The London Lounge

Dear Members,

Here is the latest addition of the AA/Esky series. Since it is almost spring time we will wrap up with the last of winter articles in this post. This edition is divided into four sections, the first one covers fabrics for fall, the second one over Scotch patterns & British Regimentals, the third one over Spring Survey with illustrations and finally the last one over Palm Beach season preview. It is a VERY detailed post and took some 50+ hours of work to create. Hopefully, you will find what is presented below of interest and will learn from it.

The first section is actually an expansion from its earlier portion (see university styles post… section III on tweeds).

University Styles post

Interestingly enough, in section I of this post there is a discussion for black suiting also. This is explained with illustrations and probably will be one of the rarest times when this is covered.

In addition, you will note the new numbering system for these articles (title heading). This is like the original AA format. You may call it a cheap thrill if you like…
But it is done so that while browsing through the article section you can tell in which order they were presented. Each year will have a specific vol. number…such that the first years (05’) posts will be denoted by Vol. I, the (06’) by Vol. II and so on… Then in each specific year, every post will be numbered (chronologically) regardless of the subject. Now, bare in mind that this numbering has nothing to do with AA’s actual numbering, it is purely for the convenience of this forum and will also help the new arriving members when browsing through them.

Moreover, I have been asked if there is a reason why I tend to focus on articles / text from early 30s only (usually pre 35’)… is there a reason for this? The answer is… yes. The idea is to move in a (at least somewhat) systematic order, such that articles / text from early issues are used up first before proceeding onto later ones. Once all the worthy articles from earlier years have been used (& this may take a long while) we cam move onwards. For illustrations of course it is slightly different. It is rather hard to present them in perfect order. Reason being, these were originally published as new things and ideas evolved or came about… but seven decades later we don’t have to wait for that. We have all the info… and if a topic is under discussion, it is rather silly not to present an example from later issues…esp. if there is one available. Now, that does not mean that for the articles there will be strict linear pattern… quite the contrary… if there is a topic under discussion and text is needed (that is only available in later issues), it will be presented right away without any reluctance. But… without any specific need, the articles will be in a slight chronological order.

Well… that pretty much takes cares of the matters at hand and now…

let us start!

The original text is in italics, click on the links for additional pictures / articles.

From late fall of 34’

FABRICS FOR WINTER

New features and old ones revived combine to make the coming season a promising one.

When winter comes, it usually brings snow and hard finished worsteds. This winter will be no exception. But while worsteds will respond to the natural stimulus of the season, the popularity of rougher and softer suitings bids fair to continue without abatement through the cold months. The ranking members of the tweed family, the cheviots Shetlands, and Irish mixtures are the preferred rough fabrics for winter suitings, although dark colored flannel will find their way to the racks of many a smart retailer.

Nevertheless, knockout drops have not been administered to winter worsteds. To many men, a winter without worsteds would be like a winter without overcoats. But even the worsteds have caught something of the more casual spirit of the softer fabrics, and their uninteresting patterns have given way to small neat color stripes and over plaids. The perennial blue worsteds, too, will carry similar striping effects, and black worsted suitings* are seen with spaced groups of white or colored stripes.

*This business of black patterned suiting is explained a few paragraphs below in detail.

After an eclipse of more than a decade, a revival of exceeding interest is the Irish nubbed Donegal tweed. This fabric with its characteristic colored flecks and its rough surface still carries the hallmark of its home spun origin. Heretofore, Irish Donegals have appeared in the customary basket weave, but many of them are now being executed in the new herringbone patterns. While they have retained their rugged appearance they seem to have taken on new attractiveness.

Irish Donegals, of course, are not the only country fabrics being favored. The popular Scottish district plaids, considerably lighter in weight, are seen wherever the sporting gentry of the English countryside come together. Of many district patterns the small double toned 2x2 check with brightly colored overplaids seems to be the most popular.

In connection with the subject of district plaids, it may be mentioned that fashion scouts have noticed them at English sporting events made up into jackets cut like riding sacques. There are the same slanting pockets, the side vents, and the wide flares at the bottoms. Waistcoats of the same material are tailored in postboy fashion, and the trousers are conspicuous with open lap seams.

A striking feature of the London season, and a radical departure from the customary flannels, are the new black flannel suitings with vertical white or colored stripes.* Advance reports from Bond Street and Savile Row indicate that black flannels have been made an immediate hit with some of the best dressed men in London.

*Now then… here is a topic worthy of explanation. Of all the unusual things (button-down shirts with suit etc.) Americans are credited with… this above, however, is a genuine West-End London invention. It was seen there first, became popular with their younger set and eventually made its way, westward across the pond.

First let me be very clear about this. All of the examples (of what was seen) indicate the use of patterned black fabrics for suitings. Solid black suitings were NEVER observed. Much ink have been spilled on these fora about black suits but all of that revolves around the use of solid black for suits. I am certainly not going to touch on that… and will totally leave it to your fancy. Personally speaking, I don’t own a black suit and don’t think will be getting one anytime soon… especially a solid black.

Patterned black suitings… esp. flannel with a chalk stripe are somewhat different, although not much. Most of these stripes on black suitings were seen in a close double-stripe or tripe-stripe pattern. Almost always the model used was a double breasted (sometimes with a vest) cut along very metropolitan lines. But that was seven decades ago… much has happened since then. If there is something that has been overused in these last few decades… one of them is black in menswear. It certainly doesn’t seem like a “novel” idea these days. However, if you are bent on using a black striped suit there is a way to make it work.

Generally speaking try to omit worsteds in black altogether… nothing new there. If you must, then use very faint and discreet stripes. Rougher fabrics in black are easier to use and surely not that common either.

(Stay with me on this one and use you imagination in the best possible way. If you do this… you may conceive something different)

For example, try a heavy “fuzz” flannel with a faint chalk stripe in pearl / grey (Very rare and therefore quite unique). Where you can find this… that I don’t know. Once you have a heavy black flannel with grey chalk stripes… use light grey shirts (to pick up the color of the stripes) and for a dashing look add grey-black & white combination tie… preferably in Macclesfield like pattern… to complete the look. You can opt for silver in ties but don’t go to the shiny ones. Similarly, forget solid red in ties or plain white in shirts. Why? Done way too often… and usually in bad taste. While you are at it… try to let go of the white chalk stripes also. I am sure, nobody here will argue those in favor of grey chalk stripes. For shirts as an alternative… use white collar & cuffs with a grey body (either striped or solid). You do this correctly and nobody will ever yell “Scarface.”

All of this above is suggested and advisable for evening events only. See below for illustrations.

Resuming with the fabrics article.

Besides the night-shade flannels, the English market has shown a definite preference for cheviots and tweeds of all categories, particularly favoring those with spaced colored stripes. An interesting example of spaced striping is brown cheviot fabric carrying a three quarter inch stripe of gold alternating with a stripe of red. Another popular favorite is the blue cheviot with alternating stripes of grey and yellow. Subdued Glen Urquharts and overplaids, generally in a blue-grey mixture, are also London headliners.

Mention has already been made of the introduction of herringbone weave into Irish Donegals. All along the line, herringbone seems to be given more prominence than any other definite pattern. Although the size of the pattern varies, it is generally reproduced in black and white and brown and fawn.

Rougher fabrics always demand color. In the country this season, special interest will be centered around the Lovat green shades. Grey-greens and blue-greens are the most representative shades in this family. Although they lend themselves ideally to cheviots, other tweeds and flannels are made up in these colors, and are often set off strikingly with colored stripes and plaids.

As in past seasons, blues and blacks will reign predominately in town with a marked trend being manifest toward blue-gray patterned fabrics. While browns are usually preferred in the country, this season will see brown checks, plaids, and stripes hold a position second only to blues and blacks in the metropolitan areas. Little excitement seems to be aroused by grey-colored suiting in town with the exception of some grey touched up with stripe or check effects.

The wave of rough fabrics which seems to have reached tidal proportions this season has swept overcoats and topcoats along with it. Harris tweeds which yield an odor of burning peat in damp weather, roomy Shetlands, cheviots, and Irish tweeds are still in the ascendancy. This winter, patterns will figure importantly in the fashion picture with an interesting trend to colorful plaid backs. Glen Urquharts, herringbones, over plaids, and diagonal twills still maintain their popularity.

The prestige of the navy blue guard’s coat will be enhanced by its return to favor this season. Likewise for more formal town wear, soft heavy fabrics, notably chinchilla,* will be widely favored. For formal evening occasions the man about town will wear a Cashmere coat either in a diagonal or herringbone weave, only in oxford grey.

*Chinchilla: It is a thick, heavy double woven fabric, with a napped surface rolled into little tufts. It based on the name of a small animal from South America whose fur this fabric’s texture seem to resemble.

Bad weather in town, or any country event, will call out the Ulster, or great coat, which is enjoying a revival. Bold pattern fleeces and heavy tweeds, of course, lend themselves most favorably to these huge overcoats. Over sized plaids and Glen Urquharts, in addition to the herringbone, are the patterns most frequently followed.

Since black striped suiting was mentioned above… for the sake of clarity let me present two illustrations of these fancy stripes. This first one is from Early 34’.

Image 6-25-18 at 8.21 AM by The London Lounge, on Flickr

This is a black DB suit with double stripe that is quite well defined. Jacket carries 6 buttons and both the middle and the bottom one is buttoned. It is non vented at the back but can carry side vents. Pockets are jetted and pants carry cuffs. Shirt is black and white stripe with dark dotted motif tie.

There is a fixed place in the scheme of men’s things for shirts with stripes. Just now the stripes are a little brighter than they have been and the collars are somewhat shorter. This collar can be worn without a pin, but it looks a lot better and has a different touch if a heavy gold safety pin is used with it.

Gloves are of off-white color in chamois with buck as an alternative. Shoes are black on a town last. The topcoat can be blue or black, and the smart dressed set preferred a contrasting lining in heavy hound’s tooth checked fabric. For Lovat type cloths and the tweeds in topcoats (both town or country wear) the linings are of colorful Scotch. The derby is with a flat brim with only a slight curl and the crown has a tendency to bell. Note the over all metropolitan lines of this suit and according accessories. Take note of the shoulder lines also.

For those of you wondering about the color of braces with this type of a suiting… you would be surprised to know that they suggested brown leather braces.

Somehow that very masculine article braces, take on a sort of cave man air when they are made of leather. Leather, the first material for garments of any kind (leaves barred), has never been displaced, nor it will be. These braces, beside being of a grand reddish shade of leather, have buckles made of the same material and they are soft and flexible. A rather elegant idea.

You can let go of these very old fashioned braces and opt for box cloth ones too. This was presented so that you know how far the scheme of brown and black goes.

In addition to this double stripe depicted above, there was a triple close stripe suiting also. This is from summer 36’

Image 6-25-18 at 8.21 AM (1) by The London Lounge, on Flickr

Here this is a direct importation from West-End London. This one is a DB 3-pc suit with a long roll lapel buttoned at the bottom button. 4 buttons here on the jacket instead of 6. Note that the shirt and tie scheme is exactly what I asked you to imagine (above in the article).

In addition to this you should note that the general outline of the clothing is changed slightly from the waisted effect to one that emphasizes a definite taper from shoulder to bottom of the jacket. This, also, was observed in England first… especially at International Hurlingham Polo Matches 1936.

View this link to see the outlining sketches.

Image 6-25-18 at 8.22 AM by The London Lounge, on Flickr

This should give you a clear cut idea as to how these suits were presented. Again, these days it is best to skip them altogether unless of course if you can find something unique as black w/ grey chalk stripe or similar effect.

Well… that was about fall fabrics. Let us move on to section II of this post.

END OF SECTION I OF THIS POST

START OF SECTION II OF THIS POST

Right-ho!… now that we are done with the main review let us discuss something that is often brought up in these illustrations, i.e. the traditional Scottish patterns & British Regimental colors / stripes. Both of these topics are extremely broad and diverse in themselves, worthy of posts as detailed as this entire article… but for the sake of general public interest I have tried try to minimize the history.

However, most of this will be history and tradition indeed. If you have never indulged in either Scotch patterns or British regimentals (nor does plan to anytime soon) then you may skip over this section and proceed to the next. For those, who are interested… Likely, you will find them of most interest. It will give you a detailed history of these neat plaids and checks.

Mind you, nobody is asking you to wear a kilt or anything like that… just simply read it, it ought to be fun!

This is from Spring of 35’

THE PUREST SCOTCH

Comes not out of bottles but battles and looms—the Highland plaids and the checks

A traveler in the Highlands of Scotland years ago happened one day upon a cottage from which came the sound of women’s voices. He stopped to listen, and as he did so, he caught the wild sad strains of some Highland ballad. The notes grew in volume, became shriller, until even the hills echoed the sound. Cautiously the traveler approached the cottage, and summoning up all his boldness glanced inside through an open window. What he saw confirmed his worst suspicions, and that evening while warming himself by a fire nearby inn, he wrote to his friends in England that the Highland women were all furious lunatics.

His verdict must, of course, be discounted. For what he saw was a traditional performance, an early and somewhat primitive step in the manufacture of tartan plaids. Had he looked more closely he would have seen that the cottage was without a door. For it had been, in fact, removed from its hinges and set upon the floor. At the side of the door lay a pile of sodden cloth, and beside the pile on pallets of straw were four barefoot women. To the shrill rhythm of the ballad, and in perfect cadence, their feet tumbled and beat upon the fabric. It appeared, to be sure, a lunatic labor with much rhyme and little reason. But had the traveler inquired further he would have learned that they were cleaning, drying, and shrinking the fabric, a process now know in manufacturers’ parlance as fulling.

All this took place years before the Highland clans were suppressed, long before the troops of the Crown were ordered to kill on the spot any person whom they encountered wearing the Highland garb. And it was in circumstances as wild and barbaric as this that the colorful patterns of plaid which make many a country suit so smart were born. For there in the rugged Highlands where sheeps’ wool grew longest and strongest, where the climate was sharp and bitter, where the heather browned in the wind, the tough tartan fabrics were first loomed, and plaid patterns began to emerge as distinctive clan symbols.

Jealously the dyers and makers of patterns guarded the secrets of their craft, secrets that were passed on from generation to generation, each clan evolving a particular pattern which was never left to the weaver’s fancy to improve upon or alter. He was given a small stick around which was wound the exact number of threads to be shown in the bar or stripe—a practice, incidentally, which persists to the present day. With this as a guide the weaver loomed his patterns just as his people had done generations before him.

No cochineal or lac dyes were available to these primitive craftsmen. Only the plants of their native hills yielded the products for dye-stuffs. Yet so permanent were their dyes that some of their fabrics are as brilliant and as colorful today as when they were made two hundred years ago. It was possible to produce, even then, the color brown in sixteen different ways. Grey was obtained in eight different ways, buff in five, and black in ten. They took their purple dyes from the brambles, canary yellow from the heather flower, and red madder from ladies-bed-straw. For mordants to fix the dyes they used nutgalls and moss. And while many of these processes seem primitive to us, there is no doubt that the plaids of the Highlands have outlasted many of those made today with all the skill and ingenuity of modern technology. Though not as bright as the colors produced in modern factories, the vegetable dyes of the Highlands still excel in fitness and fastness many of the present day minerals dyes. Every Highlander’s wife was a competent dyer, and her blues, reds, greens, yellows, blacks, and browns have rarely surpassed.*

*That obviously is no longer true. If cost is no object, dyes of today are a whole different universe from that of 30s… let alone the days of Highlanders.

To bleach their wools they set them in tubs of …..*, then boiled them in a weak solution of alum, from which they were transferred to pots containing dye. One primitive method is worth recording because from it has arisen the pattern that is known today as Shepherd’s plaid. Linen threads were bound tightly around skeins of wool in order to prevent the action of the dye at the point of contact. Then the skein was dipped in the dye, leaving alternate dark and light areas, which, after weaving, produced a spotted cloth.

*Guess what goes in there? Shouldn’t be that hard.

But making of the Highland tartans is not the whole story. For almost without parallel in history a single craft has here become intimately associated with the story of a people. Like a golden thread running through the wrap of feuds, battles, bloodshed and tenacious loyalties, is the history of the tartan plaids. For centuries more highly civilized people beat about the borders of the Highlands without violating their isolation for long, and while the world around them changed and progressed the High Highlanders preserved their Gaelic speech and their primitive customs.

Like many another pattern the tartan plaids became for the Highlanders an emblem signifying life, power, and clan associations. They were to these Scots what dragon and floral patterns became to the Chinese, the lotus and the palm to Egypt and Syria, the pomegranate to India and Persia, and the pine to Scandinavia.

Contrary to the popular belief the various tartan patterns did not arise originally as distinguishing symbols for the tribe or the clan. This development came much later in Highland history. For earlier, when the Druids, priests and poets of a mystic cult held sway, a hierarchic system came into being and rank was designated by stripings. In the clothes of the servants only one stripe was allowed. Rent-paying farmers were favored with two, and chieftains proudly bore five on their breacans. The Druids wore six, and the garments of the king were illuminated with seven.

But during the 12th century the power of the Druids was ultimately disintegrated and broken and the tribes were scattered over the Highlands just at the moment a horde of Danes burst into the territory. Out of the cauldron of this struggle, and the feuds that broke out among them, such clans as the MacDonalds, Campbells, and MacKenzies began to emerge and solidify. All members of the same clan bore a common surname, and peace or war yielded unquestioning obedience to the chief, who in turn was the protecting head. Intermarriage effectively made a family of the clan, and ultimately everyone from the highest to the humblest in rank claimed equal ancestry with the chief.

Fighting among themselves, and wearing the common Highland dress, it was only natural that a clan would begin to distinguish itself by special markings and patterns on its tartans. The remarkable thing is that, as the clans themselves began to break up into separate branches, little confusion arose in the patterning. The MacDonalds, MacDougals, MacAllisters, and the MacIntyres all belonged originally to one clan. Yet even today their kinship can be determined by the similarity of their full dress patterns. The backgrounds are invariably identical, and the differences are indicated by the insertion or omission of certain colored threads.

The authenticity of many a plaid is frequently disputed. The confusion arises, possibly, from the fact that some clans had more than one pattern. A few had as many as five. There was, for example, the common clan tartan, the chief’s tartan, and the tartan for mourning. But once the patterns were begun it was not difficult, over a period of years, to perpetuate them, for the tenants rarely moved from the land of their chief.

Another source of confusion is the frequent failure to distinguish the regimental and military tartans from the clan plaid patterns. In this respect it is interesting to note that Lowlands of Scotland rarely produced clans, and had no tartans, except a checked cloth erroneously called the Shepherd’s plaid. Nevertheless, it was a Lowland military regiment which first introduced the regimental tartan. In 1713 the Royal Company of Archers adopted a red tartan which they continued to use for more tan seventy years. He Cameroonians and the Royal Scots added another chapter when they later took over the tartan uniform and adopted distinctive uniforms which went unchanged through the World War.* Ever since the Scottish army was organized territorially, all of the Lowland regiments have worn tartan trews and their pipers have worn kilts.

*That would be WWI.

But of all the regiments none has quite attained the fame of the Black Watch. This is the Highland regiment that Napoleon watched with dismay that fatal day as it swept across the plains of Waterloo, its members yelling like wild-men and leaping upon French lines with drawn dirks and bare fists. The black watch was originally a police force raised in the Highlands to combat cattle lifting. When its commander first appeared before them he wore a tartan with a dark pattern of blue, black and green. The entire regiment followed suit, and today the pattern of the Black Watch has become the master design among Scottish tartans.

No story of the tartan cloth and tartan patterns is quite complete without mention of the garments which helped establish their fame. The Highland uniform was admirably evolved to meet the circumstances and conditions under which the Highlander labored. He had to cross bogs, swim streams, climb mountains, move swiftly into glens, and conceal himself effectively from the enemy.* All this exercise required freedom for the arms and the legs, while the art of concealment depended largely upon colors and patterns of cloth.

*These days all of these activities are certainly best done without any use of scotch tartans whatsoever. Now, what concealment among the surroundings has to do with plaids and patterns… that I certainly don’t know.

Fixed around his body was usually the breacan or belted-plaid which was a single piece of plaid tartan. This became a garment by day, a cloak in bad weather and sometimes served the owner as bedding at night. One had only to unfasten the belt and the whole was disengaged, It was slung over the left shoulder giving freedom to the right arm. During a battle when the stout Highlanders brought their deadly claymores into action, when they required the use of both arms, the breacan was quickly unfastened and thrown to the ground, baring great chests and arms, an action calculated to spread terror among the enemy.

Under the breacan was the feilebeg or little kilt, and like the one now worn strapped about the waist with a half a yard of tartan left at each end. These were made to cross each other at the front. Beneath the kilt, and now generally substituted for it, were the tartan trews. These shirt breeches were worn close to the skin, and for them tartan was cut cross wise, requiring considerable skill to match the seams in order to reveal the full pattern. The trews generally have smaller patterns than either the breacan or kilt.

Highland hose were made of tartan web and wound about by garters a yard long. A large purse, the sporran, made of goat’s or badger’s skin hanging down in front of the kilt as a sort of utilitarian but decorative pocket and carry-all, helped to complete the ensemble, although no true Highlander turned up without his dirk, and perhaps a knife, fork, and spoon, thrust into a sheath at his belt. The bonnet was generally ornamented with one or more feathers. The outfit looked simple enough but to the uninitiated it afforded as difficult a problem as the first dress suit ordinarily presents to a school boy.

When at last the clans were dissolved, when the troops of the Crown marched through the Highlands shooting on sight anyone wearing a tartan plaid, when the pattern-sticks and measuring guides were sadly laid away, many of the old and distinctive patterns were lost forever. And yet as one looks at the plaids and fabrics that remain, at the amazingly faithful reproductions of modern manufacturers, one can almost see again the colors and the patterns of the clans as they shuttled back and forth across the loom of Highland history. Each red stripe seems to spell a bloody encounter, each brown and grey seems to reflect the somber hills and crags of the sky of the gloomy Scottish landscape.

At scarcely any other point in the diversified evolution of the apparel arts has the history of a people been woven so surely and with such unerring fidelity into the romantic patterns and designs which are their heritage.

In addition to what was mentioned in the article above these patterns are of interest; Anderson, Royal Stewart, Erracht Cameron, Mackintosh, Buchanan, Hay and Leith, Dress Stuart, Red Fraser, Gordon, Hunting Menzies, Green Sinclair and Dress Gordon.

Furthermore, there are 3 checks and 2 plaids that take precedence over everything else, these are; Argyle Plaid, Glen Urquhart Plaid, Shepherd Check, Hound’s tooth check and Gun Club check. Even though you may not be inetersted in tartans but every well dressed man’s wardrobe (well-rounded) should have at least some items form these above mentioned five patterns.

See that was interesting… and I bet you cannot say well, I knew all of that. Though someone is bound to say… can we please see some illustrations? And the answer to that curious inquiry will be…. Nope. At least not now. For the time being, we are almost done with winter items & fabrics and moving toward spring. This is a topic that is best explained with a “Horse & Hunt” oriented post…featuring many illustrations… However, I don’t want to leave you gents to leave completely empty handed… so below is something from Fall of 34’.

Image 6-25-18 at 8.22 AM (1) by The London Lounge, on Flickr

How is that? A full page illustration of “Shooting on the Moors”, painted at Peebles, Scotland.

Here is the exact text…

Sportsmen from all over the world go to Scotland for the shooting season at the end of each summer. The grouse shooting begins on August 12th (the Glorious Twelfth was the thirteenth this year,* as the twelfth fell on a Sunday), partridge begins on September 1st and pheasant on October 1st. In this fashion drawing, which really deserves to be classified as a modern sporting print rather than as a mere fashion drawing, Mr. Saalberg conveys with equal accuracy the atmosphere of the moors and the correct type of shooting dress. Note that knickers are always worn (except by those landowners who affect kilts) because of the height of the grass and heather, which is always wet and would ruin a pair of trousers in a day. In a real siege of wet weather, short rubberized jackets are worn over the tweed shooting jackets, also an extra pair of outer trousers, made of the same water proofed material and cut off at the calf. Heavy overcoats are never worn, being supplanted by heavy cashmere or Shetland sweaters.

*The year being 1934.

Next we move to the topic of British Regimentals. This short article will touch over some key notes and at the end you will find a list of the most important regiments… when it comes to their influence on civilian neckwear.

This one is from Fall of 34’

TRADTION IN COLOR

British regimentals—concerned not so much with their future, since it can be depended upon to take care of itself, as with their glamorous and tradition-rich past

Tradition has it that “Diamond Jim” Brady, in reply to a question as to the reason for his habitual display of the most brilliant of sparkles, replied, “Them as has ’em, wears ’em!”

Pomp and circumstance! The term is synonymous with the British people. Great traditions and unwavering customs are the stock in trade of every Britisher. And truly with reason, for their history is rich in romance and colored with glory. To those who would ridicule this outward display of tradition, which takes its from in myriad of various signs and portents, it can be said: “them as has’ em, wears’ em!”

Our own country has long commemorated the deeds of the pioneering armed forces and we also have our traditions, but this background has not borne the colorful pomp of royalty. We have been too busy to establish any specific relationship between accomplishment and ceremony. For a little more than century and a half we have been neglecting “pomp and circumstance.” Therefore, with a deep bow and due reverence, we borrow for the British.

Of all the designated marks that are the tradition of the Englishman, the colors of the regiment, school or club are most respected by all. To wear them is the privilege of the select. To wear them without “right” is just “not cricket.”* They are a part of deep tradition and will always remain so in England.

*Now, that is precisely the point. Americans do not care about these things anymore, if they ever did. As such you will see no reluctance on behalf of an average American in wearing any of these stripes or colors, especially if they are pleasing to his eye. No need to mourn that…

However, Americans, when visiting foreign countries can certainly be a bit more cautious in using these “un-rightful” colors and stripes.

This is of course no barrier to the use of these colors in this country and therefore we present, “The Regimentals.” With the advent of striped neckwear as an important fashion note, the selection of these interesting combinations of color with their carefully studied spacing are masculine to the last degree. Perhaps the question of “Why Stripes?” arises. The answer to this is not exactly steeped in tradition. The soldier in mufti wants ease. Yet with this ease he carries the instinctive flair for style and smartness. His neckwear has taken on the individual note and deserves notice. The neutral tone in most tweeds is relieved by the more colorful note when he dons the right tie.

Here in this country we are witnessing the trend to tweeds, rough suitings, and cloths with cut and pattern that follow the traditional mufti. Darker patterns in plain and striped shirting are also on the ascendancy. To provide the necessary relief, more colorful and distinctive neckwear comes into its own. The finer patterns with more subdued ensembles will of course also hold their vogue, but they fall into different classification from the one under consideration here. Regimentals have found their place and that is in every informal wardrobe.

That Regimentals derive not from some individual stylist’s idea of what would look effective or even through the normal channels of fashion development is all in their favor. It is not often that one finds one of the deepest rooted traditions of a great nation manifesting itself in a form of wearing apparel and, in this case, Regimental neckwear possesses a background unrivaled by any other classification of merchandise.

The position of Regimentals on the private neckwear hanger will be favored one, their appeal magnetic to the selecting hand. With regimentals to the fore, there may be predicted a “drumming out” of less distinctive striping. The Regimentals are in command.*

* This last paragraph is AA editors speaking to the depression struck retail industry of 30s in US.

When one thinks of color in men’s apparel he is apt to associate it, in most typically traditional manifestation, with the peasant costumes of some more remote European countries. But tradition in color is also deeply entrenched with the Military.

Most colorful of military decorations, still contemporary, are those in use by the British forces. In each case, the backgrounds of these decorations are as rich in tradition as history itself. Masculine to the core, British regimentals are unrivaled for effectiveness of coloring and distinctive simplicity of design.

Although other countries use similar designations for military service, the origin of this tradition is British and no other country has standardized the system so well or identified it so effectually in the public mind.

Some of the important regimentals (in US neckwear market) were as follows; The Guards, Highland Light Infantry, Seaforth highlanders, Gordon Highlanders, Suffolk Regiment, Royal Flying Corps, Cameron Highlanders, Royal Army Medical Corps, West India Regiment, King’s Dragoon Guards, York & Lancaster regiment, The Queen’s Royal West Surrey, Royal Berkshire Regiment, Northamptonshire Regiment, King’s Own Scottish Borders, 20th Hussars, East Yorkshire Regiment, The King’s Hussars, Dorsetshire Regiment, South Staffordshire Regiment, Queen’s Royal Lancers, Royal Scots Fusiliers, 6th Inniskilling Dragoons, Royal Regiment of Artillery, 2nd Dragoons Royal Scots Greys, Wiltshire Regiment, Black watch, 7th Royal Dragoon Guards, Gloucestershire Regiment, Norfolk Regiment.

Out of all of these few were really famous and observed throughout 30s… these were; The Guards, Norfolk regiment, Royal Regiment of Artillery, and Black Watch.

This ends section II of this post. Next stop… spring survey with illustrations.

END OF SECTION II OF THIS POST

START OF SECTION III OF THIS POST

Staring of with section III of this post, we will go through a fashion survey from spring season, then after that observe various late winter / early spring items. The fashion survey is presented to give you many ideas in a relatively small place and at the same time explaining how some of these clothes were worn when they appeared first. This section contains some of the rarest AA / Esky illustrations…

From Spring of 32’

THE FASHION SURVEY

Seen at Meadow Brook. Most noticeable in suiting worn by this one of the largest gatherings seen at International Field since the last Internationals two years ago, were Glen Urquhart and shepherd’s checks, nine out of ten carrying over plaids… Most popular color—Brown in single breasted notched lapel and three button single breasted peak lapel models, the latter now well favored in England. Blue suits with chalk stripes confirmed a trend that should go far. Double breasted grey flannel suits were very popular… Many sports jackets, light tan gabardine with belted back, mostly worn with grey flannel slacks, but with many of the social equine set showing a preference for brown Glen Urquhart slacks. Some of the smartest spectators wore Harris tweed jackets in browns boldly checked and with nubbed Irish Donegal tweed slacks—the first appearance of an interesting combination which the sports minded should favor.

Shirts in tab collar models in madras and broadcloth in close stripes and bold colored stripes were still the most prominent but the 2 3/8 inch collar attached worn with a heavy gold pin is on the upswing in favor… many of these in cream broadcloth, very smart. Others in Glen Urquhart plaid in cotton in blue and tan (four worn by members of the Meadow Brook Club), also the perennial button down collar in white oxford.

Cashmere ties still high up in the popularity list…. Glen checks, plaids, solid colors, with madder foulards a close second. Most interesting feature in neck wear—crochet wool tie in stripes and a few in solid colors, and worn by the younger men.

The majority of the hose seen were wool, blue and grey in jacquard and plaid patterns worn by the older, and with their juniors still favoring yellow and light blue in solid colors… Many wore sweaters rather than waistcoats, all V necks in subdued patterns, though there were a few solid whites and burgundy.

Though the most popular hat is still a brown snap brim, some with raw and a few with bound edges, several men in the club enclosure wore telescope crowns snapped down all around in tan or dark green of scratch felt with a band about an inch high. London reports indicate this type as becoming increasingly popular in the English country sides and worth watching here.

SEEN AT OLD WESTBURY.The majority of the guests visiting the F. Ambrose Clarke Estate for the running of the thirty-fourth Meadow Brook Cup Race wore sports clothing… odd jackets and slacks or riding breeches and riding sacks… Gathered in colorful groups around a dozen coach-and-fours (Mr. Clark prohibits the entrance of motors into the grounds) were such well-known as the William Goadby Lowes, the Tommy Hitchcocks, and the Sonny Whitneys. The newest note in sports jackets evidenced by the garb of these important representatives of horse-loving society was a bold brown Glen Urquhart district check of Harris tweed with leather buttons. At least twelve of these coats were seen. Another coat equally popular was a hound’s tooth check of the same fabric and color. Most of the riding coats were either plaids or over checked patterns. Shetlands were worn… suits, jackets, and odd slacks.. with brown again favored in herringbones… worn with gabardine jackets… Once more, as at the Open Polo Championship, slacks of Donegal tweed (brown with orange and yellow speckles with lap seams* and self turned cuffs) were affected. Grey slacks with blue flannel or odd check jackets were worn by the more elderly sportsmen.

*This mentioning of lap seams is of vital interest.

Cashmere neckwear outnumbered all others…checks, plaids and foulard patterns, though the number of striped crochets too in solid colors and narrow in shape… maroon, blue and tan.

By far the most important note in shoes… brown buckskin with wingtips, perforated toe caps, and no toe caps. A goodly number of brown brogues, several with over-lapping tongues. Black scotch grain full brogues added a smart note to ensembles of brown and green.

Hat brims were wider… an amazing number of green felts. Also the telescope crown snapped down in front… Snap brim raw edge in dark brown still the most popular, however. One of the smarter horsemen wore a riding coat of Salt sack (really a bleached burlap, white in color, and originating in Aiken, South Carolina) with breeches of reddish brown, blucher riding boots of brown buckskin, canvas puttees, spotted hacking scarf,* Tattersall waistcoat, one piece top Glen check English cap, brown buckskin gloves.

*Now, obviously nobody is asking you to wear breeches… though the riding stock can still be indulged in. Use your imagination here (& wherever else breeches or knickers are mentioned) and there is no reason why you cannot substitute trousers of almost same color and pattern scheme in place of breeches or knickers.

SEEN AT PRINCETON. A careful checkup of Princeton clubs revealed some new and startling fashion trends, particularly the revival of the Norfolk jacket, not only the old model Norfolk, but the new and the latest version. The smartest tailor at Princeton has sold a number of these in Harris tweeds and Shetlands of brown mixture. If this jacket becomes more widely accepted at Princeton, it will probably regain the country wide popularity it had some years ago.

Bold hound’s tooth check jackets in black and white and brown and white are seen. These had sports backs.* The Princeton favorites, brown and grey, are still worn, although these colors now have striking patterns such as over plaids and checks. A number of students wore under their leather-buttoned sports jackets crew neck sweaters (and only crew necks) in solid colors, mostly white and blue. But one does find a new color—wine,** and this may be the coming color in men’s apparel, as several Princetonians have turned to tweed suits with wine over plaids on brown grounds.*** Wine, by the way, is one of the most highly regarded colors in England.

*Sports back means belted fancy banks.

**This was mentioned in the last post also.

***Take note of this interesting combination of brown tweed and wine over plaids.

Incidentally, more tattersall waistcoats are to be seen at Princeton than have ever been worn there. Gabardine sports jackets and light cream gabardine suits dot the campus on mild days. A number of the later had knickers, short and not plus fours… grey slacks, slacks of black and white shepherd’s checks with self turned cuffs.

A great amount of double breasted suits are worn…mostly grey. Other favored suiting are Harris tweeds, blue worsteds with stripes, Lovat cheviots, Shetlands in small diamond and herringbone patterns. Several three button peak lapel models looked as if they have been purchased in England, but most carried notch lapels. Many jackets had vents and patch pockets… smarter models, side vents and cash pockets… flaps on all pockets.

The reversible topcoat of tweed and gabardine has taken Princeton by storm… other combinations: leather on one side, tweed on the other; leather one side, gabardine on the other. A great many camel’s hair coats still being worn, but most of them look like they were bought in past seasons.

The flannel tie has brought the flannel shirt, and the flannel shirt is bringing the button down collar attached model back to popularity. Glen Urquharts and hound’s tooth patterns are widely accepted, but there is a marked and extremely important swing to solid colors, brown, grey, and blue. Besides the very popular tab and the button down collar attached, round collar attached shirts, made in a custom model but without a center pleat, and worn pinned, are making headway with Princeton clubmen.

Cashmere mufflers in bold district plaids and solid colors… silk gummed twill spotted mufflers tied in the Prince of Wales manner… large foulard madder print handkerchiefs… pig skin gloves in oxblood and yellow… buck gloves in rich browns… yellow string gloves… chamois.

The popularity of brown shoes continues, particularly in wing tipped and blucher models… brown buck skin… brown calf shoes with over lapping tongues made with crepe soles and heels… many cordovans, wing-tipped.

SEEN AT YALE. Just as this significant trend was apparent at Princeton, it is patently evident that Yale too is becoming more sports-minded than dress-minded in that matter of daily wear. The clear faced worsted that has had such tremendous vogue nationally as a result of acceptance at Princeton and Yale is being restricted to use in town clothes by students of both these institutions. If this countryside type of merchandise is properly presented as sports apparel to men of every age and not permitted to slop over, by incorrect modeling, into the business field, there is no valid reason why it cannot give rise to the merchandising of a wardrobe as distinct from the business ensemble as are formal clothes today… with new profit to the retailer.*

*Something worth reading and re-reading again. An important notion of the over all movement of fashions is explained here and how the retailers (caught amidst the height of depression) desperately try to take advantage of this.

At Yale pattern and design have fast replaced solid color effects. Brown and grey is still the predominating note, but the increase of patterns—plaids, checks, and herringbones—is steady. The solid grey flannel slacks that are worn are of the darkest grey imaginable, and are worn with light brown Harris tweed jackets with plain and with fancy backs, light cream gabardine jackets, and grey Glen Urquharts. Four-pocket Donegal jackets, mostly black and white mixtures, have really gained a foothold here. Many undergraduates affected flannel slacks of grey Glen Urquhart or shepherd’s check with jackets of gabardine, tweed, and the newest note—Lovat cheviot. In suitings English cheviots, very coarse and resembling tweeds, are favored in blue-greens, blue-browns, and browns with purple casts… very attractive… very popular… also camel’s hair vests with leather buttons.

Reversible topcoats (some in Lovat) almost equaled in number the camel’s hair, an amazing phenomenon in the face of many years’ supremacy of the latter in this locale. Colder weather brought out a number of English Balmacaan coats… single breasted button through with leather buttons, small military collar, slash pockets, in length about an inch below the knee, with a very full skirt. Many were lined with small hound’s tooth and shepherded checks in black and white.

The newest and most important note in shirts are Glen Urquharts and shepherd’s check of mercerized cotton with tab collar attached. This particular fashion has had a very definite acceptance here. Every shop in town has had a difficult time filling its orders. Many undergraduates wore tab collar shirts in plain or bold stripes… another popular variety had the short pointed collar, pinned to break smartly.

Insofar as neckwear is concerned it’s wool.. scotch plaids, Glen checks, shepherd checks, hound’s tooth checks, and small geometric designs… a few striped crochet wool ties… a few rep ties.

The all white shoe and the white shoe with the black saddle strap looked as if it were on the wane with dark reddish brogues taking its place rapidly.

Brown snap brim hats, worn as at Princeton without pinching, still prevailed… edges bound. Sport mindedness has brought in bold checked English caps.

SEEN AT BELMONT. Clothing and accessories of the Turf Set revealed a definite leaning toward pattern and rougher weaves in all fabrics.

Overcoats and topcoats were decidedly short, from ½ to 2 inches below the knee. The peak model fly front was the most outstanding model with the double breasted, particularly in grey herringbone effects and solid blue, second. Many coats carried slanting pockets with flaps… others, breast pockets with flaps. Many smart turfites favored Balmacaans in district plaids and checks—red glen Urquhart with blue overplaids, brown hound’s tooth checks with green overplaids, shepherd’s checks… Reversible topcoats of Harris tweed and gabardine were equally popular. The growing acceptance of the British short-warm is worthy of attention. This is the coat that was so extremely well liked by the English army during the war. It falls to a few inches above the knee, fitted… three leather buttons to button, double breasted, single vent in back… the bottom of the coat has five rows of stitching, flaps on pockets have three, as have the sleeves.

Suitings were of Glen Urquharts, Shetlands, blue-striped worsteds, Harris tweeds, and cheviots, many in Lovat shade.

Shirts with tab collars were more prominent than ever in all types of striped materials… many in the new widespread model as favored by H.R.H. Even striped cotton flannel shirts with 2 5/8 inch collar pinned… round collar attached, pinned in striped cheviots… Glen plaid and shepherd’s check cotton with wool finish to complement the rougher weave suits. The small round white collar found a number of adherents. There were enough green shirts to insure (along with other observation) a place in the fashion sun. Stiff bosom shirts… quite a number of them.

Ties … even striped reps… cluster stripes… wool ties in checks… spotted and polka dots well represented… several pointed end bow ties … many Spitalfields.

SEEN IN NEW YORK EVENING. Many Inverness overcoats. Not one or two but dozens… Blue and grey double breasted coats, the latter with satin lapels. Tail coats were longer and the waists were shorter. Lapels were wide, straight, of very dull ribbed cross grain. Some single breasted shawl collar dinner coats… A pale yellow silk waistcoat and a pale blue waistcoat were seen… a Continental quirk worth watching.

WIRE FROM OUR LONDON CORRESPONDENT… “Opening of the hunt season most successful in years. At the Quorn I saw many knicker-boxers on spectators. Small pattern pullovers. Wales was not hunting. Yet, polka dot reefers and rat catcher ties very popular. Hound’s tooth patterns prevailing in clothing. More caps than hats. Evening clothes tail coats a bit longer in waist. Ties not so large. Inverness cape seen. Blue diagonal favorite in overcoats. Tails in London—dinner coats on the Continent for theaters.”

Proceeding onto with the article and moving towards the illustrations…

There has been some concern voiced over the fact that I have been neglecting blue suits in favor of grays and browns. While, that did not happened intentionally but reviewing past articles seems to indicate that this is indeed the case. Well… I will make it up this time and we will discuss at least 2 blue striped suiting in this post and then hopefully more in next.

In addition to this, we will discuss an interesting topic that has been long due… i.e. Odd vests with suits. You will find many neat examples to learn from in this article and these will not be confined to suburban ensembles only. In this article I have selected some really rare illustrations of odd vests. Well, there are many of them present in AA / Esky pages… but relatively few which are full page (head-to-toe). If you find odd vests hard to wear then simply omit them and observe the suitings in general.

The first one is from early spring of 38’ and depicts a blue chalk striped suit.

Image 6-25-18 at 8.22 AM (3) by The London Lounge, on Flickr

Hmmm… what is the point of this illustration? Probably… that you can trod in-front of Sherry Netherland on 5th Ave (in NY) conversely… in front of (now closed) Plaza Hotel at the height of business daytime wearing semi-sports attire, just to prove that you “don’t work too hard”. In other words, not only can you escape from your office during business hours but are dressed in sporty articles.

That by the way is referring to the gent at the right in blue suit. Maybe our NY members can comment more on that.

Anyways, to begin with the detail… on the right we have a Marine blue (lighter than navy) flannel DB suit with pearl grey chalkstripes. Jacket carries 4 buttons and the lapels are rolled to the bottom button. Pockets are jetted and back in non-vented. Pants are cuffed. Shirt is blue and white striped with Spitalsfields tie in blue & pocket square is white linen. Hat is a sporty type known as Lord’s hat with a raw edge rolled up and shoes are of brown reverse calf. Resting on the gent’s arm is a rolled up umbrella.

Underneath the suit you will notice a lightweight black sleeveless mohair sweater that serves as an odd vest of dark color and lending an air of sportiness.

The over all lines of this suit are that of a metropolitan one. Clear cut lines of the shoulder with slight rope effect in addition to the jacket being of British Blade* model with jetted pockets all adds up in that direction. Here all you have to do is take out the black vest and substitute black calf shoes to swiftly change this attire to a formal city one. For something utterly dandified… try imagining the vest here in a lighter color.

*This British Blade model: Its hallmark characteristics include fullness in the shoulder blade area but a relatively clean chest. Note that this is different from the customary English Drape model.

Now for the gent on the left… he wears a English raincoat with raglan shoulders and a full skirt, white oxford shirt and checked wool tie. Suit is a medium grey flannel, a Cavalier hat, black blucher shoes, light grey socks and yellow string gloves. Take note of this raincoat styling as this will be used for later articles.

For those of you who are heaving a hard time imagining the blue suit with a light colored vest, below is something helpful. This is from Spring of 36’ and this time its Paris.

Image 6-25-18 at 8.22 AM (4) by The London Lounge, on Flickr

This is in front of Place Vendome, and the ensemble is heavily influenced by Anthony Eden… in case you can’t tell. Prime example being of the black Homburg worn with a white linen waistcoat and white gloves. This is a truly dandified ensemble and surely not for everyone.

This is a flannel suit SB 2-button with a faint blue overplaid. Note that the plaid size is medium… neither too small nor too large. Jacket carry broad peak lapels with jetted pockets and is non vented at the back. Pants are cuffed with minimal break. The shirt is of fine batiste with a white starched collar… a Charvet influence actually. The large knot foulard blue and white bow tie is in a typical French shape (with London acceptance in early 30s). The sack wrist gloves are lightweight white pigskin. Shoes are black cap-toe on a highly town last. Recommended for US users (at that time) was dispensing with the white gloves and the rattan stick and substituting a soft felt for the homburg. See how the silhouette tapers inwards below the waist… a phenomenon explained above with black suits.

Now for the details… gentlemen pay close attention here. In observing this ensemble you realize the sort of “dash” that is absent in the blue suit above. Heavily adding to this “dashing” appearance is the white linen vest to be sure but notice the presence of white in shirt collar and gloves also. The overall lines of the suit are metropolitan… such as lapels, pockets, shoulder line, etc. That is further enhanced by smart matching accessories. Modern day wearers may dispense with the bow tie and can opt for a four-in-hand in similar pattern and color. Even smarter will be the use of a navy tie with light blue dots to match the shirt color or the over plaid of the suit.

You should also notice that the vest shows 2 buttons, actually 1 ½ to be precise as the second one is partially covered. The horizontal placement of the breast pocket and the vest is aligned. You can change that if you like for alternating results. Here in this case substitution of a darker colored vest (like the one above) will considerably reduced its formality and the overall look. Of course should you decide to change the vest to a darker one… kindly change the accessories accordingly. To take this to another level try imagining this with a light color DB vest… like that of formal day wear.

But I am very fond of this as it is. All in all there is nothing dull or sedated about this ensemble, and it is supposed to be that way.

To view something similar in odd vest combination, click on the link below for a picture of Fred Astaire from 1948 (Easter Parade).

Image 6-25-18 at 8.22 AM (2) by The London Lounge, on Flickr

Here note the combination of suit, vest and accessories. Observe the length, shoulder line and above all the cut of front quarters of the jacket. This suit is with a very old fashioned close 3-button stance with ticket pocket on the outside. See the brown chalk stripe illustration below for a suit very similar in design. By the way, this can be done with a DB vest also.

Observe these two pictures also

Image 6-25-18 at 8.23 AM (1) by The London Lounge, on Flickr

Note here that Peter Lawford is wearing a WWI / early 20s era style brown suit with 2 breast pockets and belted back. His shirt collar is starched rounded one. Astaire’s suit is relatively new in cut but still has older details.

Speaking of Db odd vests and having dealt with a striped and windowpane suit, let us observe something in a solid grey. This is from spring of 35’

Image 6-25-18 at 8.23 AM (2) by The London Lounge, on Flickr

This is a suit of very light grey flannel SB 2-button with vest left out. It is worn here with a double breasted vest of linen in fawn color, striped broadcloth grey shirt with white starched (short rounded) collar. Tie is of spaced figured foulard in black and yellow motif. You can have it in a neat small dot, i.e. black with yellow dots and that will be good too. Hat is a green homburg here but I would recommend a gray one for a dressy look. The best choice of shoes with an outfit of this type will be that of black with a town design. However, you can opt for dark reddish brown ones as an option. Note the yellow carnation. Here in this case a white pocket square is advisable or if the flower is white, you may have it in yellow.

Similarly… this one (below) is from Spring of 35’ and best recommended for town wear.

Image 6-25-18 at 8.23 AM (3) by The London Lounge, on Flickr

This is a 3-pc blue flannel suit with prominent white chalk stripes. The pockets are jetted and the lapel is rolled to the middle button. Shirt is of blue broadcloth, starched collar to match, and a large checked black and white bow tie with a thicker knot. Pocket square is in a blue and white color. Gloves are off-white buckskin. Note here that the vest has a higher than usual opening V with only one button of shirt showing. This is only recommended strictly for bow-tie wearers. If you use four-in-hand knots you may want to drop the opening V below… such that its aligns horizontally with the pocket square. In that way you will have sufficient room for shirt and tie.

Now to show you that this odd vest business is not just restricted to citified attires but also to country / suburban ones… this below is from early summer of 34’.

Image 6-25-18 at 8.23 AM (4) by The London Lounge, on Flickr

Moving into the realm of Glen plaids and odd vests. This here is actually at Belmont Park but similar observations were made at Saratoga also.

The outfits shown on this page are typical of the current preferences of those men who, by their every appearance at outdoor sports events, exert a perceptible influence on the fashion trends of the country. These fashion setting sportsmen constitute a small group, numerically, but of large importance socially and financially. Their whim of today is next month’s law in the designers’ workrooms.

The gent on the right wears a 3-pc suit (with vest left out) of bold Glen plaid. Jacket is 3-button with lapel rolled to the middle button. Pants are surprisingly cuff less. With it he wears a DB odd vest of linen in light fawn color, a white shirt with a white stiff collar, a red, white and green striped tie, Homburg hat and dark brown calf blucher shoes. He is carrying a bamboo stick with a gold pencil inserted at the turn of the handle.

Over here (unlike in above two instances) this suit follows natural lines and with a soft construction. Partly due to the nature of the fabric and partly of gents own preference. The whole ensemble is given a neat and unique touch with the addition of the DB odd vest, which by the way carries peak lapels of ample width… cut in a way to resemble a shawl collar like belly. The vests buttons are arranged in a keystone position and can be either 6 or 8 depending upon your taste. It has a square end instead of a “V” tipped one. Note the crossover position which is enough to show decent amount of shirt and tie. Here the suit does not carry an over plaid but can in blue (or red). It would be an extremely smart idea to match the shirt with the color of the over plaid (esp. blue) and the have one of the tie or pocket square colors in this scheme.

On Glen Plaids from Spring of 33’

For some years past no such definite acceptance of one pattern has been evident at any time as the present enormous popularity of the numerous variations of Glen Urquhart plaids. First observed almost two and a half years ago at some of the early spring meets, such as the United Hunts and other fashionable sporting circles, this pattern is growing consistently and is constantly extending its influence into all the branches of men’s apparel. You see it now in neckwear, shirts, hose, and even in robes, pajamas and shorts, while a Glen plaid suit has come to be regarded as an almost essential item in every man’s wardrobe, provided, of course, that makes any pretensions whatsoever to keeping his clothes up to date.

The gent on the left wears a Db suit of blue tropical worsted with 6 buttons and buttoned at middle one. Jacket has jetted pockets and is non vented. Shirt and tie combination is almost like that of the Parisian ensemble above… i.e. blue batiste shirt with rounded white starched collar and a blue and white dotted foulard bow-tie. Here however, the shirt carries a pleated front. His hat is a sennit straw with a club color band.* Shoes are brown buckskin with black leather soles and heels. Socks are of ribbed lisle in a light blue color.

*Speaking of club colors or regimental colors… here is something you must keep in mind.

…his hat is a sennit straw with a club color band and it’s nice to be sure, in emulating this example, that it is your own and not some other fellow’s club colors that adorn your hat. (Americans abroad frequently wonder why red faced and white mustached Englishmen suddenly bristle and turn purple at the sight of hat bands that some clerk recommended as being very nice.)

Kindly see section II “Tradition in Color” for detailed info on British regimental colors.

Just so you should know… it is perfectly correct to wear a soft felt brown hat in this case also.. esp. if straw is not your cup of tea.

For an alternate ensemble… here try imagining the gent at the left wearing the pants sketched at the right (glen plaid). That will create something rarely practiced these days… the art of wearing patterned trousers. If you like this idea you will be pleased to know that it is recommended and advisable for weekend town wear also. Substitute black shoes instead of brown buck when making this switch…. Or use dark mink color brown suede shoes.

Having done with blues and grays let’ us go to brown. Picture below is from early spring of 35’

Image 6-25-18 at 8.23 AM by The London Lounge, on Flickr

Here you see two ensembles with odd vests underneath the suits and both of them quite suburban with their details. Here read this…

There was a time when one of the worst things you could say about a solid citizen’s appearance was that he “looked like somebody you might see at the races.” One of the others was “he drinks.” Today, the answer to both these bits of solemn opprobrium is “who doesn’t?”

The gent on the right wears a “track suit” in brown flannel with white bold chalkstripes. Jacket is a SB 3-button with lapel rolled to middle. It carries side vents and an additional ticket pocket. Pants are cuffed, shirt is of light blue broadcloth with white starched collar, foulard bow tie in yellow and red motif, yellow pocket square, rough finish Homburg hat, and brown calf shoes.

This is worn with a DB odd vest of linen with ample lapels. In fact the suit is drawn with a button stance intentionally lowered so that you can see the generous crossover of the vest. You can have this suit in the configuration like that of the Glen Plaid one (above).

Click on the link to see a close-up detail sketch of DB vest

Image 6-25-18 at 8.24 AM (1) by The London Lounge, on Flickr

Here note that the lapels on the vest are peak but due to the extreme roundness appear like shawl. Note the V tipped front edge.

On the left we have a DB suit of small Glen check pattern.* Jacket carries 6 buttons with lapel rolled to bottom. Pockets are jetted and back carries side vents. Shirt is oxford with wide spread collar in blue and white stripes, tie is of foulard in blue and white dotted motif. Underneath the jacket is a sweater vest of navy blue. Derby is a rough finished one and shoes are brown suede with black leather soles and heels. Gloves are white buckskin.

*Here is a little bit of history on Glen plaids…

There are two types of plaids of which Scotland is the ancestral home, the clan plaids and the district plaids. The Glen Urquhart pattern is one of the latter variety and is, of all the district plaids, probably the best known. While no such romance, bound up with feuds and warfare, pertains to the district plaids as it does to those that come under the tartan classification, nevertheless the origin of the Glen Urquhart pattern is of interest. The district from which this plaid received its name is located in the county of Inverness, near a large inland lake which flows to the North Sea at Moray Firth, known as Strath Errick. The appellation “Glen” denotes that portion of the district which is located in a valley. While the Tartan plaids designated the wearer’s family, or clan, the district plaids merely designated the locality from which he came. Doubtless the Urquhart Clan took its name from this district.

See section II of this post “The Purest Scotch” for more detail on Scottish patterns and history.

Not all odd vests that are in light colors necessarily formal. One example is the tattersall waistcoat presented in last university styles article another one is below. This is from spring of 34’

Image 6-25-18 at 8.24 AM (2) by The London Lounge, on Flickr

The last heavy suit presented for this winter season, it is a rare suit… I am sure you can see that. It is of neutral Shetland that carries a darker windowpane pattern. Jacket is 3 button with roll lapel and carries an extra ticket pocket plus side vents at the back. By the way… it is a 3-pc with original vest left out. Pants carry natural turn up (are long with straight hem to be worn with braces) which is basically a self folded cuff. The odd waistcoat is off yellow flannel, which can also be used as part of a riding kit, and the shirt is of tan cotton blend in a plaid. The waistcoat here is of a slightly higher opening, and if desirable you may lower the opening about 1.5” or so. Tie is knitted and green in color as is the pocket square. Cap is black and grey gun-club check in a one-piece top model. Topcoat maybe covert cloth (see below for illustrations) or tweed. Gloves are actually yellow in color. Note this matching of gloves and odd vest. Shoes are brown buckskin full brogues.

Here it needs be mentioned that either the shirt or the vest is best kept in solid fabric. Otherwise, you are apt to run into the danger of a pattern clash. For a more interesting alterative, change the tie to a solid red wool and use the pocket square in a brown or red / yellow motif. You can also change the shirt to yellow color and keep the original matching vest of the suit. Note that the jacket sleeves carry 2 buttons on the cuffs and this type of a jacket can easily be worn with trousers of flannels in tan or grey color. You can keep the rest of the ensemble as it is. This suit… because of its cut and fabric… is best advisable for country or suburban wear. You can try it in town on weekends or after business hours.

On Shetland for suits

Among the fabrics suitable for sports suits, none aspires to the first rank position held by Shetland. Of the various colors in Shetland cloths the neutral shade is favored, in self patterns or over checks. The pattern shown carries a small over plaid and is suitable for country wear in either warm or cool weather. It has all the desirable characteristics for a sports garment, being soft and loose in weave and draping nicely.

On country topcoats

Topcoats for country wear vary considerably, but raglan models in tweeds, particularly Lovats, are at this writing* a fashion high-light. The one shown is a rust over plaid on a Lovat ground which typifies the sportsman’s choice for suburban wear.

*That being spring of 34’

Alternate Accessories

A new tan cowhide belt for country wear has a swagger buckle with a Zip-clip fastener-- which permits easy adjustment and holds securely. The shirt is a new weave of oxford cloth, giving a texture that suggests burlap. It is effective in the colorings of the current woolen tweed patterns and goes very well with rough finished country clothes. The Argyle plaid hose give those who like to go garterless a chance to do it fashionably, as they feature an elastic top which obviates the necessity for garters. With the general popularity of plaids and checks, the traditional patterns on white grounds are very much favored for use in wool hose for country wear.

On checked shirt

Oxford type shirtings lend themselves to much variety and here a tweed weave suggests burlap in texture. The colorings are those of the current woolen tweed patterns and effectively combine with country type of a suit.

Okay… that takes care of the late winter / semi-spring articles for the time being. Let us view something that is a genuine spring ensemble and this is sort of presented as a precursor to the main spring article. This is from spring of 35’

Image 6-25-18 at 8.24 AM (3) by The London Lounge, on Flickr

This is a gabardine suit of light cream color. Jacket is DB with long roll lapels and 6 buttons in a keystone configuration… i.e. you can’t button this in any other way. It contains jetted pockets and can be either non-vented or side vented. Shirt is a spread collar oxford in ivory color with red stripes and tie is a foulard polka dot in reddish brown color. Hat is brown telescope and with it recommended shoes are either brown buckskin, two-tone combinations, or even white bucks (if used in a resort setting).

It is an extremely useful of a suit… so much that it is right up behind the grey flannel one. You can use the jacket as a separate with white flannel, linen or white duck trousers. The pants can harmonize any light grey flannel jackets also.

Here to further elaborate on this topic, observe this illustration from early 30s… Tailor and Cutter.

Image 6-25-18 at 8.24 AM (4) by The London Lounge, on Flickr

This is one of the most quintessential spring / summer suiting models and will be used in the future as a reference repeatedly. So take good note of it. This is a DB patch pocket model cut along very casual lines. Ideal fabrics for this type of suit are Linen, Gabardine, Silk, summer weight flannels and Cotton combinations. It can be made in tropical worsteds also.

Attending to the details… we have a short jacket with a button stance that is pushed up. Neither of the two buttons are at natural waist, the top button is higher than waist and the lower ones aligned with the opening of patch pockets. First note that both of the buttons need to be fastened in this case. If you opt for a roll in the lapel you can have it buttoned at the lower button only. Since the button stance has been pushed up, the “gap” between the lower buttons and the bottom of the jacket has been effectively covered with patch pockets. This type of a cut would look odd with jetted pockets or flap for that matter (unless you need that visual height). The breast pocket is welt but can be of patch and thereby will cover the open area you see (top right of buttons). Armholes are high and sleeves have proper tapering with only one button at the cuffs. Lapels are old fashioned (horizontal) and gorge is rather upper placed. Shoulder and waist lines are natural and are completely in accordance with the easy style that this suit is supposed to convey.

It is conventional for this type of a suit to be made in a fabric that wrinkles. Should you desire anything more adventurous, you can have this made in about 13oz weight covert cloth. By the way, the recommended weight for gabardines and linens is also 12-14 oz.

Pants are cuffed and very full in cut but have only a slightest hint of a break. Shirt is with soft lounge collar attached and tie is striped. Hat is a soft felt with a narrow brim. Shoes are of utmost interest and are in an authentic old fashioned two-tone design. Click on the link below to see a sketch.

Image 6-25-18 at 8.24 AM by The London Lounge, on Flickr

The white portions are buck / suede or can be exotic goatskin & the darker parts are brown or black calf.

Moving along… look at this illustration below from fall of 34’

Image 6-25-18 at 8.25 AM by The London Lounge, on Flickr

Guess what this is?... I bet, you are going to say…why, that’s a camel hair topcoat isn’t it? The answer is… nope.

This here is actually a covert cloth coat in a DB manner that is unusual for two details, first the removal of the stitching and the other is the fact that it is cut along rather formal or metropolitan lines. Moreover, the traditional greenish hue of covert cloth has been removed as much as possible leaving behind only a tan shade. Covert cloth is usually made up in that traditional fly front SB model but it is good to know alternatives as well. This comes to only a scant two inches below the knees, carries an external ticket pocket and a center vent at the back. The derby and the covert topcoat together convey and very “wall-street” type of a look and they team up nicely. The grey suit underneath is of worsted flannel with a bold blue overplaid.* Other recommended fabric for this type of a suiting is cheviot. Shirt is white with a starched collar and foulard tie is in blue and white polka dot motif. Shoes are black calf with rounded toes and straight tipped, gloves are of yellow chamois. Note the small blue cornflower boutonniere. You can wear a pocket square with this topcoat if you feel like it.

*(See the Duke of Windsor post to view this type of suiting in detail.)

The natural color covert cloth topcoat has always been a favorite with well dressed men, both for town and country wear. The coat shown on the opposite page is in a double breasted model with an outside cash pocket and has a definite waistline. The sleeves are set in with natural shoulders, while the coat is cut with fullness in the chest and at the shoulder blades. The back of the coat is plain except for a center vent.

You can try the same model of topcoat with the traditional rows of stitching around the hem, pockets and cuffs. It will reduce the formality considerably and will resemble the one used by the horsey set. If you opt for the stitching in this model… add a bit more flare to the skirt and alter the cut to a more relaxed one, so that all is in accordance.

Last but not least we have the final illustration of this article. From spring of 36’

Image 6-25-18 at 8.25 AM (1) by The London Lounge, on Flickr

Here is the most traditional and correct version of covert cloth topcoat that you can imagine. Pictured here in the vicinage of St. James palace. The topcoat is fly front notched lapel with slanting flap pockets, the flaps carry extra rows of stitching that finish the cuffs and the skirt. This coat was a favorite of well dressed Americans too. Believe it or not this was a fashion that made its way the other way around… i.e. from US to UK.

Other details are a midnight blue homburg hat, a blue worsted suit, a light blue soft shirt with a starched collar, a dark spitalsfield tie with a gold animal figure scarf-pin. These pins were introduced in England at the Royal Ascot and derby. These were offered in various sporting animal figures—horses, dogs, etc… and were set in full vogue by none other than Edward VIII.

Before we wrap up everything… a little bit of history on covert cloth & shade will likely do you some good. …From fall of 34’

Covert is the shade—or perhaps the plural should be used, since there are several shades—which takes in the range from a light greenish-tan to a rather deep tannish-green. What is behind the name covert and to what use will this shade be put during the coming seasons?

Covert cloth receives its name from a very early association with the sporting hunting. This material was primarily used for garments worn by hunters and riders who met at an appointed rendezvous in or near a covert which was to serve them as a starting point for the day’s hunting. The application of the name to the cloth is, of course, an obvious one.

It is only natural that the cloth produced for this specific purpose was one which would withstand all kinds of weather, as well as the effects of the thicket and briar bush—hazards to be encountered in any good hunting country. Even as the “covert” itself afforded protection to the game, so did the cloth which borrowed the name provided protection to the hunter. The color of the cloth itself is the logical result of deliberate planning in the selection of a shade which would not appear too slovenly after the dust and mud had done their worst.

The covert cloth topcoat has each spring and fall shown increasing popularity among those who practically appreciate the essentially smart appearance of this cloth. It suggests a traditional smartness for both town and country wear and, beyond that, its subtle coloring seems to harmonize well with every possible combination of apparel. And now, with the covert coat established as one of the essentials in the wardrobe of the well-dressed man, it is only natural to find those who appreciate this shade in a topcoat favoring a new hat whose chief feature is the fact that it retains the true covert coloring.

On this interesting “new” covert hat…

Perhaps taking its cue from the covert topcoat, one of the outstanding points about the covert hat is the manner in which its greenish-tan color is equally at home with every shade of topcoat, suit and, in fact, almost any combination of furnishings.

The addition of a black band, incidentally, not only adds to the smart appearance of the hat but also its faculty for harmonizing with other articles of apparel, since black in any combination of colors serves the purpose of cutting down the effect of stronger hues so that they do not become too dominant.*

*In other words black usually is known for draining color from its surroundings.

The hat is in a shape which tapers slightly and yet avoids the extreme; its brim snaps readily and is a bit wider than usual. Taking excellent advantage of the covert color which is its main point of distinction, this particular hat seems unquestionably destined to be one of the smartest—if not the smartest—hats of the early fall season.

Just as covert evolved from its use in a certain type of hunting garment into various articles of apparel which incorporated its harmonizing color to good advantage, so there is no reason for thinking that this most recent use of covert color in a hat will be the final departure from the original use of the shade. It is, in fact, too much of a “find” for that.

This ends spring illustration section of this post. Next stop… Palm Beach / Summer preview.

END OF SECTION III OF THIS POST

START OF SECTION IV OF THIS POST

This section is sort of an advanced version of upcoming spring / summer part of this series. In this section you will find some vital info about the Palm Beach season and its influences.

From Spring of 33’

THE SHIRT TREND

Button down collar and round collar attached shirts loom large in the summer forecast

Preferences evidenced by the country’s best dressed men during the recent winter resort seasons indicate fashionable acceptance for oxford shirts in white, blue, and grey with button down collar attached. This was the most frequent choice of the majority of the better dressed men in the smart colony crowd at Palm Beach. Many of the younger men wore oxford shirts with the round collar attached, worn with a collar pin. A new note this season is the pongee* shirt worn with collar attached, although many of the mature men of the cottage colony wore this fabric in a soft pleated bosom with a white rounded laundered collar. Another shirt that was favored by a great many was the natural linen shirt** with either the round collar attached or one with straight points two and a half inches long. A number of broad cloth shirts were seen in very brilliant colors such as engineer’s blue, lemon, and on a golden tan. The lemon shirt, by the way, is particularly smart with a grey suit.***

*Pongee: It is a soft, “natural” silk, left unbleached and woven in a plain weave. Pongee is said to be either a corruption of the Chinese word punchi, home woven, or of pun-shi, native or wild silk.

**A wonderfully smart idea. I encourage the use of this shirt these days, esp. in summer seasons. Very porous weave makes it a genuine summer article to have, not to mention its rarity. It pairs up very well with light grey to darker oxford shades. This was also depicted in an illustration in last summer series.

***Use of yellow in resort wear is certainly permissible. However, this lemon shade in reality is not so smart as it may seem in theory… esp. if paired up with a gray suit. Yellow in menswear should not have the bright “acidity” in it and should be somewhat sedated. For a better alternative, try the natural shade mentioned above.


THE NECKWEAR TREND

Bandana prints and polka dot foulards are riding high for popularity this summer

The biggest new development of the Palm Beach season, beyond the shadow of doubt, was the bandana print. These ties are of India Madras cotton and, both in four-in-hand and in bow ties with slightly rounded blunt ends, they were enormously popular with men of all ages in that “charmed circle” of fashion leadership which revolves about the Bath and Tennis Club at Palm Beach. Less conspicuously evident, but equally favored, was the polka dot foulard, which blossomed out in many odd combinations, such as yellow with black spots, grey with yellow spots, white with red spots, and of course, blue with white spots, which is the daddy of them all, but is still going strong. Also prominent were spaced figured ties of foulard, especially on rich orange yellow grounds.* Also Charvet pattern and madder foulards and crepes.

*Note that none of the polka dots were in orange, violet, purple, etc. This is because the neckwear range for men’s (then) was a lot smaller than it is today, both in pattern & color. These days you can consider neat dotted ties in bright colors of orange (yellowish one preferably), violet, teal and many more. Remember, that orange offers a remarkable contrast with blue suiting (esp. if worn with a white shirt) and is certainly permissible for summer / resort wear. Violet / purple shades merge divinely with both grays and blues… these you may also use for metropolitan wear. Teal, is a rare color… one of those that is hard to wear right. However, if matched correctly it really shines in summer time.

If you have noticed, you will always find me suggesting alternatives in neckwear every now and then… esp. when explaining illustrations. That is because much has been done in the field of neckwear during these past 7 decades. What appeared tasteful to AA writers back then may not be the best choice these days… for example larger polka dots (especially shower dots) and loud foulards ties. Use them with extreme caution in present times.

THE SUITING TREND

Gabardine and natural linen and ninghai silk—these are three new notes in summer suitings

The biggest news of the season is the tremendously increased acceptance and importance of gabardine. It is definitely established for the coming season, having followed up its limited high fashion acceptance last year with a phenomenal spurt ahead. The predominating note is the light tan or cream shade*, but a new color that is coming up fast is a deep shade of green. Another importance is they grey flannel double breasted, especially with a white chalk stripe set at 5/8 inch spacing. Two new summer suiting are natural shade in linen and a biscuit shade in ninghai silk. The former is worn both in single and double breasted suits, while the latter is as yet largely confined to two piece suits with semi-Norfolk jacket or with single breasted jacket with outside cash pockets and fancy back. Glen plaid and shepherd checks will, of course, carry over through the summer their already well established popularity. An outstanding note in clothing generally: the small vent in the back of the coat.**

*See above for an illustration of this cream color suit.

**Back then about 5-6 inches.

THE FOOTWEAR TREND

In hosiery and in shoes there are new notes to be considered for the summer wardrobe.

The smartest and newest thing in hose is a six and three ribbed lisle with a fine horizontal striping, very much like the familiar partridge striping. The Palm Beach season also emphasized the importance of pastel mesh lisle hose, light weight wools in small checks and solid color effects. As for shoes, the most important note is the sudden inroad that brown and white combination lasts have made into the established popularity of the all-white shoe. The one leading model in this the brown and white combination is the straight tipped shoe without perforations (a help, incidentally, to ease in cleaning).* A newer model, however, which still has its popularity before it is a bal strap shoe with a medallion treatment of the toe cap.** This combination of brown and white was most popular among those leaders of the colony crowd at Palm Beach whose influence has such a direct bearing upon the national fashion trend. And not only in white buck, but also in white linen trimmed with brown calf.

*This is always amusing to know how the “smart” dressing set rationalized their idiosyncrasies… here they say the newer model is “easy to clean”! This is amusing because being economical was the last thing on their minds. I mean, in the midst of great depression they were in Palm Beach, flaunting all that they got and yet they tried to rationalize things like these. By the way… these two-tones shoes were often made in goatskin (white portions) & trimmed with calf. It was used in these summer shoes primarily for its lightness. Of course, here I assume you know about the qualities of goatskin and are aware of how much it would cost to own and maintain such shoes in 30s.

Try that for your next bespoke shoe order!

**See the link above in the section II for a picture of this bal strap two-tone shoe.

THE FORMAL TREND

A forecast of late spring and summer fashions a shown by evening wear at Palm Beach

What the leaders wear at Palm Beach in February and March largely determines what the best dressed men throughout the country will adopt as their attire for late spring and summer evenings.* At Bradley’s Casino, at the Colony Club, and the Patio Marguery, the double breasted dinner jacket was the reigning favorite, with some of the “advanced guard” wearing it in the shawl collar model. A high fashion note, originating at Southampton and Newport last summer and increasing in importance at Palm Beach this past winter, is the white linen single breasted dinner jacket with shawl collar and trousers to match.** The single breasted white waistcoat is the most popular model, although the majority of the men wore black silk cummerbunds. The soft shirt is definitely permissible for summer, with a fold collar. The long narrow tie is finally completely out, being replaced by the modified butterfly model. The sennit straw is the proper hat this season.

*A very important piece of info that will be explained in upcoming season, till then just remember it. You can add Southern French resorts & West Indies preceding even Palm Beach because that is where a lot of innovative ideas came from.

**I have mentioned this practice before, it was one of many things that never survived after WWII.

There’s that! Moving onto next part of this series (hopefully) we will discuss summer items. Plus, we will go through many casual summer / resort oriented items.

In the meantime Read it well…

Sincerely
etutee

END OF SECTION IV OF THIS POST

Outstanding, as ever. Thank you for putting in the time!

etutee, thank you.

I don't know what else to say. Your posts are a true pleasure to read and provide a wealth of knowledge.

This is great as always! Thanks for taking the time to put this all together.

Merciful heavens! I must say that I'm more than impressed with your sartorial largesse. Your posts are a wonderful education and resource. I esp. enjoyed the material on the Scottish tweed tradition.

Dear Tutee,

Thank you so much for your efforts. Please understand how exceptional all of your posts are, and are taken.

Even though the solid black suit question will never be put definitively to rest, at least you have driven a long nail into the coffin. Wonderful post, Thank you.

Etutee, your work is appreciated. Thank you.

Etutee, yours is the "Movie-tone News" of our little club here - evocative, informing, wholly nostalgic.

A glass of wine with you sir!

DDM

Thank you once again Etutee for another enjoyable and enlightening article.

Whittaker

Loved this installment, as with the others. Excellent.

Dear Etutee:
As always thank you for your very hard work in the AA/Esky post. I sincerely appreciate the photos from the AA days because I learn so much. Again I sincerely thank you for your time and effort.

Best Regards,

Cufflink79