Can you tell us a little bit about yourself, your life and work?

I'm a creative director, writer and the founder of Clementina, a made-to-measure tailoring brand for women. I spent two decades in New York working on brands like J.Crew and Belstaff, and now split time in London. These days, I move between Clementina and consulting–producing campaigns, events, and products with brands I admire. Most of it comes back to well-made things and good people.

You've spent two decades in fashion, how did your definition of "good style" change over that time, and where does a piece like the Lavenham fit into it now?

I've always thought of good style as timeless clothes worn well by people who are at ease. Fashion is always changing, style has more continuity. I was lucky to work in menswear early on, where everyone was focused on quality and small details. They had fun with campaigns, but made sure the clothes would look good over time. I've always appreciated an elegant, utilitarian uniform.

I wear pretty much the same thing now that I did twenty years ago, when I was working Fashion Week at Bryant Park: a Brooks Brothers boys' navy blazer, a men's button-down, vintage loafers, desert boots. Now some of the jackets and shirts are made-to-measure, and the loafers are Belgian Shoes. But I'll never find another pair of desert boots that look as good as that worn pair. They've survived the elements, and I still wear them.

Lavenham jackets are similar. They'll always look stylish, a little rugged, totally classic, and better worn in. Everyone says clothes are made to be lived in, and it's true. They should move through seasons and years and weather the storm with you. If they don't, they're not worth it.

Clementina's whole ethos is "fewer, finer." What earns a jacket a permanent place in your wardrobe, and what usually gets something cut?

It has to fit well, look timeless, and be made from a sturdy but lightweight fabric. I have one cut of the exact same blazer in various shades of linen and wool, and swap them out twice a year. The fit is tailored but relaxed. Small details matter, like a slightly larger lapel or an elevated silhouette. The better a jacket fits, the less you feel it. If I feel it, I won't wear it.

You split your time between New York, London, and further afield - Scotland, Marrakech, Milan. How does a jacket need to perform differently across those worlds?

I travel a lot, pack lightly, and really wear my clothes. I need to be able to run around a field, jump on a bike, throw a duffel over my shoulder, and turn up for a meeting or a stylish dinner. If a jacket fits that bill and is lightweight, it stays.

The weather in London is very different from what I'm used to in New York. The winters are milder and autumn comes sooner. I find Lavenham jackets the perfect weight and style for morning walks and weekends in the countryside. They're just right.

Do you remember the first time you really understood the value of something built to be worn in, not just worn?

I went to sailing school as a kid, and seeing my boat shoes survive several summers of capsizing, salt and rough wear, and look better for it, showed me what quality meant. They still look incredible. I wore them on a sailing trip this summer and thought about all the memories they hold. There are dozens of more expensive versions out there now, but value is a different story.

Tailoring is central to what you do at Clementina. What do you notice first about how a piece is made - the small decisions most people never clock?

Fabric is so important. I see a lot of tailored clothes for women made with so-so fabric, and that affects how we feel and move in them. When you see a suit made from exceptional fabric, it stops you in your tracks. It's incredibly beautiful, and it feels powerful to wear. I always clock the small details that take consideration and skill, and the ones that exist purely for pleasure and quality. Atelier Bomba is a good example. They create some of the most skillfully made clothes from remarkable fabrics, right above their shop in Rome. If you see an overcoat or dress there, you can feel the craftsmanship from a mile away. It's such a rare thing that many people never see. It's the way most clothes were made in the past, the way my grandmother's clothes were made. Today, they're works of art.

Who taught you how to dress - was there a person, a place, or even a job that shaped how you think about getting dressed each day?

I've dressed the same for most of my life. I grew up in a horse-farm town by the ocean, with a mix of equestrian, sailing and preppy beach style. I was influenced by my father, who had a very classic uniform of tailored jackets, sun-faded polo shirts and elegant loafers; my grandmother, whose clothes were made by local tailors in the various countries she lived in; and my mother, who gave me a Ralph Lauren blazer every Christmas. My lifestyle has shaped it too. I'm on the move, so timeless clothes that look great everywhere and need little maintenance are important.

A part of your work is about helping heritage brands find their footing again. What do you think a brand like Lavenham, still making everything in Suffolk, gets right that others lose along the way?

With so many shortcuts available now, many brands are happy to cut corners, and people will still buy the clothes. It takes passion, patience and integrity to do things the right way. And it doesn’t have to be more expensive. I admire brands like Lavenham for staying the course with the signature products they're proud of, and continuing to make it locally, in an honourable way.

Most heritage brands go through an identity crisis trying to keep up with trends and appeal to younger generations. The answer is pretty simple. Having the confidence to be yourself is a luxury people desire, and it pays dividends over time.

Finally, can you recommend some of your favourite spots in London? 

Restaurant-wise, I'm a regular at Café Deco and could eat there every day. It's natural ingredients, simply prepared, in a relaxed setting. It's just right. The Park is my neighbourhood favourite, Arlington for a sense of glamour, and Toklas for sitting outside when it's sunny. I spend a lot of time on a bike: around Hyde Park, up to Portobello for a few market vendors, The Cloth Shop and Speciale, over to Marylebone for magazines at Shreeji and madeleines at St. John, to Mayfair to visit tailoring friends, to Chelsea for the Physic Garden or over to The River Cafe Cafe, and up to Holland Park.