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Numb. 18.06. [ 1815 [3] ]<br />
<strong>The</strong> <strong>London</strong> <strong>Gazette</strong><br />
EXTRAORDINARY.<br />
THE ENGLISH GENTLEMAN AT APSLEY HOUSE<br />
Published by Authority.<br />
Styled by Jo Levin.<br />
MONDAY, JANUARY 12, 2015.<br />
Savile Row, <strong>London</strong>.<br />
<strong>The</strong> bespoke tailors of<br />
Savile Row, <strong>The</strong> Woolmark<br />
Company, and the select<br />
Shirt makers, Shoe makers<br />
and Hatters associated with<br />
‘<strong>The</strong> English Gentleman’<br />
present their grateful thanks<br />
to <strong>The</strong> Earl of Mornington<br />
for facilitating the use of<br />
the wonderful Apsley House<br />
to show the modern face of<br />
British elegance.<br />
It is particularly appreciated that<br />
permission has been given to hold<br />
the event in this bicentenary<br />
year of the Battle of Waterloo,<br />
when the Duke of Wellington’s<br />
House will have many demands<br />
to meet.<br />
<strong>The</strong> help of Josephine<br />
Oxley, Keeper of the<br />
Wellington Collection, and<br />
of Christopher Small from<br />
the English Heritage has<br />
been invaluable.<br />
This presentation is a reminder<br />
that <strong>London</strong> is the world capital<br />
of masculine style and has been so<br />
for over two centuries. Through<br />
‘<strong>The</strong> English Gentleman’, now<br />
in its 5th Season, Savile Row<br />
bespoke tailors and the<br />
gentlemen’s houses of St. James’s<br />
continue to present collections<br />
with a powerful combination of<br />
beautiful materials, principally<br />
Merino Wool, and with first class<br />
craftsmanship.<br />
IN COLLABORATION WITH THE WOOLMARK COMPANY<br />
LONDON COLLECTIONS: MEN
[4]
[3]<br />
ALLIED FORCES<br />
Savile Row.<br />
Mayfair & St.James’s.<br />
Anderson & Sheppard (1906)<br />
Chester Barrie (1935)<br />
Chittleborough & Morgan (1974)<br />
Ede & Ravenscroft (1689)<br />
Edward Sexton (1969)<br />
Gieves & Hawkes (1785 & 1771)<br />
Henry Poole & Co (1806)<br />
H. Huntsman & Sons (1849)<br />
Lutwyche (2000)<br />
Maurice Sedwell (1938)<br />
Richard Anderson (2001)<br />
Richard James Bespoke (1992)<br />
Welsh & Jefferies (1917)<br />
Budd (1910)<br />
Edward Green (1890)<br />
Gaziano & Girling (2006)<br />
Grenson (1866)<br />
G.J. Cleverley (1958)<br />
Emma Willis (1987)<br />
James Lock & Co (1676)<br />
Turnbull & Asser (1885)<br />
Schnieder Boots (1948)<br />
STYLED BY JO LEVIN<br />
COMPILED FROM OFFICIAL<br />
AND AUTHENTIC DOCUMENTS<br />
BY ANDA ROWLAND<br />
Cocktails generously supplied by<br />
Chivas Deluxe Blended Scotch Whisky.<br />
Enjoy Chivas Responsibly :<br />
drinkaware.co.uk for the facts about alcohol.<br />
/THEWOOLMARKCOMPANY<br />
/SAVILEROWCOLLECTIONS<br />
@WOOLMARK<br />
@SAVILEROWCOLLEC<br />
#THEENGLISHGENTLEMAN<br />
#MERINOWOOL<br />
@THEWOOLMARKCOMPANY<br />
@SAVILEROWCOLLECTIONS
[4]<br />
<strong>The</strong> English Gentleman at<br />
Apsley House takes the<br />
form of a presentation featuring<br />
a mix of models and <strong>London</strong> men,<br />
dressed by Savile Row’s tailors<br />
and the gentlemen’s houses of<br />
Mayfair and St. James’s.<br />
Organising Committee:<br />
Jo Levin, Anda Rowland<br />
Sammy Aki, Poppy Charles,<br />
Audie Charles, Lloyd Almond,<br />
Rob Soar, Holly Roberts,<br />
Adaeze Ndakoji<br />
Credits:<br />
Casting by Adam Hindle<br />
Production by Blonstein<br />
Creative Productions. Hair<br />
by Tyler Johnston@One<br />
Represents Grooming by<br />
Charlotte Reid@ One Represents<br />
<strong>The</strong> official portfolio of all<br />
of <strong>The</strong> English Gentleman<br />
presentation images belongs<br />
to Robert Fairer -<br />
www.robertfairer.com<br />
Please contact Robert at<br />
robertfairer@mac.com<br />
to discuss the use of any<br />
photographs from the shows<br />
at Spencer House, at Lord’s<br />
Pavilion, at <strong>The</strong> Cabinet War<br />
Rooms or at ApsleyHouse.<br />
Rights free images, video and text<br />
will be available to download on<br />
the evening of Monday 12th<br />
January 2015 with additional<br />
content available on Tuesday<br />
13th January from our website:<br />
www.savile-row-londoncollections.com.<br />
A video and<br />
images capturing the mood and<br />
lifestyle of <strong>The</strong> English<br />
Gentleman and military styling<br />
for Autumn/Winter 15/16 has<br />
been created by Nick Leary<br />
Photography.<br />
Please email us with any questions<br />
at press@savile-row-londoncollections.com.<br />
All artwork by Jerome Faillant<br />
Dumas www.agencelove.com.<br />
Production and print by Hot Mash.<br />
www.hot-mash.com<br />
All images by kind permission of the English<br />
Heritage and <strong>The</strong> Wellington Collection.<br />
Copyright English Heritage.
[5]<br />
<strong>London</strong> Collections: Men<br />
As <strong>London</strong> is the home of menswear, so <strong>London</strong><br />
Collections: Men is the home of men’s fashion.<br />
<strong>London</strong> Collections: Men not only celebrates the creative and<br />
commercial importance of British brands and emerging talent, it also<br />
embraces the rich cultural landscape that contributes to the<br />
inspiration and success of this huge sector. All the events on the<br />
schedule this season are designed to showcase the breadth of British<br />
fashion talent, from the world’s most innovative emerging talents to<br />
global menswear brands, and of course our inimitable Savile<br />
Row tailors, whose influence continues to spread around<br />
the world.<br />
Season six of <strong>London</strong> Collections: Men promises to be the very best one<br />
yet, as it has such a vast array of great shows, presentations, events,<br />
dinners and parties. <strong>The</strong> enthusiasm for LC: M, and the enormous<br />
number of additional designers wanting to show means that we have<br />
extended the showcase by an extra day, so we now have a full four-day<br />
calendar. LC:M has already become a staple of the menswear schedule,<br />
and is a fabulous way to kick off the season. In <strong>London</strong> for season<br />
six there are over one hundred different events, each one offering<br />
a completely different view of British menswear. We have all been<br />
overwhelmed by the enthusiasm for the project, and the scale and<br />
ambition of all the many designers who are now showing here is<br />
incredibly infectious. Not only does LC:M continue to attract British<br />
brands back to the UK using <strong>London</strong> as a platform, but it is also<br />
increasingly appealing to designers who previously showed in Milan,<br />
Paris or New York. This season for instance we welcome the likes<br />
of Coach, Aquascutum, Manolo Blahnik and Belstaff, as well as John<br />
Galliano, who will be showing his first couture collection for<br />
Maison Martin Margiela in <strong>London</strong> on January 12 We think this<br />
proves that <strong>London</strong> is the greatest show on Earth!<br />
Dylan Jones, OBE, Editor-In-Chief of British GQ, Editor-In-<br />
Chief of GQ Style, Chairman of <strong>London</strong> Collections: Men
[6]<br />
<strong>The</strong> Battle of Waterloo.<br />
A defining moment in European history.<br />
2015 marks the bicentenary of <strong>The</strong> Battle of Waterloo. <strong>The</strong> events<br />
of 1815 were momentous both on and off the battlefield. It was a<br />
historical watershed which brought more than 22 years of conflict in<br />
Europe to a definitive close - it also affected many thousands of lives<br />
for much of the Nineteenth Century and beyond.<br />
Copyright Waterloo 200. Many thanks for their kind support.
[7]<br />
Copyright English Heritage. <strong>The</strong> Wellington Collection.<br />
ARTHUR WELLESLEY (1769-1852)<br />
1st DUKE OF WELLINGTON<br />
Sir Thomas Lawrence, P.R.A. (1769 - 1830) British School
[8]<br />
<strong>The</strong> Battle of Waterloo.<br />
By Gareth Glover<br />
Date : 18 JUNE 1815<br />
Location : 2km from Waterloo in Belgium; 13 km south of Brussels<br />
Size of battlefield : 4 square kilometers<br />
Forces<br />
French army 72,000 men commanded by Emperor Napoleon versus<br />
Allied (British/Hanoverian/Brunswick/Nassau/Dutch/Belgian) army<br />
67,000 commanded by Field Marshal Duke of Wellington.<br />
Later joined by 40,000 Prussians commanded by Field Marshal<br />
Blucher.<br />
Scenario<br />
Napoleon, Emperor of France, had conquered an empire which almost<br />
spanned the entire continent but was defeated in 1814 and banished<br />
to the Isle of Elba. He escaped and marched with a small army to<br />
successfully reclaim his throne in Paris, forcing the king to flee.<br />
Threatened to be overwhelmed by a combination of all the major<br />
nations of Europe, he decided to strike first to destroy part of this<br />
combination before it could form up. <strong>The</strong> armies under Wellington<br />
and Blucher were already encamped near the French border. Napoleon<br />
invaded Belgium in a surprise attack, defeated the Prussians at Ligny<br />
on 16 June, whilst part of Wellington’s forces fought a holding action<br />
at Quatre Bras. <strong>The</strong> Prussians retreated but remained operational,<br />
Napoleon mistakenly assumed they were fleeing to Germany.<br />
Wellington withdrew his army to a chosen position and offered<br />
battle, knowing that the Prussians were marching to join him and<br />
outnumbered the French.<br />
Object of the battle : Napoleon wanted to destroy Wellington’s<br />
army and capture Brussels.<br />
Terrain<br />
<strong>The</strong> armies faced across a shallow valley on two low parallel ridges.<br />
Wellington’s army was protected by three large farm complexes<br />
known as Papelotte, La Haye Sainte & Hougoumont which had been<br />
turned into minor fortresses.<br />
Time battle commenced : 11.20 a.m. - Time ended : 8.30 p.m.
[9]<br />
Main features of the battle<br />
1.Wellington fought a defensive battle.<br />
2.Napoleon attempts to capture the Hougoumont complex which<br />
sucks in a huge number of troops but fails to capture it.<br />
3.A huge infantry assault is destroyed by Wellington’s cavalry but<br />
they were in turn decimated by French cavalry.<br />
4.A number of mass cavalry attacks fail to break the allied lines.<br />
5.La Haye Sainte farm is eventually captured and Wellington’s centre<br />
put under extreme pressure.<br />
6.<strong>The</strong> Prussian army arrives and immediately attacks the French<br />
right wing, forcing Napoleon to split his army to fight on two fronts.<br />
7.In a final act of desperation, Napoleon sends his Imperial Guard to<br />
smash Wellington’s forces, allowing him to turn against the Prussians.<br />
8.<strong>The</strong> French Guard fails and retreats.<br />
9.<strong>The</strong> Guard retiring causes panic in the French army and they run<br />
from the battlefield.<br />
10.<strong>The</strong> Prussians pursue the French all night, preventing them rallying.<br />
Casualties : Total casualties amounted to approximately 44,000<br />
men and 12,000 horses killed and wounded.<br />
Consequences<br />
1.<strong>The</strong> French army proves incapable of reforming and Paris falls.<br />
2.Napoleon abdicated and France surrenders, he died in exile on the<br />
Island of St Helena.<br />
3.King Louis XVIII returns to the throne.<br />
4.<strong>The</strong> terrible slaughter cements the ‘Era of Congress’ in an attempt<br />
to avoid another pan European war. It worked for exactly one<br />
hundred years until 1914.<br />
Courtesy of Waterloo 200 and of <strong>The</strong> Gareth Glover Collection at<br />
www.garethglovercollection.com.<br />
Gareth Glover a former Royal Navy Officer who lives in Cardiff.<br />
He has studied the Napoleonic wars for 30 years and gained a<br />
reputation as the foremost authority on British archive material.<br />
He has brought more than 20 previously unpublished Napoleonic<br />
memoirs into the public domain.<br />
Copyright Waterloo 200. Many thanks for their kind support.
[10]<br />
Chronology<br />
of the 1st Duke of Wellington - 1787 to 1834<br />
7 March 1787 Ensign<br />
25 December 1787 Lieutenant<br />
30 June 1791 Captain<br />
30 April 1793 Major<br />
30 September 1793 Lieutenant-Colonel<br />
3 May 1796 Colonel (India)<br />
29 April 1802 Major General<br />
1 September 1804 Knight Companion of the Bath<br />
30 January 1807 Dec 1812 Colonel of the 33rd Regiment of Foot<br />
(later the Duke of Wellington’s Regiment)<br />
3 April 1807 Irish Secretary (resigned April 1809)<br />
8 April 1807 Privy Councillor<br />
25 April 1808 Lieutenant-General (Portugal)<br />
6 July 1809 Marshal-General of the Portuguese Army<br />
26 August 1809 Baron Douro of Wellesley and Viscount Wellington of Talavera<br />
August 1810 Member of the Regency Council in Portugal<br />
31 July 1811 General<br />
26 October 1811 Conde de Vimeiro and Knight Grand Cross of the Tower<br />
and Sword (Portugal)<br />
February 1812 A grandee of Spain, with the title of Duque de Ciudad Rodrigo<br />
18 February 1812 Earl of Wellington<br />
1 August 1812 Order of the Golden Fleece (Spain)<br />
August 1812 Generalissimo of the Spanish Armies<br />
18 August 1812 Marquess of Wellington<br />
August 1812 Marquez de Torres Vedras (Portugal)
[11]<br />
Chronology<br />
of the 1st Duke of Wellington - 1787 to 1834<br />
18 December 1812 Duque da Victoria (Portugal)<br />
1 January 1813 - 1827 Colonel of the Royal Regiment of Horse Guards<br />
4 March 1813 Knight of the Garter<br />
21 June 1813 Field Marshal<br />
3 May 1814 Marquess Douro and Duke of Wellington<br />
5 July Nov 1814 Ambassador to the Court of France<br />
18 July 1815 Prince of Waterloo (Netherlands)<br />
22 October 1815 Commander-in-Chief of the Allied Armies of<br />
Occupation in France<br />
October 1818 Field Marshal in the Austrian, Russian and<br />
Prussian Armies<br />
26 December 1818 Master-General of the Ordnance<br />
9 December 1819 Governor of Plymouth<br />
19 February 1820 Colonel-in-Chief of the Rifle Brigade<br />
1821, 1831, 1838 Lord High Constable (at the Coronations of George IV,<br />
William IV and Victoria)<br />
29 December 1826 Constable of the Tower of <strong>London</strong><br />
22 January 1827 Colonel of the Grenadier Guards<br />
22 January 1827 Commander-in-Chief<br />
15 February 1828 Prime Minister (resigned October 1830)<br />
20 January 1829 Lord Warden of the Cinque Ports<br />
30 January 1834 Chancellor of the University of Oxford<br />
December 1834 Secretary of State for Foreign Affairs<br />
(resigned April 1835)
[12]<br />
]<br />
COPENHAGEN.<br />
ARTHUR WELLESLEY - 1st DUKE OF WELLINGTON’S WAR HORSE.
[[13]<br />
]<br />
Copyright English Heritage. <strong>The</strong> Wellington Collection.<br />
<strong>The</strong> stallion stayed with the Duke in retirement and was given a funeral with full<br />
military honours when he died in 1836. Copenhagen is buried at the Duke’s country<br />
estate at Stratfield Saye in Hampshire.
[14]<br />
<strong>The</strong> Woolmark Company<br />
Supporting <strong>London</strong> Collections: Men<br />
As a supporter of <strong>London</strong> Collections: Men, <strong>The</strong> Woolmark Company<br />
continues to expand and develop their activities and designer<br />
partnerships during the events and show schedule as a way to highlight<br />
the relevance of Merino wool across the seasons within menswear and<br />
especially within the British fashion and textile manufacturing industry.<br />
As in previous seasons <strong>The</strong> Woolmark Company will join forces<br />
once again with Savile Row to present <strong>The</strong> English Gentleman<br />
at Apsley House, Number 1 <strong>London</strong>. <strong>The</strong> event will be a journey<br />
through the different facets of British men’s style during the period of<br />
the Duke of Wellington and in celebration of the bicentenary of <strong>The</strong><br />
Battle of Waterloo and the Royal Horse Guards, encompassing Merino<br />
wool in each of the tableaux’s created around the venue.<br />
Under the artistic direction of Jo Levin, British GQ Creative<br />
Fashion Director, <strong>The</strong> English Gentleman event will celebrate<br />
the authentic English approach to menswear, highlighting Merino<br />
Wool yarns, fabrics and garments produced by some of the world’s<br />
most prestigious manufacturers and tailors which demonstrate the<br />
craftsmanship and heritage. <strong>The</strong> collaboration seeks to raise awareness<br />
of wool’s natural performance properties and versatility across the<br />
seasons and product categories. Merino Wool naturally ‘breathes’,<br />
effectively regulating the wearer’s body temperature keeping them<br />
warm in winter and cool in summer. Wool naturally absorbs moisture,<br />
and nullifies odour, resists static electricity and provides natural UV<br />
protection, does not ignite so is safe to wear. Merino Wool has a<br />
natural elasticity due to the fibre crimp which helps garments resist<br />
creasing and retain their shape, and are less likely to pill due to the<br />
longer fibre lengths used in manufacture to ensure guaranteed garment<br />
performance.
[15]<br />
This live display shows the true versatility of Merino Wool and its<br />
abundance in garment uses, richness in colour, texture and softness.<br />
Extreme gratitude is expressed to the luxury weavers, spinners, knitters<br />
and merchants from the UK who have supplied Merino Wool fabrics;<br />
provided to the tailors as a contribution to the project for the creation<br />
of the range of iconic Merino Wool and wool blend garments.<br />
A film and still images capturing the mood and lifestyle of<br />
<strong>The</strong> English Gentleman and military styling for Autumn/<br />
Winter 15/16, creating a story of military tailoring and<br />
detailing has been produced by Nick Leary Photography.<br />
We are very grateful to Nick Leary and Glenn Leahy and the production<br />
team, Jamal Gordon Lynch, Huw Mitchell, Miles Bugby and Toby<br />
Wilkinson, <strong>The</strong> Royal Horse Guards and Tate Britain for<br />
assisting in the production of this film and images.<br />
This season <strong>The</strong> English Gentleman has a military theme and we see<br />
him in a number of key styles visiting the tailors of Savile Row and<br />
iconic <strong>London</strong> landmarks. <strong>The</strong> key items produced for the film include<br />
a multi pocket and versatile utility jacket with cream Melton narrow leg<br />
trousers, grey double breasted suit with charcoal grey great coat, tweed<br />
3-piece suit, Covert cloth hacking jacket with Moleskin trousers, narrow<br />
leg Cavalry Twill trousers with Melton waistcoat, tweed overcoat and<br />
umbrella. Pieces were supplied by Chittleborough & Morgan, Gieves &<br />
Hawkes, Welsh & Jefferies, Richard James, Emma Willis, Budd, Turnbull<br />
& Asser, Anderson & Sheppard, Grenson and Edward Green. Each of<br />
these essential items create the all-important capsule collection pieces<br />
for the coming Autumn/Winter 15/16.<br />
Filming took place at iconic locations in <strong>London</strong> including<br />
H. Huntsman, Savile Row, Tate Britain and Horse Guards.
[16]<br />
<strong>The</strong> Woolmark Company<br />
Supporting <strong>London</strong> Collections: Men<br />
Australia has provided Merino Wool to the global manufacturing industry<br />
for over 200 years. England has always had a thriving wool trade, and cloth<br />
has been exported from England since Roman times providing the UK with<br />
an important trade revenue. <strong>The</strong> seat of the Lord Speaker in the House<br />
of Lords is referred to as <strong>The</strong> Woolsack and has been used in recognition of<br />
this thriving and important trade for the British economy since the reign of<br />
King Edward III.<br />
Over 200 years ago the British regimental clothier documents reference<br />
Melton wool being used for military coats, waistcoats, trousers and breeches.<br />
Still used today for military garments and also produced today for<br />
updated military-style garments in lighter weights that are wearable by<br />
today’s consumer in today’s environments, less demanding of the historic<br />
requirements. Cavalry Twill worn by military cavalrymen throughout<br />
history and made from Merino Wool from a worsted spun wool warp with<br />
a woollen weft, tightly woven and then mill finished to emphasise the<br />
double-twill lines on the face of the cloth. Cavalry Twill is selected for<br />
its soft handle, textural surface appearance, and the variety of applications<br />
and will see a strong upsurge in presence in updated design styles for<br />
A/W 15/16.<br />
This season uses these historic fabric designs and weaves in iconic and<br />
updated styles to demonstrate the historic longevity and versatility of<br />
Merino Wool, focussing on Meltons, Tweeds, Cavalry Twill, Flannels, Luxury<br />
Suitings and Coatings. Introducing innovation in technology and application<br />
through the addition of waterproof finishes to coats, wool linings and a<br />
wool/cotton blend for shirtings. <strong>The</strong> versatility and performance of Merino<br />
Wool is a key factor in why it has always been used across the centuries for<br />
military uniforms, and is still used today. For Merino Wool information<br />
please visit www.merino.com or www.woolmark.com.
[17]<br />
THE HOUSE OF LORDS - THE WOOL SACK<br />
Recognition of a thriving and important trade.<br />
Photo credit: Parliamentary Art Collection
[18]<br />
THE EXTERIOR OF APSLEY HOUSE, 1853,<br />
1853, by J. Dillon English
[19]<br />
History of Apsley House<br />
Number One <strong>London</strong><br />
By Chris Small - Courtesy of English Heritage<br />
<strong>The</strong> history of Apsley House goes back some four decades prior<br />
to its purchase by the 1st Duke of Wellington on 1817. <strong>The</strong> house<br />
was completed in 1778 for Lord Apsley, later the 2nd Earl of Bathurst,<br />
both designed and furnished by one of the late 18th century’s leading<br />
architects Robert Adam for a total sum of £10,000.<br />
<strong>The</strong> Adam house still survives in part but it is encased in later work<br />
carried out for the 1st Duke of Wellington and so very little of it is<br />
actually visible on the outside. Many of Lord Apsley’s contemporaries<br />
were scathing about the choice of location for the house, with one<br />
young socialite having remarked, ‘Who will come especially so far<br />
out of their way as Apsley House is from everything’<br />
In the late 18th century Hyde Park Corner was the very edge of town<br />
and adjacent to the house were the toll gates through which anyone<br />
entering <strong>London</strong> from the west would pass. <strong>The</strong> house’s nickname of<br />
“Number One <strong>London</strong>” was coined at this time as once through the<br />
tollgates, Apsley House was the first house a traveller would pass.<br />
In 1807 the house was sold to Richard, Marquess Wellesley, a former<br />
governor-general of India and the elder brother of Arthur Wellesley<br />
who was yet to be raised to a peerage. Having purchased the property<br />
for £16,000 he arrived in an almost empty house as the majority of<br />
the Adam designed furnishings had been removed by Lord Apsley.<br />
Although Wellesley never extended the house he did redecorate<br />
and buy sumptuous new furnishings, the cost of which totalled<br />
around £20,000.
[20]<br />
Finding himself in straightened financial circumstances after<br />
a decade of lavish living at Apsley House, Marquess Wellesley<br />
was only too glad to accept when he received an anonymous offer<br />
of £40,000 to purchase the property. <strong>The</strong> bidder turned out to be<br />
Wellesley’s younger brother, no longer merely Arthur Wellesley, but<br />
now 1st Duke of Wellington and a national hero for his leadership of<br />
the allied forces at Waterloo.<br />
Apsley House was not Wellington’s first townhouse in <strong>London</strong>, he<br />
and Kitty by now the 1st Duchess had lived in both Harley Street<br />
and Hamilton Place prior to 1817. Purchasing Apsley House allowed<br />
Wellington to own a house befitting his new found status. All around<br />
Apsley House were the great town houses of some of Britain’s most<br />
well established aristocratic families and if he was to equal them, he<br />
needed a grand <strong>London</strong> home.<br />
Wellington already had the country seat at Stratfield Saye, which<br />
had been gifted to him from a grateful nation earlier in 1817, along<br />
with that came a fortune of some £600,000 with which the Duke was<br />
to build himself a new palace. This offer was not without precedence<br />
as the same thing had been done a century before for the 1st Duke of<br />
Marlborough with the nation’s gift of Blenheim Palace.<br />
Plans for ‘Waterloo Palace’ were drawn up and this huge new country<br />
house was to be the grand ducal seat for Wellington. Reflecting on<br />
the proposals the Duke decided not to go ahead with the palace after<br />
all, due to the huge construction and maintenance costs, which<br />
he judged would not be able to be met from the revenue derived<br />
from the estate in future generations. Instead, some of that fortune<br />
intended for the new house was diverted to extending Apsley House.
[21]<br />
<strong>The</strong> Duke called in his former private secretary, turned architect<br />
Benjamin Dean Wyatt to complete the first phase of the<br />
remodelling 1819. <strong>The</strong> first extension took the form of a three-storey<br />
addition discretely placed on the east faced but far back enough so as<br />
not to compete with the Adam frontage. Contained within this new<br />
block were an underground stable at basement level, on the ground<br />
floor the Duke’s own bedroom suite and immediately above on the<br />
first floor was the new great dining room.<br />
This grand new room allowed the 1st Duke to begin entertaining on a<br />
more lavish scale; the dining room became the setting of the annual<br />
Waterloo Banquet which the Duke hosted and to which were invited<br />
the senior officers who had fought alongside him in that campaign.<br />
On these occasions the table would have been laid with the silvergilt<br />
Portuguese centre piece and the main course eaten from silver<br />
plates, the whole service of a 1000 pieces gifted by Portugal, with<br />
dessert being served on the porcelain Dresden service gifted from<br />
King Frederick Augustus I of Saxony.<br />
One of the earliest dinner guests to be welcomed to the new dining<br />
room was King George IV. Turtle and venison appeared on the menu<br />
in what the Morning Post described as, “one of the most judiciously<br />
arranged dinners ever seen.”<br />
All through the 1820’s the newspapers are littered with stories about<br />
the glittering parties and dinners held by the 1st Duke and Duchess at<br />
Apsley House, this was a necessity for a man with political ambitions<br />
in the 19th century. In 1828 upon becoming Prime Minister, the Duke<br />
used the opportunity of having 10 Downing Street at his disposal<br />
to move away temporarily and have Wyatt back to further enhance<br />
Apsley House. <strong>The</strong>se alterations were to really put it on the map of<br />
great <strong>London</strong> houses in the same class as the famous ducal homes<br />
such as Devonshire, Bridgewater and Stafford, now Lancaster House,<br />
Houses.
[22]<br />
<strong>The</strong> Entrance Hall<br />
Stepping from the bustle of Hyde Park Corner into the sudden calm of the<br />
hall today, visitors enjoy a contrast that would have been appreciated<br />
in the same way by the lst Duke of Wellington’s guests and admirers.<br />
<strong>The</strong> roaring haste of the traffic is muffled and then silenced by the<br />
closing door. This entrance hall was created as part of the remodeling<br />
carried out by the 1st Duke and his architect, Benjamin Dean Wyatt,<br />
between 1828 and 1830.<br />
<strong>The</strong> Inner Hall<br />
This was the original entrance hall of the house, which Adam called the<br />
‘Anti-room’. <strong>The</strong> bronze statue on its carved granite pedestal represents<br />
the Prussian Field Marshal, Prince von Blucher, and was placed here by<br />
Wellington as a memorial to his friend and ally against Napoleon.<br />
Wellington Boots<br />
<strong>The</strong> display cabinet holds a pair of Wellington Boots with black leather<br />
uppers worn by the 1st Duke. <strong>The</strong> Duke’s boots were specifically made<br />
for him by his shoemaker, Hoby of St. James’s Street. He had the first<br />
pair made after his battles in the Peninsular. <strong>The</strong> boots were designed<br />
to keep his feet dry and warm when out on the battlefield, and were<br />
comfortable for riding. After Wellington defeated Napoleon at Waterloo,<br />
Wellington boots became very stylish.
[23]<br />
PRINCE BLUCHER (1742- 1819)<br />
FIELD MARSHAL - PRUSSIAN ARMY<br />
FIELD-MARSHAL PRINCE VON BLUCHER (1782 - 1850)<br />
George Dawe,R.A. (1781 - 1829)<br />
British School
[24]<br />
Principal Staircase<br />
Entering the stairwell visitors encounter one of the most extraordinary<br />
works of art in Britain, the colossal marble statue Napoleon as Mars<br />
the Peacemaker by the Italian sculptor, Antonio Canova (1757-1822).<br />
Today the sculpture may prompt smiles because of its nudity, but to<br />
the sculptor; then the leading artist in Europe, this was a work of great<br />
integrity.<br />
Commissioned by Napoleon during his period as First Consul, Canova<br />
sought to emulate the example of antique emperors, who were shown<br />
as gods in ideal nude form. Canova’s sculpture was carved from a single<br />
block, with the exception of the left arm, and was finished in Rome in<br />
1806. But it did not arrive in Paris until 1811, by which time Napoleon was<br />
Emperor. By then in his early forties, he preferred a more modest selfimage.<br />
Declaring it to be ‘trop athletique’, Napoleon insisted Canova’s<br />
masterpiece remain covered up in the Louvre.<br />
After Waterloo, Canova endeavoured to buy the sculpture back but in<br />
1816 the British government bought it for 66,000 francs and the Prince<br />
Regent (later King George IV) presented it to the Duke of Wellington.<br />
Wellington could hardly refuse such a gift. He admired Napoleon and<br />
acquired several portraits of him.
[25]<br />
Schnieder Boots<br />
Incorporating W & H Gidden<br />
Traditional heavy wool cavalry twill hunt coat, lined with all wool<br />
Tattersall check, water proof lined skirt and wind cuffs worn with<br />
canary reversible wool Tattersall check hunt waistcoat, stretch<br />
fabric, Pikuer hard-wearing microfibre breeches, cotton hunt shirt<br />
and traditional Marcella hunt stock and steel point stock pin.<br />
Riding Boots by Schnieder Boots Inc W&H Gidden<br />
It was in 1806 that William and Henry Gidden made their first saddle.<br />
Within 10 years, their work had become renowned throughout<br />
England for its quality and precision. Historically, W & H Gidden has<br />
held a Royal Warrant as Saddler to Her Majesty Queen Elizabeth II:<br />
a tradition of patronage that dates from 1815, when the Duke of<br />
Wellington rode into battle against Napoleon at Waterloo on a<br />
Gidden saddle.
[26]<br />
<strong>The</strong> Piccadilly Room<br />
This room was one of Adam’s finest interiors for the house, and his<br />
chimneypiece, ceiling and frieze still survive. <strong>The</strong> room now presents<br />
the taste of the 1st Duke of Wellington and Benjamin Dean Wyatt,<br />
following their modification and redecoration of the house between<br />
1828 and 1830.<br />
On the wall opposite the windows hangs the painting by David Wilkie,<br />
Chelsea Pensioners Reading the Waterloo Despatch. Outside<br />
Chelsea Hospital on 22 June 1815, a Chelsea Pensioner reads aloud the<br />
<strong>Gazette</strong> of Waterloo, the official account of victory over Napoleon.<br />
Among some 50 figures there are more than 15 character studies,<br />
including a black dog known as ‘the Old Duke’, which followed the Blues<br />
regiment through Spain. Wellington commissioned this painting in 1816,<br />
<strong>The</strong> year after Waterloo, as ‘a parcel of old soldiers at some publichouse<br />
in the King’s Road, Chelsea’. He must have intended it as a tribute<br />
to his troops, in the manner of the anecdotal Dutch genre paintings<br />
he was buying in Paris at that time, many of which still hang in this<br />
room today.
[27]<br />
Shoes by Gaziano and Girling<br />
Tattersall check shirts and accessories by Budd Shirtmakers<br />
unless otherwise stated<br />
1. Chester Barrie<br />
Single-breasted green and brown tweed wool coat worn with<br />
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2. Chester Barrie<br />
Single-breasted three piece dark green with a navy windowpane<br />
check wool suit, double breasted waistcoat, flat fronted trousers.<br />
Shirt and accessories by Budd<br />
3. Chester Barrie<br />
Single-breasted bottle green and navy tweed wool jacket worn with<br />
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4. Chittleborough and Morgan<br />
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7. Richard James<br />
Single breasted brown with red windowpane three piece Taylor &<br />
Lodge wool suit.
[28]<br />
Portico Drawing Room<br />
This room takes its present name from the Corinthian portico added<br />
to the exterior of the House in 1828, when Benjamin Dean Wyatt<br />
encased the brick building in Bath stone. Identified by Adam as the ‘2nd<br />
Drawing Room’, this room was originally designed to make the most of<br />
the house’s exceptional setting.<br />
Before Wellington and Wyatt added on the Waterloo Gallery, the wall<br />
facing the fireplace would have afforded a fine prospect out across<br />
Hyde Park from three windows. Facing west, the room would have<br />
been filled with sunlight in the afternoon and, as the south wall was<br />
solid, none of the noise from Piccadilly would have intruded on the<br />
illusion of a country-house saloon. At night, candlelight shone from<br />
gilded candelabra on torcheres decorated with seated griffin, designed<br />
to match the pier glasses (which are today on loan from the Duke of<br />
Wellington’s family).
[29]<br />
Coppi Barbieri - Photography<br />
Lucilla Barbieri and Fabrizio Coppi form the Still Life photographic team<br />
Coppi Barbieri.<strong>The</strong>y started their collaboration in 1990 in Milan. <strong>The</strong>y<br />
were one of the first teams to form a continious and solid collaboration<br />
in photography. Since then, more than 20 years later they still find in<br />
each other fun and inspiration. Based in <strong>London</strong> since 1996 they have<br />
realised projects in different parts of the world from NewYork to Rio,<br />
Paris, Tokyo, Madrid, Milan, Arizona etc..<br />
<strong>The</strong>y started as Interiors photographers then brought their elegant vision<br />
in different fields: fashion, Still Life, jewellery, food, cars and beauty.<br />
Advertising commissions include work for Audi, B+B Italia, Bulgari,<br />
Burberry, Cartier, DeBeers, Estee Lauder, Fendi, Gucci, Louis Vuitton,<br />
Mercedes, Nike, Issey Miyake, Sony, Volvo, VW and award winning<br />
campaigns for Absolut Vodka and Stella Artois. <strong>The</strong>y have an established<br />
working relationship with Cartier for their “LOVE’ brand. September<br />
2011 sees the unveiling of the latest Van Cleef and Arpel’s campaign<br />
shot by the duo entitled “Even nature will be charmed” which wins the<br />
number one award at the Grand Prix de la Publicite’. Since 2009 they<br />
have had a relationship with Louis Vuitton for which they have shot<br />
special projects such as the launch of their High Jewellery boutique<br />
in Place Vendome. <strong>The</strong>ir work has been published in magazines like<br />
L’Uomo, Vogue, Italian Vogue, Vogue, Nippon, GQ, New York Times,<br />
T magazine, V magazine, Wallpaper*, W, World of Interiors and Grey<br />
magazine. Coppi Barbieri’s work has been exhibited at the International<br />
Center of Photography in New York City in Spring 2009 in the show<br />
“Weird beauty in Fashion”. Besides their commissioned projects they<br />
continue their personal research on different subjects, lately producing<br />
a series of close ups of birds and a series of broken glass objects. <strong>The</strong>y<br />
like to describe their vision as naturalistic and always find inspirations<br />
and amazement in nature.
[30]<br />
]<br />
THE BATTLE OF WATERLOO<br />
Sir William Allan (1782 - 1850)<br />
British School
[[31]<br />
]<br />
[ 13 ]<br />
Copyright English Heritage. <strong>The</strong> Wellington Collection.<br />
<strong>The</strong> artist’s own description of the picture is pasted on the back of the panel:<br />
Waterloo. 18th June 1815. Half-past seven o’clock p.m.<strong>The</strong> picture represents the last<br />
desperate effort of Napoleon to force the left centre of the allied army and turn<br />
their position.
[32]<br />
<strong>The</strong> Waterloo Gallery<br />
Where the annual Waterloo Dinners for survivors of<br />
the Battle and Royal guests were traditionally held<br />
from 1828 onwards<br />
Stepping through Wyatt’s doorway from the Portico Drawing Room,<br />
visitors discover one of the great palatial interiors of Britain. More than<br />
28m (90ft) long, the magnificent gallery fills two storeys and stretches<br />
beyond the back of the original house by two window bays in its own<br />
extension built between 1828 and 1829.<br />
<strong>The</strong> Duke of Wellington had several reasons for such an impressive space.<br />
<strong>The</strong> main purpose of the gallery may have been to accommodate the<br />
Waterloo Banquet, an annual dinner held at Apsley House to celebrate<br />
the defeat of Napoleon. In the early years, before the Waterloo Gallery<br />
was created, Wellington hosted a select gathering; in 1821, for example,<br />
the guest list included King George IV, most of the royal Dukes and<br />
foreign ambassadors, and Wellington’s own generals who had fought<br />
with him at Waterloo. Rather than see the numbers of veteran generals<br />
dwindle with the passing years, Wellington expanded his guest list to<br />
include those younger officers present at the battle who later rose<br />
to the same rank. <strong>The</strong> Waterloo Gallery could seat 85 for ceremonial<br />
banquets. King William IV was guest of honour in 1830 and the dinner<br />
continued annually until the Duke’s death in 1852. <strong>The</strong> Waterloo Gallery<br />
also raised Apsley House from an an aristocratic house to palatial status,<br />
Befitting the foreign princes and politicians the Duke received there.
[33]<br />
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Shirt and accessories by Turnbull and Asser<br />
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[34]<br />
<strong>The</strong> Waterloo Gallery cont.<br />
Shoes by Edward Green<br />
Shirt and accessories by Turnbull and Asser<br />
9. Lutwyche<br />
Double breatsted Hainsworth Thorn wool Cavalry Twill Trench coat<br />
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10. Richard James<br />
Double- breasted Airforce coating, Fox Brothers navy wool overcoat.
[35]<br />
<strong>The</strong> Waterloo Gallery cont.<br />
WATERLOO GALLERY – WHITE TIE<br />
Shoes by G. J. Cleverley<br />
Shirt and accessories by Emma Willis unless otherwise<br />
stated.<br />
1. Anderson & Sheppard<br />
Bespoke pure wool black barathea dress coat and trousers cloth by<br />
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Pure wool black evening tailcoat with grosgrain-trimmed peaked<br />
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evening trousers with fishtail waist and grosgrain double braiding,<br />
Semi stiff front white cotton tunic shirt with Marcella front panel<br />
and single link cuffs and white Marcella cotton backless waistcoat<br />
with adjustable straps and removable Mother of Pearl buttons<br />
3. Gieves and Hawkes<br />
Midnight blue super 180’s wool, cashmere, vicuna tailcoat with black<br />
silk satin facings and black polished horn buttons worn with white<br />
cotton Marcella waistcoat and black dress trousers.<br />
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velvet top collar worn with a Marcella waistcoat and black trousers<br />
with double braid and brace top.<br />
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buttons, two buttons at the back, four button cuff worn with a white<br />
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legs.<br />
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with high rise ‘English-Cut’, forward facing trousers with pinstripe<br />
side grosgrain detailing and white Marcella waistcoat.
[36]<br />
Yellow Drawing Room<br />
<strong>The</strong> second door in the Waterloo Gallery leads back into the original<br />
house, built by Adam. In Adam’s plan this room is called simply the<br />
‘3rd drawing Room or Toillet Room’. His original marble fireplace<br />
still survives, together with some of his designs for the fittings and<br />
furnishings of the room, including one drawing for a table frame<br />
and top and another for an exquisite watch case for Lady Bathurst,<br />
a personal trophy to fashion where her watch could luxuriate<br />
overnight. In the 1st Dukes day this room was used as a drawing<br />
room.<br />
Grand Piano - Americus Backers, 1772<br />
This is the oldest surviving grand piano in the United<br />
Kingdom it was made by Americus Backers in 1772 in<br />
<strong>London</strong>. Backers was the most significant maker of the<br />
early’ piano forte’ and his designs influenced Stodart and<br />
Broadwood.<br />
Backers was Dutch and set up his <strong>London</strong> workshop in the very<br />
fashionable Jermyn Street where he produced 7 grand pianos, this is<br />
the only one that survives. <strong>The</strong> Backers does not look like a modern<br />
grand piano, it looks more like a harpsichord. <strong>The</strong> difference<br />
between a piano and harpsichord is that the strings of a piano are<br />
struck rather than plucked, which produces a greater resonance.<br />
<strong>The</strong> Backers also differed from a harpsichord in that you have more<br />
control over the sound by the use of the two pedals and has a greater<br />
number of octaves, 7 rather than 5. Although this piano has a long<br />
history in the Wellesley family it is not known whether it was bought<br />
by Wellington or by his wife Kitty, 1st Duchess of Wellington.
[37]<br />
Shoes by Edward Green<br />
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[38]<br />
<strong>The</strong> Striped<br />
Drawing Room<br />
In the original house designed by Robert Adam, a dressing room, a<br />
servant’s room and a bedroom completed the circuit of fine rooms on<br />
the first floor Wyatt combined these three rooms to make the present<br />
Striped Drawing Room at the same time as the addition in 1820 of<br />
the State Dining Room that lies beyond, thus providing Wellington<br />
with a room where his guests could relax, before or after dinner and<br />
where the duke couId also display his growing collection of portraits.<br />
Card tables covered with green cloth were provided, for playing loo<br />
and ecarte, together with a board for draughts and backgammon,<br />
ivory dice boxes and table lamps.<br />
This room also became a personal hall of fame to Wellington’s<br />
military friends and might have been inspired by his visit to St<br />
Petersburg in 1826, where he would have seen the gallery that Tsar<br />
Nicholas I was building in his Winter Palace for portraits of heroes<br />
of the Napoleonic War. <strong>The</strong> three full-length portraits by Thomas<br />
Lawrence, still on display in the room today, were planned as part<br />
of a series, but after the artist died the duke had to resort to buying<br />
pictures by other artists to complete his gallery of military heroes.<br />
To accompany the portraits of his friends, Wellington bought the<br />
panoramic painting, <strong>The</strong> Battle of Waterloo (1843) by Sir William<br />
Allan (1782-1850). When Wellington saw this painting exhibited at<br />
the Royal Academy he remarked, ‘Good, not too much Smoke,’ and<br />
reserved it for his collection. <strong>The</strong> painting shows the battle from<br />
the point of view of the French Army, at 7.30pm on 18 June 1815.<br />
Napoleon can be seen in the foreground at the right of the picture,<br />
mounted on his white charger; while Wellington is a tiny figure in<br />
the middle distance to the left, on his faithful chestnut, Copenhagen.
[39]<br />
Shoes by Grenson and Schnieder Boots Inc W&H Gidden<br />
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Shirt by Emma Willis.<br />
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Brace back, half band wool Cavalry twill Trousers worn with bespoke<br />
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4. H. Huntsman<br />
Bespoke wool Cavalry Twill jodhpurs, button fastenings at the ankles.<br />
5. Richard James<br />
Bespoke Cavalry Twill brace top trousers, fish tail backs, flat fronts,<br />
straight side pockets, plain bottoms.
[40]<br />
<strong>The</strong> State Dining Room<br />
This grand dining room was finished in 1819 by Benjamin Dean<br />
Wyatt. Up to this point, the duke and his guests had dined downstairs.<br />
Wellington built his new State Dining Room as part of a three-storey<br />
addition to the north-east of Apsley House. Below were the duke’s<br />
apartments; above, on the third storey, there were two bedrooms, all<br />
linked by new back stairs. <strong>The</strong> State Dining Room was the setting for<br />
the great annual Waterloo Banquet from 1820 until the completion of<br />
the Waterloo Gallery ten years later. On its inauguration, this dining<br />
room must have seemed the ultimate expression of Wellington’s<br />
ambitions to entertain in style. <strong>The</strong> arrangement of the room today<br />
gives some impression of the magnificence of the Waterloo Banquet.<br />
<strong>The</strong> glittering centerpiece on display here today is part of a silver and<br />
silver-gilt service presented to Wellington by the Portuguese Council<br />
of Regency in 1816, to commemorate victories over Napoleon in the<br />
Peninsular War (1808-14). In the centre, figures representing the<br />
four continents pay tribute to the united armies of Portugal, Britain<br />
and Spain while dancing nymphs encircle them. Battles are named<br />
on individual plaques. <strong>The</strong> full Portuguese Service comprises more<br />
than 1,000 pieces and was designed by the court painter Domingos<br />
Antonio de Sequeira (1768-1857), and made at the artist’s house from<br />
1812 to 1816 by workers from the Military Arsenal at Lisbon.
[41]<br />
THE WATERLOO GALLERY - STATE DINING ROOM 1853<br />
Reproduced in ‘Apsley House and Walmer Castle’<br />
By Richard Ford (1796 - 1858)
[42]<br />
]<br />
CHELSEA PENSIONERS READING THE WATERLOO DESPATCH<br />
Sir David WILKIE R.A. (1785 - 1841)<br />
Scottish School
[[43]<br />
]<br />
[ 13 ]<br />
Copyright English Heritage. <strong>The</strong> Wellington Collection.<br />
<strong>The</strong> picture is set in Jew’s Row off the King’s Road, Chelsea, with the Chelsea Hospital<br />
on the left. <strong>The</strong> soldiers pore over the Duke of Wellington’s despatch dated 19 June,<br />
which was reprinted in a special number of the <strong>London</strong> <strong>Gazette</strong> on 22 June 1815.
[44]<br />
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[45]<br />
Copyright English Heritage. <strong>The</strong> Wellington Collection.<br />
Equestrian Portrait of the 1st Duke of Wellington<br />
Francisco de Goya (1746 - 1828)<br />
Spanish School
[46]<br />
<strong>The</strong> English Gentleman<br />
recommends<br />
Capstar Chauffeurs<br />
Capstar Chauffeurs is a premium chauffeur company employing<br />
former servicemen and women from the British Armed Forces.<br />
Capstar is the first commercial venture of its kind to actively train<br />
and recruit former servicemen and women who have been wounded,<br />
providing employment in an industry where an injured soldier can<br />
compete on equal terms. Our mission is to inspire ex-service personnel<br />
who are injured, disabled or facing adversity, providing them with a<br />
new career and a certain future.<br />
<strong>The</strong> company is continually expanding the fleet of cars at clients’<br />
disposal. <strong>The</strong> classic British quality and style of Jaguar Land Rover<br />
made the brand a natural choice to be their vehicle provider,<br />
and their fleet of Jaguar XJs ensure an elegant and comfortable<br />
journey. <strong>The</strong>y can also provide any number of different vehicles for<br />
particular requests, including luxury 4x4s and MPVs. Alternatively<br />
if you would like your own car driven by one of our Capstar drivers,<br />
you only need ask. Many of our drivers hold shotgun licenses for<br />
your convenience.<br />
Capstar takes tremendous pride in delivering a faultless service every<br />
time. Attention to detail is paramount, together with efficiency and<br />
discretion. Every journey is unique and important, so whatever the<br />
occasion, Capstar aims to exceed your expectations.
[47]<br />
Our Drivers<br />
Our chauffeurs and operations team are ex-British armed forces<br />
personnel, drawn from all three services. Some have had life changing<br />
injuries and all have extensive military ex perience ranging from<br />
combat operations or ceremonial du ties such as the Olympic Games<br />
and the Royal Wedding. Whatever their background you know that<br />
you will be driven by an individual with a unique set of qualities<br />
which places Capstar above all other competitors in this market.<br />
All drivers hold Transport for <strong>London</strong> operator’s licenses and<br />
chauffeur training courses as a minimum. Capstar can also provide<br />
individuals who have the highest qualifications in close protection<br />
and advanced driving, as drivers or front seat passengers, as an<br />
additional service.<br />
Our Service<br />
Capstar’s service is built around the core military values<br />
of integrity, loyalty, discipline and trust. <strong>The</strong>se qualities<br />
ensure we provide an outstanding chauf feur experience to<br />
corporate and private clients looking for an unparalleled<br />
level of service in <strong>London</strong> and the South East.<br />
You will find no oth er chauffeur firm with such perfect<br />
turnout and under standing of how important timeliness<br />
really is.<br />
Please get in touch by telephone, email or our website<br />
to make a booking or an enquiry.T: +44 (0) 208 568 7902<br />
E:bookings@capstarchauffeurs.com www.capstarchauffeurs.com<br />
Capstar Chauffeurs Limited <strong>The</strong> Farmhouse, Syon Park, Brentford,<br />
Middlesex TW8 8JF
[48]<br />
[10 ]<br />
STYLE FOR SOLDIERS<br />
BY EMMA WILLIS
[ [49] 491]
[50]
[51]<br />
Style For Soldiers<br />
In gratitude for the courage and<br />
sacrifice of our service men<br />
and women, Emma visits Headley<br />
Rehabilitation Centre for the<br />
injured to make the patients a<br />
complimentary bespoke shirt<br />
in our luxury cottons. We also<br />
give to those who use them, of<br />
whom there are many, a hand<br />
carved ebony walking stick<br />
with a buffalo horn handle, and<br />
silver band engraved with their<br />
regiment and initials. <strong>The</strong>y are<br />
extremely appreciative, taking<br />
great trouble to choose their<br />
fabrics and style of shirt, and<br />
there is always excitement when<br />
we arrive with the finished shirts<br />
and sticks. We have received<br />
many moving letters and emails<br />
of thanks, when of course they<br />
are the ones to be thanked.<br />
Patron Lisa Armstrong, Fashion<br />
Editor of the Telegraph, and<br />
Ambassador David Gandy play<br />
a valuable role bringing work<br />
experience and job opportunities<br />
in the fashion business, and<br />
attending the popular Christmas<br />
reunion parties.<br />
So far we have funded the<br />
cost of the shirts and sticks<br />
with generous donations from<br />
customers and friends. In order<br />
to continue making as many<br />
shirts and sticks as possible we<br />
would be grateful for further<br />
donations.<br />
Donations can be made by<br />
sending a cheque payable<br />
to ‘Style for Soldiers’ and<br />
to us at Emma Willis,<br />
66 Jermyn Street, <strong>London</strong>,<br />
SW1Y 6NY, Or for online<br />
donations please visit www.<br />
styleforsoldiers.com. ALL<br />
proceeds go to making<br />
shirts and sticks, not<br />
towards any administration<br />
costs.<br />
We were honoured to have<br />
received support from <strong>The</strong>ir<br />
Royal Highnesses <strong>The</strong> Prince<br />
of Wales and <strong>The</strong> Duchess of<br />
Cornwall, as well as a Morale<br />
Award from the British Forces<br />
Foundation, and nominated for<br />
the Sun Military Awards 2010 for<br />
Support to <strong>The</strong> Armed Forces for<br />
our Style for Soldiers incentive.<br />
Emma Willis was appointed<br />
MBE for her services to<br />
entrepreneurship in the<br />
New Year’s Honours list .
[52]
[53]<br />
<strong>The</strong> Household Cavalry<br />
Foundation<br />
<strong>The</strong> Household Cavalry Foundation (HCF) was set up in January<br />
2013 to raise much needed funds to care for the Casualties, Soldiers,<br />
Veterans, Heritage and Horses of the Household Cavalry.<br />
Famous worldwide for both outstanding pageantry and gallantry on<br />
the battlefield, the same soldiers seen on parade on state occasions<br />
also risk their lives for our country on the front line.<br />
All donations are used to support all the Household Cavalry family<br />
welfare requirements; which is particularly important as troops have<br />
been drawn down from Afghanistan and our thoughts turn to the<br />
future, where we need to be able to prepare for not just the physical<br />
injuries but the long term psychological injuries.<br />
Twitter: @<strong>The</strong>HCF<br />
Facebook: /householdcavalryfoundation<br />
Instagram: @householdcavalryfoundation<br />
Website: www.hcavfoundation.org
[54]<br />
Huntsman is proud to be a partner and supporter of the English<br />
Gentleman at Apsley House. As a founding member of the Savile<br />
Row Bespoke Association and one of the Row’s pre-eminent tailoring<br />
houses, the company’s role within men’s tailoring and the greater<br />
global menswear stage continues with a strength and vitality that<br />
has ensured its 165 year story continues. Established in 1849 by Henry<br />
Huntsman, the firm moved to its current premises on Savile Row in 1919<br />
and has remained firmly installed on the site through to present day.<br />
Employing a team of over 35 cutters and tailors on its premises, all of<br />
the company’s bespoke clothing is hand cut and hand sewn in house,<br />
with an unerring attention to detail and quality throughout. Blending<br />
traditional techniques with the sophisticated cloths of today, precision<br />
is paramount and the backbone of the company’s reputation for beautiful<br />
craftsmanship and style. <strong>The</strong> company’s heritage is brought to life not<br />
only within its archive and history visible throughout 11 Savile Row, but<br />
in the uncompromised tailoring produced by the firm today, where the<br />
techniques and craftsmanship passed through generations is as relevant<br />
to our present day tailoring as it was in 1849. Huntsman continues to<br />
run an established apprenticeship programme in order to safeguard and<br />
preserve this methodology and recognition of exacting standards for<br />
generations to come.<br />
Huntsman’s iconic house style is timeless, cutting a dash on today’s<br />
modern gentleman and underpinning the elegance of its loyal customers,<br />
young and old. Purveyors of the original one button coat, first<br />
conceived in the 1940s, the balance and line of the company’s coats sums<br />
up the skill of its tailors and lends for a flattering, waisted coat with a<br />
firm shoulder and quintessentially British silhouette. It combined the<br />
company’s strong equestrian and military heritage with the elegance of<br />
evening wear, blending the exacting lines of a hacking jacket with the<br />
single button fastening of a dinner jacket.
[55]<br />
Huntsman’s clothing has graced the shoulders of Lords and Ladies, Kings & Queens,<br />
Captains of Industry and stars of stage and screen. Illustrious patrons over the<br />
years have included Queen Victoria, King Edward VII, Gregory Peck, Lawrence<br />
Olivier, Cecil Beaton, Hardy Amies Gianni Agnelli and Katharine Hepburn, through<br />
to major style icons of today; the company continuing to dress a Who’s Who of<br />
influencers across the world.<br />
<strong>The</strong> current centenary commemorations of the First World War are particularly<br />
poignant for Huntsman. <strong>The</strong> company’s ledger books pay testament to the hundreds<br />
of customers that fought in the war, poignant notes within each tome detailing<br />
many of the individuals’ stories. 2014 saw the company relaunch the British<br />
Warm Overcoat. First worn by officers during World War One, the coat endures<br />
seamlessly today and is a fitting tribute to the noble sacrifices of the firm’s staff<br />
and patrons during the conflicts of the last century.<br />
Huntsman’s distinctive house tweeds and suitings are almost as recognisable as its<br />
house style. <strong>The</strong>y play a prominent role within its tailoring portfolio and contribute<br />
towards the brand’s strong DNA. Bold checks, woven in the Hebrides are recognised<br />
by menswear aficionados the world over and exclusive, gutsy suitings thoroughly<br />
fulfil the composed, Savile Row brief of distinction, comfort and elegance.<br />
Today Huntsman is run under the guidance of Creative Director, Roubi L’Roubi.<br />
Passionate in his preservation of the company’s heritage and DNA, L’Roubi works<br />
tirelessly to ensure that tradition and modernity are met in equal measure. Beyond<br />
conserving and promoting Huntsman’s flagship bespoke work, the last two years<br />
have seen the redevelopment and launch of the company’s ready to wear collections,<br />
enhancing the block and broadening the range available to customers. Faithful to<br />
the one button style house style, the collections offer a broader spectrum of cloths<br />
and interesting yet wearable styling details such as curved peak lapels, half lined<br />
coats and discreet yet interesting textures to up both the tactile and aesthetic<br />
ante. Each collection of ready to wear tailoring is complimented by a full range of<br />
shirts, knitwear and accessories, again designed by L’Roubi and drawing inspiration<br />
from Huntsman’s archive and the English gentleman, not only of yesteryear, but<br />
of today, incorporating the lifestyle of the modern man. 2014 witnessed the<br />
introduction of Huntsman’s first wholesale collection and an expansion of its trunk<br />
show programme across Europe and the United States.<br />
Huntsman, 11 Savile Row, <strong>London</strong> W1S 3PS<br />
Tel: 020 7734 7441 shop@h-huntsman.co.uk
[56]<br />
Tailors<br />
Anderson & Sheppard<br />
Anderson & Sheppard has been a leading Savile Row firm from its<br />
beginnings in 1906. <strong>The</strong> fluid style of Per Anderson, trained by the great<br />
Frederick Scholte, was from the start the distinguishing feature of the<br />
house. Concern with the easy movement and natural body line continues<br />
into the 21st Century thanks to an unbroken transmission of skills.<br />
Today, many icons of male elegance rely on Anderson & Sheppard. Its<br />
distinctive house style is softer and less constructed than its neighbours’,<br />
as comfortable as it is elegant. <strong>The</strong>y currently hold the Royal Warrant for<br />
HRH <strong>The</strong> Prince of Wales.<br />
Chester Barrie<br />
Established in the 1930s Chester Barrie was one of the first to offer readyto-wear<br />
tailoring, providing the same attention to detail and commitment<br />
to quality as the old bespoke houses on Savile Row but making great<br />
tailoring more accessible.<br />
This ‘belief in the best’ continues to this day - though much else has moved<br />
on. <strong>The</strong> way men dress has changed dramatically and so too has Chester<br />
Barrie. Lighter fabrics, innovative blends and a far softer structure have<br />
ushered in a more relaxed form of dressing, which Chester Barrie has<br />
embraced. <strong>The</strong> aim always is to be the Modern Tailor to the Modern Man.
[57]<br />
Chittleborough & Morgan<br />
Chittleborough & Morgan are traditional bespoke tailors of Savile<br />
Row, <strong>London</strong>. Roy Chittleborough and Joe Morgan are the skill and<br />
craftsmanship that gave life to the glorious suits of the legendary Tommy<br />
Nutter at Nutters of Savile Row.<br />
Now at their own firm, they are the only place that has a direct link to this<br />
iconic piece of sartorial history. Roy and Joe are still personally involved<br />
in each and every suit tailored at Chittleborough & Morgan.<br />
Ede & Ravenscroft<br />
Ede & Ravenscroft is thought to be the oldest firm of tailors in the world.<br />
In 1689, the area of <strong>London</strong> now known as Aldwych, was the bustling<br />
centre of the tailoring trade. In that year a respected tailoring family,<br />
the Shudalls, started a business that was to become Ede & Ravenscroft.<br />
<strong>The</strong> quality of their work won them the honour of creating the robes<br />
for the coronation of <strong>The</strong>ir Majesties William and Mary. <strong>The</strong>y soon<br />
became a recognised supplier to the royal family, going on to produce a<br />
large number of ceremonial robes for the coronation of His Majesty King<br />
George III. Ede & Ravenscroft has been tailors and robemakers of choice<br />
for twelve coronations. Today the firm continues to service royalty, the<br />
judiciary, civic authorities, academia and business.<br />
A new range of contemporary and traditional men’s tailoring offers<br />
enduringly fashionable clothing with a perfectly tailored modern twist.
[58]<br />
Edward Sexton<br />
Like Lennon and McCartney, Edward Sexton’s name is inextricably linked<br />
with the late Tommy Nutter. Together they opened their shop Nutters<br />
which revolutionised Savile Row. Tommy was the witty, charming front<br />
man. Edward was the master cutter who took Tommy’s ideas and made<br />
them a reality.<br />
Edward was only sixteen when he began as an apprentice. Ferociously<br />
ambitious, he spent his days learning from the master of bespoke tailoring<br />
and his nights at the <strong>London</strong> College of Fashion. In 1967 he joined<br />
Donaldson, Williams and Ward in the Burlington Arcade where he cut for<br />
customers such as the Royal House of Luxembourg. <strong>The</strong> young Tommy<br />
Nutter was working there as a front of house salesman, and a relationship<br />
which was to transform the men’s tailoring business was born.<br />
Gieves & Hawkes<br />
Savile Row during the second half of the 19th century began to gain its<br />
reputation for tailoring and style. It came as no surprise therefore that<br />
Hawkes, the most prestigious military and court tailors in <strong>London</strong>, bought<br />
the building at No. 1.<br />
With the arrival of Hawkes in 1913 and the company’s later partnership<br />
with the great naval house of Gieves, there begins a story extraordinarily<br />
intertwined with that of its previous owners. Four hundred and fifty<br />
years of shared experience and knowledge and one amazing location.<br />
<strong>The</strong> customer entering Number 1 Savile Row, seeking the finest levels of<br />
craftsmanship and personal service, discovers a world of quality, attention<br />
to detail and passion for the sartorial arts.
[59]<br />
Henry Poole & Co<br />
For generations clients throughout the world have experienced the truly<br />
bespoke experience on which Henry Poole & Co prides itself. Each client<br />
has his own individual patterns and all items are made on the premises at<br />
15 Savile Row.<br />
<strong>The</strong> showroom offers an extensive variety of over 6,000 cloth swatches<br />
which range from luxury worsted wool and cashmere suitings originating<br />
from mills in Huddersfield, Yorkshire, to rich flannels from the West<br />
Country and pure cashmere, together with fine tweeds from the Islands and<br />
Scottish Borders. Henry Poole is renowned for providing classic, elegant and<br />
superbly cut bespoke garments. <strong>The</strong> garments flexible attitude to styling<br />
and the use of the highest quality cloths make every piece truly unique.<br />
Lutwyche<br />
Lutwyche produces luxurious hand-crafted menswear, using tradition all<br />
English artisan techniques that are honed for the 21st century. Offering<br />
Ready-To-Wear, Made-To-Measure and Bespoke tailoring, all of the<br />
clothing is individually hand-cut, made and hand-finished in its own<br />
unique workshop in England. <strong>The</strong> commitment to the highest level of<br />
craftsmanship is combined with elegant styling, to produce clothing that<br />
defines luxury tailoring for the 21st century.
[60]<br />
Maurice Sedwell<br />
Established in Fleet Street, <strong>London</strong> in 1938, Maurice Sedwell went on<br />
to win the Gold Medal from the Tailor & Cutter Academy competing<br />
with the best tailors in the land. In 1994 Maurice Sedwell Limited<br />
expanded into elegant, larger premises at No 19, in response to the<br />
increasing demand for their services. <strong>The</strong>y are justifiably proud of<br />
their hard-earned reputation for excellent client care, precise, allround<br />
service and meticulous attention to detail is what endears<br />
them to their clients, many of whom return time and time again.<br />
<strong>The</strong>ir commitment to the ideals of exacting craftsmanship coupled with<br />
customer service resulted in their referral to, and subsequent membership<br />
of, <strong>The</strong> Guild of Master Craftsmen. <strong>The</strong>y became the first Savile Row tailor<br />
to receive the Guild’s accolade for Quality & Service and their Armorial<br />
Bearing for Skill & Integrity.<br />
Richard James Bespoke<br />
Since 1992 Richard James has quickly established a reputation for itself<br />
as a leading luxury brand that has set the standard for contemporary<br />
tailoring and menswear.<br />
<strong>The</strong> first of the ‘New Establishment’ tailors on Savile Row, Richard<br />
James is proud to have contributed to revitalising what has long been<br />
acknowledged as the world centre for tailoring with its bold, progressive<br />
take on the timeless and traditional.<br />
<strong>The</strong>ir philosophy is to produce classic clothing of unsurpassable quality,<br />
and to push the boundaries through design, colour and cut. Service and<br />
expertise is also integral to Richard James. And so too is craftsmanship<br />
- they work closely with the best woollen mills and the most exacting<br />
artisans in Britain and Italy to design and produce their exclusive fabrics<br />
and handmade accessories.
[61]<br />
Welsh & Jefferies<br />
Welsh and Jefferies opened in the early twentieth century on Eton High<br />
Street, and during the First World War the company built a reputation as<br />
a formidable military tailor. <strong>The</strong> firm made uniforms for the officers of<br />
many regiments, such as the Rifle Brigade and Coldstream Guards.<br />
Welsh and Jefferies is a small but neat shop situated at number 20 Savile<br />
Row. In January 2012 the business was taken over by James Cottrell who<br />
has been working at Welsh and Jefferies for 7 years and his partner<br />
Yingmei Quan.
[62]<br />
Shirts & Accessories<br />
Budd<br />
Budd is delighted to support the English Gentleman at Apsley House.<br />
Located in Piccadilly Arcade since the companies inception in 1910. Budd<br />
has been making bespoke, made to measure and ready to wear shirts from<br />
its Mayfair and Hampshire workshops for over 100 years. As well as shirts,<br />
the company specialises in gentlemen’s haberdashery, carry an extensive<br />
range of dresswear, nightwear, ties, exceptional bows, socks and braces.<br />
<strong>The</strong> company is passionate in celebrating and supporting British craft and<br />
workmanship with all of its product sourced in the UK and are proud to<br />
stock many menswear items that are tricky to find today, such as waistcoat<br />
slips, stiff bibbed shirts, detachable collars and the softest chamois gloves.<br />
Emma Willis<br />
Emma Willis, English shirt maker in <strong>London</strong>, trained at the Slade School<br />
of Art before starting her business in 1987, designing and making mens<br />
luxury shirts, all made in England. In 1999 she opened her elegant and<br />
intimate shop in Jermyn Street, on the corner of St James and in 2010 her<br />
English shirt making factory opened in the centre of historic Gloucester.<br />
Her philosophy is to adhere to traditional English shirt making techniques,<br />
using luxurious Italian and Swiss Cottons, Silks and Linens, many of which<br />
are exclusive to her collections.
[63]<br />
Turnbull & Asser<br />
Turnbull & Asser was established in <strong>London</strong> in 1885 and has stood proudly as<br />
Britain’s leading shirt maker and men’s outfitter since that time. <strong>The</strong>ir shirts<br />
are crafted by expert, skilled craftspeople, all of whom are based in England.<br />
<strong>The</strong>y carefully select fabrics and use traditional techniques to ensure fit,<br />
comfort, style and durability. Established on Jermyn Street in 1903 and since<br />
then have retained everything that makes this distinctive area of <strong>London</strong>,<br />
and this shop offers a unique: warm, discreet, personal service, exceptionally<br />
skilled and knowledgeable staff and unparalleled quality. Turnbull & Asser<br />
now has stores in four locations, including one in New York, and a global<br />
presence but has never lost sight of the inimitably British style and sense<br />
of luxury that stands it apart. Throughout their 130-year history customers<br />
have come from the very highest echelons of society and their clientele is<br />
as illustrious now as it ever has been. A proud holder of a Royal Warrant<br />
from the Prince of Wales for shirt making, they have dressed world leaders,<br />
politicians, royalty, film stars, and style icons including James Bond. In<br />
fact, thanks to Turnbull & Asser’s extensive archive, costume designers<br />
everywhere know they can be relied upon to dress cinema’s most recognisable<br />
characters in the most fitting way for their time and temperament. A dresser<br />
of the world’s most eminent men, Turnbull & Asser is ultimately a supplier<br />
of fine, handcrafted shirts, ties and accessories to the discerning men of the<br />
world. Men with individual style, taste and an appreciation for heritage.<br />
Ogden of Harrogate<br />
<strong>The</strong> Ogden family have been stewards of their distinguished jewellery<br />
business since 1893, serving customers from Yorkshire as well as generations<br />
of both royal and public figures, it has a growing international reputation<br />
for fine jewellery and period pieces. <strong>The</strong> company is now run by the<br />
fourth and fifth generations of the family. <strong>The</strong> historic workshop above<br />
Ogden of Harrogate’s beautiful showroom is home to a designer and<br />
working jewellers who are able to re-model, repair, design, reproduce,<br />
engrave and create pieces to the customer’s exact specifications.
[64]<br />
Shoes<br />
G. J. Cleverley<br />
George Cleverley was born on the 10th of August 1898 into a shoemaking<br />
family in <strong>London</strong>. George moved to Colchester in Essex with his parents<br />
when he was aged two and spent his childhood selling bootlaces & polish.<br />
After finishing his apprenticeship at 15, he was called up to the Army for<br />
World War I and stationed in <strong>London</strong> before joining an army boot factory<br />
in Calais, France. After the war he joined Tuczec, a high society <strong>London</strong><br />
shoemaker on Clifford Street, Mayfair. He remained there for 38 years.<br />
George left Tuczec in 1958 to start up his own business. G.J. Cleverley<br />
of Cork Street, Mayfair, <strong>London</strong>. For over 50 years G.J. Cleverley &<br />
Co is where you will find the best of bespoke English shoemaking and<br />
craftsmanship. Situated in the beautiful 19th century Royal Arcade just<br />
off Old Bond Street, Cleverley is at the heart of <strong>London</strong>. A pair of George<br />
Cleverley’s bespoke shoes are a work of art, individual to their owner.<br />
<strong>The</strong>y are created by the close teamwork of specialized craftsmen, all of<br />
whom have served long apprenticeships to acquire their particular skills.<br />
Edward Green<br />
Edward Green have been making the finest goodyear welted shoes in<br />
Northampton since 1890. Meticulously crafted from hand-finished natural<br />
burnishing calfskin for their signature handsome patina, Edward Greens<br />
are a perfect accompaniment to the best of Savile Row. Through the years<br />
Edward Green shoes have been chosen by the Duke of Windsor, Ernest<br />
Hemingway, Cole Porter and Lord Mountbatten. Today Edward Greens are<br />
available in leading boutiques from Tokyo to Honololu, as well as their<br />
own shops in St James and Paris.
[65]<br />
Gaziano and Girling<br />
Gaziano & Girling is a unique shoe company. Founded in 2006 by Tony<br />
Gaziano & Dean Girling, it has become the most innovative and versatile<br />
shoemaker in England, combining handcrafting and manufacturing skills<br />
to put itself at the top of both the bespoke and benchmade industries.<br />
Tony and Dean worked for a variety of bespoke makers, designers and<br />
Northampton manufacturers before coming together to launch Gaziano<br />
& Girling. <strong>The</strong>ir aim was to bring a new look and quality standard to<br />
a sometimes somnolent industry, with fresh designs in bespoke and<br />
unprecedented handwork in their benchmade shoes. <strong>The</strong> result is<br />
beautifully made footwear that suits men both young and old, conservative<br />
and contemporary. Traditional English models are updated with touches<br />
of continental flair, in the last, a shaped waist and design elements that<br />
together raise a functional shoe into a work of art.<br />
Grenson<br />
Grenson shoes take classic design cues, but are undeniably contemporary<br />
thanks to their streamlined proportions, while the quality and craftsmanship<br />
of each pair is almost legendary. Grenson was founded in 1866 by William<br />
Green, and the firm has operated out of the same premises in Northampton<br />
(long the centre of British shoemaking) since 1895. Many of the current<br />
employees are descendants of the factory’s original workers, while the<br />
production method has changed little since the Victorian era. It takes at<br />
least three weeks, and around 250 separate operations, to manufacture a<br />
pair of Grenson shoes, evidence of the love and attention which goes into<br />
the process.
[66]<br />
Schnieder Boots inc<br />
W & H Gidden<br />
Schnieder Boots produce, and carry in their <strong>London</strong> shop, a range of over<br />
2000 pairs of different types of boots for all equestrian purposes.<br />
Schneider Boots are worn by members of the English Royal Family and<br />
rulers of many countries and also by many of the top show jumper,<br />
dressage and event riders throughout the world. <strong>The</strong>y are very confident<br />
of executing any type of boots, to personal specification, from a completed<br />
self-measurement form.<br />
In 1999 the Schnieder Boots Company acquired W & H Gidden, who has<br />
been makers of saddles since 1806, when William and Henry Gidden made<br />
their first saddle. W&H Gidden holds the Royal Warrant as saddlers to Her<br />
Majesty Queen Elizabeth II. This tradition of aristocratic patronage dates<br />
from 1815, when the Duke of Wellington rode into battle against Napoleon<br />
on a Gidden saddle.
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[68]<br />
Mills & Merchants<br />
MERINO WOOL – FIBRE, SPINNERS, WEAVERS,<br />
KNITTERS<br />
<strong>The</strong> traditions in the production of Merino wool knitwear, fabric<br />
and garment manufacture have long-lines of family heritage and<br />
craftsmanship that have been in existence for over 450 years. <strong>The</strong>re<br />
are many kinds of wool produced in many countries, and all of it<br />
is natural, biodegradable and renewable, but most of the soft, fine<br />
Merino wool used in the fashion and fine apparel industry comes from<br />
Australia, whose pristine environments have the precise combination<br />
of sunshine, grass and rain needed to keep Merino sheep<br />
happy and healthy. Many of the Merino farms have been in the same<br />
families for over a century, and their expertise and dedication have<br />
resulted in breeding programs producing ever finer, softer fleeces.<br />
An individual Merino sheep yields 18kg of wool each and every year<br />
of its adult life. Specialists in wool grading and sorting select these<br />
fine fibres, much akin to a Michelin star restaurant, it is this selection<br />
of the ingredient fibre that determines the resulting softness and<br />
fineness and end use of the garment. Innovations in processing<br />
techniques and modern machinery extends these traditional<br />
techniques and procedures to enable finer, lighter and, in some cases,<br />
with additional finishing practices softer, loftier, brushed surface<br />
fabrics or knitwear; or smooth, clean and pristine tailoring fabrics<br />
to be produced. Today the traditional-looking tweeds can be much<br />
softer and lighter to wear, making them more appropriate for today’s<br />
lifestyle and daily environments, and Merino wool can be used in<br />
non-wool traditional fabrics as in the case of Merino wool blend<br />
denim and corduroys where the wool is used for increased comfort,<br />
reduced creasing and fabric performance and recovery. <strong>The</strong> whole<br />
industry pipeline is committed to innovation and development, each<br />
adding an important ingredient to the mix, bringing their knowledge<br />
and legacy into the craftsmanship and refinement of the bespoke<br />
tailoring.<br />
On the following pages are some of the industry’s leading suppliers of<br />
fine, luxurious Merino wool cloths, knitwear and yarns.
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Abraham Moon & Sons Ltd<br />
Founded by Abraham Moon in 1837, Abraham Moon & Sons Ltd is one<br />
of the few remaining totally vertical wool mills left in the UK. <strong>The</strong><br />
entire manufacturing process from the initial design, through dyeing,<br />
spinning, and weaving is carried out at the mill before finally finishing<br />
and despatching. <strong>The</strong>y pride themselves on a balance between modern,<br />
innovative design and traditional craft and are proud to be part of this<br />
exceptional heritage For many years their ranges have continued to offer<br />
the assurance of luxurious quality and a unique understanding of the everchanging<br />
needs in the clothing industry. <strong>The</strong> traditional fabrics combined<br />
with innovative and modern use of colour and design have helped them to<br />
continue to serve leading fashion labels, designers and retail customers<br />
across the world. Manufacturing Merino Wool, Lambswool, Shetland and<br />
Cashmere blend fabrics in tailoring and outerwear weights, Abraham<br />
Moon design for men and ladies wear with equal emphasis and care.<br />
Please contact marketing.dept@moons.co.uk for further information.<br />
Albini Group<br />
Founded in 1876 in Albino (Bergamo), the Albini Group remains a family<br />
business that today is represented by the fifth generation led by Silvio,<br />
Fabio, Andrea and Stefano Albini. <strong>The</strong> active presence of the family is<br />
the basis for a broad view of business success. Business continuity ensures<br />
a long-term orientation, a strong attachment to the product, a shared<br />
ethical commitment. Use of the best raw materials, continuous research<br />
as well as attention to every detail constitute the factors which form the<br />
basis of Cotonificio Albini products, a historical brand of the Group which<br />
interprets the Made in Italy value 100%. It is a complete collection that<br />
satisfies the desires of the most demanding clients. For men, ladies and<br />
children, it offers solutions for all occasions, from classic to casual, from<br />
fashionable to a sophisticated sporty look. <strong>The</strong> most beautiful fabrics in<br />
the world can only come from a process that is completely under control,<br />
starting from the choice of the best raw materials. This is why Albini<br />
Group has pursued a strategy of vertical integration, controlling in their<br />
plants all the stages of the production, from spinning, to weaving and<br />
finishing made in Italy. www.albinigroup.com
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Dormeuil<br />
In 1842, Jules Dormeuil created a family business that would soon become<br />
world leader in supplying luxury fine cloths. For 170 years, <strong>The</strong> House of<br />
Dormeuil has developed timeless and iconic fabrics that have cemented the<br />
Company’s reputation across all five continents. From Kings to Presidents,<br />
Hollywood to connoisseurs, Dormeuil continues to dress the world’s elite<br />
with timeless British elegance. Today, Dormeuil fits comfortably into the<br />
world of contemporary luxury, pioneering innovative cloths using the<br />
world’s finest and rarest natural fibres. Dormeuil’s collections include the<br />
exquisite Haute Couture range that continues to tempt leading fashion<br />
houses of our time while also offering limited edition cloths for the<br />
extraordinary. <strong>The</strong>se exceptional fabrics are developed by Dormeuil’s<br />
own design team and manufactured in non-other than England, using<br />
traditional methods that are blended with the very best of modern<br />
technology. www.dormeuil.com<br />
Dugdale Bros<br />
<strong>The</strong> last remaining cloth merchant based in Huddersfield town centre, the<br />
home of finest English cloth, Dugdale Bros & Co Ltd have, quite literally,<br />
been at the centre of cloth making since 1896. <strong>The</strong> cloth making heritage of<br />
the town has been a constant source of inspiration to Dugdale, employing<br />
highly skilled designers, weavers and finishers has meant their cloths<br />
have always found favour with the finest tailors, couturiers, designers<br />
and garment makers worldwide. Acquiring Fisher & Co, latterly Thomas<br />
Fisher, in 1961 allowed Dugdale to enhance their archive, already preserved<br />
over several generations. This combined with unbroken sales in most<br />
global markets has allowed the company to develop a very wide offering<br />
of cloths from luxurious wools and cashmeres, lightweight mohairs and<br />
cottons, and wool blend corduroys, to their speciality worsted and iconic<br />
White Rose tweeds and Countrywear. Dugdale Brothers purpose will always<br />
remain to define the .Englishness. in their cloths.<br />
Please contact enquiries@dugdalebros.com for more information.
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Escorial from Luxury<br />
Fabrics Ltd<br />
Escorial is the name given to an ancient pure breed of small sheep and<br />
its wool. <strong>The</strong> Escorial distinction is in the fibre. This resilient naturally<br />
coiled fibre creates unsurpassed luxurious fabrics with a natural crease<br />
resistance. Escorial has partnered with Luxury Fabrics who have developed<br />
a traditional technique to bring out the best in the Escorial fibre to<br />
produce an extraordinary Escorial cloth. Available in over 100 designs in<br />
3 stock supported books, the collection reflects classic British style and<br />
integrity. <strong>The</strong> Escorial fabrics are naturally finished with ‘<strong>The</strong> <strong>London</strong><br />
Shrunk Finish’ originally developed more than a century ago. This unique<br />
finishing process complements the characteristics of the Escorial fibre<br />
giving the Escorial suit extra comfort for the customer. Please contact<br />
sales@luxuryfabricsltd.co.uk for swatch samples or to enquire into<br />
stocking the Escorial collection.<br />
Fox Brothers<br />
Established in 1772 by Thomas Fox, Fox Brothers is one of only a hand full<br />
of working cloth mills left in the UK. Fox Brothers have produced woollen<br />
and worsted fabric in Wellington, Somerset for nearly two hundred and<br />
fifty years. Officially credited as the original creators of flannel, to<br />
this day they combine traditional manufacturing processes with state<br />
of the art design technology, to create the finest wool and cashmere<br />
cloth available in the world. Fox Brothers have been supplying luxury<br />
woollen cloth to <strong>London</strong>’s historic Savile Row tailors, the military and<br />
exclusive fashion designers for nearly 250 years. Fox Brothers continue<br />
to produce the world’s finest woollen fabrics at their Wellington site, in<br />
the beautiful rural surroundings of Somerset, in the West of England.<br />
In addition to being the original creators of flannel, Fox Brothers long<br />
and illustrious history includes the development of the serge drape<br />
mixture, now known worldwide as khaki, which was given Royal approval<br />
by the Prince of Wales in 1900 and eventually led to the demise of the<br />
British Army’s traditional ‘Redcoats’. For further information contact<br />
info@foxflannel.com.
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Hainsworth<br />
Hainsworth has been responsible for weaving the look of Iconic England ever<br />
since the company was established in 1783 and can trace their military roots<br />
back to the supply of the Scarlet Uniforms supplied to the troops that fought in<br />
the battle of Waterloo in 1815. Many of the famous images that have been used<br />
across the world to celebrate Great Britain are made unforgettable through the<br />
use of Hainsworth cloth including the Striking Scarlet of the Royal Guards and<br />
the ceremonial uniforms worn by the Royal Family during state occasions. True<br />
craftsmanship starts with the selection of the best possible fibres, a knowledge<br />
and skill passed down through the Hainsworth family over 230 years. Carefully<br />
selecting only the best quality fleeces from Australia, New Zealand and Britain,<br />
matching the fleece and fibre qualities to the end use of the fabric ensuring<br />
a truly beautiful finish. Through the generations Hainsworth have learnt the<br />
best way to craft cloth to make it perfect for its specific end use, be it apparel,<br />
furnishings or wall coverings. <strong>The</strong>y control the weave all the way down to<br />
the placement of individual fibres within the construction to ensure optimized<br />
benefits to the end application including, lustre, handle, durability and drape.<br />
Contact apparel@hainsworth.co.uk for further information.<br />
Hawick Knitwear<br />
For well over a century Hawick has been a mill town with a successful textile<br />
industry, supplying the world with the best knitwear available. Hawick<br />
Knitwear is at the very heart of the industry and can trace its proud history<br />
of manufacturing back to 1874. Since then the Company has been perfecting<br />
the art of designing and producing knitwear to the highest possible quality<br />
standards. All products are wholly made in their own factory, in Hawick, by<br />
skilled craftsmen and craftswomen with decades of experience behind them.<br />
<strong>The</strong>y only work with the finest natural fibres, delicately dyed and painstakingly<br />
spun into yarn before being expertly knitted into fully-fashioned, shaped<br />
panels. <strong>The</strong>se are then skillfully hand-linked together in a traditional way to<br />
make a luxury pullover. All trimmings are finished by hand-sewing before<br />
final examination, again, by highly-skilled, experienced people. Products are<br />
washed and milled in-house using a plentiful supply of soft water which comes<br />
from their very own Artesian Well, giving the products a uniquely soft handle.<br />
Hawick Knitwear pullovers have a world-wide reputation for design, luxury<br />
and longevity. www.hawickknitwear.com.
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Hield Bros<br />
Hield Brothers was established in 1922 during the reign of His Majesty<br />
King George V. <strong>The</strong> company was founded by entrepreneurs David and<br />
Hugh Hield as a symbol of perpetual British quality, to this day supplying<br />
the finest quality English cloth to some of the fashion world’s most<br />
exclusive labels. Today whilst constantly drawing inspiration from the<br />
past, innovative finishing and dyeing techniques enable Hield Brothers<br />
to give a modern twist keeping the collection both fresh and up-to-date.<br />
Along with seasonal collections of cloth, Hield supports an extensive<br />
classic collection for both suits and jackets in a variety of compositions.<br />
In addition to the manufacturing of cloth Hield Brothers is supported by<br />
furnishings and lifestyle divisions with the former recently supplying<br />
cloth used in Her Majesty the Queen Elizabeth II’s state limousine.<br />
Please contact sales@hieldbros.com for further information.<br />
Holland & Sherry<br />
From its conception, over 170 years ago, Holland & Sherry has continued to<br />
supply prestigious tailors and luxury brands with the finest cloth. In 1836<br />
Stephen George Holland & Frederick Sherry began the business as woollen<br />
merchants at 10 Old Bond Street, <strong>London</strong>, specialising in both woollen and<br />
silk cloths. 1886 saw Holland & Sherry move premises to Golden Square,<br />
at the time the epicentre of the woollen merchanting trade. By 1900 the<br />
firm was exporting to many countries. By 1982 the business moved to<br />
Savile Row, and remains as our registered head office. In 1968 Holland &<br />
Sherry bought Scottish cloth merchant, Lowe Donald, based at Peebles,<br />
in the Scottish Borders and located their distribution to the purpose built<br />
warehouse there. Of all the cloth merchants of Golden Square which were<br />
established in the late 1800’s, only Holland & Sherry remains. For further<br />
information contact enquiries@hollandandsherry.co.uk.
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Scabal<br />
Scabal is world renowned as the one of the most superior fabric supplier<br />
for men’s clothing. Its production and operation covers 65 countries and<br />
regions worldwide. Ever since its establishment, Scabal has dedicated<br />
itself to offering fine fabric for all the top Bespoke brands globally. It also<br />
has its own brand of ready-to-wear and accessories. In 1939, Scabal was<br />
established in Brussels, mainly engaged in the apparel fabric production,<br />
ready-to-wear design & making, as well as the customized services. <strong>The</strong><br />
brand helps its customers express themselves perfectly with well-selected<br />
fabric and exquisite design. All of its apparel fabric is produced either in<br />
Britain or Italy. <strong>The</strong> binding part of all its product has the logo of Scabal,<br />
which is the symbol of quality and status. For further information visit<br />
www.scabal.com.<br />
Standeven<br />
Standeven has always been a global business, trusted by the finest tailors,<br />
designers and garment manufacturers since 1885. <strong>The</strong>y have been exporting<br />
all over the world for more than 100 years which shows their expertise in fine<br />
worsted fabrics. Of course the Standeven name was also popular at home in the<br />
UK, supplying the finest tailors on Savile Row and throughout the country,<br />
as well as garment manufacturers and the growing group of department<br />
stores. In 1926 HRH the Prince of Wales visited Standeven. <strong>The</strong> business<br />
had become a fully vertically integrated operation and one of the highest<br />
regarded manufacturers, based in the birthplace of fine worsted textiles, West<br />
Yorkshire. Ranges have been created to provide options for almost every style<br />
and occasion. Mohair, cashmere and silk are brought together by our in-house<br />
design team with a range of fine Merino wools from Super 120s to the finest<br />
Super 200s. Woven and finished in-house, customers can be confident in the<br />
availability and quality of the cloth, that’s why Standeven is known today as<br />
<strong>The</strong> Tailor’s Mill. www.standevenfabrics.co.uk.
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Taylor & Lodge<br />
Since 1883, Taylor and Lodge have been weaving fine worsteds in<br />
Huddersfield, England. Its reputation for quality fabric comes from over<br />
a century of experience. In 2004 Taylor and Lodge became part of the<br />
Bulmer and Lumb Group which was looking to expand the group’s potential<br />
into luxury products. <strong>The</strong> production consists of two comprehensive<br />
collections annually aimed at our most important markets, which are: the<br />
Far East, Europe and the Middle East. <strong>The</strong>se seasonal collections consist of<br />
superfine worsted suiting, jacketing, overcoating and dishdasha fabrics<br />
with weights ranging from 165gms to 700gms/mtr. <strong>The</strong> prestigious<br />
collection of Taylor and Lodge offers a range of fabrics which focuses on<br />
the yarns produced by the group. It is a specialist fabric company that uses<br />
the finest wool, mohair, silk and linen available to create a range of fabrics<br />
with differing weights and designs for both suiting and jacketing. <strong>The</strong><br />
design team create contemporary fabrics, manufactured using traditional<br />
production methods. Please contact headoffice@taylorandlodge.com for<br />
more information.<br />
J & S Taylor<br />
J & S Taylor Ltd was started in 1861 as a partnership between two brothers<br />
Joseph & Samuel Taylor based at Bower’s Mill, Barkisland, their friend<br />
Abraham Whitworth Snr joined them. In 1882 the brothers turned the business<br />
into a private limited company. Over the years the company expanded, putting<br />
up more buildings. All the processes required to produce cloth were carried<br />
out at the mill, blending, spinning, weaving, scouring, dyeing and finishing.<br />
<strong>The</strong>y have always produced woollen fabrics from Kerseys, Serge, Melton and<br />
Velours, changing over the years to meet the demand. <strong>The</strong> company managed<br />
to ride both the ups and downs of the woollen trade, however in the late 1980s<br />
there was a steep decline in trade and in 1991 the decision was taken to cease<br />
production at Bower’s Mill, Barkisland. <strong>The</strong> company then moved to the present<br />
location of Corporation Mill, Sowerby Bridge. Over the years the company has<br />
been run by the same family, which is now in its fifth generation, and continue<br />
to make woollen fabric but are now classed as manufacturers without looms,<br />
where the production is carried out on a commission basis using their own yarn<br />
which is all spun, woven, dyed and finished in the UK. www.taylorsdirect.co.uk.
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Very English Weaving Co<br />
Very English Weavers is a much loved Jewel within the Huddersfield textile elite,<br />
based in the pleasant Huddersfield village of Slaithwaite, the mill specialises<br />
in manufacturing fabulous woollen spun cloth of pure wool, lamb’s wool and<br />
luxurious cashmere. Very English pride themselves in weaving cloth with an<br />
exquisite drape and handle, much appreciated by high class tailors worldwide.<br />
<strong>The</strong>y achieve this by great design and working closely with other Huddersfield<br />
manufactures, who themselves are regarded as being at the top of their game,<br />
spinners such as Z Hinchliffe and finishers W T Johnsons. Huddersfield is<br />
home to some of the finest worsted manufacturers in the world, and their<br />
woollen spun qualities live up to the same very high standards. <strong>The</strong> mill in<br />
Slaithwaite has been producing iconic woollen jacket, suit and coating cloths<br />
under such brands as Marling & Evans, Zaccheus and Very English for over<br />
30 years. Prior to that M&E was based in the Cotswolds, before moving North<br />
to take advantage of the fantastic local textile infrastructure in Huddersfield,<br />
M&E itself can be traced back to 1782. No gentleman should be without a Very<br />
English jacket, coat or suit made from such distinctive, quintessentially<br />
British cloth, there is simply no substitute. www.englishweavers.co.uk.<br />
Z. Hinchliffe & Sons Ltd<br />
Z. Hinchliffe & Sons Ltd are a family owned and operated business based in<br />
Yorkshire and Scotland. Spinning was first recorded in 1766 and successive<br />
generations have mastered and improved this trade whilst embracing the<br />
latest innovative production methods and controls. Over 200 years of<br />
experience allow Z. Hinchliffe & Sons Ltd to provide the softest and most<br />
luxurious yarns on the market today to satisfy their discerning customers<br />
who value quality. On receipt of scoured Merino lambswool ‘state of the<br />
art’ technology allows Z. Hinchliffe and Sons to process in-house; from<br />
dyeing to spinning. Products are 100% UK produced yarns, using 100%<br />
electronically controlled mule spinning, setting the world’s benchmark<br />
standard. With dyeing and colour matching as a forte, the care taken in<br />
processing is essential to retaining the soft handle of premier natural fibres<br />
to maintain the luxury product. World renowned as setting the benchmark<br />
for the best Merino lambswool yarns, they pride themselves as being an<br />
important supplier to international brands both in the UK and worldwide.<br />
For further information contact office@zhinchliffe.co.uk.
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With thanks and recognition<br />
for their valuable help<br />
Caroline and Peregrine Armstrong-Jones<br />
Lieutenant Colonel Paul Bedford<br />
Colonel Hugh Bodington<br />
Charlie Bowmont<br />
Rosie Brown<br />
Colonel Toby Browne<br />
Captain Paul Chishick<br />
Sergeant-Major George Dent<br />
Adrian Gill<br />
Field Marshal <strong>The</strong> Lord Guthrie of Craigiebank<br />
Captain James Harbord<br />
Peter Haslam<br />
Philippa Hart<br />
Tony Johnstone-Burt<br />
Pierre Lagrange<br />
Rebecca Metcalfe<br />
Justin Mundy<br />
Josie Rowland<br />
Lottie Smith-Bingham<br />
Gary O’Donnell
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