How to make a Savile Row Suit (Part 1) – with Anderson & Sheppard

Oh hi, Michelle.
It's Colin Heywood from Anderson & Sheppard.
Very well, thank you.
How are you?
Yes, it's going very well, thanks, and just want to say how honored we are to be involved
and thank you for selecting us to showcase our suit.
Can I just run through the details with you?
So, it's going to be a three-piece, single-breasted suit, isn't it?
In a plain navy blue hopsack material.
And I've got the fabric here in front of me.
So, it's a Smith fabric, which is one of the companies we use a lot.
Yes, it's a nice classic blue, so it's going to, you know, really showcase
our sort of cut.
–Four.
–Four.
–Eighteen and a half.
–Eighteen and a half.
–Thirty two.
–Thirty two.
–Forty three.
–Forty three.
I'm looking for the length of the coat.
But what we're also doing is we're going to find
out the natural waist.
–Relax please, sir.
You just have to press and if someone is standing right
what'll happen is their center of gravity
it's like a see-saw, you can just press it and it starts to topple forward naturally.
So, on Matthew, we're probably going around 18 1/2.
Then down to the length of the coat.
42.
We go to the back of the knee, which on the measurements is 43.
For me, I'd probably just come a fraction longer, sir.
The cuff on the shirt looks a little short.
If the shirt were a little longer, I'd bring the cuff down.
Just a fraction.
Once again, we can have a look at the fitting stage and determine if need to make any adjustments.
–Twenty five.
–Twenty five. –Right.
At the end of the day, our customers could be wearing a suit all day long.
It needs to obviously look and fit beautifully.
But at the same time, we want it to be practical.
We want that practical elegance.
So, throughout the day, you're wearing a suit for twelve hours
you feel like it's a second skin.
You can move about it in.
You can function in it.
It is comfortable to wear for twelve hours
every business day.
We're probably looking at about four weeks for a fitting
And I'll see you and we'll slip your jacket on.
We'll see you in four weeks.
My colleague, Mr. Malone, will come in and take some trousers now.
Thank you very much, sir.
–John Malone.
–Pleasure to meet you. Matthew.
–Alright.
How are you going to support them?
–Umm.
–With side straps?
–I'd say so, yeah.
–Cut high in the waist?
–Yeah, I'm having a waist coat.
–You're having a waist coat, okay.
–Forty-five.
So a couple of things we'll always do.
Make sure the cloth is flat.
Make sure the edges are together.
Okay.
Shears.
All the cutters and all the tailors have their own shears.
Obviously, our cutting shears are quite large, quite weighty.
We know our own shears.
First line of polish in the cutting room is
I'd be able to pick out my shears blind-folded.
Obviously, tape measure, which we always have.
String is not.
And then the other main...it's very simple really.
We are not overly reliant on technology.
This little symbol here just means it's also a jetted pocket.
You'll find all sorts of customer requests.
One customer used to have a pocket in the back of his jacket and the reason for it was
when he was on a plane he could put his passport in and his ticket.
So it was always easy to get his tickets
and he didn't have to go fumbling.
That's the beauty of what we're doing.
Being bespoke
the customer can ask for these requests
and we will try and sort them out
these little details and these quirks.
And that's the beauty of it.
That's why it's bespoke.
This is what the cutters do at this stage.
This is where the cutter is deciding where to take shape and stuff.
At the next level is where the tailor will also then do what he does, and he'll start
to shape it by manipulating the cloth.
Because what it's all about with the cutters and the tailors
is putting the necessary marks
to shape the suppression and manipulating the cloth
to turn something that's two-dimensional
and flat into a three-dimensional object to place over the individual.
Alright.
What we do, we check the balance.
Armhole pitch, waist, suppression, waistline throughout...
You see the bottom of the coat
and this is our little marking signal for slits at side.
At this end here are the sleeves.
So, we start to parcel it all up.
What will happen is once I've put these together...
So you've got the fundamental
building blocks of the garment.
This is where nothing goes to waste.
So we've got the top collar, what we call the top collar.
I'm obviously marking directions
of the grain of the cloth
just to help and aid the tailor
again.
You've got to think, there's gonna be the flaps.
There's gonna be jettings.
Job ticket.
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