If you follow the male blogosphere at all, Julien Scavini's blog should not have escaped your notice. The blog is a little over a year old, and has quickly found its audience. Indeed, Julien recounts his apprenticeship to obtain a tailoring CAP... and he has a real talent as a teacher to simply explain the technique behind it. behind a jacket shoulder. He is a very passionate person, who was able to satisfy the most demanding information seekers about men's clothing.
This passion then materialized through the opening of his own half-measure and large-measure brand: the Scavini house . Knowing the man a little, you will really be in good hands if the tailor-made product impresses you 😉 So I hope you enjoy reading this fascinating interview...
Hello Julien, you have a somewhat atypical background, so I would like you to explain to readers how you got there...
Hello Benoit, hello Geoffrey and hello to your readers.
So I am in fact an architect before being a tailor. I went as far as the State Diploma in Architect to leave the School in the middle of the crisis of 2008. It was hardly easy. Furthermore, during my master's degree, I went through a department at the forefront of new ways of thinking about architecture. We thought about architecture more than we did it, all based on reading post-modern philosophers, Bourdieux, Derrida, Foucault and many others. It was a grueling experience. The idea was to remove presuppositions from one's head, to think new things.
Instead, I didn't even know how to do architecture anymore, I didn't even know what it was anymore. Catastrophic experience.
But I came out with a fairly open mind to the world, it wasn't totally bad. Only there are people who manage to bounce back, and others who crash. For my part, I need codes to think, let's say a universe of structured meanings. And I ended up discovering that there is nothing like that in architecture anymore. Each architect does what he wants in his corner, the only framework being the legislation: not so exciting. The era of canons and great doctrines is over in architecture. And I am quite against individualism of thought.
So are there more codes in men's fashion?
[...] There is still a lot of code in men's clothing culture, if we want to stick to it. That's what I liked.For several years I had been reading everything that was said on the internet on this subject, on very erudite forums like De Pied En Cap or blogs like Permanent Style etc... So I was gathering information, which gave me a framework of thought . And one day, through a FigaroScope found in the metro, I discovered the craft days, during which the Workshops in Paris are open, including that of the Ecole des Tailleurs (AFT). And I visited it.
At first, I didn't want to integrate it, because it was too manual and I was still in architecture. Then, after my graduation, not even knowing where to go to work, I thought about the question. No agency pleased me, except that of Rena Dumas, who designed the Hermès universe. I also wrote my dissertation on his work and the world of luxury architecture. Already ! But she wasn't looking for a collaborator. So I said to myself: and why not? It is always interesting to hybridize paths, to combine experiences. I have often listened to people with atypical backgrounds on France Culture. I liked it. And architecture opens up everything!
So, honestly, is becoming a tailor difficult or not?
Yes. It's really not simple. So I entered the tailor school run by the estimable Master Tailor M. Guilson. Not easy. I had to learn to sew from A to Z. And I pricked my fingers, even under the sewing machine, a rather disturbing experience.
But I perhaps had an advantage over the others, I already had a very structured reference corpus in my head. I knew what a three-piece was, the difference between a jacket and a tailcoat, the different registers, in the city, in the countryside etc... At the same time as entering school, I I started the Stiff Collar blog. Since the time I was learning the codes here and there, I wanted, in parallel with the story of my apprenticeship, to share the classic knowledge, fairly well defended by master tailors, even if a little dusting would not make any difference. wrong.
But yes, it's difficult. You have to master the way, that is to say the hand-making of the costume and also the cut. These are the two great pillars of tailoring. At the end of my training, I took the tailor's CAP which I obtained. This is an obligatory key to setting up an artisanal tailor. Because obviously, nowadays, there are a lot of 'tailor-made' boutiques, like Pernac or Gambler. But they are not tailors, just measure takers. That said, it's hard enough as a job. As a result, I further developed, over a year, my abilities alone at home, for friends or family. I missed some passes, I missed some sleeves, but obviously it's a necessary step. Mr. Guilson thinks it's great that I'm getting started, even if he finds it difficult these days. He is at my disposal if I ever encounter a problem, it is an assurance and a comfort.
Why did you launch so quickly?
Because I like to be alone in deciding what I want. And then I wanted to bring a new service to Paris, to offer something new and very high quality. The problem was this: in Paris there were only two made-to-measure offers, either iron-on suits or large-scale suits (such as Cifonelli or Camps de Luca). I wanted, because I talked about quality on my blog, to bring that to my readers, a bit like Kirby Allison (The Hanger Project) and his custom wooden hangers.
So I developed my range of quality, fully canvased suits. Sourcing took a long time and I finally found a workshop in Italy. But for more extravagant requests, I can work entirely by hand. Obviously, it's more expensive.
Can we combine modern style (curved, slim legs, narrow shoulders, etc.) with sartorial elegance?
It's difficult to know what a modern style is, as the market is becoming more segmented. Each man can refer to a stylistic school: classic English codes, Italian look, French structuring, etc. That said, a jacket that fits well is a jacket that is close to the body. Obviously. The classical standard does not differ that much from the current canon. Afterwards, be careful of jackets that are too fitted, and especially too short. Fashion had its wanderings in the 90s, we all know that. I fear that we are currently doing the same thing, with this trend towards very low, very tight pants and very short jackets... a fart raz, they said in the 1930s.
As for the shoulders, you can place them wherever you want, set back or overhanging, it depends. The Neapolitan shoulder (Spalla Camicia) is also an answer.
You know, Saville Row tailors work for bankers and pop stars alike. Look at the journey of Tom Ford who started at Anderson & Sheppard to today stand by their invariance. Or Paul Smith who also has his classic artisan workshop.
How do you find an honest suit on a ridiculous budget?
Strangely, I was walking one day with a friend who was looking for a cheap suit and we found a boutique near Les Halles in Paris where he bought two models for €99 and €69. This store sold an incredible number of very ugly shiny suits, but in the middle of that, a few sober models, including one in super 150's which was rather pleasant. Like what. But it remains heat-sealed, with a limited lifespan.
To put it simply, we can say that a heat-sealed suit should not exceed €650. Above that, it's a little doubtful... On the other hand, canvas suits are rarely found below 1000/1200€. But in terms of comfort and lifespan (10/15 years versus 2/3 years), it's day and night.
For my part, I am at 1600 (or even 1400€ if the suit jacket is unlined), which can be explained by the hand finishes (buttonholes, topstitching and various folds) and the silk lining woven in France that I am the only one on the market to offer. I did the best I could.
How many hours of work does it take to make a costume?
For my Italian custom manufacturing: 3 days of workshop. It takes 2 fittings. For haute couture tailoring entirely by hand, 80 hours or three to four weeks with the 3 fittings.
What are your favorite fabrics?
For fabrics, I source them exclusively from the English. I don't really like Italian fabrics that are too felted and wear out very quickly. I trust Holland & Sherry, Dugdale Bros, Thomas Fisher, JJ Minnis and Hunt & Winterbotham. Afterwards, I would like to have more, but you have to make choices, especially since I am a traveling tailor. The dedicated room will be for next year. And for the lining fabric: silk, sponge or twill, in a wide variety of colors.
What inspires you in your work?
The possibility of changing the appearance of certain people and the systematic renewal of requests: costumes for the city, country costumes, sports jackets, etc.
Otherwise, my recurring source of inspiration is the English television series Hercules Poirot. They are so divinely dressed, very British, perfect in tradition.
What do you like most about your job?
Chat with the customer. Meet new people. It's always very exciting to present the offer and discuss a project. At this price, my customers have the right to listen. It is the most important. Identify their tastes, their expectations and their habits. Still admirable. The arch taught me this: the taste for communicating ideas and projects.
What is your opinion on the suits that most executives wear?
Sometimes very good. Some bankers are very well dressed, very sober. Conversely, we see the development of silly fantasies (laces or colored buttonholes) that I don't like. But overall, the situation is improving. Let's say that there is a bit of a lack of clothing culture. It could be much more elegant to make it simpler, often more discreet. On the other hand, fabrics are never that beautiful. Progress could be made on this side!
