Eric Maggiori on the Culture of Vintage and the Power of Storytelling

• Interviews
• 6th May 2026

In the latest instalment of our interview series, we speak with Eric Maggiori, the vintage collector, journalist, and founder of Avant Magazine, about the early moments that shaped his interest in vintage clothing, the discipline of collecting, and the long process behind each issue of Avant.

We have carried Avant at Those That Know since the beginning, and its timeline runs almost in parallel with our own. Over the years, getting to know Eric has made it clear just how much thought, research, and care goes into each edition. The result is never just another magazine, but a considered printed object built around stories, garments, archives, and the culture that surrounds them.

The latest issue, Eric Maggiori’s Collection II, is available to pre-order now. It follows the first volume dedicated to Eric’s collection, a 1,000-copy edition published a few years ago that has long since sold out and become highly sought after by collectors.

You’ve said that your passion for vintage began in Tokyo in the early 2000s and deepened when you discovered workwear in Los Angeles.  I’m interested to hear about these early moments. What clothes, stores, or encounters first captivated you, and how they shaped your collecting philosophy?

I always say that nothing really predestined me to vintage clothing. And that’s the truth. Up until I was about 18, I had absolutely no interest in clothes. I was collecting all kinds of things, Dragon Ball Z cards, Panini albums, figurines, rocks… but clothes were the last thing on my mind. I was playing football and that was it. And then there was this trip to Tokyo in 2004.

I had just started my studies in Paris, and it felt like the right moment to try something new. I started by cutting my hair, getting blonde highlights, and for the first time in my life, I walked into a vintage store called WEGO. My brother had me try on an old pair of Levi’s, a vintage Made in USA T-shirt, a small corduroy jacket… and instantly, I felt cool. It was the first time I looked at myself in the mirror and thought, “Oh… okay. So this is what clothes can do.”

When I got back to Paris, I was completely hooked. With my best friend, Vincent, we started going to every thrift store in the city, places like Guerrisol and Frip’Star, just trying to find stuff. That’s when the passion really began. I started collecting old football jerseys, American rock T-shirts from the ’70s and ’80s, and even ’80s skate shoes.

There wasn’t really a goal behind it, it was more about style, about being different. I think deep down, it was about standing out, not doing what everyone else was doing. And then in 2011, there was this trip to Los Angeles that changed everything, when I discovered workwear. That’s when I really crossed over.

Avant launched officially in 2018, but the idea had been with you for years before that. What were the biggest challenges you faced in turning your personal passion into a high-quality magazine? What compromises or trade-offs did you have to make early on?

Yeah, it was definitely a long process. To give you some context, I’ve been a journalist since I was 18. I started writing for a rock magazine called Rockmag, even before I began studying journalism. Then, around 2010, I joined So Foot, which is the biggest monthly football magazine in France. I became editor-in-chief in 2014. What makes So Foot special is the way it tells stories. We talk about football without really talking about football, focusing instead on the human side of things, on the small, often overlooked stories. And that’s something I’ve always loved.

At the same time, as I got deeper into workwear and started traveling more and more to the United States, I kept hearing incredible stories. From vintage dealers sharing unbelievable anecdotes, to collectors who had traveled the world, and of course all the stories of the pioneers who helped build the country. I started writing those stories down, just so I wouldn’t forget them.

But very quickly, I realized I had accumulated a huge number of articles, enough to make a book. I could have taken it to a publisher, but in France, back in 2018, it would have been difficult to find one with the right sensitivity for this kind of subject. And since you’re never better served than by yourself, I decided to do it on my own. I teamed up with a very talented art director, Camille Gressier, and together we put together a 200-page book. And that’s how the whole adventure began.

Avant occupies an interesting space between magazine, anthology, and a collectible object. How do you define Avant’s editorial voice and visual identity? How does your background in journalism inform how you balance narrative, research, and imagery?

It’s funny, because AVANT kind of defined itself over time. At first, I wanted to create a magazine. That’s what I’ve always worked on, magazines. I even called it AVANT Magazine in the beginning, with sections and everything. But since we use a lot of old archival photos, it quickly became clear that doing a large-format magazine would be tricky, the image quality just wouldn’t hold up. So my art director suggested going with a book format instead. And honestly, that was the best decision we could have made.

It turned AVANT into a real object, something you can leave on a coffee table or keep on a shelf. The idea of having a painted cover comes from that same mindset. At first, I didn’t really know how to illustrate the cover, but I knew what I didn’t want. I didn’t want to do what Japanese magazines were doing, I wanted something different. And then the idea came up: why not an illustration? And as it happens, my brother is a painter. So he created the cover for the first issue, and it ended up becoming a signature element of AVANT.

When it comes to the writing and the research, that’s where I don’t compromise. I can spend weeks digging into a single detail. And most importantly, I don’t set any limits on the length of the articles. If an interview deserves 20 pages, then it gets 20 pages. The story always comes first.

Each issue of Avant explores a thematic domain – American workwear, French workwear, Western wear, etc.  What is your internal process or criteria when choosing a theme? How do you ensure you do justice to that subject without the project becoming overly broad or superficial?

Honestly, I’ve always trusted my instinct and gone with what felt right. The first issue was all about my passion: American workwear. And when you start collecting workwear, you quickly get into military garments, the two are closely connected. So naturally, I moved into militaria and did a book about it. It’s always worked like that.

The only time I really hesitated was with the Western issue. I was actually planning to do a French militaria issue, but my wife convinced me to go with Western instead. And you should always listen to your wife, because it ended up being the most successful issue of AVANT.

When it comes to the content of the books, it’s pretty much the same approach. I go with my gut. I try to find the right balance between storytelling, interviews, and strong visuals. But the main question I ask myself is simple: what would I want to read in a book like this? If it interests me, chances are it will interest the readers too.

Of course, over 200 pages, you can’t cover everything. There will always be stories you don’t have the space to tell. So I try to be as complete as possible, to avoid repeating the same kind of articles, and to keep things fresh. And then again… if I can’t fit everything into one book, there’s always the option of doing a Volume 2 a few years later.

Your covers often use original paintings rather than photography.  What role do you see the cover (and cover artist) playing in setting the tone for each edition? How do you collaborate with your brother Mark and other artists on visual storytelling?

It’s not that easy. Marc is a well-known painter, and of course, the simplest thing would be to have him do all the covers. But he’s very busy, and I also think it’s important to keep a certain diversity.

The challenge is that explaining exactly what I want to other artists isn’t always straightforward. First, you have to know how to speak to a painter. It’s a very specific language, with very specific terms, words that I don’t necessarily have (laughs). I usually have a clear idea in my head, shaped by my perspective as a storyteller and a vintage enthusiast. But then I have to translate that into something an artist can understand, often someone who doesn’t know much about vintage. And that’s not always easy.

On top of that, there’s the language barrier. I work a lot with American artists, and even though I consider myself bilingual, I’m not as precise in English as I am in French when it comes to expressing all the nuances and subtleties.

In a recent issue, you invited over 50 collectors, historians, dealers, and enthusiasts to share their stories. How did you go about selecting voices? Were there any narratives or perspectives you hoped to include but couldn’t, and why?

Yeah, I had to make some choices. Fifty people might sound like a lot, but when you think about the entire vintage world, it’s really just a drop in the ocean. To be honest, I initially made a first list and ended up with around 180 names. I thought, “Alright, two pages per person, let’s make it a 400-page book.” I came back down to earth pretty quickly (laughs).

Quantity for the sake of quantity doesn’t make much sense. I’d rather have fewer contributors and give them the space to really develop their ideas. So I gradually narrowed the list down. Some people I reached out to never replied, which, in a way, helped trim it down. But I’m really happy with the 50 people featured in the book.

Each of them has a different story, a different perspective, and that’s what makes it interesting. At first glance, it might seem like a niche book, but it’s actually a great entry point into the world of vintage. When you read it, you get a real overview of what this world looks like today, in 2026.

One of Avant’s strengths is uncovering lesser-known stories—brands, factories, regional craft traditions, forgotten makers. Can you share an example of a discovery you made during your research that surprised you (or changed your understanding of heritage clothing)?”

That’s a great question. I’ve made a few discoveries about certain brands, especially regarding their founding dates. For example, I found out that The Boss was actually the first workwear brand in Los Angeles, before Stronghold, even though Stronghold had always claimed that title.

But what really changed my perspective was understanding how European immigrants truly shaped the visual identity of the United States. In almost every article I’ve written about the history of American brands, there’s always a European immigrant at the beginning, a German (hi Levi Strauss), a Polish, a Ukrainian.

It’s the same story with Western wear. The whole rodeo tailor tradition of the 40s-50s, rhinestone suits, floral shirts, all of that was influenced by Balkan cultures. People like Nudie Cohn, Rodeo Ben, or Nathan Turk all came from Eastern Europe and brought their traditions with them. That mix of cultures is what helped lay the foundation for modern America.

As a collector yourself, how do you balance the emotional and personal attachment of garments with the more objective, historical or preservationist side of things? Do you ever struggle with over-attachment versus letting items go, or with the ethics of display vs. use?

I’ve always managed to keep a certain distance from the pieces in my collection. I think it comes from the fact that this passion started when I was already an adult. So there isn’t really any deep nostalgia attached to it.

The collections that really hit you emotionally are the ones you start as a kid. For example, my Dragon Ball Z card collection, I could never part with it. When I hold those cards, it takes me right back to my bedroom when I was nine. That’s what I’m looking for.

With vintage, it’s completely different. It’s a strong passion, but it’s more of an… intellectual collection, let’s say. The emotional side doesn’t play as big a role. Of course, there are pieces I’m very attached to, but mostly because of their historical importance, their beauty, and because I know that if I sell them, I’ll probably never come across another one like it.

I’ve sold some pieces that I regret today, but that’s part of the game. I wasn’t born a millionaire, so when I want to acquire a new piece, I often have to sell one, sometimes two, to make it happen. And in the end, I see myself as a temporary custodian of these pieces. I have them for a time, I take care of them, I research them, I give them a voice through AVANT. And once that work is done, sometimes it feels right to pass them on, so someone else can experience them in their own way.

In the age of instant, ephemeral content, what convinced you that a high-quality print anthology was still a viable medium?  Looking ahead, what do you see as the future of niche print publishing, especially in fashion and heritage circles?

I truly believe this kind of publication has a very bright future. With social media, everything moves so fast. You watch a video, you scroll, you watch another one, and you’ve already forgotten the previous one. I probably spend two or three hours a day on social media, and still, I couldn’t tell you a single piece of content that really stayed with me this year. Whereas a great book, a powerful story, that stays. It stays physically, of course, but it also stays with you. In your mind.

I still remember the books I read when I was 13. I remember articles that moved me, things I read 20 years ago. In a world that moves this fast, a book like this allows you to slow things down, to step into a different space. And honestly… it feels good.

For readers who are just getting serious about vintage clothing, what mistakes would you warn them against?

That’s a big one. Honestly, I could do an entire issue of AVANT just on the mistakes to avoid (laughs). But seriously, I think the number one mistake is getting into this thinking you’re going to become a millionaire overnight, just because some Instagram account told you your Mickey denim overalls could sell for $3,000.

If you want to make a living out of this, it’s a tough business. You have to wake up early. You have to get there before everyone else. You have to stay three steps ahead. And you have to accept that sometimes, you’ll come up empty-handed. If you’re starting from scratch, it’s really difficult. Don’t think you’re just going to walk into Goodwill, find 50 pieces for a dollar each, and flip them for $300. That’s just what Instagram shows.

Sure, once in a while, someone will find a Levi’s Type I for $13 at Goodwill and hit the jackpot. But for every one of those lucky guys, there are 99,999 others who walk out empty-handed.

So my advice to anyone getting into vintage would be this: why are you doing it? What drives you? What are you really looking for? You need to ask yourself those questions first. If you’re doing it because you genuinely love it, because you think about it all the time, because you spend your evenings on eBay or Vinted, and your weekends digging through shops and flea markets, then go for it. Go for it because your reasons are real. And most importantly: learn. Listen. Read. Ask questions. Stay curious. And stay humble.

Beyond the next issue of Avant, what are your ambitions or dream projects? Are there new formats, archival collaborations, exhibitions, or preservation efforts you’d like to launch?

Let’s start with AVANT. I’ve just released a new issue dedicated to my collection, titled Eric Maggiori’s Collection, Volume 2. I had already released a Volume 1 back in 2021, it’s now sold out and highly sought after by collectors. Since I promised I wouldn’t reprint it, I decided to create a sequel, which is already shaping up to be a classic (I hope). Then, later this year, I’ll be releasing an issue dedicated to Outerwear. I’ve been working on it for a long time, and now it’s finally ready. So that makes two releases for 2026.

But the big news this year is the opening of the AVANT showroom in the heart of Paris ! A space where people will be able to come, by appointment, to explore my archives, my collection, as well as a full library of vintage clothing references and all kinds of inspiration. My goal is to turn it into a true hub for Americana in France. The opening is scheduled for June 2026, and I can’t wait.

Ultimately, how do you wish Avant’s legacy (and your legacy!) to be remembered in the vintage community?

The best compliment I can get, and it’s happened a few times already, is when someone tells me, “Thank you, it’s thanks to you and AVANT that I got into vintage,” or, “I devoured an issue of AVANT even though I had no interest in vintage before.” That’s the most rewarding thing. If I can spark that kind of passion, if I can get people interested in history, make them ask why a particular garment had such an impact, help them understand the deep connection between clothing as a cultural object and the evolution of society, then I’ve done my job.

I’d like to be remembered as someone who’s truly passionate. And someone who managed to share that passion with others.

Order Avant Magazine: Eric Maggiori’s Collection Volume 2 now.