SUITS, SPORTS JACKETS, ODD TROUSERS, AND TOPCOATS

Previous Vests The vest as we know it today originated with the postboy waistcoat of nineteenth-century England. It was worn for warmth by the postboy, or postillion, who rode as guide on the horse attached closest to the coach. Up until World War II, men always wore vests in the wintertime with their single-breasted suits. In recent years the vagaries of fashion have brought this custom in and out of favor. “Fashion” should not be your guide. If you have an opportunity to purchase a vest with you suit, do so. There are numerous advantages to owning a vest, not the least of which is the increased versatility of a three-piece suit. A suit worn with a vest always gives a slightly dressier look. Vests should fit cleanly around the body, covering the waistband of the trousers and peeking just above the waist button (or middle button) of the suit jacket. Good vests are often cut so that one doesn't button the bottom button, a tradition that began when a member of English royalty appeared at a public function with his bottom button mistakenly undone. This faux pas was picked up by the middle class and has remained with us ever since, producing a casual, somewhat more open look. Of course, there's no sense wearing a vest if it's not worn correctly. When the jacket is buttoned at the waist, one should be able to see just a small part of the vest above it. Any higher than this and the effect becomes strained, concealing too much of the tie as well. Also, the neckline of the vest should not cover the collar points of the dress shirt but should instead clip them slightly. In addition, the entire elegance of a three- piece suit is destroyed if the trousers are worn on the hips, below the inverted V at the bottom of the vest. This allows the shirt or belt to interrupt the smooth transition line from vest to trousers. A well-made vest has a definite waistline, which is where the waistline of the trousers should hit. The front of the proper vest is normally made from the same fabric as the suit, while the back uses the same fabric as the sleeve lining of the suit jacket. Vests are adjustable in the rear and traditionally have four slightly slanted welt pockets - two just below the waist and two breast pockets. The breast pockets are deep enough to hold a pair of glasses or a pen, while the shallow lower pockets afford one the option of sporting a pocket watch. Trousers In the last twenty years, the popularity of jeans and European-style pants has unfortunately accustomed most young men to wearing trousers that are too tight and rest on their hips. Trousers were originally made to be worn with suspenders, which held them on the waist, not the hips, and that is where they look and hang best. No well-dressed man would wear trousers that rested anywhere else. This is not an arbitrary gesture. Every man, no matter how thin, has a slight bulge in his stomach area. When trousers are worn on the waist, they pass smoothly over this bulge in an even drape. Furthermore, waist-worn trousers emphasize the smallness of the waist. They sit there comfortable, supported by the hips. Trousers worn on the hip, however, must be belted tightly, for there is nothing to hold them up. In consort with a vested suit, trousers resting on the hip can only detract from the overall appearance, particularly when there is a gap between vest and trouser top. There is nothing more unsightly - and nothing that draws more attention to the waist - than to have a visible bunching of the shirt or the belt sticking out from between the vest and trousers. The solation is to reaccustom yourself to the way men used to wear trousers. It made sense then and it still does today. The line of the trousers should follow the natural contours of the body, tapering slowly from hip to ankle. With a waist of 30 to 34 inches, the trousers should have legs with circumferences of 21 to 22 inches at the knees and 18 to 19 1/2 inches at the bottom. Such a description obviously eliminates all types of bell-, flair-, and straight-bottom trousers. These styles, which run counter to the natural lines of the body, call attention to themselves, often cutting the wearer off at the knees. This is especially damaging to someone of small stature, who ends up looking even shorter. Traditionally, the width of the bottom of a man's trousers was cut to balance the size of his shoe. This means that the width should generally correspond to three-quarters of the length of a man's shoe. The relationship between shoe and trouser bottom is also a convincing argument against having a trouser line that is anything but a slight natural taper. When having trousers fitted on the waist, the crotch of the trousers should fit as high as is comfortable. This is especially important for giving a clean fit without sacrificing freedom of movement. The trousers should be worn wide enough across the hips so that there is no pulling across the front pockets. From the side view, the pockets should lie flat on the hips. Trousers to be worn with suspenders should be one-half inch fuller in the waist and must also be a little longer. Trousers have always been cut in two styles: plain front and pleated front. Traditionally, pleated-front trousers have been the choice of the well-dressed man. Again, there is a functional basis underlying the use of pleats. It was a device created to combine comfort and function. When one sits, the hips naturally widen. The pleat enables the trousers to respond. Additionally, the pleats help to break up the width of the front of the trousers and allow a graceful draping of the cloth, which is particularly evident when a man is walking. In fitting pleated trousers, the key is to have enough fullness in the thigh that the pleat does not pull open when one is standing. If one is not prepared to wear trousers with a wider thigh, one is better advised to stick to the plain-front style. When Abe Lincoln was asked how long a man's legs should be, he replied glibly, “Long enough to reach the ground.” Such advice, somewhat modified, might be used to answer the question regarding the proper length of a man's trousers. Trousers should be long enough so that when you walk, your hose does not show. Cuffed trousers are hemmed on a straight line and should be long enough to break slightly over the instep. Cuffless trousers are hemmed on a slant so that the back falls slightly lower (just at the point where the heel and sole meet). The use of cuffs is optional, although they do give more weight and pull, thereby emphasizing the line of the trousers. Like any other detail of the suit, cuffs should never be so exaggerated that they call attention to themselves. For this reason, the cuff should be 1 5/8 inches if the man is five feet ten inches or less and 1 3/4 inches if he is taller. The Double-Breasted Suit A major style of dress prior to World War II, was the double-breasted jacket. Indeed, in the 1930s, 50 percent of all dinner jackets purchased were double-breasted. In fact, it was the Duke of Kent, the Duke of Windsor’s brother, who was the first to appear wearing a double-breasted jacket with the bottom button buttoned and with a long, rolled lapel. It wasn’t long before other style setters, including Fred Astaire, Douglas Fairbanks, Jr., and others, followed suit. As a result, this became the dominant style of dress right up until World War II, when ready-made fashions took over the marketplace and, because they were less expensive and easier to produce, single-breasted jackets became far more prevalent. Although the choice between a single- and double-breasted jacket is simply a matter of personal taste, there is no well- dressed man who doesn’t have several double-breasted jackets in his wardrobe. This coat is undeniably dressier and, as in the case of pleated trousers, gives a slightly more sophisticated look to the wearer. If one elects to wear a double-breasted jacket, one must keep the jacket buttoned, though there is a choice between buttoning the bottom button or the middle button (but never both). Buttoning only the bottom button gives the wearer a longer line and especially favors the shorter man. Contrary to popular misconceptions, almost anyone except someone exceptionally broad in the hips can wear a double-breasted jacket and look well if the jacket is cut properly. In the 1930s, some of the most elegantly attired Brazilian diplomats, none of whom were taller than five feet six inches, wore double-breasted clothing and it did nothing to mar their appearance. In fact, one of the advantages of double-breasted clothing, especially for the shorter man, is that the uninterrupted line of the lapel, when buttoned on the lower button, can make a man look somewhat taller, as it cuts diagonally across the body. On the other hand, buttoning the middle or waist button can break up the length of a tall man, thereby balancing him somewhat better. With the exception of shawl-collared evening jackets, double-breasted jackets should always have peaked lapels. The notched lapels of recent vogue are an abomination and a boon only to manufacturers who produce them less expensively. Traditionally, each lapel took a buttonhole. (In Europe they have dropped the right buttonhole). Historically, the wearer took advantage of this arrangement to close up his jacket. Today, they are merely an aesthetic necessity, since without them the jacket appears unbalanced. For much the same reason, the double-breasted jacket should be double-vented, though a non- vented jacket is also proper. Sports Jackets In the first decade of this century, the sports jacket began life simply as the jacket of a dark blue serge suit worn with white flannel trousers and by certain “swells” at fashionable summer resorts. I wasn’t until 1918, however, that the first American sports jacket, based on the Norfolk suit of Harris or Donegal tweed, gained widespread popularity among the wealthy, who could afford a special jacket especially for sport. By 1923, nearly all the best-dressed men at fashionable resorts, such as Palm Beach, had taken to wearing sports jackets, which were no longer simply suit jackets thrown together with odd trousers. The following year, the blazer jacket was all the rage. This sports jacket was based upon that worn aboard a British sailing vessel of the 1860s, H.M.S. Blazer. It seems that the captain of that vessel was disturbed by the way his crew dressed and comported themselves, and so he ordered them to wear dark blue serge jackets on which were sewn the Royal Navy buttons. Thus, they were uniformly dressed, so that their appearance - and one would assume their behavior as well - was markedly improved. As the years passed and men dressed more informally, the popularity of the sports jacket grew enormously to the extent that today it is a staple of every man’s wardrobe. The fit and styling of a well-cut sports jacket closely follows that of the classic suit jacket. Where the two might differ is in their materials and perhaps in some of the specific detailing. Sports jackets have more visible details, such as swelled or lapped edges on the lapels, patch pockets, leather buttons, or a yoke or belt in the back. These variations are as much a reflection of the independent origins of the two kinds of jackets as it is of their present differing roles. In fitting a sports jacket, most of the same rules used in selecting a suit apply. However, a sports jacket ought to fit somewhat more loosely in order to accommodate a wool sweater or odd vest. Today, sports jackets are ubiquitous and worn in a wide variety of situations, though not always appropriately. Do not forget that the sports jacket, because of its origins and tradition, conveys a casual image. While it may seem to be the perfect attire for a weekend or social get-together, it never looks serious enough in a business environment. If in doubt about the formality of a particular occasion, the safer choice is always a suit, since one cannot be faulted for being overdressed, although the reverse is not always true. Topcoats and Overcoats Generally speaking, a topcoat is somewhat lighter than an overcoat, but today the line between the two has become blurred, so that the terms are often used interchangeably. At the turn of the century, due to the oversized suits, overcoats were quite long, ranging anywhere from 42 to 52 inches and extending well below the knee. As time passed, though, overcoats became trimmer and less bulky, with popular styles ranging from the Chesterfield, named for the nineteenth-century Earl of Chesterfield, to the Ulster, which was originally worn in Ireland. The basic principles of silhouette and fit that guide one in choosing a classic suit should also be followed when selecting a topcoat. As with the suit jacket, the shape of the collar around the neck is the key area of fit. The collar should lie flat and curve smoothly around the neck, not ride up. When you try on a topcoat, make sure you are wearing a jacket underneath. There should always be enough room for a jacket or sweater (with no feeling that you are being bound), since in most cases that is what you will be wearing underneath. Sleeves should be fitted slightly longer than the jacket sleeve, one-half inch below the wrist. No shirt linen or jacket sleeve should be visible. Where most men err in fitting their topcoats is in the length. The bottom of the coat should fall just below the knees, or if you prefer a longer topcoat, then six or eight inches below the knees. This length is crucial. When topcoats are above the knee, a man looks bulky and stunted. Because the upper part of the body is massive compared with the rest, and because this massiveness is accentuated even further by the wearing of a jacket covered by a topcoat, the length of the coat is needed to rebalance the body’s proportions. On a purely pragmatic level, long coats offer greater warmth and protection. Why expose the knees and legs to the ice and cold when they can be comfortably enveloped in wool? On the other hand, one’s topcoat should never be so long that it functions as a street cleaner or touches the ground as one climbs steps. In the same practical vein, one must wonder about manufacturers who produce topcoats with high rear vents. Not only does one look ridiculous when the wind blows open the long flaps, exposing the seat of one’s pants, but it can be awfully cold and uncomfortable. Rear vents should never extend above the bottom curvature of the buttocks. There is a plethora of overcoats manufactured today in a wide variety of styles, but only a few can be considered “classic.” These few are certain to retain their stylishness in the future. For daytime wear, this might mean a single-breasted Chesterfield in navy blue or charcoal gray with or without a velvet collar; a single- or double-breasted navy or gray herringbone overcoat; an English fly-front tan covert coat, again, with or without a matching velvet collar; a fawn-colored double-breasted British warmer; or a camel’s hair “polo” coat, double-breasted, with a belt in the back. In the evening, consider a Chesterield overcoat of black wool with a black velvet ollar, or a dark tweed with a fur collar. As I enumerated above, many of these fine coats come in both single- and double-breasted styles. One ought to remember that double-breasted coats tend to be warmer because of the second layer of material that crosses the front of the coat. There are also some handsome coats with raglan-shouldered sleeves. However, unless the raglan shoulders are cut wide enough, the suit jacket will produce a bulge underneath, impairing a smooth drape. THE DISTINGUISHING QUALITIES OF A WELL - MADE SUIT Often what distinguishes a fine, well-made suit from all others is simply a matter of the details. In most cases, the presence or absence of these details is a good indicator of the quality or the level of style of the suit in question. Generally speaking, the more handwork that goes into a suit, the more expensive it will be. For instance, most of the less expensive suits today (those costing under $300) have canvas fused or glued to the front of the jacket in order to stabilize the shape and cloth. In the finer suits, however, the canvas is stitched by hand, so that the cloth tends to shape itself to the body. (The one exception to this is with cotton suits, for which, because they wrinkle, fused fronts may be preferable.) In most cases, the softer the feel of the suit, the better it is. One might try putting one’s hand on the chest and squeezing the cloth. If it is soft to the touch, chances are it’s not only a fine fabric but of quality manufacture. Perhaps the easiest way to experience the feeling of wearing a hand-made suit is to try on one manufactured by the Chicago clothing firm of Oxford. While the design is for the older man, it is the finest quality ready-made suit manufactured today. Handwork As stated above, the more pieces of a suit that are sewn together by hand, the better the quality and, naturally, the higher the price will be. Industrial technology today allows clothing companies to make a suit almost entirely by machine, but a fine-quality manufacturer will still insist on having some parts made by hand. Two areas are particularly significant, and one should check them before choosing a suit. First, look under the collar. A fine-quality jacket will have the collar attached to the jacket by hand. The other important detail involves the setting of the sleeves to the jacket body. If they have been felled by hand, one can count on good fit and proper shape. This is the area that receives the most wear and pressure, so a strong binding is also extremely important. The best suits use fine-quality silk thread. Hand stitching on the edge of the lapel is another detail one might look for. This stitching has no utilitarian value, but it is a nice finishing touch to a lapel and is evidence of a concern for quality on the part of the manufacturer. Lining A lovely trapping of fine tailoring is handsome lining. Traditionally, the body lining was color-coordinated with the suit fabric (this is still occasionally available) while striped linings were used in the sleeves. But the color is less important than the quality of the fabric. Make certain it is soft and neatly sewn into the coat. Curiously, it is actually more expensive to make a suit without a lining than one with a lining. In an unlined jacket, all the inside seams must be perfectly finished. Yet when manufacturers made and tried to market unlined jackets in an effort to make clothing softer and cooler, American men refused to buy them. They believed that these “unconstructed” jackets must be of lesser quality, or else they simply preferred the ease of sliding into their clothing. However, a lining does provide a jacket with increased durability as well as helping to maintain its line. Buttonholes The buttonholes are another indicator of a suit’s quality. Another holdover from the past is the fact that all fine-quality suits have handmade buttonholes. You can tell a handmade buttonhole by looking to see whether it is smooth on the outside and rough on the inside; a handmade one will be just that, but a machine-made one will be smoother and more perfect-looking on both sides. Traditionally, buttons have been sewn on so that they are cross-stitched. The buttonholes should be well- finished, with no threads hanging. If a manufacturer would release a suit with one of its most visible aspects in disrepair, think how little care must have been given to those parts of the suit that don’t show. Real buttonholes on the sleeve - ones that actually function - have long been a symbol of custom tailoring. Mass manufacturers could not employ this detail because stores needed the capability to alter the sleeve length to fit different-size arms. The only way to alter a sleeve that has an open buttonhole is to remove the sleeve from the shoulder and then make the adjustment - a prohibitively expensive alteration. Originally, these open buttonholes might have served some real function, such as allowing a man to turn back the sleeves while working or, in the past, for using with detachable-cuff shirts. Today, however, they are simply a symbol. Whether they are serving a function or not, buttons should be on the sleeves of jackets; four each on suit jackets and overcoats; two or four on sports jackets. The four buttons on a suit should be set closely together, with their edges “kissing,” and the edge of the bottom button should be no more than three- quarters of an inch from the bottom of the sleeve. The one working buttonhole worth having is on the lapel. After all, it is the most visible of all the buttonholes. Besides, a working buttonhole allows the wearer to sport a flower in the lapel, which from time to time can be a wonderful aid to a stylish look and on those occasions when one must wear a flower, there is nothing considered more outre_ than the stem being pinned to the lapel. For this reason alone, no fine suit lacks a functioning buttonhole. Materials There is only one immutable principle governing the selection of fine suit material: the cloth must be made from natural fibers. This means some type of fine worsted or woolen in the cooler periods of the year - worsted, flannel, gabardine, and so on - and in the summer, if not a tropical wool, then linen, cotton, or silk. There is absolutely no way a man can ever be considered well-dressed wearing a blended suit with more synthetic fibers than natural ones. These fabrics stand away from the body, stiffly retaining their own shape, rather than settling on the individual wearer. No matter how hard one tries, one’s suit will somehow always look artificial. In addition to look and feel, there will be less maintenance required for a natural fiber suit. A fine wool suite rarely has to be dry cleaned. Because air can pass through it, the wool can “breathe” and damp odor from perspiration will readily evaporate. Wool yarn can also return to its original shape. If the trousers are hung from the cuff and the jacket hung on a properly curved hanger after a day’s wear, the suit will return to its original uncreased form by the following day. Perhaps the most important compensation of wearing natural- fiber suite is the comfort one can enjoy having a fabric next to the skin that somewhat simulates its properties. Natural materials have a soft, luxurious feeling. They act like a second skin, letting out perspiration and body heat when necessary and holding in warmth when it’s cold outside. Synthetic fabrics, on the other hand, are forms of plastic. They have no ability to “breathe.” In summer, these suits are hot, holding in the warmth of the body; in winter, they offer no protection from the cold. One can choose a suit with 3 to 5 percent nylon reinforcement, but any larger amount of synthetic fiber will being to undermine the natural material’s beneficial properties. Contents