Hey Y'all!

I ordered these Nick's Handmade Boots Palouse Outriders in November of 2024. They arrived at my doorstep in August of 2025. They are about 9 months old now.

The Palouse Outrider is a western style boot. The lower is Walnut Bull Hide and the upper is Predator Orange. These are on the 55 last with a classic logger heel. They have natural edge dressing.

These are a size 9C. My brannock size is a 9.5D. I followed the Nick's sizing guide and came up with 9C. I have a pair of White's Semi Dress boots that are a 9D. I do have a lower volume foot so the 9C was a great choice. I find that these fit exactly like I want them too. I did have heel slip when I first purchased them but now it is almost non existent.

The quality of these boots is impeccable. The leather is amazing quality. The stitching is solid. This pair of boots did not have any flaws when I received them.

I have been wearing these boots about every other day. I rotate between these, White's Semi Dress, Alden Indy Boots, Red Wing Iron Rangers... you get it I own too many boots.

I work as a commercial photographer and my job takes me from board rooms to industrial construction sites. These boots have been everywhere that steel toes are not required. I also wear them at the barn on the weekends a good bit. I have been stepped on by horses etc and these boots have done well.

I love the blend of workbook and western boot. I have always been a big cowboy boot fan but have only owned 1 other pair as an adult. I grew up wearing cowboy boots then moved to a big city where they were not cool. Eventually I decided I did not care about being cool and started wearing cowboy boots again. My family has owned a logging operation for 100+ years so I like the blend of cowboy boots and work boots that these offer.

Anyway 9 months in and these boots are awesome.

Received this pair of William Lennon 78PTC boots a while back and thought they might be interesting to share here, especially since there is not a huge amount of information out there on their more customized configurations.

Specs:

• Base Boot: 78PTC
• Size: UK 9
• Leather: Natural Chromexcel
• Construction: Brass wire screwed construction
• Last: Army semi-sprung last
• Toe: Polycarbonate structured toe with plain toe cap and 3 rows of stitching
• Sole: Triple leather sole with stacked leather heel
• Outsole: Vibram Grizzly forepart and heel
• Hardware: 5 antique brass eyelets + 2 speed hooks
• Shank: Wooden shank
• Counter: Polycarbonate heel counter
• Tongue: Half bellows tongue

The reason I went with William Lennon originally was because I’ve always liked the older British workboot aesthetic and the whole brass wire screwed construction method. There is just something mechanically satisfying about it compared to modern stitchdown or Goodyear welted construction.

The boots themselves turned out excellent. The Natural Chromexcel has a lot of variation already and should age very nicely. The build feels extremely solid overall, especially the heel structure and sole setup. The Army semi-sprung last also ended up being surprisingly comfortable for me right away despite how substantial the boots are.

A few initial impressions after handling:

The Natural Chromexcel is noticeably thicker and stiffer than some of the Horween CXL I’ve handled from other makers, which honestly suits this type of boot well. Clicking is also quite good overall with a lot of character and variation already visible.

The triple leather sole and Grizzly setup makes them extremely substantial underfoot. They are definitely not lightweight boots, but the Army semi-sprung last gives them a surprisingly natural forward roll while walking.

The finishing is also much cleaner than I expected given William Lennon’s reputation for being more function-oriented than refinement-oriented. They still feel very much like old industrial/work boots rather than modern luxury reinterpretations, which is exactly what I wanted.

Sizing also ended up working out very well for me. I am roughly a Brannock 10E and went with a UK 9. The fit is snug but comfortable with enough room in the forefoot that width has not been an issue at all so far.

Break-in so far has mainly been stiffness from the sole stack rather than pressure points from the upper. The structured toe and rigid heel counter make the boots feel almost armored compared to most modern service boots.

What makes this pair especially interesting to me is that they were originally supposed to be part of a direct comparison.

Around the same time I ordered these directly from William Lennon, I also placed an order with Goral for their Buxton Brass Wire Boot, which uses the same brass wire screwing machinery and manufacturing base.

The idea was essentially to compare:a more traditional/utilitarian William Lennon configuration vsGoral’s more refined interpretation of the same general concept.

Part of the reason I was interested in the Goral version was actually because William Lennon has a reputation for being somewhat more function-focused in their finishing and clicking, whereas Goral seemed to position their version as a slightly more refined execution.

Unfortunately the Goral order ended up being delayed significantly beyond the original estimate and the situation eventually turned into a cancellation and an ongoing refund process, so the comparison never fully happened.

In the end though, I’m very happy that at least one pair of brass-wire boots made it to Sweden.

I am a boot designer based in Berlin, Germany.

This is the hand-welted prototype for my combat-style boot. It is a first version to test the look and feel as well as the construction before moving to production. My goal is to develop a classic yet fashionable boot made from the highest quality materials and construction methods. The boot is designed to sit in the space between a rugged, utilitarian silhouette and an elegant "dressy" character with a modern European vibe to it.

Current prototype specs:

• Upper: Tochigi vegetable tanned full-grain cowhide (Oil Vachetta)
• Construction: 360° flat welt
• Outsole: Vibram Mini-Lug full sole

Design intent:

The silhouette is deliberately substantial – a thick sole, square toe box, and a tall shaft give the boot its rugged, grounded and partially aggressive character. At the same time, the generously rounded quarters, clean lines, and pronounced heel are meant to introduce an elegance that lifts it out of pure workwear territory into a more fashionable space. The shaft height is designed to allow cropped trousers without showing any leg of sock. The Outsole was chosen to ensure grip without appearing to functional. The goal is a boot that reads as refined without losing its weight and presence. It should work as well with wide-legged or flaired trousers as it does with raw denim.

Further considerations:

For the final version, I am currently considering to change the leather to Vocalou calf from Tannerie d'Annonay – a semi-aniline glazed boxcalf known for its Shell Cordovan-like finish and exceptional patina development. The tannery has been producing boxcalf since 1872 and is today part of the Hermès group. The idea behind changing the leather is to achieve a higher gloss, a less grainy finish and reduce the total weight, thus resulting in an overall more elegant look and feel.

Further, there are still a few design adjustments I want to make before finalizing the production sample – particularly refining the back curve of the shaft for a slightly more tapered silhouette, while keeping the full, rounded character of the quarters intact. Also, I am planning on changing the eyelets and speed hooks to black polished metal. I am also experimenting with different shaft and heel heights to level out comfort and character.

First things first: tools used (this is a HUGE stickler of mine. It’s so much easier for someone to get into shoe repair if they know what tools to get in the first place and don’t spend an enormous of amount of time and energy just figuring out what tools and supplies to get).

1. CS Osborne Peg Awl Haft #143, Groz Beckert Jerk Needle #6 (available as a unit from MzzTrzz.com)

2. 1.0mm Ritza Tiger Thread (Amazon, etc)

3. CS Osborne Side Cutter Staple Remover #787A, Amazon, Cutex Sewing Supplies.

4. CS Osborne Leather Working Hammer, 9 1/4”, Weaver Leather Supply.

5. Various mini picks, pliers, hooked carpet blades, snap blade knives, razor blades, etc: Harbor Freight.

6. Gemming for Inseaming: SorrellNotions and Findings.

7. Replacement Thread Stand for Master Tool Cub, Weaver Leather Supply.

8. 12mm French Skiver, Buckleguy.com

9. Barbour Storm Welt, black. (Unfortunately I can only find it available from shoe supply shops, that oftentimes you need an account to access.)

10. CS Osborne 799 Heel Pry (Amazon)

11. CS Osborne Shoemaker’s Pincer #93 (Cutex Sewing Supplies)

That should cover most of the tools used for welting this pair of boots, at least the more difficult to search for, specialty items. Of course this not every tool or supply used in a re craft, but the ones I feel that most apply to this specific process.

This post is intended to expand the knowledge available when it comes to re welting a pair of Goodyear welted boots. Sure, you can watch it on YouTube, but very often, the detail necessary to try it yourself is lacking. Speaking of other sources of knowledge, I recommend Harry Roger’s excellent book, Making Handmade Shoes: A step by step guide, available on Amazon. Even if you never intend to repair or make welted footwear, it is well worth a read.

The boots used in this post are circa 1980 production Chippewa “Sport Boots”, manufactured in Chippewa Falls, Wisconsin. Chippewa existed as a shoe manufacturer with a unionized workforce in Chippewa Falls from 1901 until February,1984, when Justin Brands acquired them and moved all production to Texas. As of this writing (2026), all boots with the Chippewa name are made outside of the US.

The boots themselves are in excellent, sat in a closet for 40 years shape. Just need to freshened up with new rubber and cleaned, conditioned, etc. I would rate them as a step above both current and past Red Wing Heritage offerings in quality. They use a unique hybrid gemming/holdfast design on the insole that I haven’t seen before and presented an opportunity for some out of the box thinking. The hardware is a little better quality, the leather a little better, etc. A high quality, 360 degree welted boot!

Like so many things, the crux of successfully re welting a boot is the ability to pay careful attention. The “hardest” part in my opinion, on a 360 welt, is starting and stopping.

After a successful, safe teardown of the sole/midsole and welt (you can find examples of this on YouTube) with the pincers, heel pry, and hooked carpet blades, the old welt can be removed. In this case, this old welt was in good enough shape to be removed the “easy” way: starting past the joint and its “ending stitches” (which are oftentimes a mess, easily discerned by a mess of knots), gently pull the welt away from the upper with mini pliers, and carefully cut a welt stitch. I use a snap blade knife for its size and ease of use. Once the welt has been started, you can pull it away and slip the knots of the lock stitch, all the way around. You can then pull the “end stitches”, carefully. I like to use a pick and a knife to individually pull them. The process can’t really be described well via text.

Once the welt has slipped the stitching, I pull the stitching out of the gemming. I start at the same place (past the joint) , and pull the stitching loose with a pick, and then cut it free from the “end” side. Then you can then grab it with mini pliers and pull the whole stitch out of the gemming.

You can see examples of what I have described on various channels on YouTube. Hard to describe via text!

Now, the next part is not often done, but on an old, old pair of boots with a leather insole (>10 years), it is oftentimes necessary to remove the whole insole. Both to take the set of of the previous wearer out, and to rehydrate and condition them. Sometimes the insole needs to be replaced entirely. The insoles on this pair of Chippewas were in GREAT shape (little moisture damage), high quality, and had the unique hybrid gemming/holdfast design. Needless to say, I wanted to re use them.

INB4 “bUt tHe bOOts wiLL lOsE sHaPe”!!

That’s not the kind of boots these are. These boots, and many others, do not rely on the insole board for a specific shape, particularly in the arch. 45 year old Lucchese’s? Not recommended to pull the insole unless you have the specific last to re shape it to.

Now, the tool I use to remove the factory lasting staples (the tiny little staples used for the upper to the gemming at the factory), is the CS Osborne 787a side cutter. I mention it specifically by name because it’s easily the best tool I have found to do this very specific task. It’s important to be able to differentiate between the upper and gemming insole, and cut between them, carefully.

Once the lasting staples have been removed, the old gemming and as much cork as can be safely removed are…removed. I like to strip the insole board down as close as I can to bare leather. Then, I rehydrate in a bucket of water (until the bubbles stop, usually a half hour plus or minus). Condition with Bick 4, let air dry with a weight to prevent curving. After dry, I condition again.

On this particular insole, it uses a “wall” of leather carved out of the insole to attach the welt to, and the gemming is really only used as a backer. So I had to cut the gemming down and cement the side to the “wall”.

After I let it cure for a day, I pre stitch the insole to the upper. Because I want to make sure to use all the factory holes, I would pull the thread through one hole, and jump ahead to the next, pulling back the upper to see. Due to the design of this insole, I wanted everything to be as lined up and easy as possible to guide the jerk needle through when welting.

Welting Process:

I measure the welt out by carefully wrapping it to the boot, and go to where I have about two inches extra. I like to start and end my welts about where the heel counter ends, out of the way of any flex point. I find it easiest to make a diagonal cut for my splice. Hard to photograph!

I dunk my welts for a half hour and let them soak, and keep them wait by periodically spraying with water. Basically, I am “wet forming” the welt to the boot in this way for a nice snug fit when the welt dries.

To start, I start at the 3rd hole from the beginning. The previous two holes I use for the splice joining, and then to tie off the the welt thread. Welting, in my mind, is all about the 90 degree angle. The 90 degree angle between the welt and the upper, and the 90 degree angle between jerk needle and the upper. You want to drive the needle in straight, being aware of how much “gas” you’re giving the needle as you push it through the hole. Truly one of the things you need to have a feel for!

I pull my lock stitch tight, bare handed with no gloves, while making sure to have my elbows locked at yet another 90 degree angle and using only that part of my arm (below elbow) to pull the thread tight. Even if you don’t consider yourself that strong, you can snap any type of thread with your body weight, etc, on it.

On this pair, due to the insole design, I did not mark the stitch holes with a marker, but on a different pair, it’s never a bad idea.

Going around the corners: I make sure the welt is wet with the spray bottle. Depending on the boot and its size, some curves are sharper than others. If the welt is wanting to curve up, I flatten it with a smooth face hammer. You may have to do this multiple times, but I like my welt sitting as flat as possible before drying.

I always try to run the welt as close as possible to its joint before I make my second, final cut of the welt. This helps avoid cutting the welt too short. Basically, I line up the pieces on top of each other, and match the cut of the starting piece, and VERY CAREFULLY cut the excess with a sharp, fresh razor blade. Then I make my joining stitch (first blank whole at the start) and then cut my thread about to where I have two foot long pieces, and pull through the welt side to the gemming side with a needle, and tie the welt thread off. (2nd blank hole).

Hopefully this post is educational and answers some questions. Hard to do via text, but it’s here.

Thanks,
Brad

Took these out for a walk on Sunday. This is my own pair, built on a last I adjusted custom for me. I don’t post my own builds that often so I figured it was time.

The Last

Same last I use as a base for most of my work, adapted slightly for my own foot. Rounded toe, clean waist, sits somewhere between a work boot and something more refined. The lace-to-toe configuration changes how the boot fits through the instep and gives more adjustability across the vamp, which I wanted for a pair I’d actually be walking in regularly. The toe box is full enough to be comfortable over long distances without losing the shape that makes the boot worth looking at.

The Leather

Upper is horse butt sourced from Conceria Cloe, a small Italian tannery with a single focus: horse leather. They produce shell cordovan, horse avancorpo, and horse culatta, all vegetable tanned in pit using European raw horse hides. The horse butt sits between the culatta and the cordovan layer. It has a tighter fiber structure than most bovine leather, holds its shape well under stress, and develops a patina that goes deep rather than sitting on the surface. The color is a hand-dyed rust brown, built up in layers directly on the unfinished hide. Because there’s no surface coating, the dye goes straight into the fiber and the tonal variation across the surface is real, not printed. That variation deepens over time as the leather wears in and the natural oils come to the surface.

The Construction

Handwelted, holdfast carved directly into the insole. No separate rib, no machine welting. Single piece of leather between the foot and the bottom of the boot. This construction flexes naturally from early on and can be resoled repeatedly without touching the upper. Brass eyelets and rings throughout, not plated they’ll patina alongside the leather. Rubber sole with a rubber heel for grip and longevity.
Rubber sole is from Dr. Sole.

These have some miles on them now and the leather is starting to move in the right direction. The patina on horse butt at this stage is exactly what I expected, slow to start, but the depth is already there.

These shoes are special, as it was this pair that introduced me to the world of fine footware. It was grad year and I was travelling in Germany. Growing up in a sheltered household, embarking on a solo trip abroad was a small leap of faith. In a fateful encounter, I walked past the Dieter Kuchelkorn store. I knew nothing about shoes, but this looked like a serious shoe store, and I was drawn in. What unfolded was a blur, but I saw the pair with the steepest discount (still incredibly expensive) and walked out of the store with them. Knowing what I know now, would I have made the same choice? Brown and white saddle shoes with a green liner on a rubber sole? What was I thinking? At the time, these were my first pair of high quality (and expensive) shoes and was my intitiation into the world of footware.

Through the years, these shoes went through thick and thin, from balls to hikes, hallways to boardrooms, and just a few too many sticky-beer floors. They’ve had Topy covers, veg-tan soles with rubber still sandwiched inbetween, weird edge dressings (that nasty rubbery stuff), and horrible cobblers that ground down the welt and moulded back the stitches with wax. After a decade and a half of use and abuse, the litany of patchwork repairs was stretched to its limit and a full rebuild was the sole recourse (excuse the pun). Needless to say, I was quite excited to finally bring them to a reputable cobbler and give them a breath of life. This was my first time working with Patrick Nijdam at The Cobbler Ltd. in Vancouver (formerly known as The Quick Cobbler). Aware of the amount of biblical amount of work ahead of us, I was understandably nervous. Having heard great things about Patrick, I placed my trust in him. A decade and half later, I was once again taking a leap of faith with these shoes.

Fast forward a couple months, as I returned to pick up my shoes, I anxiously suspended my expectations. When I finally saw them, I was taken aback, fully in awe of their splendour. This was a full recraft, and while the uppers were familiar, the new welt and soles completely rejuvenated their tired and worn appearance. The open channel stitching was even and precise, with the JR crest proudly emblazoned on the soles and heels. Mounted on a double sole and a stacked heel, the highly polished edges leant a look that was robust, yet refined. The welt was cut tight and the joinery was seemless, the meticulous handiwork of a master of his craft. Needless to say, I was impressed with Patrick’s work, and more than excited to continue my journey with these shoes for many years to come. This time, safe in the knowledge that I have a master cobbler to address any of my shoe maintenance needs.

These are hands down my favourite pair of Docs I own and I just wanted to share this.

Picked these up while thrifting for literally 20 NZD and I honestly couldn’t believe what I was looking at when I noticed the made in NZ stamp inside. At first I just thought they were a cool vintage brown pair of 1461s, but after doing a heap of digging online I realised they’re actually a pretty unique part of Dr. Martens history.

These are Dr. Martens “College by Accent” 1461s, produced sometime between ‘80s to mid ‘90s (not 100% sure on the exact year). What makes them special is that they were the first Dr. Martens ever manufactured outside of the UK.

The crazy part to me is that they were made in New Zealand, specifically in Dunedin - my hometown.

From what I could find, the Accent Group obtained the rights from Dr. Martens to manufacture them locally out of Dunedin during the late ‘80s to mid ‘90s. They’re still genuine licensed Docs and seem to have become pretty impossible to find (at least online where I’ve looked. I’ve read that the NZ-made pairs are rated really highly because of the leather quality and overall construction.

Honestly, finding out these came from my own hometown made me appreciate them way more. Dunedin’s got a pretty strong history with manufacturing and old-school craftsmanship (but young to the rest of the world lol), so it’s cool knowing a small piece of Dr. Martens history happened in NZ of all places.

The leather on these is insanely nice too. They’ve got that worn-in look without being trashed, and they feel super solid compared to a lot of newer leather shoes I have. I took them to a cobbler and the soles still have heaps of life left in them and even the original markings are still visible underneath. I love all the little details like the old “College by Accent” branding and the translucent brown sole.

I also just think the colour is unreal. You don’t really see many vintage Docs in this shade of brown, especially not 1461s with this sort of shape and age. They look even better in person than in photos.

I’m definitely keeping these forever. Even if they aren’t worth anything, the combination of the history behind them and being made in my hometown makes them one of the coolest thrift finds I’ve ever had.

Also still can’t get over the fact these were sitting in a thrift store for 20 bucks lol.