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MATERIALS AND PATTERNS
The silk tie is above praise or criticism. It is simply the classic mode of neckwear. But please let it be
of pure silk, no synthetics.
SILK adorns as no other material can, and it is supple, soft, durable and strong, The wealth of
gleaming colours, shades and designs attainable is without equal. Patterns in silk rep are always
woven, never printed. This is made possible by an adaptation of the jacquard loom, first used to
weave ties with small club emblems in the 1920s. Sports club colours and the long modern necktie
were made for each other in every sense, having been twinned since the emergence of the true tie
in 1867. The Old School Tie came into general use from the 1890s.
CRÊPE DE CHINE is made of finely twisted silk yarns which give it a crinkled, luminous effect. Such
ties can have printed designs or solid colours and go well with flannel or mohair. Some of the more
extravagant ties of the 1960s Peacock Revolution were made of this material.
GUM TWILL (foulard) is a lightweight silk twill with a particularly luxurious feel. It is steeped in
tradition. The small printed designs are by custom of the ‘paisley’ type, from an Indian design
originally hand-pressed onto the silk with ‘madder’ dye from a tree root. Gum twill ties may
accompany lighterweight suits or sports jackets.
IRISH POPLIN, in its original form as a superior silk-wool blend, has a long and fascinating story.
The name poplin comes from papalina, Italian for papal, and reflects its origins in Avignon, the
French town that was for centuries under the rule of the Popes. In 1685, religious persecution drove
hundreds of thousands of Huguenots out of France. Among them were nubers of silk weavers who
settled in Ireland, where they resumed their labours to good effect.
Irish poplin consists of a silk warp shot through with a worsted weft. The much thicker woolen
threads give a firm ‘backbone’ to the tie, which has a corded , silken surface. Due to the wool
content, the material is less prone to curl than pure silk, but it does not take a drenching very well.
WOOL ties come in a variety of mixtures and can contain alpaca or cashmere as well as ordinary
wool. They are softer than silk and suitable for sports jackets, suits made from coarse fabric, and V-
neck sweaters.
Knit ties made of silk, wool or alpaca are appropriate for casual wear. They are commonly in solid
colours, or stripes. Crocheted ties have been out of favour since the 1960s.
MANUFACTURING
The finest ties are unique, each one a creation unto itself, the product of meticulous craftsmanship
extended over 40 separate operations. The quality of the silk and precision of the cut, the quality
and cut of the lining, the accuracy of the stitching, all play their part. This needs to be appreciated
when reflecting upon the cost of such an item.
CUT
The tie fabric has to be cut on the bias, in other words diagonal to the grain of the weave, at a 45-
degree angle to the selvage, or straight edge of the material. This makes for flexibility and ease in
tying the knot, and the maintenance of shape. Economising on the material, or cutting the fabric at
a slighter angle, would result in the tie losing its straight fall quickly becoming warped with wear.
Jacquard fabrics – woven on a pattern-control loom-have to be cut individually to ensure that the
pat-tern motifs do not coincide with the tie ends, since this heightens the risk of their fraying out.
Individual cutting also guarantees the precise placing of striped patterns: a detail which the
connoisseur will appreciate. (The cloth for mass-produced ties is prepared on machines that slice
through more than 100 layers at a time.)
The tie begins in two pieces, which are hemmed on the bias in one of the few mechanical
operations in hand-made neckwear. The joint at the neck, or piecing, is pressed flat to eliminate
neckband bulk where it would inconvenience the wearer.
LINING
Good lining, expertly cut, is the foundation of the superior necktie. It should be of pure wool cut on
the bias. Apart from providing a firm foundation, it ensures that the tie retains its shape.
A guage is used to lay in the lining with the necessary precision. The silk ‘shell’ is then wrapped
around the lining and pinned in place every few inches, in an operation comparable to basting in
tailoring. Ties made of very thin, very fine silk, such as crêpe de Chine, are fully interlined with pure
silk, otherwise the lining would show through.
THE SLIP-STITCH
In this crucial operation, the main seam which forms the tube of the tie is completed by hand.
Resilient construction is dependent upon loose, even stitching. The slip-stitch, as it is called, is
sewn firmly onto the front and loose at the back to maintain elasticity. This is a little masterpiece of
artistry.
A form is inserted to ensure precisely shaped ends. Pressing is done by hand, to avoid a flat, dead
look.
The silk tie is above praise or criticism. It is simply the classic mode of neckwear. But please let it be
of pure silk, no synthetics.
SILK adorns as no other material can, and it is supple, soft, durable and strong, The wealth of
gleaming colours, shades and designs attainable is without equal. Patterns in silk rep are always
woven, never printed. This is made possible by an adaptation of the jacquard loom, first used to
weave ties with small club emblems in the 1920s. Sports club colours and the long modern necktie
were made for each other in every sense, having been twinned since the emergence of the true tie
in 1867. The Old School Tie came into general use from the 1890s.
CRÊPE DE CHINE is made of finely twisted silk yarns which give it a crinkled, luminous effect. Such
ties can have printed designs or solid colours and go well with flannel or mohair. Some of the more
extravagant ties of the 1960s Peacock Revolution were made of this material.
GUM TWILL (foulard) is a lightweight silk twill with a particularly luxurious feel. It is steeped in
tradition. The small printed designs are by custom of the ‘paisley’ type, from an Indian design
originally hand-pressed onto the silk with ‘madder’ dye from a tree root. Gum twill ties may
accompany lighterweight suits or sports jackets.
IRISH POPLIN, in its original form as a superior silk-wool blend, has a long and fascinating story.
The name poplin comes from papalina, Italian for papal, and reflects its origins in Avignon, the
French town that was for centuries under the rule of the Popes. In 1685, religious persecution drove
hundreds of thousands of Huguenots out of France. Among them were nubers of silk weavers who
settled in Ireland, where they resumed their labours to good effect.
Irish poplin consists of a silk warp shot through with a worsted weft. The much thicker woolen
threads give a firm ‘backbone’ to the tie, which has a corded , silken surface. Due to the wool
content, the material is less prone to curl than pure silk, but it does not take a drenching very well.
WOOL ties come in a variety of mixtures and can contain alpaca or cashmere as well as ordinary
wool. They are softer than silk and suitable for sports jackets, suits made from coarse fabric, and V-
neck sweaters.
Knit ties made of silk, wool or alpaca are appropriate for casual wear. They are commonly in solid
colours, or stripes. Crocheted ties have been out of favour since the 1960s.
MANUFACTURING
The finest ties are unique, each one a creation unto itself, the product of meticulous craftsmanship
extended over 40 separate operations. The quality of the silk and precision of the cut, the quality
and cut of the lining, the accuracy of the stitching, all play their part. This needs to be appreciated
when reflecting upon the cost of such an item.
CUT
The tie fabric has to be cut on the bias, in other words diagonal to the grain of the weave, at a 45-
degree angle to the selvage, or straight edge of the material. This makes for flexibility and ease in
tying the knot, and the maintenance of shape. Economising on the material, or cutting the fabric at
a slighter angle, would result in the tie losing its straight fall quickly becoming warped with wear.
Jacquard fabrics – woven on a pattern-control loom-have to be cut individually to ensure that the
pat-tern motifs do not coincide with the tie ends, since this heightens the risk of their fraying out.
Individual cutting also guarantees the precise placing of striped patterns: a detail which the
connoisseur will appreciate. (The cloth for mass-produced ties is prepared on machines that slice
through more than 100 layers at a time.)
The tie begins in two pieces, which are hemmed on the bias in one of the few mechanical
operations in hand-made neckwear. The joint at the neck, or piecing, is pressed flat to eliminate
neckband bulk where it would inconvenience the wearer.
LINING
Good lining, expertly cut, is the foundation of the superior necktie. It should be of pure wool cut on
the bias. Apart from providing a firm foundation, it ensures that the tie retains its shape.
A guage is used to lay in the lining with the necessary precision. The silk ‘shell’ is then wrapped
around the lining and pinned in place every few inches, in an operation comparable to basting in
tailoring. Ties made of very thin, very fine silk, such as crêpe de Chine, are fully interlined with pure
silk, otherwise the lining would show through.
THE SLIP-STITCH
In this crucial operation, the main seam which forms the tube of the tie is completed by hand.
Resilient construction is dependent upon loose, even stitching. The slip-stitch, as it is called, is
sewn firmly onto the front and loose at the back to maintain elasticity. This is a little masterpiece of
artistry.
A form is inserted to ensure precisely shaped ends. Pressing is done by hand, to avoid a flat, dead
look.
How to dress like a gentleman- A guide on materials used for the tie worn by the true gentleman
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