Roberto Revilla London

10/09/2026

WHY DOES GETTING DRESSED GET HARDER AFTER 40?

I’ve noticed something rather odd about the men who come to see me in their forties and fifties, because you’d imagine that getting dressed would have become easier by this point in our lives, wouldn’t you?

You’ve probably got more money to spend than you did at 25, you know yourself considerably better, you’ve stopped worrying quite so much about what everybody else thinks and, if we’re being completely truthful, you’ve probably got enough clothes already to survive a small apocalypse.

And yet I keep meeting men who tell me exactly the opposite.

“I don’t know where to shop anymore.”

“Nothing seems to fit me properly.”

“I’ve got a wardrobe full of clothes and nothing I actually want to wear.”

Or the one I hear perhaps more than anything else: “I just need to sort myself out.”

And I’ve been wondering whether the problem isn’t that we’ve somehow forgotten how to dress at all.

I think it’s that everything around us changed while we were busy getting on with our lives.

Swipe through, because I suspect some of this may sound rather familiar.

SWIPE 👉



Think about how much easier work clothes used to be.

I’m not saying they were necessarily better, but if you worked in a certain sort of job you more or less knew what was expected of you. Suit, shirt, proper shoes, perhaps a tie and off you went.

Now we’ve got “business casual”, “smart casual”, “dress for your day” and whatever else somebody in HR has come up with, which all sounds wonderfully liberating until you’re standing in front of the wardrobe at 7am wondering whether you’re about to arrive looking like the Chairman or the bloke who’s come to fix the Wi-Fi.

SWIPE 👉

And actually, I don’t want to dress like that all the time either.

This is probably much closer to how you’ll find me when I’m having dinner with friends. White T-shirt, jeans, trainers and some sort of casual jacket, because getting older doesn’t mean you suddenly have to spend the rest of your life in a blazer and proper shoes.

But there is a difference between dressing casually because you’ve chosen to and slowly

28/08/2026

Most men don’t really know whether a suit fits properly, and I don’t mean that in a patronising way because why would they?

Unless you spend years looking at shoulders, posture, balance, jacket length, trouser shape and all the little peculiarities that make one body different from another, you’re probably just working on whether it feels roughly okay and whether it looks decent enough in the mirror.

The problem is that “roughly okay” and fitting properly are two very different things. A jacket can button and still be wrong through the shoulders. The trousers can fit your thighs but leave a huge gap at the waist. The suit can technically be your size and still make you look shorter, broader, narrower or more awkward than you actually are.

And for me, the best fitting suits are the ones you almost stop noticing once you’ve put them on. Nothing pulls, nothing fights you, nothing makes you fidget. You look in the mirror, think “yes, that works”, and then get on with your day.
I’ve broken down some of the most common things I see in fittings in this carousel, and also the things I’d look for if I were standing next to you in a shop while you were trying a suit on.

Swipe through and then tell me this: when you try a suit on, what’s the one thing you usually struggle to get right? 👉

Need help with finding the right fit? DM me or search Roberto Revilla.



Most men don’t really know whether a suit fits properly, and I don’t mean that in a patronising way because why would they? Unless you spend years looking at shoulders, posture, balance, jacket length, trouser shape and all the other little things that make one body different from another, you’re probably just working on whether the suit feels roughly okay and whether it looks decent enough in the mirror.

The problem is that a suit can technically be your size, it can button perfectly well, and you can still look at yourself and think something isn’t quite right without having the faintest idea why.

That’s usually where I come in.

Swipe through and I’ll show you some of the things I’m looking at when I assess whether a suit actually fits the

17/08/2026

How should a man dress in his 40s?

I started thinking about this after writing earlier this week about why shopping for clothes seems to become so much harder after 40, because the obvious question sitting there afterwards was, well, if everything has become more complicated and half the things you try on don’t seem to work anymore, what the heck are you actually supposed to wear?

The problem I have with most advice on this subject is that your age doesn’t really tell me very much about you.

I could have two 45-year-old men sitting in front of me and one spends his week moving between a law firm, client meetings, dinners and events, while the other runs his own business, works from home when he can, travels constantly and hasn’t worn a tie since he can’t remember when. Giving both of them the same list of “10 things every man over 40 should own” would be fairly useless.

So if you came into my workroom and asked me how you should dress in your 40s, I’d probably annoy you by answering your question with another one.

What does your week actually look like?

Because I don’t think turning 40 means you need to start dressing your age. To be honest, I’m not entirely sure what “dressing your age” means anymore.

I think you need to dress your life, your body and your personality as they are now.

I’ve explored the whole thing in my latest article and podcast, including why my own clothes fit differently now, why I’m not giving up jeans and trainers when I turn 50, the problem with buying clothes for individual occasions and why I think your diary is probably a better starting point for building a wardrobe than any shopping list you’ll find online.

Link in bio.



I’m in my late forties and during the working day you’ll almost always find me dressed very smartly, often in a three-piece suit and tie, because that’s what makes sense for the work I do.

But that doesn’t mean I’ve decided every man in his forties should dress like me, and this is where I struggle with so much of the advice aimed at men our age because knowing what you do for a living is useful, obviously, but it still doesn’t tell me

24/07/2026

As a bespoke tailor, I can’t think of another introduction in cinema where a man’s clothes tell you almost everything you need to know about him before he’s even said his name.

We don’t see Sean Connery’s face immediately in Dr. No. The camera gives us his hands, cigarette case, lighter and those outrageous satin turnback cuffs before Sylvia Trench finally asks who he is.

“Bond. James Bond.”

The line became part of cinema history, but the midnight blue dinner suit had already told us this was a man completely at ease in that casino, someone who understood the rules of the room better than everyone else and didn’t need to make any kind of fuss about what he was wearing.

I’ve gone back to Dr. No to examine how Sean Connery’s James Bond style was created, what the tailoring tells us about the character and what we can still learn from it more than sixty years later.

The full article, Dr. No and the Birth of James Bond Style, is now live at robertorevillalondon.com. Swipe through for some of the clothes and details that created the cinematic James Bond.



This is one of those outfits that proves looking good and being properly dressed aren’t always quite the same thing.

Connery arrives in Jamaica wearing a dark grey flannel suit with a pale blue shirt, dark navy grenadine tie, white linen pocket square and black Derby shoes. Anthony Sinclair’s tailoring looks magnificent on him, with the soft shoulders, room through the chest and gently shaped waist allowing Connery’s physique to do the talking without the suit clinging to him.

The problem is that flannel is warm and insulating, which makes stepping off an aircraft into Caribbean heat dressed like this a slightly mad decision. You can argue that Bond had travelled from a cold London and hadn’t yet had an opportunity to change, but he’s also supposed to be one of the world’s most experienced travellers, so he really should’ve packed with Jamaica in mind.

It’s a useful reminder that an outfit can be beautiful on its own and still be completely wrong for the day. Weather, movement and context are every bit as important as colour, fit and coordinati

24/07/2026

22/07/2026

When Quintin first came to see me, he wasn’t just looking for outfits for his wedding day / weekend. He wanted to build a wardrobe and a personal style that would last long after the celebrations were over.

That completely changed the conversation.

The Friday evening before the wedding was an outdoor gathering at the Forestry Bar on the St Giles House estate in Dorset. Summer linens. Smart casual. Drinks, food and family arriving from all over the country.

Before Quintin and I even sat down together, I’d already spent time speaking with his fiancée Kim. I knew exactly what she would be wearing across the weekend, what atmosphere they were creating and what colours would surround them. That meant I could design everything to work together without giving away a single surprise.

Our inspiration became old Hollywood, inspired by the effortless elegance of the 1950s and early 60s. Longer jackets. Higher waisted double pleated trousers. Relaxed tailoring that moves easily rather than clinging to the body.

The finished Friday pre-wedding party outfit combined a sky blue linen blend shirt, a wool, linen and silk jacket in an incredible fuchsia pink with olive and burgundy check, and deep burgundy brushed cotton chinos. The colours echoed the main wedding colours… deep red roses, green stems and blue summer skies.

Quintin’s smile in these fitting photographs tells you everything.

If you were planning your wedding, would you rather wear something you’ll only wear once, or invest in something that becomes part of your wardrobe for years afterwards?



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Every great outfit starts long before the first fitting.

On the stand, this is simply cloth and construction. Once it meets the person it was designed for, it becomes something completely different.

One of my favourite moments is seeing months of conversations become something tangible.

This was the moment Quintin saw the outfit coming together properly.

There’s always a point during a fitting where someone stops looking at individual garments and suddenly sees themselves

20/07/2026

There’s something rather refreshing about tailoring that doesn’t feel like it’s trying too hard.

This dinner suit is heading to Glyndebourne next month and while it’s unmistakably formal, the cut has a little more ease through the body so it moves with you rather than fighting against you.

Elegance doesn’t have to mean stiffness.

One of my favourite details here is the peak lapel. It gives the jacket presence without shouting for attention and paired with a softer silhouette it creates exactly the balance I’m always chasing.

Sharp enough for black tie, comfortable enough that you’ll still enjoy wearing it long after the curtain comes down.

This is very much the direction I think modern tailoring is heading. Less armour, more confidence. Clothes that still make an occasion feel special, while allowing the person wearing them to relax into the evening instead of constantly adjusting their jacket.

I’d be interested to know where you stand.

Should a dinner suit feel structured and traditional, or is it time for black tie to become a little more fluid?

07/07/2026

5 STYLE LESSONS FROM COLIN FARRELL IN SUGAR

Colin Farrell’s wardrobe in Sugar is one of the best examples of modern tailoring I’ve seen on screen for a long time, not because it’s loud or flashy or trying to reinvent the suit every five minutes, but because it understands something a lot of men forget.

Consistency is powerful.

John Sugar’s dark suits, white shirts and dark ties could so easily have looked boring in the wrong hands, or worse, like corporate uniform with a noir filter slapped over the top. But thanks to Christie Wittenborn’s costume design, the wardrobe feels cinematic, practical, characterful and completely believable.

It moves, it has texture & it portrays discipline. It tells you who this man is without him needing to ever explain himself.

That’s what good clothing should do.

It shouldn’t make life more complicated… it should help you show up with clarity.

I’ve written the full article on Colin Farrell’s Sugar style and what men can learn from John Sugar’s wardrobe. Read it now on the Roberto Revilla London blog or comment SUGAR for the link.

Costume design by Christie Wittenborn CHRISTIE WITTENBORN



Lesson 1: Consistency is not boring when the clothes are good.

John Sugar’s wardrobe works because it’s built around a clear uniform: dark suit, white shirt, dark tie.

On paper, that could sound almost too simple, even boring.

On screen, it looks and feels confident, cinematic and completely intentional.

Most men don’t need endless variety. They need a few things that work extremely well.

Lesson 2: Fit has to allow you to live.

A suit that only looks good when you’re standing still in front of a mirror isn’t doing its job properly.

John Sugar has to walk, drive, run, climb, fight and generally move through life like someone who doesn’t have time to keep adjusting his jacket every six seconds.

That’s the point : good tailoring should give you shape without making you feel trapped inside it.

Lesson 3: Cloth changes everything.

A dark suit is never just a dark suit.

Wool, mohair, texture, weight, drape and how the fabric reacts to light all change the message

29/06/2026

One thing I DON’T DO as your wedding tailor? Ignore your fiancée.

With Matt and Steph, that early call with him and then with her is what made everything click.



I asked Steph to send me everything – her dress, bouquet, bridesmaids ideas – with a promise not to share any of it with Matt.

My job was to help her get unstuck on colours without adding stress.

I get my couples to think of a wedding as a pyramid, or like tiers of a cake.

Steph and Matt at the top, then bridesmaids and groomsmen beneath them - all visually linked so the couple still stand out most.

Late spring and specific colours make off‑the‑peg groomsmen suits tricky, so I suggested navy suits, white shirts and sky‑blue ties.

That gave us a strong base we could link back to Steph’s bouquet, the bridesmaids and Matt’s outfit, creating a visual story connecting them all together.

With Matt’s red hair and fair skin, he needed something light with warmth so he didn’t get washed out.

We landed on a cream three‑piece to complement Steph’s dress rather than compete with it.

His navy tie linked him back to the groomsmen.

The sky‑blue shirt quietly tied him to the bridesmaids’ dresses, the groomsmen’s ties and the blues in Steph’s bouquet so the whole picture felt connected.

Through the fittings Matt was so much fun to work with - full of life, earnest and very kind‑hearted.

Seeing him move like this in the finished suit is exactly why I do what I do! 🕺 🪩

I put a moodboard together for them just before they flew off on a skiing trip.

It showed how his suit, the bridesmaids and the groomsmen would all tie back to Steph, so they could look at it properly together and decide in their own time.

I also considered the venue and floral arrangements, colours within when thinking this all through for them.

Steph was originally a little stuck and it was becoming clear that once Matt’s outfit was decided, everything else would unlock for her.

Seeing the bridesmaids in their blues against her dress - the whole plan brought to life and it just worked beautifully!

After the wedding Matt messaged to say