“White jeans on a man? Awful!” Being a man who wears, and enjoys wearing, white jeans I was rather put out. Never a man to back down from a conflict I asked why, in the wonderful but also rather terrible world in which we live, men in white jeans should be the subject of especial disgust. White being an increasingly common tone for attire, particularly in the spring and summer months, I was curious as to the distaste for white denim. Was it the case, I asked, that women in white denim caused similar feelings of revulsion? Apparently not. It was not, they meandered, “…something about them getting dirty” it was that men belonged in dark trousers; “If a male friend of mine tries on a pair of white jeans, I reject them immediately.”
White trousers have also been the subject of debate on my own blog where some have commented that I should not wear them in winter or, irrelevantly, “before Labor day.” Firstly, a bright, rainless winter’s day is a perfect opportunity to wear white trousers or denim and secondly, not being an American, ‘Labor Day’ is about as important to me as the breakfast of the tenant at 1600 Pennsylvania Avenue. What I am interested in is style and, believe it or not, I happen to think that white trousers and yes, white denim, are handsome, striking and if worn correctly, flattering. White reflects heat and light which is why it is used so enthusiastically in the warmer periods, making it a sensible choice too.
The problem my companions had with jeans was unfathomable but I could only conclude that they had not seen them worn properly. Unlike classic indigo jeans, I believe white denim should be worn in a fitted style – baggy legs, baggy seat and excessive length are bad enough attributes without adding the eyecatching brightness of white. The second problem is that men, generally, wear jeans in a very casual context – T-shirts, trainers, hoodies etc. Again, adding such items to an ensemble is counterproductive; trainers in particular make almost any outfit look repulsive. White is a colour of respectability and nobility. Clean white cloth was one of the clear differences between a gentleman and the rest. It has always been worn by the wealthiest patrons of male fashion who, particularly in the early twentieth century, paired their white trousers with blazers and buck shoes.
Jeans are certainly more contemporary but that does not mean they will look wrong in such a context; a smart navy blue linen jacket worn with a sky blue shirt, rolled-up white jeans and brown driving shoes is a practical and stylish look for a warm day – a look utterly ubiquitous at Pitti Uomo.
For more details about bespoke suits and shirts, please go to TailorU's website.
2010年4月29日星期四
2010年4月26日星期一
Bespoke Suits and Colors
Summer begins to creep into our lives. The fresh, light colors of spring get a bit more intense and any outfit lacking in a dash of color seems out of place. But, that dash can be anything from a pink sportcoat and some go-to-hell trousers, to something as small and simple as shoelaces.
There has been quite a bit written lately in the Men’s Style blogosphere and magazine world about these bigger dashes. Fabulous articles on vibrant prep attire and succinct pieces on lightening up abound, but I want for a moment to focus on the smaller things one can do to add a bit of color to life. Don’t get me wrong, I love a pair of loud trousers in the heat of summer just as much as the next guy, but on those days dominated by creme colored linen, I still yearn for a bit of saturation.
Coming back quite strongly these last few years has been the nylon watch strap. Available in any color combination imaginable - from the dull grey and black NATO stripes favored by 007 to neon fluorescents that make checking the time almost painful - these straps can be had from any number of trade brands, J. Press, Brooks Brothers, and J. Crew all carrying quite a variety of both classic and modern patterns. If you want school or regimentals though, I cannot recommend Smart Turnout highly enough. For me, swapping out my black leather strap (which usually by springtime smells strongly of my winter fragrance) for this lighter, more breathable option is one of the first rituals of springtime; I think of it almost as a ribbon-belt for my wrist.
For an even smaller spit of color, the oft-forgotten shoelaces, almost always relegated to black, brown, or white, can be spruced up making a tiny change into a dramatic one. Taking the black laces out of your oxfords in favor of some blue, purple, or red ones may seem a bit silly, but takes a pair of business shoes and makes them a fun alternative for off-duty hours. Brown brogues look fantastically whimsical with hunter-green or red laces in them as well.
While you may not want to do something quite so bold as sporting a peacock blue watch strap or kelly green shoelace, there are ways to playfully update classics with a bit more color than usual, keeping things looking businesslike but with a hint of color. My two favorite examples of this are the tipped pocket square and the brightly stripped repp tie. The ever-appropriate and elegant white linen pocket square looks great in a summer blazer or sportcoat, but I like it even more when the edge is tipped in light blue or burgundy thread - just a small touch of the unexpected to accompany the expected. The same goes for repp ties: always classic, always seen in blue, red, and other primary/secondary colors, but also always available in brighter colors as well. Maybe wear a navy tie with pink stripes in place of plain navy, or lighten up the gold to canary yellow.
These may all seem like small matters, but that is just the point. Looking like you are on your way to a clam bake on The Cape is certainly not a bad thing, but adding some color and excitement to your wardrobe does not require anything this drastic. Now if you did all of these things at once though…
For more details about bespoke suits and shirts, please go to TailorU's website.
There has been quite a bit written lately in the Men’s Style blogosphere and magazine world about these bigger dashes. Fabulous articles on vibrant prep attire and succinct pieces on lightening up abound, but I want for a moment to focus on the smaller things one can do to add a bit of color to life. Don’t get me wrong, I love a pair of loud trousers in the heat of summer just as much as the next guy, but on those days dominated by creme colored linen, I still yearn for a bit of saturation.
Coming back quite strongly these last few years has been the nylon watch strap. Available in any color combination imaginable - from the dull grey and black NATO stripes favored by 007 to neon fluorescents that make checking the time almost painful - these straps can be had from any number of trade brands, J. Press, Brooks Brothers, and J. Crew all carrying quite a variety of both classic and modern patterns. If you want school or regimentals though, I cannot recommend Smart Turnout highly enough. For me, swapping out my black leather strap (which usually by springtime smells strongly of my winter fragrance) for this lighter, more breathable option is one of the first rituals of springtime; I think of it almost as a ribbon-belt for my wrist.
For an even smaller spit of color, the oft-forgotten shoelaces, almost always relegated to black, brown, or white, can be spruced up making a tiny change into a dramatic one. Taking the black laces out of your oxfords in favor of some blue, purple, or red ones may seem a bit silly, but takes a pair of business shoes and makes them a fun alternative for off-duty hours. Brown brogues look fantastically whimsical with hunter-green or red laces in them as well.
While you may not want to do something quite so bold as sporting a peacock blue watch strap or kelly green shoelace, there are ways to playfully update classics with a bit more color than usual, keeping things looking businesslike but with a hint of color. My two favorite examples of this are the tipped pocket square and the brightly stripped repp tie. The ever-appropriate and elegant white linen pocket square looks great in a summer blazer or sportcoat, but I like it even more when the edge is tipped in light blue or burgundy thread - just a small touch of the unexpected to accompany the expected. The same goes for repp ties: always classic, always seen in blue, red, and other primary/secondary colors, but also always available in brighter colors as well. Maybe wear a navy tie with pink stripes in place of plain navy, or lighten up the gold to canary yellow.
These may all seem like small matters, but that is just the point. Looking like you are on your way to a clam bake on The Cape is certainly not a bad thing, but adding some color and excitement to your wardrobe does not require anything this drastic. Now if you did all of these things at once though…
For more details about bespoke suits and shirts, please go to TailorU's website.
2010年4月23日星期五
Bespoke Suits of Horizontal Stripes
Bespoke clothing is the opportunity to do something truly individual, even original. When I once commissioned a shirt, I relished the opportunity of ordering a horizontally striped shirt – an eyecatching rarity these days – as I had always liked the idea of a ‘hooped’ chest and had begun to appreciate uncommon aesthetics in reaction to the dull uniformity I bear witness to each. I had always thought that this was a step far enough; diagonal stripes on a shirt would be a pretentious disaster and would not flatter the aesthetic of the classic symmetrical human form and costume – with stripes, it was only the purely horizontal and the vertical that could seriously vie for elegance. And so, the horizontally striped shirt remained as my favourite example of doing something a little differently whilst avoiding vulgarity.
Months past, the seasons changed; a peak lapelled, ticket pocketed, horizontally striped suit. It sat there, amongst the ‘senior citizens’ choices, brash as anything, unaware of the rumpus it was causing. Despite being slightly disconcerted, I began to admire what was essentially an entertaining creation of whim. It was a beautiful risk taker, a daring thing that would doubtless have cars swerving and gentlemen stumbling as it moved through the metropolis.
Tommy Nutter, who along with Edward Sexton dominated the Savile Row scene in the early seventies. Despite this historic dedication, the suit did not appear to be some Jagger-esque relic of the twentieth century’s seventh decade. Though a head turner, it also had an elegant presence that antiquated many of the more conventional suits lined up next to it. It was dynamic and rather dazzling; the kind of suit to wear to a garden party at Elton John’s. My only annoyance is that I did not get to see it worn by the lucky commissioner.
Naturally, one man’s meat is another man’s poison; I wouldn’t have to look very hard to find a gentleman who would think that such a violently unconventional use of a bespoke tailor is a sartorial abortion that requires the potential institutionalisation of the commissioner; “Fattening” they say when I mention my fondness for the horizontal stripe. This, they claim, is in contrast to the vertical stripe which slims a gentleman down. Though I do not currently have the funds for such fun, a horizontally striped suit has shimmered into view; a rare moment has inspired me to dream.
For more details about custom suits and shirts, please go to TailorU's website.
Months past, the seasons changed; a peak lapelled, ticket pocketed, horizontally striped suit. It sat there, amongst the ‘senior citizens’ choices, brash as anything, unaware of the rumpus it was causing. Despite being slightly disconcerted, I began to admire what was essentially an entertaining creation of whim. It was a beautiful risk taker, a daring thing that would doubtless have cars swerving and gentlemen stumbling as it moved through the metropolis.
Tommy Nutter, who along with Edward Sexton dominated the Savile Row scene in the early seventies. Despite this historic dedication, the suit did not appear to be some Jagger-esque relic of the twentieth century’s seventh decade. Though a head turner, it also had an elegant presence that antiquated many of the more conventional suits lined up next to it. It was dynamic and rather dazzling; the kind of suit to wear to a garden party at Elton John’s. My only annoyance is that I did not get to see it worn by the lucky commissioner.
Naturally, one man’s meat is another man’s poison; I wouldn’t have to look very hard to find a gentleman who would think that such a violently unconventional use of a bespoke tailor is a sartorial abortion that requires the potential institutionalisation of the commissioner; “Fattening” they say when I mention my fondness for the horizontal stripe. This, they claim, is in contrast to the vertical stripe which slims a gentleman down. Though I do not currently have the funds for such fun, a horizontally striped suit has shimmered into view; a rare moment has inspired me to dream.
For more details about custom suits and shirts, please go to TailorU's website.
2010年4月20日星期二
Bespoke Suits and Shoes Lesson
Varying levels of knowledge about the product to be purchased that assure the purchaser, so the best situation to be in is to be purchasing a product, say a pair of shoes, that you have already seen ‘in the flesh’ as it were; you know what the product looks like to the naked eye, so the pictures online need not be pored over or the description re-read with any degree of concern – if you were happy with what you saw, you probably will be when the shoes are delivered.
If however you haven’t seen the product in the flesh, and are not particularly trusting of marketing photography, you are buying with a degree of blindness; I have experienced this horror and have ended up paying a hefty postage for the return of unwanted items that did not live up to expectations. Ever since, I have been rather uneasy with buying ‘blind.’ However, a recent experience with Herring Shoes provided me with a rather different ‘blind’ experience.
Herring have two retail stores, one down in Devon and one in Herefordshire; both are too far away from London to merit a visit from myself. Herring also have an online boutique that retails shoes from the likes of Church’s, Barker, Loake, Cheaney, Trickers and Sebago, in addition to their own lines. However, whereas I can toddle down both Bond and Jermyn Street and see many of the other brands that Herring offers for sale online, I cannot see any Herring shoes; London does not know Herring.
While pleased that such shoes are clearly lacking in mass market appeal, I was considerably disgruntled that I could only view a photographic representation and not touch one of their shoes before purchasing – a purchase which might lead to disappointment and the loss of a small sum on returns. Despite this disappointment, I simply could not be deterred from the appeals of the product; Herring shoes are classically designed, Goodyear welted and honestly priced. They might not be as grand as some of the bespoke names often mentioned on this site, but they cater for men on a certain budget very well indeed.
Herring Shoes are helpfully divided into six main categories; the Classic Collection, the Premier Collection, the Graduate Collection, the Country Collection and the Italian Collection. The other helpful point about this categorisation is that it makes sense; the names signify the standard and style of the shoes therein. Hence, in the Graduate Collection one finds classic ‘straight out of University’ shoes priced for young, loan-repaying graduates; the Country Collection has a lot of brown brogues and substantial soles and the Premier Collection offers shoes of a higher category of design and material for a little extra. The pair I selected, some tan tassel loafers, were selected from the Classic Collection. Payment is simple and delivery (within the UK only) is free.
The packaging, as you can see from the photos above, was faultless. The shoes were boxed inside a cardboard box and hand delivered. Inside the shoe box, aside from the shoes, you could find a travel size shoe horn, tin of polish and travel bags for each shoe. For a delivery that did not cost me a penny, it was highly satisfactory. The most worrying thing about the purchase was the fit as it has been my experience that some shoe manufacturers have very different ideas about what a correct size 8 actually is. Relieved with the fit, I examined the shoes and the leather carefully, checking for flaws. My beady eye satisfied, I settled down to polish the shoes for the first time, happy in the knowledge that my next Herring purchase will not be one so affected by concern; this ‘blind buy’ had been a lesson.
For more information about bespoke suits and shirts, please go to TailorU's website.
If however you haven’t seen the product in the flesh, and are not particularly trusting of marketing photography, you are buying with a degree of blindness; I have experienced this horror and have ended up paying a hefty postage for the return of unwanted items that did not live up to expectations. Ever since, I have been rather uneasy with buying ‘blind.’ However, a recent experience with Herring Shoes provided me with a rather different ‘blind’ experience.
Herring have two retail stores, one down in Devon and one in Herefordshire; both are too far away from London to merit a visit from myself. Herring also have an online boutique that retails shoes from the likes of Church’s, Barker, Loake, Cheaney, Trickers and Sebago, in addition to their own lines. However, whereas I can toddle down both Bond and Jermyn Street and see many of the other brands that Herring offers for sale online, I cannot see any Herring shoes; London does not know Herring.
While pleased that such shoes are clearly lacking in mass market appeal, I was considerably disgruntled that I could only view a photographic representation and not touch one of their shoes before purchasing – a purchase which might lead to disappointment and the loss of a small sum on returns. Despite this disappointment, I simply could not be deterred from the appeals of the product; Herring shoes are classically designed, Goodyear welted and honestly priced. They might not be as grand as some of the bespoke names often mentioned on this site, but they cater for men on a certain budget very well indeed.
Herring Shoes are helpfully divided into six main categories; the Classic Collection, the Premier Collection, the Graduate Collection, the Country Collection and the Italian Collection. The other helpful point about this categorisation is that it makes sense; the names signify the standard and style of the shoes therein. Hence, in the Graduate Collection one finds classic ‘straight out of University’ shoes priced for young, loan-repaying graduates; the Country Collection has a lot of brown brogues and substantial soles and the Premier Collection offers shoes of a higher category of design and material for a little extra. The pair I selected, some tan tassel loafers, were selected from the Classic Collection. Payment is simple and delivery (within the UK only) is free.
The packaging, as you can see from the photos above, was faultless. The shoes were boxed inside a cardboard box and hand delivered. Inside the shoe box, aside from the shoes, you could find a travel size shoe horn, tin of polish and travel bags for each shoe. For a delivery that did not cost me a penny, it was highly satisfactory. The most worrying thing about the purchase was the fit as it has been my experience that some shoe manufacturers have very different ideas about what a correct size 8 actually is. Relieved with the fit, I examined the shoes and the leather carefully, checking for flaws. My beady eye satisfied, I settled down to polish the shoes for the first time, happy in the knowledge that my next Herring purchase will not be one so affected by concern; this ‘blind buy’ had been a lesson.
For more information about bespoke suits and shirts, please go to TailorU's website.
2010年4月13日星期二
Bespoke Suit Fabric- Wool
I saw a suit in a fabric I had not seen since I had ventured into the loft at the old homestead many years ago when I was searching through my parents disused clothing for items of curiosity. Among the items of forgotten fashion I found, ransacking the hampers of garments from the last four decades of the twentieth century, was a suit in flecked wool; a dark grey with a textured pattern of white blimps. The suit in TopMan was almost identical in fabric, although rather different in cut; its reappearance was sadly only an accident of the high street store’s manufacture of 1980s nostalgia.
Flecked wool was not a 1980s invention, however its similarity to television static has earned it a closer connection with the era of televisual technology. Although it is difficult to find an exact history of the fabric’s origins, it has been in the swatch books of sartoria for nearly one hundred years as there are significant examples of flecked wool suits from the 20s and 30s that I have previously seen. The most popular period for the first ‘fashion’ flecked wool suits appears to be the 1950s. A recent viewing of Shutter Island, a psychological thriller set in the middle of the twentieth century, affirmed this view; Mark Ruffalo, chewing up the windswept scenery, wandered around in a trilby and a flecked wool suit.
It strikes me as a rather casual fabric, similar to tweed in texture and appearance. Younger people seemed to be rather averse to it, describing it as ‘rough’ and ‘looking like an old sack.’ I remember adopting such a viewpoint myself when all my clothing depended on trend – anything from the recent past was perversely horrible to my eyes; ‘It’s SO 80s!’ was a phrase that I was overly generous in distributing to worldly goods that did not meet my approval. Despite the fact that flecked wool was a fabric popular in the 1980s, I have somehow shaken off my dislike of it as I perceive the rough texture of the wool, and the rather distracting flecking, to be a perfect foil for smooth cotton shirts, rich silk ties and linen pocket squares.
I imagined the turned up flecked trousers flopping onto a pair of richly polished tan shoes, a pair of Wayfarers in the breast pocket of the jacket and a freshly ironed shirt underneath it all. There was something rather cool about it; something rather Gary Cooper.
The tragedy is that it isn’t much available anymore, at least not in ready-to-wear. I don’t imagine a huge amount of it is available at the tailors either as flecked wool is long out of vogue and it wouldn’t make sense to keep books of fabrics that just aren’t going to sell. When available, it is usually in a country colour such as a green or brown or in the more conventional town colour of mid-to dark grey. I think there is space in any gentleman’s wardrobe for this cool, characterful cloth.
If you like to learn more about bespoke suits and shirts, please come to TailorU's website.
Flecked wool was not a 1980s invention, however its similarity to television static has earned it a closer connection with the era of televisual technology. Although it is difficult to find an exact history of the fabric’s origins, it has been in the swatch books of sartoria for nearly one hundred years as there are significant examples of flecked wool suits from the 20s and 30s that I have previously seen. The most popular period for the first ‘fashion’ flecked wool suits appears to be the 1950s. A recent viewing of Shutter Island, a psychological thriller set in the middle of the twentieth century, affirmed this view; Mark Ruffalo, chewing up the windswept scenery, wandered around in a trilby and a flecked wool suit.
It strikes me as a rather casual fabric, similar to tweed in texture and appearance. Younger people seemed to be rather averse to it, describing it as ‘rough’ and ‘looking like an old sack.’ I remember adopting such a viewpoint myself when all my clothing depended on trend – anything from the recent past was perversely horrible to my eyes; ‘It’s SO 80s!’ was a phrase that I was overly generous in distributing to worldly goods that did not meet my approval. Despite the fact that flecked wool was a fabric popular in the 1980s, I have somehow shaken off my dislike of it as I perceive the rough texture of the wool, and the rather distracting flecking, to be a perfect foil for smooth cotton shirts, rich silk ties and linen pocket squares.
I imagined the turned up flecked trousers flopping onto a pair of richly polished tan shoes, a pair of Wayfarers in the breast pocket of the jacket and a freshly ironed shirt underneath it all. There was something rather cool about it; something rather Gary Cooper.
The tragedy is that it isn’t much available anymore, at least not in ready-to-wear. I don’t imagine a huge amount of it is available at the tailors either as flecked wool is long out of vogue and it wouldn’t make sense to keep books of fabrics that just aren’t going to sell. When available, it is usually in a country colour such as a green or brown or in the more conventional town colour of mid-to dark grey. I think there is space in any gentleman’s wardrobe for this cool, characterful cloth.
If you like to learn more about bespoke suits and shirts, please come to TailorU's website.
2010年4月11日星期日
Importance of Bespoke Suits
The highest compliments one can pay a man of style is to say he wears his clothes well; that is, however tasteful and interesting each individual item he is wearing might be persued, the overall effect is that much greater for his having worn them with such panache.
It is interesting therefore to consider certain men who have attained lofty cultural status and are recognized as style icons despite – or perhaps because of?
French singer-songwriter, actor, and director and all-round flâneur, Serge with long lank hair, shirts unbuttoned almost to the waist, the signature cigarette smoke framing his disreputable-looking face, and his favourite accessory, English model, Jane Birkin, serving as arm candy, Monsieur Gainsbourg always cool.
He has really mastered the art of looking good without giving the impression that he has made an effort. It is not simply that he makes no effort – for he clearly does. His clothes fit him well, compliment one another, and act as good ambassadors for his persona: any unacquainted observer would be bound to say that he has something of the aesthete and rake about him, whatever else they might pick up upon from his dress sense.
Most of the time I do not even like what Serge wears: his jacket may be too short or the stripes too loud but this does not detract from my admiration for his style because he always looks like he is having fun with what he is wearing.
It reminds me of a book I read a while ago which was a collection of photographs that people had nominated of themselves to show the moment when they were the brightest spark in the room and felt like they were the height of fashion. The pictures varied hugely in terms of what people were wearing, how old they were, and their location; most of the people looked objectively awful in clothes which mostly served to illustrate the difference between fashion and style i.e. the former does not age well! Yet each of the subjects makes a great impression because they radiate confidence and are having fun with what they are wearing.
Too often stylish men are effete: overly fastidious in choosing what to wear, preening themselves in the mirror or worrying unduly about how a pocket square sits in their jacket et cetera. Far better to throw clothes on and forget about them, confident in the knowledge that you do look great. That is what seeing photos of a guy like Serge Gainsbourg says to me: clothes can only do so much, you have to wear them with attitude, too.
For more information about bespoke suits and shirts, please go to TailorU's website.
It is interesting therefore to consider certain men who have attained lofty cultural status and are recognized as style icons despite – or perhaps because of?
French singer-songwriter, actor, and director and all-round flâneur, Serge with long lank hair, shirts unbuttoned almost to the waist, the signature cigarette smoke framing his disreputable-looking face, and his favourite accessory, English model, Jane Birkin, serving as arm candy, Monsieur Gainsbourg always cool.
He has really mastered the art of looking good without giving the impression that he has made an effort. It is not simply that he makes no effort – for he clearly does. His clothes fit him well, compliment one another, and act as good ambassadors for his persona: any unacquainted observer would be bound to say that he has something of the aesthete and rake about him, whatever else they might pick up upon from his dress sense.
Most of the time I do not even like what Serge wears: his jacket may be too short or the stripes too loud but this does not detract from my admiration for his style because he always looks like he is having fun with what he is wearing.
It reminds me of a book I read a while ago which was a collection of photographs that people had nominated of themselves to show the moment when they were the brightest spark in the room and felt like they were the height of fashion. The pictures varied hugely in terms of what people were wearing, how old they were, and their location; most of the people looked objectively awful in clothes which mostly served to illustrate the difference between fashion and style i.e. the former does not age well! Yet each of the subjects makes a great impression because they radiate confidence and are having fun with what they are wearing.
Too often stylish men are effete: overly fastidious in choosing what to wear, preening themselves in the mirror or worrying unduly about how a pocket square sits in their jacket et cetera. Far better to throw clothes on and forget about them, confident in the knowledge that you do look great. That is what seeing photos of a guy like Serge Gainsbourg says to me: clothes can only do so much, you have to wear them with attitude, too.
For more information about bespoke suits and shirts, please go to TailorU's website.
Famous Brand of Bespoke Suits
The most clothing enthusiasts are familiar with the “usual suspects” in the shirt making industry, e.g., Barba, Finamore, Borrelli, the list can go on and on. There are plenty of smaller camicerias all over Italy that have been crafting handmade shirts to rival and even supersede the aforementioned brands.
Mazzarelli was started by Marino Mazzarelli in 1951 as a cobblery shop. In 1960, Marino made a seamless transition from supple footwear leather to exquisite shirt fabrics. Now, fifty years later, the third generation team led by Domenico Mazzarelli is in charge of the company’s day-to-day operations and set to uphold the family tradition.
Each shirt is independently manufactured in the facility in Castellana Grotte in the province of Bari, and each individual component is cut and shaped by hand.
Shirt collars, sleeves, plackets, and mother of pearl buttons are all sewn by hand. Even with this degree of attention to detail and production standards, it still came as a surprise when Mazzarelli received an order for three shirts for Pope Benedict XVI.
Ready to Wear shirts fit slim but not tight: high in the armpits, tight around the shoulders, with tapered waist. Shirts are comfortable with minimal neck space to make sure the tie “sits” properly. Sleeves are just right while cuffs are somewhat narrow around the wrist, with enough space, however, to wear a watch. My Mazzarelli shirts are composed from a blend of cotton, nylon, and elastane. The aforementioned combination is sturdy while pliable, and provides the wearer with great comfort. This “marriage” of old-fashioned tailoring and high-tech, progressive concepts is something that Mazzarelli wants to expand on in the future.
While Mazzarelli is not “officially” sold in the United States, the company has a domestic representative, Giacomo, who can be reached by e-mail.
If you like to learn more about custom-made suits and shirts, please go to TailorU's website.
Mazzarelli was started by Marino Mazzarelli in 1951 as a cobblery shop. In 1960, Marino made a seamless transition from supple footwear leather to exquisite shirt fabrics. Now, fifty years later, the third generation team led by Domenico Mazzarelli is in charge of the company’s day-to-day operations and set to uphold the family tradition.
Each shirt is independently manufactured in the facility in Castellana Grotte in the province of Bari, and each individual component is cut and shaped by hand.
Shirt collars, sleeves, plackets, and mother of pearl buttons are all sewn by hand. Even with this degree of attention to detail and production standards, it still came as a surprise when Mazzarelli received an order for three shirts for Pope Benedict XVI.
Ready to Wear shirts fit slim but not tight: high in the armpits, tight around the shoulders, with tapered waist. Shirts are comfortable with minimal neck space to make sure the tie “sits” properly. Sleeves are just right while cuffs are somewhat narrow around the wrist, with enough space, however, to wear a watch. My Mazzarelli shirts are composed from a blend of cotton, nylon, and elastane. The aforementioned combination is sturdy while pliable, and provides the wearer with great comfort. This “marriage” of old-fashioned tailoring and high-tech, progressive concepts is something that Mazzarelli wants to expand on in the future.
While Mazzarelli is not “officially” sold in the United States, the company has a domestic representative, Giacomo, who can be reached by e-mail.
If you like to learn more about custom-made suits and shirts, please go to TailorU's website.
Bespoke Suits and Bespoke Shoes
You needn't pick a former English teacher and a former PR executive both with a love of Radio 4 as revolutionaries, but that is the impression I got of Deborah Carré and James Ducker.
Perhaps it would be better to call them small ‘s’ subversives. Other than an obvious dedication to the artistry and craft of English shoe making in its purist form, nothing about Deborah and James is what you’d expect from bespoke shoemakers, and to my mind that is a positive.
To begin with, Carréducker shoes is based in the Cockpit Arts studios in London’s Holborn, run by the local authority. Not a flash store in an off-Bond St. Arcade, Cockpit is a Creative Arts Incubator and a hive of artistic and creative activity. Carréducker shares its studio space with a jeweller and a musical instrument maker. The first thing that struck me was the wonderful smell of wood, glue and smelted metal, which if they could bottle would put an end to the need for chemical sleeping aids. You soon notice the wooden lasts hanging on the walls and then the small knee high table and stools on which Deborah and James work. Relaxing and down to earth you really get a sense of collaboration between yourself and the people creating your shoes. I imagine this engenders an appealing bond between customer and patron and makes it especially easy to communicate what you want.
Not that talking to Deborah and James would be difficult. Patient, friendly and down to earth, we had never met before but chatted for some hours over what they did; and they showed the greatest patience in the face of my ignorance on the matter of bespoke shoemaking. Any type of bespoke clothing represents a considerable investment and no one likes to feel intimidated or at the mercy of the people you’re asking for help.
But then I suspect this easy approach is in part down to Deborah and James’ backgrounds. Neither has what you’d think of as a traditional apprenticeship. James started his career as an English teacher in Spain. Having done a few evening classes at the guild of shoemakers in Barcelona, he met a shoemaker who allowed him to use his workshop to make shoes for himself and friends. It was this knowledge base that made him appealing to John Lobb who took him on and sent him on an apprenticeship. Deborah by contrast initially went into Public Relations, but caught the shoe making bug undertaking her degree in fashion. She decided to pursue her interest first via night classes at Cordweiners, and then, as a Quest Scholar, on the same apprenticeship as James. It was here that they met, and having remained friends after their training later decided to establish Carréducker shoes.
As to the shoes themselves, they certainly have the feel of an English bespoke shoe. But you only have to look at the mix of textures, colour and the use of shape to see there is something original and refreshing about Carréducker that sets them apart in my view.
Deborah describes shoemaking as “the mixing of hand and head. So much of bespoke shoe making is about problem solving. With women’s footwear anything is possible. There aren’t as many limitations and I liked the idea of working within quite defined rules, and pushing those rules just a little bit –not too far just a little bit”. It’s a philosophy James echoes; “Men’s styles evolve very slowly, which is part of what we like about it, it means you can speed up that evolution just slightly and introduce changes and see how it goes from there. For example, the lizard skin boots, we’ve introduced the piping in another colour. It’s just a subtle detail but it alters the shoe markedly. Those are the kind of things we try and do”.
They‘re certainly not afraid to experiment, and this makes them rather an exciting brand. It certainly contributed to some recent successes. Not only is their trunk show hosted by renowned NY footwear emporium Leffot, but last year they were awarded Selvedge Magazine’s Excellence in Textiles award.
Bespoke service aside, Carréducker offer a range of limited edition off the shelf shoes in two designs know as the half-cut and Extreme Brogue. Made in batches of 100 in each colourway they’re manufactured in Northampton to their own specifications. A little more affordable than the bespoke service they none the less give an insight into the mix of traditional craft and modern design that is, to my mind, the hall mark of Carréducker.
I’ll confess that at this stage in my life bespoke shoes are only an aspiration, but as soon as the funds allow I’ll be making an appointment with Deborah and James.
For more details about bespoke suits and matches of clothes, please go to TailorU's website.
Perhaps it would be better to call them small ‘s’ subversives. Other than an obvious dedication to the artistry and craft of English shoe making in its purist form, nothing about Deborah and James is what you’d expect from bespoke shoemakers, and to my mind that is a positive.
To begin with, Carréducker shoes is based in the Cockpit Arts studios in London’s Holborn, run by the local authority. Not a flash store in an off-Bond St. Arcade, Cockpit is a Creative Arts Incubator and a hive of artistic and creative activity. Carréducker shares its studio space with a jeweller and a musical instrument maker. The first thing that struck me was the wonderful smell of wood, glue and smelted metal, which if they could bottle would put an end to the need for chemical sleeping aids. You soon notice the wooden lasts hanging on the walls and then the small knee high table and stools on which Deborah and James work. Relaxing and down to earth you really get a sense of collaboration between yourself and the people creating your shoes. I imagine this engenders an appealing bond between customer and patron and makes it especially easy to communicate what you want.
Not that talking to Deborah and James would be difficult. Patient, friendly and down to earth, we had never met before but chatted for some hours over what they did; and they showed the greatest patience in the face of my ignorance on the matter of bespoke shoemaking. Any type of bespoke clothing represents a considerable investment and no one likes to feel intimidated or at the mercy of the people you’re asking for help.
But then I suspect this easy approach is in part down to Deborah and James’ backgrounds. Neither has what you’d think of as a traditional apprenticeship. James started his career as an English teacher in Spain. Having done a few evening classes at the guild of shoemakers in Barcelona, he met a shoemaker who allowed him to use his workshop to make shoes for himself and friends. It was this knowledge base that made him appealing to John Lobb who took him on and sent him on an apprenticeship. Deborah by contrast initially went into Public Relations, but caught the shoe making bug undertaking her degree in fashion. She decided to pursue her interest first via night classes at Cordweiners, and then, as a Quest Scholar, on the same apprenticeship as James. It was here that they met, and having remained friends after their training later decided to establish Carréducker shoes.
As to the shoes themselves, they certainly have the feel of an English bespoke shoe. But you only have to look at the mix of textures, colour and the use of shape to see there is something original and refreshing about Carréducker that sets them apart in my view.
Deborah describes shoemaking as “the mixing of hand and head. So much of bespoke shoe making is about problem solving. With women’s footwear anything is possible. There aren’t as many limitations and I liked the idea of working within quite defined rules, and pushing those rules just a little bit –not too far just a little bit”. It’s a philosophy James echoes; “Men’s styles evolve very slowly, which is part of what we like about it, it means you can speed up that evolution just slightly and introduce changes and see how it goes from there. For example, the lizard skin boots, we’ve introduced the piping in another colour. It’s just a subtle detail but it alters the shoe markedly. Those are the kind of things we try and do”.
They‘re certainly not afraid to experiment, and this makes them rather an exciting brand. It certainly contributed to some recent successes. Not only is their trunk show hosted by renowned NY footwear emporium Leffot, but last year they were awarded Selvedge Magazine’s Excellence in Textiles award.
Bespoke service aside, Carréducker offer a range of limited edition off the shelf shoes in two designs know as the half-cut and Extreme Brogue. Made in batches of 100 in each colourway they’re manufactured in Northampton to their own specifications. A little more affordable than the bespoke service they none the less give an insight into the mix of traditional craft and modern design that is, to my mind, the hall mark of Carréducker.
I’ll confess that at this stage in my life bespoke shoes are only an aspiration, but as soon as the funds allow I’ll be making an appointment with Deborah and James.
For more details about bespoke suits and matches of clothes, please go to TailorU's website.
2010年4月8日星期四
Bespoke Suit Offer
I asked for your support and we certainly got it. We've been inundated with wonderfully kind request to take part in our apprenticeship scheme. As I'd hoped we've had more offers than we can accept. In fact without doing a mass email it'll take us a long time to reply to everyone who kindly wrote to us.
I hope you can accept our sincere gratitude by thanking you on English Cut. So many people seem to be ideal for Ethan that we've basically decided to put all the names in a hat and draw out the lucky four people. I'm sorry if this seems a little peculiar but it seems the fairest and most straight forward way.
We'll be in touch within the next few days to let our four patrons arrange a convenient time to be measured.
As I said we're soon to have a little makeover which we hope you'll like. However I though it only fair to introduce you to Jamie and Ethan who are of course part of the future of English Cut.
After the response for our discounted suits it's obvious that there are a lot of people who want to take a step up the sartorial ladder but can't quiet financially stretch that far just yet, especially with Savile Row pricing. Thank you all once again for your support for the crafts future. With so little time and so much to do we'll say adieu and talk soon.
If you like to learn more about bespoke suit and shirt, please come to TailorU's website.
I hope you can accept our sincere gratitude by thanking you on English Cut. So many people seem to be ideal for Ethan that we've basically decided to put all the names in a hat and draw out the lucky four people. I'm sorry if this seems a little peculiar but it seems the fairest and most straight forward way.
We'll be in touch within the next few days to let our four patrons arrange a convenient time to be measured.
As I said we're soon to have a little makeover which we hope you'll like. However I though it only fair to introduce you to Jamie and Ethan who are of course part of the future of English Cut.
After the response for our discounted suits it's obvious that there are a lot of people who want to take a step up the sartorial ladder but can't quiet financially stretch that far just yet, especially with Savile Row pricing. Thank you all once again for your support for the crafts future. With so little time and so much to do we'll say adieu and talk soon.
If you like to learn more about bespoke suit and shirt, please come to TailorU's website.
Skilled Hands of Bespoke Suit
The truth is most of us would love that luxury, especially me. But as I've said before I'm too busy looking after everyone else's sartorial dreams to fulfill my own. Sadly, God never made enough time for tailoring beautiful clothes. The answer of course is to make time by finding extra skilled hands. This as you can imagine is the problem. We're a rare bunch us tailors and we're a long time in the making.
However, I have three good bits of news for you. Firstly our trouser apprentice has completed her first year working with Peter who makes 99% of my trousers. This he makes a beautiful job of if I say so myself. Secondly, I am on my third apprentice vying to take over my shears and dare I say it, this may be third time lucky.
My good friend has heard me lament over the years about my search for someone to take up the shears.
When we last met for a good drink and catch up he listened to me, then rummaged in his bag and presented me with this fantastic cartoon. As Hughe's famous for he got it straight away and this said it all. This is a lovely business but the hours locked in the workroom have dashed the hopes of many people who only want the glamorous side of the business and want it quick. Learning something that's initially lowly paid and very hard work does not sit well on today's young shoulders.
All joke's aside we can only make the craft survive if we invest in it. Now this I'm quite obviously doing because apprentices simply cost money and you hope you'll have your return in some distant future. Now I'm going to ask you, to be exact only four of you to invest in the crafts future also.
You may be wondering how the unknown fab four will be able to do this? Well I did say that I had three bits of good news, Well here's the plan.
In future I hope I can tempt my Atlanta and Chicago clients to meet me in New York or San Francisco.
Many people panicked because they thought that I said that I would not be traveling to the US any more.
However I said I will be continuing to travel regularly to the US but on shorter trips concentrating on my existing clients.
Now this is how you can help. I know that our clothes are worth every penny and by all accounts our prices are very reasonable. However to commission a bespoke suit is a serious investment. To put it simply most people can not yet afford the cost of such luxury no matter how good an investment it may be.
What I'd like to offer is four suits to be commissioned, two in San Francisco and two in New York.
These four suits will be offered at the very heavily discounted price of £1450.00 ($2,238.00 approx).
These will be cut and made here in our workshops using the same quality of workmanship and materials.
However the only difference is that these will be measured and cut by my apprentice. The coat will be made by Paul and the trousers by Jamie our other apprentice. I will of course be overseeing this every step of the way and the lucky individuals will have a very beautiful suit to wear for years to come.
Normally apprentices are kept hidden away and then sprung on an unsuspecting full price paying client when they think they're good enough or even worse if they think they can get away with it.
Now I'm sure we'll have plenty of takers for this but to be fair apprentices are young and ideally I'd prefer someone who was also new to the world of bespoke. Hopefully this could be the start of a long relationship. We don't want any deadlines. This is for people to learn, both student and client. As I always say this is a process to be enjoyed and not rushed.
So if you want to be one of these young guns first clients drop us a line and we'll fit you in.
Remember this isn't just a discounted suit. This is the real deal every step of the way but you'll be investing in the crafts future and the possibility of me putting my feet up one day.
If you like to learn more about bespoke suit and shirt, please come to TailorU's website.
However, I have three good bits of news for you. Firstly our trouser apprentice has completed her first year working with Peter who makes 99% of my trousers. This he makes a beautiful job of if I say so myself. Secondly, I am on my third apprentice vying to take over my shears and dare I say it, this may be third time lucky.
My good friend has heard me lament over the years about my search for someone to take up the shears.
When we last met for a good drink and catch up he listened to me, then rummaged in his bag and presented me with this fantastic cartoon. As Hughe's famous for he got it straight away and this said it all. This is a lovely business but the hours locked in the workroom have dashed the hopes of many people who only want the glamorous side of the business and want it quick. Learning something that's initially lowly paid and very hard work does not sit well on today's young shoulders.
All joke's aside we can only make the craft survive if we invest in it. Now this I'm quite obviously doing because apprentices simply cost money and you hope you'll have your return in some distant future. Now I'm going to ask you, to be exact only four of you to invest in the crafts future also.
You may be wondering how the unknown fab four will be able to do this? Well I did say that I had three bits of good news, Well here's the plan.
In future I hope I can tempt my Atlanta and Chicago clients to meet me in New York or San Francisco.
Many people panicked because they thought that I said that I would not be traveling to the US any more.
However I said I will be continuing to travel regularly to the US but on shorter trips concentrating on my existing clients.
Now this is how you can help. I know that our clothes are worth every penny and by all accounts our prices are very reasonable. However to commission a bespoke suit is a serious investment. To put it simply most people can not yet afford the cost of such luxury no matter how good an investment it may be.
What I'd like to offer is four suits to be commissioned, two in San Francisco and two in New York.
These four suits will be offered at the very heavily discounted price of £1450.00 ($2,238.00 approx).
These will be cut and made here in our workshops using the same quality of workmanship and materials.
However the only difference is that these will be measured and cut by my apprentice. The coat will be made by Paul and the trousers by Jamie our other apprentice. I will of course be overseeing this every step of the way and the lucky individuals will have a very beautiful suit to wear for years to come.
Normally apprentices are kept hidden away and then sprung on an unsuspecting full price paying client when they think they're good enough or even worse if they think they can get away with it.
Now I'm sure we'll have plenty of takers for this but to be fair apprentices are young and ideally I'd prefer someone who was also new to the world of bespoke. Hopefully this could be the start of a long relationship. We don't want any deadlines. This is for people to learn, both student and client. As I always say this is a process to be enjoyed and not rushed.
So if you want to be one of these young guns first clients drop us a line and we'll fit you in.
Remember this isn't just a discounted suit. This is the real deal every step of the way but you'll be investing in the crafts future and the possibility of me putting my feet up one day.
If you like to learn more about bespoke suit and shirt, please come to TailorU's website.
Calmness and Unflapppable Patience on Bespoke Clothes
Tony has made for many clients who have recognised his wonderful skill in making their clothes over the years. Recently you may remember the beautiful jackets that Tony made for some of my clients. I hope our friends who were fortunate enough to own some of these pieces will treasure these truly rare and outstanding garments. These of course were only a tiny example of Tony's huge contribution to this very special trade.
One look at some of our friends work confirms the outstanding beautiful skill that so much reflects the man. Tony's calmness and unflappable patience has helped not only myself but everyone who was fortunate enough to know Tony.
We have all lost a wonderfully kind and witty man who will be extremely missed by all who knew him. Our thoughts and prayers are with his family at this sad time.
For more details about custom-made suit and shirt, please come to TailorU's website.
One look at some of our friends work confirms the outstanding beautiful skill that so much reflects the man. Tony's calmness and unflappable patience has helped not only myself but everyone who was fortunate enough to know Tony.
We have all lost a wonderfully kind and witty man who will be extremely missed by all who knew him. Our thoughts and prayers are with his family at this sad time.
For more details about custom-made suit and shirt, please come to TailorU's website.
Bespoke Suit Matches Hat (1)
We all know the lyrics conjured by Ira Gershwin, famously touching upon that aspect of headgear so often overlooked; the way a hat is worn. So out of touch are we with the practice of wearing a hat that many gentlemen forget that there is as much art in putting a hat on as there is in manufacturing it.
During the time when everyone wore headgear, the man who stood out from the crowd generally wore a hat that was not only of the highest quality but also of the most individual and flattering aesthetic.
Gentlemen reading these words may perceive this concern to be small beer; after all, how difficult can it be to wear a hat well?
If the few men who march around in fedoras and trilbies are anything to go by, it appears to be a problem for the majority. The assumption, it seems to me, is that a hat should do all the work. Some men merely plonk a hat on their head expecting a Bogart visage to appear in the looking-glass; hand-hat-head-front door seems to be the sequence in their minds. Unfortunately, a little more effort is required to achieve the best effect from an item of headgear. And this consideration of how a hat will appear should always be addressed at the milliners.
For more details about custom-made suit, please come to TailorU's website.
During the time when everyone wore headgear, the man who stood out from the crowd generally wore a hat that was not only of the highest quality but also of the most individual and flattering aesthetic.
Gentlemen reading these words may perceive this concern to be small beer; after all, how difficult can it be to wear a hat well?
If the few men who march around in fedoras and trilbies are anything to go by, it appears to be a problem for the majority. The assumption, it seems to me, is that a hat should do all the work. Some men merely plonk a hat on their head expecting a Bogart visage to appear in the looking-glass; hand-hat-head-front door seems to be the sequence in their minds. Unfortunately, a little more effort is required to achieve the best effect from an item of headgear. And this consideration of how a hat will appear should always be addressed at the milliners.
For more details about custom-made suit, please come to TailorU's website.
Bespoke Suit Matches Hat (2)
The way some gentlemen wear their trilbies, you’d think they’d bought their hat from a blind man and dressed in the dark; the brim is often flat, shapeless and dull, the profile utterly unremarkable.
Their mistake is in believing that, merely by having a piece of felt on their heads, they are a pure example of bygone elegance. The shame of it is that if they’d paid more attention to the mirror at the milliners, they wouldn’t be in this situation.
When I try a hat on, I do so not only for size but for aesthetics; hats rarely look the same on two people, so a sensible amount of posing (and possibly a tasteful shopping partner) to determine whether a prospective item of headgear looks ‘right’ on a gentleman is vital. Wandering out into St James muttering to yourself that you simply ‘must have a Homburg’ at all costs is misguided; the Homburg looks a fright on certain people (those of narrower shoulder and shorter frames). Hats must be chosen and scrutinised with the utmost humility. The next thing you must do when you have found a flattering design that suits your face and build is to put it on correctly.
For more details about tailor-made suit, please go to TailorU's website.
Their mistake is in believing that, merely by having a piece of felt on their heads, they are a pure example of bygone elegance. The shame of it is that if they’d paid more attention to the mirror at the milliners, they wouldn’t be in this situation.
When I try a hat on, I do so not only for size but for aesthetics; hats rarely look the same on two people, so a sensible amount of posing (and possibly a tasteful shopping partner) to determine whether a prospective item of headgear looks ‘right’ on a gentleman is vital. Wandering out into St James muttering to yourself that you simply ‘must have a Homburg’ at all costs is misguided; the Homburg looks a fright on certain people (those of narrower shoulder and shorter frames). Hats must be chosen and scrutinised with the utmost humility. The next thing you must do when you have found a flattering design that suits your face and build is to put it on correctly.
For more details about tailor-made suit, please go to TailorU's website.
Bespoke Suit Matches Hat (3)
The aforementioned correctness isn’t to do with a dusty old rule, nor the dictat of some style sage but simply to do with the way the object appears; I wear driving and Gatsby caps a little to the side but I vary how much of my forehead I reveal depending on style. I think a slightly downward pointing peak on a flat cap looks more rakishly metropolitan, whereas a more upward pointing peak on a Gatsby, accompanied with a smile looks easy-going and bucolic – echoing a setting sun across a golden meadow.
As minute as some might think these differences are out of context, in an outfit they can make all the difference.
If you watch certain film noir, there are characters who have a style of wearing trilbies and fedoras that is seen little nowadays; some fedoras are pushed back on the head with the brim pulled down over the eyes; some trilbies are worn jauntily, a la Mr Sinatra, revealing more of one side of the face than another; a few pinched hats are snap-brimmed with the characteristic flick up at the back brim and the downward pointing front brim. Rarely, in such pictures, are they worn without any consideration for the aesthetic of wearing a hat. For a hat, properly worn, is not an object merely to be secured to the temple, parallel to the brow; it is as much a stylistic expression as a stuffed pocket square, four-in-hand or a Club collar. When you try a hat on, be bold – express, be theatrical, try to frame yourself with the item; wearing a hat properly, as Frans Hals understood, is worthy of art.
TailorU will tell you more about bespoke suit and shirt.
As minute as some might think these differences are out of context, in an outfit they can make all the difference.
If you watch certain film noir, there are characters who have a style of wearing trilbies and fedoras that is seen little nowadays; some fedoras are pushed back on the head with the brim pulled down over the eyes; some trilbies are worn jauntily, a la Mr Sinatra, revealing more of one side of the face than another; a few pinched hats are snap-brimmed with the characteristic flick up at the back brim and the downward pointing front brim. Rarely, in such pictures, are they worn without any consideration for the aesthetic of wearing a hat. For a hat, properly worn, is not an object merely to be secured to the temple, parallel to the brow; it is as much a stylistic expression as a stuffed pocket square, four-in-hand or a Club collar. When you try a hat on, be bold – express, be theatrical, try to frame yourself with the item; wearing a hat properly, as Frans Hals understood, is worthy of art.
TailorU will tell you more about bespoke suit and shirt.
Belt and Bespoke Suit
I love the internet – who am I kidding, it’s the thing I love – is the fact that my wardrobe is opened to the possibilities the World has to offer.
The Wiley producing hand made belts brothers grew up on an active horse farm and it is from the craftsmanship involved in the making of equestrian tack and harnesses that they get their inspiration, for both for the materials used and the belting designs. For example the hoof pick belts go through a detailed 15-step process ranging from cutting and sizing to burnishing and stitching. Made of vegetable-tanned English bridal leather, Marcus tells me it’s sourced from the West Midlands and was “absolutely the best I could find”. Indeed, I have been told by those whose knowledge I trust, that English bridle leather is about the best there is for belting.
Made to order they have a fully commercial website and ship internationally. You choose your colour for the leather, from black, dark Havana, mahogany and light Havana (my favourite); you then pick your buckle which is either brass or nickel and of three possible designs, a traditional buckle, the Hoof pick and the Slip Cinch – which is the one I’m going for.
To my mind distinctly American, my favourite is the Slip Cinch in light Havana which has a simple elegance about it, and a casual summery feel. It certainly makes a difference from all the mass manufactured preppy grosgrain belts which will start to make an appearance as summer approaches.
The late Duke of Windsor was of course famous for having his jackets made in London and his trouser made in the US. While not quite pants across the sea, living in London I love the idea that a piece of small scale crafted America is now so obtainable, when in any other age it would have been beyond my physical reach.
TailorU will tell you more about custom suit.
The Wiley producing hand made belts brothers grew up on an active horse farm and it is from the craftsmanship involved in the making of equestrian tack and harnesses that they get their inspiration, for both for the materials used and the belting designs. For example the hoof pick belts go through a detailed 15-step process ranging from cutting and sizing to burnishing and stitching. Made of vegetable-tanned English bridal leather, Marcus tells me it’s sourced from the West Midlands and was “absolutely the best I could find”. Indeed, I have been told by those whose knowledge I trust, that English bridle leather is about the best there is for belting.
Made to order they have a fully commercial website and ship internationally. You choose your colour for the leather, from black, dark Havana, mahogany and light Havana (my favourite); you then pick your buckle which is either brass or nickel and of three possible designs, a traditional buckle, the Hoof pick and the Slip Cinch – which is the one I’m going for.
To my mind distinctly American, my favourite is the Slip Cinch in light Havana which has a simple elegance about it, and a casual summery feel. It certainly makes a difference from all the mass manufactured preppy grosgrain belts which will start to make an appearance as summer approaches.
The late Duke of Windsor was of course famous for having his jackets made in London and his trouser made in the US. While not quite pants across the sea, living in London I love the idea that a piece of small scale crafted America is now so obtainable, when in any other age it would have been beyond my physical reach.
TailorU will tell you more about custom suit.
Bespoke Suit Wash Ups
A child, quite demonstrably informed by an adult not to do ‘something’, will eventually do ‘something.’ It should also come as no surprise that another adult, demonstrably informed by another adult not to do something, will rekindle that childlike curiosity and reaction to authority by doing the very thing they had been instructed not to do. Temptation wields a mighty force. For centuries, man has always sought to place his hand on Eden’s apple. I was told by my parents not to do many things, some of which I hadn’t even thought of myself. Their introduction, and apparent damnation in the eyes of people who had great authority over me, sparked something; ‘if it’s bad, it must be good for me’ I muttered to myself many a time in my rebellious youth.
I once visited a tailor who looked at me up and down, frowned and asked me where I got my clothing from. After informing him, he said; ‘Oh, so this is actually two suits? You’re wearing one suit’s trousers, with another suit’s jacket?’ Shrugging my shoulders in admittance, he shook his head with knowing disdain; ‘Shouldn’t mess around with your suits. Wear the matching trousers; don’t mess around trying to mix it up.’
I have always remembered his words, although I have never heeded them. I informed him coolly that contrasting trousers with jackets is actually an old phenomenon and that I liked the distinction between a lighter pair of trousers and a dark jacket, and vice versa. He informed me that only blazers should be worn with contrasting trousers, everything else should match.
As claustrophobic and unattractive a viewpoint to me as it was, it did educate me that some people disapprove of suit ‘mash ups’ – mixing trousers with jackets, wearing jackets with odd trousers and vice versa. Such people might look down upon a chap who finds, in the words of an acquaintance, ‘too much utility’ for a single suit. This sartorial sneering doesn’t really bother me as most of the fun in buying a suit is not rejoicing in its possibilities as a predictable one-piece but dreaming of the possibilities for experimentation – with a seersucker jacket in the summer, a velvet jacket in the winter, a cardigan or even a pair of jeans.
My light grey Prince of Wales check suit, for example, offers great possibilities for such mashing; as soon as I had bought it and worn it as a suit, I was considering the trousers and jackets as separates – a pair of white trousers and the Prince of Wales jacket in the spring, or perhaps a light blue linen jacket with the trousers in the summer; a woollen cardigan and the trousers for a simple Astaire-esque casual look, or a dark blazer with the Prince of Wales trousers, a silver tie and buttonhole for a modern ‘stroller’ ensemble. The titillation of the seemingly never-ending possibilities of a new acquisition is the reason why I enjoy clothing. I don’t enjoy the mashing merely because there is something vaguely rebellious about ignoring the established style sages who ward against such experimentation but because I like discovering that two items are worth more than their face value; the human delight in conjuring ‘value’ is utterly intoxicating.
The inherent risk with such mixing and matching is that, sometimes, a man gets it wrong. Ho hum. I find this happens mainly when there are no ‘anchoring’ items in an ensemble that make the ‘mashing’ look intentional; if you’re wearing, for example, different trousers with a suit jacket, I find it’s useful to use the accessories available to pull the trousers into the outfit. A complementary tie or pocket square will help. Secondly, I’d try to avoid pairing colours that are too close in the spectrum. I once saw a gentleman pair a dark grey jacket with a slightly lighter grey trouser that, instead of conveying a look of assuredness actually gave the impression he had either raided a charity store or had got dressed in the dark. If you are wearing garments of the same colour, it is important that the contrast is exaggerated; a dark grey should only be accompanied by a much lighter grey.
TailorU will tell you more about bespoke suit and shirt.
I once visited a tailor who looked at me up and down, frowned and asked me where I got my clothing from. After informing him, he said; ‘Oh, so this is actually two suits? You’re wearing one suit’s trousers, with another suit’s jacket?’ Shrugging my shoulders in admittance, he shook his head with knowing disdain; ‘Shouldn’t mess around with your suits. Wear the matching trousers; don’t mess around trying to mix it up.’
I have always remembered his words, although I have never heeded them. I informed him coolly that contrasting trousers with jackets is actually an old phenomenon and that I liked the distinction between a lighter pair of trousers and a dark jacket, and vice versa. He informed me that only blazers should be worn with contrasting trousers, everything else should match.
As claustrophobic and unattractive a viewpoint to me as it was, it did educate me that some people disapprove of suit ‘mash ups’ – mixing trousers with jackets, wearing jackets with odd trousers and vice versa. Such people might look down upon a chap who finds, in the words of an acquaintance, ‘too much utility’ for a single suit. This sartorial sneering doesn’t really bother me as most of the fun in buying a suit is not rejoicing in its possibilities as a predictable one-piece but dreaming of the possibilities for experimentation – with a seersucker jacket in the summer, a velvet jacket in the winter, a cardigan or even a pair of jeans.
My light grey Prince of Wales check suit, for example, offers great possibilities for such mashing; as soon as I had bought it and worn it as a suit, I was considering the trousers and jackets as separates – a pair of white trousers and the Prince of Wales jacket in the spring, or perhaps a light blue linen jacket with the trousers in the summer; a woollen cardigan and the trousers for a simple Astaire-esque casual look, or a dark blazer with the Prince of Wales trousers, a silver tie and buttonhole for a modern ‘stroller’ ensemble. The titillation of the seemingly never-ending possibilities of a new acquisition is the reason why I enjoy clothing. I don’t enjoy the mashing merely because there is something vaguely rebellious about ignoring the established style sages who ward against such experimentation but because I like discovering that two items are worth more than their face value; the human delight in conjuring ‘value’ is utterly intoxicating.
The inherent risk with such mixing and matching is that, sometimes, a man gets it wrong. Ho hum. I find this happens mainly when there are no ‘anchoring’ items in an ensemble that make the ‘mashing’ look intentional; if you’re wearing, for example, different trousers with a suit jacket, I find it’s useful to use the accessories available to pull the trousers into the outfit. A complementary tie or pocket square will help. Secondly, I’d try to avoid pairing colours that are too close in the spectrum. I once saw a gentleman pair a dark grey jacket with a slightly lighter grey trouser that, instead of conveying a look of assuredness actually gave the impression he had either raided a charity store or had got dressed in the dark. If you are wearing garments of the same colour, it is important that the contrast is exaggerated; a dark grey should only be accompanied by a much lighter grey.
TailorU will tell you more about bespoke suit and shirt.
2010年4月5日星期一
Bespoke Suit from 2001
These are things I utterly love about the bespoke clothing ‘experience’ and there are also areas which think leave a lot of room to be desired. A throbbing, temple-grindingly painful example of the latter category is service. The na?ve amongst us might imagine that, given the cost involved, the level of service that customers receive from bespoke artisans would be far superior to that proffered by the sartorial sirens in the oh-so chic, bijou-till-it-hurts boutiques. Certainly, you would expect the bespoke experience to be better than the treatment we receive at the hands of the obsequious and effete young chaps – as eager to please as they are lacking in individual style and opinion – so favoured by the major luxury goods houses for their flagship stores. But you’d be wrong – kind of.
Let us start with what’s right about the bespoke experience. It is the absolute antithesis of the luxury goods brands’ anonymous and coolly detached emporia. The workshop or shop looks like a real person works in it with evidence of their presence and trade present in the objects and ephemera scattered around the (usually untidy) room. When you meet your tailor or shoemaker he (maybe she, but not often) will shake your hand and introduce himself. He or she will not be wearing a name badge and, after a visit or two, you will probably have built up a pretty decent relationship with the person whose hands provide the conduit through which your designs will be brought to life.
You can rely on your artisan’s honesty, too, when asking for an opinion on this or that: with a mountain of experience and no incentive to push a particular style they will be able to honestly appraise the way something looks on you, helping to both improve the end product and harmonise the way you view yourself and the way others do. It is also a real learning experience; assuming that, like me, you are fascinated by the finely honed skill that these superb craftsman utilise in order to produce what seems a very simple garment, you will enjoy getting to know your tailor and learning from them – equally, it is not unlikely that they will enjoy explaining what they do to a eager pupil. Finally, if you want to think in terms of value, you are not subsidising marketing campaigns and flash stores at the expense of quality clothes and, of course, you can keep modifying and tweaking your product until it more closely resembles the image you had in your head: the aftercare service is peerless.
Sounds great. So why am I whining? Is it because these old-world craftsmen can be a touch rude or standoffish, at first blush? I can see how that would bother some people who have a certain preconception of the customer-salesman role but it does not keep me awake at night. Would I perhaps prefer a more salubrious showroom, with complimentary drinks and a plush leather couch on which to sit my now handsomely attired derriere? Well, perhaps; but I can well see the benefit of going without as I described above when discussing value. The real problem is the refusal of some artisans to deviate from their time-proven methods in order to create exactly what the client wants.
This is the very definition of bespoke and the primary characteristic which allows bespoke to soar mightily above ready-to-wear and, like a disrespectful pigeon, relieve itself upon its poorer relative from a great height: you can create exactly what you want, however weird, wacky, or idiosyncratic that may be. Yet, in practice, this is often not really the case. Often a tailor will refuse to play with convention or genuinely put his skill to the test by cutting a daring shape or marrying one feature with another in such a way that requires a touch of daring and a good dollop of artistic sensibility to pull it off correctly. In some (admittedly rare) cases, I have had a tailor tell me something is flat-out impossible to do – something as simple as slimming the arms on a suit whilst still having broad shoulders, for example.
I have some sympathy for the tailor who knows that something his client has requested will look ridiculous on him; anyone who has seen some of the bespoke monstrosities lauded on certain internet fora by their proud owners will attest to the fact that bespoke does not always look better. The thing is, though; I think these people are great. One of the main things I like to see in other people, as far as dressing goes, is them enjoying themselves; that is feeling good about how they look in what they are wearing and, perhaps, using their clothes to express their personality in some subtle way or another. Anyone who fulfils these two criteria is, in my humble opinion, far more interesting an aesthetic artefact than someone trendily attired in the latest Prada suit (even if my personal taste were to err more on the side of the latter than the suit they had commissioned).
I quite understand that there is a tried-and-tested formula which works pretty well for most suits and would not like to see this bastardised or mutate too deviously but I also recognise that the vast majority of the suits flooding out of the London tailor shops are almost identical in style, covering only a minute corner of the overall spectrum, and this is boring and lazy. It is not what bespoke should be. Suits can respect certain fundamental rules whilst still being interesting and individual: consider that a book such as Musgrave’s Sharp Suits fills over a hundred pages with attractive and diverse images of attractive and diverse suits. Going bespoke affords us a lot of possibilities and what annoys me most is that so few customers take advantage of this and that so few tailors truly encourage them to do so and this is something that I would argue should be intrinsic to the service.
I suppose it would be disingenuous of me to suggest that the bespoke industry’s level of service is anything other than better than that of ready-to-wear but, like a smart schoolboy whose natural ability allows him to keep pace with his peers without effort, it needs to be encouraged to take strides forward and not rest upon its laurels so that it can truly differentiate itself and offer us something really special – we all complain about how few people partronise the tailoring houses these days and here is a way to ensure that the numbers do not dwindle further.
TailorU will provide you more informations about bespoke suit and shirt.
Let us start with what’s right about the bespoke experience. It is the absolute antithesis of the luxury goods brands’ anonymous and coolly detached emporia. The workshop or shop looks like a real person works in it with evidence of their presence and trade present in the objects and ephemera scattered around the (usually untidy) room. When you meet your tailor or shoemaker he (maybe she, but not often) will shake your hand and introduce himself. He or she will not be wearing a name badge and, after a visit or two, you will probably have built up a pretty decent relationship with the person whose hands provide the conduit through which your designs will be brought to life.
You can rely on your artisan’s honesty, too, when asking for an opinion on this or that: with a mountain of experience and no incentive to push a particular style they will be able to honestly appraise the way something looks on you, helping to both improve the end product and harmonise the way you view yourself and the way others do. It is also a real learning experience; assuming that, like me, you are fascinated by the finely honed skill that these superb craftsman utilise in order to produce what seems a very simple garment, you will enjoy getting to know your tailor and learning from them – equally, it is not unlikely that they will enjoy explaining what they do to a eager pupil. Finally, if you want to think in terms of value, you are not subsidising marketing campaigns and flash stores at the expense of quality clothes and, of course, you can keep modifying and tweaking your product until it more closely resembles the image you had in your head: the aftercare service is peerless.
Sounds great. So why am I whining? Is it because these old-world craftsmen can be a touch rude or standoffish, at first blush? I can see how that would bother some people who have a certain preconception of the customer-salesman role but it does not keep me awake at night. Would I perhaps prefer a more salubrious showroom, with complimentary drinks and a plush leather couch on which to sit my now handsomely attired derriere? Well, perhaps; but I can well see the benefit of going without as I described above when discussing value. The real problem is the refusal of some artisans to deviate from their time-proven methods in order to create exactly what the client wants.
This is the very definition of bespoke and the primary characteristic which allows bespoke to soar mightily above ready-to-wear and, like a disrespectful pigeon, relieve itself upon its poorer relative from a great height: you can create exactly what you want, however weird, wacky, or idiosyncratic that may be. Yet, in practice, this is often not really the case. Often a tailor will refuse to play with convention or genuinely put his skill to the test by cutting a daring shape or marrying one feature with another in such a way that requires a touch of daring and a good dollop of artistic sensibility to pull it off correctly. In some (admittedly rare) cases, I have had a tailor tell me something is flat-out impossible to do – something as simple as slimming the arms on a suit whilst still having broad shoulders, for example.
I have some sympathy for the tailor who knows that something his client has requested will look ridiculous on him; anyone who has seen some of the bespoke monstrosities lauded on certain internet fora by their proud owners will attest to the fact that bespoke does not always look better. The thing is, though; I think these people are great. One of the main things I like to see in other people, as far as dressing goes, is them enjoying themselves; that is feeling good about how they look in what they are wearing and, perhaps, using their clothes to express their personality in some subtle way or another. Anyone who fulfils these two criteria is, in my humble opinion, far more interesting an aesthetic artefact than someone trendily attired in the latest Prada suit (even if my personal taste were to err more on the side of the latter than the suit they had commissioned).
I quite understand that there is a tried-and-tested formula which works pretty well for most suits and would not like to see this bastardised or mutate too deviously but I also recognise that the vast majority of the suits flooding out of the London tailor shops are almost identical in style, covering only a minute corner of the overall spectrum, and this is boring and lazy. It is not what bespoke should be. Suits can respect certain fundamental rules whilst still being interesting and individual: consider that a book such as Musgrave’s Sharp Suits fills over a hundred pages with attractive and diverse images of attractive and diverse suits. Going bespoke affords us a lot of possibilities and what annoys me most is that so few customers take advantage of this and that so few tailors truly encourage them to do so and this is something that I would argue should be intrinsic to the service.
I suppose it would be disingenuous of me to suggest that the bespoke industry’s level of service is anything other than better than that of ready-to-wear but, like a smart schoolboy whose natural ability allows him to keep pace with his peers without effort, it needs to be encouraged to take strides forward and not rest upon its laurels so that it can truly differentiate itself and offer us something really special – we all complain about how few people partronise the tailoring houses these days and here is a way to ensure that the numbers do not dwindle further.
TailorU will provide you more informations about bespoke suit and shirt.
Custom-made Suit Accessories
It was an utterly anachronistic product being offered for sale; not even the most adventurous imagination could conjure a tenuous connection with the traditional wares of this retailer and this absurdly random inclusion. For amongst the tie pins, silk cravats, shirt stiffeners, detachable collars, Christy’s hats and other assorted paraphernalia of accessories for gentlemen was a listing for ‘traditional hand carving.’ Expecting a pair of wooden shoe trees, I nearly fell of my chair when I saw that the hand carving Bromleys had referred to was actually of an equine variety. That’s right folks, when shopping for a wing collar and a paisley tie, you can also purchase a handsome hand carved Victorian style dapple grey rocking horse for your young ones.
Aside from this bizarre interlude, browsing on Bromleys very modest, utilitarian website is a pleasurable experience. Boasting a large selection of goods, it is a one-stop-shop for the acquisitive accessorizer. Shirt sleeves too long for a suit? Bromleys sells arm bands (in gold plate and nickel); want a rare collar pin shirt? Bromleys has them (and offers replacement pins in silver and gold too); how about some of those sock suspenders you’ve seen in film noir? Yes, Bromleys can help.
For such rare items, as well as a very wide selection of Albert Thurston braces, Bromleys cannot be bettered. In a very charming way, they are a fine retailer of goods that people no longer need, selling goods from such esteemed manufacturers as Budd of Piccadilly, Hilditch & Key and the aforementioned Christys and Thurston. Ironically, the items that one would not consider to be accessories, such as the trousers, shirts and shoes, are comparatively small in range and dubious in standard; it’s as if Bromleys believes in the mantra that accessories are everything and that everything else is accessory.
I have bought a few items from Bromleys in the past, mostly collar studs for my boiled-front evening shirt, and the delivery and quality of packaging has been faultless. The prices are very reasonable too, if a little frustratingly ‘accurate’. A silk tie or cravat is a fraction less than ￡40 and a Christys panama a fraction over ￡50. The site is very plain and simple to use and the white background means that the products are easy to see. There is an amiable honesty to retailers of such simplicity; in a world where deception, overcharging and dishonesty are rife in trade, a quiet little webshop like Bromleys is quite the tonic. The utterly bizarre listing of the rocking horses is merely the cherries on Bromleys giant cake of affable na?veté. I wish there were more like them.
TailorU will provide you more informations about custom-made suit and shirt.
Aside from this bizarre interlude, browsing on Bromleys very modest, utilitarian website is a pleasurable experience. Boasting a large selection of goods, it is a one-stop-shop for the acquisitive accessorizer. Shirt sleeves too long for a suit? Bromleys sells arm bands (in gold plate and nickel); want a rare collar pin shirt? Bromleys has them (and offers replacement pins in silver and gold too); how about some of those sock suspenders you’ve seen in film noir? Yes, Bromleys can help.
For such rare items, as well as a very wide selection of Albert Thurston braces, Bromleys cannot be bettered. In a very charming way, they are a fine retailer of goods that people no longer need, selling goods from such esteemed manufacturers as Budd of Piccadilly, Hilditch & Key and the aforementioned Christys and Thurston. Ironically, the items that one would not consider to be accessories, such as the trousers, shirts and shoes, are comparatively small in range and dubious in standard; it’s as if Bromleys believes in the mantra that accessories are everything and that everything else is accessory.
I have bought a few items from Bromleys in the past, mostly collar studs for my boiled-front evening shirt, and the delivery and quality of packaging has been faultless. The prices are very reasonable too, if a little frustratingly ‘accurate’. A silk tie or cravat is a fraction less than ￡40 and a Christys panama a fraction over ￡50. The site is very plain and simple to use and the white background means that the products are easy to see. There is an amiable honesty to retailers of such simplicity; in a world where deception, overcharging and dishonesty are rife in trade, a quiet little webshop like Bromleys is quite the tonic. The utterly bizarre listing of the rocking horses is merely the cherries on Bromleys giant cake of affable na?veté. I wish there were more like them.
TailorU will provide you more informations about custom-made suit and shirt.
Bespoke and Made-to-measure
Many people use the terms "bespoke" and "made-to-measure" interchangeably. They are mistaken.
'Bespoke' is actually a term which dates from the 17th century, when tailors held the full lengths of cloth in their premises.
When a customer chose a length of material, it was said to have “been spoken for”. Hence a tailor who makes your clothes individually, to your specific personal requirements, is called "bespoke". This is unlike “made-to-measure”, which simply uses a basic, pre-existing template pattern, which is then adjusted to roughly your individual measurements.
The first thing what type of suit you are looking for, and its uses. Then a cloth is chosen from the full range available today, and also which type of style and fit would be most suitable for you.
More than 20 measurements and figuration details are taken from the customer. A personal patern will be hand-drafted and cut from scratch- not the basic, adjusted template pattern, as used by so many other tailors these days.
Using your pattern, the cloth is then cut and trimmed, along with the finest linings and silks available. A single tailor is then given the parts of the garment to sew together, from the earliest fitting stages to the final, complete suit. Each suit is completely hand-made, even down to the button holes.
For a fuller explanation of the different levels of tailoring (ready-to-wear, made-to-measure, bespoke etc), please go to TailorU's website.
'Bespoke' is actually a term which dates from the 17th century, when tailors held the full lengths of cloth in their premises.
When a customer chose a length of material, it was said to have “been spoken for”. Hence a tailor who makes your clothes individually, to your specific personal requirements, is called "bespoke". This is unlike “made-to-measure”, which simply uses a basic, pre-existing template pattern, which is then adjusted to roughly your individual measurements.
The first thing what type of suit you are looking for, and its uses. Then a cloth is chosen from the full range available today, and also which type of style and fit would be most suitable for you.
More than 20 measurements and figuration details are taken from the customer. A personal patern will be hand-drafted and cut from scratch- not the basic, adjusted template pattern, as used by so many other tailors these days.
Using your pattern, the cloth is then cut and trimmed, along with the finest linings and silks available. A single tailor is then given the parts of the garment to sew together, from the earliest fitting stages to the final, complete suit. Each suit is completely hand-made, even down to the button holes.
For a fuller explanation of the different levels of tailoring (ready-to-wear, made-to-measure, bespoke etc), please go to TailorU's website.
Bespoke Suit Paterns
Bespoke suits are cut from a hand-drafted pattern. Here are the main three main drafting methods used by the very top-end, Savile Row tailors:
1. Pattern Manipulation.
This is the most common system used. A pre-existing basic block pattern (40, 42 Reg, 44 etc.) is used as a template, a starting point to create an improved, individual bespoke pattern. This will obviously match your dimensions, but most importantly, it will have the correct figuration details, such as how you stand, erect or stooping etc.
Don’t confuse this with a factory made-to-measure- all you're getting there is the most basic of adjustments- chest, waist and length etc, to gain an 'adequate', standardised fit. But the suit will be designed based on a mannequin's measurements, not your own.
With bespoke pattern manipulation, an experienced Savile Row cutter will tweak with all the points of the pre-existing pattern to produce a new, individual template that's true to your figure. Though not my preferred method, in all fairness this is a good system when used by experienced hands. The main benefit is that the cutter is starting out with a well-tried and tested pattern that he’s familiar with. Also, sparing him from any nasty surprises he may encounter, it saves him the time of drafting from scratch.
2. Drafting Formula.
Using your individual measurements, a pattern is drafted by scratch using the most exacting of standards. It's very clinical and scientific. Everything is measured with a ruler to the greatest degree of precision possible, much like an engineering drawing, using a drafting square and a scale formula. It's extremely complicated, and everything must be checked and double-checked. There are slightly different methods you can use, but they all involve a lot of measuring and calculation. When you are taught this for the first time, you feel as if you're studying nuclear physics, rather than pattern drafting.
Again, in the experienced hands of a good Savile Row cutter, this will work fine. Every tailor lives and breathes his preferred system; it just depends on how he’s been taught. But either of these two aforementioned systems are good ones.
3. "Rock Of Eye".
This is the system I specialise in. This is where the second system, the above Drafting Formula is calculated mentally in my head, however I just cut the pattern freehand, using only my tape measure and chalk to guide me. This method is used for the jacket only- to draught trousers without a square and stick would be folly.
This method does sound slightly vague, because it is. However, on my first encounter in the Anderson & Sheppard cutting room, “Show me a right angle on a man and I’ll let you use that square”.
This statement utterly terrified me, as we all prefer to have figures and defined points to work with. These had been obtained by a scientific method, so they had to be right, Right?
Wrong. Because what I found out “the expensive way” was that there were times when I had drafted a pattern, checked and double-checked it, and although the measurements were exact, something still looked wrong.
I was blinded by science, not creativity.
This is something everyone in this or any other business has experienced- a gut feeling that you wanted to listen to, but logic wrongly forced you to ignore. Then sadly you’d proceed down this path, and as soon as you saw the results at the suit's first fitting, you knew your gut was right all along, and you have to kick yourself.
Often when creative matters are involved, “practice makes imperfect”.
Although this “Rock of Eye” system is based on a scientific method, it’s not constrained by it. As Mr. Hallbery told me, if the pattern doesn’t look right, how will it sew right? Then ultimately how will the suit look right?
This feeling, or I suppose you could call it 'experience', this is why I find “Rock of Eye” so wonderful to use. I know how a pattern works; if I don’t like how a pattern looks, I change it. Simple.
Are you interested in bespoke suit? Come to TailorU's website and you will get more details about it.
1. Pattern Manipulation.
This is the most common system used. A pre-existing basic block pattern (40, 42 Reg, 44 etc.) is used as a template, a starting point to create an improved, individual bespoke pattern. This will obviously match your dimensions, but most importantly, it will have the correct figuration details, such as how you stand, erect or stooping etc.
Don’t confuse this with a factory made-to-measure- all you're getting there is the most basic of adjustments- chest, waist and length etc, to gain an 'adequate', standardised fit. But the suit will be designed based on a mannequin's measurements, not your own.
With bespoke pattern manipulation, an experienced Savile Row cutter will tweak with all the points of the pre-existing pattern to produce a new, individual template that's true to your figure. Though not my preferred method, in all fairness this is a good system when used by experienced hands. The main benefit is that the cutter is starting out with a well-tried and tested pattern that he’s familiar with. Also, sparing him from any nasty surprises he may encounter, it saves him the time of drafting from scratch.
2. Drafting Formula.
Using your individual measurements, a pattern is drafted by scratch using the most exacting of standards. It's very clinical and scientific. Everything is measured with a ruler to the greatest degree of precision possible, much like an engineering drawing, using a drafting square and a scale formula. It's extremely complicated, and everything must be checked and double-checked. There are slightly different methods you can use, but they all involve a lot of measuring and calculation. When you are taught this for the first time, you feel as if you're studying nuclear physics, rather than pattern drafting.
Again, in the experienced hands of a good Savile Row cutter, this will work fine. Every tailor lives and breathes his preferred system; it just depends on how he’s been taught. But either of these two aforementioned systems are good ones.
3. "Rock Of Eye".
This is the system I specialise in. This is where the second system, the above Drafting Formula is calculated mentally in my head, however I just cut the pattern freehand, using only my tape measure and chalk to guide me. This method is used for the jacket only- to draught trousers without a square and stick would be folly.
This method does sound slightly vague, because it is. However, on my first encounter in the Anderson & Sheppard cutting room, “Show me a right angle on a man and I’ll let you use that square”.
This statement utterly terrified me, as we all prefer to have figures and defined points to work with. These had been obtained by a scientific method, so they had to be right, Right?
Wrong. Because what I found out “the expensive way” was that there were times when I had drafted a pattern, checked and double-checked it, and although the measurements were exact, something still looked wrong.
I was blinded by science, not creativity.
This is something everyone in this or any other business has experienced- a gut feeling that you wanted to listen to, but logic wrongly forced you to ignore. Then sadly you’d proceed down this path, and as soon as you saw the results at the suit's first fitting, you knew your gut was right all along, and you have to kick yourself.
Often when creative matters are involved, “practice makes imperfect”.
Although this “Rock of Eye” system is based on a scientific method, it’s not constrained by it. As Mr. Hallbery told me, if the pattern doesn’t look right, how will it sew right? Then ultimately how will the suit look right?
This feeling, or I suppose you could call it 'experience', this is why I find “Rock of Eye” so wonderful to use. I know how a pattern works; if I don’t like how a pattern looks, I change it. Simple.
Are you interested in bespoke suit? Come to TailorU's website and you will get more details about it.
Bespoke Suit Tailor in London
One great thing is there's usually plenty of work for all the tailors. Sure, it comes and goes, but the fact is, there aren't that many proper bespoke tailors out there, and the market, once you've reached a certain level, is amazingly steady and robust.
So when somebody buys a suit from say, Kilgour's or Welsh & Jeffries instead of from me, I'm always perfectly happy for them. Both these tailors are world-class, and the clients are usually very informed about the market, so I know the choice was probably a good one. And like I said, there's plenty of work out there. My turn will come around soon enough.
But recently a lot of English Cut readers have been sending me e-mails, asking the dreaded question, "Why should I buy a suit from you, instead of the other bespoke tailors you've mentioned?"
It's a perfectly reasonable, straightforward question. To save everybody's poor typing fingers, including my own, I thought I would just answer them here directly.
I would list four main factors. They're not so much "Reasons To Buy", more "What Makes Me Unique". Drum roll, please...
1. Mobility and Economics.
The most singular difference between myself and the other tailors I rate highly, is that I’m not permanently based on Savile Row. So there's no loss of quality for my customers in my business model, just an improvement in the quality of life for one humble tailor.
This benefits my customers in two major ways. Firstly, basing my workshop outside of London saves me the huge overheads. This allows me to sell my suits at about 20-25% less than the big houses on Savile Row. This is something I’m sure nobody would complain about, especially our American cousins, who are not encouraged by the current exchange rate.
Secondly, staying mobile has made my business far more flexible than my competition, mentally as well as physically. I don't wait for customers to visit London, to visit Savile Row before I 'condescend' to take an order. No, I happily travel to them. If they live in Paris, I can go to Paris. Or New York. Or Chicago. Or San Francisco. Wherever the market dictates.
To me, Savile Row is a proper business, not a tourist attraction.
I know the grand houses of Savile Row are wonderful institutions, and they have a big part to play, but Savile Row's tailoring heritage was formed on that street simply because, frankly, the the Well-to-do of London "Society" lived in the immediate vicinity.
Two hundred years ago, if you wanted the Well-to-do's custom, you had to set up shop where they actually lived. Making sure your customers didn’t have too far to ride in their horse & carriage. But now my market is global. Some of my customers come to London now and then, but seriously, they live and travel all over the world, and it's my job to keep track of them. However grand and magical Savile Row can appear on an early morning walk, all that's really needed to do the job is skill, a tape measure, a cutting table, a sharp pair of shears and the ability to keep one's word. I'm as happy meeting my clients in a Manhattan hotel suite as I am meeting them in London.
Ergo, I’m open for business, anywhere on the planet. Who wants a suit?
2. Credentials.
Without tooting my horn too much, here are a few anecdotes to help illustrate my worth.
After I had decided to leave, I got a bit of a rush of people, who suddenly wanted to work with me. This I turned down, as they said I could cut any style of coat I wanted, should I have taken the position. This I found flattering, but utterly bizarre.
More interesting was when Anderson’s first found out I was leaving, they made me train their present Managing Director, John Hitchcock [the father of Stephen]. This I found rather strange at the time, as Mr Hitchcock was nearly twenty years my senior.
So if you like the Anderson’s cut, I guess you could say I'm the one currently wielding Excalibur. At the time, it felt like Obi Wan Kenobi was handing me over his lightsabre. It certainly made me smile.
Any tailor I've so far mentioned- Messieurs Hitchcock, Anderson’s et al- are all great, world-class tailors, not to mention the rest of the Row. To have their collective respect is the by far the greatest achievement of my life.
Also via the Row, I have recently been asked to give a pattern-cutting "masterclass" (their term, not mine) for one of the Universities here in London. It's nice to get the occasional bit of outside recognition, as long as nobody gets too carried away.
Sure, with my globetrotting, mobile ways I may seem to be a bit of a heretic, but the fact is, I know this business. And best of all, I know the best bits of it. First hand.
In truth, I’m as hardcore Savile Row as you’ll get.
3. Temperament.
I love Savile Row, and love being there. But I know myself, and know the rest of London doesn't suit me nearly as well.
I don’t want four hours of commuting on tubes and trains, every day. Nor am I particularly interested in getting my name in the right glossy magazines. I can’t be bothered with the trendy parties. You never get a decent drink, anyway.
Call me old fashioned, but I have an independant streak. Yes, I prefer to rough it up here based and keep visiting my customers where they need me, not where it’s 'cool' to be seen.
4. My Age.
There are a very few top tailors left on Savile Row, realistically, maybe a dozen left on the very top shelf. I am the youngest one I know of, and I think I know most of them. I am not yet forty. Most of them are in their sixties. I know one person who is considered one of "the younger ones". He is in his late fifties. More than a few of them are set to retire within the next couple of years.
A decent wardrobe, built as a collaboration between the client and his tailor, takes a long time to build up. Like English Cut, the plan is for me to still be around in 20 years.
Thanks for reading. Should you wish to discuss bespoke suit, please come to TailorU's website.
So when somebody buys a suit from say, Kilgour's or Welsh & Jeffries instead of from me, I'm always perfectly happy for them. Both these tailors are world-class, and the clients are usually very informed about the market, so I know the choice was probably a good one. And like I said, there's plenty of work out there. My turn will come around soon enough.
But recently a lot of English Cut readers have been sending me e-mails, asking the dreaded question, "Why should I buy a suit from you, instead of the other bespoke tailors you've mentioned?"
It's a perfectly reasonable, straightforward question. To save everybody's poor typing fingers, including my own, I thought I would just answer them here directly.
I would list four main factors. They're not so much "Reasons To Buy", more "What Makes Me Unique". Drum roll, please...
1. Mobility and Economics.
The most singular difference between myself and the other tailors I rate highly, is that I’m not permanently based on Savile Row. So there's no loss of quality for my customers in my business model, just an improvement in the quality of life for one humble tailor.
This benefits my customers in two major ways. Firstly, basing my workshop outside of London saves me the huge overheads. This allows me to sell my suits at about 20-25% less than the big houses on Savile Row. This is something I’m sure nobody would complain about, especially our American cousins, who are not encouraged by the current exchange rate.
Secondly, staying mobile has made my business far more flexible than my competition, mentally as well as physically. I don't wait for customers to visit London, to visit Savile Row before I 'condescend' to take an order. No, I happily travel to them. If they live in Paris, I can go to Paris. Or New York. Or Chicago. Or San Francisco. Wherever the market dictates.
To me, Savile Row is a proper business, not a tourist attraction.
I know the grand houses of Savile Row are wonderful institutions, and they have a big part to play, but Savile Row's tailoring heritage was formed on that street simply because, frankly, the the Well-to-do of London "Society" lived in the immediate vicinity.
Two hundred years ago, if you wanted the Well-to-do's custom, you had to set up shop where they actually lived. Making sure your customers didn’t have too far to ride in their horse & carriage. But now my market is global. Some of my customers come to London now and then, but seriously, they live and travel all over the world, and it's my job to keep track of them. However grand and magical Savile Row can appear on an early morning walk, all that's really needed to do the job is skill, a tape measure, a cutting table, a sharp pair of shears and the ability to keep one's word. I'm as happy meeting my clients in a Manhattan hotel suite as I am meeting them in London.
Ergo, I’m open for business, anywhere on the planet. Who wants a suit?
2. Credentials.
Without tooting my horn too much, here are a few anecdotes to help illustrate my worth.
After I had decided to leave, I got a bit of a rush of people, who suddenly wanted to work with me. This I turned down, as they said I could cut any style of coat I wanted, should I have taken the position. This I found flattering, but utterly bizarre.
More interesting was when Anderson’s first found out I was leaving, they made me train their present Managing Director, John Hitchcock [the father of Stephen]. This I found rather strange at the time, as Mr Hitchcock was nearly twenty years my senior.
So if you like the Anderson’s cut, I guess you could say I'm the one currently wielding Excalibur. At the time, it felt like Obi Wan Kenobi was handing me over his lightsabre. It certainly made me smile.
Any tailor I've so far mentioned- Messieurs Hitchcock, Anderson’s et al- are all great, world-class tailors, not to mention the rest of the Row. To have their collective respect is the by far the greatest achievement of my life.
Also via the Row, I have recently been asked to give a pattern-cutting "masterclass" (their term, not mine) for one of the Universities here in London. It's nice to get the occasional bit of outside recognition, as long as nobody gets too carried away.
Sure, with my globetrotting, mobile ways I may seem to be a bit of a heretic, but the fact is, I know this business. And best of all, I know the best bits of it. First hand.
In truth, I’m as hardcore Savile Row as you’ll get.
3. Temperament.
I love Savile Row, and love being there. But I know myself, and know the rest of London doesn't suit me nearly as well.
I don’t want four hours of commuting on tubes and trains, every day. Nor am I particularly interested in getting my name in the right glossy magazines. I can’t be bothered with the trendy parties. You never get a decent drink, anyway.
Call me old fashioned, but I have an independant streak. Yes, I prefer to rough it up here based and keep visiting my customers where they need me, not where it’s 'cool' to be seen.
4. My Age.
There are a very few top tailors left on Savile Row, realistically, maybe a dozen left on the very top shelf. I am the youngest one I know of, and I think I know most of them. I am not yet forty. Most of them are in their sixties. I know one person who is considered one of "the younger ones". He is in his late fifties. More than a few of them are set to retire within the next couple of years.
A decent wardrobe, built as a collaboration between the client and his tailor, takes a long time to build up. Like English Cut, the plan is for me to still be around in 20 years.
Thanks for reading. Should you wish to discuss bespoke suit, please come to TailorU's website.
Bespoke Suit Shop Is Moving
This is something I’ve known about for a while, but I guess I’ve been ignoring the fact. I suppose we all hoped that the great building would remain to house one of the world's greatest tailors. But that’s life.
It’s very sad that they are moving, and I know that it’s the people that make a company, not the bricks and mortar. But Savile Row just won't be the same without them.
The lease ran out a few years ago, and although they’ve had a stay of execution, the developers are moving in next week. Change is inevitable, I suppose.
They're of course sorry that they‘ve got to move, however the Davies’s premises in Burlington Street have been completely gutted and the new shop sounds fantastic. I know there’ll be the smell of fresh paint for a while, but I’m sure Anderson’s will recapture that “comfy pair of slippers” feel about their new shop in no time at all.
Anderson’s have "first refusal" to return to Number 30, should they wish. But with the ridiculous rent and rates required for Central Mayfair, I’ve been told there’s little chance of that happening. I gather the lower ground may be turned into a couple of retail units with offices above.
I wonder if the new occupants will have any real idea of the sartorial adventures that went on within those walls.
I really hope that the spot where the rug was rolled up on the parquet floor, so Mr. Astaire could dance to check the fit of his coat never came away from his collar, won't be the permanent resting place for a new Xerox machine. God forbid.
Well that’s that, and I and the rest of the Row wish them every success in their new home, where I’m sure they’ll be for another 100 years.
For more information about custom-made suit, please go to TailorU's website.
It’s very sad that they are moving, and I know that it’s the people that make a company, not the bricks and mortar. But Savile Row just won't be the same without them.
The lease ran out a few years ago, and although they’ve had a stay of execution, the developers are moving in next week. Change is inevitable, I suppose.
They're of course sorry that they‘ve got to move, however the Davies’s premises in Burlington Street have been completely gutted and the new shop sounds fantastic. I know there’ll be the smell of fresh paint for a while, but I’m sure Anderson’s will recapture that “comfy pair of slippers” feel about their new shop in no time at all.
Anderson’s have "first refusal" to return to Number 30, should they wish. But with the ridiculous rent and rates required for Central Mayfair, I’ve been told there’s little chance of that happening. I gather the lower ground may be turned into a couple of retail units with offices above.
I wonder if the new occupants will have any real idea of the sartorial adventures that went on within those walls.
I really hope that the spot where the rug was rolled up on the parquet floor, so Mr. Astaire could dance to check the fit of his coat never came away from his collar, won't be the permanent resting place for a new Xerox machine. God forbid.
Well that’s that, and I and the rest of the Row wish them every success in their new home, where I’m sure they’ll be for another 100 years.
For more information about custom-made suit, please go to TailorU's website.
Bespoke Suit Fabrics
Here are all kinds of cloth material out there- wool, cashmere, vicuna etc. But for the moment I just want to let you know about the most widely-used cloth in the business, the classic "Wool Worsteds". This is the main cloth bespoke customers need to know about. These are used for about 90% of our business. The exotics I’ll cover at a later date.
English Wool Worsted is mostly woven in Yorkshire, Northern England and the English West Country. Like all crafts, there are smaller independants dotted around the UK, however the town of Huddersfield in Yorkshire has the big slice of the business.
Wool worsteds are usually made from Merino wool (which usually means Australian and New Zealand Merino sheep) and are supplied by all the London cloth merchants.
Wool Worsteds are very popular for a reason- they make up very well, and with a little care they can last for years. I and most of my customers wear them for this very same reason.
They come in a wide range of qualities- but when you're buying a suit, make sure you know what definition of "quality" you're using.
Is it "quality" in terms of texture and design? Or is it about durability and strengh? Again, always ask yourself “What’s the suit for?” Remember this, or you could end up spending a lot more money and feeling sorley disappointed.
Worsted cloth is rated by numbers. Super 100’s, Super 150’s and higher. These numbers refer to the count, or fineness of the yarn used in the cloth. The finer the count (measured in microns), the more wool is used per square inch of the cloth. Hence the higher the number, the finer and softer the cloth.
To qualilify as a good, hard-wearing and attractive wool worsted, it must be rated at least in the upper 80’s and 90’s.
The Super 120’s and higher are beautiful cloths, but there’s a price to pay, and not only financial. Although they do feel wonderful, the simple fact is they don't wear very well. They're simply not as durable as their lesser-numbered cousins.
I know this seems a little tragic, but still, if money is no object and you want to feel the finest stuff against your skin, go for the Super 150’s. Or if it’s something special that you won’t wear too often, then go treat yourself.
The other advantage of high-number wool worsteds is, because of the finer yarns used, the weavers are able to get more colours and intricate designs into the fabric. This can make them wholly tempting as you gaze at them and stroke them, when the tailor is showing you a sample.
Rest assured, no Savile Row tailor is going to sell you an inferior cloth, as the result to his reputation would be utterly disastrous. But just remember the cost of cloth can differ vastly, and not all for the same reasons.
In summary, Super Numbers look and feel fantastic, but don’t wear as well, and can add 20-30% to the cost of your suit. Your more affordable, classic worsteds are usually made into the timeless designs- pin stripes, chalk stripes, Prince of Wales checks etc. So you'll always have room for them in your wardrobe. They make up well and last for years. The downside is the designs are far more standardised.
A word of advice. It’s very easy for some obscure manufacturer to produce a sample bunch with all sorts of fancy numbers and claims on it. And you'll find out the hard way, a year down the line when the suit starts falling apart, how exaggerated these claims were. No tailor will know all of the manufacturers in the world.
For more details about custom-made suit and shirt, please go to TailorU's website.
English Wool Worsted is mostly woven in Yorkshire, Northern England and the English West Country. Like all crafts, there are smaller independants dotted around the UK, however the town of Huddersfield in Yorkshire has the big slice of the business.
Wool worsteds are usually made from Merino wool (which usually means Australian and New Zealand Merino sheep) and are supplied by all the London cloth merchants.
Wool Worsteds are very popular for a reason- they make up very well, and with a little care they can last for years. I and most of my customers wear them for this very same reason.
They come in a wide range of qualities- but when you're buying a suit, make sure you know what definition of "quality" you're using.
Is it "quality" in terms of texture and design? Or is it about durability and strengh? Again, always ask yourself “What’s the suit for?” Remember this, or you could end up spending a lot more money and feeling sorley disappointed.
Worsted cloth is rated by numbers. Super 100’s, Super 150’s and higher. These numbers refer to the count, or fineness of the yarn used in the cloth. The finer the count (measured in microns), the more wool is used per square inch of the cloth. Hence the higher the number, the finer and softer the cloth.
To qualilify as a good, hard-wearing and attractive wool worsted, it must be rated at least in the upper 80’s and 90’s.
The Super 120’s and higher are beautiful cloths, but there’s a price to pay, and not only financial. Although they do feel wonderful, the simple fact is they don't wear very well. They're simply not as durable as their lesser-numbered cousins.
I know this seems a little tragic, but still, if money is no object and you want to feel the finest stuff against your skin, go for the Super 150’s. Or if it’s something special that you won’t wear too often, then go treat yourself.
The other advantage of high-number wool worsteds is, because of the finer yarns used, the weavers are able to get more colours and intricate designs into the fabric. This can make them wholly tempting as you gaze at them and stroke them, when the tailor is showing you a sample.
Rest assured, no Savile Row tailor is going to sell you an inferior cloth, as the result to his reputation would be utterly disastrous. But just remember the cost of cloth can differ vastly, and not all for the same reasons.
In summary, Super Numbers look and feel fantastic, but don’t wear as well, and can add 20-30% to the cost of your suit. Your more affordable, classic worsteds are usually made into the timeless designs- pin stripes, chalk stripes, Prince of Wales checks etc. So you'll always have room for them in your wardrobe. They make up well and last for years. The downside is the designs are far more standardised.
A word of advice. It’s very easy for some obscure manufacturer to produce a sample bunch with all sorts of fancy numbers and claims on it. And you'll find out the hard way, a year down the line when the suit starts falling apart, how exaggerated these claims were. No tailor will know all of the manufacturers in the world.
For more details about custom-made suit and shirt, please go to TailorU's website.
Bespoke Suit Heritage
Anderson’s are one of the most prominent tailors in the world, what is frighteningly obvious is that they’ll not be the last to move from Savile Row, either. This could be almost acceptable if bespoke tailoring was a dying trade, but it’s not.
Certainly, the business has ups and downs like any other, but there is still a huge demand.
It’s a double edged sword- Savile Row isn’t about changing; and why should they? They're in the suit business and they make the best suits in the world. In the past when the world was a much bigger place, Savile Row was security. A man of standing was always impeccably dressed. So customers were introduced to the Row by family and trusted friends, as existing customers knew their kith and kin would be in the the most competent hands, to sartorially prepare them for all of life's pleasures and trials.
The world is a much smaller place now. Global travel and communication is a wonderful thing, however the fact is we're now open to much greater influence, both good and bad. Our friends and children don’t feel the need for bespoke, nor want such personal advice. They can get supposedly it themselves, without the help of experts, and this is where the media has been quick to take hold with a vice-like grip. This is where we’ve failed on the Row. We need to use proper, modern communication to let our steel shears prise open the misinformed market within that vice. Certainly, the ready-to-wear marketing skills are impressive, but their product is generally not.
The bespoke marketing skills are dire, but the product is peerless.
And aside from Savile Rows chronic undermarketing, there is another enemy, namely, various Westminster leaseholders and Westminster City Council. 'Enemy' is probably too strong a word, but they don’t make life any easier for the tailors. I know they're in business and they deserve the going rate. However, I do think the institution that has clothed most of the world's most influential people for the best part of two hundred years deserves Heritage Status. And it doesn't have it. Unofficially it does, of course. But officially it doesn't.
We have an organization here in the UK called English Heritage; as the name suggests they look after all that’s dear and special to this green & pleasant land. They protect everything from ancient monuments and city parks. Also they help to maintain historical artifacts like old coal mines and waterwheels for future generations. Now what about the tailors? Don’t you think they're part of English Heritage?
I certainly do, and I think if there are any grants going to help combat the huge rates and other assaults from the heavy-booted march of progress, then the heritage-packed Savile Row will gladly use it well and honourably.
If you like to learn more details about bespoke suit and shirt, please come to TailorU's website.
Certainly, the business has ups and downs like any other, but there is still a huge demand.
It’s a double edged sword- Savile Row isn’t about changing; and why should they? They're in the suit business and they make the best suits in the world. In the past when the world was a much bigger place, Savile Row was security. A man of standing was always impeccably dressed. So customers were introduced to the Row by family and trusted friends, as existing customers knew their kith and kin would be in the the most competent hands, to sartorially prepare them for all of life's pleasures and trials.
The world is a much smaller place now. Global travel and communication is a wonderful thing, however the fact is we're now open to much greater influence, both good and bad. Our friends and children don’t feel the need for bespoke, nor want such personal advice. They can get supposedly it themselves, without the help of experts, and this is where the media has been quick to take hold with a vice-like grip. This is where we’ve failed on the Row. We need to use proper, modern communication to let our steel shears prise open the misinformed market within that vice. Certainly, the ready-to-wear marketing skills are impressive, but their product is generally not.
The bespoke marketing skills are dire, but the product is peerless.
And aside from Savile Rows chronic undermarketing, there is another enemy, namely, various Westminster leaseholders and Westminster City Council. 'Enemy' is probably too strong a word, but they don’t make life any easier for the tailors. I know they're in business and they deserve the going rate. However, I do think the institution that has clothed most of the world's most influential people for the best part of two hundred years deserves Heritage Status. And it doesn't have it. Unofficially it does, of course. But officially it doesn't.
We have an organization here in the UK called English Heritage; as the name suggests they look after all that’s dear and special to this green & pleasant land. They protect everything from ancient monuments and city parks. Also they help to maintain historical artifacts like old coal mines and waterwheels for future generations. Now what about the tailors? Don’t you think they're part of English Heritage?
I certainly do, and I think if there are any grants going to help combat the huge rates and other assaults from the heavy-booted march of progress, then the heritage-packed Savile Row will gladly use it well and honourably.
If you like to learn more details about bespoke suit and shirt, please come to TailorU's website.
2010年4月3日星期六
Bespoke Suit Reinvent
Is it possible to rethink or reinvent the suit without ruining it?
Dries Van Noten believes that the evolution of classic menswear occurs through unlikely juxtapositions of fabrics, patterns and colors. Kim Jones (Dunhill) emphasizes the importance of using modern fabrics created with new technologies developed by fabric factories (e.g. traditional fabric blended with, for instance, non-crease mohair from Cambedoo, in South Africa).
For Morenzo Ferrari (Avenza) evolving means questioning the traditional construction process (goodbye lining and padding). Patrick Grant (Norton & Sons and E. Tautz) is adamant about the importance of new accessories to revamp masculine outfits - shirt collars, new tie knots, stylish pocket squares -and encouraging gents to express themselves with a seamless mastery of the basics of classic elegance, and not just suits.
Lorenzo and Massimo Cifonelli obviously have a say in the matter with the recent creation of an entire line of sports jackets that is particularly bold and innovative in terms of cuts and finish.
It is paramount to mention that the magnificent creations below are strictly Bespoke at Cifonelli and that they were designed for inspiration only. Sources tell us that this exceptional collection has reached its goal and brought Cifonelli to new clients who responded to both their classic construction and visual originality (“classic with a twist”).
Here they are, for your viewing pleasure. I trust that you style aficionados will enjoy these classic sports jackets, as they were revamped by the noble Rue Marbeuf label.
TailorU will provide you more details about custom-made suit and shirt.
Dries Van Noten believes that the evolution of classic menswear occurs through unlikely juxtapositions of fabrics, patterns and colors. Kim Jones (Dunhill) emphasizes the importance of using modern fabrics created with new technologies developed by fabric factories (e.g. traditional fabric blended with, for instance, non-crease mohair from Cambedoo, in South Africa).
For Morenzo Ferrari (Avenza) evolving means questioning the traditional construction process (goodbye lining and padding). Patrick Grant (Norton & Sons and E. Tautz) is adamant about the importance of new accessories to revamp masculine outfits - shirt collars, new tie knots, stylish pocket squares -and encouraging gents to express themselves with a seamless mastery of the basics of classic elegance, and not just suits.
Lorenzo and Massimo Cifonelli obviously have a say in the matter with the recent creation of an entire line of sports jackets that is particularly bold and innovative in terms of cuts and finish.
It is paramount to mention that the magnificent creations below are strictly Bespoke at Cifonelli and that they were designed for inspiration only. Sources tell us that this exceptional collection has reached its goal and brought Cifonelli to new clients who responded to both their classic construction and visual originality (“classic with a twist”).
Here they are, for your viewing pleasure. I trust that you style aficionados will enjoy these classic sports jackets, as they were revamped by the noble Rue Marbeuf label.
TailorU will provide you more details about custom-made suit and shirt.
Men's Custom Suits Style
Men's custom suit style is rather an inspiration.
You know how you flick through men’s magazines, hoping against hope that there will be an inspiring fashion shoot of suits, ties and shirts, demonstrating bold colour combinations you hadn’t considered, illustrating textbook use of pattern density and pushing the boundaries for contrast in texture? Styling that encompasses the rich past of menswear yet enervating it with effective modern interpretations?
Well I do. And outside an occasional spread in the Esquire Big Black Book, and slightly more frequent line-ups in The Rake, they are hard to find. Inspiration for me more often comes from runways, blogs like The Sartorialist and men I just see around on the street.
Which is ironic. Because the illustrations from Esquire that are collected in Men in Style are a composite of those inspirations: what men are wearing, slightly idealised, and slightly styled. No one sits quite that nonchalantly assembling his fishing rod, perched on the edge of the desk. But men are wearing wide peaked collars with single-breasted suits. And the pattern combination among check, herringbone, stripe and crocodile is certainly inspirational.
Esquire was some magazine, containing articles and stories by writers like Ernest Hemingway, Dashiell Hammett and John dos Passos. It was progressive, boldly printing a tale by a black author about a romantic multi-racial triangle – at readers’ request. And most importantly, it employed some great illustrators. Each had their strengths, but all could paint texture, cloth and drape extremely well. This was their primary skill – where modern fashion shoots focus on atmosphere at the expense of detail, these illustrations showed the shine of every button and the subtlety of every pattern.
Those were the good old days, you may say. No one would produce that kind of thing now. But when Esquire launched it was entirely unique on the newsstand. As Woody Hochswender says in his introduction, “the conventional wisdom was that men were not interested in fashion, at least not interested enough to be caught dead looking at it in a magazine.” So Arnold Gingrich, the founding editor, sought articles “substantial enough to deodorise the lavender whiff coming from the mere presence of fashion pages.”
Men’s fashion magazines today feature many articles. But you wouldn’t call many of them substantial. If I see another grooming piece telling me how to shave I’ll kill someone. The original Esquire was brave and different. And it launched as the world clambered out of global recession. Coincidence?
TailorU will provide you more details about custom suits.
You know how you flick through men’s magazines, hoping against hope that there will be an inspiring fashion shoot of suits, ties and shirts, demonstrating bold colour combinations you hadn’t considered, illustrating textbook use of pattern density and pushing the boundaries for contrast in texture? Styling that encompasses the rich past of menswear yet enervating it with effective modern interpretations?
Well I do. And outside an occasional spread in the Esquire Big Black Book, and slightly more frequent line-ups in The Rake, they are hard to find. Inspiration for me more often comes from runways, blogs like The Sartorialist and men I just see around on the street.
Which is ironic. Because the illustrations from Esquire that are collected in Men in Style are a composite of those inspirations: what men are wearing, slightly idealised, and slightly styled. No one sits quite that nonchalantly assembling his fishing rod, perched on the edge of the desk. But men are wearing wide peaked collars with single-breasted suits. And the pattern combination among check, herringbone, stripe and crocodile is certainly inspirational.
Esquire was some magazine, containing articles and stories by writers like Ernest Hemingway, Dashiell Hammett and John dos Passos. It was progressive, boldly printing a tale by a black author about a romantic multi-racial triangle – at readers’ request. And most importantly, it employed some great illustrators. Each had their strengths, but all could paint texture, cloth and drape extremely well. This was their primary skill – where modern fashion shoots focus on atmosphere at the expense of detail, these illustrations showed the shine of every button and the subtlety of every pattern.
Those were the good old days, you may say. No one would produce that kind of thing now. But when Esquire launched it was entirely unique on the newsstand. As Woody Hochswender says in his introduction, “the conventional wisdom was that men were not interested in fashion, at least not interested enough to be caught dead looking at it in a magazine.” So Arnold Gingrich, the founding editor, sought articles “substantial enough to deodorise the lavender whiff coming from the mere presence of fashion pages.”
Men’s fashion magazines today feature many articles. But you wouldn’t call many of them substantial. If I see another grooming piece telling me how to shave I’ll kill someone. The original Esquire was brave and different. And it launched as the world clambered out of global recession. Coincidence?
TailorU will provide you more details about custom suits.
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