Style Innovators

The first in a two part feature, we're checking in with the guys changing the menswear game right now—from new designers to seasoned pros putting a fresh spin on established labels. First up: Aaron Levine, who honed his skills at classic American brands, and is now bringing a masculine elegance to Club Monaco. Along with Mark McNairy, who saw the potential in Woolrich Woolen Mills even before the company launched the label.

Prior to joining Club Monaco, I was designing at Jack Spade. Before Jack Spade, I was creative director at Rogues Gallery. Before Rogues, I was design director of Hickey Freeman's 'hickey' line.

A mutual friend of ours, Michael Williams of ACL fame, was nice enough to introduce us. I came in and had several great meetings here. It immediately felt like an outstanding opportunity that I could not pass up. Just to be actually considered a candidate was really exciting. To be offered the job in the end was shocking. I'm still shocked.

Approachable. Wearable. Modern. Not minimalist modern, but warm modern. We already do such a great job with the staples, it doesn't take all that much to mildly adjust the aesthetic and fill a void in the market that currently exists while still being true to the brand.

I'd be foolish to say no. What's awesome is that the people here on the team, we're all product nerds and get excited over the small things. We come to work five days a week, but we never really turn it off. You can get inspired to try something new by anything, at any time. It's those things that you see in an unexpected places that often influence you try something new.

I think it's also about what you choose not to do that's as important as what you do. In the beginning of my career, I was so excited about what I could do and didn't think about what I should do. That's one of the most valuable lessons I've ever learned. One of the first collections I ever did for Hickey, it was, lets say, not good. I'm so thankful the people there gave me another shot.

A great chino. Beautiful, functional outerwear. I say beautiful, but I don't mean delicate. Great sweaters—shawl collars, crew necks and V's. A wool sportcoat. Some dark woven shirts. Flannel trousers. We make an awesome cashmere watch cap, as well. Wait. You said three ... sorry.

I used to think it meant saving up for something expensive. Then I realized, just because its expensive doesn't make it good. Or mean that I will use it more. If I splash out on something, I need to know in my head that I'm going to get my money's worth. Maybe a watch. I also like English shoes. I like Santa Maria Novella...the patchouli. My friends say I smell like a hippie, but I love it.

Travel. To other countries or to visit family. Unplug. Museums, art, music, nature or film. What I've found, and what's really awesome, is that when you find yourself trying not to think about it, something just comes along and gives you a kick—ideas for whole collections can just come along and be spawned from the simplest things. A wise man once told me, "If you think about it too much, or try and force it, it's wrong." Pretty sound advice.

That's true, actually. About fifteen years ago. At the time, they just weren't ready.

My buddy, Daiki [Suzuki, who designed the line from its inception] recommended me for the job.

True American sportswear—plain and simple.

Maybe a little, but I do have a heritage that I should—and want to—adhere to.

That big ass duffle coat.

The United States of effin' America.

Really, the archives plays very little into my process—other than the fabric archive. I see my job as paving a new path from the Woolrich brand.

Pop open a bottle of rosé.

I really like the bags by Portland's Chester Wallace.

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The Series