Latest news with #Tombolo
Business Wire
5 days ago
- Entertainment
- Business Wire
Boston Whaler and Tombolo Unveil Part II of Ongoing Collaboration
NEW YORK--(BUSINESS WIRE)--Boston Whaler ®, the iconic American boat manufacturer founded in 1958, and Tombolo ®, the resortwear brand known for its irreverent 'escapewear,' today announced Part II of their ongoing collaboration. This 18-piece capsule collection offers a refreshing and playful twist on styles familiar to the boating community, including fishing shirts, board shorts, UPF 50+ sun shirts, and foul weather gear. In many cases, the garments embrace nostalgic silhouettes and fabrics from the '50s, '60s and '70s when Boston Whaler was rapidly ascending to its now legendary status among boaters worldwide. 'This partnership is deeply personal for me,' said Chris Galasso, co-founder of Tombolo. 'When I was growing up, I learned to love the water from the faded Whaler blue deck of a 1974 Boston Whaler '13. It's a full circle moment to now have a hand in creating a collection that celebrates the joys of the water with the boat brand that started it all for me and so many others.' Part I of the collaboration featured a Boston Whaler 16' from the 1960s that Tombolo salvaged from a yard on Shelter Island, New York. The boat, named 'Cea Pea,' had seen better days after many years of neglect. Unassuming Cea Pea became the backdrop of the debut collection's photoshoot in all her dilapidated glory. Now, for Part II, Boston Whaler and Tombolo upped the ante. Alongside 18 new items, and the return of fan favorites from Part I, Cea Pea has been fully restored and reimagined. After a meticulous, loving restoration, the classic vessel has been transformed into a showpiece that bridges past and present. 'We're thrilled to unveil the Part II clothing capsule alongside the restored Cea Pea, looking as buoyant and beautiful as ever at over 50 years old,' said Mike Sard, Co-Founder of Tombolo. 'She steals the show as the centerpiece of this ongoing partnership. We hope Cea Pea's charisma also shows up in the clothes, which aim to bottle her magic.' The restoration included a much-needed re-powering by Mercury Marine ®, equipping her with a new 75hp Mercury outboard that delivers the boundary-pushing performance for which the 16-foot model remains famous. The restoration process involved an ecosystem of talented New York boatworkers, including Chuck's Fiberglass, Albertson's Marine, and Wm. J. Mills & Co. – America's oldest sailmaker. Wm. J. Mills Co. served as the creative bridge between the apparel collection and the boat itself, crafting Cea Pea's custom-branded bimini top and terry cloth cushions. Their handiwork extends to the collection's tote bags, tying the nautical heritage of the boat to the wearable garments. 'Collaborating with Tombolo has given us a fresh and creative way to celebrate Boston Whaler's storied legacy and boundary-pushing performance,' said Lenn Scholz, Boston Whaler President. 'This collection is more than apparel – it's an invitation to experience the spirit of Whaler in a new medium. We hope it inspires our passionate community of owners and fans, while also welcoming newcomers to the joy, freedom, and rich history that define life on a Whaler.' The collaboration collection is available on Tombolo's website at and in its New York City store (208 Mott Street, New York, NY, 10012). It is also available in Japan exclusively via Journal Standard by Baycrew's at their stores in Tokyo and Osaka listed below: JOURNAL STANDARD (Omotesando Store) Address: 1F and 2F BARCA Building, 5-25-4 Jingumae, Shibuya-ku, Tokyo Phone number: 03-6418-7961 JOURNAL STANDARD (Lucua Store) Address: 3-1-3 Umeda, Kita-ku, Osaka, Osaka Prefecture, Lucua 3F Phone number: 06-6347-0294 For more information about Boston Whaler and to view its complete lineup of boat models, visit About Boston Whaler For more than 60 years, Boston Whaler has been building superior quality unsinkable runabouts, cruisers, and center console boats. Founded in 1958 and currently headquartered in Edgewater, Fla., the company's unique foam-cored construction process contributes not only unsurpassed flotation, but also superior ride characteristics and durability. The current product line ranges from 13 to 42 feet and is distributed around the world by a network of exceptional dealers. For more information about The Unsinkable Legend™, please visit About Tombolo, LLC Tombolo is a New York 'escapewear' brand offering spirited and original apparel that transports customers to a different time, place or state of mind. Its carefree design philosophy is grounded in a serious commitment to top-notch quality, incredible materials, and meaningful causes: 1% of Tombolo's revenue as well as $1 of every Tombolo order supports environmental and humanitarian efforts. Tombolo is best known for its creative reimagining of 'cabana shirts' -- the terry cloth, poolside ensembles that were popular in the 1950s and '60s. Tombolo was founded in 2018 by two best friends since childhood.
Time of India
26-04-2025
- Entertainment
- Time of India
The White Lotus effect: ResortCore is the new trend as the hit series creates a renewed love for vacay wear
Escapewear. That is how Chris Galasso and Michael Sard of New York-based holidaywear brand Tombolo describe their aesthetic. The men behind the viral 'Reptile Dysfunction' shirt of Lochlan Ratliff (played by Sam Nivola) in Season 3 of The White Lotus—a culture-defining black comedy where the richie rich wrestle with existential dread amid spa treatments and sundowners—peg their brand as 'maximalist inactivewear'. But the Hawaiian shirt with a motif of crocs and florals isn't the only thing that got noticed. #Pahalgam Terrorist Attack India stares at a 'water bomb' threat as it freezes Indus Treaty India readies short, mid & long-term Indus River plans Shehbaz Sharif calls India's stand "worn-out narrative" According to Lyst's Data Drops, the first two episodes of The White Lotus set off a surge of internet searches tied directly to the show's styles. In the weeks following the release of Season 3 on February 16, searches for crochet were up 11%, kaftans 7% and cutout floral dresses 53%. Resortwear is not a recent phenomenon—it started in the 1920s when the rich would holiday in the French Riviera. It is characterised by clothing designed for warm-weather vacations and leisure activities such as flowy dresses, cabana shirts, prints, kaftans and stylish swimsuits. Even cruise wear lines—which are more nautically inspired are a popular subset now. The White Lotus has renewed an interest in the category, thanks to the efforts of costume designer Alex Bovaird. Designs of Anjali Patel Mehta, founder of luxury Indian resort brand Verandah, were featured in the latest season of The White Lotus. Mehta says more than visibility, it is validation of her design philosophy . She says, 'Resortwear for me is a lifestyle. I specialise in story-based design and like to call my brand a lifestyle brand based on vacation, which you can wear all-year round.' Mehta, who started out in 2011, says she was one of the first few to have a dedicated holidaywear brand, but now resort and summer dressing is a fast-growing category in India with most brands aiming at the mass and affordable luxury market. It functions across price points— from Rs 1,500 to the luxury category that starts at Rs 15,000. Verandah mainly retails abroad. In India, where it mostly sells online apart from a flagship store in Goa, the numbers are growing. Mehta says, 'Vacation styling is coming into its own and people want to be more inventive with it. This is our strongest year and season globally.' THE LUXE RESORT Shivan Bhatiya and Narresh Kukreja, cofounders of India's first luxury holidaywear brand Shivan & Narresh, which launched in 2010, note that the concept of resortwear has evolved and it's all thanks to social media, destination weddings and luxury tourism. There's now a strong demand for curated resort wardrobes that go beyond swimwear—kaftans, resort separates, resort gowns and even luxe lounge are growing categories. Kukreja says, 'Destination dressing is no longer limited to vacations—it is becoming a lifestyle. It could be a soiree, home brunch, or a cruise escape.' Bhatiya says, 'The future of resortwear in India is promising as it stands to be shopped as a marquee ready-to-wear designer category for everyday use.' Designer Rajdeep Ranawat, who creates easy-breezy ready-to-wear pieces, says the Indian resortwear consumer makes no differentiation between what they wear to a holi-day or outside of it: 'They usually treat resortwear as everyday wear. The understanding of holiday wear is there in terms of print (like sea life, palm trees, etc). The moment you change the print and colour, the definition changes.' Ranawat mainly works with prints and his silk kaftans start at Rs 18,000, with 80% of his customers being women. For most, holidaywear is kaftan and coord sets in cotton linens or light silks, but popular shows like The White Lotus create a demand for aspirational looks, he says. Ranawat says he designed and planned his looks for his recent holiday in Venice, Milan and Lake Como, on the basis of the location. He adds, 'You do want that perfect picture for the Gram and many see it as part of holiday planning. We get many requests to coordinate looks of a couple or a family for their upcoming vacations, down to their bags and shoes.' While holiday wardrobes have always been curated according to the destination and activity, many indulge in micro-level planning. Saaksha Bhat of Saaksha & Kinni, which makes luxe boho clothes, says, 'Post-pandemic, dressing well and dressing up have become a daily celebration rather than a twice-yearly holiday ritual. Resortwear is a wardrobe staple for a lifestyle that values travel, aesthetics and fun.' Bhat says Indian vacationers are fascinated with mood-based dressing: a little mystery, a little nostalgia, a lot of character. She says, 'They are curated, intentional and tell a story about the person wearing them. Our consumer profile would be late 20s to 50s—well-travelled, fashion-literate and Instagram-aware.' Most designer agree that an ideal holiday look is bright-coloured, bold prints, lightweight and wrinklefree, with a hint of statement like an embroidery accent. LOOK BOOKED Ahmedabad-based sari stylist Ashwini Narayan says she diligently plans her holiday looks. 'I first list out the itinerary to plan looks according to activity,' she says. 'Holidays mean trying out different looks that I am not likely to wear in Ahmedabad, clothes that I want in keepsake photos and, of course it's a break from my city wardrobe.' Ishita Gupta, founder of shapewear brand The Active Story, says she decides her outfits on a daily basis, depending on the weather and the activities. For Dubai-based blogger and sari stylist Kamal Kapur, her holiday wardrobe reflects her mood and everything is planned from morning till evening 'with a backup for a backup'. Meanwhile, Pratik Ghosh, assistant professor at NIFT Bengaluru, says he doesn't plan the whole look but does carry a few curated pieces. CONSUMPTION TO CURATION There's a global influence—in cutouts, bold prints and co-ord sets—but the Indian market has its own strong desi twist, says Aakriti Grover, founder of Flirtatious. 'Our design process considers the reality of Indian holidays—think monsoon getaways, beach weddings, or palace retreats. So we are careful about our fabric choices that blend well with the Indian weather,' she says. 'Our consumer is young, social-media savvy and doesn't wait for a honeymoon to wear a bikini anymore. She's buying into a lifestyle. Our customers often DM us saying, 'Manifesting a trip, but I've added this to my cart already!' We have had brides planning four-day wardrobes for destination bachelorettes or customers building capsule collections for a beach weekend.' The White Lotus' call for 'loud luxury' holds true for holiday style. Bhatiya reasons, 'When you are on holiday, you are away from the everyday. There's a sense of freedom, of escapism, and that opens up space for people to explore bolder, more personal style choices.' Meghna Goel, founder of Summer Away, a mid-range easywear brand, says shows have become an inspiration for aspirational dressing. OTT shows are key drivers for brands. Many design houses like Jacquemus and Zimmermann reached out to Bovaird for customised looks for The White Lotus. Goel says, 'Travellers are more detail-oriented now, which makes us hyper curate the experience—especially our wardrobes.' Designer Archana Jaju says customers are also looking for longevity of their garments and adds that they prefer to blend Indian and contemporary aesthetics and invest in quality, sustainable pieces. Shalini Jaikaria, creative director of resortwear brand Geisha Designs, says the modern Indian resortwear consumer is typically in the late 20s to mid-40s, is well-travelled, upwardly mobile, culturally curious and highly visual. She says, 'They dress for the experience, for the photos and the memories and each look is crafted to transition from poolside to dinner, from morning markets to sunset cocktails.' She says, people are deciding holiday dressing—not based on where they are going, but how they want to feel when they are there. She adds, 'We have seen a clear shift from consumption to curation. Today's consumer is more intentional—they are asking: Does this feel like me? Can I wear it beyond the holiday? Does it spark joy, ease, confidence?' One of the big shifts, Kukreja notes, will be the rise of sustainable options: 'Sustainability is no longer a trend, it is the way forward, especially in a category as connected to nature and leisure as resortwear.'
The Guardian
06-04-2025
- Entertainment
- The Guardian
‘Everyone can have a bit of White Lotus in their wardrobe': how fashion fell in love with the hit show
The third season of The White Lotus finishes on Monday, marking the end of group chats and column inches devoted to the Thai hotel and its super-rich guests. While some of this chatter has been dedicated to theories of who kills who in the finale, or the alleged fallout between creator Mike White and composer Cristóbal Tapia de Veer, a lot is focused on something else – the fashion. Some of this season's most popular items include the Tombolo crocodile-printed shirt worn by Lochlan, the younger Ratliff brother, the Zimmermann printed halterneck dress worn by his sister, Piper, and the Hunza G green bikini worn by Chloe, the French-Canadian ex-model living on the island. All of these have sold out online. Designers know very well that the TV show – which boasted a new high of 4.8 million viewers in the US for its seventh episode – can work as a platform to market their clothing. Simon Porte Jacquemus contacted costume designer Alex Bovaird on Instagram with a request to collaborate before the latest series began filming – a reversal of the typical process, where a costume designer will contact a brand to borrow clothes. The result is two custom looks for Chloe, including a pink swimsuit and cover-up with brimmed hat for her to welcome guests on her partner's superyacht in episode four. Bovaird says this is the first time that a designer as renowned as Jacquemus has contacted her. 'White Lotus fills this specific niche of being quite cool,' says Bovaird. 'People want to be involved with it.' Bovaird has been the costume designer since the series began. She requests items to borrow from brands but also finds them in 'a mix of flea markets, showrooms, charity shops, [and] we make some stuff. The unitard that Nadya [the partner of Aleksi] wears in the latest episode came from a market in Essex. There are bags from Hermès – and other things that cost £5.99, like that unitard.' Part of the fashion appeal, she says, comes from the characters always being on holiday. 'When you're going on holiday, you're dressing up, you're not wearing your everyday clothes. With other contemporary shows, you're nailing actuality. I get a chance to play dress up.' Bovaird also collaborated on The White Lotus H&M collection, around half of which has already sold out at the high-street chain. 'The idea was that not everyone can afford luxury hotel resorts but everyone can afford to be glamorous and have a bit of White Lotus in their wardrobe,' she says. TV has a long history of boosting the sales of fashion brands. Sex and the City in the 90s made Manolo Blahnik and Jimmy Choo household names – a Newsweek article from 2000 quotes a buyer for department store Neiman Marcus saying Blahnik's sales tripled because of the show – and Mad Men characters such as Joan Holloway and Don Draper inspired countless designers during its seven seasons. The White Lotus is not the first TV series to partner with a brand, either. In 2009, New York designer Anna Sui created a collection for Target that was inspired by the clothes of Gossip Girl, and Banana Republic worked with Mad Men in 2011 (and has also worked with The White Lotus this season). More recent TV shows with fashion kudos include Euphoria, which influences twentysomethings with its eclectic thrifted style, Emily in Paris, with its ultra-fashion look, and Succession, which arguably contributed to the rise of the quiet luxury aesthetic and 'finance bro' gilets. Apple TV's office-based Severance, meanwhile, is a reference for the current return of workwear in fashion. 'We've seen TV and fashion intersecting for quite a while but in this current era of prestige TV, it's dialled up to 11 in terms of the impact,' says Beth Bentley, the founder of brand strategy consultancy Tomorrowism. 'Succession brought heat around brands that people maybe hadn't encountered before – like Loro Piana and Brunello Cucinelli. It made people curious about those brands.' Paul Flynn, who writes about TV for Grazia, says: 'There's an argument to be made somewhere that [Succession's] Kendall Roy is the most influential menswear figure of the last decade.' The love of these shows – and the discourse around them online – means fans will pore over the outfits, thinking of them as what's known as 'Easter eggs', or clues to the plot. Bovaird says she does use outfits to plant clues – in an interview with Dazed, she revealed that a mannequin wore one character's dress in series two that foreshadowed that character's death at the end. 'I know people have delved into the outfits and their meanings,' she says. 'Some of it is true, definitely, I just couldn't say what.' Flynn praises the costume design in everything from EastEnders to Ryan Murphy's Monsters: The Lyle and Erik Menendez Story, but he says the attention to what characters wear is also a sign of how TV is changing. 'Wardrobe is one of the things that has started to make terrestrial TV look so 20th century, as opposed to the streamers,' he says. Bentley adds: 'It's a badge of honour within the industry to be able to say they got on [a show] before everyone else.' The White Lotus has been on fashion's radar since series one, where Sydney Sweeney's sardonic teen character, Olivia, became a favourite. Haley Lu Richardson's Portia in season two became the poster girl of gen Z 'schlumpy' style. While independent brands often don't have the resources to lobby for their designs to be featured in these shows, they notice the impact when they are. Scooter LaForge created the T-shirts that Chloe and Chelsea wear for the full-moon party in the current series of The White Lotus. He says the response has been 'overwhelmingly' positive. 'My Instagram following has skyrocketed throughout season three.' While LaForge hand-paints his T-shirts, meaning fans cannot buy the exact ones featured in the show, he sold similar designs at the Patricia Field ARTFashion Gallery in New York. 'Sales have been strong,' he says. 'I've been very busy, [even if] there's no mass production or printing involved.' Often, designers won't know that their products have made it on the show before it's aired – as was the case with the green Hunza G bikini worn by Chloe. 'When I watched the episode, I saw [the bikini] at the same time as everybody else,' says the brand's founder, Georgiana Huddart. 'My phone went crazy.' The bikini sold out within a week. Huddart says Hunza G has appeared in other TV shows, including Bad Sisters, but The White Lotus has a special status. 'It [reaches] such a wide demographic of people.' Bentley agrees the series has a unique place in culture, partly due to the fact that episodes are only released once a week. 'There's shared anticipation,' she says. 'I was in a hairdresser in Somerset, and people were talking about it. It's not just in media hotspots, or in city locations, or among gen Z – it's everybody and their mum.' If watching these shows is a relatively universal experience, the worlds and people they often depict are anything but. 'If you look at Succession or The White Lotus characters, the writers of the shows are skewering the rich and poking fun at them – and yet, at the same time, we want to dress like them. There's a crazy irony there.' Despite this, Bentley believes the connection between TV and fashion brands isn't going away. In fact, she predicts they will fuse even more. '[There will be] collabs and capsule collections, and also maybe brands digging in financially and funding original content to create moments that have more intention and more control, from the brand's point of view,' she says. As for costume designers' work continuing to make a mark on consumers' wardrobes, Bovaird – who is, admittedly, somewhat biased – argues that it's a good thing. 'People should be influenced by experts in how they dress,' she says. 'I'm not saying a TikTok influencer can't influence, but we really are the experts. We think about clothes all the time.'
