three patch pocket


Fire (For Grandma) (2016)

When my grandmother was in 1st grade, she drew fire. When her teacher asked her where she learned to draw fire so realistically she responded “ I just looked”. Her teacher brought the drawing to every classroom. 

My grandma singles that moment out as when she first knew she was an artist. As I interviewed her I heard fire coming up again and again as a sort of motif; her passion for art and life was fiery, her love for my grandpa and her 6 kids was warm, her big dinners for my extended family (using fire to cook things). Her whole house is even bathed in light. Out in the garden where we talked for over two hours, I actually got a sunburn. Everything about her is fire. 

 Using mostly warm colors, I patched together three pockets with three themes. One pocket about her and my grandpa’s love; a background of hearts with butterflies flying across it (in her own words “butterflies are the house of the soul”) and an appliqued hook earring which she used to “catch” my grandpa with the embroidered date “June 1956”, when they were married. Another pocket shows the meals she cooks for our big family gatherings; a big part of how i grew up. I painted the background fabric as the tile that’s above her stove. The last pocket is her passion for art. Using the imagery that made her realize she was an artist, I created a fire using pieces of different flowers. I also hand printed the jacket fabric, adapting my grandma’s own art: a broken plate print she designed to recognize her creative and passionate spirit. Using her actual words in the inside of the jacket, this piece tells my grandmothers story in the form of clothing that she would actually wear.


Steezy Seersucker Summers – Almost two years ago, I saw the top photo of Popeye editor-in-chief, Takahiro Kinoshita, come across my dashboard and instantly I wanted a seersucker suit of my own. 

Cut almost too fashion forward (I suspect by Thom Browne), the jacket’s short length and shorter-still two-inch cuffs exposing bare ankles looked somehow restrained by the simple white club-collar shirt and black silk knit tie and penny loafers. 

Seersucker suits aren’t anything new. Beloved by Ivy and trad purists, you can still find the suit sold by the usual purveyors of such clothing. But those suits always struck me as a bit too frumpy, with legs a bit too wide, jackets often undarted into a sack and cut a bit too long –  placing them safely into traditional territory. They often look like they demand to be worn with nothing other than white bucks and a bowtie, which I think makes them harder to wear if you’re not in the South or perhaps along the East Coast.

And I could never think of a good reason for me to own one, despite liking the idea of owning one. After all, how many garden parties, outdoor summer weddings, Southern courtrooms and Congressional Seersucker Thursdays would I find myself attending?

Regardless, I keep coming back to this particular seersucker suit and the idea and execution of it seems more modern and perhaps wearable in an urban setting. I’d change a few things: make it three buttons, add patch pockets and have the interior construction suited for travel. 

Ideally, the suit would be one you could wear on a trip and also wear as separates. Just pack a navy rugby polo, cadet blue Bermuda shorts, faded denim, a chambray or linen shirt and white canvas sneakers and you’d have a combination of outfits for a summer trip. 

But a third summer will now pass and no seersucker suit hangs in my closet. Perhaps next summer. 


The Beatles in their iconic collarless suits, 1963

Photos: AP; Harry Hammond © V&A Images

Based slightly on Pierre Cardin’s design, but more so on a collarless jacket Astrid Kirchherr had made for Stuart Sutcliffe in Hamburg, these suits would become world-famous.

“Mark Lewisohn reveals that when Stu started wearing this jacket, the others - ironically for an item they would forever be associated with - teased him mercilessly. ‘What are you doing with your mum’s suit then, Stu?’ they would say, referring to its likeness to the sort of top a middle-aged woman might wear.
In keeping with the nature of the band’s creativity, Cardin’s jacket was an inspirational device. It was not to be slavishly copied. Working mainly with McCartney, [Dougie] Millings came up with a jacket significantly removed from Cardin’s original design. Cardin’s jacket sported five buttons at the front and three patch pockets. The round-necked, collarless Beatle jacket used three pearl buttons and two pockets with braided edges, and had single-button cuffs. The matching flat-front trousers had no side-pockets.
[Brian] Epstein’s dictum to the band that their stage clothes could be outlandish and unorthodox but must always remain smart is certainly fulfilled in this instance. Once again no other band looked like The Beatles. Once again they were leading the pack. […] 
The Beatles’ famous collarless jackets perfectly chimed with the fashion zeitgeist of androgyny, even though it was being worn by four men brought up in a highly male environment. But then that was the past, and The Beatles always looked to the future. Their clothes said as much to the world.
What is of further interest where the collarless suits are concerned is that when the band toured America, they left them behind. American audiences only got to see the band in these landmark clothes through record sleeves or magazine pictures.
[…] Perhaps they had just got bored of them. Other bands were now copying them and, as Mark Lewisohn states, ‘Once someone copied what they were doing, they dropped it instantly and looked for something new.’ Maybe they also sensed that the suits would be too provocative for the American youth.” - Fab Gear: The Beatles and Fashion by Paolo Hewitt


Gray double-breasted suit - versatile choice for fall part I

Gray wool suit is staple for fall and winter season. When the days start to get colder it feels natural to change jackets and suits made of lighter fabrics to more subtle wool and flannels and hues of blue to darker shades of gray and brown (and of course blue again). I bought this suit made of Dugdale Bros & co gray herringbone wool fabric from Rose&Born couple seasons ago and it has since been one of my favorites. It is suitable for work as seen here but it also works for more casual combinations together with roll necks, double monks and loafers.

Last weeks have been pretty busy so just a few shots from yesterday. And as I wore the same suit today, tomorrow you will then see the other - more casual  way - of wearing the same suit. 


Suit: Rose&Born Shirt: Mastai Ferretti Tie: Berg&Berg Shoes: Alfred Sargent

And as I have got a lot of questions recently - I will try to come up with answers for those soon. But please, if you have anything in mind, use the comment-section at the end of the post and you will probably get your answers sooner.