Fabric First, Silhouette Second: An Interview with William McNicol
“What I share is my world — hopefully a place people not only want to enter, but remain in.”
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Introduction
There’s a lack of tranquility and stillness in our lives right now.
We see so much, hear so much, experience so much — yet rarely take a moment to decompress, recalibrate, or unwind. Most evenings are spent doom-scrolling with reality TV humming faintly in the background: a new kind of ASMR for the chronically overstimulated.
Fashion isn’t any different. Whether you’re passively observing or diving in headfirst, you’re part of an industry that churns out collection after collection — flooding your feed with the latest and greatest, even though it’s often just the same old pieces dressed in new campaign lighting. Designers are working at a relentless pace to stay relevant, chase trends, and appease younger, louder generations. Inevitably, burnout hits — the work suffers, reactions follow, revenue dips, and a new creative director is announced. Or, if you’re a smaller brand, you end up working with Zara. But that’s a tangent for another time.
Thankfully, in our little corner of the internet, we find designers who choose to slow down — who take their time and create bodies of work that feel intentional, personal, and genuinely reflective of who they are. William “Bill” McNicol, founder of William Frederick, is one of them.
Based in Cleveland, Ohio, Bill has quietly built a loyal community, consistently selling out collections and gaining more traction each season. There’s a distinct calmness in his silhouettes — boxy, oversized, relaxed, comfortable. He works with premium textiles sourced from Japan, Ireland, Italy, and Belgium, and produces in thoughtfully limited quantities, reducing waste while giving each piece a kind of gentle exclusivity and room to breathe.
Now, with consumers favouring longevity over the temporary, brands like William Frederick fit that bill, offering an antithesis to an otherwise fast-paced industry. With a uniform-driven approach and a muted palette, his collections integrate effortlessly into just about any wardrobe. They’re sharp, thoughtful, and quietly confident — exactly what people are asking for right now.
I first met Bill earlier this year in Paris during Men’s Fashion Week, and what immediately struck me — before I even saw a single garment — was his height. As someone who’s spent years struggling to find clothes that actually fit, seeing him felt comforting. I took one look and thought, “Oh, he makes clothes for the long-limbed tall boys — hell yeah.” That may raise an eyebrow. Anyway, carrying on.
After exchanging pleasantries, I began looking through the collection, and what stood out immediately was how cohesive and considered everything felt. The intention is obvious the moment you run your hands over each piece — the weight and feel of the fabric, the construction, the tiny decisions that eventually led to something as stunning as the Airport Jacket.
I remember him explaining the inspiration behind the jacket (a personal favourite of mine that I’ve since picked up), and that story stuck with me — especially since I always get anxious when travelling. I’m often forgetting which pocket has my passport or wallet, so this should help. Well, keeping a clearer head would help too — but I prefer this option.
That intentional, personal approach is what resonates with me — and clearly, with many others.
To celebrate the release of his latest collection, we sat down to talk about what William Frederick is — and what it isn’t. I won’t reveal the whole enchilada here; you’ll have to read on to get the full picture.
Interview
For those hearing about William Frederick for the first time — how would you describe the label and your work in your own words?
I generally resist filling in too many blanks with my own words when it comes to the brand, but I’d start with the following foundation of information and allow anyone who discovers the work to interpret it freely:
The first collection released in 2018.
Fabric first, silhouette second.
Fabrics are sourced from Japan, Ireland, Belgium, Italy, and Scotland, while manufacturing is done in Cleveland, Detroit, Manhattan, Long Island City, and Ridgewood.
Our collections are stocked at Canoe Club in Boulder, Shop Boswell in Portland, & Son in Manhattan, L’Ensemble in Brooklyn, Understory in Oakland, N-id in Tokyo, and Cypress in Dallas. Starting in SS26, you will also be able to find us at Glasswing in Seattle, Gray’s in Toronto, Wallace Mercantile in Vancouver, and two additional stores in Japan.
How did this all start? I feel like there’s usually a pivotal moment — or some type of event — that grows into something larger (whether that’s starting a brand, writing, etc).
Divorce.
I was 28 and going through a divorce. I had been working in corporate — and still do, as a medical underwriter — and found myself searching for purpose and value. Since childhood, I sketched shoes, clothes, Seinfeld characters, etc. If you walked into my parents’ offices when I was growing up, you’d see sketches of shoes or someone from Seinfeld cut out and tacked behind their desks.
I eventually decided to try to make a career out of doing what I did as a kid, back when I had the freedom to do whatever I wanted with my time. In December of 2016, I walked into a factory for the first time with the hope of starting my own clothing brand. Through much trial and error, I launched my first collection in August of 2018.
I remember reading that all of your products are developed and manufactured in Cleveland, Ohio. What made you decide to keep everything local, and how does it feel knowing the Cavaliers are a good ball club again?
This will actually be the first season that anything is made outside of Cleveland. A large bulk of the production is still done here, but we have expanded to factories in Detroit, Manhattan, Ridgewood, and Long Island City.
I grew up in a small town — Wellsville — and my parents owned a restaurant supply business until 2009 or so. Most of the businesses I encountered were someone’s first or last name. It is part of my value system to work with local businesses, craftspeople, independent contractors, etc, and that naturally translated to keeping manufacturing in the city where I exist.
Also, selfishly, I want(ed) to have a physical presence and proximity to where my clothes are being developed and produced, for communicative and quality reasons.
Cleveland is a wonderful city to live in when the Cavs, Guardians, and/or Browns are in a good place. This is the most excited I’ve been about the Cavs in years and I’ll be at a good amount of games this season. The addition of Lonzo Ball puts them over the top in the Eastern Conference this year. He’s exactly what they’ve needed the last two years.
“There’s been an awakening that the most thoughtful thing I can do is move based on feeling, not logic.”
Your work carries this feeling of serenity — the colours and fabrics you choose, the overall art direction, and even yourself as a person. Where do you usually look for inspiration when designing your collections?
First of all, thank you. That is the first time serenity has been used to describe what I do.
Starting out, when I really had no clue what I was doing, the work was more referential than I wanted it to be, as I lacked the experience to communicate appropriately with pattern makers, graders, and sewers. In addition, I was insecure about the work I was sharing because there was an extreme disconnect between my sketches/ideas and the finished garments — so I used narration and storytelling as a crutch.
Now, the work has evolved and it speaks for me, which allows my entire process to be intuitive. There’s been an awakening that the most thoughtful thing I can do is move based on feeling, not logic.
Now to finally answer the damn question.
I watch a lot of films — generally multiple per day. I listen to a lot of music. I drink a lot of coffee and tea. I burn a lot of incense. Really, I focus a lot more on input than output. If I’m absorbing meaningful things and being present with them, I’m confident I’ll eventually have something meaningful to share myself.
And what I share is my world. Hopefully what I build, and continue to build, is a place where people not only want to enter but remain in. It’s a coax of sorts. An offering, not a demand.
The use of gorgeous textiles like Irish linen and cotton–hemp blends really stands out. What draws you to these materials, and what’s been the most challenging piece you’ve worked on so far?
Well, the most challenging piece I’ve worked on so far is something that has not been released yet because I can’t get it right.
I am equally drawn to the idea of place, region, and family as much as I am to the fabrics. Every mill and fabric supplier I work with is either multi-generational family-owned or has existed since the 1800s. Their processes work.
It’s what they do and who they are.
“My goal is to create items people forget they’re wearing. If it reminds you you’re wearing it, it’s wearing you.”
Do you typically have a garment in mind before sourcing the fabric, or does the fabric usually dictate the piece?
In the early years, it was exclusively garment first. I would sketch the silhouette, determine the colour I wanted, then go on the hunt for a fabric that aligned.
Now, it’s nearly the complete opposite. The most exciting part of the design process for me is finding and sourcing fabrics. I have a strong enough understanding of what will and won’t work for the silhouettes I offer at this point that it would feel limiting to not let the textiles inform where I want to go initially.
But even in that approach, you could say the garment subconsciously comes first.
Okay — nothing has changed. The garment comes first.
What are some of your main priorities when starting a garment? Many of your silhouettes offer plenty of movement and space, giving the wearer an airy, comfortable feel. Is that intentional?
My primary design goal is to create items that people forget they’re wearing while they have them on. I don’t want to create something that reminds you you’re wearing it — because at that point, it is wearing you.
If I’m not offering movement, space, and comfort, then I can’t meet my goal.
With your focus on natural materials, I’d love to hear your thoughts on longevity and sustainability in fashion. Do you feel the industry has made progress on both fronts?
Makers and designers have, but it’s a bit complicated to give that credit to the entire industry. Many brands either use sustainability as a sales pitch or use natural fibers to placate their consumers. The most important element of sustainability for me is the human trade aspect, and it’s often left out of the sustainability conversation. Sure, materials are a critical component, but people and machinery are more important than polyester.
There are plenty of garments with polyester in the fabric that last decades because of the quality of construction. On the other hand — especially over the last five years — there are plenty of garments being made with natural fibers that start to lose their form or shape after a few wears. I don’t consider that an example of sustainability.
That aside, progress is, and continues to be, made. Consumers are more informed and intelligent than ever before in the markets that I operate in. If you cut a corner, they’re going to notice — and the smarter the consumer, the more accountability there is for the brand.
“People and machinery are more important than polyester — the human trade aspect is the real sustainability.”
Do you see your work as a form of storytelling? The way you construct your garments, the fabrics you use — even how you name each piece — feels very intentional.
I see it maybe more as a sharing of feelings than the telling of a story. There are through-lines from collection to collection, and when you’re working with the same fabric mills and factories each season, there’s a natural continuation of the same design languages.
In regard to the naming of the pieces, that started as a tongue-in-cheek play on third places, and I kept it going because the way I exist in all of them is quite similar — to the point where I couldn’t tell if everywhere was a third place or nowhere was a third place anymore.
From our last few chats, it seems like the past year has been quite eventful for you. What’s something buyers are often surprised to learn when they see your collection in person?
From the conversations I’ve had with buyers in Paris, they’re most pleasantly surprised by the balance of local production, high-end textiles, and price point. The product immediately reads as fair, and I take great pride in that.
It’s special to see how many items are sold out — you’ve clearly struck a chord. Have you changed anything in your process (design, production, team, etc.) since demand for William Frederick has grown?
Only one thing has changed as a result of the demand, and that has been the expansion of production to places outside of Cleveland.
All in all, how do you feel about your work right now? And what’s next for the brand that you’re most excited about?
I feel an immense amount of pressure. I work a full-time corporate job as a medical underwriter and I want nothing more than to be able to operate the brand full-time. After two successful markets in Paris, for the first time in seven years, I’m not far away from that dream.
What am I most excited about next? Definitely showing FW26 in Paris next January. I am working with a new mill as well as developing my own fabrics for the first time.
Final question. Can the Cavs win an NBA title with Donovan Mitchell?
Yes, but Evan Mobley will need to be the best player on the team for this to happen. With Tatum and Haliburton injured, only the Knicks are in their way in the East.
Outside of the Cavs, I am really, really excited to watch the Hawks this year. I don’t know if there’s a more exciting trio of youthful wings than Jalen Johnson, Dyson Daniels, and Zaccharie Risacher. Add in the additions of Porzingis, Alexander-Walker, and Kennard? I could see Trae Young leading them to the ECF.
Editor’s Note: I do not see Trae Young leading them to the Eastern Conference Finals.
Sorry, Bill.
Thanks for making it to the end — I genuinely appreciate it.
If you’d like to chat about anything covered here, or swap thoughts on past pieces, I’m always open. And if this resonated with you, consider sharing Duchump with someone who might enjoy it too.
- Chris
This is excellent 🫶🏻