Neapolitan Expedition (2): The Rubinacci Legacy

By Jack Collins

You’d be forgiven for thinking that Rubinacci exists solely within the little glistening pizza slice of a storefront along Via Chiaia, particularly apt given its Napoli home. But take a few steps back (as we also had to), and you’ll see the larger atelier overlooking this street-level shop. Outfitted in impressive stonework, step through the doors of this imposing atelier and you’ll be greeted not only by Rubinacci’s signature burnt orange backdrop but also by the warm smile of Mariano Rubinacci as he welcomes you to the Neapolitan home of the brand.
Fellow sartorialists will need no introduction to Rubinacci as a brand, what they do, or the impact they’ve had in the world of tailoring. The softness of the cloth and cut are in abundance, and the “perfectly imperfect” character shines through - Mariano cheerfully pointed to one of the many flower pots to illustrate this last point; “The flowers may be dry, but they are not fake”. Attention to detail is paramount in the house of Rubinacci.

Nowhere else is this more prevalent than in the upstairs room, overlooking the main floor. Much like the building itself, this space is easily overlooked as you drink in the beauty of your surroundings. But, sure enough, at the top of the elegant staircase, you’ll find around twenty skilled workers creating clothes with quiet dedication and intense passion. Truly the sartorialist’s version of the North Pole at Christmas time, it’s incredible to think of how many beautiful bespoke pieces have been crafted above the heads of Rubinacci’s customers. Those familiar with London’s tailor’s basement workshops could easily think of this arrangement as ‘Savile Row in reverse’.

Speaking to Mariano about the bespoke workforce residing over us as we joined him on the couch, he enlightened us about his philosophy; “We are gentle, we pay well, and we train them well”. Legacy is apparent, as Mariano is keen to find and hire younger tailors wherever possible. By spotting the potential and guiding a craftsperson in the Rubinacci way, the brand secures not only a passionate worker, but Mariano is able to “give something to my son”. 

This element of legacy can also be seen in perhaps one of Rubinacci’s less well-known offerings; their impressive collection of vintage cloths. Starting all the way back in the beginning (1932) with Mariano’s father, Gennaro, Rubinacci has housed a growing archive of vintage cloth lengths. An impressive selection of these lined the wall opposite us, overlooking our conversation with Mariano as a direct link to the brand’s history.

While Mariano may have mentioned that each cloth could represent a failed decision (as it has not been purchased - yet), I think it was most accurate when he stated that each piece in the collection holds a memory, especially true given the shared passion between him and his father for purchasing these fabrics. This element is something that has been passed down to Mariano’s children, Luca and Chiara, who have become guardians of their own vintage cloth archives in their respective Milan and London branches.

As Mariano took over the business in the 1960s, we focused on the difference in cloth then versus now. If you’ve had the pleasure of getting acquainted with truly vintage textiles (and no, I’m not talking about 1980s synthetics), you’ll know the exquisitely unique hand, the texture of the yarns, and the density of the weave. “In the ‘60s there was no cashmere, only woolens” Mariano enlightens us as we discuss the properties of some of the cloths we’ve singled out. Indeed, this is another wonderful time capsule element of exploring the cloth library - it may not be a new idea, but it’s certainly a refreshing one when compared to the overwhelming availability of cashmere blends and slinky super 100s in the 21st Century.

Of course, the substance of the vintage cloth archive is just one area to focus on. Given any clothing enthusiast’s keen eye for aesthetics, the rich variety of colour and pattern are perhaps the most alluring element of the collection. Rich checks in bold scales, several subtle colour variations within a seemingly simple cloth, and classic features like stripes or a houndstooth presented in the most unusual way. Again, the comparison to the modern day is inescapable when even stalwarts such as navy and grey are available with much more panache than you might think possible.

This is all brought together in the outfit Dennise wore, crafted from a selection of the vintage cloth archive bought online a few years ago. A suit consisting of an elegant double-breasted jacket and a pair of trousers (crafted by Marco Cerrato), the cloth is a vintage Fresco in a wonderful taupe shade, and features a sky blue pinstripe. Bringing the cloth back to its original home in the form of clothing is symbolic of the story, legacy, and passion present at Rubinacci.