What Kingsman Did for Classic Style

What happens when Huntsman, a pillar of Savile Row tradition, intersects with the cinematic allure of Kingsman? Learn how these two entities brought bespoke tailoring into the spotlight, redefined classic style, and shaped the future of Savile Row.

Video Transcript [Lightly Edited for Clarity]:

Jack: Whether you’re a lover of classic style or a secret agent fan, there’s no better place for tailoring than Huntsman. I’m here today with Campbell, Huntsman’s head cutter. Campbell, great to be here with you.

Campbell: Nice to meet you, thank you.

Jack: Thank you. So, the Kingsman series started here, at Huntsman, but where did you start, Campbell?

Campbell: I was a fashion student at the Scottish College of Textiles, now known as Heriot-Watt, up in the Scottish Borders, just south of Edinburgh, in a place called Galashiels. I studied for a degree in textile and fashion and was lucky enough to secure a work placement with Kilgour, French, & Stanbury—later just Kilgour. I started out as an apprentice cutter-striker. Essentially, my degree in fashion textile design was rendered useless because I had to start again from scratch. However, all that information, especially weaving, was in there somewhere.

Ten years ago, when I joined Huntsman, our chairman and owner, Pierre Lagrange, said, “You’re more than a head cutter; why don’t you be our creative director?” So, all that fashion knowledge, training, and understanding of cloth and weaving came into play. I now have two roles here: head cutter and creative director.

Jack: Awesome! So, are those roles very different in terms of what’s required of you?

Campbell: Yes, it can be frustrating because you’re constantly dipping in and out of each job. I’d love, say, one day a week to focus solely on being a creative director—come in wearing jeans and a t-shirt so nobody bothers me. But, day-to-day, I have to jump between the two roles. It can be very rewarding, though. I’ve worked in businesses where the creative director designs a collection, hands it off to the sales team, and says, “Go sell it.” Here, I have an amazing insight. Everything I do on the shop floor, bespoke-wise, gives me feedback—not just from the sales team, but from our clients. That feedback lets me instinctively know what works and what doesn’t.

Jack: Mhm!

Campbell: The head cutter role keeps me on the shop floor, hearing that feedback. It ensures we’re not wasting money or creating collections of ready-to-wear items that no one wants. I hate waste, so I aim for high sell-through and no waste.

Jack: Absolutely, that makes perfect sense. That’s an element of the Huntsman DNA that’s now quite strong: the ready-to-wear collection.

Campbell: Yes, it’s a significant part of the business. It has grown five-fold since 2019. It’s an accessible extension for younger clients. You can walk in and, essentially, have a suit the next day. We use Huntsman’s bespoke DNA and ethos, which has been working since 1849, and feed that into ready-to-wear so anyone can start their journey here without spending a lot of money.

The other thing I’m aware of is the Kingsman Collection, inspired by the film. Some of the pieces are almost like-for-like reproductions of those in the film series. What’s the difference between that collection and the ready-to-wear Huntsman collection in-store?

Jack: Excellent. The other thing I’m aware of is the Kingsman Collection, inspired by the film. Some of the pieces are almost like-for-like reproductions of those in the film series. What’s the difference between that collection and the ready-to-wear Huntsman collection in-store?

Campbell: The Kingsman Collection is made by Mr Porter and sold on their site, so that’s a separate part of the business. Our ready-to-wear collection is Huntsman and Huntsman only. We don’t wholesale—yet—but it’s only available downstairs at Number 11.

Jack: Understood, and you say that it’ll be ready the next day. Does that mean that you do little alterations on sleeves and waists and things like that?

Campbell: Yeah, yeah, we can turn around alterations quite quickly to, you know, make it the next day if need be.

So, there is a difference between the Kingsman Collection and the Huntsman Collection?

Jack: Awesome. So, there is a difference between the Kingsman Collection and the Huntsman Collection?

Campbell: Yes.

Jack: Um, and the other thing I know that you do is, you have the Kingsman Fitting Room still available. What sort of experience is that like for clients?

Campbell: So, that room was where Matthew Vaughn was inspired to create the movie. When he came in here as a young adult, his mother treated him to his first bespoke suit, and it planted a seed, and the rest is history, you know. I was lucky enough to be on set for all three of these, and it was a bizarre experience because the whole store was recreated from plywood in Leavesden. They borrowed all the props—from the stag heads, the clock—it all went and was shipped off to Leavesden. So, there it was, an exact replica of Huntsman.

Jack: Wow.

Campbell: That’s something.

Jack: And, for a building as old as this, and with as much heritage, I can imagine that was quite a task.

Campbell: Yeah, a lot of, kind of, antique finishes on things, and, you know, added dust, and make it atmospheric, just like it is downstairs.

Jack: Did you get to go and check it out?

Campbell: Oh, yeah. I got told off because I went and started picking things up, and for continuity, the person in charge of that went bananas at me. So, yeah, I learned that quite fast—not to touch anything after that!

Jack: But I understand how that could have been one of those things for you, there, like, no, this is a part of my heritage. I want to make sure it’s right!

Campbell: Mhm. Yeah.

Jack: So, you were quite involved with the design of the look for the films as well. Tell us more about how that process was.

Campbell: Um, it was mainly the second one. I was involved in the orange jacket for Taron Egerton. We had to create, I think, in the end, eight jackets because of the stunts. In the opening scene, it gets completely soaked, so that was quite an interesting thing to work on. Matthew Vaughn’s actually color blind, believe it or not, so it was his wife who was choosing the specific orange that he wanted. So, I had to trawl around—I was in New York at the time—and had to trawl around the fabric stores there to find the very orange. So, it was a couple of trials, and then they actually had it made, you know, dyed specifically to the orange you see in the movie. Quite rich.

Jack: So it was Matthew’s, uh, insistence: orange jacket, had to be done.

Campbell: Everyone thought he was bananas, but the amount of jackets we’ve made out of that orange velvet—you know, very popular.

Jack: Excellent. So, that was because it was definitely the standout piece, where it was less costume and more clothing because it is a real jacket; it’s not something that’s unfinished on the inside and things like that.

Campbell: Right, yeah, it’s proper tuxedo dresswear, you know.

Jack: Do you have a favorite piece that was featured in the films?

Campbell: I think, um, working on the third one, with Michelle Clapton, the Emmy-award-winning costume designer, that was amazing because we went back in time and took a 1900 cutting book. Uh, silhouettes were a lot different then, cloths were a lot heavier, and we came up with a real, you know, look for Harris Dickinson and Ray Fiennes. That was, for me—and the tailors downstairs, the team—it was totally off-piste. We had to change the way we were making things, like the shoulder line, so that was, you know… Harris Dickinson’s long three-button. That was good fun.

Jack: Because that’s the thing—I think a lot of people think three buttons is very, sort of, uh, ’90s. But, historically, three buttons were, um, de rigueur…

Campbell: Yes.

Jack: …but they were a lot higher, weren’t they?

Campbell: The whole reason that things were higher was to keep you warm. A three-piece suit was your everyday office wear because there was no central heating.

Jack: Of course.

Campbell: So, the higher it is on the breast, um, obviously it’s going to keep you warmer than having it low.

Jack: Understandable. So, did that also change the way that you made the suits? In terms of, was there more handwork involved? Did you, sort of, eschew the machines, or how… how did that…

Campbell: We had to work the shoulder a lot more, you know, really put more ease into the shoulder. But we were able to do that because of the cloths. Michelle had a real understanding of the weight of cloths, so it’s not just about the cut—it’s the heavy cloth that gives you that drape and that period look. Certain TV shows and movies fall down in that regard because they’re not using the correct cloth for the time. We had some real heavyweight 18-ounce-and-above tweeds and flannels that you really could work by hand to get that look, to get that, you know, really sharp shoulder line—natural, but sharp.

Jack: Awesome. That’s definitely something we’ve noticed when we’ve reviewed television series. Mad Men is one of those ones where, um, although they’re in the ’60s, the cloth wrinkles like, um, a very lightweight modern-day cloth. Like you say, it’s all to do with the drape, and the accuracy of the cloth is something that’s often overlooked. So it’s awesome to hear that that’s a big part. Did it make a difference working with a costume designer who had a real understanding of these things?

Did it make a difference working with a costume designer who had a real understanding of these things?

Campbell: Yes. Um, I think Matthew had a lot of confidence in her, and he kind of left us to it. I think, you know, the small part I was involved in—it was literally reporting to him and Michelle every so often to make sure it was going in the right direction.

Jack: So, with regards to the Kingsman element within the world of Huntsman, has that brought in a new clientele for you?

Campbell: Absolutely. The whole of Savile Row—nevermind Huntsman—has got a lot to thank that movie for. You know, it’s opened the eyes of not just a younger clientele, but more international. I think the statistics of people in Korea seeing that movie were, like, one in three at one point. In South Korea, that is. So it’s really brought Savile Row to the fore again, which is great. You know, to see young people outside, excited to be on Savile Row, and outside Huntsman, the home of Kingsman—it’s great fun.

Jack: Has it influenced what people are getting made bespoke? Are you seeing a different sort of style?

Campbell: Yeah, I think double-breasted is definitely, you know, coming back again. It’s not seen as that kind of stuffy Armani, boxy thing of the past. You can actually—double-breasted, if it’s cut right—can be just as flattering as a single-breasted jacket.

And you say that you get a lot of tourists that come just to take their photo outside Huntsman?

Jack: For sure. And you say that you get a lot of tourists that come just to take their photo outside Huntsman?

Campbell: Yes. Richard Curtis, director of Notting Hill, said to Matthew, “Make sure you buy the premises,” because his biggest regret was not buying the flat in Notting Hill.

Jack: Uh, so you said that Richard Curtis said, “Buy Huntsman, make sure that—”

Campbell: “Buy Huntsman, buy the—” because if we had a fiver for every person that’s asked to take pictures, we’d be millionaires. It’s whole families and people from all over the world: America, Japan, Mexico, you name it. You get people who want to take the picture and be at the home of Huntsman, the home of Kingsman.

Jack: Well, I mean, I think this is a great point for me to admit that, of course, I’m a fan of the series. It works very well for me that I’m a fan of tailoring as well. I’m doing my best impression of a Kingsman agent today, but for me it goes beyond Kingsman. It’s also espionage as a genre—I think it’s a very stylish one. We’ve got Tinker, Tailor, Soldier, Spy and, of course, the Bond series. You know, Bond hasn’t been bespoke in quite a few years. Do you think he’s due to come back to Huntsman?

Campbell: Well, this is where he was rumored to have lived, right? He has an address on Savile Row, so it’d be great to have him back. It is a shame that it’s a British brand—the Bond brand—and they’re going elsewhere for the tailoring.

Jack: So, would you outfit Bond differently from the Kingsman agents?

Campbell: Yeah, I think it’s got to be a tighter fit for all the action. You know, not as tight as Daniel Craig’s, but it would have to be something quite slick, you know, to be able to do all the stunts in.

Jack: Excellent. When it comes to the British heritage that is a massive part of the Kingsman series, did you primarily use British-made cloths and elements within the suits?

Campbell: Absolutely. All the cloths were from Huddersfield. You know, we’ve got a selection of about eight-and-a-half thousand cloths downstairs to choose from, and most of them are, to be honest, from the UK. People try and emulate cloths from around the world, but it’s all to do with, you know, not just the know-how and how it’s made, but it’s the water, it’s the sheep, it’s the wool, it’s the raw material, it’s the finishing. You can’t beat British-made when it comes to proper cloth. In fact, somebody—the pinstripe for the first double-breasted suit was made specifically for the movie.

Jack: Mhm. So, talking more about your work within Huntsman, you’ve been bespoke for a number of years and creative director, kind of in tandem with the head cutter role. How much work do you do within the tailoring department nowadays?

Campbell: Like, I’m… one day a week I’m creative director, so the other four days I’m downstairs, in and out of my cutting room and the tailoring workshop. You know, it’s all about communication. It’s a big machine downstairs, and you’ve got to be communicating with each other and the tailor because lots of hands go into making a bespoke garment. There’s me; there’s a coat maker, a waistcoat maker, a trouser maker, a finisher, a presser. There’s eight years of handwork experience behind it, and it’s going back and forth for all the fittings. We have a minimum of three fittings, so you can imagine the path. I’d love to be able to track, just geographically, where the garment is in the building throughout its lifecycle here.

So, it’s very stressful, but you have to manage that stress and try to smooth out the bumps and guide the team in the best, most efficient way. Obviously, quality standards must be upheld. We cannot waver. We’ve got 175 years of reputation to maintain, so, yeah.

Jack: For sure. Could you tell us more about the role of a head cutter? You know, what… what your average day looks like?

Campbell: Uh, y’know, fittings. We still have—as well as managing the team—our own book of clients. It’s like a hairdresser; I’ve got clients I’ve made suits for for 25 years. They follow you around. It’s expected that when you get to a senior cutter role, if you move on, you bring a book of clients with you.

Some people will be adamant to stay with the company—Henry Poole, Huntsman, Kilgour, Anderson & Sheppard—but it’s all about trust. And men, being slightly lazy, they don’t want to shop around. Once they get someone who knows them and their body shape, they tend to follow. So, I’ve got, obviously, quite a big book of clients I’m looking after day-to-day.

But then, we’re also looking at suppliers, looking at new talent—how do we work with the talent we’ve got to make sure that, as I said, the standards are upheld? So, that’s day-to-day: just kind of managing the workshops.

Jack: Excellent. So, that’s another element: the fact that you’ve got this well-oiled machine going on. And it’s not just Savile Row; Huntsman does trunk shows across the world, but there’s also a further location in New York.

Campbell: Yes, 57th—on 57th Street—is our New York atelier. We opened that nine years ago, being the first Savile Row company—UK company Savile Row—to open in New York as a permanent residence. So that is fantastic because customers no longer have to wait four months for a fitting.

There, you know, we’ve got a team of cutters full-time. Everything’s sent back, made here in the UK, but it’s sent back here to be manufactured, although it’s cut in New York…

Jack: I see, okay.

Campbell: …by a UK-trained, Savile Row, Huntsman-trained cutter.

Jack: Understood. That was going to be my next question, actually. Because being a head cutter, what’s that like when the work is now split over two rather far-apart locations?

Campbell: Yeah, that’s… we still go out every few months to make sure we’re all singing from the same hymn sheet. But, you know, we’ve got a great team here. I’m super blessed to have a hardworking, real passionate team. That makes it easier—certainly easier than when everyone’s here on site—it’s easier to just talk straight away and solve a problem.

Jack: Of course.

Campbell: So, the guys in New York know they’ve got that support back here.

Jack: Excellent. So, it’s almost like there isn’t an ocean between you.

Campbell: No, no. It’s remote, but we are… you know, it’s a well-oiled machine now.

Jack: Excellent. I’m glad to hear it. That sounds excellent because, of course, a lot of our viewers are based in America. Therefore, it’s useful to know that you don’t have to travel all the way to Savile Row—I mean, absolutely do, because it’s a great location—

Campbell: Well, they need to do both. We’ve got plenty of clients—Texans—who will do the triangle: come to London when they’re here for Wimbledon or whatever, and then they’ll do most of their fittings in New York. We also do trunk shows in the US. We’re on the West Coast, we do Texas, Boston—we’re all around. The guys kind of feed out around the States.

Is there a difference between the American client and the British client, in terms of what style they tend to go for, out of interest?

Jack: Awesome. Is there a difference between the American client and the British client, in terms of what style they tend to go for, out of interest?

Campbell: The Americans love the bolder-the-better tweeds. They want that iconic look that’s Huntsman-and-Huntsman-only. You know, the bolder, the better. UK clients are a little bit more lowkey…

Jack: Okay.

Campbell: …so about subtleties. They want people to know it’s been made for them, but you have to really, kind of, look twice.

Jack: It’s part of the club.

Campbell: Yes.

Jack: You know that it’s a Huntsman because you probably have one, too.

Campbell: Mhm, yeah. The US clients are like that as well, but we do have some colorful characters, you know, that like to show it.

Jack: Mhm, the flash, the Huntsman tweeds. Because that’s another big part of your heritage—the fact that you have this incredible collection of tweeds that are specially woven for Huntsman. Um, tell us a bit more about that.

Campbell: We can see the ledgers—these go back to the 1900s. Forever, Huntsman has had cloth made specifically for us. I mean, I always think it’s quite a unique club to belong to. If you’ve got a Savile Row garment, Huntsman is another step, and then a Huntsman garment in a Huntsman-only cloth—that’s another step again. There are only about 30 of those garments walking around the planet at any one time, so it’s a really niche club to belong to.

Our old head cutter, Colin Hammock, used to go to Scotland every summer on holiday, and he would go around the mills, commissioning the next round of annual tweed collections. He worked with Islay Woollen Mill, companies up in Perthshire, Hunters of Brora—so it’s in our DNA. You can spot a Huntsman check from a mile away; it’s quite unique. It’s important to keep that DNA running through and not go too off-piste or too modern. It’s got to be, you know, a Huntsman design.

Jack: Sure. Now, with the design of the Huntsman tweeds and checks, during COVID, of course, I was on Instagram far more than I would be in my average day, and that’s when I came across the “Design a Tweed” competition that you do. I thought that was such a fantastic initiative.

Campbell: Mhm.

Jack: Perhaps you can tell us more?

Campbell: Well, it’s on its fourth or fifth year now. We basically let people run riot with some coloring pencils. We give them, like, a template of four or five different designs. The stories that come out of those are amazing, you know—it’s from all over the world. We had a lady in the US who owns her own steak restaurant. While out walking her dog, she came up with the story behind her tweed. The red is from the cardinal bird, and the blue is from the cardinal’s eggs. Then we had another chap who was inspired by the Batman movies…

Jack: Oh, amazing! I’m a big Batman fan, too, so… it wasn’t mine!

Campbell: …pink and purple. The latest winner—a beautiful red and rust—is downstairs; you’ll see it. Actually, the runner-up this year, because it was such a close decision, was also commissioned. We made it in linen instead of woolen tweed, and that will actually feature as part of our spring-summer ‘25 ready-to-wear collection. That design was based on a gentleman who’s a pilot for Qantas. When he travels to Sydney from Perth, he keeps fit by running around Sydney Harbor. All the colors in the tweed are from Sydney Harbor. Yeah, it’s amazing where all these designs and ideas come from. You know, it doesn’t have to be Scottish…

Jack: Mhm.

Campbell: …or British.

Jack: So, has there been one of these competition tweeds where you’re like, “Actually, they’re on to something, and we should probably make more of this,” or do you just make it as a limited run for the winner?

Campbell: No, we, um, we’ll make 30 meters, but sometimes we up the quantity because we know it’s going to be a good seller.

Jack: I see. Okay, okay. Any of them that you’ve been like, “I’m going to get a jacket in that,” or…?

Campbell: Uh, both this year’s and actually, I’ve got a pair of plus-twos in the previous years. Um, yeah, the winner of this year is really nice. It’s traditional, but it’s very, very subtle, and really effective.

Jack: Excellent. So, with that in mind, and talking about the clothes that you own that are Huntsman, um, do you tend to make your own clothes, or is that something that apprentices get involved with?

Campbell: We… I use the team downstairs. So, they will, you know, with specific coat makers—when you have a client who orders regularly, you always try and keep the same coat maker or same trouser maker with that client. So, um, yeah, I tend to let them do it and use the same coat maker over and over again.

Jack: I see. Okay, so we’ve got to talk about the craziest garments that you’ve been asked to make.

Campbell: Hmm. I had to make a flame-retardant cotton driving suit for the Mille Miglia, based on a 1930s design. That was really cool to work on. Yeah, this garment had to be worn in the bucket seat of a vintage Ferrari, so the cut of the thing had to be completely functional and comfortable.

All sorts of pleats in the back, we cut special sleeves to fit the steering wheel right in front of you, cinch cuffs for when it rained, cappuccino, espresso, money pockets for the quick coffee stops—yeah, all types of things. It was just completely off-piste. That was a great project to work on because it was literally a bunch of pictures and then a lot of calico fittings—12 fittings—to get to the final result.

Jack: Awesome, so not just suits at Huntsman?

Campbell: Anything.

Jack: Anything?

Campbell: Anything. Our chairman has his own bespoke tweed ski outfit. Yeah, the world’s your oyster when you come to Huntsman; we’ll literally make anything.

Do you give the really difficult things to the apprentice cutters and tailors downstairs just to see how good they are?

Jack: Very cool. Do you give the really difficult things to the apprentice cutters and tailors downstairs just to see how good they are?

Campbell: Yeah, we try and push them a little bit.

Jack: I like that. How many apprentices would you have working at Huntsman at the moment?

Campbell: We… every couple of years, we take on at least three or four coat makers, and the same for the trouser makers. You know, we try and bring the next generation through so that there are no gaps. When there’s a gap, maintaining quality gets more difficult. If we’ve got a steady flow of people coming through, we’ve got master-trained tailors teaching the next generation. That flow of people, with definite goals in mind, makes it even more important. We’ve got to nurture the future talent. That’s the best way.

Jack: For sure. And with that in mind, I mean, we’ve got the patterns of so many incredibly famous people—iconic movie stars, singers, you name it—all around us. What do you think the draw is to Huntsman for these people?

What do you think the draw is to Huntsman for these people?

Campbell: I think it’s just the tradition and the peace of mind when you’re coming to one of the best. You know, when I joined 10 years ago, I was going through the ledgers, looking at all the famous people we’ve had—notable people—and what got me was the amount of great and good from the wider fashion world that chose Huntsman as their go-to, their standard bearer: Coco Chanel, Katharine Hepburn, Alexander McQueen, Bruce Oldfield. All these designers had access—Bill Blass, too—to their own ateliers, but they chose Huntsman as their go-to for their wardrobe.

Jack: Which is fantastic. I mean, I think everyone that enjoys classic style has seen that iconic photograph of Cary Grant leaving Huntsman with his coat swishing…

Campbell: Gregory Peck?

Jack: Gregory Peck! My apologies. See, I’m interested in Classic Style, but sometimes names evade me.

Campbell: It was a few years ago, right?

Jack: Exactly, a little bit before I was born.

Campbell: Yeah, I imagine.

So, for a new client coming to Huntsman, what would you suggest as the Huntsman cut—the iconic Huntsman garment for them?

Jack: So, for a new client coming to Huntsman, what would you suggest as the Huntsman cut—the iconic Huntsman garment for them?

Campbell: So, our house style goes back to the hunting jacket. Henry Huntsman himself was a bespoke livery breeches maker, and our cut—our iconic one-button silhouette—is basically from a riding jacket. When you’re on the saddle, with the reins, the jacket has to perform at its best.

We cut a high armhole, a strong but natural shoulder line, and a long, skirty jacket, so it’s all up off the horse. The one button and a slant pocket are there so you can get your hands in easily while riding. All of those elements really create the most flattering look because your eye is drawn to the narrowest point of the jacket. The slant pocket and the one button, with the roll to the waist, make it the most flattering, simplistic, and modern look.

I think our house cut is as modern today as it’s ever been. Post-lockdown, people are looking after themselves a lot more—no more boozy lunches and late-night visits to bars and clubs. People are working out more, and they want to feel their clothes on them. So, that Huntsman look is very relevant in today’s market.

The other thing I associate Huntsman with—and please correct me if I’m wrong—is a more structured, almost military feel to a garment. Do you use quite a lot of padding in the shoulders, or do you go for a softer garment?

Jack: The other thing I associate Huntsman with—and please correct me if I’m wrong—is a more structured, almost military feel to a garment. Do you use quite a lot of padding in the shoulders, or do you go for a softer garment?

Campbell: We use a decent shoulder pad. We want to give you a strong shoulder line but a natural one. We don’t try to build you up in any way. But that’s what we’ve been doing forever. We do, however, have to move with the times. If a customer comes in and says, “I want something different. I want a softer shoulder, less canvasing,” we have to do it.

Those days of, “This is what we do, sorry,” or, “You can have any color you want as long as it’s black,” are gone. We have to cater to the modern market and make things how clients want them. But for a client coming in for their first suit, I’d say navy blue or charcoal, one button, with a slant pocket and side vents. That way, as a new client, you can get your head around the cut before branching out into sports jackets, blazers, overcoats, morning wear, or Black Tie. It’s the easiest look to pivot your wardrobe around as your go-to.

What other details would be included within that Huntsman cut? Really fine details, like pick stitching or any elements like that?

Jack: What other details would be included within that Huntsman cut? Really fine details, like pick stitching or any elements like that?

Campbell: The way we finish the jacket is distinct. We use a two-hole button and specific linings that we’ve had made for us since the beginning—quite iconic striped sleeve linings. But really, it’s the cut that speaks for itself. People often ask, “Why is there no label on the inside?” Well, there is a label in the pocket. It gives you the order number, who cut it, and when it was ordered. But I always say the cut of the suit is the label of the house.

Now, speaking about labels, I’m aware that with ready-to-wear garments, it’s become more en vogue to put the label more prominently within the garment. Do you do that at Huntsman with your ready-to-wear collection?

Jack: Understood. Now, speaking about labels, I’m aware that with ready-to-wear garments, it’s become more en vogue to put the label more prominently within the garment. Do you do that at Huntsman with your ready-to-wear collection?

Campbell: No, no. We have a label in the ready-to-wear collection, but it’s under the in-breast pocket on the inside—quite subtle.

Jack: So, the customer still feels like they’re as close to bespoke as they can get, but perhaps if they wanted a garment quicker than bespoke is able to achieve… That’s a nice feature, actually. I wasn’t aware of that.

Campbell: Yeah.

So, another detail of a bespoke suit would be the trouser. I think it’s something that’s potentially overlooked by a lot of people—how good a bespoke trouser can be. Tell us more about the Huntsman trouser.

Jack: So, another detail of a bespoke suit would be the trouser. I think it’s something that’s potentially overlooked by a lot of people—how good a bespoke trouser can be. Tell us more about the Huntsman trouser.

Campbell: People think trousers are easy, but actually, they’re not. You can ruin a good suit with the wrong fitting trouser—having a waistband or a rise that’s too high or too low. You can undo all the hard work the jacket on top is doing.

Really, trouser cutting is… you know, the old adage is, “It’s four seams and a bar of soap.” Coat makers often poo-poo the art of trouser making, but it’s actually quite difficult to get right. Once you cut a curve into a trouser, it’s very difficult to undo. The lines in trousers are what make them flattering.

You want a nice high rise, like an armhole, but not so high that you’re singing in a high voice in church. If the rise is just right, it can lengthen the inside leg, giving the wearer more height and lift—just like we do with the jacket. A higher armhole acts like a hinge; it’s more comfortable and takes less cloth with you when you move. The same principle applies to the rise of a trouser—it gives a longer, more flattering line.

We cut the rise just right so that it’s easier to walk and move. Details like the bottom width, pleats or no pleats, and waistband placement—it’s all down to the client’s needs. For example, with a wedding suit, you want no stride in the back and the best look when standing. Dinner suits aren’t built for comfort—they’re meant for peacocking. But for day-to-day office wear, you want it more comfortable, so you cut straighter into the back.

We’ve seen a real resurgence in pleats. People are wearing them a lot more because they’re far more comfortable than flat-front trousers for day-to-day use.

Jack: For sure. So, you said the details are really down to the client, but it’s all about the cut and the fit of the trousers that makes it Huntsman.

Campbell: Yeah.

Huntsman is one of the houses on Savile Row that I definitely look toward as being a very modern brand, considering the amount of tradition on the Row. Would you agree that the Row is starting to follow your lead in that direction?

Jack: Huntsman is one of the houses on Savile Row that I definitely look toward as being a very modern brand, considering the amount of tradition on the Row. Would you agree that the Row is starting to follow your lead in that direction?

Campbell: Yeah, the houses have to adapt and evolve. We have to make sure these streets are here for another 200 years. Wealth patterns have shifted, and you now get 20-year-olds coming in who have the money to buy bespoke. So, you have to educate clients a lot more than you used to.

When I started on Savile Row, some houses had curtains in the windows. You couldn’t see in—you had to be recommended. Fred Astaire, one of the Hollywood icons, was turned away from Gieves & Hawkes because he didn’t have a recommendation. Those days are gone. We have to recognize where and who our customers are and focus on being accessible.

Jack: And the availability of online is something that you’ve embraced. The fact that you’re in New York, as well… Huntsman really feels like it’s saying, “We love tradition, but we’re here for the modern age.”

Campbell: Yeah, I think it can be done. A lot of houses have failed because they’ve gone down the ready-to-wear route—throwing all their eggs into that basket. Once you go down that route, it’s very hard, nearly impossible, to come back.

This 175-year-old business is like a Stradivarius violin. You don’t just come in and start re-tuning it. You have to be careful not to ruin it.

And if you had any advice for a brand-new client coming into bespoke at Huntsman, what would it be?

Jack: For sure. And if you had any advice for a brand-new client coming into bespoke at Huntsman, what would it be?

Campbell: Just relax. It’s quite an intimidating facade, but once you get inside, it’s a lot warmer. Trust the people that work here. We’re here to help and guide you. There are many pitfalls in bespoke, but you’re in safe hands here.

“Just relax. It’s quite an intimidating facade, but once you get inside, it’s a lot warmer. Trust the people that work here. We’re here to help and guide you. There are many pitfalls in bespoke, but you’re in safe hands here.”

Campbell carey

Jack: Excellent. And there’s no secret switches on the walls that take you to the world of a secret agent?

Campbell: Unfortunately not.

Jack: Understood. So, that part’s fantasy, but the beauty of a bespoke suit is very much reality.

Campbell: Yes, that will always be here.

Jack: Excellent! Campbell, thank you so much. It’s been a pleasure.

Campbell: Thank you, you’re welcome.

Have you ever considered a Huntsman suit or been inspired by the Kingsman look? Tell us your thoughts in the comments below!