Artists Portraits by Kevin Davies

Photographer Kevin Davies is a longstanding client and friend of Timothy Everest. Having recently created ‘The Art of Tailoring’, a short film highlighting the skill and eccentricities that go in to each Elder Street creation, Kevin will be exhibiting his 1988-2014 work. Artists Portraits will show a veriety of familiar faces whilst capturing the nostalgia of the times.

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The exhibition includes the now famous photograph of Frank Auerbach and Lucian Freud enjoying breakfast at the Cock Tavern, Smithfield Meat Market.

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Regular Everistas will know that I’m a big fan of the artisanal watch company Urwerk, and that the founders, Felix and Martin, are clients and friends. We recently held a small soiree at Elder St to launch the latest – and final – incarnation of their UR-110 watch, the “Eastwood.” (They’re going on to produce an entirely new model). They wanted to take the UR-110 out with a bang, and they’ve certainly succeeded with this amazing testament to the horologist’s art. The bezel is crafted from wood, which is unusual in itself, but this happens to be Macassar Ebony, an extremely hard and stable wood, sustainably sourced from Indonesia. Felix and Martin thought it would be nice to pair it with an organic strap, and came to us for help. I decided it had to be the finest wool tweed – it’s extremely durable, and has that sporty and very British heritage – so we’ve done it in the original Prince of Wales brown and blue check, as worn by the Duke of Windsor, and a lovely grey herringbone. It’s an amazing watch to wear – I think it might even supplant my beloved UR-103 in  my affections, if only because the bezel shape means it’s really easy to see the time if it’s poking out from under a shirt cuff. And, with the strap, it has this amazing retro-futurist feel. It’ll be officially launched in Geneva in January 2015. Oh, and it’s the Eastwood because Felix and Martin are big fans of a certain Hollywood heavyweight. If the man himself got his hands on one of these, I could see a slightly tweaked remake in the offing – Play Wristy For Me.

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TO EAT – The Typing Room – Town Hall, Patriot Sq, E29NF


Jason Atherton’s latest venture partnering with Lee Westcott has no shortage of taste. From the understated decor with wooden floors and an open kitchen to the complex and subtle Mediterranean flavors presented, this is definitely one to make the trip to.


TO DRINK – Blacks Club – 67 Dean St, W1D 4QH


The perfect place for a modern gentleman with a bohemian heart; Blacks is the antithesis to the infamously established Whites Club. With raging fires, and satisfyingly leveled lighting, it is the perfect place to settle into with a bottle of wine from the deliciously crafted menu and see where the evening takes you.

TO DANCE – The Wellington Club – 116A Knightsbridge, SW1X 7PL


A home to sophisticated hedonism. Partly designed by Damina Hirst, The Wellington perfectly balances rock and roll with the comforts and fashion of Kensington. With skull wall paper, glitter disco balls, delectable cocktails and plenty of hidden nooks to find yourself in, this is definitely one for an evening of decadence and debauchery.


TO SLEEP – The London Edition – 10 Berners Street, W1T 3NP


Sophisticated and stylish design; wood-paneled walls, rainforest showers and fur throws on the beds. Each room boasts its own unique and original art and with the most comfortable mattress in London along with the best stocked minibar ever seen, this is a real treat.


TO SHOP – Page & Cooper


Home to some of the world’s finest watches, Page & Cooper pride their collection on their exclusivity, individuality, exceptional design and exquisite craftsmanship. Sounds like a winning combination. Perfect if you are starting to think about those special Christmas presents, or if you feel like a bit of self indulgence.

TO SEE – Beretta & Marc Newson at the Bulgari hotel – 13 November


Shooting season is upon us and what better way to get into the spirit of country pursuits than by appreciating the beauty of design that makes the sport possible. Marc Newson, the industrial designer who joined apple in September has worked along side Italian gun brand Beretta on a new edition of the classic double-barreled 486 Parallelo Shotgun. The gun will be unveiled in an event on the 13th and is sure to be a work of beauty.


TO WEAR | Cashmere



Fantastically soft and beautifully crafted from 100% cashmere, this scarf in navy blue is the perfect way to keep warm while looking classic and stylish this Winter. We have a rather lovely Cashmere coat at Bruton Place if you’re looking to keep comfortably cosy this Christmas!


I’ve been in menswear for a good thirty years, since I left school. I started in retail, but I’ve done everything – buying, developing, marketing, styling, and designing footwear and accessories, mainly casual clothing and denim. I’m from Manchester originally, but I’ve been in New York for the past four years, living in Williamsburg in Brooklyn, working with Schott on reinvigorating their motorcycle-jacket heritage, and relaunching a brand called HW Carter & Sons, which is the oldest overall company in America. The heritage-history thing has been a huge menswear story over the past few years. Fortunately or unfortunately, I’ve been in this game long enough now to see things come around more than once. But the heritage-workwear thing is actually a style I always liked and that I adopted for myself back in the 90s, getting into the Japanese brands that were inspired by all the old American brands. I’m a big fan of Americana – I got into that in the mid-80s, probably, with the relaunch of Levi 501s, with Nick Kamen in the launderette. I’ve also spent time travelling across America sourcing old sneakers from college towns, buying vintage dead stock – Nikes, Adidas, Converse – and reselling them to old-school-sneaker-obsessives across the world – Japan, the UK, everywhere. Then I went to work at Browns in London, and got into importing new sneakers like Nike Rifts and Mocs from the US, that weren’t being marketed in the UK but which they couldn’t sell in the US because people thought these split-toed ninja sneakers were too weird. So we’d get 100 pairs into Browns Focus and they’d all go in a day. I then relaunched Fred Perry footwear, where we did collaborations with the likes of Comme des Garcons, and went to Urban Outfitters as head of menswear, but it didn’t really agree with me – I don’t like a corporate environment. At all. So I’ve been a freelance creative director ever since.

I met Tim via a guy called Gary Bott, the creative director at Globetrotter. I always knew his name, but I’d also just got to that age – my mid-40s – where I was a lot more receptive to the idea of tailoring. Up to then, I’d always worn casual clothes, and tailoring was an area I’d never really explored. Maybe it’s to do with getting older, and really understanding and appreciating it. Tim and I also have a lot of shared interests – cycling, music -  which I suppose made my entree into his world a little bit smoother. I’ve also known Fred for many years, and I love the house at Elder Street, because it presses all my buttons – history, authenticity, that slightly underground, clubby vibe. Plus, I knew my own fields – sneakers, workwear – inside out, and here was a whole new area  to explore, perhaps the ultimate when it comes to male attire, the premier league of menswear. It’s  also a kind of reaction to the fact that I’ve lived such a casual life up to now, and I thought: yeah,  I can take a little more pride in my appearance, grooming, beard trimming etc, and having a beautiful bespoke suit is the ultimate, even now, when dress codes have turned upside down. Didn’t Picasso say you have to know the rules in order to break them? Well, to me, rule number one is: respect. Oh my God, I love watching the guys and girls in Elder Street sewing everything by hand. I’m a detail man and always have been, and I now get quite fetishistic about the bespoke detailing. There’s also the not irrelevant detail that nothing off the peg fits me because of my unique shape – broad shoulders, squat torso, etc.

My grandfather and father were my style icons. My father was a haulage contractor, but he was also a World war 2 veteran – he’d fought against Rommel in North Africa with the Desert Rats, and from the 50s through the 70s his trucks were out building Britain’s motorway network. But he always went to work in a full boilersuit, with a tie and shirt underneath that my mum would press every single day, and he wore a Harris Tweed jacket over his workwear, with a fedora or a cloth cap – always immaculate, with the mirror shine on his boots. In fact, I talked to Daiki Suzuki at Engineered Garments about my dad’s look, and we created a whole collection around it, with boilersuits and shirts and ties, and when I saw it, I was like, holy s**t. My grandfather was an engineer, and he always wore double-breasted suits and little round glasses. He had one particular chalkstripe suit in the 30s, with huge wide lapels, and the minute Tim and Lee asked me what kind of suit I wanted, I was like: I want my f**king granddad’s suit. I never met him – he passed away before I was born – but we had this one picture of him, in the suit, a three-piece, with a pocket watch. So that’s what I went for. It’s a kind of homage. I mean, that whole 30s thing suits me, because I can’t do any skinny s**t. So sitting with Fred and Lee and Tim, and talking about the extra military stitches, and the loop behind the lapel buttonhole to hold a flower in place, and the infrastructure to accommodate a pocketwatch, and the exact width of the lapels – I was in geek heaven. I’m actually getting married in December, and I’ll be wearing the suit then. It’s inspired me to learn more about Savile Row and all its traditions. It’s always been there, obviously, but it’s a league I never thought I’d be in. Now I’m like, s**t, what an expensive habit to get into. This is totally Class A. But it’s worth it. I never thought I was a suit kind of guy, but now it’s any excuse to wear one. I also like the kind of mixed messages I’m sending out – I have a lot of tattoos, around my neck and my arms, and to have them peeking out from under a beautifully-crafted suit – well, let’s just say the whole package subverts people’s expectations and gets me a lot of attention. And nice attention! I mean, I knew I wanted to work with clothes since I was six years old and I made a little apron for my mum out of chambray and lace. And bespoke is the ultimate sort of up-close-and-personal experience you can have with clothes. It’s also given me a whole new dimension in the way I present myself to the world. Just as I’ve been doing with workwear, I can reference history while at the same time creating something that’s totally relevant and very personal to me. Yes, you can definitely say I’m officially hooked.

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Who’s There..

Is that a creak you hear from the Elder Street stair

Or the snipping of some scissors hanging ghostly in the air

The suits move on their hangers and you peer to see who’s there

There’s something otherworldly in this atelier



Behind The Scenes: The Art Of Dressing

I am very proud to announce the release of a two part video series that the very talented Kevin Davies and I have produced. Our real ideal for the project is to try and capture the uniqueness and creativity of the Timothy Everest bespoke experience.

Tailoring is one of those professions where physical environments drastically differ from tailor to tailor, and I think that’s totally natural. When you work in a space every day it inevitably molds around your personality and your working style and I find that fascinating.




I was lucky enough to learn the art of bespoke on Savile Row under the tutelage of Tommy Nutter. People fell in love with the clothes he made, there was a real emotional exchange when people received their clothes, which is what I try and achieve and emulate today. When I left Tommy, I saw the opportunity to create a reinvigorated bespoke movement (New Bespoke), away from the influences of Savile Row. Spitafields was the perfect place for me, and since 1993 my atelier has been based in one of the beautiful Georgian houses in Elder Street. During this time as my tailoring has developed and changed so has the house.

I first met Kevin over twenty years ago when he photographed me for a magazine, he very quickly became a friend and a client. We have both always been fascinated by craftsmanship, so really this video being created feels quite inevitable.


The first installment shows a trip with me around east London. These are the streets that I walk every day, and the context of those daily inspirations one inevitably gets. The viewer can get a glimpse of the people, the art and the architecture that informs me every day.


The second installment starts with me arriving at the atelier, and shifts the focus of the piece from my journey to the customer journey. Here we capture the idiosyncrasies and individuality of the craft, as well as highlighting the skill and personality of the tailor.


Stephen and Damon, aka Fuel Design, who’ve produced many covetable books over the years (including Tracey Emin’s Photo Album and various productions for Jake & Dinos Chapman) have been long-time friends and clients. To celebrate the opening of their latest show in London, I thought I’d ask them – in a sort of coda to the recent Best of British series we’ve been running – to elaborate on their practice and how it intersects with mine. Here’s what they said…

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We went through art college in the late 1980s. Commercial graphic design at the time could generally be classed as tasteful; pastel colours and considered typography. This wasn’t something that appealed to us. We reacted against it with a bold, confrontational approach, both in terms of our work and our image. We quickly defined a FUEL aesthetic.

We left the Royal College of Art in 1992 and immediately found a studio within a Goergian house in Fournier Street, Spitalfields, midway between the edge of the City and the Bangladeshi community of Brick lane. It was an interesting environment with a strong artistic community.

We’ve always perceived ourselves as outsiders in the world of design and we subverted our image accordingly. When we started out, every design and advertising agency was based in the West End or Clerkenwell. We felt we could best express our distance from everyone else (physical and spiritual) if we had bespoke suits made. Timothy Everest was recommended to us as a local tailor who (at that time) was working from a house in Princelet Street, one road along from our studio. We had cropped hair, and the notion of having semi-matching pinstripe suits – like a utility uniform – felt wrong in the right way. We enjoyed the process of having a suit made, and took Polaroids of each other at every stage. As designers and publishers, we aim to create beautiful objects with our books, and every detail is carefully considered – the size and format, paper quality, cloth-covered boards, dust-jacket, head and tail bands. These decisions are very similar to those involved in getting a suit made: the choice of cloth, the cut, buttons, lapels, pockets, lining, etc.


The most popular books we’ve published are the Russian Criminal Tattoo Encyclopaedia Volumes I-III. The books document the coded meanings of Russian prisoner tattoos. In 2009 we founded the Russian Criminal tattoo Archive. The collection consists of over 750 original drawings of tattoos and photographs of Russian prisoners. In 2013 we acquired a further collection of photographs from the Soviet police files. We have just published the first of two volumes of this work, Russian Criminal Tattoo Files, with an accompanying exhibition of prints which runs at the Grimaldi Gavin gallery in Albermarle Street, London W1, until November 21st.

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The Art Of Dressing

Recently I’ve been feeling inspired with all the art being displayed in London this October, and after attending the opening of the very brilliant Damien Hirst’s new exhibition ‘Schizophrenonenis’ I’m in the mood for more!

Some of the shows I’m looking forward to include, Tracey Emin’s new show ‘The Last Great Adventure Is You’Rembrandt’s ‘The Late Works’Frieze Art Fair and The Other Art Fair.

I went to The Other Art Fair last year to see Tracey Emin exhibiting and found it to be buzzing with creativity and an incredibly inspiring environment testament to the artistic talent of this beautiful city. I’m excited to be involved this year, check out the canvas bag that I’ll be donning, along with the rest of the visitors!

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Maybe I’m feeling inspired by the autumn/ summer weather we’ve been having or maybe I’ve been spending rather a lot of time next to a giant yellow bobbin but my Other Art Fair outfit consists of autumnal tones with a slash of yellow including a bespoke tweed jacket with a yellow under collar and a patterned TE ready-to-wear scarf.

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Hunter Gatherer

Further proof that, at its best, bespoke can be a big (and beautiful) game comes with this singular take on a traditional hunting jacket that we made for a Japanese customer. It’s a single-breasted notch-lapel in grey herringbone Harris tweed, with a red Melton yoke that’s completely hand-attached. It’s based on a Norfolk jacket, mixed with elements from 40s-style game-bagging wear (the red or orange yokes helped mitigate against the possibility of being sprayed with buckshot by your trigger-happy fellows). We’ve also added four patch pockets with flaps (ample enough to accommodate a vanquished partridge or quail) and a red undercollar, along with fully hand-stitched sculpt facings. I think you’ll agree that we hit the bullseye with this one.

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