March Mood Board 2026

For the March mood board, Philip is thinking about warmer days ahead. With dreams of sunshine and blue skies, it’s inspired by the Palm Springs neighbourhood, Canyon View Estates. Built in the early 1960s, this manicured pocket is full of perfectly preserved mid-century modern architecture that inspires a Rat-Pack style.

Canyon View Estates, Palm Springs

Philip’s Sketch

Fabrics are lighter weight with a silk blend for a bit of iridescence, referencing the sharkskin cloth of the era. Light grey checks hint at the breeze block architecture and taupe cloth with a light blue pinstripe reflect a palette of sand and sky.

Canyon View Estates, Palm Springs

Philip’s Sketch

Philip’s Sketch

Philip’s Sketch

Philip’s Skecth

Philip’s Sketch

Philip’s Sketch

Get ready for summer and book an appointment with Philip.

Shirts Shirts Shirts

In case you missed our shirting workshop, here is a recap of what we covered.

Shirt samplers at the shop

We spoke of the history of a dress shirt, a garment that is worn next to the skin, as something that started as an undergarment made from a fibre (linen or cotton) that is more easily washed and cared for. We discussed how shirts started to peek out from undergarments and how they were embellished with embroidery and lace, details that still evoke intimacy in undergarments today.

Arnold, J., Levey, S. M., Tiramani, J., Passot, S., Thornton, C., & Tomaszewski, P. (2023). Patterns of fashion 4: The content, cut, construction, and context of linen shirts, smocks, neckwear, headwear and accessories for men and women c.1540-1660. The School of Historical Dress.

I spoke of the challenges of fitting a shirt and how it being worn next to the skin means more attention needs to be paid to asymmetry in the body. Shirts are not usually padded or canvassed like a jacket.

A shirt fitting in the shop

We also talked about dress shirts today and the variety of styles and uses that they evolved from, starting with what may be one of the most classic dress shirt styles today, the Oxford shirt. This shirt was developed for polo players. The collar buttons down so that it doesn’t pop up while players are active in the sport and it is made from a more durable cloth referred to today as Oxford cloth. An Oxford cloth is a fabric with a basket weave that allows the yarns to be compressed tighter, producing a denser, stronger cloth. When it’s not white, Oxford cloth is always a yarn-dyed cloth with the warp yarns most commonly being in white and the weft or filling yarns being in the colour of the cloth. This produces more of a depth to the overall colour.

A pair of “oxford” shirts with the shirt on the left being made with a chambray and the shirt on the right being made with an oxford cloth

While we are on oxfords and a more durable cloth, we also spoke about work shirts and chambray. You might ask how a chambray differs from an oxford cloth? The simplest answer is that it’s not a basket weave but a plain weave. It's usually the warp yarns that have been dyed a colour, usually a darker indigo than the lighter coloured oxford. It may be described as being similar to denim, but I disagree. It is a much lighter, softer cloth with a different weave. Of course, with work shirts come pockets for tools, selvage details and double or triple stitching.

A safari shirt with bellowed pockets by Philip Sparks for the collection “Gone Fishing, Spring 2010”

We touched on very lightweight safari shirts, bellowed pockets and large back map or game pockets. And then moving on from shirts that are more utilitarian, we spoke about contemporary dress shirts and the variety of fit options (tailored, semi-fitted and oversized), yoke shapes and back pleats.

Collar and cuff samples in the studio

We spoke of a classic Kent collar whose points sit closer together, a Windsor collar with points spread far to accommodate a thick silk tie. We talked about rounded collars and button down too.

In classic shirts, we talked about the variety of cuff options: angled, rounded, barrel or French. We spoke about options and differences in front button plackets, whether that’s classic, folded, hidden or with contrasting details. We spoke of options for pleats on the sleeves and to breast pocket or not.

A take on a bib front pleated tuxedo shirt by Philip Sparks for the collection "White Collar Criminal, Fall 2008”

We also spent some time discussing tuxedo shirts, including pique, a textured woven cloth often used on the bib or front of a tuxedo shirt and the cuffs. We showed examples of pleated front tuxedo shirts and then reflected on how most classic “men’s” jewellery is somehow associated with or attached to the shirt, be that shirt studs, cufflinks or tie bars. We talked about how this jewelry evolved from a need to remove buttons before washing as an old fashioned ringer washer would break them. We also spoke about removable collars, and how shirts were sold with multiples to make them last longer.

Takuma demonstrating shirt construction techniques

Takuma gave a demo of sewing the sleeve placket and felling the underarm, a few of the unique construction techniques specific to shirts.

We had lots of other cloth types out to discuss including twill shirting, cotton poplin, seersucker and lots of stripes and plaids. I can’t even get into the mother of pearl buttons we discussed. That will have to be a separate post.

Interested in our custom shirting, book an appointment

February Monthly Mood Board

Tom is up for our February Monthly Mood board and he’s got spring on his mind too.

Tom’s February 2026 Monthly Mood Board

Tom is drawing inspiration from our Ruby Room materials library with a nod to 1930s French Riviera and 1920s Prep. Tom has chosen a fine super 130s Italian wool in a micro brown and cream gingham for the jacket with a contrasting trouser in a dark brown, yarn dyed, dry, worsted tropical weave, perfect for a beach side café lunch or an outdoor summer wedding.

1930’s Fashion Illustration

His illustration proposes a jacket with a high cut, nipped in waist, a generous drape at the shoulders, a roped sleeve crown, three low buttons, a generous notched lapel – cut long – and fullness in the hips, with elbow patches and a slight flare on the sleeve. This jacket would be half lined for hot weather wear, while still offering structure.

Tom’s February Illustration

The trousers reference 1920s oxford bags, originally trousers made to put on over other sportswear so that university students could make it to classes after sporting activities properly attired. These very wide legged trousers play on the proportions of the jacket, lengthening the leg even more in combination with the high cut of the jacket waist. The trousers are cut high in the waist as well, paired with a custom braided belt (that we also offer at the shop) and finished off with a wide cuff at the bottom.

Leather Braiding (available for custom belts)

Interested in this look? Book an appointment with Tom.

Tuxedos

January and February are always when we are busy discussing formalwear for special occasions that come up in May, June and July. These conversations have me reflecting on some of the frequently asked questions customers have about special occasion orders. I've written out five tips to consider if you are thinking of placing an order (see the bottom of this blog post), but there's lots more to say on the topic of formal tailoring.

1880’s Diner Jackets

Believe it or not, a tuxedo or dinner jacket evolved from a smoking jacket and it was originally considered an informal way of dressing. Men were once prohibited from wearing tuxedos in the presence of women. In the 1880s, when a dinner jacket became popular in America – and in particular around the village of Tuxedo Park in New York State – men started wearing them as a form of rebellion, a move away from more formal and less comfortable tail coats. This is where the name "tuxedo" comes from.

C. 1900 on the left is a body coat with a waist seem and on the right a sack coat with no waist seam

A tuxedo is technically a type of sack coat. A modern day suit jacket and blazer are technically also sack coats. These are more casual garments than a body coat. A body coat is a formal coat with a skirt or tails and cinch into the waist more (they were originally cut tight and short across the back to force you into a very upright posture).

c.1900 A frock coat, a variation of body coat where the waist seam can be clearly seen. You will also note the characteristic series of pleats on found on the back of body coats.

The simplest way to think of it is a body coat has a horizontal or waist seam and a sack coat does not. Variations of body coats are what were worn for business, dinner gatherings and formal events. Sack coats were for lounging, smoking and hunting.

C. 1890’s Sack coats

A modern tuxedo merges formal and informal elements from traditional sack coats and body coats. Details like silk lapels were taken from body coats and applied to sack coats. A vent (needed to ride horses) was removed to create a more formal silhouette. This produced a trimmer fit around the hips.

A tuxedo jacket made in our shop. Double breasted with a notched collar. This is a great example of classic tuxedo fabrication, with a matte pebbled textured self material and a lustrous silk lapel.

What makes a tuxedo different from a regular suit is the presence of silk on the lapels, this trimmer fit over the hips and the Y-shaped silhouette that it can produce. You might also find silk on the buttons, the lips of welt pockets, on the trousers as a stripe down the leg, and on the waist band.

A sample tuxedo jacket made in the shop. Single breasted shawl collar, classic fabrication.

A tuxedo can be cut single breasted, with wide peaked lapels and a longer, cut away forepart, or it can be cut double breasted, with a shawl collar. In 2026, a tuxedo can include any combination of all of these elements and even veer away from a trim silhouette to something more relaxed.

Made in the shop. Double breasted, shawl collar in a cream and paired with a contrasting trouser.

Generally, the all over cloth of a tuxedo is in a solid black or midnight navy cloth called barathea and sometimes crepe. These cloths have a matte pebbled surface that contrasts well with lustrous silk used elsewhere on the piece. Tuxedos are also common in white, usually paired with contrasting black trousers. 

Variation on a tuxedo in a brocade cloth with contrasting vest and trousers all made in the shop. This jacket is single breasted with a notched collar.

Just as silhouettes have loosened up, today's tuxedos can be made in any colour of the rainbow, plaids, stripes and textured cloth. It all depends on your comfort level and how you would like to express yourself. Here at the shop, we will help you find what suits you best.

Five Tips on Tuxedos

Here are some tips if you’re thinking about placing an order:

1.        Allow as much time as you can. A tuxedo is a 10 to 12 week process and involves you visiting us at the shop for a consultation and four fittings. While a rush can sometimes be accommodated, it may come with added costs and, as wedding season approaches (beginning in early February), the sooner you make your first visit, the better. Plan to give us time, so that we can use it to make your special pieces the best we can.

2.        We make our pieces entirely from scratch, and this means your choices are endless. Don’t be overwhelmed. We can walk you through the details and help you make decisions, but also know that we make magic happen. We can bring to life ideas that you have without limiting you to a set menu of details or options. So whether it’s peaked or shawl lapels, single or double breasted, silk lapels or not, we will make it work for you. All of the proportions and fit are adjusted to you the body in our fitting process.

3.        Materials matter. Our Ruby Room Fabric Library makes it easier. There are lots of great stock options that we have available for you to choose from. This lets us look at drape and body of a fabric as well as see it in a larger piece. Not finding what you want in our stock? We have an extensive library of swatch books full of premium fabrics. For a classic, formal tuxedo, we like to look to a fabric called baratheas. Its slightly pebbled surface contrasts well with the lustre of a silk label. If you want to look like a rock star, try a shot mohair or sharkskin cloth made with goat hair. These cloths offer a slight iridescence along with the coolness of what you might expect from linen but without the wrinkles. If you want something really different, we offer cloths custom woven in Pairs. These come in every imaginable colour and pattern.

4.        Tuxedos aren’t just for men. We make garments for any gender and any body type to suit your preferences, whether that’s a looser fit of something more body conscious.

5.        Formal wear is not just for one occasion. There are many occasions for formalwear. When you come into to talk to us about the needs for your special occasion, we will also talk with you about ways to make the most of your pieces beyond a single wear. Mending and alterations are on us through the life of the piece and things like additional seam allowances are included in the pieces. They are designed to be adapted as your body changes over time.

January Monthly Mood Board

It was Philip’s turn to create our January mood board and he’s being optimistic. In early January, Philip is looking forward to spring wedding season and this month’s mood board is formalwear themed.

January 2026 Monthly Mood Board

Philip’s proposed look takes inspiration from the mid 20th century. The jacket Philip is proposing follows the silhouette of this era with a structured shoulder, a fair amount of drape and no vents for a close fitting hip. This will create a Y-shaped silhouette.

Tuxedo Inspiration

The jacket is double breasted with a deep break line and generous lapels that will be cut in a contrasting deep navy blue silk. The proposed cloth for the jacket body comes from our Ruby Room textile library. It’s a yarn dyed, textured, lightweight wool and cellulose blend that will be very comfortable into the hotter months of summer. Other jacket details include flap pockets with the jets being cut in the contrasting silk and silk covered buttons with a grey and blue micro dot lining.

Philips Tuxedo Illustration

The trousers are cut in a contrasting solid navy tropical weight wool with a traditional higher waist, wider waist band and a single inverted box pleat. Trousers are cut a bit more generously in the leg, emphasizing the narrowness of the jacket at the hips. The shirt is a traditional tuxedo shirt with white cotton piqué “bib” and a French cuff for the chance to show off some cufflinks.

Philip Sparks X Opticianado 10th anniversary frames in grey

To top the look off, Philip is proposing one of our bespoke fabric flower boutonnieres and a pair of Philip Sparks X Opticianado 10th anniversary frames in grey. Interested in this look?

December Monthly Mood Board

Each month one of our tailors makes their top choice from our newly opened Ruby Room fabric library and proposes a potential theme and design. Here is our Monthly Mood Board December 2025 edition.

December Monthly Mood Board

Craig has been looking at and dreaming of a specific 1915 suit reference that was on the inspiration board behind our irons for some time. Now with the Ruby Room open, he’s found the perfect cloth to execute this with. For December Craig chose this lovely heavier flannel windowpane check with grey background and a green stripe, perfect for the holiday season.

1915 suit reference

Craig’s illustration proposes a slim cut three button single breasted sack coat. We generally refer to this specific style of buttoning as a Two in Three or sometimes also called a 2/3 roll. The canvas is cut so the lapel will roll to the middle button but the cut also allows the wearer to do up the top button. This is where the “sometimes, always, never” rule comes into play, you sometimes button the top button, always button the middle button and never button the bottom button. We’re all for breaking rules but it's handy to know the etiquette. In a typical 1910’s style the jacket illustrated has minimal padding, is narrower in the shoulder and cut with a flat crown of the sleeve. The lapel is cut slightly wider with a high gore line and an extra button and hole so the wearer might actually do up the collar up all the way to the neck. The jacket foreparts cut away slightly and flap pockets are cut low to accentuate a narrow waist and long torso. A longer jacket and pegged trousers with a narrow cuff contribute to an elongating of the figure and a sharp look.

Craig’s Illustration

Interested in this look? Book a consultation

Winter is Coming

We hosted another great workshop on Nov. 7, this one focused on overcoats. I hope I’m not to blame for the early onset of winter, but, wow, was the timing right on for this workshop. Toronto was hit by its first blast of winter snow the following day

Craig demonstrating on a fur machine

We love making overcoats and, from what I’ve read on international tailor forums, we are pretty lucky that we get so many commissions every year. I give some credit to the Toronto climate for our specialization in this area. The need for a good winter overcoat in Toronto extends for almost six months out of the year. They are our favorite garments to create.

Variation on a pea coat from Fall 2008

OVERCOAT STYLES

One of the reasons we love making overcoats so much is because there are so many options. Yes, there are lots of suit styles as well, but our community seems to have a broader idea of what they like in a piece of outerwear, which means we get to have a lot of fun.

Craig in a Blanket Coat he made in the shop

Blanket Coats are as Canadian as they get. These simpler, long, wrapped coats – usually with a hood – are, you guessed it, made from blankets. We have created a fair number of them including the one pictured here that Craig made for himself from a vintage Swiss army blanket.

Brandon in a Town Coat made in the shop

Town Coats are the opposite of a blanket coat. They are made to wear over a blazer, can range in length from knee to mid-calf, and can be single or double breasted. They almost always sport a structured shoulder, a roped sleeve and can have a peaked or notched lapel.

Peter in a Pea Coat made in the shop

A Pea Coat’s origin is in the navy, and they are traditionally navy blue in colour. These coats are usually cut mid-thigh and double breasted with a higher break, a wider lapel, and collars that are rounded at the corner. While you can’t go wrong with a classic version, there are many possible variations of this style.

A Chesterfield with a leather collar instead of the traditional velvet

A Chesterfield is tougher to define. I see them as single or double breasted and in a variety of lengths. The main feature is a top collar cut in a different cloth, usually in a black velvet but, in the case of the coat pictured here, leather works too.

Philip in Car Coat made in the shop

A Car Coat is my personal favorite coat style. Cut to shelter you, these long loose coats accommodate many layers and are meant to keep you warm for extended periods in the cold. You might also sometimes hear them called stadium coats, in reference to historical illustrations showing them being worn at outdoor sporting events in colder weather. They were originally made for cars that did not have enclosed cabs. They are also usually double breasted with an even wider, pea coat-style collar, usually with back belts that let you cinch in extra material when you aren’t wearing as many layers. The one pictured here is my own, made in the shop. It is my personal favorite item of clothing. It gives me something to look forward to when the temperature goes below minus-20.

Andrew in a Balmacaan Coat made in the shop

Balmacaan Coats are named after a place in Scotland. They are usually made of tweed cloth in slightly lighter weights than some of our heftier deep winter overcoats and are usually only partially lined. Key features of a Balmacaan are its raglan sleeve and convertible style of collar. Did you know that a raglan sleeve is named after Lord Raglan, who needed a coat sleeve that was easier to put on after losing an arm in battle. This sleeve style was developed for him to make a coat easier to put on and take off.

Philip in an oversized “fashion” coat

I could go on. At the talk, we also discussed duffle coats, work coats, capes, cloaks, opera coats and fashion coats, all of which are items we produce in the shop

PRACTICAL DETAILS

Back Belt on a Car Coat

There are many other practical details that we put into overcoats. Storm tabs are common elements at the cuff or collar of an overcoat, allowing you to button up at the neck or tighten things up at the sleeve to block wind. Collars that pop are something a client should request. We can shape wider under collars so that the collar still sits neat and high to the back of the neck when worn down, but when popped it fits around the back of the head and chin. Back belts are great ways to nip in the waist or to let a coat out in the waist as extra under layers are required in colder weather. Another practical detail is a button in the back vent that can be done up on a blustery day.

OVERCOAT CONSTRUCTION

Tom demonstrating how to baste in a canvas

Tom delivered a great demonstration of how a canvas is basted into a coat front and we discussed the variety of weights of canvas that can be used to increase or decrease the weight of an overcoat. We talked about the Canadian-made, flannel-backed Kasha linings that we add to coats for extra warmth, about flannel lined pockets and suede backed liners that keep the wind off your kidneys.

MATERIALS

Overcoat materials on display

We talked about the various tweeds and woolens that are appropriate for overcoats but, most importantly, we talked about wool’s ability to felt. Melton, for example, is a cloth that has been woven and then boiled (or fulled) and felted. This makes a cloth that is very dense and heavy and blocks more wind. We also explored other fibres like camel hair and cashmere that make for luxuriously soft and warm overcoats.

FUR

A detachable fur liner in a coat

Craig shared a demonstration of how fur is cut with a special knife from the back side so as not to cut the hair. We also had a demonstration of how fur is pieced together and sewn to appear seamless using our vintage Bonis Never Stop fur sewing machine. We talked about how old furs can be recycled and the joys of accessories that can be added to an overcoat like detachable fur collars, mitts, gloves and removable inner fur vest.

If you want to know more about what your options for outerwear are, please book a consultation. There might still be time to create your perfect piece of outerwear in time for the holidays.

November Monthly Mood Board

Our Sample board has had an update, including our new monthly Mood Board where each month one of our tailors makes their top choice from our newly opened Ruby Room fabric library and proposes a potential theme and design.

Takuma’s November 2025 Mood Board

Takuma had the pleasure of giving our Ruby Room a final sorting and put together our first monthly mood board. For November Takuma chose this lovely heavier subtitle twill plaid with hints of green and lavender. Perfect for cooler temperatures.

Tailors Sample Board

Takuma’s illustration  proposes a boxy cut two button single breasted sack coat with a low gore line in an early 1920’s s style. The Jacket has large patch pockets with flaps on the foreparts and a regular welted breast pocket. The jacket back includes a yoke an  action pleat for more freedom of movement. Trousers are high waisted, wide legged with a narrow cuff, slash hip pockets and a strong crease for a sharp look.

Takuma’s Suit Illustration

October is Wool Month

October is wool month, which makes it the perfect time to revisit a question I get asked a lot. What makes a tweed so special?

Harris Tweed Samples

The answer starts with understanding how your clothes become a specific colour. Fabrics are often dyed their finished colour after they’ve been woven, but colour can also be added at other stages in the production process.

Garment Dyed T-Shirts

A “garment dyed” piece refers to when many garments are made in a griege or undyed cloth and then these finished garments are dyed a variety of different hues. This approach means that, at the end of the season, any unsold merchandise in a trendy colour can be dyed black for the next season (which is why blacks can be so tricky to keep black, especially at the fast fashion level).

Piece Dyed Textiles

Piece dyed is similar but, in its case, large amounts of undyed cloth are dyed solid colours, which can lead to a lack of depth and detail.

In yarn dyed textiles, the yarns are dyed different colours before they are woven. This is usually how stripes and plaids are produced, by interlacing yarns of different colours in a set pattern or repeat. Each of these processes add colour to cloth earlier and, as you backtrack, the costs increase because you are more limited in changing the colour or pattern later.

Yarn Dyed Fabrics

Tweeds are extra special because the dye is added at the earliest possible stage. For tweeds, fleece (or raw fibre) is dyed before its carded or combed and spun into yarns. Special yarn colours are blended by mixing different amounts of a variety of fleece colours. This produces a great depth and complexity of colour.

Dyed Fleece, ready to be carded and spun into tweed yarns

Tweeds are also traditionally made from wool, usually from the fleece of breeds of sheep that thrive in northern climates.

Cheviot Ewe and Lamb

Their wool is stronger and thicker and produces fabrics that wear well and will keep you warm and dry in cooler, damper conditions.

Sparks in a Harris Tweed Blazer

Back to Workwear

Back to Workwear event

We hosted a great workshop on Sept. 19 called “Back to Workwear.” Tickets went quickly and we had a full house. I am humbled by how much interest there is in what we do, how we work and why we source specific materials.

We spoke about textiles first and, specifically, what’s so special about Japanese selvage denim.

To kick things off, we looked at the history of this cloth. The first denim cloth was made in the French city of Nîmes and was used to make sails for boats. It was a type of cloth called serge de Nîmes (the term serge refers to the twill or diagonal pattern that can still be seen up close on most pairs of jeans but, over time, the fabric would more commonly be shortened to de Nîmes). It could be more densely woven, and its structure provided some natural give, or elasticity.

During the gold rush to the Klondike, Levi Strauss, a German-American entrepreneur, popularized using denim fabric and dyed the warp yarns with what was, at the time, cheap natural, indigo dye. This is the era when American denim as we still know it today was born. It was during the second World War that Japanese culture was introduced to American denim via U.S. troops. At the time, Toyota (or Toyoda, as it was called then) was a loom manufacturer and it made improvements to the shuttle loom that was used to produce denim. Most notably, the Toyoda machine stopped automatically when its bobbin of yarn ran out.

The shuttle loom is key in selvage denim. It weaves much slower with yarn under much less tension than rapier looms, which are used in a lot of denim production today. I have posted a video below that shows the looms in operation at Kuroki, a denim mill in Japan’s Okayama prefecture, which I visited this past spring. In it, you can see a shuttle with a bobbin of yarn on it travelling back and forth. Its lower tension gives the fabric more elasticity across the body without the need to introduce synthetic Spandex, which stretches out over time and does not return to its original shape. This means a pair of jeans made from selvage denim will shape and mould to your body and come back to its original shape when washed. The other benefit is a beautiful, finished edge of the fabric, which is usually in a different colour and can be used as the finish on inside seams and in some subtle details in the garment. Incorporating a discrete selvage detail on a piece is appreciated by others who share a love for this historic cloth.

A Toyoda shuttle loom in action.

The contemporary rapier loom creates wider fabric under higher tension by passing the yarn back and forth off a spool using a sort of clamp. The yarns are cut each time they are passed through, producing a rough edge with loose threads, and the fabric does not have the same natural give around the body. Most contemporary denim is made this way. My video of a rapier loom in action is below so you can compare.

A contemporary rapier loom in action.

Today, Toyota no longer makes its special Toyoda looms and all the newest machines still in operation are from the late 1940s and 1950s. If a part breaks, a new part needs to be made from scratch. The care and skill that keeps them operating is another detail valued by fans of selvage denim. Despite all of these challenges, many mills in Japan are committed to continuing to produce denim in this way. In Ibara, there are still approximately 25 mills producing selvage denim for a domestic culture that’s still obsessed with vintage Americana.

A rare loom weaving a durable type of cloth that has clean, finished edges and natural elasticity is only half of selvage denim’s appeal. We can’t talk about workwear without also talking about natural indigo.

Gitte showing off the pocket square she dyed in indigo during our workshop.

Indigo comes from many types of plants. It is usually extracted from plant leaves by a process of fermentation, where bacteria eat all the plant matter except the indigo. There are many different processes for extracting indigo that have been developed all over the world. And while it was viewed as a cheap dye in the past, indigo production is labour intensive and is by no means affordable by today’s standards.

I have worked with indigo at an artisanal level for over a decade. It works much differently than other dyes. To get a deep blue, I dip into a stew of powdered indigo extract, fructose derived from boiled dates, calcium powder, henna and water and then expose it to oxygen multiple times. Indigo is not soluble in oxygen, which is present in regular water. When Indigo is dissolved in water, it’s actually a yellowy-green copper colour with a blue skin on the surface where it comes in contact with the air. It’s not until you expose a fabric dipped in indigo to oxygen that it starts to turn blue. Our workshop guests had the opportunity to try dipping their own pocket squares into an indigo vat I built and witness this process firsthand.

I was very curious to understand how this multi-step dipping and oxidation process worked at an industrial scale. You can see it in the video below where, at Kuruki, I was invited into the dye house to see their process of rope dying. Here, they are dying the warp yarns that will make up the length of the cloth by drawing them through a first vat of indigo and then raising those yarns 10 metres into the air. The yarns travel up and down this 10-metre span 10 times and then enter a second vat of indigo and continue the same “skying” process. The yarns can be dipped in one continuous process this way through up to 10 indigo vats.

Indigo” rope dying” at Kuroki

According to my host at Kuruki, Mr. Ii, most North Americans prefer a lighter indigo for a more blue jean that is dipped four times and most Japanese and Europeans prefer something darker that is dipped seven times. Dipping 10 times will produce an almost black-blue. Below is a video of yarns dipped four times and yarns dipped seven times to see the difference.

Comparing four indigo dips with seven indigo dips.

Why does natural indigo matter? First, it’s a plant and using it as a dye is not harmful to the environment. The water used in the process can also be recycled as long as the concentration of indigo is monitored and increased as needed.

From the perspective of wearing jeans, what’s special about the stain is that it fades. If you cut a yarn dyed with indigo, the inside of it will still be white. In combination with a natural cream cotton yarn that is woven as the width of the fabric, this causes the denim to streak and fade where you rub on it, fold it and wear it. The cloth becomes more mottled as it patinas and wears. This effect is so desirable that many jean brands achieve it using chemicals, enzymes and sanding so your new jeans look well-worn before even putting them on. We prefer the authenticity of a wearer putting their own unique mark on the piece we make for them.

Where do we as makers of garments come in?  Many of the details seen on workwear are related to the industrial sewing equipment that was developed to make it more affordable. Just like the Toyoda looms, a lot of that equipment is no longer produced and contemporary versions can often only handle lighter weight materials and more flimsy thread.

A regular sewing machine creates what’s called a lockstitch that does not have much flexibility under tension. A chain stitch, which is preferred when sewing denim, is created with a series of loops that have a natural give and allow the denim to mould and shape to your body. Below is a video showing the difference in these two types of stitches.

chainstitch vs lockstitch

At the shop, we have a Union Special felling machine that Tom demonstrated for our guests. This model folds over the cloth and produces the clean finished seams you often see on the back of a pair of jeans. It sews two or three rows of stitching.  It is not easy to use and requires a lot of training as well as adjustments for any change to the type of cloth running through it. It is more aggressive with pullers and folders than can manage the heavier weights of denim we normally work with. This is just one example of specialized denim equipment. We use at least 10 different specialized machines to craft one pair of jeans.

Tom demonstrating our Union Special felling machine

As durable as that pair will be, selvage denim does still wear out. When a piece of well-loved workwear that we’ve created returns to the shop to be mended, new stitches or patches add more character to the piece. Over years and, hopefully decades, the story of your denim slowly builds to become a piece that is entirely, uniquely your own.

A well worn pair of jeans made and mended in our shop

Thank you to everyone who came out to the event. Thank you to Takuma Kobayashi for the translation of emails and phone calls. Thank you to Seiko Kudo for showing up last minute to translate in person. A very special thank you to Mr. Naruhiko Ii for sharing your passion for the production of selvage denim with me, touring me through Kuroki’s faculties, taking me out for an incredible Japanese lunch and for driving and hour to take me back to the train. Thank you to the President of Kuroki Mr. Tatsushi Kuroki for opening up your factories to me.

Philip with Mr. Ii on the Kuroki weaving floor

Fall Workshops

We are recharged after a great summer and ready to head into the fall season. Starting in September, we will be continuing our studio workshop series. This fall, we have two great discussions planned: Back to Workwear and Winter is Coming. See the details below and get your free tickets. Space is limited.

On Sept. 19 at 6 pm, we will be hosting Back to Workwear. After an amazing trip to visit the famous Kuruki denim mills in Japan this spring, we will be sharing what we learned about selvage denim including a demonstration on dying with indigo. Join us for this 30-minute talk followed by a 30-minute conversation on all things selvage, indigo and workwear.

On Nov. 7 at 6 pm, we will be hosting Winter is Coming. Making overcoats is a specialty in our shop and is at the top of our list of favourite projects to work on. Overcoats offer more details and materials for us to play with than blazers. Winter in Toronto is way too long but a great overcoat is something that can help you get through it with style and comfort. At this event, we will walk you through the fabrics, details and design choices that can make a custom overcoat a lasting investment. Join us for a 30-minute talk and 30-minute conversation about how to stay warm in a well-tailored way.

If there is another topic you would like us to create a workshop around in the future, please email us tailor@philipsparks.com with the subject line “topic” and your suggestion.

Welcome Back: A Formal Introduction

It's been a long time since I wrote a blog post. Recently, I found the business's original Blogger account. The first post was in April 2009 and my last post was in April 2015 when we made the full switch over to bespoke and started to focus more on building one-on-one connections with our amazing clients. A decade later, there are so many ways to stay in touch, including our mailing list and Instagram and Youtube accounts.

This March will mark 19 years since I started the shop. I'm always humbled by the incredible team of people I have working alongside me and shocked by the amount of time we've haunted our Junction studio. I've realized that as we've grown as a team and evolved, we have more stories to tell and some of them are better suited (pun intended) to a format longer than a photo caption. We're going to keep things light here, posting once a month, often to support a calendar of in-person talks the team will be planning to help you understand the world of bespoke better.

For my first post back, I'd like to formally introduce you to the team. The website has been refreshed with this information and you can now book a consultation with more members of the crew.

Philip Sparks Tailored Goods Inc. has been producing the highest quality tailored goods in Toronto since 2007. We have a passion for the history of tailoring but our strength is our flexibility and an openness to evolve with new technology, trends and clients. We produce all patterns and garments in the same Junction neighbourhood studio where you’ll visit us for your fittings, allowing us to accommodate all genders and body types and offering a truly custom and collaborative experience. 

Our specialty is in heritage tailoring with a Canadian perspective, blending British, French, Italian and North American tailoring schools as well as workwear techniques from Japan and beyond. We prioritize fit and the artisanship that goes into perfecting it. Advanced hand-sewing techniques are complimented by our collection of rare and antique machines. We offer exclusive suiting and shirting textiles from European mills, jacquards woven to order and workwear cloth that is still produced on vintage looms with natural dyes.

The Philip Sparks team values developing relationships with clients to build a wardrobe – sometimes in a single season, sometimes over years of appointments – and maintain its quality and fit, as well as individuals that seek out our expertise for life’s most special occasions.

Craig Renaud is a senior tailor in the shop. He oversees complex construction projects and guides apprentices through their journey of building technical expertise. Renaud, who holds an advanced diploma in fashion design, has been with Philip Sparks Tailored Good Inc. since 2013 and has been engaged in garment construction since 2008. Renaud’s interests are historical garments and construction techniques, with a specialty in Victorian and 14th century fashion. If your piece has a period influence or complex detail, chances are it will pass through Renaud’s hands. At the studio, Renaud also leads our annual Blanket Coat Project, where volunteers come together to sew coats for the unhoused in Toronto.

Tom Symonds is an apprentice tailor starting his cutting journey. Tom arrived at the shop in early 2021 with a passion for garment making and learning, and has been with us ever since. With a strong interest in British tailoring, Symonds enjoys merging formal garments and workwear. He is developing his skills on the complex denim-specific machines in the shop while becoming well versed in the deep catalogue of denim textiles and workwear style details. Through Symonds’s apprenticeship, he has been perfecting his hand sewing skills while also learning how to mend garments in a creative and aesthetically pleasing fashion. 

A former student of Sparks, Takuma Kobayashi has been with the shop since 2022. Kobayashi’s dedication to his craft is expressed through his passion for the smallest details and creating a balance between historical and contemporary design and construction. You can often find him practicing handsewn buttonholes or mastering our 19th century free motion embroidery machines.

Philip Sparks specializes in creating garments for a wide variety of body types and genders. Whether your preference is a more body conscious fit or a boxier silhouette, Sparks has the experience to ensure you feel confident and comfortable in your new pieces. He has been working in fashion since 1998 and his training includes an advanced diploma in fashion, a master’s degree in design, apprenticeships at the National Ballet of Canada and the Canadian Opera Company, and design work with the Stratford Festival of Canada. Today, Sparks also lectures on pattern cutting, tailoring and textiles with a focus on presenting and publishing creative work that explores concepts of fit and fitting in.