Wardrobe Wonderland

If the eyes are the window to the soul, then a gents wardrobe, and its condition, are the window to his character and aspirations.

Who can forget Ray Liotta's wardrobe in Goodfella's? - row after row of neatly hung suits, or, the evenly spaced crisp white shirts of Mickey Rourke's in nine and a half weeks?



Not all of us have the money, or space, for such indulgences but it amazes me that some guys sartorial armoury resides on six wire coat-hangers rammed in a broom cupboard, with everything else stuffed into the bottom drawer of a bedside cabinet.

I'm not going to launch into a diatribe about the importance of dress and how "clothes maketh the man" but will simply say that clothes are a part of our lives and should be used to make it easier, both at work and play.

Whilst there are those like myself who are self-confessed clothes addicts with closet space to rival Imelda Marcos, a man should aim at building a wardrobe that is efficient and will get him through any situation or emergency.

In my opinion, 'The Cornerstone' of a gent's armoire is a single-breasted suit in a mid-weight navy blue worsted cloth. Blue is the most elegant of colours and is most complimentary to the pale skin that we Brits have to put up with thanks to our crappy weather. It is worth noting here that you need to think about Season (Summer / Spring vs Autumn / Winter) and get your tailor to select appropriately weighted cloth.

A blue suit is perfect for more formal occasions, it can be dressed-up with a waistcoat, tie and black lace-ups and will look the part in the boardroom, at a funeral, wedding, conference, christening, or, court appearance. On the other hand, when worn as a two piece, with a colourful open-necked shirt and slick brown loafers, will work just a well for a night on the town, dinner party, or other 'smart casual' event.

If you wear a suit to work every day, then a charcoal grey suit of the same ilk is an excellent 'Number Two.' It's a good idea to order an extra pair of trousers with each as they tend to wear out quicker than the jacket and can then be rotated. The good thing with plain blue and grey cloth is that they will work with a vast range of shirt and ties in various colours and patterns so there's no hunting about for 'the right shirt' in the morning when you could be chilling with a cuppa over breakfast.

After that, you need something special, a real 'Bobby Dazzler' that will only be showcased on the most important of functions and will make you the best dressed man in the room - perhaps a one button, or even, double breasted, in mid grey with a pink pinstripe, or lilac over-check. It goes without saying you will also have the perfect shirt, tie, cuff links, socks, pocket hanky, waiting in the wings to produce a killer outfit of legendary proportions.

The only other formal garment that you must have is a decent tux - if there is a shiny one from Moss Bross lurking in the wardrobe, chuck it out and invest in something special. How often do we get the chance to tread in the steps of 007 and wear such a divine creation? - invest in your 'Dark Knight,' and you'll feel two inches taller at that black-tie dinner, particularly useful when all the ladies will be strutting about in their Louboutins and Jimmy Choo's.

Final nice-to-have formal garments include a morning suit, white dinner jacket, smoking jacket, and if you're an opera singer, or regular on 'Strictly' a tail-coat.

And so to something for the weekend.

After wearing my three piece all week it's out with the battered jeans and t-shirts but I still like to keep up appearances and introduce a structured garment of some kind. A 'Casual Jacket' might take the form of a fitted blue blazer with a single gold (or cream) button, something in grey herringbone with a black velvet collar, or even, a tweed jacket with a modern twist. A covert coat will also add a touch of class to an otherwise scruffy ensemble.

For those whose social calender extends to the vicars tea-party, Grand Stand at Lords, or the Royal Box at Wimbledon, a pair of mid to light grey flannels is also useful to have and will compliment the above.

And apart from all the usual t-shirts, polo shirts, long sleevers, and cashmere delights, you'll also need something 'razor sharp' for attending weddings, the races, or a good old night on the lash. I love a simple black suit, anything in Mohair, lighter coloured worsteds with vibrant stripes, a Price of Wales Check, or, again funky mid-weight tweeds, not the kind worn by gamekeepers.

And last but not least, accoutrement's. Money invested in quality shoes (and shoe tree's), shirts, socks, accessories is never wasted. They say more about you than anything else in your wardrobe and these will be discussed further in the not too distant future.

So your shopping list - you need a "Cornerstone," "Number Two," "Bobby Dazzler," "Dark Knight," "Casual jacket," "Grey Flannels," and something "Razor Sharp" for partying your head off.

And once you've spanked your credit card acquiring the above, look after them with a further purchase of plenty of broad wooden coat-hangars, a trousers press, clothes brush, and boot polish.

As Gordon Ramsey would say, "The Perfect Wardrobe by Michelsberg. Done."

The Daddy of Tailoring

Friends - on Wednesday 26th August at 11.54am I became a father for the first time. Introducing the next Coco Chanel, Miss Avy Rose Michelsberg :-)

A Cohiba Moment

Yesterday was officially the last day of summer and to make up for this rather miserable fact, mother nature provided us with one of those rare, truly beautiful evenings.

After returning home from an enjoyable dinner with my wife, it was wonderfully warm outside, the air perfectly still. The sky, a riot of pinks and blues, set the stage perfectly to wallow in the garden and indulge in a brandy and cigar.

Cigars are one of my favourite vices and my humidor is usually well stocked thanks to Dubai airport's duty free. Without a doubt, Cohibas are my favourite brand and that night, with its thicker ring gauge, I felt a Robusto was called for.

I love the ceremony of smoking. Snipping the tip off with a cutter, charring the end with a long match. Gently drawing-on and rotating that smooth brown stick of loveliness, before releasing a plume of smoke towards the stars. Savouring the notes of pepper and wood, before resting it down in a large, beautiful, Prometheus ashtray.

Aahhh, as I sat there in my shirt-sleeves, the world seemed a better place and then it dawned on me. The one item of clothing that was missing from my wardrobe. A smoking-jacket.



If there is one garment that screams self-indulgence, luxury, extravagance, time to chill-out, kick back and relax, this is it. Whilst the star of my favourite advert wears something similar above, it is more akin to a dressing gown and a more typical example is featured below.



Worn by the likes of Cary Grant, Sinatra and more recently Hugh Hefner, it's primary purpose was to absorb the smoke and protect the wearer from falling ash. Typically made of velvet, it has a shawl collar of embroidered silk, a brightly coloured quilted satin lining and 'frogging' (which is ornamental looped braid) with a button or knot for fastening the front.

Tailoring and pressing a garment in velvet is notoriously tricky and then there is the added challenge of finding the right velvet. Silk viscose mixes are very soft and usually drape well but are 'slippery' and so tough to work with, whilst cotton velvets are more forgiving and harder wearing. I've got samples on the way and have found a tailor who is going to work with my cutter to produce one.

Whilst I do love much about the one above, I feel it is perhaps a little stuffy, and needs the Michelsberg Treatment. Perhaps a little more fitted with less braiding and sharper lines.

Yes, we are about to go on a journey together, and by Winter, rather than getting home from the office and pulling out the cashmere jumpers, I'll have a nice little 'robe de chambre' to keep me warm. I might even treat myself to a smoking hat and a pair of these fellas.

Men of the Cloth

A business is only as good as the suppliers and people behind it and as far as my business goes, having a good relationship with the right cloth merchants is vital.

When I was first starting out in the trade, some companies were reluctant to provide me with their bunches (swatches of cloth bound in a holder) as they are expensive to produce and I was an unknown entity.

So, I have a soft spot for Carole Hannaford (see below), Sales Director of Lear Brown and Dunsford, who was the first to decide to take the plunge and send me a box of all their clobber. My first order included a length of "Millionaire's Cashmere" and a length of "Havana" Super 120's with Cashmere for a suit for myself, so it was worth her while. She's a charming girl and an absolute pleasure to deal with.



Then, through family contacts, I met with Jonathan Spencer, Sales Director of Edwin Woodhouse, one of the oldest mills in England and based five minutes from my home. Until recently, it was run by John and William Gaunt and produced cloth using it's own looms but last year they sold the business to John Fosters.

Fosters is known in the trade as a "manufacturer without looms" and many years ago, decided to shut down their own weaving facilities and outsource the manufacture of their cloth to what are known as 'commission weavers.' Two of the biggest in Yorkshire are Pennine Weavers and C & J Antich, with whom I met with last week. Chris Antich, their Managing Director, is pictured below and he very kindly gave me a tour of their state-of-the-art facility which has over 40 looms.



His enthusiasm for manufacturing is infectious. He's very entrepreneurial, bursting with energy, educated me on the benefits of using two ply yarn on both the warp and weft and gave me a nice overview of why some cloths are more expensive to weave than others.

Lot's of other companies such as Cavendish, Charles Clayton and Clissolds , have followed this business model, and in a way, I suppose it makes economic sense. They focus on the design of the cloth, finance the raw materials (yarn) and leave the production (and fixed costs of running a factory) to the experts, who can then achieve economies of scale.

Mills weave cloth in 'pieces' which have a length of sixty running metres (with a width of one and half metres) and usually only deal with people who are prepared to buy in bulk. Tailors, however, only require about three meters of cloth to make a suit, often called a 'length,' which is why they deal with merchants who are set up to hold stock and provide a 'cut length service.'

Fewer companies in the UK are actually weaving cloth today and those that do include the likes of Bower Roebuck, Minova, Abraham Moons, Hainsworth, Reid & Taylor, Johnstons of Elgin, Bulmer & Lumb (Taylor & Lodge)

The industry is consolidating with a few firms having a near vertical operation whereby they own yarn companies, mills, merchanting businesses and even their own garment factories and retail outlets.

A good example is Scabal who owns the mill Bower Roebuck in Huddersfield and sells cloth and made-to-measure suits from shops all over Europe with it's flagship store on Savile Row. The gang on Savile Row are pictured below - the lady is Hazel, a veritable rose between the two thorns that are Terry and John (now retired) and Ricky is the youngster. Have you noticed all their top buttons are pulling a little? I'd recommend less pie and eels, or, letting the side seams out half an inch on the double. :-)



Dormeuil is another good example. They have a large shareholding in the mill Minova in Wakefield, have a shop on Sackville Street, just around the corner from Savile Row, and below is Chris Juett who is my contact on the cloth side of things. He's a lovely guy and a true gentleman.



When it comes to cloth made in the UK, Dormeuil and Scabal produce some of the finest, rarest and most expensive cloth in the world. Wonderful designs, beautiful colours, noble fibres and marketing savy is their strongpoint. If a customer has deep pockets and wants something different, these two firms will deliver.

If the customer is looking for slightly more traditional cloths with more subtle designs then I will use my network of local merchants such as Robert Charnock of Dugdale Brothers of Huddersfield pictured below . Their cloth is often woven by the same mills, is incredibly good quality but is often cheaper as their overheads are smaller.



Other great local suppliers are Bateman Ogden, Brook Taverner, Hunt & Winterbottom and Premier Worsteds. Then there are other merchants such as Holland & Sherry, Lessers, HE Box, W. Bill, the list goes on.

Over the years, I have built up excellent relationships with many of the above and have learnt much in the process. I think it is wonderful that Yorkshire remains the heart of Textile Manufacturing in the UK and our weavers continue to provide Savile Row and brands like Ralph Lauren, Kiton and Lanvin with their threads. Long may it continue.

Sheep Thrills

Take the finest tailor in the world and give him a piece of polyester and it will probably end in tears. When it comes to making a bespoke suit, using the right cloth is vital.

In my opinion, there is one animal whose fleece stands shank and shoulders above the rest and here's one I spotted whilst fly-fishing in the Yorkshire Dales.



It's unlikely this chap was born to be worn, as the only cloth that is made from a British sheep today is Tweed. This is because their coats have evolved 'thicker' to survive our crappy weather and so are not suitable for the production of cooler cloths.

So, in our search for fine threads, some bright spark in 1797 shipped thirteen sheep to Australia. Not as you might guess to improve the IQ 'down under,' but to start what is now called the Merino sheep industry.

The processing of wool involves shearing, sorting and grading the fibres, making these into yarn (thread) and lastly, weaving it into fabric. The best wool comes from the shoulders and sides of the sheep and wool fibers are judged on their strength, length, crimp (waviness), colour and most importantly fineness (diameter),

Merino wool is typically 3-5 inches in length and is very fine, between 12-24 microns - one human hair is about 40-120 microns thick. The finer the wool, the softer it will be, while coarser grades are more durable.

You may have seen 'Super Numbers' on cloth labels - 'Super100's,' 'Super 150's' -which is basically a classification system, whereby the higher the Super number, the finer the fibres from which the fabric was made.

However, just because a cloth is made of very fine fibres doesn't mean it is going to perform or 'make-up' (tailor) well. Longer fibres are also important as they allow stronger yarn to be produced which can then be twisted together (two yarns twisted together is called two-ply, three yarns three-ply etc) to produce tightly woven cloth which will be more durable and reduce creasing.

The weight of a cloth (measured in ounces or grammes per running metre), the way it is woven - such as a plain weave (panama), satin weave (venetian), fancy weave (crepe) or as a twill (prunelle, gabadine, herringbone, serge) - and how it is 'finished' (by companies such as TW Johnson of Huddersfield) will also have a major influence on how the cloth feels to the touch, known in the trade as how it 'handles,' and how cool it is to wear.

Helping my customers choose the right cloth is the most important part of the process and one where I believe I really add value. I don't claim to be an expert, but I'm always trying to improve my knowledge. My father ran the family textile business for thirty years, so perhaps it's in in my blood. I love to visit working mills like Taylor & Lodge, read trade magazines such as "Twist" and speak to the more knowledgeable cloth merchants, which I'll discuss in a later blog.

A lot of it is common sense. The first questions I ask a customer are what is the suit for, how often will it be worn, what is your budget? If the chap in front of me is an eighteen stone hedge-fund manager and his backside is going to be rubbing on an office chair all day, even if he can afford a light-weight Super 200's with cashmere and vicuna, I know that within six months there's going to be a hole under his nether-regions and the jacket is going to look like a rag. Far better off to go for a mid weight worsted cloth with a bit of meat to it.

If it's a work suit for the Managing Partner of a law firm, then less is usually more, so it's out with the chalk stripes and we'll put the pimp-daddy linings to one side. If wedding bells are imminent, or you want to win 'best in show' at the races, then perhaps we'll check out sexy Miss Mohair, or a design that is so funky, it deserves it's own Afro and flashing dance-floor.

Yes, when I sit down with a new customer, choosing the right cloth is where it all begins, and isn't it nice to think that chances are, the threads on your back started out sun-bathing in Australia, before coming to England to be expertly crafted into Huddersfield's finest.

Putting on the Ritz

If there is one item of dress that I must wear before I die, it is white tie and tails.

A velvet smoking jacket for that Cohiba moment after Sunday lunch comes a close second but full evening dress is the ultimate. Just check out the picture below by Slim Aarons which has become known as "The Kings of Hollywood."



It's Clark Gable and friends exchanging banter and getting stuck into the champagne. They've probably just finished a nine course banquet and left a table of stunning young fillies to indulge in a spot of boys-talk, no doubt with a healthy dose of mum gags thrown in for good measure.

Throwing on your jeans and popping into the local with friends for a few pints is all very well but there is something about having to dress-up for an occasion that changes the chemistry of your brain and spurs you on to turn the night into an absolute blinder.

But let's face it, not all of us are invited to 'White tie' State dinners or the Lord Mayor of London's Mansion House Banquet, however, one person who needs no excuse to wear the full Monty is a new customer of mine who is a leading opera singer. He will shortly be travelling to Australia to perform at the Sydney Opera House and has commissioned me to make him a bespoke set of tails.

I am ready to give him his first fitting which as you can see below is literally just the component parts of the jacket loosely basted (sewn) together, with very little construction / scaffolding to hold it up - just some temporary shoulder pads and a little canvas in the chest so I can see how it is falling on him and what needs to be tweaked / re-cut.



Deciding style was easy because formal evening dress is strictly regulated and comprises of the following:

A tailcoat squarely cut away at the front, long enough so it reaches the waist with the tails no longer than the back of the knees. The lapels, usually peaked, are covered in silk or grosgrain.

The waistcoat is made of white cotton pique known as 'Marcella' and most importantly should cover the waistband of the trousers and NOT come below the front of the tailcoat. If single-breasted, it should have three mother-of-pearl buttons, all to be fastened.

The bow tie is made of the same Marcella cotton and must be hand tied. If you don't know how to tie one yourself, then I'll show you, otherwise, here is a good video.

The trousers are cut to be worn Simon Cowell style - high on the waist with a fishtail back so they can be worn with evening braces. A stripe in the same material as the lapels (silk, satin or braid) runs down the sides - some people say it should have two stripes for white tie, one for black tie, but that is debatable.

The shirt should be made in white cotton with a Marcella front and wing-tip collar. There should be no buttons down the front with a single cuff (not to be confused with double cuffs) all to be fastened with studs.

When it gets to shoes, there comes a dilemma. To wear the correct footwear, takes balls (or arguably a lack of them!)- they are called 'opera pumps' and are made of very fine leather which have a silk, or, grosgrain bow on the front.



If you are uncomfortable in these dainty little numbers, then go for some quality calf skin dancing shoes. I have read that patent leather shoes are unacceptable but I think they look great.

Final parts of this get-up from the gods include knee high black silk socks, a white linen handkerchief, white gloves, white silk scarf, top hat, cape and cane. How cool is that! Chic, elegant, indulgent, dapper as hell and wonderfully extravagant.

David Niven, Tom Ford, Gary Cooper, Fred Astaire and even Marlene Dietrich have all worn white tie and tails to much acclaim, and one day, I too will join these Kings of Hollywood, old and new, in wearing such a truly magnificent outfit.

An audience with Sir Paul Smith

Whether it's porn, art, narcotics, or, high finance, every industry has it's heroes.

Whilst I have no admiration for hedge-fund managers, Pablo Escabar, or, the teeth gritting antics of Ron Jeremy, they have all made it to the top of the tree in their respective 'professions' and are no doubt idolized by those who are just starting out in the businesses of greed, weed and rumpy-pumpy.

Well my chosen field is menswear and for me when it comes to heroes, the chap flying around in a red cape and underpants would be none other than our very own Sir Paul Smith. And I've just spent an hour in his company.



My business is three years old next month and I'm delighted to say it's cooking on gas. Bespoke suit orders continue to roll in but with a baby girl on the way, I need to identify other ways to earn a few more shekels.

Can you believe the price of buggies? It's outrageous. Seven hundred quid for some steel tubes and a bit of canvas and padding. Where's the bloody engine and CD player? I don't care that it can transform itself into a car seat, baby bouncer or carry cot. At that price it should feed the child, change it's nappy and then rock it to sleep. Buggaboo? Bugga-off.

Feel better now I've got that off my chest. Anyway, I turned to Paul as a sounding board and source of inspiration and he didn't disappoint.

The very fact that he was willing to take the time out of his day in running a £330 million pound business to offer me some help and advice speaks volumes about who he is and his kindness is probably one of the many reasons why he has been so successful.

His own story is inspiring in itself. From a small shop in Nottingham he now has a global business selling twelve different collections in hundreds of stores throughout thirty five countries.

It may be a big business but the wonderful thing is that there is a real family feel to the place.

The offices reminded me of Willy Wonka's Chocolate factory.



Within these walls is a hive of activity, smiling faces and quirky design features. I particularly liked the sea of bare light bulbs hanging down from the ceiling in reception, and couldn't help smiling at the thank you letters and drawings stuck on the walls from five year olds who had been sent a PS t-shirt as a treat.

The boardroom where we met was the antithesis of Sir Alan Sugars - no smoked glass screens and raised leather thrones here. It's crammed with books, gizmos, gadgets, toys, bizarre trinkets from his travels to Japan and even an executive briefcase that opens to reveal a train set.

Meeting Paul has reinforced all the good things that I have read about him and his values, which are so very different from the orange-faced, over-inflated egos in the fashion industry.

There are no fawning fashionistas, or trips in private jets to opulent residencies in the South of France, dripping in gold leaf with a posse of models in swarovski-encrusted micro-bikinis lounging by the pool.

A sense of divine importance, ostentatious wealth and glamour are replaced by humour, mischief, warmth, approachability and good fun. Saying that, I'm damn sure he is no mad professor - his eyes sparkle with intelligence and I'm sure he's had to make some tough, hard-headed business decisions whilst building up his empire.

He's a grafter, leads from the front, is hands-on and attributes much of his success to his 'wife, friend, lover' Pauline. I too subscribe to the view that behind every successful man is a strong (and some say surprised) woman and also discovered we have a few other things in common including a love of swimming and the film "Withnail and I."

The only thing we would cross swords on is his passion for Cycling. He wanted to be a professional cyclist but was injured in a terrible accident when he was 17. I can see the draw - it's a healthy activity, the wind in your hair, pedalling through beautiful countryside, or, even the Alps. I always rent a bike when I'm visiting friends in Amsterdam and it's all very civilised and works because the city is designed for it. Ours is not.

Over here, the car is king and our highways are NOT set up for gangs of Lycra clad gibbons pedalling three abreast along our pot-holed and traffic swamped roads. Don't get me wrong, I'm no Jeremy Clarkson, but as I'm crawling behind them with their bulging calves and Oakley sunglasses, oh how I'd love to plough through the lot of em' brandishing an evil grin and a super-soaker.

Rant over. Sir Paul Smith is somebody who I respect, admire and is an example of an incredible achiever with his heart in the right place. His flair for design is no doubt key to what he has built up, but I'd wager it's his people skills and passion for the trade that have helped him charm customers and suppliers and build up an incredible team behind him.

My dream would be to build up a business just like his with perhaps one exception. Those jewel encrusted honeys by that pool on the Cote d'Azur.