There’s a photo that lives rent-free in my head.

I wanna say it’s from an old profile that GQ did on Sid Mashburn years ago (circa ‘08) when he first opened his eponymous men’s shop in Atlanta’s up-and-coming Westside neighborhood.

The fits leaned a little slim, but I was enamored by the color pops, the way the suiting draped, and the golden era of sartorial prep we were lucky enough to live through.

This is that photo.

I first stumbled upon Sid and his work as a teenager, where my only outlets for discovering good taste was through Wordpress and Tumblr. He immediately became a beacon for good taste and muse for personal style.

Being from America’s Deep South (I’m a Tennessee boy at heart), and having grown up in rural towns, finding any semblance of creativity, culture, and style was hard to come by.

But if you’ve had the pleasure of meeting someone like Sid, you know what a radiant character he is. And you quickly realize that the way he treats people isn’t some kind of shtick… it’s who he is.

He treats people like he’s got all the time in the world. He shakes your hand, looks you in the eye, and remembers your name like you’re one of his own.

And that’s the kind of hospitality and care we often miss in retail.

I had the chance to sit down with Sid last year and talk shop on all the things. We went deep on everything from his upbringing in Mississipi, his first retail job, a one-way ticket to NYC to work in fashion, landing his first job at J.Crew (when it was a catalog in New Jersey), climbing the menswear ranks at Tommy, Ralph, and Lands’ End, and finally making his way home to ATL where finally opened his first men’s shop.

It’s now expanded into locations across the US, and what’s most impressive about Sid is how he’s stayed the course through many iterations of his brand.

We hope you enjoy this conversation.

PS, huge thanks to the homie Ray Spears for photographing Sid at his flagship spot for us.

Please give Ray a follow and reach out if you want to work with ‘em!

Clayton Chambers: Sid, appreciate you taking the time. I feel like our worlds have kind of orbited around each other for a while, but it’s good to finally sit down properly.

Sid Mashburn: Yeah, man, likewise. I think we met in the store before, right?

CC: We did, years ago. But even before that, I feel like I got to know you through that GQ piece years ago. That one really stuck with me. I was just starting to figure out my own style, and seeing how you built something so personal and intentional really resonated.

SM: That was a fun one. We had no idea what we were doing back then. Still don’t, some days.

CC: That makes two of us. You’ve been in this world for a long time (Ralph, Tommy, J.Crew) but it all started in Mississippi, right? That’s not exactly the first place people associate with menswear.

SM: No, it’s not. But I grew up around clothes. My grandparents were merchants. They had a furniture store, hardware store, even a clothing store at one point. My sisters were older than me, and they were into fashion. There were always magazines around the house. Think Seventeen, Glamour, Mademoiselle. I didn’t realize it at the time, but I was absorbing all of it. And I loved shopping. Whether it was the grocery store or a roadside Stuckey’s, I just dug the experience of picking things out.

CC: So when did it shift from interest to obsession?

SM: Probably when I was 15. I had just gotten my driver’s license, and the first place I went wasn’t to a friend’s house or a football game, and I drove straight to a clothing store to ask for a job. I wanted to be around it.

I ended up working at this place in Jackson, Mississippi, called The Rogue, which was one of the best menswear stores in the country at the time. They had all the right brands, all the right people working there.

It was like a little fraternity. One guy could talk about literature, another knew everything about cars, another was obsessed with music. It was this mix of culture and style, and it just clicked for me.

CC: Sounds like a real creative incubator. Was New York always the goal, then?

SM: Yeah, I graduated from Ole Miss and went straight to the city. And let me tell you, they were pulling the straw out of my hair the second I got there. Total country boy. I wanted to be a designer, but I didn’t have the credentials to get into Parsons or FIT.

So I got a job at a menswear store, Frank Stella, and started figuring it out from there. A guy from British Khaki came in one day and asked if I wanted to do sales for him. I said, “Sure, if you teach me how to design.” And that’s how I learned.

Just by doing it.

CC: That’s wild. And that led you to J.Crew?

SM: Indirectly. I met my wife, Ann, in New York. We actually met on the beach. She was working at Vogue at the time, and a friend of hers left to work for this startup catalog company in Jersey. She told me I should go talk to them. Turned out to be J.Crew. I somehow talked my way into being their first menswear designer in 1985.

CC: No big deal. Just the first guy to design J.Crew menswear.

SM: Yeah, man, it was a blast. We were figuring it out as we went. At the time, we were doing these unisex pieces. Men’s chinos and shirts that they’d tweak for women. But we started playing with the idea of a full menswear line, and that’s how we landed on things like the barn jacket.

CC: And Ann was working in the Devil Wears Prada world of Vogue at the time?

SM: Exactly! She was basically Anne Hathaway’s character in real life. That whole high-pressure, high-fashion environment - it was the real deal. We joke about it now, but it was intense.

CC: That barn jacket is legendary.

SM: It was kind of a Frankenstein’s monster—part Barbour, part LL Bean, part old hunting coat I found in a thrift shop. It was oversized, a little preppy-sloppy, and just worked.

Once it hit, we got a little more freedom to push things further, like tailored goods, sport coats, dress shirts. That’s when we really became a proper menswear brand.

CC: Then came Ralph. What was that transition like?

SM: I got recruited from J.Crew to Polo. My interview was with Ralph and his brother Jerry, and at one point, Ralph jokingly goes, “He’s stealing all my ideas.” He was half-kidding, half-not. J.Crew had this younger, cooler thing going on that was really resonating. And he wanted to bring some of that energy back to Polo.

CC: That must’ve been like getting a PhD in style.

SM: Exactly. J.Crew was loose—we could do anything. Madras anoraks, polka dot shorts, fatigue sport coats. There were no rules. But Polo? That was a different beast. Ralph and Jerry were meticulous about every detail—the color of a button, the weight of a fabric, the way a collar rolled. It was a masterclass in branding and consistency. I learned a ton.

CC: And then Tommy. Another massive shift.

SM: Totally different. Tommy was smart, man. He understood scale and marketing in a way that was ahead of its time. I was there in ’97, working on his high-end collection line. Basically his version of Purple Label.

The idea was to elevate the brand in Europe and prove that Tommy wasn’t just about big logos and baggy jeans. It was cool to be part of that.

CC: That’s something people really connect with. You walk into a Sid Mashburn store, and you just feel it. It’s not just racks of clothes, it’s an energy.

SM: That’s the goal, man. It’s all about taking care of people. I tell my team all the time: remember names, remember faces, make people feel like they belong. That’s what makes a great shop.

If someone walks in and you remember their name, what they bought last time, or just what they were wearing, it changes the whole experience. It’s hospitality. The best shops aren’t just about selling clothes, they’re about making people feel at home.

That’s how you build a relationship, by actually caring about the person in front of you.

CC: And you’ve mentored a lot of younger guys along the way, like Mark Anthony Green, Pete, Matt Lambert. That’s something not every business owner prioritizes.

SM: It’s important. My dad was a people person, and I picked that up from him. It’s about inclusion. I want the shop to feel like a fraternity where everyone gets a bid. If you walk through our doors, you’re one of us.

CC: What’s next for you and the brand?

SM: We opened another store, this one in Nashville, with more in the future. But we’re not rushing. It’s about growing the right way, at the right pace. That’s how you keep it special.

CC: Sid, this was great. I could do this all day.

SM: Likewise, man. Let’s do it again sometime.

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Not just making products, but thinking carefully about how people actually live with the things they own.

SLOWE Living is one of those brands. Founded by industrial designer Oliver Murphy, SLOWE makes modular furniture out of a small workshop in London, England. Their whole philosophy centers on simplicity, repairability, and designing things that get better the longer you live with them.

I first came across SLOWE last year, when I was setting up my studio here in Amsterdam. When Oliver and I connected over a shared appreciation for the kinds of objects that earn their place in your life rather than demand attention, I wanted one of his sofas in the space, and he kindly agreed to gift me one.

Oliver’s got a unique approach to design, and his references span Tokyo, Copenhagen, Danish modernism, and 90s Japanese industrial design, but the work itself feels grounded in something more personal than any single influence.

We sat down to talk about how a pandemic side project became a furniture brand, why he’s deliberately resisting the pressure to scale, and what he thinks meaningful sustainability actually looks like when you strip away the marketing.

If you want to follow his work via IG, tap in here.

PS: A huge thanks to Jack Orton, Marcus Brown and Tom Groves for the photos.

The sofa bed that inspired SLOWE Living started as a personal solution to a problem.

How did that experience change the way you think about what design should do?

When the pandemic hit and a lot of my client work disappeared, it unexpectedly gave me the opportunity to make things with my hands again, something I’d really missed since studying industrial design.

I wasn’t trying to start a brand at that point. I just wanted to try and design a sofa for our own home that worked well in a small London apartment and didn’t feel like a compromise.

I couldn’t find anything on the market that felt both versatile and genuinely well considered, so I started drawing on influences from places I’d lived and travelled, particularly Japan and Copenhagen, and thought what can I make, myself, with the simplest materials available during the locdown?

That constraint shaped everything. I didn’t want complex or hidden mechanisms. I wanted something simple, easy to use, and well-engineered, something you understand immediately, but appreciate more the longer I’d live with it.

Designing for myself shifted my mindset away from hype and over-engineering, and towards longevity. I wasn’t thinking about trends or scale, I was thinking, would I be happy owning this for a long time?

That experience really cemented my belief that good design doesn’t always need to be fussy. It can be super simple, made from good materials, easy to use, and built to last, and that philosophy has stayed with SLOWE ever since.

You’ve spoken about influences from Tokyo, Copenhagen, Danish modernism and 1990s Japanese industrial design.

How do you reconcile these global references with the idea of place-based, slow craft in Cornwall?

Global references and place-based making don’t feel contradictory to me, everything has to be made somewhere, but inspiration can come from anywhere.

I don’t try to be overly precious about the references. There’s a clear lineage in the work I’m drawn to, whether that’s 90s Japanese Industrial design, Danish hey-day furniture, certain parts of the Bauhaus, or even minimalism associated with figures like Judd. None of it is about originality in isolation, but about respecting a common design language and set of values.

Making in Cornwall was important because the place gives work some identity and brand synergy I suppose. Many of the products I admire are inseparable from where they’re made, the processes, the pace, the people involved, it’s all so fascinating to me and I wanted to share that with my customers.

I wanted SLOWE to be built in a similar way, where manufacturing isn’t hidden, but part of the story and the value of the object.

Cornwall also offered a practical and philosophical fit. It allowed us to work with small, skilled workshops at the right scale, and it embodies a slower rhythm of life that feels aligned with the brand and the kind of work/life I want to live, a counterpoint to the constant urgency of London (which I still need in my life).

How do you see meaningful sustainability (something you pride yourself in promoting) versus sustainability that’s mostly marketing?

If you’re producing endless stock, chasing constant novelty, and relying on people replacing things prematurely, no amount of recycled packaging really changes that equation.

We’re not perfect, but no brand is and I can live with that imperfection, and not trying to improve absolutely everything. Brands like to project this outwardly polished somewhat virtuous way of looking at life, and I prefer to be a bit more daoist about it haha.

Our approach is deliberately slower: made-to-order, limited runs, perpetually repairable components, and products designed to evolve with people’s lives rather than be discarded.

If something breaks or needs replacing, we’re at the end of the phone to fix it. Or if you simply feel like a change in colour of your sofa, we can make up a new colourway with replaceable and washable cushion jackets.

I think sustainability credentials become marketing when it’s treated as an aesthetic or a badge, not backed up by real service or a good lasting product.

It becomes meaningful when it affects margins, lead times, and decision-making when you’re willing to say “no” to growth that compromises the integrity of what you’re making.

SLOWE seems to intentionally resist scaling at all costs. How do you reconcile slower scaling with the ambition to have an impact on culture and design?

I’ve come to believe that scale and impact aren’t the same thing. Fast growth often rewards volume over values. Slower growth gives you that space to build trust, relationship, friendships depth, and cultural meaning, things that compound nicely over time.

I also don’t like being hurried in life, it stresses me out. We’re a bit more Mediterranean in that mindset). What really is the rush, good things take time and if we do have a message it’s that. Run the bath and play one of our playlists.

That’s where I think it can have an impact on culture.

My ambition has never been to flood the market. It’s to contribute something considered to the conversation around how we live, what we keep, and what we value. If that resonates deeply with fewer people, rather than superficially with many, I’m very comfortable with that.

There’s a growing cultural conversation about living with less, valuing craftsmanship and resisting fast trends.
How do you see SLOWE Living fitting into that broader shift, and what do you hope it teaches people about how they live with objects?

I’d never want to tell people how to live or what they should buy. But personally, as I’ve got older, I’ve found a lot of freedom in owning fewer, better things, objects that don’t feel disposable or emotionally heavy.

That mindset is really at the heart of SLOWE. We design products to last, to be repairable, and to be supported over time, because life happens, things wear, spillages occur, pets get added into the mix.

There’s reassurance in knowing that when you invest in something, you’re not left on your own if something goes wrong.

Rather than chasing trends, we focus on making pieces that feel timeless and adaptable, furniture that can move with you through different homes and phases of life. Comfort, clarity, and longevity matter more to us than novelty.

If SLOWE teaches anything, I hope it’s simply that buying with intention can feel lighter, and that living with well-made, thoughtfully supported objects can quietly improve everyday life.

You’ve mentioned wanting to give space to other designers under the SLOWE umbrella.

How do you think a collective of slow-thinking creators might change the furniture/design ecosystem?

Running a business can be quite isolating at times, and I’m increasingly interested in creating space for designers who have strong ideas but lack the platform or infrastructure to bring them to life.

Large furniture brands tend to work with established names, which makes sense, but there’s also an opportunity to support emerging designers who are thinking more slowly and thoughtfully about how things are made and used.

I’d love to see the opportunity for this to grow as the business does.

Because our products are modular and adaptable, they naturally lend themselves to collaboration. Different materials, finishes, and interpretations can sit within the same framework.

I like the idea of SLOWE acting as a kind of canvas, where designers, artists, and creators can contribute their own perspective and create meaningful conversations through design.

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We’ve already done a guide to jackets in transitional weather, one on shirting, and a footwear shopping guide.

Outside of the deep dives, editorials, etc., we’re investing a ton into making Spreza a trusted resource for you when it comes to buying products, so thanks for continuing to support us.

Access our shopping guides

A few notes about these guides ❤️

1. As always, if you’re looking for trendy shit on the cheap, this isn’t the best place to look. You need the right stuff, not more stuff.

2. A lot of these recommendations tend to be medium to higher price point (though not always). If you’re looking for quality, affordable options, I always recommend thrifting what you can (like eBay, vinted, etc), or looking at options like Uniqlo.

   1. If you like these guides, share them with a homie, partner, family member, lover, or anyone who would appreciate it!

Read more

Outside of the deep dives, editorials, etc., we’re investing a ton into making Spreza a trusted resource for you when it comes to buying products, so thanks for continuing to support us.

As a paid Spreza subscriber, you’re getting access to these guides more frequently. We’re committed to providing you with consistently great style tips and guidance around how to invest in your wardrobe.

Beyond the seasonal guides, we’re also working on building out more evergreen content - like the best basics to buy year-round. And we have some really cool giveaways and brand discounts in the works exclusively for our paid community.

Get access to all that stuff

A few notes about these guides ❤️

1. As always, if you’re looking for trendy shit on the cheap, this isn’t the best place to look. You need the right stuff, not more stuff.

2. A lot of these recommendations tend to be medium to higher price point (though not always). If you’re looking for quality, affordable options, I always recommend thrifting what you can (like eBay, vinted, etc), or looking at options like Uniqlo.

   1. If you like these guides, share them with a homie, partner, family member, lover, or anyone who would appreciate it!

Read more

This might be your favorite brand’s favorite brand

When it comes to clothing, attention to detail is everything. And one of the brands absolutely nailing that right now is Seoul-based label Khakis.

We’re talking asymmetrical chambray shirts, freaky garment-dyed HBT pants, thick waffle-knit zip hoodies; the kind of pieces that feel considered without trying too hard.

It’s all designed to mix into whatever obscure, seed-to-sewn labels you’re already rocking, without making you feel like you need to buy the entire collection to get the look.

Khakis technically operates as a multi-brand retailer, but their in-house line is going toe-to-toe with the third-party labels they carry.

Both the shop and the private label launched about six years ago, and since then, they’ve become a key player in Korea’s new wave of independent brands, alongside names like Document, Cayl, and Frizmworks.

They’re also part of the JKND Co., Ltd. umbrella, which includes a roster of heavy hitters like thisisneverthat, YESEYESEE, Sunlove, and Tune. So, you know the vibes.

We’ve been fans of Khakis for a minute over here, and honestly, this spotlight is overdue. Consider this an introduction to one of the best brands on the market right now as we dive into their well-curated shops, explore how they’ve leveraged smart, intentional collaborations, and check out some of our favorite pieces from their SS26 collection.

Khakis’ retail

Khakis, a first multi-brand shop, opened in 2020 on Yeonhi-ro 11-ra-gil, with a second location arriving four years later in Seongdong-gu.

Both spaces are intentionally stripped-down and minimal, letting the brands do the talking.

At Sprezza, we pride ourselves on the art of discovery, and Khakis absolutely delivers on that front.

From a ceramic label like Mt. Washington Pottery to Montbell, and even an independent magazine like Lightning, it’s the kind of place where you walk in to browse and somehow emerge three hours later, caffeinated, culturally enriched, and lightly considering a new hobby in ceramics.

Select brands they carry: Actual Source, Adsum, District Vision, Goldwin, Klattermusen, Last Resort, norda, Western Mountaineering.

Khakis’ collabs

One of Khakis’ brightest spots, and honestly, how a lot of people first got hip to the brand, is its run of meticulously executed collaborations. In an era where collabs can feel like little more than a logo slap and a press release, Khakis’ approach is a welcome palate cleanser.

At their best, collaborations should do two things: introduce the brand to a new audience (in this case, North America) and produce dope pieces both parties can stand behind.

From their take on New Balance’s 2010 silhouette, to a duffle coat with British stalwart Gloverall, Adsum team-up, and their most recent nine-piece collection with Japanese label nonnative, there’s always an element of surprise.

More importantly, the results actually deliver: wearable, considered pieces that don’t get lost in the usual collaborative-muddied waters.

Khakis’ in-house label

As we mentioned, Khakis’ in-house line launched in 2020, rooted in military gear and American staples—firmly sidestepping trends in favor of pieces that actually stick around longer than your latest style phase. While the brand is based in South Korea, most of the garments are made or sourced in Japan.

From dirty-washed painter jeans to striped, Kurt Cobain–inspired long-sleeve tees, plus slightly off-kilter denim shirts and outerwear, Khakis doesn’t pledge allegiance to any one lane.

Instead, it feels like the ideal amalgamation of skate subcultures, punk scenes, various military eras, and the no-nonsense utility of mountaineering gear.

Here are a few pieces we’re currently keeping an eye on.

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If you’re on the hunt for a new sofa

Before I get into all this, a quick note: and this isn’t sponsored either.

BUT, Vetsak gifted me a sofa recently and I’d be remiss if I didn’t share with you that they gave me a code you can use if you’re on the hunt for a new sofa. You get 10% off their outlet collections, which is solid.

If you’re on the hunt for a sofa, I’d highly recommend using this. You see what it looks like below, but when the couch arrived I wanted to have a friend photograph me in it so you can get a sense for how it looks IRL.

Code’s here: VETSAK-CLAYTON-2026

Annnd we’re back.

If you’ve been following along, you know I moved into a new apartment, and finding the right stuff has been a slow build. When we moved from the US, we didn’t bring much. Most of what we had in the states didn’t make the trip, and TBH I’ve kind of enjoyed the blank slate.

But there’s a difference between “intentionally minimal” and “we don’t have a couch.”

But back in January, I mentioned on my personal IG that the team at Vetsak kindly offered to gift me a sofa, and I asked for help picking the fabric and color. Not many people chose the khaki x corduroy combo, but that was my top pick, and I’m super happy with how it turned out.

The modular sofa arrived last month and it looks even better in person.

One thing I’ve noticed most since it arrived is how much it changed the room without dominating it. Our apartment here isn’t huge (~900sq ft); Amsterdam apartments rarely are. And a lot of furniture can be bulky in a tight space, overpowering it.

But this piece just settled in. It fills the room out without forcing anything, which is harder to find than you’d think, especially when you’re working with European dimensions.

And that’s kind of the whole philosophy I’ve been leaning into with this spot. Start with pieces that are quiet, well-made, and built to last, and don’t rush to fill every corner. Eventually, the space shows you what you’re missing and what to fill it with.

So, I like that the sofa gives me a nice foundation to build on, and now the walls are next. I’m looking for independent artists to build out a small collection around, nothing precious, just work that feels right in the space. If you have someone in mind, send them my way!

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Thanks to the homie Connor Houtman for taking photos.

And THANK YOU again to Vetsak for the sofa!

Discord memberships are now open

Hello friends, we are now re-opening the Sprezza Leisure Club, our invite-only discord group. It’s been a while since I opened invites to this, but with spring around the corner, it’s time.

If you want to join, you’ll need to fill out the link below, and we’ll get you locked and so you can start yapping away with the Sprezza fam, and other members alike. Warning: they might talk your ear off about some obscure Japanese brand they’re obsessed with, but they’re harmless!

Join the Sprezza Leisure Club

LL Bean Japan is back in the US

Back by popular demand, L.L.Bean Japan is running it back stateside this weekend only. Early access to the collection will be available through a special pop-up in NYC, then via cop online and select L.L.Bean retail stores.

Spanning 20+ styles and colorways, the collection introduces new silhouettes alongside refreshed core styles, blending oversized fits, rich textures and a bright, summer-forward color palette.

If you’re not privy, LL Bean launched a Japanese division in 1992, when it opened its first store in Tokyo, and as the Japanese tend to do with anything rooted in American heritage, they do it better than we ever could.

Buying in person

If you want to hit the popup, you’ll need to be in Brooklyn this weekend (Friday, March 20, through Sunday, March 22).

Address is right here: 106 North 6th Street, Brooklyn, NY 11249.

Buying online

If you can’t make it but want to be online, you can purchase on their website from next Tuesday, March 24th.

Products available exclusively online and in-store include four colorways of the Prospect Harbor Field Coat, two colorways of the Japan Edition Roxbury Jacket, and two additional colorways of the Milo Anorak.

Our editor, Leon, has already been road-testing some of the collection they sent him and has nothing but rave reviews so far.

Shit I’ve been roadtesting lately

The Vibram coaster

This Vibram coaster (c/o my guy Chris, who gave me one when I was in NYC last month). It’s honestly a genius move by Vibram and doubles as a phenomenal gift idea. It’s quirky and weird, playful, and genuinely useful.

These kitchen knives

The homie Ryan from Fields Outfitting sent me a set of these delightfully sharp kitchen knives recently and they are the real deal.

It’s the Essential Trio: a chef knife, a nakiri, and a utility knife. Between those three, you’re covering basically every situation in the kitchen. The olive wood is what I keep coming back to visually; every handle has its own grain, which is cool. It’s like something you’d actually want on your counter, except they are also really useful.

The blades are 420HC stainless steel, hold an edge well, and are easy to maintain. Full tang through the handle, so the balance is right. Nothing precious about them; they just do what a good knife should.

Ryan knows his stuff. Worth looking into if you’re due for an upgrade.

Check them out here.

Next up, this… well, the whole fit actually.

Hat and shoes are from Cafe Mountain. Gotta love the nod to listening and DJs with the “no requests please” cap, along with these lowtop boots that Lewis from CM collab’d with Padmore & Barnes on last year.

The maroon heavyweight fleece hoodie is from Adsum, and it’s genuinely one of the best sweats I’ve ever owned. S

lightly cropped, nice thick drawstring, double zip, and lined with fleece on the inside. Absolutely a banger. Here’s the link if you’re interested.

Comes in this color, olive, and light / heather grey.

Navy fatigue trousers are from Khakis2020, a Korean brand that is becoming one of my favorite brands to wear, hands down.

And the tote bag in the background is from Alex Mill. It’s a Canvas carry-all tote that’s available in multiple sizes, can be monogrammed with your initials, but what I love most is that I can throw whatever the hell I want in it, and it somehow manages to fit.

Here’s where you can find it.

Loopwheel t-shirt

The loopwheel tee from Merz b. Schwanen (i.e. the famous shirt brand Carmy wears in The Bear) is 100% worth the money. They sent me a pair of thick a$$ socks, but their shirting program is truly incredible (albeit not cheap, but neither is the quality).

They have a nice little t-shirt guide you can check out here.

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Alas, we are not quite there… yet. And before we get there, we need to discuss the cursed dilemma we all face as the seasons (sort of) change: transitional weather.

The period where it’s kind of hot, but sometimes cold. Or a little steamy outside, and then windy (for those in the South). Or if you live in northern Europe, rainy… season.

We still want to put that sh*t on, but it’s tough without the right pieces in place. So in addition to today's guide on transitional spring jackets for you to consider, we’ll soon share a Guide to Dressing for Transitional Weather. We’ll share tips on what works and what to avoid.

If you are a free subscriber, you’ll still get some free stuff, but not our shopping guides.

A few notes about these guides ❤️

1. As always, if you’re looking for trendy shit on the cheap, this isn’t the best place to look. You need the right stuff, not more stuff.

2. A lot of these recommendations tend to be medium to higher price point (though not always). If you’re looking for quality, affordable options, I always recommend thrifting what you can (like eBay, vinted, etc), or looking at options like Uniqlo.

   1. If you like these guides, share them with a homie, partner, family member, lover, or anyone who would appreciate it!

Get our shopping guides here

Read more

ICYMI we kicked off our spring shopping guides last week! We’ve started with footwear, and next up, we have transitional jackets, shirts, and then trousers.

We’ll also be rolling out a series of suiting/wedding content with tips on how to get fitted and measured for a suit, whether you’re getting married or attending one, how to talk to your tailor, etc.

Become a member

Travel guides are baaack

It’s been a minute since we whipped these out, but Mat Spade, who is our travel editor and a master curator of good vibes, has just come back from Brussels with the rundown on what’s good to do there, so we need to share that with you.

He has a colorful eye for design, strong personal taste, building a home, and how to travel well.

If you want to get to know Mat better, here’s an interview I did with him a while back. Also, please give Mat a follow for more zinger content.

Last, here are some previous guides we’ve done on (that should largely still be up to date):

• Manchester

• Copenhagen

• San Juan

Got a city we should cover next? Drop it in the comments!

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Food + Drink

Batch

Batch neighbourhood restaurant in Saint-Gilles for dinner (they’ve open all day, breakfast looks great too). Jazz house playing and a nice lost of sharing plates on the menu.

We had the burrata clementine salad, green cabbage pasta with confit egg, roasted cabbage with sriracha blanc + hazelnuts. Try bag seating in the bar area; a really slick mix of industrial and traditional Belgian design.

Nightshop

Still buzzing off our dinner at Nightshop; I had several recommendations for this place and this is me officially passing that tag on.

Love that they retained the garage details from previous use, the front shutter opens wide when it’s warm enough, and the long narrow unit lends itself perfection to the long open-kitchen table on the left (you get a great insight to what a well-oiled machine a kitchen can be).

The food was modern European, with an emphasis on locally-sourced meat and veg, and unusual pairings. Go here.

Mok Studio

A listening bar where people are actually listening. Mok Studio is by the people behind Mok Coffee Roasters; they’ve created the perfect day time space for anyone interested in coffee and listening a record top to bottom.

Quite a large space, with seating geared towards the front sound system, which also doubles up as the coffee bar. The baristas are the DJs, watch them reset the records in between making your pour-over. One of the most unique coffee experiences I’ve ever had.

Stella

Park yourself up at one of Stella’s cafes in the Saint-Gilles area. Stocking coffee by local roaster Wide Awake (also worth visiting one of their cafes while you’re central). Spacious, community-first cafes, with plenty of seating, set a modern airy units. Definitely where the locals go.

Bouche Coffee

This place seems to be highly recommended by visitors for coffee + design. Perfect location too, just opposite the Magritte and Oldsters museum, along with the Royal Palace.

As you approach, you’ll see it’s in good company, surrounded by curated vintage and design stores.

In terms of the cafe, a low-lit, wooden-and-concrete interior, coffee-forward, with daily bakes and a dedicated space for laptops. The outdoor seating is definitely prime people-watching material.

BoaBoa Records

What looked deadly quiet from the outside turned out to be a full house. We grabbed the last 2 seats at the bar in BoaBoa, just in front of the DJ. He said “I hope you like jazz” and we proceeded to have one spot-on hour chill.

What looked deadly quiet from the outside turned out to be a full house. An intimate setting, with the cocktail table and booth layout clearly taking design inspiration from traditional jazz bars, knocking arms and all cosy like.

I really enjoyed this place, seemed like I wasn’t the only one.

Le Coq

Old school Belgian pub at its finest. Right in the city centre, but felt very chill (unlike Delirium Cafe). A list of beers as long as a Skyrim scroll, we went in on a few local cherry numbers. Cash only.

Cafe Encre

Make your way into the red cube, through the curtain to the cafe bar at the back. A wild concept that works perfectly. Bonkers drinks jostle between regular brews, but these guys have a clear vision, which is clearly influenced by art and movie culture, so embrace it I say.

See + Do

Comic Museum

Belgium is the home of the comic, centre of the world for doodles, so it would be a shame not to visit the source. Go see Tintin and the gang.

Handshake (running store)

Independent running store about 5 mins walk from Bouche Coffee, stocking a range of smaller running and lifestyle brands that you won’t find at the usual commercial chains. Lovely little set-up too, designed around glass bricks, steel fittings and concrete.

Maison Hannon

To overlook learning some history about the places you visit gives you a better understanding of why the place is. There’s a couple of historical houses and venues in the city, we only managed to get tickets one: Maison Hannon in Saint-Gilles. A beautiful home just one the highstreet.

Get the audio tour and take your time, it’ll improve the experience ten-fold.

Old Masters / Magritte Museum

Art is always on the cards for a city visit, and I don’t remember visiting another museum on such a brand and extensive scale in a long time. Get lost in the endless rooms on several levels. From small regional artists to epic old masters at work.

Tag teams nicely with the Magriette Museum, which sits on separate wing of the same complex.

Centreville (clothing)

A menswear-focused independent store on the Rue des Chartreux. Stocking bits from Stone Island, Purple Mountain Observatory, Thisisneverthat, CP Company and other small brands worth discovering.

I used to spend my entire paycheck on clothes.

After high school, I went straight into the workforce, while living with my parents, on a $36,000 annual salary. Not much, but in 2013, it might as well have been like earning six figures.

It started with ASOS and Zara, but before I knew it, I was splurging on Mr. Porter.

It was excessive, unnecessary, and I have no recollection of what I even bought at that age. But it started a bad habit of constantly buying things, usually without any thought.

“Because buying things doesn’t make you stylish. But buying the right things and knowing how and why you’re buying them will form your personal style.”

And while it wasn’t a big deal when I was living with my parents, once I got married, had a kid, and took on a mortgage, those habits became unsustainable.

But beyond the cost, excessive shopping makes it difficult to understand your own style.

It feeds the idea that “more” = “better,” all while training you to buy things without thinking about why. It’s why you can own all the sneakers, shoes, or boots in the world and still be entirely swagless.

Because buying things doesn’t make you stylish. But buying the right things and knowing how and why you’re buying them will form your personal style.

How to make better purchases

So to change my habits, I came up with a simple way to make better purchases: categorizing what I buy. Every time I buy something, I try to place it into one of the following 6 categories.

I realized that most bad purchases didn’t happen because I couldn’t afford something; they happened because I hadn’t really thought about why I was buying it. Once I started sorting purchases into categories, it became much easier to see what kind of decision I was actually making in the moment.

Not only has this saved me money to spend on other garments, but it’s also made me more aware of where my money is going and whether or not I actually need what’s in front of me. Let me run you through it with some examples.

1. The necessary purchase is when life puts you in a position where you genuinely need something. Simple.

Last year, my family and I took a road trip to Disney World and on day one I managed to tear the one pair of jeans I brought with me… a truly amateur packing move.

I was also in the south, which is effectively a barren wasteland for shopping for good clothing. Luckily there’s a mystical place down there called Super Walmart, where you can buy anything imaginable: groceries, electronics, assorted rifles…and Wrangler jeans?

After a brief cost-benefit analysis…and trying to drown out the thought of the sweatshop where they were probably made…I swiped my card for $15.

I’ve worn these jeans 3-4x a week since to justify the purchase and they’re done well as a basic jean.

Sometimes that’s how clothing shopping goes: you dirty your white shirt before a wedding, your jacket tears before a camping trip, your jeans rip, and suddenly you’re at the mercy of whatever is available in front of you. Swipe your card and move on.

2. The informed purchase is when you’re buying the thing you’ve spent hours researching and years saving up for.

For me, that purchase was the Drakes Raglan coat I’ve written about at length.

Pitching a $2,100 coat to my wife wasn’t easy. But it helped that I had been talking about it for three years and had saved up for it. She knew it wasn’t a trendy piece of clothing; it was the coat I planned to have around for the next decade.

My next informed purchase will probably be the 3Sixteen side-zip boots. I’ve watched reviews, compared the prices against the Our Legacy Camions, and have gotten to see how they’ve aged thanks to the menslfuencers that post fit pics with them on daily.

My wife has already heard about them enough times to know they’re coming, and I’ve been saving.

I firmly believe that if you’ve wanted something for long enough without changing your mind, and it’s within your financial means, you should absolutely buy it.

Informed purchases are important and mostly safe because they’re often trend-proof. If your opinion on something hasn’t changed while the trends have, that’s a pretty good indicator that you aren’t shopping to keep up with what’s popular… you’re shopping for yourself.

3. The spontaneous purchase is when you see something you know you’ll eventually need and think, “Ahh, what the hell — if I’m already here.”

I had two of these happen recently with black t-shirts that I was planning to buy anyway for an upcoming t-shirt guide I’m writing. I happened to walk by the 3Sixteen store one day, and the Buck Mason store another day, and figured I’d save myself the shipping. Plus, it’s nice to pop into a store and talk shop for a bit.

Now I’ll be honest — this can be tricky to define. For me, it’s something I can buy without planning to buy it that day and without opening my banking app to do math. A t-shirt, a pair of sneakers, a hat. Not a major purchase like a coat or raw denim. The key is that the purchase isn’t random, it’s just earlier than expected.

Note: The next three categories are where things get harder. They require a bit more self-control.

4. The urgent purchase is when something has to be bought right now, or not at all.

This usually happens with limited releases, vintage finds, or moments where you know something will disappear if you walk away. I don’t fall for this one too often, but it does happen.

At a recent event we hosted with Stone Island, they quietly announced that guests could buy their New Balance 574 early before the official release. Fellow Sprezza writer Chris heard this news about five minutes before the event ended and was torn on whether to purchase of not. I peer-pressed him heavilyyyy, knowing he really didn’t have time to weigh it out.

Ultimately, he copped, and I’m glad (and he’s glad) that he did.

Urgency can push you into decisions you might not make if you had more time to think…but there’s also something thrilling about pulling the trigger on something at a moment’s notice.

If shopping was always entirely predictable, we’d miss out on really cool opportunities and stories to buy things that are rare or unique.

With urgent purchases, I think buyer's remorse can set in sometimes, but I just look in the mirror and tell myself to shut up and enjoy the money spent.

5. The sale purchase is pretty self-explanatory. Sort of.

We’re pro-sales here at Sprezza, and we even dropped a quick sale shopping guide last week. But sales can both work for you or against you. Sometimes they save you money on something you already planned to buy.

Other times, they convince you to buy the wrong thing just because it’s cheaper.

Here’s a good scenario: I'd been eyeing the Sebago Tucson mocs for a few weeks as a cooler alternative to the LL Bean duck boots everyone wears here in the Northeast. I planned to buy them anyway, and then they suddenly went on sale for 60% off. I purchased instantly.

Here’s a bad (or less good) scenario: When I bought my first pair of Paraboot Michaels, I had already decided on the black smooth leather version. Those never go on sale. But then I saw that the brown pair was discounted 45%, so I bought those instead.

I love them and wear them constantly, but they’re still not the black pair I originally wanted.

I compromised on what I actually wanted because it was cheaper. That’s not necessarily a bad thing, but it did leave me longing for more, and I then proceeded to buy another pair of Michaels shortly after… also on sale… black with pony hair on the tongue. I’m 2-0 on the all-black pair.

Thus, you need to be wise with sales.

Think them through and ask whether the money you’ll save is actually worth the compromise. If it isn’t, save up… and now you’ve got yourself an excuse to go make an informed purchase. I’d rather own a few things I really wanted than a bunch of things I got on sale.

6. The “I want it” purchase is the honest answer to the question: What happens when something doesn’t fit neatly into any other category?

There are going to be moments where you find yourself spending money on something you didn’t know you wanted, or that you planned for, or that you intended to buy, or that’s time-restricted. It’s the moments that surpass all the rules!

It’s what happens when you discover a new brand and decide to buy something immediately. It’s finding Alphaflys at Ross for $100 in your size. It’s putting in a crazy lowball eBay offer late at night and waking up the next morning to see it was accepted.

For me, it was buying a yellow varsity jacket from Reese Cooper when I became a dad because there’s a photo from my childhood of my dad holding me while he was wearing a yellow jacket.

I don’t wear bright colors and yet…I wanted it. And it was worth it.

They’re random moments where logic goes out the window, and desire takes over. Are they a little irresponsible? They can be!

But that’s why I try to keep these to a minimum and avoid pretending every purchase belongs here.

Where to go from here

So, listen, it’s not a perfect system, but it’s a really good system for me. And you need to find a system that works good for you.

Everyone has different shopping habits, so we’ll all end up with slightly different ways of categorizing purchases in our lives. The important thing is simply taking the time to understand why we buy the things we buy.

Once you start doing that, you notice patterns. You realize which purchases were thoughtful, which ones were spontaneous, and which ones you probably didn’t need at all. You might have 3 categories, or 10, or none at all!

But it matters that you make sense of it for yourself.

Buying clothing is supposed to be enjoyable. But it’s a lot more enjoyable when you’re able to buy things with a purpose, enjoy them, and not wonder how you’ve accumulated so much useless crap in your closet.

The fashion space is downright fickle. If you’re not selling through your hero categories, snagging a celebrity co-sign, or hopping on the latest micro-trend before it becomes a macro one, your brand can feel obsolete in the blink of an eye.

We’ve seen plenty of great labels shutter after just a couple of seasons because of it. Fashion loves you, until it doesn’t.

But one brand that’s managed to sidestep that fate for over two decades is the Japanese label Nanamica.

The brand prides itself on consistency, fabric innovation, and making beautifully uncomplicated clothes—like these jeans and this thermal hoodie, both of which I’ve been living in for the past few months.

Founded in 2003 by Japanese outdoor-industry mastermind Eiichiro Homma, who also serves as Creative Director of The North Face Purple Label, Nanamica was born from a clear market gap.

“At that time, many outdoor brands were not yet able to satisfy both functional performance and fashion sensibility at the same time. That disconnect was the gap Nanamica set out to address,” Homma says.

Nanamica translates to “house of the seven seas,” a nod to Homma’s and co-founder Takashi Imaki’s love of the ocean. “We wanted the brand name to reflect that connection,” Homma explains.

Once you understand that ethos, the performance fabrics start to click. It makes sense when you feel one of their ALPHADRY field jackets or pull on a lightweight COOLMAX Cotton tee.

The pieces are technical, but never try-hard.

Homma adds, “Rather than being tied to a specific place or moment, our design philosophy is shaped by the idea of openness and movement, much like the sea itself.”

We recently spoke with Homma about:

• How he got his start in the industry more than 40 years ago

• The lessons he’s learned from customers along the way

• What differentiates Nanamica from The North Face Purple Label

• Why he’s never been interested in designing for the algorithm

• + more!

Before fashion became your life’s work, what were you doing, and what first pulled you toward the industry?

I joined Goldwin at the start of my career after spending my high school and university years skiing and surfing. In that era, a lifestyle built around sports felt like a genuinely cool way to live.

I believed that working in the sportswear industry would allow me to create something that could make customers say “wow”—and that feeling is what ultimately drew me into this field.

You officially began your career at GOLDWIN in 1982. Looking back, how does it feel to have witnessed—and helped guide—the evolution of fashion and function over the past four decades?

When I joined Goldwin in 1982, outdoor wear was just beginning to be recognized in Japan as a distinct business category within sports.

Compared to already well-established markets like ski, tennis, and athletic wear, outdoor clothing had a unique quality: many of its items, such as flannel shirts and chino pants, could be worn naturally as everyday clothing.

Even at that time, Goldwin was developing The North Face, and the company had a strong ability to apply its expertise in functional materials and performance-driven design to products that customers could easily adopt into daily life. That approach made outdoor wear feel accessible beyond pure sport.

I don’t personally feel that I “guided” this evolution. Rather, I think three factors overlapped naturally.

First, the fact that Goldwin was already developing The North Face as a brand. Second, this allowed us to become early pioneers in functional material development. And third, that the era itself began to dissolve the boundary between business wear and sports lifestyle wear.

It was the intersection of these elements that helped shape today’s market, where fashion and function coexist so naturally.

Spending so many years at the intersection of outdoor performance and everyday clothing, what’s the most important lesson the customer has taught you?

When functional clothing is properly understood and accepted by the market, the brand that is embraced by the largest number of people ultimately becomes the most trusted.

This isn’t limited to apparel… when it comes to functional products, the ones that sell the most often prove to be the best products, because they have been validated through real use.

However, there is another side to this. Once functional clothing begins to be seen through the lens of fashion, a different kind of demand emerges—the desire to look different from others.

At that point, if a product or style becomes too widely adopted, its fashion value can sometimes diminish as its level of market penetration increases.

Understanding and balancing this tension between trust, functionality, and the desire for differentiation is one of the most important lessons customers have taught me over the years.

When you launched Nanamica in 2003, what gap did you see in the market?

At the time, much of sportswear was still striving for the absolute peak of performance. As technology advanced and design became more rational, often driven by computers, the ultimate forms began to converge.

Much like Formula One cars, sportswear silhouettes were becoming increasingly similar, and in some cases, garments began to resemble jumpsuits built purely for performance.

However, everyday clothing does not necessarily require ultimate functionality. In fact, there were moments when the pursuit of peak performance resulted in designs that drifted away from the silhouettes and proportions people actually wanted to wear in daily life.

In addition, outdoor and sports styles are deeply connected to the cultures in which they were developed, and there was a growing expectation that this cultural background should be reflected in design.

At that time, many outdoor brands were not yet able to satisfy both functional performance and fashion sensibility at the same time. That disconnect was the gap Nanamica set out to address.

More than 20 years later, how has that original idea evolved?

The core brand concept itself has not changed. However, over the past twenty years, it has become far more common for outdoor and sportswear to be worn as everyday clothing, even in the workplace.

After the pandemic, working outside of traditional office environments has also become a clearly defined part of daily life. As a result, everyday life, work, and leisure are now expected to connect seamlessly.

At the same time, we are living in an era where sustainability is demanded at a much higher level than before. Nanamica began with the idea of achieving a high-level balance between functionality and fashion.

Today, I believe our role has evolved into pursuing an even more advanced balance, one that integrates sustainability alongside function and design.

Nanamica translates to “house of the seven seas.” Why was that concept so foundational to the brand, and how does it continue to shape the way you design today?

The name Nanamica comes from the fact that both my co-founder, Takashi Imaki, and I have always loved the ocean, and we wanted the brand name to reflect that connection.

The phrase “seven seas,” meaning the oceans of the world, carries with it our desire to communicate with people around the globe in a borderless way.

Nanamica is now available in 24 countries, but our ambition goes beyond geography. We hope to create clothing that supports comfortable and stylish living for people everywhere—across different environments, climates, and lifestyles.

Rather than being tied to a specific place or moment, our design philosophy is shaped by the idea of openness and movement, much like the sea itself.

As creative director of The North Face Purple Label, how do you explain the difference between Purple Label and The North Face in the U.S. market?

The North Face in the U.S. is a brand built around the pursuit of ultimate functionality for outdoor activities, and from that core, it has expanded to cover a broad range of outdoor lifestyle products.

When the brand addresses everyday use, it often does so by detuning the performance of its core technical products to better suit daily life.

The North Face Purple Label, on the other hand, begins with The North Face’s high level of functionality and its underlying design philosophy, but places equal emphasis on meeting the fashion expectations of everyday wear.

We aim to achieve a higher level of balance between function and style.

Material development, fabric selection, and silhouettes are all designed with a distinctly Japanese sense of aesthetics—subtle, refined, and carefully considered—resulting in products that feel natural in daily life while still retaining strong technical credibility.

Designing collections for both Nanamica and TNF Purple Label, how do you decide which ideas or products belong to each line?

Nanamica is one company with a very clear core philosophy. Our aim is to support people’s daily lives by creating functional yet stylish everyday clothing.

We do this by applying the technical know-how of sportswear—along with military and workwear functionality—to timeless, basic items, and then elevating them with a high level of fashion sensibility.

This fundamental approach is shared by both Nanamica and The North Face Purple Label. The distinction lies in the starting point. TNFPL is a collection in which we express our vision of an outdoor lifestyle through TNF’s technical expertise and design philosophy. In other words, while the underlying values are the same, TNFPL is specifically shaped through the lens of TNF’s functional heritage.

Nanamica has long been known for fabric innovation—from KODENSHI down to ALPHADRY and COOLMAX Cotton. What does that development process look like today, especially with sustainability now front of mind?

We have always approached material development by asking a simple question: how can we create fabrics that are both highly functional and fashion-forward? That mindset remains unchanged.

In recent years, however, growing market expectations around environmental responsibility and sustainability have added an important new dimension. Two years ago, we began a three-year plan to transition all of our materials to more environmentally responsible alternatives, and we are now entering the final year of that process.

Our goal is to complete this transition across all materials within the next year.

At the same time, sustainability does not mean standing still. Alongside this transition, we continue to develop new, compelling materials that bring fresh value to our collections, ensuring that performance, aesthetics, and responsibility evolve together.

Nanamica doesn’t chase trends and has a very clear identity. How do you keep each collection feeling fresh without losing that sense of continuity?

Personally, I’m not someone whose tastes change very much, so expressing continuity comes quite naturally to me. However, in the fashion business, it’s also necessary to respond to the market’s desire for change and offer something new.

For Nanamica, continuity comes from the core values of the brand, and those values never change.

Freshness, on the other hand, is created through evolution rather than trend-chasing—through material innovation, advances in functionality, and subtle changes in shape, proportion, sizing, and color.

These adjustments are never about following extreme trends, but about refining details within the boundaries of what feels true to Nanamica.

I believe it’s this balance—between an unshaken core and quiet, thoughtful change—that allows us to maintain consistency while still offering something new each season.

Having seen nearly everything in the technical outdoor space, what’s a recent product or idea that genuinely impressed or excited you?

Because I work very closely with The North Face, I often have early access to the latest functional materials and advanced sewing technologies—sometimes earlier than people at other brands. That exposure is, of course, stimulating.

At the same time, I find inspiration in much simpler places. When I compare very basic items—like classic white button-down shirts from different brands—I often discover something new.

Subtle differences in pattern-making, stitching, or even button placement can completely change a garment's expression and the way it feels when worn.

Those quiet realizations can be just as exciting as the most advanced technical innovation.

Are there a few standout pieces from the upcoming SS26 collection that you’re particularly excited about?

For SS26, there are two looks I’m especially fond of. One is a trucker-style jacket made from vegan leather, paired with silk-nep pants. The other is a deck jacket and pant set-up crafted from polyester twill.

What excites me about the first is the way we were able to reinterpret workwear through rich, tactile materials like vegan leather and silk nep. In the second, we expressed workwear in a more refined direction, using a subtly lustrous fabric that gives it a slightly formal feel.

In both cases, it’s the contrast—the mix between the expected image of the material and a somewhat opposing design language—that creates a sense of freshness. And of course, each piece still carries the functional performance that is characteristic of Nanamica.

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Couple updates:

Throughout March and April, we’ll be dropping the first batch of Spring Shopping Guides.

These are curatorial at heart, and we put a lot of research and time into making sure they offer you the right pieces with an honest take, not just more noise for consumption’s sake.

In addition, we will begin creating a series of evergreen shopping guides featuring items you can purchase year-round (i.e. best hoodies, t-shirts, trousers, jackets, etc).

If you’re trying to level up your personal style and looking for what to buy and wear to buy it, subscribe below and we’ll get you sorted!

And thanks in advance, when you support financially it helps us keep doing what we’re doing.

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Introducing the Sprezza team

Dear friends, Spring is almost here (unless you’re in New York lolz).

I was there a couple of weeks ago, somehow managing to dodge the second snowstorm. And while I was in town, I brought the Sprezza team (yea, you read that right) together IRL for the first time. Timing worked out perfectly. We even got one group photo. Which I’m not in, naturally.

But it was a bit of a milestone for me, because it signals Sprezza isn’t just me anymore.

I’ve been building it for over five years at this point. For most of that time, it was scrappy and solo. But I realized at one point that if this is going to keep growing in a healthy way, it needs more hands and more brains involved.

Leon’s (middle) been helping on research & editorial for a few years now — a lot of the depth and research you’ve seen has been shaped by our back-and-forth.

Recently, Mariano (right) joined us and is stepping in on editorial as well, helping tighten ideas, expand coverage, and to offer a fresh perspective on writing.

And Chris (left) jumped on board to help with community (Discord, conversations, events & programming), making sure this doesn’t just feel like a newsletter you read in isolation, but something you’re actually part of.

So this is just a quick heads up that there are a few more names behind the curtain now, and you’ll see them pop up more publicly in our content.

Grateful for everyone who’s been here from the early days and excited about where we can take it next!

Mariano’s picks

Hoka Mafate Speed 2 Trail-Runners

The Mafate Speed is the perfect lugged sneaker for running errands. Good enough for some light snow, durable enough for those spring hikes, and versatile enough to wear with shorts or pants.

In terms of color way, this black/grey is super subtle and avoids Hoka’s usual highlighter colors.

Todd Snyder Rayon Big Shirt

I’m currently in summer shopping mode: oversized button ups, shorts and boat shoes (more on that shortly). This Rayon shirt is made from light & airy Lyocell and will fit in at any bbq or beach day you might have planned.

Bonus: wear them with jeans and you’ve got a solid fit for a night out.

Mr P Cotton & Cashmere Blend Corduroy Overshirt

People have often told me that corduroy just ‘isn’t for them.’ They’re wrong; anyone could pull this shirt off. It’s light enough to layer under a coat now but still usable enough deep into the summer. Plus, Mr P always punches way above its weight, even at full price. At $128 this shirt is essentially free.

Leon’s picks

Wallace & Barnes flannel workshirt

I don’t know what’s gotten into me, but I’m deep in a plaid flannel phase right now. I keep gravitating toward the subdued ones—muted, earthy, pretty much anything besides a Buffalo plaid.

This one nails it, and that little pop of yellow is just the right amount of brightened hues I like in my clothes. And with an extra 40% off, this beauty sneaks in under a hundo.

Nike ACG Canwell Glacier windproof jacket

Folks are declaring that Nike ACG is back, and I’d say, kind of. There are some heavy hitters and a few swing-and-misses, but this piece is definitely one of the bright spots in the lineup.

It’s equipped with a windproof membrane to keep your torso toasty, and the oaty-cocoa shade is about as ultra-neutral as it gets. One note: size down as the entire line fits boxy.

Gramicci Rock Slide Denim Pant

I’m a full-on pants stan for Gramicci.

First, the length is elite for the short kings (I’m a towering 5’9”). Second, there’s a built-in belt on all their pants, which is one less accessory to think about. And third, they’re the perfect mash-up of painter, cargo, and jean, except they actually look good.

Clayton’s picks

Mfpen venture coat

Now, here’s a sleeper hit of a piece. Mfpen (which is based in Copenhagen, where the design team works) is known for making excellent stuff. This Mac style coat at 40% off is a must-have and if you’re keen for it in size large, it will drape beautifully. A true fulfillment of your Scotland Yard dreams.

Montbell rain trekker jacket

There’s a part of me that imagines you’d catch Vampire Weekend’s Ezra Koenig in a mustard yellow softshell, from Montbell no less. If you’re unfamiliar with the lore of Montbell, they’re just a reliable Japanese brand that’s been making delightful outdoor products at Uniqlo-level prices for many decades, and if you invest in pieces like this, odds are you’ll be using it a lot.

Herill cotton twill chinos

Few items scream “springtime” like a beloved pair of cotton twill chinos. In my opinion, they should fit slightly oversized and worn enough that you can beat the hell out of ‘em, as God intended. Colbo is a great retail shop for curation alone, and Herill crushes it. Channel the Take Ivy and grab a pair.

New Balance 1300 made in Japan

If you’ve seen that photo of Wes Anderson from the 90s, and you’re a real one, you’d know he was wearing 1300s (a shoe he’s always loved). But this updated colorway from the made in Japan collection is phenomenal, and while it’s not technically on sale, it’s priced where it should be, and SNS has a ton of sizing options.

So, go forth and summon your inner Wes.

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Seve, Hogan, Palmer. And in a more modern sense, Mitchell.

When I think about the worlds of golf and style co-existing, these are the names that immediately come to mind. Since the pandemic-era golf boom and more people playing than ever before, it’s been interesting to see so many brands enter the space with their own POV.

Unfortunately, I find many of these brands leaning too far one way in a fashion sense, with sloppy techie fabrics or slapping poorly designed logos on anything “golf related” that doesn’t pay homage to an age when golf had a truer sense of putting that shit on.

This is what has had me very excited to get my hands on the first and thoughtful line-up from LATE NINE.

Co-founded in Sweden by Maxim Lundh, a creative director with experience building other contemporary labels such as CQP, LATE NINE articulates a distinct perspective. They’ve also chosen the talented photographer, Milad Abedi, to shoot a lot of their stuff which always helps too.

Beckoning nostalgia from everything from the ’90s era Ryder Cups to Shell’s Wonderful World of Golf challenges to cozy post-round pints.

I’m a self-identified golf sicko (Maxim clearly is as well) and somewhat maniacal about how personal style can extend to the links. So I was enticed by the prospect of putting some of their gear to the test in one of England’s golf cathedrals along the coast, St. Enodoc’s Church Course.

Wearing it on the green

Ahead of the round, I picked up two of their products from their inaugural launch – a knit vest in brown americano and a quarter-zip windbreaker in a gorgeous taupe. With their stuff, every piece is rooted in golf but tailored for life off the course too.

Opting for premium natural fabrics crafted in well-respected European mills over synthetic materials. Which in my experience over two weeks in Cornwall consistently created an elevated feel. But back to the golf.

The Church course opens with a par five into the wind, and despite a light breeze and sun while warming up, it absolutely poured on us for the first two holes – welcome to Cornwall in October.

It was around 14 C (high 50’s) and I went with a polo, knit vest, and windbreaker for the day and felt comfortable throughout.

I was pleased with how much the garments moved with me through the tests and the many awkward stances of links golf. I liked the somewhat shorter sleeves and boxier fit of the windbreaker for this very reason.

Outerwear that doesn’t allow you to move at all is the worst, and I never felt inhibited by either the vest or the windbreaker going up and down the mountainous terrain carrying my bag. 20+ years playing this infuriating game and I’ve whiffed a lot on gear that doesn’t get the job done.

My biggest issue with the windbreaker, given the cost, was that it not a bit more water-proof (mind you, it clearly states it's a water-repellent cotton blend on the site). With the heavy rain on the first few holes, it held up for a bit, but then got quite wet in case you are looking for a do-it-all weather jacket.

When chatting with the team on this, they mentioned the preference to stick with more natural fibers to improve the feel of the garment – something I can’t argue with as a trade-off, as it really does feel luxurious.

On the bright side, the fabric did dry incredibly quickly, which came in handy as we trudged onto the dogleg third.

Another aspect in the windbreaker design I really enjoyed while playing were the pockets and collar. Many golf breakers or jackets have pockets on the front of the garment, and LATE NINE no doubt strategically placed them on the sides to allow for a free-flowing swing.

It requires a bit more maneuvering to access the pockets compared to when they’re on the front, but it’s minimal. Perfectly sized for some tees, a small towel, or, of course, hands.

Not to mention, I think their placement makes it much more functional as a versatile garment off the course, too, with a clean front.

The lack of branding on nearly all their stuff doesn’t hurt either. Regarding the collar – I loved how well it held up to the wind and its overall structure it maintained for a smart look versus folding over on itself.

Its overall durability to both zip and button it really stuck out to me while wearing.

St. Enodoc’s natural slopes mean you rarely have an even lie and it means a lot of putting on and taking off of layers throughout the round.

As we approached the short 38th, with the sun peeking out to give us a stunning view over Daymer Bay, I was down to the polo/vest combo.

From the jump, I noticed how soft and lived-in this garment feels. It’s a naturally breathable merino wool with thicker ribbing at the collar, allowing you to tuck a polo collar under or over easily.

Its relaxed and wider silhouette has it falling just outside the shoulder for a great vintage look.

As we walked up to the 18^th green with the lovely balcony in the background, a Guinness was the perfect pair to this fit I will keep coming back to. Didn’t hurt I had one of my better rounds of the year…for the superstitious out there.

Suitable for the pub

I had decided before taking a family trip to Cornwall for a few weeks, it would be the perfect setting to get some wear using both items off the course too. Plenty of pubs, fishmongers, and high streets to frequent, layered up, navigating the ups and downs of Cornish weather in Autumn.

I found myself coming back to the look below with some light denim, a white tee, and cap quite a bit. That, paired with a waxed overcoat, was ideal for days out on the beach and nights at the pub. The vest continued to prove incredibly cozy while remaining light enough to never feel overly hot.

Something I feel like is a tough balance to strike with knitwear. It’s fairly wide and comfortable across the chest, then tapers to a normal waist, so it sits well with mid to high-rise trousers/denim.

Because it has a slightly deeper V, I find it to be more flattering, typically not only with different body types but also different types of clothing. I’m tempted with the idea of wearing with a tie for when the mood strikes and wearing under a blazer as the temps drop.

On the windbreaker front, I found it to be a useful option for weekends/after work, particularly in transitional seasons. I imagine LATE NINE envisions you to wear it as a lightweight shell for a little bit of warmth, while made in a boxy fit so it goes over everything from a polo to a knit or sweatshirt.

Something I played around with quite a bit, from long sleeve tees from Drake’s to a Merz B. Schwanen sweatshirt. Another thing that’s nice about the pullover is that you can cinch the bottom hem to create more of a blouson-type shape, too.

Even though the site says the windbreaker runs slightly oversized, I went with a Medium, but I think I could have done a Large if it wasn’t sold out. I’m a 40 jacket, 6'1 ", 180 pounds, for context, and I chose a Large in the knit per feedback from the team. I am glad I did.

Both garments are luxurious and practical – and while the price isn’t cheap, I think the quality exchange is evident.

*Also featured throughout the KERCHER Hogan trouser MTM in a deep brown. It’s their signature Japanese Tech Satin. The wrinkle resistance really stands out as you can literally toss them in a bag and pull them out no problem.

I’m a big fan of the ever-present single pleat and extended button fly. Of course, with it being MTM you can make your own adjustments as needed with Josh.

Other favourites with the drop:

• Instructors Jacket in a Beautiful Italian Wool

• Tipped Double Loop Black Belt

• Beige Twilight Cap

All photos by Cody McKim

We live in a time where everyone seems obsessed with “finding” their personal style.

Social media is flooded with guides on how to dress like Austin Butler, how to achieve understated elegance like Jeremy Allen White, or how to master quiet luxury. The intent is often well-meaning, but the premise is flawed.

The idea that personal style is something you search for, like a scavenger hunt, rather than something that emerges from experience, is a fundamental misstep.

Look at Warhol, Glenn O’Brien, Basquiat, David Hockney, André Leon Talley, Bill Cunningham, and none of these guys wasted time finding their style.

They were busy doing. Making things. Writing. Painting. Photographing. Their style wasn’t a strategy, it was a byproduct of an interesting life.

Today, the whole thing has flipped. We’re all trying to dress the part before we’ve even played the role.

But personal style isn’t something you curate in isolation. It’s something that happens when you’re engaged with the world.

How did this happen

The internet has flattened taste.

The algorithm turned everything into a remix of a remix. We used to belong to subcultures (punk, skate, hip-hop, graffiti) and our style was absorbed through experience, shaped by the places we spent time and the people we surrounded ourselves with.

Now, people are trying to manufacture a personal aesthetic from a handful of moodboards and fit pics. The result?

A lot of dudes in the same capital-I “Interesting” outfits, none of which actually tell you anything about them.

We’ve lost the mediums that made style personal in the first place. The bars, the record shops, the underground clubs, the weird little scenes where people showed up, exchanged ideas, and let their style develop naturally.

Instead, people are stuck on a never-ending treadmill of consuming and replicating.

So what do we do?

1. Get off the algorithm

Want better style?

Log off. The explore page isn’t going to save you. Style doesn’t live on a screen, it lives in the world. So go out and live.

Pick up a hobby that has nothing to do with fashion, from woodworking, painting, gardening, fixing old motorcycles. The best-dressed people aren’t just wearing cool clothes, they’re doing cool things, and their wardrobe reflects that.

Clothing should have utility. A gardener doesn’t dress like an architect. A painter doesn’t wear the same thing as a guy who restores vintage cars. Get obsessed with something, and your style will take care of itself.

2. Learn, don’t imitate

Style isn’t about copying the right references. It’s about understanding why something works. There’s nothing wrong with using a photo of Robert Redford in Three Days of the Condor as inspiration.

The problem is when you treat it like a template; when you think dressing like Redford is the same as being Redford.

Matty Matheson has great personal style because it’s entirely his own. So do Jason Jules and Tyler, the Creator.

Their taste isn’t algorithmic; it’s a reflection of their interests, their histories, the way they move through the world.

You can take cues from people like that without the cut and paste.

3. Absorb timeless information

Trends move too fast, and by the time you think you’ve caught up, the moment is over.

So, invest in ideas that last. Read books. Watch old films. Listen to records. Learn about architecture, photography, design. The best-dressed people aren’t just stylish… they’re interesting. Their taste is informed by a lifetime of curiosity.

Glenn O’Brien didn’t dress well because he followed trends. He dressed well because he had taste. He read. He listened. He knew what mattered. If you want to develop personal style, start there.

4. Let style find you

LOL. That may be the worst, corniest line you could possibly hear, but I don’t know how to put it differently. There’s a lesson in finding what you want when you stop trying.

Just live your life.

Get interested in things.

Make mistakes.

Develop your own perspective.

And your style will follow.

Please follow their work!

Years ago, on a rainy December night

I met Lawrence Schlossman, founder of the cult menswear blog Four Pins and current co-host of Throwing Fits, as he covertly shuffled Ezra Koenig through the grungy midtown offices of Barstool Sports.

If not for his herringbone Abercrombie overcoat (and the Grammy-winning frontman of Vampire Weekend on his arm), he could have been mistaken for an everyday employee of the flagrant sports media giant.

Schlossman’s fashion bonafides (Larry, as he’s known to fans of Throwing Fits) are endorsed by a diverse cast of designers, editors, and artists—many of whom make up the laundry list of guests on Throwing Fits.

But it’s his willingness to lean into his non-fashion side, a born and bred New Jersian with fraternity letters from Wake Forest, that have made him a magnet for a growing swatch of men interested in engaging with fashion.

In the years since his podcast (Failing Upwards) was killed by Barstool, the same fate his YouTube series (Fashion Bros) and blog (Four Pins) all met, he’s settled into seemingly solid ground, alongside his longtime media partner James Harris, with Throwing Fits (for which I’ve managed the social media for since its post-Barstool inception).

At Sprezza’s gracious behest, I took a moment to pick Lawrence’s brain to see what he’s learned from the journey—both tangibly and abstractly—and understand how it’s affected his personal wardrobe, grasp on trends, and more.

Everywhere you look in menswear right now you’re seeing some sort of revival of the #menswear aesthetic whose last iteration you helped pioneer during the Tumblr and Four Pins days. Are you surprised to see it come back so hard or was it always inevitable to some degree?

I’m definitely surprised at how hard it’s been coming back, mainly because of how far the pendulum swung immediately after that era. From 2009 to 2012 you’ve got the end of the urban woodsman look that leads into #menswear. I like to use Watch the Throne as the line of demarcation. Immediately after that is when streetwear and the high fashion version of it 1000% took over.

Of course, there’s always classic men’s fashion that’s been around since before we were born, but in terms of it being a “cool trend”, I never thought it would have this much-staying power, to be honest.

What looks or pieces have you been the most surprised to see come back around?

Raw denim, for sure. I was never a big raw denim guy. I obviously had some APC New Standards back in the day, when people were doing ocean soaks and putting them in the freezer and shit. I didn’t expect that really hit again, especially since the vintage [Levis] 501 look is getting so much love from everyone from Dimes Square skater kids to the TF jawnz enthusiast type.

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Are there any parts of the 2012 #menswear era that you’re surprised haven’t caught on in the current revival?

I would have thought, as suits have come back, you’d see more Neapolitan, unstructured stuff. Everything with suiting right now feels very structured, I guess. You obviously still have that sleazy side that people are into and the idea of the Georgio Armani power suit feeling fresh again.

Of course, those can be loose and comfortable in their own way, but it’s never as easy to throw on as a soft-shoulder jacket. Those don’t feel super trendy for whatever reason. Blame the Pitti peacocks.

Both raw denim and structured suiting have a relatively high barrier to entry, not just when it comes to money, compared to the other side of their respective coins.

Yeah, like flared trousers, for instance. Those are trendy right now, and I get the appeal of a bigger, fuller trouser with some break, but when you look at it in a vacuum, that’s a crazy entry point. That’s way harder to wear versus back in the day when guys were getting into Neapolitan suiting because it’s just so easy to wear, you can take it off, throw it on a chair, and it’s going to keep its shape no questions asked.

Are there more style resources around nowadays that might convince a guy to go straight for the flared pant instead of playing it safe?

There’s more information as our world has ballooned, without a doubt. When I was coming up, there were like 10 acceptable blogs to read, and then you could go digging in the forums if you wanted to go deep.

Now things are more visual and, to some degree, it feels more like we’re dealing with hubris. Guys see something they like from someone they follow, they ask what brand it’s from, and then they go and buy it. You can skip a bunch of sometimes almost necessary steps that way.

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So things have become more accessible? Obviously, the other side of that is a convo around overconsumption…

I’m always going to recommend doing your research and doing the work before you spend your hard-earned money. But yeah, I think that’s just how the world is with mood boards and influencers. No one is complaining that they don’t see anything cool online. In fact, there’s maybe too much stuff out there.

Like crazy suits

You see something you like, your brain goes, “I want to be that,” and you try it. It’s still gonna take time for you to figure out how to wear it and how your personal style can amalgamate via that purchase. On a positive note, I think it’s cool to see guys willing to take that risk now.

I remember in—I think it was around the summer of 2020—you started wearing loafers with Patagonia baggies and some sort of Oxford shirt up top—like a southern dad who just got done mowing his lawn. I thought it was kind of ridiculous, but sure enough, within a few weeks, the Fit Check Friday on TF was flooded with dudes trying it out for themselves. I was floored, to be honest.

I’m flattered. I mean, I do love that. Bottom line is that I get inspired, too and see things all the time that I want to try to pull off. If you see one of my outfits, hopefully, it’s not just a paint-by-numbers version of a look I saw but an element of it. Like recently, I pulled back out my wheat Timbs because I saw my friend Mikey wearing wheat Timbs and it looked sick.

I think a lot of fashion people see being influenced as something to be ashamed of

Everything is a reference, right? Even if it’s a holy original idea, there’s some kernel of something from somewhere else. That’s the way I approach it. The more good taste in the world, the better.

You’re someone who likes to engage with trends

I love trends. I’ve said it before, but I believe it deep down in my nuts that personal style is a journey with no destination. It’s always gonna change. It’s like a train ride with a million different stops, and you’re free to get off at every single one and poke around if you want. Things are gonna have moments and cool down. Yes, everything is moving a lot faster now, but you can always wear something again later down the line.

You’ve never fully been a capital “f” Fashion guy, but I want to get your thoughts on menswear sort of being the hot, sexy thing going on in the circuit, even compared to women’s

The exciting stuff happening in our world, New York City, is mostly small, independent labels. I wouldn’t really classify any of them as capital D designer. But there’s obviously more men interested in clothes now, and that influences things.

Virgil Abloh, probably more than anyone, is who we have to thank for that. And I mean that sincerely; I think it’s cool more guys care about fashion. Streetwear and sneaker culture are all about hype, which has been absorbed into the designer world. There’s more money, and more money means more attention.

So the tide rises; what happens next?

I still think people will age out of streetwear and sneakers, move away from that flashiness, and start building an actual wardrobe. People grow, and their clothes grow with them. The flashes—take Tiffany x Nike as the latest example—I think a lot of people are disappointed with this stuff. You get hammered over the head with collabs and cash grabs that are designed to be financial instruments. Enough of that will create some level of disillusionment, right?

I guess we’ll find out

Perspective comes with age. That’s just maturity. There’s this ballon in the middle right now, but I think there’s just a more cerebral way of dressing. I welcome those guys with open arms whenever they’re ready. I kind of get killed for calling it “grown man streetwear” cause it’s not really streetwear, or I guess maybe that’s the point.

Now it’s kind of just…

Grown men?

Yeah, eventually, guys are naturally gonna find themselves in a mental place where it’s like “oh, what’s going on over here?” and there’s a market for that. Hopefully, it’s more conscientious consumption and buying things for the right reasons.

I don’t really have a prediction. I just think it’s a journey. I’m glad that sort of flow exists right now. And listen, I know of a certain podcast they could listen to if they’re trying to figure that all out.

Most stylish person of all time?

This is the easiest question of all time. Apologies to Hov, but Jack Nicholson invented swag. End of story.

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My friends, I’m in NYC this week for a couple of work things and wanted to do some kind of gathering while I’m around.

This all came together at the last minute, but given the content pieces I’m working on with the great Stone Island team, we decided to band together and co-host our own event in the build-up to NYFW.

We’ll have cold drinks flowing, great people from the Sprezza community worth spending time with, and some excellent music bumping all evening.

RSVP required to attend.

Feel free to bring a friend, colleague, lover, or whoever.

Sign up here

P.S. - thank you to the homie Ben Biondo for the outrageously good design work.

What the homies are wearing right now

Jaanai Jones — San Francisco, CA

Men’s Denim Designer at Levi’s

What’s the one item you’re most excited to wear this winter?

Ohhh! This is easy. I designed a new Levi’s shirt jacket for Fall/Winter 2025 that I’ve lived in all season. It’s made from 12oz, 100% non-stretch denim, which is great for layering. It’s perfect for the California winter—SF isn’t that cold!

How would you describe your go-to cold-weather look?

Usually, I wear 2–3 outerwear layers. I love a bomber/hoodie combo. A leather jacket is always great; I’m more into workwear-inspired leathers right now. Layered and tonal outfits work well, too.

Lately, I’ve been wearing shades of black, shades of brown, or raw/rinse indigo head to toe. Pants-wise, I rotate between a pair by Lemaire, a vintage pair of 1970s Made-in-USA selvedge Levi’s (perfect medium indigo), and, of course, a vintage black pair of Carhartt. They all work in various contexts.

What does your footwear rotation look like for the season?

Black Tabi boots by Margiela, Union Jordan 1s that I’ve probably worn too much (because they’re great), Chippewa Service Utility boots in black, and Nike Vomero (comfortable and stylish).

It doesn’t snow in SF, so I have a bit more liberty to keep my footwear versatile! A mix of high and low pieces keeps the outfits balanced as well

Any must-have jackets you recommend for layering in the winter?

A trench! I don’t live in NYC anymore, but a trench is perfect for styling—it reminds me of an East Coast winter.

My vintage Burberry trench is in my rotation. Also, a nice leather jacket is incredibly versatile, as it can be dressed up or down and worn in many environments. I have one from Frizmworks that works perfectly (worn above).

Are there any new pieces or trends catching your eye this season

Trend-wise, I’m into sportswear- or active-infused pieces paired with sartorial, vintage, or slightly minimalist items. I love combining those worlds together. I work out a ton or am often headed to a social event with friends, so I need looks ready for however the day unfolds.

I’m also a workwear head, so anything utilitarian or functional that doubles as fashion is always a win. Modern Sacai nails that, and ’90s Helmut is amazing. I know everyone loves baggy jeans now, but I personally gravitate toward straight-leg fits—they’re classic and look great on everyone.

Do you follow any personal style do’s or don’ts for winter dressing?

Do: Bundle up and make sure you’re prepared for the weather outside. Winter is perfect for getting cozy. If it’s raining, pull out this jacket by Rains. Accessorize—a nice watch or a spritz of fragrance goes a long way and might even catch the attention of someone you’ve been eyeing at the dinner party.

Don’t: Don’t underestimate the power of a hoodie. The hoodie is one of my top five favorite garments in clothing history and works perfectly for styling and layering in the winter. SF has moody weather, and the hoodie matches the city’s vibe.

Albert Johnson — Columbus, OH

Associate Apparel Designer at Hollister

What’s the one item you’re most excited to wear this winter?

One item I am most excited to wear is my WWII USN peacoat. It’s different from my typical winter jacket rotation, but that Robert Redford photo from Three Days of the Condor recently inspired me.

How would you describe your go-to cold-weather look?

My go-to cold-weather look is usually some sort of puffer—typically my Eddie Bauer Kara Koram—paired with a woven shirt, a pair of ’90s Levi’s, and my Blundstones to brave the salt?

What does your footwear rotation look like for the season?

My winter footwear rotation typically includes Paraboots or cowboy boots, and my Blundstones or Bean Boots if the weather gets nasty.

Any must-have jackets you recommend for layering in the winter?

My must-have jackets for winter layering are typically some sort of military surplus item, especially field jackets. Most were made with a layering system in mind, and since they are usually cut oversized, I find I can comfortably wear a flannel and vest—or another warm combination—under them.

Are there any new pieces or trends catching your eye this season?

Something new for me this season is scarves, especially lightweight ones. For some reason, I avoided them for so long, and now that I’ve started wearing them, I realize how great they are functionally, haha.

Do you follow any personal style do’s or don’ts for fall dressing?

Do: combine fun, warmer-weather items to help lighten the mood (e.g., white jeans or Hawaiian shirts paired with more winter-appropriate pieces).

Don’t: ever wear short socks or layer excessively.

Hannah Eklund — Stockholm, Sweden

PR & Comms for OAS

What’s the one item you’re most excited to wear this winter?

My vintage BAPE corduroy puffer with a fox collar—the piece I always return to and love. I’ve always been into capes, and this winter I’m also loving my Purple Label puffer cape and my custom Pia Wallén cape, which I’ve had for a couple of years; she even designed it to bike in.

Fun fact: it’s at the National Museum in Stockholm. I also wear my green, water-resistant, pleated Issey Miyake cape year-round, layering a puffer underneath in winter. Can’t choose just one…

How would you describe your go-to cold-weather look?

Warm tights, a black CDG skirt, a puffer, and a muffler. I also love my apron skirt. I like adding my Issey Miyake cape sometimes because it’s water-resistant—it rains more than it snows these days. Simple, warm, and still easy to move in.

What does your footwear rotation look like for the season?

My Ann Demeulemeester boots with thick knit socks, my brown knee-high Our Legacy boots, and of course, my Nuptse booties.

Any must-have jackets you recommend for layering in the winter?

A cape! It works over everything and keeps layers looking clean instead of bulky. It’s chic and works for all ages and genders.

Are there any new pieces or trends catching your eye this season?

Everyone is wearing that same pillbox-style hat. If I see one more, I’ll scream. But actually, it’s nice—I agree. Totême’s outerwear is also really good this year, especially their capes.

Do you follow any personal style do’s or don’ts for fall dressing?

Don’t buy a new coat every year. Buy a muffler, a scarf, or a cape instead. Actually, just buy a cape—it solves most problems.

The enigma that is Stone Island

I’m from a small, rural town in Florida, where I didn’t have much access to culture growing up. But I‘ve loved clothes for as long as I can remember.

Not in the way people usually mean when they say that. I’m not obsessive about trends or chasing the newest thing. And I’m far from being the smartest in the room when it comes to understanding fabrics, designs, and materials (though I dabble).

No, I’m more interested in how clothing functions as a signal, how it connects people, and how it quietly communicates what you subscribe to or believe in without ever saying a word.

And it wasn’t until I got older that I discovered Stone Island. And like many people my age in the US, my first exposure wasn’t particularly nuanced.

It came through learning about British football culture, hooliganism, and movies like Green Street Hooligans. The more time I spent researching clothing, the more Stone Island kept resurfacing. Not because of the badge, but because of the work behind it.

Because once you look past the surface-level associations, you realize what an enigma Stone Island is.

A brand beloved by football fans in Manchester, artists in Detroit, collectors in Tokyo, and guys like me who came to it late, by way of a mediocre Elijah Wood movie.

The surface-level entry points vary wildly, but the people who stick around tend to arrive at the same conclusion:

The magic of Stone Island isn't what it represents… But rather how it's made.

That’s the part of the story that often gets lost, especially in North America.

And it’s the part worth reintroducing.

A brand misunderstood

In Europe, Stone Island is understood differently.

There’s a lived-in knowledge around it. A generational familiarity. People didn’t discover it through pop culture moments or resale spikes; they grew up seeing it worn, beaten up, passed down, argued over.

In Amsterdam, where I reside, I brush shoulders daily with older Dutch men (plumbers, the owner of the local hardware shop, etc.) who often wear the badge.

But in the US, the brand is often reduced to a few things: a logo, a badge, a flex item that floats in and out of cultural relevance depending on who’s wearing it that year.

That reading isn’t entirely wrong, but it’s certainly incomplete.

So, to understand Stone Island, you have to stop reading it as “fashion” and start reading it as research.

The reason Stone Island matters isn’t the same reason a lot of contemporary “luxury” brands matter. It’s not about storytelling first. It’s not about positioning.

It’s about process, and we can trace that philosophy back to its origins.

Massimo Osti and the obsession with process

Massimo Osti founded the brand in 1982, and never started Stone Island around a look. He built it around a question: What happens if we treat garments like experiments?

From the beginning, Osti approached clothing the way an engineer or industrial designer might. He was obsessive about materials. About how fabrics reacted to stress, weather, washing, dyeing.

He wasn’t interested in making something precious. He wanted to see what happened when garments were pushed to their limits.

That mentality (of constant testing, iteration, and failure) is still the backbone of Stone Island today.

But let’s back up.

How it spread

By the mid-1980s, Stone Island had been adopted by the paninari—Italian youth who gathered around Milan’s fast-food joints and treated clothing as a form of identity. They wanted gear that looked expensive but wasn’t delicate. Stone Island fit.

From there, the brand migrated north.

British football fans traveling to European matches brought it home, and by the late ‘80s, Stone Island had become a staple of terrace culture. It wasn’t marketed to these groups. It was discovered by them, passed between cities, traded in pubs, and worn as a badge of taste and toughness.

Through the ‘90s and 2000s, that association deepened. Stone Island became associated with hooliganism, firm culture, and a kind of masculine intensity that overshadowed the product itself. For many people, especially outside Europe, that’s where the story ended.

But the brand kept working. The R&D never paused. While the mythology grew louder, the lab stayed quiet.

The proof is in the pudding product

Garment dyeing is what we’ve known the brand for, but it wasn’t for the vibes. It was a way to recontextualize finished pieces and see how color behaved when applied at the end of the process rather than at the beginning.

And in an industry where so many brands lead with narrative because they don’t have much else to stand on, Stone Island does the opposite. The story comes after the work.

And whether you agree or not, that’s why the brand feels closer, philosophically, to American institutions like Filson, Patagonia, or L.L. Bean than it does to most modern luxury labels.

Innovation isn’t just a tagline for a campaign; it’s the infrastructure.

Avi Gold, founder of Better™ Gift Shop in Toronto, put it plainly when we talked about where Stone Island sits today.

“In true Stone form, it pretty much sits above what everyone else is doing,” he told me. “The reason a lot of us got into the brand was because of their approach to fabrics, techniques, applications. They made timeless garments that withstood the test of time and continue to do so.”

What stood out wasn’t just reverence for the past but also an emphasis on continuity. Stone Island doesn’t romanticize its archive. It reworks it. Old techniques resurface decades later, adjusted, refined, stress-tested again. The same curiosity, applied repeatedly.

“With the rise of accessibility and everyone trying to make product or have a ‘brand,’” Avi continued, “Stone is one of the few brands that continues to stand outside the box and prove themselves through fabrics and their overall approach. It’s like wearable art.”

That idea (proof through product) is increasingly rare. Especially in a market flooded with premium branding and thin substance.

Community as a form of research

And Stone Island is one of the only brands that treats community not as “marketing,” but as another research surface. The clearest proof is the brand’s own framing: Community as a Form of Research, a campaign concept that puts real devotees at the center rather than hired faces.

The point is not celebrity, it’s evidence. When you photograph people who have lived with the clothes for years, you get a different kind of credibility, and a different kind of information.

What pieces do they keep.

How do they wear them.

What do they return to.

The campaign’s interviews, guided by Hans Ulrich Obrist, turn fandom into field notes, and the short film The Compass Inside makes the same case from another angle: this brand is built through the people who wear it and the people who make it.

That’s what Avi is picking up on.

Stone Island’s community is not a vibe layer added at the end. It’s part of how the brand pressure-tests relevance over time, in the same way it pressure-tests fabrics, dyes, and finishes.

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Utility, experimentation, and meaning

Detroit-based Artist Tyrrell Winston approaches materials differently, but the overlap is striking. His work often centers on found objects… things already worn, marked by time, embedded with history.

“When materials wear and change over time, it becomes part of the story,” he told me. “Stone’s fabrics act in a similar way.”

That perspective reframes Stone Island’s obsession with experimentation. It’s not about perfection. It’s about allowing garments to evolve.

“I have no interest in art without experimentation,” Tyrrell said. “That doesn’t mean making things haphazardly. It means not being afraid to go places others haven’t, even if that comes at the cost of not ‘nailing it’ for a while.”

That willingness to be uncomfortable, to fail publicly, and to prioritize learning over immediate payoff is baked into Stone Island’s DNA. And it’s why the brand resists simplification.

Value, in that sense, isn’t fixed. It accrues.

“So much contemporary art could be perceived as nothing if it wasn’t for the story and context,” Tyrrell added. “Stories that stand the test of time become more important than the object, but in turn, they elevate the object.”

Stone Island understands that balance. The product carries the story, not the other way around.

Stone Island rewards your curiosity

Stone Island doesn’t explain itself loudly. It doesn’t flatten its ideas for mass appeal. It rewards curiosity. If you want to understand it, you have to spend time with the product. You have to care how things are made.

That’s why it continues to resonate across such different groups. Football fans. Artists. Designers. Engineers. Collectors. People who don’t dress alike but share a respect for process.

Stone Island isn’t timeless because it looks the same year after year. It’s timeless because it never stops innovating. The brand is a reminder that in a world full of empty promises, the rarest thing is still proof.

And Stone Island, above all else, is proof.

Learn more about Stone Island here.

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A few months ago, someone left a comment on an article I wrote suggesting that there are “things I don’t understand about menswear,” because I’m not an insider.

I don’t think their comment was malicious, but I do think they were right.

I am not a “fashion industry insider.”

I’ve never worked in this industry before, but I really love clothing. The last 15 years of my life have been consumed by learning as much as I can from wherever I can, and that obsession has enabled me to share some of what I know.

This is my first post for Sprezza, and on a recent call with the team, we were yapping about the equilibrium between product value and price point.

Leon (fellow Sprezza writer) asked me: “Do you think customers actually care about all these details?”

I went on a rant, and was promptly encouraged to share my thoughts publicly.

So, here it goes.

Welcome to the metaphorical menswear pool

If menswear were a metaphorical pool, I’m 4 feet deep in a 6-foot pool. I see the insiders jumping off the diving board into the deep end, and I also see the newcomers putting on their floaties as they prepare to get out of the splash deck. I tread awkwardly in the middle, passing info along to both sides.

And from here, I recognize that both sides can learn from each other.

The insiders (on the deep end): I agree with you on all things costs, quality, and production. The reality is, the guys who are just stepping into this world think very differently from us and are looking for things in very specific categories.

In most cases, the fit & cost of something will sway the buyer. Manufacturing, materials, and technical details are secondary.

I had to pressure-test this, so I texted three of my [non-insider] friends to ask what they consider when buying clothing.

Their responses were:

1. Manufacturing practices…I want to see if a company takes pride in its work

2. Material, fit, and cost (in that order)

3. I don’t think about materials. Fit + cost are my first thoughts.

I’ve managed to spend enough time with the first two guys to have dragged them a little deeper into the pool. But the third answer reflects the majority of people who are on the outside looking in: they want to know how it fits and what it costs.

Everybody.World really nails this with their trash t-shirt collection. Their info is simple, their t-shirt fits are easily named (trash tee, boxier trash tee, tailored trash tee), and they start at $40, which is more than what you’d pay at the mall, but also cheaper than what you’d spend at a specialized brand.

Is it better than what you’d get from Dehen 1920 or Merz B. Schwanen? No, but I don’t think they’re trying to compete.

Elwood is another one. I hate everything they do am not their target customer, but multiple guys I’ve spoken to have said they’ve bought their stuff because of their product breakdown videos, all 45 seconds long.

Cost matters too. At a time when people are struggling to pay bills, buy groceries, and cover their mortgages, it’s hard to consider spending +$65 on a really great tee when a pretty good one costs $40.

Consider the total. cost in purchasing three of the same products from from three different brands.

First, we have H&M.

Then, Zara.

Finally, Buck Mason.

Same items at checkout.

Tee, jeans, loafers.

At H&M, $93.

$170 if you cop at Zara.

And at Buck Mason? $688 big ones.

Which one seems most appealing to the guy who doesn’t “know any better?”

I’m not saying that the finer details don’t matter. But you will not catch the guy who wants to look good at an affordable price, geeking out on the details. Yes, they should be educating themselves (more on that later), but until they get there, they’ll be shopping differently.

(1) Will this fit me well? and (2) What will it cost me to have something that fits well? Whoever manages to answer that in the simplest terms will win over that portion of the market.

The market for quality basics is huge and extremely popular, even if it’s oversaturated.

Back to our call. Leon also made the point that Buck Mason is the benchmark for what people consider good quality right now. It’s elevated enough for the mall shopper to feel they’re stepping up in quality, yet it’s also crafted and styled in a way that someone who shops at RRL will find something they like.

Their pricing seems to be the average someone would be willing to pay for a good product. Let’s use a pair of their Japanese Denim Ford standard jeans that cost $228.

That price is the absolute most I can expect someone (who is interested in buying their first good pair of jeans) to spend. And yet for those who nerd out on this stuff, $228 is where the really good stuff begins.

It’s also why I believe brands like Every Other Thursday ($194 for jeans) and Hanover ($155) have the opportunity to print money.

Because if Buck Mason’s jeans are too expensive, there are a ton of really good options that appeal to someone who wants to both look good and save money.

“We don’t need another social media influencer brand.”

Hey, I don’t disagree. But the quality is good, and the price point is appealing to consumers. I’m not saying I even necessarily like these brands but I can’t argue that they’re doing the right thing at the right time, offering exactly what people are asking for.

Two examples of this are Colbo x Zara and Aaron Levine x Zara, which have a [thin] silver lining.

For the love of God, do not start an argument with me here. I personally feel these are bad for many reasons, BUT.

Look at these texts I got, two weeks apart.

At one point, we were all new to this. A collab like this introduces someone who is slightly interested in menswear to Aaron Levine as a reference point, and it opens the door to a whole new world of brands.

For me, that was Four Pins (RIP).

When I discovered that blog, I followed all the writers on Instagram and every brand they talked about. It led me out of the mall brand wasteland and into the loving arms of the SSENSE sale section.

We all need that moment where a brand or a person unlocks the rest of the industry for us, and I think (or at least hope) that’s what is happening here.

We all gotta start somewhere, even if Zara is the gateway.

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SHALLOW END NEWCOMERS:

You guys are screwed. Genuinely. You wandered into a whirlpool that pulls you in and spits you out broken. You’ll spend more money than you want, order the wrong size a ton, and you will be haunted by the regret of missed purchases.

Here are some things you need to know to save you a lot of time and energy.

How you shop matters, and paying full price is worth it.

I just went to bat for you a few paragraphs ago about how times are tough, and costs play a huge part in how you shop, so now I need you to meet me in the middle.

A few years ago I was in the market for a pair of wallaby-esque shoes, and I ended up going with the 3Sixteen + Padmore & Barnes P404 rather than a pair of Clarks.

The price was $100 more but I felt like it was worth it. And sure enough, upon posting and tagging Andrew, he replied with this:

I’m glad Andrew kindly corrected my comment: That purchase helped pay his staff and keeps the whole business healthy. When you put money into a good store or brand, you’re helping make sure everyone’s able to pay their bills and live their lives.

Online shopping removes the human experience from the equation.

Stepping into a physical store, that changes. When I got fitted at Drakes and was asked what size I wear, which pieces of clothing I usually wear, and how I like my coats to fit, they weren’t just making a sale; they were making sure the pieces I bought would fit my lifestyle and work with my wardrobe.

You don’t get that human experience online.

You’ve got bills and want to afford a good t-shirt, but the person helping you at the store also has bills and wants to afford one. You’ll pay more, but you'll see where that money goes and how it helps keep someone else fed.

When you can afford to do it, paying for quality clothing is the best financial and ethical decision you can make.

I bought a pair of Trickers boots in 2015 for about $400 that are only now needing to be resoled…after a DECADE of wear.

My cost per wear is $40/year.

You could go to any mall brand, find the cheapest black boots ($60 from H&M), replace them every time they break, and over 10 years, I’d still have made the better financial decision.

And now, for ~$100, I can get mine resoled for another decade of wear.

Weddings, concerts, long days in the city, slow days in the office...they’ve seen better days since 2014. Coming soon: Vibram Commando sole.

The boots theory checks out. It’s also the most ethical choice. 10 pairs of H&M boots over the course of a decade (for comparison) create 10X the waste, 10X the exploited labor, and feed the idea that consumerism will fix the gaping hole of sadness in your life.

But it won’t.

I know how daunting it is to spend $400 on a pair of boots. But I think that is also due to a shift in how we value clothing today. Look at this fact from the Bureau of Labor Statistics:

In 1901, the average U.S. household allocated 14.0 percent of total spending for apparel…By 2002-03, spending shares for clothing had decreased to 4.2 percent in the country as a whole.

I cannot unpack all the reasons why I think we’ve decreased the amount we spend on clothing today, so I’ll summarize: Offshoring labor for clothing production, along with poor labor standards across those countries, has led us to believe that clothing can always cost less without having to wonder why that’s the case.

Articles of Interest did a great episode on how, even in America, the labor costs are worryingly low. Even if a pair of boots can cost $60, it’s in your best interest to avoid putting money into a system that only serves to exploit and punish minorities, women, and children.

This is the easiest time to learn anything you need to know about clothing and products.

A decade ago, I had to dig through forums for basic info, and a decade before that, it was even more difficult. Today we have so many blogs, podcasts, websites, and menswear reels to bring you up to speed on anything you’re looking for.

It is almost more difficult to stay uninformed than it is to learn about what’s out there.

And I get it, the general consensus is that menswear guys in the scene can be intimidating. I used to think that too. But let me let you in on a little secret…

Bro…the guy you’re intimidated to ask a question to is a nerd that’s currently in a forum arguing about how often you should wash your denim. He hasn’t spoken to a girl face-to-face in years.

Everyone in this space is a nerd at their core, someone who found freedom in spending too much money on a pair of jeans.

Put yourself out there online, show up to events, visit shops, ask questions, and you’ll quickly see that it’s not nearly as scary as it all seems.

The good people want you to find your spot in the scene and will be helpful in educating you along the way.

Not to get all sappy, but menswear has made my life better in more ways than I can count, and I’m stoked to be able to peek behind the curtain to see how the machine works.

I also love my friends who have no idea how to pronounce Loewe.

It’s easy to make this into an insider/outsider debate, but that feels disingenuous. Whether you’re a veteran shop owner or an accountant who just bought his first pair of good jeans, you’re likely reading this because you care about clothes on some level.

The tension isn’t disagreement; it’s language. Two groups who care about the same thing but don’t always know how to talk to each other. I’ve seen what happens when someone who walks out, saying “That shirt was too expensive,” gets the chance to actually understand what goes into making it.

Sometimes they still don’t buy it, sometimes they come back.

Either way, the conversation changes.

What’s helped me is staying in the conversation: reading more, asking questions, leaving comments, walking into shops, and talking to people who know more than I do. The more I engage, the less intimidating the whole thing becomes, and now I’m able to pass along what I know to the next person.

We’re all in the same pool.

Some are wading in the shallow end, others diving into the deep end. The pool is not as long as it seems, and we’re closer than we think.

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Quick note… as you know, I’ve worked with Db (a luggage brand I’ve talked about, and one that I love) in the past.

I basically only use these bags for all my travel.

I’ve enjoyed building a relationship with their team (all great people), and they’re really interested in learning how people in the Sprezza community travel, what bags they use, all that good stuff.

So, they made a quick 3-minute survey, and if you fill it out, you’ll be entered to win a $100 gift card as a thank-you.

Easy win if you’ve got a few minutes to help them out.

I’m not being paid for this; just helping the team out!

Here’s the survey link

What I saw in NYC last week

I tend to be back in NYC for work every few months (roughly) at this rate. Even though home base is Amsterdam these days, it’s fun getting to spend time in the city that helped raise me (where I went to college), afforded me the opportunities that have changed my life (work), and is a place where I have countless relationships.

I’m grateful to be back in a couple of weeks, but today I wanted to flag some spots you may or may not have visited on my trip last week.

Before we dive in, read through this and LMK what I should hit next time I visit! Always looking to add good spots to my list.

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Is J.Crew men’s cooking again?

J.Crew is taking me back to the catalog days with this in-store collection. I hadn’t been to the men’s shop on Bond Street in NYC since it opened (wild, I know), so I popped in one afternoon when I had a few minutes and was honestly low key impressed with how good their latest stuff looks.

So here are a few pieces I loved (styling, fabrics, styles, colors, etc).

Anyone bought stuff from J.Crew recently? What did you think? How do you like it?

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Somewhere to eat

My brother introduced me to this Chinese spot called Phoenix Palace on Bowery Street and it’s absolutely phenomenal. The owners are typically there, and they’re both incredibly hospitable. 10/10 would recommend.

Products I love

My friend Victor recently launched his own brand, Vito’s, and his mom makes these bangin’ knit caps with little hearts.

He delivered one to me while I was in town last week, and it’s so good in person. I’m wearing it while I type this. If you have a big a$$ head (like me), these types of knit caps look so much better than ones that you fold over your head.

Stocked up on more olive oil courtesy of the HOMIE, Theo, from Psyche Olive Oil. Yes, he drizzles olive oil from these… pouches. And it’s genius. Truly one of Greece’s finest, and he also relocated back to the city. So keep tabs on more pop-ups and events he does in NYC soon.

Got to visit C’H’C’M’ and these brown military shoes from Yoko Sakamoto are phenomenal. A little cartoonish, but I love the rounded silhouette and it was really good to visit C’H’C’M’ in person.

A few places I love downtown

A friend of mine introduced me to Silence Please, an offshoot of speaker design studio Silence Please (how original!), which created a showroom for its bespoke speakers, and paired it with a tea room, record store, and listening space above Bowery Street.

I love it because it feels like a big living room where you can just unwind and let the supreme sound wash over you.

I also discovered Lore, a new bathhouse concept on Broadway that brings the best of Scandinavian sauna culture to a membership club for the New York yuppies. And I must say, I thoroughly enjoyed the experience.

And last, I visited Gem Home, a newly opened home goods store and café, run by chef Flynn McGarry. He’s got a nice curation of foods, sundries, knick-knacks, and home-focused products in a tidy space over on Mott Street.

They also serve breakfast foods and pastries, along with filter coffee, in true European fashion. Was still solid.

Menswear has a pricing problem.

Not at the very top; true luxury has always lived in its own universe. But in the middle (where most guys actually shop and dress), things have gotten strange.

Basic pieces are priced like collectibles, “essentials” that feel anything but essential, and clothes that look fine on a PDP, but quietly fall apart in real life.

That’s the backdrop against which Hanover caught my attention.

Chris Black (a cofounder) has been around long enough to see this shift happen in real time.

Long before starting a brand, he’d already built a reputation for having a sharp, lived-in point of view… one that’s shaped by music, friends, retail, and a lot of time paying attention to what people actually wear once the performance drops.

But Hanover is interesting because it’s not trying to fix menswear. It’s not positioning itself as a concept, or a correction, or a manifesto.

It’s much simpler than that: make everyday American clothes, make them in the USA where possible, and price them in a way that still feels grounded in reality.

We caught up with Chris and talked through how Hanover came together, why Chris stayed quiet about it for so long, and what he’s intentionally choosing not to do.

What follows is a conversation about taste, restraint, and building products that are meant to be worn.

A conversation with Chris Black

Clayton: Hanover feels like it appeared pretty fully formed, but I know that’s rarely how it actually works. How long has this been in motion?

Chris:
It’s been a while. I’d kicked the idea around over the years, of course. But everyone tells you (and you see it yourself) that it’s just really hard. It’s sort of like, why would you do this if you don’t have to?

But when someone comes to you with the base infrastructure and enough money to do it relatively the way you want, the conversation changes. Then it became: can we do it at this price point, and can we do it made in the USA?

Once we realized we actually could, after sampling and all that, I got more excited. Because pricing has just gotten insane. I wanted to push against that as much as I could.

Clayton: You’re pretty clear that this isn’t anti-luxury. It’s more about what people are actually wearing day to day.

Chris:
Yeah. I mean, I have my share of luxury items. My wife has a closet full of luxury items. I love that experience, and I think it’s worth every penny if you can charge it and someone’s willing to pay it.

But what I’m actually wearing, and what a lot of people I know are actually wearing, is stuff that shouldn’t cost what it costs now. This isn’t some beautiful overcoat. This isn’t a pair of leather shoes. It’s like, you’re paying $200 for a t-shirt, $500 for jeans.

At a certain point, it just stops making sense.

There are times to splurge. But on a day-to-day basis, what we’re making is what people actually wear.

Clayton: When you think about the line growing, what does that look like to you?

Chris:
We’re working on the second collection now for February. It’s an extension of what we already did, long sleeve polo, zip-up hoodie, a different cut in the jeans, boxers, hopefully socks.

I want to push into other stuff too. I think the word “essential” means different things to different people. To me, a flannel is an essential. A chino is an essential. A cashmere sweater is an essential. That word got turned into “t-shirt,” and that’s not what it actually means.

Footwear is big for me as well, but only collaboratively. Like, can we make a penny loafer that’s up to my standard? Can we do a sneaker? Those conversations started early, so hopefully something comes together.

Clayton: You said something earlier that stuck with me; you don’t want your own sneaker silhouette.

Chris:
I don’t want my own style. I’m not going to improve on a Converse All-Star. I’m not going to improve on a 993 or a 996. There are just some things that can’t be improved.

I can do a version of it and make it feel different, sure. But I don’t need a new last. A Vans Authentic, a Converse All-Star… those can’t be improved upon. I’m not going to try.

Clayton: There’s so much sameness in menswear right now. Same factories, same cuts, same language. How do you think about differentiation?

Chris:
I think a lot of it is Instagram brands, honestly. People figured out how to game ads. There’s no culture behind it.

I want Hanover to feel like the baseline of American dressing. That’s why we put an American flag patch on the tote bag. That’s the vibe. I’m not trying to be experimental. I’m making stuff you can wear forever at a good price point.

I want to work with musicians. I would never shoot a model if it was up to me. I don’t care about that. There’s already a world I’ve created for myself, and we can lean into that.

Clayton: You were pretty blunt about something I think a lot of brands avoid saying out loud. But people don’t actually buy based on ethos decks.

Chris:
People want what they want and they want it to be the price they want it to be. Anything else is a bonus.

If you don’t destroy the environment, that’s great. But if you do and it’s cheap, people are still going to buy it. I believe that. Made in USA is more of an ethos for me. I don’t know if it affects sales at all. But if it makes me feel good, then that’s fine.

Clayton: You also don’t seem interested in chasing New York and LA approval.

Chris:
New York and LA are flooded. Those guys know too much. If they want it, they can have it.

I’m much more interested in tertiary markets like Austin, Nashville, or Atlanta. There’s a large group of men who’ve gotten into clothes in the last five to ten years who are underserved. They’re not nerds. They’re not trying to win anything. It’s like: does this look good? Does it make me feel good? Do I like the brand? Okay, I’ll buy it.

Clayton: That’s basically the Sprezza reader.

Chris:
I’ve lived in New York too long, and you start thinking that’s reality. Not everyone is buying The Row or Phoebe Philo. That’s not normal.

Everlane was the perfect example. All that transparency stuff… no one cares anymore. It’s about the brand and how it makes people feel.

Clayton: How are you thinking about building Hanover beyond product?

Chris:
Events are important to me. We did a party in New York and my friend Rostam played, and it went until 2 a.m… people had a great time.

I hate the sanitized brand events that end at nine. I like real parties where people leave like, “That was awesome.” The booze was free and the music was good. That’s it. You can do that in different cities, and it works.

Wholesale matters too. I want to be in a handful of stores that matter globally, even if from a business standpoin,t it’s basically a marketing expense. I think that’s cool.

And with retail, I’d love a small store downtown. I grew up working in stores. I still put it on a pedestal. When it’s your thing, you get to do that.