Who Runs the Fashion World … Girls!

From the Godfathers of fashion such as Charles Fredrick Worth and Christian Dior, to modern male fashion creative such as Marc Jacobs and Alexander McQueen, fashion is an industry that men have largely populated and been running for decades. Even though their clientele is dominated by women of all shapes, sizes and backgrounds, the inside of the fashion world has been operating with male directors at the helm for many eras. But slowly women have started to take the reins, and are making their mark on the runway. You only have to look at the recent shows form Chanel and Dior, to see that these women who have been behind the scenes for many years, have finally the opportunity to run it their way, and what magnificent results we have seen. When watching the Haute Couture show of Fall/Winter 2019/20 by Chanel, I sat in awe at not only the genius of the location and set, but the fashion itself was possibly the greatest I had seen. This show pushed me to research the woman who now sits at the helm, and so that is what this blog shall endeavour to uncover.

The recent passing of the master of fashion Mr Karl Lagerfeld, as tragic as it was, left the door open for his right hand assistant to step into the limelight. Having worked alongside Lagerfeld for more than thirty years, Virginie Viard had slowly been stepping out form the shadows in recent times. Only days after the great man passed away in February this year, Chanel announced that Viard would take over as Creative Director. Born in Lyon, France in 1962, Viard grew up with fashion in her veins. Her grandparents were silk merchants, and Viard went on to study theatre design at the Cours George. At completion of her studies, Viard gained employment as an assistant costume designers for Dominique Borg. Then in 1987, Viard began an internship at Chanel, and as they say, the rest is history! Forming a close relationship with Lagerfeld, the two worked well together, and when Lagerfeld left Chanel to join Chloe (for the second time) in 1992, Viard went with him. Then in 1997, the pair returned to Chanel, with Lagerfeld heading up the Couture end of the business. In 2000, Viard became the creative director of the studio, and oversaw Ready to Wear, Haute Couture and accessories alongside Lagerfeld. Lagerfeld himself described this talented woman as not only being his right hand, but his left hand too! The pair were inseparable for over thirty years in the fashion world.

With her signature punkish look of dark kohl rimmed eyes, solid bangs and all black wardrobe, Viard manages to create a look very different to her own. Her first solo Haute Couture collection, was breathtaking. Set in the luxurious library of Madame Chanel, the show was everything you would expect from Chanel. Signature fabrics of tweed, boucle and hound’s-tooth were widely used, and the unbiased colour pallet of black and white was ever present. This season saw splashes of vibrant colour and metallic threads also featured throughout, and garments dazzles with sequins and feathers. The silhouette was unmistakable feminine, featuring waistlines and full skirts. A nod to the original style presented itself in the footwear displayed by the models, with tailoring and structured design showcasing what Chanel is all about. The collections was sleek, elegant, luxurious and sexy. Viard’s star shone bright as she made her debt as the first female creative director since Coco Chanel herself. While we may have lost the grand master in Lagerfeld, the woman who is now in control is nothing short of spectacular!

Another woman who is leading the way in the modern world of fashion is the creative director of Dior, Maria Grazia Churi. Again woman are making themselves heard, with Churi being the first female ever to be in charge at Dior. Churi has been in the rag trade for many years, starting out at Fendi in 1989 before moving onto Valentino. Born in Rome, Italy in 1964, Churi’s mother was a dressmaker, so the world of fashion has been in her blood from day one. Completing her studies in fashion in Rome, the naturally talented Churi has produced some of the greatest fashion moments this decade has ever seen. Joining Dior in July 2016, Churi is known to promote political and social issues through her work. The slogan “We should all be feminists” which dominated Dior’s Ready to Wear show of Spring 2017 is likely to be one of the most recognised and remembered statements made in fashion.

Churi’s most recent work for the Haute Couture show of Fall/Winter 2019/20 was a mix of darkness touched by the beauty of floral. The models entered into an arena that was somewhat gothic and moody, before moving into a space filled with bright floral and springtime vibes. The look was architectural, structured and metallic. Black featured heavily as a colour, with detailing and accent colours also featuring. Lace and net covered some of the models, who dazzled in garments with nipped in waistlines and full skirts. Bare shoulders, belted waists, leather and feathers were standout features on some of the collections boldest pieces. Churi surely made it known that art is fashion, and fashion is art!

In a world that is ever changing, fashion will always play a significant role. As more women designers step out of the shadows and into the limelight, the world of Haute Couture looks incredibly bright. These women are not afraid to walk to the beat of their own drum, but remain respectful to the men who made these fashion labels into the empires we know them as today. I for one cannot wait until the next round of catwalk shows to see what other inspiring and beautiful fashions come from the grand houses of Chanel and Dior.

Love Always, Anastacia Rose xx

 

 

Vintage fashion at it’s finest – Edward Molyneux

For someone who loves fashion and all things about the history of fashion, this next designer is someone who I knew little about. Surprising, since my favourite eras in fashion are The Jazz Age and The Golden Age, which this designer fits right into. It’s slightly embarrassing that I have only recently discovered the true talent and beauty of British born designer Edward Molyneux, but I’m so glad I did. I have seen many of his pieces exhibited in shows I have been to, but never knew anything about the man behind them all. It was difficult researching this genius of design as many of my vintage fashion books glazed over him as a designer. But I kept digging and found some stunning images and information on his work. So if you’re keen to know more about another grand couturier from the 1920’s, then join me on this next stylish instalment on Anastacia Rose Blog!

Captain Edward Molyneux was born in London on 5^th September 1891 as was of Irish decent. The story of his early childhood remains much untold. When he was sixteen, Molyneux dropped out of school after the death of his father, to begin working to support himself and his mother. Molyneux had a keen interest in painting, and it was this form of art that he initially pursued. Working as a sketch artist, Molyneux entered a competition with a sketch of an evening dress. He won, and his career in fashion was born. This award introduced Molyneux to the prominent and influential Lady Duff Gordon, who hired Molyneux to work for her in her English fashion house Lucile. Here Molyneux nurtured and crafted his own talents and styles, and became a leader in the style game.

After gaining such valuable experience and knowledge, Molyneux branched out on his own, and established his own house in 1919 in Paris, with a philosophy based on seamless elegance. The designers’ success rose quickly in the nineteen twenties, with women from all walks of life recognising his name. From the aristocratic women of wealth and heritage, to the café society flappers, Molyneux mixed with them all, and was happy to dress any woman who was tall and slender. His creations were not showy, with emphasis placed on the cut and fabric that was used rather than embellishments. His designs were not only chic but also wearable, with a refined elegance that capsulated the Jazz Age. When the decade evolved into the 1930’s, Molyneux adopted the bias cut, with his sheath gowns a display of sculptural simplicity. One of his most recognised outfits was that of a backless gown, bias cut, and finished off with a fur draped effortlessly over the models shoulders.

The 1930’s saw Molyneux cross paths with some famous clientele, which only emphasised his position in the world of fashion. He designed costumes for the stage during this decade, and also the wedding gown and trousseau for Princess Marina of Greece in 1934. The colour pallet in which Molyneux dabbled was most simplistic, with black, navy, grey and beige featuring heavily in all his collections throughout time. Also in the 1930’s, Molyneux displayed luxurious coats made of velvet, and was one designer who adopted the matching dress and coat look of the era. Towards the end of the decade, Molyneux started to experiment with changing the silhouette of the waist, making it narrower and more fitted to the models own features. This is a look that was largely successful during the 1940’s thanks to Dior’s “New Look”. With the radiant success of his House, Molyneux was able to diversify and introduced to his company a line of furs, lingerie, millinery and perfume. All were a success.

With the looming threat of a Second World War, Molyneux escaped Paris for London. Here he was conscripted into the British Army, where he served as an infantry captain. He served his time in the army, and suffered health issues as a result. He lost the vision in one of his eyes. Post war, Molyneux returned to Paris to try and pick up where he left off. Unfortunately due to his ailing health he could not return to the greatness that he had been known for. In 1950, Molyneux retired to Jamaica, and watched the world of fashion flourish in a new direction. Some years later, in 1965, Molyneux flirted with the idea of making a comeback. For a brief time he came out of retirement, but much had changed in the realm of fashion and Molyneux no longer had the passion or the energy to reinvent himself.

At the age of eighty three, Edward Molyneux passed away in 1974. During his time in the luxury world of couture, he achieved greatness. His designs have stood the test of time, and now take their place in the history of fashion. They are inspiring, elegant, timeless and breathtaking in their simplicity. A sketch artist, war veteran and fashion design. It’s a resume that reads well and honours the success of this great man. At a time when the French largely dominated the runway, this quiet British achiever well and truly left his mark. You just have to search a little deeper to find him, that’s all!

Love Always, Anastacia Rose xx

“The things we do for Fashion” – Anastacia Rose and Entourage

I have been in the world of fashion now for fifteen years and the only thing that is consistent is that it is forever changing. Fashion evolves from one season to the next, from one decade to another, and then we see it come full circle with trends we once loved, being revived with a modern twist and fresh direction. My own tastes in fashion have changed over the years, and I have certainly been influenced by what other designers are doing. Throughout this time I have never lost my passion for this beautiful form of art. I have always been and will remain a strong advocate for fashion, the freedom it can provide you and the creativity that it inspires. Recently I decided it was about time that I make some of my work accessible, and to showcase to everyone what I do and why I love it so much. In this blog you will discover some of my favourite pieces that I designed and produced, with professional photographs of me getting my vogue on to show the world who Anastacia Rose really is, and just what she’s capable of. So I hope you follow on and enjoy this insightful journey into my own realm of fashion and all that shines within.

 

Outfit One “My Fair Lady” – Inspired by the fabulous fashion era of the nineteen fifties, this ensemble would have to be my favourite. Now I know a mother is not supposed to favour any of her children, but this one just edges out all of the others! I found a vintage Butterick pattern for this dress in my local haberdashery and instantly fell in love. The nineteen fifties has always been one of my favourite eras of fashion, with its full skirts, nipped in waists and overall feminine outlook. The dress in constructed with a self-lined bodice that gathers on a yoke at the neckline and forms a scoop back. With an exaggerated waist due to the fullness of the skirt below, this dress bellows out to fall at mid-calf. The skirt is a full circle, with an attached petticoat constructed from five meters of netting. The main fabric that I used is a cotton blend with a textured red and white stripe. I think the fabric adds to the dramatic look of the outfit, with the different angels of the stripe inducing intrigue in the eye of the onlooker. My Fair Lady is accompanied by a crop jacket with a dolman sleeve and collar. Accessorised on this occasion by a wide leather belt that ties into a bow at the centre back. Also complementing the outfit, is a millinery creation consisting of a plaster skull cap covered in vibrant red silk. Accented by a black ostrich feather and hat veil, the piece title “Anastacia”, is a tribute to the great art of millinery and one of the very first pieces that I ever made. Completing the outfit are the stunning shoes from Irregular Choice which while they may not be all that practical to walk in, come up looking a treat when photographed! My Fair Lady is an outfit that I love to wear, and have done so to local Fashion on the Field events and also to a wedding. It is everything that I love about this industry. It shows my true character and love for all things vintage.

 

Outfit Two “Mademoiselle Flora” – The most recent piece to my ever growing collection, Mademoiselle Flora is a piece I was commissioned to make for a local art festival. The piece represents the beauty and colour of the rural area which I live in, with its colours evolving from one season to the next. I live in a part of Australia that has four distinct seasons, with the native flora changing dramatically throughout the year. From vibrant yellows and greens in the spring, through to deep and dark winter hues, our landscape forever evolves. Mademoiselle Flora is constructed from a polyester and cotton body, with a nylon netting forming the overskirt and shoulder straps. The floral tribute which flourishes across the dress, has all been made by hand with many hours of work involved. Constructed from wool, cotton and silk, the embellished flowers each have a vintage button centre and have been strategically sew onto the garment. Mademoiselle Flora is overtly feminine, slightly flirtatious and lots of fun. Accessorised by some fantastic emerald green shoes made from patent leather and suede, this ensemble will certainly turn heads and attract appreciation from any true fashionista.

 

Outfit Three “High Society” – This two piece ensemble is another outfit that I love to wear. The dramatic style of the skirt once again pays tribute to my love of vintage style, but has been constructed in a more modern way. With a wide waist band, the skirt obtains its fullness from separate panels sewn together and pleated at the lower seam line. With hidden hip pockets and a centre back zip, this skirt is so comfortable to wear. The fabric that I used is a cotton blend, with the large floral pattern in a beautiful array of colours, giving the garment an explicitly feminine style. Falling to mid-calf, the length is true to the vintage style that inspired it. The simple yet striking top which accompanies has been produced from a polyester fabric in a deep aubergine hue. The visible metal zipper adds a modern touch to the outfit, as does the crop length with allows the observer to get a full breathtaking view of the skirt, and a slightly sexy vibe to the porcelain skin peeking out from underneath. For this photo shoot I modelled two different style headpieces. The first was purchased from a local fashion business, and was on trend with the boater style hats worn to the Spring Racing Carnival of 2018. In blush pink, this piece tied in beautifully with a clutch of the same tone, and gave the ensemble a slightly French Riviera feel. The second head piece was one I made and wore with the outfit originally. In tones of rose gold, the bandeau style was centred around leather flowers with a pearl centre, gold leaves and black veiling. The aubergine pumps worn with the outfit tie the whole ensemble together perfectly, and give High Society a true Grace Kelly feel.

 

Outfit Four “The September Affair” – Inspired by the flourishing garden displays of the Spring Racing Carnival in Australia each year, The September Affair is another outfit in the Anastacia Rose wardrobe that has a vintage feel to it. Once again it is the fabric that is the real hero of this piece, with the detail on the jacket also making a statement. This design came from a vintage Vogue Pattern from 1951. The original pattern was a one piece dress with a belted waist. I chose to alter it into a two piece ensemble with an extra panel on each side of the jacket to allow for a slightly more relaxed fit. The jacket has a wide turn down collar, and sleeve cuffs that turn up and are held in place by a vintage black and gold acrylic button. The same buttons feature down the length of the centre front opening. Top stitching finishes off the edges of the jacket. The skirt is made up of six separate panels all joined together to give it a flared style. The fabric I used for the skirt is actually a home furnishing fabric and has a ridged texture to it. The stunning floral print in its vibrant spring time hues pay tribute to the blooming roses at Flemington each year. The September Affair is accompanied by a head piece fit for any race day. Made from a sinamay base in matching fuchsia, the piece also incorporates flowers made from the same fabric as the skirt, and perches on the head slightly tilted forward with a hat elastic. To complete the look, a cane bag and tan peep toe block heels were added and give The September Affair a fresh look on a vintage romance.

 

Outfit Five “Midnight in Paris” – The name for this most stunning displays of couture arises from the deep navy silk dupion that it was created with, and a tribute to the grand skill of couture garments born in France. This is a garments that I am most proud of. It was a piece that I designed and produced when I was at university learning the art of handmade luxury. Midnight in Paris was custom tailored to fit me like a glove, with the internal corset structure giving the bodice shape and form. The bulk of the internal layers have been sewn by hand to ensure true fit and great finish. The plunging neck line causes the eye to draw down onto the voluminous skirt below. The cut out back is also a point of difference and shows off the slender spine beneath. With internal metal boing on both the front and back of the bodice, this gown will never go out of shape, or style. The skirt is made from many meters of silk, with layer upon layer of tulle underneath, edges being finished off by silk ribbon. A cotton layer stays closest to the skin to ensure the model has some degree of comfort when wearing such a magnificent ball gown. The pinch effect that covers the skirt was created by literally pinching the fabric together to create a fullness, and hand sewn into position. The centre of these features was finished with a crystal bead. The gown falls long to the gown, has a side encased zip and small covered button on the centre back. Midnight in Paris is not the kind of dress one can easily slip on, and requires an entourage of dresser to assist. But when wearing such a grand ball gown, one should have an entourage in toe! This outfit does not need a gaggle of accessories as her true beauty is more than enough, although a handsome man in a well cut suit would never go astray!

 

Outfit Six “The Emerald City” – The most recent of pieces added to the collection, The Emerald City is surely a showstopper. The tailored blazer is a striking piece due largely to the glorious fabric in which it is made from. The woven peacock textile with its shimmering golden threads, was a splendid find in an unexpected place. The jacket has both an upper and lower section which allows for better fit and a different design feature. The black silk collar which extends into a front lapel, adds a suave tuxedo feel to the piece, and finishes neatly at the centre front waist. The Emerald City has a hidden talent, showcasing a rich indigo lining which peeps through when the wind blows. With no front fastenings, the wearer may feel exposed if not accompanied by some fabulous under garments. On this occasion, The Emerald City was flaunted with a fitted leather skirt and classic black pumps, but can also be toned down and worn for a more relaxed vibe with denim. Unashamedly sexy and somewhat seductive, this piece is no doubt a knockout!

 

I hope that you’ve enjoyed stepping into the world of Anastacia Rose for an expose on all things fine in fashion. I will forever be influenced by the Golden Age of Couture, by Paris and its art, and by Dior and his ‘New Look’. Fashion is supposed to be fun, it’s supposed to evoke feeling, and I believe it should always be first. Whether you’re at work, at play or doing the supermarket run, one should always try to look their best. Fashion is history, fashion is the future, and fashion is who I am. I’m excited to put my designs and talent on display for all to see, and I hope that you will consider Anastacia Rose when you next need something fabulous to wear. I’ll leave you with one of my favourite quotes – “When you work to please others you can’t succeed, but the things you do to satisfy yourself stand a chance of catching someone’s interest” (Marcel Proust). Always be true to yourself.

Love Always, Anastacia Rose xx

 

“Trendy is the last stage before Tacky” – Karl Lagerfeld

One of the most recognised faces in the fashion industry would have to be that of the man with the long white hair, black sunglasses and starched white collar. Known the world over, Karl Lagerfeld has sustained himself and his brand as a leader in high fashion. He has been in the industry for decades, and continues to break ground through his innovative designs, bold choices and daring outcomes. Heading up not only his own label, but many other prestigious brands over the years like Chanel, Fendi and Chloe, Lagerfeld is a name everyone who’s anyone loves to talk about.

Mystery has shroud the early life of Lagerfeld over the years, mainly because the man himself has kept an air of intrigue. Believed to be born on the 10^th September 1933 in Hamburg, Germany, Karl Otto Lagerfeld lived an affluent life with his two parents, one sister and one half-sister. His father bought wealth to the family when he introduced condensed milk to Germany (I suppose someone had to do it!), and the family flourished from the profits made. His mother was a violinist, and the household was full of intellectual conversation and religious philosophy. When the reign of Hitler took hold during the Second World War, Lagerfeld and his family moved to rural Germany and were greatly protected from all the horrors of the Nazis. Lagerfeld has claimed that it wasn’t until later in life that he truly understood the pain and suffering inflicted on many during this time.

At the conclusion on the War, the Lagerfeld family returned to Hamburg, and Karl was finally able to immerse himself into the world of high fashion. It was something that he had been inclined to since childhood, cutting pictures out of fashion magazines and keeping them for himself. At only fourteen, with the blessing of his parents, he moved to Paris. His passion was truly nurtured during this time, and Lagerfeld continued to draw and sketch as much and as often as he could. Two years later, he won a competition with his designs for a coat, and the world of fashion was suddenly beckoning. It was during this early time in Paris that Lagerfeld met and befriended fellow design ingénue Yves Saint Laurent. Some big names in French couture began to recognise the talent Lagerfeld naturally possessed, and it was Pierre Balmain in 1955 who first hired him as a junior assistant. Lagerfeld soon proved his worth, and began to apprentice for Balmain. He stayed here for three years. Lagerfeld soon decided to venture out on his own, and in 1961, launched his own label. The Karl Lagerfeld brand is still going strong today, even after he sold it to Tommy Hilfiger in 2005, Lagerfeld still maintains full creative direction.

Other iconic fashion houses that Lagerfeld has been in charge of include Chloe, Fendi and unmistakably Chanel. He joined Fendi in 1967, and the following decade began his time at Chloe. But possibly the most renowned work that Lagerfeld has done is during his time is at Chanel. Relaunching the label in the 1980’s, Lagerfeld became a huge star. He returned Chanel to the top of the fashion empire with his ready to wear line, and has ensured the success of the French label.

During his time at Chanel, Lagerfeld has continued to grow the brand through innovation and risk taking. While he continually pays homage to the great Coco through the use of tweed jackets and skirts, Lagerfeld has bought this staple into the modern world by using colour and embellishments. He has also revived the trend by pairing it with sneakers instead of stilettos. The use of colour is something that the Chanel label had not seen much of until Lagerfeld took over, and he continues to produce garments in an assortment of hues depending on what trends he chooses for the season. Florals are another iconic look that Lagerfeld uses at Chanel, creating a somewhat romantic air to his collections. An unmistakable embellishment of a modern Chanel outfit would have to be the use of pearls, diamonds and chains. Lagerfeld uses these notions to accessories his couture outfits, as well as shoes, handbags and jewellery. The couture shows which Chanel take part in every fashion week are nothing short of epic. The scale of the production is something out of this world, with Lagerfeld dreaming up runway shows that to anyone else would seem impossible. Do yourself a favour and watch some of the recent Chanel productions, you will not be disappointed!

In recent times, Lagerfeld has turned his hand to photography and to film and costume design. He has designed the costumes for stars such as Madonna and Kylie on some of their recent tours. Lagerfeld has also collaborated with the department store Macy’s to create a capsule collection in 2011. Known as the man who continues to reinvent fashion and couture, Karl Lagerfeld isn’t going anywhere, anytime soon. He continues to amaze us all with his Avant garde designs, breathtaking shows, and innovative style. He is bold, he is brave and he is truly a gift to the world of fashion. Lagerfeld is a name that will go done in fashion history as one of the best!

Love Always, Anastacia Rose xx

Quality is remembered long after price is forgotten – Savile Row

 

Tailoring is a pure craft, a skill that requires time and talent. A trade that takes hours of intense labour to achieve a stunning result. It takes patience, a gentle touch and a knowing authority. It is a form of fashion that I well and truly fell in love with, and have remained so ever since. I first fell in love with the art of tailoring when I started my fashion degree. It was a wardrobe in the rag trade that I had not yet opened. I knew little of it, and had no appreciation for it. But as soon as I opened that door and dove right in, I was surrounded by such art, such magic, and some of the finest fabrics money can buy! Yes, I fell in love hard, and have never looked back.

If you look up the definition of tailoring in any fashion dictionary, it will say the activity or trade of a tailor, or the style or cut of a garment. So what is a tailor? A tailor is well skilled in the area of making, mending or altering clothing, especially suits, coats and other outer wear garments. In history, tailors have been predominantly male, learning their craft as apprentices on the cutting room floor. It is still a trade in the fashion scene that is mainly occupied by men, although there are many women who have, or are, making themselves known in this trade. It takes a lot of time to truly custom make a suit, with the client being involved in most processes. From taking intricate measurements to choosing the fabric and trims, having a suit or other garment custom made for yourself is one of the greatest pleasures you can have. And it will be a wardrobe staple that will last you a lifetime!

Through my love of this craft, I learnt about the coveted street in London called Savile Row. And I was lucky enough to visit it when I travelled to England a few years ago. The prestige and pomp of Savile Row was breathtaking. The heritage listed buildings and their lavish facades makes the section of street in the Westminster district something us old school fashionistas can swoon over. It still has an air of grandeur over it, even though the modern world has started to creep in over the last few years. Traditionally, the tailoring establishments on Savile Row would have their showroom on ground level, where clients would come in to be measured up, and their cutting room in the basement. The street dates back to 1731 when it was first appeared, and was completed in 1735. Tailors started to move onto the Row around 1803, when they were primarily constructing suits for military officer and politicians. As more businesses began to set up, the houses were altered to allow more natural light in on the ground floor. The Row got its name from Lady Dorothy Savile, the wife of one of the then estate owners. It was a region highly populated by affluent society, and has kept this air about it for all these years.

The Row has seen many changes come and go over the years. Some of it was destroyed in World War Two, but was later rebuilt. Many of the original buildings still on the Row have now been heritage listed. Tailoring is a trade that began to lose its way in the 1960’s, due to the introduction of ready to wear clothing labels. In 1969, Nutters of Saville Row was established, to maintain this grand tradition, but to modernise its style and approach. Headed by designers Richard James, Ozwald Boateng, and Timothy Everest, the group fought to keep the Row alive, but introduced new ways to do so.

There are some famous names who have been regular clients of the Row over the years, including Napoleon 3^rd, Prince Charles and Winston Churchill. The Beatles also occupied a space at number three Savile Row that they used as a recording studio. It was here that they recorded the track ‘Let it be’, and their final live performance was staged on the rooftop of number three in January 1969. The term bespoke is believed to have originated on the Row. For a garment to be classified as bespoke, it must primarily be cut and sewn by hand. The restrictions around this term however have been loosened over the years, with bespoke tailoring now allowed to be machine sewn, as long as it is still made to measure. It’s estimated that about fifty hours of hand labor per suit is required to achieve the perfect result.

Known as the Golden Mile of Tailoring, Savile Row has in recent years seen the resurgence of the traditional tailor back on its streets. In the 1950’s there were roughly forty tailors occupying the Row, including the greats Henry Poole and Co, and Gieves & Hawkes. This number dropped radically in the early noughties to only nineteen businesses. But by 2014, the Row was flourishing again with forty four ateliers on the scene. There is now also a mix of modern eateries scattered along the Row, and some big name department stores have also managed to filter in.

If you ever get the opportunity to have something tailor made for yourself, then it’s a must do! You will never regret the feeling of opulence and pride when wearing a made to measure garment. The fine craftsmanship, the impeccable cut and the unlimited selections that will be present to you is something of bucket list quality. Tailoring is a true form of art and skill, one that must be appreciated and understood by the wearer to reach its ultimate potential. Let’s hope this magnificent tradition is never lost.

Love Always, Anastacia Rose xx