Page 1


Mah e

USA$49-95 Canada '$74-95

D

ressingtheMan is the definitive guide to what men need to know in. qrd~ tQ dress well and look stylish. without becoming fashion victims. Alan FLusser's name is synonymouswi th taste and style. With his new b ook, he combines his encyclopedic knowledge of men's clothes with his

signature wit ancl eleg~ce to address the fundamental paradox of modern men's fashion: 'Why, after men today have spen t more money on dothes than in any other period of history; -are there few~r well-dressed m en than· at any time

(aontim1ed fr(:)m front j1a.p) . Tyrone Power, and Fred Astaire are etn.ployed to

help illustrate the range and diversity of a1,1thentic men's fashion. Dr~s#tg the Man's sheer rpagnitude of options will enable the xeader to expand both d1e grammar and verfuiage o.fhis petmanentfashion vocabLuary For thosemen.hoping

to find sarto~fu1 -

fillm.ent somewhere down the road, tethering

their journey to the mind-set of permanent fashion will deiivet them there earlier rather than later in life.

ever before? According to Flusser, dressing well is not all that difficult; the real challenge lies in being ahle to acquire the fight person-al-ized Instruction. Dressing well pivots on two pillars-proportion and color. Flus,ser believes that '"Permanent Fashionibillty,J) both hi,s promise and goal for the reader, starts by being accountable to a personal set of physical trademarks ·and not to any Jcind of .random, seasonally se.rved-Llp collection of fashion .flashes. Unlike fashic;m. which is obliged to cha:q.ge each season. the face's shape, the neck's height, the shoulder~s width, the arm's length. the torso's strucwre, and the foot's size reJnain fairly conls the President of Alan F1usser

stant over time. Once a man learlis how to adapt

ALAN FLUS S'ER

the :fundamentals of permanent fashion to his

Designs, a company he founded in I979- He

physique a:nd complexion,_he's halfway home. Taking the reader through each major cloth-

received the 1985 Goty Aw~d as Top Mc~.nswear

ing das15i£cation step - by-step, tW.s user-friendly

first two books' ''ilni.q ue contribution tQ the Utera-

guide helps you apply your own specifics to a

tute of menswear." He attracmd natiohal attention

series of dressing options> fro1n business casual

for designing Michael DOL~glas"s wardrobe in the

·and fotmalwear to pattern-on-pattern coordina-

movie Wall Stret;t, as well as acclaim for hJs work on

tion, or how to choose the m0_st flattetihg doth.ingsiihouette for your body type and shirt collar for your fa~e. A man's physical traits represent his individual .roadmap, and the quickestroute toward forging an endn ring sty1e of dress is through exposure to the legendary practitioners of this rare m asculine art. Flusser has assembled the largest and most diver-se collectien of sty.lishly mantled 1nen everfound in one book Nlany nevet-before-seeh vintage photographs from the ern of Cary Grant,

the HB 0 m0yie Barbarians at th~ Gate and the ·6lm

(conti11ued on &~ckjlb;p) t002

Designer and the Cut.t y SarkAwardin1987for his

Scent of a ~ro1.rtatl; He is the author ·o f four books;

Jnduding Style and the Man, clothes and ih.e Mart, and Mak~rtg the Mq:n. l-Ie has two daughters and lives in New York. Jacket design by Joel Avirom and Jason Snyder

&ant cover photograph:Getty Archives. Back c:::over photographs: top: Illusfirated..Ne~vs, l ondon; m~dcUe: Culver PJ1otqs; bottom: courtesy of Polo Ralph lauren Author photograph by James Murray

Harper~ollinsPublishers ~

-www.harpere0.ll.in:s.com


Mantesh

ALSO BY ALAN fL USS I R

Style and the Man Clothes and the Man

Making the Man

•


Mantesh

PERMANENT

THE PO\¥ER

PROPORT ION:

FASH ION

OF COLOR 16

T HE fOUNDATION

THE PREROGATIVES

OF STYLE

OF PATTERN

2

34

HOSIERY 1-IARMONIES

FOOT DECORUM

ACCESSORIES:

FORMALWEAR:

THE MAJOR IMPORTANCE

BLACK- AND - WH I TE

170

186

OF 1/[INOR THINGS

ET I ~ETTE

210

232


Mantesh

THE SUIT 78

ODD JACKETS, TROUSERS. AND WAI STCOATS

THE DRESS SHIRT

NECKWEAR 144

120

100

BUSINESS CASUAL 254

GLOSSARY

BIBLIO G RAPHY

ACKNOWLEDGMENTS

277

J06

307


Mantesh


Mantesh

Male adornment has blo~~o med. in p<1rt. because of the cultural shift toward personal expression and individuality that took place in the latter third of the twentieth century. During the 1950 . the typical businessman literally hid behind hi gray flannel uir. The era's political climate mandated fashion conservatism and uniforrnity. ln some circles. men who dared to dress diFferently ·were viewed with derision. as outsiders. Fortunately for men's fashion. the tradition toppling sixties provided the jump start for males to shed their stereotyped personas.

By the

dawn of the new mHienrtium. a peacock had stepped out of the gray Aannel cocoon. One positive outgrmvth of the sixties tw-bulence was the legitimacy that the period gave

4

to clothes as badges of communication. Masculine attire vvas svvepr up in the quest for broader

DRESSING

social freedoms: conformity came to be regarded as almost an infringement of personal! iberty In

THE MAN

the image-oriented eighties. men dre, sed to look wealthy and powerfld. By the nineties. sophisticated men looked upon fashion as another means of discourse in an information-driven '"'orld. However, i.n one of fashion ·s less forhmatc ironies. when asked to name those public figures \vho now exemplify this ne,,found interest in male decor. American style gurus and menswear professionals come up relatively empty- handed. Like·w ise. fas hion journalists from other Westernized countries are equall y baHlcd. unable to produce even a foursome of domes-

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Mencifstyk circa 19JOS cap tared head-to-toe. 1

OPPOSITE:

Men cifstyle, circa 2oooJ pictured in celebrity hea.dshots.

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Mantesh

tic male fas hion exemplar. under the age of si.'ty And no one is tqring to come up with such iconic elegantes as film legend Cary Grant o r Italian industrialist G ianni gnel li; justa couple of high -:Bying social or busLness magnates or even the odd Hollywood leading man with an affin-

ity for the random sartorial flourish ·would do. How is it tha t aft~r almost three decades of unprecedented fasb ion consumption. so few capable practitioners of this ma ·culine art form have been bred? If d:ressi ng well were sim ply a matte r of donning the latest designer duds o r owning an expensi\'e wardrobe. fashion nabobs should be in abLuldance. My quick response is that learning how to dress welJ is much like trring to build a classically beautiful place

to

live. ~o amount of professional decoration or

priceless fu rnishings will ultimately make much of a diffe rence if the :floors or \•valls that they :.1re to adorn re~ton ~l shaky foundation. ln trying to su rvive in ::u1 increasiJ1gly competitive Jrena, the men's retailer decided to ride on the coattails of the high-profile designer brand.Je:.:t\'ing the customer Iittle cho.ice bur to base his dressing style on the shi Fri ng sands of fashion. Unfortunately. when the style '"'inds change. and they always do. the trend-captive man Found himself standing omewhere other than terra firma. Lec.1rn ing how to dress '"'el l is not as diFficult as ir may seem. Mud1 Iike the newly fashionable pastime of golf. stylish dressing is an acquired sk ill that can be honed and impro;ved with correct practice. /\s J Cormer low-handicap go.lfcr. f am often srruck by the Fact that the vast majority of participants in both activities spend an inm·dimlte amount of time repeating the wrong techn iques. h 1rthcr ingr~lin i ng

tbe same faults into their

swings, ori n this case. in to thei r closet . \iVh ile the go Ifing enthusiast can engage a recognized profession;1_l

+or

instruction. d1e

+ash ion

follower

lacks a body of objective experD\ to call upon fo1· indi,·idual gu.idance. Al1)' go'lf pro will confin11 that v.rithout the proper grip, stance, and balance- the Fundamentals-a]! the practice iJ1 the world will not enable the most dedicated goJfcr to fulfill his potenrial. Developing a Aattering mode of dress is no diFferent: without a ·working knowledge of the basics, a man can not achieve true stylishness.

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PERM ANENT

FA SifiON


Mantesh

Dressitlg,vell rests on two pillars-colot ari.d

propon ion. O nce yo u learn vvhich colors enhance yoLu· complexion and why specific proportions flatter your physique, you are

haJ-~vay

home. And '~rhar does

i r take for a man to grasp these two critical ae . thetics?

Nor nearlr as much aptitude or savoir faire as you might think C€msider rhis: the classic m.ale tu:xedo

confers ins tan r;;u1eous ·elatl on aU corners, yet this old-

wo rld regime is composed of only two colors, black

and whjte. lf such a simple color scenario qlll help any m.an appear debonair, you don't need m be smn e kind

of Kandinsky to look your best. As for proportion. here's the kind of mind-set responsible for the current state of sartorial confLls.i.on. 'Men. tlS

\~reJI

as women, invatiably i.nqu.ire whether tie

widths will become lat·ger or smaller. F-Tovvever. the lies not in the world of fashion but it1 the realm

aJ1S\Ne r

of personal architectLu·e. The vvidd1 o f a w:an's .necktie

should relate to that ofhis jacket's lapels. which, in turn , are govctned

by the size of the coat's shoulders. (See

chapter 3, "Proportion: The Foundation of· Style.")

Should a1nan be broad-shmddcrcd. a slightl y wider necktie will harmonize better with the jacket's

ti-tUet proportions: if small-shoulderecl a na1-.r.ower necktie vvould be the liJ.ore flattering choice. Fashion should be accountable to a specific ·s et of physica1 trademarks and not to some random. seasonally served-up set.of±ashioo Hashes.

\ tVith this. indiYidual i.zed app170ach, leac~:ning bo'w to dress vvell begi.ns to take on a certain logic, if oot clarity Howeve r. men intent upon improving their dressing skills are often

stymied by the lack of access to intelligent and personaLized instruction. UnforwnateJy: no mat-

ter hovv sophisticated a store's merchandise, without a knowledg~able and experienced sales staff the right clothes have l-ittle chance of ending up 011 the right back in the righ t \(\.ray.

Due to l.J.llStablc financ ing, debt-ridden balance sh~ets. or stocld1older pressures, many

larger retailers have been discoLmlg~d from th iJli.Jng about the long term.· And with profits squeezed by increasing overheads.. sa.lcs training and se rvice are the first to·suffer. Most retailers m·e reluctant to invest much in educatin g :a new hire. Although the exceptional retaileJ- or indi-

vidual sales e.,~ecutive might take the initiative to lean1 about the history and traditions und.erlyi n.g fine rnenswe:;tr. he or she is not the norm. Nowadays. the distinguished salesperson is either promoted up to managemen t or hired a,;vay by.a competitor.

l'artiarhtrly at the top end, whe re expectations for professionalisn1 and superior service a re justifiably h.ighcr, retail expertise has sunk to an all -time low. }vlost better-quality retailers have t raded up to more expensive mer12handise, ceding almost all responsibility for the educatio n

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7 PERMANEN T

fASJ-II ON

OPPOSITE 0. LEFT:

Two paragons of ,.seasoned simplicity": Sig110r Agnelli and Doug Fairbm1ks Jr. blanketed in the quiet asserrive11ess ofa two-color ensemble.

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of its sales staff to their suppliers, which is like letting the fox loose in the henhouse. As expe1·ienced vetera ns retire or are pushed our to make '''ay for a more youth-ful and cost~ efficient sell -

ing Staff. Itl Cll 's clothing floors become increasingly bereft cif those qualified

tO

jnstruct anyone

imetestcd .i.n the finer points of this masculine ·a rt fortn. vVith most selJers' incomes derived primarily from commission., fash.ion advice is too frequentl y prejudiced by t he p rospect of a sale. It's rare to find a salesperson inclined to dissuade a customer frorn buying an ill-fitti ng or w1A atteri.ng garment because of tbe pressure to ·sustain or increase bis fjgures. Too ofte11 , perso nal opinion and ~i friendl y smile are respons.i.b.le for the

8 DR ESS I NfJ

fashion -challenged's slu·u1.ki ng closet space. And ~N·ith the econon:Jic reali ties currently operating

TH·E MAN

in men's f~1s hion retailing, there is not n1uch reason to expect immediate i.Jnprm'ement. 'vVhereas rhis might sotmd like chapte r and ve rse li·om any period in t\ventieih-century

menswea r. such vvas not always the case. T he tv.renty-year span bookended by the tvvo worl.d wars

marked theh.igh poi.ntofAmerican men's retaiLing and fashion. This was the lasttimethatthe manufacturing, retailing. and editorial sectors of the mensvvear industry worked together to ~ nsurc the

del.ivery of what it prcnriised: authentic style and correct taste. Even though the I920s and J930S VI'Ct~e de cad~ of considerable econon1 ic uun td dar Ame rica, they produced the best-c:U·e~'Sed gener-

ation

it1

the t-vven:tieth cenhuy But the lesson from th.at bygone time vvas.not how well kitted-out

the well -to-do ,;.,,·ere, but r;;) ther that the ~1verage mc,m 's dressing tastes were not th:rt±ar behind.

D uring that pe riod. the American male was the be neficiary of some very favo rable sartorial circumstances. The period b~gan by catapulting the most important single force in m.odern me n's fashion onto tbe -world stage. Whi.le still not yet ] ing of England,

David \i\lind$or was rega rded in A mericaa5 the undisputed King of Fash1on. The yeUov\r-haired heiJ· to the

thro11e. Yariouslv knovvn as the Prince of \tVales and J

.

1ate.r as d1c Duk~ ofvVindsor, visited the U nited States

in 1924 and made fro nt-page news . ..Plmtographers trailed him from the Lo ng Island estates of America's

wealthiest families to lunch with President Calvi.n Coolidge, with detours to the races at BeL11onr Park and the polo 111atches at Meadowbrook.

1\s British menS\i\rear's greatest u aveling salesman. th~ young Prince of'vVales ap.d wh<lf he w01·e

\.ve re matters of deep interest wbe.rever he. we.nt. On September

l O,

r924, 1vlcn's \iVear magazi.ne reported,

"The average yo ung man in America .is mote interested in the clothes o f the Prince of\Vales than in any

The Prince qfwales: The Beau ofthe Twentiet11 Century.

other individual on earth." T he travels of this sartorial

Pied l)iper elevated rhe new men's o rder to center


stage. \ Vhen the ·rock market crash came. \\'h icb one would haYe expected

to

S\\'ecp fa:h ion awa)~

it .had the opposite -effect. \iVai I Sn·eet might have laid an egg but Fashion didn't The Grear De pres ·ion rcLUrned

style supremacy ro the hands of the lucky fc\\' " ·ho could still aFf-o rd co dress'' ell. General business conditio ns did the vvo d~ of the thrc11hcr by eliminating the chaff or those followers of Fashion. lc;:n·L.ng the ke rnels. those men of inAuentiaJ positions in finance and societr ro do the leading. T he new cafe society"s dressing habits. wate[i.ng holes. and social acti\·ities monopolized the attentions o l~ the -fashion press. Their intact fortunes <lnd inbred se nse of security emboldened these men to

imprm·ise <md break the fashion rLJe ·. Ironically. despite the Depression. or rather. becau~e of it. the next decade proved to be the most important per.iod in rwentieth-cc nmry menswear.

Fil S /liON

The ·i ntet\:va,· pe riod signaled the last rime thm the introduction o Fa new men's Fash-

ion (o r a different wa) of rigging out an old one) gra\ itated down from the upper bracket · to the lowe!'. In o ther words. before the hot po llo i could sign up fo r it. the high ~class had

to sign

off

on tt A ny fash ion innovation ·first required the app roval of those men co nsidered reliable arbiters of popular taste. Only whe n a ne\\' wearable \\·as adopted by a sufficient num ber of these style setters wou ld fashi on bibles such as .-\pparcl ,\rts or Esquire magazine t·eco m mend it to the greater buying public. tvluch like the French vinegrower's Appellation Contn)lcc. c8ch new item of apparel faced a rite of passage before it could be ccr6fied :18 "authentic fashion ."

If this system did not foster a high enough level. o Fcl1m;umer trust. the retailer v\·as i11 tum expected ro assume final responsibility for hi.o.; establishment's fashion crcdibilil:)z As Appctrel I \rts ad,·ised. " 1 o merchant can devote his time to better use than to emplo) it in a constant effort to dis~ ti nguish between real and bogus t:1shion. A ma n who GLilllOt buy with confidence will nor buy at al l.''

This point of vie-w became a regult.1 r theme o ( the period icRI's momhl y 6di11gs in the 1930s. Stores .selling men's apparel that lacked the con·ecr pedigree or that ended up prematurely out of fush io!'1

Camels Hai1' Coat

Coconut Straw Hat

Norwegia11 Slippers

Mahare1.jahs.of b~.dja original us€rs

Bahamian §tt:aw w0ven by NassaLt natives

Norway to London

I

I

Adopted by British army officers f9r,vear after polo games

I Worn in E11,gland on furloughs

Noted at

pol.Q matches and society gatherings

To NassaLL

Sold by 1t[ary Wilso11, Nassau

To Palm Beach

I Brought ro U.S. by

Purchased by British

To N(:wport and U.S., hatlonwide

American socialite

and Anierican sociali res and won1 in P~ Beach_and

Thence. national

travel.ets

Newport

pqpuJ ari:t:y

I Worn at Newport telilr;ti.s n:tatches

EXAMPLE S OF H OW I930S T AS T ES BECAME PERMANENT FA S H f ON.

P ERMANENT


favor could expect the victim to promptly transfer his loyalt)' else,vhue.

By the thirties, nevl me n's fashions appeared fast an.d furious. Formal evening and d:1y attire were supplauted by more· casual garme ntS; such as the d inner jacket the th ree-piece lo unge sui:t. a nd the dress

hirt with attached soft coUar. 'vVith the advent of i11creased le isure time. the odd ja~ket

and ~l acks ensemble, active and spectator sports\:veat attd all types oflight·weight rewrt garb pressed the.ir ·way into vogue.

The thirties fashion ~co nscioLL""l Jiiale de~-per­ ately needed both info[med and individual ~qvicc.

And an'lazingly, that is e--xactly '"'1hat

he gor! for all A merica's sa rto 1ial shortcomings to follow and fo r all the legend of England's supremacy in the field of hlen's d o.thcs, durir1g those i11tervvar years, America evolved in large

part through a process of cuhural mimests into the best-dressed ll<ltion in the "'INorld. Pictures of gents aTtending sporting eve nts or simply enxoute t o work corroborate this. O ld newsreels and pe riodicals reveal a SLtrprising number of well -d ressed chaps. w ith the average Joe ve ry much a part o·f the equation.

The question a1·ises: 1:-low di.d the so~call ed hapless American .male end up on top of the styJe-leader board? And ho,vwas the id ~al of masculine elegance so widelydisseminated dm:i.ng this decade.? Three factors hel ped the-Ametican

male step out Fmm uninfonned mediocrity and up the proverbial ladder toward sty'le

supetiority- ·rhe prcvalenGe of credible role models. "bespoke" fashion, and _generally

accep ted stancL1.rds of taste.

From the early twenties through the late t hi rties. t hat elusive but convenient charact~r. "th e average mJ.Il."'~'a.." exposed to

more vis ual "aids'' in the

fbrni

of stnartl.y

attired public t1gm·es than he could shake a

stick at. Well-dressed sociaLites, such as the

13.iddles and the Rhinelanders, and fa!Sh iOllsavvy business leaders, such as Charlie 11.LtbJ1

and NUlton Holden, fo~·med just t\vo of the


SETTiNG THE STY tE BAR OPPOSITE TOP:

Three ofsociety's irifluential men: Y.Villiam Rhinelander Stewart, the Duke ofSutherland, and Chadie Munn. OPPOSITE BOTTOM:

Even the average joe sho..,ved a certain style. ABOVE :

many ·trQta of society helping to lift the t aste level of rhe masses. T he silver screen

Hollywood set the stageCla1'k Gable, out shopping.

presented scores of male stars ·winging about glamorous environs. Fred Asraire. Humphrey Bogart. Gary Cooper. Dougbs fai rbanks. Clark Gable. Cary Grant. Adolphe Mchjou, Ra) t\'1 illand. 1)rrone Power, George Raft. Jimmy Stewart. and Robert larlor were regularly profiled at\\ ork and home upholstered in aUsorts of decorous fi ncry T.hct·e vvas even a British contingent called the'' llollrwood Raj." composed of ·ud1 Engli ·h gallants as David

ivcn. RonaJd Coleman.

Errol Flynn. and Basil Rathbone. who paraded arOLUld town like peacocks from Piccad.illy. \Vhilc Holly\~·ood's leadi ng men occupied center stage, England's adstocracy consistently ranked among

rhc swankier sahibs in rhc ciYilized vvorld. had tbe tradition and t he time to flaunt the Empire's inHucnce 0\'Cr mJ.lc habiliment. Daily tidings oF the Prince of vVales \1\TCl'C broadcast worldwide along with the ocial and sartorial escapades of his dub-elegant confreres. Much like today's omnipresent billboards. the landscape Furnished C..'\t ensive opportun.ity to observe and imitate the .

g01ngs-o n.


The second factor rcspon ·ible for the emergence of ·o many dome ·ric -,,ells was the

inl-lucnce of ·'bespoke" taste. which wa to say.

the '·London Look.'" Ta.ilor and Cutter. Britain's weekly trade gazette, trumpeted that "a man can't make love with conviction unless he is wcarjng a coat cut v\·ithin ~1 half a mile of Pic-

cadilly" \Vith the world's economies depressed. men's styk took its lead from those 'Ncllst::trc hcd stalwarts ·w ith sufficient cash to have

their clothe · tailored on London's legendary avile Ro": The English ··drape" su it and all rajment .. Briddish" were regarded as the quintes-

sence of masculine sophistication. The thirties represented the last epoch in which a gentleman's ideal w::ts to be attired in "bespoke E1shions... Men's dress still represented

a form of class-consciou.•me.ss, and tai lor-made clothes ranked as another of those vessels oFdi.sti nction O-Jnong the ch1sscs. \~i th men's modes

molded by the eGte palates of the international businessman. Europe's titled aristocrxr and

llollywood's cinematic royalty. the general taste lcvd had nowhere to go but up. and up it went. Even todar seven decades later. were one ro conYene the world's be. t-dn:sscd men under one roo£ the majority \\'Ould still show up mantled in some form of custom- made clotbing. Despite the culture's need for immedi<:l te gratification. the most sophisticated dressers.

p::tsr o1· present, ·c ontinue to go to the effort and

expense of bespoke tailoring. Un like coda)( when fashion is so mething formulated by a designer

or a store. back in the thirties. the style seeker learned that genuine stylishnes ·was an extension

of himself not the other way around. The third catalyst serving ro heighten

rhe American male's receptivirr to Cashion

Basil Rathbone, part ofthe "Hollywood Raj," sho1vinghis high style.

the medium of established taste. Historically. taste in masculine atti re tended

~

\\":15

to

rdlecr rh~1r of

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t he commu11 ity's social leaders. In t he 11ineteenrh centtuy. mal e decorwn.\vaslargely determi ned

by the sor:ts

of the landed gentr y, while that of the new royalty and tbe u pper class dom Lnated the eady 19 2 0s and 1930s. DtU·ingthe thirties, person:oll taste and expressjon had comfortable lirnits w ithin which to operate. lt ~was still 1·ight or vvrong to we4r cert..L.i n clothes fo r cer-

tain occas iohs. O nce a gaJ·ment was classified as sltch, the re vYas no need to qnesti_o n its legitimacy or appro-

priateness. "A uthentic h1shion .. involved little speculanon or p0tennal h azard: in principle, it ,~ras ,nothing

mort. th~m adopting apparel that had al1·eady been deem~d correct and so6aUy acceptable. U p thro ugh the late I9) 0s, pivotal variation s

iP male att·ire v'lrere relatively fevv. making it far easier to

recogniz<" and foll.ow the dictaEe~ of fashion. ivlen kn ew fi 'ughlr

v,·ha.t

to wear

for most occasions. ln fact. at

e.a.'r in rhe United ~tates prio r to the Peacock Revolu.-

non. there was an LLnspoke n co nse nsus among tbe u"ell bred as to what constituted good taste in mascu-

llite decor. lt w.as part Brooks Brothers and part Savile Rt:m a dictum forged by the land's

Ne,~r EnglaJld her-

uage. with gentlemanly etiquette presided over by Uoston's Brahm ins.

But by the late SL'Ities, tbe

..ebellious offsp ring of t he m.iddle c J.SS had forced ~tpper-dass taste

m take a backseat t0 the ne\vly licensed f reedo ms of youth and t he

'rrcet. ··nowh with the Ritz, up

ENGLAND 'S AR ISTOC RACY:

The Duke ojWestminster (above) and Mayor '~Fruity" Metcalfe (accom.panied by his 1•v[ft}.011e of the Kfng'sfo1'emost savm~ts ofstyle.

wirh rhe street.'' prodauned Paris coururier Yves St. Laurent. \ Vith the cbntinuj ty of e~rablished taste

broken and social custom.s n o longer

offering strong guidance for appropriate dress. the

concept of objective st andards -f0> r sartodal taste was abandoned. Toda)r, one man's good taste 1s another man's "pizza tie'' (a term 5·o m novelist TO'rn vVolfe). VIe have now arriv ed at that point where ·rhe

book's sub title. "lvlasterlng the Art of Permanent

Fashion."

n ~ed s

some ex planati o n. T he hnki.n.g of per-


mtmem with ji1slzio11 may wel'l strike. ma11y as an oxymoro.rt. Particula rly today. \vhen fashion is taken. to mea.n. a .CC.)lll11litment to risk and change. mating it '~· ith d1c idea of permanence i.s

bound to cause confusion. if not dmvnright controversy. This is not an oversight bltt rather an atte.n1pt to provoke the inquiring mind.

The idea of pe rmanent fashion operates on two levels. First, it syitibolizes· the current paradox of modern men's fashion. which is. that mens\'vear has enjoyed three decades <.:1f

w1precedenred .grmvth and freedom to configure and reconfigl.Lre the sarto rial tastes of several

generations. yet th e re are fe'''er genuinelr well-dressed men 1tow than .bdore. There has been D RESSiNG THE

lvLlN

noth ing permanent about recent fashion. A nd second. perma nen t Fashion is the book's prospect us, its .m.issiori to .its teaders. For those .~:ne.n hoping to .find sartorial fulfi.llmcllt some\yhere dm;vn the road, tethe ri ng t heir joumey to the mind -set of permane nt fashion will dd ivcr them there earlier rather than later in life. Moving towaH:I such a stat~ requires the creation o f a classicall y stylish W<:lrdrobe and the knowledge of how to wear it to best personal ad van rage. For n wearable to qu ~llif~; as fash ionable )'€~u in and year out. .it must possess Ln.h erenr merit. useful.ness-. and all -around good taste. And while the evolntion of on e's personal look 1s a work- in-progress. tmderstanding

vvh.ich colors and proporti0ns strit yew the best e:md why

fertilizes the sarto1·ial so i.l in vvhkh 0ne's permanent fashio nability can b.lossom. Some may feel that establishi ng ru les for gpod taste may iflhibir self-expression. It's my op.inion that

Dl ey provide the only cha nce For genuine ind iv id uality: Real innovatioh has always taken place with an a\vareness qf. ra~:-her than an ignorance of the rules. Afte r all. GOOD TASTE IS PRICELESS .. . BUT IT DOESN'T COST A THING AT BROOKS BROTHERS

Good rasre i:> an .ingredie.nt thar gots intO everything we scl1 here at Breoks Brothe rs. Tr costs .no· more now than it dld.in l s·ui: when-we started in husincs; ... and it clldn't cost n· cent tlten. It's something we put in everything we maite1 nncl demand i n ev~:ryth i ng we· huy . .. nn intangible quality tha t h elps i4entify quF merchancl ise as Brooks Br:others. W!! invite' yciu co drop i:n and cli5covcr tl1at "ther~ 1s no addftion:il charge fur the name Brooks Brot.her;.." 0Jir.0WJI

Make Rendy-Nlndd St.tiss, jmn $16:5

Our ..J 46"Suiu,$125t4 j.ISS

.l1ovv can you push the envelope if there is no envelope to push? Knowing rh e basics of setting a proper table or writing a decent letter preve nts getting bogged down in

the small stuff Finally. good fo rm makes for a level playing field on which ex~d l ence has real n1eaning. Therefore. for me n ro develop the confideJ1ce· and skills to take a new look out fo r a spin on their 0 \'\·n ,

they need visual re inforcen1ents. Less i.ncliJled

th<:m the opposite sex to risk victinlizat1on by the caprices of f1shion, tiH~n feel niore st yle-secure when surrounded by like-attired numbers. \Vhereas th e thir -

ties provided an w1 interrupted vi.sta of yvell-clad coves. the paucity 0f such .male paragons novvaclars is perlu1ps BOSTON · PITT5UU'~Oii • Ati...\i<'rA • ·CF!lCA.GO spi. FP#<ICISOO • L.!)S ANO~ts:

t he principal cause. fo r the species's current con.tmdtL1111.

the

Jn an attempt to redress th is. Catch-22, Dressing

Mi7.'11

has pressed into .service th~ largest and most


diverse collection of stylishly m:mtlcd men ever to be assembled bet\~·een rwo co\'ers. Hopefu lly. the sheer magnitude of options; presented he re wi ll enable the reader. regard less of his sartorial persuasion, ro expand both the grammar and range of his permanent r~lshion vocabulary However, one smaJ I ca,·ear before we proceed. Though these pages arc Filled with men ''rho demonstrate an c.xception;JI feel for clothes. I am not tl)'ing to turn the proverbial "apeman into an Adolphe 1\ lenjou.·· The best- dressed men consistcntJy demonstrate the greatest degree of self- knowledge, which. for

Olll'

purposes. means a superio r LUldcrstandi ng of tl1eir

physical manne r and appea rance. Their style deri ve::; from an evolved itnvard eye rhat guides them tmvard those cuts and colors that best articulate rhei r physiques. At such a rarefied level.

PERMANENT

an indi,·idual's bodily a\vareness becomes an almo t unconscious dynamic. much like muJtipli-

FASHION

carion fur c1 mathematician . \Nhile Dressing the 1\ll mz's visual content goes a long '"a)' toward preparing the reader to take that next . tep. teaching such a high level of style consciousness is not its primary goal.

The great dressers oF the past c~n be a pleasure to look at, but they should be regarded as sources of inspiration. a means to an end. They developed a 'vorlung knowledge of the basic . freeing their fashion intelligence to experiment and shape these fundamentals inro a more personal rendering of the art form. ' trctdLing a fundamental here. bending a rule there, the sophisr:ic:tted dresser aspires to a more poetic, less studied expression. As art critic Kath leen Campbell has stnted 1 ''The perfect art is that which conceals art." In my t hirt)'-odd years oi designing and writing about men's .style, I h8ve come to realize

that men possess more naturaJ talent for persOiial decor than generally given credit for. vVhen :1fFordcd the opporttmity to gertlrsrhand ad\'ice, they rurn out to be surprisingly quick studies. Having created custom clothes for a diverse audience of men. I have ret to meet one "'ho, in the privacy of the fitting room. will not express an interest in wanting tGiook better. I believe rhat men not on ly w~nt t0 expand their capacity for self-adornment but that they have never been more ready

DaisakLLIkeda, third president of rhe Soka Gakkai. a Buddhist world- peace organization. states. "Our lives are ruled by impermanence. The challenge is l10w to create somethi1igof e.nduri ng ,·aluc \\'ithin the context oF our impermanent Iivc ·." Dressing the 1\lan: 1\ fasteri11g the Art C!_{

Permanent Fashioll aspires ro do just that. Although the responsLbility fo r its realization lie · squarely \Vithin, permanent fashionability is ,,vithi n t he re~Kh oF any interested man.


exist benveen a man's m.ost visible and.expressive body part, his face, and the clothes surround-

ing it is a prereqt.Lisite of fihe dressing. Oscar Schoefrl er, Esquire rnagazi1:1e's legendaty fashion editor. once vvarned, "Never underestimate the power of what you rveru·. Aft.er all. theJ:"e is just a small bit of you sticking out at the neck and cuff Jihe rest of \e.rhat the V\rorld sees is what'$

draped on yo ur fran"ie.'' AJ1d ·wh iah .colors end up fratning this <•sm.aU bit of you'' can1nake d1e difference between this cynosw~e of expression being brought t o life or not.

first .impresstons more than any other aspect of attire. It can establish an emotional link bet\veen object and observer. When the fa£e is surrounded by tonalities thatinvjgCbl oJ: influences

r8. DRE·ssrNG THE M AN

orate and iliuminate its presence, its ability to provoke immediate and marked reactions is ampliFied. ~ro.s t wome n learn early 'O·n of th ~ role of the face iJ1 the dressjng game. The pretti.est woman's fuce is us ua]Jy a canvas to w hj ch bo th nature and art have· contr.ibuted. Unfortunately for the n:tan, ''fe n:Jinineu artifices such as cosmetics are not rea:listic option s, leaving tile male

countenance more vulnerable to outside siege than those fortified facades of the fairer sex. J-lowever. r11en need to knovYhmNto vveat color .not .so tnuch for its beauty or alJu.re but in.m·der to heighten the face's expressive capacity in the commLmication process. Although a lot is known abo ut the effect of certain colors on the heartbeat and rate .of respir~tion,

little h.:1s beeri taught of late about t he transforming effect of clothing colors on a mah's appearance. The on1y time in this.ce.t1tury that 1nen had ready access tO·such information

was du.ri n.g tl1e heyday of men ,s elegance, t he 1920s and 1930s. Thjs was a period in vvhich the drab stiffness of the Victorian costume was being rep.laced by the colorful informality of the evolvi.ng l oung~ s ~1it and fl edgling sportswear fashions. Among t he century's e~u-ly fashion peri0dicals, Esqu·i1'e magazine established itself as the leading arbiter of American rnen's style. Beginning in t he fall of 1933, Jts editorial department vvould dispatch style scouts ro the far corners of the globe in search of those dress innovations and style cues m.estlikely to develop inro long:-term fashion trends. But before Esqtdre roJled o.Llt its fashion findings to the public at large, Appm·elAJ'ts, its sibling publication, wo uld first present

their conuuerciaJ prospects to i.ts professional audience. the mens,<Vea.r indusrry ·w hen a new color became important;, Apparel Arts would introduce it by inventing sobriqu.ets hke "sandune'' or «brownstone" to rmnanticize its appeal. Leading illusti'atots Nvould be co mmissioJ1ed to portray the new· color"s style currency and wardrobe possibiJities. S~rn ple point-of-sale and window display layouts 'WoLJ.d folJ.o"w so that retailers could learn how best to present. promote. and se.ll it . As suppliers. solicited wholesalers and manu-facturers geared up production. Apparel Arts

· announced which Ltpt.on1.Lng Esquir.e :issues ·wo.uld feanrre the new color "story.'' Depending on its perceived impor tance

i11

the larger fashjon firmament Esquire vi'O uld sornetitties devote an

e11tire season's coverage to promulgating the color story. Style histories discussed \iVh.ich ceJebriry and what water:ing hole pioneered the tony new shade. Newspaper ads linkilig the n~w color to, say, one's complexion would appear. such as the one on the foll0wij1g page. "Color vvheeht .inch1di ng the ne'vY shade vvere .devised t:o coordinaJe n1en's c;ornplexions with the latest


suiting fabrics ::tnd fm·ni shings. By the time the he ralded new colo rs finall y hi t the shel ves. both the me rchants and the masses \\'ere appropriate!) primed. The sheer pace of change in Fashion betwee n the wars co mpelled the ed itorial wo rld to

exalt the hmv- to aspect of masculine style as in no other pe riod in menswear before or a~Fte r. As ::1

result. a 111an's complexion and his cho ice of clothes became an ongoing t heme in each sea-

on's ·ryle presentatio n. Men we re in ·rructed on how to incorporate colors such as to·wn browns and rustic gree ns into thcjr city wardrobes and e ncouraged to take personal advantage of less popu lar shades Iike pi.nk. lavender, and gold. Nm surprisingly. the period turned out the most colorfull y clad 111ale in the twentieth century. not to mention the best dressed. U nfortLulatel)~

T HE P OWER

vVo rld \~far I [ sidetracked the exuberance o f the '''ealthy fashions of the

O F C O LOR

thirties. This, Collovved by the gray Banncl conformity of the ~i Fties and the social upheavals of the sixties, left later generat ions of style-conscious males pretty rnuch on their own in d ivining 1:1.11 individual d othing palette. fn the early eighties, offshoots of several commercially succe."sfi..tl color books fo r '"'omen we re broached for men. Unfortunately. their methodology was o to rtuous in detail and demanding in time rhat most men decided to ignore their entreatie· of sartorial cnUgbtenment, resigning them ·elves to the predictable sa11ctuar}' of the dark blue or gray business rnantlc.

Sll ljtief\\Clnl-h._lull~l t'ltl t'llllitl' ttl h.tlrl Mtl tli1111Jtl~):i0n~; tlhi lllulllr.\lttl tm lh~.~ ~~lt~brr.r

P EX0

wllh app.ciJ,trialc .."'iht'- HI lnltrlr• filr Utt' t.•-lH; l,ut$. nt~tllr ~'"' ,lthtt. 11tC·IIQ.jt!J VQ as J;UMtet. fQr .,.-uhanut,q O"l"ff•..nrt"' in h.u-~

tlilttrldllj; ttllll t'11,llt\J~Ih1f1•1Uinr$liclrll#.!JIIi IJi lhu~ , ,(l tfln "Uil ti ll ~dtlt nt. .V.rt-:~1 lu,fr:...::nu\ .ult tiUwk., pnrui~y tllll''" i.ollf1-h w':t.) l1t1 lrl tlt~ ).UUc:th• 4lt~>Wt1 •)r rn.ul\' ••the~ a\l1Tia14~.

·11Ht ..J~q "'-I..,Ctl"tl t~ tf1,.. •rce"'I;;ri~ '*"111··1t

Magazines keyedfashion colot stories to d@rent complexions.

.iJOlthl tull ltoUII'Ol'IJirH>\l 1b lh•• tlilti~f!l:l

lrall!ll •:nnh l) t'-1 uf ln.l:an lti~ nul u,,,ft tiMII iu Uit' c-nhlf,. 11f k!. Jt f,J~ ' ~ htrh lu l.'.:l f(" tCf•tl'lllttU \l lir!ot cltPlt.~~ Cat\• 1"' Cl<>tti~~t.lfl h• iirnd uubtNwn,::

t'\'l't')


THE ABC SOFA PERSONAL COLOR STRATEGY

ecping in mind that the face is rhe destination to vvh:.ich one's artirQshould escort the b eholder's ;Jrtention, i-F too mucl1 or too 1ittlc; repartee occLLr.s bet\i\'ccn it and the stu-round 20

ing colbrs. the vie\~-re r 's eye is diverted and one:s perso nal. pi:ese.nt:Jtion is 路w eakened . Tv.vo co lor

DRESSING

techniques mu.stbe learned ifthe male'l'\comrnunication center is to be.assuredofoptimal a ni -

TH.E b'拢AN

marion and inAuence. The first involves the relationsbip betvvcen the co mple-~ i on aJ1d an outfit's level oF co ntrast. The colo rs of :;m y given ensemble shoLJd exhibit the same degree of contrast as th ~Jt manifested by one's skin a nd hair tones. <1 person's two primary colo r signposts.

Bold stripes lighting up Tyrone Powers higl-vcontrast complexion (left). and monotone sh.adings dampening it (right).


The ·econd approach re,·olvcs around highlighting each face by repeating one or more of its natmal pig111ents i.n the colors vvern below.

Starting with the first principle-while the rainbow of m~n 's complexions encompasses a great variety oF shadings. tlle field can be scaled dow11 into

tvVG

basic formats: contrast

or muted. ff your hair is dark and yo ur skin light . yo u have a contrast complexion. If you r hair ·and skin to iiC arc similar, your complexion vvould be conside red muted. or ton~1J.

Having now matriculated into one oF t he ·t\·VO prevai ling male color -Fraternities, you might \1\rondcr how such a diversit-y of facial a1id hai r colors can be so neatly djvided into .just t'NO p.rofilc?s. Although me mbership in the- contrast club. substanti<:lUy outnumbers that of the muted. both complexion types cotJt.'lin one important subgroup. The higher- contrast contingcotshares the spotligbnvith the medium- contrasts. 'vh.ile the m~.:tred's hmelight i~ partl y shad-

owed by the Light-b rights. ln an effort to simplifj' the subject our discus.sion will be limired to the more graphic

dark-light differential. Sirice relatively few me n have nm~h knm:vlcdge.or experience in this area.

if the reader can cmne avvayvvith a rudiment;,uy understanding of the larger conrrasr tTl:LLt<.~d pic-

ture. he '"·.UJ be ,~.-el l ahead ofthe pack. Look at

l)t~:one Power~s

invigorated

facial tones as they interact wi th hi$ bl,ickand-\1\rhi.tc ping~ pong t<egaUa. \iVbe11 a m.an's skin and hair to nes are in such powerful Gount.erpo:int to each other. surrou nding tbern vrith contrast ing colors of equal stre ngth se rves to en Iive n the fan:- 's n~1 tural vitality. Converse!y, o bscr~~-e thte. dam pened dra ma

oP Mr. rower's

visage when Yisited by the monotone shadings ofl1 is tonal khaki turnont.

-

Alternatively.. \Voody Alle n's muted colmtenan ce of sandy h aj r and fa ir-toned ski·n requires the nurturi ng effect o f a softer. mo re

monotoned color for mat. as provided by his be1ge polo shi n. Encasing a low- intensit-y co mplexio n vvith in a highe r-contrast setti ng· d i.lures the face's natura l pigmen t~1tion in

addition to di stracting the viewe r's eye. As l.ow~conrrast

cOITtpl exions are e~~i l y over-

lvhclmcd by aggressive color CO(.Wdination, these ski 11 tortes demand more attentLOlJ and a

vVoody Allen·uses black eyeglasses to call attention to. his low-fntensity co·mplexion.

21 Tr-11~ Po :w~; .R

OF COLOR.


lighter touch. A nd because d1e man with a complexion of average conb·ast can tolerate J fu ller range of color coordination than hi muted counterpart. he also enjoys more latitude and margin of e r·ror with colors.

The photograph below illustrate<; the importance of such color strategies. llere are two models with different complexions bu t at-rired in the same outfit. \t\lith the fairer- hai red man, because ofhis tonal complexion, the necktie's stark black and white stripes jump out. jarring the eye and leading it away fi·om his face. Conversely. with the darker-haired model. the necktie·· 22 DRESS 1 NG THE M AN

high..,conua.st format actually invites the eye to look at his face because of its compatibility \Vith his black hair and light skin.

Learning color management can produce immediate cLvide nds. Take the example of a light-complexioned man in pursuit of the classic navy blazer. Armed \\'ith the knowledge that the blacker the blazer. the more it will contrast wid1 and thus weaken his lighter cornplexion. he will concern himself only \Vith brighte r. rjcher- hued blues. By cirnm1scribing his range of choices, he will not on.ly save time but be rewarded with a superior purchase.

Same outfit, d{fferent comple:"~:ions: On the lift, your eye goes to the tie; on the right, you1' eye goes to theface.


The second color technique Focuses on the enhancen1ent of the face through repetition of one or more of its rones in the suJTOl ii K~ing apparel. This principle c::m £·equently be found informing the presentation of ari art piece or the choice of eyeglasses. A pjcttu·e tnatting or frame \V iii often

be selected just to highlight one of rhe painting's key colors. Sim.iJarly. a blond man rends to opt for gold-toned spectacles. "1Ule the salt-and-pepper brow favors the more silver- ro ned rims. The early menswear magazines thought it was im portan r that a man know the wl1 ys and \vhereFo rcs of proper complexion and dothing coordination. Take this gent with brmvn hair and a slight ruddiness to his face (below lift) . Following the second technique's. imperatives, ;

tht:: ob\·ious choice of su it shade would be that which repeated his hair color. thereby drawing the ob t.:rver's attu1rion to vvhat was bracketed in between - in other words. his face. The fasl1ion editor employL'd the same logic relative to the necktie-it's no coincidence that the tie's reddish

GISt

just happe n to pick up its wearer's ruddy facial pigmentation.

By sponing a scarf around his neck in the same pale bu.e as his ashe n skin and hair tone, this next gL'Ilt vouchsafes that his visage won't vanish from view (belo·w righ0. And to prove that

Echoi11g the hairs color w1der theface does wondersfor ones complexion.

Ti-f.£ POWER.

Of COLOR


the rradition of augmenting one's facial coloring transcends even social station, here'$ the futurt' hng of England (opposit~, coloni.zi ng his auburn- tin ted face i11 a sea of rubescent tr~ppings.

Eye color fo1Jows skin and hair as the next most i mponanr faci:J11ndicawr. especial ly \Nhen a man .happe ns to lo0k out behind the baby blues of a P:c1LJ Ne'vvman or a Frank S.i nat.J·a. Nothing brings.an azure-eyed coun tena nce· into 1nore·e ngagingfocns than a bluc-tcmed shirt OT

1ike- hued necktie cavorting just below the chjJJ.

The last facjal feature to consider is any special p-igment like rosy cheeks o r suntanned 24 DRESSTNG Tlf E

M,iN

skin. Tn trying to enhance the face's glmv and primacy, t he ide;1 is t o plHy up such colorations. br

keying them to apparel in close proximity. such as a scar£ necktie. or spon shirt. Because the

bPo.nzed ~ki n 's dc,1fkcr hue increases its level of co nu~1st clothing colors should be stepped up incremCJ1taLiy in strength. This is 011e re<:tson why warm-weather dimes te nd to bring Gtlt the peacock i11 a man . Captured jn the auhtmn of his life. here's our man 11·oni Om~lha. F1·ed Astaire. stilJ chore-

ographing himself into sa.r-tOt'iai.PerFecti·on. Rc~cognizing t hat age lightens o ne's hair and skin tone. fred e nacts the f in:>t color strategy by :1dopring a muted toupee with tonal clothes to type. I-J is pale blue Brooks button-down and soft- hued tweed jacket ensure that his feature~ remain cente r stage.

rlumbi.ng the second techniqLlC,,~th typic:l! Astaire pomp.11e highlights his cheeks' slight pinkishness.with a lilac scuf and pocket sqLtarc.

Let's look at some typical in;:-tle comple-xions· to see Jm,..v these n~ro co lor

ted1.11iques can be ;:-tpplied to improve

them. Think of rhe 'fuce as tbe plcttlre and the clothes as their frame. \.Vhik the Fn.u11e should

be

<.lt[racdve in i.ts o\vn

right, its primary funcri01'J is to help focu..~ the viewer's eye on thatwbich it contains. \Vich a neLLtral- m ned subject. the fnu11e

needs to recede ihto -rhe background

vvithour

lo~ ing

its ability :co def1ne t he <;ontent's borders. \i\/ith a more graphic subject the fr:!une must bc·srrongenough

to

delineate its perimeter~ withoLtt dis-

ttacting from it.


25 THE POWE R

O F C O LO R

P::lQSITE & RIGHT:

Proper complexio·1·~ a·nd rlriug coordihatio1tFml r\staire and thr P• ince cifvvales nliuate colors with their lwrr and skin tones wnce their appeara11ce.


TREVOR: MEDIUM CONTRAST

.........,.._sa medium=-contrasr comp lexion, Trevor e nj ors the most latitude of any type relative to his selection of clothing colors. AJthough still darkJy stylish. Trevor's black hair and

sw;.uthy skin appear almos t· in shadow when framed by the monoroned gray ensemble (above l~ft) . The lack of opposition between the gray suit and gray ch·ess sh in underplays the highe r lew~l

of counterpoint found

iJl

Trevor's Face above.

No\\' observe vvhat happens when the gray shirt i · replaced by \\'hire. The relief yielded by its ligh tness against the suit's d:u·ker background illuminates Tre,·or's face and skin. The

tonall y accesso ri zed suit makes his tanned skin look lackluster: the high-contrast one makes it glisten. Because of his hair and skin's substantial distinction. Ti:evor .is ft:ee to expet'iment \>V•ith almost an)' medium-to-strong colo r coordination. confident in the knovvledgc that it can onl y strengt hen his own complexion.


FUMIHII(O: HIGH CONTRAST

_ _ om pared to the rainbow of European complexions. the classic FarIa 路tern coloring is gene rall y confin ed

to

o ne high- contrast fornl-at-lighr skin and dark hair. Here's a handsome

represc mativc. Although he is \Ve l! rurned out by most sarto rial standards. Fu m ihi.ko 's monochrom atic coord.ination can never fu lly underscore the bold ness of. his high-co ntrast complex-

io n. Like t he dampening effect of l)Tone Power's klutki outfit shown earlier. its sobriety actuall y diminishes the drama w1folding (below lift). However. set sud1 dynamic good looks amid the garnishment of a blue-bodied dress

sh irt with contra ting \~v路hire collar. da rk na,路y suit. and ada 路hing burgundy siH< necktie and. presto. resplende nce results, All it took vvas a si mple change of facial scenery to t ransform funiihiko from pedestrian to prince.

27 TH E P OWER

OF C O LOR


JOHN: MUTED COMPLEXION

-and skill

Ithough less graphic in content. d1e mured or toned ,路isagc demands more ,-igilancc to enliven. Due ro irs lower tolerance (or roo noi.'i'' or m erl\' qLtiet color mixes, '

the

J

muted I~Ki~tl trpc ill\ ites anonymity iF not handled \Yith nppmpriate care.

28 Dl~ESSING

TilE MAN

Just as vvatercolors need c.1 lighter frame to co mplement whc.1t thcr enclose, so docs ]ohJ1's low- key fran tage. 'vVi thou t a cOJl rrasting dark hair sh;..1de

tO

coun terbalancc the opposi-

rion underneath. John's muted complexion is bullied into submission br the starkness of his

black-and-\\ bite outfit (bclull' l~ft). J\lternati,路eJy. \Vben rhc less contrasti ng warmer shadings of his rvvo- tonc spo rt jacket and knit shirt enter the picture. suddenly. Jolu1's dough)' skin shade picks up luster whiJe the tint

of his hair color gajns promi.nence. Once ;:t.gain, whcneve1路 the face can be bracketed below in the s~tm e color as the crop above. it's bound tO end up t:hc clear beneficiary.


Q

~

~

~

.. •

0

II

0

EDWIN: LIGHT-BRIGHT ( ~0111e of yo ur clorhcs-e\Cll il they arc exquisite!) (T~lftcd Or luxu rious to the touchmake rour hKc look more dulled and aged than orhcrs. it i~ certainly because their colors arc

probabl) incompatible " ·irh you r o" n. Ed"·u1 is a pcd"c:ct case in poi nt. J\ s ment ioned earlier.

ing out

k1w-contrast complexions ,,re highl r susceptible to Further \\'ash-

by cat·eless color-co.ordin arion!-1. Edwin need$

ro pa) !-lpecial artcnrlo n to those cDiots

capable oF siphoning off additional pigmentation from his fair skin and blo11d - turn ing-whire hair. ln the left picture. Edwin wears a midnight na') ;;uir "irh a pale blue dress shirt. The suit's near- black shade ol na'}' coupled \\'ith the icc blue dress -;birr" ork to drain color from his face.

In the picture to the right. r dwi n's dark 11:.1\)' suit lw-. been changed to a brighter. \\'(l l'1llCr shade of l1<1V) '" hi le the cool blue of his dress shirt is now a dL'cper shade ofblue. Although the difference is subtle. with richer tones now throwing more w~1rmth :ll"olind his 1:.,ce. [dwin's blue eyes

sudden!)

~p t·i ng to lil"c.

and his as hen skin appears Bush and in,·igoratccl \~'ith his tic pulling his

hair color in to the mix ~md his blue-~cccnted pocket ~quare reinforci.ng his eye shade. the OYeraJJ ~Ffecr

is mcasurabl) ad,·a.nced.


ALEX: LIGHT BRIGHT AND BLOND

norher classic male complexion is fair skin crowned with golden

blond hair. Once again. the surest \vay to ensure your visage its rightFul due is to buck it up with the relevant pagcanrry a · exemplified by these two 30 DRESS CNG

THE NiAN

fas h.ion plates (right) . whose spot·t jacket and suit ensembles clearly publkize rhei r gilded crowns. Likewise. AJex. who has built his dressing St}'le around hjs distincriYe colo ring. makes sure at least one item in each ensemble reflects his

gold-toned c01nplexion. In his fir ·t outfit (belo11' left). Alex looks classy. yet nor enlightened. since his white shirt and bold striped tie do little to enhance his specially-hued cotmtcnance. In his next. by pressing in to sen'ice an array of colors more congenial to his own. he elevates his face

to

a

higher level of stylish ·ophisticatio n. As long as Alex continues to ·wreathe

himself with those v1·arm golds. rusts. and browns found in his hair. his face vvill remain center srage.


TOM: MEDIUM CONTRAST

hen rou are as debonclir as Tom here, there is an abLmdance of riches to work with. lll<lking it a chaJienge to rendc.r him in sub- par raiment. 1 lis plaid 路LLit"s Ughr- and-dark pattern synch ron izes well with Toni's ovvn medium -contrast features. His conntenance would suggest t:i tarting with a bl.ue dress shirt to play up his bespectacled orbs of cobalt blue, and redd ish or burgundy necbvear to vvork the same magic on his slighdy ruddy skin ron e. Although Tom's no slouch when swathed iJ1 this first combination o-f somber gray shirt and maroon necktie (above lcj~. that look pales by comparison when juxtaposed ro the next one. Things can't help but perk up when a strong blue hade of shirt and a ,路ery pink tie are lobbed into the proceedings. Once again. echoing skin tone and eye sh:1dc i_n clothing helps lift the face from smart to smarter.


AFRICAN AMERICAN: MEDIUM TO HIGH CONTRAST

rymg to apply the contrast- muted paradigm to the African-A merican complexio n req uites .so me explanatio n.

T he fact char the ave rage African-Ame rican face. vvhether black or light brov\TI, cx.h_ibits little contrnst between its bajr

and ski n tone \\,.o uJd seemingly qual if)' ir as a mttted faciaJ type. I lowe,·c r. when a dark face. regardless of shade. is smrounded

b) a white shirr. considerable conrrasr results. Therefore. for che African-Amerjcan man to get the most our of his clothing combi nations. he shoLJd ap proach the enterprise as a mediumto high-contrast com plexion, the degree of which is dictated b) his indi,·iduaJ fa(e's relative depth of color.

Ralph Lauren didn't put the black modcll)rson Beckford (cJppositc) in this highest of high -contr:lSt mamlt::s because o F his bh.1nd countenance. Beck:ford,s extremely da rk skin produces n·emendo us contrast with any clothing colot. Th.c rcfo rc. the

brighter and more dramatic the shadt: o fhis clothing, the better he looks and the more radi&omt his skin tone . ... tepping down one rung on the contrast ladder. this

nc:-;:t man's medjum- brown faciaJ rones do not produce che same ·tark effect as Beckford's. Conscquenrl): for rhis mediumcontrast complexion. choosing clothes with a definite, but not deafen ing. intensity vvo tt.ld be appropriate. Integrating his strik-

ing blue ercs into his ensemble is certainl y a good way to start Thi.-: third African-American man's skin shade is yet another gradation down in cont rast, making his well-chosen ~·

~

sport jacket and matching T-shi rt ham1011 ize graccFuJJ y wit h his coloring. lf one we re holding up each of the rhrce models, skin

to nes against

:1

white ·hirt. the amount

or contrast yielded

wou ld provide a dependable yardstick for determining rhe ideal amount o r contrast that should be likewise used in the clothes.


lnapprop riateJy scaled clothing is d1e root cause for the contemporary m;.m 's current bck of sarto rial distinction. O bsolescence in mens" ·ear is built upon the manipulation of the

classic proportions. sometimes in vYays thar do nor flatter. as flared bottoms, o,·erly "houldcrcd jackets. and ·qua re- toed shoes attest. lt is said that the quaLity o f a chef can be judged b) his consomme. Likewise. a man's dressing skill rests on his ability ro wea r the simplest clothes to iJldividual perfection. This is essentially a l ess~m in proportion . T he rirst step in evolving <l distinctive yet long- rer111 dress ing Sl) tlc i~ DR ESS I N'G THE Jvl r\ N

Fo1· each man to master t he st<.U1dni'd scheme of tai lored suit white dress shirt. solid

necktie. \vhitc pocket sqnare. wit h dnrk socks and shoes. This is not to suggest that he adopt such formulaic attire. aJrhough ir ca n come in handy for ce rtain occasion~ . \Nhile this classic outfit docs not constitute a stud) of all possjble dressi ng proportions. its curriculum is fundamental to moving up ro the next level of sartorial sophistiGltion. The relevance oF this specific s:;t.rtorial paradigm is that'' ithin it resides a series of mini- po rtraitures. which. whe n knowledgeably rendered. fo rm <1 choreography oF ideal dressing proportions unique to each man. O nce fumi liar with how best to exploit each fo r maximum personal ad\ an tag~. one

can usc them <:lS the bluep rin t for futLu-c t~1shio n explorations. As stated earlier. genuine innoyation has aJ\\'ays taken place with an awareness. 1·ather than ~111 ignorance. of restraints. Breaking down this ensemble in to a corporeal map. you discover that in o rder to trave rse it smartl y. fi ve major intersections must be negotiated-the neck, shoulder. waist, wrist. and ankle. Each contclins a network of lines and curves that when co rrectly co nnected to oile another enhances the overall aesthetic. Applying rhc whys of its collar deco r to you r face. o r jacket lcngd1 spo rtswe~u·

to

your body, improves ) our t~Ktd ty for less ritualistic rai_ment. such as t~1 il n rcd

or casua l attire.

Fortu natcly, the face's ·hape. the neck's heigh r. the shoulder'· width. the arm·s length. the rorso's structure. and the fOot's size remain fairly constant oYer time. eYen allowing for .. o me weighr Auctuation. Unlike fashion. which is obliged to change seasonallr learning hm' to dre~s well docs not have to be a case of stalking a constant!)'

mO\

ing targer. Confining o ne's ~~1s hi o n

focus to those physical character·istics found betvvcc n hat and ho ·c will facilitatc one's maste rr of ,-;calc and proportion. Once these rules of c la~s ic for m rdating to his own unique physiognolll)' arc understood. a man has every reason to feel confident about gctting his arms around th is stuff Ler's examine in more depth the archi tectural logic and fashion rationale at work here.


THE SUIT JACI<ET

llilc fj,brics and patterns usuc,tll y attract the C) e first. the suit's prop~).t:ti ons anchor ir in time. r\ $Llit c:..xneme in silhouette is more likely to go out of srrlc bd()r(' it falls apart.

]Jl

assl:'ss·ing cl suit jacket's potential Life !'pan. (i,·e clements of design requ ire j:mrticuJar attention: th ese arc th e garment's "bones." SJ1ould the co·;,1t's arc hitecture confl ict '"·ith that of rhc ·w~a rcr o r d.eyiatc too far from rhc archetype. the coat's staying pov\·er wi ll be significantly vveakencd. THE JACKET S HOULD.ER .1\s its widest dimension. the shoulder sets th e mood lu r the

rest of the jacket. Sinee t he jacket's shou1ders ft·;;une the head. if they are n1o nat-row. the head \•Viii appear larger than actL.t <l l size: conve rsely; iF cut too wide. the head will appear disp·r opor-

tionatcly small. Notice the differeti.€e in the shoulde r expression between Dollg )!'.'s sui,t ja~l-:er and that of 1\·•lastc t· C-.ary (Jnlfo,Pingpage) . Doug's shoulders a rc built up to offset his wider het1d, v.rhlk Cc:H)p's arc nJ.rrovv t.Uld more .slt1ped to h;,lnnoJlizc" ith his thiJlJler face and Jo.nger fr;:tmc.

THE CORRECT SHOU LDER~ WIDTH PRQPQRTION.

SHOULD ERS CUT TOO WIDE

S.HOULDERS CUT TOO NA RROW

DIMINISH T H'E HEAD.

MAKE THE HEAD APPEAR LARGER i'HAN IT IS .

.,) -/ P ·ROPORTJON


ABOVE LEFT:

Douglas Fairbanks]r.s shoultlers are built u.p to <?.f!S~t his wider head. ABOVE RIGHT:

Gary Cooper's shoulders a.re narro路w and sloped to balance with his thin.foce and narrow.fi路arne. OPPOSITE:

Dean Acheson in a natural-shoulder suit silhouette.


The nant l路al -shouldcr suit ~ ilhoucttc udopted by the h')' Leaguers in the J9'0s came to be identified "ith America's upper class and irs pruxipal pun路eyor. Brooks Brothers. Here is

the late secrcrarr oF state Dean \cheson i 11 I

L)

pical New England

undcr ~ mrement.

his Brooks

Bmthc t路s naturaJ shoulder :.111d fullr rolled butron -dovvn vvhispe ring thei r patrician prove nance. C ompare his j~ckct's row1dcr sleeYeheads with those lightl y pu[Ced and contoured confections

.;;marring up Gaq Cooper's shoulders. L.Jn less a mc.u1 is extreme!) slope-shouldered or so self-consciously short that he \\ants hio.; shoulder line r~1ised ro produce :.u1 ill.usion o r~ height. sharply a_ngled or co.nsp.icuously buil.tup j<lcketshoulders should be ~l\oidcd. The)' look artifici<.ll and a rrivist e in taste. s1gnaling that their wearer i ~Hrcmpting

to

appear rnore imporranr than he feels.

39 PROPORTION


JACKET LENGTH The principal criterion go\'ern ing a jacket"s length is that it be long

enough to cover the cLu-varure of the buttocks while giving the leg as long a line \~fbereas the ideal measuremen t of a man's jacket can \"<try b) up to

12

a..;;

possible.

inch -vvithout compro-

mising Its l ongev i t)~ any mo re variation c~m play havoc v:ith t he hip pockets by mo\'ing t hem out

oCproper balance with the ''hole. It is qu ite t1ormal for a jacket to be lightly longer in front than back i11 order to hang properlr Due to the longer ::;wath lngs of the 1980s, d1c so-caiJed Armani era. the m8jority of 40 DR ESS ING Tl-11: M AN

men wear their jacket and jacket sleeves far too long. +o rcshorrening both their legs and arms. This is cspeciallr evident in the Far East. where the aYe rage person's torso is longer in relation to his legs. in comparison to the average person's build in the \ Vest uch a man needs to pay particular attention ro his jacket's .l ength to help him reproportion his longer torso with his

.JACKET LENGTH IN RELATION TO THE TORSO:

DIVIDE IN HALF THE DISTA N C E FRO IVI THE CO L LAR' S SEAM TO THE FLOOR.

RIGHT:

The longjacket diminishes the mans leg line.


4J PROPORTION

..JACKET LENGT11 IN

RELATIO N TO T H E ARM: .JACKET'S BOTTOM

SHOULD LINE UP WITH THUMB KNUCKLE.

'•

·barter leg ]j ne. In the illustration on the previous page, examine the length of the jacket and irs diminishing effect on the man's leg line. 1\~o methods for dete rmining the correct jacket length originated '"'ith America's devel-

opment of ready-made men's clothing, which needed general guidelines upon which ro establish

lts standards of fit. T he first employs the arm as a guide; when your h~t.nd is dropped at your side. the bottom of the jacket is uppo ·ed to line up with the outstretched thumb (above lifi). Though generally reliable. this fo rmul a has one d rawback: arm length vari.es f rom person to person. T he second approach (previous pag~ measures the distance from the jacket's back collar (at th e poin tvvhere it joins t be coat's body) to t be1ioor. vvJ1id1 Ls t he n divided i n half Th is is the procedure taught in most tailoring schools. Either of these two approaches can be influenced by dimens ions un iq ue to the wearer; a top tailo r will use ne ither. trusting his practiced eye to t ake

in the who le picn.u·e before deciding on the jacket's ideal length. THE WAI ST BUTT 0 N

T he '"'aist button is to a suit jacket what the fulcrum is to a see-

saw. If incorrectly positioned. a de licate balance is lost, calling the garment's pedigree into immediate question. The button functions as an axis: raise it too much. and the torso become abbreviated : lower it too much, and th e torso is elongated at the expense of a longer leg line. vVhen the waist button of a coat is fastened. it should di\'ide the body so that the torso and legs appea r at maximum length. Observe the navy suit's elegant silhot.tette

by following the


Ii11e ri·om its trouser bottom up to the jacket's waistline. The n·ousen;' Ful lness smoothes the transition between the botton1 ~UJcl top h::Jves of the s uit, stretching out the overall Figure. and the coat's W3ist button ple1cer1ient enhances the

iUusion of along lcghne \Vh ile bel ping to ;,trticu-

late its inhabitant's chest an<;! shoLJders. The correct pJaccmcn:t of rhi~ crirjca.l detail occurs V2 inch bdow the nat ural wai::;t. To find you r natural waist. place your hands aroLmd

the smallest part of yow· torso and then pre..lls

dowt'1 at the sides into the hollm" above the hip-

bone. lkcaL~sc t his all- important burton func-

tions as the coat's center point, a top a,·ile Rm"·-trJined tai lor wiiJ grab the waist button in the- final fitting and puU it from side to side to

tna.ke sure the coat has enough room to move

gracefully on the body. ln an effott to dd8ng the overly ~tiff

tailored

SLUt

jacket. along ·v,rith culling its guts

out Giorgio A rmani lowered .its vvaistlinc and

extended its

l ~ ngth.

Although he creat~d a more

Huid-looking jacket with ~ to t::~ Ly differellt feeL he doomed h,is early low-·waisted jacket~. along with their numerou." wannabes, to lives of quiet

obsolescence in their ovvners' closet$. (Of co Lu·sc. tbanl.s

to

Giorgio. J.ll tailored clothing is much

more comfort~b l e nowadays. llls positive im,lovatio ns, on babn(e. transcended any t~t~hionc.1ble

excesses.) THE GORGE AND LAPEL WIDTH The go rge 'is d1at point 'vhe 1·e colbr :md

meet to form either

;,i

lapd

stepUke "notch.. or a

pointed '·peak'' · ~ZFfect. The positioning of t he gorge on cbc j~Kket's chest shotdd be a li.mctiori of

one's build. not fashion ! Dwp it too low. and t h.e

The placeme11.t ofthe coat's waist butto1·1should divide the body so th.a t the torso an.d'legs appear at ma.x£1nu·m length.

tr.uncatcd lapel's line makes chc short man appear

shorter and the hea,·y n1an look. heavier. If he is short. a ma n 's lapel notches should sit high e r up


on his chest. the longer lapel line emphasizing , ·c rticality. As Coop's lm,er-sitting peaked

bpds illustrate. the taller man's lapel notches GU1

rest a bit lmver in the d1e t area, condens-

ing the upper bodis length 'IYhilc extend ing it~

breadth. 1\.vem:y yea rs ago. this clement of

rhc coat's design rarely came into question. I lowever. once again, \VhiJe i njcctlng more

svvagger into the conventional man -tailored jacket Armani and other· lovvcred irs lapel go rges along with its waistline. looseningc uni

t..:

\..

L,.l

both its classic demeanor and it· hold on stylish longcYi ry. In order for a buttoned suit jacket's

··v" opening to smooth!)' escotT rhe Yie\\'er's ere LIP\\ '; lJ'd toward the EKe. the jacket's lapels

c.md the neckrie's width shOLdd harmonize. ~ i nee the bread:tb of the jacket's shoulder

gu·idcs its lapel width. a broad-shoulde red

man will nattlrally regLtiJ·e a -fLlllcr lapel For proper balance. Like the singlc- bt·eastcd norchc!' o n Gary Cooper's three-button (sec page 38) or on Dean Acheson's n,·o- burton coar (sec page 39). the single-breasted lapel

should cover between !\Yo-fifths to th rcefi frhs of the d istancc bet\Yecn the jacket's chest and shoulder line. \\'hich usual!}· results

in the average notch lapel measuring from

33/s inches to -+1.4 inches in '"·idth. \.Vhile peaked lapels need more

breadth to accommodate their upsweep design , the) should nor be so broad as to

become conspicuous, such as those gracing Doug Jr.'s chest (~cc page 38). ln the itwari-

ably dapper \lr. Fairbanks's case, his dramatic shaped lapd::. fall more into the arena of period stde than of cle:L"sic taste. Gar)' Cooper's lower~sitting lapels play down. his height.

43 PROPORTION


THE JACKET SLEEVE Properly cut jacket sleeves

lend a o路im, well-formed grace to the arm. Full at the top. or sleevehead. and tapering down to the vvrist bone, rhe sleeve's converging lines should conform to the broad shoulder and narrowing waist of the jacket. leeves that flap around the wrist not only Jack smart-

ness, but give the illusion ofheft. T he b;md of line11 between jacket sleeve and hand is yet another stylistic gestw路e associated with the we'll-turned-out man. lt used ro be said that a jacket sleeve vvithout a bit of visible shirt cuff below made the hand appear as if part of it were missing.

THE SUIT TROUSER

,_,., ul t

trousers should extend the line of the jacket.

Fuller-chested jackets require fuller-cut trousers. just as more fitted jackets mandate shmmer~fitting trouser. The proportions of today"s average suit have recovered from the hip-hugging jeans mentality of the sixties and the tight. low-waisted seventies fashions of the Pierre Cardin era. Today. most suit trousers are pleated for comfort with a longer rise, allmving them to reside at the wearer's actual \vaisr. and full er at the knee than bottom. follovving the natural line of the body LLke the navy blue suit trousers seen earlier and the gray flan nGJls of this路trayeler (oppositerigh~ . sui t

trousers shoLtld be worn on the wa.ist. not on the hip. Not only does the waist then appear smaller, but by raising the trousers' fuiJ ness, it can better filJ up the jacket's bottom opening, thereby lengthening the overall figure.

The proper tapering on the jacket sleeve.


45 PR O P O RTION

Suit trousers should extend

the Une ofthe jacket thereby le?1gthe11ing the overallfigure.


THE DRESS Sl--IIRT

ust as the suit frames the collar. maki:ng it tile Focal po int of the shirt. t he shin co llar fl:ames

~he face. mal<i ng it the ~ynosurc of the ensemble. The choice of a dress shirt should be guided first and foremost by the app ro priateness of its coll.ar sbape to that of the \Vea.re r's Face. Think

0J the face as cr picture ;;md the collar as its just as. a smalle r DRE SSING Tl:l

t JV1AN

m::1n

lra n:1c. A small picture req uires a Like-.scaled frame.

vvith delicate features rtc'g uireS a collar of rcstra..ined dimensions. CGn-

Ye rscly. wh ~ n the content is more expansh e. the frame nu,Jst <;o rrespondingl r enlarge.

THE NECI(TIE

he necktie's co rrect width has always been dete rmined by t he jacket's lapel. A man \Vitb narrov,· shoulde rs has. less chest to drape a lapel across; therefore. the lapel's narrm·v cr d..i me nsian

dictates that tie vvidth follow suit Conversely. a broad~shoulde red n'lm1 requires the se ry-

ices of a .more geneL ·9us lapel and rhus a larger-.~caled nc_cktie. As the cwerage s ingl~-breasted n otch lapel ranges .in '\:'iridt h fro1u 33/s inches to 4~ inches_ at'!. equivalent ran.geoFhottom \Vidths

:..Yill lm1i1uJil.ze most neckti.es fro m the Yagaries·of high fash iort. T he secret of t ie aesthetics lies u1 compress-

ing tJ1e kn ot so that it can dovetail high up into the inverted "V" of the colla r's co1we rging side ·. To

enha11ee its staying povver, ad imple or inverted pleat shoul.d emerg~ from under the middle of rhc knot. If the tyi11g procedure is not executed -v,rith an eye t O\l\:ard producing a taut

knot. the knot will not have

the necessary spring to arc h out f ron1 the collar.

Jnstead of looking crisp and distinguis hed. it will

hang like a d~ad fish. w'ldermioingthe coin position 's dignity. \tVith tbe preferred fmtr-i.n -hand smanlr

wedged higl1 into the collar and irs din1pJe lined np directly under tlle upside-dm:vn "V" po.int of the collar, a plum b une is formed, St~b.limin:J.ll y conveying authority on the ,.vea rer~s part_ as one who is i 11

con1mand of his own stvle. J

Necktie wid'th should relate to lapel width.


PROPORTJON

THE POCI<ET HANDI<ERCHIEF

~1e would be bard-pressed to find a pi entre of the Duke of \Nindsor. Fred J\st~1i re. or

any well -dressed Adam from the th irties in whic h some form of pocket square was not i11 e\·i-

dencc. The Last American politician to be considered St) Iish. President John F. ken ned). ne,·cr

left the \Vhite JJousc in a suit jacket sans pocket linen. Although most men arc intimidated by st1ch vcsdgial raiment. no man can consider hi mscll. an elegat·lte vd thou.t knowing how to rig out

the simple white pocket square.

Bur in terms of proportion. one way to en.surc a n:-ttural effect is to angle the hank outw:;trd toward the shoulder. with its points irregularly a rranged. \ Vhcn worn Vlell. this eye cue of 1

sartorial refinement can add more than just polish: br echoing the slant of the jacket's lapel. it rei nforces the breadth of the v..·ean:~r·s chest ellld upper body. Jean Cocteau·s casually fuded pocket hank and unfurled jacker cuffs were trademarks of his unique dcg;:tgc dressing style.


THE TAILORED ANI<lE

路om hat crease to trouser cuff. the art of male habiliment can be divided into a series of mini-portraitures. the most southern being the rendezvous of trouser. hose. and shoe. To effect a permanently DRESSING THE M AN

smart aesthetic below one's knee. certain rules of proporti.on must be respected. Once again, it is the body rather than fashion that should rake the leadthe general rule of thumb being that the trouser bottom shoul.d cover about twothirds of the shoe. Narrow trouser bottoms make large feet loom even larger. while wide trouser bottoms make a small foot appear even smaller. This symmetry in scale between trouser bottom and shoe remains an immutable linchpin of permanent fash io n. Just like the slippe r-type evening shoe vvorn under cufBess fo rmal dress trousers. the round- or slightly- 路quaretoed oArford. or blucher lace-up with a welt-constructed sole. ranks as the id.eaUy proportioned shoe for suit-driven attire. The shoe's leaner line is enhanced by its beveled waist. the center portion of the sole that joins the heel to the toe. a feature of all dress shoes as opposed to the square waist used for stouter outdoo rs types. like the Norwegian modeL The si_nuousness of the shoe's form suggests its dressieJ" intentions. wh ile its sturdier (nonglued) "Welted soles offer the correct balance under the weightier-appearing cufffed trouser bottoms. For n1ore on shoes, please see chapter 1o. "foot Deconm1."

Trouser bottoms should harmon.ize with shoe scale.


PROPORTION AND BODY TYPE

hether short or tall. port1) or lim. most men aspire to look lil<e some idealized vcr ·ion of themselves. Although the model male fashion fi gure has changed over time, fo1· the past eighty or so years the principal goal has been to affect a tall. broad -should.~.: red, slim-waisted appearance. Therefore. that archetypal physique \viii serve as a reference point for the principles that follow The rules for downplaytng girth or maximizing height can be helpfuL but they should always be viewed as a guide rather than as dogma. There are m.any well-turned-out men who consistently dress against type. I can recall one portly patron of New York's famous ·'21'' Club sitting down ro lunch in a butky three-piece hetland vvool sLLit tailored out of the most enormous estate plaid. "Wbjle its sc:oue violated every canon of aJ1atom ical logic. the man looked positively regal because of its impeccable cut and customized fit. Back in the t1uxties. no group of swells was alleged to have exuded more collective swank than the Brazilian diplomati.c corps. Contrary to conventional wisdom that swore short men off double-breasted jad<ets, these 5 feet. 7 inch ple1,jpotentiades not only preferred their lounge suits double,. breasted but also finished than off with another sartorial no-no: leg-shorte1,jng cuffs. America's own guru of gesm.ral elegance. hoofer Fred Astaire, al·way sported cuffed uousers, and he stood barely 5 feet 9 inches. Dressing for your body type is a subject peppered with misguided prescriptions and arcane rules. For example, heavy men are advised to avo.id doublebreasted jacket , supposedly because they add bLJk. However, j n reality, if the jacket's peaked lapels roll below the ·waist, their long diagonal slant will do more for a man's avoirdupois than any line produced by the single-breasted model. Similar!)'· ~ triped suits, which tend to elongate the figure. should not be automatically

The long-rolled, double-breasted lapel can dow11play girth and maximize height.


eliminated from contention just because a man is talJ. The important thing is for the ·cale and strength of the stripes

tO

harmo-

nize \Vith the particular body t) pc: narrmvto mediLtm-spaced stripes for the thin physique; slightly broader

~md

less pro-

nouJKed lines for the fLLIIet' figure . )0

SCALING THE HE I GHTS:

DR ESS IN G

TIPS FOR S H ORT, HEAVY MEN

TilE M .AN

vVithout question, correctly cut clothes can definitely aid t he short, stout man in appearing taller J.nd thinner. \1\lhen an ensemble's north and south lines begin to replace those preYiously moving cast and west. tl1ev, sb-etch out and narrow the corNORTJ-1 AND SOUTH LINES HELP THE 5 'H0RT, STOUT MAN

pulenr physigue. To .elongate the figure. the eye needs to be distracted from the vvaistline

A PPEAR TA LL ER AND T t; I NNER..

and led north to the shoLdders a.nd south belo'v d1c knee$. vVhether tall or short, the hca\'icr man. much like the thjn rnan, shou ld always drc.ss "large." Jacket shoLdd be cut with tra.ight-hanging or slighrly shaped body lines so the)' appear to hang loose from the shoulder downvvard. Close- fitting clothes reveal more than rhey con ceal. There is nothing like the look of a stuffed ausage

to

call attention to a man' · heft.

In general. short men are short. ph ysiologically speaking. because their legs arc proportionally short in relation ro their tor ·o. Therefore, for a jacket to endo\\' such a physique" irh the illusion of greater height. it must create the jmpression that the leg Jine is actuall y longer than it really is. To accornplish this. the jacket's length needs to be kept on the short ·ide, vvhich is tricky. because the coat's length must remain as short as poss ible ?-nd yet cover the seat or his prlnts. If too short. the jacker \viii saw him in half; if too long, it\·vill abbreviate rhe appearance of his legs. Along with a shorter coat. the to rso can be optically elevated by raising its shoulder line. The slightly higher shm.J dcr give the added illusion of elevating the torso while elongating the leg line. Tllis is not to recomrnend squaring the shoulder. since you want

to

a,·o id the

appearance of two right angles bracketing the head. Ninery-degree angle, punctuating the head of any height-challenged man on ly emphasi£e th:lt which be wants to diminish- his phrsique's lack of stantcsque distance from the grow1d. The s ingl c-bJ·ea~tccL nvo-button jacket with a medium "V" that opens down ro the waist is more Hattcring to the short figure than the higher. closed fronts of d1e tlu-ee- button coat. quat figures should ~void jackets with stubby or ·hoLT- rolled lapels. because they accentuate


breadth. Thj.s includes the low-gorge designs of recent fashion. Lapd notchc · for the short-legged should rest high on the upper chest. for a longer lapel 1iJ1e. Peaked lapels with their upsv.rept. pointed ends accentuate verticality more than the notched ,·ariery: Jacket sleeves should finish to show a half ir1ch of shirt cuFf: this heips balance off the

SI

sleeve and shorter jacket length. The coat'

PROP ORT ION

sleeve should taper down to the wrist bone. so there is no e\.cess material jangling about the hand. creating unnecessary bu lk.

Ianting lines minimize

-

rorundit)~

Take the double- breasted jacket: whatever extra thickness the double- breasted's overlapping layer of cloth may add across the midsection. the slimming effect of its asymTHE WELL-CUT DOUBLE-BREASTED COAT'S

metrical lapels more than com pen, ates for it.

SLANTING L INES HELP SLIM ALL BODY TYPES.

The DB's dia,gonal ly runni11g lapels lead the eye ~·way from the center of the torso, and their upcurving pointed ends elongate and narrow the £·amc. Addi.tionaJly, the classic si.x-on-two double- breasted create an additional "V" effect dm~ti the r=ront of the jacket. which helps scu lpt the to rso and slim the \Vaist. \Vh.cn it comes to jacket derailing, less is more. Extra A ap~. like the change pocket, tend to

bulk up and horten lines. Beson~-style (unlhppcd) hip pockets create less thickness and

clutter than the Aapped varier)'. although the hacki ng (slanted) Aap pocket can chisel av\'a)' breadth frorn the hip. Flap pockets are p referab le to the patch design. whose ex,rra laye r of fabric adds heft. Like irs front. the back of this body t) pc's ideal coat should promote a straighter line by h~l nging

Erom the shOLdders vYith a mini Ill lUll

or contour at the\\ aist. Viewed from the

ide, the

nonvented back cnn lend the corpulent hip a trimmer line; however. from the back. its onepiece expanse docs little to break up the heavy rear end, particularly if the jacket f1ts sn ugl y. When tailored to lie tlat. -ide vents e con the viewer' eye up the coar's sides. suggesting a longer leg Li11e and overall impression of height.

A.., for the trouse r. because the short man asp ires to an illusion of height, he must wear the su it trouser on his natural waist, not below it. Pu hiJJg the trou -er waisr down below rhe bell}' is this body type's most common and counterproducri\e tendenc).

hortening the

trousers' front line and forcing the pleats to open destroy the suit's potential vertical Auidiry. The man with a prominent mjddle needs full trousers that hang straight from the waist. By sitting higher on the w::tist rather thanlm"'er on the hip the trou~ers ·elevated fullness


al o works to smooth the transition between jacket bottom and trouser. \1\/hat is to be avoided is the impression of rwo legs pouring out of the jacket's oversize bottom cavity like two straws in a j~u. creating a visual break that divides the figure in hal F. Following the same logic, men with shorter legs should wear self-supporting or suspendered trousers since a belt's horizontal line interrupts the suit's vertical Bm:~.: Pleated trousers offer the man wirh a prominent middle m.ore fuiiJless in front so the trott~cr can hang straight from the waist. 1f designed well. pleats also d ivide Llp the stomach

52 DR'ESSTNG THE MAN

expanse. The reverse-pleat style (facing the pocket) may be more flattering for this f igure, because they tend to lie flatter than the forward- pleated model (facing tbe fly) . Ti·ouser· legs should taper modestly fi·om thigh to bottom and sit on top of the shoe with a slight break. Although conventional guidance advises against cuffs due to their horizon tal elfect. if the trousers are pleated. the cuff's weight knifes the front leg crease vvhile better anchoring the pant's bottom to the shoes. The cuffs mass also helps forge a more balanced transirjon between the trousers· smaller bottom and larger shoe. particularly important for the heavyset man. ·who needs Jarger footwear to counterpoint the volume above. The width of the shorter man's cuffs should measLu·e 1% inches.

lF uncuffed bottoms are preferred. they should break slightly on the

shoe front \Vhilc angling dov.r.Jl\·Va rd to the heel to prevent them ilapping about. In the matter of m:1terials. to discourage the impression of bull<. solids and vertical patterning should predomincuc. Colors sho uld remai n in the medium- to dark register, because lighter colors tend make a stout physique appear larger. The n1ission .i.s to stretch out and pro~ more long. easy Unes. and the less co ntrast bervveen the two halves of the body. the lengthier tbe

THE MAN WITH A PROMINENT MIDDLE NEEDS TROUSERS THAT HANG QUITE STRAIGHT FROM THE WAIST.


appearance. O ne color from top to bottom. d1e suit's ultimate color lesson. should generally be the coordinating benchmark For this body type. Smooth fab rics such as fine worsteds mit1imize t hickness. as do up-and-down patterns such as fine pinstripes. herri ngbones. and windovvpanes longer jn the warp than woof TIP S FOR THE SHORT, S LIM MAN like the heavyset frame. the thin physique

should al·ways dress "large." C losely fitted clothes serve to accentuate the narrow frame. The n1ajo r difference betwee11 the short, stout body and the short. thin ooe is that t he latter's leaner scaffold can entertain more defin ition to the torso. especially around the waist. In order to construct thi , lightl y hourglass shaping. the short. slender physique needs more breadth across his shoulders and chest and fullnes. Lll the upper trouser. The ingle-breasted, three-button jacket would be ·welcome here. as when worn w1butto ned. each side fo.rms a panel down the front that creates an illusion of verticality. The doublebreasted model with lapels rotled below the waist would also serve to elongate this body type. Flaps or patch pockets add weight to the jad<et's proport io nally smaller hip. effecting a better overall balance between the top and botto m halves of the jacket. The height-challenged man, whether wide or narrow. should a\'oid ensembles in '<vhich there is a pronounced contrast between Lipper and lower halves. Hovvever, the thin man can wear lighter colors to better advantage than his corpulent confrere. Fabrics '~' ith strong vertical Unes, such as some plaids and windowpanes. as well as more textured A::tnnels and tweeds~ are very sympathetic to this body type. TIPS FOR THE TALL The higher the tree. the broader its branches: ergo. the ·ix- footer

and above need · full-proportioned cl othing for both naturalness and style. As this guy has plenty of ve rtica1Unes. he needs to produce more ho rizontal ones. His suit jacket should affect an easy-fittiJ1g deme::m or, particularl y around the torso and waist, with ample breadth across the shoul de rs and sufficient length for symmetry and balance. Tl1e rule of thumb on jacket length : sho rt jackets on short men . long ones on tall men. ince this bod)' type's shoulders ah·eady tower high above the floor.

rus jacket's shoulders

should slope gent ly downward. The only reason for any extra padding or thickness would be to build them out a little..A..Itl1ough slightly augmented in scale. the tall man's jacket shouJders should pitdJ forward ever so slightly, contri buting ro the suppleness and softness encircling his upper strata. As for jacket model, this man ca n wear them all. Double-b reasteds are helpful to the cause. because the horizontal t hrust of tl1eir lapels can build out a man, especially if fastened on the natural waistline, not below it. Another 'O ption wouJd be the single- breasted. th ree-button jacket with generous width notch lapels that sit a fract1on low on the chest. such as those of NLr. Cooper's illustrated earlier (sec page 38). Details like the patch and llap pocket. an exua ticket packer. or turn-back sleeve cuffs inject a sense of stylish clutter tl1at impedes the eye from making long. vertical sweeps. Here's one ca e where a belt's horizontal personality could come in hand~. interrupting the occupants Ye rtica1 roulade.

53 P R.OPORTION


Trousers should be long..._ in the rise and tai lored '' ith deep. for\\'<lfd-facing plc2t~ to bring a

comfortable ii.tllness to the front. f'aturall r. trousers positioned any lo\\·er than on the n:nural "ai.stline

\\'t)uld spell sJrrorial disaster for the long oC leg.

Gene rously cut thighs need to taper gently down to 13; 4 -i nch

cull-;. which are to rest on the shoe with a

generous bt·eak. And should thi.s high -rise gent be

ab le ro aiTord the custom mute. his prominence

,., ould prolic handsomely from the double-breasted , .;h;.t\\ !-collar \\'aisrcoat's str<ctight-fronted design (see page 91 ). ~mall -pattcroed

dorhcs only setYe to exag-

gerate a rail m;m·s length. To achic\'e a more natural pmporrion. long- limbed lads need hJrgcr-scakd p~r­

term. prcfCr:Jbly those haYing some weight ~111d te'\nu·e to them. like tlannds. cheviots. <utd surface- interest woolens. If stripes ::liT fcJVorcd. they'll need some width

ror symmctT)' and softness for re·Rnemcnt. T he hori zo nt:11 K1rl11ation of checks. OYcrplaids. ;,md boxl ike

dL'signs has alwavs been ofbenefitin the beam deFxlrt~ ~

J

mcnt. High-profile Gary Cooper cnlisr.s the p;1tlcmcd

sport coJt ~111d CL)ntrast trouser ro chip m,·ay at his clonga ted plumb line. TIPS FOR THE ATHlE TI C BUILD t\n

athletic physique is defined by rhe clothing industq as a man" hose chest measures eight inches or more rhan his waist \Nirh such an e'\aggcratcd V -shaped torso.

the goal would be to forge a mo re ~trc h itccturall y h~1i·~ moniou~ rd;nionship bct\veen the high ly upho l ~tcrccl

upper half of the body ;md the di.sproportioniJ rely Details like a ticket pocket, pocketjlaps, and sleeve ct~f{s help break down verticality.

smaller lower h<li-F. \\'id1ouc sacriRcing d1c mcr<lll ath ~ 'letic image. l~cginning

at the top. expansi,·e shou lders

and chest mean char d1e jacket's shoulder~ must be as soft and nantral- looking as possible. The

jacker·s length is critical and should. i( an) thing. err slighrly on the long side. \ \'hile its dimensions need to balance the shoulder's bulk. it<; c\tra length must nor shorten rhc leg's line.

The .single-breasted. n,·o-burron modd "irh generous lapels positioned on the upper chest will help pby do\\'n the shoulders· bre;1dth. " L) a~ notto pby up the :..llread) top-hea' 'Y look. one


should aYoid any lUlncce . ary waist suppression in the jacket. lust as the jacket

shOLJd be genrly shaped through rhe waist! inc. the slce\ e 路houJd Iikewi e taper gent!y dmYnward to the wrist. Jacket detailing should be kept at a minimum to acce ntuate the vertical line. although -Rap

or patch pockets can add weight to the hip for a better balance with the shoulder. The suit trouser for the athletic bLLild should be cut as full around the

hip and thigh as possible. fitting as high on the \\路~list as comfortable. Its Full ness worlc to fi ll up t he jacket bottom's large

cavir;. and its high-waisted place ment translates to a longer leg line. TrolL"ers

, hould taper down ro a cuffed bottom that rests on the shoe with some break \

-

puJI.ing the eye all t he w:1y down to th e

floo r. fLJ ier-scale foonvear plus the cuff's mass aid in countering the upsidcdovvn pyramid effect of tbe uppe r body.

Trying to emphasize the up-

and-dovm wh ile playing down breadth. smooth-faced fabrics. such as worsted

stripes. herringbones. and even wi ndowpanes longer in length d1an width. will do ve ry nicely here. Assun1ing a broad

tace and thick neck. ve rrical- poin tiJ1g dress shirt collars, such as tabs or straight points, are rhe ticket to ride here.

Tarl men Uke Gm路y Cooper can wear larger patteri1S.

55 PR OIIORTLON


INTO THE FITTING ROOM

__.._.._rc is ;.mall - roo- poignant example of why today's fashion -c011 cious male does not dress better. As thi · conteniporary photograph graphically illustrate . even the most class ic clothing can be compromised by poor fit. While th is bbck- and-wh ite shot projects an LLnmiss6 DR £SS1 NG THE MAN

takable aura of elegance. the poor fit o[ the model's jacket and shirt col1;1r. not to mentfon his dress shirt and jacket's voluminous cufCs. is <.me more reminder of the need ·for self-sufficie ncy in all matters sarto rial. particularly fit. Once inside the fitting mom, surrounded by mirrors. tape measures. and the like. most men relinquish questions of styling and fitto the store's salesperson <Or tailor. Years ago. when men's fashions were Jcs ficlde CJ11d tailors were be~ter trained in the protocol

or proper dress, this was a

reasonable act of faith. However. today's firt:i ng tc.1ilor is oFten obligated to alter clothes Ln conformity with the wishes of the suit's desig1icr or

the store mvne r. \Vhile the independentminded tailor with real expertise can be found, the preponderance of noor tailors are simply duty-bound cogs in the store's assembly Une, anxious to get you out with as few alteratio1is as possible-hardly peo-

An example ofa. badfit.

ple to deter to in matters concerning taste or correctness. Fortl.Ulatcl): the correct fitting of a

man's suit is not the arcane science that

it i · often made out to be. lt is something that can be learned. .. incc a man's suit is made to fit a standard form and oo tvvo people are builr exactly aLkc. only one man in a hw1dred is likely to step into a ready-made suit and find that it needs no alterations. Once :1gain. the rnore knmvl.edgeable you can become about how your clothes should Ht in relatiOj1 to your unique architecture. the more likel)' you are to walk out \Vith an elegantly tailored result. As tor the prel inun;;~ ri es. when first putting on a ready-made s1.1it to be fitted. make sure you ha,·e your wallet in yo u.r pocket and your keys o r cell phone wherever you normal.ly keep them . No sense in haYing a breast- pocket billfold produce a bulge whe11 che suit

G111

be

altered to bide it. It is also a good idea to wear or bring along a representative dres~ shirtvvith the correct sleeve length and collar height to help in t he f itting process. Dress shoes 'With the proper heel height can aid in estab lishing the correct trOLtser length and bottom v\·idth.


I NCORRECT FIT OF JACK ET COLLAR

...

t

S7 PR OPORTiON

STANDING AWAY .

BUNCHING IN BACK.

Propel· fitting can do much for an jnexpensive suit. w.h ilea poor fit can scuttle the mo~t cxpcnsindr hand- tailored creation. If a three- thousand- doiJar suit's collar bounce. off yo ur

neck as you vvalk. the suit's value w·ill be .se\'erely compromised. The jacket collar that creeps up or stands away From your neck is tbe fault of the tailor. unless you asstu11cd a posture other than

rour normal one during the fitting. After slipping on the rrous~rs and jacket. rand naturally in front of the mirror. and not as if rou had just graduated \Vest Point or a 1·c anticipating losing ten pottnds.

Having already established that the jacket' "bones" harmonize with yo ur O\vn . rou should begin the suit's fitti 1g at the top. In addition ro the shoulder's relationship ro the head , its width ncecL' to be generous enough to permit the jacket's fab ric to fall From t he shoulder in ~w

unbroken line alJ the \Yay down the sleeve. Also needed is enough fullne ·s across the back

and chest fo t· the lapels to lie flat vvithout gapping open. This part

or the fitting procedure can GlLLSe all

kinds of problems. because there arc

those men . frcqucmly accompanied by like-m inded won1c:n. who feel that for a man's jacker to

fit

t0 pe rf~cti o n ,

it should be \Vrin.kle-ft-~c. meaning it shouJd look as if the fab ric were painted

on the body: For starters. there should be sufficient fullness over the shoulder blades for a slight break. or fo ld of ~~1bric. to extend up the back from below the armJ1oles. L:nless the wearer

doesn't mind donning a -Aawless ly fitting straitjacket, these folds ensu re that there is enoLLgh room for moYemcnt and comfort

Fifty percent of all tailored jackets need some kind of collar alteration to make them hug the \\'Carer 's neck. \Vatch that the collar does not stand m:vay or have horizontal ridges below the base of the neck a sign that the collar must be lowered br cutting a\\'ay the excess fab-

ric under the coiJar (t1bave) . Tr there arc tension lines pulling acros!- the shoulder blades, the back

is too tight and must be let out a little,


The jacket collar at tbe back should ahvays be at such a .height th<olt at least half an inch o-f shirt collar shows above it. This vvay the jacket not onfy

looks best but hangs correctly.

\~!ere it any

hjgher, the collar would chafe against rhe neck; were .i t lower. the jacket -would look

as lf i.t -vvas sliding off your back Since many fabrics fit and drape differ~rly, this

DRESSING

is a comnwn alteration that can be com-

THE MAN

petently pe tformed by most store tailors,

Once the jacket's shoLuders1 chest FULLNESS 0.~~~ T HE BlADES

and neck are deemed .satisfactory, continue

Al-LOWS T HE JACK ETTb DR.APE

the inspection dmi\rnward. The waist

C()M FORIABILITY AND

~ELEASES

T HE ARMS T O MOVE FREELY.

should be slightly suppressed. responding

to the natural curves of the body underneath. You cu1 teU if the fit is roo tight by looking for X-shaped lines forming on either side of the fastened waist button. IF too pro11ounced. d1e waist should be let out. \ t\fhetJ burnoned, it should have enough room for you to sit down comfonabl)~ although no style points are lost for unbuttoning a jacket vv.ben seated. The tailor can usually adjust the waist to your l.ild.ng, but be c;::areful n ot to have it raken in to the point where horizontal ~reases appear in the smaJJ of the back,

路.

.JACKET COLLAR NEEDS

CORRECT AMOUNT OF SHIRT

..JACKET COLLAR NEEDS

TO BE LOWERED .

COLLAR SHOWING,

TO BE RAISED .


"X"

MEANS

CORRECT

THE .JACKET IS

CLOSURE.

TOO TIGHT.

mgging on th~ jacket's h.ip and pulling the rear Yent(s) open. Back vents should hnng in a straight line perpendicular to the Roor. The jacket .slee,·es should also hang straight. with no horizontal wri nklcs or breaks forming on the uppe r arm. l Fa 111:111 carries his arms e ith.er too much to the front or back of the coat. the <ilec,·es will not lie smoothly. and they should be remoYed and rotated accorcLngly A good tailor

"''ill rccomme11d such an alteration (and ch8rge you for it) . The jacket's slce\·c should taper to

the vaist bone. w·irh a bottom opening mca,o.:Lu·ing around si'\ inches in diameter. or no larger than to frame the shirr's cuff.

"lvlost men wear their jacket sleeves too long, either because of recent fashions or their tailo r's lack of sophistication. As for the correct

:8

lengd1. a man's arms ought to be his guide. The

-o

jacket sleeve should e~"Lend ro where the wrist

I

{)

brcal.;.s with the hand. If the arms are on the short side, ~ inch of shirt cuff can peep

Out

below the coat ·lccvcs: if long~r. lil<.e Gary Cooper's. 3/ 4 inch to

1.

inch will give the arm a

better proportion. The band of linen bet'v\·ecn_

DRESSING THE HAI~D : NO LESS THAN A HALF-INCH OF' SHIRT CUFF'

sleeve and band is one of the deuils that deli ne the sophisticated dresser.

SHOULD SHOW BELOW THE JACKi:.T CUFF. MOST MEN WEAR TH EIR COAT SLEEVES TOO LONG.

PR OPORTION


o-

60 DR.ESS I NC

:

THE Mi\N

TH E TROUSERS' WAISTBAND MUST BE COVERED BY T HE VEST.

WAIST COAT

The fitting of any tailored waistcoat should be done \\'ith its back strap fas-

tened-. The adjustable rear belt gives shape to the vest's waist Iine and discourages the vest From riding up the torso during the course of wear. The \\aistcoat's chc.:-st should be full enough to all ow its vvearer to sit comfortably with no hin t of looseness ~t rhe Wi:1ist. O nly a small segment of \\'aistcoat, re\ eal ing no more than the top butron. should be visible c.lbO\ e the jacket (sec page p ) . The vest must be long enough to cover t he trousers' -vvaistband, stopping in front before its points extend below the hipbone. A delicate balance must be forged between the trousers' waisr and the depth of the \'est's "V'' points: the whole edifice vvou ld CJTU11ble should it expo e a patch oF shirt or belt buckle. ~ uspcnders arc the

suit trouser and

\'Csr.

recommended antidote for the gap that typ ically develops bet\vccn

They raise the trousers' wa.istband so it remains covered by the' est. \\'hile

bringi.ng the trousers' pleat.s and Yest's points into better harmo ny with each ocher. Vests and belts shou ld choose different dance partners. A strip of leather encircling the sto mach adds more bulk to an already layered waistline. and bdtcd trouse rs also tend to slide down the hip. freq uentl y reveali ng the undesirable presence of a belt buckle. Top-quality vvaistco~lts have slits on either l-id e. the back 'en rs extending below the front so as to keep the trousers' rear v\·aistband from shm'\·ing v-rhcn it$ wearer bends fo rward. ll igh-class railor- n1ade \\·aistcoars haYc slightly curved fronts. echoing the rounded shape of the single-breasted co~t's fronts (.see page 15;). The \·est's button stance is designed so that irs bottom button is left undone. a custom dating back to the eighteenth ccntt.u·y. when Ed\\'ard V 11. a corpulent sovereign, forgot to bunon his after an unusuaLl y vigorous repast with the ove rsight ultimatelr taken and handed down as a style indicator. TROUSERS

\Vhen fitting trouser ·. the cardinal rule is to wear them as high on the waist as

comfortable. lli p-pos.itioned pants wi ll m::1kc the crotch hang too lov\ and lo.ok sloppy. Moreover. the

cLu-varurc

of the lLip rends to spread pants pockets and pleats. Like rhe jacket' arm-


hole. the trousers' fork should fit as high as hospitable jf it is to Facilitate muH'ment comfortabl).

\Vicl1 pleated trou e t... the hip and thigh musrbc cut full enough

so that t lte pleats lie flat :.md do nor pu.IJ opc 11 whe11 standing. The fLinction of the pleat is to respond to cl1e natural ~widening of the hip and seat

\\hen sitting do\\'11. l C}'OLl <UT

llOt

prepared

tO

\\car trousers \\ j th a more

TROUSERS SHOULD BE WORN

ON THE WAIST, NOT BELOW.

generous front. stick with d1c plain- front trouser. vVhcn one is St:ltldi_ng.

the t rousers· fmnt leg crease should bisect the kneecap t.m d fin ish in the middle of the shoe. ll·ouser creases should err toward the inside of the knee: those fulling m the outside create rhe illu. ion of breadth. ·omething most men prcrer to avoid.

lf it is ro be vvorn on occasion with suspenders. 111akc sure the

/

trou cr is Fitted \\ ith them, since suspendered trousers can change the fit of the \\'aist. back rise. and inseam. Th cl1cm on in the standing. sitting. and leg~- cros.sed

positions. ll·ouser.s intended to be wo m exclusively ,.,~th sus-

penders should allow more room in the vvaist 1-iO that they can ''.su~pcnd" from the shoulders. Today rherc arc several schools of Lhought on the length of a trouser. Ln the Sta res. they ~tre oCte n worn to rest with a slight break. or "shi\'Cr." o n top

or the shoe. In this case. they shou ld be long enough to

cover the ho~e \\'hen a man is in stride. with a '~ idth that conceals the shoelaces. Pbin -bottom

[I'OUSC I'S

should slant downward from rront to

back so as to not ~1)' away at the heel when the man is walking. IJ cuffed.

THE TROUSER CREASE SHOULD INTERSECT THE MIDDLE OF THE KNEE AND B ISECT THE MIDDL E OF THE SHOE.

their width should be neither so narrm.y nor so wide that it ca ll ~ attention to itself For rime-honored balance. the proper width of trou er curTs shoLLld be

1 5/g

inches for a man u11der 5 feet. ro inches. and

1 3; 4

inches if taller.

Anothe r approach is that of the Europeans or. more specificall)'. theM ilanese, ,.,·ho wear

their trousers n~1t-rvw cut and Cl little on the short side. even showing some sock. In this case. the pants sir just Light!} on the shoe. Signor Luciano Barbera. head of an Lralian menswear company that bears his name. Gills ir the "m id-Atlantic solution." since it is halfwa) bcrween ELu·opc and America. Although he doesn't want to sec your socks. he docs \V~lnt to see your shoes.

CUF'FEb BOTTOMS SHOULD REST WITH A SLIGHT BREAK ON TOP OF THE SHOE.

TH E MID·Al'LANTIC SOLUTION

CUFFLESS BOTTOMS SHOULD SlANT TOWARD TH E HE.EL.


but the spare-;r outfit.'' hile on others he "'·ill not be abk to get enough decoration. Regardkss of the c.1ppro:.1eh. the ~1bi lit) to -,vvitch from one

Ill ode tQ

anotlw r is an cssenti<l l skill in ~Ul)' man's

drcs~ing rii'SL'nal. On the pr~KticaJ front. a dc:--rcrit) for harmonizing pattem ed clothes can lend

ver:-ati Iit) to a wardrobe o( modest means as wd I as incrcase the number tr~l\ eli ng

or combinations whc n

wi rh Ii 111 ired luggage.

The hi:-toq

L)f

pc.uterned 1-'ashions and their rise to sartorial sophistication has irs ori-

gi 11s i11 the carl} L9J.Os. when

lllt'll

begc.1 n to experiment with a varief)' ofks.s formal g:1rmcnts <lS

a resu lt of -;pending so much ti me ih the function-d ri n:- n gear of \~!odd \iV:u I. Patterned artirc DRFSSIN G THE .M.\N

al:-o represented a dcp~uture !-rom the srjA~ stolid Vicrorian dress oF rhe prewar yea rs. The ne\\ lounge com's caS). tlowing line' inspired men to loosen up ;1nd .smd l the roses. \\ 'hilc the da.-,h ing Pri nee o( \Vale~ cstabl ishcd ma nr of rhe styles that came

to

be iden,

rifled with the era's "man abotlt tO\\·n:· perhaps his mostdcCiningcontribution ro popLdar t<lStc was his insatiable appetite (o r pattern mixing. Throughout his life. lhe Prince was routinely phowgr~tphed in anr numbc l· of :llldacious COJlSO l'tiums o·f checks. stripes. ;111d piJids. A nd he

wo re them all "'' ith an <lplomb dcYoid of arrogance. 11.>rmaJ and fastid io us wirhour a hint of stuiTine"s. \VhiJc his interest and affinity for clothes ,,·as no doubt e'\ceptional in the annals of

modern mens\\'ear. his particular fondness ~or pattemed attire \\as as much a function of his 13riti.shncss as his roral birth. T he [ngJish ~1 ristocracy spent considerable time on their coun tr) estates. and their dress :l~'ltl r

rcnected their outdoor lifc.sryle. with large-patterned.

splash)' hued c~tatc suits as the fcl\·ored regalia. The cottish in Aucnce of Balm oral Castle and other

1'0) al

hunting lodges

paved the way for the introduction of indi' iduaJ district checks and clan

tarta n ~

into

~state

Ji,·ing. Hosts and guests were regu-

lady kirted our in local I fighland fare of tarrans. tweeds, plaids. and arg) les. As the philosopbet and confcs-;cd Anglophi le Andre ~ laurois

once obsen·cd. "There is something affected and delib-

erate abou r the casual ness of shaggy fabrics in "h id1 a con ri ncnt dresses, " ·hile the English kno,,· how robe truly casual and there-

fare trul r elegant."

As For rhc noblem;1n ·s seat irscl ( m<tlcmg~s of color and pattern \VCre strewn about to warm up the typically coJd. cav, crnuus mano r house into a place of li . . ·ed- in warmth and casualness. The typical English countr)' room \\'as an eclectic amalgam of ~1ncestral tltlT.

heirlooms. antique tapestries. and chintz-covered fi.tmi,

puncruated by overc;ized shocks of fresh flowers. T hus the

[nglish country squ ire t·o lllid himself sLtrrounded by a plethora of ABOVE ·

The J'Outzg Pri11ce £ij\'Xlales in ro}'al attire. OPPOSITE :

The Prince qfWales had an insatiable appetite j0rpatt-er11 mL'dng- here are four.

visual "timuli.

Howe' cr. unJikc other roung men of rcgaJ birth. the (uturc king of [ngland dc,·ored a considen1blc part of his ado-


LEFT:

Prince Charles carries on the royal pattern traditio11.. R IGHT:

The Prince ofvvales checkedfrom /1.ead to toe.

lescencc to the Fitting

;,Uld

donning of \'ividlr colored and elaborately decorated clothes that

family sign i:ficancc. Such a diverse and exte nsive wardmbe requited d1e ful l- time sc1Yices of four 111en just to l> rg:a nizc and t1·e:1.nsport it ,., hen the Prince of

bon:- some myal. military.

0 1·

'vVa'lcs tr~vclcd. G i v~ n the stri ct dress requ irements of his yo uth, wit h its disc iplined and ne:-lrly retishLs-

ri c atte nr ion ro detaiL it's

IJO

wonde1· rhatas soo n as he "''as old enough, the Prince tbrevv. off th e-

shackles oF his parents' Edwardian fo rm~tlit) . ln doing :-:o. he created a vvoddwide ~W<}.re ness a11d ·d emand for his l.iberated dress. which t he French later -termed "chic

ratigue.'' denoting an easy.

c:1.s ual sty!ish ness.

\Vith aFil uent h') League collegiares taking their fashio n cues from vacatio.rts spent atte ndi ng the n.!>wing races at Oxford ~ nd ·cambridge. Angloman·ia was at a feve r pitcb. \~hi l e

they brought home interp retatio 1is of the cloth~:\

\\•O rtl

by the das hi 1ig Princt of \iValcs. men

fmm around the globe turned to the British heir for cluc!-i on h0\-'1' to dress for spo rt and o::wel. Pretty soon, fashionab le men everywhere began to realize that cor=nbining t\vo or more p~itterns ,,yithin an outfit imbued them with an <lllra ofd istinctil111 and urbanity.


MIXING TWO PATTERNS OF THE SAME DESIGN

arrowing the wo rking C:.lll\'<lS

to

the imeraction of the suit. dress shirt. a11d necktie

greatly simpliFies rhc partcrn-cOL)rdin;lting tutorial. The fi rst step roward pattern - mixing prmvcs is lea rning how to mate two like- patterned garments. ~uch as a striped tie witl1 a striped dress shirt, or a checked necktie with a plaid suit. \Vhen combin ing two patterns of the same design. d1e ize of each should be :1s different from the other as possible. otherwise the

simi l;;, rity vYill produce an optic2l ill usion of movement or ,路ibr<.ltion . Cary Grant ensures the visual compatibilit:) or his two !'\tripes by va rying their spacing. allov\ ing the viewer to eas il )' di.sti ngu ish one rrom the other. The .solid necktie's subtle diaJoguc

Cm~y Grant keeping his stripes

tiifJerent settles.

THE PRE I~OGATIVE~ OF PA TTEJ~N


68 DIH.SSiN C. TIT E

l'Yif\ N

with each stripe ~!so enhances the overall ease on the eye. Ever the style sette r and cyc._r

comfortable with hi.-: c1L1thes, Fred Astaire was certainly no stranger to shuf-

flin g around different patterns. Here he chooses the pcJfcctdancc partner for his fow·-in-hand; h..is Brook.:~ button-down·s closer-sctstrLpe arrangement has no dif-

Ficulty follovving the lead of the repp tic's

larger-spaced-stripe design. Al.ternati velr. herc:s a lesson in how not

to

mate two sttipes. Although the

overal l ensen:tble is artfull y arranged. rhc tie's bar-stripe design a1nost duplicates that of the suit's. fOrcing the eye to \\·ork

ove1·timc and strai n for focus.

ABOV£:

Fred.Astaire achieves compatability with -two stripes ofvarying spacing. BELOW:

DoN'T 1nate two two stripes that are similar i11 size.


MATING TWO CHECI(S L

tylis hl r combining two checks requires a bit more sa,·oir Caire than co mbining two stripes.

However. the risk c:1n be held "in check'' by once ~1gain impo~ in g

<=!.

healthy dose of contra..'>t

bet\Yeen the sGtle of each pla)'cr. folio" ing closely in ~I r. Lauren's (oot-;tcp~ (tzl>lH'dqfi). ~ I r. Agnd Ii

(trbol'e right). ~mo th er men's ~tyle innovator or estlblished legend. takes checks cb ·hi11g. keepi ng them about as difrerenr in size as a fiat is ti·om a Ford.

r

I th i~ assemblage to Lhe right cloe-;n'r

make you squint. plcm;e collect rwo hL111drcd

dollars and proceed

to

the ne3rest optome-

trist \ Vhen two similar-srzc checks are placed

in close proximity. l~1111iliarity can b1·eed confusion.

lm

onl),. docs their lack oF congenialitY '-

'

undermim:· the ensemble's overall effect, bLtt with the battl~ficld situated right below the

face. life is unnecessaril) difficult for the obs~rve r '

s eye.

11 0

chances

011

his two

DoN'T wear t11'o checks t!zat are similar in scale.


MIXING TWO DIFFERENT PATTERNS hile tile agency of o;;cale W<1S used ro scp~1ratc two like patterns. in the case of two unlike patrcrns. scale mtL<;t ~ l.so be emplorcd ro harmonize them - bttt \\·ith

:.1

Cl)nvcrsc rule

applied . Two si 111 ilar patterns necessitate' arri ng s ize~ ro avoid oppos ition: however. coordi 11at70 DlU.:SS I NG THE MAN

ing rwo diffe1-cnt p;1tterns. :'uch as ~1 sr,·ipcd suir ;l!ld a check dre~s shirt. o r a plaid jacker and a l'ibTtm~d necktie. neces~itates keepi ng

th em close in size. The shirt-and- tic merger bclm\ illustrntes this point. A dominant- patterned dn:ss

shirt requ ires a necktie with a dcsigt1 at lc:l!'lt equal in .SGllc: otherwise. the strength oC rhc sh ir t's

aesthetic \\'ill eclipse that of the necktie's. This open spaced striped ~ hirt (bcloll' l~{i) dema_nds ~l large- figured print necktie for proper pattern parit}. The I~Kt that the tie's color rcli ccrs that the shirt (urrhcr ad,·ances the combination's This next S\-clte boulcYardier (bch>ll'

or

Sl11:lrtlleS~.

,-;ght) emph<lsizes his distinct bold suit by mating it

\\'ith '1 11 equally spirited necktie. Notice ho\\' rhe spaci ng of his necktie's stripe-; melds'' irh the

size of the suit's plaid. \7\' hen in doubr abl)ltL coordinaring a second prominent pattern with a (j 1·sr. choose u larger rather than a smaller dc:-,ign. , \~ ·pt'C\ iously demo nstratcd . the arrangcmem

of the rwo patterns il' further abetted b)' the necktie's rcpctftion of the gn rnct-colored

Dvcrchcck in the su.Jt's plaid. Like ~1 11 guidelines. there arc ~1 l ways cxceprions. The bi&,rcst challenge in combining two pmterns ham10niousl) occu rs" he11

Olll'

design happens tn be partiCLdarly small. PicKing two small

patterns ne~1r each other. whether simibr or 110t. wil l wreak ha,·oc on the eye ol the

beholder. Y<.m rare!} sec a 111~111 on Lclevision

\\caring

t\\ o

small patterns. because d1eir

\ ibre1ring cH.ect distorts the camen1's tixus. ll.) safeguard optical clarity w he n coordinating one small p<lttcrn wirh <l second, one design must

be signiFicantly

larger. Consider t his next coordinatiOt1 nf two small patterns (abot~c right) , and )'OU will

immediately re~1lizt:' that i. ts miniatun.: scale forces the eyes to work overtime ro <Woid ~1

blur. 1\lterna ti\ el). the mini- hou ndstooth composition manage!' to f~1rgc a ,·isual harmom. beGlLL"c the necktie's foulard moti ~s '

arc \paced h11· enough apart to distinguish themsdres from the suit':-; diminuti\ c check p;:~ttern (apposfte r(~ht).

Keep the sc(rles equal to harmo11i.ze two dt[fere11tpattcrns.


71 T ,/'JE

PREROG ATIVES OF PATTERN

lOP路

illl pafferm cnuu Jascord. BOTTOM . ~TJ pattern

::ta to be relieved

c lurger o路ne.


MIXING THREE PATTERNS

J

on\'cntional taste has guided us . afcly to this \'antagc point, but sealing the next peak

of patterning wil l require a bit more sartorial rope- from this point o nw~1 rd. reward <lnd risk go

hand in hand. The safest route to the happy rendeY\'OUS of three patterns ''"ithin one ensemble

is wl1cre each design d iFfcr~ fn:Jm the others.

-., I ?

Following the same tra.il that helped us unite unlike patterns. we again rei) on tl1e medium of sc1lt

tO s~rfcgu <c1 rd

our footing. Obsene l)rronc Power's. strategy (apposite). By main-

taining a consi:\tcnt ::~mount of contrast and scale n路ithin his

THE

P Rli R 0

(; J\ T 1 V r S

oFPArrERN

ensemble's compone11ts. he makes the overall cnterp1路isc appe::tr relativclr elfo rtless.

Sim il~1rlr

in the

illu~tration

to the right,

the dimension of the suit's herringbone pattern. the size of the dress shirt's check. and the width of the necktie's stripe ~111 acco1路d in proportion :.md weight \Vith one anothe r. Even the border of the pocket handkerchief reAccts the bolder stature

of this multi patterned rown outfit.

1

OPPOSITE :

Tyrone Power wearing three d@rent patterns. RIGHT:

Using t:he sam.e scale to hold together mu.!tiple patterns.


MIXING THREE PATTERNS WHEN TWO ARE THE SAME

e encounter an e\路en more demanding slope when rwo ofthe three playe rs share the same de~ign. such as two stripe~ ru1d a check, or rwo checks an d a stripe. In this case. safe passage ; -!-

can be assured only by separ3ting the tv,路o like desjgns in size vvh ile selecting a11 unlike pattern

DReSSING

that is' isuall) compatible with both. In this example. the two stripes are kept at arm's length by

THE MAN

virnu? of their differing scales. whtle the necktie conso rts h~uKlsomely with either stripe. D itto For the check-o n-check class ic bdow. T he dress shirt's smaller check is app.eali11gly framed within the suit's bolder check. \ t\/ hen sporti11g a triumvirate of patterns in wh ich two share the same design. the odd

Olle

o ut .(in this case. t he neck-

tie) must take its cue from the more promi-

nent of the two partners. Notice the usefi.tln~s of a larger-pattenled necktie in harmonizing .111any of these multiparrerned compositions. Of all neckties, the opcn-grouncllarge-spaccd motif affords the greatest possibilities for textural har-

mony. Multiple-patterned ensembles often require at least one larger-scaled

design for proper balance. and these bolder-all-over neckties ;ue indispens-

able fo1路 accomplishing just such an :1esrhetic accord.

TOP :

,Correct balance- large stripe, small stt'ipe, largepaisley; LEFT:

Correct balance- large check, small check, large stripe.


MIXING THREE PATTERNS OF THE SAME DESIGN

he air continues to thin at this ~1 lti tude as

\ 'Ve

leave solid

ground and rule of tlwm b, guided nov, only b) int路uition and experience. Brandishing three plaids or three stripes ral ls very much withjn the parameters of traditional elegance; however. such an enterprise

is fraught wjth the risk of contrivance and self-consciousness. \t\lhethcr such a conYergence strikes the observer as the ununit of 'tylc or the edge of arrogance depends on the " 路earer's skiU. Once agajn. scale becomes the blueprint for success. Following the technique for dea1ingwirh two like patterns. scale must nO\\' work overtime to i111pose a sjmilar discipline on rh rcc. Sometimes these creations go easier \Yhe n graduating in size from small out to large, begin at the base with the smallest step and proceed o n up.

-n1ke a look at Basi l Rathbone's graduated arrangement of checks (top). Starting\vith his shirt's small tatte1路sall. he bui lds u.p to the jacket's larger houndstooth d1eck. and rhc11 extends things outward to the jacket's larger plaid pocket square. Likewise, Prince Charles (cente1) jumbles around three plaids with a display of aristocratic aplomb. The same basic geometry applies to succcs -fu lly choreographing three stripes (bottom). O nce again, such a linear scenario fal ls \err much within the mainstream of sophisticated ra..o:;re. and. like the plaid trio. its fortune rests squarely on the skill of the wearer. ln melding three stripes. start with the smallest at the base and then branch up and out l.n scale. By building upon each 路trtipe's graduation in size, the arr;,u1gement is infused 'vVith dimension and propo rtio n. min1mizing the potential fo r contrivance .inherent in such repetition.

TOP:

Graduating checksfi'om shirt outward. CENTER:

Prince Charles in three checks. BOlTOM:

Graduating stl"ipesfi'om shirt outward.


MIXING FOUR PATTERNS

a\·ing now arri\-cd at the summjr of p~utern pastiche. we haYe reached the point ''here inspirJtion trumps imitation. Collecti,·clr. these next toffs probably ,·iolarc every

rule o l~ pattern mixing in the book. lobbi11g a

fC"'

of their m•n1

.in For good measure. This super-secret wo rld·widc Order of DR f .S .S /Nl:

Tll£ NIA N

Dandies (:.1 ll1m \Molfc <1ppcllation) dress almost cxclusi,·clr for themseh cs. undaLmted b) an outcome that might contraYe ne cO il\'Cil rio n or raise eyebrow ·. They relish t he challenge

of a fine matcb. Is thi.s.c.lrt or simplr ,·aniry? to

rred J\staire (center r(~h~ once compared dressi ng well putting on a sho,,·-he had to rchc:.u·se in order to get it

right. I Jere arc just a fe"· of the fdlo\\-s \\'h o ha' c practiced

long and hard , a.nd ha\'e e\·err th i ng to sbm\ for it Luciano Barbera (apposite pa~r;[e) is one of those fcv.- contcmpor:.u·y men whose personal tc.1stc and code of conduct set the standard by '' hich ma.ny in the business of menswe<:1 1· measure

2:cnuinc elegance. let's ·rudr one of the ··nuestro of mix's" 0\\'11

Ll

(.._l

confection~.

;

t\Jthough he is S\nHhed in foLu- dilicrcnrlr pat-

temcd garme ms-windowpanc jacket. striped oxfo rd shirt.

checked tic. and foulard pocket h~tndkerchief-nonc of them

calls attention to itself G ran ted, in 1\uch h:1nds, such dcuils of dress become demen ts of design. Barbera undersrands that in order

to

don four different parrcrns without ~1ppeari ng O\·erly

dccorcd. the clothes must be \\'Orn with a slight di~order and looseness. Dressing at this rarefied altintde pjvots on something of a paradox; the more imagination and taste one puts in to his appearance, the mQre sub de rhc rcsuJts should be.

Although not quite at the same level as these other du·ee pc.ll'agons of men's srrlc,

)'OUng l)Tonc

have been the hancL'\omest man to kno''

hLm

Pm\·cr (toJ~ may to wear clothes

'veU. He re he i~. mantled in motif- four oCthem. allied b)' their

munlaliry oF scale and degree of contrast. \\lhjk he exudc.s "noth ing but naturaJJJess," the melange h;]J1gs togethc l' superb ly.


\·Vhc rcas rlw LlLU-\.C of \\'ind,or would knoc k <lbout i.n combinations of garm ents that 110 orhcr I'I'IOrral (()Uid co ncci\ l?

or Fn'd ;\st~lirc's (vpposftc cmlct) innate sense of St) le endowed

everything he wore \\ '1Lh ~1 grace :.111d charm. Few men co-t Jd sport such a cons(·>rtium of apparel :.1nd not ~ppc:.rr Fooli"h. Shall we gl~ our nn ~1 limb and spcnd:.1rc that a fifth pattern graci n~ .... ....

L,c.;

prob;1bl)

his ;:mkk~? Thic.; expo~ition couldn\ end with1.1trr gtling to t he well one [;;1 st time with a f~wol-itc D-

uf- 'vV snap (opposite bottom). [yen though \\'C alllu1o\\ thar he h,td li ttlc d~e to amuse himsd Fwith besides his cloth.cs. hc1"t:'·s yet anothct· inimitable cotKoctiun in the DLLkc'.s sccm inglr incxh.wsriblc su~) pl y of sui gcncris. patrcrncd pcrspic:J.cit). This guy \va.c.; a onl'- mnn t~1shion institute.

77 THE PJU ROG:\ Tl \ ' SS

Of P J\T T/.!ftN

O PPOSITE T OP:

Tyrone Power in fou.t' patter11s. OPPOSITE CENTER :

Fred Mtalre donnfngfour pattern.~ 6ua.ybe fiFeifhis socks wen· visible). OPPOSITE BOlTOM:

The Duke ltwd on planet "pattern." R IGHT:

Luciano Barbera lookit~g as !fl1e lvere wettring 11.othi11g u:n.u.sual.


"I'll throw in aje1111 extra pinstripes."


garment or ensemble that aA-"ord~ ~uch a compkrc yet variable envelope for the male body.

Although the

r~1sh ion community s~c ms

congcnjtally disposed

tG

se:lson<lllr remodel it in the

name of"modernism," all this invention has managed to proceed without radical ly undermin-

ing the suit's eminence among hierarchical male n~stments. The Peacock Revolution accdcrated the mo,·c mc nt aw<l)' from tai lor_:diaated taste to

dcsigJlcr- inspired fashion~1 biliry as the basis of mens style. The popuhu·iry L)f the Pierre Cardin

hourglass su it in the se,·enties. follo\·vcd by Hugo Boss's ai1·pla11e-shotddered power suits and

8o DRESSJ NO THTi

Jvfr1N

Giorgio A nnani ·~ lovv-gorge sv.r~1 things in the eighties·. transformed the busiJ1Css suit from the standard-bcal·er

orconfo rmity a.11d membership into a vessd of cuxrenC) and Fashjonable energy.

By the m_id-cigbtj~s. having establishcd lrsclf as the contemporary clothier's h igh-pmfile caLLing cclrd, the designer sav\· suit sales begin to eclipse botll natio nal brands as well as the top retaile rs' own private-label offerings. vVhereas previously men te nded m t>ay aJJegiance to one suit

.shc1pc and dressing sryle. by the end of the go~go eighties. fashion 's ne,vest expone nts began

to

exper.iment with clothing silhouettes the way wo men did with makeup. thinking nothing of buyjng three new sui ts <1 season. from th n;:e different designers, in three different cuts. For most of the last century, the corporate wlifonn ,·irtttt..tU)' guart..H1teed the suit an ~vcr­ \Videning audience.

HD\YC\'C r. the

hltest\vorkplacc freedoms have encouraged more comfonabJe

and collegial garb. \IVith bw>iness 8ttii·e no lo 1Jgcr f~ttcrcd by strict soci:.Ll codes. casual dress novv shates the 0ffice wid1 the tailored unifo rm. Despite the suit's cu rrent bad press and steady decline in unit·s::1les. more -f1-fteC1l -hund reddol 1m-and-up sLLits were so1d. in the l'a:st £,·e years of the t\iVentieth century fl1<1h duri1ig rhe preYious thirt): The sophisticated dresser understands thar \\1hile no lo nge r n1andatory co rpo rarc E1re. the

suit is here to stay \tVith the classic dtcss suit now pressed into service more for ceremony than ordin<:U'}' day wear. men want their mi.lorcd attire to

be no·less a talisnli:U1 of snccess than their cars. wines.

and \•vatc ht;s, and ·when a man needs real sartorial firepo\i\·er, he looks for tl1e best armaments money c.u1 tai.lor.

Anothc1· contJ·ibutor to this colhweral trading-up is the m:.:TtLu·ation oF the contemporary

male's t~1stc lc, el. T he style-conscious man has graduated riom d1e h.igb-tashion suit's L-vvo-ye~u· cycle ofdisp0sabilit}' rm:vard one wi th a longer life exp!,::cte:ulcy and thus, value. Old-,•vorld ve rities such a:-:

hand,vork and :.,u-tisan cra:ftmai1...;hip are making their '"':1)' back into modern fashion parlance.

And bespoke rai.lo1·i ng is by no means dead. .still serri ng the .standcud for today's rap tie.r of rcadj -1na.dcs. so that d othing lTJerchants assure you that. except on close inspection. their hanging product is111distiJi1guishable From custom-m<lde examples. Tnstcad of shedding value. the ta ilored sui t has actually returned with Inte rest. Even the Cucci- Prada colony portrays jts po.snnode 1·J1 t\vo- pieces as tonics rather than tyra1111ies. tbe

lone garment capable of transporting th e1 1· m·ban knights from day to night. uptovvn to dm.vn CO\.vn. Despite the ne\1\ hm1tc corporate regime of <::asuaJ dressing, when success is in the ai.r. no

ensemble can delivc r such a message more poignan dy than the well -raiJored d res.s SLlit.


THE SILHOUETTE

orty years ago, one could break down rhe dominant su it si lhouettes into three or four "schools" of custom tailoring. In [ngland. they call it "bespoke." 111 Italy, the wo rd is sartor!tt.. In France. it's known as taillctw. Each generic suit shape could be identified by its national customtailoring tradition, which fil tered down into a variety of rcady-ro-vvear suit styles, several of which emerged over the long term robe almo t i1iimune to the vagaries of fashion .. The first archetype silhouette w'as the so-ca lled Eng!ish look, wh ich took its lead from royalty. who in turn were invariably clothed by one or more of Britain's legendary of avile Row tailors. The Briti h style modeled itself along the lines of them il itary uniform as exemplified by the long- fitting. hourglass-shaped hack.i ng jacket. Adhering closely to the body. with subtle emphas is on the chest and a soft shoulder. the siJhouette's marked waist. slightly ~larcd skirt, and deep side vents, tritnmed s.leeves and tmuser line gave a man a firm, almost regal bearing, especially if he happened to be arisrocraticall)' ·lender. 1\ second generic suit shape vYas popularized b)' Brooks Brothers in America, which

became !mown as the "1vy League look" in the 1950s. Characterized b) a tlu·ee-button. singlebreasted jacket \Nith nanu:al shoulders, undartcd fronts. Aap pockets. center vent, and pl_ain -fronr trousers, Brook.-;' "Number One Sack Su it" vvas the first ma_ss- produced suit, its shape undiHerentiated and unse:-ry. offering the wearer a soft-spoken. calculated anonymity. The American suit makers were the first to learn t hat the less there was trt c.l garmenr. the better one felt in Jt. The third basic tailored expression became the Continental or l.:.uropean look. Continental style revolved around Italian and, to a lesser extent. French fashion. Virtually the polar opposite of the shapeless American sack suit the ELu·opean cut relied on severity of line to project .its style. Ch<lractc rized by high squarish shoulders cl11d a .shortoveralllengrh. the jacket demanded smalL high armholes to give the chest the length that short jackets denied it. Cut close through the chest and hips. the coat was usually single-brcastecl two-buttoned with high notched lapels and slimming llaplcss pockets. and a ventless back. Its trouse1·s had a lower rise vvith figure-hugging legs. The European's wedgclike torso and lean-fitting trousers turned many a young male into a walking phaJ Iic symbol. The last or fourth t)'pe of suit style was a blend of

merican and English. Brooks

Brothers and avile Row. Long the st:::tplc affine dressers, From F1·ed Astaire to Gary Grant. this updated American suit combined the Rov,;s trademark smartness \:vith the understated comFort of the sack suit. Introduced ro the Gotham gent in the middle sixties by :Vladison Avenue retailer Paul . . tuart. this shaped. two- button suit was later offered ro the general public through rhe fashions of designer Ralph Lauren. Feantring higher armholes and a smaller chest ,;vith dart'ed fronts for a more shaped waist. the updated American suit's longer rolled lapels opened the coat's front to reveal more of

8L THE SVTT


the man's fLu·n1shings while emphasizing his V-shaped tor o. Whether Americanized by a center vent or anglicized with side vents. for several decade . this soft-shoulder hyb rid \Vas the keynote of traditional American fashion. breathing fresh air into the East Coast hry League look. For years. the terms "EngJjsh" or"American" seemed frozen in time. denoting a particular style of suit and manner of dress that cut across continental and LLLihtral diYides. To be de cribed as" Italian" in one's sartorial proclivities was to suggest t hat a man preferred his clothes fitted and wo rn with a certain aair. Today such references h:lVe lost all practical mean ing. The last thirty yea rs ofgloba'l fashion have transcended national b01.mdat:ies and cross-pollin~1tcd indigeDR 'E SSTNG THE Mi\.N

nous tastes to such a degree that those standard suit si Lhouettes have been completely unhi_nged from their former territorial or rruloring moorings. Today, Le Styl€ Anglais is more popular abroad than in England, where only an aging landowner or steadfast client of a avile Rovv tailor might stil l adhere to the old 13ond trcet bromides. One would be equally hard-pressed to find the authentic sack suit for sale in lvlanhartan. The former European fig, with its tight fit and wedge shoulder. has no~r eYolved into a slopeshouldered, side-vented. softly scuJptLu·ed three-button affair, more Anglo-American than Continental. more Metropolitan than iilanese. Therefore, rather than getting sidetracked by fashion's latest n.:m,~·ay of moYing suit sil houettes, arriving at d1at stilt shape relevant to permanent sty! ishness will be made much simplcr

if o ne basic silhouette can be employed as the ·s tarting point. ln fact. such an assumption is t'H)t as big a leap of faith as one might think. Due to a un·ique confluence of evenrs. for the ·first time since menswear's golden age. present-day suit makers agree on the suit jacket's most defining yet variable feature. its shoulder expression. 13y the dawning of the nvenry-first centuq: Italy's leading fashion designers. England's avile Row tailors. France's top retailers. and America's sartorial

elite basically agree that the sine qua non of tailoring sophistication is a suit that brackets the wearer'· head with gently sloped, natural-looking, but defined shoulders. This is not to suggest that men's uits have become so homogeneous in cur o r detailing as to be indistinguishable from one another. 1 lovveve r, it is to affirm that the real differe nces in today's top- rung suit sill1ouettes have seldom been less remarkable or more subtle. And if yo u th rO\"'' into the mi.x the fact tl1atmost better suits' shoulder lines now appear to share more simil:uity than ever before, then, wl1ether a ,r:nan favors a suit shape that is sLightly boxy or fitted, fuller cut or tapered, the exercise becomes more an expression of personal rasre rather than arterial correctness. Therefore. assuming that the suit's propo1·tions acco rd with those of the wearer and this "international silhouette'' can be used as a constant in our discussjon. \Ve are freed to focus on tho ·e models. details. and fabrics that translate into pe rmanent fashion. at least for the fo reseeable future.


CLASSIC SUIT MODELS

THE SINGLE-BREASTED SUIT The single-breasted

t wo- piece is the mainstay of most n1en 's suit wardrobes. Early single-breasted suits were usually three- button. mostly with notch lapels, and always vested. FolLovving the Lines of its t'..vo progenitors, the riding jacket and then later on. the morning

T H'ESUIT

coat, the single- breasted lounge coat made the transition from country to city 路when its cunred fronts we re cut away below the waist button. As the curve prevented the bottom button from fasteni.ng, the top button was worn undone to balance the trio, giv1ng the low1ge suit a distinctly degage air. An alternative mode of wearing the three-button coat was to fasten

its top t\vo buttons, ald1ough the lapeJ had to be designed

to roll high enough to pem1itthe top button to be d osed. Compared "vith the openness of Mr. Cooper's singJe-button fasten ing, this arrangement doses up the coat, somc路what formaUzing the presentation. Its two upper buttons aLo form a vertical line in front, promoting a mo re up-and-down dynamic, thought to add length to a man's torso. Here is an elegant Apparel Arts stripLing tal<ing in all measure of three-button stylishness. \M:1.nn weather fOLmd men removing their vests. and over time, the matchi11g vest's high ''V" front began dropping lower and lower. Not surprisingly, the threebutton jacket's high- button stance was likevvise lowered, L~Shcring in the two-button suit model. Ultimately eclipsing the three-button in popularity. the two-button with its open front not

only exposed the wearer's furnishings to better TOP :

advantage, but its darts and defined wa1stlinc gave

GJry Cooper demMzstrates the classic

occupants a trin1mer look. \1\fho says that the con-

urroniug ofa three-button suit with its center button closed.

servative nvo-button bu iness suit neces a.rily tifles

BOTIOM :

:~an Cocteau shows the larger "V"

openitzg ofthe two-button suit.

self-expression? T his classic dark worsted doesn't seem

tO

have inhibited Jean Cocteau from

imposi11g hls stamp of individuali ty on it.

The three-button suit with:its top two buttons closed.


THE SINGLE- BREASTED PEAK LAPEL SUIT

ln the

1920s, the peaked

lapel

n1asterm.inded th e metamo rph osis of the male to rso. Throughout th e interwar period. whethe r

for s·ingle- or double-breasted suit jackets, ove rcoats, or blazers, pointed revers or lapel peaks spearheaded the popularity of th e V-shaped male chest. The acceptance of the single-breasted

dinne r jacket with peaked lapels i1:J the late twe nties ultimately spilled over into daywear.

By rigging a single-breasted jacket wit h a double- breasted tever, this lapel treatment vi rtJ-tally neutralized th e double-breasted edge in formality This opt1on offered particular relief

in the sun1Jner months. su1ce siJlgle- breasted styles eliminated the warmth oftlie 0 B's ove rhtpp.ing fronts. Rarely fo und on ready- to-wear racks. this mildly offbeat suit model rernains pretty

DRESSING TH!.

much confined to the cu."tom-tailored crowd. Bespo ke and vested with walking stick in hand,

MAN

tv\iO of the I :Lome Cou ntry's better-uph olstered public servants. Sir Anthony Eden and Sir

Samuel Hoare, show their take on the smartly stocked city wardrobe.

LEFT:

Sir A1tthony Eden a·nd Sir Samuel Hoare {n singlebreasted peak-lapel suits that spearheaded the populat'ity if'the V-sl·mped male chr~st. OPPOSITE TOP:

'

Adolphe Mtnjotdtt a natty, classic double-breasted suit.

••

OPPOSITE B01TON :

-

..........

l!

The Duke cifKerzt in the "v .I\.ent., '' a [onget'-1'me versi on.


THE DOUBLE- BREAS TED SU IT Prior to \Vodd \\1ar II. single ~111d dL)ublc ~ brca.sted suits SL)Id in almo:-.t equal numbers. f\.s the dri\·ing

(orcc behind tailored mcn~\\·car in the twcntic.. and thirties. the double brca"n:-d

,'\U

it's most popular rendering "a:- the ..;j~ on

t\\

o button from.

with broad lapels marking a high \raist and stl'aight ,·entl es~ ta.ils hugging o lindrical hips. Long, "·ide trow;crs supponcd th i" col umnli ke shape.

"erving as the base of an athletic si lh m1ettc th~1t " elell~1ncc thn.~uc.Thour rhc period. 0 0

Ctllll C

to define 111asnJinc

, \ctnr I\ dolphc tvlcnjou·.s ward robe wa~ ~up posed tn ha,·c been a \ 1rtual ~tnth o l o~')' of men's fe:1s h ion. Repo rted ly. it includcd at least one p.lckct rrom 1

11.,

C\'Cf) f:llllOUS

I) B\

killer

EuwpeJn tai lor up through 19)6. l !ere's one of

natt) in e\ ery nu:1nce. from it" ~u(r. contoured shoulders

and 'llloothl) dr<1pcd chest do" n to his full cur trou-;cr..;' S) mmctrical and centered crease \\'hen , \mcric:t':-; elite adopted London·~ famouc; dr;1pc cut JS rheir O\\ n. Ill'\\

ck1Ltble-brc~ted ver~i om emerged. One model in particLJar spi r-

il.cd lt'icl r tO the top of the

ch8 1T~. the "iX- Or

fom button from \Yith bpcJs

\.·-..1gncd to rol l down below the \-\·rust ;]nd lc1~ten on the bottom button. ... k.n0\\'11 a~ t he "Kent." it

\;1,1;11\

named ~lfrcr rhc Prince

brother. Pri ncc Geo rge. the Duke of Kcm. who

\\':1.S

or \A/aJcq's )'Ollllgcr

gcncr;1ll)' Cl'edited with

It~ mtmduction in the late twenties. Lkcausc it:-. longe r bpd line extended

through the \\·:1isrlinc. less c mphasi" \Vas pbccd on the \Yru:-\t. rhus giving the \\e<lrcr an illusion of heigh t. Not onl~ did the Kent seduce the superbl) pro~ pon i~.med.

its sty! ish swagger curried p;lrricular ~~1\ OJ'\\ ith the short:md stout.

. \s

to

its stvle rankin!:!. the doublc- brc;1Sted suit is to the -;ing:Je1

L'

L'

bn.~a-.red \\hat rhe pleated pant is to rhc plain front. incrcmentallr more 't\

.1

li-..h. The DB's pt1inted. diagonal lc.1pd:-. ~piiY up

:111)

wor:-ted \\ ool \\ ith

.,J,ghtl) dres-;icr panache. Because rhc j;Kket's m·crbpping fronts look

tidier\\ hen squared up. one oCtheir front butto11.s shmdd be fastened to (.'\:plolt the model'-; in he rcm ~wank. Like the pinned dress shirt coll ar or ;;uspcndcrcd rrousc 1·. the DB suit rL·quires a bit mo re apJomb to effect a n:.ntrr:.1l stylishness. l\'k n arc crc.attu·es of k1bir. \ Vhen ~en 1cemen returned fro m

\\1 )rid \ Var II . 1hey opted for the single-breasted ~ u it. h:.wing become accus-

rnmed

to

its comfort ~md case of wea r during their milirar) sen icc. As a

rc-,ult rlk' fifties" irnessed the populnr decline unn

or the DB. \ Vith the c:-.ccp-

or a Fe\\ random periods of limited I'Cil~lisc;ancc. the double-breasted's

princip:.1l proponents h:J\·e been the custom milnr.s and their st) le-con. cious clientele. Although its ~lppeaJ comes ~Uld goes. as long as men 1·egard

Lhl' dress suit as a srmbol

or male elegance and

;lllrhorit). thL· dou ble- bre~lsted suit'' ill a.l\\ays justi~ irs inclusion in the top-echelon \\·ardrobe.


SUIT JACJ(ET DETAILING

SUIT jACKET POCKETS

jcm:d. or Aapless. ln

1921

[~rl }' suit pockets were

the Prince of \Vales started yet

another trend b)' rc\'C.:~rting to n~lps for his ~mit coat's lower pockets. Although he \\a.s not the first to wear them. his <ldoprion s~mctioncd their vogue for his legion~ of r=ollowcrs.

Rl.'gardlcss of their style or size. the jacket's side pockets (or the top edge

or the f1ap) gener~llly line up with the bottom

button on the coat's Front.

Fh1pped pockets add a laye r of fab ric to the jacket,

therefore making it les" sleek and dreSS}: This is why toppedigreed tuxedo jackets feature jetted rmhcr than Ha pped

ABOVE:

pockets. !3ener- quality fbp pockets arc ..double-besomed." a

Side pockets line up with the bottom bttttoH on the coat'sji-ont. Notice the pocl~et!s D-tachflnlshing.

railoring term for a narrovv wei ted edge sewn above and bdo\\ the pocket's slit opening. ~ot only is this the most

B01TOM :

expensive type oF pocket Aap constructio n, but also shouJd

Patch pockets are considered the nwst CL1Stuz! ofthe three classic suit pockets.

the \Ycarer decide m tuck his tlaps inside the pockets. these two vvel ts givc the pocket a more 1-i 1rished appt-arance.

,\lternativdy. lhp pocket:- arc dressier than the :{ewn-on patched variety As such. the open

orflappcd style of p~ltch pocket can usua11) be round astride the sportier t\\o- piece or light-colored solid suit. Lince patch

pockets add anOLher layer to the j;.Kkefs Slllfacc. they an: considered the most casual of the three classic sui l pockets. \ Vere a navy or dark pitlStriped dress .sujr adorned with pard1 pockets. it would be fro" ned upon as a sartorial O") moron. Here's a trio sported by the \Vhite House's only president to do ti_me in the

mens\\·ear busincs'i. haberdasher I larry li·um;,1Jl. The extra change pocket situated abnYc the lo,•vcr hip pocket. whether rl1pped

Or

jetted. has ~liW(.l)'S been

J

derail signi~ing <1 sui r·s custom tailored genesis. tvlovie srars such as rrcd ;\staire had many of their Lm - c~unera suits made with them. thus introducing the ticket pocket

Lo

the

male viewing public. As a rule of thumb. the !lapped cash pocket diminishes a suit's dressiness. while the besom style heightens i t. Years ago. if <l customer "<lnted a cash pocket added to a read) made suit. most better mcn·s stores ,,·ere equipped to accommod:1te him.


B

I

I

FALL

OXFORD GRAY SHARKSKIN

NAVY WoRs aED

c ....~

STR!P£

MEDIUM-WEIGHT BLACK-AND-WHITE GLENUROUHART PLAID WITH BLUE 0VERCHECK


Unless indicated, all suitings are coustructcd withji11e merino wool }'arm at1d two-plyflllings.

WINTER

NAVY WoRSTED FLANNEL

MARI NE BLUE f:?IRD ' s EYE WITH WINDOWPANE DECORATION

CHALK STRIPE

CAMBRIDGE GRAY WORSTED FU>.NNEL

CHARCOAL BROWN DoUBLE-BEAD STRIPE

TAUPE GLENURQUHART PLAID


SPRING

MARINE BLUE MICRO-NAILHEAD

LIGHT-GRAY TROPICAL WORSTED WrTH PEA R L CHAL K S T R IP E

~~

rr

t

II

~

;nl.!_ll

1J~%:J~Il~'"D ~ftl

,ill

II U I f!••

~

~II!.

:.;., .1

,. • • • II • ••

~:.. ~ M EDIUIY1 -GRAY W O RSTED IN PLAIN WEAVE

8; .t.CK- AN D- W H IT E PLAID IN TROPICAL WE IGHT WITH REO 0VEACHECK

U GH'lWEIGHT NAVY WORSTED WINDOWPANE


FAWN G L EN PLAID WITH TONAL 0VERCHECK

GRAY Pick-AND-PICK

COLONIAL TAN PLAIN WEAVE

BLACK-AND-WHITE TRO P ICAL SHEPHARD ' S CHECK

C REAM DUPIONI SILK


8; THE S tJlT

RIGHT:

Casl1 pocket. BELOW:

-\ugled hacHng pocket.

l

\

The angled Aap o r '' h:Kking'' pockcL so called bcc lllse or irs anccs~ o·a.l connectio n to the

[ngli~ h ridin g o r "hacking·· jacket. i.s a nother

ri md ess

suit- poc ket option. Rarel y fo u11d o n non - l) ritish ready- mades. irs prese nce tend~ to

project

:1

slightly t\nglicizL'cl if not bespoke, slant. r\ [wo ,·irc

det2i ling of the house or llun tsman. the l·amed \aYile Row tailor known r~) l' their riding jacket inspi1-cd cur. rhc tlap·, diagonaJ chisels breadth awar from the hip \\'hile adding <111 illu~ion t)f height to the wearer. \.Vith its spo rty roots. the lanring. h<.Kking- "r:·le pocket \Yorks bette r \\'ith . inglcbreastcd clothes. although its angles harmoniL.e handsome!) " ·ith those of

the peaked-bpel. single- breasted suit modd Occasionally accom panied b) a like-pitched cash pocket. this arrangt·mcm ~ better left to rusticate the spo rt) countrr suit.


JA CKE T VENTS Vents hme a military

heri tage. \Vhen men traveled on ho r eback. their coats were designed For comfo rt in rhe saddle. A single slit in the coat's back permi tred its tails to fall naturally on either side ofrhe

horse. J very practical reason v' hr even todar the long single back ,路ent: still ado rns most

88 DR.ESS I NG THF. M tiN

modern riding jackets. As the male suit jacket

must be long e no ugh

to

cover the buttocks.

rear ve nts m::tke the n ouser pockets more

accessible. There are three choices in jacket venting: Ycncless. single center vent, and the double-vented side vent.

Th.e Ventless Back In the late seventies, the ve ntless :;uit was a mrity Over the next ten years. the men's designer business catapuJted the

plain- back suit into mainstream Fa 'hion. establishing it as the most popular rype of jacket. a status it retains wdar Although its origins are Erequenrly traced to the tight~ fitting Italian suit of the sixties. nonvcntcd suits are as time-honored as the British side ven t. [kt\\'een the wars.

'~路hen

English tailors

ruled men's seams. the majori t:y of bespoke lounge suits and. in par-

ABOVE :

The long single back vent adorns most modern ridingjackets. LEFT:

The ventless back bunches up ifforced to accommodate a hand in search ofa pocket.

ticular. dinner jackets. 路were tailored without vents.

The nonvcn tcd jacket hugs the hip. giving it a clean. trim contour and a dressier mien. \~hilc off~ ri ng implkity of line and form. it fu nctions poorly ln

order for the weare r to reach into a trouser pocket or to sit down. the ve ncle~'S back must bunch up. frequently leaving a crease. Advocates choose to ignore such inconveniencc. bec-ause of its supposed sexier allur-e. The Center Vettt T he cente r-ven ted back. an Ame rican predilection. rose to promi-

ne nce in the dars whe n ready- to-wear clothes were first arri\'ing on the 路ceo e. V/ ith the evolutio n of America's natural-shoulder (ashions in the fifties. the center-vented jacket became a featured part oF the lv) League lool. Jnitially designed for ho rsebac k.

the single vent lacks any sty Iish Form \\'hatsoe' er when not in the saddle. lf ::1 m::tn 's hand is in search of a jacket or trouser pocket. at the slightest ntg the sin-

gle \ 'C n t pulls open Iike <l garage door. re\ eal ing \\hat it should be covering. This center slit


am·acts tUldue attention to rhe man's expo, ed derriere, and. if cut high enough. the yent encourage · a fringe of disordered ·shi rt ro join the spectacle. As the least expensh e vent to manufacture

;;md. until recentl y. the most common style of rear venting. the center-vented treatment usually con.fi_rms the garment's ready-made provenance. The Italian cognoscenti never succttmbed to its middlebrow favor, and mo~t Savile Row tailots avoided it like the sanGria! sophomorism it is. O:ffeting a bit more fi.mction than the non vented arrangeme11t, the single slit's only saving grace is that it can occasionall y be employed to better conceal a prominent hjp than either the ready-made ventless or side-vented jacket back

The Side Vent Side vent.;; offer the wearer the highest unjon of function and

form. notto mention flexibiJjty. Should a man try a double-vented coat and ABOVE :

The single ve·nt pttlls open to expose a

ma.n's de-rriere, on.ce a hand is placed i11 a trouser or jacket poc~et.

later decide that he doesn ·r

Iike the

t\~'0

vents, rhc back

can be easily converted mto a vc mless by sewing

RIGHT:

The side 11e11t permits access to trouser pockets whfle co11eri11g the buttocks.

rhcsidc vents closed. As for function. when the wearer is sitting down. the ·ide slit allows its bad< flap to move

a\Ya)~

thereby minimizing creasing. And when one accesses a trouser

pocket, the double vent's back Aap permits smooth entry while conceal-

ulg the buttocks. \tVhether single- or double-breasted. the side-vented coat can be worn buttoned and still provide ready en tr<mce to the jacket or trouse r pockets without disturbing the line of the jacket's back. ln spite of its ove rwhelming upside, the doubJe-vcntcd sce-

nario is the least popular of th~ three back treatments. l_;nfortunately. because side-ve nted coats demand better design and t:o1iloring to fit well, the public's negative opin ion has been fed by the all -toocommon e.'<ample of side- vented coats whose rear bottoms either kicked out o r stood avvny from the wea rer's seat. Alo ng vvith the pub-

THE

SurT


Uc'.-, lack of intl're~t. ~ide-vented clothes have neve r bee n enthusi-

astically l'mbraccd b},. rhe manufactLuing or rct~ i l sector. T he fact i~

that double ,-enr~ arc the most expcnsiYc rype of jacket back to

manufacture and also the most li_keh- to in\'oh-e additional alter'

ation cost~ for Lhc seller.

Ilo\\'cvcr. "hen its side slits fit properl r Jring flat and perpendicular to the ground. the do uble--vented jacket offers a posterior guard of practicality and propriety \i\/hile t his rear design d ispenses its duties with ~ im ple chm. its benefits are not lim ited to a man's hindq uarters. Side ve nts le8d t he observer 's eye up either side of the coat's back, sublim in,, [ly imbuing t he wec-ll'er with an illusion or greater height. \Nhen the man is in stride, the SLtb tlc concert of motion between the re;J. r Yents above and the trousers· thighs below lend Auidity and grace to the male siU1ouette (an attribute th<lt f-red Astaire exploited to the hilt for his on-camera dance routines) . The side vent's he ight constitutes another of

tho~e

minute details that rdlect a man's personal taste. In general. its length shOldd not e'tend above the top of the jacket's hip pocket tlap o r below its bottom edge. If the pocket is jetted. the vent· · length general!) tak.es its cue from the pocket's height. although it The side vent minimizes creasi1'tg whe'/'1. a man chooses tosit·down.

can finish lower. Side vents cur above the height of a pocket Aap tend to mm e about. calling undue attentio n to the mselves b)' svvinging open ~111d ~ h ut li ke an unlatched gate.

D RESS I NG THE jACKET SLEEVE ,-~, ,·ious

Buttons on jacket sleeves have passed through

,·ogues. Cenrru·ies ago. the}' \vere employed on jacket cuffs so the vvearer could unfasten

hi slcc\'C to permit his ruffled cuffs to be pu~hed th rough without wrinkling them. These cusrums :111tedare Frederick the Gre:..1t's order ro hcl \·e burtons put on the sleeves or his soldier . uniforms to encourage rhem to u e their shirt cuFfs instead of jacket sleeves as handkerchiefs. Jacket-button logic has h isto rical ly operated as if it we re a Glbalistic language No l)nC knows for sure why fou r buttons on a suit jacket's c;lccve conver superior sartorial breeding. but th;1t's hovv LoJldo n·s master tai lo r~ h:J\'e rrimmed suit sleeves since tirnc immemo rial. And bec::tuse t hey have mentoFcd ever)' civil ized country in the fas hioning of fine mcn·s tailoJ·.ing. [ ngl<llld·s s~wil e Row remains the "cul tut~a l arm·· of the fas hion papacy in such lllatters. Re2:ardle~s L'

of rhejr number or functiona lin·. suit I

~deeve

butto ns shmdd be set close

together. the ir edges "kis, ing." vvit h the bottom button finishing no more than % inch above the ~dcc,e\

bottom. (Note Captain Eden's cuf(burtons. in rhe il lustration, opposite.)


THE SUIT WAISTCOAT

__.___U tailored men's \est::. descend rrom the origi nal postbO) waistcoat of nineteenth -centurr E11gland. \!\lorn br the postboy, or postilion. who rode as a guide on one of the pairs of horses attached to ~1

coach, the garmen t was inte nded mai n I)' to pro,·ide ·w armth. so it

was usuall r made of a woolen fab ric. front and back. and cut high under the armholes. The Wclisrcoat is teclu1ically the most challengi ng garment to

s a high point of the rai lor's craft. it is

construct sarisfacroril ).

req u.ired to lie Hm as a p~uKakc on a surf:1ce as contoured as n potato as well a~ maintain a "touch fit" that is

110\\

here tight. The waistcoat

has sun ·ived because it added gravitas ro the single-breasted s uit, held a tic in place. kept the ·hi.rt neat and tidr and lent an effjcient appear:l!lcc to vvo rkin g in shirtsleeves. It was not on ly W(;l.rm and decorative

but utilitarian. since the ·wearer ca rried a

hc~wy gold watch in one

waistcoat pocl;:ct and his watch fob in <~nother. with a gold cha.i n extending across its fmnt to con n~cr the t\\'O.

Prior to the Second World vVar, most single- breasted as well as

11lJ_I1)

double- breasted sui ts were \YOrtl with a Ycsr. However. historical

circumstance~ co nspi red against

tbe waistcoat.

Cc ntr~1l heaci ng a nd the

;urival of \\'arm ~ \\ cather fashjons in the late rwemie.s c ncour~1ged the shedding oF superlluous clothing. The double- breasted suit was the

first to dispense vvith its customary "ai.srcoat. a nd the n '"'a rtimc fabric rationing all but de~t the :'Ui t \ CSt a dcathblo\\'. In the 1960s. three- piece suits began a slmv rccO\ e ry, but- the inclusion

ol the \'est i ncreascd rhe cnsembl~ ·s rcrail price. diminishing its commercial \'iabiJ it). l()day the vested suit is a n~ mcmbra n cc

or

things past and accessible on I) ro those able to afford o ne custom made.

The addition of rhe right "odd" w::1istcoat

CJ_J1

tra nsfOrm

en·n the most predictable m·o-piece, as sho\\'n here by Captain

Eden's white line n .single- breasted waistcuar with small notc h collar. Following suit. the single-bre~l'ted. peaked- lapel model (c1bo11e

righO provides an ideal setting For more? meticulous \\·aist deco r as \\ Orn by one of rhc dream machine·, mu-;t dcbon:1i r leading men. Randolph Scott.


THE SUIT TROUSER

1e most fortuitous development in recent trouser f~shion occurred in the eighties, vvhen pleats and suspenders returned dress trousers to the t1attering sancrua1y of the man:'s natural ' 'vaist. vVhether plain-front or pleated, forwe1rd - or reverse-pleated. narrow- or ful.l -legged.

should a suit trousers' rise be .so low the:1 t their \•vaistband is obliged to rest betvveen the wearer's natural \iVaist and hip. the ideal balance between suit jacket and trousers will be doo1ned. Although plain-fran t trousers have .staged a comeback. today's suit n-o users are pretty much a pleated affair, their shape dictated by the natural li nes of the bod)~ ful:l across the hip and thigh. tapering down to natrm~'er bottom. Pleated pants look dressier, and their pleated fronts provide greater comfurt d1an plain--·front trousers. H ·ips widen when the \Vearer is seated, and pleats faci l itat~ this shift more easily and with less wear to the trouser. Objects placed in a front pants pocket are beuer concealed within the pleated trousers' liotlt. The dassicall]' designed pleated dress trol,lser has two ple;1ts on either sicle of its tly-a deep one neai· the By and a shallower one placed toward the pod<et. This design fostered a working rehtionship bet\veen the two pleats, as the smaller one helps the larger one to remain dosed. Having more than two ple;,its on a trousers· fron t intetferes.with this symbiotic function and is simply a gimmick of fashion.

COLORS AND FABRICS

s rece.ntly as ten years ago, 1nen still spent the majotit)r of their clntbit1g budget o n fall-weight suits. Nmva,days, courtesy of high prices and fears of global \i\rarming, 1t is them idvveight. eight-month two-piece that monopolizes most of their funds. Perhaps the single largest beneficiary of recent textile and manufacturing advances is the three-season suit, the wm-khorse of the male suit wardrobe.

\Nhether Lmtouched by hun1an hands or completely hand-tailored, today's $750 -andup suits ·are confections of m1rivaled lightness. suppleness, and performance. Never before has an1a;n ~s suit

provided him with such comfort along with a sense.o·Fwell-- be,ing. Advanced textile

technology has enabled the top Italian and British

mills to fabricate worsted wools that look

and hang like cloths. almost tv~rice their .weight. Yesterday's rzoarse wool yarns made tailored clothes feel heavy and boardy; conversely today's high- count ·wo rsted yarns make dress suit jackets as Lght as cardigan s-vveaters. 'vVhile vintage suits in oJ'd films appear Lmpeccably suave, \vereyou to s1ip one on today, itwuuld probablyfeel more like an -overcoat than a suit.


The orthodox Yiew held that suits bould be in neat patterns and quiet tones. rmging from midnight to shte blue. from dark charcoal to light gray. Blue and gray5 ''ere considered the business basics be~ause they facllitated the transition From work to after-work activ ity. In the fall. a rich-hued brown suit in cheviot or tweed could be added to the rotation. \iVhile this limited color palette continues to direcr the selection of most men's business suits. d1ere arc more options than e\er before. Let's focus on rho e classic suitings that should form the backbone of the well -dressed m:m's tailored wardrobe.

THE CHA R COAL SUIT \Nhen it comes to starter suits, the dark gray two- piece gets the professional's. nod. \"lillie

11<:1\')'

is more formal. charcoal complements more men's

com plexions. Tn the case of the young man. navy's starkness frequently accentuates a pubescent face. The d<1rk

gray dress suir e mpowers the knovving

weare r with LUlrivalcd flexibility It can be accessorized with a vrbite dress shirt and dark tic for uptown. black mrrleneck or T-shirt for downtown. Such fasJ1 ion -Auidity makes the charcoal two - piece the blazer of male suits. As the \•.rell ~ heclcd

1vWaJ1esc's most vvorsh ipc.::d worsted. the percnni.a l.l y srylisl1 charcoal affords the maturing n1astcr of the uni\'erse a neutral

Ralph Laurens birds-eye gray dress suit:

canvas on ·w hich to rough o ur the morning's vestia ry possibilities, readi ly accommodati11g a larger ,·ariery of colo red or pattcnu~d fur nishi ngs than any other single suit shade.

THE NAVY SU IT At the tLu·n of the ccntul} if a man owed one suit. it was usual -

lythe o ld .. trust) blue se rge·." Its navy jacket topped w hite tlann els. m aking the first nationally accepted \Veckend leisure ensemble. Coming into it~ own as dartime wear for the man who needed a bridge betwee n the in formal and formal. the navy two-p ieee ,.vas the first lmmge suit to be accorded the stants of a modern bu ·iness Lmiform. Recommended fm tovvn wear w ith a bowler hat. yet sp ruce enough to wear when taki ng a ladr to an even ing co ncert. rhe dark blue dress suit could transport irs owner from day to night, weekday to weekend. even showing up at semiformal occasions when black tie was not required. The quintessential power suit color. navy was the colo r called upo n for t he t-Aichael Douglas character Go rdon Gekko to deli' er hjs infamous ''greed is good" speech in the movie vVall Street, not to m entio n all se riOLls-minded American preside nt ial candidates. who seldom appear on national rdevision wrapped in anything lcs~ patriotic than the colo r t.Ulthem of navy suit. whi te shirt. and red tie.

lore cnrichi ng than stark black,

more cercmonbJ than charcoal \Yhether in tw ill or plain wean~. n ounces or 8, a navy suit shows off rhe average man to best adv~Ultagc.


THE STRIPED SUIT Of all men's swnngs. none has ever

mntched the glamour and populariry o Frhe sniped sLut. At o ne ti me

or another in rhc thirties. rhe striped suit probably graced every pair of male shoulders. from rhe humble to the most famous. from the

uncmpiO)'Cd w the d1airman of the board. Although its ~tripes had ro be positioned perfectly for maximum effect, rhis pattem's innate appeal derived fro m irs vertical line.

Elongating any physique. the striped 路worsted qLLickly establishcd itself as the patriarch of aU patterned drc:-.s suits. The ,路ariery ~md sco.ie of classy suiting stripes are endless. They can be i 11

single. double. or triple tracks. against plain or fLilC)' backgrounds. Lines can be faint or bold. from subtle shadows to hairlines ro pins. up to pencils or chalks. in

spacings ranging from narrow n..) \vide. vVhen the Prince of \Vales launched the

dayri me vogue for ~ hadowy d1al k stripes.

he devared the sni pe suit to new level of cosmopol i t~1n

consciousness.

The striped jacket and matching trow:cr formed their own partl1e t路shjp around the turn of the cenuuy 路when the lounge suit started to replace the black

jacket and odd sniped tro user For business dress. The montage of striped S\\ ells here illustmtes the proposirion that

when executed knowledgeably. the twocolor taiJored el1semblc can add up to more than just a simple two-color look. ABOVE:

Ronald Colema11 in early lounge coatformality. RIGHT TOP :

james Jvfason in his stripes. R IGHT BOTTOM:

The ever~stylish Ralph Laure11 in striped repose.


TH E PLAID SUIT \ iVhile the Victorian era entertained tart;ms and the tum of the century ho ted checks, it v\'asn't w1til the

L920S

d1at

plaid clothing revolutionized the rules of urban style. following the English trend in which "countty'' began to impinge upon "town" i11 matters of

male dress. ,\Jthough some checks 1ike the houndstooth enjoyed a distinguish~d career. none would become as endw·inglr scylish as the glen plaid. For the sartorial romantic. the glen plaid suit conjured up images of strolling in the fresh

and radiant Light of a spring morning. It~ charm stemmed from the overall Iighmcss ach icved throllgh a refined play of ve rtical and horizo ntal lines that intersected at rcgLtb.r intervals OYer a

houndsrooth check. "'omerimcs thin th.reads of bright color (red. blue. rust. pin1) were woven through the checks. AJthougb the glen plaid could rlattQr almost any physique. tor tailors, plaids posed m.;~mcrous

challenges ~tnd additionc.1 l cosrs. Thei_r

hoJ·izontal and vertical lines had to march up exactly. requiring slightly more fabric than the

solid or sn·ipcd two- piece. However. the plaid's higher cost and complexity o( production invewtcd it vvith just the right allure to secu re its

position inn1Hsculine t3shion mythology.

The man who raised the plaid suit: The Prittce cif\1"\Tales 1 h' "pnnce · 0, .r11r. ~11 tS OW1t vva les. ,,

THE WINDOWPAN E The \VindovvpJ nL'

worsted has ahntys featu red low among the rank and f ile. while its standing wirh the well-starched set has ne\c r been highe r. Rarely found

hanging ~lround aYerage retail climes. the windo\\'pane suit.'' hen it did make one of its r;ue appe;:Hances on a selling rlooL·, tended to overstay its '"'elcome. A.-. a result of i.ts commerc ial dis ~

abilities, most men remain unfamiliar " ·ith the windowp;1ne's in. ider charisma.

for the initiated. the pattern's individu:.1liry and popular neglect arc two of its main attractions. the third being its salutm·y effect on the male ngtu-c. Longer in length than width , its upright rectangular formation subtl y elongates. unlike the stripe. which \vorks its magic in

more conspintous \<vays. Another plus is its facilit) for harm o niou~l; combining \\'ith a second or third pattern. The windowpa ne's open~ box setti ng encourage~ l~u·more varied pattern mixes


thJn the glen plaid's multiline~ll.· ground. However. the willdowpane's dearly deJnarcated out-

line gives manufacrurcr~ e.Yen less margin for error in matchiJlg. \Nhether in J chtu·coal Hannel enlivened \\'ith n chalk-toned vvindowpane or.a tropical \VOrsted em bellished with a colored ovcrcheck. this e rudite pattern is. like Cacse1 r's vviFe, ::~bove

susptciun. THE GRAY fLANNEL Though the shrink._

ing demand for winter-weight wools has diminDruisSH!G THE MAN

rshcd the appeal ofth rs icon of male refinement, .the cla..-;sic gray llan nel suit remu.i m; a paragon of cool'"'cathcr stylishness. Ever since the famous

I9')0s

novel The M~m ·in the Gray Flannel Suit immortalized t his doth as a symbol of <Co rporate recitirude. colle-

giJns, Jd cxecutiYcs, Jnd i\ Iadison Ave nue clothiers have reg<n-ded it as :J , ., ·ardrobe staple.

Soft rather than :o;tlf( with just a plnch of texture, rhe best gray BanneJ eschews at1y hint of

that slightl r wo m in , old- money look associated with genteel taste.

s harpne:-;x or nevvncss. exuding

Owing to advanced textile technology Englar:td's ;Ind italy's top weavers nnw turn out Lghter- '~'eight '"orsted ~lan11ds with the authentic "English +1an -

nel" look. Like the

charco~1 l

\Vorsted. the medium-

gray flannel is dJc perfect foil for accessories of aU backgroLmds. \Vhethcr a soft-spoken button- dovvn o r ~l st:J.rchy spread-collar, dr<;ss sh irrs ~md nccbvca.r

of every description are welcomed by gt·ay Hanners sumptuous repose. [mbu.ing its -vve;,u·erv\~th a rda.."'ed elegance, the vvell-cut gray flannel grows mo re ll:ttte rjng with wear (see page +3) .

THE B R o ·wN SUI T Perhaps no other mJlc vestmer1t has been more maligned over the past

fifty ycar5 than the brovm suit. Firs:c. there was the old British saw about never wearing brovvn i.n town. Churd1tll once impugned it as the nit:u1tle ofa cad. The khaki-dad legioJ1s of the post-\IVodd War em eschewed brown bccaLJSe it rem·inded them oF th~ir mi li taq' service. while th <Si,r brides felt

thatrhe shade aged them. Finally Charles Rcvson·s highly publicized quip about brmvn making men

l.ook l. ike "'shit" pretty much resigned it to the wardrobe of the nonconformist. Brown's reprieve from suiting obl ivion came during the tenure of Pre~ident Ro nald

Reagan. whose personal affinity for the disgraced color rerurned the brown dress suit to public currency: rorn1nately for the modern S·\ll··eJI reared on a srcady diet oF na'i'Y or charcoal, just a& the


twentieth ccnturr wa~ about ro close its

books. fashion resto red rhe brown sq it

to

its

l~1 r·mcr smte of masculine v~Trace Folio\\ i rw ~

dosel) on the heels of the marrer .;er's partialirr for walnut- toned bee-up~ mer black '' irh their na' v or charcoal suit. all 'orrs of I

bm\\'n ~~,.orsteds suddenly starred silL)\\· i ng up on the b~Kk.s of the better-shod.

ln 1939 Esquire presented

:1

"thought-

ful sh!d\' in charcoal bro,Yn." inrroducinev J

an outfit it judged "c.umosr pettccr fo r maintaining a due degree of formality for definite town occasions.'' Back when me n~wear jmu·nalismfocused on individual dressing strategies as opposed to generic

fashion. a rna11's com-

plc""ion. vis-::-1-vis his dothjng's colors. used to recci\ e exrcnsi' e em erage. As a result.

chocdate-. blond -. red- . or sandy- haired men we re conrinu:rl l}' encouraged

to

consider

brown as one oFtheir staple wa rd robe themes.

\Vhilc there arc those diehards who refuse to consider a bro\\'n suit. there is no man

"ho cannot wear one to personal advantage. T he dark brown suit offers man)' Yit·n te.s. rhe first being its freedom fmm dependence on the predictable blue and gray. The second is rhar the dark brown suit is every bit as dressy as the naY\': like clurcoal. the richness of brown's J

darker bue harmonizes wdl with dress .shirrs of aUshades. from gold to green to tan. \\'ith the r~cenrmat i ng

of the dark brov.·n worsted and medium-blue dress .shirt attracting considerable :reclaim.\ Vhether in a winter or summer

weight plain o r pin.stripcd. double- or singlebreasted, the high ~class brown suit wi ll alv.'ays

be a povver plare r in any male wardrobe aspiring to permanent stylishne~s.

The dark broWtl suit is every bit as much a power suit as navy or charcoal.


GA B A RDINE

For rhe ulti mate in Iight-colorcd sui r fa re, norh ~

i11g bears ~l 1c colonial tan gabarcl·ine. Since its introduction in the thirries. tbc cbssic g~1 b has consistently ranked right up the re on rhe Iist

or idealized dress suits. Cosrlr tO weaYe. expcnsi\'e ro tailor.

and problematic to press. the rop-qualit)

gab~1rdi ne

is neither

<cl

wintcl' nor summer suit but an in tc rsea.son opt ion for those with deep-enough pockets ro aFford its ddicatc

lu~tll')

and limi ted

"earabili t)' \\' hile noL as SLL111ptuous as irs

\\'OOI

con(rere. the cotton

gabardi ne rwo-picce oilers a .soothing alte rnative to the l)'pic::l ll )' dt'}'. firm -feeling u opica l wo rsted. The fine

lta li ~l ll

cotton gnb::tr-

dine "uit "ill wrinkle. but i~ sarin)' freshness and cool suppleness offer the humidified cpidcnn is a princclr measure ofco mforr. SUMMER

STAN D A RD S

For n~:1rs. whe n the seasons '

changed from cold ro \\arm. so did the te.xture

or lllcn'.s tai lored

ck)tltc:-.. Fabrics became more buoran t. drier to the ro uch. wich incrc:::tsed pomsity fo r better air circula tio n. Voiles. ai rtex wen,·cs. ABOVE:

and open-mesh dress shirts helped \'l.~nri l ate male torsos. \\'hilc

Ray Mifla11d sll'athed i11 silky gabardine.

Palm Beach worsteds. cotton seersuckers. and nubby silks helped

BELOW:

layer bodily zo nes for hot- dimme Cl1mfor t. G;ntzy silk grenadine

Sir Anthon)' [den i11 moh.ai1~ wher1 a soupron qfsltwt was viewed as a touch ofclass rather than crass.

and ~pongy lincn neckwear com plc ted t he su d·:Kc- imerest picture. \\'ith the disappearance of the hand laundry and the commcrcial i/.ation of the drr- clc~ming process. the 111<-ljority of these highe1·- mc.1inte nance summe r materials we nt the

\\':1)

of the two-

toned spectator shoe. I lowe\·er. a few of the st~mdbys are sri II avail able for those interested in unearthing them. Jlthough they <lrC t:1.sr becoming extinct due to the public's lack of exposure to then1. 'v\' har has rendered rhem i ncrcasi ngly lc::;s com mercial m·e r the years arc their surface properties. such as sheen or texture. ' vhich todar arc either misundersrood o r neglected. The following arc classic suit-

ing-." hose particular

fabric~

were bred to prm·ide the wearer with

comfort ; J nd coolness. <1 nd still do. Seersucker is , \merica's most icoriic summer suit. "\Nh} should the

\ 'Cl')

cheap remain the pro,·ince of the 'err rich?" asked

Esqnfrc magazine in , \ugust 1936. This rLun pled- looking cotton li1bric

first became :1 srmbol of the rich and sociall y secut'C be Fore the ave rage man Finall) e:1cccpred it as somcth ing other than a poor man '.s .su it. ,\lrhuugh not an C:\pen.siYe t:1bric. the all-cotton seersucker will go right o n ticking " ·a) after other luxury gam1enrs ha,·e tossed in the


towel. Tbdar in medium blue. brown. or gray and white oxford stripe. S·inglc- or double-breasted. v.rorn '"·ith a necktie or polo shirt. the seersucker suit offers a bem- benter styli•du1ess trans('cnding

both lovv and high fashio n. (Sec page ro;;.) One of the few sLunmcr suits capable of holding irs crisp good looks has always been the vvool mohair suit. Toda)( vvhcn fine baby mohair is mixed \\'ith superfine merino ,,·ool. a crcnse-

resistant fine blend results. leaving the old moktir suit stilT m d old-fashioned by comparison. Unfortunately. because of the dulled ILtstcr of mohair's swtacc. its sensibility i5 frequent!) identified

wirh its older emhusiasts. the"' hltc-on-'"'hitc-.shirted. bLJbous \Vindsor-knotrcd bou lev~1rdicr. Sjncc its debut on the Ri,·iera in the late twenties. the pure silk dup1oni suit has al" ays been

the last wo rd in sumJ11er chic. From its well-bred bcginn i11gs. the silk suit ,.vit h its natural glossy

beauty :md superior draping quality wa..~ a status symbol, an aristocratic gam1cnt made only by the prestigious cu$tom tailors and top m:u1uf:lcrurers. Todar only one mdl in ltal) weaves thi.. , Lm.ique fabric in its original quality and narrow width. T l1e classic shades arc cream. bro·wn, blue, and elephanrgray Combin ing the bcstofnantraJ fiber vvorlds. this shantunglike nubby silk mate rial is drier yet more luxurious to the touch than carton. resists wrinkling better than .linen. and drape!-~ \Yith more Auidity than fine worsted wool.

Pri11ce Charles. backdropped by the tropic

ptt:radise ofHawaii's Btg Island, immaculately rigged out itl silken Savile Ro11' dupioni.

TH


In t he period foll mving \\/o rl d vV;:rr 1. d ischargcd veterans thronged to depc:t rtm etit sto res and. haberd ashe rs to make up for the

deprivation suffered in the distant trench es of ElLrope. The era offlaming youth was unfolding, ~nd never before w~s the American man more

inclined to try sontethi11g nevv and diffe.1·e nt. The postwar obsessio n w ith sports and outdoor activities encouraged fashion experimenta-

tion. wirh the main are na being spot·ts dotJJes. The N ew York ekgance of the pe riod meant looking wel l h1rn ed out but comfortable. Fro m thjs tin1c fo rward , the virtue of comfort vvould be an evolving constant of men's fas hi~.1n. In a few short )'ears. the CQntentporctry s·port coat

THE ODD JAC K.ET B;tllk in the Nineties when eil.l·ly American

would become the hallmru·k expression of mode rn m en's clothing. J acket~ for

gp~l? 6rat battled w.ith bogey arrayed in

.red coars (\!sed to wurn non-player.s of im-

pending dnnget) Brook,-; Brorhm began

to

sporr have a common progenito r

i11

the Norfolk

jacket of tht mid-nineteenth cenrury: Fo rty yea rs later. ir reappe<:l red

make odd jackets>.ready-mnde, Over this

with .its original detaiLi11g iJ1tact. The later Norft)lk jacket of 19 r8

pedod of furry to fifty years; we h.rv.e inrro-

111 ight

ducel:l ;t[ld· populh.riied .in

th~ country more

be caUcd the first A me i-ican s port jacl.;:et. although it was bor~

of tbc mn:ious British mate rials, pcrrhap.s,

rm"red fror1l the N01foli< suit of Hcu-ris or Donegal tweed that manu-

than an; btber establish ment. That th<:se.

facnm~rs adve rtised as "a thorough !)'

Englisb and Scottish rwedds :~nd cheviots

C:Jn suU oe Imported by us in exclusive col-

ori ariel

~rterns• .. as

clearly ·demonstrated

by ow cum;pt st.o~ ... is n. SQu~e ofgmrifidltticin

to oum:lvt'S illi)d pur customer!; alike.

serviceable suir for men who are

young, e ither in age or spjrit. and vvho want to be distinctly well dressed. eve n on their outings." \Vhen paired \:vith white Ha11nel trouse rs and a natty straw-.skimmer. t hi.s summe-r outfit passed muste r at eve n the most sn.obbi.sh vatati<:) n resons.

l])iil wll/wriJ• ;, <rlr Ncw.iY~rl

Il•r•,:w• Jnl•ll

b'"Kl(l:/ "".scu!.J4U thrt/IJ':r.(ndtill~nl? if our ti<a;l(1/1.1rt:r'f!.rtlflllflli'an"fl(~IP nr( lfey.vltititr~ 52di~~~ ~tlf -!J<r th~ (J;U'!}r1'from

t'tf(Jt I•

t•m"

Along with the dark blue serge $Uit jacket ~md whit e flannel slack "u rl ifo n ti'. o:f fashionable reso rt wear, the afil Ltent A rn e rica n was

accumulating an im pressive w~1rdrobe of No rfolk sL!its a nd odd knid<erbockers that

he could 1'11LX and l11atch. As the

G reat vVar had

not undermin ed British supre macy in the real m ofnTaBcLtline strlish;ness. London was nto.r c than cv~r its capitaL Duririg the Angloma nie:1

of t he 1920s. ~varie ty of high l ~:md jacketings r.hrilled co nno isseurs and neophytes alike. The rough. \1\l~ll'm woolens of cheviot saxony. and donegal brought a breath of fresh air to t he slec k \VC> rsreds then popula r. Scottish and lrish n veeds. countrified yet civiLized,

represented the apex of ill t@brics ;::t.ssociatcd vvitl1 rhe Brit1sh sportsman. with the we ll- worn - in tweed looked upon as the epjton'le of aristocrat ic ap lo mb.

1\'\'0 silhouettes came to define the earl y spo rt coat: the EngLish drape, with its broade r

shoulders. fuller chest. slightly shaped waist. and close- fitting hip. and the Am:erican Ivy League ack coat, an unpadded and undartcd. straigh t- hanging jacket w ith p.l..i.able front~. soft roiled

b pe1s. an d a three-button front. A n elegant example of earl y Ame rica·n sport jackets i:s shown a bove- the Brooks Brothe rs Sh etland sport coat. complete \Vith its charact e ristic t hree-button , two- to - butto n front_

ln those days. fo r a Fasllioll t o start off on the correct focn. it had to be see n \vo rn by the right folk. A merican postwar prosperity created overn ight 1n1llionaircs, resulting in "ne\1\_.,


money Fol lo\\'ing "old'' down to their r:avolitc warm-we::tthcr \V::tterlilg hnlcs. \IV ith

;1

sbcial ~ca­

son that demanded multiple changes of \\·;udrobe and a concentration of socict) ·s leaders in attendance. PaJm Beach became the founta.inhead !"o r 1\merica n resort fash ion. Rcprcsentati,·cs from national pu.blicarions and _ports\\ car manuf=J.cturers flocked to this elite turl to

report on the latest lcisul'c ap parel of the upper brackets. I loweve r. it wasn't until I923 that fashionab le den izcn, began t o witness some of thcjr '-'

regulars donning jackets that could claim to be epamre "odd jackets." Profiled (bC'lony i11 prevaili ng plage L1sl~o ns is one o f its northern habitues. ~cw York soc ialite ~d ilton I !olden .

FASH I ON PROF TLE

"Milton Holden, ·well,know11 socialite, appears at practically every authe11tic spot inseaso11Sottthampton, Belmont, New York, Palm Beach, Meadorvbrook, etc. Here arefour Esquire- Apparel Arts photos take11 in February within aJew days' time showing how correct clothes ha.ve labeled him awelldressed man with fashion leadership."'


13y the latter part ol=- the t\\ enties. the -;porting jacker. trimmed of its countri fied deuiling and worn wirh separate trousers in contrasting fab rics such as flannel or gab<'lr-

dine. bccarile the ideal expression o F ca.sual elegance for competitors and spectators alike. Iro nicall)·~ it " ·as rh is garment. as adopt ed by the upper crust for the sport of ten ni ·, that

bcgat the designer logo. Dubbed Le Crocodile

br the spa n s press for his tenacity on the court. hend1 tennis champion Rene Lacoste

had his s\'m.bol embro idered on his blazer I

jacket se,·eral years prior to its debut on his

legendnry \\'hitc pique sport shirt. 1ftherc was C\'er ;]11)' doubt about the

aptitude of fullCrica·s le1ders of male styl.e to

hold their own at the proverbi81 card table of intemarional (uduon. he re·~ a gu) who could

do it in spades: Anthon y Drexel Biddle. scion of the Philadelphia Biddies. Tbe hue Douglas

Fairbanks

Jr. once

and 1930s.

t\\'O

that in the 1920s men monopolized the rop told

nK

rungs on everyo ne's best-dressed li.st: \iVilliGm ABOVF:

Rene Lacoste sporting thefirst designer logo. OPPOSITE:

Accompanied by his wife and afriend ~n a suit coat), best~dresse11 Antho11y Drexel Biddle t'n a. sport coat was one ofthe era's lege11dary barometers ojmer1'sjasltiorJ.

Rhinelander

tC\\'art (the fam ilr"s Rhine-

lander l\ Ian ·ion hosts

R~1 lph L'1uren·~

tlagship

sto1-c) and our man Biddle. Behold Americc1n style at its mosr pab·ician in one of my all -

time- Eworite ·6.:t.llhion candids. Although Biddle's male confrere

relic!-l o n hi.s suit j::~cket ro double as a sport coat. Biddle brooks no such backsliding. Tony Biddle wJs not on ly a prominent ·ocialitc; he also was one of those rare baro mete rs of male fashio n who could single- handedl y reaLgn its bound aries. Foll owing~ strenuous workout. ~iddle bundle~ himself up with hi~ tovvcl-curn- neckcr-

scarf lobs a seersuc ker -;port co:J.t m·er his tennis swearer. and exits the court in full- cut loose-cuffed ten nis whites astride bespoke spectators. \!o longer the ne\\ kid on the block, the sport coat became the cen te rpiece around which

the citr's leisu re wardrobe \~·as assembled . Now Found in most better urbrtn wardrobes. a vvcllblended gray and marbe a morning or tra\d jacket in a countrr homespw1 look we re relied upon for less fo rmnl occasiom. such as a 11 afternoo n's socinl call or a few· rubbers of bridge in the evening.


ABOVE:

Brooks Bt·others pleated-backjacl~et. LEFT:

Henr11Fonda i11 action-back tweed and sport-detailedflannels. BELOW:

Clatk Gal?lc i11 a shin-ed-bacl~, desig1't.

THE ODD JACICET

___ he term "odd'' for a sport jacket \vas not occasio ned onl y by its lack of a m:1tching trouser: 1he \\'ord also fits because of rhe garment's 1ndi,·idual izcd detailing. In r926. the outstanding sport

coat at Palm Beach wa.-; the .solid tan gabardine sport coaL Ushering in the E.uKy-back jacket era. here's another of the Brother~ Brooks' many contributions to permanent Fm;hion. tbeir clns~ ic pleated-back gabar-

J inc -;port j~Kket. wi rh a stitched belt ac~·oss the back waistl inc nnd fcRu plear-: abme and bcJo,, it. In the photograph abO\'C, a \ Cl')' routhful Henry Fonda

co mFo rtabl )' furl .; hi:-~ l ~m k) r·ramc tm the st:1gc. courtesy of his jacket's.

"bi S\\ it1g... Jction ~ b~1ck dc~ign . Function::tl bcl lo\\'s pleats run from the b::~ck's belt up to its rokc. Freeing the arms· mo' emen r ,, hilc fadlimring d1e rotatiun of his shoulde r. :\oticc the conso rt ing of his


tweed jacket's edge-stitching"' ith his fbn nel trousers' correspondingly jauntkr open lap-our side scams.

.

The most popular fanq - back jacket of the n me was rhe shirred- back dc~ign \Yith one piece of material bL't\veen the yoke and bel r. \ Vlwn Clark GJble '' alked across the ~crcen \\caring one. this model catapulted

to

the

front of the pack. 1\r firsr. this back treatment was confined to gabardine. but as it gre" in accept<lllce, otllc r f~lbric~ such

as ~ h etlan d wool. Ii nen. and t\vced soon saw ::1ction. Likewise. offbeat pocket t:rc;ltmen ts vvel·e li-cqucnrly em plored to in jeer ~l bi r of social pluck into rhc odd j:Kket's

rusticity Ba$cd on the way Hollywood filin director Cel)rgc Fitzpatrick is upholstered. you'd expect him to be a chap of

cc1sual but eccentric bonhomie. Cert;:tinJ) hi· splayed shirt collar and foulard cascading from his one- button jacket's inYcrted

pleated breast pocket would support such a hypothesis

ABOVE.

Another pocket permutation plaring to gentle pretense is ~/laster Gable's asymmctricallr angled <1nd gusseted

Film director George Fitzpatrick's very "oddly" detailed sportjacl~et.

breast pocket. \Vhile merging form and function . it also

BtLOW:

seems to ht.Wc resoh-ed tbc challe nge of how ro accommo date t he bul k of both~ pocket square and pipe. l r has bee n sajd that tbc ho rse acru~dl) imented

male sports clothes. 1\ s a result of the British sport~ m an·s p<Ission for all things equestrian. the doth coat was fo 1·ccd to be cut awav :n the from for freedom of rnm:cment, c\ cntu' ally inrlucncing the t:.1iloriJ1g of suits \\'Ort1 in to\\ n. By d1c

mid - rhi rries. the hacking jacket moved out of the fields and into the cit} shO\\ ing the influence of riding clothe~ in its

extra length and ll ai 1·. sla 11ting Hap packers. and t\n:h'e- inch side ,·ents. Straiglll from the bo rse's mouth. here's an e~tdy Brooks rend it ion oF the classic English liding rig.

T he thirties also vVitnesscd the civi li~111 adoptio n

or

mili ta ry appa rel ide ntified 'vvith r hc Com111onwcalth's

colo nies in As i:1 a.nd 1\ fric:J. The firs t of these was the mid length sa~8 ri j~Kk.ct. inspi red by the

Eng!ish

<11'111)

SU111111Cl'

uniform o( the

during the First \ iVorld \Mar. Fastened b) a row

of buttons. it featured a yoke in From and back. lour gus-

seted pockets. a bclr. and long slccYes with cuff,. Different design offshoots of this garment ha,·e enjoyed periods of rc\ i\·al. and \\'ith the ne\Y business'"'casual modc raking hold.

Clark Gable with pipe and pockets to go.


a simplified version of the classic safari jacket cotJd

,路en' weH be in tbc offing. I

.

~

Although \Norld \Va_r I1

pt,tt

nc\V .sport coats. when the vvar ended.

a dam.per on

the 路first article

of appa rel to l'eflcct a sense of ceJcbratio11 was the patterned sport jacket. Back i_n mtd=ti and cxtrcmdy

sporn;-minded. the fa5h ion -conscious man had no intention of letting his nevv sport coat be mistaken for

a suit jacket. and rhc:refore bold-patterned jackets returned stronger than ever. In

the late Forties. pri.marily on Ivy Le:1gue [am -

pu$e$, the exuberant sn路iped Shetland jacket loomed as heir apparent t-o the bold plaid. About the same time.

authentic madras pl.-ti.ds vvcre making their \<vay into d1C~

fashion lexicLm o-fth~ college and countr) dub set. \N'ith

Esquire's" Bold Look'' ofl9-.1:8. the American male~eemed destined to we:1r clothes that would express his new optitlli.s n1. l1owever. no one ctmld have predicted the conservatism of the fifties . when the gray flannel suit

practicall) became <l state of mind. From the seventies onw:1 rd. desLgner-dJivcn

exploits subjected the sport jacket to n10re experiments and me:lll ipulations than any other piece of tailored

111en's clothing. The recent i nrc rest in altcrnarivc busi-

ness attire has reuwigorated the r~1ilored sport

jacket, investing it wirh a neiV t~1shion

TOP:

Brooks Brothers classic haddngjacket. ABOVE:

Sifarf.or bush jacketthe alternative sportjacket. RIGHT:

The stripe sport coat asfavored by Princetonian.s.

import<'UKe.


THE BLAZER

ust a.~ the Fancy-b:::tck sport jacket" as reach_ing its peak oF populariq . rhc burgeoning appc:::tl

/ of the plain-back blazer loomed on the horizon. The overwhelming acceptance oftl1e blazer

marked the decline of the fancy-back jacket, :1nd by 1938 the plain-back jacket became the leading odd jacket style. The first blazers had been parr of English cricket club ~cenery as\\ ell as other sporting

environs si nce rhe 188os. T hese sport jackets were custnmaril)' deco rated with stripes in rhc club's colors. omc \\'ere .so bright that they became knL)\\路n as 路路blazers." :oHd serge or striped

blazers with Aannd trousers and straw boaters became a farnili:H" Edwardian sight. Thq were subsequen rl r joined br Yersions of rhc English naYy's reefer jacket in double- and singlebreasted models \Vith gilt button路 and club badge on the breast pocket.

A few English lads soak up America's swing mt.tsic between races.

Both the Cambridge a11d O::iford crewmembers sport their colors atop Oxford bags 'While the clzapp}' on the right optsfor the updated reefer blazer.


\ Vith blLte a11d white as the imper~1rives of nautical dress. navy blazers and ·vvlute nousers rn?.de a dashing sports outfit for the \Vealthy Ame.t'ican m.an of the 1920s. Being cla.o:;s-conscious, he adopted it a.s anothe r means of distingu ishing hjmsdf 6·om the masses. Whether tn

a solid color and piped at the edges or in bold regatta stripes. the light-

weight blazer became a summer sensation. By the thjrties, tl1e bh12er began to be seen in different

soLid colors. The stand,ud shade of dark b:l.ue so long associated \"-~' ith white trousers was now being ovc rshadow~,;d by brighter and gayer s.hades such as n.>bin's-egg bhte. deep medium hl ues. or purplish blue&. vVhether i.n nne of the nevv blues or its second- nmni_ng favorite. dark green. the blazer became the bridge betwe~ ri worka-: dar and weekend wea r.

The blazer ranks in cL-essiness som.ewhere between a suit

m1d a sport jacket. and its formality tan be influenced by simple changes in modeling, detaili ng, o.r accessorizing. As the doublebreasted blazer projects a sli.ghtly hcightened.aura ofdress ;up over the s ingle- breasted modc.l, so do Hap pockets ove r patch, peaked

lapeJs over notched, side or no \·ents over center, aJ:id dark trousers over light. THE BLAZER BUTTON Embl8zoned vdth its typieal metal

hardware, th e 11avy blazer remains 8 h1erarcrucal

A roundup cifsame ofAtnericas early bla.zers as pictured on Palm Beaclls older attd younger denizem.

t)rp e

of garment

\iVhile many meH app reciate the gentility in1plied by the traditional

gilt blc1Zet: button. in roday's les$ ceremonial world some men feel uncomfortable with Sttc h conspicuous d.isplay. \Vhile tl1e dark brown horn button is LL"il,mlly the Brst no nmetal alternative co nsidered, its dLJiish chatacter l.acks the personality .11ecessary to offset the dark jacket. The mosr rraditional blazer bqtton is ~he brass or gilt variety. Unless your family has its own coat of arms or you a re entitled to vVetu· a dist i.n guished club buttol1.. the classiest choice is

the plain, flat. English gilt blltton 'vVith 8 shanl<. that must be anchored into the doth. Alternarjye ly, m en w ith gray hair or those planning to wear predon·, j nantly gray- toned trouse1's will often

opt for the ~rforeme ntioncd button in a dulled nickcl or ~ilver shade. In the case ofa brighter bl-ue

tropical \Vool c_w linen blazer, off-vvhite moilicr- of-peaTl buttons arc always an option.

As to the idea] nmnber of buttons fc.1r the blazer'·s Front and sleeves. penor'la.l taste tends to defer to LTadi tion. To begin with, the number o£ sleeve buttons is related to the. coat Front's button arrangen1ent. \Vi.tb the mosr popular jacket modd being the l\?iro-button single-

breasted. fol\.r sleeve bi,.tttons a.re the norm , et.lthough two are equally prope~·. Thtec sleeve buttons on a two- button coat seem sl.igh rly out of balance. whereas with rhe three-button model, th ree o r four sleeve bL1ttons harm o nize h::llldsomcly.


Judging the correct number of buttons for a double-breasted blazer is guided fir 路t br

its St ) ling, second by tradition. and tJl ird by pcrso n<ll taste. The classic doub le-breasted blazer with flap pockets i. traditional!} trimmed with six fro nt burrons. t\\ o thnt button,

t\VO

that

don路r. and two upper display or d ress bun:ons, a formation that pretty much demands fou r

sleeve burro ns, as illus tr~tcd by a preening Prince C harles The well-sdccted n;l\ r blazer ofFers an almosr chClmclconlikc ver ari lity. \tVhcther tn the country or traveling around the wo rld. 'virh long or short pants. Han nels or jeans. ascots o r neckties. short slcl'vcs or french cuffs. t he classic navy blazct路 remains man ~s most accomJilOdating tailored companion.

Oot TR O

' iVA

Prince Charles practices his Napoleonic pose in a. classic navy blazer.


THE ODD TROUSER

the earJy t\~enti€'S. the ·odd trouser had ..est;;;1blished itseJ f as an essential part of every well- dressed ma-r1's wardrobe. :However, in 1925. A mer1can coUege .men vacat ioning in England vvere confronted by voluminous pantaloons wo rn hy the Oxford and Cambtidge Lmdergradu11.2

·R ES$ING

l-1 E

Nll\ N

ates to camoutlage the.ir knickers, vvhich we re not allowed Ln t'be classroom . With pleated v.raist.li.lie, baggy Jmees. and bottoms measuri11g from 22 to 26 inches, the Oxford bag ignited a fad tha t swept the coun try in the space of a year.

Although their popularity we nt into decline

the foUm-ving year. the Oxford bag initiated a vogue that would last forever-fuller-cut trousers. \~ith A,;glomania at an all- time high and the Ivy League student a major source of fash·ion irmovation for America.

d1ese pajan1a-width bottotns left the sryle.-tonscious young American in favor of wider-cut slacks. Here's the soon-:-to-be exemplar of English fashion, Jack Buchanan. takh1g a pair of bags our for a spin. As the thirties began. many young men began orde riJ1:g an exrra pair 0f trousers to nn.atch their tweed t hJ·ee-p-ieces of jacket, vest, and pigs foLu·s. or knickerhockers, a style that .f:lourisbed on th~ .golf Links. vVhen the trouser vvas donned with the vest and jac ket, the ensen1.ble coLtld be u-sed fbr business . and then split up for sport or other leisure pursuits. This development resulted in Jnany young men reverting ro odd trousers For casual wear because .they vvere mo re serviceable th an the sport-o nly kn ickers. T he ne·\N trouser Fitted dose at d1e vvaist

-vvhil'e hanging freely a nd easily over the hips. 1\.vo generous pleats \·vere R-zed into its lTigh waistband to give extra ful11css across t he fro nt, while E11-gland's answer ·to America's Fred AstaireJashion plate jack Buchanan i11 Oiford bags.

the tro user leg wai\ long enough to break shghtly over the in,. ; rep. It vvas thoLtght that the cuffed bottOm and crease fore and <-liT h ~d significan tl y

ip:lproved the line of a trouser, abo l1shjJ-:t.g baggy

knees and fringed hems.


Along vvith tweed . ±1annel became a leading bottoms 6bric during the interwar period. It was first used in the nineteenth century strictly for underwear. bur by the L88os. ·Aannel was wot·n for

golf cycl ing. and tennis. ln the twe ntieth century, f-lannel was recognized as a stylish cloth. and in the late 19.10s. the vvoolcn mills in the '"'est of England

created ski llful mixtures of black, gray, and wi"U te

that added light and dark highlights to the plain gray cloth. establishing the gray Han.nel trouser as a worJd,yide commod ity. Among tl1e yoLlJlg blue bloods from British societr gray Aannel slacks came to be known as ··graye rs.'' Charcoal flannels dealt

Mens ready,made jlan·nel trouser swatches foam Brooh Brothe-rs

the sporting k.nicker. or plu · fou 1·s. an early blow. vvh ile colored and striped flannel pants

relegated it to chasing golf balls over the countryside. By th e latt' thirties 1~1 hionable Americans aba ndoned knee- length

bot-

roms both on and oFf rhe go IF coLu·se. and the knickerbockers went into ful l eclipse. G ray ult imately loos-

ened white's srranglehold on the upper-class weekend regiment, because it looked more appro-

priate in winter than white. As a result, it -vvas not long before rhe gray -flannel pant Found its pri n-

cipal role a the companion for any type of sport coat. 11ere's a 19-J.Os French menswear maga-

zine's depiction of this "trouser

of trouse rs''' vin:ually unumitcd choice of d~1nce partne1·s. Ranging in tcx ru rc fro 111 rwccd to cor-

duroy. in pattern fro.m solid to

Su.1't'Clunded b)'friends, the grayjlam1el t:rouse1• is th.e blue bla:er ofcool,weather dress slacks.


!~ncr. nnd in color frvm gre<;n to

fu" n. the medium gray wo rsted o·ouse.r i · d'lc blue blazer of odd

d rc~s slack~. Today's less tradition-s;:l\'\} male is sometimes confused \\'hen the sen·ices oL1medium gra) d I'L'~~ trouser arc n.'CL)l11mended for a non-gra) solid or patterned sport coat. AIthough the blue bb1.cr has long been paired" ith gra} trouser~. someho\\' the inherent stylishness of such a combination loses irs rclc,·aJ1CC when the non- blazer jackcr ~1nd trow;er ensemble i~ being con-

sidered. No doLLbt. such an me rsight is occasioned br the pragmatic bu r instinctive!)' female rq ; SSINCi

: 7\J,o\ N

apprn~ch

of marrr ing the pants colo r to ~111 exact match found in th ~ jacket. Untortunarcl). this

sensibi lity o(ten leads to rhc less sophi..,;ticarcd colo11 ization of t he sport jacket \Vith

:1

navr or

. r shade. This is one of those rimes where the obvious is nut :llway!' dark brown dress su ir- rn.1u.'\c

t he more t::t~tcful. , hould yo u be considering a new sport jacket and are havi1igdifficul t)' visual izing it with a medium gra) trouser. move on. The fir.s't: alternate to the

classic charcoal gray dress trou.scr for the blazer or odd jacker is ci rhcr a sli{rhtlr licrhter shi.lde of oriJ\' or a renr ~

J

~

~

;

resentatin~ from the tan E:un il y- in a

wool cm·c rt. gaba.rdi nc. or em all') twill. Because tan produces sligh rlr

mot-e contrast t ha n grar under the average sport coar. it rcgi.stcrs a !' light dmp in rdati\·e dre siness. Various shades of cordLLroy or classic olive drab ch inos fo llmY next on the dressdo" n meter. " ·ith blue jca ns rcsid i ng ~ome\\·here

belo'' ·

One trouser rabric that gan~

both the white and gra) Aannel a run fo r its money back in the rh i rties was wool

gabardine. The silk): smooth gab~1rdin e offered a texu.u·al change of pace to the rough, woolly t1anneL Sti ll regarded as one the most ILL'\\trious lengths ol ABOVE :

David Ni11e11 !uxuriatit~g in gabardine trousers.

"' o rsred eYer to grace a

shown he1·e on a ma 11

ak th igh. it's wi rh rhe leg-

111

OPPOS ITE TOP:

The ge11trt{ied C01'duro11 sport trouser.

cndar)' gift of "gab." the wcU -Iightcd David Niw:n in rustic dishabille.

OPPOSITE BOTIOM :

\~lith

The Duke of'Vi11dsor nursing his pipe attd baby cords. lll<U1

tl1e 1930s uni,·c rsit}

donning sport jnckets and slacks


almost every day for class. it's litclc-vvonder t hat t he college c;;1mpus pioneered many of the nevv dress trouser fasb iOj1S. Ln t he early thirties, Glenurqubart pb1id .slad<S gained popul~- acceptance among Lm.iversity students. When wor:n \Vith solid jackets.

they rnarked an emphatic d1ange in the balance of pattern between the tradit ion;]J tailored sport ensemble of solid bottom and patterned top. l n r933, baving gained acceptance at Y~ll e

and other Eastern ceUege campuses. CO\'Crt cloth started the trend for stmdier. more rugged types of

slacks fabrjcs. As ano the r tan alte rnative to the ·omnjprese nt gray -A.annel, covert's gray-green hue

WlH·ked well with mo~ t tweed jackets. and especially \.VeD

with t he blue blaze r. [n.itially tailo red From

topcoat fabric that proved too heavy For comfort. coven cloth"s endm·.ing populari ty \>\;as assured wben it was fab ricated into lighter-weight trousers.

Al'ready familiar with t he ribbed hardiness of Bedford cord and cavalry tvvi ll

i11

the sad-

dle, the paddock set cha.tnped at the bit for anr oppGrtu.,n ity to sport the cord trousers on tcrr:;1

firma. l n regular \i\'cights and variegated ribs. cotton cords were pe1-fect fo r campLIS or outdoor activities. H.c re we observe two of t he fai thful cbnsidering ~v..-hich suds ro sam pie first on a Satu r-

day afternoo n's tailgate g~the ring. Following on the heels o F rhc 'ivider-\V<U(:; corduroy's popularity. what better way to step up its warm-weathe•r comfort level t han to step do·wn it.-; \Veight? T he DLtke of vVindsor keeps ~core on one

of Arnold Palmer 's gol.fing nemeses. Sout.h Afric:a's Gary Player. 'vVhile always resple ndent, the Duke tones dovm not only to avoid any backs"vi.ngdjstraction but also to acco Fd wi th his light-colo r complexion. Details worthy of note a.t'e h is low-fastened tweed sport jacket '-.vith short side vent~ (Ycry fred Astaire): cuffed baby cords: and nionk.-strap shoes. \\lit h the coLlege ma:n ret-:urning to classes

afte1· mil ita.ry service. the arrinu on campus. of <1


military type of wo rk fabr.ic in rhc fall of T9-1-S came as no s urprise. Chino cotton trousers in olive drab became d1e new uniform . remaining a11 inrcgr:1l part of the collegiate rnai1's wa rdrobe for the rest of the Forties and ioro the fifties. By the mid-fifties . gripped by the emerging gray liannel conservat ism. spo rt slacks .gained down

tO

3

back ~trap but lost their p.lcats. cuffs. and swagger. tape t-ing

Li / 2 inches at t he bottom. The plain-f ront model maintained a do minant position

throughout the next several decades. courtesy of a , cries of fas hio ns that pushed the trouser ' waist d own to the hip: d1e fif6es Continenta.llook. with its lew- rise pant: the sixties h ip- huggi_ng blue jean: and the low-slung suit tro user of french designer Pierre Cardin 's seventies si lhouette. I ron icaU y, the century's last two decades witnessed the remrn of the t:lllored trouser to nearly the height .of its pr:e-World \ Var l l stylishness. \ iVith t he drapey swathings of ltalian designer G io rgio A rmani and the 1980s miru- reviYaJ of the 1930s look fu ller-cur trousers made a come back. And along ·w ith its softer mien. rhc sometirn es suspend cred. al-ways longerrbe trouse r resumed its classical position ing on dJe male's natur;;l l waist. As the new mille nnium picks up pace. men's ta ilored trou -e:rs are dividing into two camps: the "updated classic" as represented by the fuller-cut, pleated -front torm: and the "moderne." as co nfigured by the harder-edged, pJain- front. trim-fitted -shape. The modcrtlists' slack "de leek'' reflects their preference fo r pared- down. uncluttered sifnplicity. for the fashion vanguard. this cuFAcss bottom 's lov,· rise and condom like contour otte r a sexy antido te to the loyalist s' large r-volumed sill1mtctte. For t he fashion savvy. tb_is dernier cri seems vaguely t·c mituscen r of a former leg-hugging ·ocial equalizer. the blue jean. except that now its chic can be dispensed in any o ne o-f three shades of black.

CLASSIC ODD TROUSER MODELS

"-v"'t me n's dress slacks <lfe made with belt loops.

vVh.i.le trouser \Yaistbands and

belt loop djmensions are not immw1e to fas hion. t hose accommodating belt 'vidths ranging from 1r/ 4 inches to 11/ 2 inches -vvill always rcm;;un impervious to obsolescence. Alo ng \\'jth the traditionaJ plain- and pleated- Front trouse r models. seYeral lessc r- knm,yn odd slack models continue to ct.uTy favor w itl1 the better-slip pe red buck. \Vheth e r

n ;UT OW

o r FLdl cm, th e follow-

ing v,raistband b·eatmeJ1ts have maintained their fashion authenticity and insider currency since their jnceprion back in n1enswea r 's pre\var heyday.

THE DAKS SLA C K The Daks waistband \Yas invented in 1932 by Alec impson. the eldest so n of Si-meon Sim pson. founde r of the English llouse of ~ impson. As an avid golrer, Alec shared th e irritation felt by fellow go'l fe rs whe n i_p1peded

by one's braces and disord ered shirt i.n

the course of a swing. Trained as an engineer. Alec decided th at there must be a better way

to


WITH THOUGH T S OF SU MMER

rnrhincl,

we 0ffer you a few suggestions from SJmpsens~

vast at'ray of appropriate

clothes. The left-hand figure seems comfortable in a double-breasted suit-worn

without waistcoat-at £6.12 .6. The sawedge straw hat and the whangee cane add a touch of seasonable light-heartedness. ODD

Right, the Daks trousers are in hGpsack

T B.. OU

'(30)-) ; the striped sports shirt (3Q/·) being neatly topped by a foulard scarf.

\iVAI

The Dal~s Slach- the

first self-supporting beltless trottser

construct a sport trouser and came up with the idea of a "comfort- iJ1- action slack.·· the first sci fsupporting beltlcss trouse r. In memory oF his t~1thc r. he named his creation Oaks, an acronym combi11 i11g "Dad" and "slacks."' f irst, r-ubbe r pads we re sewn in ro the waistband to hole! the shin in place. The n, on e ither .s ide of t he waist. self-cloth tabs vvith buttonholes -vvere designed to connect to a con... cealed band of elastic running through a tunnel loop around the inside back of the waistb<111d. This permitted the tab on either side of the waist to pull forward and fasten o n one of the

t\\'0

side waistband buttons. bringing additional tension on the waistband for support. Although sporr- inspired, the ge nui ne Oaks top waist design is expensjve to manufacture a nd the refore typicnll) found only on higher- priced ready- made or custom- milored sui t or spo1·t trousers. Here·s one of the ea rlie$t ads Fo r Simpson\ bcltlcss classic. THE SELF- BELT

Bet\reen the v,rars. the demand for 1ighrweight sports clothes encour-

aged innovations in beachwcar. The sci F-bclt design remm ed the bother of having ro pack a separate waist rigging. \Vhcn cotton slacks \\'ith matching tops saunte red into vogue For resort wea r during the late twe nties. the convenient and easy- to-fasten seiF-bdt p~mts model ga.incd fu rthe r acceptance, cvcnmally infiltrating gene r:1 l spo rts,-ve~tr and dr·ess trousers. A matchi ng


sepatatc or attached hdlf self-belt was USLially路pn.1Yidcd with eiTher a plain 路o r

con'red D-ring, as modeled here by

actOr Errol Flvnn. I

THE HOLLYWOOD

WAIST-

BAND T he popLJ.at'ity fo.r h_igherv,~a_isted

trousers in tl1e Hfties spurred

the re- eFr:Jcrgencc on the \VesT Coast of a model initially created 1n the thirties. Apd y tenned the "T-Iollyvvood.'" this long~..: r- ris('

model featured'a one-piece

front and back. 'Nitl.1 narrow be.lt loop s

po.sitioned below the trousers' top. Jvlodeled here by "OJ' Blue Eyes." the

Hollywootfs lo,vered ro~ver

bel:ts. -vvhith were bdje~~ed ro hdp it conform more dosely

line. One v:1riatio n on thi~ d1cme

\Vas

11omv<~,istband

design and

bd t loops necessitated tO

nar-

d1e we<:rrer's nan_u~al waist-

~or style ;;tV~lt~u路s such as Leslie Hmvard to sport his belt

buckle oFf to the side. pu:rpo.neciJy for com fort butprobably al.so for svvagger. TOP:

Errol .Flynn.wea1'in.g a: se!fbelt tweed troi1se1路. LEFT:

Frank Sinat;ra st.wrounded by a Holl.ywoo.d-st)lle

waistband. R IGHT:

Leslie Howa-rd sp01'ting his se!fbelt stylishly to the side.


THE ODD WAISTCOAT

t her th<H1 coming upun an odd ·'postboy" languishij1g about o ne o l Lo ndcm's anriqu~ui~lll

men's emporiums. the last time anyone -;potted the genuine odd wni.stcoat for :-,ale on

American shores ,,·as back ,,·hen Brooks, Chipp. r\H~ nue

J.

Pres~. <lnd

li·iplers still basked in i\ lad ison

gloq: The odd ,,·aistcoat \\as one of the chromosomal \V,\~ P's trump cards in his lor-

mer dars of peacockcrr J\ cursory sun ·ey into this Ame ri.Glll tr;;tdilion begins in 1928. the Gatsby era. with a

lil1t'1l \\'~istcoat in pastel shades of tan, gra). and blue. ft

\.VJS

apparent!) in such favor that the

trade paper j\ fens \\ 'ear decreed that "the linen 'odd' vest is an import~1nt item in the ward robe oF

e\·er) man \Yho m~tkes :.111} pretense whatever at foUowing the fashions." By the mid - thirtie~. sma rr countrr attire spawned a ne\\ w:.1istcoat. the single- bre;:~sted tatte rsall vest its colors cho-

sen to harmonize with the :-Kcompanying ho1·sc) jackets. Younge 1· men who had never worn the odd waistcoat berLli"C '"'e re ca uti oned to remember that the loude r its hue. the quic:te 1· its style should be. ''For instance.'' wrote a Mens \\ 'et1r editor. ''the t;;ltre rsall check is almost im~uiablr ~ccn

in the single-breasted model. while the plainer. more consctTative

colors mar be ' porred in the double- breasted model." B) the

19-!-0S, <l

semi-sports outfit ,,·as not only acceptable for city \\'ear

but acco rdin g to Esquire. "it wa~ ~mart to be ~po rt(' The 11ew det:.1 iling oF semispo rts clothes \\'as a n outgrowth oF hun ti ng and ridi 11g togs. Unfort unatel y despite the separate \'est's nJtiona1 sponsorship. the wJ.i stco~1t per ~e \\'as waning. During d1e \\arrears. it was dealt an insurmountable blow " ·hen the \ Var Production Board dL·crced that doublc-breaHed suits could no

longer be manufactured \\'ith 'ests. \Vhilc the checked. plaid, or brightly roned solid odd ves t 1·emai ned :1 fixture on mall } hJ League campuses up through the sixties. the Pencock Revolution u-;hc,·ed in the shaped suit, eflccri\'cly killing it. By the early se,rcntics. the peacock had distmced himsci f from the postboy. [\·en though the current ,,·orkplacc has

~KtiYated

the sport j:.1ckct

Cor d ress-dmrn dut). unl ess the (our- in - h~lnd is similarly mobilized. the sepa-

rate vest is not liJ.:ely to be see n storming the fro nt lines of men's fashion anytime soon. This is a shame. because the snapp}' odd weskit could al\\ a)'S be depe1ldcd upon

to

inject a bit of\\'himsr inro rhe ward robe.

The tattersall waistcoat em semble.

I I

C

Ooo]Ac Tn o USB I~'·" lSTC


"Since you asked, sir, I tecommen.d aplain white sl1irt witl1 that su.it and a no-nonsense tie."


Throughout most oF the nineteenth century. all ·gcntlenicm's undcrclothirig was made of line n. The word "linen'' bccatne a generic ren11 for a tnan·s undenvear. The dress shirt functioned exactJy like tbe modern T-shirr br keepilig sweat mvay from the outer garments while

pro recti ng the body From the coarse outerwear m<1terials. HoweveL propriety demanded that only its coll;,1r and cuff be vi~ ibl c. hence the term ·'showing lin en" mea11t that vvhire lit~ e n at the neck and hand was a sign oF gentility. As recentlr as the late 1940s. it was as shocking for a man

to expose his dress shirt in polite society a!) it would have been for a vvom8n to walk into a restmLrant wearing·no thin~ over her brassiere. <...

L'

The modern dress shin's shape developed dnri11g Vkto6an tim.es as men do n ned tight vvaistcoats. fo'rerunners· of the modern vest, thqs rendering the :full- cut shi.rt obsolete. Once the HltTent dress shi rt's body shape \\:as establ.ished. the col lar became its most distingtt.ishing and

Elsl_;.ion-setisitive feature. In Uho. a hcmscv\'ite in Troy Nnv York. changed the face of men'~ l~1shion. J Janna Montagut: \:Vas

the wiFe of a h.1stidious blacksmith who insisted on a clean shjrt

every eveni ng to arrenq his ci\·ic engagements. Vexed by the daily drudgery of laundering. she Iiberated both the s hirt and herself by cutting oFf the calLus. binding the edges and ncckb~uids, and attaching .strings to hold them in place.

At first, Mr. Montague .,IVas disturbed b) his detflchable coUar. but the idea caught on among his fr iends. and soon Th)y housewives \Ne re snipping away. The o\\'ner oF a general store

recognized the commercial possibilities of this simpler shirt and started manui~Kn11'ing some in his back rt)O nl. Almost ove rnight. Troy abounded vvith shops clamoring to tt.u·n out the detachable

collar. [n fact. American sh iiT-makinggiants such as Clueu Peabody and Phillips Van Heusen fi rst began as separate-colla t' manufucntrers in the Tro) area. Septtrate collars rose to the pinnacle of t'"a."hion in the years preceding the First \iVorld VV;,u·. when the commercial artist J. C. Leyendecker created the m<lle eqLtivalen t oF the fmnous Gibson girl. the legendary Arro"v Collar Tv!an. As sportswear came imo be ing during rhe seco nd halFofthe n in ~teenth century. so did

the 'Separate double, or turricd-down. collar. However, wru- forever changed its destjny \1\fith five \ll.ill io n men serving tkt€'i r ~Country i t~ government- issue soft attacbed~.collat shirts. the vvar

dce:1lt a blow to the ~epa rate stiff collru· from which ic nevet 1·ecoveted. By the la,m ented that the United -tares \vas alone in its espousal Gf the

collar-~utached

1920:.; ,

a-itiGS

shirt for town

\Year. By the early 1930s. sof1- double collars we re accompanying the new dinner jacket. a dt:vel-

opment that sparked conside rable debate. Advocates of the stiff tollar regarded it as the keystone of classical male cleg;Jncc, the last b2stion against slovenliness. U

A youthful Anthon),. Eden

L

(preceding page) dons a dress shiJ'twith a stiff. attached straigh t-

point collar. Notice how rightly knotted ·allrl therefore. smalL the ,knot had to be to fit into it'5 starched e1'1virons. The knot's positioning tlp, into. and directly out from under the stiff collcu·'s inverted ''V', -point became the cr.iteria of smartness for the emerging :mft-collar fashions. Ju~t as the tailcoat mentored the dinner jacket's evolution, the older .stiff-co llar,s design 3bet_-red that of the newer .soft att:::~ched-col lar deconLm. Even todar. a dress shin appointed with a pw·posdy tied neckie 3ffecting :.1 crisp knot si tting high in its collar is stjiJ a.n expression of an authoritative and

polished practitioner.


PLAY YOUR BEST LINE

ne of th~ most important but least unde rsrood Functions of male attire is to l ~ad the viewer's q 1e tow~u-d the f~Kc. Unde ,·standing the subtle balance rhe1t should ex ist between a m:.111 's most visible and e'\prcssive body part- his ~~Ke-and the clothes that lead up to it is a

prerequisite of fi nc d ressing. By , .j rn1e·of its pro xi miry to the r=acc and irs con Figuration of angle. scale. <llld mass. no article of m<tle apparel is better equipped to enhance a man's countenance than the appropriately shaped dress shi rr collcl r. The triangular sector formed belm' the chin by the "V .. opening of a burtoncd suir jad<.et

constitutes the cynosure or· a man's tai lo r~d cosnlmc. Sc,·cral dy1w.mics work to direct the ' i~wer's

focus Loward th is area. First of all. iris d1rcctlr uoder :1 m'"u,·s most an imated featu re. his f~Ke. Sec'

oncl this triangu l<lr encasement is ::~ccenntatcd b) contrasts between the darker jacket and

lighr~r

shirt, silken tic and du lled or matre ~hirrin g. etc. gain. keepi ng in mind that t he face is that destill<.ltion where one's dress ·hould be escorting the attention of the beholder. think or the face as a picture : 1 nd wh<:lt suno unds it as rhc frame. 'vVhcthcr or not the. color or pattern of a dress shirt coordinates perfectly with an outfit. irirs collar is too small, the head will appear large: if the collar sits too lm\· on the neck. it \\:ill ma ke the neck look longer than it is. The choice of a dress !\hirt should be guided fi rsr and fo remost by rhc appropriatencs1-> of its coUar to the \\ eatTI·'s I~Ke. rather tha11 the ,·icissihtdes of !~1shion or person::~! "'him. Ghoosi ng the app ropriate shirt collar requires a bit of experimentation and a li ttle common sense. A ~ma l l picture requjres a compar:1ble frame. just as a smaller man with delicate Features requires a collar of mo re restrai ned dimensions. Conversely. when the content is mo re expansive, t he frame must enlarge ro aftord proper balance withouT disn acting from the intended focaJ point. Just as large t;;lblctops beg fo r ample pedestals. heavyset or big-boned men require more ful ly proportioned col hr~.

For e.\.ample. former President

Clinton compe11satcs for his larger jaw with slightlr spread collar~ \Yhilc balancing his Ful l face ·with vgenerous!)' scaled, ~

THE CYNOSURE OF THE TAILORE D MAN 'S PRESENTATION .


long- pointed ones. Both Conan O ' Brien and Dm·id Letterman pos ess pronounced jaw!incs and favor dress shirts'' ith brgcr-proportioncd collars on camera. T ht length nnd spread of the collar points should complement the head's co nto ur and size. Long straight- po inrcolbrs. those 3 inches or more. with li ttle spread between rhei r points. \\'ill extend and narro\\' a "ide countenance, just as the broadly spaced poi nrs of a spread collar will counterbala nce

;1

long a11d narrow

l1Ke. Long- necked men require talle r colla.r.s with wider

neckbc111ds that l·aisc the collar's height. whi le shortnecked men need lower-sitting collars \\'ith a more for" ard lope. The tab collar or other pin-affixed collars pn)\·idc the add itionaJ height thar can diminish a long Founder qf'Black enterprise magazine, Earl Gnives employs a long poirttedfull-scale collar to balance his lionesque visage.

neck! i ne. The writer Tom \!Volr:C presents a fairly srrikitlg image \·Vith his lchc.1bod Crane-height co l l ~1 rs. almost Victorian in thcir sriffness and grandeur, but

they do camou!lage his longer neck. Collars .should also counterbalance the f;.Kial

structure by ejrher sorrcn ing it~ dominant line~ or strengthening its We;Jk o nes. Long-pointed collars th8t are either pinned o r buttoned down will help to coumennand Faces ·with angular

features and strong lines. A Ful l l~t.ce that .sags around SMALL COLLARS MAKE A LAROE HEAD APPEAR LARGER .

the chin or checks dema11ds a stiffer collar to counte ract the effects

L)f

age

~111d

grm it). \ Vhile soft burton-

down collar<; arc classically ty li.sh. they are too ortcn fa, ored b) rhe double-chinned set, who should e'\p re~s l r avoid

them in Iieu of,, slightl )' firme r collar.

T hroughout 1980s ;:111d llluch of the J 990s, ill an effort ro give men a mo re Gl."ual air. fashion designers Lmfornmately tried to neutralize the dress sh ids n·ad itionally d ignified and ordered format. Dress shjrt colbrs we re .shortened. lm,·crcd. and softened to such a degree that their original stylistic precepts we re eithe r disto rted

beyond l·ecognition or lost co mpletely. Abbreviated button -do\\ n collars could no longer roll. shortened straighr-poim collars losr contact with rhe shirt's chest. and spread collar.s sat so low on the neck from their diminished colh:tr bands th ~r they vvcre sapped of :;:dl rhcir inherem llair.


MEDIUM TO LONG STRAIGHT-POINT COLLARS

SPREAD COLLARS COUNTER·

LON G NECKLINES REQUIRE

WILL NARROW A WIDE COUNTENANCE .

BALANCE A NARROW FACE ,

HIGHER-SITTING COLLARS .

Other than the Jerm yn ~ treet or odd bespoke product. nowada)S most men nre wea ring dress shirrs \·Vith collat·s roo small for their face t hat sit roo low on their necks. And. '' ith the spread collar's ren1rn to the fas hio n forefront. those men vvbo have adopted the so-called h ~1l f- or full -Vlind!'ior tic knot have succeeded only in e:'{accrbati ng the problem. as its bulbous mass inYariably fo rces the collar's already truncated length po ints even farther off the shirt's che T forhtnatel): tO\:va rd the late 1990s. dress shirt aesthetics began

to

follow that of suits br returning to their cusrom-t~1 il ored

roots. Fueled by an Ital ian reviYal of classical clcg::uKc and rhe emergence of artisan- made clothes. bigh-c11d menswear stepped into the new millennium on bespoke footing. A plethora of ready-made dJ·ess shirts are now beginning to 1-e' anu·e collars that no longer h.ave to apologize fo r their style-defining presence. ·

Tom \!Volfe's t:alkollar· cammiflages his long neck.


ON THE FACE OF THINGS

nlike o dx~r less ,·isible acco utrements such as hosie r\' o r sh if't cuFFs, the shirt coll <ll. is <111 J

integral and highl y tTH~alingge~tuPe of personal style. All sop histiGltcd d resse 1·s have <.UI"i\cd at o ne or more collar styles tbat best highlight their unique feattu·e.s whJe adcLng n bit uf dash

alo ng the ,;,-~1): The foiiO\ving me n ill~tstrate hmv tbeir physjognomy and sens~ a ( style inAu-

iS I NG

cttccd their choice oF dre~s ~h ir t colbr.

Mrl N

THE STRAIGHT-POINT COLLAR

,;ccausc the srraighr- poinr collar was the colJar shap.e gracing mos t millta ry- issued dress. sh irts since \~ 1 VV 1, it has long been the foundat iun of the mndcrn man·s dress shirt wa rdmbe. As the most stylisticall ),. neutral of al'l coll :1rs, the

str::tigh t- poi nt coHar can be wo rn wit h

~my

kind of

sui t or spo 1·t jac ket. Ideally, its collar points should finish

bet\·VCC I11. 3/4

inches ond 33/ s inches in length.

The narrow opening between irs points favors a

rou.nde1·, oval-shaped face. rarher than a nar row one. Here is rt man who chose to ti tle his autobiography Lr Tt.Jol< Nine Tiii!Grs. As one of lloll y,-vood '~ great early Leading men. Adolphe ~~fenj ou vvas also one

of its lead.i ng dand ies. Jlet·c he is tailored to hi1:i own measu re in a long~po inr ~ol.l;:u· with jusr rhc righr amount ofcakulated disobedience to pla) the han·ied

polit ical boss in Frank Capra's The Mtul Behind the Presi-

dettt. I-:1is collar's casual deport111cnt not only de fangs his aggrcss ivel)' .stri ped bespo kc su itiJl g but also serves to elongate his OV<D contours.

11=you \vcre fceJ i ng unensr that rh is. coll;.l r presentatio n was overly ball yhooe~. consider the

ne\:t victim. Here's a dJ•ess shirr perJo rmauce rhat is

dcfinicclr laying an ~gg. Engl and's L~sli e ll oward i~ pictured tak i11g ~l stl'oll o n deck as he returns to ELu·opc aboard the SS Berc,ngaria (and, let's hope. to a


Leslie Howard i11 a collar stylt accentuates his mtrr01vjac

glXKI Jcrm)'ll .)trcct chemi~ic r). I low he has 111~111agc.d ro en me up \\'ith exactlr Lhc wrong collar

For his Face is <l nyonc'.:; guess. Its long ::m d \ 'l'l") perpendicular lines pick up whcl路e

thL~SC

or his

r:lce k路;n c otf. rendering his aIread) gaulll \'i:\~lgc e\路en more bnk. If there C\路cr \\aS a prj me C111 -

d idatc lor a spn.~<.ld-collcH ~hi rt. \ la.stL' r I lm' ard \nmld be it.


THE SPRE1\D COLLAR

lh. ' '-pn.'.ld O:\lhJr hi.l~ be~n the kc} srane of rhr rngli h bespClkl! look slllCC the doub)c col lar caml~ ro nm 11 during rlw c~lrl) 1920!-i. h~ intrl1duction 1~ "id'-'1} auribmed to rhe famous P rin~o.·l· <.11- \\a l ~~. probabh due

hl

hi~ alk:ged t:rc-alinn oC the \Vind~or knot dml \\as supp •'ed to

l'~(\)J'I i I. In r:li1'll~~~. it "<1~ fGlll) lti-.;} oungcr hrlll her. rhe ])l'G1liSC

or lht: sprca~_i \ inht:l'i.:'llll)

d r\''iS}

nuke nf Kc.Jir. who first p0pulanzcd ~t

nnd L'legant Dl.'::tring. it h.L become h.1da~,

mosf implll't:lllt dress ~hirt CL)IItlr .\, .spread Cr"'lbr~

hL' !gh t. pur m lengll1. :liH.i open nco,;~. there are usual I}

\:11')

sCh>r:II

gre;:ul} 111

model. Ihnt

wilJ llanc.r :lily ma11\ head shape or profile Ifani) for \:lnt't). some \c.:r .sinn ul· lh~ sprl·r11J cdlar ~huuld be a perman~nr fixLnre

111

all mcn·s

\Yard robt.:s. \ lrlll'ugh Prince Chark·~ mar~ rhi~ perfccl mb]caux of ro)al ~hirrmaking b, being caughr wirh his Cinger in hi ear. hi-. collnr ~m:hi,

reclllre i~ ·pot ~r111 (top l~ft) . The height, point Jengrh. and ~prcad of hi.

Turnbull & \:-"er glen plnid coll<1r Pl'inr..,; arc pcifecd) '} rnmetric:.1l \\ id1 the conrour.s

or hi-; I.Ke

'-otice ho" the. collar\ pl1im~ rouch hb che..-t

whil~ I'Clllt:li11 i11g tud~l·d under hi' coat's rront. e\ell \\ht?n flj~ head I~

wrned, one o( the 'rrcad\ p1·anical adv<.lntage." O\l'l' ~)thcr rnodt..~k In ~1dd nion. the: drmplc o( hi, l~our- rn- hand knot falJ, Jircnl} u11der rhe

"\ "po1nt ;Jt chc coiL.11·· top , \nd ju.st for good m~a~ure. nor icc tb::u hi . . ~IcC\ c cuA-ha-. not rcccdl'd from ,·icw, l''\·cn when hi-. 31'111 e:-;:rend'. cour tCS\' '

nr tb longer ._ !'Ice\

L'

and cJo,e fit of it~ cuff around hi' "ri't

lkc.lll'L' rhc majority of ltalia11 men are ~rnaller~buned.

lllO!-t

fanq ~ome 'cr.., Jon of LIK -.pread colbr. FabJO Borelli. one of lml}\ nl'\\ gencratton of shrrr ~ m~1k111g scions.

do'' 11 almo"t

tl1 .1 pLHlll ,

j.., 1111

c'.ccption. A. . hi~ l~cc t:1p....r ..

the $prcad collar ~~

111

fan. tlw onl) po,,ible

dcs1gn abl~ to coumcr~1ct such a conrom: B~..m:ll t

ha-. L'mplorcd ~1 l11ghcr-sirring 'Pf(;'.1d ~.·oll.tr ro betlcr F1-a.me hi~ I~Kc " l11 lc t i11 ken ng \\ ith rrad 1tiL'll wi rh L) piGll It:&l i.tn5prr::mmi1 (botto111l~fi) Pon·t think l~1r ~l minutL' rhm Ius cnlbr', :-light bo" ing. the minutd} ,k~wcd .mgle ur hi' knot. ~>r ('\en the pcakmg ('lr hi .. de\ under bl:ldc h.1ppcn tl1 bL· l.:'oinCidencL'. Tt) rhc conrr:Ir). 1his demon,tr:ltton of noblesse IH:gligctKe 1., .llh'thcr rcmindcrL)f:.m almo~t culmml prcdi ptlsl rjon bv lr:tlr".. :-t\ k· co~nn-,cemi ro conrinualh rc'h'rk rhc c..mon . . ofrng Ii-.h r.l ...lC \\ hu ,,,b rhar the male ~PL'Ctc' j, an} lcs drcorari' c minded u

--------------------------

'


---------

-

£han th~ fi?m.1k·: lit,,, L'\ cc ltkc In~)-.r .1-.p~...·r~ of 'l) Ii.:-h habil i llll'IH.

LTll'-'

"'·l~g.111C"'' rc~idcs not i 11 rhe.:

elm he-. lhem cht!'' but in ho'' rht:} ,.tr~ '' ont llerc·. rhc -.prL'::td collar ,:um \\ irhJ,or knct' llhJ~l in"'id~Hig~1blc champiun. the acror .lnd Jllthor 11oughb rnirbanb. Jr. (bdon~. ThL·

lllnlllL'IH thi~ Clllbr

Jnd krll)[ 1~;1111 hit

I.HL'

L L)JJ

d n luruor nnmediarch e1doprl·d ir. l.'\('ntualh bcr.Jmin\! its lil~·l . .,nu ~1mba,sc.1dor. h1irb.tnb's •

J

cnthu''·' m 111.1\ haH" h.1d .1~ nmch

to

'-

.._

do'' ith the l:.tr~"'· klll'L and cnllar's ~arl: .Kccptancc b) rhc

beau monde as" nh it-. alleged in~tig<Htlr. rhL· I )ukc l)r \ \ 'ind-.lH .... ~

1.! 9 TIH

D Rf.SS

SIIIRT

OPI='OSITE :

\\ 'dl-proport(OIIt'J spn·ad collars as li'OI'II b}' Priuet' Chtrrlt·s cmd Fa(,;o Bol't.'lli LEFT:

Dt1ug Fairbanks witb spmul collar tlllcljitll \ Vindsor kuut. •

---~

j


TilE I~OUNDED COLL 1~

"·ulbr

shitt

t·",d). l'.trl~

111.!1~ t·lub~.lli'Jl(<:' it!' r :. II\ l• l .\1 \ N

ti~.·rh

\riJ thl~

uf the \\nrld' m' t t ~.h tllll11iker. the ..,J,,b .. u)lbr I h~..· frttlll'U' \rrd\\ t:n11.ar ad .. 111 tht t..lrl h'• L·llll.tr stgndltnl

lllllllh

-r. . lup iJJ

Pllt:

11

l!clpl·d ll) t'lcutc tht ~ ~'' ll' llrolbr liltht• p.ulth..:t'll ('fda . . ,cdr"" ~lurt ·~.II H"> .\s .1 ~lli'L .llt.tdu!'d ,·oll.lr the duh cniiJrbeL".mre on~ .-(rh~ 19~oso m "l p •P J.u·f ,flu . . h.tpl':> 1u be \H'J"il ptlllll.'d IL' l.'lll"\\..' pl.tp. \J p.trucul.trh \\dl under dtL' Jc\ tdc ~ thlltt• II L"hi~~.·ll•d \l~ag~ \ltlt,,uglt dw clt~b cnll.tr r.uL·h c.l\tH'l!-i mHtmg thr..: ma'- t: tfu, huld hr fh m \ it ruri:m !\l)Cll'l) '"·a11 l)ff.hlOil dl} hl' lcmnd h~1bnubbmg" uh tht cu-.tum t.uf, rt d ' l l C\.'111111'}

Ilen·s o11t' ~r \mtTtnl ~ 11ftl5tJ1slt fmralllt' Stltrtlll tt'S,

4\ Iilwul Jilfdrn. Jp1mill..~ 1111

carl}' im•oc,ttiou, aslwrr. st[f}: to·tlttm:Jt cf,£, r,)nu:


Tl-IE TJ\L~ CO LL;\R

tgun

Ill

thl' JlJ(,(),

\Jthough it' pnpul.trin h.l:- \\:111cd due 1~1

til('

ill('Xtlf~lblc ('~1SU!lli:t~ltilll1

m.-IIL' J:1 ha,lt the t.Ib coll.l r r~mai 11 •.., a fd\ 1,ll"lt C ll ( tlw~t' ~C\.' kiII ..g t h:t t ('X tra

Tlt..· tah \..llll.1r tutht be dc~ignc~..f perl~~,-tl} l~lr the tk" knot

h.l

Ill L.:.liKC 0

or

r n;H Lj 11\.'S'\

r·~..·~t cPml1)r-rablr in

Ij I

ih l'Fk'tl

'rllr.DRlSS

mg '-pect.tll.tb-.la.'lL'Il rl> c.tch ~.Hh:.·r Luh.ll'r the tic\ km't tu huld tlw (lllhu··,. pt)illt" in pl ~K~' 1hnt.st

S If nrr

mg dt~,• ~h1n cull:w .mJ rJt•ckrie knot higher up llllLI..:r d11.:· \\~,·;m.·r'.s chi11 l t,llg ll~("kcd r1tl' ll "ckurne

rht: rnb l11ghcr po moiling "hile the t\mnd or ~qu;lrc ,lmp~..·d \ i..;agc apprcl."r~ues 11s lt..)rrgitLII...lin:ll ,, mnwtr t )nguull) a 't'f-"''CCial br.t':- srud 'elur~,·d d ,~,. culbr I<l d11..· ncckb.md \Yhilc Ctmnccting 1h~,· cnll.1r t,Lh'\ lod.1~ '' irh pre .1rrachL'd mb lnlbr drc " lun a ~nap nr a burmn :nkl

bmwnh ,lc ~1pp.1r.1nt' •~ w.ualh substlllll\:'1..1. 1ltl\H:\Cr ,1\ "trh mt,:st uld \Hlrld ,,c,u· .tbk· 1he ung111.tl bra's 'tud :;ull pn,jcct' :t tn•'ll polt"iltcJ llph• tic..nton tl1.1n it' Jc,, \ t4iu.JI mc.xil.'ru urrog3le'Hnt.lin'.

.111

\\t.'r tn til~

'l\

'

1~.~11

suprl'lll,t(} ',( \ nll·nc.t\ I red \'ram:· w.t"

tlwtr l1\\ n

tLlrt}

rhe"pi.tn artJ huofcr l.h.·k

nudt.m.m In be cnllcd J

:t .. Hnch.man ..

\))mplmtl'lll. su~L"'tlllg

\\ .t~

the r~crp1em

knL.,_, lu ... \\.1\ .lround J fi trin~... room \ nd tha' Hu ·h.m.m gtl\ t"ould outfit " \\llh th. ocst ot"thcm

lmn~cli

jm:l.: Hudwuau, the always natty IJO(!f~T. ,md Britams tmsn•cr Ia Ameriuts fred ,\stlllrc. L---- -

T


I)l.NNED COLLARS

one pt)tllr during the 19~os. nt:nrl~ half nf all \mcrican men repun~dl}

du...Jr dr\~s~ ~hwt cllllnr pinned. fod.l}: It" nuld be surprising to flud unc.: man in .1 hundrL'd o appumtcJ t

\nnw

llll'H

\\Ofl:

lfth.lthe pinncJ C"01Jar ru.SS) : 11101\l IUL'Il ar'-' simp!~ imirllld3ted b) lt"i ob!Jgatuf} nggmg

~:on.-:idered

hr man~

,_,r cr~lbred carnage

,hin ..:maJH' to bt: rlw· pinnnrle

tin

1s

nor

th·~·k t r:1pping w hide bdtind. L'tllik,, 1hl· t:tl t :m ;1) or hul wn du\\ n. rhe pinnl!d coll.1r"s ~>nJi,h 11~''-S l'l~Cs ()J' Ctlls ill n:l:lli(lfl l't'l l'llL' ~ki ll its C:>:t?cution. \\L•aring it \\llh pnnach~ dt.>mandt, .lin rJc pr.h·t·kL'. "l)fi1C tll.111UllJ dt:>\'lL'I'it}. illld ;1 bi1 o( p:tt it'lll'C.

or

runctiu11i11g lllLIC"h likt' thL' t:Ih, Lning dw

thl•

pi1111Cd \-\)liar

l';li l'.:i

the ric knot L1p Oil illl' llCCK -.hort

ltl1 tg_llcd-=. The ~t raighr puitll '' t:n ic:~lit) \\ C')rk w countt.'rpoint the rounded or O\J) con

totm.•d lt~.?al{ nr chin. Hack in their hl'htl\ collarc, \\C'rt• Gm hed at , , in the thirties, strnigln-nninr ..._: r· bet'\\ ec-n 3 inche.' ond 3' m~1king \.

2

inches long.

rhem n3rural candidarc~ for

pinning up. The mo"t common app.1

r.nu' "a. . a pbln gold ....Ift:q pm.

llC\l

was a :-;on· or~pring-loadt•d :-,I ide mcch i111i!'lll;

while the aftciunado u~t"d a bar

''it h sh:1pcd end,., rh~n Ull!ilJ'C\\'tX-1 10 fit

through 'Pt>L"iall~ m~ldt• colla! t'~ dcts Tht• next step in 'ur:h collar :Kcou tremenr wa' m a(quire one dccrm11c..-d

'' ith a 'porring molif such

.1!>

a goli

dub. pol . ., malice or riding O\.lp following dte 'aml' pnnnplt~

nf ~ryli...:h neck rigging. lhc pinned club ~.:·olbr rr.m ... pln"t~ 0nc quieth 01110f dte

ordinrtl) r·m·t~~ning 'nugl~

beneath the

1ic ku0r. rht' n_,m1lk'd Ct,JI.tr t ..lt:' .ue

rite "e<1rcr':. '""JII.1r ltcighr. ~m1 trs ~

l~~--------------------------

LEFT

.''lllk.s Fifth i\l't.'nuc:•-former dUJ;rmarJ, thr fl'iT clt"~llut Plrilip B. j\ filler, dmmiug his sigmzture lcm~~·~olut collm· 5tcum! h}' asimpit-gold Sl!f~' pm. ~


--------------------------- -- ]_ ....---------

-

I 1

Riclt,ml Mrrkit1. t,;, ned to pti~{t:ctiou .

•-#: 4 .. • • •A...f.O. J:IU.J'rr\,

. .. ;1;; wwt . 'It;

..• ,u;,. 11\.RAJt

l

ftt:r rmrndcrllUtline harmoniz~' panicubrl} well

\Hth rht: quJn.- or angular j:m line \\"id1 no p~Jim ... to curl

up. bend 0\ cr. or go .tSke\\. the rounded pm

collar r~rn:IIIt\ trnn &md rid} throughour the d.1y. \rtto;,t

\\ ntl·r

and

\H~II-known ~ew

York roiT

Ptdutrd ~lcrlcin pins lu' collar to perfection (rigl!O.

Tl-fE BU TTON -DOWN COLLAR

ntta.1fh popul.lnzed b} ~meric:1n port ... men ~llld htstcrn uni' cr~it) men during tht: 192t)~ and

ll)JO-.

the oxford buttcm~down

i~ ,\mcril:a\ ..;oJ~

drc \ htrt fJshtOtl Sfnce \\ C.'lrld \Vnr 11 .

CI)Jit rilnll itltl IU

rllt'LJpC:lll

door rep uf lt'i hrme. 3.~6 ~1ad1son A\l!rtuc. to lo:1d up

th~ Jt.:~xicon o( pcrntallC tH

~Ill hu~i;tsts have descended upon 011

rt.:ccnrl} nu elegant male could t.rn(url hi~ stripe witlwut

tlw

this uni\.]liC AnH.'nran da~~ic. Utuil at

lc<lsr one 1\rollks l ~rother~ pink

tl"\tord gracing hts clo"l.;t \\ rth dr..: tgner men \\t:ar helpmg to blur the disrmctton bet"~cn tlispns~blc :mll penn•1 nrnr t:Bhwn Brook<> Hrorher~ ha! fun her muddied the \\:Her.; b) abdicating t~ f\Jic a.' the ptl'tcc-

mr~u of \mcnCJ tr.1d1ttonnll"dsluon \s goe.' Brooks . () goe. rlw buttt-.n-down The 1\1 l caguc

l k \\.1. the l.tsr parrictJn in~;pircd men\ fi1shion to establish it"elf betorc the mors of!\ mcric;1's upper -cLt· Llst~ "'~rc di placed in the uphca,al nf the 1960!' Pcacack RcYollllion. \Vcrc H 11ut 1;w

-

--

---------~-----


- ----the \ i"ion .md g~Jt m1s uf IL1Iph I .mrt·n \mt~r Ka'... \'eq O\\ n n;~mmf ,Jwuldt..T '1' It \hlUid

h.t\L' f(>lhm~d lu-. alm,J nuter 1\n,Pl. Brurht•f

illLl' ~.J rll1rial ccltp"L"

·rradiwm.tlh (hd i11n,uc

da

!11Tll:'11),

Lxh

l

nntmt 111 I. h.nl

)'\.:Jr. .1 'm til r,ucril- ( (

J-r~'IH."h nnt.4 ltnlian ml.·rchHH\ uU~r" up

tl"iCI\\11

1.1ke 011 1 ht! h ~ l.t?nguc look in~prn·J lT\ l ))J \\~-:wid

ll nng.L:\,

I

~r \menc.Ui "iftCic[1 &

dl

ria~ in

"-:~·" pl 'n or Palm H~.~arb

\ Vltt."n ho~Iin!! .. :J necktie thl hutwn

dm, 11 collar prLljCl."l' .:~bout the :o;:tmc lrh·l of ~.Jrc:-. . inc-.!- as the n~l\} hl.lh'r llr \\t;it.'Jlln 't\ It!

lt•:1lcr. t'\t' uf ir, more fi·equcm rocnn-.pir:unr...

I ike Llll' blue bi.IZer. [ht: c1n

trxl~m.1

buncm

dll\\11

bt> dn?s..,cd up or do\\ n :1hhwugh 1t t~nd~ tn

t"O tl!'-nn lllL)rc

1~1hrits

o•mlunabh '' ith l1kc

lc\.t-un.:d

"LKh a~ llmmd ur "' l..'t·d fn rhr burtt. Ill

dnw11's ~.1lnd d~ip:. all 'l)'IL' \\.1!\ I~Jrl~·itcd ,!Juuld

its pl •im.; brk ~uftkient kngth

h)

pl,t: r:I-.wtl.

----------ABOVE:

Scquestad .uniJ irs crm;ir~ cir:.o 1950, the buttotJ·dowJI isjllwkcil br otlrrr ll)' Lraguc both1 jldt's, sl!} i, 5houldtr tu wd span _jc;ckct. m![ird smr.f]mwt'ls.foulm·Jfallr-in·h·wd. ,1,ll>Jkiu \'rst. 1111d s/ri'·Llll ttlt'Ctast'ns.. LEFT

Spc,1kilt~ t~(tlwsc u•htl like rhm:fi1sJu'on

unlmtttltzt'd. ,,bst·n•.: s,~utlr .. Bnrbtras sldglu tlf/umd. Nm btli/Jt'riH£ ,,, brlfl.tiiJ his L't,flar~1tnls. . lrt· 5t't'mS ftl hr~rc trmrtd 11 blind l')'i: tothasr <1U his J•1dm t15 wdl. Barbera..'• 51.}'/ish impt~/i-aum Jut• bt'c'' parrlr inspired br his Cl'lll1tr}':' ol!'lt ~i~uc1r at'srric. Gmr1ui .Agm1li 6-r.rpagr :!Jo) ..., . ~

~----

- 1

l

- --

--------------------

--

rnll t>h'r .md


I "' CRO CtofFC"K 8LUI! BA"llSTE

1.

I I

I

j

1

ETON BLUE ENlXJN•END BROADCLOT>-t

HIGH-COUtiT MULn-TRACY. BLUE BROADCLOTh

\mH fANCY BOND STREET STRIPE

CttAMB~V GRAPH CHECK

L!Gt-flWEIGI'iT F.ANC'r" WEAVE

BLuE 8A'n5Tff.

OLIVE l·11NI.CHECI\ POPUI'f


0PCrt·WF".AVE l IOHTWtiCHr

0£!l..iFT BI..UE P£!14CIL.-5TR!PE BROJ-\C>Cl..OTH

BLUE O>tFOnu

COTION/LUiEN PASTEL BLUE MADRAS STRIPE

CAMBRIDGE BLUE C.-.r•m· Sl?JPE 8ATIST£

·r

.

'

CRIMSON HAIR U HI! CtiECK

( OFHIFLQV/1 R BLUE C.oTTON/Lti~L t~ PoPL.III

,

12 ~~

~,. I~

'~ I~

t'

''

r•

I•

• I<

,,

I'

f ilii

~~

"'

I' l• h

I'

lq-

~~

,.,.,

I~

f•

I"

I~

,_

~~

I,

F

F

l>

~~

1- b

,,. f1t l f r 1 t

1= r~

I~

t~

,-;

I~

1;:

1-

~~

,~

I;

·-


FITTING TJ-IE DRESS SI-IIRT

th rht:"' ex\:epriun ;..)(the (r:.lian~. wh0 blJt\.l~..·r t\ll

dn...:s' ~hirt:-.. mo:-l men \\C;Jf their~ roo tight ... iu the neck roo ~h<.'rr in rh~..· ~k·c' c. nnd hXl tl.JIJ.uound th~..· wri~l. The explanm ion l~1r thi.s i~ n. .•l .1 thl'l~ ~1111ple- ,u.:xe..,,ih~ ,,,c.hin~ "hri11k rlw collar .sizt• and d11..'

f~ti'hl'llL rd.tti\l~ t1..1 rhl..' fir of rhcir

kc' ~ lcn~th. '' hif~ mo't manulacturcn...111,)" cnuugh cttFr • ,, idth t~)r a l.u·gc Rol~..·:-. - . . izcd watch to drh·e rhrough. ~

~

,hirt i~ u.;de'"· \\ i£h the top bunon cll):-c-~..L

f\\O

f'inger~

should be .1blc ro ~I ide com tortubh bet\\ ccn l he neck and rhe coll.tr or,} fl('\\ ... hirt \lo:.r fine .. ltirr 111~1kl'r. :tdd all I

l'\.U'il

hnlf inch to the ~mr.~d collar ~ize

r1..1

i(lr ~hrink­

al111W

5EMl-'SPREAD COLLARS SHOULD HAVE NO TIE SPACE

.1geduring the fir r se,~ral \\a.;;hing' Should the coll:lrl)f~l n~\\

drt:'- shirt ftr W perfecTion \\hen fir...,l

tl'll'd

AND POINTS LOI'fG ENOUGH TO BE COVERED BY THE

011. l'l'l'lll'll

JACKETS /'IECKLINE

nor risk bemg 'Lmnglcd bcf0rc ro") long .\-..the WI"•L)·:-. ~~.xund ~kin. th..! shrrr should l.it' Cl1111~

fun.auh \r a mmimum it :;hould be cut full t.:lll'ttgh ro :tlh)\\ Llw w~arcr ll) sit without cotKt'rn \\ hcth<.~r it~ fwm \\ ill.(}lpl' opcR ili.."l'Ch' (lLTt

th~ che t

r\Cil

mXlll:ll.shrinkagc 1JI' \\l'lght

o1· \\ ai't. The :-.hi n'.s (l\ cr.1lllc ll~L ... h

l~1r

galll' shottld nnr cr1.~~1LC lc.m~ioll

shoukl be ~u\.'h rhat \'( 1u c:m rai..;e \ 'Our mIll' " uh

it pulling out of the trow•cr rop. \\"hen n necktie is worn the collar\. point.s tlltght

tl)

h~ .1blc m rcm:1in in t0uch

"irh the

hu-r' bod} no m.Hl'cr ho'' the wc.an:.-r llll'll' hi . . hc.1d Sl.·mi spread to cut.1\\ .1y c~.lll~ro• should h~n e

no

th.'

p:tccabme thL· ric"... knor. \\ith po1nL' lung ~.:taougl& robe ~..-mer~..~d bv rhc j;Kh·r·~ neckliue.

'\nd finLilh nu p:~n nf the colbr·, ncckband ~hl)ttld pc~k out n\l.'r rill' ric·~ knnr \\ hether barrd or rrl.'ll('h cull

rhc bin nun tit '"~:tugl) .lround ihe '' nsl ., th.u th~: addinonJilt•n,glh required ll' k~L'p the cul'f from pulling bhck wh1:n

rhc nrn 1

~~

e'\rendccl

dm, n d1t· hand.

dot:~ rtnt l~lrCI.:.' ir.

r -

I

IF THE SL.EEVE l.Et4GTH

I

I

CORRECTt...Y 1 THE WEARER SHOl)C..O BE

A13LE

TO EXfEND HIS ARM lf'l ANY

DIRECTI0~4

WITHOUT THE CLIFF

PUU.ING AWAY fROM THE WRlS-r.

hurt cull and hand

. . huuld mm e :l"'d.lllt!. Iftlw hand can t-1i de: thn,ugh thl' cufT opening \\ nhout 11rst nnt:l,tt>nmg '' httl

1t

tht' cuff\ nr",_unt~rencc

l.trgl! 0

~--~-

------

ANO CUFF FIT


---

I

--- --

--

DR.ESS Sl-1I fZT MODES

{1:\l

men arc r;ntght tv ~mplo}' tlw dre's slun a a harmomzerof the uit and

lll:Ck

tic \\he' ll tltc g.n g,_., L'i~hri~-. trnnsform~d 1he IH.>L"ktic into a rior of patt~rn the drt:,., ~Inn \\.lS

fo rcPd

t \.1

J-------

t.1k1-.

-

a backsc:lt \\'hik· the 'l"bd dn.' ~ "hin pro\'ide),

- ---

:1

blank can\a . . ou \\hach

tc.l

imprmisP theaccompli,1t0d dn.'·~cr\\rll frequemh optlrn·rht•

l~tnl) shin tn ~en c :1~ the cn~t·mble\ foLal p HIH necktie ~1 11d suit ja\rket

rltcn pa) Jl.'fercnce

llll!Sl

The f ngli!'lt cia's'} llH:'Ilt ll ,. rurnishing:-.. Ill llll'll

b}

tl!!lll

is rcspc Jllsihl\; for thi~ rcahgtt

pn!"~lr rjme..'i, 111U"f uppt't' d.l~li I ngltsh

t ) pically "orl" on I) 1h~..ls~ n~d. tiL'

'irtUL'

h:J \\ hicb tilL

rh.u d1c) \\ere emnled tn

.._,r a publi-..· 'ldmol. milimq regiment or pri\.HL' dub

a((i Ii,n inn. \~ the- 1) piral [ngl i~h ari.stocr.H CllJO} ed no more rhan a duz~n or so of these assocmunn~ ht

era' at cdk·crion

"3!:\

thereion.:• ~oml'\\ h:u

limitt•d. -f(, comrcn~att'. he ronk ll'\ di\~r,rf)

TOP ·

Punctttilting 11 plam

backdrop. the shirting's bold srnpe lights rtp both center stage t111d 1\Ir. J-lo111ard's l'isage

ing ht-. "('mbcr "Or'-ted....md pr(:dtnnbl~ duh

tics wirh ')llappicr- k,,_,king drc....:..: ..;hin

bcgcm acculllulming more dn.,.,, 'hirt' rhan n~ckric_ ,

bL'ltm.'

LEFT·

\ \' ith "polka dot dress sl11rt and a breast packet ~( pattcn·nrd .srlk. Douglas Fairbanks}r tmmps up his so/rd .suit cmd tic.

\~he

lt!nnyn Street~ ltkc "a' 1lc R1.J\\

it. b~c1mc an ~.:-mirl· ~trcct dt!~med ro

lhc cr:Jft t,fbL"spt'lkL' ,hinm11kcr~ A::.

rhe_x~

nt?xt piC! ure.•. an:e"1 du'

, pirircd drc~~ :-hin nltcrnariH' ran ll'nd -.m;l rtnc~s ro rhe wilorcd ~cennrill '' i l hout

compromi.-.ing the boundanc" L f £,ood tJ. te lkc.usc rh1" t~ m11ar rdi~, on .1 lugh dt.•grce o( cnuntcrpGint b~..·mcetl ~uiL. hin j[ lL'11d ~

t ('t

'Ill'.

JQ\'01" dll' htglh"'r· l'Oiltr.l'l (0111

plc\lun. I lo\\'C\ ~ r. n!len!ng :-ouch ~'nmpliGncd rh~111 . . L'~ui ng a

and

-;1

tn• )1\.iintlt ion l' no

mu~r

Cc" \.1f ~L"lllf nl'"i \\ardn.A>e .. w.ndb\~

Ih.::\ r Ll) d irt~rl"·n r di 11111.: r p~11-rncr~.:.

Iktt cr culbrcd and ll"l'king quire .. urc of himself: rhe [ngli~h .lLll)rTrt'\Or llow~1rd ddth 'J'c~a pot~miall~ Hat pre:~

cmaril'll b,· c:1sL 111~ ' .. hi~ JrL''' -.hirr in the leading rt..ll'.

--------------------------

--------~-----~ ~ -


DRESS SH IRT f\ EST l-1 ETI.CS

n addition ro tbrrcring.. d1c we~lrt·r. dte drl·'' 'hin ·dllluld t) p~ with an ourfit'_... sq·k· and le\'d

of formnlit} \\'hile \.iiffering collar ,t· k~ Ct)lllh'tl? \af) 111g degrCt.'' of dn.:s' up so Jtl certain ,hirt fitbrin.. fhe ~,1phi. rica red drc,~t.r "ould

lllH

normnlh

pa1r

a ~ptlrty butron-d,m n \\ ith an

dct!:lllt mn,. ~mit. nor would lw marc ~1 .;olgnt~ dn>" -.ltirt "1rh contrastlllg "hire collar wiLh a ... c.bu.tl t\\t:ed 'Port jackL't. Although rhe Ltl"<;c;~t~urc attitude of modern men\ t;1!'hinn ha~

obfu,c.-ntctl mall} o( rh<'~~..~ guidt:'lim_. . ., that ,.l(l...'gu.lrlkd glluJ ra.•m.~ sc,eml r~main thnt :11-c .st ill rcle\alll in J:--~c;;sing "hether a particular dr~..·-.s

'l11n will add <11' ~ubtract from nn cn.;cmbk·'s

imcndcd dre,,i IIC~!'. \ ,bin' lorm~1lir1 begin~ nr the collar. irs lllt)st prominent and defining feature. The

nffer rhe collar. the more lormal1t' lntcnriun-. Th~ more t>pen rhe coll.a.r·s point' rhc l.lre.ssicr rhc prc.!'enranou . \ conrra:-ring "hirl? Cl.)llar aurnmat icnlly adds ccrcmOn). while most tab or pinned col1.1r~ heighten the ~'crage solid or patterned dre"' .;.hin' pruprict\ 1.\ofrcr collar Cl)ll il~ur.utOn~ such a~ the buuon- down or u nsrarchcd long po11n rank lower on rhc formal i r; .scale

The cuff al..;o COil tribute~

to

the overall d"fcG. Tht• formal sh1rt's stit"C '\lllgk· cuii which

accompanies the whire r1c Jnd tailcoat

<c.

prc\Cilh

the lllo-,r formal arrangcmcn t \ Vhile Lhe

f rc..:nch cuff drcs:-c~ the hand more than the Sl<lndard buvton vartt'[\'. the double-button curf ~

«;mtr..mb the tngle-buuon in wrisr dl.'cnrum . .... f .1bric 'l'rvcs as the next

indic:nor 1.1( Cnrmnlil'\. \moothcr L)r more lu,tmu~ m.tt~..·rial!' '

nrl' drc' icr \Vhit~ broaddlJth ranks ab,mt t:qually with" hitc-on- \\1hite broaddnth in l~>nn!tl ­

iq. '' hile "hire ro) al oxford run:-. a dusc .scc~md. \\1 hit~ ,·nik' l~1r summer inches (lllf rlw ''hit~ pmpoinr. \\ luch do~' the same ro tbt.: rcguhlr white nxrord. \ for nomdurc solids. blue brnadclorh registers bd<)W white-on-" hiLc but abmc the \\hire oxford in torm.lln} \Vhilc blue L'lll1-on-cltd nllt.:~ :1bnut equally wirh white pinpPint o :\:f0t\l. pink. pan.tcubrl} in broaddorh. is nor lar behind. ft llluwcd bv \ dlnw t)r gold. ran. and then green. A

fhc drcs~illC."

~

}

~

or a fany --hining is derermined b) the amounr of whirc in the design·~

ground \\'hite ground pattern~ di,play n mon:: f:t~t id ious air than a en bred ground !:1bric. mak ing them n step up on the fDrmali:Kldt?r. !11 n t\\t)~culur stnpc

11r

dwck wlh..·rc whit~.· is the

ground the bdder pattt:rn denorcs the 1~ .... dn.::-S) ~al'lll<'IIL l-iner srripl'' ;trl' lllOI'L' rl·remn11i.1l il. not mnr~ att~tL'rc than widely "P·1ccd ;;rripc". \\ hile:: the ~111a llcr dJc dlcck. 1)r plakl i11 ~, pallt'rm·d

-.hwung. the Jre!'sicr the (•(feeL l n gutct';ll. n hllri,.nrHnl - -arip.~d ~hin wdl n~ad drc~~ic1· t h:lll t ht: o;;amc ~n·ip~ running\ cnicall).

-

TilE OR.HS SlllR'T'


- -

--

----

SI-1I J~T ltlmugh pure whitt~ hr~~ trndttionall) been th~ color of choiCe I{ r a ba~1\_ dr\:"' 'ihnt medium blu~ ~Ktu.dl) llnn~r' 111nr~ rnen\ fact?" thnn "hit~ l)um \',hire ~m drain J\\,l\ \\hJt lutle na1uml rolor lllt'll {:'Xtrdc kk·' {,i,Jn pr•>ducer~ "ill ad' i c rnale gue~t'i

tt)

dun :1 blue drl'"' "hln to

\'t)lltpell~.nc ~1r the :-:;wdru's -.trtHlg ligl11 ing. "hich tend' tt • ll.uJt.•n and \\CJkcu tbL" rompll'~wm lu~t ~1s a tll:thl~gnm· t:-~ble lend~ a mnPc.:' l'xpen-.i'c :Htm ltl thr: irem

)R f." S"' :-.: G

Hr.

plxed on it mediUm

blu'-" t..:nl iH'th :tl l men ~t ,l~n rnnL\"i. r\ 11) l"~ dor Lll' lt~:'\ltl n.• pi.Kcd un llf nc.tr a 11 nc llt mhq medium b-lnc

M-,z...

drl's~ :'hin .llllt'lll~lli\·:111~ ~1ppc~tr~ wnrn1crnnd richer t\tl(';l't half of a JlJ:lJ]\ dll!C'n or~o dr\~"- "llln~

.... hnuld h.k:lll} he itt

'!JtlK'

mo:'l \CI'!i:Uile b.h..-kdr. . )p

'hade t)f ~nli~..l blul" or in :1 predominant)} blm: panern: The

rl)

l

pr\J\ 1dc tht:

Cllt'rdin~Hc a 1:1ilorcd ~.·n~crnhl~.· (~ce ,hn-r fabric~ gatL'fnld)

"-.uurnll1: 'nme blue hue~ ,Jffcr n'mplcxions moru help than t'lhcr:-;, bm then.: an: m k·;1~1

'L

\l'ral ~h.h.~l'~ <)f n1L·dium hlul' tltnt notabh' im·igorate C\Cn. mnn·. kin lOne nnd lu"t'-'r ...

The trick i:' ll~ rind the dt?L'f'C.'t -.h~dc ol-blue it.. \nd

tlt:1r

be misled b\' dw~'-' l1\t.'fC:l.St. .llllll)Sl ru\nl

It_:...(, rH.ll

I

l.nc \\ith

,jmilar ~ t~..mcd

and pt..:rmancnr r~1:--hion , \ 111n11

ingdL'l'P

t1JtW

,olid

numbt-r~ that

have been JlTlllllOh.:d of

'

rwcktic~.

lust~. red

The} art? ret another nni\'C :.Iberr.ltilln frnm good t.Jstc

by dw irJLhl'u ,.\ Jh..:c-d for -.bon tl!rm

"ith .srroil!l (OtHTa~t in hb Cl'llll1k·xi(l!1 G11l ~-' t

L'llJ.O\' ,1 I

Jl•)\ dt}

cnthlll:->.

l·a ir... hairl'd

and pro in

lnrgcr nlO\!e of colors. mclud '-

V

blue-. like dlL' (~ambndgc t"~r \-\cdg\\Ol)d -.hade.> fotl111..1 in fin~ l'\\

rn}.1l 1:\l(ltTL ur d~1rkL'r cnd-un l..'nd <llKC

highlight!' the face without di~tr:tcting from

'l

ph hnJaddnlit

men'' irh nultl'd complexion~ r.111 hal

their ligln~r tone" '' ith ,l,t't lntt?~o.1 blttL'' ,ud1 a-. end-on-end~. ln~(ords ••md mint check~

,,j,o,l '''-'a\l~~ u-.c \\hnL' to reduct: the blue's intt?n.sity. \\'ith :1~ummcr t.m.thcdcrnh ofhluectJn

bL· incrca~cd t•l play up the hcightcned colnr contrasr bct\\ccn ,l....iu and hair Cream or ran can be complimcllt~ll'}. though thl!_,c lo\\ - inu?n,it~ ~hade" dtl mure f'-H.

the muted than rhc ClHHr~bting cnmpkxion Pink is .:-omt:'time~ 'i~w'-~d .1' too fcmminc .1 ~hade far men~ ho" L'\ '-"r. d1e ptnk l>~ford butttm l·or

fift)

}CUrs.

dP\\11

h~b bc~n

:1

lindtpin ,,f ~lad1-.on. hultlc fort::

Pink ~11'\t) tlancn• th1..· m~} dweked Yi:-agt' \\'hen bcdu:-kcd \\Hh "comr.lstmg

"hit'-' L'olbr. and p;litTd with a dark gr.ty l't' nm~ :-.tnpcd ''or.srcd. the pmk end on end drl'!' .-.hi n , >I' b r, wdclut It d rl'~~ ~It l l't )cliP\\

t..lr guld

t:"Ollt i nw: ....t.s :1

toi1C' <ll'l'

perc 1111 ial (a, ~.lri reo Crill' Jenn ~ n . Lr~t.~l 'er

highl) de!'irablc bur .;rrnilarl) unden:lht(•d drc-.~ -.hin ~~Jint-...

L.;nlikc blue. 1he'' dl, han: a drawback \ IL·n ,\It h ,,,lin'" .skin nt?ed to -.t-ecr de1u· ,11- thC''-l~ ~hadt: ~

their dwmp:tgnc "F"'rklc Glll impnrr an cl.lll .md \ielliq t('l .lll} suit from the bnmn~ thn.'ugh thc \!rav.s [~) naY\~ t_;t)ld j.. fn.:oucml} u,cd :I' .111 .Kcem LOior in mnm p3ttl:-rned ncrk "l nul

""

'-

4

fa lllilll ha:o. lied..' of blond lt~1 j I~ l'Cht)i ng It Ulldt''l' l he d1i11 i:' illl oppnn liJlC \\:1\ ITI Jllu Lhe l~tCl.'. In t:h:L, rhe bold \'clkl\\' \ll' gl1ld 'l ri1~cd drc.'' .:-hin .md blu~ bhllcr "ilh glldl·d

l iL·='· M l j

mina1c

L

.

~

~

----~~-


TI~IE

PA -\TTERNED DRESS SHIRT

__...-omplexu.:m .aL o dictate~ rhe dtLlil·e l)t" pau~..·rn. t_1ncl' :-tg~tin. the :1mnum o( (l}lllJ"<l.!-t

ftntnd 111 rhe curnpl~xton .tboH" ,,iJI~..Iin.trc i.he dcg.rcc nl.(l'lllra.sr dc~ircd bckn' Tit~..· h:1irlinc. pm penctl. ...h.ldlH\, BengaL ~Uld , ..tricgarL·'--1 . . rripcd \t'llilt~!' cnju} h.mg- q~1n~..1111g ptlpulnrin on dw bu:!!llll''~ circuit In the

af-;l) h1uhl} ~

rcc,J~n;zL·d ~

dlL't-k

t"amil). the pin. mtnJ:nurt• graph. and ~mall bo'\ t:Jttcr....Jil ~lfL'

(igurc_, \\ ithin rhe cor1Jl11·nrc l·h.l.1rdn)<llll.

Tu r D R.FS.>

~

\\ hilc it\ h~1r·d

roO\\

n Lt1ll Jll.tll) simplt• bluL' and "hitL'

'ifl"lpt.:d

dn.;:-.s .shirt'i the ,,1111c

C.lll bt• ,JKI ior duN_. dr'--'"''}' mini ch~?ck . . rh.n t'IYc('L .1 prL'dl,min:mrh bl u'--~ b;KkgrnUtlLL fkc~1t1'C rh~ 'mall f:tnq

blue l'heck nppcars like .1 '()ltd from ~1 di!'ltallC'L'. ~ub... tnuring [he fi11e blul.~ ch,xk fc•r .1 blue soltd ~hirt lcud-. an .1ir 1.lf ~ophi~[i(.nic111 with liul~ n.;k t,l-ru,,lnc"s "'lnpc' or check' "Hh red .K(l'llt .. '\'liii u ruddier L"Pmplc:\il)n. whik·) L'lll.)\\' l.ll' ~<.)ld pattern~

f3\·c,r

the 1:1ir :-.kinnl.'d

ur blond mJn ~ll'tltum Lu bonk· ~rt·cn ~rripL'' \lr !'limplc grt'l'll graph chec-ks un whitl.' grl1ttnd-.

an.· ~11\\.l\-.: n lt .. h. c~pccialh under rhc das,Jc n~n' r

1

~.u· bl'J"a\, \\'l.)f",h:d su1t.

\\ i th il '' hlll' ground srripc or check. a co1Hra'r i ng \\ h1tL' ftll b r 1' .1! \\'3\'" .111 npt il,n. and It'

lu tllrical pro,enance ,Jmuld nor be i~tlt''lred. Thl' cnnrra,ttn~ '' hitc col!Jr drL'':- -,IHrt'- h:1rl.. ~

~

buck w the d:t) :s of the .. cparak~ collar. -ltkb). unl) the nJUildcd. club l} pe (prcfcrablr rinned) 1.ll' Lh~ \ L'r~ open .IImtl"t (ll[:J\\3\ mndcl nrl' "t' Jj,h cnnugh il, 4

hold their tm n \\hen

..

C(Hltrasrcd again:-.t ...

n different

color or pancJ·ncd ,lurt bod). ContrM) to popul~lT'

uplntlHl the cunrrn ting \\hirt.' coll.1r Joe' llOl rlxluirc

a mJtdmle \\hire I n:nch cuff ro maintain it' pt:•digrl'e .

•1lrhough a

d\lC'

mon:: m catch rhc

c?} e.

\\'!tile the

m.Jtdung I r'-'nch culT L• al"a)~ atcl'ptable..1 buuon cutT h.l" no place at the cud of a ,J('c' e an!tdt~d rn a

\l11rr" •th a contrasting\\ hire collar.

-~-

------

SHIRT


..

DRESSING TI-IE 1-IAND

hi n culT dc~ign usuall}

C\ oh ~'along"

nh collar ~11 lc-. and durmg tltt· nitlL'fc~.:•nth L'L'llllll"), curt!- ,111J colbr!\ .shar~d rnnn} famrcs I d.~ dlc blttlll. "G' '~1rc .;inglc Ctll lnt: till.:' ~birr cuff '"1~ n.::ctangubr and uA1, ~1.1 rlhed. The cuff could ai.M' DL' ~inglc or double hut It ''.IS tltt: Ia ncr ~~~~·m that came ru ig11il) fonm1lit} "eparmc cufi-., lske rhe dctarhablc '"·ollnt·. n ,u iJ be l'l'\l'l''l?d '' ht."n '..111l' edgt.· wa' ~oiled In thl· lllllL'h..'t:IHh (('llllll'). thl' cuff \\i})oi orlL'Il left unbununoo .lt the ~i~.lt.· :md could hang ~1bmtt h:1lr :tn incl1 bckm the co~u :'llt:c\e a thrm' b,Kk tn the dap \\hell dw -:hirt \\:1:- cothid\;-rL·d undcnn~nr ~md \Cn~d a~ .1 pmtc(t i' c b) l.:'r again'il rougher m:ncri:1l~. In prim:ipl~ mudcn1 nrf( t"anun 1\,lkm:-l irs forcbl':ll·,· ,tc.;thcric "irh th·~ ndded LJ\~ar thar a hmt l,f hin ~

I

linc11 bel('" Glll make 1hc ;Jrm appe~H· kmgcr. prO\ 1ded rh~ J·Kkc:'t\ ~lee\e

k·ngrh is Cll r rcct. J\ 111~111 with "'H'rl <WllS .shpulJ .th\:n!\ c:..nlr~it r '"'-

1

d11 .. ~leioln .t;.

l)l.h;111d ..

\mcc rhl' h~md g~...·,nt rc~ i 11 :1Cl.·orth1Kc \\it h a mnn ·~ facial ~it'll" l~'~r

drama and ctnpha'I'

drt.·,~ing 1h1.:'

C\lJfC"

h:md an ran~ n . . o.,harc of JC..'-·

rh~...·uc focu' and cumnl\l'f<\) J ILrL· i~ l wl~" nh>st rentt\\ncJ

daJJdroftht.> carh (\\ cnticrb (('Jlllll): th~...· pnct l~abriel~ r)1\nnunzi•) (t..lp). ··. ..huonng hi'i cuC(, .. ln11nmacul:ne rcpt)S~ rh'- 'riiTculbrand cul"fdc.\:lfC h1s appl!.ndag~

w pnruc pcliccttun. T he dcb.HL' bcm ccn 'ri IT 'l'pnt·arc collar. . and ,ofr ;lrt~u:hcd LJI1C'

had l o~t much nf irs 'ream b,· rhl.:' time bunon-dtJ\\ n comJoj,!'.rur Fred .J

\-;t ..ltl'l' .1ppcarcd in tht

5crcctl ..lth.1

ncx1 pil.·ture. .t\merira·,

"orr st\ lc liked

O\\ n

ma,rer oi -.tage

hi' Hroob bunnn dm, n~ "ith ju

t

~1hc,ur

e\cn·rhing• Of\ 'uir~ drl'SS\ wL·dding\..- nc~ c1rdig.m .S\\L::m~rs lie even '-r ~

pinned

Li1L'

collar dL)Wil

jlL"t

tLl •.

ho" it" ho wa' bns!- Perhap:- ir take~ \..llll'

jaunn pcrt~)nncr tll ~1ppnxiarc ~llh)rhL·t .1 .. \qajl'c'!' Fulded ba~k ...tun cuti.

pia)!- t lw pcrfrct 1~'1il

tn ht!\

coll.u··, unprcdi(t:Jblc roll (a:urcr) L1kc:- 1he

~b,1L·cr's g~11t. ht~ clothes al" :1) s appcarL'd In PL'fpt'LLtal morinn

Thmk 1he .shirr cuff" a~ d'-''l~Ik~d :-imp!) ~1:- a milormg comn' ance

inr~...~ndcd 10 join rhc ,Jcc'c ro rhc" rist? k:m C\xtc.m Jidn'r (bnrr,mr) \~hi' CL'llllltl'\ 111<111

~lcph:111t" \..~rappdli did for the jazz Yiolin. Cl't.l~.nl deuttcd

rhc orn:1mcnr <lr Lhc "1 ;,r wan an l~m11. dr'-'-"ing hi . . h.md "ith the ...11m? crcati' in he im·cstL·d in ~1ll m~tncr. . 'j,ual.

L__--~----------~ -~---


THE SHIRT MONOGRAM

hen laum-lq O\' ncr ·hip

fjp.r scnr tHrt ""(till· hnn11..'. rhe 11hllll1£1"<lll1 was used tn mnhcnticatc

":1!'

lu the heHi:n· l'( men"_.; t:1,hwn. llll'llvvr~11111rrcd br.llL''. iniualcd belt bth:kks. :1r1Li C' S

I

embroidered pucker b.llldkcrcllrL'f, ''ere pllpuhH gifr, (rom gn..llllll~ w u:-hcr" "hilc rL·gardcJ .1 . . roken~ of .ll"fc"·ri)n (rom rhc t""~ircr ~C\.. ltKhl\.

'lli11C

,OiliC'\\ h~lt

ll' J~ :1 \ ig11

prcrcllliolb. \\ h ilc l.H her..; .lpprcc i.HC

"-111cc d,c: drc'' ~hin lllCillOgr.llll' \\(.'rC

men Cllll'ldl·r rhc drspla)

l)ll thl•

i11itials

n r i n"ln id ll~l i i ~ and Cjll<ll j l} .

'Ll.' CLm~tl·krl'd und~.:n-..c.1r until

Su.l!IL';.ttL'I"L'd rrom \ ic\\, L'lthl•r

1Jf one·~

bllttulll

TH f. D k E.S'

\\ell rnro the l~tc 1930' J1l(t~t of the 'lh 1rt\ l;.ll l 01"

uir \c't .\:- thl? n~.st began w d1'.1ppcar and men bq~an n..1 remmc thcrr )Jcl-.cr.;.

bCI1L'~Jth thl'

111

publiC. Lhis

In de qe cue bcg.m w acqwrc it' P\\' ll cadu:r. l )j..,crt:riL"m i.-. la~c ~

par~1mow1t

to gp(Jd ra!'itC. ~md

or con,!JicwJu.,h nlncL·d initiJI.-. an: indr.;crcet. r r J

Di pl.t} mg one\ m 'lll'gram ~m n collar or cutrclearl)

dccbre' the pcrpcn·amr·~ lack uf ~JYoir t:1ire. t\~ in nll'ht

martcr:. . t>f mak· dl-coration. Icy,," u..,ualhJ morL'. I or th<.· ~htn lll\)llO~FJI11 to create a rouch ...

of cla' . lcrrcrin~ 'n lc shl'uld bt· simple and ~mall. '-

m.!l l.trgor tlr:111

I

1 ·•

inch high. ~ [oq m~mogr~l111.'­

shmlld be itunte\.1 ~tbmrt +inches to the kJr t)f rhe hin pl.Kh:t'" ccnrut: I(tilL' ~hin h1.1s

.1

pockcr. ini ~

rial'i are u ua11} ccmcrcd on it or P{'!'iriLmL'd in rhe

middle of It upper \\ elt. ~fi..)p-dm\\ cr initialing is Jonc D) hand. \\ ith rht:

lt~nep; ~urnetimrs

:ned b} tm) periods. Bccau<ie

llf

puncru ~

the marking\

dimmutJ\C scale. it' frequc.ntl} C(Hltr~l!"Lcd in ciLhl·r

a darker hJde or a different cuklr fn 1111 the .-.hin ing If the fabric t'cfJOc

011l'

of

j, lilllC\. the monoC't .."'mtn li)'>U:llhI J

j l" O)lllp011Cllt rdlor~ .

hme cl t:nt•rtlc? (Oior•. uch

._ l)J11(' 111eTI

L'old or purFJ!t: • which

.b 0

c.;ene" to ddincate their p~r,onal ~rylc.

1} ronc 1\J\\ ~r\ monogram

j,

.,o

!llllllltC

( ugge't111g 11 s handm~1Je origin) a.;.; tn beconte a point of cuno~it) It-; appcanmcc rellcCls t:hc [ng

.

h hand \rncriGm pre'-irlcction for the rnon~ con picuou!' pocket pl:lccmcm .•1bout 9 inches do'' n from the neck point. \ltern.niH~I): thl· rurupcnn

mans escutcheon c~pou:\"~ hi~ penchant fur disci ~------

-------------------

-

~--------~-----·-

I..} I

-

SHIRT


--

----

plincd undcr~tatCJih.~nr Uroppcd JU"l bdo'' rht: d1rt:n line t,f ,i,.ion the munogrmn' ln\h'Lllu mdr w,unll~ nppt\1 r rough I} 14 inche-. from hs~ n~ck point or -l lll ) mchc~ .tbm c t ht n·ou l r' "·"~'ditll" (If the· two .tddrcsst'" rhi IClcalt.' '" def1nitch tht.' more ~ubtic 1f not\ luc •

\\ hen the Com int.'nt.:JI '' ~1r:-. lu:- mgle brea"teJ j.J.ckcr unbuttonc:d. a \\ ai'l ll·h:l dlll1 C(llllllJl:"tlCl''

bc·nn•en rlw coar\ open fronts and lht.' nt.'d..Lit:\ end~ Tht: nl'cktlt: · unf&?tlL"rl·d blad~,:

in rh} t h m "it h the n1.1n \. g.ti l. t:lll .tcro:-:' till ,birr' from permitting 11Pdung mor:L' lhJn 4bUl1Jl\Oil

oi monogr.mt

tn

peak through. \~ tthmu supc:rfluou!\ distrJCllon .... rhe..c ~mallurdw:-.lr.ut lJh t.JI~t.:

on .t s'• rllbnli'lll ~tiJ their tm 11•

Tlw rngli~h ~tn:-to\.4 rnq lm~ kmg

DR~S'{,'\t.i

nH ,\L., :-.:

<h:kno" IL"dgcd tri~..-i t'\.

rr. .·d

ih

hercLliraq ~train ttl. cC('l.'ll

\~tai r~ hoLm~)bb~d

\\ it.h

ent)ugh ~

of these '.1ll't -trained bd..; m L)bsen e such form 1-ir,th:md. ( -.....:. ')uarrcring . ... ~me·., initials on

,Jtirr\

the

t1UtL'r :-l~e\e j, ~ithcr ~1

pL'l-uli.tr ro slh)\\ biz Lion

cu,tom

l') pt.'~ or nnorher nfTecm

of rhe pn\ ik:g\.:J \\ irh mo much ume on

d1c1r band'. \\ hcrhcr such ~wank .. ma("b mon.~ t

l,f the titled rhan rhc Lht::uric.al. nnc-

hmg'-' i:-; lor sur~: h:1llmarking l'nc·s ,hirt .·deL'\ c

011

it" upp~.·r lore:1nn ccl't:.unh rcinfon:c-. it"

bcsp\'kt· ~,tll\Cnancc. a propllsiti~_)n nut likd) O\'Crlt.lclkt·d

b,·' tho,t: :'O inclined.

~-- -- ---

- -


Iu

..(n1m t

tmd I t

em r


impbc.1ble re... i:-tance to dcmh b) 1-:.... hinn deaec maJ\? nl:cb,~arfact·!'i Jh m '"' Mnou d1.1llL·ngl: tn dmc. \\ hile the w~.1rkplacc has tradn•onall~ b~..:cn the m~cktit:·~ for:t:mm•t ba!'.tJun n-. r.tp 1d

~a~u.lhzatil'll i~ handing d1is l(.>rnk'r ndjunCl uf rn.t1t• dcgancc ib pink lip in\ nmg ~m. numbl·r of les' throat ·COil.'ll"aini ng altt•rn:Hi\t~ lO appl} t:u· the job !t is incrca'111gh ~mnmun l 1 \tlt mcntn po,nion~ of:tullh'nq \\ithmu a ned tie lu "umeofficcem&ronmenh thl! ban." nt.cted cxe~.·utl\ c l1:1-. ben, me the~) mho! l11 .111

l,f., llC\\ maJtagemL'111

ironi(' l\\ isr~ 1he nc.•ckul'·~ longtmw

ib uhimatc- undoing \\'hethcr rhi~ DRE5.SI1\ G Tllf. hi~~

hHC'-t

ptlllCLWr l:l'irpor:nt.> confonwq

lllL''n·s

ma} no\\ bl:

Jip in t:henccbic\ f(u·wne~ \\ill pcnnancmh .ther n'

de~llll\ I.' h.~rcl to ~:t). \V1dtuttt the tailurL'd lll11fonn nt•rktit'·~ rL"'k illl'Untempumrr

-.t~ le

to

111onopolt:r..e 1he cnrpor.n~ bnd c:.1pe . tlH!

l~1slli~•n v.ill certainf) change h'nppc.Jr.ann·\\Jllmorc

dl:tlll'\\.'r'-lguif) rhc w~aJ\.·r·... dl·,ir\? 10 e1nbr.tcc .1 drt?-.-.lt.?r. mm~c .mrbonratl\c.: imJg-t 1\.:rltJP"Ill

time. man

regard the 11cckLie as pn.,of uf hi' mdh idu::Ilil). ~~..nm.•thing. that

111:1) C('111C tu

.1 p:1 rr fro 111 t h('

l.'fl m

'itt'-

hrm

d.

CRA\IATOLOGY

-...,_, inct:'

Jdc;1lly. rl1l'

:1

ncckric· :-h. .)lJid be •1grcc.:abl~ n' the t•lllch , ..:ilk i~ und~.:·niabl~

l~lCI'ilc qu:·tlities o( :1 (jlll'

silk rie shtlllk~ prlkillce a SCU'i:Uion

lhl'

fabnc of dmict:

nlll unllltt dun u( ,jIll

The term that th\? indw. tn u.;c~ ro dc~ign~1rc a h1bric\ \\cigh1. lc.~xmrc and lt.·cl '' i:&llled u. . ··baud·· l:l'lllllll'scur~ apprcci:u~.."' a b~..~.unifullwnd The 11ccknc'~ mori( llr pan ern. expr~..·,~e" rlw p~..,erq . rhl:· !\~n~e o(" him~\. tlw P"' dml 0"' of rite indiYidual \\L'ar~.·r Dcs1gn mor.il... (,lll~d cr:l\arol<>i-1: began tt.l floun.;h in tlw fl)3<.) pl\n.1 great j~,..,,gn t!w1ili~s dh id~.· rhc pauerned nt.>ckrie. kingdwu· ~arn d}e \\0\l..'O' and pnm' 1n d1~:' c;;.1 s~.· L,f the II r"t. the jacquard loom "~...·:1\l'~ di fTc rent color rh read, direnh into t hl' f'Jbnc. ~

'' hile in tit~.

L

'-L'Cond. col~.1rcd

p:.nrcrns :1rc prime~.! dire(tl} onro ra'' <'I' d) ed ,il]~

\\l O\l EN N ECl(\\lEt\R

u!'e 1r alh.m s t~'r highl) LleruiiL'd motif~" hilc l'I'P\ tding an lllC\Hnp.u·able nchnv.. , '-1f

hand. thl' ,, 0 , L'll ~ilk

temper~ :.1 eulur\

til1

b I'L'\!,~1rdcd :1~ the nc pJu~ ultra of male plumage. The" ~.a' mg pnK"<-....,,

inn3tt" brill~atKl~

b~

illl"llrporatmg ir into ~l cmnplt!" ...uri:ltL' HHt.'rtl~.,ng. m.tl

• rc•'fL''C'nt a ...null ing 1h: """'Hm t·l 'll r 1n •11n nJ t I w cj n.:·~-.tc"t o ,- :1 II llCL·k·til• ' ' Jk ' · \Jtll')tt'll .. e ""'en' l r


pt=rct:nt!lge of rhe tot-al nL"ckwear produ(cd t':lt:"h ~ c:1 r. rhe} h<I\ c returned w t:.var .tlong n id1 ""

hand rmforcd dC\rha and bcm.-]1-crafrcd foon\ car. llcre·. a cia ,j, examplt:> of hon Engl:md came ro -.er rhe ~randard in imernarional men '£1 k fnr tht:> better p~1n ofrhc rwcnticth c<.'lltUr). ThL' i\lacck·,:fidd ntxkrie. a ~ilk group of parrcm' m.1dc from 'mall '' c~' e~ of dimnon~h . .;quare... and cirdc.:-. bL~amc e.:'pcciall) fashion able among ~

\\Cil

drl.~,,cJ Briri"'h men in rhc carhI lli.!O~ The~e 'mall ~,~comL'tric!' \\Crc fir.,.t ~

m.1dc in contra~ I ~ • t:lL'~ of gra\: black and white. £,1\'ing a marot.h.:'fr)r efFect acn."""'' rhc :-urtncc tlfthe tiC The} \\ere the 'Pt·cialf) uf dw texrile wemt~r~ frnm ~ lacde.,fidd.a :-;mall town in l.an Gl hire. nonln\Qt En~land. ...., &,.;

....

""'

...,

\mung the· '' orhfs _,anorjaJ literati. rhe ;\.lacdt. ,fidd lk'ckrle conri nuc.l' w en jo) i r~

long,[.mdin{! repur:ttion a:' the quinrcsscncc of upper d.N, Engli~h ar'tL Par'-·ntht.•ricall~. it i:- 1he onh gc11re of rradmonal neck\\ ear ~

to

rcmin ir, ori\.•inal mctanhorical iruaaen. Referred to a~ a i ~

i:t~

---~

N £CJ.:.n


-

--

\\\...Jdm~ uc-"

111

n~rram eire!~-. tht' . . jJ\t'l"\ nr..:kti~ b~:.--g•m

ib

'cncr.1bk ctrL't'l. a~ d1c llbligawr)

l I

lc.mg ttl' t"l,r l~mnal dJ} attirt•. meaning \\C~.idill~' ~md mlwr da) Liml' ~clcbratitm,, \' \llltrt ltmn~c

d

lth\;-, b<:1!~Ul

w obnt it"

(Onmam. thl' dn.•.:-s\ r

~

~l.tcdc~(icld lhYktil.' l~,und 11, t•lnc sen icc~

bnJ.tdtnto include the ~mbclli-.lunem ._)fl>rhcr lc,, l~'rnlal~.·ns~.·mblcs

r rom ro) aln w rodt.·o. here·-=- a pictori.1l !Jistoin· (tlflJltlSilt', bdt tl'. uud 011 rl~t')olloll'illg P''S.c) t..l ( 1

thl \I.Kdc,fldd'.

ro ...anorial 'tardom. bl·ginning "ith rhc lbn'll "\.in,la!'l de l ~l11ubcrg.

fi"•C

IO(ll·l.tltt~. \nrl1llll\ nrt•xcl Blddll\ and I k'll) \\l1lld' 1\.nbcn \hmLgomcry ~111d l ~an { .lll)Pl.'l'.

\\ lulc dtt'rl'

.1rc :t lll} riad of", 'h'll

lwnor~.:d pl.l~c!' of corrcctJic. . s aalll J(leni\Jn ft'rlLi\\llCd ...

the "nitill-.fidd ..

til'. )'Ut

p.H t~.·rn:-.

neck ttl i11

l)nh a hath.~ (ul h.n c \H~n t 1111l'

the gcntl~.'mJn·s \\,lrdrt..,b~.

anmhl'r ((.lJlll'lhllrlun

l)I1L' tJr

the mo.st

or rngland.;; kgcnd;1!'\' Bond '-' trccl c

\..

,J

"n lc tn pcrm.111L'Ilt tJ~rk\\(•:tr Ct...;hj,111 R1'111g tn prl111litll.'ll(Y bc,h.:ic tr" sth er \Ltcdc~ric l d con fr~..·rc m rhc t9~0". thi~

\\O\en

ne~kri~..·

\\;1:-.

al,o n~1mcJ I~H· the to\\ n th.u prl>duccd 1~. \pnab·

iadd on Lhc outskans of LundPn. llw ""pHal,fldd d~.:·•ign L•rigin;III) dt-.wtgui:.hcd

ll"L I(

(rom the- \ LKclcs(rcld by irs

.;li~l.d} Cm~..·i r ::md Llrgt.•r rnuti[,. which \\l'rc .trrattgL·d in ~tlkncr "t.'tungs c_. .,

'L.-

L

tour ~Oillr ('Ptllbm,Hillll!\_ This more \('f'\:Hil~..· l} pc

Hntam' htgh ciJ. \\ ..l\C'll

\\ll\CJ1

l)f silk

t'r t\Vl'

tlC\tgn (l.111Sllllltl''\

.

thrL'l'~. or

the backb<.'lll'

l}r

ncck\\car 0:o l~)ngcr made cxclu~iH·I) in rht' 'mall l.nndon rnwn.

ncd.tJc5 of tit.: pii~I~Jicld

·---

L]

p~.· ,, rt'

--

tld\\

m:11lltt:Kwrcd all 1n·cr the wn1ld

N

.I:'C:k WF.t\R


THIS PAGE

Gr1ry Coopu drt•ssing up d 5port jtrckrt \l'tl /J t1 J\ I acdt'~/irfJ ITt'Ckt it•. OPPOSITE ·

Ca'1' <;,·clmt-rosst•d al,lltltm Jo\1'11 slurt wit II ti dttllblt• l,n·,t~tcd .suit i111~I a Spital~(;c/J nL'rkt it·.


llcr..: I >eau \chc son rL·h\: un the firm lund "' lu" i.ltl r1\. h d tab l·ollar 111 dm\ npl.l\ hi, -.agging ll~d..ltth..· \d11Jt. the r1J ., 111c, 0 f111., '-pit:~J,fldd nccktw pl.t) ~up hi d1plom:urc urb:uun

l~H E REG IMENTAL CANARD Bnthh Ln dl'rJ\,llt llll'Jll.tl

stripL's

I '},2( ·~

Hd(xe rill' d.n ..

C(

h.I\c

been contn1u lll'-1) u. .ed

ur

lllll\ (·r-,~d

111 tiC

Jt.•,ign

11

rt ,1 ......

'-IIKt:

rhe

I h.lkl all Hmi~.h fL'g.unem lnJ n

,Jc)r ,._-h,•mt.• uf t heu· ')\\ n. 'L'CJI Jt ll "i nm~t

l\

pt ·al1n dlt: mt "'" l·trktt , (

rhi'· c11Til·l!r:-. I ngl ish rt.'gi Ill Pill~" ore ('J"~\ .H~ Lll'conned ''It h "itTI p

:'1

nH hur

r~..:·gii iiL'IH:ll ct•lm·'· Tl11~ g.JH' ri'L' h \\h,ll 1~ kncJ\\11 .Js the rcgmlcntal •

l iL'.

\d lith

rl'.1 I UJ'e:.

(t

,Jurt.•d ~tripL''i 011 thl' di.lgon.tl ,) ~~ .ltUfi.!

Ul L p.u

ble from gn ,, . . h uni r\11'111 de ...ign. Xftl!l" r~,.~tunllllg n l CJ\Ihnn ld~ l~nll h

Dtcm Achrsonu·c:,lriu..~ a

men "ore tlw tiC'-. of l bei r iormer r~giml."nt .•md (rt."quemh no orhct

Spiral~flt·ld IJ'J'e '"·ckt;t'.

( "\nc pnim nf long "ilJnJmg (()Jlh:.'lltl('IJl ben\ n'll bbdc, fr,,m

the uther . . ide of tiJt• herring pond \\a" lhe culnlllst-. .tlltl!cd -.,trhH1 tl \ inlnt inn o( ha\ ing 1hLir :-;rripc.... rllll COU ilh'l' ll) dm~l' of the king· men roil(')\\ mg b~lth 1w•h.lr1Lc I PfL'(C'dCflt

.111d tic_q hL•fiC logit, rngJj~~~ til• \ll'ipl':-. f~11l from ltf1,houldc-rdt.l\\1l i0\\3rd the nglrt \lJC

·1hi' dir\.Yti. . liiCPirKidcd" it h dll." male jad-\ct\ tr.1~..ii ri' nallct"r ou·r right t;,~reniug (thu .. pr'-'\L m in~ the coat'" fronr fnnn imu·J~ring.... \\itll :1 ~oldicr'.., utl!--beathin~(·fhio; '"l1rJ from hn.ldt rdl) '-' ... ()nc lllllldr...·d

\ t'jfS i

t1\.Jl),

ft

when l),·onk ...

the ~tAll!.:.'~. in dd~ n:·nc~~ l l l the nri~in:1l-..

l<m left).

Hrnlhl'r~ tlJl')

rlr ... t

intmducn:l

rhL·

LngH . .h '-

rc-~nncm.tl 0

lk' H'l

hnd theirs (lll i11thc opp\>,ire dll't.'Cllt'n (lu~h ught

App;ltvntl)~ Fngli•dlllll'll

bclnnuin~ l L' n·ruin Brit ish rq~ib "\.lll('Jlll\

g~..)t

\ C'T}

their prcciou:-lll::ch

or I\ mcric:ll1 tllUri~rs. II ere j,

I . R ·Ti·iplcr\ pb) on '' l1rd~ m l? r the ''t\meri...-:lll

\\ '~t} ··\,(it~ ~tripe...

. \t (lllds \\llh

the prt'\:Jil

tastt;' l't 'r "hi IllS) . dn.''IL qri pt;•d Jll'd. \\CUI' h.lLl bent l)ll1 n( r-:1\-lH. 1: ll"

1ng.

• t'Hlll''

ni

rime I lu"~' cr. :1~ a rc~uli

ltal)\ tit: designt·rs lotl"t~lling ~

up Brit:111ni~1\

Famous Stripes ... in the. ~1mtricatJ !Pa;'

~

C\1 1l\L""I11Hlll:ll

TJr~ umtJUi1lly smarl duipu am! a(htDI colM comMrr41t'"'! if 1hr Engltth srJuxsl1ir.s1 a:lid ''O.m Bovs," rrrrwnlun t~par'al.'y jorTIUPLF.ll.. Ami in All~ilk "I'P· f'n-~ Jr:zm!iom~TGT.re of fJIIUrns fur bme, grry tl1" lrrOr:m .tuitt. T/:11 Jl<ll rt:n•l rni.llthrJ mY lopsjor thai pjt. bt T&Jr&.EJt mAkr .rour stl~rltcrrr

~inpt•

.trmngcmcllh .llld cokw tllmhiu.l 11011"

•qripc.J

:11 l.,;lJlCC

Jll'd.\\c;tr j,

in a rcn

Wml f'OLD£0 .Sll.X TlUOUQHOUT, J...-~5 £.1-Im

I)....::-.igner r tlcl~111 l) B:uher.1 .....

W~ onfCJ'lfli by maiJ•raa: C'C!kn of IIWU. EuJr •kctlOU &U...a.blc

JiRTRrPI]R & ]]

(ptigt" 1-JS) could h:l\ c dw,cn .lll} t\ pt•

(lr nccktll'

fc.11' thi-. nllrl1t,

bw l..

---- ---- ---

-

h


--

1

h.: tlptL'•d ti)r a 'tnpc l)n~ \umld be h:.1r~.t- pr~.·:-)cd .111} thmg

tl'

fiud

r~~uncml·d d~ri' a[i\ c or prcdinabk· J.bnttt

J~-.tgn \\lud1 j.,. prob.tbl) \\h) bt: ch~..bl! j;

ll'

"·'It' the pn1p..:r

dm.:crmn uflu . . uipc .... lugb ... lcti ro lm' right. ._ \norhcr rca.,on t'Or thl' 'tripe\ h.Ibitu.tl prr.:>cncr under rht: bcncr .1rrmcd ch.in •

j..; il~

diagom1l d\ n.lllliC" The <I

.. .triphl necktie\;

sman d~~l.'r undcr..tanJ, d~1tam lim• that angk•!\ ~Kro"' th~ '

b 'd' al o \\I.Jrk.'

to

.:-lim it. In

th~·

l~blrquc parrcm m.tgic4tllr chisel~·'" ~1) brL'.l~.irh ~111d

1t~

(:l!'-1.',

snftllL'"'

r·n. m tht• [JCe•• m .1...ham.1gl' much priz~.·d br it:\ d~.·, ntccs

I her~.:.;!' ~murher cumpdling illu"lr:Hit'n ,~r "In

men

l)r lofikr

. .ocial plarr-.ut...; rend w lean wward the

'trtpc ir!' mEuuarmg '"agger Bd<n\: fdm ltardin~.:.~r cmpk'~)

:tct,)l' I~eginakl

hi~ . . tripe tu pwKtll!H~.: hi..; C;\pan:-c ,)1-

biUt: sen~~ \\hale cJch of ir..) fortY fi, e degrees rcinl~m:cs 0 l

rhc fhagon~tl

!I.} mmctq

~

(,f hL' double -brca,tcd ~ui r.

Hl)l

)k

t:ndmg"'- \\ iK· Bcnn.1 on the left. Rl)Jlald ~~o lem:tn '-'lll'agc.s 0

STRIPED NECKTIES CHISEL

L

AWAY BREADTH AND SOFTNESS

thl' br,.lad repeat of hi' n.ccktic· . . rripc ro harmonize with ht" -.;port Jacket'.... O\Cr~izLxl pbid.

FROM THE FACE.

J

1..------

-

----

I

1


- -rl t E

p LA 1 D ~r1 E \\ 'h~th~r pt·int~d

tif

wo\~11 \ilk ur

pl.1id nt"·ckrie ha. . :1l \\ ar~ attmned r he traditional • i"t b, 'irtue o(it!' rkh "cutu,Ja heritage ~I ill' fir~• plaid tie~ \\\.'1"(' mndl· L)r \\ r•ol. b~L'HU'L' t)f tbl· lllOll r\ :l"'I{)Cl:ldon "11 h l.lrt.lll kilt.-. 1lo\\ CH·r. l he mu hemic J I ighland plaid~ "t:rc \\lllJI. t hL'

g~ntrillcd inro dre~,j~r ~ilk \'t'I'Sit)ll\

r\)J' 10\\11 \\CHI'

dbt1ngui~llt'~ the pbid frum11thcr &tt.!doie mottl-.,

1s

\~ ·hnt

i1 mul

lil.l)L't'cd bl'~l1k~ dt..·':'lign. "hich crcml·.'\ 1hc illu ion of DRhSI~G 1Hf 1\I!\N

~iillll'n~iniL \\'lwn m:11cd \\ irh :1 :-rripc• nr· ~1 ditTm\'nt :'!Calc

dwd... the pbid\ \.kpdl

or

ril·ld

jll'l'h.ltlccs :1 ri~."h alld

ntt.\JlCl'd 11~11 tin\?ss. I lc'TL:. a 111;111 "h~_..l kll\.1\\' ho\\

n

II• Jlli:lkc

:-oli~.l .suil .ln~l ~.lrL·~s shin JflPL'ar k·~s plain. jlqwcr':-

lugh

com r:t~tcol(')l"t'd lll'cktic abP :-;a\ rs his\)\\ n st r0ng ((llllplex-

inn (dnrk hair nnd lighL -:kin) frl'lll nppc:tring le s ~o. NECK\YEAR Thi~ ne~t :-tatcmcm might

SOLID "l'l'lll

:-.omc" har t.lf an L1Xrnwmn. hllt t ht..: 111orc sc)phisticm~d

a man\ t~l"LC.S in Llnrhe< the mnn.' "ol1d 11cckrie.' he's likcl} d\\ 11

like the lltxcdo' chic which depends llll only two cui~

ors. the ~~)lid necktie 1~1\C'I"S (~ec

Lu

rlw

h.:.'cotnL'!-

'Inu:1lly tndispl'nsabk· i( llllC

quiL~t ::tsJ-ctth·ctlL'S:s ~>I

Dnugi:Js

T:1irh~1nk.s

the

~impk t'\l) · tun~

kir

and ( rl~lnni 1\gndli. ch~lptL'r 1. .. Per-

m:mL'lll F:1shiun."') l;enrgc I ra.siL'r. esquire':, l;t,hion pundit cx:traor~linairc. had~ pcr~tmalln,cal"f:lil'\\ith thL'~olid

...~rcnadlnc necktie. ::ts di,J l~1rmcr Banw\ ' rrc\.{ PrL·~~man. ~~")ll(OLJid

unt

il1lllll'

mah· boPk l\11

'\.t'\\

bi.Kk

York\'" ner.

Prt!~'man

slwwing

of hi~ cla . . sic ._grJv llanncl c'r r.111 ~~1bardirw en em J

\.

blcs aco1111p~mi~d by his L~Ycr pr~,.·,cm bl~h.·k grcn:tdme lour i11 -hand pinned just ~o askC\\ intn lw• blue drL''·' . . hirt . The

perenJJiall) suign.: cntcrwint;r 1\ubhr Sht)t'l uw11~ !l collcc~ tin11

of ~di~.:.l n~l\\ and

Stllrd

black 1~111(\ ''men .silk.: th~1r

' ' tllldl'!Ubtt'dh niiUHJmhcr thnt-t.' n( P0rtt.:r •

lrcr.sln' ttl. and

Ulingrun n'rnbincd. The ~crond ratinnalc l~>r a \\':lrdrwhc: rcpl('fl' "it h inTl:'fC!>tjng ...olrd nc..>d.me.tr 1.!' thL p&~l tl'l'll

prt..:rog:Jt ih' .\~ thl'" ·ai'ici0nadt' .l~(Cilds the p.HLern lln -paut·rn

:-rairGl'l'.

rhc :-olr~~ nt.>cktll:

oftt..:n becomes IJi, bcq rriend St,mctJtll' ~'n(r farctinu~h Jc,cribed dw 1\riu,h 3ppr:o.Kh w '

d~,..·("l)f ,1, that \\hicb L~mplcl}t>d the brgcq IIUJllbCr of (('lllll'~ \\ithotll dJ..,hlllg ) llf thn t' men inclined tL' push rite p:utrrn cmell'pc. the 't)lrd tic ba~ ,3\l·d m:~m a llL~cl. from ll\l;J h

lllfllf'

ambi 1iou" del·{ >r~ll il m.

-~-


, \\ 0 Q L t

1EC

K \V EA R The- ll.tli.IIJ:- h:n l.' i mere' d 11~ "t' lc

....---------------1

k.1nn.t l mpll\H~rcd Ln their de...;ign 'tnuo,ir~. "irh ClllC lmnd t ht.:\ m.111~1gcd tn mundarc rlw rie \\(\tring world in a ~ca ot" ~

~

mtrll..,lH' prim... \\ InI~

\\ l[h t hl.· •Jrlwr dw~ m:ln.l~~.·d

l\'

prol.lth.·c

CJhJUgh h1gh d.l'- tWCktics to kc0p frlllll drO\\ 11i11~ ill dH.•ir

(l\\

11

C\.lOlllll.'J'(I.tlcftlm nun lk,"~J. ., \.':o-~.·uing rhc ..:trip~.:· (r'-'111 ~..·l·rt.1in l'~nn~~tftlJl rhl'~ ~..m aha be lTl:''-htL·d '' ith

rent JpprlYI.ltlon of lu~uq

\h.:

till' ~l) li'h m.tk\ cur-

llncckwl.·ar

I \lrtun.nch t~1r rbc. oubidc ''odd. ~

L':Kh

ol-lt:th \

Lltic"

e..nnt.tHl" pod...et, of so(i.llly pr{'minl.'nt. q} lt· .....1\'\) bu'ii lll'':-.llll'Jt

,, ho h<~pp~'' w be p.t.. ._,ion.trc .1bou1 app.tl\'1 It\

nul I~H·

.md undt·rqmcd r:a..:tc. \\t.!rc ir

L,r L:xccptinnal qualthis

.

(.·gment in tht" h.11i.m men·" ma rkl.'t. ma m ..

\Hntld not bl· pri' ~ to ,ud1

rar~fieJ

~.liscrimin~tting

1hHl

ra,rt• and \\ carablc:-..

otto be confu,ed "irh rhe im.~'pctt-.:1\ I? llL'(kllL' of I ngh"h nntorict"'-. tlw; i:~ "J

I tmd "~" n in

lllt'l

I tal i:111 men

,1

tmalh I

'' Olll

countr)

~.li(ferent animal.

p -r~cnt wor:-tcd (,bhmcn.· or blends of (,,,h

ntt:l'l.' aud ,,lk. clw. sm:tll knortin~ ""inuou:- "rrif-, uf L.Ktik ddight ~

~

rtlJt:(r~ JtllHhcr ht}Cf of re.xtur~d ridlltL''' intri th(' fl~ti1J11:1 :-~uit cJr luxLtr~ 'port j~KkeLl'llSl'Jllble.

I k·rl· \H·It:nc the embodiment of ltaliJn brio. l~inttlli i\gndl1 '' ho like'i hi~ hcrnngbotle wPol ~

tie -.n much th.ll IH.: \\e.u·..: it

O\L'r lti~

c.1-..hmL'rc ~"cater.

Lllllks

~

perfectly kosher rn me.

I ong .111 .td\·c,carc on thi:- !'ide <.,( thL' t\tl:mt ic lclr tlu' (t)Gl -" eathcr ned, rq~:1l i~1. t hl' L

1.1

r

flO\\

undcr~tanJ,

the wool tic\ tc..\Lural GKhct :1:- well as

it$

change of...;ilkcn pace


-- -

-

l) I~ I NTE D N E~C K\\'EJ\R

l'

rm.t printed Clhrk' anuall)

"ilk muflkrs '-llllJ•~rim~ in rhe

latl'

fir,! gf'oJllCtric ~.:k•qgn::. pnntt>d

'ihl)\\Cd

up :ll't~und man\ throat

nitlL'tt'~.:'IHh cenruq II

•)Jl :1

pure> sill,.

£:\\

\Ul-..n't

jJI bl.!gnu

to

t1l

tht." form off 1m1Jl

th . . e~rl~ llJlrJ.., that thl'

un11t

111:1ke the rllUlld'\ of the '--ultur<;\

mor~ fn~hton.tbiL' n0lk~. l"rnm tberL'. tlw tr.111:,iti11n to ned.ttc~"\\,ts almo.t automatK If\ mk DRl:SS l'i\',; HH

M -1

~

''hat limited Inn·· (c.•nn;ll iH· ~ ~.~al'l'\, the st:unped l1f;lpplt~d method uf making p.m(:·rnu.i dmh "ns ··unsid~.:"'rt·cl 111 fcrinr rP pL"nn~men tl) "em. ing rilL~ tk·~jgn dirc~d~ i 11 U.l t h~· cl~th " ~lli{tct:

Bc-c.lbl'-c 1r ts le~' '-'xpett~he

t't' prt)llu~c th~m

thl" wt.:,\·~n nnd em accPmmpJan.: decorn

ti\l~ rno11f, c•f C\cry \.-uJlC"ei,abJ~ ,.ui. .·t). pnm ~1rd~.l!t'S ar\! rhe brge.;r-~L·lltng cattg~..'l! ll( m!c.k \h'ar P.} tht ltJ(,rJ:-..

rlw

f'-'P('fl

nf printl'd "iilb 11' tile \a ·t .\menG1n markt.:t uni~.J:-htd a

\ eri tnbll.." e~plo..;inn in thL~ qu:mti n at~d dn cr'tt} n( f.'lbric design~. '' hJCh u1 turn prumpr.. d fi1r

thl"r 111 11li\Olt j, lll~ in rhc produft iou ptucr:-s. In rhc cighrit?~. comput~r~driH~n tcduh;Jiog) prcs\!m~d

rlh.•

prim de'-Jgrwr

rual bl.mk l"am .1 ... on'\ hich he n•tdd 1\.'corcl and iu,tanr.:meousl} reproduL"c

\\Hh

a

\11

m1~ or nil r:r~.JU\l

impul'c". \Vh~tht?r i-n the name of \\l!nrablc an ~nteJTainmcm. ur \11npJc ~hod, thr lll't rt: Ulh \\:l'

Lh:lt ;li-ter p,,,o de;.;adt~!" of m·ckues as comer

rht· pnnu;d Jh.'tktit und\!rmmcd

_,,lJ iun shHTl't''.

it!'df :h ~m..tdjmKt of mule dcg:l.Jh·~ \\ hde dc:bJ, i 11g ... t !Jt.> ll~~bH~<lr taste of ~111

C'Jlttn.;

cult lll'l.: f m·

tl!l' mO!TlC'Ilt. :--hould ,1 man \\.am n"')

:tcqu•r~ .1

neL·bic "ith ~ r·c l'-onablc prob.1bilit~ of ue then'

I( Hl''C'' in. rhe" m t'O de1-ign tie \H,uJJ gcul't aJh bl.' t::' I

'"

'-

[he ~:1fer bt•t.

That ~aid . .tlwrt• .1r,• ~nil :1 'h~hh of (igu nn ih' mnti fc; and gt"'llfe~ ut print ttt.: rh.u t r4m :-~..·ctll..~

tlw 'Ltgarie~ of fa.lmm Ltkc 1h • ''til cut .... gra) tlmnl·l ~uiL tbc,\..~ 1w..:ku~. rct~in thc.:·tr-.n lr h~ m·~- b, \ inue o( rbeir 1nl\11lrt.•..,l:.ctble g~.u d l.t,h! •

C H.-\ R VET t bt.• 1q

].1.'b Lmd

pRINT S \\ tth rht" tq

;tfHliL:ill

m

~l. b ~pendmg more Jnd moll rime

\ m ul'.H ion. rc~orr dn.: sing l}(.,Y.unc .1 prml.1pal Sl.'lli'Cl'

l'~f f:t~hwiJl in:'pimnnn. l11.:r \\ eah h' I ur\.1

p,·:m cmbra~ed .1 '1Jmmct) lol1long ric t"(IJl(t::lh"C! h\

rht' Em1ou-. P..u·i.::i.m ,Iurr and cr.1' .u makt:r Chan N l"hi' li\'IH .1nd bn"c:A. ncc.knt· fc.uurcd Jlll'rtl:. th.u ~

fX'I"f~· ....tl' c.1pmrcd lhL' holid.t\ mood ,,f n ~

-- --------

t!ll\lrtlll'


\kan\\hile in the !arc l\\\_~ntiL''· tht: "hir'-· ~UIIll11Cr 'llil began "" J'Jim Ht•a'-·h and around

'c\Cr.ll

111 g<llll <KL·t•nt.lni.'G i11 , r

\m~ri(J.Il unin.!r'itiL'~. -, h~ ncull':tl roncd

"till

d~..·matHieLI

"Oilk'

,trongcunrrast .md hke their lurup~au~..·.,mnt"·rr:llh ,m:ut \mcrkan~ tl)t'k w dw t:hancr tic

l1h· Jm:b ro \\,ttt:r. \ltln'llgh '-'

till' 1:1,hion~tbk·

non [CI rht ru .:. Jed the PJ\l'lr

111an ...geucr.tllr' <1\'('l"lcd bold Jh.'Ck\\L"ar. thi~"- L''L~r)

or th '"''- \\ dl drc"'L'd 'tKicn lllL'I1 \\ hl'"l t'rd in:tril) held tkl:->L'I) hl

.. mall.md con,cn d[l\ ~ ~11~cb in t hell· Jh:Ck\\ ('~1 r. I r:- ..:.-h K

\\ ~1~ 111

their ll n ru'>S\ m lllChal.m [ bt:ann~ ...

fo rh.~ Jdt..!ht of rhctr m.1m .tdmtrt r~. the "-:11:11'\l..'r:-; L'n~' ll o.;ettin~~ t:Kdn.ucd blcnd111~'- "it.h ;111 ' r '-

kmd.., off'Jnt"\ 'uiL'. frl m ht1Uilli'r

u.. 1rlh

tP 'trine:-.. tll f1bJl!, nfi!lml)~t ~1m* r

trJ.lll.luner pnnt' bt•c:tmcthe tlr:-ot and rcgrt'tmbl~· almnst rhe

!.1 .... 1

'1/L'

\ll' dt•,tgn '-

The l)rig._

buld- ftgurcd ntxktit· ll.l')l11

N

I ( K WT.-\

[,till:~ upper da:'l' r.t~h:: \\ ith rhc t':\Ct'plilHt ftJ)\.''

elected llcnne' ~c..:~rf ri~,·,.

l,f [mi lio Pqcci'o.; l.1rge alJ tWer p1·i111 tic' in rhc :111d thl' ,>dd R~tlph Lauren :md l.;arn..:.-k \ndcrs\lll ncckric

prmt (n\o oi" \mct'tl:i:-. bc~r punC}Llr~ l,( the p.lst). tilL' prc...'Pt'IJder.mcc nl" l~1rgc· figured prim ncdare' cmrld prubabl} be termed lll\t:o;~ r~Hht.:r rh~n nJcc

RI1dh) pcrsoualir)' tllld wmt·~iillu Fn·d 1\llm hosr i~rg l17cjimwus Amos ii ·A ml}' ttmm. Up to thdr 11t'Ck in chan't'1S, tlzt:S(' bry~ kllc.'ll' lww tc>l'JIIt'rlaiu millions •rith wit mrd imdli{!nlcr .. • words that cmtlcl ctptly dt'.suibr thdr llt'Ckll'ctlr


-TilE PAJ..,l£1

lr7lt1on .md It' .L''oci:ujon '' trh rugli~h t.l:-tc, p;u:-k·) 111

the ,,orld of malt~ lll'chH•·Jr.

.'ll;t',~-'·

l'lliO}' .1 'F'L'ri:1J

stalll'

In hi:-. (l>llll"l'l\L'r:;i~ll :-cYcllt'il.·~ bt"1~)k Prc,::.f~w

"-'<.:'' ) ork im:1g~ (On,ul rant

Itlim \ loll0' t.lpi 111.'d 1h.n t:t..'nain

lll'lk

thL'' 'h.!llificlt ~l t'-..1 breeding ~1nd l,"dUCHIILlll { )f J11 tht:• k)ttd lk'Ckrie.'. he d<.:'l'l11l'1.1 r',IJ'k'\ tilt" lllll} pcrml''lblc nne bcc~u:~l.' It \\,b the .. li.mlic.. ut rhc uppt•r llliddlc d l''l'" I'rcud thought' lll' h.11..1 rhar .. h' I cngtK' ca-..-hl'r:· bcc.u

'L

d1ar J p.u lc} p.1ncrncd ric'} mb,,lized 'irilit\ -.ttlCl' it rc~cmbk·d ...perm. nw p~wdl', mmit- prm id~ ... K1r nch npponunitie~ l'r color ntl.TilCt: mh.l1ormaJ

ill\ ~.:nrion :tJkl rhL't'l.:fur'L' (.l n rc.1l iz~.· it!' full (Oil1Jilk'ir~

onh through rhe pruned medium. Jintlll\

'-)tl.'W;-Jl't

:.hm,~ o(( hi-. p~llrem~

1111\:Jng pro\\ 6:- "tth a dre.:-:-. do" 11 L lhlmbk· of qrjpl·d o.;hin. glen dwt:.k 'PPrt J:Kkct .m i ~clulard (lHir in-han~.!

("L'c

lll':lll.\c hc~nn·,

al'u

\\O\L'I1

paJ,Ic\ ut~ page ~9 ) CLUB AND '"'P 0 R TS In rhe tnrmdu(tiPn twnt 1 ngh-.h co,tume Ju,rorian

}<111ll''

his bnnk Tb, rhc cmi-

l\1

l.a\l'r pni mcd

that rill' carltL''t

tllll

rt.'(\,rded ct of porting col~)r' bdong.c~.l ro thl' I /mgari Crh:kd Club.

\\ htch \\.h l~\t.!llJcd around

J~...j.)

b) .1 gruup l)t") llllllg c~ullbridgl L 111\L'f'iltY

mJcnL" \\ho cnJ ;} ed both the ga111e nnd .llll:ILL'lll' thc;,tric.ll~. I hq \'ro1.dd JciH.feZ\Ilth

;a

thl' Blenheim J h)rd on i'cmlt

\trl.'c:t. '-lnm~titll1.' rhL""fL·aCtcr· a

~·t nl" (r1lur' '' .1' adoprt•d that could b~.. ~,n nll:d \.m

:1

lbg nnd llmrn ('' cr the

Pm 1JJ.._ Ft dunng their mmcht:" ·1ht"'' cho,c hi.Kk. a CliTUt \ bri~hr I'L'd .•md g,)IJ. tn~}mbolize outofdarkm.:,s. thn1ugh rirc. imu light" In t~/(1. when \.

#

'-""'

the\ (,line ro :1dopt a ric. it naturall) emb,,dietl rite' ~a me col~ >rs. \nothcrcategon motii. . th<H bcg:111 \\'lth a l'riti~h "'. offigurarin~ ... "' m1l\.1tllm ''a' the allon:r spon tic. I ir.;t g<1jning (11. pubrit\ in d11..' I..'Jrh ~

19.2Ch. It

\\as

1

j

.,

ucd m ... m.1ll editinn~ (If subwn ~rela tl•d pat tern' printed

m '' 1..10l chaiJ i ''('.If

"-

I ach theme prtl\ illcd

it''> liCHH Cl'" \\ i rh .111 c\:Cll:o.c

111.111 '\P('rt~ f&gurcs that signified tHll..'\ soci~tl ~t:tt.us .1s .1

pol~)

h,

pl.l} cr.

g( 1! fer. :mJ n 011

It took

thl' cdcbr.lted

lliltatt hur'r lmcr hl put

r n... nch dl·

ig11er lle111'i d't )ngn).

rhc ~pc..'rrs rit:: h.Kk

i11

11.:

llcrmc-. rae has brand1cd our

Lu tll her

Jiwmr Stemm ;, ,, pm'slt'}' ul'rktit. BOITOtv1:

pas-

I

I

thl: . . . ltltlk· \\hen l1c

n.:l~.,,cJ lw~ fanll\LIS cqw·,trian J~,igns fut·l kn1tc i11 the Jl)~\l~

the d.u

;l

TOP

'Ti,day.

..

- -

ubj~."ns. such~~' paltnl rcc-., ek·phant' and b.1l

h• Hl~ g..1111~ring J tc11lo'' ing around the \\uriJ C\l'n amollg nll'n "111-. ll<.'nnalh C''cl1c"

::\11\ •

1~'1"111

)f tdl·nufi.1blc .u11re In nmd1 the :,amc \\cl) that the llcnnc . . lie":. n.lrru\\ "ill tit Jd~~" f.1:-hion anJ llhl't tlll' n"" ph) ''-lut·s. tlu" icon' "ct•mtngl) comr.trinn im.1ge '' l'rb tl) ih .k·h ~tntagt: I <'r th.: 1mc tmcnt (llmmunit} and other

uil"\. its

C1miliar J J crmc~ dc . . ign a1·g(lt l1n'

\HJrld Ot:\\t~..'it nkl ho, 'dub nc.. (:--.cc: Jlso Pnncc Ch.1rl~~\ ric page 12.R)

----

nt.11.k

it dw


T l.l E ASCOT

J h._,

.t~cott~

thl' mn"'

[~H·malt)J11l' ufnet"kuc l~nm\n It-, nJme dlrr\i. fr un

rngl.111d'~ \sc~._n r.tr:c~ hdll nnnuallr in \pril -,mn·

t.•arl i L.'r 1) pes of ncrk\\ car th:m the f~,u r in h.md t hl' .hcot '\till

)R£~ '1 ~ l;

-u L

i\fA r-.1

n adhere\ llll rt. do d hl dtt. bdong\ ro tht gc.:nn: 1h..t ltll m

1-1 • \hhough

dll' ru:H fro11t \Vurn 'pccilkall} '' 1rh ~Htn.ll d.J} dntlu?~ tlte .l'ct'Jt '' frcqHL>ntl~ found 111 ru:h :.Ilks tJf .-.ubdttL'd Cell( 1rings ~llld, in.:i ·il'lllalh all~)l·ds the genrJeman n ho \\ p.:h,.. u~ 111d11l!!'-' 111 i \.~bpl.1} ,lijl.'\\clr) rhe opr)onunit) lLl wenr n cr(''-tt~d pm t.>r n pc:1rl ~I Oll~t). a cots .1 rt:' \\urn ftw !i-1rmnl d.t) .Jn_.!-1~ c . .pcci:dl} \\ edding. Jnd ro11. sdu,~

J'=

ngut·ur al hunting owing. rhl' Fhlinted cndt'd blade., .trc tt~."Cl m a -.impk I nt:•t \\lth tht t.:nJ\0 cm,~~.:d c.>H'r the ~hinframt t11 l~>nll a pl.~twn on cl1e che l the

pearl. prder.1bl}

J

\\boll -,t.•t"urcd b, a cr.n n pm n

r~.tl on~.-,~, quorc f1·om .1 19J 3 <..;a:t•Jtt dt· Btm 1im. 'oOt."T} ·"' htgh .trhnl r oi l , ••lit~.

JtHit. ··1 ur a m.m to \\Car the. hcot proper!). along" ith the nobilit1 nfhi" m.mn<:r t1u: .uuhunq "i

his g.ti!. :md Lhe 'olumt~ l)f hi~ mf',. ), an deg:mt beanng ~'Uid much nJntr.tl iJldi!'ncn~nbk•.'' r

·rll E

bolt

pr..:.'il'lkl'

.m.· l!l.t.'l\1~

·l, much for rhL' ~lh'ragc joe being nblc tO muck ~n·0und 111 unc '" '"'

Bo ' v l -IE ThL· bcm tie deri,,·s fmm the ccnturie -old 'i:ql~ knl'''n

or\\" hahl~ l~lbric \\ r.'lpp~d tn.lll)

rime.•lrnund the

fle'l·k

.t...

£ht.:

'h1 d

d

and Ut~d in front I \t.>ntualh rht.•

stock,, ,1, rl'dli("~J tn a 'i11~le ha11J around rhe rwck '' ith h~ end~ tied up Ill rhe h~m uf h JJ

\t

nitlL'tL·L~Il l h cl!nrun. there'' ere La lca'il two dt!"tinct m£tdd . . t,fb{l\\ nc' tilt ~tn • tarll} and t ltl:' hat \d ng The "·arliLT hunc•rll~ t) l~ ''a' dtaractenzed b\ brl.Md tl.tru:i . . h .. [X

d1c t.:nd (If rhe


---end',, ho'~ "h.ll! bo" riC>d up "ith ct :>m.tll knot Tlw 1!1m~d I n~hsh manufacturer \\·d,h \ l.u·g~t'-L"~n. aloll~ '' irh orlwr [ 11 gl1 h firm ... called rheir bunrrtl~ b"'''~ tl11'-tk· tie~. which '-' \\,1.

a more accur.l.tl! dc . . cnprion of rh~ir form Luc-r on, rhe burrcrtl) w·.IS 1110'-litled into a narrl)\\~o:'r

~hape "irh qu.tre end:- and n:nn~d rhe ·'batwing .. \lrhough

rhe dTcct "a' pa~Kticilll} rhc ~anw. it '' .1' .m~1incd "ith

llllKh

Jt:Ss rroubl~ The butterfly· '' ing' h~1d to be m~1dc in di!"l~·rcnt

,, idth' ro .1rcom mol.latL' \":lf}'iug un~Jmpcd, .,tr.1iglll C'lh._b

(\)I! a r

or the ban' ing fir

heigh t.s. wh i It: the

CdJbr '>ilL'\ J ll \mei'JCa. dw. 't} le came to be knO\\ n a.." rhe dub bu\\: AIrhlmgh rhc:) can l~ \\Ort1 intcrcharlgc;lbl}. tlh' thr'lk ends ,houklnol ~xcet·d 2 ~ 4 inche_, or bL·Icss d1::tn .2 1 4 inrhc' Ill'' idrh. while dw bat\\ ma'_ t ..tb" c.m rang~ b~nvecn b ~

Bo" tic~ can be ''orn occa~ion!>, Ja) or C\'ening.

1'

011

1

llll''t

inch~.' h1 2.

both

inchL''·

(~,rm~1l

:1nd

inl~'nn<11

and are (Orren" irh ~..·ithc.:r '-tnglc-

or dl'ublc brc.1sred jackN'. t\s rhcr cxpn~t· more.· ,hJn(J\'IH rhnn &.he ltmucr l·~lttr-in-h~md. it· i~ not .::-

sumc form

of~ \\ai ... tcoar

ro find

lltli.'Otnnum

in :lrtt•ndancc The bow

til'

tends

lll

be adopted b) rhu. . c men "husr prnfcs . . itlll' rcquirL' th~111 w lean O\er frcqul!ntly. such a' archir~cts. doctors ..mcl ''aitcrs. In \meriLa. the lxm ric retKhcd ib pc~tk ol" pt)pubrH) 111

rhc nud thinics. [Jucatcd bcm de l~1rc l·or

man "cnr omcrhing like rhi!>. a t~ 'ulard bow ""

till'

fDr

a

n'llcgc L\\ ccd

Jacket. a plaid buttcrtl} fur his ')inglc-brc.btcd gabardine !-llit. .md m:t} be J rcginw11ntl bat\\ ing '' ith hi~ ~hcrl:'md j:1ckct <md gr:t\ tlJnnel' Jn the l.are 1960s. lhc bo\\ ric ancd a' Lhe per~ feet fotl for th~ mo't inuginath c and ourrngeou of cok)r '-'

..

cumbi rl.ltton~ .md de,tgns

\<\'raring tile Bow Tic In the hnnds uf :111

1.!':\PI..'I'it.:tlC\.:d

pcu.:ti ~

Le Corbrtsic:r q·itlg IIi$ b,,w tic iu aaonlcwcr ll'it!J IIi)> m~,od.

tlunl.'r. the bm\ ·s final .:bnpc can end up inilucm:i11g dw nutfrt·s O\t:raiJ im.1gt! ~ell rTJ(,rc chan its fabriL >-:~o.'Ck\\t'!lr ~huuld nut

d1 t:r;Jct from th~ t:K~

.111d

bccau:-.c t[ is usunll} th,:

llh.l::.t

L

-

prl'Hni-

nent item of doth mg. i[ musr ah\ ·•>' bc GJreli.tll} prcsen1 ~d. I krc' l he architeC't It' ( :urhu.,icr (at rt1p)

f~htuning hir.. slip of Mlk to Ci.lnlorm "irh it:-. more t'rdcrcd

tt.s bcncf.tcrnr\ h:mdmork. the bo,., ·s f~,,·mmion suggc h

.1

'-'11\

irom. \sk(.''' c..:rwugh to rclll!tl

man in control t.."~fhis PJJ\ ironment. of

hi, 0\\11 l}lc .\ltcrnari'elr (bdou:J. he 1._ c.-apmrcd m lt''i .tustl.'rt· circurn~tancc-;, rdlc..'cted l>01h hjc; fact.ll L'Xpn:

'-tOn and

b} hJ!'!lllL'rc C<l'-U:ll (L lbr a11d ~u([cr r~nd~red bl 'w !\:orieL· in c~ch ra... ~ the

prcsl.'n~e of rl \\.ll~tcoat \\ htch hdp~; t1..1 mmimizc thl' from·, opelll'Xpilll~c

--

----

111

----

f j


16!

.....,

a af'

0

Tt-tE BOW 11E SHOULD F1NISH .VITHIN THE OUTER EDGES OF A MAU S £YES AHO Tr.~£ ~ DE L r ~

o.-

5 F

t.

tir . . qJi"ltl) t\\ni ..-.qc ~o,hnulJb~.·~_·,m idtrLL:I fJr,t ih \tdrh!\h uld,ht the ourr..~r t.>dgl' ,,f.l pcrlinn\ l~cl:' .•md dl'ltnitt.•h m~r bqtHh:l rill: btt.tJt.h .. (h, . .

lll\\t':tr,lblm

C\te!ld ht:}L'nd

n)II.J r \:- \\ i rl1 \'rher n~"'l-b' ~:tr r h'-' ,hj n '~ \:'oil a r .;la;u ld Fr.unc.' 1 he rie" l.nnL . . 'lllL' n .J],ir lt~llf.t.'r 'tT.1igln pt;>im lW "~lfter .1\ t'ra~c' ~

'iZI...' hu\\

st.'llll

llnn'l purch.l~l"' Ull)

l'nd~

up\\ it hin rhl' L"nlhlr ...

btl\\

tie\\ itlllHll Jlr~t

II\ ing

'lllL.'r

cJg'-·' 1~ c l 1h

that it

t

cdeJ tht: ongan d t '\,Kl "11~ h ''' .b ro he- ~i.:rtttmth;-tt I[ -.n bt sh ·tn

it dll

0

~

~~lur c~act nee!.. :.i/t'. ir:,

lCt·c

'Hpl'r

ened "'nough ro hnnn,mi:~.e "ith \l)ur t'" 11 fact.tl f~aHJrc-. 1 h1" ml"'.m" rh.n h1

\\it h

spre.Jd co!I:ll·" '' 1!1 happ1l~ aaonunod,nr ht

ph~ilwd wda). thanb to l11c graduated hand~~ 'tl'l1l that

aJju ... f,·d it

Jl'\\ 11-o

tTL'.

I nsuriug th~lt rh!? bti\\ \width tiC

Ht~n{ 111

1f .I(tt; r \C\U

bl'" ;.., 'IIIItclo ''Ide (a ,-\,lll11lun plt>blc.:m) chc.. ·k h

h.t\l '-c

L.111 ~uJI

I I1L'

be m.h.lc "lll:tllcr l<J fu C\)J'fL'Cih. • ~ ·o.) nd i:~.su~ l"nJKt·rn' tl1 t; 1\ in~ .. l) ( th(' bo''· ·r he brm ru:- \\ 1'- tJila Jt•,,·nhL.J J' .1

.

"g,trtll~lll tkiT LOillbill~'- GnnridClll tllllll"l'h \\ llh .lb-.~.,,,ll[t; rc'pcct ..IbJJJt\' l hl•f\..' I"' Jll\ pntn[ Ill

~pl1rting Lhl' brm bl)\\ lllldl·r

\Our

lit: tll1lc

::>

chi11 .lu\.1

~qu plan 1.,111 r~ iltg II \OU

0

unprc~.:IiL"tnhle .. ,, irl~ g.iH" )<'HI

}•Hii''t.lr

Pl.Kt' a llUlhL'tnltk.dh pert~ -r rr'\j

tLll·~nkL' .til I Ill~ I\ tdu.1l1t\ llw h.md nl'J bn\.\"'

tlhH

111\Jl'IJ\

lo ,p...,

Ut.:U t

d

suhtle m . . ~..mn:tJt..·t~ dun dt'"'>~rL'd ..1plmnb

their~ \\ilh mt>n! !\.mgfn•1d th.m the fn:nch bnult\Jf<~.ll\:f ..

J .lllt r l'hilippe '-:c)jreL llerc hl' t~1~h1o11. 111~ dub brm '' ith under... t.n'-"<1 d4111 -h,n·d 1:Kkct .Jfp•.tt.. :t '' m tCl1:lt. ~o1i l)11br ~hirL mini dot DO\\ -.pm of f..ml.ud .11 \.11'-''l. .md 'tU z tllr: idll dw ,bft.; t tun cig.tr. .. lJnJI,c ..llt'llfl .. nr irs lll"'l SIICL'illft 'llh.' )l1ll .ln.: mun.• m.ch I'tl fmJ flll n \\lth rt.d per ~ lllnl ..,q·lc frt.. m thu:-;e \dw hnH·Ih \.·d lung c.'nough rtl h.n c l'b \.1'\ ._•,u Jf .lJld thc.u appr lpn::un.ln le" men

f(H· tiH..·m~c-ht''

\\c,lr

i11 ~._nlll·r "')rd ... thl· n\L'r

ftfl\ '~t

-

-

-

1


N

Ph1l1ppe N lti t s!Jo" u~ hu Galltc gout

f

c /.: \\ I .A


DRI:: '·' r N:tr TH r i\1 :\ ';-..•

--~

T}'itlg the Bow T;c L'-'arning

to

knnr

riK'

b(m tic i" m-n tht: daunting m k

)OU

1mght imagine tt

requires Ill> tm>rl' 'kill rhan tying' ot r 'hllC.!'. Onl' "m to pracri~c i.:- to f1r5t rn nnw 1\.UlL' .tround hlUr • tr,..;J ~

I

Q

..

lhigh. SirJo,, 11 and eros~~ our legs.\\ r:1p the bcm an,und) 0t1r thigh jusr abV\\:' dw knl.X' :\m\ do'~

yottr l') L'S ~1nd tit: it J.<.. H1ll \\ 1.)uld roLl I" shod~lC\!. \.."'lpcnin~} ('llf C~ l'.',) OU ~hlmfd 1ind l hm . .!It h ugh 11 ll\:I} lad~ ~1 cc•·tain nc.srltetic }'Oll haYl manipulatL'd the bl-,w t1Hl1 J re(o_f.nizablr knut \Vi1 h n ...;nil ''TappL·d ..tbnttl vn11r knee. rhr bl)W GHl BL)" be fin~ wncd 11mld It le-11 1, ,op in )'tJttr l~(r h~md and the rtght lm'p in) 011r right. Pull1n~ tla~ r\\O loop:-. 111 nppn ne din:t: t iot1~ 1ightcn~ 1he knot:.'' hdt.' pulling rhL' two t,tb L'nrb rc.-.hnpt.:.s a.nd ~u·.11ghrcn' the loop

.. \ Crt'r t:mDJ iarihing y•1ttr<•cll \\ lth tl~t.• prl1CP!'-.. lhl\\

1ry

knouing it around~ lmr neck bm

without ~1 shirt FL'r Ill)\ lccs. the :-;h 1n collar c<,mpl icatc-. rhl' le.trning pron~:-~ The big J,ffen:nc~

here i · 1h:.H in ,rJer ro get blallc

tllll'>t "t.lrl

out Ct)ur

e:tl·h

L1r

..-id~? nf dtl! be"'

tll ,.:omc \)Ur equaUy

m "idth and lt·ngth

.-.o inches l,,ng('r dt:lll thl· orhcr \\ "hic:h ,jde} ou cht\l'":t·

fd

l'JlL

lllJU

llmg,·r i~ rca II} up t·p} oLL

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------------ 1-H E F 0 UR-I

1-

H .\ ~ D Th~ term "l~)ur in lund" l(x Lh\:.· ~1 ipkuot nnw

om the \\oriJ came im.' ~,· 1cmilbc .u the end

l'r Lhc

nitwtl'l"tHh

Ll'IHllf}.

\Hll'll

duuugh

The cx:1,.:t dt•ri,,Hion

of the term 1.. 'ull un,cLLil.:d \tun~ time. it \\.b tlllltJgln t0 bL· a rcferLTKc to rhc h)tJr-in ll~n~l

England in the nint:tC\:'nth cumuq b) young nten who indul~cd in c:lJTi:1gc r;J(lllgand then adopted thi~ t) pc ofknot ror their lit.'' l)r, itt.-Pllld haYe rl?fcrrcd lll the \\:1) l)Jll' Club timrh.lcd

111

hdd the rem of a four hot· c "-arringc Th~..·

tit.'\\"

tour in hanLI knm \\'~b qui\."kcr

w l'Xccutc. nnd

ccm Jdcrcd more ma:\culinc tlwn the dccnrou.; blm tit.·.

\\I tit 1t' conn01~rs and harmoni~..·.... rhc Jh.'dni~..·'..; dL''1gn C<.:lmc~ ckN? rtJ tilL· ann( p.1int ing·

hPWt'\Cr knotting it l'L'St'mhk·-. th~..· :ll'tll(.sculpwn·. Th~.... man•wr in \\'hiLh a ne is kncJthxl oflcr.., rhe onl~ tnt~ rncan:' ofimpt• .. ing onc"'s indi\ idunl

st.llllp 0 11

ir ( )"-'~" Li111~. Lhi" mal~ ric~.:: !il1l'ukl eV< 1hl'

mro .morhrr mnnitcc:.mrinuufonc\ pc..'r'L'm,J :-t) lc ~ lust men'' CIT intn1duccd [l1 rhc dr . . cipl i ti L' o( ncckti•: decorum b: thf'ir Cuhcr~. :it h.-~..· d1"~ m.ljl>nl) Cl11Hilllrcs

unn a ...ntnch~,.n, . . aero

1~~\\ h.ne ncr rn i!'itcd

'tllKt.

dem.m designer Lunann Harbcr.1, one

rihmghr. on

h1s rcl.ttion~hip

,_,f Italy"'

to

rcgarJ this c~1rlr indoctrina

this prucl·Ju1·c in

;.1

crcariH' manner. l ~L'll

l'l~"pccrcd raqcm:1kcrs. ~hare.., -.nnw

tllL)"l

wirh the necktie: "The tic iullow_.. rhL~ culture. In the 1-i(rics. I wor('

abm ne In rhc,ixtie-.. I tried a \\ 'ind~orknl..'t.ln thc'c..'\L'lllic~. l wcntl..'pen~ncckcd In the caghtJ~s. 1 h.1d \\Jilt 1!-

cl

big ~lggrc,~i\1..' knm that s:1id. 'Don't mc. . s \\ith me '\.c.m· I find that "hat I

.1lc .. , fu,,cd

l)\Cr

knot'' id1 a ,l.,.ft plc:1ting. It I" '11nplc. It is dccbrarivc. Ir

feel~

right.

I ~0\\ "ill I \\car 111) tit in the n~xt decade? \VIm knuw~? t\$k me then_"

\!though 111

1\\0

knot~.

the \Vindsc.lr and

half~ \\

h.tllcl n:main-. the prcK'JTcd ktwr lilr mu~t I·:Ki::d

<lttlrcd

men. The four-in hand\ principal adV:lllt':lgc

mdsnr sui! enjoy limited

L) p~s

i~

~m d l~1r ~he

tlwt it

1..,

u~c. rh~ f()ur

wurld\ mosr ck·gantl)

the .simpJc,r knnr to c:-:ccutc

Jnd it rlllnm:r (rnme rl(.:; into all :-;hirt colbrs \\ ithuut pushing its point~ awar (rl)!ll the ~hin bod\ like the \\idcr bt>died \\'iw.lsors. <..Jn a purcl) architectural basis. ir~ conic~111~1rt11 il:Hrers more rnc-n' faces rhau th~ \\.im:f,{.1f\ horiZltJlLal gcomctr}. \\ hich lonl' att,dd~ ttlldcr :1 L.lpered dun ·1 h\.:· fnur in hand·s ~tighrlr a'rmn11~trical set al~ll help.; rhc prc-.cnrarjon appl~:tr Irs~ fu~'} than rill unmctriatll} t.1tic and tri~ngular \Vithl,l)J" pre . .entaLinn. It' h,bnd the half-\\'indsf'IJ', c.m :1lmost hl' excu~c~..L i!"onl) whelp n thin ti~· prl)tlttCl' a l.trgt}r knot llo\\t:>\er hould a fulkr !...not be "Jc.;irc~.l. ir's better tnn b.t~tcall} .t four in h~md luupcd 1.}\~r .u:rr.l~tl\c to .. hurt m~n be-=.au~c it

results

;.1 St'Cllnd

i11

Ln ll"l

the Prince ,\lbl'rt \cr

rime. I hi.., fl'::~turr nqkl'' it p.lrti(\d,lrl)

:1n ;thbrL'' i~ul·d

tic

IL·ngth Il1l'r~ cnn~istl'lll 'L

thcu 0\t.Iture. \~'hen luoping th~ rw Oh.:r the n:lrr,,\\ ~trip. rnrc ~huukl bt·

knot roo nghtlr

othCf\\1'-t'

knot. lite Pnncc: \lbert\ clu:~ lonk 11 mchabnc('_

pa~s:tgc

ell\}

or tl.l.'

Sl.'Cf'ltld

Lilkcn

"ith

nut to pull the

lnop "dl be dillJclliL. Like the four

llliJll"trkal Ct add-that ~;lllltar~ IPllch so import:llll

ill

ill

lt.tnd

COilH.'ying

or

Rc.~garding

rrl.mun l11p

th

tt'\

the appropriate \\idth nf:-t m.111·~ tic the princip.1l criterion hn.!- .rhHl~.!) h~en

thl' jack~t lapel

llJ1Ce .tgaill, t:1shinn

mu'l

d~fc..:r w rhc :1rchit~cturc o( its

-t-' 4 inche~ ''ill gene-mil) cn~ure longf'' ir~. \ Jli:Hl \\llh n.lrrt)~\ "houldcr h:1 lc~ chest to drape a lapci.Km~s. and thereh:w~ ib nan·o\\er dinll'll prat:utimh.:r-.

"-H

\\',Jth-. bc..·t\\CCn

n dtctate.., that the tJe

--

) 1 :t

inchc~ and

foliO\\ su11 CCHnl'rc;cl}.

a

111.111

who ha!'l brl):ld ~houldt.•r~.; rt'quin· dw

N I! c K \\' L•.o\


-

---~

-

l

~---

I(,NlCKWLitR

tHE" TYING P~E.OIJRE ,AIMS TO EXECUTE A TAUT KI'IOT WITH A DIMPLE UNDERNEATH.

__j

(,l·tting the kn"n to tOld rhi:.- \\a} i:- important. bccau~c i(i tightened properly. th~

t\\0

:-illL"' uf it~ crea..,\.· \\ill deepen. blo:-,oming our und~:.·r Lhc knnr. andl~.lnng tr ~ll rhar it rc~iq~ lno~­ ~ning It j, partKlilarl~ nnportanr upon fir.:-t knouing a nc'' ric ro rq ro makc the knot dimple

pmpcrl}

.1;

the neck-tie' lininJ anJ .. ilk cn..:a..;cmenr (cmn a "mL'llH)ry" rh:.n" ill a!)~ist in rhc dim-

f le . . lnrm.nion the nexl time..· out. Thi." i:-; ~llh'l her rc..':bull wh} nwt\.' "t':lS\ Hlcd pr!l..:rit ioncrs of thi5

,tn h.:nd [O prd~·r !1.1nd

'L'\\

n Ik..:hi~" of wtnelt silk The

\\ll\'L'll

:-;ilk·~

rc.xrurcd ..;url~c"· hdp~ di-.

Cl,ur.:tgc undue ,}ippngc of the knot. nnd rlw g~...·nuinL· handmade anide hn~ gn.:at.l'r 1 hth mort.~ ten 1011 can bt- impo"cd on the knot:\\ ithout ruining rhc tit;~ fabric

\\ &rh rhc parriaUr complcrcd knOl

qp..

re~ilicnq.

pcndcd rrom rh".. neck. place both rhttmb.!i

Jll'l

bdo\\ the knot under eirher ide oF top blaJc...: '' irh d1e lorct"ingcrs rt:sring. Jirc..:rl) above. Pull do\\11 martl} )ou \\ ilJ find thar the tic\ top blade'' ill .,ran tn buckle: in the middle ju:-;[ belu\\ dt(' kn n fitrming .1 slight com ex cm·it}. It "ill com inuc to

du on the upper blade

j,

pulled tiglu L;t•nd) guided

Lo

1

it~

)

fln.1l de,umnion b} tl1c rip~ of rlw rhumb and forefinger pf

nne h.tnd (,t.., opposed to the Eu of the palm)" hilc the other hand hold') tht.> bnrtom blade

111

place. the knot. arri' . .::-

appearmg t"rt•~;,her. more rda..xe"l and ueed i "g lc..;s fi n.1l Jdju-.nncnt

If tht.>

l) m~ prn~c.durc i.;o,

not e\cnn.ed "ith :u1

llm .uJ producing .1 rnur knnr. tht> tie ''iII not h.l\ c the ncccs ·an 'prm~ .1ruund its. klltH to arch out from the collnr. as if

pmsrd .n artl'lltnm ln~tt.!.."ld it,\111 hang.lrlc n dead Ctl\h com· prmnic.mg the "t.tmre o( the entir~ arrang~mcnl.. \\ nh the tie .. pn

ltl• Hkd

J~1

\11\\

m.trtl~ up uuu d1~ Lollar. ir~ JunpiL: ~xtcnding

Jrd d11.~ t:'{'lllP ,...,ttion pruJ~ct~ ..1 4iublrmin.tl.mrhl)rii}

A "TAUT KNOT LETS THE TIE

J\RCt-! OUT F'ROt-: ll-iE COLLAR WITH MINIMAL F'E.RIOOIC Ao.JUSTMENT

-

--

- - -

-

---~--

I


I

-

-

T il E N EC K ER C II J E F ~incc .mch..'nt time.. a m:m has ~th\ J\ ... fdt DR£. t>Sl N l• TH.Fti!AN

tht. lil

t

""'T\

h.' \h.

r

~tHnethlllg :ll'("lltlh.i hh 1lt!ck. \~'ith the cxplo,ion fll.mmll•ru 'JlOrt't\h'.tr m dw JI.JlO" the 1 u h

ofthl't'rl~n nc("kcd !'lf'llrt shirt in,ptrcd n \';lriL·q ~>fnt:\\ ''~}~ wappmntth( ned. I ifl);u JH'J' ui:Jr r,l:;hion .It [urDpc~lll \\,liLTing holes, the ~pOrt\ !\Car(\\.l' and 'lliiJJ;; du">d} tdL"IlUfh;J \\Jth l~idern high''} le

J \ ...

illtcrmuiumtln·a,d .tcc.."cler.Jtl'd the ..h.1opnun ofltght\\t t~ht

"PPfh\\l:

''·'"'n·t lnng bd~,re the llt:\\ 1/.llltdt•cozt begnn lltrnmg up around dw ned.., of rrurtl F'OI..DING THE NECKERChiEF

tOLOINO THE NECKERSCARF

, ..

.'

,• ' '•

.

, . .• •• ,

TYING THE NECI<ERSCARF WITH A LOOSE F'OUR•IN·t--.MIO !<NOT.

.----- .

t

n1

r 1r

J ,Jill


-\m\.'riCUT1'i from I he '\\.luth o(

rrancc

l()

till' C.uibbt.':lll's

n ft,h -.rmn~hokh 1\h.'l

basiL mo~.id.., n( :-pnn nc~l'' c~u b~~.111 .

1.1ki11g ...

h.tpe 1 he mnrc common ''~~ rhl' neckerchief. .1 -.plid Cl,jl,r

t.\r partt. n1cd 'qu.m! o( -.ilk. corwn. or nrlll·r m.Hcri~tl t h~l£ \\ <1~

knom·d t.lrdrap~d m .1.:-cor ta:-l11on around lhe neck (tJppt 1.'itc,

wp) \t lllle pOI Ill in the mid rhinics. l)l'hL·r dun !(,r :tl~'nnal \h'.tr I:t, llUt~ C\ en• I k·ll," \lOO hl.":td ~hor of .1 m..1ll· '-t'l'lllL'U to • fc.1ture one 'crsi m (.)r anorher l ,f

thcsL'

c.1-.ual nc" k-.cu \c ....

lake l'aq <;rum here. l1km, hL' h.t... a hca~..l stan in the '

deb 1nnrr dcpnrnncm. bu[ drape a ncckcrdlicr in a t hm" ou·r sq lc und~.:·r a mund:mc knit polo and wund neck

pullm l'l' and pre,to. in~tant chic. The ccond :.carf 'n lc was the neckcrtic. "hich "as a ~

. ,tk

qu.trc t~1ldcd nn.,und the n('ck "irh it:-; cnt.f.,Jpn,dy rkd in

a four

hnnd ~t) lc (oppasur. m£./Jlc tmd bl,ttl1111). 0Lhcr 1ha1 1 rhe

111

Frrnchm~m ... pnning ~1 loul.1rd

l'·Jd £uropc.m. ur c pcci:1ll} n l:Ot

Jl \

.

;1 r.Uit) hl

anpnorc. I or

1110::-1

fj 11d

men.

f)

a

man \\'Cari 11}.!. ~

cl

llt:ChTch ll.J

ing 'omcthing ~Hound rhc neck

r..mack.-. of the- tit~:\} rhe (cmininc.

l)r

bctth. ·11w. ''

.t

bit

biZ&liTC c:uKe most mtddle-m;rcd t\meric111s ~~rL'\\ ut) ~ r wnruh-

ABOVE

CnT)' Gra11t w'al'ittg a neckr.!rclri~f. BELOW·

Animating the oprn nccklim· with a scaiftird·likt· aJour-in·hcmd.

•ng RO) l~oger and <lll} number uf John \\l;l } Ile L)Pl:' !'.\\

athc lm neck decor nC\ the\ r. klc herd on tlw bad ~u\ s. '

~

I

v\ err the neckcr. Glrf ever ro ::-L.lg(' ... :1 1~1::-h iL)Il "·nmL'back. thc ne\\ mode in c.lSual office mrirc mi~hr "dl become ....

tt5logu:.ll "PL'>n"or. \\ nh 311 manner of rid(:."" neck~ de,ccnd i ng.._ nn rht> modern \h'rkplace. a '~riet) tll- alternate neck treat mc1tt' uuglu pn..1\ 1dc n wdco111C rein:( from to\\ h:n promi ...c~ to be m ern t~f rdatncl} blanJ bu lllt>~-.~bod) cmering (\t.'l.

pngc 2-~)

---

--- c~~-

T


1 ht! c' ~lot' nnd p:Htt.·rn of .1 lll.m lw,l' w~ tht anonul s nw 1h l\Hl

t,•xruml om:po ts

ht'lll.: t tc:\

tnkt:

111

g}

n:itcmungat fl, urlc:HI.t~uJ.,r._ rpntr.:rn fmnd

upper :tJu:i It>" s?r /..\

th:'

tb,· \\h~1lc picture. I t.:•\\

bt:glll to m.'t\hlrl

.1n1q

\\ nh

•n

t

r

th .. ,)

lk rt1

c:.tch Jth~;r pn mpun~ tlt

capturt.•d :\bnhatts 11'- cal~"

llltl\ \\JtJ

II 1 t

nu h

li~hliC'\' <h Pete•· ruo .:.u It i" nu surpn'c th.u he knc\\ hu\ td l:tnpl the diiLlllu t upt1111:1l cfiL'Ct lie's mpltl} t>d yuitl! .1 It\\ he.: ~L' but \\l: \\Ill iocu'i, n tht'~ It d t. i nu1 1htr~ r '11it.111g lu-. .lllkl\:' sl}

DR I. s .. , r\(, iT u r M A :'II

Jn stnp1

anr Jre.

dut1 tt1td hosr

armt J>~rLr Anra rdtat5 m lmr.ar ftJ' 11

----


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1

--~-------

..J.

IIL'r~\ thcd~b'icn~'} Jn.·,, suit L'nlh~n~d

b,• •t

J

"lurh' md llf nm} and" hire :Kn.''"l)ric!' .. \\.ld

red carn.tnon ~md \Oll CL'mlJho'l \our 0\\ ll arwr •

J

noon \\t:dd111g ,\hJmugh s,llid mn1 dr'-''' lh ~-.."-·

\Hmld be dw '~milia of choice t~ ,r :-ot~~.:h .1 l~·a:-t vf fonn.tlm "irhtlm .1 parrcrn bdcm the w.1ist w int~"f3t~ thl• t"O'tWlll'\ l"\\ L'lliah-L'', the b(lt tlllll h.1l r ~

is ll:ft m r~:.·lmhc cclip''-~lmpll'llh!IHlll£ .... uch .1 rchtri(li1Ship is

lh.H

"itKb J d:nu1t mg rn,k. 'J(, bct!in. hP~renJ ~hu1 tld matrh .... ... th~

h'-l

rrou-scr r:uhL:r th:m th'-· .sh,)L: fnut\\'<.'ar ~md JCr")

rh~u ar~

pcrcci' c~..l H~ a unir ult irn~ltd~ .scpa

r.ue rhcm che~ fi·om rhc rrou~r. !'>n 1pping thl' C) t.: at t!JL: p~mt

lt:g bmtnm insrC~h.{ Ot: C•..,Ctlning ir all the

\\,1\ d(l\\11 •

to the llom: \\ irh

~h'-lt.'!- na'} "L>cb

:t

nan·• suir and black

app1..'ar richer than black. \ \'i l h a

d.uk gra} Stilt and bro\\ n l~>om ear, ch;1rco~tl ho. . c \\ ould th\.' mnre ~I} lbh coku: \\11 ile apprnprin rc I(1r

lornlai \\t:at' and pracdcall) oblig.twrr fpr those s\\,ttltc.J he.1d to roc In rcgubtion hlnck. black IH'~L' .. -.hould b'-• .wuidcd .lt \Jther time'. "' ll~>sc noir" [fall\ l~mns the aukle imo :1 bl.tck hole. dim111ish111~ th~u ~

'' hich n could bt:amif\•.

Pattcmt:d hose ltelp intc,grr1U llllcl c:nlit~t'll the.• top fltld bottOcnt hall't's o{Ms t'tlst•mb!t:.

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THIS PAGE

Saclul Guitr)' in silk dress ho$e ~111d crocodile lace-ups. OPPOSITE :

Tite slrcen C?.{Deau Acheson$ atrtl Al'erill I farriman's lrosc

connerr rhr:1r dim1er clothes to rltdrformal shors below.


\ 111.111' ho~c .tbo nctx1.' m be nunp.Hihk· in drl''~illL'" \\ith it'

up

tJJrs

t\\l)

rt\.>w•cr and thm 11-'r.1ir' 'hoc: \' , gL'Tll'l':ll priTk·iplc. tlu: mt rc l~wmal

rlh'

lll'ighbor:-.. the

~11'-~o'tllhlr. t h~

flnt:t or llh)J"C ..h.:~r rlw L_,,'ilk drt''' hn"tt'n. \utlt ir' inhercm 'himmct: dll.'t'L'I~)rl'. Ct'lltilltiL'" tn bL' the .111klc: l'lllbd

It hment ~,f ·hoKL'Iin· rhc Cl.)gno,(l.'rHi l'f.tt"tcr -.i:-.: Lhic ·r:tkc llllLC l"l( Lhl' h~1'c \\llfll h' '-.Khat ;ui m l.mcoftht.'~rc.H b ule,ardier,oftltL' ln.·nclt "ta~l.' I I.'" (l"ltlll.'lllP'lran mend\ nllllsicr~ ll(dti, -,hL-ernc . . l'I"tlpJ.k• . . ~,.·('IKC. bm it dllL'' complcmcm rile . . uhtlc lwacr fn•m ht:- (Tll(l,dtk• ..;hl'L'". I ih.· \\ i e ,.>b,cn c l ard111nl ~F'dlman .1.-- piCtured here" ith t\\ u prL,mim·lll ~llld "dl-drc:-."cd '1 uc,m \!11 ufdwird.l} I c,m \cht'!-l,.lll.md \h·rrll J larriman. lk~innittg"ith dtcir,ill. . - laccd l.tpcl!->. tr~1\di11g

J

\\11

rh~1r u·ou,t:r 'C:;lllh ,md culmin:uing .. \\ irh thctr

'ilh.:k.... .llh.1

~hu~'>.

:111

unbroken ,eL umlbllu

"'' ~ sn·ipe oflt\!ht in plnmarc.-. each ~'-·'-·riot! ot" dw ("Hilrit "Hit th12 llL'\.l '\nricc hu\\ \If I brriman':lm"c t:'con: rh~ hecnti·L".,m hi:- rrou,Lr 't.:~lllb dm\ 11 H• hi:- pmcm lc:uht'·r L'Yening .. ht)C'.

I ( O.SJ nrY ll i\R.\IONI£5


-

I

DRE '~I" G

r

rJ E.

.'Ill .A

As wifh lJJciJiuo \ 'i$(oOillii tw.i Frank Sinmr~s rhtrk ;;illi'. J~r tltt' st,rk !t1 ~f_l;ocr a ~l}'lMi ~r.zuJition

bm1·un

frc.mst·r· cmd sliLit', it tlrtW 5lrcliY .'CIJIIC' t!(rTit'rr plty~rtitl pnlpmn'.i-

----- --The bulkier 1h(· mnCit, dw 1m:~rc ~'lh.' mwa

Sh?p

up th~ -.ud..\ duclnc'-~ ·~"'"·un~r ,,.ul

wn li~lc ho:,c.' would ~lppt:ar lnq '' ith .1 p.1ir of hc.n} tlmmd :-~1. \.-k., .md .t t''"' L't..i "'P 11 Fl J rot \\ci~hin~ in bn11..:.arh thL· ~l1 r~u dirc.'Ctl'lr I uchilin \ is-.-tliHI\ tbnnd trOlt"t:'r' .1rc \\ 1ttl ll -.e JU ~ ~ "ide.· chnn k.)

rib~. dem~m . . t r~u ing .tg.H u ho''

1he

:igc.·nq of re"nm..• run join d1tl( rent!''''' h •ns f

:m 'll~t·mhlc. Likt'\\ i:;~- rwt uul) dol>), 'ung I rank 'ii1:Jll'a\ :-p '1 n h '"" lu1h ht' 0JmllJ tl\ ll"i.:P. cnar-.\:·r h'~ run• "i th rh.n of hi~ i nf(,nn:tl blnchc.:r hKe-up... but hi-. arg' lc-. \\ ang ll tht une

bent

.1:-.

his

nerkuc.~

---

--


S

QE_

soc s ECK . EA


\' lllClltl 111cd prL\ IOU•·d\ the bc~l drC~'-l'd llll'll llll)l.., llthlll ;1((\..':-.sorit..::-> :l" (Uillf<ldt's in

th. struggk Jg.un ( ...Jfl(lrl.ll ntcdincnt) \\ IH n:.Is hosier} h:t" long rul(iik·d

-.Jitllth... l

1 gu.trda,In

o!"thc .111klt: n

hlnk ,,me tunc h(•illT'C it

.:rufappard -, h~'nphisllclll.'d

rmll11ll.

111.111

il!'

h)giL'Ilir

1"1..':-;potl

oHdd dch'IPp intP ih "lC:tlnd;lr}

tll.tlw I<J~ ls\\,l:'•.t{·ru~ttlllll'~lt o(norllt

n 11mg lu hl 1igcnr \\ nh lu" fout'\\l .1 r \\ ath t h1s pt'l.:~o:~d 'Ill 111 plclc"L.:. \\h) c.-,uld n·t IKis il' r} \ t:

~

I r

llh.l

p.lttt rn'

.alo; , prumntc..: h.n·mom bt:l\\ ccn ditYcrclll senor' uf

1 uttn-- \\ hc.:11 n ·lk\\l.'3r mouf ~ud1 .1s P''lk:-~

b tl• r t l"ptn J

(I

t

I n: nh

t

~ t11

dnt\

. tnl'cs

.111d "pii,ll'

n 'W lppear Ill tinl gauge\\ 1lll drL"' lw .. itT\ 111Cil \\ere rur t l t.lkL c.: nur~

full td\:lntJgt:: L

':1 r

ll

cmblc

lr rJu :lC\."t:\'-1.ln

lllL't'C:l mg

f'Ol~.'lll i:JJ

ABOVE Gt111' Ctlopcr dons complt·mflllaJ)'ItllSf ,wtf •

{<lur i11

hc~ud


Bogg uSts hJs parrJM1ll"1 ro d:realus ho££s ciMrucra.


-

---rh the ell~l Jf th~ 19-!0~ lnnq ho't'

a(U1unu...J tl:n· u{l percent oLt.ll men· 'l'(k purch.t~ocs '-em

(.J t J.'

a princip.1l cb.:mKrcr. tht·

, -=k.. ml~ c~p.md~d be) ond the :-nnplc cxdt.mgt~ of d l.llllh'l.IC \\lth the neck ric t' l 'll:ll

c' lbbor.m..u· .tnd ro ,}, ccnr~r -m1~'-" .lk'n~'i'-lc thl' t)tht·r ert-.~mblt• pb} ~r, ll1c: tl\.~\:l pictun.> prnii lc rh i' Ill'\\~..--~ r

cdc:bnn nnd rt leading c~..}.. rar...

tlw ho:-c\

Ut:

thlJlt:

r lmquem

J \

licr tit«.: n~..Yk

.St.lgC partJKT

i-:

mhc:r th.m the dre,~ 'hirt •\:- dw ~hin

1.-.

111\)

treqm:ml\ olrd. the ho~c i5\ 6·c:L

t8 J

10

H nsrrnY

f1 ,, n M o .N r L s

pl:1~ ~,n· th~..·

!'ohn-r 111 Cl'lorur parn.:m a-. rhl'~l.' ncxr n'n illu' lrJt1

ms ~Jcmon .. rr.ne

\\ Hh ho.,ien

. Hl''

llC'\\ CllJ.l '\

;:;,

its Ill'\\

f~nm'-i tJndmg nrlwr btt pb}l'f' "·lit «..:a~crl) 111

th~.· "mg., h~,pmg

sonH.·ttm~-'·

pt,rr J.Kkct CJil rlt~.:

ro JDirl the 'hm' .. \ n odd impr'tl\ c: :..om..:· ol

mnt\' 1mpmb.1blc r ,uti lll."'S. I lt.:rc\ l~ogc} .

rclaxmg

Ill .1

md:mgc

h.md \\ O\ ell '\\Ctnl

of'~,·, rli~ll \\OOit*llS,

hos~

h~JI111} com

fl.'dmg

fi..lrt.tblt• pl.1) ing oppll..,ltP a

Iii."

t \'11 ecd

j:1cket rrnlll

1"))0$

-.oundcd .1

rhc Jml.' ~ughl.md

fht: cnn. cl\atiH~

~nphisticatcd

dc.nlt knell fi,r

men\ ho icq.

lrr r the ~r.n fbnnd mnn tried hi\ bc~t to ~

uppre ... mg 3.11) IIKimation

IL>nk lllvn mou

tm,nrJ t:t"luun or md1' rdualrt\ Then the I

pr.tCllt111 •mir

t

f

tilt• \mcric:m m,lll's br.lill .

.md ~non l'h·q lHn.·' plar du jm1r '"'as a choice bcnH:cn bbck n.n) .md brfl\\ 11 strctdt sud.:s. 'l'tne I .1 t ( ll,1sr cnllcgc~ l'\'Cn inlli.n·cd the

rn Jdt.·r· fJ..,hll)(l fl)r d•spcnstng \\ ith "ocb

.Jit 1gcrhcr

umt: -.om:hcrn Gunpu't''

<.'\ L'll

h td

1{'kh_.,.., fr.ttcrnn tl'"\. but a.;, cc,ol ...1, it

' .1'

lt > ge1 Jrt"' ' d up md bctrc }our ankle".

.tcru.1ll <: 111 H:d '' ennng... ~\h'al\ \ \ u,: JUil 'r ta."'d l dt~r

f '\\ gu

------


~~ etmcemiug the waangof ~ ,_ th sllottJ. Unl.--you can pia, basket ti:.tl• 1M 1~ ¢_ts pOWer forward Keith an Hom cal{ or knee--high •port btl!it u unifor:mlf e:ma~v~: Hbwever. 'Yidt Wlonrd shons finWHng at differen! lu!lghts idlove me ~. their hottt>.al opu-nillgs r:eqwre mote mass th~n just ~rear at the bue a£ thl! bod} for proper b~. Other tlwlloling dre ROd altogether the Ottl) St) mh *mati c ti an nnlck 50Ck with clther-a rib top that can be rolled o\ cr or a loose-fitting pair of hulk) half Mll:b "tth the tops folded down. (ln ~ auk.kts look plttt) tYfish under long uuusers prondiog the trouser featur.e.s a ful1 and casual cut) Vvom here b) oel Co\\tard (oppMtt) and pictured tn dif ft.,ent periodicals tro1n the ~hiT-ties the anklet t.s stiJJ the most chic wa) to tt!:ttn t~ocks and shorts. Unfortunatel): the sports ankl~r "'as ant)ther in a long line of sn lu~b ho!.1e11 asualtu:s


r

flJH \ ,'i l t-:G

T JI r l\1 A

RIGHT.

The Dttkt '1'Vimisor nn•cr missed em opportumty to pnra.de his colors.. or irr rlns Cr.ZSt, /Jis stripes. 1 Irre he shows tht·m t1fwtth pinwalr: cord trousers ami iiJit! ~(It is t)'picallr audacious ll•fndawpanc affairs dirt!ctmg tra.fl1c. OPPOSITL

America'sJmntT ambassador ofmetf's fashion. NeimrJtJ .Marws's own mmswcar cxpen, Dernll Osborn fl'eJJ i11c gr,mdwr l~(tltc Taj Atalwl cannot l!umb/t: this mans dedfcatiOt1 tO pcrs. mal aJormmmr A more spectacular rxample '!flwrmouizing headwrm·, ltosit•t-y. ancl heart we lttli'c }'Vt 10 St'C

-~-~-----~-

----------------- -- --



\. , llh II

l

/,1


--

OLE OF COMFORT

he l1r~t shoe'

I

I~

J) R E \ ' I I\ ,; TiH: ~\J !\ N

liul~ nu.tre than ~ole . con tructed from leather or\\ ,od J• ughh sh.lpcd \\ ithoul de:-.ign.Hilm to the right or left foot. tile) \\e:re 'ieettred h1 "trap~ or ~mul.1r f.1'i tcnjng th:u kept: them frllln l~'llling ufT I cathcrpro\cd durable readil) m~ulabk nd m r~ ph .1bl..? than '' •l•Jd. \\ 'l n• n ~hq, ., beea me l:'IH:l(l.sl"d, il!.1thcr\ prom tnenc~.: incrca~oCd b~.:cmst: n \\ u'one Ll Jl 1e (C,, CO\ t..::ring:-. dm t .tJJnwl'd :11 r lOci rcul.t£e \\ h tie ~ffording the fnm m.t\1111\1111 prou•c 11011 .1~:1in~t. rlw clt'llk'tlL~ \\Cil?

~

1hough the <::J rh lll~le ~hodd mg" nd\l'llUtnlll~ u( moden1 n11m. durabilit}

"crP

l?xp,,scd to J'igl)f~ unl 110\\ n 10 all but d

m tltOdl·rn

hoes

j ...

,,m a I-.e, fentun.:

l:

mo\t

.\ \Hl1 madl .and

prnpcrl} ltH;ketlnfrer pair ,,flem her dr~s' siH'e..-. c.1n prnvidL" e\l'r.lf decadt.~ of llne ~ n tee.: lop dr:l\\ cr loot\\ e:1r ha, upp~rs

(tlw top pan of rhe shoe) made from km~ n l nwrc th.m t:\h:ht.:: \h'cb \)ld These hide-. b.n t' :1 fine grain taking a high poli,h. The ~1ut:er ,oft al,u made ot leather. "Ill uld bt> '\velt\Jd"

Lo

the

J'l.'St

of the sht>e \~ drnm . . tmctton d.th::s back t 'the ftfteemh

ccntltf} in \\'c~ten1 Europe .1111J con~i.:-1. c)f .!'it:\\ ing a srrip of leather in Ot.'l\\t~n the t..Jgc of the ,ol~ anJ the turned-in eligc u( the upper. Thi. i·•rocc's pdd~ an dcg:uul) dur.tble '-hl c in ''hich

the ·l)lc c:.1n be remmcd :llld rt'pairl!d repcnrf~dl) '' irh minimal dumagL" to the -.hot>'. uppt;r The snlc~ of the be!'it •d10es ~trl' 'c.:gl't:tble ran ned for long~' it~ .md ~( l In~ .. ~ the1r '-litche' hidden in n -"J.>L'Ciall) rut cllaJlllel <1r0u11d the 'ole. lnsoh:.s :111J lilting~ sh ·mid al'>rJ he con·'lrtKt~d oCic:nher bt·um~c

ab~orb per pi ration

tilt')

WirlhHU

condp(ting he'at altcm mg tht•

font ll. ' brt.'~lthe ~md rht' ~h£'t' 10 !11(Jid Ill tb ..1t:1pc. \\dl -c.rafrcd h~d" are mnde ftum b}Cr> ~f lc:Hilt' r 11.1 ilcd together \\ i 1 h brass pillS. :l sand" ich i 11£ crfcct 1hat prO\ ide..; the grt.>:Ht.'"ll...ll!'hmn

ing suppllrl, and :-rrcugth Fill.lll). lhl· ,!J,tpc of the fir.SL dns' ~boc 'hdtdd folio\\ the ron

it elf -srraigln hl~

till

dw in,ide ;md cun ccl on the 0ut. ide." ith rhe in-.rcp pointing ttmnrJ d1~ bt~

ra1her than the shoe's cl"ntcrlint·. If the .shoe·~ hht (the "~"~od form on \\IHch

crafh~d) rm;

rhc wear~r\ f'oor "ell. thcrt'" ill be little need t(1r dw ritual bre~1kmg

t.ht: lh>t.' \\;ls 111

that •' u'u

all) a~~ocbtcd '' ith rhe 11L'\\"~~ hoc e:-.:pcricnc:c

In hi;-; lif(.cime. a m:ln may wnlk :1~ m.mya~ r I).OOC'rnile.s. ::-\1J\\\ ndt.•r th:lt I cmur-dnJJ \'im:·i, all arti._t of ~pic: il11p\1IT:l1Kl:

:llh.f

:t lll,lSI\.'1' of an~ll011l}:

called

dJl'

t11gineering :-111d a work ol- art." h·s in•pt'.:sible to 'pend wu much ~m

n[ling P•~ i r 0 ( 'hlK''

tlneh ct.lftcd p~rlec:u~

Unl ih· m:m·s 0\\'ll t \H) cuiTl·d \\ l)rk, l' ( .lrt rhe-,e llC'\\

"ith age.

PREVIOUS PAGE:

Adolplzc Jo. feujou in front oflt isfootm:ar stabft-. Gi•·en ltis rxpansc ~frusttJm·nwde shoes, tl(ll tc1 mot troll his collertiou ofrjJing boots, wlroe1•er coit~ed rlu rc:nn ·clotlu·slwrsr'' must ltc1l't' had him it1 m{Hd. _j -~

J

f~lOI a maSt'Crplt!L't! o(

---------

~-

--- --

.lrll Ctct:-.

\\ lllunprm e


---~

STEPS IN TIME

hl· louk pf 11Hxlt·n1 nwn, :-ht,c:-; h b lh\,1\.' b~.Hnl' dh:' Cll[ u( rh\:•

rdation,lJip W

trou~crs

.\l

dw

lllrll

.1

~.Hn·ct

l,f dll' f\\l'IHit:rh

ccntun. . hi~b ... ,IWL'' "nh 'h:trpl) pt,int~.·d hll':\ pcrl~ctl) L"t11llpk· rnt:mcd rh'-"' L"uft1~,. narro''- bonum pcg._\.!'-'d li"IJU.scr. B) llJU~ ~,_rfrL•J

[ftllbCI':'

p:n cd l he

\\'3}

lor iJll"' tlX f 1t\.f ''H'l' \\ i th I[."

l'l llllld .

bulbl>ll!" tt1t:

H:

1'"I 19 IJL'\\'1)

I ibcrarcd

icemen gm l' tlw oxl"urd 'lht'L'

't'l"\

.1 tremcnJou. botl"l. opting f~'l" it' L"UI11ron after '\lOillping <Ki'O''[ urtlpe

111 ,ufi(xatlng cotllbjtt bu(1t'. \cCL 1rding tl' Equircs Euqdll}lt'

dwP{20thCt'llll11)'•\fl'lls •

Ft1slriou. -The \\'dl \.lrc~~l·d man of the

period L·lL"'GJme a' comt<.1n

(Otbcious rb

posl\\',11'

ltc "a" dorh~..o·."' c~.,,,,,.oou"' ··

\\hen the fll"'pular kni~·kl·rblKhr "ttir dC'maltLkd cqu~lll)

11h)\.k·rn

,mJ lllOI"L t.:'Oillllln-:tblt• f0l1t" L'ar. th\.• high -tup !'>hoc\\ L'nt l he \\'~1)'

(he . . ntT high tlrting ,hin ... "l~g and it\ ~LJli.III}

or

c~..,lbr.

t:I,tidiou:-

plain bottom a., th~ \()\ crcign

naiTP\\:

J'ltJin,bottom trousrrs anJ slim-fitting bendwwdes.

of.1ll rnm,~r silll('lucne'. \\'irh 'uch dtminu t i\~ dim~nst~ms .shcn th· 111g tht: clllkiL' ,111)'! hing lc.•·,~ ~p.trtal1 [h:tJ1 a p~1i I" I l(dliSl''

[lll'd

__j

i111pe~

n.tlh ·dim hcnchm~klc" ''uuki L·on:--tillliL' .s!lrtorial ~lltCJdL·. Bct'\h'Cn

rhc

1'\\P \\tlrld

\\~tr......1 ridnl

ol m~tlc Ct~hinn' \\c.l~ unk·~1,hcJ a.s io,lL\\car of tndn} ·~ ('l..t'='l\- ,lhK' ltlt)t..k:ls "ere llrsL (:rc~Hcd l~'r indi,·id

1\tcppcd h) the IDil:fn)nt -1-hc m~tjorit)

\\J\'l'

.

U3l cll':tl'Illcl"'l !J, unC' llf BriL•1i11\ u\\ 11 custulll "hn~..·m:1kcr:;J lmt as th~..· l:ngl[sh ~

e i.1bli h~d the bt'tlchrll:H k lor t;ult.m.?d nwn':o, l~t,hillll during dtc

"·l\ ik Ruw :1nis:.1rb

and 3d' Lt)tldnn\ \\t·~r lnd cobbk'r:" scr the -.r:m~.tlrlb l~u· hi':.!h-das." 1~'01\\'t.:~tr lh ll)2l), o.;hoL' manui~.Klt1rcr~ and r~?taikrs .lgrL-eJ that the \\a\ to dl ·hoe-. \\as thruugh "st\ k·agc rather th.llllltilcn~\? .. Thi" lluol\'st-l'lll rncrioJ ~

ll).!l)s

I

...

,

t..:

....:.,.

uf men\ td.-.hit'n produced rhc half brogue oxl~)rd. the ~·;lp we blucher. the pbln

rlw \\ mg

tip bud....kin. the ~orwcgian

shp on . .an~L.n.1rict} CCilttlll

l'r~a~u.1l" iiJr . . pori U

f~\\ mar~· t'lllfiL''i

up

mnnk fr,·•nL

dw L"nrTc:-plll h.~L'Il t ... Ill k'. rhc "hi fl' bulk. tlw \\'t:t:ju n

~p~l·t.llur1 <lllt.ll·\l'lling \\C.ll'. t\ltlllntgh the

l1t ter h;llrL)r the

dw dns,jc i('ltHWC,ll' illllllibu~.likt: 111l.'ll.!' I~I~IJit>ll i11 ~Ctl ... ' I.I"ihil1Jl:tblc male l( ot\\C,tr enn~umcred a ~eric: uf l1ctl Htr~ tl!ld Lk:nd L'lllk

COillTibmed

t•ral <llldltmtic.IIl)

I.Kc

H>t''

[l)

In the fitll of l<J48.1Jquire m.tg.t~:inc prC\1~\\L't.l the

Ill'\\

head

tel-rue

"f;uiJ I onk" Thi'

Ct 11ltrlhxl bur m.I~tt.'rlill rctrtil promotion prop~.')~"'d t h~n the cothlliL'I'IIlg . \ ml'J'ic.ul "ar hero

rfi.: .. t the

til'\\

nt.lll

\\urlJ PrdL:r b} \\l.':umg bold"-r pmp~ )niom:d :111d rnl~lfl'LI ckllhl''· ~:nurall}.

nr"ler In kL:cp 111 o;tep.J1Wn'...I~)C•t'h.':tr h~cl

!'I•

"'t~p up in

btHh

111

--n1le :111ll design. I rnm th~,•tt thruug.h

the IJlter hnlr uf rhc I9~l.l~. tlw \me1·i~.111 fit hi~m plelw ,,(tell '':1lkc"l .1n.1und in ~tr.tlgiH lt.mging.

n.uura1 --houldcr r..uir'i .llldltlrl'd b) gunboat izc brogue.-.'' ith hL'm d) dcL:tiled "ing tip~


\ rh~..· \ etcran \ •~it.c:d ltii'Opt• tht'} lwgan 1.1t ing tWtli.: uf the halLll 1 ''· lnht: "n,lunmar·· It ~>k I hi-. ugln finmg ,jlhuw..:nr ulnlfJ.(,l.I.'d sh:lrpl~ "rth tht: ..hlp..dc ,. ~..1 k. un t'

\1.tdi'>~..m \H!llllt" l)\c'l" rht.• JW\t rhirn r1r)' ~l"ar~ \mL-"f"icm men h ~:mthuJ flu'tJtllll \ll 1 ~."lot hrng .mel lunl'' car d~~rgnr:d tD makt· dh.: male b1Jd\ .md ((,t t :1pp~a.r 11 11 , nl rn lltr b u ll.'.lllcr \\ 1th ll'- lo\\ er 'amp ptlUllrl·r tm and ._IJppcrltl e pl.uh1nn tht l.gfu \ 1gl t lul1;11 ~..r.t11t'd 'hoc \\ilS the lugic1l (tllldu .. ton hJ tlw L'ra\ n.HTO\\ k~gt"d lmnl m \:( tunulth· 11 J 12'ight ie . \\hen C.,H"rgi >. \nn.mi 1111n1 lu('cd t,,, fulll'r h.luch "'Lilts. dulm~n .. l\h' dt: 1~0 btgtll u rl~\ t:-ort rln·l.trgt>r pr\f'l..lrti,m~ ~ fit fort•be~u·~ tl1e ''dt cnn truct~d \ngl(• \u L rh:.an dtt"' '-hoc \\ hilr.:- fhc 'lxtJes Pc.tnld l{l'\olrrtion sp.mn("d .t plcth•nltl ~rt: ltl\ln c ptLI.lll f r Lho'c o)ll('l.-mr" of pop "·ulnrn.: ki r ch. ud IL r 1h.m l'icrr~ ( ardin \-blum h1L: hf m uf lt)(>t-\ ,, htrh

ll)U flRIS'\1"<•

fiH

AI-\"

1

'l't\cd

.1

tlh_'

lll'pirati,m (or (;,•n X\ "p1lgnrn tue dunk~r' thn~t.: )c.u·, .1ud

\h'rc a '' .1 relanJ nf malt· ll1t1l\\l!.11.

"lllW

~..i'-·~•gn llmH:' er \\ rth r he &m ning o( the

(itll~ ir:,cJftrcaJingorl t:1milr,lrh.'ll':lUl. roiiO\\ingdo d~ llllht:

d1l

nt t l\\UU~

He\\ Ct: mun

h .UH

nult

lc.:J'"<fdttN.: h.ll

ln\\cd nr-.,tom .. h,'lc~ crl'.llcd rn I d\\,trdi.m Lngl.md more fine men ... 'h'l't' wd.t\ ~dl t:"b... tcJlh proportioned. hand

la'\tl'l.l f~mt\\C:lr than

at nn~ wne 'incc thl· rrm.:lnmn ll'pplmg '1

tit.:

COLOR

hile black drc'~ .. hf,rs

h.th'

ah' np been con .. iderc~.l de rigueur f~H J.:~rk drv•'} 'uumg:-.

dark bn''' n 0n~·r~ equal re(incnwnt. ifrh'l superior ~qle Regardlt·:-.~ of thc1r lthl ·r. biJd. Jrt: " ,hn1.> "ill ah\.lp la(k the amiqucd brm\ n\ dc~·p patina :md changing lu!!hltgln-.: lu\1 .1 ....ttl\

.trtl

de placed on a poli .. hcd mahc lg:tll} rahlcrtlp imm~dmt.:h acquire' an cxp~n r\ t: :lUfJ. ll)p <.pulm

bnJ\\ nlearlwr slwcs invc:-l .111 (abric~" nh .111 rm4mgiblt• nchne~:ln £936. the k:.ulwr .1m il]uing pnJCL'"' "a.. final I) refined hl rhe ('lHnt "hen. n 'PLU rt::d

acceptano; of rhc- ~..-brk bro\\ 11 'hlll'

r'-'r drc'')

\\Ur.ted

\H'ar

I krc

j,

the ednnr"

r~a~.1~r\ qu~.·r) fmm ~~ 193(1 ,\p}'tlrd .\rts m.1g~1zinl.' on thl! cm-rt.:cm~~~ of'{

I

IC:'JXHl'L h

l)rdm.nmg ht•'-'"n

~hoes \\it h 1111\} .. uits:

D II.\ R :\ l R. E.; It was CtlSftJIJlal'}' rears ag(.) hl ll'ear 0111}' blLick shoes witlr &1tlnrk blur swt. 111 n:UI1t }'t'ars thrrc /tasl1ecn

tl

daidcd trmd ltHI'clrJ browns/roes, tl )f tl:i' /ig/ll (at1, brll tJr

dm·k an rique brow11 slmd.:. Siuct' tlrcsc tire' aJUJl15( JS cwrk as apair ~fblack shoe.£. their aclaptiOtzJor u•c:ur with dczrk blue suits bl•ccWil. quite gt:n~rai. At tlu prest'mtimt.', dark broll'll shoes an.· co11sidc.red torratmrd satijuttOI)'.for wear with a dt1rk blue suir. U!!ht mn slroes tlri' uot nmsMercd appropriate. ~

J


---- ---------

I C) I

f OOT DI C:(H C M


PlJTTING 1.l)U R BEST FOL'T FOR\\1;\RD

THE OXFORD

HOE Thel)'Jord :-;h(\l'd~:.·ri'~-' (rom the O);L)llian . .l h.,lrbllOt with ,,de

lrb th:n lln;r gamed popularity ar l)xfc,rd Lnih~r:-iry in 18l10. The ">tdc slit ~ollll dcH·loped

mto J sH3' beL· rh.u C\enntalh... m(wed roth~.:' lll~tcnr .b . . tlt~J~m~ bc!!:.lll ltJ rebd a~i:t1 ~11!1st kncc ~ high .... '""

19 3

.md .111kl<! lngh ... bunt . The plnm c1p l"{k' axfiJrd hK~.: -up b th~.:· ba"i..- -.hlk' -;n lc !l.)r Slll:llT. rh~o>ugh tH •t 'rriLtl} t'lxm.II W\\ n "~.1r Dc:-igncd tl) nwl:!t the ~...k·man~...{ ll.>r .1 nlllrc ,n lis h. Iightcr wctgln shoe t h<111 rhe full brogue nxfllf\.1 ~hoc. rlti, oxford \\ .1-. l'llC of rhc c.1rl) :;t) ll!...' ro t:1kc rhc.· pi<Ke o( btxHs.

Foor

I he 11.: c r.tp't\ punched hole. ar~.:· smncLimc!- rq>l.lc~.:·d br t\\l'

natTl>W

n1und tJr hghrl} :-.quare plain roc or" i1h a 111\.'dallion dt:coratit)Jl. it nt:" \,,trdrub · 1 hi-. tu.llll>f th~ t~l~

tll\\

rm'" of srirch111g \\ nh a

j,

the ~rJ.plc l)( m ~lll }' hu'-t

n .:-hoe\ :-111~1n lin~ i~ t:>nll<lllCL'd b) its beveled ··\\aisr .. the

CL'tltt::r

pl>r-

that J0111" rhc frorn: with th~.:' hc~.:-1. a l~.uurc oralll igh[\h?ighr ·dwcs ;}~ l)pposcd (t)

the '"1u..Irc \\,ll"t u...cd fur more . . rout type:- :-uch .b the Illl'nk or '\.orwcgtan.

D C:GOIHJ.\1


---

--

-

-

D.-\.rs~JNG

nu: ;\I' N

., .... . *"- •

, o· . .. • •.. u "

.•

'

... •

TH E \Af I N G- TIP B R 0 G U E Tlw lnw~h~ekd 1'lxtord rrimmcd "ith perlorauon-t stitdl

ing . ~nd pinki1 1brs knnwn a~ rlw brogue comes from I rei and and the ~coni. h llrghbnds t~enntrie a~n. ir haJ nu hcd and ''•b made n( lhick. untanned deer hide'' irh the ·fl:rr mrnct 111e \hJrJ ~

'"brogue.. en me~ t"i·om rhc l~~lcl iC" brJg. which mcanr ttl pu~h nr~ &m lr.hrou~h. a. . wa.-. dnnc in d1c ~titch ing oflcadk·r. ~ 1odenl brogues h~l\ 0n't borrowed much m1.rre Lhan the name from rhe ancient st)le

exccpr tor rh~ pum::hjng" rhm art:: known a~ broguing!l. The imitation punching~ thar dt.,.-or:nt: rodm 'bn >gtiL'S once" ere acmal hole-. or sl.1:-hing~ m:lde to let water L:kun out ulth~-..c carh o. t ~

~

ti~h shoe....,, whkh werL' ot1en worn" hile lording a !'ffcam or cra-:-.:ing 111<1fS.hy l.md

The Lradirional wing-tinr dre...;s :-:hue i!' ~ligluk lc~s- h1rmal dum the phun nr dcL·Lmut,j ~

~

~

(.lp-tqc: modd. lt.s ~omplcte broguing pt\lduce~ ~1 ~lighrl} bulkier. lc_.. , ~let"'k .appt•aranct.·

larger propnrti•Jns alk1w lor

:t

.md it"

nwrc h~ll'lllti'niou' match "nh h~1' icr £l•xrun.:d !abnc.; :.uch a..

lln111lt'l.s. l.·ht.:\"kl[.<\. or t\' c~d "· The wing tip take~ i [~ 11:lll1l'

rn.

llll

I

r. . [I. II? l"ap ~lmp~:d ltkc tlnr spread

wing" al- ~bird, pnil1rcd in rht..· cc:1ltc:r and ~xtcnding hl\\ard the rear \\ilh hcmrh perJun:nt>d ~ idC'

-..ca 111.:-.

-----~

~

-------

--~


19)

Fo<'>T DliCORU.\1

Tf r E BLUCHER \vhen Pnt~5ian general Cebhard Lcbcrccht 'on Bli.i.cher. nne o( N:tpoleon 's more formrdnblc oppon•:nL'. Llccidcd that hi~ troop\ n~cdcd hL·nct· -.,hoes than the low-cur one~ the\

\\Ore

with gaiter'. h~ commi,~ion~d :1 boot" ll h s1de pieces lapped oYer the fronr. They had a

I,JO~c inner edge ... and

lacing aero'S the wnuue. \ Vhcthcr or not tl11, l(lotwcar '-gave his inlanrn men f.:t j

.m ad,amage j, debatable. But Bliichcr'.s wdl-shod force,... did help \Vdlington rr::tmplc the Frcnrh at \ \aterloo

Success beget~ imitation. <llld after Blikhrr participalt'd in '-'apt'lt.:oll·.; r:~mous dc(car. the c;;hoc beanng ht"' n.Ime was adnprcd U} annie' rhroughllut' Europe During the

blucher C\Ohed into a tn•nd) sporting and hunting 'hoc, bm it tll') thar ir dcbut~d a .t

IO\\

\\'llSil't

until the turn

I8')Ch.

the

or l h~ ccn-

.)hoe ror toWil :lfl~lirs. Distingui~hcd rrom t:ilrlicr shm·s h) dw for~

\\urd C.XlCJl'lJOJl of it\ {ILI<lt'h:r~ OYer the \'amp. the blucher ortt!ll itas \\ ith the forepat1 the ITIOdcrn blucher

j,

:1

wnguc

lilt'

in

a h~1sic llHidd for town . .SpOrtS. nJh.l Jeisur~ .shlll'"

(lllC

piece

or OXI~H.J.

height BcGmsc at ~ide t;traps lend a sltghd} hcm'ier :tppl:ar:mcc l han ~.:he cln.;ed dtroat bee-up.

rhc blucher i a h:p ckm n in drc -.,i11ess from 1hr oxford. ~len\\ ir.:h higher in,.nk·' tend ro invor its npcn·thro~u from fitst•.:ning. "hich permits more gh·c. ewer rhc in~rcp rlwn ''it h tlw clo~er­ fitting bal·tj pc (shan for lhlmornl. the (~u?cn· cnsrlt' in ;)codand) oxford.

---

---~--------

___ j


r -

D.Rt

lNf;

l HI

M ... l'i'

--

THE DR rs s

s L l P- ON

-~---

--

Back'' hr·n :1 m:111\ choict• ofdothl'' wa:. dictmrd

rn dt~l!t'tC.:' of ..

fnrmal i l). p~iri ng a ,( i p nn shoc'' i 1h d res.:- t"kH he:-" ould h:l\ t' bu.·n fru\\ n~d upon .t'- n t:-tu\ p.t .. Hut wilh current mt:n·-. C1~hion (ul'leJ b) comcnience :md comfi~n-. enjoy~ an equal footing \\'irh rlh.·lan?~ up for

lht•

l•p nn

ntn\..td.t~ "J

r.ulortxi bu~i11ess dot·he'.

ThL: imroductil'll of the low~r cu1. li~hnH?Jght lraltan f~)O£\\e~tr 111 rht: mid t1fttt: h.1 . . "-' ._

tcncd tllL·Iace-up·s ~lidc from sn, lc Stlpr~man~ The l'l:llnng b, d1e American bu-.ine :-,man lihl" r ~

l..

..

n:nural -.lh)ulder .;uit' with hbck \\'e ejun' in rhe ~.:i:xric' p1r'agcd the gdt bm:·kll'd l,ucn loafer'!' infiiLrarion

()r

\Vall 5rreer\: btl:ll"l!n"~mn in the C\cntie' In the t.'ightt("' tlw '''-k ...

ur dubiou~ ubiqmt} t\ (a.s:-.cllo:l r~r of :111\. shal)e. d~:-ign. color\\ a~ oneln:~lh U cnsuaf.,.IHw .lTl\.i r h~rchx~ ' ..

rc\caling lo\\ v~mp ~lip~on rl!nchcd :1 kind

llr

11c' t?r i11 ten'-kd f\ 1r d0nning under rhe ClJ (frd '~l>hriety uf lhc dnrk: n:n} or gm} \\ l: r'"h.:d llln\ ('\ l'!l" t

(~rtain ·dip, on!'

(:111

.St:.lnd ~idl· h\ -IJdl' wid1 the n·nic:tl hu.sim·--~ brogut~ in the :rtnkk pro t ' <l

pri~t) dt•panmt.•tn. Th~.s(._' h} brld~ nrc us11a1l) appo111ted '' irh the tnllo" mg lan• up l&l..e (c-nrurc~: \\L'It .sc,lcd brHTom." l~'r bcrrcr fo11t :-'-:ak· and -:tamre. drc"'~· bl:"pok~.: m-.pJr'-"ti \J111p de ign~. and 1"1\ l.'rall dccor:n j, e under .. tat~nll't1l


Fo oT [;)f: C 0 R l ,\1

.t•..a••••.. . .. . •

....

•• ,

-

•• • •

.

=- ,.. I .. • • '

,

THE ~.,.~IDE-GUSSET 5HOE j. ~p:11kl'" Ilall. hn•'lt makL·r to ~L·cn

muLh of ht' Iii~·

to

dc-.igning l~)t..'l(\\'Car rh~11

t~ll:l'n· urging he imented a

."lttlc?

W<l'-

with ill"Crl~

e~t') m pur

\.tll

\1CL111·in.

and t.the oil

or clastic Elbrk

011

lt1 1g3~. ~11

~

Olh.'

of the ()uccn\ ladiD ~

i.l'

"the comfon

t)( Ill\ I

dll.'

\.·irhl'r 'ide. ~lad~ \\irh

"itrt·tch.lbk· gore.'~ nf rubberized cloth 1hat prc,~,.•mcd a trim!) firred ankle. his feminine? de crib ·db,

~,.lc,nrcd

bch)l

life." As he de, doped this

\\~b llC\\

bmnch of ~hocmakmg lhc "t} lc spread to. \mcrk:t. bel'Oillillg known as the ''l:ongrC:\:' g.tircr.. 01' .. Ho"ton b lOt.

ft,Lb) rhl' d.tstJc sided men\ ,he·~ i~ gl'lh:!r.lll) coni"ined

111

the r~lr~?Ci\.·d \\c1rld of thL'

l.1.t,wm ltoL· aficiomtdo r\ Ion grime chnmpion uf 1hi' 1r.lllit iom1ll) lw"pnkt.· St) lc ,lr .,h0~.1~.1illg. 1h{' f~1nnc.: r dean nf l

nglio;;h 4\hn~rnakutg t ;e<'rgc l :l(':rn·rle} I~>' cd d1is model. hcG.Ili'C hc.? tell

IU'

u dIL~r

"ft.·. .tgn produced a bt•trer Fining -;lip-on. '" li'itumillg dte cxpo. . ed rb~tic .side gus:-;\::1~ with "mall lt'.ltlter panel' r one \\:1} tl iurrhcr relining it. I ur thm...: i11 the kno\\ ~ulLll~H'lttrl:lle ClltlUglt tu ':lmH; upon .1 gtl\,d p:ur. dtc Sldt?-gu"~t't ~lip .. on is~~ \Cr}' .sl) Iish ~t1lutiun tt"' the busincs~ siHK'

.:unundnun nf comfort \CJ'll' corre~ttlc.:"'s


-------

-

From t"r or(einal prim ad· tf"Tia· t1m·e monkfnmt slrnes shL'Il'll /zen; rl!a~ml}' madt' bJ' ufimrous Ltmtftm bookmaker, arefrom l~fi to ,.(~lu a bntwu Cfl[{shot~ a ITl'Ct'Sed f"a!{slroc, (Uicl a pigt..kiu slror...

DB;tH i Nt>

THE AlAN

TH 11 ~ 10 N K- 5TRA P

S H 0 F. U11c uf dt~ fc\\

anjd~s

{'f app.1rd to t.•:trn ir~ n.tmt. hon

~...·~ tl}. d1t.• mcll! k · frun t ~hnc W!l~ lKtuall y pn trt' rnl~d after :1 q pe of fi-,on\ cnr \\lu·n fi1r u·ut ttrh'" an

run 'PL~n Jl 111011~l~tc ri~s. Lcgl'lh:l h~JS II dm t Ihe sn k· t'irigi n::n~d .am~mg !tin r' Ill 1he lt.Jit.lfl \ lp, Ill

thl:' fi!"rt.'t'tll"h

CCIHLIJY .\ \isit· ill~ ; t.

r>f the tnt.mks· sh('""" rhat he was

I 1t~lbl1 '"-

hrother\\a~ . . upf:lll~t-dh

:-.o imJ:trc-.,cd h\ the.,tmJ)It(ll\ pa1r lit:.· wok rhcm b:t(k ll.' Lngl.md ''hl:!t' l

fl.

prL''~Iltl:ll \\'Hh :t

tht: !;11• lc \\a> r~adik• adl n1rt.·d. r The modern mot1~ - l-ronr modd i.

:1

lm\ fitting strapped hu~ \\Hh .m upper l"vm

posed of rhn.'C ~~~Lhe.r pitxt~.' . t\ bro:h.l ;;rr~lp .tLnJ'' the in~h.'P [n_,lCJlc; du\mJ!h .1 5.llldlc hud-.lt: (lll dw sh(ll:, our,idt.: The nwnk-,trap·, tongu~ i~ broade-r than 1hn~~ w-ed m mo"t Jon h 1e' \\hen· a d(lSl'r fir is dl'_ ,irahlc. tlw~ ennblin~ .1 more l-om1on ..lble fit around ·d w .1nkiL" rhJn till.~ ~

l) pic:tl bel~ - up .shoe.

I1c, ntCL'' ~tppreciare the tnon k\ 'ltpcrb1) propo11illlcd a:; "ell as it' irH~o:rmcdiate (urmalit). t"l'gi,t~.;•ring 'nma:\\In~rt' lao.:' up . . hlk'. rs:.L'11li;_tll) pl:till

bb(k c1lf tn bn,,, 11

rt'\llr!'cd

ll)L',

c:1IC

-..mttrtllC"' .md ~at1bt:at p.m

bt>t\\tX'n

'du rh:u tll a slip un .UtJ J

the tll(ll1k tlliJdd \.·:tn la.H1dl~ 't..ltne bnlguing. tfdl'sir~J IJ(lf11 dlf' Jlll)tJk '!>

e~.·onomirnll} eJpqut.~m fr'Om ~n.tblc'

It

to ~r-:t.:r~

In Ih' t:'t-l) n a d i' cr.!\e ran0'-"'C f Lrl"lll ..;e r.. (l

-

~ -

--

~---

-


ED r

L.

ttc

\\ 1thni m, methmg <..Hh~·r dun poli"iht."d kmhcr \)L'-·urrcd

r

......

I Hn.ltchc

Inn~

.1t

H . .TE .

lr ...

Jcncr.tlh c )n..xdcJ rkn tlw flr~t L.. \ _'tghring ll( m.tlt' ("\tl\'11ll

TH

"hui11g the

192-4 l ntcn1atinn.1l

Lon~ I l.mJ\ ~ k:-h..l l\\ brook l~LlUil rn Club. -1 here. 3~tndc rh~ ,·ega I (t?cL \J( the

'If \~a.lt!-' \mcri~m

''Clt:I) \\.1

h , t:n'(; mblc IIJiJu~h !he l\('l\c.."r6Jn

rrc.ncd h'

t()

the first ll.lllllcl

'Lilt •..111d

brrmn bllck..,kin

[lc ~ 'trtorial pn)dl\ 1ncs ''ere aln::ad\ legend on bu[h

~J \ t"rh~ \tl,mtK t:1 . . hton ob~cTh'r' \' t:n.: agh.1'f ar hi, ..;upptLcd brc..h·h . oC good rasrt'

p "~rtrng

'ul'dc "a' then termed) O\:I~Jl-d' \\'tth ~1 -;un. th..'l les""C\ t\ Jc 'CO !It''- 11lc.J the l~n nn..·\ J~~hion rt'<k . a ntal'k grc.lt l' ffcm i nacY .. \ 1.111\ men rt..'h.'r"e

calf

111

(.1 ..

or

._

J

Ill j.-

tllll quc'llll ned the ,fuJQ. 1:,,hion pedigrcL' "tdr..''-tcppmg rhcm bt.·c~w!-c oi rhcir l~e1r rhaL o;nch la(klu ...

l:f

tcR'~t'' ear . .~ppt:·artJd J.diGllt' and unm~nlj. l)ther" (~tiled rhem .. brorhcl-crccpcrs ··

199

FooT Dr coR..uM


i fu t:ulu f lUnd t ht; r\ , t

Gil( 'hoc

hJO

r.n.ht al ill .m~ t1

b.ro\\ n ~Jl1Liung Jl "--nul \'at

mnt 10 ll)

In "l tn cod I h.:.·nJt ritll t .. on ti L

cnrrl·ct dntlte' tn

\\L1I '' nh

I hmt:\CJ fit.,hlon ;ui·nh-r...,

thun

i1 'pu.oJ

J

the ucdc ... u nmt'lilatd\ .1h It :ltlgh n

\\ nsn I tum! ~1lmo._ t a dt'l"cld~.. I.Ut>! LI1Jt th lntt) t1u.lll) '-J\\ the ),~fn \\ htn rhL '\ttt•dl.! c;h,,l fa.;.h ~

aon fin,tl1} did lur C't.tll"ptCUOll

cnp we un

rrnhd m

H

plenttuJt ttl\\ 11

·rf nHt'li faq, I~ ,r hu ..ntt , p

unmg mbht·r oled b]u, ht.:r> f~;r rhi? countY) and ml J~· h1!!h "' C'} det Ill.' mr~dcJ, ~~)r '-pt 'purt~\~ar

rhl bJ\)\\ n bu {. ktn .il11.. t h.,1d !\0 inflltnth d f ngf1 h B} llJP

:-p~) n i ng circle~ t hJt Ol \\ l:.'IJ

dn: "'t'ti

lkir t:on,idcred hi.-.. \' ardmbc nun

Hrou·nsueJe or bttchkiu shoes ,,m b,· wow ,111 }'l'ar rorwJ

pi etc "idmur ..u k·a.. t um: p.m l )n

i

du~

oppo:-.n-e .. horc

dll'

'L 'IIt.'n

"pon sml'll .n \ kad( ''' brd ,1

Piping Rock clllllllf~ Club!- on L<)ng j,land \\ere '\.) cnamor~.J of the

bill\\ ll l\\t.'c.!d

.tnd

J.ld Ct nd

gr:n ·tl:mnd- tron,cr cnmbi11ati•m that he \\ho .. rc~1lh bdcml;!ed.. itn.1n.1hh tlmslwJ nlf due;

~

~

~

~

e.n-.cmblc "it h .1 p.tlr l,f thrIll'\\ buck--kin shoddin~s \ VhiiL· dti!' timck·,, '} ml:h.'>lvf .tt'i~h..Kratic Britt·dt m,tc mak~ am tlung \\l'~rn \\llh n ;lppear mon: st)'lish, rhc brown ~lh.:'dc ~h''L' ~tiM) h.1ppen:-. to he suitnhle fur :til 'l:·l"<\Jl'l pt·ri~·~tl, .sh.tded f<')r 1ight L"nlored 'Pr111g doth i ng, nnd rich i 11 nt.H -.o hm~ r\?fnll·mrnl lrw" IllH. t \h:igln \\Or't"ed:- ~mel llnnnd .. ( )1Kt.' .;mitn.·n. matn afi~.·i\'JHldo~ hmr .1 tlJtt..th time tt.•turmn~ h. thL •

t,..

I

,:; hi 11 \' ~ Ll r i~Ke:-> n f \-(,11\ c n t illnal mn lc I~ •lll" c:t r '

--

-


--

,!OJ FOOT' D r: c I'll( lJ.\t

THE CROCODILE SHOE The ilrsr croc-udile k•ath0r

shoe l~'r men \\41S mrroducl.'d in £he :spring o( 19~" one

Df I ondon's

L()tlrll''>!

o(

b~·rrcr knQwn boOl m;1ker'. It nll'r ''it h

in tJnt Mtcc~ umon~ '' hu adontcd ... wdl-drc.:-:!'CJ [ngli~hmcn. 'r tt

.

for re~on .md mfonnnl t~Jwn \\ear ~ larn \m<?ric.a n~' i~itin~ ~

I n~land br~Juglu rhe hoe back hume tu in.Higuratc rhc E1ll 'fashion l.':lsPn ~

l ikc.- the bro'' n buck kin ho(\ Lf• )codilt.: k·arhcr in a dark hmtC} wnc .ltl(lrd_, \Cr~4ujlit:) \\ ltethL·r in :1 lllunk "lr..tp mudd tell· rl1e \\Cekcnd, pl.1in cap

or tJ,..,cl lu::tler

lcrr

t::r1 KocHie ho~.· oft~n..

r:tn: opporllllllt)

t•)C I.Kc~up ltH'lO\\

11.

rlw nin~r~L·nth hole. the sJu:dlw,c:d~.:d

tlw norm:1lly nwt 1r, shl)d ..,,iplt i~ t i.::lll.: .1

t\J Cll!''CL

l1imsel( it1 S) bnriLIL ..,hccn.


---- --

DRl"SSTNG

Tflf

I

M.A.-.:

T H E N 0 R \ V E G IAN Hy th~ lllid t hirtie . \\•cll-dre.!>'~d \meric::tn!- h:1d adoptt:d inspired ... huc.s.

J

-.l,p-01111loccasill

\ll"

\Vl''t'jllll

nnll n lace -up mcxiel \\ith moccn in fr,,m '-.1JieJ tht

Nurwcgi:m. I )t"fingui~hcd l·w its snl~t-~t"l'L' dc~ign. the i"orweuian fearurc'i r ~

t'\\ o lctrure

~

~

.1

\crnc.ll h.md r.,lJti"h

do\\'n the (t:nrcr ofit!i toe~ \Viti! hc:l\~y lcmlh·'r upptt'" and thick coumr~ sole . the ru!;_gt'lf :O....:onH· gia11 \\'as buil r (or dw ourdoor~. · r~ ,d,l), the n1l st famou!' pttnre) or of cl1c '\:unH·gi:m qrtaet "hnc I" the 1-rL'lKh !'hvcm·ah:r J ~ ~ \\'c$LOtl. \Vhen the broadcr-.shonJder:cd dl1rhing ni the Lnc L.'tghue~

II r.. . r clllghr hL)Id. \\ t'.'lon . 's black scmi-cha,:-c lac.:c-up "a' one of tht? fe'' qua hi} hnr .. capable oi

..

bala 11ci ng rhc fttllcr-:\calcJ l~1~h ion~.

T H E S L £ P - 0 N ~~ 0 C C :\ S I N

\\'he 11 (i~h were lc'~ rh:u1 tOrthcommg

on' t>gt:IJJ fi~h

10 ~rman "ould pass the timL' b) :-litchitlg tngcther pc·a~am ~hoes. nme of rh~,l ~t'nh"gl.lll .. -

"t'n: expurtl..'d rorsah.:

lO

Great Brit.lin .•wd dunng rhL'

1')30S \menC:lfi!'

wunng london dJ'

((1\cr<:'d rh~ Osk' impmT-<1 Gl='ll:ll ~li~"' t'll1 with a moccl~m -s r~,l~ fllmt - tr~1ngcl~~ tt·w;l~ dw ~l'rwegi:111 :md mn the Indian "h(1gaH· tl11.:: nh ~C.1'1H II"' b1gho'"'

:1~ a ca ... u~l fn~hinn. Pr\.'vJ{lllSI}. thc- Indian moo::a ...m :lppcarL"d mo,lh a' soli_, .,fed L."":unp ~~~Ot'\\ eo~r 11r a bc:1dcli bedroom slipper. ='on\ l'ginn dt.?signct-.. w.:rc rhe fir't rn cop\ the

":\,Jtl\ ~

1\menc.m,

idea oi itherting a plug l)l'll·atlwr L(l con:r the l~1rcp.trtof the t1mt and then h.md ntd11ng tt hJ a

Cl)Jllblnation .sole :md uppL'r.

--


-

.203 f tJOT

D L\

\\'uh rhc hdp of rhc.loc:1l l~i~hing indttstn.

dl t'

ORU,\1

~o nvcgi:Jn-. began producing lc1surc

"Iipper th.u turned up at ;man Continental re~ons .md sekcn:d Curopc.111 cn1c~ \ ,..,lli11g \m~rican manuC1crur~n- brouglu them humt: and rc adapted the ungm,ll \ llll.'ncan lnd1an

nncnttOil I Ierc\ a man\\ ho rare!; srood on cercmon). the'' ell-heeled Jin11n'

'-,tC\\·an.

luafing

ahour 111 J p.1ir of\\ ccjun'. Jn the

r111d thiniei;, the G. I I Jh,s com-

p<1m rt.'giStcrcd the name -\\ eejun." "hich. nlc1ng "ath at.'\ mtKGl in roe and diamc lJKI cutout pmtcrn.

6cc.unc one of the mo"t n.xognized models of this popular ne\\ genre. rtl,o km1'' n .1~ penn) lu.1l~... rs.

lnm.tll} \\urn n

.Jii.ummcr~hoe in ;md amund thc

homr thl' \\eejun ~l} lc ~lap on b~c.1mc the }c,tr round '' orkhlH-..c of many

1Jh:n's

•A•• fiTq I ~

· ·· · · ~·

a

r;t,ual :-.ito!..'

\\drdrl'llx- lcJd~l} bolrr maker... I :\I. \\{:-_'-H1ll and

John I obb produce rcnJmon" lh,'lt cnmt? a~ cln.sc h.l pL'ntlh.:' from ht:.1\ en .. ~ po. tble

I

J


-

DRI ,_:. f Nu

HH

~\1"

..

-nff~•I..HWCar h:h in~pir~d lllUll} ufl:,llPOP,; hO\\L'\Cr, i1 j.,

P n.'~L'nt~;.·d hl're in rr'

nri~inal fimll . the m ~· ~

l'\I d~t

.mkle buot. l )ri~malh-. brou~ln tnt he \\ t_,_,, !"rom lndin ~

b\ Lhc HriLish I

l~lJ·.

~

Lhcv dubbed i1 '\·hukka." :1r1cr the I

pl:l) illf!, pcrilid in pulo. l )ftl'll unllul.·d :111d fiucd "irh a Je.nh~r ur rubber .. ulc. thi' fidd ~hnl' c.111 ir\:'qth.:ntl)'

bl· fonnd ens("t il1Ccd undt.~r a p.1ir L,( llm11lt:'l' or ~ord~. in either ~1 .slllol'lth tnn calfskin or a n'''e1 :-.h.1dc

l}r

"uedc. l(irrcd out in 1} rolcan ('hapL':Hr. ~Cl)tti~h ~her land ~port coat. and [ngli ... h llll)k~..,kin trnn~cr!'. rhi,

t:btditlh• aitircd roiT rl!:lllinn~ the

~..":hukka\ lllll' rll<l

1ionnl rankin~. '-'

I

-~--

_J

L----


~ur

)f Jll"'bdtn thl·

l~mou ... <...Jurcrlo<lf~r rrinm11.:'d

"irh :1 btt

l,,- gd~..lcd ~

hoP•e re~~1li:1 '

nHilillltL''

to

n.: '"lll.1t~ ~h k \\ h~thcr in bn..1wn leathl'r forth~..· (\.'~llh'PQiiran'~ g.rar thn11d~ ''r black ... u~..·dc \\lth Jug '-Ole f~lr tTil: drm ll£0" ll urbanite. tilt' (;lKCi Joal~·r I' ,UJI Clllt' 1..1l:th1..· ~l"'l(tt'Sl. llll)~[ ~..·um

tl.•rr.L1bk· c.t~>uaJ, in t~r tlut of W\\ 11 ]n 1<)66 rhe I h.m~c •Jf L~ucn ,,hu:h h.t. 'Pd\\lh.:-d more imir..1ril'th ttl''

.

"''H~Ir ... lt:llldcdh rc\ j,·~..·d intcn.·,t in th~..·ir

[h,m

(anh.ltt!-

~liJ1 -<J11,

:mr other :'l') lc l\( mak· l~'lt)r\\l.'JI". H) rh~..· carl) :\~\t'll

\\,til 'n·eet imeqmenl banker~ rook h"l appl,illling tht.'ir Cl'rporare ch.1Jk ~tnpc" "ith Titrn

bull & \:-...L'r 'Pf""·ll1 (t,II.u~. llcnne' f~._)ur-in h:md~ 111d

-

JQ~

l;ucCI k~~uhcr

..,Jip on'. \ L" IT i"~..·w tn~liL' ~~WL' dl'l,tgn.; '\lit'\ iH? l he ug:li'IL'~ or high l:tshfl'll. I.'IUt llll"'l!'L' t h:it1 thin\ ) l'Jr~ l:ltl'r. ( ~tiCCI\ bltfk ~ l~d ,oJe~ o( coml~u·r h.t' ~- .;r} Je mi1t:agc [\., "P 1 rt'. Duuglns Fa1 r~.111b Jr. po~cs i11 rh i-; i(l)ll t ll ml -

)

FOOT DECORuM

inn a~ti.llm.lll hip

Dorcglc1s l·iu'rballksJt~ in Gucd lof!{t·rs.

J


--- --

I

I

DR r s., I SG TH! MAN

Famed Hol~·woL)d costume desig11er Adrian, cosstted itt the classic white buck shoe.

TH E \ V H ITE B UC k

".l1

artie!~

oC it1t.>n\e.lr bl·uer q·pafit?d

relaxed sryk· than t\mt?rKall "hire bucks. Tlk'ir

t~he po"t\\,lr tn·nJ tl'''..trd

slightl~ ,cuft~J Jppt•arJUC<t

lent thun

thJI

nr

IiH:d i Jl cha racrer $0 chan1(ll'ri'l it l he ("I 'Uill f} ':- nnmraJ· . .1mulder fil,luon l mqud) \ml n can in r heir undc r-.t ..tttJd ll~mpt?ram~nt. Llw \\ hitl" buc..k,kin cl'.ford lan.· llf' \\ll"h u' n..:d n1hh r

soles

r 1rsL 'IL't"\l'J ,)',

CtJtn(()rt~lbll "lllllll1L'I~:lCCOlllp.111il1Wnt

tv l"e'~<)rt dmht?'

\H'fll 10

tht ~trl\

r9 ~o.s. Larer c..'ll rc.,ourccful comtmtter' di~(L'' acd rlmt t hL·~e .:-t:Hnl; 'ucde' comporrt<d tl1l·m ~ekes coualh "dl on sh.~annI "1 4

trnpictl \\L1r:-rccl

!-illlli111Cr

pa\'l~mcm~ under lighn' l?tQht {!abardme ~~.:cr,.,ud l r ._''

l'f

SUir'

Bmdt~r~ Hrotlk, li'•Cd

make tlw ,ine quLl non uf"himbut:k'

rng1.md 1 ht:\ \\ciT thL perfect Cll111panion tL1 t h,· 1r:1~.i':-: well-" orn kh.1l..i pnnt, ur madm, 1\c.: rmudn ... L n1~'nun tch tin· l~ruoks' J\1-tt'i,h ~lriginal i:-; )l'{ ;1!1udwr c t'u dt~ of tlw compml) \ n1!>.h t l d.i\t:'r IL~If '-fIt ... \dnJn ~llJ('\ mg tht c. lh old-nu:1rd hernaoc. HcrL' '' l lt)lh• 'Ot1d's !"tlm\:'d CChtume JL'~£ncr b t' ._. lf..)

111

:-pnkt!n luxurr ol~hi~ \\'0rll in bw.·b

-----

--


-

-

----------------------

John Lobb daim,

ll.)

-~----

han" designed the firo..t .:-.pcct~uor :-hoL

fur cracker .1round 1~68. It":-. prob~1blc rhat the shoe\ cnn ~

rra-.ring dJrk l~arhcrarc.ls-iL' counrcrs, l,Hsal strap. toe cap. anJ tacings

wcrl' initi.1lly dc,Igncd rhi~

\\U\.

bcGlu..,c the)

had to'' idi,t::md th~ most '' t'~l r during rhc ngon. 1.11· 'Pl'HT. In the j.lu age. the ,IJoc "a.:> ktw'' n :-~~ "rhL' currc'ipondcnr " iL" rwo tOJh.::d rcm1r a.ssoci:ncd wi£11 thu~L' ~had)

chnrncrers \\Ito sometime.'~ acted a dthll"fCC.l~c

.lt\\,lSoriginalh de:-igncd J

'-'

t"Orrc,:.;pondcm:-- in in brll\\'11

willo" c.1lf

and \\ hJtc buck or reverse calf suede. \\ i Lh black box calf often . ub,nrutcd for the bra\\ n lear her. \11 essential pan~,,( the tltirncs rncln:_t;m~m or holidar 'ports \\ ard robe. t hi~

t\\ t•

toned lace up\ unusual contra r l)( tcxLurc ~111d col{w e'en ~

tuall} bL'c.1me knl''' n in rht: ~t:ue . . a~ "tht> spcn:ltur ,.

·Iixla} the real ~deCor (an be acquin·d only thruu~h th~ Jllspl~..:s

ol the bespOk·l! -,!Joemttkl'r l,:(iUrh~S)

c.)f. lllUtk'l'll

commerce. m:~nui.lcntrer h.t,·e replaced this prdigr~cd !~hoc's autht:nttt. ''hire ~uede "irh a ch~1p nnd :-,hin} ")JiritcLit: lrat her, effecu'd) dimnmring the d:tss from rhis summer cb

,jc_

Gmrgt• Cersl!u-irr nud Jniug lkrlin 11'iuging it iu 14

t."Ofl't'5pt.lltdiugu spatcllors

... -


r 11 L I) RE SS SL IPP ER

Its ~~~1rd to pinptHlll the exan Wlll' or place \\hen .1 I }J\JU

;\rh n

mi~ht ltm h'ntttr'L•d ouhtdL· hi' IHHl1l' or d11h '''Jthcd in a pJtr ,f dtg nr h(•U~ 'hpptr .'t!t.-h .tn l'\"f.l ... ton llllt~l h;l\t• f~,ll~.m l•d du,t.:h on the ht.:d' .o f the mndt:nl dmner Jn. .·ll·t (.; 1 1, l\

pe

1.,;

pub]it' \.'XCUI'!o..!t)JI'

l·nl dw m hl·r nppard wagm.H cJ ll\ ro} ~tit} or Iugh sout L) Jn..._, "'•pp~." J, r mu1 m h r ·.utght dw publir r:mc~ \ tde from lite CC•Iit ,,f ~udt a one uf a ktnd furbd,m tht urn.lmt.:nh:d \I ben .;lapJ:.wr r.1rd~ n\ l:-.:.;~d path~" ith tlw JH'ra1tc m(m Pan llf n:. l'ltth , tl:g.un .tppt:.ll \\it tts Jlt!'ider d11C. 1.. }m· a} ... , • llt:('dl'd cuniiJt!nn· in CHH' s O\\JJlJ.s1e ;tnldm~ abuut Ul1\\ mpathlit\ t p n 1l H r1:s iu •l p.1ir \1f 1he..;e t•lu i't

DRL"'SIXo liH J\LHi

. \ ·dippt!r

i-...

1r.1 ~~pmg"

..:m lid t~.:'">l rh&? Jl prhs nf an} 111.1 n !'> m.Jdw.rn~

a gl:'twric 1ype n( "ihLlC 1tul a pan icuhu·

:-.t\ IL'

tndudmg

:t \\ 1de

\ :triL·n nf

f~'Ol\\t':lt'f~x mnu~ tl~c" "Iipper~. \\ hflh t•ttJ hel1l\\ the .\nldt.> auL· ~hppcd on L,nd held h, tlw f

till

'' idtnua :U1) 1:1S!L'11ing The pu111p t~ .l lippe1·.. t:'\ i~ rht: ( )J'ieutdl b.1huuchc \\iLh turnuJ up H1\: To break ~m . n trcnn

l . Iipper assoctation

'

~nnH.:

old !:1-:luunc.J h li!IIL m.mu1"Jrrurl·r.. ('~tii~J the .Lhl

indour ~ourduor r~ pt.• a :-.lip- on

I kre\ Cecil HcJit.'n :md ht•'lt:t: rl~a ~In:-. well

t

uaordm:urc

maHng merll at tlw \nt1bc~ H.tll m the

~nut II of I mnrc drca 19}.;. 'h·ung Hcmt'lll' c.: n rmblt '"

\\onh t!xantinalion. as rt I~ lllllw.

iL dtiJtl'"~

murL' dr~"' '\."UJt::- th~tl

Lih;> nne of hb lcgCJubJ] photogr,tphk 'II

1ing~. "h~rc Ill' "ottld imbue

.1

mentbi?r ~,( rhL bt.:. u

tllllntle "ith a hd~h.tem?..:f ~u1m l'"fgbmllllr lkJt.lll1 h. Llmh' Jlluch

'i

dw ~am~ dung her~ dr~~ing Jm, n due\:

llOJ'Illalh Ull!'datl"d \\ t'3r:Ihfe, of Ullitnpt:.::lrh,tblc Ll'{L I

•1

bcspt)kL· suit. ~1 dn:~sic T ~hu1 . anJ a parr of hl.trl dr. . ~ pump.... -, ht· tiuurc :-.ir \.~t~.:il rran...ct.:ndeJ mnc plact nnd , qgtw to bl'come IilL' much of'' hat h~ toudwJ. fn~htLmahlt

pc:nnnnl·ntl)

LEFT

Crdl JkdtoH nwakinl! (iln 1't'tmou in opt'm pump!. T 5/m·t. unA nllt. ~

OPPOSITE ;

Dul'id Ni1'm \l'ith tH'o got;geotL' clif!tlr~rr dlid motlt,__t:rammcd s!~vprrs m hn'. --------~--------

[

~--~ ---


TI-lE PO C KEl- 1IA. DKERC IIIEF

11 \ l.t} l lJ~- \pparel \rt5. the men\ ( t:,hton btb1c dcdarl!d rht: pvck~:l hnndkt n:hH:f :.u1mJt:: .,~

l!t,hlfm chauge- In od t~.:·r word . ''hun dt-:og:mn: penuchc.aJI} retun1rd w th~ fllrdi1tin i men t:t h It 'Ill.

!:10 lHd rlk· pufTufp:Ull'rtlllllllans brt.·a-.t pockt:t \

l-t\'tld 1 cufr~

21~

n rt

~\·1 A N

t i•1n. tl llll

(~tJk·rnruf:Kl,of'JrCiuJ ••J ~ l'lt"h tiL.:

,,r ~1 c<1ll.tr b:u: the jn.:-k.:t ·f\ cht''·ll hnnukerL.htef .tdd,.. .1 ri1w~.lung wnrh u.~ til= t: n. mhl~

I luPin\! the cnrh; f~r-nai"

Dl~ll ~.s I·'·<.;

\\tth

.1J11·e

luwrfk.·rd1id~ \\L'fc cdnl-lidL·red an L""l"'lll:t.tl antd liml'

~teet·)\~" '} r\~ the ..,j\:ICL'i1th c~·nwr~ iutellccnl.ll gmnt J r:t"-'inu:'; nm~d · ·ro \\ ipt:: '1 u1 flll\t'

)(lur

~lcL'\L'

\HlS"

bnl)l"i:'ll. ·I t.,ndkerdu~Jf, gr.tduall} brc.11m::: more ornate ~\(!lllUJJl "tr\lllP,

.1:-i rokrtl-" t ,1- ~l L"tmpte\ loH? l~lr c~tch ot Iter h eq n.: .. pecrabh..:

rhi:-. d~l). it i" collsidcrl'd :1 ~}'lllhul ,,( gcnttliq and

M

m.1le c.lfn~d .1 h.lndkt.·rdlll t' and H1

cinlt~mk

l11 cighrccndt (Ctllllr} l:11gbncl. the pPpular ~nurlh.1hir ~1nd tts coucmnn.mt .trt ul "- '" taining :1 ~Ilt't·zc hn1ugln men\ h.1uk.<: i1110 thl' d1:.1\\ing room. B~ lhe muctt.:s.::mh ~entun tl1c ordt llill') • \Jnl·ri\2~m

fanner in

tilL·

I >eL·p ~omh

w;·b

mopping his bnm

\\Hh ..1 ...-nnlm

1m1 Hf tbt

\\.'f

origin:tl silk print llllJWrted fn,m lndt.1 I ht 1ra

litiuu tnr cuiPrL-d han\.~kctrhit.'fi gr.tdualh g~tl loped '\t.)Uthwcsl aJqng \\ 1th t lw t:U\\ b.o\

rht.. Roaring 1\,entu"' 'a'' a ,i1.1rp n'c: in dccut·ativ~ handl cruhtd. ,,,.., the P1'11lCt' c I . ' Ii"h drc''l?f harmon i:1cd h," h.mk .md lit· but did nor march it' iabnc ~,r c~..,lor B\ dtl

mtH't.' SL'

rhi rt ic!\ \\ell -drt:~:-ed men carnl d t\h '1f dtt.:''-' app:trd uple. . lmmcdmtc .lCCJl'~" to .1 hJndl.t:r:du~.:f t'cmcia1. wh~rhcr _, tll't'Zt'

h.J

hl·nd ofr th.u unt:\f'L'Cl~J

or ro map up -;prlled champ.tglH I '\ur

in~ \\ orld \~nr 1. uujj~lfJTJcd

ll1fll"l'l"" \\

~

th

tight!~ 11app~d pocket, ~achn:~ thdr lundku

t·hid:..; "trhin 1heir coar slce' e\; """ tlw t~HJU!! i.1d:l'l ,, id1 it!- bn.:!a't pockt t .. uppbm~J t ht·

irnck .:o~u. d1t• "nne f\ lr bkm IH "' From tlte 1930s right up to todar. pockt:t handkcrcltic:Js l't'ntuin symbols q[

sa r1\Jria 1gw t if if)'·

"'

If( h

rue ked :m .:n ur thl.· unfbppl·ll ft,;.ar trlnht.: r ptKket "hilt~

tiTL'

-.)nt: lor . . hm\ln

"\\J...,

m•m h• di:-cp~n e.J in lhl' J.Kkt."t' brt a'l •

pt•rma

plX h

t

'···.:-c 1he ad\cnt llf rhc rm.:n It ungt .. uit in the btr ninetcl.·nth

tionnl h raih.lfl'd •

l

\\.1

C:\lfll'

t:t."tHun .11J

h.n c ~~ JlUI'l'.d

--

.1n

rr.1d1

.tppn


\ p&tt i breast pocket mu d~(~11ed to displai' c: pockn hundki•rd:r~f

1\t

ch~"t pocket 11ot lor ciuarct tc' ur ~1 p.tir ~~r rcadi11g !!Ll''L"'. but L•l Lii . . nl,n H bit tlf l,n.uch antrk·d l:J ::.::') f imt'h \\ uhom 'onw ttlnn 1..1f pl)ck~t rigging. an ullt~ide hr~.·ast pt lCkct JPJX~<lf'· 'llperflth.>ll~. ~111d ~

L,..

I

L""

the nur lit in(ompk·tc

I11 the bilk} Llll petiod r.( 111<1lc..: ck~gathT. nne \\ nuld hL' h:lrd prc,,ed to find unt.: nf the "bo}':· without

cl

prupcrlr dn.:-:,cd (hc:-t

pnckL'I.

dn.:". ~r' the plKkcr hank .1ffordcd )C'l ~tnothcr opponunir) f ht.:

h:tnLlkt::rchicr iS part of tiJ~

:1 ~,hlllP

or

F1lr each ol- r·hesc l,rnllh.'tht:~ln l"\1

exprt.'\'- his

ll\\11

indi,idtr>llit}

uf maleS[} ic rh:H CCIII\ 1..') S llH ll't' th:111 )ll'l ll'a ~.ltth'll tht rn.mn\.'r IJl \\ hi·-h 11 i.s di~pla} cd c.m be a~ d1s1 inguishin~ ~1' it' ,:o;dcctiull. l )n rlw it,Ucm mg page. cl1c I )uke ni \\ i nd!'or ':-; ~ubi i me chic rl.'~idcd in d 11..' ca'l.' ;md n,nu mint \\It h \\ hich hl· "c. lrl' dorht•' p11Ckct dccc.Jr i nd udcd -, h,Jugh the l )ukc folded hi:-- tiC~l tl} he pi..ll;.·b_ t

\\on them

.lt

,,dd .mglt•s witlm1

t\\ 1st ( Jf) t ~ mnt Ill\ Jored

tht•

IlliiHtiWL'

breast pocket ()rhcr C1mcl1 [lshil'nable~ :1dd\·d their~,,, 11

lw;, 't' di-.crectl} th.H it

!ilk' rnrnt:r

sla IH!\ tU\\ .1 rd hi~ I:Kt>. l"olll ran t n 1L~

CW·lom.ll) Jngk· puintmgout rt)\\.trd the ~ltouldcr I red \~t.11rr hknltt• \\c..lr hi~ ~ilk ~qu:tn:'' 111:1

putr l~1ld tlmt h~ .1llegcdl} inh·m..:d. (Jar} L\1opcr Sf1(H'tcd his :tl" ir ~1n ~~rrt·rthnught. '' ltid1 hnb nubhcd h.1ppll} \\ tth l11~ curled up ~.-(lll:lr~ :md cctsunll} .l'>ke\\ th.:d. rit:". \ I.Jic hahllimcnt i.._ n dml} 11111111.1C'\ lh:u publici} tr:msmit ~ i n:-.cl'tmJbl~ pri' .\!(' tnG~o.:.tgL'S \\ htlc pL•rmancm f:t"htoll' like rhc shrph··rJ'<> chL'ck necktie. d1c GJmd hair pol<' co:1r. ,,r hl.h:k cnl(up.:rn pump-. arc .1 t~·" of thi ql, ... tk l.mgtt.lg...·\ bctl'\.'r kno\\n ~..yc ...:11es -.o i~ 1hc ~implt• \\ hn.: h.mdkr-rlltic{ fi."'dm mu't 111L'rl .1\ ntd dOJ111ing one. l~nring thm d1q "ill dL, It incl)rn.Ytl~ h~tJh •'r both ImJgL:' \\here t:ht handl...t·rl"ht ....f j, so cnn~pi'-"'ltoth dt,n it· appc..lr.. rc.1d} LU balloon IIU.ll p.tl"~· l lr pni l'd J«, .1 m1Jlc napkm rl.'lll fl>rc...· rh~..· :n er.l~'t' 111:111\ dr~:~d of the plllt'IH t;d Gut~ p.l~. To the 1.: .. snplu"tiCJ.t\..'{1 man. thl· pnckct 'tlll.tn.' 111.1} ..,lTill :111 crfete llnuri:-h. )t'I" a C.lsU.tll} (oldcd

<'ES~ORffS


CLOCKWISE FROM TOP LEFT

Th~·

Dt4hc sct~gccl Jus, Cary Gra11t trrcgulm·Iy auglt!d llli.

f-red Astt1in· pt![TJ-.lded his, a11d Ga'l' Cooprr ploppt•d hi.~.


----\\ lll[t:

ha11dker.chicf utter~

the· quid~l'Sl

1 .L

:md lr..·a~t

~'Xp\?n,i\L' ''a~ tn lend 4~ mcdit'~.-r~· sui l

-

.1 llll'n.·

c.'f>C'l't\ c loc.lk 'lin~x· mo'r dn.:~s~} ~uir' arc paired "id1

,t.-.hd "hue. blue ·h1n'.

01

"h1te gr0und

pattc'J"Ilt.'\.{

drc"~

rhi' color f~·mn:n aflord..., the ... irnpl"· "hire

hJndken:hicf :1mplc opporrunif) ro pn'' idl· all the b.L,ic pnmp Jlct:;d~d Tlwrd~Jrc. rhc tl r'-t nrdt.'r lll. busint?""

j,

tl' learn h,)\\ to pr\1pcrl~ :;pon lHlc

l)l'

tiW'\:' \\ 111! L' llUI I lbl' r~

rhough [he lnll1ing of ;] hnnk rt't.lllirc~

.

mtnJful L".m.·. like the n ing .... L'f a bow Lie. rlw lllll"t impw ram dung ro remctnb.t.•r

t'>

dun it:-; dcplH·t-

mcm 'hould nppc.1r un mdied . d"f(..,nlc ... ,h conrnbutin!! to the m·e,-:~11 aph-.mb. PaniLularlr bcc.lll'L~

nf It' 'tar1 counterpoint w rhc dJrk ..;uir.

the \\hire linen qtr;lrc no.·d.s ro be irrc~ubrly .lrr:tnc~..·cl. ~

"uh 1l" pornEs neither marlwm~ui~..·~1lh•'

c\an nor tlnnened n~ if prc:-~~cd "ith n n.'lling iron.

Lik~,.·

.1

.~uod ha1rcut,.

rhc be~t - fnldc-d

C-011Sp1cuous pockr:t dt'cor

detractsfrom tlu· H"lwk

'------------------

"-lJLLnrc.., <l i'L'

uh~.·~e th:ll d\;l mll·

.

l)llC \\3\

tt, gngl~ "-

dr.m attcnrldn to rhcm .. ch cs. [I) eJICOllrag~ r!Jj.; h.h:k vf \-l"lllll'l\;lJICt.' IS . the h.mk ~I i£!1nh ~)utwnrd tOW<lrJ rhl: ""-~

-- -..,

I

houldcr Thi. po:"itioning noL onlr rcintorct:..,

till.'

dsagon.IIIiJlc nf Ule j<h.:kcLT' bpcl bur :tcCt.'llltl:llt'"

the dtt: t\ \

... hapl· .md "houldcr.< brc.11..hh.

AlthDugh lo11g con~ide.rcd

tHllL'\\ hm

p.h~l'.

clu.. \l]LL1J"C '"T\ .. h'lld ~ain~d pupularll) back in 1 he 19)U"

\\hen C\crnl of ,\mt.'rici\ tdc.:\i.siun c~.:-kbri

tic" be~m1 ~

to cn:.a!-c

rbcir' in .;uch a manner Th~'(l~h ~

PJL'~Jd~~,Jt 11.:-~rq ' · rnlman . •1 htJ'f11l'l. h:lhCI\1.1'-Iwr.

aJl,pted th~ same sq le. d1c rrcnd !:tiled ro Ctldurc. prob.tbl} bc.'Clrl'>t ns purpo..;eful s~mtJtf•try c:omm -

\ «.:ned the .111 l~'rm·~ under!) iug spnm.mci t )·

r he best sii.C I~ H. the pul'kCl . I

h.1lldkPrchic(

n

tlw ~ubrlc hand stirchl.'d edge t'l" n find~ railoreLI jnckt:>t lapd. iv rxpn"t.: d pntm ~ :md ctlgt.!.-t nt:C\.1 to bl' rolled :md b t 1l: I 6

to Jti inch quilre. and. like

"intchc..xl b} hanJ l~tr g~nuin~ rd1llcrnem llerc nrc 11ft..\\

\\41~ stu fi,ld rhc o:;olid linen ~quare.

Tht st[ft..TV"Jold.


----

,~

~---

--- ---

-----

\Vhilc dw white hath.ikcrchief ,,jfla)\\::l)s bl' mailable 10

to

f31J back upon lt1\ mmt

the :-ulid coil) red hank. Altll\)Ugh the pocket handkerchief can rake its coordmate.c; fr,m 1

eral C'nmp,,nent~ within rlw tailored Cfllllpnsilion. the

ltt.. \

Pll '-

cnl11r and pant:ru usuall; dctennme

it clwi(c. lkcau:-e dllrh~ ~h(')ttld hdp ~·scon rhe 1bscner\ C}e td\\an.:l the lac~ mcrrh nwrdJ u:ning. or worse!. m~uching :t rie and h:mdkerchief is not only a "ign of an un ure drc.:\st•r bm a)'"", n 'ure \\:1\ to lead d ll.'' l'\' c.' acn'"' thr bod\ :md a\\ a\ from the face. 1nllowmo thi' logtc I

I

~

I

,J

.1 -.

lhd

cDiorcJ h:tndkcrchicf ~h~)uld only be tn:Hed wiLh a paucrned Tl1:'Cktie. nnd it td~alh "hould nm

hl' {,(the s<1111C culor: a~ thc grnunJ ~h:1dr.:• 1Jf the IIL'cktje l)ll dv" oppo..,itl.! pag..:' i~ an t•dn in((,rmcd r~_·,pnns,~ to :111

DR F~ .SJ f\h:

Esquire r<... n~oler\ qttCI') . drc:1

lf

19':16.

or di[(l'l\~lll li.."Xturcs ;llso helps keep them From apprarmg lU hrackcr the chest. As a general rule or dllllllb, a ie".s !-iilkcn lu'>ter calls f~:tr matH~· pod l't !'quare

TJf r Al.H\

l\ I.Hing tics ~nd

hnllks

I

,J

like linl:'n or cutt'-''111. Ct)I1\er.sdy. a \\ll<'l••r linen necktie \\ith a dulled surflce requm.:-. ahc upbc.::u lu~tcr

L___

((ltllnrd h:mk !\hltltld fit cmnfunnhl) into the pod..u \\ithnut

-----~---------------------------------

J-j

or a ~ilk l~ntbrd. 1\


------------------------------------------

,1-

A

\Vearing a matching handkcrchiif and necktie is a sure sigt1 ofatl wrsophisticared dresser. A solid pocket hank should echo a color in the nl!cktie,

shin, or jacket.

- ------------------------------------------------------. rOR~fUL,\

FOR I IAN DKERCII J r f'-

Gentlemen.

Kindly suggest colors and

design~

of handkerchiefs (dress)

tCl

wear wirh combinadons of plain color white. blue and brown shuts \Vith

blue and white vertical stripe; with wide light brown stripe on whirc: and with solid color brown suit; grey suit (dark): or with a spon combination of unmarchcd coat and linen trousers. Very tnrly yours, Denton. ~1d. L F. C.

Breast pocket hamlkcrchicfi may be 4 similar s!Jude to either tht路 tit wont. iii ba~~ounJ color, or the colors cifits.figures or stripes. Altcrnatil路dy, it may be. ofa srmilar shade h, the sllirr wom, or its srrip!S or patt~nas.

If it 1.: possible to srcurc a IIaudkuchiif wllicll contains colors tlutt arc l,oth in the shirt mJd tie, tlrisfteqctently makt~ a smart combinatiotJ. It {s undesirablt to match tlu colors txacrly. llS tllis looks stwlird. L L

--~

---~---~------~-~-

----------~

I

____ J

I

CCESSORJ


--

-~

'--::tggJ ng •'~" bulk1 ng n up Ht fl rP hu, ing nnt:

HlU

might \\.mtt) tt::~t Jl"i ulumt:

b~ fir~t plwnp1111! pocket

11 111 Hur

bn~t"l

lu afFcG a nJtural bot lht

smoother ... u, "qunres rcqum.: ~ h1t , I

-

mun.~ dj]ig~nc\;

.

perlq. sn1~ Jt attcnuon lmt n~ \\ hen khrcd up in 'Oilk 'r.: r"nm of dll' puff fuld t '' i th or \\ l tlwut ars po11H -.hm\ in\!. the l~ntlard handl~L·rduef !'lhould re-;r in d lL' brc.tM pltCkct m 1 ~1 :\Itgin angle \ ... "1tl1 n~ luwn Lt. nfr~;rt. .1 dmgonal ~etting fo t.cr' .1 ft·,.., (".tku

I

DR.fL. Sl~G

nu M

l.,.

in furlmg th~ut the

l

'-'

hned. lllllr~ jaunq '\\.Jill

ignnr lhrber.1 h.t~ de h.: rl\. ~

configur(!d h1 pnntt:d ftmlarJ t'ir"t t~'11l1 i1 rccrangtdarly in the T\' m.mncr bef~Jr0

put I kn· \\e '"c the mac,tm of nu\ lll(king it mer nn\.-e more J1w. Jn•angc

till' cxtm \ nluml' ~lflli .'hapL' ncedL·d to tt:rllL'd bl:.lJ'l.k t· w 1~1!1 propt:tlr It) tlw pocket\ out~idt:

llh.' ll t Cl'l':lf t'-'

, - - - - - - - - -- - - -

-

-

tn ~W\

re111:1111

upright "hiJe .IIJm, mg thl:·

pat

-----------

II

L_ -~----

--

---~~-


219

OPPOSITE TOP:

Contrast trxtun:s: dry twecJ.fackct, wet silk hanky. ABOVE

Luciano witlrfrirnd and podttt ltanlJ. folJeJ his way. (Set also pagt 145)


DRl :,,:., IN l: l /H

i\1 r\N

And to conclude this pocket pontiflcation ott a celebrator)' note, legendary social critic Ltlcirts Beebe toasts cafi sodetys mostj{m1ous parade grocmd, El Morocco, b}1 sporting (ts sigruzwre leopa.rd motif.


-

-

~--------

BELTS AND BRACES

_ , uspendt:•r, ha,,·lt>nge,·irh.·\.:d :m :tir uf-;upt·riorit} over bdts like the 'bghr :.lrTngancc felt b) cl

man proud ro dednre him,df a guH~·r hut ~ht•t•pi::-h ro admir ht: likes bu\\ ling. ThL' Dath.~tt'S

t:1H'rt:-d rhcm mcrrhe ("nu.lcr bdt. '' hiLh tltt.:)" ctm~idt·rl'd 41 l~LH hie inven rion: they Iiked their p:llltakHlJlS Lighd} dra'' nand ultra-rrim. l-r;mcc is gt'Jh.:'ralh crt·dired as rht• birrhpb.ce tl rhe ''gallu~:· nr nwdern :;u,p(•ndt!r. originalk made

t"rlllll

line :-ilk ribbon in a mulrintde oC CLllors and patterns.

fhe 3111..-it.:Jlt l'i\aln bt. t\\C~Il 'll~pt'lh.k•rs and belts g<.'t\'(' ri-.c u 'l''('Jld~r "upn"JltaC' 'w-pcndcr~ ic.t. being f.,,(,ioncd and \ended

WL'I'L'

to

longt.•r ~Ct.:mcd m be n11 artifact for

to\ L'l"\ di!)t JIKL"

~lllllJtg l'ill' rir'\L Wl'M:Jbh.:c; to be rc.ld} made

early (olnnt-a-. b,· tr;l\cling pc.Jdl..:-rs.

periods Llr in Amer~

One~

they tll1 paundn uld lllt'll. su.;;pcndc:r'>. or .. braces" .1.., the English rile

called them r\?igncd ... uprcmc in the L'nircJ

\r.ltl''

dunng the yc<Jr.s pnor

to

rhc first \\t,rld

\\:u J Jm,e,cr. :tccording m Dquirt·5 Eucrdt,pt·ditrL~(loth Ct'lllllr}' J\Jcns l~1shion. "'The dnughbll)' o(

\\\\I ,,o,·c J co.tr:-oc rarn dc.Yldcdl) bdr

" consriou~

b~lr

with hi.' khaki uni!"orm. and when he rewrncd in 1919. he

.. '\Jcvcnhdl'ss. bract:!' t"lmrinucd w domin.ltt.. mcn,wcar thmughmn

the t\\ cntic. '' ith thL' Cutl~L·nstb th.n l11gh rise. (ull cur

held up b~

wa~

tTl1llSL'f"

with pleats dr:1pcd best when

br.1ce~

Dt.•.;pir~

\,tJct nnd tht:

rht.·ir ''"t'rwhdming acceptance. a gcnr rl'vc.tlcd h1.s .;;~1.spcnJer.s only

\\OITl.lfl

),p

bnmght hnml'. [: \po-.ed bratT.S :we re a

'OU_(CC

his

r1l

or cmba tTJ'I'\J11l:Jlt fol'

nk~ltnm•x~d l10111pan>: a~ the) were st illcnn..-idl~l·cd male undcn' car. a' cstigc l)f the \ tLtnrian

era J J,mc\<er...1' lighl'\\t.'jghr arrirc cmcr~cd durin}!, tl1c da1·111g Jau. ,\ue. \'Oung men bt.'\!.:lll ~ "\.. \. b I

'-1

'-

rcmL\\Jng thctr \est' ~llh.l Jonning

belt". According to E.squird clltycfopcdi,l. dudng summe-r mumh. 111 the hue t\\Cnties. sales oCbdt" uutnurnbcred .:-uspendcr" four ro one. Dunng the 193lb, the succc~' ,J( the dr~1pcd

.:-;uit (()upl~d

wirh the

inlllli.'ll(L'

o( Sm ilc

Ro\\ fi>rmalit) rcntrncd "u"pender' ro finor. but the lime lwd cnme fL)r rhc ,,eJJ -wardt\)bcd man

toO\\

n .1 dct"tJ,,n ofbcJr, Th~.:· decade\ full :1nd loo,cr..cut rrouscr<; cnt:tJUragcJ ma1HII~ll

Lllrcr-. tU cqtup them \\lth rnrmcd

belt loop.s rhe popubrit) n(knicker.' and knlckt:rbi..'Ckcr ~llib also

a bnou to rhc bch mduqn \11tl. n' a rcsuli o( tilL' interest gl'nl.'r~ncd in I

L

rc\l'I''-L' ~

calf

fnonH.:ar br the Princt: of \Vnles, the \\Prlcl'«;; Ulh.li"plllt'd fashion l ea~cr. c11ordinating shut'~" anti

bclr'\ ~o;onn b~ra111c the \l1gue. \\ith dmmt'i" and sucdl· hdr~ made ro conrditl~lll' with thr' newly (a,humablt~ "ucde spurt "hoe. \\~)rid \\:u· II ~bbrc,·iatcd dtc pn:)\.luct iun

nugannc nl<.1ng ''irh ~ome t\rn~rican

l

)f bl)til

111;1nuf.1cturcr.;;.

hl·h~ and br~K~~- I 11 lt.t.l 1 , E.'qufrc

l.uuh:hc~..i the !\old Look. an

:tllL'Jllpt

to

g~thanil.c the \mericnn man to coordin:ltl! him:-cl( frnm hat tu h~ds in H lm!'k}'. conli\.knt

111:1n

ncr r hl luok fe:tturing large ~calc proportion ~tnd strong color m~trkcd the bcginnillg

nr the..·

end of ( ngland·~ hcgcmnnr mer .\mcncan male . . l!'os aud .\111eric:J\ own dc~n·nt into tht.•

morac;s off~t"hton medi\xrcil) ~u~pt.•ndt:rs

"0Llll

l(lllo\\cd suit

2.11

.-\ ccrs ..,.cHo


1111 ring tl H?

I LJ')lh.

Esqt~in• ld lu\\ t.•d ''it h another fa~o.htoJl pn.unotit'll rcrn 1t d "\!r J In

c''l1!t.1S.I tn the former. more ~grL'g1011s di~ph.l) Df~,d( dH? \lr. T look

~~CIJ

110\\

opt~U ror (tJill(lnni~t. ~11011~ lllllWI .l:J..'lp:Jrd

fL·aLltring

\\&1

dm·J. and

kJn.tnd (\Jil~tef\Jti\t 113ITo,.J\\

dr'l:!'l\ bt:lt~

t ,

suppl)rt 1lw11' ,1 i mmcr. pia in frum t rou~er~. I lwt undt,tiuglll hcd sl\ lc hd ped ro quicrh prupd the

\llJL'l'ltall

man

lllil)

the gnt) lbnncl <•r:t \s nwn rtArurned

the \\ar .tc"'''r unt:d tu the

from

~en il'c' uf u bdt. 'u~pcn,.1·r-. rut'k .1 fa~hto11 himu~ rhat cxtt>ndl.'d lm· tlurn \tar.. 111L h1p hdd tmuser ll( tht> \.:olllincnral. L:Jnl.tb) Stree1. 1\:ac~..Kk Ptl"ITC L .trdm <111d H1ut knn er:t rdt J

--'\~}

Dllb -o-:-.·c;

gnted brao. > l~..l tht' priv-:nl' hn'lion" <,(the ~m ilt• Ro\\ aficionado .111d thL)~L: rt·m~unillg l?lldJh-s

{lthe Lt~il_:{,a~t \VAsP. p.lrti(ulnrly \\'~til

\irct·t

The It;~u:- brot1ght the slu" blll lltc~nr~blt> rl:'tttrn u( tlleJJ·s rruu'-l?f!> frc'llll their hmh

HH l\Lu:

I

'

pt.'' it iu t 1i ng dll d1 (' hip 10 t h~ s:am:tu:lt')' Ll the lll an".., "ail'i r .\ contlueth:~ of e\l·nt" '-·uns:pm:d ttJ rcpb.:c rhc -d..:imigbr fit o( tilL' pust Pc~K!lCk R~\<)lunon \\ith 11Ill~r. iongL'r n L' plc.n(_•d frt.lllt trou ...crs. In tilt~ I lolly" ood mm il" ,\mcrir,lfl c;g,,fo, fn~h10n J~ocign~r l,ir,rgin \rmmu JJllh.idu(:eJ hi lt1l'"t'r. mnrc r<Hual ,jiJh'liL'rt~

L\'

tlte IJshi,Jn pubJic m:1king it cc,ol lt>r men

U..J

lnok Jl1h:r

c~red in dwir :1ppcnra1Ke. The \\'urh.i" idL· succt>" ol Ralph Laun.·n·'\ rran!ipl.lmt.•d \nglomant..I

al-•ll hdpt•d ru cducnc men in ~nnw of the h'ritit'' c,f l1!d \\orld ra.;rc \mcri(a!l men's (:t:-hiun ha . . :-.kl\\·hs bl'~LIIl w rl'connt?Lr "ith "omc ,(its prt:\\Jf her .....

it.tg\!.

~lichaL"·I DougLt" \\Oil nnl},car

for J,j,

portr;~}nl o((;t";rdon

<..;ckko. rlw rt:ptilt.mm,iJc

trader wlwl~norcd rc'iplcl~llend ) .stript~d rnglisb br.lCC~ alon~ WIL11 mher 'mile Lhc llJ86 film

\\i1/l &.,freer.

P"olluwin,,C" l )l)tii..TI:J,' lead . a nl'\\ t"

uf tit(' suspcnd~_.:r'.s inhemm

:-111<11Tlll'\:-i

~cncr:nit•n

'*

RO\\

11\t:f\ in

•)f HH.:'tl hxamt? eu.unun..·d

.llnng \\'lth cur( links. pl'lcket watches and ntl nmnnu ,lf

dn~sic rn:1k dn.·~~ nnl<lllll'llL

THE BRACE SUSPENDER

l),GH \\ 'ildt· lllKL'

,Jwuldcr. nor from rhc ''~list.·· In rhts. ht·

_,t:ued .... Ciorbcs ,Jmuld hang from 1ht•

i~ (Ompldt'lrcorrccL

\belL can nc,er m.ud1 the 'u"

pender in allowing rhc plcJ.tcd troll.sl'r w ful!"ill il\ ~1c.-;rhcric J1tnnion H~ 'C\.'1Jring the p~un ~.; rc:1r on either ~1dc of it~ back sc:1m while andwring the trou~cr,· tmm dit'cctl) :-~bene il~

T\\Ll

-

I L-~----------~------~--------

--


m.11 n ple.lt' 'll9-''-"'llders .'lllO\\ rhc nnrumlpull oCgra\ it) to ket•p

dtL'

pant':- fnmt :-tn~.l b:1cl... crca

t•

t.lut Jnd in pf<l~l: The rrou~er~· 'crric.1l luw.-. :1ppL'.1r nwn: defined and t.•lon~:llctl. \\ htlt· Lhc

rn.1u

p hi tlL"ming on rhc '' a:i 'r uulme . . t lie 0\1:' r.11l ll>l>k '' i rh

eN

llh >re clcgan t p rc~pnrt lOll'

t 1rigm311) bm~t:' Jik\.· bdr ... \\ert• m.td~ 111 t:\..Kt ... i/.t'' :-oth.-lt .b )2., ~-+-or ~6 inch., \('on

rrnllul l~ngd1 alltm l.'d dll· su 'pendt:r \ hack i~lrh and .1d ju:-tabk Crum len.·rs to b~..· COITfXrl) po i 0 uk-d ..lC\Lm.hn~ ro the'' l::lrer\: height. Tlk frLHH lc' L"i"' .II\~ mt•am tr) 1·L·,r 111 tlw hoflm, ~.-rc:m.:d

b\ thl' ch ,r· pn.aubt·ratKt' and dt~.· r.1pcr of the- ".ti,tltn{' If -.cr ab~,.,,L rhc bl)ltl'ln h~tlf nf the

cht•-...r. rhL~ double l.nt.:r of ribbon bu]k-' np tht· tol'..,tl. "lulL· dw gilded buckle!'" ind up di,£r,Kt m~h dt.JS~ w the "enrt'r's (;Ke lodm. mo~r br.h.:~;'' .m.• ~l1kl in ()lh.? '1/..L' w <l((l..lll1111lK~nLL' ulk·r " men It'd' mg 1ha.·,~? under - :et.t i l) inch'"·~ " i l h bucklt·s up a r, llll 11J t hcf r 11ccks. I km e\ cr. if .1 r~r.ula c.1n"r .Kn>mmodau.· \l'U.•1 :...htrl" rcp.1ir

-...ht..'F' ha Ihl' prnper machim.:q to ~hurrl!ll I hem ...,u,p~ndcr worn trou~~r:- ... lmuld h:nc l'''' re:1r br<lll' burrnns l.'quidi~t.lnt imm the tWll"t.'r cetucr '~am &md t~1ur in 11-om L:\\O linL·d up" ith c~1ch of rite m~1in pk::n~ (the one' dnse't to rl11: t-1\) Jlld another t\\ 0 pt1,iticmcd ju't fi,n, .1rd of thL' side 'L'JllL \\'hell !>ll'pcndcd ~-nrrccrh the rrou L'r..: mmn pk·.H lic. . 'nh othl~ "hik the fnlllt crL·a,e r(·rain:-. ir:- kni(clike line. BUlh)ll!' l'[ ro • fur {Ll the ...ide or dw li"Olht'rs· lll.lill pleat not Olll) fat! ro andh)r it proper!} but reduce the rcn,inn on the 'houldt•r .:-trap~.\\ hich rht·n ~lip (mm t hl' !'hPuldl'r. TrLm,cr' ... huuld .th\.1\. b · \\l.lm Luger at rhe \\ai,t -...o th~H thL·,

Clll :t('tltally

bt: ,u,pcndl'tf" from the ~lllmiJcr'.

ncpcnl"Hng on pcr~onal ra,tt:. brae~ bunon ma} be wom l'n the im;idt.· ,,r llllt:-idc

thl"

\\,lJ

tbnnd In the carl}

)C.a rs, '' ht:n

F'rmocol dkt;llcd

l.,r

th~ll brace' be cmKe.llcd. Lhc ,.e,t or

bunonc:-d jJckt·t .tecompli .. hcd thut dr:~:.·d ha11dily. l'\:uurall). it ''a~ llll"~rc n.,mhH't3bk: trl 'l·rure lht•m tu thl· (iLlt. 1de ot" the wai,tband ..1\\ .1} lTum r ht• ht~d; In rhi . . portrt.lit t1( t ~aq l:oL1pcr nn

the ( llltl\\ mg..... page .... ht-... are affi:\cd "e-trmg a' c

t

L:O

.

the om side: n( hi~ '' ai~L b.1nd F)rnbabh bccltl::iC: he '' .1~

llo\\ L~ cr "hen men :'! tarr~...l g"i ng ·\ c ... tlt.:'=-···

rhc sw•pt.·nder but ron ... "ere mo\ ct.l

our of tght to th~ rmade of Lht;" '',ai,rb.1nJ

" "'cl·dle "ro <-m. bdr. hould ncH.·r br "orn "ilh . . u-.pcndt~r.• ;Uld bdt lotlP' . . hould not

.lc~('~mpan trou~er-. \\trh 'uspcndcr butwn. I \~11 though 'ome mt•n likt.·

u. p~ndl r

\\ Jth

dudgt:' born

tll

.1ltcrnat~

ont.: pair of trouser~. u:-petll..lcrcd pam \\ rth em pi) bdr loop . . j~

tf c mH~.mcnce

l)lll'

a bdt or

or rhl)'('

that t ll\\ ~1rt' both com em iun and go< d ta.'tL'~ I ( ,u~pcr1dl·r.-. .1rc

gomg to be \\Orn ideall} the pcmt \:;hould be

111;1dl' ''

nh ancxtcn ·ion \\ni... tb,md.

ll)

!'i11h>Oth

e-\t~r

rhc tr JU! er npt.•n front. alnng "i rh 'ume kind nf adj u "' .tblc stdl· 1~b I( r aJJiL ionnl \\ .1 j,t ll~J 1\ilm '"'h'U \H m '' tthout .. u~p.~ndcrs_ \\ hile must nd~.?-. r l drc'' an· m;H.ll' tube b\.'!m. 1hi~ (h1l''ll.l h.lp r~n

['be: one of them_ Tht• fml.'"it qu.1l1l) ~u..,pcnders .ut~ m<:a.ie of r.1) nn. rcp1.1Ci 11~ } 1.> wq L""'.l r ·, sdk

l'l1t ,,,.•1p~

are rut m 11 1 mdt or 1 1 _ inch stnp' \n\ nan·tm er and the) "ill b111J.. lll} ' ' 1Jcr and the' "1ll t~d nnnher c m~· Hra~ec; \\ nh clip end~ .1rc proh:1hl) oka~ for l:1nn "ork but lll\f under n sutt u(

l.lt th

1 ho't. of ncd:nc . . dk

pattern gr.tcmg

J

Glll

be comfonnble but .trc lll~ithcr m1rlwnric

su.'ipcnder strap lll1uld

be \\ O\ en

rathL~r

th:111 printt:~..l.

tlllr

.1s

durable \m I

on h

1 he "O\

dl:-...1gn p, ...c.: ~c rhc o,trt:ngth uf dmrJcter tn .:umc\ tht appunen.mcc".. uuhrnn~m lim:agL:

en

A (:CT."S0lt


----------

l

OPPOSITE

Stl5p(ndtrs tiSd co arruch w omsidc ofrrottst:rs ill

.-\ CC E5SORl E

l't'SHI't.'llriug dt~p,

RIGHT.

P(.rJ:cr po.sitimred levers witlr guh:rrd su.spmdas.

u~pc11dcr..; "ith knitrt.•d end~ \\'l'rk well wirh lc>t·mnl wear:

Jnd It: ' bulk\ under n w.1brcoar or cumm~rbund. ( )ualiLY bnKcs •

machurt~ mad~

........_

end in an cfhln

to 1111

J

they ::J.re ,oft0r. 111L)I"L' piinbk . :.lJ"L

cu.stot11an h• m.1dc \\ ith r

derate price. IIO\\C\'l'r. rllgland's \ lbL·n Thurston srill

turn.; our the Rt lis Royce of Lrou.;er usp~nsion. espcriall) if} ou happcn ro lind pt.~imt:ns 111 "hiLc cargur The "hire

C\'C'ntunll) turn~ crl'am. it11p:1rting

\\Drkmg leeH· bunonhole~. old-fashinnt:d white cargm

j,

'Jil

tt'•

lund-finished

,1gcd patina. Lih·

onl' nf thn'L sanonal bt\lla 1"1dc~ con-

m.mng an cducntLx1 palate. ~otc the corren pusitjoning ,__l d1i' Engli~h bracc·.s k' cr~ BRACE }\ESTJJ ETICS

Sine!.! br;.tc~s -.hare the

'\:111H.:

\erLical pl:.1nc as Lhc tic. rhc:.sL

l\\0

element~ arc coordinated flr!'t.. l~Jllo\\ed b) the drc~s c,;!Jin am1 rnJll~t:r. Th\? C'\pLril?nct'·d drc:-,er

\\Iii uc;.e the bra~e·. color or pattern m (rnme r he ~n~t·mblc\ compl}si t ion.

<>~.~l id

ur 'l ripcd bra~:l''.!'

.:tfl~ rd more vt:n••triltt:) rhan a patt\..·nwd pair \s 1he: m.ljllrit )' ol" rncn Gn or pJrtenh.:d Ill'lk\\ L':lr.

tht: !\t1ftl! Or tmple "tripcd ribbon Call pick up uncof the tic\ CtJII.li'S Wilh\llll

L'Oil1pL'lillg witltlltt'

trc\ d~.;; 1gn

Patterned braces ~nonstripcd) cot"rdimttc bell ·r "irh £he ~c,Jid tht

t.:ruil

d1e\ c.m t:1d1er repeat one of rht: tic\ colors or look

pamon.o;;hrp

llll\\C\er:

lo

(lr

stripl:d n~cktic. In

rhc trouser nr shirt !"or com-

smcc suspender arC' hidden under the \C"t or jacket~ thcr elljtl}' 1r~nH·n

d~lus freedom to complement an~. all or none (,f the tor:'lo·!' nt-ce ..... ories. tl~pcnding on the

prnLtttl Hh:r" per onai skill and ta'itt:


·rl l E DRESS BELT -1 he d111iL·e n( dre~s

bdt 'hould be dict;lll'd fln,t br the• ~huk'·~ t1'lnr '

0

.1111~ th~n b) tlw hue of the j:Kket ~md trou')cr

/1

\\llid mixmg .. ll.':llllL·r color s.u..:h :ts a hn'\\ n bdt "11 It .1

bbck ,!Joe :wd 'i\{' 'er~a l;cncr,lll). ,Jrc's

b~ It~

DIU

'I.)

I~\~

1U!t\l~~

,JH.Iuld b(•t>(,m equ;1l t~r ~..brker shrh..ll· dwn tilL· :-.uit. \ &u-kl'r bdr impans a dr~..!'isit•r l~mk J'lw 111\HV rill· (on tra•.;r ben,l.·~n hc.:·lt a11d tl'flll'l..'r tl1e ~plH·ti('r lilt' rc~ult. \\ hc11 "ell "·1~~,~~11. the

l"l''''r pf d1\? drc'" bdt mmitniz~' llw transirilln ~11

A BELT"s Et~o 5HOULO FiNIS!-t

till' '':1i't wit hnur inrerrupti11g dl~..·lillL':lr llc.n\

BETWEEN THE TROUSER S FIRST

nf tltC' C1l:H ~llld rnnbl•r.,·.

t.NO SECOND LOOP

l\ot h tilt' Jrc!>S bcJt\, L'"tcrilll' at1Ll und\: r

,jl.k' should be con.strucred """~1 nne gr~li lled lc:ll ht: r iII :J " id I h \ af} j ng fi·.om I I ~

~

\\ hen buckled, it-. end -;hould b~..·long ('Jllmgh l'llllllillg pa,tlhL'

'l'Cl>lld

ll'

4

in~.h~..· . . lO I I llllL'he

ilni'h 1hrough th~..~ trouse~ fir:'I belt luop \\ nh mt

nuddl:..' .:-hould be o.;jmpJe ill lit,~o.;ig.n. in cit:hcr ,iJ\'ef tlf gold dcptndmg Oil t lw C< 1lor

l

d. the a~.xomp;.m~ ing

it'\\ d~

\ monogram 1f

dl'.'i r~..·d . shnuld bl' d i~1.TL'L'l and \our 0\\ n , I )r~..·~.., bell:- arc di~tinguislwd either b' thl..' 'imuoth ~ ' dulled . . uri~K\'~ u( fine grained leather:-~ such

:1'

pin c.li nr

(,aby• caJI~klll , ur (rll!ll the :-.ubrfe ln~ter C:l~L from the luxun ~ <ltt" ... kin

l)r a lt/~1rJ ur bub} CTOC\'dilr. I lt''"'-'H·r. here\ the

I )ukc using :1 gtldl?d D-ring huckk· to drc'" do\\'11 hi'i .tll1g~

wr

W:ll!"t

p~1g~.·antr~ into ~ 'emi - . . pon bdt d1:1t .tCC<Wd"

mo1\.' \\'ith hi' patterned u1'Ll11ble\.

mform3lil) TJke

nnh:'

,JC ho'' b\ h·eping tht..' nccktit:' mp bJad~ horr. it~ Ltnd,·r blad~.· h:1 ... L'th)u~h length to n~t..-k through the ll'p\ undl:r kll1P .1 nd sccu rL· rhc "hole arnmgL'IiK'IH lldHI~ nuo t lw \\.li.,th<md. \, u-.tul. rhc ~lan h~1:- m:ma~l.·d tHll')

l\..1

wrn riiL'\Jrda

inll" :1 mini -ponraillJre ot-~L'<Uii) ~wd pt"l"'~mal ~n ic

The D ukc 11ppom ritl..l; his 11'11 isr as tml}' he mttld (Set" also rl1r bMrom ~(p,zgc JcitiJ


] E \~I ELR'(

"""'-"" mce \ Ktonnn run~~..'I} li·dt men lta\l.· tt'rllk-\f tu ~1\ ord all bur the Illl''-l di!-CI'cct .md u ~.•rul 3cce,snrte \\ nh the cx(;e.prion of £he finger ring. 111.111' Jt ,,cln· has bc~n 1:nhercd b} function the

lll\Hll'\

dip tic dip. Cl'lllar pin. kcr ch:Jill, ndrlud''· si111T scud, .md

tll't. dccor.nivc ~~cond I l<mC'\L'f. .1 g~nrlcm.lll C.ll1 'till Hl'>:lllC'I .:"

\\<.::<11'

\\Tt\t\\,nch

:1rc llliliraria11

quit~ an armr L)( iL'\\dl'} \drill Hit

.,.,-

thl: !unit' ofgol1d u.;rc. ~

In pre \\urld \\~1r 1 d.n ...

hip

1

lla~k

:1nd cigarl'tre c1sc were con,idcred e.s.se1Hial :tcccs

~oon~!l; f~w .1 ~ t.'Ct:lCJ'.lllon d mr bel ic' 1..'d a d ri 11 k hd~WL' :u h.~ a ci\'arct rc .:tl"tcr \\ere ~

f\\ n

n ( t h"'·

rl1 I'L't'

bc.:-;t

rhmgs in Ill~'. I he demise of wbaccu h:t~ 'Li~nHHizL·d C'\ en 1he mnst ~l} Iish of smnking impk·me11L'. \\ hile rlw tl.1~k ha' gone rht: ''a) nf tlw ''"niL 'lick. (h,nhe ntntttcm. 'L''- 1~ -rill in fa!'lti,'tl.)

The 19~Lh re\i\cd rhn:-~ fc" :-;Jnctinnl;!d ill'tlht.l(,dt"-cmbc!II.,htnL'nt th~H Cl•tdd:'ignit')

l'r cui"!" link~

rhc \\l.'an:r husinl?'' and .soc.al srattl". \\'idt tlw rerum \\Ti't

u . . ptndcr~. thl:· Ct.,llcett'r\

or pockcn,:tiCh. and 'deer'' riring in:-LniiiiL'llb, lllnrc men bccmw cofltYTl'r' 1.1f' image

JC\\dr: rhnn in <111) other pcrir1J p( rhc Cl?lltlll'). l.HE FrNGER RING The rin~ ~

I I!'PWHI!i

llll

rhe 111<1lc l.itwer lwQan ~

~,

IL"

~

linked th . .·m tl1gl'rhcr into :1 necld:Ke <1 a ft,nn of (1t1Tl'IIC). The the1~ .t., uf(ici..tl "LJI:-, and b) the l'nd n( th~.., \Iiddle

\\IHl

R.~,,mnns u~~.·d

Cl\iltt.cd ~.-~nxr amon~ th ...· <..~rt'L'ks

•md

I

l-

\gr:"t nug Lx·c..ullc ~o pt1rular th,lt· dTerc \\l.'rc 1.1\\., lt11biddttlg ~cn ­ tlern.m "ith Ittt k· ur 110 pr~ >pcrty aml men bch '" d lL' r.u 1k n( k11 iglu-

h, td w \\ ~.tr one During the hue Rcnais,ancr. the an '-'

o( heraldnI

amnlduccd a\\ hlllc raft<'( "ignc:l rillg · crcstul "ith 1he 1!11nil~ cnm nt" .trm

J(ld:l) fr.ncnlit} pin' and sdmul rill~'~ Gtrl) ou thi~ tr.tdition.

Hel~lrc \\ orld \\ .tr II the double ring \H:dding ccrc>mtJll) \\ :1" a rar ~

bm b) lhe middle Jl)'\0~. ncar!}

at

b.lnJ, h.1d ll'\1\l'd tht: old -\\llr!J pl.nmum band

lJO

l

percc11t u( t\mcric.m lm:'

CUsr0111

or \\Caring

get! . .!

01'

\'i l{w linger jewdr~. lc-.~ is ttstt:lll) Jlllll\', l:'p~.·cinll) Pll }L1ttllgL:r men.\\ l10

should 'ilh:k wirh "implc.u11dc.:t·~t:JI1..'d lllnmmr.:nt.

\k t\.' or·n.m:• lllllll11rtrn.II im~er 1ingo; haH:' ah\~1} s het'll cnn.,.i...lc.·rcd 1

gaudw .md .1

'OCIJtt.'<l \\ tth

met I " ho mnk~ a II\ ing h) c• Hllltli~sintt.

( )rg.mt/ 1tic '11.11 ring:;. d,p;, ring . or ~ignt"t. fa mil} ere' I.•md mtltt.ln rm~ t\ lt~h

Jlr~

Call

bl· \\Ofll

Oil

either h.md rhc

'lglll'l ri11g j,

011~

the !)imple \h.'dding band o1· Jl''' dl·r·~ ring. \\ ht:n cngr.l\cd \\ nh the \\carer·~ imtials. H ~uggc~t th.n nne could rtl.lllH' ltl

h.ul from t:h.n 'iJdc (,f tht: rmcb \\here hi~ forcbe.u·-, r:11led up('ll their ll\\ n c.1l to notJrizc corr~pnndcncc nr pared )tttl.llld

Rogtirt iu douMr. ringtd undt·rst,lfr.urrnt


f

---rhc golden age ofjewd') '' orkman~;.hip '\pauncd rh~·mid ninctl'clll h cctHllf}' LO the beginning of the 11rst \~'orld \~m~ \\ uh the later an nomc.m and

CU FF

LI N KS AND DRESS

dcco pcriud:- aJ,~) prvduci11g

:ll'l

JE \VEL}{)·~

'0111C.

r d,l)

G'\lr:turdinaq dt:sign and craft lUJJF•hip

3

patr of

Fd"ardi:111 cuiTimk:' or an ('.lrl)' l:anicr t:mk \\atdt afford.~> a man one of the fe,\ opportumuL-.: 1• anuallr ~pnn an ~.mtamcnt of be:HII) nnd antiqttil) "it bout e1iciung Lhc di. apprm mg luql of hi "·~.,hun-. JZ~.·,\lllllling some fanciful tale tracing th,: it~m\ origin or rccallmg n.s cdcbrnn.>t.i

U\\ner

011 h ~nhat Kl':-. the nn .sriq1 1L' of a s(Yntll..11tn nd cdlenibll.!. '

I

It lw~ bc~n -.:1iJ that ward1i11g a gt•nt undf1 ltts cuff links i~ D.R £:..\ s 1 =' c n n 1' l ~t.l'\

t'\C'f}

bit J~ ~cu~ual Cc)r a

\\oman as (nt' ,1 m~m tu hc<t r Lhe 1 'l'lvr sli~o.1t? d, l\\ n the back of ~1 dre.s~. Reg.lrlflcss of Ill) c ~~~"Ct. no

rorm ur shinsk:e\ ('closure drl'.S~L'~ n 111:111' hand hcll.:r I hnn (] \\ ell-fiu~d I J"('IlCh cufr ftCCC'lllJt'd b) the ~ubth.: glaJnc1uruf it' buaunlwlc cu\l"ring lit1k. The mosr prl/cd c:·mmpk·~ pfcuf(-link ilJ'I h:l\e :1lwa~ rdt("d on .til J(:mrstdt:-' we

lll\C\

tht·ir (T~lrt~nnmship and lineage. -1(, Cull) l!xpklit tht> cufflink\ d~carari\e potenu.tl ~.~ach ,idt·

shfluld bc:1r :1 de~ign and connect with a chain or link, 1 he rcnson iris \Cl nnmed. \\'l:anng ruff link' Lhat clip on one ~id~ c.-..:posL' the supcrstrunure. and sugge t rou could afford unl) thr \!Old l)r ...~cm.stone ._

on the nur.;idc. ThPugh it i~ admitrcdJ) ea~icr ro lmk rrcnch (uff \\ 1th a bar

that pushc' rhrnugh

..

it."

four

burr,)nlwk . . on I} half of each hand L'nd ... up cmbdln.hed \rnund

19)1.

along ''irh the nc" backdrop of Palm

Heach·, \\'lllle di1111Cr jad~t·r. drcs:"- .sn1d!' and matching cuff lml..s

\\ irh colorL·d '\toties crL'atcd a .s.rir. CufC!inh \\ iLh brighr. colnrfi.~l 1·L1btc'. l'11lcr:1ld.:-;, (.)J' ~.tpphirc... arc. ,uJI cnn~idered h 10 o~rent.ttiou!­ lor d.1\. wear ;,nLI n:sen cd ft)l' aftt:'r-dark ~.-erL·mnnie". ~lmncr nr

Ia tcr c\ en "cll -d rc•N.:d man should :-~cquirL'

all

:muyuc !'~Ct l",f

'llld' \ pmpL'I' drc:-' set nf jcwdf} include:- ~ pair of douhle .s1dcd cuft" linb t\\ o or rhrL'I:? marching .:-hin n~t·k and nu tc\\er rhan rhrcc w:ti.stcnaL button . \ n \ mcncan tJwcmion. rhc 1ie hnldcr or da~p <tdds a roL1ch

llr cum rolled llouri~h. t\ tic dasp b.·tp~ rhc tte undl!r crln

trol. preventing. it (rnm tbpping in the breeze or :tcling a-. a n:tp

kin while dining In additif,n. a(fixing dw til! t'l rhc .. hin\ from

helps 1('1 m;1itlt:lin the tie·~ arch in th~? ncckband Tic bar al~0 ~tdd ~1

lllC:lS LII'C

of" p.lll:lChl' l~"lr tht'.~·C ... hm·tl~f men\\ ho

Ct)lll' tn .. hnlh.i" till(' their

ll\)ll\L'I H>ps. :1

JllU!-1

lllCk their

b I rrJ \!-rarr~. \hm}

~1 nt:t onac.h'=" c:111 t thctr" dlw•n" ~1rd ro ~,rTc(l .1nwrc ca.;u.JI .tir In the .,j,uc:-. tie d;.·hp~, em mto dedme becal~'>C the ,t\ ABOVE :

Canting tltt' tie clip d!lwnward cfficrs a casual elan attd att ecceutrif charm. OPPOSITE ·

Cary Gram iu ll'l'il:flrtt'd rrctrch cr!ffs.

J 1 ~h wider nc \\,1-.thrcm n offcentL'f"hen clipped to the ~turt

-lL,d:J\. nc~..·krie bar.' $ht~uld hL '-tmplc and under-.ratcd. though a wl 111 n,tl":ll (\IlL' ~.,.·:111 add .1 bit of irrc,cvencc r,l the haghbro"


TIMEPIECE AN D \i\l IZI T\J\IAT C 1--1 E

un u11a t ely. 'h' h~n e 1110\ ed be} t)IJd the Victnrian taboo on publtc da~pJ.n, o( a tnnl p1cea.: (.1 t niL'

,

~

-'

(1

DRf!• .'d" l; T fi

[T

gent Ieman \ cnnccnh ''ere nnt 'lii'PCI"icd to include the pa~~age of rime) On 1hc uthtr

h.1t11..l:· till· ac.tor Peter ( r·ItHllt: 111.1} h:n t: rarried thing~ a bit 1;,o i:1r \\hen qu~n('d J t, ,,In ht• ~pun l'd .1 '' :nch 1J11 b0t h "rist'. ht? rcplieJ. ··1 1fc J:o. lOt> shon L"O ri~d· ".1'-Ung prt.•nuu. . "t'u"~Jhi~ gl.wri11g :lt Llw \\run~\\ 1'1.1\t.''

M A I''

Ll rl

r L'l iLllll't l C rcq I ti rl'd l he pnd{l'l \\:11 ch I() :lCLO Ill pa fl~

I he I a ilcn,H. \\ l:nll' .1

thlll drt''>S

''~1t~.-h ''~Is dl'l.."tnl'Ll ·1ppn)pri:H1.' ~~~rdillltl'rl·lutht:'lnrdrc ~i~J·dm \\ear ·1 h~:1tt.1Lhcd ke" clmm ~lth.i pnch•t \\:ltch :Jchtc\n.l C\~11 t,r~.·:ncr 'i:-ibilit) during rhe Lhintc' a' n hccam'"• thl; umfunn ~~)t' l'hllh ~.hl) .tnJ C\L'ntng \\~:1r. (~cl·lh:tprL·r 12... , nrm~lh\l!ar Hbck and \\ hitt: lttqueltl' -)

l )nc llll'asuremcllll'ra Lirncpiccl·\ qu.tllt) and drc . . -.int'·.~~ hit~ thmnc :-. L nf."'~rtun.Ih.h

mam men \\Car I)ick Tr~K) 'LJied "risn,:ncltc!- '' idt bu!-inc..... :o-uiL' (.1lnug, ''Hh drc~ ,h1n \\hlhL

(li(J-:.

.ll'l'

t:itht'f

[l10 :-lhH'f

t>l' ltll1 !till'('

at rhc \\l'i,t). 0H?r!cizc \\3tCht:' do lnde for

man\; m cr.11l

lhl'

:-n• h:dlll~'' .md ~uch t:ncum

bran(cS in\'ariabl) !lcccfcrall: the (m, mg of

rhe <>hin:, cttii 1 '(

Ll\\

cout~l'. th~· lwlum~

h.nc the1r

n a~rcnda \\ ht:n it come~ tn "n-.r d 'n'' 0

\ lrhough thcr Jon·t general!\ faH'r t ht> f-rench l'll f( thC) do like thru· barrel cuff, [I) fit . . nugl~ .u d1l \\ n..,l . le:n ing lml >

for

:Jll} 1hit1(1 .;::,

but the mo

t

slt"udcr

"risf:\' ;uch Iral} \ {)\\ n .. nukl· ~,.,( \~ inJ'l'r" l~i.mni ~\gndh. cro,\nl.'d the -Ral..l' of' rilL ~

Ri,ier~l..

back in dw I<)~Cls h.t . . het·n "·on

t r~n t.llJ'ng

proto~uL -..tnnri.1I and nthc !'\\ N

l~lr 3' Ion~ 3!' am ('Ill' c.m rrmcmbcr · \\ '' '-'

.

c1do.. rc.-.nhPd Ihi~"·ummdrum h1 "}'h'H·ung his \\4ll~h rn e1· his ... htrt \ufT alil'f "lud1

all lt:ll)

r~l\)k

m'lte.

L_

~_j

-~------


----

----~-

THE Bl1LITl>NNIERE

n JX"hr~ -:ocic~ of timner da) ... , the w<.·aring '-l .1

IJpd tl~l\\t.•r \\J.S a"} mbo1 of gnKiuth lh ing ..1 tnburc n., the bd\ un •\ llllf arm. a'" dl a~ to) t..'ttr hL':-t or ho:-t · ~ .. 'h•ar....t~l'' .. it

\\"3.'-

rwthing C'"X(~:'pti\'ll.tl to ~et: ,, man

"t'Jrm~ ... .t bnlHL1tmicrC' loda). (:~dw-r rh.m 11.1\ oring the odd l.1pd ~.l( an -old b<..1) .. ar .. n·· c · 'omc ~nlwr clitl'

r"'1pn..'lom cuming ttpnn t u' t~trnwr grace 11<..'l t' oi male rcltlll'JliUH l' ,1 J":ll"lr\

\ fC\\ blade . . abom ro" n :-till in--ist on m.tin tJtning lhc Pkl . randlrd' b~ not appt.•aring in coaL

.tnd

'!Uns.nnrr :\~'' )brk an:i'l .md d.md} Richard

lfl.'

\ lcrkm

1'

ont• of the h\."lldour'. ]1

'i

.1~

rllt:' . . uit.:'.... "cit

brl.W>l puc~d '' .1 ... dc.>rgnt'd m hold a pocket Imndker

dud· d.ttl'

.1

rlh.'

l.tpcl bunonhok· '' ns nude m :KLC'm ll1l)

flm l.'r \lthou\!h n bouronnicre is no l~m~cr ~ '

«.:xpcctu.i or

C\iCI1

comt:nrionnl

to&l).

111nn· tim~s

th.m not, tht: mau "l1o ian>r~ one u~uallr (ulr-ill-; rhc

__________________ _

pmmi c: l,fgcnnltn sugt.c..,ted b) 'th:h cu~tum. ltk~

..__

the ronccalcd oJIIar button. the stem

of rh~ lapd b lUtonniL:re hould l ~ im i.;iblc. ·rop ~dra\\ "~r dudlL'" are Fim·dwd with mg dct,ul required

[0

proper!} 't.1gl:' the J41pd

rhe J.h•.i.<:f lt.·ft l.1pd of nor lc,:,' rh.lt)

inch

1

fl1)\\

dw~t· L:1ilor

cr\ prL'~('ll[altiun · a\\ orking buttOllhuiC 011

tn len~th

:md

~1

loop t)r rhre1d to hok1 Llll' flo\\cr\

tt.•m on thl.•lJpcr-- undcr.!'ide. Rc!-l't pinning. .1 flower ro the nut-.idc l'r rour bpel. rcgLu"t.11e . . ~ rlu

'-'ct.JillCOl,lOn lr

nor onl} make_, }ou look lih· :111 u. her at

tlc \\cr 1 \\c,trmg \llll If}Ollr J~Kket L..11111ot propl'rl}

j

wl'dding. i1

.lppL·ar!' ~1s

or

if the

~WC<illunodatc the? bmnonnit..•n.\ there 1~

no

~n'e going t'llt of )Ollr\\3\ m Jcm 'Hsl rm~ tt

bouronnicr·c natur.III) .llll':l(t' Lhe ere. iLs '~'rill shuul\1 b~ \.k·rlftt·d siillpl} .mJ Jt,t lltrth rht.• bl.."'i flm, crs arc rhos(' tll.lt prm idl' a p.l n In tla r spu t nr hl l t lOll o( (l}J ll m:-. I. Ii kc th~o.•mtm carnatrun ('f rh~,·ornflo\\l'r J'hc . mnll c:mwrion\ b;l\;e i"tt:' im., mw.t l.tpd bntt•1111Jt.lk·~. Bt:(Ull'ol:

th~

''l11k •t' tl'"'Crt~ nor:so l.trge a"i tn mrn\hdmthc.J\t:r.lge "tdrh lapt'l. lk(au.;t.:• it' b.l'l' em ~•t in rht" butronhtllc: \\nhmu H~ stem h.nlllg to be 'L'Cutt~d in dw buttonl11)lc gu.trd. n .tg.lin r rhl: l.1pd L

'-

c.111

rl.."~t flat

TIR·n· '<·em . . robe an imprc ~•on 1har the \H.'.tnng \)f bm:h ~ polkct sqt1.1re .md bnu rnmlh.:n.· t t.hc cqtm,Jlt·Ynofgildmg the Iii} Thi aberrant nntiou i~ 'uppnncd b) ncithC'r

aflL)

n.tl tndttJL'n nor ht tllnc.1J pracncc 1£ 1 pcrft:ctl) proper to \\C.lr hl'th .1 pucker h.mdkcrLhit..f .mJ .1 flo\\L'f :.c. t \ aden.ccd b~ mnn~ of the gentlemen in tha~ book


f

TELLIN G TA J L. · Tl-1 E F-I I ST O RY

ht.• m~'ldcm rrrilco:u ".1:- inaugur.ncd b) th'-· l.mmu" ( ,eur_;e Bq :m -ncau Brummdl \\ 'bile lHhcr g~l) t.bndie!' or!Jis ci:l}

..,.,-!

-~

Dlt.L.'>.S IN G 11-I£

\\()J"C

colurrul CU!It.!- and breedll~,

ft)ft.'\l'lllllg

dk t..:llltlh:ll[ \Jr

Bnlllltllell d{11111ed a nav~ blur ~m:1lhm Lail co:H bl:1d lm.:'ech\:'". \\hire wa1 tcu.n :md .,_hin •11l,11g with .1 "bin: ned. doth :u1d ,1 () i tlt.:h 't :1 rclwd CtJII<I r ofh is u" n i m "nuun 't!ar tl11.: end uflw. n: 1gn

a:-. rhP (bnd; dcrintt iH·. all l.tmdt!Jlel·~ lUJ'llCd t1• '0111ber dmlw~ ancl h::~Hm't loL"I·cd bad *\in.:l..' The t:1ikoar h:1s ch:mgl·d 'en litd,• sitJ(•• it: ori~inah.·d

AI"' I"

p:t n

or dtc cigh ..

riding.

it!'

ll'l'lll

I

..._

:.1!'1

a ridingcu.H dunnol:' 1he l.~ner &...

h lTllt II n. IkGHISI.:' I t.s II Hlg.... frulll'' prm cd rumhcrsnme fbr \\ afkmrr ,}'. \\ dl J't ~

~

th.:uthlc~hre:lS[t::d llli.Xicl \\as (lll baLk. I h~..· llWdrrn

taikom dnt•o;, nut hunon

Ill

rrunt

and -:till t·..:·tnin~ rhrce buun11:-. on cnher 'licit.? o( il ·._honer front'' uh a \.Cilt .md buth n~ llll the; b.Kk. :1 'C!'t ige llf a tim~ when tIt~, '' ~~-...~ u"ed I

~

...

h..'

attach a\\\ ord or Gutt(m back rhl' bon, 1m of thr

ro:H when \\alkingnr ndtiH.!. ...

, \' tlJt.'

quill l l.'S!'C'tlliaJ ")

mbnl

or the l.ngli,hman'!-1 1:11110U~ formnllt)

tbl\

gannt•Jll rcpr~

..;cnt,:.; rhe ..::--am smndard ~cr by dh.: Briti"h gemlt!man l(x m.1lc elegance \llth.n \\a'l nt:t!dt'd \\a'-. (,x the t:liiPr to appl) 1t.; pmpl)rt illtlS m rhl! '' L'<lrcr\ frame. :md pn.·.sro- m crag..: llll'll turned inh' tlh'l\

i(' 'tar~

like Adulphe \knjL)lt, one l)( llnll) "t)ud\ l{·:1ding p:tragons of l~n.hion

TI-lE TAILCOA T

iko:u-. "ere orKc akin to Fords it

\\':1!'\

a puim o( pride d1•1t the modtl sddmn changed

Cu t ()11 :1 ~Lraight lin.: to rhc knee" idl the rn1Jll llni,hing abom cllc hipbnn~ the r;ulcll.U fit ,_

..;nugly ro the chest ~1" rfir \\ere· buttlllH:'Lt t\ man t)(~,,C'r3g'-· hcighr IL>ok:-o hc~t in a tailcoat fca wring sun~~..:· fullnc'' :Kro•"- the elk 'L lr~ obligator: jX':Jkcd lapl·l~ !-hould nor be -limp~ Ill

bn:~<1d t h and should be C1ccd in ci l her ,Jl k grn~grnin or s:H in "irlu1 cloth Lollar: The j.l(+~t \.had,

~hmdd rc . . t about :.minch bch.lw 1he bend t)f thl..' knc·e Tl!t: side~ t.lr rhc coat (Uru· "hglnh t'\cr tin.· htr"· running down tl") the r.uJ, "ith norhing but dw ~.lik,r':- m,} .. tt..•rtul ~et unobtru.sJ\C

lclwth I:'

an

lO

hold d1cm tu the f1gure ThL· coat's o )lbr should em cr LllL~ shirt f(lllar':-; rear "nt~.1 :md the 1\'ar b:md ofl.,(l\\

rc\C:lling aLica~r :1 ~~ mch

lh:' '' IHir

or rlw \\ ingct)llac \Vhcn,,IH? j, d~liKing \\'lth dlx'\\~ r.1i cd tht t:h'Jlfl~

. . nnt pull up rr1 rL'\ La1t 11c ":li,TCO.ll" · · "1\.ll' ~ · J l1,:·'~·I IIll_· -~1 ·1 h.· drl.:..'' • L-oJr· fium pvi nt .. h mid fin• .. '

(\),11 nm~t

- 1·1111..' ~\.) t Il<ll j,!J bd1..t\\ t hL'· n:uura l "tliSt 'dl!L'\ ~~

shin'.-.

arl..' cut narro": ) L't not

~n

· " ".:1.1:-. r L-o:n c;-.1"L•nd' bdl l\\ 11 l1lt: ttuk Mt ' pan 11 1· 1I1t, " Illtt: · ·a~.-~d.>lil m' ,lhr • the:-\\ tt.··hh t ( __thL· innnal mpcrcuJ 111:11 r1lt:). t.:.mnot • 1. Ill)

'l~lrdR~d ~mglc cuff. Th~ir k·ngrh .:-hould bc ~lwrr enLmgh to .1lkm

:1b1 1ut ,\ 34 inch. Th~ j~Kkct ,:o;lt.:l'\ (.' c.trric t~'llr l·I1N.h ,, t button:'

the ~lun\ L''l.dt hJ t:\tc:n..i


0

THE DRU5 VIAJS:TCOAT" S POUlTS 5HOULO MltVER PTEHD B"E'LOW THOSE

0,. "TH£ 'tAU-CO~

tME 80¥ fQM QF "ft4S TAILCOAT SHOULD UNit UP Ym"H "ff..U~ BACK 0~ A fot.t.M' S KN££.


Frtd n tilrs a .d~~ris 1'f'st deng red or~l .jttr rlu' l,rmcc of\\ . ale;

_


1

THE FlJLL- Dili SS \¥AISTC0 1\T

ormul drc:·"' dtcr.Ht:' a ~ldrdwd \\hire bir.. r ~~} c b.Kklc (piqul.:) wai~tr ~uJr 1n

etdwr smglc- or d~..mblt! brcn.-.ted dc:-ign. The most rradirional

mudd '' the . ine,lc-brea~rcd ~h.t\\ I collar '' i 1!1 l h n:~..·· b111wn do~ure. The .... b tnL!m edge" of dw dn•-., \c-.r·~ lapd, c.111 either be ''-lll~lll'. wundccl or blum~d.

'\ 1rl1 rhe front gcnc.r;lll} cndi11g in t·wu

S} lllllll'tric1l

point:-.

though there.-.., orne tlc:-..:tbilil) lterl\ as detlll'll'•trmL'd b) ~ l r. h'p I Jar. \\'lutt.· Tic.•md faib him,..elf rrcd .t\swirc llcre lw sp~1rt:' a rcp!tca o( rhl· 1

model dut rht:

r~.l) ..tl

.)hin

m~1ker llm\c~ ath.l <:uni:--

h:lL1 dc\nc up

(jall~ it"'r I fa-, I fighn '"'· rhc Prinlx of \\';lll·'· which ••t~ legend goc1'1.

polncl) rdil'•eJ ro m:ake for ~ Ll-.r~r Freel. The dn.~-.:- \\al~tcoar·.:- dt:cp ~\'~ c pening must bt· ('lit

c~pe­

Lh<?y

roper ~

i~(ll\lll tix ir' narn.m from ro co' ~r rhc .)hin ·~ bib from bot rom

.md

tn)Us~r::

\\ai ·rb.md "irhour irs

bt'1 ond the t.11ko:n ·=- end pnmL'-. -~~)

l'\'

n

bt)lfOlll CXLt:111..Hn~ ...

prt!\'..:'111

the

't..'~t

!'rom

pullmg up. tlw cur recti) tailored' crsion provided :1 f;t~l'('ll

ing lJb rh.n huttoned LO rhc trt1Uscrs' in:-icl~ ''~li,rbamL --~-

Fine arc:ss I'£'.StS lzmlf a tt1b rlwr 111 ~rzdres to tlte trousers.

----

-

Nothing so quit-kl}' gil'es th!! ll'dl dressed ma11 a11 attach ofrlz,· 1'apvrs as the sight <?[the waisft·om showing bmrarlz thefr,mrs ofa taflr.o,rr.

1


----f

FULL- ORE

:til,,rcd 1i·um mntdting cloth the dre's trow•t•r reqwrc" along~r rh.m tll)l'lll.d ri..,c .111d ·'li"J'C'Ih.h?rs 10

'It

pt'i1pcrl) undl.'r the htgh rut raiknal Jnd

'hon ,,.~i . . ted drc':- ,,..,.,L It \\,lsn·, ltH'Ilothj,,g that l\1enj,lu rnlo2d hi-. amt•hmg r.tplt) It Ti.1ok Ni11L' Tmlws. <.)b:-t:rH' d1e height DRL,Sl·''·· 1 1/f

M ..\ N

,,r his w.ai:.;tcoat

\\hich h~lp-. sets.

the -;tagt· ~~~r the !.""u\ttrme'~ ~ublittw propnniL'Il" lligh cl~ts!" drco'

!lllgk·d th~H' pl~ab t'OW:Jrd I h~ 11) lll tiistriblllt' the 11ll·\\ :trJ with \'Crrical Ull "\t':ll11 side pocket$~() .lS Tlt)l '1"(;1 dJS

1.1\lllsCI's LI.:-LI:lll)

rul!lll'.SS

turh rhe ~..-n:n':- line ·dwuld :.1 lll;lll

dHH'SC

ru Llt i 'U~l a lmnd imo om•

lul l . .IrL '' tTou:-cr' !lt\.~ cunl~.·!':-. brL·ak .sl igh d) :u 1h~.· in!'tt:p. and :-htlllkt be 1rinmt~.·d "id1 l\\ l> ll:tiTLl\\" plain braid, set dnse together

THE FORMAL DRE SS Sl1IRT AND BOW TIE

h~ I~Jrmnl dinnci· ~h11·t j..., another item th~lt hn.Jt'b no de\ i ~ll1011 rrolll

tradition Dc.;lgn~d ro run her ren Ill' dw \\'C:lrcr ·s \ jo,;agl'. ~

~

ir lcawres a ~nff (prdcrablr !'cp~1r~uc w nnal'h) high~~rnnding wing cullar. a stilT bib front th<lt

:K((llllllll)datc.;

either one or t:\n.l ~md~.

(dcpc.?nding \.Hl th~ wean~r\ height). and ~l.lrclwd ,jngk culf-;. ThL' \\ tdth

or the 'htrr·~ btlSl)lll, ~1 biblikc Jc~ign in boik·d plain

linent'r ... uiT pique. L:'o\ nor rt' ~xtcnd under rlw 'li'PL'Ild~.:~r .... rr:lp~. ''hilt..· tL"

length lll't:d~

'toP shnrr Llr d1L' trtlll'-t'l',' \Lll~tbaJh.l If It' ··Ol;lrchl'd t"rt>UI \..!XlL'i1LkJ ITlLL""~ tltL tfl1LISl'r~' wp ..... ''hen a lll:tll .snL ~h)\\'11, ir \\(JUld bill(m like .1.s~1d 111 l-ull\' ind, Ltke dw dr~~s \C\l , rlw \\Cll m:1de (ornllJI ,!tirt lm-. .1 tab th:H at'IJxcs to a dc~ign~Jtcd burron on the tmu ...cr,· iw.;idc ''ai..;rb:wd. ThL' set l11. the ''ill~ (11ll:1r .tnd bl'" til' j.., h·} h' thi.:- t'n-.embl~\ ... lO

prL·or~.bined ek·g<liKc. Designed tc..) .;it high on

the neck. the dramatic "111g n~lbr nc~.·~.h to sh1l\\ 314 1/

4

ind1 ~1bu\C the taiko:n\ rl":tr ('l'lbt: or

inch mnre th~1n thL' s~mi (urmal Lllrlh.ln" n

t:"ulbr !'hirl \\ hcther in •qn~lc

'L'I11j

hut tt·rll)

The llc:ighr l{tlzr taik.,at ~

ll'aistliur is rile: lmdzpiu L"!fthis tuscmblls disrinctf,•c clrgaucr.


---------

-

I

• •

• • •

FORJJIIL\V

A PRtlPERLY MADE DINNER SI·HqT HAS A -AB THAT f'ASTENS

~0

THE BOW TIE ALWAYS SITS IN FRONT OF" THE WING COLLAR"S WINGS .

THE TRO\JSERS

,.0 KEEF l'r F"ROM PULLING UF

nr ban\ mg !o.hapc £he \\hiLL' ptque hem\ elllf, nrc :tl\\ a)' "OJ'n in fn,tll of rhc \\ ing cvllar tab.. 11('\l."r bt:hind rh~m. \~i(k· fn..1111 the 1:1ct th.tt th~ ~tiiC" ing' nl· the •lriginaJ :--cpa rate cullar"' t"ould ltt'h'r h.n\:

tlt 0\~r th~ kncJttc..:\.i b(m. d1c t:tb ··'Pring hdped to push the bm\

l'ie lt)l"\\ m\L

\incc thc.,c 'rud'. ~Lra~.-·. :wd bulliOn~ lll."t'd tP be precisclr lincd.Ltp. rln: ,,J,itL·-ric ki1 ~\.·unto

be .omc torrn tJ( \ ictnrian Gund:1g~o.•.

the L"0IllT<11'}. "hen npprupriatd} wi ll'rl!d the outfit i c.urprisingl} coml~1rtable.. \ 111.!. 11n1 h.t\'ing I\) \\\'lr'f) .tbmrr tlw ck't h\.·s :-.t.t~ i11g put .1111.111 \.",111 rd.1~ .Uld LU1K~lltrare Oil 11101'1? import:"! Ill thing~. SliCh a:- tilt' J,,C:HitHI n( the b.ll'. twght

T(J

STUD ENSE

m C" lmg m .1 mnLching ~et of am iqul' drc.: ' '-ltl(.l~ l.:r:d·t cd during the l.nc 11 i IWl\:'\..'11 t h lW ~.:·.1rh

t\\t"nth.:th

~l.·ntuq 111 U1L:ttJ1c.r

l..,f

pearl 1S knr.H gnld tlr !..ltht:r pr•"!CiLlli.S

\\JJ'Il·uat t~m11JI birtfrLHlt and L.uff '' ould be lllUilC\

~J"L'Ill

llllttl•rial:;

it•r tit••

~.:lrcss

..,lim guld pn..:kt"·t w:uch "it II tint." le} ..:h.w1 \\OUIJ "'mgmcnt 311} l(:u-m.II prt.''1Cllt:11ion Cnmpleti11g the piourc. dn:.-!' . . ho:-ic~q 1muld Iw bl.td••tbn\~ the calf m ~·U· or"' f1111.: nblwd Llll ron li·dc" irh or\\ it hom dncb I ur for m.II1~1Ut\'.l.H~ opt:r.t pumps or plJm tnc oxJC.rd~ in bl.lck Gtlf or pat em leather nrc m.mdarcd \\ dl

,\

llt:oJlhH,lropttorb mdudL' thl' n,IJ,Jp~tblc "!ilk opera h.u or top hal pJircd '' 1rh .t ~inglc or

doubk bn:.1 t<..'d drt: dH...~tcrl1dd (l\t.~rc.ocn

111

bl.lck or midmght blu~ \\ ith matching \l'h~r cPII.u:


--( )b\ ii)IISJ). :111}

Cll:lfVs'l)l"n

--

ror ~~-~nnal\\ 1.'~lf lllll"il DC lung L..'llllllgh to CO\erthe tntlcoat b

l1 Jtll

\\hldl

ts ''It) thc·Iungcr thl· man\ coat. th.: dn:ssicr it wnd . . tolr)l)k Pt.:rh.1 p~ d 1e mw. 1 , 01gm: 0 f.111 tonnal ("l>.ll

j,

th~..· ~light!} .shorter lcng1h .. \

11h:.l)JC'

single hreasted, A} from modd \Hth r.1gtm-,huuld

r:..

peal.cd Ltpel.s. ~ll1t..:l n~hct cc1llnc \Vith \\hilt.• bnKl'llllnderne~nh and cc,rn:-.pnnd.ing ,,hnt tiL muf

fler.glml?' linen handkct\:hk{:md mmi carnatiou.s\\clleganrc ,8 ne\<:dnrbehmd

SEM I -FOlZM A LWEAR

DRf;,:.fNG

TfH ,\fl\1'

dol phc i\l~o."ll jnu "as once n~kcd "lu..:l hc.r Jk' though r the dmn.:r Jnckcr \Hmld endmt> lie replied, L1 ( cour...c iL "~Jllld . -.i ncc this Ia"' \ cstigc of upper-cia:-. drc~"' ''a a \Jnboll"'f gr.1

thar 11aid tribute tc1 tlw l:tth cic)tb lh ing ~ r J

l)ll

rour .1n11 :b \\ell LOth~ ~\cninu\ ~ o ho~r

\.s rhe n.llllL' :-11gge~r'. the ~:trl) dinner j~ckct cn~cmbk· \\ ClrJl iu rhc pri' <K) l:ur~·r

e~actl} dun a lcs

form.tl dmmg pf nne\ home or club The original d,•,ign \\.1~ cr~att:d dunng the \\:I\

nineteenth ccnrur~ ar the reque~t of thr rn~li..:h l'rin-:c (later h.ing) I dwnrd \ I) ,du

w.111 t~:d

a more ("Oilll~rrlt.lbk· :1ltcn 1:11 i\ t' 1(l d 111c i 11 rhau rhe ~w.11lo" rail c\ ening .. com \\ n b n'

bodKr'LlillC r.11L

I Icrc i roy:1 l wilnr 1\)nlc'.s ledger rccordmg th\? Prince of \\ales· origm.tl

order fnr rhc riF.S[ dinner jad.:.ct. The Ll1IlSC.ll'll'

j,

that the fu·,t 111Pdd

or

tillS

cur~ l( raJC:0<1f wa~ sm~lc ...

brc:!l !t~d "uh n

roll ("t1lbr· (shJ"l) in black wor~tcd \\t)lll "irh bl:lck silk l~cin6~ on the lnpl'l This same Jacket mo~lel had been sported._,, a scp~ratc ··~llH'kirrg jacket .. in . . ill.. 'civet b) dw I nglt-.h gemn Ir.. :-;ilk t:1ei11g~ \\cr~ lifted from 1hc Laiko.H' l.tpel'. \'icwri~m ladie_, did n01 -.moke and u1.1 tL·d

that their hu,bands confine

tl11 nnxillll.; .Ktr\il)

.md j<Kkct to another nJom I rom that ttmt.•

rh rough rhc early 1920~. bbl'k- tiL" au i rL' w:1s dt·emL'd ac("cpmblc in the pri' .1~..--, nf ones home or

dub. whcrc<l!' thL' t:Jikoar rcmain~d L'blig:HOr) l~)r pol ire s('CJCl)" 111 public l·ur the low-down how the Krng·~ P~-'~"'l'llal wilcrtt" manngc?d

10

acqmrc tin: nam~

··tuxedo,'' please r~fcr to the gJL,...-:ary lllmc,cr. the term "tll\.cdt.,:· ofren .lbhre\i<Jtcd ttl .. tuck.-

or c\cll

\\OI:..,c.

"tux.''

i1->

thankfulh•

oll1r111cd tt'

rlw L 11i1ed ~tah?~ l....~em·rJII}

tt

1~ cc~rrlYtl}

tl!nncd the d ir 111cr j<lcket b~.1th here ~tnd abt\'lild. ~llh.i rare!} ralk·d~1 m:xcd•"'. I?\ <.:n in -111!\l'do !'Jrk '\.t.'\\

York. ThL·

produced mcll'"~,':lr·" 1-irst tiiH,(fici.ll designer Lhc Prinrc of \\aft·, later

Il)2.u:-

Kinu and c'cntualh· the IJukc l,( \\ in,Jq,r Llt)th~..·-. con~-:-iou.:- and t"t·

'

tktcrrninc~l to rhrnw

.1

bitl)l.tm.th'rtck he ".1"

orr the (()Urt-rllk~i ~wfflll~''' (.)r hi~ f~nher·.s gencr..

:1bd rem iun i 11 19 ~<'. the l'rinn· had '" "'rn ~ \ff t ht• bc.:)ilcd from

HIOil

l'\

I \("11 het~u·c Jt,,

cning ,htrt :md '~p::mll~ ~.uiT

\\in~ (nllar I~H· the more CI.Hllft,rtabl~· plc:H~.'d (wnt dinilL. .r 'hin "11 h ,t,ft_ :n1J-:hl;·d tlJntdo\\ 11. coli:! r I k· al.-.o piciiWl'l'ed the ba('kh.~~' r~lJ'lll.ll wai,tt"O:ll fun\l·ar in \\ nnncr diml':- g, rhc end 1)1 ~

-----


/J'R

.!.t I

'

/

--

-

y /

L tltL'l<J30 • \\ ith

e

t !t.Cnll

-

,

.

-

11·---------------~--~--~~·--~--~

dw Prine~· cott:'rie t.1rrup1l i'\\d[., legging :1routtd in rht: h1r..

ti 1rnml trnpprng5. dw dinnl!r jnckcr bc.:gan 111 rc.:plncc rhe tailcllat. ?\:o other era could ha\c produced !lw:h ,1 .sart~.wial :-.ucces~. Em:h

,---------~~

I

I·fmrr Pools ldgcr n:corJiu~~ rlu'}ir.st I ord,•r)or a Ji11ner TtLXt'.dn Jc•L·ker.

rt>p of rhe dinn.:r jad.er·~ C\OhJuun '' .,, mca,ur~d b)' rlw pertccrion 0C rhr outf1r H mtcndtd to rl.!pbce- the gmndl~nhcr uf 111.1le elegance. dw LailcLl3r ,md whill.· Lie

1\rno.• the culmm. .tnun of the dinner facket\ dc-.:rgn in the hue t~,no:-.

n1cn':-- f:1~hil1ll ha~ }'t!t to

unp•'o\e upon the gt.:nm" oCirs original Jc,,ign or the rtuimpe~Khablc.: rd1n~.·nwrlt flfits acc<.'ll tn:mcnt'J The nc" dinn1:r jacket pt'ojcrtcd :r lcH·I ol- ,l,H ltr~

;lth.i

---.

da. . s equal w rlt~lt of its


D I NNE I~ JAC I(ET DOG1vi A

, rill' dir~·cr

dt'.sCL'lldant l'f 1he r,1ikoat. th~ ~mgk·

ht\':l'•tc~..1 din11cr j~k-k~..·t \\ith up\\.u·d ~\\L't•ping pcak~·J

imc:'h

__ ., ,_ ' ., DRJ ,_\4 Nli

r11 r J\1 \ •"

:1ll

bpP1s

lllL'Il with pn,milleth·~ a11d height. \\'ith onh vne L

\\:ti-.t

bllllt)ll ltJ l!t.,IL'Il.

bLtlld

{~l CO\CI'

it lll'Ct'~sit:ll'l.:~ ~I \\~lisle

tilL' lr.t.Ht<;t'n,'

):11

Cltlll!lll'r

(tf

l'~p<•SCd \\:tisth:llld.

I nr thu~~..·" ho dtm't ohjvn to \H.: arillg tltl·ir jacket bur ..-

IClllL'll. I h,· dn11hlc bn.::·a,r~..~d dinner j~td,~..·t oiT~..·r, ,·qual di~rinc tiutl "llilc ~Hspen~ing \\ ith tlw :kldirinn ~tll:t)L'l't)l-:t \\:li~rcu,tt nr t..•ttllllllL'rbUJld . l'lallkL·d

b}

l\H)

nr

C.ll'(> '\llCiL'I) 's ll10fc ttOig_llC

'~..Hd' :tt\' ..;:uin r~·\l·n·J husb:llld l:ol~ 1\,ner (n~~ht)

\\ tdl Ill

" tl~·. LlllJa. ~mJ l),,ug Fai rba 11 k, Ir in gw-.grai n (, nen '"-

'---

"-

I

CtlllY~} s

\ Vhilc dlL -.ILl\\ I CL)IIar dinner jacket

a 'Omt?-

" h:H mc..x~· 0ld-world i m~1gc than the peaked bpcl. the cu n c of irs l:tpL·ItL'Itd"

Ll)

t:n<.'r the

ITh1rL'

angubr ph}'iognmn) '-nll rhro'''

<lrchitl'L"llln: to rhc '' ind .1~ hL· ~l iTcGs thm c..'ld-bl') p~ln;Khc.

ABOVE

I ;lrh L'IT the peg Engli~h tu.\t:dll:- "~~rc I~Kcd in gk1.'')

Tlte S. B. dimwrjnckrt witI. ptaktd inpr:ls.

.s.trin \r unc polllL rhc ~m tl~..· Ru" t:Sti.lhlishnt~.·nt·decided th:1t· the'

lhtllcd ribbGti -..tlk pcdigrcl'.

gn.i.sgr:ltll

IIP\\e\'CI'. <1S

CL)IlW) cd

long a~

l)lll'

npl\

OPPOSITE

Cflle Portrr aud DClli_g fair.bauksjr u1 D B. Jwurr jaikm.

:1 111orc cus~-...)111- tailored

ror

:l

~ingk-

brL'.l't~..·d

llr

dnubk~

mudd trimmed

111 -..HIIlt '~" grosgrai 11 , ' '

ith cirhcr 'ha" I t'f pr..:::nkeJ bpd . . per

mancm 1:1:-;hion j, :b..;urL·d.

Dinner jackc-r modd, dur d~' i..ne fr~.. m 1hl:'"t' four cl.l''ic :u(lll't) p~s or boa:.;t ,uch inf@rnul emhdll',·h mcnh .l' rwtched l:a~"'d~ Pr tl.1p P'-Kket..., de' oh \! inw ~.tr ll..lriaiL'~rmort'llS . ..::cll1H11ming bod1 th~ f~•rm\• .ll''thcnc

l<wil· and ~

ll'i n!'()flli\C

r

ll( rimcJt:'~~ dcg;tll((' ~

rhe \\holt;' idL'!l

tl a (nrmal :-uit '' t~l dt...,tingui~h it . . df fn.Hn L1 p~· I bu'i IlL'"' '-lll r. rw t rl' pl JC~H t' i r -I he babncc

0r thC' prop~r dinner J.h·kct \

ing t\'111illll't 1:111-1) ..:rr.1i,ghtfon' .1n..1- J <t

rl1L• not~h

"hi 1c Ii nl'n handkcn:-hief .md

;1

'' eh

dl't~ul

br~a!'t pulkl't i~ \r

\\l,)rkmg hutt\mholc un

the krr l.tpd m hold ~t bouronmcrc 1)oublt• be l~mt-d (jL·ttcd) hip po~..-ker.. can be eirlwr plmn ,...,r rrimmc:-d m thl:

s~1mc ,jlk a.; the lapd. like rhe raik~'Jt~ tht> 'lllgll: bm:t~h.:d ~..lirlllL'r j:tch·t t.1b.> llll~ '' ..... r ~1UHOil and fnur dlh~h 't't Nud Co mrrJ ill cr sht~wlt"ol1m· .mavit}'·

. -

-~----

----


---':llt:c\ c bunons, "hich C1J1 cuher b~.: simple black hl•rn ur cm·cred in the lapel' ~1Ik facing (en her gro'-gntm or o;atin to match) incc mo~t formal aHatt ar~ hdd

111

dm1aLt:

controlled em 1rons. a finished or uniuw.lwd tmd \\l?ight \\Or~L\!:d (q'

2

to I O' z ounce~) huuld take

.1

m:Hl c01nfonablr through cl1r~e ea.sun" of d1e \Car

Like rhe tailc• •:u·, dinnel' dorhe.s arc trimmed in facmg

of, :tl) ingd L"gr~te~ ,,flu.,.rer, rhcretoJ(! so a llllt ttl mt:'r sr:w: the sheen quotient. th,; dinn~r jncl,et· bar ~h·uh

shuullf be in a dt died or m:llle fm1sh

ubtl · trxturrd

... "~a\ e cl leers such as barathe.Js and miw hciTingbtme:-

">r quit'L \:lri~?gared ~?!Tccr' moid afienar:wn '\hrJe

nddi11g surf.Ke ime rt:'~l m the fonnnl an,emble \Vhcn it comes

10

col<'r the bas~? \\ 1lr h.:d

cluth i:- limited to black or midnigiH blue In the ... t~gos , 111idnighr

undL'r

blue began to replace black bccau e

anilki:1l li~ht Lh~ dark blue retained it. richne:-s "hilL" blad ~

.sumcti mc.s g~,, c uiY n ruo;r nr a rrificta1 cast The term .. mtdru~ln blue"

conjured up imjgL'' l)( the -.hank nf rh~..· C'\Cning. ''hen ronmnce i.lnd r;Jmbultn·ic)U\tlc.... ~ \\C IT in l·ull .,, ing. \Vhile midnight blue dmn~r

I

I

I

cnal's orilTJnalh Ct 4

111ings

IOt'k

h<l\L' bl'L:Il

matchtng (:.Kings, bbck ~I\J!'>~fa111 or s.ltlll tnm \..

\,__.;

\..J;

I

"orn c;inn: (he rhirtic-..

Back i 11 rlw day' when thL' bon Yi' ~1m rcquirt:"d more tlmn CII1L dinner jacket. ir \tT~ton

W:l\ not

i11 llll)h;lir or

unusual rv find him d~..mning a lighnu~tght

:-;ilk. lixl.l~. rht• dulled sheen ofbab) mohair and

fme ,n,r'\fcd "no! i.s l111l' of the le\\ ra.. . rcfuJ c:-..ceptmn' roth~ rule that

norrnalk cuthtgn~ ~him dC'lrhc~ tn th~? parn:·m1 s1dt· of the track I lc.·rc •

~BOVE

1\

rtdniglu .bluefonnalwear. LEFT:

Signiorc 1\gud/i shiUt'S.

I

<.


Dl

l ER]

CKET _ LTE RN;\TI \ IES

"one .het·ml rhe ..or:i:1li.HI\.icr, wid1 :r' 111~1\'~lsin\'c- ~.lc·m,lllJ, ft1r ~..lr~..·~,

un, r

thL' t1d~..l \)r

cp:.~rar~ dinner pcket .,urfncc~ Paired'' ith rhc '-""l'll\'t'IHic.'llall~'rm.ll tr<.)u:-;er. thi~ nonmatching

1,tckt.>t ·un\.lgJtc: '' ofrt.:n r~'cnt:d ((u·le-. . .

'arintim1 ('111 rhe 'ch l't -:-. llH'king j:1ckct theme .wd t radit ionall)

.1

..

.

grand .1Hnir-. '' • !on~ a' ih dc~ign ronl(,rm" w

l)lll' l,r

mcnnoned L'~lrlier. n . . Elbric can illl'{ \\it h a\.h i?tlturc. c~c~ ll'l in~ the

..

1 cmdon hnusc w her .m ~uLing rh.Jril)t. our man }nirbanb:

"Pt'll~

dw I~Htr da~~i\.· mod~..·b

['ludlt.'SS

n(

"l'lll

rmn1 his

245

r () R ,\J A I, \V Elt

.1 .....Iun-f:1Cl'd 'ch·~..·t "Ill' 'king

1·'\·kcr and llll""~nogr.unnwd slipper 111 tm:. \A~cttng an oflb~ar apllJmb thar Lmlr dw gcnuiJlL' [n~lish tl,ff Glll mu~tcr. art i!'r :md phC\h1gmph~r

Beaton\ c

\\11

Ce -,) H•nton "quire' I~..·~ l~adzi\\':ill

to

the· I ngli .. h prcmicrt• o( G1m lkt\\ ~en

formal ~armtur~an i dll'ir mat~-.-hing "-'her (n,rb. the coupl,.: radial~~ gi:HllllliL

-

-

~-

-

~------------------------'-------,

LEfT

D. Fmrbauks ftJ 1•d~·ct smoki11g}atkct and monogrcmtmtJ slippas.

--

RIGHT.

Cedi Beaton drt55i7lgfor him(clf


-

--~-

Tl-I E I3LAC J(-TI E \\fA I. T

Ill undcrpi11ning ~)r high das~ dinth::r clothe" \\as urjginall) d~'-tgned to be in\J. 1bk

I )J"t''' ..:tud-.: hid the evening shin·~

slltli

ltolc'. :1nd ~ilk band~ cm~r.~d the formal trou.,.,·n· um

side -.e~lllh. r\'lllll\\ ing in the t:1ikn:11 ',:.; (l,<'l"lCps. l.-f6

tilL'

"ingle-br~a~tl!d dinner j.tcket rcquir~' tlw

:-.en icL's o( till' dress \ L'~t or (llllllllt:rbttnd tC'l (~llll'L':ll

l.

D R [ '1.'1 I ~ n 11. •' l A 1'>

bl,'-t.Hll :11 h. I

1he cxptlSL'J

ti'Oll'iL'r

;llld

smoorh ._,,crt hi! t"<lge" L1f th..: ,fun,

"ni:..;t hand -1 he l~utx '' ai!'1band dre..,~ tn.)uscr not onh und-.>r

mint.·" 1hL· form"' Jlltt.:griry h1 11 lntlk' bush lc:lgliL', .. 10 bt)rrm~ a phra-.e from d1e d:J) . . "hen th1~ •I

lllH"Ci t

v nri~in~ul~d. ....

~

Tht> ~ingk brc~sted din11Cr jackt.•t with pL'akcd bpd!', likl" it~ taJio.lat prcdccL·"· ur . . , n \.·hn'ttizl.'s bcucr wirh the drc-..s \\:Ji!\tcn:n. -,incc the ,t. ,t'.~. lo\\Cr point" echo dw·c ,I[ the emu l.tpd~ .lhl'' ~

\\

h ~~~ dw sh~1wl ~ l:tpd d i nncr j.Kkct

Glll

~KCl)ITHnod:ue en her 'n lc of" at .. t dl·d-'r

rlw rumnh.!rbund\ '-·un C' h:1rmomzc~ p~trt~t.-ubrl) \\eiJ "nh the

Ia pd... rounlil.'d -.hapc. In ortkr w keep du:ah."'r ticket:-. .n the rca'-1). b~tter quali1) cummt.•rbund~ bme a little pn l.. ct .. tnd11.~J behind their dct·p~."!-1 plc::-~r. '' hid1 ~lh\ .1~-.;

IS

,\Jw the t·ummcrbund ....

\\urn wi 1h it' fold~ PL'i nri ng uP'' :.lfd 01'igil1<11 k. the Jmn~.-hing .. .... bla~.-k ''ai,tl'a:.u \\a· imper:HJ\t:

'' 1rh a dinnt.•r jackl!t. Onct. rlut royal twcakcr of rr.1diuun deLtdt•d fL1 t LlS'- 0 11c t)( h1, "hit~ ..,tie wc~kh~ imo rlw (orm::tl ring. dw re~t

a-. the,

\cl\ ' '

'

l11ston. '\.1t1tr.1lh. rbt' Prince':- imprimatur brought I

ovcrntght ~lCCL'pt~lJKl' ro the ''hire ·\\ai'lco.tr and black dmnerj;Kkct n)mbi n:ninn. Proust

tliK1..'

~:1iJ

that clc~atKc '-

\\,1-; lll"\Cr

f.1r

.t\\:1\

(rpm

!'impliciry. Tlw JHwdr) ,l(:lll odd-..::r,kwcd \\,listL"o.uur panLrncd

cummerbund is

t\)

be cn..:our.1ged. 'n long a:-

,jngll' lll)lll'l,h !njcctin~

.

into ti1L'

t '' ... )

~mallcr k·s-. rcgti11L'Ill"

th:lll

limited w tha.

..:ont:f<hlillg

OJ1L'

:lCl."C '01")

c~.)IL'r (ormat fragment' iL' J(>rm.ll integnt~ mto

llllp\.1fl.li1L piLYt'!'.

Ppnhcrmt.,ft:'. 'incc d1r bl.tck

tiL'

.tlrc:H.h btwdcr' on the prcdicr.Jb!c?. km111ng a bo" uc

and matching CVl'll

Ml(lfl?

jt'..,

\l'-.t

l)r

..:t1111111erbund impo:-.L'' on tlw

\\L'.H\."f •

n

morL' ..:o111 ri\ cd. ~..,t.L-p<Kk.Igcd look

Hy limiring }our 'l·k·crion lf.l on I} dH."C component prcdomin:mrh b~.)rdt•rcd b) black. 'ucb

.1.:-

nwrh.lllll.c.lrL'" . . ltin .c.x P'-'cker 'q mft>. ~ou 1

, 111 gll:· dnl h'p

"lll:'ll rht• Cun't'tl cummrl'btmd 11'itlt

sqf( plf.ate,l dimtu shirt.

L

''·li't("Orll

hil\t"Cthut"Cd

cum

thar dH

~., ,-d '"l,11 •111c\.· rem=tlfb a parr of rhc ''hole I JLl\\ c>\t'r:

(l)llt

r.1:-;t

b<.)\\ riL" ,, r'lrtJ\' n in under rhc dun \\ 1rhout

bel ill' (r:lmcd b) :1 dark ..:ol0r. n 1::"

thL·

~t:tn ..h

l'tH on H"' O\\ n

makmg dw


11\..:k look gift "'r.lf'~ Jt ..Jso dlstnadS from the.cksired fOQit pOint--~ Jo .tmbr:k-e atlo~ or patt:.!~ IKW~ as th~ir personal badinage

fUr

unn tire more~ ~t

The tunalitJes•-:apable-ofenn.:hmg thi already dtam30C ~~n~st ~It tfk~ ~~4ft equ:d dew« of p~k and nchne . such al\ pltttn bottk sree~

.mJ gold lfa pttt¢tn is chnsen.rtsboukl be~ simple two coJQ.r; d~ign in whicll bluck or wtn~ like a cb.K' b~ and "iUte pnlb dot ora m'l!tmd~-a!ld...Wh1rttUiO


-

---

FORJ\!tAl__\1\IEJ\FZ TRo·u

j~Kkct

adht'I"C' IIJ dw s,une principle of prt\pOrtiC1Jl and "-11 hng a10 tull 1n.: c.. rrnu,er~. \\ ith L)Jll' eXCt.'pt in!). a slighd} "ttfcr ~mglc de..:orntiH:: band t'i.-place... the f~ rrn.tl t~ lUM: r, lllilCr

.small ~~rips l'l1

Ll\)ll!-iL:f:-.

Lnner k·g ~cam

If rhc jackl·t·'i lnpd facing' .m.: sann the lt.'\Wn.· nf thr ll\'>ll~0-r•: side. trim llltt~r l~)llll\\ :-.uit. llcJ\\C'\Cr. iJ" thl' J:lCket·~ bpd~ .m.• ltlllllfll•d Ill i!llJ"'~I7Iut cl lll:llchinggr\)~gr:lill '-'ra~lightl} 11nrnm('rb.llld '''th~1 rru:-cd ribct-lcct ;-~reeqll:tll\ '"·tmtd ltkc.: du: taik·o.lt ll'l)ll "LT. i r' bounm is 11~·' er l"t rlTcd ·1he I t\'1J t'\ Mairl:'· -~ 1 inger Rng\.!1 . . mn\ H.: slwll \\ r Duur.e~ t"llll! ai th :lll ~U llll~ing JcpiCtiUI I of l !JI..' fll nless I radi tkm j 11 \\ htch \~tmn~\ b.md lnt mbt: r:"' 11\ tll ...it.:!t rr:Kk hi' \h·Jdin\., thm drrs' truu~T hL ctdk>d t"' b' com inLing him that till~ btl·~t f."l."hJl>ll r~l,uire -:1 t\\ '-

ib

L

DRl

's r 1\'t:;

TIH \ ·f.lN

J

..

FORMAL WHITE-TIE TROUSERS

SEMl·fOR~AL BLACK·lliE TROUSEJ':S

'-


---

------- --------

THE BLAC I<-TI E DRESS SI-IIRT

II nnd morC" f~wnJJJ is th~ "hire ti~

-.hin "uh ~r:1n:h~d wing ~.?olbr.

C\C'ntiH! ~

~

1 he ~c\.mJ a:-. rhe un,tarched. rttrrll.lt.."'~'' n collar ,hin "ith .,n(r plc~ncd

dc.••\:rtbed ~<uher

J.

iTt1llb

and double culT.

,. cr nnmhcr· ,,trrori.tl conrriburit'll !'rom the .. l,rinr~· t,( \V.llcs ...

\\ h tle eirlwr f1.ll'l urrl :·>1 un doc ju~ticc 10 l hL· fl.lur da,,i~.: di nncr jacket nll1dd-.. the" i11g col

),11"\ htgh st'JrGh~d polllL" hnnllulllZf' p.tn i\.·ttbri~

dinn~r J·h:k~r

th~ fuTI~dr~s" f~,rnwl

Ltkt>

\\ dl with I hJt u( the ~ingle-bl·ta~lc.J. pcak~xl lapd

hfn. mp

dnt''~r rw·ndo\\n l"olbr ~.:'\Cning 'birr.'. ''herlwr '-

pleawd or marrdb fr"mrs are con,rntctcd "ir h .t bib ~ n pl~ de •gn furndo\\ n collnr dinner !'hin' nh' a)'

rake I r~..·nch ~ufY and

t\\ll

or tlm..:c ~ntd'. thL· Cl'rr~n

.

mnnbl.·r dtcLtrcJ b\ the W<.~rt:r\. h~ight. .... must \lf t ~1\ • r~alh or a1~rom m:1de \ er!'ion' ntak"· t heinh'.lr~rs

'

look htc m:ll.l scienti.'>(S:" it h nne t" j,t 1l the ht.-nd .md d1e cnlbr's limp. dim11111th~ p~1i111.~ h~lt1.l to

rull ml.'r rhe bO\\ tie. ( )riginall}. the~~ lfr" ing ~.·ol1:11·

Gitlllt.:

I

~;~paratt.'l). offering n \l1lnety of dill""..·rt:lll height'

Lmd contt1t1r.s dmt ensured

its hro:td wingvd

II

THE WELL-PROPORTIONED TURNDOWtl•

COL!.AR DINNER 5r41RT AND BLACK BOW TIE

pr~cncc

fr.un~dall men C.1~e-- in r~,1l 'plendor. L'nftll'lllllatc..:l). t'JlO.'

f.J,hi"m

m.andatL~ r~ad\ to •

\\l.'ar

\crsion~.

it . .

Jtmcht·d colbr became homnuenizeL.I IT'Jr bro:Jdl.'r ~

app~al

rhu.-. fixlt-m.ng mosi ofi1-.:. fimcrion and all ofi~

mdt\ idual rclint."'menr Ii :., 110 \\01 11.:fer that 't:\ 0rnl }l..a1 bnck. tht.· \\ ing colbr\ emn'io.dmed remain'

0

\\t!I"C

pu.-.hc,l ~'"''de lU mal.~ "U) [(if the l r.m . . tcnt .m~.l iri\ o k,u_.,. col1.1dt formal shm \\ 1th a Cmn• hutw11 d,l'illrl..'

I FLACIO WII~Ci COLLARS ENDING ON THE WRO.NG SlOE. OF A !"OFUiiAL BOW

Bonum right i' <111 r!-x.'1mplc nf.uint lwt·mix~d mct.lph~'lr: .l pleakd [rum dinner ~lun ''it h n '' i11g

cr)ltu· a mutt nf a ~arm&:nr if l hcrt.~ u er \\ .1c; ~11\C

II

I I

0

'

TIHY WING COI.J...AFUi OVERWHELMED

ev

----

-~

l

A Bl'lW TIE


---

Tire autht'lltic \Vindsor kuor the Drtkt•'s tlH'Il pt'rsmwl St)'k Thf bt'tWS own bow.

DIU_," ~G THE: ,\li\~

THE BLACJ( BO\\TTI E

he scmi-(unnnl bl ..1ck ~dk blm 's tl'\turc 1~ g~.l\l'rn~d b~ the j.Kkcr·.. L1pl'l E1ring' buw for satin l~1cings. a ~

nbbcd

or rncbbk·

\\C'HH'

a ... ;um

\,1riario11 l~u· n'"'rO"l~r.Iin I:Kings ltc; bmtedl\J ~ ~

OJ

bnt \\'111g "h~1pc j, J m:H rcr n( pcr-.lmnl pr~..·l~·r~._·nc~.·. \\ hi I..-: llll'"l mea cnngc- .11 vhc? rlmughr ofhn' ing~ w kiH)r rh~ir o"n bo'' ur. 1t' r.lrc to t"l)J11C un~.m ~1 \\l..'ll-turncd our ~lLJH ' ' ho nmnm \ LILk r. o( !!l'omctrical pcrl~ction ill the Citll',llL'J knl'l i:-- bnrh d~._,ir..·d ~nd imp~. rram. humJJ1IZII1g dw L'llSl..'lllblc ~111d 111~1kmg it lollk

il1l'rc:

md1\ Jdu:1l ( "l'L the :-l"l:dt)n (ll1 bo'' ric' 111 d1.1ptcr < "\('('I

\\l'.lr.") The bo" \" idrh sh\)tdd ntH t'\:t~nd bC)l1mi the ..-,JII.lr\ \\ ing'. rh~..· "lwe:ui Cl'llm· .. pcrunc

t~..·r. \)r rhc man-..

-.pe~...wl \\ 111d-.Pr knell C(Htld he rorrccth .uuJbutcd to the Pukt II ''ould be rhc nnl' h~...· empln)ed l~ll· Jtj, bl"'' 1 niter rhan lhc bulb1u . . ~·oniccriPn f<.,r ll'llj! nt:' L'ITOJll'l)ll~h

t:Kc. I( ;1

Cl'l:dLtL'd lO

him


Ft\ ""' 1-IIO ~ TI .1

b\! t~lnnal

'htX'

G T I-I E FOI~MALAN J(LE 1\ND FOC}T

as a' Ji,nnt:l from nt h~r nwle l~}l>l '' C'.ll' a:- the di nn(•r jacket i~ frnm a ~uit

LJkt· urhl'r 'nlJd.mon~ llf ''hilL.. L''r hLKk ti~ ..~1..'11tdin. the l~)rma l slwc mu"t i111ht1L' the drc....s tTOLISl:r \\tth n Ct:'rt£1111 .:\\\;}Ilk \\hilL' atTonJiug tht> ~~hJl L'IIC\llgh Jighllh;'~.; ~111d C lllll;>rL l\l help

.

d.ti1Ct:: lht: lJig}H ,1\\.l\~

"-\,Hill:"tillR'S

~IJlll\'. , 'IPilk'tilllC~ .tnD( r r I JJH~d wiriJ a ~jlk_ bu\\.

npp(.·uring more like .1 'Iipper than .1 .:-.lnw. thl· l~>rm,tl ~lll'l' is rite {ml} ;lpprupri.lL~

\C .. l <:lh\<1\'S ,

W<l}

tn l·tni!'h

nff th~ furmJicn,(.·mbll" \. ~ \ l''Bge of m~1l~ cc•un d rt's'. tlw ('PL~ra pump rcmai n~ the .:'l ,It• i rem ~.~( mctl \ [l,J liLm hl

cntl."r rh~ t\\Cill~ t1r,I cl."nntr~ prt:lf} much

:1:- il kl.t tilL· ninL'IL'L' lllh.

tl1l· upct-J ,[,ppl·t '1rik~' the le:-~ ~ophi·aicH~.?d :1'

'lllllL'\\

\\.ith ribbl·d !'ilk b)\\.

h.n c~rcmin:.u~ This ~~ unl~'nun.tre.

ince 11 h:1 been tlu.: foundation(,ff(.,nn.tl hJl't\\car ,jncl· rhc turn pfrhc pr~..·\it•U~ LCillllf)- ·11w

more . . uignt.: tend tu Lhoc1~t' thL' dulled calf,LI· ion '

u\ er its p~Hent lear her peer

t'r the

.\ltholll.!h tin.: more Ct'mcmiunal 't \\ n

(lit

d.ts,ic l~1nnal ~I we'. tlw p.trcnt lear her

\)xl0rd

~..Hd tlnl

make

it~

lk~nr ulll il 1hl' carl) 19 ~lh,

ptunp\

entre~. \\'it!t

deb11t on tlw

It)\\

d:-~nct·

\\rll :Jrl(:r r l ~t• c' ca1i11g

ib plain hu.~. clt>. . clr crtJpp('d

,Jt·li(.:ltt.:!} bt\L'k•d \\.Ii-.L. ~ut<:.l glt''CIIkL:. lit this lon11.d I:Kt.: up i.:: l ~..llh ck·~a11t :mJ pr~Kticall~.,r

c;olcs.

dmtctng. '\;( 1trcc

thi~

bt.':.-pt.Jkc ... hoc's "ilk

l~ces.

nn

old wuriJ lurbclcm rard) ~ecn tuda'

I hl' llH)r~

C:lllC nn~..1s

lum,clr dt'llTling dill nc1 clothes ~(>r pri\.lrc ocnl-:J()Il'. the more ltkcl) he i!' to .ld npr ~c' era I nlrernal'i' l' :- t} !t.:.' t)f 1~Jtlt\H·ar I he dub t'll'g.mt C'lk'r.l pump :llld \I hen -.ltpp"'r nwtdd!o> lt:J\ ~ lcmg bl~L'll ''"~d ..1~ f0nnnl :'1-hol's Thl' Ill(' ·t t""l.t~s} 't.•r,it11l t ,( tlh·lancr .1n: thu"c maJt Ill .I J.1rJ n.·lvet ~{ ,Jm· .HIIJ embmldt.'rt}d \h'.trl·r

nntt.tJ.., or J (mtil}

\\ r.tppmg

ttl

augm~.·nt

i1

llltltlt>gr.lm

nf I he

or dub ( ll'"t (~ce png~ 19.!) "J h~ j,Jcal ~utklc

.til tlw; pnli\h arc L1( '-rti1J bbck 'iiik

nbhl.~ U\L:l" tht ".tlf t.:llth_,n tL.. Ic nr g~tfll'r

t!Hht.•r <1 d (

\\It"

:1 :.t'>tL·d ht,SL' \\

:~

finl·

ith

Clllt ,r ur t:ontr;:tsnng dncklil...e ~Je,Jgn

--

~

.. l

Hltcm Jrr$$ o~

u·dlr Jilk 14«$.

1 -I _').


he '' hi tt.:' me'' j:Kkct repre!\eJHed 1he rcl:t'h ed

Slll'h btU:ld

Dn1 s.• 1 N~

Ill\[

r:td ical change in malt."

t:\ enmg

"'ear and

n:lt iorwl ~Kcc:pti111l'L' th:H it ";ls immediate!} adopted fur rhe umform~ of

hdllinp:-: ~111d l')rdw~rr:l jacket \\:1!'1

f1 r:-,t

111t:lllbe1·.s.

n~lllLTing lO

111:111}

\\' hilc it rc~t'mble..:i .1 ~lilcoat cmutrm rlw \\at~dim: tlw me fi,gurc~ pnrliCtlbrJ~ those rhar didn't happen

t I fL'

~mhJl· dmt

oi , \duni.!'. Tlh~ AmcriL'an m:1lc "a~ ripl' l"dr somctl11ng alotlg mure romemional 1m~.·~ that

THE Milt\

1\.'L:lincd the (tJI111~HT :1ntl '--l>lur o( th~ Ill~'' jacket In IV34. [S,]lllrt' wrned the 111glnmnre of

\\:lrlll- \\C:lthcr l~ll·maliL1 intl) a mid.su111111er night' dr~am. un\l·dmg the "hill dmner J:lcket

\\ith ~luwl L'OIIn1: PrL''L'IHl'd in bod1 'inglc and doubll' brt':I.Sted m,,dd:-, it recei,cd .Kt:.oladc from

hablltll'" c,l· cxdw.i' t: r~~orr!-> C\TI'}'\\ hl'rc.

------

~-----­

---


-

-

-

-

-

______________________ __ -......__

l )n(~" hhc bn,kc the ruh:lr b:11Tier. nthe r rdlo red di 11fh' r j:Kk~r.'i s.onn l'l'llrm ~d.1:m f1 r-. 1 gamt.AJ populariq m .t

n~~-\'

cnlur calbJ

bkmJ LOn~orrium \~ ith mcu buck in

··bi~qllt.:.•." ll.s ~t:t'11 to\\ n II\ 1\\

hcrt? i 11

rile

nJmpan) o( t.hi!' blond-on

\\':lilting to .-.hm\ '

_l __ -

\lft1lldr rn·ctu -.umanneJ. Cl'Titpl~xicliJ~. tht: IlL'\\ c~llllr~ \h:l't..' \rdCHllW .llldmon!'. to rh~..· c.lll...e a~;. the ~u1i"1 I \.•..,Jic ~:mlburg'~ r~nd~.-ring (,rf,rt•c ltj1) ~ \f m:t~rulinc formcll t:lt.'ganc~.· on rhl' I rench 1\.i\ it:•ra bril

ham h pnn r.I} \\e ,,,11 ue\cr

(,th," nglrt) ''a'> rn

k!H.l\\

\\hcthcr thi'\ blat.er trimmed

tu:xc~lo

p1r~.~~.i b} the ani'L Uqmrl. . ta~hiun .,mf( tlr an actual

.

P.1lm IX'.t("h rltJ!t11lte. \\'h.lt an l'Xtr.mrdtnnnh ~t:\.. ltsh id~.1 1 Re' cr-.mg -.;::"

\...-

rha.: '' h1b: t''lll .llld uudmglu blue bt,nnm \\ tt' thl' m.•xt '"'!!JC.11

!.tt'p

in

t:~t·nmg ,, •.,,r,mf~mnalm,trdl. (.l(t,"lSIOil Cc1JI111g ftlf

th~ ntL~l\\,1) ,111lj

it' cllfClld:lllt alL.L<' miglll bt.: rn sugg,t::-if'

far ben\ .1,.'('11 ~ J~ Wl" l't.'IC\ a'llll thf' propl r drc"'' ~~~r .1 ''cddu1g Dr o•tl moni.d \lilting \\h 11 f~,nn.d .utlrl' ico nprinn.tl h the l~lkm C•mgr.uu -,prp, .trt.' lC\\ .ll\J

bung rht• "<. n tL.''- m.m 4un: .Jd\· knPw~. run U11g up fol' ~uch da~.l in

"ulid n.n •\ 'itut ' ' httl Jrcss -.hjrr n.lH Aitd \\ hitl· ~ltt.'pht.'rd's chc(:k til· \\hit ...~ h.tndkt•rrhief and hl..1ck -:.tlf "hl h..: ' ' J•• . mJ "'lllll\ .1 prcr11 t.:tfe .md ~t} },.;h l1t.·t.

.m p"·-.·.1

illll

:1

l __


In 1 h~,; t ll'<h

L'Lan~c from the cl.l ..s~t· "od ~ .11·.1d tgrn q lat.· Jlt"\\ ca.. uul Hll' tr{· .. d 1 r l~11· .1JI t:ll-.tled k·.t\ tng Jll,lfl) 1111?11 ~trugglmg w f111d .1 "-l\ le ,( u(fi ... c at[lfC t ,11 J J 1 t 1 t rl dJc1r bu"in~.•s., lTt.·drbtllt\ • tt 1

t1

lllth~l\t:CUlJ\tUtljcl'tnJfkstlll•~o,m~J 1 t\ t t p r I \.Cl.'pt l~1r blue cnlbr IJl r u t 1111111:! lhl: \\ r 11

r!u: t'lllLTgt...'llCL'Of('I'Il\atll'so.;;llflfl t.lllt

ch.mgt.:· 111 husmes.. l:t"lmJn 111 our til1ll'

\\ai,tcom. and ~.ln.'s' c~).ll h~1h: bl.'en

CtJII.11 cr.l\JI

I rid.t} d, ~thing hn' rlt 1\\ rl'pl.lc{·d t mdi11ounl bu ...'int " 1.11-rc.::~, l~>r ~)l' percent 1)( \mcric111 pffke \\orkm·;;

11" ll\\ 11 c.l!:!U.tl

~

DIU

nllt. L11 , 1J ._, i ~. .., ,

l~' o llU mi r~·d }l!ar:- \\ 11 h t ht.• d~.·nll lCJ\lllt:lt 1t 111 of corp£W.Itc d rt. , Ct dv.. t lu g l n Itf

llt.'.l rh

--.•'

lhl' ltmlCr:-.llmc < f

\H'l'k

q-..:

T HI ~~ \-.;

lt. 1\l

.11

h:

l

(

4

d. 1

J

Rel.txing t h 'ct ,q )(ll";J.lt' ~.hl'"" ..:'\h.k· ".ts ttlll..'llt.k:d to d i mmtsh tho c btt: J"dr ·lu\..tl harnLr" th:u ,lf'irClttr.lgcd a t1 1urc lllll

Ctllk•giill \\llrkingtmllL)sphell I nltL"rout uft~ll' lf.lppt'.lnngnld f.t,..lm. 1 td "'

\\.lilting t1J pl.tee tlh·tn,~hn 111 rhe path (tl.\\ll:tt 'l'l'I1H:d h] e.1 culnu·.1lul.:~l \\ ..1\-t

111.111 g

r Lc~Tl

dcm 11 h.md,, ngnn 11:1\ing emb1·.1u~d the l :1 u.ltn:11d \ nl ~h." t.e.tl, the} ueglcc1ed Ln .mal)ze" hcther the \t,l...,teruf the L nncr)\e~ Ill'\\ duthe-. mJL:h. nud u '-l Rcg.trd!t.·~-. qf ir:- 'inllL'"· bu ine~~ Ca'LJ.ll has l:OtnpltcarcJ the II\ c.:\ t r lllt f1 \\ l Ill.. thnught thl·m ...chc-" Immune to 1:a.hHm \\ lulc dt.:\~tnP\ nr-t.: j:unmed \\ltb upLJt ('t ll.tr h1 t<• and (,tsu:Il <::l.1cks. mo~r l''xecuti\e-. l...ccp a 'JJ.II\~ 'llit and .1 coupll' of nccktH:.., m tht tr ( f h.l: h r tmpr<.)mptLt m~ctings ..'\t mo~t cnmpaniL·s. old l'l:OllOlll} cllnft~, (me.nnng 'lilt' .md tt J r~ -.t iii Jll,llld.Ht ll') l~ll· llll'L'ting.~ \\it h uld cconolll} dieJl!!- It!) i11g ro juggle J\Hl drc.: "' n t jl \\ ull lllixing intern:d \\\lrk ''irl1 cilt:IIr l·m:I11g \\urk h.1s lc{Ltllnll} men ''ith a!'!inki11g fcdang that th guru.s t';lg('rl}

l)ld ruJt:,

jlltllpPllllll t h~: d1\.'s-.

li:l\L' bt'L·n

dinH' n out. n ith nnthing to put in thL"ir plrKe

.\It h{ ~t~gh rhc in it i:1l e\·idcncc .lppc(11':-.

w be si,Kking ~)cr Thl' tcrh

l.1 rgt:l) .l!teccft.,r.tl the drt:.•s do\\ n plll'n muH'll

i.'>

!-C(tl1r

meltdll\\11

fl'lll\)\Cd '\(.)lU('

or rht'

111( 11\.lllllll

casu.1l d res~. There .lt\~ '-'~rm\ i ng'- i nd i~.·::n iPn · 1h.n dre . . 5.ier dorbe, nrc ~..-reepmg h.KI.

bduud

1111 '

rht

\\ o rk ~, l.h."c

\ \'hiJe (\• nic:- arc ~till nur C1.JI1\ incccl orw Lhing j, certain Tht· dor-com

cr.1Z1.'

rh~t

or a true ttpri~ing tO\\ JrJ lllnt1..' pc lt-.hcd drc' ll~ lll•)k

nfflikt.• a t'l'cker <md t~ll hk~ J m~l lu. rt.J tht.

l;"~nd:-Glpt' bnrh cHitur~ll} ,lJld .:-anonall). Th(' l.'ll crufca"u,1l f-rid~I) fu1lon~.d "hl'tih then..Jf1t.:r

b, (orp()rntc C:l!'ll<ll c111 bL· , ic" cJ as a bu~i 11~"' gtl\ \ gra~)roob mo\ t.•ment the mag•

"l h

'' '

dl..':-;irc LO lt,uk and feel cnm(orwblc Cun~unwr drl\cn .;;qlc Jm: cnnw Dfagc mtld{tmzmg tht:

lll&llr'du~l't \\ithit~mc

cl H hl':-.

IIL'"l\\

haltg

.-.agt.'l)(!'utKiiOIJ,IJldCt)llllt rt. \\'ithalllC\\

11L'XI tl) slliL".

bdil'\ t: t hal Lhc- comf~ sit in

t.iPl'!-Sittg ~.·ach othL'r up

j .. tll)\\

ab~.1uL

(I) ...

•lr

t:hhion\3Cut1Jfllt..1ftll '-". ttJI

dlm 11 a~ rlw

tJC(.l

u...-L"ttlllb l•' dJt? '-l.lr~h, one

l!<o. J

I(

n

dcmmd" I '

df""Jlll In nth r

,, or~.1 ... 11\ ~oing tu he t•.ntgh rn wr11 h:Kk till' clock -1 he ch.1llcngt.:s po,t•d b} n (.:buaiLL'HT•tlr.ltt! clim.ll(: huuld nut d1" tr:lG

tncn

fn)IIJ

thl' l.1rg~.·r goal n( becommg more lneJah.: .1buur "h

bu,ine~~ (l1th~' nw.m. Ikcna..c ~bent t.'XPL~cmtion' conunnt:

PREVIOUS PAGE

J.,--amiug how to ll'ear i1 suit witlzout a fft' i11cn•ascs thL' corporal£' casual options.

tt.

I

thtrr

.,d dn.:,, f' ,J

nwnagt~d bu. lllC'"t'' making one\ da1h Jr"· " nwr d c.m L •Jll'i\l cb nnpnt · t.Hl t •1' h Lmul'' (Jnc·.. I tn'-'ll md ,Jll)ll 1~l1 l'l' ;:: ~ 1\!~ ~

iL·, fi)r llh>"l ''ell

" ·· 'l'Jl-;JllH' J

prc:o>ent:uion . . !...ilk \\ h1lh mam ambinou~ c\~CutiH~' dt.-dtL.Itl.' thc.:·n . . d

L'

t


- --rhr<'ttghtlUt tllt.'lr c.1r~ers.

L

IJ1(:l?

clt.lthc. :ue th~.-· mo:-t po\\ crfullh. lll\'t'rbal rot'!.; of CUI111J1Lillir.t

u 1.:m \\In ;;houldn'r rhn bect'llll' an ctTtx:rih· tore~.'' in one\. L'\t'r~lll bu~mc,, sn·ateg}? .\nd \\tth tht: ~.·orporat~ (.t... u.ll phcmltnt:'non helpmg Lo lunhcr r~.·nm' t'' :til) --rigm.1 fl'lllll men put rmg

l I

mor~ ~fton

uno\\ h.tr rhe~ \\eal~ rhl.:' rime h.1' ncH'r been nH.wc prupitiow. In l!nlt on~ mw' arrn\.' f~w rhe lar~~.:·r bu,inc-.~ mi~:-.inn. thl? illeal or··businc_-.s .1ppwpriate ~

,tltlfl.'

~

'huuiJ be l'\.ll.~lldcd

tD

indudc (he dr~~" dl)\\ll (\pl iOJl

\\ hL'l her lll:ltChing till"

s11lc or 1 he

ti1rnul oud1t tt..1 mnl..:c him l)r Iter fet•l rnun:· :lt c:hC l'r ~.-·.1llin~ utll rl1e pin~tnpc

d1enr '' 1th .1 k

md bmgut.''- h-' cnnnn.mdeer rht! simmiun. ''hu~incss c.P•u.11 drc..,~ing.. ~hl'Uid b~.· ~~ubr~Kcd mt h~r rh•m c chc\H.J •L'· one more w~~1pon in rh~..· bu:-inc-. . . mall·:\ ar,cnal. T he n.~:-nlt ~,;hnuki bl· :1 b11sin~ss tppmpnate

·t)lt.·

n( dre:--. .1ncl a\\ a1\l1·0lw cap:-~ bit· ll( ~e~un lc~~lr ~cci 11g_o1k' fnm1 '' l) l·k tu wt.:ckend

1 1.1m thmg ttl b'-'l"\\cen

GU IDELI ES FOR BUSINESS1\PPROPRI I\TE DRESS

1 he fii.,t mc.t~unng 'nck ~~~r bu~ilh>:-. .ntirc •dwuld bl· dc:l nlinc"~ l :liclll~ prefer their prpfc siunal klokilJg well

gr(1\Hncd

l:a-.unl

Ll res ... ing

i:'

Ill) L'XCttSC

r~)J·

ltH)king ~Jopp).

n 1111pleJ. or 1.111" J'hcd •

\\ ht.'n in doubr .h ro the rorn~C'l ,lttirc for a ~pecific bu-.inc"~ IIICcting. 0pt for .1 'uil. Drc .,. d1..1\\ n \\enri ...,'till rd.niH~I) nt.'\\ to the (nrpor.ne ~1rcnn •md :-tillll(lt pcrcciH~d a-. profc,\IL'tl.ll ,lfld po"~r(u] a the cia sic bu~inc'~ cn~emble lfun,Urt: .tb,\ut an ucl"n . . ton-. lc\cl offormaliq mcr'"1r·:~\iug is the safer bet ll} drcs~

111g up lltlt onl~ do' nu pa\ .l complimcm to) our dit:nt. cohort, l_)r cum pan}. hut} nu .d\\,1\ .. h.n e dw ('puou of rt:"mo\ mg onr.: or me 'Ire .lrtid,:, of Lbth111g. •

Dn.''' rn lme \\lrh hmr "-Upcnor" and ll~\cr more rn.!'lhlll~ th.w )Our 'ubordiJJau·s lk

(.u •.Ju] nut rt drc Glll

b~com'"

\\1ilh:h:t" tLrt

It\.

rdnxed m.mn~r th.tt )'" ' nulnngl·r ll't'k like -..)Illl'P ih.' "ho

nn .mrhl'rtt) iigurt?

dl'thc~ \DU LhO•ls(' to \\c.:ar

w \Htrk make

'llr•'

the,•

h,lH.'

the "~llllt' dt~l'.lC

louk l~)r 111 .t f1tlt: snit glmd nt,Jterr.ll fine\\urknwn~tlup. nnd ~\cclk·m be"t qualil) )'Ju c,1n ntFmd 11kc om:' cdth...lllnll t.lothing ~~ .111 imt:~o:nncm

dt.u

ht Bm the.

'l!lto;lldt :1

\OU

m \our lianu't;

lh

o;l N'H S

CAlif Al


---

------

-----

Bu!-incss cas.ual :111ir~ i~ t) picalJ) brokt~ll dtm n into muhiple cntL·gunec; dt·nntmg ,, ~ ing

Lfegr~cs of lllfl11:1lit').

known

i11

1

SUCh

:'ts

.lLli\ 1..' C:l!\U<II. "POri)

[ngl:tnd. In thr intc.?re~t

ca:;ual, or

.snl:liT C:ISU:ll. a_.,

dw trend

1

l)f simpltcit} and ~tructurl.' I ant g~.,mg 10 di, 1de dw cnt\:r

pri'c it tiLl t:wn Glmp~. drc~ up busines~ cas11nl and dre~r;;-do" n bu,jnc ., La1\ual The dr0

,

up

bu~itlc'' c.n~gor} rangr.s (rlllll the Jres l,:d d{m n uit m an t:n,cmble of ,l•parah: .. fur 111 cJ ni\)tllh.f the tailured j~Kkt'l t?~dW'ii\L' ol 11 IHYktie. \\'ith thu; j.tc.kct driHm option thl.' 1111'1'10111'\ h> l'\li11111Ul1iCalC the- ~:llllC' dcgn.·~ or :1\lthurit) and prnf'"es~ionaJi~m as lhl' tmdittlmaJ bu~ime . . ~ uniflll'lll bnr ~.m a k·~, ~l!trchy

... -~ -)Cl

d~ngth

\\:1\

:\ ltcrn~tli\ d~; d r·r.:=-.~-du\\ 11 busi 1H:"'S C!ISIJ!iil

hm rwo-piece ofli.ce an ire rankt11g beJm, rhc: j:Jd~t·t~uri~nh.·d ou t Cit in drt's!-lil res!-. httr ~lhtl\ t' tlw [1f'l.:..'iscd jl.'~Hl:-i atld :spon. 'hin lunl l nnnnJ) to

DR£.):,J SCi THe i\lAN

\dwt \Vall Street

Llr

l'i l

rhc \Vhanon Schn~'l IIUl) hme nni'dr rl•n.sor1crl b) jt•tti,mllng the ~Lm and

neck tit· uniform. the~· ch..•,r:Jt~..:d 1he ld1:1ki ~tnd polo .shin unift'lnn into the 111..'\\ (ummun dtc.'\'i dm' n

~..l~·ntllllillator. \ \'hilc cnrp1 mltt' Gl,ual attire '':1s imendcd to ben more comfortnblt nnd 1es-. l~mlul aht:l'll<Jti\L'

[Ll

the ch:tS'\1( Mllt :111d Ili.:.'Ckti~? rcgilll(", it

"3!"-1

also ·u ppo~ed

to

COJl\C\

cUl

Ullage ofbusJ

nc:-:slikt• intcmiDn. But commq tn popular thmking no combination of dre 'pam .md \lun l'\Cr [in r

\\til

rhc aurhorin .'\c:tk· at :11n \\eight ~lpnnxtehing that t.lfthe da!!sic bu!'!lne-, ~uh l'll"l'lllhlc ~ r ~ J

\ \'ith that

Ill""' ted.

1

rlwrl? arc man}

":l) ~to

make the rrou~er-.-.hin par4tdigm more C\l:-

uti\t? ·lot)king and bu,tnc-.slikc. "hich "ill be ,Iddrc.,:.ed lml:r. llo\\t:h•r dre' up bu lllt''-!ot c:1su:tl olrcr-. the h ighcr probnbilit)

l,r rcm.1ining buth snnoriallr :md ..:oculi}

rdc\Jill m cr the

kmgcr term wh1ch is wh) it i.s L'mph:1sizcd in this chapter.

DRESS -- UP BUSINE SS CASU1-\L: TH.E THIRD v\'ARDRO BE ___ L.-f'"orc men·,'' cckcnd drc.s!' stepped down ton pair,,{ :;neakcr~ .md jc.ms.

1L1

gu) \\ tJfc

~roir1u out st 'cialh~ he wou ld usuolhr step l'lll in wh:tt used robe tt:rmcd "taJl.,red port. \h.'CU'- 1( b

C

I

J

hL· didn't dono "1'01T jacket .Imlllcckric, he m:u:lll}' shl''" L'd up in ~1 rhrcc pi~r~ outfit c" mpn. L'd

ora 'f"PITCLJUt or '-WC.arcr \\ irh h;lt"llWllizing \.11\: ·' p:tlll\ ,llki OPL'Il colbr·~?d 'Pltrt 'hin 11res~ bu!\i tlt'SS Gt."u::U ,,

ur

retllr ~111 upda1cd vl·r.siorl t'( 1har 'l)lllt'\\ h:1r old fu~hwnc~..l mix-and march

rormula. with the ~h.iJed IJIIip l)fitKrC':I!"\l'd

-ri>d:n. nH.>~r men·~ dPst:t" ar~.. for the \\·cckL·:1d In pulliug ti·om

\.'(llllflU"I

,tl lL:k~..·d

and per~tmal e.xpre,:-itm.

"it h somb~r 'lilt~ ft"lr t bt• \H!>rkd.n .md lob dotht.·'

11cith~r thl' pinstripe: Jlt)r the jean-. :-1de nf the cln,t'r

dre'>-, up

bu~inl'ss c:tsunl demand~ ;1 dre,,rng qvle and a wHrdrobc th.tt bib 'onll'\\ lk'l'l? Ill bct"~cn one that 1 • · • • "'th - clmqntere~..d f~K · 1...~..·t, 1111..11 ~.He~ Hn t:.. quuin '"eaten; Jnd ~ron iiKorpor.nc~ :-;pJtly trou . ·.u~ ' • '"" 1n.1llllll1lll.W . ..-1 1ca' , c·par.uc.., re-.,mn!., dr~. 'tnt! ..111' -.hin-. L1 nl~H·tun~u<'l}~ tr) ing LG .lY'-cmbIe outflt, ~, ... ..1 · allt.'SC 1Lbl\ c) I :->Lilt· men nc:\ cr Il:tltJ to 1earn 111

-----------

llrll'lltc?d '' (lrk

erwironmcnL

- - - ----

--


--------

--------~

LO R1 TG U.P ):YO UR DRESS - U I) BL- ~ I N ESS \~lARD ROBE

~C

Up bu"illt'''

fertll£ tilbno

l."a,ual

fhe c.L-.it.:'t: \\&t~

to

forrC' .I lll:tll to ("(lOrd j 11:11 L'

tailPrl'd

l'fl 'CmbJc,

lll:tdt"

rrom d j 1--

pull ro~cr her unm:Hdh·d ''-'p:u·:nc.:-; i:-- rhrmr~h the mellium of

colur \good ntk· of thumb" hen lummnizinl;! dlrt~e dil"t~·rcm !'t'pnr.nc~ is to keep two pit·c~ in

rhc >.;1me (Cllltt

t"l..ll L)f

mp 'lrl'lq

'~tnkc

;I

C·Hnil): Thi~ <1pp nJ:,,-h :-;impliCit'' tht..· melding pror~c::- and 1magc

Ih ' rdds a murc J or example. p.tiring thi:-- nn' )' Ctlrduro) sp,Jrt cuar :md n:l\ y k11it ~hi rt t l.'-tW

more IUlldern mo0d (1~/i) th:m t.tking rhc ..;;lllll.' blue j:.Kkcl and wcaring.1 difl~·renr color

,hjn (nghr) \\ tth ir' gr:n trOU:...er~.lnki ng tilt~ I."OilCt:p[ Olll' ~tcp (un her.\\ caring L';l(h piClT j ll a di r~ l~·rent

h.m.tltn tt.md,

t,, achie\ e a more traditional mn,Jl.l, .1s Hlll . (,In

'il't'

from 1his beige ·Jilck~r. ~

pead1 knit Pl'll). •md d.1rk bn''' n -.l.lC'k l'll.,t:mbk· (Jar r(~ht) . ....,l10ul~..l \nu \\Jnt to .lCLCk:t·cnc dt~.:' EbhiPn rempo. kct•ping all th ree pieces in the same LL

"-'r lnm1l~ packs up the p.h:L' ~ \~ thc.f;t,lziollistci~ l~arned b) nL"quinng a prcdnmin:111rlr bbc-k

.\flm: moJrrn.

l.ess modern.

,_(1

_.,~

Bt'S1l'H5

CAst ..u


I

"·JI'drt)bc~ ~,,,tthing tht'llt..,el'c' hend ,., ltmt in nne cuk11· n,>, unl} rcdu\.ed th~tr marg 111 t1f -~

'-'1'1'01',

I J

Dnr...

1 ~~;

nJ r !\I 1 ~~.

it unil(irttlt'd them in a kiud

or Sll"t.':tlllii!Jed

C'tJOI.

Acce" ori.dng

.! "tWl In .1 mun \t11fll:d

pnl~..·n~ 1111bll\.'!" ir" it h ill~t.mt sll'cknc"' and nmdcrml): a" C\ ide need b} th1~ charcoal md.mgc of gr:1} tunk•nt-ck l"\n gr.J) tl.11111d. \\ h.u·~ ch::~ngcd in tlw nt:\\ millennium 1S that men hJ\L' k·.tnwd he''' tp embr.Ict· lhcir exi,ting \\:11'\.lrohl.' h~ 'Lr~rchiug ns fa~hmndb1Jir~ \ prc,li:-~~ionnl lol1kiug oudla rdiLs lHl :1 n·n41in le\~·1 off{,rmaht) w Ct1me\ ~tnhvnn J pri llll' l'oi 11 L ot- LO tKcrn " lwn \.lr\''~i 11g d, H\ 11 I ~~~~ Lilli form or robe:-. c•f am hnrit} itgw c" :-~uch ru. ju\.lg( -.. bm en(()rC.t.:llll:'nt uiTir~rs (1r dcrm nre u::-ual1) m <.brk. ">olid Ct)lor-, na\' or hlac.k ~um\ ume-. 1111:\l'll \\ith \\llit ..•. l)usiltc~.s "liits .trc- 11picall) rcli~.:.·\l'd b) light~l~ ~one dr~s~ 'hu·rs ,,J,iJ~ nH~n·, I~Jrlltalut'~ll' ft.;:\ nh ~,, :m \lllld th~ Ll,l,, il·li!Jck and \\ lme co~tttmc \hb<."'llgh t"')" h(,IPglt~l~ \..t1JI'il .. ler hint!....l11d "hit~,.• th~ lllllst .nnltt.Jri1~1ri:m nt· all co!ur comhlllnt1un illch lugh ct)ntl.lSI d,J~,.· llDL lbt 1(!J' l~, l:'n. n~tt•'s 1:1cial Ct ~~~~ring~. ~

.\" di::-:rus. ~d t.~arhei: a man·., C\ unpfc:\tnll and ph~ ·''lllle sri II (Onstinu~: rhe main cnmpru

, dec! itJll

or clothing

(OJ or,

for hr~

:md I he1r Idea) Cl t lrd liLt

tbuugi1 darl~er hued h.1nnon1e\ happen t\1 ht• in' c1gu~ that i. no rea~on tC1r the fmr-ham.~u light • ti1 111. EH'li

skinned t'Xc\.·utih~ ro ~-.ho,, up mnmled 111 a C'JCt'piR'm

nr dark color:-.

Likt?'\ is~·

lf}"ir1g

tn pl'll)Cf~

:1

lc C~re

mPil h1l oiTice iJnJg\. 1" no excu:"~e tn -,nf:n nl'rgc .1 lu~h­ CL"~IHmsr \' i.,~ge ... in .1 ~~~ ~)(ant"lllit· <.. )n

tuned .Ipp.tn·l

the urchitcl'tural side. JU'>t as contrJ~t~ng

top~ ~111d borrom~ can unnert:.."~~1ril} dimrm'ih -hnrtt.:r lll\:'!1 ,

darh·r nnuscr-.

\\'ill mike

drc~~icr. In en"h ing n n1rpor;uc

~p 1rt jad~t'l' Gl

u:~t

npp<.-.tr

'nk· tlf drc '

that bnt h tl:urL"r' and prllje:·ch pmf~ .. ,,onall~m 'nu must nPt '-tra' roo far fl\ )Ill tlm..e mdn idu.u gUide • J'• "l~ 1h:u dt( t:m.• nuc cnJ....1r :.t r~ItCg) V\t'f :tlH.li hL:C

LEFT

J Icn·$/ww

lt1}trsfriotr a 5U(LT5gii/

rnmmctwu bctwcnl,l bn1n·u ;portja1kLt 11.11d ramd umfnlt'L"k ttsinggolll·hut·dluTinmd /f~hur·tout•d skiu ltllre/p detcrm;nr rbr idrul ... tWitlrtllt t!{col1f1'tJJt to .•lwn· bc:low. OPPOStTE.

Ki:('jJitlg rl1e (t'l"r sclrt'mr UJtlJJCHilJ~

rcztdrt'ts tip the cJ;semble's anJ in ellis CU.St".. tltt· suits modrrnitr.

---~ -------~~


I

Dra~1-.t~a

ntr

~\I

lN

----

PI.EC I NG TOGETI-IER Tt-I E 1 ORE - Ul BU ., fNE S-CA UA L \t\1A RD I' 0 BE

lw drc.,~ up bu~iriL~'' c!l . . ual "nrJrohc rl.'\uke~ .trnund l\\\ j~teket on~nh:d ~("eu.m" thE' 1hrt'L' piere '-t'p:trarc~ c-n~emble and dw nornie ,uiL <:nufir \;inc~ mn ..t men ha\(. )t; 'l'Xp~n encl! drL·,~iug d1n\ 11 a sui\ dt:llltt'H illing up 01 sport· j~tdn:-r l~r·~ t;mn \\ith tlw dar!· Lulurcd "'PL'rt ith"kt":t \\ Oftl \\it" cl (ttl

1111d ~l'\\ ll or ,-.. ,llatvd knit ~hj rl :'llld 3 pai I Of \\~11 pn.'s~J dr~~' ,JJt"k'

1\n::lW•t' it\."\')\ ~r., rht·large;;t pt,nion c,( tl1c bPd). th~ jJcker "rt~ 1he culor d•nx-ttonti.Jrthl'

r~.:?'t l>l 1he team. \ .; ~plm co.11' nrc apprL1primc in

r

l

nH.Hit

c.1sual bu,mc ;-s 'l rting' n htgl quJitf}

"ell milur~d jackt!t

1

cntiLal lf) tht.: drt' up

bu.sine.'i~ Cl'iUal \\Jrdrolx 'tnn \\llh .1

dark oliJ or ubtir pan:crned u f l h~ pO\\ L'f llCUl raJ

l<

xnurd

splln (OJ.t llli..Hlt

,f1Jdt'' of llJ\ }· dur~tul

lbrl· bnJ'' 11, or raupc ( ; m1mkk1 JJd~t: ung" ,m;

f<.1r muJ tJpl~ 'H .tnng... "t 1 'nd '' ith tUtdl?r~l:a[r_:d p:mrrn~ at the bcgnmmg \~'ith thl· spl.ln L'tl::tr fiHKiioning J'i dw. I c::tp:-;u]c col1x t":Imil) ·~ ccmcrpiccl' 1>.urrnund Jl '' i 1h rd:ncd !\~.:"'}1J.r:li'-'" JoiJm, ing the gmddu1r tiJI J

lllr..'lllf'll'abl~

o((t..)Qrdin:u in~ n' o of the thr~t: gJrm<:·m '· ht·~m

.

l:n lmrmon iz ino rhe ux.,u.-.er \\it h 1he j.lcku 1hr ~

btHlOll.:-

or JlltU '}tOn jack~t

often

\.""011}(' Ill 3

complemem:.u1 nmn-ast s.hndt.•. -.o its t'llt" -' ' ~

th:u rn.ms('r:

chtht'll 111 tht: .um.'

J

1:m

llln.tln

"ill match rhe j:-~cket prl'lT} \\ dl \\ ith t lw i.:lckc·t and

rrPtbi?r

in

a

"itmbr hul' 1hc ... hin G.tn c..-ith~l

be in ~ll:LliHF.l!\t or: ~o.Jnal rd~uon-.htp It~ loth. it .. ~:vordin~ltltll! ~..1in.lll.'d h} } Llllr o" n l:t''HllJ k~\um ~nd prr~utlal I.l~f·.· I( the

c, 11c ,}(its ,::, )lllfS

:-hirt 1~ muhi ·olur't.'J. -.lmt11d c_cho tb.n ut" dw I·Kkci

and 1 rPmet: L)n!,"' \\.n to hoot up u.;u.tl mtt.·J\~~a i~

ro cmplO\ a p:111ern on p.-Hll: n1

l r.th:·g~

,, l1i -h \.~Oilll'' with .1 c~na1u ri.:-k hut c.m prHducc..·

h.mJ!-, )Jilt' dt' idcnd . ._


ln\.: ~Almplc of~·\oh mg 'lh.·h .m uuual \.·.1p,ult· '' .trdrubL· mi~ht ,t.ll't "it h .111lltbnlid.

) II p.utt rtl:d [\Hl ~-(,ftlr J.1L."k{'[ Ill .l prcdomin.llll ~han·o.ll :-h.tde. \\ ith l.lll cl' It' 'L'I..l)lli.Ltq Ju.~nt ( ,f, r \11\:r .~t:qwrmg ba~JL" gr.t\ "-umponl~nt, . . uch 4L' rh.m.:oal Jlannd truthl'r-. ..1 gr.l} ' .,fn.: h ~ullatvd

j

"til \\Jnt t tn

1

kmt .,(lin .mJ perh.tp' a 'm~ll ~r.l\ and

t.lll

panerned "'" c:-n -.pon 'hin

'PI,ltt the t.m '''-'~ L.,f the jacket\ color 'dwmc \pair llt-Cm n ("O\ en t n'll'l'r'

i mtr...hrn~ r m d I mg le~\l' roll.trt·d knu ,Jllrt ''mdd imr,khKc ir ni~.-cl~ '\.'till· gr.1) (nJ,,r ul \JJ 1 \ nl'~.-k \\L'atl:f\t;'t 111 ch:trco.d gr.t\ or i1 c.trdi~.lll in bru\\ 11. :.111d). ou'n: "ell \.hm 11

..

thl: dr," up ca u..tl nJad \\J thom bcmg fi.,r ·ed

..

nmke n bl.17er pit ·'ll'P \~ t:u· .1 .. od ll.•r' JJL"kcr d rn ~·n PUL ii 1' g~,.. tlw 111h~·r"·m da~., inc'' {.,-the ~tngk· n r dot 1h le hr•t t...d rl.t\\ hf.tzcr .tnd gr~l} tn..tll"icr l·oordillntiClll \\ould ~-''-"'11.~1inh be high t'1ll dw list '\.l'\.1 n gin t lim\ .1 I\'"'\ .. r.trch fl'll\lll1 m .._,.(the bl.""·r lnok pcrhnp' a p<ll tt:ml.'d nr t~o.":\ttJ ll'd d11rk IUl p U t (CJ lt that CtluJd be pmn:J \\ nh l hl' bl.!ll."r\ 11:1\} .md gr;l} :Kl"t'""'rlf..'' ltkc I ht" \-11111rh:l uaun h,·r~~.· ( )nt.: .llt.t,;rnarl\e h .l thl' da -.ac 'P ,n coat" ould he 'cHn~ '\.!r'iLlll l'r tilL.· ,:~f:m ,ackct , lak thl: ~d111t FKkl•f. \\lndl L.lll ~.t,th multu.bk to :lL"COillllhllhHc .1 br~.iad sptYtl'lllll Llf~o.it"l.'''l'd ­ dl \ 1 lltL'rtl. tlh.' u~h .1 ... d11, modcn1 a sL·mbbgc uf d.trk huc"i .'~p:tr:Hl·~. ~

_...,'

l\)

~

A slurr ;acklt am be JrcrscJ up or dowH.

., I' .,

Rt

$1Nf.

CA."I

A


''''-·JICI

!till,..!

\-.II,, .111Jtlltl

''U'\1

\

DRC" ' 1111

\I

'

Cm·dlgiiii.Jiwll )'lt"kc1

'll't'ollt'l'

an ~!llotbt•r \1',1)' fLl drtS' up rht

dn·sr. dl,,l'll /,,t,k

ll\il~.lll

I'''

\\1111

II \\CI(ll

ltq'l

'.llllltlll II'\

pttlllt'

till'

I

J

I


---------

----~---

1rh ~{ mt~-.rt dictating otTk~ dt!(Ortllll. th! da.:-~ic spP•T C\1:1r mu.'t .t

\l.''"\.·luf nulc rc-,pt•n4tbilit}

Jt I wed' to (Ombi m·

bt!Cl1111C

mt•rc Lhan

'" t.•att.·rlik~ c0mlt'n "ith bu:"~inc ..!'ltkc protu

,·ol \\ hl·rt'J' 'ou ~lm updJtl· the rradino11.11 'uit b~ painng ir '' 11 h n rnrrl~.~Jh'\k or ·r ~:-hin. try mg m rl·nd~ rhosc -.rrairjacker.. . fro111 the sc\ctuic~ or ci~lllit.'.' underm111~~ Lh~ ~nrirc l"rttt·rpri'c hc~.-dti,L' d1~1r pa.ddcLt torm.tlity belie·" tl'>da) \ mudL·rn c.I:-u;Iitll.~''· fltt~ mo~t 'cr

a tile and t'Ollh:'mpr:waq jnl·kct ~I) I(· i~ the Thrce bunlln. si nglc-brc:Jstcd

mudd '' i[h cJft n1lk·d front~. hghd) p.1ddeLI 'ho~t l1· r". <llld notch lnpd::. B\?Glu~e ~lf its <;o(t· undcrpm11i11g' .md threl.' button fi'Onr. it c1n be'' 1l1'n in ':1riou~ bunnn con(i~urari~m~ one ' butt\.,nt..-d .u the\\ at l. dt'lll\? up" nh it\ t"o uppi'J' bulln11:-. or lct-r open. like a cnrdigan .:-\\carer .llb~..·tt "1rh nwn.' f~1m1 ~nd snucmrt~ \\ ·hilc mo .. t llll'll ~lrl.' l]Uic:k w rcmtn c rhl·i r jacJ...l!t" upun ~..·trlmg uno tht•ufftcc rhi dc.mdld..c garment might ('llcour.lg~ them t<.l ke~p rhcmun. ~

\nd l1k"~ th(' ..,;mtou:- (ard1gan .,,,catL"r. the ~l,fd) comourcd

:-p0tT ja~.:"kl.'t

can be

\\tlrn

IIKrcmcnt&llh lllflgcr. \\ hen mared '' i11l .1 'aricq ofloug ~~t:~\·e kn i r'. ~uch :b Lll nkne(b or pt'l~ '~· 11

k·t'\ l' ll.'ngth ~an ..1l~o drop ,.Jightl~ lo" er 1111 rill· \\l'i,t. Thi:-; .1dditinnal :-lee\ c length Ime' up

l:wtt'l'r \\ nh rht..' jackt:•r'-. h,,n~c-r k·ngr h..md wgct her t hq

pr01111

ten nwrt' rl·laxcd bt'd) l.mgu.1gc

\\ 1uh.· the older man tl'nd~ tu f:tH)r dw d.l''ic t\h' ·bunf'll rc• rht~ IIC\\ l!r three buttorJ Jackt>l mudd (,1ltl1•mglt the rhrce~bun~m j.Kkct pr<.'datt:d it, l:l'lhit."ll~'' i:--~) either i~ p..:dccd) :JL:~'t'pl .1hk· I h~ Llouble brea.,rcd )Jt:ket i~ .tl'-ll m opUl111.•drhough. bccm.;c- Jl 1'- 'k b\.·nt-r hntnmcd up. it tcn'-h t~l ' li..IU\<.' .1 -.J,glttl~ dn:,sa~..-r pt.' "tlm:. \\ htk Jll thrt•~.: JclCket

ITilldd:t

can

be 'n lr hi\ \' ,,m ro (\.m\l'\ a mon.· ra u.1l bu uw ~ 1n.mncr. at\ u~u.tH} I

Jt,m · r aht~r rh.m ·" I"Wt \JilC \h:,u-s rh.u dt,ungm .. he." both the appard .m 1rh"· mJn

The llll'' SI'Drl cod I nuds to combmt· su e:attrW:t.. com(o~t witlJ brmnGUkc J'rotocol. ~


UNf-f lNG I NG TIZADITION: DRESSING 00\\! N THE SUIT

_ , l'L"iet~ ·s :-.man scr h.t" lwen :"'puning suit!i '' uhout rk·. hw man} )t"_;u-... C,H'\ l

l HI

t. •

I '\ c

\-I

1\ ~

nlht•nc both

;rnru (brlmt~ ~~nd J,trl.. 1\om 11'1' }llcquditH' k~nnt·d} l 'na"'''" 1:u:h ·r (opJ''"IIc) .il-qurttmg

t h~m:-t•lvl' ..

Dll t

.1 .. \\L.

'' i1h ~..-lrar.rcteristic aplnmh "-tuch :t '{1guL" h.HJ pn.'\Jl1usl} !wen a,nrt,wd w rhc 111'11

bu.-.in'~'~ arena (I( r~..·~1wt or \rnu111i unhirch~d th~Miit tt '' ith11ut .1

~P~'r·r~\\'C~tr~ hl'i\\C\L'r. oncr lt.1Ifnn J~.,tgltt'r (.,n,rgto ib unbL·ndi11g bDx-nl n hltt'ines . . unif~li'IJJ in the ft~Hus \H~Jnng

'l't'ri,Hor

fJ\.>111

de h~camL"· b(.)th :t lugio:nl

:J thJ

p~l"lll.lUCtll l~t!·hiun

\\'hi I~ the 11111,:rnet gener~u i•m gn''' up not ha' i ng l\.J \\ ~tr ~~ Hlll t.o \\ ork 111 ~..·sd ''-'' m~ '\.'1kc.s and jem1s f~.1r HKkcd in ,!Jjn.,. and cknh~ tku fit true w ~zc mnn} '~ ungt•r men ha\c rcdb(O\ ~rt'd l he sui r. The \\ell ' l.'lll sui 1 slill hn, ,.•x ~ppectl ·rbdirional men can nv lon~t r aJil.u·d

to htJc bl•hind tlw "lilt- rh<.'\. nc...:d ru Th~f'L• arc m:m}

Ill'\\ '' <l}'

n:•itl\t''rll

il.

to\\ c-:1 r ~u. u i 1 h d.I). Lk'Glu~c it h:b undergone :1 makl'('\ ~rm buth

f~tbric and consrructil1n. ~\ lnden 1 t...:d 1110log) h:1' pr•x!un:d Iabrie" light~.?r and llll)f't.' ..upplt" dun

d(·c.ldl .1g\l ~.;nfr COJl'ti"UOtOil W•ing

'' nu1J h:n!! been bdic' cd unl) t..:nmbin~,1

\\ rrh

cl

.1

lighter p.tddmg and thinnl'r intt.·n:1cmg' tlu~

furmt..:rl} hor :md rc•a rkt h c d t.td,·l (,j ru1iug cb~~ :nnhorin h~1~ drm11loadcd it . .di into rhe • ulrimar(' !'tufT\\ ear.

Lc:Irninc-!... ht l\\ a

t i\.:·

affords

1 he

tu \\ ~.lr .a

bLI'iinc ~m.m

-.un \\ n huur lliW

more

l)pponunirr ro ~..·xtend hi. r.111gl· \lfo..,rp 'mtt." c:bmU optiLm;-; . \c(C...'-'uri.zing. the ~1m '' 1th ~t 'met hin~, .. 't her than ir"' n1-.rum:u'\ fnre lt:.ld'

it :ma) f"ro111

it!'

roml'i. hLmcH·r l·mbmcing

-.uC"h ~1 :-.f) lei:- not abow abandt~ning tlu.:

men

h~n c dre:-,t..'d

\\.1\

in rhl' p.;:Jl\1 It· .1bnw np n

in~ up "·hokes tor the" J~ rh~·}

,,111 dr'-'' in

dlt' rm Lll\?. - - · - -----

.............

-~-

LEFT

Heres Cm1' Gra11r nn-rching tlzr-. s:rrt~ sariorial bt1undar1tL OPPOSITE

_lad~ Hou1•it·r attd daugllto}arqudiur iti rslaud.fim".


Hfa.路k Cci$}1111fl't' tlll'lft'lh'Ck black amlwlwt' pl,uli $It 11 ~~ru)1.llHt raH, f~a{~lh Lmtrcn


Let me the backd1op of~ classiC gray bultneas swt to hdp illustrate some of the more pracnced aasual tech mqucs. Without the dosed shin collar and necktie• ordert.~ glamour to highlight the face atld 611 up the \uid under the chta the ~down •~me- must still frame the £tce\\1thout disna:tingfium it 111e button-down collar accorttph~ such a mission. be~11use of bo" tts &stened..c:lown pomb help 1t to stand Up around the wea~et! neck When worn under a racket. ItS m placf' s~· ron~s ~ snappy dan dt~mg up the face more than other sporr bin collars. l.ayerii1g a dark T-sbirt t.tndemeath adds vaswal intemt whiJe helping 611 tn the space left bj the open roHar. \s a ~

nile. dosing a ~· collar cmates a ~ .mage bcc;••se rts relative neatric."Ss hdps tHe face to ;appear more iauporram: (see ptge Ul2) eamp,.st)ie tollm should be a\'Oided af the idea is tOr the shirt alllar to .afd ~to the~ ja<\efsopen ~ Tbe~ofa a.._,bmd~theirftat-lyingcoUats~dowtrtihe

~of~ neck. leaving the .thtuat uncovered aod the wearer

laxikingdLShev.ded. Lt1ce\\i5C' a knit Jldrt buttnned at the neck imari abl) ~ a tidiery less «.iisuaalool However.. •rs soft knit colbr can be easil) ~ ~ the jackets sturdier collar rt ~ ends up gcthllg tm;:d•ed oot of ~itil)n and &o;ng down thr neck en-fins the face praonce This can be awidedb, rnattng a JPOtl awt With only diose 1mit !httts Rlillfewith the-~ m&sraua..eone1*"-sclf--:eo0at. which SitS on.thr neck mudt h'h awown sport-shin tol~r. ~ ... me it;Jn~

•dt.rted• mod: tunJt

knitcoiLmliR•e ~~ 61berse:t~~- ~•J:• tbJMt:hy ~&lw:• Oftfw d1M~P.¥f ~. . . "**~~~ hsie~• eltt:attJ N ~ of b~.

ocu·~itwithancd•••~r.~tit

a .....

.a•.- Jld&eti. 'Vt••t;

........ -.

~ ~~


I

In lhl' ru ... h Ill expand th . .· ...nnonnllmundanl' ( r ihl" "ttll Ct"rnun !!uiddmt~ ~l"l tr

Pl

pled upun h w mstancc. t I"} mg to mnl. . ..: a \Ull j.td ct double J'- J -..pun 1:1. -krt g~.: n~.: ull} It \t"-1;. ",11 \\ tth nL•ither \uir n)m' tend to rl't.un thetr Jre.,,~ probh' h~ 'u1ut: of their fabnc e;.nu)( flh ur [Kl'!'l

.md rht•tr tlattt r. poli:-hed buuon' lltl· cxrc:ptiun-.

to 1 hrs

ntk \Hmld be tht ctt ......I • ctttttlll

g.tbn rd lne or the htrgl.!r-dun micro scale t: hl:d~ !1\UI\ J.Klt: t p.trticulLtrl\ 1( .lppnint tad\\ uh ..porn..: r hnrn 'it) lc buttl111'-~ and p.ucb t) pt pocb:t!i ()pmt

lW

tlappcd p.udl [llXh.: t'- c.m .tbet

'' i 11 t er -.:tilt of cordun ') D.RfS.SI'CI

TPl F

i\1 .\ ~

llt' 1\\ ~cd

.1

Jnd~et \ t.:asu~JI

Jspt.r...IHt"ll"'

Ja~kl"L ti ~.:uu u

\H"'uld .:&1'\o pnJb.1bl) mak~ rl11.: cut 1 Ji.,. \\ c .1nng .1 LtU1\ t.:ruh t:

,jngiL" (II((\\ ith culT linl...". :--pt)rtmg unl) Llll~ bn t h sl') I~.:• :111\1 ~,..,phi "il ir.t t ion.

trtp

h:tll (lc'll ~till U'iualh u1c.b up f.tlling, -.h~.lrt

l'atclz undJ1ap pi1rkcts permrt 1his catt4m smt jad:n ra assume tlw CLlmposure ~fa sporr coat.

111


DRE

-DO

bile a dark spott jacket can make an} man look more professiomd bustn\: auual remoH5 the protective wrapping of such taiJored refuge to reveal neath Built on the fOundation of the $pOrt shirt-and-trouser combiruttio~ ti· ~;(aj£C m dressiness from.a h{!.tb-qu:dity cotton~~~ or sport shirt atop dark wooJ trousers to '"ell pressed khakis or c~ fean below a Ane gauge. long. .sleeve. cut-and sewn knit:sl'ltC h.>ng as ~las$tc fabrics and pattems are relit.~ up014 arriving :tt a busit~csslike should not test the coordinating skills of the avernge fashion -pressed maleTaking a page out of the t\\--o..p~ece suit' story. the le$s contrast gc!nerated by. ~~ tound abo"e and below the waistline. the dressier and more elongating the effuct. ltt ge. . dark rolors worn under- the chin tilt the shirt-slack scheme toward the dresstet ide of L41Sual spectrum Just as most shin--and-trouser cootditiations acquire an increased .. when anchored b) a deeper-toned bottom.. sequestering darker colors on the lower half body tends to produce a raUer. sltntmcr outbne \\ ithout a j:tdcet a.~ the top layer. the shirt takes center~­ the hrrt component- to c01111ttahd authority. it should be collar~ pre£emb:l} c:trt either one pit-ce or with a collar- band. These twa construetiotts help the ool1ar to around the neck, better presenting the face. Ideally. thtdte&-do\\n business-casual shin should haw long lcteves,sincee\'CA up lt."C\'es canvey a more profussionaJ look than half leeves. lf:tavore.d. shor-t smcs rharro just above the elbow g.vc a slight~) more dignihed ~e thanmi~-btQ!ps -vers-.o the Duk~ of Windsot: plF 76). Although the) till c;ommUrtkaJe an attitt.uk <lfleiSUte k~ve knit! become lligbtly more business-appropriate when-paired-with dress tt01tsfl'S. The fine-~ long-sleeve. collared knit pullover ha.., rcce.ml.y beCOJne .,..-.C!-

rne to the conventional woven sport:shirt.

~toned ca.tthmer.e~silltpdltowril1

neck. mock tuttle: or rollued mudef can lend .retln~nt w ca&ttr.al ~a Aidl~ the sophistication depends on the fabax and. &msW. ~knint)_pS ~w.eu ~II types. UoJn dms ~ to feat1B; cord~ tP kh•kis. Like-itt -wo m ~ shtrt houtd be~ 1ft~ ~lbt ®Ill',.. and ~lf4-(\W*: ~One way to rnject mdiWdsabty mto the. & ~ is 1:0 and tex~ ~ tilt parter~ the must &if-Mk.~h it to n.~a or stnptd sport~ ._,fc;{ .olhl ~ ii'M: *115• ~ ~ ~&om the shin a paftftiUtt ihe soJ14 bdttoa. ~- ~w·•~•~ thetW4·- •·~ li

While ttxtua: ~ • bP&~ •·lli!s~ ._....,~oh~


flh{L....tJ

of ...,,plu,rKah:..-d In \\inter. m.lltL~

tlni 'bed

'' erh rc,·mr~·J \.'"Wd'- ur !l.mnel p.1nr . . t 'ottl'Ht

\ 111

t:\

J

nmre

L.bU.1I

1

knit.' or nnd} hru,hcd ,, 1)\ ('II~ (jill b~ p~ll r~d

.111 t.:'\cdlent natur.tl l:tbri(" (l>f trou.;ers. blll n

Jrnrudc dun 'H'l,J Jn tht: 'pring .md summt·r.

JJJ~...J ttl Lht ma\ . •tlthou~h ~

1n art

litH.'ll HI)USer'

crm bL"

of £heir ~h1c i:- in tht"ir t'bli~.ltOf) \\ rink!i11g Drc~!ilt'd lo\\ n ~

~

l u..,nw"' lx"Hll\111" "hnuld be pre:-. ed ('fl p w c'\uJl' prul~- .. ~i ~uali .. m ~md ~nltd hl'lttOm

1 he p.tncnwd \H\\cn rop

an:- th~..· bL"drock l)f rh..:- \Ire'~ dv\\ 11 bu~i

n~.. -. uutfh tntn.ldth..·in~ .mother Ll~ cr hdp~ m~.ii\(~l''i~ ing d1~.' lnuk. The th:cklii1L' o( l he rln~'ic ~r.l} f

,- ,..

,h, rt P'-·d~mg um from tllh.l....-r a sp, lrt :--It in·~ l"nil.1r cw <tdd :1 subtle tuu..:h ()I. i nd j, idunl i q.

I nr..:rmg .1

llt!-~..-k

\

t'f

cudig.ln ,fec\clt's~

\l.''l

nn t~'P i~

irum t hL' .:hll t ·, p.n te1 n " lHlld bl.' rhe m<l!"l d i rc~-, '' :t}

Jth.)tltl'l'

tt·L"hni"'lllt:. Repenting a col,lr

10 i llll..'~r:ll (" 1h~.,'

1hi rd brc r i 111 i'

lhstNE

c t\.)1 ,\

d1L' '' hole.

\\lui"'· "lum.uJ,... 11L'Cd n,, dr-.,tppenr bent•mh tl'l:ltt~cr tnp~ t{w a bu~itlL'"~ image. In} c'r ~" eatl'r-: 111:1}

h lt:ft umu ·lcJ h

hur

t

ille

undcn .1lued

urpn-.mgl~ U"-.:fttl.tddm~..m

tsh blL'm~ ' J.'

1111. nrtLlneJ.

(.btul '' Jrdrolk'

tn the \I~ I

"ouJd bl.' dw

<'tortlw 11\.:Ck&:'f'c:nf lr :-ub ltinnc f~1r.1

n ·lut.• under .1

!-tut

t.:Jcket Pr

tr.m-.t~,rnung 1hc most pH.:Ct'

pt111

co.H.

I

humdrum o( [\\\.l~

I I

mto .tn cn,t•mblt: of con:;idcrabll'

dn · \\ ll h lc.•s!\ pracnct• and . . kdl rcqtu rc~.l ttl til..' .t brt\\

ut•

tbt: nt.•ck1-'I'~Jrf fi:llded

n ._t

1

h1\lr m h.111d knL't Jdd~ a 'P lt nf llair rn dtt

un.ltlt'fh.1t.•d lll'cklin~. tUrning thl· typi

\.II ltu k ~ut Jrt.'' :\ bu. . uiL><

- L·l'-UJI

outfit

uuu lltlll~hmt; '-pt.·cul .md de\.Htng a

1mp1t•

htrt .md Ttol~cr ('ILJttf1 uno .tn

~·n ·mbll' uf 'urpn .. ing 'l) li hnt...,~

OPPOSITE

~

RICHT

Drt'JS(J down business (t1mal

c,m look dtstir~guislred


AC~C ESSO Rl ZING -rJ-lE DJtE ~ - DO\i\1

13USINE S-CASUAL OUTF IT

th:u

llllllh

h sP h:\\ gurm~..·mo.; tu hdp com L')

Jrt:-.,ed up bcanng tach uccl\.--..;.,un bnt•m II ILl I\' 1111pnn ant. neC.lll!oit.' or l he beltl'd \\ ,1isdme'" \ l'iibdin rdatmg ft Ill ( JihL'f IlldPJ It

&.J

~.:·t d, 11·. t.J 1 t L'Xllli'l' l< dw I{ 'Ol" ear bdc>\\ i llllllCl''iLl tch 1

PRJ). J

(~

I H J 1\J \ ~.

" 1:-.c\

:.lL'h

ann.~' the •udlr ... l'\ L'l :til hnnnum 111t.:

~.:·d wing 0111.:\ hair Wilt· i 11 tl H' d ll>icl' of.u.!(l'~'lorie' em Jl.~~o pro!TI(lt"" the u1u 'it.'

in~· r,)ll· 111 lc.~~.Jing rlt~ 'ic'' L?r

( ' " .t:

o d nh

tin: ub,cned·~ conlmuntcal!un' remer. Jlj, t:Kt rulcrawag

t&J

L)J1L'·~ h,Jirl·tllur :u tlw \\:ll1-1tlint!and :1~nin.1t rhL· fuut i:-..mOihc?r h1ghh.J rt:,·( nHlWrki~J -.trat.l•'t•rn ~

~

~

I'~:ll'k brcm 11 Je.nhcr bL'It.., a11d hnm n 'iliC'dL· 'hoe" r;w•e l11e Ll.\lc leH::I t•f.tn\ ~4'-U~tf "lH

fn lor rhl.' ~ l il.tlll''-~ :md o1hcr clnhing nfictt'ltl:ldo:'\ nu ''~arabft: b~.·rn:r '>Jgnafit:-. ont, t~mJmg dun .1 pa1r ofbro\\ n -..uedc ~hoes. \ rorn \\ Hh JC'tlllS or : :1 "llJl. 'PL'n "'ilun or ptln J:1d.(•t till"' ft. r lllt'f

~} !11hLlJ

or \\'ind't)J'd&.)llJ hn~ bCC0Jil(' J

'\lOll ~

of ~\Cr\d.J\ ~ , chic

~ftxinga bl.tt:k .:liJigator bdt \\ith a p:11r o(black ._}jp on~

"'} IL" p:1nicularl) i( rite \\l':ll't'r·~ hair lwppcn'\

tO

b~

111

1111p0-it' J

dtff~·rcm lll"'-'l (

dark acct)rd llo\\t.'\cr uule-. .. 1h\;: ,,uttit ~

~.1omin:liH Ct>lllr-.c!K·rn~.· Ctllll .:1i11~ a S!Tong bind: morir (:lltt1.,ometimt•'- c\{~n tl1~.•u). dn~"' d<\\\11

lc.nht·r accc~~ori~.s ilrc bt•tL&..T kep1

111

the wn rnwr. t:~1nhi1'r bro'' n f~nnil). "h~rher rn r.mneJ -s d

die k·:uher. '1111plt.· pin 'l~:11. t)l"~)baritic liz:t1\.l. \\c.lring l1..lp qLmliq bn-mulc.nht:·r~.:nnt:"hl"· 11} rhing ., , lll'll inl·lo~<.:' prcJxirrJrt}

·rhc t.'Xct?pt iu11 r\) t hi~ p rc ...l~ri pt i( m '' ot dd bl· rlm:-.e men t n ing w nif~ct a lllllfl.;' dn\\ n tO\\il denll'~lnor.AI!huttgh black bel t ~ :md -.!we~ \\ould not be rhc d~h:-inc.;r\ dll.llCt'' t l appomt hi, chino . ~l muld tlw fa~h ion an) I} h.:' be '-\\ :uhcd in lower-ri't'. 11m fnmrt.•d kh.Ilt" bl.Kl.. lc>athl'r rc,onatc!> a llllll'l' nwdcrni,t mamra rhan brm\ n Sh,x·~' should complcmcnr rhc l IlL'~' lt)a..H\H'nr i~

utfn a.' a" lmle and drt: ' du\\ n bw;J

nn exception A m..m·... :-hoes n:fl~l.l h1s hl.lt.' llllJfC th.m .un

odlL'r ite-m . . ,( dothmg. and llo_lthing rt't1cct~ more pl

rl) nn

3

11Lln\

dl"l''~i11g st} lc th:111 unp~lfi,hed or broken dn\\n t~;on,eJr Tit.. 'IHl (• o( l''ll1l"'\ ,hoc'

bro:1dca-;b hm' ) ou mnn.1gc dca.ul"' t."'lle

cia II~ i tl·m~ requiring muimen.nKt'

The tl.h.1iti1Jilal d1:-rinaion

bcnh'Cil

dr('"'" .md

Gl~ual shoe~ u:-ed h) bl• rhar the fnnn,>r 1.1 ·t.:d Up. \\ htlt

the I:Htt.'r:-lippt·d nu.lod.l) . .. omeofrh~be...t loukm~(.t.'lt.Il ..hue~ nrl?" ing tip or cap

mlmJ\\ n ~n~dt• '' uh J lug :.ol~ Chunkier ~ol ., "·hangc dtt wnc

dft.'.'. . up w d1"'"" do\\ n Re~MrdJe.'- ~1f ho\\ dn: '"' dtl tJf .m

r

I

Hk' bn.· -up~

A

dn:ss·,iowiJ ·t·r.rsionou a drc.sml up cf,1Sstt.

~--

nudlr

frLHll

..

uppL'r :-brx."'... dt: . .tgn tf It

C.Jllllt'H

lx-


pt'lhhL-J hkc matt~' fini ...ht•" nr ·ucdc.

11 ~('m·mJI)

t:JIJ,

111tn

th\.·

molt'

c.t!>tl!ll ~hot' ·.llC!!nn (an

e'\t:L~pt t\.m of LllUt"'l' bt·ing rcn!r. . e c.tl f",.km ~:;hoc.•. '' 11 h k•;H her "ule . . )

\' tlw . .h k' gci." more !'Ub. . r.mn.tl If'

'0 'hould the~ . .

mrcnmm fht.• thin blaLk or nm'\ dn: . . , \ariCt) h.l\ c

~ht.k!'i

ck rlw Lhirlcr rht? snck. the m,lft.' Gl~u.tl

110 pi.Kt'

in~ ide- the~e l.u-gcr propnrtillnl'd

Ltkl' drc . .s ho . .ter~. cn:-ual hu'e mu . . t be kmg en~..,ugh to rm c-r bare skm "hen

.:rP ~'-;

In gezwrJL rh<-~; -.hould be in the mil? t~mc .1s llw )I,

llflC.

leg :uc

lnlrkolor pat u,'rnt:d socb Glll

tt\lllscc \

en her p.trmen' uh l he m.>tbt."r .md lux· tnne '~~' blcn~..l "it h .1 ~..·olor :!btl\ c l he-'' ;Ii~t.

'

l--

-

D l~E -- ~ I N G F0 R T I-I E J0 B I NT E RVI EvV

1b intcn IL'\\ "ln not penn it n great deal Cll" timL' lll crrare the right impre..,.,iull l'cnplc rend tn "1/C }OU

ou In the

up in the fir..,t thirl) "L'Ctmd"'. "hkh r:m inllucnL"c ho'' £hq dm~.."~ lll imcr:Kl '' nh

pt'nCL''

uf gJtht.>rmg inrlwlll~HIOJI. the intervil'W<'r o.>n.:-:6l)U,Jy and un~<m:.dou!\1}

m.rk~ JUdgments b~t,cJ on }\.lUr ,·isual and t

)J"'

'l'rbal cuc'i. The 111o~t com pel Ii 11~ 1h )11\ crbal indka

art.'\ nur dur hl-·" allcl c \ t:rall gfl)tllllin~.

·' housmg uht.· righ1 "·Jut hcs [~,r .l job 111 ten icw h:h a h' :l) ' bct:~l d3ulll i ng. ~ h<l\\ i ng up ~..la·,M:d appmpnatdr h.h ht.>L"nmc (·,·en nm&\' t'f :1 ch~1lk·llg<· 'Iince corpl1f;Ht' drc,, co~..k"i ClHI rmm.· to bt' in flux .. \.s husnk•-; mrirr...' llCJ\\ allu''" ~lr a hro.tder ran~c nf pcr.:>nnal c.:xprt:s:-1un. it al~o

lll\ ILL'' 111• m.·

mJrgin for t'rrnr. The c111didatt' \\ ho o;hm\:- ur, "caring th~.· righ t ciDthc~ ..

...

11M}

v

g.nn .1 '"' nnpl'tlt th .1d\ .un.1gc \n} ~m.tn .lpplicJrJr prepare~ for .1 job imrn j,~,, b} Cm1iliurizing ... him~'-·1( \\ irh the C< m pan 'hu me.' it compem i!:m ,rnd t h~ mark~tplacc. "10ll.t} Ill\ ~st igating .1 pro,pc(ti\ e cmplu) cr ~

\\ orkpiJ.:\: pt.'~{lfld

111C<11llllg

u-c.. dre-.f\ c.udc shlmld .tlso be

p.-lrl

or the prl'l illl111:1ru.:<...

B~Hmd

irt· 'mg '' dl .md m.1kmg ._t proJes.~o~ional pn.:'t"'lllati• m ) ou \\ .mL ) nur choKe oF d<'l hl's w 1n. ,. "tth th pr 'pt'L'U\\.' org.ttnl..ttnm'~ culturf'. \lrlmugh it t~ al\\ !J}' prd~.'r:thlc ro err uu tht:· l)\cn.:lrL:S~ed JdL rf.t ~.ump.111) LXc..utJ\t:" happen LO be• p.-triiJILO k~llll'> nnd turtlencL'ks. ,Jhm ing !Lp Ill .1 thnx pH.·~:

<>uu Jlh..:l biJ~kbce up 1\\\'ould 111H Lv pnttiJJg}lntrh •q foot fnnL1rd. \ppmprtat"L"

llltt' nIt'\\.•a tire \Cill.h

hornt \(irk l hmk .1bout

rhc\\AI\ tl1c

p~r on

thl.'! mcssngt: t h;tt Itere j._ <lit a,,plic.lltl '' ho 11llt.'nte\\11lg \'Oum:l)

\ ntr £'1(thr m~h dll' l'"-'" uf a 'trangll~ ~..nn~i~.lcr I

<\u"l

t

\.,.

\\hal

dtd Ius

\.lr~~s 11·) t., l'hjuthrl)

"t.'l'

\l)ur clothe!' lllJ\ nnnowKc :~bottt \ott

.f

tht m.ttl tn ing rn sh11n1m up d1l' ~nrp{,r.ttC' c.trCL'f pl de \YHhin his CXI!o.ting L' llnp.tn\

d t ~ t~'r tit~.; pl)'lltit~n \OU J.c;pm.· ro llllld nor the OTIC }Oll cutTL ml~ hme


RY

GLO~

Cr ,.

refel"(.'llCcJ dcfinmon-- c1ppear lD ' " \Ll L.\l'

sene" of n:u-ro\\ foldr~hra.7 dwt ~~mblc dtosc of .10 accordtnn. <\Cl ORnll'l"

ru o\T'S

\

111 n

\tlit:'TI.r surrrJ: \ l.lcclco;!>. pull-on

ariguuu:.d b} Princl' Albcrr Comorr ('« p1~~

Qp~u

tnb fronr shoe \ 1ctoria's Prince

1()2)

lh• l£11. such .1, polka dots, rhat rr~!p~at~ conunullu~h .mel n:gu1.trl) OH!r the t'ntire :-urf:lCl' of .1 (II! (.~Y tl~ potgt> -~ ) \ll {.,)\ £R \

ALl AC\ \ rn~nbcr of the ~mel ~1"~ctc-... s1mdar to rhc IJ.un:.~ faund tn the \ndc.m JHghl.mcl..: UJ Clul\' .111~! Pcru It 1s u dJppl!Xl .nnmJI whu.-.c Utldcrco:u is dClwnr ~n.h \Ct') fint= h.ur '<err olt and lustrous lb wool can

b.: d~dcd from a grcJn.trietrofsoft grars. ru und bm'' n . from pure '' hirr- m a ntst} black \MF1 JL\:-.; loo~

\.

dc~cnb.:-d

b) Brook-:

c;cL,

Hrothcr.~

me 19l9 11uBn 1(· ts. Jbm-e :Ill. di_tinguishcd by ir<. n.uur.d!US$ dothi!s should be wont for comfon :md

uncon ciou .. c.·a"e 111c wc.1rer :<>hould look hkc himscl~ .tn,lno other no m.:men\h..tt the OCUJStOn or "h:n he h..LS on fh,,. cannot be accr1mpli~hed wuh clothe~ th.u bavt• urnethmg abum rhcm rh.tr i~ foreign TLl rh~ v.carer s h.1bJt lirspnsiuon, or ~uryd.i}' app1~ar:m.:~ lud~.:cd natural clothes, like n:uunl P"opk·, .1rc :tl\\ars rhc rmm plt·n~•ng- ( rr Dean . \d1'-'"on. pag,, VJ)

Also culled •boormakcr'o; f'lni"h .. A prott.>s.; of i!ppl)lng t.tin v. .1-..:, or uil tl1 Jeathcr .tfJu,\ mg It to be .tbsorbcd or "'Cl, .Htd Lhen rubb111g rhc le.1thcr \\lth ll doth or hruoihmg ir. Begu111ingaround \

The first is a smglc knm. while rlw second '"a Gordian knot with one end cro~.;ing over the t'thcr and hrld 111 pl.tci:' with a ~tiC'kpllt. J\lso, a dtro\\-over nctk ~carl for sponswcar. (.."u Caf) Gmm. page 169.) ~\UIH.RGJNL

A .shadt.· llf purple rcs~..·mbling rhar of the

t'ggpl.ant. I\ \Ct.: r.u.A rs· The t•\ o plc:.u:- it1 th~.· wpskks of Lrou.;c:rs 1,\..·:m:cl bei'\\C.:t'll rhe front plc.us .tnd rhc sid(• l!,•:un:. (S,·!' plc.ucd trow;cr illustrnlion, top nfpagc 61.)

B \C~

siuglc upeuing or sfit :u dw ha\:k of n ~armcnt Cl( varying lcngrh~. Jep~..'thling nn 1h..: srylmg oC dtl..! jackcr. (S''" page 89,) Vl.N'r: J\

B,\C~LE.'i:o- \\' \I~TCOAT: J\

mndern kind cl formal \CSt uuroduccJ in londt'n in 19.23 rnaJc without :1 back

.uh.l hd ..t in plncc h} mc~m;; ofhands. ia:.-tcncd with n buckle or Inmon, :lcmss the bat:k at the waic;diuc. An innm•ation of the DRF.SS SOFT cr;1 popuh1riu•d bphe Pt iucc of \\'.1les allowing tnr more comfon and coblnt•ss for male formal "\\car. 1 Iawes nnd Curtis, d1c l'nn~c of\Y.1lc~\ :-.hirtmaker, claim~ w have invented the gann~1H.

tailor\ sti~ch, a kj nd of 10ckstirch. diiTcl'ing fru111 others br covering the whole l,f the ni\CKS riTCJ J• The

... ud:u:c Getwccn the swchcs. wirh thl: tht·ca~l exposed 011 du: 11Ke of l he mnteJ'i:!L t\ "dl-ti.1rtncJ bnck~IHch

ghcs a p(~r.fc..:trlitH! of SCam.

rJQ.L'lNG

19~6 Jttr1qumg produced :.1 dchbcrarclr \\'l!athcrcd

p..uinJ.. ermchmg a "hoc s appearance \\hilc pa\·mg th1• wa tor the nch bro" n ~hoe·s acccpt:tncc for tO\\ n and bu mc.c; \\car (Sec p.tge l91 ) ArRnN fhe \mcncan term for tht: wtdc ends. front nd b.at.k. af a long uc r\Jt;o a nu'>cd or flat scam round ~ situ~: front or "amp (Sa ~hoc pagt:' 1CJh)

\tH. 11 1 h houom c1mc of a shoe from the heel m rh 1--:zfl ,f thl.: fot"'l \RG't u

\ mulnco)orr.;d titamund pancrn .somcnmcs

"JW m.crpl.ud usuafl)

111 '\\ oul

ong.mally kmttcd

111

l.ngl;md on hand fr.:un•~Cj 11 ts UO\\ made ll} m.tchtn~ und applu~d prunanh tu oc~ .md .li\\e:ner-. (~u I GJnk lll.ltr.l.

pJgc ~--)

:\R ~

c ll ' C(llltrn•:ti!JO ar·amt·~ C} c- the IO\'>Cr Ide of th .:~rmholt> to \\ luch the lec... r ofa 1adet or ~.:oat •~ qo n If tht~ an'<'! h~ dn'!d} n i.ot known :t'i a lugh .1nnhol • af 1t flrsloosel tt .,. kno,vn ao;; a hH\ ;JfmhLlft'

A r T \ "quan: ended ue wnlu~ach {.ltd uf c.:quaJ \' fth '•"rn pnmaril~ for (nnn.tl d:!\ \H':tr Ocnv111g it rum· from \q:-ut H~ th th~ Englt h r..tcetrad \\hc•n• th~ taa: ~~ finr \\iUn. The.• , ot .coust5b of t\\O kmu

HAl IO I.t.AR: A

!ugh milirary cnlbr thntlll.l) bl.' \\Orn

n.u or llii'IJCJ up ~IllJ buttoned. The 1.'\)ll:tr is

b:tnd nf m:ttc•·ial :about three and a half indres wide, on a rain(o:n or rnpcn;lL The name dedvc-. frlllll t1

IIAI.?-.1.'\CAAN HAL ~1101.. J\ do~cd-rhro.lt shoe" ith

a lact:d front. derived frum Hal moral Ca~tle in ·.:mlnmi (&r Oxford ~hoc. page 19:;.) BAI.ANCr MAin.:'\: l;uH.h• klr the workmnn

111

~cwmg

the \;mou scctium of clothing rogclht•r corrcc-tl) as well as inJtCiltions ro the CUi"fl't' th.:lt this h:1 been d<JilC In tr•lllSt:rs, 111!\W.td or clt •.Jk m:trk!>, sm.tll v marks nrc Clll :a Lhc knr.:c :md hip for the lllllllg up of the rcspccrhc p.trts lnlhi" way. the JMI \NCr: of the Wh1.)le g:trfllCIH IS pt'C,\l'f\TCd 1\A Li\NCE- A term 11~cd lC describe

rlw

lt.thg of :t

g.1rmcnt BAll

rh~ pan

of dJC shOt' just: bchmd tlu· toC'i

A Joost• fitting co::u bas~~! on the nrtginolnulit:tJ} \'Crs-ion worn b) dte Pmssi.tn \rnt} HALM \CAA •

c... r~Jte nc.lr lmcrnco;~. -:cotlau\1. tl feature~ rnghm shoulders and a ~u·ro" mrn~d do\\ n"\',Jlar: bmh coll.u anJ coat art: c.:tllcd

N;uncd

rl)l"

Bnltn:tiOilll

;If)

hat· for shorr I~ALMOR.U sof1 p-caUco;s Sc\Jtrl'ih hcnd~cnr for men n~uncd rn the nmeu!t'nth ~t!tUUry u1 honor of Qul!t'U

-.. --


cas de nr Hal moral, wht!re 11 \\'11!; ln·qut?udy worn Also c.:~llcd'" liun ·o ha.nr.cr."' or ... l:umn}.• :tftt·r a IH·rn i11 one uf J(!,lJcn Hunts• poems \ t\l\lt i-1':, )!rCat

large. b1 ighcly colored h:mdkcrchi~f ''orn tic\1 :tround dtt! nc·d:. Ongmall) mndc uf ilk rhq•\\'en· imported from lndt:tan rhccarh e•ghtccmh ccn tUJ) and worn hr rh,, Arnencan cowbo) Also a I Iindi Wt)t d !'or t} ing nnd drcing doth gi\N I>A:-INA· A

usuall\ ri ppe'd ap2n ro be mad m cl n :r nd\':l.nced and p mnanent fin ng

ffli r;

I\"- II ~TE A find\ :mvcn shr.:r.r ll" mred fo1u1 n: cotton or tnhPr fiber:. ud li r 1 mu m d J~n 1\apn tc a french 1!3H~r fim lmen \\I 111 Cnmbrai and fmr pmduced tht 1 th ( • UJruner" m the ... hm F:ilin

r

l?t.di ld )

A \\t;Ust-lcngtb mglc br~ t "oolcn J:td.et wiuch wru rcgulau n fi .t d c.: L: in \\orld \\arll lhe t'l"t wedL r 't\'llran HA1TLE )A<..KET

BA!-:Dt)ll f R s I'RI rr:· A tH.1guna1 snipe .tppt::a·ring on I)

nun: lwlow 1he -,-Q

- '' DRJ. )JNG Ttl£

M .\,,

lll''s

knot.

BAil.A1 II I i\ ·A fine~ rcxnrred \\'OJ sted

doth ui a broken H ll I NG l'ft~ct, \\ hicl1 prnd11..:~s :1 pt•bhldtkc surface 1r b m:uJ,· prim~tdlr in wool for L!\'euing dothes and S1U: riJr llt."L'kwt'a r

sportS>\ l'nr m a '"':meq of fi hn BAI"\\INv ~namcgJ\(;fltoahP\\ tit \\h

I~ HllOUR COA'l; i\

da'>Sic Engli)h hunung 0\crro:u with a '>tand up hmwn corduro} nllbr an\i thmat l.adt dt!mil . made frl)m dark greennih.kinnf Cm pttnn cotltm ~1nd linl-'J in a dur;:~bll' briwu couon pl:ud Its

tTilPht square ends resemble th:tl nf bar "JUg bei ~ "£ I' n~l\\11 as tJu~ dub ho\\ in Ammc.a IllS n hrm tl\ shnpo to dte bune.rfl} bo\\ arr. H·r rh n :1ln1m"rll l·o"• u 1 m d With a I:ngcr l.nl)r \\ ll 1a\ l f; und 111 ribbed sdk or ~tut for('\ t-rung ~c.ilr fir 111 il pancrm:d fabnc fur <hr "car (5tt (Ufi 1i ) )

multi pit.• pnl"kct~ and ''catht?rproof construcrtotl make it dti' squir..:-'s choice for coumrr 01 ell) \\('af_

fur fiber of a fum &Ino th 1UJike t u..st-d cxrcnStH!l} m the Jn:.tnufJctUrf' of :li 1t lut

BARl I: 'I COR:-:· All owr d'-~icn nf mimawre '-" pmpunions charJctcri;ted b) small, f:usu "corn" tri:lllglc~ used for rwccd and othct woolen fahrics

HEnFORf"' CORD A "JSter dot.h r

t\\ ill ~ wcarc

pattern 1~

achi~H~d

pagL' 180)

B \RRH CUFF: A single cuff anached 10 n ~hinslcc\c :md C1stc11cd with n button and .1 buttonholt• BARR"\ MORT· GOt.I..AR;

A low-~ct, attacht.>d drcsb shirt

coll:tr with kmg poilus. first worn br John B~trr) more in the btl' 1910" and rhen adopLcd br llollywood ~a.1r~ :wd ot hero; in California. it later becmnl' knlm n as- 1he.: C.tlilornin colbr. B,\R ~S IIAI'f:D I J£:.1\

four-in-h;1nd ric in ''hich th\: l'Uds ar\.' of equal\\ idtb and parallel

A ''ariarioJT of a pl.lin~,VL':I\'l' f:1bric in

"bich two or lllOrc yarns arc worked lTI 1 he W\RI' and WEFT to proJucc a pWrt!d c::m~ baskt·r t!li<.·ct.lwncc 1he n;unc It is used mainly in shining" and spon j.tckt.'lings. (h:tord doth is:t type ofb.1~kc1 \H':t\c.

B,\SQ!.If 1\li lUl : A d1,.N.' ilrrhtg, round~crown~d ~·np with no "isor c1r brun. ns worn in rht.• I~Il ..qtt<-" coun1 f')~ (Sec the Prinl"t.' of \Val~s p:tgc 8 far left phNogrnph) rr: li1 't.'W loosely tog~.:thc'l' or f~·btcJt r\'mpornr:iJr m pl.tn:: with long, cusil) n.-mmcd ~utchc~ In men' tailoring. it j., u:-u::J!I) us~d tv rcmp('ltanlr hnld dtl" p:trb of:t g:trmclll so that it em be tried on l\A:o,

n,\S r1 P F 1'111 ~G. The tiN

fininl! in thC" crcauon of a tnh.' custom t:tilored j.1i"ker \~hell nr·r.:m tf'} on· i prt'p:tr('d dirL'Ctl} from a pap~r patt('rn crl!~tcd b) dll· tmlor This ~kdr.ton coat hz U" c:mv;t~~ wch•d 111 :-c.uns ba.~1cd. ftlHH edge:- mrn~d in. collar ba~t<'d on. llld, ~LlfTlCiillh''-, Ollt' :.lct.•\·t~ t:1Ck~d

011,

nftcr \duch II

1

cl

\tlh 11 CU.

Br 1 1 t E .B.'\C~ The bad: nf.a w:,usrroat' 1th rounded co1 ncrs" hos~ length extend" be}ond rh. edt'- J tU t

its rorcpafl'-

Brwr. \ natural or und) e,JcoloJ of 1a.n.

\!..:" p. h: t

nt'

BrLL B01TOMS Fbres ot pants \\Jth fhred fi tin suggesting 1ht• :.h:tpe of a bi!U Ongmall the I r ''hire trou cr.s worn bj ml\"\ SG~man al l:n \\

rulor\ panr-..

BAll TACK: A stirch made in hcav'' \':tru w rcinforcl' • • rht: slip stitching that jomo; the bod} of thl· tit.~ at rhL· front bl3dc l'nd. H,\SKf. r \\T~\'1::

fAhnc 1U 2 nb \\e:J\C

ptqiU' t

TUn'

!..-d r corded efTccr It ''"25 first u cd lo maJ.c br~ l C. r the Booford rn.Iuia henct: the namt: It ongmJl r.c.,emblc~ CO\ ERT CLOTH Bedford cord com JQ \\O(')I couon. or blends (..\u the entcd SJ rt m n page liS) \\0\CtlStuTd\

b} comr.tstmg the WARP and WET r thrl•aJ.;, (Sec l lumphrt.'} f\ogurt,

"I hi!'!

l\1 A\ if R

I

BF~J OW!- PtE/.T dc'-1' fold at the 1dc f ~ t r coat to pro' tdc cnr.t fullness for comf n (~ t fmn Fonda. page 1 h) Hn LOW PO Ll lro tcmtcd .1: n p 1\ p!nch st)ic podc:~ with thr~ oadt•ptr c rh I :~:ermn dtl• pocke-r to c.\:pand 11tc e "tdt· JUCL" gt'' the:tppe:tr:aiLt:c of old [nghsJt firt: bgfnHl£ bdl lV. « ~lark Gable pag~ I.o-) Bl.MRE.R~· A trnde rtame for Cupr:tm mum nn Jl U. urrlh found m top qu~hf) J:IC~ t'nher a t. lor .,J~C\'C

hmng'

l~tNt..HMADE .\

mlsleildmg lC'..rtn 11~ Uft£ l t percent handt:rnftcd shoe m~de on J ben h h, ~ crafr-snuuL T<Hil' it means a .., pt..'T • m awdnllC' nude hoe hand l.lstc-d 'With ltJnd wehr-d ul

Ahem:nmg !impe!- ot e-1 \\d ppeJ u"ualh "hue nnd R~"'lor Th \ \\Crc <'ngm 11 ro world mnrkt"r.s from llt>n~ India d rc found 111 "him~ (Str 1-aH· and wnmer 1 t1 -,hitt r-abnc-p g:netold) BENGAL 'TRJrE5·

~-----~-


BE"RrT \ bruulcss.. Ufl\1-Su~d tnm dTt•ct cap of fch \lr

BLOt"

t~hn~

fab1r~ rr,llll i:.trn.•d woo~l

\\:llkmgshort." ofdtc t}lc-· \\Ortl an Iknnud.l hrcndmg to Jbout the brc.tk in the knt•c. "' th 1r 1de ,~.tms r.tngc &om t\\CHt) tu r\Wnt} U\'O rnchc (11t'4 pagl·n 2 :md 1 -l} BERMl D'l IIORH

front

no. Scr. nrstu rxT l or-:-. rRL'-.;:"1 !I.JN.

\\IN<.. I M ~

f he back of.1 pckct \\ 1th a G ' ' I 1 or 1!" \ 1 ruru I' lEA 1 s:xt-cnliu1sr.._ from ~hlluldcr m ...,:;u tlmt• ou .1ch stdc wwnlly with a srtrdu!d on hnlt

belt 111 b;tck (Srr p:~gc 1o6)

1St M K \\ ncu fh..: Black \\atd1 or tli.J.ck G11:ml. \\,l'i mg.mafl) a grcmp uf n.·ru:~nd~.: c..1rs rccrunc~f b) The km f f n~bnd to chcd: mmblc,omc I IighLmcl dans Titt' \\ m~ J parnnti.tdmtd of TART AN or I'U.I 0 It 1 the umf. nn tnnJn of the Unnsh t\rm} ·:. 4.2nd Ht hbnd R.t:gamt·nr the C:unphdlt.1nan mums dtl' dl " .md .., futc 0\L::rch\:ck Popul.u m men\ \\~ar bc-~J c It unnbmc mo cia~ JL blazer color , na\) >1nd ~ 1 tlu: reb\' ~nrng 11~ .mother hlazcr po tblllt) Or Bnu h bwdc tlus I~ CXtnl ti.allnc.:~ nt the J41ckt-t shouldt: r bi.IJ, ~ C'nmtruc(ion ongmat rng uth U~t lfn r.ulors m rhc \\e,.., r nd London Ill I Itt' bt r• 20~ lr 1 .1l • d1e BmLh tcrrn filr tht· hroadl r l"r J f 1 f Jl R I 11 !\N h knot \\ lru·h u'iunll) hangs tu du.• fl-onr ol the under t. nd ofJJ ncckuc '\!No. rht> c11dc; of .t ncm ru

nunt

or

rhl: t'l! t bl.u:

u.erc bnght J;Qtrlct 1lcX\.'t \HlrJJ h) tuclcnt mcrnlx-r uf dw l.ad) r-..litrgaret Boar Llub .11 ambndg lm\ r.:rnt A 1ukmg n:te1-enu w a"bl.1/. •o( l1r " applied to bnghd srnpt•d boauog J•b.lu:t hkh bt'G.I~ popul.u- 111 d1 1 8 llu t} 1~ rohcr.:d t1 ut th l')J• ~ \\1th the modem bLazer r:o~O , rmg 1 n- Imtl Jnt} tl cl c 1\mt h a\'\ RH HR. bm ~ r onll' 11 t rum bltz..c"r·~~tud (Set page J '')

B

l

1

nr

r-.;

Tlb: t rm d cnpm· of a (~tlmc 111 '"'"'"h a5

rhe m.;a~p patt'trnt!d alter the rmlH.tt} buutc;

W:J}

bm

.tnd cum

If :\

•Ut

when wet

nc~.tkd smdt

l.oo"·

lmroJucL·J br 8cjuiu magazine m the ~pnng ot ICq~, the [\~)fd 1 ook \\Xi :t rt~ICI son W thl" J.td: of nc'' tashions during and just arrcr· \V\VII. £3.tsmg H ou th~, appeal of the: large \V!NDS1JR knot :md 'omm:~ nd spread-cnllar dre-::s shirt, l:.~rurl~ fa~lmm dcpartllll'lll propo~cd ~ lw~H:l ro roc luok oi owrsizcd .tpp:u-d fc.uuringJullt~r suit l·h-·kcts "it h prt•millL'lH . lh,uldt:r.!', .lggrl'''J' c- paw.: rued llt.'C kwc.tr, masSJ\'C k'H:In_ .md thtd: ru ucm.R (,,mwear \ldJOm!h th~.• I ' Bnld lc•ok ll ·~t Jtll)lllt:mrun bph~.-· ncx[ dcc:td.: iT unhill.hed t\mcricauml~n\ L:l!HI.' Crom its r>rooks [kothc:n; ~.n ilc R,·w~mchllr. inittariug .\m,·nc-a'~ Jll\I'UWUI'J spit';1l illh1 Iht! 1<))0!' (1()~ rl N f:~ It\ I 1.00 "· ! hl• 1\)60- 1'1 \COCl\' Rl:VOil n I 0 N, and the dt.spl.lSahJ!' ltt!lhioth (>f the 19-os HOJD

p.1lc.- tnnt: uf tan suggc,ri\"' of 1hc: color oi n slaslnl .. bra" n bi..cuu (Sri' pag~ 2 53)

n ;

thro.tt

irwlcg:uu rec111 l{,r ,1 stilT bc•somcd ..:\'l'll rug :-.hirt. 1.. )ng111.1ll). rht· fr\)ms lit~·rallr hall robe borlcd ro rcrum·e the.: srarch fllr ".t:.hing

Rb .(l 1 .\

1

op~n

f\011.1 D l>ltiiH" An

BIRD UL \ll U\~T\\il"\t.>tt-Unmgorncck\\l!llrf':tbt•Jc '--' mJdl: from u sm;.1U gcomctnc p.urcrn '' ilh n dot ru~~tmg .t bird' c\c. Tfti ... fang ;)olid ~1111 is a (.1\- nrc ot bespoke utlors and t hc1r murL' . t} li~h parr m. ( rt \\ nncr· m tltco -.:·mtt J-abno g;u~rold. fi,IJt"d nn. pag~ 9J )

tl d

ur ,lwt.: \\itlt a Jo\\

HO,.\TLR.Su l-U'fNIT

OC:.:J.:

<.;

mct.ll blt!Cb

honz-t>rl!:U c)pcning :11 rhl• tl•p oi a knit wd pullm cr.

81 kJ ,..., \bbrc\l:trcd- nle ~\Hm :~hons, ad:~ptNI ir,,rn \HUncn o: unrlcnH~:tr

nurrn

pnnttng

1\('1 \1 NlGK ;\

Ui\5 Cl)r-,; TRl

Bt -'1/fR

hand

HJ lJII 1 PGI~ ,\n c~igc.: nwdc up in w;u:ll flrw.hl•d \\it hout outside sllt,-luug

Br rc Kl t:waOIII made. a rcrm .tpplir I m 1 ngl.tnd to .urlcfc, m.1d~ to mdt·.-du~tl ('rder

fll

(lf

of

b,• Gene-ral <..lchh:1rd I ebC'rcchr \Oil Blucher \\ho l~!d tit~ J'ru,"i.ln .trtn} again."t 1.tpolcon. \lso known .1., .:1 nr fUn (.'lu pages 1--;. 19~)

tl.tp I .ufdc:J

l

O\'t:r

\n Llld mcrhod

\\0111

OM

Bt LLl

\bee

BLUCJH:R

A t.ulonng term for d.n in.;cr pt,xk~t made "nJt a rurnm "~ltcd edge abo\'~ the plxkct opc.ning It a-. cnlk·d a dl1ublc bos.lm pod:~ ifbflth top o.nd botmm c.dg'-"~ W\ \Wit" .tnd ~o·allt.•d .1 ilapp~.-d b~om "hen a

Bf

l'lu~·TtNG

\ cnwboy- inc;pir~'-1 ~tnng uc m:lt.lt· \:

B1) In T 11

f

leather or hea'} brJided wrJ with metnlups fu tcnt!,l wuh a 'llidc dcvkc

HOI TAn Clltin~ length of \\On) doth from tfrc loom. rullcd or ioldc:d Holt:. \-:Jr}' in lc:ngth 311}'\\ hcre from 6fq ro t:\'Cllt}tnl.!ter:s .md ,,jdth from thrrt} moto "ir"t} tncl~t:s

13oM HER J \C Kl r A \\ :11-.r length ja~kcr '' nrn b) C ~ \1r I oru: ptlots adapted f,..,, Cl\ 11J.m pllrpl1. ~ m lc.11 ht: r '' uJ1 lwl:pskin lining or m .1 i:tbnr \\ uh :3 prlc f:tlmc lming. fhl

1

1 FoPtwc,1r thor cXtL'Illh am ltl'lglu ab<.nc rhl.·

.urklt•. B•'IU,\lJNu I he ••:uJJl'oithc:grear ltal1.11t h.tlm.tkcl\ CUiltrthutmn roth!! TlULBl h.u l:rnHI} \\Hh 11~

..:h 11':1 tC'rtsttc Lrt:tngle patrh h• the ~..rem n ("t't Mtltu11 lluldl'n p:tgc 1 ~o )

B'-> rr Ll rhat n1 t

fT .1i11

A dc...1' ~ba.:Ir: nf grcL·n rc'\t'mblrug

gl.t~ botrlt_~,

hapt·" Hit 1 rnatkt·d n:~rro,\ing under the knut th.at \Hdcn~ do\\n n1 n·~cmblt: the h 'I'L' nf.a horde; pcruut .a \\tdl'r hoJ.inl Bl'\Tfl

r

t•ltH N

II AI'£ D fll

nt r , 1111~ c

.1

\ tit•

norm.1l ~•zed knnt

lk)TfOM Tht. S<Ctllm of o lm~ H

tOt

:o;ok ~l:t{'ndmg from tu till' brcJ t ,j 1hc ht d uot lilt lud111~ tht· h, 1)


llOU• I I 1 n1111 dH· I rt.'ncll \... ord b11Utir mcan 11 tu a ·b•h:kl"" o•·"ringlct .. A um·dL) )am.utd fnu.sh:trccr prdduc'"J on dt•th~; \\hereby \"t'l") f;llJall. dra\' n out curl) lnnps 1r1 the! indi\'tdunl thread appear on rhf' surfncl' of rill· •n:ucn:tl

BnL N ll t

111,1

I dge!> fllllshcd \\ ith hr.~id or odu J

kmd~ of COH'rmg

Bot 1 ONN II RI. 1. ::~m:mon \:OrufkH\t: ,, ur 1du:r flm\el \Hilll on the bpd of a jnd.t•! orolllcrco:u (.Srt

Dnr ....-51 rru M

UOW Til .')n• 1\,tgC!I I bO 64

,.u

1\0WI I R .\u

tii'IH\\ARM

onvnu

tiU~ lEDou~ ~

t

t

mtfu.Jr) origin 1t1 kne <Jr aboh ., lcugtl \ t:h sh;~pecl bod\ lmt! .tnd a O.trt. t \\.lnJ du: ll( rtnm "1th epaulet-.; It JS u u.Uh af .tEL r ~ BRO~IlC...LOTH Ch.Hd) '\"~>mmi hn ... "u 1 th • r runmng \h1rnJ.Se 11 cmu•.anc; ''"''~ 05 nun \\ \RP thrt•ad ...., tl1c fl UINb pr'-l(iu 111g c: llcm lu t r

cotton l1f pol} lllcnds It u u tJ m luru un t; h and ~pnnM\i"ar (Sa rht.• ll.I.It J abn t i M1

1 11

URc l ~Df frum the lmltan brou-.xrr mt>;uung r pnck cu Mm fignn.: " A ltc3\'\ br~~ :111d ftgur ~d tll ~ unll) 111 all-o\crrlr 1gm uf r.uscJ figure or A .c

p;tg·~ 201 .2'31 236) \ .Hit>

UJ

mad~ l)) \\Ant throacl-" bt*m~ r.u~l m JA Ql !\Jm

nr Kill

\\l'iJ\ 1ng to

1 .....

1\o.x U OTII. A la<'tl\'), C•'I'IJ'.'It: doth. ()rigm:tll)' m bulT or 1:111 cok,rcJ M 11Tr.JN lt'ied li1 tlw •)VCtt.!O:ttmg tmdc 1\b('lus<.•d fflr llll'll\ SIJ~r·ENr•tRS

fonn 1he paurrn

Blll1GUr. IIJstoncn.IJ) a rough uurdum h c

If

Uax I' 1 r A r '' plcar with fo!Jcd \!dgt~s facing i 11 nppo:-it(• ..itrecrion~. u<ovd •111 pockc•t:; o( shjns :tnd jnckt:ts or thl'· b.Kk yoke of :t shirt it•r fullnc ·s :rnd en,.~·

UJilni\ned lc.athcn\1th ;.~ lhong ~ lo urr.: \\ '"' b ' :ot a11d lmh pt.;:as.mh (fmm Lache br~ J h[\() lbd brogue i~< n hea\'y oxft.llll.i lihOt' "' nh a IJrgc pPd r.ucd dcstgn on toe and border '5L".atm mu 11~ \\IN 1 il (\i pag~ 194)

of lllO\ O:lllCill

BROI L"'

Bo:..: TO[: Tht.> !'Uppnrt u:.ed in,.idc the shoe to hold the !ihtt~)C of the 10(' \I'UaJiy rigid. but mar be ::oft Or

llcxtblc BRACJ BU rT,)N /\ :.pt:cbllr shapt'd burron domed nn the sidl! :md o~u.:u:lw~I ro 1T1c wat:.tb:md. pcrrnin i ng suffkicm sp;Kl' for dw "ll'>p~ndcr 's lo0p h1 m ove fr<'d)' Cmm :ml~ w .~idt: (S« pJge l:LJ )

p,rjfi,J, tum fur SU~PLNI"\Eil'O. (Sr.· pagl? .22.!.)

1\JL\Gt:

Bltr\DFORD ~PINN ING: Oneo(thrl'l.'

prllh.:tplc

or ~pinn ing WORSTED l A.RNS Origll1 :1! illg in Ymkshirc. liogbnd. rhis proccs~ or spinning wool

Tlll'Lhuds

ill!\)

wor.~t1:d rnrn t.tk~:- rhc w~,ol and Llwroughlr o1l ir

b CI'OlbcJ. '' hjdt produ('cc; a ,mullth,lustrous prnuscd for\\or:acJ !'littings. Thi!>Jiiicr' from du~ l"r\~lCIJ ~} S{('ltl, \\ hich lS. Jl") spun. before

It

\Vovcn, knitted. or pl:1itcd nmtcri:tJu,c:J for trimming or binding Oiren u:.c:-J for roruulwc:ar lfOU!iCfS SU pagt.'s 2.:,!8. 2.)1. HIM 1I}

BHr..i\l~ "llw amt.lUnt offt..1lding. rrc:.bing.or M,Juva- oi the troust•r horrom "ben it mcer~ :wd .Sit!> 011 the top of rh~ :.hut' (s~( page' 4-8. (, r.) HHt.t:t'll· An old~l~u.hmncd [ngli:.h \h>rd for

bm r..Jck~ Ilene~... brccdw!'~ i-. whar Ct'\'C rs dwm Tlw word Cir.st :H\I"'~,·:m•d in rngl:md tn rh(•$iXll'l'1llb C~TilUf} an~.! nrigi tl:lll~ rete ucd to krwc l.:ngt h twusc 1" "nh t~tiiC\ buc.kle1\ for dcc<'mtion l .1tt·r. brccclws were! •

lt:ngthcncd :llld cnnn.· h~ mean p:~nts.

Colloqui:tlt!'m fur br...·eclu•,,nl!>~' :1 1cnn for t rou:;e r.s i rn plying trim linc.:-

HRI 1 Ks

bridiC' j.. aau:tU} comn..'lllwg gt•:t.r hkc the bndle in a hor.;c·~ mourh it:. mcnnin~ ... here i ru-.1 jnd:et's princjpk "t•ur.:-c a f suppon \t ...o. a n•rm appJietl fur p.1dding :t piCCl' of lll!liL!rJ<t.J from the UCC'l: Ofll\l the C:ln\n' a.lllll).!. tlw in:.idt.• crc.t.sc or roll••i the BIU 1)1 1.:.: \

~

lnpd

tt>

hold or .:'0111 rol rhc ;:he't.

1\ 1\rimh rerm for wnbrcll

combinntJOll of d cp lud f enrrh-made rod. et £1If \\ rth l\ertnnt.: ,f ~reel gr. Coined hr Dqmu\ ...Apparel \ru" m 1941 t<. "'" l rail r.:.olor blcndtng \\ ttll all cmnpll· ll "" nJ pr m trd :ts a n<'\\ w~t) to sell brown. BROWN TO!':£ A

H1WM.M11. l 11 ORC.l UR1A ,.

Bcnu Jirumm,l

(178 J8:.40) An ear:l} uinct.ecnth ttntUf) I ng{t I d.llld\• \dtosc du::mtcs on male dn: ~ !\UIJ cndutt• •' th~

mdc of lhe \\ell -rlr.e<: ed gcntlun:m Pn rt " J he lh:1.111." 3 gt·mJcm:lll''i nppCi3CU1Cl' dt p~ll !ed OU l'":-L'IHI:ll

1

dtc riclmes of the m.1to:nal ,,nfu b:tl± r"cn rl 111gl the dnthcs were often b.tdl) mnde til fittm • and not :th\.1}, de:tn. \Y1th Brummd male snh bt.·.. am m:uttr of tmpt."ccnblc Gt and cut exqu• n dt t tl nd tllltll!lrubre cl~nlme ~ [\en fu, prefi n: n e t 'r thl

color blue would erulure tn the cxt<'nt tft:u tlu: n.n t.11it bccamC' the urufomt oi mtlhon.. through mu h l t Lhe 1" entieth a::ntun• BRl "lJIN(; \lso call~d nnpptng .1 hnisluug procC' \\ ht·rc cin:ular blu~h~ pull up the tib~ r cnJ to I rnt a iun} urf:Ke dk!r:eb) r.usinp. aN !\I' un l nnt J \\ owH fabrics. 1\Lit:J\.,1..:1 ~

'l'ft napped lt:.athcr ofut•cr or ell tur fine gloh: J; or m ~1'0~1:. qu!llm . hoes ( « J tgr .!Ol J BL IHI'f~l

\ '\\ dl

'-nl.)\\ n lttU hrttgue I'H tm'l shot' with a lugh roc cap

mI

Ul

BU(ili'l 11H:: :smp of au unlin~.:d

Jl.ld t•r t.~h:mltng :h·ms~ the back n('ck rh:n ghc!' !1 fim.,h to thnl iJ n ol thC' ·"l:tl. (In cu<:tom tmlonng whr-n the luungaun :o. four rn fiH· mchc bdO\\ the .mnhull" n a rdrrreJ t ., .. ·half hnoo )

Humn RR1 Thoma, Burbern ~ c:' unm cirapcr m lngLwd hie upon a me'rhod of chl"nn-. II treanr g ('Ot ron fnbnc ,o that It rrpcUcd Wd!CJ"\\ htlc n-m:un I • porou In t'h 4 ht• ad\crUst.-d ..PRt"lLll g 10 t th I ka\ IC"l .R.lin.s and ~1m Hurbcrn umlonn dcparnncnt dc ... tgt\N u r;un rc"tsl nt c,,n,wn ~.... ~~ me


.:o.Jt th:tt "~ tssued to mun: th<111 ~ hnlf nul lion rm~J 111 the ~"'tJI"SC ol \\ \\ I Sa n~.E:-<( H GOA I

higbland. l "Cd eirhcr brir:sclfor rn wool ior ro:u ... stur5, .1ncl , ..,ea,crs

1\L Rut~ Dl

CAN'\ A Ouginnll} n cltnh mack· from hemp ):lrtl~ und u:rmcd from the ward mnrwlm A genet.! cln. lf)c:mon of srmug. lit'~l\'}: c:o,uscl} , ..'0\ en t:'lbrics u.su.tll) rnat.!c ~OltOil The lcrms Cltll\.1~ and duck arc u"ed imt:rdt:tnt!cnhl}: but ...Cinv:.v,'' g~o•nernll} rd.nes to hc.a' ier con-.tructions.

tre1lcll

burguud}

det:p n.:h red ~hade: SUg&C'itiVe l'f ( « 'ch ct: .,Jtpper, page I ''2 )

\HJJ.C

ftt "IlL ll"L '\nmhcr renn for n:p.unn~ or alrcrrng uu ,ackeb ~bds orourcn\-e;:u: UL H£L \f :\N

alu:rnu~uts

\ ~L•urne\ nun

tailor v. ho undcrtttkt·s

nnd rr.p::urs:

Bl .. u r \( RI.f \ belted ~mglc bn::ml."d slun t:u:ket \\1th four PH\. H l'1.lt.$.ET' and tlJp m tan co non Of.Ul.L'" r l,.o.>\IJ.AR[tl !'.'T;. (Sct page I (.1~)

A aow TIE cut wnh thbrlc shape.-,] or fl.ued cmb ned "nh a sm:lll knot aud a ·wide bow '' ll h hro.td cuds l.il\\!11 It 11:unc m 1C)04 due ru the suCCL'"~ , t the opera \'tad.mw Ruttrtjly Unnl that tame. 1 ics f;u;hmn..:d m ~ bo\\ \\en' ~1mpl) called l;RA,ATS (.v~ pagt: 2.4 s 24- ) L\t rrrFFL.1

Ht T rrRNt T Dc..-s-~ripm e of a bm\\11 color thar \\il" n:: ue<J 'ult rhe J c: of rhe bark of a bLtncmut or \\Jinut tn~ \pphcd to a coarse \\'\Jolcn h~nnc.~pm1 l.1l nl.. once cxu·n"'' eh th l UL rro:--.~ (}0\\

f"J&<'

s

\\Ofll

p.Jgl' 134 fred

Asr.;urc,

irCi~ NH::K

The lfsrc::ad allcn':!nce given t(s :t burton \~ ht•rt ~ \\ ll to .1 g:tnncnt rude; 1Jl the US(' of l he button ;u vtdl .1 m promonng ft.·wer \\ rmkles '~hen

th

~rmr111 1 hutt011ed

1 h hetght dastance.•md ~p:li:ing J Cb.lt fmnt button rebrtu~ to tts from l'dgc and ".tL t (su p.tgc J 84) Bl r n

iAN{ l

!..;

or

llt rr lt,; Til ROt uJI DCSJgn;mng the dasur~ or on utt.r.:-1 .JT •r J.Kkct an'' ludt burtons :~rc f~tt:IIL"tl tn buttonhole' ~·1u thruugh the f~ir .tnd nm CO\cre!d

nh o1 tl from '1\l r

b n .1

n \n mt"rlappmg bmung stuc.h m:~dc hm nr b) h.1nd th•lt re.;cmblcs a cabll' lL~cd m Tl T

\ ttcr :tnd Ui:k (<itt p3gc lD5) l..ctthl"r m:~dc from rhl! ktll of.t )Oung ~alf .a ft.'"\\ nr \\CC'ks, hL \\ cn"!hmg 'il>.-rean ~)()twds r k prcc.cs ·d fur U.'l Ill r 101~ear .tnd uthcr

<. ;\lJ·

or

CAl' A \'isorrd I:,Lmc h(:adpi('..:c \\ nh :1 rounded crO\\ n. cut in ~·tdwr on C'tghr ·ptcc.." wp or .1 Pill" P"-'CC-lOp St'. lc. In 1~71. tht· llritish P.1rlinmcnt p.tSSl'll :1 law tl'<.ftllrlllg all htgli~h male~ lWt!r 1he ag • ohix (b\11 t.::'\dttdin~ ttt>bili~)) lt' w.:or :1 \\'()tolcn ""Pun S11 nd.tys Til(' law, iutc.nd~d h• stimulate rltr wool trade, wns rcpc.llcd in 1)4Jj', but dw ~.lp with bonnwtal rrour hritll \":lf}'tng length~ has ~\'t.'r sin.:c bc·cn rhc IH"'.t<h!• ... ·n1 of lc i:.ure. (St't' page f.(l)

or

C,\Pl An Ollh'r gMmcnr .H .-ide.~ for dlC a.rms

\\id1\.lUl

.,.fcc\Cs but •wtth bllts

k111d of knitting -md1 Al o a knitted '' c:u.cr" ir hl•llf a collnr or lapels. madl! \\ nh or '' tthout ~Ice''"'· Named for the ~c,·cnth carl of Cardig:m who c..lislikcJ disturbing his <"Oificur bur" ho '-'

did knd the Charge of 1he Light Brigade 111 the Crm11.:an \Var (~a page Hi~)

1-J 0

Rl.: T'f :SHOll GLARD fhc loo. "'-= o;u:.tnd of 1:\\ IS tee! thn·ad s~Jl ou thcunde~rd~ ofdll' pck~,·~ k:fl lapel bummbol· m t<cure the nou roNN 1E:R [~stem

Bl

wJth

C.I\RIHGA.N· A

m the Southern states of

COU \R '-17

ct~mhulauou

f...l"l

ruy

I rlll rgffi d

"UJUR I\ It lU.R Su u.a.ltR't'"\tnRf r.uli...AR ( c\M RIO ,f

RU <; t

"X:fOIUl LR•\1"

\ U l \ lrght \\: llou1 h t:rn based un dh coh r of the hump~.:d

c;uncl

\ 1 L H :\In hl1tt I r• m ..1 &>nmd

r-.m!?Jng m enlor fi m natur.d t:m t bm·• n \ \c;n \\Mm and l1 \ rght ' tn I It Jch JU dun c..t hmcrc: fhc hr cart 1 I ur m fmm tlt under o lt pf a rr n (rn hum~ J) amd taunJ m th ( hm "'(;

CARDING. J\ prore~ ..

for pn~parin,g W•llll pm l~1r spinuing Till' fibers arc .turom:lticJIIy pl:tcL'd 10 propt.'r' :alisnm,•nt :urd tlw impurities rc•no\'t:~ The ~ardcd ) ams aro.: Lh~n pm into~~ m:m.lgl!ablc form known jJs "s fi\ Cr~ rh;H :1pproximah!.' dtr .stzc of:-r mau'-: thumb. I..~AR.NAli'r ~T illl.T

1 he binhpl:tn· ot' the l'c.u:ock Rcvuluti1111 111 ~\\ ingmg I ominn \ two blq.:k street

parallel ro Rt'gl!nt ~m·cJ. London.\\ h~r.:- mnn} shop.s in the ll)h~)s imroduc«Jd ·mt--.d~ clotlut1g a.nd later:: ~uch st}lcs as Onrcd lacb, brighd} pancrncd s.hms :mJ adapt:ttaons of \mcnr.tn "'estern dorl11.·

CA

II J'OCI(fl'

t'C'Th:I\ETJ'Ollo:II

lmt< wool frmn the underco:u of the 1\ ng haired K.tshnur go.n, '' hkh is \\Oven or l:nincd smo "-Dlt f.1bnts rh~u .trc luxurious to thL: hHh:h l o"hmc rc llf"it ''on ncd:um \\hen d 11.' pt'Oplt: uf K.1shmrr "cwt.· H uno cxqtuor;tte ~h.l\d.s. 111 tl1c nin~.:rccndr cenrun the rnglr~h. ~c-ottlsh, and J rendt S(• t\l\'Ctcd tlu~!'tc h.l\\L thnr the' lmll.uNI rh~m. c-.pcci:J.llr m I'.H~Il·). swtl trtd -, h~o· hulk l'f dt~.· wnol1s ;1 p<tll! "arm gtm nnd tnJ.:t•!~ d, c ln·utr 1h.m :1Tl}' mlwr ot' du: mrr.:t m•ol<~i \\bJt~ Til) ~a!>llmcrt Is lin~·r .md. mmc cxp~nsh~ rh:u1 \H:!ulcn cno;hmc: rc ns tltt.' cmnbcd ).tnt! c.anntH h~ :o.pun \\ uh Ul•fccmc or unp<•rfeC'l fibct \\ orsrcd c;ashmL•rc) .Int )1dd;; c .trc.tndy lrghr tn.nr:nJ.l tll.u ts mor~ rc.. mmn 10 I'U 11sr~ (tho.! Lr~o..-.raot• ofltttlt nuhs ofiu7.z on .;url.t•c (lf dw f.thrtc) used t•xJust\Ch lor .mung.-. nml sporr Ja~.lc.•tmg! \Voolcn ca-;luncn: 1., ~ltghtl} lnfmr lc Q•cun nnd b.tll c:asil'r th.ur woNted C"".t<.IUlwrc \\oolt'n c t hmer~.: r u t.'d pnm:ml} for 1:td.eun~ .uhi \\C:•ltt .-.. CA511 MJ IH.

Co\ t "

\ W'•nl.1tccl l<'w \arnpcd ~hcte

tift felt h:tt \\ idt a ~~1ll'f'1} Jllll\ ht.d CTO\\ n tml.1 flnpp) bnm tumt>d up .;til lmunJ CAV'\l I fit

~81


~lndcll·d aftt:'r :'1 slnnmtbl}' plumed afliur fn.lrn the Sl~h'\.101 It ~cJltllf} \\ l l f l l b} tlu:: \\CUJ"iJ em .all") \\i1tLft {i und unrncdhltc fa\Or\\lth ccn:tm rake' 111 the Bnuo;h J'Ovnh) lmu.1Il} "POrtl'd wtth plume~ on tin· left s1dc and ttlnt~cl up hrim on the 11glu Ill order tu haH• more in•cdom \\ 1dding n S\ltt.lrd. mnH• cour.1gc.:ou~ bbdc

upped the tlurd ~1dt.> and tht~ soft cuckt:d hIt ~~~. bct'n knLl\\ n .1~ ~t CJ\ .tlt~r C\ cr s.~nce (.Stt' man tll', p:tgL' 1)8 )

111

polka dpt

A ~mrd) \H~l\t' fab11C made \\llh a dmgon.tl corcl Sll!l'P :;~r {HI a (,3 dcgtd: l\\ 11l \H':W~ iur trou ..er.' 111d hrrcchL'<:, hcth::f' 1 he .lS'>t)\Iat ron "nh 1\mish C'.l\.rlq• o(ilccrs. Alrhuugh ca\1111) twillts dw n,·,guuln:lmt: rh,· l'.:-- go\erumctll n:tmt.>d Jt "claslltl''~" ht•cuu't: t1fi1s ~u·c1rh qunlity :uru ~iurnlHitty

\ S I ..; (,,

llfl

\J\r\

I~H ri.imc clut h~~

C1 1 1 ~ :~TRJl'l. \ ~~ IipL•

of h.}~~dik"· cfCr:ot suntlllr tn dJ\•m:u k r11.1J~ with ..1 railof"s chall. usunll) fuuud m l1:umt•l dm!J, "ath .1 light orwhitl' l',,Jor spaced 'l npt' "l!t 1111g ($er the -!'ui1 I nbncs.. g:atcfuld p.1gtJ 79)

A hght'\\ eaght. IUIC•.!iplln. ria Ill '\h'n\ c \\ on;r('() \\ ool t:tbrtc nr·igm,mng 10 l n~lnud arouud 1831,;1 Its tl.1f11t' ClllllCS from a llindi word nw.111ing '"~oft w the lbuch - h W':l" ilr-.t u~~d as a ncckwcnr prim cloth for .-mnll overall p:mL-rns of a sport ur p:tislr} na111r~ :md rh\!.11 Jd:1prcd by r he 113tural "'h(llilJcr !iCt in the Ill 50s for OLid Vt.''l!t, tromcrs .•m\1 j..u:ker:-. (&r page 1)'1) l'IIALLI

.... IIA M liRA) A fine. pl:liu Wll\ cu EtbriL· wi1 b a snft fini~h mil izing u ''hit!? cow'n WJ\ n I' and cnlurcd I I Ll.l NG .m..l fmtatJ rrimMil}' in shirt i11gs 0rlgtJ1;ttcd

r,:tmhr,li. rrancc. (St'l•""bW and "Spri11g" hShir:r Dtbncs" g.udold.) 111

i11

1hc

:n \MI'lfS· i\ pale ydl~m o;uedC' cnlm ti·lHll du.· t.lltnt•d !ikin0f 1hc [mopean gl'l;H of dw :.:unc llttmc:

Cll \NNI l

1\

.;Jamed groO\c cut around dw uudcr

\ f'H"i'lh

tr •dnumaJ \\c;t). u; aft h bon p ncn h.J m~.; o;s tv. til amc-rscct.ed b bn~ht t• r 1 dt. 1r. n n ) Jm A grnm1 tmrgh nap~d t \ d the d 1 t charancr t qutntQ cnnall) [ nf:h h (:S« p~( ~ J

Cu 1 \

CtWAI rt) TWlll

IJ R I

uun(utfi bnc (Jln» un e 1 , '(t-ol) Jll,Idc from dw , ..~m ( t h " I dtr.; hc-t>p fotmd in th ( ht mt lull f eland It CH £\ I )1

n up ud dll\, n v.tp ftt>c1 forml'd b; rt"n·nmg t h~: dtrr.;ctl 11 of tb '" 1ll t r gular mtt n.1ls Res~mblmg:t hrr.nugl lllt' 1h1 b u U\111 p:mt>rn l!i found m topcnnt .md ~mug.~ (Sa p::~gr - _ rutd 73) liON

wr "' 1

A durnblt• dose \\O\cn ton 11 tabm ongtnall} marie~ m M:llldtesr~r lngl.md eliiJWrt~'ll tc lnt.t Ill rhe,11 exported >lg;Jtn to Llulla'l (r m \\ iu r; tt \\ Cill!NO

b) the U "- \nn~ 'tanc ned u tht. l,l11hppmc~ bt·forc \\ \\ I Jnc ruunt·- hm • \\ ... .1ppar.:ntl~ dcrhcd from rht: r~,l th.1l rhc fal n " pu.rchatit:d in dun:. Du.•d 111 J:ktll n \\ 1hc nl inbnc nnd drc d1:u \\.ouJd o.:nlt rand rhc u , 1f nuhtJn "enr \lso the naant of 01 m~n \\:t h:1W f p:tm made ofduno duth. UCluglu for

U!iC

Cl IROML TANNJ N{ •. 1

ht: l.llllltng oflt>.:uhcr h\ a n, 11 of rhrommm ~ah ale~ C::li:pci sl\l :m.:ll ' d~ ira lc: ml'dmd than 'cgetablc l!!ntuu~ C Ill R I~ HOOT Srr. p:tl).L 204 ~1...1\SS!C:

AnY \\:~':lrnblc oi cndurmg \Jive .utJ amrn.

'''nsillt:rt·d a "cb:\;-.il· ~

t..:u

\I{ I i\1~1 D WOR$1TO

t:1bn· of rwi~;rl·d prn~. \\ith rhc nnp rcmtl\c.'t.l .md rlllmughl s-court!d o tlu:- wca\:C ' dl...drh- \1 th1c l ..cd f ...,r UJt 1 CLTI'I'[D I J~URE..'·

Cll.:\HM 1 usr

figure~ ha\c bL·cn dtppcd

-

A "C't\..: LCchlllc:llh· h1m\ n :1~ n-gmtr. n .. ... rm.mt.· gl\ en it during it~ !1r~r era of popu~.~~ II): lro.m about 171 s to 1-.l:;. Jurmg rhc rcgctK) nl llull("lpc , . Dukr·oi OrlL':m,. Mndc from :t dingnnnlnb \H!:lH'. tll!':-;ol1 duiJ tit.• silk drapt.:S \'Cf}' wdl Chat'\ l!t C'l Joik dtr t1111~d PMi" o;htrtm:Ikcr.mad~ :;ldllfulul'C: nfth1 t:1brrc :1 '"dl .15 hldd fi!!llf'cd. spaL"ed-prim n..:..:ktic:s. "hti."h the lllllllt' "l:har\'l'l~ C.lhlt' LO .. t~·tWI'P. (Srt' p;tgt.• 1-i-.) l;lll·l

.\do cf}

\\0\ L ll

Small cmhroadt: rod fil!urc:"' n dh. t:u:e uf a fubric from \\ bich the Ilu;m- lx-'t" en the:

A lighrwclgln, rich·luoking. ,oft 'a lin "irh :t subdued lu~tcr and ;t dull O;ll"kin~ It i~ n registered nnml· of Bi:mchini Fcr:ricr, .md Comp:tll}

.

t

!l"-ll.1lh• ch:~racn~rih-d b~ unden;uttcd d('S'Ign and •muph: dcmtlfng It u,t,r·d to be ~:ud th.tt lf an Ht m uf .tpp.ud rcnuinrcl ia.:.hionabh• lor st."Vl n \ c:at"' u could bt:

cdgl· of" IH'JL' m cutll."cal thl! 5,1k·'s ~titchil1g

CIIA H,\'1:1

1n

'>r:.-\ noo·1. J\ plain toc,i. ... id<"·el.l~t i.:-atcd .t11kll~

bocn, simrlar ro rho..; JODIIPUTIIIOOT hm s1r.1ph:s~ Popula1 in thL' T'J';u" and 196~1:. when H'r} n.ll'rc,\\ tn111SCI"S \\ CJ'L' in\ Oglli'. C nr Nllt £ A \ant with a .:m pik pl'otrudm£ all muud .It right anglc.!i 'rrom the rrcnch word for-l·:tu'J]>tlbr,.

CJJ 15'1T.R IIIl D.,\ plain back. :-lightl} slmped O\crcu:ll m enhasrngk hrea~tl·d Jl} from or dnuble brc~ tt;d l>t)1c.· In d:11 k grn} bl11e or bbck it may !l:l\ c .t mat" hmg H:l"c' orsdi coll:1r · nh! ~·o.1t Is n.uncd lorn Hlllt.'t(·c•nh ce.uruq i.:Jrl nf< hcMc·rtlel..l (..'ia patl! l~t'l)

1\n old and c'o:pe.tN\

pmccss rur WL•::n mg finl' p.tttr.tllt" I rru.tdd nh ~hining no" illmos£ e du<-J\d produ ·ed m SwJt7..crland

.... r OC'K. A l:mucd ur cmhro1dcn~ H me I J 1nn ~n the ('utsidc.lildL' uf the !;ock (Set p.1~c r-.l J ti(• prime.! m the chrucn roh.: ~ •r emblem of;1 club 1.3r group 1'h1.. l•~t dub tiL" •~ cr<duro to 1 he nwmbcr ~ of rhc 18So l xetcr l olll·!:_~ nm tng tt•:uu ~~~ lJ.xiord Urm~r: tn \\ ho rook 1h'· !'Ofnp<:d b. nd'> t,ff 1h\.'11' ttl\\ 1ng h:~r ... :md tied them .1rot111d du:u nt"rl in 1880

Cu n TJ E.

\

flit: \mrri.'an IUUll gr\: tic \Vluh:: \\hen ~ nt \ntl

1 UB B(.)\\ f,/>TWlNG flO\\

to 3 b:tn\ mg-!thnpc TA 1LCOA T:

btl\\

hla.:k or mtdm!!ht blm:

'll

\\Hh c:hnm:r J .. Let

(: r.· 1c:- C<>rbu~tcr: rop of p:t,gc lllJ Phtlrpp

~, 1rct

page 1bJ.) CO"- r \\:lrtlllh

\n outcrgann~m \\Hlt lt'C'\e~ '"''m 1)1C.

fabnc. and l~n~J \4f\

\\tth

f :n'

f~h

Jtl

The dl l~O"l" a_-.; me-asured trom rhl" ·ofl:tr ~L':tlll undcrrhc Cctllfi of the lu-.k l,f rn£ n -.1 f

COAT lE NGTI L


do''

o~ 1.:rdcr s '""011 u: 11 to thf' llt~n1 of d11~ j,tck~t \ center bWiiliiL (~« p:1gt:> 40)

J.'opulanzcd ;~frcr \\r\\ I thts h n tJn..i.uJ slun "nh lmNI. fused. or s:t.'lrcht~ roi!Jr .ur;:rdtt.-d to .1 neck banJ 1..\.lllAR :H 1A.CIIFD HJRr

The '~rtknl dimcn. ie>rt of.l collar

l..OU.-\R rAND

b.md m frum O.ltl:.\R ~ r

ns

'(r 'iLLlTITl> .._OLLAR..

\..(.'M flf"'l!. nn~ 1..'\ST \ LA Tor f.·mn ofn ,ftoc \\it h ~t.utJJrd waddt and length mc:l5urcm~m~ but wtrlr narf'O'.H~r timug he(·l Fhr c~.11nplc. a I) \\:ldth sltoc \\-llll C wt.h h hcd \n .sdunn~d form of .:-Jm11tlg. rhe pro~~·~.; ofarr.1ugmg fibc~ 111 p.rrnllcl altgnmcllt ;m~l n"lllll\ ing .1010 fi~ \honer thnn dw desired lcngrh 1 he rt·~ult is ... 'imooth )3m i~r.spuuungand \\C.a,ing CtlM OJNt.

LOOK In counterpoint ro \ nwn•n' an Lr \Gt.: E f.t h10ns thiS I•ro~ \mcnc:.1n mtt..·qtr~r-anon of·' P"cudu 1t.1han look f~:uured a han "hapcl} '"'d'-" \t rtr\.'d "llll 1:u:kcr and l:tpcrcd cufficss rmuscrs l.t.l':'IT:I

l:.NTAl

Ct1N\t:RTrnu Cl m c:ufflmk

Luffi rhar can buuon or rake'

l:OJ'IHSfl~'-·fN DLl r

\ ~ot"r medium .-.baJc ol grJp~tl.

Ct.rrro~ -.WI! L

A 1!1bric- "ith a ,lt,agonall) src..ocp waled 'urfaccc.m<.l'lj b) rhc inrcrlaringnirlu~w Rr•and \HI r thrcud<: TWILL IS une.Ot th._• three basic \\'C:lVC'.'i r r M: \ ~..:.1le fM l'valu:mng rite qu.1l1t} uf

\ 'ou Nr '

won I \nth gmJc..c; r.angmg irom 8o" or h•ght·r for mt•rinn \\llol to lo\\ cr 1~1r l\\L'cd~. ck "I ht• ducker rh~ )'nrn. rhc lowl'l' dw gr.tdc mnnbt:l': the lugltcr the grade uurnhcr. r!w fin~r the ynm

Cuu:-n ElL,\ pi\."CC or su(l~niilg lll:ttcrul or l~iltcr ill~c!riC.I,JI"O\IIld thl" DaCk part or thL• :-hoc 1~1 uppon 1he oilter lto.:l dw r Ct\tJ){:,f : \.)nc orrhc hon~ollt;ll row~ llriii<IP) in

i1

kuh ll'd ~~~nic or .;wear..:r. Cm1r;~e~ 'i 'lri' s1 mtl:tr m I II LINt: Inn

WO\Cll

flnril•

l:l>VIiRT ~.,<1.0 l li! 1\

rnidweigiH OVt!r\CMting ~ollo;;tructt:d froJrn two y.aru" nf difl~·re111 colt'lr!\ 111 W.\RI' and ·inglc color in PJI.~LJNG. gi,•ing at\\ illcJ. mot tlt·d ;rppc.tr;tncc. Derin.:d frl'lm rhc rrcnch romtt·rr and tt!t~Oct:ucd "tth rllt' ridtng ~I) at worn br h~"'rscmcn guing imo th~.· thi~kcts or "coun:n .. where thl' pur~ut!'J gaml' take:. refuge. Coven clorh" dJs)oic h:hlc is <1 tJ.n with a dml~ ~,Jj,,c cast Usl'd toda) in it.\ nnginallo hl 18 ounce "'-'ighr torTOT'COATS :ts \\cll.ns lighrer W('lglu vc.r.~10ns f\•rtk~·.;c; or spor1 tmu<ers.

blu~.:

\

CORm:n <-TtUI'I \ t)J.lC of shirting fJbru: 111 which r.uc:~:d thr~ads arc bunched Ill \!V(.'f11) 'ip.h7ed im..:n·Jls on the r.,bric ~ surfuce. gi·.mg a 1\.:.xwr~J dimt•fT'IIOII A bnd oi lc.nhc.r inr focm' ca1 m.Kk· fn.i m "phr horsd11Jc or from the mnel"hidr. o(th~ horsl!'s rump N11mcd for Cordob:~. Sp.tin ''here i r wao; II n~t made l.mucd wuh 'cgctnblc mau:·nals, &t LS durnble but H np ,rau

I11d11Call

Hwch

RHI ;;1' :.... UI: N r A spcct:uor ~hoe (.Sa p.t,gr 207)

( ., \r\< KCOLL\R

\

!it)1eofcoiiJ.rfc.nurmg.Jhtglt

b md "uh a stcft" dosure. wom b) Ru".luau l o ack rrt ups

u A Ntll spon shm f.tbr11.: an'' hi... h

t Ffl LIt;;{, thre:td .m: nappa:l m crc.u • 3 lh eft.ect lah· \ t db In oltd cult\~"\ strlpd. 1r rn-1

\\ pb d (Sa \\tnt r-an the Slurt fabn1.s" g.ltt•f\tl,i) • IT"'l"'

r, \B,\k.DINE .A. duculc salk} !\mumh umng

be tt m fabric \\ tth .1 prepondcr.mu• o( \\ \I 1 thf J In :t n n t\\ dl cft't:n h • mg pmnounc~.: d dugiu :d 1m • r :\i,tl s I'

dctlldtu/ respect. l ie CLW, lwwct'cr. do /t1

l·omJJh111d it. - /3ro{1]~s

Brothers

\11

uld CliptC,.SlOII

illl" .J I"Clllll\ll•d COrlll..'f

slun cuff

flufi} whltl! fiber.> irorn thL' :;cedpods of th cutt 111 plitnt I ii'!it I nO\\ n C1fm luclh around 300 • I l onon ~ "i ~ ltl.'iaderc:rl u·r~ mn- aucl prcciou~. lit!! I ngcr n fiber: thl" bs.:nct the coaun qualm

th IJCk

lllllJl dJI}' JIJ<lfC thc111 d

nn COA 1: A knrl' k·ngrh. s.ltowcr pt·oof fJ fronh d wpcoat in \'FNITIJ\N I'Wl Ll. gcncrnlJ}' of :1 p:1lc ~tone color aud often with mmng '"h.ct coll.tr nnd tlctali~cl \\llh three <.1r four ruv.·o; of.sttrchc.:: thr~c c&ghrhs of an mch ap.•rr .n Jts slccn! cufi and btlttom hem rl he: Slltdungs :tl"!! laold\)\Cr'i frurn flu: LIJIIC \\hCn l"t!'infor\:erncm \\ J!'t needed tr;, prote•cr rhC' Co!ll cdgt.:" from wear 111 rhc rhidl•t { 0\\' IJ[I L

\lft

L ll"'h 'N fL-\:N

~1-11 L' i\t ~~

l ~O\

llt'Lk

COTTo~

r

---------------~~

{ lROl

l

t'~

C/LJ/ht:s dl1Jl't IH<lkC: tflc

l 01 UO\ N

no., \ lurd W(":tnng cur Fll.ll NG ptlc f.1brtc mJtlc: of rottcm '" iclt runkcn lme-o n111ning length\\ 1sc. "><> ailed bcr;.tu e It \lo.tS ungmall) made and ~xdushd) " rn b) the hum"men oFd ~rtatn Hourbnn kmg of I r;mcC' dm J ..:nm.~ptaon of the Frt!nch n:tme of the kmg ~ dotlt ~orJ Jt, n" (~a p;tgc 1Pi )

\ Ru r r

1

rcrmfor:tm•d3t<•dert\·cd iwm thr l•ench cnmztr In the SCH~nrc:emh ccullll"} <.;m.lfian mut\7Cil.u RAVt\T .\

~oldie!'\ cmplorcd b) the fr1·nch gmcnunc-nt wore lin~n sr:an,.• around their nc,·k!\ I rcnclm umcn tlmk

ur

thas kind of m·c~vl':tr. \\luch mt•nl:acrnduptt•d 11ll' fa.sluon !-prt'~d to I ngbnl1" b('r~; tlj{' ,snrf \\.ts t·lllcd n cr.tvmr It w;p; the {lflgm (If thl' modern nc•tktlr:

frf'nch' rb (rc~r. llh.'.rn1ng ..lll fuu nnd curl dl·ri,_,c,l from th~; Lwu rrisp111 \\nul rq><' nnklf m.mc ~urfncc rl r'~o·ct '" obtJmccl w uh ,,}ugh tw1st >·u·u knnwn .1s l."n~ pc t\\ •"t pm Jlld Jlrcrnilld nght l1and .md left hand rw1&red y tnt" m tht• l-' 1u

t IU rr Fmm tlw


1r '·'as popul.mud for mcu&wcnt m the 1')80s b' • luls.m ~:lc .. Jgncr <...,orgu.> Arm.uu \\ h~tlJt"r trt a t\\ all or plau1 \\ \.'il\ c aep · d11th!i arc dr) hght. and dmpey I' en though th pm .trc \\oorstcd tt not of d1~ be l 1..1ualit} \\'t,ol ~rcpt• can bt• cuarsc to the ruud1

fine lighrnl'sghr slk madt 'dth .a crC'pt.: w~a' ~ u~u.tll) ~onstnactc!d \\ n h o1 ro" dl (. JU 1'1 l>l ( IIINL \\AilP

,lJ1d CI'Cp<

\

\C')

(\liJlH

salk I

IL11Nl.

l RJ \\'N I \ ~

.!·-1 DRL ... ~(; ffH ;\1 ~"

Pullm ur S\h!atcr wrth :t rouud nb kn11 nt>rl, '.uncd for lmn shins w:or n h) mcmhc,-.; of c~,llcgc rt•\' ing team:. r" "~n·ws- (Srt11......aq t~r:mr. page 169)

CIUMI' Tlh' n.nur.Jl wmmc!ts fo11ud 111 wool iihc1s L1111 f, )flit it)' of w:n iII<''~ snd Ka tc10 n ··II pcdor "ool TlrL• IliOn· th~.· cnmp 1he fiHL'f the wuc·l l.RI M"ON· A Jl·cp tn 'hid purpli!ib 1vd m a' 1dd red

t:olor.

CRL'\...k!Nl~

.\n cx.~s~ d~e thar mhs otT on :m nrticlt:>

:tppard of\\ hich dll' 1Jl!llCrial j.; said lQ "crock"

CROS"~ ~Tni·l r .A ncedl~work

srirch M'lllt:tllliCS u cd forornnrncmatron.orn~a uhsmutc fur 1 Eli II'!, [hin m.n~riaJ:.. or tho:~e li.tbl~ ro frar on r he edge.

I he f.)fk or :l pa'irof Ll (lli'L'P•; th-: anglt' ftmnt:d h\' dll~ rnr11nt! .... of l'H.l ~~~s lll' branclll·'

CHl>TCJI

~

pk;,:c oilining pi:Kt•d at t ht.~ tfotl!>t'l'~· fnrk ro co,er the junction of ll~ li:'ur se:tm~

CRO'I'CJI 1.1 Nl NG. t\

CROTl;J-1 fill CE , \ pkcc of sdf~fitbric ~c" 11 LI'Oltst'r.s·

to the under~1Jcs :u the fork. whc.m the m.ttNi:tl i.' 1111

not widt.• enough

Gnu\\:--:: The rounded se,rion oi dw rop:mlc lt~ad the skc'e

C RO\\ t\\ ill

f Jt,. u rm pplJcd app:~rel,naJc h' cortfonu h then l

TO I M.-'1. Of

1nd" sdual ru mmcr' lor tlu as Ill !' nJ

fl"'ct 'I' bod

t l

1

u 1 [

Cl.., \ ttnn tl'il.-d pnuctp:~IJ n m: l.u- b \\ hach u.Jtcah:~ rht: numb r f 1 t: dl pt r 1tliU 111g m•Klum: I hu m.ulun h vu g JlCr mdt IS a J.:J cut ma.chtnt .md llw r ult a 1::J ·em doth CtrTII.N!)

1\\N .Thct~.:nn.ppltt.:dt

orl:mncd falmcand madunt: \\'ll\'cll

e\\Jll

J

uu ,

n h rhr 4 n dl n f. h u

llpr.,;tr lrutlnn i.IZ

h}land, r

rA\,A"''· In fimn;~l cLn \\tar a u~t JLJ\\ m trmn wtth t:ul:; C'.tt"!nJing tO the bre..U. nf rh kn , m b k (.t

l;R• 11 1rI.-"T A m:ucrial h:tnd nudt• or m:tdune kntt b} hook!'; hum rhc French word mca11ing "tu I!O(lk ·

(If

Cl R I -\l ~ \ hangsng np Pt l~n n • t 1 1 t \\ 1nband muill) f dt ~ \:I bn th llmng. m W' a.Llcan hm\h r tht tr u

FOOT TWILl: A

oJi

'atin wea\l• \\ ith a broken

efi';.·n.

111.1> llfv.n.r:s· [nglish ..;bng for·badlr m.tdc bunonlwle!> ~

CRl

broad low or rn~dium - high h~l·l w11h a st:r:uglu brc.1s1 :tnd a curved back line CUUAJ-: !I EEL: A

Cut r ::,: -, ht: rurn ... up of rrou~~..·r bot tOms. whtdl "c.r\, oircn turned ttp in w~-.·t ond muddr wc-:nhcr. Kmg J d" :m:l VI I (then Prince of\\ ale<;) s(:mcd dw f:tsluon fCir ptnmnm·nrl}' turning them up in the t8•,Hh. PTU:o. (Penn.lll(~nt 1i.u·n - lrp~) b thc.!:!.A\'lU 1-:o..•W tl:rl!l rt)f 1 n:mst·r t ll rn ... up~. CuM r.11 Rntrr-.: 1"1 •\ w:~i,rb.tnd of :-.oli\1 or paltt'rnt•o.l 'Ilk made wirh or wil hout up.,vard-f:win!! ph;:Hs 111 pl.tco: of n form.tl wai,tcoal \\ idt a single-hr~:to,;tcd Jinnl.'l' J:tckcr Originollr a snsh \\urn in lndi:~ (llinJ1 kamarbarrJ). brought tu the \Vr..-.t b} the Hriri:-h lbj In J~H thr cununct bund c.unc to the fore :1~ an aac soq ~lr thl' \\hue nws~ p•ker. \Vhilc rh\.'! me'' jn-:kcr's popuJnril) w:1s sh011 lived. ir did t'pen the doM for rlh· "hit~;• dinner J:h·kct :tnd helped mak(' Amcri~.."ttns ounrncrbunlf nms<Jous. (Sl'f page ;..t6)

---

and a cmc button siuglc hre:t

h:d

fr m ' rh n

iu.'ld

t

pc:~ked I.~pd:. Tha coat J' cut .m.a\ on 4 mn hn fmm thr \\:list rn irom tn dt n-:~r Jr m ,, be W d.

oxford &fllJ worsted wnl1 br.udoo or pl \\ orn '' irh a m.atchmg pale gr.a} '' lutt:

tn tdgt

b

If''

r

Jnd t,~t~,..

CL TA\\Al' l..OU.AR TI1c formal da) " r shrn "1dc~rc~d pomts th:u. coompanu d the f, rmal cur:t\\ 3) tnsernblt.• 'Iod::j) thl h.:nn ' a g ntiJt.: dc.o;cnpnon fl)r an) £lun collar" h , e pntna re l'Xlrcmcl} sprc3d or upcn ( tt page 26 nght

tJ

phuh,gmph) " !)'' I'OCKI T JAC ~ \ pr.tcth:.:JIJ~ 10\J1i!UI t) oth•• p~ pnckeJ .;1dc-stitd1 rack runnmg fl'om ~··.mt ro •c;1m li :1 jt>t ted po ·k~r lll rcmforrc tt.'l ends frurn bre.1J tng ..)uch :1 tailoring det<ul i!. cmb!cnr. t1" ul the fine t qualiq in ll.and.madc dothutg 5« Dougt>l... Ja rb;u~ suit ~XJrke' pag{' 8C))

11 B l.AI'rL .. A pmmed sn le of I.Jpcl5 u UAII) c.: n an doublt.•-brenstcd coat:.. suit j~d:er~ .ortnpcaJt somenmt5 styled m smgfc br<:;.lSI~ sun ·o;nc: (~ dlustnmon pages ~4 and ')) DA~~ \\ "h 1 BAND· The first !odf suppomng

bc:Jrlr "

trous\.'r ill\ emed m JQ)2 bJ \Icc tmp!o n I Ir. ~cntu.ill) n.mu:d n Daks ~the acrumm combmmg (bd 11nd ~~lncks.- in mcmorplflm f.1rhcr ( • p.:l!!C1i-) M

DAND'I J.)M l'opubd) thought ro mritn •dJ~b)

r

•cxlubmom m ··but m fru:t u onl) mean rerf~crionbm In the Lime.: of ncau Bmmmd <bml} i~m \\':1• a ~tern rc:u:ttdll ng:unst lht: b~m.. nd mac::Jroni..; the crghtee:u:h ccnmn , .. Jm h.td been I )ppi:..h !bt'} om.l all bnund Brummd produced n drc>sing ~ric of -uch C\:CfH} dtat n renun JJtnd cxco replanng n '\\Jth nl:'.ltnt:"!--.:: "Hnplu:Jt\ nnd ,ar I rnnc." .. orr~crncss

or

D.-\RT r\

-han -.c;un

usro to gt\c requrrcd !.h

pc t ... a

paniculaJ p.tn ofgarment: \ cur,).( h"h .. m t.ui p:u:lancc O\\ mg it:' rumc u lt' rough n""~tnblan ~ ll ft. h hcmg 'nde:- m rhe m,ddlc rh.m n1 C1th rend

,.tifT-bnmmcod ~ ft l"ecd T nh c-ar tl:1p..; Lh:u are Lt<?d up an thC' crown \\h~n n l m u;,e l)[:J:ft">TAU:I:.R: 1\


-~~ --

~

pula.nzcJ dunng Q_UCl•n \ 'icrm:.t' rt:•gn un comsh c:.s&u "here deer st<tHting \\a.' t---opular mort tan:hoo pLun Ur ph.·arcJ b sam ofa dmt Oes1gned pnroarih for formal and cmtfomul ua:Jr (.'i« p.tg~ .l.) ) [lE \U BOSOM

\

\

"tunh

rwtll \\.:~h:

fabric 111 cotton or n bfcrui 'f fiber \\lUl a :s.oltJ \\ARr and \\hitc Fll LING {kmm ''a first m.1d~ about two hundred '\Cars .agtl in "'-i unc" f r.mc~ and us n=unc ~ a corrupuon ofru· :-..; mc.s. • fhc \\ord JC.m~" 1s nnorhcr corruption of ·G(JOdr. hahan s:ulnrs fmm dte port ofGcntl:t b~tng tltl* t'1r:o;t w \\-C:tr the t} pe [)Fs 1M

bo\\ lcr \ h.trd -t1m h ic.lt h.a with ,, rounded cr~Jwn .tud a SLJI1: curled ~dgt! brim "Ihking tl!' namL· (rom the Derb' .1 hoc;e •.trc t:,t,tb"sh•d .u Epsom DcJ\\ns ml-&0, it "a~ custmn to wear .1 bt "l'-"r at tlus .md other races m England lu th.: L mti!<l t:;ttcs the sutTiut also h:1d n..-..o.:umon~ '' nh ho c me~ parucularlr the Kcnrucb Dcrb~ In I• so ~orfolk bnduwncr \\ illiam Coke (hcucc th rumc I\alh t okt:· or .. Bill) cock) commis,ioncd }.tmc L.od the wnc:rnblc.! london hatter. to levisc omctlung rugged fi.1r lu:; g:unckccpers, \\hoM" topper kept gcmng knocked off,,hcn the) \\crC chJ!!ing pqachcr Lad adopted nne of thmr 0\\ n cightCl'Hth r ntun ndmg h:.1h nnd h:HI the protot} pe m.tdc up b i1 Soutli\\.Hi; fell m.lkcr named n \\lcr. Tlw I I'CJl('h lrke to poult nut dull 11 ~lmuld be: rightly btl!..:J a hcauhcu lfl(C th:tn\.1~ rhe n:tmc• of the fdt 111akt:r \\ ho budt r he lock protot) pe. be tore ht.· :.ngl int.t~d rt 1 1 l;()\\ ll·r 1ock London still c:tlls j r a ( okc. (Su p-Jgt: 88) U1 RD"'

\

~

OJAG lNU \\EA\EA rccprv.lll\\t.':J\'C\\ith

table hncs th.u appear. Ill mall)' fabncs su..:h 15 w t,·n [\\ cd anJ \\aNted sutrings \Vh;:n ;~ ·c.tiagon.tl" 1 spokton l 111 the rrade at i.: undcrnood to mt!:ln n ~ rs:teJ dodnnth J \\l"JI defined nght h.md t\\ rll face uda :t thL" tnnd.:trJ Sl:"RG£. n

11

o \

that progrcso;co; JU<;t '\o far mJ then rc\-Cf""e'i .tnd then l'C\Cr5CS tlu: TC"o crr;h •n to makt i1tmond~ JOUI un c:tdt uthcr TI11s we.wc can m.tk.c man dtlTl!rcrn on:s ofthamond lake Jc~tgus. udtl.l'i the phc.tsam !'i c...1· • lor ultmgs and 1ackcungs l1L\MO

m1ll \\c:p.;e

dctJchnblc bosom rhat could be ~lipped t•\.cr the body of the ~;hlrt that been me an ~scnri 1l p 1rt f \\.:tltl'r\ umfunn rn the 1~30s D1 til

\

Dr \I Pt r The' rncal gromt: fonncd undc1' the iour m h nd or \\ rndstr ~ate Hi'' h~.:u ucclkmw•Jcdgc.tbh

(

pag· 167 .lll)

[ J N l R 1-U...K.E.T .st.( H

XI 0 )

unpnntmga p n m • n :apr 't ru !\ d 1:J I lm \"Hh bll'a hmg m 1 The h mrcal dischargt:thc d c Lim fll

HARGf PRIN fiSt.

fhi."

prot:<!SS 1f

ere an!!th p u m [

m \\nh p!!ddi aradun~.;nt'> thu It pc I m c.-t\ Jll-mcr d~rgm dot~ ~md r np 111 rm~d w \CD r ~If «1lor ct:io:: P.i

I )O[Sh.f<". I hi.' ~l! lD!: ,jJt· ~ f the .. kan ol .1 dl'tc.lnrnb. or ~hccp. used for glo\C~ t'r ~>th ...·r lcarhcr goods 1\lso .1 ct . _,scl} ,\:~wen labn. .· \\ ith 01 .laghtl) n:1pp~d surfurc. used for -l:t~b or .;porv:mear:

I 01 tAN "1 FrV£· the annholc

\

full--t:ut slcC\C th.u

IS

\'cl') '''dt• at

Dt>SI G.\1 ·1 \\'1 f:p· ' ' hanJ-s.-o\lrl:d !tome pun n'ccd urigin~lll)•lt:l!hh\O\ en b} croftc.·r~ in Count} Dor1lgnl

lrctmd No'' '' P\en b) n1.1chin~.·. :1 clt.Jr:tCtl!ri~tk of the f.'!bnc is irs cnlmful nubs.

l1l>t

Joublc·dlCstcJ j.tckcl '' :ltSl(u:~r. 01 omer(mH C'ltt hl all(l\\' 1.l\ l.!rl:tpping :1t irom ... lm.iug "irh tW-(l vcn ic:tl mws u(buttom anJ a ingfl• ru\\ of bmmnhole5, '' ith ustl:l!ly n singll' burton nu tlw unJc.:rsiLic to .;~·cure tl1c fabric ..m d1<> \nhcr side. IH.l IHtL\STCn: \

Dot nu: L..0Ll.AR' .i\n old lt.'rlll for .l turnc:J del\\ llllr fi1ldcd C'111lar: J.$ l)PPl'St:J to tlw upturned sltlglc '' ing \."olbr St} Ie. DOUTII.E CUFP :::!ec fRENCil CUI F DOUI\Lf KNIT.

Double

t:.Ked f.1bn( that lms the

:tppc;u:tnc~ of tWJCL"-knini'd

jcrsc} lauric I)oubl<.>-knn ftbn~.· br re.1:.on af irs rwo ·nt·cdlc con't rucdo11 is n more d1mcnsi~.1nall)' ~tahlc doth th.ll1 ~irtglc needle or wm·cnrinnnl1cr.;c) i.'lhric ~lade un circul.tr muclnncs DnlJBL~-Vl.N n:D: Si!r p.tgc ~9

Thjl) do~dytextun:d t"ill ~·mrst ruetion lor lll!ckwcar produ,~.· .. '('ry iitll bodied. lui\uriou~ silk rh.,t pro,idel' the grouud t(,r mall) sp.IC..:cl and nil on· r flgu r•cs. DOUUI.I WARP

The m;tl111t'r in which a £:lflllt'llt hJng~ from rht• 'ihouldcr or wai'r ror t~1\.;mpk dte Lngllsh dr •IJ.1l' (or English lounge) is au intcnclcJ "l) lc fe.uun.: 0i men's j .•ckt•r;, or omcrcu;HS pionecrc,1 i11 the carl) l~.lOs b) the Pdnc(' uf\\alc!..,'s m:wcrrd: tll1lor I rcdcnck Sch,~Jt,•, inspired by the \.UARPS t 0\1, it as char.tctcn~:t•d h} fullucs~ acrms chc:-t nnd mcrthc houkb bladt· l•l form tht vt·t'lJcal \\ nnkkc; lor form comfort. and the tmpression of rnu:.cularitY The draped ~1lhoucui.' domin.ucd men' L!Uiorcd tnsh1ons t1woughout tit~· I'HO.,.md 1930s llr.: word ~.fcrn•c· from the I rcnch t!r.zp. me11ning Mdoth .. (Str llnugln, hmb.mks und U,tr) Cnopcr· p:tgc 38) DJt.\P[·

DHAWI~~G IN

A tntueexpre:),'>tnndc~nrbingn IICCC.;~lf} I ighteuiug .11 .1 pan :t g11rtncllt WIJ~t'C lo<,s(!ncssc.'l:i$t:" .1 nmningstit~eh drnwn nglu ~ .., ns ru gather tlw m.uen11111ore ur lc ..~ 11poa1 itsclf.

or

or

Rdl-rs to tbiH ~~~t...- the l rotch fork oi n pur l,( trou!ir•rc; \\here tlw m:tll' gu11t.1IJ.1 Me pl.1 .:-d Bclorc bncfs '" lu.·tl muST mc..:n wore boxc~. smpC'ndcn; pullt·d the truU'mr h•gh up mtO rl1c t..r'Otch IH!CC.\Sit:mng rh:a rhl' uppt.'r thrgh .trc:t of a slim fimng tramc.:r bt: dcstgnt.: I to acrommodnrc tlae ~right or "le-ft cJ;-c, cd m;~n (Mo'>t men dresc: on Lhl' left) DIU SS;

\ J I I rescued tncn' s-tyle from rt'i \ Ktora:m I rruglu p~kct mcm.tfm h) promuung \\ h.n he fL•nnt:d drcr;..o; 11oit • roft .:t:~ll.u lurt~ \Hth loungc1illlto; pleated frum oft.dt~uhlc culhrformal DR.I:S'i or1 f d\\<trJ

Gto


:~h ll't uJstl·ad of st4lrchca fnmt ont s "ir h o;r •IT,., us,g a:oll.u" dtnnt.•r tarkct$ 0\l~r 1aslconrs l>.1cldl!'> \\Jt'ih':

~~H

tu r<~pl.u.-c full bad.cd tmco; ct~

\ dur.~blc

co tf'il.' mutcnal wnh .tl\\ ill "e.ne t \:lf..•ndm~ up\\,trd tm,ard lilt' left· M 1 \A<..J J ht nJJuc p~t.Jbahh d~mc.-. I rom ns u c f tr rht dnlllll~ umfi.mn of the 1\nuo;h lrln) an trop1cul clunarcs DRILl

nu· ddTc rcnti! in fndlC'i b<!f\\ ecn tit('

DR\.>11

1. h

nW:t'iurcmtmt of .1 stm Jad.ct"~ dwo;t and du~ su11 tfOUM.!fiS. \\!liM [\ fmt \m~na111 lllf..!ll ~ "iUUS :liT. d~'l!;JW i ll' .H·rn•nml""tm: 11 st~ mdt drop tfi'r c:-.::unplr .:1 .:12 111 h com cJ.cq 311 I a ~b indt t rwl!'t , ''at 'it) arhl<·tlc cut:!! feature .1 dmp uf ~'eon indt("" or more

Dl' c 1\ l11~ mu:a dllrable J:tbt h. t:tiiiSlfliCliL•n so called be-t-:t\1 <' 1t 'ht!d:. \\,Ut•r.IJkc a du,·k d, ,c_, Onuiu:.tlh .1 t> • pl.uu do.;t•l) woven fitbrk tc,..CJnblmg, 1lu: liglmH•tghr cnm.1s U!>ed for sail:. Used fc.,rsl:~t.ks sporf'menr. Jlld ''ark cluthc:; l UT1-f.l. COI,T ,\ thrl'l' quart:et h•ngrh. k10 l:: 6mng ~oar\\ tth a huocl [tst..·nt•d wil h loop-; an,{ toggles of \\Ood {II" horn In .t h~itV'\ ''onlc.n fabrk,tt \\.Is dubb~d b) the lhl) al Na'} tl1c.' ~mm·o} coat· :m"1 bC"c.umc the ''gn:mtr~ wear of IJcld ~1:trshal Montgomery m \\ \\ 11 In the 1')50!> th•· l\"'1 1 EAGl E .::;c.~ I ~doptl'<fll n~

c.::tmpu i.1 luon -1111? name cOtnl'.S from the Hclgl.lll 'capon town oi nuf(d

J

Du~.t "" \VtND. Ole l'RINCL 01 WAll" .~c:t

pages 64

and 6~ DUNwAIU!:I: )\ CCl:lr"c 1wilJ t~OUOn, tlriginal!y

JH:tdc 111 l~omb:t) :llld ukcnup for \\enraboard ship b' -.nibr" iu till' cightc~.•uth ccntur)~ Th,· "ard nc1\\ rdcrs to :1 p:m of \Hlr k bot tom!' or jean!' in btu\,· denim DUl'IONI 1\

lu\mimts ~hanmng~l:·pc ~ilk l::tbric 1111dt:

from 3 double srlk ilber from t'\\ o cocotm:-. nc:-.rcu mgcchcr (Srr Ullllllt.'rft in rl11.· "SUit rabrico:" gar..: fold page 9~) M

[liON1; [CRU

\

[so:-: A bl:t~k color likt> that of cbom

-

\\Ood

beige or pale ran 'hade of unblcafhc?~j ilk or

Iuten EoW.\RDJAN:

P\.'scripti\C of f.tshi\)IIS f:t,·orcd b) King

Edward VII (reigned 1901 1910) and. oisub:-t•qm·nr r.,shion_.. b.t l'U on rhc origin:~ I-.. !>Ul,h a:. long J:lfk~t:-. :tnd dt:1inpip~

pant~.

\Vuisr• lcugth j:trh•t of<,liH• b,' '-.~cncrJI (),,ighr !) ll~t·nhowl!r.111d

[lSI NIIOWI R JAGl\l J •

rn cu:lu

1

The hsgh"

J\cl\ \\JUl

t

sed tn: u rd

u pt;nd.cr

nd

J1

M

1

\\.lJ!;tband curH.:' up"" rd m rhe b.1d· fiOJ hug ll >tch at tlu.· C&: m-.•r bach floC :.im fhr- tdt:Oll , , t It oust"r \\ lu.·n \\t armg a on JHtLJ\ :at fN IC.~ niL

r \ JarL tU\>t btu

wl"'r ,f an t: liStgn un1l1 mt 1 1'1."' LLOPF lltc ouu:r heU f tl n , l!.llt' dt \l'>tblc IntO '> htch thr mt rluung .... 11 ~rtcrl

l

1 l'i\UH r t\ ~tmp or orn.uncnt ~>tJTdud r 1 u n li onto the: huuldr."T o{ a1 ganncm bon \\ d fr m md rtnq uuai mns (Srr. s..1fa.rt J••da:l p.tg{" 1olt)

n upngln <;LtUCC rcqumng ;I «<ltiJJ tt-mng r the ~·om' b:tck ll!ngt h and u lengdlL"Tlrn • f u front 1 he opposite of iTOOl'1 Nc. I

Rfif j

I

[SJ'~\ Dllll.Il \ Jnd.tl wnh ..l cnma ttppcr and .a n p s~..~lc· lor bcadl\u~ar. h' AS cmgmall v.um b, dockv.nrh·r m Sp:un and I r.mc

E roN 01.1 A R i\ rounibl i"l ul c<tll:u- .rcquu d , p.m of the Lrnn :tchoo1 umform ( fr p 1g~o: 1:;o ) LXTrNSJON WAISTuAl'\D A

bcJdr:'

,,Jc c J tr •U r

rop \\here the left front of the \\.11 tband ext ruif n 10 fimr mchcs across tlte middl~ ro l.l ten 1Hth nh r ;.~ buuonholc and burtun r1r hook .md e\ 'm l tltl oppo~irc ~ 'de of the wai~tband\ front ( rr 11lu Uil.Uun page 6! top page 2.68.)

l "'r H t 1 .t\ mall hole or pc:rfor•n mn m:tdc l l.1n· or t:~pt• as m a shoe

rt"i I\'C a

r, [UT COI.l. \JL A drC!>S} co1br O:t}IC \\here small huks n•c situated nc:trthc edgl• mtd\\il} up rhc coll.u'"~ an:ommodate :1 galtf or ~i.h c.r colbr bJr th:u unscrew~ :.Hom· end The.st· cmh are uswlh m the l~mn of tin} ,qnan.:. or ball . \\lu!.!h c.ut h g.mn hL.J "1d1 a small shme. md1 m; a cabochon rul'} 1r ~mppl11rc

r \1\RJ C

Thl" mo~T. comprt:hcnsl\i:' tt>rm Ill dtL' t~uk

crade \n\• ktnd of :uncle mad"· from ;t .:umbuuucm f tcxtilq"3rns Cloth "hirh r.mb nl"xt to fabnc m 1 dc..h ripti\ e bro!u.ittes: em not be u'){'d to denotl" l.ti:t" carper. or· knmed goods. bur all of rhr c .trc f:.tbna that ts. m:ucriaJ., mndc \\ ith tc:xtJic fibe-rs or prn I AC£ 1fhc hcncr lookmg or .tnt<-nded upper c.tdr of

r ·'h"' l NC· The luting or ('(Wcrmg JT the edge or ,nlwr pan of n g.trmcm. Iik~ tlll~ em ~nng on tht" lnpcl nJ llinncr jlhcket (~c:c r~lgL' 1.42)

.a

~

othL•rs iu nllllt:'ln• :.cn'tL"c in \V\\ I I Luct \:tfilllJS '\L'r~i{)Jili of tlu :;cylt> w~rc.: .tdaptcd for civtli.m we.tr

J NO

Lt \\

l.t\( J,

d{1rh

I'GCSII r 1 1.. 1\ n off.,., hitc, the :.h:r~.k· o( :111 c~"hdl

drnb wool \\'l)fll

IN .. 1 JSH

._lfWI\Rf'

I N D ON r.Nn u IJtTI.:-.:G· t\ rcnn .l~"p!.ed w a \H':l\'t' of rdtern:u ino 0 '' hitc nnd colorco w \ RP •,·nrn~ t bat fonn •1 minu ..culc cht.>ek effei"t. used in Cit" M IW.A \ lU OADC.l•) n 1. and ux htltD drcs.s :;hirrmgs

J NGl N I I: RED MOTJ I A me-t if dt:ll .lppc!<trl' inn parw:ular !KlSifiOillHI ,1 w:~ usual!~ 1H1l) LlllC'~.

J <\ltU: A rib

\\i:;lH!

li.tbnc\\ltbacotdltf"tflict

.tehte\ cd b) w•tng h~,·tcT pmt m rhc lllll"'it.. Ut. n ttl rhe WAR I' I ht> oppo.mt- oi RI:I' l~tll~.: •~ usn! tor bpd L1nng~ ~1u fonn:tl cYo:.-ning dodtl.'"' other trtmnnng' and ncd."'''"·1T. fr \\~, ongin:tll) a ht od \\UntO\ nun A• tcnn later d~cnhmg :tnunl \ctlmg ( S« pa.;c ~-)

r.-.t R I'1 ~

Uoth a pbre otnd :1 dc.stgn The pl.lC~o: t~ ~ ..m.tll. nts;i!cd r<:Innd ru..:kcd .>IT rhc ..o~N llf cmLmJ 1111.' dcstgn '"a i:'olorful kmmng pattern wnh no' ·band:- oiwlnr in a fl£ :t\\ 1\ ~ oi conti:;tm:atJnn


gnn.st .:s 6-ltJJ\ bad:.ground 'W~tcrs bc~mng dup-.utcrn \\ere first made b) the 1s-h•1J crofu:rs or renam t~c" Ht.:.-:Jnn-g that au~ Hdm.m f:mncrs \\ cr IIl a:onomtc trouble. the nuJ.-c of \\ md..or donned 'De .lS rhe Cilpi.Un of the R...wal and \ndcm \.Jo.lt t'lub m S.unt \ndre\\-; m Iq~~on:Jpulung thl• ..,\.:Jter arui the tdand -s cconoun into fa~ ronurd

( ,-r PrUicc of\\ ale<: page

bonum nght )

rull.tr Jnd sh •uldcrs of a fuJI fa$h1£lncd g.mnt'm slu wm,g 1h~t n was knmed ut t"t1C pien" and tll\•n ~m.:h~-..d r.;c;hwrung D1C.1Jt•; the proccs.. of mcre:hing or dt:cri!a. Ill£ th~.: \\ tdth vfk nlrred f:iliric h} 'onnnllmg du~ rnph:mt·.nl ot tbc- nt~dl~s S« M~HIO~t:D

Tt:l.l

f.iiT Th~.: Lcrm .1pphed

m a culor clur:rernms It" ongU1tl 4ld~ .:tfrcr '~po!iure ro sunlighr. \\:Her. hle-.1dung. pn:~ rug bc;1t. en:.

FruOR.\ :\ m~n:; {Oit fdr har "~ idu ccnt~r crca.<:c and 61 roUL-d bnm It mkes u:-. n.unc fi-am the drama f"idcrJ {r 1) b, \ actoncn 'ardou (.S« Btddlc, pjgt: ~) one pmcc of m.ncnal.ll\ it.~ edge upon another: thc 'it'\Hl t•dgc being cithcr r.m or rumcd m .JC@rdmg ro ih~; m.ncrial or the pw posl' to FLU 1"l\,

C\\ mg

~ cu.lmphsh~·d

FnTI}. , The pmrc..;. ofcombmg fi1rpanidcs or ther fibers b) kndtdmg then fthrmking the-.~ nuo one mhd f»C'Gl: of mat.cn.1l l"hrec uuncc" t.lffur make .1 hat. [ka\ er w s once usaf but Of\\\ umsth nurn:1 has t~tk~n l

place

EfLUNG S« \\EfT In W("..l\ mg. me prn mnnmg .1[ ng. lt :tns:!lc~ tlJ rhc length ur \\ t\Rr yarn ff"l£ flt~ rcnn appltcd w gr.u:ics ofwool or conon tn '"- ~n mg. ~udt a'C h)O~ l2.0s, I)Cl.'-

fI

GERffl' LrNL.> n-1 l1t~:

t 1 th tip

lengt:h l1fa ~O:tt th.Jt CXll.'ndc:

frhe finger ormrdw21 berv.ccn the htps

omd knt.-c

fJ lUR\H"c ~~IT. Bulk} h.tru:I-knn :v.c.ncrmadt: f n; tuntl It r '' Jtl'r rr:pellcnt "ool ut Emq t r tchc~ d1arJa rt"liC oi \ran I land off the 1\J\ of {,:tl\\'li} 10 ltclJnd l)ngtnalh f-r: m In It f1~1t"'nnen who ' -.re h.tndknn swc.-:trcr!J m t p-;utcrn md.Jcaung i\h~.:reth lr\cd..

f v.adth pur m bc.lo" the \\'3l.'it nl

I L\IR \ urpiu

•mnl"nt l gn .m mrcnu rul ZlJlpt:nr~nc~ nfluo~uco; t tdc r du; ct ttn \ !me bapc fmm rh~ \\;}1 l

(

h ~ku ~ 11

l ·

th \\

pAg1!

mi'

lOS ) r.t:"

d

lous 1

'\1.

\

·n

ll n r u u t.:d \ .trm LU phun art HII rh :t pp<".d urfar c ~once 1tht' \\ :t ~ f

\P \

jm:kct oCk.-ttht ror other nut~d:t) \\tth a shccp!'kin hn1ng and tnmnung fuqcncd with a .,ftd,· fibnmcror with bunons fliGHT J \CKET \\:tl.H-IengLh

mechnrtJC'.aJ1} mckt•d uuo the bad:·sid~· ofjn"qU!lnk-d destgn th:Jt musr "'cro ~"or •Jloar- .:wcr the" I f T rhrcud:<~ on the l:udt \.Urf:tcc nfa "ovt:n fubric I L."' 1 RO;:o..;T A dt:Ntre in which a pbckr.:1 ur pir~c uf [1bri.: .:cwcr.s the buttons or zipper. u~cd on coars. J:l~kc:•t<; .lnJ tr<H~t!r• riblx.H1.hanging from a pock.:r ,,,m:h cunue.::ring it "ith an onmmcnt It 1:; wo1 non the rn.m~ left 'Ide ( th,.- ,.unc -:id\.· of whtch J man c.lfricd his 'word. ~ilnc(.~ rhe ward1 was caster' to locarc '' trh hts n)!lu hand than with hi5 kft:). (Su page S-tand 91 ) FOH· \chain

{)J'

rooTWT \R u:~r~o. The rea~•m

win·• an old boot or

shoe is tkd to :t hone} moon car 1S a rt•minder of .m and.:nt cu:-wm. In An£1o Saxon ume~. th<" shoe haJ the importnuc.: rhac a. wedding rmg dot:' m modern time~. Th.: hdd~ would pass her shoe tO thl' groom dunng the ccrcmon} :md he would st nkc her he:td "irh it :ts a ~ign ,,fhis fururol! authar.it) u w;tcmng to his pou;o,t' to w:nch her "'~-.rcpper 4

FORK

Str. CRCl rcu

FO!l.:'\fAL; ·r hu ll..:rm .tppllcd to clothe.-.. and J.CCI!~"C'fiC:i for w<.·~r on full~drc». or form:tl \)CO.'iions t.l ikuar" or cla•uter jackers for cvenmg: cm.n-..':1} t:oat.<: or oxford ptckers ,,.ith ~tripcd trouser.' tor d:!)'IUllC Fotn\'AJU> PlEAT A ItnU!'Cr pleat th:n fold, Ltcmg th~ fl} 1.;sociatcJ wuh EngiL'ih tail(!nng. ,tl> opp;; ed to dtc rcu·1 'i.!d plc.tt onl!maJI~ chlled Lhc l onunenul plcnt. \\ hach hh:es u:m-arJ rhc pocket.:.. (Sur Errol fh n11

page 118.)

Ff..,.l H P••"'t. l reJung .t t~nc ~ covenng t:hc surf.-tct" unprn tt .:tppcar.zn c b bfCllching J1·cmg. pnnnng \ r '\\ ~erpn.,..•flng tt It b 'S:tid that tC.'itllc bhn .rrl" m..1d · Ill r:ht fint'lh11l}'!.- .tS no ):.trd of doth ' ompJ trl} free from dcfcru

J

\scat \Hth Jt:,.s fullncs than .1v1:rJge t.".au~mg the ~:1nncnt to :tp~:tr t110 btg 111 sc;ar ;~r~a ll..AT BT:·

rtOA1'': W\Rl' thr(!aili that arc 110!

~m;Ul mdi.!Iltunun;; o~mun-i dtt:

FtiHION '\t \R

rt.ARES. ~« J;H l 8C~n\)l\t"'

·nng fi r tht= m• tth of a pf'\.d..t!t

l OL LAim Ton Frcndunan aJoulanf L" a "'ilk h:mdkcrchn:·f 1\'ld.a~ fou.la.rd ,., a nnll dorh for ned.:\\ i"~r or scarves usuallr made ln a laght ..!1k tabrtc for prmnn~ multicllforecl parte' ns and often shnpeJ hke tt·ardrop or. h,trru::t mcmt'S lnt:rtAiu,ed to Ament:";~ 111 1R9o hy the ~enior partt\er of llrof'k& Urot.hc~. ~I r rr.1 ncis Lloyd. (."cr puckt•t (qu.1rc pag~.: .21~)

One of SC\Cf"'JI name-, for dtc -o;hp knor • (1hc • :~don; knot- hCJng another) 11.' cd m kncn rOt R IN II.!\ NT)

tht! "long tte~ at du.: c.nd of the mnctcem h tcntUI) .md «.-:trl) '" tmtJcth ~emuracr Tit~.: fi10r m l!.md ~~ thought to b~ n ['('f renee to the rour~111 1-lnnd Club fmrudcJ m f ngl111d 111 the rnn~recnth Ct'ntucy b oung rncn \\ho mdulgcd m cmn..tge r..ICmg nnd "ho Jdorrc..l thr l.at1d oHn01 for therr llt.:s \ln:n~au,C'h rr c uld rd4 r 1 the I') pe ofknnt u~ h) dtc dri\ c: r \\hen h held the rctl1 tlf .1 Cirn&~gt.: pulled bl four hor>c m ,, m;anncr rh~l re mbloo a knm wnh l"\\Oiung u·.11hng cuJ p..1ge 1C•6 and r6-) ---~-


I mo N • I hl' lcat.hct· UM!d 111 tht! lowt:r pan ul d1c qiUlrtl'r or h:h. k J'WTJUJl

of thrt slwc,; l f'J'l R

A l"liiUI'IHg lll~l• orgmng HOUH'rs 1hc .tppcarnnet.• of normal·su.c cuff~ th:u do nm h.tvt: t unugh lcugd• to make th~ cuir \\ rdth" pmpt rl}

l

J'I:NCJJ

ncn

li.)M\..

I RENt H L n ll1c doublt: lcugth turm·d bJd '"·uff of a dn.:.;.. o;hm, fnst<'lll d \Hth l.'Uftlmks I JU N II Tl PI' I. c. 1 hc fi111slung of rltt• IJl'iJdtH•nds of !l nc<"ktll' \\ ith the '>arne mnt~.:~rul as the 11IH·Il of the- til': rn:o.rc:1.l nj a h111ng: a mort.' {'Xpcur>t\e :tnd sJallcd tim~h to :J ll( ~I

HI

• l >.;c.

AI

P~>

ounCl' \\ur reds. dus f..ttha of 1It\.· mud an high m asr lllUI.l'S a

pc.•r l~l't .tnt i~fute tO wnnkJ(' prone

tropic J! \\l.~1ght s111ri ng-. RON"I Pl.[~ n

Tht..: pleat.) in dt\! !Op!;idcs uf trousers t h:n run an line\\ uh uou~cr< front ae:~se"S (Sc·r. p:tge

I

th.U I Cf•mpart.•d Ill ,fur tn th fruu f ;t (St<.c bou1 nru rrc pagL !f ll J

61 ) r~_;u C.AHDIGAN :'IT ITCH )\

h:tsic loop !ilrtlCillrC 111 buii..T nb kmrrmg r:. produced b) plain net•dlcs kruuiug \\hit(· the rib n~c~llc.!:- tuck \t thc rwxt counc. the fl''~"C rJccurs 1 hr 1:1bric h!t:- d1e . .ante .tpp\.·araWt' ou DLllh -.ides. rhcrc bt•ing :m cquolmrmbcr· ot loop~ 1111 d1c f:tl't' .llld rht- rc\1.'r~t: o)f ~Itt' l:tbrieFULL I \~IIJuNJ:D ,r\ term

appliL·d ru sweater.. and ~H.h\'r .:;:munu' compk·td}' knirtcd ro thdr lrubhcd hapc 011 rho.: ma,hin~. .Shapiug j, done hy :1dding or :suhrrncring srirchc:; to widen or n:~rnl\\ the i.1hrk ill dc.trcd :~rcn~. The pt\J..:ess is used for .soc:k ..... ~\\~:ttl!l , ttndl'f" rar. ~md orhcr :sport:S\\ c;1r

r

11u· .p;u:mg •fun nt"L'dlta fa krum 1 tnJLhmc \~ luch d~rennmc the- thr lu fin 11 tlf t h\: I mth .d f.ilin fh h1ghc rrh g u r numb r of needle per gJ\ ~ n ~re.t th thmn r rhc fJbri (u\U.• t

pi lt-1 t hm nt t d c

LuH Nflll HUITPN llutu. non J \

d1c opcmng madt> b) th tJpt:nug Jun sit C\c

<.;u.J.Jt

I• HI S~l' ~l.ut} 'tllhmt·r -,umng1> in till' JlJ~U'> \\ t.: rc t: laslu 111cd nfalooscl) wtncu. cnsp wook:11 1:1hra&: <':tiled "tr\·-.ru.- \s rt "dghcd ••Imust q uunl-e' fl) rh"· \Jr.! u ,,,1s £.:.trccl) light weight lull it\ pr·r~msit) nccuUIItt:d lOr 11.5 cnnlnc' li,J:J~, nullt>d 111 8 to 10

cloth

l~o~\liNJT \ d:ul n!d •qm.·.o u.-: nnn raJ u d 11

ufl

illt.<l

'"

A lu\\ .murt 1>ho \\Ith ( l dt-d I n • thai pass Llrrough lt·atllcrluop m.srt>;td ut ~ lt:t ::md • ~..rm" bnd·ward :md fon\ar.1.1cro \.lh Ul!ilCJ smn,•tunrs lll!ln amund rhr nn' lc A L-liW"h re..t 1 tht } Jti(.' U<>IUlll)" mJde \\ulmus n tongue II \\t1. r a( .1 tl'lnguc 1 useJ. "•' ll"lLlll) ftmg\:d TJ ~;; pte em ghillac IS named afrcr rhe hrgbland s:cnaJJr'> \h Yt rt tllt"tn c..HJUU

A s~.;Jnl t H."tcd thrtad uJublc tor makmg r:mcd edge~ ruuund h.mdm;u.lt• buu th I

viM I' I JIRBU

Gl M l'J NG 1runnung and c..rmult.mcou!tl de. ~;:tm the edges nflt~thcr pscccs Int >;ho maler J !> tiJ \\ ith a gimpmg madunc: m ,,Jud1 ld.'J t l \\Jth \'.lr"lous panem.; .md d{'1;!gn can bt- fined From thL htda)~\\ord rnfi?11ft vludJ bcc:unc dte h c nchgumgan. A d} cd m thr- \.un fi bn :111 l"X:tct rcplicn c·f th~· madr.a" constmcwm •n a m.tm GINGJII\M

t hrrnds

in WI FT :1$ m rhc \\rf\RP GeuL·r.Ul .hown m

ched:s or pbuk (Set Da\ id Nl\'en pngc 20'J) l~l EN I'LAW· A four

b\ fourand £'\\0 b\ t\\ tWlll t•ffcn :in both th~~ \\' \ IU' ~fld I'ILLJN(, dtr<·• u n' 'fhr ['lncy owrpl.:tid uf ch~ GLJ NL RQ.1 Ht\R1 l'l.Aill J~> mi :-.ing ill n glen pbid (Scr p:1g~ .:!.h8} L~ J.i.:,Jl.JRQ_U !I ART l'LAI D .\ \\ ooJeJt

or\\ nud

<Uitmg

I u ED COL LAR: .i\ ("ollnr !>titi~nt"d b) :m inrl'rliniug l:umnatcd through h\!:&t and pre~!'ure w thl' top

or n~ati11g ruatenal mndc'\\Jth the c\t:T populllr {!! u plaid wn h nn ,o, erpl.:ud effect '' ~:n e 111 both\\ <\I,I ;znd

and or the under.,idc Gbric to pn!\'l!nt wilrrng and wnnkl6.

direcuom Tlus i unc of the.- dt trt t du·d" onguutll) :.doplt?d for In en \\ear b) nmcwcndt c..:lltUI'} ~cornsh l:tndO\\"lll"n> It \\.1 a i;t\ nm~ uf Ed\\ ard \ 11 I \\ he.1 he! was lhc Pnuu: of\\ 1l " (.vc

Bondmg the inner and outer shell of n garml!nr b) "dding rhc r.wo lay!.!r:- together The most common mcd1od of tailoring co:u irnrw. wda). 1 h~· intcrltuiug j, cl1:ued '' irh :1 bonding .1gent and "(u~<·d to the ttJuJerstdc ni the surftJCc fabri'-' wnl1 heat .111d pre!>'-Ur~· . gi' iug the clmh more sh:tpl' :md :-.tabtlir). l11 e:-;pensl\'c dotlll'!ii rh~!\c r''") se,·tious ,,.,,nld be sewn togctht!r b)' h.iiiJ fU\1 NC.:

ill Wl',l\'~ in ~jn!!l~ or t\h' pl) comht•d )':tl'll 'onu.•tinte" :1 thrl'e harn<'S" \\l',l\l'. l.:n\ BAIUtl N E· A

t\\

l.h:tJ':lCl<'ITI.c.l b)' di.tgunal twill line" in eitlwl' .1 .J) <)a' 63~dcgrc1! ,,hl~ljncd \\ Hh mort.' \\i\RI' thr~·;tds tlum WII Ar thr~1ds.

tightly WO\l!U !l~

w make it .1lmost \\:ttc• pronf lJsu::tll} in :.olid colM~. rn \\OOI ~·\)liOn,

(Jr woc·l blL'ml. thi' ddicne but luxumm!>1) sdk) <·lc.rh ts popul.tr for mtdwcight :-uittngs (,f trou,cr~ (.'lrr DaHd Nivl n. p:tgc 114) GA 10511 l), crshoe of rubb~..·r or ruhbcnud f;~hric \\llh .1 rubber sole dos!'d iu front b) a z1ppea· 01

buckle.,

1 I LUNG

rhc "~uit I-abril-" gatefold) ~'ivi~L· :o-;ATI\ E .1\n cxprc -.ion coml-'i m [u~bnd Jur111g the TCJ2P~ and 1q1os mc.uung h' dopr the indJgc.nou... dn:-.. .s of::tn} lncJI culrur~ ror the 1-u rc1pl'an it mcnm \H'rmng rhC"co;padnllc f the ~kditc•r:tne:m fl~hcrm:tn, rho! ber. tot tl.e Bn qut loc.rl or 1hl' seaward o:h rc of rhc: Rt\1(•r:t, I~ r \rnenrnn ir tr:tn:-.hucd trtW dn:·~smg hke th~ f ..anbbt.Jn td ndcr of lkm1Ud.1 .md 1:un.:u.~

GonGT -..C'nm th•u JOmnhe J:t.;ket 'colbrm ~~~ bp ( '\u pages .p. and 43-)

l.l RAIN The marL.;n\!' that arc left un the Jlmmod "' rhc r<"mt)\ .d of h. 11"l .uh..r ..;urf.Io. r of a l~thcr aftcr

\\Hh 3 p:m"rncd sur.fac(" pn: duud b' pnnnng r cmbu ~mg for footwear G:tuNITI gr<tmtc

GRJ\'1

A darkt h .Judt: of~' ~&li!C~ln;;

--~-


Li 1u h.• r: ( <.R \l) \~oon

Thl' \;f.;l£1..: of doth ,,Sit "ornt'" from loom pnor to bleadune d) mg. or flni luug rtw mmw ~-orne.; from rhe Fr.cru:h wordgrc~e. "hu:·h u~~J to n:ftrtt naumtl illL:duth bctnrc tlni,hutg btc1 nngltctzafto -gra} "

II 1\C~ IN~... 1 \t;._l 1"; "llxk" is !;hon for ~hucknc)." dcs•gn:niu_t! .t --rtdtlll· hem;'-" il'r ordiTI:.tl') rond or lmdiC"

GR! ~~OJ "t[

more "'spring" or llaJc ut the hip ro >~IIO\\ for\\ 1ddt \\hen sitt mg .1 ~uide :t hor:sc, ,1 deep ccntcn ~;: nt to open ll\ 1.'1" rhc.• huN' (the original!i had \v:tterproufcd tntl Jinrng). thn•<.•- nr iOur buttnu from \\o~th siH1TI lapd..,

A ned,,\ car fabric wtth n gau?.cltke qualm nude on .1 pcqwrd loom'\\ nh rhrcads ..--ro -.mg from ~tdc to 5Jd~ Origuull~ ;t black silk bee \\Orn in rrnncc- during rhc: caghtcenth ccmuq· Fsrs1 \\ o\'Cll e~dust\d)· m halt \)II h:md looms cltc sumplU\JitSll•:.-s of tr!o open tcxmre has c:-rnb!Jshl·d dw; !ioltJ rnlor w· "-' u t:.tplc 10 the ltghtwei~hJ 'Htnlrob~·~ ui the "'''rid':; ~rton tl cugno!iccon G~t0mR.Aa

Thi dulled, nL -.ilk t~t.:ing jo; ll:>a-1.1:' .m .tltcr:ll.tti\S: to the himc.r:11 ttin for trimming 011 loJrm.d t'\cnmg dorlu:o; neckwear, auJ :accc"~l'ncl' It onron:ual in the ~IIddie. \ges :111d gained popularit) in f r.tnce "h~n tlk rarn \\ ns u~cd 10 m::tkc 1:abric. and i nntcd fur n< pronounced Fll.U~,; rib cffc..:t 1 ike FAILLf the h:t'm nnpltcs n hc-3\1 or dtickgr.Un line m the cro •wt~ dtrccuon of the gooJ, (Src p.tgc..• 2.4;.) ~

cwd111n O\cr..:oat p-atterned after tltt• Jon r coat \'>i1rn b, the grcnadli.'T guardc; m Engl.tn~I It tc; :~dark color: double-bre:tsred ·oat with n h:tli bl·lr. an m\ l!rtcd pleat cxt~ndjng from benn.'i'n the houldc.r bl.ldcs r • dtc homm1 hc.:m. and det..-p folds :1t rhe sides

parh riding r.uhcr dmn for rncing ur hunung A longer than r~gubr-ll'ngth tweed Jacket f(,r rrdutg :.1 lmr.;;c \\ ith 3 wa1st lmc r:ti~t:d n three ·c.1unncr inch ft~r

and .slamt:J ,jde O.tp po~kcts(wtt!J Or'\\tdHJut n .;l:tlltr.:d t iLkct pnck~t) J:,r C:i"} :u:cc<.~ The h.tcking stlhoucm• £n':ltl} iniltll!lh.Xd rile ~-ut urlugh dass f nglislt

t.ulur111g (Su p:tgL! 1OR) 11.'\t;._I:-:G roc"rr ,\ htp·lcq•J flup po•:kct .u dt(• :-.idt• of .t ~pon r:H:kcr thal i!> sl:tmcd or cut 011 !l an .mgle..1~ '\\ trh the Jbp pn~-kl'ts ou .t hacking j:Jckc[. {Sa p:tg..· 88 top) f I,\ I RCLUlll· 1\ stiJ{ wit'} f.1bric Usll;lll) mndc uf a

couon or linen in lhl· WAH.I' aml f~.:,nncrlr hor.sch:ur (uc in rhe horse's JnJJlc) in the: rtLLI.NG .lS .111 imctlamng or .sriffc..•nm!! mar..:rial. Tc.1c.hy, mohnir ol" forme; {tf hur-.eh.tir an· tt_,cd in the filling.

lrl ARU l.-0 \T

l ;uM "' n L A name .;ometimc.." appl•cd m :a JOLLARD R!t" tlk t$lcft ,t.ghtl) h::u:sh by a cc.•n:un gum c.\udcd b} the tlk\'.orm A~ a-= removnl lt:.,t;'it'll"' \\CJgln ,1 gum mill[;, WU\Cn wirh parr of rhc ••u••• mrnct w be boJlcd off at'tcr wca•. tng Tht' proccs:. pn1ducc :t ~ch'Ct [C..'\tlli"Cd surhtCCSIIIliJar to d1c fccJ of' Jrh.lcnr madclt•r

\n Qld fa!ihionl d tte'rm for casual ~hoc.'i

rt: M\HE

"rth tlHI.k ~;:rcpc nabbcr ~olc'i

Tht" ch~d: wasorrgrn~ll} The ( o1gach from thi' Clbpool •Jre.t m th~ wesr of cml . md \t nmund 18-4. h \\i:t5 nclopted b. an .\mcrtcan ~hootmg dub ..ts rhetr lwl:ry and the n.1mc changed Its W.\R I' ..utd WEfT ttre gcncCIII} arr..mgcd in rhrcc colors :~nd \\,men In .a l'.\0 up f\\O dm-.n rwtll. An .~en d1cck p~ncm \\olth row nf altcrn.mng coloro; and, uo;unll) n \\h tl" background l 'rd tor sumngs sport ,.tckct!i and trou t:N (c;a ]tntrll) Stewart page LS9) <.rl "'i \..ll 8 ( HJ

K.

II '\I Rl.l N£ STRIPES· \ C:l")

llllHO\\

stripes in one rhrcad

Lhack11e.s:-. rh:u resemble IUlirmadc brwca\ingsinglc threads in color to wntrnst with the b.td.grow1d of ... \\llrstt·d WOl•l or corron shirung !\lore '-limcn.,tonal th.m a 'oliJ. tlu: tlnl.· [1ncr li11cs :;cr uff rhl· \\ cm·e1 a \H!II as gi' Lug ltim a $liglulr dangatcd l'lli·'t (s,·,· ~ hirt l~lhric~" ~.ttcfult.l; p;tg~ ''' bNttJilt;)

J Lur

UACK·

t\ rtwasun.:mcm acrus~ tltl' widc:-.r pan of

the jackc1':; bl.aJ"' (rom rlu: ba~k (Ctll£'t sl'um £11th(' puin1 whcrt• rhc :.lccve"s back St'Uill1!1H'r"C\7ts the armhole. II '1 1 ·.st 1 EYl: rhl' slc~·,·e of;~ slurt or- oahcr g.tnm•nr

cxtcndmg .lpprl1Xi m.uel} \Yiudsor. p:1gc 76)

10

rlw c Ibl >\\ (.:-u tht! Duke of

tfALF WAIST!\ tllC:J.~tlr~nlCill

t.tkcn at dn·w;uo;rJmc

from thl' J·•ckct':~ hack cents:r ~!.!am to the coat" from

cdg..· HAlF \VJNn OJL A kuot brger tlt.m 1hc.· four rn hand

but sm<tllcr dutn .t full \Vim:J,or: ttcd in the manner of a loci. knta ''r!l paru.tlluii-\Vmdsur ktwt liANIH.L 'Thcwud•u• fecf<,faf;tbn-.. \n c;.;pcaten"t'd tndi\'idual c.m dcrerrmttc th~ (pJUI•t) nnd ch rmuc-1 of a fabnc h~ lmudlmg. pnll111!t· w·0kmg or IIANI'I

FI .... r 'rigmalh, :m t· rrr.a thid.ncs<; of r.1bric .tdded ro llt'tJtrjiJzc du: 1mpaa of.J shotgun~ recoil on the hoqrmg iad d t~houldcr Nownd.t)S It 1 .Iddccl a.: 1m ph as .a ...!cn,ratt..·c ti. otrttre {,l N

r{

"U TAl

\

d.uk gray r;hadc. stmilar to th~ ,h.u:.i,• or'

cl c nu. r.U f ~ gun b:trrd bL S)f r

\

&J1TT1cnr to

fahrrr M'rtton m~crtcd .u the !fC.:trn of n

til "

L"Xtr:l

fuilnl:" forc..t.'S} muv\!rnent and

n ~ nc· ac :.1 rt'tnf"'lrCs.."Dll"nt \ho :m cxna l.t)Cfor p c f cltd m rrcd 11t rhc borwm J tmng oi ~ lurr·~ !ird ">C;un L r rernfor· m m fnt• U<;e of tJtc gu •t, a ·mb.~ ,f htgher qualm, 11lurr makmg AI~ ) the c ntcr ccnon i \\ cll IT .1dc ru:d:tt~: t h:t:t go~ ~round the l.u:k i th~ n I and UH.dc rncmh th ,_oil r JOimng the from: bJ J t dt nell end

~t]ttcezmg

tt

I IAN I> nt OCK.I n ·nn-: term .tppltcd m rnatl"nnl pnrncd b,• hnud "1tl1 11 \\O-:~dcn or .t wood ~111d metal blo~k I IAN ltNCKI P rite tcnn ·•l'pltnl to lt:md M·hclung al the <>dgt•c of 3 jackt"t l.tpcl vent pttckN ot t rou cr .nus 1lu: ~·xp.:'ctccl Bm~hutg fur top qu.llll) tlalort d dothcs (~u page 2t;) II!\NL1 ROLJ 1 n HIM l11ec:dg~of.t

handkc.:rdurfor orhcr arttdr rollc·d und tJtL..h~d b) band In o1 nccktt(; 1he c ndc: u:~:;: fol ...icd tutder a~-,ut a qu;>tnt>r i Ill h .tnd Stttdh:d h) h.1nd producmg n oft mil off.tbnc ltdd b

&rn:gu1. r sutclh' • found only on h1gh qunlir., nc~kt

GL

'J:ot •


II \1 l)W • n 1 N \\~Well ()J1 .1 lot •Ill 6per.1h d h\ hand ami four I he firu,.;hcd fabm:.. sud1 as a !1o\ccd ur lmmc'>pun h•• . , IITC'gul:umc, th:n t.•nh:mcc tl.. nuth~m•c•t) nddmg ~ har.:tctL"r:.tnd appcJI II RM<JN1 llu:: plc.a!'lllg cfTl!cr JdllC\ cd b) tltc propL"r n lnt •on shtp bt'l ween aud courd m.u hill of C'ul01~ f.tslunn dct.ld" .md .t(~oswu•., m the :u !inmhlag~ nl • ,"111~ 1> .Ht m:

)nr

'"Nl.

fU

M'\ N

II \ltNI ~ 1 he iramc on a loum thar ts r.us~d ro 'it'p.tr.uc rile WARJ' fHlm the 1 Ill IN{. prn~> ro .11Im\ th\: slnlldt.• w p.1-..., bct\\CCil tluun There .It'"' .Hil'.t'it tv.o h.trncssc~ un .1 lnnn1 ~lore dabor:nc \W.l\'t); I'('{!Ulrc mnrc hn•nt·~sc• • tiH' c.x:nnpl,· ;t b.r,r.. cy,• lon•n 1C<jtlll t"S iour harn~.;sc.~

ll...ruus 1\\ IJ.n Ill\• rradcnwrkot\\lnJicnlll.lh'tl.ll "f1Ull, drcd .Uld \\'(Wr.,!O b) hand hy fltl' cmr~l'I'.S of I Ism·•, nnd I P\\ is nnd ••d11:r ~~l.wJ:. ~)r dw Outer llchnd~" islnnd:; of ~.:-ndanJ. II \1 IICI\\ , . 'Ibd~'· tile fc.nh~n· l1kt.• bow on rlw hat's msJCic.. 1 holdm·~r from rhe :~.ncicm dr.m:otnng rhat mt•d Ill tltP hat tJgJH Oil the hc:~._f ~len'~ hat bo\\S J

nr

areal\\a)c; \\Orn ou tht.·lcft ~idcofLhc hnr

a remmd.:r

of the d.tp \\hen till" plume or lr)\ c rokl'll \\ a1> "nm on tlw heart ~l ..lt• for 1(\\ ~. nnJ awH) li·om rhe SWllrJ "ide f(lr .. nfet}

----------------------,\~, Rl ' LI.

nr·

-rrrv~tn:

Cft1thl':' lh11t £1J'C IOOirendy tli"C dcstint'd (0

bctOIJlc old bt)~>n: 1heir tfmc. Toda)' 's pencoch is /OJHOJT01t' 's

j'elllhcr duster. - Hn.>t1hs Brothers

-

lurs \\ nl1 J hu inc o;uJt a l King I d\\ rd \11 ,-Jm brought n b W I o ndnn a ;m nhcrn:nJ\ e fonn;J t '' n h t l <.~tt r popul:mt.cd Ut tl c- 11.)-JO;, b.. Bntnh ~ Tt. gn rn.1n (I ru smmr 1111111 u-r) \ml!Ofl} ldrn (~a p~~~ ' 1 1 Cl

Ungmall ..1 I " 1 ~:n 1 rrlap (;iffi b} thl' prd:cn of bop~ ..1 gc n -raJ dt nJ u t ,f ~ luo t•l > \\ n u falm, n~d~.: m .1 b. ili ' ur i r I l'a\ 1\\o tltrr•.ui.; ufbmh \\ U I nu \\:ARI n t 'th r mstt.:a..l of mtl} one u mg rough t • turs>d .m1 J uurl in :.utung Jac:kc•tmg, and othrr "Pf n. c: r I IOP\AC:l

lNG

J IOl "ND.c> I Ol.lTJI UHCJ;. \ mrdmm t • cb .J p:ttte.nt \\JUl JDggcd eJg ., rt 'lt"mhl111g th 1 e ol dug rootl1 and 1s not pl"rfcul) quar£< (St't' 1:~g\: 1 , I it Dl.lll RS TJf I n .\ fO\\ n 111 'orl ~urc [ ngl .d rlt.:l 1 tlh• cemer of th~ 1 cncr Brirt"Sh \\it.r'\too h un mdu'>r 'l

doul fe- brc.~ctt.od. \H t. I n ou tcrro::~r 111 ''hire or v1T whnt.• "uh m r thn ~: \\ sdc colortul huriz<Jnt.JI 5trrpe.-. amunrlthc h \\ r part IIUD'tUN UAl <OAT '\

II UN rIll G REJ. N A deep o;hru:fc ui green v. J th L1

II EM. The llnish pru,fuccd hy turning b:.1d. rhe r<l\\ c.•dg<' of a m:ut.:ri.JI :md :-c'' iHg it br hand or mac hull'.

III JUUNGIJO.Nr A ribbed rwill \\e;l\t' in \\hll·h ;m cqualmnnb\.'r ,,f rhrcads ~l.nH right and kft to 1{'1'111 .1 :tigt..;tg p.llt 1't'J1 :>imibr t.l rha1 Ll(a fish\ skdt:t,~n (Nc1rr h J\ 1111.: nc:m lluriug). A puptil.t r d"·~•gn tor clmhing ~111d ac~·co;soril's (Sa Bubb) ~horr p.1gc I ~.:t)

J IJ~...II tusr. Su H.I'-'L fipurc with ...houldcrs "hu~c squ::t I'Cih'ss 1S greater than the norm. J II Gil 'iHOUlnt It\, ,\

ll&GJ 1- W...,\ n R I' \Nl s Jlams th:u ~ltghtlr :1bm c t ht: ankles

r~••ch

on I) tu :t pmnt

fa•·m:1l luuking snfr felt h.u \\ nh u t •• percJ crm\ n .md :t rollcA.~ boun~l edge.· bnm In hla.:-k nr d.trk blue 11111.1) b~..· \\l)rn \\ith .1 dinnl r j:tckct m llllJJtl. \

nt

}ello\\ •~h c.ru.t

Ill.: NUNC.. l'lNI-i. Nut m:tuall~ pml. but ':iUftt:nh Jr of !\C;trlcl <. )rigmalf) all [ng!.'!.h huuung raghb b(•longed ao rhe kmg nnd those t:akmg p rt 111 a hum h:1d ro W(:;lf the kmg\ lwC'n \\Inch \\a.! '-•1rlct I 1e .lllthcHtJC huntmg piuk dn· '" &ud tu t: lffit: fr.om n p o;tc.· 111.ule up of malt en nus bcctiD. mtxed \\ tth tm tn aad

IN!.,.\ 1 :s ·rh'-' t!\'lr:J cloth lei1 m $c.:tm "Ju, h en.thlt: e11fnr.gcmt.'nt. ornettnw' ailed nmlt'tt~

I ~st A 'I\I ., he distilnce m mclk~ from tht" aot h i~t forL w the bl1ttom oft he t rous~rs \L\:0 cant on a glon· ti1Jt i~ sewn ia!tidc out IN -uu: TlK' foundnuon

llfAD Ft1ltWARD. \Vht.•n a human figure\ head i'} earned tom .trd slighd) fmu1 the normal Tlu~ 11'-'tltlllr require.:; an .Jit('r:nion llf "horrenmg the p(k!!t's colbr :tnd :t 'lighr incrca~e 111 ils bJck li>ngth

1ll)

1,1th~.: t

Jf the ~h~.•c a p1ccc ofle: the:r

ben' ecn one L~nth :md •me L\ utth ot n ntch tlud cut to conform cxnctl) ff' the 1zr- and lupc ot thL bouom of the of th~ "hoc .\)o;<1 th p.m t the !<h~ between tihc '' El.T .md the outo;ulc

LA.,,.

I "'~1"1!1' The bnd2c mer the tnp .of the foot

rrotn the )ralt6111 rerm for rnt~ntart. In umg "utl:t) .. !\ knmcd d!'"'S" Lhat g•w the cffi•l.f oflx mg inlntd in rhc l~httcwttltttl> p:mern m '01tdcoiLlrs, [ S 1A R I !!t.

.'thO\\ Ill~ Oil ~_-loth ,}Jl!:~ or tJn• iabnc

doth llf ntJh.'ll.tf o; \\'11 her" 'Cll rh btx-h r~bric cl:tgannou and the expa,t..-d lmut~ utstdt• • "' 'L h _; fi,r sulfnCS! "hnpc or I 110\ ant1. ·w .1 t e pllYil' w m:u~n:tf nm I oftell WP\ J Dr al \\\')OJ hJcnd f~und instdr the.' ~tndopc ofthl' ric ro £1'C ll bulk .and i)nru~ IN 1 1 IU LNT ,'\G. A

INTF:RLOC~

tcnn appherl u1 ad "t'h kmncd t bn produ\:·cd on :1 circular 1ulllung mnduur. lmcJ "nh ,\

long :md short n~"':dlc:.

.

~..·mbnd wht<n rcrnpcr.nurc<. dL'm.'lnd w:arm pnnL nts Tht> ~ Jt I dut

1:--.1\ E.RJ.;I. s \

H.mn

in nonlm

.t

n:uue j,. a s.~ngiC"" brea.o;u:d. ~IC'\.~C~ (o:lt '\: Ut pc.a cd r not du-d lapel .md .m :u~ht•d Collpc '-':~.t ndm!! Tl' thl" c1 bt,-.w,; n prmci:uon LO the ann!> .. n.t upprr ~d In


t\\~'\.>th u '' J a fn\nnh: of thl• \ ICtnri.tn tr:n clcr In Lbrk omtOilfh fubnL"' n mct.lmorphe.~c~ uao nn dL·gant

as Pun,unu h:u' i\1-o, n bro:td bnrmned pbntcr f. ~t}lt"

of hat

t~nJUl at.tt

I ilrc the DEER: T \t.kfR. tt b .d o po...-ryphall .lSSOCJ:u~.:d '' ntt h.:rlock llolrnc

l:-o\ tR1 fD rLL>\f A pll".tt \\ith fullnt

ll\'1 In \ n:trru\\ .-.lumldcrcJ smglt• brcao;u:d J.ad.ct wnh .1 four bunon fium .1nd snug iimng paut an) garml'nr or dressing St) lc tending m p.arod) b)

on tht: mcotd~

du: m~n:e of 1 ho.x pl .. at (S« G fitzp.unck s brcoJ.s! pock<'! pag~ ro-)

C\::Jt'''Cr.ltlon the In• lc::tguc lntlk. oc~

IRilli'>C~\..E.

The rmrupb or rctlc.:no.n of nutltJpk• ~..·nl,u .mmnl-d b\ u.Jng .t \.lncn of ...ol..>r.i m the " \ R I' .mJ 11 u 1NG 1,.1f a fabnc (~'I' Gnl'} Cbopcr\ uc page ~ S)

buckk·l:t tcncr or clnstic ,jd~ for '•' cnr c!ipt'C'I31l) "ah

l r M .. L r 1\Jtothcr rcnn f(,r t\mntcn\ naturnl,ft utdcr f.!shron L,rc:u 1li)O, .t:. popul:m1.~d b) Bmt.,ks 1\rother~ Jnd ftmntf un . \ mcri.;.a '.s h'} L.:ague college

li·om knc\.' ttl .mklc. llr.;t ~l'l'll 111 f:11gl:tml wltc>ro.: 1 her ''err· ;t~'propt·tat~J frmH the: :ji .HL' o( Jv~l hptt r. In,Ita whnsl: loc.1IS' J:n ured rhcm over tlu.· snJ;'lrl('J:. but more e rrort (()Jl'ollrning, brt!£'chc.... nnJ r~ li.!".ltrtl k";lt her ri.lmg hom~. (~r·~ r.Jgc: 4. uppt:-r nglu picrum)

Jomr PUR. BOOT

lc:HH!I'UR\ {<lt:L' page

lllll'h'\\

~mpu cS \

hangmg nude\\ lthcmr l'L[AT' 31 f11t: WAISTU \

D

I \.SllT ()ngtn.tlh a ruffie on the bo~om t'f a m:lll·, Jun .1 nf oi ned.:l\t:ar for fommhn·ar "tth n nt:db.md nnd ruffic., hclo'\ u amcd .Ifit:r joq:pb ~ l:tril' Jacquard n r rcndmun bom an 1~'OilS. \\-ho In 1~01, imcntcd .1 lonm th It u;;.....J punL-h~d CJrd-: ro \\t.~a\e ~mcrn" 10 dmh pul n 111\'ltcd lum w P:lns ttl detllllll.:otr:'ltr.: it. and b) t •)6 the:- I "'tn \\.tS p;arcntcd To&n laCC}uard h .1 rcrm J to Jcsai~ m} mottf p&Jttcm or inmcarclrwovcn

h

Q.l o\RO

I:Wnc: lrom rnpt·~m ;Ind brocade to cl.unn ..k .md knn~

q.)

In P 1rl't.: K~. 1ong ri,ling truuscr.s t1:u"·d owr 1he lup.s nnd

h

kmd ..,f ~mr in whtch rhe j:~t:kcr h.t~ n..Hur.tl \\ tddt houldt rs '" rnughr h:mgmg.•tn,l h.lS .t LL.!Dtl'r n:m Tnt.• trou.:oers .UI.' piJin rrom .md qraiglll ..

.\ lo~ ll'ath,·r bont "Hit a strap and

Klr ~KJ· t\ llmdi- UrJu \\Ord mt·.aning Mdu~q .. or '\:.mh-(olt,rcd .. Th~ firs! khak1 (11lor~d dnth \\J."i so.tkcd in mud and trNlc:,i ,lrr Khaki h::t:. conw to refer ro bro\\ 11 £'''11.·'' and oll\ t: t1m~. \\ hach 1mlir ..1~ ior~cs h,t\e ltntnd ucoc-fulln reducing\ ''ihilit) .tg.uno:t ground and folt.tgc lu the nmt.•[cemh ccntun. the Brrttsh tn I ndt•l "ore rhe firsr khaki u111fnrms.

K1LTII •\ sh.m I tougue of iflllgcd lc.1t hcrthnt L'- drnpt·d c.wcr rhc ino;rcp ,,rJ shoe, cmering tltt•lacc." :md t1'Cict

wadc-wid!h twckuc dwl bccum"· hbllJ(wahk· in the :o.i).;tics th:lllh LO ;\Jidud Ftsh l'h<.' hu, a of the f.1nH'~u~ Jt-nm n rrcct ~lunmJkt·r tn l.undon, Titrnbull aud Ass\:'r. Th~ ~LI~.'llClllJ' "hl't her k:IPI'I.n. A

I

l\M \H "\ HORn ',honsen,lmg.+u nm.l dugh. shorter rhan nl:HMUfJA (,H('RT::t ~mncd fmt· the sn·lc ,,j •liNts • (! un I on the tslJnJ of ltm:.uca m rhl' 19.!0'1

J\

s(\

nc.:k\1-t..'.tr fobnc \\110 an arr<mgcmcnt oiilue

I'( \

fi nncd b) ltght mcd1um and dnrk haclcs "rn n

I r

IF \~ 1\ ~fT \ \\.11 t length Jac.k<'f at den rm or otltcr n 11l tton \\lth p;aocl sut-chmg and chest bctght P tLh pOd> 1$_

JrR"l 1

r 11 \. kmucd f.tbri.: made from h-'p\ rll:u tnt nne ...It 111 unc dtrl.s..'"t"ton \\ tth the result that the [ hnL fu, 1 pp r.mrc un the i'.!~::...: ~ldl· .md a\\ !toll} dtfli r m rtt· n the rc' <-'T e 'itdc m.1dC' of wool cotton, 'IT hi nd offtbc.·rs: for s!un~ c;portswcar: :tth:l fl

mdcN ·ar h dcnn• n" name from lhc ,,.f:tnd C~fJcr~cy h n.· .ulu Jar t\\nrt: ~t''lttnnnadcoftltt~ inbnc Sa 8E'i{i~f rf'(' In tJI\: f rem:h jrttr. lO ltu,lt ti1rth ut tn throw ut Th\! tnrlor ~ \\urd "tctrtng tnl .ut t b~.: 1d t'T prpc dat h t r otltcr tn:.ttci'J.J! .n r ·J.. 1~ m h \\ln,g th Jrt.>dgc Jct:rmg.'l m.l) l•t pi l,u H p \\t"ff olt UOtn tf pu.:-kcr mouth~ \Vlw:n I' d' n •th td dtt' p tcr 1'1 t~rmcd d uhl h m1 1r duubk JCttcJ (St·~ p.tgc.· 8b )

Jf·n f

m

}1 ,, t R El r r ' \ n.un gt .. '11 bz t;ulur t(l thr.hu n pl;a l d u 1d th• l.dt fl1n.:p;.trt ol a man

I br: ~ted

.u r w;u tcn.1r o .t t , keep tlu: J rtf.'.Jth r p fmm ~..imppmg d v.m,Jrd rJ'1J\ :\

f luc

1

n n m 1 trt ··ut ~ palm1tl•.e rrcc th I{ .t\c IJ fth d tt tre pl.utcJ rnt , h 1t In \\ n

dJc moniker came from ~ l r. F1:~h\ n:tme nr rhc tn!" ~ltapr! 1 ' \ ltkh rl'"l'tnblcd a "ktppct·" ll;,h K.NI E "1

ht• knn· mca~urerncrtt llf,l rrou::;er.. wht h 1.

<1Ch'fl11ll1Cd U) hah utg Its i n'>eam and dtt'll mc.t ~tt rmg

t\m m\;h.:s nbuv<' rhc resulung fold lwe KNICKER~ K.NICKLIUH.)CI...l~R •

Loose p.mtc: dr.ap~d met the knee .md fa rcncd \\ tth :a band :md bu"l.le nbo\c dt~..• ~al( onginallr wt'm tor golf and then nthcr "ports 111~ n:unc cClm~ from D&cdnch Kmckcrbt"Ck,•r ficriuous-:lUthorof \I IiS1n'1 ~(l\'n" York (actual!~ \Hilh:n b) \:\a.~hHlgtoll I rnng) rJu, rour<. arc- lull CUt ~Uli\;ker; t h31 pnudll'd fo11r inches bdol\ the knee· plus rwns .md plu · c•glu~ were Jcs~·nhC'd ..IC('ordlllgl} ~"il'r J).lgc u6) l..A LO~ n STI 1Ct 1 \ cross w~:k ron:>t run it'll" u h :thcnmtc plnln Jt.:n:e) cour.:.(·~ prc.duc~d uu J fine cut tnnchine Used prun ml~ fm kntt spoq \I11T't ni mCI\l!rll'('d ctlrton )'nrn

I AMn 'i \\~.'(ll The mrnen.tlmndl' of!Jbcr ~horn

li •m l.tmb.. np to

monrh!' old 1 ht' fiht rs ,IJ"C' ,oft .tud h.t\C "Upcrwr spmnutg prf'pcruc-. L-\PLL I h~

,

H'll

f.1cmg oi :t J:t...kct ur coat tnmt th.tt p.trl<..'l

1ackct or rn;u front JOllied\\ tth tl1c coiiJr th.rt '"\\Urn turned I a~k

;1

1 \I'PUI JAM \ wclkd clrulhcpnmotm~rd t·un mad b) pte \ltlg tfu: C.:Jnl to 00(' ..Ide lb ' " 0 l dgero I tng l.:tppcd m •r t ..tclt other .111d firusltl•d btt .1 row of l 1p tu"h··., of' tr} rng \\ idth ~\\ u cn:het b) Imud ur nu lunc If tl1c bp c.:.un ts ldr op~n and nm sut h£'\i UOWil Us C.11Jr.: ._j lll .. Opt.'ll lap t! IIH J'Jw, sc.ltn J f!Ufing

Gtv

'i


rt·n~h·t the odd ).iCkct ur tY•Juscr mOri! ~prJrf) (See llt"•n11 FonJn, page 106. I tumphrt1 Bogan p~gc 1~0)

L1\Sl A lorm of Wc)Od or metal !)luped likt.- 01 rOOt 0\ er \\luch a <:hoc I" f-as.hioncd In llESJ'O~l :;hocma.bng. cl pJirofindtvtdualln'>LS 1s hand carved b} a :o.pccialla!tt m.1kcr from bl·ech, maple. or bc.am wood into a prectscl) comour\.d f~lt:..(umlc of the Ot\rotm·r :t ftact protnlSlOllS, indl·ntations and nil The utlc chm:cn for tlw book\\ rut en on clw lift.: of john Lobh tile lcgcndJf) t .ugl•sh bonnnaki~.r hears 3 pun 1111~ l.iUt Onnr.s.l rrst l AWr, Origiu:.t.ll) fr\)lll tht! dry C,ll Lton. r ranee :t

hr dtc:" dcrg}' .,,It" prcscHt d.t)' bwn is n ligluwl.light nm'''' ut Imen fitbli\.

J:1brJC USCd ({ll gntllll'IJI:S WOrn

) Iu:s l.l'H.• ur:~I\V

uf t hc- b~u~r gmdc, usu.1!1) mn~ic of ~·ombl!d Ntmn prn :llld gi\'CII a pol[•;Ju~cl ..-;urfac~.·

of the nmtholt foncnn1ation ::and mam-u\er It il.: madt• from D St•fr fleece..: fabru: nngmoo~ung tn Aur.ma ( narm sho\\er--proof ltghtY.'CJglu fo~t grc n lodt..'tl doth \\om b) pummcn fmmrhc 1\ 1 f. r e::~ra for

walking. shooung ;;mJ dmlllg, LONUO~ SU.Hl N~

fhe bntJkng(; ofcl th II tfu r Lid uater method in ordcrm pmcm shnnb,ge nd re;Idt m b em up. 11u.· diJ doth to bt' ~hruJJ.l. 1 Jilld~:t.i bcm L"en an upper and low~r Ia} rr of' ~ dath a.hrn dncd naturall} Jlnd n.fu:rward prc~ti ln LalJ ll)Jr; ultr PQ\\cr 011tgmall) a01o:rblureclorll\,';;lf\" md \\flU London mcrchanq; m be submmcd ID-.l cnrm trm mcrhod of "hrinb~ e:ontro1 NOVo .uJ:n thr t~hmquc 1 :l(tplac•d u~>ualh· at the :.<.>at of prothJL n( n hur rhc u nn

London £hrunk" rc.m:ttu;; a widd) accs.•pu;d o;mndatd

LoNe.

Lf. :;:o.~ahiNG. Set• 1'UXEDO.

fRONT llAI.ANCF An excei's ofiC"ngth m

riw

from b;~lancc ofgamtem ~u.sc!. gannent to nppc;u- full

Ll n •\ Sl'lll i.uu om a tic mac him· LhaL f\.'pr•ld uco.s hnnd sltp•stitching in ncd:nt! mnnufacnarl!

on clothes \mm by 'to.~opmg figure

lJGNE;

Unir of I r('nch origin. equal ro 1 11 in<"h, used u1 mc.t:-uring d!l" width of hat b:.mds an"l bindings ufhats.

LoN& NfCK. A neddu11.: dun rcquarc placement of collar (Sr.i" page 125 )

LINE.; The swnd:ud l~lr me.tsudng buttons; the t:\'lclfth

hm rollar set lu\\ 111 fmnt \\ith point~ four inchr long and adt:quat..: fullne5!> 1:

p:trt of an md1. (.S~·calm LJGNt )

<11

fronr -cr.ens:c edge "hen buttoned. :1. dcfca common ~

luglu.•r

LONu-nOLL C:OIJ..I\Il A.

permit 3 rolled effect

Lt NE:N. A strong. lustrou~ rarn or lnbric oi smoothsuri.tcL'U llax f.1.brk:. thaL ,-.;·nnl:h.!!'i casilr Tht.: fiber is actually llax. Menri01wd in the Bible, linen was \\0\l?rt tnL•f(' than four tlll>liS:tnd years ng~o1

l Ol'll' 1 NG: The hand fru;tC"ning of S\\t"atcr !tcatnl; rn high qU!l.liq :>\\t:atcrs; al-a .doni! ou a lo p111g lllilt'htnc m simul.ne n handmade :1ppear.mcr.

I.ININGS (~110r:) UscJ to

LOUNGf :-.UfT• ·n1e e.u'l} n:Jml' giH~n ro :.t ACJ

rL'inforcc ;md ;tb:.orb pt!r<:pil':Hi~n. afford ~1 smooth fit w rhl~ in~1dc of tlw ~hoe .md 11.J hdp 11 rctam tts shape. MaLcrials Cor linings :He lenrher on all bett~,;r grade~ of fchHWc.lr.

or

l.l:-:I{.S-M-IH- l.lNK.S. The

term <1pplied 10 ;t r:mern purl or t:'lllC} -knirring sritdk·s produccll on n "J'l'l in I

mndtinc known a:\ alinks-and-linb machine th:lt knit" \'enically r:uhcr rhan horizonrallr. This i~ the stitch used fN alpac.r golf-rypc ~\\L'nt\!r:s (s,·,· alpacn \'CSL. page 163) LISU · \ fincqualiry of riglulr twil.ted.long swpk

couon )r:trn that is passed near a ga:- ll:unc tL) rcrnll' c tht> fu:t.z and gin• it a sleek .!'urfac~. Original!) IISl'd m hosicl)~ now nscd for fin(' knit ~him•. lr i!'i "o ca~lt:>d bcc;m~e it W'~1s fina made in Lisle (now I.Jilc). I ranee. A brrmd n:1me of a mocc.1~in -!o.t)'lc ~lip · on shoe \\'it h a broaclllar heel registered Llr Ncul<"mll "hops, Inc (sc,, p:tgc .2tl3) LOAr'JJR:

'Tht! oli\'c grt:I.'JI of the Au~trian "l}·rol. which urig&n:ul!d in the sixrct·nrh cunwry Tlw p~o•n:.!lllt .. \\IHl first m.1dc t hi:- grt.:en ::.IMdc of doth in dw . m•lllnt:tiuous Jist net \\ere c~llt:J Lodl·rc r.:-o, lnomr ng the materml from the rough and oil)' won! of the arc:t•!\ mountain sh~;cp. Bl.'ncr lod~n doth t'frcn ha~ some c.1md hair tn it and i!' \\"atet prol'lf wirlh.mt being treah:d chemi~-:.'llly. l!)DEN!

1unrN c0 T. 1 he f.·l\oritl! co:1t of tltl~ Eump~an "h') League." A mglc hrc:t!-Leti co:tt with a butmwthro11gh front~ milit.try <tJII:u·. chest yola·. l:tslt pod:l'tS. ,ic"p imt rrcd plc.m m back and n:;pednllr stitdtcd 'l'l 111 shoulder' dcsigu fc:uuring an l.,p~·ning in th\.·lO\\crr.tn

I.e IT

with siuglc- ()f dotthle-brcasrcd J:~d:et sn soft f.1imc for busines~

wear.

I.OVAT. 1:tmL·d a(tt"r Lord.l.O\dl of~otlnnd who prd.~:rrcu blend~ ofhaz) blue soft grec.n nd t.1n and

gtn}. sugg~.-'~"'Ting du= lh·athiTCd mne<i found an the l:andsc:~p,• of the Highbnd The upper Jane of:m Jttuciloo ..·olbr th.tt h:ts a forward <;lope .md .J lcm n~tk band c~u shirt coJbr in tllu t:r.:mon pJgc 49 ) l.t)W-SWPE COllAR

~1ACCLI.:<:f IEl.D Sa pages

14- 49

rype ofhe.a\l napped\\ JoJ bbnl:cr m big ~rripcs orchccb used 1.0 bancnnth du: .ttn~ fo.tACI\:INAW' A

ArnC'rk:m lndiau" around Fon Mndcin2\\ • hdugan ·nll· bJ.ml.:ct. m:uainl was al. o turned mro coat for lumbt·r[ach. Tl1e ryptcal cont was dC'nblc br~a.,tLod lit a ilng~o·nip length" ith shawl ~oll.u :md an arounJ bdt that bcc4tmc knmHt.ts tlu~ ... M:rdnn:m

cl!

~lACK!!'-~ 0~11 The tertn U~('d rn tnglnnd tNln, fir raincoar~ called a ...Mac -for bhon Ycaa ago it \\.1'1 • term o[ten applied to rul) • hm~. blad: \\Jtt>rprouf rain.::o:~r ln r823. Chadt:S Ma•lammh • .> \;l.tS!!OV. .:-hcmiSt, patented :t medwd ofoondntg nw~r he tween two l:t) crs ofcloth to m.Wt· th fim \\-::ttC'rp.rooff~bm:

\~ A HA I I LR \ phro..q:o t1~t ..pp}Jt-d 111 l ';l r.n \\ rlli.un I Ie.un MIHL'r. a f;unoul' Engh.h hanL£·" h o;uffcrcd UJtsrrolc and \\em ll1911!' tls. r bemg c.:trried bareheaded through the street!. of l ondnn on h~ dr..-~ttlln 10 the I Jowe ~)f Gammon$ \lAD

~----


"\pring'' '" tl1c "Sua l.1bnrs l!<•tcfi.,ld J{r)lph L1un•n , ...181! 9) )

I hl' fibrous I'Ut fnc~; g•\cn to .1 dcnh 111 ilmshmg sud! liS n:wncl .md doeskin . . . urf.'l.::c flbl r:. an: ral ..ed U) n'hll\ mg t.."'fllllden; C(\\ crcd \\1Ul metal poults or t<.•a.;cd burrr. Nl\1'

AI'I'INv $u 1\Rl. ')IIIN{.

ofhc.I\ h'J cuu\tru~IUU cmplo) mg M.'H·r.tl colors to nchtc\·t.> n pl'bblcd ciT~ct ll"t'd 111 llt'Ck\\Car: Tlw word is I r\!nch .md n11.:.ans .. bf:'ll J l.!d " NAl I J

D1u: H

1 ~~

M

NA'I't

11\'

\ b;~skct wcaH'

It''

'llhJI ll)I: R Stt I\TJ llA .~n.•md P·•~c ~CJ

\\\.. ) Ull t • \ ..

\\t1rn

1f1

tbc Hriu-.h Nav). dtis d>lur IS

N~

!\ kt\ut or t .. ngl m \ m pbn t: 1b J ..mt incrcllo.c-s or cl~cre-a~t."S uf tt:n ton dunnb the f lfl proc.~.~ nubbc:d \.lm gtn• n trri"gular u-nt rc H

labnc

f

bUrt~ ·t

OJk~JdJI. Ongmall\ .'l~mtem m :i "-ttrpr r b ~com h ftihc:mum anh ~\c-r.tl oo:umgs c. f cruJc lmo;ct d ml 1bda} a r.1mcoar m.:~dc t u ' n (abrrr pmc\!s~rl \\+JUJ ro;mng; uf otl ( u LILkJ 1 ) 01 1\ E A

c~

1

sf•ft tone ofgrttn \\"Jth ... hght \ 11 \\ h

It 1:~ that ot an unnpt; o] n c

J-rcuch rerm (rnl'dtuug" Judo\ 1 pphed tQ :t fabm· dted unHJhn r11 a gr..1danon llf h:otde ("irr R.1nduJph :1\cau's nt:, pagt! tfl) ( 'M lHU. \

A ro!l3fl.t;tbl, ~ugh h..1t "\\Jth a firm ~url ~ brim fCJr f~mnal C\'~uing" L..-tr cmcrrd \\Hh Jull \IU ,r )l't.;IV. !tAT

\ m uall) black Nt:.A 1 .\ Tt'ltnuseJ in tht! nedml~ar rr:tdi.! fo1 rdernng to a cO•l~,·r\,ltiH' tic p.mern \\ irh =-m.1llrcgular flgurnuon ~'re page 1 )~)

otlu·r matd"i:tl

NH ~H \ND 'H llt:r A :.hirt \\ ith a narrow bnnd ctrdmg

01'11 tA 1 h._. hope of.t I'AN'AMA

the neck and buttonhole... at tht• end~ d~~~igncd w be :llt=trhcd LO .1 ~t>p~ll":llC Cl"">il:tr.

OJ'LRA l'CMI'

5o· pagt

:!)I

rotht:r tra\\ Jut wHh a full crown and a ndgt' t"~tcndmg front .fi nr r b:td (St't pageJ8!) OfTurl.tsh ongm . tt·~-rured d~ ~h \\ '' n f.1hric of r.t1s.cd crusswt'>C 11ru m:.tdl" aU· r mh~r i.1hnc., u!'icd for nccl.wt>arand form.Jh,t:.Jr 6 mgs

bwttcc.l or dr:ape~l in :.1 unt fa.•d11on ar.1und t h\1u~ck usuallr madt· ofcoth>n. silk Imen. or n wool- blend (Su· p.1g~ I6tJ)

01 TOM!\ 4

N1 CKI RTII:

One ofr\\0.3CC'-"Jll000l tpl!ltl n for 1he "e1p,ln of.a clorh It ~;hnuld r~;~lh r ad a" ·-.)unce!l pt.!r lmcar ..rtrd... nnt pt•r c;qu;rre ;wJ

J:C h:ERCH II

r \

squ:'lrl."

(\ .~qunrt·

folded and ~..lr.Jpcd around

the neck" ith the cuds Lied in :1 rot..:n- JN IIAN!l or otlwr knN ;1J1d worn with ~n npen mxkl·d ... pun shin It '' usual I) m.td'-· of cotton. <>ilk linen. or a wrml· bf,~nd (.Set• p.tgc 169)

nr

OUNc fS I'I:R ''t:ARD

Ou rstAM The t:rr•tt:.t:r lr..:ngth nwASurtmlltt r 1('n ir,Jm t h<' top uf dt~ wJmbnnd to the trouser b,ltturn

\Vnrn1 outer gartnl-·nt frt ~mgl

NrcK'JII : Tlw sL:ttJdard term tt!ied (M male n('ck\H!:tr

0\'1 RCOAT·

im111 ,unuud 1840 nnwnrd. ~upcr.seding dlf: word "ncckdl'l h.-li.,fo or more thid:ncs:.~~ of 1:1brk 't'\\'11 in :1 shaped scar( or band l~"'r w<>a r unJcr r ht• n >II a r fold or 4r'Onnd the- llt..X:k and knorrcd iu fr~.mr .

~1ouble hn~stt'd 't} le lw;~' ll r

than.1 topcoat Tht coat c:1n be rmccd b:1.d: ro the 'iC\ cntcemh C<'ntUJl "hen ancu:nt B1iwn mndedo wtth a ptc.:c• crf,, I doth Lhnt doubled a.<> .1 mantle b) d;J} and a blanket b, rught

~ EH RU JAC~'"ET· .1\ ~ingle~brc::t~tcd

jnckcr oi shapelr lines buuon!.'J high ro a --mnding-balld r~.lllnr, named lor lnd m's former prim.: mini:.tcr Jnwall.lrlal Nehru.

0\•ERJ'l.A m A pattern m \\ ruL"h il block hgurc rhuJ u superimpn"c.d upon a :muller pl:ud r othc:r npe of de-ign (S« l uct:mo B:~rber.J J:trkct I~St"-)

NILTIJ{J\1.:. Tht.• tc.nn applied to color that mm.tins none ol rlw primary colorl' l"nd) ed lint!n ;, on~

OXFORD UAG

c:<.Jmpk· J \~KL:'r:An informal jot..""k,:t wtth ;1 bliX plc-nr at eac:h sid~, in irom. yoked. tWQ 1>imililr bux plt·:tr" in b:~ck. and .111 all :tround hdt Cnnsiden·d the ilr~t "rnrt t

Htt 01 ~

1:1l·kcr

nrsr populari7.cd b) l oudonl'l~ JlS: :t c:t~11nl shoa. rhi, fm•IWL'~1rw:b lntcradoptt•d h} 'isrling ~lllL'rtl::tu~ in tht.· nud~thlrtic .... ·rwo tnot.h·ls bcr:HJW pllpubr a sli p-cm mtlCt.oL"iu we ca:;ua.l t h.11 '' .ts t:".1llcd .. ,, 1 f J UNS ":md :t lac.l.'~.l rnodd "uh ;1 <.pliL, Ioc dc . . ign and morC.J'illl fronr 1hat ~t!.:amc kntn\ 11 3, the Norwcw:m. Origin;~lly; NLlrwcgian ~hoc:. were h:md sewn hr Norwegian i'ishcrm:ul~.luring thl!tr off ~t·ac:;on {Sre pngc .: w.l) NonwrrJI

\N;

'tl'p cullar: a la~wl ~t} lc fi,r s1ngle brcasred coats fcarunng an ;~nglc b.:tpcd' pt:ning ur step cffcn "at the puint when~ the collar of :1 jilckct or com n•cct <; Lhc l:tpd (S~t! p:li!~ ~1. hottom) Nl ')"J'CH l.AI'f L

t1r

In n::t4-"lJOJl pinq the dmtnptpt:

Edw;~nl1am 0-d~ niL nt\t.Nr> Mudcnt '' idenccl thL"'1r trou;;cr lcp- ~o tlmt W£'\ resembled a patr of deph.nnt s legs :\ltltt~ugh tlu·

tmuser leg'' orn b,

f.1shiun for'"Oxfor-d ha!!- grnduall) Jtl'd nut lhi."' "l~ '' orn for ..omC' wnc on the golf courM farcnmt..nl .and prl!hahh pbFd a roll! in the C"\ nm..tl dCJill!oC of plllli fin1rs m f:a\ 01 ni LrolL~~s fm golf (~r:r J red 6uch:anJn p:tgl'

112)

OxfORD N.11ncd tun.J ford lJm cNltl dIn'' .. h" with t\', ormo1-c 11et. of <1lllt;"'i .. ~~,r l01c:~ mJdc Ill I ~l JH,l t..lllR. or Gl u 1 r. "'} t~ (~c p.tgt" 191} \I ,, >1 r1un or bn'ikCt \\ l-•a\•c .shirung 211 OlltoJJ faro rn•Ju, l!'({ b; rlt•m1'h wc;aer.' "\\ hn h.1d nugr.atdd tl lnglan.:l t Ilu: umc of thL: re' oc.arion of d1l· Ed1ct ,f ';tnl tn lhS~ 1 he cloth ~imuLrres:. l} JX' ofb;.t!'let \h:<n \ rth a tlh ph \\ARI' and .J bull-.1. rounded m H~t ~1u~l l JlliM· \:Jrn oi \"-lu."ll "ILC to [ht- \\:ARI' \"ant Broub l\rmll n. popubn:r.cd Lhc tJ.bnL in ns buttllll dm' 1 roll m ~I bec.onnng l'\llC: oftltc sanun2l t\tlll., of th l'' nt 'tl C".l!ntlln (set• rrcd \'ir.ntr~ p:t_gc ·~o)


t-:.r1 h'R.n .\ J.rrk gtm MlJ.Jl of c~Jlun·ift d~d b) t.Ung o.;:O un fU' 'pPrttt.; .. nfblr t~ht-d \\ l11tt..• ~ S" tl• 1:; p ·nr) aud hlJ I. '-lh·d '\ oul<> ('lS t.• :-- ·r'" m) •\ tgl ft. r Elf.! "~ gn ...·n u.tnk: l•l l..Imbndgr:: h\ \\.1\ t dJ ua ~Ur<thtrlf! tttn.uu Li'l;}~rd ~~~~ted b\ th 'f

tl 1r th

mn\ll• uf .1 lrghNctgln m.1lt; n.tl

wlors fL..tmbndgt: .m laf!IH (b <'l "hal..: tf 1 .. "f\. h.tnrd ..trl: J.ul {hlue) ( • tht.· I[ f b • g;m.·f-.fd) ur &h"mt}

lll nR \hn

fsth.·'iiM.k

PHJ t

I

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1 I

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arJtctad~ f

MI

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11

ttddltJOtl.IJ! ru~.. ,- of tabu.: {lf

hl J;l\.(' or fl\ I

p.trU~:UIJr m.tpt:•

IJh; h

tO

p:trt'i •'lf •l

k t uu.-nr

P\J

\n mrh...ttt" :tlJo,crdcsrgn '!>uggr.ung .1 Hrlm~ pmt" "lltll pe~trc.·f'n \\(1\ en or pnrucd r mHm thr pan em~ of \Hlulc.·n "'h.m Is m.tdl· ;n l

l

lor I

d.md (the hl\\n so n.tma.'li m \ tt"b,n:m h r at t.._ '"" tan produa) 1 h ·..:c 'cLlrtt.'h "h.m 1<. "' n an tum dd.tpt.I%1 lJh I .:-a-;It me.: re h.J\\ ~ oi l r ur1 Jcn mon .-.ngmalh m.t.lc tn J.:ashrmr: lnc.ha In rh !Jt Nlt.h thl" pat.~ill' '"'-1 .1d.tptcd a pnnt Jr. "S' ... tor nll."tl n~: ·fmc 1r ( u twck.nc pagt 3q) o\J \ '\!' r he I·~ ntfl" lccnrh '"I.."'Cnlu.n repl.lC('Il)CJit ,r d u gln·durr ill>Utt Cl.lJN:.cing ,,f.t butrun front or

pt!flm ·r 1 rp ~ uh a Jr: JW tn"!! t~ rl.tsnc \\ us rband f 1u l m td ufcuu 'lit. sail ur other t:il.mi:< prim.ml) titr t~ Ill ~hut .11 'fitr {,1uttgmg J he \'-'prd 1 tJf llmJr nrtg10 <t the !!annenu \\en.• bnmght u.h:k to ln~l.wJ I rt. ·unnng munl:>e.r:; of dtL; BmJ'h ILJ r~t r Br ~ H lln U \ bmnd ufd •tit rt!~t~rcr~J h I I lm 1k 1 h ( mpanl Ongut :dl} a "11tnn1L'r uftnt! fTbJJ rrJI r.angmg au \'>I. aghr fnun- tet '8 ount.C!o n p :tut '' \\ th ..tcut«nJ \\,\Jtf' :lfld MI..)H\rR

rnrs " '~"rtf

I

\

umnu:r r,;uttJng rn:.trcnal tlt.tt lUOCco; m J pl.un "'-':l\l ,,r1gmnfl~

m ~ t~ r \\ trh • rt ~n \\ . r

r

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1

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u\

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M

(St't

\ r r-c f I nfJttl'd ,lJJ I umh.tpt:J 'itr.m

h"ugnl b o~tltH"' JnU \ ~lil'IT'i tu the pun of I n&t J (t ~ It ud plur I f( •m Alu (f of the long f 'L fl'' F It 'Jutlf.l) pi 11 (lt~'J·I£ 1r th••nJd ' ru fs n tm I 1 Lcu1Jnr 1( )ngtn.tttllg 111 f u.tclor t nhu " l F'i: ru rJ c.• r l\\ nu• ri.d ,!oc.. not u nh l m I an 01 bur I Jn.lm.Jt t.u~· tc.. I rhL l•:.~u .mtf got

Ju

hrr.t

hr ·r\.'IIIt

rd p.ntt I h< rt ltr \ Jnt.JI• J 1r ' u l Jnt.tf nr dura r n \\ ~ lr.g - n. rm~ I •l J pr d n } 1 lng_Jn m l" · t Jm ffnm l~.J ~ n

'I

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t I

th

r

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in

P\..., J II

n au d t

11 \ r i •t

\ 'Cl'} p~lt· ton,· uf .1 c(•lor

pnd.d llllldl' b\ Utrhtng J pn:cr of Ill <II c n:tl 0.1 t lht." nut ~•dc of .a g;, rnw rn '' ir h " r\\ 1r! •LH :t lbp. This (XJckct Jc..,i~n COJI\C\., ..1 ~J.!urn { L'iU111 nut.'n (~« f>41J:!C H6) JJ\ Tr 11 It£ H 11.1 I

IIL-.tt•ft'~hrtc

I hr rorUJ applr"1 to J t:\h} uuttnn r-L.r "ttlt d1e lo\\l!r burnm plt.cnl tbu\C till' \qtsliJII~' JnJ th_ uppcdt rtt!Jn ct Jngh \\\.ln~ b\ th~ hor~t'\ !OCI I th Jq1l o;; (&l p.tg \4) (ll ...

\ IJ,~ ~fl•J !.l'Jl dl~lh:d frorn tht• [ l;unu pJrk 1

llri!!tu.tll~ n \\ md bn·al.t·r ltl,t' g.tnn ·nt nit r • h.~~~ luo!.ch lrmn ! ht slmuldt.:r and shp owr rlu l11 .:..f r h .1 np~~r itt tlt~ datuJt4tnd .1 dt.t\\ '>lnng tw ~1 mmalh

r

rru·

(

I'\ Ilk\

\

l'r \ J h. KtT \ heu\1 dnuhl~;: brca..;tt.:d d.1rk blu wu\.!IC'n j.h:k~''t '""·'rn hy !\:till)ts h ~it't •~c . . Jto.; n.un~ I rom tltt· l'>tnLh wnrd py· f\>r a h<. .w\ c.tl,t rs~ ' , ~..,len lll!lt~nJI In thL· c:td) p.u1 c)f tht! uiur.r~~urh Lt:lltttry l.1lUnr \I fred ,!'O.r"ill\, .1 E.sluon pcr"'~m.•ltt} g Jll_,lU,ght 111 tin nun\\ uhc,ur .a ro.u illlU hnught u~h a rccfl·r Jl··k('t from .t ~;:rilor. the l<~~ns. It hnd hl!cmnc pupul.tr •n

n,

tin: L:nnc.d \t..tt~~ ~md ~·rl-'ar Tlntdnl l 'r \CliC"K R1 \ Oll1ll>i'li ~ <. \ ltNA 81 1)J RH r f hl 11.HJJC glh'll TO the CX1.1tJC COfl'lT~ .llld CCC'~IltTk do· ht'\ of 1he 1q6w rh.n nmdr: men lol)k like p~: .kfltk... A tht popubra~ for uu;; d:tnJificd da~ph\ gn.: \\ trl~t..Uilt kno\\ n

.1" th,, 1'~1L'Ct.:k ikHlluuon

J11 H.. E j') 1. ~PH

~ J.tpL•J nit (JTl Ml llfl\\ trd c:J.mt ~~ tnl11F, t1• n poi11t nnd ll'aYlug ''"I)' it n.trnm ~pa'c.: hL't\\.:cn rl'tt: ~()ll:lr .uH.ll.1pd l!~u.•llr fimnd on \:ll.)ubll· bn.';~"tl'C.! L"O:It:o bm somclllnt', in ~mgle hrc t~Hl.'J •"(l.l!s I ht~;, ' '}k· v( t.11koJL l.1pd gr'OI!..o, stm' ur. fllll't tm.:l.ct.., .1 mun· fi HtltHtf d rl'SS} IDok. ~<.cr P•lgt• t<-t ) f'ru. Ill

''lli

~f-rench phrase ntC'a:ttHtg

km pJstll.. -

ddlnllt~pt flt,c, c\eu gr.11n nr lc.nhl.'rltl.i" surf:ll.:c 11ft, dull 4ll1t in) labn. woH·rtltkc .1 H\:11 t1 but'' rth Htb H• flnc .111 tlmoJ-1 !ifllnnt11 f.1cc IS pmdut'cd

l'r HIt F W[ \\£ \ dud1 \\ uh J 1cmgh( nt·d urhu; f. •mw.iln dt her n spcu.tl \\~.1w ur lu!-!.hl\ '" 1"'" I \.1m" th.tt hnnk \\hen wer dl·'>cnptwn fnr tl1at ~c..:tmn of .1 rR 'l r 1 outt: r ll g ltnl· cxtt·ndn1g fmm lhl' mhJdlc of th htp pc;•cl c.: 1 do\\ n h• th~.: J ur·~ PC!! hlp tmu t. r; ..tn 1m full tuf \\ tdc OH"Ifht.•lups nncl rap.. r w u~n \1\\ b Htnn ... I'll.. '\

Pr "'l r''' t;. r r \ pcc"Uf dr\l'm:m \\fUJIJ .i f.trtcr r\' k t or 1 ep.lrJh: JJ,ltrt " Jle,ckr't u~u.lll} ln~hi~ .1 m.ut=-

J.td., l ro lmu

t:

)

11(' ;11' lll(Jfi.•

rl 11

Pt 'l u t PJ I t;'\ \ t..'l'} tim ...mpcs m \ nr tlun: \\ -\ IU1-.. \\ lei• 'uggt ... rmg tlm..•c d1 ;t\>il d'} :l p~ rh d 1n nwn " auir i tl•h UJ J • ,.)urtu blt:nd ,,rcontt '"' '"'" t1.... b.t ~·r •unJ (su th ~lmr r •lmn ,g rrd~,J,1 1\..!IJI I :wreu PJt;• u-1 } PJ l u \ Rr u l 'I 1 h~ pu c.•rmatt. c It r.tt h.'l'ttU\ "' ,tft \ hch pt<mut t \'<lt.c.'f Jll f ~q ...... L1 r rhh u h n tnt1 , h.

1

1

J nth\: 1lt It lrt ,f ~ \ • f tor lt Jt rtl thJ• !Yrm~ d

n .m,ll ~n•

I 1£ \\1.. .t (\ff'

\1 i ..t t1L Jt 1 nrnI' It It iugt,· f.J ll !~ l, dtrt..LJ 111 htt n ••t i!nbr umm r trl thr- "'Ult J.1~ru-o; &-11~ fnld )

J. "\

Jl

I f1

\

t rm Jflplt


I'I [C.[

D'\ I I'

Dl'<'ll dh d

l AR

J1w l"nn upphcd Ul ll fabrrc th.H hil!

alil r If ha... bee 11\\ OH'Il th opp! ltl'

cor w I ..h ph z r m ,., trom thl

r

Ill Lli

Pt

ftt JrT

\I

"r ~\ r

rL"-1 I~ Ill INC. 1 he fornt:tUtln of grot!p'> of . .hon 1r hr l ·1 hb<·r- on t ha surfa\;e of 3 lrrhru: that :m: l:tngk(i tog •1lwr m lite sh.tpt' uf:r tilt} h.tll cnlled 1 -r.ull P"h ln! rmmcd \\ Jat.>n I he enciH)f n h:ttl") 01 \\ miJ) ltbtr

brc.tk Iron• du! ftb!lc surfitcc

Wit4lil}

from\\'('

t

p 1M •\ <.:0 J H 'N •\ l,Hlg :,lnplt• ~OtHHl gmv. n tn rh~ \uwric.m outlml..'c.:t numt!J aftct' l1am., C ,,unr) t\ • 1z, 111::1 ( n:.ucd b) ~ros.,brt"'nling Lg; pt!.lll .md \rlll.:ti..<IO \,Jnl:Hc~ l'tm:tl:llf hlfl •~ c1nl} fi1und tn trn

r

qJJ.ll111 lurtmg" PIN ~HI Ch. \check "i~~ apprDaduug that of .1 pmh~.!nd

smaller than 11 shL-plt~rd\ d11 rl. produo..t d h} rhc t'nd m end Wt"':l\"C o( ah.:mlllllg mlorc,l thrv.ld'i uo:cd for sumngs spvnsv•c.lr and -.hirunga.; (~ sumng p:tgc -I bortom.)

am t • rnm 111 f .111 d c J I 1 l t t. art p llldt; r

th~ T1 M CODtlUUUig

fold nf m tt.:rul p d r t I~ h lltn piJ~.c.: l\- tl c n tTi n, p1 I d\ .n·d aan utt tt• u c.: r \ldtn J pit; t 111 l'rtc.:d l do\ thr- ~ .u~rl md t t l n IIHUiu,gL:tn< Ill Plr::1t~ tr~ u ro; f I t 1 tl u wit.bting nf th r. I1Jp "'h u ~ rt d \I J1 rc- 1 PLr

1 \

\l:numllm

0 1 Ukc n anw's a F. pauurn but sm:tller .1

1'1

snull dor nppru.-xtm.nd) rhe iil7-C of a ptnhl!ad, usuJJiv found 111 \\Orstcd m.ti11ngs (~u !;UJting page 145)

\\ju?Jt

t.ntdin • (. u p:t~ 118

ofr luu L s m mt J t qu3rter u rhrc-e quaner-tnon t ld na nUig "lm~..-lcngtJt tt"P shun I d t v. rt:r f r tnd Y. fh>s~· \'fJJth dnt 11 nor c.:Jil J nd r l1 sur.pcndc~ (~tt p gc !. 4-h Thcpw

c,o(m l,,~ hI

furi'mg du....h...nJ. tlf rht> buu n Lin

u~l

A qpe at ,.Junmg th:tr is liglua an wc1ghr .md linn in h~:ulth:tn '>r;mcbrd oxliJfd dodt PtN W\I.J.' Cor~iuror

I' I U~ 1 Ot.: It\. '>u KNlc J::l fWt) t I R

with

.1 \l!l"}t1:u:r•JW

wale ot• nb

(5tt• n:n ~ jn~ket. pngc 1.-;q) PINK

\ :-.ttlt ~hade

of reeL

Pt ~Kl NC Tlk nHring of d1c l~dgc ul~ mnrcrial m a :'.igz.1g, ~.l,, tuoth de.."Hgn LQ pr~vem fr:t} 111g. PtNNI"I) COLL\R Am ~~hirt

collar su'-h n. a mum! •)r • 'tr.ughr·point -=ollar who-a~ l~oJim.c; ru-e de~ign"·d to bl hcl..lu1 phh·c with~ ~atcty--.1;-k pin. If dw (oll:.u Ita..; a natural tiber luting. rathcnhan lihing rlw pm's lwlcs will do'c up tn dw wibhing process. (St:r pngl!~ 1H 229)

I' IN~ IIUI'ES· Fine 'itripc.s the wtdth of a pin scrnrch resulting from the u l' uf whire, gray. 01 orher).trtl5 in sencs

lf1

the

\\'ARf'

ufa

\\OR."TLD I \1\RJ<..•. c~~c"FnlJ'"sn

rhc "Sun I .rbric.:, .. g.ncfokL) A ll<lrmw (Ord. braiclort~1l,l U!it'd 10 fini:-.h •JI dccor:nt' tht• cdg~:- or pockl·t~oi a garment. l'ti'TNt..,

rib, nr wale f:1brk >lChi~.:\ il1~ its r.1isc,l ~urt:,cc. a,,~swtse from -.dvage to\ ~dv:1gc sornclllllt!'i W(l\On w forl'rl :t hmw1. (vtnb or w:t11le •. JlTt:ct 11 •~ used l(w hnsomo: of f01!l1.1l !ihirts and I~Jrm:tl \\ nio;rco!H~. l he \H1rd b dcrhed from dw Fr,·n~rh •ltt~l rcft>n. to·:~ pth•" or "rh.u whu:h picrrl•s.l'IQ!

t: ,\ 'ur~l.

r

ntl

on rhl" other ._Jdc w Jth .a piUJ:! t t L,,_, Other mnrcnnl t; ~ed nh nuln h1 'r b button< \\-'JUt metJI ~lunl. .~ dldt. f n 1 plu :< hnlc: \\til It(jl he th1 on dtl' urfac:L I U1t 1 l

I'INl'OIN I OXI OIW

1

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PLLGbiN<.

1'1 N

t

tt

Pn A "lrnn~i of n um JU v..hh.h rn

r owt

nre tw ~~ted tog&.:Ul('lt 111\ rcrm

1

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d Js.>tfic.twm. ior t·l\:.unplc ~ngJ ph ~'w pl)

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1'0Il' I TO rnt Jl.l \ mc.~un.'tllt'IJl :ll."l~ [ I IU J r \\ 1d1 h Tht dr~.mn.:.L' het\\ ccn the l\\ tJ, uldl r 1 t

\\11lchJ,Jcfillt:dasdt.1tprunt\\h rcrh<"i r h. fJ r :>l':tm lllt!Cn- the top ..:lee'~ at rh 11 ... k am rf t:Il runmng behind rbt" bad, of til!" \."Ull:u r r d

other houlder 2long \\lth tl1c hnlib

~~

m

t

[hc.;c t\\ o rn~ tsurc..-n1C1lt':i LCLintt'-'1 th \\ dtit I th Jackl t shouldm;o;

1'OLKA nor 11H· carlH!.•;;r dt'"l~n l..n u n t l ' nee I.\\ ~:mr. Llrtgmdll) reputed It ~ mb u t God (Srr pnge 11)8)

I

t

PbLO COA 1 \ dmiblc ur 'utglc- hfl' c;red

"un '

Pl '\l-:Kn A s, p.tr:th.' .,rrip ofrubnr st'wn onto n slun from nr c;lec~c g:tunclct 10 .;t:cun: the bummholc ~ .wd prO\ ide "rructur~· and finish (.)(t :;hin pngc 2-.l)

cJmd s h:nr nr s11ft i1f.'l'.:.~ '' ath ~·J n ·r 13.1!1 pat.·ll pockets '"·nh ilaps -s.fcc i' :-utr.. m..l h r t' Jl :tround belt Thrs Amc:nL .m dm.c; r.. Jll;e<il 11 b rr.1<.r.d h.l Brmun·c. h.h'.-.tnhan pol fidd h h •pC'TUil!; SI.JOCl) g"' ndcmcll bnd tl car J fi r '' tdl ~ru nct1ung h • rhr...J\\' \.t•r rlll"lr h d co.n bt•t"~oen -chull:as .md s~ l f t n r t Bmthl!r.; as bn!Ch cre4it d "nh mtroJu Ill! d 1 1..":\lat f.,t "' c:~r .J\\ .I} imm tb~ p1 ill!! h fLh.

I'LAI D ~ hoxM>c di!Stgn fi1rmcd b} smpt'' oPYnnous \\ttlths nuuung \crric.dh aud honzonmlh on .tl":tbnc. C>rig1n:tll} the ..plaid- \\a.; a ltmg ~t•cmng,th1r doth'' nh c.tn.tn (mtllll) in hlark and \dur\!~hCJ'Iwrd dtldt) worn owr the left should~·r b) d:t\ nr mp,ht the

Po:-..t.a F. A hghnn!ight ilighth n =t IT J rl 'Ilk fubn~- m J n~turnl ..JuJc • r" um :or al t.ulon.-d spon,-nc.tt. I' ~pe,"t.: " 1d t be · tf rorruprmn of rh.: Clum ' pr bt m..: \ pw1 slrl 11.1tl\.t. unuld ..til.

~

.J


------ - fit.rihh\!d knn~'ih.th:r nmd.: ''aha Jngh round neck '-"r rurrl~.:nL-ck Rl-' t\cd 111 1qbo tn'm a type 1f S\\t.:Jren,om b) n"'~ ho" ~; ~·f du~ c: uh twrnnerh ccntur} l't1 "R llC\'l

l'aJI'U ~S

·\n.urtt

l>t>n"\!

pl.-un tight f.. WtJ\'CJl t:tbnn' n h prououm:cJ rib.. ftWd tn..J . b) u . . m~ lre-~•cr .:md CPUI~r\\ \Rll pmcc, tl1:an \\ n r l ru.1U \U'"Rl.TIU7..E.n fQr higlu.rr lll'ilcr p< pltn has .1 h~' tcr n"\."turc dun broaddNh II \US :\.

ngm.:lllv a ~rlk IJbm. fur ~hurch o; esmu.:11t~o.••.md tht' rc~ s... dcm nf fc'Vm the FrcndtJ'.'lptEr~t•, {rqm "lwn dw l:tlu i · \\.1'1 m.1d~o: w htgnolt,. a p~p:~l cirr (sec mnrnt•r' In th~ htn rahm . . ~pt.efuld) l

fi

1

h_.l£ ur f..tl,ric ha\ 111)! •1 fl.ll rnpl1cJ "ro" tt rc~c-mblmg .a pork pic 111 r;h:~pt.: ... \ I lt::.td urn">llmt:.. M) r.:rmcd E!.JilO'Ffll:Jg:ll.inc wlnrh rnt:rttduc~.:J tt tn rhc t-<no:; lmqaH) the hat"s lo" hn~ dn" mu..srh scuti~ IK1\H'\Cr. It"'' olved IIHO an (

(m.K l If. .\ -.pdl4

ltat

JO

<."'ttubfl.,hed Lhhron for W\\ 11 .und .cmapw; tn .1 \~rieq of "·n)op; and latt-r hc('omrng a gtn.t.'Ttc r.·rm in the h.1 t bu ~ 11("5!; PRI~l.£

pulllp. i\lt!H:.tugh the pump bc:~u :1 ;r pc.t~UJt., ~h•x Jt \\.1~ .tdoptcd h) tht.• .unifi..•mts,:d mnn t."r\,1nt n rhC" l.n~ 1-l.ws tbl' lm\ hcdcd shp nn \\lth flJt hu\\ hnall c•JUt red . .oucn as-n srnan Iipper fllr th&: f !>hiouabl dl"t's,.cd bd ship qfLnndun L1tL•I tl br~ urt~:.• \LtmbrJ \H'ilr for mi.'Q forcrnnd .rlTo!Jno.. and \\1 rn wnh hri" • he-. .. (St.e page.. 208 .!'if )

l 1 l'N,~IIJ "lu" P~r:fontw.lnc; to tr(',lh.' .m ontnmctltal cff~~1 nn shot~ (,VC' p;~gc l'Jl)

o;utch Ill k.nmJng Hl \\hiCU I he ).ltn I!\ ruJI..:d tr<:1111 tin• 1:nx~ of the f:thric row·a,·d tlu: bad~ n. dJC; nc\\ lnt,p:. .ut' ti'mn~d Th..:. wvi'rsc uf the pl.un kun st itdt ir pn:•du..:cs horizunt;J I rm' ~> f 11 nwd 11m· kuu riu,g purl stitch,•., ,HI! produ.:c.d un .1 Hnl.s ,,m~ Jmh machl"ne f'U IH. j\

Putti'LF.. 1\ coludmll~u~ bet\\Ct:It hluc and n-.d rlu· cdor rh;tt ts aSS\)CJ:ncd \'>1 t h 1hi! gunm.·ms wou1 hy ''nt}Wrurs ( ( ~mcierH H1Jme was .uctualh crunsuu

Q!_: '\It rt:lt Titt• CNnpkte bad~ and upper p.tn nf .l hoc th:tt ;l,ins the ' !'.111 r

or \\ALE-s LHECJ:.. The rramc "iJch hut

m nrrcctl upphcJ t11 rhe Ol.£NU RQ..LHAl{ 1 ch~ck .1nd 'lnHI.Jr chn·k '' uh u rolored 'Hrcheck 11tt' au!hcnttcPnncc of\\.Ut:E cl1cck "\\,,~ dr:.s1gn ·d h} Ktn!;! hh,arJ \ H gr.mdf:uhcr •fme f.unons Oukcuf\\ mdso1 \\hi: Jl he \\.t<; Pnn~ nf \\1al~s as b\c"t'f) 1:1r his :;ltootrng:. ,J.t \lwrgdd11.: •lnltt;t• un cotland ~ Dt•cstdc. It rs oi muLu· p.mcm tel the ~cnurqulmn but TJt!,l rl} (\\icc 11 ~ IT.£ on r pc:tt with .;oJ,, r;s of red bmw n on .1 \\hue grnund '' uh .1 !!Wtt· gr:J} u•uxc.hl.'d.

' R u L I:

l'RINCl. t'l \\ .u E~ • •"~A: I.

Pa l"'llT rancrn appltcd tu fabric b} mean nf !OCJ"CC:ll'i llr" or uth~r tmpn. ton fl l!.H

\Cr.tgt'

£•

r ~BT \pcr<iall\\itlulnrgt:.r1ic:-tt than

1 CJU"r

,f 'eat tJt!htnt·~ on o.n

.1mf t rnuscr-..

~ lint m.uendl made ftorn n twn up .md m ' do' n \tAtlP taL:c:cl m1ll \ha>oe \n t·~ht..cnth

r•nt

Nf 1 u

c'" nun I n_glt!'h "ttr:tni f:.1bnc m td~· tn " dm~c h.tl'J\r:~s t \Jll.md \l"il~ll· ~J~d J tl.ulpmpl~ urpfttm hade 1 h1 term'' Ut nhd fmm the f r~ul"h wttr.ll'f'l411tlllJ wlu h m an'" ,plnm .. It H

~ \n niJ t~tl r ~t, rm for 'iiUC si •t~ an '\ ttl'i t(o u.,

I•t ,l}!\14 It \ pk h:~ \ t\t'U f.abn In n soLd "r r.t!t •rn fnr: th b-.md of 3 <tl:rm:V r fdt h:.Jl \ •Jiltll.tr f ....rt \I; .1: \\- () rn 0 n ~II illl\ 1IJ 'ntL ol. ( I " p·'Sto l.!,.l.2.J

r.

rl

~.u• rlil unJ lcJ mal :a hKirn dr fur •nn:ll "'~'-• mn gronrl r L'Jltlri 1 aud ball, non l.ci JUit~ uc ~J\' n tm p uup ugur.ui."lf I he h'rnt ''-il flr'<lr

llil-11"' tl :tn i""m \\i1cn fm rmt""JI mJ tb uu! .tn~ ailed pump~ v•m tlun led I 1tb r l lr h 1 b, ~n ugge'>t<-d tb.u du•n I it 10 home ~ho tltppmg np :md d 1 m a th~ U .1 :\ ~ ntnri•lc tlnur... oundt:d hk .t \\".llU:l d dumtg tl t;

., 11 t ~~

n

the doilzes )'Oil HL't'cr tP('llr. -

A !'hort.lno'r:'-larung ragla.n I C\ed mgk bre:~.tcd n} thmt tupcoat wnh .I ruhb\ fJCllk Ltpd and ..ttsh pcn::l:.et.; Titt' tnn nf rlus c.uar r that lhc Pouct: of \\~c s.m rhc ortgHl.tlsu A \\tn lm~ uf d~p.arrmc.·nt swn· w fdmhurgh likt:d 1r .md \\Cut msnit and bnughnt

L) 1

.

-

-.-~-~·

.....

---

-.

-

H.ACI \N r\ luO..'t:.' fh.rmg rope oar with full ..:ut -.It-co\ es c:ncuding at an nnglc from e.1~h armhole to llw wll:tr m fooru nnd h:tcLgL~.ucr.1lh o;inglt hr~·a trd \Hth .1

huuon·thmugh fmm:. uotclti."d l.1pd Jnd turn bJd \'uff.., ~ arnr•d for Lord R.agla.u ~n Ef1!!h h g<-ncral m the~ nmcan \\~rwho \\a mputtd t\.., ha\1.' "liAA( "tt..J that Ius troop' .:ut hnle:s m thr.ll' blanker.; ar1J the:: n Hlh-h tht> ha11~ing folds rnto C)lmdnt alm:tpt·~ fl,r thctr :tnns to pi\H\!u them fn"'m tht• bm,•r H..1f.tdinn t:"ulJ \ raothi!r ~wr~ goc" tlut I nrd R.1gbn h.1d ht~o f'11lor dl: 1g11 ,1 C.OJl 51~\"" that d tsgmsc.-d rhl' Jo-. "(.li ou..: qf lm 1nn" rn b.1ul~

R \1 ON \ ll.'xnlc fiber m:hiv l-;.,111 n.:g m~r:m::d t:dlullll\1.' b} the\ ISH'"'~ t'rcupr~unmuuimu pro«" :-~ 1 ltc. \\ \fO -1.nun"",\I;J..-If1VI!1ltCd II] 1•)..2.J Kl·tmuh J t1f{l '' bu rhottgl·n rite hb ·r hntlln..w•

m

.,hurt f,ttsbl~ brc:-.1~trd ~~' l rct,at or J.n·kr.t usu.tlb m:tJc of 1 h• ~H<) , ll•th ~\'UrtJ l)\ o;c am.an ( "~r1gh,,tll) ir fttMl."ned at tlrf' '.tJl'.; ~u tt mr.tlh pla.. Nl hmttm41 \\(1\lld Jlut he ...uJghl 111 nggmp.ltnt "hen tluft rl"~...fing s til ·r;_....,_.-Ja> It as tltc hJ\1 Brut h Rm111 .r\-y \lffi(cr " pd..l:t ami rfu~ ftul!bl'.ar oft hl· doubk· br'£"..1: t~d bbzcr mudd (~ PntH C' { harl r-.tg<: I II ) '\1:.' t ..angle !r dL uhlt: hre.t. t ...J httt·d r:ul~,rcd oH·r ~ t.M t \I "ltU :t m ufflc r

Rm f'J H.

\

RJ(riMI~TA~ liiiRJI'E..Sc't p,tg\.'1'1

Rrr rr.w

Ill

r..-

L'Nt

nbhcd fnhr·tt; -with.~ord vtlccr fomtL-d b,- rfu.· rut r \do d)

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tlu: "Akl• m regular I'll\\" of lluat~ P.1n ll ulnrl..1 lat ted la o.tnpt"c; '' rth the rth runnmg tLrolt;~ 1lu I 1bnc an \\(~\Hag Jr '' U'iL'd prun:tnl~ lar ucd:"<".tt .tnd .t~.:<"C'> orlt· llh tctm onginntcd m !.!lglnet mh &:l'ntun f J,111t:L LUI'l'Upl~\i from nf. • I' r I' I A 1 \ \.lc~agn t hu1 appearr. agatn und 'l! un m a ttbaiL.•thn tht· munhr r ol 1 hrcaJs or ttiLho rcqutr(t]l(, ~:om pic 1e tllll.' Jt:s1gn RII'R ''I !l:,l I'\\ H.H . \\noll~bt·r:.

-.

, ll ~

II 1tNT Ct)N:o\'1 lf t.o •l~nN.

\ 1m'1hod of m:muh1Clll111l~ ,, nt.·daic. inH'I1!~.:'d in tlliJt•nrl) ''J2lh l'r Jc:.s1e l.tHgsdinf f11 \\ htdl riH: lm•~ cut ~hdl and rhr: bws ._mjmerltntng.ln' h•'ld wg~.·dtL·r h) .1 rl.'"ilwm "lip 'urch -.o rhal tl1~· ii1ushcLI ric '>tn!lt.-hl·s and fl'<;\lH'f'i \\hen knot:tl'd ,\lJ ltnc ttcs rm.• em u11 rht: hw-. hclpu1g them Lu htm prc>pt.'d) to tlCll mist \\ IH·n hung fmm rhc nt!d.:. and to rct.tm thl!Jr

f\.''tltt::nl·\ a ft{'J- ll1111 mg

Rn TllS \ llOI her n.ml~ fN lapds ,lC[ll:tllr the fncmg of the: l.tpcls which folds back to show the rr.wrsr c;1dc uf rite collnr and l.tpd-. out

J'lr

\ 1RQUsrR 1'1 L.t\I thJriolds or face"

u

0

'UU tlU

I

'\ l;{ceJ ,_, rd :i

black on "lutr (~r p.l$' _ •C.) JAt <..lT \((

nt.:

H J ,.c. 1 fl

th.n ha\t prC'\10u I)

~~.1111 inmm:.tl~n.tl

Itt \ ut~l

ll)_

uh trtp leathcrmcJ UlJ.•m b-p n !h m cnl rh t f th fih•• .,r ln mt~t ug I r u h a, bn n r '\Vfll £ \HOl

!oo '\I AJU

b~L'Il f.,bncatL:d hll1 th.:H'r worn, The\' .uc thtn Ulli'JH'In1_ fL"SWI'~d ttl nlwt' r,·,rm 'if'UII afh.l \\O\'t:l1

Rl

l\ I agur.H ~ m lhc L.lrl has1 of Hn nls Bmthr r f. Jr th rh. u ,,. n car

ALf \JI'O J1ff'PTR

fhr 1ipct..klud II

otht: I f11bn produced b) fled bnm 11 ,md whht. a-~

-t

-d

u

fl b_ck uJ \

~A •.. DAJ foot\~ ear con~tl'itmg <•La ole \IUt

r

fall

.,,,.. p~

uppct·m Ur1 •tn· and .a bud. led rr.1p c''lcndtng frt•m d bm:l. o\ cr the jw:wp. 'lnmt:umt•o.: 1hrn are n to~· ~traps tn

1

front

SiA 'N L>t :-. J \ suit tJnnl~t u:lh.n\ h.tdt' fiR :lJ p<. nng un rhe f.1sluon ccm· a .t nn\' Wthardm Muu.:l titr p r1 ~lud:l'> COIIIcd h) Bqurrr., #\pp.ard A. f" mund ~·J4 A~r,Hunn

Tllt p:uuned proe£' of ldmpte h" '>hrml..l}:.'<! Ut:ll guaramt,w that .. Ltbnc" r tdu:tl furrher hrmb~ \ull he Jc,c; 1lun J pt r em u d primanl) fnr. drcs!> hirt. J he hrand namt 1 l\ th .i b the :-,anforized Compam \dnd1 1 .t ubi 1d1;u I Clu~rr P<.·:Jhnd\ AT J ~

A dfl:tel} wo...en shnt) f.abnc pmdu '"...:ll

dw pocket, l>ngln.dlrcallrclth, Conttncntnl plt:ntllS llppn~~ lll rhe t:n~IJsh r IJ'\Hlrd ple:tt 'I Itt• t'C\'Cnc pleat proJul"cs a ll:m~ r HcJUH!f' irom I h,m dtc il H'\\ilJ\1 p1<.'31:. (Sec page I J ~. I \\'0 bo1 h llll

anr.i dull llmsh b."lck Mad.: of qfk ur' nthenr t!u~: r .unn

phnr ogr.tphs.)

1~ u~-cd i"nr nc.. laveal' :ntd :1s trimrnmg lor fnrmah\~ ar :1'

tO\\'ltrd

Rm 1 l"G no en ;\ h1gh leadwrf,ul·,r ~lt:tpc..•d w leg dcsi~11L'd c-.pl'ci.JJy I(Jr hor!>L•buck riding

dw '"P of th~.~ 1 Rul rrt-.' \\'\I,TT>ANfi, a' tn lo\\" rise sln~.Cks and high rise u·ou,crs or tht! diiTen.·n~e b~.:'l\h'Cn the Tn'u~cr RISl

Tlw dist:tnc..·ll-om lh~? crotch

l11 1bt·

leg's \)Unl A~t and

tu

I~£L\M

R011 COL I !\R ~rr SHAWI L>\1'1:1..

Rt..Wl

sou \ hoc !>ok· m:t:dc l,rhcmp '"'r hruided

flbcr.s .amJ hdd rogcrhcr wnh 1hrc:tcl L

~1r adhc.!SI\1..'

Ru't.Al. ox 1onn· A lu'itrous.. high "'-'Uill (lrtgin:tl!) lllglis!J drc~<;~~bining clotb cnn..,trucft~t.lllt .1 II \l>f.: IT WJ \.\ 1 d(',ign of fine two-pi) } ,tm~. (."irt'' \.\ inter~ ill the "'Slurt [abri ~~.. g:u~·fold.) Itt

I I· 01

·r IH

Mfl:"'

fht• tcrm 'rult• ,,( dm111b' IS dl·riH•ti

iri1m rhc rmcu:tH prao:ticc of U!'ing the thumb n., :-. lllC':.t!;UI'iug de\ icl!. Jn mnrL•

nwd,·rn

rimt'!', 11 h:t~>

cumt'

be kmm n .1s :t guiJfng principle\\ nit" td<· .tpplioui<m oncc agatu urn mrcndcd to b~.:• mkcn .t:o g\1:-pcl \\ hile r11uch ii.1ss has bt:cn m:ull.'" ahoul tilt> t'ttlcs that govcm pmrcrdt\' !'.lnrk· has h!.!t'll said .1hotn tht:: les." tall~lblf• Cfl\tlllrlllD th:u rnflu~IKt' pJ.un, oJd iashtonc.J good juclgmt•nt" L\r0•1k· l)rOlhcro; 1•)3q tn

Rl ';SI r \ .:hHh d)ixl "ith bark m a dark bro\' n 1\Lj,; 'll r \ .;nfcl} t:ulvrcd cvar (r;.Hht:r th:lll.l .,,ut) \\ n h ~tr.1igln hanging lmt:>~ ltghtl) ~p:~ddcd mmmd ~houldcr>

.md undann1 fr,,ms (whn-h ml·ntb the ~o.lt h:ll; lru lc ~haping ,11 the w.t&~t) fir,l pc,pul:uiz~..J b1 dtl'

.t

p1 .,,bfc 10 llu:u 011 the faa: of the good! rt!,uJung JU g!t '} fi ce

\\Ca\'t'th,u pennirsasm:nt} ofdw'\\l\IU•end

il

:111 ahcrn,mvc 1,) rhc.- dulkr nbb,:d

gru."!!f'l'" {.Vt tlt!cltt:it., of lame" Mru.on p.agc q.t and I IOU5 beebe. p:tgc 1:0.)

~A' ILE

h) the

Rtm, Tht" tnmou.'> fa.shton

t:

tab!tc,hmmtlnult

rnrl of Burlmglon ;md n:unt.>.d ft t lu.s nft

Dnror h) :n tle Toda} 'J str~'!'t 111 tht.: \\ L l l nd nl London on\\ hrch mam ct\l>h m t;ul 1n an: hxuu:d I until H~·au Brummd CT~ted ;t 'n~n'" tnr ni '-1 )Kf ..\ I l.1!loring 111 the Iauer p<trt the <.·~hllcrtth t.~ntUt) dttl S:J\ile Rm\ bec.1mc J mL'CC~I fnrrh~: \\dl raalllr"-d maint~imng ~uch :t reputdrltm 1\'l dtl'• d.:

or

"~l.lN'"t: \ dmh rh:n dl!tl't:s.at tunH· from rhr \Cf! higt; gr.aie \\ODl r:u~;cJ m ~axom \•cnnnm \\hu~l the hc11·!i to rh~ Engli::.h tlm.m u .;uch ct [d\\.trJ \I I Ill d tn w~:ar l'll rltc•r-coWill"' t;:.<a~t""' fhc mun • ( :1ppltcd l\1 solt~fu1isbcd \\Uok<tt fuhn s nf ~uruu rl~ 111u:

stotk

111

f.'lncy yaru ._}Iocr$ on tlt.. o:rdc or

fl\h

cd.

ll!it

i~'r o;Uitlll~ l<lLkcliug~. ;wd trnU:-ct r~ sctMI'rt. \

q p<' oJ""•\.l''l.C sallth.u rc ·en d 11 n.lltl~.;;

from kdrrr. \\ htch mean~ rn ch p en .:-ur up ' h.lppi 1lk I!> cut uno ..hoa lcugth" nd nuxcd """ odu:r fibcn> in th~ spun salk method llf m:tkmg \.lm Jl ., ~tronu but e\iJlL'~ trregubr Ju.,ta.>r ;:, "' 'L 01 ..-u c..R \I' \ pet•blc gt:Un1hat t:. m tnmt hem" chrome- .mnneJ .:.'l.J~ lcad1Lr '' tth u dccph cmhm.:l•d pcbblciJ ~urf:au: tku t ret:uncd C\c:U tt r rhc:- "'hn~.: h~!' bL·cu L \STLD c n!!mall} mad Ill ~ d.md ;~nd I ngland for shoe' of lht' ~mrJ l\NO{ l I 1\-p h Lt.::'l(lltrc:J c:uri..,"t.• knJ' ,rux_. ' "f1l rtU1J! jgpl,

mt'


'C T• H T\\'l:£1'' Twe-."\\c. tn!!dc: m .1 J:\H" up .wd two J~)\\"11 nHU ut pl.un \\ lntt" ··nth .t PH u :-.:{i .,f "' ,, k d) c<l \ ..:um th~ rrc ifuggt :md trtt'gular m.tppt'"tranc~ '\ R.ff"{ rRit.:fi'SG l'ontu~ 1.1hnc

h) me 111 ut'a Gn~

m ..h ~rcett u1 \\hhlt . . p<!... tfic .m:J" .1rc trt".Itcd to uhmng m ttt..r r he c.olurtng m.ltl.!rt.tlts f\.m:t•.J

Qh\td

tfm,ugh thl: ~o ·n m tlu pan oftill· t:1l nc tmJ'-'' rh" unr~tc..f .lrc.t" L!.:h .:clor m th'-' dcs1gn rl'qum.• .1 -, p.1r.1t1.; crcetl

'-n (st \ND l't.R Tc..i'-' I ht' \'4!I) finl''\t loug l>!plc cnooJl ltt...tn.tu- .UlJ r;trun8 gro''" orig1t1t1lh-1n 1\nu!>h cnkmutl r.Jan {o; w lfh' l .mbh·.m lollJ) 11 •~ r.uscd 011 ~nJ~ 11fr LhL' mudit.':in cna..,T nf <.,L"i.lr~l:t. m •Jmh ~ro 1 ana, Jnd u1 dtt \\est lndn.:~. "r t l:~l.ut\f ~ •nun i!i. a ul.thl.! t uh m rh~ lugltc-..1 quaftt) shtnurg:>. !oi.l \ M

1 h U p.:1n !'lf n gnr~nt \dlCf.: dae l'dg~ · uf t\\ U

p~.~.:ct" nf m t~n.U ll'c ~\\ n mga~lwr

r. \I utt..nw.'< t \..Jcnt·rn.fl• nH'I h til(<'\' mdlt.:"" of :.id.:lmotul millCruJ inr tmu crs nllu\\ ing for t hl· C p;ttl$ti.'D

Ot ~ \'then \\ ~.ucr i!> "eltcd \ ~\tl."hahle

f.thnc afwmm (•rotiwr blc.n.J: lmh "-rmklt'tl "-10pt:.s1tl.ldl·ln alrenng £he lC'fl."l\1 'II ll r.hc \\ \Rl' dtn.•JJs f tn.l dt'iCO\ .:red b\ rhc • llnnm an hrdt.t J .." .1 stlk tnbrtL' rlw \\urd 1 licnwd frum tht: I ftnds trtahr (Penmn slJrr tt sld.:.tr. mc:.tnulg ··mtlk .md ug;u ) (~£' o\nrhum Drcxd p,,Jdlc p~1gc 10c;) \I I R t

< K.Elt

\1:-u U1tW \ luLlJl m.1d~ fr"m clu.· ~Wrm· ~ht: II iithrk :a!> th~t of tht; N LC K Tl E '\l[UJtt•d ti rr.:f~ 1 11~ {{lp bJ.1d~ thruugh \\h1cf1 rhc uc', ~nail c11d ,:!111 bl :tiTu ro l11li,.J1t tU pl c ln tha.: .tlHit.•ncectlrn >elr lul'll· d1t u~.: · l.tb,l uhcn ·~·:'\c;; t1 'iJmc pu.rp l<t Tt~p- LJU::LfltJ lun~lrnade tl rt"Jnf r.· t h .tr ~elf lu 'P:t Oi' ~cunni! dac1r undt r'in:l ' , the tl(.' • n·nu·r back :-.&;.1m "Jl F 1'-\ rl L1

!1i;

\

\\0\-C.Il UCStgn IU thl• .tmt.: '§b,td\• iJ~

rh.~; h •· kgr mnd af du:

th" Joiumg uf f'\\o pwc~""\ ._,f(tlmo: a 't~l'"dl I' h : ltL•.ltnt.'s,<; tO m:d..---c iunJ fiar curf h ~. tlch J· Ill I hr scrgiug of a ru.tr w .1 It'<'\~ ~F1 TN 51 rn I '>('\\

\ .:-o;~r. Inn. -tlr

n tn .11 the armhole.

~£\ 1

UnlmcJ ll!.!l.."k\\l'.lr nu~tt \\ uh told" of Ghnc dn: uu>st l:ill d .ltld c\.t'ith ucF{ till liE

IIA !IE

oF tlu.:

'I U rJ PM {, .'o« fJtf"p.;( H l fl'I'J l';<.;

ll\ \{.,~ fJdtlt oft hi'" cdgl"5 (

f .l f.abrJC. \\'C.I\\,'11 uf I • \ t r ! \ ':il m u u.tlh- m bngbt c 1lor;; fur nJ rc tnl:O' Qr til prt""\Cii1 uura\'t'hng l he ch;~.go:.;

d

·r

I he lOO\: of :1 ooJur .tpprua.:h rng the d 1d cud

\t,ll "c

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.!'ill \l"ti\\ '>Tilii'ES \nmdr!!ttnct. o;hadU\\ 'ltl 'P'' t:ftett

pi'OJuc..:d by rmplo~ ing .llu·m.1t mg smpc~; tlf n~thi !tlld fefr JmnJ f\\ N }ilrll lii dtt! WAR I' (St\ 1.!11 IU tlk '>J111 t r .tbn,:~ ~ g.n-di,ld prtg~; 1,~. brtUOIIl ) Thcdil•ct on Clloth~ m tnpl: · •r pl.:~iJ, prnducC~.-1 h) tlat! umutJtal(' duplu uu:m o( tla"· '' l't~\c t(mnauon afn:r a dcflruttt n.: pt<nr 111 Jarl.e.r tnnc or "lud~ of ~an1 cl1:u £.f\-" the -prw.mmu •t rdl«n:J ~had ~oms h<!mg crua upun tlu.: ltglu\: r p.u-t nl tlu: f lm '\If \1)0\\ \\Il\V!

~UAJ,.:.J:.l( f..:~ I r

\~\cater kmtRd oflit.:l\) \hl•l \utn

nl .1 pi:Uu riblwd !.tttdt P c...tllt!J be~ m~· m mb~ r~ i"f rh • '-h:Jkcr :-ni ongin:trt>d ir

l!lmng the am t.mm.:... L"Ut tlm)ugh

H \M l\l 1 TO''IIltuu· ,\ lt111\b

of n buttonhole bur J10l

1 ill.' >;t\!d pl.nc or l~;tLitl•r n•mlrm.:(m~ntuJ a ~JrrJc l':'{tt.:mdmg trQm th\ lwd fot ".u.J ill "ill~'J'nrt th~· anch 11 u-:t..

II A I' I k

A pattern guid£." ur CIU"h!d 11IIt.'l' tht'l:f lot'

J

gtt1J(' u' gi\ 'llg t ht" desired t.vnwuno dtt.:' t'Famt 1 1 • g.tnm:ttt \lu'.. " worLcr who pcrf,,tm-.. dm hill~ 1 m b, mnuninJ! rhe front wrth sht.m. "

~11 >\RK Kl'-.i; \ dl'ar fan:-d

iahnc

•IIu.;r ~ mucm \lcL

dr\: ")

\hH~ttJ

fdbnc- n

t\\o tom:-s-n i"prn (lf t\\ dl \h.:.J\l' th:n '-tmul.JlL'"' r he ~m uf 11 -.h:~rk (~c·t J-ail" 1ll thl' Suu f thnc: "g.udi lJ ) I..H \\\ L l \1'1 t

tn l"t'nt.l'f b.-~.-k.

\ lapel cut 111 .~ac p1 ·~~

•r- \\ rrh sc.. m

that iol1o"' 1 he tront 'rt'mng ot tit

I ma: rl .rnarh,f tn wea\ltng 1._. tndtL.U•' thl" J tr ·rcr ry.rnJ f dm e- lfmun mh 11 c"l l1hn lu . _ . _ 1 r tru~.·hon ''~ fiK J b) l.1w ' ''"~ tu·an., rn"rk tlJcrr n nw qr ttndt: mark nr r'rcqm•m httL'r\.tl" 1.11\ the l i!' 1.. In 111~11 the word\\ .1!1 ~l·lf "J,gc

-smglc ur tfuublc brt'J.t:1cd r.td:t•t .md t\lll'i b.tl ~ "1thout ii(.HCh\:c; m~ pc.tb f lr:' J man.., Jinn r! 1d. t 11te ouh th.:tn:nh c w the pt: :~kt',t l1pd J"· 1~11 f. rdw d.t'>!llt dmut•t ~.1 ·kt•t. (~I.". Nc~l t 1\\,.Jrd p.1g :!4.1

"-ntrHJF~fM 1 h · h.trnn;iL'1tOU!Ig hltd ti.._ r.nh r

l~unh or ~ltt•t·p·~kin thnt f1:1" bet. 11 ranm...t WlJh HS "'\lt\1

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pi.Jid 1hl:

flliiJl\.l;)tt(')fl Ur(}IJ \•dttdl dtL (.'llltr( S rJ\: 'i ,1,1( S\ 11f"£14J

norJt·, Ptsmu chcd~ n.:

t

1 he· ol"tgtn ,t rh, i\J t rn

Jat .. b a.;kh\th 'St:'\Cilht'ntltt:\'111\111 y,Jt tlll \lo.t: 1 1 d h\ the lu-phL"nls- tor the 1r pln,,t.. tn tht• I ''" 1 11 f In tltf' ure;u I ~1ulutJ n tlf Jk;;J rl p \th n r .acJ t:rn.mor1 .111d "il' dl nh: .:i I :u nn·n 11 1 R ~t r ~ \n nh pn.•pm1t,Jtro:.;:d '"h .. d pltt nt • r 't\\ ill w .a \\ht n• th~ '\ tpuag ,nJ \tdnng h u u I!\ t tttr fb~t.«~ ,.......... •md fi lllr ()f\\ llJf or ·cmtr.1.-'iUng .u lur an"' 1t J mnug .mJ tt au\Cr... (.~ ...,UJ,Ulttr 111 till" Suit lt1bn.... ~.udold th~ Pnn -.- •d \:\ tfc-, p:1~c 66)


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A "Ol•l pnzc·d (,Jr tt,s lightnru aud \\ .tnnt h from f1t.'1'p 011 \: d off tfu: IU.Udll'rJl I;J t of ~cmlnnd 111 rh~.: h\'tl.wd a lcs. ~lh tl.md hct p ltk\: ~hetland punac ShL tl:md C\l\\.fi ltld lu: tlaud ollu• do~<. :tn· the :-.m.• llt:st or t:bcu pc\.1 . Rt'"'t"tllblmg 1"\\t>t.:d 10 .tppc.mmc<· but sufr'"·r 111 ft r I odd jnckt•t'i m he d:md wo I b, c.tmt· .1 t pll' uf the 'HCJl"l\ .tiport~IU.UJ ,IJI~J lVI LtA• .t:£ l"l 11J tltl' r1 A

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(.Su rnpt~

SHIIUUN,.. \ ~ent·.-.ofdoq: p~trallcl

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i1

from 1 he .;cat

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shorter m from. 1\ defect common to erect figure

plaC'cmc·nt of collnr run

t111

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1 he Gnishc:d ,mdinc of d1c ~hc•(tlder

:1 g.1rmcm rhrrt

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j, ~qwm:-,

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hE I

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nd .t 1.. rJur '

C'&th • J ' UL,Lt:d

I

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The .sen in running from the :trmltolc F> 1h~ bolllllll or the coat jPIUIIlg du.' fi·ont ro dtt• ba(k ofco:ll Sec page 89

~~ 11'1'1 H

\m foot'"\ .tr (~'lcc-pr u rul-bcrJ \\lUI HU fustcmng Lhat as <.]Jf'Jled on the f.., 11 .tnd h ld 11 plot "nhour ·Ill)' f.'ll>..h.::nulg; frmn the tcnst n ilJ'( 'ttl :1 the

1

1d 1i '"" mg t ~ t fu-r blanket of a nt.!d~u~ dlat pcnnm n m

• u r SI ,. \ lighrw'"·ighr CPW>n nv1 LI n1.1tcnal wuh a calcndcnzt•d '-' )!1:1/.c fimsh usl'd f~,r pockl't lming~ ..:rc 1 Llli.JUJ ·r 1 r:

l

1 1J' ON \ notllace!d ~h

~IDE HAM.

II)~ \ FNT~.

IT

pocket 'OCt •m • 1 d t' t ft r 't rtlt.:al ur dr. ga'llLil p )_In m th 1 1 t:t tl h d J gothroughtoLhenc\:tb)r.;r f II m,gutJuJ found on r. llll~•:ltb or uwn t..lt \1...\ Jll'

J:lCkrr or C\ <"'n ~u• r ( u pagt. 169)

~IIL-'~trr Nf..l K \ nc,Jdlllc that rc~JUtf('S :tiU\H'r

u

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causmg a bad.: ccnrcncm to open

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J.rckcr pagL' 1oS)

SIll 'R I II A( " BA l A

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tcm u tghrh u 1h n dt qu..n J n nc.h h 1~ rt' tzrd h\ hah

l

t'.lrl) I •)l.l\S COUJ'tl''i' ~,r Umoks nmtllL r

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tl h If Jn\1 um lrL l I and rccm er} charac~nud b the pre.."" fl('l(! ot ·spnnc· or expn"t-d lo p uf th~ d ft unJ r th 11 end 11u<:luopofmrcadl'•dnmnupmt rh In t f dH! uc durm.g wear: prcH~unn._q the ;un n m oop)n ng addmg l'b"ucn~ to the OC" nnd hdpmg Jt h 1.: , t' U I' STITt. H

Th'"· outhnt- of a garmcut t'lr •.md'it :ts

womb} au indivi~hml, .;uch as shupclr or flowing Hn~

Stt h A fiber cxrru ..lcd b) dw silk" ,1nn m fonmng :1 c:oconn "ht'h is pro.:\~,scd and \HlYcn imo fabric. The "II.: thrc.td is :1lmo~1 :1s .-,trong .t~ one of cqu:tl daamctcr

in srcd Stlk i~ .tl~o cxrrcmdy ri!..,llknt .mu r"t'-:il'ts wnnkles. 1\ tltrct·-tont ll..'ngth strcn:hcd to tlu rc ami a hnlf icm \\ill o;ubsl·qm.·ntly rl..'\~rt to 1t:. t'nginallcngth

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A lnr coll..r wtth nmfl tnp d Ifill'!! rfn Ur Or ilU~laf put til rhc U!ld('~ld p JCJ '"I 'i c,11.J1 collnrpomt rn ",t '~ ,n stifftn n thu pre~ nt ng If fn>m L.,trhl:tg up ord{ '.\ n T~ ttn dun h \C rcmo,~bll· ,sun" 6.1r l:mndt•rtn,g

n ThL· hmn .tppl•~d to .llilckct w:uMco.n. or outcrcoat w1th .t.singl{' :;ct of button~

plnrc m a v.am

1L" 11 ,\I·, -~~ •r 11,\ 1;

tNGLT lllt[I\S'J"J

st.'\\ n a short d1Hmu:e from r he c:dg~ of OtiC .. tdc \lt the from .111d bunouholc:- 'c" n w th~ corrcspondmg posuaons llO the other iJc INGI.l Cl!l

1 [ lw emiT of.t :;hlrt cuhl·r 5oft or

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f n•arcnal rn nnmg .mmnd t ht.: rop nf the Tn.OUSI u .:md formtng a t1ni~h lo trou cr tops usually 1:1Cl-d :.md tm:erl.tc:('d nnd zhcu sc.uncJ w the watM line nf tr.cntsL·~

\\ Al"li1 1.1 N 1 .'\ 11

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[I'{IUJ

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per

1;. •

4~

p.1

Tlu h..u:J m 1 tru l1..1s d agmul rib;, !, pmmm tt boldh 111 :.1 k1ncl oi r 11 d ff IJ h ( wiup t • m h ch n d \\ HJl

bla.. k

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lrom 11. t

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9

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range.~

\\ .\l 'i I 8 \N Jl

J

rcputatt :m n adt.•m

:·mnc man cclml(lf 111akc a linle worse a11d sdl

1J

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\ Hl

\\ r s r or l "

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sr

l~

r

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\\ t\1 ~ T

\\ J I I

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\ oru ~\o\1.'11 i'r<Qm fim: hard "'~Uit d prn~ \\lt~l n:\\.'tl!e rnt r \\ •\ltl' rhrl'.1d' tln pbtn tuhru:- 1 ltgJu,w,~lu •twl and rlf) Hccruht I 11 twt•rnc s OUt.: dt 05~ \lllll'i .1ft" madr.: \\ u:h doubk Ill ~· rr\l:Ul m<l \\. n1 prunanlr t(,r ''. rm \h .trher \ l o1 n•p•t 11 f th l.mn ,.,}a, \\ lucll unplte~ .1 t:ovc.•nn1• «!UrtJ.m f..)r

l

l

\ ICUn.t .ir • b ut rlm::c fc.--c h·J~lt h:n .tl I p I t \ hc\l:.:undpn.Juc· ,,.J, 1l,f I h l f l tu 1! f I TXh ll ), 1 sh J

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In" h:-tm ppl

\\ hitt: figttfc'- or:stnpes o:lruwt..... \\c:J\CGl~!'dab

1

h tr.. th It l \\

f he term fi r

'ltrppr~·.s..,ton ts m:tde

WHITJ 1 H.

''ARt• Y.trn tlt.urun~ l~.:ngrlmt:>t tn.tlQOrn .md ro..:~cd h) thl' \\ t 1 1 The 'varp prn gene rail) 11111~ \cfllc:nlh·tn adot.h org:tmtt:nt as\.1ppos(;d wthc

c.. 1 he .atulm ~~ .1 fibc; t t frum unc :s<"cttoo of-dt\: g.~nn 1 h. pcr'$prr.m 'fi I' Oatl"porRJ .tJ n~ tl L: h t h~ \lUtdt o;uriJ c of th :iarlt tl

Fl UJ. u } Jfn. or\\ c.fr

whu::h run~ crosswu} s from

nno,phert'

<ichngc Lu .;dvag~ \\A rc..H Pl"'lCh.I r !\ small pocket m r.h" srdc from of.1 man l; tTousers. u~ualh of tht: \h:lt st}lc- u~cd to c..trq .1 \\Oltdt ~ISQ l...11lcd a fob p lCket\\ J ~'V

r

IN<;, 111\: rnh: rrro::sing a tWO ~"1: t-. of ).lnl tlll \.' ARI' \\ltr... h run:s dt•\\n tht: length of the doth nJ the 1T '' hu:.h nms ncms... rlu Whhl1 In knuu tg

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«pagt! t«14

I iber~ timu Ul.(' (0\trJng t:oat ufslti!cp ~nd t.nhcr .mmul< 11Im \\uWJt knm:ed or fclt~d filllrll" pro l({u tad from th~ tiber \\V(1L-

"(.ltlLl ~

n

e; n~-t l'fllet:<>::. of ... unlllg

.scouring. blc.nd..ing. otUug conJing. :mtl r;pinning prn c1i :.hon t:.lbic!i \\:JMt• ..n1d rev.urLcd '' ool. "tbru... 1ka h;wc bt-cn t'ltrdcd .n1J ~un fmm w<.tol in'' hich .u1rth111g bur a par.;tlld po!itwn of tbc iihen; •"' nonct•.tblc a~ d1 uncr from \Hltsicd) ;am Ht '\\ h1ch th~~.· wdol flbc1:; ~re mat kedl) ~ralldcd \\OR:..'- lNG lit rr Nltt'LPi

d1c prinu•d ri~ \\ lu, h musr rdr on ns inner :urnatul'\' for its fi•r111 nnd 'it.llllrc, (St't pag~: tlr,.)

\VRAI' COAr· A loose fimng. n1.sua.ll} bdltd

b:nlambc-lrkt' co;.~r with turucd·up Ctll1.1t inrmduccJ In lt~tdc~rt and lloUp,ik•d during tfw-e1rlr IQ~n:; usu II\ in C;\Mfli-lAlR or ~oft flecee

\\ l~h l.l ll I. \R. S?f p~e 2:JU

\\.11'.\a riP

----~

J.1ckct sleeve buttonhole:.

th.1t .:tetwlh unbutton (Sa page 1 ~4 ) \\,'lR'HHl BHJur.: d~r

Unit o£ m~asun... equal to thu'tl !ill\Jnclu. m .\llh!t;k.t. the Fuglhh rnr~f i'l.ll M<lTH.IaJ·d CS\abJi .. hcd b) th<! g•.l1.'Crnmcm. ihoiW~tcd h) two fll.Jd.s on n meud rod embcdd~,l in rlt£" m:•~·•myin the I luusr of I'::trl iamcm. or n.q q me tcr. )A IU >·

)ARN-D'l ID .\ fnbt'I0:\\0\l'll \\lJh )"anlS that lt;t\t:

:1lre:hlt lot.oell d}~·d. :1:- op.pu:-ed to piL·c:c:-,dp.:d, where

fabri\·

tS

fir.sr

)'OKl·

The fubnc

WU\'Cn

and then dyed.

fit~o.-d

Q\'Cr

thl! houldr:rs n:ncl jotnl!'d

w thL· lowe•· p.Lrt of the g:umcm ~r a' l"ibl~ 'iC:un :.nos:\ the "·he:.'f or ba.:k (Srr t,;l.trk G.1blc, p.agl" 106) offight\\'dglu W(.iRSTI:ll, .ottr:n blended '"'ith other fibc1-s: also. pplic5 to a s-heer. soft. woolc.n f.'tbrlc The name. is From Ztj!hyrus. d;~ss1al god

smooth imndcd tnbric in \\ h•ch the nructurc and coiPr ar\.~ dc.1rh dell ned . • ' \ mg til the de;ames~ and smoothness of both the pn1 nd mtcrbd11g

(>r the wcs [\\ md.

\'" RHID \1 ~Tf M Pnlccs.~ ofcnr~ltng.

ZOOT -uJ r· Outr.Jgt•ou!i snit worn b :-~omc HJttng

combjng. tlro\\ mg. and ~pmning wot..o;red fib,~r.s int• ) .m1 lor m.mutt:lurc mm ~~ted cloths \\ORHJif' "1..\RN:o:i M:1JL' frcm ti1mhmg the \\l•t'llcn

(rhcr> ~o th n clu.1 fi,, pJt.1JJcl til t::Jt"h nth<-.r, then dra\\ fhg ,md ugltrl) n~ l~{m~ tht! 'i1nooth )·lrll. th~ rmmc comc.s from 11 little vtllagt" 111 Nt-'rfoU:, \\ar-;tc:td \Vt'JHN 1u .\ da!'i nf11cd:wc,3r fnbru:: in \~hkh the JUttcrn 1fl p.trt of r~ wca\'c d.S nppo ..cd m prum.

crobmtdttrlco; anti lund pautt8 \\here llu.• p·ntcm t<J .1p-plrtJ :~ft~r the f:ilirk 1.'0 \\U\'<'11 \ 11 rc:•mlt of rile ~ \Cn JUt 'r.n" more tc'\;tured ru-~J thn:kcr i:tbru:, uus ncckur fu nto~ bach. thus miling .1 her ter 1-:J,~, 1han

-

-

rh.

ZEPU YR ,\ )"dnt

hipstc.•r_.., in lhc I.u~ 1910~. ll)40ll. ~UJd ~arl) ll'l~o~ rcf(•rn:d lu 4l\ .. tilt? bndgc of the ho<,dlt Jml' ~The rnc~r't Jmd hca\'ltr padJt\1. sq(ll1rc ~h"uldl!rs :1 1:tpcrcd \\ .1i'>t, :wd cxh:ncled :tltnoo;t ro tht: knees. It~ h:1gg~ ·koggcd tr('llo;cr, mcasuring:\lmv t th1rq rwu inches .u the knc~ ;tnJ Lap~: ring dm\ 11 1\l twch:e n-;1 flftccn inlhL-s nr bt.'ltH'llll, "a~ J·lt:kl'd up alnmsr rn t:hl.' chest by ~thpcndc.: B \Vom wirh cquaih· btZlrrc :t~Ld ''"~ lrkc st-..: foot kt:y r:hnms. :;nakc tlt!~ roll collan.-d slurt... tutd wtde bornmcd head \War th1' t:t,lorful coo;tumc repr\!~;~:ntcd au carl} rebcllion of \nJcnc~,·~ h." " for~un.t[(.• t\juths ag.1iosr the conformt!.>t order

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ELECl-E 1) 131 I3LI OG Jv\P I ·I Y mr.:r il.lll I abnc~ Magazam• cdc; .'\F l n.l'llOpt·Jia o(Tcx ulcr l'rrnn ..-c ll.Jil tl)C,u

J l.trt \' riJ Tirs \ f);A PuhLt ..uon t~1 t X

\mit·~ ll:trd) T/lt. I:11gltSlmum'S- Sui1 1994

J lull.mdl"r Annl mend Suu fm f

Q!_lartrt Uo t..,

\llgt•lom Umbconu. rlrr il~tUii1111li(of4. ~tyft '" I.JIIc'S l.l•J1fl l uiwrse l,uhli~hing . .!<JOO

Und11 ~H:h, 1\L'rt. IU.f}ll l Jrtsi A ~- 1\n rtll!.<i, 19~S lbkur: \\

·m i.ll n lll·nr} J~ Dll1'fioun'1' ~~{Mens Wtar

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t1

llo~·hs.\\ ,·udt."f: \\ ~"~' Mm tn MfL Rwl ola

Hrm f

IIL)Jlf

:.rw1

19<14

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n

J ')(,/'~

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l:tnlc!i

HL•rcruh. Jphn, .1nd tltt~ cduurs ull.!'·~uirc Magazm< F.irlwmsjill' Alcn, I l.trpL·r & f<Jl\\. 19(>6

1Oltt ·md Club

Uorcr t, 1\tm'(" llt.~atlfr· .r\ Gmdr to Q_uafit}'"' Mc-ll.nl'l'ar Norton, J 98).

L.c·mus

\OillfiiCS. L:JXWJl PubJi~hiug. l')~O

llundaJ

nllo 1:110.

\liclc lmllgt" .Mms litslrionsi11 1J1 ir.drr,

<..l.sc~tr A \\d]H~Grrultm.

1

c~

LL.-~u.w.U

J

l'rJrJJI. 1998

lunc, Ah'iPn Tl:r Ltni~.~l' '!.fclc:lu~

Mel )o\H~Jl CuiiJl Jlllti. Rl:uah

1..

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l•J -.

1")').1

CIJailll·, hall\Ois Tlrl'lluok ti{Tics. t\bbl·\·illt-. 1q9o+. rl:111HI131

Mnlossi t.:tinunmo. OrtOJundrcJ)i..JtHr{ltJLa., \1i%u ll: _g.JII.:t rleomnd Lb:t.ra f'•9Q ~l:mm. Rich.u·d ~to,ll farold 1-..ur.s:b }~.: Lmrd 1'\~r.U Alt'ns Nrlc rntlrr 'fi~WmJCzlt CtrliUf) RrnoJ. 19 <J

B. 1: Hnt..s(onl. 1LJ'N·

Chcnnnnc. r-arid. J\ J li>t~try·tJfM,ms rasllimrs 19•.n

,.,x

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. ,\ fc·rrh:,•ITrs / Jnfi !'diton. 1986. P~rwlupL·. 'tht

1

1)

nJ Ul \ t (. r " X~riuoJnrt"s..r Chas-lc:- '-\ Bcnnl"U PuhJacnt1 tn I') JC

Hril{gland. J\ S.. t•d Tire: i\lt.'lcftrn ·1;zilor. Ou!Jrttrr, Clotl!lrr, 3

B} nfc:,

~·drr 't·n JL"t &l

} '\rrJ 1 \

I C'llr r: K:Jthcnne Murn

\rtrn·. Nt1rtnrJ JlJlJO

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l·mmrrrtl}'Sflitab/f;. T/11~ fknrmrs t!(SI)•Ic· iul!ruwm

Buzz.tcr:tri ni. V1 ttor i:t t.le. Ekianu .md St}'lt'. 1e.ars '!f.\ 1m's Iitslrimu. Lupl'ru u: Co_, ll)ll.l

TJu Ut1ol: !!.f"trll<lCil Lnn mtr

ion.

~ Ia} ~OfllJ\'c.

')ht:!T). Ul!JJJII'•'ll't'r J\nght Hm•l ~

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Mollo~. )~Jhn

r

I )nnncr. Jane. r.ul1iou i11 tiJ( T11'1:111iu a11J Tlurti,·s. lnu

Piifcni. rnzr,

Mt$~ CrJ\'Jtla.!

All.m, II.J7 3

schol.'mcr: <.) F. and\\ dltaml..aiL" 1 Si:JUI1'(lJJU)"l pJJ qf2Mlr CmtuJ)' .Wm-5 Fol!I:J\IIU. i\k{.; ra\\ I !all Jq- ~

fl us ..c r. A b n CIMI!a au,ltlw .\1an: Tlu· Pn'trc1plrs ~fl"Jttc· .\fc'ns nr,·$s. Vill:1rll. 19X;;. . J\ l,lkin...~ tlrl' Man \\:1.llah}. 1981.

Clorht·s. I brpl.' rCull im.. 19 ") 6 lulledllrl·. Guiliano ,\ftru liars. Zanll [Juoni. lfJ'H'l

<;jbbing~. !:i~1rnh Tlzr: Tt.:: TrmJs,wd Tr.uliritw. l~n!'l'l..,n\, 19'.)1 i,

Cristinn Bricmi~S,, )(Llfi,~{St')'lc.

r

lll"'1ll

lJuri, c: I· I' I Jll 1f8

Store. Doroth} ~len 1ilD \\ 'tatCl,tl/rr.I. l.tpprn ::un:.. rq=a Ron~mann

H.mdm.:rlr Sl.. 1: \ft'n

1999

\ ill:aro~a. RKC".ltdo. :md Gmlnuo \ugdt T'r.. tltgJal \tun=I low,,, G•r<:7Tlla tl:!ik.Jl \\ m-JrJJ,r H nd,,m ll{lU"'': \Valka Rtdl:trd. Stzl'ik rur.

'n 1lfusrmrJ 1

hshlr)

1989 OCI.t\O, I•Jt)'i

(~()ld, t\nu:tln· \tt•t'IH}'_Iil't' 1'i:ur:s ·~fl:J>hirm Fnirduld

Bonks. 1975

".lrtll

\ '.1~' 1 aszlo and Ma.,gda \tolnar

.Sty!L iJIJd the Mun: f luw ,w,! \.\'lrm·w Bur Fi11r \I£~11F

1 jiurgt•tti,

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Grntifrtl acktro" kdgmrnt Is madt to tlttfo!Lmur~~lr thr t11ustrattorrs on tiJr 1.1aga tiOtt:J Ad:tlll Maga;,itw P.tgc~ 17. 2~ (nghr) . .;o {ll·ft) -o (b~mom) Ill (IO\\cr) ~--~ 211 .ll:;- (lctt), :!'il (top)

Inn J lus!lcr- P.tges 8h. 88 10~ 1~0 q~ 20~ .ll ~.::us, 228 23- (hottom) .244

l.JCJ

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(top)

t •CntJ') '-.1~g.vnte"

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c:

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b'l

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llrnn P }O)e & Lo London I ~gl 241

Arcluw Ph..1rus Pngc 6 ; 38 (right).~~. 1~6

llolland tt J lQIJJnd l'ag 1.1~

\rc:hih• !'how', Ridt::~rd :md lkn ~ lurgan. Pag.. .LJ3 ..!6,...

lllu 1r:;att;d NL"ws L.nnd')ll 11.-t~t: 'i .l.J S (ltmhmt)

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John lol1b l.ond m fl~g\: (bottom)

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Juhn \\ t.:llz PhotogrnphL'"T' Jl;Jg •-' Koh:d Collt-cuon l undon Page 11 _ (jdr) (mtddlc) ')J (upper) 1 lh (lOJ' It-ft. b rt m '11 ll' 1~(, {upper), J)o, 1<;9 (ro1) .214 (upJKrng!tt b tt m lcll) 224. :133, ~66 I \lUIS BushJll Page oi lucJalm lhrhem PagL:r; -- 1~ 14~ 119

?-.l:tgmun nag!! 2.27 Nl'\\ )i... rkcr ColleCT ion Mtl.c 1\\oh Pogc -R { fl, ~l'\\' rorkt~ ~ollect:ion I i)O(i M tkc h\ In mm

r

c.trtclnJibank com) lC'o l uJimn Puge l.lO ( 1l l I. eo Cullum from cannonbanL rom Jtl nglu n.'scrvcdJ. 144 ~ 200.1 I co ( ullum from etnoonh:mk com all nghr r~L'n">d) uu. ( Th. Nc\\ Yorker ColltiLton 19Q2. l ro Cullum fn m canoonbauk.com a11 nght'> rcsencJ)

Paul "tll41n~

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)ork l'age-> ""'J (u p nd I tt m)

.!64

Patrick DcnulrrJlclJer. Inc_ l'ag.· I ~2 Photofc,.L Pagc--s 24 -q 9l (mtddJr nght) hJI 14,

11aks i mp:>on: P.tgt: 117. Pep.trtlln'!\ ?\ lng:Jt.U\C. P:tgc:> !2 (right). n (hllllllll) .260 .1{0, !7•1·

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8.t. 8<; (lower). 8t; (h'wt·r). ')'\, t>S (lower). 10'), Lll 140 (11nddJt!) . 199, .22~ 2.H (bot1nm) . 14' (left) Roger VtollcL J'.t~i.'s 83 (hottom lt!ft), 140 (hot rom)

'-c,, 180

203, 214

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Polo R.1lph l..41uren Pag(;" p 69 (t p lett) •H 04 (Hrucl' \\eber) .ZI:i;; {l~rua. \\<:bvr) 1-hl (1 nt \\cb~.·r). 2.68 (Bru('e \\ t'bc-r) R.tpho, l'.trt Pages 4-. 16, 14 21\0 Rcmn l.trl ~)' ~ r.;gc

I) 1 {hoth

m)

'ipa Prt!.)~ P.:tg.... 161 (top) lopl~tm hnag<" \\ orks' PngG 11 (mp) Jl•& (bon m 176

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Dressing the man mastering the art of permanent fashion  
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