I'm at one of my favorite places in
London Saville Row for the better
part of one hundred and fifty years.
Some of the best dressed men in the
world have come to this street to
meet with their tailors from Kings
heads of state and industrialists.
This street has served their
sartorial needs but you may
not realize is that each house
on this street has developed their
own unique and distinctive house
style. So on this walking tour
we're gonna go meet with some of the
most important and historic
tailoring houses to talk to them
about their house styles that make
them unique.
I'm Kirby Allison and I love helping
the well-dressed acquire and care
for their wardrobes.
Join me as we explore the world of
quality craftsmanship
and tradition.
Of course Saville Row has changed a
lot over the last hundred and one
hundred and fifty years.
We've got new stores that are
popping up all over the place but
there's still a few heritage firms
that have been on the street since
the beginning and those are the ones
that we're going to visit today.
So up first we're gonna go visit.
Huntsman founded in 1849.
They've been making incredible
clothing for 150 years.
Their clothing is instantly
recognizable.
It was born out of the Equestrian
tradition.
So let's go inside and speak with
head cutter Dario carbonara and have
him walk us through the iconic
Huntsman cut.
Dark hair like everything.
Great to see you.
Yes.
Thanks for having me.
No problem it's so nice to see you.
Welcome. Pleasure.
I'm here with Dario carbonara the co
head cutter here at Huntsman
and Dario one of the things I'm
really interested in are the
differences amongst the firms here
on SRO as exhibited by
how style that you've
prepared and
a classic Huntsman jacket for
us and so would you mind just kind
of walking us through some of these
elements that really make Huntsman.
Huntsman yeah of course.
Well how so style is
pretty instantly recognizable is
loosely based or is a nod to our
origins and Henry Huntsman's
attributes Henry Huntsman he was he
started business as a britches maker
so hence went into a question
supporting where so the house
is loosely based on a hacking jacket
in the side of him so this cut
close to the chest is
was technically called a crooked
coat so it's cut close to the chest
fairly close shoulder high gorge.
Single button front with a
quite shaped opening
chimney a little longer and a
standard coat and
we quite often add the slanted
pockets is another nod to a hacking
jacket.
There is a basic difference here.
Where would the darts be.
Because I know there's quite a bit
of difference between the firms in
terms of how they construct
the paneling.
Yeah well it's all cut we cut.
Probably more darts into
the coat because we cut it close
to the chest and through the waist
and it's gone a little more skirt
than you would find elsewhere in the
row again.
As a nod to the hacking jacket
and so is Darcy
in a little more closely to the
body.
More of a fitting coat Jim.
Okay. And is there a side
panel or is it as well.
Yeah generally cut with a side body.
So you'll see
which why not. Because especially if
you have a check as we do often on
sweets. We try not to have a dart
through the front door.
The uninterrupted check is
as much as we can and there's a
panel through the side which is
mostly covered by the sleeves.
Okay.
So we generally cut quite a long
event.
To vents generally on the loud
suit often spoke to where
you'd have a single vent a sense
event as you would in a hacking
jacket from writing but
just for a little more silhouette
and flare at the bottom.
We put two events in and they were
always cut quite low in almost in
sort of waist. OK and what does that
allow for just a higher event just
more elegance more practicality
persisting etc..
And just when you if you sit and
then get up again you probably have
less wrinkling.
So and it just gives us a nice
flowing silhouette.
I mean this jacket you could really
see the shape.
Yeah know it's been worked as
essentially what I want to do.
Yeah. Yeah.
And of course Huntsman you know
Tweed is very much a part
of the House history.
Oh yeah very much so we've we've
sort of developed our own tweeds for
many years now working closely with
the males up in Scotland.
And we do every
or two with do arranged for five
different Swedes.
And also we know of the opportunity
for customers to develop
their own trade with us.
So I can do that.
And we've now got even the House
looming really can we can do
sampling on yes.
Now that's incredible.
So customer could come here and in a
matter of a day or two you guys
could actually weave up a full
sampling we could get a sample is
better than the sort of the CAD
drawings that come through which are
not always truly representative of
what someone's looking for and what
the final product will be.
So we cannot do them on an actual
sample in fabric of
what they've developed.
Amazing.
Daria thank you so much.
Great to see you. Fascinating and
and very strange SHADE OF YOUR
BEAUTIFUL WORK AND ROSE marks
to our Tina Brown Morgan Kumar
gods. Thank you.
Thank.
So up next we're gonna go visit Joe
Morgan at Cheetah bar on Morgan
Joe trained under Tommy nutter
and is known for his more
adventurous style and incredible
handwork located at Number Twelve
Saville Row.
Let's pop down and see what he's got
for us.
Jeff good morning.
So great to see you again.
Welcome to you.
Well this is a beautiful beautiful
weather today.
You know what I'm really interested
is just the differences
between the various houses as
exhibited by their house down quite
quite well.
The thing being it's you know very
you know all these great brands
or they are sort of house styles or
individual but and everybody
makes beautiful clothes along
with the different components in
some room.
We try and compete with
them quality but we try and stylized
ours just a little bit more and that
comes from my heritage.
We have Tom and Tommy not.
To what we do here is we have
this street sort of
several row shoulder line
and a very close high
on the whole.
And then that sort of shaped into
the ways where we come side body
into our planes
and done the characteristic
of the side body gives
us a lot of shape which we can get
nipped in line and aimed
for the features of two cross flap
and then our ticket flap a
double breasted lapel with a belly.
So this is padded
again totally by hand
to give us this role here.
And it's not press flags.
And again the peek at the Powell
goes to the sky and it doesn't go to
the side it just goes
to the sky like a tree.
And again the other features are
cuffs and these features
we like they they take more fabric
they take more time but it's a
characteristic that we like sort of
working on you that when you're at a
Carl's party or you're having
drinks and you're shaking hands
that's a feature that one sees which
is very important to wear and Morgan
is certainly known for its
more adventurous tailoring style.
And it's a beautiful absolutely
beautiful piece that really
accentuates a lot of
the elements that
really make a jacket beautiful.
That's very gracious of you.
Thank you. It's just that the feel
that you know when you run wears
clothes whether you you
know you have the needs of wherever
you go. It's nice to have that
feeling that your your your special
was in the suit and you wear the
suit The suit doesn't wear you.
It's very important.
And this has quite a bit of roping
and it's a strong shoulder
and a strong sleeve head also which
again just further gives shape and
definition the jacket.
Indeed it's our signature piece.
And again we have this scene
false with the canvas the
pure linen canvas the horse
and the demand that we put in the
body breathe through.
But we have this definition where
we bring the Chest forward
to keep this very close to near
the body and leave results
to sort of get over the chest.
And given that very elegant
sort of shape it's you know it makes
a lot of our clients men
and women stand up more act
and makes them stand up to get that
sort of line and the feeling
they want from our clothes.
What's a very flattering piece.
Let's talk a little bit about the
back. I mean we've got double
events of course and how do you
treat those.
Well I've seen them so long.
We tend to sort of hit the waist and
then come down the small amount and
it goes back from that sort of early
period and then you sort of late 60s
early 70s when excitements
were sort of really long and nice
and so when you're walking and
you've got stride and the wind
catches it it's a good piece.
It's really a point about some
drama. Oh indeed.
And it gives it's a flattering
and you know characteristic to
a model that we think our gentleman
sort of enjoy and
and and our women in
your trousers are also quite special
I mean talk a little bit about kind
of the house style of your trousers
could I know that you have a
particular view that
you. Well that's very nice of you to
say it's just like come with
we're competing with ready to wear
and you know ready to wear
fantastic.
But in the early days we had ready
to wear and we have bespoke but now
ready to wear a coat catching
up. So what we do is we stay with
the handicraft cutting
the skills to develop
a model that we think pulls
away from ready to wear.
And that ingredient that we wear
high waisted trousers.
It's some it's you know there's
a hip bone here we put them on the
trousers say we have high lines
this shape between the shoulder
line and they wasted shorter
and it makes gentlemen's leaders the
legs look so much longer.
So this is what we try and do
but it's not it isn't easy covers
you know because ready to wear just
have these short rises in most of
their trousers.
But we try and weave fittings
and a lot of fittings integrate
the model into our lives
about somebody which is really
important when we make our suit
we make a suit and make a jacket
waist getting trousers or just a
jacket and trousers and you think
well okay so this is yours
and you were fitted out looks
fantastic on you.
You wear it and make it yours.
But what we do we don't mind is
that you wear the jacket with a
open neck white shirt and a pair of
denim trousers or cotton trousers
and you can lunch anywhere in a good
hotel in London in restaurants
and this is the whole thing about
you skates.
We design a cloth back
so that if you all out in the summer
with your family.
Your you know you were just
walking and it's it's
something that you do when in a pair
of cotton clothes trousers or
apparel but in jeans you need access
for your phone and credit card your
car keys.
And this really doesn't go in a pair
of blue jeans.
So we've now devised a model to say
that it's not as if you're wearing
your seat waistcoat so
that's another accessory that fits
into your wardrobe and you've got
pockets for your accessories.
Which is we find works very well.
Yeah.
Well talk to us a little bit about
the handwork also because one of the
other things that I just
love about Jennifer and Morgan
is the artistry and the energy that
you guys put into your garment.
It's not just how the final
silhouette looks and it's also how
it's constructed through your
handwork.
So would you mind kind of showing us
some of the work that goes to the
entire jacket.
Most definitely. You notice these
things. Other people go.
I know this is what you bring to.
Our world which I think is some
it's very interesting garment curvy.
Well what
we do have to get definition without
chest shape.
We have this intensity of padding
and it's not just like an exhibition
piece. It's what we do all the time.
And it's important to get the subtle
shape underline in our
run and our
jackets and waistcoats.
So here
we've cut this characteristic
of our young people Rasa.
He's developed some there's
some padding here for
this particular client.
It has this ingredients of color
stains and shapes
and we all say
now we're making quite a lot of
ladies work.
We put out sort of campuses
with the suffragette colors
which is the white the green and
the rose.
And so our ladies work out this
empowerment thing within it.
Nobody sees it but it's nice
to start off with this image which
is the work I mean look at this
incredible.
Yes. This is by no means.
It just really speaks to the passion
and the artistry
of view and everyone here
is that you know this level of
detail because normally this is
totally concealed by the entire
lighting. I mean do you know of
the jacket. Yet so much of tailoring
bespoke tailoring is the
relationship that you have
with the tailor potential didn't
you. Don't you think you deserve
this. No. You have your clothes made
some think that again.
We do because we have a passion and
the brand has an ethos about
the quality of
of the work that goes into
it. And we can competing with the
best in the world.
Yeah well are certainly amongst that
company.
I think that a bespoke jacket is so
much more than just the jacket you
know the relationship that one has
with their country that they've
developed over years the
relationship that one has with their
coat makers give so much more
meaning to the garment whenever
you're wearing it.
And to be able to wear a jacket
knowing you know that you know the
coat maker put this much work
you know into the pants stitching
of the canvas.
And it may be you know your favorite
design or something an inside joke
or you know something that you guys
spoke about is living inside
your garment and only you know about
it is incredibly special.
It's gonna be really great.
This is the whole thing again about
you see you know we think so
we educate a gentleman because this
is what we do naturally.
But when they buy into what we do
this is what everybody gets.
And again we're just making a
suit this week for a gentleman
that's getting married saying What
about him today.
It's like when you left school you
know sometimes you up a shirt and
everybody signs it would you like
us to make a pocket
in that or if his wife's
dresses you know he's not gonna see
it but if you can get some fabric of
something similar we can put a
pocket within the jacket.
So it's these little additives
that you feel that is
the right thing to him to have in
your suit and it may sound a bit
sort of trickle but it isn't.
It's it's a craft that we
can work with our clients very
place to give and create something
for them especially well this is
certainly the level of detail that
makes charitable and Morgan so
special so that it's very gracious
of you.
Thank you for sharing this with us.
And.
While we're coming you understand
these things. You know again we when
you present these things to my
client they say thank you.
But you understand what goes
into you a garment
that bespoke garment and
that's why you're sort of burning
and what you're doing here.
Well thank you John.
It's a pleasure pleasure.
Absolute pleasure.
Every single time I visit Joe Morgan
down at Chateau Bora.
I'm totally blown away by the
handwork he puts into his garments.
It's some of the most amazing stuff
I've ever seen.
But now we're going to take a break
from tailoring.
We're going to pop across the street
to Ghazi Arnaud and Girling.
The first luxury shoemaker to open
up a store here on Saville Row.
And we're going to talk to them
about their house style.
Come on.
I'm here.
How are you doing.
Good to see you.
Yeah it's great to see him
get a full day here in London.
Yeah very I at his very own
London ish.
Well thanks for having us stop by on
the several walking tour.
We wanted to visit.
Of course the only luxury shoemaker
to be here on Saville Row got to on
on Girling.
So you know of course just like with
suits. Shoes have their own house
styles so I wanted to see if you
might share with us they've got to
on one Girling house style course
of course.
Short hair.
So I think it will start with
our most iconic model.
This is the St James version
of the first.
This picture we made and
it pretty much epitomizes
the ethos of Gascon
and Girling.
The idea was to put as much of
a best picture as possible into a
factory met you.
So you see it's mainly
all about the shape the
ways this.
Goes. It goes further in than
no effort to make sure it's
satisfying to fit everyone.
That's why we make multiple words
and we can adapt for different
types of fit because this way
you can make it fit tighter
more snug.
You have a more defined top shape
tighter heel so it gets closer
to bespoke too.
Yeah that's
basically the well Tony.
Tony Yana and Dean Girling I
mean they unquestionably made
something that is immediately
recognizable now
and it's very iconic.
I mean this kind of updated
English is static slightly
more square toe chiseled
and some of the most beautiful kind
of shapes and lines
of an issue that's coming out in
Northampton right now.
Definitely.
But you guys do more than just
you know this.
I mean talk to me a little bit about
some of the different last because
you guys do have many different last
you make all of your shoes on.
So you know if you want something
that's it's a little bit forward.
I mean you know this kind of
iconoclast is great
but maybe a gentleman that is
looking for something slightly more
conservative can also have
issue from you that is made
incredibly.
Yes indeed.
So we make
of course Rhonda Larson
especially with her mentor order
service which is by far
are a great success.
You can chase the toy ship when you
have something a bit more classic a
bit sharper.
So we really can't cater to
almost anything but some people do
find the use a bit too elongated
and modern too much of a
French Italian flair although OK
that is the the original idea.
Which is why we launched them the
classic French over here.
Okay.
So this is brand new.
I mean I think I remember receiving
the email about this just weeks ago.
Yes. Yes we just launched it.
The idea is to make something that
appeals a bit more to the very
classic English gentleman
for whom our traditional
styles so fit
to get to forward.
OK. So
it's got more classic finish it
sets and half a bevel ways will
remove some of that bespoke
level finishing we
were originally tried to apply
to a lower heel
there before square ways to
the toe shape is a bit bit more
conservative.
Yeah.
And so what does this available on
what a few styles.
How many styles is this so and
launched and so available in this
style Sierra.
The idea is to have a bit
of everything ok to appeal for.
Yeah they're kind of like the iconic
shoes I guess if one were to have
seven shoes in their closet
and only seven shoes Chris why would
anyone ever choose just seven.
These would almost be the first
seven anyone would would commission.
Yes you do have something
for every walk of life.
It's quite broad and it serves
almost every purpose.
Yeah.
So the classic line
is beautiful I mean this is you know
I guess a very complementary
addition to gazing
and grilling standard line.
Yeah definitely definitely we
we also have a new arrangement of
just recently because
Asian markets growing and
over there it's usually warmer a bit
more casual and lifestyle is getting
increasingly casually
so we introduce them.
The fresco range which we
we again use the same great levers.
But we have gone for a softer
lining. Okay.
A less constructed.
So this is not an Oak Park tan.
So this is what we call it just not
tan so it's a bit more flexible
and it's a cemented view.
Okay.
So it's very comfortable very light
it's it doesn't have that
very heavy English structure.
Exactly very heavy.
Good you wanted construction.
But we do retain the
very high quality materials and the
bespoke grade lacquer.
So this is going to allow.
I guess this is a more flexible
kind of casual shoe was that someone
would wear on the weekend without
socks.
Yes indeed that's exactly the idea.
It's beautiful your.
Thank you. It's a great pleasure.
And you know I always enjoy
so much one ensemble rune of course
visiting the gassing on and girly
flagship is one of my great
pleasure.
Also some beautiful straight.
Thank you.
OK So up next we're gonna pop a
little bit farther down the road to
Henry Poole the original
tailor of Saville Row.
Alex Kirby.
Oh yeah. Great to see you again.
Good seeing you for having me on.
Surprised part of the walking tour.
So we visited a
lot of the houses here in the brown
one of the things that really
fascinated me is that you've got so
many and bespoke tailoring houses
here all on salary but each one has
its own unique kind of style
and house cat.
So you know we're really interested
in understanding some of the
differences that separate the
different houses.
Yeah know. Let's show you something
else because I think there's a
wonderful array of different
silhouettes in several rooms.
So.
So we've got a fairly typical Henri
Paul jacket here.
You know styles have changed a
little bit so things aren't as
draping as they used to be maybe in
the past you know silhouettes of a
slimmer. We have to adapt to that
with the customers these days.
But what we do really like on our
jackets is you can see it's got
a formed chest but it's quite neat.
You don't have a lot of drape here
like you would have had in the old
days where it would have been really
sort of draped tune and really
cutting at the waist.
So we've as I say we've had to adapt
to to things these days.
So everything's a bit neater.
We don't have any excess drape
here of the arm home.
Obviously we always like to have
that drape on the sleeve but
as well you know in the past
Henri Paul would have had a very
formed rope sleeve.
And that's become a little bit more
watered down these days just just
silhouettes have changed a little
bit. So this is a little bit softer.
I mean it's a little bit of roping
but not much at all.
Yes. So we'll we'll use two
different sorts of rope in here
depending on the customer really.
Traditionally what we like to do is
is a sort of sleeve head and it's
got some canvas in that's cut on the
bias and you get
the really nice form.
So it won't go incredibly
high. You would have to start
putting the in to work it out if
somebody wanted to and could have
fell asleep.
But you know generally
so they have got canvas in
but alternatively you might have
somebody that wants a very soft.
You know we still want the silhouette
here but they want a softer shoulder
so we might even open this
seam up sometimes ok we'll just
have a little bit of cloth in there
and then maybe we'll cut the sleeve
a little bit shorter of Crown
so you know it'll be quite
a sort of fluff round sleeve.
Some people want that.
We prefer not to do it.
We want to keep it simple.
Henri Paul style really
does say we don't really have any
access drape here you'll see that on
some several coats.
We like to keep it nice and clean
here.
Assuming the figure allows for it we
definitely want to cut this waist in
nice and high.
Obviously you need some room
for your phones
your cards. You know everybody is
carrying such big things in the
pocket. But ideal customer
will just have one credit card.
Be able to form it and then yeah
a little bit of skirt which is
sort of a typical Western jacket
really.
OK just to give that and that's a
slight kind of flair here.
Yeah I mean we don't want people to
look as though they've got a big
derriere.
But it really does.
You know if you see somebody walking
down the street with a nice high
waist and a bit of sort of flair on
the hips it sets it apart from
something else that you might buy in
a department store or off the peg
you know instead of it just being
sort of flat sides.
And I guess it gives additional
shape and helps further accentuate
the pinch at the waist.
Yeah exactly. So you know
on the bigger guys you have to build
up here a little bit.
So you know we'll change the canvas
inside. We might put darts inside
the canvas here.
We might have.
This one doesn't have it but we
might have what we call a dogleg
cut in here which will sort of
pinch it here it throws a lot more
chest keeps it nice and
settled and so we might have a
dart in the canvas there which again
is gonna produce more chest.
And that's really the only way we're
going to be able to get some way
shape here.
It's a tricky one to do because you
don't want a really big guy you
don't want to make him look a lot
bigger.
So it does get to a point where
you've got it.
That's the point of I guess an
elegantly tailored garment is it
really should and a lot of ways
you know and blend any
unique characteristics of
the body whether it be a big Chester
wide hipness or pretty much most
of our things we do a two button
jackets or there'll be double
breasted obviously
you've got people that might have a
three role to my role
in the middle.
That's more of a sort of America
market thing.
We do plenty of it.
And then yeah I mean this is on the
dummy. But generally we'd want that
just open up a little bit.
So we'd be fairly straight
on this piece here.
We wouldn't cut away from the top
button because we don't want to be
seeing any sort of waistband or
shirt on on the trousers.
So that's that's relatively filled
in but you definitely need a nice
question.
Just just open it up.
What about the length of the jacket.
I know the Huntsman is a little bit
longer average
and we tend to go sort of cupping
the hand that is a good average
these days.
Yeah it's a little shorter
which means you know if you're going
shorter you've really got to get the
waist up a bit higher maybe
the buttons are a little bit higher.
It's all tricky because the shorter
you go the stock here it's gonna
look yeah. So you really need to
keep coming in and it gets to the
point where some people you do can't
do that.
You know we really advise that
you need to keep up better length.
You know I agree with the Huntsman
thing it does give you that nice
line.
It's just is a little bit down to
the minute.
We have people
other half to deal deal with them.
They want their husband to
look.
You know what about.
I mean this is a single breasted
pink lapel.
Yeah. Is this just kind of down
to the client whether or not they
want notched or peak.
Yeah.
Yeah I mean we tend to do peak if
somebody wants a little bit of a
sharper look and then we might slide
the flaps like this.
So it's we think it just gives you a
bit more of a upright sort of feel
on it. If we you know we
quite particular on our lapels shape
for the double breast for the pink
lapel as well.
So we have the outer peak
just a little bit narrower than the
then you know we think it looks a
little bit off and a little
bit student here.
If this comes in and you get a big
big wavy pink so
and then the draw stitch
here the gauze line again
that's just a nice pleasant angle
we don't want to go crazy
and have big differences between
this and then
you know relatively high up to the
horizon I mean we have got clients
where the peak will be on the
horizon.
Okay.
We're tailors at the end of the day.
So if if somebody wants something
and then we we still think it's got
flavor and you know it's kind of
individual she'll do it you know.
No problem. We'll do it.
What about the width of the lapel on
like a single breasted national
power.
Our standards about three and three
eighths. OK. And that'll cater for
quite a few sort of sizes really.
It's just if somebody starts maybe
getting above forty six inch chest
we might go to three and a half.
Yeah somebody is a lot thinner for a
three and a quarter.
So that's kind of our house style.
But then you'll get Leslie and this
is a beautiful belly and a two and
a nice kind of Crescent.
Yeah.
And this it's obviously
my own suits I've got suits I
just like trying different things
where you might get a huge belly
and it's amazing how how
different that belly can look on a
person you know it'll suit
some people not the other.
Yeah.
What about the back is there
anything particularly about the back
of the forum must just
spin that.
So again it's
you know if somebody is fairly a
shape they might have a bit of a
round back obviously we need to keep
that up but we do like to cut
this into the waist and you know
give it especially side
on and give it a really nice
profile.
OK. Again without making it look
either back or being
a cut in.
We don't have an awful lot of
drape here. It's got to be
comfortable but we want it to be
nice and clean.
And then plenty of drape on the back
of the sleeve so that you can
keep can't be here him.
So we don't we don't carve this out.
Some people carve it out to keep it
you know the ready made to keep it
very clean but we find that
takes away a lot of movement.
So we tend to keep that
fairly high in the end.
Yeah. Again same as the front
cut in plenty on the
back. Do you use a side panel.
Yeah.
You know we all cut in different
different ways here so dependent on
the client we might cut a side body
for somebody.
On others we might just have sort of
twin diamond cuts and give it a bit
of flair here.
You really have to sort of size the
client up and think you know
there's somebody that's really
wanted to show that it's Henry
Poole. Yes.
Or do they just want to leave a
little bit more subtle.
So personally
I tend to cut with a side body most
of the time because I find
it's it's easier to get the shape
and really sort of cut that in
without it getting overly tight so
you can leave this side
see a little bit straighter.
But right on the
on the circumference
here you can really get a nice cut
him with a side body.
And if someone wanted to really show
that it was a Henri Paul I mean are
you working or shaping it at that
point.
Oh yeah yeah.
I love it when somebody says you
know just do your thing.
OK.
We have got clients like that and
they've got the figure for it.
We've got people all over the world
but you know you be able
to tell.
Certain clients in New York walking
down the street.
And I've got clients here as well.
They really want the.
It's quite an old style silhouette
obviously but it's really
cutting and really flat.
And it's not for everybody
but it looks so distinctive.
So if you were to see someone
walking down the street and you said
that's Henri Paul what is
it that you would see in your eyes.
Well first of all being
honest that's quite a difficult
thing because there are some tailors
making a western coat.
So there might be times I could look
at a Huntsman coat think it was Rs
vice versa we wouldn't think it was
an Anderson Shepherd we probably
wouldn't think it was a Joe Morgan.
But I probably you know I'd
know where a.
Well it was fun because it wouldn't
have a particularly Square shoulder.
It would be fairly natural.
We only really paid up if somebody
is very very slow pay and we think
it's not going to be a great.
But if somebody is square then we'd
have a very fun part.
So yeah I first of
all I look at the shoulders
and I'll be looking at the chest
right around the waist.
It's cutting the
cord as you can.
You can tell quite a bit from but
honestly a good title on several
row.
You know we all should be doing
certain things with the lapel.
My feeling is and
obviously the sort of high on how
pocket flaps.
We don't generally like to fuse
our pocket flaps.
Some people do.
We like to keep the sort
of you know the natural
characteristics of the cloth.
Even if you start bonding things
which some people do you know
especially on the lighter weight it
to keep it clean.
I don't see the point in getting a
lovely super 150
cloth and so they can take on it on
the back take it out of the fabric.
Yeah yeah.
Button holes as well.
That's a bit of a giveaway.
Again you know good finishes
are around some of Roe.
So we we all ought to be making nice
fun button holes.
Henri Paul is always a two button
warm button to hold sway.
Whereas some of the other houses
will use a four hole.
So that's a good signature of us
guys. It's really down to sort of
silhouette but yeah I think
someone's got to look great.
Yeah I mean and you know
I'm not saying we're the only great
tailors there all the time.
You know it's I could tell a
handmade suit if somebody is coming
down I probably know if it was
selling well.
Yeah I know.
You know arguably I know if it was
a handful of tailors.
Yeah.
Yeah.
I got the overcoat out because I
think this really signifies our
coat when we do an overcoat.
This is where I feel we really get
to go for a bit because obviously
you've got more skirt.
So where we were talking about other
tailors making it longer.
This is where you really can go so
you can you can get that waist
on most people very cutting
very high.
And then this is
this is I'd call up
fairly straight but often we'll
flare that out.
And again it just sets it apart.
So you'll have a nice high waist
in there especially on a double
breasted.
You know that's where you really can
tell a full on bespoke
garment and
it's say it comes down to the length
and obviously the shorter
you go on I'll be garment it looks
stocky here. So
beautiful.
Yeah.
Thank you so much Alex.
OK. It's great to see you.
Always a pleasure to drop you now
in London. And you guys travel quite
extensively.
Yeah we're all over the world so
where various American cities
five times a year.
East and West Coast and then
I got to Japan as well.
Got a good client base there.
Where do you guys publish your
travelling schedule.
Always on the Internet and existing
clients. They get a mail out and
they get a card through the post the
old style way.
Occasionally we'll get editorials
and things but
I have to say a lot of our
businesses recommendations word
of mouth. So I will tend
to have somebody come in and say oh
so and so said I've.
I should come down here or
you know sometimes they might see a
client walking round and say I
love your suit.
And when they get it. So we're
quite lucky in that way.
Yeah. We don't overly advertise
it. Yeah. So a lot of money you know
reputation precedes you guys.
Yeah. We're speaking with Simon
Candy yesterday and you
know he was just speaking about how
a lot of the clients you know
although you do travel extensively
around the world do enjoy
coming to here to SRO just
for the experience
of being here.
You know our history our premises.
Yeah I mean it's you know when we
get quite immune to this because
we're here every day.
But even Mayfair is a special place
you know lovely history round here
and all these shops you know they
they're almost like clubs you know
gentlemen's clubs you know you got
all the nice queen going on in the
mahogany and
yes you get the occasional just come
in here.
And they'll just relax your cup of
tea they'll might meet up with some
friends that they bump into.
And it's it's quite homely as well
so they can get to come in here they
can get to go down the workshop and
me their coat makers and meet their
coaches whoever it might be up here.
So it's a beautiful
special place.
Yeah. Yeah. Thanks Alex.
OK. Cheers.
Thank you. Thank you.
Amazing stuff.
Now we're gonna head over to
Anderson and shepherd which used to
be located on Saville Row but
they've recently moved around the
corner under old Burlington.
They are best known as the founder
of the drape cut.
Let's go check out and see what they
have.
Leon good afternoon sir.
Nice to see you.
A pleasure to see you again sir.
No pleasure. Welcome.
I'm here at Anderson and shepherd
with one of the senior co captors.
Leon Powell you've been here for 17
years and 17
years.
Yes I started as a
coach making apprentice.
After that after doing that for a
number of years I was asked to go
into the coaching room.
It's when we called quotas
of someone who Winston's a clean
room we called him
an Cutter.
Okay. So I started as
an on closer to a senior
cutter at a time and spent
another several years working
as an under Carter learning my trade
before I was given the title
of a coach.
Yeah.
And so who was the big cutter
under whom you were trained with.
I trained with Mr. Hitchcock
for five years and then
I went on.
Mr. HALL Ok then who is
the current head Cutter.
Anderson Shepherd head coach to
those and I spent a couple of years
with him being his assistant
before.
The toll to
there's your first customer
there and go for it.
Yeah well beautiful.
Well I'm excited for you to share
with us kind
of your interpretation of the energy
and Sheppard how style and
of course amazing the number of
just absolutely incredible bespoke
tailoring firms or houses
that exist here on Saville Row
and all of them are
doing something uniquely different
unique to their own kind of house
style.
So how would you describe
the iconic Anderson and Sheppard
House staff.
To start off with the how style
we took as we know it as
soft tailoring.
What does that mean.
Well well we're basically trying to
achieve is a very natural
shoulder.
We follow the contours of the
individual.
We put very little wadding in so
we keep a very natural shoulder
line.
We do quite a high arm
all.
And the idea is that
in conjunction with the drape the
slightly fuller chest and the drape
from the back gives a nice range
of movement for the arms and
comfort.
So you can wear it for
several hours during the day
and it's functional.
It is incredibly elegant and stylish
to wear once again it is bespoke
it's cooked for the individual is
crafted for the
individual unique characters
of their physiques.
So what we're trying to achieve is
something that looks absolutely
classic styling
but at the same time can be worn
for eight 12
hours a day as a business suit
and can be incredibly functional.
We will need it. We will.
We want it to be functional.
And many know you know Anderson is
having really invented the London
drape cut but to you
it's just the Anderson Shepherd cut
very much so. How would you
describe.
I mean whereas the drape coming in
that really sets it apart from the
other firms in the room.
Well where we put you like I say we
do slightly fuller chest.
So what we're trying to do is pull
some of this kind of excess
through here.
Once again it works.
What that does it keeps
everything grounded and
on the chest really kind of down.
So once my arm movements move
in the jacket's not pulling one way
or the other what's actually given
the flex is the drape.
This is all what's true in the
movement. So when someone's looking
at me this all stays in place
and keeps firm over the
chest. So it's just relaxing
as well. This all moves the jacket
doesn't go it doesn't pull up if I
go to reach for something the
jacket is not going with me.
The Jackets follow in the
Continentals of my fingers at the
end of the day I'm in bespoke
tailoring of course looks great but
it's got to be comfortable.
And so the drape coat seems to allow
us to even heightened degree of
comfort because of the extra fabric.
I believe so yes but that's the
beauty of all the individual styles
on some of those. That's what's so
great about all the different houses
on the road.
It's about the individual find
in what works for them.
So if some of our gentlemen
want that slightly softer feel
and that's built into everything we
do the way we put the suit
the way we put a little bit of belly
what we call shaped the
valley into the lapels the way
we do the points you're not a sharp
kind of.
X extreme point to it.
There's a roundness on everything.
Everything's slightly rounded
everything's slightly soft when
we're striking the pattern
and once we've taken the measures
and we'll strike in the pattern
and what that means is we're drawing
the pattern onto the card.
Everything we do
is very much full of softness.
It's all goes with
flow. So even from the cut
inside of things you're already
trying to incorporate that softness
and soft lines all the way
through that garment.
It's not about getting a ruler
and doing these hard harsh lines
everything in pencil.
We kind of draw it with chalk
straight onto the card and once
again we're trying to incorporate
that softness into
the pattern.
And then from there obviously it's
developed.
What about you know the canvassing
I mean you know it is a lot of
structure being built into the
canvassing also or is that also kind
of follow.
Once again we do
with it being soft and a soft chest.
We don't build up the canvas
like some of our competitors do.
That's what they do.
We come from civil tailors.
Some of our competitors
along the row have got military
heritage.
It's more of a tunic it's upright
more rigid.
That's absolutely fine.
That's fantastic.
But we go went
the opposite way.
We want. What it does softness we
want that relax.
So the canvases and the chest is
not quite as dense
and heavy as some of the canvases
of the shops.
So what we want is just this nice
roll We don't want this.
We don't want a harsh line.
We want that softness all the way
through the canvas.
There's a canvas the structure is
still there because you still
require the structure
but it's just done in a slightly
different technique.
It's a little bit more open weave in
a sense instead of like excessive
Pat instead you to make kind
of double density.
So yeah the techniques are similar.
Boys how you apply them.
Anything unique. I mean this is a
beautiful double breasted jacket.
Anything unique about the way that
this is Cat just in terms of the
pattern or paneling
that might be different.
Once again everything's just cooked
with a very natural relaxed
feel to it.
It's about comfort.
It's to get the drape in it
is to get that drape in the chest to
get the drape for the back to
get up movement.
Once again we do everything
by hand round the arm
hole.
The shoulders are all stitched in by
hand. This form is put in
so it's all that extra kind
of give and relax.
Beautiful.
We can turn that around.
Obviously this one is a classic
double breasted.
So what we'd always over the classic
D.B.
would be slits at side.
I know you gentlemen like to call
them vents but the
terminology inside the Shepherd will
be slips aside or slit it back.
You wouldn't generally have a slit
it back with a double breasted.
It's not that
correct.
Correct way to already wear double
breasted.
So yeah.
Now this at the solicitor side
or the side vents.
What it does it creates a clean back
which is really nice it creates
clean lines and that's once again
that's what we're trying to achieve
we want in to create a nice
silhouette.
We want to create something
that is in Piccadilly well
fitted and which is
elegant as well and timeless
and nothing that's really important
it is going to be timeless.
Relates to the antique fashion
class. Yeah but it's
a style at the end of the day you
can look back over the generations
and you look back at those fantastic
characters like Fred Astaire.
Gary Cooper.
These are the gentlemen we used to
dress and they looked impeccable.
I looked through books now and I see
them. And the way to address them.
And I like that and I you
know I think it looks fantastic.
What about the length of the coat.
We tend to go we like to cover the
seats.
We like to go a little longer.
We don't.
Once again it comes down to
the traditional looks.
We were traditional tailors.
We're not following trends or
fashion.
Does companies out there that do
that. They do it very very well.
They set trends they set of
fashions. What we're trying to
create is something this elegant
timeless and iconic styling.
And that's why we don't change
with the times.
We stick to what we do.
We stick to what we know.
And at the end of the day there's
always going to be that element of
people that want something that's
time some classic.
And the thing is we fashion it goes
in and out of fashion.
Style remains.
Yeah.
I mean I guess anyone commissioning
a suit from Madison Shepherd really
is expecting to wear it for decades.
That's the plan.
And we have customers that do that
who wear suits for decades.
And the funny is sobering so it's
back.
And we have the dates
in the Sue and as many times
customers will bring it back and
they'll show us and they'll go.
Still looking good for 20 years are
still looking good for 25 years.
I'm 30 years old and we'll do like
General repairs and that's part of
beauty again.
They'll be ordering new things at
the same time.
Some of their first suits if they
still fit well the cloth
is held at well over the time period
that can be worn because the classic
timeless look
beautiful.
It's I said this is just a classic.
It's timeless.
Yeah. And what about the
distribution between double breasted
and single breasted.
Is that just purely by
customer preference or does the
house kind of lend itself more
towards one or the other.
Now no. Well I'd say we probably
make more single breasts and we do
double breasted. We've got a bit of
a reputation for
the interval rests.
But I'd say overall we still do it
make more single breasted so
naturally pale notch lapels
somewhere pique lapels.
That's the beauty.
That's the fun about it.
It's about that process.
It's about them coming and speaking
to the gentleman the front speaking
to the colors asking
for intimate we're here to help.
We're here to guide to give him the
information and give him real
relevant information where they
can go away
thinking it over and go actually.
So.
The idea is we're here to
give them constructive affirmation.
Well that's the relationship right.
I mean with the spoken in developing
your relationship with your Cutter
is tremendously important it's
really the backbone of the bespoke
process.
Most definitely yes.
It's any meant to be fun and that's
the idea.
So what we'll do we'll talk through
things.
Some people have got very
precise ideas.
On what they want and no comments
say exactly.
This is what we want to know the
club can do it in five minutes of a
people need a little bit more
guidance.
But that's part of the process.
Some people will come and look at
clocks for hours and enjoy
it. And once again that's
everyone's slightly different.
The fun thing is is obviously
when they were away they enjoy it
and they come to us.
And this is 32 old Burlington
right. This is 32 old Burlington.
We've been here.
I believe coming on
14 years.
We're 14 years old senior in that
long or already.
Yes it seems like yesterday
beforehand as around obviously
number 30.
Several row we
got one year shy of our centenary
which was a shirt which was a shame.
But we did nine nine years before
we move around to the new premises.
You know the great thing about the
new premises obviously at the time
they were renovating
the old building.
So everybody had to leave for a
period of time.
It's like anything we found this is
our new home.
And instead of going back we've made
this only in that period of time
while renovating it.
The great thing was.
The products you know the suits
were the same.
All the members of staff everybody
that was there came
here.
We've settled in quite nicely as
though you guys have never moved at
all. So I guess I think yes
especially now because it's
got a little weathered.
The flowers are not quite as shiny
shiny as the ones where when we
first go sometimes things kind of
look a little bit too clinical.
But now is our home
now is very much home.
And Anderson and shepherd travels
quite extensively.
What are the different kind of tours
that you guys in different cities.
Yeah we do a number different
continents now.
We do.
Obviously America
New York twice a year.
We do Washington.
We do Chicago
and San Francisco twice
a year myself
and a colleague will go to Los
Angeles and Dallas.
I also myself
do Hong Kong
twice a year.
We also go out to Switzerland
and Geneva
Zurich.
So that's quite an extensive travel
schedule. But of course you know
coming and actually visiting you
here at 32
old Burlington in the heart
of this district
is really the best way to experience
any Sea Shepherd.
Yes. Laughing with the traveling
obviously come into the shop you get
to see or see the ambiance
the feeling and.
To look at a bill then through the
back in the cutting room work are
very open and warm company.
People will wander around and
overlook the whole idea
of the travelling.
It's for convenience absolutely
it's for convenience for our
existing customers or potential new
customers at least sometimes
I might be interested in
the name Anson Shepherd.
Haven't been to London maybe don't
get over to London very regular
but we will having representatives
go into these cities.
It gives them an opportunity at
least to come and speak to us face
to face get a feel and that's
what it's about. It's about what
society is about having fun with it.
You get not feel see and if
you're going to connect with the
gentleman and if so
what you're describing she is going
to be correct.
So and then like I say
Well it does.
It speeds up the process.
How many fittings will you do for a
suit. We generally do
with a new customer.
There'll be a consultation a first
fitting and a second fitting.
Obviously on a new customer
sometimes slight adjustments
will be required to be done at the
end. So it could be as another fit
in after that.
But usually between two and three
fittings we're trying to go
travelling abroad just really helps
accelerate that process.
Most definitely.
It makes it more.
Obtainable for the individual
instead of waiting and coming to
London once a year.
If we're going over to New York
twice year or L.A.
or whichever city it is what happens
instead of getting one foot in here
to be able to get to
three maybe four especially if
they're moving around and what you
find with customers.
Even in the US or all around the
world they're moving around the
world.
This you might see him in London for
a first fitting L.A.
for a second fitting.
Yeah. And then sometimes the may pop
up once in a blue moon in Hong
Kong especially the American
market you see him moving from
coming in from.
San Francisco to Los Angeles.
All those see representatives in
San Francisco or fly from
Los Angeles to San Francisco Chicago
all like what he's doing is giving
you an opportunity.
Hey Leon.
A pleasure. Thank you so much.
It's been lovely to see you again.
Cheers.
Wow.
Anderson and Sheppard such an iconic
several bespoke tailoring firm.
Absolutely unbelievable to be able
to go inside and hear about their
house style.
Now we're approaching the end of the
day and there's no better place to
grab a bite to eat whenever you're
in this area than at the windmill.
Famous for their pie so let's head
down. I think we're going meet a few
tailors there and have lunch.
You know what I love about.
You know what I love about the
windmill is that this is just
as much of a part of Savile Row as
in some ways the firms that occupy
it because this is where the tailors
for so many decades really have
come to have a nice pie
and drink a pint in there right.
No. Definitely.
Yeah. Yeah I mean with the rise of
that you know rents on Saville Row
and then we had Abercrombie Fitch
show up and all these global brands.
I mean I really was worried there
for a while whether or not the
tailoring firms would be able to
survive in the row proper
so that you know like my children
could go and enjoy it I'm still I'm
still worried
because there is in this country
there is no real protection.
They're not getting the protection
they deserve.
You can't put Abercrombie
next to a normal
traditional family run Savile Row
firm and say Pay the same rate.
This just it doesn't happen.
You know so I worry.
I don't worry about the industry.
I think that will thrive but I don't
worry. I dont worry about the craft
i think that'll thrive.
I worry that it's going to get to a
point where they can't sustain
premises in that location.
Traditionally it's not an industry.
People just drop into in general
a lot especially.
I might be wrong. The younger
generation is striving
to be there yeah.
Which is a difference.
I walk into work and every
single person there loves
what they do. Yeah we all do.
Otherwise we wouldn't be there.
Yeah it's always a great trade for
helping each other out as well.
you talk to other industries
and I don't know many industries
like ours you know like someone
coming to me for a fabric and I
didn't have it.
I would take a look at it and I'd
say you know what.
Harrison's have got that.
It's on there such and such bunch.
People look at you and think you've
just helped you competitor.
If you know if you if you were
struggling with a certain
something you'd go to the tailor
next only they'll help you out.
Yeah we've had people in for VAT
forms this week, buttons linings.
Yeah. And they all help each other.
You might not necessarily get on
some times but it is definitely
a flow and a it's
it's a lovely place to work.
Lovely people. It's the same with
the suits I guess.
But if someone came into was go it
alone my built shoulders
you know harder canvas, we'd would
probably say as
much as we'd like the business.
Yes we'd probably go unfortunately
sir, you're
Probably not going to be happy and
at the end of the day we're not
going to be happy making you
something that you're unhappy with.
And we'd probably recommend you
maybe go to
somewhere else, Poole or Huntsman or
whoever because that's the style
and it does happen every I've
done that.
It's not something that you
necessarily want to but at the end
of the day it's like you've got to
be sensible.
There's gonna be chemistry right.
I think it comes down to chemistry.
So many options and everyone in the
row is doing incredible work.
I mean you know no one house is
better than the other they're just
different. Yeah and it's like
Who do you get along with the most.
And you know I feel like you know
the relationship underpins
you know the bespoke experience
and you know whoever you get along
with and you've got good chemistry
and you enjoy being around and you
kind of see eye to eye in terms
of style
and that's what's going to create a
relationship that you know becomes a
cornerstone of man's life.
One of the things we get quite
regular is ladies coming in
but we tend not to go in
that direction so we'll probably
kind of then suggest.
Potential people that they should go
see maybe
Edward Sexton, Katherine Seargent.
So we'll always ping people
to different kinds of houses
and stuff like that if we can help
them find what they want to achieve.
It's interesting from the customer's
point of view as well is
we as a merchant we see
the names
of customers big customers
sometimes are very famous come
in and obviously we they we don't
mention them at all but you'll see
someone come in us and our such and
such as in town and he's placed
six suits at Henry Poole well
and then you think Oh the next
day six suits come in
from these or six suits are coming
from there.
And I find that fascinating
that you have one man and he has
three four tailors.
and you think I'd love to know why
did what did he see.
What did he see?
Why he got from them he's got from
them he's got from them you know
that's interesting but do you not
think this is a relationship that
the new relationship that clients
have with the tailor Yeah once upon
a time you'd have one that you
recommended.
That's my tailor.
Hey that's him.
This is where I go.
Yes.
But now it's you have.
Different. Styles they go to
different houses and
you need the tailors today
are not pompous. Oh yeah.
once upon a time It was just like
this is your suit. its finished you
take it away.
Yeah. Now it's
you look for feedback. dont you.
OK.
You want something that
he feels as much about as you do.
Yeah. It's really important.
Is certainly different service and
relationship.
For. What it seems Like.
Yeah definitely I think I get a lot
of fun out of it.
Where you see a customer.
Is deeply excited.
That's great. Yeah.
I mean when they take their suit and
they're so
excited I like I get excited.
if the suits going home. I think it
looks nice.
But if the customers you
should be should be equally excited.
That's the big thing. It's feedback
both ways now.
Yeah they used to be as you say used
to go and have a suit made the
tailor would actually come and
actually tell you whathe thought you
should dress like and how you should
dress. it's
the only place on earth.
Geoffrey you must know because you
travel the world with your fabrics
and I will say that we're
very fortunate. We've been given the
fabrics and we can work with them.
We've got a great selection getting
new designs.
You have like suits
come in and say what's new.
He said Well this is what we can do.
And you know London's
energized. Well Fabrics theres
massive innovation constant
innovation coming through with
fabrics now. Oh yes definitely.
And you must know from
the people you can see abroad like
in France and Italy.
Yeah. You must think of competing
London's competing now with them
aren't they?.
I've always I look.
I've always had us on a pedestal
maybe sometimes unfairly but
we've always put us up there as the
best in the world.
And I think definitely we we were
for a long long time
then people have come back at us
and we've gone again.
You know I do think English an
English suit will make you feel
you're the best man in a room
and.. You think Savile Row could
exist anywhere else?
Well no because you when you go to
France they're not in one area.
these great Ateliers are
all around the place. It's
beautiful.
But yes but you know it's a mind set
as well.
Is it like we were saying earlier an
English suit makes you feel
powerful. Well that's what it's
about. It's you stand up.
It's structured.
Has a chest.
It's a powerful garment.
Yeah. And we're competing we're
ready to wear made
generally speaking made from
English fabric which is
hardier.
So I think that side of it
the mentality works to make
a suit that will last a long time.
I think it in Italy they're making
suits that are more comfortable.
And that because as a generation
as a people they're
more casual more casual.
So I don't know if it could appear
anywhere else the French had it.
You know go back long enough the
French had their own
you know hundreds of years ago but
they had the same sort of mentality
of two places in the world to have
your clothes made were London and
Paris.
But then again Laura was in
Italy last week.
and no young people are all very
very
very very old.
And that's really not good as a lot
of young people like Charlie.
That's on you.
They are sort of coming through and
energizing things.
Yes quite it's quite interesting we
have some good Italian tailors
coming through London they buy our
staff they sit down and
they don't realize what
we've got. We've got floods of
young kids. It Is hard for me.
I get asked constantly.
For apprenticeships can I find
someone an apprenticeship and it's
hard because they're full.
theres lots of kids. Well you know
Geoffrey
Without someone like Kirby that's
telling the world to educate.
Yeah. Telling the world what we do.
Yeah. It's not going to happen.
Yes. You know we just do
what we do.
Happy to do it in our little worlds
but it is not until someone comes
along like Kirby and energizes
the world to say oh this is what
these fellows are doing.
Yes it's really important.
Yeah it's exciting to see you know
it's exciting to see Savile Row
bespoke tailoring go from strength
to strength. So I'm excited about
the future- We are too-  new
energy and everything and
I think it's an exciting new page
Gentlemen
Thank you for joing me.
Cheers.
Good health to you.
