Wearing Liverano jacket, Cleverley shoes, Caliendo trousers and Drake's accessories
Wearing Liverano jacket, Cleverley shoes, Caliendo trousers and Drake's accessories
Above, Davide’s note to the tailor, which required some longer explanation on the back.
Last night there were two store opening parties: Kent & Curwen on Savile Row and J Crew on Regent Street. And while neither will get fans of luxury menswear that excited, there were good things at both for those on a budget.
K&C might not seem that original in its flannel suits and cream trousers, but then readers often ask where they can get a good pair of grey flannels, and I now have somewhere to reliably point them to. Equally, J Crew does preppy menswear better than pretty much anywhere else currently in London, and there’s a reason their shirts have been so popular since Trunk started stocking them.
Above, four drinking companions at the J Crew bash: Mats Klingberg (Trunk), Eric Musgrave (now Drapers), Michael Hill (Drake’s) and Douglas Cordeaux (Fox Brothers).
Cycling has to be the most stylish sport in the world. It has such an elegant, innate rhythm, plus a deep design heritage, a unique culture, and some of the most beautiful settings in the world. I sat down recently with three of the leading lights at Rapha to ask them what they thought makes this sport I love so stylish.
Graeme Raeburn
James Fairbank, brand manager (JF): Road racing is often defined, at least in the public eye, by the kit, and that’s gone through lots of different phases over the years. It used to be simple, with just a single sponsor perhaps, and then it became more complicated and lurid over the years.
Graeme Raeburn, head designer (GR): Part of the reason those early jerseys were so simple was the restrictions in the knitting techniques. It might have been a single colour for a team, with a coloured strip tied around the arm as another indicator (that’s something the Rapha designs consciously emulate, with the white or coloured strip on the left sleeve).
The name of a single sponsor might be knitted into the chest of the jersey, but you certainly couldn’t put lots of names all over the kit. I think this was the reason the world champion’s jersey had the distinctive five bands of colour across the chest – it was the most expensive thing to do, to use all those colours.
Later it became possible to print on the jerseys, and then people went a bit crazy, with the lurid designs and multiple sponsors.
Ultan Coyle, art director (UC): I still like the small teams that used to have lots of small sponsors because that was the only way they could afford to compete. One sponsor might be the local garage, but that’s what they needed.
JF: There’s also a certain appeal to the brightly coloured jerseys, but at the very least it gives different periods of cycling very distinctive looks. You don’t get that so much in other sports – the shapes of the clothing might change, but the colours and design don’t fluctuate so radically. The commercial set up of the cycling teams has always driven that.
When Rapha started, we wanted to hark back to the simpler designs in the past, so we had basic, contrasting colours. That’s also tied in nicely with Team Sky now, as their jerseys have always been very simple and distinctive.
GR: Of course the reason the riders are often brightly coloured is so teammates can distinguish them on the road. You have that need in football or rugby as well, but not at the same speed or in the same conditions, going in and out of tree cover for example.
Cycling is different to those sports as well in the size of the canvas there is to play with. It’s not just the kit but the helmets, the bikes. The team colours can play out across all of them.
Ultan Coyle
UC: Thinking about the style of cycling as a whole, the way the teams ride together is probably a contributor. In the same position, the same kit, the same bikes, all tightly grouped. It’s what makes the lead-out trains exciting – when you see the teams come together.
JF: Riding is certainly more coordinated and smoother than most other sports. It has an elegance in the speed of the movements, and the gradual acceleration. Someone might be absolutely killing themselves, yet still look calm and assured to a casual observer.
UC: It’s interesting how the lines of the rider and the bike are abstracted, in art, logos or other designs. They are often reduced to a series of flowing lines, reflecting speed and fluid movement.
GR: You get that in the road as well – all the shots of the riders from above, showing the road snaking through a valley or up a mountain. In fact the Rapha logo reflects that as well – it is deliberately smooth and looping in the same way.
JF: I’m sure the reason you get such great photography in cycling has to do with this imagery. The almost static forms of the riders and then the sweeping scenery. No other sport can really compete for the scenery.
All photography except landscape above by Luke Carby
The Boglioli and Caruso jackets at Trunk are my favourite range of casual alternatives to tailoring in London. There are several reasons why you might want a casual RTW jacket, including styling, cost and finishing. For me the biggest one is the whole-garment washes that cannot be replicated with bespoke, and which are the most attractive feature of a casual cotton jacket.
Welcome to the new Permanent Style website. We’ve made a few big and a few small changes, and we hope you like them all.
Most noticeable will be the categories that now run across the top of the site. These open up the entire Permanent Style archive, so you can browse posts just on shoes, on specific tailors, or reader questions.
Each category page has a revolving gallery of old posts, bringing up some gems you may have missed, and sub-categories that enable more nice browsing – how to look after your shirts, for example, or wear colours together.
There is also an improved search function (top left), better translation (to the right of that) and every brand I have covered, each with their own page (above right). You will find posts easier to share, and our great photography has room to breathe.
Comments on how the site could be improved and information on problems are appreciated. To express that appreciation, the first 20 people to get in contact with a helpful suggestion will be placed on a priority list for the next Permanent Style collaboration. Simply email me at simon@simoncrompton.co.uk
Happy browsing.
I don’t often write negative things about brands. There are so many great things to write about, and I generally prefer to simply not cover them than write something negative. Perhaps, as Spanish readers suggested at a seminar in Madrid last year, I am too just too English.
I do think, however, that it is worth giving feedback on how products have worn over time. It is the philosophy behind my ‘How great things age’ series, and it’s something most mainstream sites never cover – because they’re not using the products themselves, merely publicising new releases.
To that end, here are three things that have worn very well over the past five years, and three that have not.
Three good…
I have had two pairs of jeans from Albam, both bought raw and slowly worn in. My current pair is three years old, and has that lovely patina you only get with heavy cotton and leather garments – the feathering, the creases, the personal signature of wear and use.
I had both taken in slightly at the waist, because I have a small waist in comparison to hips and thighs, but the fit was subsequently perfect. I know a friend that had a pair of Albam jeans split on them down the seam, but I feel that must be the exception.
Anderson & Sheppard double-breasted jackets
People spend a lot of time online debating the finishing and internal construction of a jacket. In the end, it must make you look fantastic. It must suit your style and your build, and give you confidence as a result. My A&S DBs do that more than any other jacket I own. (Pictured top, with Luca Rubinacci.)
IWC Portuguese chronograph watch
It took a long time to save up for this, but I’ve never doubted that it was worth it. These are not original points, but I wish to add the emphasis of my own experience: your watch is one thing you wear every single day; you will look at more than anything else you wear; and it is likely to be the most beautiful thing you own. Mine certainly is. No other element of menswear matches jewellery for delicacy of touch. It is a constant source of pleasure.
House of Billiam varsity jacket
The reason I have never written a follow-up post to my commission of a varsity jacket from this east-London maker is that the quality wasn’t that impressive. The materials were good, particularly the ribbing and nappa leather, but the pocket bags were of oddly varying sizes, with one too shallow to be of any use. And the placement of the poppers was off, such that the last one couldn’t be fastened without making the jacket gape.
Back in 2009 I had a pair of boots made by Cliff Roberts. He is a Northampton shoemaker, who I recently bumped into at the Crockett & Jones factory. He was offering bespoke styles on your personal last, at attractive prices.
The boots have not worn well. They used a thinner leather than most, but didn’t have the internal structure to support it, and have become misshapen as a result. The heel of one came off quickly. Eyelets came loose.
When I had a suit made by ASTF four years ago, I hadn’t had much else made. I thought the fit was good, though the materials weren’t that impressive.
In retrospect, the materials were cheap and the fit was only OK. I’ve seen friends’ suits where the fit has been pretty terrible. Certainly worse than a regular high-street suit. For that price, I would recommend most people go to a high-street brand they like, such as Reiss, and have the suit altered to fit by a decent tailor. Or find better made-to-measure.
One of the nice things about having nice advertisers is the range of Christmas shopping ideas they present. Here are my favourites.
Among the best additions to the collection at Drake’s are the untipped cashmeres in various shades of grey. The lightest, simply described as ‘grey’, is my favourite. Coincidentally, it is also my favourite shade of Kirby’s Palatino super-fine socks at The Hanger Project. Perfect to match with pale flannel trousers, or an unusual note with mid-grey.
Mes Chaussettes Rouges has expanded considerably in the past year, now with their own shop in Paris, and one of the things they have added is hunting socks. I don’t plan to go hunting, but I will be spending a lot of time at Christmas sitting around the fire.
Someone else who has expanded a lot is The Merchant Fox (pictured top), with reefer jackets and suitcases added to the accessories and bridle-leather bags. For more modern bags, and a range of brands, Opumo has the best selection I’ve seen (J Panther aviator, left).
Pediwear is one of an increasing number of online shoe retailers, with both a big range of shoes and a surprising number of accessories – Peckham Rye hanks, for example. A Fine Pair of Shoes, the other shoe retailer here, keeps with a smaller number of shoes but is also the exclusive UK retailer for Covy’s overshoes. A German brand, Covy’s are less dressy than Swim’s with a chunkier shape and higher coverage.
What else do we need for Christmas? Dent’s is where I’d go for gloves in the UK (particularly the deerskin), Penrose’s range of cufflinks is worth highlighting, and Le Noued Papillon has the greatest range of silk bow ties (though the Belle 2 handkerchief, right, is also a favourite).
Trunk, meanwhile, is great for presents across a series of categories, particularly with the addition of Trunk Labs. If I had to pick one sure-fit Christmas hit it would be the brass tea-light holders. For a more casual wardrobe, the Sunspel fairisle accessories are also worth checking out.
Among my other favourite online sites are Kaufmann Mercantile, a New York workwear-influenced site that now ships to the UK, and Misc-Store, which stocks Midori and Postalco (envelope, right).
There seem to be new ones every single day.
It has been a year since I began my column with How to Spend It looking at value in menswear. Nice as it was, we had covered most of the basics – so the editors and I decided recently to change tack.
The new column, The inside track, will look at one relatively unknown brand each month. It will combine a behind-the-scenes narrative with an insider’s explanation of the brand’s quality and originality. Hopefully, it will enable me to spread the word about many of the smaller producers that we know and love, but rarely get mainstream coverage.
The first to be featured is Gaziano & Girling. Although well-known to shoe aficionados, few men outside the online world have heard of them. And they are on the cusp of something big, with a new factory and soon their very own shop.
You can read old columns here.
An archive-trawling reader recently reminded me that back in November 2011 I wrote about my new Edward Green Top Drawer boots, concluding that perhaps it would be best to wait two years and then see how the boots had worn.
So what have I learned in that time? Well, the leather continues to outperform that of other Edward Green shoes. It takes a polish beautifully, instantly bringing up a rich shine and achieving a mirror-like finish with a little extra work. The only shoes I have that are comparable in that regard are from Corthay, though that construction is also rather stiffer.
The waist treatment continues to appeal. I like the rounded shape more than the sharp angle of some Gaziano & Girling shoes, for example. It feels natural and less affected. However, close as the waist is, it does not compare with bespoke shoes, and neither does the pitch of the heel.
As I have written before, those two things are what give bespoke shoes such elegance and grace, and for me are a greater draw than bespoke’s superior fit. If I could find such work on a RTW or MTO shoe, that might be the ideal.
The boots have worn well, though no better than any other of my Edward Green shoes. Perhaps two years is still too short a time, though. I rarely wear boots for the middle six months of the year, and the rest of the time they must compete with a large shoe collection.
The only thing that was slightly disappointing was that the loop for pulling on the boots came off at one end. I haven’t seen any other signs of poor workmanship – quite the opposite in fact, in everything from the heel build to the waist-to-heel transition to the linings. But it shouldn’t happen nonetheless.
I can see how a Top Drawer shoe would appeal to a long-time fan of Edward Green who wanted something just a little better. You definitely get that. But, with Top Drawer starting at £1350, you’d need to not miss the extra £600 or so. Top Drawer also shouldn’t be seen as halfway to bespoke, either in make or obviously fit.
My Chittleborough & Morgan navy suit was finally ready last month, and here are the pictures.
I use the shot of the back at top because it is the only one that demonstrates the superb fit Joe and his team have achieved. It is a consistent struggle for tailors to get the fit right through my hollow lower back and fairly prominent seat. The only other tailor that I think achieved such a good fit here was Liverano & Liverano.
My favourite style aspect of the suit is the waistcoat – a new design that Joe was trying out. It has a cloth back and a proper collar, so it can be popped up if the air turns chilly. And it is cut so that the lapels fasten together, using the usually decorative lapel buttonhole. For someone who still likes the Logical Waistcoat Theory he penned 5 years ago, it is an extremely functional piece.
[Click on the images at the bottom of this post for detailed shots]
The make, as you should expect by now from Chittleborough, is superb. The best by an English tailor and approaching the French masters at Cifonelli and Camps de Luca (more on a comparable Cifonelli suit next week).
I mentioned the way the C&M pockets are tacked to the inside of the jacket in a recent post on The Rake website – as well as the hand stitching of the two side panels of the lining.
Chittleborough also overlocks the inside-leg seam of the trousers by hand. This may seem point
less – it is a long, straight edge after all, and therefore a classic candidate for machine stitching. But Joe finds that the speed of machine overlocking can lead to the line of the trouser being ever-so-slightly kinked, as the perfect line is lost in the speed of the action. The inside-leg seam is easier to distort in this way.
Extra work also goes into the gorge stitching (where the collar joins the lapel), with the two being stitched flat and folded over, rather than the two sides simply being pulled together. And of course the decorative details on this suit, such as the raised seam in the back of the jacket and lapped seams down the trousers, involve a lot more handwork.
For a price to US customers (so ex-VAT) of £3333 for a two-piece suit, it’s very good value. And yes, they can do more conservative styling.
The only thing I’m not entirely sure about is the position of the high-waisted trousers. They have to be high to wear with a waistcoat (otherwise the waistcoat is too long or you end up showing shirt between the two), but it still feels odd to have so many layers of cloth at my navel. I think I may end up lowering the waistband by about an inch – to the lowest it can go and still be adequately covered by the waistcoat.
More from the C&M team soon.
[Click on the images below to enlarge]
Top photograph: Luke Carby