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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 spent more money on
dothes than in any other period of history; -are
there few~r well-dressed men than· at any time
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 constant
over time. Once a man learlis how to adapt
the :fundamentals of permanent fashion to his
physique a:nd complexion,_he's halfway home.
Taking the reader through each major clothing
das15i£cation step -by-step, tW.s user-friendly
guide helps you apply your own specifics to a
series of dressing options> fro1n business casual
·and fotmalwear to pattern-on-pattern coordination,
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,
(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.
ALAN FLUS S'ER ls the President of Alan F1usser
Designs, a company he founded in I979- He
received the 1985 Goty Aw~d as Top Mc~.nswear
Designer and the Cut.ty SarkAwardin1987for his
first two books' ''ilni.que contribution tQ the Uteratute
of menswear." He attracmd natiohal attention
for designing Michael DOL~glas"s wardrobe in the
movie Wall Stret;t, as well as acclaim for hJs work on
the HB 0 m0yie Barbarians at th~ Gate and the ·6lm
Scent of a ~ro1.rtatl;
He is the author ·of 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:
l ondon; m~dcUe: Culver PJ1otqs;
bottom: courtesy of Polo Ralph lauren
top: Illusfirated..Ne~vs ,
Author photograph by James Murray
t002
(conti11ued on &~ckjlb;p)
Harper~ollinsPublishers
~ -www.harpere0.ll.in:s.com

ALSO BY ALAN fL USS I R
Style and the Man
Clothes and the Man
Making the Man
•

•
PERMANENT
FASH ION
THE PO\¥ER
OF COLOR
PROPORT ION:
T HE fOUNDATION
THE
PREROGATIVES
2
16
OF STYLE
OF PATTERN
34
HOSIERY
1-IARMONIES
FOOT
DECORUM
ACCESSORIES:
THE MAJOR IMPORTANCE
FORMAL WEAR:
BLACK- AND-WHI TE
170
186
OF 1/[INOR THINGS
ET I ~ETTE
210
232
•

THE SUIT
78
ODD JACKETS,
TROUSERS. AND
WAI STCOATS
THE DRESS
SHIRT
120
NECKWEAR
144
100
BUSINESS
CASUAL
GLOSSARY
277
BIBLIO GRAPHY
J06
ACKNOWLEDGMENTS
307
254

4
DRESSING
THE MAN
Male adornment has blo~~o med. in p

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 or Italian industrialist G ianni gnel li; justa couple of
high -:Bying social or busLness magnates or even the odd Hollywood leading man with an affinity
for the random sartorial flourish ·would do.
How is it that 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 matter of donning the latest designer duds or 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 difference 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 I i ttle cho.ice bur to base his dressing style on the shi Fri ng sands of fashion. U nfortunately.
when the style '"'inds change. and they always do. the trend-captive man Found himself
standing omewhere other than terra firma.
Le c.1 rn ing how to dress '"'el l is not as diFficult as i r may seem. Mud1 I ike 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
in gr~lin i ng tbe same faults into their
swings, orin this case. in to thei r closet .
\iVh ile the go I fing enthusiast
can engage a recognized profession;1_l
+or instruction. d1e +ash ion fo llower
lacks a body of objective experD\ to call
upon fo1· indi,·idual gu.idance. Al1)' go'l f
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.
PERMANENT
FA SifiON
-- -

Dressitlg,vell rests on two pillars-colot ari.d
propon ion. O nce you 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 oldworld
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 smne 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 wi ll become lat·ger or smaller. F-Tovvever. the
aJ1S\Ne r lies not in the world of fashion but it1 the realm
of personal architectLu·e. The vvidd1 of 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 slightly wider necktie wi ll 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 ·set of physica1 trademarks and not to some random.
seasonally served-up set.of±ashioo Hashes.
\tVith this. indiYidual i.zed app1 7 0ach, leac~:ning bo'w to dress vvell begi.ns to take on a certain
logic, if oot clarity However. men intent upon improving their dressing skills are often
stymied by the lack of access to intelligent and personaLized instruction. UnforwnateJy: no matter
hovv sophisticated a store's merchandise, without a knowledg~ab le 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 financing, 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 service are the first to· suffer. Most retailers
m·e reluctant to invest much in educating :a new hire. Although the exceptional retail eJ- or individual
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 management or hired a,;vay by.a competitor.
l'artiarhtrly at the top end, where expectations for professionalisn1 and superior service
are justifiably h.ighcr, retail expertise has sunk to an all -time low. }vlost better-quality retailers
have traded up to more expensive mer12handise, ceding almost all responsibility for the education
- - . .
--- - - _--=~ - ·- ---~---~~-~~~~~-~~~~~~~-- - --

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 of a
two-color ensemble.
- -- ~
---

8
DR ESS I NfJ
TH·E MAN
of its sales staff to their suppliers, which is like letting the fox loose in the henhouse. As expe1·ienced
veterans retire or are pushed our to make '''ay for a more youth-ful and cost~ efficient sell ­
ing Staff. ItlCll 's clothing floors become increasingly bereft cif those qualified tO jnstruct anyone
imetestcd .i.n the finer points of this masculine ·art fortn.
vVith most selJers' incomes derived primarily from commission., fash.ion advice is too
frequently prejudiced by the 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
fashion -challenged's slu·u1.ki ng closet space. And ~N ·ith the econon:Jic realities currently operating
in men's f~1s hion retailing, there is not n1uch reason to expect immediate i.Jnprm'ement.
'vVhereas rhis might sotmd like chapter and verse 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 ~ ns urc the
del.ivery of what it prcnriised: authentic style and correct taste. Even though the I920s and J930S
VI'C t~e de cad~ of considerable econon1 ic uun td dar America, they produced the best- c:U·e~'Sed generation
it1 the t-vven:tieth cenhuy But the lesson from th.at bygone time vas. not how well kitted-out
the well -to-do ,;.,,·ere, but r;;)ther that the ~1ve rage mc,m 's dressing tastes were not th:rt±ar behind.
D uring that pe riod. the American male was
the beneficiary of some very favorable sartorial circumstances.
The period b~gan by catapulting the most
important single force in m.odern men's fashion onto
tbe -world stage. Whi.le still not yet ] ing of England,
David \i\lind$or was regarded in Americaa5 the undisputed
King of Fash1on. The yeUov\r-haired heiJ· to the
thro 11e. Yariouslv knovvn as the Prince of \tVales and
J .
1ate.r as d1c Duk~ ofvVindsor, visited the United States
in 1924 and made front-page news . ..Plmtographers
trailed him from the Long 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
The Prince qfwales: The Beau of the Twentiet11 Century.
salesman. th ~ young Prince of'vVales ap.d wh

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 sti ll aFf-ord co dress'' ell. General business
conditions did the vvo d~ of the thrc11hcr by eliminating the chaff or those fo llowers of Fashion.
lc;:n·L.ng the kernels. those men ofinAuentiaJ 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

favor could expect the victim to promptly
transfer his loyal t)' else,vhue.
By the thirties, nevl men's fashions
appeared fast an.d furious. Formal evening
and d:1y attire were supplauted by more·
casual garmentS; such as the d inner jacket
the three-piece lo unge sui:t. and the dress
hirt with attached soft coUar. 'vVith the
advent of i11creased leisure time. the odd
j a~ket and ~ l acks ensemble, active and spectator
sports\:veat attd all types oflight·weight
rewrt garb pressed the.i r ·way into vogue.
The thirties fashion ~co nsci o LL""l
Jiiale de~-perately
needed both info[med and individual
~qvicc .
And an'lazingly, that is e--xactly '"'1hat
he gor!
for all America's sarto1ial 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

SETTiNG THE STYtE BAR
many ·trQta of society helping to lift the taste level of rhe masses. T he silver screen
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 aU sorts of decorous fi ncry T.hct·e vvas even a British contingent
called the'' llollrwood Raj." composed of ·ud1 Engli ·h gallants as David
OPPOSITE TOP:
Three of society's irifluential men:
Y.Villiam Rhinelander Stewart,
the Duke of Sutherland,
and Chadie Munn.
ivcn. RonaJd Coleman.
Errol Flynn. and Basil Rathbone. who paraded arOLUld town like peacocks from Piccad.ill y. \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 the 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..'\tensive opportun.ity to observe and imitate the
.
g01ngs-on.
OPPOSITE BOTTOM:
Even the average joe
sho..,ved a certain style.
ABOVE:
Hollywood set the stage­
Cla1'k Gable, out shopping.

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 Piccadilly"
\Vith the world's economies depressed.
men's styk took its lead from those 'Ncllst::trchcd
stalwarts ·with sufficient cash to have
their clothe · tailored on London's legendary
avile Ro": The English ··drape" suit and all rajment
.. Briddish" were regarded as the quintessence
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 sti ll 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

t he commu11 ity's social leaders. In t he 11ineteenrh centtuy.
male decorwn.\vaslargely determined by the sor:ts
of the landed gentr y, while that of the new royalty and
tbe u pper class domLnated 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 for certain
occas iohs. O nce a gaJ·mentwas classified as sltch,
there vYas no need to qnesti_on its legitimacy or appropriateness.
"A uthentic h1shion .. involved little speculanon
or p0tennal hazard: in principle, it ,~ras ,nothing
mort. th~m adopting apparel that had al1·eady been
deem~d correct and so6aUy acceptable.
Up through the late I9) 0s, pivotal variations
iP male att·ire v'lrere relatively fevv. making it far easier to
recogniz

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 '~ · it h 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 permanent 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

diverse collection of stylishly m:mtlcd men ever to be assembled bet\~ ·een rwo co\'ers. Hopefu
lly. the sheer magnitude of options; presented here 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 superior LUldcrstandi ng of tl1eir
physical manner and appearance. Their style derive::; from an evolved itnvard eye rhat guides
them tmvard those cuts and colors that best articulate rhei r physiques. At such a rarefied level.
an indi,·idual's bodily a\vareness becomes an almo t unconscious dynamic. much like muJtiplicarion
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 Kathleen
Campbell has stnted 1
''The perfect art is that which conceals art."
In my thirt)'-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
DaisakLL Ikeda, 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 I ivc ·." 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 \Vi thin, permanent fashionability is ,,vithi n the re~Kh oF any interested man.
PERMANENT
FASHION

8.
DRE·ssrNG
THE M AN
exist benveen a man's m.ost visible and.expressive body part, his face, and the clothes surrounding
it is a prereqt.Lisi te of fi he 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 your fran"ie.'' AJ1d ·wh iah .colors end up fratning this

suiting fabrics ::tnd fm·ni shings. By the time the heralded new colors finall y hi t the shelves. both
the merchants and the masses \\'ere appropriate!) primed.
The sheer pace of change in Fashion between the wars co mpelled the editorial world to
exalt the hmv- to aspect of masculine style as in no other period in menswear before or a~Fte r. As
::1 result. a 111an 's complexion and his choice of clothes became an ongoing theme in each seaon's
·ryle presentation. Men were in ·rructed on how to incorporate colors such as to·wn
browns and rustic gree ns into thcjr city wardrobes and encouraged to take personal advantage
of less popular shades I ike pi.nk. lavender, and gold. Nm surprisingly. the period turned out the
most colorfully clad 111ale in the twentieth century. not to mention the best dressed.
U nfo rtLulatel)~ vVorld \~far I [ sidetracked the exuberance of the '''ealthy fashions of the
thirties. This, Collovved by the gray Banncl conformity of the ~i Fties and the social upheavals of the
sixties, left later generations of style-conscious males pretty rnuch on their own in divining 1:1.11 individual
d othing palette. f n the early eighties, offshoots of several commercially succe."sfi..tl color books
fo r '"'omen were broached for men. Unfortunately. their methodology was o tortuous 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.
T HE P OWER
O F C O LOR
P EX 0
Sll ljtief\\C l nl-h._ l ull~ l t'ltl t'llllitl' ttl h.tl rl Mtl tlilt trldllj; ttllll t'11,l l t\J~I h1f1•1U i nr$ liclrll#.!JIIi IJi
tli1111Jtl~): i 0n~; tlhi lllulllr.\lttl tm lh~.~ ~ ~lt~brr.r l h u~ ,,(l tfln "Uil ti ll ~dtlt nt. .V.rt-:~ 1 lu,fr:...::nu\
wllh app.ciJ,trialc .."'iht'- HI lnltrlr• filr Utt'
t.•-lH; l,ut$. nt~ tllr ~'" ',lthtt. 11tC·IIQ.jt!J VQ
.ult tiUwk., pnrui~y tllll''" i.ollf 1-h w':t.) l1t1 lrl
tlt~ ).UUc:th• 4lt~>W t1 •)r rn.ul\' ••t he~ a\l1Ti a14~.
as J;UMtet. fQr .,.-uhanut,q O"l"ff•..nrt"' in h.u-~ ·11Ht .. J ~q "'-I..,Ctl"tl t ~ tf 1 ,.. •rce"'I;;ri~ '*"111··1t
.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 t'\'l't')
l.'.:l f(" tCf•tl'lllttU \l lir!ot cltPlt.~~
1"' Cltti~~t.lfl
Cat\•
h• iirnd uubtNwn,::
Magazines keyed fashion co lot stories to d@rent complexions.

THE ABC SOFA PERSONAL
COLOR STRATEGY
20
DRESSING
TH.E b'£AN
ecping in mind that the face is rhe destination to vvh:.ich one's artirQ should escort
the b eholder's ;Jrtention, i-F too mucl1 or too 1 ittlc; repartee occLLr.s bet\i\'ccn it and the stu-rounding
colbrs. the vie\~-re r 's eye is diverted and one:s personal. pi:ese.nt:Jtion is ·weakened. Tv.vo color
techniques mu.stbe learned ifthe male'l'\comrnunication center is to be.assuredofoptimal ani ­
marion and inAuence. The first involves the relationsbip betvvcen the co mple-~ i on aJ1d an outfit's
level oF contrast. The colors of :;my given ensemble shoLJd exhibit the same degree of
contrast as th ~Jt manifested by one's skin and hair tones.

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 your skin light. you have a contrast complexion. If your hair
·and skin toiiC arc similar, your complexion vvould be considered muted. or ton~1J.
Having now matriculated into one oF t he ·t\·VO prevailing male color -Fraternities, you
21
Tr-11~ Po :w~; .R
OF COLOR.
might \1\rondcr how such a diversit-y of facial a1id hair colors can be so neatly djvided into .just
t'NO p.rofilc?s. Although me mbership in the- contrast club. substanti

22
DRESS 1 NG
THE M AN
lighter touch. And 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 second color technique Focuses on the enhancen1ent of the face through repetition of
one or more of its rones in the suJTOl ii K~in g 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-roned rims.
The early menswear magazines thought it was i m 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 suit 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 fasl1-
ion editor employL'd the same logic relative to the necktie-it's no coincidence that the tie's
Ti-f.£ POWER.
Of COLOR
reddish GISt just happen to pick up its wearer's ruddy facial pigmentation.
By sponing a scarf around his neck in the same pale bu.e as his ashen 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 the face
does wonders for ones complexion.

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 i 11 a sea of rubescent tr~ppings.
Eye color fo1Jows skin and hair as the next most i mponanr faci:J11ndicawr. especially
\Nhen a man .happens to lo0k out behind the baby blues of a P:c1LJ Ne'vvman or a Frank S.inat.J·a.
Nothing brings. an azure-eyed countenance· into 1nore·engagingfocns than a bluc-tcmed shirt OT
1 ike-hued necktie cavorting just below the chjJJ.
24
DRESSTNG
Tlf E M,iN
The last facjal feature to consider is any special p-igment like rosy cheeks o r suntanned
skin. Tn trying to enhance the face's glmv and primacy, the ide;1 is to pl Hy 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

25
THE POWE R
O F C O L O R
P::lQSITE & RIGHT:
Proper co mplexio ·1·~ a·nd
rlriug coordihatio1t­
Fml 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 njors 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) .
lew~ l
The lack of opposition between the gray suit and gray ch·ess sh in underplays the higher
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 accessorized 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 color coordination. confident in the knovvledgc that it can only
strengthen his own complexion.

FUMIHII(O: HIGH CONTRAST
__ om pared to the rainbow of European complexions. the classic FarIa ·tern coloring is
generall y confin ed to o ne high-contrast fornl-at-lighr skin and dark hair. Here's a handsome
represcmativc. Although he is \Ve l! rurned out by most sartorial standards. Fu m ihi.ko 's monochrom
atic coord.ination can never fu lly underscore the boldness of. his high-co ntrast complexio
n. Like the dampening effect of l)Tone Power's klutki outfit shown earlier. its sobriety
actually 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· hire collar. dark na,·y suit. and ada ·hing burgundy siH< necktie and.
presto. resplendence results, All it took vvas a si mple change of facial scenery to transform
funiihiko from pedestrian to prince.
27
TH E P OWER
OF C O LOR

JOHN: MUTED COMPLEXION
28
Dl~ESSING
TilE MAN
--
I though less graphic in content. d1e mured or toned ,·isagc demands more ,-igilancc
and skill 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.
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 opposirion
underneath. John's muted complexion is bullied into submission br the starkness of his
black-and-\\ bite outfit (bclull' l~ft).
J\lternati,·eJy. \Vben rhc less contrasting warmer shadings of his rvvo-tonc sport 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· 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 your 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 mentioned earlier. k1w-contrast complexions ,,re highlr susceptible to Further \\'ashing
out by cat·eless color-co.ordinarion!-1. Edwin need$ ro pa) !-lpecial artcnrlon 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

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
30
DRESS CNG
THE NiAN
is to buck it up with the relevant pagcanrry a · exemplified by these two
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
coloring. 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 ·ophistication. 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

AFRICAN AMERICAN:
MEDIUM TO HIGH CONTRAST
rymg to apply the contrast-muted paradigm to the
African-American complexion req uites .so me ex planatio n.
T he fact char the ave rage African-American face. vvhether
black or light brov\TI, cx.h_ibits little contrnst between its bajr
and ski n tone \\,.ouJd seemingly qual if)' ir as a mttted faciaJ type.
I lowe,·cr. 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 approach 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 ofhigh -contr:lSt mamlt::s because oF
his bh.1nd countenance. Beck:ford,s extremely da rk skin produces
n·emendous contrast with any clothing colot. Th.crcfo rc. the
brighter and more dramatic the shadt: ofhis clothing, the better
he looks and the more rad i&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 striking
blue ercs into his ensemble is certainly a good way to start
Thi.-: third African-American man's skin shade is yet
another gradation down in contrast, mak ing his well-chosen
~· ~
sport jacket and matching T-shi rt ham1011 ize graccFuJJ y with his
coloring. lf one were holding up each of the rhrce model s, skin
tones 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.

DRESS I N'G
THE Jvl r\ N
lnappropriateJy scaled clothing is d1e root cause for the contemporary m;.m 's current
bck of sarto ri al 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 ·quare- toed shoes attest.
lt is said that the quaLity of 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

THE SUIT JACI

ABOVE LEFT:
Douglas Fairbanks]r.s shoultlers are built u.p to

The nant l·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·eyor. Brooks Brothers. Here is
the late secrcrarr oF state Dean I \cheson i 11 L) pi cal New England undcr ~ mrement. his Brooks
Bmthc t·s naturaJ shoulder :.111d fullr rolled butron-dovvn vvhispering thei r patrician provenance.
Compare 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 ~1is ed ro produce :.u1 ill.usion o r~ height. sharply a_ngled or co.nsp.icuously buil.tup
j

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 a..;; possible.
\~fbereas the ideal measuremen t of a man's jacket can \"

4J
PROPORTION
RELATIO N TO TH E ARM:
..JACKET LENGT11 IN
.JACKET'S BOTTOM
THUMB KNUCKLE.
' •
SHOULD LINE UP WITH
·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 determining the correct jacket length originated '"'ith America's development
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 formula has one drawback: arm length vari.es from person to person.
T he second approach (previous pag~ measures the distance from the jacket's back collar
(at the pointvvhere it joins t be coat's body) to t be1ioor. vvJ1id1 Ls t he n divided in half This is the
procedure taught in most tailoring schools. Either of these two approaches can be influenced by
dimensions unique to the wearer; a top tailor will use neither. trusting his practiced eye to take
in the whole picn.u·e before deciding on the jacket's ideal length.
THE WAIST BUTT 0 N T he '"'aist button is to a suit jacket what the fulcrum is to a seesaw.
If incorrectly positioned. a delicate 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 the 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 appear at maximum length. Observe the navy suit's elegant silhot.tette by following the

I i 1e 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 suit, stretching out the overall Figure. and
the coat's W3ist button ple1cer1ient enhances the
iUusion of along lcghne \Vh ile bel ping to ;,trticulate
its inhabitant's chest an

on his chest. the longer lapel line emphasizing
,·crticality. 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, condensing
the upper bodis length 'IYhilc extending
it~
breadth. 1\.vem:y years 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
43
PROPORTION
gorges along with its waistline. loosening un
t..: \.. L,.l c i
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-shouldered
man will nattlrally regLtiJ·e a -fLlllcr lapel For
proper balance. Like the singlc-bt·eastcd
norchc!' on 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 itwariably
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.

THE JACKET SLEEVE Properly cut jacket sleeves
lend a o·im, well-formed grace to the arm. Fu ll 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 smartness,
but give the illusion of heft.
T he b;md of line11 between jacket sleeve and
hand is yet another stylistic gestw·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
,_,., ult trousers should extend the line of the jacket.
Fuller-chested jackets require fuller-cut trousers. just as
more fitted jackets mandate shmm er~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.
fo llovving the natural line of the body
LLke the navy blue suit trousers seen earlier
and the gray flan nGJls ofthis·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' fu iJ ness, it can better filJ up the
jacket's bottom opening, thereby lengthening the
overall figure.
The proper tapering on the jacket sleeve.

45
PRO 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. the shin co llar fl:ames
~ he face. mal

PROPORTJON
THE POCI

THE TAILORED ANI

PROPORTION AND BODY TYPE
hether short or tall. port1) or lim. most men
aspire to look lil

eliminated from contention just because a
man is talJ. The important thing is for the
·cale and strength of the stripes tO harmonize
\Vith the particular body t) pc: narrmvto
mediLtm-spaced stripes for the thin
physique; slightly broader ~md less pronouJKed
lines for the fLLIIet' figure.
)0
DRESS IN G
TilE M .AN
NORTJ-1 AND SOUTH LINES
HELP THE 5'H0RT, STOUT MAN
A PPEAR TALLER AND T t; I NNER ..
SCALING THE HEI GHTS:
TIPS FOR S H ORT, HEAVY MEN
vVithout question, correctly cut clothes can
definitely aid the 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 cor-
,
pulenr physigue. To .elongate the figure. the
eye needs to be distracted from the vvaistline
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, should 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 conceal.
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 actually 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 torso can be optically elevated by raising its shoulder
line. The slightly higher shm.Jdcr 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 only 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

eadth. 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 1 iJ1e. 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
sleeve and shorter jacket length. The coat'
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 asymmetrical
lapels more than com pen, ates for it.
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
-
THE WELL-CUT DOUBLE-BREASTED COAT'S
SLANTING L INES HELP SLIM ALL BODY TYPES.
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~-sty l e
( unlhppcd) hip pockets create less thickness and
clutter than the Aapped va rier)'. 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 layer 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 trouser. 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
SI
PROPORTION

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
52
DR'ESSTNG
THE MAN
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. 1 f designed well. pleats also divide Llp the stomach
expanse. The reverse-pleat style (facing the pocket) may be more flattering for this figure, 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 horizontal 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\·Vard to the heel to prevent them ilapping about.
In the matter of m:1terials. to discourage the impression of bull

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
thickness. as do up-and-down patterns such as fine pinstripes. herringbones. and windovvpanes
longer jn the warp than woof
TIPS FOR THE SHORT, S LIM MAN like the heavyset frame. the thin physique
should al·ways dress "large." Closely 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 w1buttoned.
each side fo.rms a panel down the front that creates an illusion of verticali ty. 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

Trousers should be long in the rise and tai -
..._
lored '' ith deep. for\\'

\ -
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 ·houJd I ikewi e taper
gent! y dmYnward to the wrist. Jacket
detailing should be kept at a minimum to
accentuate 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 \\ ·~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 the
floo r. fLJ ier-scale foonvear plus the
cuff's mass aid in countering the upsidcdovvn
pyramid effect of tbe upper body.
Trying to emphasize the upand-dovm
wh ile playing down breadth.
smooth-faced fabrics. such as worsted
stripes. herringbones. and even windowpanes
longer in length d1an width. will
do very nicely here. Assun1ing a broad
tace and thick neck. verrical-poin tiJ1g
dress shirt collars, such as tabs or straight
points, are rhe ticket to ride here.
55
PR OIIORTLON
Tarl men Uke Gm·y Cooper can wear larger patteri1S.

INTO THE FITTING ROOM
s6
DR£SS1 NG
THE MAN
An example of a. bad fit.
__.._.._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-white shot projects an LLnmistakable
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

INCORRECT FIT OF JACKET 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 your
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 your 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 the 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-minded 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 -Aawlessly fitting straitjacket, these folds ensure that there is eno LLgh
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 co llar 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 fabric
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

"X" MEANS
THE .JACKET IS
TOO TIGHT.
CORRECT
CLOSURE.
PROPORTION
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 upper arm. l Fa 111:111 carries his arms eith.er too much to the front or back of the coat. the

o-
60
DR.ESS I NC
THE Mi\N
:
THE TROUSERS' WAISTBAND MUST BE COVERED BY THE VEST.
WAISTCOAT The fitting of any tailored waistcoat should be done \\'ith its back strap fastened-.
The adjustable rear belt gives shape to the vest's waist I i ne 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 recommended antidote for the gap that typ ically develops bet\vccn
suit trouser and \'Csr. 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 harmony with each ocher. Vests and
belts should choose different dance partners. A strip of leather encircling the stomach adds
more bulk to an already layered waistline. and bdtcd trouse rs also tend to slide down the hip.
frequently reveali ng the undesirable presence of a belt buckle.
Top-quality vvai stco~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.
lligh-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 unusuaLly 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. llip-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 et ... the hip and thigh musrbc cut full enough
so that tlte 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

DRFSSING
THE .M.\N
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 li t) to -,vvitch from one Ill ode tQ anotlwr is an cssenti

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
bon:- some myal. military. 0 1· family sign i:ficancc. Such a diverse and extensive 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
'vVa'lcs t r~vclcd.
G i v~ n the strict dress requ irements of his youth, wit h its disciplined and ne:-lrly retishLsric
attenrion ro detaiL it's IJO wonde1· rhatas soon as he "''as old enough, the Prince tbrevv. off theshackles
oF his parents' Edwardian fo rm ~tlit) .
ln doing :-:o. he created a vvoddwide ~W

MIXING TWO PATTERNS OF
THE SAME DESIGN
arrowi ng the wo rking C:.lll\'

68
DIH.SSiNC.
TIT E l'Yif\ N
with each stripe ~ ! so enhances the overall
ease on the eye.
Ever the style setter and cyc._r
comfortable with hi.-: c1L1thes, Fred
Astaire was certainly no stranger to shufflin
g around different patterns. Here he
ABOV£:
Fred.Astaire achieves compatability
with -two stripes of varying spacing.
BELOW:
DoN'T 1nate two two stripes that are similar i11 size.
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.ternativelr. herc:s a lesson in
how not to mate two sttipes. Although the
overal l ensen:tble is artfully arranged. rhc
tie's bar-stripe design a1nost duplicates
that of the suit's. fOrcing the eye to \\·ork
ove1·timc and strain for focus.

MATING TWO CHECI(S
L tylis hlr 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 imp o~ in g

MIXING TWO DIFFERENT PATTERNS
70
DlU.:SS I NG
THE MAN
hile tile agency of o;;cale W

71
T ,/'JE
PREROGATIVES
OF PATTERN
lOP·
illl pafferm
cnuu Jascord.
BOTTOM .
~TJ pattern
::ta to be relieved
c lurger o·ne.

1
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

MIXING THREE PATTERNS WHEN
TWO ARE THE SAME
; -!-
DReSSING
THE MAN
e encounter an e\·en more demanding slope when rwo ofthe three players share the
same de~ign. such as two strip e~ ru1d a check, or rwo checks and a stripe. In this case. safe passage
can be assured only by separ3ting the tv,·o like desjgns in size vvh ile selecting a11 unlike pattern
that is' isuall) compatible with both. In this example. the two stripes are kept at arm's length by
virnu? of their differing scales. whtle the necktie consorts h~uKlsomely with either stripe.
D itto For the check-on-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 out .(in this case. the necktie)
must take its cue from the more prominent
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 possibi lities for textural harmony.
Multiple-patterned ensembles
often require at least one larger-scaled
design for proper balance. and these
bolder-all-over neckties ;ue indispensable
fo1· accomplishing just such an
:1esrhetic accord.
TOP:
,Correct balance- large stripe, small stt'ipe, large paisley;
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·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 " ·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 \Yhen graduating in size from small out to
large, begin at the base with the smallest step and proceed on up.
-n1ke a look at Basi l Rathbone's graduated arrangement of
checks (top). Starting\vith his shirt's small tatte1·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 sma llest at the base
and then branch up and out l.n scale. By building upon each ·trtipe's
graduation in size, the arr;,u1gement is infused 'vVith dimension and
proportion. mi n1mizing the potential for contrivance .inherent in
such repetition.
TOP:
Graduating checks fi'om shirt outward.
CENTER:
Prince Charles in three checks.
BOlTOM:
Graduating stl"ipes fi'om shirt outward.

MIXING FOUR PATTERNS
DR f .S .S /Nl:
Tll£ NIA N
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 world·widc Order of
Dandies (:.1 ll1m \Molfc

\·Vhc rcas rlw LlLU-\.C of \\'ind,or would knock

"I'll throw in a je1111 extra pinstripes."

garment or ensemble that aA-"ord~ ~uch a compkrc yet variable envelope for the male body.
Although the r~1sh i on community s~c m s congcnjtally disposed tG se:lson

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 ca ll it "bespoke." 111 Italy, the word 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 i tary uniform as exemplified by
the long-fitting. hourglass-shaped hack.i ng jacket. Adhering closely to the body. with subtle
emphasis 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 that 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

DR'ESSTNG
THE Mi\.N
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 hybrid \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 that a man preferred his clothes
fitted and worn 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 indigenous
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 si mplcr
if one basic silhouette can be employed as the ·starting 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 or detailing
as to be indistinguishable from one another. 1 lovvever, it is to affirm that the real differences in
today's top-rung suit sill1ouettes have seldom been less remarkable or more subtle. And if you
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,
fu ller 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
TOP:
GJry Cooper demMzstrates the classic
urroniug of a three-button suit with
its center button closed.
BOTIOM :
:~an Cocteau shows the larger "V"
openitzg of the two-button suit.
THE SINGLE-BREASTED SUIT The single-breasted
two-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
coat, the single-breasted lounge coat made the transition from
country to city ·when its cunred fronts were 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·what formaUzing the presentation. Its two
upper buttons aLo form a vertical line in front,
promoting a more up-and-down dynamic,
thought to add length to a man's torso. Here is
an elegant Apparel Arts stripLing tal

DRESSING
TH!. MAN
THE SINGLE-BREASTED PEAK LAPEL SUIT
ln the 1920s, the peaked lapel
n1asterm.inded the metamorphosis of the male torso. Throughout the interwar period. whether
for s·ingle- or double-breasted suit jackets, overcoats, or blazers, pointed revers or lapel peaks
spearheaded the popularity of the V-shaped male chest. The acceptance of the single-breasted
dinne r jacket with peaked lapels i1:J the late twenties ultimately spilled over into daywear.
By rigging a single-breasted jacket with a double- breasted tever, this lapel treatment
vi rtJ-tally neutralized the 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 overhtpp.ing
fronts. Rarely found on ready-to-wear racks. this mildly offbeat suit model rernains pretty
much confined to the cu."tom-tailored crowd. Bespo ke and vested with walking stick in hand,
tv\iO of the I :Lome Country's better-upholstered 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 :
The Duke cifKerzt in the
"v '' [ 1' i
.I\.ent., a onget'-me vers on.
l!

THE DOUBLE- BREAS TED SUIT Prior to \Vodd \\ 1 ar 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 , ·ent l es~ ta.ils hugging
o lindrical hips. Long, "·ide trow;crs supponcd th i" col umnlike shape.
"erving as the base of an athletic si lhm1ettc th~1t CtllllC to define 111asnJinc
"
elell~1ncc thn.~uc.Thour rhc period.
0 0
,\ctnr I\ dol phc tvlcnjou·.s wardrobe wa~ ~up posed tn ha,·c been a
\ 1rtual ~tnt h o l o~')' of men's fe:1sh ion. Reportedly. it i ncludcd at least one
p.lckct rrom C\'Cf) f:llllOUS EuwpeJn tai lor up through 19)6. l !ere's one of
1 11., killer I) B\ natt) in e\ ery nu:1nce. from it" ~u(r. contoured shoulders
and 'llloothl) dr

SUIT JACJ(ET DETAILING
SUIT jACKET POCKETS [~rl }'
suit pockets were
jcm:d. or Aapless. ln 1921 the Prince of \Vales started yet
another trend b)' rc\'C.:~rting
to n~lps for his ~mit coat's lower
ABOVE:
Side pockets line up with the bottom bttttoH on the
coat'sji-ont. Notice the pocl~et!s D-tachflnlshing.
B01TOM :
Patch pockets are considered the nwst CL1Stuz!
of the three classic suit pockets.
pockets. Although he \\a.s not the first to wear them. his

I
B
I
FALL
OXFORD GRAY SHARKSKIN
NAVY WoRs a ED 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
MARINE BLUE f:?IRD ' s EYE
WITH WINDOWPANE DECORATION
NAVY WoRSTED FLANNEL
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 RL CHAL K S T R IP E
~~ rr ~ :.;.,
~ ;nl.!_ll t II ~II!. .1
1J~%:J~Il~'"D II U I ,. • • • ~ :..
,ill ~ftl f!•• II • •• ~
M EDIUIY1-GRAY W O RSTED
IN PLAIN WEAVE
8; .t.CK- AN D- W H IT E PLAID IN TROPICAL WEIGHT
WITH REO 0VEACHECK
U GH'lWEIGHT NAVY WORSTED WINDOWPANE

GRAY Pick-AND-PICK
FAWN G LEN PLAID WITH TONAL 0VERCHECK
COLONIAL TAN PLAIN WEAVE
BLACK-AND-WHITE TROPICAL
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 bcclllse or irs anccs ~
o·a.l connection to the [ng li ~ h riding o r "hacking·· jacket. i.s a nother ri mdess
suit- pocket option. Rarel y fo u11d o n non- l) ritish ready- mades. irs presence
tend~ to project :1 slightly t\nglicizL'cl if not bespoke, slant. r\ [wo,·irc
det2i ling of the house or lluntsman. 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

JACKET VENTS Vents hme a military
heritage. \Vhen men traveled on hor eback.
their coats were designed For comfo rt in rhe
saddl e. A single slit in the coat's back permitred
its ta ils to fall naturally on either side ofrhe
88
DR.ESS I NG
THF. M tiN
horse. J very practical reason v' hr even todar
the long single back ,·ent: sti ll adorns most
modern riding jackets. As the male suit jacket
must be long enough to cover the buttocks.
rear vents 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 ventless
:;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~ fi tt in g
Italian
suit of the sixties. nonvcntcd suits are as
time-honored as the British side vent.
[kt\\'een the wars. '~ ·hen
English tailors
ruled men's seams. the majori t:y of
bespoke lounge suits and. in particular.
dinner jackets. ·were tailored
without vents.
ABOVE:
The long single back vent adorns most
modern ridingjackets.
LEFT:
The ventless back bunches up i forced to accommodate
a hand in search of a pocket.
The nonvcn tcd jacket hugs the hip. giving it a clean. trim contour and a
dressier mien. \~hilc off~ r i n g implkity of line and form. it functions poorly ln
order for the wearer to reach into a trouser pocket or to sit down. the ve ncl e~'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-vented back. an American predilection. rose to prominence
in the dars when ready-to-wear clothes were first arri\'ing on the ·ceo e. V/ ith
the evolution 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 horseback.
the single vent lacks any sty I ish 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 single
\'Cn t pulls open I ike

am·acts tUldue attention to rhe man's expo,ed derriere,
and. if cut high enough. the yent encourage · a
fringe of disordered ·shirt 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!
THE SurT
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 occasionally 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.
RIGHT:
The side 11e11t permits access to trouser pockets
whfle co11eri11g the buttocks.
later decide that he doesn ·r
I ike the t\~'0 vents, rhc back
can be easily converted
mto a vcmless by sewing
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 concealulg
the buttocks. \tVhether single- or double-breasted. the side-vented
coat can be worn buttoned and still provide ready en tr

Uc'.-, lack of intl're~t. ~ide -vented clothes have never bee n enthusiastically
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 properlr Jring flat and perpendicular
to the ground. the double--vented jacket offers a posterior
guard of practicality and propriety \i\/hile t his rear design
dispenses its duties with ~ im p l e chm. its benefits are not limited to a
man's hindquarters. Side vents le8d the observer 's eye up either side
of the coat's back, sublim in,, [ly imbuing the wec-ll'er with an illusion
or greater height. \Nhen the man is in stride, the SLtbtlc 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

THE SUIT WAISTCOAT
__.___U tailored men's \est::. descend rrom the origi nal postbO)
waistcoat of nineteenth-centurr E1gland. \!\lorn br the postboy, or
postilion. who rode as a guide on one of the pairs of horses attached to
~1 coach, the garment was intended mai n I)' to pro,·ide ·warmth. so it
was usuallr made of a woolen fab ric. front and back. and cut high
under the armholes.
The Wclisrcoat is teclu1ically the most challenging garment to
construct sarisfacroril ).
s a high point of the rai lor's craft. it is
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 vvorking in shirtsleeves. It was not only 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

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:1t 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

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 activity. 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 CHARCOAL SUIT \Nhen it comes to starter
suits, the dark gray two-piece gets the professional's. nod.
\"lillie 11

THE STRIPED SUIT Of all men's swnngs. none has ever
mntched the glamour and populariry oF rhe 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 ·worsted qLLickly establ ishcd itself
as the patriarch of aU patterned drc:-.s suits.
The ,·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 snipe suit to new level of
cosmopol i t~1n consciousness.
The striped jacket and matching
trow:cr formed their own partl1et·shjp
around the turn of the cenuuy ·when the
lounge suit started to replace the black
jacket and odd sniped trouser 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
coat formality.
RIGHT TOP:
james Jvfason in his stripes.
R IGHT BOTTOM:
The ever~ stylish Ralph Laure 1 in
striped repose.

THE 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 1 ike the houndstooth
enjoyed a dist inguis h ~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 I ighmcss ach icved
throllgh a refined play of vertical and horizontal
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' "p · ,.r11r. l ,,
~11 tS OW1t nnce 0 vva es.
THE WINDOWPANE The \VindovvpJnL'
worsted has ahntys featu red low among the
rank and f ile. while its standing wirh the well-starched set has ne\cr 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 commercial 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 subtly elongates. unlike the stripe. which \vorks its magic in
more conspintous \

thJn the glen plaid's multiline~ll.·
ground. However. the willdowpane's dearly deJnarcated outline
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 embellished with a colored ovcrcheck. this e rudite pattern is. like Cacse1 r's vviFe, ::~bove
susptciun.
THE GRAY fLANNEL Though the shrink-
._
DruisSH!G
THE MAN
ing demand for winter-weight wools has diminrshcd
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

twentieth ccnturr wa~
about ro close its
books. fashion resto red rhe brown sqit to its
l~1 r·mcr smte of masculine ~Trace Folio\\ i rw
v ~
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 "thoughtful
sh!d\' in charcoal bro,Yn." inrroducine
J
v
an outfit it judged "c.umosr pettccr fo r maintaining
a due degree of formality for definite
town occasions.'' Back when me n~wea r
jmu·­
nalismfocused on individual dressing strategies
as opposed to generic fashion. a rna11's complc""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
were conrinu:rl l}' encouraged to consider
brown as one oF their staple ward 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·nte.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 aU shades. from gold to green to tan. \\'ith the
r~cenrmat i
ng of the dark brov.·n worsted and
The dark broWtl suit is every bit as much a power suit as navy or charcoal.
medium-blue dress .shirt attracting considerable
:reclaim.\ Vhether in a winter or summer
weight plain or pin.stripcd. double- or singlebreasted,
the high ~ class brown suit wi ll alv.'ays
be a povver plarer in any male wardrobe aspiring
to permanent styl ishne~s .

GA B ARDINE For rhe ulti mate in I ight-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 there on
rhe I ist or idealized dress suits. Cosrlr tO weaYe. expcnsi\'e ro tailor.
and problematic to press. the rop-qualit) gab~1rdi ne is neither

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 crcnseresistant
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 l ev~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 we ll-bred bcginn i11gs. the silk suit ,.vith 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
TH
fabric in its original quality and narrow width.
T l1e classic shades arc cream. bro·wn, blue, and
elephanrgray Combining the bcstofnantraJ fiber
vvo rlds. 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 woo l.
Pri11ce Charles. backdropped by the tropic
ptt:radise of Hawaii's Btg Island, immaculately
rigged out itl silken Savile Ro11' dupioni.

In t he period follmving \\/orld vV;:rr 1. d ischargcd veterans
thronged to depc:trtmetit stores and. haberdashers to make up for the
deprivation suffered in the distant trenches 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·ent. The postwar obsession
w ith sports and outdoor activities encouraged fashion experimentation.
wirh the main arena being spot·ts dotJJes. The New York ekgance
of the pe riod meant looking wel l h1rned out but comfortable. Fro m
thjs tin1c forward, the virtue of comfort vvould be an evolving constant
THE ODD JAC K.ET
B;tllk in the Nineties when eil.l·ly American
gp~l? 6rat battled w.ith bogey arrayed in
.red coars (\!sed to wurn non-player.s of impending
dnnget) Brook,-; Brorhm began to
make odd jackets>.ready-mnde, Over this
pedod of furry to fifty years; we h.rv.e inrroducel:l
;t[ld· populh.riied .in th~ country more
of tbc mn:ious British materials, pcrrhap.s,
than an; btber establish ment. That th

money Fol lo\\'ing "old'' down to their r:avolitc warm-we::tthcr \V::tterlilg hnlcs. \IVith ;1 sbcial ~cason
that demanded multiple changes of \\·;udrobe and a concentration of socict) ·s leaders in
attendance. PaJm Beach became the founta.inhead !"or 1\meri ca 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 apparel of the upper brackets.
I lowever. it wasn't until I923 that fashionable den izcn, began to witness some of thcjr
'-'
regulars donning jackets that could claim to be epamre "odd jackets." Profiled (bC'lony i11 prevai
li ng plage L1sl~ o ns is one o f its northern habitues. ~cw York soc ialite ~d ilton I !olden.
FASH ION PROF TLE
"Milton Holden, ·well,know11 socialite, appears
at practically every authe11tic spot inseaso11-
Sottthampton, Belmont, New York, Palm
Beach, Meadorvbrook, etc. Here arefour
Esquire- Apparel Arts photos take11 in
February within a Jew days' time showing
how correct clothes ha.ve labeled him a welldressed
man with fashion leadership."'

13y the latter part ol=-the t\\ enties. the
-;porting jacker. trimmed of its countrified
deuiling and worn wirh separate trousers in
contrasting fab rics such as flannel or gab

ABOVE:
Brooks Bt·others pleated-back jacl~et.
LEFT:
Henr11 Fonda i11 action-back tweed
and sport-detailed flannels.
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 only 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 n nd fcRu
plear-: abme and bcJo,, it.
In the photograph abO\'C, a \ Cl')' routhful Henry Fonda
comFortabl )' 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' emenr ,, hilc fadlimring
d1e rotatiun of his shoulder. :\oticc the consort 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
was rhe shirred-back dc~ign
.
n me
\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

a simplified version of the classic safari jacket cotJd
,·en' weH be in tbc offing.
I . ~
Although \Norld \Va_r I 1 pt,tt a dam.per on
nc\V .sport coats. when the vvar ended. the ·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 [ampu$e$,
the exuberant sn·iped Shetland jacket loomed as
heir apparent t-o the bold plaid. About the same time.
authentic madras pl.-ti.ds vvcre making their \

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)' decorated with stripes in rhc
club's colors. omc \\'ere .so bright that they became knL)\\·n as ··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· 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 opts for the updated reefer blazer.

\ Vith bl Lte a11d white as the impe r ~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
another 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 lightweight
blazer became a summer sensation.
By the thjrties, tl1e bh12er began to be seen in different
so Lid 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 sl i.ghtly hcightened.aura ofdress;up over
the single-breasted modc.l, so do Hap pockets over 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, the 11avy blazer remains 8 h1erarcrucal t)rp e of garment
A roundup cifsame of Atnericas early
bla.zers as pictured on Palm Beaclls
older attd younger denizem.
\iVhile many meH appreciate the gentility in1plied by the traditional
gilt blc1Ze t: button . in roday's les$ ceremonial world some men feel
uncomfortable with Sttch conspicuous d.isplay. \Vhile tl1e dark brown
horn button is LL"il,mlly the Brst no nmetal alternative considered, 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 are entitled to vVetu· a disti.nguished club buttol1 .. the classiest choice is
the plain, flat. English gilt blltton 'vVith 8 shanl

Judging the correct number of buttons for a double-breasted blazer is guided fir ·t br
its St) ling, second by tradition. and tJl ird by pcrson

THE ODD TROUSER
11.2
RES$ING
-1 E Nll\ N
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 vacationing in England
vvere confronted by voluminous pantaloons worn hy the Oxford and Cambtidge Lmdergraduates
to camoutlage the.ir knickers, vvhich were 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 that swept the coun try in the space of a year.
Although their popularity went into decline
the foUm-ving year. the Oxford bag initiated a vogue
E11-gland's answer ·to America's
Fred AstaireJashion plate
jack Buchanan i11 Oiford bags.
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 thJ·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 jacket, 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 more serviceable than the sport-only knickers.
T he ne·\N trouser Fitted dose at d1e vvaist
-vvhil'e hanging freely and easily over the hips. 1\.vo generous
pleats \·vere R-zed into its lTigh waistband to give
extra ful11css across the front, while
the trouser leg wai\ long enough to
break shgh tly over the in,..; rep. It vvas
tho Ltght that the cuffed bottOm and
crease fore and

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 twentieth 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"Ute
that added light and dark highlights to the plain
gray cloth. establishing the gray Han.nel trouser as a
worJd,yide commodity. Among tl1e yoLlJlg blue
bloods from British societr gray Aannel slacks came
to be known as ··grayers.''
Charcoal flannels dealt
the sporting k .. nicker. or plu ·
fou1·s. an early blow. vvh ile colored
and striped flannel pants
relegated it to chasing golf balls
over the countryside. By the latt'
thirties 1~1
hionable Americans
abandoned knee-length botroms
both on and oFf rhe go IF
coLu·se. and the knickerbockers
went into ful l eclipse.
Gray ult imately loosened
white's srranglehold on the
upper-class weekend regiment,
because it looked more appropriate
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 magazine's
depiction of this "trouser
of trousers''' vin:ually unumitcd
choice of d~1nce
partne1·s. Ranging
in tcx ru rc fro 111 rwccd to corduroy.
in pattern fro.m solid to
Mens ready,made jlan·nel trouser swatches
foam Brooh Brothe-rs
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

almost every day for class. it's litclc-vvonder that the
college c;;1mpus pioneered many of the nevv dress
trouser fasb iOj1S. Ln the ea rly thirties, Glenurqubart
pb1id .slad

military type of work fabr.ic in rhc fall of T9-1-S came as no surprise. Chino cotton trousers in olive
drab became d1e new uniform. remaining a11 inrcgr:1l part of the collegiate rnai1's wardrobe for
the rest of the Forties and ioro the fifties. By the mid-fifties. gripped by the emerging gray liannel
conservat ism. sport slacks .gained 3 back ~trap but lost their p.lcats. cuffs. and swagger. tape t-ing
down tO Li / 2 inches at the bottom. The plain-f ront model maintained a dominant position
throughout the next several decades. courtesy of a , cries of fashions that pushed the trouser '
waist down 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 trouser of french designer Pierre Cardin's seventies si lhouette.
I ronicaU 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 the drapey swathings of ltalian
designer G io rgio A rmani and the 1980s miru- rev iYaJ of the 1930s look fu ller-cur trousers
made a comeback. And along ·with its softer mien. rhc sometirnes suspendcred. al-ways longerrbe
trouser resumed its classical positioning on dJe male's natur;;l l waist.
As the new millennium picks up pace. men's tailored trou -e:rs are dividing into two
camps: the "updated classic" as represented by the fuller-cut, pleated-front torm: and the
"moderne." as configured 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 otter a sexy antidote to the
loyalist s' large r-volumed sill1mtctte. For the fashion savvy. tb_is dernier cri seems vaguely t·c mituscenr
of a former leg-hugging ·ocial equalizer. the blue jean. except that now its chic can be
dispensed in any one o-f three shades of black.
CLASSIC ODD TROUSER MODELS
"-v"'t me n's dress slacks

WITH THOUGHT 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.
Right, the Daks trousers are in hGpsack
'(30)-) ; the striped sports shirt (3Q/·)
being neatly topped by a foulard scarf.
ODD
T B .. OU
\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 f­
supporting beltlcss trouser. In memory oF his t~1thc r.
combi 11 i 1g "Dad" and "slacks."'
he named his creation Oaks, an acronym
f irst, r-ubber pads we re sewn in ro the waistband to hole! the shin in place. Then, on
either .s ide of t he waist .. self-cloth tabs vvith buttonholes -vvere designed ... to connect to a concealed
band of elastic running through a tunnel loop around the inside back of the waistb

sepatatc or attached hdlf self-belt was
USLially·pn.1Yidcd with eiTher a plain ·or
con'red D-ring, as modeled here by
actOr Errol Flvnn.
I
THE HOLLYWOOD WAIST­
BAND The 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- r i s('
model featured'a one-piece
front and back. 'Nitl.1 narrow be.lt loops
po.sitioned below the trousers' top.
Jvlodeled here by "OJ' Blue Eyes." the
Hollywootfs 11omv

THE ODD WAISTCOAT
t her th

"Since you asked, sir, I tecommen.d a plain white sl1irt
witl1 that su.it and a no-nonsense tie."

Throughout most oF the nineteenth century. all ·gcntlenicm's undcrclothirig was made
of linen. 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

PLAY YOUR BEST LINE
ne of th~ most important but least undersrood 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 dressing. By ,.j rn1e· of its pro xi miry to the r=acc and irs con Figuration of angle.
scale.

Founder qf'Black enterprise
magazine, Earl Gnives employs a long
poirtted full-scale collar to balance his
lionesque visage.
structure by ejrher sorrcning it~
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 co llar points
should complement the head's co ntour 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 co llar will counterbalance ;1 long a11d narrow
l1Ke. Long-necked men require taller colla.r.s with wider
neckbc111ds that l·aisc the co llar's height. whi le shortnecked
men need lower-sitting co llars \\'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
neck! i ne. The writer Tom \!Vol r:C presents a fairly srrikitlg
image \·Vith his lchc.1bod Crane-height co l l ~1 rs.
almost Victorian in thci r sri ffness and grandeur, but
they do camou!lage his longer neck.
Collars .should also counterbalance the f;.Kial
dominant line~ or strengthening its We;Jk ones. Long-pointed
collars th8t are either pinned or buttoned down will help to coumennand Faces ·with angular
SMALL COLLARS MAKE A LAROE
HEAD APPEAR LARGER.
features and strong lines. A Ful l l~t.ce
that .sags around
the chin or checks dema 1ds a stiffer co llar to counteract
the effects L)f age ~111d grm it). \ Vhile soft burtondown
collar

MEDIUM TO LONG STRAIGHT-POINT COLLARS
WILL NARROW A WIDE COUNTENANCE.
SPREAD COLLARS COUNTER·
BALANCE A NARROW FACE,
LONG NECKLINES REQUIRE
HIGHER-SITTING COLLARS.
Other than the Jermyn ~ treet or odd bespoke product.
nowada)S most men nre wearing dress shirrs \·Vith co llat·s roo
small for their face that sit roo low on their necks. And. '' ith the
spread collar's ren1rn to the fas hion forefront. those men vvbo
have adopted the so-ca lled 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 points 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 I tal 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-'eanu·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
S I NG
Mrl N
nlike o dx~r less ,·isible accoutrements such as hosier\' o r sh if't cuFFs, the shirt coll

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

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· 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
u
'
I i-.h r.l ... lC \\ hu ,,,b r har the male ~PL'Ctc' j, an} lcs drcorari' c minded
--------------------------

-
---------
£han th~ fi?m.1k·: lit,,, L'\ cc ltkc In~)-.r .1-.p~...·r~ of 'l) I i.:-h habil i llll'IH. LTll'-' "'·l~g.111C"''
elm he-. lhem cht!'' but in ho'' rht:} ,.tr~
'' ont
rc~idcs not i 11 r he.:
llerc·. rhc -.prL'::td collar ,:um \\ irhJ,or knct' llhJ~l in"'id~Hig~1blc champiun. the I.HL'
acror .lnd Jllthor 11oughb rnirbanb. Jr. (bdon~. ThL· lllnlllL'IH thi~ Clllbr Jnd krll)[ 1~;1111
d n luruor nnmediarch e1doprl·d ir. l.'\('ntualh bcr.Jmin\! its lil~·l ... ,nu ~1mba,sc.1dor.
• J '- .._
hit L L)JJ
h1irb.tnb's
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

TilE I~OUNDED COLL 1~
"·ulbr shitt t·",d). l'.trl~ \riJ thl~ L·llll.tr stgndltnl lllllllh -r ... lup iJJ Pllt: uf the \\nrld' m' t t ~.h
111.!1~ t·lub~.lli'Jl( 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 'll
Ilen·s o11t' ~r \mtTtnl ~
11ftl5t J1slt fmralllt' Stltrtlll t t'S,
4\Iilwul Jilfdrn. Jp1mill .. ~ 1111
carl}' im•oc,ttiou, a slwrr. st[f}:
to·tlttm:Jt cf,£, r,)nu:

Tl-IE TJ\L~ COLL;\R
tgun Ill thl' JlJ(,(), \Jthough it' pnpul.trin h.l:- \\:111cd due 1~1 til(' ill('Xtlf~lblc ('~1SU!lli:t~ltilll1 or
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\.' k iII .. g t h :t t ('X tra Ill L.:.liKC 0 r n;H L j 11\.'S'\
T lt ..· tah \..llll.1r tutht be dc~ignc~..f perl~~,-tl} l~lr the tk" knot h.l r·~..·~t cPml1)r-rablr in ih l'Fk'tl
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 p l ~K~' 1 hnt.st
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

I)l.NNED COLLARS
dr\~s~ ~hw t
t one pt)tllr during the 19~os. nt:nrl~ half nf all \mcrican men repun~dl} \\Ofl: du. .. Jr
cll llnr pinned. fod.l}: It" nuld be surprising to flud unc.: man in .1 hundrL'd o appumtcJ
\nnw llll'H lfth.lthe pinncJ C"01Jar ru.SS) : 11101\l IUL'Il ar'-' simp!~ imirllld3ted b) lt"i ob!Jgatuf} nggmg
th·~·k
~:on.-:idered hr man~ ,hin ..:maJH' to bt: rlw· pinnnrle ,_,r cr~lbred carnage tin 1s nor
t r:1pping w hide bdtind. L'tllik,, 1 hl· 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 or 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.
runctiu11i11g lllLIC"h likt' thL' t:Ih, thl• pi 1111Cd \-\)liar l';li l'.:i the ric knot L1p Oil illl' llCCK -.hort
Lning dw 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\ in the thirties, strnigln-nninr collarc, \\C'rt• Gm hed at
, , ..._: r·
bet'\\ ec-n 3 inche.' ond 3' 2 inches long.
m~1king 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
1 ic ku0r. rht' n_,m1lk'd Ct,JI.tr t .. lt:' .ue
rite "e

- --------------------------- -- - ]_
....---------
•-#: 4 ..
• • • A...f.O. J:IU.J'rr\,
...;1;; wwt
. 'It;
..•,u;,. 11\.RAJt
I
1 Riclt,ml Mrrkit1.
t,;, ned to pti~{t:ctiou .
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 BUTTON-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~ CI)Jit rilnll itltl IU th~ Jt.:~xicon o( pcrntallCtH
drc \ htrt fJshtOtl Sfnce \\ C.'lrld \Vnr 11 . r llt'LJpC:lll ~Ill hu~i; t sts have descended upon tlw
door rep uf lt'i hrme. 3.~6 ~1ad1son A\l!rtuc. to lo:1d up 011 this uni\.]liC AnH.'nran da~~ic. Utuil
rt.:ccnrl} nu elegant male could t.rn(url hi~ stripe witlwut at lc

- -----
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
i llLl' ~.J rll1rial ccltp"L"
·rradiwm.tlh (hd l nntmt 111
I. h.nl
i11n,uc da !11Tll:'11), Lxh )'\.: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: trxl~m.1
buncm dll\\11
c1n bt> dn?s..,cd up or do\\ n :1hhwugh 1t t~nd~ tn
t"O tl!'-nn lllL)rc o•mlunabh '' ith l1kc lc\.t-un.:d
1~1hrits "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) rnll t>h'r .md
pl,t: r:I-.wtl.
-----------
ABOVE:
Scquestad .uniJ irs crm;ir~ cir:.o 1950, the
buttotJ·dowJI is jllwkcil 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

I
"' CRO CtofFC"K 8LUI! BA"llSTE
1.
I
I I
j 1
ETON BLUE ENlXJN•END BROADCLOT>-t
\mH fANCY BOND STREET STRIPE
HIGH-COUtiT MULn-TRACY. BLUE
BROADCLOTh
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
BLUE O>tFOnu
0£!l .. iFT BI..UE P£!14CIL.-5TR!PE BROJ-\C>Cl..OTH
COTION/LUiEN PASTEL BLUE
MADRAS STRIPE
CAMBRIDGE BLUE C.-.r•m·Sl?JPE 8ATIST£
·r
. '
( OFHIFLQV/1 R BLUE
C.oTTON/Lti~L t~ PoPL.III
CRIMSON HAIRU HI! CtiECK
,
~ ,. I~
•
I•
• I<
' ,,
'
, ~
12 ~ ~
~ ~ 1- I ~
t ~ ~ ~
' ~ I ~
,-;
1;: I ~ I·
t' 1= r ~ ~ ~ I ~
r• f• I" I; ,.
l> ,.,
~ ~ I· I ~
"'
1- b
I' I,
I'
~ ~
,.
h I' lq-
,_
l• F F
·-
f1tlfr1t
f ilii

FITTING TJ-IE DRESS SI-IIRT
th rht:"' ex\:epriun ;..)(the (r:.lian~ . wh0 blJt\.l~..·r t\ll
d11..' f~ti'hl'llL rd.tti\l~ t1.. rhl..' fir of rhcir dn ...:s' 1 ~hirt:-..
mo:-l
men \\C;Jf their~ roo tight ... iu the neck roo ~h

I
--- --- -- --
DR.ESS Sl-1 I fZT MODES
J
{1:\l men arc r;ntght tv ~mp l o}' 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 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 h:J \\ hicb tilL
necktie ~1 11d suit ja\rket llll!Sl rltcn pa) Jl.'fercnce
The f ngli!'lt cia's'} tl!!lll is rcspc Jllsihl\; for thi~ rcahgtt
llH:'Ilt ll,. rurnishing:-.. Ill pn!"~lr rjme..'i, 111U"f uppt't' d.l~li
I ngltsh
llll'll t) pically "orl" on I) 1 h~..ls~ n~d .. tiL' rh.u d1c) \\ere emnled tn
b} 'irtUL' .._,r a publi-..· 'ldmol. milimq regiment or pri\.HL' dub
a((i I i,n inn. \ ~ the- 1) piral [ngl i~h ari.stocr.H CllJO} ed no more
TOP·
Punctttilting 11 plam
backdrop. the shirting's
bold srnpe lights rtp
both center stage t111d
1\Ir. J-lo111ard's l'isage
LEFT·
\ \' ith "polka dot
dress sl11rt and a
breast packet ~(
pattcn·nrd .srlk.
Douglas Fairbanks}r
tmmps up his so/rd
.suit cmd tic.
rhan a duz~n or so of these assocmunn~
era' at cdk·crion "3!:\ thereion.:• ~oml'\\ h:u
limitt•d. -f(, comrcn~att'.
ht
he ronk ll'\ di\~r,rf)
ing ht-. "('mbcr "Or'-ted .... md pr(:dtnnbl~ duh
tics wirh ')llappicr-k,,_,king drc....:..: ..;hin
\~he
bcgcm acculllulming more dn.,.,, 'hirt' rhan
n~ckric_ , lt!nnyn Street~ ltkc "a' 1lc R1.J\\
bL'ltm.' it. b~c1mc an ~.:-mirl·
lhc cr:Jft t,fbL"spt'lkL' ,hinm11kcr~
~trcct dt!~med ro
A::. rhe_x~ nt?xt piC! ure.•. an:e"1 du'
, pirircd drc~~ :-hin nltcrnariH' ran ll'nd
-.m;l rtnc~s ro r he 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 and 'Ill'.
j[ lL'11d ~ t ('t JQ\'01" dll' htglh"'r· l'Oiltr.l'l (0111
plc\lun. I lo\\'C\ ~ r. n !len !ng :-ouch -;1 tn• )1\.iintlt ion l' no mu~r
~'nmpliGncd rh~111 .... L'~ui ng a Cc" \.1f ~L"lllf nl'"i \\ardn.A>e .. w.ndb\~
I h.::\ r Ll) d irt~rl"·n r d i 11111.: r p~11-rncr~.:.
Ikttcr culbrcd and ll"l'king quire .. urc of himself: rhe
[ngli~h .lLll)rTrt'\Or ll ow~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\ ESTl-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"nn!tl ­
iq. '' hile "hire ro) al oxford run:-. a dusc .scc~md.
pmpoinr. \\ luch do~' the same ro tbt.: rcguhlr white nxrord.
\\ 1 hit~ ,·nik' l~1r summer inches (lllf rlw ''hit~
\ for nomdurc solids. blue brnadclorh registers bd

- - -- ----
S I-1 I J~T
)R f." S"' :-.: G
Hr. M-,z...
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 plxed on it mediUm
blu'-" t..:nl iH'th :tl lmen ~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
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' 'hade t)f ~nli~..l blul" or in :1 predominant)} blm: panern: The l pr\J\ 1 dc tht:
mo:'l \CI'!i:Uile b.h ..-kdr...)p rl) 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'~ fotl111..1 in fin~ l'\\ 'l ph hnJaddnlit
rn}.1l 1:\l(ltTL ur d~1rkL'r cnd-un l..'nd cnthlll:->. l·air ... hairl'd men'' irh nultl'd complexion~ r.111 hal

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"

..
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,
~ I
~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
'"·o ll nt·. n ,uiJ be l'l'\l'l''l?d '' ht."n '..111l' edgt.· wa' ~oiled
the ~i~.lt.·
In thl· lllllL'h .. 't:IHh (('llllll'). thl' cuff \\i})oi orlL'Il left unbununoo .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
linc11 bel('" Glll make 1hc ;Jrm appe~H· kmgcr. prO\ 1ded rh~ J·Kkc:'t\ ~lee\e
k·ngrh is Cllrrcct. J\ 111~111 with "'H'rl st rentt\\ncJ daJJdroftht.>
carh (\\ cnticrb (('Jlllll): th~...·
cuC(, .. ln11nmacul:ne rcpt)S~
w pnruc pcliccttun.
pnct l~abriel~ r )1\nnunzi•) (t..lp). ·· ... huonng hi'i
rh'- 'riiTculbrand cul"fdc.\:lfC h1s appl!.ndag~
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 ncx1 pil.·ture . .t\merira·, O\\ n ma,rer oi -.tage
5crcctl .. lth.1 "orr st\ lc liked 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
pia)!- t lw pcrfrct 1~'1il
.1 .. \qajl'c'!' Fulded ba~k ... tun cuti.
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 1 he .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

THE SHIRT MONOGRAM
O\' ncr ·hip
hen laum-lq ":1!' fjp.r scnr tHrt ""(till· hnn11..'. rhe 11hllll1£1"f mak· dl-coration. Icy,," u .,ualh morL'.
J
I or th

plincd undcr~tatCJih.~nr
mdr w,unll~
-- ----
Uroppcd JU"l bdo'' rht: d1rt:n line t,f ,i,.ion the munogrmn' ln\h'Lllu
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~,:
DR~S'{,'\t.i
nH ,\L., :-.:
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

..
I u tmd I
(n1m t t em r

DRE5.SI1\ G
Tllf. hi~~
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 1
d
~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! l,f., llC\\ maJtagemL'111 -.t~ le
l11 .111 ironi(' l\\ isr~ 1 he nc.•ckul' ·~ longtmw ptlllCLWr l:l'irpor:nt.> confonwq ma} no\\ bl:
ib uhimatc- undoing \\'hethcr rhi~ hHC'-t Jip in t:henccbic\ f(u·wne~ \\ill pcnnancmh .ther n'
de~llll\ I.' h.~rcl to ~:t) . \V1dtuttt the tailurL'd lll11fonn to 111onopolt:r..e 1he cnrpor.n~ bnd c:.1pe .. tlH!
nt•rktit'·~ rL"'k illl'Untempumrr lllL''n·s 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 111:1) C('111C tu regard the 11cckLie as pn.,of uf hi' mdh idu::Ilil). ~~..nm.• thing. that 'itt'- hrm
.1 p:1 rr fro 111 t h(' l.'fl m d.
CRA\IATOLOGY
-...,_, inct:' :1 ncckric· :-h ... )lJid be •1grcc.:abl~ n' the t•lllch, ..:ilk i~ und~.:·niabl~ lhl' fabnc of dmict:
Jdc;1lly. rl1l' l~lCI'ilc qu:·tlities o( :1 (jlll' silk rie shtlllk~
prlkillce a SCU'i:Uion 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
~ L
Dcs1gn mor.il ... (,lll~d cr:l\aroli-1: began tt.l floun.;h in tlw fl)3ckrie. kingdwu· ~arn d}e \\0\l..'O' and pnm'
1 n 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'Cond. col~.1rcd p:.nrcrns :1rc prime~.! dire(tl} onro ra''

pt=rct:nt!lge of rhe tot-al nL"ckwear produ(cd t':lt:"h ~ c:1 r. rhe}
hand rmforcd dC\rha and bcm.-]1-crafrcd foon\ car.
h of hon Engl:md came ro -.er rhe ~randard in imernarional
men '£1 k fnr tht:> better p~1n ofrhc rwcnticth c

- --
\\\...Jdm~ uc-" 111 n~rram eire!~-. tht' ... jJ\t'l"\ nr..:kti~ b~:.--g•m ib 'cncr.1bk ctrL't'l. a~ d1c llbligawr)
lc.mg ttl' t"l,r l~mnal dJ} attirt•. meaning \\C~.idill~' ~md mlwr da) Liml' ~clcbratitm,, \' \llltrt ltmn~c
l
I
d lth\;-, bduccd 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
N .I:'C:k WF.t\R
.;li~l.d} Cm~..·i r ::md Llrgt.•r rnuti[,. which \\l'rc .trrattgL·d in ~tlkncr "t.'tungs t'r t\Vl' . thrL'l'~. or
., 'L.- L c_.
tour ~Oillr ('Ptllbm,Hillll!\_ This more \('f'\:Hil~..·
l} pc l)f silk tlC\tgn (l.111Sllllltl''\ the backb

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 ., 111 c, 0
f1 ., 11
'- pit:~J,fldd
nccktw pl.t) ~up hi d1plom:urc urb:uun
Dtcm Achrsonu·c:,lriu .. ~ a
Spiral~flt·ld
IJ'J'e '"·ckt;t'.
l~H E REG IMENTAL CANARD Bnthh Ln dl'rJ\,llt 11 rt , 1 ......
llll'Jll.tl stripL's h.I\c been contn1u lll'-1) u ... ed 111 tiC Jt.•,ign '-IIKt: rhe
I '},2( ·~ Hd(xe rill' d.n .. ur lllll\ (·r-,~d I h.lkl all Hmi~.h fL'g.unem lnJ n
C( ,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 "itT I 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. X ftl!l" r~,.~tunllllg n l CJ\Ihnn ld~ l~nll h
men "ore tlw tiC'-. of l bei r iormer r~giml."nt .• md (rt."quemh no orhct
( "\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 1 hLir :-;rripc ... rllll COUilh'l' ll) dm~l' of the king· men roil(')\\ mg b~lth 1w•h.lr1Lc I
PfL'(C'dCflt .111d tic_qhL•fiC logit, rngJj~~~ til• \ll'ipl':-. f~11l
from ltf1,houldc-rdt.l\\1l i0\\3rd the nglrt \lJC
·1 hi' 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 t1\.Jl), when l),·onk ... Hrnlhl'r~ rlr ... t intmducn:l rhL· LngH ... h rc-~nncm.tl lk' H'l
i ft '- 0
the ~tAll!.:.'~. in dd~ n:·nc~~ lll the nri~in:1l-.. tlJl') hnd theirs (lll i11thc opp\>,ire dll't.'Cllt'n (lu~h ught h
l

--
1
h.: tlptL'•d ti)r a 'tnpc l)n~ \umld be h:.1r~.t- pr~.·:-)cd tl' fiud
.111} thmg r~~uncml·d d~ri' a[i\ c or prcdinabk· J.bnttt ll'
J~-.tgn
\\lud1 j.,. prob.tbl) \\h) bt: ch~..bl! j; "·'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
•

DRhSI~G
1Hf 1\I!\N
-rl t E p LA 1 D ~r1 E \\ ' h~th~r pt·int~d tif wo\~11 \ilk ur
\\lllJI. t hL' 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.-. 1 lo\\ CH·r. l he mu hemic J I ighland plaid~ "t:rc
g~ntrillcd inro dre~,j~r ~ilk
\'t'I'Sit)ll\ r\)J' 10\\11 \\CHI' \~ ·hnt
dbt1ngui~llt'~ the pbid frum11thcr &tt.!doie mottl-., 1s i1
lil.l)L't'cd bl'~l1k~
mul
dt..·':'lign. "hich crcml·.'\ 1hc illu ion of
~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\\ II• Jlli:lkc n
:-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 ((llllplexinn
(dnrk hair nnd lighL -:kin) frl'lll nppc:tring le s ~o.
- -
SOLID NECK\YEAR Thi~ ne~t :-tatcmcm might
"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} Lu
d\\ 11
like the lltxcdo' chic which depends llll only two cui~
ors. the ~~)lid
necktie h.:.'cotnL'!- 'Inu:1lly tndispl'nsabk· i( llllC
1~1\C'I"S rlw quiL~t ::tsJ-ctth·ctlL'S:s ~>I the ~impk t'\l) · tun~ kir
(~ec Dnugi:Js T:1irh~1nk.s and ( rl~lnni 1\gndli. ch~lptL'r 1. .. Perm: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 bi.Kk
... ~rcnadlnc necktie. ::ts di,J l~1rmcr Banw\ ' '\.t'\\ York\'" ner .
rrc\.{ PrL·~~man. ~~")ll(OLJid mah· boPk l\11 Prt!~'man slwwing
un
t
il1lllll' 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
'
lllfllf' 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.
ambi 1 iou" del·{ >r~ll il m.
from ll\l;J h
-~-

\\ 0 Q L t 1 E C K \V EA R The- ll.tli.IIJ:- h:n l.' i mere' d 11~ "t' lc
k.1nn.t l mpll\H~rcd Ln their de...;ign 'tnuo,ir~. "irh ClllC lmnd
tht.:\ m.111~1gcd tn mundarc rlw rie \\(\tring world in a ~ca ot"
~ ~
mtrll..,lH' prim... \\ In I~ \\ 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 till' ~l) li'h m.tk\ current
JpprlYI.ltlon of lu~uq \h.: llncckwl.·ar
I \lrtun.nch t~1r
~
rbc. oubidc ''odd. L':Kh ol-lt:th \ Lltic"
....---------------1
,
e..nnt.tHl" pod ... et, of so(i.llly pr{'minl.'nt. q} lt· ..... 1\'\) bu'ii lll'':-.llll'Jt
,, ho h

-- - -
l) I~ I NTE D N E~C K\\'EJ\R
DRl:SS l'i\',;
HH M -1 ~
l' rm.t printed Clhrk' anuall) 'ihl)\\Cd up :ll't~und
man\ throat t1l tht." form off 1m1Jl
"ilk muflkrs '-llllJ•~rim~ in rhe latl' nitlL'tt'~.:'IHh cenruq II \Ul-..n't un11t th ... e~rl~ llJlrJ.., that thl'
fir,! gf'oJllCtric ~.:k•qgn::.
pnntt>d •)Jl :1 pure> sill,. £:\\ jJI bl.!gnu to 111:1ke the rllUlld'\ of the '--ultur ll~~bH~

\kan\\hile in the !arc l\\\_~ntiL''· tht: "hir'-· ~UIIll11Cr 'llil began 111 gdd 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
N I ( K WT.-\
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·) l'lliO}' .1 'F'L'ri:1J stalll'
111 the ,,orld of malt~ lll'chH•·Jr. In hi:-. (l>llll"l'l\L'r:;i~ll :-cYcllt'il.·~ bt"1~)k Prc,::.f~w
.'ll;t',~-'·
"-'

)R£~ '1 ~ l;
-u L i\fA r-.1
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· 1-1 • \hhough n adhere\ llll rt. do d hl dtt.
t.•arl i L.'r 1) pes of ncrk\\ car th:m the f~,u r in h.md t hl' .hcot '\till bdong\ ro tht gc.:nn: 1 h . .t ltll m
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
cm,~~.:d c.>H'r the ~hinframt t11 l~>nll
pearl. prder.1bl} J r~.tl
m a -.impk I nt:•t \\lth tht t.:nJ\0
a pl.~twn on cl1e che l the \\boll -,t.•t"urcd b, a cr.n n pm n
on~.-,~, quorc f1·om .1 19J 3

----
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
[ 11gl1 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}
Jt:Ss rroubl~
rhc ~anw. it '' .1' .m~1incd "ith llllKh
The butterfly· '' ing' h~1d to be m~1dc in di!"l~·rcnt
,, idth' ro .1rcom mol.latL' \":lf}'iug (\)I! a r heigh t.s. wh i It: the
un~Jmpcd, .,tr.1iglll C'lh._b or the ban' ing fir llll''t CdJbr '>ilL'\ J ll
\mei'JCa. dw .. 't} le came to be knO\\ n a .. " r he dub bu\\: AI rhlmgh
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 1' 1 inch~.' h1 2. inchL''·
b ~
Bo" tic~ can be ''orn 011 both (~,rm~1l :1nd inl~'nn, Ja) or C\'ening. and are (Orren" irh ~..·ithc.:r
'-tnglcor
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 lltli.'Otnnum ro find
.::-
sumc form of~ \\ai ... tcoar in :lrtt•ndancc The bow til' tends lll
be adopted b) rhu .... c men "husr prnfcs ... itlll' rcquirL' th~111
lean O\er frcqul!ntly. such a' archir~cts. doctors .. mcl ''aitcrs.
In \meriLa. the lxm ric retKhcd ib pc~tk ol" pt)pubr­
H) 111 rhc nud thinics. [Jucatcd bcm de l~1rc l·or till' n'llcgc
man "cnr omcrhing like rhi!>. a t~ 'ulard bow fDr a 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 ' bc GJreli.tll} prcsen1 ~d.
I krc' l he architeC't It' ( :urhu.,icr (at
rt 1 p) f~htuning hir.. slip of Mlk to Ci.lnlorm "irh it:-. more t'rdcrcd '-'11\ irom. \sk(.''' c..:rwugh to rclll!tl
tt.s bcncf.tcrnr\ h:mdmork. the bo,., ·s f~,,·mmion suggc h .1 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 111
hjc; fact.ll L'Xpn: '-tOn and b} hJ!'!lllL'rc C

16!
....., f'
a a
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.
lll\\t':tr,lblm tir .... qJi"ltl) t\\ni .. -.qc ~o,hnulJb~.·~_·,m
idtrLL:I fJr,t ih \tdrh!\h uld,ht
C\te!ld ht:}L'nd the ourr .. ~r t.>dgl' ,,f.l pcrlinn\ l~cl:' .• md dl'ltnitt.•h m~r bqtHh:l rill: btt.tJt.h ..(h,...
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 Ht~n{ 111 Jl'\\ 11-o \\it h
.... 'lllL' n .J],ir lt~llf.t.'r 'tT.1igln pt;>im lW "~lfter st.'llll spre.Jd co!I:ll·" '' 1!1 happ1l~ aaonunod,nr ht
.1\ t'ra~c' 'iZI...' hu\\ tTL'.
~
I nsuriug th~lt rh!? bti\\ \width l'nd~ up\\ it hin rhl' L"nlhlr ... 'lllL.'r cJg'-·' 1~ c l 1h lCt·c t
ph~ilwd wda). thanb to l11c graduated hand~~ 'tl'l1l that 'Hpl'r cdeJ tht: ongan d t '\,Kl "11~ h '''
tiC llnn'l purch.l~l"' Ull) btl\\ tie\\ itlllHll Jlr~t II\ ing it dll 0 .b ro he- ~i.:rtttmth;-tt I[ -.n bt sh ·tn
ened "'nough ro hnnn,mi:~.e "ith \l)ur t'" 11 fact.tl f~aHJrc-. 1 h1" ml"'.m" rh.n 1f .I(tt; r \C\U h.t\l
~
aJju ... f,·d it h1 ~~lur c~act nee!.. :.i/t'. ir:, bl'" ;.., 'IIIItclo ''Ide (a ,-\,lll11lun plt>blc.:m) chc.. ·k h '-c
that it L.111 ~uJI be m.h.lc "lll:tllcr l ~qu plan 1.,111 r~ iltg II }•Hii''t.lr Pl.Kt' a llUlhL'tnltk.dh pert~ -r rr'\j Ut.:U
bl)\\ lllldl·r \Our chi11 .lu\.1 \OU tLll·~nkL' .til I Ill~ I\ tdu.1l1t\ llw h.md nl'J bn\.\"' 111\Jl'IJ\ lo ,p..., t d
0
unprc~.:IiL"tnhle .. ,, irl~ g.iH" )n! !\.mgfn•1d th.m the fn:nch bnult\Jf

Ph1l1ppe N lti t s!Jo" u~
hu Galltc gout
N 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.

------------ -
1-H E F 0 UR-I 1 - H . \ ~ D Th~ term "l~)ur in lund" l(x L h\:.· ~1 ipkuot nnw \Hll'll duuugh
om the \\oriJ came im.' ~,· 1cmilbc .u the end l'r Lhc nitwtl'l"tHh Ll'IHllf}. 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
Club timrh.lcd 111 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'
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~..·'..;
hPWt'\Cr knotting it l'L'St'mhk·-. th~..·
dL''1gn Cnl) Cl11Hilllrcs to rcgarJ this c~1rlr indoctrina
unn a ... ntnch~,.n, ... aero 'tllKt. 1~~\\ h.ne ncr rn i!'itcd this prucl·Ju1·c in ;.1 crcariH' manner. l ~L'll
dem.m designer Lunann Harbcr.1, one ,_,f Italy"' tllL)"l l'l~"pccrcd raqcm:1kcrs. ~hare.., -.nnw
rihmghr. on h1s rcl.ttion~hip wirh the necktie: "The tic iullow_.. rhL~ culture. In the 1-i(rics. I wor('
abm ne In rhc,ixtie-.. I tried a \\ 'in d~orknl..'t.ln thc'c..'\L'lllic~. l wcntl..'pen~ncckcd In the
caghtJ~s. 1 h.1d cl big ~lggrc,~i\1..' knm that s:1id. 'Don't mc .... s \\ith me '\.c.m· I find that "hat I
\\Jilt 1!- .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 1\\0 knot~. the \Vindsc.lr and half~ \\ mdsnr sui! enjoy limited u~c. rh~ f()ur
111 h.tllcl n:main-. the prcK'JTcd ktwr lilr mu~t I·:Ki::d L) p~s ~m d l~1r ~he wurld\ mosr ck·gantl)

- ---~
-
~---
l
hand hold') tht.> bnrtom blade 111 place. the knot. arri' ...::­
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 dimf
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 re~ilicnq.
1 hth mort.~ ten 1011 can bt- impo"cd on the knot:\\ ithout ruining rhc tit;~ fabric
\\ &rh rhc parriaUr complcrcd knOl qp .. 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 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
appearmg t"rt•~;,her.
Jdju-.nncnt
more rda..xe"l and ueed i "g lc..;s fi n.1l
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 m.trtl~ up uuu d1~ Lollar. ir~ JunpiL: ~xtcnding
J~1 \11\\ 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
1
I
- -- - - - -
---~--

I - -
DR£. t>Sl N l•
TH.Fti!AN
T il E N EC K ER C II J E F ~incc .mch..'nt time .. a m:m has ~th\ J\ ... fdt 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: r 1r
''·'"'n·t lnng bd~,re the llt:\\ 1/.llltdt•cozt begnn lltrnmg up around dw ned .., of rrurtl t n1 J ,Jill
F'OI..DING THE NECKERChiEF
tOLOINO THE NECKERSCARF
, •
, .. ' '•.
.-----.
•
.. .,
' ,
• ••
TYING THE NECI

--
\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£ \\ 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.
ABOVE
CnT)' Gra11t w'al'ittg a neckr.!rclri~f.
BELOW·
Animating the oprn nccklim·
with a scaiftird·likt· aJour-in·hcmd.
pngc 2-~)
T
--- --- c~~-

1 ht! c' ~lot' nnd p:Htt.·rn of .1 lll.m lw,l' w~ tht anonul s nw 1h t • n r II
l\Hl t,•xruml om:po ts g} n:itcmungat fl, urlc:HI.t~uJ.,r._ rpntr.:rn fmnd lk rt1 th .. ,)
ht'lll.: t tc:\ upper :tJu:i It>" s?r /..\ th:' bt:glll to m.'t\hlrl \\ nh c:.tch Jth~;r pn mpun~ tlt 1 t
tnkt: 111 tb,· \\h~1lc picture. I t.:•\\ .1n1q capturt.•d :\bnhatts 11'- cal~" llltl\ \\JtJ
n u h
sl} li~hliC'\'

-
--~-------
IIL'r~\ thcd~b'icn~'} Jn.·,, suit L'nlh~n~d
b, J "lurh' md llf nm} and" hire :Kn
•
''"l)ric!'..\\.ld
• t 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~ren ~hu1 tld matrh
.... ... J
th~ rrou-scr r:uhL:r th:m th'-· .sh,)L: fnut\\'cb 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\ .
•
1
..J.
Pattcmt:d hose ltelp intc,grr1U llllcl c:nlit~t'll
fltld bottOcnt hall't's o{Ms t'tlst•mb!t:.
the.• top
-
--- --

THIS PAGE
Saclul Guitr)' in silk dress ho$e ~111d crocodile lace-ups.
OPPOSITE:
Tite slrcen C?.{Deau Acheson$ atrtl A l'erill I farriman's lrosc
connerr rhr:1r dim1er clothes to rltdr formal shors below.

\ 111.111' ho~c .tbo nctx1.' m be nunp.Hihk· in drl''~illL'" \\ith it' t\\l) lll'ighbor:-.. the
up tJJrs rt\.>w•cr and thm 11-'r.1ir' 'hoc: \' , gL'Tll'l':ll priTk·iplc. tlu: mt rc l~wmal rlh' ~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 1 h(· 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 i ng .tg.H u ho'' 1 he :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 r h.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

Bogg uSts hJs parr JM1ll"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~'-"
thl' t)tht·r ert-.~mblt• pb} ~r,
ll1c: tl\.~\:l
.lk'n~'i'-lc
pictun.> prnii lc rh i' Ill'\\~..--~ r
cdc:bnn nnd rt leading c~..} .. rar ... J \ licr tit«.: n~..Yk
Ut:
tlw ho:-c\ 111\) r lmquem .St.lgC partJKT i-:
t8 J
H nsrrnY
f1 ,, n M o .N r L s
thlJlt: mhc:r th.m the dre,~ 'hirt • \:- dw ~hin 1.-.
treqm:ml\ olrd. the ho~c i5\ 6·c:L 10 pl:1~
!'ohn-r 111 Cl'lorur parn.:m a-. rhl'~l.'
lrJt1 ms ~Jcmon .. rr.ne
f~nm'-i
~,n· th~..·
ncxr n'n illu'
\\ Hh ho.,ien llC'\\ CllJ.l '\. Hl''
;:;,
its Ill'\\
tJndmg nrlwr btt pb}l'f' "·lit «..:a~crl)
111 th~.· "mg., h~,pmg ro JDirl the 'hm' .. \ n odd
pt,rr J.Kkct CJil sonH.·ttm~-'·
impr'tl\ c: :..om..:· ol
rlt~.: mnt\' 1mpmb.1blc r ,uti lll."'S. I lt.:rc\ l~ogc} .
rclaxmg Ill .1 md:mgc of'~,·, rli~ll \\OOit*llS, Iii."
h.md \\ O\ ell '\\Ctnl hos~ fl.'dmg h~JI111} com
fi..lrt.tblt• pl.1) ing oppll..,ltP a t \'11 ecd j:1cket rrnlll
rhc Jml.' ~ughl.md
fht: cnn. cl\atiH~ 1"))0$ -.oundcd .1
dc.nlt knell fi,r ~nphisticatcd
men\ ho icq.
lrr r the ~r.n fbnnd mnn tried hi\ bc~t to
~
IL>nk lllvn mou
uppre ... mg 3.11) IIKimation
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·
.Jit 1gcrhcr
fJ..,hll)(l fl)r d•spcnstng \\ ith "ocb
umt: -.om:hcrn Gunpu't''

~~ 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

flJH \ ,'i l t-:G
T JI r l\1A
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' \\Cil? 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
I I~
J) R E \ 'I I\ ,;
TiH: ~\J !\ N
.1bl..? than '' • l•Jd. \\ 'l n• n ~hq, ., bee a 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~
~
1 hough the '\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 rJ he
con·'lrtKt~d oCic:nher bt·um~c tilt') ab~orb per pi ration 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 1 hat 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 till dw in,ide ;md cun ccl on the 0ut. ide." ith rhe in-.rcp pointing ttmnrJ d1~ bt~
hl~ ra1her than the shoe's cl"ntcrlint·. If the .shoe·~ hht (the "~"~od
form on \\IHch t.ht: lh>t.' \\;ls
crafh~d)
rm; rhc wear~r\ f'oor "ell. thcrt'" ill be little need t(1r dw ritual bre~1kmg 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' f~lOI a maSt'Crplt!L't! o(
t11gineering :-111d a work ol-art." h·s in•pt'.:sible to 'pend wu much ~m J tlneh ct.lftcd p~rlec:u~
n [ling P•~ i r 0 ( 'hlK'' Unl ih· m:m·s 0\\'ll t \H) cuiTl·d \\ l)rk, l' ( .lrt rhe-,e llC'\\ .lrll Ctct:-. \\ lllunprm e
"ith age.
PREVIOUS PAGE:
Adolplzc Jo. feujou in front oflt isfootm:ar stab ft-.
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
-~ --------- ~- --- --

---~
STEPS IN TIME
hl· louk pf 11Hxlt·n1 nwn, :-ht,c:-; h b lh\,1\.' b~.Hnl' .1 ~.Hn·ct
rdation,lJip W dh:' Cll[ u( rh\:• trou~crs .\l dw lllrll 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 't'l"\ icemen gm l' tlw oxl"urd 'lht'L'
.1 tremcnJou. botl"l. opting f~'l" it' L"UI11ron after '\lOillping

\ 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)U
flRIS'\1"

---- ---------
I C) I
f OOT
DI C:(H C M

PlJTTING 1.l)UR
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
mto J sH3' beL· rh.u C\enntalh m(wed roth~.:' lll~tcn .b .... tlt~J~m~ bc!!:.lll ltJ rebd a~ 1 ~11!1st
dcH·loped
kncc ~ high
... r ........ i:t '""
.md .111kll.lc~.:·d br t\\l' natTl>W rm'" of srirch111g \\ nh a
n1und tJr hghrl} :-.quare plain roc or" i1h a 111\.'dallion dt:coratit)Jl. it j, the ~rJ.plc l)( m ~lll }'
hu'-t
nt:" \,,trdrub · 1 hi-. tll\\ n .:-hoe\ :-111~1n
lin~ i~ t:>nllrtu.llll>f
th~ t~l~ that J0111" rhc frorn: with th~.:' hc~.:-1. a l~.uurc orallligh[\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.-\.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

19)
Fo

-
-- -~--- --
D.Rt
lNf;
l HI M ... l'i'
THE DR rs s s Ll P-ON Back'' hr·n :1 m:111\ choict• ofdothl'' wa:. dictmrd rn dt~l!t'tC.:'
..
fnrmal i l). p~iri ng a ,( i p nn s hoc'' i 1 h 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-. lht• l•p nn ntn\..td.t~ "J
enjoy~ an equal footing \\'irh rlh.·lan? ~ up for 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 \\'eejun' in rhe ~.:i:xric'
loafer'!' infiiLrarion ()r \Vall 5rreer\: btl:ll"l!n"~mn
rc\caling lo\\ v~mp ~lip~on rl!nchcd :1 kind ur dubiou~ ubiqmt}
of
p1r'agcd the gdt bm:·kll'd l,ucn
in the C\cntie' In the t.'ightt("' tlw '''-k
...
t\ (a.s:-.cllo:l r~r of :111\ shal)e. d~:-ign. llr color\\ a~ oneln:~lh U cnsuaf.,.IHw .lTl\.i
. ..
r h~rchx~
'
11c' t?r i11 ten'-kd f\ 1r d0nning under r he ClJ (frd '~l>hriety uf lhc dnrk: n:n} or gm} \\ l: r'"h.:d llln\
('\ l'!l" (~rtain ·dip, on!' (:111 .St:.lnd ~idl· h\ -IJdl' wid1 the n·nic:tl hu.sim·--~ brogut~ in the :rtnkk pro
t

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 \1CL111·in. ~,.lc,nrcd
muLh of ht' Iii~· to dc-.igning l~)t..'l(\\'Car rh~11 W

-------
-
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,
are from 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 I I dm t I he sn k· t'irigi n::n~d .am~mg !tin r' Ill 1 he lt.Jit.lfl \ lp, Ill
thl:' fi!"rt.'t'tll"h CCIHLIJY .\ \isit · ill~ I 1t~lbl1 hrother\\a~ ... upf:lll~t-dh :-.o imJ:trc-.,cd h\ the.,tmJ)It(ll\
; t. '"- fl. l •
r>f the tnt.mks· sh('""" rhat he was prL''~Iltl:ll \\'Hh :t pa1r lit:.· wok rhcm b:t(k ll.' Lngl.md ''hl:!t'
tht: !;11 lc \\a> r~adik adl n1rt.·d.
• • r
The modern mot1~ - l-ronr
posed of rhn.'C ~~~Lhe.r pitxt~ .' .
dw sh(ll:, our,idt.: The nwnk-,trap·, tongu~ i~
modd i. :1 lm\ fitting strapped hu~ \\Hh .m upper l"vm
t\ bro:h.l ;;rr~lp .tLnJ'' the in~h.'P [n_,lCJlc; du\mJ!h .1 5.llldlc hud-.lt: (lll
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 ·dw .1nkiL" rhJn till.~
~
l) pic:tl bel~ -up .shoe.
I 1c, ntCL'' ~tppreciare the tnon k \ 'ltpcrb1) propo11illlcd -..mttrtllC"' .md ~at1bt:at p.m 'du
a:; "ell as it' irH~o:rmcdiate (urmalit). t"l'gi,t~.;•ring 'nma:\\In~rt' bt>t\\tX'n rh:u tll a slip un .UtJ J
lao.:' up .... hlk'. rs:.L'11li;_tll) pl:till ll)L', the tll(ll1k tlliJdd \.·:tn la.H1dl~ 't..ltne bnlguing. tfdl'sir~J
IJ(lf11
bb(k c1lf tn bn,,, 11 rt'\llr!'cd c:1IC dlf' Jlll)tJk'!> e~.·onomirnll} eJpqut.~m fr'Om ~n.tblc' It to ~r-:t.:r ~
In I h t:'t-l) n a d i' cr.!\e ran '-"'C (l f L rl"lll ..;e r ..
' 0
- ~
-
-- ~---
-

TH L. ...... ED r H ..... TE lr ... Jcncr.tlh c )n .. xdcJ rkn tlw flr~t L.. \ _ 'tghring ll( m.tlt' ("\tl\'11ll
ttc \\ 1thni m, methmg

i
fu t:ulu f lUnd t ht; r\ , t
Gil( 'hoc hJO r.n.ht al ill .m~
t1
Hrou·nsueJe or bttchkiu shoes ,,m b,· wow ,111 }'l'ar rorwJ
Piping Rock clllllllf~
i
b.ro\\ n ~Jl1Liung Jl "--nul \'at In "l
mnt 10 ll) tn cod I h.:.·nJt ritll t .. on ti L
cnrrl·ct dntlte' tn \\L1I '' nh thun
I hmt:\CJ fit.,hlon ;ui·nh-r..., J i1 'pu.oJ
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 H
rrnhd m
C't.tll"ptCUOll plenttuJt p ·rf nHt'li
cnp we un ttl\\ 11 faq, I~ ,r hu .. ntt ,
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
ktn .il11.. t
B} llJP rhl bJ\)\\ n bu {.
h.,1d !\0 inflltnth d f ngf1 h
:-p~) n i ng circle~ t hJt Ol \\ l:.'IJ dn: "'t'ti
lkir t:on,idcred hi.-.. \' ardmbc nun
pi etc "idmur .. u k·a .. t um: p.m l )n
du~
oppo:-.n-e .. horc dll' 'L 'IIt.'n
"pon sml'll .n \ kad( ''' brd ,1
Club!- on L

--
,!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~" L()tlrll''>! o(
one Df I ondon's b~·rrcr
in tJnt Mtcc~
knQwn boOl m;1ker'. It nll'r ''it h
umon~ wdl-drc.:-:!'CJ [ngli~hmcn. '' hu adontcd
... '- r
tt for re~on .md mfonnnl t~Jwn \\ear ~ larn . \m

---- --
DRl"SSTNG
Tflf M.A.-.:
I
T H E N 0 R \V E G IAN Hy th~ lllid t hirtie . \\•cll-dre.!>'~d
\meric::tn!- h:1d adoptt:d t'\\ o lctrure
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 .1 \crnc.ll h.md r.,lJti"h
~ ~ r ~
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
~rman "ould pass the timL' b) :-litchitlg tngcther pc·a~am ~hoes. nme of rh~,l ~t'nh "gl.lll ..
10 -
"t'n: expurtl ..'d rorsah.: lO Great Brit.lin .• wd dunng rhL' 1')30S \menC:lfi!' wunng london dJ'
((1\cr

-
.203
f tJOT
D L\ ORU,\1
\\'uh rhc hdp of rhc.loc:1l l~i~hing indttstn. dlt' ~ 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
a hour 111 J p.1ir of\\ ccjun'.
J n the r111d thiniei;, the G. I I Jh,s comp

-
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'\ d~t
~ I
.mkle buot. l )ri~malh- brou~ln tnt he \\ t_,_,, !"rom lndin
~ .
~
b\ Lhc HriLish l~lJ· . Lhcv dubbed i1 '\·hukka." :1r1cr the
I
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

~ur
)f Jll"'bdtn
n.: '"lll.1t~
~h k
thl· l~mou ...

I
--- --
I
DR r s., I SG
TH! MAN
Famed Hol~·woL)d costume desig11er Adrian,
cosstted itt the classic white buck shoe.
THE \ V H ITE B UC k ".l1 artie!~ oC it1t.>n\e.lr bl·uer q·pafit?d t~he po"t\\,lr tn·nJ tl'''..trd
relaxed sryk· than t\mt?rKall "hire bucks. Tlk'ir slightl~ ,cuft~J Jppt•arJUC

- - ----------------------
-~----
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 t"Orrc,:.;pondcm:-- in
dthll"fCC.l~c .lt\\,lSoriginalh de:-igncd in brll\\'11 willo" c.1lf
J '-'
and \\ hJtc buck or reverse calf suede. \\ i L h 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
... -

11 L I) RE SS SL IPP ER Its ~~~1rd
to pinptHlll the exan Wlll' or place \\hen .1 I }J\JU ;\rh n
l\ pe mi~ht ltm 1.,; 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' .of the mndt:nl dmner Jn ...·ll·t (.; 1, 1
pub]it' \.'XCUI'!o..!t)JI'
l·nl dw m hl·r nppard wagm.H cJ ll\ ro} ~tit} or I ugh 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
DRL"'SIXo
liH J\LHi
\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 1 he..;e t•lu i't 1 r.1 ~~pmg" ..:m lid t~.:'">l
r h&? Jl prhs nf an} 111.1 n !'> m.Jdw.rn~
.\ ·dippt!r i-... a gl:'twric 1 ype n( "ihLlC 1 tul 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 .Lhl old !:1-:luunc.J h li!IIL
'
l ... Iipper assoctation ~nnH.: m.mu1"Jrrurl·r.. ('~tii~J the
indour ~ourduor r~ pt.• a :-.lip- on
I kre\ Cecil HcJit.'n :md ht•'lt:t: t uaordm:urc
rl~a ~In:-. well 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 iL dtiJtl'"~
murL' dr~"' '\."UJt::- th~tl
rt I~ lllllw. Lih;> nne of hb lcgCJubJ] photogr,tphk 'II
1 ing~. "h~rc Ill' "ottld imbue .1 mentbi?r ~,( rhL bt.:. u
tllllntle "ith a hd~h.tem?..:f
Llmh' Jlluch dw ~am~ dung her~
~u1m l'"fgbmllllr lkJt.lll1 h. 'i
dr~~ing Jm, n due\:
llOJ'Illalh Ull!'datl"d \\ t'3r:Ihfe, of Ullitnpt:.::lrh,tblc Ll'{L •1
I
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 I ilL' much of'' hat h~
pc:nnnnl·ntl) fn~htLmahlt
toudwJ.
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 POC KEl- 1 IA. DKERCIIIEF
21~
Dl~ll ~.s I·'·

\ p&tt i breast pocket mu d~(~11ed to displai'
c: pockn hundki•rd:r~f
1\t

•
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 :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 01 "h1te gr0und pattc'J"Ilt.'\.{ drc"~
·h1n'. rhi' color f~·mn:n aflord..., the ... irnpl"· "hire
hJndken:hicf :1mplc opporrunif) ro pn'' idl· all the
1
.L -
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·tmcm
'hould nppc.1r un mdied. d"f(..,nlc ... ,h conrnbutin!!
to the m·e,-:~11
bcc.lll'L~
aph-.mb. PaniLularlr
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.
L ik~,.· .1 .~uod ha1rcut,. rhc be~t - fnldc-d "-lJLLnrc..,

,~
---- ~--- --- --- -----
\Vhilc dw white hath.ikcrchief ,,jfla)\\::l)s bl' mailable to f31J back upon lt1\ mmt Pll
10 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 ..\ 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. 1 nllowmo thi' logtc .1 -. lhd
I I ,J I ~
cDiorcJ h:tndkcrchicf ~h~)uld only be tn:Hed wiLh a paucrned Tl1:'Cktie. nnd it td ~a lh
"hould nm
hl' {,(the s

------------------------------------------
rOR~fUL,\ FOR I IAN DKERCII J r f'-
,1-
- I
A CCESSORJ
\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.
- ------------------------------------------------------.
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· tit wont. iii ba~~ounJ
color, or the colors cifits .figures or stripes. Altcrnatil·dy, it may be. of a 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, tlris fteqctently makt~ a smart combinatiotJ.
It {s undesirablt to match tlu colors txacrly. llS tllis looks stwlird.
I
L ---~---~------~-~- ----------~____ J
L --~

-~
--
.
, I I
-
DR.fL. Sl~G
nu M l.,.
l
t'ir"t t~'11l1
'--::tggJ ng • '~"
bulk1 ng n up Ht fl rP hu, ing
nnt: HlU might \\.mtt) tt::~t Jl"i ulumt:
b~ fir~t plwnp1111! 11 111 Hur bn~t"l
pocket
lu afFcG a nJtural bot lht
smoother ... u, "qunres rcqum.: ~
h1t
mun.~ dj]ig~nc\; in furlmg th~ut the
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
:\It gin
angle \ ... "1tl1 n~ luwn Lt. nfr~;rt. .1
dmgonal ~etting
hned. lllllr~ jaunq '\\.Jill
fo t.cr' .1 ft·,.., (".tku
ignnr lhrber.1 h.t~ de h.: rl\
~ .
configur(!d h1 pnntt:d ftmlarJ tn ~W\
put I kn· \\e '"c the mac,tm of nu\
i1 rccrangtdarly in the T\' m.mncr bef~Jr0 lll(king it mer nn\.-e more J1w. Jn•angc
llh.' ll t Cl'l':lf t'-' till' cxtm \ nluml' ~lflli
.'hapL' ncedL·d to re111:1111 upright "hiJe .IIJm, mg thl:· pat
tt:rllL'd bl:.lJ'l.kt· w 1~1!1
propt:tlr It) tlw pocket\ out~idt:
,------------- - - -----------
I
I
L_ -~---- --
---~~-

219
OPPOSITE TOP:
Contrast trxtun:s:
dry twecJ.fackct, wet silk hanky.
ABOVE
Luciano witlr frirnd 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 I iked 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

1111 ring tl H? I LJ')lh. Esqt~in• ld lu\\ t.•d ''it h another fa~o.htoJl pn.unotit'll rcrn 1
t d "\!r J In
c''l1!t.1S.I tn the former. more ~grL'g1011s di~ph.l) Df~,d( dH? \lr. T look \\&1 kJn.tnd (\Jil~tef\Jti\t
-
'\~}
---
Dllb -o-:-.·c;
HH l\Lu:
~~CIJ 110\\ opt~U ror (tJill(lnni~t. ~11011~ lllllWI .l:J..'lp:Jrd fL·aLltring dm·J. and 113ITo,.J\\ dr'l:!'l\ bt:lt~ t ,
suppl)rt 1lw11' ,1 i mmcr. pia in frum t rou~er~.
the \llJL'l'ltall man lllil) the gnt) lbnncl

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 pfOth 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 wq L""'.l r ·, sdk l'l1t ,,, .• 1p~
are rut m 1 1 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 Glll be comfonnble but .trc lll~ithcr m1rlwnric tlllr durable \m
I
pattern gr.tcmg J su.'ipcnder strap lll1uld be \\ O\ en rathL~r th:111 printt:~..l. .1s on h 1 he "O\ en
dl:-...1gn p, ... c.: ~c rhc o,trt:ngth uf dmrJcter tn .:umc\ tht appunen.mcc".. uuhrnn~m lim:agL:

----------
l
OPPOSITE
Stl5p(ndtrs tiSd co arruch w omsidc of rrottst:rs
.-\ CC E5SORl E
ill 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: they ::J.re ,oft0r. 111L)I"L' pi inbk .
Jnd It: ' bulk\ under n w.1brcoar or cumm~rbund. ( )ualiLY bnKcs :.lJ"L cu.stot11an h• m.1dc \\ ith
• ........_ J r
machurt~
mad~ end in an cfhln to 1111 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 tt'• lund-finished
pt.~imt:ns
111 "hiLc cargur The "hire C\'C'ntunll) turn~ crl'am. it11p:1rting 'Jil ,1gcd patina. Lih·
\\Drkmg leeH· bunonhole~. old-fashinnt:d white cargm j, onl' nf thn'L sanonal bt\lla 1"1dc~
conm.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 tion. ~.~ l
id ur 'l ripcd bra~:l''.!'
.:tfl~
rd more vt:n •• triltt:) rhan a patt\..·nwd pair \s 1 he: 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 (lr stripl:d n~cktic. In
tht t.:ruil d1e\ c.m t:1d1er repeat one of rht: tic\ colors or look lo rhc trouser nr shirt !"or compamon.o;;hrp
llll\\C\er: smcc suspender arC' hidden under the \C"t or jacket~ thcr elljtl}' 1 r~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
'
.1111~ th~n b) tlw hue of the j:Kket ~md trou')cr
..
\\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~ ,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
0
/1
DIU 'I.) I~\~
1U!t\l~~
J'lw 111\HV rill· (ontra•.;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 till' '':1i't wit hnur inrerrupti11g dl~..·lillL':lr llc.n\
nf tltC' C1l:H ~llld rnnbl•r.,·.
l\ot h tilt' Jrc!>S bcJt\, L'"tcrilll' at1Ll und\: r
,jl.k' should be con.strucred """ ~1
A BELT"s Et~o
5HOULO FiNIS!-t
BETWEEN THE TROUSER S FIRST
t.NO SECOND LOOP
nne gr~li lled lc:ll ht: r iII :J " id I h \ af} j ng fi·.om I I 4 in~.h~..· ... lO I I llllL'he
~ ~
\\ hen buckled, it-. end -;hould b~..·long ('Jllmgh ll' ilni'h 1 hrough th~..~ trouse~ fir:'I belt luop \\ nh mt
l'llllllillg pa,tlhL' 'l'Cl>lld nuddl:..' .:-hould be o.;jmpJe ill lit,~o.;ig.n.
t lw C< 1lor l d. the a~.xomp;.m~ ing it'\\ d~
dl'.'i r~..·d .
in cit:hcr ,iJ\'ef tlf gold dcptndmg Oil
\ monogram 1f
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 ~
•

] 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 \\Tt\t\\,nch :1rc llliliraria11
tll't. dccor.nivc ~~cond
I l

f
----
C U F F LI N KS AND DRESS J E \VEL}{)·~ 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
:ll'l dcco pcriud:- aJ,~) prvduci11g '0111C. G'\lr:turdinaq dt:sign and craft lUJJF•hip r d,l) 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
D.R £:..\ s 1 =' c
n n 1' l ~t.l'\
"·~.,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~ t'\C'f} bit J~ ~cu~ual Cc)r a
\\oman as (nt' ,1 m~m tu hcC the
,t\ 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"
OPPOSITE·
Cary Gram iu ll'l'il:flrtt'd rrctrch cr!ffs.

TIMEPIECE AN D \i\l IZI T\J\IAT C 1--1 E
, ~ (1
-'
DRf! • .'d" l;
T fi [T M A I''
un u11a t ely. 'h' h~n e 1110\ ed be} t)IJd the Victnrian taboo on publtc da~pJ.n, o( a tnnl p 1 cea.: (. 1
t niL' 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
~pun l'd .1 '' :nch 1J11 b0t h "rist'. ht? rcplieJ. ··1 1fc J:o. lOt> shon L"O ri~d·
gl.wri11g :lt Llw \\run~\\ 1'1.1\t.''
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~
t, ,,In ht•
".1'-Ung prt.•nuu .... "t'u"~Jhi~
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 lhl'
man\; m cr.11l :-n h:dlll~'' .md ~uch t:ncum
•
bran(cS in\'ariabl) !lcccfcrall: the (m, mg of
rhe hin:, cttii
1 '( cout~l'. th~· lwlum~ h.nc the1r
Ll\\ 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 I ral} \ {)\\ n .. nukl· ~,.,( \~ inJ'l'r"
l~i.mni ~\gndh. cro,\nl.'d the -Ral..l' of' rilL
~
Ri,ier~l .. back in dw I

----~- ----
THE Bl1LITl>NNIERE
n JX"hr~ -:ocic~ of timner da) ... , the w

f
TELLING TA J L. · Tl-1 E F-I I ST O RY
..,.,-!
-~
Dlt.L.'>.S IN G
11-I£ AI"' I"
ht.• m~'ldcm
\\'bile lHhcr g~l)
Bnlllltllell d{11111ed a nav~
rrrilco:u ".1:- inaugur.ncd b) th'-· l.mmu" ( ,eur_;e Bq :m -ncau Brummdl
t.bndie!' or!Jis ci:l} \\()J"C colurrul CU!It.!- and breedll~, ft)ft.'\l'lllllg dk t..:llltlh:ll[ \Jr
blur ~m:1lhm Lail co:H bl:1d lm.:'ech\:'". \\hire wa1 tcu.n :md .,_hin • 1 1l, 11 g
with .1 "bin: ned. doth :u1d ,1 () i tlt.:h 't :1 rclwd CtJII

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;
. .
_

THE FlJLL-DiliSS \¥AISTC0 1\T
1
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) 1 ~ l r. h'p I Jar.
\\'lutt.· Tic .• md faib him,..elf rrcd .t\swirc llcre lw sp~1rt:' a rcp!tca o( rhl·
(jall~ it"'r I fa-, I fighn '"'· rhc Prinlx of \\';lll·'· which •• t~ legend goc1'1. Lh

f
FULL- ORE
-----
DRL,Sl·''··
1 1/f M .. \ N
: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.

-
----
------
I
•
•
•
•
FORJJIIL\V
A PRtlPERLY MADE DINNER SI·HqT HAS A
-AB THAT f'ASTENS ~0 THE TRO\JSERS
,.0 KEEF l'r F"ROM PULLING UF
THE BOW TIE ALWAYS SITS IN FRONT OF"
THE WING COLLAR"S WINGS .
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
twght ~\.·unto be .omc torrn tJ( \ ictnrian Gund:1g~o.•. T(J the L"0IllT

---
--
( )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 1 e mw. 1 , 01
gm: 0
f. 1
11 tonnal
("l>.ll j, th~..· ~light!} .shorter lcng1h ..\ 11h:.l)JC' single hreasted, A} from modd \Hth r. 1 gtm-,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\
lie replied, L 1 ( cour ... c iL "~Jllld .
-.i ncc this Ia"' \ cstigc of upper-cia:-. drc~"' ''a a \Jnboll"'f gr.1
cic)tb lh ing thar 11aid tribute tc1 tlw l:tth l)ll rour .1n11 :b \\ell LOth~ ~\cninu\ ho~r
~ r J ~ o
\.s rhe n.llllL' :-11gge~r'. the ~:trl) dinner j~ckct \\:I\ e~actl} dun a lcs form.tl dmmg
cn~cmbk· \\ ClrJl iu rhc pri'

J'R
.!.t I
'
•
• /
-- -
y
-
/ , .
-
L 11·---------------~--~--~~·--~--~
tltL'lp of rhe dinn.:r jad.er·~ C\OhJuun '' .,, mca,ur~d b)' rlw pertccrion 0C
rhr outf1r H mtcndtd to rl.!pbce-
I
I·fmrr Pools ldgcr n:corJiu~~ rlu'}ir.st I
ord,•r)or a Ji11ner TtLXt'.dn Jc•L·ker.
,---------~~ ---.
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

D I
NNE I~ JACI(ET DOG1vi A
__ ., ,_ ' .,
DRJ ,_\4 Nli
r11 r J\1 \ •"
, rill' dir~·cr dt'.sCL'lldant l'f 1 he r,1ikoat. th~ ~mgk·
ht\':l'•tc~..1 din11cr j~k-k~..·t \\ith up\\.u·d ~\\L't•ping pcak~·J bpP1s
imc:'h :1ll lllL'Il with pn,milleth·~
a11d height. \\'ith onh vne
L
•
\\:ti-.t bllllt)ll ltJ l!t.,IL'Il. it lll'Ct'~sit:ll'l.:~ ~I \\~lisle ):11 (tf Cltlll!lll'r
bLtlld {~l CO\CI' tilL' lr.t.Ht '\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, I r in gw-.grai n (, nen
'"- '--- "- I
\ Vhilc dlL -.ILl\\ I CL)IIar dinner jacket CtlllY~} s 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 llll~ '' ..... r ~1UHOil and fnur dlh~h 't't

':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
I
I
I
undL'r anilki:1l li~ht
\\l?ight \\Or~L\!:d (q' 2 to IO' z ounce~) huuld take .1
m:Hl c01nfonablr through cl1r~e
ea.sun" of d1e \Car
Like r he 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

-
Dl
l ER] CKET _ L TE RN;\TI \ IES
"one .het·ml rhe .. or:i:1li.HI\.icr, wid1 : r' 111~1\'~lsin\' ~.lc·m,lllJ, ft1r ~..lr~..·~, un, thL' t1d~..l \)r
c- r
cp:.~rar~ dinner pcket .,urfncc~ Paired'' ith rhc '-""l'll\'t'IHic.'llall~'rm.ll trt ·un\.lgJtc: '' ofrt.:n .1 'arintim1 ('111 rhe 'ch l't-:-.llH'king j:1ckct theme .wd t radit ionall)
r~'cnt:d ((u·le-. ... grand .1Hnir-. '' • !on~ a' ih dc~ign ronl(,rm" w l)lll' l,r dw I~Htr da~~i\.·
mcnnoned L'~lrlier.
.. ..
mod~..·b
n ... Elbric can illl'{ \\it h a\.h i?tlturc. c~c~ ll'l in~ the ['ludlt.'SS n( "l'lll rmn1 his
1 cmdon hnusc w her .m ~uLing rh.Jril)t. our man } nirbanb: "Pt'll~ .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 Ce -,) H •nton "quire' I~..·~ l~adzi\\':ill to the· I ngli .. h prcmicrt• o( G1m lkt\\ ~en
245
r () R ,\J A I, \V Elt
Beaton\ c \\11 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
-
l.-f6
D R [ '1.'1 I ~ l.
n 11. •' l A 1'>
Ill undcrpi11ning ~)r high das~ dinth::r clothe" \\as urjginall) d~'-tgned
I )J"t''' ..:tud-.: hid the evening shin·~ slltli ltolc'. :1nd ~ilk
side -.e~lllh .
to be in\J. 1
bk
band~ cm~r.~d the formal trou.,.,·n· um
r\'lllll\\ ing in the t:1ikn:11 ',:.; (l, ~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'.~.
l.tpd~ .lhl'' ~
lo\\Cr point" echo dw·c ,I[ the emu
\\ 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 IS ,\Jw the t·ummcrbund ....
~lh\ .1~-.;
\\urn wi 1 h it' fold~ PL'i nri ng uP'' :.lfd
01'igil1\t'r:
"lll:'ll rht• (l)llt r.1:-;t b

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 lf a pttt¢tn is chnsen.rt sboukl 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
lllilCr j~Kkct Ll\)ll!-iL:f:-. 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,
t\\ '- .small ~~rips l'l1 ib Lnner k·g ~cam If rhc jackl·t·'i lnpd facing' .m.: sann the lt.'\Wn.· nf thr
DRl 's r 1\'t:;
TIH \·f.lN
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 1 1 ~·' er l"t rlTcd ·1 he 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\., b' com inLing him that till~ btl·~t f."l."hJl>ll r~l,uire thm drrs' truu~T hL ctdk>d
t"' J .. -:1
L
'-
FORMAL WHITE-TIE TROUSERS
SEMl·fOR~AL BLACK·lliE TROUSEJ':S

---
------- --------
THE BLAC I(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.: ~;~paratt.'l). offering n \l1lnety of dill""..·rt:lll height'
Lmd contt1t1r.s dmt ensured its hro:td wingvd pr~cncc
THE WELL-PROPORTIONED TURNDOWtl•
COL!.AR DINNER 5r41RT AND BLACK BOW TIE
I
I
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 I i :., 110 \\01 11.:fer that 't:\ 0rnl } l .. a1
bnck. tht.· \\ ing colbr\ emn'io.dmed remain' \\t!I"C
0
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..'
•
Bonum right i'

---
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\\TTIE
he scmi-(unnnl bl .. 1ck ~dk blm 's tl'\turc 1~ g~.l\l'rn~d b~ the j.Kkcr· ... L1pl'l E1ring' a ... ;um
buw for satin l~1cings. a nbbcd or ncbbk· \\C'HH' \,1riario11 l~u· '"'rO"l~r.Iin I:Kings ltc; bmtedl\ OJ
~ r n ~ ~ J
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-.. t:Kc. I( ;1 -.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

Ft\ ""' 1 -IIO ~ TI .1 G T I-I E FOI~MALAN J(LE
1\ND FOC}T
b\! t~lnnal 'htX' 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
_'). 1 -I
d.ti1Ct:: lht: lJig}H ,1\\.l\ "-\,Hill:"tillR'S ~IJlll\'. 'IPilk'tilllC~ .tnD( I JJH~d wiriJ a ~jlk_ bu\\. \C l

Dn1 s.• 1 N~
THE Milt\
he '' hi tt.:' me'' j:Kkct repre!\eJHed 1 he f1 r:-,t r:td ical change in malt." t:\ enmg "'ear and
rcl:t'h ed Slll'h btU:ld n:lt iorwl ~Kcc:pti111l'L'
th:H it ";ls immediate!} adopted fur rhe umform~ of
hdllinp:-: ~111d l')rdw~rr:l 111t:lllbe1·.s. \\'hilc it rc~t'mble..:i .1 ~lilcoat cmutrm rlw \\at~dim: tlw me
jacket \\:1!'1 Ill\[ n~lllLTing lO 111:111} 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
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 ··bi~qllt.:.•." ll.s ~t:t'11 hcrt? i 11 rile nJmpan) o( t.hi!' blond-on
bkmJ LOn~orrium \~ ith mcu buck in to\\ n II\ 1\\ \\':lilting to .-.hm\
'
\lft1lldr rn·ctu -.umanneJ. Cl'Titpl~xicliJ~. tht: IlL'\\ c~llllr~ \h:l't..' \rd­
CHllW .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~.·
ham h pnn r.I}
on rhl' I rench 1\.i\ it:•ra bril
\\e ,,,11 ue\cr k!H.l\\ \\hcthcr thi'\ blat.er trimmed tu:xc~lo
(,th," nglrt) ''a'> rn 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 __ -
(.l(t,"lSIOil Cc1JI111g ftlf th~ ntL~l\\,1)
-,prp, .trt.' lC\\ .ll\J far ben\ .1,.'('11
thf' propl r drc"'' ~~~r
,111lj it' cllfClld:lllt alL.L

In 1 h~,; t ll'

- ---
rhr

--- ------ -----
Bu!-incss cas.ual :111ir~ i~ t) picalJ) brokt~ll dtm n into muhiple cntL·gunec; dt·nntmg ,, 1 ~
... -~
-)Cl
DR£.):,J SCi
THe i\lAN
ing Lfegr~cs of lllfl11:1lit'). SUCh :'ts .lLli\ 1..' C:l!\U 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 \\:1\ d~ngth
:\ ltcrn~tli\ d~; d r·r.:=-.~-du\\ 11 busi 1 H:"'S C!ISIJ!iil l'i l hm rwo-piece ofli.ce an ire rankt11g beJm, rhc:
j:Jd~t·t~uri~nh .. ·d out Cit in drt's!-lil res!-. httr ~lhtl\ t' tlw [1f'l.:..'iscd jl.'~Hl:-i atld :spon. 'hin lunl l nnnnJ) to
\dwt \Vall Street Llr 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 1 he 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'llrkd.n .md lob dotht.·'
for the \\·cckL·:1d In pulliug ti·om 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
- d · 1
1 1
iiKorpor.nc~ :-;pJtly clmqntere~.. f~K ... ~..·t, 1111..1 ~.He~ • ·
trou ... ·
u~ • • "'th ' Hn t: .. quuin • '"eaten; Jnd ~ron
-.hin-. L I '"" - . -1 ' , ·par.u .., re-.,mn!., dr~ . 'tnt! .. 1 .. 111'
1 nl~H·tun~u

-------- --------~
~C LO R1 TG U.P ):YO UR DRESS-U I)
BL- ~ I N ESS \~lARD ROBE
Up bu"illt''' l."a,ual forrC' .I lll:tll to ("(lOrd j 11:11 L' tailPrl'd l'fl 'CmbJc, lll:tdt" rrom d j 1-­
fertll£ tilbno fhe c.L-.it.:'t: \\&t~ to 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 t"l..ll L)f C·Hnil): Thi~

I
"·JI'drt)bc~
- -~
~,,,tthing tht'llt..,el'c' hend ,., ltmt in nne cuk11· n,>, unl} rcdu\.ed th~tr marg 111
t1f
Dnr ... 1 ~~;
nJ r !\I 1 ~~.
I
J
'-'1'1'01', 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

I
----
P I.ECI NG TOGETI-IER Tt-I E
ORE
- Ul 1 BU ., fNE S-CA UA L
\t\1 A RD I' 0 BE
Dra~1-.t~a
ntr ~\I lN
r
lw drc.,~ up bu~iriL~'' c!l ... ual "nrJrohc rl.'\uke~ .trnund l\\\ j~teket on~nh:d ~("eu.m"
thE' 1 hrt'L' piere '-t'p:trarc~ c-n~emble and dw nornie ,uiL l 1 he team. \ .; ~plm co.11' nrc apprL1primc in nH.Hit c.1sual bu,mc ;-s 'l rting' n htgl quJitf}
l
I
"ell milur~d jackt!t 1 cntiLal lf) tht.: drt' up
bu.sine.'i~
Cl'iUal \\Jrdrolx 'tnn \\llh .1 l< xnurd
dark oliJ or ubtir pan:crned splln (OJ.t llli..Hlt
u f l h~ pO\\ L'f llCUl raJ ,f1Jdt'' of llJ\ }· dur~tul
lbrl· bnJ'' 11, or raupc ( ; m1mkk1 JJd~t: ung" ,m;
tiJI J lllr..'lllf'll'abl~ f

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}
j ' .,fn.: h ~ullatvd kmt .,(lin .mJ perh.tp' a 'm~ll ~r.l\ and t.lll panerned "'" c:-n -.pon 'hin
"til \\Jnt t
'PI,ltt the t.m '''-'~ L.,f the jacket\ color 'dwmc \pair llt-Cm n ("O\ en t n'll'l'r'
tn 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
1 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 l\) 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 1 h 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

II J
I
''''-·JICI \-.II,, .111Jtlltl I''' \\CI(ll '.llllltlll II'\
!till,..! ''U'\1 \ ll\il~.lll
\\1111 ltq'l pttlllt' till' I
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

--------- ----~---
1rh ~{ mt~-.rt dictating otTk~ dt!(Ortllll. th! da.:-~ic spP•T C\1:1r mu.'t bt!Cl1111C mt•rc Lhan
.t \l.''"\.·luf nulc rc-,pt•n4tbilit} Jt I wed' to (Ombi m· '" 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 T hrce bunlln. si nglc-brc:Jstcd
mudd '' i[h cJft n1lk·d front~. hghd) p.1ddeLI 'ho~t l1· r".

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-... .1 .. \\L. nlht•nc both
C,H'\ l ;rnru (brlmt~ ~~nd J,trl. .. 1\om 11'1' }llcquditH' k~nnt·d} l 'na"'''" 1:u:h ·r (opJ''"IIc) .il-qurttmg
Dll t t. • I '\ c
l HI \-I 1\ ~
t h~m:-t•lvl' .. '' i1 h ~..-lrar.rc t eristic aplnmh "-tuch :t '{1guL" h.HJ pn.'\Jl1usl} !wen a,nrt,wd w rhc 111'11
bu.-.in'~'~ arena (I( r~..·~1wt or 'l't'ri,Hor ~P~'r·r~\\'C~tr~ hl'i\\C\L'r. oncr lt.1Ifnn J~.,tgltt'r (.,n,rgto
\rnu111i unhirch~d th~Miit fJ\.>111 ib unbL·ndi11g bDx-nl n hltt'ines ... unif~li'IJJ in the ft~Hus \H~Jnng
tt '' ith11ut .1 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

Hfa.·k Cci$}1111fl't' tlll'lft'lh'Ck
black a mlwlwt' 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

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 .1 Jnd~et \ t.:asu~JI Jspt.r...IHt"ll"' Ja~kl"L ti ~.:uu u
'' i 11 t er -.:tilt of cordun ') llt' 1\\ ~cd \H"'uld .:&1'\o pnJb.1bl) mak~ rl11.: cut 1 Ji.,. \\ c .1nng .1 LtU1\ t.:ruh t:
D.RfS.SI'CI
TPl F i\1 .\ ~
,jngiL" (II((\\ ith culT linl...". :--pt)rtmg unl) Llll~ trtp h:tll (lc'll ~till U'iualh u1c.b up f.tlling, -.h~.lrt 111
bn t h sl') I~.:•
:111\1 ~,..,phi "il ir.t t ion.
l'atclz undJ1ap pi1rkcts permrt
1his catt4m smt jad:n ra assume
tlw CLlmposure ~fa sporr coat.

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 male-
Taking 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

flh{L .... tJ of ...,,plu,rKah:..-d In \\inter. m.lltL~ tlni 'bed knit.' or n nd} hru,hcd ,, 1)\ ('II~ (jill b~ p~ll r~d
-
'' erh rc,·mr~·J \.'"Wd'- ur !l.mnel p.1nr ...
t 'ottl'Ht 1 .111 t.:'\cdlent natur.tl l:tbri(" (l>f trou.;ers. blll n
\ 111 t:\ J nmre L.bU.1I Jrnrudc dun 'H'l,J Jn tht: 'pring .md summt·r. litH.'ll HI)USer' crm bL"
JJJ~...J ttl Lht ma\ . • tlthou~h n 1
art 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
1 he p.tncnwd \H\\cn rop ~md ~nltd hl'lttOm 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

AC~C ESSO Rl ZING -rJ-lE DJtE ~
-DO\i\1
13USINE S-CASUAL OUTFIT
It h sP h:\\ gurm~..·mo.; tu hdp com L') &.J Jrt:-.,ed up bcanng tach uccl\.--..;.,un bnt•m
PRJ). J (~
I H J 1\J \ ~.
th:u llllllh II ILl I\' 1111pnn ant. neC.lll!oit.' or l he beltl'd \\ ,1isdme'" \ l'iibdin rdatmg ft Ill ( JihL'f IlldPJ
~.:·t
d, 11·. t.J 1 t L'Xllli'l' l< 1 dw I{ 'Ol" ear bdc>\\ i llllllCl''iLl tch :.lL'h ann.~' the •udlr ... l'\ L'l :til hnnnum 1 1
1 t.:
" 1:-.c\ ~.:·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.' ( '" .t: o d nh
in~· r,)ll· 111 lc.~~.Jing rlt~ 'ic'' L?r t&J tin: ub,cned·~ conlmuntcal!un' remer. Jlj, t:Kt rulcrawag
L)J1L'·~ h,Jirl·tllur :u tlw \\:ll1-1tlint!and :1~nin.1t rhL· fuut i:-..mOihc?r h1ghh. rt:,·( nHlWrki~J -.trat.l•'t•rn
~ ~ J ~
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~ 1111p0-it' J dtff~·rcm lll"'-'l (
"'} IL" p:1nicularl) i( rite \\l':ll't'r·~ hair lwppcn'\ tO b~ 111 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

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 '0 'hould the~ ... ck rlw Lhirlcr rht? snck. the m,lft.' Gl~u.tl
If' mrcnmm fht.• thin blaLk or nm'\ dn: ..., \ariCt) h.l\ c 110 pi.Kt' in~ ide- the~e l.u-gcr propnrtillnl'd
~ht.k!'i Ltkl' drc ... s ho ... ter~. cn:-ual hu'e mu ... t be kmg en~..,ugh to rm c-r bare skm "hen llflC. leg :uc
.:rP ~'-; In gezwrJL rhtbt."r .md lux· tnne '~~' blcn~..l "it h .1 ~..·olor :!btl\ c l he-'' ;Ii~t.
l--
- '
D l~E -- ~ I N G F 0 R T I-I E J 0 B I NT E R VI E vV
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 up in the fir..,t thirl) "L'Ctmd"'. "hkh r:m inllucnL"c ho'' £hq dm~.."~ lll imcr:Kl '' nh
ou In the pt'nCL'' uf gJtht.>rmg inrlwlll~HIOJI.
m.rk~
the intervil'W

GLO~
RY
Cr ,. refel"(.'llCcJ dcfinmon-- c1ppear lD '" \Ll L.\l'
cd or flat scam
round ~ situ~: front or "amp (Sa ~hoc pagt:' 1 CJh)
\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 of a 1adet or ~.:oat •~
qo n If tht~ an'

-,-Q
- ''
DRJ. )JNG
Ttl£ M .\,,
\ t\l\lt i-1':, )!rCat 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
gi\N I>A:-INA· A 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
ccntUJ) and worn hr rh,, Arnencan cowbo) Also a
I Iindi Wt)t d !'or t} ing nnd drcing doth
BA!-:Dt)ll f R s I'RI rr:· A tH.1guna1 snipe .tppt::a·ring on I)
nun: lwlow 1 he 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
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
multi pit.• pnl"kct~ and ''catht?rproof construcrtotl make
it dti' squir..:-'s choice for coumrr 01 ell) \\('af_
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
"I hi!'! t\\ ill ~ wcarc pattern 1~ achi~H~d b} comr.tstmg
the WARP and WET r thrl•aJ.;, (Sec l lumphrt.'} f\ogurt,
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- 1 he.:
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
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: : 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

BE"RrT \ bruulcss.. Ufl\1-Su~d
t~hn~
tnm dTt•ct cap of fch \lr
BLOt" l'lu~·TtNG \n Llld mcrhod of hand pnnttng
fab1r~ rr,llll i:.trn.•d woo~l (lf mct.ll blt!Cb
BERMl D'l IIORH \\: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}
Bf OM 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
tl.tp I .ufdc:J
Br rc Kl t:waOIII made. a rcrm .tpplir I m 1 ngl.tnd to
.urlcfc, m.1d~ to mdt·.-du~tl ('rder
Ui\5 Cl)r-,; TRl no. Scr. nrstu rxT l or-:-. rRL'-.;:"1 !I.JN.
81 kJ ,..., \bbrc\l:trcd- nle ~\Hm :~hons, ad:~ptNI ir,,rn
\HUncn o: unrlcnH~:tr
Bt LLl l OC:.:J.:
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 )
Rb .(l 1 .\ p.1lc.- tnnt: uf tan suggc,ri\"' of 1hc: color oi n
slaslnl .. bra" n bi .. cuu (Sri' pag~ 2 53)
fll \\IN1nd
~ 1 tlu: reb\' ~nrng 11~ .mother hlazcr po tblllt)
nunt 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 or 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
Bt -'1/fR r hl: t'l! t bl.u: r-.; u.erc bnght J;Qtrlct 1 lcX\.'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'
nurrn
tl d
11 t rum bltz..c"r·~~tud (Set page J '')
rooks
[kothc:n; ~.n ilc R,·w~mchllr. inittariug .\m,·nc-a'~
Jll\I'UWUI'J spit';1l illh1 I ht! 1f the 19-os
B1) In T 11 \ cnwboy- inc;pir~'-1 ~tnng uc m:lt.lt· \: 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

\
.Hit>
Dnr ....-51 ,.u
rru M 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
kmd~ of COH'rmg
I dge!> fllllshcd \\ ith hr.~id or odu J
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
p;tg·~ 201 .2'31 236)
UOW Til .')n• 1\,tgC!I I bO 64
1\0WI I R .\u nr Kill
1\o.x U OTII. A la !'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 1 T1c wat:.tb:md. pcrrnin i ng
suffkicm sp;Kl' for dw "ll'>p~ndcr 's lo0p h1 m ove fr 011 the top
of r h~ :.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'\'Crs 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\
•
lt:ngthcncd :llld cnnn.· h~ mean p:~nts.
buc.kle1\ for dcc~' :1 1cnn for
t rou:;e r.s i rn plying trim linc.:-
BIU 1)1 1.:.: \ 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 hold or .:'0111 rol rhc ;:he't.
UJ tii'IH\\ARM onvnu tiU~ lEDou~ ~ t t
mtfu.Jr) origin 1t1 kne 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 1
cotton l1f pol} lllcnds It u u tJ m luru un t; h 11
and ~pnnM\i"ar (Sa rht.• ll.I.It J abn t i M 1
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
mad~ l)) \\Ant throacl-" bt*m~ r.u~l m JA Ql !\Jm
\\l'iJ\ 1ng to fonn 1 he paurrn
Blll1GUr. IIJstoncn.IJ) a rough uurdum h c If
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~
pag~ 194)
BROI L"'
1\ 1\rimh rerm for wnbrcll
\\IN 1 il (\i
BROWN TO!':£ A 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

tre1lcll .:o.Jt th:tt "~ tssued to mun: th

IJ R I \ S I ..; (,,
llfl \J\r\
~lndcll·d aftt:'r :'1 slnnmtbl}' plumed afliur fn.lrn the
Sl~h'\.101 It ~cJltllf} \\ llfll 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 111 polka dpt
tll', p:tgL' 1)8 )
CtWAI rt) TWlll 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't)\Iat ron "nh
1\mish C'.l\.rlq• o(ilccrs. Alrhuugh ca\1111) twillts dw
n,·,guuln:lmt: r h,· l'.:-- go\erumctll n:tmt.>d Jt
"c laslltl''~ " ht•cuu't: t1fi1s ~u·c1rh qunlity :uru ~iurnlHitty
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)
l'IIALLI 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)
.... 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
111 r,:tmhr,li. rrancc. (St'l•""bW and "Spri11g" i11 1hc
hShir:r Dtbncs" g.udold.)
: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
cdgl· of" IH'JL' m cutll."cal thl! 5,1k·'s ~titchil1g
Cll.:\HM 1 usr 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}
CIIA H,\'1:1 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 '>r:.-\ noo·1. J\ plain toc,i. ... idp fotmd in th ( ht mt lull f
" I
eland It
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 \ liON wr "' 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)
Cill!NO 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 \\
UCluglu for U!iC 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 1n
p:tm made of duno duth.
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. 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:
'''nsillt:rt·d a "cb:\;-.il· ~
t..:u \I{ I i\1~1 D WOR$1TO .\do cf} \\0\ L ll 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..'· Small cmhroadt: rod fil!urc:"' n dh.
t:u:e uf a fubric from \\ bich the Ilu;m-lx-'t" en the:
figure~ ha\c bL·cn dtppcd 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 duTWlNG flO\\ flit: \mrri.'an IUUll gr\: 'll
to 3 b:tn\ mg-!thnpc btl\\ tic \Vluh:: \\hen ~ nt \ntl
TA 1 LCOA T: hla.:k or mtdm!!ht blm: \\Hh c:hnm:r J .. Let
(: r.· 1 c:- Crbu~tcr: rop of p:t,gc lllJ Phtlrpp ~, 1 rct
page 1 bJ.)
CO"-r \n outcrgann~m \\Hlt lt'C'\e~ '"''m f :n'
\\:lrtlllh 1)1C. fabnc. and l~n~J \4f\ \\tth f~h
COAT lE NGTI L 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
Jtl

o~ 1 .:rdcr s '""011 u: do'' 11 to thf' llt~n1 of d11~ j,tck~t \ center
bWiiliiL (~« p:1gt:> 40)
1..\.lllAR :H1A.CIIFD HJRr 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
l..OU.-\R rAND The '~rtknl dimcn. ie>rt of.l collar
b.md m frum
O.ltl:.\R ~ r n s '(r 'iLLlTITl> .._OLLAR..
\..(.'M flf"'l!. nn~ 1..'\ST \ LA Tor f.·mn of n ,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
CtlM OJNt. \n .sdunn~d form of .:-Jm11tlg. r he pro~~·~.;
of arr.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
l.t.l':'IT:I l:.NTAl 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
Ct1N\t:RTrnu Cl m
c:ufflmk
Luffi rhar can buuon or rake'
Ct.rrro~ -.WI! L A 1!1bric- "ith a ,lt,agonall) src..ocp waled
'urfaccc.m

-
.!·-1
DRL ... ~(;
ffH ;\1 ~"
1r '·'as popul.mud for mcu&wcnt m the 1 ')80s b'
•
luls.m ~:lc .. Jgncr 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
(. JU 1'1 l>l ( IIINL \ \C') fine lighrnl'sghr slk madt
'dth .a crC'pt.: w~a' ~ u~u.tll) ~onstnactc!d \\ n h o1 ro" dl
\\AilP ,lJ1d CI'Cp< (\liJlH salk I IL11Nl.
l RJ \\'NI \ ~ 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 llfv.n.r:s· [nglish ..;bng for·badlr m.tdc
bunonlwle!> ~
CUUAJ-: !I EEL: A broad low or rn~dium - high h~l·l w11h
a st:r:uglu brc.1s1 :tnd a curved back line
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\\ alel ... J a 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

-~~ --
~ pula.nzcJ dunng Q_UCl•n \ 'icrm:.t' rt:•gn un comsh
c:.s&u "here deer stSI 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 IH.l IHtL\STCn: \ 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.
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} I e.
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
DOUUI.I WARP 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.
DJt.\P[· 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)
DHAWI~~G IN A tntueexpre:),'>tnndc~nrbingn
IICCC.;~lf}
I ighteuiug .11 .1 pan or :t g11rtncllt WIJ~t'C
lo

1. h
:~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 th•· l\"'1 1 EAGl E .::;c.~ I ~doptl'Ul,h a:. long J:lfk~t:-.
:tnd dt:1inpip~ pant~.
I'GCSII r 1 1.. 1\ n off.,., hitc, the :.h:r~.k· o( :111 c~"hdl
[lSI NIIOWI R JAGl\l J • \Vuisr• lcugth j:trh•t oftblc IntO '> htch thr mt rluung .... 11 ~rtcrl
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{" 1 olt)
I Rfif j • n upngln

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

~I • l >.;c.
HI AI P~>
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
l J'I:NCJJ ncn li.)M\.. 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}
I RENt H L n ll1c doublt: lcugth turm·d bJd '"·uff
of a dn.:.; .. o;hm, fnst1) sdk)

Li 1u h .• r: ( 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 F ll.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;.)
lrl ARU l.-0 \T 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
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
rt: M \HE \n Qld fa!ihionl d tte'rm for casual ~hoc.'i
"rth tlHI.k ~;:rcpc
nabbcr ~olc'i
C;un L r rernfor· m m fnt• U~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 '"Nl.
fU M'\ N
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 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 1 Cn: 1 heir t fmc. Toda)' 's pencoch is
/OJHOJT01t' 's j'elllhcr duster. - Hn.>t1hs Brothers
-
a remmd.:r
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
II EM. The llnish pru,fuccd hy turning b:.1d. rhe rr 'l
IIUD'tUN UAl .. 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
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 on tht: mcotd~
du: m~n:e of 1 ho.x pl .. at (S« G fitzp.unck s brcoJ.s!
pockC~\..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 1 NG 1,.1f a fabnc (~'I' Gnl'} Cbopcr\ uc page ~ S)
h l r M .. L r 1\Jtothcr rcnn f(,r t\mntcn\ naturnl-
,ft utdcr f.!shron L,rc:u 1 li)O, .t:. popul:m1.~d b) Bmt.,ks
1\rother~ Jnd ftmntf un .\ mcri.;.a '.s h'} L.:ague college
~mpu cS \ 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 ..
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
h Q.l o\RO
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
I:Wnc: lrom rnpt·~m ;Ind brocade to cl.unn .. k .md knn~
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 \ I'( \ nc.:k\1-t..'.tr fobnc \\110 an arr

) Iu:s l.l'H .•
ur:~I\V
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)
L 1\Sl A lorm of Wc)Od or metal !)luped likt.- 01 rOOt 0\ er
\\luch a 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. fRONT llAI.ANCF An excei's ofiC"ngth m riw
from b;~lancc of gamtem ~u.sc!. gannent to nppc;u- full
1:
permit 3 rolled effect
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.
LOUNGf :-.UfT• ·n1e e.u'l} n:Jml' giH~n ro :.t ACJ 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

D1u: 1 ~~
H
M 11\'
"\pring'' '" tl1c "Sua l.1bnrs l!il:tr.
J:Ch:ERCH II r \ squ:'lrl." bwttcc.l or dr:ape~l in :.1 unt
fa.•d11on ar.1und t h\1u~ck usuallr madt· of coth>n. silk
I men. or n wool- blend (Su· p.1g~ I6tJ)
N1 CKI RTII: (\ .~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)
NrcK'JII : Tlw sL:ttJdard term tt!ied (M male n('ck\H!:tr
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 wa r unJcr r ht• n >II a r fold or
4r'Onnd the- llt..X:k and knorrcd iu fr~.mr .
~ 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.
NILTIJ{J\1.:. Tht.• tc.nn applied to color that mm.tins
none ol rlw primary colorl' l"nd) ed lint!n ;, on~
c:C 11ru m:.tdl" nr aU·
i.1hnc., u!'icd for nccl.wt>arand form.Jh,t:.Jr 6 mgs
r mh~r
OUNc fS I'I:R ''t:ARD One ofr\\0.3CC'-"Jll000l tpl!ltl n
for 1 he "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
Ou rstAM The t:rr•tt:.t:r lr..:ngth nwASurtmlltt r 1 ('n
ir,Jm t h
Mudcnt '' idenccl thL"'1r trou;;cr lcp- ~o tlmt W£'\
resembled a patr of deph.nnt s legs :\ltltt~ugh tlu·
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

'f 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 ·r'" m) • \
tgl ft. r Elf.! "~ gn ... ·n rru· u.tnk: l•l l..Imbndgr:: h\ \\.1\
t dJ ua ~UrI. aghr fnun- tet '8 ount.C!o
n p :tut '' \\ th ..tcut«nJ \\,\Jtf' :lfld MI..)H\rR
rnrs "
I '~"rtf \ umnu:r r,;uttJng rn:.trcnal tlt.tt
m ~ t~ r lUOCco; m J pl.un "'-':l\l ,,r1gmnfl~
\\ trh • rt ~n \\ \ltP .tnd \' itr5t\ d f ll U M (St't
. r 1 rh~ '-utt l.tbn,· ... g.tft>h ld )
r I \ u \ \ r r-c f I nfJttl'd ,lJJ I umh.tpt:J 'itr.m
Ju hrr.t 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
hr ·r\.'IIIt
'I
f ... t l
I
t
rd p.ntt I h< rt ltr \ Jnt.JI• n
J 1r ' u l Jnt.tf nr dura r au d t
n \\ ~ lr.g - n. rm~ I •l J
pr d n } 1 lng_Jn 11 \
m l" · t Jm ffnm l~.J ~ n r i •t
• th r
.\ /'
in
J nth\: 1lt It lrt ,f ~
\ • f tor lt Jt rtl
thJ• !Yrm~
d n .m,ll ~n•
I'\ Ilk\ \ 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
mn\ll• uf .1 lrghNctgln m.1lt; n.tl
P\..., J II \ 'Cl'} p~lt· ton,· uf .1 c(•lor
JJ\ Tr 11 It£ H 11.1 I
\ pnd.d llllldl' b\ Utrhtng J pn:cr of
Ill 41J:!C H6)
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

I' I [C.[ D'\ I I' J1w l"nn upphcd Ul ll fabrrc th.H hil!
Dl' of ... hon 1r hr l ·1
hbrig1n: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
cor w I .. h ph z
r m ,., trom thl
Pt \I ftt JrT
rL"-1 "r ~\ r
am t • rnm 111 f .111
d c J I 1 l t t. art p
llldt; r th~ T1 M CODtlUUUig
PLr 1 \ fold nf m tt.:rul p d r t
I~ h lltn piJ~.c.: l\- tl c n tTi n, p 1
I d\ .n·d a an 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 r c- 1
\l:numllm \\ju?Jt t.ntdin • (. u p:t~ 118
Jitl A'TF JJ 8t)Ss~· \'fJJth dnt 11 nor c.:Jil J nd r l1
sur.pcndc~ (~tt p gc !. 4-h
PLLGbiNu KNlc J::l fWt) t I R
Pn A "lrnn~i of n um JU v..hh.h rn r owt tr.u J
nre tw ~~ted tog&.:Ul('lt 111\ rcrm 1 u d 1 t u• ..{
d Js.>tfic.twm. ior t·l\:.unplc ~ngJ ph ~'w pl) 1 pi r..
Pn• ...: 1 T . \ b:.1g mad!.! of~ lor h 111~ uc n t nh t
1'0 Il' I TO rnt Jl.l \ mc.~un.'tllt'IJl r :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

------ - -
l't1 "R llC\'l ·\n.urtt l>t>n"\! 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"'~
c: uh twrnnerh ccntur}
ho" ~; ~·f du~
l'aJI'U ~S :\. 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
l 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 ... fi ~pt.efuld)
( 1 (m.K l If. .\ -.pdl4 ltat JO 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-1 t h 1 hi! 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
' R u L I: L) 1 ., 11 t ~~ n
the doilzes )'Oil HL't'cr tP('llr.
- .. - -.-~-~· .....--- -. -
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 E f1!!h h g

, ll ~
-.
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:"\1'1:1..
Rt..Wl sou \ hoc !>ok· m:t:dc l,rhcmp '"'r hruided
flbcr.s .amJ hdd rogcrhcr wnh 1 hrc:tcl ~1r adhc.!SI\1..'
L
Ru't.Al. ox 1 onn· A lu'itrous.. high "'-'Uill (lrtgin:tl!)
lllglis!J drc~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'
tn be kmm n .1s :t guiJfng principle\\ nit" td~ 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'
l \ I agur.H ~ m lhc L.lrl
has1 of Hn nls Bmthr r
f. Jr th rh. u ,,. n car
ll)_
'UU
0 tlU I
'\Vfll £ \HOl '\ l;{ceJ ,_, rd :i 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
black on "lutr (~r p.l$' _ •C.)
!oo'\I AJU JAt < .. lT \(( nt.: H J ,.c. 1 fl
ALf \JI'O J 1 ff'PTR fhr 1ipct..klud II - t u -d r
otht: I f11bn produced b) fled fl b_ck uJ \ fall
bnm 11 ,md whht. a-~
~A • .. DAJ foot\~ ear con~tl'itmg t :-. J \ suit tJnnl~t u:lh.n\ h.tdt' fiR :lJ p COIIIcd h) Bqurrr., #\pp.ard A. f" mund ~·J4
A~r,Hunn Tllt p:uuned proe£' of ldmpte h"
'>hrml..l}:.' fa.shton t: tab!tc,hmmtlnult
h) the 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
until H~·au Brummd CT~ted ;t 'n~n'" tnr ni '-1 )Kf ..
l.1!loring 111 the Iauer p

'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!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 .
!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( "eltcd
\I I R t < K.Elt \ ~\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;)
\1:-u U1tW \ luLlJl m.1d~ fr"m clu.· ~Wrm· ~ht: II iithrk :a!>
th~t of tht; N L C 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.•ncectlr n >elr lul'll· d1t u~.: · l.tb,l
uhcn ·~·:'\c;; t1 'iJmc pu.rp l nghr ll• bt \\ ,__ rn \ nh :t dum ••· jn kt. t J
\\ Jl ... ~ I I p rt~i\ r ..Uld lrl.I! r; (\a r ' I I
1 n m)
"' R .E \ mtll j; ~ ., rn J t.ahnr. ~\a rh 11 m~tml
url'.t._'- .md .;~ dJagJJn:.J n1 ... n tu tll td.i: of(;tbr a.; \)!1,
a \ , u eJ ~nh llh l lrt ,n;rJJ from dh' I tun "' trtl
I 1r
lk IMCd
\ m\il th.a: r •(n: tf, .. dtr
t tt L"i1m ff...un mr.ndm
td OhT ~t
~JW!Lb I
mau:n.~l
ht
th" Joiumg uf f'\\o pwc~""\ ._,f(tlmo: a 't~l'"dl I' h :
ltL•.ltnt.'s,st l:ill d .ltld c\.t'ith uc-
IIA !IE I he lOO\: of :1 ooJur .tpprua.:h rng the d 1d cud
oF tlu.: \t,ll"c ":nl·.·
.!'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 )
'\If \1)0\\ \\Il\V! 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\RK Kl'-.i; \ dl'ar fan:-d dr\: ") \hH~ttJ fdbnc- n
t\\o tom:-s-ni"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 \ lapel cut 111 .~ac p1 ·~~ •r- \\ rrh sc.. m
tn l"t'nt.l'f b.-~.-k. that iol1o"' 1 he tront 'rt'mng ot tit
-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. r-
dw d.t'>!llt dmut•t ~.1 ·kt•t. (~I.". Nc~l t 1\\,.Jrd p.1g :!4.1
rtf. Ri1"'(, t....(~\1.
\ \CJ.1 \\.lflU Ol.ill'- "1Uh.f\ l:IT In
l~unh or ~ltt•t·p·~kin thnt f1:1" bet. 11 ranm ... t WlJh HS "'\lt\1
ttll tdht:J mg to rbc ~Ill
'\lin HI HU ~ Cll H:~. ~hcpltcf'\f"..; pi.Jid 1 hl:
flliiJl\.l;)tt(')fl Ur(}IJ \•dttdl dtL (.'llltr( S rJ\: 'i ,1,1( S\ 11f"£14J
norJt·, Ptsmu chcd~ n.: t
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
1 he· ol"tgtn ,t rh, i\J t rn
\\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)
, ..........

~Ill
r1 A D 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
l ollu• do~t.:d 10 .tppc.mmcwr dat: -...lmu(Jcr bbdc~ 10 tit\: b:h k nf the
lt~·d :md llohnuldcn cammg 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: 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
1 L" 11 ,\I·, -~~ • r 11,\ 1; I< w r r: R; A :.1 i I { I ugh c 10" 11 cd
hut with ll rolled l·dgL' brim mndl' £1flu:-.ltOU!> o.:ilk
plush: US'Cd (Of\\ hit£' tic fi,nnaf \\'l'olt: I~CplllL'd h 1 h.tW
or lgimucd m Chinn .1 round r/-5. \\ hL·n n Cn nmnc)C
horfl·r produced .t ~ilk wpper t"t>t' a ~lonsi'"·ur ll!!un
tlw ~t}'lt' with him b.te'k t•J I r..:tlh'C
'"lw cani~'-1
tNGLT lllt[I\S'J"J n ThL· hmn .tppl•~d to .llilckct
w:uMco.n. or outcrcoat w1th .t.singl{' :;ct of button~
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
'ihtrclt •d o( om~ ducJ...ucss J1 Jllll) bt~ ~~~tent.'!f \\lth C"Ufi
l111b, or hun.tms
.•
ll I ( ( fl ~1 ) J I t '-II' t d t~·n ,.,. I
h d u .. umkrt o

H { H ~~ \ rnl! C ' oft utislmy: lc.lth~: r!, lv l':'tn~ u tth da ar uro; sull tmlfl'd' ..._u,dJ thn.mgf
1 g d .. 1 , 1 i" ~ f fh l..rn t gt\~ n :1 ~hurt ptlt• dt sr nng> dn-! t.n~t d .. tl~ w I \k III i'J.~Iuon. '' lu h
Jl ~ltli1 \ b .. i I ke "UCJL·
\\ t,; pmmpd)_ r.;.lbi the 'ltl Ill kid. I ha• "'tho 1! 1\o
\ I[ \J I
' t ~t m :.fun Itt 1f IX'r t r Jturt thr d n ~fthl ~utttl shoncr fr mr bJI m , .m 11. n ro.:r
I lpJ IH.Hl&\1' L •h.lr r 1\ red l ,J.I\ 1!1 .1 '\ lkll
b:~d..: lmgrh. The oppn..-rth ul .m ~r c:; pn m
f .trr .u .1 gn: n h ,Ju: n ~ .t .ttreM:nt n rhc
~ru r. t\ dl ,u.uing b~ .. n \ v h tf ;JO,
~ n \lt.H:I rc11NT L\Jll ~~oR. tr pagr J .!6 md 1 ~''
' -\ r \n .l 1ktc; ~' ~ L. nn~1n b 'X doth Um n "". m l~t: r
~I l P \ f:"L.,.Lt'rH.•t' \\•th J p.tn or bun~•n bad;, t l1' tht>
t Till ~p r-. cxtund .bl')\'t." rht llnU~.: ;lli: f:'i \.lng_tn..Hed
n l1r t~ a ~u.. r \ JJ r t: •' •at \\ JUtt ut tt~
l N'HO f St'{ '\OL-\.RI
n tlK: ~.:~tt~mn .:uunn l.t•rd "'E ~u .. ~r ,tnod '"'h St:cr•rRH"' \\ HliT. 1\n ahcniu 'n b\ addmg more sii.JfX'
th t Tt. d C.Jugh• h ~ t.Ul.thglu Ilh· ~mcd .tt the WJI"tltne of n gannr:nt
\' d '~ .tnJ spc'"n"cr Mu:J the· ft. ult1ng '-!\I,•
\ r i..t \\ n b.~.,"'.., the 11 - lh • bum lrt!~Z :f
'-t IlL;[()~~ ~,-·u r. \ L.maJuH ~,..pr~'""' n i\11 J.lt:kc
~uft .. Y.tth M••rking bLttr mhotcs
1 r H l \ I .. 'itllln ,nuJI tll 1\l'l J .t•tt m!i
:J ft r • •..{. 1r I r ~ l" ~: rigut.alf ~ ,J .:n ru thl"
\ t I;.J L'\1 01: R.' .Srt p:tb'lt! .:.22
r J ' l:i l rn.. r lU rhc. f.t ,£ l nJ ,f 1 ond.Jn \\ hen•
'" -\.tLlnn·NII t:O!\ r rite old F.l.shh:mfXI nun~ t(. r a
tfu lfu tMl t \h " ~p IJ~.:J ftt•rn rl,1f1U' ctd\·d
T\11 f.IHT
.it m 1-J:- w •-- 1 tfu ltt·n m lit! f I '"" ,.. " ,,Jk
p u mg u:n .... (~.. ~~ 1'>2)
\ t -pc of mrc-rcrr.u h uddn Jc: ''!.ty'
u• t tlu: fr:nm lntt l~trnung a rngbn
I U f El ~ h 1~ 1 pl.un .1nd ch1~ll1~ \HW~ u m• ltllh
r r t lt:.mc· ... xh udm~ .-u 111 .tfl}~k from
i.1bra .. \\ ARI' .md r 11 r P•.(, an 1lm(1 J 1f thL '~:.:tnt
rl t um!t tl!ll
cmuu faffi: m '" fr,,m du.• l'crst.m ''ord tufi.Jr nu o~niu!!
\ hu1 11 pn , ! u lltll .1pphrd r 1
~\\!'-ted ~ \\u\ c·u.
i \ 1 d- hlf [h u !1. t llp It J.ll
t 1 f bru: rh .1 \\; t11.p
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