This week, hear from CFDA Award nominee and ATM Anthony Thomas Melillo founder and creative director, Tony Melillo. He opens up about the success and shuttering of his first business, and why the goal of his legacy namesake company was to transform the humble T-shirt into an elegant wardrobe staple.
The shuttering of Tony Melillo’s first clothing line, Nova USA, could have stopped the designer in his tracks. It was the business that earned him a prestigious CFDA Award nomination. But armed with tenacity and self-reflection, he went on to develop a blockbuster line for popstar Selena Gomez before tackling a goal that’s infinitely more difficult because of its simplicity: create the perfect t-shirt.
His decades in the fashion business, seemingly unending creative energy and appreciation for comfort and quality helped Tony take the humble tee and give it a relaxed elegance loved by celebrities from Dakota Johnson to Zac Ephron. Tony’s current brand, ATM Anthony Thomas Melillo, is his namesake -- his legacy venture. And he’s got a few tips for the rest of us looking to achieve a look of comfortable confidence.
Every episode of "Finding Inspo with Alex Barinka" is [shoppable] through e-commerce company Verishop to help you discover new brands through their unique stories. Tony Melillo and host Alex Barinka have curated their favorite products in the Finding Inspo store at verishop.com/inspo.
New Verishop customers can take 20% off their first purchase with the code INSPOATM (exclusions may apply; code expires 30 days after episode publication and cannot be combined with other promotions).
Follow the podcast on Twitter and Instagram at @inspopodcast and Alex Barinka on Twitter and Instagram at @alexbarinka. Tweet or comment to Alex on social media, or write a podcast review, about where you are finding inspo from this conversation, and she may read your takeaways on the next episode.
This podcast is executive produced by Alex Barinka, who also serves as head of external affairs at Verishop. Special thanks to Wonder Media Network for editing and production support. See you soon!
Alex: Hey y'all. Alex Barinka here, head of external affairs at Verishop and host of Finding Inspo, the first shoppable podcast. We'll, we'll bring you the stories of some of the biggest names in style and design, digging deep into how they turned inspiration into successful businesses. And each week my guest and I curate the Finding Inspo shop at Verishop.com/inspo with the products that are the end result of all that creative energy. As you'll soon hear, my guest today has no shortage of energy. Tony Melillo is founder and creative director of ATM Anthony Thomas Melillo a company he started with one goal, create the perfect tee shirt. It's an ambition that's infinitely more difficult because of its simplicity, leaving nowhere for mistakes to hide with the trained eye for detail and appreciation for designer fashion. He's taken the humble t shirt and made a relaxed elegance, loved by celebrities from Dakota Johnson to Zach Ephron. Tony found fashion straight out of high school, fleeing to New York to get out of his hometown. And when you hear about his years of experience and a prestigious CFDA Award nomination that Tony accumulated before re-thinking that often overlooked garment, I think you'll finally agree that his tees are not to be underestimated.
Tony: Well, I actually took an internship, which wasn't a real internship, but there was a designer at the top called Willismith and he'd asked me to come work for him and it was in the PR department. Um, and he's now no longer with us. He's deceased, but he was really cool urban designer. Um, and the internship was not paid, but it was my way out of Pennsylvania. "Sorry," I told my parents, listen, "I have this internship, I'm gonna do it." Um, and it got me here. I spent the summer doing that in PR, which was more or less really just getting everyone that worked there into different clubs. And it's really at the time, it was 85, so it was kind of fun to go out.
Alex: What were the, what were the clubs are the top three area? Yeah, I remember area was definitely Area and then Palladium came around and it was after Studio 54 so it was kind of the second round. But um, it was still very,
Alex: So when you were first coming to New York, you're 19, you had this internship, you're getting to the clubs, what was your style aesthetic like then?
Tony: My style, what, you know what I've is very good at picking up what I thought worked, putting it together a little better than maybe everyone else. But coming to New York, you kind of look around. That's my big thing. I'd like to look around and pick and choose from other things. It's not necessarily the exact look. I like to say, oh I liked the way that pack is cuffed or I like the color of that. We're all kind of borrowing from others until we find our own kind of, yeah, I mean I truly borrow constantly. I mean I, it could be the worst dressed person, but there's something about what they're wearing that looks great. And it could or it could be this sneaker or it could be, you know, the flare on the pant. That's really a bad pant. But the flare on the pet, you know, I saw, I'm always caught, my eyes are constantly looking at things, not holdings.
Tony: So I kind of dissect that way. Um, but to go back to the 19 year old, starting it in an internship that really were what the best part of that was, I was able to be exposed to different people. So as that PR person, you're meeting a lot of editors and that's where I met the woman that I worked for at American folk. Her name was Jenny Capitaine and she at the time was a, an editor or invoke, she was a German lady who was also one of Helmut Newton's models prior to being an editor. She came in, we had an appointment where I showed her the line. She needed an assistant come September. So I became her assistant for two years. I worked with her actually for like a year and a half and learned the ins and outs of the styling world. Why were you willing to jump to that job?
Tony: Why was that appealing? You know, I knew an internship was only going to be a few months and then I knew the other option would be to go back to Pennsylvania. So I wasn't really interested in that. Um, I that that meant not finishing school, never got a degree. Um, but I was like, you know, I've no real understanding what this degree is going to do for me.
Alex: What was the degree? Communications. Okay. And perhaps if I was more scholarly, it would be an amazing education cause I don't fault the education thing. It just wasn't my thing. So I left and I came to New York. I worked for her full time. She was kind of a nightmare woman. Um, she's just very, I'm not understanding. And for me from Pennsylvania, there were a lot of things that I didn't really know yet. It was the world of fashion that certainly was very new to me.
Tony: Totally willing and excited to learn, but totally new. So everything I did was wrong. It was never anything right. And she was very vocal about that. Cut To, I decided to leave America actually. And I loved working for magazines. So I went to Conde Nast in Italy and I spent two years there and I actually wound up hustling, got myself into Condon ass just because I had worked there in New York and, and got a job at Italian, Conde Nast working for, at the time it was a magazine called vanity and is way, way back, but it's a lot of people involved that were pretty important. There was a woman named Anna Piaggi who ran that magazine and she founded it actually. And uh, I started working with them. Um, I stayed there for close to two years and I literally became a fashion editor. So talk me through then the, the kind of skills you added to your toolbox.
Tony: I think I learned and added a lot to do with what designer men, you know, designer clothing versus what I do as contemporary. What quality meant, how stitching, how sewing, uh, the importance of quality. And a lot of that was learned just by working as an editor. You kind of are, you're introduced to all these brands, you're introduced, you're always pulling in, you know, if it's your Armani or whomever it is. Um, it was higher level designer, which was primarily what they would shoot. I think at that point I start to see, wow this is cool. These are amazing clothing. The clothes, these are beautifully made. Um, this, the difference between, you know, I hate Hanes tee shirt and a non-Hanes tee shirt or whatever the piece of clothing was. And it did teach me cause I was very vulnerable and like I said, when I came to New York even I was like a sponge.
Tony: I would pick up what's going on and what the streets that was and what looks look good and how I can put together. I did the same with magazines. Like it's like a sponge picking up all these different qualities of either the clothing or the way people reacted to designer clothing or how to make designer clothing look cool. And and as an editor is valuable.
Alex: Was there a certain cover or a certain capsule or certain shoot that still sticks with you to the most prominent ones that sort of stick out in my mind?
Tony: One with Madonna when she was doing the sex book. Yeah, it was pretty cool. And we did her in, you know, some sort of, well it was black leather underwear and there was, she was pinned up against a dart board. That was great. And Farrah Fawcett, we did her for women we love, which was another one of these Esquire things we did.
Alex: Where did you go from there?
Tony: When I left Esquire actually was, because after doing all these covers, stories and people, the one thing I kept hearing from a lot of them men and women was, you know, I liked to be dressed in, you know, I'd love just to wear a normal tee shirt or enough to wear sort of great parents fitting great fitting Chino. Or if it was a guy, you know, oh, I'm pretty casual, I love fleece jackets, but none of them fit properly. And that was a reoccurring statement that I kept hearing fit on basics. And this was in 96 I think. And there was no such thing as like, you know, a great fitting Chino to be quite honest. You know, the gap made bad Chinos, the Banana Republic, all the basic people that one will go to for things like that, the arms are like we have like really wide or you know, these are really bad fits.
Tony: Even t-shirts were not comfortable. So I remember thinking this is really crazy, why can't you get these things.
Alex: Why do you think that was?
Tony: Right? I think it was the times, I think at this, you know, very quickly, I'd say within the five year period from then everyone did start making a great fitting Chino and a great fitting t shirt and a great fitting fleece jacket. You know, these basics so to speak. But there wasn't anything out there. It was about pioneering that whole movement. Um, and it was 96 and I think I launched a collection called Nova USA and Nova. We launched it, we had a store, I have one in Miami. It was a real sort of back to basics but with a great fits and it was very popular by someone like Cameron Diaz just to come in and then it was going to pop through and Madonna was wearing.
Tony: So we kind of right off the bat started to get this like great reputation. Me Not knowing anything about business was the downfall. CFDA at that point nominated for the designer of the year and yeah it was really interesting and big and good and bad. I had worked for people always and working for myself and I have one partner who is also based in Miami and he was young just at that point we were both young so we kind of just didn't have the business sense and the knowledge of how to kind of like things happen properly.
Alex: What do you wish you knew then?
Tony: I would say two things. One that I was more business savvy but that's something I grew into. And then two that I probably chose a partner that was more business savvy cause I always think the kind of partnerships are what it's all about.
Tony: You know I to this day, because I have a business partner with ATM and his whole backend is what makes ATM run. You know, I don't have to think about that, but unfortunately I think what happens also and to this day still happens is a lot of hype creates popularity and then a lot of people kind of don't know where to go with that because they don't understand all the aspects of how to run a business. So yeah, people in our business tend to promote, oh, this is the next best thing, so let's make it popular. I as a magazine editor sort of was guilty of that because you're always looking for the next best thing on the downside. I think as a young designer you're not always equipped to do what is needed to make it the next best thing and make it last. So you know, as nice as it is to get all this recognition without structure, usually you don't last.
Alex: There is kind of this interesting dichotomy that you probably saw between cool and popular. How did you kind of grasp that idea? Is that unique or is it math?
Tony: Trends to me don't last. So trends are not necessarily, they can be cool but they're not going back. So I don't really go after the trend. I go after something that might be somewhat cool. I want it to be relevant but I don't want it to be trend. So you know me fitting a pair of Chinos or me fitting a teacher with the right drape or Nate and you know, things like that or, and it's white, black and gray. And if you want a fashion color you can get it. But these tee shirts aren't going on sale. That to me is cool because the fit fit the field, the person that wants this quality gets it.
Tony: But it's still relevant 10 years from now. So my concept has always been to more or less try and stick with things that were cool that were relevant, I'll say cause that's maybe from relevant and interesting. Cool. Would you know in that world, but not attract, did that start to that idea really start at Nova? Yeah, it was really more specific than two. And that's probably also another downfall. It was always black, white, gray. You know, you do need to introduce colors, you do need to introduce things, especially if you deal the wholesale market, which is department stores or the rounding off of a collection needs more than three colors and two fits. You know what I mean? So with nobody. Yes. I mean it did put me on the map and a lot of interesting ways between the magazines and then doing Nova and that being part of the CFDA and you know, just being part of a fashion business.
Tony: Um, I was also much more, I wouldn't even say ambition, but I had this drive to be around and that was kind of what sort of made things move for me at that age. And throughout the 90s all the way into the two thousands and it established me, it gave me the ability to serve, have a reputation in the fashion business, no matter if I was doing nothing or if I was doing ATM or if I was styling a shoot or people in the business knew the name. So the whole process, all the steps, being nominated, being a disaster of business, getting back on my feet, doing things in between that, uh, and then getting back on my feet again. All those things kind of added up to where I am now.
Alex: Let's take a quick break from my chat with ATM, Anthony Thomas Melillo founder Tony Melillo. I want to remind you that like every finding info episode, this one is also shoppable. Tony and I have curated items from our conversation and a few others that are inspiring us lately for the special finding and superstore and bear shop next to each product. We'll also tell you why we're loving it. There are a couple in particular that have already become staples in my wardrobe and guys, Tony's got you hooked up to, you can find it at verishop.com/inspo and just for Finding Inspo listeners. New Verishop customers can take 20% off their first purchase with code InspoATM. That's one word. INSPOATM. Tony's background gave him that designer fashion sensitivity. Next we'll talk about how his current company, his legacy company came to be. There is a partnership with a pop star and now famous tattoo and a life size black box.
Alex: What is your biggest motivator to get back on your feet? Cause not everyone does.
Tony: I've always had a very strong mindset and I know not everyone does. So I never accepted "No." So my from day one when I went to Italy to work at Conde Nast, like you don't speak Italian, why are we going to hire you or you don't, you know? No, no, no. I literally would sit in their offices like I think for two months in a row waiting to meet the right person, the editor in chief to make sure that I got the position. It's determination. I mean I think I've had that in my genes forever and that has allowed me to kind of keep going. Then there's also once you know that sort of crazy determination sort of wore down a little and I got a little more jaded and understood what's going on in the world. I started to just understand that you have to survive and I would realize: You know what, I'm going to do this and this and this because I'm going to survive.
Tony: And then I realized that, you know what, I want to not only survive, but I want to really do things that, to be very honest, make money and I want to learn from my mistakes and not sort of have to take another step backwards. So we launched a company which was in 2008 and it was called, it was a partner and I, she's now the CEO of dye about first work, but we had a partnership for six years where we developed lines for celebrities. Um, so at that point we did a few, but the most successful and very successful out of them was one for Selena Gomez. And that became, um, quite a huge business is we created a line that was called dream out loud by Selena Gomez. We own the license. She, um, was paid a royalty. She worked with us very closely, but we designed the collection for Kmart, which was a mass distributor.
Tony: It was a 2008 it was a horrible year. There was like bad news coming from everywhere. Yeah. Recession. What my partner and I thought business partner and I thought was, do you know if anyone's buying or buying for their kids and to go back to school or whatever. So when we decided to do something like four for Selena, it was, we said to ourselves, who is the, who can we bet on in this market? You know who's the twin that's really edible. We did launch a brand for her that lasted till she was 21 so it was six years and that sounds like some business savvy. Certain things I learned and I take to the table to this day is these things about call that table items. You know Selena, when we did her line, we had a full on collection. I mean it was in stores of Kmart stores.
Tony: We probably took a 1500 square feet. We had everything from hair pieces, meaning like hair accessories to cold weather accessories, to sleeping bags. We did everything for her jewelry, the biggest selling thing where these table items, which were basically tanks in 10 colors, there's a tank top and 10 columns. And I always kind of to this day, even when I launched ATM, I thought, you know, what is that item at works really well and people are gonna always buy it and always buy it and always buy. And that kind of brought me to, cause I started at ATM to before I finished Selena and I developed a GM thinking to myself, what is it that I could do that I really love? That brings me back into the more designer world. But it's an item because I saw the success in mass and I thought, and I really realized that we could sell, you know, everything, but what made us the dogs the money with these four 99 t-shirts, you know, so when I did ATM, I don't, what is that item that I weren't at first of all ago?
Tony: I want a name of ATM cause I've never used the name and it's a cool name. It's kind of catching our, can I do something that scratching and it's my name but it's kind of there but it's not out there, you know? Um, so that was one. And then I go, what did the items that I want to do, cause I didn't want to do collection. So when I launched ATM it was solely shirts and
Alex: that really very few number of styles of tee shirts. What was it? Three?
Tony: Yeah, it was three styles, four colors, three fabrics. And that was because of that. I said to myself, I'm not going to spread myself too thin here. T-Shirts sell, let's just stick with them.
Alex: But these weren't any old tee shirts. What was the development process like to pull together a contemporary nodding to designer level teachers?
Tony: Sure. I mean my thought was, listen, there's a lot of t-shirt people out there, especially when we launched in 2012 it took nine months to develop the process. Started with what is the white space, where is the white space that we can fit into? I liked James Perse. He does great stuff. These are people that are still around, but they're maybe not all in our market anymore. I like Vince. Vince is doing great things, but we don't need to be Vince. We don't need to be James, so we're not going to make our tee shirts look like a box. We want to have a little bit more sex with you, right? We don't want to be Vin, so our quality is going to be a little better. It's going to be a little more expensive for the teacher. I thought if I'm, then they do a tee shirt and I get thrown on a table and Bloomingdale's are in the Barney's.
Tony: No one's going to pay attention to it. So I'm going to launch this very sort of curated collection tee shirts, but I want to do with someone that can understand what I'm doing. So I went to Barney's and at that point, Mark Lee was the CEO. We had lunch, I had known him for years and I said, I'm thinking to do this thing with teachers because I know I'm still doing Selena, but I'm kind of interested in cheating. Get back into the business. You know, and he's like, well, we definitely want the first regular refusal, whatever you want to call it. Um, and I had said, great fight. So that Kinda got me moving. So I then did the process, I went to Peru, I started developing some cottons and start to see what I do. And I once again looked at the spaces and where I wanted to sit and I said our DNA should be fit and feel and relaxed elegance.
Tony: So if I stick with that, I think we have a place in the market that's not going to be x, y, or z. And now what I need to do is get it off the ground in a way that's gonna feel like a collection, even though I'm just making tee shirts. So my thought was, how do I get someone into this three styles, four colors, three fabrics, and make them presented in a way that looks so beautiful that people come and buy into it. Like the lifestyle. And I knew growing up Barneys would be able to do that. And especially under Mark's leadership because he was very interested in being innovative and bringing things in and really supporting, cut to, I develop these tee shirts, I do them in black, white granting me and I had this concept that it was ATM, so oil always knowing that people were referring to ATM as a machine and this and that.
Tony: I thought, you know, what kind of presentation can I make? How can I make this exciting for them? We created this black box basically and the black box was my sort of interpretation of an ATM sheet, so to speak, and inside the black box with beautiful hangars, but all black white and gray tee shirts in the three different fabrics and men's and women's. And I invited mark and he came with his whole team, women's men's. They came by, did this presentation with them. I said, you know, listen, these are the things I want. I don't need to do this a hundred percent but I have enough to do it and if I do it, I need anchors. I need a space. I need a presentation at least for a month in La and New York that's going to show that this is more than just a tee shirt thrown on the table. I don't want to be on a rack in the middle of the floor. I want like this. You see what this looks like? Take pictures, whatever. See if you can create the, if you guys could do that, I'd love to kind of be in your store. Let us, can you go over there? Like I'll go over there and then like 10 minutes later we all convened. Yes we have to do this. We're going to do this, this, this. We need to be exclusive and we will give you the space that we use for different things certain times of the year and they would reinterpret my sort of black box concept on that space.
Alex: And with your ATM, with your black box, what story were you trying to tell in that moment? Um, I just felt like it was a good backdrop.
Tony: I mean, first of all, when you look at something like ATM, you're thinking all right, ATM. The first thing that at that point, especially came to your mind was event. You know, so like I said, my thought was it's a black box. It's not a black box, it's an ATM machine, but it's a black box that's full of t-shirts. So their translation was more like a maze of black boxes and in or different sort of silhouettes and different mannequins and presentation that sort of represented the tee shirts on there. And I mean I knew no one else would do that, you know, that's just not going to happen. Through the partnership with Barney's, they would come in each season and they would kind of push me a little more and more and more than they wouldfinally. Not Finally, but first it was category sweaters and then it was, can I, you know what about sweatpants? But that's what suits this. That isn't that. So eventually ATM turned into full lifestyle collection.
Alex: And how do you think about what to go to next? You, you said you took nine months to kind of pull together those first three tee shirts. What do you pick to move into next?
Tony: We now have kind of expanded enough that we have hit all the categories so there's no real, we can develop them bigger, which we are doing up. We're a, you know, we do some outerwear we do this skirts, we do the dresses, we do the tee shirts, we do the sweaters, they all, you know, to me have the vibe of this lifestyle. Yes. And that's kind of the key for me.
Alex: And we're sitting right now in your showroom year in market right now I can feel it's cohesive having the core product. Right. It is a tee shirt, but there is more now. How do you think about not designing for trend but also staying fashion forward?
Tony: Yeah, for me, I wouldn't say isolate it myself, but I've totally become a workaholic and I'm very attached to my family. So my out is going and seeing what real people are doing. I'm actually in restaurants that are, you know, in Florida or la or New York or wherever they are at the real people are in and they're fancy restaurants, but they're the way women are wearing clothes and I'm grabbing little pieces here and there and I'm trying to put things together to make it as useful as possible without being a trend. I always think if you have to think too much about putting that piece of clothing on and it doesn't belong in our collection, you know, and when I do these clinics, I always say we're like the this on the floor in a Neiman's or somewhere where people can almost take a deep breath and go, Huh, because around you, there's a lot going on. We try and put the ease into dressing, so if you take something of ours, you should be able to put it on and it should work with a lot of different things. And that's kind of my philosophy. I don't want to make anything too tricky, so therefore maybe it's not too trendy and therefore hopefully it's able to work and stay in your wardrobe. And therefore hopefully you'll come back and buy more,
Alex: Which I think speaks to the resilience of good design.
Tony: We build the clothes from the inside out. So I always say, you know, our garments are sort of, you don't have to think about it, but we think about it a lot and it's especially important when you're making things. I don't say everything is so simple, but simple garments, you know what I mean? If it's very, if it's, you know, something that doesn't have a print on it or if it's something that's just one piece like this, if it doesn't fit right, you're screwed.
Alex: I sit next to our home buyer at Verishop and she has a really great sense for what types of materials are best source. Where I've heard so much about Peruvian cotton and you all use a lot of Peruvian cotton in your, in your textiles as well. And that was kind of where you went first, right?
Tony: We started with Peru for the cottons, particularly because cotton peruse just, it's a nicer quality, the water's harder. It's a few different things that go into it, but the water's harder, so it makes the cotton softer when you, when you're weaving it. Strange things like that. Um, also, so that was really, I knew that it was either going to be Japan, which would bring the price point up or Peru. So it was about going to Peru and developing our cottons. Then it was about how do I make this particular slub the best slub for what we're trying to do. I didn't want it to see through, but I wanted it to have some sex appeal. I wanted to have a drape. I didn't want it to be a box. So we develop into our concept with whatever the weights have to be. Um, and then obviously the textures in the fields in terms of fabrics. Uh, I just pretty much look for where I'm able to get that best quality for the price point that we need.
Alex: Well taking a step back and looking at the industry at large, we are in kind of this interesting moment in the fashion world where every, all of these ideas of inspiration are kind of congealing on social, uh, you're having celebrities, influencers, there's so many different people that you could perhaps be borrowing style cues from when you are a designer. How do you think about that whole world and, and kind of the increasing pace of new developments in terms of what's cool and what's not?
Tony: A lot of my inspiration comes from the Internet, which I think is amazing. I mean, because my personal Instagram for instance, I follow tons of people in architecture and in furniture design and just people that I think look good. I don't necessarily even know who they are. We don't give that many people. That's another thing. So we don't use a lot of influencers and I don't think it's right or wrong, we just don't do that. We have this organic growth and we've kind of not really had to. And once again, I think those things will change once we develop our kind of social and these sort of online channels.
Alex: But as of now it's nice that I can go online to Dakota Johnson wearing the tee shirts that I know she's buying cause I'm not going to know I spot them because they're immediately things I could tell because if it's a slid on the side, you know, so I love to be able to just get online just to really, those are my guilty pleasures is getting online. But for Max my son wakes up and literally looking through Instagram and then the end of the day I do the same. So I try and catch up before I go to bed cause I can find if it's a table or if it's a shirt or if it's something I can always find some sort of inspiration. You have, you said somebody else called you out for hustle and jump a little bit. This does seem like it's more of a legacy project because your name is on it. How do you think about that?
Tony: I think about it very seriously actually. I do think it's interesting, you know, when you put your name on something, um, even if it's my initials and the name underneath it is my name and I take it very seriously. I mean I think it's also very nice that it's personal. I think it's also a very, it's an advantage in a lot of ways. You know, if you look at the, I mean I'll look at the contemporary market. There's like a theory and there's a rag and bone and there's a Vince in there. These aren't people, they're just names. But when I make the t shirts, I know I put the little ATM under the arm so people can see it. It's very faint, but you see it, you know, so there's a very sort of personal side to it that really makes it feel comfortable.
Tony: Not only the fabrics, but in the way that it's, it's me. One you have, and I have the tattoo, which I got when I was 17 yeah. So I mean that's all part of it. You know, it's in the same place as my tattoo. It's a personal thing with your name. You know, I think it is something that I hope to continue on and on and on and on and on with or without me. I don't think these things are going out of style. You know? I think it's something that can last. That's another important thing. We have customers. It's not that it's such a huge mailing list, but those people are shopping every week and they're buying multiples and it's kind of Nice to know that you've created something that people are not just taking once and then going away. So I hope to continue that as the legacy as well.
Alex: And there has been a surge of the casual culture, not only in in everyday life, but also like Goldman Sachs gets rid of their business dress code. You know, how have things like that affected your business? Great. It's amazing. I personally like to mix. So for us it's about, you know, if I'm wearing these your sneakers, I can throw on my ATM pants and tee shirt and I feel dressed up, you know? So I think it's a great new kind of, it's great. Not that it's a new concept, but it's new in the working world and I love it. I think people are more and more understanding how to do it and that even makes it better. Yeah. And I think that understanding is huge cause I do think that there is a bit of visceral fear sometimes when somebody says your uniform is not the uniform anymore.
Alex: Again, especially the male market, uh, you're no longer in a suit and tie. It's like, well what do I do? Um, how, how do you, what kind of suggestions would you give to somebody to make sure that they are pairing things right? So they do look good.
Tony: I mean it starts slow. You kind of could get those pieces that are safe but they just happen to have great fits and they happen to maybe look good on are the cuts perfect or whatever. And as long as you're buying things that are good quality, it's a, it's what's more beautiful than a beautiful white tee shirt or you know, a great pair of Chinos or you know, a in woman's world, a great pair of Silk Pants are. So joggers and a great cashmere sweater or a great customer rep, you know, that I think is a good way to start it off.
Tony: At least we make clothes that are a, you can wear them in different environments and climates. You know what I mean? I travel a lot. So last thing I need is a 10 ply cashmere sweater. But I do need a cashmere sweater and I might want it in gray and I might want it in a pretty color, you know? So I think making sure that there's enough variety in what you do, but also giving the customer something that is the travels. You know what I mean? It can travel well, you know, and that's really key. So I always say you can take four pieces or six pieces of clothing, throw it in a bag and you'll be good for three days, you know, from ATM. Because if you have a good bear shoes, if you have great sweater, you have two great t-shirts, you have a pair of Chinos and maybe one outerwear piece, you know, and then you're done.
Tony: You want people to feel at ease and feel like they have the confidence to do these things. So that's the important part about how we think when we make these clothes. So it's not hard. I always say it's not difficult to put six pieces of clothing in a bag. It's not difficult to shop a rack of ATM at a department store or a store. It shouldn't be difficult. And that's the thing that we give that customer, it goes back to and I said, oh, they come to the rack and they can sort of take a breath and like relax. Oh,
Alex: the best clothes or the ones you feel comfortable and confident. Comfortable, comfortable, confident.
Tony: Yeah, it's true. Comfortable confidence come from come from, I mean that's very much, like I said, that concept of building it inside out. So if it's built inside out, if it's built properly inside, and that I learned from this, so it goes back, back, back, back from designer, you learned that designer clothes are made well most of the time. So if you could give that quality to this price point, then that's pretty amazing.
Alex: comfortable confidence. That really is the epitome of how you feel in Tony's garments with their mix of high end construction and easy wearability ATM has this v-neck body suit. It's literally the only one that's ever worked for me and I can wear it with the Bra. I love it in black, I'll wear it relaxed with a pair of high waisted jeans or dress it up under a blazer. It also happens to be one of Tony's picks for the finding inspo store, and guys, we haven't forgotten about you. One of my favorite from his selection is this super soft, relaxed Polo. See those and more of Tony's creations at Vir, shop.com/inspo and first time veer shop customers get 20% off with a code Inspo ATM.
Alex: I truly appreciate it. If you'd subscribe and review the podcast, it'll help new listeners find us and that's so important, especially since we're brand new and I've been beyond thrilled to see the feedback from the first two episodes with Indie Lee and Andrew cinnamon and then Wagner 17 commented on Instagram. That was a great way to start my morning feeling very inspired and in a review on Apple podcasts, wolverines 2019 said, you got my attention. Very excited to hear more from successful entrepreneurs regarding how they find success in inspiration. If you found Inspo from this episode with Tony, I would love to hear about it. You can reach me on Instagram and Twitter at Alex Branca or at Inspo podcasts, and I'm also checking out those podcasts reviews. This podcast is produced by me, Alex breakout out with production and editing support from wunder media network. Thank you so much for listening and see you soon.