Some of you have been asking me (for quite some time) to write another post on formal wear and more importantly the one which covers quite a bit on tails. Well there is a reason why I have rarely, if ever, touched on the topic of tails… and that being… I seriously believe that these articles of clothing are not used anymore (certainly not enough to merit a detailed post). There are far more interesting topics that needs to be discussed before we start indulging in these items from days gone by… may that be tails, Inverness Cape or Cutaways / Frock Coats. However, for once I will make an exception here and do “the-one-and-only” type of a post.
Below, is a detailed article / post related to nothing….but, Tails. This topic is of such nature that it can be easily expanded into 3 times the size of this post (which is already long enough as it is). The history of tailcoat is a LONG one and certainly rich in its duration. It went through many stylistic changes before dying a graceful death in 2nd part of 20th century. However, such a fate cannot be assured for the dinner jacket, which has seen enough mutations already as it is… with who knows how many more to follow.
With tails, it is just not possible to do an article and not explain some history… it would not be fair. As always in the article below, the historic accounts… otherwise known as “fairytales” also are kept to a bare minimum but these (small historic accounts) are sort of a necessity with an article of this nature.
I have explained some info in the beginning… almost like brief highlights, regarding some of the key events that happened over the course of about two centuries. Then you will get to the main article regarding Formal evening dress. In it you will find all the possible info you need regarding correctness, style issues and different variations that were observed. After that will follow your favorite part, i.e. the illustrations from various AA/ Esky issues.
In between you will find many an interesting paragraphs of original text… explaining each illustration in extensive detail. In addition, you will find numerous links… presenting the pictures of various sartorial giants of the era… naturally donned in tails and toppers. These are very important, so be sure to view them carefully. Often, illustrations alone are not sufficient to give a clear idea … as to what the actual item may look like in real life. So these pictures shall be your guide… be sure to study them and see some of the movies for better detail. Towards the end, you will find additional links that will contains illustrations regarding the Evening Dress etiquette. These links will be helpful for you to visualize some of the finer aspects & details that are discussed in the main article. It is a VERY illustrative post, so be sure to look at things patiently.
This time, I am not sure whether to recommend this main article for newcomers or not. It is certainly confusing… especially if this is your first exposure to AA/Esky. Try reading it… if you get confused, leave and pick up where the illustrations begin. For our regular readers… the main text is from AA winter 1932. The additional info / text is from winter 33-34’ and early 34 issues and then the illustrations are from 5-6 different issues each listed (wherever illustrations are present).
Here we go.
ON TAILS…
The tale of the tailcoat that came into being during the first of the 19th century is interwoven with yarns of heroes and blackguards, fighters and fops. Lord Llandeff and his two brothers the Honorable Montague and the Honorable George Matthew were the first to startle the London upper crust by their appearance in top hats and tailcoats. These early 19th century dandies were called the “Three Mr. Wiggins” due to their haunting the Haymarket theater where this popular farce was playing for the edification of the ladies. These three brothers were responsible for many innovations in the men’s apparel of the period. With their invention of the round beaver hat with its tall crown and deep curled brim, the three-cornered affair, which had been both military and civilian headwear, started doing the disappearing act. Although they still clung to the skin tight breeches and top-boots of the period their coats assumed the close fitting cutaway shape emphasizing broad shoulders and slim waists which silhouette persisted in the formal evening clothes of 20th century.
During the Peninsular War the British military used the tails on their field uniforms as well as for evening clothes. The soldiers, however, that went into the battle so gaily bedecked in color and who charged the French so bravely at the historical battle of Salamanca found the long tails a serious impediment to rapid movements. A resourceful officer of the Fourth Dragoons discovered that by having two buttons sewn on the back of the coat at the waistline, the coat tails could be tucked up out of the way when serious footwork might be the means of far less casualties. Those two buttons are still with us although their purpose is only decorative—no longer practical.
The military caste took their clothes quite seriously, the famous fashion plate Lieutenant-Colonel Kelly of the Horse Guards and Rees Howell Gronow, equally famous, are credited with the first overcoat for formal evening wear. This invention of theirs was a model somewhat like the Inverness in style but with the swank and dash of the horseman in it. Of Gronow, tales of the period tell much of his being faultlessly dressed at all times and with more than a little mention of the details of his evening clothes. He is quoted as saying, “he would rather blow out his brains than go to the opera in anything but full evening dress.” It is very evident that the great dandies of the time took their appearance in public as a vital social asset, requiring careful and studied attention. Since horses were the only means of speedy conveyance from place to place in those days, it is only natural that most of the clothes of the period were so designed that they might be worn in the saddle. Even the variety of wheeled vehicles didn’t quite keep the saddle flavor from the clothes, so we find the tailcoats that went to the opera so split in the back that they would divide nicely over the saddle.
The year 1823 saw the ascent of Ball Hughes as England’s criterion of dress. The “Golden Ball,” as he was affectionately called, introduced the first of the somber notes in evening wear—another early invention that has come down to us. To please a Spanish inamorata (men still do it Spanish or otherwise) who felt that a black evening tie worn by her escort would bring out the exquisite golden paleness of her skin, the fashionable Hughes donned a neck cloth of black silk—on such a whim are fashions started. Another invention the redoubtable Hughes is credited with is the fore-runner of the present day drape trousers hardly thought for the same reason as the black evening tie. He was among the first if not the first among the fashionable fops of the day to adopt long trousers in place of knee breeches for evening wear. They were baggy and much pleated in the waist pantaloons that caused consternation and much interest in well dressed masculine circles.
Modifications of the tailcoat went on through the changes of habits and customs of the subsequent generations, until during the Victorian era when the simplicity of immaculate black and white became the regulation habiliments for formal evening wear, which combination obtains today. Almost two centuries have passed and color gave way to somber black, yet the basic idea of model developed during the period of Ball Hughes is that of the evening clothes of our day.
Okay…. That should do it for the historic key points. Obviously, there is a lot more but I won’t go into it. Below, is what it is more important than history (where and how to wear it). This text will also mention dinner jackets and black-tie rules… however, if you see nothing explained regarding these paragraphs, its not because there is nothing to explain… but due to the fact that we are focusing only on white-tie / tails. Therefore, only the paragraphs relating to tails are explained.
Remember (generally speaking) in formal evening wear there is NO PATTERN OR COLOR. As strong as the desire maybe to use pattern or color, try to suppress it. This is NOT the arena for your creative color-pattern mixing ideas… leave that to your suburban or country wardrobe.
But then again, as always there are exceptions to this also as you will observe them below.
From winter 32’
RE EVENING DRESS
We have gathered from the most authentic and fashionable sources here and abroad and by our own observations information regarding the newest and most correct notes in evening attire for both formal and semi-formal occasions.
Just what is the correct tailcoat is largely a matter of individuality. Tall men favor a coat that has fullness across the chest and that carries a broad curved lapel, coat tails are cut full and to the knee joint, trousers are pegged: full at the top and tapering to the foot. The man of average height favors a coat that also carries fullness across the chest but lapels are not rounded.* The tails is cut on a straight line to the knee joint, the front cut to about hip-bone, trousers are cut along the same lines for all men.
*I have mentioned this previously.
Lapels on the newer coats are of dull ribbed grosgrain — satin is passé, the duller lapel having replaced it.* A man who looks for individuality may wear a lapel with facings to the buttonhole.** Sleeves taper to the cuff and are short, allowing the shirt cuff to show about three-quarters of an inch, carrying four buttons and buttonholes set closely, on-half inch from bottom. In London, they are now favoring the same sleeve with a false cuff.***
*Note that satin is older than dull ribbed silk… something that is often overlooked.
**This is an old style, though very stylish indeed. See William Powell’s tails in the 1936 film “The Great Ziegfeld”.
***Firstly, how is that for the specific details on cuffs?...Then, secondly, this false cuff is from the horsey tradition. It predecessor includes the actual cuff of silk, which by the way are still often observed on country jackets. More on these below.
Cloth buttons are again the vogue although bone buttons are also correct. The side of the coat curves slightly over the hips as it goes to the tails. Trousers are cut forward which bring the pockets farther front so as not to disturb the coat when a hand is thrust into the pocket, and have two medium wide plain braids set closely on side of leg.*
*See the Duke of Windsor thread below for an illustration depicting this phenomenon of cut in tails and the false cuffs mentioned above.
Duke Of Windsor post
Historic Information: The tailcoat in its present form was inaugurated by the famous George Bryan (Beau) Brummel. While other gay dandies* of his day wore colorful coats and breeches for evening wear, the eminent Mr. Brummel wore a navy blue swallow-tailcoat, black breeches, white waistcoat and shirt, white neck-cloth, tied perfectly, and a six inch starch collar, which by the way he invented.
*That may be the single most hardest phrase to explain to a newcomer. It is rather interesting… depending on which way you look at it. But let us keep out head clear as to what notion they are referring to.
Near the end of his reign as supreme of all dandies, all London had turned to somber clothes and remained so to this day. The tailcoat was brought about in the later part of the 18th century, when long coats were worn by civilians and soldiers; it prevented the soldier from walking and at first the fronts were buttoned back. We still have three buttons on each side of out tail which was originally used for this purpose. A vent put in the back and also buttoned up. It was very bothersome for riding also and with these annoyances the fronts were eventually cut off and thus the beginning of the tailcoat. The two buttons in the back of the modern tailcoat is what is left of what once was used to button on a sword, as well as to button up the bottom of the soldiers’ coats when walking.
The dinner jacket which is favor now is a peak lapel one button model, welt pockets, tapering sleeve cut short (with four buttons and buttonholes) to show at least ¾ inch of the white shirt cuff. The shawl collar dinner jacket which was in favor many years ago is again back in use and often worn by men who have individual tastes. On the peak lapel jacket a cloth collar is preferable, although a satin lapel and collar is not incorrect. Ribbed grosgrain lapels are now in greater use by those who know. All jacket carry bone buttons. The D.B. jacket which came into use some five years ago was introduced for hot weather and at home,* and well-dressed men wear that particular jacket only for such purposes. D.B. jackets are also worn correctly in shawl collar models. Trousers are of the same material as the jacket. With the tailcoat a white (washable) bird’s eye backless waistcoat, three buttons, single breasted, is worn by the smart set; double breasted models are just as correct but not as popular.**
*This has been explained before in summer series. Take note of this.
**A consistent movement… all these styles coming and going. All of these are perfectly correct along with full backs. This is explained below with illustrations in detail.
All waistcoats have V-front and are short, favoring the high rise trouser. The newest note is a backless waistcoat which does not open in the front where the buttonholes are; the studs are just put in the embroidered buttonholes. The shape of the lapels and the points at the bottom, is a matter of individual taste.
Though black waistcoats was at one time the only one, with dinner clothes, the Prince of Wales a number of years ago wore a white waistcoat during the summer with his dinner clothes.* This action on his part brought an immediate acceptance of the white waistcoat with dinner clothes.
*Dinner clothes being… what is known traditionally as “black-tie”.
Smart Americans accepted the white waistcoats in the same models as worn with tails, although many men still prefer the black waistcoat, which is exceedingly smart when made of the same material as the jacket and trousers, though silk ones of simple design are correct. Black waistcoats are popular in the same models as white waistcoats.
The smartest shirt with the tailcoat is a fine ribbed pique bosom, two studs, open front, single square cuffs of linen. Dress shirts that button down the back are vastly sold throughout the country and are absolutely correct. One stud or three-stud shirt fronts are seen and are permissible. Double cuffs may be worn with dinner clothes but are not favored. Pleated bosom shirts are only worn with dinner clothes, preferably for hot weather wear or for a stag or at the club with a double breasted dinner coat. Smart men both here and abroad wear a plain linen shirt, stiff bosom with two studs, open front and square linen cuffs with tailcoat or sinner jacket. Although fold collar is worn correctly with dinner coat at stag parties or at clubs, and during hot weather, smart men evade it.*
*Well the Duke didn’t and always preferred a regular spread fold collar.
Ties: The question of the correct tie with either tailcoat or dinner jacket is one often in the mind of the average man. The same rule governs both the white tie for the tailcoat and the black tie for the dinner jacket. Men who frequent the more fashionable gatherings both here and abroad favor a semi-butterfly tie. For those men who seek individuality, the rounded tie, the pointed tie or the narrow straight bat tie may be worn correctly. No tie should exceed the collar tabs. The one-end tie, which is an English innovation, is gradually being accepted by the smarter dressed men in our country. A practice formed by many men is that of having their ties match their waistcoat when wearing a tailcoat, or matching the lapels when wearing a dinner jacket.
Men whose evening clothes are as frequently worn as their day clothes favor the black silk ribbed hose, which have something very masculine about them. Other hose which are worn are plain black silk, self clocked black silk, or dropped stitch clocked. Many of these silk hose are made with a lisle foot, which wears better for dancing. Black silk hose with a white clock may also be worn with dinner clothes.
The patent leather oxford is worn correctly with either tailcoat or dinner jacket. With the tailcoat, for dancing, long vamp patent leather pumps with grosgrain bow are de rigeur.
Here I want to break away for a moment and explain something critical that is brought up every now and then….that is, the patent leather whole cut (oxford). Below is some Exact info for those of you interested. It was introduced in late summer or very early Fall of 34’. The idea originally derived from the simplistic lines of pumps, was well carried out in oxford. At that time it was offered in patent leather (with flat silk laces) and only for evening wear at that.
From Early Fall of 34’
FOOTNOTES TO FASHION
Presenting a New (and Different) Dress Shoe Which Recommends Itself for Far More than its Novelty
Sooner or later all trends in fashion turn back on themselves and get a fresh impetus from old sources. The velvet knee breeches of Beau Brummel are not yet in our midst, but the increased popularity of the tailcoat and opera hat have been recent indications of the return to formal sartorial perfection. In making these concessions to true formality, however, we have found the standards of today on an even higher level in regard to ease and comfort, without detracting from the element of fashion correctness.
Hard have been the trials of those seeking ease in wearing the formal evening shoe—the pump. Exact fit is essential in the wearing of the pump, and even then the tendency to catch at the instep uncomfortably and the looseness at the heel have discouraged the otherwise strong in heart. The majority have fallen back on the conventional patent leather shoe.* Pictured here for the first time is a new dress shoe which combines the formality of the pump with the comfort of the ordinary patent leather shoe.** Side stitching has been omitted, and a single one piece of patent leather has been modeled upon appropriately light soles to fit the foot securely and correctly. The pinch of the pump has been altogether avoided, achieving the ease of the brogue.
* Observe this traditional patent leather oxford through the link below. From John Lobb UK website.
Image 5-7-18 at 8.13 AM (3) by The London Lounge, on Flickr**Here a picture of “new” dress shoe was presented which was quite similar to the one in the link below. Sadly, my book picture is water damaged and presenting the original picture will not be of much use. Use this link below to head to John Lobb US website. Then click on Ready-to-wear, then Oxford and then Classic. It is the Dickens model that I want you to observe.
John Lobb US
The shoe in AA is exactly like the Dickens model from Lobb, except of the curved stitching line… AA’s version was with straight “U” shaped stitching around the throat area. It was in patent leather with flat silk laces.
(A big thanks to our member “Jcusey” for pointing me in the right direction.)
Unbroken smoothness is the final touch in elegance to the perfect dress ensemble, and this new dress shoe with its suave exterior is, on that score alone a noteworthy contribution to the craft of footwear fabrication. Apparel Arts presents it to both retailer and manufacturer at the very beginning of its importance to this country. It provides a new story to tell the buyer of any item of formal wear attire, and certainly no man who is thinking in terms of formalwear could fail to be interested in this smartly comfortable version of the dress shoe. The pump will always be considered a correct dancing shoe, but the features of this new mode should make it unusually popular.
There is a lot more detail to this but this should suffice as this is not a shoe article. Needless to say, it (whole-cut) was thought of very highly by their fashion staff and one of their favorites in years to come.
Resuming from Winter of 32’
The question of the correct hat is one of great importance. Derby hats and felt hats other than black are absolutely incorrect. The majority of men favor the opera hat for evening wear when going to the theater or dancing. Its practicability has probably made it the most popular hat for evening wear. The high silk hat, which was worn throughout for many years, became so shoddy after a night at the theater or dancing, that for a great while very few were seen. However, within the past two years, there has been a gradual increase in the number of silk hats worn, and with formality ever increasing, we believe the silk hat will again regain its place as supreme in evening headgear. In this country, the opera hat is of fine ribbed silk, while in England and on the Continent, the smart opera hat is of dull merino cloth which will no doubt be popular over here before long. Quite a number of young bloods in England are wearing black and blue-black Homburg hats with their dinner clothes. This hat is also worn in this country, as are black snap brim hats. Of course, the felt hat of any type is incorrect with the tailcoat. The only hat to be worn with this type of garment is the silk topper, or the opera, either silk or dull cloth.
With tailcoat, on auspicious occasions, the white kid glove is correct. For the man who seeks individuality mocha is a smart and new departure from the kid glove. For out-of-door wear with overcoat, a white buckskin glove is correct. With dinner clothes, either the white buckskin or grey mocha is worn correctly. Silk gloves are passé.
The smartest overcoats with tailcoat are the double breasted navy blue or black. The former is the more popular. Black broadcloth double breasted coats, fur lined with either mink or Persian lamb collars are ultra smart for cold weather. The black Chesterfield coat, single or double breasted, with or without velvet collar, as well as the black single breasted fly front silk faced lapel coat are also correct. With dinner clothes, Chesterfield coats, guards coats, or the single breasted black coat with fly front and silk faced lapels are the correct and only coats except for southern wear, where natural color camel’s hair may be worn.
With tailcoat, shirt studs may be of pearls or precious stones, with cuff links and waistcoat studs to match. The vogue in London now is to wear black stonine studs in the waistcoat, or cut steel studs. The newest note for the man who again looks for individuality are dress shirt studs of white washable china. Other articles of jewelry that should be carried when the tailcoat is worn are: a pocket watch of simple design, either white gold or platinum; a key chain is indispensable, and should be of sliver, white gold or platinum. With dinner clothes, shirt studs of black enamel, plain gold, black onyx and other semi-precious stones, cuff links to match as well as waistcoat buttons to match. The same jewelry as with the tailcoat. A wristwatch is permissible, except with a double breasted jacket.*
*Again, here take note of this distinction.
Discriminating men wear evening mufflers of white gum twill, or pale yellow. The yellow muffler is merely a touch of individuality, but it is one of those allowances which are within the scope of convention. Crepe mufflers may also be worn, as may white silk squares, or crepe squares, although the latter are not looked upon with favor at the present time. Cut out monograms or embroidered monograms are a smart touch to the evening mufflers.* With dinner clothes, mufflers are the same.
*There existed (or maybe still exist) a set of strict and firm believers, who believed that the monogramming should never be permitted on formal wear articles and that these clothes should always be utterly discreet. This is explained, just so that you should know. None of these people are with us any longer.
Only a white linen handkerchief is correct with evening clothes. The one that is preferred by men who know is a white linen handkerchief, 27 X 27, with a hand-rolled edge, and a white tape border with initial of their surname either cut out or embroidered. An all over white jacquard pattern is also favored by many. Silk handkerchiefs are never carried.
Flowers: The man who wears evening clothes, either the tailcoat or dinner jacket, should wear a boutonniere. With the tailcoat, the white carnation or gardenia is generally accepted as the correct flower.* Colored flowers are never worn except with dinner jacket, where a blue cornflower, the yellow rose, or red carnation maybe worn correctly, the latter the most preferable. At a wedding, the groom wears a boutonniere of lilies of the valley. It is customary for the groom to supply his best man and usher with the appropriate flower, a gardenia for the best man the white carnation for the ushers.
*There are many instances on which you may have observed a red color carnation with tails also. This was usually observed on younger men and the practice was heavily influenced by the Duke, if not completely.
Now… let us look at some illustrations to see, what they have explained above really looked like.
Starting with a midnight blue tails from winter of 34’.
Image 5-7-18 at 8.12 AM (3) by The London Lounge, on FlickrThis is the typical tails that was heavily influenced by the west end tailors of 30s. First of all you have the wonderful “new” invention of midnight blue in tails with all its logic, which is explained below in detail. By the way, the gent on the left wear black tails so you can analyze the difference between the two. Then you have a slight change in style of tails as show above. This one (main character) features short, stubby (wide) lapels faced with dull ribbed silk grosgrain. The sleeves carry false cuffs. The shirt is of a very fine white linen, with white pearl studs. It opens at the front and has a rather narrow bosom. The wing collar in this case is slight exaggerated in illustration to depict the point more clearly. Tie is of white pique bow in a semi-butterfly manner. The waistcoat is a single breasted model, made backless, and worn with black buttons. Black silk hose and patent leather oxfords complete the ensemble in the best of taste. Another distinguishing feature of this tail coat is the absence of the breast pocket. The carnation is of red feather.
Let us look at all of these aspects in detail and what they had to say when these were introduced. Firstly the topic of midnight blue in formal evening wear.
The river of tradition runs deep and slow, but all along its course it is fed by swifter, racier little streams that may in time alter its characteristics. Deep, too, ran the tradition of black for evening clothes, and it took many years for the average man to accept the newer, brighter shade of midnight blue. But under the glare of the electric light black cloth often appeared musty green, and always showed dust. On the other hand a fabric of midnight blue under electric lights appears blacker than ordinary black, and shows less dust. In strong daylight the blue comes out clearly. Homburg hats are now available in the same color, and as the trend swings to midnight blue, it seems only a matter of time before the majority of evening clothes will be made up in this shade.
That was their nice little story in favor of midnight blue. Whether you prefer it in favor of black or not is totally up to you. However, it must be mentioned that in addition to midnight blue even oxford grey dinner jackets made their appearance every few years (during 30s and 40s), exactly like how midnight blue made its appearance, in the realm of semi-formal day wear. For quite a few reasons none of these practices survived for long, and oxford remained as an alternative for daytime and mid-night blue for evening. Part of that had to do with sunlight, at least in case of midnight blue appearing for formal day wear. The blue of the coat stood clearly away from the rest (gray / black / white) of the ensemble. Similarly, between oxford and mid-night blue (as alternatives for the evening), the later always seemed to be a better choice.
In addition to their mentioning of matching mid-night blue accessories, the use of similar color in trimmings must be mentioned. For a greater part of 30s, black trimmings were used for evening wear. Midnight blue ones, were very rare but were also observed. However, given the logic of their arguments it only seems natural that the theme of mid-night blue, if followed, be consistent throughout… as such, lapel facings and braid of the trousers comes first and foremost. Now, were I to commission a mid-night blue tails (and provided if the tailor had them available) I will not even think twice about using midnight blue trimmings or midnight blue patent (or calf) leather shoes. But keep in mind that the more you do it, the farther it gets away from the scheme of black and white… something that is integral to its simplicity and the resulting formality.
About the collars…
Slightly and purposely the wing collar worn by the gentleman on the opposite page has been over emphasized by the artist in order to clearly represent the first radical change in wing collars in many years. Much has been written about wing collars for formal occasions, but actually there has been little change or variation in them, if one excepts, of course, those collars made up by custom shirt makers to suit individual taste. This new collar, though high in appearance, is extremely comfortable because the opening at the front is wide. The wings are spread so that they protrude at least an eighth of an inch beyond the tie, and while the whole effect is Continental it may be safely worn in this country wherever innovation is not taboo.
View a picture of Henry Fonda from his 1941 film “Lady Eve”.
Image 5-7-18 at 8.13 AM by The London Lounge, on FlickrI hope you can see the similarity between his collar style and the one in the illustration above. As explained in the article… most of these collars were often made by custom shirt makers to suit the individual needs of their clients. It is better to have the collar wings or tabs slight wider than the tie , as opposed to the other way around. For a much more precise collar and tie shape view another picture link. This is Tyrone Power in his 1947 film noir “Nightmare Alley”.
Image 5-7-18 at 8.13 AM (1) by The London Lounge, on FlickrNote the extremely precise relation between the collar and the tie. Here the collar only extends about 1/8” or so more than the tie. And it goes without saying… in all of these instances, note that the wings or tabs of the collar are always behind the tie, NOT in front.
See these additional beautiful (& rare) pictures of Tyrone Power from 30s. These two images are a courtesy of Tyrone Power Pages website.
Image 5-7-18 at 8.13 AM (2) by The London Lounge, on FlickrNote the bow-tie shape and precision. And then below another very rare picture.
Image 5-7-18 at 8.12 AM (2) by The London Lounge, on FlickrHere in this picture above there is another style of waistcoats… the rounded cutaway end.
About the formal evening waistcoat buttons… a little bit of history from winter 34’.
At odd times in the past England’s navy may have changed the map of the world, but to England’s army (more particularly to her officers of the guard) goes the credit for changes along the “great white front” of the evening suit. Old sartorial dictums were quite clear on the subject. The waistcoat, the shirt, the tie, the shirts studs must always be white. Studs set with precious stones, of course, were expected. And the rule might hold today were it not for the English guardsman’s pride in his regiment. For on the white weskit of his evening attire he placed his regimental buttons, and thus started the vogue for colored waistcoat buttons. The buttons may be black, or any other color, but not too showy. They may be of cut steel or crystal.
Click on the link below to view Douglas Fairbanks. Jr. wearing tails ensemble similar to the one above. This is from lovely comedy film “Rage Of Paris” 1938.
Image 5-7-18 at 8.11 AM (3) by The London Lounge, on FlickrThis picture is rather old and grainy but what you should take note of his the extreme cutaway points of his vest. This was a style, in addition to the one above (Tyrone Power’s rounded end waistcoat) that was much admired by Fred Astaire.
Since we just discussed the waistcoat styling, let me present another illustration with quite a different styling of the waistcoat. Below is from Early winter 34’.
Image 5-7-18 at 8.12 AM (4) by The London Lounge, on FlickrHere we have the full fledged influence of Scholte evident everywhere, that is if you are observant. This one is a black tails with details quite similar to the one above. Short stubby lapels, false cuffs on sleeves and absence of the outside breast pocket. The buttons are covered with silk. The brevity of the lapels makes the waistline seem higher although the front of the coat has not been shortened. Trousers carry a heavy single braid (instead of the customary double) and are pleated. Shoes are patent leather pumps with silk hose. The dress shirt is of plain white linen with a two-stud open front and single link cuffs. The wings of the collar extend slightly beyond the modified butterfly tie. The most interesting note here is the vest, which is of white pique (matching the tie) and has sharp double points forming a “w” front. Here the shirt studs are white but the ones on the vest are black. See the explanation above for historic info on these black studs. The carnation, again, is red and suggested accessories are an opera hat and a navy blue guard’s coat… for wear outdoors.
Here in this tails note the high armhole and the pitched shoulder line with the slight rope effect. The whole look has been shifted “up” or to create an effect that is vertically elongating. This was the very same technique employed by Fred Astaire, except he mostly preferred vests with rounded ends and a cut away front. The famous Duke’s vest which he sought out to have replicated is like the one in the illustration above but with an extreme cutaway effect formed by the wide spaced points of the vest. See the duke of Windsor thread for additional info on this style of waistcoat.
Then to observe a vest style, very similar to the one in the illustration above, click on the link below. This is the impeccable Adolphe Menjou, in his 1937 film “Stage Door”.
Image 5-7-18 at 8.12 AM by The London Lounge, on FlickrHere note that vest is in almost similar style except the points of the vest are chopped off to create a square end like formal day wear vests.
Moving along… below is a beautiful illustration with tails and an overcoat superbly appropriate for formal evening wear. This is from winter of 35’.
Image 5-7-18 at 8.12 AM (1) by The London Lounge, on FlickrThis is a horsey event if you can tell from the picture, Madison Square Garden to be precise and the occasion is the opening of the horse show in the 2nd week of November. This event used to be known as the opening of the season for tails and toppers. At right you have yet another variation of the tails presented in the very first illustration. This here has all the exact same characteristics down to the same boutonniere. What is different is the vest, which in this case is of wide ribbed pique that creates a horizontal self-striped effect. Note that the collar extends slightly beyond the tie of semi-butterfly shape.
On evening collars… from early 34’
The changes that have come about in tailcoats have brought forth an evening collar primarily designed to go with the fitted and trim lines of the new evening wear. Since the collar is higher than it has been, the opening in front is proportionately wider to give neck comfort. It follows also in this design that the tabs be bold and deep.
On the correctness of evening ties…
Nothing is so much out of balance as a white tie that is either too long or too short. When tied, the edges of the tie should come exactly to the outer edges of the collar tabs.* Either the moderately wide butterfly or the moderately narrow bat tie is quite correct. If there is a choice of matching the tie to either waistcoat or shirt, match the waistcoat.** The tie matching the shirt, however, is not only permissible but preferable to having three different white fabrics exposed together.
*When the say “tabs” they are referring to what is now know as “wings” of the collar.
**Obviously in this illustration above they don’t match but could for a really interesting twist. Here with ribbed pique, it will be far better to match the tie with it rather than the shirt.
Now back to this illustration… on the right we have something interesting. It is a different style of coat that has a fly front, raglan shoulders, military collar and a lining of dull ribbed silk. This style was (then) offered as a substitute for the great old Inverness cape, which during the 30s was never as popular as it was in its pre 20s days. Note the white string knit gloves. Worn here with it is a white silk muffler in ascot fashion. Observe the length of this coat and the presence of deep cuffs at the sleeves.
To view an illustration of Inverness cape, see the link below. Note the similarity of lines between these two coats.
Image 5-7-18 at 8.10 AM (1) by The London Lounge, on FlickrBack to the vests and the tie matching… explained above… view this rare color picture of Astaire below (through the link). He is in midnight blue tails, with matching vest and tie (not the shirt) in fabric.
Image 5-7-18 at 8.11 AM (4) by The London Lounge, on FlickrHere… notice the shoulder line, the shape / width of the lapels and the tapering effect at the sleeves. You have to view the movie (Easter Parade) to fully appreciate the drape effect here. His tails simply “flows” with him, heavily owing this ability to the gravity prone fabric and the impeccable tailoring… a quality, ever present in his garments. It was a hallmark feature of Astaire’s tails to be rather high waisted, that combined with the high rise of the pants, created an illusion of height. For example, you will observe that (proportionately) the front of his attire (white shirt, tie and vest) was rather short and almost always pushed upwards.
This approach was radically different from some of the tails worn by…say, Gary Cooper. Astaire, needed this effect because of his very slim built and height. Cooper on the other hand was quite tall and could easily afford a long portion of white contrasting with the black. He was tall enough so that this expanse of contrast did not hurt him visually. Since we are on the topic… view these pictures of Gary Cooper in tails. These are from one of his most beautiful films (probably my best), “Love in the Afternoon” 1957 with Audrey Hepburn and Maurice Chevalier.
Image 5-7-18 at 8.11 AM (5) by The London Lounge, on FlickrNote the shape of his tie also.
Image 5-7-18 at 8.10 AM (3) by The London Lounge, on FlickrIn these two pictures note what I explained above… the long expanse of white contrasting with black. This contrast actually (and almost in all cases) breaks the effect of height visually. This is one of the main reasons why tall men, generally, tend to look better in white dinner jacket / black trousers combination. Since Cooper had the height, this visual effect was most suitable to him but would be disastrous for a person of smaller height (under 5’10”). Plus note that in order to reduce length… Astaire’s shirt is a 1 stud opening whereas Gary Copper’s is a double.
Before I wrap everything up with an overcoat discussion, let me illustrate some of the finer points of evening dress etiquette. I am presenting them through various links below. Kindly observe them and read the specific notes in each case. These are vital to the whole look of formal evening wear.
From Winter 36’.
Image 5-7-18 at 8.11 AM by The London Lounge, on FlickrFull evening dress necessitates perfection of detail for a gentleman to be at his best in formal kit. The tailcoat should not extend beyond the bend of the knee in back. Lapels of dull fined ribbed grosgrain are preferable. A long natural roll lapel, in proportion to the jacket, is best suited to every man. At least a half inch of white cuff should extend beyond the sleeve. White stones or precious jewels may be worn in the shirt, while buttons to match the waistcoat or black or gold may be worn in the waistcoat. A white linen handkerchief and clove red carnation complete the turnout.
Worthy of mention here is another style of evening waist coat with slanted 3 buttons only. This is also evident in the very last color illustration of the “Opening night at the Royal Haymarket Theater”.
Image 5-7-18 at 8.11 AM (1) by The London Lounge, on Flickr
Image 5-7-18 at 8.11 AM (2) by The London Lounge, on Flickr
Image 5-7-18 at 8.09 AM (4) by The London Lounge, on Flickr
Image 5-7-18 at 8.10 AM by The London Lounge, on Flickr
Image 5-7-18 at 8.09 AM by The London Lounge, on Flickr
Image 5-7-18 at 8.10 AM (2) by The London Lounge, on FlickrIn so far as the overcoat goes for formal evening wear, in addition to the one above, I would like to present the glorious and ever useful guards coat. Pictured below with full white-tie garb and topper. This is from winter of 34’.
Image 5-7-18 at 8.09 AM (2) by The London Lounge, on FlickrYou have seen me mention this coat before quite a few times, in different settings and as I said one of these days I will present some detail on this….well, here it is. This is one coat that is (or was) usually known for defying the clock. In other words, with a derby and worsted suit it went well with business clothes. It went with homburg and strollers for semi-formal day wear and even to a football stadium with a scratch hat, tweed suit or similar. Above all, it certainly went well with white-tie as depicted above.
Young civilian Englishmen envied from a distance the military trimness of the young guard officer in his smart military coat. But not for long. They were quick to imitate the style of it, the general line and appearance of it, minus of course the military accoutrements. The civilian model still retains the straight natural shoulder line, the narrow waistline and the full skirt. Two buttons were placed on the half belt in the back of the military coat, but these have been eliminated in the modern version. The inverted pleat, on the other hand has been retained. The lines of the lapels have been softened for civilian wear, although the original slanting pockets have been kept. The coat is supremely versatile, being correct for almost any occasion. In recent years it has been adopted for formal evening wear.
Here it is worn with a silk pale yellow muffler, top hat of dull merino cloth (as mentioned above in the article), gloves of white chamois in a one-button style, tails and double (side) braided trousers worn with a slanted hem and Patent leather pumps.
On collapsible Opera Hat
Any man who has in all simplicity and good faith, left his silk hat to the tender mercies of a check room attendant knows full well that the hat has rarely been accorded the respect it deserves. For this reason, perhaps, he usually reserves the silk hat for formal day occasions when it is not likely that he will have to check it. On the other hand he has discovered, perhaps through bitter personal experience, that the collapsible opera hat is by far the most practical headgear for formal evening wear.
The most popular material for opera hats in this country is dull ribbed silk. But in England and on the continent dull Merino cloth, much blacker in appearance and without sheen, is favored. The increasing demand for midnight blue in evening wear has hastened the development of a midnight blue opera hat, which may in time become as popular as the others.
About the muffler… this one is worn thrown open at the throat in the ascot manner and if you noticed above in the article, was considered smarter than the conventional white one.
Man’s natural proclivity for change has long been inhibited in the case of formal evening dress, and what changes there are have most frequently been made in formal accessories. A case in point is the conventional white muffler which is being superseded is some instances by one of pale yellow silk.
The characteristics of the guards coat are, double breasted, cut fairly long, with a half belt back (which maybe hard to see in this illustration) and an inverted pleat in the back. The fullness in the back and the pronounced flare to the skirt are characteristics details of this coat. As they suggested, it can be made in right about any cloth but the best one is a very fine chinchilla. The slanting pockets and turn back cuffs are other details worthy of notice.
To observe this inverted pleat phenomenon and the flare of the skirt along with slant pockets and cuffs at the sleeves… view the Paddock Style coat presented in the overcoat thread. However, note that the paddock model had a rare (two inverted pleats instead of one) back. See link below.
Overcoats and Topcoats Thread
And in case, if ever, should the opportunity present itself for you to don in a topper… you should know that there is a “way” to wear it, and it is not just merely something that is thrown over the head. The topper should always be tilted slightly forward and worn at an angle (slanted). I can try to explain this, but it would be not of much use as I probably cannot explain it any better than actually looking at it. Use the link below to see a picture of a great wearer of toppers, i.e. Fred Astaire. This is from his 1948 film Easter Parade.
Image 5-7-18 at 8.09 AM (3) by The London Lounge, on FlickrBefore we leave… here is something purely as a collector’s item. A full page illustration by Leslie Saalburg, painted at the Opening night at Royal Haymarket Theater, London.
Image 5-7-18 at 8.09 AM (1) by The London Lounge, on FlickrHere observe the slanted button vest style, and many types of outerwear garments to be worn correctly with tails.
Well, this is it! The one and only post I am likely to do exclusively on tails… unless, of course if you gents can convince me otherwise… (which won’t be that easy.)
Sincerely
Etutee
