Formal wear origins

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in our advertising rates,
please contact
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[email protected]
or +32 (0)475 41 63 62
Nothing in this magazine may be
reproduced in whole or in part without
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The publisher cannot be held
responsible for the views and opinions expressed
in this magazine by authors and contributors.
Bespoken is neither responsible
for nor endorses the content of
advertisements printed on its pages.
Bespoken cannot be held responsible
for any error or inaccuracy in such
advertising material.
Editor:
Jérôme Stéfanski
Publisher:
Gregor Thissen
Project Coordinator:
Kristel Geets
Styling:
Sylvain Gadeyne
Graphic Design:
BaseDESIGN
Writers:
Nigel Bishop
Bruce Boyer
Alan Cannon-Jones
Dave Lackie
Peter Marshall
Eric Musgrave
Stephen Papandropoulos
Emma Portier Davis
Janet Prescott
Jérôme Stéfanski
Proofreading:
ReadRight.be
Photographers:
Ronald Stoops
Stephen Papandropoulos
Filip Vanzieleghem
Fotostudio Uyttebroeck
EDITORIAL COMMENT
CLOSER
TO YOU
In this ninth edition of Bespoken, we will take up a little more space to talk
about ourselves – please bear with us. In our pages, you will find a large section
dedicated to the new communication concept that attempts to bring Scabal
closer to you, our valued reader and customer. It is our aim to bring our two main
strengths – the fabrics and garments – closer together. By visually combining
these two elements, we wish to underline our competence as a fabric specialist
among the international garment brands. We will try to enhance the information
content that we provide and contribute to the general level of information
about fabrics, their origins, specificities and features. At the same time, our
new concept, ‘Mr Fabric’, will also provide a bridge between the design and
technology side of cloth and the personality of the suit’s wearer, expressed by our
motto, ‘Made-By-You’.
Following many months of crisis, the world is perhaps in the mood to celebrate
again; we have noticed the much-welcomed return of formal wear to the fashion
scene, a trend about which we are very enthusiastic. Tuxedo, dinner jacket,
morning coat; all forms of ceremonial and evening wear have become popular
once more and are being reinterpreted in creative ways. However, it still seems
that there is confusion about what to wear for which occasion – Bespoken will try
to shed some light on this issue, with some useful tips.
Many other topics are also covered, such as Scabal’s involvement with the theatre
and the world of opera, and there is an exclusive interview with renowned
designer Dries Van Noten.
The next edition will be our tenth and thus the fifth anniversary of Bespoken.
Time flies! However, be reassured that our team is already working on a very
special edition and on other international projects to celebrate our anniversary.
Happy reading!
Gregor Thissen
Illustrators:
Mohsin Ali
Jean-Baptiste Biche
Olivier Van Begin
Do you have any suggestions or feedback?
Let us know at www.bespoken.com
Bespoken is printed on environmentally
friendly, fair-trade paper
© Scabal
SCABAL
Boulevard d’Anvers, 33
B –1000 Brussels
Belgium
Phone: + 32 (0)2 217 50 55
www.scabal.com
J. Peter Thissen, Scabal Group Chairman (right)
and his son Gregor, CEO
This indicates a key article
available in a variety of
languages at Bespoken.com
BESPOKEN
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BESPOKEN N° 9
CONTENTS
01 Editorial Comment
42 Special Feature
Closer to you
Formal Wear
04 Contributors
43 Formal Wear Cultures
Their formal touch
Formal wear as a cultural heritage
06 Scabal In Figures
46 Back In The Day
More than 65 countries
Formal wear origins
08 Temptations
48 The Bespoke Coach
Bespoke precision
Black or white tie? Stick to etiquette, gentlemen
10 Tailor’s Dictionary
T to V
54 Sweet & Chic
12 Cloth Guide
56 Scabal Across The World
Cashmere
An Englishman in New York
14 Gentlemen’s Meeting
59 Style Tribute
Nacho Figueras: elegance returns to sport
Gary Cooper: The Democratic Prince
16 This is Scabal
62 International Agenda
New interpretation, same authenticity
Follow the dress code
19 Autumn – Winter 2011-2012 Trends
64 In People We Trust
MR. Fabric
Fast and fastidious: The logistics of high fashion
32 Autumn – Winter Style Advice
What you should wear this winter
66 Openings, birthdays and so much more…
36 Designer In Vogue
68 Scabal Worldwide
Dries Van Noten: A tribute to colours and tradition
38 Scabal On Stage
Dramatic dressing
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Formal Wear Accessories
Past – Present – Future
CONTRIBUTORS
THEIR FORMAL TOUCH
ERIC MUSGRAVE
ALAN CANNON-JONES
JANET PRESCOTT
“A man needs a few formal-wear options. Currently,
I have a regular all-black suit with shawl-collar jacket,
which is totally acceptable. But I really like exchanging
the jacket for my Black Watch tartan tux – it is a more
individual look. My all-time favourite formal outfit is my
black velvet SB frock-coat suit. I wore it for my wedding
nine years ago and it still looks excellent every time I give
it an outing.”
Eric Musgrave has been writing about fashion
for nearly 30 years and is the author of the recentlypublished Sharp Suits, a 200-page celebration of men’s
tailoring. An award-winning editor-in-chief while
at Drapers, the UK’s top fashion business weekly, he
has also held senior positions at Men’s Wear, Fashion
Weekly, International Textiles (based in Amsterdam)
and Sportswear International (based in Milan), as well
as writing for numerous other publications, including
Financial Times, The Observer and Vogue.
“My favourite formal wear is the traditional black dinner suit
with a shawl collar and lapel but my current diner jacket is a
black double breasted suit with satin lapels.
An important point for these occasions is that one should tie
your own bow tie, I think that ready-made bows show a lack
of dexterity. The last good occasion to wear my diner jacket
was an evening held at the Merchant Taylors Company in
Threadneedle Street, London.”
Alan Cannon Jones is a course director and
principal lecturer in the graduate school at the London
College of Fashion and works as a consultant for
tailoring, menswear and fashion design technology in
the industry. He had more than 20 years’ experience
working in the tailoring industry for a number of
companies, including Chester Barrie, before taking up
a position at the London College of Fashion.
“Journalists are happily invited to private palazzos,
mansions, banquets and balls with the glitterati, but my
stand-out event was going to Buckingham Palace for my
husband to be made a CB (Companion of the Bath) by the
Queen. The full panoply of state ceremonial was subtly
enhanced by the immaculate understatement of lounge and
morning suits worn by ambassadors, knights of the realm
and the recipients of the senior honours, the epitome of
elegant formality.”
Janet Prescott is an independent writer and
commentator on the textile and fashion business.
She is based in Ilkley, Yorkshire, a region of the United
Kingdom that is well known for its weaving industry.
The major sphere of operation for her at the moment is
Twist magazine, as its Fabrics and Yarns Editor, where
she covers the major international fairs, interviews
personalities in the trade and writes opinion pieces on
subjects such as eco-luxury, designer labels, new yarns,
fabrics and fashion.
PETER MARSHALL
BRUCE BOYER
NIGEL BISHOP
“While it’s always a pleasure to wear black tie to an event
that requires it, many of my favourite formal memories
happen afterwards. There’s something wonderfully decadent
about strolling in to an elegant bar late at night dressed in
a classic tuxedo and casually ordering a Manhattan as if it
was the most normal thing in the world. That’s when that my
formal wear truly makes me feel like a million bucks.”
Based in Toronto, Canada, Peter Marshall is the
creator and editor of TheBlackTieGuide.com, a full
online guide dedicated to formal wear that draws
42,000 visitors per month. Beginning in 2006 he
spent five years researching and writing the site, in
the process visiting libraries from Vancouver to New
York and attending black-tie charity galas, opening
night performances and formal dinners. The guide’s
purpose is to educate men about conventional formal
wear as a counterbalance to the pervasive bad advice
and poor examples offered by formalwear retailers
and red carpet celebrities. He has regularly consulted
by authors, filmmakers and journalists on the topic
of formal wear and future goals include publishing a
hardcover version of The Black Tie Guide.
“My belief has always been that the occasion dictates the
clothes, and that formal occasions call for propriety in
men’s dress. For me, the tuxedo is the proper dress for men,
but since I also insist on comfort, I want clothes that are
lightweight and soft. My favourite formal dress outfit is: a
double-breasted midnight blue tuxedo in 250-300 grammes.
fine wool with grosgrain facings, a soft voile pleated dress
shirt, and monogrammed velvet Albert slippers. It's a style
and philosophy pioneered by the Duke of Windsor, and still
has relevance for me today.”
G. Bruce Boyer has been a noted fashion writer
and editor for more than thirty-five years. His feature
articles have appeared in Town & Country, Esquire,
Harper’s Bazaar, Men’s Health, Forbes, The New York
Times, The New Yorker, The Rake and other national
and international publications. He was the first
American fashion journalist to write for L’Uomo Vogue
(Men's Italian Vogue). He has also written a book
about Gary Cooper, Gary Cooper: An Enduring Style,
which is neither a biography nor filmography but an
examination of the actor’s stylistic appeal and which
includes 150 never-before-published photos from the
private archive of Cooper’s daughter, Maria Cooper
Janis – it is due for release in October 2011.
“Formal doesn't have to mean uncomfortable.
My dinner jacket is lightweight wool-polyester, loosefitting cut, with pleated trousers. Not the most trendy,
but incredibly comfortable. I once wore it for a New Year’s
Eve party and went straight on to the golf club in it the next
morning. Played eighteen holes, no problem.”
For a large part of his career, Nigel Bishop worked
in advertising in London, New York and Paris.
He has been a freelance writer for the past 15 years,
working with multinational companies in B-to-B
communications.
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Text: Jérôme Stéfanski
Illustrations: Jean-Baptiste Biche
& Olivier Van Begin
SCABAL IN FIGURES
MORE THAN
65 COUNTRIES
© Scabal
That’s where Scabal can be purchased worldwide.
Scabal’s worldwide activities
F
ounded in Brussels in 1938, Scabal has grown
into a worldwide luxury fabrics and clothing
brand. In a controlled expansion, Scabal first
built its European business before entering
the USA and Japan in the 1970s, followed by
the Middle East and Asia.
“Think global, act local is the way we have done it,” says
Scabal Group CEO Gregor Thissen. “We pursue a global
strategy but always adapt it to local circumstances.”
This approach goes beyond regional preferences for
fabrics, designs and styles. The Scabal structure itself
reflects local differences: some markets have Scabal
subsidiaries with wholesale distribution, while others
work through agents, distributors or retail customers.
Around a dozen countries have shops bearing the Scabal
name under license.
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What does it take to expand internationally? “You must have
a clear image,” says Gregor, “and the flexibility to work with
local rules and customs. It means having people who understand
this and who can apply it.”
Scabal has 15 different nationalities in its staff of more than
100 at the Brussels worldwide headquarters. “Brussels is a great
place to run a global business — it’s the best centre for multi-lingual,
flexible and internationally minded people.”
And the future? Scabal is looking at all countries that
have opened up to imports and started to open up to
luxury products. “India and China are developing strongly,”
Gregor explains. “But we always try to maintain a good mix
internationally – it spreads the risk.”
Nigel Bishop
4
TEMPTATIONS
BESPOKE PRECISION
1
Bespoke laptop from 5,000€
www.munkbogballe.com
2
HOW’S IT
HANGING?
INDIVIDUALITY MEETS
ALTRUISM
Munk Bogballe is a promising young Danish company founded
in 2007, which produces bespoke portable computers. Driven
by a passion for beauty, quality, and simplicity, Munk Bogballe
combines modern production technologies with traditional principles
of craftsmanship to create the world’s finest and most exclusive
computers. Using classical materials such as leather, wood and precious
metals, the computers are produced and assembled in Denmark by a
selection of highly skilled, seasoned craftsmen whose workmanship
epitomizes the heritage and pursuit of excellence characteristic of
Danish design tradition. As a bespoke option, you can engrave your
name in the laptop’s aluminium surface and choose personalized
finishing options such as a power button in freshwater pearl, gold or
even ruby. Production and delivery times vary from three to six weeks
depending on demand, and the company always makes a donation
to the One Laptop Per Child foundation. A good way to combine
individuality and altruism.
When you hang your next Scabal made-to-measure suit in
your wardrobe, why not think about a personalized hanger?
A well-organized wardrobe is not just tidy, it’s also a place in
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or a pair of trousers with a perfect crease is a pleasure that
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and finishing touches, such as having your initials engraved.
A new must-have feature, now available from several of
Scabal’s retail partners.
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ONLY THE BRAVE
Chris Eckert lives in California and could be described as
an ‘enginartist’, a combination of engineer and artist.
As he himself says: “I spent many years working as a mechanical
engineer designing and building factory automation. I’ve been searching
for ways of incorporating movement in my work but I’ve only recently
developed ideas that feel appropriate. My machines represent a continuing
effort to unite automation with conceptual artistic expression.” Recently,
he invented the very first automatic tattoo machine. If you dare, you
can now create your own tattoos and personalize your body yourself
– no more need to go to scary tattoo parlours, where elegance and
hygiene are sometimes less important than imagination. For the
moment, the machine is only able to tattoo religious symbols on your
arms, but in the near future it could offer many other personalization
options. Use with care!
Price on request
www.toscaninisumisura.it
PURE MECHANICS
Bugatti belt buckle by Roland Iten from 20,000€
www.rolanditen.com
8
Ultimate Ears first appeared on the scene in
1995 – during their first few years in business,
the company’s client list quickly began to resemble
a Who’s Who of rock ‘n’ roll and it was just a matter of time
before regular music lovers caught whiff of the hype.
The secret was out, and audiophiles and business travellers
began using Ultimate Ears custom stage earphones with
iPods and other MP3 players, with athletes and celebrities
soon getting in on the action as well. Acquired in 2008 by
Logitech, Ultimate Ears continues to design and create
earphones that musicians and music lovers depend on,
and is now poised to reach a global audience – each model
is based on the same speaker technologies and sound
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Ultimate Ears 18 Pro – Custom In-Ear Monitors: 975€
pros and gives discerning listeners the chance to hear what
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everyone is raving about. These customized stage earphones
are made to order, with each pair hand crafted and individually designed.
Just like fingerprints, each set is as unique as the person who sports them.
And another thing they have in common? They sound as good as they fit and
look. Take the word of Ronnie Vanucci, drummer of the famous rock band
The Killers, according to whom: “It’s like being kissed by dozens of tiny sound angels.”
5
By utilizing the high-precision mechanics of the Swiss watchmaking industry,
Roland Iten has created, developed and produced unique men’s accessories,
thus pioneering a new segment in the high-end luxury goods industry –
Mechanical Luxury for Gentlemen. Recently, the company
launched a co-branded belt buckle in association with the
watchmaker Parmigiani, which among others produce
Bugatti labelled watches. The buckle is designed to
preserve the life of the belt, to offer smooth operation,
and micro-flexibility in size and adjustment. The Bugatti
edition belt buckle is based on the Roland Iten Mk.I22mm. It offers precise micro-adjustments for the perfect
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Price on request
www.chriseckert.com
LRG Customized Guitars from 2,900€
www.lrg-guitares.ch
6
SWISS MADE
Passionate about music and woodwork, Lawrence
Rufi manufactures customized electric guitars for
the most demanding musicians. It was in his small
Swiss village near Lausanne that he
first produced the bona fide artistic
LRG guitars. From the choice of
wood (which influences the tone of
the guitar) to the selection of audio
components integrated into the
guitar, no detail is left to chance.
Result? A combination of precious
woods, components, materials and
quality craftsmanship providing
a lean and balanced look and
exceptional playability.
Jérôme Stéfanski
BESPOKEN
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TAILOR’S DICTIONARY
TAILOR’S DICTIONARY
T–V
Step by step we are ending our dictionnary dedicated to tailor's vocabulary and next
edition will be the last one. If you need to complete your collection, you can order last
issues of Bespoken at www.bespoken.com
T
THIMBLE
A Tailor’s Thimble is a metal open-topped cone
worn to protect the middle finger when pushing the
needle through the fabric.
TACKING
Another term for basting where a stitch – usually handsewn but sometimes done by machine, holds the fabric
in place prior to sewing.
THREAD MARKING
Temporary stitches to mark the fitting lines of a
bespoke garment. Also used to mark key positions
such as pockets and darts by using threads inserted
through the plies of fabric.
TOLERANCE
Ease or allowance made for movement over and
above the actual body measurement.
TAILOR TALK (SLANG TERMS)
BALLOON – having a week without work or pay
MANGLE – sewing machine
BASTE – a garment assembled for the first fitting
MUNGO – cloth cuttings
BLOCK – a standard pattern for cutting a suit
ON THE COD – gone drinking
BODGER – bad craftsman
PIGGED – a lapel that turns up after wear like a pig’s ear
BUNCE – a perk of the trade, for example left-over cloth
PORK – a rejected suit that another customer may buy
to sell on
CABBAGE – left-over material
CODGER – a tailor who refurbishes old suits
CORK – the boss
SCHMUTTER – poor quality cloth
SKIFFLE – a rushed job
TAB – a difficult customer
TROTTER – the fetcher and carrier, usually the
CRUSHED BEETLES – bad buttonholes
youngest member of staff
DARKY – sleeve board
UMSIES – someone being discussed whom the speaker
DRUMMER – trouser maker
HIP STAY – the wife
Exposed stitching sewn at a specific distance from the
seam for reinforcement or decoration.
TOPSIDE
UNDERPRESSING
The pressing operations carried out during the
assembly of the garment. For example, pressing open
the seams.
UNDERSIDES
The front section of a pair of trousers.
The back section of a pair of trousers.
TRIMMINGS
The component parts of a garment other than the
main fabric.
TRY-ON
Thimble – a tailor’s thimble
Tacking – the front of the jacket has the tacking stitches to show the seam lines
TOP STITCHING
The individual fitting of a garment for the purpose of
confirming the size, shape and fit before the garment is
completed.
V
VENT
TUCK
A fold of fabric sewn at an equal distance from the
folded edge of the fabric.
A short opening into the hem and cuff of a jacket
or coat.
VEST
TURN-UPS
The finished look of trouser hems by turning up a
proportion of the fabric. Also called PTU, Permanent
Turn Up.
In the tailoring trade this a term used to as an
alternative for waistcoat. A sleeveless garment worn
under a jacket as a part of a three piece suit, ie;
jacket, vest and trousers.
U
UNDERCOLLAR
The part of the jacket
collar which is under
the main (top) collar
and usually made from
Melton cloth. This part
of the collar is only seen
when it is turned up.
Vest (waistcoat)
does not want to name because he is present
WHIPPING THE CAT – travelling round and working
Undercollar
in private houses
KIPPER – a tailoress – they usually work in pairs to avoid
amourous tailors
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Text: Alan Cannon-Jones
Illustrations: Helen Cannon-Jones & Mohsin Ali
BESPOKEN
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CLOTH GUIDE
CASHMERE
Since its creation in 1938, the Scabal credo has stayed the same: “Never cut costs when it comes
to materials”. This cloth guide section concerns the origins and specificities of the natural
fibres used by Scabal to develop the finest fabrics.
cashmere
Cashmere is a fibre that is obtained from the long and
silky wool of the capra hircus laniger goat of the Cashmere
province, 5,000 metres up on the plains of the Himalayas.
Formerly wild, the goat is now domesticated. In winter,
to protect them from the icy winds (between -30 and
-40°C), the goats grow a second coat of fine, flexible hair
in addition to their summer wool. This second winter coat
is then sheared or removed with a brush during spring
moulting season, and it is only this hair that produces
genuine cashmere wool. A goat can provide between
150-200 grammes of hair per year.
scabal’s china-mongolia
100 per cent cashmere
production
Worldwide production of the fibre is estimated to be
around 15,000 tonnes – the Republic of China is the
world’s largest producer, followed by Mongolia.
practical usage
Possessing an unequalled softness and a delightful
natural lustre, cashmere is ideal for pullovers, coats
and winter clothes.
Scabal selects its cashmere from breeders on the high, dry
and cold mountainous of western Mongolia and south-west
China. To survive in this rigorous climate, the goats develop
a layer of fluffy, fine and soft fibre, cashmere. The colder the
air, the more resistant the goats become and the more this
layer is increased to protect the animals. It is for this reason
that Mongolian cashmere is famous worldwide for its warmth,
softness, lightness and, at the same time, its longevity.
To improve the quality and rigour of the Mongolian fibres,
Scabal blend them with Chinese cashmere, which is whiter,
finer and shorter. This is 100 per cent cashmere, with no other
fibres ­– either natural or synthetic ­– being added. It is this very
high degree of quality and scarcity that justifies the fibre’s cost.
© Filip Vanzieleghem
properties
•• Cashmere wool is very light, very warm and very soft
•• A light cashmere fabric may be worn all year, even in summer
•• Synthetic materials are often mixed with cashmere, as demand
is far in excess of supply
•• Finesss : Between 13-16.5µ (microns)
•• The fibre is generally between 28-45mm in length
Jérôme Stéfanski
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Handmade in England, Scabal’s new collection of Pure Cashmere Scarves will keep you warm throughout winter.
Available in 21 colours, including avocado green, sapphire blue, sylver grey and nutmeg brown,
the scarves are presented in an individual luxury hand-made package that adds to the accessory’s prestige.
In addition, the scarf is generously proportioned at 180 cm length and 30 cm width.
BESPOKEN
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GENTLEMEN’S MEETING
NACHO FIGUERAS: ELEGANCE
RETURNS TO SPORT
NACHO FIGUERAS’ KEY DATES
1977: Born Ignacio “Nacho” Figueras
in 25 de Mayo, Buenes Aires
Province, Argentina
1985: Starts playing polo aged 8.
For its tailoring divisions, Ralph Lauren frequently orders fabrics produced by Scabal in
Huddersfield, United Kingdom. A good occasion for Bespoken to meet Nacho Figueras,
the muse of Ralph Lauren and also an Argentinian polo star.
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2000: Appears in his first Polo Ralph
Lauren ad campaign
2004: Marries photographer and former
model Delfina Blaquier.
2005: Becomes the face of Ralph Lauren’s
Black Label Collection.
2009:
Ranked as one of the top 100 polo
players in the world. Named the face
of the World of Polo fragrances
including Polo Black, Polo Blue and
Polo Modern Reserve.
©AP Photo/David Goldman
2009: Vanity Fair magazine readers vote
him the second most handsome
man in the world.
2010: Defeats Prince Harry at the third
annual Veuve Clicquot Polo Classic
© RL
t’s a Sunday
morning in
early June and
125 exquisitely
dressed New York
socialites are
spilling off a ferry
onto Governor’s
Island, 172 acres
of lush parkland
surrounding a
strip of emerald
turf. It’s the
third annual
Veuve Clicquot Polo Classic, and
guests including Ivanka Trump, Kate
Hudson and Princess Beatrice have
paid upwards of 5,000$ each for
the privilege of watching Argentine
polo player Nacho Figueras face off
against close friend Prince Harry
to benefit Sentebale, a charity that
works to better the lives of Lesotho’s
orphans and vulnerable children.
(Ralph Lauren, who arrived at last
year’s match aboard his private
helicopter, was expected to attend
but was forced to cancel at the last
minute.) At no other sporting event
in North America would you see
gentlemen dressed like this – most
wear perfectly tailored seersucker suits
accessorized with pocket squares,
cotton ties and spectator shoes or tan
linen bespoke suits with hand-crafted
leather brogues. The only problem
is, Mother Nature isn’t making it easy
for the sartorially minded guests. By
noon, the temperature has soared to
38 degrees Celcius – an unbearable
45 degrees when you factor in the
Humidex. Even the Philip Treacy hats
perched atop the heads of a handful
of female guests are starting to droop.
Remarkably, Figueras seems oblivious
to the heat, looking dapper in a crisp
navy Ralph Lauren Black Label blazer
and white linen pants.
1994: Turns pro and joins the White
Birch Polo Team
2011:
Appears in Ralph Lauren Romance
fragrance ad campaign with his wife
Argentine polo player Nacho Figueras
STYLE VISION
“I think I was always interested in style
growing up,” he says, moments before
the match is due to begin. “My parents
taught me always to be elegant. But
obviously, the fine-tuning came with my
relationship with Ralph Lauren. It’s been
ten years now doing their ads – I started out
when I was 22, which is the time of your life
when you tend to start finding your style,
and he had a lot to do with it, he taught
me everything in fact. The most important
thing I learned from him concerning style
is that it’s not just what you wear, but how
you wear it. It’s about being comfortable
with yourself. For Ralph Lauren, Polo
isn’t just a fashion brand, it’s a lifestyle
brand. It’s about the guy who’s wearing
the clothes or the fragrances. You can have
style wearing different kinds of clothes –
I could be stylish wearing my suit and tie,
but Mick Jagger is very stylish when he
wears his T-shirt and leather pants. He
looks cool, and he feels it.”
It was famed American fashion
photographer Bruce Weber who
spotted Nacho at a dinner party in
the Hampton’s, hosted by Calvin
Klein’s ex-wife Kelly 12 years ago,
and convinced Lauren to cast him in
a Polo ad campaign. “I owe Bruce for my
modeling career. I think he’s one of the most
amazing photographers out there, and he
has a lot to do with my relationship with
Ralph Lauren.” Weber may have made
the introduction, but Ralph quickly
found a muse in Figueras.
“I start every collection by imagining
a Hollywood movie ,” Ralph told me
years ago at a Polo presentation
at New York City’s Four Seasons
Restaurant. “I picture the characters,
the setting and even the music, and
I watch a movie unfold in my head.
It’s always about this wonderful
lifestyle and I design the wardrobes for
these characters I see.” That fact was
perfectly evident in the presentation.
Thirty-six models posed on a tiered
Nacho Figueras and Britain’s Prince Harry at Veuve Clicquot Polo Classic
stage illuminated by mammoth klieg
lights – the same ones used in old
Hollywood films. In Nacho, Ralph had
finally found that character he’s been
dreaming about for years: handsome,
elegant, worldly, and educated.
“In a small way, I feel that I have a
little part in what the World of Polo
Fragrances has become,” he adds,
smiling. “When I first started modeling
for Ralph Lauren, it was just one
fragrance. But now it is a wardrobe of
fragrances. There are different kinds of
fragrances for different kinds of moods
of different things you are doing.
And I very much believe in this. If you are
in the city wearing a suit and tie at night,
a fragrance that is more sophisticated and
exotic and even stronger goes well with
that situation. If you are on the beach
wearing a swimsuit, all of a sudden the
fragrance does not suit the moment.
I really believe in different moments,
which has evolved into this campaign.”
ONE MISSION:
PROMOTING HIS SPORT
You could say that Nacho represents
a return to the golden age of the
gentleman. “My mission is to bring polo
to the world a little more,” he says.
And he promotes this message around
the world whether it is supporting
numerous charities or appearing on
Oprah Winfrey. “I want to encourage kids
to discover polo. In Argentina, kids start
playing aged eight. My son is ten years old
and he’s been playing for years.”
And while attending gala dinners and
appearing in fashion ads are all part
of the job, Nacho’s typical schedule is
far less glamorous. He wakes and has
breakfast with his wife and kids. Then
it is off to the barn to have matte (a
popular Argentine beverage) with his
teammates and grooms. They strategize
about upcoming matches, then ride
for a few hours. At noon, it’s home for
lunch with the family and then a quick
visit to the beach with his kids. Later
that afternoon, he returns to the barn
and plays practice matches. “The key is
to make a connection to the horses –
not only because it is key to the game,
but because we love them.”
Dave Lackie
‘MY MISSION IS
TO BRING POLO
TO THE WORLD
A LITTLE MORE’
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THIS IS SCABAL
NEW INTERPRETATION,
SAME AUTHENTICITY
INTERVIEW
BESPOKEN : What was the initial brief?
KRISTEL GEETS: We were looking for a new
The new Scabal Autumn-Winter collection is being promoted with a stylish campaign that marks
a change from our recent visual productions. We are talking about evolution, not revolution –
we meet Ronald Stoops, the man behind the lens, and talk to Kristel Geets, Communication
Coordinator at Scabal.
communication approach that responded to
new goals focused on cloth. We are – since
1938 but even more today – an innovative
creator of superior men’s quality fabrics.
Scabal is not just dedicated to fabrics,
we are devoted to it! Secondly, it should
communicate Scabal’s historical roots,
origins and expertise in the cloth industry.
It should also focus on Scabal’s wide fabric
variety and their applicability in real life
(fashion styles, wearing occasions, etc) Last
but not least, we were looking for a longlasting and flexible communication concept,
based on storytelling, visually as well as
textually. One that lasts more than a season.
W
earing bold glasses, a black
T-shirt, white sneakers under
faded jeans and a three-day
beard, Ronald Stoops has
the perfect look of a typical
fashion photographer. The
man is cool, open-minded
and, when you meet him, you
immediately know that he has a passion for his job. Look
a little deeper, and you come to understand that what he
values most about his work is travelling and meeting people.
He declares: “As I was born in one of the smallest countries, the
Netherlands, I decided early on my life to travel extensively in
order to broaden my view of the world.”
How this campaign is different from
your previous work?
It is the first time that we have placed
so much emphasis on fabrics. Clothes
mean nothing without a soul attached. To
increase the fabrics’ appeal, we imagined,
together with our advertising agency,
six personalities based around the newly
created ‘Mr Fabric’ concept.
After he studied photography in Belgian fashion capital
Antwerp, he quickly became a photographer who was
associated with fashion productions by the famous
Antwerp Six: Dries Van Noten, Dirk Bikkembergs,
Martin Margiela and Marine Yee, Ann Demeulemeester
and Walter Van Beirendonck. Later, he also had the
chance to work with other talented fashion designers
from Antwerp, such as Raf Simons, AF Vandevorst and
Véronique Branquinho. Collaborating with those young
talents allowed him to express his deep creativity through
up-scale photo shoots, which in turn gave him the chance
to work on editorials for renowned magazines such as
Vogue Hommes International.
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What is the feeling you want to create
for the men who see this campaign?
We want to show that, among the 5,000
different fabrics offered by Scabal, there
is one for each type of man, for every
occasion or feeling.
What do clients think of the results?
Our consumers are discovering the
campaign as we speak, so hopefully we will
get enthusiastic reactions from them.
Our b2b customers, tailors and prestigious
stores discovered it six months ago, and
they love it! We have received some really
positive feedback.
Will you work together again next
season? What about the next concept?
This ‘Mr Fabric’ concept can last forever.
For the Spring-Summer 2012 season, we
have created six new characters in line
with the contemporary Autumn-Winter
campaign.
You can discover Scabal’s new Autumn-Winter
campaign on pages 20 to 31 of this edition of
Bespoken.
Jérôme Stéfanski
‘AMONG THE
5,000 DIFFERENT
FABRICS OFFERED
BY SCABAL, THERE
IS ONE FOR EACH
TYPE OF MAN.’
Photographer Ronald Stoops
‘I DECIDED EARLY ON MY LIFE
TO TRAVEL EXTENSIVELY IN
ORDER TO BROADEN MY VIEW
OF THE WORLD.’
© R. Stoops
In order to understand how this kind of advertising
campaign is created, Bespoken interviewed Kristel Geets,
who has been Scabal’s Communication Coordinator for
ten years.
Why choose to work in black and
white?
There are actually always two images,
they are inseparable: the portrait image of
a man in black/white and a fabric image
in colour. For portrait pictures, black and
white photography is more powerful than
colour. The lack of colour does amazing
things in showing the true emotions of a
person. The images we create are pure:
a character and his suit, nothing else.
Season by season, we will build up an
elegant Scabal portrait gallery, which will
tell our story in a unique way.
Where would you like to spread this
campaign?
In fact, my dream came true because we
will have double-page advertisements in
international business and men’s magazines!
It the very first time that we have made such
a media investment.
© R. Stoops
Six months ago, Ronald Stoops met Scabal for the
first time through Base Design’s Art Director Pierre
Daras, at the brand’s advertising agency. Together with
Scabal’s marketing department, they defined a new way
to illustrate the two main divisions of Scabal: fabrics
and finished products. These are obviously closely
linked, because the essential ingredient at the heart of
the perfect suit is, of course, its fabric. “The main concept
was quite simple to write, but not really easy to shoot,” says
Daras, adding: “Here, we wanted to show gentlemen with
strong personalities who wear clothes made from fabrics that
reflect their unique characters, with a short text to explain
the fabrics’ proprieties and offer a little more information about
each gentleman and his choice of fabrics. The result is a perfect
blend of style and authenticity.”
Can you tell us more?
We imagined partnerships – each fabric is
getting its own ‘godfather’, an intriguing,
universal character whose characteristics,
nature and lifestyle shine through the name.
There is a ‘Mr Natural’, a ‘Mr President’,
a ‘Mr Nightlife’, a ‘Mr Explorer’, a ‘Mr Upand-Coming’ and a ‘Mr Weekend’,
each linked to a specific fabric from a
cloth collection.
Please describe ‘Mr. Natural’.
He is open and relaxed, fashion-minded,
less traditional and slightly younger than
the average businessman. Comfort and
quality are important to him, but the
look is too. In harsh winters, he wants
to combine plain comfort with style, for
everyday business use. He has a warm,
spontaneous and easy-going character.
He has a rough touch, and derives his
elegance from his disarming flexibility
and spontaneity. He looks trustworthy
and friendly. The kind of man that
wrestles wild city life with his bare hands!
Works produced by photographer Ronald Stoops in 2009 for AF Vandervorst (left) and in 1998 for Jurgi Persoons (right) – make up Inge Grognard
BESPOKEN
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AUTUMN-WINTER 2011-2012 TRENDS
MR. FABRIC
Among the 5,000 fabric references offered by Scabal, no doubt you will find the one that
reflects your true personality. Based on this, the new collection offers some good examples
of perfect harmony. Meet the gentlemen behind the fabrics.
FABRIC N°752037
AND
MR. PRESIDENT
— 20 —
FABRIC N°500878
AND
MR. NIGHTLIFE
— 22 —
FABRIC N°851987
AND
MR. EXPLORER
— 24 —
FABRIC N°702806
AND
MR. NATURAL
— 26 —
FABRIC N°703075
AND
MR. UP-AND-COMING
— 28 —
FABRIC N°801587
AND
MR. WEEKEND
— 30 —
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FABRIC N°752037
AND
MR. PRESIDENT
Fabrics deserve their Rolls-Royce too, which is precisely what this exceptional gem is. Made
from Super 130’s and 150’s exclusive Merino yarns, the ‘Optima’ collection embraces some of
the finest cloths a businessman can afford. To achieve this high standard, a careful selection
of the best raw, natural materials is essential. The wool selected by Scabal comes primarily
from Australian Merino sheep. It’s no ordinary wool; under the microscope, its fibres are
much finer than is customary, which gives the fabric its distinctive softness, suitable even
for the most sensitive skins. The additional satin weave, which gives resistance and volume,
provides a rich, full handle. A classic press finish creates a subtle silky sheen, which looks
and feels impeccable – ideal for the connoisseur who values quality, comfort and traditional
craftsmanship more than mere fashion. A double-breasted suit in fabric N°752037 is without
doubt the choice par excellence to represent your company, your party, or your true self in an
impressive way, with outstanding elegance.
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FABRIC N°500878
AND
MR. NIGHTLIFE
If you want to celebrate life to the full and in sheer luxury, then ‘Velvets’ is what you are
looking for. This vibrant collection offers a wealth of colour, for every possible festive
occasion. Quality in variety is what this collection stands for – take the fancy velvet beauty
N°500878, a typical British fabric traditionally associated with nobility and the arts. It is
composed of delicate cotton fibres, which must be treated with care. The fibres are drawn
in a single direction and are evenly distributed, with a dense pile for a distinct, tufted feel.
Character, noblesse and elegance all in one! Just perfect if you are seeking a formal dinner
jacket with an extraordinary touch to catch the eye of your fellow guests, all night long.
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FABRIC N°851987
AND
MR. EXPLORER
Ultrafine lambswool and top-class cashmere are combined in an exceptionally fine jacketing
that is just right for Mr Explorer’s leisure-time requirements. He appreciates the subtle
brushed quality that leaves this cloth gently voluminous and delightfully warm. On a soft grey
shade, the blue-and-white checks and fine red overcheck present a marvellous example of
updated British style of the finest quality. Mr Explorer knows Scabal can offer him plenty of
complementary accessories too.
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FABRIC N°702806
AND
MR. NATURAL
If you are a businessman who likes to keep in touch with his natural side, then the ‘Flannel
and Saxony’ collection is exactly your type. Originally a fabric popular with lumberjacks
and woodworkers, flannel became famous for its excellent warmth-keeping qualities. Its
luxury version, in Super 130’s wool with a fashionable British design, will seduce all modern
heroes. The renowned Saxon wool gives the flannel a voluminous and fleecy feel, enhanced
by a special treatment with warm water and natural soap. A high-quality flannel is always
characterized by a very good finish – rubbing the flannel with soap gives it a less ‘clean’ look
and makes the fabric woolly and thicker than average, while staying supple in appearance and
handle. Perfect for a waistcoated suit to keep you warm and elegant during the cold winter
months and give you all the daily softness you need.
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FABRIC N°703075
AND
MR. UP-AND-COMING
Black is back, being more stylish, elegant and powerful than ever. Its magical slimming
properties are well known, and are done justice by Scabal’s new range, ‘Black and Fashion’.
Add to this a clean finish and a new slim-fit model, providing contemporary elegance to
the silhouette, the result is a refined, urban look. This young collection offers twelve fabric
qualities, from Super 100’s to Super 120’s, and various dark shades with modern designs.
The fabrics’ micro design looks uniform at first sight, but up close, sophisticated small
details appear. All the fabrics are durable and perennial, which makes them perfect for
business suits as well as special occasions. Just right for the cosmopolitan young man, ready
for his first Scabal suit.
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FABRIC N°801587
AND
MR. WEEKEND
It’s back to basics with this 100 per cent woollen pleasure. No fringes, no grand effects,
just plain good quality. At the base of this ‘Gallery’ collection lies our rigorous selection
of Merino wool, whose natural fibres are much finer than those of traditional wool. Wool
gives the fabric its insulating properties. It regulates temperature well and even when wet,
it retains warmth. Scabal’s wool is treated naturally and slow-washed to ensure that it
remains soft on the skin and does not shrink. Once woven, the woollen yarns acquire more
volume following a subtle brushing treatment. The result is a warm but pleasantly light
and easy-to-handle fabric, rooted in traditional craftsmanship, reflecting a modern taste
through its crisp design. The ideal base for a casual unconstructed soft jacket to take with
you as a loyal on-the-road companion during all your weekend trips.
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AUTUMN – WINTER 2011 – 2012 STYLE ADVICE
WHAT YOU SHOULD
WEAR THIS WINTER
It is quite normal to become excited about the warm days of summer, but many menswear
fans prefer the autumn and winter months. And Autumn-Winter 2011-2012 is going to be
particularly pleasing, writes Eric Musgrave, for anyone who appreciates gorgeous luxury
fabrics such as flannel, lambswool-cashmere blends, bold checks and velvet.
T
he man who appreciates the delicious
British-inspired (and almost always
British-made) qualities produced by
Scabal is probably confident enough in
his own style not to follow the trends
presented on the top catwalks too
slavishly. But for their next AutumnWinter collections, many of the
designer names of Milan and Paris
presented trends that strongly mirror the offerings from
Scabal.
There should be no surprise that the current economic
pressures around the globe have resulted in a realization
that quality, luxury and great design represent really good
value. In cloth and in clothing, you get what you pay for – I
have learned from years of experience that there is rarely
any disappointment in aiming for the best you can afford.
1. BACK TO FLANNEL
“Flannel has not been around in northern European markets
for a long time,” observes Olivier Vander Slock, Scabal’s
Collection Manager for ready-to-wear and made-to-measure
ranges. “So for many customers flannel will be something new.
As well as for suits, flannel is very well suited to trousers, especially
when the weight is increased from 280 grammes up to 340
grammes or even 360 grammes.” Jacket, Open Collection, n°402509 – Trousers, Flannel and Saxony, n°702835 –
Coat, Flannel and Saxony, n°702818
1
Jacket made with fabric n°702800 from the Flannel and Saxony collection
© Scabal
So for next autumn, I’ll be looking out especially for the
return of flannel, that quintessential suiting material. With
its slightly raised surface or ‘nap’, Flannel feels warm. As
climate change presents many major markets with colder
winters than are usual, savvy men are going to decide
that they no longer want to wear the same midweight or
lightweight suit for 12 months of the year. Grey flannel
is the classic variation of the cloth, but there is also the
newly fashionable blues and browns, plus appealing checks
and stripes.
Find your local retailer at:
www.scabal.com
‘QUALITY, LUXURY AND GREAT
DESIGN REPRESENT REALLY
GOOD VALUE.’
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5
2
Three-piece suit made with fabric n°702806 from the Flannel and Saxony collection
2. LARGER AND BOLDER CHECKS
It is highly likely that classic flannel styles will be featured
in W.E., the upcoming movie about the romance of Wallis
Simpson and Edward, Prince of Wales, later the Duke of
Windsor. Financed and directed by Madonna – who has
been known to wear men’s suits herself – this film promises
to be a fillip for sales of classic, stylish menswear.
Prince Edward – or David to his family and friends –
was famous for his love of checks. In fact a variation of the
classic Glenurqhart check is often erroneously called a Prince
of Wales check – it originated in the 1840s, so was very
popular long before George V’s son became a fashion icon.
But luckily for aficionados of the classic British checks, Scabal
has plenty of subtly updated versions to offer for next autumn.
I am most excited by jacketings, as jackets-and-trousers are
so much more versatile than suits. They can be dressed up
with a shirt and tie or dressed down with a sweater and a
cosy scarf. “Naturally we have plains and semi-plains in jacketing
fabrics,” says Michael Day, Fabrics Designer, “but even more
eye-catching for next autumn are the checks, which are often a little
larger and bolder than normal. As well as playing with the scale,
we have, for example, updated glen checks and woven designs that
feature double windowpane checks.”
Jacket made with fabric n°801580 from the Gallery collection
3. SMART AND RELAXED JACKETS
The colour themes for jacketings – best seen in the Gallery
and Autumn Leaves bunches – are right on trend. Well
worth close examination is the medium blue collection,
the medium brown teamed with olive accents, and the camel
shades, which will be prevalent for autumn 2011.
Smart dressers will be pleased that the new checks and
colour combinations provide ample opportunities to bring
in colourful furnishings and accessories. Look for the strong
accent shades of orange and yellow on light greys. Or reds
from Bordeaux to zingy crimson on blues or deeper greys.
To complement the jacket fabrics, Scabal is also majoring
on winter cottons and brushed cottons for trousers, plus the
autumn favourite, corduroy. Woven from cotton fibres for a
beautifully full ‘handle’, the Corduroy offer runs to
50 different variations of weights, colours and “wales”
(the actual name given to the cord structure). In a similar
vein, but much more dressy, that luxurious favourite, velvet,
is making a strong comeback for next season. As well as
expected shades like black and navy, customers should be
delighted to find on-trend camel and punchy light pinks –
what a great option for an evening jacket to remember.
4
Jacket made with fabric n°801578 from the Gallery collection, cashmere scarf by Scabal
4. BLAZING CASHMERE, SCARVES LIGHT
UP, GREY SHADE SUITS
Appropriately for winter, greys and black-and-white are well
represented in the fabrics and clothing collections. Greys
are surprisingly versatile as they can be worn tonally – with
different shades of grey worn in the same outfit – or they act
as a neutral background for flashes of colour in knitwear,
shirts-and-ties or scarves. Fans of this last item may find
hard to resist the 100% cashmere British-made scarves that
come in 20 shades. Or its reversible options, that has printed
silk on one side and luxurious 100% wool on the other.
5. SLIM FIT
Black & Fashion will be a popular choice with Scabal’s
growing numbers of ‘Made By You’ customers who want
something a little individual in their outfits. The refined
sensibility of the collection will also be well represented in
a new slimline ready-to-wear model that Scabal is calling its
‘S Model’. Designed with a younger man in mind, this
silhouette has a markedly narrow shoulder and a very narrow
lapel on a noticeably shorter jacket – this spare, almost
cropped, look was also prevalent on the designer catwalks for
next season. Appropriately, ‘S Model’ trousers are flat-fronted
and clean styles with narrow legs.
© Scabal
3
Suit made with fabric n°703075 from the Black & Fashion collection
Whether through the elegant formality of a suit, or the more
relaxed look of a softly constructed sports jacket and flannel
trousers, the new collection of cloths, ready-to-wear ranges
and made-to-measure options will be highly popular for
Autumn/Winter 2011/2012. It seems a shame that we all
have several months to wait until these delights are available.
Roll on autumn, I say!
UNBELIEVABLE TOUCH
That delightful combination fits in very appropriately to the
trend for Autumn/Winter 2011/12 that is all about tactile
fabrics, cloths that just begged to be touched, stroked,
caressed and admired. Michael Day draws particular attention
to a new bunch – Royal Ultimus – that comprises mainly Super
150’s in cashmere. “These are just unbelievable to the touch,” he
enthuses. “Typically they are semi-classical with discreet designs
but at 320 grammes these are meaty suitings.”
Also brand new for the upcoming autumn season is Black
& Fashion, a bunch of dark cloths including black, deep
browns and intense navy blues. In keeping with the trend for
tactile handles, the range of mainly Super 100’s and Super
120’s features interesting micro-constructions, weave effects
and shadow designs that look plain from a distance, but turn
out to be rather complicated weaves when examined closely.
Eric Musgrave
Clothes: Scabal – www.scabal.com
Shoes: Ambiorix – www.ambiorix.be
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DRIES VAN NOTEN:
A TRIBUTE TO COLOURS
AND TRADITION
As a manufacturer of fine cloth, Scabal frequently provides fabrics to top fashion designers who
buck trends. Among them, Dries Van Noten, who shows his passion for colours and craftsmanship.
O
art gallery. “We had to rework quite a
lot of it,” he explained. “We found a
manufacturer in Belgium who could still
do this kind of work. Ten layers of orange
paint had to be applied underneath the
lacquer to get the original colour.”
After a game of musical chairs (if
this can be said of jostling to find a
standing spot), I finally tucked myself
next to a statue and prayed that no
one would stand in front of me. The
people next to me were passing time
in anticipation of the show by taking
hits from a small metal flask. Despite
being spatially challenged, the marbled
hall has a ceremonial atmosphere,
especially with the statue of a horserider looming over the blogger Diane
Pernet’s vertical hairdo.
One of the challenges of putting
on a show is finding a venue that
complements the clothes. As the show
began and young models descended the
stairs in their double-breasted English
suits with strong shoulders, trimmed
with fur and full-leg trousers, I
understood why we had to endure this
claustrophobia – the Duke of Windsor
himself would not be ashamed to be on
that catwalk.
“I was not planning to use this as a
venue” said van Noten when I spoke to
him the next day, “but when I saw it, I
said, ‘This is it.’ I really wanted to have
something heroic and this was perfect. The
architectural atmosphere of the space, the
huge white cube and the horse statue – it
all looked unreal. It showed the glamorous
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© Theirry Chomel
ne winter evening, before
renowned designer Dries
van Noten’s show, a crowd
bustled outside the venue,
Musee Bourdelle, which
was tucked away in a side-street near
the Montparnasse railway station in
Paris. Outside, desperate hangers-on
were held back by the implacable PR
watchdogs, while inside the buyers
and press were trying to squeeze into
the Great Hall, where stand the most
prominent statues of Antoine Bourdelle,
one of Rodin’s most prolific students.
Belgian designer Dries Van Noten
and the military side of the collection. The
military precision that I wanted to reflect
was also present in the space.”
The military elements in this
collection were distinctly van
Noten’s – the elegance of their clothes,
with their heavy gold embroidery,
harked back to the officer uniforms
of the nineteenth century. “Military is
always there in menswear, in one way or
another,” said van Noten. “In menswear
I always refer to traditional things, and
military is one of them.”
This respect for tradition can also be
found in his new men’s store in Paris,
where we met for a brief conversation.
Located on the left bank of the Seine,
opposite the Louvre, the boutique is an
exercise in reverence. Van Noten and
his design team worked painstakingly
to preserve the original lacquer of the
1970s interior of this former primitive
This is the fourth van Noten shop
in the world, besides the women’s
boutique next door, a store in Hong
Kong, and the original in Antwerp,
which is one of the most impressive
shops I have ever been to, something
straight out of Zola’s The Ladies’
Paradise. “It’s quite rare to find an old
shop space in Antwerp,” said van Noten.
“This was the only store where all the
original interior was in place. In 1950s
the ceilings were lowered in the space, so
we had to restore everything to its original
condition.”
Despite living and working in Antwerp,
van Noten feels equally at home in
Paris. “I love the city, and I love this
particular spot. You look outside and you
see the river, you see the Louvre, and I think
it’s a magical place to be.“ The vibe of
the men’s store is quite dandyish, and I
thought that Oscar Wilde wouldn’t feel
out of place here. In addition to van
Noten’s own collection, the front room
of the store houses shaving products
by the English barber Geo F. Trumper.
“It’s a way of showing my respect for
tradition,” said van Noten. “I am not
nostalgic, but I have enormous respect for
the skills and craftsmanship of the old time,
which is something I try to incorporate in
my collections.”
‘I LIKE TO STAY IN
THE STUDIO AND
WORK WITH MY
TEAM ON ALL THE
FABRICS, ALL THE
COLOURS.’
Van Noten comes from a sartorial
family. His grandfather worked as a
‘retourner’ in the 1920s. Men who had
worn out their suits would come to his
workshop, where he would take them
apart, turn the fabric inside out, and
put them back together. Having made
a bit of money, in the 1930s he became
the first Antwerp-based producer of
ready-made garments for men. Van
Noten’s father had a store selling
luxury clothing in Antwerp, so it was
natural for his young son to enroll
into the fashion programme at the
Antwerp Royal Academy of Fine Art.
Upon graduation, van Noten was one
of several young designers who took
their clothes to London fashion week
in 1986, and who forever went down in
fashion history as ‘The Antwerp Six’.
Van Noten is most famous for the
combinations of colours that permeate
his clothes, especially in his women’s
line. Whether subtle or obvious,
they have an arresting quality, as if
a rainbow exploded and spilled its
contents onto fabric. His keen eye for
colour is probably unrivalled in the
fashion industry, but he underplays his
talent with typical Flemish modesty.
“You just start to work on it, sometimes it
just happens,” van Noten said, “ but not
always. I like to play with colours, I like
to create tensions, unexpected things with
colour. I also love to garden, so maybe it
has something to do with that.”
Besides gardening, van Noten is also
an avid art buyer, although he hates
the word ‘collector’. “A collector is
someone who collects a certain artist –
I just buy what I like.” Indeed, several
art works from his own collection
lined the walls; a painting by van
Dyck sits in unexpected harmony with
an old Japanese calligraphy print.
Despite achieving renown, van
Noten keeps a low profile. His colour
patterns in the clothes sometimes
resemble those found in traditional
Middle Eastern dress, and his
beautiful scarves are often decorated
by Indian craftsmen. “In fashion, you
can travel as much as you want, you can
go to all the big cities. But I am also a
very hands-on designer. I like to stay in
the studio and work with my team on all
the fabrics, all the colours.” After a brief
pause, he added: “Actually it’s the part
of my job that I enjoy most.”
Impervious to trends, van Noten has
gained a loyal following over the years
without posting a single ad in a fashion
magazine. For any such designer, being
outside of the fashion game can reap
its benefits. In today’s world of fashion
cool, dominated by the black-clad show
attendees, his colourful clothes have
an unexpected freshness. “I think I can
proudly say that we have a loyal client
base all over the world,” said van Noten.
“People stay attached to our clothes. They
don’t wear them only once or twice, but
continually combining the old with the
new, which is the way I see fashion.”
DRIES VAN NOTEN’S KEY DATES
1958: Born in Antwerp, Belgium
1973: Began working with his father in his
tailor’s shop and attending fashion shows
with him.
1976: Started a fashion design course at the
Royal Antwerp Academy.
1985: Started his first fashion line.
1986: Presentation of his menswear collection
in London.
1989: Opening of his first boutique,
Het Modepaleis in Antwerp in an 1881
redbrick atelier that once housed the
shop of his grandfather’s rival.
1991: Staged his first menswear show in Paris.
2004: The book Dries Van Noten 01-50 celebrates
the 20 th anniversary of the business and
his 50 th show.
2007: His first Paris boutique opens on the
Quai Malaquais.
2008: Awarded the International Designer
Award from the CFDA and an honorary
‘Royal Designers for Industry’ award
from the Royal Society for the
encouragement of Arts, Manufactures
and Commerce (RSA) in London.
2009: Awarded the ‘Chevalier de
l’Ordre des Arts et des Lettres’
by the French Culture Ministry.
Eugène Rabkin
© DVN
DESIGNER IN VOGUE
Autumn-Winter 2011-2012 Collection by Dries Van Noten
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SCABAL ON STAGE
DRAMATIC DRESSING
Scabal, globally renowned for its fine fabrics, has also developed a strong
reputation with the wardrobe designers of Europe’s leading theatres.
He says Scabal fabrics have been used
by the television production industry
for period pieces and were also used to
make some of the costumes, including
wizard capes, for the Warner Brothers’
Harry Potter series of films.
© Michele Crosera
Tieppo meanwhile reels off a list of
productions of different ages put on by
Teatro La Fenice where Scabal fabrics
have been used for the costumes,
including Verdi’s Rigoletto, Mozart’s
Don Giovanni, Gounod’s Romeo and
Juliet and Puccini’s La Rondine.
Teatro La Fenice in Venice
M
any an actor has
trod the boards
declaring: “For
the apparel oft
proclaims the
man”. And this
tenet, passed on
by Shakespeare’s Polonius in the play
Hamlet, has been taken truly to heart
by the wardrobe managers of theatres
across the globe.
For stage costumes, it is imperative that
they reflect the character. A royal aide,
for example, must surely dress the part
if he is to command a stage presence.
Wardrobe designers also need good
38
I
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quality materials which can withstand
the wear and tear of night after night
of punishment. With its wide range of
fine fabrics, Scabal not only dresses
some of the world’s leading actors off
stage but its wares are used by wardrobe
managers around the world when
they are looking for that extra special
something to make an outfit perform as
strongly as the actors themselves.
Scabal’s forays into theatres started
early on. Peter Thissen, chairman of the
company, says: “We discovered theatre a
long time ago… I was a theatre freak at the
time; I had studied theatre and I had a lot of
contacts.”
He describes the velours as “very fine
and light” and thus well-suited to,
for example, costumes for 18th
century productions. An added
advantage with these fabrics is that
the performers do not get too hot –
a concern for actors belting out their
lines under harsh stage lights.
FROM MILL TO STAGE
SPANNING THE AGES
Evidently, a brand like Scabal is a
destination of choice for any wardrobe
manager looking for classics such as
blazers, gentlemen’s suits and smoking
jackets. Actor Daniel Craig, for
example, wore a suit made with Scabal
fabric in his reprisal of James Bond in
Casino Royale.
“In the theatres, there are many modern
productions from the 1940s, 1950s and
1960s and in the Scabal collection, we can
always find cloths which are difficult to
find elsewhere,” says Carlos Tieppo from
famous Teatro La Fenice in Venice.
Scabal offers more than 5,000 fabrics,
mainly produced in Huddersfield,
United Kingdom, where Scabal’s mill
is located.
J. Peter Thissen explains how Scabal
works with theatres, making sure
that they get what they need in time:
“We have two main ways of doing
business: immediate deliveries where we
deliver the final design within 24 hours –
this is very important for theatres because
they are always under time pressure –
and special requests such as a the
remaking of smoking jackets. We do
whatever they need.”
Such business may be generated
by sales agents visiting wardrobe
© A.T. Schaefer
But this only accounts for part of its
business. While not an obvious port
of call for period costume, Robert
Oakes, UK sales agent for Scabal,
says: “We have a lot of cloths for classic
suiting as well as some fantastic velvets
which can be used, for example, in an
Elizabethan production.”
Les Troyens – Die Trojaner: Actors wearing Scabal fabrics
departments of theatres to present the
latest collections. Much business is
also generated through Scabal retail
outlets such as its Savile Row address
in London.
Rudolf Verheyen represents Scabal
in Germany and supplies many of the
country’s theatres and opera houses
as well as notable figures from politics
like former chancellor Helmut Kohl,
says: “Fabrics are with the customer
the very next day, ready for cutting and
further processing.”
Once with the customer, these fabrics
will then be put through their paces.
“This may entail something like dyeing
or printing, embroidery or embellishment
and of course the fabric might well have to
withstand the rigours of being broken down,”
says Morag Feeney-Beaton, Stockroom
Supervisor in the Production Costume
unit of the Royal Opera House.
In many productions, the garments
could be splattered with fake blood
or ripped on stage as part of the
production. Oakes comments: “It amuses
me that they buy these really beautiful cloths
and then distress them.”
CUTTING THEIR CLOTH
Selling to clients in theatre companies
is not without its complications.
As with many industries in these
post-financial crisis days, there are
conscious efforts to cut costs. Added
to that, government funding for arts
and culture is one of the first areas to
suffer when a recession starts to bite.
“With the arts industry on a knife edge at
the moment in the UK with budget cuts,
it’s a tough time for theatres. They all get
grants but these are being slashed by the
government,” explains Oakes. Over in
Germany, it’s much the same picture.
“Financial resources in recent years have
been very limited,” says Verheyen.
A trend therefore is for theatre
companies to focus more on
contemporary productions rather
than potentially more costly historical
dramas where the costumes can be
something more of a feat, a costly one
at that, for wardrobe managers. “If
they don’t have to make it, they buy it. But
it can be difficult with a period piece and
in these cases, they often have to make it,”
says Oakes.
But it’s not all doom and gloom.
“Clients are quite price-conscious as
well but having said that, if a cloth is
expensive and they really need it, they’ ll
buy it. If it has to have the look, it has to
have the look,” adds Oakes. One way to keep the cost down is to save
the high quality fabrics for the stars
of the show. “Most of all, we use Scabal
cloth to make costumes for soloists. Scabal’s
fabrics have a certain price and we cannot
give them to all cast figures. Such chic
material is for the soloists,” says Tieppo.
BESPOKEN
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39
position now for eleven years. I like leading
people on the one hand, and I love theatre
and costumes, so this position is ideal.
Verdi’s Rigoletto (left), Puccini’s La Rondine (middle) and Mozart’s Don Giovanni (right), three shows at
La Fenice in which actors wear costumes made from Scabal fabrics
There may also be times when pieces
from a previous production will be
recast in a revival. Occasionally, new
costumes will have to be made and
that’s where Scabal can help. “We
have the opportunity to work together to
find a fabric that is so similar it will fit in
perfectly with the production,” she says,
adding that this was the case with a
recent revival of La Traviata.
Quality of service plays a role
too. Tieppo says: “We have a good
relationship with the people who work
at Scabal. The sales agent is always
available and if we do not have the right
material, the agent will always help us.
For some people, it doesn’t matter but for
me this is very important.”
©Jürgen Hartmann
INTERVIEW
Werner Pick, Head of Staatstheater Stuttgart’s
Costume Department
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Staatstheater Stuttgart is one of the
most prestigious theatres in Germany.
This cultural institution was built from
1909-1912 by the Royal Court of
Prussia and is now considered as
the world’s largest tri-discipline
theatre, which stages very successful
performances of opera, theatre and
ballet. Creating costumes for this
kind of institution would appears to
be a dream job, and we wanted
to know more. Scabal’s German
representative, Rudolf Verheyen,
introduced us to Werner Pick, who
has been the head of Staatstheater
Stuttgart’s costume department since
2000. The designer talks about his
passion for cloth and drama, and
opens the curtains on his profession.
It may be a market which is highly
competitive, cost conscious and facing
budget cuts but for theatre, the whole
package has to be there to create the
dramatic effect required to delight the
audience – and that includes dressing
to impress.
Emma Portier Davis
How and when did you first encounter
Scabal?
I have been working with Scabal for a
long time, but I only visited the company
for the first time in Brussels in 2009. I was
fascinated by the combination of steady
innovation with the knowledge of tradition.
Scabal embodies both in perfect harmony!
What kind of Scabal fabrics do you
prefer?
As to the colour – classic black, as to
the material – smooth, comfortable and
cuddly. Scabal Velvet fabric meets all my
requirements!
What will be your fashion touch for
next winter?
Especially in winter, I have to care for
multiple layers as I stay in different rooms
with different temperatures at work and I
normally come to work by bicycle! I will try
out knitted layers, but never without sack
coat or other jackets. My basic colour is
black and I shall not change it, but mix into
it gray, green or rust.
Interview by Jérôme Stéfanski
‘OUR STAFF COMPRISES AROUND 200
PEOPLE IN 15 SUB DEPARTMENTS AND WE
PRODUCE 5,000 COSTUMES PER YEAR.’
Head of the costume
department of Staatstheater Stuttgart
– was this a childhood dream?
WERNER PICK: No, it was not. I had quite
different plans. Costume design came to me
more or less as an after-thought.
How did you get here? What is your
background?
After school I was not sure of the route to
take. I took an education in a pedagogical
profession and, after this, I participated in
independent theatre productions backstage
and was responsible for the costumes. Art
had always been interesting for me, so I
could see myself working in costume design.
In order to become more professional,
I started to study at the Universität der
Künste in Berlin. After that, I achieved
my first contract as head of a costume
department. In Stuttgart, I have held this
© Martin Sigmund
All in all, it’s a question of quality
of the fabrics and this accounts for a
thriving business even during times of
tight budgets. Verheyen in Germany
explains that Scabal’s reputation for
high quality and its insistence that it
only works with the best materials has
kept its working relationship with the
sector healthy.
Where do you find your inspiration?
Art itself provides the inspiration, and
the variety of tasks that demand different
perspectives for opera, drama and dance.
Maybe it is the most beautiful professional
work, when you can always co-operate with
artists. Personally, I draw energy from
nature, visual arts and music.
Off-stage, what is your daily sartorial
style?
This can be very variable and I do
not make a huge difference between
professional and private life. As I am
working in an artistic environment I can be
casual in my own style. I like comfortable
knitted jackets, as to the pants it can be
jeans or something more extravagant.
Lately, I have rediscovered traditional
garbs as an inspiration. I like to renew
combinations every day.
BESPOKEN:
© Martin Sigmund
That’s not the only reason why
endurance is important. Feeney-Beaton,
at the Royal Opera House, says: “As most
of the Royal Opera House productions
stay in the repertoire for many years, the
life of any of our costumes will be long
and unforgiving. It therefore goes without
saying that good quality fabrics are a
prerequisite for each and every one.”
How many costumes are made each
year in your workshops?
We do not manufacture all our costumes;
sometimes they are bought, some are
second hand or we reuse older costumes.
In our workshops, we produce around
5,000 costumes per year. Beyond that, we
produce shoes, hats, jewellery, weapons,
armour and we are responsible for makeup and wigs.
How many metres of fabric do
you need, on average, to create a
costume?
That depends on the costume, starting
from 50cm for a vest or accessory. Huge,
historical costumes can need anything
from 20 up to 30 metres. For a tutu, we
need many metres of tulle, for example.
How many people work in your
department?
It’s like a company within the company –
our staff comprises around 200 people in
15 sub departments, with an additional 20
trainees in five different professions.
Staatstheater Stuttgart
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SPECIAL FEATURE
FORMAL
WEAR
FORMAL WEAR CULTURES
FORMAL WEAR AS A
CULTURAL HERITAGE
In our European and North American countries, we all know the traditional white tie and
black tie. But world is wide. Let’s cross the borders and meet particular formal outfits that
reflects local heritages.
FORMAL WEAR CULTURES
FORMAL WEAR AS
A CULTURAL HERITAGE
— 43 —
BACK IN THE DAY
FORMAL WEAR ORIGINS
— 46 —
THE BESPOKE COACH
BLACK OR WHITE TIE?
STICK TO ETIQUETTE,
GENTLEMEN
— 48 —
AUTUMN-WINTER
2011-2012 ACCESSORIES
— 54 —
SCABAL ACROSS THE WORLD
AN ENGLISHMAN IN NEW YORK
— 56 —
STYLE TRIBUTE
GARY COOPER: THE DEMOCRATIC PRINCE
— 59 —
INTERNATIONAL AGENDA
FOLLOW THE DRESS CODE
— 62 —
S
ome of them are
very well-known
as the Scottish kilt
and the Japanese
kimono. Other
are less popular
outside their native
country. In all
the cases, their precise origins and
the way the are still worn today stay
generally neglected. Follow the guide
and do not hesitate to keep your black
tuxedo home when you visit one of
these countries for a formal event.
THE SCOTTISH KILT
That most Scottish of garments, the
kilt, was developed by an Englishman,
Thomas Rawlinson. In 1727 he set up
an iron-smelting furnace in the north
of Scotland with the help of a local
regimental tailor he shortened and
simplified the long plaid cloth that
the local workers wore around their
bodies. In the 19 th century English
landowners in Scotland adoptedthe
outfitin a romantic way, but despite
national rivalries Scots all over the
world proudly wear it as their national
dress. Some wear the kilt as regular
day attire, but more commonly it is
worn as formal dress for weddings,
evening dinners and celebrations.
The pleated skirt, fastened on
the waist with side adjusters, just
hits the knees. The classic formal
accompaniment is a short,singlebreasted, black jacket, a neat
waistcoat, white shirt, black bow tie,
and a sporran, the wallet slung from
a chain at the front of the kilt. Heavy
brogues, thick socks and a skean dhu
(a decorative knife) down the sock
complete thetraditional Highland
outfit. Growing in popularity as an
alternative to the kilt today are trews,
tightmilitary-style trousers without an
outside seam. Whether kilt or trews,
the cloth must be tartan, of course.
The Scottish kilt
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43
THE ARABIC THAWB AND BESHT
The West African dashiki
The Arabic thawb and besht
The Indian and Pakistanis sherwani
Across the Arabic world a man’s
ankle-length tunic is known by a
variety of names, including thawb, thobe,
dishdash, dishdasha, kandura or suriyah.
It serves the necessary purpose of
giving total coverage to protect against
strong sunlight, while with layered
undergarments it conserves body
moisture and heat. Under the thawb
is worn the sirwaal, long underpants
elasticated at the waist. Traditionally the
gown is made of cotton for the summer
and wool for the colder months. Highquality English and other European
wool cloths are much treasured by
Arab gentlemen. There are regional
differences between the looks of the
gown. The sleeves can be short and
wide, or tapered like a European shirt,
and fastened at the wrist with cuff
links. A small stand collar can offer a
more formal appearance. The placket
can be embroidered. Thawbs in north
Africa sometimes have hoods but more
normally the man would wear a scarfheaddress known as a ghutra, which is
secured to the head with a circle of ropelike cord called an agal. Some people
regard a longer thawb as representing
royalty, status and wealth. Another
symbol of power and affluence is the
besht, a generous thick cloak worn at
night, and the mashlah, a fine lightweight
cloak sometimes bordered with gold and
worn at ceremonial occasions.
THE WEST AFRICAN DASHIKI
The Japanese kimono
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The Hausa babbanriga
Dashiki means shirt in the language of
the Yoruba, the most populous ethnic
group of West Africa. A colourful
men’s garment covering the top half
of the body, the dashiki is widely worn
in the region.Typically it is a loosefitting pullover garment, with an
ornate V-shaped collar, and tailored
and embroidered neck and sleeve lines.
In its most formal versions a tailored
dashiki is worn with drawstring pants
called sokoto (named after the Nigerian
city of Sokoto) and a matching cap
called kufi (after the city of Kufi in
Nigeria; the word means crown).
A white dashiki suit is the wedding
outfit for most West African grooms.
The traditional, short-sleeved, thighlength dashiki is preferred by purists,
but the shirtscan be knee-length or
longer. In West Africa, a man’s tribal
affiliation governs his mode of dress.
When wearing African attire to a
formal event, any color is acceptable.
Today, some men prefer to wear
black with gold embroidery, or dark
blue with gold embroidery, to blend
in with the dark western tuxedos.
The most common non-traditional
colours for wedding suits are purple
and lavender (the colour of African
royalty) and blue (representing love,
peace and harmony).Pattern through
print, weave, embroidery and brocade
make the vibrant cotton dashikis very
flamboyant.
THE INDIAN AND PAKISTANIS
SHERWANI
The long sherwani tunic first appeared
in the 1700s during the British period
of rule and was a fusion of the local
shalwar kameez outfit with the British
frock coat. Originally dress for nobles,
especially Muslims, it was later adopted
by a wider population as a westernised
version of local dress. After its
independence in 1947, it was made
the national dress of Pakistan. In the
west, a short version of the sherwani
became known as the Nehru jacket (see
page 47), after Jawaharlal Nehru, the
prime minister of India from 1947 to
1964. Today most fashionable grooms
in India and Pakistan choose a sherwani
for their bridal outfit. One difference
is that Indians prefer to wear churidars,
or tight-fitting trousers, while their
northern neighbours prefer salwars,
trousers which are wide at the top and
narrow to the ankle. Churidars tend
to be much longer than salwars and
the excess length falls into folds at
the ankle. Collarless or with a small
stand collar, the tailored sherwani,
which drops below the knee, is lavishly
decorated for the groom, particularly
echoing patterns from northern
India. A cloth like raw silk provides
textural interest while like shiny beads,
precious gems, sequins, embroidery
and brocade on the collar, neckline,
front panel and at the cuffs indicate
wealth, status and celebration. A
flamboyant turban usually completes
the stunning outfit.
THE JAPANESE KIMONO
For most Japanese men the kimono is
a special occasion garment, worn only
at weddings, tea ceremoniesand other
very formal occasions. Professional
sumo wrestlers are often seen in a
kimono because they are expected to
wear traditional costume whenever
appearing in public. The word literally
means an “object to wear” and was
adopted at the turn of the 20 th century
to rename the kosode, a historic
Japanese robe that dates back at least to
the 1700s. Kimonos are open-fronted,
T-shaped, straight-lined, ankle-length
robes. They have attached collars
and sleeves that are wide and long for
women, but shorter for men. Kimonos
always are wrapped from the left over
the right side of body (except when
dressing the dead for burial). The gown
is secured by a sash, which is tied at the
back. Kimonos are typically worn with
traditional Japanese sandals. The main
distinctions between men’s kimono are
in the fabric. Commonly the kimono
is subdued and dark, in black, dark
blues, greens, and browns. Fabrics are
normally matte, although some have a
subtle pattern, and textured fabrics are
common in more casual kimonos. The
most formal style of kimono is plain
black silk with five kamon, or heraldic
devices, on the chest, shoulders and
back. These are usually paired with
white undergarments and accessories.
THE HAUSA BABBAN RIGA
The tall and striking Hausa people
of northern Nigeria are Muslim.
Organised into a hierarchical imperial
social order across seven Hausa states,
the males know the importance of
spectacular clothes that reflect wealth,
lofty status, religious devotion and
political power. The most splendid
manifestation of this approach is the
Hausas’ superbly embroidered great
robe, or babban riga, part of an outfit
that comprises of a riga (the outer
robe; a second, less full, gown in
worn beneath), a ceremonial turban,
and embellished leather slippers or
boots. The gowns are made of the
region’s luxury textiles, typically
finely spun cotton or silk woven on
narrowband looms and decorated
with embroidery – in keeping with
Islamic beliefs, the patterns will show
asymmetrical, non-representational
motifs. Reaching from the shoulder
almost to the ground, the vast gowns
are draped over long-sleeved shirts
and embroidered trousers.
Eric Musgrave
BESPOKEN
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45
BACK IN THE DAY
FORMAL WEAR ORIGINS
English Regency outfits were the birth of formal wear
T
raditional formal wear
has been produced by
some of the world’s best
tailors and dressers
dating back to the
English Regency.
Prior to that time, aristocratic finery
had been largely a peacock affair,
consisting of opulent materials and
elaborate embellishments. Then
menswear underwent a dramatic
revolution during the Georgian
period, when the popularity of the
‘country gentleman’ look emphasized
horsey, practical clothing. Renowned
dandy Beau Brummell perfected
the look around the turn of the
century, combining the understated
colours and materials of the country
squire with the impeccable tailoring
and exquisite finish of the London
gentleman. At the core of Brummell’s
new look was the tailcoat, a long coat
that had originally been cut away in
front for ease of wear when riding
on horseback which soon became
accepted by the aristocracy as the
46
I
BESPOKEN
new dress coat. Because clothing was
occasion-specific for the leisure class,
different interpretations of the coat
were used for a gentleman’s daytime
and evening wardrobes. Brummell
preferred his evening tailcoats in dark
blue or black and would typically pair
them with a white waistcoat, black
pantaloons or black knee breeches,
white cravat and thin shoes. Other
Regency dandies experimented
with more elaborate versions of this
ensemble, but by the mid-century,
Brummell’s original vision had
become a strict black-and-white dress
code that has been the basis for formal
evening wear ever since. Around
this time, the daytime version of the
tailcoat was replaced by the kneelength frock coat, creating a more
distinct demarcation between evening
dress and the newly coined ‘morning
dress’. Thanks to the unrivalled
dominance of English tailors during
this period, the island’s dress codes
were adopted by nations throughout
the western world.
As the Victorian industrial revolution
unfolded, these dress codes were
adopted by a growing middle class
whose striving towards genteel
respectability led to the rules becoming
increasingly strict. Not surprisingly,
men began to seek a respite from the
practice of dressing like an orchestra
conductor just to eat dinner in their
own homes. Some English squires
began to substitute their tailcoat with a
similarly styled version of the smoking
jacket for less-formal evenings, a trend
that gained legitimacy when adopted by
Queen Victoria’s son Edward, Prince
of Wales. Sartorial legend has it that
American millionaire James Potter then
discovered this comfortable alternative
during a visit to the Prince’s country
estate in 1886 and brought it back to the
exclusive enclave of Tuxedo Park. When
fellow New Yorkers noticed the town’s
residents wearing the novel jacket to
dinner in public, they associated it
with the town’s name, although polite
society generally preferred the British
moniker “dinner jacket”. However it was referred to, the new
evening jacket’s popularity grew
during Edward’s reign as king. Also
during this era, the frock coat was
gradually usurped as formal day
wear by the less formal morning coat
(cutaway in American English), a type
of tailcoat invented in the 1850s that
was originally intended for horseback
riding, like its evening counterpart.
World War I significantly relaxed
social mores, as wars are wont to do.
One of the consequences was the
“semi-formal” tuxedo’s acceptance
as standard evening wear while the
tailcoat became reserved only for very
formal society affairs such as balls,
elaborate formal dinners and a night
at the opera. Another outcome was
the arrival of the black lounge jacket
(stroller in American English) as a
similar alternative for the morning coat.
Both of these Jazz Age developments
were championed by the twentiethcentury Beau Brummell, a dashing
young Prince of Wales, better known
today as the Duke of Windsor. His
global influence continued into the
Great Depression fostered by advances
in tailoring and textiles that led to the
golden age of menswear. This period
marked the acceptance of midnight
blue evening wear and swank warmweather alternatives such as doublebreasted and white dinner jackets. Its
legacy also included the codification of
the accoutrements for the morning coat,
tailcoat and tuxedo, giving rise to the
‘white tie’ and ‘black tie’ classifications
in the process. Not surprisingly, the
standards set during this remarkable
era have been the benchmarks of
proper formal wear ever since.
The sartorial golden age ended with the
advent of World War II, and a further
decline in dress and social standards.
As the business suit became more
acceptable after dark, many began to
regard the tuxedo as special-occasion
attire rather than de facto evening
wear and the tailcoat consequently
became relegated to mostly ceremonial
occasions. Conversely – and
paradoxically – the semi-formal stroller
failed to catch on and the morning
coat remained standard attire for
© Life
Looking to the past is always helpful in a fashion world where trends come and go.
Nothing is more classical than formal wear and this type of clothing should not be
subject to radical change. Nevertheless, history shows how the style was born and its
main evolutions – a classic story that never ends.
Indian Prime Minister Jawaharlal Nehru (1889-1964)
influenced Indian people to fight for their independence
and also inspired fashionistas with his famous
‘Nehru jacket’
formal daytime functions, at least in
Britain. In the more casually inclined
United States, morning dress became
increasingly viewed as an anachronism.
During the counterculture movement
of the 1960s and 70s, traditional
formal wear approached extinction, as
leisure suits and turtlenecks gained
acceptability and youth were warned
not to trust anyone over 30. The
period’s ‘Peacock Revolution’ assaulted
formal attire with a riot of coloured
and flashy materials, an onslaught of
neo-Edwardian ruffles and frills and a
barrage of mod alternatives such as the
Nehru jacket and ‘formal jumpsuit’.
The election of Conservative leader
Margaret Thatcher in 1979 and
Republican US President Ronald
Reagan in 1980 signalled an end to
this bohemianism, as well as the dawn
of unprecedented consumerism. The
result was a boom in formal wear’s
popularity and styling not seen since
the thirties. American tuxedo sales
skyrocketed as the formal suit returned
to its classic black-and-white roots,
while simultaneously being updated
by fashion designers recently imported
from the world of women’s couture.
In the 1990s, some of these stylists
attempted to completely redefine
black tie with band-collar and black
shirts, long ties and uncovered waists,
looks eagerly adopted by the young
Hollywood glitterati.
The Yuppie-era boom finally came
to an end with the rise of GenX and
the ‘age of whatever’, reinforced
by George W. Bush’s and Gordon
Brown’s protests against white tie
and Barack Obama’s ignorance of, or
ambivalence towards, conventional
black tie. Despite this, formal
fashions remain fairly conservative.
In fact, Tom Ford recently revitalized
the tuxedo with a return to goldenage styling, proving yet again that
when it comes to formal wear there
is no better formula for success than
sticking to classical details.
Peter Marshall
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THE BESPOKE COACH
‘POORLY FITTING RENTAL
CLOTHES WILL MAKE YOU
LOOK LIKE A SECOND-RATE
MAGICIAN.’
BLACK OR WHITE TIE?
STICK TO ETIQUETTE,
GENTLEMEN
For this special edition dedicated to formal wear, who better than Peter Marshall, creator of the
website Blacktieguide.com, as the Bespoke Coach? For Bespoken, he offers advice and translates
the meanings of formal dress codes, to help our readers shine at special occasions.
INVEST IN MADE-TO-MEASURE
Should you be fortunate enough to attend such an august
occasion, this is not the time to be a spendthrift. Poorly
fitting rental clothes will make you look like a second-rate
magician, while a properly tailored full-dress kit will foster
the impression of landed gentry. This is particularly true for
the tailcoat. Unlike a regular suit jacket which is relatively
forgiving as long as the shoulders fit properly, tailcoats are
a type of body coat which, as the name implies, must fit
the wearer’s torso perfectly in order to lie snugly against
the chest and waist. In the case of the evening tailcoat this
is even more of a challenge because, although it is cut in a
double-breasted style, it is not designed to close in front.
Other distinguishing traits of the coat include fronts cut
away sharply at the waist leading back to the side of the legs,
at which point the garment tapers down to the bottom of
the back skirt which ends just behind the knee. This skirt
is divided by a long center vent creating the illusion of two
tails and inspiring the early nicknames “swallow-tail coat”
and “claw-hammer tailcoat”.
WHITE TIE ETIQUETTE
AND ATTIRE
ONLY WEAR DARK COLOURS
Black has been the norm for evening wear since the 1850s
and midnight blue – a deeper and richer version of black –
has been a correct and striking alternative since the 1920s.
The use of ebony for evening wear not only creates a natural
harmony with its after-dark environment but also provides
a couple of distinct aesthetic advantages. First, it imbues the
wearer with an aura of dominance and power. Second, when
worn with a white shirt and accessories, the juxtaposition
of black’s complete lack of colour against white’s complete
gamut creates the most dramatic contrast possible.
In the 21st century, the most formal civilian dress code is
largely limited to royalty and high society and, even then,
it’s rare. The only times that ‘white tie’ is likely to appear
on an invitation are for prestigious society balls, society
weddings, public dinners and European state dinners
(notably, white-tie weddings are fairly common in Finland,
Norway and Sweden). At this level of formality the rules are
very strict: they don’t call it ‘full dress’ for nothing.
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BET ON SILK PEAKED LAPELS
Peaked lapels have been standard on the evening tailcoat
© Scabal
B
ooking passage on the inaugural transatlantic
crossing of the Queen Mary 2 seemed like
the perfect excuse to buy a tuxedo. Because
there was very little information available
about proper black tie at that time I decided
to do some field research to make sure
I did not invest in a wardrobe that was
suitable only for a high-school prom. Consequently, I rented
a conservative formal ensemble and headed off to the gala
opening of a Toronto concert hall to see how well my evening
wear would stand up against that the of the black-tie veterans
in attendance. As it turns out, my initial choices held their
own quite nicely. In fact, the only dissimilarity I noticed
was the presence of a satin stripe on the trousers of the
other gentlemen whereas mine were unadorned. However, I
couldn’t help but be struck by how much this minor aesthetic
touch enhanced the outfit’s overall elegance. It was an
important lesson and one that would hit home time and again
as I continued my pre-purchase research: When it comes to
looking your best in formal wear, success in the details.
like formality with a stiff bosom made from plain linen,
plain cotton or cotton piqué (marcella in the UK). This bibshaped layer of fabric is heavily starched to give wearers the
appearance of a firm, flat torso, regardless of their actual
physiques. Traditionally the shirt is tunic style and takes a
detachable wing collar. Whether attached or not, the collar
should be taller than regular shirt collars and should stand
stiffly so as to best frame the wearer’s face. Sleeve cuffs are
barrel style (single cuffs in British English) that fasten with
cufflinks traditionally made of mother-of-pearl to match the
shirt studs.
EVENING TAILCOAT
Jacket and trousers from the Mohair collection by Scabal - reference 702386
Waistcoat from the Festival collection by Scabal - reference 851762
since the turn of the 20th century. Not only are they the
most formal style of suit lapel but their sweeping upward
diagonal lines also create the impression of a powerful
V-shaped torso. They are faced in silk that can be in the
form of smooth satin or ribbed grosgrain. Although the
former is much more common in North America, its shiny,
somewhat theatrical finish is not as popular in Britain,
where the understated look of grosgrain is often preferred.
MATCH YOUR TROUSERS WITH YOUR LAPEL FACING
Trousers match the coat fabric and feature two narrow
stripes or one wide stripe of silk along the outseams, either
braided or in the same material used for the lapel facing.
These stripes serve to cover the trouser’s working seams and
lengthen the perceived leg line in a manner reminiscent of
military dress uniforms (and you know what they say about
a man in a uniform). Full-dress trousers must be worn with
suspenders as it is crucial that the waistband maintains its
position relative to the waistcoat. Formal trousers are never
worn with cuffs (turn-ups in British English).
Never underestimate the role of full-dress shirt
Next to the tailcoat, the full-dress shirt is arguably the
most important component in creating white tie’s regal
bearing. The classic full-dress shirt commands a military-
MAKE IT YOURS
The full-dress waistcoat serves to conceal the bottom of
the shirt’s bosom and the waistband of the trousers. It is
constructed of white piqué and can be single- or doublebreasted but is always cut very low to best reveal the shirt
bosom. Its length is a critical consideration as it must be long
enough to cover the trouser waistband yet not so long as to
extend below the coat fronts. Within these parameters there
is room for extensive variation in shape of the waistcoat’s
revers (lapels) and its bottom edge, making it the sole garment
than may be used to add a personal touch to the otherwise
rigid uniform.
FORGET TIE, THINK BOW TIE
The white full-dress bow tie is made from cotton piqué,
the material of choice since the 1930s. And if pre-tied
neckwear is considered unrefined in a relatively informal
office environment then it can only be viewed as downright
gauche in the context of an ultra-formal social or diplomatic
function. Formal bow ties are meant to be worn outside the
wings of the collar, not tucked behind them.
WEAR FORMAL SLIPPERS
Black formal pumps (men’s court shoes in British English)
have a pedigree stretching back to the royal courts and grand
ballrooms of Europe. They feature a grosgrain bow on the
vamp that is either pinched or lies completely flat. Lace-up
shoes are equally correct provided they have the same slipperlike silhouette and minimal decoration. Either shoe is most
traditional in patent leather although calfskin is acceptable
provided it is highly polished. For similar reasons as the
pump, the aristocratic pedigree and elegant sheen of silk hose
make them preferable to other types of dress socks.
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BLACK TIE ETIQUETTE
& ATTIRE
CHOOSE THE RIGHT TUXEDO
The classic tuxedo jacket is constructed of the same black
or midnight blue material used by the evening tailcoat.
The original and therefore most formal model is the singlebreasted style that has only one button thereby allowing
the front to be cut in a deep V shape that mimics the
wide shoulders and narrow waist of the ideal male torso.
The double-breasted model originated as a less formal
alternative in the 1930s but is now considered just as
acceptable. Tuxedo jackets without vents are the most
slimming and formal although side vents can be more
practical and comfortable.
© Scabal
Paradoxically, although formal proms, weddings and
cruises are the most common occasions for American to
don tuxedos, they are rarely black-tie events. They regularly
feature tuxedos of every hue, pattern and design while black
tie specifically calls for a grown-up version of the tuxedo.
Only men who adhere to the code’s traditional rules are
able to benefit from its traditional benefits: attractiveness,
equality, chivalry and consideration. Attractiveness because
it enhances a man’s appearance more effectively than any
other tuxedo configuration, equality because it raises all
men to the same level, chivalry because it defers to the
more dramatic and sensuous finery of the female guests and
consideration because it respects the host’s desire to make
the evening truly special.
TUXEDO
Jacket from the Mohair collection by Scabal - reference 702386
year-round alternative since the 1950s although it has never
been particularly popular in Europe. It should be of the
same type of silk as the jacket’s lapel facings. Neither type of
waist covering is necessary when the waist is concealed by a
double-breasted jacket which is worn closed.
SHAWL OR PEAKED COLLAR: IT’S UP TO YOU
The most formal style of lapel is the peaked style imported
from the tailcoat. It has the added benefit of emphasizing
height and shoulder width through its upwards and outward
sweep. The dégagé shawl collar option inspired by the
tuxedo’s smoking jacket predecessor is equally correct.
Either lapel style is dressed in the same choice of facings
as the tailcoat although the satin option is particularly well
suited to the shawl collar. Black-tie trousers are as for full
dress except that they feature only a single stripe.
WEAR A DOUBLE CUFF SHIRT
The tuxedo’s original shirt was also borrowed from full
dress and although this stiff-front, stiff -collar option is still
correct many consider it better suited to white tie. Its wing
collars also tend to push against the jowls of short-necked
men and not everyone likes the way it exposes the bow-tie’s
band. If worn, it is best paired with a peaked-lapel jacket
and a waistcoat for maximum formality. More congruous
with the tuxedo’s suit-like styling is the soft-front turndown
collar formal shirt which came into fashion in the 1930s.
It features a bosom decorated with pleats or piqué, closes
with studs and takes French cuffs (double cuffs in UK). Shirt
studs and cufflinks should harmonize and are most typically
black, gold or mother-of-pearl.
COVER YOUR WAIST
Black tie’s original waist covering is the low-cut style of
evening waistcoat used by its full-dress progenitor. It is
made either of wool to match the jacket or of silk to match
the lapel facings. The cummerbund has been an accepted
MATCH YOUR BOW TIE AND YOUR JACKET’S COLLAR
The black bow tie should be a self-tie model in silk to
match the jacket’s lapel facings. Its butterfly or batwing
shape is a matter of personal preference. Footwear is the
same as for white tie.
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© Scabal
Although contemporary society is a highly informal one
with people wearing T-shirts to the office and flip-flops to
church, black-tie affairs still play a role in the social lives of
urbane gentlemen. Some of these affairs are black tie largely
by tradition such as opening nights of major theatrical
productions or designated formal nights on transatlantic
crossings. However, unwritten black-tie occasions are rare
today and vary considerably by city and by social circles.
Instead, organizers are much more likely to specifically state
the dress code on invitations to events that typically include
formal government functions, prestigious charity galas and
formal evening weddings.
Peaked lapel tuxedo - fabric from the Mohair collection by Scabal - reference 702386
UNDER THE SUN ONLY
Finally, during summer in the American south or at any time
in the tropics it acceptable to wear an off-white dinner jacket
with self-faced lapels and a black cummerbund. All other
details for this warm-weather black-tie alternative are the same
as for standard black tie.
Both Bond and Barack also sported an exposed
waist which is fine provided you have a perfectly flat
stomach, never undo your jacket and never move your
arms from your sides. Under any other circumstances
the shirt waist will peak out and ruin the vertical
emphasis that a suit is supposed to engender.
MODERN INTERPRETATION
In addition to the classic interpretation of black tie, many
contemporary etiquette authorities allow for a number of
modern variations. Currently the preference is for a pareddown minimalist look. At its most elegant it is epitomized
by the dashing evening ensemble featured so prominently
in the recent James Bond reboot Casino Royale: a trim-fitting
peaked-lapel jacket and traditional bow tie updated with
a fly-front shirt. At its most pedantic, it is a glorified black
business suit typified by President Obama’s two-button,
notched-lapel, single-vented tuxedo that he so frequently
pairs with a four-in-hand tie. The latter interpretation not
only strips the tuxedo of its formality but also of its aesthetic
benefits. In particular, the long tie cuts the exposed front
of the shirt in half negating the dramatic “V” that normally
enhances the wearer’s physique. It also draws the viewer’s
eye down the wearer’s crotch whereas a bow tie serves to
underscore his face, the proper focal point of any good suit.
‘THE MOST FORMAL STYLE
OF LAPEL IS THE PEAKED
STYLE IMPORTED FROM THE
TAILCOAT. IT HAS THE ADDED
BENEFIT OF EMPHASIZING
HEIGHT AND SHOULDER WIDTH
THROUGH ITS UPWARDS AND
OUTWARD SWEEP.’
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FORMAL MORNING DRESS
ETIQUETTE & ATTIRE
AMERICAN OR BRITISH? SPOT THE RIGHT
TRADITION
The differences between Bond and Barack’s evening wear
typify a similar contrast between British and American
formal day wear. As weddings in the United States migrated
to late afternoon affairs to allow for evening dinner and
dance receptions Americans began to consider the tuxedo
as standard wedding attire. And since they were content
to wear suits to all other important daytime functions the
concept of formal daytime clothes became unknown among
the general public. Meanwhile, in Britain (and parts of the
Continent) morning and afternoon weddings remain the
norm and so does the corresponding tradition of morning
dress. It is worn by grooms, groomsmen and guests at
formal church weddings as well as for formal daytime events
in the presence of The Queen such as Royal Ascot and
Trooping the Colour. Like the evening dress codes, morning
dress requirements were traditionally implied rather than
stated but even the most conventional etiquette authorities
now acknowledge that the literal route is the safest one.
Sartorially speaking, the Americans dropped the ball on
this one. All-black tailcoat and tuxedo suits may appear
debonair in the dark but they are deathly in daylight as
evidenced by their traditional association with mourning.
Morning dress, on the other hand, utilizes a variety of tones
and patterns and even colors to enliven its appearance while
still maintaining an appropriately formal nature.
© Scabal
KEEP IT SIMPLE
As with evening dress, there are two categories of morning
dress. The most formal and most common type features
a black or sometimes dark gray morning coat (cutaway
in American English) which is a single-breasted tailcoat
that closes with one button beneath which the coat fronts
gradually slope away from each other. It is usually made of
wool but with a herringbone weave to add visual interest.
Like its evening counterpart its skirt typically ends just
behind the knees and features a long center vent, has peaked
lapels (although self-faced) and no waist pockets.
© Scabal
HIGH CUT TROUSERS WITHOUT CUFFS
There are a great variety of black, white and gray patterned
trousers acceptable for morning dress but the most formal
and most commonly associated are made of black-striped
dark gray material commonly known as a cashmere design.
As with full-dress, trousers do not have cuffs and should
be cut high enough for their waistband to be covered by a
relatively short waistcoat.
MORNING COAT
Jacket from the Royal collection by Scabal - reference 702631
Trousers from the Festival collection by Scabal - reference 851764
Waistcoat from the Festival collection by Scabal - reference 851762
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FORGET STIFF-WING COLLAR
The shirt may have a white or pale colored body but the
turndown collar should be white and preferably of the stiff,
detachable type to lend it an air of formality. The bodies do not
have bosoms or stud holes but the sleeves should have French
cuffs. Although technically correct, the stiff-wing collar shirt is
notably old-fashioned and discouraged by most authorities.
PERSONALIZE YOUR WAISTCOAT
There is also considerable variety allowed for the waistcoat.
It can be single- or double-breasted and while traditionally
light gray or buff, pale colors are allowed for a more modern,
youthful take.
THE RIGHT TIE ON THE RIGHT COLLAR
With the turndown collar a four-in-hand tie is worn while
a wing collar calls for a dress cravat (dress ascot in American
English). Pale gray or silver woven silk in subtle patterns
such as houndstooth or Macclesfield are most traditional,
especially for groomsmen. Pastel colors are an acceptable
alternative. Like all formal neckwear, the four-in-hand or
dress cravat should be self tied.
BLACK SHOES ONLY
Correct shoes are well-polished black lace-ups either
with capped or plain toes. Black silk or cashmere hose is
traditional but other fine fabric is also acceptable.
TOP HATS AS THE SMARTEST OPTION
Finally, top hats are optional unless you are lucky enough to
be invited to the Royal Enclosure at Ascot. Black silk is the
smartest and most formal choice but such models are very
hard to come by these days. Instead, gray felt with a black
band is now the most common option.
Dress Code
LAST CONSIDERATION
So there you have it, a whirlwind tour of men’s formal wear.
There are a myriad of lesser details that may also be of
interest but the ones described here are enough to send the
average man well on his way to assembling a classic formal
wardrobe. Admittedly, sticking to the rules requires some
amount of discipline as most men are used to dress clothes
that allow them to stand out rather than force them to blend
in. Compliance will also require spending some time to
track down the appropriate garments. However, the return
on investment is enormous.
In my case I premiered my classic black-tie kit at the first
formal dinner on the Queen Mary 2’s historic crossing.
With each step I took down the grand staircase of the
majestic dining room I felt as if I was taking a step
further back in time. The ship’s art deco-inspired décor
and historic itinerary certainly helped evoke a yesteryear
elegance but it was the meticulous yet understated detail
of my own wardrobe that elevated the experience from
passively cerebral to poignantly personal. And that sublime
experience has been the same at every formal evening since
then. I highly recommend it.
Peter Marshall
Find many other formal wear tips offered
by Peter Marshall at www.blacktieguide.com
Morning Dress
(semi-formal)
Morning Dress
Black Tie
(Warm Weather)
BLACK LOUNGE /
STROLLER
MORNING COAT /
CUTAWAY
WHITE DINNER
JACKET
Formal or semiformal daytime
weddings.
Formal
daytime weddings,
formal daytime
occasions in the
presence of royalty.
Black Tie
White Tie
TUXEDO /
DINNER JACKET /
DINNER SUIT
EVENING
TAILCOAT /
DRESS COAT
ATTIRE
Occasion
Semi-formal evening weddings,
formal dinners on cruises,
formal opening night galas
at theater or opera.
Formal
evening weddings,
formal balls,
Royal state dinners.
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FORMAL WEAR ACCESSORIES
SWEET & CHIC
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Photographer: Filip Vanzieleghem
Production: Sylvain Gadeyne
Text and concept: Jérôme Stéfanski
Loyalty is more valuable than diamonds. Filipino proverb
Life is like a box of chocolates, you never know what you’re gonna get. English proverb
Ties from the Diamond Chip Collection by Scabal – Diamond Chip fabric is made from
22 carats diamond fragments blended with pure silk and Super 150’s wool
French macarons by Ladurée Paris  |  Grande Champagne Cognac Louis XIII by Remy Martin
100 per cent silk cummerbund, bow tie and dress cravat with pin from the Elba Collection by Scabal
Belgian chocolates by Neuhaus  |  Champagne Millesime 1999 Rare by Piper-Heidsieck
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SCABAL ACROSS THE WORLD
AN ENGLISHMAN
IN NEW YORK
From Savile Row to Wall Street, British elegance has no borders. In The Big Apple, we met
Leonard Logsdail, a tailor who left London many years ago to live his own American
dream. Now considered as the first celebrity tailor in New York, Logsdail talks to us about
his work and his formal wear approach.
L
SPECIAL OCCASIONS
Leonard began his career with a meteoric rise at a time
when British style was at its zenith. He worked in Savile Row
and went to tailoring college in London, which he says gave
him a pedigree: “At college, I loved the idea that you could take
a plain piece of brown paper and turn it into a suit. I concentrated
on cutting, and was one of the first tailors to go straight into a job
in the cutting room. People recognized that I had a flair for it and
stood up for me. I still love what I do, and I will not let a suit go out
if there are any mistakes whatsoever. I cut every single one.”
BESPOKEN
Leonard Logsdail
9 E 53rd St # 4
New York, NY 10022-4222
USA
T. +1 212 752-5030
Janet Prescott
LONDON PEDIGREE
I
Actor Denzel Washington fitting his new bespoke suit,
with Leonard Logsdail
Leonard Logsdail, tailor to the stars, says that the part of his
job he likes best is meeting people, whether it be his highflying customers or the celebrities he deals with for film work:
“I love the psychological games of deciding who is going to be in
control. In particular, the guys from Wall Street could be really hardnosed, but I still love the fact that a two-dimensional idea turns into
three dimensions and passes muster with everyone.”
He says “some movie stars have egos the size of the Empire State
Building” refusing, discreetly, to name names but points out
that in this part of the business, it’s 90 per cent psychology,
10 per cent tailoring, and adds that this is true of the tailor’s
profession in general: “It will fail if you’re not inside the head.”
56
Logsdail has been a user of Scabal fabrics throughout his
career. He describes his clientele as people who basically prefer
classic clothes, though they are very receptive to new soft
colours and many like quite bold decoration such as strong
stripes. His fabrics are based in top quality, fine wool, 120’s,
130’s and 140’s and this applies also to his young customers:
“At that sort of price point they don’t want something which is only
going to last a year or two.” He is quite prepared to refurbish
favourite garments, saying that he has recently relined a suit
purchased in 1988: “It’s good that they enjoy it, and put it to good
use, and this is useful for me to point out too, especially when I want to
increase prices!”
“Scabal fabrics are probably the best in the world,” he says, naming
the cashmere bunch Romance as one of his favourites, since it
tailors well and appeals to customers who like a conservative
and elegant approach. It is a cloth of 280 grammes that consists
of pure cashmere, ideal for gentlemen who are seeking a
naturally elegant summer jacket. Fine worsted cashmere,
Romance drapes beautifully and has a fantastic feel with pure
cashmere’s exceptional softness and another benefit is the
magnificent, natural sheen that is unique to this fibre.
eonard Logsdail describes himself as a
“transplanted Londoner”. He retains his
English accent, which he admits is something
of an asset as it sets him apart and his name
is well known, especially in the film world,
where he has been responsible for dressing
many stars, such as Denzel Washington and Bruce Willis.
He recently worked on Wall Street II: Money Never Sleeps,
making the formal suits that convey power, intrigue and
prestige, and other recent recipients have been stars such
as Jim Carrey, Alan Alder, Ben Stiller, Eddie Murphy, Toby
Maguire and Leonardo di Caprio – you can’t get much more
stellar than that.
He worked at several well-respected names in Savile Row,
and then aged just 21 he set up a business with a partner,
Burstow and Logsdail, in premises above a shop in London’s
Carnaby Street, an address which was the centre of the
fashion universe at the time. He regards this with a certain
amusement: “At 21, you think you know everything, I look back
and think I was such a big head, but I was a quick learner. I
remember after six or seven months in the business I sat down to
have a cup of tea and I was working on half a dozen suits. I looked
at one of them and it dawned on me that I was putting a 21-yearold’s idea on to a 50-year-old stockbroker, it was hanging up and I
realized that it was his suit, not mine. That cup of tea taught me a
lesson – I have to make the dreams of my clients come true.”
A PASSION FOR CLOTH
Leonard Logsdail
In the early days of Burstow and Logsdail, Leonard built
up a Dutch following, travelling regularly from London
to Rotterdam, the Hague, Eindhoven and on to Paris and
Germany, driving across Europe around six times per year.
Eventually, he travelled to customers in the States, fell in love
with New York and Washington and, incidentally, with an
American who is now his wife, with whom he has six children.
That was 20 years ago. After renting premises initially in
Madison Avenue he moved to East 53rd St. where the business
is still located. “I have never regretted one iota. America is a great
place, and there are still so many opportunities.”
Formal wear may not be a frequent
purchase, but it is indispensable
in the building of a wardrobe and
there is increased interest in formal
clothing as new generations look to
the sartorial advantages that such
well cut, tailored items can bestow.
The internationally successful TV
show Mad Men, set in the 1950s and
60s, must have had an effect in this
direction too, with its debonair,
scheming dilettante ad executives
in Madison Avenue such as Donald
Draper dressing immaculately for
every occasion as they pressed their
advantage.
“Because in most cases formal wear is
required to be worn over several years
in many different settings, it has to be
made of finest quality fabric which needs
to be classic, but can bear hallmarks of
individuality as well”, says Leonard
Logsdail.
Formal attire in the shape of dinner
suits, smoking jackets, tuxedos and
ceremonial wear represents a small
but important part of his output. He
usually makes five or six full dress
suits and tails per year, and also some
morning suits, mainly in traditional,
classic designs. Tuxedos are more
frequent “but even these are not too fashion
forward, they’re usually solid patterns, with
sometimes a fine herringbone”. There is
a great deal of prestige still associated
with formal clothes. One club in
Houston, Texas asks him to make a
velvet smoking jacket each year for the
retiring President. His business suits
are usually chosen in lighter-weight
fabrics, with very few of these over 250
grammes, but formal wear is created
from more substantial cloths in 300350 grammes. He notes a return to
retro looks such as shawl, or rolled
collars: “I think people have been looking
at old Sean Connery films, it’s like the
antique stores, all things from the 1960s are
fashionable”.
He recalls with relish a commission
from a top banker from Dallas,
working for Morgan Chase and
concerned with looking after the funds
of various prestigious institutions with
formidable reputations based on the
East Coast. This man said that people
poked fun at him for being a bland
banker known for his grey suits. He
came and explained his predicament
to Leonard, who decided to make him
a deep maroon smoking jacket with
shawl collar and patch pockets for a
particular function. “I sent the patches
to India and had them embroidered with
various designs such as a wagon wheel,
an armadillo, all emblems of Texas, with
a yellow rose of Texas on the lapel and on
the silk cummerbund a facade of the Alamo
and the Texan flag. The client dressed for
dinner and entered the room with his wife
only once he knew the room was full. The
conversation stopped dead.”
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STYLE TRIBUTE
GARY COOPER:
THE DEMOCRATIC PRINCE
On the occasion of the release of his book Gary Cooper: An Enduring Style, Bruce Boyer
pays tribute to one of the biggest style icons of the 20th century. The perfect occasion for
Bespoken to publish some of the best pictures of Cooper in formal outfits.
Gary Cooper wearing the perfect white-tie outfit comprising tailcoat, top hat and bow tie
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Gary Cooper wearing the official British captain uniform
of the 1760s in Unconquered (1947)
W
hen he died in 1961 at the age of
sixty, Gary Cooper was eulogized
around the world as the public
symbol of the honorable American.
In his 37-year film career, he starred
in more than 100 movies, a dozen
of them among the most memorable films ever made. As
a leading actor, he was nominated for an Academy Award
six times, and won twice (for Sergeant York and High Noon),
as well as receiving an Honorary Academy Award for a
lifetime of memorable screen performances.
He appeared in romantic comedies and war movies,
biographies, spy thrillers, historical dramas and films of
social conscience, as well as almost 30 Westerns. High Noon
ranks as one of the half-dozen films defining that genre, and
in the opinion of many critics is the best Western ever made.
In the years spanning his long career there were other
leading men who had a more cynical, street-wise appeal
(Gable, Bogart, Cagney), more sophistication (Charles Boyer,
Ronald Coleman, Cary Grant), more rugged energy (John
Wayne), a darker sensuality (Valentino, Tyrone Power,
Burt Lancaster), more boyish charm (Jimmy Stewart, Joel
McCrea), or more tough-guy panache (Robert Mitchum,
Kirk Douglas, Sinatra). But Cooper was, in critic Richard
Schickel’s phrase, the “Democratic Prince”, a haltingly
shy man of simple virtue and had a code of honour that
unavoidably clashed with politics. He remains one of the
few actors whose portrayals of naivety wear well, without
embarrassment either to himself or the audience. It was a
style based on natural gracefulness, at a time when naivety
and gracefulness were in style.
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When Southern California beckoned, Cooper drifted into
films as a stuntman and extra on cowboy sets. At six foot three
inches, and weighing 185 pounds, with light brown hair and
vibrant blue eyes, Gary Cooper was as handsome as anyone
and looked superb in contemporary clothes, or anything else.
No matter what costume he put on, he looked like he owned it.
The camera loved him, and so did the box office. As a young,
single man in Hollywood, he had the deserved reputation for
acquiring the most beautiful women and fastest sports cars
(and vice versa), not to mention a refined and perfectly tailored
European wardrobe and renowned bachelor’s lair.
Cooper’s best biographer Jeffrey Meyers points out:
“Cooper had natural good taste, always wore elegant clothes
and was one of the best-dressed actors in Hollywood. He inspired
fashion stories in Flair, Women’s Wear Daily, Esquire, and
Movietime, and if he hadn’t been a movie star, he could have
had a great career as a model,” as early photos by Cecil
Beaton, Clarence Bull and others show.
BRITISH AND
ITALIAN INFLUENCES
He had obviously learned something about proper
gentlemanly dress when he was a boarder at school in
England, and Meyers notes that he bought custom clothes
from Savile Row’s finest tailors, shirt makers, and boot
makers whenever he went back to visit. At the end of 1929,
English fashion photographer Beaton photographed him in
Hollywood for Vogue. He said: “He was absolutely charming,
very good looking with black eyelashes as thick as the lower lid on
the upper. Very tall, a good figure, and such a good sort… He was
extremely smartly dressed with a brown hat to match his suit and
gloves, very elaborate gloves with green spots in the lining.”
Cooper worked untiringly in those early years, but after
making four films in the first half of 1931 alone, including
the steamy Morocco, which was Marlene Dietrich’s
introduction to American audiences, he retreated to Europe
for a rest cure. On his return to the U.S.A. in 1932, having
The labels in Gary Cooper’s wardrobe read like a Who’s Who
of the best custom tailors, boot makers, and haberdashers
in the world: Brioni, Lesley & Roberts, Caraceni, Battaglia,
Charvet, Huntsman, Anderson & Sheppard, Knize, Turnbull
& Asser, Dunhill, Brooks Brothers. American designer
and friend Bill Blass noted, “More than anyone, Cooper was
responsible for fusing the essentially formless but wearable aesthetic
of the American West with the narrow, formal silhouette of
European design. That set him apart from the Gables and Grants.
That gave him American-icon status.”
Lionel Stander, Muriel Evans, Gary Cooper who wears a tailcoat,
formal waistcoat and bow tie in Mr. Deeds Goes to Town (1936)
Inasmuch as he’s often compared with Cary Grant – both
were incredibly handsome, great dressers, debonair – try to
picture Grant in a Western. Even Grant’s costume dramas
were his weakest performances. To make a different contrast,
John Wayne – although he often played modern soldiers –
was never quite at ease in contemporary dress. And on those
few occasions when Astaire wore western attire, he just
looked silly. Cooper wore it all, and had style in every pore.
The fact that he was something of a dandy and was an
accepted member of international society was kept carefully
private and hidden. It simply didn’t fit his screen persona
that he would have dinner with the Duke and Duchess
of Windsor, discuss art with Picasso, or go hunting with
Hemingway. In the days when there was little irony in
Westerns and the only disturbing darkness came from
the bad guys’ hats, what would we think of cowboys who
had gone to English prep schools, have fiery affairs with
Continental countesses, and hobnobbed with English dukes
and world-renowned novelists? Did Roy Rogers go dancing
at the Stork Club or El Morocco with Dale Evans? But he
was not the simple, monosyllabic cowboy of his latter image.
His more truthful image was captured better by Irving
Berlin: “Dressed up like a million-dollar trouper, trying hard to
look like Gary Cooper, super duper!”
© Action Cinemas
He was born in the frontier town of Helena, Montana at the
turn of the 20th century, and he got to ride as many horses and
see as many herds of cattle as any cowboy he later portrayed
in films. Both parents were English, and Cooper’s father
insisted that Gary and his older brother Arthur be sent back
to England to the private school that he had attended. And
so by the time he reached his adolescence, Cooper had the
advantage of a rough-country as well as a highly civilizing
education. He had learned his Latin as well as his quarter
horses. It had all something of the American democratic ideal
about it: this handsome young man had learned his manners
and his lessons, and yet was as rough-and-tumble as they
come, and it’s that blend that defined his acting image as the
American Everyman.
spent several months in Italy, he appeared quite the dandy.
He had trunks full of clothes, and there are many photos of
him at this time sporting elegant double-breasted overcoats
and suits, spotted silk ties and ascots, pristinely cut tweed
sports jackets, fedoras and bowlers, smartly furled English
umbrellas, and sleekly polished handcrafted brogues. His
urbane assemblage included a fresh boutonniere, cigarette
holder, pigskin gloves, and silk pocket square.
Cooper, alongside with Claudette Colbert, wearing a black tuxedo in Bluebeard’s
Eighth Wife (1938)
G. Bruce Boyer
‘COOPER HAD NATURAL
GOOD TASTE, ALWAYS WORE
ELEGANT CLOTHES AND WAS
ONE OF THE BEST-DRESSED
ACTORS IN HOLLYWOOD.’
Gary Cooper: An Enduring Style by G. Bruce Boyer,
PowerHouse Books, available at www.amazon.com
© US Federal Archives
LITTLE COWBOY TURNS
HANDSOME DANDY
Eleanor Roosevelt (First Lady of the United States from 1933 to 1945)
and Gary Cooper wearing a double-breasted suit at Lake Success,
New York on April 3rd 1953
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INTERNATIONAL AGENDA
FOLLOW THE DRESS CODE
Bespoken shows you where to be seen and what to wear, from Paris to New York to
Shanghai – so many great opportunities to wear your very best tuxedo…
SHANGHAI CONTEMPORARY
ART FAIR
8-10th September 2011
Shanghai, China
www.shcontemporary.info
Since 2007 this contemporary art
fair, held in the spectacular Shanghai
Exhibition Center, has been Asia’s
most dynamic art platform, attracting a
host of shrewd collectors, art lovers and
celebrities from around the world.
Dress code: Velvet jacket and flannel
trousers – the arts community is very
trendy, so don’t hesitate to flaunt your
colours and be original. A purple jacket
on gray flannel trousers could be a
very good combination, and a pocket
handkerchief and scarf will round off
your arty-chic look.
THE LOERIE AWARDS
16-18th September 2011
Cape Town, South Africa
www.theloeriewards.co.za
Known as the hottest event in Africa
and the Middle East, the Loerie
Awards is more than just a ceremony,
it’s an event that rewards the region’s
best advertising, communication and
media. On the programme – three days
of exciting events and discoveries.
Dress code : wearing a black slim fit
jacket, a white t-shirt assorted with
a white pocket handkerchief and a
jeans will give you the look of the real
advertising guys from Big Apple. Forget
your tie but bring your white sneakers.
The Detroit auto show has been around
for more than a century is considered as
the international standard-setter for new
vehicles. Each year sees a gala evening,
‘The NAIAS Charity Preview’, with all
proceeds donated to charities working
with disadvantaged local children.
Dress code: Classical is de rigueur in
the automotive industry – black tuxedo,
white shirt and black bow tie are
strongly recommended.
SALON INTERNATIONAL DE LA
HAUTE HORLOGERIE (SIHH)
16-20th January 2012
Geneva, Switzerland
www.sihh.org
At the SIHH, the Richemont Group
brands (Montblanc, Cartier, Van Cleef
& Arpels, Piaget, Vacheron Constantin,
Jaeger-LeCoultre) present their
world premieres of their timekeeping
creations, and it’s an ideal opportunity
to meet the watchmakers themselves.
The height of refinement.
Dress code: An air of authenticity and
tradition is essential – why not take
the opportunity to wear a chalk stripes
three-piece flannel suit and, to be
perfectly attuned to proceedings, do
not hesitate to hang your pocket watch
from your lapel buttonhole.
WIENER OPERNBALL
Beginning March 2012
Vienna, Austria
www.wiener-staatsoper.at
NORTH AMERICAN INTERNATIONAL
AUTO SHOW (NAIAS)
Mid-January 2012
Detroit, US
www.naias.com
Dress code: Debutant couples will
begin festivities by dancing the iconic
Blue Danube waltz, with a long white
dress compulsory for the ladies and a
tail-coat suit obligatory for the chaps.
ROSE BALL
Mid-March 2012
Principality of Monaco
www.monaco-montecarlo.com
This event is organized to benefit the
Princess Grace Foundation, created in
1964, and the profits from which are
donated to children in hospital. Two
years ago, the theme was ‘East’, and
last year ‘Soul Music’. We await 2012’s
edition with breathless excitement…
Dress code: Long dresses and tuxedos
are required – the most flamboyant
normally wear an accessory to match
the evening’s theme, like the French
culture minister did last year with a
pocket handkerchief in the colours of
Jamaica, to honour the ‘Soul Music’
theme…
HASSAN II GOLF TROPHY
End March 2012
Agadir, Marocco
www.hassan2golftrophy.com
The Hassan II Golf Trophy, inaugurated
in 1927, is a famous golf tournament
chaired by His Royal Highness Prince
Moulay Rachid of Morocco. A new
chapter began in its long and prestigious
history in 2011, when the event was
contested for the first time in the
Moroccan city of Agadir, instead of the
Royal Golf Dar Es Salam in Rabat.
Dress code: Sporty chic is advised. We
suggest white or beige cotton trousers,
polo shirt with short- sleeve jacket and
casual ‘jaca camicia’ jacket.
THE COSTUME INSTITUTE GALA
Beginning of May 2012
New York
www.metmuseum.org
Ending the traditional ball season in
Vienna, the history and beauty of this
event and the musical programme are
quite captivating.
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The fashionistas will be out in force
for the Costume Institute Gala, which
takes place at New York’s Metropolitan
Museum of Art. The most popular
supermodels and most talented
creators are treated to an evening of
decadence and opulence.
Dress code: Tuxedos are strongly
recommended for gentlemen… and
perhaps even the ladies, like singer
Rihanna who made a splash in 2009
with her Dolce Gabbana black tuxedo,
leather gloves and high heels.
CANNES FILM FESTIVAL
Mid-May 2012
Cannes, France
www.festival-cannes.com
Inaugurated in 1929, the Monaco
Grand Prix is ​​one of the world’s oldest
and most prestigious automobile
races. The circuit takes in the port
of Hercules and the streets of Monte
Carlo and La Condamine, making
overtaking very difficult on its tight
bends. And the most popular location
to view the race? The terrace of the
Hotel de Paris Monte Carlo.
Dress code: Vintage sunglasses, hat,
scarf and leather driving gloves are
the accessories of choice. Add linen
trousers and jacket, and you will be safe
to shine in Monaco!
HENLEY ROYAL REGATTA
End of June 2012
Henley-on-Thames, UK
www.hrr.co.uk
ROYAL ASCOT
Mid-June 2012
Ascot, UK
www.ascot.co.uk
Each year, the English high society
gathers for the Henley Royal Regatta
in the last week of June. Undoubtedly
the most famous regatta in the
world, the event began in 1839 and is
recognized both as a sporting event
and social activity for the elite. but
also as a social activity elitist.
Dress code: Chic summer wear is
required – the dress code dictates
beige or white cotton pants, a navy
blazer, tie and hat for gentlemen.
Perhaps the world’s most mediacovered event dedicated to the film
industry, with its famous red carpet
and 24 steps to glory.
Dress code: On the red carpet, all
eccentricities are allowed, but the
traditional tuxedo is still the best choice.
MONACO GRAND PRIX
27th May 2012
Principality of Monaco
www.grand-prix-monaco.com
With its fast horses, extraordinary
hats and royal appearances, the Royal
Ascot meeting is the world’s foremost
race meeting and is the prestigious
event par excellence of the British
sporting calendar. Mid-June 2012 will
be the 301st edition…
Dress code: Hats are de rigueur
for all guests. While the ladies
have the freedom to wear very
modern and colourful garments,
the men meanwhile are bound by
the traditions of dark tail-coats. A
colourful flower to match your tie will
bring a touch of freshness.
THE DURBAN INTERNATIONAL FILM
FESTIVAL (DIFF)
End of July 2012
Durban, South Africa
www.cca.ukzn.ac.za
Widely recognized as one of the
most prestigious film festivals on
the African continent, the DIFF
programme features more than 250
international films, with the emphasis
on African cinema.
Dress code: More relaxed than
Cannes, the dress code allows for a
mixture of traditional African outfits
and more formal wear such as tuxedos
and gowns for the gala evenings.
Marie Hocepied
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IN PEOPLE WE TRUST
FAST AND FASTIDIOUS:
THE LOGISTICS OF
HIGH FASHION
SHORT AND RAPID CHAIN
At the heart of Scabal’s business in
Brussels is the supply of cut cloth to
customers. From more than 5,000
articles of stock fabric, up to 800
individual fabric cut lenghts are
dispatched around the world every
day. “Our day ends when the shipper’s
truck has left,” says Martine Capenol,
Scabal Warehouse Manager.
Bespoken meets the team of six that completes the final, decisive link
in the customer service chain: Scabal Logistics.
Scabal logistics specialists are the final
link in a five-step chain that starts
with an incoming order. After entering
this order in the computer system, it
passes through sales to the cutting
department. After the wizards with
the scissors have done their work,
the cloth moves on to packaging and
dispatch, all in the same 3,000 m²
warehoused operation.
which come in a range of sizes to suit all
possible cloth sizes. To prevent the cloth
from moving and creasing in transit,
cuts are packed tightly with airbags.
‘OUR DAY ENDS
WHEN THE
SHIPPER’S TRUCK
HAS LEFT.’
FULLY AUTOMATED
PROCESS
Orders received by lunchtime are
dispatched the same day, and most
are sent air express for next-day
delivery to the customer.
When an order is packed, weighed and
ready for shipment, Scabal logistics
staff takes over. Some consignments
require complex handling. Frequently,
certificates of origin are required,
depending on the destination country,
which Logistics obtains through
chambers of commerce or local
embassies of the destination country.
Certain types of fabric also require close
attention, and specific export documents.
Packaging itself is an art. Cut lengths
are carefully rolled and folded creasefree and then packed in carton boxes,
Passage for most shipments is rapid
and highly automated. When the order
is ready for shipment, an operator
clicks ‘ship’ and passes automatically
to a fulfillment page where the
weight of the package is computed
and combined with other order
information to be fed into the fullyintegrated shipping label generator.
“All this happens in seconds,” says Le
Hieu. “Using this process in our fulfillment
chain, we are able to manage a large
volume of orders with a surprisingly small
workforce. We aim to get every order right,
every day. Our customers depend on it.”
From a logistical point of view,
customer care means no borders and
no loss of time. It’s not surprising to
learn that a Scabal client located in
Sydney who sends an order on Friday
morning, will receive his delivery the
following Monday, meaning that his cut
length has travelled 16,753 kilometres
in just one weekend.
Similarly, a US order received in
Brussels in the morning, will be
delivered the following morning to
wherever the client desires, either the
United States’ East or West coast.
Nigel Bishop
© S. Papandropoulos
THE TEAM
The Scabal Logistics team. From right to left: Martine Capenol, Francesco Bisschop, Le Hieu, Vu Tran Ba Hoang, David Smets, Oscar Vleminckx
GLOBAL BRAND
Scabal fabrics and finished clothing
are available through tailors and
fashion retailers in more than 65
countries. The job of supplying this
network of customers from a central
source in downtown Brussels falls to
the Scabal logistics department –
a dedicated team of specialists
shipping several hundreds packages
every day.
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The team handles all three divisions
of the company’s business: individual
fabrics cut lenghts, accessories and
finished garments.
Scabal’s renowned fabric bunches
are also packed and shipped here,
as are promotional items, retail
support material and even the copy of
Bespoken you are now reading. These
items travel round the world at a more
leisurely pace than customer cuts and
clothing.
“Scabal works with a group of global
freight companies,” explains Le Hieu,
Scabal Shipping Manager “selecting
the most economical solution for each
particular shipment and destination.”
Le Hieu is the Shipping Manager, with 20 years’
experience in Logistics. His golden rule is ‘ just in time’:
the management system that produces only what is
required, in the correct quantity and at the correct time.
In his spare time, Le travels. He’s travelled south across
Europe, west to North America and east to Asia. Almost
as far as Scabal cloth.
David Smets has spent his eight years at Scabal in the
Logistics Department and understands the importance
of precision. He continues a family tradition of working
for the company with both his mother and grandfather
previously employed by Scabal. He seems to carry this
through to his private life: David is a martial arts expert
and exponent of the very precise Bikram Hot Yoga
(26 postures, 90 minutes, 40°C).
Francesco Bisschop believes the most important rule
in shipping is to keep a cool head. He should know:
he’s worked for 23 years in Scabal’s logistics hot house.
His hobby is video gaming; you need nerves of steel for that.
Vu Tran Ba Hoang is the new boy in the department. His
future certainly looks bright: his motto is “order, tidiness
and punctuality”. Three essential qualities for running a
global shipping business.
Oscar Vleminckx has seen more than anyone how Scabal
has grown over time. In his 39 years with the company,
shipping quantities have doubled, doubled again, and
carried on doubling. Oscar has probably shipped something
like half a million Scabal packages to customers, from
Valparaiso to Vladivostok. We wish him a happy retirement
next year.
Martine Capenol is the new Warehouse Manager, and
her responsibilities stretch beyond shipping. But no other
department is more important in her mission to provide
the highest possible customer satisfaction – an attribute
she learned during 25 years in the management of an
international car textile production plant.
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PAST – PRESENT – FUTURE
OPENINGS, BIRTHDAYS
AND SO MUCH MORE…
SCABAL IN POZNAN
coolness of a pop star like no other.
His distinctively trademarks are his
voice and his extraordinary outfits on
stage. He ordered tuxedos from the
Velvet and Deluxe collections.
www.scabal.de
AND THE WINNERS ARE…
Recently a new Scabal store was
opened in the city of Poznan. The
shop is located in the peaceful
neighbourhood of Cytadela district.
There, you will find the newest
collections of Scabal fabrics and can
order not only classic made-to-measure
suits, but also formal wear, jackets,
made-to-measure shirts and ready-towear garments and accessories
www.scabalstore.pl
BETWEEN TRADITION AND
MODERNITY
© Mayk Azzato
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It seems that clients have acclaimed the
new design.
Scabal’s Corner
Printemps de l’Homme, 4th floor
Boulevard Haussmann, 64
75009 Paris, France
T. +33(0)1 42 82 55 33
www.scabal.fr
Last spring, Scabal sponsored the
Agressia Group Fashion show,
held in the prestigious five stars
hotel Kempinski of Sofia, Bulgaria.
Bulgarian Prime Minister, local actors
and pop stars and other VIPs attended
this exclusive event.
www.agressia.com
SCABAL ON THE MOVE
Germany, where the Mercedes-Benz
headquarters are located. At each
stage of the competition, Scabal’s
Elegance Trophy honoured the
smartest player with a pure silk tie –
a gift that was very much appreciated
by all the players.
www.mercedestrophy.be
BESPOKEN CLUB IN LONDON
HAPPY BIRTHDAY, MISTER
PRESIDENT!
Once again, Scabal has given its
support to the Golden Shears
competition for tailoring apprentices
and students from all over the UK.
The three winners are Yingmei Quan,
29, apprentice at Welsh & Jefferies,
Savile Row won the Golden Shears.
Ichiro Suzuki, 30, student at the
Royal College of Art, whilst also
working part-time at Henry Poole,
Savile Row won the Silver Shears.
Finally, Lucinda Holbrook-Hase, 26,
from Worcestershire, won the Rising
Star Shears. The cream of the British
tailoring industry were present to
celebrate and support the future of
their unique and highly specialist trade.
www.merchant-taylors.co.uk
ON THE CATWALK
Scabal’s Frankfurt retailer Stephan
Görner created several tuxedos for
the German popstar Silvio D’Anza.
This singer is known as the pop star
among tenors, with an edge that blends
the charm of a classical tenor and the
RED CARPET
This year, Scabal is proud to pay
tribute to its Chairman: J.-Peter
Thissen. In fact, 2011 celebrates his
80 th birthday and his 50 years of
experience in the textile industry.
The Scabal group was founded in
Brussels by German self-made man
Otto Hertz in 1938. J.-Peter Thissen,
who was considered as Hertz’s most
valued colleague, arrived in Brussels
at the beginning of the 1970s to ensure
that Scabal would further develop as
a multinational corporation. Thissen
is considered as a rare personality,
combined an overflowing spirit of
creativity with a clear business mind.
At 80, he still works everyday for
Scabal, along with his son Gregor,
who is CEO of Scabal.
www.scabal.com
During the last Cannes Film Festival,
Scabal held an exhibition dedicated
to the link between the brand and
the Hollywood film industry. Since
its first appearance in The Godfather
in 1972, Scabal is renowned as one of
the most important fabric suppliers to
Hollywood. The brand has provided
fabrics for major productions such as
Titanic, Golden Eye, Men in Black, Casino
and Wall Street I & II. The exhibition
was kindly hosted by Radisson Blue
1835 & Thalasso Cannes, where an
entire lounge was dedicated to Scabal.
www.scabal.com
After more than 55 years spent on the
Boulevard d’Anvers in the heart of
Brussels, Belgium, Scabal’s headquarters
are going to move. Scabal stays in the
same district and will undertake major
transformation works on its current
warehouse located just behind the
Boulevard d’Anvers. All the departments
of the company will be grouped together
in one building for a better coordination
of all the services. Scabal will build a
brand new showroom and a company
restaurant for the employees, with a VIP
corner dedicated to its clients. The move
is expected for the end of the year 2012.
www.scabal.com
The Bespoken Club is a Scabal initiative
to bring luxury brands that share the
same values together and organize
exclusive events for valued customers.
For the first time, an edition of the
Bespoken Club will be held in Scabal’s
flagship store on Savile Row, London.
The privileged guests will be invited
on Thursday 15th September by Scabal,
Maserati, City Jet and Audemars Piguet
to discover their newest products and
enjoy special promotions.
www.bespoken.com
RUSSIAN EDITION OF BESPOKEN
ELEGANCE ON THE GREEN
SUCCESSFUL RENOVATION
Last spring, Scabal has totally
renovated its corner located in the
department store Printemps in the
heart of Paris. The new decoration is
inspired by the British roots of Scabal
and Parisian traditional architecture.
For the first time, Scabal was proud
to sponsor the 2011 edition of the
Mercedes-Benz Trophy alongside
renowned brands such as Bang &
Olufsen, Callaway and Deutsche
Bank. Twenty-four rounds of golf
were planned for Belgium and the
world final was held in Stuttgart,
After the success of the first Russian
edition of Bespoken, Scabal has decided
to continue its efforts and has also
produced a Russian version of the
edition you are holding in your hands.
Other international editions of the
magazine are planned, with China and
India likely to be next.
www.bespoken.com
Jérôme Stéfanski
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SCABAL WORLDWIDE
CYPRUS
+90-392-228 33 40
[email protected]
POLAND
+48-61-436 79 69
[email protected]
PORTUGAL
+351-275-954 827
[email protected]
ROMANIA
+40-21-311 56 46
[email protected]
Scabal’s flagship store in Savile Row, London
VISIT SCABAL’S FLAGSHIP STORE AT
12 SAVILE ROW, W1S 3PQ LONDON,
PHONE +44-20-77 34 89 63,
[email protected]
OR THE SCABAL CORNERS IN
LE PRINTEMPS DE L’HOMME, 4TH FLOOR,
61 RUE CAUMARTIN, 75009 PARIS,
PHONE +33-1-42 82 55 33 OR +33-1-42 82 40 32,
[email protected]
KADEWE, 1ST FLOOR,
TAUENTZIENSTRASSE 21-24, 10789 BERLIN,
PHONE +49-30-219 18 530,
[email protected]
CLOTH
GARMENTS & ACCESSORIES
EUROPE
SCABAL BENELUX – HEADQUARTERS &
INTERNATIONAL DISTRIBUTION
CENTRE
+32-2-217 98 49
WWW.SCABAL.COM
AUSTRIA
+43-1-533 61 29
[email protected]
FRANCE
+33-1-42 33 08 93
[email protected]
+33. 1.42.43.58.44 FRANCE
+33 6.15.33.03.82
[email protected]
+33 6.07.80.02.50 (FABRICS)
[email protected]
RUSSIA
+7-495-660-7163
[email protected]
+7-495-730-2010
[email protected]
SPAIN
+34-93-726 00 99
[email protected]
+34-93 726 00 99
[email protected]
SWITZERLAND
+41-61-261 25 79/80
[email protected]
TURKEY
+90-212-282 71 93
[email protected]
AMERICAS
ARGENTINA
+54-011-4371 6467
[email protected]
MEXICO
+52-55-5515 8433
[email protected]
SCABAL MADE-TO-MEASURE
+52-55-5660 75 40
[email protected] OR
[email protected]
U.S.A.
+1-212-4756 666
[email protected]
VENEZUELA
+58-212-264 6914
[email protected]
AUSTRALIA
+61-3-5989 8601
[email protected]
BRUNEI – CAMBODIA – INDONESIA – LAOS–
MALAYSIA – MYANMAR – PHILIPPINES –
SINGAPORE – THAILAND – VIETNAM
+65-6336 0070
[email protected]
HONG KONG
+852-25-433 694
INDIA
+91-11-23 26 45 00
[email protected]
IRAN
+98 55611469-55614137
[email protected]
JAPAN
+81-6-6232 2755
[email protected]
BRAZIL
+55-11-362 041 044
[email protected]
KUWAIT
+965-243 36 85
[email protected]
CANADA
+1-514-335 35 11
[email protected]
NEW ZEALAND
+64-9-828 06 74
[email protected]
CHILE
+56-2-638 14 72
[email protected]
SAUDI ARABIA – UNITED ARAB EMIRATES
+44-140-375 27 16
[email protected]
COLOMBIA
+57-1-256 30 77
[email protected]
DOMINICAN REPUBLIC
+1-809-562 4416
[email protected]
SOUTH KOREA
+82-2-2285 6230
[email protected]
SYRIA
+ 963 - 11 2233986
+ 963 - 11 2222784
[email protected]
GERMANY
+49-681-9871 0
[email protected]
+49-211-497 6840
[email protected]
NEXT ISSUE: FEBRUARY 2012
GREAT BRITAIN
+44-207-734 1867
[email protected]
MR. FABRIC IS BACK
GREECE
+30-210-67 27 431
[email protected]
+30-210-3618 668
[email protected]
IN THIS EDITION YOU HAVE MET THE ‘WINTER FACE’ OF MR. FABRIC
ITALY
+39-02-407 80 27
[email protected]
CELEBRATED. RESERVE YOUR COPY, WHICH WILL BE DELIVERED
— IN OUR NEXT ISSUE, YOU WILL DISCOVER HIS SUMMER SIDE.
LIGHT FABRICS SUCH AS LINEN, MOHAIR AND COTTON WILL BE
TO YOUR HOME, AT WWW.BESPOKEN.COM