Tailoring for Women

What a superb opportunity.  The chance to be interviewed by Jenni Murray alongside Lou Taylor, Professor of Dress and Textile History (University of Brighton).

Although I have spoken on both MidWeek and Start the Week in the past, Woman’s Hour is such an iconic programme it was my dream that one day I would be given this opportunity.  Thanks must go to Jaeger too who first put the proposal forward to the BBC.

It really is a fascinating, almost ‘other world-y’ type of experience.  All very efficiently executed by the production staff who had to co-ordinate our own contribution with that of the other speakers, and all within their strict time allocation.

In preparation for the interview we discussed a wide range of possibilities.  In reality, however, it was something of a task to condense the history of tailoring, and at the same time include the crucial intricacies of the ‘shoulder to hip’ profile of a woman’s figure, into the confines of a 10 minute slot.  Jenni Murray was extremely deft in co-ordinating our input.

Unfortunately it may be the case that some of you outside of the UK can’t listen to the extract because of licensing restrictions.  I hope not.

P.S.  it was quite nice to see one of my jackets on the BBC Website too!

After all the time spent planning, the day arrived  to give my presentation at the Victoria & Albert Museum.  Regular readers of the TfW blog will know that this was something originally put forward as a proposal almost eight months ago, so it was a super feeling to be standing in front of a packed and appreciative audience.  Fortunately I had the presence of mind to have it filmed.

My task was to open the seminar, which was beautifully hosted by the V&A’s Head of Adult Education, Jo Banham.  Following this was an intriguing presentation by Jaeger.  This year is their 125^th anniversary and it was wonderful to see some of the pieces and pictures from their archive.  I have a couple of vintage Jaeger pieces myself dating from the time Jean Muir was their designer and I treasure them.

Following this, Alan Cannon Jones, Senior Lecturer at the London College of Fashion talked about some of the new trends in tailored fashion, and some of the techniques that are used to support them.

The video attached to this post gives an edited version of my own contribution.  There were also a number of Q&A points throughout the seminar and I plan to include some of the issues that were raised in future posts.

The topics I covered ranged from a whistle-stop tour of the history of women’s tailoring to an exploration of the practical skills that support it.  This included the consideration of the physiological aspects, hand-crafting techniques, and the complex psychology that underlies the relationship with one’s client.   I concluded with some thoughts around the future of women’s tailoring with reference to a statement I had compiled from the opinions of my clients.

“Women should have same the opportunities for investing in their wardrobes in the same way that they invest in their careers”

I hope that you don’t have too many problems with the download.

If you are already a top professional tailor, who would you trust to cut your own suits? Who would be your tailor’s tailor? I wouldn’t hesitate to call on Ravi Tailor, whom I have known for almost all of the 20 years that I have worked in and around Savile Row. And yes - his father changed the family name to that of his profession, having been bespoke tailors in India and Zambia for three generations before settling in the UK. (more…)

We believe your hand-crafted TfW Limited Edition Gilet will not only prove the most convenient all-weather garment you have ever bought, but will ensure you stand out from the crowd on all occasions, indoor or outdoor. Here are some of its features:

Hand-crafted from boiled wool to retain its posture whatever the circumstances - A classic William Morris print lining for a touch of elegance - Sleeveless, comfortable, light - multi-use, all-weather, indoors and out - Can be worn over a business suit or under a topcoat - Suitable for walking, driving, cycling, travelling - Fully lined pockets for coins, mobile phone, travel documents, spectacles, including two secure internal zip pockets.

HOW TO ORDER

The TfW Limited Edition Gilet costs £420 (including VAT and postage to anywhere in the UK). For orders elsewhere in the world, please contact us first – email address below. Payment should be in £ sterling (GBP).Your garment will be specially personalised with a hand sewn name tag. Be sure you indicate the name you wish to use as identifier on the order form.

Send your details:by email to: contact@tailoringforwomen.com
(If contacting us by email, we will advise of alternative payment methods.)
or by post to: Tailoring for Women Ltd, 61 The Exchange Building, 132 Commercial Street, London E1 6NQ, United Kingdom. Telephone: +44 (0)7950 401881

If contacting us by letter, please enclose a sterling cheque made out to: Tailoring for Women Ltd.

You will receive the hand-crafted TfW Limited Edition Gilet approximately 2 weeks after payment is received.

Please give us the following information:

1. Name
2. Full postal address
3. Telephone number(s)
4. Email address (if available)
5. The name as it should be sewn into the name tag
6. Measurements (see below for advice):-

• Height (inches or cms – please state which!)
• Bust (inches or cms)
• Waist (inches or cms)
• Hip (inches or cms)

For measurement advice, click on the image to enlarge:

How many garments do you require? If ordering for more than one person, please be sure to include measurements and name tag details for each recipient. Let us know also if you require the garment(s) to be sent directly to other recipients – names and addresses.

I was thrilled recently to speak alongside a representative from the global brand Jaeger about women’s tailoring.  We were both making a contribution to the Victoria & Albert Museum’s continuing series of lectures on fashion which has involved iconic figures such as Zandra Rhodes and Twiggy.

Jaeger is currently celebrating its 125th anniversary.  It is an iconic brand which has always specialized in the use of natural fibres, including the so-called noble fibres such as angora, vicuna and alpaca; it was also the first company to use camel hair.  Clients have included Vivienne Leigh, Marilyn Monroe, and even George Bernard Shaw who was particularly fond of a one piece structured ‘jump suit’ which allowed complete freedom of movement. Nowadays Jaeger is at the forefront of high quality manufacturing using state-of-the-art machines that simulate the sewing actions of a live craftsman.

My part in the event was to fulfil a contrasting role. I expounded upon the art of bespoke for women, its history and its processes.  From the initial measurements, drafting of the paper pattern, preparation of the fittings and internal structures through to the final finishing and pressing.

Working on this presentation reminded me about how the relationship with one’s client is both intimate and integral to the process.  Mark Twain talked of “Clothes making the man” (or woman!), and we know that this is very much evident on the high streets today. Hand crafted garments however give the opportunity for a client to give full and uninterrupted rein to their desires, and the opportunities for personal expression are much more subtle.  The quality of the rapport between client and tailor therefore cannot be underestimated.

At the reception after the presentations we had the opportunity to talk one-to-one with audience members and show in greater detail some of the intricacies of our practice.

Photo: thanks to Simon at http://photo-montage.blogspot.com

I am afraid that the blog posts had to take a slight seat to oneside over the past couple of weeks.  The V&A seminar,  an invitation to speak on the BBC’s iconic radio programme Woman’s Hour, and a new commision from the King’s Singers have all given life an added spice just in time for Christmas.  That is excluding the daywear pieces I have had to see through for my regular clients.

I don’t know why, but there appears to be a resurgence in the orders for daydresses amongst my clients.  This one will be sent off to Amsterdam in the next couple of days.

It makes a change from the 2-pc jacket with trousers or skirt, maybe due to the use of the dress as an alternative to stretch the wardrobe.

The lure of the daydress is its practicality.  It can be as versatile as a suit, and its sense of tailored femininity gives a figure enhancing simplicity.

I see the advantage in its flexibility;

• can be worn from day to evening
• is easily accommodated and accessorised with staple garments
• comfortable, with less fit and constriction at the waist
• with colour and detail it can enhance proportions

It has an inbuilt convenience too when it comes to travelling; much easier to pack than a suit.

And there are many variations;

• Shirtwaist, a dress with a bodice (waist) like a tailored shirt and an attached straight or full skirt
• Sheath, a fitted, often sleeveless dress, often without a waistseam (1960s)
• Shift, a straight dress with no waist shaping or seam (1960s)
• Jumper dress (American English) or Pinafore dress (British English) is a sleeveless dress intended to be worn over a layering top or blouse. Jumper dresses exist for both summer and winter wear.
• Sundress is an informal sleeveless dress of any shape in a lightweight fabric, for summer wear.
• Tent, a dress flared from above the bust, sometimes with a yoke (1960s, renewed popularity after 2005)
• Maxi dress, a long, formfitting, floor or ankle length dress.
• Wrap dress, a dress with a front closure formed by wrapping one side across the other and knotting the attached ties on the side, or fastening buttons. This forms a V-shaped neckline and hugs a woman’s curves. A faux wrap dress resembles this design, except that it comes already fastened together with no opening in front, but instead is slipped on over the head. (1970s; renewed popularity from late 1990s)

Here is something with a wholly different sense of ‘attitude’ which was commissioned from me during my time at Hardy Amies.

I feel that a tailored daydress is a very good start when planning a wardrobe, and also a welcome addition to a set of staple garments already in place.

What do  Lou Reed’s jacket, the waistcoats for the UK’s Olympic shooting team, and our latest commission (a corset) have in common?

All are orders that used leather.

Genuine leather is one of the oldest and most luxurious of all natural materials and can be both functional and decorative.  It is made from the hide of an animal, including birds and reptiles, by a process of tanning; the word comes from the Latin for oak bark, tannum, and it is from this that the tannin used in the process was originally extracted.

Tailored garments initially bring to mind wools, cashmere, silks, cottons and linens. These all go through a similar process of cutting, padding and pressing to make the traditional fitted clothes with which we are all familiar.   So, there is a certain degree of uniformity throughout, irrespective of the fabric type.  Leather too can be used in a similar fashion, although it requires a different set of skills and tools because of its unique properties.  Hides come in many different shapes, sizes, textures and colours, and much care has to be taken in selecting and matching them, particularly if more than one is used in the same garment.

A leather needle is essential for both machine and hand work.  Its 3-sided point enables one to cut or pierce the skin instead of puncturing it.  Weights are used for pattern layout, and prior to sewing, the parts of a garment are set in place with clips, glue, or sometimes even a stapler.

The process of sewing too has its own peculiarities.  Depending upon the weight of the leather you may have to use a heavier thread or a longer stitch, so it is always worth testing the settings on the equipment first.  A teflon or  “walking” foot on the machine is a necessity, and seams should be glued and flattened with a dry iron or a small roller after the loose ends of the thread have been tied instead of being back-stitched.

Over time a you will need to apply a little after-care to your garments, and for this be sure to keep a tin of dubbin or a bottle of neat’s foot oil to hand!

Almost any item can be made from leather, and  it will be suitable for most seasons or occasions: check out the corset above!

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?

If you look for a definition of ‘uniform’ you will find that it stresses similarity and consistency.  Indeed one of the purposes of a ‘uniform’ is to lend a feeling of cohesion to groups that want or need to be identified as a unit; the police, football teams and their supporters, symphony orchestras are all examples of this.  One of the major challenges with uniforms however, is that the people who wear them are not uniform.  I recently worked with a designer on a project that brought these differences into stark relief and the impact this can have if a project is not sensitively managed.

There seem to be three matters involved that have to be in alignment; the requirements and expectations of the wearers and their employers, the need to create economies in scale, and the design that will determine the final result.  Of these, it is the handling of the level of the wearer’s expectation that seems to play a vital role.

The needs of an employer are normally driven by their brand’s positioning and how this should be perceived.  This implies something that carries the branded colours and possibly other elements of the brand’s identity such as the logo.  For the wearer it is more to do with fit and personal comfort.  This is where things start to get complicated, because to completely satisfy individual needs the bespoke element has to come into play.  Usually with the mass production of a line of garments the tolerances have to be much greater to allow for the differences in body shape, the result is a corresponding economy in scale for their production.  As soon as the bespoke element starts to creep in the situation becomes much more complex with the cost model quite different from that originally proposed.  It is the age old formula of ‘cost v time v quality’ at play.

Add to this design elements which may not have fully considered the needs of the work force and  difficulties can emerge.  For example taking into account whether or not one’s staff spend most of their days sitting or standing can have considerable impact on the way in which the design should be worked through; close fitting flat-fronted trousers can look extremely chic for people whose work entails a lot of standing, but for those who spent most of their work life seated they can be a nightmare.

So I would suggest that designers, in support of the clients who commission them, should consider a little more the sensibilities of those who will be wearing the finished article, these people will after all become the biggest advocates of the branding exercise if their needs are accommodated.

Photo: thanks to US Military from http://www.army.mil/asu/resources.html

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.