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Jason Kelce Takes ‘Made in the U.S.' Very Seriously

Jason Kelce Takes ‘Made in the U.S.' Very Seriously

New York Times24-04-2025

Jason Kelce, a mellow mountain of a man, has spent most of his life fretting over offensive snaps.
Now, a year into his retirement after 13 seasons as a center for the Philadelphia Eagles, Mr. Kelce has space to puzzle over other matters. Lately, he's been thinking about sweatshirts and T-shirts. And he has thoughts. Lots of thoughts.
'On the inside of a sweatshirt, I don't like when it feels fuzzy,' said Mr. Kelce, speaking on a video call from his Philadelphia home in April, just a few days after the birth of his fourth daughter. He wants a 'heavier-duty' sweatshirt, with a smidge of stretch. Something durable, 'that you can wear working or lounging around on the couch.'
Oh, and it needs to be made entirely in the United States.
To achieve all this, Mr. Kelce, 37, has taken matters into his own hands. Today, his Underdog apparel brand is debuting a tidy collection of crew neck sweatshirts and T-shirts, all produced — from the cotton to the completed garment — in the United States. These items are produced in collaboration with American Giant, a San Francisco-based company formed in 2012 that manufactures entirely in the United States.
The American Giant-produced Underdog pocket T-shirts and French terry sweatshirts will sell for $45 and $79, respectively, and will be sold on the Underdog website. They are, to Mr. Kelce's specifications, on the burlier side. During the interview, he wore the pocket T-shirt in green, his abundant biceps mildly squeezed by the sleeves.
'I don't want to offend anybody, I never understood the reason that somebody would want to wear Gucci, or some of these high-end brands,' said Mr. Kelce, leaving unsaid that his brother, Travis, has been known to wear a Gucci hat or two. 'It's never appealed to me.'
'I would much rather wear something that symbolized a blue-collar worker as opposed to a suit,' he added, even if he does have to wriggle into a suit when he appears as an analyst for 'Monday Night Countdown' on ESPN.
That Underdog's clothes are entirely made in the United States is the most gratifying part to Mr. Kelce.
'I grew up going into steel mills with my father,' he said of his childhood in Cleveland Heights, Ohio. 'So, the concept of American workers making things was something that was ingrained early. And I just always gravitated toward it.'
Mr. Kelce has long been plotting for life after his last snap. In 2022, he started the 'New Heights' podcast with his brother. It remains in the top 200 of Apple's top podcasts, though it now runs behind his wife Kylie's show, 'Not Gonna Lie.'
While many retired athletes pour money into car dealerships or restaurant ventures, Mr. Kelce became curious about clothes.
'I was trying to come up with what's a way that we can celebrate Philadelphia,' said Mr. Kelce, who is nothing if not an unofficial ambassador for his adopted city. 'And I love wearing shirts that represent me and everything that I believe in.'
He started Underdog in 2022 as an apparel brand with vigorous nods to Philadelphia. Past graphics featured his Eagles teammates, and the name alludes to the Eagles having labeled themselves as underdogs on their way to winning the Super Bowl in 2018. It is a unique proposition from a former athlete, and one that has, to many outside the Eagles fandom, perhaps flown under the radar. Underdog does not have the techy edge of say, Tom Brady's slick, fitness-centric Brady brand. It leans more on Mr. Kelce's jolly, jumbo-size profile than on his on-field prowess.
The label has made prior attempts at producing in the United States, though Mr. Kelce soon learned that even if the tag said an item had been made here, 'a good portion of that might be made overseas.' Garments that read 'Made in the United States' can be produced from cotton or other components that derive from elsewhere.
In American Giant, Underdog found a partner that was capable of producing the whole garment, including the fabric, here in the United States. The cotton was harvested and finished in the Southeast, including in North Carolina. The garments themselves were produced in Los Angeles.
'These fabrics were custom-designed for Jason,' said Bayard Winthrop, the chief executive of American Giant who underscored that the ex-Pro-Bowler 'had lots of small opinions' about how the shirts and sweats should fit and feel.
'The shirts have a really gutsy, sturdy quality to them,' said Mr. Winthrop. 'They drape a certain way. They're not clingy to the body. They're not overly delicate.'
Last year, Mr. Kelce traveled with Mr. Winthrop to North and South Carolina see the production process firsthand, giving him a look at how clothes are made that few people ever see, or even consider. With most apparel manufacturing having been exported overseas, only 2 percent of the clothing Americans buy is manufactured domestically.
'The eye-opening part for me was how truly decentralized this is, how many people touch just one T-shirt and how many steps there are in that process,' said Mr. Kelce. 'I had never really thought much about that.'
Though this project has been in the works for around two years, it debuts at an auspicious moment, as Americans are contemplating what they're willing to sacrifice — macro- and micro-economically — to bring back American manufacturing. Hours before the interview, President Trump pulled back on steep tariffs that had unsettled the global economic landscape, though a tit-for-tat trade war with China has continued.
'I have no issues with global trade whatsoever,' said Mr. Kelce, who was evenhanded about the impact of his small stab at making his goods solely in the United States. He was, he said, not going to stop buying shirts and clothes that were not totally made here.
'I don't think there's any type of statement trying to be made other than, 'Listen, there's some really awesome reasons to support homegrown American businesses and local businesses,'' he said.
Considering Mr. Kelce's longstanding love affair with Philadelphia, it may strike some shoppers as odd that the Underdog line is not produced there. It was discussed, but the reality, said Mr. Winthrop, was that Philadelphia, like many cities that were once manufacturing hubs, was 'gutted out' when it came to apparel production.
'There is no at-scale dyeing or finishing or knitting capability in Philly,' he said. Mr. Kelce said that in the future, the company would find ways to incorporate the city into its brand. His partner, Stephen Porter, noted that anything Underdog screen printed or embroidered was done locally.
The line might not be made in Philadelphia, but his green shirt proved that Mr. Kelce knew he had to keep his fans happy.
'Philadelphia bleeds green,' he said. 'If we didn't have a green shirt, it would have felt like malpractice.'

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You have to look at them in terms of, did they each have the same rhythm? Are they each really featuring the same characters and storylines? You have to think about it in terms of, 'If people do three at a time, what's their experience going to be?' It's terrible. The talk of the town is runaway production and how to stop it. Scott, 'The Pitt' is set in Pittsburgh and you did film exteriors there, but principal production happened on the Warner Bros. lot. Talk about why that was important for you. Gemmill: The show could have been shot in Moose Jaw. But it was important to bring the work here, so we fought really hard to get the California tax credit. The most important part of my job besides writing producible scripts that are on time is to keep my show on the air as long as possible, to keep everyone employed as long as possible. And that's the thing I like the best about it. This is the first show that Noah [Wyle]'s done since he left 'ER' that's shot in Los Angeles. It's a shame. There's more production now, but when we first were at Warner Bros. for this, it was a ghost town. It's so sad because I've been in the business for 40 years and still get excited when I go on a lot. And to see them become unused just because it's cheaper to shoot somewhere else ... and there's so many talented people here, and it's hard on their families if you have to go to Albuquerque for six months. I don't ever want to leave the stage again. Mazin: We did our postproduction on the Warner Bros. lot, but we shoot in Canada. And I love Canada. But yeah, of course, I'd love to be home. I like doing postproduction here. I'll take what I get. The financial realities are pretty stark, that's the problem. If you are making a smaller show, the gap is not massive. If you're making a larger show, every percentage becomes a bigger amount of money and also represents a larger amount of people to employ. But what's good is it seems like they're starting to get their act together in Sacramento. I do worry sometimes it's a little bit too late, because the rest of the world seems to be in an arms race to see how many incentives they can give to get production to go there. I'm hoping that at least we can start to move the needle a bit because, listen, that Warner Bros. lot, when I was a kid starting out, I would go on that lot, I would see the little 'ER' backlot with the diner and all of it. And I was like, 'That's on TV. It's here.' And now I walk around the Warner Bros. lot and it's just a single tram full of tourists and no one else. And it's so, so sad. LeFranc: It's really heartbreaking. You used to be able to write what you're doing, produce, do post all on the same lot. You had a family that you were able to form, and you could mentor writers. I would not be able to be a showrunner if not for all the people who came before me who mentored me, and I could walk to set, produce my own episode, and then I can walk to post. It's so hard now where you're asking writers, especially if networks aren't paying for writers to go to set, 'Can you pay for yourself to fly to New York?' It just makes it so hard to be able to educate people in the way that I feel like I was privileged enough to be educated. What are we going to do about that? Gemmill: Mistakes get made. The best part about the whole business is it's collaborative. But when you're separated by thousands of miles, sometimes there's a disconnect. Before we wrap, please tell me what you're watching. Jen, we were talking about 'The Valley' earlier. Rogen: Oh, I watch 'The Valley' too. It's amazing. Do you watch 'The Valley' aftershow? It's almost as good as 'The Valley.' Statsky: I'm really worried about Jax. Rogen: We watch reality television. I see the blank looks on everybody's face. Statsky: We're in comedy. Mazin: I can't believe how scared I was when you were talking, and then how good I felt when you're like, 'It's a reality show.' Statsky: So, you know 'Vanderpump Rules'? Mazin: Ish. Statsky: It's an offshoot. Rogen: Which is an offshoot of — Statsky: 'Real Housewives.' Mazin: This is an echo of an echo. Go on. Statsky: Yes, it's an echo of an echo of garbage. Rogen: But it's so good. Statsky: But it is the worst indictment of heterosexual marriage I've ever seen. Rogen: Yes, it really is. Mazin: Oh, so incidentally, the San Fernando Valley is what it's [about]? It's about Valley Village. Statsky: Valley Village. It's the couples that have moved to the Valley and are having children and — Rogen: And they are all in very bad places in their lives. It's amazing. Statsky: You think [in] reality shows most people are in bad places. That's sadly what people want to watch. These people are in particularly bad places. Rogen: And the show seems to be compounding it, I think. Statsky: Yeah, weirdly, being on a reality show is not helping their problem. Rogen: I find that I watch reality TV because when I watch all of your shows, I find them intellectually challenging. They make me self-conscious, or they make me inspired or something, which is not how I want to feel necessarily after a long day at work just watching something. And so reality TV makes me feel none of those things. It in no way reminds me of what I've done all day. Mazin: If you make me dissociate, I'm watching. Statsky: You're going to love it. But once you start watching, Jax owns a bar in Studio City. We can all go. We can reunite. Mazin: I've gone to that bar. Rogen: You been to Jax's? Mazin: Yes, I've been to that bar. Statsky: Wait, hold on. But everyone else in that bar was there because they watched the reality show. Why were you there? LeFranc: Out of context, I'm so invested in all this. Rogen: You've got to watch it. ... Nothing I will ever make is as good as 'The Valley.'

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