The Art of Tailoring In this article, we discuss the history of tailoring and how it has become an indespensable component for the fashion concious

The Art of Tailoring

By Shihaam Hassanali

Have you ever slipped into a garment tailored just for you? There’s nothing quite like it. From the beauty of the design to the feel of the texture, both on the surface and underneath, all aspects lend itself to looking your very best. An important element to a made-to-measure outfit is the cut of the garment — how well does it fit?

A custom-made piece of clothing will make you feel and look good, adding to your confidence, poise, and refinement.

The History

The art of tailoring has existed hundreds of years dating back to the early medieval period (5th to 10th centuries). Well before sewing all clothing. Each tailor had a unique stitching pattern and signature that was often a closely guarded secret. It was an artful and noble line of work to be in because everyone, irrespective of social standing, had their clothes sewed. The word “tailor” appeared first in the Oxford Dictionary in 1297 (the late 13th century) and is derived from the French word “tailler” which means “to cut”. In Latin, the word was “sartor” which means someone who patches or mends garments, and the English derivative, “sartorial” is related to tailored garments.

Bespoke Tailoring in England

The earliest tailors came from Europe, as this novelty only diversified in Western Europe between the 12th and 14th centuries. Clothes were made at home, often with a single piece machines came into being, people handmade

of cloth, and the sole purpose of a garment was to conceal the body. Individual style was of no interest to either the maker or wearer.

However, by the 15th and 16th centuries (i.e. the Renaissance period), garments developed from one of necessity to a representation of self-expression. Single-garment loose clothing became shorter and form-fitting to resemble

the shape of the wearer. Personal style rose, as did an understanding of how specific designs worked better on certain body types. Bespoke tailors emerged customising garments using a variety of skills and creativity to suit the wearer’s requirements. England became the earliest home of such tailors, giving way to signature style and everdetails how the author used a strip of paper for taking

changing fashion trends.

At the time, tailors made different outer garments like cloaks, coats, breeches and more. They used stiff linen and canvas for interlining to give shape, along with horsehair cloth and cardboard stiffened with whalebone for structure. Wool or cotton padding was used to even out asymmetrical body shapes. Luxury clothing had satin or fur lining to keep the individual warm. In the 19th century, wool was the primary material used in men’s clothing. Why? At the start, scale were establishments on Savile Row and Bond Street

wool showed masculinity and patriotism but soon became very fashionable, replacing the silks and velvets of the previous century.

The relationship of master and apprentice It was in the late 11th century that King Henry I gave royal privileges to Taylors of Oxford, thus legitimizing tailoring as an occupation. That propelled tailor masters to take on apprentices to teach them their methods. They learned everything from moulding fabric to the shape of the wearer’s body to developing their own distinctive styles and designs. Creativity and signature style was as important as a fantastic fit, and if the tailor was exceptional at his job, it the flawless cut and construction of traditional tailoring

gave way to high demand.

This encouraged master tailors to take in more apprentices and staff. Masters tasked each tailor with specific roles: some staff, often journeyman tailors, did the cutting, others the moulding, while apprentices had to keep the shop tidy. The relationship was completely experience-based, and no measure suits and clothing for that ideal fit and structure.

manuals existed. But, in 1796, The Taylor’s Complete Guide, the first English-language manual on tailoring was released, paving the way forward for others to join its ranks. In 1889, History of the Art of Cutting by E.B. Giles was published, encapsulating the evolution of 19th-century techniques.

Measurements

Throughout history, the systems used for measurements have completely changed. Tailors initially developed had freedom of movement. Irrespective of the systems developed, ultimately the keen eye of a master tailor-made the difference. He’d notice the subtleties of a client’s posture, disposition and anatomy, and make allowances for a bulging stomach or uneven shoulders.

One manual, L’Art du Tailleur by de Garsault (1769), measurements. The system included creating marks in the strip to measure the breadth of the back and the length of the arm. The modern tape measure was introduced in 1800, initially joined with a compass, ruler, and tracing paper.

Savile Row

As with most things, fashion and tailoring also evolved. The 19th and 20th century saw the formation of fully equipped tailoring establishments. At the top end of the of London’s West End, centred around the elite. Eventually, Savile Row tailoring transitioned from serving only the British aristocracy to include a more international clientele like American financiers and celebrities. What makes a Savile Row suit unique is how structured they are. Tailors use shoulder padding and more canvas, with a focus on straight, angular lines. They’re harder and sharper than any garment made elsewhere.

In the 1980s, a new generation of British designers merged with that of haute couture. Alexander McQueen, among those who trained on famed Savile Row, incorporates this emphasis on structure and material into his couture womenswear.

Although custom tailoring plays a small part in contemporary menswear, it still carries prominence as part of a well-dressed man’s arsenal. While the suit has advanced and changed with times, it remains a classic form of attire. People will continue to turn to a tailor for made-tocomplex systems to measure, ensuring the wearer

Nature-Inspired Textile & Print Designer

Elizabeth Rachael is an artist who specializes in textile print and graphic design with an impressive portfolio of work that has been featured in WGSN, Zara, F&F, and more. She first discovered textile design through fashion. “Growing up, I had always wanted to design womenswear so when I turned 17, I decided to drop out of my school, and enroll in a local college that taught fashion and textiles,” Elizabeth says. “I soon learnt that I didn’t actually have the patience to design clothes, and I became completely hooked on textile design.”

Although she studied textile design for fashion for five years, first at college and then at The Manchester School of Art, Elizabeth says the majority of how she designs now is completely self-taught. “Studying taught me the values of design, and how to be experimental with my work, but it was through years of online tutorials that I learnt most of my technical skills,” she recalls. “My university lecturer once told me that it’s impossible to know ev-

ery function of photoshop, so I set myself a task to prove him wrong. I’d enroll in free courses that had nothing to do with textiles from photography to graphic design.

I learnt so much, but I think he was right. It’s impossible to know it all.”

Elizabeth says she is mainly inspired by nature, and she is known mostly for her florals. But this past year she says something inside her switched. “I found myself doodling and sketching whatever ideas came into my head from bananas to tigers. I think I’m drawn to nature because there’s so much room for experimentation and interpretation, which suits my loose drawing style.”

Elizabeth explained that her creative process has changed massively throughout the years. “I used to spend about a week researching into my own briefs. Going to museums and art galleries, taking photos of different textures and shapes I would see on walks. Then I’d create a huge mood board and hang it on my wall to design

from,” she recalls. “But now after working in the industry for so long, where time is money and deadlines are tight, I don’t have the luxury of week-long research. It’s more important for me to feel comfortable and in a relaxed environment. That way I can just put pen to paper and let my designs flow.”

Elizabeth’s design work also includes prints for decoration tend to feature patterns. “When I design prints for the home, I tend to design them for myself. They reflect my mood and personality a lot. When I design for fashion, I know that I’m designing for a client with different values than me,” she says. I don’t wear a lot of print or even colour (which I know is really odd for a print designer haha). I’ve learnt to detach my personal preferences from a brief, and design

and wall hanging. Her bestsellers purely from a professional point of view.”

An avid Procreate user, Elizabeth says she designs about 99.9% of

her work using the digital illustration app. “Although sometimes it’s good to bring it back to the old school and use watercolours. They’re definitely my favourite medium because they’re so unpredictable.”

Elizabeth works with other art mediums, which has helped shaped her unique style. “Even though I now design digitally for the majority of my work, I’m always trying to mimic the energy and the way paint flows on paper,” she says. enjoy most about working digitally, pushing the boundaries to see if I can create something that looks as though it been painted in ‘real life.’”

Elizabeth has some creative projects she’s working on for “In fact, it’s one of the things I

the future. “I have a few exciting collaborations lined up, but I can’t share too much about them just yet. You’ll have to keep your eyes peeled!” Stay up-to-date with Elizabeth’s work at www.elizabethrachael.com/.