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reidd

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Really respect this maker. Familiar with his work thru his website. His sewing techniques have deep roots in great Italian tailoring. He shows reverence for the older sewing methods and it shows in the expression of his garments. His silhouette is unique. I like that he isn't trying to mimic any trend or other known silhouette. His aesthetic is Milanese with Florentine flavoring. How do you communicate with him, do you both speak English or Italian?

Curious what you mean by the older sewing methods. Different than what the current crop of Italian tailors are doing in Naples etc?
 

DouglasE

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Really respect this maker. Familiar with his work thru his website. His sewing techniques have deep roots in great Italian tailoring. He shows reverence for the older sewing methods and it shows in the expression of his garments. His silhouette is unique. I like that he isn't trying to mimic any trend or other known silhouette. His aesthetic is Milanese with Florentine flavoring. How do you communicate with him, do you both speak English or Italian?

Really glad to read that you respect him. Your description of his style seams to be correct.

I speak English with Satoki and it works well. My Italian is limited to some #menswear words..
 

Punt

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Always nice to get updates from your tailor: two weeks time second prova :)


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Despos

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Curious what you mean by the older sewing methods. Different than what the current crop of Italian tailors are doing in Naples etc?
The wording in my original post was a little strong maybe weird.
Tailors see clothes differently. When you make a garment you can sometimes discern the technique used to get the effect. In the early days Sartoria Cresent had a website there were more pictures of the internal work in his suits. He isn't taking any shortcuts. Just in the way he would handle the suits in the workroom showed much respect/reverence for the clothes. It was inspiring to me to see this.
Everyone I worked with had learned the trade from around 1910 thru the 60's. The emphasis was sewing technique to bring expression. This builds character into the clothes. This is what I see in Sartoria Cresent. Today, clothes express "personality". It's different.
Have no comment on Neopolitan tailoring. There is plenty of info online to digest.
This is all gibberish that occupies my mind, but it is satisfying to me.
 

Newcomer

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The wording in my original post was a little strong maybe weird.
Tailors see clothes differently. When you make a garment you can sometimes discern the technique used to get the effect. In the early days Sartoria Cresent had a website there were more pictures of the internal work in his suits. He isn't taking any shortcuts. Just in the way he would handle the suits in the workroom showed much respect/reverence for the clothes. It was inspiring to me to see this.
Everyone I worked with had learned the trade from around 1910 thru the 60's. The emphasis was sewing technique to bring expression. This builds character into the clothes. This is what I see in Sartoria Cresent. Today, clothes express "personality". It's different.
Have no comment on Neopolitan tailoring. There is plenty of info online to digest.
This is all gibberish that occupies my mind, but it is satisfying to me.

Very interesting.

Sometimes I think my tailor is taking shortcuts. Any way I can know for sure?

:devil:
 

jonathanS

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The wording in my original post was a little strong maybe weird.
Tailors see clothes differently. When you make a garment you can sometimes discern the technique used to get the effect. In the early days Sartoria Cresent had a website there were more pictures of the internal work in his suits. He isn't taking any shortcuts. Just in the way he would handle the suits in the workroom showed much respect/reverence for the clothes. It was inspiring to me to see this.
Everyone I worked with had learned the trade from around 1910 thru the 60's. The emphasis was sewing technique to bring expression. This builds character into the clothes. This is what I see in Sartoria Cresent. Today, clothes express "personality". It's different.
Have no comment on Neopolitan tailoring. There is plenty of info online to digest.
This is all gibberish that occupies my mind, but it is satisfying to me.


I’m curious: can the amount of work being put in be identified at the fitting stages?
 

aristoi bcn

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I am about to order my first bespoke overcoat. Cloth will be the W.Bill light and dark grey herringbone Tweed (650g) you can see here. It will be a casual overcoat, mainly to be be worn over Tweed jackets, so the cloth chosen is indeed rustic. Later on I will have made also a navy DB Chesterfield and a dark grey herringbone SB Chesterfield for more formal purposes.

When it comes to design I am thinking in a SB Ulster, similar to the ones pictured below (Sartoria Seminara and Tobias Tailors respectively) but I am concerned about how the "doppio uso" collar will work when raised. What do you think? You normally see DB Ulsters but very few SB are even pictured in old magazines.


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reidd

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I love the cloth... I don't think you will have a problem raising the collar but your tailor might have a specific collar shape suggestion if you intend to wear it up often. FWIW I do think DB collars are easier to wear up, just the shape seems to work better for it (collar points not in your face). Cant remember offhand but I think i read a piece from Simon Crompton where he specifically had his tailor design a collar that would overlap in a certain way when raised specifically to counter this issue.
 

Alan Bee

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you answered your question here " You normally see DB Ulsters but very few SB are even pictured in old magazines."

DB or bust! Wholly agree with @Despos

Ulster made up in the Harrison’s version of the W. Bill cloth you picked. It felt more “hearthy” than the W Bill version but very similar in appearance.

I went for the mid gray (between charcoal and lighter gray)

Alan Bee

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