of our Shirtmakers Symposium in Florence.

It's a little basic, but thankfully the sound worked well and it's audible throughout. Silvio Albini makes a lovely introduction at the start, then each shirtmaker introduces themselves, and finally we plunge into the discussion. 

A wide range of topics is covered - from the business of running a bespoke operation, to quarter inches in shirt measures, to collar sizes that flatter different types of face. 

I hope you find it interesting. It was certainly interesting to chair. 

 

 

Photography: Jamie Ferguson and Carlos Folgoso / Massimo Sestini

Technical details at the Shirtmakers Symposium

Technical details at the Shirtmakers Symposium

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[The votes and nominations for the Permanent Style awards closed today, by the way. Thank you for all your comments and emails. The winners will be announced next week.]

At the Shirtmakers Symposium in Florence last week we had a display of five shirts, one made by each shirtmaker.

The theme was ‘smart/casual’. I wanted to see what the makers considered a casual shirt that could transition from an office to a bar, or just be fit for a dress-down office.

They all picked different Albini cloths to demonstrate this, and the range here was interesting - everything from denim to white oxford, from butcher’s stripe to gingham check.

However, for most men these would still firmly count as smart shirts - something that reflects both the range of modern shirtings, and perhaps the relative inexperience of shirtmakers in making casual styles.

More interesting for me were the technical details, which the shirtmakers often included to demonstrate the range of what they could do.

Budd Shirts in London, for example, made its denim button-down shirt with a one-piece collar and a raglan sleeve (above).

Not only is Budd not known for stylistic variations like one-piece collars, but I had never seen a raglan sleeve on a shirt before.

As with tailoring, a raglan sleeve is difficult to cut and make, but has a less precise fit. It’s certainly unusual, but whether you like the style is more subjective.

Emanuele Maffeis had made a shirt with two unusual details.

First, at the back of the collar there was a gap where the lining had been exposed. (Just visible above.)

Although some do this for comfort, here Paolo Maffeis presented it as a good way to stop the tie from slipping, since the lining has greater texture than the shirt cloth.

Second, the front of the shirt had a double layer, showing as a large ‘V’ down the chest.

This is an old technique for shirts worn in warm weather, where a very lightweight cotton is used but doubled in the front to avoid it being too transparent.

Of course, this was for an age when men would rarely take their jacket off, and the back and sides would therefore not be seen.

(The same reason black-tie shirts are often made with different panels in the front than the body.)

The Ascot Chang shirt had another technique under the collar - this time exposing the lining all the way along the seam between collar and band (above).

This is intended to make it easier to fold the collar down, making it snap into place and never fold up.

The others, Anto Shirts and Luca Avitabile, didn’t have particular technical aspects, but Luca highlighted the tightness and tapered shape of his cuffs (above).

And Jack of Anto Shirts had elected to make his casual style with a white contrasting collar, but the band the same material as the shirt body (below).

For Jack, having only the collar (or the ‘cape’, if you count the collar as the whole piece, including band) in white is more casual, and frames the face better.

It is what he wears whenever he’s working and not wearing a tie - and a contrast collar certainly provides an alternative focus for the shirt when a tie is absent.

Although I don't wear contrast collars I certainly prefer this design with the band kept in the same material as the rest.

Photography: Jamie Ferguson @jkf_man

The Shirtmakers Symposium – The speakers

The Shirtmakers Symposium – The speakers

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Left to right: Simon Crompton, Justin Chang, Jack Sepetjian, Darren Tiernan, Silvio Albini, Luca Avitabile, Paolo Maffeis.

The Shirtmakers Symposium last Wednesday went so well: great location, great speakers, great discussion.

We decided this time to have everyone seated, and it made a real difference: far more focus on the talk, and a stronger debate overall. It helped that we had better lighting and audio, thanks to Albini and Palazzo Gondi.

The palazzo itself is amazing. Arguably the most beautiful in Florence, it is where Leonardo da Vinci worked for most of his life.

Rather humbling - particularly when Silvio Albini used his opening speech to liken the shirtmakers to Florentine renaissance painters.

I'll write more on the actual discussion in a separate post, but as per usual, here are some details on the speakers.

Jack Sepetjian, Anto Shirts

Perhaps the most unusual of the speakers, Jack runs his family company in Beverly Hills - where most of the customers are Hollywood actors.

He had just shipped 60 shirts to Tom Cruise for the latest Mission Impossible, filming in the UK.

Jack's business is unusual in that most customers have well-established patterns, and his biggest challenge is delivering bulk orders of shirts made to those patterns, often only with a day or two's notice.

Darren Tiernan, Budd

Darren couldn't be more different, working in the tiny Budd store in Piccadilly and seeing the vast majority of customers in person.

He is celebrating 30 years as a shirtmaker this year, which made his inclusion as the British representative rather fitting.

He came across as a true craftsman, modest and considered.

Luca Avitabile

Readers will be familiar with Luca - the southern-Italian representative - given his work for me both on personal shirts and on the Friday Polos.

Luca spent a little time at the beginning talking about his family history, with his grandmother a bespoke shirtmaker and his father expanding into a shirt factory.

Justin Chang (right) with his father Tony Chang, Ascot Chang

Justin was a wonderful speaker, which was just as well as his father was sitting in the front row filming every word.

The Ascot Chang business has unique challenges with bespoke, as it takes bespoke orders from all of the stores across the US, Hong Kong and China, who communicate the fit back to HQ in a code system that has been honed over decades.

Most of those stores are run by apprentices of Justin's grandfather, who started the business. But with them all getting on in age, a big challenge is replacing them and maintaining this remote bespoke system.

Paolo Maffeis, Emanuele Maffeis

Paolo, representing the clean style of northern Italy, was a grinning foil to every question we discussed.

His business is again a little different, doing bespoke, made-to-measure and ready-to-wear, but all at a very high level.

I will also write separately about the six shirts the speakers made for the event, each of which had interesting technical details.

Photography: © Carlos Folgoso / Massimo Sestini

How to look after your shoes

How to look after your shoes

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This is the first in a series of videos that we will be doing over the coming months, looking at caring for good clothes. 

They will be instructional, but not too technical, and we plan to build them up slowly over the year - so for example, not trying to cover shoe brushing, polishing and glacage in a single video.  

This first one was done with Edward Green in the Jermyn Street shop. It looks at the basics - not wearing shoes every day, using shoe trees, and brushing daily.

I hope you like it. 

For those that want to know, my clothes are:

  • Oversized drop-shoulder herringbone overcoat: Connolly
  • Bespoke grey-flannel double-breasted suit: Edward Sexton
  • Bespoke blue spread-collar shirt: Luca Avitabile
  • White printed-silk tie: E Marinella
  • Dark-brown monk-strap shoes: Edward Green

Introducing: The Permanent Style watch cap

Introducing: The Permanent Style watch cap

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Wednesday, January 10th 2018
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As promised last year, the Permanent Style watch cap is finally available - it’s on the PS store, price £69 plus VAT, in navy or grey.

It’s a collaboration I’ve been building to for a long time.

As far back as 2014, I bought a cashmere watch cap in a little store in Naples, and quickly became addicted to it.

The key things I liked about it were the close fit and small size.

Most such hats are big - designed to fit from your forehead to your neck, and completely cover your ears.

That’s quite practical, but it’s hardly a dressy look.

I liked the occasional Japanese gentleman I had seen wearing one that ran in a horizontal line from the forehead to the back of the head.

Perhaps it subconsciously echoed the line of a fedora or trilby; perhaps it was just neater that way.

Whatever the reason, a hat worn this way looked smart enough to wear with a bespoke overcoat, and subtly subvert its formality.

Tailor Elia Caliendo eventually pointed me to a shop in Naples I could get one, and I quickly asked him to get me one in navy as well as grey.

I wore them constantly - as the photos in the post, from various shoots over the years, attest.

The shop in Naples is now closed, but I thought it would be the perfect thing to do as a collaboration, given how often I wear one.

So last year I began talking to Johnstons of Elgin about reproducing it, and a couple of samples later, we had it perfected.

Johnstons initially made it too big and bulky - again, like most such hats in the market. We changed to a finer yarn and a flatter knit, and produced something that sits much closer to the head.

Watch caps traditionally sit closer to the head like this, which is why I’ve called it a watch cap rather than a beanie. Beanie also tends to be a much broader term, including versions made out of sewn panels and much else.

The only sewing involved in this version from Johnstons is a hand stitch in the very top, and two tack stitches on either side.

Those tack stitches secure the material at the point it is rolled back. It's rolled twice to just the right height, and as I always found it annoying the way mine would unroll, I decided to tack it down. 

The cap is made from 100% cashmere, in the Johnstons factory in Scotland.

It only comes in one size, but such is the softness of the cashmere and pliability of the weave that I've yet to find anyone it doesn’t fit well - from my size 60 head to a friend’s size 54.

In terms of colours, I find the navy the smartest but the grey the most versatile. I wear both regularly. (I actually now have four - two in the office and two at home!)

Over time I find the cap flattens and softens somewhat, becoming closer to the head.

It can be washed like any cashmere knitwear, and when washed gets a little of that thickness back.

An interesting style point is that Jamie [Ferguson] wears his watch caps/beanies on the back of his head, slightly to one side.

This is a more casual, street look and not for me, but he finds the PS watch cap works particularly well for that style too - as you want it to be as small as possible.

I’m sure the caps will go quickly, as we only have 50 in each colour, but there will be another run later in the year.

As always, I hope you like them and do let me know any feedback and thoughts.

Available on the store now.

Photography: Jamie Ferguson @jkf_man

Gaziano & Girling introduces my loafer – ‘The Crompton’

Gaziano & Girling introduces my loafer – ‘The Crompton’

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Monday, January 8th 2018
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The hatch-grain loafers I commissioned with Gaziano & Girling back in 2012 have consistently been among my favourite shoes - both for me and for readers.

The mid-brown colour is tremendously versatile (everything from cream to mid-grey trousers, chinos to worsteds) and the texture created by the hatch grain has aged beautifully.

I first wrote about them for The Rake in 2012, back when I was running their website. Since then they have featured in numerous shoots and posts, such as this comparison with Cleverley and the particularly popular post ‘Which office are you?’

Apparently the design has also been popular with G&G’s bespoke customers, and there have been requests to have it available on made-to-order.

As a result, I was honoured to find out that G&G have decided to introduce the model into their range, and call it ‘The Crompton’.

It won’t feature the one-piece, seamless construction of my pair (that’s only available bespoke) but everything else is the same.

The last is the G&G standard loafer last, KN14, and as it’s MTO customers can have it in any leather and sole - not necessarily the chestnut hatch-grain leather pictured.

The price is £1,470 including VAT and shoe trees, or £1,225 without VAT. Delivery time for MTO is currently 3-4 months.

I would also like to make clear that this is not a commercial collaboration - I don’t receive anything either from covering this model or from its sales.

It’s just a really nice thing.

Liverano & Liverano ulster coat: Review

Liverano & Liverano ulster coat: Review

Friday, January 5th 2018
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I’ve wanted a Liverano ulster coat for a long time. Ever since I first saw one on Ethan Newton I think, and subsequently reinforced by seeing versions on Jeff Hilliard (now at Mr Porter) and others.

Liverano is very expensive, however, and it was only last year that I therefore decided to take the plunge - foregoing my normal indulgence of one piece of Loro Piana clothing a year in penance.

The Liverano ulster is, I think, a perfect demonstration of how important design is to a good coat.

Little changes in the width of the collar or angle of the lapel are magnified on a coat, where everything is bigger than a jacket.

Get these things right, therefore, and the result is a sweeping, plunging masterpiece. Get them wrong and the scale feels a little wasted.

Perhaps the most important point on a coat’s design is the gorge - the point where the collar meets the lapel.

It is one of the first things that strikes the eye, and its size, openness and angle determine the visual effect of the chest and shoulders.

Most double-breasted coats have a peak lapel that shoots upward. Ulsters in general tend to be flatter, and often point downwards.

(This has the practical effect of being able to sit easily under the chin when the collar is up.)

I think the angle on the Liverano is perfect: slightly downwards but high, with a long pointed collar running alongside it.

Almost as important but much subtler, however, is the depth of the collar. 

The height of the collar at the back on this Liverano is 6.5cm. By comparison, my Edward Sexton coat is 6cm, my Cifonelli 5.5cm, and topcoats such as the green Vergallo or navy Ettore de Cesare only 4.5cm.

It’s not uncommon for ulsters to have large collars, and of course the depth varies a little with the proportions of the wearer.

But you can see why, in the image above, that collar seems to frame the head so much more than my other coats.

This is particularly important for me given I tend to wear collars up a lot.

The rest of the coat is fairly straightforward, but the depth and angle of the turnback cuff (above) is nice.

I also rather like the pocket flap that is curved on the front edge and straight on the back.

The fit is absolutely superb, as you would expect from Liverano.

Perfect lines through the waist, perfect pitch of the sleeve, perfectly flush around the back of the neck.

The image of the back of the coat, below, is rather distorted by the wind we had the day of shooting (the central vent is more closed).

But one thing it does show accurately is that Antonio likes a lot of room in the back of the coat.

There are big folds either side of my back, above and below the belt. (Actual folds that can move, by the way, not sewn in.)

I can completely understand why some people wouldn’t like that, but for me it creates a look that feels very natural and masculine. The whole upper body feels bigger, and the waist smaller in proportion.

The cloth, by the way, is the same Harris tweed from Holland & Sherry (892020) that I used for my much-loved coat from Elia Caliendo.

This is much lighter than Liverano (or any tailor) would normally use for a coat, but I love the crayon-set colours of the tweed, and it’s wonderful at this scale.

I’ve also found, wearing it so far, that it hangs well despite its lightness, perhaps because the tweed is so tough and compact.

Style points like these and consistency of output are the key selling points for Liverano bespoke.

It's more expensive than almost all other tailor, without all the hand detailing that helps justify price at the Parisians, for example.

But the style works so well, and I know so many people that love Liverano precisely for this style and for its consistently excellent output.

In fact the style point is a reason to mention the Liverano ready-to-wear.

It’s constantly expanding, and there are ulster coats of the same design available in the shop from €3400 (very good make, hand cut and fully canvassed, but not hand padded). 

Liverano & Liverano bespoke starts at €5730. This ulster coat cost €8650.

In the pictures I am also wearing:

  • Permanent Style watch cap (available soon)
  • Wispy scarf, Begg & Co
  • Bespoke wool trousers, Elia Caliendo in Holland & Sherry ‘Pardessus’ cloth
  • Bespoke cap-toe shoes, Cleverley
  • Made-to-measure cashmere jacket, Saman Amel (review coming soon)
  • Bespoke spread-collar shirt, Luca Avitabile
  • Cashmere tie, Ralph Lauren

Photography: Jamie Ferguson @jkf_man (pictured below) except numbers 4, 8 and 11, Milad Abedi @milad_abedi (pictured above).

Milad was visiting Jamie for the day and came with us - I don't normally have two photographers! 

Look, a bird!

 

The Permanent Style Awards

The Permanent Style Awards

Wednesday, January 3rd 2018
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Other than buying stuff, there are no obvious ways to recognise the best brands, best artisans and best-dressed people in our industry.

In order to try and provide an avenue for this, I am introducing a small set of awards that seek to reward such people - partly decided by a panel and partly by you, the readers.

The awards will cover style, design, and important-but-often-ignored things like customer service.

I am asking for nominations and votes in the comments to this post over the next two weeks. The winners will be announced on January 17th.

And we're doing it now because frankly, it annoys me how many 'best of the year' lists are put together in as early as November and published in December.

Below are the five awards.

In each case, I have tried to be specific and structured in the description of what they are for - again, I hate vague awards without a real methodology.

Two of the awards are pure votes by you, the readers. Two require nominations from you, to be judged by a panel. And one is an entirely personal award from myself.

Please only nominate and vote once per category, in the comments below. And feel free to leave a reason for your choice.

 

1 Brand of the year

Please nominate the brand that you think has been the best in 2017 in terms of:

- Innovation (bringing original design to our market) and/or

- Functionality (introducing items that have become reliable, versatile wardrobe staples)

A shortlist of three brands will be created based on nominations, and the winner selected by a panel.

 

2 Best customer experience of the year

Please vote for the brand that you think has been the best in 2017 for:

- Customer service

- In-store / online experience

- Quality of brand (worn well, not fallen apart etc)

 

3 Best-dressed man of the year

Please nominate one person you think has been the most stylishly dressed in 2017 in terms of:

- Classic style relevant to a modern age

A shortlist of five people will be created based on nominations, and the winner selected by a panel. The person must have sufficient online or social-media presence for the panel to see examples of how they dress.

 

4 Best media of the year

Please vote for the media outlet you think has been the best in 2017 in terms of:

- Quality, substantial content

- Originality and creativity

This can be any form of media: a newspaper, a magazine, a website, a blog, or an Instagram account. But an ongoing production - not a book.

 

5 Bespoke artisan of the year

This last award is very personal. Rating of bespoke artisans is so subjective, and it's highly unlikely anyone will have used enough in a single year to make a broad comparison.

This will therefore simply be an award I give to one artisan I have used in 2017, and found particularly rewarding.

 

Please note that neither myself nor Permanent Style can be nominated for or win any awards.

The panel for these inaugural awards will comprise myself, Michael Drake and Jamie Ferguson.

Enter your votes and nominations below in the comments (together with a short reason if you wish) and do specify which apply to which award.

Thanks for all your thoughts and contributions. I think the people and brands we highlight will appreciate our recognition of their hard work.

Simon

 

Reflections on bespoke: Stoffa, Richard James, Camps de Luca

Reflections on bespoke: Stoffa, Richard James, Camps de Luca

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One thing readers asked for in our 'We are 10' post was more reflections on bespoke pieces.

When covering bespoke, I tend to write both an initial piece giving the background and approach of the maker, and then a fuller review when the piece is ready.

However, a third piece a year or so later can be very helpful. There are some things you don't realise about a suit until you've worn in many times, and acquiring other pieces can often give valuable perspective on something else.

Examples of previous posts in this vein are:

Today, I am going to reflect on three bespoke or made-to-measure pieces from recent years - made by Richard James, Stoffa and Camps de Luca.

I've picked those three because I feel my appreciation of them has moved on since they were made, in different ways.

 

1 Richard James cashmere sports jacket

Background: Richard James bespoke tailoring

The process of bespeaking this sports jacket with Ben Clarke at Richard James was highly interactive.

Ben is a very curious professional, and was interested in making something closer in cut and construction to my Neapolitan jackets than the Savile Row versions he was trained on.

This he managed to do, helped by the fact that he is also a coatmaker, and so could both cut and make every aspect himself. The shoulders were very lightly padded, the sleevehead inserted 'spalla camicia' and the fronts more rounded.

However, my key reflection on this piece since it was made is that, lovely as it is, it is not really that similar to a Neapolitan jacket.

There are simply too many subtleties to how a jacket is cut and made. Neapolitan style is a lot more than just light canvas and patch pockets.

For example, those rounded fronts were never quite the right shape. Still too straight, still too angular. And if they had been changed more, they would have been out of balance with the lapels.

Do not ask a tailor from one tradition to make something from another, completely different one. Unless they take an example and completely reconstruct it, it's not going to be the same.

 

2 Stoffa navy-suede aviator jacket

Background: Stoffa: Beautiful, refined made-to-measure

Original review: Stoffa suede flight jacket - Review

I picked my Stoffa aviator jacket for this list largely to confirm and emphasise my original thoughts.

At the time, I said that while brown or tan are more common colours for a blouson-style jacket, navy is perhaps just as useful in a modern, dress-down office.

That has been born out in time, as the jacket has been frequently worn on those in-between occasions, often with smart trousers.

I also said that I would have preferred non-cotton lining in the sleeves, and that continues to be an issue.

But most importantly, I've found that my suspicions that the style wouldn't suit me proved correct.

Although I love Stoffa's distinctive style points on the aviator - the oversized collar, the oversized pockets - it is a little too bottom-heavy for me given its length, creating an impression of bulk around the waist.

I still wear it, but largely open rather than zipped up.

I should probably have gone for the asymmetric style instead - and it's a mark of how much I like Stoffa overall that I'm considering buying one, probably in taupe.

 

3 Camps de Luca grey suit

Background: Camps de Luca

Original review: Final Camps de Luca grey suit

This 13-ounce worsted suit, which I had made by Camps de Luca in 2015, has become in the intervening years my favourite business suit.

At the time I reviewed it positively, but without the perspective to say how well it would fit into my wardrobe.

It has done so fantastically, for three reasons.

First, the cloth, which I guess has nothing to do with Camps. It is heavy for most modern suits, but never feels it. The shade of grey is perfectly serious and professional, but versatile enough to go with a wide range of accessories.

And the pick-and-pick weave adds a nice level of surface interest without resorting to the showiness of an actual check.

Second, the cut and style do the same thing. Little points like the distinctive Camps de Luca notch lapel, and folded vents, create subtle points of interest - so subtle that someone seeing it would struggle to say whether suits are normally like that, without another to compare it to.

And third, the superb level of make gives me little, pleasurable reminders of the suit's quality every time I wear it.

I remarked on my original review how simple the make the trousers is, yet how perfectly they fit. And the way the pocket bag is tacked to the fly.

And of course, every time I reach for a business card from the teardrop-shaped inside-hip pocket, it reminds me of the time I watched a tailor painstakingly make one in the Paris workshop.

Sharp and professional, yet stylish and beautiful. 

 

Photography: 

Brands need to talk about product

Brands need to talk about product

Friday, December 29th 2017
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There are several ways to define the menswear world we write about.

As classic style, for instance, or about quality and craft. Also as luxury, given such quality is expensive.

But one aspect that is rarely emphasised, and should be more in my opinion, is that it is about product.

Take Stoffa as an example, the casual-wear brand founded by Agyesh Madan. (Asymmetric jacket shown above.)

Every piece in the collection has been obsessed over, whether it's the shape of the zippers or the seam in the back of the jacket collars. The hats were roadtested for months, and meticulously documented on Instagram.

Get into a conversation with Agyesh (below), and his passion for the product becomes immediately apparent.

Just as important as caring about the product is communicating it well.

Drake's sells itself through articles about its products. There will be a whole post about a new length of shirt collar; another about the width of a tie.

Private White VC often takes a similar approach. So do new online brands like Luca Faloni.

For all of them, the product is central - what it is made of, how it is made, and why.

In some cases, this is a natural result of being manufacturers originally (as with Drake's and Private White).

But it's striking that others more orientated around design, such as Stoffa or Saman Amel (below), have this same approach.

These brands also talk about style, of course, and sell through imagery and illustration.

But designer brands do this to the exclusion of all else.

They just never talk about their product.

Buy something from a designer brand online, and there will be pretty much no information about why it's special or even it's basic functionality.

Visit a store and it's even worse, as you have to suffer the awkwardness of asking a sales assistant questions that they might not understand, let alone be able to answer.

Where brands produce in-house magazines, they include almost nothing on how and why their products are made. 

Even PRs can't help. Many times over the years I've asked PRs for information on a product I love, and either no one internally knows anything, or whatever is known cannot be made public.

There was a particularly good example on Permanent Style back in August, where it took a Ralph Lauren employee to comment anonymously for us to learn anything about the complex way a cardigan it was knitted.

Designer brands are having a hard time at the moment.

One of the reasons is certainly being behind the curve on several retail trends, such as e-commerce and social media.

I would argue that just as important is ignoring the importance of product.

Every new brand today launches by talking about its product - why it thinks the shirt, coat or trainer is better than everything else out there. Kickstarter is full of them.

Big brands need more of this. Information in stores; trained sales staff; buckets of it online where there is no excuse of cost or space.

Brands produce dozens of products every season that are beautifully made and extremely well thought-out.

I just wish they'd tell me about them.

Photography: Jamie Ferguson except knitwear above, Moeez Tali

Gaziano & Girling bespoke loafers – Review

Gaziano & Girling bespoke loafers – Review

Wednesday, December 27th 2017
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These bespoke suede loafers from Gaziano & Girling have been a while in the make - I last covered the first fitting back in September 2016

It hasn't taken over a year to get from that fitting to now, however.

They were actually ready in the Spring, but I then wore them a few times before we had the shoe trees made. (Something G&G often suggest, so the shoe can take on the shape of the foot more.)

The final shoes were then ready in the summer (the photos here are from Florence in June) but it's taken a while for me to take more close-up pictures and get round to posting. 

The shoes were my first made on a last by Daniel Wegan, rather than Tony Gaziano who made the lasts for my first two pairs. (A seamless loafer and an adelaide oxford). 

I'd known Daniel for a while, so it was a nice to make some shoes together, and put in practice some of the things we had talked about in terms of design and finishing. 

From a design point of view, the most important thing was how high the vamp should go up the foot, and how low it should be cut on either side. Given there was no other adornment (quite intentionally) this became much of the focus. 

I really like where we ended up, with the vamp running up higher than on my seamless loafers, but still in proportion to the rest of the shoe. 

In terms of make, Daniel took things a step further than I'd ever had before with G&G.

The waist was sharply cut in and bevelled, the heel curved beautifully to follow the shape of my heel, and the heel stack pitched more than previous pairs, giving them quite a delicate look. (More akin to the double monks I had made at Cleverley.)

The loafers were also finished with a hidden seam, what Daniel calls a 'blind skinstitch'. This is hand-sewn on the inside, in the same way the toe on a split-toe derby often is.

It isn't invisible, but you rarely notice it until it's pointed out (particularly as it is deliberately on the inside curve of the heel). 

And finally the shoe has French binding on the top edge, as much for strength as for decoration. 

The fit on the shoes was good from the start, with Daniel spending a lot of time refining the last and getting the heel to fit closely without rubbing too much. 

It wasn't quite perfect after the first fitting, however, so we had a second in another piece of waste leather.

That first fitting pair had been cut up by Daniel in any case, to see where the foot was sitting inside the shoe.

It was particularly interesting to see the difference this made around the heel, where Daniel was able to curve it underneath by about half a centimetre more, moving the heel stack forward as well and shortening the shoe overall. 

I'd still say the fit is 99% right; not quite perfect. There is also a slight ripple on the top of the joints.

But then they will continue to adapt more as I wear them (I only wore them a few weeks over the summer) and they fit far better than any ready-to-wear (RTW) loafer I would ever have. 

On that point, I'd stick to my position that bespoke should largely be bought for the aesthetics rather than the fit.

Unless you have very unusual feet, you should be able to find a last out there that will fit you well RTW, or at least made-to-order in some last/size/width combination. 

And bespoke can be a temperamental process in terms of fit - far harder than with tailoring. 

Bespoke is largely about the aesthetics (although some of those can be found in some RTW) and the creative process. These loafers were conceived from scratch, as a result of discussion between myself and Daniel over more than a year (as the couture houses say, starting with a blank sheet of paper).

As a style, by the way, I couldn't be happier with these loafers. 

Wear them with fairly conventional clothes in the office, such as a navy suit, and they stand out only in the most beautiful and subtle ways. You catch people admiring them without quite being able to pin down what is so attractive. 

There's no horse's bit, no flapping tassels, just deep-brown texture and flowing lines. 

Gaziano & Girling bespoke currently starts at £5000 for first-time customers, £4200 for repeat customers (as I am). That includes VAT and shoetrees.

The time to complete a pair is 12-18 months for new customers and 6-9 months for existing ones, although due to a big increase in demand recently, they are not taking on new customers until the middle of next year (with a waiting list in the meantime). 

Photography: Jamie Ferguson (worn) and Permanent Style (unworn)

Permanent Style, Shibumi and Bennett Winch at Vestrucci

Permanent Style, Shibumi and Bennett Winch at Vestrucci

Tuesday, December 26th 2017
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For all those coming to Pitti in January, there will be a display of some Permanent Style products at Sartoria Vestrucci on the Thursday, followed by drinks. 

Luca Avitabile will be there, offering wholesale on the Friday Polos, and I will be helping him out (hopefully wearing a new Vestrucci flannel suit...). 

We will be joined by Benedikt from Shibumi (whose handkerchiefs Vestrucci carries) and by the guys from Bennett Winch, who will be showing the Suit Carrier-Holdall we launched last month

If anyone hasn't seen these things in person, please come down and have a look. The drinks should be nice too. 

Date: Thursday, January 11th

Time: Showing from 3pm, Drinks from 5pm

Location: Sartoria Vestrucci, Via Maggio 58, Florence 

Merry Christmas – and here’s to 2018

Merry Christmas – and here’s to 2018

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Monday, December 25th 2017
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A casual capsule: The Valstarino jacket three ways

A casual capsule: The Valstarino jacket three ways

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The blouson in general, but particularly in brown and especially in brown suede, has to be one of the most versatile pieces in a man's wardrobe.

The shape is short and neat enough to work well with smarter clothing; suede suggests a more dressy look; and dark brown is probably the most versatile of colours.

Designs like Valstar's 'Valstarino' jacket (shown here) are also helped by their button front (rather than zipped) and neat little pockets.

This post is intended to show how such a blouson can sit at the centre of a capsule wardrobe, with various other pieces rotating around it.

So we have three looks, all featuring the Valstarino but with different sets of shirt, trousers and shoes.

There are grades of formality (largely driven by the trousers and shoes) but most of the pieces can be worn in any combination.

You might shy away from trainers with flannels, or denim shirt with jeans, but the polo shirt could be worn with any of the three pairs of trousers, the chinos with any of the three shirts, and so on.

Versatility is the key to any capsule wardrobe, and these pieces are as versatile as it gets.

Outfit 1. My bespoke jeans from Levi's (mid-rise, Cone Mills denim) with a chambray shirt and cordovan shoes.

The shirt is the dressiest of the three. Even though it's chambray, it is the fine, dressy kind of chambray offered by most of the shirting mills, and is still quite smart.

The shoes are my Edward Green Windermeres - although the last time I had them resoled, I had the welt replaced and the double sole reduced to one, so they are a little smarter than the standard model.

I like the outfit as it is, but you can easily see how a navy polo could be worn instead of the shirt, or trainers on the feet.

Outfit 2. Beige Incotex chinos (via Trunk) worn with a navy Friday Polo and my much-worn Common Projects.

Beige is a great trouser colour, equally at home with brown, green or navy, and you can see how these chinos could work with any of the other shoes in the other outfits.

The Valstarino, by the way, is a size 40 slim fit, with a wool lining for winter.

Outfit 3. Rather smarter. Grey-flannel trousers with a denim shirt and Edward Green Dovers in the company's (relatively) new redwood colour.

The shoes and trousers elevate this combination into something smarter; but the shoes could also be worn with either the chinos or the denim, smartening up each.

The denim shirt is the most casual piece in the outfit, but if it were swapped for the chambray the whole would actually be quite smart.

If I were to take this exercise a step further, it would be to suggest a jacket as an alternative to the Valstarino - perhaps a brown or navy tweed.

That addition would create an extremely versatile capsule wardrobe.

Hopefully a post readers will find useful, given comments on Wednesday's anniversary post.

 

Valstarino jackets available in the UK at Drake's, Fenwick's and Mr Porter among others.

Photography: Jamie Ferguson @jkf_man

We are 10! (What was your best bit?)

We are 10! (What was your best bit?)

Wednesday, December 20th 2017
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Permanent Style started 10 years ago.

It seems odd to call it a blog now - given how much PS encompasses today - but back then that was definitely what it was.

It was a blog with a lot of rants. About how there were no good magazines; about how men wore striped suits with striped shirts and looked like they were wearing pyjamas.

I had little knowledge, and fewer connections. But I felt there was something wrong with how menswear was being discussed and - as a journalist by trade - I wanted to write about it.

 

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The decade's most popular post:

How to wear separate jacket and trousers

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Ten years and 1,866 posts later, many things have changed.

There is a genuine movement around craft and artisanship. There is also a related one around maintaining local specialties and traditions.

Both have been taken too far, inevitably.

The man on the street too quickly assumes that 'Made in Britain' necessarily means quality. The menswear geek too quickly assumes that knowing the factory something was made in necessarily tells him the same thing.

But they are both good things, and broader in their impact that the equally genuine trend of greater interest in sartorial, bespoke menswear, which we spend most of our time discussing.

 

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The decade's most shared post:

Buy good English shoes

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Unfortunately, most things have not changed.

There are still few good magazines. Indeed, you could argue that the advent of social media and 'influencers' paid to promote products has made things worse. Certainly, it's more opaque.

The vast majority of men are also still paying little attention to their clothing - or if they are, they're largely buying cheap things driven by branding or celebrities.

'Classic' clothing has had a renaissance, but it will always go in and out of fashion. It's the long-term attitude to both style and quality that we need to strive for.

 

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The decade's most popular newsletter post:

Which office are you?

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And how about Permanent Style?

I think it's fair the site has made a contribution to these trends, and helped spread the word. Several million people have read the site in that time; over half a million pages are viewed every month.

More pleasingly, readers regularly tell me how much the site has meant to them. Last week I had a long message from an American reader explaining how much I had contributed to the success of his wedding. 

Ten years is a long time in the world of blogs, but not that much in life.

My eldest daughter turns 10 in January, and she is already one of the most wonderful, creative people I have ever met. She knows a lot; she absorbs knowledge like a sponge.

But she's a long way from knowing everything - and so is Permanent Style.

 

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The decade's post with the most comments:

P Johnson tailoring: Review

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Some good work has been done in assembling a body of knowledge.

Tailors and brands have been reviewed, covered from personal experience, and put in context.

There are series of posts providing foundational knowledge on assessing quality, on the intricacies of cloth, and the principles of suit style. And a view has been put forward on dressing stylishly in this dress-down age. But there is still a long way to go.

 

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The decade's post with the most visits:

Bespoke tailoring: cost, margin and value

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I'm always open to comments about how this site could be improved (and hopefully that is also one of the things that defines it).

But for now, perhaps as a means of celebrating our 10th anniversary, I would like to know from readers what their favourite posts have been over all that time.

I'd genuinely like to know, and it could be a nice introduction for the tens of thousands of people that come to the site for the first time every month.

I also think it's a nice way to celebrate the writing that has always been at the core of what Permanent Style aspires to.

Try to mention just one or two. URLs or titles will probably be helpful.

Thank you all.

Simon

Photo: Andrew Barber for GQ China. Wearing Musella-Dembech cotton suit

The Guide to Flannel

A couple of years ago, a friend asked me for advice on dressing down his normal suit-and-tie wardrobe.

Like many men, he wore suits (in worsted wool) to the office, and jeans or chinos at the weekend.

The office was becoming more casual, however, and he wasn’t sure how to dress down without becoming too casual and unprofessional.

My first tip to him was: flannel.


Most men today will have never worn flannel trousers, let alone a flannel suit. Suits for them are worsted wool – wool that has been combed and pressed, made sleek and sharp.

‘Woollens’, without that treatment, are alien, yet it is they that populate much of this gap between suits and jeans. And their king is flannel.

Flannel trousers – classically in grey but also in navy and other colours – are clearly smart. Yet their fuzzy (milled) texture separates them from normal suit trousers.

They can be worn with a sports jacket to the office – for that dress-down option – or at the weekend with knitwear, for a nice lunch or gallery visit, perhaps.


They are so perfect at this in-between role that readers often ask me what the summer equivalent is – when it finally becomes too warm for flannel.

Unfortunately I don’t think there is one; neither linen nor the various cottons quite fit the bill.

My friend now has three pairs of flannels, in two shades of grey and one navy.


And is considering a fourth.

There is of course, to confuse things, both worsted and woollen flannel.

Flannel can be made with worsted yarn (which uses generally longer fibres, and is then combed) or a normal woollen.

What generally defines a flannel is the milling process, where the cloth is beaten about and the fibres broken, producing that fuzzy effect.


A worsted flannel reacts differently to the milling and will have less texture.

It is generally used for making lighter-weight versions of flannel. (As woollens have shorter fibres and therefore can’t be spun into fine – and so lightweight – yarn.)

But to most enthusiasts of the stuff, worsted flannel is not worth bothering with. It doesn’t have most of the body and texture that is the whole appeal of flannel.

Woollens as a larger group include most other things that don’t look like a classic worsted suit: tweeds, cashmere jackets, cloths for overcoats and so on.

Although flannel is best defined by the milling process, it is also (like most cloths) in practice defined by its use.

So a milled woollen cloth used for a coat is not normally called a flannel. Flannel most generally refers to a milled cloth (worsted or woollen) used for trousers or suits.


This is actually a fairly clean and universal definition for a cloth. Others aren’t so easy.

For example, ‘serge’ is used to refer to a certain type of trouser, but is strictly speaking just the weave (the name of a 2×2 twill in French).

You can use that type of weave in any material, but serge has come to mean a woollen cloth, with a visible 2×2 twill, that is slightly milled. (There are gradations of milling too – did I mention that?)

To a certain extent, recommendations as to the ‘best’ cloth also begin to merge into its definition.


For example, we have said that the flannel enthusiast will insist that worsted flannel is not really flannel. For good, practical reasons around body and texture.

He may then suggest that real flannel should be of a certain weight – again, with good reason.

Flannels that aren’t heavy and closely set are lovely to wear, but rather impractical. They lose their crease quickly; they bag at the knees; they can even rip when wet.


This often puts off the flannel novice. After a few wears, they appear shapeless and unattractive, and he is unlikely to be able to press them effectively.

An argument can be made, therefore, that a flannel should really be 13oz or more – even 15oz. It is only at that point that it can be worn a few times without having to be re-pressed.

In general, English flannels tend to be closer set (more yarns, denser, in the warp and weft) and use thicker yarn. As a result they tend to be heavier.


Italian flannels tend the opposite way, sometimes searching for style at the expense of substance.

If you have no experience and are picking a flannel, an English one is therefore a safer bet.

But there are many exceptions on both sides – particularly given the Italian reverence for English cloth.

Finally, grey flannels tend to be a melange of different shades (one reason they are so attractive).


This melange can be achieved in different ways, in the fibre or yarn; but it’s a minor difference not worth going into here. Every technical piece must have its limits.

Flannel is one of the great pleasures of classic menswear, and one that communicates readily to the novice – hence my recommendation to my friend.

And while there are many different variations, I would suggest the important thing to focus on is weight.

Get a 13oz flannel, 11oz at worst – particularly in trousers. Your legs don’t have as much blood flow as your upper body and don’t get hot nearly as easily. Your creases will thank you.

Shibumi ties, Burgos shirts and tebas – in the pop-up

Shibumi ties, Burgos shirts and tebas – in the pop-up

Friday, December 15th 2017
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I’ve noticed in the past year that a lot of my favourite ties are from Shibumi.

They’re always on the end of the rail; they always get picked up first. Yet I haven’t written about them for quite a while.

Having Benedikt (below) in the shop over the next three days is a nice opportunity to correct that.

Although Shibumi offers a range of ties, a large proportion are made in a crisp printed silk that I find knot particularly nicely.

The knot sits well and stays in place. The dimples come easily. The blades hang rather than flop.

For those that like hand-worked details, the blades are all untipped and the edges rolled neatly by hand.

While it is these printed silks I’d recommend the most, there are also some unusual (but subtle) textured silks on display.

They’re both shown above. The left-hand one is similar to a grenadine, woven in Italy, but with a little less texture and made in a silk/wool/cashmere mix that gives it a matte finish.

The right-hand one is what Benedikt calls an English grenadine: woven in England, it has similar texture to a grenadine but with a little more body and is a little denser.

The former is the kind of tie I would wear in day in, day out: dark enough to go with almost anything, a subtle pattern that will rarely clash with jacket or shirt, and with brown in the mix to pick up brown shoes.

Benedikt also has some wool and wool/silk scarves (above), a big range of handkerchiefs, and some examples of his tailoring (below).

The last brand to feature on this - the last weekend of the pop-up! - is Carmen from Camiseria Burgos.

Carmen (below) was a last-minute addition, but it’s lovely to have someone else coming in from abroad. The pop-up doesn’t quite have the atmosphere of her storied shop in Spain, but her shirts and Teba jackets add a little old-fashioned craft to the place.

The pyjamas for example (shown below) have delicate hand-sewn buttonholes, instantly elevating them above most else in London.

The rest is machine made, but they’re decent value at €284, and there are four sizes across a few blues and blue stripes.

Burgos is perhaps most famous for the Teba - an entirely unstructured shirt-jacket with a square shape and distinctive lack of gorge between the collar and lapel.

They’re ubiquitous in Spain, worn over a shirt in the office in place of a jacket, and if you like the style, practical for anyone in a modern office.

Carmen has several colours, including navy wool with gold blazer buttons and cashmere jersey (€580).

There is also a new style of Teba, called the Domeck, which is a little more like a jacket - still no structure, but darts in the waist to give it a little more shape, two vents, and curved fronts rather than the shirt-like square cut.

It’s a little more expensive, at €580 for wool.

 

Carmen has brought over a range of reversible coats (wool to microfibre, €650) of which the Black-Watch tartan version is shown above.

On the shirt front, there are ready-made machine-made styles from €120, and both Guayabera and pop-overs. Plus boxers and safari jackets.

Together with Shibumi’s accessories, Codis Maya’s jewellery, and casual wear from The Workers Club, there’s pretty much everything covered in the pop-up this weekend.

Remember, these brands are only here until Sunday, and then the shop itself closes.

I’ll be in all day on Sunday (opening times 11am-5pm).

See you there.

Photography: Jamie Ferguson @jkf_man

Codis Maya and The Workers Club – in the pop-up

Codis Maya and The Workers Club – in the pop-up

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Thursday, December 14th 2017
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It really is a lovely feeling walking into the pop-up shop for a new week.

There’s Carmen from Camiseria Burgos in Madrid, whom I haven’t seen for five years, pretty much.

Next to her is Benedikt from Shibumi, lining up his ties with his typical perfectionist’s eye.

Lia from Codis Maya is by the door, arranging the new bracelets she’s been making herself.

And in the corner is Adam Cameron of The Worker’s Club, bringing a casual but high-quality feel to the shop for the first time.

It’s like a strange party for all your favourite people. You want to talk to everyone at once.

Readers should be familiar with all four brands, but I’ll run through the new things each has to offer - two today and two tomorrow.

As with all posts on the pop-up, the things highlighted here are also available in the brands’ online or physical stores. As with any normal post.

Rosh and Lia (above) from Codis Maya are great fun - a real asset to the shop last time, and this one as well.

They work with traditional craftsman around the UK to produce their precious-metal and vitreous enamel jewellery - cufflinks, tie bars, studs and bracelets.

But while supporting all those crafts is great, and they design pieces themselves, it adds a little something that Lia has been training to make herself.

For the first time she’s offering pieces of her own - here bracelets in brass (above), copper, silver or gold, all with the possibility of initials stamped on one end.

They come in a range of sizes from small to extra-large, but given the design can easily be adjusted for different wrist sizes as well.

Priced from £65 for brass all the way up to £800 for gold.

The Workers Club is run by Adam Cameron (above), a designer who works for Connolly and Mr Porter as well as having his own brand with wife Charlotte.

Its core appeal, for me, is The Works: a water-resistant cotton shell, tweed gilet and down jacket that can be combined to create outerwear for the entire year.

The gilet and down can be worn separately, but largely their appeal is the ability to zip into the shell jacket and give it just the level of warmth required.

There are several versions of the shell in the shop: the original H2O version (an Italian version of Ventile); a rubberised one that is more waterproof but a little less breathable; a rip-stop with a (very) subtle camo design; and a wax with much bolder camo (shown below).

I particularly like the camo from a grahic design point of view - the way Adam worked with a designer to modernise a classic camouflage print and make it look both original and much more modern.

Since I first wrote about TWC there have also been some additions to the range. These include a parka is lighter in weight than the other shells, and packs away into itself. And into that parka, a wool liner than can also be worn on its own.

There is also yet one more option in The Works: a gilet that sits between the tweed and down, with water-resistant microfibre on one side and Loro Piana Storm System wool on the other. 

Elsewhere, Adam also offers Japanese-made denim (indigo, black and natural, raw and washed) in a pretty slim cut (though with more room at the hips than most slim jeans.

There are scarves, wool beanies (below) and some T-shirts in a slightly short cut, with subtle red-kite branding.

The kite symbol comes from the birds of prey that populate the countryside around Adam and Samantha’s home in Oxfordshire.

It’s a bird that, as an ornithologist in my youth, I am also very fond of and always associated with being at Oxford.

The pop-up is open until Sunday, 11am to 7pm today and tomorrow, 10am to 6pm on Saturday, and 11am to 5pm on Sunday.

Details on Burgos and Shibumi tomorrow.

Photography: Jamie Ferguson @jkf_man

Am I effeminate? Am I vain? Reader questions on style and its context

Am I effeminate? Am I vain? Reader questions on style and its context

Wednesday, December 13th 2017
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It’s taken a while to get to these remaining questions from our ‘You are the interviewer’ post (thanks again for those - some great questions in there).

Hopefully I’ll be able to get through them all over the Christmas break.

Today, we’re going to look at questions of style - how much it relies on context, how others see it, and how my approach has changed over the past 10 years.

If you have any follow-up questions, please do leave them in the comments at the bottom of the post.

 

Alex: What habits or affectations do you like least in other men who attempt to dress well?

The thing I find most frustrating is clothing that’s clearly inappropriate to particular people or circumstances.

So the young guy in the office who wears a three-piece suit, tie and tie bar, when everyone else is in a shirt and chinos. Or worse, someone who wears a bowler hat every day, despite how anachronistic it is.

Key to dressing well is complimenting the people you are with and the place you are in. It is question of politeness.

Wooster: How does someone look stylish without looking dandyesque and/or effeminate? I love beautiful clothes, but work in a rather masculine environment where such traits are pretty much frowned upon.

And in a similar vein, how do you look stylish without looking pretentious? I’m neither a millionaire nor a country gent, but love the clothes some of them they wear. So how to avoid looking like a impostor?

I think the key is balancing my answer above - on being respectful and appropriate to the place you’re in - and sticking to your guns on the little things.

So men in your office might consider a tote bag to be effeminate. Screw them. It’s just a bag, it’s very practical, and frankly much of their reaction comes from fear.

But you’re never going to be able to dress like Jay Gatsby. Give up on that dream now. Abandon cream trousers, double-breasted waistcoats and spectator shoes.

Instead, take pleasure in clothes that are just as beautiful, but more appropriate to how and where you work. The subtle colours of Harris tweed; the patina of a well-loved split-toe derby; or a coat in a casual fabric but beautiful cut.

Ben: This is a question I’ve always had for those with some position in the fashion industry who demonstrate some self-awareness.

In advocating for a style on such a visible platform, one is constructing a strong identity for himself and attaching himself to a sympathetic community. Yet he doesn’t live merely in that community, but also others to which he presents himself in the clothing that he wears, others who do not share his values, who would scoff at his wardrobe. What’s your attitude toward the latter group?

I’ve always found it useful that I still work in an office, in a modern professional environment, as well as being involved in fashion.

So while I love dressing up a bit for menswear events, being in an office every day quickly brings me down to earth. I learn to push things a little bit, but not too far. To wear a jacket and perhaps a tie, but rarely a jacket, tie and handkerchief together. And always to make them a little more subdued, elegant and subtle in their style.

Often, staff in shops, lookbooks and advertisements should be seen as menus of clothing from which one or two things should be taken, rather than the outfit as a whole.

Joseph: Which piece of menswear would be a good analogy for yourself as a person?

Nice question. I’m going to go for a bespoke overcoat.

An overcoat is something everyone wears (so it will rarely stand out just for wearing one, as a jacket can do) but a bespoke example sets itself apart subtly with its structure and fit. And it can, to a certain extent, be dressed a long way up and down, so it’s very versatile.

I’m sure subtle and versatile must be the two words I use most on the blog.

And ‘interesting’.

Alex: Have there been times when dressing well has made people react negatively towards you?

Yes, absolutely. But more when I was younger. I think I’ve learned the lesson of my first answer, above, slowly over the years.

Today, negative reactions tend to be the basic ones from guys saying something is a little ‘effeminate’ - like the tote bag mentioned above.

You need to have enough self-awareness to know when they don’t know what they’re talking about - that you have a better understanding of how such a piece is seen in the society you live in than they do.

Fergus: I can see an evolution in your style across the life of this blog. I’d like to hear how you think your style has changed through all the experiments you’ve made. Why did you choose certain tailors and cloths when you started and why have you changed your style over the years?

I think this is an interesting follow-on to the previous question.

The first point is that I have learned to dress more in-keeping with my environment and peers. More unusual things like a double-breasted, pale-grey suit tend only to be used at menswear events.

My first ever bespoke suit, from Graham Browne, didn’t get worn that much simply because it was double-breasted. My first Savile Row suit, from Anderson & Sheppard, was a Prince-of-Wales three piece that was worn occasionally but the jacket on its own more often.

Over time my style has become more subtle, and so I’m excited by little things like cloth and texture. A recent example might be my Sartoria Melina leather jacket, which excites me for the beauty and wearability of the dark-brown nubuck.

A: How much importance on a scale of 1 to 10 do you place upon being dressed well (by that you can generally assume tailored attire) and being a gentleman - 10 being of most importance? Does being well dressed really “make the man”? Using a similar scale.

On the first two questions, perhaps 4 and 9.

I think clothing is important but it’s just one of the skills in life you should try to master - like cooking, or creating music. (See post here.)

If being a gentleman means being polite, considerate, caring and discerning, then it is very important. If it means smoking cigars, drinking cocktails and driving sports cars, then it is the least important thing in the world.

And no, clothing does not make the man. It’s more important than a lot of people think it is (it makes people treat you differently, and makes you feel differently about yourself) but it’s still a 4 out of 10.

Other things like health, culture and relationships are far more important, and do more to make the man.

Michael: What do you normally wear when playing or hanging out with your children?

My bespoke Levi’s jeans or Incotex chinos; a button-down shirt, perhaps in chambray or brushed cotton; a cashmere or shetland crewneck sweater. On the feet, boots, derbys or trainers.

A: Has PS made you vainer?

Yes, absolutely. I fight hard against it, and my friends and family are very good at bringing me down to earth, but it’s hard not to be affected by seeing your photo on a magazine cover etc.

I’d like to say it’s given my confidence rather than made me vainer. But I’d probably be wrong.

Certainly, the people I respect most in the industry are those that are the most honest, approachable and real. And the ones I dislike most are the preeners and posers.

I often try to smile in my photos to avoid the impression I’m taking myself too seriously. And I don’t think people that have met me in person would have that impression.

BespokeNYC: Recently it feels like there’s been more focus on casual pieces (or less businessey anyway) on PS, but perhaps that’s simply because business pieces are always going to be more limited in range so your collection is more “complete” now.

That’s a good point - I think the slight shift is just because I have spread out to find other things interesting, that all relate to the same sense of style. So fewer straightforward Savile Row business suits, and more which type and make of jacket works with jeans.

One thing I am always doing is experimenting with other types of clothing to see if they fit into my sense of style. And often rejecting them.

So on the formal side, perhaps a fur hat or astrakhan that I decide is too fussy; or on the casual side a denim chore jacket, seeing if it works with smarter trousers, and deciding it doesn’t.

I think you need to establish a sense of your own style and wardrobe, so that a lot of it works together, but then always test its assumptions with new things you see.

Ansgar: What is your idea about the budget for clothes? Some people stick to a 5% (of income) rule. What is your opinion?

It’s a little complicated, because a lot of it I justify as being part of the research for and coverage for the blog.

But I’d say it’s probably better to look at your absolute disposable income. So after you’ve paid for mortgage, food, travel, utilities and everything else (for you and your family). I’d say I spend about 60% of that disposable income on clothes.

Field jacket, rollneck and flannels

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A few readers last week asked about this outfit I included in our 'High/low dressing' post.

It's a combination I love, and shamelessly copied from an Italian gentleman I saw in Milan a few years ago.

Men should never be afraid of taking inspiration from others, primarily because it's what everyone always does and has always done.

I remember a friend saying a couple of years ago that he wore purple socks with his brown-suede shoes in honour of Michael Drake, who is often seen in that combination.

But then Michael told me a few months later about the older, French friend he had copied it from.

On the day we shot this outfit, I was going to be in our pop-up shop moving around boxes and furniture.

I needed clothes that were comfortable and could be worked in, but still looked chic enough for seeing people around Mayfair.

I therefore went without a jacket, but stuck with the classic menswear combination of grey trousers and navy top - just a rollneck sweater instead of a blazer.

The rubber-soled, brown-suede Saint Crispin's boots are very comfortable and good for lots of walking, but again quite smart.

And the vintage M-65 field jacket on top rather than, for example, a suede blouson, was driven by that memory from Milan.

The M-65 is from The Vintage Showroom in London, and I prefer it to the simpler M-43.

The room provided by the pleats in the back is also helpful if you're wearing bulky knitwear underneath.

In the same way, I generally don't like modern versions of these cotton field jackets that strip away all the pockets and details, as it removes all the character of the jacket.

The Saint Crispin's boots have become one of my absolute favourite pairs of shoes in the past year.

We had an initial problem with the fit where the narrowness I need for my ankle (they are made on my personalised last) made the sides rub painfully on my ankle bones.

But some discussion over email and a couple of pictures was enough to explain the problem, and they came back fixed perfectly. (The sides were moulded outwards to curve around the bones).

Given Saint Crispin's don't currently visit London, being able to do this remotely is very important.

Style-wise, like many of my favourite things the boots look simple and classic (and are therefore very useful) but are elevated by beautiful, subtle craft.

The Classic Last shape is so elegant, the welt so thin, and the narrow waist cut in so sharply.

The latter two points in particular make a non-menswear-nerd admire the shoe without quite knowing why.

Lastly, the tote bag from Connolly was a purchase I was unsure about, but have come to love in the past couple of months.

It is made from an extremely soft nubuck, and is entirely unlined and unstructured.

This makes it wonderful to hold and feel, but I was afraid it would be rather impractical.

So far it's been OK but I do find it's easier to use when there is something substantial inside it, such a chunky sweater or a box. It wouldn't be the design I'd recommend to someone for a first good bag.

I've also sprayed the nubuck with a water repellent, and it hasn't become noticeably soiled despite regular use.

The hat, by the way is a Permanent Style piece I made with Johnstons in Scotland - remaking the exact style of an old one I bought in Italy and haven't been able to find elsewhere.

It's just a question of small tweaks to size, thickness and rib, but these small things make me happy.

I hope to put it on the shop in the next couple of weeks, when the pop-up calms down a bit.

Photography: Jamie Ferguson @jkf_man

Edward Sexton ready-to-wear: Hollywood-top trousers, shirts and knitwear

Edward Sexton ready-to-wear: Hollywood-top trousers, shirts and knitwear

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Friday, December 8th 2017
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It’s been so fun swapping in brands every week or two during the pop-up shop.

A lot of work, but fun: it feels like a different place, a slightly different atmosphere, every weekend.

On Wednesday this week we exchanged The Armoury for Drop93 - the pre-owned and consignment store from the Armoury team.

And we welcomed in Edward Sexton.

This is a significant launch for Edward Sexton as it is the first time they have done ready-to-wear trousers.

Fortunately, the Hollywood-top style (above) is meant to be loose in the leg and cinched slightly at the waist, so it is easy to fit a range of body types.

For anyone that isn’t familiar with the Hollywood-top style, it is a relaxed, high-waisted cut with what’s called a ‘grown-on’ waistband. Basically, it looks like there is no waistband at all, and inside there is less structure than a normal band.

A series of belt loops then run a touch below the top of the trouser.

Sexton started cutting them bespoke last year, and you can see my review of my bespoke ones here.

The RTW styles are cut like a traditional high-waisted trouser - so sitting on your natural waist, above the hip bone - unlike mine which were a little lower.

They are in three different VBC flannels, all 11oz, and cost £420.

Sexton’s other offerings are the pin-collar shirts they’ve had for a while (£190) and silver and gold pins for them (£140 to £510).

There are three-fold and seven-fold ties made by Bigi and designed by Edward and Dominic (£110 and £190) and some other accessories.

The knitwear is new this year - cashmere and wool rollnecks, and a chunky cashmere cable-knit. I’ve always associated Edward with rollnecks under tailoring, so it’s nice to see those in their collection.

A few readers on Instagram have asked about how to access these things if they can’t get to the pop-up shop.

As with all the brands, Edward’s things are available on his website - EdwardSexton.com

The concept of the pop-up shop has always been to bring together brands that you can’t normally access in London - either because they’re online only, or because they are based abroad.

So the brands tend to have everything available in their web shops as well as the pop-up - and these pieces are relevant to everyone, not just those that can wander down to Savile Row. 

High/low dressing

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The biggest potential pitfall with tailored dressing is looking fussy.

Fussy is not sexy; it is not attractive. It is closely related to appearing ‘affected’ or ‘mannered’.

Looking relaxed in clothing, on the other hand, is very attractive. It lies at the core of terms such as sprezzatura, grace and elegance.

It is why Hardy Amies told us to forget all about our clothing, once we had put it on.

I would argue this is at the very core of dressing well as a man, and is the thing sartorial dressers most frequently get wrong.

Fortunately, there are many ways to achieve it.

The first is dressing more simply, or avoiding anything that you feel you need to fuss with. The second and easiest is just being at ease, but this usually comes over a long period of wearing the same things. And a third is deliberately having some aspects of your dress imperfect (sprezzatura).  

Here we will look at a fourth: mixing casual and formal elements together - sometimes called high/low dressing.

It is not the easiest way to avoid looking fussy or mannered; indeed it is easy to get wrong.

But it is perhaps one of the most stylish way.

One guiding principle for high/low dressing is to play with the accessories, not the core. So outerwear, not jackets; shirts, not trousers.

A second is to be aware there are grades of high and low, which should not be pushed too far apart. So a Barbour jacket with a casual suit, but not with black tie.

The further apart these two extremes are, the easier it is to get it wrong.

 

1 Outerwear

The easiest and by far the most popular way to add casual, or low elements to an outfit is with outerwear.

Examples of casual (and often cheaper) outerwear pieces that can work well are:

  • Waxed/hunting jackets (Barbour, on Jake below, often being good because many are long enough to cover the full length of the jacket)
  • Duffle coats (Gloverall’s Monty - above - being the classic, but there are lots of other options)
  • Tweed/raglan-sleeved country coats (Smarter, but still definitely more casual than a tailored overcoat)
  • Cotton army coats (Largely field jackets like the M-65, and at a stretch a fishtail parka)

It's easier to look casual and unfussy if the coat is a little beaten up, which leads to a lot of men buying them vintage.

If the fit can work on you, that’s fine, and certainly better than buying artificially aged versions from designer brands.

But be careful with the length. For example, I love my vintage M-65 (shown in the introduction) but my height means it is too short to wear over a tailored jacket.

The issue there is milder version of short gilets over jackets. This is certainly a look, and I can see why some people like it, but for me it stretches the high/low separation too far.

 

2 Shirts

Second easiest is the casual shirt. Two examples of this have been ubiquitous in recent years: the denim shirt and the polo shirt.

One extreme of the denim shirt is the thick, pearl-snap cowboy shirt (above). The other is the Everyday Denim shirt, which is closer to being a dress shirt that fades nicely.

Mostly it’s safer to have something in the middle - which is obviously denim, but still functions well under a jacket (above).

My advice here would be to never sacrifice fit points (eg long tails to tuck in, collar at a decent height) but feel free to play with the colours, washes and design details.

On the polo shirt, of course, my favourite is the two versions of the Friday Polo I’ve offered here on Permanent Style. But many others, particularly The Armoury (above), offer really nice versions to wear with tailoring.

It subverts the assumptions of tailoring in exactly the same way as denim, but if cut like a regular shirt, mostly just shows in the material and texture.

 

3 Accessories

Accessories are one of the easiest things to add an outfit, but don’t tend to make as dramatic difference as outerwear.

A beanie that sits close on the head and retains a clean look (above) can be nice with tailoring, and is a big contrast to the alternative of a fedora or trilby.

Caps sit somewhere in between.

Colourful scarves, such as those from Drake’s, Liverano, Rubinacci and others, are not so much more casual and ‘low’ as more fun. They’re colourful, more playful, and can soften tailoring in that way.

They can also be a little flamboyant though, and if anything I tend to prefer more muted scarves such as indigo dyes to achieve the same effect.

I also often wear, as shown at the top of this post, Hermes silk scarves with coats and knitwear.

If anything this is high/low the other way round: the fanciness of a silk scarf being brought down to earth by a wax jacket. 

 

4 Shoes

A difficult area, largely because guys want to wear trainers with everything and it rarely works.

I’ve covered this in detail in my posts on how to buy and how to wear trainers, but in summary:

  • For a trainer to work with tailoring it must mimic some aspects of a dress shoe. Specifically long, clean lines, plain colour and a simple design.
  • They are best worn with more casual tailoring. So a cotton suit rather than a worsted suit, and most often just smart trousers, without a tailored jacket.

Most of the time, the best way to use shoes to look more relaxed is to just wear them - so they get worn in, look much loved and a little beaten up

 

5 T-shirts

A T-shirt under a jacket is a favourite of fashionable types, but rarely works.

If you have anything but a short neck, it will be much less flattering than a collared shirt. Also not great for the jacket collar against the skin.

In general - although not as casual - a rollneck or polo-collar buttoned up to the neck will be more effective. 

If you do want to try it, go for a lightweight crewneck sweater underneath the jacket, rather than a T-shirt.

If it’s in cotton, it won’t be much warmer than a T-shirt, and it will make the neckline much smarter. John Smedley even does short-sleeved cotton knits in the summer.

Wearing a slim scarf underneath (as shown above) the jacket can help, as it will create a substitute collar at the neck, and follow the lapels of the jacket nicely.

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If you want to try something along these lines, I recommend starting with outerwear.

Wear a sports jacket and flannels into a vintage store, and try various things over the top of your jacket, to see how you like the look.

And don’t be fooled by magazine shots. If you think someone looks good in a T-shirt and jacket, cover up their good-looking face and athletic body, then reconsider.

Photography: All Jamie Ferguson except silk scarf/D-43 and indigo scarf (both Drake's), white trainers (James Munro) and T-shirt (Gieves & Hawkes)