Dear Members,

These are the detailed versions. Accurate & precise text will be added in photo journal
section later. You will also be able to view most of them over there for exact AA/ ESQ
text.

Since our primary focus last time was on SB country suiting, I decided to go ahead and
choose a few DB models this time. Mainly for town & dressy wear.

Our first illustration is from early 40s during either Mar-April Months. Sadly, the exact
date on this is lost but it surely is no earlier than 42’ & no later than 44’. Clearly judging
from the presence of Marine officer in the illustration it is from WWII era.

I chose this particularly because it shows something quite unique. You will ask, “what
so special about this?” To which my reply would be, “it is showing a Glen-Urquhart (or
Prince of Wales Check) in a DB model for town wear!”.
Now, while it may not strike you as anything of the least bit importance but for one
moment…just take your eyes of the screen and ask your self…when was the last time
you saw a Glen-Plaid (POW check) in a DB model from 20s or 30s? Go on…think hard!
Try remembering any instance from 30s where you spotted Duke, Astaire, Menjou,
Gary Cooper, Cary Grant or any other such sartorial luminaries sporting a DB glen-
plaid suit. Chance are you won’t find many.
Still don’t believe me…go ahead pick Flusser’s Dressing the Man (or any other book)
and try finding one picture of glen-plaid in a DB model or go watch any old classic
movie.

That picture of Cary Grant in “Dressing the Man” is from 40s by the way…but I am
talking 30s. See! How interesting that is. I remember first time looking at this
illustration and going “No way!”. I must have seen hundreds of pictures….turned out
all of them from 30s were in SB models. Of course you saw duke wearing it in 2 button
SB, Cary Grant & Douglas Fairbanks in SB peak versions…so the natural question
became, “why not glen plaid in DB?”

That is precisely where this illustration comes in. This is the historic AA / Esq
illustration where the Glen-Plaid DB version was “officially” introduced for proper
town wear.

Now I wrote officially above in quotations because obviously it was not the first
instance that one ever spotted it. However, once published in AA / Esq it certainly
helped increase its popularity considerably. Just like how Edward VII adopted p-o-w
check for his country wear and helped propagating it. It started sometime during late
30s…war time restrictions helped DB’s generally over 3-pc suits. Since in the pre-war
days glen-plaid was quite popular pattern in SB, it effectively starting appearing in
fashion forward circles (in new DB style) and quickly became popular for smart
dressing.

Anyways, so back to the illustration. This is classic 6x2 style DB model with red over
plaid & with jetted pockets. Worn here with red foulard tie and a light blue / greenish
striped shirt. Over here noteworthy is the line of the shoulders i.e. quite broad. A detail
that start to signify the exaggeration of the “Drape” model introduced in 30s. Slowly
but surely, later during the decade… the terms English Drape, British Blade, or British
Lounge fell into disuse (certainly true for US market) and only “Lounge Suit” or “Suit”
remained.

Note the lower button on the jacket is left unfastened, a detail that predominated in the
decades to follow. Pre 40s…mostly in 20s & 30s it was quite fashionable to fasten all
buttons on DB except when Roll-lapel version was worn in which case the upper
button was left unfastened. Note the size of the check above.
Our next illustration is from summer 34’. Presented here so that you can pack the right
“gear” when leaving for spring/ summer vacations.

Gentlemen I invite you to look and appreciate something long forgotten from apparel
markets of today. A glorious DB 6X2 jacket with patch pockets that is cut along easy,
soft lines.

This was best recommended for proper resort and spectator sports. Now a days this
can be used almost anywhere within reason.

Starting from the top; hat is brown leghorn with white shantung (silk) “puggaree”
band. A panama or sennit straw hat may also be worn if such is your style. For jacket
and trousers they can be either parts of complete suits, to give you as many possibilities
as possible in the way of change of outfits. Jacket is light tan in color can be either an
odd jacket in gabardine***, flannel or shantung, or part of a suit of the first two above
mentioned materials.
The light grey flannel trousers maybe odd pants, or part of a complete suit of this exact
same model. AA/ Esq recommended both colors and fabrics as interchangeable. Also
noteworthy is the fact that jacket maybe lighter than trousers just as perfectly it can be
darker. In other words for an interesting option you can always reverse the scheme
described above. Grey flannel jacket and tan trousers.

***Contrary to a very popular belief, the recommended weight of Gabardine for

summer wear by AA / Esq was 12-13 oz. According to them it was precisely this weight
that helped it tailor much better. Plus it was the weave that was of primary interest in
summer not necessarily the weight.

Note the shirt, an interestingly clever idea to pair up white soft lounge (point) collar
worn pinned here in a tan broadcloth body with matching cuffs. A scheme usually
reserved for formal events, however the formality was reduced (above illustration) by
substitution of a soft point collar in place of separate spread or cutaway, secondly it is
worn pinned. A button-down soft shirt in oxford cloth can be worn as well. The Tie and
handkerchief are both of red foulard but they need not match. AA / Esq advices its
readers to keep them apart (a far better choice). They can match in either pattern or
color but NEVER both.

Shoes are plain white buckskin with red rubber soles and heels and they are without
linings…in true summer way. King George V made these white buckskin immensely
fashionable back then. Two-tone “spectator” shoes in chestnut and white buckskin are
also an appropriate choice.

Now…with those details aside note a few things, kindly. See that the lower button on
the jacket is fastened (very acceptable in 30s) . Also note the 4 buttons on the cuff and
the width of the lapels (covering over ¾ of the chest). A DB peak lapel must be given
breadth and / or dimension to effectively display its beauty. Breast pocket with this
style of jacket was usually in patch but can be perfectly of the "welt" type (regular) also.
Note the length of the trousers. See how they effectively rest on top of the shoe. No
break here (particularly for causal settings).
Our 3rd illustration for this series is also from summer of 34’.

At first glance quite similar to the illustration above yet incredibly different at a closer
inspection. This is an outfit that was recommended for morning to noon and night
activities at a summer resort (all except formal evening occasions). These days, as with
above mentioned illustration, you can wear it almost anywhere and still be considered
“dressed-up”. Shown over here with a polo shirt, trousers, a foulard muffler in place of
a (collared) shirt & a tie when jacket is added. This odd jacket is a two button notched
lapel model with a belted back and a “bi-swing” pleat that that allows complete
freedom of swing. (Look at the shoulder blade section to see a huge pleat).

This jacket is of linen or Palm Beach cloth, usually in the shade of natural linen, the
light tan shade shown here. The trousers are blue-gray, either of light flannel or of even
lighter weight washable fabrics. The shoes are plain white buckskin, without toecaps,
with red rubber soles and heels.
AA/ Esq recommended that you need not have any hesitancy about showing up
without a shirt and with a foulard muffler doing the shirt customary duty in filling the
“v” of your jacket. This is a stunt that started sometime summer of 33’ and gained great
acceptance during the Palm Beach season where it was affected by the best-dressed
sportsmen there. Now, they in turn were following the lead of the lordly folk who
inhibited the watering places of French Riviera during early 30s.

Now that said….you can always wear a shirt and tie (like recommended in pervious
illustration) with this outfit and effectively increase its formality. This jacket goes
exceptionally well with golfing outfits. Note the “bellows” pockets…that is mainly patch
with a flap on top and the two buttons on the sleeves (that are one button distance
apart).

As rare as they are these days, these belted jackets can also be in either double pointed
yoke, one-piece belt with inverted box pleats (running from yoke point to waist line).
Center seam from waist to bottom finished with inverted pleat

OR

In square yoke back with one piece belt. Four laid pleats and center box pleat usually
extending from yoke to belt. Inverted box pleat in center seam below waistline. Belts
on both instances can be plain (like in picture) or heavily stitched.

Further more the belt length in addition to half-length (only back) & full-length (all
around) can also be of three-quarter length, in which case the belt crossing over
generously gathers at the waistline and ends in vertical darts well towards the front.
This belt-usually hugs the waist very well, giving the jacket a very smart suppressed
effect, which, together with the appearance of long lines ( due to the paralleling of the
darts and the coat front) gives an unusually long appearance. A style most flattering to
shorter gentlemen.

Kindly keep in mind that all these details simply cannot be added correctly in a RTW
garment (with a pre-supposed model) then applied to an actual customer…hence their
decline. More than often it require the critically keen eye of the tailor (or customer),
that effectively locates the correct positioning on your jacket with according
proportions. Mere correct positioning or proportions by themselves are no good. It is
the combined harmony of these two that results in the most flattering bespoke
silhouette for the customer.

(Actually there are a few more interesting belt-back styles but I will adhere to them for
a later discussion)

Finally…we reach to the last illustration for this series. The most formal outfit of all in
this series…and accordingly will accompany most detailed commentary.
From Spring 36’. Perfect for your Easter and other formal daytime festivities.

This gentlemen is a (in foreground) 3-pc DB suit in herringbone pattern that is of

sturdy (somewhat) hard finished worsted fabric. Done here in a long 6x2 “Roll” lapel
model, in which the lapel “rolls” over all the way to the lower button but can be
effectively worn at the middle button stance also. This style of DB was immensely
popularized in 1930s by Duke of Kent….though his suits were usually of 4 buttons
rather than customary 6. Later Duke of Windsor also picked up this style, in similar 4
button DB jackets. See the picture at the bottom of this description.

Rest of the outfit includes black Tie, worn here with white pearl stick-pin, an Oxblood-
striped Madras shirt worn with white spread collar and a white pocket square. Note
how the stick-pin and striped shirt serve as the “noise absorbers” for the noise
generated by black tie. Outdoors, a dark blue or gray overcoat and a black homburg
would be most appropriate. Modern day rendition of this suit will be without a vest.
Now, lets move towards the details. Note the jetted pockets. Starting from the top, note
that the sleeve head is very slightly raised (rope effect) most due to the added layer of
slight pad at the sleeve head. A practice, very commonly done (to this date by some
tailors) when shoulders are without much padding*.

*Kindly observe the shoulder of the jacket worn by Mr. Hitchcock in the photo journal
section (blue with white stripes), to see this effect much more clearly.

Observe the armhole… placed very high and precisely (can be seen much better due to
raised arm). Note the curved shape (Contour lines) of the jacket….from armhole (chest)
to the waist line and then from waist to the bottom (skirt). This jacket has higher placed
button stance which is of utmost importance to gentlemen of shorter height….see the
position of the lowest button with respect to jackets hem. See the taper on the sleeves,
which “grips” the shirt cuff beautifully without letting it move much.

Now lets move towards the lapel…nothing short of an art itself. Gentlemen, if I can
have your careful attention for a moment….lets start with the outer line of the lapel (at
the lowest button). Note, its “roll” from lowest to the middle button…this is one of the
most vital areas that give lapel its life so to speak. The effect of the roll (or lack) is most
apparent in these first few critical centimeters.

Then from middle to top button note the continuation of the curve ever so slightly and
then all the way till top…this lapel is never stagnant. While it is not my personal style (I
like them more straight)…nevertheless it is quite impeccable, to say the least. Then
regarding DB peak lapels, the width is also noteworthy….covering more than ¾ of the
upper chest area it is precisely this width that gives it a thoroughly pleasing aesthetical
effect. In a DB if the gorge is set low then the button stance must be shifted accordingly
to a lower length….tough not recommended for anyone unless excessively tall (usually
the shape of the jacket is greatly effected). If the gorge is lower yet the button stance is
at regular height it results in some what un-flatteringly short lapels, which often
compromise the entire look.

Finally while we are at it let me mention one more item of importance…i.e the
“overlap” or sometime referred to as the “crossover” effect.

Overlap or cross over refers to the placement (horizontal distance) of the buttons in a
DB jacket. Normally 11.5 cms to 15 cms… maybe 15.5 is (or was) used. The closer the
distance…i.e. narrow crossover or overlap…the more vertical shaped the lapel will be.
Much recommended for smaller men. Astaire’s DB suits are prime example.

Now conversely, larger crossover is much preferred for tall and slim gentlemen, where
emphasis must be on width rather than length…i.e. more, horizontal then vertical look.
Here, the lapels tend to move more in a horizontal fashion…thereby increasing
breadth. Prime examples would be suits worn by Cary Grant or Gary Cooper. In this
case, the position of the gorge can be low also…without much harm…infact it is often
preferred by tall men.
Now the question becomes what if a slim (but not so short) man wants a wide look?
The solution is something truly brilliant. For such a case where horizontal lapels are
needed with a narrow crossover…the anchor button positioning is changed….such that
it is a few small cms away from the edge of the jacket.

The result?

You have horizontal shaped lapels (moving across) yet the overlap/crossover is still on
the narrow (vertical) side.

This above practice may be used somewhere by tailors….unfortunately I have NEVER

witnessed such tasteful artistry in this day and age (certainly NOT from any time
recently).

Finally…we move to the trousers. First thing you should note is that they are quite full
in cut compared to the jacket (where often 2-to-4 darts are used). This is a typical
characteristic of suits from Savile Row during 30s (still somewhat true)…this was
observed much more on the suits from US during that era. This fitted jacket and full
cut pants combination was also a personal favorite of the Duke. Yet, one thing that
clearly sets apart that era (from nowadays) was “fall” or line of the pants. They almost
always rested on top of the shoes…usually with only a slight hint of a break.

Here in this above illustration….this is also true. Note the crease of the pants both front
and back leg. On the left leg (straight) the line continues all the way down to the cuffs
without any interruption whatsoever….something that is quite hard to accomplish.

Shoes are black calf on a town last. Note the shapely waist on the shoes.

Now…lets shift our attention toward the suit in the back ground. It is a 3pc SB suit in
classic navy serge variety. Worn here with a white shirt, yellow colored tie and black
town shoes. Now what is so special about this? You will ask.

Well, this is one of the VERY few instances in AA / Esq where a plain white solid shirt
was seen with a solid colored suit. Note this for what it is worth…that AA / Esq people
tried their best possible to avoid white shirts at all (for lounge suits)….especially for
solid suits. This is a scheme that you will see over and over with well dressed people of
the era. Let it be Astaire or Cary Grant. These people avoided plain white shirts (with
solid suits) whenever they possibly could (almost like plague).

Rightfully so!

It is precisely in the color / pattern mixing and matching that a master will be revealed
apart from a novice or a beginner.

The white shirt that you see worn by 99% of the men now a days with basically
everything….was something mostly if not totally confined to black-tie or white-tie
shirts, back then.
You will see these great dressers of the past, countless times wearing shirts that are
almost solid…yet not quite (usually with micro small stripes or other intricate patterns),
seemed white but on closer inspection…always with color. Usually, something like very
light shades of blues, grey and cream. It often seems like that they looked for an excuse
to use pattern and color.

This above mentioned phenomenon was also observed…even in formal wear. It is

noteworthy that they (sartorial luminaries) even outrageously “flirted” with Black &
White schemes for formal wear. Midnight Blue (for evening wear) & Oxford grey (for
formal daywear) are prime examples of this.

I wrote “flirted” because at first glance it appears that they wore solid colored shirts &
ties …yet…on closer look…always different. From a distance always black and white (for
formal wear)….yet again…not quite. This “flirtation”…so to speak was one of the many
tasteful characteristics / skills of the era….& well employed by all great dressers.

The main idea was (or is) to take the color & pattern away from formal wear and inject
it elsewhere….when ever possible. So…less formal the garment, higher was the
“potency” of this color / pattern injection. Therefore, you saw the most amazing and
beautiful patterns appeared for country and weekend suits.

Actually, there are a few other details I can go over…but I think this should do it for the
time being.

Oh...and I am NOT saying that you should not wear white shirts with solid suits. Just
letting you know that there are other options available.
Here is the Duke of Kent style DB from late summer-early fall 36'.

Believe it or not this is in blue flannel model with white spread (& bold) chalk stripes,
though they can be of grey color too. Lapel is rolled to the bottom (with 4 buttons
instead of usual 6) & side vents at the back. Note the shirt with stripes that are scarlet in
color much like the pervious picture (oxblood stripe there). Black tie, animal figured
stick pin (a stunt started by the duke of Windsor), brown buck town shoes, bowler and
most interestingly...white stiff (separate) collar on the shirt. Exactly like the pervious
illustration. Trousers are full cut along with overall easy lines of the jacket.

So now you can see both the versions of this roll lapel suit. This later one was Duke of
Kent's favorite. Also, note that the later one is less formal than the former (solid grey
DB).

Sincerely
Etutee