The Hacking Jacket


Well done, I thought immediately when I saw Mads Peter Christensen’s use of tweed, corduroy and accessories. Energy and boldness are present, and the dress is still a whole.

And check out the hacking jacket. Copenhagen bespoke tailor Peter Undén made it, clearly one of the best sports jackets I’ve seen from him.


“The vent overlaps, and top and bottom pieces are cut slightly sloping in opposite directions. This is a detail that I have copied from the vent on my old sports jacket from Huntsman, like in the case of swelled lapels,” Mads Peter Christensen tells.


He also says that “the sleeves have a bit more width than the median, so to speak. The roping is also a bit more marked at my request.”

“The back shot shows a back that might look a little more loose than my feeling of it with the jacket on, but it’s made with room for knit. Pictures are like that ;-)” Mads Peter Christensen ends.

Source: The Journal of Style on the street in Copenhagen

Posted in Fall and Winter Style, Odd Jackets, Tailors, Trousers | Tagged , | Leave a comment

The Red Striped Dress Shirt


I’m wearing a sky blue shirt four out of five working days. It is not always a plain one. I like stripes too: pencil stripes and once in a while butcher stripes.

Rarely, I choose a plain sky blue shirt in a smooth poplin weave. In fact, I only have one of that type in the closet. Plain sky blue needs a little fuzziness in the texture, I think. Else it will appear heavy. An end-on-end, for instance, has that interest in texture, which poplin doesn’t have.

Last week I got my first red striped dress shirt. I’ve been wanting to order at least one for many years, but I only managed to act two months ago, when I placed an order with Carmela and Roberta at Camiceria Carmen in Turin. The red striped shirt was made up from a Thomas Mason fabric they have.

It will not be an everyday shirt for me, properly. That said, I don’t find it to be a bold or fancy shirt, more “a different kind of sky blue shirt”. It is a serious business shirt, basically.

Could be I should order a few more red striped dress shirts to supplement the sky blue species.

Source: The Journal of Style

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Valentino Ricci on the Art of Dressing

Marineblå blazer, hvide bukser med høje opslag og brune hyttesko i ruskind

Valentino Ricci of Sciamat communicates silently through his expression and attire to the English speaking clothing community. Sometimes he grips the word. I remember an entertaining Italy vs England match-up on youtube, in which he criticizes Jeremy Hackett’s padded suit.

“Don’t hide your shoulders,” he states at one point to a slightly confused Jeremy Hackett.

Recently, when flipping through my photos from Italy, I decided to contact Valentino Ricci to have a few more opinions from him on the art dressing. What is behind this elegant, cool picture he creates?


What makes style personal, natural and elegant?

Style reflects our personality. Style is a reservoir in our mind, a secret code by which we translate ourselves through clothes.

Dressing is an art, and only artists can practice it in a natural and, therefore, elegant way.

How do you look at colors, patterns and textures ?

You cannot think properly about colors, patterns and textures without having studied the past. There are colour combinations, styles and quality materials, which great men came about laying out the premises of classic men’s dress of today.

And, as we start to rework those elements contained in taste and make them current, they should be personal and always complying with the principles of classic taste.

What typical mistakes do you see in the dressing?

A mistake often seen is the wearing of a sports jacket with a lighter shade of trousers. Personally, I think that for a dress to become a whole, the jacket should always be darker than the trousers to respond to a pure aesthetic simplicity. When you don’t see this simplicity at work, you know immediately that you are dealing with someone who has not studied.

Should clothing refine a man, or should it show who he is?

When dress is not a trivial requirement, but a heartfelt requirement, you can arrive at a state of the art, and that defines the man and shows that you are in the presence of an artist. But the latter is the exception. For most people dress is a trivial necessity.

For some people dress is a way to perform differently on the stage of life. Others (with no skills) dress for posing as masters of style; and dress can be a tool for people to get rid of themselves and look different from the man, whom they are in reality.

It is clear that everyone dress as they like, but they must be men knowledgeable of the rules and able to dress in order to sublimate the art and, thus, to meet themselves in the sight of God.

How will classic clothing develop in the years to come?

That is the million-dollar question!

In general, it is the interpreter, who summarizes society in attire.

If we look at today’s young generations, there is little interest in classics: habits, ways of doing things, mentality, and, even less, interest in clothing.

And, the example that comes from older generations has not caught younger generations, since we seem to have stopped being serious, honest and responsive to the canons of life founded by our fathers and our grandfathers.

I think dressing in the original sense is destined to become a classic like the Latin language: dead or, at best, known by few survivors only.


Nicola Ricci, Valentino Ricci’s brother and business partner.

The interview with Valentino Ricci in Italian:

Che cosa rende lo stile personale, naturale ed elegante?

Lo stile è un riflesso della nostra persona, è una riserva della nostra mente, è un codice segreto col quale traduciamo noi stessi attraverso i nostri vestiti.

Vestire è un arte e solo gli uomini artisti la esercitano in maniera naturale e, perciò, elegante.

Come si guarda ai colori, modelli e texture?

Non si può pensare a colori, modelli e texture senza aver studiato. Ci sono abbinamenti cromatici, stilistici e di materia prima con i quali in passato alcuni grandi uomini hanno fondato le premesse del vestire classico maschile.

E’ da qui che si parte per rielaborare quei contenuti di gusto e renderli attuali, personali e sempre rispondenti ai principi del gusto classico.

Quali errori tipici vedete nel vestirsi?

L’errore che più spesso noto è quello che  si commette quando si veste uno spezzato indossando la giacca con una tinta più chiara del pantalone. Personalmente ritengo che se il vestito non è intero, la giacca debba essere sempre più scura del pantalone per rispondere ad un estetismo cromatico talmente semplice che, quando  non c’è , capisci subito che hai di fronte uno che non ha studiato.

Ovviamente di chi indossa il nero di mattina o si sposa di sera con un tight non conviene neanche parlarne.

Potrebbe il vestito definire l’uomo o mostrare chi è?

Quando il vestire non è una banale necessità, ma una esigenza intima, questa può arrivare allo stato dell’arte, ed è chiaro che definisce quell’uomo e mostra che si è in presenza di un artista. Ma non sempre è così. Per quasi tutti vestire è una banale necessità; per molti vestire è un modo di esibirsi variamente sul palcoscenico della vita; per altri (senza arte nè parte) vestire è atteggiarsi a maestri di stile e per qualcuno vestire è uno strumento per depistare da se stessi e apparire diversi da ciò e da chi in realtà si è.

E’ chiaro che ognuno veste come gli pare, ma saranno di esempio solo quegli uomini conoscitori delle regole e capaci di vestire allo scopo di sublimare quest’arte e, così, di incontrare se stessi al cospetto di Dio.

In che modo l’abbigliamento classico svilupperà negli anni a venire?

Questa è una domanda da 10000 $”!

L’abbigliamento, di solito, sintetizza la società che ne è interprete.

Se oggi guardiamo alle giovanissime generazioni, non c’è più niente di classico: nè di abitudini, nè di usi, nè di modi, nè di mentalità, nè tanto meno di abbigliamento.

E l’esempio che viene dalle generazioni meno giovani non è molto più incoraggiante, giacchè sembra che abbiamo abdicato tutti ad un modo di pensare e di fare serio, onesto e rispondente ai canoni del vivere fondati dai nostri padri e dai nostri nonni.

Penso che l’abbigliamento classico sia destinato a diventare come la lingua latina: morta o al massimo, nota a pochissimi superstiti nel mondo.

Source: The Journal of Style

Posted in History of Dressing, Italy, Personalities | Tagged , | 5 Comments

Posing in Tweed Jacket and Jeans


Not long ago, I told a denim magazine:

“Nowadays the social history of clothing items is less important. The class society, as we knew it, is not there to uphold a distinction between them. What is left, roughly speaking, are physical similarities and differences. For instance, I find that a pair of dark blue jeans can make a fine couple with a brown or grey tweed jacket. It doesn’t matter (much) anymore that youth rebellion popularized jeans and English upper-class invented tweed. Both garments have a raw, dry finish, which can go well together. That is what counts today.”


Now that a new bespoke tweed jacket from Italy, made up from grey effect herringbone Harris Tweed, has arrived, I thought it was time to animate my opinion.


The single breasted jacket has swelled edges and flapped pockets. Sleeves have been attached like a manica camicia, a shirt sleeve, which makes the transition from shoulder to sleeve smooth and rounded.  The blue jeans from Lee, I bought five years ago. This is the third or fourth time, I wear them. The cognac coloured split-toe shoes are bespoke from Central Europe. The unlined dark red grenadine tie comes from Grunwald, and so does the yellow voile used for the bespoke shirt, which was made up in London. The silk pocket square also comes from London.

The book is The Story of Art by Ernst Gombrich.

Source: The Journal of Style

Posted in Cloth, History of Dressing, Odd Jackets, Shirts, Shoes | Tagged , , | 5 Comments

Relying on The Cut


While in Berlin, I chose to drop by Egon Brandstetter, a young tailor from Austria. He has set up a shop at Chausseestraße 52.

I found the shop to be very modern. It has no brown furnitures, red carpets or other old features. Decor is simple, and rooms are bright thanks to large windows.


It is no coincidence, I suppose. Egon Brandstetter wants to make tailored clothing to our times. He has specialized in light weight fabrics in the 200 grams.

Many of these fabrics cannot take shrinking and moulding with the iron properly. Even if you get the shape right, you can hardly maintain it, when the garment comes in use. Instead you will have to rely on interlining and cut, Egon Brandstetter told me.


He also arranges the fitting process differently. Similar to what happens in the French haute couture tradition, he makes a try-on copy of the suit in muslin, which he afterwards utilises to adjust the pattern. Then he starts cutting the real suit, which he will fit usually only once before finishing the suit.


The price for a two-piece suit is 2.500 euro including cloth.


Source: The Journal of Style

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