Latest news with #SavileRow
Yahoo
2 days ago
- Entertainment
- Yahoo
'One Friday afternoon, Liam and Noel Gallagher bowled into my shop'
A designer who dressed Oasis in the 90s - and commissioned Liam Gallagher's wedding suit - has spoken about the "amazing period" of his life. As the design and brand director of Richard James on Savile Row, Toby Lamb has spent 30 years at the heart of bespoke tailoring and fashion design. The 52-year-old, who started his career at the brand in 1996, has gone on to dress some of the biggest celebrities in Britain - incluing Tom Hardy, Stormzy, Andrew Garfield, Sir David Beckham, Mark Ronson and Hugh Grant. The Oasis brothers, along with their bandmates, became big fans of the label. Toby, now a married father-of-two, fondly recalled receiving a personal performance from Oasis in an empty Wembley Arena during rehearsals before he was invited backstage, as well as the 'fantastic' commission they produced for Liam for his 1997 wedding to Patsy Kensit. The Gallagher brothers are set to reunite on stage for the Oasis Live '25 Tour next month and Richard James is soon set to unveil its forthcoming autumn-winter collection, which includes strong nods to the 1990s – with Toby saying the band's style is 'absolutely timeless' and a 'staple of menswear today'. 'Back then in the late '90s, we weren't marketing and there was no social media, everything we were doing was word of mouth,' Toby told the Press Association. 'There was a point when we realised both Liam and Noel were wearing Richard James as their day wear, in addition to our tailoring specifically for their music videos and concerts, and then ultimately they're getting married in the label – and that was all their own choice. 'A lot of big brands now might have the budget to gift lots of products to celebrities but back then that just didn't happen. 'It was very reassuring to know we were doing something right and it was an amazing period of my life.' Toby studied fashion design with marketing at Central Saint Martins in London, before he became an intern at Richard James. He was offered a permanent position at the company in 1996 after completing his degree. Back in the day, Toby would assist with clothing designs and work on the shop floor alongside Richard himself and his business partner, Sean Dixon. 'It was a tiny store at the start but it felt as though we were at the epicentre of what was going on at the time,' Toby said. 'We had a lot of very cool, creative people coming in and we were working with everybody whether they were buying ready-to-wear or wanting bespoke commissions. It was just an insane time.' The same year, the Savile Row tailors started their professional relationship with Oasis, working on bespoke commissions to style the band. 'They were everywhere at the time, they were huge,' Toby said. 'I was working in the store, I think it was a Friday afternoon, and Liam and Noel just kind of bowled in. 'I remember Noel coming in and saying he was after a shirt he had seen someone wearing in Saint-Tropez.' Toby recalled pointing Noel in the direction of the blue striped shirt which was part of their collection at the time, before the Oasis star happily purchased the garment. 'From there, we had many, many bespoke commissions from both Liam and Noel for at least two-and-a-half years,' Toby said. Fondly recalling a moment from time spent with the band, Toby said the stars were looking for 'classic and elegant' white suits for the Be Here Now tour in 1997 – which the team at Richard James ended up fitting backstage at Wembley Arena. 'We got a call from their management company, saying 'you've gotta get over here quick, you've got 10 minutes while they're rehearsing',' Toby said. 'We shot over in a cab and when we walked in, the arena was completely empty. Liam saw us and told us to come down to the front, and then they played a full set which went on for about an hour-and-a-half. 'I couldn't believe my luck, it was an amazing moment.' He added they subsequently went backstage to tailor the band's suits, before they had drinks and 'hung out for a little bit'. Toby also remembered helping Liam and his then-girlfriend Kensit hide from the paparazzi. 'The doors burst open one day and Liam and Patsy came running in and asked if they could hide out back as they were being hounded by the paparazzi,' he said. 'At the time, I had been reading a copy of The Face magazine which landed on my desk that morning and Patsy Kensit was on the front cover. 'She said 'wow, I've not seen this issue yet', and they both sat down while reading this magazine. 'It was really funny because the headline said 'My Life with Liam' … that was a crazy moment.' The brand also worked with the brothers on a personal level, creating a bespoke suit for Liam for his wedding to Patsy in 1997. 'It was a really lovely project, we created a Nehru collared, five-button jacket … chocolate brown flannel with a low-rise trouser with a boot cut,' Toby said. 'They both looked incredible but at the time, there was so much press around them getting married, when it would be, what they would wear. 'We were sworn to absolute secrecy but ultimately for us, it was a fantastic commission.' For Richard James' autumn-winter collection, Toby said there has been 'a revival for the '90s' and he revisited their archive to pull various influences to form their forthcoming range. 'The style (Oasis) curated, mod revival mixed with '80s terrace casual, was just absolutely timeless,' he said. 'They blended the two and just ran with it, and it still feels very relevant today. 'A lot of those pieces, like the Parka, the Harrington jacket, the corduroy trouser, the polo shirts – they're very much a staple of menswear today. 'It's a very accessible look that anybody can aspire to and wear with confidence, it was and is open for anybody to take on as their own.'
CNN
14-06-2025
- Entertainment
- CNN
Wes Anderson on the secrets and struggles behind his impeccably stylish men
Wes Anderson has a message for London's finest tailors: he'd love a Savile Row suit — if someone will give him a discount. 'Hopefully if we put this out there someone will contact me,' he said on a call from New York. '(They're) quite a lot of money, but it will see you out, as they say.' This would be a radical move for the sartorially-minded director. Anderson is loyal to New York tailoring institution Mr. Ned for his custom-made clothes, he said, though has been known to stray to legendary Italian atelier Battistoni when in Rome. But he would be willing to give a London tailor a shot. After all, if they're good enough for his characters, they should be good enough for him. Anderson's latest film, 'The Phoenician Scheme,' is bulging at the seams with suits, some crafted by Taillour Ltd., a bespoke tailoring label in East London, founded by Fred Nieddu and Lee Rekert. The movie centers on 1950s business magnate Zsa-zsa Korda (Benicio del Toro), who wheels and deals his way around a fictionalized Middle Eastern country while fending off assassination attempts. In tow is his heir, a novice nun called Leisl (Mia Threapleton), who's out to save his soul, and bumbling tutor Bjorn (Michael Cera), along for the ride with his employer and his crush. Together they bring an odd thrupple dynamic to what might otherwise have been a series of business meetings with deep-pocketed characters played by Tom Hanks, Bryan Cranston, Riz Ahmed, Jeffrey Wright, Benedict Cumberbatch, and more. A crime caper with a smattering of existential angst, it's the director's most accessible work in a while. It's also, even by Anderson's standards, a showcase for fine tailoring — marking a new high point for the director whose films often feature impeccable menswear. When Anderson was young, he used to play dress up. 'There were so many costumes in movies when I was a child that I tried to imitate,' he shared. How characters presented themselves through their clothes was something he was always conscious of. 'From the first moment of the first short film I made, I thought of that,' Anderson recalled. Making that short film, 'Bottle Rocket' (1993), which Anderson turned into his feature debut in 1996, he remembered debating actor Owen Wilson over a shirt. 'We'd written it together, and he knew exactly how to inhabit this person,' Anderson said. 'But the visual part of the character… I had to sort of coax (Wilson) into something he would never wear.' Five years and a bigger budget later, Anderson was making 'Rushmore' (1998). Jason Schwartzman's character, the preppy student Max Fischer, dresses beyond his years. Anderson, Schwartzman and the film's costume designer Karen Patch commissioned a tailor in the director's native Houston, Texas, to reflect that in the form of a perfectly cut, blue school blazer. 'That's the first time there was a costume that I thought, 'Let's make this from scratch. We can make it exactly, 100% right,'' Anderson said. Then came 'The Royal Tenenbaums' (2001) — also costumed by Patch — whose sartorial ripples continue to spread today. Anderson turned to Mr. Ned for help with tailoring and liked what they came up with. Years later, he sat for an interview with the New York Times wearing the exact jacket worn by Bill Murray in the film, he told the reporter. However you look at it, Anderson never stopped playing dress up — including having his characters wear his inspirations on their sleeves. When conceiving the look for Korda in 'The Phoenician Scheme,' Anderson said he had in mind the businessmen played by Hollywood's Golden Age actors William Powell ('The Thin Man') and Herbert Marshall ('Trouble in Paradise'). Meanwhile, Threapleton's nun was styled in green tights as a twisted nod to the titular Irma, a sex worker played by Shirley MacLaine, in Billy Wilder's 'Irma la Douce' (1963). 'I think it is probably quite a generous gesture by Wes to be so conspicuous with some of his references,' said Adam Woodward, editor-at-large of Little White Lies magazine and author of 'The Worlds of Wes Anderson.' 'That has been the case throughout his career,' Woodward continued, speaking on a video call. 'I think he's adding new layers to that as he continues, and I suppose as he enters this middle period of his career, his work for me feels like it's getting maybe more mature. He's hitting a really interesting groove now.' 'The Phoenician Scheme' saw Anderson reteam with Italian costume designer Milena Canonero, a four-time Oscar winner who has worked on most of his films since 2004's 'The Life Aquatic with Steve Zissou.' Theirs is the kind of longstanding collaboration that allows for creative disagreement, which was the case when creating the backbone of 'The Phoenician Scheme's' wardrobe: its suits. 'My suggestion in our script is that all the businessmen wear double-breasted gray chalk stripe (or) pinstripe suits in the classic tycoon look,' Anderson recounted. 'And Milena's suggestion is, 'That's a terrible idea,' and 'Why would we have everyone wearing the same thing? It's been done a thousand times before and it's a cliché.'' But Anderson had his reasons: One being that a good piece of clothing, such as tailoring, takes on a protective quality. 'If you don't like what you're wearing or you've got a bad haircut, you don't feel as strong, you know. It's all armor,' he said. Korda (Benicio del Toro's character), he added, 'wants all the armor he can have, because someone's going to try to kill him at any moment, and he wants to kill them back.' While Korda's wardrobe is dominated by gray pinstripes, there's room for a safari suit and a thobe. The impression is that whether behind a desk or the wheel of a plummeting airplane, Korda is a worldly man of action. In a video interview with CNN, Del Toro described the film's costuming as '50% of my performance,' heaping praise on 'legend' Canonero. 'She does your character from the bottom up,' he added. 'She's super specific. The shoes are from the period, even the underwear.' Anderson said he felt strongly about giving all the other businessmen suits too because 'these tycoons, these very rich men with tremendous ambition, they have symbols of power that they adorn their offices and their residences and their bodies with,' he explained. 'This is part of how they say, 'We're in the same club, we rule the world, and we are the ones in power.' The genius of Canonero, the director said, was 'how to make the American (suits) a little different from the European ones and how to give them each their own personality — because it is a lot of gray pinstripe suits in one movie.' Take Hanks and Cranston's West Coast railroad men: They may be holding a Coca-Cola and a Hershey's bar, but to tell they're American, one need only look at their sack suits. There's also a subtle narrative thread running through the pinstripes and chalk stripes. (As consensus builds among the businessmen who come aboard Korda's scheme, if they weren't already, they begin wearing stripes.) Once again, Anderson is playing with the idea of uniform and visual coding; it rears its head in everything from 'The Grand Budapest Hotel's' concierges to 'Bottle Rocket's' boiler-suited robbers and Steve Zissou's red beanie-sporting explorers. In 'The Phoenician Scheme,' by the time we meet Cumberbatch's character Uncle Nubar, who's wearing a running stitch-like stripe, his tailoring marks him out as different, even before his nefarious intent is revealed. This use of costuming is par for the course for the director, said Woodward: 'It's always in service of the story, it is never frivolous.' Naturally, fashion is not there for window dressing; it advances the plot. Just like Richie Tenenbaum's sweatband doesn't just signal his arrested development but signposts his forbidden love for his adopted sister in 'The Royal Tenenbaums'; M. Gustave's Society of the Crossed Keys badge foreshadows his ace-in-the-hole network of concierges when he's in a pinch in 'The Grand Budapest Hotel'; and Mr. Fox's severed tail, worn by the evil Mr. Bean as a necktie, becomes motivation for a heist in 'Fantastic Mr. Fox.' 'Everything is about storytelling,' said Anderson. 'Movies, as much as they are dialog, and as much as it is all about emotion and energy, the main thing you do with a movie is watch it,' the director said of building his visual language. 'The movie is how do we take all this information, all these ideas, these characters, these observations from lives and bits of imagination, and order them into the shape of a thing we think of as a story,' he continued. 'It's very much a rational, orderly process.' 'The Phoenician Scheme' is currently in US and UK theaters.
CNN
13-06-2025
- Entertainment
- CNN
Wes Anderson on the secrets and struggles behind his impeccably stylish men
Wes Anderson has a message for London's finest tailors: he'd love a Savile Row suit — if someone will give him a discount. 'Hopefully if we put this out there someone will contact me,' he said on a call from New York. '(They're) quite a lot of money, but it will see you out, as they say.' This would be a radical move for the sartorially-minded director. Anderson is loyal to New York tailoring institution Mr. Ned for his custom-made clothes, he said, though has been known to stray to legendary Italian atelier Battistoni when in Rome. But he would be willing to give a London tailor a shot. After all, if they're good enough for his characters, they should be good enough for him. Anderson's latest film, 'The Phoenician Scheme,' is bulging at the seams with suits, some crafted by Taillour Ltd., a bespoke tailoring label in East London, founded by Fred Nieddu and Lee Rekert. The movie centers on 1950s business magnate Zsa-zsa Korda (Benicio del Toro), who wheels and deals his way around a fictionalized Middle Eastern country while fending off assassination attempts. In tow is his heir, a novice nun called Leisl (Mia Threapleton), who's out to save his soul, and bumbling tutor Bjorn (Michael Cera), along for the ride with his employer and his crush. Together they bring an odd thrupple dynamic to what might otherwise have been a series of business meetings with deep-pocketed characters played by Tom Hanks, Bryan Cranston, Riz Ahmed, Jeffrey Wright, Benedict Cumberbatch, and more. A crime caper with a smattering of existential angst, it's the director's most accessible work in a while. It's also, even by Anderson's standards, a showcase for fine tailoring — marking a new high point for the director whose films often feature impeccable menswear. When Anderson was young, he used to play dress up. 'There were so many costumes in movies when I was a child that I tried to imitate,' he shared. How characters presented themselves through their clothes was something he was always conscious of. 'From the first moment of the first short film I made, I thought of that,' Anderson recalled. Making that short film, 'Bottle Rocket' (1993), which Anderson turned into his feature debut in 1996, he remembered debating actor Owen Wilson over a shirt. 'We'd written it together, and he knew exactly how to inhabit this person,' Anderson said. 'But the visual part of the character… I had to sort of coax (Wilson) into something he would never wear.' Five years and a bigger budget later, Anderson was making 'Rushmore' (1998). Jason Schwartzman's character, the preppy student Max Fischer, dresses beyond his years. Anderson, Schwartzman and the film's costume designer Karen Patch commissioned a tailor in the director's native Houston, Texas, to reflect that in the form of a perfectly cut, blue school blazer. 'That's the first time there was a costume that I thought, 'Let's make this from scratch. We can make it exactly, 100% right,'' Anderson said. Then came 'The Royal Tenenbaums' (2001) — also costumed by Patch — whose sartorial ripples continue to spread today. Anderson turned to Mr. Ned for help with tailoring and liked what they came up with. Years later, he sat for an interview with the New York Times wearing the exact jacket worn by Bill Murray in the film, he told the reporter. However you look at it, Anderson never stopped playing dress up — including having his characters wear his inspirations on their sleeves. When conceiving the look for Korda in 'The Phoenician Scheme,' Anderson said he had in mind the businessmen played by Hollywood's Golden Age actors William Powell ('The Thin Man') and Herbert Marshall ('Trouble in Paradise'). Meanwhile, Threapleton's nun was styled in green tights as a twisted nod to the titular Irma, a sex worker played by Shirley MacLaine, in Billy Wilder's 'Irma la Douce' (1963). 'I think it is probably quite a generous gesture by Wes to be so conspicuous with some of his references,' said Adam Woodward, editor-at-large of Little White Lies magazine and author of 'The Worlds of Wes Anderson.' 'That has been the case throughout his career,' Woodward continued, speaking on a video call. 'I think he's adding new layers to that as he continues, and I suppose as he enters this middle period of his career, his work for me feels like it's getting maybe more mature. He's hitting a really interesting groove now.' 'The Phoenician Scheme' saw Anderson reteam with Italian costume designer Milena Canonero, a four-time Oscar winner who has worked on most of his films since 2004's 'The Life Aquatic with Steve Zissou.' Theirs is the kind of longstanding collaboration that allows for creative disagreement, which was the case when creating the backbone of 'The Phoenician Scheme's' wardrobe: its suits. 'My suggestion in our script is that all the businessmen wear double-breasted gray chalk stripe (or) pinstripe suits in the classic tycoon look,' Anderson recounted. 'And Milena's suggestion is, 'That's a terrible idea,' and 'Why would we have everyone wearing the same thing? It's been done a thousand times before and it's a cliché.'' But Anderson had his reasons: One being that a good piece of clothing, such as tailoring, takes on a protective quality. 'If you don't like what you're wearing or you've got a bad haircut, you don't feel as strong, you know. It's all armor,' he said. Korda (Benicio del Toro's character), he added, 'wants all the armor he can have, because someone's going to try to kill him at any moment, and he wants to kill them back.' While Korda's wardrobe is dominated by gray pinstripes, there's room for a safari suit and a thobe. The impression is that whether behind a desk or the wheel of a plummeting airplane, Korda is a worldly man of action. In a video interview with CNN, Del Toro described the film's costuming as '50% of my performance,' heaping praise on 'legend' Canonero. 'She does your character from the bottom up,' he added. 'She's super specific. The shoes are from the period, even the underwear.' Anderson said he felt strongly about giving all the other businessmen suits too because 'these tycoons, these very rich men with tremendous ambition, they have symbols of power that they adorn their offices and their residences and their bodies with,' he explained. 'This is part of how they say, 'We're in the same club, we rule the world, and we are the ones in power.' The genius of Canonero, the director said, was 'how to make the American (suits) a little different from the European ones and how to give them each their own personality — because it is a lot of gray pinstripe suits in one movie.' Take Hanks and Cranston's West Coast railroad men: They may be holding a Coca-Cola and a Hershey's bar, but to tell they're American, one need only look at their sack suits. There's also a subtle narrative thread running through the pinstripes and chalk stripes. (As consensus builds among the businessmen who come aboard Korda's scheme, if they weren't already, they begin wearing stripes.) Once again, Anderson is playing with the idea of uniform and visual coding; it rears its head in everything from 'The Grand Budapest Hotel's' concierges to 'Bottle Rocket's' boiler-suited robbers and Steve Zissou's red beanie-sporting explorers. In 'The Phoenician Scheme,' by the time we meet Cumberbatch's character Uncle Nubar, who's wearing a running stitch-like stripe, his tailoring marks him out as different, even before his nefarious intent is revealed. This use of costuming is par for the course for the director, said Woodward: 'It's always in service of the story, it is never frivolous.' Naturally, fashion is not there for window dressing; it advances the plot. Just like Richie Tenenbaum's sweatband doesn't just signal his arrested development but signposts his forbidden love for his adopted sister in 'The Royal Tenenbaums'; M. Gustave's Society of the Crossed Keys badge foreshadows his ace-in-the-hole network of concierges when he's in a pinch in 'The Grand Budapest Hotel'; and Mr. Fox's severed tail, worn by the evil Mr. Bean as a necktie, becomes motivation for a heist in 'Fantastic Mr. Fox.' 'Everything is about storytelling,' said Anderson. 'Movies, as much as they are dialog, and as much as it is all about emotion and energy, the main thing you do with a movie is watch it,' the director said of building his visual language. 'The movie is how do we take all this information, all these ideas, these characters, these observations from lives and bits of imagination, and order them into the shape of a thing we think of as a story,' he continued. 'It's very much a rational, orderly process.' 'The Phoenician Scheme' is currently in US and UK theaters.
Telegraph
12-06-2025
- Entertainment
- Telegraph
Mike Tindall at his Ascot suit fitting: ‘I am just trying to keep up with the Joneses'
The consultation session (first meeting) for any bespoke suit can be a bit overwhelming even for something like a simple two-piece single-breasted suit. Thousands of swatches of fabric to choose from, the scale of roping on the shoulder, giving the right answer to a tailor's rhetorical questions: 'Would that be a single vent sir or double?' (for those curious, for a lounge suit the answer is double: 'very good, sir'). The process becomes more complicated with formal attire that doesn't feature in our workaday lives, especially morning dress. But when it comes to Mike Tindall, the former rugby player who also happens to be married to Zara Tindall, née Phillips, daughter of the Princess Royal, it's reasonable to expect that he's had some experience of such environs, given the formal codes of the Royal family he's become used to since the pair's wedding in 2011. Tindall, he of George Gregan dump-tackle fame (the North remembers), is weighing up fabric choices and cuts within the hallowed halls of Gieves & Hawkes. British style has never needed its bellwethers to be obvious, they tend to emerge by merit rather than fanfare. Consider it a slow-burn of consistency and good character. This year at Royal Ascot, as he will be in the carriage with His Majesty the King, Tindall wants to meet the sartorial challenge of the occasion, and honour the culture of tailoring and British craftsmanship when the cameras are on him, by having a morning suit made bespoke by historical Savile Row institution Gieves & Hawkes. Morning dress is complex because it looks so very different. The coat, known in the trade as a 'body coat', is cut with different segments and panels to, say, a regular suit jacket. The rigidity and uniformity of the dress code does hamper Tindall's instincts when it comes to style, as he prefers to be a little playful. 'I always liked the idea of playing around with detail, so whether it be a bow tie, whether it be braces, whether it be cummerbunds, whatever it might be. Trying to do things a little bit different,' he says. 'I don't always have to be formal but when I do, I want to lean into it and do it properly.' He will be adding flourishes like Marinella pocket squares, well-coordinated ties and potentially even lapel pins. As well as that he shall be doffing his plush silk top hat to His Majesty by wearing capped-toe Oxfords from the recently-minted Royal Warrant holder as shoemaker to The King, Gaziano & Girling. His cutter for this suit is Eithen Sweet, a senior cutter at Gieves & Hawkes and one of great esteem in the Savile Row firmament. Sweet's challenge here is also a blessing. 'Working with Mike's physical configuration can lend itself to more complicated pattern cutting and fitting details but in my experience it's also a great opportunity to present a striking modern silhouette with defined yet proportioned lines.' During the fitting stage, this most explicitly showed itself in the patrol back of the morning coat – curved lines that roll out of the shoulder then all the way down to the bottom of the jacket. When it comes to sizing, it's germane to remember that tailoring has less to do with measurements than you might think. They are essentially a guide; we are all distinctive shapes and tailors have their own language to translate what is known as 'rock of eye', whereby they see all our physical fluctuations and idiosyncrasies and mark them onto a paper pattern. They do this with a system of abbreviations and lingo, such as DS for dropped shoulder, or RF for round front (a kind way to say there's some weight there). Sweet says Tindall is RB (round back), HF [head forward – typical for tall folk], and RS (round shoulders), among others. 'The round shoulder is a continuous shape that you usually see with athletic type/gym goers and especially rugby players. It basically means there is no clear shoulder end so I needed to determine and refine the visually correct end through the fitting process,' says Sweet. It is not all about the jacket but the trousers too, 'Mike has a prominent seat [bottom] and thighs. He has a larger waist-to-seat drop which again is typical for athletic men. I needed to cut the pattern with additional shape around the thighs and calves to start.' says Sweet. His waistcoat is a more traditional double-breasted style with the button stance configured in a V shape, which is striking and complements his shoulder-to-waist ratio. The initial fabric suggested was an elegant high twist wool, which can be ideal for an unforgiving dress code in hot weather. Tindall asks the right question: ' Is it British?' It isn't. It is, in fact, Italian, and he quite rightly insisted on it being a British fabric, opting instead for a 9oz Fresco from Huddersfield Fine Worsted. This decision came with no little sentiment. 'The best wool is from up north, and I'm from up north. I've had to see coal mines close down, which was such an important part of the North and I worry that [fabric producers] are going to fall into the same trap. The quality of the wool from here is so much better, but not necessarily better to the eye, no one notices unless they were up close or really get to feel it,' he says. 'I think it's more important than ever that you support homegrown trades rather than letting them die away.' This is a view that holds for the final product too. 'The pedigree of how a suit should be worn has always come from England and its historical background with the Royal family too,' he says. Tindall's professional rugby life – including 75 caps for England – only lent itself to formality at the customary black-tie dinner that followed each international match, a tradition that now only remains after the Six Nations fixtures. He has always loved the story and reputation of Savile Row, as well as the traditions of dressing up in Britain: 'I was up at a badminton match and there were the fence judges all in their bowler hats. It was boiling hot, you probably don't need to have that full get-up just to go and inspect the fences but it's still done. The fact that they do it is a lovely fairy tale of Britain.' Another key factor in his presentation has to do with his wife. Zara has inherited her mother, the Princess Royal 's, empowered, bold elegance in how she dresses. His wife tends to lead by example, he says. 'She always looks so good, she's impeccable. I think she's really stepped up. It made me consider the fact that I don't want to get left behind or look awful next to her. I am just trying to keep up with the Joneses.' Or the Mountbatten-Windsors. The final product, unveiled after some six weeks of labouring in the workrooms of Gieves & Hawkes, a titan of tailoring since 1771, very much becomes him. Tindall examines the final specimen, taking in the little details that maketh the well-dressed man; the tails should make contact with the back of the legs when at rest, and there should be no gap between the collar of the coat and the shirt. This is incredibly hard to do as it requires perfect balance; Sweet has executed this perfectly. You get a sense of Tindall's scale, or what the gym bros call 'gains', and yet it's not a clingy outfit, but harnessing the might of British drape. In a world obsessed with disruption, Tindall's morning coat is a reminder that true elegance doesn't shout; it stands tall, cuts clean, and doffs its silk-plush top hat to history.
Tatler Asia
31-05-2025
- Entertainment
- Tatler Asia
Step onto Savile Row, London's most iconic street for style
As the inspiration behind Mary-Kate and Ashley Olsen's brand—synonymous with understated luxury—Savile Row (UK) remains a must-visit for the sartorially inclined traveller. 78 per cent cashmere, 14 per cent silk, 3 per cent wool, 2 per cent camel (and 3 per cent other fibres, where necessary): such is the label found inside the 'Mance' coat from The Row's Autumn/Winter 2019 collection. Designed with side pockets and a back flap, it boasts an ideal length and a price tag akin to that of a modest vehicle. 'Sometimes the coat is worth more than the money itself.' And yet, the 'Mance' coat isn't even the most extravagant offering. The Row's 'Margaux 10' handbag, rendered in crocodile leather, commands a sum comparable to a pre-owned Bentley. That these pieces continue to sell out at such prices owes everything to the brand's unwavering commitment to quality. Mary-Kate and Ashley Olsen did justice to The Row's namesake, honouring the London street that is home to the world's most exacting tailors: Savile Row. Nestled in the Mayfair district of Westminster, central London, Savile Row is the cradle of British tailoring. In essence, it is where any gentleman serious about refined dress naturally finds himself. See more: What to expect from Prada's 'billion dollar deal' to acquire Versace?
