You found the mark. Here’s what’s behind it.

Car culture shouldn’t be limited to just car owners.

That’s the belief Stradalia is built on, and it comes from somewhere personal: years of being drawn to cars I didn’t necessarily own, but my design background meant I was always more drawn to how they were designed, marketed, even decorated, as much as what was under the hood. I’ve always looked at cars as moving sculptures.

“Stradale” is the term for a racing car built road-legal, usually because racing rules required a manufacturer to sell a street version before the car could compete. Stradale was already taken, so Stradalia is my version of it.

Look closely at car culture and you find a genuinely enormous design archive: race liveries, dealership badges, tool-brand logos, workshop signage, team merchandise, almost none of it made to be looked at as design. A stripe placed for contrast at speed. A numeral sized to be read in a mirror at high speed. A badge drawn by someone who understood typography as well as they understood an engine.

Stradalia takes pieces of that archive and runs them through a different filter: the typography, packaging, and print culture of the Mediterranean, where I'm based, and where a specific visual tradition has always lived alongside cars, food, and everyday life.

The result isn’t a costume for people who own a specific car, and it isn’t a postcard of the region either. It’s clothing built from research, made to hold up on its own, whether or not you know exactly which livery, badge, or workshop sign a graphic came from.

You don’t need to be a car person to wear Stradalia. You just need to notice that the details were considered, not decided at random, the same way you’d notice it on the real thing, if you knew what you were looking at.

—Clint, Stradalia