What does it take to get the attention of a master tailor at 18 years old?

That was the question Theo Jones faced when he approached Meredith, a Nottingham tailoring legend, with a request for an internship. At 84, and struggling with cataracts, Meredith could have used the help—but was in the middle of winding down.

I was working on a Lawrence sample with Meredith when Theo walked into the shop. I realised that although I may not have been able to teach him specific tailoring techniques, I could at least bring him along to visit factories, speak to cloth merchants, and connect with the people behind the craft.

You might recognise him from when he kindly modelled the Lawrence and more recently, the Hampden Peacoat.

Since then, Theo has gone on to study for his BA (Hons) in Bespoke Tailoring at the London College of Fashion.

What stands out to me, in every factory I visit in the UK, is the same sobering truth—we're losing invaluable skills as the workforce ages out. But Theo’s passion gives me hope.

I caught up with him over the Christmas break to take a deeper look into his journey and hear about his vision for the future of tailoring.

Is there a specific moment that sparked your interest in tailoring?

I don’t think I have a specific memory tied directly to tailoring, but my first experience with sewing came when I found my mum’s old sewing machine in the attic. I was about 13 at the time and I remember feeling amazed at the possibilities—that I could make my own clothing. 

I’ve always been drawn to clothes but couldn’t find or afford the ones I wanted. Seeing that machine opened up a new world—one where I could create whatever I wanted for myself.

Have you always been drawn to tailoring?

I’ve always been ambitious and initially, I thought I wanted to be an engineer. But I realised that I wasn’t passionate about mechanical or industrial stuff - I was, and am, passionate about clothes. 

To me tailoring feels like the perfect combination of engineering and artistry. When I think about the centuries that have been spent perfecting each technique that I’m learning now, it lights me up. I love that I’m a part of an industry with real history.

Where are you hoping your interest in tailoring will take you?

My goal is to be a maker, creating clothes that I find beautiful and that others can appreciate. I’d love to work on Savile Row at some point, it’s such an iconic place and I know I’d be learning from the best. 

Ultimately, I’d like to open my own shop, where everything reflects my vision—from the window displays to the garments. I want people to walk in and instantly feel the care and thought behind everything.

What does tailoring mean to you?

Tailoring is the ultimate expression of the craft of making clothing. Everything is done to the highest standard, with so much thought and tradition behind it. It’s about doing things beautifully and methodically, and I feel privileged to be a small part of it. To me, it’s like carrying on a legacy, adding my own touch to something that has been refined for centuries.

How would you describe your approach to creating a garment?

I start slowly, letting ideas develop in my mind. I’m not much of a sketcher; instead, I go straight into pattern-making. Often, my ideas revolve around specific features like a collar or shape, which I refine and test as I go. Sometimes it’s about playing with a concept in my head for weeks before I even touch a bolt of fabric or start drawing. It can be a slow process but one that allows for so much creativity.

What makes British tailoring unique or special in your opinion?

British tailoring set the global standard. It’s rooted in tradition and perfection and has been refined over centuries. From small details like button placements to larger structural elements, everything has been thoughtfully developed and honed. There’s a weight to British tailoring—not just in the physical garments but in the history and craftsmanship. It’s something I’m incredibly proud to be part of.

Are there particular techniques or traditions you’re drawn to or feel should be upheld?

Hand stitching is incredibly important. Before I started my degree, I didn’t fully appreciate how much strength and structure hand stitching brings to a garment. It’s a vital skill that ensures precision and longevity. There’s something so satisfying about doing it by hand, knowing that every stitch contributes to the durability and elegance of the piece.

What do you look for in the fabrics and materials you work with?

I’m drawn to wools and drills. Growing up in Nottingham, it was tough to find anything heavy in the fabric shops, which made it special when I did. Now, I appreciate their practicality and how they wear over time. I love fabrics that tell a story—materials that feel substantial and have character. When I make a piece of clothing, it’s about creating garments to last and making sure they feel as good in 20 years as they do now.

How do small details, like buttons or stitching, impact the final garment?

They’re everything. Stitching adds structure and personality. For example, hand-sewn buttonholes provide strength and a refined finish that machines can’t replicate. Even small details like the weight and placement of a button can transform a garment. It’s those little things that make a piece stand out and feel truly special.

Is there a detail in Barnfield’s coats that customers might overlook but should know about?

I don’t think it’s necessarily the details that might be overlooked. I think it’s more the time that has gone into each element. For instance, I really love the recessed ribbed cuffs on the Lawrence and Hampden. But even if people notice them and enjoy them, they probably don’t think about how much thought went into getting them right—deciding how big to make them, how elasticated they should be, where should they sit on the wrist, should they use a 2x1 or 2x2 rib? It’s those kinds of decisions that take a huge amount of time and thought but really make a difference.

Why do you think patience is essential in creating and appreciating fine garments?

Patience allows for perfection. Every stitch and decision in tailoring takes time and precision. Appreciating a fine garment means understanding and valuing the effort that goes into it. When you rush, you lose the magic—the craft—that makes it special. Tailoring isn’t about quick results; it’s about creating something timeless.

How do/will you ensure each piece meets your standards?

I focus on craftsmanship and consistency. Every piece is made with care, ensuring that the materials and techniques are up to my standard. It’s about taking the time to do things right. If something isn’t perfect, even if you can’t see it, I’ll know it’s wrong and so I’ll go back and fix it. It’s about integrity—knowing that what I produce is the best it can be.

What do you enjoy most about your craft?

The process itself. There’s something deeply satisfying about creating something with your hands and seeing it come to life. I love the problem-solving aspect too—figuring out how to make an idea work. It’s a blend of creativity and precision that I find endlessly rewarding.

How do you feel when you see a garment you’ve designed and created?

It’s an amazing feeling. It’s like seeing a part of yourself reflected in the finished piece—a mix of pride and accomplishment. Knowing that someone will wear it and feel confident in it makes it even better.

What advice would you give someone looking to invest in a high-quality garment?

Look for transparency in the process. Know who is making your clothing. Understand the materials and craftsmanship behind the piece. A high-quality garment is an investment, so it’s worth taking the time to learn about what makes it special. Don’t rush the decision—find something that resonates with you and that you’ll cherish for years.