Couture

April 6, 2026

Awling belts: Striving for modern, British style

Rowarth belt

At the PS pop-up that’s running from April 23-25, we’ll have a new brand as our guest for the event: Awling belts.

Awling have been around for a few years, but have grown to prominence recently due to starting to sell wholesale in various stores around the world. We first met them at Pitti this past January.

Awling, I think it’s fair to say, have also taken a while to find their style. They started with fairly plain, standard designs, but have evolved into something more distinctive. This is most evident in their buckles, which is where the design process starts. The most popular is Pilsbury (£165): a double-sided oval that twists at both ends to open up space for the prong (below).

“Everything we do now is in this vein of being unusual but subtle,” says the founder, Chris Goldstraw. “We’re working on a new model at the moment, for example, which is plaque style but hand-worked to give it a more natural feel.”

The buckles and belts are made in England, and they have that British look in the straps in particular, which are all a flat piece of thicker leather. That’s quite distinct from the more common, European style which is made up of two pieces of finer leather, with a raised section in the middle and sunk stitching along either side.

This style, sometimes called ‘lined and raised’ is so universal that it barely feels like a style at all, but British belts are traditionally thicker and more casual – often using bridle leather, an oily cowhide which (as the name suggests) originally comes from horse tack and is built primarily for strength.

(Someone like Tim Hardy in Worcestershire is a good example, or MacGregor & Michael on the bespoke side.)

“When we toured around the UK looking for manufacturers, there were lots of tiny operations making belts like this – often just one man and a shed,” says Chris. “It was hard to find anyone at scale, but eventually we found a great maker with the help of Adam who founded the bag brand Cherchbi.”

Cherchbi is a blast from the past – the last time we covered them on PS was in 2012 – but apparently they’re still around. Adam no longer runs the brand however.

Chris started off making belts that were similar to those bridle ones – wide and plain – just with an Italian leather. But over time he shifted to slimmer and unusual styles, still with a cut edge and so a flat look, but with interesting buckles like the Rowarth (£175, below), which is sort of a British version of a western belt.

“That’s been the hardest thing to be honest, finding our aesthetic, but we’re really happy with where we are now, it’s given us a clear focus for new developments,” says Chris.

It’s been interesting trying out the style with my own outfits. I got the Parwich (£175) in brass on a pebbled black leather a few months ago, and I’ve been trying it out regularly since.

The vast majority of the time I wear that European ‘lined and raised’ style of belt, even with casual outfits. They’re mostly from Rubato, one-inch wide, and I like the way the belt adds a smart touch to a T-shirt and jeans. When I go more casual it’s usually a braided leather or a western style from Silver Ostrich.

I’ve found the Parwich actually more subtle and therefore more my style than Silver Ostrich – and a nice alternative to a braided leather or suede. It has more heft than a calf leather, but still smarter than most casual belts. The colour range also fits well with modern tonal modes of dressing.

Belts is a category that can be hard to break into – everyone sells them, from multi-brand stores to shoe shops – and it’s difficult to have a point of difference without becoming too outlandish.

Awling seem to have done a good job, perhaps due to Chris’s taste level. His day job is still an architectural photographer, and he’s long had a passion for menswear alongside both architecture and photography.

“I was always into well-made clothes when I was younger,” he says. “I wanted something that would last years, both because it was quality and because it was subtler, without big logos all over it for example.

“I think a lot of that carries through into the belts we’re doing now – we’re aiming for two new buckle designs a year, something like that, and those ideas of subtle style and quality run through them all.”

Chris will have his new developments for this year – the plaque mentioned earlier and a slim 25mm model – on display at the pop-up. They won’t go sale until August.

In terms of availability elsewhere, his wholesale customers are Tailors Keep in San Francisco, Newton James in Kansas City, Mr Manners in Taipei and TWC in London. Adam at TWC only has a couple of styles, but is looking to expand that. The full range is on Awling.com.

I look forward to having Chris in the pop-up, and seeing everyone else there. All details – as with other events too – on the PS events page.

awling.com

For a general guide to the styles and makes of belts, see the PS capsule guide.

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The Anatomy of Style: Measuring the Modern Man – University of Fashion Blog

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Metaverse Fashion Week Online

April 4, 2026

The Anatomy of Style: Measuring the Modern Man – University of Fashion Blog

UoF’s lesson on measuring 93points of the male body. (Image credit: University of Fashion).

Before you can jump into designing and pattern drafting menswear masterpieces, you’ll need to master the fine art of measuring the male form—accurately, that is. In our lesson Measuring the Male Body, our renowned bespoke menswear designer/instructor/tailor extraordinaire, Rishabh Manocha, demonstrates how to measure 93 key points on a real, live male body—from the very top of his head right down to his toes (yes, all 93).

Measuring Points Diagrams

Measuring points diagram

One of six downloadable color-coded diagrams to assist in the measurement-taking process (Image credit: University of Fashion)

Measuring Points Charts

Measuring Points Charts One of seven downloadable chart pages that correspond to our color-coded measuring point diagrams. (Image credit: University of Fashion)

You’ll discover the essential measurement points used in creating bespoke garments and professional tech packs, along with downloadable charts and diagrams to keep you on track. Mr. Manocha also reveals the tools of the trade, including the mysteriously scientific-looking goniometer (trust us, it’s cooler than it sounds).

Global Men’s Size Range Chart

mens's global size range chart

University of Fashion Global Men’s Size Range Chart. (Image credit: University of Fashion)

And just when you think you’ve seen it all, Mr. Manocha adds a comprehensive downloadable Global Men’s Size Range Chart covering U.S. sizes 34–54 and their European and Asian equivalents. Consider this your passport to understanding menswear and entering the wonderfully precise—and occasionally tape-measure-wielding—world of bespoke fashion.

But there’s More

By the time you’ve completed your study of male figure measurement, you won’t merely comprehend the fluent geometry of the male form—you’ll glide through spec sheets and tech packs with the practiced ease of a professional who understands precisely where every millimeter resides, and, with just a hint of satisfaction, exactly why it should. And ready to tackle our 11-part menswear drafting series.

UoF menswear drafting series

UoF’s men’s pattern-drafting series:

Measuring The Male Body, Drafting A Men’s Upper Body Block, Drafting A Men’s Shirt Block, Drafting A Men’s Trouser Block, Drafting a Men’s Set-in Sleeve Sloper, Drafting A Men’s One-Piece Jacket Sleeve From Measurements, Drafting A Men’s Pleated Trouser, Drafting A Men’s Hoodie, Drafting A Men’s Upper Body Jacket Block, Drafting A Men’s Classic 2-Button Single-Breasted Jacket, and Drafting A Men’s Jacket Lining, Facing & Interfacings.

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How Tony came to love Stone Island

Couture

Metaverse Fashion Week Online

April 3, 2026

The author in a vintage Stone Island jacket

By Tony Sylvester.

Sitting in a club chair at the Permanent Style offices, I was curious how Simon might react to my pitch of a story on Stone Island. I had come prepared with ammunition, justifications for a piece that might sit just outside PS’s comfort zone, but one I felt emboldened in suggesting. A reader profile on the ever-stylish Myles Pereira in which he chose a rather natty red Stone Island fleece had also provided me with an ‘in’, as it were.

So I was both taken aback a little, and equally relieved, when Simon and Lucas gave it the thumbs up, saying that an article on their own appreciation for Stone Island’s new Marina collection was about to go live on the site. One look at the readers’ reactions confirmed my theory that it was indeed a little beyond the pale for the average Permanent Style reader. A predominance of commenters mentioned the terrace boy-sized elephant in the room, and there were a fair few “I could never wear Stone Island in polite society” confessionals to boot.

In many ways, I am not surprised. I too have viewed the brand sceptically, and certainly from an interested distance, over the years. And yet I can still remember the first time I was made aware of Massimo Osti’s creations, well over three decades ago now.

I was 17 years old when a fellow sixth former walked into the college common room wearing his new pride and joy – a Stone Island Ice Jacket. This miraculous garment resembled a US Airforce N3B ‘snorkel’ parka (or the English knockoff Lord Anthony version, so beloved by 80s school kids) but was in an iridescent sky blue (above).

As the wearer was eager to demonstrate to me however, this was only half the story. By standing next to the fan heaters and vigorously rubbing the garment, a sort of alchemy occurred and the coat transformed before my eyes into a camouflage colour.

I had never seen anything like it, and from further enquiry I gleaned that such a rare and unique beast came with a hefty price tag – northward of £400. An astronomical sum to a teenager in 1989, and might as well have been a million. And yet, how many other unveilings of previously unknown garments can I still recall 35 years later?

Over the years, I have owned a few pieces from the brand – a cream funnel-necked submariner here, a denim chore coat there – but my attraction to those pieces was almost by default. I would have worn the same things by any other brand: there was nothing that spoke to me about the make or detailing beyond a serviceable utility. It took a trade with a friend a few years ago to finally make the brand resonate with me.

Ben Phillips (left) and Tony (right) at a Permanent Style event

The friend in question is more than likely known by PS readers: Ben Phillips was once the manager at the Drake’s Savile Row store, a well liked and sartorially regarded fellow with a penchant for interpreting that brand’s look to suit his own personal style. In the years since Drake’s he has helped establish a clothing line with Brazilian Jiu Jitsu ambassador Roger Gracie – BJJ is Ben’s other great passion alongside clobber – and his personal style has morphed with the change in lifestyle and direction.

A keen collector of vintage Stone Island pieces for some time, Ben was after a Coherence raincoat he had been badgering me about for a long time, in return for a recent pick up he wasn’t sure he loved all that much.

The coat up for trade was a Stone Island Montgomery duffle coat – a staple of the brand’s output from the mid 80s until the mid 90s. Unlike the British Army WWII issued ones, later adopted by Gloverall, the Stone Island fit was shorter and boxier and paid tribute to Italian military blankets, with a triple stripe woven into the wool around the hem and sleeves.

The colour was a supremely wearable moss green with black stripes, the toggles a lovely aged teak colour. Unlike so much Stone Island product I had seen over the years, it was positively ‘traditional’ in appearance with no apparent bells, whistles or obvious progressive innovation.

On closer inspection, there was one subtle modification – a series of hidden poppers on the inside of the placket, a neat addition that avoided the slippage of relying on toggles alone, something that often bothers me with duffle coats. Invisible to the observer, it was this simple, understated adjustment to a tried and tested formula that I realise sums up what I love about Massimo Osti’s creations the most.

Massimo Osti’s background was not in fashion, but in graphic design and advertising. Born in the historically left-leaning and progressive environs of Bologna, he was a salesman for Pirelli tyres in the 60s while studying advertising at night school.

The sloganeering and bold graphics of the 1968 Paris riots were particularly inspirational to a 23-year-old Osti, who opened his advertising agency CD2 the same year. His first client was the City of Bologna Tourist Board and Osti’s novel, for the time, campaign featured a series of screen printed T-shirts promoting the city’s charms.

This led directly to his first commercial brand CHOMP CHOMP where he pushed the limits of printing on cotton garments, blowing up photographs and overlaying multiple layers with oversized screens, or printing realistic details of zippers or pockets into shirts creating trompe l’oeil affectations.

The curiously named brand Chester Perry follows – a full clothing range still centred on printed clothing, with pop-art allusions adding experimental garment dyeing to the mix. The name came from the monolithic factory that cartoonist Frank Dickens’ character Bristow works at – daydreaming of a more exciting life beyond his desk-bound corporate anonymity.

But a growing international presence led to lawsuits from both Fred Perry and Chester Barrie in the mid 70s, and the name was truncated to the more utilitarian sounding and adaptable CP Company.

By the early 80s, CP Company was a menswear brand firmly established in both Italy and beyond. At its core, there was a curious tension between the traditions of masculine dress in form and silhouette, and the use of innovative fabric and dye developments. Osti built from an archive of thousands of pieces of military clothing and sportswear, while experimenting with colour in particular.

Of specific interest was the way over dyeing garments after manufacture, rather than at the cloth development stage, offers uneven and unique results, contributing greatly to how the garment ages and changes with wear. It is one such experiment that led to the creation of the Stone Island sub-brand.

In the early 70s, Osti had used a resin-coated furnishing cloth intended for sun awnings for jackets in his Chester Perry range. The cloth was two toned and its natural washed-out look reminded him of the salt-sprayed beach umbrellas of the Adriatic coast, where he holidayed as a youth. The customers did not share his enthusiasm however and many jackets were returned, the lack of colour-fast finish assumed to be an accidental defect.

Years later, one of the returned coats was fished out of the archive and sent to an Italian fabric manufacturer to copy and refine. Osti insisted on a natural unbleached cotton instead of a bleached cloth more suited to colour retention, and a heavy hard-washed canvas of dual-sided red and green was sampled.

He was so happy with the result that alongside the preparation for CP Company’s spring/summer 1983 collection, a smaller new line and identity was created and rushed to market from this pioneering fabric, now christened Tela Stella (from the latin ‘cloth of the stars’). This capsule collection delved back to Osti’s maritime nostalgia for both name and logo – a compass star accompanied with the Italian Isola Di Pietra: Stone Island.

CP Company had always courted an older professional gentleman as its customer; Stone Island was consciously pitched younger and less sartorially smart. The military and maritime inspiration was foregrounded, and for the first season this Tela Stella cloth was the sole fabric, dominating proceedings for the next couple of years in a limited range of colours. In contrast with the discreet image of CP, the more youthful intent was heralded by a conspicuous piece of branding: a black patch buttoned to the left arm of the garments.

As authors Tony Rivers and James Burnett point out in their excellent book Magnetic – an encyclopaedic overview of the brand’s early years, told from the point of view of the wearers and buyers – the first sightings of these new garms were often on the pop stars of the day, Simon LeBon and Nick Haywood being early adopters.

As the authors explain, until the early 90s it was rarely seen on the football terraces; it was the strict preserve of those in the know, either with the funds for the eye watering price tags or possibly a light-fingered adeptness for half inching the goods on trips to London or abroad.

The new terraces clientele was never the intended audience, and in fact in the UK stores learnt to separate CP and Stone island goods on the shop floor, for fear of unsettling the more aspirational CP client. In some British cities, the agents offered Stone Island to completely different retailers to CP, in order to preserve both lucrative markets. Perhaps, as PS readers have observed, the very visible branding could be viewed as much as a deterrent as an asset.

The blurring of the lines came at the end of the 80s, in the wake of the iconic Mille Miglia jacket from CP (above). Its unique hood with integral goggles skewed strongly to the tastes of the younger crowd, and proved a watershed in terms of customer integration and marketing.

But how did Osti himself view his prospective audience? In a rare interview in 1995 he states, when pressed on what audience he is aiming for: “People who know something about clothes, a person who can distinguish ‘things’ not just by looking at a label. That are able to recognise something different in a garment. I call these people ‘cultured’ with quotation marks or even ‘educated’ in a sense that they don’t buy a particular brand just because it is in fashion but because it does something for them: it stimulates them.”

It’s a sentiment echoed by English stylist Simon Foxton in System Magazine in 2019: “It feels and looks expensive – which it is – but not in a flashy here-today-gone-tomorrow way. It’s more like a well designed car or motorcycle.”

Osti gave up creative control of the company in 1993 to partner Carlo Rivetti, remaining on board for a couple of years strictly in a design capacity. The years from inception in 1982 to the petering out of Osti’s involvement mark the parameters of my main fascination with the brand. Rivetti brought a young English designer Paul Harvey on board to head up proceedings, and to my personal taste the more flamboyant outer aspects took a front seat, along with often slimmer fitted silhouettes, losing some of the appeal for me.

This more modern era has its disciples for sure; Moteen Abassi, another Drake’s alum (above), is a firm believer, as is Rag Parade’s JoJo Elgarice.

Moteen was another inspiration for my formative appreciation for the brand. From our time working together at Timothy Everest into his tenure at Drake’s, he would mix the more lavish Paul Harvey creations with the conservative tailoring of his day job, alongside contemporary pieces from Engineered Garments or Needles.

Earlier still, when I started working with the fellows at Duffer of St George and Present in the 2000s, the done thing was to remove the patch from the arm in a show of stealth nonchalance. The large puffer coats in the stock room also doubled as practical sleeping bags, for those staff too inebriated to make it home after nights out in the Cross Keys down the road; but that’s another story.

My advice for a personal way into the brand’s four decades’ legacy is to look at the jackets and coats first. It’s clear that this has always been the focus for innovation and also presents the easiest options for complimenting your existing wardrobe.

I would stick with the Tela Stella cloth and its descendants for their nautical sailcloth charms, while the later ‘Formula Steel’ cloth offers a robust nylon with a pleasing shimmer. The original Montgomery duffle that started my obsession remains a firm winter fave, swapping out for resinated cotton versions from the Marina collections in the summer months.

When hunting for old pieces, a green edge on the patch denotes a pre-2000 vintage, while a makers tag inside bearing the CP company logo instead of ‘Sportswear spa’ shows a garment was part of Osti’s time at the helm. My other love aside from the outerwear is the boatneck tees and sweatshirts from this same era – pleasantly unique in appearance, often in mid-weight French terry-backed cotton, I can find little comparison in the current market.

Like all the best things in life, not everything is for everyone, and if that damned patch is too much of an overstatement to get over, simply do as the Duffer lads did and remove it completely

The author in a vintage Stone Island rain coat

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Most Popular Louis Vuitton Bags 2026: Iconic LV Bags

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Metaverse Fashion Week Online

April 1, 2026

Most Popular Louis Vuitton Bags 2026: Iconic LV Bags

Louis Vuitton is one of the most sought-after luxury brands in the world, and in 2026, the most popular Louis Vuitton bags continue to dominate both fashion and resale markets.

Louis Vuitton Trio Mini Icones Monogram Canvas Shoulder Bag

From iconic Louis Vuitton bags crafted in the signature monogram canvas to modern runway hits, these designs consistently rank among the best-selling Louis Vuitton bags globally. Whether you’re searching for popular LV bags, famous LV bags, or investment-worthy classics, Louis Vuitton offers a portfolio that blends heritage with innovation.

In 2026, the iconic Monogram celebrates its 130th anniversary through exclusive capsules (Monogram Origine, VVN, and Time Trunk) that reimagine classics like the Speedy, Neverfull, Alma, and more in fresh neutrals, pastels, and trompe-l’œil trunk textures. These updated capsules, alongside Spring/Summer 2026 trends (soft silhouettes, structured revivals like Speedy Soft and Express PM), drive massive demand.

Louis Vuitton Silver Monogram Aluminium Malle Courrier 110 Trunk

That said, not all Louis Vuitton bags serve the same purpose; some are everyday icons that rank among the most popular LV bags for daily use—like totes and crossbody styles—while others are ultra-rare collector’s pieces that outperform even the best Louis Vuitton bag resale benchmarks. From Audrey Hepburn’s beloved Speedy to ultra-exclusive collector pieces, these LV handbags are more than just something you carry for your essentials; they’re pieces of fashion heritage that will always remain in vogue.

Let’s celebrate our love and loyalty for the brand with a curated list of the top 10 Louis Vuitton handbags that defy trends to become true classics.

Top 10 Most Popular Louis Vuitton Bags (2026 Edition)

A definitive guide to iconic Louis Vuitton bags, based on demand, cultural impact, craftsmanship, and resale value.

(Note: Prices are based on approximate/current market)

1. Louis Vuitton Speedy – The Legendary Hepburn Classic

Louis Vuitton Speedy 30 Monogram Watercolor Canvas Boston Bag

Price:

$1,920–$4,150+ retail; resale often near/above for limited editions.

The Story Behind the Bag:

Introduced in 1930 as the “Express,” the Louis Vuitton Speedy was a lightweight 30cm+ carry-on inspired by the era’s rapid-transit boom, marked by early commercial flights and fast-paced travel. It was essentially a downsized Keepall for easier portability.

The bag became an enduring icon in the 1960s when Audrey Hepburn requested a smaller 25cm version to suit her petite frame and casual style. Louis Vuitton created the exclusive Speedy 25 for her, shifting it from functional travel luggage to a global handbag staple and cementing its timeless status.

The Speedy is one of the most popular Louis Vuitton bags and one of the brand’s oldest icons. Designed for on-the-go luxury, the Speedy remains a symbol of understated elegance.

What Makes It Unique?

Louis Vuitton Takashi Murakami Monogram Cherry Speedy Bandouliere 20 Brown Red Coated Canvas Top Handle Bag

The Speedy’s timeless silhouette has remained virtually unchanged for nearly a century.
Comes in multiple sizes, including Speedy 25, 30, 35, and 40, to cater to different lifestyle needs.
A variety of materials to choose from, such as Monogram Canvas, Damier Ebene, Damier Azur, Empreinte Leather, and Epi Leather.
The rounded leather handles make it comfortable to carry, with the option for a Bandoulière (shoulder strap) version for added convenience.
Crafted from LV’s signature coated canvas, the Speedy is water-resistant, scratch-resistant, and lightweight, making it perfect for daily use.

Production Quantity

While the Speedy is one of Louis Vuitton’s core models, limited-edition versions—such as the Speedy Watercolor, Murakami Multicolor, and Supreme x LV collaborations —are produced in very limited numbers, making them collector’s items.

Moreover, in 2026, updated versions like the Speedy Soft and anniversary editions are driving renewed demand, making it one of the best Louis Vuitton bags to buy.

Celebrated Owners:

Audrey Hepburn, Rihanna, Sarah Jessica Parker, Gigi Hadid, and Angelina Jolie have worn the Speedy, making it a cross-generational favorite among celebrities.

Investment Potential

With consistent demand and up to 76% resale growth, the Speedy remains one of the strongest performers in Louis Vuitton resale value rankings. As one of Louis Vuitton’s best-selling bags, limited-edition versions, exotic leathers, or discontinued models often sell for well above retail price in the secondhand market.

The Speedy remains an excellent choice for collectors looking for a bag with heritage, style, and investment potential.