Tailoring for Women

I had something of a surprise last week.  An unexpected visit to my Spitalfields studio  from one of the members of the Japanese Imperial Household.  It also gave me the chance to show the latest treasures in stock.  A selection of superb silk and wool tweeds prepared specially for me by Nicolas Guibauld at Holland & Sherry.

Silk is a natural protein fibre spun by the silkworm as it makes its cocoon…which is perhaps why moths aren’t particularly interested in it!  In cross section, the fibres have a triangular shape with rounded corners which allow light to reflect at different angles, giving the fabric a natural lustre.  Its smoothness and softness of texture belies the fact that it is one of the strongest natural fibres, and it also takes dye extremely well.  I believe also that violinists wrap their instruments in silk cloths in order to equalise in part any changes in humidity.

Holland & Sherry’s Silk Essence range is woven in England with Super 100′s wool.  When silk is included in the weave the natural qualities of the wool are enhanced immeasurably giving the fabric a unique drape and luxurious feel.  What is more, when silk is woven into patterns – dogtooth, herringbone, birdseye or glenchecks – it becomes almost irridescent.

They also stock a range of cashique fabrics; a very special treat indeed.  It’s made from a blend of the highest quality mulberry silk with cashmere and super-fine wool.  Definitely for the connoisseur.

It is not only the properties of the fabric itself however that lend to it its mystique.  It first began to appear in the West almost 2000 years ago and the trade routes that were established for the transport of silk and other commodities from China, the Silk Road, gave rise to a rich reservoir of stories and legends.

Everyone seems to have a ‘silk’ story.  What is yours?

I need your comments!  My request is prompted by a client who approached me to carry out some ‘alterations’ to a much beloved wardrobe which, because of the passage of time, required some adjustments.

Alterations, the dreaded ‘A-word’, for me has more to do with taking up trouser hems or moving buttons.  This is a million miles away from the extensive re-cutting and restyling that is needed when refashioning a garment.  In many ways it is more related to the conservation skills required for preserving great works of art and other articles of value.  I remember talking with a luthier about the intricacy of the work that goes into repairing violins, preserving the original materials, and in more intense cases, searching for slivers of wood to match the age, grain and texture of the original. So, which of the ‘R-words’ is most appropriate?

For one part of my career I worked alongside the costumiers at the Royal Opera House.  The ability to reshape and reform garments at the drop of a hat because of last minute production changes was an essential part of their skill.

Rather than a chore, I see this work as an opportunity to learn, and I am very much of the opinion that training in these skills should be integral to any tailoring programme. It takes in all of the elements crucial to the art of bespoke; cutting, balance, sculpture, proportion and finish. Recently I have been fortunate to welcome on board a new apprentice and so this restyling project has proved to be a real bonus.

I should add one caveat however, modern garment construction does not always allow the provision for such extensive reshaping as I have mentioned in earlier posts.

But over to you…

Instead of the ‘A-word’, what would be your preference?

We have written about the credit crunch in other posts, however this particular project we undertook recently with Malcolm Plews of the tailoring house Welsh and Jefferies was an opportunity for clothes to ‘bite back’. And it involved a fashion student; Katie Robinson.

From time to time we try to make space to work with up and coming students in the clothing industry. Their ideas can be really refreshing and it gives us the opportunity to keeping in touch with current trends.

Katie’s particular specialisation is textile design and this collection, ‘Boom and Bust’, is inspired by the traumas of the City over the last few months.

The print designs were created on a range of different fabrics and used a number of iconic motifs such as the gold chip on a credit card, and embossed coinage.

After the fabric came the construction; I worked on the women’s business suit, Malcolm the men’s, and the one and only Delroy Mitchell produced the shirts.  I wonder if it is the first time a graduation show has had such a back stage representation from Savile Row?

Here is the collection, beautifully captured by the photographer Vicoria Brocklebank.

If all goes well, the collection will be selected for an independent London show at the East Winter Garden in Canary Warf on the 12th of June.

Good luck Katie!

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!

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.

“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.

I opened the Financial Times this weekend to a splash of advertisements for engagement and wedding rings, although for me none as elegant as this stunning example from Lucie Campbell in Bond Street.

Despite the Arctic conditions here in London, minds are turning to warmer thoughts and spring nuptials. I have  completed two weddings so far this year, with a third underway and still more around the corner.  As we were laying out each garment it occurred to me that there are some common issues that might be worth bearing in mind as you start the planning process.

So, here are ten thoughts, in no particular order,  that will help to reduce your stress levels and preserve the bank balance as the day draws near:

1. It is not necessary to purchase large quantities of expensive fabric.  Simply designed dresses can be transformed with hints of more exquisite fabrics such as beaded silks, embroidery, or devoré.
2. Choose cloth as early in the proceedings as possible, and also plan the fitting schedule well in advance.  Time flies, and if fabric stocks are limited your selected cloth could be snapped up.  Fortunately,  suppliers will often reserve lengths of fabric against a deposit whilst you decide on the design, and the pattern is cut.
3. Remember to include your intended jewellery in the discussion.  Bodices can be shaped to show a necklace off to better effect, brooches can be secured to protect the dress fabric, and a headress can be fashioned around an existing tiara.
4. Plan the undergarments with your designer.  They will be integral to the final design, so remember to bring them to your fittings.  I am pleased to be able to send my clients to Rigby & Peller.
5. Don’t leave your choice of shoes to the last minute.  You will need them at the final fittings for a perfect hemline.  Also, it can take weeks if they need to be dyed.  Make sure to wear them a few times before the day arrives, you may be grateful when it comes to the last waltz!
6. I have attended many a wedding where there have been accidents as a hem was caught on a heel or a garment gets unexpectedly snagged.  Make sure you have a small sewing kit to hand, including safety pins.
7. Don’t leave the men out of the planning.  Often ideas for co-ordinating their garments or accessories come too late in the day to be able to take effective action.  Waistcoats, bow ties, pocket squares, cravats, braces and buttonholes; all can lend a unifying feel to the bridal party.
8. Clients sometimes ask me to remodel or recondition vintage pieces, or perhaps refurbish a wedding dress worn by their mother.  This is achievable and often gives an added poignancy to an event, but be prepared for specialist alteration work which can be extensive.  Depending upon how the garment has been cared for this can prove a costly exercise particularly if special fabrics, beads, fastenings or trimmings need to be sourced and applied.
9. Think ahead and consider how any garments might be merged into your regular wardrobe after the wedding.  Shawls and jackets can be used as staple garments after the event, shoes can be re-coloured, and dresses can be re-cut or re-dyed.
10. Finally, don’t forget the last minute extras – garter, head dress, gloves, shawl or jacket, or a second outfit for the reception.

Good Luck!

Photo: thanks to Lucie Campbell, New Bond Street, London