An interview with the author of The Jermyn Street Shirt; Jonathan Sothcott
Photo credit: Jonathan Sothcott
There is only one street in the world that is so pleasant for gentlemen than Jermyn Street. If we would have to give an example of how it feels for gentlemen to walk there, it would be comparable to the feeling a child has, when walking into a street with shops full of candy, toys and videogames. Most gentlemen that have an interest in the finer things in life and have visited London have for sure visited the street and experienced this feeling. Those who haven’t been in London yet, are probably dreaming about visiting the street at some point and can just imagine already how it must feel to walk there. The street is filled with shirtmakers in all quality and price levels, shoemakers and shoe shops, perfumers and barbershops, fine restaurants, a cheese shop, some bookshops, one of the few independent department stores in the world and of course a very fine cigar shop. Ideal to spend a very happy afternoon and a good amount of money of course.
Jonathan Sothcott who is one of the most prolific and successful movie producers in the UK, was so fascinated by this street that he decided to write a book about it. He succeeded to publish the only book ever written about the street and its role for sartorial gentlemen and it came in a very fine coffee table form with beautiful photographs in it, beside the fascinating stories. We find in the book a very personal story from Jonathan about his relationship with clothing and with Jermyn Street, valuable information on the history of the Jermyn Street shirt, information on how to take care of a good shirt, technical information to understand every single aspect of a good shirt like fabrics and collars and then it goes further into very well written portraits of the various craftsmen and shops that the street is hosting. The foreword is by Tom Chamberlain, the Editor of the famous sartorial magazine The Rake. The Jermyn Street Shirt is a book that I think, can’t be missed out in every gentleman’s bookshelf next to the other so called ‘’Bibles’’ about men’s style, Italian tailoring, French tailoring and British tailoring. It’s interesting to read about Jonathan his own journey to find the right shirtmaker for him in which he tried the work of various craftsmen but got the golden tip at last from style icon and actor Sir Roger Moore himself. After reading the book and getting in touch with Jonathan Sothcott I asked him if he would answer a couple of questions in regard to the book, Jermyn Street and sartorialism in general. Very fortunately, he was happy to do so and so I’m happy to present you below the interview with the author of the Jermyn Street Shirt; Jonathan Sothcott. And if you are interested to learn more about Jonathan Sothcott his personal style you can also still read the ‘’17 questions to a well-dressed man’’ that he answered on earlier this year.
TM: It is a rather impressive book that you have made, and I was just wondering how much time it took to make this? Can you tell us about a bit on how long it took and what the process of making this involved beside the writing like for example the research and the experience with Jermyn Street artisans that you earned over the years?
JS: Thank you. It was a year on and off because I started writing it just before the outbreak of the pandemic – which proved useful in terms of having the time at my disposal to write, but frustrating in terms of field trips. I have a background in journalism and always preferred conducting interviews in person rather than on the telephone. In terms of the shirt shops, all of them were receptive to the idea, a couple I already knew, some I approached via Public Relations Companies. My friend Tom Chamberlin, as well as being gracious enough to pen an intro, kindly made a couple of introductions where there were gaps in my address book. Tom, of course, is the editor of the sartorialist’s bible The Rake and probably the UK’s best ambassador for classical elegance. Tom had put on a wonderful evening at Audemars Piguet House on Bond Street shortly before I started the book where I’d met the debonair Rikesh Chauhan, then the Rake’s social media editor, and he kindly agreed to take the original photography for the book. Tom and Rikesh really were enormously helpful throughout.
Early in the process I had a conversation with my shirtmaker Frank Foster – they felt that they were not really ‘Jermyn Street’ and in many ways not including them made the whole process easier as I am obviously incredibly biased. I would, however, love to write a book about Frank and his business at some point.
The person who made it possible really though was my wife Jeanine. As a film producer I’m pretty confident in my abilities but as a writer I always feel like a bit of an imposter but she really encouraged me to do this and illuminated my dark moments of self doubt. I’m a very lucky chap.
Jonathan with his wife Jeanine
TM: Do you feel or recognize that you got with your book people interested in Jermyn Street, it’s products and its heritage that would otherwise never have been interested in this?
JS: I don’t know about that but I can honestly say I’ve been thrilled by the reaction from readers all over the world, many of whom have sought me out on social media. Given that the publisher did virtually no marketing or publicity for the book (a frustrating litany of missed opportunities) it seems to have found its way into the hands of those in the know – the other day I was walking through the Burlington Arcade and a very dapper chap named James Wilson stopped me and asked me if I’d tried (the newly opened) Marinella store – he brought me in and lo and behold in pride of place at the centre of their display was my book! Conversely I bumped into a film producer friend Paul Brooks (My Big Fat Greek Wedding, Picture Perfect) on Piccadilly a few months ago and he enthusiastically told me he’d just bought the book in Waterstones. It feels really good to have written something people are genuinely enthusiastic about.
TM: In your book you describe that you also have had experiences with other shirtmakers, like for example a couple of Italian shirtmakers. Could you describe how you see the differences between an Italian shirt and a Jermyn Street shirt?
JS: I love Italian shirts they are certainly more swish than British ones, but they require a degree of sprezzaturra to pull off. I went through a phase of wearing these outlandish, borderline garish shirts by the Italian designer Angelo Galasso in my 20s and 30s – they had these giant collars, huge buttons and rather loud details including the famous watch cuff. To be honest, with all the robberies in London at the moment I couldn’t recommend anyone drawing attention to their time piece in this manner. Anyway, these were very unusual shirts and not typical of Italian shirtmaking – they were very expensive and not built to last. My friend Geoffrey Moore, who is really the unofficial face of the Galasso brand, makes them look great – but he’s so handsome he looks fantastic in anything.
In my twenties I used a tailor and shirtmaker in Pimlico called Volpe – run by an Englishman with a real Italian flair, all the clothes were Italian and the shirts were excellent – all a little different, but never gauche like the Galasso ones can be.
I’ve had Brioni shirts over the years, only off the peg, but they were never on par with the tailoring or casual wear in my opinion. The best experience I’ve had with Italian shirts has been Stefano Ricci – their shirts are exceptional; the fabrics are so luxurious and the finishing is immaculate. I’ve bought their shirts in London and Beverly Hills and had one made by them which I still wear. I really like the Stefano Ricci brand – their leather goods and exotic skins are very much my aesthetic, just totally luxurious, the epitome of high end.
I think in a lot of ways Italian shirts are great for warmer weathers while Jermyn Street shirts are best for cooler climates – a Jermyn Street shirt will always look spot on under a blazer and covert coat, whereas something with half sleeves in a delicate fabric around the pool would be better from Rome.
Of course, as you know, I have all my shirts made by Frank Foster, which as far as I’m concerned is the best shirtmaker in the world and they strike the perfect balance between beautiful fabrics and functionality.
TM: How often do you visit Jermyn Street yourself and do you have a set routine while walking through the street? Are there any shops that you never miss or that you always visit first? With other words, describe us the perfect day on Jermyn Street.
JS: I’m often in that area for work but my wife and I visit for fun too and particularly enjoy eating in Wilton’s (we took Lee Majors there last year), 45 Jermyn Street (rapidly becoming the new Ivy) and Rowley’s, which is a very simple but underrated steak restaurant. It is, of course, pretty much impossible to visit one of those without at least popping into one of the shops and I am particularly fond of Budd (Darren Tiernan is a very talented shirtmaker), Harvie and Hudson (Richard Harvie is like the unofficial head of Jermyn Street) and Hilditch and Key. Turnbull and Asser is a delightful shop. I saw Emma Willis socially recently. As you can probably tell, Jermyn Street is a big part of my life and why wouldn’t it be, it really is like a tranquil oasis hidden away in the busy metropolis. In fact that whole area of London feels like the last bulwark of all the things I love in an ever-shrinking, more technology reliant world. In the Burlington Arcade I’ll get a shoe shine then go and see Danny Shahid in Diamond Watches London or David Silver in the Vintage Rolex Shop. Watches are my other passion/obsession and I’ve had the opportunity to view incredibly rare pieces in both of those shops. I’m a Rolex aficionado but I like watches that are every so slightly different – I’m a Yacht Master fan, I think its their most underrated model in all its iterations and I love them – so I’d rather wear that than a stainless steel Daytona which everyone else covets.
I’m always in Frank Foster, driving them made asking for painfully fiddly details on yet more shirts. They are very indulgent thankfully.
TM: When somebody visits Jermyn Street for the very first time. What would you advise this person to buy first? With other words, what is a good start for a new Jermyn Street gentleman.
JS: I think the first thing needs to be a truly classic shirt in white, light blue or light pink, these are the three staple colours of a gentleman’s wardrobe (I appreciate pink might not always make that list but its such a strong masculine colour and lifts greys and blues beautifully), which can be worn under any suit. You’ll notice a real difference from a high street shirt (particularly as the selection in most high streets is so limited now) and if you buy from Budd, Turnbulls or Emma Willis that’s another step up. As well as the quality of the shirt you’re buying you’ll also enjoy a whole different retail experience – the people who work in these shops are genuinely enthusiastic and knowledgeable and they will do their best to help you look yours. Jermyn Street is a truly rewarding experience.
TM: Unfortunately, as you also mention in your book, Jermyn Street also lost quite a few of iconic shops over the last years. What shop that is no longer on the street do you miss the most? And why do you miss it the most? What was special about them?
JS: Yes the first draft of the book had a number of famous shirtmakers who weren’t there by the time I finished the second, most notably Pink and Lewins but to be honest, so long as the empty retail units are filled appropriately I don’t consider these a massive loss to the Street – Lewin’s endless sales and hard sell didn’t enhance the Jermyn Street brand and Pink was always overpriced. A much greater loss to the areas has been Benson and Clegg in the arcade, which shut up shop recently after decades as the best place for blazer buttons and regimental ties.
Crombie, Aquascutum and Daks are wonderful British heritage brands that I truly hope we’ve not heard the last of – the rise of these awful puffa style designer jackets has obviously hurt the mens’ overcoat market but there’s no substitute for a British Warm or a Covert Coat. Crombie, even in its last years, still had some wonderful pieces.
From pre-pandemic days I miss Vincci, a wonderful Italian shop at the ‘bespoke end’ of the street, Herbie Frogg at the opposite end and the wonderful bazarr Baron of Piccadilly - which was this amazing hotch potch of high end menswear and utter garbage with a real ‘Are You Being Served’ atmosphere. A real time warp but all the better for it.
One new addition I’m impressed with is Oliver Brown – great quality and service and very good prices. I gather they had a store in Chelsea originally but their products really suit Jermyn Street, the perfect blend of modernity and classicism.
TM: Is there any shop or brand that you think could be an addition for Jermyn Street but is not there yet?
JS: As English an institution as Jermyn Street is, I think Marinella in the Burlington Arcade has set an interesting precedent and I’d love to see more European brands open up shop there – Charvet seems like an obvious choice. Another Parisian tailoring house – Hartwood – would be a welcome arrival too, their clothes are exquisite. I read recently that Bernini, the famous Beverly Hills menswear mecca, are opening a shop on Bond Street soon and I think that will be a terrific addition to the area.
TM: In your book you mentioned that some people on Jermyn Street believe that the necktie might be slowly disappearing in the future. Something that many of us are afraid for and see it slowly happening. Nevertheless, do you think there is an accessory that will take over the role of the necktie? Or that will get more attention with the disappearance of the tie? Like the necktie took over the role of the Ascot in the past for example.
JS: I think they’ll come back. Everyone has gotten too comfortable dressing like slobs in the pandemic. The slip in sartorial standards has been accelerated massively by those 2 crazy years but with this huge economic crisis looming, I think people will be trying harder, making more of an effort – there’ll be more job interviews, more empowering speeches. I really am not a fan of men wearing suits with open neck shirts. Our current Priminister rightfully gets a lot of flack for what he wears and he isn’t a natural clothes horse that’s for sure, but Sir Keir Starmer is just as bad an offender, dressed like a parochial estate agent or a teacher on a field trip.
Sadly ties are more about the decline in mens’ ability to want to look like men – I cringe every time a guy gets on a train wearing a suit with trainers and a backpack slung over his shoulder looking like a 40 year old student. If you’re that desperate to wear proper shoes as little as possible you need to have a word with yourself and if they’re not comfortable find some that are. My father always fastidiously polished his shoes every morning and took a proper briefcase to work. Somehow these things have become seen as square or boring – trust me guys there is no man in the world who doesn’t look better arriving for a meeting with a briefcase rather than a rucksack.
If we get a decent new James Bond who doesn’t look like a plumber, and they give the costume designer job to someone who actually understands tailoring and has some basic standards, that would have a huge impact, as someone said to me about the book, 007 is the ultimate barometer for menswear – and on that basis the last decade has been a very dry patch. I’m an optimist though and hope things will get better.
I think the other problem with ties is that they are literally disappearing – the proportions have shrunk so much with this vile ‘slim’ style that they look like school boy cast offs. Guys are so obsessed with these outlandish Viking style beards covering their necks that they’ve forgotten that ties serve a similar function in a far more stylish manner… and you won’t get food stuck in them.
TM: In your book we also learn about your friendship with Sir Roger Moore and how he introduced you to his shirtmaker Frank Foster. Have you ever had the pleasure of shopping on Jermyn Street with Roger Moore?
JS: No, sadly not. Roger was one of the true Sartorial icons as we know but not living in the UK since the late 70s he was very specific where he shopped in his limited days here – Foster for shirts, Ferragamo for shoes (he got a discount!), Hayward for almost everything else. He had some ties and scarves from Harvie and Hudson (and, I believe, a double breasted blazer) and some cashmere sweaters from Turnbulls. He liked Harrods too as he used to stay in a hotel literally round the corner. He had some shirts from Stefano Ricci and when Brioni opened a boutique in Monaco they invited him in and gave him blazers, ties, belts etc, I expect in exchange for some photos. I had lunch with him and Bryan Forbes (also sadly no longer with us – a cherished friend) in Scotts and Roger was wearing this beautiful aqua/light blue blazer – he told me they’d given it to him in Brioni (some years later I was in a store in Paris called Aramis and saw the exact same blazer – I couldn’t resist buying it) and he’d teamed it with some very fine gaberdine trousers (it was July or August) – after lunch we trouped off to a recording studio and as he sat in his chair the seam on the trouser crotch split with an alarming ‘rippppp’… “that wasn’t very suave” he quipped, dead pan without missing a beat. He really was as quick and witty (and unflappable) as they say.
TM: You like to leave your work in the film business at the office as we can read in your book. But I’m curious to know whether you sometimes use your sartorial knowledge in your productions for the clothing of the actors.
JS: Yes I drive the costume designers mad! If I hadn’t been a film producer I’d no doubt have worked in menswear and I think I have picked up enough to know what suits guys, what makes them look powerful – particularly on screen. Taking my last two films as an example, in Nemesis, Billy Murray was dressed by Hilditch & Key and Bruce Payne wore a very snazzy cravat from New & Lingwood with a red skull and crossbones on black. In my new film Renegades, Ian Ogilvy and Louis Mandylor both wore outfits from New & Lingwood, who also provided Lee Majors with a terrific overcoat for the movie. In low budget British films the costumes usually come from Primark and it shows so I try to use my personal connections to raise the production value on my movies.
TM: Your friendship with Douglas Hayward that we can read about in the book taught you a lot on the world of men’s clothing and tailoring. Would you like to share with us the most valuable lesson you ever learned from him?
JS: Even though he’s been dead for many years I think of Doug every day. He was so kind to me when I was a gauche young man first arrived in London, I really wish I’d known him longer. I can recall instantly the ‘ting ting’ of the doorbell as I walked into his shop, the barking of Bert his old dog and the relaxed smile he’d greet you with. He was a gentle man and a gentleman. I met George Hamilton, Sir Jackie Stewart, Tony Bennett, Joan Collins… so many people in there with him. We went to a Variety Club lunch for Roger Moore at one of the big hotels nearby – Roger and he were devoted to each other. We all used to go to lunch at a sort of upmarket café called Richoux around the corner in South Audley Street and Doug had a discount card… whoever’s turn it was to pay borrowed the card… and they were all so rich and famous, it really made me laugh.
The best advice he ever gave me was to be myself. That’s how he was – no airs and graces, just a genuinely nice man, who also happened to be the greatest British tailor of all time.
TM: What is your favorite item that you ever bought on Jermyn Street? And what shop did you buy it in?
JS: I think it was probably a navy blue double breasted overcoat with a velvet collar in my twenties from Crombie, which is sadly no longer there. Although I no longer have that coat, it has been a staple of my wardrobe ever since, my current one is in cashmere by D’Avenza.
I also love polka dot silk scarves – over the years I’ve bought many from Harvie and Hudson and more recently I bought a navy one with purple spots from Budd – in the UK climate they’re more practical than cashmere scarves and allow a little dash of extra elegance under a coat
TM: Can we expect more books about sartorial topics from your hand in the near future?
JS: Yes I have just started work on the Authorised biography of Doug Hayward, which will be a true passion project for me. I am lucky to have stayed friends with his two wonderful tailors Des and Les, what lovely chaps they both are, and to have had the approval of his family. I am taking this project very seriously and I am determined to do his amazing legacy justice. Doug died just before the menswear explosion online so he never really got a sense of just how iconic and influential his work was, which I intend to redress. The book is also really a social history of Mayfair over half a century – they used to call him ‘The Budda of Mount Street’, a well intentioned but unflattering epitath, but he really was that much of a key figure in London society – all his friends, including me, came to him for his sage advice and kind words. He was like a very wise, immaculate owl. I wish I could pop in to see him for a drink and a cigar in the Audley pub now, I miss him.