For Wrangler. building on the momentum of this spring’s launch, Summer 2026 is a natural evolution in design and attitude.

Inspired by the pulse of summer festivals and life on the road, the collection fuses vintage Western glam with a bold, modern edge. Think signature bell bottoms kissed with flame decals, sleek sleeveless denim tops with bold embroidery, fitted tees with style, and flashes of unapologetic red. The perfect lineup made for women who don’t just walk into the room… they raise the temperature!

Step into the world of Lainey Wilson with a collection that redefines Western fashion. Designed in collaboration with the country music star, this exclusive Wrangler line blends Lainey-centric designs with bold embellishments, curve-hugging silhouettes, and show-stopping flares.

Whether you love classic denim, festival-ready fringe, or statement-making bell bottoms, every piece embodies Lainey’s signature style with a fresh take on cowgirl couture.

From high-rise jeans to embroidered jackets and western snap shirts to signature Lainey Wilson bell bottoms, this collection is made for trailblazers, dreamers, and stars on the rise. Embrace Wrangler’s Western heritage with a modern, rock-n-boho twist—because authenticity never goes out of style.

And the good news is – no need to wait for summer to actually happen! You can shop for this collection right now on the Wrangler website!

The post Wrangler x Lainey Wilson Summer 2026 Collection first appeared on Denimology.

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Redcast x Momotaro Jeans, A Quick Guide to Bootcut Jeans, and a Brand Looking to Scale

I’m still in Italy as I type this, soaking up the last rays of Alpine sun and the majestic mountain views while I’m gliding down the perfectly prepped slopes.

My laptop has been closed since I left Denmark last Friday. I only opened it early Thursday morning—while the family was still asleep—to write this issue that includes a few interesting things that landed in my inbox this week.

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Redcast x Momotaro “Wabi-Sabi” Collab Jeans

Redcast Heritage and Momotaro have released a highly limited collaboration jean—just 200 individually numbered pairs—built around a fabric Momotaro has never produced before: a sanforized indigo warp x Kakishibu weft selvedge.

The 15.7 oz. denim is woven at high tension from Zimbabwe cotton. The warp is pure indigo rope-dyed, while the weft uses traditional Japanese Kakishibu (persimmon) dye. Unlike heavily textured fabrics, this one is intentionally smooth and structured.

The jeans are cut in Momotaro’s new #100 straight fit—a high-rise, balanced silhouette with room up top and a clean leg from the knee down.

Details stay restrained: a custom peach–brown–peach selvedge ID, revived matte copper hardware, Kasuri waistband lining, and individual numbering.

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A Quick Guide to Bootcut Jeans

I’ve never written a guide to bootcuts here on Denimhunters. Not because they’re irrelevant, simply because they’ve never been part of my own rotation.

When I got into denim in the mid-2000s, slim fits were everywhere—think Hedi Slimane’s Dior era and Pete Doherty looks. But bootcuts and even flares also had a moment in those years—it’s where Nudie started. Still, the silhouette tended to live closer to rodeo arenas than in the hardcore raw denim scene.

Bootcut is a leg shape—like straight and tapered. As I explain in my fit guide, leg shape comes down to the relationship between thigh, knee, and leg opening.

Straight legs have the same width from knee to hem. Tapered legs narrow. A bootcut is essentially the opposite of a tapered—it opens (slightly) from the knee down.

Over the years, several of you have asked for a guide to bootcuts. And if you’ve gone looking elsewhere, chances are you’ve landed on Heddels.

In 2018, Albert Muzquiz published an Op-Ed defending the bootcut. In 2019, they followed it up with a practical buyer’s guide—reshared in their newsletter this week—which includes these options:

Bootcut Jeans Worth Checking Out

• Brave Star Selvage Mojave Western Cut – Low-to-mid rise with a subtle flare, available in various raw selvedge fabrics.
• Freenote Cloth Wilkes – High rise with a subtle Western-style flare in 14.5 oz. Kaihara selvedge.
• Indigofera Wyatt – High rise and gentle flare in 14 oz. broken twill, available raw and rinsed.
• Sugar Cane 14 oz Boot Cut – Mid-to-high rise and classic Western cues in 14 oz. Japanese denim.
• Nudie Jeans Slim Jim Dry Streaky – Mid rise with a very gentle bootcut
• RRL Boot Cut – 16 oz. Japanese selvedge with a lower rise and a more pronounced flare.
• Fullcount 1120W Boots Cut – 13.7 oz. Zimbabwe cotton with a mid-to-high rise and classic proportions.

More options if you want to dig deeper:

• Samurai S512BC19oz Boots Cut – 19 oz. selvedge with heavyweight character and a low-to-mid rise.
• Naked & Famous Groovy Guy – 12.5 oz. natural indigo selvedge with a more pronounced flare.
• Kojima Genes RNB-102B – 15 oz. raw selvedge with a mid-to-high rise and classic zip-fly proportions.
• Levi’s 517 – Mid-to-high rise with the archetypal bootcut shape in rigid non-selvedge denim.
• Wrangler 13MWZ Selvedge – Mid-rise and classic Western flare in broken twill selvedge.

If you’re after the original blueprint, vintage Wranglers still set the standard—but that’s another rabbit hole.

And if you’d like me to build a full, from-scratch Denimhunters guide to bootcut jeans—covering proportions, styling, and who they actually suit—let me know. I’ll add it to my list.

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Want Stories Like This In Your Inbox?

I also send these weekly updates as emails. If you want them directly in your inbox—along with links, updates, and things I’m working on—you can sign up here:

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High-Rise Jeans Guide, Refreshed

While we’re on the subject of silhouettes, Bryan has recently updated our guide to high-rise selvedge jeans.

If you’ve mostly worn mid- or low-rise pairs—as many of us have over the past couple of decades—a proper high rise can be surprisingly transformative. It changes proportions. It works better with tucked shirts. And for a lot of body types, it simply looks more balanced.

The guide now reflects current availability and includes a broad mix of classic repro cuts and more modern interpretations. If you’re curious about going higher on the waist, it’s a good place to start.

Find the updated high-rise guide here.

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A European Denim Brand Seeking New Ownership

One more thing that landed in my inbox this week:

I’ve been in dialogue with a well-established European brand in our scene that is currently exploring new ownership. The foundation is solid—recognisable name, loyal customer base, and ambition to scale further than the current setup allows.

I can’t share names or details publicly. But if you’ve been looking for an entry point into the denim space—not to start from scratch, but to build on something that already exists—this may be worth a conversation.

If that sounds relevant, reach out via the contact form and tell me a bit about your background.

The post Bootcut Jeans: Time to Reconsider the Flare? appeared first on Denimhunters.

DENIM and PATCHES sourced this post originally published on this site

In This Issue: SOSO at Cultizm, Bluezone SS27, Train Dreams, and Sweaters

The past few weeks have moved quickly here at DH HQ, which makes this a slightly unusual moment to slow things down. But that’s exactly what I’m about to do—clear the schedule for one of the highlights of the year, the annual family ski holiday.

After some good years in Norway, where the kids got comfortable on skis, we’re heading back to Italy. Back to the Dolomites, where I learned to ski myself, and to a place that still feels like familiar ground.

Because I check out and hit the road with the car fully loaded, here’s a recap of what’s new and worth flagging right now.

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SOSOBROTHERS Enters Retail with Cultizm

For the first time since launching in 2010, heavyweight Swedish denim label SOSOBROTHERS is being stocked by a retailer. Cultizm becomes the brand’s first wholesale partner worldwide, marking a clear shift from its long-standing direct-to-consumer model.

Until now, the brand has built its reputation through custom orders and a tightly knit community of wearers, centred on some of the most uncompromising denim on the market.

Moving into retail changes both access and scale—and makes it easier for people to experience the work without going the custom route.

Cultizm’s initial selection leans fully into the heavy end of the spectrum, led by the 33 oz. selvedge used for the “Breaker of Legs” jeans and the “Breaker of Arms” jacket.

Woven from long-staple Australian cotton on vintage shuttle looms, it’s rigid, slubby, and deliberately unforgiving. The line-up also includes the 20 oz. Ghost Selvedge, a slightly more wearable heavyweight option that still rewards long-term wear.

For a brand that has always done things its own way, this move into retail is a notable change—and one worth paying attention to.

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What Wouter Saw at Bluezone SS27

Bluezone has wrapped its Spring/Summer 2027 edition in Munich, once again running alongside Munich Fabric Start and giving a useful snapshot of where denim sourcing and development is heading.

This season’s recap comes with the help of Wouter Munnichs of Long John, who reports on a show that continues to evolve rather than reinvent itself—steady footfall, cautious but engaged exhibitors, and a clear sense that brands are still navigating a market shaped as much by restraint as by ambition. Sustainability, circularity, and material innovation remain central, but with a noticeably more pragmatic tone than in previous years.

If you’re interested in how mills and manufacturers are positioning themselves right now—and what that says about the near future of denim—the full Bluezone SS27 recap is worth your time.

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The Story Behind the Costumes of Train Dreams

Few recent films have captured the texture and reality of early-20th-century workwear as convincingly as Train Dreams. Adapted from Denis Johnson’s novella and led by a quietly powerful performance from Joel Edgerton, the film lives and breathes through its details—faded denim, worn boots, work jackets, clothes that look like they’ve been lived in for decades.

In an interview we published this week, Bryan speaks with the film’s costume designer, Malgosia Turzanska, about the research, sourcing, and ageing techniques behind the wardrobe. From collaborating with White’s Boots to studying archival photographs of loggers and railroad workers, she walks through how the costumes were built, broken in, and used to show the passage of time on screen.

If you care about heritage workwear, material honesty, and how clothing can quietly carry a story, this conversation is well worth reading.

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Fisherman’s Sweaters Guide, Revisited

Bryan’s gone back into our fisherman’s sweater guide and given it a proper update. Originally published in early 2023, it’s been refreshed with current availability, a few adjustments, and the same deep dive into why these sweaters have lasted as long as they have.

If you’ve used the guide before, it’s worth another look. And if heavy knitwear is still doing real work in your rotation, this remains one of the most useful overviews we’ve put together.

The post You Probably Didn’t Expect This Heavyweight Brand in Stores appeared first on Denimhunters.

DENIM and PATCHES sourced this post originally published on this site

This article is sponsored by Bluezone, the trade show for denim by Munich Fabric Start. Register to visit here!

Wouter Munnichs Reports from Bluezone: What the Mood, the Move, and the Makers Revealed

Trade shows have always played an essential role in the clothing industry—bringing people together, connecting makers with buyers, giving brands and makers a platform and voice. But the relevance and role of trade shows have been questioned for years now; I’ve seen that shift unfold ever since I first started going back in the late 2000s.

This year marks a decade since I first visited Bluezone in Munich. I haven’t made it to every edition since, but I’ve seen the show evolve—especially over the past year, as it’s become fully integrated into Munich Fabric Start.

For the recent SS27 edition in January, I wasn’t able to visit myself—because I was busy showing my own brand at its first-ever trade show in Copenhagen. So I called in a favour; my longtime friend and fellow denim blogger, Wouter Munnichs from Long John, kindly acted as my eyes and ears on the ground in Munich. 

What follows is a recap drawn from Wouter’s impressions of the show.

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What the Mood on the Floor Revealed

According to Wouter, the vibe in Hall 2 was great. The integration with the broader MFS show continues to pay off—visitors didn’t just stay in their usual lanes. They flowed between halls, including Bluezone, and that gave denim exhibitors more chances to engage. 

Traffic was consistent. And importantly, it seems the right kind of visitors found their way to the denim hall. Exhibitors were doing actual business. That doesn’t happen by accident. 

As Wouter points out, many likely pre-scheduled meetings and personally invited key clients. But the layout helped too. There was plenty of organic foot traffic from visitors who wouldn’t normally be deep in the denim hall. And that’s one of the major benefits of being fully integrated into the larger show: Bluezone is no longer a destination—it’s part of the route.

The new placement of the Trend Zone, now relocated to the foyer, seems to have been another smart move. Wouter tells me it caught attention immediately, with lots of visitors stopping to take photos. It’s clear that positioning innovation up front helps communicate that Bluezone isn’t just about jeans and mills, it’s about what comes next.

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What Exhibitors Were Showing (and Saying)

No surprise here: sustainability was everywhere. But not just in the usual sense. 

What stood out to Wouter were the technical improvements—specifically in printing—and how they’re finally starting to look retail-ready. The conversation around recyclability is also maturing. More mills are offering rigid, stretch-free fabrics that align with both the shift to looser fits and circular design logic.

The pleasure theme isn’t something people were openly talking about on the floor—but Wouter too saw it as doing exactly what a campaign should: stopping people in their tracks and adding a sense of boldness and freshness to the show’s identity.

On the sourcing side, most exhibitors seemed satisfied. The right buyers came, and many seemed eager to engage. Wouter described a mix of small and large brands visiting booths—and importantly, they weren’t just kicking tires. 

The feedback he heard suggested that Bluezone continues to attract the kind of audience that wants to touch, feel, and understand the fabrics. That’s still a crucial step in the decision-making process, even in a post-Zoom world.

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What’s Changing (and What Comes Next)

There was some quiet optimism about the calendar shift. Starting next season, the summer edition of Bluezone will move up a few weeks to mid-July. That’s a bold move—and a risky one for anyone with kids on school holiday. But many exhibitors apparently see it as positive. The hope is that it’ll give them more time to respond to what they see and hear before locking in collection development.

It’s not yet clear how this new slot will affect attendance. But if the last two shows have proven anything, it’s that Bluezone knows how to evolve. The full integration into MFS, the repositioning of the trend content, and the continued strength of the exhibitor list are all signs of a show that’s adapting to the needs of the moment.

Whether or not that will be enough to pull more visitors in July remains to be seen. But if the strategy is to position Bluezone as a serious, future-focused denim hub—and not just a place to shake hands with your existing customers—then it’s headed in the right direction.

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Looking Ahead to the Next Edition in July

With two integrated editions under its belt, Bluezone has settled into its new home. The next show is scheduled for July 14–16. It’s a shift that makes sense for production cycles, but it does clash a bit with summer holidays in Northern Europe.

That said, if the show keeps delivering the right mix of inspiration, connection, and commercial relevance, people will make it work. I certainly intend to, because whether you’re showing or sourcing, Bluezone is becoming harder to skip.

The post Show Recap: Pleasure in Progress at Bluezone SS27 appeared first on Denimhunters.

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Interview with the Oscar-Nominated Costume Designer of Train Dreams, Malgosia Turzanska

Late last year, while scrolling through Netflix, I noticed a familiar title. Train Dreams, starring Joel Edgerton, was adapted from Denis Johnson’s novella of the same name—a 120-page book that I read in a single sitting a few years ago.

The story traces the life of Robert Grainier, a logger and railroad worker who moves through the rapidly changing world of the American Pacific Northwest in the first half of the twentieth century. Haunting and poignant, the novella struck a chord deep inside of me, so the film had big boots to fill. Boy, did it ever fill them.

Easily the best film of the year, Train Dreams has been nominated for more than 150 awards, winning 21 of them at last count. It received four Oscar nominations, including best picture and best adapted screenplay. 

The acting, cinematography, and music are all exceptional, but what struck me most was the costuming. I can’t remember ever seeing a movie that was as deeply steeped in the world of heritage workwear as this one.

Logger boots, faded selvedge denim, worn-down henleys, and wabash chore coats–Train Dreams showcases some of our favourite rugged style essentials. Everything was so carefully selected and so perfectly aged that the film absolutely feels like a time capsule from an age we so rarely get to see on the big screen and in vibrant colour.

Immediately after watching the film, I reached out to the film’s costume designer, Malgosia Turzanska. With an impressive resume, including an Oscar nomination for her work on Hamnet and immediately recognisable work from Hell or High Water and Stranger Things, she has unique insight into the world of costume design–something I knew very little about before our conversation.

I messaged her, and she responded right away, volunteering to answer all of my questions. Her in-depth answers gave me a glimpse behind the curtain at the world of period costume design, and I wanted to share our conversation with all of you. I hope you find her answers as enlightening as I did. 

If you haven’t seen the film yet, you’re in for a treat. To get the most out of this interview, we highly recommend that you watch the film before reading it.

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Q: First, can you introduce yourself to our readers? What is it you do, and how did you make your way into the industry?

This year, I’ve been very lucky to have worked on two movies that have both received a considerable amount of critical attention, Train Dreams directed by Clint Bentley, and Chloé Zhao’s Hamnet.

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Q: Can you tell us a little bit about your process? Where do you start on a project like Train Dreams? 

A: Whenever I work on a literary adaptation, I tend to read the source material first, but then I switch to the script and never go back.

Book adaptations can be tricky, so I want to make sure that I am respectful to the screenwriter’s vision and work from the script out, but I am always curious about that original spark.

I start by creating a very raw emotional response to the text—a lookbook of images (photos, art, textures, colors) that evoke something in me of the story’s context.

At that point in the process, I might not entirely understand why I’m making these choices, but I share that with the director as a starting point and to make sure that our initial understanding of the script matches. 

Then I start my research. I go as deep as possible, trying to get my hands on anything I can find relating to the topic of the film. You never know what information you might find that could change your take on the characters.

Once I feel I am fluent in the world of the story, I start sketching and collecting fabric swatches. From there, we start putting together the film’s wardrobe. We either make. buy, or rent the costumes—usually a combination of all three.

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Q: What were you most excited about conveying to the audience with your costuming choices? What stood out to you in the text that you felt costuming could help you foreground for the viewers? 

A: Train Dreams is such a special film. We travel with a mostly silent character through his entire life, which stretches over more than half a century. We witness the changing landscape of the country, both in a physical and metaphorical way.

Robert Grainier is not a leading man in a traditional sense. He is largely passive. History happens to him rather than because of him, but in that, he invites us in to be his companions on the journey.

I wanted to make sure I was deeply respectful to his character and the world he inhabited. I wanted the audience to be able to feel and smell the environment on his clothing.

The ageing needed to be absolutely believable so we can be truly convinced that he has lived and worked in the woods for years and years. Throughout all of this history, layers of dirt, sweat, and sap have built up on his costumes, as well as those of his fellow workers.

I loved digging into the culture of the early-20th-century loggers. Looking at the photos of the workers and at the actual garments they wore was very touching. Seeing the patches, the mending, the little alterations was like witnessing history on a human scale. I wanted to make sure we feel as much of that in the film as possible.

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Q: Where did your research into early twentieth-century workwear take you? Any interesting rabbit holes you fell down? 

A: So many rabbit holes! Many small-town museums have archives of incredible photos of the actual people who lived and worked in the area. These people have names, families — it made it so special. 

I loved the Avant book and magazine series, Richard L. Williams’ The Loggers, and Ralph W. Andrews’ books This Was Logging, Glory Days of Logging, and Timber: Toil and Trouble in the Big Woods. 

There was lots more–whatever I could get my hands on. Our director, Clint Bentley, Production Designer Alexandra Schaller, and I would exchange anything interesting we’d find, so we were all feeding this research fire. 

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Q: Where did you source the costumes for Train Dreams? 

A: There was a huge mix of sources. We needed multiples for many reasons, so it was hard to find enough garments in one place. Our budget was way too small to make everything from scratch, but we did a lot of alterations and recut a lot of the pieces to fit in this world. 

Whites’s Boots graciously agreed to collaborate with us. In fact, all of the footwear that Joel Edgerton wears in the film is White’s. For the logging scenes, it’s the Calk Block Heel Logger Boots, and for the non-logging scenes, it’s the 350 Cruiser in Distress Roughout. 

Joel absolutely loved them. We shot around Spokane, so to be able to work with a local company that has been providing logging boots to the community for more than a century felt incredibly special.

Get yourself a pair of White’s 350 Cruiser boots here.

For the other garments, it was a combination of multiple sources: LCKing, Bronson, Levi’s, Olderbest, and Frontier Classics. For shirts with the beautiful large rectangular patch pockets, we ended up buying shirts and adding the pockets on to capture that specific look. 

Q: How did you go about giving the garments that lived-in and worked-in look? What tricks do you use to distress garments? 

A: Aging and dying was a major part of this project and my favorite part of the process. It adds that magical touch that truly make the costumes a part of the world of the story. 

We used all the tricks in the book: washing, sanding, torching, overdyeing, waxing, painting — it is a combination of all of the above to make sure everything feels real. 

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Q: Do you do this yourself, or are their garment-aging specialists that you work with?

A: I do a lot of it myself, because I love it and I feel I have a good understanding of what it needs to be in order to read on camera, but there are people who have built entire careers ageing clothing.

We had help for a few days, but because the budget was so tight, it was mostly on me and the core team to handle it.

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Q: Can you tell us anything about the boots nailed to the tree? Was this practice something you came across in historical records?

A: Funnily enough, this was a bit of poetic license! Clint and Alexandra, our director and production designer, came up with that idea, and it hit the perfect note. I cannot imagine the film without them!

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Q: Train Dreams is a gorgeously textured piece of cinema. Were your fabric choices the result of conversations with the Director of Photography? 

Adolpho Veloso is an incredibly talented DP, and we used almost exclusively natural light in the film, which makes it feel so special. I needed to make sure the camera has something to sink its teeth into, so to speak. 

The ageing added texture and depth to the clothing, but also the fact that everything is quite wrinkled and dimensional helps with that as well. 

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Q: How did your fabric and costuming choices contribute to the overall texture of the film?

A: In terms of the colours, the most striking moment is Gladys wearing a yellow dress—I dyed it that specific yellow to make sure it pops, but is not overpowering and out of place.

Joel’s rusty oranges and his faded denim provided a nice softness and depth.

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Q: The world changes around men like Robert Grainier and Arn Peeples. How did you use costume choices to show the passage of time (or to show men like Grainier’s resistance to the flow of time)? 

A: Grainier and Arn are both part of the old world. When we see Grainier return to the cut after a while, he is surrounded by a completely changed industry.

The young men around him wear sleeker shapes, the textures become less organic, there’s less softness and depth to them. That makes Robert feel and look older and out of touch.

Then, when he travels to the big city at the end of the film, there is another jump. He is still holding onto his woollens and corduroys, but the world around him is synthetic 1960s, with its bright colours and modern silhouettes.

It was important to me to show that contrast. He is out of place, and yet he is exactly where he needs to be, watching the world around him move. 

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Q: What happens to the pieces when production wraps? Did you hold on to any of the pieces from the film? 

A: Production normally holds on to the costumes for a while in case of any reshoots, but I actually don’t know where the majority of Trains costumes ended up after that! 

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Q: Finally, was there anything you learned or experienced during your work on Train Dreams that you’ll carry forward with you into future projects? 

A: I loved learning about that part of American history. I loved getting my hands dirty. I also loved seeing the role women played in this very male-focused world. 

Gladys was my favourite character in the story. She is so brave, so resourceful, so able to fend for herself. While her husband was away, she kept the house going, hunted, grew vegetables, and raised their child. Of course, she missed her husband, but she didn’t need to be rescued. 

There was a line in the script which didn’t make it into the final cut of the film. Grainier comes home and tries to fix something, and he asks Gladys, “Where are my tools?” She replies, “These are MY tools!”

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A huge thanks to Malgosia for taking so much of her time to answer all of my questions. If you are keen to learn more about her or follow her work, you can visit her website here.

The post Big-Screen Workwear: Train Dreams and Its Period Costumes appeared first on Denimhunters.

DENIM and PATCHES sourced this post originally published on this site