The Duke's double inspiration

[RWS]

. . . . [L]apel width . . . is a question of composition. . . . [W]ider lapels can be very handsome and refined if they are composed properly. And there are a few secrets involved, of course. The secret is in the measure of the overlap. If the dimensions of the overlap are in harmony with the width of the lapel, the image can be elegant. . . .

If the overlap is either too narrow or too wide, the wider lapel does not work. One mostly sees too narrow overlaps that tend to exaggerate the width of the lapels creating an overly pronounced V shape. Think of the relationship between the overlap and lapel in the way we do the trunk of a tree and its principal branches. Would we see a sapling with huge branches or an immense, centuries old trunk with thin stems instead of branches? No, the upper structure of the tree is in harmony with the trunk.

In the DB, if the overlap, button point and lapel height and width are in harmony, the eye reposes on the overall image and there is no movement ie we see the whole garment in an instant of time. This elicits a pleasing aesthetic effect. If, for example, the overlap is too narrow, the button point too low, and the lapel too wide, the eye races to the dominant lapel and loses the rest of the coat. The point is that if you create movement or distraction in your cut, it will be extroverted. It will cease to be “unseen.”

Of prime importance is understanding the amount of overlap your figure can bear as this will have an effect on the width of lapel you can wear as well. An example comes from Naples where we see DBs cut for short and stout men with massive overlaps and very wide lapels, the dreaded “fireplug” cut. Small and stocky men simply cannot wear deeply set overlaps, it makes them look wider than they already are. And the exaggerated wide lapels make them look shorter than they are…it’s the double’s double indemnity. Likewise, on a slender man who is over a foot taller than Windsor, wearing a narrow overlap and narrow lapels will have the effect of lengthening and slimming an already slim figure. This is not an advantageous use of a tailor’s time.

If I understand this explanation correctly, Mr. Fairbanks's coat doesn't succeed (or, at least, not well). Clark Gable's coats (for I think these are two different ones), by contrast, are admirable; I particularly like the one on the left.

[alden]

Exquisite! Beautiful proportions. My only quirk is that I would like slightly shorter sleeves for myself, but this is just a quirk.

Once again, a very good eye Costi. The buttons intended for this coat sent from the UK were lost in the mail so we put some temporary buttons on for this season. The sleeves are not finished and have sham buttons for the moment. When finished they should be about a centimeter shorter.

It looks supremely elegant without conveying any impression of being “dressed up” thanks to its unaffected simplicity in colour and cut. It is an organic part of the whole.

In French we say, “La vrai elegance ne se voit pas.” “True elegance is not seen” is the translation but it might just as well be “True elegance is seen but not seen.” I have often written about how color, texture and cut of cloth are used to soften and simplify line and render an elegant image. Its one thing to write about such things and another to try to display one’s thoughts live in front of a camera. And images are extremely important because once you see simplicity…exaggeration looks all the more exaggerated, affectation all the more affected.

Over the next year I hope to create a photographic record of a good deal of my wardrobe as an offering to the LL. This, for the simple fact that there is a real lack of photographic material on the web that addresses the subject of masculine elegance. I guess I will need to take some photo lessons from the Sartorialist.

[storeynicholas]

. . . . [L]apel width . . . is a question of composition. . . . [W]ider lapels can be very handsome and refined if they are composed properly. And there are a few secrets involved, of course. The secret is in the measure of the overlap. If the dimensions of the overlap are in harmony with the width of the lapel, the image can be elegant. . . .

If the overlap is either too narrow or too wide, the wider lapel does not work. One mostly sees too narrow overlaps that tend to exaggerate the width of the lapels creating an overly pronounced V shape. Think of the relationship between the overlap and lapel in the way we do the trunk of a tree and its principal branches. Would we see a sapling with huge branches or an immense, centuries old trunk with thin stems instead of branches? No, the upper structure of the tree is in harmony with the trunk.

In the DB, if the overlap, button point and lapel height and width are in harmony, the eye reposes on the overall image and there is no movement ie we see the whole garment in an instant of time. This elicits a pleasing aesthetic effect. If, for example, the overlap is too narrow, the button point too low, and the lapel too wide, the eye races to the dominant lapel and loses the rest of the coat. The point is that if you create movement or distraction in your cut, it will be extroverted. It will cease to be “unseen.”

Of prime importance is understanding the amount of overlap your figure can bear as this will have an effect on the width of lapel you can wear as well. An example comes from Naples where we see DBs cut for short and stout men with massive overlaps and very wide lapels, the dreaded “fireplug” cut. Small and stocky men simply cannot wear deeply set overlaps, it makes them look wider than they already are. And the exaggerated wide lapels make them look shorter than they are…it’s the double’s double indemnity. Likewise, on a slender man who is over a foot taller than Windsor, wearing a narrow overlap and narrow lapels will have the effect of lengthening and slimming an already slim figure. This is not an advantageous use of a tailor’s time.

If I understand this explanation correctly, Mr. Fairbanks's coat doesn't succeed (or, at least, not well). Clark Gable's coats (for I think these are two different ones), by contrast, are admirable; I particularly like the one on the left.

I am fairly sure Gable is in the single shot; in the other, I believe that we have Fairbanks Jr (left) and Sr (no)? No?
NJS

[DD MacDonald]

Alden, I couldn't agree more about Lock's Weatherby model - it is a simple hat that takes on the character of the wearer. I've found that until the hat had a decent raining on it, it wasn't rreally mine. If I recall correctly, the dark brown is a color that they call "Sable".

BTW, between the kilo-cloth and the garment here, you've got two truly wearable garments that will pass the test of time.

DDM

[Costi]

Over the next year I hope to create a photographic record of a good deal of my wardrobe as an offering to the LL.

A truly generous endeavor! Given the few examples we have had the pleasure to see so far, I am sure your efforts will be plentifully rewarded with gratitude.
To do your wardrobe justice, you need just as steady and talented a hand to produce pictures as the one that held the shears.

[RWS]

I am fairly sure Gable is in the single shot; in the other, I believe that we have Fairbanks Jr (left) and Sr (no)? No?
NJS

I knew I needed new eyeglasses! Well, then, it's the elder Fairbanks's coat that doesn't much please me (too long a collar and too narrow a lapel, to my eye -- as best I can see -- or think that I can see).

[storeynicholas]

I agree: it looks skimped.
NJS

[S.Otto]

Over the next year I hope to create a photographic record of a good deal of my wardrobe as an offering to the LL. This, for the simple fact that there is a real lack of photographic material on the web that addresses the subject of masculine elegance. I guess I will need to take some photo lessons from the Sartorialist.

I look forward to the images Mr. Alden. I really do enjoy the direction and content you pour into your posts. As a young man, 1 year left at university, I really do benefit from the knowledge you forum leaders can bestow upon me. Thank you all.

Stephen

[andreasperelli]

Mr. Alden you may have interest in these pictures I took from a rare book about the Prince of Wales:





All Best,
Andreas]

[alden]

Dear andreasperelli,

Thanks much for the contribution of the photos. I have reformatted them a bit for better viewing.

The Duke’s Ulster coat has the particularity of having crescent pockets instead of the more conventional patch pockets. This must have created quite a stir amongst traditionalists. I admit to liking the idea as it results in a slimmer, cleaner line, and is practical as well. The coat is lightly flared as all elegant overcoats should be.



You can see the quality of the herringbone used in this coat. It is immaculate.



Cheers

Michael

[andreasperelli]

Dear Mr. Alden,
I'm pleased that you liked the pictures.
I would like to post another one because I'm very curious about your wise comments.

Kind Regards,
Andreas

[Cantabrigian]

[/URL]

I don't understand why some people consider this coat to be in any way casual.

For me, it's just the opposite - a good example of how an item can be very much correct but comfortable at the same time.

I think the flap pockets look good and represent an improvement over the original.

Congrats to your southern friends.

[RWS]

I quite like Michael Alden's topcoat and, too, find it an improvement on the PoW's original. However, it would appeal to me more were a buttonhole cut for the wearer's top right button -- even if the coat's never worn as anything but a 6-2.

Does the coat look a bit incomplete to any other Lounger because of this?

[storeynicholas]

Wouldn't the buttons have to be set in line for this to work? And I am not sure that the lapel as it is (proportinately) cut, would actually reach the outset button as it is set.
NJS.

[RWS]

Good points, NJS. I'm not certain that the buttonhole would need to be functional: it's the presence of a button without a corresponding buttonhole that troubles my visual aesthetic.