How a shirt should fit – Permanent Style

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“Learning how a shirt should fit you can take surprisingly long – as most fans of bespoke try far fewer shirtmakers than they do tailors. Once learned, however, the lessons are fairly simple.”

Joseph Scherrer‘s insight:

Simon Crompton of Permanent Style lays out 3 important points for getting a shirt to fit.

1.  Ensure the fit around the waist is not too tight and the shirt is long enough

2.  Make sure the collar is height is enough and that there is space in the front for the knot of your tie to rest.

3.  Get the length of the sleeves right.  A typical guideline is for the end of the shirt cuff to meet at the bend of your wrist.

The above points are fairly straightforward.

While there are other guides out there that give more detailed specifications for achieving the perfect shirt fit, it usually involved a bit of experimentation before you get it exactly right.

Once you do, you’re set.

By Joe Scherrer | Tailored and Styled Writer



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Article publié pour la première fois le 04/07/2013

“How to Go Bespoke”–An Interview with Jon Green, Bespoke Orchestrator (Part 1)


Mr. Jon Green

Jon Green, founder and owner of Jon Green Bespoke on Madison Avenue in New York, has been providing the quintessential bespoke experience for discerning clients since 1990. He has been featured in Forbes, The Financial Times, and the American Express “Departures” magazine. His customers are men who insist on the very best—and they get it from Jon.

You might be surprised to know that Jon has a Masters Degree from the Julliard School. Since childhood, classical music and classic clothing have been a two-part harmony in Jon’s life. Beginning with piano studies from age 5 and a career in menswear starting at 14, both continued, uninterrupted, through college and while at Juilliard, working at Paul Stuart.

Tailored and Styled: “How does your background in music play into your bespoke tailoring practice?”

Jon Green:

My background in classical music plays into my bespoke clothing practice almost seamlessly; the only difference is what I’m making. For this bespoke clothier and conductor the goal is to create beauty, whether in sound or cloth. Built on classical structures and forms that function harmoniously, both require a deep understanding and virtuosity to produce.

Tailored and Styled: “Is there such a thing as ‘art’ as applied to bespoke like there is in music?”

Jon Green:

I think there is. Jon Green Bespoke is a business, but unless ‘art’ is present in every part of our bespoke process it is all for naught. Passion is required for making bespoke clothing, as in making music. But ultimately classical music and bespoke clothing are created for others – without an audience there is only practice, and without a customer there is only craft. There are many wonderful things and experiences in life that are not needs, including bespoke clothing and great music, but I would not like to go through life without them.

Tailored and Styled: “What inspired you to open your own custom clothing business, and on Madison Avenue no less?”

Jon Green:

Throughout my career the most particular customers, those who had a sense of what they wanted but didn’t know how to find it, would seek me out because I took the time to take them through the possibilities. In that process their reactions would give me a sense of what they wanted and I could coach them in selecting specific items and how to pull the whole presentation together. If they showed interest in becoming more active in the process the next time, I would ‘plant seeds,’ my term for showing them something to think about for the next time.

My father loved ‘to dress’ – cashmere sports jackets, double-breasted suits, pin collars, cap toe shoes. It was great fun rooting around in his closet, not quite tall enough to reach the trouser bars of the hangers, marveling at what was there and thinking about when I would be grown up enough to wear clothes like that.

Ultimately that experience led to the launch Jon Green Bespoke in 1990. By then my distinctions were so developed as to be second nature. Though it took a while to reach our present apogee, from the beginning my commitment has remained the same: to make better clothing than anything else offered by tailors, direct sellers, and retailers.

From the 1950s through the 1980s the vast majority of men wore suits every day; some liked it and some did not. During those years “replacement” suits were a big business. But the downward pressure on prices by retailers created a drop in quality that occurred so gradually that most consumers didn’t recognize what was happening. The compromises in fit, selection, comfort, and quality in ready-to-wear, made-to-measure, and some custom clothing necessitated regularly replacing them. How many times have you moved a suit to the back of the closet because “it’s not quite right – maybe a new one will be better,” only to end up with more of the same?

I wanted something better for myself and in the process discovered that men I knew did too.

Explaining to a friend over dinner that my clothing would require the finest workmanship, components, and cloth, resulted in my first client. “Can I place an order for three suits before I leave town?” he asked. We met in his hotel room the following day for taking his measurements and discussing styling. I apologized for having nothing to show him, but he responded, “That’s OK, I know you’ll do it right.” That was in March 1990.

Not long after that meeting it was my good fortune to find a bespoke shirt maker who graciously invited me to share his second floor atelier on Madison and 73rd Street.

I’m still on Madison Avenue after 23 years, now at 509 Madison and 53rd Street.

Tailored and Styled: “How would you characterize a typical Jon Green client?”

Jon Green:

Discerning, Courteous, and Unreasonable.

Most of our clients are entrepreneurs and professionals who “go bespoke” because they are seeking more than the ready-to-wear and made-to-measure garments made by manufacturers. They want something made specifically for them and enjoy the possibilities that unfold in the process. They are unreasonable because they won’t “settle.”

Tailored and Styled: “You often mention that the relationship you develop with your clients is a big part of the Jon Green bespoke experience, how so?”

Jon Green:

“Bespoke” clothing is a collaborative creation, not a mercantile exchange. Initially it is a discovery process requiring time to select appropriate fabrics, for careful fittings, and for developing new ways of seeing.

This can be transforming, as it was with one new client.

At the end of our initial consultation, he said he wanted to think about it because he was unsure if what he was up to in the world was a match for our clothing. He did return and has been a client since 1995.

Years later he confided that his income went up 75% that first year with us.

Tailored and Styled: “What role does teaching play in this relationship?”

Jon Green:

The Latin word meaning (to)‘lead,’ duc (duke, duchess) is the root of both educator (educe – to ‘lead’ forth), and conduct (to thoroughly ‘lead’) in English. Enrolling others to follow requires establishing a context for them wherein they can relate new information to that which they already have and see as beneficial to them.

Going from buying merchandise to creating a bespoke garment requires mutual trust that must be there for the relationship to be successful. Merchandise is complete, you can see it and decide if you want it.

Our bespoke garments gradually come into being with the client and me.

Initially new clients tend to seek a better version of what they understand. But as the coaching expands their awareness their expectations of what is possible evolve into something greater.

Tailored and Styled: “At Tailored and Styled we believe that men’s classic style is based on timeless principles. Along those lines, what are some of the most important lessons you teach your clients?”

Jon Green:

We are fortunate indeed in the 21st century to have examples of the timeless principles of classic men’s clothing styles of the 30s and 40s; they are the apotheosis of men’s style.  But that style did not burst forth fully developed. It was natural extension of an evolutionary process begun over 200 years ago and that continues to evolve. The book Power & Style: A World History of Politics and Dress by D. Gaulme and F. Gaulme, published by Flammarion, is a great look at that process.

The movies and photos of Hollywood stars and English politicians from the period before and somewhat after World War II, serve as references for men who wish to be well dressed today. Nonetheless, I encourage men to consider that “fashion” and “classicism” have existed side-by-side for decades, and each informs the other.

Out of the dying decorum of Savile Row in the early 1960s exploded Tommy Nutter and Edward Sexton. They made clothes for the Beatles and Mick Jagger and in the process revitalized the classicism of the 30s and 40s, and 50s, which by that time had moved from elegant to crusty.

So where do we turn for true North in all of this today?

In my opinion, the most important aspect of anyone’s personal presentation is authenticity, to be yourself.

‘International’ or ‘Dandy,’ if it is authentic for you it will work. Regardless of how one defines classicism in menswear, that definition has shifted over the decades in a cycle perpetuated by each generation’s desire to dress differently than their fathers dressed.

In spite of being drawn to my father’s clothes as a boy, at 18 I wanted to dress like my generation in the so-called “Ivy” look, with its natural shouldered short jackets and snug flat front trousers worn without a break. Actually the Ivy look was a return to a classism of the 1920s. The style for my father’s generation in the 50s and 60s had changed into something more modern.

Today some of our clients in their 50’s and 60’s are asking to incorporate into their classic wardrobes youthful touches such as shorter jackets with a higher gorge and trimmer trousers. Stasis in clothing style can be aging. Older men can adapt aspects of a younger style to their benefit.

Do what makes you happy and, if you wish, incorporate what you like of the ‘new’ as long as it authentically reflects your personal style and taste while bearing in mind that some of us ‘pull off’ looks others cannot.

Clothing is a marker that communicates who we are and what others can expect of us.

Part 2 of this interview will be published on Thursday, August 22, where Jon goes into his bespoke process in greater detail.

Jon Green Bespoke Logo

Jon works by appointment to expose those interested to the possibilities of ‘Bespoke.’ Call 212-861-9611 or email to arrange an appointment, or, visit his website: and on Facebook. His atelier is located at 509 Madison Avenue (53rd Street) in Suite #1112, New York, NY 10022.

By Joe Scherrer | Tailored and Styled Writer

(Tailored and Styled does not receive affiliate or advertising benefit from Jon Green Bespoke)

Article publié pour la première fois le 21/08/2013

The Art of Being Discreet | Parisian Gentleman

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“…sometimes we even ask ourselves exactly how the art of dressing-well and finding one’s personal style fits into the grand scheme of things?”

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Joseph Scherrer‘s insight:

An engaging question: exactly how does the art of dressing well fit into the scheme of things?

Is it really that important given all the public and private turmoil that washes over the world on a daily basis?

Parisian Gentleman’s Sonia Glyn Nicholson works to give us the start of an answer to this incisive question.

She begins by distinguishing between the “elite class” and the “top class.”  The elite class likes showy signs of wealth and being in the public eye. On the other hand, the top class, while being equally–if not more wealthy–eschews the public eye for anonymity and modesty.

For the top class service and character trump self-interest and superficiality.

She then provides a list of eclectic tips to dress well that are “top class”:

1. Old, well-fitting clothes of high quality are worth wearing.

2. If you wear a carnation, red means your mother is living, white means she has passed.

3. Show equal amounts of shirt collar and cuff, normally around 1/2″ to 3/4″ (although some recommend an inch)

4. Visible labels on your clothes are not top class.

5. Wear a pocket square

6. If the bottom buttonhole on your shirt is horizontal, it’s usually the indicator of a fine custom shirt.

7. Be careful when you wear a regimental striped tie. You don’t want to inadvertently pass yourself off as someone associated with the club that adopted the tie when you yourself are not a member.

8. Button your shirt cuff buttons.

9. Your watch should “peek out” of your cuff.

By Joe Scherrer | Tailored and Styled






Article publié pour la première fois le 04/11/2013

The Dress Shirt Guide: Hallmarks of a Quality Shirt | Gentleman’s Gazette

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An essential guide to the defining hallmarks of a luxury dress shirt, its construction & details richly illustrated with over 30 photos.

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Joseph Scherrer‘s insight:

If you’ve been following this blog for a while, you know that I have a general disdain for vast majority of men’s style blogging out there.  The substance  and usefulness just isn’t there.

One of the shining exceptions to this state of affairs is Gentleman’s Gazette.  Raphael Schneider’s site is a soothing balm of depth, detail, and utility that is practically unmatched.

And the great thing is that the best is yet to come.

I am fortunate to be a freelance contributor to GG and I greatly respect the high standards Raphael sets for the blog.  He’s smart and he’s got a great plan to take the site to the next level.

This dress shirt guide is a prime example why.  It lays out what makes a quality shirt from soup to nuts.  I haven’t seen anything else like this in the men’s style blogging arena.

Some highlights from the article:

- What to look for in fabrics

- Options to get a shirt

- 13 points that make for quality construction

- Tons of photos and a great video

This post is absolutely top shelf–make sure you give it a read!

By Joe Scherrer | Tailored and Styled


Article publié pour la première fois le 20/09/2013

The Debt We Owe to Alan Flusser | A Suitable Wardrobe

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“Flusser is much more than just a haberdasher; he is an educator as well as a booster for the entire upper-end of the menswear luxury market.”

Joseph Scherrer‘s insight:

This article is an homage to Alan Flusser who Barry Pullen believes rescued the 80′s from 70′s menswear and ushered in a return to classic dressing.  Flusser’s books are must reading for all who care to steep themselves in the history, the fundamentals, and the nuances of men’s classic style.

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Article publié pour la première fois le 29/04/2013