In 1950, when I was 12 years old, Grandpa Press took me to Brooks Brothers for my Bar Mitzvah suit. He brought it back to J. Press for alterations and the first thing he did was rip off the Brooks Brothers label and replace it with one of ours.
Grandpa Press’ dismemberment of a Brooks Brothers label from my size 16 grey flannel suit followed the protocol established on York Street at the turn of the century: namely, copying Brooks Brothers.
All the players alongside the Yale campus — Langrock, Fenn-Feinstein, White’s, Isenberg, the Yale Coop — all “followed suit” when it came to Brooks Brothers. And when LIFE Magazine proclaimed the coast-to-coast explosion of the Ivy League Look, mainstream retailers got into the act by mimicking the 1901 Brooks Brothers Number One Sack Suit, not to mention the buttondown shirt, rep tie, seersucker, Indian Madras, the polo coat, and many other items.
However, in a memoir of his days at Yale, Episcopal Archbishop of New York Paul Moore, Jr. credited Jacobi Press with doing more than anyone else to establish the Ivy Look. “His tweeds were a a little softer and flashier than Brooks Brothers tweed,” Moore writes, “his ties a little brighter.”
Soon his sons Irving and Paul used the Brooks text to devise their own curriculum, which included a flap pocket on the buttondown shirt, a hook vent on jackets, and a raised notch on lapels.
Manufacturers and retailers together joined in the conspiracy to clone the Golden Fleece, including Gant and Sero in New Haven, Hathaway Shirts from Waterville, Maine. Norman Hilton at Princeton, Julie Hertling in Brooklyn, Hickey Freeman in Rochester, H. Freeman in Philadelphia, Haspel Brothers in New Orleans. Meanwhile, Southwick produced many of the “346” suits for Brooks Brothers in addition to Paul Stuart, which earned the nickname “the poor man’s Brooks Brothers.” Current Paul Stuart pricing has certainly eliminated that perception.
Brooks Brothers bought Southwick in 2008 and relocated its deteriorating plant to a new and technically innovative facility in nearby Haverhill, MA. The move saved more than 200 jobs, a cornerstone for a famously depressed New England industry.
The “Ivy Style” seminar at FIT ended with a dialogue between Claudio Del Vecchio and Museum Deputy Director Patricia Mears. Del Vecchio mapped out the encyclopedia of change he has orchestrated to adapt the good old days to fit the requirements of an emerging domestic and international customer base in the digital age. Wherever it goes in the future, it will always be the one who started it all. — RICHARD PRESS