The Unmade Suit

If I stand side-on to the mirror, it almost looks like a real suit. Of course, it only has one arm and the front and back panels are covered in stitching. But you can’t see that from the side.

I can’t stand like that for long, as Edward Tam is hovering with intent. I’m having my first fitting for a double-breasted suit in Hong Kong, and he thinks there is a little too much give up the back. Quick as a flash, he pins up a half inch, pinching it in a long dorsal fin.

I’m trying to remember all the fit points I should mention. And writing them down in advance is my top tip to you. I was arrogant and thought I wouldn’t forget any. I did. Most of the important ones came to mind, however – the break of the trousers (to my taste, so there is no break in the back line, just the front), the length of the jacket (my taste is a little shorter than normal, about in line with the middle of my thumb when my hands are at my sides) and the length of the sleeves (again, I like it a little shorter, with half and inch of shirt showing with my arms at my sides, over an inch when the arm is at my chest).

Interestingly, Mr Tam and his colleague were sceptical about the sleeve length. In Asia they tend to be rather longer, apparently. But they were happy with my demands and didn’t seem too unimpressed with the result. It is probably as important to be confident in your demands as it is to know they are correct.

Aside from not quibbling over sleeves, the best way Mr Tam showed his quality to me as a tailor was picking up on aspects of my body shape that I was already aware of. For example, I have wide but sloping shoulders. In many off-the-peg suits this has the annoying effect of letting the shoulders of the jacket droop a little, creating folds under the arm. Edward picked up on this when we discussed the “natural” curve of the unmade suit I had on – if the shoulder were any more unpadded, he pointed out, it would reveal my sloping figure and be uncomplimentary.

Edward got a mental tick in my head for picking up on that. And it is probably worth you bearing something similar in mind were you to go through this experience. Go into any high-end suit shop and ask the oldest member of staff for his advice on how a jacket fits. If he knows his stuff he will list all your pluses and minuses, making you fully equipped to rate your tailor.

The suit should be ready this afternoon. I’m rather nervous about it – particularly as the half-made suit I tried on didn’t have its deep purple lining. It might look awful.

“Vintage Authentic” v. Plain Old Authentic

Some time ago, I was clearing out my closet and came across a pile of old Brooks Brothers oxford cloth button downs. I had not worn these shirts in almost a dozen years, yet there they were; classic, frayed and waiting for a wash. These shirts took years wear in and have a nice threadbare look around the collar and cuffs. If I went looking for these oxfords in a store right now, I’d have to pay a hefty premium for the “vintage” details and “hand finished” distressing.

But I don’t have to; I have the real thing although these days the real thing seems to be less of an ideal. The kind of character that used to take years of wear and tear, weekend chores and yard work can know be picked up by the dozen at the store. We have become such a culture of instant gratification that we can now expect, and receive, instant heritage. These artificially old clothes are of perfectly good quality of course and they are great assets to any wardrobe. Still, I’m very happy to know that these classic shirts are not fakes. They do not have a manufactured history. The various scars and scrapes took me time and effort to develop, not a giant machine that churns out personality by the bolt.

I am still a fan of companies like J. Crew, a label synonymous with pre-beat up classics. But I grew up before the art of creating ready wear history became the norm, so there is comfort knowing that the character these shirts have is, in fact, mine. Much of what is in my closet has taken a lifetime to age and I am proud of that. It’s like a sort of long-term investment.

Of course I also appreciate the benefits offered by the modern textile industry. I like the fact that I can go and buy a pair of khakis that are comfortable right off the bat and that I can’t even remember the days of having to “break in” jeans - something the modern teenager cannot even fathom. Still, there is a certain sense of accomplishment in creating the patina of your own wardrobe.

If nothing else, this experience fits neatly in line with my manta of buying classic clothing that will last. Remember, the perpetually sought after “old money” look speaks of timeless classics - worn out khakis, glossy leather shoes re-soled a hundred times and patched tweed coats - because these cherished articles were actually worn for years. Sometimes, as in the case of Gianni Agnelli’s suits, they’re worn for generations. Thrift is a valued personality trait.

Don’t live in the past however; always make sure to inject new styles and fresh perspectives into your wardrobe. Even the most classic of clothes will not be in fashion forever. Design and cuts change over time, colors go in and out and lapel and tie widths will fluctuate. Wear what you like and makes you happy but always make a point to invest in clothes that offer some long term quality. Fashions fade, style endures and clothes really do develop their own personality. And that you cannot manufacture.

Spring in the Changes

I am of a somewhat impatient nature when it comes to looking forward. On home improvements, I like everything to be done all at once; I like order and preparation, and I prefer the temporary chaos of complete change to long term limbo. This year, I have been markedly impatient in relation to the arrival of spring. It’s a time of year I always enjoy and look forward to eagerly and now that March has arrived, I can with considerable excitement herald the official change of season. The dreary months of January and February have passed and the daffodils and early blossom are out. Though there is some considerable rising in temperature required, everything already feels a lot more upbeat, less grey and suddenly alive: the cobwebs have been blown away, the drudgery of winter will soon be a memory and the “winds of March” have already made “my heart a dancer.”

With this in mind, I have begun to change wardrobes. Although I have, unforgivably, overlapped due to my aforementioned impatience, I can now relish the embracement of spring-like gear. Spring is a time of year to throw back the heavy curtains, to let the glorious sun shine in and to throw a vase of flowers on the windowsill. In many ways, this represents exactly the sort of approach one should take to the wardrobe.

Denim

The time of winter denim is now aglow in twilight; the steel and gunmetal greys, the thick blacks and the browns are to be packed away and blue sky, indigo and white are to be deployed as seasonal substitutes. Somehow, gothic tones are the antithesis of what spring represents so, the brighter the better.

White shoes

It’s extraordinary how much attention white shoes attract. Nevertheless, they are an excellent and refreshing change from the muddied blacks and browns of winter. They are incredibly versatile but, in rainy weather, they can attract more than attention; save them for sunny, cloud-free days.

Green/blue/white

Think of a bouquet of flowers, or a sunny promenade past the old pier; green, blue and white are three of the best representatives of the undeniable freshness of spring. They do not need to be particularly bright, but using them in conjunction with less inspiring colours can help to lift an ensemble.

Going sockless

Although it’s a little early yet for such a practice, going sockless is elegant and attractive. With jeans that swing just above the top of a loafer, showing a little ankle on a sunny Sunday looks, and feels, marvellously youthful.

Doing the ‘neckerchief’

To many, one of the joys of warmer weather is not having to wear a scarf to keep warm. However, there are those who miss an adornment for the neck. The solution? To wear a silk handkerchief around the neck with a shirt and sweater or cardigan. It can feel slightly strange at first, but it allows for more colour matching or complementation and it looks terribly romantic.

Change the fragrance

Dumping the spicy and heavy ‘winter scents’ into the ‘winter bin’ leaves space for a spring scent; something fresh, fruity and much lighter, something that will complement your sleek, bright and mouth-watering spring ensembles. There are great options from the likes of Acqua di Parma and Marc Jacobs.

Hello from Hong Kong: Tailor Report

When you leave the underground at Tsim Sha Tsui, it’s not immediately obvious where the Regal Kowloon Hotel might be. Street signs are infrequent and not always translated into English, and the sheer profusion of Chinese symbols, hoardings and tower blocks is apt to confuse.

Fortunately, the locals are friendly and a quick inquiry directs you down Mody Road. In the marble-floored mezzanine, hiding around a corner, is the office of Edward Tam, director of E.Italian tailors.

There are too many tailors in Hong Kong to tell which are of any quality. And even if you get a recommendation from a friend, his positive experience doesn’t guarantee one for you. Many of the staff in our office out here have had suits made on the recommendation of a colleague, only to be disappointed. Indeed, our resident journalist in Hong Kong had a suit made at Sam the Tailor, who comes recommended by Tony Blair and Jude Law. The suit had very square shoulders and too-wide trousers. The trousers, of course, could be altered, but the shoulders are harder to do.

But then Edward Tam has been making suits for my father for three years, and he has yet to be disappointed. The key is to know what you want, including getting the best materials.

As Mr Tam measured me for a suit this morning, a list of requirements and specifications ran through my head. These are important to remember, as a tailor won’t necessarily ask you for all of them.

For example, how wide do you like your trouser legs? Unless you specify this, the tailor is likely to give you what he considers to be the standard. In Asia, this is rather wider than in Europe. How about the width of your lapels? You may not think these are that important, but there’s always a chance a tailor will make them a little broader than you like. As with the trouser legs, I recommend measuring a suit you like at home, just so you know in advance.

So that’s fit. It’s also worth going for the best materials. The one thing you can guarantee with a luxury brand suit is that the material will be very good. It might not fit you, it might not be made by hand, and it may not even be canvassed, but the wool will be of decent quality.

At the tailor, the best way to identify the materials is if any of them are textures or names you know. If it looks like the worsted or flannel on something you already own, you’re halfway there. If it looks like an odd, slightly shiny weave, there’s a chance there will be some manmade material mixed in, which won’t last so well. And look out for the big names in wool – Ermenegildo Zegna and Loro Piana, as the biggest and best of Italian woolmakers, are a good sign.

Mr Tam had a selection of both, as well as some infuriatingly tempting cashmeres. All at once, I was considering a navy blue, cashmere overcoat. What an extravagance that would be.

First fitting for a double-breasted, grey flannel suit and mid-blue shirt is tomorrow. I will report back on whether either the fit or the material disappoint.

What Future Holds for James Bond, Sartorially

“Bond. James Bond.” These little words; what power they hold. For the very mention of them conjures an image unsurpassed in its fantastical exoticism; a man of heady perfection: a portrait that seems to capture every essence of the man and the myth.

As fictional heroes go, there are few more celebrated, more successful than James Bond. He is the exemplary hero. On his strengths and flaws, thousands of unsuccessful characters have drawn, but he remains the emperor of his own arena. The last screen adventure saw a new Bond, the sixth man to play the legendary spy; Daniel Craig was for many an unusual choice in some ways. No one doubted his acting chops, but before he had even begun to read the script, people were questioning whether he actually qualified as a James Bond. The Bond that people had come to know was dark and sophisticated; Pierce Brosnan was surely one of the most appropriate representatives of this. Craig was blonde, and compared with the equally light haired Roger Moore, seemed to possess less elegance and more physicality. As far as style was concerned, the recent Casino Royale was almost a washout. Were it not for the black tie worn at the poker table, we might have been watching another JB: a certain Mr Bourne.

Indeed, it seems that the producers have decided that Bond’s future will be, sartorially, rather different. Brioni have been dropped as official clothiers and apparently, Dunhill are on board for Quantum of Solace, the awkwardly titled 22nd Bond feature. Seminally, this rejection of an Italian tailor reflects both the reversal in fortunes of English tailoring and also the intentional change of direction of the new wardrobe department. It might be that Bond’s wardrobe, like the motor car selection, comes full circle; it started with Aston Martin, and through other interesting and questionable choices, we are back with Aston Martin. As far as tailoring goes, it started with an English tailor and by George we are back with an English tailor.

Throughout the years of Bond, there has been one particular difficulty for the wardrobe department: how to make the supposedly camouflaged-for-ubiquity and discreet spy a standout; a remarkable individual for the men to admire and the women to crave. Too noticeable and Bond’s credibility as an efficient and effective spy is vanquished; too bland and he’d never have the appeal. From the Connery years of waistcoats and hats to the Brosnan era of smooth Italian cloth and open shirts, Bond’s wardrobe has walked that fine line rather successfully. Retrospectively, some of the styling looks wrong; flared trousers and large collars of the 1970s among the mistakes, but on the whole, Bond’s screen wardrobe has served the character well.

Craig himself is frequently seen wearing Dunhill, and some of the ensembles look suspiciously similar (see picture) to those seen on Connery in films such as Goldfinger and From Russia With Love. Could this be a sign that the styling for future films will be intentionally retro? Is Bond going to be smartened up once more? Or perhaps, Casino Royale was a clear indication that the new Bond is certainly not the old Bond; the fact that Bond hissed ‘Does it look like I give a damn?’ when asked how he would like his martini, that Craig appeared on the promotional posters, pouting, with the top button undone and the bow-tie dangling, certainly indicates that this could be the new 007. With Brioni gone, all bets are off. Dunhill could do either to Bond, and do each very well. They are more than competent and if their clothing of Craig is anything to go by, there is more spy-sartorial excitement to come.