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Feb 02
2010

Buying your first hat

Posted by simoncrompton in Style TipsStyle StealStyle IconStyle BlogHatsEnglish Style

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I've wanted a proper hat for quite a while. But two things held me back. First, it's an unusual item for a young man to wear today and stands out. Wearing it well would require careful balancing with other clothes and some nerve while I got used to it. Second, I have a rather long head (dolecephalic) requiring any hat to be large and making it hard not to overwhelm my face and shoulders. Bike helmets just look silly.

If I was to wear a proper hat, most likely a trilby or a fedora (generally speaking, narrow or wide-brimmed respectively), it would have to be casual enough to wear with jeans and a shirt as well as a suit. So probably a soft, brown felt, with a narrow ribbon and minimal bow.

I'd looked around for a few years without much enthusiasm. But then a chance encounter in Madrid a couple of weeks ago turned my fortunes. Like many European cities, the best menswear shops in Madrid specialise in selling English style to the locals. This one had Hackett shirts, Drake's ties and Penhaligon's perfume, alongside the standard woven belts and driving shoes. But it also stocked Lock & Co hats, and the Voyager Sombrero in size 7 3/8 seemed to fit the bill perfectly.

I waited until I could go to Lock & Co in London, finally getting over to St James's Street last week. Retail manager Andrew Baselgia was immediate and exact in his analysis: 'you have a long head so you need a larger size, but the brim needs to be smaller to avoid it overbalancing you,' he said. He went straight for the 7 3/8 Voyager (there's no Sombrero suffix in the UK) when I said I wanted a soft, brown and casual hat. It looked (300) great and, to be honest, I felt a little ashamed that I had put off buying a hat like this for so long. Perhaps it had more to do with social norms than I would have liked to admit.

The Voyager also rolls up for travelling abroad, which is perfect for me when going away for business. You just have to push out the crown, fold down the brim all the way around, and gently fold the hat in half to form a concave curve. You then roll that curve up, making it much easier to carry and store.

Though to be honest, I'll be taking quite a bit of pleasure in storing it at home in the distinctive Lock white hat box that came with it.

Notes on actually wearing the thing to come separately.

Jan 19
2010

How to wear a trilby

Posted by simoncrompton in Trilby HatStyle TipsStyle StealStyle IconStyle BlogFashion HistoryEnglish StyleAmerican Style

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It’s not easy wearing a hat. You stand out more in a crowd than a man wearing polka-dot knickerbockers or a cape. The hat radically changes a man’s silhouette, probably more than any other item of clothing.

People look at you if you wear a hat. Anyone that is passionate about classic men’s style is probably used to the stares of others. But a (proper) hat draws stares from everyone, everywhere. I bought my first proper hat – a brown-felt trilby from Lock & Co – a couple of weeks ago and am just getting used to these sensations, this attention.

The comments on that previous post included: “I have been a daily hat wearer for years. While I do get the occasional odd glance while wearing a hat, I mainly get compliments” and also “wearing a hat makes you look like a dope, especially if the hat is a very fine one.” I can completely understand why men are passionate about hats in both directions.

I think the reason is that everyone knows hats are incredibly practical, but they don’t feel comfortable wearing one. And I can’t help feeling that perhaps they resent that. Or they resent that their head gets cold and they feel silly in a beanie. And flat caps look odd, or over trendy.

A hat keeps you warm. It’s an overused fact, but a fact nonetheless, that most of your body heat escapes through your head. When you get older, losing your hair, many years from now (as the Beatles put it) you need something to cover your head in cold weather. It’s necessary.

And a hat keeps you dry. Remember those close ups of Humphrey Bogart, standing in the rain on a street corner, watching the house opposite? The rain was pelting down on his hat and trench coat. But he wasn’t getting wet. It’s an oddly liberating experience when you first where a proper hat in the rain, and everyone around you is either clashing umbrellas or scampering for cover.

If you just don’t like hats, fine. But trust me, if you have even the sneakiest suspicion that you might like one, try it a few times and you won’t want to turn back. Sure, you’ll feel self-conscious, but that’s the case with wearing anything new. I used to feel self-conscious wearing a pocket handkerchief. Now I get odd looks if I’m not wearing one.

Some hat enthusiasts will disagree with me, but I think a hat is also an unusual enough accessory to need balance elsewhere. I won’t wear my hat with a double-breasted suit, tie and briefcase. Because to me that is straying almost into costume – or a lack of individuality. I think my hat looks best with casual trousers, a blazer and open-necked shirt. Perhaps a raincoat on top. In the same way I wouldn’t wear a tie, pocket handkerchief, tie clip and boutonniere to work, no matter how good it might look. It’s a question of balance and personal taste.

Finally, for those that requested it, there are shots here of my hat with its box, and a photo of how it looks rolled up for travel.


Jan 15
2010

An exercise in building a wardrobe

Posted by simoncrompton in tweed jacketsuits for the weekPrince Of Wales CheckHerringbone Suitbusiness wardrobebespoke wardrobe

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I commissioned my third bespoke suit today, and I had thought about the choice pretty constantly for three weeks. There was one particular bad night in Hong Kong, plagued by jet lag, where I turned over the options for jetted versus flapped pockets for seven solid hours. I like to hope it was the insomnia that made me obsessive.

Essentially, it was a question of wardrobe building. Which suit should I commission next, given my existing bespoke, from Hong Kong and London, and ready-to-wear suits.

The existing wardrobe of suits is:

Bespoke:


Single-breasted (SB) navy chalk stripe

Double-breasted (DB) blue herringbone

Mid-grey SB plain worsted

Made to measure:

Pale grey SB with bold Prince-of-Wales check

Mid-grey DB flannel

Dark grey SB worsted, with faint purple check

Ready-to-wear:

Blue SB pinstripe

Mid-grey SB Prince-of-Wales

Grey/green SB plain worsted

(Plus a few others either too old or cheap to mention…)

So what to commission next? I want to build up a relatively conservative, business wardrobe. So the next commission would likely be navy or grey. My previous two suits were both blue, so logically grey next? But then all three made-to-measure suits are shades of grey…

Plus both the bespoke suits have been heavier wools (12-ounce worsted and 13-ounce flannel). I haven’t really got a normal, worsted bespoke suit yet – one that would stand out at a conference only for its cut.

I’d also absolutely love a Prince-of-Wales; but I have two already. It would be nice to have a navy suit where the jacket would work as a blazer; but that would probably mean a heavier cloth. A bespoke tweed jacket would be different and practical; but I should probably get a suit while I have the money (a jacket would be cheaper).

It was all rather introverted and narcissistic. And not helped by the various cloths on display, such as a lovely thick, grey herringbone that was just sitting there, left over.

In the end I went for an SB two-piece in mid-blue, one button and with a slight cutaway to the jacket front. The cloth is 9.5 ounce, with a very small herringbone. A basic business suit, really. My only concession to experiment is the trousers – high waisted, to be worn with braces. I’m excited about this, my first ‘braced’ suit. The trousers will be about one and a half inches higher than mine at the moment, which isn’t that much; but there will be a fish-tail back.

Jan 11
2010

Wear a contrast tie with a contrast collar

Posted by simoncrompton in Working CuffVictorian StyleSubtleStyle TipsStyle StealStyle IconStyle BlogFitted ShirtFashionEnglish StyleCollarBright TieAmerican Style

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A shirt with cuffs and collar (usually white) that are a different colour to the body is not easy to wear well. Sometimes known as a contrast collar, it is more often worn badly than flatteringly.
 
It should be a slightly unusual part of a man’s outfit, rather than something that glares. The key, for me, is to wear it with a tie that is dark enough or colourful enough to push the contrast collar into the background.

White collar and cuffs hark back to the days when both items would be removable. As the only items that would really be seen – the body buried beneath tie, waistcoat and jacket that was not removed – the collar and cuffs needed to be clean, smart and crisp. Hence the starch.
 
 (And that moment in the Dickens novel Martin Chuzzlewit where one character is revealed to have packed piles of collars and cuffs for his journey to America, but no shirts. All one needed was the starched white extremities to give an impression of respectability.)
 
Being detachable was very practical. The collar and cuffs wear out quickest, so having replaceable ones considerably lengthened the life of the shirt. Even today, Turnbull & Asser tell me that they frequently reinvigorate bespoke customers’ shirts by replacing the collar and cuffs with white ones (the original colour sometimes being out of production or difficult to match).

But the men (usually bankers) that you see wearing them often look garishly, not to say cheaply dressed. That’s because the tie they choose is often too pale or too plain to draw attention. And the outfit becomes about the contrast between shirt body and shirt collar.

So with a blue shirt with white collar, say, a pale blue tie or one with only a small geometric pattern is not going to be strong enough. If it were replaced with a navy-blue tie with silver club stripe, attention would shift to the tie and away from the collar.
 
Pattern is as important as tone. Yesterday I saw a young banker wearing a plain black tie with a blue/white contrast collar. Aside from the fact that plain black will often look cheap, the lack of pattern ruined the combination. In contrast, I observed a slightly older man in the City wearing a dark grey tie against the same shirt, the tie patterned by silver paisley motifs. It was still subtle, but there was no question of the collar dominating.
 
Think of the contrast between shirt and collar in the same way as you would the stripes of a suit. If the stripes are so strong that they dominate the outfit, the wearer is unlikely to look chic or sophisticated. And the tie is, in its way, a little like the pocket handkerchief: usually it is meant to stand out against the suit, just like a tie. The collar should not.

Oh, and it goes without saying that the contrast collar and cuffs looks a lot better when you keep your jacket on.
Dec 30
2009

The search for a sponge and press

Posted by simoncrompton in suit caresteaming suitssteam cleaningpressing suitsdry cleaningcaring for suits

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steam-press

Most men destroy their suits by having them dry-cleaned too often. That much is uncontroversial. A high-street dry cleaner will stick your suit in a large drum, soak it with chemicals that spread the dirt around more than they get rid of it, and then put it in a big industrial press – which will stamp it flat, ruining any curve in the shoulders, chest canvas or lapels.

 

The chemicals wear away the cloth, shortening its life. The press forces a three-dimensional object to become 2D.

 

Much better is a sponge and press. This has to be done by hand and involves someone lightly sponging the suit before pressing it with a steam iron. The lining has to be done first, and makes a surprising difference to how comfortable the suit is. Then the pockets. Finally the outside is pressed – in small sections and rolling the lapels, chest and shoulders. A wooden mould is often used in the sleeve to retain its shape.

This is what a Savile Row tailor will do for its clients every few months, often as part of the service. It can make a suit look and feel like new.

For some gentlemen, this is all that is ever required. I remember David Gale at Turnbull & Asser telling me with great animation that “first, you only ever need a sponge-and-press, and second, it should always be free”.

For most, dry cleaning is still required, it just has to be kept to a minimum. Some have everything dry cleaned once a year, before it goes into storage for the season. Others keep it for extreme situations, such as a bad stain. I try to dry clean as little as I can – and I don’t feel it’s required that often when the suits are in consistent rotation.

But they could certainly do with a regular sponge and press. Which is where we hit a snag. There are very few, if any, dry cleaners with a spotless (sorry) reputation for hand pressing. I’ve had the shape of more than one suit ruined by a supposedly high-end cleaner.

So I’m conducting an experiment. I am collecting recommendations for companies, individuals and dry cleaners that offer a sponge and press, and trialling each one in turn. (Tell me if you have a recommendation.)

This week I tried Stephen Haughton, a professional valet who spends most of his time working with VIP clients. He has their keys, takes their suits (and shoes) when they’re away and returns them before the client returns. Some have so many they wouldn’t notice if the suits weren’t returned.

Stephen sponged and pressed a grey flannel suit of mine and returned it within a couple of days. I then took it to my tailor to get their verdict on the job – which was very good. The shape was excellent and, for want of a better phrase, it felt like new. It did.

The service cost £19.95. That includes securing any loose buttons and threads. If it was heavily soiled, ripped or had silk lapels it would have been £25.

Stephen does pick up from businesses as well as people’s homes, and has worked with tailors in the past including Kilgour and Welsh & Jeffries. If I use him in the future, I will probably leave a few suits at Graham Browne and have him pick them up from there. Stephen can be contacted at: stephenhaughton at aol dot com.

Next time I’ll give an old suit to a ‘good’ dry cleaner.

Dec 16
2009

Interview: Patrick Grant on dressing well

Posted by simoncrompton in Tailoring BlogTailored SuitStyle TipsStyle StealStyle IconStyle BlogSharp SuitPocket SquareMenswear BlogLondon SuitFashionEnglish StyleBuying a suit

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The proprietor of Norton & Sons gives his thoughts on dressing up and dressing well. 

What’s the key to a great men’s outfit? 

The great thing about the way men dress is we have so many bits and pieces we can put together. And if you’ve got an eye for it, a little bit of flair, you can lift an ordinary outfit into something quite special just by, you know, picking up the purple overcheck in a dark-grey Prince-of-Wales and accessorising that with your pocket handkerchief. Someone will see it, just catch that item, and they’ll think: ‘huh, I like that.’ 

Do many people do that these days? 

No. I think it’s a real shame that we’ve got to the point where people who want to dress nicely feel embarrassed to do so. That they feel they can’t wear both a tie and a pocket handkerchief because of how it will be perceived. It’s depressing to me. 

So few people get any joy out of getting dressed in the morning these days. It’s a shame because it can be a very pleasant, slightly introspective pause in your otherwise hectic schedule: ‘I’m just going to take 10 minutes and find the right tie to go with this shirt.’ 

I used to spend hours and hours swapping ties and things around. But you tend to find that, the older you get, the easier it is. It’s just experience like anything else. Our shirtmaker and has been on or around Savile Row for 35 years now, here and Jermyn Street, and he just has a good eye. You almost never see him wearing anything that isn’t spot on. And it’s never just a plain dark tie, a pale shirt and a dark suit. It’s always something with a little colour. 

We try to express that sometimes in our shop window. There have been ones there recently with grey shirts and purple knit ties, as well as other colours. 

Do you like knit ties as an alternative to silk? 

Yes, it’s the sort of tie that gives a little more character. A printed silk tie is fairly ordinary, business-like. A woollen tie feels less dressy and makes you feel more comfortable. Like Lanvin’s ties – someone pointed out to me recently – some of which are crumpled and perhaps don’t make you feel like you’re actually wearing a tie. People would often wear a bow tie before they’d wear a silk tie. 

I often feel the same way with woollen handkerchiefs. They feel much less dressy than silk. 
Absolutely. Though more people are wearing handkerchiefs these days, almost more than are wearing ties, which is really funny. I’m glad they are, because you need a little bit of colour. If I take out my handkerchief, this automatically becomes a less interesting outfit. Without the tie as well, it becomes very dull. It’s something anyone could put together. 

[Patrick is wearing a mid-grey herringbone suit, blue and white Bengal-striped shirt, pale blue silk tie printed with a white geometric pattern, and a silk handkerchief that is a mix of blue florals, cream and navy edging] 

You can understand why men feel very uninspired by clothes when they see their peers walking around in just a suit and shirt, or most of the time just a shirt and trousers. 

Exactly. If the trousers are beautifully cut and the shirt fits very well – as in it isn’t billowing out around your waist and flapping underneath your arm – it can look nice. But it’s rarely going to be that exciting. It needs something different. Wear a tank top or something that adds a little colour. 

Something dark, dignified, but still with interest and sophistication – like a dark purple or bottle green. 

Sure. My favourite colour combination at the moment is blue and yellow. We’ve got some really nice shirtings at Tautz in blues and yellows. Some nice bright ties too. 

[E Tautz is the ready-to-wear label launched, or more accurately relaunched, by Patrick last year. Available in Matches and Harrod’s.] 

Orange, too, is something I’m into. For the summer, perhaps pale blues as the base, indigo somewhere and then a very bright, citrus orange. Almost orange peel. Not a lot of it – just a dash of it, in a tie for example. 

I saw you say previously that you are very influenced by what you see people wearing that come into the shop. 

Yes, absolutely. It’s all the little details you pick up on. A little bit of colour here and there. Even if it’s just the edge of a pocket square that picks out something in the tie – just that little bit of thoughtfulness. And there’s one customer that always, always wears bright red socks. It isn’t going to match with anything, but it’s a statement. 

Another wears his watch over his wrist, like Agnelli. He has his shirts specially made so I suppose it’s easy to get them to work with the watch. But then if you are as prominent in his industry as he is, you can get away with it. 

Do you make mistakes in what you wear? 

Sure, you shouldn’t be embarrassed by experiments. Particularly when I was younger. That’s what your childhood’s for really, making horrendous fashion mistakes. I remember they used to have a menswear section in the back of Elle, perhaps once a quarter, and I picked out outfits in there, copying them all exactly. I’d think, ‘oh I don’t have that blue tie exactly, so I’ll try something else instead.’ And it would end up being a horrendous mistake. 

And then you would see yourself coming in the opposite direction the next day? 

Well no this was Edinburgh, so the chances of that are pretty slim. But a lot of it is just trial and error. 

There are some people, I suspect, that look at their wardrobe, pick three things out and look perfect. Other people pick three, decide against it, try another combination, reject that and finally decide on something. Still others pick out an outfit, walk out the door and look like a dog’s breakfast without knowing it. I think I’m in the second category rather than the first. There aren’t many in the first. 

You develop staples over time, that you know work. 

Yes, things you revert to. That’s where experience comes to play, because eventually you’ll have enough good outfits that they will all start overlapping. There will be a Venn diagram that over time has more and more things in the intersections as you add circles. Then at some point in your life you will know how to combine everything. I haven’t got to that point yet but some of my customers certainly look like they have, and they’re all in their sixties so I’ve got a couple of decades to carry on learning. 

I think some people probably find it quite frustrating that they seem to spend all their time trying and never quite get it right. 

Well then they need to walk around Savile Row a little and see what everyone else is doing. There should be no shame in just picking up on what other people do. I write it all down – if someone comes in wearing something really unusual that I like, particularly a combination of lots of different colours and patterns, I write it all down – shirt was this, tie this, suit, handkerchief, socks, shoes, everything. There’s nothing wrong with copying other people. 
Dec 11
2009

Sharp facts

Posted by simoncrompton in Winter SuitWinter FashionWinter CoatsTailored SuitSuit TailoringStyle IconPeaked LapelMenswear BlogLondon SuitFamous SuitsEnglish Summer DressEnglish StyleEnglish Monarchy SuitEnglishEdward VIIDouble Breasted SuitCuffBrown Suit1950's Suit1950's fashion

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Every time I read a book on men’s style, I underline facts I don’t know. Over the past few years, the number of underlinings in my books (and magazines) has got mercifully less. Fewer defaced volumes on the shelf.

But with Eric Musgrave’s Sharp Suits, the number of facts multiplied. I gave up 50-pages in, so criminal did it seem to write all over the book. The problem is, this is a history of menswear rather than a guide. And a history not only contains more facts, those facts come with quotes, anecdotes and supporting evidence.

I’d heard most of the stories about Edward VII, for example, but I didn’t know this quote from German Chancellor, Prince von Bulow: “In the country in which unquestionably the gentlemen dressed best, he was the best-dressed gentlemen.”

Equally, I knew Edward’s innovations included the dinner jacket, wearing tweeds at the races and leaving open the button of a waistcoat. But I didn’t know he was also responsible for the black Homburg hat, shorter tails on evening wear and turn-ups on trousers (to protect the bottoms from muddy ground).

sf-a-eden

I shall endeavour to scatter some facts from Sharp Suits throughout future posts. But for the moment here’s a few to be getting on with:

• A 1960 inventory of the Duke of Windsor’s wardrobe listed 15 evening suits, 55 lounge suits and three formal suits (all with two pairs of trousers).

• By 1849 Brooks Brothers had 1,500 people making its clothes, and could put a claim to being the first company to offer ready-made clothing.

• After the Second World War there were approximately 100,000 tailors working in Italy, dressing around 85% of the adult population. And yet it was the Italians that became the leading manufacturers of ready-made suits in the modern era.

• Hickey Freeman’s greatest innovation was to bring the various parts of suit production into a single factory. Up until then different tailors worked on different parts of a suit in different locations, often at home.

• The innovation of Hart Schaffner & Marx (which bought Hickey) was to offer proportioned suits with basic body types – tall, short, stout and thin.

• “Pierre Cardin was arguably the most influential menswear designer of the twentieth century…he changed attitudes to dress in men who had relatively little interest in their appearance” Colin McDowell. Cardin ruined this reputation with astonishingly promiscuous licensing.

• The hottest trend of 1962 was the suit silhouette worn by a group of public school boys that gathered around Le Drugstoe, a café on the Champs Elysées in Paris. They went to Marina, an old tailor on Rue Vernier in the seventeenth arondissement, who was the first to cut flat-fronted, wide-bottomed trousers with small cuffs known as marinettes.

I’m done. More reading to do now.

Nov 30
2009

Book review: Sharp Suits

Posted by simoncrompton in TipsSuit TailoringSuit BlogStyle Iconsharp suitsSharp SuitNew York SuitNew York StyleNew TrendsLondon SuitFitted SuitEnglish SuitEnglish StyleEnglishBuying a suitAmerican StyleA Suit That Fits consumer forum1940's Fashion1930's Fashion

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sharp-suits-musgrave

Eric Musgrave’s new book, Sharp Suits is a very welcome addition to the literature on classic men’s tailoring. There is precious little of it about.

Alan Flusser dominates the field, with his most recent publication, Dressing the Man, a primer for everyone interested in classic menswear. Indeed, it’s so good that I stole from it for the title of my blog – the book is subtitled Mastering the Art of Permanent Style.

Beyond Flusser, there are idiosyncratic works like Nicholas Antongiavanni’s The Suit and Nicholas Storey’s History of Men’s Fashion. The first is a job pitch that is entertaining but feels the lack of illustrations; the second is an English barrister’s rather particular opinion on clothes, and isn’t really much of a history. There are others, but really Flusser is the only one I would recommend without qualification. Until now.

Musgrave’s book is superb and should really be titled A History of The Suit; it would have been a more accurate title, though perhaps less appealing. Sharp suits takes the reader through several, from different cultural viewpoints. The first is a basic outline, from Charles II’s adoption of the Persian vest (and hence the three-piece suit) through to Armani and Prada. The others look at suit design, royalty, the Italians, the Americans, the French, rock stars and move stars (in that order).

Each chapter is lucidly and sharply written – as you’d expect from an ex-editor. But the personal touches are the brightest aspect of the text. Much of the factual timeline I already knew, but hearing about Musgrave’s commissioning of a brown, double-breasted suit from a rather frustrated tailor at Burton’s, or his recollection of an eighties suit made from cellophane, adds a lot of needed colour.

The other reason to buy this book is the sheer volume and quality of the images. Flusser, as more of a ‘how to’ book, is illustrated by swatches and examples. Other works lack good photos at all. Indeed, Sharp Suits is probably most similar in aim to Laurence Llewelyn-Bowen’s Men of Fashion, a radio show earlier this year that presented a cultural history of menswear. But that sorely lacked pictures. Musgrave’s book makes up for it in spades.

If anyone asked me what primers they should read on classic menswear, I would recommend Dressing the Man and Sharp Suits. One is a guide, the other a history; one definitely American, the other more European.

Sharp Suits is available from Amazon and Waterstone’s now at these links:
Amazon
Waterstone’s

Nov 25
2009

The rules and how to break them. No4

Posted by simoncrompton in Two ButtonTailoring BlogTailoringStyle TipsStyle BlogFashionEnglish SuitEnglish StyleEnglish3 Button Suit

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Rule 4: Always button the waist button of your jacket. And only that button

Let’s start by defining the waist button. This is usually the middle button on a three-button suit, the top button on a two-button suit and obviously the only button on a one-button suit.

I say usually because this is the custom – it is the button that is placed at the individual’s waist, the place where the tailor has opted to place the waist and measure it. There are a few inches of play there from the bulge of your rib cage down to the top of your hip bone. There are high-waisted and low-waisted jackets, just as there are high-waisted and low-waisted trousers. The height of the waist button varies accordingly.

The whole structure of the jacket is built off this button and the shape of the shoulders. The lapels curl down to this button; the line of the suit from armhole to skirt is determined by the placement of this button. It is the fulcrum around which everything else revolves.

This is why men are always told to do up their suit jackets when standing. If they don’t, they might as well not wear a jacket that fits. All the tailoring is built off the shape created when the button is fastened.

The only thing that makes less sense is only doing up the bottom button. But I’ve written about that at length before. It makes me mad.

One quick and easy exception to the rule: weather is the main reason to do up the other buttons. For cold or for wind, you can legitimately fasten the other buttons to keep in heat or stop the skirt of your jacket flapping. This is the main reason I dislike one-button jackets – you don’t have that option.

The main exception to the rule, however, is true three-button jackets. Most three-button jackets have a lapel that is soft enough to roll back when the top button is left undone, leaving a straight line running down from the collar to the waist button. This is often referred to as a three-roll-two or three-roll-two and a half, because with the top button undone the jacket line looks almost like a two button.

Some jackets, however, are built with canvas in the lapels that keeps them stiff to the point of the top button. When only the middle button is done up, the line above is kinked, angling inwards where the lapel begins. There is no clean line to the collar.

Here, the top two buttons should be done up most of the time. That is how the line of the chest and the waist is designed, and the jacket will sit more naturally when fastened this way.

This is why this rule exists. And that is how to break it.

Nov 20
2009

The rules and how to break them. No.3

Posted by simoncrompton in Style TipsStyle BlogNew York SuitNew York StyleMenswear BlogFashionAmerican Style

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Do not wear white after Labor Day.

Rules are there for a reason, but there is nothing wrong with breaking them. These statements are not contradictory. Once you understand the rules, you can work out how to break them effectively.

Of all the rules, not wearing white after Labor Day in the US (the first Monday in September) is the most disconnected from its intention. Doing so attracts the ire of many people who would otherwise have no opinions on correct dress or style. They certainly would not point out that notch lapels are anathema on a tuxedo.

For example, in an online discussion on this rule, one person comments: “White should never be worn between Labor Day and Easter. It is called good manners. Only the ignorant of decorum would say…oh, it doesn’t matter. It shows how much education and attention to propriety a person has. Only break the rule if you want people to think you do not know any better.”

Can you feel the vitriol spattering up onto you?

The reasoning behind the rule is simple. You wear white in the summer because the weather is brighter. It is usually sunnier, the sun is higher in the sky, so it is brighter. And light-coloured clothes suit brighter weather, just like black is the dominant colour of an evening event. Other light colours are equally summery – tan linen jackets, seersucker suits, co-respondent shoes – and suit brighter weather.

But that does not mean that it is never bright in winter. Indeed, the frosty and blue-skied days of December often seem the brightest, if only by contrast to the leaden days that surround them.

White is the lightest of colours and therefore only suited to the brightest of days. In order to avoid having to teach the plebeians about the harmony of colours and weather, a rule was invented – only wear white in the summer months, here defined as between Easter and Labor Day. Like all rules, this one loses in complexity what it gains in immediacy.

Once you know why that rule exists, it is easy to break it with impunity. Winter whites can look simply lovely, although they should really be creams and off-whites to be most practical and flattering.

The pictures illustrate this, with the wearing of cream cotton trousers (again, from The Sartorialist. He just takes the best pictures). Trousers are probably the easiest rule-breaker to go for, as they are after all not far off the ubiquitous American chino in colour. I’d go for shoes next, with jacket last.

It is no coincidence that this rule is dominant in the US, yet barely known in the UK. The weather in much of the US, particularly the east coast, is consistent enough to link sun with particular months, and so produce a sensible rule. In London, where you are just as likely to have grim rain in July and a week of sun in January, the rule seems absurd.

That is what the rule means, and understanding it allows you to break it intelligently. Wear white when it’s bright.

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