Here's Jess. So she's pattern cutter here at George Cleverly's. So she's been here
for over two and a half years now and she makes the majority of the patterns
here in the workshop. So what she'll do first of all is make the mean form. So
she'll measure out the certain points on the last. So we have a set standard point
for all George cleverly caps, vamp points, and the top of intercepts, and back
points. Yeah, so this gets into house style kind of consistencies...(inaudible)
across all your shoes. If you went to three different shoemakers and ordered exactly
the same shoe they will all be slightly different because the cap lengths, the
vamp point is what's unique to the company. So obviously George...
proportionately he worked what he visually works well with a shoe. So we
always work to those. So that's obviously graded to each size of shoe. So if you're
a size 6 or a size 12 they'll be that balance between the cap,
the vamp, laces, how that all looks. So when you see a sample you know you might
not necessarily be the same size as the sample, but it will proportionately be the
same as that but in your size yeah... and So that's going to overall balance of...
its kind of the balance of the shoe? Yes, I mean that obviously is part of it is
denoted by your foot because obviously where your foot bends and flexes you
can't have lots of bulky materials in that part because you don't want that
cutting into your foot. Obviously you're considering the ankle bones so you don't
want them cutting up underneath and then obviously you've got to get your foot
into the shoe as well. So it can't be so high cut and not have any give to be
able to slide your foot in easily...but we're going to
make you a pair of shoes that first of all fit perfectly, but then we're gonna make you
the best looking pair of shoes that we can. Beautiful shoes. So right here
Jess is I guess at the beginning stages of working a pattern? Yeah, so she's lying the
paper onto the last to create the mean form. So first of all we will create a
mean form and then from that so you'll be able to make a master standard. So that's
really what's dictating the hole of the style of the shoe... and then once
you've got the mean master standards so then you can take each of the components
off of that. Okay. Then you'll have obviously the vamp cap, quarters, etc. and so
the master standards being you know just the overall kind of master
measurements of the last right? because every last is totally different. It's a Bespoke
last. So your patterns you know really do have to be you know handmade for each
pair of shoes. Yes, each foot is different so you're thinking about like I was saying
saying entering into the shoe. So getting that balance right of you know it visually
looking right for your shoe and then obviously ...yeah so to have all of the
components for the clicking that comes next. And how much of you know how many
kind of measurements of the last are then going into the actual pattern at the
mean (inaudible) like it well the thing is I mean I suppose one say .....there are
four, I suppose key measurements well five really that come from the last and
then the other measurements of what we use is standard. So they're sort of
allowances and underlays that are just obviously the best way to construct a
shoe.
So it's interesting how much of a difference I mean the pattern really
does make. I mean I'm thinking just of the Baron De Redé model I have. I
mean the evolution of the pattern from the first pair to the second pair is
quite dramatic. Yes , it is quite dramatic... and so that's part of I guess the
kind of the Bespoke process is you know you're working with your customers to
really understand their personal preferences or interpretations of the
pattern itself right? So how does that I mean is that normally done... I mean if a
customer comes in and they really have a specific idea of what they want how do
you mock that up before it actually you know you're cutting and doing a trial
shoe? Well I suppose usually you'd have to consider what their foot shape is
like. See if it would be feasible as well and suppose for example if you're
making it a De Redé casual shoe you'd have to consider the width of
the customers foot. You'd really have to work on an apron. What an apron is is
it's what sits on top like this. So they come in different widths and you really
have to make it so that it looks it looks like it will fit comfortably on
the client but at the same time... sophisticated and well refined apron
Yea. So the shape is very important. I reckon. For example the
Baron De Redé shoe...and so these are kind of mastered patterns that you know have the overall
symmetry in shape and then you would cut or trim those down. Yes... based on the shoe?
So I used to draw them all by hand. I still do, but I used to draw them just
freehand for every single one... but you know it is a very busy place here and
we'd like to have things done quickly and on point. So what I've done is that
I've made different standards that I could work with and change slightly. So
this would be something like a squared off casual.
Okay. So depending on how thick the foot is I might cut it down a little bit. You know, something like that.
Then how do you... I mean are you making it asymmetric so that you know here this
gentleman has a particularly high instep, right? So you know maybe it's
going to be a bit a little bit longer you know on the exterior side
just because again you've got an asymmetric foot you know but you're
trying to achieve it something that that visually looks symmetrical. Yes so with
each foot is important to get the symmetry by working with particular
measurements. So I would usually split the foot down in the middle. I know
exactly where the middle point is. Doesn't matter how big how wide
it is on this side or how wide it is on this side. I'm always going to split it down the
middle. Same as the back. Okay...and then that way I'll be able to work out the
inside form and the outside form. Yep... that I've done. You know what would be
next? The next part would be using the inside and outside form I'd make a
master's standard. So I'm going to convert both of these into one hole
basically, and I'll start working my pattern style on that.
So I've made a master standard with the inside and the outside form of the shoe.
Okay. So what I do is that I put them together and I straighten out the lines
and following the measurements that I've made before on the last I will now draw
out to the design. So using the standard I also made a template so I can have
accuracy as well. I'm going to make a traditional oxford brogue. So this is
where the vamp point is that I've marked out... and that's from the last? That's
from the last. So these are basically your you know your master patterns that
you're kind of tracing the lines of? Yes or I can draw freehand. Of course yes. So
there we go. That's the vamp. and then this point right here is the tip of the
toe? Thats's the tip of the toe, correct. and now I will measure out where the cap is which
according to me was three inches up. There we go.
There we have it. So we've got what the inside and the outside? That'll
inside line and this will be the outside line. So it has to be right below the
ankle. Okay and because the what is it the inside ankle is up higher...a bit higher...
So you can have more allowance and then the outside ankles have to be dropped lower. Okay and
is that ever I mean you did this freehand yeah you know you've done it so
many times is you just know how to do it... but I mean I guess if a customer has any
kind of peculiarities to their foot, yes then you would incorporate that here also. I'd
have to measure and figure out the measurements to see...Would that be
indicated in the last or would you just know that with the paperwork that kind
of travels to the shoe? Both. So I would have to measure the last and then I'd
have to draw it according to the measurements but I'd have to keep
working together to make sure it fits all the time. So as I draw I will
put it against the last. What about the heel? I mean the heel is another
important part that kind of you know seats the shoe. What are you thinking
about... I mean of course you know Adam has done the work to you know to actually
incorporate you know the anatomical kind of elements into the last itself. You
know what are you thinking about whenever you're doing the pattern? Is it
just a simple like you know you're just drawing it to match or is there are you
having to put other kind of you know thinking or kind of allowances into that?
Sometimes the designs would have to drop a bit farther up. So if you've got if you
have disproportionate foot for example. So if you're a bit larger here then
maybe this might have to sit a bit further along. Okay. It's just making it
look right depending on what foot I've got. Yeah and at this point I mean
you've been doing it for so long are you able to really kind of visualize that or
you know is it once you get to the point where you cut these out and lay them
back on top of the last that you're able to kind of see and further refine?
it's just about thinking quick on your feet so to speak. Sometimes I
might just use this and lay it on for accuracy and then at times I might even
draw on last so work out where it is as well. Okay.
Absolutely. Always do it like that...and I've seen that before I thinking on some
Instagram shots of you know the actual pattern literally sketched on to the
last and then I guess you would take those measurements. Yes and then
incorporate to the to the ... Okay, what's next? So now that I've got all the
major points drawn out I can then start with the design. So I'm going to do
some broguing today on the vamp. Okay. So start some stitching. I just have to
indicate to the closer where I'd like these designs to sit. So these are more
these are more technical drawings I suppose. They give information on how
things should go when they're put together. So Adam would click, right?
but then whenever you send the you know the leather off to the closer you're
including with it the pattern so that they know exactly how it is that you
intend for it to be stitched... and the broguing I mean is that cut off here or
is that some of the closer would do? The broguing is something the closer would
do ...because they're stitching it together. Yes ...and then they're further kind of
checking you know the measurements on the pattern to make sure that as they're
stitching it together... Yes. You know it has the proper allowances. Definitely. and
we'd also send them the last. Okay... so that they be able to get the proportions
right. So they would typically pull their patterns over...Okay... to see if it fits.
So you could really see the shoe coming together here now. I mean it's
quite it's really quite exceptional how quickly all of a sudden it comes
together. If I just cut it out and lay on the last you'll be able to see how the
design fits and envision it on leather. Let me just quickly do this.
I lay it back on the points that drawn out. Okay so we've got the vamp, the cap, and the edge and then here
is where the shoe... It should fit where I've marked it precisely as it is and the design
should fit, fit on the foot. It's going to be a beautiful shoe. So there we have it. So this is a captoe
... yes it's a straight cap ... Beautiful. So then what's next?
Where does this go next then? The next step I'd actually have to make the
separate pieces. Ahh, that's right. Okay, because this is a shoe as a whole but I
have to make the counter separate the vamp separate ...and at that at
that point you're just kind of tracing it? You know how large it is,
right? So you'd kind of trace it and then work in your allowances...and the
different pieces. Yeah, well thank you so much Jess.
This is so great to see this, this beautiful work and you know it's just kind of
magic to see it all come together like this. So you know thanks for sharing it
with us. Thanks for your time as well. No, my pleasure.