When we think of Britain's fashion history, iconic names like Savile Row or Carnaby Street often dominate the narrative. Yet, just beyond these well-trodden paths lie the stories of quieter figures whose contributions are equally, if not more, significant. One such figure is George Saunders, a master tailor from St Kitts whose remarkable life and work bridge Caribbean craftsmanship and British tailoring traditions. My research seeks to uncover these vital, often-overlooked histories. A few years ago, I had the privilege of exploring the George Saunders archive, held at the National Trust's Back-to-Backs site in Birmingham. Drawing on these materials – including interviews with George, his family, and a former apprentice (JoJo Remeny), alongside an analysis of his surviving garments, patterns, and record books – I've been able to gain new insights into a life profoundly shaped by resilience, migration, and creativity.

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George Saunders was born around 1932 on the Caribbean island of St Kitts, a place marked by a long, turbulent colonial history. Like much of the region, St Kitts endured centuries of plantation slavery before gaining independence in 1983. It was here, within this complex history, that George began his journey into tailoring. At just ten years old, he started learning the craft under the watchful eye of his father. While his peers played cricket and football, young George spent his afternoons in the workroom, diligently stitching trousers, shirts, and caps. He later reflected that although he felt he missed out on some youthful freedoms, he ultimately recognised the immense value of the independence and skills his father was instilling. By age 17, George was already effectively running the family business, managing the shop alone when his father took a commission in Antigua. He fully took over the business after his father's death when George was 19. By the time he emigrated to England at 26, George had already dedicated more than half his life to mastering the craft.

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George arrived in Britain in 1958, joining the wave of mass migration from the Caribbean now known as the Windrush Generation. His initial plan was a short stay to earn money, but it quickly became clear that Britain was not the land of opportunity he had envisioned. Despite arriving with decades of extensive tailoring experience, George immediately faced significant racism. Employers routinely rejected him, citing a supposed lack of 'British' qualifications. Even after completing a correspondence course with London's Tailor and Cutter Academy, specifically designed to teach 'the English way' of cutting garments, suitable job opportunities remained scarce. To survive, George took factory jobs, but he never abandoned his tailoring ambitions. A breakthrough came when he secured a position at Phillip Colliers in Birmingham. Here, he immediately proved his exceptional skill, notably salvaging a dozen ill-fitting suits that were destined for disposal. Yet, despite clearly demonstrating his value, he continued to face discrimination, earning 50% less than the advertised rate for the job. When he courageously challenged this disparity, he was starkly told to simply accept it, on the grounds that he was still earning more than he had before.

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In 1968, George took a significant step, opening his first shop on Borstal Heath Road in Birmingham. For a time, he managed the shop while still holding down other jobs, a testament to his dedication. Through hard work, George and his family built a strong reputation for quality tailoring. This success led to expansion, and in 1974, he moved to a larger premises on Hurst Street, wisely retaining the existing shop name 'Stage 2 Menswear' to leverage its established reputation. Hurst Street's location near the Birmingham Hippodrome brought a new clientele, including high-profile performers like Marti Caine (for whom George crafted a wedding dress) and singer Steve Gibbons. George’s business flourished, eventually employing over ten staff and even launching a small factory to produce trousers for national distribution. While this factory later encountered serious challenges due to mismanagement, this setback did not diminish George's ambition. He continued to innovate, introducing several brand names for his garments, such as 'GEO Saunders, Master Designer Tailor' and 'Hugo Sanchez Designer Clothes' – clear evidence of his evolving identity from a skilled tailor to a master designer.

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My analysis of George’s archive – his record books, patterns (or blocks), and even unfinished garments – reveals a distinctively flexible and intuitive approach to tailoring. His construction methods often diverged from traditional British techniques; for instance, he favoured tapered darts over the standard 'belly cuts.' This practical ingenuity showcases a creative, efficient mindset shaped not only by British methods but significantly by Caribbean making traditions. While much of British tailoring prioritised rigid, standardised approaches, George excelled at adapting techniques precisely to suit individual bodies, consistently valuing impeccable fit and personal style above formulaic rules. His remarkable ability to design and adjust on the fly is deeply reflective of a broader Caribbean tradition of improvisation and personalisation within dress and fashion. As his former apprentice and fellow tailor, JoJo Remeny, attested, George’s techniques were so efficient and effective that they continue to influence tailoring practices even today.

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George’s personal style was a powerful expression of the bold, refined aesthetic championed by West Indian migrants who actively challenged British norms through dress. As leading cultural historians like  Carol Tulloch and Dick Hebdige have compellingly argued, West Indian migrants strategically deployed tailored fashion, vibrant colours, and impeccable grooming as potent acts of pride and resistance in the face of racism in post-war Britain. George Saunders was a living embodiment of this practice. Both in his own dress and in the garments he created for clients, he championed elegance, precise fit, and fierce individuality. His contributions to Britain’s evolving fashion landscape – particularly his influence within subcultures like the Mods – remain a largely untold, yet absolutely vital, part of post-war fashion history.

 

Ultimately, George Saunders’s story transcends a simple personal narrative. It directly challenges us to fundamentally rethink who is remembered – and whose contributions are valued – in histories of craft and design. His life serves as a crucial reminder that British tailoring is by no means a purely insular, British story; rather, it is a narrative intrinsically shaped by migration, adaptation, resilience, and creativity drawn from across the globe. Through his sheer determination, his exceptional craft, and his enduring vision, George Saunders profoundly stitched Caribbean style into the very fabric of Britain’s fashion landscape. His is a lasting legacy found not only in the remarkable clothes he created, but also woven into the broader cultural fabric of modern Britain. Recognizing his story today is more than acknowledgement; it is an essential act of restoration – weaving his vital thread back into the rich, diverse tapestry of fashion history where it rightfully belongs.