Fine vintage fabrics and deadstock for sale

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I’m offering a few pieces from my collection of fine English vintage fabrics from defunct cloth merchants and tailors. These are fabrics for the connoisseur, I would say. If you want to buy a length, write me at torsten@sartorialnotes.com


Vintage jacketing: A rare and versatile tweed in a brown-beige-blue-crimson pattern, hairy like old-fashioned Harris Tweed, probably from 1970s. Weight about 500 g/m.

Price:
600 USD for 2 m + shipping
500 EUR for 2 m + shipping


Vintage jacketing: A sturdy blue-grey tweed in a very rare Panama weave. Weight about 500 g/m. Probably from 1970s or start of 1980s.

Price:
600 USD for 2 m + shipping
500 EUR for 2 m + shipping


Vintage suiting: A brown-beige suiting in a particular and unusual nailhead design. Weight about 400-450 g/m. Probably from 1970s

Price:
700 USD for 3 m + shipping
600 EUR for 3 m + shipping


Vintage overcoating: A magnificent tweed overcoating with an overall blue-ish shade. Weight about 700-800 g/m. Probably from 1970s or start of the 1980s.

Price:
700 USD for 2.8 m + shipping
600 EUR for 2.8 m + shipping


Vintage jacketing: A strong, soft blue-grey tweed in a wool-cashmere houndstooth weave. Weight about 450-500 g/m. Probably from 1970s or start of 1980s.

Price:
600 USD for 2 m + shipping
500 EUR for 2 m + shipping


Vintage suiting: A very classic, yet unusual, PoW suiting in a strong and smooth weave. Weight about 450-500 g/m. Probably from 1970s.

Price:
700 USD for 3 m + shipping
900 USD for 3.8 m + shipping
600 EUR for 3 m + shipping
680 EUR for 3.8 m + shipping


Vintage jacketing: A soft Shetland tweed from Scabal. Weight about 390 g/m. Start of 2000’s.

Price:
420 USD for 2.2 m + shipping
350 EUR for 2.2 m + shipping


Deadstock jacketing: A soft Shetland tweed in a brown shade herringbone weave from a defunct Scottish mill. Weight about 380 g/m.

Price:
350 USD for 2 m + shipping
300 EUR for 2 m + shipping


Deadstock jacketing: A soft Shetland tweed in a grey shade herringbone weave from a defunct Scottish mill. Weight about 380 g/m.

Price:
350 USD for 2 m + shipping
300 EUR for 2 m + shipping


Deadstock jacketing: A soft Donegal tweed in a grey shade with subtle flecks of color. From a defunct mill. Weight about 380 g/m.

Price:
350 USD for 2 m + shipping
300 EUR for 2 m + shipping

Deadstock jacketing: A soft Shetland tweed in a PoW design. From a defunct Scottish mill. Weight about 380 g/m.

Price:
350 USD for 2 m + shipping
300 EUR for 2 m + shipping


Deadstock overcoating: A hairy block check tweed overcoating in brown, grey and tan shades. Weight about 700-800 g/m. From Marling & Evans.

Price:
450 USD for 3 m + shipping
375 EUR for 3 m + shipping

Vintage suiting: A rare Woodhouse suiting in the venerable 6-ply weave. A smooth, sturdy cloth with a magnificent mottled yarn structure. Weight about 500 g/m. Probably from the 1990s.

Price:
750 USD for 3.3 m + shipping
650 EUR for 3.3 m + shipping


Vintage suiting: A dogtooth weave from yesterday, when the Italian mills made solid cloth. Soft, smooth, sturdy. Mill: Luigi Botto. Weight about 450 g/m. Probably from the 1970s.

Price:
700 USD for 3.3 m + shipping
600 EUR for 3.3 m + shipping


Deadstock suiting: A Lovat mill run from about 2010 for The London Lounge Cloth Club. Top quality cloth.

Price:
700 USD for 3.75 m + shipping
600 EUR for 3.75 m + shipping


Deadstock shirting: Alumo’s go-to poplin shirting Supraluxe in a light blue shade (color code 244). 10.5 m continuous fabric for six shirts.

Price:
500 USD for 10.5 m + shipping
400 EUR for 10.5 m + shipping

The Best Dressed at Pitti Uomo 103

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Pitti Uomo i Florence is a show. Most people dress up, often exaggerating. A main problem is that so much clothes look brand new. You cannot have style in brand new clothes. Impossible. You become a puppet, a clown.

Ready to wear, especially, needs a lot of breaking-in. Bespoke becomes your own swiftly. You don’t have to throw it around like Fred Astaire did, when Anderson & Sheppard had shipped him a new suit. Yet, the point is clear: You & your clothes must be one for style to appear.

The man in photo was the best dressed I saw at Pitti Uomo 103. Everything about his look is fluent. The colours, the textures, the fit, the tab collar, the tie knot, the watch. He also has strong sense of tradition.

Surely, he is dresses up but effortlessly. There is no friction.

Five Tools in Classic Menswear

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In a bespoke classic attire made up from vintage cloth, the silk shirt (Frank Foster) as well.

One can look at classic menswear as a set of effects or tools.

The most important tool is fit. Firstly, the clothes must be in spatial harmony with the given body. Dress and man should not conflict physically. Moreover, the fit of the garment must flatter the body, hide imperfections and accentuate assets.

Secondly, you have the textures of the textiles. You must coordinate a tweed jacket with a pair of corduroys or flannel trousers, ordinary worsted trousers do not harmonize with it. One could say that the textures of the individual parts of the garment must be related in terms of warmth and sturdiness, shoes included.

Colours are a third tool. They can contrast more or less harshly. The harsher the contrasts, the more energy an outfit has.

Patterns interact with colours. I usually advice to avoid patterns if the use of colours is contrasting and lively. Conversely, patterns can add energy to a close to monochrome and dull colour scheme.

Design details matter. Flap pockets or jetted pockets, trouser turn-ups or not, single breasted or double breasted. Design details are a fifth tool in a classic attire (along with accessories). Simplicity is not always the right choice. Remember.

Corduroy Fall Style

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The Armour of The Cultured Man

“In the morning, the day we were to leave, I had been dressed as finely as if I were to be photographed, I had been given a new hat and a velvet jacket,” writes Marcel Proust in In Search of Lost Time from the early 1900s.

In his work, velvet or corduroy becomes a noble textile.

Oscar Wilde, his contemporary, also had a weakness for the textile. Wilde wore fancy velvet in protest against the dominant dark garments, he declared.

Later, many other artists, intellectuals, and indeed those with aspirations to be something in the world of culture, were to be attracted to the textile.

Woody Allen uses the symbolic power of corduroy, when he dresses a leading man (and himself) in corduroy. Wes Anderson, who is an auteur like Woody Allen, is also a real velvet man. The textile, whether ribbed or with a plush finish, has become a stylistic signature for him.

As for the photo, I’m wearing slack jacket and trousers from heavy corduroy. On my feet a pair of bespoke Vienna shoes.

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