As the sun rose to greet each day, as a high master of the esteemed philosophy that merges the sartorial arts with a certain sensitivity to detail known in Italy as La Bella Figura, Don Eugenio Calabrese would first select his necktie. Because he understood, as Proust so perfectly expressed, that “style is the revelation of the particular universe which each of us sees and is not seen by others." And for Calabrese his necktie was more than a supercilious ornament. It was his banner rallying all to his cause: to dispel banality and give over to a world of warmth, a civility and an elegance that was the outward expression of his inner spirit. Says the fourth generation of Calabrese 1924 tiemakers, Annalisa Calabrese, “Selecting his tie was not easy considering he had a collection of over three hundred.” Indeed for Calabrese he could select a “tie of the day” with no fear of repetition until the Earth had completed a full orbit around the Sun.
And so infectious was his chivalry and buoyant optimism, so impeccable was his style, that soon innumerable Neapolitans began to seek out Calabrese’s advice in all things sartorial, eventually prompting the aristocrat to create his own atelier de cravat. Calabrese 1924, named for the year of its birth, was soon renowned for its extraordinary creativity in pattern and colour, an ability that Annalisa Calabrese is an unrivaled master in today. Look through any selection of Calabrese 1924’s neckties, pocket squares or scarves, made by hand in the near one-century-old family atelier, and you’ll be enchanted by the playful pointillism of intricate patterns and the charming harmony of unlikely, yet perfectly harmonious, hues.