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.