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Meet the Raygulars


Catching up with Justin Theroux and Carlos Quirarte, the actor/writer and NYC scenemaker behind Ray’s NYC.

By Tyler Thoreson

Photos by Weston Kloefkorn

In the runup to the launch of our new collab, we sat down with Justin Theroux and Carlos Quirarte, the famous friends behind Ray’s NYC—the New York hotspot dressed up as your favorite Lower East Side local—for a chat about the inspiration behind Ray’s, their first Stetsons, and, of course, their go-to karaoke tunes.

The Open Road 6X “Raygular” Edition A classic Open Road in Silverbelly with a custom cobranded liner and exclusive “Raygular” pin. Available October 13, 2023 in highly limited quantities, exclusively on

The welcoming vibe of Ray’s is pretty apparent to anyone who’s been, but for the folks at home, what were you trying to create when you conceived it? Was it sort of your ideal vision of a local bar?

CARLOS QUIRARTE: Definitely. Even with the name Ray’s, the idea was that it could exist in any city. In every city, in D.C. where Justin grew up. We wanted a place that made everybody, no matter what, feel like: hey, that’s familiar. I want to go there. Without making it feel like a set.

THEROUX: It’s also just one of those places, where the more it gets lived in, like an old shoe—or an old hat…

You’re speaking our language.

JUSTIN: The more it gets used, the more beautiful it becomes. It feels comfortable. Like a living room. In Austin, there are a lot of bars like this. They’re not pretentious, or trying to be exclusive. We’ve just tried to let it be organic to New York and the neighborhood and whoever ends up coming. So, we had a whole Taylor Swift night, which was not expected…

CARLOS: We had a vintage sale just last weekend with local people from the neighborhood. We try not to take it too seriously, just have fun. We’re of the mind that If we’re not having fun, how can anyone else?

Theroux and Quirarte in front of Ray’s western-inspired mural.

How would you describe a typical night at Ray’s?

JUSTIN: Well, that depends what night you come. You come Monday, Tuesday Wednesday, you’ll find a gently spinning disco ball and quiet drinks at the bar. Friday and Saturday it’s going to be a lot more jam packed and higher energy. It’s a great spot to go before you go somewhere, or a great spot to land afterwards.

CARLOS: That’s the beauty of New York. The mixture of locals, tourists and people out just looking to have a good time…the weekend warriors. We’ve met so many people that come through this bar, whose entire group of friends are people they met at this bar. That’s kind of the ethos we’re going for. A place where you can meet friends for life.

You guys have been friends for a while. How did this whole thing start?

JUSTIN: I was running from the law. It was…just outside of Paris, TX…

CARLOS: I was also on the run…

JUSTIN: We did some time and…[laughs]. No, Carlos had this great space that was a restaurant and it was…ready to evolve. We realized we could put something together for not that much money that could be a great addition to the neighborhood. It was really just as simple as that.

Justin, you’re a long time Stetson fan. Tell us about your first one.

JUSTIN: My first Stetson. Well, it’s actually not too far from my story with this bar. It started in Austin when I first moved to Texas to do some work.. I went to Allens Boots on South Congress and I bought an Open Road, the hat Carlos is wearing. This one I’m wearing now is a crushable hat that I’ve beaten up and it still looks great. It’s just an American classic.

The first is rarely the last.

JUSTIN: When you think about these hats and all of the incredible moments in American history in particular that these hats have been present for, from president to movie stars to outlaws. It’s iconic.

CARLOS: My first experience with Stetson was when I went to Texas to visit Justin and he said, “We’re getting you a Stetson.” And he took me to Allens Boots and that’s where I got my first Stetson.

Speaking of iconic, you guys recently made the cover of New York Magazine’s annual “Reasons to Love New York” issue, alongside Chuck Schumer, Spike Lee, Emily Ratajkowski and a bunch of other famous New Yorkers. How did that come to be?

JUSTIN: It was really random and I didn’t quite understand what was happening. We got a phone call saying to show up at this corner and we’re going to photograph you, but it was at different times of day and they comped the photo together later. Kuma [Theroux’s beloved pitbull] was in the photo…but they covered her up! It was a big scandal. [laughs]. Lots of calls from Kuma’s publicist afterwards.

CARLOS: I think it was either Kuma or me, and they decided to keep me.

[Kuma, on cue, jumps up on the booth]

JUSTIN: And she’s ready for a treat.

Theroux in his signature Stetson crushable Fedora, holding the “Raygular” Edition Open Road 6X.

Justin, final question. You gave one of the all-time great on-screen karaoke performances in The Leftovers. Do you have a go-to karaoke tune?

JUSTIN: I don’t really have a go-to karaoke tune…

CARLOS: Um, yeah you do. You do that Bon Jovi

JUSTIN: I do! I sing “Blaze of Glory.” It’s definitely “Blaze of Glory.” [singing]: “Shot! Doooooown. In a blaze of glory!”

Again, you are speaking our language.

JUSTIN: Also, any Slick Rick song. I don’t even have to look at the words.

CARLOS: I go for R&B and ballads. “I Swear”, “Fast Car.” Or “November Rain” if I want everybody to leave.

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Little Difficulties: Carrying the Legacy of Adirondack Guide Boats

Little Difficulties:

Carrying the Legacy of
Adirondack Guide Boats

Story by Steven Schwartz
Photography by Maaike Bernstrom

“There’s a part of the boat we call the ‘six-bay,’” Ian Martin said without hesitation. “It’s the last bay of the boat that’s underneath the decks and there’s no tool you can get inside. You’re in there with 60-grit sandpaper breaking rough epoxy and, by the time you’re done, you don’t really feel like you have any fingertips left. That’s a discouraging five hours.”

Ian’s describing his least favorite part of making an Adirondack Guide Boat, just a small part of a 450-hour process. Other steps include sourcing spruce from Maine for ribs and steam-bending them to form the ribs of the vessel, cutting western red cedar strips for the siding, applying a fiberglass coating on the exterior, and sanding the entire hull. Of course, that’s skipping a step or two or thirty. It’s a painstaking process, one filled with highs, lows, and bloody knuckles.

Ian and his brother Justin Martin are co-owners of Adirondack Guide Boats, a small-scale operation in Western Vermont that produces these boats, each of them a product steeped in legacy, craftsmanship, and hard-nosed determination. After starting their careers at Mad River Canoe, they came to work for then-owners Steve Kaulback and Dave Rosen, eventually buying the business in 2012 with just a little bit more than a handshake, as Justin puts it. 

While building a guide boat may be a painstaking process, it’s also a process that ends with a work of art designed to glide across lakes, rivers, and inland waters with unmatched ease, stability, and style. It’s a striking boat with roots back to the 1800s, when guides would cut the boat ribs from tree stumps and match them to patterns for the hull. They were designed for efficiency and utility, carrying the hunters and anglers of the day with a low draft in the water and effortless rowing for the guides themselves. Now, these boats serve outdoorsmen in both form and function. Justin and Ian Martin have sold them to enthusiasts from across the country, to those who need a beautifully crafted masterpiece that can last for generations. For these two brothers, though, it simply started as a much better alternative to the job market in Vermont.

“Honestly, it was cool to be able to go build boats rather than do your average jobs—mowing the lawns, working on houses. We always went to the water and, if we could build a boat in the middle of Vermont, we gravitated towards that as well. It’s demanding. But, every time you pull a boat out of the mold, even though we’ve done it 5,000 times, it’s still rewarding,”
— Justin said.

The boats themselves are wholly unique, somewhere in between a canoe and a traditional rowboat, made either out of wood or kevlar. Both brothers admitted that their kevlar guide boats outperform their wooden boats in nearly every way, but there’s still something about the latter that keeps drawing people to their workshop. Maybe it’s the romance of an antiquated design, or maybe they harken to a time when boatmen had an evolving relationship with their tool, which required care and attention. Beyond passengers, these boats carry the legacy of anyone who’s stepped over its gunwales.

“The old boats, they went through entire families. If you find an old boat that was built in the 1800s, there may be markings on them. You can almost follow the history of the boat by what was written on it,”

Justin said and pointed out that they’ve restored historic boats for clients, including the Rockefellers, whose boat is on display at a museum in Massachusetts.

The Martin brothers’ craft is one wrapped up in history and legacy. It’s a time-tested product, but one that’s still at risk of being forgotten by time nonetheless. Both of them said that the greatest threat to their profession is not due to lack of demand or materials or even a globe-spanning pandemic, but simply a lack of people willing to learn and pursue the work of building these beautiful boats. To many, they’re less efficient, more expensive, and more difficult to care for than modern boats, which prompts a question: Why should we still be building them?

“Why? I don’t know,” Justin pondered. “We need these skills, not just to get by in life, but to enjoy life, and to lose them is terrible on any level. Hopefully, we get the chance to pass this down to someone, whether it’s to our children or someone who comes in and wants to do it. We sell every boat we make. Anyone that buys one of our boats loves it and it brings a lot of joy. To not have these boats around anymore, would be a shame.”

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Shop: Hat

At a certain level, we value difficulty in our culture. People run marathons simply because they’re difficult. They break a horse because it needs to be tamed. But, when it comes to the products we buy, we want them to serve us when we need them and fade into the ether when we don’t. But, it hasn’t always been that way. In the 1800s, people needed these guide boats for their living and survival and cared for them as such.

Ian pointed out that guides would sink their boats to the bottom of a lake during the winter season so the wood could swell with moisture, preserving it until the waters thawed during the spring, ready to carry hardy adventurers to their next destination. It was a cyclical relationship that evolved—use, repair, restore, repeat—and it’s hard to ignore that these boats seem to be in the winter of their existence. 

But, in our modern era, maybe we need these products in a different way, as a reminder to value the things we buy and appreciate the little difficulties that come with them, and with life. It’s less about survival in general and more about the survival of our souls. Justin and Ian believe that their customers understand this, and they see it every single day. They want the struggle; they embrace it, along with the relationships that are formed along the way.

  Shop: Hat · Jacket

  Shop: Hat · Jacket

“We work hard for our customers and people want to see our company going. Recently, a guy ordered a boat from us. He’s been waiting a long time for it and I thought I was just going to get yelled at, to be quite honest. But, he told me, ‘Life is tough right now. I want you to take a scrap board and I want you and your brother to sign it. Charge me anything you want for that board to help support your company.’ We have a lot of customers like that, who support our company because they believe our craft needs to go on just as much as we do.”

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So, for now, the Martin brothers continue to build and their list of clients continues to grow, and they’ll continue to hope for someone to carry the torch. While society may look for comfort and convenience, they’ll keep embracing the little difficulties. They’ll keep sanding, steaming, coating, bending, sanding more, and rowing these works of art through the cool, dark waters of Vermont. On the surface, the legacy of Adirondack Guide Boats may seem like it’s in jeopardy, but if the people building and rowing these boats are of any indication, they’re not going anywhere. Their spring is coming.

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How to Determine Your Hat Size

The Size Guide

How to Determine Your Hat Size

Finding the right hat starts with choosing the right style and color to fit your face shape, taste, and lifestyle, but it ends with the perfect fit. Too small, and your hat will sit awkwardly high on you head or feel uncomfortably tight. Too large, and it’ll sit too low, with visible extra space around the edges—not the look you’re going for.

As a rule of thumb, your Stetson should be reasonably snug so that a light wind can’t blow it off your head, but not be so tight as to cause discomfort or distraction.

Follow the steps below to ensure your new hat feels as good as it looks.


Using a tape measure, measure around your head about 1/8th of an inch above your ear, pressing firmly (but not too tight).


Translate your measurement into your hat size using the conversion chart below.

X-Small – Medium

Large – 3XL


If your measurement falls between sizes, order the next largest size. You can always add a bit of padding behind the sweatband to achieve just the right level of snugness—and keep that proverbial gust of wind from doing any damage.

Still Need Help?

And if you have any trouble with a hat you’ve received, our Customer Service team is here to help. Drop them a note at:

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Against the Odds

Against the Odds

Meet the Stewart family. Their passion for food security and diversity in agriculture led them to Douglas, Arizona where they are financing a sustainable farming project to make good, clean food more accessible. 
Photography by Ivan McClellan.

Rachel and James Stewart lived a busy life in the city. James worked two jobs seven days a week and would find a few hours a day to train as a bodybuilder.

Rachael taught their 4 kids and worked as a personal trainer.

When the pandemic hit, everything changed. Work dried up, and the Stewarts had to change their living situation. Buying a house wasn’t feasible, and the kids needed space to run around.

The one thing they are most passionate about is good, clean, and natural food and access to it was becoming increasingly more difficult. They found land in southern Arizona that was affordable and made a leap of faith to start their own organic beef, pork, and poultry ranch in the desert. “We wanted to be able to give the kids something for their future. Giving them financial security and a trade so they don’t get caught up in the debt cycle is important to us.” Neither of them had any experience ranching or farming aside from a small garden they had in the city and Rachel’s one year of 4H in high school. They built a small adobe-style house, put up fences, and pens and got to work raising chickens, ducks, pigs, turkeys, goats, and steers.

“When we moved out here, we thought we were by ourselves.”

But soon, neighbors from miles around came to the ranch to introduce themselves and pitch in. The Stewart ranch has been a unifying factor for the community. “It’s a barter system out here. Everybody has something that somebody else doesn’t have.” From sharing knowledge about raising crops and animals to pitch in on a community backhoe, they are all working together to build a life for themselves and succeed for the positive.

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They traded in creature comforts for fresh air and space, and their 4 kids James, Zinaye, Zenaya, and Javon, are thriving in their new environment. “They’re thinking more critically and strategically and doing different things every day. They’re not thinking outside of the box, there is no box, and everything they do in life is learning.” James and Rachel are learning as well, oftentimes from the kids. They’ve accomplished a lot in a short amount of time but still have a long way to go. Their vision is to create a sustainable framework for other black and brown ranchers to follow and sell healthy food locally and eventually nationally.

“It’s a rough life, but the good outweighs the bad.”

Follow their journey on instagram and pitch in here: gofundme

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The Burroughs Garret

The Burroughs Garret

Handweaver Justin Squizzero challenges modern definitions of progress by creating functional textiles that celebrate the natural world and the dignity of human labor.

The wood creaks under the feet as Justin Squizzero makes his way up the stairs to the garret, the unfinished attic, of the 210 year old farmhouse he shares with his husband Andrew. The temperature outside in their small corner of rural Vermont barely reached 5 degrees as he makes his short commute to the space where he’s dedicated himself to resurrecting a piece of American history through practicing a nearly lost art. Justin reaches the garret, uninsulated from the harsh weather outside, and his breath hangs in the air 40 degree air as he sits down at a loom, one that is potentially a century older than the house, to weave intricately detailed coverlets that have not been made for over 180 years.

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In October of 2015 Justin Squizzero first set foot on the farm built by William Burroughs circa 1810, lived on by generations of just two families, and offered for sale for the first time in a century. The farm sits up in the hills of Newbury, Vermont, a town on the banks of the Connecticut River, one hundred miles north of the Massachusetts border. It was the kind of relic one used to find frequently in the North Country, but like the elm and mountain lion these places have become rarities in recent times, endangered species in their natural habitat. By some luck and quiet determination of a few sporadic caretakers this house survived, despite sitting vacant since 1989.

A weaver by training, trade, and passion since he was around 16 years old, it was fate when Squizzero, now 33, found an entire loom sitting in the garret (unfinished attic) of the house, a final nod that he had found a place that was both special on its own, but even more special to him. It was a perfect fit regardless; Justin grew up the son of historical reenactors and knew the inside and out of living in such an old home, from the lack of insulation and wood furnace and stove to the temperamental water from the stream up the road, water they were lucky to have. However, it still required extensive work to get to this place livable after sitting largely untouched for decades. It’s framework underneath was rotting, the shingles blew off the roof with every gust of wind, sounding blown snow, and layers of now weathered and stained wallpaper hid even more layers beneath.

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  • A Stetson fur felt fedora in Newbury, VT. Credit: Mark Kauzlarich for Stetson

Even now the house is relatively spartan but immensely charming, bright on the outside and homey and historic on the inside. It sticks out from the road as you come down the hill, welcoming, and at night the smoke from the stacks and few lights in the windows are a beacon to weary travelers in the snow. Now filled with three operational looms in addition to the one found in the garret the farm, which was brought back to life by Justin, is also where he weaves fabrics that bring old furniture back to life, serves as the foundation for clothing from hundreds of years ago, and creates the figured coverlets that few can make. With a few sheep, the start of a flock that will someday provide wool for his weaving, a pig, their dogs, and a cat that came with the house (their landlord, he says), they have turned this place into a home. But the largest piece of the puzzle, a rare Jacquard head for a loom, arrived in 2019 and helped Justin resurrect the intricate work for which he’s become known.

In 1804 a Lyon silk weaver named Joseph Marie Jacquard perfected a century of technological development with a device that utilized punch cards to create pictorial designs in woven cloth. A series of vertical hooks inside the cast iron machine “read” these cards and lift certain threads allowing him to create figured patterns that in some cases likely had not come off a loom since 1860. In function, it’s essentially the earliest manufactured computer. Justin’s rare surviving example of a Jacquard loom head dates from the 1860s, likely the oldest operating machine privately owned in North America. It was purchased by Roy Orr, a weaver from Ohio, (who had bought it from a famed weaver in Scotland) and who sold it with the punch cards to create Justin’s first coverlets. The head sits on a loom that is much older, made between 1650 and 1750, and together they are a perfect match.

On this cold February day in Newbury, VT, Justin was starting something special. He took a worn pair of shears off his work bench and slowly cut down the line of fabric taught across the loom. It was the last of the most recent run of coverlets titled “Campbell’s Rose and Stars”. A coverlet like this, big enough for a queen bed, would take around five days of dedicated effort sitting at the sometimes cantankerous and fickle loom, tending to the mechanical intricacies and issues that come up along the way. What came next was the culmination of a year of work. Justin placed the newest cards over the Jacquard head. The holes punched looked like an oversized paper ballot or the instructions for an antique player piano printed on a heavy cardstock, covered in wax to protect them from the mechanical process, and it was hard to see how these would translate to anything as intricate as what would come next. Justin had closely studied images of a pattern not made since 1840, one with few surviving examples, and reconstructed the pattern by hand, a meticulous process. Then he and Andrew worked to punch the cards before lacing them together with thread. Finally, after a year of work, Justin threw the shuttle across the loom for the first time, operating the loom and the head with worn, rough-hewn wood treadles suspended above the worn wood floors and attached by thick twine to the loom. The jarring bang of both the Jacquard head and the old, massive loom became an unhurried, methodical rhythm. Slowly, over the course of a half an hour, the design’s words became readable on the coverlet. It’s a motto that Justin has held dear to his heart and one that he’s excited to start seeing again and again as he weaves.

“Agriculture & Manufactures are the Foundation of our Independence”

“I have always been inspired by New England’s past, by a rough-hewn beauty and reserved aesthetic, by a love of tradition and a sense of place.”
— Justin Squizzero

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Home on the Range

Home on the Range

For Brett and Leah, being born to life on the range is a commitment to the generations of ranching families that came before them. A commitment they are happy to fulfill.

Photography by Marisa Anderson

“There are many wonderful places in the world, but one of my favorite places is on the back of my horse.”

-Rolf Kopfle


Brett Williams is a 25 year old bareback rider. He started on his first bucking horse at 16 and grew up riding steers.

He later rode in the amateur and pro circuits across Canada and the United States.

Currently while on hiatus due to covid, he’s been enjoying the time at home working with his horses and cows.

Raising cows goes all the way back to his great grandfather. The passion for livestock and agriculture has always been a big part of his life. Even when life has taken Brett in different directions, he always finds his way back to the ranch.

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Leah Campbell grew up on the back of a horse. Her mother and grandmother were huge influences in her passion for horses. Her grandmother handed down their family brand “Quarter Circle Lazy Left M L” and she looks forward to growing her own heard with this brand on their hip.

She finds herself following in their footsteps riding in the mountains with friends and family often, just as they did- checking cows in the forestry before she was born.

Her passion for rodeo and working with young horses started when she was a young teen and currently competes on the armature pro-circuits working towards running Pro. After high school Leah received her Equine Sports Therapy certification and now work at a Equine Veterinarian Clinic that specializes is performance horses.

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