Frederick Scholte (Savile Row) - Page 4
The Duke of Windsor in Boston, 1943:
The perfectly proportioned shoulder:
Wallis Simpson's favorite photograph of the Duke:
In living color -- bolder than you think:
Not always vented. Note that the trousers have no break:
The Prince of Tweed:
A suit that fits in motion:
Edited by CrimsonSox - 1/2/14 at 9:34pm
The softly rolled lapel. The Duke's jackets had a gentler waist suppression than you might expect from jackets today. The elegance of the jacket comes less from a suppressed waist, and more from a beautiful shoulder. It's neither too sloped nor too straight; it's smooth and well-made; and it's precisely proportioned in width to his head. Compare Mr. Disney's suit shoulder, which is artificially straight and too wide, or the King of Jordan's shoulder, which is cut too narrowly for his head.
Photo by Cecil Beaton:
The Duke and his dog, Disraeli:
The Duke visiting Virginia:
The bow tie with the suit.
The bow tie with evening wear. Both the suit and dinner jacket button 4X1.
Showing the shirt cuff:
The light colored suit for summer:
From the Annals of Unexpected Meetings. With Julie Andrews. The Duke is wearing sunglasses after having eye surgery.
Ah, I should have said light in color marco.
It's good to hear from you, Len. I always enjoy seeing your work, and I greatly enjoyed the stories. The Duke of Windsor once saw Scholte ripping a morning coat off the back of the American Ambassador, after the Ambassador's wife started criticizing it during a fitting. I'll have to post a short excerpt from the Duke's memoirs on his experiences with Scholte.
If you are referring to "A Family Album', it's a fantastic read. i've just finished it actually.
Great thread BTW
The Duke reflects in A Family Album on differences between British and Americans on coordinating colors:
"However formally they may be dressed, Americans do tend to wear brighter ties than the British do. . . . There are differences between the two races in other such details of dress. I myself like, for example, when I dress in the morning, to see that my tie, socks, shirt, and handkerchief tone, more or less, with the suit I have chosen. I have not noticed many Americans who match up their clothes in this way. Often I have seen them wearing, say, a blue suit with a fawn shirt, red tie, and green socks. I have one American friend, the president of a big corporation, who goes to the opposite extreme. He likes to wear shirt, tie and handkerchief of precisely the same checked pattern. This, maybe, is carrying conformity a little too far. These various accessories of masculine costume should, in my view, blend, but they should not match too exactly. This, I suppose, is an instance of the notorious British convention of understatement, expressed in terms of clothes."
vs. contrasting tone and the bright, highly saturated American tie:
Matching too closely. Get this man a light shirt, matte tie, and grey suit, stat!
A review of London and Paris firms, including from Savile Row, in The New Yorker, 1929. The writer is a bit conservative, referring to the fashionable nature of Scholte's cut. Some of the advice on ordering suits, however, might be of current interest.
Notably, a firm's quality in 1929 was quite distinct from its quality today. T.M. Lewin, now a mass-market store, back in the '20s made the vanished luxury of "evening shirts with starched bosoms and cuffs, and bodies of handkerchief linen." Turnbull and Asser is mentioned not as a place to buy shirts, but gloves. Henry Poole is listed as having a branch in Paris.
A few clarifications. The author writes that Savile Row suits were only 15 to 17 guineas at the time. That's $1,262 to $1,430 in current dollars, less than Samuelsohn MTM. The "King" is George V, the Duke of Windsor's father. "Hand-me-downs" refers not to vintage clothing, but to ready-to-wear, as Vox wrote: http://www.voxsartoria.com/post/56574697136/the-persistence-of-quality
This is a shopping guide to London from Vogue, May 15, 1927. Our man Scholte makes an appearance in the article, as well as other famous firms, such as Anderson & Sheppard and Davies. A fascinating detail is that four shoemakers are mentioned as the best in London at the time: Lobb, Peal, Thomas, and McAfee. I believe that the only surviving bespoke firm is Lobb.
The windowpane suit. I love looking at that suit shoulder. It's the picture of moderation: neither too straight nor too sloped; neither too wide nor too narrow. Richard Anderson once wrote that Scholte had the reputation of making the best shoulder on the Row in the early to mid 20th century.
Black tie with turn-down spread collar and white pocket square. Note the similarity in the shoulder:
If I ever include a photo that's already been posted by a friend on Tumblr, once informed I can replace the photo with a link to the original site. In living color:
Daytime formal wear, featuring Scholte's famous morning coat, photographed by Cecil Beaton. The more casual photos from the Duke's wedding are charming and not seen very often.
A formal wedding photograph, with one of the most striking floral arrangements I've ever seen. The photo also shows the lines and drape of the Duchess' wedding dress beautifully.
A spontaneous moment. You can be sure a woman likes you when she grooms you.
Pictures from a marriage. This suit is documented as being by Scholte.
Edited by CrimsonSox - 2/24/14 at 11:55am
Today's theme is the young Prince of Wales, keeping in mind that Scholte was his tailor starting in 1919.
The collar of the jacket fits well, hugging the neck.
I remember Vox once quoting Luciano Barbera, who said he knew he could be friends with you, if you could play golf in a jacket:
Gorgeous overcoat, though the Duke (then the Prince) did not use Scholte for his overcoats, to the best of my knowledge. Note the rounded sleevehead, and the crescent jetted pockets.
The Duke and the high shirt collar.