If you weren't on vacation in a beautiful summer sun until the start of the school year, you have undoubtedly seen the comparison of shirts for less than 90 euros for the month of August.
But after reading it, perhaps you said to yourself: "if a 90 euro shirt can have all that, what's the difference with a 150 euro shirt? Or even 250, or 400 euros? do they add more, especially at this price?
This is an excellent question, especially since knowing the most high-end products allows you to have an idea of "what exists", that it is possible to do, and therefore what we can expect from such or such range.
Through this test of a model from Kalgati, I am going to show you what a “luxury” quality shirt is, and all the work that goes into it...
Allow me to introduce you to this very small brand that pushes its product vision very, very far by half measures.
Presentation of the brand
Kalgati, the “beautiful” and the “good”
At the start of the project by Thomas, founder of the brand, there was a fairly simple concept: through a "Direct To Consumer" model , he wanted to offer the "ideal" white shirt with the best French tailoring. In short, he wanted to recreate his best, and wanted to do it well.
It is from this approach that the name "Kalgati" was born, coming from the contraction of the Greek expression "Kalos Kai Agathos" , which means "beautiful and good".
Like more exclusive and discreet luxury houses, the Kalgati universe focuses on values of sobriety and apparent simplicity, to concentrate on quality above all.
Through this choice of name, the founder decided to create products that were not only aesthetic, but also defended certain values of excellence.
A unique positioning
Most brands making “accessible high-end” choose very beautiful materials, without taking the most expensive ones. The manufacturing is done in good workshops, but in countries where production costs remain reasonable. Thus, they offer shirts that cost a certain price, but within a “realistic” budget for lovers of beautiful clothes.
And it's already excellent.
But at Kalgati, we go to another level. Despite its economic model, there is no compromise in terms of quality or manufacturing location. It is the search for an absolute, at all costs: Thomas has chosen the most precious cotton fabrics in the world and the most prestigious workshop in France.
A shirt that aims to promote true “French” luxury.
This approach to excellence comes at a price. Despite the brand's very modest margins, you have to take into account:
- €320 for the Sea Island cotton model from David & John Anderson ,
- 265€ for the one in Giza 87 - Thomas Mason Gold Line .
At these prices, we are mainly targeting two targets: those who can put this amount into a shirt, but above all enthusiasts, who are very sensitive to the approach and quality.
A confection halfway between industrial and artisanal
A workshop among the best in France
Without necessarily being able to reveal the name to you, the workshop in which Kalgati produces its shirts is considered a reference in French tailoring by professionals in the sector.
Specializing in shirts - more particularly in measurements - it offers three "ranges" of tailoring:
- the most affordable is subcontracted in Tunisia
but its supervision guarantees the quality control of an experienced partner,
- the second offers beautiful finishes and French manufacturing, for a production cost that is already significantly more expensive. It is intended for high-end brands who wish to highlight reliable Made in France ,
- the last, that of Kalgati, offers finishes that are only found in certain large houses.
It costs almost twice as much as the previous range, which is however far from cheap.
Kalgati are entirely made in one of the most prestigious workshops in France, entirely specialized in shirts.
What makes it so expensive is that it bridges the gap between the world of large measurement (also called " bespoke "), and that of the industrial...
The synthesis of two opposites
At houses like Charvet , Camps De Luca or Berluti , the cheapest bespoke shirts easily cost €1000. They are entirely handmade by a master craftsman.
Whereas for the industrialist, clothing is produced in stages, with a sewing machine, on an assembly line, where each worker is specialized in a limited number of operations. This is what you find almost everywhere, from entry to very high end. When we talk about “handmade” here, it’s only about details like buttonholes, a reinforcement stitch, etc.
Kalgati is halfway. Each shirt is entirely made on a sewing machine, but by a single seamstress, mastering each stage of its production . Quality control is more rigorous. All the finishes are impeccable, you even have the possibility of obtaining some of them normally reserved for bespoke . The same goes for alterations, which are carried out by the same craftsman.
Experienced seamstresses create each shirt in its entirety, without any assembly line work. Enough to give soul to the room...
The journey of the Kalgati shirt
A first product still considered unsatisfactory
Before arriving at his current half-measure shirt, the first product developed by Thomas was a ready-to-wear version, produced in small quantities with the level of tailoring explained above. In terms of material, it was on the “ Saqqara” Giza 87 twill from Thomas Mason: the best Egyptian cotton fiber from one of the most high-end spinning mills available.
At a price of €240, he could have been satisfied to offer this quality, at a much more reasonable price than most of his competitors. But as I told you earlier, Thomas had embarked on a real “quest”, an obsession. He was still not satisfied: he had to push the product even further.
The Kalgati shirt was reworked before it could become what it is today.
And what is missing from a shirt when it already has high-level construction and material...? The patronage work that goes with it, to play on the cut!
This is surely the most mysterious aspect of a shirt . It is quite simple to recognize beautiful tailoring or successful finishes. With a little experience, it's the same for the material... but a nice cut? Everyone talks about "good" and "bad" fits, but every wearer's body is different.
This is where Pierre Duboin, master shirtmaker for 40 years, comes in...
Meeting with Pierre Duboin, a master blouse maker in his field
I have never met Mr. Duboin, but he is someone I have heard a lot about.
“A real character”, it was described to me above all as one of the best blouses of our era.
He comes from a family in which three generations worked in the shirt industry . He has more than 40 years of experience in total, including 25 years as “first cutter” – the person responsible for large-scale shirts – at Lanvin.
Pierre Duboin drawing the shoulder of the Kalgati shirt pattern.
He is a enthusiast who has dedicated his life to this know-how, and to its constant improvement. When he meets Thomas, the two gradually become friends. Quite exceptionally, Pierre decides to help him on his project free of charge, in particular because he notices his obsession with creating the most accomplished shirt possible.
Unprecedented patronage work in ready-to-wear
How to design the cut of a garment?
To understand the added value of Pierre Duboin's work, I must first explain to you how the cut of a ready-to-wear shirt is normally designed.
Let's briefly talk about the famous "Lectra" machine. To put it simply, it's a business
The pattern maker creates the pattern for a size 38 (or M) shirt, then scans the measurements. The data from this “control” pattern is then processed by the Lectra algorithm creating the gradation.
In ready-to-wear, the "control" pattern is normally digitized, before the software offers it in several sizes via automated grading.
When man replaces machine
After designing the first pattern for the new Kalgati shirt, Pierre enters the results into Lectra... but is not satisfied with the result. For eyes accustomed to large-scale shirts, it is a total failure. The algorithm, although used by hundreds of workshops and brands, fails to transcribe the essence of its work.
Caught under the influence of this dissatisfaction, he made a somewhat crazy decision: since the machine could not do it correctly, he was going to draw each pattern by hand, for each size, each available in two cuts . In total, 22 patterns, from 36 to 46, in "classic" and silhouetted cut...
Pierre designed 22 patterns manually, which is absolutely unprecedented in ready-to-wear. It is a work that is as much about mathematics and geometry as it is about drawing, craftsmanship and creation.
It is important to understand that for a model maker, drawing a single pattern is already laborious. The task was therefore quite colossal, it's the kind of thing that would have been perceived as "absurd" with any other brand...
The weight of experience
In the case of Kalgati shirts, the differences in cuts are not only about volumes: Pierre has designed his patterns for a set of body types , imagined based on the hundreds of customers over his long career.
This gives rise to a whole set of characteristics that would seem counterintuitive from a purely theoretical point of view, but which "work wonderfully in real life, because they are based on experience of the variety of existing morphologies."
For example, on a size 40 in "classic" cut, the shoulder is longer than on the 41, but it is compensated by a shorter sleeve. Or again, on a silhouetted 38 cut, the shirt is a little longer than the 39. These details are so subtle that the Lectra machine could not understand them, seeing them as "errors" of proportions since they are opposed to the "standard" ready-to-wear.
Much more than a simple variation of sizes, each of the 22 patterns designed for Kalgati takes into account subtle variations, in order to dress “bodies” rather than theoretical dimensions.
It is from this very exclusive form of ready-to-wear that the Kalgati half-measure was able to develop: these 22 patterns serve as a basis, before being adapted to your measurements.
The “signatures” of Pierre Duboin’s bosses
Much of the pattern work is not visible to the amateur eye. Logical, since the aim is above all to have a perfectly coherent rendering, rather than biases that catch the eye . However, there are some "signatures" that we find on Pierre Duboin's patterns...
The bottom of the sleeves
On the pattern, the bottom of the sleeves
This shape creates the "slanted" outward cuffs that you notice when you put a Kalgati on a hanger. These elements allow a “natural” and wrinkle-free appearance when you have your arms alongside your body.
You also gain comfort: the feeling of tightness at the elbow when you bend your arm is thus reduced.
The shape of the bottom of the sleeve on the pattern. Imagine the fabric of a sleeve laid flat: on a Kalgati, it looks like this.
Sleeve heads
Sleeve heads
The pattern work on the sleeves offers a harmonious fall when the arms rest naturally along the body.
The head of the sleeve: to the right of the fold is represented the fabric which will be at the back of the arm. On the left, the one that will wrap around the front. It is this “upward slope” shape that creates shoulder ease on a Kalgati.
The notches
The notches
Pushing the vice this far is truly a practice specific to measure.
The balance
The balance is very precise. It's extremely technical
Perfect balance can, for the majority of wearers, avoid creases at the shoulders and under the collar.
It is on this area of the shirt, where the notches meet as well as the lines and shoulder pieces, that the plumbs are adjusted, which are a bit like the "keystone" of the cut.
This is the typical example of the “invisible” work of patronage , which nevertheless represents a significant part of it. Perhaps even more than the other signatures mentioned above.
“Sea Island” by David & John Anderson: the most precious cotton twill in the world
The last ingredient of a luxury shirt is obviously its material.
While Pierre worked to create patterns that met his requirements, Thomas arranged to have access to the most exclusive shirt fabrics: the Sea Island range from David & John Anderson .
This brand of British origin, now belonging to the Albini group, is normally reserved for large tailors as its fabrics are expensive . It has been perfecting its spinning, weaving and finishing processes since the 19th century, and all its products have in common that they are only based on exceptional raw materials... including this Sea Island cotton from Barbados.
It has no equal when it comes to length, fineness and softness of the fiber , not even the best of Egyptian cottons.
It has such a reputation that some brands try to play on it, by twisting the term a little... Turnbull & Asser , a big name in English luxury, was caught offering so-called Sea Island Quality shirts... C that is to say Egyptian cotton whose quality they consider "comparable to Sea Island ". The fact is that the price is clearly not the same...
Sea Island "Quality" and not "Sea Island Cotton"... Some people do not hesitate to play with words to be able to allude to this famous cotton, without actually using it...
For information, the most competitive brands on the market are unable to offer Sea Island under 180€ for ready-to-wear, and 240€ for measurements - in a Chinese confection for the first, and Indian for the second. .
Enough to put into context a little the €320 paid at Kalgati, for a shirt in such a material, especially given the very high costs of its French manufacture...
In terms of details and finishes
I told you above: the level of manufacturing offers rarer finishes and a certain customization. Without dwelling on the classics that you already find on high-end shirts in general
Finely gathered cuffs
The Kalgati shirt is distinguished by its four pleats at the cuffs: three on the lower part of the sleeve, and one on the opposite side. They are made so as to be invisible when the arms are alongside the body .
Their location is designed to maintain the comfort and luxurious appearance of classic shirt pleats , without thickening the silhouette of the arm.
Beautiful pleats with harmonious proportions give real character to a shirt, especially a formal one.
A signature more than a logo
Rather than an ostentatious logo, a K is cleverly sewn on the elbow, at the level of the sleeve button tabs.
The "K" of Kalgati placed on the capuchin tab of the shirt. A discreet and clever way to add your logo.
A matter of parallelism
The collar buttonhole is parallel to the collar stand.
It's not so much the detail that impresses me, but the fact that even this tiny element was thought through during the design.
The shape of the collar stand is also designed so that the bottom seam is parallel to the buttonhole. A tiny perfectionist detail.
Invisible seams
The first button is sewn before the collar stand is folded down. So it can only be seen from one side!
On a normal shirt, you should find a small "ball of fabric" right there, because the collar button is sewn there. On a Kalgati, the button is sewn before the collar is completely made, so that it does not "cross" the collar stand.
My experience of Kalgati
I was lucky enough to receive a Kalgati that fit me a few months ago. I have already explained everything to you on the technical level, but as it is a shirt that I have worn a good twenty times in the meantime, I would like to share with you my feelings about the experience.
My best formal shirt, probably for a very long time. (Worn here with a Faubourg Saint-Sulpice seersucker suit, a BonneGueule X Howard's tie, and double buckles made to order "museum calf" from Carmina .)
Placing the order
Take your measurements
First of all, note that measurements are taken online : whether from your measurements taken on the body, or from a shirt that already fits you very well.
We could regret the absence of physical space for making an appointment. However, it is also the fully online model of half measures
That said, the brand takes care of all the alterations on the first shirt , to ensure that the pattern is adapted to your body shape.
Choose your options
Then comes the time for customization: you can choose between three collar shapes
I obviously chose a silhouetted cut, and rounded cuffs to keep things simple. Collar-wise, I stuck with Kalgati: I wanted a shirt almost entirely dedicated to wearing a suit, so I needed a collar large enough for its points to fit well under the lapels of the jacket.
A beautiful collar, balanced between flexibility and rigidity, and whose points fit harmoniously under the lapels of a suit.
You must then choose between the two possible fabrics: the "Saqqara" Giza 87 or the Sea Island "mini-twill". Fascinated by its history and its prestige, I opted for the second.
Having seen and touched both, however, Thomas Mason fabric is far from being left behind. If you want a very slightly textured finish, and a material with more body
Two excellent ranges of fabrics, in blue and white: the "Saqqara" Giza 87 from Thomas Mason Gold Line, and the Sea Island "mini-twill" from David & John Anderson.
Fit and comfort
I'm really satisfied. The element I appreciate the most? Probably the work done on the sleeve head to give freedom of movement : it is a shirt in which I am fitted at the back, shoulders and chest, but in which I can nevertheless move my arms without feeling any tension.
I only have two regrets, ultimately.
Firstly, my slightly forward-hunched shoulders could not be dressed the first time, even with the great pattern work of Pierre Duboin. It took a touch-up at this level.
This area being somewhat the keystone of the shirt, it is very complicated to repair it while keeping an appearance as impeccable as when it left the workshop. The retouching was significant enough to leave "micro-creases" along the shoulder lines... which no amount of ironing can remove. Okay, I admit I'm quibbling.
After the touch-up, the drape is really perfect. There are just these tiny creases on the shoulder line, only visible up close, that annoy my manic mind a little.
Second... Well, I lost weight.
As it turns out, it's my fault, not the shirt's. I wore it for quite a long time and I realized - before the shooting date - that I was starting to have quite a bit of margin in it... So it's impossible to show you a perfectly fitted result with the right touch-ups, much to my liking. regret.
My big regret: I've lost quite a bit of weight since making the shirt, which leaves me with a cut that's a bit more "classic" than I would have liked. Despite this, you just have to look at the sleeves and shoulders to see that the piece has really been designed for my body shape and my build, regardless of my weight.
I'm going to order a pizza to make amends and remedy this mistake...
The life of matter
The last point I would like to talk about is this famous Sea Island cotton. With all this quality, what does it actually bring?
It's soft, very soft. At times, when you touch the shirt with certain areas of your hand, you can almost believe that it is made of a smooth silk twill. And as you can see in the photos, the light catch and drape are harmonious.
But what we sometimes forget is to see how a fabric evolves over time, particularly during maintenance. However, after twenty washes - part of which at 40° - the shirt is completely stable!
We normally do not recommend going beyond 30°, but the Sea Island has such homogeneity of thread that it supports it without problem.
I predict a very good lifespan for it...
The final word...
Obviously, the price of a Kalgati does not make it accessible to all budgets.
But for those of you who can, and who want to taste excellence on a classic shirt, go for it... Especially if you are already customers of luxury houses whose shirts cost double or even as much. triple.
For my part, I do not yet know of a brand that offers the equal of these shirts without going through artisanal work, which is much more expensive.
