When I designed my first suit, I knew I wanted something bold, but classic. Black has always been a colour I’ve returned to time and time again. A chalkstripe felt right—it carries masculine elements and connotations of power, but using black instead of the traditional navy gave it a darker edge. It felt like after-dark tailoring.

Choosing a flannel meant the chalkstripe wasn’t too stark. That soft, slightly brushed texture takes the sharpness off the stripe—unlike a worsted chalkstripe, which can feel too crisp. That balance really appealed to me.

There were two key references that shaped the design. The first was Anne Scott-James. She started out as a journalist for Vogue in the 1930s, then moved to Harper’s Bazaar, and later became one of the most prominent female columnists at the Sunday Express and The Daily Mail. There’s an image of her leaning at a bar—her presence, the quiet power in that suit—that really stayed with me. It was something I wanted to emulate.

The second influence was Helmut Newton’s 1975 photograph for YSL’s Le Smoking. Most people remember it as a tuxedo, but it’s actually chalkstripe. That suit captured something important: femininity and sexuality in tailoring. It showed that a suit could be strong, elegant, and sexy—and that was something I wanted to bring into my own work.

I cut the jacket double-breasted to lean into that masculine structure, but added a sculpted waist and exaggerated hip to give it shape and femininity. The trousers came in two styles: a plain-front wide leg for a sleek, modern feel, and a pleated version with turn-ups for something a little more vintage.

Having two pairs isn’t just about style—it’s practical too. Trousers wear out faster than jackets, so it gives the suit longevity.

That original style has since become one of my best-selling bespoke suits for both men and women.

Suit No. 1: The Origin of LAWTON

Love, Lust & LAWTON: A Valentine’s Tale in Tailoring