in Florence aka living in a postcard was not too bad either. “Aim for the stars, and if you fall, you fall in the clouds. Aim for the clouds, and if you fall, you fall on your face.” Strengthened by his grandfather’s words of wisdom, Neil felt the need to try for his dream job. After five years, he wrote a letter to Patrizio Bertelli, with an idea: to start a Prada men’s line. Eight months later, Prada Menswear was there. Trailblazing and successful. But what do you do once you have your dream job under your belt and it is too early to settle yet? You listen to the whispering of a seed, which is flourishing in your head, planted by no other than Miuccia Prada. And you found your own label. It was 1999. Let’s stop there. Before the Millennium Bug. The rest is history of fashion.

I have been recently told the story of my great grandmother. She was this exquisite, humble, private woman. Tremendously sensitive and utterly kind. Keen to writing and dwelling with words. She used to write and read letters for others, who came to her daily, and to take genuine pleasure in it. According to the storyteller, I am very much like her, and I owe her big time. There is nothing quite like knowing that the heritage of your ancestors runs in your blood. Suddenly realizing it is a peculiar feeling. Mostly of pride and belonging. Roots. But I am talking to a fourth generation tailor, why don’t you tell me?

Strike a bolt. The suit has been reworked. Attention to the detail. Cut to the crop. Revolution. Juxtaposition and minimalism. Minimalism and Post Minimalism. Color, design, fabric, and fit, are the terms of this equation. Feet on the masculine ground. The style of a lifetime. Understated. Desirability made garments. Logical, straightforward and sharp. Aesthetics, you are welcome. Skeptics, you are in for a tactile treat. An aged leather jacket. Ageless, for eternal youth. For anyone who keeps the ability to see beauty never grows old. Pull yourself together, now. It is all real. And it is all Neil.Barrett was born in Devon, South West England. Hailing from a family of tailors, he attended the Central Saint Martins School of Art and Design when it was all about living for the day, in one of the most vibrant and eclectic place to be for a proper fashion initiation. Things got real, more grounded, and industry based at the Royal College of Art in London, where the major thing was to believe strongly in the things you did, enough to show them, to be judged and therefore accepted for them. It mattered what you did and not who you were. A lesson learned and carried till this very day.After graduation, Gucci came. There, he was appointed Senior Men’s Designer. A worldwide known brand? Yes. Luxury? Indeed. But what was really unparalleled, though, was the chance to work with the best of fabrications, mills, and quality production companies. Living

INTERVIEW PAOLO MARINELLIPHOTO STEFAN GIFTTHALER

NEILBARRETT

everything down, cleaning it up, getting the essential shape, the essential fabric, the essential color, and creating purity within menswear, it is what I did, during that period of time. I truly believe you have to have your DNA, your own perspective. Designing with another brand identity makes no sense to me, although many people do that today, because things have changed. My philosophy is to create a DNA that is identifiable, that people can recognize. People should see your product, whatever art form that is, and recognize that art form as being yours.

Is that what you did when you left Prada?

When I left Prada, I cleaned things up, I reduced them, I found the essential fabric, the essential fit, the essential image, and then I applied decorations, applications, prints, cuts, to create something more. It is not just Minimalism anymore. The shape is minimal, the volume is minimal, the fit is minimal. Essential, if you ask me. But once I have that, I apply that added interest, which gives the final clients the desire to buy it. Their wardrobe is already full of minimal garments, they are already attracted to minimal. What they need is something more. You need to create new desire. That is what I did. That is what I do.

Let’s indulge in Neil Barrett basis a little longer. Color, design, fabric, fit. Tell me, what makes it what it is?

Neil Barrett is a precise combination of these four. A combination of flattering fit, pure color, authentic but molding fabric, and balanced design.

I know myself, as weird as I may be. That means knowing where to turn to when I am experiencing the writer’s block, to begin with. Where do you seek inspiration when you lack it?

I always look in one of two places. Firstly, internally and then externally. If I look internally, it is quicker. I look at myself, and at my past creations, to see wether or not I can be influenced by myself, in a very pure way. By doing so, the clarity of the vision of what I am trying to design is underlined, and it helps with the language of the brand. And then I try to do it better. With the knowledge you gain over the years, you can create garments in a more refined and precise way. It just goes right back to my grandfather and my great grandfather, to that precision of cut and that perfection of garments, of fit, of usage, of creating longevity in a garment that can make somebody feel good wearing it, over a long period of time. So, if I can be inspired by my old work, it kind of reinforces my branding, my signature; then if not, if I find that I want to be originally inspired by something external, I look at architecture: there are so many buildings I have not seen! I start researching architecture, and that always inspires me. It is so solid, so lasting, and I love the idea of pith things that last in time.

Years ago, I used to hang out with a bunch of people. Most of the time, I am quiet and discreet, but I always observe. I am keen to notice things. Details. So, about those people, soon enough, I started noticing a pattern in their way of dressing. How interesting the choice of putting together those colors in a sweater was, how logical the cuts on the side of that coat resulted, how pleasant to the touch the fabric of that jacket felt, how sharp and smooth, yet masculine and pitch perfect, the crop of those pants seemed. “It’s Neil!” was the answer. What is the statement the men wearing your clothes are making?

I am very proud of my heritage. I feel very lucky to have had this youth, to have been exposed to my family’s work and passion. It is strange how heritage comes through the family, what the family is good known for, or good at, that comes out in different generations. My grandfather was also in the military. He was enlisted in World War I. Since he could fly a plane, he was immediately put in the air force. And so did my father. I am one of two brothers; I went in the tailoring side, and my brother went in the military side, he too in the air force. It is weird, this generation after generation doing the same profession ending up creating such a strong bond.

So, in your youth, you were already familiar with and drawn to fashion. What was it that got you hooked for life?

Actually, I did not consider becoming a fashion designer until I was halfway through my art foundation course. Initially, I thought I was going to be an architect, or an interior designer, or an object designer, something like that. I did not quite know what it was, it was too early on, but it was something more substantial, something that would last, and not something so throwaway as fashion. Although I do not see it like that nowadays, of course. But at that time, I was not aware of it. The wonderful thing about British foundation courses is that you are allowed to touch on every single artistic pursuit, whether it is photography, sculpture, fine art, glass work, metal work, anything you can think of. You can really work with anything. Put your name down and try it. When I tried fashion, even though my family was in the business, I genuinely thought it was weird; I was also reserved by doing it, because clothing design has a stigma, which is negative in the countryside. But then, it all came so easily, and I felt it was something innate and instinctive. You must know, I have always believed in following your gut, and in making decisions based on instinct. With time, you learn the facts, but you should always make your judgments on instinct. The fashion course was the place I got the highest marks in the shortest space of time, and it was the one I really stood out and shone in.

Why is there this sort of stigma, which I believe affects every artistic profession?

There is a whole heterosexual homosexual stigma thing, which is very present in Europe, and in many countries. When you are very aware of your own sexuality, at a very young age, and you do not want to express it to everybody, taking certain classes and certain courses, and pursuing certain careers, it just evidences your potential for standing out in that community, and I did not want to stand out. I wanted to be low key. I did not want to be a peacock, just to blend in.

Deconstructing Neil Barrett, today an undeniably successful and affirmed fashion household based between Tuscany and London. The collections, Menswear and Womenswear, are actually made in Italy, funny enough. A solid 85% of them. What is Neil Barrett ethos?

Well, let me tell you something first: I create words. When I cannot find the word I am looking for, I create a new word, or a new hybrid, as I would while designing. I do not want to do one thing, so I mash things together, and I create something new. One of these words is Post Minimalism. I was a minimalist in my Prada days; I brought a minimalistic approach to menswear, which did not exist before. Pulling

of who I am. Otherwise, someone could question why there are so many books backwards in my room; or why, after fifteen years, I still carry with me that dry tree branch I picked up on a beach; or why the typewriter, when I own a computer, and so on. And everything includes clothes. I would never let go of my grandpa’ sheepskin jacket, it speaks to me of roots. Or those high waist Levi’s 501, I wore them on the happiest day of my life. My wardrobe is quite stripped-down, and yes, mostly black. What I want to say is: everybody owns more than what they actually need. Myself included. I wonder if it has ever crossed your mind, and how do you provide an answer to: why should people buy your clothes?

With creating so many collections a year, it is all about keeping up: you are always as good as your last collection. The beauty of being a designer is pushing your own boundaries. Nobody needs to buy any more clothes. There is no actual need for anything we are doing in fashion; it is not a physical need. The need for fashion is the need to feel good. Feeling good makes you behave in a more successful way, you are a more attracting person, you are happier, you can do your job better, and give off a different energy. In the end, I am just trying to make garments that make people feel good, so that they can be a better version of themselves. Creating new desire is the most exciting and, at the same time, the most complex thing about being a designer, which is a challenge: the challenge of working in this profession.

About those Levi’s 501, do you remember? First time we met, through mutual friends, I guess, I had them on, with a black T-shirt tucked into them. You came to me, and said something like: “I love the way you pull that off!” Just like that, you strengthened my belief that fashion and style are very much about knowing your body, wearing what really fits you, and suits you, what makes you feel good, confident, and what you do not have to think about too much. Do you agree?

That is a question about being instinctive. You secretly knew that it was right for you, and you wore it with conviction, and it is that conviction that was very natural. And so it worked on you, but not everyone gets it. That is the drama of bad fashion, so many people do not get what is right for their body, or for their body shape. They just put on stuff that they think is right, or that people tell them is right, or what they read is right, without really looking at themselves properly. When you can actually see yourself, and put together something that is complimentary, but not necessarily just the norm, you are pushing that limit to understand what is right for you. That was a strong look, but it totally worked. Some people, they just get it wrong, they just do the fashion thing, they push it too far to be fashiony, but they just look ridiculous.

Youth is this issue theme. Something you envy your teenage self for?

What I have then that I do not have now is time.

There comes a point, in everyone’s youth, when you feel like you can take over the world. What did you want from life then?

I just wanted to get out, to experience life, to get into a metropolitan city, and to live that urban lifestyle. Coming from the countryside, that was my biggest dream. Everyone who comes from the countryside knows what I mean when I say it. Kids brought up in the city just do not get it. Those first years of University, when I was living in the city, it was groundbreaking,

They are showing a certain confidence, wearing a non branded garment, to start with. I am very anti-logo, as in name. I do not like people with names blasted off their chests. It is a lack of confidence that drives people to wear brands. People who choose to wear Neil Barrett are believing that their garments will complement their character. Obviously, that is the character I am interested in; somebody who can appreciate beauty, cut, fit, fabric, color, and see the subtlety of that, but also have that feeling better sensation I was talking about before. I am impressed with the people who wear my clothes, because I am impressed with their choices, and how they look in them. Looking on Instagram (#neilbarrett, Ed.), I find it crazy to see how good some people look, and how they add their personality to the outfit, or the way they wear my clothes, and I find it inspiring.

Among the people who wore your clothes, we can find Brad Pitt, Ewan McGregor, Orlando Bloom, Jake Gyllenhaal, Mark Ruffalo, Justin Timberlake, and Colin Firth. The fashion business has seen a lot of unsuccessful collaborations with celebrities who simply were not the right man for the job. Why were they right, in your case?

I am just fortunate that they have noticed the brand and started wearing it. I truly believe that any successful relationship with a celebrity should be beyond what is photographed, it should be an intrical part of their life. If they wear your clothes in personal situations, in day-to-day basis, then it makes sense for a designer to work with a celebrity. And only like that. Plopping some garments onto someone, like you do with a Barbie Doll, or a Ken Doll, is a waste of time. It is very throwaway and not credible. The relationship should be ongoing. I am happy to say that the very few people we work with are incredibly talented men with integrity.

I have a thing for Colin Firth, so I watch every movie he is in; I remember one of his latest characters saying: “The suit is a modern gentleman’s armor.” Sooner or later, I will rock a decent black suit, in the meantime, I am collecting pieces of information. So I thought I could ask you. What makes a suit the perfect suit?

The perfect suit should be molded to the person’s body. And that is it.

As simple as that?

Life should be simple!

Indeed. I also marked: “Manners maketh man.” Probably because I was raised like that. Care to comment?

Manners are everything in life. Not everyone has them, but when you come across people who do, it is pleasant; life is more pleasant, and situations are more respectful. I feel fortunate, I come from a family where they taught me the importance of respect, and to treat others as you want to be treated. Not everyone is as fortunate as myself, and you cannot really judge them, but I prefer to surround myself with people who were fortunate. You can only make so many excuses for people, and people can learn over time, if they are clever enough. It is just about being willing to learn.

I moved quite a lot in my life. The outcome? I let go of everything that was not necessary. And when I say necessary, I mean defining

afterwards. We had such a great time. And then we came back to London. End of that. But then, one day, my grandfather was painting his kitchen; he was on the ladder, painting the walls, and he had pages from the Daily Mail scattered on the floor. He looked down, and there it was: a half page article about men in skirts with a picture of me in Paris, wearing a big black old men’s tailoring military jacket, a black jersey Yohji dress, borrowed from a girlfriend I was living with, black leggings, a white T-shirt, and big black Dr. Martens. The next time I had tea at his house, he simply pulled the paper out. The whole family did not know, my father freaked out, but my grandfather, he loved it.

my mind was like overloaded, I was so enthusiastic to be there, and I do not think that, in my teenage years, I was seeing above and beyond that. That was my dream.

Kafka wrote: “Youth is happy because it has the capacity to see beauty and anyone who keeps the ability to see beauty never grows old.” Skipping the rhetorical question, I am positive you can see beauty, I quite doubt that the capacity he referred to can be taught. Influenced, suggested, molded. Perhaps. But not taught. Do you? Did your idea of beauty shift heavily from your youth to your adulthood?

Is taste beauty? Is beauty taste? I have had the same level of taste since I was a late teen, when the formation of my taste began. That taste level has accompanied me my whole life, and it just got more articulated as I have become more mature. I am always attracted to the same type of beauty. Sculpture, for example, marble sculptures. It is not something I have always followed, but it is something I have always been attracted to. Nowadays, I am able to verbalize what I like more, and I organize it in my brain in a more regulated way. The main difference, between my youth and now, is that, when you are young, you say that you do not like certain things in a more instantaneous way, as you grow older, you do not waste time with negativity, you just go for what you know you like, and you become more discerning. Negativity is wasted emotion, and life is too short. Let’s just get on, be positive, and focused.

And about the other words he wrote, do you believe the capacity to see beauty holds the key to happiness?

Actually, I do.

Sounds like eternal youth to me.

Absolutely, the most inspiring minds are youthful. They are attracted by beauty. It is an ageless experience, and it holds an ageless concept. Think of Louise Bourgeois, or Reiko Kubo. Young brains, youthful perspectives, so diverse and open in their search of beauty, questioning as a child would be, as a youth would be. If you are lucky, your perception of beauty stays with you, and your search for beauty grows. That fire never dies. You are always rekindling it, looking for something else to inspire you, and pushing your own boundaries. That is a wonderful thing about being in the creative industry, because it is always exciting. Anybody who just rests and accepts what they see is missing out life. They are not living.

Would you tell me a story of wild, reckless youth, taken from your diary?

When I was in my first year at St. Martins, I was the first student to be accepted from my county, from the South West. This country boy going to the big city was already a big thing, you see. In the first year, our class was taken to Paris. Thirty oddballs, not one of us was similar to the other, and we looked so ridiculous together. Can you imagine? But that was the fun of it. That is why it was great. So, there we were, trying to get into different shows. I managed to work my way into the Yohji show, the Comme Des Garçons show, and the Gaultier show. Just to get into that Japanese show was dream alike, and all the club kids at Gaultier were like crazy and fabulous! Of course, we were doing looks, trying to outdo each others with our different styles, knowing that photographs were being taken