Custom Tailoring Related Information
TROUSERS
The cut of today's tailored suit trouser is much more classic in shape than its predecessor from the fitted era. Pants have recovered from the hip-hugging jeans mentality of the sixties and the tight, plain-front Continental pant of the seventies. In the nineties, most men's trousers have a longer rise, deeper pleats, and full-cut thighs that taper down to the ankles - exactly the way the great tailors originally designed them - to give comfort and follow the lines of the body.During the Second World War, when the U.S. government required manufacturers to conserve fabric, plain-front trousers became standard issue, retaining their popularity throughout the gray-flannel, Ivy League era. However, all suit trousers should have pleats, just as most custom trousers did prior to the war. Pleated pants look dressier and their fuller fronts provide greater comfort than plain-front trouser: hips widen when the wearer is seated, and with less wear to the trouser. Objects placed in a front pants pocket are better concealed within a pleated trouser than a pleatless one.
The classically designed pleated trouser has two pleats on either side of its fly - a deep one near the fly and a shallower one near the pocket to help keep the main pleat closed. This arrangement maintains the working relationship between the two pleats. The current trend for multiple pleat or some other gimmick of fancified fullness reminds ma of the recent gilding of the necktie with overwrought prints, a fad that was as fleeting as it was excessive.
While having your trousers fitted, make sure the pleats are not opening . Look down to see if each leg's front crease intersects the middle of each kneecap and finishes in the middle of each shoe. If it is off at all, the crease should err toward the inside of the trouser. A crease that falls outside the knee creates the illusion of breadth, something most men prefer to avoid.
The trouser bottom should rest with a slight break on the top of the shoe. It should be long enough to cover the hose when a man is in stride. Its width should cover about two-thirds of the shoe's length. Cuff give the trouser bottom weight, helping to define the pleat's crease while maintaining the trouser's contact with the shoe. Like any detail of classic tailoring, cuff width should be neither so narrow nor so wide that it call attention to itself. To provide the proper balance, the cuffs should be 1 5/8" for a person under five feet ten, 1 3/4 if he is taller. Cuffs of 1 1/7" or 2" reflect the erratic ness of their master: fashion.
QUALITY
With the transformation of the men's suit business into a world of designer fashion and the almost complete mechanization of its manufacturing process, determining the contemporary suit's quality and intrinsic value is the most elusive challenge facing today's shopper. Like women's ready-to-wear, the majority of men's tailored clothing today is sold on its name recognition, fit, and aura of fashionability. The era when men's suits were expected to carry a man from one decade to another and were purveyed based on the relative merits of their quality and hand tailoring is as dated as sized hosiery, exact-sleeved dress shirts, and the three-piece suit.Except for a handful of factories left in the world that continue to tailor suit primarily by hand, most clothing manufacturers have either incorporated the latest technology into their production process or closed shop. The cost of skilled labor and the time required to create a garment in the old-world manner has limited this wearable's market to those retailers and consumers who appreciate the quality and work behind the hand-stitched garment's higher price. In his hallowed fitting rooms the specialty retailer must be able to explain the nuances of this handcrafted creation from its silk thread and hand made buttonholes to the superiority of its worsted fabric.
Beginning in the 1920s, before machine started replacing tailors, suits were grads from 1 to 6 in a system that specified the number of hand operations used to create the final product. For instance, a number 1, the lowest grade of suit, was almost entirely machine-made. A number 2 coat could use some handwork to finish the cuffs, collar, and buttons. A number 3 ha to have these three components finished by hand. A number 6, the highest grade on the scale, was made almost entirely by hand. Of course, some manufacturers would misrepresent these numbers in an attempt to sell their product at a higher quality rating it deserved, but at least the system gave the retailer and consumer some sort of uniform standard.
As technical improvement in machine-made clothes blurred the advantages of more costly hand crafting, tailored clothes have become creations of refined engineering and industrialized production. With the tailor's shears and hand-sewn stitches being replaced by computers, laser knives, conveyor belts, fusing, and high-speed pressing machinery, the modern men's suit has become a marvel of tailoring science and technological genius. And as with any automates creation, the measure of its quality is time, in this case minutes.
The modern suit that sells for $395 takes approximately 80 minutes of uninterrupted labor, while the higher-profile designer garment retailing for $1,495 requires approximately 150 minutes of continuous construction. In order words, little more than an hour of actual labor and quality control separate the least costly from the most expensive machine-made suit. While the higher-prices suit's shell fabric, linings, facings, and fusibles are more costly and produce a softer, more flexible garment, they do not account for the entire difference in retail price. A good part of the disparity represents the expenses involved in operating a high-profile designer fashion business; publicity, advertising, fashion shows, and the overhead of a design studio.
Today, most men's suits are constructed in the same manner as a dress shirt's collars and cuffs, whose outside layers are top-fused for permanent smoothness. First developed during the 1950s, the process of bonding or gluing a layer to an outside shell fabric has evolved to a level where it can nearly simulate the softness and flexibility of the hand-sewn canvas used in tailored men's clothes. Formerly, this layer of reinforcement placed between the coat's outer cloth and inner lining consisted of one or more ply of horsehair and regular canvas secured by numerous hand stitches. When suspended by the elasticity of its hand make silk stitches, its free-floating dynamic gave the jacket's front a lasting shapeliness and drape while lending pliancy and spring to the roll of its lapel. With the consumer requesting lighter, softer tailored clothing, these fusibles allow a cost to mold to the wearer, though they sacrifice fit and longevity in the process.
So, how does a man cut through all this industry mumbo jumbo to determine his prospective suit's level of quality? The answer is complex and difficult to translate into the written word, since these automated garments lack the visible handwork of top quality tailoring to act as benchmarks. The cost efficiency of the new technology encourages manufacturers to incorporate many of the details associated with more expensive tailored clothed into less costly products, rendering the ranking of quality even less clear. Crotch pieces and lines knees are no longer the exclusive province of the most expensively tailored suit trousers, while underarm sweat shields and machine stitching that appears hand-sewn grace jackets with less than lofty pedigree.
I will break down the subject into price brackets that represent various generic methods of manufacture so our investigation will have some boundaries and focus. Please remember that this is a discussion about the quality of the product's construction, not the beauty of its design. As you will learn later, a wearable's longevity is predicated more on its design than its quality. A well-designed $350 suit can provide more years of wear than an expensive hand-tailored worsted cashmere suit whose shoulders look as though the hanger is still holding them up.
The finest ready-made suits are constructed like those that are custom-made, except the workplace has been organized into a miniature factory. This means each garment is individually hand-cut, lining, pocket, and sleeves have all been sewn by hand; and everything is hand-pressed. At this level of quality, the construction or padding of the jacket's lapels and collar is stitched totally by hand. There could be two thousand stitches or more in a single-breasted jacket's lapel; these will hold the garment's shape intact through all weathers, fair or foul. For this rarefied ready-made suit, one must expect to pay at least &2,000.
The next ministep below this level of quality can boast the same level of workmanship, but the time-consuming lapel hand-basting is done by a special machine. Those parts of the coat that need flexibility and movement continue to be sewn by hand - armholes, shoulders, collar. At a minimum, you should be able to look at the inside of the jacket and confirm that the felling of its linings in these areas in hand done. Next, you should take the coat's bottom front, three inches from its bottom and two inches from its edge. Rub it between the coat's outer shell and inner lining. This confirms the coat has a canvas front rather than a fused one. It is the work of a tailor and the garment's shape will remain intact as long as it is well cared for. Selling for between $1,500 and $2,000, it will endure the ravages of extended wear.
Moving down to he next level of quality, you find the semitraditional or semi-canvas-front coat whose bottom front is fused but not its lapels, collar, and chest. Its canvas inner lining floats, held in place by hand stitches so it moves more naturally with the coat. The beauty of this hybrid is that its lapels roll and stay on the coat's chest more naturally than fused lapels will. The canvas inner lining gives the lapels more spring so that their edges remain in contact with the jacket's chest. One can always tell a fused lapel because its edges tend to curl away from the jacket. The semitraditional make has its shoulders, armholes, and collar hand-stitched so that the presentation around the man's face and upper torso appears supple and rich. The cost for such a suit usually falls between $850 and $1,200.
The majority of today's tailored clothing is sewn completely by machine and constructed through fusing. One version is made "open" or in what we call the American system. Parts such as the sleeve and collars are assembled separately first, then put together. In the "Two-shell" or German system, the entire inside lining shell is assembled separately from the outside fabric shell. Then the one is sewn inside the other, The two-shell calls for less labor and prides itself on its consistency. While requiring additional manufacturing steps, the American system utilizes more basting stitches, elements of make that in the end come out of the coat but help build in its enduring shape. The price of this type of garment can range wildly, from $395 up to $1,495 depending on whose label is inside
The only thing one needs to consider when making a choice between the least expensive methods of tailoring is alterability. Most men would never even consider this factor, but they must. Since the two-shell garment only has 3/8" Outlet in its seams, the man who gains ten pounds or more will find it impossible to have the coat let out.
In conclusion, I would like to remind you that the aforementioned has been written as a general guide. Within each of these categories, you will encounter garments that resist easy classification. I hope the information passed on here will enable you to ask the correct questions when trying to get a grip on this difficult subject.
SHOPPING AND THE BODY TYPE
Whether short or tall, portly or slim, a man needs to shop for his clothing with his individual physique in mind. Since most people aspire to look like some idealized version of themselves, selecting clothes based on a particular body type is as old as fashion itself. Whereas I believe that familiarity with the geometric principles that downplay girth or emphasize height or breadth is helpful, such information should be viewed as a guide rather than dogma.I have seen the most well-dressed men wear clothes in stark contradiction to the accepted dictates of fashionable physiognomy. I can recall one portly, older gentleman looking so debonair in his large, plaid, hefty tweed sports suit simply because it was cut to perfection. I am told that no other group of men would parade down Savile Row in the thirties with more panache than the contingent of Brazilian diplomats, most of whom were under five feet seven and all of whom wore their soft-shoulder, double-breasted suits with cuffed trousers. Proportion in dress in the foundation of all classic dressing. The truly stylish man knows enough about the rules to know how and when to break them.
To assist some of the basic body types in choosing their tailored clothing, I would like to make the following suggestions:
SHORT, SLIM MEN
Clothes should elongate and add shaped fullness
Jackets
- Shoulder can be higher and slightly broader.
- Torso should broaden the chest and shoulder and have slight waist suppression.
- Jacket length should be as short as possible, however, covering the buttocks without cutting the wearer in two.
- Single-breasted, three-button coats promote a longer line.
- Double-breasted coats should have a long roll and button below the natural waist.
- Lapel notches should be in the chest's upper range. Peaked lapels offer more height.
- Side vents or no vents.
- Flap pockets add more width to hip and balance better with the wider shoulder, but they are not as elongating as the simple besom pocket.
- Long sleeves make a short man look overcoated.
- Fabrics such as mill-finished worsteds and flannels; with patterning that emphasizes verticality such as: herringbones, medium spaces chalk or pinstripes, and windowpanes longer in the woof (vertical) than the weft (horizontal).
Trousers
- A matching trouser lengthens more than a contrasting one.
- Should be worn high on the waist and fuller on the hip to promote a longer leg line and to smooth the transition of jacket to trouser
- Trouser should break on shoe to extend the view from top to bottom.
- Cuffs (1 5/8") help to smooth the transition of the fuller trouser with the larger scale shoe.
- Striped dress shirt with non contrasting collars and cuffs.
- Spread collars, tab collars, long pointed pinned collars.
- Suspenders emphasize verticality.
- Striped, solid, understated neckwear knotted in four-in-hand style.
- Longer four-in-hand necktie can be tucked into trouser.
- Tonal handkerchief folded with point leaning outward.
- Welted-soled shoes add height and balance with the breadth of the shoulder.
SHORT, HEAVY MEN
Clothes should also elongate but work to de-emphasize breadth.
Jackets
- Straighter-cut coat
- Two-button single-breasted better than three-button or double-breasted.
- Besom pocket over flap.
- Side vent over on vents.
- Sleeves need to taper down to cuff, cannot be too wide at hand.
- Fabrics should be dark and smooth, such as fine worsteds.
- Dark solids, medium-width striping, and herringbones de-emphasize bulk.
Trousers
- Reverse pleat on trouser keeps front-flat while breaking the expanse of its width.
- as long a rise as comfortable, fit on natural waist not below protruding stomach.
- Cuffs assist the transition of the full-cut trouser to the larger-scaled shoe.
Accessories
- Long straight point collars.
- Solid ties; patterned ties; ties with stripes or prints with movement.
- Welt-sole shoes for a more substantial platform; no lightweight, dainty footwear.
TALL MEN
The taller the tree, the broader its branches, so the tall man needs fuller cut clothes for balance and style. The selections should de-emphasize length by breaking up the vertical lines.
Jackets
- Sloping shoulders of generous width.
- Coat should be cut on the longer side.
- Double-breasted model that buttons on waist, not below it, such as the 6/2 placement.
- Two-button single-breasted.
- Broader lapels, finishing in lower area of upper chest.
- Flap pockets and the additional ticket pocket help fragment verticality.
- The fabrics can be heavier in look, such as flannels and cheviots, and of larger scale in pattern, such as broad stripes, hound's-tooth checks, glen plaids, or squared-off windows panes.
Trousers
- Long rise, full cut with deep pleats.
- Leg with grntle taper.
- Cuffs (1 ľ") with definite break on shoe.
Accessories
- Full-cut shirts must show ˝" of shirt cuff.
- White contrast collars and cuffs break up length.
- Amply proportioned spread collars.
- Broadly spaced, fine-lined stripes, tatters all check, windowpanes, and horizontal stripes.
- Belts break up length.
- Welt-soled shoes for more substantial foundation.
ATHLETIC BUILD
For the man of average height whose chest size is at least eight inches more than his waist size, the principle is to reproportion the oversized shoulder with the smaller bottom.Jackets
- Shoulders should be as unpadded and natural-looking as possible.
- Jackets need length to balance the strong shoulder without shortening the leg line.
- Minimal waist suppression.
- Two-button single-breasted over double-breasted-avoid three-button single-breasted.
- Lapels should be full with slight belly.
- Flap on pockets.
- Side vents or no vents.
- Fabrics should de-emphasize bulk: solid worsteds, herringbones, vertical windowpanes, subtle stripe with no less than 3/4 inch spacing.
Trousers
- To fill out the jacket, Trouser must be worn as high on waist as comfortable.
- Full cut through hip and thigh with taper to 1 ľ" cuff.
- Trouser leg should have definite break on shoe.
Accessories
Assuming a broad face and thick neck:
- Vertical shirt collar such as tab or long points.
- Solid, striped, or patterned neckwear.
- Shirt with strong stripes.
- Shoes with larger scale to balance shoulders.
THE DRESS SHIRT
THE DRESS SHIRT COLLAR
When purchasing a dress shirt that is, one intended to be worn with a necktie - consider its collar first. Regardless of whether the shirt appears to go perfectly with your new suits, or is meticulously crafted with vast numbers of stitches to the inch, or even woven in the Caribbean's most lustrous sea island cotton, if its high-banded collar looks at if it might swallow up your neck or its diminutive collar make your already prominent chin appear more so, move on. You need to focus on that portion of the dress shirt responsible for exhibiting to best advantage the body part that should receive the most attention - your face.The triangle formed by the V opening of a buttoned tailored jacket and extending up to the area just below a person's chin is the cynosure of a man's costume. The area is usually accentuated by contrasts between the darker jacket and lighter shirt, the jacket and tie, and the tie and dress shirt. This triangular sector offers more visible layers of textural activity than any other part of a man's outfit, and the point at which all these elements converge is directly under one's chin, where the inverted V of the dress shirt collar comes to a point.
Think of your face as portrait and your shirt collar as its frame. The collar's height on your neck as well as the length and spread of its points should compliment the shape and size of your face. Within the infinite permutations of angle, scale, and mass, no single article of apparel better enhances a man's countenance than the well-designed dress shirt collar. Since a person's bone structure is fixed, although it will be affected by a weight gain or loss, the choice of collar should be guided by the individual's particular physical requirements rather than the vicissitudes of fashion. Unlike other less visible accoutrements such as hosiery or shirt cuffs, this focal point constitutes one of a man's most revealing gestures of personal style. All sophisticated dressers have arrives at one or more collar styles that best highlight their unique features while managing to add a bit of dash along the way.
Choosing the appropriate shirt collar requires experimentation and common sense. A smallish man with delicate features would be lost in a high-set collar with points longer than 3 Ľ". Conversely, a heavyset or big-boned man would loom even larger and overshadow a small collar. Collars should counterbalance the facial structure by either softening its strong lines or strengthening its soft ones. Long straight point collars - those 3" or more - will extend and narrow a wide face just as the broad-spaced points of spread collars will offset the line of long narrow one.
Tab collars or other pinned collars have the necessary height to shorten long necks. Strong-chinned men require fuller proportioned collars, just as large tabletops clamor for ample pedestals to achieve aesthetic balance. Though, admittedly, button-downs can look casually stylish, they are too often favored by exactly the kind of men who should avoid them - the double chinned set. Softer-chinned men need slightly higher and firmer collars to compensate for the lack of a strong line under their face.
Throughout the eighties and up through the mid-nineties, most dress shirts-no matter how expensive-generally had collars that were to small for the average wearer's face. In an effort to convey a more casual and less structured formality, men's fashion has explored many approaches to neutralizing the collar's conventional starched and ordered format. Consequently, collars have been lowered, shortened, and softened to such degrees that the original precepts for their correct proportioning have either been distorted or lost completely. Button-downs have little or no roll, straight point collars are so short even the smallest tie knot prevents their point from touching the shirt's chest, while spread collars are so low on the neck they have been sapped of all their strength and flair. Except for those produced by a few high-end American, English, or Italian shirt makers, most dress shirts give the impression they are apologizing for their collars.
I cannot help but wonder whether the long-understood sartorial contract between a man and the conventional format of a buttoned-up dress shirt and drawn-up necktie - which, in effect, exchanged superior stature for a measure of restriction - is no longer able to be negotiated. Since many of the contemporary, more diminutive collar styles fail to heighten the wearer's appearance, they offer little compensation for their inherent discomfort. As a result, many alternatives have been put forth in an effort to replace the classic dress shirt collar composition.
However, as Oscar Schoeffler, longtime fashion editor of Esquire, once warned, "Never underestimate the power of what you wear. After all, there is just a small bit of you sticking out at the collar and cuff. The rest of what the world sees is what you drape on your frame." Therefore, the most important factor to weigh when buying a dress shirt isn't its color, fit, or price. It is the collar and its smartness for the wearer's face.
FIT
Other than the Italians, who are almost fetishistically meticulous about the fit of their dress shirts, most men wear theirs too short in the sleeve, too small in the collar, and too full around the wrist. The explanation for this is relatively straightforward: successive washings shrink collar size and sleeve length, while most shirting manufacturers allow enough breadth in a man's cuff to accommodate a large wrist girded by a Rolex-type watch.The best dress shirt is useless if its collar does not fit comfortably. With the top button closed, you should be able to slide two-dress shirt. Most better dress shirt makers add an extra 0.5 inch to the stated collar size to allow for shrinkage within the first several washings. I would never wear a new dress shirt unless it fits perfectly around the neck in the store or when first tried on at home. If this not be the case, it is best return it or risk being strangled by a smaller collar before too very long.
The back of the shirt collar should be high enough to show 0.5 inches above the rear portion of the jacket's collar. Its points should be able to touch the shirt's body and rest smoothly on its front. When a tie is fitted up into the collar, its points should be long enough to remain in contact with the shirt's body, regardless of how sharply the wearer turns his head. No part of the collar's band should be able to be seen peeking over the tie's knot. Semi spread to cutaway collars should have no tie space above the tie's knot. In other words, both sides of the collar's inverted V should meet or touch each other while the edges of their point should be covered by both sides of the jacket's lapels.
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Groom Tuxedos For Wedding Ceremonies.
Celebration of a wedding ceremony in the presence of parents, friends and relatives is definitely exciting. A wedding is special in everyone’s life. On this special occasion, the bride looks spectacular in a wedding gown, while the groom looks grand by wearing a tuxedo. Groom tuxedos play an important role in a wedding ceremony. Depending on the vests, dress style and shirt design, tuxedos should be selected to match. Men ar...
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Topstitching Or Edge Stitching On Lapels And Pockets.
What is it?
Topstitching is a single or multiple set of lines of stitching showcased on the garment right side, either for decorative or functional purposes. It's found on many types of garments, from sporty to formal, tailored to heirloom. The term is often used interchangeably with edge stitching, though generally topstitching refers to a stitching line about 1/4" from the edge or a style line, such as seaming or pockets....
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The Emerging Craze Of Custom Clothing.
As the world becomes more and more complex, the sane seek more sanity in simplification. It seems pure shopping pleasure just isn’t there anymore. Is it just because we have no time? Are the choices just too overwhelming? Or do we just detest fitting rooms? While many of us can answer “yes” to at least one of these, the question remains, what do we do about it? We have to wear clothes in most societies and most people have a de...
