This is a recap-ish of the latest podcast episode. You can listen to the episode below before or after you read. That’s because I tend to expand on topics from the pod as well as straight-up write about things that we did not discuss. The choice is yours in how you want to proceed!
- Where Do You Put Your Phone? 4:38
- LA Phil 11:21
- What Else Have You Been Wearing? 15:56
- Ralph Lauren Men’s Show Milan 20:39
- How Often Do You Pay Attention? 34:00
Hello everyone! Welcome back to the latest edition of the blog/pod. At this point, I’m just going to embrace the Substack/newsletter attitude, considering how casual this is going to be– and how many different topics I will try to cover within these WordPress confines.
The latest pod goes over quite a bit. We start off by talking about just where the hell we keep our phones. The answer should be an easy one: the interior breast pocket of your sportcoat. Of course, not everyone is as absurd as I am to wear a tailored jacket every day for “no reason”, so I will make an allowance for people to use the front trouser pocket. But you know what’s insane? Putting it in your rear trouser pocket, especially when you’re already wearing a jacket. That’s what Jack does, which was revealed to me when we were outside listening to jazz at Tondo. I saw him awkwardly fidget on his stool to get his phone out for a text. The man was wearing a suit that evening. I’ll never forget that. If that were me, I’d be too concerned that my phone would break due to my humongous ass.
We also talk about some fun occasions we’ve been taking to dress up, because as regular dudes who live in SoCal, we have to give ourselves our own prompts! MJ talks about how he’s taking EMT classes and doing his best to incorporate some of his menswear-attitude into his ride-along attire. Spencer shares how he and his girlfriend have been doing “mini-vacations” to various parts of LA– and taking the opportunity to dress like a midcentury tourist to get in the mood of this wholesome Occasion. I love that the photos (or rather his poses) are especially kitchy.
On my end, every fuckin’ day is an opportunity to wear a fun outfit! Ad, while I don’t need to post even more photos of the same two bars I frequent (or the different trivia rigs), I will share that I had my first black-tie outing of 2026: a night at the Phil. As was the case with this past New Year’s Eve, I put on a regular evening wear rig and allowed myself to have a bit of creative “deviance” with my outerwear choice. In a nod to the 90s, I wore my camel DB coat. The contrast against the monochromatic look underneath its cashmere/wool body was quite delightful, adding a bit of elegance that I intentionally subverted when I wore my trench with it a few weeks prior. It was such a fun look that certainly honored John Adams’ magnificent conducting of the Americana program, which included his latest commission, an epic piano concerto that featured Víkingur Ólafsson on the ivories.
It was a great night until I closed out a Silver Lake bar and found my car towed. I wasn’t blocking any driveway, I swear!
The biggest part of the latest pod was a look at the recent Ralph Lauren runway show. You’ll have to listen to the pod for our full takes (follow along by using the WWD lightbox), but here are a few thoughts.
- “Wow, look at that deep pile!”
- “Would you wear your fair isle sweater as a scarf?”
- “Hey, this feels very Apparel Arts/Ethan…wait, is that the Buck Mason guy again? He’s not doing the hand thing!
- “That sure is a lot of khaki and grey.”
- “I might need to find a cape.”
Looking back, it felt a bit sensitive on how late we were to the conversation, especially because all of menswear (and I mean that very generally), has been obsessed with this lookbook. All of the discussion and analysis (and glazing) been done already. In fact, this may be the first time that the wider men’s fashion world has come together to appreciate a runway show, though the fact that it’s Ralph probably helps. And then again, online menswear has also been pretty vocal in enjoying shows from J. Press, Todd Snyder, and, quite majorly, Soshiotsuki, the menswear world’s darling brand that blends 80s tailoring with a modern designer attitude. But again, I’m pretty late to all of it.
So, get ready for a small vent.
As much as I love menswear, there are times when I feel like a fake fan.
This mostly comes out whenever I talk with a fellow enthusiast, when the topic of conversation drifts toward some new product release or some editorial/lookbook. “I’m sorry, I haven’t seen it”, is my sheepish reply. What’s “worse” is when they ask me a more general question, like “what brands are you into right now” or “what’s been your inspo. I know that it’s an earnest topic, one meant to open up dialogue about how we engage with fashion, but I can’t help but feel boring when I say that none come to mind…or when I just tell them that I just keep looking at Apparel Arts, or the same photos from Drake’s and Bryceland’s, over and over again. I guess being detail-obsessed and largely brand-agnostic (brands aren’t that important) just makes my fashion conversations quite uninteresting, if I’m even able to participate in them at all!
I know that it’s not a big deal, but it does feel bad! It’s not the feeling about not being able to chat about the latest album drop or TV show episode (Heated Rivalry, anyone?) at the water cooler. Talking about your hobbies with people who share them is fun! I’d even say that discussion is what helps foster community, which is a big part of what makes hobbies so wholesome. And with menswear/fashion becoming a big pastime (more so now than ever before), it can often feel a little sad when you’re not able to participate. Of course, I have only myself to blame. After all, I’m not really buying new clothes much anymore, which naturally leads me to not look at brands and stores. I’ve locked myself out!
This whole thing was in my head due to a recent interaction with a mutual, where he asked for my thoughts on the JW Anderson x Uniqlo OCBD, the latest entry in the “big oxford shirt” trend (if you can call it that). When I told him that I haven’t seen it (and likely won’t buy it), I felt bad for ending the conversation. And immediately, I was instantly struck with a bout of deja vu– this had happened before when J.Crew initially came out with their “giant fit oxford” and again a year later or so when 3Sixteen came out with their version. I do not own any of them simply because I already have my big OCBD, by way of Y2K Brooks Brothers, courtesy of the thrift and eBay gods. It works well when blousely tucked (or untucked), just like any of the Uniqlo/J.Crew/3Sixteen ones across my feed. But of course, the true appeal of my beloved Brooks Bros OCBDs is that it features a good collar roll that properly frames my neckwear.
If I already have the pieces I love, what’s the point of constantly abreast of new offerings– especially when I have no plans to buy them? My whole thing is about keeping garments until they fall apart or I outgrow them. It’s certainly a nice attitude, but again, it has the side effect of putting me quite outside conversations on fashion and menswear. And sometimes that makes me feel a bit sad. I do love menswear, I swear!
It doens’t help that this story repeats ad infinitum. Buck Mason started stocking M-43 cargos and slouchy 3-roll-2 suits. Todd Snyder finally went wide with dress trousers and started selling long-point collars. Proper Cloth has MTM DBs with horizontal lapels. These are all great garments— they’re all things I like! In fact, I’m very happy that the things I like are being made again and don’t have to be solely acquired through niche, artisanal makers or by being a diligent vintage picker. But like with my blousy Brooks Bros. OCBDs, I already own them, which means I’m not clued in on new releases and, by extension, the wider world of menswear. Maybe my Instagram already knows that I don’t engage much with menswear content, especially ones from brands, so I just don’t see the drops.
At this point, I don’t get an update until my friends, mutuals, and fellow Discord-ers bring them up in the chat, or more interestingly, when they buy it and show it off in a new post. Participating in (and discussing) fashion doesn’t need to be predicated on consumption, but it’s clear that it plays quite a big part in it. Even the act of wanting gets turned into content via wishlists, gift guides, and recommendations. Again, when we consider that paradigm, it makes sense why you’d feel on the “outside” when you’re not buying. Which is so absurd, because I obviously heavily enjoy fashion. I get so much joy in creating intentional outfits every day and enjoy the challenge of dressing to fulfill myself-imposed prompts (with items I’ve owned for years).
To be clear, my prompts and outfits still take after what’s going on out there…when I get to see it. It’s clear that plenty of brands (old and new) are putting out great “content”— stuff that’s interesting, creative, and inspiring. We are living in a good time for menswear. Editorials, runways, photoshoots, they’re all things that further the menswear conversation by informing style trends and future products, which I will certainly “respond” to in my own style, perhaps by doing similar moves into my own looks, or by standing firm and not incorporating them. As I said in the previous article, taste is also about what you don’t do. But of course, you still need to look in order to develop that taste, which is why perhaps I should be a bit more tapped in and cognizant. Because again, we should be okay with, or even encouraged, to look without buying. It’s a way not just to exercise restraint, but to stretch our critical muscles— even if its just for our own taste and attitude!
The recent Ralph Lauren show in Milan is a good example of this. Again, I really didn’t know it was happening (or had happened) or how important it was, as it was the first menswear show the storied brand had shown in two decades. I felt like I saw a few inklings of it in passing through the #inspo channels in the various Discords I’m in, but it took my friend Serhan (who is a new menswear guy, mind you) to actually show it to me. Even he was surprised that I wasn’t immediately on the drop! But it ended up being quite a wholesome time. Over boba, Serhan and I perused through the 50-odd looks, commenting on what we liked and what didn’t. It was fun! Neither of us was going to buy what we saw, especially me, as I already own similar pieces (outside of that glorious opera cape). Overall, it was just about comparing RL’s offerings to what other brands have been making or to true vintage. And to my surprise, this wasn’t banal or too critical for Serhan; it actually was fun and opened up the conversation to more than just “look at Ralph”. In turn, I ended up being the one to show it to Spencer and MJ, who are even more removed than I am!
Perhaps I’ve just been a bit too sensitive (or cynical) about my menswear-participation as of late. With influencers/content creators making up a majority of the menswear scene, as well as the menswear-merger literally resulting in the industry cannibalizing enthusiasts, I’m always going to be wary about the connection between engagement and purchasing. But it goes without saying that plenty of discussion happens without buying. I’m simply not paying as much attention to what’s going on out there compared to my fellow enthusiasts. Whether its Weejawnz or my own Discord, people are sharing everything, from product releases and editorials to fits from personalities, both big and small. It’s endearing to see this “consumption” and sharing being done so often; it’s one of the reasons why menswear communities are the best they’ve ever been (to my eyes).
This isn’t the first time I’ve had this “locked out” feeling. Not exactly with buying-to-participate, but just in acknowledging my self-imposed limit for “consumption”. Due to my love for John Williams (the concert composer, mind you) and other 20th-century composers (who are mostly all dead), I’ve also gotten lost in my own little world when it comes to music. I only discover new things on my own, whether it’s by collecting vinyl or by seeing a new commission when I’m at the LA Phil; both things are rare due to money. But maybe that’s the wrong way of looking at it.
It might be better to treat my participation in menswear like the movies, where a bit part of consumption is the opportunity to critique…or at least have a discussion. I wouldn’t consider “watching movies” to be a “high hobby”, but there is fun to be had with consuming art and commenting on it, especially with your friends. I do this activity regularly, though being a part of AMC A-list certainly helps, monetarily at least. I get to fancy myself a bit of a critic, as trash as my opinions are.
Commentary, forming opinions– these are ways to participate in menswear without buying. Visual consumption gives us fodder for critique– or in less pretentious terms, it’s an avenue for us to simply remark, “that’s cool” or “that sucks”. Honestly, that’s all you need to have a fun conversation about menswear. After all, I know that I love wearing menswear…but I also do heavily enjoy getting to talk about it. I can see how blocking myself off from looking at things simply because I’m not buying only denies me that activity. In fact, that attitude may even reinforce the cynical thought that buying is the only way to “engage” with fashion. Like I said in the previous blog post, knowing what you don’t like is just as important as knowing what you do like. But to develop that eye means you need to look.
Yes, looking around more puts you at a high propensity for what people today are calling “friction“, but that’s a good thing. Mina Le recently made a good video about consuming and critiquing media, and I find a lot of kinship with her approach. Maybe all of us “commentators” are onto something, or perhaps we’re all recognizing that we’ve been in our own safe world for too long; a side effect of being niche, perhaps.
And so, I don’t think there’s much harm in allowing myself to increase (or renew?) my involvement in menswear by “consuming” just a little bit more— at least for the sake of having interesting discussions with my fellow enthusiasts. If I’m going to remain a part of this wonderful cohort, even in a reduced capacity than compared to when I started, I should still consume and participate in what’s going on. We’ll just have to make a drinking game where they down a shot whenever I say, “I already have that.”
Of course, there’s other menswear content to consume that isn’t predicated on buying at all, things like fellow podcasts! Articles of Interest has certainly been fantastic to learn about menswear/fashion history (the one on School Uniforms is great) but I’ve also been enjoying Apocalypse Duds, who have been cranking out great eps with cool guests! In regards to the latter, there’s been a few interviewees are who are largely “new” to menswear and I’ve found it quite interesting to see how they engage in the space: where they get inspo, what Occasions they make for themselves, how they approach buying. Being able to see the differences and similiarties in how we “do” menswear is a great reason to keep Consuming menswear content!
I’ll close with yet another reflection on how I engage with this hobby…and self-expression in general!
Over drinks at my favorite haunt (you have one guess), my friend and I had a very interesting conversation, spurred on by the 2016 trend, where people shared photos of themselves from a decade ago, taking the chance to share just how far they’ve come and what’s changed. My article on “Getting Inspired from Yourself” was already in the vein of the 2016 review, but I had recently decided to participate a bit more directly by sharing a more general dump of 2016 outfits (IG is private, but here’s my tiktok). My friend saw that post and remarked that while there were a few cringe fits and that things had indeed changed (trouser fit, my hairstyle), she felt that most of it was the same. At the very least, there was a Central Line— discernible sense of self and Personal Taste, even if the execution varied from outfit to outfit.
On the other hand, she shared that she felt her experience inthe past decade was different, as her “eras” were more distinct. Whether it was 2016, 2018, or even 2022, she had a different aesthetic. One year was a bit indie sleaze. Another was a nod to dark academia. There was also Brat Summer, which was both ironic and earnest all at once. To her surprise, I told her that I didn’t feel like this was a case of identity crisis or even shallowly held kinship. I still saw her through each of those aesthetics, as different as they might be. There was a Central Line, one that was a bit more abstract and personal, coming out in the big strokes rather than the nuance.
Naturally, this led to a discussion on authenticity and expression (God, we’re insufferable), where we ended up having an epiphany, of sorts. We found that we both liked the creativity afforded by fashion, but it just manifested differently. And so we explored it further, for no one’s benefit other than our own understanding of each other.
For my friend, she found kinship with the possibilities, no matter where they are. The fun was in seeing what came next as well as what came before, all in service of expressing her POV, or at the very least the attitude she wanted to project. It could be grunge, it could be preppy, it could be renaissance-inspired. They all express very real facets of her taste and personality, as distinct as they are. She compared it to how some musicians (people like Beyonce or Bob Dylan) or multi-disciplined artists who simply love creation, finding camaraderie in various mediums, in how they each are able to express their Central Line.
On the other end is an appreciation of genre and a love of nuance. It goes without saying that I love classic and vintage menswear, a broad but also quite specific mode of clothing when compared to the wider fashion world (to be more specific, it would be Americana, workwear/milsurp, and tailoring of various eras). I don’t deviate much from that genre, but I like to think that my outfits within a given week are distinct from one another by the details that I choose to employ. Sometimes it can be “radically” different, like going western one day and Apparel Arts on another; othertimes, it’s nuanced, like going yuppie vs. ivy. It’s no surprise that I (arrogantly) compare my approach to orchestral composers like John Williams or Aaron Copland. They have chosen their genre and don’t feel the need to also write pop, rock, or anything too avant-garde. However, even with a “narrow” mode of expression, they still create distinct, beautiful pieces of music like fanfares, jazz-ballets, marches, and, for the sake of being “experimental”, concertos for Piano and Organ. The joy of creativity lies in your Central Line finding connection with a genre (orchestra or classic menswear) and then finding self in the nuance.
What’s funny is that this reminds me of the age-old dichotomy of style vs. fashion. And to an extent, it is indeed pertinent! To me, the concept of fashion seems to connect more with broad strokes and shifting moods, whereas style is seemingly much more about technique, the discernible nuances of execution, which naturally leads to a more “consistent” expression. Many a fashion writer (or content creator) has tried to make one better than the other, but after having this discussion with my friend, I think the debate is a bit of a moot point.
We’re all just finding ways to accomplish what humans love to do: express ourselves. As someone who has spent a lot of time writing about authenticity and status (the jury is still out on how apt my takes were), I know that I have been critical of people who switch from genre to genre, with the implication that it’s based on social pressures and aspiration. It’s not that this isn’t authentic (who doesn’t want to be loved, to fit in), but that it’s unfortunate. But this conversation with my friend has shown me the earnest perspective, where the act of utilizing disparate modes of creation is indeed a valid and deeply personal form of expression. The two schools are just different. It’s not about one being better than the other, but about embracing and acknowledging just what appeals to us about the activity of expression itself.
I later found this Vestoj piece, shared by zeometer on MFAD (during a lengthy thread on authenticity), incredibly pertinent to my conversation with my friend. I first read it cynically as a pseudo-poptimist rhetoric, but upon repeated readings, I grew to understand the wider point: we need to re-evaluate how we view authenticity. As that term has evolved past its “original” thanks to being in a world increasingly predicated on social performance, perhaps consistency is not the end-all, be-all. If participating in society in this day and age requires us to play distinct roles and wear different masks, why shouldn’t we see authenticity as something full of multitudes? Similarly, is my dedication consistency not something “fake” (read: inauthentic), as since my chosen genre and nuances therin are completely unrelated to my upbringing and way of life? It’s all the same thing, and that’s okay. “There is nothing hidden behind the mask, the mask is all there is.”
In the end, we should just embrace the fact that we have masks at all. This whole thing is an opportunity to have fun with expression. Clothes are yet another medium for us humans to communicate apart from the canvas, the page, the vinyl. Let us enjoy the different ways that we wear and decorate our masks, and take the time to reflect on the broad strokes as well as the tiny nuances that we choose to employ to make ourselves feel seen.
Though I will say, I’ll always push people to strive to do it without leaning too far into social optimization. As best as you can, of course!
– end of blog post –
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The Podcast is produced by MJ.
Always a pleasure,
Ethan
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a little bit of rest 