A cattle drive from a motorcycle seat, eight years with a Tokyo tattoo master, skydives in Panama. Josh Sirlin on men's lifestyle and the life skills you only learn by going.
Read MoreThe clan pattern legend is not true. What really happened is better. Josh Sirlin on the Aran sweater, why wool owns the cold, and a merino fisherman sweater knit in northern Japan.
Read MoreA striped cloth that belonged to this company and to no one else, on a garment that is about a hundred and ten years old. Josh Sirlin on the archive, and on what is coming with TCB.
Read MoreFour days of chain stitching, white cowhide sleeves, melton wool, and eight months of production. Josh Sirlin on the ART Edition varsity jacket, on display in Tokyo on October 2.
Read MoreThe loom is pedalled like a bicycle, in the weaver's own house, on an island in the North Atlantic. Josh Sirlin on what hand woven actually means on a Harris Tweed.
Read MoreThe name is not a boast. It is a count. Josh Sirlin on the ONE Jean Jacket, on warp density, and on the years spent looking for denim worth cutting.
Read MoreThree new Harris Tweeds are woven for Black Bear Brand in Scotland every year, and Josh Sirlin makes three jackets from them. Here are this fall's three, starting with the Midnight Glen Tartan.
Read MoreRoughout Horween horsehide with the raw side out, no lining, and vintage snaps. Josh Sirlin on the commander jacket, on roughout leather, and on the friends who have put real miles on theirs.
Read MoreWool works wet, holds a shape for decades, and gets better looking as it goes. Josh Sirlin on the fall jacket, on tweed, and on the three that get woven for us each year in Scotland.
Read MoreCupro is made from the fuzz left on a cotton seed. Josh Sirlin on the quietest luxury in a coat and why ours is made in Japan.
Read MoreA hundred year old stripe, read off an original coverall and woven again in Okayama. Josh Sirlin on the Black Bear Brand engineer stripe and the vintage engineer pant and coat.
Read MoreFive generations of tanners on the Chicago River, and a jacket cut in Seattle. Josh Sirlin on horsehide, the rough-out finish, and a very limited run of the westerns.
Read MoreA plain Harris Tweed is never one color. Josh Sirlin on fibre dyeing, blending to a recipe, and why the cloth changes as the light moves.
Read MoreThe warmest cloth in the closet is named for an English market town. Josh Sirlin on fulling, napping, shearing, and why melton stops wind.
Read MoreYoke, placket, gauntlet, gusset, interlining. Josh Sirlin on the vocabulary of a shirt, and on which of those parts actually tell you what you are holding.
Read MoreThe wild west was loud, and the cloth that went through all of it was blue. Josh Sirlin on the jean jacket, the Cowboy Jeans, the people he rides with, and the looms in Okayama.
Read MoreA three quarter sleeve stops at the wrong place on a man's arm. Josh Sirlin on the sleeve length he designed instead, and why an inch decides everything.
Read MoreIt cost 24 cents in the Sears catalog and it took two films to make it famous. Josh Sirlin on how a plain white tee went from the bottom of a sea bag to the top of the world.
Read MoreWhiskers, honeycombs, atari, train tracks. Josh Sirlin on the vocabulary of a worn pair of jeans, and on the dye decisions made years before you ever put them on.
Read MoreGreen was the hardest color in the world to make, and then it was the deadliest. Josh Sirlin on arsenic, Victorian dye houses, and what a real green still costs.
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