Tailoring for Women

Autumn\Winter collections will soon start to appear in retailers’ windows with the usual re-emergence of checks and plaids.  Working with these types of fabric brings a unique set of challenges.  If they are handled well, the garment takes on an added sharpness.  If not, the result will offend the eye and the garment will fail to achieve its full potential.

Plaids can be printed or woven and come in two basic forms; balanced or unbalanced.  ‘Balanced’ plaids have a symmetrical repetition of the pattern’s stripes growing outwards from each side of a central point.  An ‘unbalanced’ plaid is assymetrical with just a repeating series of stripes.

When working with plaids you need to purchase more fabric than usual in order to accommodate the matching of pattern repeats.  This is particularly the case if the design has a large number of pieces.  A good rule of thumb is to allow for two additional repeats of the pattern.

Correct cutting of the pattern is crucial; it determines the way in which the pattern of the cloth will align precisely across the seams.  This is the mark of a top class garment.

First comes the matching of the sideseams of both jacket and trousers.  Next, the horizontal lines at the top of the sleeve front should match those on the body of the jacket.  And the centre seam on the back should not interupt the pattern, aligning perfectly with the collar.  For the lapels, the stripes should run parallel to their edges, and pocket flaps should not interupt the flow of the pattern.

It is also possible to create chevron seams where the patterns of each part meet at 90 degrees.

Single layer cutting ensures the right design in the correct place on the fabric, and pattern pieces need to mirror each other, creating symetrical shapes where one is the exact reverse of the other.   You also need take account of the direction of the nap of the cloth.

Kilts are a traditional plaid garment that bring their own set of problems.  The combination of the amount of cloth and the way in which it is pleated gives it a characteristic swing when walking, however the way in which this is created is highly specialised.  The aim is to conceal sufficient cloth within a pleat so that the folded edges align with the repeat of the pattern.  This means that the length of cloth has to be calculated individually, depending upon the width of the repeat.

Working with plaids is like trying to solve an enormous three dimensional puzzle.  Just like some of the interlocking wooden puzzles you see in toy shops, if you change one element, you have to consider how it affects all the others.  Sudoku for suits!

Last week saw more coverage about ‘Austerity Britain’.  In particular,  how people were looking to revitalise long forgotten skills.  BBC TV’s Newsnight had people talking about reinvigorating the clothes in their wardrobes,  the Independent issued a supplement in their New Good Life series (Making and Mending – Sewing, knitting and darning), and the Financial Times ran a page about the rise in the sales of sewing machines and haberdashery.

I visited a number of my favourite suppliers here in London and they all confirmed how there had been an upsurge in interest,  although as Martyn Frith of the Button Queen commented,  “this was their third recession over 50 years, so it was not entirely unexpected”.

• The Button Queen: Established for over 50 years with a collection of some 2 million buttons, including rare antiques.  They will source special requirements.
• MacCulloch & Wallis: Great selection of millinery items in addition to an extensive selection of fabrics and trimmings,  all within a listed building in Mayfair.
• Kenton Trimmers:  Family business that caters specifically for the bespoke tailor.
• V V  Rouleaux: Out of the ordinary, theatrical trimmings and decorations.

A little while ago we ran a post about the fashion industry and how it had spawned a rash of cheap clothing much of which ended up in our land fill sites after only a couple of outings.  It is a welcome move forward that people are now looking to remodel and recycle.  Unfortunately,  because of the structuring of mass-produced garments this is not always as straightforward as it seems.  With some new designs, compromises are made in the make, and in the use of cloth and trimmings – and seams have a tendency to autodestruct at the slightest hint of a repair kit!

Nonetheless, I am all for ‘making do and mending’.  In fact it has given me great pleasure recently to work with one of my clients, a medical consultant, who wanted to have a hand in sharpening up her tailored wardrobe, and adapting it more to her own changing tastes and body shape. Ultimately she would like to learn more about basic tailoring, extending her creative skills set as well as the life of her garments, and at the same time adding some personal touches to her wardrobe.

I think it was the blues singer Corey Harris who said,  “in order to know where you’re going, you have to know where you’ve been”.  Last week I spent some time re-visiting an old friend with a view to making a new one.

This knee length dress in wool crepe was commissioned last year.  It came from the first client via our TfW blog who wanted a simple elegant piece to make an impact during a special viewing at Christies; the international auctioneers of fine art.

As an inspiration she suggested looking at the French designer André Courrèges,  famous for producing immaculately tailored sporting clothes in the mid 60′s.  He became known as the socialites’ couturier, and his clients included the Begum Aga Khan, Princess Lee Radziwill, and the Duchess of Windsor.  His signature silhouette for a dress was an “A” shape that bypassed and concealed the waist.

This rich red dress is made from double wool crepe selected at Joel & Sons. The fabric has a deep texture that can be indented by topstitching, a technique similar to quilting that was favoured by Courrèges.

Wool crepe has a characteristic crinkled granular appearance produced both by the special type of yarn used, and the distinctive way in which it is woven.  It also dyes well in any range of deep jewel or soft pastel colours, with the texture of the fabric enhancing its hue.

This cloth has many attractive properties for a tailor or couturier.  From a design and construction perspective the relaxed weave allows a slight “give” in all directions, making it possible to shape and mold the cloth into sculptural lines that follow the contours of the body.  Newly developed stretch linings are compatable with an outer crepe layer to accommodate any movement.

For the wearer it creates a garment that is comforatable all year round.  It will also be durable, perfect for travel, easy to care for, and equally suitable for boardroom, day or evening wear.

There is a re-emerging trend for dresses as they seem to offer the ideal solution as an alternative to the more conventional skirt and jacket combination.  They are easy to accesorize and to wear with other separates.

Returning to our crimson friend above, in a short while it will return to the closet with a new companion to share the rail.

In a UK market where we are told the average women’s size is 16, for the Sunday Times Style magazine to feature the fuller figure (“The Triumph of Curves“) seems timely.  We have covered this topic before, however I think in the case of this article it does need something of a reality check.

It is interesting that all the models photographed look beautifully proportioned.  In my experience such perfection is not always apparent and the fuller figure does present a number of challenges that are not always equally distributed.  Something else worth mentioning is how the body shape will change when one is active.  Even the simple act of sitting down can put stresses on a garment that require a tolerance not obvious in some of the featured samples.

I first started to look closer at the moulding of the female form when I worked with the designer Georgina Godley in the recreation of her 80′s “Lumps and Bumps” collection for  “Addressing the Century: 100 years of Art and Fashion” at London’s Hayward Gallery in 1999.  I spent many hours with a mannequin, chunks of foam rubber glued together, and an electric carving knife, exploring different body shapes.

It is interesting to notice, when ready-made garments are graded up to larger sizes how these can look somehow out of balance on a larger frame.  This is particularly noticeable at the shoulder line which often appears to “grow” too wide.  If a garment fits neatly to the span of the shoulder it is much more flattering for a woman (the fit for men is different).

Without being too technical, when drafting a pattern for a bespoke piece the trick is to merge an accurate shoulder measure into the proportionally larger bust and waist.  A neat armhole must marry up to a darting system for the bustline.  If this is styled well the garment will fit the main points on the figure and trick the eye into seeing a smaller size.  Of course this is not so easy to reproduce for the mass market.

If you have a larger frame it helps if you are tall;  with an ample bust, balanced hips and shoulders, and a well defined waist – certainly when it comes to dressing from the high street.  Otherwise one has to look at a combination of solutions.

It is interesting also to note how some fuller figures work better with fitted clothing, whereas others need a looser fit, or even a combination of the two. Balance is everything, and not always easy to achieve from hunting through racks of clothes.

This is why we are here!

I wonder how many of you were able to view the moving testament by Jenni Murray on the Newsnight programme recently on BBC Television.  This highly regarded presenter of the long running Woman’s Hour Programme (BBC Radio) spoke with great openness and pragmatism about the moment she was diagnosed with breast cancer.

It made me think about some of my past clients who had contracted the same disease and how they came to terms with the physical changes that they were faced with.  The medical profession tells us that surgical techniques and recovery processes have changed radically over the years and the procedures are not perhaps quite as brutalising as they were once considered.  The lingerie industry has given us products that are sufficiently advanced to help disguise any changes in body shape,  however there remains still the psychological trauma linked to a perceived loss of one’s femininity.

It made me realise that as a tailor one is privy to some extremely personal moments in a client’s life,  and the role one can play professionally  in supporting the journey back to full confidence is certainly a privileged position to be invited to fulfil.

I was advised by one of my clients, a medical specialist, that should you need any information about this subject this is by far the most helpful website for research,  run by Macmillan; CancerBackup

“Show me where you work; show me how you do it”.

I am thrilled by the way my clients want to collaborate in the design of their garments.  Their curiosity seems to be twofold: a desire to learn more about the practical details; cloth, techniques, tools.  Secondly, an intrigue with the more artistic side of things such as proportion, colour balance, placement of detail etc.

I have been thinking about some of the parallels with architecture.

A building is made from both rigid and flexible elements.  The final structure has to be strong enough to maintain its form, but possess a degree of flexibility as the climate, inside and out, affects the physics of the materials from which it is made.  So, the constituent components all influence each other.

Garments crafted in the art of bespoke are created in a similar way – with a unique layering of materials and methods of combining them.  The art lies in achieving a finished product that is soft on the body but at the same time accentuates the natural attributes of the materials used.

Some materials making up the inner architecture of a bespoke suit are:

• chest canvas – short, coarse fibres in the weave provide foundation and allow flexibility
• laptair – long, rigid fibres supporting the weft of a fabric help preserve its width.
• domette – soft, supple cloth secured over the coarser fibres of the laptair preventing their intrusion past the inner linings.
• silesia – a strong, densely woven fabric that adds a stable foundation in the fixing of other materials
• pocketings – robust enough to hold an array of objects yet retain its shape, and be comfortable on the skin

These materials are layered and secured with a matrix of different types of stitches, each backing the other up.

• basting cotton – soft thread for loose stitching such as padding and basting which can be easily removed
• poly-cotton blend – used for machining and some hand sewing
• silk – because of its lustre and strength it is used for the final topstitching and buttonholes
• polyester – strongest, the thickest grades are used for backstitching

“The sewing machine is used for almost all seams and darts, but 75% of all stitches in a bespoke made suit are still done by hand, to ensure the most accurate shaping of the fabric.  Today’s tailors continue to practice their art almost exactly as it was practiced a century ago.  Not because slower is necessarily better, but because these methods produce body and form, detail and durability which newer faster methods of tailoring are simply unable to equal.”
(Classic Tailoring Techniques.  Roberto Cabrera/Patricia Flaherty Meyers.)

With modern, mass produced clothing, many of these details are eliminated.  One example is the way in which many layers are secured by one line of machine stitching.  If this line breaks, then it all breaks.

We spend our lives wrapped up in our clothes – we might as well know something about them!

A respondent to a recent post asked the question;  is buying a bespoke garment considered  a good return on  investment considering the initial spend?  Putting aside for the moment matters such as fit, design and satisfaction of requirements, I thought it provided an interesting challenge.  So I decided to investigate something from my own experience; my favourite ‘hacking jacket‘.

I made this garment twenty years ago, just after I came to London.  The fabric is a 100% worsted wool special edition tartan that I picked up at Holland & Sherry in Mayfair.  I wanted a key piece for my wardrobe that would be flexible enough to wear with tailored trousers, or jeans and trainers; for more formal or informal gatherings.  I use it throughout the autumn, winter and spring, and probably a minimum of once each week.  Erring on the low side this has given it around 600 outings in its lifetime (20 years) and it still has a long way to go!    The reasons for the length of its lifespan lie with the fact that the nature of its construction means it can be altered, the quality of the fabric makes it durable but still elegant, and it can resist the trauma of visits to high street dry cleaners without falling apart.

The original cost would have been in the region of £750.00 which  means that so far it has cost £37.50 per annum, and of course this is diminishing.  How does this rate with what you would expect to pay in the high street?

Prices, as you might imagine, have changed since the late 80′s.  So I contrasted this with two of my passions; Mars bars and shotguns.  Pretty extreme!

In 1989 the price of a Mars bar was 26 pence, and a standard 12 bore Holland & Holland ” Royal ” Model shotgun £21,100.  When I went to the local newsagent today, a Mars bar cost me 65 pence.  I didn’t have sufficient loose change in my pocket to pick up a shotgun; they now retail at £55,250.

So putting all this together I would suggest that the current price of a hacking jacket, from around £1500, is pretty much in line with the current pricing structures, and a good return on investment.

Not only that… but you get what you want!

P.S.  I just had an evening with one of my closest colleagues on the ‘Row’.  John Reed (see ‘Folding a Jacket‘) reminded me about the fact that we are all different, and the beauty of bespoke is that it respects and responds to our differences.

Recently I participated in a number of conferences in and around the Square Mile (the traditional financial centre of London) and the things about which I am asked most frequently are to do with the process of making a bespoke suit; specifically what does it involve, and how can one best prepare for it. A bespoke suit is comprised of an intricate and subtle layering of fabrics which are so arranged to mold to your body over time.  Like a good wine, it takes on character as it matures.

So, bearing in mind that you want to get the most out of your investment…and I really do look at it in that light…here are some pointers.

Preparation beforehand: The what, where, when and why’s of your garment

• Venue.  Do you need to fit in with current custom and practice
• Use.  Is this purely for the office or will it have to fulfil other purposes
• Climate.  High humidity, or freezing air conditioning…or both
• Time.  All day, evening, working hours
• Event.  Is this for a special occasion
• Image.  What impression do you wish to create
• Wardrobe.  What do you have in your collection

Consultation: Initial questions

• * Design.  Do I have to stick to a classic style ( single-breasted, double-breasted, button 2, button 3, vents etc.) ?  What modifications can be made (style of cuff, width of lapel, contrasting stitching etc.) ? Can you work from an illustration?  How will it be ‘finished’ (edge stitching, handmade button-holes etc)?
• Process.  Where will the garment be produced?  Can I make changes to the design after the making process has started?
• Timetable.  How long will the whole process take? How many fittings will there be? Can you fit within my schedule? Can you deliver to me?
• Materials.  What choice of materials are available (main cloth, linings, trimmings etc.)?
• Costs.  What is the schedule of payments?  Are there likely to be any extras?
• Accessories.  What additional items might I need?

Following on: the first fitting

• At your first fitting you will have the opportunity to see the internal workings of the garment before the lining has been installed.  Things you will be asked to consider will include
• Balance, fit and shape
• Any revisions to the original design – as the process advances there is less opportunity for making major modifications

Second fitting:

Not always required, but an opportunity to check on any major changes as a result of the first fitting

Completion:

• Aftercare.  How should I best store my garment?  How should it be cleaned? How should it be packed for travel?
• Maintenance.  Can I come back for future alterations or ‘tune-ups’?

You can perhaps see from all this thought, time and attention that there is a good reason for calling it the ‘bespoke experience’.

Recently a number of my clients have said that they are beginning to lose track of some of the topics we have covered over the past sixth months, so I thought that the time was right to give you a speedy overview.  And if any of you have comments as to how we might better arrange the categories for the blog posts I am open to suggestions.

In the current categories, over to the right of the screen, you will find Briefing for Bespoke. This is intended as a resource to which you can turn whenever you want to know more about going the bespoke route, and how to make the best of the many choices available. There are posts about Colour Analysis, the Psychology of Appearance, Proportion, and some practical tips about fabrics and the different ways in which they perform. We also touch on care and maintainance and even suggest a novel way to fold a jacket.

One of my clients mentioned that it would be helpful to know more about the bespoke process from initial consultation to final delivery, so we will be adding this in shortly.

Elsewhere we have included some novelty pieces about the rule of thumb and how it applies to simple systems of proportional measurement, and quite a number of posts tied into my trip to Japan last year; Happi coats, Kimonos and Kabuki costumes. And just a few items about my clients who range from the world of finance, both commercial and governmental, to performers such as Ute Lemper and Gil Shaham.  It was wonderful too, to be able to talk about the British Olympic Shooting Team for whom I made all their shooting jackets (picture above).  A high performance garment for a high performance team.

If any of you have suggestions for posts for the next six months, let us know.

Last Sunday, I caught an interview with Cherie Blair on the BBC’s Politics Show.  It ended a programme segment hosted by three guest women presenters, each from quite different backgrounds; a fire-fighter, a mother trying to get back into the workforce, and a company director.  An interesting debate.  And three observations in particular struck a chord which has some relevance to my own professional arena.

The other day  it was suggested by a male colleague that it was just too difficult for “gentlemen’s’ and ladies’ tailoring to co-exist”.  ( I use the word ‘ladies’ advisedly!).  Despite the number of professional women currently  hammering at the executive ‘glass ceiling‘ (some of them are my clients),  it seems strange that this sort of attitude still prevails.  Cherie commented on how society works best when women and men work together with “complementary skills on an equal basis”.   I know I learned a huge amount from my colleagues on Savile Row; in fact TfW is a service that grew from within a male tradition.  Yet despite my own background in haute couture, I feel that the opportunity for reciprocal learning was never quite part of the sharing process.

She also commented on how volume counted, that is, the more women that reach senior executive positions, the more accepting and quicker the change; a statistic of around 20%-30% was suggested for producing critical mass.  As one of the only women specialising in authentic bespoke tailoring for women I think we have some way to go on this one!

Maybe it is just that the trade is not ready for an influx of women.  Judging from the recent BBC series about Savile Row, it seems as if the upholders of this male tradition are still pretty well ensconced in their gentleman’s emporiums.

Maybe I should declare myself an endangered species.  And while we are at it, perhaps someone should mention that kissing the back of a lady’s hand by way of greeting is a bit ‘old hat’!