Are tie tacks still a thing? Would you risk putting a hole in a nice neck tie? I have a few that the wife got for me when she found me some old school cuff links . I have never used nor worn a tie tack before, I worry the hole would cause the tie thread to start unwrapping

While my new New Balance 990s may never occupy the same place in the wardrobe hierarchy as a pair of Allen Edmonds or Florsheim dress shoes, but they excel in the role they were designed for: putting in serious miles with comfort and support. The combination of substantial cushioning, stability, and durable construction makes them exceptionally well-suited for daily 10K–15K walks and gym sessions, which is precisely where the 990 lineage has earned its reputation. New Balance’s 990 series was originally conceived as a premium performance running shoe and continues to be praised for its all-day support and comfort-focused design. As for casual wear, that is strictly verboten—these are workhorses, not fashion accessories, and every step they take should be in service of fitness rather than leisure.

I wanted something more casual with character. These Mezlan Martinio woven oxfords were dry, flat, and visually exhausted… I wanted something something far more intentional. The goal was never to make them look “new.” The goal was to restore depth, movement, and soul to the leather. The woven panels were carefully preserved with transparent layering to maintain texture and dimensional contrast. The toe caps received a controlled cognac burnish designed to create warmth, light transition, and old-world elegance without crossing into artificial mirror-shine territory. I was shooting for richer tonal depth • sharper weave definition • a more refined, heritage-driven character

For me, shoe restoration has never been about simply making an old pair look presentable again. It is about preserving craftsmanship from an era when shoes were built with integrity, recraftability, and character. In a world increasingly driven by disposable fashion, I’ve developed a deep appreciation for restoring legacy footwear — shoes that still possess exceptional leather quality, strong structural foundations, and the unmistakable soul that only time and wear can create. Much of my work has centered around heritage American and European footwear, including vintage Allen Edmonds wingtips, bicycle toes, and custom patina projects, along with refined European styles from Mezlan, including woven oxfords and other classic dress silhouettes. Many of these pairs arrived heavily neglected: dried and oxidized uppers, uneven factory finishes, deep creasing, dulled welts, faded color transitions, and years of embedded contamination that muted the natural beauty of the leather. Beneath all of that wear, though, there was still life in the shoes — and that is what I’m always trying to uncover. My restoration process begins with deep leather cleaning and decontamination using saddle soap, leather cleansers, and controlled stripping agents such as acetone or professional deglazers to remove failing finishes, wax buildup, silicones, and surface contaminants. I approach this carefully because the goal is never to aggressively strip the leather, but to reveal its natural character while preserving its integrity. Once stripped, the leather is slowly rehydrated and nourished using products such as Saphir Renovateur, Venetian Shoe Cream, and penetrating conditioners designed to restore flexibility, richness, and depth back into tired calfskin. I allow the leather time to absorb and stabilize before moving into color work. Leather responds best when it’s treated patiently. The artistic process begins with custom patina development. Rather than applying flat, uniform color, I build depth through layered dye applications using alcohol-based dyes, creams, and tonal blending techniques that create movement and transparency across the upper. My work consistently gravitates toward rich cognacs, museum browns, tobacco undertones, espresso burnishing, and antiqued transitions that give the shoes an old-world European character without looking artificial or overdone.

The town where I live, Stockport UK , was once the global epicentre of the felt hat industry. It produced millions of hats annually throughout the 19th and 20th centuries. Today, my wife and I took a guided tour of the Hat Works museum, a once-functional factory full of the old machinery, steeped in historical millinery. We learnt a lot. For example, the links to the slave trade and Frederick Douglass, and Abraham Lincoln’s letter to the workers here. The industry-fuelled mass extinction of beavers in the UK, which saw them being shipped over from Canada (before a more sustainable solution saw 150,000 dead rabbits every week instead). The punishing poisonous process of hat-making itself, that led to countless deaths. And the money made, that was manipulated in an underhand fashion to prevent the GDP of Stockport eclipsing that of London and likely rewriting geographical history. Then there was the Gallery of Hats, with over 400 historical examples of hat styles from around the world, from the functional to the fashionable to the fantastical and everything in between. After lunch at the charity-ran cafe and art installation, we exited through the gift shop… where we both bought a hat! My wife went for a purple Winter Cloche Wool hat, which frames her face wonderfully and shows off her excellent hair. After much deliberation, I went for a black Pork Pie Wool hat, partly because I like the semi-formal nature of it but mostly because it gives off Heisenberg vibes. Both hats are Dentons, a company that is still local to me and very well regarded. If you’re in the neighbourhood and at a loose end, I can highly recommend the museum and the guided tour. And the hats? They’re pretty decent too.