Four 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.
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The 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.
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The 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.
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Shuttle looms in Okayama, a family sewing room five generations deep, and an inseam that is long on purpose. Josh Sirlin on the Black Bear Brand jeans.
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One thread, one needle, one hand turning a crank under the table. Josh Sirlin on the 1865 machine that still cannot be improved on, and on four days of stitching one jacket.
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Roughout 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.
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Josh Sirlin wore one vintage peacoat for more than ten years, then made the one he actually wanted. A first look at the Hunter Green, a custom color worked out with the mill, releasing September 22.
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Wool 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.
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The first Black Bear Brand pop-up in Japan opens in Ebisu on the second, third and fourth of October. Josh Sirlin on Tokyo, the collection, and the pieces coming with it.
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Cupro 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.
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Five 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.
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Yoke, 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.
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Fall arrives, the tweed comes off the hook, and the peacoat returns with a new green. Josh Sirlin on cloth woven by hand in Scotland, coats made in Seattle, and wool woven in Japan.
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A size medium takes four long curl sheepskins and one full day of one craftsman's hands. Josh Sirlin on shearling, on horsehide, and on the Northern Dream.
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Somebody named it in 2017 and the whole world went along with it. Josh Sirlin on how outdoor clothing became city clothing, and how to do it with cloth you actually want to touch.
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The label tells you where a thing was assembled. It does not tell you who chose the mill. Josh Sirlin on the law behind the tag, and on choosing rooms instead of countries.
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Moths do not eat clean wool. They cannot. Josh Sirlin on what actually eats your sweaters, what cedar does and does not do, and how to put a wardrobe away properly.
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An Olympic skater asked for a pant he could actually skate in. Josh Sirlin on the 90s west coast cut, the design that came out of it, and what happens when a skate pant is made from cloth this good.
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A 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.
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Paris 1960, the South of France in the seventies, an album cover in 1980. Josh Sirlin on how women made the white t-shirt the most powerful thing in a wardrobe, and on the WOMAN Ultimate Soft Tee.
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