Some style lessons from Gerard Basquiat, a Haitian immigrant whose son helped define the New York art scene and neo-expressionism. 🧵
In tailoring, the term "gorge" refers to the seam that connects a jacket's collar to its lapels. This determines the shape and placement of the lapel's notch. The most classic placement creates a horizontal line running from the notch to the collar points.
As a counter reaction to 1990s Armani, which had excessively low gorges, men's tailoring has seen gorges creep up over the last 20 years. It's not uncommon to see a notch lapel almost sitting on top of the shoulder. Or peak lapels flying off the shoulder.
Something interesting about Gerard Basquiat's tailoring is that he always wore a notch that was basically level with his collar points. In this way, the notch is never too high or low; it's just classic. Compare to Ted Cruz's overly high gorge.
Interestingly, Gerard carried this proportion into the later part of his life, bucking ready-to-wear trends. This again looks very tasteful (compare to the peak lapel a bit up-thread, which was flying off someone's shoulder).
People often think about clothes just in terms of sizes (small, medium, large). But a more defining aspect is their shape. Gerard's tailoring had tremendous shape, as evidence in the lapel's roll at the buttoning point. Compare to Cruz's lapel, which is pressed flat like panini
Men are often reluctant to wear a higher-rise trouser because they don't want to look like an old man. But in a tailored outfit, the trouser rise serves a function: it covers up the bit of shirt fabric that would otherwise peek out from beneath the coat's buttoning point.
A suit is simply a garment where the jacket and pants have been made from the same cloth. This should create a coherent whole. When shirt fabric flashes beneath the jacket's buttoning point, it disrupts the line and spoils the sense of elegance.
Gerard's sense of elegance is carried into his accessories. When wearing dark worsted suits, Gerard wore small dress watches on a leather strap. This looks much better than chunky sport watches, such as Cruz's Tag Heuer chronograph, which are better for casualwear.
I suspect Gerard wore a Cartier Tank. His son's friend, Andy Warhol, also famously wore a Tank, once quoted as saying: “I don't wear a Tank to tell the time. In fact, I never wind it. I wear a Tank because it's the watch to wear.” Maybe Gerard suggested the style to him.
Gerard's sense of quiet sophistication is also reflected in his ties. This spotted one reminds me of something Gore Vidal once wore while hanging out with JFK. Very demure, very tasteful.
It's hard to talk about how to choose tasteful ties without spinning out an entire thread. But it's a generally good idea to stay away from overly shiny materials or busy designs. Jacquards, where a pattern has been woven into the silk, can also be dangerous. These are ugly:
Most men today don't wear ties; they often look for ways to dress down tailoring. When doing so, I encourage you to never wear dress shirts with black buttons or contrast linings, as these look cheap and tacky. Go for something more classic, like Gerard's skipper collar polo.
Additionally, when wearing knitwear, consider getting something that's a bit more textured. Texture is an easy way to add visual interest to an outfit, which is helpful when you can't layer with a coat or jacket.
They can also be warmer and more rugged. Here's Gerard wearing a heavy woolen Shaker knit with a collared shirt and cotton pants while feeding his son at a park. A good dad outfit.
Ultimately, you will look great if you choose clothes that fit and flatter, develop an eye for details, and add dimensions such as tasteful textures and patterns when possible.
It also helps to keep clothes clean.
To end, here are some of my favorite photos of Jean-Michel Basquiat. These were taken by Yutaka Sakano in 1983 when the artist was visiting Tokyo. As such, he's also wearing vintage items from Japanese designer Issey Miyake. Note the concept of "shape and drape" here.
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Not true. There are skilled craftspeople of every ethnic background (also hucksters who pose as real craftsman, but are not). Here are some artisans of Vietnamese and Filipino heritage. 🧵
I'll start with one I named in an earlier thread. Bellanie Salcedo is a Vietnamese-American and one-half of Chester Mox, based in the US. She trained for years under a former Hermès artisan, learning the skill of saddle stitching. Everything she makes is completely handmade.
Over the last 15 years, I've gotten all sorts of things from her: folios, belts, coat wallets, and card cases. The stitching is fine and precise; the edge finishing is immaculate. She sources leather from Hermès-owned tanneries. I think her work is world-class.
The thing about the Chinese fashion manufacturing TikTok discourse is that people haven't seen what it takes to build a reputable business. Look at what independent craftspeople go through: years of training, selling to discerning buyers, building a reputation, and expansion. 🧵
This has nothing to do with French vs Asian hands. In my thread, I highlighted many Asian makers. But I've also seen fraudsters (of every ethnic background). People who start up companies, sell shoddy products to uneducated buyers, and then disappear.
What does it take to get someone to fork $1k over the internet for a bag? Hopefully more than a punchy TikTok video! Ideally you read about the craftsmanship from informed buyers, see close up images of the workmanship, and understand how something was made.
This video has made the rounds on nearly every social media platform—and like others in its genre, it's led people to reduce fashion production to overly simplistic narratives.
So let’s take a look at why this bag might not be quite the same as the one you’d find at Hermès. 🧵
Most people have a very functional relationship with their wardrobe. They choose garments for their utility—warmth, comfort, protection from the elements. In this context, quality is measured by durability and function: how long a piece lasts and how well it does its job.
Others dress with social aims in mind, such as climbing the corporate ladder, attracting a partner, gaining entry into certain circles. In these cases, luxury goods convey status, wealth, or cultural fluency. It’s still about utility—just of a more symbolic kind.
How much do you think it costs to make a pair of Nike shoes in Asia?
I'll show you. 🧵
In 2014, Steve Bence served as Nike's Program Director in Footwear Sourcing and Manufacturing. He pulled back the curtain on manufacturing in an interview with Portland Business Journal. He said that, if a sneaker retails for $100, it generally costs them about $25 to manufacture
This is the FOB cost. In the industry, "free on board" is the shoe's cost at the point when it's loaded onto a vessel at the port of origin. "Free" refers to how the factory will pay to deliver a finished product up to the point when it boards a ship—the rest is your problem.
"China makes crappy clothes anyway, so who cares?"
This is a very outdated view. Let me show you just one shop in Beijing, which I think makes clothes that surpasses Loro Piana, The Row, or whatever luxury ready-to-wear brand you can name. 🧵
Atelier BRIO Pechino started as a multi-brand store that held trunk shows with bespoke tailors and shoemakers from around the world. Over time, they've developed as their own tailoring house, which I think excels bc of the proprietor's high taste and their craftspeople's skills.
For example, on the right is your typical hand padded lapel, where a tailor has picked up multiple layers of material with needle and thread, and shaped them through stitches. This is sort of workmanship is pretty standard, even on Savile Row.
I support the US garment industry. I don't believe in making life harder for immigrants or erecting crazy high tariffs. So how can we reshore some of our US garment manufacturing without xenophobia or protectionism? Here's my view. 🧵
This thread starts with three ideas:
First, garment manufacturing has always been done by immigrants—first Germans in the late 19th century, then Jewish immigrants from East Europe, then Italian and Polish, and now East Asian, Latin, and Caribbean.
Such immigrants gave us our cultural language. The soft-shouldered Ivy style look—popularly associated with WASPs—was formed by Jewish tailors. One of the leading shops for this look, J. Press, was founded by a Latvian immigrant who eschewed rabbinical studies to sell clothes.