Moulded by Time

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Would an Anderson & Sheppard jacket from 1930 be closer in construction and style to an Anderson & Sheppard jacket of 2014 than to a Huntsman jacket of 1930? I bet it would be closer to the latter. People tend to make a cut like drape permanent, although it is moulded by time like all other productions founded in culture.

Likewise, a Fresco cloth of 1910 will be very different from a Fresco cloth in 2014. Just a take a Fresco cloth from 1980. It is not like a Fresco of today at all. The 1980 Fresco cloth fits my imagination of Fresco cloth better: it is stiff, coarse, and a true open weave. I base my conclusion on the cloth above. It is a vintage fresco from around 1980. Volkmar Arnulf is making it up.

Source: The Journal of Style

Summer jackets from the bench

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I have assisted a friend at bespoke tailor Peter Undén in Copenhagen. The initial order consisted of a cream-yellow linen jacket and an indigo blue jacket in a mohair blend from J & J Minnis’ Fresco II selection.  There was enough of the Fresco length for a pair of trousers, so we decided to have them made up as well.

The linen from Smith & Co., I have known for some time, whereas the mohair Fresco is new to me. I am really impressed by it. Unlike the typical potato sack Fresco, the mohair Fresco is an iron curtain and the weave more open than the usual mohair. The downside being that the cloth is hard and scratchy.

Source: The Journal of Style

Graham Browne: What you pay is what you get

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Graham-Browne-The-Journal-of-StyleNot always. The good deal exists. However, digging into the tailoring and service from internet hyped bespoke tailor Graham Browne in London, the phrase came to mind.

With prices at around 1000 £ for a two-piece suit, Graham Browne offers accessibility to bespoke in the Sartorial Motherland of the World. You get all the hallmarks of bespoke tailoring, except for the handmade part, which gives the soft and flexible dimension and the elegant finish of the suit’s interior. But measurements, paper pattern, canvas and fittings are there.

In theory Graham Brown seems a good deal. On a practical level, things are murky. At least in the following case, which consists of a customer from the North ordering a fresco suit at Graham Browne’s.

The jacket tells a lot: How on earth could this tipi shaped garment leave the Graham Browne shop? Evidently, it lacks fitting. (No reason to blame the customer’s hips or shoulders. He is well-proportioned).

The customer explains that the process went fast, and that there wasn’t much care for his opinions or worries in any way. They were friendly, but not service-minded at all. Only one trial was necessary to finish the suit according to Graham Browne. Speed was crucial, clearly.

After wearing the suit at home, the customer decided to bring it all the way back to London.

At first, Graham Browne was uncomprehending. They didn’t find a need for alterations, although they ought be able to see that a ready to wear jacket would serve the customer better. However, the customer insisted, and they accepted to give it a shot.

Now, I realize that all sorts of accidental elements may have hit this specific customer’s experience. On the other hand, I can hardly imagine a garment like this leaving an Italian tailor’s workshop, or a Savile Row tailor. And, I can definitely not imagine that they would hesitate to alter the garment, if it had left the shop, and the customer had decided to bring it back for alterations.

What you pay is what you get.

Photo: The Journal of Style

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