Tom Arena
Ineffable.
Doesn’t roll off the tongue, instead preferring to wink and shimmy away.
Floating in front it teases and slips through fingers.
‘That’ thing, either it’s there or not a chance.
& beware those that say they have it, some do, most do not.
Instead look for those who are quietly going about doing their thing, no algorithm boosting dances, or wild proclamations of magic in their actions, just the joy of the work being done, the craft and skills sharpened.
A few weeks ago Tom Arena who firmly has the ineffable in his grasp, posted an Instagram story of London early in the morning, on his way to his atelier.
With National Gallery behind, back of Nelson in front and some early morning buses in the distance, it was London as London, before the tourists, the crowds of workers, just the city in slabbed and sculpted stone. A film set poised like a postcard yet to be stamped.
Waiting, needing it’s people, because if the people make the city, the city shapes the people before the people make it anew.
A simple thought but one that often crosses my mind when I head to see Tom.
For a while I knew and loved the work but didn’t know the man, we met through a mutual friend, “you’d get on” and all that, which is often a fatal suggestion, but in this case the elegance of the output was met by the elegance of the man with his kind and interested eyes, in the corner of a certain Piccadilly pub we ran through life, work and all its meanings.
A week later I was stood in his atelier, trying on pieces, taking in the surroundings, the book laden shelves, spotting some I owned and making a list of others to buy, the music, always the music playing and above the cutting table, a wall of influence.
Lots of brands have ‘influences’ on show, often it feels like window dressing and box ticking with no real purpose, here though you could see deep connection, with each other and with the work.
Images of heroes and rogues hug photos of Tom’s work on certain clients.
It is all culture, worn lightly but felt deeply.
Not a focus group exercise, just Tom being Tom. A tailor is a tailor, but the best don’t just facilitate the needs, wants and dreams of their clients, they offer a point of view, a take on the present and a glimpse of the future hand stitched with the hard earned knowledge of the the past.
But tailoring is intimate and can be scary, it is a step into the unknown, that first fitting a personal showcase of our physicality and many with full pockets have thought twice about a trip to Savile Row, not because of the quality of the work, but for fear of being judged.
This has been a recurring theme in my work with ‘luxury’ brands over the past couple of decades, discussions about balance, how do we preserve and showcase how beautiful the work is and that the great product is matched by an experience that is it’s equal.
It’s not a question about the quality of your dressing room carpet, nor the sumptuous packaging – although both have their place – but meeting a customer as they are, making them feel special and welcome in the moment but also in 5 years time.
Savile Row does this, forget the twee nonsense, the “suits you” schtick, there are some truly great tailors, tailoring houses and clothing emporiums in W1S, but there is something quite seductive and slightly salacious about skipping a few streets over, whether headed from the west through London parks, the east through Soho, past Fortnums and diagonally until find a black door with quiet brass plaque to right.
It is close enough to be ‘right’ and far enough away to offer something different, the product, like much of Savile Row, is beautiful, Tom has the talent but has also run the necessary yards, starting off at Huntsman and nigh on two decades as head of Bespoke at Paul Smith in Notting Hill, but Tom is his own man with a welcome that makes you feel part of the family.
Each time I’ve been to his Atelier there has been something new to try, a new piece of interest, plus those evolving photographic influences, the music, the films, the furniture, the art, even the football, culture in all forms add to the mix which is then refined through Tom’s specific eye, his take, taste and ability to cut.
Now, I’ve been quite a bit because as well as having a suit made – more about that another time – I’ve taken some photos for Tom, in truth partly done because I like Tom - he is also fantastic lunch company - but mostly because I think he has something special.
There is an elegance, balance and a timeless attitude to Tom’s work. It reminds me of so much of what makes this country greater than we let on, that open minded vision, absorption of culture, talent, hard work and life lived well all coming together to create something of note, something to shift the conversation on, in Tom’s case British, via Italy and Ireland. South London, Notting Hill, Westminster, Soho and St James. They are all there wrapped with a bow, in the work, the cultural references and the familial welcome.
I am not alone, if the truly picky, from some of the significant actors, art figures and leaders of culture and business – up front and behind the scenes - of today and tomorrow, plus all the cool girl’s cool husbands and boyfriends, as well as a number of those in my world who actually know a thing rather than say a thing are clients, then there must be something happening.
The Atelier is like a pocket of old London meets new, today a required pitstop whether city resident or passing through, and although it’s only been open a few years, it has that very British sense of chicly understated permanence, I imagine Kate Moss popping in for a chat, isn’t hard to picture George Harrison after Abbey Road sessions; Bacon on a pit stop during his saunter to the Colony; Bowie anytime; Freud before his Wolseley supper; Antonioni scouting locations; and the next James Bond et al in for a fitting.
Oozes that swagger, that undeniable vibe, that beat, think Gainsbourg ‘Requiem pour un con’, some (rightly) call it presence, the kids say rizz and a friend who ought to know better suggested kit for misbehaviour.
It’s not loud, there is no flash, and in the era where we lionise screaming mediocrity, it is so soothing to bask in the simple, quiet, in-built, “I’ve got this” confidence.
Simply Tom makes suits of armour for taking care of business.
Whether you are after suede, shearling, flannel or a new dinner jacket, I mean I dream about ‘that’ Daniel Day Lewis Oscar whistle Tom did, in the same way I dream about the perfect cup of breakfast tea. I’m a morning coffee drinker with green tea in the afternoon, I’m picky about it, like I am about the right jeans and white t-shirt each day, but sometimes I like a proper and I mean proper cup of breakfast tea, something so simple but extraordinarily easy to get wrong.
The right pot filled with the right tea, freshly boiled water and stewed for the right time in the right (pre heated) cup with proper milk – in order Brown Betty, Barry’s gold,, 5 minutes, John Julian and Ivy House full fat - an occasional Saturday treat, bacon sandwich, pot of tea, football. When nailed perfectly, heaven, like the swoop of that lapel and how it leans into that new tobacco jungle jacket Tom showed me the other week and then full circle, I picture me in double breasted coat, sexily cut (the coat not the wearer), trousers spot on, western shirt underneath, Chelsea boots, off to cause trouble with a song in my head.
The complex collection of things, which come together to make the greater whole. Moments here, inches there can lead to success and disaster. The skill is knowing how to get to each outcome, in part this can be taught and honed, but you need that initial deep in your soul spark, that superpower that gets you there. I mean what takes a skilled practitioner to a cannot be ignored lightening bolt?
But, getting down to stitches and bolts of cloth what makes it right? Why do those that not only know, but are picky because they know, go?
Well like all ‘right’ things, form follows function, and all take time and knowledge as well as skill and a worldly taste to perfect.
Let’s stick with suits, that’s the starting point, the gateway before we get to Solbiati linen m65’s or Italian and Spanish suede pieces.
In this instance the function is the form, to beautify the wearer, show us at our best, ready to take on the world. That mean’s clean lines, long, clean lines. Elegant not fussy.
Tom cuts a tailored and structured coat, it’s all about long clean lines, long clean lines and long clean lines. House style is one button – a wink to his start at Huntsman - with a 4 inch notch lapel, straight jetted pocket, high arm, little shoulder rope, two vents, trousers with an 11 inch rise, straight, sometimes a little kick from the knee, mostly sober English cloth, some Italian, some French, bit of Lora Piana and Dormeuil and occasionally something a little different; cloth found in under the radar haberdasheries.
And increasingly for Women, where Tom avoids the expected darted, and provincial, instead still cutting long, clean and elegantly, in a boxy, sexy and cool way that is like raiding their husbands wardrobe, just cut for them.
I keep saying it, long, clean lines. Now, 50 years ago and in 50 years time, it’ll make sense, because great is always right.
But Tom’s work an exercise always in sophistication, plays with and against a punkish undercurrent, Tom has spoken to me often about the importance of the visual and cultural influences of 1969-1975, which I can see, I can also see the spirt of that period, a spirit which I think has always been present when we are at our best as individuals and as a nation, a spirit echoed recently in Esquire by the chef Jackson Boxer who suggested that he would forgo his death row meal, preferring to “avoid going with docile resignation to the gallows. I would go out mean and hungry, looking death in the eye”. A great quote, one I subscribe to and frankly a message I was brought/dragged up with, live life on your terms, but do it with élan.
Making an effort, showing your best, life taken by the horns and remade to your will.
Which makes me think of people like Tom, who have not only the talent and application but a dream, one which involves doing your thing in your own way and telling your story through your work. It is brave and should be applauded.
People like Tom who are making things in ancient ways to fit modern lives.
Connection from hand to eye, brain to soul and from the maker to you.
As I wrote that, the sun popped out, after months of incessant rain. Like a trip to see Tom, I can see rays of light, little green shoots, things happening, things which perhaps could only happen here, maybe we need the rain and grey skies to force us to make our own sunshine.
Clean living under difficult circumstances. Long, elegant and clean lines.
As ever, we pose some questions…
Why do you do what you do?
It was inevitable really, I’ve always been intrigued by clothing and fabric and when I found myself at Huntsman as a young man I realised I found my calling.
Where’s home?
A village on the Kent/East Sussex border on the High Weald. It’s nice being based in the countryside with the coast of Rye and Hastings 20 mins away and it’s an invigorating contrast to the bulk of my time in London.
What do you collect?
I like to collect books on Photography, which I studied at college – I have many at home and in my atelier and often use them as reference points for my work.
Any heroes?
Ultimate dinner guests: Ossie Clark, Brian Jones, Pier Paolo Pasolini, James Baldwin, Peter Saville, Samuel Beckett, Gary Oldman, Georgia O’Keeffe – too many to list!
Favourite dish or ingredient?
Pasta ca’ Muddica - a Sicilian ‘poor man’s’ dish – it’s spaghetti with garlic, chilli and crispy breadcrumbs, something my Dad used to make growing up.
Hidden Gem?
Dennis Severs’ house in Spitalfields, a place held in time – magical, especially at Christmas.
What’s underrated?
Picking up the phone and calling people. In an era of texts and emails, I miss the interaction and sound of laughter on a phone call.
What’s next? (this can be both for you & your company but also a general trend in the UK)
Continuing to meet cool and inspiring people. I’m doing a collection of scarves, linings and ties with Giles Deacon and I’d like to do some knitwear and certain made-to-measure pieces.
Four items which sum up the UK….
Trench coats, tweed, record shops and pork scratchings.
