March 27, 2023 • 40 mins
Join us on the captivating episode of the MenswearStyle Podcast as we dive into the world of Dashing Tweeds, the British brand that seamlessly blends tradition and modernity in the realm of woven textiles. Founded in 2006 by fashion photographer Guy Hills and woven textiles designer Kirsty McDougall, Dashing Tweeds was born out of Guy's vision to create high-quality tweed that could be worn in urban environments. Combining his passion for traditional sportswear with innovative designs and technical yarns, Guy and Kirsty established their weave design studio in East London, collaborating with the finest mills in the country to weave their luxurious designs.
The instant success of their cloths among Savile Row tailors propelled Dashing Tweeds to open its flagship store in Mayfair in 2014, followed by a relocation to Marylebone in 2018. With a focus on modernizing tweed by incorporating technical yarns alongside wools, Dashing Tweeds brings the essence of tweed to the city. By merging contemporary sportswear with the traditional, they introduce a novel concept in tailored wear, captivating a wider audience residing in urban settings.
Delve into the insightful interview between Peter Brooker and Guy Hills, the Founder of Dashing Tweeds, as they unravel his background in fashion photography and the brand's remarkable founding story. Explore the origins of tweed, the urban and fashion-oriented approach adopted by Dashing Tweeds, the diverse methods of manufacturing tweed, exciting collaborations with notable brands like Converse, the evolution of tailoring throughout the decades, the importance of educating men on style, and their fruitful partnerships with costume designers.
Don't miss this engaging episode where we explore the intersection of fabrics, tailoring, and innovative design with the visionary behind Dashing Tweeds. Gain a deeper understanding of their commitment to bridging the gap between tradition and contemporary fashion, while pushing the boundaries of what tweed can be.
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Episode Transcript
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Unknown (00:12):
Hello, welcome back to another episode of the menswear
style podcast. I'm your hostPete Brooker. Today on the show
I am talking to the founder ofdashing tweeds guy hills and
dashing tweeds create modernurban tweets for the creative
confident man designing made tomeasure and ready to wear
menswear as well as sellingtheir cloth. Okay, so let's get
to the interview. Now here isguy hills, founder of dashing
(00:35):
tweeds when is the kind ofpassion really but my, my
beginning of fashion was fallingin love with photography. So I
became a fashion photographerfor sort of worked my way up
through the magazines, became anassistant after university
science degree, and thenfollowed my passion. I got a
(00:55):
camera on about 50 but thenthought I can make a career of
it and had a really successfulcareer eventually, in main
mainstream women's fashion,which was good, but then I got
married and, and hanging outwith beautiful models and going
off for three weeks to Brazildoesn't go down very well with
with with a new wife. So I kindof then had a studio in London,
I was looking for some work todo in London, and I always love
(01:18):
clothes, and I was asked to be aphotographer for Savile Row,
which is the new world or themain tailors are actually
photographing the editorial jobin Savile Row for a magazine and
then bumped into a friend whosaid that one of the organisers
of the tailors, and a Rolandfrom Madison and shepherd, she
(01:38):
was, it was quite an interestingtime because Savile Row was
really struggling becausetailoring wasn't a big a big
thing. This was about 15 yearsago, and the rents were going up
and they really wanted to get abrand Savile Row and Savile Row
tailors didn't have any websitesor anything. So they they needed
a image Baker to documenteverything. And I met Andrew
(02:02):
Bolton who actually created theMetropolitan Museum. Now the
fashion department bumped intohim on Savile Row. And he was a
friend of a friend. So I kind ofknew him. And then he bumped
into Andrew Rowland. And shesaid, you know, photographer
said he had just met one up thestreet and one of those kind of
amazing moments andjust got a call and he said you
want to come into the shop andthen I said what you want me to
do? What do you want to do? Sobut we just need shots at every
(02:23):
single Savile Row tailors andall behind the scenes and I
couldn't believe it is like mydream job. And they said we
haven't got much money, but wecan pay you in tailoring. So
it's kind of like my eyes then.
Even more exciting thinking Ican get Savile Row seats. And
I've just gone digital at thatpoint. So actually didn't cost
me cash to be a photographer. Itwas just a time thing. So
(02:48):
yeah, so it was it was perfecttiming where I could work in
London, to starting a youngfamily. And then I had access to
a whole of Savile Row tailorsopened their doors to me my job
was to walk into all of them andgo through their archives. And I
got paid and tailoring. So itwas yeah, it was kind of it was
like a dream life changingmoment. Nice. You still got some
(03:09):
of the suits. And yeah, all ofthem. Yeah, well, wearing one
now behind me is a wholewardrobe.
Full of full of them.
Andso that was the beginning and
then Ifell in love with both didn't
get all the archives all thematerials in the tailors and
does bit scared as I've beenintimidated good with Savile Row
(03:30):
tailor because he's so smart androyal connections and
everything. And they were a bitkind of the face of them as all
businesses grey and grey andblue and everything but I knew
they had something amazing intheir archives, so refer to the
archives and they had thesebooks which I was photographing,
which went back 200 years, andHenry poolside 20 years ago. And
then it's suddenly look atfabric swatches little kind of
(03:53):
bits from the 1860s and Isuddenly thought, wow, these are
kind of really wild, wildfabrics, wild colours. They sort
of seem more like the stuff thatVivienne Westwood was using who
I sort of loved, loved westwardat the time, and I couldn't
believe that kind of the SavileRow tailors had this kind of
really cool colourful off thewall fabrics which they've had
hidden in their basement.
(04:18):
How do they preserve them then?
They were literally they'reliterally these leather ledges
like huge great big ones withkind of the years on them or
really dusty just you know, Ican imagine just seeing that
kind of film where you go to thebasement and below
there's a Goonies map right nextto it. Yeah.
And you open them up and thenit'll swatches the fabrics which
(04:38):
they got from customers orders.
And yeah, just blew me away.
That's how much colour andchoice and then how much fun men
were used to have with withtailor clothes. So I was getting
paid to photograph all this anddocument it and I was
photographing in a reallyfashion the way because other
people may be tempted to sort ofrelish the the old school
(04:59):
settledLow idea and do like rate like
and make it look old school, butI was shooting with ring flash
really more than like reallypoppy fashion which was my
fashion style.
So I was making it look reallyfresh and and then I
thought how can I get hold ofthese cloths I said to the
tailors, you know, where arethese fabrics? And they said,
Well, they didn't really existany more than most the mills
(05:20):
have gone bust and there's not ademand for them and high street
fashion has has taken over. Andso they don't really exist
anymore. So my sort of head waswhirling asking how can I get
hold of these amazing colourfulfabrics. And the nearest I'd saw
were designers like some earlyPaul Smith and Vivienne
Westwood, some other highfashion people who were kind of
cleverly using actually tweedand wool in colourful ways for
(05:43):
their for their purposes. Butthese ones are Savile Row even
more exciting than like thehippest fashion designers.
Anyway, I was looking around, Ihad a photographic studio in
London as well. I was trying todo some sort of styling work and
I thought if I go to the thefashion colleges, I may meet
some like minded people. Becausebeing a photographer, the thing
I liked about it was it's acollaborative process. And when
(06:05):
I was on shoots, a bus wouldturn up and it'd be full of
models and the stylists and youneed to work together as a team
to create magazine images. So Iwanted to kind of create my own
my own team. And I went to theRoyal College of Art to the
degree show. And I saw this, itwas a fridge with a door open
and colourful fabrics coming outand it was all a bit kind of bit
crazy and colourful. And thegirl who's just show it was was
(06:28):
called Kirsty McDougal and shewas a weaver. And I said, Well,
I love these fabrics. And I loveyour style. Can we work
together? And it she said, Yeah,sure what you want to do and say
I want to style some shoots andthings.
And what else can you do? And Isaid, she had a bit of fabric,
so can you make me a bit offabric? And she said, Well, I've
just left the college but I canask the Royal College if I can
(06:49):
use their looms for a bit and doa bit of weaving. And one of
these ones had Chevron so it's abit like bicycle tires had had
gone over it. Andit's like a herringbone or Yeah,
it's like a herring because it'slike a bit like a herringbone
actually. Yeah.
I've gotonly one guys just going into
his wardrobe then. All of theseveral Savile Row suits are
(07:11):
spilling out. Yeah, I can.
Look at that. That is a thing ofbeauty.
Love that. Wow, HiggledyPiggledy, but it's, it's a lot
of seats in there.
Actually, this is the, this isnot pre arranged. So otherwise,
I would have had it to hand. Butthis is one of the very earliest
(07:32):
fabrics that I see. Yes, it'squite interesting, isn't it
going over, but it's just areally fresh, fresh design. So
this was something that Kirstyhad woven for her degree show at
the Royal College and actuallyreminded me of things I'd seen
in Savile Row archive from sortof the 1860s when things so
there was a whole, a whole kindof synergy of all this stuff
coming together. And I wasthinking, I need to have some
(07:55):
for myself.
I said, Kirsty how can how canyou make How can you make
something? She said, well dosome research, we found a
commission weaving mill up inScotland and said, Can you leave
a small, small amount and theysaid, well, they can weave a
piece. So a piece is typically60 metres, a woven piece. So I
thought, well, how much thepiece costs a few 1000 quid I
(08:16):
thought, well, actually, I'vegot a great idea, as the
beginning of beginning of youknow how business business plans
start off, when you're just soobsessed, you want something
yourself, I'll get 60 metres,I'll keep six for myself for Su
and I'll sell the rest. So youknow, you can't go wrong, our
finance my addiction, and I'llget these, my suits made up in
the tailors and Savile Rowbecause they were paying me
(08:36):
through my photography. So it'skind of all around bartering. So
I kind of had this kind ofepiphany where I thought, here's
a whole a whole way where I canget, I can get fabulous suits
myself and maybe make money. Butthat was right. I mean, you know
about starting a business, youstart off with a kind of real
passionate idea. And then thenthe reality is a lot harder.
(08:57):
Guy. I think people hear theword tweet and imagine it or
they can see it in their mind'seye. But maybe you could just
describe it and give it thatkind of Google snippet so that
we know for sure, I try to bebrief, I do random. So actually,
the fastest jacket I was talkingabout the one that kind of were
really loved was actually aHarris tweed jacket and that
kind of brown, brown Chevronwhich I've borrowed from my
dad's wardrobe and pretty muchwore throughout my whole time at
(09:18):
Bristol University, which isalways raining and protected me
so so Tweed is woven wool, andthe actual national word Tweed
is as a romanticism invented bythe Victorians because there's a
famous river tweed, and thewill, their will, which was
being sold sold was calledtwill. And the twill is may not
be able to see but you can seethere's a diagonal and not the
(09:38):
check, but there's a diagonalhere and that's called a twill a
twilled structure. So the soobviously will was what made
Britain one of the most it wasthe it was the oil of the of the
earlymiddle middle late Middle Ages,
I guess. So. You know, we justbuilt a whole fortune. Norwich
was the second richest cityafter London built entirely on
on whooAll and Western, which is a form
(10:00):
of spinning was a place inNorfolk. But then then the mills
famously, were all situated byrivers because it was all water
powered. So these are pre whenthe beginning of the Industrial
Revolution.
So, so the Victorians Reaganmaking up stories making
romanticism so there was thiswhole river tweed everyone was
(10:20):
getting obsessed with Victoriahad bought, we had Balmoral
built, and there was a wholelove of Scotland and genuine
British sort of woollen clothes.
And so they people selling it,instead of some one salesman
apparent instead of calling it atwill. Wool said it was tweet,
and then there was a whole ideaof the English aristocracy, were
moving up to Scotland, and theywere creating a state tweet. So
(10:43):
they were as soon as you do anyweaving, and you have a warp and
a weft, so the one goes up onegoes that way, when it was the
kind of check and and then youchange the assets, that's quite
a complicatedI'm just pulling up a fabric
that was on the Instagram justfor anyone, I'm
(11:05):
sorry. And it seems to changethe colours of the walk in the
West, you get a check. And soyou end up with these fabrics,
wooden fabrics with the twill innumber 12 structure which has to
do with the weaving process. Andget some got known as tweed
because of the romanticism ofthe river Tweed. And then the
function of tweed, it had lotsof functions that sort of people
(11:26):
didn't didn't really realise wasactually camouflage set to begin
with. So was kind ofdyed the colours of the
countryside. So browns andgreens, a famous Lord love it,
he used to dye his tweed and gethis Gillies to walk up the top
of a mountain and hold them upat the top and see which one
disappeared with all the haver.
It's quite interesting and hasall different bright colours. So
(11:49):
some of those ones which arecamouflage for the country, they
weren't just all green colours,they had like bits of purpley
Heather in and so it became akind of colourful fabric. So
it's kind of camouflage it wasit was sportswear, so if you
think of all the early hunting,shooting and fishing, and then
later on like cycling andmotoring, it was all done in,
in, in Tweed.
(12:11):
And then it was also the way menwore it was sportswear and terms
of like how we think of modernsportswear, it's colourful, it
was relaxing to wear. And it wasthe way men traditionally wore
colour. So it had it's got somuch going for it. And apart
from that wool is just prettymuch the most amazing fabric
there is. I mean I can I can goon for ages about the properties
(12:32):
of wool but but briefly, itabsorbs more moisture than
almost any other cotton withoutfeeling wet. So I think it's
like even But 20% of water intoa wool and it can be next to
your skin. It doesn't feel wet.
Where's that horrible feelinghoney clammy, wet jeans on your
skin? They get? Oh, yeah, no, Iknew it today digging ditches
out in the rain. I'm very, I'mvery familiar with it. You
(12:52):
weren't wearing you should bewearing Tweed.
I never get any decent tweed wetor ruined or muddied. So I was
just wearing my, my work gear,shall we say?
Actually, that's that's a reallygreat thing. But having a kind
of a wardrobe building up awardrobe. If you build up like a
(13:13):
tailored wardrobe, then you getto a point after I've been to
toes last so long when they'retailors you know, but you get to
a point like after 10 years,that that you've kind of sort of
retiring one of your smartsuits, and you just wear it for
gardening, and then it becomesbetter. And then you don't
really care about it and youplay football with the kids in
it and you just get it coveredin mud. And and yeah, then it
(13:35):
becomes even even moreenjoyable. Well, that's what
Lucien Freud the famous painter,he was he had his suits Ben
Savile Row, and then he justpainted them and got them
covered in. I mean, that's howyou should where you should
wear, you should wear tailoring,you should just sort of, it's
the whole idea that it's you getlike constricts you, or
(13:57):
makes you feel that you're haveto have to act in a certain way
is by just a bit of time,obviously just to get totally
relaxed if you're not used towearing a tailored jacket
because people may not enjoy it.
But once you actually havesomething that's properly fitted
with a high armhole, fixed doseto your body, it's just the most
comfortable thing and then yourealise you can just do
absolutely anything, anything init. So yeah, that's the aim of I
think all tailoring and andtweed and wool.
(14:22):
Guide tell me about when tweedbecame commercial for city use.
I mean, we talked about theorigins and when you can use it
as sport where in the country,but when did it come so kind of
ubiquitous that people couldwear this in the sea? I found
that when I was researching thisa long time ago so my facts
maybe not entirely right. Butthere was a London Scottish
(14:45):
regiment run by Lord Elko. Ican't remember the exact date
but it's Victorian times and heinvented a fabric, a tweed which
was called a hot and grey, whichwas a kind of urban grey colour.
So it was designed to fit in,you know, it's talking about
tweed being coveredlaunch with the country. It was
actually designed to sort ofwork in, in the London
environment. So that was sort ofthe first when I was doing my
(15:06):
research, that first idea thatthere was Tweed is a more robust
fabric compared to in the, inthis times in the Victorian
times in the city people bewearing finder. So woodland sees
what kind of boosted suits andthey'll typically be very smart
and black and black and white.
Yeah, that's a great one. That'sa just flashed up a picture of
one of our grade peaks, whichalmost has the kind of urban so
(15:29):
that's, that's our, theevolution of dashing tweeds has
been all about creating tweetsfor a more urban market and a
more fashion orientated market.
So yeah, that was the Lord elcasLondon Scottish regiment with
the invention of Haagen grey.
Yeah, I was in Victorian timeswas the beginning. But then the
(15:50):
fabrics get lighter, so theybecome easier to wear, does that
play a factor?
I mean, traditional tweed forthe for the country, that really
thick foam proof stuff you get,which is sort of very tightly
woven, and is sort of 20 ounceplus, yeah, that you wear it
indoors if you're not gonna wearthat kind of stuff in an office
(16:11):
job. Right.
So yeah, there is the whole ideaof then people thinking that
will is too hot to wear in, insummer or in offices or in town.
But jabbered sort of nonsensereally just said, Well, you're
not wanting it, you just need 20out tweets, it's gonna be too
hot, but you just need to makefiner finer weights, I guess is
(16:33):
your, your point. So you end upwith
was when people come to my shop,I explain the two different
types of, of wool, suitingproducts there are there's
tweed, which is made of awoollen yarn, which is So it all
starts off with obviously thesheep is sheared. And then they,
they what's called card the woolso they have this big drum with
these spikes, and it makes thewool have put air into it, but
(16:57):
the the actual wool fibres aregoing in all different
directions. But whereas boostedyarn, they comb it so it all
goes very, very, very slick. Andthen a twist it very, very
highly in the spinning process.
So you end up with what's calleda twisted yarn. And that's what
pretty much all businesses aremade out of. And then a woollen
yarn is the wool their hair,typically thicker, hairier,
wool, and you end up with atweed, which is scratchy
(17:20):
basically.
Do you make a bespoke in dashingtweeds? Or do you put or do you
give that to the Savile Rowcutters to make How does it
work? Oh, yeah, it was just abacktrack a tiny bit. So then I
started making the fabric pieceof fabric for myself. And then I
(17:41):
spoke to some friends andthinking, I got to try and sell
because, you know, I had the 60metres woven, and that I needed
six metres for myself and Ithought, well, how do I how do I
sell the remaining metres? So Iwas working as a fashion
photographer and I had somequite good connections. So I
spoke to this friend of mine,Kinvara Balfour. She was styling
for a magazine I was workingfor. And she had a very early
(18:04):
website called Daily candy shewas writing on and she wrote an
article about me. And then aboutthe dashing tweets, I just had
to set up with Kirsty I said,Let's just set up a brand name
for this company, which at themoment was just so only had one
customer, which was me, soleaving this little cloth, and
then anyway, she wrote about it.
And Converse read about theylove the idea that we were
modernising tweed, we haven'treally stepped on that bit yet.
(18:25):
But my idea of the tweet wasobviously, to take it into an
urban environment and make iturban colours, and not
traditional country Tweed. And Ihad this other idea, because I
was always cycling aroundeverywhere to incorporate a
reflective thread into the tweetto add to the modern sportswear
element of it. Anyway, so I waswriting she wrote about that,
and converse rang up fromBoston and said, We love your
(18:47):
idea. Can we collaborate and andcut long story short, they made
30,000 pairs of CO brandedshoes. Wow, got one here to show
you. Very cool. Jack Purcellconverse, covered in one of our
colourful tweets and CO brandedwith Randy, get that to the
camera guy, please. So we'llhave a closer look at that.
That's genius. Yeah, so that wasthat that was you know, the kind
(19:07):
of in terms of entrepreneurs andI didn't really think of myself
as an entrepreneur, but I thinkof myself as a sort of
passionate tweed lover. And thenI had a stroke of luck
with this person with Converse,doing a very early collaboration
with us. Fantastic. And that ledto me then I opened the shop. So
then to cut to what you were,you were saying. Now in the
(19:29):
shop, we design all differentranges of fabrics. And we design
a whole range of tweeds for thewinter and then sort of summer
tweeds, which are mostlyboosted.
And the people come to our shopand we work with a whole range
of tailors. So we've got someseveral rotators we can if
they've got deep pockets, we'vegot a made to measure tailor.
We've got a seamstressdownstairs who does sort of soft
(19:51):
tailoring, and we've got somecity tailors who we recommend as
well. So so it's all aboutpeople coming to us being
inspired by the fabric and thenworking
out what they can afford or whatthey want to have made in, in
the fabric. Fascinating? And doyou get approached for a lot of
collaborations because I imagineyou're kind of spearheading this
flamboyant weed wearing. So, Imean, trainers is one thing
(20:16):
that's a great idea but likeinteriors, car seats, you know,
kind of like endless. Yeah. It'swell, it's such a fantastic
material. So it is great for mejust as we did some bags with
Fred Perry, which was quitegood. And then my brother's got
a company called retrouvez,which is an architectural
salvage company, we've workedwith them designing special
(20:36):
fabrics and covering furnitureand chairs and some bespoke
projects with them.
We've worked with the filmindustry a lot now, but I can't
I have to sign an NDA, so Ican't talk about it. But
basically design fabrics for formajor major films, which is,
which is really exciting. Andthen, when I get passionate
about mostly it's people liketoday, so people came into the
(20:56):
shop, and they wanted to buysomething, they heard about
them, but they weren't quitesure. And I was showing them all
the fabrics and, and this ladybrought in her husband and the
husband said, I've only got ablue shield, he likes to take
the jacket, but everything I'vegot is dark blue, I want
something different. And thenyou can start explaining how we
designed all these morecolourful things and how much
(21:16):
choice men used to have. Becausemost men are terrified of
colour. That's the and actually,the funny thing is I was born in
the 60s. So I kind of when I wasin my formative sort of younger
years in the 70s. You I find itquite amusing. We look on
television, and then thenewsreaders had to fit in with
what people were wearing. Sothey were wearing bright yellow
Kipper ties and things like thatthey were kind of really
(21:37):
conservative people, all theywanted to do would be the kind
of men who would just sort ofslip into the background of the
party. But in order to slip intothe background of the 70s,
you're going to have to wear a,you know, a bright yellow Cooper
tie and purple shirt and stuff.
So that was kind of what I wasfamiliar with. And then actually
later in life, the rave scenekicked off, which I thought was
really good fun,and participate in lots. So I've
(21:58):
kind of had love colour in mygrowing up. And I think a lot of
men haven't had that like if theproduct grew up in the 90s, for
example, and absolutelypetrified of colour.
So that's a big act big aspectto to dashing tweets as well.
Well, you hit upon somethingquite interesting there because
when I was going through yourInstagram page, and there's
(22:21):
there's a picture of guymodelling in the store, I
presume, are wearing a greencheck suit with a pink shirt and
yeah, acrobatic bicycle chainson it.
But I did get the feeling thatthere was a 70s vibe, or a sub
current going through the brand,just because of the fullness of
the cut. I mean, I keptthinking, like, perhaps told me
(22:42):
no other day somethingflamboyant that he would wear.
So would you say like there is ahouse signature or my way off?
No, no, no, you're not way off.
But the funny thing is, isbecause I've been so lucky to
have all this research forstudying all the archives of
Savile Row, I can go back toreferencing sort of about two or
300 years of men's style. So soyou're totally right, that those
(23:04):
Jazz's look 70s. But then I wassort of referencing more like
Oxford bags from the 20s interms of that particular cut.
And then I've got this book,which, if a tailor sees be
carrying this book they get,they kind of start quaking and
going, Oh my God, what'shappening. So it's quite hard
finding tailors who are reallycreative, but there was one city
Taylor, who I was using at thetime, Russell, his call that
(23:26):
Graham Brown, and he was justhappy to do anything I wanted.
And I brought his book along.
And it was a historical bookwritten by John peacock. It's a
it's basically a history kind oftextbook, and it has
historically accurate, accuratedrawings going back to sort of
1600s and it's just got so muchinnovation and then that that
(23:47):
really is something I learnedabout tailoring is men's
tailoring is all about form andfunction, every single aspect,
the buttonhole on the lapel, youknow, used to go to a button
here, so you coulddo things, every single aspect
of of a tailored suit has apurpose. And some of the several
rotators still have littlehorses, like you know, wouldn't
gym horses, for people to gettheir britches fitting just
(24:09):
right. And the kind of britchesfor example, that they've got a
special twisted seam whichLevi's used for their twisted
jeans but it was just somethingthat's been around for 150 years
to make it more comfortable tosit on a horse. So there so the
form and function of tailoringare fascinated by so yeah, so
you can see different themeslike I told me that it was I
think to me that it was going tolast person when several work in
(24:30):
several roads really bring highfashion and all have tailoring
together and become incrediblykind of influential to pop stars
of the day the Beatles and everyall the young stars at the time
there was also Mr. Fish, but itwas people were still heading
(24:51):
towards Savile Row was the placeto buy clothes, but and then
those people brought the highfashion to it. But after that
theMy fashion basically went off
into the high street and leftSavile Row behind. And that was
my that was my purpose forworking. When Savile Row asked
me as an image maker tophotographer, they wanted to
sort of bring people back toSavile Row, and encouraged them
to go back to tailors tailoring.
(25:15):
And that's kind of almost whatI'd like to do in my in my shop
is really, it's a realeducation, you got to say to
people, that tailoring is notabout getting a stuffy business
suit is basically aboutanything, anything you want. And
there's something really quitepassionate about is you've got
to educate people to once theyunderstand what tailoring could
do for them. They could be theirown fashion designer, because a
(25:35):
lot of people think fashion issomething out there. It's it's
dictated by someone else, theydictate to you what you should
wear. Whereas the whole idea oftailoring and the empowerment of
of, you know, men, making thedesigning their own suits is
that you are the fashiondesigner, you can tell the
tailors what to do. And thereally interesting
(25:58):
thing I tell people aboutbespoke tailoring is all you
ever hear is bespoke bespokethis bespoke that what you never
hear anyone's say is I'mspeaking a suit to my tailor,
I'm the person who is speakingwhat I want. And you say you
hear from the tailors thing,this is a bespoke suit. But you
don't often hear someone say I'mgonna speak this particular to
(26:20):
my tailor because it was spokenfor that's yeah, it's bespoke
for Exactly, yeah. So thatchanging that dialogue, where it
was where the customer is incharge, and, and they can speak
whatever they want is what I'mpassionate about. So I kind of
try and educate people to cometo my shop, and obviously
chatting to you now to say thatonce you've got enough
(26:42):
ideas, and you've actually readsome history, and these could be
these brilliant books likeTaylor and cutter, they used to
tell the customer, all thedifferent types of cuts
available. And so that gives yousome armour,
ammunition rather, for going toyour tailor and saying this is
in fashion. This is the latestcut, and interesting got the
books that also actually havelittle
(27:02):
patterns. So the tailors couldactually make what what you
wanted. So yeah, that's that'sthe that's the it's the i My
idea is, is it's the mostsustainable way of of getting
clothes, and most enjoyable foreveryone. Yeah, well, I mean,
you mentioned fashion design aswell, you must be like part
(27:24):
salesman, part stylist as well,because your suits and your
fabrics are so different. Andyou have to kind of coordinate
some of the colours that mightbe going on with the check, for
example, that's got to match theCorvette or the shirt. So you
find that when people come intothe shop, you have to almost
nudge them slightly into wherethey should be thing more than
(27:45):
nudge them. I literally justthrow bolts of fabric over them
and say, Look, this is great.
And oh my god, I'm terrified.
It's not navy blue. And, andthen you actually sort of Lego
actually, it's quite cool. Thenyou sell it, it goes with your
eyes, and then you canaccessorise it with this colour
and you can go on a personalcolour journey. Although she's
discovered loads of people ofcolour blind, several people
(28:06):
come to my shop and say I justreally liked what you do. But
I'm actually colorblind and Itake the swatches home and show
my wife, but it's quiteinteresting. I meet people Sorry
to cut you off, I think peoplewere a lot of the time no matter
how much they know about suitsand fabrics and fashion, they,
they almost want to be guiltedinto something because it's
(28:26):
something new that they're goingto get from the shop, there's
something new that they're goingto be taught, I mean, there
might have a base knowledge ofwhat goes with what, but then if
you're going to say look, I'vegot this over here, you've not
seen this before, it can go withthis over here, and then you
compare it and you can match itwith your eye colour and you can
do all that with your skin tone,and then they've got a ground
knowledge, but they've gotsomething new from you, if that
makes sense. Yeah, and you'vehit on to two great things. One
(28:48):
is the ground knowledge so thatpeople sort of having a little
bit idea of what they want. Andthen the other thing is, is is
actually offering people morechoice because you're going to
other shops. I mean the wholepoint of dashing tweezers were
totally at the end of thespectrum you got all the other
shops and dashing just fillsthis I like to think we fill
holes in in right in theextremes of things people have
(29:09):
got everything and then theycome to dashing kazoo yes doing
extremely interesting colourfulthings.
Yeah, so it so it is it is it isa journey for people and when
they start the journey, it maystick it somewhere else and they
may end up liking the sort of anaddiction getting stronger and
stronger doses of of sort ofcolour and interesting textures
(29:30):
and things. But then Then again,if people knew more of the
history, they'd realise thatthey've just been fed as sort of
by the High Street and by mainfashion has been spared a diet
of white bread and butter foryears and all the colourful
salads and vegetables and allthe flavours have just been just
been missing because it doesn'tmake economic sense for the big
(29:52):
companies to do in even dyingcertain colours is expensive.
that's another aspect actuallythat people have forgotten about
in terms of colour that thereused to be a whole
etiquette of how expensivecertain colours were. And Black
was the most expensive colour sopeople people don't really
realise that so so then thepeople were wearing black
(30:14):
because it was so expensive. Andthen also, Queen Victoria was in
was in mourning and wearingblack so people were wearing
black fur because there was somuch colour around so Bo
Bramble, which is obviously avery famous
menswear influence as one of thefirst and most legendary ones he
was fighting gets a verycolourful background, and that
Georgian times, where they'reall bombarded by colourful silks
(30:38):
from Jacquard woven silks fromFrance and Italian fabrics. And
so it was a barrage of colour.
And then he had this purity ofblack and white, which is, which
is when was around 200 to 200years ago. And that's kind of
that's gone all the way throughand people that then just lost
all the idea of the colour,which other people would have
been aware of. So, so it is thatwhole re education of, of how
(31:01):
much fun how much joy colourgives you when the customers
come to the shop, and they get asuit, a colourful one, and then
they go to a party people comeup to them instantly go wow, you
look amazing. And they say,right, yeah. Well, I mean, so I
when I was younger, I read thisbook about what you should have
when you go to parties, it waskind of like one of these really
horrible, bullshit books abouthow to get everyone to like you
(31:23):
or something. Yeah. And you hadto have something like it, it
was called or WhatsApp. Now itcould be a badge, or it could be
a headband, or it could besomething that would someone
would come up to you and go,where did you get that? Yeah,
and I'm just thinking anyonewearing one of your suits is, is
not going to kind of stand outfor any of the wrong reasons,
but people are going to want togravitate to you by just going
(31:44):
well, I need to know where yougot that suit for. Oh,
absolutely happens. I mean, thatis kind of a whole suit. If
you're if you're starting offwith a whatsit, which is a badge
and then going through a wholeseries, a big a big jump for the
person in the corner. So thenmaybe the opposite happens in my
shop, people come in, they getthey get hat, so they're wearing
what they could have grey andblack clothes, and they get a
colourful hat. And then thatstarts the whole spare kind of
(32:06):
little, little thing, and thenthey come back for a bigger
dose, and then they'd go aregonna get always get, I'm gonna
get a jacket. But you are rightnow, once you once you come full
dashing, and then then you're ina party, the doors open, then my
guys, oh, wow, the party ishere, you've arrived. And
that's, that's definitelyhappens. Well, because I think
also, when guys have typicallybought suits that aren't
(32:27):
familiar or have never reallywanted to buy suits before,
they'd have to buy it for anoccasion which might be a job
interview, or a suit for awedding or a funeral, or a black
tie event. But they don't reallyget shown how to wear suits for
fun or shape of a wardrobe. Soonce they now have a kind of
like, we're going back to thebaseline of what they like in
(32:50):
their wardrobe, you guys are thekind of that funky door that you
can go through and find a newWonderland behind it. Yeah, that
means that you've hit on areally important point is people
think of suits forthe right reasons of looking
really smart for interviews,and formal occasions. So that's
kind of baseline of how you justhave to move becoming less now.
(33:12):
But you had to get a suit ofthought for the job. Yeah, so
then the idea of wearing one forpleasure, with a colour wasn't
kind of the thing, especially ifyou do it, you were kind of
rock and roll era and getstarted in the 50s 50s and
standard wear suits. But thenthey started wearing leather
(33:32):
jackets, and then it was allabout not wearing the suit and
not being with the establishmentand everything. But I find that
you know, it's, it's quite nowthe establishment, you don't go
to the city. Now you don't seepeople in beautiful pinstripe
suits anymore, the establishmentsort of disappeared. So it's
actually more more rebellious tobe wearing a colourful suit for
pleasure, which is definitely agood point where dashing comes
(33:53):
in, but then the people startoff wearing a suit for work. And
then it's a bit it is a bit of amind jump to thinking I'm going
to actually spend my hard earnedcash on getting a tailored suit
just for the whole enjoyment forwearing because our stuff is not
in stock for not for going towork particularly
when it's very fast. And one ofour customers is the hairdresser
(34:13):
and he's just obsessed by ourfabrics. He's such a great chap,
Rob Walton, and he wears hisobviously suits for work because
he has he's the talking point ofhis shop and yeah, he is front
and centre. Yeah, front andcentre. So that so that's
obviouslyyou know that our business suit,
but yeah, that's the that is akind of, I guess it's the kind
(34:35):
of path people have to cross toget into the idea that they're
they're getting a tailored suitfor occasions that you don't
have to have one for just forthe sheer pleasure for tailoring
and the joy of it. Guy. I've gota question for you before we
head off because I appreciateit's a Friday night and you got
(34:57):
a life to get on with. Yeah, youYou mentioned films that you did
fabrics for. Now, I know there'sNDAs and you can't talk about
specific films, but it's therelationship with like the
filmmakers, they'll come to youand say, Can you make a fabric
for such and such a tailor, theywill make it and they will have
their name on the credits isthat kind of the gubbins a bit.
(35:17):
Now, it's mainly it's mainlycostume designers who know about
fabrics and and the great thingabout what we do is we're
working with these fabulousmills in Scotland and using the
best quality wool and fabulousweaving and finishing off suits
hang and look amazing on screen.
So the costume designer is justlooking for fabric, which just
(35:38):
tailors fabulously and theyquite often just make them in
their own tailoring. And theyhave this set up. I haven't
actually been to visit tomediaeval zoo, quite secretive,
but they have whole tailoringstudios in in Leavesden and
Pinewood and everywhere but theymake stuff up so the costume
designer is searching I guessthey said they they know
everything search the wholeworld for interesting fabrics,
especially for sci fi movieswith about fabrics. No one's
seen before, because obviouslycan't have you can't have naked
(35:59):
sci fi stars. So they still haveto wear clothes. And we'll,
we'll just look so good on oncamera, and it just hangs and
everything. So they come to usbecause of the quality of the
fabrics. And it's designedpeople haven't seen before. So
yeah, so that's, that's whathappened. So we have very little
to do with I'd like to say thatwe work closely with people and
they think of you tailor somesuits for us. But it's their
(36:23):
point of view just sourcingsomething which is just
fabulous. And then we can't talkabout it because otherwise it'd
be so much noisefor that for their films. But
yes, it's one aspect of whatwe're doing. We've got we've got
an agent in Tokyo and they'vegot 100 tailors who have
bunches. We've got bunches inabout 50 tailors in Europe.
And then they're constantlyadding twice a year we do new
(36:44):
designs, which we send outswatches to the tailors. People
just come to our shop or theyemail me and I send out fabric
swatches to them. So everythingis about us constantly making
really interesting fabrics.
That's interesting. Yeah, soit's whether it's film designers
or individual tailors or justsort of people coming off the
street and has tweed come backinto vogue thanks to perhaps
(37:06):
period piece films or dramaseries. Peaky Blinders is an
obvious one that I'm thinking ofhas that kind of had a ripple
effect down to you guys wellit's funny because like
literally every single year theygo you read an article saying
tweets back in fashion Yeah, itjust it just it never it's never
gone out of fashion thing thathappens is Peaky Blinders have
the day there's eight piece hatsand things and then that just
(37:28):
that's a style thing. But peopleare always picking up on on some
aspect of of, of tweed or colourand then I am very not
influenced by fashion but I liketo think that have by heads are
always looking around andinfluenced by the zeitgeist. So
we're always responding to thezeitgeist by weaving fabrics in
(37:50):
new colours and everything likethat. So so
there is constantly like anevolution of our of our, of our
fabrics, which then that whichare tweed, and will, depending
on sort of fashion and styles.
So So yeah, so it's never everever gone out of fashion,
basically. Well, I'm a fan. Ilove it. I love the shop. I love
the brand. The suits lookterrific. Well done guy you've
(38:13):
you've really made somethingthere over him. And I think
maybe Baker Street for peoplethat are Yeah, we're on the
closed corner of Dorset Streetand children Street. Yeah, yeah.
Flagship store with that. We'vegot 5000 pieces of fabric
downstairs. We've got loads oftailoring suits you can try on
and then we can have a lot offun talking about more in more
depth, everything I've touchedupon. Great. Fantastic. Well, in
(38:35):
the meantime, you can check outguy over at dashing tweeds on
Instagram and dashingtweets.co.uk I believe is the
place people couldn't hang outas well. If you delve into my
Instagram quite far back tolockdown. I did these crazy
videos in this very room in mywardrobe, pulling everything out
and trying Oh, the history ofmenswear you have to go quite
(38:56):
back to like literally beginningof the pandemic, but they're on
the Instagram somewhere. They'revery amusing. Love it. Love it.
So how much wardrobe space Haveyou got versus ward? My wife?
Yeah. I can't really move thecamera around but this entire
all Oh, she's got a wickerbasket in the corner. My side.
(39:19):
I watched the other side butit's there's a door in the way
so it's literally, I'd say abouta quart.
Guy. Thanks so much for jumpingon. I really enjoyed talking to
you. Yes, pop by the shop for acup of tea. It's next time
you're around.
You've been listening to themenswear style podcast be sure
(39:41):
to head over to menswearstyle.co.uk For more menswear
content and email info atmenswear style.co.uk If you'd
like to be a future guest on theshow. Finally, please help
support the show by leaving areview on iTunes or wherever
you're listening to thispodcast. Until next time
Hello, welcome back to another episode of the menswear
style podcast. I'm your hostPete Brooker. Today on the show
I am talking to the founder ofdashing tweeds guy hills and
dashing tweeds create modernurban tweets for the creative
confident man designing made tomeasure and ready to wear
menswear as well as sellingtheir cloth. Okay, so let's get
to the interview. Now here isguy hills, founder of dashing
(00:35):
tweeds when is the kind ofpassion really but my, my
beginning of fashion was fallingin love with photography. So I
became a fashion photographerfor sort of worked my way up
through the magazines, became anassistant after university
science degree, and thenfollowed my passion. I got a
(00:55):
camera on about 50 but thenthought I can make a career of
it and had a really successfulcareer eventually, in main
mainstream women's fashion,which was good, but then I got
married and, and hanging outwith beautiful models and going
off for three weeks to Brazildoesn't go down very well with
with with a new wife. So I kindof then had a studio in London,
I was looking for some work todo in London, and I always love
(01:18):
clothes, and I was asked to be aphotographer for Savile Row,
which is the new world or themain tailors are actually
photographing the editorial jobin Savile Row for a magazine and
then bumped into a friend whosaid that one of the organisers
of the tailors, and a Rolandfrom Madison and shepherd, she
(01:38):
was, it was quite an interestingtime because Savile Row was
really struggling becausetailoring wasn't a big a big
thing. This was about 15 yearsago, and the rents were going up
and they really wanted to get abrand Savile Row and Savile Row
tailors didn't have any websitesor anything. So they they needed
a image Baker to documenteverything. And I met Andrew
(02:02):
Bolton who actually created theMetropolitan Museum. Now the
fashion department bumped intohim on Savile Row. And he was a
friend of a friend. So I kind ofknew him. And then he bumped
into Andrew Rowland. And shesaid, you know, photographer
said he had just met one up thestreet and one of those kind of
amazing moments andjust got a call and he said you
want to come into the shop andthen I said what you want me to
do? What do you want to do? Sobut we just need shots at every
(02:23):
single Savile Row tailors andall behind the scenes and I
couldn't believe it is like mydream job. And they said we
haven't got much money, but wecan pay you in tailoring. So
it's kind of like my eyes then.
Even more exciting thinking Ican get Savile Row seats. And
I've just gone digital at thatpoint. So actually didn't cost
me cash to be a photographer. Itwas just a time thing. So
(02:48):
yeah, so it was it was perfecttiming where I could work in
London, to starting a youngfamily. And then I had access to
a whole of Savile Row tailorsopened their doors to me my job
was to walk into all of them andgo through their archives. And I
got paid and tailoring. So itwas yeah, it was kind of it was
like a dream life changingmoment. Nice. You still got some
(03:09):
of the suits. And yeah, all ofthem. Yeah, well, wearing one
now behind me is a wholewardrobe.
Full of full of them.
Andso that was the beginning and
then Ifell in love with both didn't
get all the archives all thematerials in the tailors and
does bit scared as I've beenintimidated good with Savile Row
(03:30):
tailor because he's so smart androyal connections and
everything. And they were a bitkind of the face of them as all
businesses grey and grey andblue and everything but I knew
they had something amazing intheir archives, so refer to the
archives and they had thesebooks which I was photographing,
which went back 200 years, andHenry poolside 20 years ago. And
then it's suddenly look atfabric swatches little kind of
(03:53):
bits from the 1860s and Isuddenly thought, wow, these are
kind of really wild, wildfabrics, wild colours. They sort
of seem more like the stuff thatVivienne Westwood was using who
I sort of loved, loved westwardat the time, and I couldn't
believe that kind of the SavileRow tailors had this kind of
really cool colourful off thewall fabrics which they've had
hidden in their basement.
(04:18):
How do they preserve them then?
They were literally they'reliterally these leather ledges
like huge great big ones withkind of the years on them or
really dusty just you know, Ican imagine just seeing that
kind of film where you go to thebasement and below
there's a Goonies map right nextto it. Yeah.
And you open them up and thenit'll swatches the fabrics which
(04:38):
they got from customers orders.
And yeah, just blew me away.
That's how much colour andchoice and then how much fun men
were used to have with withtailor clothes. So I was getting
paid to photograph all this anddocument it and I was
photographing in a reallyfashion the way because other
people may be tempted to sort ofrelish the the old school
(04:59):
settledLow idea and do like rate like
and make it look old school, butI was shooting with ring flash
really more than like reallypoppy fashion which was my
fashion style.
So I was making it look reallyfresh and and then I
thought how can I get hold ofthese cloths I said to the
tailors, you know, where arethese fabrics? And they said,
Well, they didn't really existany more than most the mills
(05:20):
have gone bust and there's not ademand for them and high street
fashion has has taken over. Andso they don't really exist
anymore. So my sort of head waswhirling asking how can I get
hold of these amazing colourfulfabrics. And the nearest I'd saw
were designers like some earlyPaul Smith and Vivienne
Westwood, some other highfashion people who were kind of
cleverly using actually tweedand wool in colourful ways for
(05:43):
their for their purposes. Butthese ones are Savile Row even
more exciting than like thehippest fashion designers.
Anyway, I was looking around, Ihad a photographic studio in
London as well. I was trying todo some sort of styling work and
I thought if I go to the thefashion colleges, I may meet
some like minded people. Becausebeing a photographer, the thing
I liked about it was it's acollaborative process. And when
(06:05):
I was on shoots, a bus wouldturn up and it'd be full of
models and the stylists and youneed to work together as a team
to create magazine images. So Iwanted to kind of create my own
my own team. And I went to theRoyal College of Art to the
degree show. And I saw this, itwas a fridge with a door open
and colourful fabrics coming outand it was all a bit kind of bit
crazy and colourful. And thegirl who's just show it was was
(06:28):
called Kirsty McDougal and shewas a weaver. And I said, Well,
I love these fabrics. And I loveyour style. Can we work
together? And it she said, Yeah,sure what you want to do and say
I want to style some shoots andthings.
And what else can you do? And Isaid, she had a bit of fabric,
so can you make me a bit offabric? And she said, Well, I've
just left the college but I canask the Royal College if I can
(06:49):
use their looms for a bit and doa bit of weaving. And one of
these ones had Chevron so it's abit like bicycle tires had had
gone over it. Andit's like a herringbone or Yeah,
it's like a herring because it'slike a bit like a herringbone
actually. Yeah.
I've gotonly one guys just going into
his wardrobe then. All of theseveral Savile Row suits are
(07:11):
spilling out. Yeah, I can.
Look at that. That is a thing ofbeauty.
Love that. Wow, HiggledyPiggledy, but it's, it's a lot
of seats in there.
Actually, this is the, this isnot pre arranged. So otherwise,
I would have had it to hand. Butthis is one of the very earliest
(07:32):
fabrics that I see. Yes, it'squite interesting, isn't it
going over, but it's just areally fresh, fresh design. So
this was something that Kirstyhad woven for her degree show at
the Royal College and actuallyreminded me of things I'd seen
in Savile Row archive from sortof the 1860s when things so
there was a whole, a whole kindof synergy of all this stuff
coming together. And I wasthinking, I need to have some
(07:55):
for myself.
I said, Kirsty how can how canyou make How can you make
something? She said, well dosome research, we found a
commission weaving mill up inScotland and said, Can you leave
a small, small amount and theysaid, well, they can weave a
piece. So a piece is typically60 metres, a woven piece. So I
thought, well, how much thepiece costs a few 1000 quid I
(08:16):
thought, well, actually, I'vegot a great idea, as the
beginning of beginning of youknow how business business plans
start off, when you're just soobsessed, you want something
yourself, I'll get 60 metres,I'll keep six for myself for Su
and I'll sell the rest. So youknow, you can't go wrong, our
finance my addiction, and I'llget these, my suits made up in
the tailors and Savile Rowbecause they were paying me
(08:36):
through my photography. So it'skind of all around bartering. So
I kind of had this kind ofepiphany where I thought, here's
a whole a whole way where I canget, I can get fabulous suits
myself and maybe make money. Butthat was right. I mean, you know
about starting a business, youstart off with a kind of real
passionate idea. And then thenthe reality is a lot harder.
(08:57):
Guy. I think people hear theword tweet and imagine it or
they can see it in their mind'seye. But maybe you could just
describe it and give it thatkind of Google snippet so that
we know for sure, I try to bebrief, I do random. So actually,
the fastest jacket I was talkingabout the one that kind of were
really loved was actually aHarris tweed jacket and that
kind of brown, brown Chevronwhich I've borrowed from my
dad's wardrobe and pretty muchwore throughout my whole time at
(09:18):
Bristol University, which isalways raining and protected me
so so Tweed is woven wool, andthe actual national word Tweed
is as a romanticism invented bythe Victorians because there's a
famous river tweed, and thewill, their will, which was
being sold sold was calledtwill. And the twill is may not
be able to see but you can seethere's a diagonal and not the
(09:38):
check, but there's a diagonalhere and that's called a twill a
twilled structure. So the soobviously will was what made
Britain one of the most it wasthe it was the oil of the of the
earlymiddle middle late Middle Ages,
I guess. So. You know, we justbuilt a whole fortune. Norwich
was the second richest cityafter London built entirely on
on whooAll and Western, which is a form
(10:00):
of spinning was a place inNorfolk. But then then the mills
famously, were all situated byrivers because it was all water
powered. So these are pre whenthe beginning of the Industrial
Revolution.
So, so the Victorians Reaganmaking up stories making
romanticism so there was thiswhole river tweed everyone was
(10:20):
getting obsessed with Victoriahad bought, we had Balmoral
built, and there was a wholelove of Scotland and genuine
British sort of woollen clothes.
And so they people selling it,instead of some one salesman
apparent instead of calling it atwill. Wool said it was tweet,
and then there was a whole ideaof the English aristocracy, were
moving up to Scotland, and theywere creating a state tweet. So
(10:43):
they were as soon as you do anyweaving, and you have a warp and
a weft, so the one goes up onegoes that way, when it was the
kind of check and and then youchange the assets, that's quite
a complicatedI'm just pulling up a fabric
that was on the Instagram justfor anyone, I'm
(11:05):
sorry. And it seems to changethe colours of the walk in the
West, you get a check. And soyou end up with these fabrics,
wooden fabrics with the twill innumber 12 structure which has to
do with the weaving process. Andget some got known as tweed
because of the romanticism ofthe river Tweed. And then the
function of tweed, it had lotsof functions that sort of people
(11:26):
didn't didn't really realise wasactually camouflage set to begin
with. So was kind ofdyed the colours of the
countryside. So browns andgreens, a famous Lord love it,
he used to dye his tweed and gethis Gillies to walk up the top
of a mountain and hold them upat the top and see which one
disappeared with all the haver.
It's quite interesting and hasall different bright colours. So
(11:49):
some of those ones which arecamouflage for the country, they
weren't just all green colours,they had like bits of purpley
Heather in and so it became akind of colourful fabric. So
it's kind of camouflage it wasit was sportswear, so if you
think of all the early hunting,shooting and fishing, and then
later on like cycling andmotoring, it was all done in,
in, in Tweed.
(12:11):
And then it was also the way menwore it was sportswear and terms
of like how we think of modernsportswear, it's colourful, it
was relaxing to wear. And it wasthe way men traditionally wore
colour. So it had it's got somuch going for it. And apart
from that wool is just prettymuch the most amazing fabric
there is. I mean I can I can goon for ages about the properties
(12:32):
of wool but but briefly, itabsorbs more moisture than
almost any other cotton withoutfeeling wet. So I think it's
like even But 20% of water intoa wool and it can be next to
your skin. It doesn't feel wet.
Where's that horrible feelinghoney clammy, wet jeans on your
skin? They get? Oh, yeah, no, Iknew it today digging ditches
out in the rain. I'm very, I'mvery familiar with it. You
(12:52):
weren't wearing you should bewearing Tweed.
I never get any decent tweed wetor ruined or muddied. So I was
just wearing my, my work gear,shall we say?
Actually, that's that's a reallygreat thing. But having a kind
of a wardrobe building up awardrobe. If you build up like a
(13:13):
tailored wardrobe, then you getto a point after I've been to
toes last so long when they'retailors you know, but you get to
a point like after 10 years,that that you've kind of sort of
retiring one of your smartsuits, and you just wear it for
gardening, and then it becomesbetter. And then you don't
really care about it and youplay football with the kids in
it and you just get it coveredin mud. And and yeah, then it
(13:35):
becomes even even moreenjoyable. Well, that's what
Lucien Freud the famous painter,he was he had his suits Ben
Savile Row, and then he justpainted them and got them
covered in. I mean, that's howyou should where you should
wear, you should wear tailoring,you should just sort of, it's
the whole idea that it's you getlike constricts you, or
(13:57):
makes you feel that you're haveto have to act in a certain way
is by just a bit of time,obviously just to get totally
relaxed if you're not used towearing a tailored jacket
because people may not enjoy it.
But once you actually havesomething that's properly fitted
with a high armhole, fixed doseto your body, it's just the most
comfortable thing and then yourealise you can just do
absolutely anything, anything init. So yeah, that's the aim of I
think all tailoring and andtweed and wool.
(14:22):
Guide tell me about when tweedbecame commercial for city use.
I mean, we talked about theorigins and when you can use it
as sport where in the country,but when did it come so kind of
ubiquitous that people couldwear this in the sea? I found
that when I was researching thisa long time ago so my facts
maybe not entirely right. Butthere was a London Scottish
(14:45):
regiment run by Lord Elko. Ican't remember the exact date
but it's Victorian times and heinvented a fabric, a tweed which
was called a hot and grey, whichwas a kind of urban grey colour.
So it was designed to fit in,you know, it's talking about
tweed being coveredlaunch with the country. It was
actually designed to sort ofwork in, in the London
environment. So that was sort ofthe first when I was doing my
(15:06):
research, that first idea thatthere was Tweed is a more robust
fabric compared to in the, inthis times in the Victorian
times in the city people bewearing finder. So woodland sees
what kind of boosted suits andthey'll typically be very smart
and black and black and white.
Yeah, that's a great one. That'sa just flashed up a picture of
one of our grade peaks, whichalmost has the kind of urban so
(15:29):
that's, that's our, theevolution of dashing tweeds has
been all about creating tweetsfor a more urban market and a
more fashion orientated market.
So yeah, that was the Lord elcasLondon Scottish regiment with
the invention of Haagen grey.
Yeah, I was in Victorian timeswas the beginning. But then the
(15:50):
fabrics get lighter, so theybecome easier to wear, does that
play a factor?
I mean, traditional tweed forthe for the country, that really
thick foam proof stuff you get,which is sort of very tightly
woven, and is sort of 20 ounceplus, yeah, that you wear it
indoors if you're not gonna wearthat kind of stuff in an office
(16:11):
job. Right.
So yeah, there is the whole ideaof then people thinking that
will is too hot to wear in, insummer or in offices or in town.
But jabbered sort of nonsensereally just said, Well, you're
not wanting it, you just need 20out tweets, it's gonna be too
hot, but you just need to makefiner finer weights, I guess is
(16:33):
your, your point. So you end upwith
was when people come to my shop,I explain the two different
types of, of wool, suitingproducts there are there's
tweed, which is made of awoollen yarn, which is So it all
starts off with obviously thesheep is sheared. And then they,
they what's called card the woolso they have this big drum with
these spikes, and it makes thewool have put air into it, but
(16:57):
the the actual wool fibres aregoing in all different
directions. But whereas boostedyarn, they comb it so it all
goes very, very, very slick. Andthen a twist it very, very
highly in the spinning process.
So you end up with what's calleda twisted yarn. And that's what
pretty much all businesses aremade out of. And then a woollen
yarn is the wool their hair,typically thicker, hairier,
wool, and you end up with atweed, which is scratchy
(17:20):
basically.
Do you make a bespoke in dashingtweeds? Or do you put or do you
give that to the Savile Rowcutters to make How does it
work? Oh, yeah, it was just abacktrack a tiny bit. So then I
started making the fabric pieceof fabric for myself. And then I
(17:41):
spoke to some friends andthinking, I got to try and sell
because, you know, I had the 60metres woven, and that I needed
six metres for myself and Ithought, well, how do I how do I
sell the remaining metres? So Iwas working as a fashion
photographer and I had somequite good connections. So I
spoke to this friend of mine,Kinvara Balfour. She was styling
for a magazine I was workingfor. And she had a very early
(18:04):
website called Daily candy shewas writing on and she wrote an
article about me. And then aboutthe dashing tweets, I just had
to set up with Kirsty I said,Let's just set up a brand name
for this company, which at themoment was just so only had one
customer, which was me, soleaving this little cloth, and
then anyway, she wrote about it.
And Converse read about theylove the idea that we were
modernising tweed, we haven'treally stepped on that bit yet.
(18:25):
But my idea of the tweet wasobviously, to take it into an
urban environment and make iturban colours, and not
traditional country Tweed. And Ihad this other idea, because I
was always cycling aroundeverywhere to incorporate a
reflective thread into the tweetto add to the modern sportswear
element of it. Anyway, so I waswriting she wrote about that,
and converse rang up fromBoston and said, We love your
(18:47):
idea. Can we collaborate and andcut long story short, they made
30,000 pairs of CO brandedshoes. Wow, got one here to show
you. Very cool. Jack Purcellconverse, covered in one of our
colourful tweets and CO brandedwith Randy, get that to the
camera guy, please. So we'llhave a closer look at that.
That's genius. Yeah, so that wasthat that was you know, the kind
(19:07):
of in terms of entrepreneurs andI didn't really think of myself
as an entrepreneur, but I thinkof myself as a sort of
passionate tweed lover. And thenI had a stroke of luck
with this person with Converse,doing a very early collaboration
with us. Fantastic. And that ledto me then I opened the shop. So
then to cut to what you were,you were saying. Now in the
(19:29):
shop, we design all differentranges of fabrics. And we design
a whole range of tweeds for thewinter and then sort of summer
tweeds, which are mostlyboosted.
And the people come to our shopand we work with a whole range
of tailors. So we've got someseveral rotators we can if
they've got deep pockets, we'vegot a made to measure tailor.
We've got a seamstressdownstairs who does sort of soft
(19:51):
tailoring, and we've got somecity tailors who we recommend as
well. So so it's all aboutpeople coming to us being
inspired by the fabric and thenworking
out what they can afford or whatthey want to have made in, in
the fabric. Fascinating? And doyou get approached for a lot of
collaborations because I imagineyou're kind of spearheading this
flamboyant weed wearing. So, Imean, trainers is one thing
(20:16):
that's a great idea but likeinteriors, car seats, you know,
kind of like endless. Yeah. It'swell, it's such a fantastic
material. So it is great for mejust as we did some bags with
Fred Perry, which was quitegood. And then my brother's got
a company called retrouvez,which is an architectural
salvage company, we've workedwith them designing special
(20:36):
fabrics and covering furnitureand chairs and some bespoke
projects with them.
We've worked with the filmindustry a lot now, but I can't
I have to sign an NDA, so Ican't talk about it. But
basically design fabrics for formajor major films, which is,
which is really exciting. Andthen, when I get passionate
about mostly it's people liketoday, so people came into the
(20:56):
shop, and they wanted to buysomething, they heard about
them, but they weren't quitesure. And I was showing them all
the fabrics and, and this ladybrought in her husband and the
husband said, I've only got ablue shield, he likes to take
the jacket, but everything I'vegot is dark blue, I want
something different. And thenyou can start explaining how we
designed all these morecolourful things and how much
(21:16):
choice men used to have. Becausemost men are terrified of
colour. That's the and actually,the funny thing is I was born in
the 60s. So I kind of when I wasin my formative sort of younger
years in the 70s. You I find itquite amusing. We look on
television, and then thenewsreaders had to fit in with
what people were wearing. Sothey were wearing bright yellow
Kipper ties and things like thatthey were kind of really
(21:37):
conservative people, all theywanted to do would be the kind
of men who would just sort ofslip into the background of the
party. But in order to slip intothe background of the 70s,
you're going to have to wear a,you know, a bright yellow Cooper
tie and purple shirt and stuff.
So that was kind of what I wasfamiliar with. And then actually
later in life, the rave scenekicked off, which I thought was
really good fun,and participate in lots. So I've
(21:58):
kind of had love colour in mygrowing up. And I think a lot of
men haven't had that like if theproduct grew up in the 90s, for
example, and absolutelypetrified of colour.
So that's a big act big aspectto to dashing tweets as well.
Well, you hit upon somethingquite interesting there because
when I was going through yourInstagram page, and there's
(22:21):
there's a picture of guymodelling in the store, I
presume, are wearing a greencheck suit with a pink shirt and
yeah, acrobatic bicycle chainson it.
But I did get the feeling thatthere was a 70s vibe, or a sub
current going through the brand,just because of the fullness of
the cut. I mean, I keptthinking, like, perhaps told me
(22:42):
no other day somethingflamboyant that he would wear.
So would you say like there is ahouse signature or my way off?
No, no, no, you're not way off.
But the funny thing is, isbecause I've been so lucky to
have all this research forstudying all the archives of
Savile Row, I can go back toreferencing sort of about two or
300 years of men's style. So soyou're totally right, that those
(23:04):
Jazz's look 70s. But then I wassort of referencing more like
Oxford bags from the 20s interms of that particular cut.
And then I've got this book,which, if a tailor sees be
carrying this book they get,they kind of start quaking and
going, Oh my God, what'shappening. So it's quite hard
finding tailors who are reallycreative, but there was one city
Taylor, who I was using at thetime, Russell, his call that
(23:26):
Graham Brown, and he was justhappy to do anything I wanted.
And I brought his book along.
And it was a historical bookwritten by John peacock. It's a
it's basically a history kind oftextbook, and it has
historically accurate, accuratedrawings going back to sort of
1600s and it's just got so muchinnovation and then that that
(23:47):
really is something I learnedabout tailoring is men's
tailoring is all about form andfunction, every single aspect,
the buttonhole on the lapel, youknow, used to go to a button
here, so you coulddo things, every single aspect
of of a tailored suit has apurpose. And some of the several
rotators still have littlehorses, like you know, wouldn't
gym horses, for people to gettheir britches fitting just
(24:09):
right. And the kind of britchesfor example, that they've got a
special twisted seam whichLevi's used for their twisted
jeans but it was just somethingthat's been around for 150 years
to make it more comfortable tosit on a horse. So there so the
form and function of tailoringare fascinated by so yeah, so
you can see different themeslike I told me that it was I
think to me that it was going tolast person when several work in
(24:30):
several roads really bring highfashion and all have tailoring
together and become incrediblykind of influential to pop stars
of the day the Beatles and everyall the young stars at the time
there was also Mr. Fish, but itwas people were still heading
(24:51):
towards Savile Row was the placeto buy clothes, but and then
those people brought the highfashion to it. But after that
theMy fashion basically went off
into the high street and leftSavile Row behind. And that was
my that was my purpose forworking. When Savile Row asked
me as an image maker tophotographer, they wanted to
sort of bring people back toSavile Row, and encouraged them
to go back to tailors tailoring.
(25:15):
And that's kind of almost whatI'd like to do in my in my shop
is really, it's a realeducation, you got to say to
people, that tailoring is notabout getting a stuffy business
suit is basically aboutanything, anything you want. And
there's something really quitepassionate about is you've got
to educate people to once theyunderstand what tailoring could
do for them. They could be theirown fashion designer, because a
(25:35):
lot of people think fashion issomething out there. It's it's
dictated by someone else, theydictate to you what you should
wear. Whereas the whole idea oftailoring and the empowerment of
of, you know, men, making thedesigning their own suits is
that you are the fashiondesigner, you can tell the
tailors what to do. And thereally interesting
(25:58):
thing I tell people aboutbespoke tailoring is all you
ever hear is bespoke bespokethis bespoke that what you never
hear anyone's say is I'mspeaking a suit to my tailor,
I'm the person who is speakingwhat I want. And you say you
hear from the tailors thing,this is a bespoke suit. But you
don't often hear someone say I'mgonna speak this particular to
(26:20):
my tailor because it was spokenfor that's yeah, it's bespoke
for Exactly, yeah. So thatchanging that dialogue, where it
was where the customer is incharge, and, and they can speak
whatever they want is what I'mpassionate about. So I kind of
try and educate people to cometo my shop, and obviously
chatting to you now to say thatonce you've got enough
(26:42):
ideas, and you've actually readsome history, and these could be
these brilliant books likeTaylor and cutter, they used to
tell the customer, all thedifferent types of cuts
available. And so that gives yousome armour,
ammunition rather, for going toyour tailor and saying this is
in fashion. This is the latestcut, and interesting got the
books that also actually havelittle
(27:02):
patterns. So the tailors couldactually make what what you
wanted. So yeah, that's that'sthe that's the it's the i My
idea is, is it's the mostsustainable way of of getting
clothes, and most enjoyable foreveryone. Yeah, well, I mean,
you mentioned fashion design aswell, you must be like part
(27:24):
salesman, part stylist as well,because your suits and your
fabrics are so different. Andyou have to kind of coordinate
some of the colours that mightbe going on with the check, for
example, that's got to match theCorvette or the shirt. So you
find that when people come intothe shop, you have to almost
nudge them slightly into wherethey should be thing more than
(27:45):
nudge them. I literally justthrow bolts of fabric over them
and say, Look, this is great.
And oh my god, I'm terrified.
It's not navy blue. And, andthen you actually sort of Lego
actually, it's quite cool. Thenyou sell it, it goes with your
eyes, and then you canaccessorise it with this colour
and you can go on a personalcolour journey. Although she's
discovered loads of people ofcolour blind, several people
(28:06):
come to my shop and say I justreally liked what you do. But
I'm actually colorblind and Itake the swatches home and show
my wife, but it's quiteinteresting. I meet people Sorry
to cut you off, I think peoplewere a lot of the time no matter
how much they know about suitsand fabrics and fashion, they,
they almost want to be guiltedinto something because it's
(28:26):
something new that they're goingto get from the shop, there's
something new that they're goingto be taught, I mean, there
might have a base knowledge ofwhat goes with what, but then if
you're going to say look, I'vegot this over here, you've not
seen this before, it can go withthis over here, and then you
compare it and you can match itwith your eye colour and you can
do all that with your skin tone,and then they've got a ground
knowledge, but they've gotsomething new from you, if that
makes sense. Yeah, and you'vehit on to two great things. One
(28:48):
is the ground knowledge so thatpeople sort of having a little
bit idea of what they want. Andthen the other thing is, is is
actually offering people morechoice because you're going to
other shops. I mean the wholepoint of dashing tweezers were
totally at the end of thespectrum you got all the other
shops and dashing just fillsthis I like to think we fill
holes in in right in theextremes of things people have
(29:09):
got everything and then theycome to dashing kazoo yes doing
extremely interesting colourfulthings.
Yeah, so it so it is it is it isa journey for people and when
they start the journey, it maystick it somewhere else and they
may end up liking the sort of anaddiction getting stronger and
stronger doses of of sort ofcolour and interesting textures
(29:30):
and things. But then Then again,if people knew more of the
history, they'd realise thatthey've just been fed as sort of
by the High Street and by mainfashion has been spared a diet
of white bread and butter foryears and all the colourful
salads and vegetables and allthe flavours have just been just
been missing because it doesn'tmake economic sense for the big
(29:52):
companies to do in even dyingcertain colours is expensive.
that's another aspect actuallythat people have forgotten about
in terms of colour that thereused to be a whole
etiquette of how expensivecertain colours were. And Black
was the most expensive colour sopeople people don't really
realise that so so then thepeople were wearing black
(30:14):
because it was so expensive. Andthen also, Queen Victoria was in
was in mourning and wearingblack so people were wearing
black fur because there was somuch colour around so Bo
Bramble, which is obviously avery famous
menswear influence as one of thefirst and most legendary ones he
was fighting gets a verycolourful background, and that
Georgian times, where they'reall bombarded by colourful silks
(30:38):
from Jacquard woven silks fromFrance and Italian fabrics. And
so it was a barrage of colour.
And then he had this purity ofblack and white, which is, which
is when was around 200 to 200years ago. And that's kind of
that's gone all the way throughand people that then just lost
all the idea of the colour,which other people would have
been aware of. So, so it is thatwhole re education of, of how
(31:01):
much fun how much joy colourgives you when the customers
come to the shop, and they get asuit, a colourful one, and then
they go to a party people comeup to them instantly go wow, you
look amazing. And they say,right, yeah. Well, I mean, so I
when I was younger, I read thisbook about what you should have
when you go to parties, it waskind of like one of these really
horrible, bullshit books abouthow to get everyone to like you
(31:23):
or something. Yeah. And you hadto have something like it, it
was called or WhatsApp. Now itcould be a badge, or it could be
a headband, or it could besomething that would someone
would come up to you and go,where did you get that? Yeah,
and I'm just thinking anyonewearing one of your suits is, is
not going to kind of stand outfor any of the wrong reasons,
but people are going to want togravitate to you by just going
(31:44):
well, I need to know where yougot that suit for. Oh,
absolutely happens. I mean, thatis kind of a whole suit. If
you're if you're starting offwith a whatsit, which is a badge
and then going through a wholeseries, a big a big jump for the
person in the corner. So thenmaybe the opposite happens in my
shop, people come in, they getthey get hat, so they're wearing
what they could have grey andblack clothes, and they get a
colourful hat. And then thatstarts the whole spare kind of
(32:06):
little, little thing, and thenthey come back for a bigger
dose, and then they'd go aregonna get always get, I'm gonna
get a jacket. But you are rightnow, once you once you come full
dashing, and then then you're ina party, the doors open, then my
guys, oh, wow, the party ishere, you've arrived. And
that's, that's definitelyhappens. Well, because I think
also, when guys have typicallybought suits that aren't
(32:27):
familiar or have never reallywanted to buy suits before,
they'd have to buy it for anoccasion which might be a job
interview, or a suit for awedding or a funeral, or a black
tie event. But they don't reallyget shown how to wear suits for
fun or shape of a wardrobe. Soonce they now have a kind of
like, we're going back to thebaseline of what they like in
(32:50):
their wardrobe, you guys are thekind of that funky door that you
can go through and find a newWonderland behind it. Yeah, that
means that you've hit on areally important point is people
think of suits forthe right reasons of looking
really smart for interviews,and formal occasions. So that's
kind of baseline of how you justhave to move becoming less now.
(33:12):
But you had to get a suit ofthought for the job. Yeah, so
then the idea of wearing one forpleasure, with a colour wasn't
kind of the thing, especially ifyou do it, you were kind of
rock and roll era and getstarted in the 50s 50s and
standard wear suits. But thenthey started wearing leather
(33:32):
jackets, and then it was allabout not wearing the suit and
not being with the establishmentand everything. But I find that
you know, it's, it's quite nowthe establishment, you don't go
to the city. Now you don't seepeople in beautiful pinstripe
suits anymore, the establishmentsort of disappeared. So it's
actually more more rebellious tobe wearing a colourful suit for
pleasure, which is definitely agood point where dashing comes
(33:53):
in, but then the people startoff wearing a suit for work. And
then it's a bit it is a bit of amind jump to thinking I'm going
to actually spend my hard earnedcash on getting a tailored suit
just for the whole enjoyment forwearing because our stuff is not
in stock for not for going towork particularly
when it's very fast. And one ofour customers is the hairdresser
(34:13):
and he's just obsessed by ourfabrics. He's such a great chap,
Rob Walton, and he wears hisobviously suits for work because
he has he's the talking point ofhis shop and yeah, he is front
and centre. Yeah, front andcentre. So that so that's
obviouslyyou know that our business suit,
but yeah, that's the that is akind of, I guess it's the kind
(34:35):
of path people have to cross toget into the idea that they're
they're getting a tailored suitfor occasions that you don't
have to have one for just forthe sheer pleasure for tailoring
and the joy of it. Guy. I've gota question for you before we
head off because I appreciateit's a Friday night and you got
(34:57):
a life to get on with. Yeah, youYou mentioned films that you did
fabrics for. Now, I know there'sNDAs and you can't talk about
specific films, but it's therelationship with like the
filmmakers, they'll come to youand say, Can you make a fabric
for such and such a tailor, theywill make it and they will have
their name on the credits isthat kind of the gubbins a bit.
(35:17):
Now, it's mainly it's mainlycostume designers who know about
fabrics and and the great thingabout what we do is we're
working with these fabulousmills in Scotland and using the
best quality wool and fabulousweaving and finishing off suits
hang and look amazing on screen.
So the costume designer is justlooking for fabric, which just
(35:38):
tailors fabulously and theyquite often just make them in
their own tailoring. And theyhave this set up. I haven't
actually been to visit tomediaeval zoo, quite secretive,
but they have whole tailoringstudios in in Leavesden and
Pinewood and everywhere but theymake stuff up so the costume
designer is searching I guessthey said they they know
everything search the wholeworld for interesting fabrics,
especially for sci fi movieswith about fabrics. No one's
seen before, because obviouslycan't have you can't have naked
(35:59):
sci fi stars. So they still haveto wear clothes. And we'll,
we'll just look so good on oncamera, and it just hangs and
everything. So they come to usbecause of the quality of the
fabrics. And it's designedpeople haven't seen before. So
yeah, so that's, that's whathappened. So we have very little
to do with I'd like to say thatwe work closely with people and
they think of you tailor somesuits for us. But it's their
(36:23):
point of view just sourcingsomething which is just
fabulous. And then we can't talkabout it because otherwise it'd
be so much noisefor that for their films. But
yes, it's one aspect of whatwe're doing. We've got we've got
an agent in Tokyo and they'vegot 100 tailors who have
bunches. We've got bunches inabout 50 tailors in Europe.
And then they're constantlyadding twice a year we do new
(36:44):
designs, which we send outswatches to the tailors. People
just come to our shop or theyemail me and I send out fabric
swatches to them. So everythingis about us constantly making
really interesting fabrics.
That's interesting. Yeah, soit's whether it's film designers
or individual tailors or justsort of people coming off the
street and has tweed come backinto vogue thanks to perhaps
(37:06):
period piece films or dramaseries. Peaky Blinders is an
obvious one that I'm thinking ofhas that kind of had a ripple
effect down to you guys wellit's funny because like
literally every single year theygo you read an article saying
tweets back in fashion Yeah, itjust it just it never it's never
gone out of fashion thing thathappens is Peaky Blinders have
the day there's eight piece hatsand things and then that just
(37:28):
that's a style thing. But peopleare always picking up on on some
aspect of of, of tweed or colourand then I am very not
influenced by fashion but I liketo think that have by heads are
always looking around andinfluenced by the zeitgeist. So
we're always responding to thezeitgeist by weaving fabrics in
(37:50):
new colours and everything likethat. So so
there is constantly like anevolution of our of our, of our
fabrics, which then that whichare tweed, and will, depending
on sort of fashion and styles.
So So yeah, so it's never everever gone out of fashion,
basically. Well, I'm a fan. Ilove it. I love the shop. I love
the brand. The suits lookterrific. Well done guy you've
(38:13):
you've really made somethingthere over him. And I think
maybe Baker Street for peoplethat are Yeah, we're on the
closed corner of Dorset Streetand children Street. Yeah, yeah.
Flagship store with that. We'vegot 5000 pieces of fabric
downstairs. We've got loads oftailoring suits you can try on
and then we can have a lot offun talking about more in more
depth, everything I've touchedupon. Great. Fantastic. Well, in
(38:35):
the meantime, you can check outguy over at dashing tweeds on
Instagram and dashingtweets.co.uk I believe is the
place people couldn't hang outas well. If you delve into my
Instagram quite far back tolockdown. I did these crazy
videos in this very room in mywardrobe, pulling everything out
and trying Oh, the history ofmenswear you have to go quite
(38:56):
back to like literally beginningof the pandemic, but they're on
the Instagram somewhere. They'revery amusing. Love it. Love it.
So how much wardrobe space Haveyou got versus ward? My wife?
Yeah. I can't really move thecamera around but this entire
all Oh, she's got a wickerbasket in the corner. My side.
(39:19):
I watched the other side butit's there's a door in the way
so it's literally, I'd say abouta quart.
Guy. Thanks so much for jumpingon. I really enjoyed talking to
you. Yes, pop by the shop for acup of tea. It's next time
you're around.
You've been listening to themenswear style podcast be sure
(39:41):
to head over to menswearstyle.co.uk For more menswear
content and email info atmenswear style.co.uk If you'd
like to be a future guest on theshow. Finally, please help
support the show by leaving areview on iTunes or wherever
you're listening to thispodcast. Until next time
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