One of the most under-appreciated details on a necktie is the bar tack. I’ve had neckties that I’ve paid a hefty sum for that lacked a decent bar tack and came undone after a few wears, which is a moment of disappointment when you think back to how much the tie cost. It’s a tiny detail, unnoticed by so many — wearers and manufacturers alike — but I happen to enjoy the tactile feel of a well-sewn one.
Louis Walton’s bar tacks are impressive, as you can see above. I consider it on par with those found on Vanda Fine Clothing’s and Panta Clothing’s neckties. It’s better than the bar tacks found on Drake’s London and Polo Ralph Lauren, in my opinion. It’s the first thing I noticed when I received a review necktie, handmade by owner Gregory Walton (he named the company after his father) in San Francisco.
“I started making ties because I realized the things I liked were very expensive and I felt that with practice I could make something just as nice as the things in the shops I liked,” Gregory said. “In my family it has been a practice to learn to make the things or do the services we like.”
Gregory’s been sewing neckties since 2008 and initially gave them away as gifts until a friend asked him to design a line of ties and pocket squares for his shop.
The tie Gregory sent me is this navy Japanese cotton with white flowers in a six-fold design. The tie is lightly lined and untipped, two details I particularly enjoy. It also features a hand-sewn slip-stitch to allow the tie to recover after being worn.
I asked Gregory about some of the technical challenges of learning how to sew ties by hand, and unsurprisingly he said it’s not easy. One of his mentors taught him how to make patterns for shirts and trousers, which helped him develop his own patterns for neckties.
“There is still a measure of trial and error involved because I make each tie with the client in mind,” Gregory said. “Therefore, the shape and length of each tie is different depending on the size and preferences of the client. I am constantly learning and trying different things.”
Another challenge is sourcing fabric and thread, because they’re not available at just any fabric store, often needing to be sourced from mills directly. Finding good fabric is extremely important to him because it affects how the tie drapes and knots.
While the design and pattern of the fabric is originally what caught my eye (I’m always a sucker for navy ties), the light cotton actually goes nicely with a variety of summer and warm-weather jackets and the “neat” flower pattern gives just enough visual variety to break up an ensemble of solids. I liked it in particular against a light blue linen shirt and a white linen-cotton jacket.
If you’ve been following the Louis Walton tumblr, you’ll notice that Gregory’s also been expanding his skillset into leather goods, including belts and keyholders. If you took a look, you’ll see they look damn impressive.
“I am very excited to be branching into leather work and find it o be very rewarding,” Gregory said. “I am starting with small pieces like keyholders and wallets, and I hope to offer larger items like briefcases and bags for men next year. I do everything by hand and it leads to pieces that are very strong and structured, while still being soft and pliable.”
Gregory also mentioned he’s working on outerwear pieces with a local tailor to be offered as made-to-measure items.
It should also be noted that Gregory’s training under Beatrice Amblard of April In Paris fame. For those who don’t know, Amblard is a former Hermes artisan that now has her own label designing custom leather accessories in San Francisco.
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