http://www.nytimes.com/2010/06/06/nyregion/06joint.html?hp
In the neighborhood of $5,000 - shipped off to nice Italians? Hmmm...... For that kind of money I want the suit hand stitched by the bloke who had the tape measure next to your nads.
Last edited by Harpo (2010-06-04 16:52:37)
And after being shipped off to some nice Italians, despatched via Vespa with extreme sprezza to some seedy sweat shop in Romania.
I like this part of the article "the expense is part of the experience, an indication of allegiance to the old school." They mark their gullible demographic well with a distinct lack of respect.
The other bollocks I liked was the bit about trad with a twist, its not boring Brooks Brothers and that his stuff shouldn't be taken too seriously. Wot? With a mere US$5,000 tag, what do you expect, something good, the imperfections and shoddy tailoring is all part of the sprezza, sir.
Maybe I'm being overly nasty, but what does one expect when you're the tailor to Ringo Starr?
Last edited by suds-okeefe (2010-06-05 07:24:28)
^^All fair and valid points indeed. I can't say whether the stylist will deliver or not, but that article was real cheap marketing with awful cliche's as Formby states. The not to be taken too seriously is stolen from Etro November 2002, and I know, because I was up in coffin corner experiencing some real bad turbulance at the time, trying to focus on something other than death and I was concentrating on the Etro article in GQ. And its was definitely in that article.
Now, if I was a Ad or marketing chap, instead of using the well worn out cliches on twists on a theme, frivolity as opposed to anglo-saxon puritanical seriousness and boringness with pontification on that divine Italian BS known as "sprezza" - all gimics. I would start using the Spanish word "duende" - the ability to transmit a profoundly felt emotion with the minimum amount of fuss and the maximum of restraint.
The original Brooks Brothers has that in abundance.
I agree with Harpo. I've met the man, and he is charming in a pub-crawl kind of way. However, I can't see any value added by having an intermediary. In fact you pay a premium (evidently) for this kind of intermediary, rather Rubinacci-esque. If you want a friend, get a dog.
I was in London a week or so ago, working with a shirtmaker on a saharienne. I've been working on it for about two years, and the shirtmaker (not me) still wants to tweak the second generation of the pattern. You won't get that from an impressario who subcontracts.
Boxer shorts for $150? No thanks. His suit looks cliched.
I am a customer of Bruce Clark. I recommend him.
Bruce does not claim to make the clothes that he sells. He never did.
Bruce can be expensive. You are not buying direct from a factory or workshop. While he is expensive on some things, he is not terribly so on others. E.g., on shirts his pricing is similar to Turnbull & Asser. I know of a similar clothier in the same neighorhood who is twice as expensive as Bruce.
Bruce is not a mere order taker. He is involved in putting together the styling, fit, and look of the garment. He brings to the table 30+ years of experience of working in bespoke clothes including stints with Nutters and Edward Sexton. He used to be the shirtmaker at Nutters.
He has made shirts for me. They are superb in fit, workmanship, and styling. I have not had as much experience in his tailored clothing although I have been pleased with a sportscoat and odd slacks which were made by a bespoke tailor that he used to employ.
Bruce has a small operation. Generally, his customers are well heeled Upper East Siders and wealthy out of towners. However, not all of his clients are multi-millionaires.
Having met him, Mark, his entertainment value may be worth the upcharge. I didn't know that he had made shirts before. That does give him some street cred, especially since they came out so well, and are competitively priced.
Last edited by Marc Grayson (2010-06-19 21:45:30)
That is priceless Grayson, in fine form as always. No dressing things up with Grayson, just raw ugly truth.
Think of the markup as like a cover charge in a jazz club. It goes to the performer.