Here is what Peter wore for the production of Episode 2 of The Deployant Show.
New video for TGIFriday: Fit Check for Episode 2 of The Deployant Show
Here is a rundown of what I wore for the shooting of Episode 2. We are not featuring Stanley’s outfit because it remains unchanged from what he wore for Episode 1.
YouTube Video: Fit Check for Episode 2
The suit
For this episode, I wore yet another bespoke suit I had made by my regular tailor – Gordon Yao in Hong Kong. Over the years, I have probably 9 suits made by Gordon. The particular suit is a 6×4 double breasted, and is actually a three piece complete with a vest. I normally have two sets of trousers made with each coat (jacket, but the proper tailoring term is coat). The fabric is a very heavy 14 oz navy blue woollen flannel with a chalk stripe by J.J. Minnis in England. This heavy flannel drapes very well, and works nicely with Gordon’s soft tailoring style. The flannel has a very nice hand feel, and is considered a luxury fabric because it is not as hard wearing as high twist worsted, and requires a rest after each wear for the fibres to relax.
The coat is made with a floating canvas, of course. This floating canvas is hand stitched as opposed to the more common machine stitched floating canvas. The reason for hand stitching is that the Maker (another tailoring technical term. In general making a suit is a three craft process – Cut, Make and Trim.) can adjust the tension of each stitch to make the front panel three dimensional to conform to the shape of the client’s body. The hand technique also allows for the beautiful belly roll of the lapel. Most full canvass coats are machine stitched, and this level of finesse is not yet possible with machine stitching. The machine makes each stitch with the same tension. Perhaps when AI finally gets to the sewing machine, this critical and delicate handwork can be replicated. But for now, its the laborious and highly skilled work of the Maker.
At a lower commercial level, the canvas does not float, but is fused by glue to the front shell of the coat. This does not allow the front panel to move freely, and after some time, the glue becomes unstuck and visible bubbles will appear on the coat.
Trousers feature a fish tail back and is supported by braces. Trousers should hang from the shoulders and not cinched at the waist by a belt. This allows the trousers to hang with a nice line following the crease of each leg. Braces also ensures that the trousers are always the perfect length, in my case, with minimal break such that the bottom of the trousers leg is flirting with the top of my shoes. My preferred braces are made by Albert Thurston in England, and this one is their model in box cloth.
The shirt, tie and pocket square
The shirt is also bespoke, by Jantzen Tailors in Hong Kong. This one is in a blue oxford cloth, with barrel cuffs closed by mother of pearl buttons, thus not requiring cuff links. The tie is by Charvet in Paris. And the pocket square is by Huntsman in Savile Row. The bright blue silk square features a hand rolled edge in white.
The shoes and socks
Shoes this time is by Crockett & Jones, and is bench made in Northampton. The model is the Weymouth from their Hand Grade collection, and is a whole cut Oxford in brown calf. Socks are also by Zimmerli of Switzerland, when they used to make socks. These are the over the calf length, so that even when seated and the trouser leg slides up, my bare shin is never shown.
The watch
And the watch I am wearing for the episode is the Rudis Sylva RS14. Look out for our comprehensive review soon.
