Wednesday, 6 May 2026

Tweed – Gentlemen’s Clothier in Stockholm.

 



Established 2007 under the name Tweed Country Sports we are a small but dedicated clothier carrying only British brands. 2018 we changed our name to Tweed – Gentlemen’s Clothier and moved into a shop located at Odengatan 98, next to the leafy Vasaparken, in atmospheric Vasastan in Stockholm. For more than 100 years, gentlemen's clothiers have been housed at this address. We humbly carry forward the tradition with a carefully selected assortment of the best that Great Britain has to offer in a sartorial way.

 

Here you will find a choice selection of products from all our brands, from three-piece tweed suits, unique to us, corduroy trousers, lambswool jumpers, duffles and shoes from Northampton to casual garments and selvage denim. We hand pick products from, among others, Tricker's, Derek Rose, Bladen, Sunspel, Grenfell, Gloverall, William Lockie, Private White V.C. and Drake's.

 

https://tweed.se/pages/about-us

Opening hours:

Tue-Fri 11-18, Sat 11-16 and Sun 12-16






Monday, 4 May 2026

Fashion’s Faustian pact: the high cost of Jeff Bezos’s Met Gala patronage



Fashion’s Faustian pact: the high cost of Jeff Bezos’s Met Gala patronage

 

Billionaire’s role as honorary chair and main source of funding has led to boycotts and criticism event has lost its cachet

 

Morwenna Ferrier

Sun 3 May 2026 15.22 BST

https://www.theguardian.com/fashion/2026/may/03/met-gala-jeff-bezos-art-fashion-new-york

 

The Met Gala in New York is the grandest and ritziest event in the fashion calendar, and an indicator of the growing ties between designers, celebrity and power. But with tech billionaires now joining the cohort, this year’s party may be its most controversial yet.

 

All eyes are on the guest list – and their outfits – to launch the fashion exhibition Costume Art at the Metropolitan Museum of Art’s Costume Institute. Beyoncé, Venus Williams and Nicole Kidman are chairing the event with Vogue’s Anna Wintour, and tickets cost about $100,000 (£73,500). But in a plot twist worthy of the new Devil Wears Prada film, Jeff Bezos and Lauren Sánchez Bezos, the Met Gala’s new honorary chairs, will be joining the 450 guests on the museum steps on Monday.

 

The billionaires’ involvement as the main source of funding for the exhibition and the party has set tongues wagging, reviving rumours that the Amazon founder will buy Condé Nast, the parent company of Vogue, which oversees the gala. Last year there was speculation that Bezos would snap up the company as a wedding gift – it is thought the couple missed the 2025 gala only because of their starry wedding in Venice, although Sánchez Bezos appeared on Vogue’s digital cover in a Dolce & Gabbana wedding gown.

 

Skipping the event is Zohran Mamdani, breaking a decades-long tradition of New York mayors attending the gala. Parts of New York have been papered with posters criticising the Bezos’s involvement in the fundraiser, mounted by Everyone Hates Elon, a British activist group, which raised £15,000 in a week and is expected to be present on the night. “I love celebrity culture and fashion as much as anyone, but [Bezos’s involvement] makes Vogue seem irrelevant,” a spokesperson said. “Don’t tell me Bezos has been involved because of his fashion sense?”

 

Even before the politics, the gala dress code had become a hot topic. Titled “fashion is art”, it takes its cue from the exhibition’s theme, which argues that fashion and art are intertwined, “with bodies wearing clothes the common thread”, according to Andrew Bolton, the curator of the Met’s Costume Institute.

 

Split into 13 “thematic” body types, from pregnant and ageing to disabled and variations on nudity, the exhibition pairs about 200 sculptures and artworks alongside 200 garments and accessories. “The focus is on bodies marginalised in fashion, and ones that haven’t been valorised in either fashion or western culture,” said Bolton.

 

Highlights include a contorted corset by Michaela Stark paired with Niki de Saint Phalle’s Nana and Serpent sculpture, and a Sarah Lucas work next to wearable art made out of “Nora Batty-like stockings” by the British designer Harry Pontefract.

 

A late Roman Venus Pudica sculpture is paired with a dress that uses strategically placed human hair by the British-Turkish designer Dilara Findikoglu. A Burberry trench belonging to the disability activist Sinéad Burke and Batsheva Hay’s Hag jumper also feature, as do Rei Kawakubo gowns and Vivienne Westwood’s Martyr to Love jacket, which resembles a man’s upper body.

 

As ever, the link between the gala’s dress code and what materialises on the museum steps is tangential. “I’m sure there will be some nakedness,” said Bolton. “I also think we’ll get a lot of goddess gowns. But I do worry people might take the theme literally and come as a painting. Or at least Andy Warhol’s Campbell’s soup can.”

 

Still, he thinks the theme has never been more essential. “A lot of the developments fashion has made over the last few years have really eroded,” he said. “I don’t feel as if we’re seeing as much diversity on the runway as you did [then].”

 

While the theme will no doubt elicit some more literal translations, including Yves Saint Laurent’s Mondrian-inspired dresses, Cally Blackman, an associate lecturer of fashion history and theory at Central St Martins, hopes it will serve as a riposte to criticism about the value of fashion.

 

“It is the most powerful form of non-verbal communication that exists, yet we’re always fighting the battle [to prove its worth],” she said. “It’s only in the last 10 years that museums like the Met or the V&A have realised it gets more people over their thresholds.”

 

Bolton, who is preparing to reveal the Costume Institute’s new permanent home, the Condé M Nast Galleries, agrees. “For an art museum to position fashion in the centre of the building is symbolic,” he said. “I think people are realising not just the aesthetic value of fashion, but the social, cultural and personal ones.”

 

The gala is one of the most-watched red carpet events of the year, typically attracting 1bn global video views on Vogue’s site alone, and is fast outgrowing its philanthropic purpose, which is to raise funds for the New York museum. Blackman said: “The problem with the gala is that it’s … self-defeating. It’s not about fashion, it’s about publicity. I think a lot of the cachet has gone because it’s funded by Jeff Bezos.”

Lauren Sánchez Bezos and the Fashion End Times of ‘The Devil Wears Prada 2’

 



Opinion

Guest Essay

Lauren Sánchez Bezos and the Fashion End Times of ‘The Devil Wears Prada 2’

 

May 3, 2026

By Robin Givhan

Ms. Givhan is a contributing Opinion writer.

https://www.nytimes.com/2026/05/03/opinion/devil-wears-prada-lauren-sanchez-bezos-met-gala.html

 

When I look at photographs of Lauren Sánchez Bezos I see someone who loves fashion, although not at all in the way I do. My affection for it is rooted in respect for its beauty and creativity and in a fair amount of skepticism because of its stumbling acceptance of its social responsibilities. Her version of fashion exudes personal indulgence and broad disregard.

 

A plutocrat by marriage, she represents the industry’s ultimate customer, with its ever-rising prices and shrinking sales. Fashion is pricing all but the most astoundingly wealthy out of the market.

 

In the just-opened film “The Devil Wears Prada 2” Justin Theroux plays a dastardly acquisitive tech titan named Benji Barnes, with clear echoes of her husband, the billionaire Amazon founder Jeff Bezos. The Barnes character happens to have a girlfriend who might remind you of Mrs. Sánchez Bezos. Their thirst for clout helps drive the film’s plot.

 

On Monday, Mr. Bezos’ real-life hundreds of billions of dollars will propel Mrs. Sánchez Bezos up the grand Fifth Avenue staircase of the Metropolitan Museum of Art, past a gantlet of photographers and into the Costume Institute Benefit, better known as the Met Gala, over which she and he will preside as honorary co-chairs. The institute’s exhibition this year, “Costume Art,” is made possible by the Bezos largess. But the couple is so broadly unpopular in the fashion world and beyond that there were calls for a boycott of the gala.

 

Beyoncé is also supposed to be there, serving as an official co-chair, along with Nicole Kidman, Venus Williams and Condé Nast’s chief content officer, Anna Wintour. But Mrs. Sánchez Bezos is the star of the Met Gala because she represents what fashion, buffeted by social and technological change, has surrendered to: economic inequality in human form, with pink, glossy lips, cinched up in a couture corset.

 

Taste is one more part of the culture for ruthless tech titans to attempt to optimize for their benefit. With Ms. Wintour’s determined gatekeeping and the Costume Institute’s intellectual concerns about human creativity, the Met Gala is the perfect laundromat for soulless tech money.

 

Both “The Devil Wears Prada” and its sequel stage fictional versions of the Met Gala for the cameras and star Meryl Streep as Miranda Priestly, a fictional version of Ms. Wintour. The first film captured the fabulousness of the fashion world. It also worked to give viewers the sense that its haughty, judgmental inhabitants were hard at work helping to make small lives feel bigger by the decisions they made huddled in a room going through “a pile of stuff.”

 

I think about how the sharp-tongued Miranda might view Mrs. Sánchez Bezos: A corset? In an evening gown? Groundbreaking. The sequel depicts Miranda with her power and influence slipping. She’s confronting the same tidal wave of financial challenges that the real-life fashion ecosystem is navigating.

 

Onscreen, the upheaval comes by way of data-driven technology, an awkward tycoon with no sense of style and the fashion-loving woman he aims to please. As Stanley Tucci’s character, Nigel, says, he’s reduced to creating “content that people scroll past as they pee.” In real life, fashion magazines — and publications in general — are in trouble, and they’re hoping the right billionaire will bail them out. (The Bezoses have been rumored to be considering buying Condé Nast, Vogue’s parent company; when asked about it, Mrs. Sánchez Bezos told the writer Amy Chozick in The Times, “I wish!” and then, “No.”)

 

With her donations, scholarships and grants, Mrs. Sánchez Bezos offers the industry some support beyond her expensive shopping habit. The Bezos Earth Fund awarded $34 million in grants to institutions developing environmentally neutral fabrics, and she directed $6.25 million from the Earth Fund to the Council of Fashion Designers of America to support innovation and education in sustainability. The industry readily grabs on. Some people are betting that she’s the right billionaire.

 

According to Ms. Chozick’s recent profile of her, Mrs. Sánchez Bezos just wants to be happy. And whenever she steps in front of cameras, dressed in a remarkable array of finery, she looks delighted. In an era of extreme economic inequality and financial instability, when California is looking to institute a billionaire tax and a tax on second homes in New York City is under consideration, Mrs. Sánchez Bezos moves about with ostentatious pleasure. She counts her 10-figure blessings, and wears her windfall on her back for all to see.

 

Her taste veers outside a palette of beige and gray cashmere — the approved sensibility of well-mannered, quiet money. She is willing to flash a wide smile or offer a pouty stare for the cameras rather than stare them down with an expression of bashful reserve or detached ennui, which is what serious women are supposed to do. She does not have the body of a 6-foot-tall 12-year-old boy, which is how high fashion still insists on defining an elegant female physique.

 

She defies these expectations — something that could be lauded. But she simply embraces a different cliché, an extreme version of femininity that’s defined by a snatched waist and a cantilevered bosom.

 

She laments how little the public really knows about her. But provided the opportunity to tell her critics more, she refrains.

 

“I am not talking politics,” she told The Times. “No, no, no, no, no. No way.”

 

It’s reasonable to believe that since she sat in a place of honor behind President Trump during his inauguration, she might have a few thoughts about the current administration. Mrs. Sánchez Bezos, who once worked in broadcast news, acknowledged the importance of journalism but offered no thoughts on her husband’s drastic staff cuts at The Washington Post, which he owns (and where I used to work).

 

But she is willing to express her exasperation that the white lace bra readily visible under the Alexander McQueen suit she wore to Mr. Trump’s swearing-in caused an online kerfuffle. She defines the problem as a scandal about lace, not her disregard for the dignity of an official function.

 

To draw the cameras, it helps that she has hired one of the best stylists money can buy, Law Roach, and collected an impressive array of very expensive stuff. She’s done so from a feast of options. Costume not as art, but as merchandise. Perhaps she even scrolled past some of it while she was indisposed. As Miranda deftly shivved a would-be white knight, “You’re not a visionary; you’re a vendor.”

 

Mrs. Sánchez Bezos’ clothes don’t demand that the public pay attention to her story. Or even the stories of the designers she wears. Or really, even fashion.

 

She has assembled a tote board of Bezos wealth. And if it tells any story at all, it’s his.

Saturday, 2 May 2026

How to dress like a British Gentleman By CORDINGS

 



How to dress like a British Gentleman

By CORDINGS

https://www.cordings.co.uk/eu/news/how-to-dress-like-a-british-gentleman/

 

Wednesday, 11 October 2017

How to dress like a British Gentleman

 

Tweed and moleskin – two distinctively British cloths

From the city gent in bowler hat and pinstripe to the country squire in a tweed jacket and corduroy trousers, British style is immediately recognisable the world over. What makes this look so distinct and why is it still synonymous with good taste? And, more importantly, how do you get it just right?

 

We’ve put together a item list for those asking how to dress like a british gentleman, which includes:

 

A well fitting jacket in a classic British Cloth

A well fitted trouser, with a neat leg, also in a classic British Cloth

A waistcoat in matching cloth or with a dash of colour

Add detailing with accessories, like ties and pocket squares.

The British Jacket: Ensure The Correct Fit

 

British jackets have a distinct, waisted silhouette and are unashamedly more solidly constructed than their European counterparts. With this in mind, it is essential you wear a jacket that fits. They are not meant to drape or pull across the chest, the shoulder should sit neatly on your own shoulder, and the sleeve length should sit about ½” above your shirt cuff. Investing in a well-fitting jacket makes economic sense: get it right and you will be able to wear it for decades. When wearing a three button jacket, only ever button the middle button.

 

Two button and Three button jackets in tweed and flannel respectively.

The Cloth:

British mills create distinct cloths that are instantly recognisable. If you are looking to buy your first jacket, a timeless Shetland will never look out of place.  Check the weight of the jacket suits the climate and the conditions it will be worn in.

 

Harris and Yorkshire tweed, each have their own distinct characteristics.

The Trouser: The Right Length

A higher waist and neat leg are synonymous with British trousers. Side adjusters are particularly good at keeping the silhouette clean around the waist. Many of Cordings trousers have brace buttons. Although braces are often seen as a style statement, they are also the best way of ensuring you never have the embarrassment of hitching up your falling waistband, or your shirt billowing over the top of your trousers. It is essential you make sure your trousers are taken up to the correct length. Puddling around the hem, or Chaplin-esque half-mast trousers are a British style no-no.

 

The Cloth:

Traditional cloths such as corduroy and moleskin are eminently versatile, and flannel and cavalry twill are particularly good teamed with tweed in a more urban environment.


The Waistcoat: Add Style and Warmth

Adding a layer of warmth, with the option of a dash of colour, a waistcoat creates the tailored silhouette favoured by the British gent. When wearing a waistcoat, never do up the last button, and avoid trousers with a belt, as this creates an unsightly bulge around your midriff.

 

Tweed, corduroy or velvet waistcoats are the perfect alternative to a sweater to add an extra layer.

The Cloth:

Corduroy, velvet and tweed are is a very British cloth, with a long pedigree, it works beautifully well with tweed.

 

The Accessory

Nothing epitomises British style quite like the small details. Accessories are a chance to add a touch of colour; investing in well-made pieces in luxury fabrics doesn’t need to cost the earth, and will add understated elegance to your outfit.

 

The Tie: Pair To The Shirt

Choosing the right tie will inject colour and personality into your style without overshadowing the classic British style. When matching a tie to your tattersall shirt, pick out one of the overcheck colours.

 

Make sure your knot is right up to the collar of your shirt; nothing looks sloppier than the top button of your shirt being visible. When wearing a tie, avoid the temptation to undo your top button. If you need to do this, the collar size is too small.

 

Ties – choose from woven and printed silk, knitted and country wool merino.

Pocket squares and Scarves: Complement the Tie

Make your British gentleman look complete and complement your tie rather than match it. Madder silk prints in subtle hues, such as wine and navy, will work with most jackets.

 

Hanks in silk and wool are the perfect finish to your outfit.

Belts: Pair With Your Shoes

A carefully chosen belt will bring your outfit together whereas a mismatched belt will work against the sophisticated look you are striving for. Avoid this pitfall by matching the colour and finish of your belt to your shoes.

 

For the perfect fit, the belt should do up on the middle hole. As mentioned, avoid wearing a belt with a waistcoat.

 

Braces: Style and Practicality

Using braces will prevent fabric bunching and ensure a neat and comfortable appearance of trousers. A smart box cloth brace is therefore both eminently practical and stylish. Navy and bottle green are two popular colours at Cordings that are versatile and timeless.

 

Belt and braces – ensure your trousers stay in place and add a touch of British style.

Socks: Add a Dash of Colour

Hosiery is a chance to add individuality to your outfit. Give yourself a reason to hitch your trouser leg an extra ich when you sit down with a pair of carefully coordinated British made socks.

 

How to Dress like a British Gent: In summary

 

Dressing like a British gent is not about wearing the correct labels, following fashion or being ostentatious in your dress. It is about paying attention to detail. We’ve summarised our top 5 tips for achieving that quintessential British look:

 

1. Make sure your clothes fit correctly, and check your sleeve and hem lengths.

2. British cloths will inherently make your outfit look uniquely British.

3. Investing in quality accessories will pay dividends.

4. Choose colours that complement rather than match or clash.

5. And lastly, take the time to follow the care instructions – preserving the quality of the garments for years to come.