ANDERSON & SHEPPARD + SHETLAND WOOL = THE PERFECT MARRIAGE

Don’t give me millionaire’s cashmere, super 220′s, guanaco with diamond dust or some fancy worsted with 24K gold pinstriped (although I do love guanaco). Yes I know, how can one not love cashmere or any other majestic cloth meant to be cut by a most noble artisan tailor?

But for me, bespoke and shetland is the match. The charm and beauty of shetland, which maybe is almost mythical, are not the obvious choices when one is bespeaking a jacket, especially in today’s modern world Loro and Zegna cloths.

Anderson & Sheppard is the choice if you’re going to cut a bolt of precious shetland, making indeed the perfect marriage. A&S respects the slightly fuzzy, somewhat scratchy, and always endearing cloth, treating it like a most divine cashmere. You can’t have shoulder pads with shetland. You can’t fuse shetland. Shetland breathes, and depending on weight has drape and needs soft canvassing.

What I first found so appealing about this particular sport coat is the contrast of the exquisite, elegant handwork from a master Anderson & Sheppard tailor and the pure honesty of this most honorable Scottish cloth.

Camel and light brown herring.

Here matched with a Finamore Napoli shirt and wool herringbone Charvet tie and cream-colored wool trousers from Anderson & Sheppard, and a cotton wool challis tattersall pocket square hand sewn by yours truly.

 

The stunning, bejeweled silk boutonniere on a sea of shetland is pure magic.

 

Hand sewn sham buttonholes give a lovely finish to the sleeve cuffs.

 

 

I have four remaining pocket squares cut from one of my many vaults of vintage cloths. This is an 80% cotton, 20% wool English challis. The ground is in natural with a tattersall check of navy, thistle green and light tobacco.

 

 

 

16 1/8″ x 16 1/8″ – $60

15 3/4″ x 15 3/4″ – $60

13 3/4″ x 13 3/4″ – $55

13 3/4″ x 13 3/4″ – $55

Please contact me at ac@dcbs.com

Style for Life

 

The New England gentleman still exists.

 

He is in the garden with his now frayed Turnbull & Asser challis shirt and broken in Henry Poole corduroy trousers. The trousers are wheat in color, although thirty five years old, they still look remarkably fresh. A dubious blood stain on the front leg is a remnant from a pheasant hunt in his younger days. A well worn pair of John Lobbs suede Hilo chukkas in an exquisite shade of whiskey.

 

He is just up the road, just beyond a majestic stone wall that dates back to the 1700′s. Driving his John Deere, wearing a pair of olive gray H. Huntsman moleskin pants with a blue flapped pocket J. Press button-down oxford and a pair of low cut LL Bean hunting shoes, an old Submariner, a pair of A.R. Trapp translucent milk colored specs and pipe in mouth.

 

He is the elegant chap walking his equally elegant great dane on North Street on a cold late fall morning. Donning a magnificent vintage Anderson & Sheppard camel hair polo coat bespoken by his father two decades earlier. A pair of Kiton brushed cotton pants and a gorgeous pair of Cleverley Chelseas he only recently to took delivery of rounds out the look.

 

He is the intriguing, well known landscape architect. He has worn his one and only Patek Phillipe every day of his adult life. Strapped on, surveying properties, digging holes, chopping wood, he wears it all the time. One fine day on his own property he had on a well worn blue gingham Charvet with the sleeves rolled up, a pair of equally worn 501′s tucked into a pair of black galoshes with metal clasps, and damned if he doesn’t have on that Patek as he picks up rather large stone to continue the wall that is his pride and joy.

 

He is also the nobleman in the back country with his choice 100 acres. After a light breakfast, one of his dozen pure thoroughbreds has been mounted awaiting his command. He is wearing a Huntsman cheviot check riding jacket, and old Ballantyne cashmere turtleneck and a pair of Huntsman covert twill breeches with black Lobb riding boots creased in all the right places.

 

He is with pickaxe in hand in the upper hills negotiating a rootball. On this chilly late winter morning he wears a bespoke Hellman Mayfair shetland tweed sport coat. It is matched with a vintage Frank Foster striped shirt, a Domenico Vacca cashmere tie and a pair of mid-wale Turnbull & Asser corduroys. A wool/cotton tattersall check pocket square and a pair of US made Wellies.

 

No shoulder pads at all. Just an amazing unpretentious rope that as purposeful as it is elegant.

A single button, because that’s all you need.

 

A super high armhole, and body hugging bodice allow for freedom of movement and comfort that really inspires manual labor.

 

KITON -THE DAY I MET CIRO

Eight years ago on a late spring afternoon I decided to take my sons to the Museum of Modern Art.  Before trekking to MOMA, I told my boys I wanted to check out the new Kiton boutique which was just around the block.  My sons at the time were 12 and 10 and knew what Kiton was.  My older boy would refer to Kiton ties as being seven layer.  I’ve been fortunate to own a fair amount of Kiton and my sons have always known my penchant for clothing.

I explained to my sons that 4 east 54th street was once a single family residence.  Changing hands several times through the years it was the home of Banca Di Napoli, and then eventually was acquired by Kiton. Hence we walked to this lovely building and just stared.  An elegant neoclassical edifice standing on its own among massive contemporary office buildings.

Looking through the entrance, a very elegant gentleman strolls on through the front door as if to greet us, almost like he was expecting us.  The gentleman was Ciro Paone, the co-founder and owner of Kiton.  He was wearing a most sublime double breasted charcoal suit, undoubtedly in 14 micron wool by the looks of it.  Left unbuttoned, a double breasted mind you, it just worked on him.  Very natural and most elegant.  Mr. Paone has what the Italians like to call sprezzatura, in spades.  So comfortable in a suit, he has worn one virtually everyday of his life.

Signor Paone looks at my older son who was wearing a Blue Marlin Italia t-shirt, and exclaims “ah Italia”.  He lights a cigarette and we shake hands.  I proceed to tell him how much I love Kiton, and that I have a bit of it.  Even though his English is not quite perfect, for some reason I think he knew I had a respectable sartorial I.Q.  He looked me straight in the eye and asked “are you a tailor?”  It struck me quite amusing.  Here this fine gentleman who was on top of his game has a one track mind.  To Mr. Paone there are tailors and everyone else.  He eats, sleeps, and breaths fabric and tailoring.  He and his passion created one of the most divine brands in the world. “THE BEST PLUS ONE.”

Today Kiton is as important as ever, the presentation, the fabrics, the overall look.  Even machine made glued garbage has white threaded shoulder basting on the shoulders and sleeves, a homage to how influential Kiton is in menswear.

I still like Kiton quite a bit.  I just wish they hadn’t become such a “luxury brand”.  Doing polos, knits, jeans, bags etc. Kiton to me was the two T’s, textiles and tailoring.  But the truth is they still make splendid tailored garments and their fabrics are among the best in the world.  So is Kiton over priced? Yes indeed.  Is it an alternative to bespoke? Not at all.

But all ready to wear is grossly overpriced, and quite frankly for what you get from Kiton per dollar, it is of more value than any other ready to wear suit (I think…).  The fabrics alone can close the conversation right off the bat.  Kiton’s acquisition of the Carlo Barbera mill essentially makes Kiton the only maker of fabrics of such a level.  Along with Zegna and Loro Piana they form an Italian oligarch in textiles that can be rivaled by no one.  To the extent that Anderson & Sheppard has Loro swatch books for the offering, I’m not sure what to say about this.

Kiton fabrics can range from $300 to well beyond $1,200 per yard, proprietary fabrics that are milled in both England and Italy.  Yes this is part of the mark up, but still the fabrics are extremely costly and one is unlikely to find this sort of selection even at Caraceni.

There is a fair amount of hand work.  Yes, the lapels and top portion of the collar are machine padded.  However, the underpicking of the lapel is done by hand, which is vital.  The under collar is hand picked and hand sewn on the edges.  The line on the notch is hand basted.

All the pick stitching is done by hand and the buttonholes are all hand embroidered.  Early Kiton buttonholes are exquisite.  Some current buttonholes are still divine, but with the increased output of suits and sportcoats, the addition of a few hundred new tailors have left some of their holes a little less than what a Kiton hole should be.

Anyway, if you’ve never tried a Kiton jacket on, give it try.  They feel quite nice on the body, very air like.  The Kiton folks are quite friendly throughout the world. Just touch the fabrics while you stroll around.  You can tell them that you’re just looking, just make sure your hands are clean.

Six on two double breast in a super light weight cashmere.

David Evans ancient madder silk tie from Suffolk, from Kiton’s very first tie collection.

Cashmere worsted check

Stripe with a stripe, with a stripe, all Kiton sporting the lightweight cashmere.

The puckered sleeve head.

Super lightweight cashmere window pane.

Donegal cashmere

Super lightweight three button cashmere.

Super 150′s three button brown nail head suit.

50% Linen, 50% cashmere

95% Cashmere, 5% Silk. Super lightweight double breast with patch pockets.

14 micron, vintage striping.

Cashmere flannel with English inspired house tweed double pane.

Rare authentic English flannel.

Black flannel suit circa 1980. Thinner lapels, slightly squared shoulder pitch with faint pucker. very slim bodice with a high armhole. A club favorite when hanging out at Regine’s.

Super cool white on white label from Vincci London.

Second generation Kiton tailor tag.

GIANNI GAMPAGNA: CARACENI DISCIPLE

Gianni Campagna is a great tailor.  He is also a great business man and merchandiser.  But make no mistake, Gianni Campagna is first and foremost a tailor and a passionate one, and that is where his success lies.  

Is it bespoke?  Glorified made to measure?   

To establish where one can rate Campagna, I can confirm first hand that his work is far superior to any ready-to-wear tailoring, or made to measure that I’ve ever come across.  His stuff is good, really good, bordering on brilliant.  Can you compare it to A. Caraceni?  In some respects yes, but in other ways perhaps not.  The smaller operation of A. Caraceni is more in concert with what one would expect from a pure bespoke bench tailor.  In the early years, Campagna was certainly operating under the auspices of a true bespoke operation.  Even so, today Campagna still turns out less that 1,000 suits per year. With 120 tailors on two seperate premises, Campagna has an operation that is more on par with the likes of Sartoria Attolini in Naples, but he is certainly closer to what would be considered bespoke.

Campagna won the Golden Scissors and Golden Needle awards both before the age of 24.  This is a big deal in Italy and taken quite seriously.  The list of winners through the years is quite impressive.  Campagna apprenticed with the Milanese chapter of Domenico Caraceni, which namesake he now owns.  This fact is important because you can see elements of Caraceni in the finish of his garments, but Campagna has put the Campagna stamp on his work.

The cut of the jacket is elegant and subtle.  There is no severe waist suppression, the amhole is higher but not too high, and there is drape.  The shoulder is pure Milan, gently padded, very soft with slight roped sleeve head.  Barchetta boat shaped breast pocket, a Caraceni trait, is very evident.  The handwork and finish is extensive and exceptional. With a silk lining, the jacket has a very plush feel and seems more proper than a Bemberg lining.

The great self promoter, Gianni claims his jackets require 60 hours to complete.   This is perhaps mythical and certainly disputed by many competitors.   Then there’s the billionaires, and famous actors and dignitaries Mr. Campagna outfits.  This is the stuff I could care less about because to me it’s only the clothing that matters.  Not the hours, although it’s important, or the B.S. about super 500′s, gold thread, diamond buttons and all the other fluff glossy magazines wax on with their worthless articles.

One has to see the clothing and how it works in real life, and Campagna has mastered this.  I’ve seen many gentlemen in their bespoke suits and quite frankly they look bland, or, with less than ideal physiques, they have their tailors over-compensate in the shoulder or hide some other blemish.  Campagna doesn’t do this.  Whether you’re packing a six pack or have 50″ waist, Gianni Campagna can make you look good.  He does this not by building up the shoulder, but rather by following the line of the body instead of fighting it.  

The best model for Gianni Campagna is Gianni Campagana himself.   A gentleman of generous proportions, he is in tune with this and has superb style that does not over compensate or hide anything. He’s just Gianni wearing his clothes to perfection.    

 

Double breasted three piece suit in a navy birdseye super 150's wool. Six on two with a super high peak.

Gently padded Milanese shoulder with a subtle rope that flows to a shirt sleeve shoulder.

Exquisite polo coat in an extraordinary camel hair. Six on three double breasted with hacking style flap pockets and rear inverted box pleat. Beautiful vibrant vegetable corozo buttons complete one of the most majestic of bespoke sartoria one will ever see.

The peak is masterful creating almost a 90 degree angle when on the body. The peak extends minimally in relation to the collar. Visually very flattering and most elegant. A meticulous boutonniere. Buttonholes that certainly have Caraceni DNA.

Barchetta boat shaped breast pocket. A Domenico Caraceni invention that has continued to be used by all great Italian sartoria.

Under collar faced in the same plush camel hair as the coat. The hand picks are perpendicular to the edge and very close together. So precisely executed it looks to be almost finished by machine, but it is certainly done by the hand of an artisan.

 

 

 

Smoking jacket four on one double breasted with high closure. Super 150's wool file in midnight with black silk grosgrain lapels. All silk charmeuse lining of course set in by hand.

 

Single breasted three button three piece in a buttery super 150's flannel. Charcoal Prince of Wales with a tobacco pane.

 

Waistcoat backing in silk charmeuse lined in a rich cotton shirting.

 

 

Davies & Son Shetland Chesterfield

It’s pretty cold out, but you can have your Moncler, Canada Goose or other mass produced outer wear. I’ll take shetland wool in the form of a coat.

This is a brilliant Davies & Son shetland wool chesterfield. No, there aren’t any logos, just one discreet label on the inside pocket.  I love this piece, the formality of a chesterfield with the casual relaxed feel of pure Scottish shetland wool. What makes this coat so great are the shoulders and the cut. Super soft shoulders with no padding at all, and well cut bodice with slight contour.  The coat is matched with a bespoke Henry Poole single breasted flannel blazer in forest green and a vintage pair of Cordings English made button-fly moleskin pants.  The problem with most ready to wear overcoats is the way the fall over another tailored layer.  If the suit or sport coat has padding, chances are it will be sloppy, ruin the line, or add more bulk and width. In which case you have an inelegant look and unnecessary bulk.

The front view shows how nicely the coat falls.  The coat is over a sport coat and yet there is no added bulk, essentially no shoulder extension, a fairly high armhole, and just slight contour.

 

On the rear shot the coat in unbuttoned, hence the slight looseness, but notice the collar.  The coat was hastily put on and the sport coat collar was caught and slightly lifting, and yet the coat collar lays on the neck, no lift or give. No fused collar here, no machine padding, this is what hand tailoring is for.

Bespoke is so natural, so relaxing and easy to wear.

 

ANDERSON & SHEPPARD: THE CHESTERFIELD

If you really get hooked on the bespoke life, then you’ll have to go all the way.  The overcoat is a true treat and it’s a keeper of a lifetime, and indeed worth every penny.

If you are making the commitment, then Anderson & Sheppard may as well get the nod.  And for your first overcoat, the chesterfield sans the velvet collar is the way to go.  This is a perfect example of the Anderson & Sheppard chesterfield.  Navy in a plush British velour wool that is a dead ringer for cashmere.  The pockets are lined with the most exquisite mink like moleskin.  Sublime hand work, and of course the requisite surgeon cuffs.

So what makes the A&S chesterfield so great?  What else, the fit the cut, yes the cut.  This is one of the only overcoats I’ve seen that works over a suit or sport coat, just as easily as over a cashmere v-neck.  There are no shoulder pads, the shoulder seam is hand sewn and the effect is pure and natural.  The shoulder goes where it’s supposed to, supple with just a slight rope. This coat easily accomodates an A&S suit and will be more than gracious on a Neapolitan number, or even a Huntsman with a slightly different pitched shoulder.

In terms of versatility, put together a 3-ply cashmere Ballantyne v-neck with a Frank Foster gingham check, and the right jeans with a pair of Cleverley Chelsea boots, and you will bring casual elegance to a new level. When it’s cold out, don’t give me a down jacket with a logo or some military garb, or pseudo hip street wear. Even with jeans, I’m doing the chesterfied.

Dress Shirts: Hand Made is Better.

Two of Mies Van Der Rohe’s famous quotes regarding architecture have been cannonized, and with many of the subpar building being built today indeed “less is more”, and “the devil is in the details” ring as true as ever.

When it comes to bespoke hand made dress shirts, the Miesian ethos rings half true. Without question “God is in the details”, but with the best dress shirts “more is more”.  Indeed, more hand work, more parts, more detailing.  Like great bench tailoring, master shirt making is an art form, and as it is essential for great jacket to have much hand work especially in the areas that count, such is the case with a proper bespoke dress shirt.

Though there are many fine bespoke machine-made dress shirts, none can compare to the highest quality hand made dress shirts.

I’ve had many ready to wear dress shirts both machine, as well as hand finished or so called “hand made”, and yes, most machine made ready to wear shirts have fared better in terms of value and longevity.

The Neapolitan ready to wear variety are quite good collectively, with some being better than others, but they can unravel in places where they should not.

Thus, I myself have worn and appreciated machine made dress shirts.  Nevertheless, for me, it comes down to beauty, and a hand made dress shirt is simply more beautiful.  It is more interesting to the eye, something with more substance, a garment that is living and breathing.

The hand work should not be there to say “look at me”, or “this is a hand made expensive bespoke dress shirt.”  The hand work should be subtle, with purpose and reason, understated, and always elegant.

Here are three superb examples.

Burgos, the legendary shirt makers in Madrid.

Hand sewn collar.

Sleeve set in by hand.

Masterful hand sewn buttonholes. Delicate, yet bulletproof.

Hem is hand rolled and pick sticthed by hand.

Hand sewn tail gusset.

Under collar tie loops.

Casa Bonet, Mallorca

Hand set sleeves.

Extraordinary, exquisite smaller hand sewn buttonholes to accommodate small mother of pearl buttons.

Cucci Roma. Yes, Cucci, not Gucci, simply exquisite, very thoughtful hand made shirts with very romantic details.

Masterful hand sewn buttonholes, so perfect, they almost look machine done, they are spectacular.

Interior front panels lined in tissue cotton.

Hand embroidered bar tack in lieu tail gusset inserts.

Intricately detailed under collar, with cut out canvas, allows for better roll on the neck.

The mother of all collar stays.