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Pattern Drafting

It is difficult to overstate how integral the art of pattern drafting is to the process of handcrafting a bespoke garment, for a pattern defines the very first reference points that affect the balance and contours of the cloth. A well-drafted pattern will result in a first fitting that requires only minor alterations to the major seams and balance points. By contrast, a poorly-drafted pattern ultimately will require more complex adjustments in between each fitting to ensure an ideal fit. Correcting the mistakes of a poorly-drafted pattern requires far too much extra time and effort to make it worthwhile. Apart from being inefficient, with practice, such efforts are unnecessary.

Good pattern drafting depends on precise measurements and a keen understanding of the drafting system being used to convert those measurements into a drawing. In addition to taking the common measurements like the circumference of the chest, waist, and hips, I tend to take several direct measurements like shoulder width and wrist size. About 20 measurements are carefully applied to pattern paper, and seam lines are drawn by hand and with the assistance of rulers and french curves.

Note the egg-shaped armhole. This shape allows for maximum flexibility and movement.

After the pattern is drawn, the key measurements (e.g., chest, waist, etc.) are checked and rechecked to ensure accuracy and precision. The patterns are then cut and marked with the client's details. But before I set aside the pattern for cutting, I compare one of the most critical aspects of the pattern: the relation in shape and dimensions between armhole and sleeve. Any defect in the correlation between these aspects can distort the shape of the sleeve and shoulder area and the way that the sleeve hangs, thus resulting in a very unsightly appearance.

The sleeve patterns are laid next to the armhole.

When it comes time to lay the patterns on the cloth for cutting, I can be confident in the chalk lines that I trace, knowing that they are leading me toward a finely crafted jacket. I need only follow along with my needle and thimble.

In Between Fittings

After undertaking a first fitting, a number of changes and alterations are made in preparation for the second fitting. The entire coat will be ripped apart and adjusted according to my notes from the fitting. Pockets will be added, and the body canvas will be basted back in position along with the cloth.

As with any new client, the first fitting will have fairly generous allowances in cloth which I will slowly trim away until I achieve the fit that I desire. One area in particular that required some attention with this coat was the area near the armhole and shoulder blade region. In this case, there was a bit of extra fullness on the back of the coat near the arm hole. By dropping the shoulder line slightly, I will be able to gather that extra cloth and draw it upward toward the shoulder seam, thus eliminating the excess. You can see the newly chalked shoulder seam line in the photo above. I then carefully check several important measurements and redraw the armhole line.

Pockets are then added to the main foreparts of the coat. This particular cloth with its check design requires extra care to ensure that the lines of the pattern match up whenever possible.

On the inside of the coat, the pockets are reinforced with linen strips and a combination of machine and hand stitching is used to ensure maximum strength in the pocket mouth area. Finally, the finished pocket bag is hand stitched to the inner body canvas for additional support and stability. With this coat I chose to position the front breast pocket bag on the inside of the body canvas for maximum support.

I also pad stitch the lapels of the coat by hand after the first fitting. These pad stitches help the lapel maintain its shape throughout the life of the garment, and they are critical to achieving the beautiful, soft roll of the lapel near the front buttons.

After the second fitting takes place, I will make additional corrections, and I will add the lining and facings.

On the Cutting Board

On Friday, I chalked and cut a two-piece suit for a client. The process took a little longer than usual because I needed to be careful to cut the cloth in such a way as to allow the checks to match at certain points on the coat and trousers. I also used a new pair of large shears for the first time and it took some getting used to.

The cloth is a beautiful light weight Super 130s wool from AristΩn. The coat will feature a single-breasted cut with two front buttons, and slim (2 1/2") lapels. I look forward to working with this silky smooth cloth.

 

Christmas Comes Late

I'm naturally suspicious of a tailor who is not very well dressed himself. It's far more reassuring to a client when meeting with a prospective tailor that they can see not only a good sample of the tailor's work, but also his confidence and satisfaction in wearing the product of his own craftsmanship.

Lately I've invested a great deal of time working on my clients' orders, and I was hoping for a break of time during which I could turn to a personal project. With 15" of snow (and counting) on the ground outside, new cloth stuck in transit, and all my other current projects finished at one stage or another, that break finally arrived. A month after Christmas, I've finished the first baste of a gift to myself: a new suit for the autumn and winter months.

I picked out the cloth months ago, and I've been dying to work with it ever since. It's a 13-14 ounce dark grey worsted wool from Dugdale's "English and Town Classics" bunch. As anticipated, it's been a joy to work with. The cloth's thickness contributes to a beautiful, natural drape over the bodily figure (especially down the front break line of the trousers), and it stretches and shrinks perfectly with modest encouragement.

As soon as I can recruit a friend to lend me a hand, I'll undertake the first fitting.

A New Project for an Old Design

A while back, I wrote about a client's wish to have a double-breasted waistcoat patterned after one worn by Terry Benedict's character in Ocean's Eleven. It's been difficult finding a suitable silk brocade fabric, so that project is temporarily on hold while we continue searching for the right material.

In the intervening time, we have decided to create a second vest using the original design. Instead of using a fancy silk, this second version will be cut from traditional suiting material. Because the client wants to wear this piece as an odd waistcoat (he will pair it with a variety of suits in his wardrobe), we chose a very versatile dark gray herringbone cloth. The cloth is an ultrafine Super 160s luxury wool from Huddersfield's Denby Dale collection. It's a perfect selection for the planned vest not only because of the color and pattern, but also because of the silky-smooth texture and weight. At 8-9 oz, it will remain cool on the wearer despite the close-fitting and double-breasted cut that might otherwise be too warm for regular use.

This vest has a touch of flair on the inside that few observers will notice. While a silver paisley lining will be used for the visible part of the backing, gold paisley will line the inside of the vest, and a gold coral paisley will line the inside of the pockets.

Saturday Morning Bespoke

With a large cup of coffee, of course.  Featured: a navy blazer cut in a superfine wool from Huddersfield Cloth.

Tweed Season Is Coming

Autumn soon approaches, and with it arrives Tweed Season. Experienced customers will know to place their orders for seasonal pieces 4-6 months in advance to ensure that their jacket or suit is ready in time. Here, I am working on a two-piece country tweed suit that is expected to be completed in October, just as the temperature begins to decline here in our Nation's Capital.

The brown herringbone tweed cloth is a well-established classic that is about 13-14 ounces in weight. The coat will be finished with a three-button front and patch pockets, which will give it both a classic and casual look.

I will soon undertake the pad-stitching of the lapel which will help create a very natural roll. These stitches will help retain the roll of the lapel for the life of the garment. I look forward to finishing this project.

 

Double-breasted Waistcoat

This waistcoat is the first part of a three-piece suit. It is nearly ready for a first fitting. When I am making a three-piece suit, I like to start with the waistcoat because it is easier to construct than the jacket and it gives me the first opportunity to work with the selected fabric and learn how workable and stretchable it is. In this case, I am using a medium weight gray wool fabric with white chalk stripes.

I am pleased with this particular cloth not only because of the appealing wide-stripe pattern, but also because the fabric is very workable which will come in handy when I am shaping the back of the jacket (to accommodate the protrusion of the shoulder blades) and the waistlines. Shaping of the cloth is a very important process where a tailor uses his iron to stretch the fabric in certain areas to fit the contours of the body. In essense, it helps create shape that cannot otherwise be molder or sculpted by darts, hems, and seams. Different fabrics feature different characteristics in this respect. For example, a cotton fabric is not very workable, while woolens and flannels prove much more amenable to shaping.

Here is how we have arrived at this current stage:

 

 

Have Needle - Will Travel

 A couple months ago, I accepted a commission to design and create a custom vest for a young business finance analyst who is interested in crafting his professional wardrobe.  He has already collected an excellent foundation of everyday suits for the office, but he has been craving a custom piece whose expression is both powerful and unique.  Finding inspiration in the popular film Ocean's Eleven, my client has requested a waistcoat very similar to that worn by the cold-hearted and robotic casino owner Terry Benedict.

The vest is worn by Benedict with his evening tuxedo as he mingles on the floor of his casino.  The waistcoat is noteworthy for its high mandarin-like collar, the black satin fabric, and its double-breasted cut.  Though the audience is only teased by fleeting glimpses, the vest is really quite a sharp look.

Note the high collar which conceals most of the silk neckwear.

 

The sheen of the cloth and its intricate design are both visible from a distance.

My client wishes to replicate the style with a few personal touches that make the vest more flexible for combination with a variety of suits on a number of different occasions.  The formality of Benedict's vest restricts its use to evening wear alone.

 

I made time over the holidays to travel to my client who lives in another city.  There we conducted the first formal consultation.  We had discussed the project over the phone and by email, but for the first time I was able to sit down with him and sketch conceptual drawings while we worked out the finer details.  I find it's extremely important to provide visual aides to my customers in order to help them determine what exactly they desire.  Verbal description alone can only accomplish so much, and I always enjoy a bit of drawing.

 

After we've nailed down the most important design specifications, I set about taking the necessary measurements which will be used to create the pattern for the vest.  In all, I noted about two dozen dimensions.

 

My present task surrounds the acquisition of the selected fabric.  When you don't have your own brick and mortar shop, the entire consultation process can be painstaking and time consuming.  But while I await the shipment of the fabric, I'm busy converting the measurements into a workable paper pattern that will be ready for the chalking and cutting the cloth as soon as it arrives.  Relying on my notes, I will lightly baste most of the garment together at which time I will meet with the client again for a first fitting.  Despite the amount of travel that will be required to bring the vest to completion, I look forward to crafting this item in the weeks to come.  I'll share pictures as the project unfolds.

 

Careful measurements will contribute to an excellent fit.

 

 

Clean Lines

Gregory Peck looking very clean.

Anyone who has ever gone shopping for a ready made suit or jacket knows the routine.  You scan the assorted racks before selecting a pleasing style in your usual size and fit.  Slipping on the jacket and closing the front button, you peer carefully over your shoulder into the mirror.

If you're like me, your eyes dart suspiciously across every visible angle to uncover imperfections as part of an exacting evaluation of the fit.  I usually attempt a few common motions (like moving my arms in different directions or taking a seat) to test how naturally the garment rests on my body.  The object of this strict examination is to determine if the fit is acceptable enough to justify an investment.

But what are the most common indicators of a good fit?  I'll be addressing several in a series of upcoming posts.  But today, I'd like to discuss one trademark of a well-fitting suit:  clean lines.

As I've mentioned before, a good suit closely compliments the wearer's unique body shape and dimensions.  But when jacket or pants are ill-fitted to an individual, it becomes easily apparent.  Tight clothing is universally recognizable when the seams fight to contain body and limb within.  And we can all think of at least one example of the converse disorder where a man can be seen swimming in the undulating waves of cloth created by a suit too large for his frame.  These waves and rumples are always to be avoided.



Too Large / Too Tight

But where rumples are the defect, clean lines are the cure.  Rumples interrupt a natural drape over the wearer's body and they are cause by a number of faults that may include too much cloth, too little cloth, or geometry of the garment not suited to certain body types.  With regards suits, the ideal fit can be seen below in the clean jacket and pants fashioned by men's style blogger Simon Crompton.

As you can see, the jacket lies flat across the back and chest and it hugs his slim waistline extremely well.  The slacks hang straight with a very limited number of breaks.  There is neither too much, nor too little fabric.  The discerning buyer looks for a fit that lays smoothly across the body and eliminates as many interruptions as possible.

So the next time you're scrutinizing a potential purchase, keep a watchful eye out for spots where the cloth bunches, tugs, or rolls.  Your wardrobe should look like it was made for you, and it can only accomplish this if it follows the smooth landscape of your precise figure.

Georges de Paris

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Last week I had the honor of meeting President Obama's tailor.  You've probably witnessed his handiwork without even realizing it.  The president has worn Georges de Paris suits to some of the most important presidential events--the State of the Union Address, the Nobel Peace Price award ceremony, and both his inaugurations.  Known for his personality and exquisite craft, Georges is a legend among American tailors.

De Paris has boasted presidential clients for decades.  Every president since Lyndon Johnson has commissioned the services of de Paris and he has made suits for the last nine chief executives (except Carter).  People from across the United States and around the world come to indulge in the Georges de Paris experience.   Tony Blair, Kofi Annan, Michael Bloomberg and Rudy Giuliani are but a few of his famous customers.

It was a humbling experience to meet the man.  A native of Marseilles, France, he arrived in the United States several decades ago, but became homeless for a time, living in the same Franklin Park that I frequent to buy lunch from mobile food trucks.  I've occasionally given lunch to the homeless who congregate there, and I often wonder what hidden talents belong to them.

From this poverty, he saved enough money to rent a small space and start a tailoring shop.  Over the past few decades, his products and reputation have grown in notoriety.  Consumers of custom tailored products in the D.C. area consistently name Georges as the finest tailor in town.

During my first visit to the shop, de Paris proudly pointed out a suit that he was making for President Obama.  It was a dark gray wool material with the white basting stitches still binding the jacket together.  A piece of paper was pinned to the lapel, and it simply read, "B.O.".  Upon inspection, I found the most notable feature of its construction to be the soft shoulders.  The jacket had excellent structure, but I was impressed by the softness and contours of the shoulder pads.  This feature seemed to be a trademark of all the suits I studied in the shop.  He often describes his style as "modern classic" -- a style that is tailored to the customer's personality.

Georges is truly an artisan.  It did not take long to detect the great love he has for his craft.  Through his use of a "sliding price scale," Georges has a reputation for sacrificing profit in order to retain clients.  He truly loves his work, and he has no trouble keeping busy.

After showing him some of my work that I had on hand (and picking up a few pro tips), I arranged to return in the future to talk tailoring and to purchase fabric for my own projects.  Although he insisted that he would "make me a suit," I fear I will never be able to afford it, even on the low end of his price scale.  But if subsequent visits are as instructive as the first, my own work will soon rely heavily on his influence.  And I would be glad of that.

What Does It Mean to Dress Conservatively?

A slightly different version of the following article was originally published on Rightly Wired.  Although I would never recommend dressing in a manner dictated primarily by a political philosophy, here is an example of what that approach might inspire.
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Conservatism is an idea, but it is not only that.  Concerned with a specific vision of the desirable civilized institutions and culture to be preserved, it demands of its followers a form of actionable evangelism for the sake of certain ideals.  Beyond the realm of state, law, and liberty, the philosophy of conservatism is intimately engaged in a battle for the influence of civilized culture.

We are witnesses of this dynamic in everyday life:  sports, entertainment, literature, and other arts are the bread of a vital culture, and the ideas behind them are its leaven.  No less significant are the trends of fashion and clothing which gird the human form.  They are, after all, a very clear form of intelligent expression.

So then if men and women can think conservatively and act conservatively, what does it mean to dress conservatively?  To be clear, I’m not interested in those who throw on a suit and tie or a muted color dress merely to avoid breaking the mold of professional norms.  Rather, if a person maintains an active conservative habit of mind, how does that individual approach fashion?

For the sake of simplicity, I will not attempt to define conservatism; it means many things to many men.  Instead, I will rely on two broad and generally accepted principles of conservative thought and trace their practical implications.

First, to borrow Russell Kirk’s abstraction, “the essence of social conservatism is preservation of the ancient moral traditions of humanity.”  This is the moral dimension.  And second, in a more humanistic tradition, conservatism asserts that we have collectively inherited a number of human goods that we ought to strive to keep.

If these are central to the intellectual framework of a conservative mind, how are they manifested externally?

A CONSERVATIVELY DRESSES WELL IN PUBLIC OUT OF RESPECT FOR OTHERS

Business casual may now dominate the offices of companies and governing bodies worldwide, but men and women of right-leaning persuasion will meet the standards of expectation or exceed them in good taste.  Even if professional codes have been relaxed there is a noble ideal rooted in the practice of wearing one’s finest to a professional engagement out of respect for one’s clients and colleagues or the dignity of their office and profession.

This is accomplished by employing the finer finishing details of enduring legacy.  A gentleman will tend to wear a tie or jacket (or both) more often than not.  His attire will routinely feature proper dress pants (as opposed to khakis), polished shoes, and ironed shirt.  For more accomplished professionals, a full suit may be the outfit du jour.

Conservative women in the workplace will mirror their counterparts.  She will favor the dress, or the slacks with the finished jacket, and some good soles.  In truth, a lady has more freedom to craft her appearance; for men it’s the five-part test:  shoes, pants, shirt, tie, jacket.  Men and women have both inherited a lasting sense of sartorial civility, and the conservative-minded will be inclined to preserve it as a cultural identity.

A CONSERVATIVE DRESSES TO KEEP UP STANDARDS

It is good to maintain standards.  This a conservative knows.  It is preferable to wear jacket and tie to the opera, and it is bad-mannered to wear a skin-tight track suit and tennis shoes to Sunday worship.  Standards in a society remind us of the elevated nature of those particular human incidents and affairs.  For this reason, presidents by default choose the business suit when conducting affairs of state.  In this sense, even a Democratic president can be said to be “conservative.”

A CONSERVATIVE DRESSES APPROPRIATELY FOR THE OCCASION

This includes both overdressing and underdressing.  Overdressing tends draws attention to oneself (rather than the real purpose of the gathering), and it may often embarrass the host or the decorum of the office.

Underdressing is also to be avoided.  Consider the example of a funeral and the time of mourning.  Black (or another very dark color) has long been traditionally associated with mourning, dating back at least as far as the Roman Empire, and this practice continues to feature prominently in Western civilization.  Conservative men and women will adhere closely to this established norm of ancient tradition.  They would not consider donning inappropriate color or spurning a sense of formality.

A CONSERVATIVE DRESSES IN ACCORD WITH THE DIGNITY OF THE HUMAN PERSON

It would be at odds with a conservative moral ideal to wear something that profanes the dignity of the human person, or offends the sensibilities of a civilized society.  Even if certain conduct or expression may not be proscribed, a conservative will ask himself, “Still, should I wear this?”

That Well-tailored Look

The best dressed men and women wear clothing that compliments the unique contours on their body.  This is because fitted clothing presents the natural body silhouette in the most flattering respect possible.  But body types are unique and vary in distinctive features much like houses on a street.  So it should come as no surprise that merchandise that is purchased off-the-rack almost never fits our body type as it should.

A tailor can make some effort to adjust these retail pieces, but only so much can be altered without completely disassembling and reassembling the garment.  The emerging market of made-to-measure clothing has a distinct advantage over something purchase off-the-rack, but even this intermediate option pales in comparison with true bespoke or completely custom tailoring houses.  A bespoke tailor will take over forty measurements of the customer's unique bodily shape before cutting an individual pattern and handcrafting a final product with the fit of a glove.  An added benefit of the bespoke experience is being able to choose whatever fabric and features are included in the final product.  With a commissioned bespoke garment, there is no fear of meeting another man on the subway car who is wearing the same Joseph A. Bank dark gray pinstripe suit as you.

Bespoke tailoring produces the finest fitting garments available, but with costs exceeding $1500 for a single suit, most consumers (like me) are unable to afford such luxury.  But I haven't given up on crafting a well-tailored appearance.  In fact, I have adapted my handcrafting skills to a new pursuit:  sewing and tailoring.

About a year ago, I began mending my own clothing. I could sew buttons back in place, adjust pant leg hems, and stitch together small seam failures.  Eventually I acquired a sewing machine and my projects grew to include more serious endeavors.  Soon I was taking in seams on suit coats that were a tad too large around my body.  A personal pet peeve of mine (long suit coat sleeves) was soon remedied.

But as I continued to yearn for a fitted and distinctive wardrobe, I finally undertook pseudo-bespoke projects.  I like to think I'm a legitimate bespoke tailor, but that would be a gross exaggeration of my ability and a insult to the real masters.  Regardless of my own grand delusions, this hobby permits me to build a well-tailored wardrobe without breaking the bank.

Starting with a concept of the final goal, I purchase all the raw materials and begin the process of making my own clothing from scratch.  My most recent project involves a double-breasted windowpane waistcoat with six buttons and shawl lapels (yet to be added).  Here are some photos of the process as it unfolds and begins to take form as a truly unique garment.

On first try it has a decent fit, and I know there is no other item like it in the world.  There is much work yet to be done, but I daresay it already has that well-tailored look.



As with all projects, they begin with a concept.

After taking measurements, a paper pattern is cut.

 

The pattern is used to help draw the chalk lines in preparation to cut the cloth.

After the cloth is cut, it's basted onto a canvas which is used to give the garment structure.

Next the edges of the fabric are folded over and stitched in place.

At this stage the two main panels are in their basic form.  Darts have been added to both
sides just under the fullest part of the chest.  You can see the yellow lines of the fabric pinch
together where the cloth is drawn inward.  These help create the shape that will follow
the contours of the wearer's body.

After basting on the back lining, I've tried it on for a first fitting.  At this stage, there are many changes to be made.  I will carefully mark and adjust all the seams to ensure a flawless fit.

Patterns for Fall: Glen Plaid

The ranks of gentlemen abound with standard suits in grays and blues.  Plain fabrics have a long and distinguished career serving the city and business professional.  Their simplicity and conservative temperament allow for broad application.  Though the monotony is occasionally interrupted by stripes or a different color, the sophisticated man may yet desire a subtle alternative.

If you are such a man, look to unique patterns.  In particular, I draw your attention to one appropriate weave for the fall season -- glen plaid.  The pattern combines black and white yarn in an intricate windowpane design.  A classic cloth, it has been consistently fashioned by many traditional style
icons.

The pattern boasts several virtues.  First, the black and white weave appears gray even from a short distance, thus appearing to be a traditional color.  At the same time, the casual observer quickly detects the distinctive pattern.  It is a sign that the wearer has made a studied selection.

The glen plaid pattern expresses subtle sophistication, unlike the "loud" statement evident from the chalk stripe windowpane below.

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From a distance, the plaid begins to appear solid.