2nd Bespoke Suit Fitting With Sartoria Jensen ✂️ | Kirby Allison

I'm Kirby Allison and I love helpingthe well-dressed acquire and care fortheir wardrobes.

Join me as weexplore the world of quality, craftsmanship and tradition.

Hi I'mKirby Allison and I love to help thewell-dressed acquire and care fortheir wardrobes.

I'm here today withEric Jensen at Bespoke Tailor fromNew York for the second fitting of mygrey fresco suit that he's making forme so Eric's so great to have youback in Dallas.

Glad to be here.

Pleasure.

Thanks for coming so in the lastvideo that we filmed, that was thefirst fitting, right? Yeah, so what we did was basicallyit's just the shell of the suit.

Atthis point now in the second fittingwe have much more that's finished.

However it's going to be able to showme more things that need to beadjusted in regards to the fit of thecoat.

Yeah.

So the first was really justkind of validating the basic shapeand pattern.

And now you've actuallyput some structure into the jacket.

Correct.

It got more shape, more work.

It gotthe inner linings I guess all thecanvassing.

Yeah.

All the canvassing, the pocketsare in as well as the interiorpockets.

The lining is in for themost part.

It's probably about 80percent in and then the sleeves arebasted on, the sides are basted upand then the colors basted on aswell.

Yeah.

So where does this fitting fitkind of in the scope of your normalprocess.

For me I don't know how it is formost other tailors.

I think everytailor kind of works on a system thatworks for them.

For me my secondfittings show me the most.

So itreally is where I start to hone thedifferences of the suit that's gonnamake it yours.

The first fitting likeyou said is is there to adjust forbalance, to make sure that we havechest and length and everything else.

Okay.

And then, so this is the secondfitting and you normally are whatdelivering in, what three to fourfittings? Yeah, for first client it's I airmore on the three to four fittings.

Again it's really important that youand I are both happy at the finalphase so whether I say a hard andfast rule of three or four fittingsbut if we do the third fitting andit's like we're not there then weneed to take that time to keep goingand make sure that we get the patterncorrect because the next time, sothat's gonna be beneficial for ourprocess.

And so the next fitting, thirdfitting what would that look like.

Imean is it a finished jacket andyou're just adjusting for smallelement.

Yeah, if I'm happy with where we'reat after this then yes, that's whatwe're gonna do.

It'll be pretty closeto finished coat.

We'll just makesure that we adjust for sleevelength, for button position and fortrousers making sure that we've gotthe correct length on the trousersand things like that.

Yeah, great.

Well, I can't wait toput that suit on so let me run and gotry it on.

So here I am back of thetrousers on and absolutely walkingover, they feel awesome.

The rise looks beautiful.

The roomthat we have given you in the hips aswell as in the legs look beautiful.

Ithoroughly enjoy the the shape thatwe've gotten in the front.

My onlydetailed problem is just that we havea little bit of excess cloth herethat just needs to be taken care of.

And that's not saying that we have toreduce the amount of cloth there, wejust have to let the angle, changethat angle just a little bit too tooto be able to work with your hips.

Sowe're going to let out and fork alittle bit of shifting of the angleof the seam.

Okay now just talk me through alittle bit in terms of kind of whatyou did.

I mean, it's a really highrise.

I mean it's super comfortable.

You know single reverse pleat.

I meanit's a beautiful trouser.

Yeah.

My maestro in Italy, this wasthe only way we were taught to cuttrousers was at this height and Ifeel like it just really does abeautiful job of making the body lookperfectly proportionate.

Exactly.

Soit hits you right where it shootsabout at your navel which reallybreaks your body up into two perfectlittle almost half's.

And it alsogives your legs a little ofelongation which I really enjoy.

Youknow nowadays we have those lowerrise trousers that are more the fadnow.

Really kind of makes people looklike their torsos walking aroundsticks.

Well especially they don't haveplastic and making the pudgy.

Yes and that as well.

And a pleatlike this so you still have a verytrim trouser.

I mean in my opinionthis is not a full trouser.

It's nota skinny trouser but it's still trim.

But you have a nice clean pleat.

It'sgiving you the room that you needwhere you need it.

Then thecomfortability.

But it's not givingyou weight where you don't needweight.

I mean it's not tight.

I've got someroom.

You know and I asked you to cutit a little bit loose because I wannabe able to wear these with braces.

Exactly, and so we did that as well.

We put the tabs on the back.

So theyfold away.

So when you're not wearingbraces they look like this when youare wearing braces they can come upand you can button.

And the trouser has nice structuretoo, it's not you know, it doesn'tfeel flimsy in any way.

No.

Which I've seen on some trousers evenBespoke trousers.

And you know I feellike kind of holding the end in youknow, the you know this fresco is areally heavyweight fresco, feelsbulletproof.

It's I mean this is on the higherweight of the fresco range.

So thisis about twelve and half, thriteenounce.

But you'll still breathereally well in it which is afantastic option as well.

I think I'mvery happy with where we're at.

Yeah.

Can I mark? Yes please.

I don't know to mark length rightnow.

Maybe I do.

Were you sayikngthat you wanted cuff or no cuff? So I think we'll do cuff on this.

Ok.

I do like, I think a nice 2-inchturnout.

I like that.

I think that's going tobe very elegant.

And in regards toyour length of your trousers, do younormally wear a shoe like or are youplanning on normally wearing a shoelike this in regards to the fact thatit's a loafer.

Or will you be wearinga more full coverage? Well both.

Ok, so then my other question issometimes when guys wear loafers theydon't want to see any of their sock.

Do you not want to see any of yoursock in terms of the the length andthen the break? Well I like it kind of a mediumbreak.

Ok, that helps.

I've just made thingsfor some clients who ended up wearingloafers and who didn't want to seeany of their sock.

And it's adifferent kind of length to yourtrouser.

I mean is it the length or is it alsohow wide it's cut? Its going to be wide and length.

Imean it's going to be about how muchcloth pulls up.

You don't have areference point right now do you? I'mgoing to mark like this and then youcan look at them later.

Because ofthe circumference, I don't want togive you too much like I don't wantto watch cloth down there.

So I'mgiving you a medium to small break, probably more.

Are you going to cut this wider? No.

For the circumference of thebottom? Yeah.

No.

I think this is a very elegantdrape.

I think it has a nice cleanline from hip to knee down to yourhem opening.

So for me I wouldn'tmake this larger in terms of like thetaper.

Yeah.

In terms of the taper.

Okay soanything else.

I mean it's abeautiful.

I mean I really like howthis particular heavier weight clothholds the crease.

It's a beautifulsharp crease you know and it's astraight line down.

So it's aperfectly placed.

It's yeah.

That's one of thebeautiful attractions of a pleat iswhen you do get that line right, thatvery nice clean straight line.

It'sjust in my opinion it pales incomparison.

And in the frescoes youget a really really clean sharp crispof crease as well and it holds it.

Sothat's another reason why I reallyenjoy working with it.

And it's opening a little bit butthat's more because of the body ofthe fabric.

Yeah.

So it's going to open a littlebit because it has more rigidity tothe cloth so it doesn't die, itdoesn't hit flat.

Yeah.

I personallyI think that's very elegant.

I thinkit's elegant because it adds a newfocal point of the trouser.

Yeah well it gives a little bit ofthree dimensionality to it.

Exactly.

Almost like the role of yourlapel vest.

Well great.

Now it's time for thejacket.

Yes, let's see.

All right.

So as Isaid the lining is at this pointbasted in.

We do have the lining inthe sleeves free because it's notgoing to be tacked down.

It's notgonna be finished.

It's all just kindof a work in progress still.

Shoulders are basted, collars bastedon, the sides are basted as well.

Sothis way I've more ability to adjustthe coat while it's on you as opposedto you know just kind of pinning andhoping.

I'm gonna put one sleeve in, I'm going to grab the other one.

Youshould be in.

Okay.

Well here, we are, my favorite.

I feel like I'm really wearing ajacket.

Yeah I'd say it's coming together.

Doesn't look just like a shelf, basically yes.

So I mean I can immediately feel theweight.

I mean it's got body to itwhich I like which is a little bit Imean it kind of offsets I guess thesoft structure.

Yeah.

We've got alittle bit of a heavier fabric.

It's kind of it works two fold.

Ireally like a soft coat.

I also liketo have some structure to it.

So Ilike to use cloths that have thatespecially for someone like you whois going to, who does a lot oftraveling, who does a lot of wearingof their suits.

You want some ofthat's going to have length of lifebehind.

Yeah.

So first thing that I always do is Iwant to look at the coat on.

But Ijust make sure we get everythinglined up.

The circuits.

So we still have that beautiful way.

We still have the the front comingtogether real nice and clean.

Theykiss.

They're pretty much overlap aswell.

We have a little bit to adjustin regards to this shoulder.

As wellas this.

You have a nice nice chestand a nice -.

Yeah, the arms feel nice.

Beautifulroll of lapel and I was noticingwhenever I put it on, I could seeactually a nice belly.

Oh yeah, so we talked about that Ibelieve earlier and you know we kindof went back and forth on how to dothat but I think we really found anelegant line on that lapel.

So youhave a nice beautiful belly and anice -.

And we're doing two button.

Yeah.

Correct two button.

Yeah.

SoI'm just going to look things over.

Yeah.

Kirby if I pinch here and here, doyou feel restrictive, if you moveforward? No.

Okay.

So you have a drop here.

Soyour shoulders sloped.

It's a littleslope more than the coat will allow.

So it's creating just that little bitof bunch.

I like draping the chest soI'd like you to have room and andfreedom of movement and also createsa better suppression.

But right nowwe're just creating a little bit toomuch of a fold.

So I just want toclean.

How much of that are you able to fixwithout having to redo the sleeve? A bit.

I mean not too much because ifyou do too much you're gonna have tocut down the arm hole.

So for everyamount that you shorten here youusually have to shorten the arm hole.

You are dropped on the arm hole.

Iusually like a nice high and tightarm hole so try to get away with notdropping it as much as I can.

Howeveron this side we're going to have todo drop it.

And when you pull it in here at thearms will also that kind of smooththat out.

For that drape, for the most part no.

I'm going to check this and see if Ican bring.

Let's see.

There, muchbetter I feel.

Does that feel? I can feel it hugging the neck more.

Yeah it feels a little more -.

A snug around the collar.

We'll have to dig out of it becauseit is still collapsing.

You can, doesit feel? It's collapsing just alittle.

So we're going to drop backto.

Well the joys of being fitted.

Hurry up and wait.

Cool.

It's come together on a collar.

It feels much better.

Yeah.

Yeah.

Once we have the slope, yourshoulders far more than we did.

And this shoulder right here is theone that slopes the most.

Yeah.

So your low here on the rightbut both.

So if they're not slope andif the coat's not flipped enough withyou, the collar tends to fall away.

And that's just because how it works.

So what was happening was it wasn'tsitting as close to your neck as itshould and that's in regards to thisslope.

Yeah that's one of the hallmarks of aof a nice Bespoke jacket is that it'salways going to be moved around andit stays and comes right back in theneck.

Yeah and now it keeps doing that.

Soit looks a lot better on.

This side, I'm not gonna be able to do it asmuch as it should because of your armhole.

So what's happening right nowis because I'm slipping the shouldersso much.

It's your arm hole went fromthat wide down to like that and yourarm needs more movement.

So it'scausing these collapses.

That's something you can fix wheneveryou take it back.

Yeah.

So when to take it back Imeasure how much I've sloped theshoulder and then you take that andyou take the same amount and you dropthe arm hole.

Okay.

So basically you're just taking acoat that's cut for the angle likethis and just cutting it like that, and then you're just dropping thearm.

But right now we have a muchcleaner body in the front than we didwhen we began.

We still have a littlebit of collapsing here and here butagain that's because of the arm hole.

So once we take care of that andremedy that we'll be able to get acleaner look.

And talk about some of the otherdetails of the jacket I mean anythingelse? Oh yeah.

I know there's a lot ofthings that are different in regardsto who's cutting your cones and I'vehad a couple conversation withclients in regards to this becauseit's almost like if you think aboutmusic for instance.

Everybody has acertain taste in music it's kind ofwhat defines you in a way.

Youwouldn't go to a guy who's known foryou know guitar riffs and ask him youknow to do Bach for you in the sameway that you wouldn't do go to acomposer who does Bach and tell himto do a rap song.

It's just they'recompletely different pools ofinterests.

It's all still music, allstill beautiful but there's differentpools of interest in each one.

And Ithink tailors are very much that way.

We all have a house style.

I feellike a lot of tailors don't like thatword.

I really like that word yeahbecause I want to make what I enjoyand I want my client to enjoy thesame thing.

But at the same time, ifyou don't like the music I'm playing, i's best if you don't come here andhear me play because you're nevergoing to really enjoy it at the sameway that's someone who likes themusic I play you know.

So in thatregard, I kind of a very Italian suityou know and it's what makes mehappy.

It's what I really enjoy andwhat I like to see.

And some peoplelike that and some people don't.

Youknow it's kind of to put it on anadage, you can be the most beautifulbeach in the whole entire world, themost succulent, the most incrediblebeach.

Some people don't likebeaches, you know what I mean.

Yeah.

And it's that kind of mentality.

Somy coats are Italian.

We cut in topieces.

So you were talking aboutthis earlier, you were talking aboutthe spread out here.

So that goesfrom chest all the way down to thebottom and that's a very hallmark ofan Italian Southern Italian suit.

Ok, maybe the fearinting who likeLiverano, Liverano, we were askingabout, usually won't cut with thefront at all.

So there'll be nothinghere, so there'll be only be thatone.

But there's also no side panel onthis.

Yeah in most Italians suits, in factI don't know.

No one to ever said ahundred percent.

Someone alwaysproved me wrong.

Yeah but I'll gowith 90 percent of Italian suits thatdon't have side body.

So they contrasting it to the Britishor the French.

Exactly.

The British or the Frenchand they're always going -.

So they wouldn't have this, but righthere.

Normally it's through thepocket.

So it's a third panel so there's yourfirst panel here.

And then your sidebody which is your second panel andthen you're back which is your thirdpanel.

So those are the differencesand the nuances behind the coats.

Butyeah I'm influenced, I'm inspired bythe look.

And that's one of the interestingthings about New York and really theworld for that matter is there's abunch of different tailors kind ofall doing different styles but as faras New York is concerned really forthe most part in America you'rereally the only one specializing in aBespoke Italian aesthetic.

Yeah, that's yeah.

We've got other Bespoke tailors inNew York that kind of pull more fromthe British genre to the Americankind of flavor of tailoring slightlymore structured certain details likethis you know not being a part oftheir house style.

Yeah.

Whereas you know if you live inAmerica, if you live in New York andyou really want that kind ofclassical Italian silhouette andstyle and you're really the only guyI know doing Bespoke.

Yeah, that's correct.

As far as Iknow as well in regards to that.

Those defining characteristics thatreally set apart an Italianespecially a mid of Southern Italianlook.

That's yeah, as far as I know.

And you can't group Italy is like thesame country, you know Southern Italyfrom Northern Italy is you knowcouldn't be any farther.

No no.

Exactly and they have just acompletely different mindset and whenit comes to tailoring.

You know Chriswho I apprentice, he was highlyinfluenced by the Milanese tailor.

Sothere's a little more structure, there's a little more – Finish on, is much neater.

Yeah I wouldn't say neater but I getthat.

It's like, I like the idea ofthe defect is the effect.

I like theidea that elegance has that one thingthat catches your eye that maybeshould or shouldn't be there.

Ireally enjoy that so I like how theNapoleons love the idea of handmadewhere it shows that it's handmadebecause there is something that'sjust not quite right.

But it's that, it's not quite right and it'sabrasive to the eye.

It's just notquite right but it seems and there'sa beauty in that to me.

But it's not intentional, it's notlike they're intentionally puttingaway you know things not right there.

Sometimes, if you've so much doughmasked.

You know some of the guys.

One of the gentlemen, I can'tremember which one, but he said youknow sometimes I like to make adouble breasted that just has alittle bit of a problem too just justto show that you know I know there'sthat little thing.

And it makes itthat, it's handmade and that kind ofshows that handmade authenticity.

Theproblem that I find with nowadays isthere's so much emphasis on themachine and its perfection on thescene.

But it almost ends up dead.

And I always want my suits to bealive.

I want the cloth to, I wantthe suit to take all of the humanityof it.

Exactly, like you want a certainhumanity in your garments that aren'tperfect.

I think in some ways it'sthe difference between Japanese shoemakers and British makers.

TheJapanese are incredibly talented youknow and they make perfect shoes butat what point is it to perfect thatit becomes sterile.

Yeah.

You know not to say anything aboutthe Japanese shoe makers, they areincredible.

Yeah.

You know, but I think from a generalconceptual standpoint you know ifit's too perfect then you know it'ssterile and there's no life to it.

There's no spirit and there's noessence.

And you know not to give excuse tosomething not being made well or donewell.

There are two different things.

It's not like well this is an excusefor something not being done righthere or being done poorly.

No it'sstill perfect but you can't, it's notsterile, there's no life.

Exactly.

There's no excuse forsloppiness.

But there's a beauty andelegance in the hand nature.

So what's next? I mean so we've, you've gone through this.

I mean isthere anything else you need to see.

So right now because this secondfitting, we, how to do so muchadjustments and that's part of it isbecause of the differences that comewhen there is a second fitting.

Theother part is you know some thingsyou just miss.

Yeah.

And that happens and that's whythere's the ensurance of a secondfitting.

But I like where we're at andI like where we're moving.

I willprobably get to the next fitting asfinished for the most part when we dothe next fitting, we'll check on yoursleeve.

.

And that's what it willtake more account of that.

Yeah.

So we'll do the button holes.

We'lltalk about you know how many buttonholes you like on your sleeve.

We'lltalk about you know how many buttonholes you like on your sleeve.

We'lltalk about you know how you like whenyour arm is down, how much of yourcuff you like showing.

We'll talkabout the use of your watch and whattypes of shirts your wearing, ifyou're always wearing again shirt, sleeve lengths of coat are highlydeterminative to the eye on the shirtsleeve lenght.

Yeah.

So I've measured guys sleeves lengthwhen they're wearing one shirt andthen they wear the next shirt andthey go, wait this is too much shirtshowing but their sleeve is still inthe same spot.

It's the shirt sleevesthat peeked out more or less.

And sothat's that's another conversationthat needs to be had in regards tosleeve.

My shirt are pretty consistent.

Yeah.

What about that, I mean just thedrape of the shoulder and rotation ofthe sleeve.

Yeah.

So for the most part one offirst fitting I chose where yoursleeve was going to be and it stayedconsistent.

So before we ripped thesleeves I had noticed that and Iliked where it was.

So I'm going tokeep it as where it's been.

And Ihave that number.

Again things arealways kind of organic and they'rekind of, the coat's always kind ofsettling and adjusting and you'resettling and adjusting you know whenwhen I measure you, I try to get youas comfortable as possible and when Ifit you I try to get you ascomfortable as possible.

I'll neverget you at your most comfortable.

Sothose types of things could adjust.

Yeah.

When we do the finished product butagain if I'm not happy and you're nothappy things get changed.

Yeah.

Soeven though the sleeves will be sewnon the next time yeah if they're notright then they're all right and wefix.

Well that's one of the beauties of Ithink a developing relationship witha tailor is that you know you need towear and live in your garments DNAfor you know you and the garment tokind of settle into one another.

Andthat's where the iterative processyou know, the longer you have therelationship the better the workproduct comes.

Certainly, and we touched on thislast time and it's that idea ofdating and marriage.

You know whenyou date your tailor things are greatbut when you marry the tailor that'swhen you really have developed themagic.

Yeah.

Well great.

Well the suit pantsfeels fantastic.

I mean I like thatyou know the weight of the fabric.

Itfeels you know really I mean it feelslike, it's got body to it which Ilike and I can't wait to see this asa finished product.

It's really beenkind of a hearty you know kind oftravel ready suit that you know thatwill fold up nicely and I love howthe weight gives the fabric drapewhich really allows the beauty offine tailoring to really be seen.

Exactly.

My other question I'm justgoing to ask is how do you like thenew shoulder pads because we haven'tput a shoulder about yet.

I mean you know I mean as long as itlooks good.

Yeah I mean you know tome the shoulder pad is less of a youknow it doesn't make me feel anydifferent as long as you know howdoes it look.

Yeah.

And that's the main thing is togive you that comfort and the abilitybut also give you structure in theshoulder without adding too much tolike.

So I am just looking on rightnow, I just really kind of enjoy howthey look.

But I think that you'llhopefully find that reallycomfortable.

Yeah.

That will probably be one ofthose things that you will wear toreally after I have it on for a dayor two, I have traveled with exactlylike that.

Yeah.

And it won't have all thesepins.

Yeah right.

Well, Eric thanks forcoming.

Always.

I can't wait to see the next stephere and I couldn't be more happywith how this.

Yeah.

I'm very happy.

I think we'removing in a good direction and Ithink we'll have a beautiful garment.

Yeah.

.