Originally Posted by voxsartoria
Well, I have had some conversations on this topic with people from time to time, and a lot of the younger ones have little sense of how extraordinarily full of creativity, ferment, and turmoil post-war tailored fashion was in Britain, and how a lot of that was bound up in the various City and regional traditions of bespoke craftsmanship. Not to mention that British society provided a context of change that was disorienting in many ways. Italian and French stuff is pretty tame compared to that. Where the French stuff gets wild comes from its feminine couture traditions (at least, that's what I think.) Masculine 20th century peacockery has firmer roots in English tailoring. Those roots are largely bereft of flowers right now. One of the things that I find interesting about the Reeves stuff is that I think that there is a bud of this in there somewhere. The whole question of how it is executed is a different matter, but I still like seeing evidence of it in things made today. The universe of things that I like and appreciate is larger than the things that I would wear myself. Not everyone has this point of view. And what do you think of Jerry Hall in her prime? Strapping, back-breaking Texan gal. Feral and lovely. - B
There is a very long tradition of crafts in Britain as there is in Europe; you see this in the ancient guilds, many of which stem back to medieval times. The origin of the word guild I believe is German, another country where craftsmanship is deeply ingrained in the national psyche. There a spirit of rebellion in the British, and that’s what you are seeing in that tailoring, it’s rebellion, it’s a big fuck you to the establishment, tailors like Sexton were working class kids who were expressing themselves through their craft. It’s always been the working classes who’ve been the most creative in Britain, the upper classes and aristocracy provided the patronage, the middle classes did, well what the middle classes always do, just talked about it.
Italian tailoring does nothing for me from a creative perspective. Yes, they sew a better buttonhole, but so what? Where's the flamboyance, the verve the innovation, they're too wrapped up in the concept of fare bella figura. You will not find many Brits who can afford bespoke patronising Italian tailors, too bland, nice ties though. I like the French, even though their tailoring is now non-de script, think Pierre Cardan meets Groundhog day, however, they more than make up for it in other ways. I don’t think the roots are bereft of flowers as you put it. Britain has an incredibly rich heritage of tailoring to call upon, once you’ve found your tailor you’ve just got to know which buttons to push, that’s all. You see this latent flamboyance peeking through on Savile Row with the work of Andrew Ramroop and Richard Anderson, if you spread your wings a bit farther into Soho and beyond take a look at the work of Mark Powell, Chris Kerr and numerous others, then spread your wings even further and...There’s a tremendous amount of talent and creativity out there, you just need the balls or inclination to tap into it. Yes, there is a universe of things to like, and I, like you, like many things even though I wouldn’t wear them myself. Interesting topic I hope to continue it...