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What is with the gay '70s pornstar mannequin?
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1983. And Nutter was that way.
What is with the gay '70s pornstar mannequin?
Interesting choice of topic. Related to the David Reeves posts?
Well, I have had some conversations 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.
I have a belted leather duster coat in butterscotch from Tommy Nutter (handed down from my father, as ever) that I'm very fond of. The leather is acquiring patinas and cracking a little here and there since it saw some uncomfortable storage during the 90s.
No, I was referring to the fact that Nutter was more of a 'front' man , Sexton was the the creative force the man with the shears.
You know, the next time I see him, I'm have to remember to ask Edwin for how it worked at Nutters with Sexton and Nutter together.
You know I've always thought that peculiar, I know tailors are a nomadic breed but DeBoise seems to be at the A&S end of the spectrum yet he apprenticed under Sexton who's an altogether more flamboyant cutter.
On Edwin's first week at A&S coming out of Nutters, Colin Harvey (I think it was Harvey and not Halberry) asked him to draft a pattern and cut for a client, just to see what he could do and to see if he should be an undercutter to learn the A&S style. And you know back then, they did rock of eye. No block patterns; no square (Edwin still drafts this way.) Harvey also drafted a pattern for the same client as a test. Harvey was quite the old school tyrant, I believe...if he didn't like what someone cut, he would take their work and run it through his sheers and have them do it all over again. Harvey placed Edwin's pattern on his, and the match was essentially exact. That was enough for Harvey to assign Edwin right away as a cutter in his own right in the shop. So, I imagine that some degree of natural talent and education are involved. I think Edwin's father, who was also a cutter, would draft patterns directly on cloth. Edwin's brother is also a cutter, and Edwin's son is apprenticing with him right now. - B
No reason except my usual tangential motives, but as long as we are mentioning Jagger, here are some 1988 pics of Jagger-era Jerry Hall from LIFE that I like...this is a good a place as any to park them:
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