Testimonials
Meet the competition’s previous winners and finalists and find out where they are now.
Rory Duffy
Golden Shears Winner 2009
Why did you apply for the Golden Shears?
I first hear about The Golden Shears during a visit to Savile Row, when I met Andrew Chan of Norton & Sons. That meeting changed the course of my life. Andrew spoke to me about the London College of Fashion's Handcraft Tailoring Diploma, the Merchant Taylors' Company and, of course, The Golden Shears competition. He described it as the ultimate test of skill, where only the very best succeed.
From that moment, I knew I wanted to be among them.
Returning to Ireland only strengthened my determination. I became focused on learning everything I could, with the goal that one day I would earn the opportunity to compete. When I eventually moved to London and secured an apprenticeship at Henry Poole & Co., i still had to wait another two years before I could enter, as another apprentice had priority.
What initially felt like a setback turned out to be a tremendous advantage. That apprentice had been a finalist in 2007, which gave me the opportunity to attend the competition at Merchant Taylors' Hall and experience The Golden Shears first-hand. I spoke with the judges and asked what they most valued in a winning garment. Their insights had a profound influence on both my design and the piece that ultimately won the Golden Shears award in 2009.
Please talk us through your design and finished garment
For me, there were two designs I could enter: the one I wanted to make, and the one I believed could win. They were not the same garment. My original design was a three-piece evening tail suit, but after speaking with other entrants around Savile Row, I began to feel that the judges had seen almost everything. Versions of my initial idea had been done before; in fact, a womenswear interpretation had won a few years earlier.
I decided to create a checked tailcoat, but I knew it needed something unexpected. I asked myself what Savile Row was not known for, and the answer came to me: kilts. Through a colleague at Henry Poole, I was put in touch with a kilt maker, who generously answered my questions, although he remained highly sceptical that I could actually follow through and make a kilt.
Using the knowledge shared by the kilt maker, a left-behind fitting which Meyer & Mortimer gifted me, and my own research around Regent Street, I successfully made a kilt for the competition. It became a key element of the final design and helped me create something rooted in tradition, yet unlike anything the judges had seen before at that time.
Paired with my checked tailcoat, the kilt still needed something to complete the outfit. I chose a navy-blue wool cloth with a subtle straw windowpane check, complemented by a single-breasted waistcoat made from straw-coloured face cloth. The contrast between the deep navy and warm straw tones tied the ensemble together, creating a distinctive look that balanced Savile Row tailoring with the heritage of Highland dress.
What were you doing before entering the competition?
I began my training on the west coast of Ireland with military tailor Joseph Martin. From there, I emigrated to Ireland, where I secured an internship at Henry Poole & Co No. 15 Savile Row while studying for the Handcraft Tailoring Diploma at the London College of Fashion.
After completing my diploma, I began a coat-making apprenticeship under Paul Frearson at Henry Poole. I was Paul's third apprentice, but unlike his previous trainees, I already had experience making trousers and waistcoats and had a solid understanding of pattern drafting and fitting. This gave me a significant headstart.
Within days of beginning my formal apprenticeship, I was making suits for my own wardrobe, which greatly accelerated my development. Applying what I was learning everyday, both professionally and personally, allowed me to progress quickly through the traditional apprenticeship system.
I officially started at Henry Poole on 31 July 2006 and completed my apprenticeship on 16 March 2009, the very night I won the Golden Shears award. The competition there fore marked not only the culmination of years of training, and dedication, but also the end o my apprenticeship and the beginning of m professional career as a Savile Row tailor.
What makes the Golden Shears special?
The Golden Shears is widely regarded as the highest accolade for apprentice and trainee tailors in the United Kingdom and Ireland. Unlike many fashion competitions, it is judged primarily on craftsmanship, technical ability, and the quality of the finished garment rather than on trends or commercial appeal.
Every aspect of the garment is assessed: the originality of the design, the precision of the pattern cutting, the fitting, hand sewing, finishing and overall presentation. The judges are among the most respected figures in the tailoring and fashion industries, so having your work examined by them is both a challenge and an honour.
The competition also brings together the very best young tailoring talent from across the UK and Ireland. Simply reaching the final is an achievement in itself, as the standard of work is exceptionally high. For me, it held even greater significance because it coincided with the completion of my apprenticeship at Henry Poole. Winning the Golden Shears on the very night my apprenticeship ended felt like the perfect conclusion to that chapter of my career.
It was recognition not only of a single garment, but of years of training, sacrifice, and commitment that had gone into becoming a tailor.
Was there a defining moment for you?
One of the most important came during my making of the kilt itself. As a Savile Row apprentice, kilt making was completely outside my normal training, and I quickly discovered just how specialised the craft was!
Has your style changed since winning the competition?
My inspiration then came from a desire to create something that was both unmistakeable Savile Row and completely unexpected. My Irish upbringing also influenced my thinking. Although the kilt is most closely associated with Scotland, the wider Celtic tradition and heritage of these islands were familiar to me. Combining highland dress with the craftmanship and silhouette of Savile Row tailoring felt like a natural way to create something distinctive while still respecting both traditions.
Today, my sources of inspiration are both similar and different. I remain inspired by craftsmanship. heritage, military tailoring and classic menswear, but my perspective has broadened. Running The Handcraft Tailor Academy and working with students from different backgrounds, the film industry, regional dress, or the questions and ideas brought by the next generation of tailors.
More than fifteen years later, I still approach tailoring in the same way: honour the craft, but continue to push it forward.
What are you doing now?
While winning the Golden Shears was undoubtedly a defining moment in my career, I believe my most important work has come in the years since, through teaching, mentoring, and helping to preserve the craft of bespoke tailoring for future generations.
Today, I am the founder and director of The Handcraft Tailor Academy, an international tailoring school based in Ireland that attracts students from around the world. What began as a desire to preserve traditional tailoring skills, has grown into a global educational platform dedicated to the art of handcraft bespoke tailoring, pattern drafting, fitting, garment construction, and honing technique.
The academy was born from my own experience as an apprentice. I was fortunate to train under skilled craftsmen, however I also recognised that much of this knowledge was difficult to access. My mission with The Handcraft Tailor Academy has been to make that knowledge more accessible while maintaining the high standards associated with bespoke tailoring, either through online or in-person teaching. One of the achievements I am most proud of is seeing former students establish successful careers within the industry.
I also continue to work as a master tailor. I produce military dress uniforms for officers in the Irish Army and maintain a select number of bespoke clients. Remaining active at the bench is extremely important to me. The skills I teach are not historical techniques, but living skills that continue to evolve through daily practice.
For anyone interested in following my work or learning more about bespoke tailoring, pattern drafting, and traditional tailoring education, you can find me at www.HandCraftTailorAcademy.com or www.RoryDuffy.com as well as on Instagram @handcrafttailoracademy or YouTube @RoryDuffy.