Ok, so, without any particular order (that would be too hard to decide), here are my five favourite illustrations. The first one is from 1935:
This semi-formal eveningwear illustration is my favourite one because it embraces, in only two examples, most of the variations within black tie: black or midnight blue; peak lapels or shawl lapels; single-breasted or double-breasted; opera pumps or patent leather oxfords; turndown collar or wing collar; batwing or butterfly bowtie; wearing a waistcoat or not; wearing a boutonnière or not; white pocket square or coloured pocket square; stiff-fronted shirt or (although I’m not sure if it is the case) pleated front; the look of the ensemble seated or the look of the ensemble standing. Plus, enjoying a good whisky and a good Cuban.
[/img]Many of you might not have seen this illustration before: indeed, I believe it has not been posted on the London Lounge yet, I found it on the Marc Guyot website. I find it special because it depicts four different attires for informal country wear. As soon as I studied it I thought the four men in the front represented four different styles (from left to right): the French, the German (or mitteleuropean), the British and the American. I don’t know if you people from their will agree, but that is the initial appearance comparing them. The French with a sweater and (oxford grey?) trousers with a beret; the German with riding boots, riding breeches, what seems like an Austrian jacket (at least that is how we call that type of jacket in Spanish), a white polka dot blue scarf worn in ascot manner and a bowler; the British with winter hose, a checked suit (I can’t tell the name of the pattern nor the type of fabric, maybe one of our experts), a sweater under the jacket, and a English-styled beret; the American with white slacks, green odd jacket (2 sleeve buttons) and a yellow scarf around the neck. I love the four ensembles.
[/img]This illustration (also from Marc Guyot) I love because of the variety of topcoats it depicts. What makes it special is that I have only seen illustrations with 2 or 3 different topcoats, but never 5. It seems to me that from left to right these are: a polo coat, a navy double-breast topcoat with the lapel rolled to the bottom button (6x1); a covert coat; a black and white herringbone pattern double-breasted topcoat; and a grey checked Ulster with raglan sleeves. As above, I simply love them all.
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[/URL][/img]This is simply marvellous. From the blue checked jacket in the third man from the left, to the raincoat in the centre, passing through all.
[/img]Finally, you may be wondering why I included this one. It is much simpler than the other ones, and only the man on the left is of any use. But I think it represents the best the elegance of those times and the stylish nature of the magazine’s creative men. Making one look elegant in the beach, without going too far (as some other illustrations, which depict suits with neckties/bowties and separate collars shirts, absurd for these days). If you realise, its not the yellow and the red, for if anyone where to mix those colours most would look ridiculous. The genius is in knowing which tone of yellow and which tone of red. This combination is great because of that. Also, do you imagine the shirt in that red and trousers in that yellow? Hell no. It is perfect as it is, and it can only be like it is. I would only substitude the shoes for something less flashy, add an ascot (or pocket square) worn around the neck, and voila! The most elegant man on the coast of Miami (although this isn't too hard I guess).