A newly opened, chic but under the-radar salon in Milan — courtesy of a recent capital injection from Italian fashion entrepreneur Davide De Giglio — has given Umit Benan new impetus and an elevated destination for clients to stay and linger in, and occasionally try on clothes.
“I’m not trying to sell,” he says. “We have a conversation.” This laid-back business model depends on a certain type of customer. “I had a hedge-fund guy the other day buy 243 pieces. It was crazy. But I told him, ‘I won’t sell you your business suits for appointments, because what your tailor makes is fantastic. You need power suits for business. My suits you wear on a weekend or after work, for relaxed dinners with clients. They’re cool and casual.”
Cool and casual could equally be applied to Benan himself. Born in Germany, he grew up in Istanbul, went to boarding school in Switzerland and, throughout, was obsessed with American film, TV, and music. He harbored hopes of being a filmmaker but moved to Boston and then Milan and enrolled in fashion school. Roles at Marc Jacobs, Pollini, and Trussardi followed, but it was in working for himself that he discovered his own aesthetic: relaxed, somewhat oversized, but with meticulous attention to fit and fabrication.
He is worn by creatives, founders, and C-suiters. Ferrari’s Charles Leclerc, gallerist Thaddaeus Ropac — who helped with the art in the showroom — and Moncler CEO Remo Ruffini are three who appreciate Benan’s easy elegance.
What matters to you — personally, in business and in style?
First, the health of my family — my dad, mum, brother, my wife, and kids. Then, to wake up in the morning and be happy to go to work. When I’m in a bad mood, it seems like there’s another character within me, so to be in a good mood is the most important thing. I’ve had a lot of tough times in the industry, but on a good day, with a good mood, I can accomplish so much more.
And then in style, to remain true to myself and my body shape. Because, for example, in the store we love the classic John Lobb Lopez [penny loafer]. But I’ve never worn it because it’s not okay for my leg shape or silhouette. It’s more elegant: you need to have skinnier legs, a fine toe shape. When I dress, it’s important that I represent my character through clothing.
How much do you design for yourself and your body shape, and how much for your client?
For my first project it was 100% for me. People who had my body shape would say, “Oh wow, I’ve been trying to find pants like this.” But for the new UmitBenan, the high-end and timeless line, I do my fittings on my brother, who is very fluid and fit. Once the collection is done, I do the first prototypes two sizes bigger, for myself. I work very technically on body shapes when we do consultancy. I satisfied myself creatively very much in the past — I had a lot of fun. And now I’m very much service and client based. This is what I love. I’m obsessed with it.
Most of the people I work with, my clients, are not in fashion. So sometimes you have to show them what looks good. You start slow, and then they go home and maybe their partner says, “Oh, you look great. There’s something different about you.” And it’s the jacket. And then, because they just needed the confirmation, they come back to us.
Describe your aesthetic.
I work within the rules of classic men’s tailoring but I try to break the rules. The most important word is ‘attitude.’ I have this casualness. If I wear a $15,000 cashmere overcoat to a restaurant, I put it over a chair. The waitress wants to hang it up, but I say no. I like to live in it — don’t treat it like it’s expensive.
How does this attitude appear in your designs?
It’s little details. For example, I buy my linen in Como because there’s silk in it. So when you wear it, it looks like you’re in Miami — it’s Miami Vice linen. It’s like Jacques Marie Mage sunglasses. Because of the weight and how they’re made, you put them on and you become Onassis. It puts another zero on your bank account.
What was the first item of clothing you fell in love with?
It was a white tuxedo shirt from Gianfranco Ferré, with tone-on-tone embroidery on the chest. It was typical ’80s; I was maybe nine or 10. My father wore it to weddings. I have it in my wardrobe in a box, and I never wear it. It’s insanely beautiful.
What’s always in your carry-on?
Photos of my family. Mustache and beard comb from [Officine Universelle] Buly. Kaweco pencils; I can only sketch with them. Earplugs. Cigars, for sure — at least three. Either [Le Hoyo de] Río Seco from Hoyo de Monterrey, or Romeo y Julieta.
Do you wear a watch?
Yes, I collect watches. I’ve had many: Bulgari, Rolex, Audemars Piguet. When I was working at Marc Jacobs in New York I was selling Audemars. I bought a watch for my dad to say thank you for everything he’d done for me. I spent all the money I’d saved, about $60,000.
I was dating the manager at Audemars and after a while she asked, “Would you sell it for $100,000?” — even though my father was wearing it. At the time, this [selling vintage watches] didn’t really exist; it was early 2000. So I said no, but what are the other possibilities? One by one, I started selling; I was making about $20,000 every two weeks. I carried on selling until 2007 but I stopped because it got too big.
For the past three years, I’ve only bought gold because I’m trying to do this 50s look: old gold and a pink silk shirt. I bought, like, 14 watches in three years, but I’ve stopped because there’s no end to it.
Where is your favorite place to travel?
I love Palm Springs. I can dream in Palm Springs. I love the Parker hotel but I also need to have the Ace Hotel in my life. I don’t always want luxury.
Also I go to Santa Fe every year. I go to the Four Seasons, which I love, but sometimes I need a motel. It’s part of my character that I’m not only a Four Seasons guy. The same with style: I have the cashmere coat but then frayed silk pajama pants. It can’t all be luxury or all vintage; I need to downplay it, otherwise it’s too flat. It’s about the attitude.
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