King & Tuckfield: The Rake's best-kept secret

In the space of two years, King & Tuckfield has firmly lodged itself at the intersection between craft, tradition and modernity and you should absolutely have it in your wardrobe.

For fashion and style brands just starting out, the business playing field couldn’t be more uneven. There are bodies everywhere. For every label that survives its first few years, there are 20 others that find themselves being unceremoniously carted off to the accountant’s yard to be wrapped up, wound down and pencilled in as yet another fashion statistic. So when one comes across a fledgeling brand with a great story, a unique aesthetic, and a tangible passion for craftsmanship and provenance of fabrics, you should grab it with both hands. King & Tuckfield, founded by Stacey Wood, is one such brand. From a small space in a quiet, leafy and creative nook of east London, Stacey has diligently gone about building a brand, the values of which eschew modern-day throwawayism and fast, cheap fashion, preferring instead to focus on the tenets of style that we champion here at The Rake: artisanal craftsmanship, timeless elegance, and provenance of materials.

“I started King & Tuckfield for two reasons,” explains Wood. “First, because I was obsessed with how denim and merino would shape genderless shapes - from WWII underpinnings to coal mining uniforms – and second because I was inspired by my family’s favourite pastime, ballet. The two things were linked from the beginning in my mind. I was never a good dancer myself, let alone a ballet dancer, but I was inspired by the intensity of dance, the exploits of my family through the bleak years of the 40s and 50s and their impeccable dress sense, alongside the attire of famous dancers from that era.”

But with the advent of cheap overseas labour in the last 20 years, timelessness and quality were quickly eschewed for speed of production and reduction of operating costs. “I felt that the significance of premium and provenance had got lost somewhere down the line and so I wanted to bring back the personal connection between the item and its owner.”


    Ryan Thompson


    July 2018


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