Permanent Style


We’ve had a restock of our Finest Polos over the weekend.

The waiting list was emailed first and given exclusive access, and as a result some of the sizes in Navy have sold out. But we still have a full size run in this wonderful cream.

Two years ago, when we visited the Joshua Ellis mill near Batley, Yorkshire, I spent a happy couple of hours browsing their archive.

As you might expect, the vast majority were classics: plain or textured cashmeres, houndstooths and herringbones. This is the majority of the market, and what most people expect.

But now and again, there were little collections of really wonderful checks. Unusual - with real personality - but subtle with it.

It was these I spent the longest time poring over, and which resulted in us bringing one of the most beautiful out of obscurity - the dark purple and green cashmere you can see pictured.

It’s available on the Joshua Ellis website, from today, in the same way the Escorial has been previously (rather than on the PS site).

I've always had a soft spot for checks, but in the past I’ve tended to go for strong ones, or have them made into suits rather than jackets - which makes them stand out rather more.

The key thing I loved about this pattern was how much was going on, yet how subdued the overall impact was. When you say you’re going to wear a purple-and-green check, this is not what people expect.

The base of the pattern is a dark green and very dark brown/purple. The latter, in fact, is so dark and mixed in that it’s hard to say exactly what shade it is.

The suggestion of purple, though, is reinforced by a faint additional purple stripe (alternating with white) running horizontally, and a thinner, uniform purple line vertically. These are surrounded by straw-yellow stripes of varying widths. Then there’s a white stripe, a couple of faint blues and an orange.

I know from experience how hard something like this is to design, how easy to get the shades or balance of the colours completely wrong, and I bow to the expertise of the Joshua Ellis design team. It’s a rich and beautiful pattern.

Read the full article at

Yesterday’s article was a profile on reader Manish. Here he describes the casual outfit he showed.

"I’m wearing Crockett & Jones Harvard loafers, W. Bill linen trousers from City tailors Graham Browne, and the bag is from Adret.

The shirt is an old Uniqlo-Christophe Lemaire collaboration, cost twenty-five quid, is thick with sweat, ice cream and beer by the end of each Summer and still gets more love from friends than any of my tailoring! If Hemingway had gone into the ice cream business I think he would have worn this shirt.”

When asked about the amount of money spent on clothes Manish says: “I don’t have any super-expensive bespoke tailoring, but yes, I think I do spend a lot of money and I think it’s important to acknowledge that so I appreciate how lucky I am to be in that position, and to remind myself to take care of the things I have bought.

I would add that, like many of your readers, clothing for me is more than just about looking good. It is also a passion and so maybe it’s better to compare what I spend on clothes against what others spend on their interests - for example following a football team home and away isn’t cheap either!”

Read the full interview on

Sometimes I feel a bit envious of brands holding trunk shows, because they meet so many more PS readers than I do.

I see people at occasional events, and of course the pop-ups once or twice a year, but that's about it.

So one of the nice things about starting this series (Reader Profiles) was just chatting to people like Manish here - about what clothes they buy, which they don't, and how their style has changed in the past 18 months.

That, of course, is also the benefit for other readers. These articles should provide a different perspective to my own - from people not in the industry, from different places and professions.

We'll try to keep to one a month or so, and keep them regular. I hope you enjoy the first installment.

Says Manish on the first outfit here: “I’m wearing Alden tassel loafers, a Bryceland’s Oxford shirt and a cashmere tie from Drake’s factory store - may it rest in peace. The jacket has been made up in a Fox Brothers tweed and both it and the trousers are from The Anthology.

I wear a lot of my tailored jackets with black shoes, charcoal trousers and white shirts. The intellectual reasoning for this is that I like a contrasting gradient that leaves lighter colours nearer my face, plus I have dark skin and a dark beard (although that is whitening with each passing day) and so I find a white/cream shirt very pleasing.

However, I genuinely think the real reason for this mode of dressing is that it has just been ingrained in me as a boy by the different school uniforms I had to wear, all of which were as above but just topped with a polyester blazer.”

Read the full interview on

In Wednesday’s article on Permanent Style we continued our ‘How to dress like’ series.

We spoke to André Larnyoh about his style.

“This is a lightweight Mackintosh that I got at Trunk about two years ago, with a Levi’s shirt. I have a lot of Western shirts, I pretty much live in them.

Finding the right one has been a bit of a learning curve though. My first one was from Levi’s and a size medium, and as you can see I’m pretty tiny. It fit in the shoulders, but was just too blousy in the body.

It was also too light – I think the secret to a good Western shirt is nice snaps and a mid-weight. It can’t be as light as a normal shirt, but you don’t want a original heavyweight either. Just something so it can soften nicely over time, all that good stuff.

I have a Polo one, which is OK, and then this heavier Levi’s which is my favourite. Maybe one day I’ll be able to get a Bryceland’s one.”

Read the full interview on

Our post earlier in the week was about adding interest to a classic outfit of a navy blazer and grey trousers.

The third option we have (see previous posts or full article for the first two) is a nice stripe, like the ‘shadow stripe’ pictured above. This pattern is nice because it’s not too bold, as an awning stripe might be, nor something that looks like it’s still missing a tie, as a hairline stripe can.

If you want to go less corporate, pick a coloured stripe instead. Swap the blue above for a lilac or a pale green.

Read the full article on

I was buzzing when I got off the phone with Josh Warner of Good Art last week.

It's been a while since I've talked to someone new that has that bright-eyed passion - the enthusiasm of an obsessive creator.

He reminded me of Graham Thompson, of Optimo, or Simone Mattioli of Umbria Verde. There was the same excitement about the product, the keenness to explain it, and the simple love of beautiful things.

It says much about Josh that he liked these comparisons, found them interesting and wrote them all down.

Let's rewind a bit, though, and explain why I'd asked to interview Josh in the first place.

For a few years, I've admired the silver jewellery from Josh's brand, Good Art, on display at the Rivet & Hide shop in London.

Now this might raise a few reader eyebrows. After all, Good Art makes curb chains and belt clips, decorated with skulls and expletives. Surely Simon doesn't think he's some kind of biker?

No, but look closer. Remain curious.

Pick up a piece of Good Art jewellery, and if you appreciate these things, you'll immediately recognise something in the quality of the materials and the work.

Chain links move smoothly and effortlessly against each other. On a key chain like mine (above), the sections all revolve and twist frictionlessly. You notice how the clip is split in two, so there’s a clean overlap. The thumb lever is pleasingly bevelled.

It's not the decoration you notice, but the engineering.

Read the full article on

In Monday’s article on we discussed how to add interest to the classic combination of a navy blazer and grey trousers.

Here the cashmere blazer is worn with our Dartmoor polo. The material is soft, the edges soft. There’s no sharp cutaway collar or tight little tie knot. It adds something both more interesting and more relaxed to the menswear uniform.

Today’s article on features André Larnyoh, and is a continuation of our series ‘How to dress like’

On this outfit, André says: “I like slightly mismatched navy combinations like this. The jacket is from Vetra, bought at John Simons, and I think it looks good because of how much it’s been worn and washed. It’s the first thing I get out in the Summer – when I get those lightweight things out from under my bed. They’re kept in a suitcase.

The shoes are the Regent model from Crown. I got them only a year-and-a-half ago, but they’re pretty bashed up already. It’s a dancing shoe really, it’s not design for being worn out and about. Similar to Repetto shoes, the French brand.

I do get teased about them sometimes, but it helps that I actually did a little ballet, so that’s some kind of comeback.”

Full interview on

Carrying on our discussion from yesterday’s post about adding interest to a navy blazer and grey trousers, the second option is to change not the colour, but the texture.

This is our old friend the denim shirt. (It’s a very old friend of mine, being an eight-year-old shirt from Al Bazar that’s literally falling apart at the seams. About two years ago the dissolution had an old-world charm to it, redolent of frayed cuffs and faded carpets. Now it’s just as mess, but I haven’t found a replacement I like. So it’s the only example we have.)

I shouldn’t have to tell readers why denim is nice here. But as briefly as possible: it’s the same colour as a business shirt, but a different texture; its associations are of workwear rather than formalwear; so it’s a little unexpected with fine tailoring, which subverts it pleasingly, if subversive is what you’re after.

Denim adds personality, basically.

If you want even more, less corporate and less smart casual, you can add more design details to the denim shirt or change the smart blue colour. A Western shirt - with all its points and snaps - would have more details. A darker denim or chambray shirt would change the colour.

Read the full article on

The things that make conventional outfits more interesting are precisely the ones that I’ve been banging on about for the past dozen years:

quality and cut.

If you want to look good in tailoring, don’t wear a double-breasted jacket, a pinned collar and double-monk shoes. Get quality shoes that look better as they age, good trousers that flatter your shape, and a quality jacket that’s been made for you.

This doesn’t have to be expensive. Most people don’t look after their shoes, have their trousers adjusted, or buy flattering styles of jacket. Do all three and you’ll be better dressed than 99% of the population.

Then, buy quality when you can afford to. Slowly and intelligently, buy fewer clothes but the same amount of money. The effect will be telling - especially where materials make a big difference, as with shoes and ties.

While you’re waiting for that policy to take hold, you can experiment with some little changes around the jacket and trousers.

Shirts are by far the easiest way to do this. You’re unlikely to be wearing a handkerchief in your pocket these days, and may not be wearing a tie.

Navy on navy still looks elegant, but less formal. I wear it a lot, probably too much in fact. It’s just so easy yet no one else seems to be doing it. (That I see in person, not that I see in my echo-chamber of a social media feed.)

Here the navy is an old version of the Friday Polo - our heavy cotton-piqué shirt that Permanent Style first offered back in 2015 (which launched with, I now realise, me wearing navy on navy).

The colour change makes this an interesting option, but we have the change in texture as well. The cotton piqué immediately suggests sport, activity. And this colour even fades a little over time, in some of the same way as the denim.

Read the full article at

It has been asked whether Adret is a ‘whole look’ brand, where you really need to buy all the clothes together.

I don’t think you do, but Adam (Rogers, co-founder) does have a particular aesthetic, which means certain silhouettes and certain colours. The clothes will always look best with other pieces with the same outlook.

This jacket, for example, would look unbalanced with skinny jeans, and a rich, vibrant top would be out of place. It’s much better with wider trousers and muted tones.

My combination here is particularly restrained, which I guess is typical of me, particularly when I’m trying out new clothes. It doesn't have to be as dull as that - the Adret range includes a huge range of colour, from pink to yellow to green. But they're all similarly pale or muted.

Read the full article at

The PS X Frank Clegg tote bag in sumptuous yet practical - soft but virtually stain-proof - bullhide nubuck is available through @frankclegg , in both brown and black.

Why was Italian fashion so successful? This is the subject of today's article on

In the book Fashion, Italian Style, Valerie Steele wrote about the emergence of Italian fashion: “Deeply ambivalent about French high fashion, Americans ardently embraced the casual elegance of Italian fashion.” The clothes were described in Newsweek at the time as “for real people - albeit rich people - to wear to real places” and as “refined sportswear”. It is this easy elegance that has remained the touchstone for Italian style.

Still, it can be too tempting to generalise about the culture, to talk about dolce vita and la bella figura. That’s a long way from explaining everything, even if it explains something. As the Neapolitan writer Luigi Settembrini said, Italian style is a question “constantly in danger of foundering on the stereotypical reefs of ‘national characteristics of peoples’”.

What’s more certain is the fundamentals of craft and regional specialisation that Italy had. Even before clothing production started, Italy was where couturiers went to source the best lace, silk and other textiles, as well as bags and shoes.

Of course, this is an element we’ve covered on PS over the years. There’s the weaving around Biella, making use of the waters coming down from the Alps. The leather work in Tuscany, originally based off local cattle production. The silk around Como, and so on.

As Steele says: “Creativity is universal, but that marriage of traditional craftsmanship, innovative design, and modern industrial technology is rare.”

Read the full article at

The cut of this Adret jacket is pretty roomy, which anyone who has followed coverage of Adret will not be surprised by.

As I think these pictures show, though, the chest is generous but not oversized. Other styles of jacket, such as an old bomber or a varsity jacket, would be bigger.

What is noticeable is the size of the sleeve, which is large in the upper arm and tapers significantly below the elbow (shown above). This I think is very effective. It makes the jacket look flatteringly big but without any sloppy dropped shoulders or excess material.

The knock-on effect is that the Jack really looks better with other loose-cut clothes. These are some of my wider linen trousers - from Edward Sexton, 9-inch hem - and yet they don't look wide here.

As ever, interested in what readers think of the proportions too.

Read the full review at

Although there has been quite a bit of coverage of Adret in the past two years (including on PS), pictures of the clothes in the wild are rare.

I thought it would be useful to shoot my most significant purchase from Adret, therefore, and reflect upon it. That's the Jack bomber jacket in worsted wool, pictured above.

The Jack bomber is a short, casual jacket whose most unusual aspect is probably that it is entirely tailored, rather than using elastic on the hems.

Also, on most good sports jackets the flaps of the pockets can be tucked neatly inside, leaving a clean, jetted finish instead (see above). This can be useful if you need ready access to them, or simply want to change the style.

Yet it’s rare for casual jackets to do this, presumably because it’s quite a fiddly job. The only bomber or blouson I own that has that feature is from Loro Piana.

One of the questions people ask about Adret is what the quality is like (presumably because of the high price).

I think it’s more useful to judge that on considered touches like this, rather than simple things like precision of stitching, which should be a given.

Read the full review on

Our short-sleeved linen shirt gives a more tailored look to a casual summer outfit.

Available now in the PS Shop.

Every time I do a review of bespoke shoes, the question comes up as to whether they're worth the money.

Whether bespoke shoes in general can really be worth it, given the little issues I often report.

My short answer is that, in my experience, they are not worth it unless you're in for the long haul.

Don't commission one pair of bespoke shoes, from a famed and distant craftsman, and expect them to solve all your issues. It's very unlikely.

I've overheard so many guys talk about dreaming of using a maker - usually Japanese - and how everyone says they're the best. That those shoes will finally be perfect (unlike the others they've tried). It's hard to hear.

However, I do think bespoke can be worth it - and highly pleasurable - over the long term. If you work with one maker for a while, and will regularly need dress shoes, then it can develop into a really effective and enjoyable experience.

The real issue is that modern society is not set up for that kind of relationship.

What’s your experience with bespoke shoes? Always interested to hear from readers

Read the full article on

"Yeah, the cardigan is another story," says Gianluca (founder of Pommella) "It’s something I grew up with – it was very Neapolitan back in the days.

Winters weren’t that cold, so my father and my uncles wouldn’t wear an overcoat, but they’d have a heavier jacket, and then a cardigan like this underneath, without the sleeves.

"I got a lot of inspiration on the colours from one uncle who was a little colourblind He’d wear all these combinations without realising it, and some of them were great. He’d say, ‘what are you talking about, what colour is this?’ and I’d say ‘burgundy’ and he’d say ‘what? I thought it was blue’.

"This was a common look in Naples: even lawyers wouldn’t wear a suit a lot of the time. It would be grey trousers with a beautiful jacket: a casual, countryside kind of look. Brown shoes and so on. So a cardigan went well with all of that, it was comfortable and you could play with it if you wanted too.

"But I think it’s important to keep things smooth generally, and then just have the punch with one piece. Otherwise you’re a joker."

From the article “How to dress like Gianluca Migliarotti” on

The results of my personal playing around with these white bucks were that I did like the tennis shoes in both smart and casual outfits, but not too smart or too casual.

The smarter equivalent is a navy top and grey bottom, but while the trousers are tailored, the top is not. It’s a cotton sweater rather than a blazer, which makes the outfit familiar but more casual.

More subtly, the white shirt reflects the shoes, and the trousers are light grey rather than mid- or dark. Both help the shoes to stand out less, and the whole seem more harmonious.

You’re still wearing white dress shoes in a city where there’s a chance not one other person is. But they would stand out even more with navy or charcoal trousers.

Both outfits would be nice without the knitwear, by the way, and in warm weather they wouldn’t be required. But I think sun is more important than temperature or season when it comes to wearing white.

Read the full article at

Today’s post by columnist @toneloki discusses artists’ clothing.

Tony writes:

“In the chapter ‘Dressing like an avant garde artist’ in his superlative A History Of Men’s Fashion, Farid Chanoune notes that at the turn of the Twentieth Century, “a metamorphosis occurred under the triple aegis of youth, sport and art”. The beginnings of this modern age were driven by a new creative generation, weary of the old world.

How did they dress? They “drew on workers’ and tradesmen’s attire - corduroy pants, blue smocks and overalls” in an effort to break free of bourgeois notions of class.

It didn’t hurt that workwear was both comfortable and hard wearing as well as being ‘of the people’; this was a functional as well as a creative choice.

This legacy is still with us today. I’d wager a lot of readers can get away with wearing navy ‘chore coats’ based on bleu de travail to meetings instead of sports coats or suit jackets, which to me speaks to the association with artists rather than the jacket’s workwear origins”

Read the full article and see the rest of the reference images on today

The results of my personal playing around with these white bucks were that I did like the tennis shoes in both smart and casual outfits, but not too smart or too casual.

So, slightly smart and slightly casual.

The outfit above is the casual option. The chinos aren’t quite as rough as jeans would be, and the the shirt elevates it significantly. A white collared shirt under a grey crewneck is clean and neat.

I probably also feel more comfortable in this combination because it has Ivy elements in common with the white bucks, namely the chinos and the shetland sweater.

This is largely meaningless in terms of cultural associations, given this is the UK not the US. To anyone walking by these are just white shoes, not white bucks.

But these traditional combinations are often a rich seam for mining ideas. There will usually be reasons they worked historically, which might well pertain today.

Read the full article and see the rest of the outfit combinations I tried on

During sunny weather in the past few weeks, I've been playing around with these old shoes from

Lodger, the shoe shop that used to be on Clifford Street in London, and where I first started writing about menswear.

The shoes were a recreation of a 1920 tennis shoe, made in white nubuck with this extra band behind the toe cap.

They are not white bucks - the shoe identified with upper-class society in the US (hence the 'white shoe' law firms I used to write about in my previous career), and part of Ivy traditions of menswear. But they're close enough to allow me to play around with wearing the style of shoe, and seeing what I like it with.

Read the full article and see how the different outfits worked on

My initial reaction when I received the bespoke manufactured’ boots from Carreducker was surprise at how chunky they looked.

This is down to two things: the thickness of the sole and the height of the storm welt. The two build on each other, creating a tall dark barrier between the upper and the ground.

The sole is the same thickness as the example I picked from the Carreducker bespoke gallery, but appears thicker because I chose a dark rather than mid-brown edge. The storm welt, however, is definitely taller.

This I hadn’t seen during the fitting process, as the welt wasn’t attached, and James (Ducker) says he tried it as a style point that could easily be reduced later. As the stitching is at the bottom, it’s fairly simple to cut off a strip from the top.

I think I quite like the welt height though. It’s certainly not disproportionate to the rest of the boot, given its height. And it looks practical and only a touch unusual.

Read the full review at

I think when craftsmen are doing remote fittings, they err on the safe side.

That’s one consistency I can draw from my online bespoke experience over the past year.

In many ways that’s understandable. After all, with most clothes it’s easier to take them in than to take them out. Certainly with shirts and knitwear, and with shoes it’s easier to add an insole that it is to start stretching the upper.

My ‘bespoke manufactured’ boots from Carreducker, recently received and pictured here, are really lovely, and the only fit issue is a similar, slight roominess.

Avoiding heel slippage was the biggest challenge of the fitting, as my slim ankles mean the boot had to be cut quite close - but couldn’t be uncomfortable.

When I first got them I was worried the fit was much too loose, as the heel was slipping a bit. But that turned out to be largely down to the stiff sole. Once that softened up a little - after a handful of walks - it stayed snugly in place.

I will wear the boots with thicker socks in the Winter, so the fit might be fine as it is. And they’re fantastically comfortable with a chunky cotton sock, and then all that quality calf and suede surrounding the foot on the inside.

Realistically, though, I haven’t worn the boots enough to tell. And if I do need them smaller, it’s simple to add an insole. I’ll make a decision when the weather turns cold again.

Read the full article on

Wearing the Mogador in white from @casatlantic_ and @45r_london indigo deck shoes

I find our new short-sleeved shirt particularly nice under a Summer knit, like the cream cotton from Anderson & Sheppard above.

Cotton knitwear is lovely on mild days, as we often get in England during the Summer. It’s surprisingly cool yet provides a reassuring layer when the sun ducks behind the clouds.

A short-sleeve shirt underneath makes the knit cooler still, feels nice against the skin, and you don’t have the issue with a jacket of a lack of cuffs at the end of the sleeve.

Cream, white, taupe and black is also a particularly pleasing colour combination.

The watch is my old JLC Reverso with a new black alligator strap from Jean Rousseau. The glasses are the Bryceland’s collaboration with Japanese vintage collector Solakzade.

The short-sleeved shirt is available now in the PS shop

When looking at purchasing a rug, the biggest factor as regards quality is being hand knotted.

Familiar territory, really, for men used to thinking of hand-sewn shoes and hand-padded jackets.

It's fairly easy to tell if a rug is hand knotted: just look on the back, you'll see the squares that make up the pattern are filled with slightly irregular knots of the wool. A machine-woven rug is a lot more uniform.

Actually, if we go back a step, I'm assuming any rug you'd be looking at would be wool. Perhaps silk, if that's your taste, but certainly not synthetics. Wool looks better, cleans better, and ages more attractively. It can also be repaired effectively.

"After those two factors - fibre and hand knotting - we get into attributes that are aesthetic and a bit more personal," says Bruce Lepere. Today’s article on was born out of a chance conversation with Bruce and his team, Iliya and Matthew, in Liberty's last month.

"Western taste tends to be towards wools in colours that are rich but not necessarily bright," Bruce continues. "People want something that looks old and traditional."

Read the full article on buying rugs at

I think it says something about my attitude to clothing that I find the images here of Aimé Leon

Dore, Drake’s and Noah mixing sportswear and tailoring beautiful and inspiring - even though I wouldn’t wear them myself.

If you’re actually interested in clothes, I don't think your interest can ever be limited to just things you would wear yourself.

One thing that should be noted about these high/low combinations, though, is that they are inherently risky.

They are instinctively attractive, and the pay-off can be big if you’re after a high-impact look. But it's also easy to get them wrong: either forgetting that you don’t look like the model in the picture, or that your clothes are slightly (but significantly) different.

I think this is particularly true of looks where everything is very loose and slouchy - the jacket hanging off, the trousers puddled on the top of shoes. It takes both awareness and attitude to pull that off.

But none of that stops me finding these images inspiring. There’s simply nothing more stimulating than someone with both taste and talent bringing their perspective to something you love.

Plus, it’s been easy to feel in recent years that tailoring has been slipping off the radar. It’s great to see people like Aimé Leon Dore bringing it back.

Sportswear brands are adding tailoring to their collections, perhaps as they feel a need to dress up after so many years of sneakers and sweatpants.

Tailoring brands - from the opposite direction - are incorporating more sportswear. This has been happening for a while, admittedly, but it's been accelerated by everyone WFH.

Some of the brands claim not to follow trends, but this clearly is one.

Scattered around today’s article on PS are looks from Aimé Leon Dore, Noah, Drake's, Beige, L'Etiquette, Rowing Blazers and J Crew - and the thing that jumps out at you is that none of them jump out. They all look related.

Hoodies under tailored coats, sneakers with tailored trousers, blazers thrown over sweatshirts: they've all found pleasing contrast in this mix of high and low.

I’m a little conflicted as to whether this is a good thing. On the one hand I love the fact that younger streetwear brands are embracing tailoring, and telling a new generation about the pleasures of a tweed jacket or a camelhair coat.

But I also think it’s a shame that Drake’s isn’t putting out the same style as it was 10 years ago, because I loved that style. It was more about how old-English style could be creative and contemporary, rather than how it combined with streetwear.

This is, inevitably, very personal. My style is more understated, with only single items of sportswear used for high/low contrast, and then only occasionally. Examples include the hoodie with a PS trench coat, and a baseball cap with a tweed jacket.

For how I dress, this is simply using sportswear in the same way I’d work in items from other traditions, such as a Western shirt under a tailored jacket, or a military parka instead of a coat.

Read more opinions on the trend on

I won’t be surprised if this latest PS shirt offering surprises a few readers, but I’ve been wearing mine for almost a year now, and I love it.

I’m a convert.

It’s particularly appealing when the shirt is worn with equally well-made and tailored pieces elsewhere, such as bespoke linen or cotton trousers, and lightweight slip-ons.

I think it’s important that the shirt is always tucked in, and looks clean doing so. So it has to be the length of a regular dress shirt - the same principle as the Friday Polo.

After that, there are two elements which separate it from other short-sleeve shirts I see.

One is the collar, which is the same high, light, gently rolling button-down used on other PS shirts. Where most short-sleeve shirts have a very soft, low collar, intended to look relaxed and casual, this aims for the opposite: the most elegant version of the style.

The second element is the sleeve, and this is the area that took longest to get right. I think Luca and I went through five samples in the end.

Most short-sleeve shirts have quite wide, square sleeves. This is the style that fits most classically was seen most often in the past, so it makes sense.

But I wanted something that was a little closer fitting, echoing not the untucked Aloha shirt - cheerfully donned at a 1950s suburban barbecue - but the rolled-up sleeves of someone a little more rugged.

That’s a look most associated with the likes of James Dean in a white T-shirt, but actually was often done with short-sleeve shirts too. As shown in the reference images in the article on

Introducing the the PS Short-Sleeved Shirt.

Last Summer, I had coffee with a friend on a hot afternoon in Mayfair. Sitting outside a pavement cafe, he was wearing loafers, a beautifully tailored trousers and - to my surprise - a short-sleeved shirt.

I’ve never really liked short sleeves, but the quality, sharp collar and tapered sleeves of his elevated the style to something that seemed both elegant and appropriate.

It felt appropriate because coolness was clearly paramount, and this was the coolest option. The style also made it clear that no jacket was intended or absent, as might have been the case with a long-sleeved shirt.

That shirt spurred a long discussion of short sleeves, as my friend knew it would. And that led to my determination to make something similar, which could be offered ready-to-wear (unlike bespoke, as his was).

As with all Permanent Style products, the aim of the new shirt is not to produce something similar to what’s already out there, but to make something available that I like but cannot find. I wanted a shirt like my friend’s but couldn’t find one. So we made it.

Read the full article and shop the new shirt at

This is an excerpt from our article “The (17) made-to-measure tailors I have known”


Jackets from £1490 in four tiers, depending on the cloth: £1560, £1640, £1730 and £2200. Suits in the same levels from £1760 to £2100. Trousers are £450.

My Anglo-Italian MTM jacket was a solid product - without the extra handwork of some brands, but a firm basis for the biggest reason I like what Anglo-Italian are doing, which is their style.

The green checked jacket I had made was distinctive in its Anglo colouring, all murky and subtle. And that for me made it feel much more contemporary than similar jackets or materials (Anglo also develop, and sell, their own cloth).

One thing that is less obvious though, or expected, is that the cut of the Anglo MTM product is quite different, with a low buttoning point, roomy fit and good amount of low drape. It can be quite flattering, and is certainly comfortable. But it’s something that does need to be considered alongside other aspects of the style.

Visit for the original article and links to all the full reviews

Why is the distinction between primary and secondary interests (as discussed in Friday’s article on important?

I think makes you value the enthusiasts that you know. It’s really useful having friends that can give expert advice on which camera to buy, which play to see, or which watch to buy.

Watches for me, for example, are definitely a secondary interest, and I benefitted a lot from advice.

I have four great pieces, all bought in the space of six years, with the help of two friends that knew a lot more about it than I do.

Currently, the Rolex GMT and Cartier Chronoflex (above) are my favourites. They are the default whenever I’m dressing up (Cartier) or down (Rolex).

I haven’t bought a watch for seven years, and have no plans to. At the most, I can see myself selling the other two, an IWC Portuguese and a JLC Reverso, if they’re not really being worn.

I have no interest in owning watches that aren't used: because I’m not a collector, because it’s not a primary interest. I appreciate watches, but I don’t particularly want to spend time reading about them or talking about them

Read the full article about primary and secondary interests on

New styling work for @clutchcafelondon

Top by @colhays

Shorts by Pherrow and available at Clutch now.

Two weeks ago, I was looking to get a new storage trunk for our bedroom.

So I phoned a friend who knows his antiques and asked his advice.

He recommended a couple of dealers, said he was happy to look at any pictures and information I received. (Apparently the biggest danger is wood filler being used on cracks - which won’t last long - and non-original handles.)

I shortlisted a few that fitted the dimensions, and with his help, picked out a lovely old Camphor-wood piece.

I’ve asked this friend, Tom, for advice before, and he’s always happy to give it. He doesn’t work in antiques, but he’s a discerning consumer and has learned a lot from buying over the years.

For him, it’s just nice talking about them - because antiques are a primary interest. They are one of three or four things in life he is truly passionate about.

For me, they are a secondary interest. I appreciate and enjoy them enough to want to make intelligent, tasteful choices (an example being my beautiful rosewood desk, covered in a previous article and pictured above). But not enough to spend my leisure time reading about or researching them.

What are your primary and secondary interests?

Read the full article on today

The Finest Polo worn with brown linen trousers from @edwardsexton and black Sagans from @baudoinlange.

We are expecting a restock of our polos in both the cream and navy at the beginning of August. Email support to join the waiting list.

Scrolling through the swathes of social media, I recently came across the image above of friend Gianluca Migliarotti - the filmmaker and co-founder of Pommella and PML.

For me, it encapsulated everything I love about Gianluca’s style. He is smart but silly. He is always well-dressed - valuing taste and beauty in everything around him - yet never seems to take himself seriously.

He also wears strong colour. Not always in ways I would, but usually in ways that get me thinking about whether I could and should. He recently made me a pair of muted mint-green corduroy trousers, for example, which I love but would never have picked if he hadn’t recommended them.

So, spurred by that image, I dug out a few of my favourite outfits of his, and we had a chat about them for this latest article in our ‘How to dress like’ series.

Unlike many people we’ve covered, Gianluca does not use social media much, and so there are relatively few shots of him around. All the more worthwhile, then, to publish a few and discuss them.

Read the full interview and see all of the looks on

The dark green colour of these Blackhorse Lane MTM chinos is unusual, but I've found it surprisingly versatile.

Greys often look a little strange in casual materials like cotton (corduroy is an exception), yet we all know how useful the colour can be in trousers.

This dark green almost works as well. It's good with white or blue shirts, light grey knitwear or navy. And black, brown or white shoes.

It fits very well into a cold-colour capsule too, and I find myself wearing it often with black knitwear, as shown in the full review, on

Today’s review of Blackhorse Lane Ateliers (BLA) chinos might serve two purposes.

First, it covers the London maker as part of our ongoing series on chinos.

And second, it reviews Blackhorse Lane's made-to-measure service, which they only properly introduced a couple of months ago.

Because while I like the leg line and general style of the BLA chinos, the rise is too low for me and the seat a little too tight in relation to the waist.

The RTW chino is made in what's called the W11 model whereas I prefer their NW1 style, which is much higher in the rise. (Front rise of 30cm rather than 24cm.)

Even then, when I've had NW1 jeans from BLA I've asked them to take the waist in a little. Although I guess for some people that's something they might just cinch with a belt.

Read the full review at

The new bags that went on sale on Friday are being shipped by the maker, Frank Clegg in the US.

Last time we had stock with both them and us, but it caused too much confusion (and needless costs) with shipping between locations.

Frank Clegg also offer free domestic and international shipping on expensive bags like this, so there isn’t much extra cost to an English customer who would have previously bought their bag from the UK, for example.

If you want extra information on Clegg’s policies, or taxes and duties, in advance of purchasing, the best thing is to contact them @frankclegg

Here are some of the details:

The Permanent Style x Frank Clegg tote is the same general design as Clegg’s ‘Tall Tote’

The functional difference is that two internal pockets have been added, one zipped and one open

The bigger difference is the leather, which is a thick bullskin nubuck

The bullskin feels very soft and luxurious, but it’s also tough. While the surface has a tumbled softness, the skin has a lot of body, which makes it more substantial than suede as well as stronger

It also has a 3M treatment that makes it water and oil resistant, and virtually impossible to stain. I’ve been using by brown one for almost three years, and there isn’t a mark on it

The skin is from Remy Carriat, a family-owned French tannery
Importantly, the nubuck has a more contemporary look than leather, making it a good material for anyone that needs a daily bag but doesn't want to look too traditional

You can read the full article about the bag’s design and inception on

I shot some pictures of our new @frankclegg tote with Alex ( @adnatt ) last week, and it reminded

me of an interesting tailoring point about the jacket pictured, an old double-breasted from Anderson & Sheppard.

John Hitchcock, the ex-head cutter who made it for me, always said he liked the front edge of a double-breasted to cut away slightly from the waist button. It helped to stop a DB from looking too boxy and square.

Mr Hitchcock preferred a slight angle, so the edge was a diagonal pointing towards the waist. This does the same job as the long line of a lapel, emphasising the slim waist while also suggesting wider shoulders and hips.

See an illustration of what I mean on today

A new black version of our bullhide tote, a collaboration with Frank Clegg, goes on sale today.

It’s available on the @frankclegg site (not ours) alongside a restock of the dark brown.

I was a little nervous about the black colour, because I had seen the brown myself, as a full hide, at the Frank Clegg factory in 2019, but hadn’t seen any other versions. So I was unsure how the black would turn out.

Fortunately, I think the dusty look of the nubuck really suits black, as it easily avoids any of the business associations that a black leather bag could have.

In fact, of the two colours, I feel like black is now the more unusual, more stylised choice. It has something of the night about it. More Goth than Gekko. Perhaps.

Find the new tote at @frankclegg

Should you dress for yourself or for others?

Unsurprisingly, the answer is both.

Anyone that dresses without any regard for people around them is probably being rude, and certainly inconsiderate.

Dressing purely to conform, other the other hand, is just sad. Whether the result is natty or sloppy, you shouldn’t spend all your time worrying what other people think.

As with many style spectrums we cover, the best option is somewhere in the middle, with nuance that depends on both culture and personality.

Clothing is social. Always has been. There’s nothing wrong with being unusual or rebellious in what you wear, but don’t pretend it doesn’t matter what impression it gives.

The only thing I struggle with sometimes, is whether it’s foolish to change clothes based on context.

For example, I could feel self-conscious wearing a pocket square in the suburb where I live, but wouldn’t when I got to the end of my commute, in Mayfair.

I go back and forth on this, but in the end I think the most important thing is to feel comfortable. So if I don’t, I take it out.

No one really just dresses for themselves, or just for others. It’s a false dichotomy.

Everything and everyone is somewhere in between. That’s where it gets interesting.

Read the full article on

This is an excerpt from our article “The (17) made-to-measure tailors I have known”


Jackets (at the time of commissioning) from £960, mine £1100

P Johnson is perhaps remembered unfairly by regular readers of Permanent Style. The jacket and trousers the team made me were both a good fit. The issues were with disclosure of where things were made, and readers’ reaction to that.

The jacket was good, and I still like the P Johnson attitude - less the more casual pieces they’ve been doing recently, but certainly the relaxed approach to tailoring, and colour combinations.

The only issue with the jacket was some aspects of the style, like a higher buttoning point and small, bellied lapel. But if you try a jacket and like this style, I can still only recommend it, based on my experience. They also have more stores and therefore are easier to access than many of the brands mentioned here.

Visit for the original article and links to the full reviews

This is an excerpt from our article “The (17) made-to-measure tailors I have known”


Suit from €1500, jacket from €1200

Eduardo de Simone runs a suit factory in Naples. He makes for other brands, mostly, but also offers his own tailoring under the name Edesim. Plus he has a small bespoke workshop, used for himself, friends and visitors.

He made me two jackets, one bespoke and one MTM, as he was interested in talking about and comparing the differences. The MTM service itself was good, if not clearly better than others around the same make and price.

Eduardo is also one of the harder brands to use, as he travels less. Still, if you like the style, he is still someone I’d recommend.

Visit for the original article and links to the full reviews

This is an excerpt from our article “The (17) made-to-measure tailors I have known”


Suit from €2400, jacket €1800

Jean-Manuel and his team have their tailoring made by the Orazio Luciano workshop in Naples - but to Jean-Manuel’s own style and pattern.

So while the make and quality is the same as Orazio, the style is for a slightly more classic, longer and more comfortable jacket, compared to the close-fitting Orazio jacket I have - and cover elsewhere in this article on further down.

The cream-linen suit JMM made me was lovely, and I wear both trousers and jacket separately often in the summer, as well as the suit occasionally all together.

Visit for the original article and links to the full reviews

This is an excerpt from yesterday’s article “The (17) made-to-measure tailors I have known”


Suit (at the time of commissioning) £2200, jacket £1800 (Napoli line); Toscana-line suit from £1400

Probably the two strongest experiences I’ve had with made-to-measure tailoring are Saman Amel from Stockholm and Jean-Manuel Moreau from Paris. Both produced excellent fitting pieces for me, through trunk shows in London.

Both also offer a quality level that has a large amount of functional handwork in it - such as a hand-padded chest - which brings it closer to the level of bespoke. It’s not bespoke of course, in ways of both fit and make, but it’s a step change on other MTM.

This is only the case with Saman Amel’s top line, the ‘Napoli’ level, but the lower Toscana line has the same strong fit. The only thing I’d like to change (but can’t on their style) about the jacket is the height of the notch, which feels a little fashion-y in how high it is.

My experience with Saman and Dag has been a little mixed in other areas, but my experience of the tailoring was very strong.

Visit for the original article and links to the full reviews

Although I haven’t covered the same number of MTM tailors as bespoke ones, Permanent Style has steadily accumulated a good range - from Kiton to Gieves, P Johnson to the Armoury.

And really good made-to-measure is increasingly what younger readers are asking about. They want good quality, but also a focus on style. They may well move to bespoke later in life, but right now MTM is their best option.

Still, the MTM companies featured on Permanent Style are not cheap. They’re all over £1500, many over £2000. Personally, I think this is what someone that regularly buys PS-recommended products should be looking at. There’s much more to be gained from investing in good tailoring (and shoes) than there is knitwear, shirts or jeans.

Today on PS, then, I summarise the 17 makers I have reviewed, or are in the process of commissioning with. Plus a list of MTM trouser makers.

All are linked to the original coverage on Permanent Style, where you can go for more detail. I will endeavour to keep this list up to date every year or two - please do remind me if I forget.

See the full list and all of the reviews at

@williamcrabtreeandsons chore suit

@frankclegg tote

@45r_london deck shoes

Cloth has always been one of the aspects I’ve loved most about clothing - whether it’s hand-woven tweed from Harris or hand-patched Boro from Japan.

There’s something particularly special, perhaps authentic, about clothing yourself in materials that you understand and have a connection with.

This extends to decorative textiles too. I have one piece of handwoven linen hanging on our wall that was handed down from my wife’s Portuguese great-great-grandmother. It is almost 150 years old and shows no signs of age.

So I loved learning about Navajo weaving from Peter Middleton (from the brand @wythenewyork ) in yesterday's article, and from various other books and resources. You can read about what makes the old navajo weavings, some of which are pictured above, so special on PS today.

First image: Shiprock in Santa Fe, probably the best source and resource for navajo weavings out there

Today on we cover something tangential to menswear, but I am also passionate about:

traditional textiles.

Navajo weaving, which we focus on today, is the richest and most developed native form in the United States.

There are other traditions. Tribes in the US northeast and Pacific northwest practised it, but usually with vines and other plants, as they didn't have access to cotton and wool.

The Hopi and the Zuni, both neighbouring tribes to the Navajo in the US southwest, also weave. Indeed it's likely the Hopi originally taught the craft to the Navajo. There's also a rich Hispanic tradition (Rio Grande blankets) and the Mexicans may in turn have taught the Hopi.

But the Navajo - as with other crafts like pottery and silver - took on and developed the craft, making it richer, more varied and unique.

"They were a little bit like the Japanese with fashion," says Peter Middleton, whom I interviewed for the piece. "They watched and they absorbed. And then they ran with it."

Read the full article on today

In last week’s article, we talked about wearing suits without ties.

Why some say you should never do it, the reasons behind the opinion, and as a result the ways it can be done intelligently.

The best argument, I think, is that a suit looks incomplete without a tie.

The suit is a big dark block of colour, tailored to lead the eye pleasingly towards the face. As we go up there is a pale shirt, and then usually a necktie as the triumphant end of the journey.

Without a tie, it can genuinely feel like something’s missing from the top of the outfit.

I don’t think this is just a question of convention – of what we’re used to. There is something about the architecture of a suit that looks best with a neat tie at the collar. Separate jackets and trousers don’t have that problem, as the outfit is broken up.

Whenever I go tieless with a suit, therefore, I usually add something else to add a little interest - a distraction. Here’s it’s a rather bright hank fairly springing from the pocket.

Suit from Edward Sexton

About a month ago, proper Summer started in the UK.

Now I don’t define Summer by the solstice, the calendar, or even the moon. Summer, for me, is when it's so hot that it severely affects the clothes you can wear.

Anything consistently above 25 degrees, with bright sun, means shorts are an option and linen is a necessity. Sunglasses are a question of practicality rather than fashion. Headwear, if you’re as follicly challenged as me, is essential.

It could seem like a restriction. But actually if you love clothes, it opens up a whole new wardrobe of things that are designed only for hot weather.

In the UK, unfortunately, these periods are unreliable and often brief. It’s happening less and less, but there have been years where such weather never really arrived. So when it’s here, I revel in it.

This is also a professional exercise. Because I'm aware that many readers around the world enjoy this weather more consistently, and for longer periods, than in the UK. If you’re in New York or Spain, this is weather you can plan for.

During the first 12 days of our ‘Summer’, therefore, I posted a quick Instagram story every day of what I was wearing.

At the end, it occurred to me that there was a lot of consistency there. That it almost made up a Summer capsule wardrobe.

You can see the the full capsule, including the tee and chinos pictured, on today

We first covered this chore suit from @williamcrabtreeandsons yesterday.

The question I’m sure some (more traditional) readers will be asking is, how the hell will I wear it?

The reason I liked the idea of the chore suit was that it could be a way to dress up what are, essentially, very casual clothes.

It will never be confused with a tailored suit. But with a shirt and loafers, it definitely has something in common with tailoring, while still being workwear.

It’s unusual - you rarely see anyone wearing one - and yet it doesn’t stand out much. It’s subtle, yet distinctive - which as regular readers will know, is always enough to get me interested.

Full article on today

Photography - @jkf_man

I know from experience that chore jackets often involve a compromise, for me.

Usually one size will be perfect on the neck, waist and sleeve, but another will be better on the shoulders, chest and body length. Basically, I’m a little taller and a little slimmer than the average, so neither standard size is quite right.

There are brands that will make chores to measure. But none that also do garment washing - and this is key.

It’s the industrial washing of chore jackets that gives them a pleasing softness and fading. You get both a little with washing at home, but not for quite a long time and often not to the same degree.

Hence... my interest when James Priestley of @williamcrabtreeandsons said he had a factory that would make them for him, and garment wash each afterwards.

James’s background is as an agent in menswear, for William Lockie among others. He set up his own brand - William Crabtree - a few years ago, and last year opened a shop on New Quebec St, which is just to the west of Marylebone.

Pictured is the MTM chore suit he recently made for me, and which is reviewed on Permanent Style today.

Photography - @jkf_man

Vintage green-acetate sunglasses from Bryceland’s and Solakzade, Tokyo.

The green is a nice, slightly unusual touch I find.

The shirt, by the way, is our last new product of the Summer, which will be ready in a few weeks. Again with long-term partner Luca Avitabile. But that’s all we’re saying for now.

I know, such a tease.

Three years ago, when I still worked at a financial magazine in the City, the tieless look was in full swing.

On a Friday night after work, bankers and lawyers would be standing outside the pubs, pints in hand, wearing dark suits, white shirts and no tie.

It was a terrible look. They were all the same and they were all boring. Without a tie, they had lost the one thing that forced them to make a choice in the morning, and express some personality.

A cotton, linen or woollen suit looks much more comfortable without a tie than a worsted one. The same goes for a suit in a more casual colour – basically, not navy or grey.

With my linen from The Armoury above, for instance, the suit looks great with a tie, but also very natural without one, given its material and colour.

Today on, our columnist Tony Sylvester asks how relevant 1980s Armani is today:

“It might seem counterintuitive to be talking about past fads or subcultures on a platform named Permanent Style. But while it is certainly admirable for a man to build a wardrobe around the timeless and perennial, it would be foolish to suggest that some sense of the ephemeral will not creep in.

This is only natural. An inquisitive mind searches out that which is novel, while anyone with a passing interest in the history and culture of how people have dressed over the years cannot help but be taken by the discovery of some long lost detail.

To my mind, the key to preserving accord while taking inspiration from the past is to cast a critical eye and to 'pull back', viewing from as wide a point as possible, using the lessons you have learnt of what works for you as a filter.

Every era has its acolytes and critics, but perhaps the most maligned decade of the 20th Century menswear-wise is the 1980s. The brash arrogance of the Thatcher/Reagan years is ripe for parody and derision, and has not seen quite the same re-evaluation as the luxuriously androgynous spirit of the 1970s (currently in vogue in some tailoring circles).

The 1980s are viewed as a time when a vibrant underground provided all the sartorial dynamism, while the mainstream remained irredeemably naff and drab. I would like - in this article - to provide a counter-argument in the form of the pioneering work of Giorgio Armani.”

Now on

The suit above from Kenjiro Suzuki in Paris is cotton - a casual material - but dark navy in colour.

I was fine wearing it here without a tie (as discussed in yesterday’s article on, but was conscious that it would have been very plain without a pocket square or some other form of decoration

This picture is from a new installment in our series ‘The rules and how to break them’ on, which has been a little neglected in recent years.

It’s a great little guide, exposing myths of menswear and calmly explaining the rationale behind advice that is normally just shouted (with a surprising amount of consternation and certainly no nuance).

The guide explains conventions such as ‘no brown in town’, ‘no white after Labor Day’, and many others. As I write this I can think of several more we should add.

Today, we talk about wearing suits without ties. Why some say you should never do it, the reasons behind the opinion, and as a result the ways it can be done intelligently.

Read the full article on

Made-to-measure suit from The Armoury

I liked this jacket and trouser combination last Summer, and wore it again recently.

With a white shirt and dark-brown loafers, the result was pleasingly tonal, contemporary even. Tortoiseshell sunglasses, just visible in the top pocket, helped too. It feels earthy, natural and relaxed.

The loafers are the Sagan Classic from Baudoin & Lange. The sunglasses are from EB Meyrowitz. The jacket is from Jean-Manuel Moreau and the trousers are part of a cotton suit from Elia Caliendo.

I’ve been spending more time in Mayfair in recent weeks, as restrictions have eased here in the UK and businesses have opened.

It was on such a visit that I went into Thom Sweeney recently, really out of a desire to see everyone I could. Having not been into any stores for several months, it was good to see everything first hand.

I was struck by how much the current collection fits into our recent discussions of ‘casual chic’: that art of appearing refined and elegant without wearing a jacket or suit.

The quality of the product is also consistently high. I think I’d forgotten this, as I’d looked mostly at tailoring and shirts in the past and not bought ready-made for a while.

A good example - sticking with a recent theme - is their knitted tees and polos.

Both use a high-twist cotton that has a dry handle similar to the ones we offered recently from Umbria Verde. While I particularly like merino, this is the nicest fine cotton I’ve seen, and the twist helps both to keep their shape. Unlike, for example, John Smedley Sea-Island models.

The polos have an effective collar that, although not made with a stand, does a decent job of staying up under a jacket or cardigan. And that helps them frame the face too.

The T-shirt’s collar is made with a tubular section below its interlock stitch, which helps it retain its shape. It’s also cut that little bit higher than most mainstream T-shirts.

Read about casual wear offering from @thom__sweeney at

Summer hats aren't easy, unless you’re dressed smartly enough to wear a full panama.

So I often switch between a baseball cap and a cheap, beaten-up straw hat - which is shown with a linen overshirt and our PS shorts above.

Stylish beach homes seem to be full of old hats like this, but it’s not an easy thing to actually buy. I recommend getting something you like the shape of, but can afford to mess up, and then treating it very badly.

Sit on it, even stand on it, cut off any ribbon and binding, and pack it in anyhow with your other clothes. You can reshape it quite easily (use steam if really needed) and the ill-treatment is the best thing for making the hat look suitably old and familiar.

Photography @jkf_man

The geometry on the collar of this overshirt is just right.

To be so it must lie cleanly on the neck, but stay standing at the back when you put it up (as I often do with a T-shirt underneath). Once popped, the points of the collar should fold gracefully downwards, touching the body of the shirt.

It’s not an easy combination, but generally it comes having more structure in the collar stand, and less in the collar itself.

The sleeves, by the way, have a decent length placket, which makes it easy to roll them up if desired. It’s probably the most effective way to make the overshirt look more relaxed.

The new Linen Overshirt from PS is available at

For a long time, my favourite linen overshirt has been an old model from Drake’s - readers will have seen it previously on the blog, and it’s been worn continuously and lovingly since.

One of the reasons I liked that model was that it had just two chest pockets, with no hip pockets.

The inclusion of hip pockets - as well as other design details, like epaulettes or bellows - always pushes designs towards the Safari jacket for me, which is not the subtle or modern look I want.

After Drake’s discontinued the design, I tried the ‘Valerio’ overshirt from shirtmaker Luca Avitabile. This actually improved on my old favourite, because while there were only two visible pockets on the chest, two side-entry pockets were hidden in the same piece of material, just below.

This seemed to be the best of both worlds. The design was outwardly simple, but there was a pocket at the waist if you ever did need more.

Still, there were a couple of points that I wanted to change on Luca’s design, and so I asked him to make me a bespoke one with these tweaks.

As has often happened in the past, this led to us collaborating on a ready-to-wear version, which is what is on sale on the PS Shop today.

The main design change I made was to enlarge the size of those breast pockets. Because nice as they were, the shape was rather shallow and wide. It wasn’t big enough to accommodate a mobile phone, and even with a small wallet the horizontal shape was rather counter-intuitive.

It took us a few iterations to get this right. The pocket couldn’t be too deep, or it would start interfering with the side-entry pocket below; but it needed to be large enough to hold most mobiles.

Find the PS Overshirt on

One thing we haven’t talked about in our coverage of chinos is whether the material is a left or a right-hand twill.

In general, most dress trousers are a left-hand twill and most mainstream, casual chinos are a right-hand twill. You can spot it from the direction the twill of the cloth runs down the trousers (top right to bottom left, or top left to bottom right).

What’s the difference? Well, in general a left-hand twill tends to be denser and sharper, while a right-hand twill is more open and softer.

The reason is that the yarn gets twisted in a different direction as it’s woven - often referred to as an ‘S’ or a ‘Z’ twist, illustrating the direction as a letter. A left-hand or S twist gets twisted more in the weave, and so produces a harder and smoother material.

As I said, dress cottons are left-hand, and so are chinos we’ve covered before like the Rubato officer’s chinos, the original Armoury Army chinos, and the Real McCoy’s pair shown above.

By contrast, the newer Armoury Army chinos are right-hand weave, as are mainstream chinos like Incotex.

When The Real McCoy’s calls its cotton a ‘West Point’ cloth, this is what it’s referring to. Army officers - from West Point military academy - tended to have smarter chinos, with a left-hand twill.

Neither is necessarily better, and as with all cloth, it's only one factor alongside weight, fibre, finish and so on.

In general right-hand tends to feel softer, but there’s also a particular softness about a dense cloth like left-hand cotton which has been worn and washed a lot. Right-hand also tends to look a little shiny before it’s washed a couple of times.

Taken from a review of Real McCoy’s chinos on

I don’t think consumers value good design enough any more.

They tend to concentrate on price and (more justifiably) quality, but design often gets swamped by hype. What is fashionable rather than what’s well-designed.

A large part of the reason is that good design is hard to quantify. You can’t put a number on it, or make a straight comparison with a similar product. It’s aesthetics, a matter of judgment.

One way you can quantify design is the amount of time, and therefore money, a brand invests in it. And the menswear brand that does that more than any other is Ralph Lauren.

Unfortunately, they don’t talk about it. Over the years, I’ve been repeatedly frustrated by the lack of product and design information Ralph Lauren supplies - to either customers or journalists. To the extent that, when I covered a hand-knit cardigan back in 2017, it took a member of the design team to anonymously comment on the article, for us to understand quite how much work went into it.

In order to try and correct this, in my small way, I spoke to three ex-Ralph Lauren designers recently, to get their inside view on the product development process. They were Sean Crowley, Fred Castleberry and Peter Middleton.

See what they had to say about working for Ralph at today

I imagine that the overall look of this suit will go down well with quite a few readers.

Its shoulders, structure and length are elegant. The closed quarters mean less shirt is exposed. That and the length at the back make the legs look longer – because you cannot see where they end.

I fundamentally agree these things are flattering, and it’s why I don’t think I’ll ever stop liking or wearing English structured tailoring.

I wore this suit during a trip to Naples a couple of years ago, complete with panama hat, and I felt like the very image of an English gentleman.

The full measurements of the suit are available on

Photography @jkf_man

This suit from Dege & Skinner is perhaps the best example in this series (Style Breakdown) of the archetypal English structured suit.

The shoulders are padded, but not to any extreme (less than Chittleborough & Morgan, for example). The lapels have a little belly, before straightening out (unlike any species of Italian). And the jacket is fairly long, more than covering my seat.

It is broadly fair to say that the style is the most common among English tailors today, and has been for some time.

There may be subtle differences in padding or drape, but most conform to these rough principles and proportions, historically derived from nineteenth century dress uniforms.

Read the full breakdown today at
Photography @jkf_man

The rise on these Real Mccoy’s chinos is quite mainstream:

I measure the front rise as 28cm inches, although the size guide says they should be 29. They did lose at least a centimetre from the original raw state, as the guide predicted.

That’s definitely a mid-rise, and lower than more Army-inspired pairs. It’s the same as the Rubato pair covered previously, though those are a little higher at the back.

The biggest difference from those Rubato ones and any mainstream chino is the weight and strength of the cloth. It is dense and tough. More so than any other chino I’ve worn or covered.

It’s still nothing compared to heavy denims, like my 21oz pair from Blackhorse Lane. And it has softened nicely after a few washes. But it's that toughness that makes it feel like a workwear chino.

Read the full review on

Following on from Wednesday’s post, the other thing that makes these Real McCoy’s chinos so everyday is the cut.

These are not original military wide-legged or high-rise chinos. They have a hem measurement of 20.5cm and 29.5cm at the thigh (in this, a size 32). They are slim, though not skinny.

Compare that to the more common shape of classic menswear chinos, like the Armoury Army style, which has a hem of 23.5cm and a thigh measurement of 31cm.

McCoy’s does do a wider-leg chino too, the US Army 41. But this Joe McCoy pair is specifically inspired by the ones Steve McQueen used to wear. Often with a sweatshirt, and most famously in The Great Escape.

Interestingly, The Real McCoy’s doesn’t have the licence to use the McQueen name, but another Japanese company called Toys McCoy does. The two used to be part of the same outfit, along with Freewheelers, but the three founders split into different labels.

Son of a Stag in London stocks Toys McCoy and I have tried their official version, but prefer this pair.

Read the full review on

In a variation of the Western-shirt look shown earlier in the week, here I’m wearing a vintage red bandana tucked under the collar.

Worn under the @beggxco Yacht cardigan

I’ll do a fuller piece on bandanas at a later date. For the moment, I just wanted to highlight that this is a nice way to add colour, and is rather fitting under a Western shirt.

The cream Dartmoor sweater worn under my @eduardo_de_simone cashmere jacket and @frankclegg leather tote bag.

Men face twin dangers in their clothing style that I don’t think we’ve discussed before - or at least not formalised.

One is being too flash or showy. The other is appearing too old-fashioned - a ‘fuddy duddy’.

When guys wear shoes that are too pointy, trousers that are too tight, or shirts unbuttoned just a bit too far, they risk looking flash.

But equally when they favour high-waisted trousers, fedoras and braces, they can risk looking too old-fashioned.

In many ways these are two extremes of a spectrum. Like formal vs informal, or urban vs rural.

Practicality can help remove flashiness. Unbuttoning another button of your shirt looks much less flashy when it’s actually hot. If the weather justifies it. Same goes for shoes without socks.

As shown in this great example of hot weather dressing by our friend @urbancomposition

Close-up on the new Anthology knitted T-shirt in deep brown.

You do feel the Supima cotton, but more through the tee's drape and body, rather than softness.

Which is good, because they are a bit more expensive now as well, given that cotton.

White-linen trousers from Paul Stuart, vintage silver bracelet from Anti-Qlockwise in Hong Kong.

@theanthology have just released two new colours of their knitted cotton T-shirts.

As I wasn't so keen on a couple last time, they asked me to pick one in this release, and I went for this really dark, deep brown. Regular readers will know how much I like this colour, which is sophisticated with grey or cream, and dark enough to partner olive-green or even navy.

The Anthology have also upped the quality level with the tee this time, improving some of the finishing and using Supima cotton (which helpfully avoids any questions of Chinese cotton too).

The tee is worn here with white-linen trousers, which increases the contrast compared to the cream or oatmeal linen I'd normally wear.

The bag is my old Large Working Tote from Frank Clegg.

What makes these Real Mccoy’s chinos so useful, so everyday?

The first is the colour.

This pale beige is a standard American military shade, but it’s also an American classic. It's the one you wore from Gap when you were a kid, or perhaps from Ralph Lauren when you were a little older.

It goes with everything: navy and black, brown and green, cold and warm. The only possible exception is mid- to light grey tops, like a grey sweatshirt. But even then it can work if there’s some contrast elsewhere, like a white T-shirt or a dark belt.

When I was a teenager, and wearing baggy versions of these from Gap, I’d have a black, long-sleeved Pearl Jam T-shirt on top. (I still wear an old favourite now and again, though usually for housepainting or similar.)

Today, my favourite accompaniments are a white-oxford button-down shirt, or a blue sweatshirt like the one from Merz b Schwanen (via Trunk) shown here. That’s a size 5, worn with an old blue cotton bandana.

Read the full review on

If the last pair we reviewed in this series on chinos were a little more unusual (from Casatlantic) then today we’re back with a very good, very everyday example.

Similar in that respect to the first brand we covered, Rubato, just more on the workwear end of the spectrum.

These are the Joe McCoy chino trousers from Japanese brand The Real McCoy’s - also referred to as Blue Seal chinos.

As regular readers will know, I’m a big fan of The Real McCoy’s because they generally have the same aim as I’ve always had with tailoring: the highest quality, with subtle, classic style.

Although they are essentially a repro brand - faithfully reproducing American clothing from the 1940s and 50s - the pieces they reproduce are mostly quite understated and wearable.

They aren’t cheap. That focus on quality and precise reproduction means they have to order very small runs of material and hardware, often getting a mill to produce something entirely new. These chinos are £265.

I don’t really care whether the reproduction is precise or not, but I do care deeply about quality. And I’m usually prepared to pay a little more if those two have to come together.

Read the full review at

Wearing the neckline of a T-shirt under something, rather than a collared shirt, has an immediate and significant impact on how smart or casual it looks.

T-shirts under tailored jackets don’t suit everyone, however. Personally I think they require a certain physique – stronger shoulders, perhaps slightly shorter neck. A beard helps; age and wrinkles do not.

Magazines write too many articles about ‘how to wear’ a T-shirt under tailoring. The fact is, it just suits some body types – and therefore some people – more than others. Not something magazines are usually happy telling you.

As a result I tend to wear T-shirts under things with higher collars: shawl-collar cardigans, safari jackets and blousons, as here.

We’ve just had a restock of the Dartmoor knit in the shop, including a new cream colour.

One of my favourite colours under tailoring, combined with my favourite style.

Wearing olive chinos from Blackhorse Lane, with the Western shirt from today’s post.

One of the reasons Western and denim shirts have been so popular in recent years is their versatility.

On the one hand, their conventional pale-blue means they sit easily beneath all manner of jackets or suits, while adding an intentional, unexpected note.

But on the other, they’re still a casual shirt, with all the texture and design add-ons to prove it. Which means they can be worn with the most casual of trousers, such as workwear chinos.

Chambray shirts, if a similarly pale colour, can be just as useful - but usually with more subtle style details like pockets and contrast stitching, rather than MOP snap and stylised yokes.

These, along with the oxford, must be the shirts of the years to come: pieces that can just as easily sit under casual tailoring during the week as with beat-up favourites at the weekend.

Read the full article on

Wearing my @baudoinlange Sagans with green linen trousers from Paul Stuart.

This is my idea of a perfect, relaxed but formal look in the Summer.

The blazer is my bespoke double-breasted from Elia Caliendo, in Naples, and the loafers are the Classic Sagan from Baudoin & Lange

A normal, Goodyear-welted loafer would also work, but the Sagan is particularly nice in the Summer, with its softness and lightness. It’s also a little more casual.

The blazer only works because it has a Neapolitan structure and cut – anything heavier would be too smart, and crush the polo collar.

Grey or brown trousers, in linen or in a high-twist wool, would make the outfit less striking, and perhaps more office appropriate.

Taken from our article “Summer Smart/Casual” from this time last year. Read the full article on

I've known Deborah Carré and James Ducker (above) for many years, having first covered their

workshops when they were at Cockpit Arts (those pictures of me and Luke!), then the opening of their service at Gieves & Hawkes, and more recently tried the saddle stitching in their new space at Chocolate Studios.

Their style has always been quirky - perhaps as James put it to me recently, a 'magpie' style, with little interesting bits and pieces always being pulled in. Anything, really, that catches their eye.

That style hasn't always appealed to my classical tastes. But their approach to making and to business always has.

Last year, Carreducker introduced what they call Bespoke Manufactured. Basically, a shoe made in exactly the same way as their bespoke, except that the soles are sewn on by machine.

The welts are still sewn by hand, but doing the sole by machine saves £845 on the normal bespoke price. In fact, they’ve just this month gone further than that, breaking down bespoke again to include Blake-stitched soles (no welt, so no hand welting), which saves another £355.

So, there was good reason to try Carreducker: because I’ve never done so before, because they’re doing something original, and because the remote service meant it had the potential to apply to all readers.

The only missing element was finding a style of shoe I liked, and fortunately I did that very easily. I hadn’t looked at the bespoke gallery for a while but when I did there was plenty to choose from.

You can see, perusing that gallery, what I mean about the style - it’s very different from, for example, browsing Yohei Fukuda. The look is more playful, more rugged, with more colour and more natural-leather edges.

But I liked the look of the Gilbert Hunting Boot (above). It would be something I didn’t have, that perhaps demonstrated the crossover between my style and Carreducker’s, and was something I would find it difficult to buy ready-made. Boots that high are never comfortable on my ankle bones or calves.

The whole process took almost a year, with various delays resulting from Covid. But I’m pleased to say I’ll be able to show the results soon.

In today’s article about the PS shorts I’ve shown them with more casual outfits than in the past - to mix them with other, smarter ones from the past and demonstrate a full range.

In the image above, the khaki pair are worn with a simple white T-shirt. I tend to wear shirts and polos more, but when I do wear a T-shirt in Summer it tends to be something like this - white, simple and quality (usually a circular knit - here, from The Flat Head).

They’re worn with black espadrilles, from Diego’s, which I find surprisingly versatile. You wouldn’t think black would be that useful in a casual shoe, but a reader commented last year that he wears nothing else in the Summer, and he’s right - they go with almost everything.

It helps that a lot of my clothes are darker, colder colours like the dark-brown linen overshirt the outfit is also shown with. That’s our upcoming collaboration with Luca Avitabile, about more that soon. Email support

Photography @jkf_man

The PS Shorts go on sale again today, in the same colours as the past two years:

khaki, olive and navy. Thank you to all readers for their patience waiting for the restock.

There is one major design change, which is that the shorts are 1.5 inches shorter. The inside-leg measurement has gone from 10 inches to 8.5.

I made the change because I felt the shorter length would be more current, and so achieve the core aim of the shorts: to be classic, moderate and easy to wear. Almost anonymous.

It’s not a big change - shorts these days are trending much shorter, like 6 inches. But I think it means they look average, and everyday. Whereas the longer length might now stand out by looking long.

It’s an interesting area - adjusting clothing based on trends that last 10 years rather than 6 months - and one we explore in the full article today on about the shorts.

Sweatshirt from Dunhill, tote from Frank Clegg, cap vintage.

Photography @jkf_man

“The original 1930s trousers these were modelled on had both low side adjusters and belt loops,” said Nathaniel from Casatalantic in our recent interview.

“I guess it allowed them to be tightened at the hips, while the belt at the top could be more decorative. I didn’t think most guys would get that today though.”

I agree. Nathaniel made a better choice in just keeping these low side adjusters on the Mogador trouser, which I’m wearing here.

The lower adjuster functions well, tightening neatly into the side seam. I ended up going for a very snug 30-inch waist, but I also tried a 32, and there the adjuster was very useful.

That side seam also seems to be set a little forward on the trousers, which makes the pockets easy to use even though they are cut vertically, into the seam.

This is a very clean way to design pockets, but when I’ve used it in the past they are uncomfortable to use. Not so here.

Read the full review of Casatlantic on

Three years ago, I wrote an article called ‘Five paradigms of casual clothing’, which attempted a rough division of informal men’s clothing into different styles.

It was an interesting exercise. The categories were necessarily very broad, and encompassed many niches and trends; there was also obviously a lot of overlap between them, and some pieces that were more universal than others; but still, it was possible to describe general categories, and allocate types of clothing to them.

I thought of that division recently because a few readers were asking for advice on casual jackets. Should they buy a blouson or a chore jacket? Which was more formal, which more versatile?

Usually, formality is the most important aspect of clothing we discuss. It’s crucial to tailoring, and I understood why readers were asking that question first.

But with casual clothing, probably just as important is the tradition the piece of clothing comes from. Its roots, its culture, and its resulting associations.

So I thought it would be useful to revisit those categories of clothing, and consider how they affect a particular purchase, such as a casual blouson/bomber/chore jacket.

To read the full breakdown head to

Pictured is my horsehide jacket from The Armoury/The Real McCoys, worn with Armoury chinos.

Photography @jkf_man

Casual on Sunday.

@therealmccoyslondon sweatshirt in ‘Milk’

Old Army Chinos from @thearmourynyc
Black bandana from @clutchcafelondon
Desert boots from @angloitaliancompany.

Casual chic: the art of looking smart and well put-together while not dressing in a corporate mode.

Such as, perhaps, this navy seersucker suit from @sartoria_dalcuore with our Finest Polo. We’ve just confirmed a restock of this, including some larger sizes (XXL). Email support to be on the waiting list.

Somehow, Jake and Anglo-Italian manage to keep relatively under the radar here in the UK, despite being one of the few classic-menswear shops keeping that spirit relevant.

Perhaps it’s because they don’t actively seek out mainstream coverage, or because so much of the business is overseas - the shop has almost become a showroom for an online store, such are the international sales.

Anglo-Italian is one of the few shops in London selling good flannels, good oxford shirts and good brogues. But there’s always an original point, an angle, that shows each piece is being considered fresh each time. Whether it’s travel flannel that wrinkles less, or vintage stubby lasts on the shoes, there’s always a viewpoint - albeit a very subtle one.

One of those products with a viewpoint are these Anglo Desert Boot I picked up a couple of weeks ago.

Most of the desert boots I’ve had in the past have been of lesser quality - the likes of Clarks and similar - or have been styled more like a regular dress shoe, with a more structured toe and so a smarter look.

Jake’s thing with shoes generally is to give them a low profile. Which means a toe that slopes downwards when seen from the side, and less of a spring (so the toe is flatter to the ground).

With the loafers that also means a lower vamp, further down the foot, and that’s replicated subtly by lower lacing on the desert boots. They also have a lower height at the back, which makes them look even more laidback, and stops them getting caught on a tailored trouser leg.

It’s striking how different these things make the boot compared to my Shanklins from Edward Green, for example. I love them, but everything from the height to the toe to the thin welt to the makes them look like a smarter, luxury style.

Read the full article on

I love these vintage 1950s Ray-Ban Caravans in filled 12k gold wire, which I bought from @retrospecsandco when they were at our pop-up a couple of years ago.

Despite their slim, sharp lines, they seem to work best with workwear, like the pieces in this recent @clutchcafelondon shoot

I bought an original artwork last week - as a 40th birthday present to myself - from @fabgorjian.

It’s the first image shown above.

I didn't realise until I spoke to Fab, however, how involved his process is - how far he goes to create works as close as possible to old interwar tourism posters. I had assumed, just looking at the textures, that they were watercolours.

"I tried so many different techniques to recreate that lithograph look," he says. "It's hard because the surface is matte, and uniform, but still with this subtle texture from the paint and little imperfections in the printing."

Eventually, Fab came up with his own, original process. He draws the original image, scans it, and then uses the scan to create a stencil for each colour.

The colours are then applied with a roller onto the stencil, one at a time. The roller creates the desired texture (imagine the effect you get when you roll paint onto a wall) but the edges are clean and sharp.

White areas are left unpainted, as was the case with the originals.

Find out more about the history of this style of imagery on today

Paul Weller epitomising the “French Ivy” look that was discussed in yesterday's article.

In today's article (the first submitted by our good friend @toneloki ) we explore the term French

Ivy, a style which feels particularly relevant at the moment for its mix of smart and casual, and which has been helped along by the popularity of French magazine @letiquette_magazine , from which these images are taken from. Read the full article, with definitions and history aplenty, on


Practising what I preach, dressing for the cooler May weather.

For more dressing tips for cold/hot days check out our article on layering from a couple of weeks ago.

Wearing the beautiful indigo @45r_london deck shoes from our recent visit to the store.

With the @casatlantic_ Mogador in white that we reviewed at the start of the week on

If you like to wear a crew neck under a jacket, something that can help to fill the empty space is a silk scarf.

This also adds a touch of dressiness to the outfit, and is something you could add for summer drinks in the evening.

My favourite pieces for this are my silk Hermes scarves, one of which is shown above. This is also more effective with a double-breasted jacket than single.

Adding a pocket handkerchief would also add some interest.

In the pictures I am wearing:
-Navy knitted-cotton T-shirt from The @theanthology
-Bespoke vintage-wool/cashmere jacket from @caraceni_tailor
-‘Mink’ 13oz @hollandandsherrysavilerow whipcords (9518502, Dakota bunch) made by @whitcombshaftesbury
-Black-suede Sagans from @baudoinlange
-Silk carré from @hermes

I really like these @casatlantic_ trousers, but as I mentioned in a previous post they will be an occasional piece for me, rather than a basic chino.

I particularly like them as a Summer option, with a polo and deck shoes - as shown. The material has a sailcloth-like feel to it in the white, which makes this style feel particularly appropriate.

It also means I’m fine with the higher rise. I wouldn’t wear it every day, but as an occasional style option it’s great. I do the same with an old pair of Arnys linen trousers already.

While we’re talking about high-rise trousers, though, I thought it would be good to illustrate why I find them limiting.

The first image in this post shows the trousers with a PS Finest Polo untucked, which is natural with knitwear and looks great. The ribbing of the polo covers the waistband, lowering the visible rise by a good five or six centimetres.

But when something is tucked into trousers this high - and not covered by a jacket or overshirt - the proportions are too unusual for me. The body is just too small; it looks odd.

I’ve deliberately tucked my polo in the shots above, to illustrate this. Of course, the polo would spill out a little during the day, but those proportions between leg and body are still pretty extreme. And I believe I actually have a fairly low waist compared to the average.

Read the full review on featuring the backstory of Casatlantic and some interesting inspiration images.

I’ve never actively disliked T-shirts under tailoring.

I just tend not to wear them myself and, when I have seen them worn, I think it can be done quite badly.

Done well, wearing a T-shirt rather than a collared shirt can pleasingly subvert the formal expectations of tailoring.

Done badly, it looks like someone trying much too hard to be cool. They’re clearly striving - obviously, consciously - and that’s never a good look.

One helpful way to think about it, I find, is to treat the T-shirt like a crewneck sweater.

So get a T-shirt that is knitted together (fully fashioned) like knitwear, so the collar will look smarter. And wear colours that are similar to knitwear that works well on its own - cream, navy, grey, brown.

In the outfit above, I’m wearing a navy Anthology cotton T-shirt under the DB blazer. Navy on navy is the easiest combination there is of ‘solo’ knitwear (knitwear without a collar underneath) and a jacket, and the T-shirt looks quite smart, being knitted.

See more examples of how to wear t-shirts under tailoring in today’s post on

In last Friday’s article we spoke to @ethanmwong about his style, and this was one of the outfits we spoke about.

You can read the full article on

Here he says: “This outfit might be peak Ethan, as in the thing that is most me, at least where tailoring is concerned.

It’s a contemporary take on vintage tailoring that combines pieces from both eras. The jacket is another one from Ring Jacket USA, this time in a dark-brown plaid made from their proprietary Balloon cloth (a must in Los Angeles).

The shirt is an old custom piece I got years ago that has the spearpoint collar seen in old films and Esquire magazines; you can see that the taper is much more apparent and it’s shorter than what we saw in the 1970s.

The tie is a deadstock green polka dot from the 1930s-1940s, which goes wonderfully with the blues and browns of the top half. The elephant-grey trousers are taken from a 1940s gabardine suit and are perhaps my ideal trouser silhouette, despite the fact I don’t own many dress pants in this cut. The shoes are my beloved Alden tassels in Color 8 shell cordovan.

It’s interesting I’m wearing a belt here. When I commission trousers or suits, I typically ask for side adjusters just to keep things streamlined. However, I do like wearing belts! Part of the reason I’ve got one here is that a lot of my trousers are vintage, and belt loops are common: vintage jeans, chinos, and occasional flannel trousers from Polo RL.

I also like the mid-century charm of a thin, exotic leather belt; this vintage one is alligator, has a one-inch width, and has a fun western buckle. The gabardine trousers have thin dropped loops on a Hollywood waistband, so it was practically begging for this belt!”

These trousers from young brand @casatlantic_ deserve to be in our chino series (previously

@atemporubato ; upcoming @therealmccoyslondon ) by virtue of being cotton twills, in a fairly clean style.

But they aren’t your everyday, classic chinos. They’re very high rise, with a wider tapering leg, in a slightly unusual material.

I really like them. But they’re something I think I'll wear as a particular choice, leading the rest of the outfit, rather than an everyday versatile chino.

They were inspired by the military trousers that founder Nathaniel Asseraf’s grandfather used to wear in Morocco, following the Second World War.

Read the full review and story of the brand in today's article on

Wearing a full @atemporubato look from our review of their Officer's Chino.

You can see in these shots the shorter, fuller body on the knitwear that is indicative of the Rubato offering.

The Finest Polo is made by Umbria Verde in Italy, who also make for the best designer brands.

They are simply the best in class, as can be seen by any examination of the details of the construction.

We’ve gone into this before, on pieces about the Dartmoor and the Finest Cardigan, and all the same elements are present on the Finest Polo. The smaller excess in the seams, the smoothness of the fashioning, the placket sewn in the same direction as the body. They’re all tiny things, but they are the reason the polo feels so different when you feel it and wear it.

PS products always aim to be the absolute finest quality there is. That means they won’t be affordable to many, but then it’s never possible to cater to everyone. This is our niche: offering elegant clothing that compliments tailoring, made at the same quality as designer brands but rather lower prices. (A similar make to the Dartmoor sells for over £600 elsewhere.)

We have now sold out of our first batch. However we are restocking so be sure to email support to get on the waiting list.

Like many men that feature in our ‘How to dress like’ series on, I find the differences between how I and Ethan Wong dress just as interesting as the similarities.

In fact more so.

We have similar influences in classic menswear and vintage sportswear. We both love tonal dressing, hats and of larger jackets. But Ethan has more Ivy influences, wears high-waisted trousers, and is more likely to combine more unusual pieces (particularly vintage).

Also, where my aim is generally to be simply well-dressed, to be subtle and refined, Ethan is more experimental and happy to stand out. Age and environment probably have something to do with it, but it’s just as much about personal aims too.

The similarities show we have principles in common – which then makes you respect the differences, and question them. Would I wear white socks with tailoring? Why I don’t wear more patterned shirts? Can I pull off a bucket hat?

I would probably reject the vast majority, but as I’ve written about with fashions, consistently challenging your style in this way is the way to stop it becoming stale.

Which of course is why I asked Ethan to take part in this series, and explain the combinations in these, some of my favourite outfits.

For those that don’t know, Ethan lives in Los Angeles and runs his own blog, A Little Bit of Rest, as well as the podcast Style & Direction. He can be found on Instagram at @ethanmwong

Read the full article on

On a shoot. Trying not to fall over.

This knitted polo we’re launching on the PS Shop today is in some ways just a short-sleeved version of the Dartmoor.

It has the same finest-in-the-world make (hence the name), the same reinforced collar, and the same top-end merino. It is also, it’s important to remember, a piece of knitwear, which has implications for cost and care.

But actually I think it’s more significant than that. It is a truly smart polo shirt that’s incredibly cool in hot weather – and I know so many readers that will benefit from that.

Dressing elegantly in the heat is never easy, but wear the polo with a pair of crisp linen trousers and loafers - with the option of an overshirt or jacket over the top - and it’s hard to imagine something more relaxed yet elegant.

A high-twist merino, which can be knitted openly enough to let through more air than any other fibre (which is the real problem with cotton). It also has a nice dry touch, and keeps its shape well.

The effect is similar to high-twist trousers, which sartorialists will appreciate. With the difference that a polo can use a finer, lighter wool than trousers, so there’s no trade off with texture.

Wool is also, of course, more odour resistant than cotton and dries quicker – both helpful properties in the heat. Combine that with the way it holds a smooth shape, and it’s fair to say high-twist merino ‘performs’ better.

Summer linen from @thearmourynyc taken from the Lookbook section of

The Lookbook contains all of the outfits on Simon featured over the years, as well as links to the full articles.

I've learnt many things over the past 13 years of writing Permanent Style, but one I've learnt most intimately is how different clothes suit my particular physique, and physiognomy.

This does come up on PS, in articles about collar height perhaps, or trouser rise. But I've never reflected on it as a whole, and I thought it would be helpful to do so - as a specific partner to the more general articles elsewhere.

Something no one in fashion really wants to admit is that your face is more important than your body. It’s what everyone is looking at, and it’s what they mean when they say you’re ‘good looking’.

Unless your aim is to specifically show off parts of your body, clothes should really just be a attractive frame for the face - sending the eye happily upwards to where the action is.

I raise this because when I look back at old pictures of myself on Permanent Style, the biggest difference I notice is not in the clothes, but the face. (See comparison above.)

I have come to accept that I have very little hair, and that cutting it very short is the best option. It has come down slowly from a grade 2, to 1, to now 0.5.

I also know that while glasses are a nice style choice, I’m basically better looking without them. And I’ve grown out my beard as well as shaped it better.

Read about the rest of my style development and reflection on

Not everyone likes the name ‘work boot’, but for a Permanent Style reader, I think it’s pretty apt.

Because what we’re talking about are boots that originated as equipment for proper heavy-duty work, and from companies that largely still make that kind of footwear.

This doesn’t really apply to any of the other brands we cover on PS. Someone like Tricker’s might be known for its boots, but they’re country footwear, not workwear. Harrison Ford might have built houses in Alden Indy boots, but the company is still arguably (and I expect argument here) a dress-shoe maker that also offers nice boots.

Work-boot companies like Red Wing, Whites or Wesco, on the other hand, made and make boots for logging, firefighting and ranching. Physical labour that requires a type of make.

What does this mean in practice? A chunky sole, certainly, but a thick midsole as well - sometimes a double one. Heavy, usually oiled uppers. Often a steel shank.

In terms of style it usually means a wider welt, a rounder toe, and sometimes white stitching or a natural mid-sole that separate the boot even further from the high-end makers we know.

The attraction to the lover of dress shoes is that these companies often still make along heritage lines, which means quality materials (eg full-grain leathers) and toughness through materials, rather than more steel or composites etc.

They’re boots that are still well made, but which you can camp in, climb in, and do similar outdoor activities.

Read the full review of these Viberg boots on

I've come to really like these @atemporubato chinos, but it’s worth saying from the outset that they're not the originals.

I had them narrowed after a few weeks, as I found the leg too wide. The change was mostly in the thigh, which went from 33.5cm to 32cm. The hem was narrowed too, but only from 20.5cm to 20cm.

This was based on the shape of my old Armoury pair, and is what I prefer for casual trousers - I did the same with an old pair of Army trousers last year as well.

The result, I think, is certainly something that is not slim, but not noticeably wide either. Of course, these things vary between people and over time too, but right now it feels like a good, contemporary line.

I was a little nervous of slimming the trousers, as I count Oliver as a friend and didn't want to offend him. He'd put a lot of thought and work into making these his perfect chino, after all.

But Oliver was fine with it, indeed encouraged anything that would mean I'd get a lot of use and pleasure out of them. Which I think shows a generous spirit.

And everything else about the chinos I love.

Read the full review on

The more I try different types of chinos (and there will be more articles in this area) the more I find they fall into different categories of formality.

The first we can call workwear chinos. My @thearmourynyc ones fall into that category, as do some @therealmccoyslondon ones I’ll cover soon. The way I would define this category is that the chinos are just as casual and jeans - and in the same way could be worn with, for example, work boots or a leather jacket.

These @atemporubato ones are not that casual. They sit in a ‘smart’ chino category along with the likes of my Stoffa basketweave chinos, which really look best with shoes like belgians, loafers, or slim/simple trainers.

However, personally I don’t think I’d wear them with a jacket. Or at least, not a bespoke tailored jacket, which I’d want to wear done up most of the time. For me, only tailored cotton trousers work there and even there I generally prefer wool or linen.

When layering for cold Spring days, a scarf and watch cap protect the areas most exposed to the cold - the head and neck - and can be easily removed.

Indeed, the scarf can even be pleasingly stuffed into a jacket pocket, keeping its colour and pattern on display.

A silk scarf works particularly well because silk is such an effective wind-breaker. It’s not as warm as wool or cashmere, but its density makes it great at blocking cold air (the reason they were often worn by cyclists).

Silk Scarf - @hermes
Watch cap - Permanent Style Shop

The updated reversible Valstarino. On the reverse is a breathable, tonal brown synthetic which is showerproof.

It went on sale at the weekend, we only have a couple of the larger size left.

It is worth remembering you may want to size up one or even two sizes due to the slim nature of the jacket.

If you are interested in a restock of this jacket email support to be put on the waiting list.

During the past Winter, I was vaguely looking to replace my longstanding work boots from Wolverine.

They’d done great service: on long country walks, camping in different parts of the country, and just going to the local park in rain, mud and snow.

But after 11 years the upper wasn’t in great shape, and the Wolverine make isn’t really on a par with the other shoes and boots I have. So I was looking to trade up.

It was an interesting journey, as it always is when you explore a new category of clothing (or indeed anything you enjoy) and I spoke to friends that were consumers, friends that were retailers, and a journalist or two.

I ended up settling on a pair of Viberg service boots in a Horween brown Chromexcel. Seven eyelets, 2030 last, natural midsole, brown waxed laces and a stitchdown construction. As classic as it comes from Viberg.

I won’t go into a lot of detail on Viberg, as that could be a whole post on its own (and it’s maybe an interesting one for those I know in Northampton, as much as consumers). But I’ll briefly explain why I liked the Service Boot.

Compared to a lot of work boots, it is made on a fairly slim last - the 2030, which owner Brett Viberg created in 2010 in the process of redefining the styles Viberg offered. (Brett is grandson of the Viberg founder.)

It also has a fairly low toe - not that far off the ground - which of course is called ‘spring’. Dress shoes vary in how much they have too, but it varies particularly in work boots, with some almost comically turned up

Viberg boots had always been made with a fairly slim waist, in order to give greater support to the arch over hours of hard wear, and the combination of this with the new slim last created a Service Boot which it was much easier to wear outside work.

The result still looks very different to anything else we’d normally cover on PS. The toe box is still wider and higher. It’s a stitchdown construction, which you never get with dress shoes.

But as an option to wear outdoors, with the kind of chinos, sweatshirt and gilet sold by The Real McCoy’s and many others, it’s perfect.

Read the full review on

Another example of spring layering, from a recent trip to Stockholm.

Wearing @theanthology tweed jacket with a @beggxco Arran.

Photography - @milad_abedi

The shirt from yesterday's article on layering for cold spring days is a @brycelandsco sawtooth

westerner shirt and is pretty heavy on its own, but in this outfit it’s reinforced by a vest underneath (Lee Kung Man, also Bryceland’s). Just like other layering, if needed that vest can easily be removed.

In fact, a more practical option there would be a sleeveless cardigan, in that it would provide more warmth and be easier to take off. But that probably wouldn’t have worked so well with the outfit (more country, less western).

Read about layering the latest post on

Back when these things were possible, I remember an American friend visiting in the Spring and asking:

“How on earth do you dress for this weather? I can see my breath in the morning, but my midday I’m roasting and can barely wear a jacket.”

We’ve been going through such days again in the UK recently. I’m no meteorologist, but it seems the combination of cold air (winds from the North or East) and hot sun (given the time of year) mean it can be freezing until the sun gets up, then boiling when it is.

Dressing for such weather can be frustrating, particularly if you’re a traveller and thought carefully about packing for every eventuality.

Alex [Natt, photographer] and I were having coffee at the Allpress on Redchurch Street recently, and alongside the fascinating variation in style you get around there (business, fashion and defiantly anti-fashion) there was a broad range of choices for the Spring weather: some guys in T-shirts, others in coats.

I find a better approach is to dress in layers, with heavy fabrics for the basic pieces (jacket and trousers) which avoid the need for a coat. The last thing you want is to be carrying a coat over your arm all day.

The jacket was navy Fox lambswool, an overcoating material at 20/21oz, made up by @sartoria_solito. I wouldn’t actually recommend something this heavy for a jacket, and regret it slightly: 16-18oz would have been better, with almost as much heft but much more pliable. But it does come into its own on days like this.

The trousers were brown corduroy from Brisbane Moss, made up by @whitcombshaftesbury They too are very heavy, at 19/20oz, although I don’t regret those - the weight has perhaps more benefits in a trouser, giving them a fantastic shape.

The advantage of these weighty cloths is that even on a brisk, chilly morning, they are very effective wind breakers. It’s that northerly air that’s going to make you cold, and these stop it.

Read the full article on layering on

Short-sleeve knitted polos like the one I’m wearing here form an integral part of my Summer wardrobe.

But they’re hard to find with a good collar, and are usually made in cotton or silk/cashmere, rather my preferred material - a dry merino, which I find to be cooler and actually perform better in warmer weather.

(The one pictured is from John Smedley, is in knitted cotton, and has a low, floppy collar.)

Last year we started a project to make what I believe to be the finest example out there. Working with the same supplier as our Dartmoor sweater, it is due to launch in the coming weeks - register your interest at support for early access.

Although Angel Ramos and I have only met a few times, we’ve always seemed to have something in common when it came to styles we liked.

Angel wears slippers a lot, and has more of a tendency towards bright colours and patterns. The overall image is perhaps louder. But there are a lot of similarities too: tonal dressing, black, cold shades of brown. And overall an emphasis on casual chic, with polo shirts and roll necks rather than printed ties and pocket squares.

Angel is the co-founder of @18thamendment_ , a brand in New York that grew out of his previous tailoring enterprise, Angel Bespoke. I haven’t tried the clothes, so can’t comment on them, but perhaps that’s the next step. It was certainly lovely talking to Angel for this, the latest in our series of ‘How to dress like’ articles. Available now on

Details from the Dalmo cashmere jumper outfit

@atemporubato officer’s chinos (separate article coming on them - hold questions til then please)

White PS Oxford shirt - which has been fully restocked in the PS Shop

@frankclegg large working tote

In recent weeks we’ve talked about hand-framed knitwear - the slow knitting process used on knits like the Stoffa ribbed polo and the Saman Amel cricket sweater.

In today’s article on I wanted to add one more producer to that list: an Italian family-run company called Dalmo, based in Tuscany.

The workshop is small, with 10 people working seven looms or other machines. They do hand-framed knitwear and hand-woven scarves - which use similarly sized, old machines - as well as some actual hand knitting.

Dalmo’s main business is making for other people. They are the kind of small workshop that produces top-end knits for luxury brands such as United Arrows and Rubinacci, as well as for smaller operations such as Brio in Beijing, or Sartoria Corcos.

But they also sell under their own name, and offer a remote made-to-measure service of sorts. It was this offering that I tried, and which produced the grey crewneck pictured above.

I opted for a fairly heavyweight crewneck, in four-ply cashmere from Loro Piana. The hand feel really is lovely, probably the nicest feeling knit I have alongside the Saman Amel covered recently.

Given the weight and brand of the yarn, it was towards the top end of Dalmo’s range, at €540. The cheapest is €215 for a summer-weight polo.

Read about the full process on

Wearing my @sartoriaciardi gun club jacket with @davinoshirtnapoli shirt and beloved Berkeley cap

Photography by @adnatt

I was interested in trying the MTM option from German brand Massura, as we’ve been focusing on offerings like this recently - examples have included Edward Sexton, The Armoury and Anglo-Italian.

While I will always prefer bespoke, I wanted to better cover these more accessible services for readers.

The fit of the Massura jacket I think reflects the fact that MTM starts from a RTW block.

Tailors often say I am deceptively difficult to fit. I have fairly regular proportions in terms of chest, waist and height, and these can often lead to a clean look in the front of the jacket (as here).

The biggest issue at the front is my sloping shoulders, and having the right shoulder slightly lower than the left. This can lead to a slight collapsing under the arms, particularly on the right. Moritz actually dealt with this fairly well.

The difficulty comes at the back. My (relatively) long neck, pronounced shoulder blades, hollow lower back and pronounced seat mean that the back of the jacket is more of a challenge. At the very least it has to be a lot longer than the front, to get up and down all those curves.

This seems to be the Massura MTM had difficulty, and there are issues around the back of the shoulder and armhole, where things are collapsing a little.

The jacket does appears to have become crumpled somehow during wear, and the collapsing is exaggerated rather by the sunlight. But the photo does accurately show where the issues are.

The left sleeve also needs to be shortened at a future date.

Read the full review on

The Permanent Style Spring/Summer top 10 launched today.

No.1 on the list was this @drakesdiary red suede chore jacket

See the rest of the list at

Last week I wrote about 45R, which is probably not the most accessible brand.

It is probably best thought of as a cult brand, which means - on the one hand - that it enjoys a passionate following among a small number of people but - on the other - is perhaps not for everyone, or at least takes some time to appreciate.

One of the items I’ve bought over the years from 45R is bandanas. The patterns on these are always hand drawn - no computer design involved - before being scanned and then screen-printed. They’re different every season, and often have a depth of colour that comes from Ai dyeing (organic indigo).

Most of the ones I’ve bought have been simple and classic. But every season there’s some different idea: oversized, linen, hemp, gauze.

Hemp feels particularly lovely, for anyone that hasn’t worn it. It has some of the texture of linen, and the slippery hand of silk, but looks very similar to cotton. That’s a hemp one above.

Read the full article about this fascinating brand on

Massura is a German tailoring outfit run by Moritz Kossytorz, based in Munich but using a tailoring workshop in Naples.

The style and make of the tailoring is not much different to other Neapolitan tailors, but I think Massura is worth highlighting for two reasons.

First, there are few such places in Germany, and Moritz serves Cologne and Dusseldorf as well as Munich. (Plus travelling to Zurich and London.)

Second, the services he offers are cheaper than most, with a handmade made-to-measure (MTM) suit starting at €1600 and bespoke at €2500. The structures are also unusual, with RTW made to the same standard as MTM.

I tried the MTM service, with one fitting in person and two over video/email.

The result was good in many respects, but there were substantial issues with the balance and shoulders at the back of the jacket.

One thing I can say about Moritz, however, is that he is very keen to avoid the trap of being a new, relatively cheap tailor that tries it for a few years and then disappears. He is aware of the dangers and talks of a ‘very German’ approach to business and customer service.

He has fixed jackets for other clients a few months after they were delivered, and is keen to work on this with me later on. Hopefully when we can see other again in person, rather than over Zoom.

Still, for the moment I felt it was fair to review the jacket as it is, given the fittings we had (MTM is normally just one) and Moritz agreed. I will follow up later on in the year if the jacket is altered.

The cloth is a nice mid-weight lambswool tweed from @abrahammoonsons called “Lichen”

Read the full review of the jacket on

As the weather warms up I look forward to the switch of wardrobes, putting away tweeds and flannels and rediscovering linens and light cottons.

I love the practicality and wearability of overshirts in this season too, so we have something in the works with @lucaavitabile launching in a month or so. Be sure to email support to register your interest.

Many countries still make shirts by hand, including in Spain with the likes of Burgos and, further afield, someone like 100 Hands in India.

But it is Italy that has really kept the flame alive.

Indeed, it’s one of the most most surprising cultural differences in menswear: that the finest shirts in England or France are made entirely by machine, and those in Italy largely by hand. That kind of cultural difference doesn’t exist in any other category – suits, shoes, knitwear, anything.

So why would countries have such radically different views on hand sewing? What is the point of it?

That is the point of today's article on To not only describe the Italian handmade shirt, but explain what the point of each step is: functional, decorative, or perhaps none at all.

Shirt sleeves by @wilwhiting

The deck shoes pictured above are one of the few things I’ve bought from 45R in years.

I did so during our recent visit because I increasingly wear this style, and these are the nicest example I’ve seen anywhere.

The material of the upper is an indigo-dyed linen, tightly woven in a manner similar to duck canvas. The linen texture brings out the best in the indigo, showing various shades of blue. The weave makes it tough, and look tough. And the catalogue shows how it will fade nicely over time.

There are many good cotton deck shoes. I love my Doeks, the blue of which is indigo also. But this is different; 45R is always different.

The sole is vulcanised by hand of course; the indigo is organic and hand-dyed; the sole is even a unique creation, with deep ripples in the rubber. How many other small brands develop their own sole unit?

The shoes are also hand lasted like a top leather shoe.

The rubber is uncured. There’s a leather lining in the heel to stop it wearing down. The list goes on and on.

The prime reason I loved this PS Harris Tweed is the amazing colours woven into it:

vibrant shades of orange, yellow and blue alongside the more standard brown and black.

And yet, at a distance, it’s just a nice warm brown. Something with character, sure, but not the kind of cloth you’d believe would have these crayon-like colours in it.

This comes across particularly in the second and third shots, of the yarn being spun up in the Outer Hebrides in Scotland. You can see all the dyed fleeces being assembled, and then mixed together before being made into yarn.

I’d never seen the cloth like this, but it really gives you a sense of the vibrancy of the wool. The mixture looks like something I’d find in my kids’ Playdough box - yet the end result is such a subtle, sophisticated cloth. It’s only when you get close that you see those little coloured fibres curling together.

Being a Harris Tweed, the cloth is handwoven on manual looms - the same type of machine that been used for centuries.

The advantage of weaving at this slower speed is that the tweed can be a little more open, a little spongier.

And you do notice the malleable, springy feel of handwoven tweed if you compare it to something mass-manufactured.

In fact, for me, it’s more akin to the way the original wool feels on the sheep - less of that seems to be lost in the weaving process. I remember being in Scotland and feeling the fleece on local sheep that were used in tweed, and it is special somehow to feel that similar wool clothing you.

Read all about the PS Harris Tweed at

My favourite Harris Tweed has not been available for a few years now.

Originally offered by Holland & Sherry, I was such a fan that I used it for one of my favourite tweed jackets (from Elia Caliendo), a fantastic ulster coat from Liverano and even a self-backed waistcoat from Richard James.

The waistcoat hasn’t had much use, but the other two are among the best pieces of tailoring I’ve ever commissioned. I know they’ve also been real favourites among readers.

So last year, I began talking to Holland & Sherry about reweaving the tweed, as an exclusive Permanent Style cloth.

It is now finally (after a few Covid hiccups) available from the PS shop.

It is being cut to order by H&S, in increments of 1m and 10cm, so check with your tailor how much you need. (Although handwoven tweed, it is a standard width of 150cm.)

The tweed weighs 15/16oz (per linear metre), which is a mid- to heavy-weight for tweed, and is something I wear at least half of the year.

I happily wear my Caliendo jacket into the Spring, although that is in the UK of course. And it can be worn well into Winter, particularly with knitwear underneath or a coat on top. This weight and weave is also noticeably soft - I wouldn’t describe it as scratchy at all.

The warm-brown colour means it’s not quite as urban as darker browns I’ve featured before but it is more versatile probably, going with everything from jeans to flannels.

In fact, I’ve shown it with all these combinations over the years on Permanent Style, from sharp cream cavalry twills to rugged denim and boots.

See all the examples of makeup and styling on

On our recent visit to @hangupvintage our eye was also caught by the old chore jacket you can see above.

Apparently it had been discovered rolled up in the corner of a house. The parts that were exposed to the sun had been slowly bleached over time, while the ones that were hidden had been eroded by the rusting buttons.

Ben patched every hole, with decorative hand stitching around every edge. The result is something that almost looks like modern boro clothing, and reminds me of my old Japanese kendogi jacket.

It’s not really very efficient in terms of labour to cost ratio, and indeed perhaps something no one will ever wear. But it looks lovely on the wall.

There are surprisingly few good vintage shops in London.

Despite the popularity of vintage clothing in recent years, there haven’t been high-profile stores here like Wooden Sleepers in New York, Le Vif in Paris or Broadway & Sons in Gothenburg.

The stand out was always The Vintage Showroom in Covent Garden, but sadly Doug and Roy announced two weeks ago that they wouldn’t be renewing their lease (which was doubtless expensive).

The alternatives are mostly in East London; The Vintage Showroom was always an outlier in terms of location. There is the excellent Levison’s, and just down the road the much smaller but lovely Hang Up Vintage.

I wanted to highlight Ben at Hang Up in this series on London retail as an alternative to The Vintage Showroom, but also for two other reasons.

One, Ben is young and pretty friendly, happy to chat and help with whatever you’re seeking. To be frank, most vintage stores are not like that - but most of the new breed, like Wooden Sleepers and Le Vif, are. Ben belongs in that category.

And two, Ben does some lovely repair work on old clothing - which is something fairly unique to offer alongside vintage, but is also a good option for readers that want an old treasured piece repaired.

When Alex [Natt, photographer] and I visited, Ben was working on a pair of jeans with a series of rips. The rather particular customer wanted some closed and repaired, but others left open. Such repairs are a whole other area of creativity. (Another example there being Atelier & Repairs.)

Read the full article and see some vintage highlights on

Wearing the new @allevol heavy duty t-shirt from @clutchcafelondon from a recent shoot with them.

The 45R store in London is a little jewel on Brook Street, just round the corner from Fenwick’s, next to the far more imposing Issey Miyake.

I can imagine Permanent Style readers being drawn in by the indigo textures on display in the window, by the organic-looking cotton shirts and range of bandanas.

But inside it can be hard to know where to look, and the prices can be a little alarming. Jackets are £500 or £600, the bandanas over £80. It would be easy to glance at a few price tags, tentatively handle a hemp T-shirt and then quietly leave.

It is one of my favourite stores in London, and Giulio and Simon that run it are lovely. The clothes are genuinely unique, and new mini-collections arrive every month. I find I pop in regularly, even if I rarely buy anything.

I’d like it if PS readers understood 45R enough to pop into the store, and find it interesting.

The London store has only been open since 2018, while New York (Mercer Street) has been going 20 years, and there are three branches in Paris. It would be nice if the English appreciated this eccentric Japanese institution just as much.

It certainly has more principles - craft, tradition, quality - in common with other PS brands than you might think, as you wander down Brook Street, and have your eye caught by a straw hat in the window.


New oxford @doekshoes plimsolls from @trunkclothiers - perfect for Spring

I had high expectations for when I visited the new Adret store on Clifford street.

I remember when Adam first launched his collection, at our Savile Row pop-up back in February 2019.

His space was by far the most curated. The handkerchiefs had their own rattan tray, the scarves were clasped on the wall by little brass hands. This was someone who clearly already knew what their shop would look like.

One thing I didn’t expect, actually, was for the Indonesian link to come across so strongly.

Adret produces all its clothes in Indonesia, and Adam’s partner Seto is based there. In the past couple of years they have done amazing things there to build their own atelier, and moved in seven local artisans to do everything from cobble loafers to hand-dye fabrics.

Being in the store, you realise how much of this south-east Asian craft informs the Adret style.

Obvious things are the bamboo frames on the mirrors, the blue-China plant pots and rattan trays. But there is also, more subtly, the Indonesian incense in the air, even the ginger sweets offered at the till.

The clothes are loose and flowing not just because that’s how Adam dresses, but because it's the style worn in Indonesia. Many of the textures of the materials come from local crafts, like the hand-spun cotton.

The washed-out colours all fit with the wax-resist dying done by the local batik artists.

This brand is a mix of many things, including mid-century design, musicians and Adam’s art background. But Indonesia is fundamental to it as well.

Which of course makes a mockery of the suggestion that the clothes are made in Asia because it's cheap.

This is the first of three articles celebrating menswear stores in London, following our call to arms earlier in the week urging readers to support the shops they love.

We’re starting with Adret, the achingly beautiful shop opened by Adam and Seto late last year (just in time for the November lockdown here in England).

Two other pieces will follow on Monday and Wednesday.

Every fabric seems to have something interesting in the weave or finish that makes it distinct: slubby, hand-spun cottons, vintage ikat prints.

And while the colour palette could seem narrow, that's just because everything is so soft: the greens, blues and yellows are washed-out, the browns and blacks decidedly dusty.

I adore this aesthetic. Even though I, as mentioned previously, find the cut of some of the clothes isn’t for me, everything else about them is just beautiful.

And the best thing about the new shop is seeing this beauty fully blown.
Where there were slubby cottons in the shirts, there is rope weaving in the carpet. The vintage feel of the fabrics is matched by the patina on the vintage furniture. Everything is tactile.
I’d even go as far as to say the easy, flowing feel of the clothes is reflected in the atmosphere of the store. You feel like slipping your sandals off and sinking into one of the low mid-century armchairs. You’re surrounded by soft light and warm panelling.

My favourite space is downstairs, because it’s essentially one large fitting room. Long linen curtains are drawn across the seating area at the back, and when you’re changed, part so you can walk the length of the room to the mahogany-framed mirror on the far wall.

None of this, of course, can be replicated online. It’s one more demonstration of what good retail gives us. You need to feel Adret clothing to appreciate it, to have the point of the cut carefully explained, and to see it in this context of every other design aspect.

It makes physical retail truly special.

See the rest of the store and hear more about the collection on

Details from last week’s post on white jeans.

Vintage gun club tweedi jacket by @sartoriaciardi
Cloth from @lafayettesaltieldrapiers
Shirt by @davinoshirtnapoli
Watch @cartier Chronoflex

It is genuinely important that - if you can - you visit a UK shop and support it now they’re open again.

Why? Because good retail offers something distinct that could easily be lost.

Let me explain the difference between a good menswear store and a take-it-or-leave-it high street version.

With high street shops, the image and the in-store experience are completely disconnected. The advertising might be of chiselled men sailing a yacht, or a rugged one riding a motorcycle. But in store, what you get are 20-something sales assistants that know nothing other than where the till is.

The only point of the store is convenience. The convenience to be able to see material in person, try on different sizes, and not wait around for a delivery at home.

That’s all they offer. And if people increasingly live outside city centres, this convenience will fade. It will become more convenient to just order several things and send some of them back.

I am not concerned about those stores. It would be a shame if they closed, but only because aspiring menswear nerds would have nowhere to learn the ropes for a few years.

Going to a good shop is different. Here, the image and the experience are the same.

Shopping online from Trunk Clothiers is pleasant enough. I quite like the little chap that blows a trumpet on your email receipt, celebrating the purchase.

But it does not begin to compare to the experience of browsing the stores on Chiltern Street, getting a coffee from Monocle cafe, and sitting on the bench outside No.8 in the late-afternoon sun.

That is one of my favourite places in the world. Not craft stores in Kyoto, not the Spanish Quarter of Naples, not the cobbles of Chelsea: talking to a knowledgeable member of the Trunk team on a warm afternoon, probably about Alden sizing, as hip staff from Winkreative wander by.

Trunk would not be anything like the same without its stores in Marylebone. But let’s face it, Uniqlo would. It’s just an outlet.


This week lockdown restrictions on shops are being lifted here in the UK.

Look out for articles on celebrating our wonderful retail, including an op-ed on what makes a really good store, and profiles on some new shops

Over the past year or so, Optimo has been developing a unique bespoke hat programme, where a personal ‘block’ is made for each customer.

Most Optimo hats are already made to order, so customers pick their felt, their crown style and their brim width.

And they can find precise sizes - Optimo does more than anywhere else, with half sizes for most head shapes, sometimes even quarters.

But no hatmaker makes a block - the wooden form the hat is shaped around - individually for each customer. (In the same way a last is made for a bespoke shoe.)

The reason they don’t is it’s very expensive, and the vast majority of people don’t need it. So, pretty convincing reasons.

Graham at Optimo admits that only those with unusual head shapes will benefit a lot. He estimates it around 10% of customers.

But those with regular head shapes will still notice a slight difference. And Optimo has the kind of obsessive customers that want the very best, even if it’s only that slight improvement. So I’m sure more will take it up.

Getting your own block is not cheap. There are very few specialist makers of them anymore, and as a result it will cost $1000 from Optimo.

The good news is that if you’re an existing customer, you can make a bespoke block and then use it to reshape all your old hats.

This is what I did. We made a new, small brown felt to test out the system, and once we decided it worked well, we used the same block to reshape my other two Optimo hats: the slightly wider charcoal and the western-style silverbelly (above).

John McCabe worked at Kilgour French & Stanbury from 1993 to 2010, and the cut offered by Whitcomb & Shaftesbury today is broadly the same.

You can see it quite well in this suit of mine.

It’s a version of the so-called drape cut, which is named for the excess cloth it puts into the chest and back of the suit, both to flatter the wearer and to make it more comfortable.

This excess shouldn’t really be visible as extra folds or baggage, as it isn’t here. Instead, your chest just looks larger and you feel better wearing it.

The flattering effect is enhanced by a relatively wide shoulder and nipped-in waist. And it also usually has a fairly natural shoulder line – in other words not much padding.

The line of the lapel, with its gentle curve outwards from the waist button, is typically English.

But the gorge line (where the collar and lapel meet) is perhaps more downwards sloping than most tailors, and this rather changes the appearance of the lapel, making its point a rather shallower angle, directed downwards.

If I were to have another suit made with Whitcomb, I think this is one of the few things I would change. A wider lapel (closer to 4 inches) with a flatter gorge line.

Read all the details (and measurements) on This is the latest in our Style Breakdown series analysing the cut of bespoke tailors I have used.

Photography - @jkf_man

One of the loafers I wear consistently throughout the Summer is the Leisure Handsewn (LHS) from Alden (above).

It might be the most comfortable shoe I have. The LHS’s unlined upper, flex welt and sole make it really soft, and I can’t think of any similarly smart shoe that I’d be happy wearing with no socks at all, at least for a few hours.

The only downside is that its wide last and moccasin toe make it rather casual, and as such I don’t wear it with tailoring. It is, however, equally at home with denim, workwear chinos and shorts.

I love airforce-blue flannel, because it’s a way to wear a stronger shade of blue without verging into the electric blues of many modern suits.

However, it’s still not the easiest colour to wear in an elegant way, and I therefore usually wear it with a blue shirt or blue-striped shirt and a navy tie.

The striped shirt here in cotton/linen is from 100 Hands, while the navy tie and white-linen handkerchief are from Anderson & Sheppard.

The shoes are my Walcots from Edward Green.

This shot is taken from the latest installment in our Style Breakdown series which is on now

Photography - @jkf_man

White trousers have two major disadvantages. The first is they get dirty quickly.

This can be minimised - if you’re careful, if you wear them more on occasion than every day, and if you have a good dry cleaner. But it’s always a risk.

This is where white jeans start to come into their own. Yes, they show dirt easily. But they can also be chucked in the washing machine any time, quite unceremoniously. They can even be tumble dried, once you’re sure all the shrinkage is out. Chances are the denim will even get better the more you wash it.

The second disadvantage of white trousers is that they will always be a little showy. It’s the flip side of that point about being characterful. Even just worn with plain brown shoes and nice shirt, they’ll always stand out.

Jeans minimise this problem too. Denim is a practical, everyday material. It will always look less showy than tailored trousers.

Read all of the arguments for and against white denim in the full article, on

Photography - @adnatt

White jeans are a classic example of menswear that has been damaged unreasonably by association.

Unfortunately, they carry connotations of flash Mediterranean men, wearing their white jeans with a shirt unbuttoned to the navel. Or skintight ripped styles, on equally flash guys in the UK and elsewhere.

To the average man they seem showy, basically, and cheap. But they don’t have to. I love white jeans - or rather, cream - and I’d like to explain why.
I’ll do that in typically logical fashion, before we have a brief chat about how to buy, wear and wash them.

Let’s start with white trousers in general. Their major advantage is they go with everything. There is no colour they don’t compliment, unless you’re wearing a cream sweater or a white T-shirt (and even then it can work, with a belt in between).

That’s a godsend when you’re trying to put together a combination within the rather narrow parameters of classic menswear, which is all navy, grey and brown. Suddenly the trousers are always easy.

The second advantage of white trousers is they manage to be both elegant and striking. Few other colours achieve this - something subtle and chic, yet unusual and characterful.

This is why you see so many sartorially inclined men wearing them - particularly in Italy, particularly in shops or at shows like Pitti Uomo.

But white trousers do have their downsides too - read about how those are largely solved by white denim on the full article, on

Photography - @adnatt

In the midst of transitional weather, I find this is the perfect time for our Finest Cardigan.

Useful for adding a light layer on chilly mornings or for cleaning up the lines of a shirt whilst the endless Zoom calls stream in. And of course the finest make of knitwear you’ll find anywhere in the world. Available now on

“Can I wear dark-brown shoes like these with a suit in my office?

Do you think it would be appropriate?”

The answer is, I don’t know. I don’t work in your office: I don’t know what the implicit dress code is. You have to make up your own mind.

I can explain why things are more formal or less formal. I can show how things of a similar formality - or style, or tradition - go together. But you have to judge the context. You have to decide what’s appropriate.

Read about developing a sense of style on

We are re-launching the brown reversible Valstarino with some tweaks in a couple of weeks.

Make sure you sign up to the waiting list by emailing support as numbers will be very limited.

I was measured for this Saman Amel knitwear last October, when I briefly visited Stockholm.

The main purpose was to see the new trousers, outerwear and shop - of which there has been coverage on the site.

But we also took the opportunity to measure for this new knitwear range, which is rather heavier than the normal two-ply MTM Saman Amel offers. (That range has also been reviewed in the past.)

Hand framing is knitting using a smaller than normal loom, operated by hand. It’s essentially the same machine as has been used since the 16th century, with the remaining ones often kept on to do more delicate knitting that wouldn’t be suited to a modern power loom - such as lace work.

With knitwear, it allows a greater range of yarns to be used, particularly thick ones. It also makes decoration or particular types of fashioning easier (fashioning being the marks where the knit changes direction - as you can see around the neck and armhole of this piece).

Read the full review on

A couple of weeks ago I cleared out a lot of perfumes sitting in our bathroom cabinet.

The cabinet is actually a tall, vintage piece, originally for a dining room. It has drawers in the bottom where we keep towels and sheets, and shelves in the top with glass doors - where pharmaceuticals, perfumes and a few boxes are kept.

The perfumes looked pretty there, but they were taking up too much room. So I had to thin them down.

In the end I kept just three, with a few more in a Santa Maria Novella box just behind them. Given I had more than 30 at one point, this was drastic.

I removed so many because I feel I’ve come to a decisive juncture in my journey with perfume. After years where it has been my number-two obsession - after clothing - I’m at a point where I feel I’ve sampled every option, experienced every experience. Pretty much.

I’ve tried every type of perfume and producer, big and small; I’ve interviewed leading creators; I’ve visited factories; I’ve had guided walks talks through the history of scent; and I’ve twice created my own (without much success).

I feel I know now what the world of perfume has to offer - whether it’s a modern perfume that recreates bubblegum on a pavement, or a storied cologne from the biggest makers in Grasse. As a result, I am now confident that I know what I like - and how I want to enjoy perfume in the future.

Read about the full journey on

Japanese selvedge chambray shirt made by 100 Hands. Now live on

Last Friday's article on looked at raw denim, and specifically how to wash it and wear it.

There is a trend today for paler colours of jeans, rather than deep indigo. The problem here is that those paler colours only come from raw denim after many washes.
But it does happen - it might mean 20 washes rather than 5, but it will happen. (See example above, after 20 washes, from @Superstitchparis )

Just make sure the original denim is slightly more of a mid-blue, and perhaps wash the jeans frequently at the start, then slow down (or even stop, freeze) when you have your perfect colour.

For the full article check out

Last week we discussed the fit of knitwear, using the example of a vintage-styled Stoffa knit to look at the current vogue for shorter, wider cuts.

This week we have an interesting contrast: another made-to-measure piece, from @samanamel , but in a more generous style.

It is a heavy, four-ply cashmere V-neck, designed with a nod to old sportswear such as cricket jumpers.

It feels wonderfully luxurious, with a rich drape that comes from its weight, and supple hand that comes from being hand-framed - something Saman Amel have only just started offering. (And which, incidentally, the Stoffa piece was as well.)

The full review is available on

Looking forward to more warm-weather outfits in the next few weeks, like this Warehouse tee, Armoury chinos, Silver Ostrich belt and Doek trainers.

I am a 39-year-old father of three wonderful daughters.

My family is without question the most joyful and important thing in my life.

Why is this relevant to Permanent Style? Two reasons.

First, this demographic is not well-represented in the images of fashion in general, and menswear in particular.

Fashion is largely populated by skinny boys, while classic menswear is dominated by men driving cars, smoking cigars and drinking whisky, with their arms around near-naked women.

It’s nice to provide a small corrective to that. To talk about the deeper pleasures of being a father and bringing up children.

There may also be an argument that this outlook on life has more in common with the ideals of Permanent Style: of buying intelligently and dressing tastefully. Flashy cars and flashy women are perhaps better suited to flashy clothing.

The second reason it’s worth talking about my family, is that it informs why I dress as I do, and therefore the clothes we cover on PS.

I do not live the life of an international jet-setter, and spend a good proportion of my time doing things like walking in the (currently very sunny) park, or playing with toys on my knees.

My eldest daughters are now 13 and 10, and are often wonderfully self-sufficient. The pleasures of being with them are re-learning my British history, or introducing them to music. But my youngest is only one, and that is much more physical.

I care enough about clothes that I want to enjoy them every day, not just when I go to town. So I want good, hard-wearing chinos as well finer worsteds. I want sweatshirts that wear in, not out.

Read the full article on

Photography - @jkf_man

Trench coats have been cut shorter and shorter in recent years.

This not only denies them the swish and swagger of a long coat, but it's highly impractical. In the rain, water simply streams off the bottom and onto your knees as you walk.

So ours sits definitively below the knee. There is also a small, hidden flap at the bottom of the coat, which allows it to be fully closed across the knees if required.

Only a handful left in XS, S, L, XL at

The watch cap or beanie is by far the most versatile of men’s hats.

In fact, its biggest danger is probably making people lazy, encouraging them to wear nothing else.

A neat, dark watch cap can look surprisingly smart. I often find myself wearing a dark-navy one with even my smartest overcoats.

It does have to be neat though - not too thick, not coming down to back of the neck. (Which was, of course, the spur for designing our own, the PS Watch Cap.)

And yet a watch cap also works with a field jacket, with a blouson, with a horsehide jacket. It goes with everything. For that reason I think everyone should have two or three - perhaps a navy and grey, then one more unusual like cream or red.

However, don’t let this put you off wearing other styles of hat. When the rain is falling, when you’re not rushing out of the house, or when you just feel like something different, try a fedora or a flat cap.

People get in a real muddle over raw denim. A reader commented a couple of weeks ago that he didn’t like it because ‘you’re never allowed to wash it’.

Of course you can wash raw denim. You might want to wash it less, at the start, but it’s fine if you don’t. It just has different results. And no matter how much you wash it, you’ll still get many advantages over regular, washed jeans.

So where does this confusion come from, and how often - plus how fast, how hot etc - should someone be washing their jeans?

Read today’s article on raw denim and how to wear and wash it on

The Permanent Style Trench is a waterproof coat made in cotton Ventile, with taped seams.

It takes design inspiration from a despatch rider's coat (such as that angled chest pocket) as well as a traditional trench, and comes with a removable wool/cashmere liner that makes it wearable most of the year.

A collaboration between Permanent Style and Private White VC, it is made at the latter's factory in Manchester, England. We first introduced the style in 2017, and now it's back.

Read about all the design features on

I'm so, so excited to have this trench coat back and available again on the PS store.


Well primarily because I've been wearing it over the past few weeks, and I'd forgotten what an exciting design it is. That collar; that length; the pleasure of buttoning it all up under the chin.

It has such drama, yet it's so intensely practical (as all the best menswear is). The lapels are that size so they button all the way across the chest. The chest pocket is asymmetric because it makes it really easy, and satisfying, to store your phone and wallet there.

More details on the PS site today. The coat is available exclusively at, and costs £915 plus VAT (a reduction on last time)

In our PS article last Friday we discussed the combination of hats and coats, on a sliding scale of formality.

Last of these was baseball caps.

Baseball caps have seen a surge in popularity recently, partly because their fashionability also makes them more versatile.

If you liked them, a baseball cap was always suitable for more casual coats and jackets, and of course just a shirt or knitwear. But it’s also become fashionable to wear them with tailored jackets or overcoats, partly because it adds a sporty element to otherwise sharp clothing.

I’m always sceptical about such trends, but I rather like a baseball cap worn in this manner. It’s a very easy form of high/low dressing, and one that is easy to play around with, or switch during the day (or a trip).

As I discussed in our article on high/low dressing on, it’s easier to do this with outerwear and accessories, because they are so easy to change yet have an immediate impact.

Still, I wouldn’t wear my beloved Berkeley cap with a really smart overcoat or double-breasted suit. That’s too much for me. The smartest I'd wear it is with a polo coat (pictured) and more standard is with a waxed jacket. Then everything more casual than that.

This is an extract from my book The Finest Menswear in the World, explaining why Bresciani makes some of the finest socks.

I visited the factory years ago with photographer Andy Barnham, during a tour of Italy for the book. Since then Mario Bresciani has sadly passed away, but it is in very good hands with his son Massimiliano. And hopefully this serves as a small tribute to the way Mario guided the company over the years. 

"Bresciani has been one of Italy’s top sock manufacturers for decades. But a few years ago, it went down the route many other makers have done, and expanded to create its own brand - becoming a byword for quality in the process.

Massimiliano Bresciani runs the factory in Spirano, just outside of Bergamo in northern Italy. At least he does in theory. His father, Mario, is still around the factory every day, despite being in his seventies. A floating presence – a conscience, even – Mario walks the factory floor picking up socks and turning them over, inspecting them.

“I arrive at around 7.15 in the morning, and my father is always here,” says Massimiliano. “He goes home for a few hours in the afternoon, but he will frequently be here until the factory closes at 7 or 8 pm.

“His most important role today is training – helping the women who operate each of the 13 quality-control stages. That’s crucial for us and is a difficult thing to teach. Even though 95% of the production is now done by electronic machines, his experience is indispensable.”

Massimiliano jokes that his mother is glad to have Mario out of the house. She can’t stand having him at home all day, watching and inspecting the cooking – just as he has done for decades at the factory.

It’s not the kind of thing you can just turn off."

Read more about the Bresciani factory at

Photography @andybarnham

In Fridays article about hats and coats I use the term ‘flat cap’ to encompass everything from a close-fitting cashmere to voluminous baker-boy.

Basically anything flat with a peak at the front.

I find this category rather versatile, as long as the style of cap is right. I have two suede caps from Lock & Co, for example, (the Tremelo model, above) and they work with most overcoats as well as a pea coat or waxed jacket.

The reason they do, I think, is they're fairly close-fitting - not flopping over to one side, covering an ear - and are in suede rather than hairy tweed. A coarser material and bigger shape would be much more casual.
The biggest issue with flat caps, as with many hats, is their associations. Some people just think a flat cap makes you look like a wide boy or a dustbin man.

To them, I would suggest they check out how John Simons or others from his era wear the cap. To create some better associations.

Wearing my Anthology grey tweed suit with the pink PS Oxford button down and black knitted tie.

This outfit just missed out on a top 5 spot in my recent article about my favourite outfits. It was a close-run thing though.

I’m often asked which hats work best with different types of coat.

In fact, it often comes up at this time of year - I guess when unexpected showers are more of a hazard.

The sliding scale of formality with hats is pretty intuitive: a fedora is smarter than a cap, which is smarter than a beanie. But, some of them do cover a greater part of that scale than others.

A good, neat watch cap for example, can work with everything from a navy overcoat to a blouson. Whereas a brimmed hat is more limited.

In today's article on is my breakdown of the types of hat and what I find they work best with, illustrated with examples from previous articles.

Pictured here is a my silver belly hat from Optimo, with bespoke Sartoria Ciardi wool overcoat. More details on that hat in the article too.

Photography @adnatt

Reviewing this jumper from Stoffa is a good opportunity to discuss the current trend of knitwear being cut shorter and wider, in something of a vintage style.

The way knitwear is usually designed to work, the ribbing at the bottom sits on top of the trouser waistband. This overlap means no shirt material is exposed, and the trousers fall in a clean line from the bottom of the ribbing.

You can see that in the images - front then back - where the Stoffa ribbing entirely covers the waistband of the trousers.

Above the ribbing, there is then some excess of material. This is necessary because otherwise, as soon as you move your arms, the ribbing will be pulled up, exposing that shirting underneath.

Now in most knitwear, there is so much of that excess material that it folds down over the ribbing, covering it entirely. You therefore have three layers of the material around your waist, as it flops down and then folds back up.

If the knitwear fits you well, and it is slim enough at the waist, this isn’t a problem. But as soon as it's a little baggy or loose, those three layers can look rather bulky.

It is the desire to avoid this look - and reintroduce flattering neatness to the waistline - that has led to the trend of (at least partially) tucking in knitwear, and it is also part of the attraction of vintage styles like this Stoffa knit.

To read the full review go to

I tried the new Stoffa knitwear in October last year, when Maxim visited from Stockholm and held a trunk show in the Drake’s store on Savile Row.

Their U-neck vest was not my style, and I found the collared cardigan a little too fine and lightweight. But the two polos were lovely: one more conventional, the other chunkier and ribbed.

I went for the ribbed (pictured). Stoffa is not cheap, and if I was going to get one piece, I wanted it to be unusual as well as luxurious. At least that’s what I told myself. It was also the more exciting choice.

Read the full review on

As with most of the products we’ve developed, the Wax Walker was intended to be a more urban than a rural piece.

Colder, subtle colours, and perhaps a less common combination.

So we went with a very dark-brown waxed cotton from @halleystevensons , with black corduroy on the collar and ends of the sleeves.

The black and brown go very nicely together, and the @privatewhitevc signature copper hardware is always nice with colder colours.

I find the jacket goes with multiple outfits: I’ve worn it with casual clothing such as boots, chinos and knits, as well as smarter outfits (jackets and flannels) and find it works equally well with both.

Read the full article explaining the design decisions we took on There are limited numbers of the Wax Walker available on the Permanent Style web shop now.

Photography by @jkf_man

When I visited the Francesco Maglia workshop in Milan last year, I ordered a bespoke umbrella.

Why? Purely to deepen the experience of the visit. There's no other excuse really.

I’m not such an unusual height that I require particular dimensions to my umbrellas. Even if I use them as walking sticks too, the standard length is perfect.

Neither is there the personalisation argument. There are enough Maglia umbrellas out there that I can find one I want, in a canopy and wood I like. And I’m highly unlikely to ever meet someone with the same one.

I did it because it meant I left with a very personal souvenir. Rather than just learning about the different woods - their properties and their relative rarity - I was selecting one myself. Rather than noting down the range of colours available, I was digging around for the perfect green.

To read more about the process go to

This outfit passes what I call the bus-stop test. Basically, I can wear it wandering around Mayfair, but also not feel self-conscious standing at the bus stop in East Dulwich.

Though I might remove the pocket square.

I find the outfit is unshowy yet characterful. It has something to say but it is not shouting.

Also while it comprises a tailored jacket (from Eduardo de Simone) and trousers (from Whitcomb & Shaftesbury), it's a long way from corporate clothing. This is down to the soft brown cashmere of the jacket, the cream underneath rather than white, and the suede loafers.

The character comes from it being collared knitwear, rather than a shirt, and black suede rather than more conventional brown.

These and all the other outfits can be seen on the Lookbook, together with links to the articles they came from - which include details on all the clothes.

This is another one of my favourite outfits - from Friday's article on highlighting the ones I’ve liked best over the years.

It’s my grey-flannel suit from Panico, worn with a lilac shadow-stripe shirt and grey knitted tie. Over the top is a Cifonelli overcoat in dark-brown Tengri yak cloth.

It’s smart but subtle.

There is a lovely feeling to being dressed up and buttoned down like this, with a good tie cinched into the neck, and everything from shirt to jacket to coat cut to function together. I love doing it whenever and wherever I can.

But the combination isn’t showy, as it’s all dark, muted and textured. There are no bright colours, no windowpane checks or tie pins.

Yet it’s still unusual. You’re unlikely to find many people wearing a tonal suit and tie, with a lilac stripe underneath. And this gives it character. Simple, subtle things can often be boring; but they don’t have to be. This isn’t, and I don’t think any of those outfits are really. It's that character that makes them feel very personal, very me.

The style of the Edward Sexton double-breasted is one I love, but I find often doesn’t come across in simple fit shots.

The big sweep of the bellied lapel is wonderful, particularly when married with the wide, roped shoulder and long straight edge below the waist button. But it can look a little square in straight-on photos, with arms soldier-like at the sides.

The stylish line of the lapel is really revealed in more normal, three-quarters shots. Or when you have a hand in your pocket, sweeping back that front edge and revealing the large overlap. Even seated, with the two sides of the jacket falling across the lap.

The 18 bespoke shoemakers I have known. This article was originally written back in 2014.

Back then I had tried seven bespoke shoemakers, and nothing in Japan. Seven years later, the number has more than doubled, and the spread is wider – also encompassing some semi-bespoke and some remote fittings.

This then is a summary of my experiences with different bespoke shoemakers, meant as a jumping-off point for those new to the area. Have a read of each summary (on the full article at, then use the links to find the articles with more information. Usually there are at least two – one background article and one specific review. Both will be helpful.

It is a partner to the ‘Tailors I have known’ article, which does something similar but with 55 bespoke tailors. There is also one on the 21 shirtmakers, and one coming on made-to-measure brands.

The Wax Walker reissue has arrived. There is limited stock available now on

Photography by @jkf_man

I decided to give my Artisan of the Year award this year to Whitcomb & Shaftesbury because, looking back on recent commissions, they have so consistently delivered on quality and value.

Those are not attributes we often celebrate. Quality and value are often overshadowed by their more glamorous cousins, finishing and style.

But if bespoke tailoring is going to survive the next decade, it needs to deliver all of these.

And although I often say style is where most tailors fall down, the influx of cheaper travelling tailors in recent years has sometimes failed to deliver quality and consistency, giving tailoring a bad name in the process.

Bespoke will win repeat customers (the only thing that keeps it viable) if men find they consistently get a great fit, and great quality. If every time they put on a pair of bespoke trousers, they are reminded how good the fit is compared to that RTW pair they bought online.

And if the prospect of going to a tailor that will produce exactly the same thing, knows their every preference and peccadillo, and will offer them a nice cup of tea while they discuss them, engenders a big sigh of relief.

Because at that point, if that’s how they feel (and they can afford it), why would they do anything else?

Read the full article on

In last week’s article on we discussed why these Cleverley shoes have aged so well.

The most important is they were a good, versatile choice for a first pair of smart shoes.

They are very dark brown, which means they can go with even the darkest trousers - such as navy and charcoal - as well as mid-grey and other minor colours.

Brown was more versatile for me than black, as I always worked in a less formal office. No one would consider it inappropriate to wear this colour with a suit, and it can be worn with a range of jackets and trousers too, even smart trousers and knitwear.

To keep that versatility, they were also best as an oxford (derby or loafer might be harder with a suit) and as a simple design - a toe cap, with just one line of brogueing.

Alternatives would have been a whole cut (smarter), monk strap (perhaps smarter, certainly more unusual), derby (too casual for most business suits) or a full brogue (too casual again).

Photography @adnatt

It’s important to note that Edward (Sexton) cut a new pattern for me on this Offshore Bespoke suit, rather than use my existing one.

This is something he is wont to do, apparently, even on old customers.

So my experience was closer to the normal Offshore Bespoke one, in that a completely new pattern was drafted. It would have been less similar if my other, already refined pattern had been used.

(Although, at the same time, we can’t know how much that pattern was aided by Edward’s existing knowledge of my shape and peculiarities.)

There are some small differences in the fit compared to my London made bespoke suit. The collar sits nicely on the back of the neck most of the time, but when the arms are raised – for example, when I put my hands in my pockets – it lifts off the neck more than my bespoke would. The left sleeve could perhaps also do with a tweak to the pitch.

We did have two fittings on the suit, but both these issues are ones that I didn’t notice until I started wearing the suit for longer periods. And both will hopefully be able to be corrected.

In terms of the make, this suit is mostly the same as full bespoke. The finishing on things like buttonholes and buttons are all obviously done by hand, for example.

However, some points are done by machine, such as the attachment of the lining inside the jacket and the waistband on the trousers. The work that is done by hand also isn’t as fine as on my full bespoke.

This says more about the standard of the full Sexton bespoke, I think, than the offshore product.

The former is among the best in the world, with especially fine, precise work coming out of London. The offshore standard is still very good – better than most Neapolitans, for example – but not at the same level as London.

Read the full review on

Wearing Cifonelli bespoke jacket in a lovely green Harris Tweed, with the PS Lighter Denim shirt - which we have just had a restock off in the shop

Photography by @jkf_man

The linen, for this offshore bespoke suit, is from W Bill (WB61324, Fine Irish Linens).

It is superb, and what I would always pick for a suit or trousers in linen: Irish, plain weave and 12-13oz.

The dark-brown colour is one I’ve enjoyed in tailoring for quite a while – see my Dalcuore high-twist suit on for example - and the W Bill is the perfect shade.

I find this is particularly good at looking smart and subtle, yet distinctive. It’s an unusual colour for linen so you’re unlikely to find someone wearing the same thing. But it also avoids the colonial/wedding feel of cream or beige.

The trousers will also do double duty with smart polo shirts or knitwear in the summer, in the same way as I wear that colour of flannels in the winter.

Read the full review on

This linen double-breasted suit was made by Edward Sexton under their Offshore Bespoke system.

We previously covered the process, how it works and its pricing on

I was impressed by the results. It’s a very well-fitting suit, and certainly feels bespoke. Any reader that normally buys ready-made suits, or most made-to-measure, would feel they were getting something superior.

But there are noticeable differences from the full bespoke Sexton too – which I have previously used for a grey-flannel suit in the same cut.

The most obvious of these is that the chest is rather stiffer, largely as a result of it being machine padded, rather than by hand. Of course, you can have a lightweight machine-padded canvas too, as most Italian RTW suits use. But Sexton uses heavier materials.

Overall, I’m pleased with the suit and I think it delivers what it claims: an Edward Sexton cut that’s more accessible than the normal bespoke (given that it cost £2500, inc. VAT as opposed to £5500).

Read the full review on

Keeping this simple with a navy jacket by Solito, jeans by Levi’s and Edward Green Dovers.

Worn with the blue PS Oxford shirt - available in the Permanent Style Shop.

“And what lining would you like in the suit?”
“Oh I don’t know, just something to match the cloth.”

This is as far as most people go with selecting the lining of their jacket or suit. And with good reason.

Coloured or patterned linings more often look cheap than they do stylish. They’re more likely to detract from the suit than enhance it.

And there is little to choose in the material the lining is made from either. Both Bemberg and ermazine work equally well, and those are used by the vast majority of tailors.

But, there is the question of having jackets unlined or partially lined. Some people like silk linings. And colours that complement the material of a suit can add a touch of character.

So for all those that want to understand all the options, our latest chapter in the Suit Style series is live on today

@frankclegg has the final few collaboration bullskin nubuck totes available on their website

The third outfit from our article post on Friday is a working-from-home version of the cold-colour wardrobe, and something heavily influenced by the vision of Oliver and Carl at Rubato.

There’s a shirt, but it’s actually a polo - the white (size small) from The Armoury. As mentioned on our article here about wearing polos under knitwear, this is my favourite model for that purpose.

That gives me a collar under the crewneck knitwear, which is from Rubato. As I mentioned on Instagram recently, I tried sizing up with Rubato recently, giving me the length to wear them with my normal mid-rise trousers.

This makes the upper body bulkier, but it’s not a look I dislike. Not bad, just different. Not something to wear under tailoring, and perhaps a silhouette more like a lot of shawl-collar cardigans.

The jeans are my white bespoke pair from Levi’s Lot.1.

I mentioned in my article last year on working from home, how wearing a shirt is the thing that makes me feel I’m not in loungewear, and therefore at work.

However, trousers are probably the thing that divide people most. Why? Because on the one hand, most tailored trousers readers have - flannel, serge, covert - feel too smart around the house.

But on the other, not everyone finds jeans comfortable, while sweatpants are definitely not work clothing.

I find a nice compromise is tailored cotton trousers, such as chinos from the likes of Stoffa, or bespoke cords like the ones pictured here.

They enable me to wear the tailored clothing I love - enjoying their fit and quality, as well as playing around with combinations in the same way I would if I were going out - without feeling stupidly dressed up.

The cords here are my Brisbane Moss ones made by Whitcomb & Shaftesbury, worn with a Bryceland’s Sawtooth Westerner shirt, and the black-suede Baudin and Lange Lunes.

Read the full article on

Best stay-at-home wear: Baudoin & Lange

Runners-up: Luca Faloni, Sunspel

PS readers voted Baudoin & Lange the best for ‘stay at home’ wear in 2021 Awards, principally based on their Sagans or Sagan Lune shoes.

Fortunately I couldn’t agree with them more. The two pairs of Lunes I have (black suede and brown suede) are my default at-home shoes, and I wear them every day.

However, we have covered the Sagans quite extensively over the years on Permanent Style. So I thought I’d also take the opportunity to show the shoes with some work-from-home, even lounge-doing-nothing outfits.

Let’s start with the pyjamas, as I’m not sure I’ve ever shown a photo of me wearing PJs before.

These are the blue-linen model sold by Anderson & Sheppard, which I talked about loving so much on this recent article about elasticated waists.

The colour is a rich, almost indigo blue, which is nice with a surprising range of colours - including navy, black, dark brown, dark grey and white.

The A&S range as a whole is in quite strong colours, but while this indigo is versatile, the other pair I have, in tobacco, aren’t so much. Nice with white or black, but not much else. A third pair I got just before Christmas, in grey cashmarello, go with everything.

Read the full article on

With the restock of the Wax Walker - our collaboration with @privatewhitevc - landing in March,

we look back at this shoot in Northern Ireland with @jkf_man , featuring rugged seascapes and wind-battered cliff tops. The perfect testing ground for our reinvention of the classic wax jacket. Join the waiting list by emailing support to be alerted when it goes live.

Best e-commerce: The Armoury

Runners-up: Mr Porter, Luca Faloni

Mark Cho and I have been playing e-mail tag for a while. First he had to move the call, then I did, and when we finally connect, he’s in the back of a cab on his way home.
“Sorry about this, I thought I’d be home by now. Shall we wait, or see if the line’s OK here?”

We decide to go ahead. Waiting til Mark gets home will only introduce more distractions, as we discover later.

“OK, so tell me the story,” I say. “How did you start doing these videos that everyone likes so much?” I am referring to the regular - and at the beginning very frequent - videos Mark has been posting on Instagram and YouTube.

Usually showing Mark in the shop, talking direct to camera about a product that’s just come in, or what he’s wearing, these videos have had a very positive reaction. So much so that they were the main reason PS readers voted Mark’s store - The Armoury - the best e-commerce in our recent awards.

Read the full article and see a video from Mark about the set up of the shoots.

I’ve always liked tonal dressing and the ability to wear charcoal cashmere under charcoal flannel is hard to resist.

Topped off with black boots and a white handkerchief, it has high impact without loud volume – like the best of classic menswear.

Sartoria Vestrucci charcoal flannel bespoke suit, worn with Edward Green ‘Shannon’ boots

Photography @jkf_man

What shoes do we still find ourselves wearing after 10 years, and why?

I find this is mostly about making sensible, functional choices; then a little bit about quality and fit; and almost nothing to do with bevelled waists or stitches per inch.

We’ve covered in the past the glories of good leather shoes, and how they age. The patina that develops on the leather, the comfort of moulded upper and insole, the intense character they have - which makes them like no other.

That is all true, and bears repeating. Particularly in an era when all you see are trainers, which lose all their fresh-faced appeal within a year, let alone 10.

However, there’s no point having great well-made leather shoes if you don’t wear them. Most of the patina comes from wear, after all, and pretty much all of the joy.

So why am I still wearing this pair of Cleverley bespoke shoes, 10 years after I commissioned them? Why do I think I will be for another 20? Find out on

Photography @adnatt

Even though it’s named the Friday Polo there’s no reason you can’t wear it on a Sunday.

Button-down version in navy, pictured and available in the Permanent Style Shop

Vintage turquoise bracelet from @antiqlockwise in Hong Kong

Photography @adnatt

We have been working with Private White VC to get a restock of our Wax Walker jacket - and it’s now due to be delivered in early March.

To make sure you are alerted when it goes live email support and ask to be put on the waiting list.

Everyone gets stuff wrong. We all have outfits we look back on years later, and cringe.

Fortunately, I believe this is something where you learn and progress. It is not a cycle of fashions, where every few years you wear something different, and dislike what came before.

I dress a lot better than I did 10 years ago. This is because I know myself more, and what suits me, but also because I now understand better.

Today's article on is a small reflection on what I've learned, with some illustrations. As ever I'd be interested to hear yours too.

(This outfit, by the way, is an example of one I still love - rather than something I got wrong!)

Wearing a Cushman Loopback Sweatshirt from @clutchcafelondon in the perfect hue of washed out red.

Jeans - @levis
Shoes - Alden
Shirt - PS Oxford in blue, available from the PS shop

PS awards Charitable giving: No Man Walks Alone

Runners up:

The Anthology, Private White VC

I was a little surprised by the cynicism around this award. Clearly, people are seeing more brands than me using charity (at least partly) as a form of marketing.

Still, there was a lot of genuine charity work, and votes from readers wishing to recognise that. As promised, all the great work is highlighted at the end of the full version of this article, on

I also won’t refer to No Man Walks Alone as the winner, even if more people voted for them than anyone else. Everyone deserves recognition.

What I have done is use the article to dig into what I think is a very interesting subject: why brands give to charity, how they decide who to give to, and how they calculate how much to give.

There was no suggestion from readers that NMWA were using their donations for cynical marketing. But they did receive public criticism for other reasons, particularly in reaction to donating to anti-racism movements.

Which leads to other interesting questions: How many brands see it as a risk to publicly support a cause? If they risk that on the one hand, and cynicism on the other, why would they do it - why not just keep all their lovely profits for themselves?

And is this attitude - perhaps exaggerated by political tensions in the US - stopping people from giving, or at least talking about it and so encouraging others to do so?

Read the full interview with Greg from No Man Walks Alone to hear about his experience and choices, on

I’ve talked in the past many times about how the principles of tailoring we discuss can be applied

to casual clothing, but it’s particularly evident in the old shots from yesterday's article on casual chic.

The higher rise of the trousers lengthens the legs; the tucked-in polo emphasises the waist; the overshirt collar frames the face. It all becomes more important, rather than less, without a tailored jacket.

That doesn’t mean everyone should wear trousers on their natural waist, or tuck in their polo shirt. I don’t do the former, and rarely the latter.

It just illustrates the power of line, and proportion.

It might encourage you to consider a slightly higher rise, for example, or wear a more tailored trouser with otherwise casual clothing. Perhaps seek out a polo that’s cut a little shorter, even if you wear it tucked out. Shoes can be refined too, even if they’re trainers.

To read the full article on Casual Chic head over to

Overshirt and espadrilles from @drakesdiary

The origins of the ‘casual chic’ look we’ve discussed in recent months - which I see as a route forward for relaxed yet smart menswear - can perhaps be seen in the leisure and sportswear of the 1930s.

That era saw the growth of leisure pursuits, and the clothes they necessitated. Sports shirts were added to dress shirts, sports shoes to sports shoes. And yet, the elegant, considered look of formal clothing was largely retained. It was casual chic.

Utility became more important, particularly in the US, which always saw itself as a more practical society. And at the same time mass manufacture made the resulting clothes more available.

The most obvious change was the introduction of knitted, collared shirts - what we would call polo shirts today. But they had little in common with most modern polos. They were fully fashioned, with stand collars, fitted like a shirt, and worn tucked in.

Basically they were an alternative to a dress shirt - not a T-shirt - for more active pursuits, and so made and styled in the same way.

Read the full article on

Wearing the Finest Cardigan in navy (available from the Permanent Style shop) With a glen check jacket from Prologue made with Marling and Evans undyed wool

This navy-twill three-piece suit was cut for me by Joe (Chittleborough & Morgan) back in February 2013.

In the intervening eight years, I haven’t put much on the waist - no more than an inch - but I have put on muscle in the chest, arms and upper back.

When I had some alterations done recently, therefore, the changes I needed, therefore, included a small letting out of the waist of trousers, jacket and waistcoat. But more significantly, more room in the back and adjustment around the shoulders.

The original suit was also cut pretty close, and these changes gave me an opportunity to have the suit fitted more comfortably.

We widened the shoulders of the suit slightly, by I think half an inch on either side.

This doesn’t sound like much, but as anyone that’s been reading Permanent Style this site for a while will know, a whole suit silhouette is built in half inches.

Joe suggested the change in order to deal with my now slightly more rounded shoulder muscles. But I also enthusiastically agreed because I’d always felt the original suit could do with wider shoulders. Those large, rounded lapels felt like they would be better matched by a longer shoulder line, for me.

No other tailor had suggested a big change like this, as part of a normal. The alterations had all been in the side seams and central back seam.

Read the full article on

One of the biggest things that affects how great clothing ages, is the extent to which it can be altered and repaired.

The best things for repairs are often casual clothes, like jeans, where visible repairs can even be seen to add to their character.

But the best for alterations is probably bespoke tailoring. No other type of clothing has as much spare material sitting in the seams, waiting to be used. Nothing else has the same combination of reworkable wool and hand-sewing.

And with few other things do you bring the clothing back to the same person that made it, so they can make it all over again.

In today’s article on I want to talk about some I had recently - with Chittleborough & Morgan. And in particular, how Joe Morgan took much of my suit apart and basted it back together, in order to do the alterations over several fittings.

Read the full article on

Photography - @adnatt

Clutch Cafe has some great Japanese denim, but there's a lot to pick from, so I thought I'd do a quick post showing my favourites - and explaining why.

My favourite overall brand for quality and make is Full Count, and the pair here is the model I like: the 1108 in 13.7oz denim. It's a nice mid-rise on the waist, noticeably higher at the back, in their Zimbabwe cotton. The leg is straight, reminiscent of a 1960s cut.

However, the fit I find the best for me is this second pair, the 'Duck Digger' from Warehouse. The quality is quite as high (though it's cheaper too) but the fit is better through the seat and thighs on me: Japanese makes tend to be a little close here, and while the Full Count is fine, this Warehouse fit is perfect.

Crockett & Jones has won our 2021 award for best shoe brand - an accolade intended to recognise a shoemaker that is adapting to this age of online retail and casualisation.

Among the votes from readers, however, several did bring up Crockett's lack of e-commerce, and perhaps old-fashioned outlook.

Said one: “Whilst C&J would always get my vote on the balance of quality/price, I certainly wouldn’t consider them for adapting to the current situation… still no web orders, and annual sale has been a bit of a mess with the idea of having to email each store individually to find out what they’ve on sale.”

And another: “My other half used their mail order to buy me some boots for Christmas; she was bemused at the process of having to email them rather than just buy online. In not addressing this during Covid they’ve really missed a trick.”

These comments were easily outnumbered by those lauding things like Crockett’s excellent customer service, but still the overall feeling was of a great company, not quite keeping up.

When I arranged to interview James Fox, their head of marketing, it turned out that the award was oddly well-timed. I was saved from writing something more critical by the fact that Crockett’s was actually about to launch its e-commerce.

Head to to read the interview

Cones of cashmere are trucked down the road from Loro Piana’s Quarona headquarters to the small,

one-storey building where around a dozen knitting machines produce the individual panels that make up Loro Piana sweaters.

Like most quality knitwear, Loro Piana’s is fully fashioned, meaning that the back, front and sleeves are knitted to size and then knitted together. More unusual is their range of knitting machines, from the large and rapid to the small and delicate.

It is the latter type - hand operated, sometimes referred to as 'flat bed' - that enables more experimental pieces, while the range of machinery makes it easier to produce made-to-measure knitwear relatively inexpensively (usually around a 20% surcharge).

It is not too much trouble to insert a unique order, with a different body shape, arm length and perhaps depth of the ‘V’ neck. The operator just has to generate a new code – either on a digital pad or a cardboard punch card, depending on the age of the machine (different types are preferred for different knits or details).

"With everything we do, we are aiming to fit into our customers’ lifestyle, their needs and desires. Bespoke and personalised items are definitely a growth area," says Pier-Luigi.

Read the full article about the tour of Loro Piana’s Factory on
Photography - @andybarnham

Many things set Loro Piana apart from its peers, including scale, quality and innovation.

But in my book The Finest Menswear in the World I argued that the most important – certainly for knitwear – is vertical integration.

In an extract from the book, on today, I describe how Loro Piana sourced all its own raw materials, so the rarest and most luxurious fabrics always find their way into the Loro Piana collection first - only later trickling down into the mainstream.

The company became the exclusive purveyor of vicuña for a decade. Baby cashmere and cloth from the lotus flower were a result of restless exploration by Pier-Luigi Loro Piana. The first discovery, however, was by Pier-Luigi’s father, Franco Loro Piana, in the 1950s.

The family had been wool traders for generations, going back to the early 19th century. In 1924, Franco’s uncle Pietro Loro Piana set up the first family company to sell woollen cloth (the cloth division of the company still bears his name). It wasn’t, however, until international travel became easier that Franco began travelling and bringing back both mechanical innovations and new wools.

The stand-out success was Tasmanian: a 2x1 cloth made from merino wool that Franco bought in Australia. ‘2x1’ refers to the weaving pattern, with two threads in the warp to only one in the weft (cloth had previously all been 2x2). Only the extra-long fibres Franco sourced could work with this much lighter weave.

It made Tasmanian the first four-season cloth, worn almost all year round in Italy. And markedly different from the heavy English woollens that dominated much of the market.
"It was a phenomenal success, selling millions of metres soon after launch," says Pier-Luigi. "Tasmanian was probably the world’s first branded cloth. Men used to keep the labels on the outside of the jacket cuff, to show off what it was made of."

Read the full article on

Photography - @andybarnham

We have restocked the PS oxford shirts in pink and blue. Available now on

The tailoring in John Simons is all in a general Ivy style:

soft or unstructured, natural shoulder, straight cut. Usually with a three-button front and patch pockets.

Most of it is under the John Simons label now, but there are a few pieces left by the Japanese Ivy brand ‘Boston Tailor’. Paul recalls the founder coming in one day and introducing himself, and then a few weeks later sending several unexpected jackets in the post. “They were beautifully made though,” he recalls, “and have been quite popular.”

The John Simons tailoring is made in London, like the overcoats, and is completely unstructured. That’s one piece I’m holding, in brown herringbone wool. If you like the straight cut, it’s a nice soft-jacket option to wear with jeans, chinos and so on.

Last week, I wrote something of an homage to John Simons (post available on,

the retailer that did so much to bring the Ivy League Look to the UK - and in the process, changed it into something more British and working class.

John championed heritage brands long before it was trendy. He brought makers like Bass and Paraboot to the UK for the first time, and has continued to add new makers consistently over the years - not just American, but French, British and Japanese.

The shop remains a lovely place to browse, particularly as you always feel you’re likely to turn up something new if you just spend a little more time there, rifling through an upper rack or a lower shelf.

I also love the fact that the fitting room is just the back room. It gives you something to look at while you’re taking your trousers off.

Read the full article on John Simons at

Cordovan is a thicker and more oiled leather than calf, and as a result ripples more than wrinkles.

As it isn’t a skin, it doesn’t have a top layer, and so can look almost shadowy, with colours floating beneath the surface.

You also get a nice contrast between hard smoothness where there is reinforcement in the shoe - like the toe and heel - and a highly textured colour change where it bends.

It is this texture in the creases that I think make it bridge formal and casual clothing.

The loafers shown - my Alden full-straps on the Aberdeen last - look almost black in this light. Indeed, some readers thought they were black, when they saw the recent checks post that featured them.

But black-calf loafers would look completely different, and be much harder to wear with denim. It is the oiled, worn-in look of cordovan that makes them work.

Read the full article on

I'm a relatively recent convert to cordovan, but have come to love it as I've started to wear more casual clothing, and darker colours.

It also added a layer of love visiting the Horween tannery in Chicago last year (post on That’s worth a read for detail on what cordovan actually is - more a membrane than a skin - and the work that goes into tanning it.

If you don’t own cordovan, or have been put off by it in the past, I’d put forward two major arguments.

First, its look and colour (particularly ‘colour 8’ from Horween) is uniquely able to bridge casual and formal clothing. The only thing that comes close is suede, and that is never quite as smart.

And second, it’s tough and pretty much waterproof. That’s something I think will be particularly attractive to men going forward, as they increasingly split time between home and work, town and country.

Read the full article on the joy of cordovan at

As mentioned in yesterday's article on, I often save or bookmark images of

clothing combinations I find interesting and that I could put together from my wardrobe, but just haven't thought of.

Other images don't suggest new outfits, but remind me how much I like old ones.

This picture of Ethan Wong, for example, reminds me how much I like Michael Drake’s old look of purple socks with brown loafers (which he, in turn, took from Michel Barnes). I’ll wear that today, and it will cheer me up.

Something that has consistently surprised me over the past year of this horrible pandemic, is the

friends - especially in the menswear industry - that have lost some interest in what they wear every day.

I offer no kind of opinion on that choice, and certainly no judgment. Everyone has their own preferences and pressures, and even among friends we may not know what these are.

But it has genuinely surprised me. Because for me, personally, it’s one of the things that has kept me going.

It has been painful seeing people I care about suffer from Covid. And more often, just really boring being cut off from pubs, cinemas, shops, society and stimulation.

Clothing has helped kept me sane. Just as I’ve always made sure I exercise - even doing circuits in the garden when I couldn’t leave the house. Or making sure I always had a good book to read. It's these elements of normality that have kept my spirits up.

Thinking about, playing with, and generally enjoying clothing has done that for me.

Let me give you an example.

I bookmark images, looks and outfits that I find interesting on Instagram, or save them on Pinterest. Most often, they are clothing combinations that I could put together from my own wardrobe, but just haven’t thought of.

They include someone like Rob’s ( @thousandyardstyle ) friend Edo ( @egrarchivio , above), wearing a red bandana under a grey shirt, navy knit and cream trousers. I’ve never worn that combination before, but I like it.

I've worn it with a blue shirt rather than a grey one, and I've worn a red bandana with a shawl-collar sweater. But never this combination. So I'll try it, consider it, enjoy it.

(I probably wouldn’t wear that coat. But something like my Ciardi ulster, or a Donegal raglan, would look great over the top too.)

Read the full article at

When we published our recent article on the types and styles of shirt collars, a reader requested a follow-up piece on the precise dimensions of what I wear.

In the images of the spread collar above, you can see how the front edge curves outwards from the opening, before curling back under the jacket lapel. This ‘S’ shape is most obvious when the jacket is removed.

A floating lining on a collar is harder to curve this way, and most significantly doesn’t retain that curve once it has been shaped.

As regards the collar’s shape, the most important factors in making it sit proud of the jacket like this - and not collapse beneath it - are the height at the back and the front.

The height at the back is fairly easy to measure: with this spread collar, the height is 4.4cm, with the collar stand underneath it 4.2cm. This collar stand (the band that runs around the neck) is the more usual measure of collar height, but the collar itself is always 2mm or so higher.

The height at the front, however, depends far more on how high the collar sits on the body of the shirt, than it does on the height of the collar itself.

Collars normally get a little smaller as they curve round towards the front, and my spread one measures 3.8cm at the front. But it is that position on the body - how close it is to the chin, and indeed the angle of the curve at the front - that make the biggest difference.

In fact, I’d say that is the single most important thing for making a non-button down collar sit well unbuttoned, under a jacket.

Read the full article on - including why I pick this height from a style point of view.

Photography - @adnatt
Jacket - @wwchantailor
Tie - @shibumifirenze

In yesterday's article on Permanent Style we spoke about denim alterations.

I’ve used the team at Levi’s Lot No.1 for all mine, but they don’t alter other brands.

Others I would recommend in London are:

Blackhorse Lane: Will alter any brand, from their shop in Coal Drops Yard.

Soldier Blue: linked to Son Of a Stag and Rudie’s denim repair and alteration offshoot.

The Denim Doctor is well respected and has been doing alterations for a long time.

Hang Up Vintage - Ben, a vintage dealer who makes and re-engineers vintage clothing, and has become a dab-hand at denim repairs and other alterations and repairs.

One of the big disadvantages of jeans over tailored trousers is their inability to be altered.

It means that, over the years, they’re less able to adapt as you change shape. And given that a key appeal is their longevity - that in fact, jeans get more comfortable and beautiful with age - this is significant.

Of course, they don’t necessarily have to fit as precisely as flannels. A little looseness isn’t necessarily bad, and there is more leeway for being cinched by a belt. But still, you do want them to fit as intended.

There are three main reasons jeans are difficult to alter. First, there isn’t the same inlay (spare cloth) inside the seams.

Second, the waistband is one piece rather than two. And third, the fading of denim makes alterations more visible.

However, I’ve had three pairs of jeans altered in recent years, and I’ve been happy with all of them. So I thought I’d show here how those issues can be mitigated.

Read the full article on
Photography - @jkf_man

There are only a handful of these @theanthology Polo coats I helped to design.

Available on The Anthology website.

Photography - @Adnatt

When we published our recent article on the types and styles of shirt collars, a reader requested a follow-up piece on the precise dimensions of what I wear.

In fact, this has come up a few times over the years, particularly as we’ve talked about the increasing importance of shirt collars, as ties and jackets are worn less.

So in today’s article on, I spell out and illustrate my collar styles and their measurements. Including why I think they fit my physique and my style - and therefore in which ways they perhaps should, or should not, be copied.

The button-down collar pictured was developed by myself and shirtmaker Luca Avitabile. (Luca made the shirt - in our exclusive Lighter Everyday Denim fabric)

The aim of that design was for the collar to form a pleasing ‘S’ shape both when it was buttoned and unbuttoned And you can see how it does that in these pictures above.

In fact, if anything I think these images rather undersell that S curve, as I’d just put on this shirt, and the collar hasn’t quite moulded yet. (This is something that happens naturally with wear, as it’s pushed around by both your neck and by the jacket lapel.)

This kind of shape is much easier to achieve with a button down, that’s because it has buttons, which force it into a particular shape by anchoring the tip.

So while it is relevant, when describing this collar, that the points are 9cm long, and that they’re 11cm apart when resting on the body, the position of the buttons is probably more important.

The buttons are (centre to centre) 9cm apart, so the tips are being dragged inwards by 1cm on either side. And they’re being pushed upwards too, the combination of which causes that pleasing curl.

Read the full article on

Photography - @adnatt
Jacket - @wwchantailor
Tie - @shibumifirenze

John Simons’ (pictured) career goes back to the 1950s, having started his own clothing enterprise

when he was 15, working at menswear stores like Cecil Gee, and then having different stores of his own - including The Ivy Shop in Richmond, where I grew up.

He is known for bringing the Ivy League Look to the UK. But what I find most interesting is how that look and ethos changed as soon as he started selling it. This was the late 1950s, and in the US Ivy was very much associated with the upper class of the East Coast, and its elite universities.

But in the UK, the men that took it up were often working class. They might have been young, but they were certainly not collegiate. “I was bringing over these clothes that were worn by rich kids and business executives, and they were being adopted by lads,” says John. “They put their own spin on it - it didn’t look the same, but it really looked sharp.”

Read the full article on John, his shop and his continuing influence, on

In normal menswear - not even classic menswear, but everyday, everybody menswear, everything outside big fashion brands - retailers often have more influence than designers.

People like Charlie Davidson of The Andover Shop, Isabel Ettedgui of Connolly, and more recently Mark and Alan at The Armoury, have an influence that is easily underrated - certainly compared to the big-name designers, which get a lot of column inches but few guys actually wear.

One big name in that list is John Simons, the Ivy League outfitter who has been running shops in London since the 1960s, and still has a store on Chiltern Street.

Today the shop is largely run by his son, Paul, and they are currently revamping the website - which will make it easier for those outside London to browse the Ivy-obsessed craft-driven clothing.

This felt like an appropriate time, therefore, to talk about John’s influence, and how it has affected the traditions of menswear in the UK.

Read the full article on

In general, knitwear is more versatile if it's muted, and particularly when worn on its own, as here - no shirt or T-Shirt showin.

A strong or rich colour is just more likely to clash with the jacket or coat.

And it is particularly useful if it’s pale, given the other clothing is more likely to be dark. That’s one reason a pale-coloured shirt is so much easier to match than a dark one.

For those reasons, cream knitwear is a great option. It goes with everything and clashes with nothing (except cream or white trousers).

Read the full article on knitwear colours on

Photography - @adnatt
Jacket - @eduardo_de_simone

Knits come in many useful colours, and navy, grey, cream and brown can all look great in different combinations.

But they all have disadvantages. The key is to consider those disadvantages in turn, and as a result work out which fit your wardrobe best. And perhaps accept that you just need more colours of them than you do of shirts.

I think dark brown is usually underrated.
If it really is dark and muted, like the one above, then I think it goes with almost anything - from navy to grey to green.

Brown’s only disadvantage is that you’re likely to be wearing brown shoes or accessories as well. But personally I don’t think this is a problem, certainly with the knit tucked under a jacket.

The other issue is that browns are just hard to find. The one above is from John Smedley ('dark cocoa') and I’ve never found one quite like it.

In fact I would have produced a Dartmoor in that colour, if any of the yarn suppliers had a suitable shade in their books. There are twelve shades of grey in Loro Piana Wish merino, but only two of brown.

Read the full article on

Photography - @adnatt
Jacket - @sartoriacirozizolfi

I recently started the process of having a suit made with the Edward Sexton offshore service.

(Starting at £2500 for a two-piece suit.) I’ve been very impressed by the suits I’ve seen on friend Aleks Cvetkovic (pictured), using the offshore service, so I’m excited to see how mine turns out.

This has been around for a few years, and is similar in many ways to the offshore products being offered by Huntsman, Whitcomb & Shaftesbury, Benson & Clegg and others.

The suit is cut in London by the same people that cut the regular bespoke, but the majority of the making is done elsewhere – in this case, China – in a workshop of people trained by Savile Row tailors.

There are a few differences, though. First, unlike Whitcomb & Shaftesbury, there are no bespoke-style fittings. The suit comes back fully made except for the sleeve length, and alterations are then made in London.

The aim is less to entirely replicate bespoke, just with offshore workers, and more to offer a made-to-measure product with a better, more experienced level of cutting. This is more similar to Huntsman, Benson and others that use the Chinese workshop.

Read the full article on permanent
Photography @jkf_man

We have had a restock of the Selvedge Chambray cloth.

We are expecting the made shirts at the end of February, if you are interested in purchasing one I would recommend getting on the waiting list by emailing support

Photography @milad_abedi

What are the best knitwear colours under tailoring?

This question came up twice recently - once in a comment about polo-collared knits and once in a reader question about roll necks. So it feels like it deserves its own post.

Anyone that has worn a roll neck under a jacket in recent winters will know that it's not as easy to match as with a shirt.

There is no colour of knit that is quite as versatile as either a white, or pale-blue shirting. Those two go with almost everything; there is no knitwear equivalent.

Knits come in many useful colours, and navy, grey, cream and brown can all look great in different combinations.

But they all have disadvantages. The key is to consider those disadvantages in turn, and as a result work out which fit your wardrobe best. And perhaps accept that you just need more colours of them than you do of shirts.

Navy is the colour most guys are likely to have. It’s the most common and generally the most versatile knitwear - certainly if you don’t wear dark-indigo jeans much.

And it does go with a lot of things. However, it is not a neutral colour (unlike cream or grey) and is actually fairly rich. As a result, it’s not so good under some other rich colours, like strong greens, or earthy colours like brown and beige.

It doesn’t work as well, for example, under brown or green jackets, or as a roll neck under my Ciardi taupe or Liverano brown coats. Neutrals like grey, cream or black are much better there.

You wouldn’t necessarily notice this when wearing navy knitwear with a shirt. But colour has a much greater impact when it’s in a larger block, against the face.

Read the full article

Photography @jkf_man
Coat by @connolly

My herringbone tweed jacket, worn with a vintage cotton bandana as handkerchief

Photography @milad_abedi

At our Ivy Style Symposium two years ago, I said I thought that this most American of fashions was particularly suited to our times.

My opinion has only been reinforced since then.

The collegiate attitude of casually throwing on a mix of clothes – dress shirts and sportswear, shorts and shetlands – fits especially well into our dress-down times. As does the emphasis on comfort, and on quality.

We want to wear clothes easily, without fuss, yet look good. We want to be unrestricted, and buy fewer things – perhaps even things that look ever better with age.

This is Ivy. And among the various pieces that make up the Ivy League Look, the category that attracts me most is the shirt.
King among these is the oxford-cloth button-down, or OCBD. It has to be the only shirt that’s ever been versatile enough to wear with suits, with jeans and with shorts (at least within the Ivy tradition). It is flexible, comfortable, and stylish in an impressively unfussy manner.

The latest article in our Shirt Style series - now live on Permanent Style - looks at American shirts in general, not just the OCBD. But that will be the lodestar of the style.

Read the full article on

The style of these Nicholas Templeman bespoke shoes is interesting.

The shaping is far from aggressive, yet the relatively long toe shape does give them real character.

On the shaping, note in the image above that the waist is only gently rounded, without the aggressive bevelling or tiny, narrow waist you get on some bespoke.

Equally, the heel is pitched forward, but only very subtly, following the natural line of the heel cup. And the bottom of the heel is shaped to flow into the waist of the shoe, but to a degree that would be barely noticeable to a non-bespoke fan.

Nicholas describes his style as a traditional West End make, referring to the shoemakers around Mayfair and the West End of London. This makes sense given his background at Lobb, and certainly Italian and French makers are often more aggressive in their styling.

However, his style is also more subtle than the two English names readers are most likely to know - Cleverley and Gaziano & Girling. This is down to Cleverley always being a little different, slim and shaped, and Gaziano being a relative, innovative newcomer.

Read the full review on

Warning, this post is about Brexit!
We've had a few questions from readers in the past week about Brexit, and they've all contained misinformation, or been plain wrong.

So here's a simple breakdown.

If you're an EU customer of PS, nothing really changes. The only tweak is that you now have to pay your local VAT, rather than UK VAT.

There are no customs charges, because under the trade deal between the UK and the EU there are no tariffs on goods being shipped from PS to EU countries. (If the goods were mostly made in the UK or EU - as nearly all of ours are.)

And, we're opting to charge people their local VAT at checkout, so the process is as similar as possible to past experience. Offering this 'landed price' (also known as DDP - 'delivered duty paid') involves some extra admin costs for PS, but nothing for the customer.  

Some customers have become confused because they've phone their local customs office, and not stated that PS goods are all made in the UK or EU. Or, they haven't understood how DDP works (it's not actually paid by us, but by the local courier office).

It also looks like quite a few brands haven't been prepared - either shipping from the EU to the UK, or vice versa - and have charged customers VAT when they shouldn't, or not put the correct statement on their customs forms saying where the goods came from.

But to reiterate, if you're an EU customer of PS, nothing has changed, except paying local rather than UK VAT.

If you have any questions, please do email support
And there is a page on the website spelling all this out. Link in bio.

Photo: our Donegal coat from last year, shot by @jkf_man

When writer Bruce Boyer (pictured) read our article on Nicoletta @caraceni_tailor 50-year-old jacket recently, he was spurred to send an example of his own:

the Anderson & Sheppard jacket worn above.

And really, there are few people better placed to talk about how tailoring ages than Bruce. He’s been buying bespoke on Savile Row and elsewhere for a little over 50 years, and for much of that time been paid to consider and write about it.

When he first started commissioning bespoke, however, Bruce was a long way from being an authority. He had only been travelling to London for a few years, and was feeling his way around the local tailors.

“I was a teacher when I first started visiting, and I didn’t have a lot of money,” he says. “I would buy one suit a year, perhaps two at the very most.”

Bruce suggests that it was also cheaper to buy bespoke back then - with a good bespoke suit costing perhaps £500. Although an inflation calculator suggests that it depends a lot on which side this was of the 1970s, and how Savile Row responded at the time.

Read the full article on

Wearing the red PS Watch Cap with @theanthology polo coat I helped to design, available RTW through their website.

Bespoke shoes are a luxury for me, rather than the norm.

Unlike bespoke tailoring - which I will always buy over RTW as long as I can afford to - I’m quite happy with a shoe wardrobe which is mostly ready-made.

This can put more pressure on bespoke footwear, as it has to deliver in all respects. It must be as pleasing stylistically as RTW, but also be superior in fit, and probably look bespoke in some manner too, whether through a finely turned waist or an intricate hand detail.

Fortunately these shoes from Nicholas Templeman, which I wrote about for the first time last year, succeed on all those points.

They do have a couple of minor issues, around the lacing and the vamp, but this is still good for a debut pair. On the important points - most importantly fit - they are spot on.

Read the full review on

Wearing a bespoke jacket from @sartoriaciardi made from a vintage tweed with our upcoming chambray shirt from @100hands If you aren’t already I urge you to join the waiting list for this product as it is proving popular.

It’s hard to use terms for this past year that haven’t already been overused, and lost most of their meaning along the way.

But there are certainly several issues and trends that have naturally emerged from it, and which I wanted to reflect in this year’s PS awards.

Hopefully, the awards can be a focus point for discussion and consideration of these trends. PS posts are always best when they manage this, and there is something particularly pointed about stamping an award on a topic.

Please vote in the first four categories below, by commenting at the bottom of the post on You can vote for as many as you want, in as many categories as you want. Please do not vote here but on the site.

The categories are:
Best Charitable Action
Best E-Commerce
Best Stay at Home Wear
Best Shoe Brand
Best Artisan

Wearing the new Black Friday polo with my @andersonandsheppard suede shirt jacket.

Photography - @thousandyardstyle

Wearing the @thearmourynyc workwear chinos and Alden longwings from our recent article on how great things age.

Over the past six months, we've made several improvements to the website based on requests in last year's reader survey.

Some of the new pieces of functionality will not be that obvious, so I wanted to highlight them to make sure everyone can benefit.

Please do comment if you find any errors, or there's anything new you'd like to request.

I'd also like to take this opportunity to say thank you for the incredible year we've had, in the face of such adversity. Traffic on Permanent Style has grown to 1.2 million unique visitors a year, with over 670,000 page views a month.

I find this quite staggering, and I want to repeat that expression of thanks: you make PS what it is today, and always have done. Thank you for your support, your comments and every other form of contribution.

Read the full article of changes we have made on

This polo coat I designed with @theanthology logy is only available RTW, through the Anthology website.

It is made in 100% camelhair - and costs $1850 plus VAT.

We went with camelhair for two reasons. First, it has a nice, almost-cashmere feel without being too expensive; and second, it means we can have a natural, undyed material and the traditional colour of a polo coat. The cloth is 23oz (650g) from Standeven.

There is a range of colours of camelhair, even if they’re all natural, from rather strong and yellow, to rather dark and caramel-y. We went for a fairly muted shade (you’ll be unsurprised to hear) but also one that was pale enough to clearly get the polo-coat reference

Visit to read the full article

Last year The Anthology asked me to help design a new polo coat they were going to produce.

They’ve only gradually added coats to their bespoke offering, but are now doing so more, as they expand into ready-to-wear.

Buzz at The Anthology was well aware that I’ve never done a tailored coat as part of my regular collaborations with Private White VC, on principle.

Given how much I love bespoke overcoats, and eulogise them, it would never make sense to help make a RTW one that didn’t have some aspect of that bespoke make.

However, the lower costs at The Anthology’s workshop in China make it possible to offer that: a ready-made coat with some significant, functional hand work, such as hand padding of the lapels.

And of course, this model also serves as a design for future bespoke orders, so Anthology customers can get a bespoke overcoat, to my design.

Read the full article on

Wearing the new black colourway Friday Polo, and @sartoriavestrucci bespoke suit

Photography by @thousandyardstyle

The black Friday Polo is available on the PS Shop

Elasticated waists are becoming increasingly popular in men's trousers.

And I think they do have a place - when they are practical, and don't undermine the style.

But I do think it's necessary to consciously draw a line - to be aware of when this undermining starts to happen.

A few recent experiences helped me draw that line for myself.

The first was about pyjamas.

Two years ago I had some bespoke pyjamas made by the Spanish shirtmaker Burgos, a process that began at our pop-up shop earlier in the year. They were in a nice, modern-feeling chambray, and I covered them on PS here.

Over time, however, I became a little frustrated with the trousers. They were too high in the rise at the start, and I had this altered. But even then, they were not that comfortable and had a frustrating tendency to slip up and down.

Earlier this year, I bought a pair of linen pyjamas from Anderson & Sheppard, and the fit was much better. They rarely moved on the waist, despite being ready-made, and were more comfortable.

The reason seemed to be that they had an elasticated waist.

Partly, I think this is a situation that’s unique to pyjamas.

They are usually made from a soft or lightweight material, which elastic can cope with more easily than a heavy one. And that lightness of material can make cords rather uncomfortable - you can feel them tight against your body, even if the cord is a wide one, as it was with Burgos.

Pyjama trousers are also usually cut straight up-and-down, with no tapering from the seat into the waist. This means the elastic or cord has more work to do than on regular trousers: there is more to cinch in, and so it’s more of a challenge for a cord.

I think the Anderson & Sheppard trousers were also a particularly good example. The tension is good, the elastic wide, and there is a flat panel at the front with no elastic - just a couple of mother-of-pearl buttons - which makes them look cleaner and more elegant than a simple elasticated waist.

Read the full article on including the discussion of the Daks waistband (pictured)

A commenter asked something about trends recently, which I think is illustrated quite well by our recent Friday Polo re-stock.

Their question was, basically, if everyone is suddenly wearing black, and even adopting my suggested cold-colour wardrobe, how is classic menswear different from any other fashion? Have these new trends just replaced all the consensus around navy jackets and oxford button-downs that everyone has been eulogising until now?

The answer, thankfully, is no. These current trends (black, tonal, western, caps etc) haven’t replaced anything.

Your wardrobe of soft tailoring, flannels and loafers is still just as relevant and useful. These other trends are merely passing suggestions, which you can work into your wardrobe or not, depending how much they appeal to your character, and circumstances.

As I wrote in a piece called “filtering fashions”, it’s stimulating to be aware of and consider all such trends, but you should be worried if you adopt even half of them.

And I think the new Friday Polo batch reflects that: classic navy, white and green, but also black for the minority that have really taken to this trend, and woven it into their existing style.

It should be no surprise how the black polo is worn by me here, with dark browns, cream and black.

That’s not the only way to wear it of course, but it is my favourite. And as pointed out in the recent ‘Cold Capsule’ article, the colours can all be swapped round: brown, cream or grey trousers; brown, cream or grey knitwear.

I should clarify though - again in response to a reader question - that these clothes do not have to be worn just within those narrow parameters. The point of that article was that I found this a versatile capsule, producing a set of looks that appealed to me. That doesn't mean there aren't many other capsule collections involving those clothes, that look just as good.

All pieces referenced are on

Photography - @thousandyardstyle

[This is an extract of the most recent article from our Guide to Shirt Style.]

Madras checks have no fewer variations than tartans, but have simpler, organic roots and no real systematisation. The material was originally hand printed in Madras, India (now Chennai) with various patterns, but became best known as a check when it was imported into the US in the 18th Century, and was then popularised by Brooks Brothers in the 1960s. It is usually an irregular check, using a small number of bright colours.

The shirt pictured in this post is the PS Madras linen, made up bespoke by Simone Abbarchi

Read the full article on

The next chapter in our Shirt Style series on is on checks and related patterns.

The first, looking at stripes, was surprisingly popular.

I always imagined this type of article would be most useful in the long term – as a piece to look up, to link to, check back on. That’s why I do them – to slowly build up into a 18-chapter work like the Guide to Cloth, which is the most comprehensive work out there on tailoring materials.

But there was a lot of interest in the stripe nomenclature, I think because people do have a genuine issue communicating these things – whether to friends or to shirtmakers.

And there is genuine misuse or confusion. With checks, I’ve always been confused by (usually American) brands that refer to windowpane-check materials as tweed, regardless of the material they’re made of. There are fewer issues with checked shirtings, but hopefully our list and illustrations below sort out some issues.

As mentioned on the shirts piece, I also think these checks are going to become increasingly relevant for guys going forward, given the little ties are worn anymore. These are the new patterns to obsess over.

Read the full article on

When I get home after a day in a suit, my first thought is not to change out of the worsted into pyjamas, but into these chinos.

Keeping the oxford shirt, and throwing a cashmere shawl-collared cardigan over the top.

This association with pleasure and comfort is probably why the trousers are one of my favourite-ever pieces of menswear.

The fraying and slight fading are also a reminder of that long personal association.

It’s most obvious around the pockets, where the cotton is coming away slightly on the pocket edge and on the body of the trouser, just behind it (shown above). I imagine my hands going in and out of those pockets, thousands and thousands of times.

There are also little nicks and frays on the sides of the trousers, perhaps where I’ve leant against too many a brick wall. And some tiny flashes of white paint, which never quite washed out.

The hems of the trousers - which have always been turned up once, simply - are faded along their bottom edge, as that fold in the fabric has caused the cotton to lose its colour quicker that the material around it.

And the legs also have faint lines of fading up and down them, most likely caused by the trousers being left damp and wrinkled too long, after washing.

Full article on

We all know different materials age in different ways.

Leather is probably the most beautiful, and certainly the most varied. As a skin, if untreated it darkens when exposed to dirt or hands, yet lightens where it’s exposed to sunlight. It will take on the patina of the creams and polishes used to treat it, and even how they are applied.

The variation you get as a result in leather shoes, bags and jackets is as delicate and complex as many things in nature.

Wool is probably the worst of the common menswear materials, with cotton second. Wool lasts well, but most of its signs of age are simple balding. Cotton, by contrast, frays in ways that can be attractive, as well as losing colour.

This fading is most obvious in denim, with the white core of the yarn showing at points that fold and rub. Jeans tell a story more than any item of clothing - from whiskers to honeycombs, wallet outlines to pockets fraying quicker than others.

In fact there’s a separate article here at some point, because I think people are starting to forget the beauty of raw denim, and of personal ageing of jeans. Washed and bleached denim is becoming more prevalent, and it often looks tacky.

But I digress. This piece is about how great (non-indigo) cotton ages.

The chinos here are my old, and much-loved, Army Chinos from The Armoury.

This model has gone through several iterations over the years since, with variations in material, maker, cut and details. The current ones are different in all of those respects.

We have talked about bringing them back together, and perhaps that will happen at some stage. Luckily, I have no need to replace mine, which are only getting better and better with age.

(I also have a back-up: the gurkha model, which was introduced the following season. I don't like the fastening so much but it does have a nicer (higher) rise. They'll do if these ever disappear.)

Read the full article on

Our Friday Polo green is the stronger, forest green offered a few times over the years - originally

with Adam and Mikey (that feels like a very long time ago), then with the one-piece collar version, and most recently as a normal spread collar as shown on Lizzie from Levi’s (above).

It’s a stronger colour than some greens, and is therefore nicest with more rural colours - warmer browns for example - as well as with navy. Although Lizzie shows it goes very well with indigo and black too.

We’ve improved the placket design, by the way, so it's a little firmer. There’s now an extra layer of lining, similar to what’s in the collar, to make it lie and stand straighter.

(The Friday Polo is a shirt I designed specifically to go with tailoring, yep have all the relaxed, casual nature of a normal polo. Available on

Shipping and production have not been entirely straightforward in recent weeks, as anyone following the chaotic clash of Covid and Brexit in the UK will be aware.

But I’m glad to say we've been able to restock the Friday Polos - still the most popular product on PS - along with two new colours in this current button-down style.

The first colour is a green we've done in the past (but in the old spread-collar) and the second is entirely new (though perhaps not unexpected), in black.

We’ve also restocked the perennials, navy and white, while there are a handful of light-blue left from the last batch.

Photography - @thousandyardstyle

Wearing a @samanamel belted overcoat

Bespoke Harris tweed jacket from @wwchantailor

Merry Christmas readers thank you for all your support through this difficult year, we hope that all of you stay safe and enjoy yourselves throughout the holiday season.

Today’s article is the Permanent Style Christmas quiz! Online now.

The Vest I’m wearing above is from Saman Amel’s new outerwear line in navy cashmere - beautiful material, just the right shade of navy.

Great length too, and the perfect weight to layer under a jacket. It is €1000 in nylon, €1300 in merino and €1500 in cashmere.

I also really like my look above, with the vest zipped all the way up. It has something in common with the elegance of a roll neck under a jacket.

I’m not so keen on the vest when unzipped though. In much the same way as a zipped collar has always been my least favourite permutation of knitwear. The zip looks a bit too technical, and not as fitting with a tailored jacket as buttons, or just a crew neck.

This last opinion is more subjective than the others, but I do also think the Vest is a slightly less useful piece. Navy is great over almost every colour of jacket, but not necessarily under one. You need more colours of knitwear than coat.

Read the full article on

Saman Amel have a new atelier in Stockholm. It’s on the corner:

a small, ground floor space with a plate-glass window, worn wood and patinated brass.

Inside, though, is all tonal chic. Perfectly positioned lamps and designer chairs. A colour palette picked to match the style of the clothing.

The upholstery is even from Holland & Sherry. Or some of it.

I describe it thus because, despite the gradual release of Covid vaccines, it will probably be a while before you can go there yourself. So I thought it would be nice to see and hear about it.

I was there in October just before the furniture went in. I also spent a fun hour in the old space - which they are still using - experiencing their other big news: expansion into outerwear, machine-washable trousers, and chunky knitwear.

The more commercial side of this piece is a description of those new pieces, and my thoughts on them.

Read the full article on

Tennis style inspiration taken from yesterday’s article with Oliver Dannefalk, including imagery of Emperor Akihito

See the full collection and article on

Today on Permanent Style we publish a guest article by Rubato designer Oliver Dannefalk.

It is a description of how he works, what inspires him, and what keeps him de-stressed. I hope it has some of the same interest for you.

"My girlfriend told me the other week that she’s never known anyone who can look through their pictures on their phone so many times, and come back to real life rejuvenated and inspired.

I didn’t think of it much at the time, I sort of grinned, felt slightly ashamed and took it as a hint that I’m on my phone a lot. Then I thought about what she actually said, and realised she was absolutely right: I look through my pictures a lot, it does inspire me and yes, I’m probably on my phone too much as well.

In these days and this age, you’re fed tons and tons of unwanted information in form of pictures, tweets, articles and news. News travels fast, as the old saying goes, but right now it travels faster than ever because the means of transportation are so much greater. We live in a world where we’re attached to our phones for the better part of the day, acquiring a lot of unnecessary information - and this can come off as distanced and anti-social.

But as we all know, there are two sides to every story. I’d argue the same amount of information can nourish you in the form of things you like."

Read the full article on

[From the Archive:] 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).

In this archive article (link in bio) we 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 ways.

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.

Read the rest of the article on Link to it in the bio.

Pictured: @drakesdiary wax jacket with @hermes silk scarf

There are still a handful left of our @cromfordleathercompany shearling coats, available directly through @cromfordleathercompany Contact them for more information⁠⠀

A couple of weeks ago we talked about necklines on knitwear - as part of the article on mock necks.

I thought it would be interesting to take a closer look at this, in particular the effect of different heights of crewneck. ⁠⠀
Just as with the collar of a jacket or shirt, different heights suit different men. It’s a question of proportion, and balance. ⁠⠀
Style is a factor here too, of course. Higher collars might look more formal, and lower ones more casual. And fashions affect what collar shape looks desirable, as well as what simply looks high or low compared to the average. ⁠⠀
But arguably fit or proportion is the most important factor. It’s certainly the one men pay least attention to. ⁠⠀
The first example, above, is from Luca Faloni. The brand makes great Italian knitwear, and this is my favourite model - the cashmere crewneck. ⁠⠀
However, I don’t wear this without a shirt underneath, because the neckline is relatively low and I don’t think it looks good on my (purely relatively) long neck. ⁠⠀
The next example is from Colhay’s. A young brand, they sell Scottish knitwear in a relatively slim cut. Reviewed recently on ⁠⠀
Pictured is the grey cashmere crewneck, and I think it’s immediately clear that the neckline is slightly higher, and a better fit for my proportions. ⁠⠀
I don’t tend to wear this sweater on its own - I’m more likely to wear a shirt or at least T-shirt underneath. For those guys that do wear a crewneck like this, however, I think the difference is worth noting.⁠⠀
The third example, above, is from Loro Piana. It’s a cashmere model not currently available, but which was offered last Summer - called, if I recall, the girocollo. ⁠⠀
It has a higher neck still, almost verging on a mock neck. However, it's not that uncommon a height: you get it on a lot of shetlands, and my lambswool crewneck from The Armoury is this height. ⁠⠀
Of the three crewnecks, I think this is the most flattering on me. ⁠⠀
The only downside is that it looks a touch too high - or at least unusual - with a shirt. So it’s not that versatile.⁠⠀
Read the full article on

I had my initial measures for this WW Chan jacket taken by Patrick during the Pop up in London.

We then had a fitting during WW Chan’s regular trunk show here (they normally come twice a year) and then one more this past Autumn, when travel was no longer possible.

This was my first experience of bespoke done remotely, but I’m not sure it’s that representative, as the initial consultation had been done in person and the first fitting was extremely good: pretty much perfect balance, shape and line. There was little to tweak apart from the style details.

That meant that when we did the second fitting over Zoom, there were only small tweaks like the length of a sleeve, and adjusting the drape in the back.

One thing I am definitely learning from remote fittings (shoes and suits) is that the big problem is often quantifying changes. It’s easy to see that the waist needs taking out, or there’s too much space in the arch of a shoe. The hard thing is for the craftsman to see how much that needs to change, or for the customer to communicate it.

The final jacket fulfilled all my expectations. It was a lovely, clean fit, with natural shoulders and nice 3-roll-2 in the front. In fact, I think my slightly messy collar and handkerchief here belie how neat that make is.

There is no padding in the shoulder, just body canvas, and the chest has three layers, but light ones: a wool/camel hair layer all the way down the jacket, horsehair to just below the armhole, and then cotton canvas on top of that.

WW Chan have been on a journey with this structure as much as their cut. Their traditional structure, originating with the ‘Red Gang’ of tailors in Shanghai, came from the British, and so had heavier layers, horsehair down below the first button position, and felt over the top of that.

Sometimes a jacket really impresses you from the off - the try-on, the fitting, everything just beautifully done from the start.

It doesn't happen very often, and it doesn't necessarily make a difference to the finished garment; but it's a very good, very reassuring sign. ⁠⠀
This jacket, made by WW Chan, was one of those. ⁠⠀
I'll get into the details of the review in a moment, but just to say I'll also spend some time talking about WW Chan and their journey. Because they've really evolved in recent years, in terms of style and structure, in a time when most other tailors haven't.⁠⠀
I’ve known WW Chan for a long time, ever since I used to travel to Hong Kong with my old job. But it wasn’t until 2018 that I really spent time in the workshop there, with Patrick (Chu), Arnold (Wong) and the team. ⁠⠀
When I did, I was impressed at their attention to detail and their open-mindedness. They were more aware than most tailors of other traditions around the world - and how those were affecting what their customers wanted. ⁠⠀
Still, I was a little unsure about the style that resulted. It seemed a little early stage and I wasn’t sure it was for me. ⁠⠀
That changed when WW Chan joined our pop-up shop on Savile Row, as part of the Bryceland’s residency. I tried on a jacket made for Kenji Cheung (of Bryceland’s), and loved the cut: wider in the shoulder, a little drape in the chest, straight but open in the foreparts. ⁠⠀
It wasn’t a lightbulb moment, perhaps more of a click, a checkbox confidently ticked. I could see how I would wear this style and why I would like it.⁠⠀
Read the full review on⁠⠀

We have had a restock of our Watch Caps, including a reissue of navy.

Apologies it’s been such a long wait everyone

Link in bio

Now more than ever, I think it’s important to say what we stand for at Permanent Style.

And one of the ways that comes across clearest is our editorial policy: what we cover, and what we don’t.

Implicitly, this defines our values. It reveals not only what we like, but what we think is important.

So we cover brands because of their style, for example, but also because they deliver value. They must make clothes that are designed to last, both because of their quality and because of their understated, more permanent style. And they must help customers through all of this, from educated purchase to long-term care.

I’ve come to realise this selection is central to the point and ethos of PS. It has come up recently when discussing hype in fashion, the quality/value aims of different brands, and in correspondence with PRs.

To read today’s article where I define whom we cover, and why, visit

The tweed jacket featured in the article on friday is from The Anthology.

And the shirt is in our Lighter Everyday Denim. The scarf is the Arran from Begg, with its luxurious ripple effect. ⁠⠀
I remember so clearly watching that process being done at the Begg factory, with the dried teasles being carefully arranged. You’d think there would be an artificial equivalent, but then if it works, why change it?⁠⠀

The dark shade of brown of these Whitcomb and Shaftesbury, Brisbane Moss corduroy trousers means

that they are as useful as my charbrown Fox flannels, and fit into that cold-colour wardrobe very nicely. ⁠⠀
They do work with brown-calf shoes when there’s some variation in the colour, but look best with black - either black suede (as here), black calf (as with my EG Shannon boots) or in fact black cordovan (which I have in an EG Belgravia loafer). The soft glow of the cordovan seems more pleasing against the shine of the cord, compared to highly polished calf.⁠⠀

Evidence, if it were needed, how good brown and black can look together.
Read the full article on⁠⠀

The main reason I shot this outfit with Milad last month was to talk about the cords - a heavy Brisbane Moss brown that has both its pleasures and its weaknesses.

The cords are 8 wale, 550g, which is the heaviest Brisbane Moss does by the cut length - it’s Brown 100 from the GS2 bunch.

I’ve always had a thing for heavy trouser fabrics, because they wear and drape so wonderfully. You get a straight line without the fragility of a worsted, and they keep their shape better than a lighter woollen.

Cotton has the added bonus of strength and a nice patina of wear, which is nice in cord until it starts to really wear down, and even better in cotton twills like my Fox trousers here.

The only other cloth that’s really comparable in terms of performance is the tightly woven wools like cavalry twill or covert.

The trousers do wear wonderfully, and I think look great. They keep a great line, have a pleasing lustre without being too velvety, and the colour feels more modern that most cords.

You get rubbing on the knees and seat that makes them look worn, but as with suede brushing the nap back up* removes that. It will be a long time before the nap actually starts to wear away.

The downside of the material is that the trousers are heavy and tough, which can be a little tiring on the legs. Not something you’d feel in the morning but - rather like shoes with a slight niggle - certainly noticeable by the end of the day.

So if you wear heavy materials like this, and are happy doing so, I can thoroughly recommend the cloth. But if you don’t and haven’t, I’d approach with caution.

Read the full review on

One of my favourite colours with the PS yellow oxford shirt is military green - olive, really - like the sweatshirt pictured (from Merz b Schwanen).

To be honest, I don’t especially like the colour with darker, stronger greens. But this paler shade is lovely. It could also be a jacket of course, or a tie, or a vintage field jacket. ⁠⠀
(Feel free to comment on the attraction or not, the affectedness or not, the many cultural associations, of a sweater worn across the shoulders. But I’ll leave my thoughts on it for another article.)⁠⠀
The yellow oxford is available to buy in shirt or cloth from⁠⠀

I realised recently that an increasing number of my casual clothes fall into a narrow colour range.

A good proportion of my favourite things - and certainly combinations - are a mix of brown, cream, black and grey. With some secondary colours at the edges. ⁠⠀
This might not be unusual in tailoring, but with casual clothing it’s more striking. And I think I like the palette for similar reasons - it feels smart despite the lack of a suit, its darkness and simplicity make it subtle, and yet its rarity means it has personality. ⁠⠀
In today’s post on I thought I’d try to break down this cold-colour collection - for my own purposes as much as anything else. ⁠⠀
Knowing what you wear most often, in what combinations and why, is great when you need to put together a small capsule collection, for example when travelling. Even if I’m just going to my parents for the weekend, with my family, it means I can chuck things quickly in a bag with the confidence that it all works together. ⁠⠀
Read the full article on⁠⠀

We have had a re-stock of Nishiguchi’s Closet, a personal guide by Shuhei Nishiguchi (menswear

director of Beams) to his wardrobe, with him taking a small selection of pieces and demonstrating how they go together. ⁠⠀
The result is 100 outfits, presented as flat-lay pictures, interspersed with illustrations of all the pieces in each category. ⁠⠀
Available on

I recently saw a presentation by the cultural historical and writer Benjamin Wild, on the history of menswear.

The talk covered everything from 1300 to the present day, but it was pre-20th Century that was the most interesting.

The development of menswear in the past 100 years is covered pretty regularly: the Duke of Windsor, emancipation after WW2, the birth of the designer. Earlier trends are rarely covered in much detail, presumably because they seem less relevant.

But there is a lot there that’s noteworthy, whether it’s how much our modern clothing is driven by the worship of individualism, or how fleeting our ideas of masculinity are. It can give us context and perspective.

Today’s article on Permanent Style discusses a few of the points I found most interesting, which run roughly chronologically. The talk itself is not publicly available, unfortunately, but there is plenty more on Wild’s writing on his website.

Early on, Wild made the point that the history of clothing up until the end of the 19th century was driven by institutions - by the monarchy, and by the church.

They dictated what was acceptable and what was aspirational. This was one reason clothing didn’t change - alongside the limited means of production.

This might seem obvious, but it stands in stark contrast to the second half of the twentieth century, where the powers of technology, globalisation and mass media have put the emphasis so much on the individual: what you want, what makes you look good.

That emphasis on the individual might often be a ruse to convince you to buy something a particular brand is selling, but it’s telling that the idea of personal choice always frames the conversation. It’s worth remembering how much power we have.

Read the full article on

The cloth (of this bespoke @bensonandclegg suit) is a wonderful, a heavy flannel from Caccioppoli (570307, 17oz).

I love deep, dark greens like this, but have found them tricky to source - most are too light or too strong. ⁠⠀
This green is perfect, and goes really nicely with rich, autumnal colours like oranges, purples and dark brown like my shoes here. But it also works well with brighter pops of colour, like the pink of this silk handkerchief (from Rubinacci). ⁠⠀
And the tie is great, but is actually polyester from Tie Rack. Its significance is emotional, as my grandfather wore it to my wedding (which we covered on PS at the time, here). ⁠⠀
Sadly, he passed away recently, and this will be one of the things I remember him by.⁠⠀
Read the full review on⁠⠀

We are expecting a top up of our Permanent Style Watch Cap this week in all of this year’s colours and navy.

Keep an eye on the stories for when they go live. Worn here with our Bridge Coat collaboration with Private White - we are currently taking pre-orders on a restock of the bridge coats with delivery expected this week.⁠⠀

The next stage in our Guide to Shirts – after recent pieces on collars and cuffs – is to compare different approaches brands take to the styles of their shirts.

There are a few different aspects of this, including:⁠⠀
the cut (wide, slim; short, long)⁠⠀
the structure (fused or floating)⁠⠀
the make (steps of handwork, seams and processes) ⁠⠀
and, the details (pockets, buttons, pleats)⁠⠀
In today’s article on Permanent Style, we look at the structure: what the different options are, their various advantages and disadvantages, and the traditions of using them.⁠⠀
There are two basic types of interlining, which are used in the collar, collar band, cuffs and placket of the shirt. ⁠⠀
These are defined not by what they’re made of, but by how they’re attached to the shirt: they are either fused (glued) to the outer surface, or stitched around the outer edges (but ‘floating’ in the middle). ⁠⠀
There are different types of each lining, including stiffer and softer options, brushed or not. But most importantly, there is also a big variety in weight – from roughly 50g all the way up to 400g.⁠⠀
So a collar that feels like it has no lining at all, might actually have a very lightweight fusing – so light that it effectively disappears after a few washes. ⁠⠀
And while floating lining is often seen as being heavier than fusing, it doesn’t have to be. It depends more on which weight you choose. ⁠⠀
Read the full article on⁠⠀
Many thanks to @thomasmason_official and everyone else that contributed to this article, part of the Guide to Shirt Style series

The key thing that frustrates me about shearling coats is the colours.

There is certainly an attraction to wools and skins that are undyed, or more natural in colour. I assume that must be the reason why so many are pale, particularly light brown and tan.

But it makes a shearling coat more striking than it needs to be, and probably less versatile. It’s also what drives the few negative (British) associations there are, such as John Motson or Del Boy.

And it’s much less practical. Shearling isn’t that hard to look after, if you brush it down and keep the nap up. It’s robust and fine in light rain, in the same way suede is.

But pale colours will show dirt much more quickly. Why someone like Ralph Lauren offers them in pale grey I’ll never know. Perhaps the typical Purple Label customer never ventures out into inclement weather anyway.

So the shearling I’ve designed with Cromford is a deep, muted olive on the outside, with a dark brown wool on the inside. This double dyeing is not easy or cheap, but I do think it creates a coat that is very wearable, while still being distinctive.

The other thing that frustrates me about shearling I’ve tried and worn in the past, is the traditional shapes.

Quite a few fall into one of two camps: either a big, chunky flight jacket, or a long, thigh length tube.

I can completely understand the appeal of the first. It looks manly, rugged and traditional. In my life I’ve bought two, a vintage one and a new one from Nigel Cabourn.

The vintage one wasn’t great (shearling tends to rip when it’s decades’ old) and while I still love the Cabourn one, it’s too thick to wear unless the temperature is -5 or below. Which isn’t often in the UK in recent years.

More importantly, though, that bomber style is really only a casual piece, to wear with jeans, and it can feel like wearing a very particular look - like wearing a black leather jacket.

The other shape I dislike is hip length or longer, single breasted, and perhaps lacks style. It’s looks purely practical, designed to cover the body and nothing more. Motson favoured that style.

Read the full article on

Photography by @jkf_man

Almost a year ago, back in January, I began the process of making a pair of bespoke shoes with a new outfit in Romania, Petru & Claymoor.

Shoe fans might have seen some coverage of the brand over the intervening year. It was set up by Mircea Cioponea and Petru Coca, the former better known for his shoe blog Claymoor’s List. ⁠

The pair have a showroom in Bucharest, and also a workshop in Brasov. The latter is in the Transylvania region of Romania, hence the use of ‘Transylvania’ on a lot of their branding and communications. ⁠

The split-toe derbys they made me were very nice, with a solid fit. There are one or two making issues, and a more significant one in the style that I describe in the full review on They’re also the stiff, solid shoe typical of Eastern Europe, which won’t suit everybody. ⁠

But it’s hard to argue with the value: €1500 for a completely handmade, bespoke shoe (€250 of which is the last - so not chargeable on a second pair).⁠

This was also my first experience of having any bespoke done remotely - which has of course becoming more common in the past year. So that was interesting to experience and think about. ⁠

We began the experience by Mircea sending me images of their models, in various leathers, and me picking between them. Unfortunately some of the leathers proved to then be unavailable, so I couldn’t get the shade of kudu I liked. I find this a risk with older shoe models or smaller makers. ⁠

But there was a split-toe derby in the Russian hatch-grain leather supplied by Horween, which I liked, so we went with that (pictured above). ⁠

I was instructed to measure my own feet, in four different places on each foot. I then sent Mircea a video of me doing so (in order to see exactly where I had measured) as well as the measurements themselves. ⁠

This was a relatively few number of measurements, compared to what a bespoke maker would usually take in person, for instance.⁠

Read the full review on⁠

“I think at the start we were very much a price competitor - selling ties, scarves, handkerchiefs, and doing so at lower prices,” says Andreas of Berg and Berg in our recent chat.

“But after a while you realise that can’t be your only USP, or at least you don’t want it to be. We’ve grown into a brand, and with that comes more design, more sampling, more service. And we get pressure now because our prices have gone up.”⁠

I actually didn’t realise their prices had gone up, not being a regular customer. But Andreas agrees that it often happens over the first few years of a brand - because they want to be able to offer different things, and because they come to realise the full costs of running a sustainable company. This is of course something we’ve covered recently. ⁠

“We took the decision to increase our quality in some ways as well, or at least change direction on it,” he adds. “For example we switched from using VBC flannel to an English one, because we wanted something that was hardier, that didn’t wear through so quickly.”⁠

The full conversation is on⁠

In the coming months I will be writing more posts again in our ‘How great things age’ series, which aims to illustrate the beauty of quality clothing over time.

Basically, it’s an antidote to the new clothing that it’s much easier to write about, and which most sites (especially social media) are dominated by. It shows not what you get now, but the reward in 10 or 20 years.

Because, while quality clothes can look good the day they’re bought, it’s often in the long term - as things are worn, cleaned and repaired - that they really show their value. Plastic does not do that.

These upcoming articles on will necessarily focus on my wardrobe. And while I do have beautiful examples - having started buying bespoke shoes and tailoring just over a decade ago - I don’t have anything that’s 30 or 40 years old (excluding vintage).

For that I have to turn to friends, and so today I’m going to highlight a jacket owned by tailor and friend Nicoletta Caraceni, in Milan.

The tailoring house that Nicoletta runs, Ferdinando Caraceni, was founded by her father. (No relation to A Caraceni - full history/explanation on

Ferdinando was a very elegant man, and when he died, Nicoletta inherited a sizeable wardrobe. He was bigger than Nicoletta, but not much taller, and so the jackets didn’t fit too badly - the sleeves might need to be shortened, the body slimmed, but otherwise it was OK.

That doesn’t mean that she could get a real bespoke fit, of course. Just that it could be something wearable, and still of the greatest quality. Plus deep emotional value.

The jacket Nicoletta is wearing here is about 50 years old.

She guesses it was made in 1971. There is a picture of her father wearing it in 1973, and it wasn’t new then.

The date on the label, in the in-breast pocket, has long been worn away.

Read the full article on

Another criterion often given for comfort, as discussed in our article earlier in the week, is looseness - a lack of restriction.

Free-flowing linen trousers in the Summer, perhaps, that you barely feel you’re wearing.

But that doesn’t necessarily work comprehensively. Would you really want to walk down the street feeling like you’re wearing nothing at all? Basically naked, but warm and dry?

Part of the pleasure of those loose linen trousers is the occasional feel of the material - the cool, smooth cloth brushing over the skin.

Separately, freedom of movement often comes not from lack of any restriction, but from restriction in the right places. As in the small armhole on a bespoke jacket, or close-fitting gloves.

Shoes have to grip you, as well as letting you move. If those linen trousers were loose and falling down, they might be irritating and less comfortable.

There are some men that seem to like trousers that are loose and falling down. But I wonder if style were taken out of the equation, whether a waistband that fitted more closely would prove to be preferred.

At the very least, this shows another way - personal experience - in which the concept of comfort is subjective.

Read the full article on Link in bio

We are running a small reorder of our Bridge coat with Private White.

Pre-order is now available on the site, with the coat being delivered in December once production has been completed.

Link in Bio

Photography by @jkf_man

I’ve been lucky this year that so many outerwear collaborations have come to fruition - no delays, no problems, everything fulfilling my expectations.

That doesn’t always happen.

This next one is no less exciting than the others, but I should note now that is being sold by Cromford Leather, not Permanent Style, and that it is mostly made to order/measure.

Shearling is expensive, and stocking a volume of it is hard. Particularly when - as with pretty much everything we do - the aim is the finest quality in the world. Even buying the skins (nine for each jacket) makes you think twice.

So Cromford have a small size run available now, and have bought skins to make more - either made to order (no size changes) or made to measure (their normal MTM service).

There are 20 jackets available in total, the RTW or MTO being £2250 (ex VAT) and the MTM £2812 (always 25% higher than their RTW).

The shearling we used is Spanish merino. This is extremely soft compared to a lot of others used, such as Enterfino, which tends to be thicker and rigid. The merino is dense though, and it is the density which gives it warmth.

These types of skins are considered ‘double face’ in that both sides are treated (and dyed) without the wool of the sheep being removed. Often cheaper shearlings are actually two separate skins, a suede and a wool, which are sewn together because it’s cheaper (a little like split suedes).

The outer side has a suede finish, and the inner is semi-curly wool, cut to 10mm length. An average of nine skins are required per coat, as mentioned.

Basically, our aim was to make the finest shearling possible, using the finest materials. That isn’t the aim of every maker, but it is ours, and that’s why pieces like this are necessarily expensive. I won’t have to tell regular readers that a coat like this would be over £5,000 from a larger, designer brand. (Indeed, Cromford makes for some of them.)

Read the full article on

When I met with Andreas (from Berg and Berg) I asked him to wear something to our shoot that he thought encapsulated his view on easy dressing/casual chic.

And to bring things he would suggest for me.⠀

His choice was a black knitted polo with a white T-shirt, and white cords. Black belt and black loafers; white socks and a white T-shirt. With a mac. ⠀

“White trousers might seem a little showy, but to me these cords with a black knit feel super safe. It’s white and black - it’s simple, you’ve seen it before. ⠀

“Of course, it’s not that practical when it’s snowy and slushy, or indeed with a kid in kindergarten. But you can’t be too precious about these things, it’s not healthy. They’re just clothes.”⠀

For my part, I’d add that white and black are easier to wear in these particular materials. Knitwear and corduroy look a lot less stark than, for example, fine cotton and worsted wool.⠀

Black can be divisive. “I was against black for so long,” he says, “like a lot of people getting into menswear. I thought no one looked good in it, that it just looked cheap. ⠀

“But actually it has a lot of charm, and it has that same advantage of being simple and subtle. It’s great with brown in particular - on the site we’ve been doing the chocolate brown trousers with black knits, and that’s a nice combo. Like some kind of teacher that’s branched out into fashion. ⠀

(I agree of course - as noted in a few recent articles. In fact, I’d probably wear Andreas’s combination, pictured, more readily than I would the cream and tan he picked for me.) ⠀

“Even navy and black works well, I think, even though it’s not supposed to be allowed,” he continues. “Brown and black, apparently, is banned too. I’m still waiting to be arrested for that - and for wearing brown shoes after six!⠀

How about black on different complexions? “That was one of the reasons I never used to wear it,” he says. “But actually I think it looks better on my pale complexion that most colours. And I’ve yet to see somebody that doesn’t better in black than in orange, for example.” ⠀

You heard it here first. Black is the new orange.⠀

Read the full article on⠀

I’ve always liked the way Andreas Larsson at Berg & Berg designs - and styles - the clothes for the brand.

In particular, I think his approach to casual chic is impressive: he consistently demonstrates effective ways to look well-dressed without a suit. ⁠

Separately, I find Berg & Berg’s approach to pricing interesting. They consistently aim for a slightly lower quality level - in the name of value - than most brands we cover. But they’ve also been on a journey with that approach too. ⁠

So while I was in Stockholm last month, I spent a couple of hours shooting and chatting with Andreas about those themes.⁠

“For me, I think it should be easy to dress, both in terms of how the clothes feel and the combinations that go together,” says Andreas.⁠

“So I don’t like all the fussiness around the ‘menswear triangle’ of shirt, tie and handkerchief - trying to put together bright, loud or adventurous combinations. It should be easier than that.⁠

“Plus, I think your clothes should be things you can wear, if not on a daily basis, then at least weekly. Not a big collection of accessories that you only wear on occasion. That feels more relevant in 2020. Everything should be safe and easy, but not boring.” ⁠

I suggest - tentatively - that this is also rather Swedish. “No that’s probably right,” he says. “We like being under the radar, culturally. ⁠

“But also, it’s about the environment. There’s no point being super colourful when it’s going to be dark in an hour.”⁠

Read the full article on⁠

When thinking about comfort another factor to consider is material that moves with you - that is moulded and lived-in.

This crystallises around the question of whether jeans are comfortable.

We’ve had comments in the past where readers have asked how anyone can find jeans comfortable - because they’re so tough, so stiff. Tailoring cloths are often held up as superior, because of their looseness, softness, drape.

We touch upon looseness and softness in the full article: good fit is part of that comfort too, and some feel of the cloth.

But what’s really at stake here is that jeans mould to you, and feel reassuring as a result. You push against the denim, and so feel more of it. There is pleasure in the closeness of the fit - you feel the cotton more, and the way it warms to your body.

Other cottons, such as loopwheeled sweats, are similar. The pleasure there is not really the softness, but the pliability - the stretch and movement, which comes from the density of the knit.

Read the full article ‘What is comfort’ on

Working from home has thrown up lots of interesting clothing debates recently - including whether people will just stop caring, as we discussed recently.

Another interesting one, I think, is the idea of comfort. As in, ‘It’s just so comfortable wearing a T-shirt and sweatpants all day - I can’t see myself wearing anything else again.’

I’d like to unpack this idea a little, as it contains a lot of interesting assumptions. And, I find that thinking about them helps us understand the particular things we enjoy, or don’t enjoy, about clothing.

So, what is comfort?

Much of what we consider comfortable is psychological.

For example, on the one hand, comfort can come through contrast. I wore a shirt and tie the other day for the first time in a month, and there was real pleasure in the feeling of a close - but not restrictive - fit. It just feels like what a shirt is designed for.

But it felt great to wear a T-shirt and shawl-collar sweater the next day. I appreciated it because of the contrast. Same goes for wearing trainers after a couple of days in welted shoes.

Yet another example almost implies the opposite: comfort can come from habit, from the reassuring and familiar.

Old slippers can be the most comfortable thing, even if they're not the softest or best fitting. It's revealing, I think, that we'd call them comforting, as well as comfortable.

The idea of comfort is personal, complex, and psychological.

Read the full article on

From the archive: A weekend wardrobe can be a particular challenge for guys that care about their clothes.

It should be relaxed and easy – not requiring much thought, and a nice change from the working week – yet cover a wide array of activities.

At one end of the spectrum, it must suit going to an art gallery and a nice lunch; at the other, playing with children on your hands and knees.

I’m sure it’s for this reason that readers have asked about clothes for the weekend so much recently.
So in this post I suggest one easy, capsule weekend wardrobe, based on things I wear a lot.

It starts with a base of oxford shirt and jeans, and then presents three alternatives for shoes, knitwear and jackets, to be swapped for different activities.

It is intended to be basic. As with all similar ‘capsule’ posts, it establishes the building blocks of a wardrobe, to be built on over time.

More unusual, characterful clothes can be added on top. I make a few suggestions of those at the end.

Link in Bio

Photography by @jkf_man

The mock neck shown is from Colhay’s, and is a lovely version for anyone that wants a mock neck.

Beautiful deep, dark brown, neat cut. Though given it’s to be worn over a T-shirt, rather than a shirt, I would have liked it in cashmere rather than their lambswool.

I do like this colour combination though: mid-grey checks, charcoal flannel, brown knitwear, dark brown shoes. It’s exactly the kind of sombre, subtle mix that particularly appeals to me right now.

Perhaps I’ll try it next time with a polo-collar sweater, buttoned up to the top. That’s another style we’ll be looking into in an article soon.

In fact there seems to be a theme here of neckline-related pieces. Following the Ciardi coat, the new Dartmoor, this article, and two more coming up.

I think it’s the combination of cold weather and a desire to dress down tailoring, by wearing knitwear underneath. As ever, any and all thoughts, points and alternative cultural associations are welcome.

(I count Miles Davis as wearing a roll neck most of the time, by the way, rather than a mock neck. Yes, the collar was low, but it was turned over, folded down. A mock neck does not fold over.)

Read the rest of the article on

I’m not sure about the mock neck.

It’s been having a resurgence recently - everyone is doing one, from Camoshita to Loro Piana, Margaret Howell to Inis Meain.

I can’t remember the last time a style of knitwear became so ubiquitous so quickly.

But it’s a slightly weird style. And by weird I necessarily mean unusual, as in you don’t see many people wearing them. It also means I don’t own one, so I don’t know whether it looks good or not.

Without that experience, you turn to your style references: the people that have worn them through history, and as a result the people that other people will think about, when you wear one.

For me those references are golfers (Tiger Woods in particular) surfers (starting in the 1960s) and Steve Jobs. Apparently there were some breakdancers too, but that wasn’t something I was aware of.
Being unusual can be a reason enough for clothes to appeal to some.

But it’s not usually what we’re aiming for with Permanent Style. We’re more interested in elegance and taste: in looking simply well dressed.

So let’s try to break this down from a PS point of view. What are the advantages of a mock neck?

Well, that higher neckline (than a crewneck) frames the face, which is usually good. It’s certainly the reason a roll neck (or polo neck, or turtleneck in the US) is flattering on many men.

But you’d have to say a roll neck does it better. The only advantage of the mock neck is that it can be more comfortable. I know some guys don’t wear roll necks for that reason, although I do also think it takes time to get used to it - I used to be the same, and now it’s one of my favourite things to wear.

You can also wear a shirt collar under a heavier roll neck, and avoid that issue without the shirt collar showing through. Or if you’re feeling very flamboyant, you can flip up the shirt collar and have the points sticking out the top of the roll neck, wing-collar style.

The other nice thing about a mock neck is warmth, as it covers more of the neck. And that’s certainly a reason it’s popular in functional clothing, from wet suits to base layers.

Read the rest of the article on

The fit of this bespoke Benson and Clegg suit felt good - solid - from the start.

The balance was right, the fronts clean, no collapsing on the right under my lower right shoulder.

In fact, I’d say this is often a key mark of a higher quality tailor. The majority of the time, when I’ve had things made by a Savile Row house or bigger names in Italy and France, there has been this solid initial fit - this professionalism, perhaps.

Smaller tailors or perhaps those from Asia we've covered that are working at a slightly lower quality level, can get there in the end (eg Anthology) but there isn’t often quite the same strong start.

There is some drape in the back of this suit, and around my shoulder blades, which others would want cleaning up - but it's exaggerated by the image above. The slightly messiness at the back of the sleeve I’ve commented on already in the full review.

The only real issue we had fit-wise was the pockets on the trousers, which are gaping a little.

This is an area that’s tricky on me, because I have a proportionally large seat and like a trim trouser elsewhere. But still, it’s something others have dealt with better.

We’re going to see how these settle down, particularly given I use the pockets quite heavily, and look at them again in a few weeks.
The make of the suit is very good - it’s what you should expect for a top-end Savile Row suit, and frankly for any suit costing over £4,000 (this cost £4,400, including VAT).

The buttonholes are precise, the jetts neatly done, the lining nicely hand-felled. It’s perhaps a pity that the fabric around the inbreast pocket is cut halfway along the opening, but it’s a minor point.

Full review on

This is the kind of suit that makes you glad you're wearing a suit.

The kind you look forward to wearing, as a change to the floppy casual home stuff you've been in too much recently.

Why? Because of the structure, the shoulder and to a lesser extent, the drape. They combine to create something quite transformative.

Soft tailoring - Neapolitan in particular - has become understandably popular in the past 10 years. To the point where it’s almost the default style among menswear shops.

But I’ll be interested to see whether strong tailoring makes something of a comeback in the future. After all, one of the advantages of a Neapolitan suit was that it was lighter, more casual, easier to wear all week.

But with the suit looking less and less like default business clothing, I think people will be wearing them more for occasions - when they want to really feel its possibilities.

This is that kind of suit.

To catch-up, briefly. This suit was cut for me by Oli Cross, now at Benson & Clegg in London’s Piccadilly Arcade. The team there has been revamped recently - as covered in our previous article - but there is also plenty of tailoring history to build on.

Oli trained under Malcolm Plews, and his cutting style is typically English and strong (though he is self-aware enough to be playing with lighter makes, set-in sleeves and other modern tendencies).

This suit, therefore, is classic English in its make: canvas, horsehair and domette in the front; a decent pad in the shoulder. It is not, however, as padded or structured as the likes of Huntsman or Sexton.

Oli would also not call himself a drape cutter, but he’s happy to cut extra room in the chest and back, and that’s what we went with. Long-time readers will know that’s a style I like, for the way it flatters the upper body, and Oli executed it well.

Full review on

The first question readers usually ask about knitwear like the Dartmoor Sweater is:

what do you wear underneath?

It’s an interesting one, because while you can wear fine merino against the skin - and it is perfectly comfortable - it then needs to be washed fairly often. Not as much as something in cotton, given wool’s natural anti-microbial properties, but certainly every two to four wears, depending how much you sweat.

For some people, seeing someone else in knitwear that appears to be worn against the skin also just feels uncomfortable, even if it isn’t for the wearer.

So the obvious thing to do is wear a T-shirt under it. But then that bright, round neckline makes the look much more casual

Personally, I quite like wearing a vest underneath. It’s what I was doing on the original Dartmoor shoot, as shown above

A vest creates a much lower neckline - only occasionally visible underneath the knitwear - as well as avoiding the lines you get on the sleeves, where the T-shirt sleeve ends. And I find I do need something underneath the merino, for comfort.

The only problem is it doesn’t solve the washing issue. You’re still going to sweat into it. I don’t find this too much of a problem as I don’t sweat too much, but I might avoid wearing a knit like this on a warmer day, for that reason.

It also helps if you’re good at looking after and washing your knitwear in general - which we have a full article about on

The last option is a T-shirt some kind of low neck. I have a deep V-neck one from Sunspel (my vests are also from Sunspel) that I sometimes wear if I want that alternative.

The Dartmoor Sweater is available in the Permanent style shop

This video, the latest in our series on how to care for your tailoring at home, looks at stains.

Cutter Ben Clarke, from Richard James in London, suggested this as a topic a while ago, but I wasn't sure. I thought we'd want to talk to a dry cleaner or similar professional.

It was only when we started discussing Ben's tips and tricks, that I realised how often a cutter or tailor has to deal with this problem. Cloth gets rubbed, spilled on, even bled on (easy to do when there are shears and needles around) and instant solutions are needed.

In fact, in that way these tips are particularly relevant to you, the reader. It's about first aid, about how to apply quick solutions or minimise the problem. We can still go to the dry cleaner if it's bad, but what - if anything - should we do now?

Interestingly, often the answer is, nothing at all. Some stains can be dealt with quickly, according to Ben; others can be mitigated; but if neither of those is possible, you shouldn't do anything. It's very easy to make things worse.

This is a short extract showing one of the techniques of stain removal. The full length video is available to watch on

Thanks to @campaignforwool @richardjamesofficial

From the Archive: When selecting a cloth for an overcoat, what should you look for?

This might seem like a pretty easy question: you want warmth. That’s what an overcoat is for.

But how much warmth, and where it comes from, are not straightforward.

As with anything we’ve covered in the Guide to Cloth (and the sister guide, on Shirt Fabric) on, when you start looking into this area you quickly learn that there are several factors at work, including fibre, weave and weight.

Link in Bio for the full article

Photography @jkf_man

So what does the new Yellow PS Oxford look good with? Let’s spell it out a little.

Its most obvious and immediate partner is grey, which is helpful given how predominant that colour is in smart men’s wardrobes.

Grey flannels look lovely with it, as do grey high-twist wools. Grey knitwear and - as pictured above - grey jackets also. This grey herringbone is nice, but a grey flannel suit would be good too.

And as if to collect all the menswear staples, navy is also complimentary. Particularly on the top half: a navy wool jacket or navy shetland crewneck. Both are lovely with the shirt, and perhaps grey trousers beneath.

Then, on the more casual end of the spectrum, this pale yellow compliments jeans.

A paler denim, such as that shown here with my vintage Levi’s, is especially nice, but almost any blue jeans work.

For some reason I find that combination - the washed-out yellow with the much-battered jeans - particularly satisfying. I think it’s because each is so classic yet so casual. They both look better the more they are worn, dirtied, washed and worn again.

And yet they do suggest the idea of dressing with intelligence, with taste.

Link in Bio

Photography @jkf_man

Today we launch the yellow version of our popular PS Oxford shirt (and fabric)

A reader gently mocked me when I wrote about the white version of this shirt and included styling advice. It's a white shirt after all - how hard can it be?

I still defend that guidance: a white oxford is more useful than some people realise, particularly with workwear.

But a yellow oxford definitely requires some explanation. The new colour being launched today is so unusual that I’ve never even owned one myself - until now.

I was interested to try it for that reason, because I'm always intrigued by new potential in the necessarily narrow field of classic menswear.

But it also made sense to try because a pale, faded yellow is such a staple in American oxfords, and the Ivy style that drives a lot of their popularity.

I’m pleased to say that now I have one, I enjoy wearing this yellow PS Oxford more than almost any colour in the range.

The only one that rivals it is the blue, because it is so classic and useful. But the yellow achieves that particular menswear aim of being characterful yet subtle, noteworthy yet quiet.

It draws attention and indeed compliments, but more in the way a well-cut jacket will do. It seems to slot in naturally with everything else, yet you rarely see anyone else wearing it.

(You may observe, quite correctly, that new products always seem to surprise me with how nice they are. But that’s only because the ones that don’t have that reaction never make it onto the site. In this case, a grey stripe and a peach colour both disappointed - yellow was the clear winner.)

Link in Bio to the full article

Photography @jkf_man

Repost from @clutchcafelondon from styling work for them - wearing Warehouse & Co jeans, Warehouse 4601 black tee and Buzz Rickson Jungle Jacket.

See @clutchcafelondon for more

While in Stockholm last month, I spent a morning shopping with Oliver (Dannefalk) and Carl (Pers) of Rubato.

I was particularly interested to hear their views on vintage shopping, as I knew that both of them used to work in vintage stores in Stockholm, and that the experience had informed their approach to Rubato.

Oliver (Dannefalk) worked at and then ran the Östermalm branch of Herr Judit, whose main shop was on the Södermalm side of town. Östermalm is more up-market and the stock there was more centred around tailoring - both English and European bespoke, brands like Rubinacci, and accessories like Marinella.

I found talking about that interesting, because there’s a real lack of a similar store in London - something that focuses on really good modern clothing, rather than older and more cultish military clothing or Americana.

Carl was a customer at the Östermalm store, and eventually worked there as well. Unfortunately the store later closed, and now only the Södermalm branch remains.

We visited towards the end of our walking tour, and found some nice pieces in among the racks. Bizarrely, the item I lighted upon was a bridle belt that turned out to be Oliver’s - actually, a present that Carl gave Oliver several years ago, and which Oliver ended up selling because he had too many similar pieces.

The belt (again, coincidentally, made by Equus in the UK, whom we’ve covered a lot) was really nicely worn in. Bridle leather is best like this: it lasts forever, but can be hard and stiff for quite a while. It needs to be worn consistently, and will soften as it ages.

The belt was probably an example of what good, modern vintage can be: something high quality that the owner no longer wears, and which gives someone else the chance to access for a much lower price. Plus some nice patina/character.

Read the full article on

(This is an extract from the article on overcoat styles currently on

It is often said that the back of an overcoat is where the sexy stuff goes on. I think the front should look good too, but there are certainly more design options on the back.

The first is the belt. A smart overcoat should have no belt at all on the waist. But most others have a half belt: one or two strips of cloth, either stitched to the material or left loose, and if loose then fastened with buttons.

The style of belt is not a big decision - it’s unlikely to look out of place whichever you choose. So pick the one you like the most, and if you’re unsure go with the classic ‘Martingale’ of two strips and two buttons (shown above). It’s also not a hard thing to change later.

There are ways for this belt to be functional, with extra buttons and buttonholes, but having done that a couple of times on my coats, I no longer request it. I just find that little cinching doesn’t make a big enough difference to what I can fit underneath.

There is one way in which today’s review of these Carmina chukka boots is necessarily unfair.

The vast majority of my shoes are at a higher quality level, and therefore my context will be different to many potential customers.

However, I have owned cheaper makes in the past, as well as tried on and seen many similar brands.

Also, most of the points made in today’s article on don't require experience to be established, given they are observations from simply looking at and trying on the boots.

In fact that's necessarily the case with any review that takes place this soon after receiving a pair of shoes, rather than after say a year.

So, given all that, how good are these Carmina boots?

Well the first thing you notice is the softness of the leather. It's a reverse calf from Charles F Stead and feels impressively luxurious and comfortable. I think anyone buying at this level of quality would be pleased with the touch.

(Though, don't put too much store in the tannery. All tanneries have different levels of quality - indeed, more than perhaps any other manufacturer we cover, of raw materials or finished products. Plus, it's notable that only cheaper makers shout about where the leather is from.)

The colour of tobacco suede is also perfect, something some makers (usually English) don't always get right.

If I compare the leather to my Edward Green 'Shanklin' boots (also unlined chukkas), the feel is similarly soft but the latter has more plumpness and body. It's a tiny bit thicker, but there's also more substance to it.

That won't make much difference to the comfort or support in the short term, but I'd worry a bit about how the less substantial suede would wear in the long term.

Of course, you would expect the quality of leather on Edward Green boots to be better, given they cost twice as much (£760 rather than £378).

But one of the points I'd like to get across in this article, is you do get more - in almost every way - when you make that much of a jump between brands.

Photography @jkf_man

Read the full article on

Double breasted or single breasted?

The second choice to make when choosing an overcoat is whether the coat will be single or double-breasted.

Personally, I’m a huge fan of double-breasted coats. This is because DB tailoring is so flattering and stylish (particularly if made bespoke) yet a coat is one of the last ways it can be worn. Anyone can wear a DB coat to the office; not everyone can wear a DB suit.

A double-breasted coat will always be a little smarter and more formal than a single, but not as much as with a jacket. It will also be warmer, and easier to add style details to (such as a belt or cuffs).

It is often thought that a double-breasted coat must be longer as well - an overcoat rather than a topcoat. But that isn’t necessarily the case, as you can see with my DB topcoat from Ettore de Cesare, pictured.

Length: Overcoat or topcoat

The first decision with an overcoat is what weather you want it for.

How cold does it get where you live, and when during the year do you want to wear it?

This affects several things, including cloth and double vs single-breasted. But the first thing it determines is length. A shorter coat is - all other things being equal - less warm than a longer coat. As a result, coats intended for warmer weather are traditionally shorter - usually on or just above the knee.

A coat of this type is usually referred to as a topcoat. It’s usually in a lighter weight cloth, but can be single or double breasted. The example above was made by Michael Browne.

Other types of topcoat include a covert coat, which is defined by the covert cloth it is made from - a tightly woven twill that is also great for trousers (though it can be a little shiny, so fairly formal).

This cloth makes the covert coat very hardy, harking back to its country origins. It is often in colours like fawn and olive too, and has multiple lines of stitching on the cuffs and hem, intended to prevent rips getting out of hand.

The coat often has a fly front, and sometimes has velvet on the collar (another practical addition - as the velvet could easily be replaced).

Read the full article on

Photography @jkf_man

Anyone interested in buying or commissioning a new coat will be thinking about styles right now - what they are, what they’re called, what their relative advantages are.

In today’s article on Permanent Style I set out the basic options, and my brief opinions on them. On formality, warmth, and other aspects of practicality.

It focuses on tailored coats - so nothing more casual like a trench coat, blouson or duffle. Those are usually best bought ready-to-wear (though a future article on an outerwear capsule will include them).

And it does not go into detail about cloth. There is a much more comprehensive article on that.

The first thing to say about names of coats is, don’t assume everyone uses the same ones, or indeed has heard of the names used in online discussions.

Different countries have different cultural references, and hence different names. Tailors know the styles they make and the styles they were taught. Their frame of reference is often no wider than that.

Names are useful, because they put a label on the image you have in your head. They collect together a bunch of characteristics under a single term.

But don’t assume that everyone knows what a guard’s coat is. If you stride into a tailor and request a paletot, you might be met with looks of confusion, even bemusement.

So, I recommend focusing on the constituent parts of these styles. Break down what you want into its characteristics: single or double breasted, peak or notch lapel, length and cloth and buttons and so on.

Photography @jkf_man

Full article on

The Permanent Style watch cap is designed to fit neatly on the head, making a casual staple into something a touch smarter and more refined.

Made by Johnstons of Elgin, in Scotland, from 100% cashmere, it is available at the moment in cream (pictured) and red. The edge is hand finished and the sides hand-tacked to keep the precise roll of the hat in place.

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 - small and neat. A hat worn this way looked smart enough to wear with a bespoke overcoat, and subtly subvert its formality.

So I set out to recreate it, and now wear them constantly. I find cream surprisingly versatile, as it goes with pretty every colour and you're unlikely to be wearing cream elsewhere.

The cap only comes in one size, but is soft and pliable enough to fit any head. Over time the cap will flatten and soften somewhat, becoming closer to the head.

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

Photography @jkf_man

Link to the product page in bio

Our round-up of interesting Winter products full article and explanations on

Down vest - @therealmccoyslondon
Sock - @anonymousism_japan via @end_clothing
Grand Sagan - @baudoinlange
Wool Blouson - GRP via @johnsimons1955
Jacket - acronym

Catching up with Ben at Drakes wearing their integral collar jumper

I have a problem. Don't snicker - it's not that kind of problem.

It's a menswear problem.

Far more superficial. The issue is I have a long neck, and round-necked (also known as crew-neck) sweaters aren't that flattering on me. It's not too bad from the front, but from the side it just looks gawky. If you were being cruel, like a vulture with an Adam's apple.

I can wear a shirt, of course, but I don't always want to wear a shirt. Sometimes I want to wear a t-shirt. You know, at the weekend, for the psychological implication of change. To relax.

So knitwear with a collar - what are my options? A hoodie, perhaps, but mostly that's too young. A roll-neck, certainly, but only in winter. I’ve never liked half-zips. And a mock-neck feels, I don't know, eccentric. So I'm left with the polo-collared sweater - the one with a knitted cutaway collar and two or three buttons down the front. They're lovely, and do the job. Drake's sells some nice ones.

But I can't only wear that at the weekend. My sense of creativity can't handle it. It'd be like always wearing the same jeans, or sneakers. Where's the freedom? Oh, the agonies of taking your clothing too seriously.

A few years ago I found a wonderful alternative. It was in the Margaret Howell sale shop, on Margaret Street (I know, weird right?). It was a crewneck sweater with a collar sewn on top, in the same material. As if that were the most natural thing in the world. It was in cotton, and the fit was too boxy, but I bought it anyway and still have it. Margaret Howell no longer do them, unfortunately.

And then this season, I found this one from Drake's. They call it the Integral Collar Jumper, which sounds awfully technical. But it's the same thing. The fit isn't as blousy as my other one, and the Donegal-type flecked wool is great. Available in dark navy and rich green. The collar has to be worn up, I think. If you wear it down, it looks like you're wearing a wool shirt under an identical wool sweater. Like some kind of bizarre twinset. But worn up, it's clear the collar is part of the whole.

Full article available on

With working from home becoming a part of most people’s lives and the prospect of local lockdowns

becoming more prominent again, I felt it might be helpful to revisit this article about the sliding scale of formality.

Dressing well is as much about propriety as it is about style, quality or personality.

This is particularly true at work, where there are often prescriptions, or at least expectations, about professionalism and clothing.

I have often talked over the years about sliding scales of formality – about how formal certain shoe styles are compared to each other, or ties, shirts etc. In this post on, I wanted to set out a sliding scale for whole outfits.

In the series of images, I have changed one thing each time in order to make it more formal. So we start with something very casual, and with each new piece, become gradually smarter.

The different combinations are suitable to different work environments – or to different occasions. One for a normal work day; another for casual Friday; perhaps a last for the weekend.

With each swap, the propriety changes. The same outfit with a shirt rather than a T-shirt, or jacket rather than knitwear, transforms when and where it can be worn. Small changes make a big difference.

Link in bio

Edward Sexton is known for bringing sexy, dramatic tailoring to Savile Row in the 1960’s and 1970’s.

As head cutter for Tommy Nutter; Mick and Bianca Jagger in white suits; The Beatles crossing Abbey Road: These are the looks we know. And today Edward still likes a padded shoulder, perhaps upturned at the end. Together with a longer jacket with a little flare in the skirt.

Edward cut this suit for me in 2014, and it’s become one of my favourite things to wear to lunches or events. I find the structure of the shoulder and the sweep of the lapel distinctive, but the grey flannel cloth subtle enough.

When I was a teenager, nothing seemed more sad or old than wearing a T-shirt tucked into trousers.

Granted, the style of the day was loose, grunge-inspired clothing, with oversized flannel shirts and baggy knitwear. But it was also a question of personal style - after all, the 90s are back now in full force, and checked flannel shirts are everywhere.

Back then, I had no interest in elegance, no desire to appear intelligently dressed or well put-together. I just wanted to wear whatever Eddie Vedder was wearing.

Today my aims are rather different, and the shape that comes from tucking in a T-shirt is more appealing.

After all, it flatters the body in much the same way a collared shirt does: the waist is defined, the torso is shorter, the shoulders appear bigger proportionally.

It’s not as flattering as a fitted dress shirt, as no shape at the natural waist (usually the slimmest part of the body), and the T-shirt’s length might mean you’re more likely to get the material spilling out of the trousers.

But it's still a more complimentary shape than an untucked tee - perhaps akin to the difference between a buttoned and unbuttoned cardigan, or a fitted overcoat and an A-line raglan.

It also emphasises the fit of the trousers in the hips and seat - which will hopefully be flattering too.

Read full article on

Photography @jkf_man

It’s much harder to make an action back out of wax, than it is out of wool (as a field jacket would be).

Waxed cotton doesn’t move and drape in the same way, and so the pleats don’t open and close cleanly.

To solve this, Private White put a panel of wool jersey across the whole top of the back, connecting the inside edges of the two pleats. And, hey presto! The pleats worked perfectly.

It’s still the design element that impresses me most, to be honest. It’s so functional, yet hidden.

Another nice detail - and one that could easily be missed - is the lack of shoulder seam.

The back of the jacket is one piece of material that runs up and over the shoulders, ending halfway down the chest. This means there is no seam on the top that could be a weakness for water.

As with most wax jackets, this is not a true waterproof, just highly water resistant. It’s for a long walk, not serious hiking. But it does help to do little things like move the seams around.

It’s also not possible to tape the seams on wax jackets, as the wax is taken off by the heat used in applying the tape. But, we deliberately used a thicker thread, sewn more slowly, so that the thread fills up the holes when it swells in the wet.

This is the Wax Walker, the new collaboration jacket we have designed with Private White VC. Link in Bio

Photography @jkf_man

Every year for the past four years, I've developed a piece of outerwear with the lovely team at Private White VC in Manchester.

The aim each time is to realise my version of a classic piece in the male wardrobe, often with elements that I feel are lacking with standard versions - whether its length or lapels, cloth or collar (and most often some combination).

In January this year, we began to think about the English classic, the wax jacket.

I have a few problems with standard designs, but the biggest ones are the very rural colour palette, the length (many are too short) and the slouchy, A-line shape.

In our design - which we're calling the Wax Walker, reflecting its likely use on strolls and dog walks in inclement weather - we tackled all of these.

But we also introduced more than a dozen tweaks that I think hugely improve the style and the practicality of the wax jacket. From a reversible, removable lining to in-seam plunge pockets, they all contribute to make this - strictly in my view - the best in class.

As ever, the article on is not short. It runs through all of these elements, what they're for and why I think it makes a difference. But then I know readers value this detailed approach, both so they understand what they're buying, and so they appreciate what they have.

Photography @jkf_man

Link in Bio

Last year long time contributor and friend Jamie Ferguson aka @jkf_man launched his book “This Guy” which profiled a series of men in the fashion industry.

Looking not only their Wardrobes but how those wardrobes play a part in their lives. I was honoured to have been selected as one of the “Guys” featured.

Hoodie by Loopwheeler

Photography @jkf_man

In recent weeks we’ve done more coverage of top-end made-to-measure – the likes of Orazio Luciano and Jean-Manuel Moreau, Anglo-Italian and The Armoury.

Some of these approach bespoke in terms of the handwork involved, in particular hand-padding of lapels and collar. Add this to the more standard hand-sewn buttonholes and buttons, and you’d be forgiven for thinking this MTM was just as good as bespoke.

There are various ways in which this is not true.

The more minor ones were listed in our article ‘Is Bespoke Worth It’. They include the heritage of bespoke, the consistency, the relationship with a cutter, the ease of care and repair, the longevity and perhaps sustainability.

The biggest ones, though, are fit and quality. It is these that are held up most often as reasons for buying bespoke, and which are most directly challenged by the best MTM.

It is fairly easy to show how the quality of most bespoke is better. It’s visible in things like the jetted pockets, inbreast pockets sewn into the facings, and other handwork that adds strength as well as aesthetics.

We’ve started to cover these more, most recently looking at pockets and jettings.

In today’s article, I want to concentrate on fit. The aim is to explain a few ways in which bespoke tailoring (usually) still excels MTM in how well it fits the wearer.

Full article on

Hemming trousers is probably the easiest repair you can do at home, and one of the most satisfying.

In this video with @campaignforwool and Ben Clarke of @richardjamesofficial we cover different techniques for you to try this Sunday.

Watch the full video on

While I do then like the look of this knit under a coat with the collar down (as above), I still prefer it with the collar up.

There is some attitude to wearing the collar like this, and a little more relaxed air, which is often helpful with tailoring. I would be more likely to wear the collar down if I were in a suit and tie.

Shrugging on the coat as you leave a restaurant, popping the collar, and then buttoning it, is also very satisfying. Like being given a sculpted heavy-wool hug (from behind).

One disadvantage to this combination of crewneck and overcoat is that the neck can look a little bare. When I'm concerned about this (as I might be with a smaller-collared coat, such as my Ettore de Cesare topcoat) I would wear a scarf loose around the neck as well.

Photography @milad_abedi

Full review on permanent

My love of bespoke overcoats continues unabated: the thing I was most excited about this Autumn was the prospect of wearing them again. 

It's annoying that, useful as they are (and arguably today, more useful than a bespoke suit) they are limited to the colder months of the year. Perhaps I just need to develop an equally strong love of linen trousers; then I'd never be unhappy. 

The coat I was particularly looking forward to wearing was this new one, from Sartoria Ciardi in Naples.

It was made earlier in the year, but due to some poor planning, only got worn a couple of times before the weather was too warm - and it had to be carefully packed away in the attic. 

It is rather a warm coat, being made in 850g wool from Holland & Sherry. It's from their Contemporary Overcoatings bunch (code 9819306) which has some pretty wild things in it, but also this and a few lovely herringbones.

The cloth is their recreation of the 'British Warm' - a style and fabric that was worn as a great coat by British officers during the First World War. (Though not a melton, as it is often described.) It was later made popular by Winston Churchill. 

It is at the heavier end of the range for overcoats, and yet, I rarely feel hot in it. During the visit to Stockholm pictured, temperatures topped out at 16 degrees (celsius). Yet I was not hot.

I wore it open except in the chilly mornings and evenings, and thanks to its beautiful bespoke shape, it still looked good, draping rather than just hanging. 

Full review on

Photography @milad_abedi

This video shows the first of three techniques of hemming a pair of trousers.

To see the other two watch the full video on

With thanks to @campaignforwool and @richardjamesofficial

In this series of videos we are demonstrating a few tailoring techniques, that you can do at home.

To help you look after your clothes, as well as repair them, today we talk about repairing the hem on a pair of trousers.

Full video on

With thanks to @campaignforwool and @richardjamesofficial

Covid prevents any launch party for the book (Bespoke Style), which is a real shame, but I will be

holding a signing session in The Service - the new coffee shop on Savile Row - this Thursday 22nd from 11am to 4pm.

So if anyone is in London and would like to come and have a book signed, just come by any time that day. London is obviously under greater restrictions at the moment, but I will be masked and distanced. So if you feel comfortable coming by, please do.

Finally, I would like to say a huge thank you to every tailor included, but especially to the book's sponsors - Anderson & Sheppard, Edward Green and Vitale Barbers Canonico.

Without you this project simply wouldn't have happened, so thank you Anda, Euan and Francesco. And I'm sorry it took so long.

Photography by @jkf_man

Link in bio

Nothing is more satisfying than when long-grown projects come to fruition.

Indeed, I'm not sure many media today could support a project that's taken this amount of work and time. 

It began in 2016, with the idea of trying to commission a suit or jacket from most of the world's best-known tailors. I already had most, but there were a few gaps to fill in - particularly Neapolitans like Panico. 

Having done that, the idea was to photograph all those suits, in the studio, in the same poses and lighting. In order to make them easy to compare. 

No false poses, no flattering light, just the suits as they are. Then measure all of them and analyse the results, with the help of another tailor. And publish it. 

We've put many of them online during that time, and those can be found in the Guide to Tailors Styles page. But the aim was always to produce a book - to have all the photos at better scale and resolution, and in one reference work. 

The result is this hard-backed book, launching today: Bespoke Style. It breaks down a total of 25 tailors, including ones like Caliendo, Edward Sexton and Dege & Skinner that have never appeared online. 

Link in bio.

Photography - @jkf_man

Francesco Maglia from the famous Italian umbrella manufacturer is remarkably open about things like where parts are sourced from, the costs, and the challenges of running the business.

The biggest of these is probably the umbrella market itself, which is split into a sea of cheap umbrellas at one end, and a handful of makers at the other. There is no middle ground.

This makes finding suppliers tricky, but also forces him to explain repeatedly why an umbrella can cost over €200 - and solid-stick ones €400. "People are so used to umbrellas being a disposable item. But that has to be an irresponsible way to consume these days," he says.

As an example of how much Maglia stands alone, it used to source the ribs of its umbrellas from an Italian factory, where it had been a customer for 120 years.

In 1991, that maker - the last in Europe - finally had to close. Maglia was the only client left and their orders couldn’t justify new investment required in machinery.

Our Dartmoor was designed so the collar was strong and high enough to sit above the jacket, and roll around the edge of it too.

Of course, it’s still soft wool, and isn't going to have the structure of a shirt - I find I have to briefly rearrange it when I put the jacket on, or after moving around quickly. But it’s better than any other knit collar in that respect.

I find the navy Dartmoor sweater looks great under a navy jacket, and under other dark, cold colours - such as the brown donegal shown below. Really dark browns or greens, like my Zizolfi tweed, are also good options.

We’ve had a restock this week, available on the shop.

A couple of weeks ago I picked up a men’s fashion magazine in the new (very nice) newsagent on Chiltern Street.

I really miss good print products, and fashion magazines in particular.

I think I flicked through it all in five minutes, and felt almost nothing afterwards. Like bingeing on fast food.

On the one hand, fashion brands seem to be veering towards ever more unwearable extremes. Gucci in some fur-and-spandex 70s fantasy; Prada preferring plastic gilets and oblong sunglasses.

Yet at the same time, the editorial was about product that was very homogenous: trainers, sweatshirts, bags, often indistinguishable from each other. The trainers all looked like a resurrection of a different military training shoe. The bags often had the brand name, founding year, and sometimes address stamped on the outside. Which is a pretty reductive form of design. The T-shirts were similarly just spaces for logos.

(There's a good piece on the business behind logo T-shirts on High Snobiety here.)

It feels like both these things – the extremism and the homogeneity – are symptoms of fashion brands having little idea what they’re saying any more. They’re thrashing about trying to be different, yet the actual products all look the same.

It didn’t use to be this way. Although I’ve always favoured classic clothing, I also enjoy being challenged, and stimulated by high fashion. It stops you becoming narrow-minded.

And there was always a leather jacket in Bottega Veneta in an aubergine colour I’d never seen before in my life, on anything; or a seemingly anonymous Margiela trouser that turned out to have the most beautiful cut. Today, Dunhill is the only brand I can think of (and perhaps the classic collection at Connolly) that rides this classic/fashion line well.

There is always one Francesco in each generation of the Maglia family (the famous Italian umbrella maker), which can make things a little confusing.

While the company was founded by one Francesco, the best-known is probably the Francesco featured here with me back 2013, who has been the face of the company for many years.

Now that Francesco has left the company (last year), it is his brother Giorgio and nephew, another Francesco (below) who runs the company.

This handover is significant, because it signals a shift for Maglia to being more customer-facing. They recently opened up the workshop to anyone that wants to place a bespoke order, and just a few months ago launched their own e-commerce.

“Today, it’s probably the only way to survive,” says Francesco (the younger). “It’s a different way to do business from how we’ve operated historically, but so many of our customers have gone out of business that it’s the only option.”

That has been accelerated by the pandemic: Barney’s was a Maglia customer, as were many department stores and smaller multi-brand stores around the world.

“Hopefully, by giving customers this direct access to our product and by inviting them into the workshop, we will be able to re-make those connections that have been lost by the issues with the stores,” says Francesco.

I’m sure Permanent Style readers will be able to help there. There’s nothing like connecting directing to a storied, finest-quality manufacturer - and helping preserve a craft in the process.

Francesco Maglia makes some of the finest umbrellas in the world.

Indeed, it might make most of the fine umbrellas, given how many it makes for other brands as well as for itself.

Yet (as is often the way with luxury menswear) the workshop is pretty anonymous. Located on a side street in the Milanese suburbs, in a basement with a short car ramp leading down to the entrance.

There is no name on the door, merely an umbrella poster. Inside, more posters decorate one wall, showing adverts that umbrella companies have used over the years. A good number of them seem to think posing a scantily clad woman with the umbrella is the best way to get attention.

Turn left, and you’re into the workshop proper: a central section with finished umbrellas waiting to be shipped, and three workshops leading off it - one for the mechanical side of production, one for cutting fabric, and one sewing that fabric onto the frame.

There is also a small showroom at the back, and this contains perhaps the most extraordinary object in the place: a huge, red iron safe.

This safe was the only thing that survived when the previous factory was bombed in 1942. Everything else was destroyed, and as a result there are few documents charting the history of the company - which goes back to 1854.

The Dartmoor Sweater - As men dress more casually, it’s pieces like this in the wardrobe that I think will become fundamental.

For while they’re obviously not related to the corporate suit-and-tie, they’re equally removed from the normal casual default of T-shirt, jeans and trainers. 
A fine collared knit can be worn with fine worsted trousers, with woollens like flannel, and with the smarter types of chino - such as a Stoffa basketweave or the pair pictured, made by P Johnson

Navy and grey restock on the shop, Link in bio

Photo by @adnatt

The Dartmoor Sweater- Whenever I choose not to wear a shirt, my most common alternative during the working week is a collared knit - like the Dartmoor pictured.

This manages to be both elegant - mostly due to the collar and fine gauge - and very relaxed and comfortable. It’s a good example of what we might call classic sportswear (a far cry from modern sportswear...).

With this new grey colour launched today, we also reduced the length of that collar slightly. Readers had commented that when worn without the jacket, the style was a little too dramatic. So we’ve trimmed the points by 0.5cm, while still keeping the same structure and the height at the back. Again in response to customer requests, we’ve also stocked a very small number of XS and XXL.

Link in bio

Photo by @adnatt

My beard, here is a brief description of the changes Stefan has made.

As ever, this could seem self-involved (that vanity comes into question again) but readers have asked about my beard in the past.

And I do think there is an overlap with menswear, in terms of what your aim is with grooming: as with clothes, my aim is to appear simply well put-together, rather than too obviously stylised.

I wanted my beard to look tidy, and flattering. I wanted confidence in this look, and in my ability to maintain it myself.

I didn’t want any sharp angles, or definite styles. My idea of hell would be designer stubble that was shaped into a thin line along the chin; or indeed a long hipster beard with an obvious shape chopped in.

Stefan agreed that the best way to avoid the former was not to shave the beard too high under the chin. It needs to run all the way back to the point where the chin meets the neck.

Read about the rest of the changes and see how they affected the look of my beard on the site.

Incase you missed it - world of shirt stripes last week on the blog.

As part of a series exploring shirt details, the article outlines stripes' formality and origins'

Postcard from Sweden

So here's the weird thing about Stockholm: nothing is weird.

Everything feels normal.

No one wears a mask, and while there’s still social distancing, it's minimal and feels almost like politeness. People do sanitise their hands frequently, and there are restrictions on the numbers in shops. But on the surface, it feels like the pandemic doesn’t exist.

Indeed I’m told that back in April, a lot of Europe’s rich came to Stockholm and stayed for several months. A couple of the big hotels were full of them.

Of course, below the surface Sweden is still suffering. Its GDP may have dropped less than elsewhere, but it still suffered its biggest fall in 40 years during that second quarter this year.

People are working from home more; they are shopping less. One menswear shop I visited had cut its staff from four to one, with those on furlough unlikely to return.

I was there for two days last week, to see a handful of brands I wanted (and from a business perspective, probably need) to cover.

One of those was @samanamel - who made the coat pictured. More on their new developments and those of @atemporubato and others on soon.

Photography @jkf_man

How great things age..

Since posting about my Lot 1 Levi’s the other day we have had a fair bit of interest, so thought it was prudent to revisit the post of how great things age, the pictures show how the different denims have faded

As with any item of clothing it is an ever evolving situation as you wear them and stretches and strains transform the fit. So when visiting Levis this time as well as looking forwards to a new commission there were some minor tweaks to be made to the previous pair. As well as making small adjustments to refine the fit of the vintage pair I purchased in Japan.

Link to the post in bio

Photography @jkf_man

With men wearing fewer ties with their jackets these days, shirts carry more of the burden in creating style and interest.

Of course, there is another way to look at it, which is that we have more freedom. Suddenly those bold patterns that were too strong for almost any tie are easier to wear.

Probably the safest way to do this is with stripes. Checks are hard to get right, and prints harder still. But you can easily dial up the size and strength of striped shirts, until you find a range that works for you.

The guidance as to which stripes are more or less formal shouldn’t surprise anyone by now. The thinner, more muted, and more conservative the colour of the stripe, the more formal it is.

Todays post aims to clarify and quantify the different kind of stripes that are available and their formality.

In the pictures I am wearing the PS Striped Oxford shirt. There is limited stock available in the PS shop

Photography @jkf_man

I'm pleased to say that the jumper and tie I had made by 40 Colori turned just as consistently and professionally as everything else I had experienced from the shop. 

The cashmere crewneck fits well, with the measurements being exactly what we requested and only small questions over the decisions made in those requests. 

There aren’t many options for made-to-measure knitwear around, simply because everything is made on machines (unlike shoes and suits) and it’s expensive to use those machines to make a single piece. 

It’s also not an easy thing to fit on a customer. Measurements of the body rarely work, as few guys have any idea how close they want knit wear to fit. Better is using a series of sample sizes, and picking elements from each. 

This is what we did with my crewneck. I tried on several sizes, and from those picked different options with some small tweaks here and there. 

So I went with the chest of the 48; the collar of the 46; the shoulders of a 48 plus 1cm on each side; the hips of a 46; the sleeves of the 48 plus 1cm on the upper arm; and the length of the 46.

Unfortunately they didn’t have a size 44 in the store, which is what I thought I would have on the waist. But we worked off the 46 and took it in a little to represent a 44. 

I should say, by the way, that I found all the 40 Colori sizes came up big. I'm more normally a size 50 chest. 

Full review on
Photography @adnatt

Nice tiles, nice beer, and a very nice piece of made-to-measure knitwear by @40colori - reviewed today on

Photography @adnatt

This cashmere jacket is the fourth I have from Steven Hitchcock, and given how great the last one was - in charcoal tweed - he was the first person I wanted to make this one. 

I wear more casual tailoring these days, more Neapolitan cuts and more casual materials. But there will always be a place in the wardrobe for an English jacket, and I love the way Steven builds in so much subtle drape into his tailoring. 

This jacket is very comfortable, with space in the chest and an easy waist. Yet it looks very shaped, and flattering. 

Photography @jkf_man

Look at that beautiful run from collar into shoulder into perfectly pitched sleeve.

Bespoke cutting from @stevenhitchcockbespoke , in @wbill1846 13oz cashmere

Photography @jkf_man

The latest in our 'How to dress like' series on Permanent Style interviews @jeanmanuelmoreau.

Here's an extract:
Jean-Manuel: "I am a very instinctive and intuitive person in the way I dress. And at the same time very classic: I know the limits I have to stay within and the frontiers I may not pass. 

For example regarding colour, I usually dislike combinations that are too loud. I don’t particularly like green and grey together (except perhaps light grey), and I dislike wearing black, except occasionally in a rollneck or polo. 

Yet I also take pleasure in trying unusual colours, and trying to find ways to wear them that are pleasing, and harmonious.

I think the most interesting challenge in one’s style is to remain consistent, recognisable, whatever you wear – yet to also explore, fill, this whole but quite small space which is finally devoted to yourself.

I think I’m quite an ‘urban’ guy when it comes to what I wear. While I love nature and the countryside, I’m not a fan of what I call the ‘gentleman farmer’ look. So I generally avoid this kind of style.

I’m also not a fan of the 100% vintage look we’ve seen a lot in recent years. I’ve no doubt that all of us want to achieve a balance between historical handmade craftsmanship, and modernity in how we look. But one of my firm personal rules is to stay within the times in which I’m living. 

Usually, I start building an outfit with one of the three principal pieces: jacket, trousers or shirt (or rollneck). They just all have to work together in a harmonious way, however obvious or unexpected each may be."

See the looks and their breakdown on today

I finally changed my slightly amateurish approach to my beard a few months ago when I started visiting Stefan Avanzato (pictured), the barber who works downstairs from Private White VC on Duke Street.

I think the biggest thing that changed my mind was that Stefan was so approachable, and happy to give me advice on doing my hair myself, rather than wanting a frequent customer. This immediately put me at my ease: the few barbers I have tried in the past (often chains that had just hired a PR team) were much more commercial.
Of course, after a few sessions with Stefan, it’s clear there’s an advantage to going back regularly if not often - if only to tidy up hairlines that I haven’t quite been able to perfectly maintain. But that still might only be every couple of months. 
I like the job Stefan has done, both in terms of the small changes he has made and the understanding it has given me of how my hair works. I’ve enjoyed firing questions at him: how the hair grows, what effects different beard shapes have, what equipment to buy etc.
Today on there is a brief description of the changes he has made. As ever, this could seem rather self-involved but readers have asked about my beard in the past. 
And I do think there is an overlap with menswear, in terms of what your aim is with grooming: as with clothes, my aim is to appear simply well put-together, rather than too obviously stylised. 
Photography @adnatt

It’s probably surprising how little time and attention I’ve put into my beard over the years. 

I was being generous, I think I’d say this is was also because I’m actually not that vain. 
Although I love clothes, I’ve resisted obsessing over other aspects of appearance. I exercise in order to be able to compete, or play sports - not to look good. I’ve always been put off my men’s sites that include pieces on six packs or whitening your teeth. 
Mastering clothes is akin to mastering cooking, for me: a necessary aspect of life that it is enjoyable to do well. Not akin body building: good for nothing other than posing.
But at the same time, I think I was also a lazy about my hair, and probably a little cheap: I didn’t like the idea of spending quite a lot of money just to return something to normal - to maintain rather than to grow. 
Whatever the reason, that approach finally changed a few months ago when I started visiting Stefan Avanzato, the barber who works downstairs from Private White VC on Duke Street.
Today on I desribe the changes Stefan made, illustrate them, and say what I thought of each tweak.
Photography @adnatt

The perfectly flat balance (and lovely cashmere texture) of my jacket from @stevenhitchcockbespoke

Cloth from the superb @wbill1846 overcoating bunch (though it's only 13oz)
Photography @jkf_man

How smart can you be without a suit or tie? 

Formality in tailoring is often discussed in terms of these two things. And it is true that wearing a suit rather than a jacket, and a tie rather than an open-necked shirt, will usually be smarter. 
But it is also possible to be formal and elegant without them. 
Morning dress doesn’t always have matching trousers, after all, and neither do all dinner jackets. There is a long tradition there. 
And while a tie does ‘finish’ the neck in a way that feels formal, alternatives like a roll neck can look just as put-together. 
Today’s outfit - making use of a superb cashmere blazer Steven Hitchcock made for me recently - is intended to illustrate one variation of this. I wore it recently and it felt exceptionally formal. Today's article on is a working-through in my mind, of exactly why. 
Photography @jkf_man

The balcony at @mortimerhouse last week. Chambray, dark denim and brown calf tassels

Photography @milad_abedi

Browsing the magazine collection at @clutchcafelondon

It's hard to think of a greater source of inspiration for menswear than their archive issues, obsessing over one category of menswear at a time.

Close up of the Donegal cloth in our overcoat - before we move onto other topics here.

The coat is 70% sold, by the way, but good stock in medium, large and extra-large still.
Photo @jkf_man

The casual version. With cream jeans, a white oxford shirt, a grey knit and loafers. 

Those loafers could easily be swapped for slim sneakers, and while white jeans look particularly nice, indigo denim also works well. The examples on the first post are still illustrative there.
A baseball cap makes it more casual still; a watch cap keeps it smarter.
Photography @jkf_man

Two looks today in the new Donegal coat. Smart and casual.

Here the coat is worn with fairly formal tailoring: a navy cashmere jacket, a blue oxford shirt, mid-grey flannels and black-suede shoes. 
This demonstrates, hopefully, how it can be worn for commuting to the office as well as at the weekend. It’s a little casual for a full worsted suit and tie, but is good for any sports-jacket combination. 
Even the graphic print of an Hermes scarf (just peeking out of the pocket here) doesn’t look out of place, despite its aesthetic being rather far from the ruggedness of Donegal. 
More shots of that scarf another time.
Photography @jkf_man

The yarn of this year's coat is the same as last year - from 'Donegal Yarns', the last remaining spinner of the product in Ireland.

It’s a tiny mill that has been spinning the distinctive flecked yarn since the nineteenth century, and the Kilcarra tweed we used deliberately echoes the feeling of the first incarnations.
This year we just used a heavier version, and tweaked the colours. Essentially, last year’s was a grey and black herringbone, with variously coloured flecks. This year we’ve swapped the grey for brown, so overall the effect is of a deep, dark-brown cloth, with natural, organic variation. 
We did this both to offer something different and because I felt a dark brown like this would still be versatile. It’s easier to wear with grey trousers or knitwear, but just as smart - an effective bridge between casual and formal, as the grey was. 
Worn with MTM @levis
Photography @jkf_man
Made by @privatewhitevc

This is the new Donegal Overcoat - the update on the raglan-shouldered coat we designed for the first time last year.

The only change on that version is the colour and the weight of the cloth. We decided to go with a heavier tweed this year, to make it into a true Winter coat: it's now 800g rather than 620g. 
That makes it warmer, but also makes it drape and fall even better - something that's particularly lovely in a loose raglan.
Full details on today.
The coat was made, as ever, by the wonderful team at @privatewhitevc
Photography by @jkf_man

In the current article on PS looking at a capsule wardrobe of jackets, I suggest that navy should always be the first choice for a smart jacket.

And for a more casual one, I’d argue it should still be in the top five. 
A smart jacket could be in cashmere or a wool/cashmere mix. A more casual one could be in a plain wool, or a hairier wool like tweed. 
A smart summer version is easy: hopsack. Classic and simple. A more casual summer version is harder, but there are nice navy linen herringbones out there. Anglo-Italian has a nice one.
It's after navy that things get more debateable. Full list and details on
Photography @lrjc26
Jacket by @eliacaliendo

Today on we publish the latest article in our Wardrobe Building series on sports jackets, odd jackets, or just jackets.

Whatever you want to call them. 
It’s an area with little understanding. I loved the exchange in The Times that a reader highlighted recently. Apparently someone wrote in, suggesting that with all the video meetings going on, brands should start selling just the top half of suits. Another reader pointed out that these already existed. They are called jackets. 
So, here is my suggestion of five essential jackets for a modern wardrobe. 
As ever, these capsule collections cannot suit every person and working environment. So I have based it on my lifestyle, which is a mix of formal and casual; and then throughout, I’ve suggested ways in which this can be tweaked to be more formal or less formal. more Summer or Winter. 
Some readers will be seeking jackets that can effectively replace suits to the office. Others will be wanting to dress up a T-shirt and jeans wardrobe. Hopefully this method will help both. 
Photography @jkf_man

Dark, muted green linen.

Photography @jkf_man

Today on PS I profile Dobrik & Lawton, which, for those that don't know, is two young tailors,

Joshua Dobrik and Kimberley Lawton, that have set up on their own in their house in Walthamstow, north-east London.

Their look is unusual and dramatic. It’s not something I’d personally wear, and I’d imagine it will remain niche – both because of the style and because of the Savile Row prices.

But it deserves to be covered and perhaps celebrated, because it brings something fresh to an industry that can often be staid, and because their work is being done to such a high level.

The cut is structured and angular. Square padded shoulders, lots of roping and a longer jacket with a close waist, which emphasises the shape of the skirt.

Then there are the flourishes. A subtle example is the peak lapel, which is straight, wide and sharp. The collar is proportionally small, creating more of a gap between the two and emphasising that point further.

Less subtle are the pointed patch pockets, the diamonds on the front of a belt or the inside hip, and the dramatic details added to the back of some jackets: staggered darts, sun-ray patterns and other decorative seam work.

These last things are still subtle from a distance. From across the street a Dobrik & Lawton piece might look like any regular, structured suit. As Joshua says, it’s really not meant to be showy.

But from close-up, it is showing off – specifically, showing off the full potential of the tailor’s art: demonstrating what is possible, what can be achieved with painstaking bespoke.

And I think you probably have to be this kind of customer to be attracted to Kimberley and Joshua’s style.

Whether you are particularly drawn by their seam work or their design work – the decorative back or the Moroccan battle dress (below) – it is this exploratory, experimental bespoke that will make you a D&L customer.

Photography @adnatt

The most obvious thing about the cut of this @angloitaliancompany jacket is the low buttoning point. 

The waist button on my jacket is 20 inches from the shoulder seam, which is the same as the lowest I’ve had from any bespoke tailor in the Style Breakdown series (Anderson & Sheppard). 
However, that A&S jacket was also a touch longer - just over 31 inches, where the Anglo is just under - so proportionally this is the lowest buttoning point I have. 
I do like a lower buttoning point; I wish a good number of my English and Italian jackets had lower ones. I also think it’s the direction fashion in general is going.
But this is probably a touch too low for me, and I’d likely raise it slightly on a second jacket. 
The fit of the jacket is pretty good for made to measure. It’s a roomy jacket, which is perhaps easier to fit; but still, tricky things like my sloping shoulders and hollow back were dealt with well. 
Photography @jkf_man

I know a lot of readers have been waiting for this review of Anglo-Italian, so I’ll go straight into summarising my thoughts.

All of them have, as per usual, already been discussed openly with the brand (Jake). 
My made-to-measure Anglo-Italian jacket is a good make and a good fit. It’s not something that pushes to compete with bespoke (unlike some MTM we’ve covered) but I guess that’s not Anglo-Italian’s aim - it’s one reason they sell their cloth too, so customers can use the same material for full bespoke. 
It’s also quite a distinctive MTM product. Jake argues, and I think it’s fair, that a lot of of MTM out there is similar in cut and make - the thing that differentiates the better ones is overall style, the look and advice. Less the cut. 
That cut is rather roomy, with a surprisingly low buttoning point. It’s very comfortable, but could just feel big to some people. The jacket doesn’t look large - as I think the photos demonstrate - but there’s a lot of room in there. 
This is amplified by the make. This jacket has no shoulder pad, and it’s rare for Anglo to use one. There’s just canvas, running all the way up the front and into the shoulder. 
This makes it soft and pliable - a feeling that is reinforced by the Anglo cloths. Mine (AIT30) is typical for their range: open weave, spongey in feel, with some natural stretch.
It is this, as much as the subdued colour palette, that makes a lot of the Anglo-Italian cloths feel quite contemporary, I think. 
Of course, if this were a worsted suiting, the jacket would feel different. But it would also be less structured and more pliable than a worsted from somewhere else. 
In this respect, the jacket reminds me more of a more casual brand like Stile Latino, and the jersey jacket I had from them a few years ago, than it does any bespoke tailors. 
Full article on today
Photography @jkf_man

The nubuck tote: our luxurious collaboration with @frankclegg. Only six pieces left.

With @michaelbrowne_eu coat
Photography @jkf_man

Testing out the flexibility of the new @angloitaliancompany jacket.
Review coming tomorrow

Photography @jkf_man

Today on PS we publish the second in our series looking at style aspects of shirts.

As with the previous one – on shirt collars – it will focus on sensible advice, rather than illustrating the myriad gimmicks with which menswear seems to be particularly plagued.
With the single cuff, there some small style choices – though I’d suggest the fit choices are more important. 
The style choices, as with a double cuff, include whether the protruding corners are rounded, angled or square. Here the rounded end is the default. There’s nothing wrong with the others if you like how they look. 
You can also have one, two or even three buttons on the cuff. Here my feelings are stronger. You don’t need more than one button, so why have them? Yes, we don’t need buttons on jacket sleeves either, but they’re a redundancy that’s slowly fading. With multiple cuff buttons you are needlessly adding redundancy.  
Personally, I quite like the Italian style which places the single button low on the cuff, and close to its edge (pictured). This is sometimes called an open cuff.
Being lower allows the cuff to open more easily and the wrist to move with more freedom. The smaller overlap created by having the button closer to the edge helps too. 
Full article on today. Look out for a reference to the cocktail cuff that will make me unpopular with Bond fans....

Coffee in linen.

Review of @angloitaliancompany made-to-measure, coming soon...
Photography @jkf_man

I first spent time with Willy Wang ( @wwc.willy ) last year during our pop-up shop on Savile Row, when he was here with The Anthology.

(He works in the company’s Taipei store, which is also a Bryceland’s retailer.)
I had followed Willy for a while online, and liked the way he played around with clothes, mixing together workwear and tailoring in particular. But it was spending time with him, talking about the clothes themselves, that made me follow more closely. 
Willy is very modest, but I think he is one of the best guys around for style and genre combinations. He’s not afraid to experiment, playing with unusual pieces or colours, and often those that are trending in menswear circles – but he also has a strong sense of his own look, and you can see those pieces get worked into his way of dressing, or get discarded and not worn again. He has an open mind, but increasingly a clear identity. 
Willy was one of the people that convinced me I could wear more black pieces, more casually – particularly shoes. And his combination of Bryceland’s denim shirt and green tweed is the reason I wear mine that way so often. 
I’ve been wanting to include Willy in our PS series on stylish men for a while. I finally got around to it last month, interviewing Willy over email. Today on Permanent Style are a few of my favourite outfits of his, and his thoughts on them - as well as his journey in menswear. I think his thoughts are very interesting.

Coat by @michaelbrowne_eu
Bullskin tote by @frankclegg x @permanentstylelondon

Photography @jkf_man

As alluded to in the earlier post today, the thing I like most about the leather of this bag is the contrast between the soft surface and the thick, strong body.

It also has a wonderful depth of the colour, and its rich, dark brown goes with everything, from workwear to worsteds. 
In fact, I’m not sure how it does that. I guess because it’s so dark, and subtle. The style might be too casual for some suit wearers, but the material certainly isn’t. 
The leather is also - helpfully, and surprisingly - water and oil resistant, and almost impervious to stains. 
It’s made by Remy Carriat, a family-owned French tannery. The nubuck, which they call Gochoki, is made from a young bull leather. It has a grain applied, which is buffed to give it that silky suede finish. But it’s also given a 3M treatment during the tanning process, which makes it water and oil-resistant. 
I can attest to the effectiveness of that treatment after my months of use. Despite carrying it at least once a week, in rain and shine, there are no marks on it anywhere - other than the darkening on the handles you naturally get from your hands. 
Photography @adnatt
Shoes bespoke from @gazianogirling

Today we launch the Nubuck Tote on PS - a bag made with @frankclegg in the most beautiful, thick bullskin (also treated to be pretty much stainproof).

I fell in love with the leather when I visited the Clegg factory in Massachusetts, at the end of 2018. 
The full skin was draped across a cutting table, halfway down the room. I instinctively picked it up, rolled it between my fingers. It felt like the softest suede, but without the delicacy of calf. It had real, meaty body.
Frank, Ian, Andrew and I spent a good half hour leaning on that table talking about the skin. I kindly asked if it was possible to make a tote bag out of the leather. Apparently it was, so we went through some details - basically, the same as the existing Tall Tote that Clegg makes, just with additional pockets. I knew that model, and how well it would work for me.
I received the bag three weeks later, and have used it consistently for the 18 months since. 
We've made a few, and they're available on and the Frank Clegg site. If you're in North America make sure to buy through Clegg, as you'll save shipping and duties.
Shown with a PS grey watch cap, scarf by @beggxco and jacket by @sartoriaciardi in vintage tweed from @lafayettesaltieldrapiers
Photography @adnatt

Browsing @info.coherence at @clutchcafelondon - in vintage Lee from RRL.

Their vintage pieces are so expensive, but also so well curated. Just need to be aware that's what you're paying for I guess.
Photography @adnatt

There is a handful of menswear shops in London that I recommend regularly to friends visiting from abroad. 

They include Trunk, Connolly, Drake's and Anderson & Sheppard Haberdashery. All boutiques, all founded in the past decade. 
The most recent addition to that list is Clutch Cafe, the shop in Fitzrovia founded by the Japanese magazine of the same name. 

It's just around the corner from my office at Mortimer House, and I've whiled away many a happy hour browsing the dozens of Japanese and other brands, with a coffee in-hand from the cafe upstairs. 
But Clutch has one issue, and that is that there is just too much in there. Too many brands, too many qualities, too many styles, for anyone to easily get their head around. 
On more than one occasion I've seen a friend wearing a cool piece, asked where they got it, and been told it was from Clutch - even though I'd never seen it before. 
To a certain extent, this is a natural result of why the shop was set up. It was intended as a foreign home for all the brands featured in Clutch magazine, and magazines cover far more brands than any normal shop would stock. 
So there are 15 brands offering T-shirts. Priced from £45 to £230. And most significantly, there is a variety of styles - from very classic and wearable, to much more unusual and period. 
Today on Permanent Style, therefore, I provide a guide to the brands worth looking out for. The gems that offer great quality, are easy to wear, and which you can't find anywhere else in the UK - often, anywhere outside Japan.
Photography @adnatt

The fit shots of my @thearmourynyc made to measure suit, the 101 model.

The suit arrived fully made. Still lots of potential for alteration of course, but this is not something coming out of a bespoke workshop, designed for fitting stages. It’s more a standard MTM process.
Fortunately, few changes were needed to the jacket. It fit very well out of the box. The adaptation to my sloping shoulders was very good. Not perfect – there’s a little wrinkle there on either side of the chest – but still impressive. And it hugged the back of my neck well.
It was a little big in the waist, but that’s simple to change. And the sleeves came unfinished, in order to put the length on at the fitting.
There was clearly an error with a number entered for the trousers, however, because they were a couple of inches too big in the waist, and the leg line suggested they were a size too big too. But both were corrected at the fitting.
This is often the way with good MTM: hard things can be done well, with subtle changes to posture and to shoulder height. But one wrong number in a size column, and something obvious gets thrown off.
After the alterations – basically, one fitting – the suit was great. As you see it here.
There are small things I might tweak later, such as the sleeve and leg now being on the slim side. And it’s not a bespoke product – it doesn’t have that shaped armhole and three-dimensional make (something I’ll go into in more detail later). But overall very nice MTM.
Photography @adnatt

The cloth that you select for a tuxedo (or black tie) probably won’t get as much thought as the design, the shirt or indeed your bow tie.

The options are fairly limited, and all those other things will have a greater impact. 
But for those that want to think more deeply about it – as PS readers often do – there is plenty to burrow into. 
The principles are simple. The cloth for a tuxedo or dinner jacket should be dark and rich, with elegant drape, and play with the reflection of light. 
With traditional black tie, there is an assumption of absence of colour, and so the cloth is black – or midnight blue, because it looks blacker than black under artificial light (one more innovation of the Duke of Windsor). 
And there is an assumption of a lack of pattern, despite the fancy weaves, spots and micro-checks often included in bunches.
Without either colour or pattern to play with, the focus is on how this dark, plain material interacts with light. Woollen cloth, which was more common in the past, is very matte. Velvet visibly sucks up the light. And then there are cloths with different degrees of shine, whether generated by the fibre (eg mohair) or the weave (eg barathea). 
Part of the decision as to which material you go for depends how you feel about shine. And keep in mind how specific that can be to time and place. When Sir Anthony Eden strolled out in a mohair suit it suggested sophisticated dressing, as well as a summer wardrobe. But today, shiny tailoring is more likely to indicate cheap synthetics. 
The full guide is on today - part of our ongoing Guide to Cloth series
My velvet jacket by @cifonelli_official

One of the few pairs of shoes I wear so often I'm afraid of wearing them out.

(Actually, that might make a good article - most-worn shoes and why?)
They are unlined brown-suede Dovers from Edward Green. A nice halfway between smart and casual. Smart because it’s dark brown, in a slim last, with a small welt. Casual because it’s a split-toe and a derby, as well as being suede. 
Worn with MTM jeans from @levis
Above the waist: blue oxford and a dark-navy wool jacket

The other way Permanent Style makes money is the shop.

(See yesterday's post for the advertising side.)
It was growth in this area that allowed me to quit my job three years ago. But I’ve been particularly specific here that growth is not the aim. 
The shop started as small collaborations with brands (Breanish Tweed, William Abraham) where I suggested or helped design a product, and received commission on sales. 
Over time, I started to want greater control over these projects, and moved to holding and selling everything. 
This was a much greater financial risk. Each time I'd be spending thousands of pounds buying stock. But I liked the fact that readers knew what they were getting - that they were buying from me, not from a brand via me, or some mix of the two. 
Retail is exciting: you can make quite a lot of money quite quickly. But it is also riskier. 
With all the costs built in and charging a fairly low margin (as PS does), you normally have to sell more than half your stock before you stop losing money. 
It’s easy to see how brands get into a situation where they haven’t made their money back, and begin selling all the remaining stock at a discount, just to get into profit. 
And here’s where the growth point comes in. 
I've deliberately run PS conservatively, so that it doesn’t matter if some things don’t sell. Luckily pretty much everything has, but I never want to be in a position where I’m scrambling around to make cash, and as a result forced to do things I wouldn’t otherwise. 
I've found some businesses get into that position by taking on extra costs in order to grow. They hire more people, rent more stores, and all of a sudden they need to sell large volumes just to break even.
I’m sure there will be big challenges for Permanent Style in the future. I'm certainly no industry veteran, and I've barely seen one fashion or economic cycle pass. 
But I did think it would be nice to pass on my personal experience of what works well for this site, now, with these aims. Because I know some will find it useful.
Photograph @jkf_man - of the Permanent Style x @privatewhitevc Bridge Coat

Fashion media has had a hard time of it in recent years, with near constant disruption - which Covid-19 has only made worse. 

So why am I confident that Permanent Style can survive this turmoil? What revenue streams support that, and what investment? 
How PS works as a business was a question readers brought up a few times in last year's Readership Survey. So I thought I’d try and lay it out today, on the website. 
Permanent Style didn’t start making any money for about four years.
It started as a simple blog, and took a while to gain traction and a following. Even when it had a healthy 300,000 page views or so each month, and was one of the biggest classic menswear sites, brands only advertised when I went out and asked them. 
The first was Drake’s. They advertised on Will Boehlke’s A Suitable Wardrobe and I asked if they would be interested in PS. Michael Drake kindly said yes, and they’ve been there ever since. 
Others followed, including Edward Green and The Hanger Project. And when other brands saw their peers advertising, inquiries started to come in. There began to be enough money to fund trips, or to commission bespoke to review.
The high renewal rate of these advertisers is a fundamental reason Permanent Style has been able to develop. 
The revenue has been constant, and reliable. It's not project based, and does not require me to spend time seeking new customers or making pitches. 
Brands advertise because the content is good, and popular. And because they know from experience that it delivers, they make no demands on coverage. 
This kind of relationship between advertising and editorial is probably the ideal one, and something magazines (including those I used to work for) aspire to. 
But in my experience, this relationship is either prevented, or established and then undermined, by a demand for growth: a constant push for greater sales than the publication naturally generates. 
More on PS today

A lovely shot from @milad_abedi showing how well the pink oxford shirt can work with a grey suit - even a very casual version like this tweed herringbone from @theanthology.

In fact, that must be one of the pink oxford shirt's greatest attributes: it's versatility. Both colour and cloth play well with formal and informal clothes, sharp blazer or woolly tweed.

With the slow disappearance of the tie from the male wardrobe, the shirt collar has become increasingly important.

It now bears almost sole responsibility for framing and flattering the face. 
However, guides to shirt collars still focus primarily on shirts worn with ties. They also spend too much time (in my view) discussing antiquated styles, such as club collars, tabs and pins.
Today on I've written an article that aims to correct both points. It provides an overview of different collar shapes, and discusses collars worn with ties; but the focus os on shapes men actually wear – and how those work with and without a tie. 
Photography @jkf_man

Black-suede Belgian loafers with a nubuck alligator panel. Pretty subtle for an exotic.

From @baudoinlange , worn with this week's reviewed suit from @thearmourynyc
Photography @adnatt

I particularly like this shot of my @thearmourynyc linen suit - it captures nicely the elegant lines of good tailoring in action, with the wide shoulders, gently suppressed waist, and sharp skirt.

Compare to every too-short, too-tight jacket you see on the high street
Photography @adnatt

With the continuing aim of covering more made-to-measure, I was keen to feature The Armoury’s

tailoring on PS - both because I like the style, and because frankly there is little at their level in New York or Hong Kong.
New York has lots of visiting tailors, and lots of cheaper brands and online services, but there are few places I can recommend to a reader for both good product and good advice.
I did that twice with consultancy services in recent months, and it’s easy to forget how rare such great shops still are – particularly if you spend most of your time online.
This feature was well-timed because last year The Armoury expanded their MTM offering to include a new range – the ‘100 series’.
It is significant, because you can be measured for this range by the Armoury's staff. Previously, the only MTM was through Orazio Luciano and Ring Jacket, and both meant waiting for trunk shows. Even for styles designed by The Armoury.
That’s fine if you live in New York or Hong Kong, but less so if you’re just travelling through. This new service is therefore as a significant expansion of the offering.
Full review of it on today
Photography @adnatt

A pleasant surprise to wake up to this week. It's a small following compared to the website of course, and PS is all about quality rather than quantity.

But quantity is always nice too.
Thank you everyone, particularly those readers that I know spend time recommending PS to those they know. It's nothing without you.

The Selvedge Chambray with navy crewneck and cream cords
Photography @milad_abedi

Today's article on Permanent Style is on how to launch a menswear brand.

Dag of @samanamelprivat , Alice of @alicemadethis , Luca of @lucafaloni , Adam of @twc_ltd and others give us their views and experiences.
Despite the uncertainty in the world right now - and the economy in particular - it has never been easier to launch a brand.
Indeed, I suspect that in the next couple of years most of the new, interesting designs will come from small start-ups, rather than the big retail operations that are suffering so much. 
Every few months a new brand seems to pop up, driven by a young team with a fresh view on menswear. The democratisation of social media, the ease of creating an online shop, and the increased knowledge of manufacturers have all lowered the barriers to entry. 
Whether it’s a good thing for the industry is complicated. It certainly keeps things fresh, and I wouldn’t want to be without many of the products. But there’s also a tendency for online brands to compete on price, and perhaps undermine physical shops.  
Leaving that aside, it occurred to me recently how many of these young brands get in touch asking for my advice. So I thought I’d put together some recommendations, based on seeing dozens of them launch over the past 12 years.

Half of the new Selvedge Chambray sold yesterday. Clearly a popular choice.

I've been looking to find a nice, narrow-loom chambray cloth for a while. 
I thought it would be a nice complement to the other PS oxfords and denims; but I also wanted something more casual and open weave than the European mills typically offer to shirtmakers.
I was excited, therefore, when 100 Hands said last year that they had sourced a similar chambray, as part of a new denims collection.
The cloth was everything I had wanted in terms of texture and weave. And it was enhanced further by being treated in 100 Hands' washing facility - a new operation that is allowing them to garment wash bespoke shirts. 
Full details on the PS site
Photography @milad_abedi

The PS Selvedge Chambray cloth launches today on the shop site.

Woven on narrow, vintage looms in Japan, and then washed by @100hands in India, it's a soft, open-weave material that gets better and better with age.
Full details on today. Shown with a RRL suede shirt-jacket
Photography @milad_abedi

Deceptively ordinary. The wool jacket and jeans, with oxford button-down shirt and suede derbys.

Photography @adnatt

The shoes with yesterday's suit: @edwardgreen1890 Piccadilly loafer, with the dark-green linen

Photography @jkf_man

Light woven lilac, and a dark, deep green. Cotton and linen
Photography @jkf_man

Suit @gieveslondon
Hank @andersonandsheppard

In analysing the cut of this @gieveslondon bespoke suit by @davidetaub , let’s start with the elements that are typical Savile Row. 

The lapel, first, has a slight belly on it, rounding outwards as it heads up towards the shoulder. 
The foreparts, where the jacket opens below the waist button, are relatively closed and follow a straight line downwards, before turning a tight corner at the bottom.
The jacket is relatively long (32½ inches), with a nice deep vent. And the shoulders follow a clean line, finishing in a slightly raised sleevehead. 
Other Savile Row points like the matte horn buttons are also present and correct. 
The shoulder is one place the cut starts to diverge though. For while the line is straight, the padding is actually very thin along most of its length. 
Compare this shoulder line to my Dege & Skinner tobacco-linen suit, and it’s immediately clear how much less padded the Gieves one is.
However, Davide then keeps some of the sharpness by adding extra padding at the end. This raises the end of it up, just above the sleeve, making the whole line a little less sloped.
The difference is small because the pad is so thin to start with. But overall it creates quite a sharp shoulder, yet the jacket feels very comfortable and light. 
Full article on PS
Photography @jkf_man
Accessories @andersonandsheppard
Shoes @edwardgreen1890

Twisting and turning in bespoke @gieveslondon - lightweight green linen from @scabal

Full analysis of the suit on today
Photography @jkf_man

Spanish shoemaker TLB sent me these ‘Artista’ suede oxfords to try, following my mention of them in our round-up of cheaper shoe brands last month. 

I have to say, I was immediately impressed. Not necessarily compared to the top-end shoes I usually cover - such as Edward Green or Gaziano & Girling - but certainly compared to shoes at a similar price level. 
These cost €425, putting them at a price between mainline Crockett & Jones and fellow Spanish maker Carmina. They compare very favourably with both. 
The most obvious things are on the outside of the shoe. For example, the relative smallness of the heel, which sits almost flush with the shoe above it.
It’s much easier to cut a bigger, squarer heel on a shoe because there’s more room for error - you have to be less careful you don’t touch the shoe itself during construction. More care means more time, which means more cost. But a smaller heel is finer and more elegant. 
Full review on
Photography @adnatt
Worn with @sartoriapanico trousers in @vitalebarberiscanonico1663 flannel

Cutters will argue about the damnedest things...

An extract here from our recent video showing how a Savile Row tailor sews on a button. Available on
Thanks to @campaignforwool for their help with this series

There are a few metres left of our Escorial Tweed fabric (oatmeal colour shown here) but only a few.

Available from @joshuaelliscashmere , on their site.
Worn here with @tlbmallorca suede shoes, reviewed on today
Photography @adnatt
Shirt is PS Oxford in white
Jacket made by @prologuehongkong

Close up of the pink PS Oxford shirt - released last week on the PS Shop and featured yesterday with @theanthology tweed jacket and vintage @levis.

The oxford cloth is soft and nubby, deliberately recreating the look and feel of vintage Brooks Brothers oxfords. The thicker white warp gives the material a slightly irregular, slubby texture, which becomes accentuated as the shirt ages.
Photography @adnatt

Another good jacket-with-jeans option: My herringbone tweed jacket from @theanthology worn with vintage Levi's and a PS Oxford pink shirt

Photography @adnatt

Over the years, it’s noticeable that even the most fashionable, the most clothes-obsessed of men tend to narrow their tastes. 

It takes decades, and often involves a lot of experimentation in their 20s and 30s. But by the time they reach 40 or 50, they’ve usually honed their look to something they particularly like, that suits them, and that fits with their lifestyle. 
You can see this with men we admire on Permanent Style - Yasuto Kamoshita from United Arrows perhaps, or Mats Klingberg at Trunk (pictured) - as well as fashion designers, like Giorgio Armani or Ralph Lauren. 
They still play with clothes every day. They still find new things that are interesting, and will work some of them into their wardrobe. But their overall look doesn’t swing as wildly. 
Ralph still wears menswear classics and mixes them in his high/low way (with admittedly, varying levels of success); Armani wears his navy T-shirt and muted tailoring. 
Kamoshita-san described something similar when I spoke to him at our Japanese Symposium: “I love clothes and will always find them interesting,” he said. “But what I wear for myself is actually quite restrained - usually mixing different elements related to tailoring.” 
So he might well experiment with bright-coloured polos under a suit, or bold-pattern jackets; but he won’t suddenly switch to streetwear, or full-on Issey Miyake pleats. 
This honing of my style is something I've experienced in the past five years as well. Read my thoughts on it, as well as those of Scott Schuman, on today

One more shot of the Bridge Coat, taken on a very different day last year, in Northern Ireland.

And to accompany it - as well as the news it's now back in stock on the PS Shop - here are some quotes from readers on it:
"I love this piece. It is versatile and easy to wear over a suit during the week and even on weekends I throw it over pretty much anything. I appreciate the details like the cashmere lined pockets and the beautiful buttons. Makes me happy to wear it and to know that it is something special and unique but also understated.
"I find that it is good value - you have found the sweet spot where you pay for the quality and production but not a cent more (that's what if feels like anyway)."
"Love this garment. In fact, I make a point to say 'I love this coat. Did I mention that?' to my partner each time I wear this. She is very kind and patient when hearing my adoration; this coat is my most worn outerwear by far."
Photography @jkf_man

The Bridge Coat, the most successful coat we've ever designed, is available again on the PS Shop.

Longer than most modern peacoats, it fits happily over a tailored jacket, as well as knitwear.
But the aspect most have appreciated in the past three years is the flowing double line of buttons on the front, slimming the waist and accentuating the chest. Crowned with a generous collar.

A versatile, luxury pea coat. For the officer on the bridge.
Just under half the stock went to the waiting list, who were informed last week. All sizes from XS to XXL are still available though.
Made by and with the wonderful @privatewhitevc in Manchester, England.
Photography @jkf_man

An extract from How to Sew a Button - Like a Savile Row Tailor. Available on PS and on YouTube now.

Thanks to Ben Clarke with all his help putting this together, as well as to @campaignforwool

Crafts at home: The first in a series of videos showing how to do basic tailoring skills yourself, starting with sewing on a button.

Full video on now

The pink version of the PS Oxford Shirt launched today - all normal sizes available (and cloth, if you want to go bespoke) on the shop site.

To cover it, I've included a bunch of testimonials from customers. Here's a couple:
MH: “Favourite piece: my light blue Oxford cloth OCBD shirt. Always a pleasure to wear. Gets softer each time I do.”
NF: “The cut and style are EXACTLY what I was looking for, but unable to find for a long time. I have many custom-made shirts which are wonderful for wearing a suit, but my day-to-day wardrobe has dramatically changed over the years. My "uniform" now is a sport coat, smart denim or slacks, casual shoes (chukkas, chelsea boot, etc.) and one of your shirts (the oxford or everyday denim). They just perfectly do the job where my custom finer cloth shirts would not.”
Photography @adnatt

I know some people don't like them, but I've been a convert to the sleeveless cardigan for a while.

They're just so practical as an extra layer under a jacket, and they neaten up a warm-weather or work-from-home outfit effectively - covering the waist and creating that nice, flattering V down the chest.
This is the Finest Cardigan we launched earlier in the year - see the launch article online for an analysis of how it compares to other cardigans on quality
Photography @adnatt

My cream linen from @jeanmanuelmoreau.
Just in case anyone's looking for ideas for a small, socially distanced wedding.

Photograph @adnatt

My default casual summer shoe: The Leisure Handsewn (LHS) from Alden.

It might be the most comfortable shoe I have.
The LHS’s unlined upper, flex welt and sole make it really soft, and I can’t think of any similarly smart shoe that I’d be happy wearing with no socks at all, at least for a few hours. 
The only downside is that its wide last and moccasin toe make it rather casual, and as such I don’t wear it with tailoring. It is, however, equally at home with denim, workwear chinos and shorts.

For a hot day in London. Crisp linen and the @baudoinlange Ginkgo loafer

Photography @adnatt

My jacket in this week's jacket-and-jeans article was made in a Fox Brothers overcoating - lambswool, 20/21g, TW121 / A1440 / 12.

I wouldn’t recommend it for your one, versatile navy jacket though. The colour and weave are perfect, but it’s very heavy for a jacket, and a little denser and solid than most jacketings. 
Certainly unusual - a jacket with 'character' - but not the safest choice. 
Jeans made to measure from @levis
PS Oxford shirt in blue
Photography @adnatt

A few readers asked in our recent Complete Capsule posts about the kind of navy jacket I mentioned, that would work with jeans as well as flannels. 

So I thought I’d shoot this example from Solito, which Luigi made me last year but which I've never covered. 
Readers will be familiar with the reasons it works with jeans, from a style point of view. 
It has a natural shoulder, without much padding and no roping - so the shoulder runs smoothly down into the sleeve. It is cut a little shorter than an English jacket would be, and is quite open in the foreparts - below the waist button. 
There are also style choices I made myself, in order to make it more casual: patch pockets, brown buttons, three buttons rolling to two.
The harder thing is the material, and this is what attracted most questions from readers. 
Details on this cloth, and others I'd recommend, on
Photography @adnatt

Details on the Anthology tee and linen trousers. Worn with @baudoinlange Gingko loafers in 'Pecan'.

Cartier Tank on one wrist, bespoke cuff from @dianamaynardjewellery on the other
Photography @adnatt

My navy knitted T-shirt from the Anthology, recommended recently in our Summer Top Five on PS.

The design was tweaked slightly to make the body longer, and as a result it's wearable with both mid- and high-rise trousers. That's not necessary with these trousers though, as they're the higher waisted Hollywood tops, from Edward Sexton.
It's a very simple combination, yet well-fitted, high quality, and not without personality.
Photography @adnatt

'Escorial Tweed' cloth, woven by @joshuaelliscashmere , made up into a jacket by @prologuehongkong.

And framing nicely a lacquer pen by @stdupont
Photograph @adnatt

This @zegnaofficial cloth has everything in it you'd want to match it to other colours in an outfit:

brown, grey, blue and beige.
Jacket made by @shibumifirenze
Photography by @adnatt
Worn with Permanent Style Oxford shirt

@baudoinlange recently launched a new, perhaps more conventional range to their shoes, called the Gingko. 

Allan asked me if I'd like to pick a colour or two of suede to make up in this style, and offer as part of the collection - as I did with the classic Sagans a few years ago.
I really enjoyed the process last time, adding the Bark Grey to the more B&L classic colours. It was interesting seeking out something that would be useful, yet unexpected. 
So I happily agreed with the Gingko, and spent a few weeks back in the Spring going back and forth with suedes and deerskins, before sampling a handful. 
The two shown here are the ones I went for: similar but subtly different shades of suede, which we're calling Pecan (the paler, yellower colour) and Walnut (the darker, warmer one). 
Full details on PS today
Shown with @edwardsexton Hollywood-top trousers
Photography @adnatt

The perfect suit for today. Lightweight cotton made bespoke by @kenjiro_suzuki , with a chambray shirt.

Photograph @adnatt

Shoes can be one of the trickiest areas for clothing in the summer. 

Unless we require a jacket, it’s pretty simple to wear a well-cut polo shirt on top and drapey linen trousers on the bottom, and stay cool. 
But shoes are always required, and unless we resort to flip-flops (which, if elegance is the aim, we won’t) those shoes must cover all of the foot. 
So as our feet get hotter, we have to play with different materials, soles and structures. Today on PS I run through the five I wear regularly in the Summer, and have coped with pretty much all levels of formality. 
Photo: Naples trip a couple of years ago, wearing @sartoriacaliendo tailoring and @baudoinlange shoes
Shot by @jkf_man

The PS Shorts have just been restocked.

Designed to be simple and straight in design - in a world of thigh huggers and big gurkhas - they should be the kind of short any man of middling age can wear
Here in khaki, also in olive and navy. Made by Rota in Italy.
Photography @jamesholborow

As ever in the lovely, international, interactive community that is Permanent Style, today's article was spurred by a reader.

He asked about the appropriate configuration of jacket pockets on a suit he was ordering, and I realised we hadn’t covered it in our Guide to Suit Style. So today it's up: everything you wanted to know, and probably some things you didn’t, on jacket pockets. 
Do ask questions on anything I’ve missed out, in the comments.
As with the other articles in this Guide, and indeed all Guides, it helps build it into a really comprehensive resource. 
Pictured: @richardjamesofficial bespoke jacket

About half of this Summer's batch of the PS Lightweight Friday Polo have gone; still availability in all sizes though.

Designed to be the perfect polo under tailoring in hot weather. More details on the shop site:
Light grey Crispaire trousers made by @sartoria_solito
Sagan unlined loafers by @baudoinlange
Photography @jamesholborow

The fit of this @shibumifirenze jacket is really very good. 

The impression created by the pictures here, of the clean run from the collar down into the shoulder, and the smooth upper back, are both spot on. 
This is a great piece for a first commission, and it’s that level of execution that gives me confidence in recommending Benedikt, the owner, who conducts the fittings.
One of things that could do with a tweak is the skirt at the back. There isn’t quite enough room across my seat (arse) causing the jacket to stick out slightly. 
Another small issue is that the waist is a little big on the front of the jacket. If anything that is underrepresented by the photos (see, it works both ways!) and could do with being taken in. 
Still, the effect of this is that it makes the jacket very clean at the front, as well as extremely comfortable. 
Photography @adnatt

This bespoke jacket was made by Shibumi, the Italian/Japanese company better known for ties and accessories. 

Over the past couple of years, founder Benedikt Fries has been working with a small Florentine tailor to offer this bespoke tailoring service, having used the tailor himself for a while. 

I thought it was interesting to cover because the tailoring is quite well priced for Florence (jackets €2500, suits €3000) and because it’s available around the world - thanks to Benedikt’s trunk shows, currently New York, Tokyo, Zurich, Bangkok and Taipei. 

However, this availability is only possible because Benedikt takes measurements and conducts fittings himself. So some readers had asked about the service - whether Benedikt, despite not being a trained tailor, could create a good bespoke product in tandem with the cutter in Florence. 

Read the review on today

Photography @adnatt

The green version of the Escorial Tweed - the cloth project I undertook with @joshuaelliscashmere and which is now available again from them.

Here the green is modelled by filmmaker Gianluca Migliarotti.
Gianluca has a real penchant for green, and for comfort. This jacket suited him down to a tee, made up by the tailor Ciro Zizolfi that makes all of his clothes, and also made my brown version.
Gianluca has brown-suede shoes too, but otherwise is rather different to how I wore this Escorial Tweed in our recent shoot, with his rich purple trousers a nice foil for the variegated green.
Photography @c.fenimore

Casual chic. The art of looking elegant, well put together, without the aid of tailoring.

Today on PS, I argue that many of the same principles of smart tailoring - from colour to cleanliness - also apply here. And readers should keep them in mind when considering how to adapt to a more casual, but no less stylish, future.
Examples are shown of brands doing this well: @connolly @loropianaofficial @atemporubato @samanamel @adret_official
First image courtesy of @theoptimist_la

Smart, but not really corporate. Oatmeal jacket from @prologuehongkong in the Escorial Tweed cloth available again from Joshua Ellis.

Worn with trousers from Panico in VBC grey flannel and PS Oxford shirt.
Photography @adnatt

I'm proud to say that a new batch of the Escorial Tweed cloth has been finished this week, and is available on the Joshua Ellis website.

It was a bit of a gamble last year, producing a good quantity of such luxurious cloth. I always want to seek out the best there is - and Escorial is certainly that in this category - but it was hard to know how it would be received.
Thankfully, the response was really positive, with some of the colours selling out quickly.
Here again, then, is the full range: the dark brown, the oatmeal, and the olive green, in their rich stretchy loveliness.
Full details on the Permanent Style website. Purchasing (and swatches) from the Joshua Ellis site.
Jacket by @prologuehongkong
Photography @adnatt

Holiday. A chilly morning in the forests of Yorkshire. God's Own Country.

My bespoke shoes for an 'in welt' fitting with @nicholastemplemanltd

These should be ready pretty soon - very excited
Photography @milad_abedi

The @muselladembech DB cotton

Photography @jkf_man

A rare example of a shirt collar actually flipping out by mistake.

Jacket, bespoke by @eliacaliendo
Tie from @thearmouryhk
Photography @lrjc26

With stock delayed and most shops closed, there seemed less point in doing our regular Spring/Summer round-up earlier in the year.

So today on Permanent rather later, is a Summer-targeted piece on items I've tried myself and especially recommend.
I've also kept it to five, rather the usual ten, in order to give me more space to get into the details on each product.
The pieces are the Pablo popover from @adret_official
The splash top from @angloitaliancompany
The Art Cardi from @connolly
The knitted T-shirt from @theanthology and
The Valerio overshirt from @lucaavitabile

The ultra lightweight pique used in our Summer version of the Friday Polo - restocked yesterday.

It does that tricky thing of being very light and breathable, yet not transparent at all. Being a dark colour helps
Photography @jamesholborow

The Lightweight Friday Polo just came back into stock, all ready for the Summer.

A version of the popular Friday Polo designed by myself and @lucaavitabile , it is made from a very lightweight, breathable cotton pique, that can cope with any heat.
Details on the shop site - link in bio.
Worn with @ettore_de_cesare bespoke mesh jacket
Photography @jamesholborow

A shot from a lifetime ago. Trying on the collar of an Al Bazar polo shirt under my @cifonelli_official jacket.

I used to love those polos - really huge collars. Looked a bit silly without a jacket though. I think the collar stand at the back was 5cm

Photography @lrjc26

A final shot dug up from the tailoring symposium. It must be the first digital one (next Tuesday) on my mind.

Here, Tommaso Melani of @stefanobemer doing his best hand gesture.

Photography @lrjc26

Navy button-through polo from @drakesdiary and @fedeli1934 - a couple of years ago now.

Still much worn and loved.

Natural-coloured linen trousers from @edwardsexton

Cream, white, and brown. So elegant, yet nothing remotely corporate about it.

Photography @adnatt

A fitting earlier in the year for a pair of bespoke shoes with @nicholastemplemanltd.

This was done in our pop-up shop, but Nicholas has a workshop on the top floor in his house, and receives a lot of customers there - as well as visiting others in their offices or homes. 
I visited for our first appointment, and it’s a lovely little space, with views down over the garden. There’s also something pleasant about being picked up at the station, having coffee in the kitchen, and then chatting about shoes for a good hour or so. 
Nicholas and I have a bit in common too, being similar ages, with young families and an interest in cycling - so that ate up another hour. 
In fact, while I know some readers would enjoy the full retail experience, this personal relationship is the kind I’d like to have with my tailor or shoemaker - particularly as I get older. 
“I don’t ever really want to have my own shop,” Nicholas says. “For one thing, I’d have to make twice as many shoes as I do now just to cover the rent. Perhaps a showroom at some point, shared with others. But that’s about it.”
Photography @milad_abedi

Nicholas Templeman is a bespoke shoemaker, an ex-John Lobb lastmaker who now works out of his home in North London.

We've been working on a pair of derby shoes for the past year, and they're near completion. So I thought it would be good time to write a little about Nicholas, his background and his style - and include some photographs of our first fitting last year. 

Although Nicholas was at Lobb for seven years, and it's an important point in establishing his credentials, it feels like it's becoming less and less relevant, given he has been on his own for almost as long - since 2014. 

“It did take me a while to get out of some of the habits,” he says. “For about a year I was still calling people ‘Sir’, which everyone has to at Lobb. It would be a case of ‘Please call me Steve’ and I’d reply ‘Of course Sir’.”

He still finds himself occasionally using Lobb names for shoe styles - such as a ‘navvy cut’ for a derby, which refers to the fact that the shoe was worn by the naval engineers (basically, a worker’s shoe.

Full story on
Photography @milad_abedi

One point that was particularly popular in our recent video chat – ‘How can I dress up without a suit?’ – was the idea of an unstructured or shirt jacket, to wear at home. 

Something that you can throw on for a video phone call, in other words, but doesn’t feel odd if you continue to wear it around the house. Very relevant during the lockdown recently, and perhaps increasingly so in the future. 
One of the issues with such a jacket is that the cloth is absolutely crucial. As there is no structure in the jacket, you’re effectively wearing just cloth. It’s purely pieces of material sewn together in whatever shape and size you desire. 
So I thought it would make sense to add a brief chapter to our Guide to Cloth, looking at which materials are most suitable. 
You can read it on now.
The Guide is nearing completion now, having covered every type of cloth from summer trousers to the venetian weave, and we’re filling in a few gaps here and there. Black tie is another one we’ll add soon. 
If you read this and the other chapters, and feel there are any more gaps, please do let me know. It’s already the most comprehensive reference source out there, I think, but that doesn’t mean it can’t be better. 
Pictured: George Wang @beijing1980 in @sartoria_dalcuore , @ettore_de_cesare with one of his coats, me in @stile_latino

Blue, chambray, navy. All the blues.

Taken from review of @kenjiro_suzuki cotton suit, on now.

Photography @adnatt

Regular readers will know how much I like cotton gabardine as a suit.

It's lightweight, casual, and fades in an attractive manner over time. I used the same one on my Musella-Dembech suit. 

I also re-read Alan Flusser’s words on it recently, which are worth repeating: "The cotton gabardine two-piece offers a soothing alternative to the typically dry, firm-feeling tropical worsted.

"The fine Italian cotton gabardine suit will wrinkle, but its satiny freshness and cool suppleness offer the humidified epidermis a princely measure of comfort."

It’s also the kind of suit I’m more likely to wear without a tie sometimes, given its casual texture.

Photography @adnatt

Excited about this. Our first online Symposium, debating how Luxury Menswear can become more digital.

With no trunk shows and e-commerce increasingly important, it will be interesting to hear people's lessons and experiences.

Attendees must register to take part - to watch live and to ask questions. Email Marketing

It will also be recorded and available later. Look forward to seeing you - or at least hearing your input - then.

How I wear my espadrilles - and the images I have in my head when I do

Photography @adnatt

I remember clearly when I got my first pair of espadrilles.

I was 19, on holiday in Spain, and bought a pair from a local market. Dusty and unceremoniously wrapped with an elastic band, they were bought as a cheap alternative to the flip-flops that were giving me blisters. 

I wore them every day for the rest of the holiday. Even at that age, I appreciated the elegance of wearing something that covered my bony toes. You could also stand on the backs, and so slip them on like as a sandal. They were cool and comfy.

In fact, it was the comfort underfoot that really got to me. There’s something deeply pleasurable about walking on the coiled rope that makes up their sole. It moves against your feet, almost massaging them. And crunches in a satisfying manner. 

That rope makes them terrible with water. The key mistake most people seemed to make was the wear them to the beach and get them near the sea. The rope hardens, and they’re never the same again. 

That might seem hopelessly impractical in a holiday shoe, when you could be close to a pool or the sea every day. But it takes little effort to take them off before they get wet. And if you’re not prepared to invest that amount of effort, you’ll struggle with almost any good-looking clothes. 

bought a second pair of espadrilles the following year, avoided getting them wet, and they lasted another five summers. 

People talk about espadrilles as a throw-away item, and certainly the rope sole will gradually fray at the edges. But all you need to do is trim them with a pair of scissors, and they’ll be pretty much as good as new. 

One thing the rope is certainly bad for is walking on concrete, or tarmac. Basically, wearing in town. This is where the versions sold more commonly in cities today, with thin rubber soles on the bottom, are more practical - and perhaps represent a second category of espadrille. 

I don’t mind these soles, though I still prefer a simple rope sole on holiday. I want that crunch under foot as I walk out to the terrace on a cool morning to have breakfast.

Read about my favourite brands of espadrille on Permanent Style today

Photography @jamesholborow of me in @drakesdiary

The beautiful Milanese buttonhole of the @kenjiro_suzuki suit.

And a story in navy, chambray and white.

Pic @adnatt

In regards to the style of this @kenjiro_suzuki suit, the most important points to look at are the high-buttoning point and lapel/collar shape. 

The (relatively) high button is something Kenjiro particularly favours. He likes the shape it enables him to get in the waist, and in his words “the movement it gives to the skirt, from the chest line down to the bottom of the jacket”. It is most akin to Huntsman in this respect. 

We had a long email conversation after the final suit was delivered, discussing all these points. As with the hand-built canvas and pad choices, it shows how actively Kenjiro thinks about his cut and style, which is something else he has in common with other Japanese craftsmen. Nothing is taken for granted.

Photography @adnatt

Kenjiro Suzuki, who cut this cotton suit for me, is a superb technician. 

I think that’s the key take away from the review on today, aside from the normal points of fit, style and make. 

The work that went into this cotton suit he made me is just palpable, both in the handwork visible on the outside and the shape created by the work on the inside.

It is a piece of art, an example of the best that bespoke can be. 

The style is not what I would instinctively go for these days, with its higher waist, shorter jacket and bellied lapels. But I know it will appeal to others. The fit is also good, and I’ll cover both those aspects in detail. 

But particular attention will be given to the technical side of Kenjiro's work, its originality and its rigour

Full piece on the PS website
Photography @adnatt

Close-up on the @inverallanknittersltd and @allevol cardigan.

Look at all that hand-knitted linen loveliness. It feels crunchy even before you scrunch it.

Photography @taka.okabe

Summer in Fitzrovia. Hand-knitted cardigan by @inverallanknittersltd of Scotland - collaboration with @allevol

Photo by Allevol founder @taka.okabe

Finally, someone got the shape of my head right.

Graphic of me in one of the cream jacket combinations from last week, by @s__alvador

The navy wool (not cashmere) jacket: the most versatile thing in a modern working wardrobe.

Why I love them, and why Aleks only realised late why he did too.
Full video answering reader's questions on and You Tube

The black-suede shoes worn with yesterday's cream jacket, grey trousers and pink shirt.

A colour combo that makes me happy.
Photography @adnatt

The easiest partner for a cream jacket is a pair of lightweight grey trousers.

They can be a high-twist wool, cotton gabardine or (if you like the cloth) worsted flannel. But grey is always an effective foil for something as bright as cream.
And once you have the cream and grey together, almost any shirts look nice: a blue linen, a butcher’s stripe, even madras or denim.

Indeed the choice of shirt pivots the whole look, given how much of a blank canvas the cream and grey are. It can be wedding-formal (with a white shirt), playful (a bright pattern) or much more casual (perhaps denim). One more way I'm enjoying my new @jeanmanuelmoreau cream linen suit.
PS Pink Oxford shirt
Crispaire grey trousers, The Disguisery
Handkerchief @tomford
Photography @adnatt

Chuck him out! @aleks_cvetkovic speaks out against the grey-flannel suit.

Full video - on how to build a versatile collection of clothes, on

How do you go about building up a good wardrobe of quality, versatile clothes?

First extract here from our video, responding to reader questions put by @aleks_cvetkovic. Full talk on YouTube and
Wearing a green tweed jacket by @sartoriacirozizolfi and a PS Oxford cream/blue shirt, with black knitted @drakesdiary tie

Filming by @itch_media

The glasses from yesterday - following a couple of requests for a close-up.

From @brycelandsco with @solakzade_official using vintage acetate. A nice shape, with unusual top line at that is actually pretty subtle when worn.
Photography @adnatt

Close-up on the colour combination. Blue, pink and green.

Photography @adnatt

In this outfit with my @jeanmanuelmoreau linen jacket, I wanted to show how well a cream jacket can work with strong colours – if that’s more your thing.

So the shirt is a broad awning stripe, the trousers a dark olive and the handkerchief a hot pink. Even the sunglasses (from Bryceland’s) have a coloured lens.
It would work without the handkerchief. It would also be smarter with the grey trousers shown earlier. They’d both be nice combinations.

But this shows how nice a playground the jacket is for colour. Even a bright tie wouldn’t be amiss.
The shirt is a cotton/linen, made by D’Avino. The handkerchief is from Anderson & Sheppard – a souvenir from a event years ago they did with LimoLand. The trousers are ready-made from Paul Stuart (I have yet to find the same dark olive as cut-length linen.) Dark-brown suede loafers serve to ground the outfit, and send the eye back up again to the colour up top.

Photography @adnatt

Alan talks to Simon about the 12 years it took to write his biography of Ralph Lauren, and what went wrong along the way

Today on Permanent Style we look at three ways to style a cream jacket. This is my favourite.

Grey trousers are the easiest accompaniment to cream, but the best alternative, I find, is brown.

Particularly a pale brown, like the cotton gabardine shown here (they’re the trousers from my Elia Caliendo suit). The advantage of brown over grey, of course, is that it looks less business-like, and formal. There is less suggestion here of a wedding or some other daytime event.
The lighter shade (café au lait?) also feels more summery than a dark one.

Photography @adnatt

Lorenzo for summer, again from our Tailoring Symposium. Three blues: royal, navy and azure.

Photograph @lrjc26

An outtake from Florence last year - and what I will be wearing tomorrow.

Today was a cream jacket and brown cotton trousers (see IG story); tomorrow is cream trousers and a brown wool/silk/linen jacket. Same colours, different arrangement.

At that tailoring symposium yesterday's photo was taken from, this is what @edwardsexton offered up for display.

Beautiful and chic.

Photography @lrjc26

Cream linen. My @jeanmanuelmoreau suit made by @orazio_luciano
Photograph @adnatt

Another summer outfit from our Tailoring Symposium - the lovely Edward Sexton, looking sharp, even imperious.

Nice colour combination too.

Photograph @lrjc26

At the beginning of the lockdown in England, I wrote an article describing what I normally wear when working from home.

But that was just for the odd day - would it be the same over such an extended period?

Today on, I go through 16 of those looks, why I liked them and how they could be categorised.
Pictured is number, my casual default. Vintage jeans, navy crewneck and PS Oxford shirt.

The wonderful Mr John Hitchcock, now retired from @andersonandsheppard and cutter of my A&S suits.

In lovely summer tailoring at our Tailors Symposium
Photograph @lrjc26

Some nice memories of Pitti going around. Wishing we were there this month, regretting it won't be until next year now.

A particularly nice one from @konradolsson in particular, posted with this image of us, highlighted how much you miss things when they're gone.
I never sleep well at Pitti. I always seem to be stressed, and tired, and late. But it is moments like these with friends that I remember, and that I miss.
See you soon hopefully.
Photograph @engelskaherr

Full length shot of yesterday's black/brown/grey combination.

Shoes that work well with a brown-suede jacket can be tricky, as you normally wouldn't want the same material for shoes and jacket. But brown suede loafers are fine here - it makes the look quite tonal, but no worse for that.
Photograph @adnatt

Brown suede works surprisingly nicely with black.

It's normally seen as a more traditional, classic menswear material, but its muted colour can support black too - and perhaps makes the suede look more contemporary.

Shown here with needlecord shirt from D’Avino and trousers in grey Spring Ram from Ambrosi.
Photograph @adnatt

My @himelbros jacket from @clutchcafelondon has a neat cinching mechanism on the hips, with a triangular panel that gets pulled inside the jacket as you tighten it.

Similarly nice one on the cuffs too.

These things make me happy.
Worn with vintage @levis. Photograph by @taka.okabe

Clutch Cafe's shot of my @himelbros suede jacket, worn with a PS blue oxford, vintage Levi's and Alden unlined loafers.

It's been so nice to see how readers have responded to the Finest Cardigan since it was released.

They are the kind of people that appreciate the fine fashioning, the flat seams, and the Loro Piana merino, which all go into making it the most luxurious cardigan of this type.
It's certainly niche, but there's something very nice about designing for, selling to, and satisfying that niche.
Available on
Pic by @adnatt
Trousers in @harrisons1863 Spring Ram by @ambrosinapoli

A rather serious shot of the Finest Cardigan - the result of the past two years re-making and improving on a previous collaboration I had with John Smedley.

The finest make and merino of cardigan anywhere.
Available in navy and dark green.

Photo @adnatt

The fourth issue of L’Etiquette came out last week, and it remains the best menswear magazine in the world for me.

(See previous article on PS for an explanation why.) We’re honoured to be the only website permitted to translate and republish parts of it, with the aim of bringing the style to a wider, English-speaking audience.

Last time, the extract was an interview with French menswear stalwart Michel Barnes. Today, it is one of the photo shoots - focusing on the colour red.

The thing I love about L’Etiquette shoots is how practical they are. This is still fashion, and the models are still dancing around. But each outfit is shown for a reason – to make a practical point. Not just as a hanger for new-season collections.

And the philosophy is classic. Not always tailoring, but menswear classics nonetheless, often with heritage and always with a sense of everyday chic. Elegance is still the aim.

A shoot like the one shown demonstrates ways in which red classically works well, and prompts you to pick the ones that appeal. Whether it’s the fading of red sweats, the way white helps balance red’s strength, or how modern it can feel as an accent piece.

Full shoot on PS today, which translations of the captions.

The jacket of this @jeanmanuelmoreau suit fits very cleanly, despite the little help offered by linen.

It sits well across the shoulders, chest and upper back, and runs smoothly down into the upper arm.
There is, perhaps, the tiniest excess on the right of the chest and on the left of the back: but as often happens, the photos exaggerate it.
More important, and obvious, is the close fit of the collar on the back of the neck; and the right/left balance, which aids the clean appearance through the waist and hips.
As in all reviews, I have photographed this suit after several hours’ wear, rather than in its perfect, pressed look straight from the tailor. It’s much more realistic.

Photograph @adnatt

In terms of make, this Jean-Manuel Moreau suit has a similar level of finishing to other good Neapolitans.

Which is to say, not as fine as anything in France, England or North Italy - but still with a lot of work.
Any quick comparison of the buttonholes, or finishing around the lining inside, shows that it’s not on the same level as those other regions.
The lining running around the interior pockets is not exactly precise, and the linen is cut between it and the facing, rather than being the same piece.
But there is still a lot of handwork here. The jacket’s edges and seams are all top-stitched, as are the long seams down the sides of the trousers. In Naples, this is an extra level - more commonly seen when trouser workshops make under their own name, rather than for other tailors.
And more importantly, the lapel of the jacket is hand-padded - a key structural point that's usually only seen on bespoke.

Photograph @adnatt

Simon Crompton talks to Saman and Dag of Saman Amel about how fashion and interiors overlap, as well as the way the pandemic has made them reconsider their business model

The cream linen suit. Beautiful if rarely used on its own, but very useful in its constituent parts.

This one is by @jeanmanuelmoreau Read the full review of it on PS today.

Photograph @adnatt

Just over half of the reversible Valstarinos sold yesterday, and two sizes - 56 and 52 - are sold out.

However, some readers have bought two sizes in order to be sure which is right for them, and will be returning one of them.
So if you're after a 56 or a 52 (and they do come up small) do email support and get put on the waiting list, in case your size is returned.
Shown here with the reversible side peeking through. Over a @trunkclothiers tee and white denim.
Photograph @adnatt

The reversible Valstarino is back.

This was the most popular product on Permanent Style last Spring/Summer, and I think it's because it solved the key practicality issue men have with suede jackets like the Valstarino.

By using Valstar suede on the outside, but Loro Piana Storm System on the inside, it made the jacket usable in any weater. And with buttons that push through from one side to the other.
The expectation is not that you will wear it with the waterproof layer on the outside all the time. After all, suede does not make the best material for a lining.
But, it means you can wear the jacket without having to worry about what the weather will be during the day. Because if it does rain, you can turn it inside out quickly, and carry on.
Last year we offered it in navy. This year it's the more versatile dark brown. Available now on Link in bio

Worn with @colhays cashmere crewneck and @levis bespoke cream jeans
Photograph @adnatt

The Anderson & Sheppard shoulder. A long time ago in Milan.
Photograph @lrjc26

It's my birthday soon... I treated myself to this early present, a suede horsehide jacket from @himelbros via @clutchcafelondon.

It's pretty special. Thick leather, 30s-inspired rounded collar, and the kind of toffee colour I have a real weakness for. In fact I probably have more of a weakness for outerwear like this than I do for suits
Worn with Permanent Style Oxford and vintage Levi's

Photo @taka.okabe

Close-up of the summer smart/casual combination we ran through last week.

The knit polo from @johnsmedleyknitwear looks immediately smarter that a regular polo, and although the collar isn't perfect, it does have enough height and body to stand up under a softly made jacket (here, from @sartoriacaliendo )
Pic @adnatt

A touch of beauty, perhaps.
Not me, obviously, but the crispy greige suit in strong shadow.

And light of yellow silk.

Pic @adnatt

One more from @artstudio_classic - Samuel's illustration of my recent pink-corduroy commission from Orazio Luciano.

It was a popular colour in the 20s by the way, I'm told, and universally known as dusty rose. Perhaps men had the same issues with pink that some do today.
With grey flannels and blue oxford. Details on the cloth and jacket in the Orazio article on PS

An illustration of myself sent by the talented @artstudio_classic.

I think it's fair to say the appeal of the image also owes something to the lovely @trunkclothiers shetland sweater and the original photo, taken by @adnatt.

Today on PS I update a post originally written in 2012:

a breakdown of all the tailors I have tried personally (rather than just written about), split into different countries.

It was updated in 2016, and now again in 2020, adding a further 18 tailors to the list.

I have also taken out a couple of names (Hemingway and Kiton) that really belong in a made-to-measure list – which I will put together later this year.

There are links in all the descriptions to posts elsewhere on the site, making this a useful jumping off point for anyone looking to research bespoke tailors.
There are now 55 tailors here, which is too many by anyone’s standards. I certainly wouldn’t recommend that someone pursue this course towards bespoke, or maintain this number of tailors. One to three is more like it (see post ‘How many tailors do you need?‘). However, hopefully it is a useful resource for anyone looking for personal experiences and reviews of the world’s best in bespoke.
Photograph by @lrjc26 at @sartoriacaliendo

What a wonderful feeling it is, seeing a whole community respond #blackouttuesday

The cloth of this @sartoriacornacchia suit is the 2-ply high-twist woven by Vitale Barberis Canonico, which you find in the Drapers Ascot bunch.

It's light grey but with a brown cast, which is something you often see from Italian mills - an effect brought out here by the accompanying brown tie.

I like the effect because it’s warmer than English greys, and makes the suit look less formal. It would still look elegant with black oxfords and a silk tie for a wedding, but could equally be worn casually with an open-necked white shirt and loafers.
Worn with @drakesdiary knitted tie
@rubinacci_official handkerchief
and @100hands cotton/linen shirt
Photograph @adnatt

This summer suit from Sartoria Cornacchia was made for me last year, and I would like to apologise for the delay in covering it.

I didn’t get around to shooting the suit until the end of the Summer; events and the pop-up then got in the way; and by the time that was all done, it was cold and wet and the article no longer seemed appropriate.
Of course, few readers would have realised this (other than the occasional eagle-eyed commenter on the fitting post), but I do apologise to Nicola Cornacchia and his team.
Cornacchia is a small, regional tailor in Altamura, in the Puglia region of Italy. Nicola is the father and the cutter, Maria runs the business, and their daughters both do some aspects of the making.
The construction is lightweight, without being full-on Naples. So only a thin pad in the shoulder and a lightweight canvas, but no spalla camicia, shirring or anything particularly short or tight. It is a smart suit, for a hot climate.
The quality of the work is good - full bespoke - without being the best in the world. You can see on the post showing our one fitting (in Florence) for example, that the collar is padded by machine, not by hand.
This isn't the worst thing, and even some Savile Row tailors do it occasionally, but it's not the purist’s idea of top-end bespoke.
Full review on
Photograph @adnatt

The @drakesdiary espadrilles that went with our second smart/casual summer look.

Not a shoe for the office, perhaps, but a much better option than the flip-flops most men revert to in hot weather. Cool, comfortable and elegant.
Photograph @adnatt
Trousers by @jeanmanuelmoreau

Our third summer outfit is the most casual.

The outerwear is a suede bomber from Anderson & Sheppard, which is rather warmer than the other two jackets, even though it’s unlined. If you’re this casual, you might also feel you don’t need anything on top.
But a lightweight suede is useful as a place to keep keys and wallet, and nice when the temperature drops in the evening. Plus it’s lovely against the skin.
The shoes are plain-white Converse All Stars.
The process that led to buying these shoes also deserves its own article at some point. I spent so long trying to find a white tennis shoe in a slim last, made well. I tried over a dozen brands, from Spring Court to PRAS, Doek to Margaret Howell.
But only Converse worked. The others were all off-white or too chunky. And these do achieve the Slim-Aarons-chic-poolside-waiter concept I had in my head. (Note: Since this was posted on the website, dozens of suggestions have been made - worth a read. The best so far is Shoes Like Pottery, but only with a white seal on the side, not a blue one. Erik Schedin also gets an honourable mention.) Photograph @adnatt

Navy on navy - the overshirt and polo shirt from earlier today. Plus my Cartier Tank.

Had it 10 years this year. 15 years old when I bought it. It's become vintage.
Full breakdown of the smart/casual summer combinations on PS now

Overshirt by @drakesdiary
Polo by @johnsmedleyknitwear
Photo by @adnatt

In this second smart/casual summer outfit, the blazer is replaced with a linen overshirt, which immediately makes things more casual.

There’s nothing like removing the line of a tailored shoulder to make everyone relax.
The overshirt is an old one from Drake’s, with just two breast pockets and nothing on the hips. Personally it’s the style I prefer, but the current-season ones with two hip pockets are made just as well.
The espadrilles are also from Drake’s, and are something I’ve been wearing regularly when the weather’s warm. It’s not an office shoe, of course, and not great for a long walk. But otherwise, in a dark colour like this, espadrilles are rather versatile.

They can be worn around the house, to the shops, and for work if everyone else is in trainers. They could also happily be worn with either of the other two outfits.
A good replacement for the flip-flops men often revert to in hot weather.
I’ll do a separate piece on espadrilles, and the models I prefer, at a late date I think. The different brands and models vary a lot in make and last.

Photo @adnatt

The shoes worn with today's first smart/casual summer outfit.

Classic Sagans from @baudoinlange , worn with cream-linen trousers from @jeanmanuelmoreau and a navy blazer and knit polo above.
Full series on today
Photograph @adnatt

Today on PS, I expand on last week's article on the knitted polo - to show how it can be worn at three different levels of formality.

Each time I keep the polo and the linen trousers the same, but swap the jacket and the shoes.
This one, the smartest of the three, combines the polo and trousers with a hopsack blazer and lightweight loafers.
The blazer is my double-breasted from Elia Caliendo, in Naples, and the loafers are the Classic Sagan from Baudoin & Lange.
A normal, Goodyear-welted loafer would also work, but the Sagan is particularly nice in the summer, with its softness and lightness. It’s also a little more casual.
The blazer only works because it has a Neapolitan structure and cut – anything heavier would be too smart, and crush the polo collar. Even here, it has a tendency to move around and flip outside of the jacket.
Grey or brown trousers, in linen or in a high-twist wool, would make the outfit less striking, and perhaps more office appropriate.

The polo is the Adrian model from @johnsmedleyknitwear and the linen trousers are by @jeanmanuelmoreau
Photograph @adnatt

This green colour of our Finest Cardigan makes it a nice partner for warmer-coloured jackets like the biscuit cashmere pictured (from Richard James).

The outfit also shows how a cardigan can add a sartorial touch to a simple jacket and trousers. The effect is similar to a waistcoat - framing the chest and wrapping the stomach, while adding a dark outline to the lapels when the jacket is fastened.
To anyone pining for old-fashioned tailoring, a cardigan like this can add recreate some of the waistcoat's flattering lines, but without looking too formal.

The Finest Cardigan is a new product from PS, launched yesterday. Also available in navy.
Photograph @adnatt

The merino we used on this cardigan is Wish 2/60 from Loro Piana - the same as the Dartmoor but not quite as delicate as the previous Finest Knitwear.

This kind of merino feels sumptuous, redolent of cashmere even, but is more robust. Which is what you want in something that should be a workhorse of your wardrobe.
We made it in navy and the same dark green as the Finest Knitwear, given both were so popular.
Navy is of course the menswear standard. But this green is versatile because you're unlikely to be wearing green elsewhere, and because it is dark and muted. Almost like an interesting charcoal.
Pictured with beige-cotton trousers from @sartoria_dalcuore
Photograph @adnatt

Today on Permanent Style we launch the first new product for a while: The Finest Cardigan.

It is the finest sleeveless cardigan you will find, anywhere.
That’s what we do with this series of knitwear pieces (like the Dartmoor sweater): commission the finest quality possible, and design it to be the perfect partner for tailoring.
This cardigan uses a particularly fine merino yarn, making it feel smooth and luxurious, and the manufacture is the best available: fine fashioned seams, smooth finishing. Basically, knitwear worthy of bespoke.
There are details on the article on these points - including an illustration of the various making details.
But for now, a quick back story. Six years ago I did a collaboration with John Smedley to create the ‘Finagon’: my version of their standard sleeveless cardigan, designed for tailoring.
That became part of their full collection, but was discontinued two years ago. So I set out then to make my own model, with a few technical improvements, a finer merino and an elevated make.
This is the result. Two years of work, sampling and production, resulting in two beautiful cardigans, in navy and dark green.
Full details on PS today
Navy shown here with a bespoke @prologuehongkong jacket in @marlingandevans undyed wool
Photograph @adnatt

A little video Begg & Co asked me to do, on how I wear scarves in warmer weather - as pure decoration, rather than function (the aspect that can often put men off)

An extract from a piece for @thearmourynyc on shoulders - perhaps the most crucial part of a jacket's anatomy.

Full article on their site, and linked to in their bio

Some tailoring mistakes work out OK... you grow to love them. Others don't. Here are some of mine.

Talking with @aleks_cvetkovic of @handcutradio
My cord jacket by @andersonandsheppard
Full video on

Aleks shares his horror stories, in the next episode of our reader question series.

Hear why you shouldn't base your tailoring on period pieces you see on the telly... Full video on today, and YouTube

Close up of that denim shirt, hopsack jacket and linen trousers.

Plus a flash of colour from a @serge_amoruso wallet
Photograph @arnold.wkt

Seems like a long time ago: denim, hopsack and straw-coloured linen worn in Hong Kong.

Shot by @arnold.wkt

The shoes from today's outfit - a summer staple for me, unlined loafer from Alden.

Probably the most comfortable welted shoe I've ever worn.
With vintage Levi's. Photography by @taka.okabe at @clutchcafelondon

Repost from @clutchcafelondon: styling work for them in a red Cushman sweat, vintage Levi's and Alden unlined loafers.

I've seen how the sweatshirt fades over time and it has a lovely, vintage feel to it quickly. The beige stitching helps too
It has the S-shaped 'Freedom sleeve' that's typical of Cushman as well - an old construction style that was common in the 1930s, and helps give freedom of movement.
Photography by @taka.okabe

The creative director of Drake's talks to Simon about how fashion is changing, and the clothes he's rediscovered being at home.


Today on Permanent Style we're talking about bespoke socks - offered at @meschaussettesrouges.

Do most people need bespoke socks? Absolutely not.
Most people are fine with simple small, medium and large sizing. And when you get into proper sock sizes (10, 10.5, 11) everyone is catered for.
Do they need specific colours, or materials? Well possibly, but there are hundreds of combinations out there, even in the rarefied world of over-the-calf dress socks.
The most obvious driver is personalisation - and it is here that Mes Chaussettes Rouges has found much of its custom so far, with both clubs and individuals liking the idea of having their name knitted into their hosiery.

In today's article I don't make an argument for bespoke socks though.
Rather, I simply applaud MCR for the sheer audacity of buying their own huge sock-knitting machine, sound-proofing a building to accommodate it, and then spending months learning how to use it. Jacques even spent a month living in Italy, to learn first hand.

Full piece on PS
Photograph @adnatt