When I was a child I spent the summers in Italy and the winters in New England. While this may not sound like much of a significant formative experience, it set the course for how I feel about tailoring. It was the 1970s, and I had a doll named Emily who was better dressed than I was. Her clothes were custom made while mine were off-the-shelf. She had two tailors: my mother, who cut the fabric and operated the sewing machine, and my grandmother who finished the details by hand.
Summering in Italy and wintering in New England meant that Emily needed the right clothes. Her winter wardrobe focused on print dresses, pants, and long sleeve shirts, while her summer wardrobe included sundresses and the perfect red bathing suit for the beach. I grew up surrounded by the hum of my mother’s old Singer sewing machine, flanked on all sides by various baskets, heaped high with spools of thread and buttons and scraps of fabric. Despite my grandmother’s repeated attempts to teach me how to sew buttons and to stitch by hand, I never developed any real skill beyond threading a needle. My passion seemed to lie in the process of tailoring rather than in the actual mechanics of sewing. I loved choosing the fabrics for Emily’s clothes and watching the cloth take shape into a finished form.
If my mother and grandmother are to blame for my appreciation of tailoring, they are also to blame for my general state of rapture when it comes to vintage. As a teenager, I learned the pleasure of hunting through old clothes – a pleasure that was partly derived out of necessity – as my mother’s deep-seated thrift prohibited spending on designer items. Unlike today, when wearing vintage is considered both coolly sophisticated and environmentally conscience, donning secondhand clothing in the 1980s branded the wearer with a distinct air of the alternative. Those were the days of Laura Ashley and the Gap and Jessica McClintock. While it’s true, at least in the 80s, that vintage clothing became more socially acceptable through the influence of movies like Pretty in Pink and images of pop culture stars like Madonna and Cyndi Lauper, it still wasn’t something that many teenagers and college students openly embraced.
Melanie Griffith, Working Girl 1988
“Madonna, St. Marks Place, 1983” by Amy Arbus
Not too long ago, I read a quote by Diana Vreeland that really struck me. “I always say I hope to God I die in a town with a good tailor…” No one has taught me more about the transformative power of adapting clothing to the wearer’s specifications than my beloved tailor, Tatyana. Hailing from Kazakhstan, where her sartorial training included engineering, Tatyana has a fundamental knowledge of construction and a grave regard for fit. Although proper fit is generally acknowledged as the hallmark of notable style, most people would never buy anything secondhand that required alteration; for them it is too great a chore. But I am convinced there may be some readers who, like me, derive satisfaction from the process. The allure of vintage lies in its ability to speak to both memory and metamorphosis: you are able to quite literally take a garment that is too big and perhaps too evocative of another era (think mountainous Working Girl shoulders) and reshape it into something that harmonizes with the present. Rather than a destructive act, the tailoring process celebrates the past, and reincarnates it, washed free of any melancholic nostalgia.
I don’t think I am fooling myself when I say tailoring is my greatest luxury; the sea change it affords is deeply gratifying. As a daughter who has had a lifelong fraught relationship with her mother, the collaborative process of alteration is a means of staying connected to the happiest and most cherished times with my mother. Reconstruction of the vintage clothes I buy strikes me as an attempt at understanding, an attempt to control the outcome. It’s as if all the youthful hurt might be redeemed through this simple act of transformation.
Over the span of our twelve-year relationship Tatyana has altered countless vintage blouses and dresses. Each time the result is the same: I recapture both that childhood wonder at watching a garment transform under capable hands and the echo of the lost intimacy with my mother and grandmother. Maybe all along I have been chasing after the traces of this lost relationship, the cuttings and threads of maternal care, of maternal love. And the vintage fabric that is proof it all existed.
Tailored to fit: 80s Amen Wardy silk blouse (Recess LA) with vintage Ann Demeulemeester blazer (Resurrection Vintage, LA)
Before: 80s Oleg Cassini silk jacquard necktie blouse (Recess LA)
After: with recut shoulders and neckline; body and sleeves taken in