Born in tailoring. Made for golf. Q’aja returns with the same belief that started it: what you play in should be considered as carefully as how you play.
Watch the film ↗Q’aja came from tailoring—from understanding how cloth falls, how a collar sits, how a trouser breaks and how a garment moves with the person wearing it. The idea was never to dress golf like the gym. It was to bring the discipline of a tailor to the game.
Tony’s Union Jack Q becomes a house signature for the next chapter: the same recognisable Q, refined as an emblem that can live on a cap, a chest, a buckle or a label.
A tailor first. Golf came later.
Tony Q’aja approached golf clothing differently because he came to the game as a tailor. Where others saw sportswear, Tony saw cut, proportion and cloth: how a trouser should fall over a golf shoe, how a collar should sit, how a waistband should fit, and how a golfer should move without sacrificing the line of a garment.
Those ideas became Q’aja. His clothes appeared on Tour and the brand built its reputation around individuality, fit and details conceived specifically for golf.
Q’aja lost its founder, its designer and its great character. The brand reached a crossroads: end the story there, or continue what Tony started.
We chose the second.For Tony’s children, Q’aja is more than a brand name. It is their father’s name, his life’s work and part of the legacy he left behind.
Each of Tony’s children carries a Q’aja tattoo in honour of their father — a permanent and deeply personal connection to the mark he created.
They are part of the story of Q’aja’s return. Their involvement in the business will be determined by what feels right for them and for the future of the brand. But Tony’s legacy — and the responsibility to treat it properly — is integral to what comes next.
The next Q’aja is not an attempt to replace Tony. It is built around what he left behind: his ideas, his archive, his standards and his belief that golf clothing should look every bit as considered as it performs.
“Tony called it an evolution. We’re continuing it.”
The archive did not sell fit as an abstract idea. It showed the work: cloth on the table, tape in hand, and garments built around proportion. That discipline is the bridge between Tony’s tailoring background and the next Q’aja collection.
Tony later listed the details he brought into Q’aja golf clothing. They form a useful design language for the next generation of the brand—not museum pieces, but starting points.
Created to let a tailored trouser fall properly over a golf shoe. A small intervention that became widely seen in golf.
A polo collar treated as tailoring rather than an afterthought—including Q’aja’s interchangeable-collar idea.
Fit changes. Q’aja’s ready-to-wear trouser used an adjustable waistband to tune the garment to the wearer.
Marker pocket, scorecard flap pocket and open glove pocket: details developed around how golfers actually play.
Cut with the golf swing in mind, allowing movement without surrendering the silhouette.
Cool wool, merino and considered blends: performance chosen through cloth as well as technology.
Collar, body, colour, stitching and piping could be selected—a tailored proposition before online customisation became commonplace.
Colour and personality without costume. Sophisticated style was Tony’s own description of the Q’aja ethos.
A small cut with a tailoring purpose. Q’aja’s own retail material records a “stylized slit on the front hem” as one of four Features & Innovation details. Earlier accounts record Tony describing the creation of the V-slits at the hem and their use on Darren Clarke’s trousers.
Modern Q’aja design interpretation — informed by the original Florence Trouser archive.
Not one shirt. More than one expression.
The Q’aja retail archive called the Milano Polo a unique collection with interchangeable collars and described three collar styles in one shirt. The collar was treated as a changeable design element rather than a fixed afterthought.
The flag should be discovered, not shouted.
The next Q’aja takes inspiration from Tony’s Union Jack Q and moves the idea inside the garment: under a collar, behind a placket, within a waistband or beneath a cap peak. From the outside, restraint. Up close, unmistakably British.
The Milano archive already made the collar a changeable Q’aja design element. This develops that idea into a modern house signature rather than inventing a disconnected motif.
A flash of British colour only when the collar moves or turns.
Heritage facing hidden inside the tailored adjustable waist.
Clean exterior, with the house story revealed underneath.
Founder acknowledgement inside selected pieces: The story continues.
One silhouette across monochrome and British heritage treatments.
Structure, interchangeability and a hidden house signature.
A tailoring solution retained because it still has a job to do.
Labels, stitching, hardware and cloth considered at close range.
Original imagery retained from the Q’aja archive. The people are part of the brand’s history; this is a record, not a claim of current endorsement.
Take the codes that made Q’aja distinctive and make them relevant again.
A proper collar. A considered body. Performance without looking like sportswear. Clean outside; a discreet British-inside treatment beneath the collar.
Tailored line, adjustable waist and the Q’aja V-slit—reinterpreted for the modern game.
Fine-gauge merino and natural performance, built around Q’aja’s long relationship with wool.
Course to clubhouse without changing character. Tailoring belongs in the collection.
Quiet branding. Good proportion. One of the simplest ways into the house.
The halo: personal fit, cloth and detail. A modern return to the service that built the reputation.
Tony discussed Friends of Q’aja in 2009: access to bespoke products, limited editions and fitting advice. The next version should be a genuine house membership—early access, private fittings, archive releases, golf days and pieces made only for Friends.
Join the returnTony started the story.
Now Q’aja carries it forward.
Not a museum piece. Not a replica of what came before. A living golf house built from the standards, details and character Tony established—and designed for what comes next.