 We're in New York City to meet a gentleman who's a true legend of British tailoring. In the late 1960s, he shook up Savile Row before going on to found his own house and develop a unique and signature style that is instantly recognizable. Today we're speaking style with Edward Sexton. I was always very, very influenced by the 30s and the 40s dress sense. There was a sort of romantic elegance to it all and that really suited my sight very much and in those days, you know, the emphasis was all, it was a drape jacket, it was a drape coat that was all about the shoulder, the chest and the hip. Not so much emphasis on the waist. It was a much more fuller jacket and very elegant, warm with a very full trouser. And I like that look, but it didn't particularly suit me too well. You started at a very early age getting into tailoring. What interested you in it in the very beginning and how did you get into it? I suppose tailoring and clothing has always been in my DNA in my family history. And from a young kid, you know, in my school holidays, I would work in one of my relations workshops in the making trousers. So I was always in that environment. And from a very early age, I understood the mechanics of a workshop. But actually when I left school, I didn't immediately go into tailoring. I sort of went into the catering business. And yeah, I experienced a side of life once, I lived in South London. So to cross over to the bridge to go into the West End of London, I'm working a very big hotel there. You know, I saw a different lifestyle completely of people going dressed, coming out for dinner in the evening prior to going to the theatre or the opera. You know, and I've seen food that I'd never seen before, like caviar and smoked salmon. It didn't exist in my childhood. So I thought, you know, that sort of inspired me to want to have nicer things in life. I was still tinkering and yearning for the tailoring business. I got a job in a tailor's workshop and I started my apprenticeship there as a very young kid. But all the time progressing, and then although I was working as a young cutter in a company, an assistant cutter with a famous company called Koolgore French and Stambury, I was very privileged to work under Mr. Fred Stambury himself, who tutored me. And I knew to develop oneself and to express yourself and to make the styles and create the work that you wanted to, you had to go outside. And so I started Moonlighting. When you first opened your studio on Savile Row in 1969, you kind of really shook things up there. Yeah, again, it was. You know, when we started in Savile Row, we did not intend to, well, we had no idea that it was going to change Savile Row to the extent that it did. Was that just because it was the first new establishment? We were the new boys on the block. We were the first company in 100 years to start a new company on the row. Normally one would inherit it from their fathers or the old family aristocratic way of doing business. We were an aristocrats. We were working guys, two young fathers that wanted to build a business and express ourselves in our own style. That's another thing I wanted to mention is you're known as being something of a celebrity tailor. And a lot of your early clients were quite famous. Again, that was, in my opinion, that was just luck, if you like. You know, we never planned these things. So what's one of the most memorable celebrity kind of moments? Well, Joan Collins came into our show on Monday with one of her husbands, Ron Cass. And we were making clothes for him. Then she saw some things hanging there that were made for Bianca Jagger. So she got very excited. We'd put some models on and she loved it. And the shoulders just suited her. So when we were addressing her, we could really go quite to the forties with the full shoulder, the real Joan Crawford-type look. So that, you know, and I loved doing all new things all the time. Even today, I love doing new, exciting things. Because to do, to make the same style day in and day out is wonderful. But to keep the edge of you, you've got to challenge yourself all the time. So it was very exciting and it still is. But so that really was a very memorable moment for me. What kind of suit did Ringo Starr? We dressed Triggy. Triggy was very famous. She was one of our first lady clients also. And your earlier question, what was Ringo like? Ringo's very dry, you know. He's got a very cool nature. He's very laid back and he has a very dry sense of humor. And you heard things back from other people. Ringo really liked that. So you've had your own studio since the 1990s. And of course you still do full bespoke. But now you're starting to offer something you're calling custom bespoke. Can you explain to us what that is? Well, obviously the bespoke, true bespoke, as several of us understand, is 100% made under my eye in our work rooms. And now so we have a different side to our business, whereby a younger person could come in, or anybody could come in, any shape or size. And we treat it and we take them through a similar bespoke measuring process. But we then we cut the pattern in London and then we send the fabric and the pattern to China and the finished suits come back. And we then do any small adjustments in house. So full bespoke in US dollars is about $6,000. And with the offshore bespoke, we're talking about $2,600. That's a very big difference. But it's big difference. And it really lowers the barrier to entry for someone who's interested in getting into a bespoke or custom suit. Yeah, the philosophy being as soon as that client that's having made to measure bespoke will ultimately aspire to have full bespoke to have made London. Well, Edward Sexton, thank you so much for taking the time to speak with us. And I hope you enjoy your trip to New York and have a safe trip back to London. Thank you. It's been a pleasure. Thank you so much.