With a career that spans Savile Row, stagewear and some of the most recognisable names in music, tailor Graham Tuckett brings a rare blend of precision, patience and personality to everything he cuts. He’s been a trusted partner of Field Grey for many years, shaping uniforms with the same care he brings to bespoke tailoring — always focused on fit, function and making the wearer feel confident.
For this edition of My Uniform, we chatted with Graham to explore the style behind the craft: the garments he reaches for, the lessons learned from decades at the cutting table, and why good tailoring still matters — whether you’re dressing a doorman, a band, or a global icon.
Hi Graham, what’s your typical day-to-day work outfit?
Fairly casual these days — especially if I’m cutting out calico toiles, which can get messy with all the white threads. If I’m seeing a client, I always think about the type of client first. How smart or casual I go really depends on what will make them feel comfortable and confident in my company.
Do you have any go-to items in your wardrobe that make you feel particularly confident?
Yes — I’ve got a few great jackets from Simon Carter that I reach for. I’ve worked with Simon for many years and I really like the vibe of his brand.
How has your personal style evolved over the years?
In my teens I was a punk rocker — which is what first got me into fashion. I was repurposing and customising clothes and doing alterations for the Harlow punks and skinheads, and that made me feel like I could actually make a living from it. I eventually got three interviews on Savile Row and took an apprenticeship at Huntsman. I still have all the letters from the tailors from that time. They have beautiful embossed company addresses and handwritten notes – so much more satisfying than an email. For years I didn’t even own a pair of jeans because they didn’t feel right with the world of tailoring I lived in. Now I’m more considered: I shop with small independents or more ethical brands.
What do you remember most from those early days of bespoke tailoring?
There was a lot of repetitive work as the most junior person — padding collars and canvases, which is a traditional hand stitch. But I learned so much from the tailors there. I made my first private customer suit at 16. That foundation has served me incredibly well, and I always recommend an apprenticeship in any trade.
With work spanning Savile Row, the high street and celebrity styling, how has that shaped the way you dress or cut?
I’ve learned to embrace all types of fashion and all types of jobs. My main aim is always the same: make sure the customer feels comfortable in what I’ve cut, whether the design is conservative or completely out there.
You’ve cut suits for names like Lewis Hamilton and Mark Ronson — do high-profile fittings come with more pressure or more freedom?
Working with celebrities is great because they often live in a world very different from my own. Once you’ve earned their trust, most of them respect what you do. They appreciate your opinion and the work that goes into making them feel confident in the clothes you’ve created.
Can you tell me about your work with Take That?
I’ve worked for years with stylist Luke Jefferson Day, who looks after Take That and Robbie Williams. I recently made the pink suit for Robbie’s current shows. Luke and I work really well together. Mark from Take That usually drives the creative concept, Luke turns that into designs, and I turn those designs into actual garments. It was hard work but incredibly rewarding. The Take That guys are all lovely — that makes a huge difference.
Are there any other moments that stand out?
I love working with Roger Taylor and I’ve made a lot of suits and stagewear for him. A real highlight was when he called to say, “Graham, just to let you know I’m wearing the red velvet suit you made me to collect our Oscar.” That work led to recreating Queen archive stage outfits that are now displayed in the Queen Studio Experience in Montreux.
What makes designing uniforms for Field Grey different from other tailoring work?
When I’m cutting uniforms for Field Grey, I’m very aware that the people wearing them haven’t always been involved in the process but will wear them every day. My aim is to create something that looks great and is genuinely fit for purpose. I try to build confidence during the fitting sessions so they feel proud to wear the uniform.
Is there a Field Grey piece or project you’re particularly proud of?
The velvet waistcoats for the bar team and the doormen’s coats for The Mayfair Townhouse — they were really satisfying to get right.
Do you think craftsmanship will always have a place in uniform design, even as fabrics and technologies evolve?
Most definitely. I’m a big believer in blending the new with the old. Traditional techniques work brilliantly alongside new technologies, as long as everyone works to the best of their ability. With mutual respect and an open mind, both the old ways and the new can coexist and elevate each other.