Spring – Summer 2011 8th Edition
SPRING-SUMMER 2011 TRENDS
A NATURAL PASSION FOR CLOTH INTERVIEWS Donna Karan The Duke of Argyll THE BESPOKE COACH The right shirt in the right place
A SCABAL i n itiAti ve to promote A tAiLor -mAde LifeSty Le
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Nothing is more liberating than a blank piece of paper. It’s the chance to create something original.
5,3 - 8,2 L/100 KM â—† 139 - 190 g CO2/KM. Environmental information (RD 19/03/2004) : www.audi.be Model illustrated with options.
We work mainly with international advertisers. if you are interested in our advertising rates, please contact Jérôme Stéfanski, jerome.stefanski@scabal.com or +32 (0)475 41 63 62 Nothing in this magazine may be reproduced in whole or in part without the written permission of the publisher. 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 Cécile de Forton alan Cannon-Jones dave lackie Eric Musgrave Stephen Papandropoulos Janet Prescott Jérôme Stéfanski John Thorley proofreading: ReadRight.be photographers: david Hughes Stephen Papandropoulos Filip Vanzieleghem Fotostudio Uyttebroeck illustrators: Mohsin ali Jean-Baptiste Biche olivier Van B egin
EdiTorial CoMMENT
A nAturAl pAssion for cloth dear reader, as the material used for the magazine’s cover shows, the theme that has inspired us for the 8th edition of Bespoken is natural fibres. in view of Scabal’s core business of being a producer and wholesaler of fine fabrics, natural textile fibres such as wool, cotton, cashmere and many others are invaluable treasures that will be explored. Since it is our strong belief that the most important ingredient of a great garment is the fabric that is used to make it, we will try to offer a deeper understanding of the intricate processes that finally give life to the end product. The special section of this edition will also introduce you to historical facts and illustrate some of the most famous exponents of textile products throughout the centuries. True to our conviction that raw materials are such vital ingredients, we are proud to be associated with the efforts made by the British wool industry, the australian Wool innovation Board and other institutions to bring knowledge of wool as a prime natural fibre to a broader public – this edition of Bespoken will hopefully make a modest contribution to this wider quest. discussing natural fibres touches upon the topic of ecology and the environment. at Scabal, we have not given in to the very fashionable trend of desperately trying to position ourselves as a 'green' company – we are naturally ecological without being boastful, since virtually all of our products are of natural origins, and we are confident that their production respects the environment. and we are happy to announce that Scabal never stops its international expansion – checkout ‘Past-Present-Future’ for more details. once again, we hope to provide a good blend of entertainment and education, and wish you happy reading! Gregor thissen
SCaBal Boulevard d’anvers, 33 B-1000 Brussels Belgium Phone: + 32 (0)2 217 50 55 www.scabal.com do you have any suggestions or feedback? let us know at www.bespoken.com Bespoken is printed on environmentally friendly, fair-trade paper J. Peter Thissen, Scabal Group Chairman and his son Gregor, CEO
This indicates a key article available in a variety of languages at Bespoken.com Bespoken
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© Scabal
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EdiTorial CoMMENT
a natural passion for cloth CoNTriBUTorS
Choice of fabrics SCaBal iN FiGUrES
33 million
SPriNG-SUMMEr 2011 aCCESSoriES
Match your watch Tailor’S diCTioNary
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THE BESPoKE CoaCH
The right shirt in the right place SEaSoNal STylE
Brighter and lighter SPriNG-SUMMEr 2010-2011 TrENdS By SCaBal
The sunny side of life rENoWNEd dESiGNEr
donna Karan SPECial FEaTUrE
a natural passion for cloth CoNFESSioN
For the sake of wool PioNEEr SPiriT
Weaving : The unbroken thread
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TEMPTaTioNS
legendary fabrics iT MaKES THE diFFErENCE
The Scabal edge iT MaKES THE diFFErENCE
Making it happen iN PEoPlE WE TrUST
Guardians of the way WorldWidE daNdiES
Gentlemen from Congo GENTlEMEN'S MEETiNG
a modern-day duke FroM SHEEP To SHoP
Summer Mirage CloTH GUidE
The wool a CUT aBoVE THE rEST
The Golden Shears award lEGENdary CloTHES
legal dress codes PaST-PrESENT-FUTUrE
international expansion Scabal worldwide
Tas Tas
THE HEART OF COGNAC THE HEART OF COGNAC
THE HEART OF COGNAC
Ons vakmanschap drink je met verstand. Notre savoir-faire se dĂŠguste avec sagesse.
ste our know-how wisely. ste our know-how wisely.
CoNTriBUTorS
choice of fAbrics
eriC mUSGrAve “I much prefer winter fabrics as I love tweeds, lofty wools, and cashmere sweaters, but the warmer months permit the wearing of that excellent lightweight shirting fabric, chambray. The only problem is trying to find it these days...” 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.
niGeL BiSHop “My problem is not choosing suits…it’s getting rid of them. I have at least a dozen I will never wear again: cleaned, pressed and hanging in the attic under wraps. I’ve tried, but I just can’t throw them out. There must be a name for this condition. Help...” 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. For the past two years, Nigel has collaborated with Scabal’s Fabrics design department and, in this edition, he examines Scabal’s in-house fabrics production in Huddersfield, the UK.
JoHn tHorLey “It really doesn't matter what the fabric is, so long as it's made from natural English wool!” John was born into a farming family in 1940. His claim to fame is that he developed The National Sheep association (NSa). He was awarded the oBE (order of the British Empire) in 2005, is a Fellow of the royal agricultural Societies and is the chairman of The Campaign for Wool, a crossindustry initiative convened by HrH The Prince of Wales in January 2010 to promote wool as a natural and ideal fibre for menswear. He talks to Bespoken about this ambitious project.
ALAn CAnnon-JoneS “When it comes to fabric I always look for 'tailorability' – there is a beautiful sound when cutting and the shears glide through the fabric achieving the look of an effortless classic coat that is as at home in the city as in the paddock.” 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.
JAnet preSCott “My favourite fabric is made into a soft, lambswool scarf. It is deep red, and it used to be worn raffishly round my father’s neck, making him look arty and louche. I took to wearing it after he died, but lost it one dark wet night in Paris. I was devastated. But, walking home, suddenly there it was, looped round a fire hydrant. The miracle of the scarf.” 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. For Bespoken she tells the history of weaving.
daVE laCKiE “I’ve always been fascinated with Scabal’s Lapis Lazuli fabric, because it adds an element of the mystical to a luxury fabric. There’s something so interesting about wearing a modern-day fabric containing a semi-precious stone favoured by Egyptian royalty.” dave lackie is the men’s style columnist for the National Post newspaper in Canada. in this role, he’s had the opportunity to interview oscar de la renta, Tommy Hilfiger, Tim McGraw, ralph lauren, donna Karan, John Varvatos, Sean Combs and renzo rosso, among others. Before becoming a journalist, dave spent seven years as the events and public relations manager for Harry rosen, an up-scale menswear retailer in Canada who works with Scabal.
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Text: Jérôme Stéfanski illustrations: Jean-Baptiste Biche & Olivier Van Begin
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SCaBal iN FiGUrES
33 million Chinese people, at least, have been already reached by the Gold Woolmark luxury campaign.
G
old Woolmark is the name of the programme launched by Woolmark international to position wool as a luxury fibre in the Chinese market. China is now considered the second largest luxury market in the world, and represents 27.5 per cent of the global luxury share. Some observers even say that Chinese luxury purchasing will exceed the US by 2015 – Gold Woolmark is a consumer education campaign that
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The Gold Woolmark campaign
teaches the Chinese luxury consumer an appreciation of timeless style. Woolmark international has chosen elite-positioned brands to support this initiative, and Scabal was proud to be selected as a partner. The campaign has been broadcast via several national media, including TV, internet, radio, events, print and advertising billboards, as well as point-of-sale actions, etc. The recent media launch in Shanghai has reached more than 33 million Chinese consumers – and that’s only the beginning, with even wider visibility expected in early 2011 via famous fashion magazines and popular TV programs.
a one-hour reportage on Scabal was recently broadcast on one of the most viewed Chinese television channels – the director focussed on the history and modern relevance of the business suit, with a mixture of interviews with key Scabal managers in Savile row, Huddersfield and Brussels. The broadcast is available on-line at www. scabal.com/tv.html More information at: www.woolmarkgold.com Jérôme Stéfanski
The Ti-Bridge Tourbillon in titanium, a unique watch appealing to a man in search of a pure technical experience and watchmaking emotions. Corum Manufacture CO022 hand wound flying tourbillon baguette movement with arcap bridges. Three-day power reserve. www.corum.ch
SPriNG-SUMMEr 2011 aCCESSoriES
mAtch your wAtch When renowned clock and watchmakers take as a starting point the season’s new trends to create exceptional timepieces, the result is unique, colourful creations that can match your Scabal accessories perfectly.
Green 97 per cent cotton and three per cent elastane green trousers by Scabal. 100 per cent silk ties from the oxford, Cambridge and Brighton Collections by Scabal. 100 per cent linen pocket handkerchief from the Kensington Collection by Scabal. Vetiver, eau de toilette, 125ml natural spray by Guerlain Paris – www.guerlain.com Genuine leather belt from the Mackay Collection by Scabal. Marinai d'italia automatic watch by anonimo, limited production of 200 numbered pieces, waterproof to 300 metres – www.anonimo.com 8
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Red-brown Genuine leather and plaited cotton belts from the Newcastle Collection by Scabal. 100 per cent silk tie from the Brighton Collection by Scabal. 100 per cent cotton pocket handkerchief from the leeds Collection by Scabal (left). 100 per cent linen pocket handkerchief from the Kensington Collection by Scabal (right). admiral’s Cup 44mm GMT watch by Corum, 18kt red gold, 42-hours power reserve, genuine leather wristband, second time zone – www.corum.ch Claytress shoes, brown plaited genuine leather, by ambiorix – www.ambiorix.be Bespoken
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Photographer: Filip Vanzieleghem Production: Sylvain Gadeyne Text and concept: Jérôme Stéfanski
Pink 100 per cent cotton ready-to-wear shirts from Scabal’s Collection. 100 per cent silk tie from the Brighton Collection by Scabal (left). 100 per cent silk tie from the Manchester Collection by Scabal (right). Genuine leather belt from the Mackay Collection by Scabal. 100 per cent silk bow tie from the Bristol Collection by Scabal. Skeleton red Classic watch by High Street, nickel-faced, engraved, jewel encrusted, 48-hours power reserve, manual winding, salmon pink leather wristband – www.lamontre.ch 10
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tAiLor’S diCtionAry
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Now that our acclaimed Tailor’s dictionary is approaching its conclusion, you can complete the whole work by ordering the numbers you’re missing from www.bespoken.com
s
SeAming
The joining together of the component parts of a garment at given distances from the edge of the fabric.
SeAt
The part of the trousers that covers the buttocks.
SCABAL
The reference in finest fabrics and made-to-measure suits since 1938.
SeAt AngLe
The angle at which the back seam of the trousers is cut to allow for ease of movement and stride.
SeLvedge
The longitudinal edges of a fabric formed during the weaving process in such a way that the component threads are interlaced to prevent them from fraying or unravelling.
Serging Scye: Showing the armhole/scye without the sleeve inserted Sleeve Head: Showing the sleeve in the armhole/scye with the sleeve head being the top of the sleeve
another term for overlocking , when the edges of the garment are neatened to prevent fraying.
Sewing out
Sewing the garment components together with the raw edges turned in.
SCye
The armhole of a jacket
SeAm
The line which joins two or more pieces of fabric. The seam is formed by either hand or machine sewing involving needle and thread.
SeAm ALLowAnCe
Sewing round
Sewing around the edges of a jacket or coat to join the front to the facing.
Sewing threAd
a plied thread made of two or more yarns twisted together used for sewing. also a monofilament yarn suitable for sewing.
The pre-determined amount of fabric between the edge of the fabric and the seam line. This is usually 1 cm or 3/8ths of an inch.
ShAm hoLe
SeAm PuCker
ShAPing
The fabric is puckering along the line of stitching on the seam.
an imitation buttonhole.
Cutting the correct shape and size of lapel and collar by using a template or shaper.
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tAiLor’S diCtionAry
SheArS
a hand cutting tool similar to scissors but with angled blades, thumb rests and at cutting edge of at least 20 cms.
ShouLder PAd:
Shaped layers of cotton wadding and muslin or felt used to define the shoulder of the jacket.
SingLe BreASted
a style of coat with minimum overlap on the centre front fastening.
Skirt
That part of a coat or jacket that hangs below the waist. (also a garment worn below the waist by women).
StAy tAPe
a narrow strip of fabric, usually cotton or lined, which does not stretch and is used to strengthen or control various parts of the garment.
StitCh
one of a series of units of conformation of threads resulting from the thread or threads being repeatedly passed through or into fabric during the sewing operation.
Stoting
a hand stitch used to draw together two cut, or raw edges of fabric.
StitChingS
a sequence of stitches applied to a fabric for decoration.
SLACkS
Trousers normally used for leisure wear.
SuPPreSSion
The creation of shape by the removal of a calculated amount of fabric.
SwAtCh
a bunch or collection of sample cuttings of materials used to indicate their representative characteristics.
SweLLed edgeS
an effect on the edge of the garment by sewing a row of stitching at a specific and regular distance.
a jacket showing the sleeves on the jacket
SLeeve
The part of the garment which covers the arms. Jacket sleeves are normally “Set in Sleeves” being set into the armhole.
SLeeve heAd
The top section of the sleeve nearest the shoulder.
StAnd
The part of the collar which joins the neck edge of the garment and terminates at the crease edge of the collar where the fall commences.
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Text: Alan Cannon-Jones Illustrations: Mohsin Ali
THE BESPoKE CoaCH
the right shirt in the right plAce your sartorial advisor, Eric Musgrave, reveals how to choose a shirt for every occasion.
© Scabal
Morning reflex: Choosing the right shirt and matching the right tie
V
irtually every man wears some sort of shirt every day. Whether a business shirt at work, a polo shirt for leisure, an evening shirt at a black tie dinner or even a T-shirt with a pair of jeans, a version of a shirt is almost ever-present on a man’s back. once, society followed strict rules about what was acceptable, but now things are not so simple. in the 1980s, the TV series Miami Vice introduced the concept of wearing a T-shirt under a suit (a relaxed linen suit admittedly…) as an early version of the “dressing down” trend. “Creative” industries like advertising and graphics have seen even senior executives wearing a fine-gauge polo shirt with tailored jackets for years. Today, once-conventional professions like property and finance have accepted staff wearing open-necked
business shirts, without ties. and even at evening events, conventional black ties have replaced black bow ties. HiStory Some things remain constant, however. The first rule of a good shirt is that it must be clean and pressed. Until the 1700s, a man’s shirt was regarded as an undergarment, with usually only the collar being seen. This heritage has implications today. it helps explain why a crisp white shirt is regarded as the epitome of respectability and elegance, and why taking a suit jacket off to reveal a business shirt is still frowned upon in some circles. in its historical form, the shirt had a detachable collar and detachable cuffs. This enabled the visible parts of the shirt to be changed daily (which only a gentleman could afford to do), while the main garment could be worn for several days. like the design of the classic lounge suit,
the classic shirt design has been with us since the second half of the nineteenth century. Up until the 1870s, shirts lacked buttons and were pulled over the head. The buttoned front made the shirt more versatile. The other great change to benefit modern men was the development of a fixed collar. after the First World War, fixed collars and cuffs became more common as men became used to the convenience of a complete shirt. The shirt’s history as an undergarment meant that the acceptance of stripes on business shirts was difficult in the late 19th century – stripes might be disguising dirt – and checks were worse. Happily, the rules are somewhat laxer these days. Most men have more shirts in their wardrobe than suits, and the shirts offer plenty of opportunities for a man to express his personality in his outfits.
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timeLeSS eLeGAnCe
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The tips of the collar are just the right size to slip under the jacket and waistcoat on this 1956 bespoke suit in london. © Woolmark archive and london College of Fashion
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in the early 1960s, British TV journalist david Frost sports a candy-striped shirt with contrast white collar, a nod back to when collars were detachable and changed every day by those who could afford to. © Woolmark archive and london College of Fashion
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Hairdressing legend Vidal Sassoon goes for a stand collar for this classic 1960s image. © Mirrorpix
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There is an interesting mix of pattern and texture in this bespoke combination from 1962, with the boldly striped shirt complementing the subtly striped suit and acting as a base for a classic knitted tie. © Woolmark archive and london College of Fashion
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all these photographs are extracted from the book Sharp Suits: A pictorial celebration of men’s tailoring, by Eric Musgrave (Pavilion Books, london).
The firsT consideraTion for The shirT is The fabric
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tHe CHoiCe of fABriC The first consideration for a shirt is the fabric. Traditionally, linen was the first choice for the shirt-as-anundergarment. it remains a beautiful choice for a business shirt, but it’s more often seen in casual summer shirts these days. Cotton is king when it comes to business shirts – it is comfortable and “breathes” to keep the wearer cool, but at the same time it is usually hard-wearing and can stand up to repeated laundering. Silk is an option that has its followers, although it is not as easy to look after as cotton. on cheaper shirts polyester is blended with cotton, but it is rarely found on high-quality garments. one synthetic fibre addition that has been attracting interest is elastane – lycra is the bestknown brand name for this stretchy fibre. a small percentage of elastane can give a shirt more of a body-fitting profile and is sometimes found in even business shirts from high-fashion brands. it is more readily available, however, on casual shirts. While most men would always choose cotton, that is only the start of the conversation as there are many varieties of weave and qualities, such as batiste, poplin, oxford, Sea island cotton, ribbed twill, pinpoint, herringbone, brushed cotton plus natural blends such as cottonwith-wool, cotton-with-linen and cotton-with-silk. CLASSiC or CASUAL? Business shirts are virtually always made of woven fabric, while many casual shirts are made of knitted fabrics. Knitted fabric is, by its construction, more “stretchy” and so is suitable for polo shirts and the like. The fabric gives the foundation on which the pattern can be built up, the colours and then the many details that give an individual look. Patterns are almost always woven into the fabric of classic business shirts, but casual and semi-casual shirts often are made of printed fabrics. The vibrant patterns of classic Hawaiian shirts are one extreme; the floral patterns of the 60s-style “liberty print” shirts a more subtle alternative. The rules are most tricky to interpret with business shirts. How far you go is up to your own confidence and sense of style. it is possible to look stunningly stylish in a plain grey suit, a crisp white shirt and a simple black tie (think of the early
James Bond or the minimalist fashion trends of the late 1990s). Similarly, you can look great and offend no one by mixing colours and patterns across your suit, shirt, tie and even pocket handkerchief. The great expert at this confident approach was Edward, duke of Windsor, who managed five different patterns in one outfit – suit, shirt, tie, pocket hank and a cap! pAtternS mix Most men would be happy not to go to those extremes. To mix patterns successfully, it’s often wise to mix bold patterns with subtle patterns. So, a strong dark-blue chalk-stripe suit could be complemented by an end-onend weave shirt (where a very subtle effect is achieved by using different coloured yarns, say white and blue) and a striking, solid red silk tie (the lightcatching sheen of the silk contrasts appropriately with the suit cloth and the shirt fabric). tHe CoLLAr The most important part of the construction of the business shirt for the wearer is the collar. once again, like the fabric, the shape, size and dimensions of the collar has to be appropriate to other elements of the outfit. To start with, the collar should be “in balance” with the collar and lapels of the suit. The shape of the collar also determines the size of tie knot that will fit into it. as well as the width of the spread – the distance between the points – there is also the length of the points and the height of the collar itself to consider. Most shirts have only one collar button, but italian fashion shirts often have two neck buttons because of the height of the collar.
knot forward). Some shirts, notably the classic american button-down, offer a bridge between a formal business shirt and a relaxed leisure shirt. ACCeSSorieS a business shirt also gives a man the chance to wear some jewellery – his cufflinks for example. always take the opportunity to go for a doublecuff and some cufflinks. among the other options, short sleeves don’t require cufflinks – but they ought to be reserved only for casual shirts anyway. if your office is too warm, open a window or roll up your sleeves – you’ll look dynamic (as long as no one minds you taking off your jacket)! among other options, breast pockets are rarely seen on top-quality business shirts, but they remain popular in some markets, especially the Far East. and the golden rule on shirts, unless they are obviously for casual wear and have a straight hem, is never wear them outside the trousers. Eric Musgrave
yet another aspect to consider is the shape of the wearer’s face. long, narrow, closely-spaced collar tips can exaggerate a long face, or can look uncomfortably at odds with a square visage. a high two-button collar can look inelegant on a man with a short neck. Some retro collar variations are hard to find outside of madeto-measure shops these days. i am particularly vexed that it is hard to locate good 1960s-style tab collars (in which a fabric strip from either tip is buttoned behind the tie knot to pull the collars closer while pushing the tie Bespoken
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did yoU knoW ? Whether it is shirts or suits, Scabal is constantly innovating and is able to offer a wide variety of fabrics to create the look that suits you best. Scabal offers no fewer than 3 different options for shirting which ensures you will find exactly what is right for you.
2. ‘mAde By yoU’ SHirtS from SCABAL Many men who might consider a madeto-measure suit tend to overlook that a made-to-measure shirt will also fit, feel and look good. Scabal’s made-tomeasure service (which is primarily for business shirts) is intended to bring this elegant idea to a wider audience.
1. fABriCS SeLeCtion Since spring 2010, Scabal has offered made-to-measure shirt fabrics and there are more than 30 designs available in the luxury Shirts bunch. as with the jacket and suit collections, the fabric used must comply with the very highest standards. The shirting fabrics are made in italy and come with a special woven Scabal label. There are two qualities available, in different weights – both are made from superfine cotton fibres and are presented in a range of styles. don’t forget to ask your tailor for a sample from this exceptional range – you’ll knock ’em dead.
fineSt fABriCS There is a huge selection of at least 350 fabrics to choose from at any time, starting with a fine 120’s two-ply cotton quality and going up all the way to superfine 200’s two-ply in Sea island cotton. as well as all manner of pure cotton fabrics, the range includes 70/30 cotton/linen blends, 100 per cent linens, and cottons with a touch of elastane for a slim-fitting profile. Fabric types include poplins, of course, plus twills, oxfords, end-on-ends (or fil-à-fils) and piques.
CUStomizAtion StArtS Here For this service, a customer puts on a trial shirt from which any alterations can be identified, measured and made. Some men require only small amendments, others a major restyling. Nothing is too much of a problem. 16
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The shirt length, the chest, the waist, the hips, the collar, the different sleeve lengths, the width of shoulders and the width of each cuff are all adjustable. There are five different cuff options and an astonishing 15 variations of collars to suit almost every requirement. Chest pockets are optional and, for the personal touch, initials can be sewn on to the shirt. SprinG-SUmmer noveLtieS Everything will be fresh and crisp for the season. New for 2011 is an even more exclusive level of make, which will complement Scabal’s No 12 tailoring programme. “We already produce a high-level shirt, but we are going to offer an upgrade even on the existing quality,” says Scabal’s Sales & Product director olivier Vander Slock. “Although our made-to-measure shirts are made in Italy, we think they have more in common with a British bespoke shirt and so they very much fit in with the Scabal image.” 3. reAdy-to-WeAr SHirtS The fabrics and styles used by Scabal to create their made-to-measure shirts are also available in the ready-to-wear ranges. another good reason why Scabal is an indispensable brand for your wardrobe.
Photographer: Filip Vanzieleghem Production: Sylvain Gadeyne Text: Jérôme Stéfanski More information at www.scabal.com
SEaSoNal STylE
lighter And brighter The latest suiting fabrics include five new summer lines in the Spring-Summer 2011 Collection and the brighter colours are back. SUiTiNGS
JaCKETiNGS
CUTS & ColoUrS
For THE BUSiNESSMEN Caravelle: if you travel on business regularly, you’ll certainly appreciate this new lightweight, low-crease, wool and micro-fibre cloth. Classic travel quality with plains and stripes in a variety of shades. Bon voyage!
Jacket fabrics also feature strongly in the summer collection, reflecting the unmistakable trends towards more casual business attire and more stylish, flexible leisure wear.
The Scabal Spring-Summer 2011 collection is inspired by three main colour themes.
BaCK To BaSiCS Heroic: this 280g is a revival from the 1960s, when Scabal brought out its first Super 100’s. No special finishes, no new effects, just plain good quality. The design of this bunch containing 57 fabrics is more colourful too, with fancy checks, and strongly contrasting stripes in red, blue, yellow and dark brown, and a range of semi-plains. drEaM CoMES TrUE mirage: This Super 130’s quality has now become 140’s, and at 210g it is even lighter than before. iNCrEdiBlE SUMMEr MiNK Homer: For the first time, Scabal has added the softness of mink. This luxurious 230g Super 150’s wool with a twill ground weave offers 34 articles in fancy checks, stripes and semi-plains. THE MyTH eos: To complete the suit innovations, Scabal has developed the 'Box Collection' – the season’s exclusive luxury line. Blended with silk, this ultra-soft Super 180’s line presents 16 articles in light fancy stripes of grey, light blue and beige, and a classic range of radiant mid and dark blues.
BE oriGiNal mosaic: This contains three qualities – Super 130’s, Super 100’s and Cool Wool – brighter, fresher and more colourful. as the name implies, this line is all about fancy windowpane, Vichy and Glen checks, with high-contrast whiteblue and black-blue designs. CaSUal CHiC St. tropez: The design is casual, with strong windowpane and Vichy checks in a wide range of fancy shades, including pink and green. St. Tropez offers a range of different qualities mixing linen, denim, cotton, wool, silk and cashmere.double-faced fabrics are also introduced, perfect for fashionable, soft jackets. PlaiN FaBriCS Cashmere Cotton and pure Cotton: The 250g Cashmere quality comes in natural shades of beige, brown and off-white. The Pure Cotton line has three qualities: a 220g satin weave in fancy shades of mint green, reds and light blue; a classical range in 260g; and a 300g collection with a wide range of shades including new dark green, red and dark brown. pure Linen: a collection of three 100% linen qualities. Firstly, a very fashionable ‘delavé’(used look) 250g line of 14 articles in orange, rose, red and blue. Second, a 260g line in classical shades. Thirdly, a heavy irish linen (200g on half-width 75cm) presented in a classical range of natural shades of beige, off-white, blue, black and grey.
GrEy, BlUE aNd BEiGE The theme with the widest appeal will undoubtedly be the classy grey/sky-blue and grey/beige selection. it immediately takes us in two distinct directions. The business route is based solidly on wool suits in greys and blues. This is strong Scabal territory – timeless and elegant, in plains, stripes and checks. The casual direction leads us to jackets, with a wider choice of materials such as linens and cottons. Checks predominate on ground shades of grey and blue, splashed with fresh whites and beiges. oraNGE SHadES The main topic is mixing orange with suit and jacket ground shades of brown and beige, producing a warm, comfortable feel with splashes of citrus intensity. PiNK aNd SKy BlUE This theme is a fresh, summery pink and sky-blue palette. More vibrant, more casual, the collection features jackets, soft jackets, shirts, ties, knitwear and scarves. STayiNG SliM aNd rElaxEd “The slim look will be nicely presented again this year by the false three-button jacket,” says olivier Vander Slock, Collection Manager at Scabal. “The wearer has three buttons but displays only two, thanks to the rolling lapel that covers the top button and gives a firm line down towards the waist – accentuating the slim elegant look.” Soft jackets reappear throughout the 2011 collections after a successful first season. Nigel Bishop
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Spring-SUMMER 2011 TRENDS BY SCABAL
The brighter side of life Scabal greets warmer weather with a confident, upbeat style this year. Brighter, natural colours for jackets; cool and comfortable elegance for suits. A new collection for today’s man, steeped in the tradition of Scabal’s finest fabrics.
Mosaic jacketing presents three summer wool qualities, all made in England at Scabal’s mill. Here stylish window-pane checks on a solid twill weave give a confident look, accentuated by cool-white cashmere and cotton trousers. Jacket, Mosaic, ref. 801404 Trousers, Cashmere Cotton, ref. 500825
St. Tropez: another name for sophistication and elegance. This new casual-luxury jacketing collection is woven with comfortable, natural fibres. Sophistication comes from the mix of pure cool linens, cottons and blends of wool, silk and cashmere, presented in an exciting range of fancy checks, sporty stripes and colourful plains.
Jacket, St. Tropez, ref. 801434 Trousers, Cashmere Cotton, ref. 500427
Jacket, St. Tropez, ref. 801457 Trousers, Cashmere Cotton, ref. 500858
Get knotted : Women know instinctively how to wear scarves, and thankfully they’ve been educating their men. instead of draping it like a sack over their shoulder or tucking it under their overcoat like a grandfather’s foulard, modern men are now knotting, twisting and looping their écharpe provocatively around their neck – usually instead of a tie. yes, men have finally realized that as a fashion statement and colourful accessory, the scarf cannot be beaten.
Jacket, St. Tropez, ref. 801446 Trousers, Pure linen, ref. 800926
Jacket, St. Tropez, ref. 801446 Trousers, Pure linen, ref. 800926
Jacket, St. Tropez, ref. 801438 Trousers, Cashmere Cotton, ref. 500825 Fabric background, riviera, ref. 801250
Suit, The royal, ref. 702592
Scabal brought out the Super 100’s wool quality of this Heroic collection back in the sixties. Now the brand has revived it, with a modern, lighter interpretation and new designs.
Suit, Heroic, ref. 702193 Fabrics riviera, ref. 801249 The royal, ref. 702604 Mosaic, ref. 801181
Jacket St. Tropez, ref. 801447 Trousers Pure linen, ref. 801479
New summer fabrics from the riviera collection include 35 interpretations in pure linen, linen and wool and linen, cotton and silk. Suit, Mirage, ref. 751932
Photographs: David Hughes design: Pierre Daras @BaseDesign Styling: Sylvain Gadeyne @Scabal Text: Nigel Bishop
rENoWNEd dESiGNEr
donnA KArAn’s pAssion for fAbric on the 25th anniversary of her company’s creation, the iconic New york fashion designer discusses how she’s using fashion to foster wellness, her love of menswear and her deep bond with fabric.
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as unconventional as this sounds the results are undeniable: on the silver anniversary of the launch of her namesake label, donna is enjoying some of the best reviews of her career. Style.com’s Nicole Phelps described her last collection of sculptural jackets and architectural shawl collars as “brilliant” and “Karan at her modern, unfussy best.” american Vogue deemed it one of the best of the season. and almost every fashion journalist has commented on Karan’s recent choice of fabrics – twisted, nubby wools and fine-spun cashmeres in inky blacks and darkened aubergine. The texture of the fabrics is so striking it gives every garment a sculptural quality. “In the end, fabric is really what keeps me interested in designing fashion,” she admits showing me a black wrap of the finest cashmere I’ve ever felt. “It inspires me and fascinates me at the same time.” Her love of fabric emerged more than 35 years ago when she was working at anne Klein with louis dell’ollio, a former Parsons School of Fashion classmate. He remembers Karan attending her first fabric fair where she sat in a booth looking at one sample of fabric for twenty minutes. He literally had to pull her out of there. 30
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© George Pimentel & Holt Renfrew
t’s ten minutes into my interview with New york fashion designer donna Karan and she’s just told me she talks to fabric. and fabric talks back to her. “I have an intimate relationship with fabric. I stand in front of a mirror with a mannequin and the fabric tells me what it wants to do – it’s shape, it’s draping, it’s length. It just talks to me. I can’t explain it.” dressed in a black cashmere wrap dress, chunky wooden necklace from Senegal and gladiator sandals, she says this with such sincerity and conviction, i find myself believing her. Maybe she does talk to fabric.
Donna Karan: 25 years of success in fashion
That donna takes inspiration from men’s wear fabrics is no surprise considering that her father was a skilled tailor and her mother a showroom model. and while her father died in a car accident when she was only three, donna remembers her mother always looking so impeccable, dressed in blazers her father had made for her. years later, she would launch her dKNy bridge line based on her love of wearing her husband’s jackets and shirts on weekends.
‘Fabric is really what keeps me interested in designing Fashion’
“I’ve always approached fashion as a problem solver,” she tells me sipping some freshly squeezed vegetable juice. “When I came up with my seven easy pieces that would take a woman from day to night, it was all about simplifying her life. (She launched a similar system of dressing for men in 1998.) I started with a bodysuit and wrap-and-tie skirt and everyone looked at me like I had three holes in my head. But it was an extraordinary success because it solved a problem. My customer soon came to look to me for simplification and a certain type of quality that we uphold.” (Barbra Streisand and demi Moore were early fans who would later become two of her closest friends.) Unfortunately, simplifying fashion hasn’t become any easier in the ensuing years thanks to the advent of social media and the internet. “There’s too much fashion information today. If it was pared down to getting fashion information in season, we’d all be better off. Consumers don’t need to know about the fashion shows. We are giving them far too much information particularly with the web. I’m not in favour of showing consumers about spring when I have to get them excited about fall.” “The accelerated fashion cycle today nauseates me,” she continues. “I mean I hate to say it, but when I started my company 25 years ago, I showed in May. Now, I show the same collection in December and February. I think it’s crazy and I think the clothes are being shipped to the stores far too early for the consum er.” Timing has always been key to Karan’s success. in 2001, she sold her trademarks and publicly traded company to lVMH for $643 million pocketing an estimated two-thirds of that sum herself. yet, she remains committed to the brand she’s built acting as chief designer of her signature women’s wear line. Her stamp of approval is clearly on every product that carries her name – from slim dKNy men’s suits to housewares and eyewear.
The sale of her company should have been a career highlight, but it came marked by tragedy: her husband, Stephen Weiss, an accomplished sculptor, passed away after a seven-year battle with lung cancer. a few years later her best friend lynn Kohlman died of brain cancer. “Cancer has been a constant presence in my life,” she says quietly. “While the doctors showed incredible dedication throughout my husband’s illness, I was shocked that they only treated the disease and not the patient. I knew I had to help change how hospitals care for patients.” The result was the creation of the Urban Zen Foundation (www.urbanzen.org), a not-for-profit organization dedicated to changing the current healthcare paradigm to include integrative medicine and promote patient advocacy. She says the answer is to treat the patient with the same passion we treat the disease by combining Western science with nutrition, yoga and Eastern healing practices such as reiki. To fund the charity, Karan launched an Urban Zen
store based in New york’s West Village neighborhood that sells a range of eco-friendly fashions, accessories from indigenous communities and books. Ten percent of net sales are donated to the foundation. (it’s not uncommon to see the likes of deepak Chopra, Gwyneth Paltrow and even Madonna perusing the racks.) initial results from the organization look promising. She’s started a pilot project at Beth israel Medical Center to study integrative therapies and develop a pilot program that enhances the care of cancer patients and their loved ones.
who would routinely work until 9 pm every night. replaced, is a much more patient, serene artist who is striving to bring some calm to a deadline-driven industry. Her enthusiasm is almost palpable. “Designing for me is about addressing the inside as well as the outside. When I’m in a change room dressing a woman, I’m striving to make her feel confident and sexy. It’s a much more holistic approach.” and one that relies heavily on the character and spirit of great fabric. Dave Lackie
“I remember sitting in hospital waiting rooms watching people in absolute shock. There was no one caring for the spouses and partners of those who were ill. This pilot programme is giving them support as well.” These days, donna has embraced New age concepts of yoga, meditation, and reiki with the same zeal with which she approaches fashion design. Gone is the type-a, frenzied designer
donnA kArAn’S key dAteS 1948: Born donna ivy Faske in Forest Hills, Queens, United States 1966: Enrolled in Parsons School of design 1968: donna takes a summer internship position with anne Klein then accepts a fulltime position before graduating college. 1984: launches donna Karan New york. 1992: dKNy for Men debuts and Karan is named Menswear designer of the year by the Council of Fashion designers of america. 1997: donna steps down as CEo of the company but continues to be chief designer of the donna Karan line. 2000: lVMH (Moet Hennessy louis Vuitton) buys the company and trademarks for $640 million. Her husband Stephen Weiss passes away from cancer. 2004: accepts the lifetime achievement award from the Council of Fashion designers of america. 2008: Creates the Urban Zen Foundation to help integrate Western medicine with Eastern healing techniques. 2010: Celebrates the 25th anniversary of her signature line with a series of galas and personal appearances.
DKNY’s previous winter men’s collection
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SPECial FEaTUrE
A nAturAl pAssion for cloth CoNFESSioN
For THE SaKE oF Wool Page 33 PioNEEr SPiriT
WEaViNG : THE UNBroKEN THrEad Page 34 TEMPTaTioNS
lEGENdary FaBriCS Page 40 iT MaKES THE diFFErENCE
THE SCaBal EdGE Page 44 iT MaKES THE diFFErENCE
MaKiNG iT HaPPEN Page 46 iN PEoPlE WE TrUST
GUardiaNS oF THE Way Page 48 WorlWidE daNdiES
GENTlEMEN FroM CoNGo Page 50 GENTlEMEN’S MEETiNG
a ModErN-day dUKE Page 54 FroM SHEEP To SHoP
SUMMEr MiraGE Page 57 CloTH GUidE
THE Wool Page 58 a CUT aBoVE THE rEST
THE GoldEN SHEarS aWard Page 59 lEGENdary CloTHES
lEGal drESS CodE Page 60
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for the sAKe of wool Because wool is the main fibre used by Scabal for weaving its fabrics, Bespoken talked with Campaign for Wool Chairman John Thorley, who represents a cross-industry initiative convened by HrH The Prince of Wales that promotes wool as a natural, valuable fibre.
intervieW BeSpoken: How
did you first become involved with the prince of Wales and the Campaign for Wool? JoHn tHorLey: I first met HRH The Prince of Wales in 2002, when he was presenting me with a very prestigious award for a lifetime’s work in the livestock world on behalf of The Royal Smithfield Club. We talked about mutton, the meat from older sheep because it was the beginning of a campaign for Renaissance Mutton, the object of which was to get real value back into older sheep and a renewed appreciation of the special meat they provide. At this time, older sheep were worth as little as £1 and often not much more than £5. By 2008, when the campaign had been running for some four years, such was our success that it was not unusual to see well meated older sheep selling for well in excess of £60, thus making a sensible contribution to the income of the producer. It was as a result of the mutton campaign that Prince Charles asked me to look at wool, and the Campaign for Wool was launched.
How do you see the Campaign for Wool increasing demand for fine wools? I see the campaign increasing demand for all wools. With regards to fine wools in particular, I see demand being lifted by first of all raising the profile of this quite wonderful and special product. The campaign will set out to explain to the world its unassailable benefits, the fact that it is natural, annually renewable, sustainable and biodegradable, all of which set it apart from so many other products used for the same purposes. In addition, it has the marvellous quality of being able to retain warmth for the wearer in cool weather and conversely keep them cool in the heat. In fashion terms, it always looks good, while being easy to clean and incredibly comfortable to wear.
which will thrive happily in the harshest of conditions. It does so without reliance on any fossil material and annually produces a wonderful natural fleece.
do you see the possibility of the campaign going global? Campaign for Wool going global is the only correct course to take. Anything else would be unthinkable. We live in a world where there is an increasing awareness of the importance of the environment. Wool is the simplest of fibres to grow – on a sheep,
Jérôme Stefanski
Could you sum up in a few words the recent wool week in London? London Wool Week surpassed even the most optimistic of expectations. Raising awareness of the wonders of wool is a key objective of the campaign and with the support of HRH The Prince of Wales, Wool Week did so in the most amazing way; huge media coverage in all its guises all over the world, unprecedented radio, television and press coverage with masses of both pre- and post-event publicity, it was a truly outstanding success – the trick will be to do even better next time!
SHeepS in tHe City last october, the Campaign for Wool organized a ‘Field day’ on Savile row, the famous london tailors’ street where Scabal has its flagship store. The road was closed to traffic and Exmoor Horn and Bowmont sheep grazed on specially laid turf. Visitors learned how wool is worked by great British mills to produce luxury fabrics. a remarkable way to promote wool. www.campaignforwool.org
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PioNEEr SPiriT
weAving : the unbroKen threAd
Š US National Archives and Records Administration
For Bespoken, textile and fashion specialist Janet Prescott recounts the history of weaving from 5,000 years BC to nowadays, and highlights the capital evolutions in the men’s tailoring industry
Weaving: An endless story
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WeAvinG definition The principles of weaving are as follows: the warp is the parallel system of threads which go from top to bottom of a loom, and the weft is threaded horizontally by a shuttle over and under these to make a dense woollen or cotton fabric from spun animal hair or plant stalks. Some archaeologists make the link between the intellectual concepts of counting and number in early societies with the mechanics of counting threads and working out the mathematics and geometry of the warp and the weft in weaving. Weft
Warp tHe invention of WeAvinG it is a mystery when and where the arts of weaving were first developed, but like all evidence for human ingenuity and invention, the origins of such activity are being traced further and further back in the mists of time. There are some indications that weaving was already known in the Palaeolithic era. Neolithic textiles found in excavated ancient dwellings in Switzerland have been traced back to 5,000 years BC. The development of agriculture led to the use of plant material for threads and later the fleeces and hairs of animals kept for milk and meat, were exploited regularly for spinning and weaving. Because fabric biodegrades and disappears over time, the earliest evidence of clothing comes only in dim visual representations in cave paintings of primitive hunter gatherers who initially wore stitched animal skins. a few thousand years later, tiny fascinating scraps of woven fabric have been found in later graves like the prehistoric long barrows excavated in England and from primitive burial sites and place names all over
the world which betray the weaver’s craft such as Saffron Walden in England, where the bulbs were harvested for yellow dyes. Weaving developed across cultures and civilisations over thousands of years. By the era of the ancient Egyptians in 6,000 BC, craftsmen were weaving linen and cotton with great skill. Greek and roman literature mention weaving terms Primitive loom in 1620 in myths and legends, notably the three Fates who spun and randomly cut the threads of life and Penelope continually weaving away and undoing her work each evening, awaiting the return of the hero odysseus.
© Braunius
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he story of weaving is as old as that of humanity and it is woven into its very existence. The weaving loom was one of the first machines invented. images derived from weaving have entered many languages, especially English. We talk of spinning a yarn when story telling, weaving a web of intrigue when conspiring, poor goods are described as ‘shoddy’ (poor by-products of wool processing) the meaning of things is ‘teased out’ as with a teasel, a sharp thistle used for raising up threads on wool and cashmere woven fabrics.
textiLeS AS driverS of trAde And deveLopment The importance of the growth of textiles to the powerful economies of ancient times was to presage the role of textiles as drivers of trade and development worldwide, notably the industrial revolution in Europe which changed history. it continues to this day in the boom economies of China, india, and Brazil where textiles are leading rapid development. China developed woven fabrics at the same time as the discovery of ceramic technology, thousands of years BC. The Silk road from that country, founded in the Han dynasty, was used for 3,000 years as a main thoroughfare, winding through countries like modern day Pakistan, afghanistan and iran, reaching the Mediterranean, eventually meeting ships bound for italy. it was the major route for centuries for transporting silk for weaving, spices, fabrics and artefacts back and fro between asia and the emerging Europe. in india, the Middle East and all across Europe, weaving was a staple for domestic use and increasingly for trade, well before the Christian era. Kelims and carpets from Persia, Tallith or prayer shawls in Judaism, woven shrouds and swaddling clothes are mentioned in religious texts and historical inventories, testifying to the importance of the craft to domestic, religious and international settings. in South america the incas and other indigenous peoples had developed their own fabrics thousands of years before the arrival of the conqueror Cortez from Spain at the beginning of the 1500s. Fabrics were valued as the most precious items the aztecs produced. Their characteristic fabrics woven in precious threads with symbolic designs and geometric accuracy were developed originally by the Pueblo, Zuni and Ute tribes.
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Cloth represented power in the painting of masters Van Eyck, such as Portrait of a Man (Self Portrait?) (1433) (left) and Caravaggio, The Calling of Saints Peter and andrew (1602)(right)
fABriCS And teCHniqUeS The essentials of weaving remained constant for centuries but gradually techniques and looms were developed which could handle complex patterns, made from different types of yarn from precious fibres like silk and the finest wool. Wool became the predominant fibre in use about 2000 BCE together with flax from the Nile Valley cultivated for linen. dyeing innovations led to luxurious designs which played about with many different thicknesses and colours of yarn. These showy cloths appealed to kings and queens as symbols of power and wealth across the ages and different cultures rich merchants and their wives, monarchs and politically powerful churchmen can be seen decked out in their finery in famous portraits by such masters as Caravaggio, Fra angelico, Van Eyck and Holbein. indian rajahs were depicted in highly decorated silken clothing and in Europe coronation robes became vehicles for jewels, gold thread and symbols of power. The young kings François i of France and Henry Viii of England plus their armies squared up to each other and staged a symbolic wrestling match (won by the French king) at Calais in 1520 in a place called forever after the ‘Field of the Cloth of Gold’. Their sumptuous tents, made to outdo each other in magnificence, were woven from pure gold thread and silk. Even today threads of gold, silver, even diamonds are still incorporated into the most exquisite luxury fabrics to create the ultimate prestige articles. looking at the history of weaving it’s clear that the processes took an extraordinarily long time to become sophisticated and mass produced. For thousands of years weaving took place in people’s houses, just as genuine Scottish Harris Tweed is still made in crofters’ cottages on the Western isles — the original ‘cottage industry’ .
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Union mAkeS StrenGtH By the Middle ages in Europe Guilds and societies grew up to safeguard the interests of what was by then a lucrative and important trade covering the known world. looms were developed that could deal with finer yarns. in many European cities the textile Guilds gained huge political and economic influence. The English Guilds like the Worshipful Company of Weavers occupied grand buildings in the City of london, controlled prices and supply of raw materials, and amassed great wealth, which was often redistributed in alms to the poor. apprentices were trained in the complex crafts and by the foundation of schools some of which still exist. in Bruges, Belgium, groups of weavers were gathered to maximize their effort and train up apprentices in one of the first attempts at organised production. internAtionAL WooL trAdinG animals were now bred specifically for their fleece, such as Spain’s royal Escorial and Merino flocks, later to found the backbone of australia and New Zealand’s economies. Specialist trades such as spinners, fullers, dyers, weavers, finishers and designers, as well as a host of subsidiary trades showed the increasing importance and complexity of the industry By the start of the renaissance in italy Florentine bankers like the di Medici gained influence and wealth, and many of their fortunes were built from dealing with the riches produced from the widespread European wool trade. Wool and fabric began to be traded by merchants in a complicated international system of relationships. Biella became the centre of fine wool spinning and weaving in italy. The skills of weavers in northern Europe were increasingly prized and in the late 1600s Protestant Huguenot
silk weavers from Catholic France escaped death by fleeing to Britain to avoid religious persecution, increasing the knowledge and skill levels in that country at a stroke. Growing European empires used the labour and resources of their colonies to expand trade, cultivating raw materials and driving the slave trade for cotton production in the americas. Wool and cotton were the main fabrics produced, block printed, as woven patterns were slow and difficult to incorporate in the simple looms of the time. a plain weave, twill weave or satin weave were the most common until the industrial revolution which was born in the North of England. tHe indUStriAL revoLUtion This revolution changed the world, moved thousands of people into organized factories and led to the rapid growth of towns and cities, and it all originated in the manufacture of textiles. it was fuelled by astonishing advances in engineering, particularly the invention of the flying shuttle by John Kay in 1733 which speeded up weaving immensely. This was followed by the first moves to mechanise the processes in yorkshire by Edmund Cartwright in 1785. Power weaving arrived on the scene in 1805 and a plentiful supply of water was needed. This is why mills were often sited in areas of outstanding natural beauty, to take advantage of steam power derived from rushing streams and powerful rivers in Scotland, England and areas like Prato and Biella in italy. Semi automatic looms were introduced in 1842 in lancashire, Northern England. The Jacquard mechanical loom was another vital leap forward. invented by Joseph Marie Jacquard in France in 1801, it swept across Europe. Jacquard weaving allowed complex patterns like brocade, damask, and ‘matelassé’ to be manufactured simply and quickly. Jacquard looms are in fact the earliest computers: controlled by punch cards with punch holes to control warp threads without repeating, enabling complex rich patterns in the weave.
fASter And StronGer The range and innovation now possible was seen in the faster production of both woollens and worsted cloths in great quantities. The opportunity for innovation and experimentation increased to clothe the newly affluent middle classes of the 19th century. Mass emigration took these skills to New England and the americas. Powerful metal industries grew up to produce the textile machinery necessary to keep pace with the huge demand for woven fabrics to send to the four corners of the earth. Hattersleys in yorkshire was one of the earliest firm of loom makers in the world, founded in the early 1800s, also seeing the birth of advertising and promotion. Countries rapidly industrialized on the back of the textile trade, but pollution and grim conditions often followed. older generations in yorkshire can still recall the river aire running with different colours even a few decades ago, red one day for military uniforms, blue the next, green the day after for the baize for billiard tables, because dye was discharged from the dozens of mills in the area into the water. Environmental movements and sustainable business operations have put paid to that, and the top quality textile trade is now among the most responsible and eco conscious of all.
The flying shuttle, created by John Kay in 1733, is one of the major weaving inventions
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Birdseye, Glencheck, Donegals tweed fabrics and traditional woven houndstooth design in pure wool
tHe oriGinS of fAmoUS deSinS Woollen fabrics, made from short, arded yarns with a lofty, soft quality were made into substantial cloths for everyday wear, sports jackets and shooting outfits in bold houndstooth checks, birdseyes and herringbones. Scottish mills developed colourful tweeds, tartans and paisleys in distinctive designs, displaying an imaginative use of colour and texture which took the fashion world by storm, and still does. Traditional woollen jacketing designs were named after places; donegals from ireland, Scottish Glenchecks, Cheviots, the woollens from the West of England. The iconic Prince of Wales check was developed in the 1930s for the fashionable Edward Viii in England. interestingly, all the classic designs above appeared in the recent collections for 2011 shown to the trade in Milan and Paris, now made immensely softer, finer and lighter to suit modern tastes. WorSted yArnS Worsted yarns are made from longer staple fibres laid parallel prior to spinning for crisper and tighter weaves. They weave into fine suitings which can be subtle and understated or relatively flamboyant as in the pinstripes and chalk stripes of the banker. Worsted suits have been de rigueur for elegant men worldwide for over a hundred years. Now they are made from ever finer wool counts, blended with rare and precious fibres such as alpaca, cashmere, camel hair, vicuña, chinchilla or mohair, with elegant finishing for a shine or a matte effect, a crisp or a soft handle. Many have a touch of stretch yarn to let them bounce back uncreased or treated to make them showerproof without affecting the feel or the appearance of the suiting.
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noWAdAyS The recent growth of heritage collections inspired by mill archives reflects the modern search for excellence, revisited and updated. These days, individual choice is paramount, with customers embracing the most innovative fabrics which possess sophisticated techno features for comfort and performance, the choice of colour and cut showing the expertise of the makers and the good taste of the wearer. Sophisticated and complex processes applying and developing the weaver’s trade and tradition are behind all this. it’s the culmination of generations of ingenuity, invention and artistry. The best of the old bespoke process can be combined with the rapid technology of the computer age. Weaving has come a long way, baby, but it has not lost its memory. Janet Prescott
Mieux que la chaussure : le compliment d’une femme sur la chaussure. e r i k v a n l o o y , cinéaste : l a mémoir e du tueur , l oft
www.ambiorix.be
TEMPTaTioNS
legendAry fAbrics They have been worn for decades – centuries, even. definitively luxurious, these fabrics are so famous, that they seem to have been around for ever. Here, we pay tribute to them.
tHe kind of LACe men fALL for in 1954, ada Missoti created the lingerie house la Perla in the italian city of Bologna. The name derives from the red velvet casing in which ada conveys her jewelled creations. By the 1960s, a new line, inspired by Brigitte Bardot was created – with women’s liberation, la Perla decided to try out some rather more daring collections. in 2008, a new piece was created that quickly gained mythical, cult status; a bra decorated with pure 14 carat gold thread, recalling the Scabal Gold Treasure lines of the 1990s. The sensuality of the garments lies in the choice of the raw materials, and the process of encrusting and shaping make the undergarments precious.
La Perla: Sensuality, authenticity
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fASHion WAr! at the beginning of the 20th century, Thomas Burberry sets out to develop clothing that is resistant to the wet weather of the county of Hampshire. in 1879, he invents the raincoat: a fabric that prevents the penetration of moisture but lets the body breathe. To obtain this fabric, Burberry came up with the clever idea of coating thread with a secret substance that was resistant to water. interested by this innovation, the British army begins ordering his coats and, in 1914, the first soldiers wearing his garments battle in the trenches, hence the name ‘Trench Coat’. after the war, soldiers to wear the coat in civilian life – the Trench Coat crosses the years, but keeps its original design. Comprising 26 raincoat fabrics and ten crossed buttons, Trench Coat is available in beige, khaki or black. audrey Hepburn famously wore one in Breakfast At Tiffany’s (1961) while, in 1989, Prince Charles granted a royal Warrant to the label (an honour reserved for suppliers to the British royal family). Many famous personalities in the world of politics have worn them down the years, including Winston Churchill, ronald reagan and George Bush. Today, the Trench Coat is so renowned that many designers are inspired each season to produce their own imitations, but the Burberry Trench Coat Burberry remains unique.
A timeless fashion accessory, the Trench Coat was first worn in the First World War
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nyLon doeSn’t rUn
denim ‘de nîmeS’
The nylon stocking, a symbol of femininity and sensuality, has been a male fantasy for generations. However, its origins were not very glamorous. in 1935, Wallace Carothers, of the american chemical firm dupont de Nemours discovers a new plastic: nylon. The revolutionary material was first named Nuro, Nulon and then Nylon. Proud of his discovery, dupont has the idea of using it for ladies’ stockings, but Carothers commits suicide and never saw ladies legs adorned with his discovery. in May 1940, nylon stockings are officially marketed in the United States for the first time, and no fewer than four million pairs are sold in four days! after the war, Nylon becomes popular in Europe, too, as it is resistant, flexible, cheap and easy to manufacture. Very quickly, these properties allow its spread across the entire clothing industry.
denim is a cotton fabric that is very resistant, characterized by its intense blue colour and easy-wear comfort. its name came from the town of Nimes in France, where it was originally woven, but some think rather that it was created near Genoa, italy, which was renowned for its famous dye known as blu di genova (in italian: blue of Genoa), hence ‘blue jean’. This colour was derived initially from natural plant colours and denim created the legend of Jacob davis and levi Strauss. The story begins in the United States, at the time of the gold rush, in 1860. Strauss initially produces work trousers from denim, upon which davis adds orange threads and rivets on the pockets. The two men patent their creation and, in 1873, blue jeans were born. What guarantees their success, in addition to the choice of denim material and their reinforcement by rivets, is the fact that, at the outset, the form considered as traditional comprises five pockets, a fly with stamped buttons, orange thread to the colour of the copper rivets and a faux leather label on the waistband. initially a symbol america drop-outs during the 1960s, jeans become everyday fashion, so that now they can easily be worn with a suit jacket for the perfect a smart-casual style.
in 1959, dupont company patents lycra, which has the property of being truly stretchable without it losing its form. The alliance of nylon and lycra makes it possible to make all-in-one undergarments for the first time, which meant that suspenders, up to that point essential, were no longer needed. The arrival of the miniskirt , of course, naturally helped enormously... Frenchman Bernard Gilberstein very quickly grasped the scale of this phenomenon and set up a factory producing smart and inexpensive tights by the name of 'Bas dimanche'. The brand quickly became a huge success. in 1963, the founder of famous advertising agency Publicis, Marcel Bleustein-Strainer, advised him to drop the 'MaNCHE' and rename his product diM. a legendary and lucrative brand was born…
Would Dita Von Teese, left, have enjoyed the same success without the invention of Wallace Carothers and Dupont ?
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Cécile de Forton
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‘Blue jeans’ have not stopped evolving, ever since their creation in California in the mid-19th century (1) to Levi’s Eco Organic Cotton in 2008 (2) and taking in Woodstock (3)
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iT MaKES THE diFFErENCE
the scAbAl edge
© Colin Levêcque
From its origins as a cloth merchant, Scabal has developed into a designer and manufacturer of fine fabrics. This involvement, right through the textile production process gives Scabal a unique understanding of fabrics…and strong leverage on product quality.
Bower Roebuck’s snapshots
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very six months Scabal designers come out with a stream of new fabric qualities, and with them, even more new designs and colours. on top of this, Scabal tries to develop a genuine breakthrough every season, providing an exclusive edge to its collection and adding excitement to the market, as industry leaders should. inteGrAted ApproACH That the company is able to produce such creativity and bring it to market so effectively is largely down to the company’s integrated approach to textiles. Not only is Scabal one of the world’s top wholesalers of luxury fabrics, it is also a leader in the research, development and weaving of fine fabrics.
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AUtHentiC enGLiSH CLotH How has Scabal developed this integrated approach? Back in 1973 the company had the foresight to buy its own mill, Bower roebuck of Huddersfield, UK. acquiring a prestigious manufacturer, in the heart of the English textile industry, gave the Scabal Group direct entry into the creation and production of authentic cloth. Gregor Thissen, CEo Scabal Group: “Because we are also weavers, we understand fabrics and quality. We have people with deep technical knowledge, right through the group.” StronG innovAtion The integration of Bower roebuck within the company has enabled Scabal to develop a research, design and development capability of its own, along with the ability to bring out unique luxury fabrics. “Innovation is costly in terms of time and resources” says Gregor Thissen “but it is a vital success factor for Scabal. The integrated approach enables us to bring something genuinely new to the market. Our latest Expression collection, blending Super 200’s with vicuña and chinchilla, is a good example.”
inveStment in WeAvinG
tHe 'SUperfineS' fABriCS GrAdAtion
Benefits from the marriage flow in both directions. as a global merchant in contact with distributors and consumers around the world, Scabal is able to provide in-depth marketing information to the mill, which helps it integrate international demand. Bower roebuck not only supplies Scabal, it produces for top fashion houses such as Gucci and ralph lauren.
Historically, Scabal is recognized as one of the founding fathers of ‘Superfines’ fabrics (Super 120’s, Super 150’s, etc). Everybody uses the term Super xxx’s, but few know the real signification. in fact, the Super xxx’s label indicates the fineness of the fibre. The two measurements taken to define the fineness of a fibre are the fibre’s diameter (example : a fine quality wool is characterized by fibres of 18μ –microns- in diameter) and the fibre’s length (the best, finest threads come from the longest, finest fibres. in general, the longer and finer the fibre, the lighter and finer the resulting thread will be). Scabal helped to create this gradation system, which was developed with the aim of categorizing wools on a hierarchical quality basis. Today, the system is an international reference point that is indispensable to the textile industry. The Superfines gradation only includes the fibre’s diameter. But Scabal goes further. it’s the reason why a Super xxx’s by Scabal is generally better than another one because Scabal selects fabrics both for their fibre’s length, crimp and diameter.
“We can collect and channel international market demand, and bring it back to a manufacturer,” says Gregor Thissen. “The association helps all our business,” explains Bower roebuck Managing director ronald Hall. “Scabal’s core activity is high-end textile and they are very tough on quality. We apply this same Scabal quality control on all our production.” Not only does the Scabal connection help Bower roebuck with creativity and quality, it also provides security, enabling the mill to invest, even in bad times. Most other weavers don’t have this luxury. Bower roebuck’s list of hardware is impressive: 18 latestgeneration dornier looms, a new warping machine and five computerized data looms – more than any other British mill. teACHinG CrAftS More than 70 people work at the mill, including families who share traditional skills and hand them down. “We wouldn’t be where we are today without local craftsmanship,” adds ronald Hall. Because of the declining pool of traditional craftsmen in the industry, Bower roebuck has started training apprentices again. The mill also runs its own mending school – training people skilled in this type of repair takes at least five years of training. Scabal innovations 1974: First Super 120’s quality wool 1990: First Super 150’s quality wool 1999: Ultra-fine Super 150’s with a 22 carat gold thread (Gold Treasure) 2001: Super 150’s blended with diamond fragments (diamond Chip) 2003: Super 150’s blended with lapis lazuli stone fragments (lapis lazuli) 2005: First Super 250’s quality wool (Summit) 2008: First Platinium Collection 2009: Worsted Vicuña for Suitings 2010: First to blend Super 200’s with vicuña & chinchilla (Expression)
the higher the ‘Super’ number, the greater the quality of the fibre. • Super 100’s = Diameter of approximately 18.5μ • Super 130’s = Diameter of approximately 17μ • Super 150’s = Diameter of approximately 16μ • Super 180’s = Diameter of approximately 14.5μ • Super 200’s = Diameter of approximately 13.5μ μ = micron
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iT MaKES THE diFFErENCE
mAKing it hAppen developing an idea and bringing it to market is a daunting challenge that takes time and talent. Bespoken describes the process and pitfalls, with comments from Michael day, Scabal’s chief fabrics designer.
‘we wouldn’t be where we are today without local craFtsmanship’
deveLopinG tHe yArn
Washed and dyed wool samples before spinning
long before the fabrics design department starts thinking about colours or patterns, a choice is made on the type and source of the raw materials. Scabal works mostly with fine wools and rare fibres which, depending on the season or particular market, are then spun to achieve a specific yarn. The thickness of the yarn (called the yarn count) can be varied by changing the number of turns (or twists) in the spinning. More turns produce a tighter yarn, giving a crisper cloth with a cool feel. Fewer twists produce a slacker yarn, leading to a softer, warmer touch. The skill is getting the yarn count and the cloth setting right, so that the cloth has the desired characteristics but also drapes well and can be tailored properly. “Success comes only after repeated trials”, says Michael day. teAm effort These spinning and weaving trials may be carried out by technical engineers at Scabal’s British mill, Bower roebuck, or by a third party. “Sometimes our mill might take the lead; other times the design people in Brussels will lead the project. There’s no rule; new product development is a team effort”. When the right yarn has been spun, weaving trials can begin. The ‘setting’ (number of threads per centimetre in the warp and weft) is key and, again, many trials with lighter or heavier weaves may be completed before everybody is happy. This step alone can take months.
Preparing the warp for weaving
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nAtUrAL proCeSS But weaving isn’t the end of the production story, the cloth now has to be “finished”. and the first step is scouring (literally washing) the fabric. “it is a very delicate balance: light scouring produces a clear cut; heavier scouring gives you flannel.” Scabal’s mill in yorkshire is able to scour without adding chemicals, thanks to the natural softness of the river water flowing down from the nearby Pennine Hills. The exceptional quality of the river water in this part of England is one of the main reasons for the region’s rich weaving heritage. after the cloth has been scoured, surplus fibres on the surface must be removed. Scabal does this either by “cutting” the cloth (in the same way that a lawn mower cuts grass) or by “singeing” it (literally burning off surplus fibres as the cloth is passed rapidly through a flame). lastly, the fabric is pressed. Yorkshire river water
CoLoUr ‘BLAnketS’ “Now that we have the quality of fabric we are looking for, the Scabal design department in Brussels can start thinking about design and colours.” The season and type of market – in terms of quality, price level and geographical area – are the main factors influencing design. Winter suiting fabric tends to revolve around elegant blues and greys; summer fabrics will offer more choice with light shades and beiges in the palette. Jacketing fabrics have a different range, with bolder patterns and more colours. Scabal then asks its pattern weavers in the mill to prepare sample “blankets”. These sheets with small squares of graduated colours enable the team to see the full range of tonal possibilities. “Before making a final colour selection, we discuss these blankets with our sales representatives who are in contact with the market every day. Sometimes, we will also share them directly with customers.” all these steps from sourcing the fibre through to selecting final colours can take up to two or three years. Maybe one year, if the process starts with an existing yarn. and of course there are always projects in the drawer for development later…
Scabal’s Fabrics Designer Michael Day in his Brussels workshop
different ApproACH once the blankets are selected, production of sample lengths or bunches can begin. Unlike other fabric producers, Scabal also puts volume production (piece production) to work immediately. “In this way, we can meet orders and supply customers straight away. This is the origin of Scabal: a fast and flexible cloth merchant to supply immediately a wide selection of exclusive fabrics.” Nigel Bishop Hand-made production of a Scabal fabrics bunch in Brussels
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iN PEoPlE WE TrUST
‘guArdiAns’ of the wAy Scabal holds more than 5,000 articles of fabric in its Brussels stock rooms. Every day up to 800 cuts are dispatched to customers around the world. Welcome to the engine room of Scabal...and the dedicated team that drives the machine!
© S. Papandropoulos
The guardians of Scabal’s fabric stock and their managers Stéphanie Myaux (centre), Marianne De Greef (right) and Maurice Gillet (far right)
‘cutting is an art and they learn it here on the job’
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cabal started business as a cloth merchant more than 70 years ago. Working with mills and then supplying highquality fabrics to tailors and textile businesses is how the company has made its name. in business jargon, it is the core activity. down near the canal in Brussels’ city centre, a team of 13 stock managers and cutters ensures that Scabal maintains its edge in this activity today.
MaNaGiNG TWo MaiN MarKETS The fabric inventory, cutting and dispatch process is organised by three Scabal stock managers. They control stock levels, outgoing orders and the administration of incoming orders through to the dispatch of cut cloth. Maurice Gillet, Scabal operational director, has been at the heart of Scabal business for 42 years. “In stock management: our ERP platform (Enterprise Resource Planning SAP), gives us the facts but we make the decisions – based on market information, clothing trends and the advice we receive from the Scabal design department.” The inventory is managed online with the SaP software “Material requirement Planning” (MrP) – the development, maintenance and improvements to the SaP MM platform are the work of Marianne de Greef who also has great expertise in inventory control. “It tracks all stock movement continuously and tells us in a minute which items we need to attend to,” says Marianne de Greef. and she proudly adds: “We deal with all incoming fabric orders. If the customer orders before 2 pm,
Scabal will cut and dispatch the same day. We have a 98% fulfilment rate on this. Finest fabrics, finest service.” The third stock manager is Stephanie Myaux who joined Scabal in 2003. “Customers are kept in the loop via bunch reports on the Scabal website which is linked with SAP and save directly all the movements, so they can see immediately if a cloth is available. Not the quantity, but the availability. The team manages stock control for both of Scabal's business divisions,fabrics and finished products, but the cycles are different. Fabric orders are typically satisfied from existing stock while for finished goods, some orders are placed first and the stock is received about three months later.
KEEPiNG SKillS aliVE on the other side of the cobbled street, three teams of cutters work in the large Scabal fabrics warehouse. Each of these teams is headed by a master cutter, supported by a team of two specialised in handling, cutting and rolling cloth. “Cutting is an art and they learn it here on the job” says Maurice Gillet, 'guardian' of the fabrics stock. “Textile schools don’t teach cutting any more, they teach design. It’s down to a few companies like Scabal to hand down traditional cutting skills to the next generation.” When the fabrics arrive at Scabal’s stock rooms, they are first inspected for specification conformity and faults. Closer examination is be made on the illuminated “perch”: a roller apparatus through which the fabric is passed. after being manually measured out on a table, the fabric is added to the stock
arT oF CUTTiNG When incoming orders have been fed into the system, it’s time to bring Scabal’s master cutters into action. Bearing in mind that a 60-metre roll of cloth weighs between 15 and 20 kilos, and that up to 800 fabrics are cut every day, it’s clear that fabric cutting is also physically demanding. in the cutting rooms, the fabric is laid out on 5-metre wooden cutting benches. it is folded in half across its width (from 75cm to 150cm) so that the master cutter can work in one movement within arm’s reach. The preparation and placement of scissor cut varies depending on the type of cloth, its weight and whether the design is plain, checked or striped. Stainless steel tailor’s scissors – called ‘shears’ in the trade – are precision instruments almost 30 cm in length and weighing up to 400 grams. Fabrics which crease easily – such as cotton corduroys, cashmeres and high-end luxury vicuña – are cut unfolded. in this case, the giant scissors are handed from one cutter to the other, aligned on the opposite side of the table. The cut lengths are then carefully rolled crease-free and packed for dispatch to customers. Everything is done in house: “We even make and emboss the Scabal fabrics boxes,” says Maurice Gillet. as the rolls of cloth are meticulously stacked away – like long racks of giant pencils – transporters vans draw up outside. Hundreds of Scabal cut lengths are on their way to customers across the world…. just hours after the orders have been placed. Nigel Bishop
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WorlWidE daNdiES
gentlemen from congo Who said that tailored suits are always black, dark blue or grey? Chic tailoring and bright colours are the hallmarks of africa’s ‘sapeurs’ who demonstrate perfectly that menswear doesn’t have to be muted.
‘white man invented the suit; we transFormed it into an art’
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o the casual observer, africa's ‘sapeurs’ look like vain dandies with nothing better to do than ensure they catch everybody's eye with their gaudy get-ups and flaunt their ability to buy the most expensive labels. yet their dress code is about so much more than this. a woman often puts on red lipstick, not just to be sexy, but as she prepares to do battle with the day. a ‘sapeur’ takes this several steps further, donning a hot pink or canary coloured suit for example and, of course, designer accessories. as he opens his jacket to show off the designer label and hitches his trouser leg so you see his bling-bling shoes, remember that he is thumbing his nose at the poverty and war that blights his homeland.
aT THE BEGiNNiNG
The origins of ‘Sape’, which stands for Société des ambianceurs et des Personnes Élégantes (Society of atmosphere Makers and Elegant People) date back to the 1920s, when a Congolese soldier, andré Matswa, fell in love with the occidental style during his time in Paris.
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it caught on with youngsters back home, who envied the wealth of the white colonials. But what began as imitation eventually evolved into a style of its own. Singer Papa Wemba, known as the Pape de Sape (Pope of Sape), said: “White man invented the suit; we transformed it into an art.” after the independence of the Belgian Congo in 1960, being a ‘sapeur’ with a tie and melon hat became a means of rage against the machine of dictatorship. once Mobutu Sese Seko had his stranglehold over the country, he attempted to rid it of any colonial references, including Western clothes. david Van reybrouck, author of Congo – a History, tells the tale of a sapeur who was warned by police that he could be murdered for wearing a tie. “While the tie was a symbol of the middle class and oppression in Europe, it became a form of resistance and desire for freedom in Congo,” he writes. To be a sapeur is as much about making a style statement with the obligatory cigar and sticking to the rule that there should only be three colours in one outfit, as it is about the genteel code of the sapeurs – elegance is not only about dress, but about a way of life.
GentLemen from BAConGo as much as Paul Smith's colourful designs have caught the eye of the sapeurs, so too have they attracted his attention, inspiring a new collection (pictured) and prompting him to write the preface to the recently published book Gentlemen of Bacongo by photographer daniele Tamagni. Smith writes: “Their style appeals to me because right from the beginning of my career I have always worked with classical shapes, and strived for beautiful quality, whilst the main emphasis of my work has come from the use of colour, and the unusual coordination of fabrics.”
Gentlemen of Bacongo ( left) which is dedicated to Sape, inspired Paul Smith Women’s Spring-Summer 2010 fashion show (right).
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recently in Brussels, the Flemish cultural centre de Markten ran a photographic exhibition dedicated to ‘Sape’. The expo presented the works of three talented photographers: Francesco Giusti, Héctor Mediavilla and Baudoin Mouanda, who regularly show their work in Europe’s capital cities and many around world. during their careers, they have won numerous prizes – Bespoken pays homage to their work here by publishing their pictures. Emma Portier-Davis
SApe 1: The sapeur lamame, 2004 ©Héctor Mediavilla/Pandora/Picturetank SApe 2 : The sapeur Willy Covarie with his children, ©Héctor Mediavilla/Pandora/Picturetank, 2005 SApe 3: The sapeur Pariny demi Poutou, 2009 ©Francesco Giusti SApe 4: la Sape, 2009 ©Baudouin Mouanda/ Collectif Génération Elili/afrique in visu
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Camper
Nicholsons Yachting since 1782
Sale & Purchase I New Construction I Yacht Charter I Charter Marketing I Yacht Management I Crew Placement Monaco I London I New York I Geneva I Palm Beach I Antibes I Fort Lauderdale I Newport I Palma de Mallorca
www.camperandnicholsons.com C&N marks are registered trademarks used under licence by CNI. Photo: All rights reserved
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GENTlEMEN’S MEETiNG
A modern-dAy duKe
Invevaray Castle Clan Campbell
it was 27 years ago that Scabal joined forces with the twelfth duke of argyll, who symbolized the elegance and refinement of Scotland. Today, the story continues‌
Scabal's Chairman Peter Thissen (left) and The 12th Duke of Argyl, promoting Ultimus in Japan in 1983
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Torquhil, the thirteenth Duke of Argyll, born in 1968, is head of the famous Clan Campbell
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ocated to the north of Glasgow, towards the west coast of Scotland and overlooking loch Fyne lies inveraray Castle, home to the thirteenth duke of argyll. The castle, with its complicated history of construction, sits proudly within the argyll estate covering some 60,000 acres. Forests, lochs and highlands all contribute to a truly dramatic landscape that would grace any painting or photograph. Steeped in a heritage that can be traced back centuries, the current duke of argyll, Torquhil ian Campbell, is the head of Clan Campbell. it is one of the largest and most successful of the highland clans and is identified by its motto Ne obliviscaris – forget not in latin. This is not the first time that Scabal and the duke of argyll have crossed paths. in 1983, Scabal formed a partnership with the then twelfth duke of argyll to promote the high quality fabrics range, Ultimus. Further enhanced by the creation of a special whisky range for clients of Scabal, the duke was also featured and
photographed wearing a Scabal suit made from the Ultimus range. at this time, Torquhil’s father even travelled to Japan with Scabal Chairman J.Peter Thissen, in order to promote Ultimus. J.-Peter Thissen remembers: “it was incredible to see how Japanese people knew the duke of argyll. asian people are fascinated by the European aristocracy and in particular by the nobility from United Kingdom. They organized a great party only for us and invited national newspapers and television channels which were there to meet the duke and talk about the link between him and Scabal. More than 25 years after this unforgettable adventure, i thought it was time to continue the story with the young generation. it’s the reason why i’m very happy that my son Gregor recently met the twelfth duke of argyll’s son.” The current duke comments: “When I was contacted by Scabal I knew exactly why. My very strong recollection was that of my father owning and being incredibly proud to have had a suit made from this wonderful fabric. Whenever he wore the suit he was worried about anyone going near him in case something was spilt on it!”
accompanied by Gregor Thissen, CEo of Scabal and whose own father had visited the twelfth duke of argyll at inveraray Castle to create the original partnership, Bespoken took the opportunity to ask His Grace about his role and thoughts today.
Scabal’s CEO Gregor Thissen (left) and Torquhil, the Duke of Argyll (right): Different style but same spirit
iNTErViEW BeSpoken: As the duke of Argyll, you are macCailein mor, Head of Clan Campbell – what are the main responsibilities of this role? tHe tHirteentH dUke of ArGyLL: The role of the clan chief has changed considerably over the years. Previously the Clan Chief was the figure head, the law and the power behind the clan and in my case often political. The Campbell’s could raise one of the largest private armies in Scotland which helped them extend their power base far and wide. Today being Clan Chief is one of my most treasured titles. I am the head of
a family who stretch far and wide, some even say that there are more people called Campbell, associated with the name or would like to be than there are living in Scotland. do you think these responsibilities have changed dramatically since your more recent ancestors? Yes, I see myself today as a CEO/ chairman of a very successful company. I look after some 60,000 acres of the west coast of Scotland covering a diverse range of activities from tourism, agriculture, hydro and wind power etc. In the past, it was much more of a
military and/or political role and your income was generated from the land you controlled. your own family is based here at inveraray; does your wife have a specific role? It’s a team effort and without the support of my wife it would be a hard task to do on my own. With her professional background she looks after the public and press relations for the estate. She has a keen eye for decorating and recently managed a two year renovation of the castle and constantly has a list of holiday houses that need her attention.
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inveraray Castle and its lands form part of a huge estate, what are your main duties concerning its running? As a modern day business, has the running of such a large estate diluted what was, and still is, your family home? The family business has many arms and legs as it covers such a vast and diverse range of activities. I take a very active role in the running of the estate and believe in a hands on approach. The castle was built as the summer residence for the Dukes of Argyll, but today we live in it most of the year. It is open for tourism for six months of the year and we all take an active role in making sure that our visitors have the best experience possible. you have recently re-located within the castle the extensive Campbell archive, are there any other large projects you are targeting? There always has to be a project on the go. We have just completed a major renovation of the castle which included installing central heating for the first time since it was built in 1745. The demands of tourism are always changing, so we are looking at building a new visitors centre that will allow us to provide a wider range of experiences. We are also looking at a port facility to extract large volumes of timber by sea instead of by road and thus helping to reduce the carbon footprint of one of our greatest resources. your castle and estate offers lots to the visitor, what is the overriding feeling you want them to take away from the place? I want the visitor to feel that they have discovered a hidden jewel. I want them to experience the depth of history, the romance and the beauty of the west coast of Scotland. They can then tell all their friends what a great place it is.
What controls do you have over its use? I can change the colouring or design should I wish but as head of the family I want to lead by example. If you are proud of what you are and proud to be a Campbell then things should stay as they are...
‘when i was contacted by scabal i knew exactly why’
is there a patent/copyright? No, not as such. Campbell tartan is generic, with each family within the clan able to have its own variation. There is a tartan register that has been set up so people can see the colours and patterns of each family.
SCABAL And tHe dUke of ArGyLL todAy
for Scabal and readers of Bespoken magazine, the highest quality of cloth and workmanship that go into the making of a garment is key, do you think such a demand can be and is transferred into the making of a kilt? Yes. The quality of the cloth is very important, as is the weight of the cloth. The pleats must be made precisely so that they hang well. It takes more than one fitting and of course you can buy them from the rack but to get one fitting and looking exactly right, I choose to have a bespoke one made. The kilt has to ‘move’ right with the person. When you kneel on the floor, the fabric should just be touching the ground. The kilt has to be in tune with your body, you have to move as one. Just like a bespoke suit a well made kilt is a projection of your character. When I wear the kilt comfort is all important and it makes me proud to be a Campbell. most people identify tartan worn as a kilt either through books, television or films. How does the kilt feature in your life either at home or via an official occasion? For me personally, it is my suit. In Scotland, if I should go to a wedding, funeral, church, special event, highland games, then I wear my kilt. It is part of my identity and I actively encourage my children to wear it.
Scotland is world famous for its tartan, what are the origins of your family’s tartan colouring and pattern? Clan tartan as we know it today, is a Clan Campbell has its own brand relatively modern invention which dates of whisky and you yourself are back to the early 1800s. Previously the associated with the pernod ricard weaves would have been different and group. related more to areas than particular What role do you play for them? families. The Campbell tartan of blues, I am a global ambassador for Chivas greens and black relate to the waters and Brothers (part of the group) working lush hills of Argyll. Today the most popular specifically with the premium whiskies and tartan is probably Black Watch otherwise in particular the brand, Royal Salute. I known as Old Campbell. am involved with the PR and sponsorship The dyes that are used to make the tartan and travel the world promoting the brand. that I wear are unique and you can only buy Clan Campbell as a whisky brand is the this particular tartan in the castle shop. market leader in France.
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More than 27 years after the international collaboration was first undertaken by Peter Thissen and the Twelfth duke of argyll, Gregor Thissen (Scabal CEo) and Torquhil argyll (Thirteenth duke of argyll) have decided to work together again. To pay homage to his late father, and because he shares the same values as Scabal, Torquhil argyll has decided to associate his image to the service of Scabal. Bespoken will keep you up to date with details of this very promising partnership, which is due to begin with the launch of the royal Ultimus range, a reinterpretation of Scottish-inspired fabrics that were created in 1983 for Torquhil’s father.
ULtimUS
in 1983, Scabal Ultimus fabrics collection was promoted as “The duke of argyll’s first choice”. The showcard that promoted the fabric read: “The ultimate in luxury and finesse, certified to be woven from yarns produced by the Sharlea ultrafine society of australia, growers of the finest and purest Merino fleece in the world with 15.1/2-16.1/2 microns. requiring the strictest environmental controls, the yearly output is minimal and this length is part of a strictly limited edition distributed exclusively by Scabal.” Twenty seven years later, all has changed and Scabal is still trying to keep its reputation as the first choice in finest fabrics. Thanks to technological evolutions, the new Ultimus fabrics range is now even more attractive - the collection will be available for autumn-Winter 2011 – 2012 and will be made from cloth woven in England, containing 90 per cent Super 150’s wool and 10 per cent cashmere. www.inveraray-castle.com Text and photographs Stephen Papandropoulos
FroM SHEEP To SHoP
summer mirAge in search of inspiration, the Scabal Fabrics design department crossed the desert and returned with a wonderful idea – to create a feather-weight fabric that is so light and pleasant to wear that it almost seems like a dream, but, in fact, it's a Mirage...
Mirage is so light that the fabrics seems to fly in the airs. Photographs © Filip Vanzieleghem
This season, Mirage offers a fine Super 140’s quality with a superior lightweight handle of 210 grammes for summer suits. a fine worsted 2ply yarn in warp and weft makes the airy plain weave nevertheless feel solid – the unique elegance and the luxury feel of the superfine wool fibres are combined with high-performance and comfortable wear-properties. a wide range of semi-fancy and classical designs in soft beige, grey and different kinds of blue are offered alongside elegant dark navy, grey and black shades. Bespoken
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CloTH GUidE
the wool We are pleased to introduce the first part of Scabal's Cloth Guide, which is dedicated to raw materials. in each issue, you will be informed about the origins of the natural fibres used by Scabal to produce its fabrics.
wool
wool
Wool is one of the world’s most commonly used fibres. It is provided by shearing sheep and is produced in Wool is one of more the world’s most commonly fibres. than 100 countries, by more thanused 1 billion sheep. shearing takes place usually a year, in spring It is provided by shearing sheep andonce is produced in or the beginning of summer, and up to three times per more than 100at countries, by more than 1 billion sheep. year in certain countries.
scabal’s merino wool
scabal’s merino wool
shearing takes place usually once a year, in spring or production at the beginning of summer, and up to three times per the worldwide production of wool is estimated at year in certain2.1 countries. million tonnes per year. Australia provides a fifth of
all wool, ahead of china, Iran, Argentina, New Zealand
and the united Kingdom. production the worldwideproperties production of wool is estimated at 2.1 million tonnes per isyear. Australia • Wool an all-purpose fibre provides a fifth of combinations thicknesses of fibre and cotton and the all wool, ahead• of The china, Iran,ofArgentina, New Zealand different types of weaving makes it possible to obtain an and the united Kingdom. almost infinite variety of wools, which differ according to
Wool has always been central to scabal’s development – the group has not ceased seeking ever-stronger, innovative fabrics. such results could not be obtained without the rigorous selection of raw materials, and at the base of the majority of scabal fabrics is, of course, wool. the wool selected by scabal comes primarily from Australia and New Zealand, ‘merino’, Wool has always been central to scabal’s development which is obtained from the merino sheep. No ordinary wool;
their weight and texture • Wool absorbs moisture well and is an excellent insulator properties • It is an extremely soft fibre • Wool is an all-purpose • Its cost andfibre usage depend on the fibre’s diameter • Fineness : Generally between 13-40µ • The combinations of thicknesses of fibre and cotton and the • of Length of fibremakes : From 65-130mm different types weaving it possible to obtain an
ultra-fine natural fibre never feels rough – it is so soft and silky selection of raw materials, and at the base of that it can be worn even on the most sensitive of skins. the fibre,
• • • • •
almost infinite variety of wools, practical usagewhich differ according to at the base of many fabrics. It is used in winter, their weight Wool and istexture into thick is a excellent lighter weave in summer. Wool absorbswoven moisture wellyarn andand is an insulator It is an extremely soft fibre Its cost and usage depend on the fibre’s diameter Fineness : Generally between 13-40µ Length of fibre : From 65-130mm
practical usage Wool is at the base of many fabrics. It is used in winter, woven into thick yarn and is a lighter weave in summer.
the majority by scabal comes primarily from Australia and New Zealand, ‘merino’, Wool is also very insulating and regulates temperature well – even which obtained from the merino No ordinary wool; when wet,is it retains warmth. Higher-quality woolsheep. is not treated with chlorine, is slow-washed to ensure that it remains on under thebut microscope, this textile fibre issoftmuch finer (13-25µ) the skin and does not shrink. It was mainly with merino wool that than traditional wool (27-33µ). It is for this reason that this scabal created its ‘superfines’ range, fabrics that include super ultra-fine natural fibre level never feels rough 100’s and super 250’s. this quality is achieved thanks –toittheis so soft and silky particular breeding methods used merino sheep, and that it can be worn even onwith thethe most sensitive of skins. the fibre, the very strict recycling of fibres that are obtained. with its very small diameter, also allows for the manufacture of very fine and light woollen garments, which feel like second skins. Wool is also very insulating and regulates temperature well – even when wet, it retains warmth. Higher-quality wool is not treated with chlorine, but is slow-washed to ensure that it remains soft on the skin and does not shrink. It was mainly with merino wool that scabal created its ‘superfines’ range, fabrics that include super 100’s and super 250’s. this quality level is achieved thanks to the particular breeding methods used with the merino sheep, and the very strict recycling of fibres that are obtained. with its very small diameter, also allows for the manufacture of selected of scabal fabrics is, of course, wool. the wool very fine and light woollen garments, which feel like second skins.
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– the
group not ceased seeking under the has microscope, this textile fibre is ever-stronger, much finer (13-25µ)innovative than traditional (27-33µ). It isnot for be this obtained reason thatwithout this fabrics. suchwool results could the rigorous
a CUT aBoVE THE rEST
the golden sheArs AwArd For all its gentlemanly demeanour, the British tailoring trade is a very competitive place, with great rivalries between the houses. That rivalry takes on a public personae every two years in the form of The Golden Shears competition, which is a contest for trade apprentices and tailoring students from colleges across the UK.
B
lending creativity with craft, The Golden Shears allows the next generation of the finest talents to display their extraordinary ability to design, cut, trim and sew by hand an entire tailored outfit for a man or woman. Each entrant is awarded marks on his or her technical skill by a panel of top tailors. The 24 entrants with the highest score go forward to a gala catwalk show at the splendid Merchant Taylors’ Hall in the City of london, where the finalists’ garments are paraded on professional models before an audience from the worlds of the City, fashion, tailoring and education. ViP judges mark the outfits for style. “The Golden Shears is unique as it brings together students from colleges and universities with those already working in the trade as apprentices,” says Simon Cundey, Managing director of Savile row tailor Henry Poole, who is chairman of the 2011 competition.
“Also to combine the marks for technical skill with those for style is a point of difference for us from other competitions. We give the opportunity for the best of the best to show what they can do.”
THE oriGiNS
The contest has its origins in the early 1970s when robert Bright of the firm Wells of Mayfair dreamt up the concept of a tailoring competition for established tailors. By the 1980s its emphasis was shifted to businesses that invested in training and from 1998 it has concentrated on apprentices in the trade and students from colleges. Bright designed the handsome (and very heavy!) Golden Shears trophy, which comprises a huge pair of shears on a mahogany base. “I chose mahogany as it is traditionally what a cutter’s bench is made from. It has enough grip to hold the cloth and enough slip to let the shears move on it,” he explains. Winning a Golden Shears competition is, to put it mildly, good to have on a CV. in 1998, Kathryn Sargent, then an apprentice cutter at Gieves and Hawkes,
Bespoken’s contributor Alan CannonJones who is principal Lecturer at the London College of fashion is also the technical director on the internal judging panel for the Golden Shears award. He tells us the main points of attention and the way of judging the participants. “During the first stage of judging the team of Master Tailors assess the technical quality of design cut and tailoring of each entrant. All entrants are advises to ensure that they are working to the highest hand craft tailoring standards. During this first round a thorough examination of the patterns and garments takes place
won the prize for the best womenswear outfit for a tailored skirt suit. in January 2010, still at Gieves, she became the first woman to be named head cutter of a Savile row firm. “I had been an apprentice for two years and there were only a few apprentices taking part in those days. It was fantastic to win. It got me on to the Savile Row network and inspired me to carry on with my career. The Golden Shears was very encouraging,” she recalls.
THE PriZE
The Golden Shears trophy and prize money of £2,000 is awarded to the entrant with the highest total marks across both parts of the judging. The runner-up receives Silver Shears and £1,500, and a ‘rising Star’ wins Silver Shears and £1,000. The next gala show, sponsored by the Merchant Taylors, and by UKFT, the leading fashion and textile trade association in the UK, will be held at the Merchant Taylors’ Hall on 21 March 2011. The future of the best in bespoke tailoring is safe in young, skilled hands. Eric Musgrave
including fitting onto a garment stand. Entrants to the competition are advised to design classic styles which feature some twist or updated features to give it an edge and stand above the competitors. Advice regarding fabric choice is to avoid the more difficult luxury cloths, Super 130's etc. and select fabrics respond to hand tailoring well. The support given by Scabal is great. Whilst the quality of stitching is important is better to have a good machine stitch than a poor hand stitch. The focus is on quality and interpretation. The apprentice's have a Master Tailor at the place of work who can give advice and the students studying at colleges use their tutor's as mentors during the competition.”
2009 Golden Shears winner Rory Duffy (right) and his winning garment
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lEGENdary CloTHES
legAl dress code an icon of the profession, the lawyer’s gown has been around for centuries. Bespoken reveals secrets about the origins, creation and future of this unique ‘suit’.
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‘because each gown bears the name oF a lawyer, tailors produce it meticulously, with delicacy and passion’ of reLiGioUS oriGinS With 33 buttons, a number that represents the age of Christ when he died, the gown has its origins in the cassocks worn by the ecclesiastical monks who were the legal professionals of the Middle ages, with its black colour representing their austere life. Today, the gown is a great leveller – no matter as to the quality of the formal uniform, the defence of the citizen is paramount. Master Christophe Vangeel, a Bar of antwerp member, defines the gown thus: “Accustomed to dressing in a gown, lawyers wear it as a matter of course. This dress, rich in historic symbolism, has become a uniform and evokes a certain conformism.” Worn at each trial, the gown is regarded almost as a fetish: “A lawyer in general only has three gowns during his or her life. Even if a gown becomes frayed, lawyers are superstitious about wearing a new gown, fearing that it will bring an end to their success,” Vangeel explains. and, while it may have been softened somewhat down the ages, the etiquette related to wearing a gown is still very much respected. rare indeed is the lawyer who dares to wear one out of court or in a manner that shows lack of respect to an older fellow member of the Bar. tHe GoWn And itS ACCeSSorieS Gowns differ according to their countries of origin, but traditionally include a white collar, a ‘rabat’, an ‘epitoga’ and a wig. The rabat is the folded, smoothed white cotton fabric that is placed at the level of the collar, the ‘epitoga’, introduced by Napoleon after the French revolution, is the fabric placed on the left shoulder. originally, the épitoge comprised two bands of ermine, which has been replaced by rabbit hair. in addition
to the gown, the emblematic wig, an accessory of English courts, was introduced by France in the 16th century, then adopted by England. of salt and pepper colour, it is made from horses’ hair. LoCAL trAditionS in England, lawyers wear a white detachable collar and a wig. Under the gown, lawyers wear trousers with gray stripes and a jacket, the ‘bar jacket’. The costumes worn vary according to the lawyer’s role – the defence (‘barrister’) wears an open black gown, with trimmed flared sleeves, buttons and ribbons. Queen’s Counsel are termed ‘Silks’ because of the luxurious nature of their gown, which is an open silk dress – from 2008, wearing a wig was no longer deemed obligatory in civil cases, but is still required in criminal courts. in 2007, a European harmonization of legal outfits attempted to borrow the best characteristics of each style of gown – italian passementerie, double Spanish lace rabat, the anglo-Saxons’ wigs and the red belts of Mediterranean countries. Perhaps the black gown should therefore be changed into blue, the colour of the EU? A perSonALized, mAde-tomeASUre CreAtion Made to measure, the gown is produced entirely by hand. Each lawyer provides his or her personal measurements as to the length of the gown and the width of the shoulders. Manufactured in a Panama or serge weave, microfibre, fine cotton, wool, silk or satin, the gown can be worn for around 15 years and kept for a lifetime. “Before, the majority of the gowns were made from wool but, recently, microfibre has increasingly been used, as it is comfortable to wear and has the advantage of being impermeable,” says Mark Van Hove of albert, a unique gowns tailor based in antwerp and a faithful customer of Scabal’s for 50 years. Passionate about the tradition and quality of finish of the gown, this antwerp tailor prefers to delay a gown’s delivery, rather than send it out with a single imperfection. Five metres of fabric is required to produce a gown, and the difficulties involved in its
creation lay in the folds located on the shoulders and in the centre of the back – labelled canons d’orgue, there are approximately two hundred per gown. Because each gown bears the name of a lawyer, tailors produce it meticulously, with care and passion. in England, Ede and ravenscroft has specialized in legal gowns and wigs for more than 300 years. Their founders launched the business in 1689 and became the official supplier to the royal family. in France, Ponsard & dumas holds the monopoly in legal attire – founded in the 19th century to dress the clergy, the company then began producing garments for magistrates, the bar and university professors. toWArdS A neW StyLe of GoWn Justice is characterized by austerity, and the gown’s black colour reinforces this impression. it was for this reason that Christophe Vangeel decided to launch Toga 125, to celebrate the 125th anniversary of the Bar of antwerp. at this occasion he asked Scabal to sponsor the contest by providing fabrics to the participants. The event challenged designers and fashion students to create a gown that was personalized, practical and contemporary, but also fashionable. Master Vangeel explains the concept: “The legal system, which is rigid and antiquated, works on old procedures. The idea of the project was to revive the image of justice as a source of energy, not exclusive but inclusive. This revival will include the launch of a new style of gown.” in May 2011, antwerp, the capital of Belgian fashion will thus transform its law courts into new fashion houses – the jury, composed of renowned Belgian designers, members of the legal profession and journalists, will choose the winning gown. The order of lawyers will then approve the new creation, and the winner’s name will be renowned throughout the legal world. Vangeel is delighted: “Two worlds with no apparent links come together, justice and fashion. With this artistic event, I want to give justice a more human face.” www.toga125.be Toga 125, an original creative contest sponsored by Scabal Cécile de Forton
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PaST-PrESENT-FUTUrE
internAtionAl expAnsion dAmASCUS WeLComeS SCABAL
the brand into South america, where many are attracted by the impressive fabric ranges offered by Scabal, in particular summer fabrics that are very well adapted to the region's hot and wet climates. inversionesmarumi@gmail.com Scabal Caracas, Campo Alegre, 1060 Venezuela
tHe tUxedo proJeCt
be supported by tailoring workshops, industry master classes, lectures and access to the Victoria & albert Museum and the london College of Fashion archives, and collections held at Henry Poole & Co. Students may also have the opportunity to showcase their final creations in an exhibition and accompanying catalogue in May 2011 in london. Bespoken will be covering this story in more detail in our next edition... www.fashion.arts.ac.uk
More than 400 ViPs from Syrian diplomatic, business and political circles attended a reception in october 2010 to celebrate the opening of the first-ever Scabal store in damascus. The 70m² store, developed in close partnership with local well-established textile firm al-akkad & Sons, offers the full range of Scabal garments and fabric products. The distinctive British roots of the store design – based on Scabal's flagship in london’s Savile row – were highlighted in the welcome speech from the British ambassador to Syria.
knoWLedGe Book
Hachem Al-Akkad & Sons Chakib Arslane Street Abo Rumaneh Area, Damascus T. +96 311 332 24 94 akkad-sons@mail.sy
CArACAS Store
Scabal recently opened a new outlet in Caracas, Venezuela's largest city – this represents a strong expansion of
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To celebrate more than 150 years of the tuxedo, which was invented by Henry Poole in 1860, students from the london College of Fashion's bespoke tailoring department will be studying the garment's history, from its inception through to the present day, as the basis for their next design project. Using exclusively Scabal fabrics, students will be able to draw upon and extend their knowledge of traditional tailoring principles and bespoke methods to create a contemporary tuxedo suit. This will
The Knowledge Book is a new tool offered by Scabal for its professional clients. Published in four languages, French, English, dutch and German, the work comprises all the information you need about working with Scabal. The 160-page text is divided into three chapters: This is Scabal (the origins of the brand), Products (raw-material origins, fabrics specifications, collections and garments descriptions) and How to take Measurements (the key guide, with accompanying dVd, to achieving the 'Made By you' process). Several events took place in bookshops across Europe to celebrate its release. www.scabal.com
SCABAL in nyC
Shooting has already taken place in Prague, Vancouver, dubai and the US, with the release date planned for december 2011. Scabal is proud to have provided fabrics for this blockbuster! www.missionimpossible.com
Store in iStAnBUL
Scabal USa, which specializes in the distribution of fabrics throughout america has recently opened its new offices on one of the most prestigious avenues in Manhattan, avenue of the americas (6th avenue) This central position will ensure Scabal’s increased visibility in the Big apple and North america. Scabal USA Avenue of the Americas, 1350 4th Floor, New York, NY 10019 T. +1 (212) 764 8580 scus@scabal.com'
impoSSiBLe iS not SCABAL
Botichelli Muravieva Amurskogo Street 3 680000 Khabarovsk City Russia sol@solstudio.ru
Scabal has just refurbished its store in the luxurious shopping mall, Kanyon, in the centre of istanbul, Turkey. The new 120m² boutique with ViP room is modelled on the Scabal Savile row flagship store, radiating British traditional values with a modern look and feel. Customers can choose from the full Scabal range – ready-to-wear, made-to-measure, fabrics and clothing accessories. Scabal has been in Turkey for over 20 years and has a second store in istanbul, in the luxury 5-star avantgarde Hotel. Kanyon Shopping Mall Büyükdere Caddesi 185 Istanbul Turkey T. +90 212 353 06 43 info@scabalkanyon.com www.scabalkanyon.com
Mission Impossible 4 will be the next, and possibly final, installment in the very successful movie series. it is likely that the main ‘baddie’ (according to some websites, the fourth mission may feature multiple villains) will be played by Michael Nyqvist (from the Millennium trilogy) alongside customary good guy Ethan Hunt (Tom Cruise). The film will be directed by Brad Bird, renowned for his animation movies such as The Incredibles and Ratatouille.
luxury and style, beauty and quality – all these words take on new meaning at Botichelli in the city of Habarovsk, a large city in far-East russia. The complex is three storeys high, with the interior a fusion of neoclassic and hi-tech styles. an open area, picture frescoes and natural lighting are all part of the innovative design. Botichelli's customers are the elite of the Habarovsk region. Mass-media representatives, Habarovsk public service official and many more.
in rUSSiA At BotiCHeLLi
GoUrmet SUitS
in 20 years, under the direction of Michelin-starred chef yves Mattagne, the Sea Grill restaurant in Brussels has risen to the heights of international gastronomy. For his recent grand re-opening following extensive alterations, Mattagne called on Scabal to provide the uniforms for his staff. The chef is already very famous in Belgium, where he owns several restaurants, a cuisine academy and broadcasts regularly on TV. www.seagrill.be Jérôme Stéfanski
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scAbAl worldwide viSit SCABAL’S fLAGSHip Store At 12 SAviLe roW, W1S 3pq London, pHone +44-20-77 34 89 63, HAzeL.edmondS@SCABAL.Com 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, SCABAL.printempS@SCABAL.Com kAdeWe, 1St fLoor, tAUentzienStrASSe 21-24, 10789 BerLin, pHone +49-30-219 18 530, AndreAS.oLtmAnnS@SCABAL.de
Scabal's flagship store in Savile Row, London CloTH
GarMENTS & aCCESSoriES
eUrope SCABAL BENELUX – HEadQUarTErS & iNTErNaTioNal diSTriBUTioN CENTrE +32-2-217 98 49 WWW.SCaBal.CoM
ITALY +39-02-407 80 27 scabal_italia@scabal.com
MEXICO +52-55-5515 8433 gillybru@prodigy.net.mx
POLAND +48-61-436 79 69 info@scabal.pl
SCABAL MADE-TO-MEASURE +52-55-5660 75 40 cincu@prodigy.net.mx or alejandrocarreon@prodigy.net.mx
PORTUGAL +351-275-954 827 jvi@jvi.pt
U.S.A. +1-212-764 8580 scus@scabal.com
ROMANIA +40-21-311 56 46 showroom@casafrumoasa.ro
VENEZUELA +58-212-264 6914 inversionesmarumi@gmail.com
RUSSIA +7-495-660-7163 aG@GaTEx.rU +7-495-730-2010 sol@solstudio.rU
reSt of tHe WorLd AUSTRALIA +61-3-5989 8601 a.wain@bigpond.net.au
SPAIN +34-93-726 00 99 brautex@brautex.com +34-93 726 00 99 unikman@unikman.es SWITZERLAND +41-61-261 25 79/80 scabal_suisse@scabal.com
AUSTRIA +43-1-533 61 29 nkuntschik@scabal.at
TURKEY +90-212-282 71 93 info@yeniimalat.com.tr
BULGARIA +359-2-936 03 70 bvangelov@votan.eu
AmeriCAS ARGENTINA +54-011-4371 6467 scabal@cipaz.com.ar
CYPRUS +90-392-228 33 40 akfinans@akfinans.com FRANCE +33-1-42 33 08 93 scfr@scabal.com GERMANY +49-681-9871 0 info@scabal.de +49-211-497 6840 info@westtuch.de
BRUNEI – CAMBODIA – INDONESIA – LAOS– MALAYSIA – MYANMAR – PHILIPPINES – SINGAPORE – THAILAND – VIETNAM +65-6336 0070 heefabricagencies@hee.sg HONG KONG +852-23-762 535 INDIA +91-11-23 26 45 00 bindragroup@vsnl.net IRAN +98 55611469-55614137 tehranivahid@hotmail.com JAPAN +81-6-6232 2755 scabaljapan@scabal.co.jp
BRAZIL +55-11-362 041 044 erlutecidos@sti.com.br
KUWAIT +965-243 36 85 bennekhi@hotmail.com
CANADA +1-514-335 35 11 info@hersh-rsd.com
NEW ZEALAND +64-9-828 06 74 velvetfabrics@clear.net.nz
CHILE +56-2-638 14 72 c.rubio@holmes.cl
SAUDI ARABIA – UNITED ARAB EMIRATES +44-140-375 27 16 faris@fmmercie.com
GREAT BRITAIN +44-207-734 1867 hazel.edmonds@scabal.com
COLOMBIA +57-1-256 30 77 marsanti@etb.net.com
GREECE +30-210-67 27 431 dcon@otenet.gr
DOMINICAN REPUBLIC +1-809-562 4416 laronde@codetel.net.do
SOUTH KOREA +82-2-2285 6230 dnjyoo@yahoo.com SYRIA + 963 - 11 2233986 + 963 - 11 2222784 akkad-sons@gmail.com
Scabal Autumn – Winter 2011/2012
NExT iSSUE: aUGUST 2011
in the mood for fAbrics iN BESPoKEN'S NExT EdiTioN, For aUTUMN-WiNTEr 2011-2012, FaBriCS Will oNCE aGaiN BE HoNoUrEd Via oUr ProFilES oF GENTlEMEN WiTH VEry diSTiNCTiVE PErSoNaliTiES WHo WEar SCaBal. For EaCH FaBriC, THErE'S a PErSoNaliTy, aS EaCH MaN HaS HiS oWN UNiQUE STylE… rESErVE yoUr CoPy aT WWW. BESPoKEN.CoM aNd WE Will dEliVEr iT To yoUr HoME or oFFiCE. 64
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this eighth edition of bespoken is presented to you with the compliments of:
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www.cartier.com
calibre de cartier CENTRAL CHRONOGRAPH 9907 MC
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