Tailoring for Women

Appearance comes in two forms; how we see ourselves, and how others see us.  And one impacts on the other.  One is more to do with self expression, the other with fitting in.  The important thing is not to mix the two up or the consequences, at an extreme level, can be severe.

We read how there are countries where wearing the wrong sort of clothes can have devastating results; in Iraq, Afghanistan and Northern India  women receive harsh punishments for openly wearing western clothes rather than the burqah or sari.   We don’t  have to journey as far as that to find  in our own backyard similar adverse reactions to styles of dress.  In Lancashire (UK) in 2007 a young couple dressed as ‘moshers’ or Goths were set upon by a group of teenagers and murdered because they stood out from the crowd.

The way in which we dress can provoke life influencing decisions from others and it is interesting to note that as we chart our way through one of the most challenging periods of financial uncertainty in modern times, this is having a corresponding effect on how people dress.  The pervasive ‘dress down’ styles which were becoming increasingly popular in City offices have, according to my clients who know such things, been supplanted by the more formal aspects of business wear in the interest of job preservation.

Paradoxically, this doesn’t just mean a visit to the ‘off the peg’ purveyors of business wear,  but a move towards something which allows for a closer reflection of personality and  tradition.  With job prospects under threat those first vital seconds, when appearance counts for more than words (Mehrabian. 1997), are becoming almost a new battleground for gaining an edge.  Remember the old cliché…”how do you dress in a recession…up!”, whilst at the same time fluctuations in the stock market apparently influence the height of hemlines.

Leveraging one’s appearance with regard to clothes has to take on board a number of different elements; colour, pattern, texture, style, detail, fit and proportion.  Of these, convention insists that colour, pattern, texture and style fit within fairly tight constraints.  This leaves detail, fit and proportion as the principal variables.

Detail by way of linings, button configurations, pockets, lapels, ventings, can all be used to create a sense of differentiation from others, but again these have to be subtle.  Perhaps the area which can create the most impact is with the fit and proportion.  ‘Fit’ refers to the way in which a garment follows the natural curves of the body, ‘proportion’ deals with the overall balance of a garment and can be influenced by all the other elements.  In some ways there is a sense of  Gestalt about the balance of all these different elements.

From the research that has been undertaken into the psychology of clothing, and my own observation of professional  women in all walks of life, from the concert platform to the boardroom, I would suggest three simple guiding principles.

1. Be aware of what is custom and practice in the environment in which you are going to be moving.

2. The right accessories, or subtle accents on a garment, can make an impact, and a little goes a long way.

3. Well cut garments suited to your proportions say much more about you than the latest fashion trend.

Let’s leave the final words with  Coco Chanel  “Dress sharply and they notice the dress. Dress impeccably and they notice the woman”

Photos: Thanks to Kimball Andrew Schmidt

We are thrilled this year to be able to link with this auspicious event and further promote and acknowledge the part women play in business.  This will be the 6th year of the Awards and they include a number of categories ranging from financial to legal services.  I believe from the creator of the event, Gwen Rhys, that it is complete sell out this year and has been promised the attention of BBC TV, so it should be quite an event.

I am, myself, a member of the City Women’s Network (CWN) which has a membership that extends right across these business sectors and it is always a stimulating experience to attend their meetings and learn from such a broad spectrum of expertise. It seems that there are now many such networks at local, national, and even international level.  My friend, the concert pianist Diana Baker, was a speaker at the Women’s International Network conference a couple of years ago and I had hoped to attend their conference in September this year.  Maybe I will have better luck in 2009.

More recently the Everywoman took place in London with the indomitable Ruby Wax as one of the key speakers.  What an inspiration!

So, well done in advance to all the recipients of the Awards.  A great achievement.

Tailoring has a long and intriguing history, and over time it has developed its own unique methodologies and practices.  This post is the first of a series, Briefing for Bespoke, which will chart some of the things it might be helpful for you to know.  It will include topics such as the psychology of appearance, cut, proportion, use of colour, business versus fashion, culture and clothes, and many others.

As you may have seen in the  press recently (although from its imagery I don’t think that the Mail subscribes to the Hemline Theory of Economy, nor do I think it helped with furthering the cause of the serious business woman) companies such as Ernst & Young are taking the matter of how to dress qutie seriously, and in these financially challenging times one can understand only too well how important it is to leverage up any element that has been allowed to fall by the wayside.   Whilst  non-business needs are amply covered by the fashion houses and high streets, there remains a considerable dilemma for those in the business environment.  Anne Freden, chair of Ernst and Young’s women’s network, was quoted by a number of journalists when she expressed how women often found it difficult to know what clothes were acceptable at work.

I feel that the first step is to take a considered look at some of the practical advice that is around and give a measured distillation of what is available in a form that will suit both the needs and lifestlye of those of you that are in the frontline.  I think also that there is a place for some down to earth information about ways in which you can care for your garments, and what new materials or accessories are appearing that will make  life a little easier and enable you to dress with confidence.  This is the purpose of the posts, and I hope that you will feel able to supplement or perhaps challenge some of the comments that will be uploaded.

By way of a taster, I have included alongside this post a simple illustration of an original and highly practical way in which you might fold a tailored jacket ready for travel.

I will leave the last word with Anne Freden who undoubtedly sees the matter of dress as integral to their extensive programme of workshops designed to promote the E&Y women’s network and help women to maximise their potential as a part of the corporate identity policies of her organisation. “The firm doesn’t view this as something that is nice to have, but as an integral part of the business strategy.”

Photo: With CCL

It may appear strange that I lead off one of this week’s blog posts with mention of a man’s magazine, but there is a reason for this.  Man’s World is one of the leading mens lifestyle magazines in India, and I was asked to submit some of my thoughts about the Savile Row tradition and how women fit into the scheme of things.

These are some of the questions and my responses.

What about suits for ladies on Savile Row? Most male tailors believe that female clients shift the goalpost much too often. Is that the case and if so, how do you tackle it? What do you think about doing suits for men?

The female form is far more complex than that of a man.  The journey from shoulder to hip, and from hip to floor needs a wholly different approach in both measuring and the balancing of proportions.  Also I question too whether the traditional fabrics used in the inner workings of the jacket are always best suited to the female form.  Some of the new fabrics have interesting properties that I find quite intriguing and perhaps more suitable.

As for doing suits for men.  I still occasionally make them and enjoy the experience, although the challenges are fewer because a man’s suit is something that has evolved over a long space of time and which fits into a well established pattern .  The women’s suit, that is to say something created specifically for women, is still in a process of evolution. Although there are exceptions, generally speaking  I find that women tend to get a man’s suit that has been cut for a women.  Quite a different proposition.

Can you define bespoke?

What do you need, we will make it, and you will feel supremely confident in wearing it.

Can you define Savile Row?

Savile Row is the contemporary manifestation of a highly skilled tradition that stretches back more than 4oo years.  Isn’t it interesting that the Japanese word for a Western business suit is… sebiru-ro… Savile Row!!

Is Savile Row fashionable?

An interesting question.   If you look at any of the fashion magazines you will see constant reference to tailored garments and how fine tailoring can make a fashion house really stand out.  Also you will find that tailors around the world want to align  themselves with Savile Row whether they have any authentic connection or not.  Savile Row has a unique position as a luxury brand without a single owner, and it is something that people aspire to be a part of whether they are makers or wearers.  Asking whether or not it is fashionable is really forgetting that it is actually one of the few constants in a world which is beset by the whims of the fashion industry.

Is it elitist? What would be the most honest reaction of most SR addresses to a person walking in with trainers and torn jeans?

Sadly most tailors would fail to see the opportunity for educating a new client.  Also people dress differently these days.  The fact that someone wears jeans doesn’t necessarily reflect the true reality of the person wearing them.  As research shows, we judge people first by the way they look, not by what they say.  Maybe we need to reflect on this a little more.

Today, is Savile Row mere geography? What about Hong Kong, Thailand or even Hounslow?

Savile Row has two elements.  a) The physical space in Mayfair and the community that is built around it, and b) its universal recognition as a benchmark of quality and service.

What is the biggest change you have seen in the world of men’s fashion? What is the biggest change in Savile Row?

Cheaply available suits that seduce people into believing that they are getting something that they not.   See our post ‘The credit crunch, suits, and a pricing conundrum’.

So if you were in my shoes,  how might you respond?

Photo: thanks to Man’s World, India

With the current financial turmoil that surrounds us it seems appropriate to talk about price of goods, but on this occasion I intend to do it from the ‘makers’ standpoint.  The reason is that I have been more than slightly surprised recently by some of the prices claimed for ‘high quality, custom, hand made’ suits.

Here in the City  you are either accosted en-route across London Bridge during the morning rush hour by ‘banker look-alikes’ handing out vouchers for commodity-priced bespoke items,  or by low price deals for hand-made suits in the evening papers.  I find this intriguing.  Now that the true definition of the term bespoke has become clouded by a recent Advertising Standards Authority ruling, perhaps there is a lingering hope for clarity in the term ‘hand-made’.  It seems like a good premise until you start to look at the price breakdown.

Let’s take for example an offer for a ‘custom hand-made’ suit I saw the other day.  £179 was the asking price.  leaving to one side the acutal ‘fit’ of the garment let’s look at the maths.

First get rid of the VAT; about £15 in round figures.  That leaves us with £164.

This recent edition of Monocle (note the tailor on the cover!) contained news that might raise the spirits of craftspeople all over.  Its feature “Craft makes a comeback \Welcome Home” highlights a recent trend for manufacturers to bring their production units back to their home roots and values.  We have seen this happening with other outsourced services too such as call centres.  The reasons cited in this case were twofold; the difficulty in  monitoring and maintaining quality, and soaring logistical costs.

Good news perhaps for all the highly trained craftspeople ‘back home’, and in particular for those in Savile Row which has been hit over the years by a popular misconception that price was the sole determining factor in purchasing a suit.  Depite this homeward bound trend however, there seems still to be have been a recent burst of activity from internet-based suit makers with their own version of bespoke garments manufactured on the other side of the world … it would seem that now even the term bespoke has to be redefined according to the Advertising Standards Authority .

From my daily meanderings through the Square Mile I must admit to having some reservations about the final outcome of these cyber suits.  ‘Distance learning’ is one thing, ‘distance fitting’ quite another.

In this inspiring  article in Monocle, I was particularly taken by the comments made by Martin Frechen, MD of Steiff Teddy Bears (yes…teddy bears!), whose manufacturing base transfers from China back to Germany in 2009.  Clearly passionate about his product he says,

“It has to say take me in your arms, hug me, I’m  here for you, I’m your best friend.  It’s that lifelikeness and friendliness that gives the animals soul, that sets it apart from everybody else on the market.  This can only be achieved with talented and skilful craftsmen.”   This may sound a bit hokey, but I think it is much the same experience a client wants from a hand crafted suit.”

Unfortunately, for copyright reasons I can’t show a copy of the complete article, but it might be worth getting a copy whilst stocks last.

Image:  Thanks to Monocle.  www.monocle.com

At the moment we are working on a January wedding to be celebrated in St Mary’s, just off London’s Cadogan Square.  I really enjoy these commissions because it brings a true sense of theatre to our work place. The bride, a daughter of one of the curators at the Victoria & Albert Museum, has chosen to ammend the dress worn by her mother at her own wedding. We are now at the consultancy stage with a set of designs for the bride and her 6 attendents. A large part of this is to develop an understanding of the psychology of the client, going deep down into their initial thoughts in order to help their ideas spring to life.

In part this means organizing a collection of images and items from magazines, art galleries, fashion books, the internet, and even family memorabilia. Listening to the client’s input is so very fascinating when finding a direction for the brief - I remember one client who presented me with one of their favourite poems along with a set of colour swatches! We also arrange trips to visit some of my favourite fabric suppliers such as Joel & Son, Broadwick Silks or MacCulloch & Wallis. All of this helps to create a story around what is one of the most important moments in a person’s life.

This project has prompted me to reflect on some of the practical matters and mystique that lies behind the creation of these iconic pieces.

The first thing to emphasise is that each bridal piece is a ‘one-off’; not only in the fundamental design, but in how it is realised. It can’t ever be part of a conventional manufacturing process. It demands a high degree of originality (and invention !) which is is in no small part driven by the fact that it is also a showcase for the bride to demonstrate her own sense of style. And as the stitches add up the garment starts almost to take on a life of its own, and it can become increasingly temperamental and demanding as the process unfolds.

You need a different level of confidence when working with these types of garments and one develops a focus which has to block out other distractions. This is one reason why I plan to use off-peak hours for the more intricate design elements. These are high risk undertakings particularly as one reaches the final stages.  Why is it that that a garment always seem to become vulnerable to a ‘crimson ambush’ from a pricked finger particularly when you are doing the final hand ‘felling’, and always when the fabric is white! Between final finish and delivery the creation may even demand it own private space, and indeed it should, to protect everyone’s precious investment.

We are finding increasingly too that having committed to the investment, clients don’t just want to create a piece that will end up in an attic box.  They now are ask us for something that will merge into their wardrobes in a practical way.  This may mean building in the possibility for re-purposing it into a piece of day or cocktail wear, which in turn adds another layer of complexity to the pre-planning stages.  I can see the trend in bridal wear continuing towards the use of simpler, more tailored dresses or suits which are then supplemented with bespoke jewellery or accessories.  This does steer more towards our particular forte, the business suit, although working on these special occasion garments makes me appreciate just how complex and extensive the arena is for dressing women.  One that requires a correspondingly high level of diverse and creative skills.

Photo: thanks to Ronsho from Flickr.com (With CCL)