[This video clip first premiered on the menswear website A Acceptable Wardrobe]

“Tricks of the Trade: Silk Skein”

To chum the waters for the resumption subsequent week of suitable episodes of “The Earning of a Coat” listed here on A Acceptable Wardrobe, today’s presentation is the first in an occasional sequence of short stand-by itself video clips in which tailor Rory Duffy discusses precise features of his craft — in this circumstance, the silk skein he inherited from the stockrooms of Henry Poole & Co when that agency commenced stitching its linings with synthetic silk. Prolonged prized for its fineness and power, the major disadvantages of true silk thread are its higher price and eventual degradation above time. Though Duffy also employs synthetic silk on ask for, as a traditionalist and anything of a passionate, he prefers silk skein for the creating his personal apparel and all those of in the same way inclined consumers.

Readers of A Acceptable Wardrobe could also be fascinated in the other task which necessitated my hiatus from “The Earning of a Coat” — the generation of a companion video clip for “Elegance in an Age of Crisis,” the new exhibit about nineteen thirties model at the Museum of the Vogue Institute of Technologies in New York Town (reviewed listed here by Dan Flores previous week). In the 2nd 50 % of this video clip, which focuses on men’s bespoke tailoring, menswear writer G. Bruce Boyer and Savile Row tailor Stephen Hitchcock focus on the origin and nature of Frederick Scholte’s famed drape cut, although Massimiliano Attonlini and Luca Rubinacci reveal how their grandfathers deconstructed Scholte’s cut to create the Neapolitan model.

While the video clip was manufactured for a extra basic viewers than that which frequents A Acceptable Wardrobe, followers of “The Earning of a Coat” could be significantly fascinated in Hitchcock’s spontaneous dissection of just one of his personal coats (a lovely Russell plaid commissioned by Boyer) in which he reveals some essential features of the drape cut as practiced by himself and other tailors qualified by Scholte’s expert posterity at Anderson & Sheppard: a lightweight bias-cut physique canvas, cut back again from the scye, and padded with long and unfastened stitches to find the money for a smooth upper body which molds to the wearer’s physique. This technique contrasts with Duffy’s desire for a firmer, extra densely padded upper body, intended to subtly enhance the wearer’s physique. Of training course, neither model is objectively top-quality for all the panegyrics to the timelessness of bespoke tailoring, there is constantly an component of style in any model, waxing and waning in broader attractiveness, but with any luck , constantly dependable with the wearer’s style and demands.

-Textual content and video clips by Andrew Yamato

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