"Winters are long here—and dark—and I definitely had a lot more free time on my hands. I started getting back into making stuff, and using my interest in history and collecting junk, and put that together with some apparel design concepts, and that pretty much was the origin of Rogues Gallery."
"I started doing a lot of intense local research, using the local maritime museums—Bedford Whaling Museum, Mystic Seaport—and traveling throughout New England. We were going straight to the historical sources and creating graphics based on that. I wanted to use vintage T-shirts because they had a lot more character, but the shirts I was getting were pretty nasty, so we started to garment-dye our own."
We weren't set up properly for conventional manufacturing because we were doing it out of my house, trying to silkscreen T-shirts on a cliff on the coast of Maine in the middle of winter, having to get kerosene heaters going, wearing Carhartt onesies, and ink is freezing in the screens...it was pretty insane.
"We had some exposure at some stores that were visited by a Vogue editor and one of the buyers for Barneys. That's when it really started to pick up. We weren't set up properly for conventional manufacturing because we were doing it out of my house, trying to silkscreen T-shirts on a cliff on the coast of Maine in the middle of winter, having to get kerosene heaters going, wearing Carhartt onesies, and ink is freezing in the screens...it was pretty insane."
To meet demand, Alex moved to an industrial location in Portland. A supply shortage of vintage shirts prompted him to explore producing his own new ones—but with a quality and look consistent with the "exhumed" shirts—rather than buying from another manufacturer. "I worked with some factories to develop proprietary fabrics and colors, and that really sparked the growth of the line. Today we have approximately 30 running styles, as well as accessories where we work with local people." The premium-exhumed line still makes up about 35% of their T-shirts.
"Every season I ask myself and the small team here, 'What is new about the T-shirt?' We start by developing a color palette that relates to whatever story we're interested in talking about, whether it's a huntsman or a whaling story. And then we'll start incorporating new ways of labeling or marking the T-shirts, and then of course the graphics."
I went to Gettysburg and did a lot of research around mid-19th century civilian and military clothing. We aren't overly thematic, so it's not like you just walked off of a movie set. Staying connected to the end use is really important—we don't want a kind of rarefied, conceptual line.
"I think we have a pretty free approach to the process, and that's something that is really important. I've experienced a lot of boredom within the process of consensual, corporate design by committee, and I think one of the reasons why Rogues Gallery is working for people, and remains interesting for [me], is that it is very personal."
"Fall was interesting. We doubled our assortment from spring, we introduced pants, we did outerwear—we did a shit-load of product because I was interested in really conveying a head-to-toe Rogues Gallery look, which could be defined only by presenting it. It started with an interest that I had in the Civil War. I went to Gettysburg and did a lot of research around mid-19th century civilian and military clothing. We aren't overly thematic, so it's not like you just walked off of a movie set. Staying connected to the end use is really important—we don't want a kind of rarefied, conceptual line. The line needs to be relevant [and] wearable, and you need to feel incredibly un-self-conscious in it. Men's fashion often says too much. We are into being more understated."
"For spring we worked with some girls here in Portland on a collaborative project where we developed a bag made out of recycled sails. We made them down on the waterfront. Going forward, we just made a new bag out of recycled camp blankets, horse blankets, beacon blankets, Pendleton blankets, old Navy blankets..."
"I'm a huge collector, and I'm trucking around the NE all the time. Rummaging, going to flea markets—I'm totally into old shit. So I'll collect something, especially old textiles, and we'll say 'Ok, we're gonna do a limited-edition of, like, 200 vintage Americana blanket bags.' The new stuff that we produce in the factory, it starts with an idea, maybe it's an old mailbag, and then we'll do more of a utilitarian twist on it. The Barbour jacket, for example. There's something a little too pedestrian about the average Barbour jacket, for us. So, how would we treat that idea? Well, first of all, give me black oilcloth. Give me a liner that's grungy, that's dark, that's fucked-up plaid. Let's do logo rivets and shanks, or trims that feel more aggressive than what you would find in a gentleman country clothier's. I'm interested in the origins of clothing, whether it's a Jersey sweater, an Aran Isles sweater, but then how do we make that modern, how do we make that cool, how does it become Rogues Gallery?"