Originally Posted by Manton
I was there with foof when Hitchcock was showing off this special thread he uses to do the shoulder seam and to set the sleeves. I think it was silk. It was almost wiry and sort of kinky, yet also stretchy. You could tug and tug at it, and it would not break. Cotton thread, on the other hand, breaks just like that.
He was definitely able to manipulate the two panels of cloth on either side of the shoulder seam back and forth like tectonic plates, and they always snapped back to normal without any sign of wear or damage.
Pre-waxed hand silk thread. Everyone uses it.
It would be easy for me to grab a part of a coat and ay "look at how this stretches/moves/slides/whatever" which is magical and will be comfortable and which you will never find elsewhere. You have no way of really knowing whether what I say is true or really means anything or whether it's "received wisdom". They showed how the bias canvas stretches on the length, to which I say "SO WHAT?" the front doesn't stretch and there is no vertical tension exerted on the front so what is the purpose of having a stretchy front? Thing is, I just thought of a benefit of cutting the canvas on the bias (for a drape coat only), which may have been Scholte's original motivation, but has become distorted into "look- stretchy canvas!"
There's so much of this mythology floating around (not just about A&S but about the craft in general) that even I, as a tailor, have a hard time sorting though it all sometimes.