Author Archives: Peter Zottolo

About Peter Zottolo

Peter works in construction, but has an extensive collection of custom suits which he gets so that he can wear suits on the weekend. Even though he lives in San Francisco, he has never used the word "impact" as a verb. He writes about classic menswear and is one fedora away from being a complete dork.

How to Pair Fabric Textures: Choosing a Suit Fabric, Pt. 2

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Wool plain weave or twill suit, cotton oxford or broadcloth shirt, silk tie.

That’s the current, standard armor of menswear that man begins with, is married in, and is eventually buried in – it’s a relatively easy recipe to remember, and it works very well.  Make sure everything fits, choose colors that go well together, and you’re done.  Easy peasy. Last time, we talked about the basics of how to choose a suit fabric, but there are other options – and you’ll have to consider how to pair fabric textures.

Besides twill, there’s mohair sharkskin for Mods, slick gabardine for Rockers, and cavalry twill for hunters.  There’s fresco for the heat, flannel for the cold, and tweed for a pint in the pub. And that’s just the plain stuff – patterns abound, suitable for whatever environment you find yourself in.  Try birdseye for the boardroom, chalkstripes for less formal offices, and windowpanes, glen checks, and gunclubs for the casual or adventurous.  Some men see a soft cashmere tie and cannot resist its fuzzy allure.  Others succumb to the easy-going appeal of a rumply linen suit.  All well and good, but understand that arbitrarily changing one ingredient in the recipe can lead to an unsavory sight.  The heft, feel, and texture of fabric thus come into play when choosing one for a suit.

The importance of texture in clothing is often overlooked and under-appreciated.  Those ignorant of it can make an otherwise winning ensemble fail, whereas those who understand how textures play together can upgrade even mediocre outfits with depth and interest.

First, it should be noted that the most basic iteration of menswear – dark wool suit in a plain weave, light broadcloth cotton shirt, silk twill or grenadine tie – is in and of itself a wonderful mixture of textures.  As the main component, a suit in a modest wool is discreet, elegant, and light-absorbing.  The cotton shirt adds another layer of texture, tightly woven and offering a hint of sheen.  Finally, the silk fabric of a fine tie gives off a soft luster that delicately reflects light.   Let’s go over some basic combinations below:

These three elements – again, wool suit, cotton shirt, silk tie – when worn in classic woven fabrics such as the examples above, are your bread and butter.  But…

What if you toast your bread, and melt your butter?  You have now introduced two new textures that are miles beyond their original state: the once spongy bread is now crispy and crunchy on the outside, soft and chewy on the inside; and the formerly waxy pat of butter now oozes like smooth, liquid velvet through its crevices.  

Here’s a couple of simple tables that can help pull together your outfit so that your fixins fit in:

choosing a suit fabric styleforum alternative suit fabrics suit fabric pairings how to pair fabric textures 

Deviating from the tried-and-true triad of menswear can seem a bit complicated, but hopefully the above charts will assist in making it less so.  Bear in mind they are neither exhaustive nor unyielding, but meant to be used as a guide to assist in making sure your ensemble “ingredients” form a pleasant picture.  

At the top of each chart, there is the wool suit in a plain weave, silk twill or grenadine tie, and broadcloth shirt, which you already are familiar with.  As you go down the chart, the fabrics get more casual. Here are some examples of how to pair fabric textures:

Warm Weather

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And here are some good examples of how to pair fabric textures for cool weather

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A few items are always seasonally correct and good for most outfits:

Silk ties; twill, or – slightly more casual – knit

Silk pocket squares

White pocket squares in cotton or linen

Other factors, such as patterns, also play a role in the formality of menswear.  That’s already been discussed in another article, but hopefully these charts and pictures will help when putting together items based on texture.  When all ingredients come together as a whole, the end result – simple or intricate, urbane or nonchalant – will be a palatable portrait of classic menswear in coat and tie.

2016 Classic Menswear in Review

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Wow.  You all posted so many pictures in 2016.  Like, thousands.  Most of you, waaaay more than me.  As @Roycru stated: “Thanks awfully to all those who post pictures of themselves and who don’t get discouraged by the occasional bizarre comments.” Indeed, it takes persistence, a desire to improve, and perhaps a touch of narcissism self-awareness to continue to post, so kudos to all those who did.

So what exactly happened last year?  In short, the return to the Golden Age of Menswear, along with the looks and proportions that it espoused.  The three-piece is enjoying increased popularity, more turtlenecks are being worn with sportcoats, but I was particularly pleased to see something I haven’t seen for a long time: the double breasted suit.

In November and December alone, forum members wore so many double breasted suits that I lost count.  Probably close to a third of the pictures.  Granted, cooler temperatures do lend themselves to wrapping oneself in more fabric.  Still, it’s pretty noteworthy, in no small part due to the perception of the double breasted suit during the past quarter century.

It’s not that the style itself was ever un-stylish.  Like it’s single breasted brother, the whims of fashion have either swept it into the background or catapulted it into the zeitgeist.  I remember them as a boy, on Simon LeBon on MTV videos, and thinking, Man, that looks so unlike anything I’ve seen, and he is so cool, I want to look like that.  Because none of the grownups around me in 1982 had anything like that.  Which makes sense:  American Gigolo (1980) is often credited with reintroducing the style, but TV shows such as Miami Vice (1984-90) really gave the double breasted suit its first big US renaissance.  It all started off well; designers such as Ralph Lauren and Alan Flusser modeled their interpretations from the style’s last heyday of the 30’s and 40’s and gave its wearer a powerful, commanding silhouette with a unapologetic Anglo/American pedigree.  No wonder, then, the money-movers of Wall Street both gravitated towards and projected out that image, giving time-honored credibility to a slick ‘do and sly smile.  At the same time, Italian designers Giorgio Armani and Versace interpreted the double breasted suit with softer and lighter fabrics, little or no lining, and a looser fit.  This gave an otherwise business-y look softer contours and a relaxed air.  By the time Wall Street was released in 1988, department stores were selling completely through their stock of double breasted suits, until finally the New York Times proclaimed them cool again.  Which, of course, heralded its slide out of popularity.

Less than one year later the same newspaper ran an article on the three-button single breasted sack suit, quoting Harold Koda warning, “if (the style) takes, it will make existing styles look unstylish. Once fashion goes baggy, it’s hard to stay sleek without looking uptight.’’  Indeed, once that trend caught on in the early 90s, double breasted suits fell to the wayside (with the notable exception of David Letterman), and they were a forgotten anecdote of fashion history.  And while menswear magazine giant GQ has occasionally showcased double breasted suits with exemplary proportions, the anaemic lapels that have stubbornly clung to those breasts just made the suits look, well, infantile.  I like how old-school GQ Style Guy Glenn O’Brian put it, way back in 2000: 

“The thing with double-breasted, I believe, is that it’s for men, not boys. And fashion today is a bit on the boyish tip.”

Modern menswear is about to grow up, and that means the return of the double breasted suit.  I’m sure you’ll be seeing it more on the forums.  The Old Guard may pride itself on shirking trends, but let’s not lie: even if only slightly, most of us tow the line of fashion, even if we boast of its irrelevance on our personal wardrobe.  Even those who doggedly adhere to established rules of coat and tie still incorporate modern changes to avoid looking dated.  Of course, fashion cycles in and out, but I feel like the last 20 years of menswear articles throwing around the words “classic” and “timeless” were misguided at best, if not outright disingenuously aimed at fooling gullible men who didn’t know any better.  Seriously, you can get no more classic than old Hollywood, and it looks like it’s ready for a comeback. 

Godspeed, that.

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Who Wore it Best? Styleforum Goes Formal

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Winter is terrible for many reasons, not the least of which is the long, long night.  There’s just something so – depressing – about leaving home for work in the dark only to come home from work in the dark.  There are ways, of course, to prevent full-on Seasonal Affective Disorder.  The more common escape is Netflix and chill, which ends up being Netflix and Ben and Jerry’s.  Or you can break out the formalwear and head out for a night out on the town, which is what many of StyleForum’s users did this past month.  How’d they do?  Let’s see.

Styleforum goes formal

@Lensmaster

Lensmaster dusted off his white tie for what looks like a festive evening.  Dive a little more into the WAYWRN thread and you’ll see his headgear for the evening (hint: it’s not a top hat).

Styleforum goes formal

@SprezzaTrash

SprezzaTrash wore what looks like a vintage double breasted tuxedo, and while there’s nothing wrong with his accessories, I wish his placket was ironed a bit more and the handkerchief a touch more stuffed in.  Otherwise, a good fit all around.

@SmittyCL

Smittycl pairs his single breasted peak lapeled dinner jacket with a pleated shirt.  This is a perfectly acceptable option, rarely seen nowadays, possibly because of the reminiscence it conjures of the groovy Seventies, when they (and most everything else) was taken to the extreme.  As an example, I’ll give you Sonny Bono.  Apologies.  But at least his collar hugs his neck.  Yes, burn.

Styleforum goes formal

@Acridsheep

Old e-pal Acridsheep is a hot mess, yet looks great in that sweaty tux.  To his credit, he just performed The Humpty Dance from Bay Area locals Digital Underground (also on WAYWRN), and look at him.  He’s the king of the evening.  Well done.

Styleforum goes formal

@Cleav

Cleav keeps it simple in a double breasted dinner suit with a perfectly pressed shirt, black onyx studs and cuff links, and what may quite possibly be the cutest pocket square the forum has ever seen.

Andy57 looks like a million bucks in this fantastic bespoke velvet dinner jacket from Steed.  I’ve always thought that velvet shawl collared dinner jackets are the rogue, debonair cousins of the tuxedo jacket.  Like other black tie fabrics, such as barathea or mohair/worsted wool blends, the shine of velvet looks best at night, but the shawl collar and softness of the stoffa adds a dash of swanky guile that your regular black tie rig won’t have.  

Formalwear really hasn’t changed all that much in the past 80 years or so, which in today’s world of fashion that revolves faster than Lady Gaga can change outfits is wonderfully constant.  Even so, because it’s seen so rarely, it’s never staid or clichéd.  For that reason, one can browse eBay and stumble upon amazing finds that, with few alterations, can look just as fresh today as they did when they saw their first gala.  Which brings us to what I wore for an evening of ballet at the San Francisco War Memorial:

Styleforum goes formal

I was fortunate enough to find this deadstock double-breasted tuxedo from 1949 that required no alterations whatsoever.  I especially like how the peaks point up at an angle; many from that era had more horizontal, “Tautz” -y lapels, which while not necessarily wrong, can look a bit dated.  Keep your eyes peeled throughout the year and you may find black tie and even full dress white tie outfits, and since they were probably rarely worn, they are often in near-perfect condition.

Technically, the days are starting to get longer, but I do like the opportunities that long nights provide for well-dressed merrymaking.  If nothing else, it’ll force you to host a party of your own to fill up those long, empty evenings.  Because if your only memories of this winter come from binging on Netflix, then brother, ya gotta get out and live.

How to Choose a Pocket Square

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Are you a pro-pocket square person? Perhaps you’ve heard that they are the cheapest way to “upgrade” your wardrobe, but you’re hesitant. You feel safe in your white shirt, navy suit, and black shoes, and while you’ve seen them on other guys, and even liked one or two, you could never see yourself wearing one. Maybe it’s because you don’t want to call attention to yourself. You’re wary of getting into uncertain territory, and after all, a pocket square serves no real practical purpose.

On the other hand, you may have completely lost your mind and gone square crazy, spending as much on them as you would for a well-made suit. You’ve bought untold folds of squares in every color of the rainbow. You even have a division of solids, designs and patterns, cottons and linens, woolen and silk. And why not? Most are dirt cheap, even if you splurge on one, you won’t be dropping much more than a Benjamin.

Let’s assume for a moment that you are a balanced individual that enjoys classic menswear and wishes to appear like someone who cares, but not fastidiously so. You’ve seen pictures of old Hollywood stars or various gentlemen throughout the past 100 years and admired how some of them can pull off the pochette. You’ve considered getting one; you may even have a few. How do you wear it without looking like you’ve consulted an article – like this one?
Many how-to’s have been written; often peppered with precision diagrams, architectural blueprints, and earnest cries to wear a pocket square in order to defend the dapper man’s heritage. This is not one of those articles. In fact, it should be said that it is better to wear no pocket square at all than to wear an ill-chosen one, and let’s face it: most pocket squares are hideous. Rather, we’ll showcase some of how some of Styleforum’s own members wear them, and learn from their example.

Our first member to showcase is @Pliny. I’ve always liked how his outfits combine differing scales of pattern, even though I maintain he takes horrible pictures of his successes. Let’s look at a few examples.

When wearing a small-scale gunclub jacket, a pocket square with a large design keeps things from looking too busy. Notice how the mostly cream color of the two complement the jacket, shirt, and tie in both ensembles. These are perfect examples of how well these types of pocket squares work with practically any combination of coat and tie, including, as Pliny demonstrates above, a solid grey suit.

 

Next up we have @TTO, of whom I wish the forum saw more. His creative nod to vintage style may not be to everyone’s taste, but it is always refreshing.

One of the regular pitfalls of the pocket square is wearing one that doesn’t contrast enough with the jacket you’ve chosen. TTO wisely opts for bold white stripes to set his square apart and still echo the light shade of his blue shirt.

Finally, we have Mr. Six, who always has a small sliver of good taste stuffed into his breast pocket. Although not always in solid suits, these two pictures showcase how even in a conservative environment one can enjoy pocket squares without resorting to absurd designs or obnoxious colors.

 

 

In both pictures, Mr.Six has chosen a square that contrasts with his jacket, either lighter or darker. Far from standing out, the luminance of the pocket square in the first photo harmonizes well with the shirt, and the dark colors of the pocket square in the second echo his tie.

Pocket squares, more than most other items in a man’s wardrobe, are difficult to wear well. The ideal pocket square choice neither adds nor takes away from an ensemble, and is instead a harmonious but not attention-grabbing element of the outfit. Far from being detrimental, such choices are in fact a good thing. The components of an outfit should look as though the wearer carelessly threw them together in such a way that nothing matches but everything complements; neither too studied nor too heterogenous. Admittedly, this is more of an art than science, but there are a few guidelines that can help you chose a pocket square that at the very least jives with the rest of your outfit, if not a slam dunk:

  • Silk is always a correct choice, but shun overly shiny squares. You don’t want iridescence to blind onlookers and take their eyes away from your gleaming smile.
  • Solid-colored silk squares are bad, except perhaps in cream. White linen or cotton is far better, and is by far the most versatile pocket square you can own. Really, if a plain white linen or cotton pocket square won’t work, you’re better off with no square at all.
  • Try to contrast the square with the color and brightness of your jacket, as well as with the scale of the patterns in your outfit.
  • Avoid pocket squares with the same pattern as your tie to keep from looking too calculated.
  • Don’t succumb to the interweb’s love of the pocket square explosion. That’s just a stylist’s way of quickly stuffing the fabric into a mannequin’s breast pocket. Keep the puff politely subdued and prevent your points from peacocking.

These above pictures are just a handful of the many good examples of pocket squares you can find on the forum. There’s an entire thread devoted to them, and many users are happy to go into even further depth, including seasonality and fabric choice. The perfect pochette can subtly enliven and enrich your ensemble, but choose unwisely and you may look overly affected and foppish.

Really, at the end of the day, it’s just a useless piece of fabric, and if no one noticed your square, you have claimed a victory.

Mastering Complex Patterns

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“Creativity is more than just being different. Anybody can play weird– that’s easy. What’s hard is to be as simple as Bach. Making the simple complicated is commonplace–making the complicated simple, awesomely simple–that’s creativity.”  – Charles Mingus

In today’s post-slacker world, just wearing coat and tie is enough to turn heads in many environments.  Sadly, in response to the incessant thundering appeal to “stand out,” men are blindly throwing together so many unrelated #menswear trends and patterns under the misguided siren call to “be original” that the resulting stew of glen plaids, gingham checks, candy stripes, and polka dots would make even Andrea Bocelli vomit. 

If that’s what you’re shooting for, more power to you; but do not delude yourself into thinking a random salmagundi of patterns is an expression of your creativity.   Many confuse “individuality” with “creativity”, but there is a difference: the aim of individuality is to be “different” by bucking convention.  The genius of creativity is taking something complex and making it appear simple. 

Charles Mingus released one of his best-known albums, Ah Um, the same year that Miles Davis released Kind of Blue.  Both, now over 50 years old, are premier examples of how complexity can be done well.  Indeed, despite the fact that up to six instruments played a part in each song, note the recurring concept that keeps appearing in critics’ reviews:

“Simplicity – the reason Kind of Blue has remained so successful for so long.” – npr.org

“…one of the many amazing things about Mingus Ah Um is that he took this incredibly challenging jazz, in perhaps its creative heyday, and made it as easy as pop music.” – Bob Lange

“All of the contributions…only served to illuminate Miles’ zen-like approach on this record that relied on simplicity.” – allaboutjazz.com

This concept was by no means new.  Over 100 years earlier, none other than Chopin himself opined: “Simplicity is the final achievement. After one has played a vast quantity of notes and more notes, it is simplicity that emerges as the crowning reward of art.”

Can this concept be applied to #menswear?  Yes, it can, in two ways:  One instrument at a time; or if many, they must harmonize.

One pattern

One pattern is easy – choose one and keep the rest solid. Non si può sbagliare. 

If more than one pattern, the scale of each must harmonize via contrast.  Think of it this way:  The items that are closest to each other should be dissimilar in scale; your ensemble should not look too busy.  If your jacket has a large pattern, the shirt’s pattern should be smaller.  If the shirt’s pattern is small, the tie’s pattern should be large.  If you decide to wear a pocket square, its scale should differ from the jacket.

Two patterns

In the first example, Mark Cho wears a suit with a large pattern, while his tie has a small pattern. Same with the second picture – large windowpane suit, small scale “neat” tie. The third example showcases the reverse: small scale gunclub jacket paired with a tie that has stripes spaced far apart. 

Three Patterns

Three patterns can be done relatively easily: anchor your ensemble with a solid suit, make the shirt and tie in differing scales, and throw in a patterned pocket square. The first two pictures demonstrate this well. 

Once you throw in a patterned jacket things can get tricky, but the following photos demonstrate how it can be done. In the first, Ethan is wearing a gunclub jacket (small repeated scale), a neat tie (in a slightly larger scale with more space in between the print), and a square with a large scale, dissimilar to the jacket. The next picture has Jake in a pinstripe jacket with quite a bit of space, a tie with less space, and a shirt with closely spaced stripes. 

Four Patterns

Not impossible, but the risks of appearing fastidiously studied or a chaotic cacophony should give one pause. Simply changing the scale can have too many lines crossing every which way in a dizzying mess.  To limit this effect, try introducing shapes and prints into your accessories, such as a medallion tie or paisley square.

 

Note that in all cases, the colors are not garish.  If one pattern stands out more than the other, it is not so disparate as to look either out of place or forced. Whether simple or complex, everything should just…flow easily.  Stephen Thomas Erlewine of allmusic.com sums it up by saying:  “Kind of Blue works on many different levels. It can be played as background music, yet it amply rewards close listening. It is advanced music that is extraordinarily enjoyable.”

Standing out is easy; just wear red shoelaces.  Don’t just be different.  Be creative by making the complicated simple.  Make Mingus proud.

Photos courtesy of Alan See, the Armoury Lightbox, Ethan Newton, and No Man Walks Alone

What to Expect from Bespoke

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So you’ve decided to “go bespoke.”  Great!  From now on, everything you commission should be perfect, right?

I decided to ask some of StyleForum’s members to elaborate on their bespoke experiences to give the “n00b” an idea of what to expect during the first (and hopefully continuing) foray into bespoke.  Their combined familiarity helps create a balanced prospective of what one should be looking for during the process.

Granted, it may take some time before finding a tailor that suits your needs.  Forum member @Slewfoot, AKA David Beckwith of Grand Cru Wine Consulting, had tried several tailors before he found his current favorite: Steed.  “A big reason I settled on them was seeing all the amazing photographs of their work online.  Additionally,  many people on StyleForum and London Lounge that I trust use them regularly.”

Once at the tailor’s shop (or at a traveling tailor’s temporary shop space), what do you ask?  Indeed, where do you even start?  David continues: 

“I think it’s a very good idea to take the long term approach to the relationship with your tailor. At the beginning you are really getting to know one another. You’re getting a feel for making sure you all are on the same page aesthetically and philosophically. The first handful of items you get from a tailor you all carefully discuss the specifics of the fit and details, but after a while much of that becomes second nature and you then just do tweaks here and there depending on the specific garment at hand.”

Andy Poupart, known as @Andy57, on StyleForum concurs:

“My first suits came out fine, but that first commission was also a learning experience for me.  What I didn’t know to ask about were the many stylistic and detailed choices that one can make when commissioning a garment. Since then, I have come to know such things as I almost always want a ticket pocket, I want at least two narrow inside breast pockets for my reading glasses, I don’t want belt loops on my trousers, nor do I want rear pockets or a coin pocket in the waistband.”

During the process, the learning curve for both client and tailor can leave certain details to chance.  What happens then?  @Manton recalls one such incident: 

“I once ordered a dinner jacket, as a double breasted shawl collar, and I thought the lapel buttonhole should be angled up, as is typical on a double breasted jacket.   In this instance the tailor angled it down, as on a single breasted jacket. I was sort of miffed at first, but I solved the problem by always wearing a flower in the lapel.”

Small tweaks are to be expected, even after the initial commission.  However, the process does get easier with time.  David explains:

“I used to overthink things too much when I was first getting into it. At first, it’s like re-doing a room in your house – you’re presented with dozens of options for paint and drapes, and  start running around in circles. These days I just let my gut take over and make much faster decisions. One thing I’ve noticed that’s a big help is physically seeing the fabric in person first. Holding it in your hands, you often suddenly get hit with how the finished garment will come out. You inherently know that patch pockets will be great for this fabric or that this suit should be a 3-piece vs a double breasted kind of thing.”

After multiple commissions, @Manton agrees: “As I’ve gained experience with bespoke, I’ve streamlined the process.  I just say, “Just say “Single or double-breasted, two piece or three,” and let them do their thing.”

Take your time to get to know your tailor. Trust them to do what they do best, and trust yourself to make the choices that are best for you. Oh, and try not to overthink it!

How to Jump Into Bespoke

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Today I’m in a salon in San Francisco with my wife.  The stylist asks how she wants her hair, and as she responds, she’s also using her hands almost like paintbrushes, drawing invisible lines here and there to indicate bob and bang length.  Then she points to a picture of a model on a wall.

“Like that.” 

Getting a bespoke suit follows a similar path.  We have an image in our mind and say to ourselves, “I want to look like that.”  Getting to look like that can be tricky.  Where to begin?  The following steps should help you on your way.

Decide what style you want. This cannot be overemphasized.  When you look at a picture of a suit you like, what exactly about it attracts you?  Is it the roping on the sleevehead, clean chest, and precise lines?  Or maybe you’re drawn to the roundness of the shoulders, gentle drape and curves, and soft tailoring.  Perhaps you like them all, but what do you see yourself in?  Nail that down, and proceed to step two.

Find a tailor that makes what you like as the house style.  This can be tough.  Generally speaking, there are three types of tailoring: British, American, and Italian.  The tailoring houses in the respective countries roughly adhere to the local style, but even within there are differences.  There are several threads on Styleforum that focus on various tailoring houses and geographical particularities; peruse them to pinpoint the one that most appeals to you.  These will get you started:

THE ANDERSON & SHEPPARD EXPATRIATES THREAD900x900px-ll-1f6ab035_i-79sdpzv-x2

FRENCH TAILORING THREAD

ANTONIO LIVERANO, FLORENTINE TAILOR

EAST SICILY TAILORS

 

Decide if you are willing to travel.  If so, you can go to any tailor you want, with only time and your budget to hold you back.  If not, you need to limit your choices to traveling tailors.  Here are a couple threads on StyleForum with tailors that travel to the US:

STEED TAILORS

WW CHAN

Plan the logistics of your travel.  Earlier this year I went to Sicily and wanted to try the tailors there.  When planning for the trip, I started to look for hotels and rental car agencies.  Many of these are available online in English, and email communication is also in English.  ProTip for car rental: InterRent is reliable and crazy cheap, often $20 a day or less for a car.  Their offices are sometimes located away from the airport but they do provide shuttle service.  Hotels usually speak English, and depending on your pocketbook, Sicily can provide unforgettable accommodations.

Set900x900px-ll-2505fe4a_tumblr_mltkm24ltx1rf1jvro1_1280 up an appointment. Many Italian tailoring shops don’t speak English, so along with other useful questions such as “Qual’è il miglior vino della casa?” you need to learn simple phrases to set up your appointment.  In this regard, utilize the many online translation sites, or language apps to use on your smartphone.  Or try this:  “Buongiorno, mi chiamo Peter. Voglio venire alla sua sartoria il diciannove ottobre alle 3 di pomeriggio. Va bene per lei?”

Since I speak conversational Italian, I called to let both tailors know the dates and general time of day I would be coming, which I did again about a week before my departure date. Most tailors will not discuss prices over the phone, so while it’s good to have a ballpark figure, be prepared for a somewhat fluid policy.  Allow at least a week for the first visit, first fitting, a possible second fitting, and the finished product.  If staying for less time, most tailors are willing to ship to you at cost. 

But what do you do once you get there?  What can you expect?  What do you ask?  I asked venerable StyleForum members to share their experiences, and next week’s Journal will reveal their responses.

There’s No Such Thing as Dress Jeans

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Let’s get this out of the way right now.  Dress jeans don’t exist. Stop using this term.  They don’t exist in real life, except here, but that’s not the life you want.  Trust me on this one.

About 10 years ago, when the NBA elevated its dress code to eliminate jeans, shouts of resistance erupted everywhere, from the players as well as the public.  Eventually, the NBA capitulated and allowed the term “business casual” (quotations theirs) which included dress jeans.

“I’ve never heard the term (dress jeans) and it’s a little scary to me,” wrote Jim Moore of GQ.  “A jean is a jean.  I think that’s a crazy, nebulous term.”

Back in the late 90s, after the grunge look of my high school years faded away like so many Miller’s Outpost stores, I remember buying my first pair of non-stonewashed jeans from JCrew.

As a San Diego transplant living in New York, I abandoned my shorts, Docs, and thrift store flannels and adopted the New England “khakis with everything” look, along with the iconic roll-neck sweater with un-hemmed edges and raglan sleeves.  It was fresh, clean, presentable.  Things were starting to get dressier.

Shortly thereafter, dark denim debuted on the scene, and ads promoting “dressing up your denim” were plastered all over New York.  Mostly with v-neck sweaters and t-shirts.  Were men ready to start dressing up again? Oh yes, and with enthusiasm that would rival Gettysburg reenactments, with tweed vests to match.

Fast-forward twenty years, and the term “dress jeans” is universal.  But its meaning remains unclear.  What are dress jeans?  Are they simply new, unwashed, and untreated denim?  Do you iron them?  Dry-clean them for colorfast-ness?

“DRESS JEANS” DO NOT EXIST. DENIM IS A RUGGED CLOTH.

Specifically, it’s an abrasion-resistant twill that was designed to be workwear – and that’s still it’s most comfortable use. That said, jeans will never go away, at least not in the near future, and it’s fine to embrace that. Will jeans ever be “dressy?”  No, they won’t.

But you can “dress them up.” There’s a difference. Here’s how.

Key to avoiding the dreaded “trying too hard” look is accepting that jeans are casual; you can only dress them up so much. Therefore, ties with jeans are out. Don’t argue. Would you wear a tiara with jeans? Of course not.  Ditch the tie; it’s reserved for formal occasions. In its place, consider the roll-neck, turtleneck, or open collar button-down shirt. Just no orphaned suit jacket, please – remember that these are jeans, not trousers.

Try a cardigan, or if you prefer a jacket, try the Harrington, trucker, bomber, moto, corduroy, or tweed sportcoat.  Jeans are great, and they’re a wonderful, versatile part of a man’s wardrobe. But know when enough is enough. Say it with me: dress jeans do not exist.

If you’re feeling stumped on how to dress up your denim without looking ridiculous, here are a few classic examples (along with a few of my own):

Why Bespoke Clothing?

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bespoke suit example

An example of a successful bespoke endeavor.

Bespoke what? The word itself has undergone changes since its first use in the 1500’s. Back then, “bespoke” was what you called your outfit.  Your one outfit, the one that smelled of Western European colonization.

“Why yes, the codpiece was bespoke. No, I don’t know why it’s so small. But the godless heathens should be impressed.”


The idea of having something made for you was nothing strange in those days, but as mass-produced items became commonplace, something made to your particular specifications (such as your particular body) became scarce.  Most ready-to-wear suits may not fit you perfectly, but a few may. Most are also made from ugly fabrics, but a handful are tastefully classic. The price range is anywhere from $300 to upwards of $3000 and higher. Something, somewhere, will fit your body, budget, and discriminating bias. So, why bespoke?

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All smiles throughout the process.

Indeed, in order to get something bespoke one has to do quite a bit of research, as few companies even offer such services. Fewer still are the tailoring houses that take your measurements, have various high quality fabrics to choose from, and provide fittings for adjustments. Most have to travel great distances to tailoring houses, across state lines, time zones, and oceans.  Others hope traveling tailors visit their city (or a nearby one), but such merchants visit once or perhaps twice a year, which means you may not receive the finished product for one or even two birthdays.  In contrast, off-the-rack suits can be found in any department store, ready for you to take home.  So again: why bespoke?

One word: romance.  Interestingly, a recent article from The New York Times quotes Georgetown linguistics professor Deborah Tannen, saying “bespoke” appeals to our individualism.  Which is partially true: more often than not, those who venture into bespoke have a very specific idea of how they want to appear.  What better way to materialize your distinct sense of identity by dictating your projected image?  Self-love and self-expression often go hand in hand. 

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The Finished Product

But it’s more than that.  It’s the enchantment with bespoke itself – a medium which takes far more time than the alternative but, to those who appreciate it, returns far more reward.  Even if you never thread the needle, the process of discussing what environment you’ll wear the suit and how you wish to be presented, deciding which fabric you like versus how it will perform examining various technical styles, all contribute to the creation of a unique idea (yours).  You’re excited because you get to dictate the particulars.  But the courtship continues, because it’s during the fitting when you begin to see your idea turn into something tangible.  Sure, maybe a few tweaks need to be made, the tailor makes a note of it, you go out for some coffee, maybe dinner and a drink, shoot the breeze, exchange salutations, make another appointment, and part ways smiling with eager prospects of the next encounter.  Finally you see the finished product – the completed suit – and that’s it.  You try it on, and you’re smitten.  

That’s romance, and that’s the why of bespoke.  Sure, that suit makes you look great, but the process, eliciting feelings of creativity, anticipation and discovery, is the reason to choose bespoke.  Because you can’t find that in any department store.

The Tie (and How to Tie It)

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I remember asking my dad when I could wear a regular tie.  A real one, like his; not the clip-on kind I’d been wearing since diapers.  I grew up going to religious meetings, and although my two brothers were content with the ease of a clip-on to satisfy decorum, I wanted to dress like my dad.  With a real tie.  So one evening, when we were getting dressed for the meeting, I asked him.

“Do you know how to tie a tie?”

The look of stupefaction across my face elicited a smile from his, and he motioned for me to step in front of him as he was facing the mirror.  Popping my collar up, he took one of his ties, draped it on my neck, and adjusted the blades a bit before giving instructions.

“OK, ready?  Over, under, over, through.”  

In less than ten seconds, I was wearing a tie.  His hands moved like a blur.  It could have been pure wizardry and I wouldn’t have been more amazed.  It just seemed so…complicated. 

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“Want me to show you again?”  Then slowly, “Over, under, over, and through.”

This time the sequence seemed more deliberate, and I was able to memorize the words, if not the steps themselves.  So he left me in front of the mirror for a few minutes and finished getting the rest of the family ready while I repeated the words again and again.  When he came back, I think I had a knot, but it looked more like the knot I used for my shoes.

“Let’s go.  Put on your other tie, and I’ll show you again after the meeting.”

I don’t remember anything at that meeting, but I do remember looking at my dad on the stage that night, and I remember his solid brown tie, because I thought a black leather one would be pretty dope, or maybe a green square knit.  All the clip-on ties I had were equilateral triangles and weirdly bulbous, but grown-up ties had organic shapes and that puckering at the bottom.  Clip-on ties seemed like drawn-on mustaches, and they never fooled anybody.

One thing I did remember was ties generally seemed to stop just below the belt line, and there was some coherence between lapel width and tie.  Even though this was the early 80’s when fat ties were still around, the balance was more or less what you see today.  Speaking of today and recent trends: you never saw the back blade longer than the front.  Never.  EVER.  That doesn’t mean it didn’t happen.  In fact it did – all the time, due to our short stature as kids.  But we tucked it in our pants, and even had a name for it:  the “peepee napkin.”

Later that night at home, before I took off my meeting clothes, I reminded my dad that he would show me how to tie a tie.  So he got out another one, took off my clip-on, and went through the steps again.

“Over, under, over, and through.  Got it?”  I didn’t.

“That’s OK.  We’ll do it again for the next meeting.”  He loosened the tie, took it off my neck, tugged both ends, and just like THAT…  The knot was gone!  My dad had more style than Michael Jackson, even if he looked like Treat Williams.

I don’t remember exactly when I tied my first tie successfully, but I’ve never wondered when I needed to wear one.  You just know.  And I’m glad I know how.  I guess I can thank my parents for that.  Now that I’m older, #menswear has evolved into a fashion-y, mercurial soup of peacocking posing as creativity, but classic tailored clothing – or “meeting clothes”, as I came to call them – will always be cool to me.  And more than anything else, the tie – tied correctly – makes the difference.  So when the situation calls for it, do it.  Do it well.  Because who wants to keep dressing like a kid, when you can look like a grown-up?

Video: The Armoury