Lardini’s may not be a big name to American readers, but don’t write it off—its tailoring is an impeccable Italian take on classic English styles. Founded in 1978, Lardini’s fabrics are far from basic, and run the gamut chalk stripes in nontraditional colors to resplendent plaids and tweeds. Lardini has built its reputation on these textiles, which has led the brand to manufacture suiting for other brands, including Valentino, Etro and Dolce & Gabbana.

Unlike many Italian suitmakers, Lardini isn’t based in Florence or Naples. Its headquarters are in the tiny town of Filottrano, which allows it to operate outside of these regions’ traditional styles. The Lardini cut is more tapered than the stuffy silhouettes of Neapolitan suiting and the flowing fits of Florentine tailoring, and the textiles the brand uses are more diverse. The rugged fabrics and earthy colors—think chocolate brown wool suits with pencil stripes, refined tweeds with pink accents and blue-on-blue plaids that are so discreet that they can’t be spotted from even three feet away—offer subtle twists on classic tailoring themes without disrespecting traditions. Each suit is finished off with a signature flower lapel pin, part of the brand’s singlehanded effort to tastefully resurrect the boutonnière.

An offshoot of Lubiam, the youthful L.B.M 1911 line has mastered the art of refined basics. For over 100 years, Lubiam has refused to outsource any of their production from its northern Italy headquarters, situated in the small city of Mantova. Meanwhile, the company has earned a reputation as a fabric innovator thanks to its willingness to blend synthetics with natural fabrics for movable, breathable casual tailoring pieces. To grow the business and remain relevant in a changing tailoring market, it launched L.B.M. 1911 in 2005, based around a series of garment-dyed separates that are washed for a look that’s one part vintage, one part sophisticated.

Garment dying (post garment construction) is often reserved for rigid workwear pieces, made of hefty cotton or wool. L.B.M. 1911 is the first—and one of the few suiting brands, period—to experiment with the process and use it on their jackets, trousers and suits. Special sleeve fabrics and buttons are used to keep each garment from succumbing to the process’ heat. The final results are intensified versions of traditionally-made suits and separates, where blues and grays are richer than competitors’ offerings, and burgundys, creams, greens and pinks make an unexpected yet tasteful entry into the world of tailoring, where they’re often absent. Though many of L.B.M. 1911’s pieces are 100 percent silk or 100 percent cashmere, the process has the same beautifying effect on the brand’s synthetic blends, which often mix linen or cashmere with a small amount of polyamide to improve breathability and enhance movability. These innovations help the brand’s signature patch-pocket and notch-lapel style flow and allow its jackets to work in a cropped cut, which pairs well with high-rise trousers for a look that merges classic proportions with modern trimness.

Part of United Arrows, the Camoshita sub-brand is Creative Director Yasuto Kamoshita’s pet project. In fact, it’s such an extension of Kamoshita’s personal style that he named the brand—which debuted in 2007—after himself, swapping out the “K” for a “C” to add refinement and distinction. He’s often snapped in natty suits and separates for street style shots and the line reflects his penchant for the classic Ivy League look.

Unlike traditional Ivy League tailoring, Camoshita’s offerings have a modern silhouette—no sack suits here. While not gaudy, the brand’s colors, fabrics and details are bold in an understated way; think tweed trousers that are trim and have no break at the ankle, or a double-breasted corduroy number in a sharp charcoal gray. Tweaking these traditional ideas makes them look much more modern and rakish than the sad, sack suits the average cubicle drone sports on a daily basis, even though they rely on many of the same textures and inspirations. The beauty of Camoshita’s suits is a reminder that the devil is in the details.

Makers of impeccable ties and scarves since 1977, Drake’s branched out into tailoring and ready-to-wear under the guise of creative director Michael Hill. Hill took the reins when founder Michael Drake retired in 2010. Though its scope has expanded, Drake’s is stronger than ever, mainly because they use top-tier fabrics and English factories for these collections. Much like the ties and scarves before (and with) the clothing collections, these pieces buck trends for textiles and patterns that, while unexpected in the current fashion system, looked good years ago and will continue to look good years from now.

Hill has a keen eye for fabric, texture and pattern, which allows the team to take English country classics in slightly subversive directions. Think traditionally drab fabrics like tweed and corduroy reworked in rich hues, like royal blue and olive green. While such garments sound outré, the resplendent colors lend each piece a lordly English appearance. For those who want something non-traditional but not cutting edge, Drake’s new Easyday collection—a line of basics that take the guesswork out of getting dressed—is also one of the best ways to build a tailored wardrobe that will last as long (or outlast) you.

If you prefer your clothes—and days—unstructured, look no further than Man 1924. The Spanish brand’s roots are in Basque country, a region that isn’t known (at least, compared to Saville Row or Naples) for tailoring. However, it has a wealth of textiles—specifically wools—that lend themselves well to nonchalant garments that don’t need to be treated too preciously.

Man 1924 does a slouchy take on tailoring that’s just crisp enough to pass muster at the office, but is best for creative environments. Nights on the town and transcontinental flights are perfect scnearios where dressing up—but keeping comfortable—are key; it’s no secret that dressing up can work (with a little bit of luck) as way to get upgraded to first class. Its Kennedy jacket is their main model (emphasized over suits and trousers) and is where current owner Carlos Castillo’s imprint is most visible on the company and family. Much like your father’s frumpy tailoring, these jackets rely on rich, earthy tones and a variety of houndstooth and herringbone patterns. The slimmed-down cuts keep them out of “old man” territory, however, and make the jacket a great layering piece on a cool fall day. Co-opt a classic geezer style move by throwing the Kennedy over a sweater; instead of looking professorial, the trim silhouette will make it appear clean, crisp and cool and give the classic patterns a new lease on life.