Dear Members,

Here is the long awaited AA / Esky post full with text, diagrams and illustrations. With every post I say
to my self that I am not doing something this detailed again, and yet every one of them is more detailed
than the pervious ones. Obviously, this has to stop sometime if I plan to work and make a living.
However, that aside this post is probably the most detailed of all the pervious ones taking a gigantic 70+
hours of work to create. It has more (summer ensembles) in it than ever before.

The text, naturally is also quite extensive and is divided into five sections which are as follows; Section 1
goes over where the lounge jackets discussion was left off last time (see Vol. II No. IV section I), this
section goes over the Drape and London Lounge (British Blade) versions with diagrams and what the
market was like when the first were brought over to US from west end London. Then you will go over a
rare (& detailed) discussion about one of the key elements involved in cutting. i.e. Balance. Section II
goes over summer fabrics details and some of the most common spots where the haute monde were
spotted. Section III is a unique & detailed article about the Sports Shirts used in 1930s. Section IV is
illustrations with text and finally section V is simply a beautiful (though not quite as pragmatic) article
about what Savile Row was like in 20s and 30s. The best part about it, is the fact that it was written in
1937, so it is not like somebody is recalling it 7 decades later.

As always, try to not to rush through this post… for your own good. Some concepts explained are
advanced but most are fairly easy to grasp with slight consideration on the part of the reader.
Remember, if you see me cross referencing that is because I want you to understand how interconnected
all of this stuff is. So be sure to do all the prior reading.

And… before you get a little carried away in the time zone… bear in mind the fact that seven decades
have passed since most of this was written. As such you should be able to absorb the principles from here
and move on in to our times. How you understand and express these principles in this day and age is
going to be of paramount importance.

But before I start, I would like to thank our members Mark Seitelman, (& his associate Don) and
zegnamtl for their help with scanning and editing illustrations presented in this post.

This first article is from winter 35-36 season and takes you behind the scenes of 30s apparel industry &
how were they reacting to the arrival of these fascinating clothes from finest west end tailoring
establishments. A BIG thanks to Manton for his help with illustartions in this section.

The New London Lounge

Why do the best dressed men in the world go to Saville Row, London, for their clothes? That is at least
fifty percent a rhetorical question and, by definition, a rhetorical question one that is asked for the sake
of effect. The answer to that question, if one is needed, is the same as the definition. Many of the best
dressed men have their clothes tailored at Saville Row purely for the sake of effect. It is a recognized fact
that clothes are cut, tailored and fitted better in America than in England.*

* Talk about changed times! Well this can be argued for the bespoke tailoring of 30s, there was certainly
no doubt about this with respect to RTW clothing.

But for all that, the famous tailors of Saville Row and the West End of London put into their clothes
something which is inimitably their own—a certain effect which is the vital factor that makes English
clothing so much admired. This factor, incidentally, is not one that is always consciously recognized.
Many of those who go to London for their clothes couldn’t tell you precisely why they select that city as
tailoring center for smart dress. But nevertheless it is the effect that makes the difference, and where that
effect is exaggerated or misinterpreted in any way by tailors in other sections of the globe then,
obviously, it is no longer the same effect.
Perhaps nothing illustrates this point as well as the introduction of the English Drape to America several
seasons ago. It was intended to achieve a certain definite effect, and was supposedly an interpretation of
authentic English clothing. Patterning their clothes after the English, American tailors put a definite
drape in the chest of the coat. The shoulders were made wide and square with wrinkles at the sleeve
head.*

*Take note of these changes. It is of paramount importance that the original and the derived effect are
differentiated and properly understood.

The waist line was pulled in, and the coat was tight about the hips. The greatest point of merit of the
particular model was the fact that it inaugurated soft construction clothes in America. Unfortunately,
however, many American tailors failed to get the effect they had tried so hard to achieve. The coat was
exaggerated, and it didn’t bring out the right, nonchalant, smart appearance of the English custom coat
after all. It showed too much of it, and the result was far from being successful. The illustration below*
shows the English drape as it was introduced to America, and it also shows why manufacturers and
retailers alike will admit that it was undoubtedly the hardest thing to sell. Consumers would not buy
wrinkles in clothes then, and they will not buy them in clothes today.
Alright to break away for a moment and explain the much essential details which are a feature of this cut
so as you are reading, you have a clear idea what they are referring to. Kindly Read last post for further
details (AA/Esky Vol. II No. IV April 06’ Section I)

AA/ESKY VOL. II NO. IV

1. One of the most important aspect of the English drape jacket is the much needed natural shoulder.
This can be done in a variety of ways to effect different looks. There is no correct or incorrect style
here… the only incorrectness if there would be… is excessive padding. Shoulders here are in a concave
like pitch and show a very slight rope effect at the end.

Before you proceed… read Manton’s great article The Neapolitan Shoulder Explained on Natural
Shoulders in the featured article section… as all the necessary info is explained there in extensive detail.

2. Sleeves have a slight “puff” effect to them at the sleeve head not to mention the extra wrinkles that are
caused by the excess cloth that is fed through a smaller armhole.

3 & 4. The most essential feature of the drape jacket is obviously “the drape” effect observable at chest
region. In the early English drape models (as you will see through the course of this article) the drape
was very obvious and well articulated. Maybe too much… and the result was that the smart dressed set…
sort of back tracked and eliminated the extra fullness at the chest, yet still kept the ones at the shoulder
blades for a comfortable movement.

5. The waist suppression was mostly a result of the natural drop from swelled chest and was not greatly
done in itself (which usually results in an hourglass silhouette)… something that is certainly not desirable.
This topic of waist suppression is a broad one and will be covered with the principles of balance in a
jacket. The “skirt” of the jacket is often tapered and sort of moves inward in a “convex” manner rather
than flair out. This effect certainly caught on heavily sometime after mid-30s and remained ever popular
with the smart dressers. (See AA/Esky Vol. II No. III section I for a detailed explanation).

Yet the soft construction is an ideal thing, and it is one of the modern improvements in clothing. It finds
real favor in London. Fashion observers have spent many months in London in the places where the
well-dressed Englishmen congregate. They have found the soft construction English lounge suit worn in
London by men considered the world over as being well-dressed, and they have brought this fashion to
America for its first appearance. The tailor by appointment to the Prince of Wales is actually responsible
for this new mode of West End tailoring and other well-known West End tailoring shops have adopted
his procedure in the cutting and making of clothes.

On the opposite page is a diagram of the model which is important in London this year. It is a single
breasted coat in the two button peak lapel style,* well cut away in the front.

*See Vol. II No. IV Section I for an illustartion of this.

The coat is built on natural lines, and is cut on the long side. The shoulders arc natural, having a slight
puff at the sleeve heads, and the sleeves taper definitely to the cuffs where there arc four small buttons.
Instead of having the extreme fullness in the chest where it is just excess material that serves no purpose,
this jacket is constructed to give natural ease and an athletic appearance to the wearer. There is a small
natural break in the front at each shoulder such as all well-tailored clothes should have, but under the
arms and chest there is enough excess material to give fullness and a much larger appearance to the
chest of the coat. This eliminates the necessity of tightening the waistline, of course, for the waistline is
quite natural. The same balance is carried out to the back of the coat, too, so that at all times the wearer
has a broad, athletic look, and yet his clothes do not have an exaggerated appearance. And what is most
important of all is the fact that this particular method of tailoring is adaptable to all clothes.
On the same page where the English drape is illustrated, there is a detail sketch of the new London
lounge which shows how effective English-tailored fullness of the coat can be. While it is true that this
coat is buttoned on the bottom button, the tailoring itself remains unchanged, and the shadows show
definitely where the fullness lies. This loose-fitting coat is the model worn by the well-dressed
Englishman, and its unusual shape gives the proper effect to make its wearer look well dressed at ail
times. Comfort is one of the primary factors, and perhaps the fact that there are no purposeless wrinkles
is one of the greatest advantages of this coat. The model is adaptable to every type of individual and
reveals, for the first time, the secret of the West End tailors. It will be noted throughout this issue that
the various fashion sketches call particular attention to the fullness under the chest and arms. This is a
feature of great importance, and the sketches of the London Portfolio, done in color, definitely
emphasize how it is carried out in various models.

1. The shoulder is the same is Drape, no major difference here both the natural line and the soft effect is
retained.

2. Note that the drape in the chest is reduced as opposed to the pervious illustration. This is done to
“clean” out the chest of excessive fullness, which was (even though very smart) still not liked by many
people due to the resulting “wrinkles” per se. Yet, despite the removal of excessive drape from the front,
the fullness at the back was kept intact as it certainly allowed for a free arm movement.
3. The effect at the waist or “suppression” seems less drastic than the pervious model. Note that there is
not change at the actual level of waist point. All of this is resulting from the increased or decreased
“swelled” chest that is a hallmark of drape jacket.

4. The skirt, following the over all natural lines is not flared out as in certain militaristic or equestrian
silhouettes. The overall lines are rather close to the body but not a “tight” fit.

5. The buttons stance in the original jackets of the era was slightly lower, certainly more so than the
current Neapolitan incarnations or modern Savile row. This buttons stance is certainly not written in
stone but for the purpose of maintaining aesthetical value (& also pragmatic) it should be neither too
high… and certainly not too low as to suggest a low-slung effect observable in DB jackets from 80s.

The tailcoat offers no exception to the adaptability of this method of tailoring, for actually such fullness is
particularly well suited to it, and it adds much to the smartness of the coat itself. The tailcoat model
featured in this issue exemplifies this fact, and it will be noted that the coat is actually, cut larger under
the chest. This coat has even more fullness from the shoulder blades in the back to the waist, where the
excess amount of material is placed. The coat itself gives the much desired effect which is the main note
of English clothes. The coat actually follows the natural lines of the body, allowing comfort at needed
points. It gives as much as smartness to the stout man as it does to the thin man, and is certain to find
favor with well dressed men in general.

It has been pointed out that in an attempt to acquire the English effect in tailoring, many American
tailors exaggerate the English drape to such an extent that the coat was a failure. The trousers, however,
suffered an even worse distortion of interpretation in many cases. Peg top trousers which come just
below the ankle and are very tapered have been advertised as the true British trousers which should
accompany the English drape suit. These trousers, however, are never worn in England except, perhaps
by very old men who have been wearing the same suit for over a decade. Actually, the English trousers,
though still cut high, do not taper much. They are cut very full and loose, and are approximately 19” (for
size 38 ) wide at the bottom and usually carry cuffs. These are the correct trousers for wear with the new
clothes, even though they are entirely different from the trousers so popular.

The trousers which accompany the new London lounge are modern in their fashion interpretation, and
are much more in keeping with present times than peg top trousers.* They have the same general
features and characteristics as the jacket itself, and are typical of the trousers worn by the well dressed
men of London. Cut full and loose, these trousers are made in proportion to the wearer, and carry even
further desired effect always obtained by fashion-conscious men.

*This paragraph needs some explanation. First off, to understand what they are referring to as
“modern”, “loose” & “full-cut” pants you have to understand the pervious “peg-top” trousers. These were
the trousers that accompanied the suit jacket during the first quarter on the century. It was meant to
accompany the “boyish” cut like jacket of WW I era. As explained in detail last time (see Vol. II No. IV
Section I) this younger “boyish” or rather un-athletic look was (almost) completely replaced in early 20s
& perfected in 30s by the “new” drape look…when the sports mania over took the U.K and US.

DO NOT mistake this loose fit of 30s with how it is used today. They (AA) were comparing the fit of
these drape trousers by that worn in pervious decades, which were certainly narrow or close fitting by
these new standards.
Typically English throughout in the way it is tailored, the London lounge suit has all the desirable
features of the English drape and none of its drawbacks. The fullness which makes the English tailoring
so much respected by fashion leaders of the world is present, but without the unnecessary wrinkles of the
(pervious) English Drape model, and this fullness affords so much comfort on the part of the wearer that
its promotional possibilities become a forgone conclusion. Already well established in London as an
essential part of the well dressed man’s wardrobe, it now promises to find parallel favor in America,
provided, of course, it is produced authentically.

Not only have the best dressed Londoners accepted the London lounge suit, but many of the American
men who very definitely lead American fashions have done likewise. Many of the best dressed men of
America were seen by the AA fashion observers in London during the course of the past summer, and
the majority of them were either having their clothes made there by the west end tailors or were
bringing back to their own tailors in America the ideas they had seen while they were abroad. The
readiness with which these man accepted the fullness of the English tailoring, particularly as it was
incorporated in the London lounge suit, is highly significant because it is indicative of a coming
American trend. These men may be considered as fashion barometers for America, and when they show
their approval of some fashion, as they have in the case of the full-cut London lounge suit, it is a reliable
indication that wide acceptance will soon follow throughout America.

Thus it is safe to say that the London lounge will make a successful bid for popularity in this country in
the near future, and since this is the case, now is the proper time for alert merchants to take advantage of
its promotional possibilities, in order that they may be among the first to introduce it to here. The suit
has many features to recommend it, as has already been pointed out but these features must be shown
and stressed, of course, if it is to find a real favor. Promotion is always necessary for any new fashion
imported from abroad, and the London lounge suit is no exception to this rule. Yet all this really means
is that it must be given a chance. Merchants need fear no failure on the part of this new note from
London, if they promote it properly, for every feature of this new suit is one that the men of America
have been looking for. This may seem a broad statement, for American men are not noted for the zeal
with which they search out sartorial innovations. Yet it can be said that they have actually been awaiting
the advent of the new London lounge, unconsciously if not consciously, for it incorporates all the
features of comfort and appearance which they esteem.

Now that we have looked over the basic aspects of these jackets and their important features, it is
essential that basic principles involved in the creation of these apparel articles must also be understood.
Since the AA text describes the arrival of these jackets from west end London, it would only be common
sense to learn about the key elements that the cutters of these jackets (in London) were bearing in mind
when cutting them in their Savile row shops.

For that nothing works better than getting back to the source. Here, I have explained a very rare text
written sometime in 1928 by the editor of the famed “Tailor and Cutter” British tailoring magazine. This
iconic text was later used in publications in 1933 and 1936.

Below is the first part of this text. Hopefully, we will proceed with the remaining key elements next time.
This is Very important that you understand what is described in here. I am not going to break this piece
as really all of it is equally important.
On Balance

Balance is the most important principle in cutting, and it is as well first to define it. It is the equality or
just proportion of weight, form, length, etc.; equipoise or counterpoise.

In tailoring, balance is generally defined as the relative length of back and front or of two sides. It is
sometimes thought of as the relative length of the back and front of a coat that is, the height from the
depth of scye line up to the nape at back, and from the same line up to the neck point in front; or, in lieu
of the latter, from the front of scye to the neck point The general hang of a garment is also referred to as
the balance.

Balance may be called, as has been said, equipoise or counterpoise; forces acting in harmony; parts
arranged in unison. The sections of a garment are in equilibrium when they severally act and re-act on
each other with equal force. When there is perfect unison between the various parts of a coat and also
with the figure it has to cover, then there is balance.

This principle crops up in every garment and in almost every section, and enters into cutting, trying-on,
and making. The poise of a garment is often destroyed by careless making. We have it on the authority
of Holy Writ that a false balance is an abomination, and it is certainly the cause of most of the defects
which trouble a cutter!

As a general definition, balance may be said to be the harmonious arrangement of the front and back, or
two sides, with the attitude of the figure; this applying to coats, vests, trousers, sleeves, etc.

There are several kinds of balance. The first may be called ideal balance. This is the size or balance of a
draft, pattern, or figure, reckoned by a proportion or division of the chest measure, or by a strictly
proportionate system of mensuration. This is the balance a system would give if drafted out for a
proportionate figure. Every system has its equality of ratios, whether worked out by direct measures,
shoulder measures, or chest measures.

Another type of balance may be called natural balance. This is where the balance of pattern or draft is
equal at back and front; where the front and back sections show an equal proportion, although they may
not agree with the breast measure. For instance, a pattern for a 36 ” breast man might show 8 ½” depth
of scye and an equal decrease of front; or a 9 ½” depth of scye and an equal increase of front. There
would still be equipoise, but it would not be the ideal balance as we understand it. Although the lengths
are equal, they are not in an ideal ratio with the breadths.

A third type may be named specific balance. It is obvious hat we may have a draft, pattern, or garment
where there is neither the ideal balance nor the equipoise which has been called natural balance. The
front and back lengths may not tally; the scales tilt up or down, as it were; and yet the draft, pattern, etc.,
would be correct for a specific figure. There is the just proportion but not the equal proportion. This
would be the case in various figures, such as the stooping, erect, etc. But the simplest example is that of a
lady’s coat, where there is a considerable difference between the back and front lengths, necessitated by
the demands of the figure.

An important point is the effect that suppression has upon balance. The length at back and front may be
very evenly adjusted above the breast line; and yet the equilibrium may be upset by an excess of, or
incorrect arrangement of, suppression. Suppression, or the distribution of material at waist, is vital to the
balance of front and back.
What makes the question of balance less simple than it otherwise would be is that not only must it vary
with different figures but also with different garments. A waistcoat requires a very long back balance; a
body coat also needs a long back balance. The balance of a jacket varies according to style: a close-fitting,
well-suppressed lounge needs a longer back balance than one of a loose straight-hanging fashion. A
relatively long front balance is necessary for an overcoat at any time; and often for style reasons a short
back balance must be infused.

In ladies’ coats the correct standard of balance is obtained, not by giving an equality of length at back
and front, but a just proportion. Compared with a man’s coat, a woman requires one short in the back
balance. So far as style influencing balance is concerned, the same remarks apply to ladies’ as to
gentlemen’s garments. A loose sac will require a short back balance to distribute the material correctly;
and a close-fitting coat will need, relatively, a long back balance.

Cutters who specialize in ladies’ garments (and often those who are engaged in the wholesale trade) not
only pay attention to general balance, but also to that particular balance which governs sections.
Especially is this the case in a coat with many seams, where balance-marks are placed at the waist and
other parts, and also in the sleeves.

Balance is a factor in sections of a garment, and notably with sleeves. The hang of a sleeve means a lot in
comfort and appearance; and it may be affected in various ways. The distance between the top of hind
arm and forearm may be altered by raising or lowering the points; but the balance can be tilted one way
or another without touching those points. It is possible to swing the bottom of forearm backward or
forward by inserting or taking out a wedge at hind arm; or by a suitable arrangement of lines to draft a
sleeve in harmony with these changes. The pitching of sleeve often decides the balance. While it is true
that a badly hanging sleeve may be due to faulty pitching, it is also true that many good sleeves owe
much to an intelligent adjustment in that direction.

In trousers we have various kinds of balance. Openness and looseness is really a sort of balance. There is,
too, the change brought about by cutting a forward front and its concomitant, an open or crooked seat.
These are general types. There is the special one necessitated by the stooping figure, which calls for a.
short front and a long back; or the erect one which demands a long front and a short back. There is also
that particular balance, required for a corpulent figure, of extra length of front and corresponding
shortness of back, accompanied by a more open cut in the legs.

Then there is the balance of the topside on the underside, that the parts may be “ fair,” for which marks
or “nicks;’ are placed. The tilting of the scales one way or the other by faulty manipulation will often
have disastrous effects. And there is he deliberate change of balance-marks for prominent calves, or for
prominent thighs and calves.

There are many ways of altering balance. One may draft out a coat and impose a change, or take a
carefully adjusted pattern and make variations from it. For a longer front balance an addition can be
made across the shoulder, or the side-seam point lowered. For a short back balance a piece may be taken
off at neck and shoulder, or the side-seam point of back raised. For a short front balance the shoulder or
the side-seam may be utilized; and for a long back balance the neck and shoulder may be raised, or side-
seam point lowered. Again, there is the wedge method of varying the harmony fore and aft, in
accordance with the necessities of the figure.

In a body-coat the length of forepart at front may be varied for the type of man who bends forward or
backward, while the skirt section can also be regulated.

In a finished garment the methods of altering the balance are restricted; not that the same changes could
not be made as in a pattern, but some alterations would appreciably lower the profits on an order. In a
made-up coat, then, the side-seam is utilized, when possible, and the back or forepart passed up or down
as the case may be.
Very briefly, some of the effects of incorrect balance may be indicated. A long back balance causes a
looseness about the top of back and a closeness on the hips. A short back balance will cause the coat to
stand away at the hips and to fall away at the back of neck. A long front balance produces a garment
which falls away at front and hangs away at the back; if buttoned, the extra length would show itself at
the chest. A short front balance lifts the coat up at front and makes it uncomfortable. These defects
would also affect the scye at back and front.

Like mentioned above, hopefully, next time I will explain the concepts of waist suppression and neck
positioning points (straightness and crookedness) in lounge jackets.

END OF SECTION I OF THIS POST

SECTION II OF THIS POST

Okay… in this section you will read about summer suiting fabrics and (a usually forgotten point) of their
humidity absorbing qualities, which is vital to the comfort present in these garments. This text is from
summer of 34’ and while certain technical procedures undoubtedly have been out-dated, still a majority
of it still holds true.

This main purpose of this is to get you aware of the humidity absorbing qualities of these fabrics, a fact
that is very often over looked.

Why swelter?

Winter comes and man puts on his heavy overcoat, wraps his muffler around his throat, slips on his
gloves and he is ready for whatever frosty breezes may be due his way. Summer comes and he takes off
his overcoat, muffler and he takes off his overcoat, muffler and gloves and this time he-is-prepared for
the oppressive heat that sets the mercury climbing up and up.

But is he? Not to judge from the lively perspiration which beads his brow or the helpless and hopeless
complaints which issue from his lips. Evidently his simple preparations for the onset of high temperature
days have been too simple. He knew they would be: he expected to suffer discomfort from the heat
during the warmer months. He always had.

Now there is no magical abracadabra, not even the many excellent air conditioning devices which are
being promoted with such fervor these days, whereby man ay suddenly and triumphantly draw the fangs
of his ancient, annual summertime enemy. But surely there is-something more he can do about hot
weather than doff his overcoat, muffler and gloves, and his heavy underwear, if he has taken the
forethought of putting it on in the first place.

There is something that some men are doing. They are dressing the seasonal part, not by the too simple
process of removing their surplus winter garments but by the slightly less simple expedient of going one
step further and exchanging their remaining clothing and accessories for summer counterparts.

It’s a great idea far more effective from the standpoint of summer comfort than it sounds to the
surprising number of men who have never tried it and it’s growing all the time. But not fast enough,
something-ought to be done.

In this article, by way of ammunition for the summer-clothes-conscious campaign which every merchant
(“enterprising” or otherwise) should wage, appears a practical demonstration of the warm weather
virtues of twelve summer fabrics. That demonstration, of course, does not cover the entire summer
wardrobe; but it does cover its keystone summer suits. And, though it does not include all of the many
desirable summer fabrics, it includes enough of them to make it complete for all practical purposes.
Being largely photographic in treatment, its points may be read in the illustrations which appear on the
following pages and in the special copy which applies to them.

In a general way, however, it may be pointed out that in any consideration of ,summer suits the most
obvious factor that comes to the mind of the wearer is the weight of the fabric from which the suit is
made. It requires but little logic to reason that hot days are only made hotter when one carries around
on his back a suit whose weight is in itself a burden. Nothing could be- -easier than to select, out of the
many fabrics adapted to summer wear, one which will immediately free the individual from as much as
half of the weight which he consents to carry around in the form of his all-season suits.
But the weight of a fabric is not the only qualification which calls for consideration. Another important
point is the ability of the fabric to absorb dampness. The old bromide “It’s not the heat, it’s the
humidity” is not without meaning, and it is a known fact that air with a high content of water conveys
heat and heat to a greater degree than dry, hot air. Thus, the ability of a fabric-to absorb dampness
developed by the human body a definite contribution to warm weather comfort, especially when the
humidity is high. In a determination of the factor of absorption, it should be observed that those fabrics
which-rate high in this respect may not necessarily be among the lightest in weight, and this in it self is a
commendation for certain textiles which are not extremely light.

Another important point with respect to fabrics for summer wear is that of porosity, a factor which is
dependent to a great degree upon the weave. It is evident that the free circulation of air about the body
can be an important contribution to comfort on a hot day, and the make-up of the fabric used for the suit
determines the extent to which air will circulate through its weave.

The ideal fabric, then, would be one which is exceptionally light in weight, has a high factor-of
absorption and is unusually porous. While the many summer fabrics vary in these qualities, there is not
one but which offers enough comfort-in each respect to make it a welcome substitute for the heavier,
unseasonable textiles which make up the suits of the legions of men who have not yet learned how to
conform to the demands of warm weather.

Another point that enters into the discussion of summer suitings is that which concerns not so much
their coolness as heir appearance of being cool. That appearance is best afforded by an entire lack of
color that is, pure white. Next come the colors which “are but slightly neutralized shades combined with
white, light grey being a perfect example of a neutralized shade with a great deal of white in it.

White or near white shades, however, present a practical difficulty, as their use under ordinary
conditions of daily wear subjects them to soiling. For this reason, suitings in light shades must have the
faculty of standing up under frequent launderings, implying the use of fabrics woven of cotton, linen, silk
or combinations of cotton with other fibers.

Many men, of course, are willing to sacrifice an appearance of coolness to a suiting which is
inconspicuous and does not look too summery. Especially is this true when it becomes a matter of
business wear and the popularity of certain types of woolens and worsteds has come about as. A more or
less direct result of this psychology. Among these fabrics, tropical worsteds are undoubtedly first in
general usage, while next and taking on perceptibly during the past few seasons, is gabardine. Other
textiles which share in the benefit derived from this psychology are flannel of the usual type, especially in
the more metropolitan districts of the North, and of increasing importance flannels the Saxony type.

Further, the fact that both tropical worsteds and gabardine are so popular is due to an appearance which,
through the rise of the tightly twisted worsted yarns from which they are fabricated, avoids any sense of
bulk. A still additional point, and one which is not without significance in a consideration of summer
suitings, is that of current fashion acceptance. The Fact that the flannels and Saxonys, for instance, are
particularly adapted to the soft, drapey appearance now considered so desirable goes a long way to add
to their popularity.

With respect to this factor of acceptance, the effort to combine both of the elements of worsted and wool
is best exemplified in a fabric of especially light weight which utilizes a combination of fine Kashmir wool
and worsted. Through the use of Kashmir, the soft drapiness is retained and, for colors as dark as navy
blue, this combination of yarns makes for a natural resistance to shine as well as providing coolness.

Equally interesting is the use of camel’s hair yarns and similar hair yarns which are becoming more and
more important due to their imperviousness to heat. These yarns, incidentally, are especially desirable in
localities where sudden changes of temperature are apt to take place, as they are as comfortable on a cool
evening as they are on a moderately hot day.
In general support of the summer clothing thesis, one might well point to the advances made by
manufacturers in the direction of better tailoring and a more scrupulous observance of the current
fashion trends. There was, indeed, a time when poor construction and deficient styling constituted a
legitimate barrier to the acceptance of lighter weight clothing for summer wear.

But that time is no more, and its only importance lies in its scars it has left in the minds of some men on
the subject of summer clothing. Present day offerings, properly tailored and fashion correct, are in
themselves the most effective answer to any objection that may be adduced on the basis of their once
none too flawless past.

Sharing the spotlight with the progressive manufacturer in the significant victory that has been won for
summer clothing, are those producers of fabrics for warm weather wear who have made available a
quality of textile which more readily enables the manufacturer to build into them their full quota of
fashion appeal. Indeed, no one can justifiably say that there is no trend in the direction of lighter weight
clothing, for there is, and an encouraging one at that. But for those who are not satisfied with trends
there is much ground work to be done.

And, while the subject matter of this article has been directly concerned with summer suitings, the
promotion of summer apparel should apply to everything that a man wears. The same reasoning that
holds good for summer suits holds good also for other items of summer wear, whether it be shirts,
underwear, or. Hose, all of which can provide an equal amount of comfort if selected for their ability to
give the wearer those attributes of coolness which have been analyzed here in connection with suits.

Below are some of the results summarized from their research of tests for weight and absorptive quality
of summer fabrics. Now, bear in mind that this research was conducted in first half of 1930s… so in other
words it is quite old but still it should give you a clear idea about the absorption rate of some of these
fabrics. Secondly, when they say Normal weight for Saxony of 6.05 oz / yard that does not mean 6 oz
wools were used for summer suiting back then… but it is just given to show you the rate of change in
weight. Most likely these were special “prototypes” fabrics that were created specifically for the sole
purpose of tests. The actual weight hinted for summer wool suitings which they referred to as “feather
weight” was about 10 oz flannel. For fall months an average of 15 oz was used for city suitings and about
18-20 for tweeds.

So… these calculations below are good in giving you an idea as to how some of these fabrics behave in
humidity; a quality most of us usually forget to mention.

Gabardine: Normal weight; 8.08 oz, Weight Moist; 13.99 oz, % of Increase; 73%.
Tropical Worsted Normal weight; 5.77 oz, Weight Moist; 8.94 oz, % of Increase; 55%.
Saxony: Normal weight; 6.05 oz, Weight Moist; 11.68 oz, % of Increase; 93%.
Wool Flannel: Normal weight; 7.39 oz, Weight Moist; 11.14 oz, % of Increase; 51%.
Cashmere & wool: Normal weight; 4.79 oz, Weight Moist; 8.22 oz, % of Increase; 71%.
Ninghai Silk: Normal weight; 4.44 oz, Weight Moist; 6.93 oz, % of Increase; 56%.
Linen: Normal weight; 9.69 oz, Weight Moist; 16.44 oz, % of Increase; 70%.
Seersucker: Normal weight; 4.33 oz, Weight Moist; 7.65 oz, % of Increase; 77%.
Cotton Poplin: Normal weight; 6.35 oz, Weight Moist; 9.23 oz, % of Increase; 45%.
Palm Beach Cloth: Normal weight; 9.23 oz, Weight Moist; 16.73 oz, % of Increase; 81%.

End of Summer Fabrics Article

Before we get into the summer illustrations plus the detailed sports shirts article below, you will need to
have an idea as to what were the usual “hot” spots were. Famous resorts and cities were some of these
illustrations were painted at and where the fashion observers used to hang out to spot the “smart”
dressed set.
I have explained many of these locations before and their significance but here they are again in a short
location guide from AA. This is from spring of 34’.

Vitamin F for Fashions

Let us treat with each of these in the proper sequence: First, let us decide what fashion is. The best
definition we have to offer is: “Fashion is simply news!” News of what the smart world is buying,
thinking, playing and wearing. Fashion is that indefinable aura that mere mortals believe envelop those
whom they flatteringly emulate and secretly worship as idols. Naturally, fashion, under this definition,
would originate in that vast Olympus, both here and abroad, where fashion leaders congregate.

In America the most prominent birthplaces of style include:

1. Westbury, L. I. Here the polo-playing set spend a great deal of time. When the polo matches are
played at International Field the season’s most important “firsts” in clothes of the country wear type
make their initial appearance. Exclusive custom made items of gentlemen’s apparel are worn by the
world’s most famous sportsmen and from there start their travels In the usual manner.

2. Rye, N. Y. The Westchester-Biltmore Country Club is one-of the most important style centers in the
United States. Here sportsmen gather at important golf tournaments and polo matches, and bring to
light many new items that later on become a source of profitable business to the en’s wear shops as well
as giving dress distinction to their customers.

3. New York Stock Exchange. This is the real birthplace of New York styles. Wall Street fashions must
not be confused with the so-called “Broadway” fashions. “Broadway” fashions do not exist any more on
Broadway. They migrated to Delancey Street and are no longer fashions at all.

The Wall Street type of dress is meticulously correct and smartly conservative in every fashion detail.
The progenitors of these fashions are the young brokers and bankers, many of whom buy their clothes
and haberdashery in Europe and are closer to the dress and habits of the well-dressed Briton of St. James
Street than the New Yorker of Broadway fame. These young men, as a rule, are University graduates
who have been recently prominent- in University–Life. So the Stock Exchange, as a style center, has a
dual significance and exerts its influence as a source of business men’s fashions and as a source of dress
influence upon eastern university men.

4. Yale. Yale is second only to Princeton as the authentic styling-place of the foremost American
university fashions. At the regattas held on the Thames River at New London, as well as at the football
games, Yale alumni relay authentic fashions from the world of Wall Street and Park Avenue to the world
of campus and gridiron. New York and Wall Street are within easy access of Yale and the
undergraduate, hero-worshiping the recent brilliant satellites of his University, acts and dresses much
like the young broker type who haunts New York’s financial distinct.

5. Southampton the watering place where sands are made of platinum and the waters of sapphire. It is
actually the most exclusive, expensive and smartest summer rendezvous in America. It alternates with
Newport in rank. The same group or at any rate a great many of the same people spend their time at
both places throughout the summer with no periodic migration. Here the most important sports
fashions, which first made their entrance during the winter months at Palm Beach, come into full
blossom. With important tennis matches and golf torments that is, important in their social status taking
place here, sports styles have an initial impetus that moves them along the path toward universal
acceptance.
6. Newport has a decidedly high social caste that originated with the four hundred in the gay nineties
and has lasted down through the thrilling thirties. Here the smartest people congregate and mingle only
with the smartest people. Exclusiveness to the point of snobbishness is the keynote. Newport, in its own
particular way, occupies a like fashion importance during the summer season that Palm Beach exerts
during the winter season.

7. Park Avenue is the after-dusk twin of Wall Street. The morning, afternoon and evening formal dress
that are seldom (if ever) seen in the financial district make their appearance here, where the young
brokers live and play.

8. Palm Beach. To try to express the fashion significance of Palm Beach is like trying to explain the
beauty of a woman. Palm Beach is not only the smartest winter resort in this country, but is
internationally looked upon as one of the smartest-of the whole –world. Nobility and notables of
international fame have forsaken Riviera resorts and taken to Palm Beach. Here the smartest of summer
fashions make a pre-debut six months fore the summer season is actually under way. No place else can
boast of so many smartly dressed men whose good breeding is emphasized by their good taste.

9. Princeton. A freshman was overheard to remark upon his initial visit to the campus, “They certainly
are sticklers for dress here.” This was the real beginning of his education. Princeton, more than any other
university in the country, has been a generator of each succeeding wave of college style. A large
proportion of the student body are sons of top-rankers in American social, financial and diplomatic
circles. The majority of these young men move in the most exclusive of American society circles. They
spend their vacations abroad and in general reflect the younger generation’s version of what is being
worn and what is being done in the smart world of their elders. Statistically, it is interesting to note that
what is worn at the Princeton May time house parties will be worn by a corresponding group in
American universities all over the country the following year.

And what of European style sources?

1. Cannes. This Riviera resort, world renowned since King Edward’s time, has been the gathering-place
(from September to March) of England’s smart set and attracts more notables than any other plage on
the Cote d’Azur. The great Riviera tennis championships, played on the famous courts adjoining the
Carleton Hotel, attract the leaders of the smart world and bring forth important fashions for the coming
year.

2. The Lido. This Venetian plage ranks in importance with Palm Beach as the two most famous bathing
spots of the world. It is at the Lido that the pajamas and dressing gown fashions that set the pace for the
next few years first see the light of day. Anybody who is anybody is at the Lido during the correct season.
A hectic round of gaieties, which include some of the world’s smartest social activities, take place here.
And fashions that trail in their wake set the pace for the ensuing season.

3. Deauville. This is the haunt of the Haute Monde probably the most dressed-up place in the world, and
by odds far the most expensive. White chips sell for a thousand dollars at the casino, and gambling
stakes often run into seven figures. Here, annually, French sales of thoroughbred race horses are held,
and here the proportion of truly well turned out men to be met is generally higher than that of any other
resort. La Plage Fleurie (the flowered seashore), as Deauville is aptly called, has been described as a little
bit of Paradise set on the shore of the English channel. It is also a little bit of heaven for those who are
seeking advance predictions on what the next year’s fashions will be.
4. London. Since the days when Charles II and Nell Gwyn might have been glimpsed on the streets of
London, dealers in that locality have led the rest of the world in the execution of correctly designed
clothes for men. England’s social leaders are unquestionably among the world’s most carefully and
thoughtfully turned out men.

From Piccadilly Circus a few blocks away is St. James’s Street and St. James’s Palace, the home of the
Prince of Wales. In St. James’s Street, incidentally, are some of London’s leading clubs, among them
White’s where Beau Brummel used to sit in the window and arrange his neck-scarf to the envy and
admiration of the rest of the London dandies. In the neighborhood there are other streets whose names
conjure visions of fashion: Old Bond Street, Saville Row, Jermyn Street, and Sackville Street, in which
are located hosiers, shirt makers, tailors, boot makers and hatters, whose inimitable touches are style
creative.

5. Biarritz is situated in a tiny corner of the Bay of Biscay, on the frontier just between Spain and France.
Its bland climate, plus the stamp of approval given by the late King Edward, make it the haunt of
sporting nobility and the playboy set of three continents. Its influence is strong on summer fashions
because one may wear lighter materials and colors at this resort than any other. It has three different
seasons. The English season, which includes March, April and May, the French, from May to September,
and the Spanish-English during September, October and early May.

6. Monte Carlo. Although this little principality is surpassed by Deauville in the immensity of gambling
stakes, Monte Carlo will always attract a smart group because of its romance and glamour. Many of the
new fashions are born here especially during the morning promenades that smart cosmopolites take on
the world famous terrace overlooking the Mediterranean. Style purveyors realize that the fashion trends
noted in Monte Carlo in January may confidently be expected to reappear later at the smartest English
and American summer resorts.

7. Juan Les Pins. This charming little seaport has probably the most perfect beach in the world. The
crowd comes here truly to swim and bathe in the sun. Gambling plays little, if any, part in its
entertainment. It is an amusing, pagan-like, care-free place, and clothes matter little. Sun worshiping is
the day long sport. It is only natural that new fashions in bathing robes, swimming costumes and hats,
pajamas and negligee resort attire start here. The influence of this resort is fast increasing as the seasons
roll by.

8. St. Moritz is the diamond in the diamond of winter. Here men of wealth and fashion from all over the
world gather to participate in the world’s greatest winter sports fetes. Its extremely smart shops vie with
one another in offering the most original an unusually attractive sports attire for winter wear, and as is
natural, the smart world accepts and establishes here what is right to wear at all sorts of winter sports.
Naturally, the Alpine rendezvous engenders most of the leading winter sports fashions.

Of relative importance are Oxford and Epsom Downs in England, and Long-champs and Le Touquet in
France. Nice, Ostend and Trouville have lost their former fashion prestige.

Okay… now that you have read that we can proceed to the next section, which will go over all sorts of
sports shirts observed during 1931-1939 era.

END OF SECTION II OF THIS POST

START OF SECTION III OF THIS POST

Below is a very detailed article pertaining only and only to sports shirt styles as they were observed in
30s. Bulk of this rare article was written sometime in late 60s by O. E. Schoeffler the famed Esquire
director (who was editor in1939). Unfortunately , this article never even made it to Esquire itself. Parts of
this were used for certain publications in late 60s perhaps early 70s also but that was it. Since it was
written with extreme accuracy I decided to do the effort of bringing it out. Read through this section
carefully. It will go over many different styles of sports shirts, some of which are long gone. Note that in
most cases, what is explained is usually referring to the retail industry of 1930s, which in turn got its ques
from the very best of bespoke shirt makers that the haut monde used to patronize.

I have explained various fabrics and other details wherever they were necessary.

On Sports Shirts

The Depression compelled the fashion press to concentrate on the very rich for news, and this meant
following them to their playgrounds. The French Riviera proved to be a gold nine for fashion journalists
in the 1930s, and one of the most famous sportswear fashions that originated there was the so-called
dishrag shirt. Constructed of a net weave and buttoned all the way down the front, the short-sleeved
dishrag was usually in ecru or string color when it first appeared on the scene in 1933. By 1934 it was
available in every conceivable color as well as in wild color mixtures, checks, over checks, and ombre
stripes. The most fashionable dishrag was the navy with an Eton collar and the sleeve and waist finished
in a fringe; the front was open on the chest and was laced with a string of the same material.

Fashionable vacationers observed at Monte Carlo, Cannes, and Saint- Tropez in the mid-thirties were
also partial to a navy blue cashmere pullover with the neck, puffed sleeves, and waist finished with Latex
yarn.

A report filed from the Riviera in 1934 commented on the status of the knitted polo shirt: The ordinary
solid-colored knitted polo shirt is still big, but only in the various shades of blue, deep brown and wine
red. The yellows, greens and other extreme shades have disappeared. The same reporter also noted the
appearance of a new sports blouse that was a cross between the polo shirt and a pullover and was made
from ecru twine or macramé string. When his report is read today, it is difficult to believe that is
fashionable world he wrote about /as possible in the depths of a depression:

Some of these sports blouses I call them that deliberately because they are neither shirts nor jerseys have
most unusual collars and the fronts are always open on the chest, merely held together by a string with
tassels or some fancy ending. The sleeves are generally puff, reaching just above the bow, but I saw a few
long ones, finished ribbed at the cuff with latex yarn. Indeed latex or rubber yarn is being much used as a
finish for the necks, sleeves and waists of pullovers.

Hunting yellow cashmere or cotton jerseys with a fisherman’s neck and puff sleeves, worn with a black
foulard muffler carrying a small white polka spot, and cream or white trousers, or again the yellow giving
way to navy, and a scarlet handkerchief, formed an ensemble seen at some of the more exclusive villas,
worn by yachting men. The whole Riviera drinks cocktails between 7 and 9:30 P.M. outside the Miramar
Hotel at Cannes. I sat there on ten evenings and counted dozens of such ensembles favored by men who
had come over from the surrounding villas in their yachts, motor boats or motor cars. An interesting
feature was the introduction of initials cut from linen, cotton, kid or suede, about two inches deep, and
stitched diagonally onto the left breast of jerseys and pullovers. Sometimes other motifs were used,
perhaps a little flag, or two or three, forming a signal.

Amongst the many new materials produced on the Riviera, I must make special mention of a very fine
non- stretchable knitted fabric sometimes carrying a little tick or miniature curl. This the better class
shops are cutting up by the yard for making into polo shirts that button the whole way own, coat fashion,
having quarter sleeves finished with a turn-back of about two inches. (Men’s Wear, Dec. 5, 1934).
Let us see what is referred to as the cord laced front shirt. This illustration below is from summer of 35’

The gent in the center is what we are primarily interested in here. He wears a shirt of loosely woven
Linen with cord laced front, trousers of blue washable linen which can also be in full sleeves, light weight
horizontal stripes wool hose and shoes of canvas with rope soles from Spain. Note that the toe caps and
back quarters of the shoes are made of string.

Next we turn our attention to the gent at the left who is portraying a summer theme with grey and
bright yellow. This is a Grey Glen Urquhart jacket 6 button DB of seersucker (see the illustration &
discussion in section IV) with two lower patch pockets. Trousers are of summer weight grey flannel. His
shirt is actual an oxford made with very fine mesh, bow tie of gum twill foulard with yellow polka dots,
pale yellow silk foulard pocket square, grey light weight felt hat, shoes of white buck skin (not shown).
The gent at the far right wears a 2 button SB suit of silk, a chocolate brown polo shirt, light wool hound’s
tooth muffler and the coconut straw with native cotton puggree band.

Moving on…
By the mid-thirties the American man expected and was getting diaphanous shirts that lived up to the
advertising claim as cool as a zephyr. Here were open weaves for different kinds of dress, business, and
sports, and the sportswear group included are rougher textures, oxford being a particular favorite.
However, patterned oxfords, though cool, had a tendency to disguise the ventilating system of the shirt.
Also in the rough- looking sports shirt group were soft and porous cellular materials in honeycomb
effects.

In 1936 John Wanamaker in Philadelphia introduced a new sports shirt or jacket shirt that was called the
Guayaberra, an authentic copy of the garment worn by sugar planters in Cuba. It was made of a fine-
quality linen in a natural or beige color and also in dark blue, dark brown, and yellow. Its unlined collar
was made to be worn buttoned or open, and its cuffs to be worn barrel or link fashion; among other
styling features were side vents, a yoke, and a panel back. It was substantial shirt for its $10 price tag, and
soon Wanamaker was selling trousers made of the same material in matching or contrasting colors. The
Guayaberra maintained its popularity and was seen in many different fabrics and patterns throughout
the decade.

The most potent fashion influence the twenties and thirties was the Prince of Wales. He had only to wear
a simple dark blue linen sports shirt for it to become a leading fashion along the Riviera and in Palm
Beach, which sportswear manufacturers and menswear retailers watched for trends. How important the
moneyed and fashion-conscious men of Palm Beach were considered is apparent in the Following
excerpt from a Men’s Wear article:

It is a little early for the sportswear picture to be completely clear and as usual much will depend upon
what the arbiters of fashion see fit to wear at the better winter resorts here and abroad this month and
next. Then he writer went on to illustrate the at variety to be found in sports shirts, which was especially
noteworthy in view of the fact that the sports shirt per se was relatively new.

Wherever men talk of shirt design there is also talk of jacket-shirts, single-breasted, double-breasted, with
convertible collars, to be worn with or without neckties, tucked in or allowed o hang outside the pants.
These shirts ; shirred, pleated, tucked and Norfolk- backs, with and without belts. they are made in mesh
and jersey fabrics, in twills and flannels, in cotton, wool and silk.

They will not only push ahead the sport clothes idea for Summer, but they will have a powerful effect
upon shirt design as a whole and undoubtedly will bring about a new era in shirt-making regardless of
the luke-warmness of public reception. No longer will a shirt be a collar, and a pair of cuffs more or less
closely related to a bosom and back. The shirt is fast stepping up to the dignity of a major garment
instead of walking humbly as an accessory (Jan. 22, 1936).
Below is an illustration from summer of 36’ portraying a genuine summer casual ensemble.

This here is actually what is commonly known as the “Bush Shirt”, popularized by British army officers
in tropical climates. It is usually made of fine poplin or perhaps sailcloth and is worn always outside like
the lounge jackets. Here note the cut of the pants; extremely full that is. These are made of very
lightweight cotton corduroy with wide wale worn here with deep cuffs. Shoes are yellowish tan reversed
calf, unlined with red rubber soles and heels. The hat is a fishermen one… or also worn by native
planters (back in the days) it is known as Jippi Jappa and comes with a fairly wide brim (at least 2.75”),
which serves as a sun shade and the best part is that the hat is extremely light weight. Note the cotton
puggaree hat band.

This type of shirt is extremely suited to fancy backs mentioned above and below… especially if the fabric
is slightly heavier like Irish linen.

By this time sportswear had been instrumental in effecting many innovations in the menswear field, not
the least of which was the introduction of fabrics that in whole or in part were made of acetate or viscose
yarns. The same Men’s Wear article noted:
Both in the neckwear and in the shirting tendency to ‘style up’ the acetates and the viscose materials.
Deep, indeed down- right dark, tones are conspicuous in the sport shirt collections, and here, particularly
in the meshes and knitted fabrics, the viscose and acetate materials are being widely used for Spring.
Producers of these yarns, in their endeavor to ‘trade up’ these fabrics in the menswear field as they have
already one with a great deal of success in women’s wear trade, have adopted id standards of quality.
One large –organization that ‘certifies’ a fabric with its yarn has the cloth made in standard laboratories
for tensile strength, abrasive quality, damp crocking, resistance to perspiration and color-fastness.

In the first month of 1936 Esquire bypassed rich men’s sons and turned the fashion spotlight on the
more mature man who was affluent enough to vacation at a tropical winter resort. Acknowledging the
influence of the French Riviera, the Esquire fashion writer said: The past Riviera season affords the cue
for the coming months such places as Palm Beach, Miami and Palm Springs. He then predicted that
fashionable men that winter season would be wearing the polo shirt of lightweight glove silk, the
herringbone polo shirt of light wool, and the Egyptian cotton Romany-striped shirt in fine poplin.
Equally popular that year, though it arrived from Nassau rather than the Riviera, was the shirt of fine
poplin or sailcloth that was a faithful copy of the African bush shirt worn by explorers and British army
officers in tropical climates. In the meantime, the most interesting sports shirt at Palm Beach was a
double- breasted pullover in an oyster-shade mixture of linen and fine cotton.

By the last half of the decade almost everyone was in agreement with the Men’s Wear reporter who
observed in 1936: Play has become a definite and most essential part of daily life, and play demands its
own special apparel. The sport shirt is the big answer. The great majority of the new sports shirt styles
ranged in price from $1 to $1.95 retail, although there was no lack of supply or demand for shirts selling
at much higher prices.

A summary of sports shirt collections for 1936 maintained:

Probably the outstanding bet in the style- featuring lines is peasant linen and its derivatives. The natural
shade, or those nearest to it, such as sand and oyster, are exceptionally good in this leader, and by far the
most popular model is the so-called Prince of Wales style, with one button under the collar, which may
be worn with a tie when buttoned or allowed to stay open and worn either with a handkerchief or plain.
The ‘gaucho’ model with its loops and buttons is also well sold, and these two models lead in all types of
fabrics in the sports groups.

Much attention has been given to fastenings, almost always at the neck, for the majority of these shirts,
whatever the material, are pullovers. Heavy cords threaded through eyes, slide fasteners and various
combinations of loops and buttons, and ordinary button holes give great diversity. In several of the new
mesh models crew and V-necks are used, which is also true of terry cloth and ratin’e.* There is a draw-
string at the neck in some of the mesh models.

*Ratine; Basically it is a rough textured plain weave fabric that is usually of silk, cotton, or some times
other fibers. It is (or was) used for sportswear. The rough texture is mostly created with the use of slub**
yarns.

** Slub; Described as an irregularity created in yarn by relaxing & tightening tension during spinning. It
could be called an accidental imperfection.

Fancy backs are being used extensively, particularly on those types in- tended to be worn outside the
trousers. Half belts, pleated arrangements, shoulder yoke with gathers all the treatments made familiar
in sport jackets are used in modified forms suitable for shirtings. Raglan shoulders are a newish touch,
dicky and guimpe models are many, along with big effects. Very notable is the increase of ‘convertible’
models which may be worn button-closed at the throat in conventional shirt-collar manner, or opened to
form a V.
Every type of cloth from the most open of open meshes to the heavy meshes, basket weaves, and cloths
similar to those mentioned above is used. The acetate and rayon groups there are several with the
appearance of wool jersey, many of these being particularly distinguished by their horizontal-stripe
treatment, multi-striped j multi-colored variations of the Basque stripe.

In general, colors tend to be very deep, blues and browns, wines and greens, with bright yellows strong
favorites. Diagonal and herringbone patterns in the dishrag class give new interesting effects, and a
seasonal sensational in many ways is the use of printed knitted and jersey fabrics, principally in plaids,
checks and strong colorings.

Checks and plaids, by the way, are no less rife in sports models, (although tending to be bolder and more
heavily color-contrasted) than they are in almost every other field of clothing and ports wear. There is no
doubt that menswear is in for a chequered career. (Men’s Wear, Feb. 5, 1936).

A tour of the Palm Beach golf courses in the late thirties revealed that most smart golfers were showing a
preference for the half-sleeved coat shirt in natural linen with natural wooden or large pearl buttons,
often with the wearer’s monogram embroidered on the roomy breast pocket. This coat shirt became so
popular that it eventually did double duty as a beach jacket. A new snug-fitting knitted shirt also popular
on the links was a coarse-rib wool with a single chest strip in a contrasting color and a turned-down collar
without buttons. Most Palm Beachers wore their sports shirts outside their trousers, thus prompting
manufacturers not to make their sports shirts too long.

Like practically everyone else during the Depression, the editors of Esquire seemed to be fascinated by
the Riviera life-style, and in 1937 the magazine afforded its readers not only a glimpse of the latest
fashions being worn there but also a little travel information about Saint-Tropez:

A tiny fishing village on the Cote d’Azur. . . an international harbor where yachtsmen gather to watch
artists paint, to pick up unusual beach clothing and to patronize the numerous outdoor cafes along this
waterfront street where hundreds of yachts are lined up daily during the season. There are no hotels in
this village. The clothes worn here are both more colorful and more informal than those worn at any
other Riviera resort.
Observe this illustration from summer of 37’ painted at Saint-Tropez.

There are no (or there were) no beaches or swimming here. On your left you have the famous Basque
cotton shirt. Worn with shorts of “butcher” blue linen with wine colored elastic belt, a colorful
neckerchief is cotton and the sandals are twine with leather soles and heels. The other shirt is blue silk
and linen, with sail cloth slacks in St. Tropez red, and deep blue canvas espadrilles with roles soles. Note
the French beach bag for swimming clothes, etc.

[By the way for those who are interested.. see the controversial Roger Vadim film Et Dieu... créa la
femme (and God created woman in US) from 1956 shot entirely at St. Tropez, to see some of these
ensembles.]

To illustrate this last point, Esquire showed a cotton Basque shirt with a crew neck and horizontal stripes
(“regulation in the French navy”) and a plain blue silk-and-linen shirt worn with a knitted skullcap,
another item that owes ‘its origin to St. Tropez, where the villagers knit them. They are comfortable and
keep the hair in place when sailing as well as affording protection from the sun.
Also popular in solid colors and bright tartans of fuzzy wool was the long-sleeved wool gabardine shirt. It
faded from the civilian scene during le war years but was revived in the postwar era and continued
strong until finally, toward the end of the fifties, it settled into a niche of moderate popularity.

By 1937, the shirt suit, first seen in Monte Carlo, had reached fashionable American resorts. In its August
issue Esquire showed a pair of suits, the one consisting of a cotton crash short- sleeved shirt with
matching trousers and the other made of a cotton-and- linen mixture.

Beach Suit from Monte Carlo

In view of the inordinate attention being paid to the Cote d’Azur and Palm Beach during this decade, it
was refreshing when, in 1937, the writer Clyde E. Brown reported on the colorful sportswear being worn
in Palm Springs, California, which, he said, appeared “to be undisturbed by Wall Street shocks as by
earthquake trembles. There have been signs during recent seasons that a very definite type of apparel
was taking form for desert wear, and this season more than ever reflects that trend. Easterners and
Europeans coming here often exclaim with joy when they shift into the lightweight, brightly-colored
sport costumes so popular here. The dry, hot and, the cool night, the informal casualness of California
life and the pioneering days of the old West, all show heir influence on the clothes that mark this resort.
Crashes, linens, peasant cloths, gabardines (both worsted cotton) and denims are tops in the sartorial
calendar there now. The matched or mixed ensemble of shirt or jacket and slacks in these materials is
the outstanding highlight of the early sun worshippers’ selections. The in and-out shirt, both in the open
front model and in the slip-on type, is so popular that it stands out as the leading item of the season thus
far.

For breakfast rides into the desert, for hiking, etc., the Western riding costume has taken the spotlight
from almost everything else. To complete the Western costume, many choose the high-luster satin
cowboy shirts, western boots and large western hats. The frontier pants, however, are also seen a great
deal worn over the regulation style of English riding boots and with varied combinations of sport shirts
{Men’s Wear, Dec. 8, 1937,’p. 32).

Men’s Wear, covering the sports shirt market in June, 1937, chose to illustrate the following models: a
rayon bush shirt in a natural tone (“a little longer than last year’s model”) with nut buttons; a classic
Guayaberra shirt in a noil silk* that showed printed dark red herringbones and stripes; a coat shirt in a
natural-shade cotton (“resembling the Hawaiian pineapple cloth”) with two patch pockets; a pale tan silk
sports coat shirt with a roll collar (“a replica of a style popular along the Riviera”); a blue linen coat shirt
with blue dome buttons, two patch pockets, button flaps, and a deep collar; a three-button pullover in
gray rayon; a fly-front one-button shirt in tan nubbed cotton with a deep low-band collar; a four-button
short sleeved shirt that could be worn as a sports shirt with slacks or with a tie and a summer suit; and a
cotton gabardine showing brown-and-blue printed checks on a white ground.

*Noil Short fiber of wool remaining after the carding process; also known for waste silk fiber.

In February, 1938, Esquire, commenting on the colorful, unique and, above all, comfortable sportswear
seen on the island of Jamaica, proceeded to show two examples: a short-sleeved shirt of India madras
worn with silk slacks and a very coarse cotton madras shirt worn with wide waist band linen shorts. Also
that year, the magazine’s fashion department showed two important new fashions in beachwear under
the headline To Palm Beach via the French Riviera: a combination of a mocha-color linen-and-cotton
beach shirt, made in the collarless style, worn with seaweed-color beach slacks; and a two- piece beach
suit in Cote blue mixed linen (“the color worn by the French militia”), the shirt carrying a high-set collar,
a four-button front, half sleeves, and two patch pockets.
This illustration below is from early 38’ resort season and painted at Nassau.

The scene is the royal St. George dock, to which the launch in the foreground has just come from
Paradise Beach. Nassau has the double attraction of its foreign typical back ground and its large colony
of young married socialites, to bring people over from Florida every winter.

In the foreground you have the cotton “butcher” shirt in a checked motif so-called because apparently
that is what the butcher’s aprons in south France were like. Now, naturally this makes you wonder how
in the world somebody came up with this crazy idea of turning this into a sports shirt pattern. Anyways,
it is a neat pattern worth remembering, even though it is not for everyone. Shorts are of grey flannel
worn without a belt and shoes are VERY rare deep red canvas with crepe soles and heels. Note the
absence of socks! And these fancy designers today think they are being innovative when they propagate
the look of loafers without hosiery.
In the back ground you have a classic rule violation done superbly well. What is the rule that is being
broken here? That sports jacket should certainly be distinguishable from the odd trousers and should
harmonize but Not match the pants. While, it is a good rule for many…as with all others it can be broken
nicely. This is actually a broad topic that is best left for some other time but I would still like to point out
two main key points.

Here note the style, color and the over all effect of the ensemble… esp. when the surroundings is kept in
mind and you will realize that in no way you can mistake that for the good old regular suit jacket. This
jacket is in “hemp” color with one button at the sleeves and slanting pockets. The trousers are of slightly
darker shade of grey. At neck he wears a red and white foulard neckerchief with a yellow crew neck mesh
shirt underneath. His hat is of coconut straw and at his feet he wears brown loafers with yellow hose.

To see another example of this rule violation see Fred Astaire’s film Bandwagon. I am referring to the
“Dancing in the dark” sequence where Astaire wore an cream / ivory odd jacket with a very closely
matched trousers… yet not even for a minute you will find it a least bit odd because of how he uses it in
accordance with the surroundings (a very casual stroll in evening through the park).

But getting back to sports shirts…

Esquire in October, 1939, filled a color page with new beach accessories seen first on the Riviera this past
summer, and intended for sun sports at Southern resorts. Among them were a red cord mesh half-
sleeved shirt, a natural-color half-sleeved mesh shirt with a contrasting boat neck, and a blue crew-neck
open-front mesh sports shirt with half sleeves. The following Esquire issue showed one of the new native
printed shirts of silk made in Honolulu. The model the artist had chosen to sketch looked lithe, tan, and
prosperous, for the United States was in an optimistic mood as it moved from under the cloud of the
Depression into what promised to be a more prosperous decade.
Finally take a look at this illustration from early 38’ resort season (painted in 37’ at Casablanca). This was
posted originally by Mr. Alden in his great Summer Chic post. Be sure to read that also.

Gorgeous! This is a fun illustration. Mr. Fellows claim this was painted at Casablanca, yet AA / Esky staff
thinks this was at the historic “Doctor’s Cave” Beach in Jamaica.

Anyways, the gent who is sitting wears a shirt of India Madras with authentic patterns. “Bleeding”
Madras was often favored also. Trousers are extremely full cut made of tropical worsted but can also be
of cotton, silk or even linen. Shoes are reversed calf brown with crepe soles and heels. Note that they
have a blucher front and no-toe caps. The anklets are light weight wool, ideal for golf and sailing. The hat
is Jippi Jappa with puggree band. His watch’s band is of linen or gabardine, which is indeed interesting
to note. On your right you have a rather coarse cotton madras shirt in deep red color. Note the linen
shorts with a very wide waist band. These are perfect for sailing, fishing or general beach wear. Note that
you can have this waist-band style incorporated into linen or summer weight trousers also. The shirt can
also be with contrasting blue collar and edging on the sleeve ends.
These types of outfits were also frequently spotted in Jamaica, which was much more popular in terms of
its summer fashions influence.

Englishmen planning winter holidays to the warm climates were the first to find this tropical island in
the west Indies, and since then many Americans have made it their headquarters during the winter
months. The fashions there are colorful, unique and above all, comfortable.

That should take care of all your sports shirts cravings and should provide you with many different ideas
to think about. You will spot further sports shirts in the next main illustrations section.

END OF SECTION III OF THIS POST

START OF SECTION IV OF THIS POST

Alright then let us start with your favorite portion; the illustration section.

The very first illustration we have is from summer of 35’

Okay, what is the point of this illustration? Perhaps that thrusting your hands in the pockets was
fashionable back then… No. Not really. However, this stance that both gents have taken indeed does
serve a practical purpose for us readers as we will see.
On your left you have the quintessential summer suit of the era; the light grey db flannel with long lapel
rolled to the bottom. The color is quite light and is perfectly appropriate for summer wear both in weight
and texture of the fabric. Worn with the suit is a brown sleeveless sweater (underneath for those cool on
board mornings or evenings), a one piece Harris tweed cap with colored over plaid. Shoes are brown and
white, but here not that these are slightly different than customary wingtips. The “wings” are much
smaller in length and only cover the toe area. It is a genuine old-world style and quite hard to obtain
these days.

The shirt and tie combination is of great interest. This is a tan / yellowish light weight oxford soft shirt,
the tie is light weight ivory wool with reddish brown dots… Very clever matching. This combination of
grey and yellow or tan-ish color is not common even today and certainly wasn’t back then either. It is not
for everybody and I would advise caution here. However, those who are adventurous and don’t mind
experimenting they should certainly try out various combinations along this color scheme. Moreover,
you should take note of the fact that the tie is lighter than the shirt and the suit. This is a genuine
summer scheme and is best confined to such seasons. In this post you will note various take on this
scheme so understand it well. Pocket square is also natural tan colored.

You can also use the reverse of this color scheme but with slight caution (brownish suits / jackets with
grey shirts). Both combinations require some observance on the part of the wearer. These are not your
every day blue and white combinations so it certainly serves well to study these before actually
employing them.

The fact that is illustrated by this gent’s particular pose is of comfort and the cut of the suit which is
along easy lines. Shoulders are extremely natural, buttons stance slightly higher (for those times), and
the pants are full cut yet tapering down gracefully as they reach the shoes. Note the extra fullness around
the chest area… underneath the arms. While you are at it… observe the shape of the lapels.

The gent on the right is wearing a light weight jacket of Glen Urquhart Shetland with grey flannel slacks,
brown suede blucher shoes with crepe soles and heels, and underneath the jacket a light weight polo
shirt is worn. The silk foulard muffler is navy blue and is won nonchalantly at the neck, obviating the
necessity of collar and tie (but you may wear them perfectly well). Once the jacket is removed, this is (or
was) perfectly suitable for deck sports.

Here, also, note the cut of the pants and their length. You can switch these pants with a lighter colored
ones if you wish. A thing that is worth remembering is that when they refer to the word “slacks” they
have something very particular in mind and not just any old trousers. These “slacks” were supposed to
be very full in cut, usually worn with self belt loops and cuffs at the hem. The length for summer times
(or sporty activities) were always a tad bit shorter than the regular suit trousers.
Second illustration of this series is from Honolulu during early 38’ resort season.

The beach of Waikiki is famed for its beauty and is frequented by international travelers as well as by
west Coast society. The new arrival (identifiable by the lei) ponders a choice of pleasures; golf on the
Waialae course, swimming at the Outrigger Canoe club, or dancing at the Royal Hawaiian hotel or at the
Banyan court at the Moana.

Here we have a genuine summer suit with a slight twist. This suit is a SB 2 button with peak lapels and
patch pockets. Color is in natural tan and it can be executed in a number of fabrics from gabardine to
linen or cotton combinations. Shirt is a mesh cotton with soft lounge collar to match in light tan color
and worn with a striped rep tie in deep green and yellow colors. Green hose is paired up with brown and
white shoes with straight toecaps. Hat is green in color & is of lightweight felt in cavalier style that
combines the effect of snap brim and homburg together. This hat is best left alone these days… and
certainly in green color. Should you require a summer hat; a optimo crown panama can easily fit the bill
and still be somewhat present-day-ish (although not really as straw headwear is quite old) .
Note the fuller cut of the jacket as explained above in drape / London lounge models. Sleeves carry two
buttons instead of customary 4 on city suits.

The other fellow is in tune with the genuine resort spirit. His shirt can be of silk or cotton and pants are
white cotton. Shoes are blue canvas with white rubber soles, which were introduced by Bill Tilden (or at
least heavily popularized if not correctly introduced).

That said… I would not recommend the outfit on the left for beach purposes today… unless of course
you are willing and up for it. Just study them and use them accordingly with your surroundings. This suit
(today) will take you any where in the summer these days in the city, save a few evening or more formal
events. There are many variations on this style as you will see below.

The print shirt on the right is still ever popular and usually done in very bad taste. If you want to opt for
a genuine summer shirt my advise will be do go with the linen shirt with bold “pirate stripes”. You can
use print shirts also… but in order to be slight unique, pair them up with natural shade linen pants or if
you are daring, white ones like shown here.
Third illustration is from summer of 38’.

Here we have two more authentic summer articles. The one the right (lower on stairs) is basically a
variation of the suit above but with notch lapels instead of peak. This here is in a washable fabric and in
natural tan color. Shirt is of tan madras, which along with linen (& maybe some voile) weaves is about as
summery as they get. Tie is rep red and green striped and shoes are reverse calf monk fronts. On the
gents head is what is known as a cork pith helmet. I don’t even know if they even exist anymore.

On the left upper side we have the MOST time honored old-fashioned summer look. A db blue blazer
with brass buttons, patch pockets and 4 buttons instead of 6. White flannel trousers paired up with
brown and white combination shoes. At the gent’s neck is a white silk scarf, underneath which is a white
shirt without a tie.
This look is the quintessential summer look and most of us do indulge in one of its variants. Those being,
blue jacket either with metal or regular buttons… worn with white, tan / khaki or grey flannel slacks.
Blue and white is the most summery followed by khaki and then grey. For those who want to appear
season oriented and yet are reluctant to wear white, are best advised to use grey in a very light shade…
perhaps as the one the first illustration.

Here with the jacket you can have all three pockets as patch (because it is a 4 button DB) or you may
have the lower two patch while the breast one in welt. Moreover, for those who need even are more
dandified ensemble you may try going for the (now long lost) part of wearing patterned trousers. Here
you can pair a blue jacket with hounds tooth, shepherd’s check or for those less daring flannel chalk
stripes. This is a very refined look and if done correctly will far supercede the usual blue / grey / white
combinations.

A few words of caution. If you are opting for patterned “slacks” you need to be aware of a few things.
Well, first of all I say “slacks” because these should not be your suspender / braces trousers worn with a
blue jacket. They should be cut full on easy lines as explained above. That dark jacket with light
patterned trousers that are worn with suspenders and formal accessories is an altogether different look
and best saved for another post. Here, the purpose is to be comfortable and appear as so… as such
proper accessories are a must. So, when aiming for patterned slacks (summer / casual looks) make sure
you let go of the brass buttons on the jacket and similarly substitute plain white bucks, brown suede or
tan bucks as shoes. Two-tones paired up with patterned slacks maybe a little too much for these days. In
addition to this make sure that the pattern on the slacks is NOT too loud (esp. if you are new to this) for
example a bold glen plaid or neon type stripes. Once you are confident and have understood some
basics, by all means go and experiment on your own. See the cardigan golfer illustration below for more
on this topic.

These looks will work even better if you can obtain cotton / silk light weight fabrics for slacks, which
resemble the pattern and textures of these heavier woolen fabrics.
Next we have 3 looks from early summer 37’ spotted in fashionable resorts like Monte Carlo, Cannes,
Pam Beach, Bahamas & Bermuda Islands.

1. Another important summer item is this DB suit with patch pockets. This here is in natural colored silk
worn best for informal occasions. Here the buttons on the jacket are actually white. Underneath the
jacket is worn a light weight lisle crew neck shirt which is long sleeved, at the neck is a light weight silk
square which actually is tucked in the shirt at front. Hat is Jippi Jappa with a lower crown and blue
colored puggaree band. His shoes are interesting as they are white buckskin monk fronts with leather
soles and heels.

This jacket can be perfectly used as an odd one without an instance’s hesitancy as it will not appear like
an orphaned suit jacket. Other possible fabrics for this model are; linen cotton / silk, tropical worsted
and other light weight washable materials.

2. The middle gent is wearing a dressy summer suit of light grey flannel with bold chalk stripes that are
2” apart. The cut and accessories matched with it are quite informal. This is a 4 button DB with lapel
rolled to bottom with jetted pockets. Shirt is a light grey broadcloth with collar-attached and the large
shaped foulard bow tie is blue and white. Pocket square is also blue and so is the hose. For head wear we
have a sennit straw hat with a black band and shoes are reversed calf made on a town last. You can also
have this suit in a blue chalk stripe if you like. Note the over all fitting of the jacket and the trousers…
that by the way is essential to a summery look.
3. Here we have a even more citified suit than the chalk stripe version. This here is a light blue (about air
force blue shade) of SB 3-button suit with lapel rolled to middle button. This type of a suit can certainly
have a vest for dressier or cooler days or evenings. This suit is best made in a tropical worsted or other
specialty open weaves like frescos or maybe even certain mohair blends or the actual solaro cloth… if you
can find it, that is.

Worn with this suit is an ivory silk shirt (try wearing an open weave like linen / voile) with soft lounge
collar to match and foulard tie with tied and dyed figures, natural optimo shape panama hat, reversed
calf town shoes and clove red carnation boutonniere. This suit here is executed with jetted pockets but
you can also opt for patch ones. The back is plain or can be vented. It is best to avoid gabardine in this
color. Note that this suit is quite light compared to a navy blue suit yet it is quite darker than “powder”
or sky blue.

Let us look at another summer suit that is cut along somewhat formal lines. This next illustration is from
spring of 40’
Painted at one of the most exclusive clubs at Nassau; the Emerald Beach Club, here we have 3 different
types of gents in one situation. The one who is sitting is an easy going fellow and is wearing a SB flannel
blazer with Brass buttons and patch pockets, tan gabardine shorts (although you should think of wearing
pants these days… esp. if you are wearing that blue blazer), coconut straw hat with yellow puggaree band,
yellow wool anklets an brown polished Norwegian slippers (which, here, is a fancy name for loafers) and
a yellow silk neck scarf. Now should he wish to opt for the activities of golf or a spot of sailing he is quite
set, as all he has to do is let go of the blazer and perhaps the hat.

Then there is the gent in the center, which for our purposes is the most interesting of the trio. He wears
a DB 4 button suit of (get this) off-white worsted flannel with jetted pockets and a plain back. His suit can
also be in tropical worsted or perhaps gabardine but (usually) not of linen due to the cut of the suit,
which is a tad bit on the formal side. He wears spread collar ivory silk shirt with this and a regatta striped
blue and white tie. Pocket square is blue and white also and blue lisle hose at the feet. His shoes are
crown and white combination with leather soles and heels. In his hand is a yachting cap with white top.
Just to let you know you can opt for a light blue summery polka dot tie here also.

The last gent on the right does not really need an explanation, except that he wears knitted ribbed wool
swimming trunks and orange colored espadrilles.

Then we have our 3 combined ensembles which are advisable for summer with varying range of
formality. This is from summer of 35’
1. You have the classic old-fashioned breakfast and tennis ensemble. Even though you may not find
yourself fancying tennis much but still it does not hurt to know these alternatives… that you may
certainly use for other purposes the tennis wear. This gent wears a dark green flannel blazer with patch
pockets and club insignia crest at the breast pocket. Trousers are of white flannel, canvas sneakers, a
yellow terry cloth muffler, and a white mesh cotton polo shirt underneath the jacket.

Here you have a few options, for example; the blazer can also be of red color as well as striped variety
and with or without contrasting edges. Kindly see AA / Esky Vol. II No. IV post. Section IV (the regatta
illustration) for a better visual depiction of these jackets. Note that the true tennis green blazer is not a
pine or dark green but is actually quite bright in color.

2. This is a golfing ensemble as you can see and as such wear patterned slacks of either summer
Shetlands or flannel paired up with a colorful polo shirt. If the pants are patterned then it is best to keep
the shirt simple otherwise horizontal stripes or various small checked effect are supremely pleasing.

3. The ever useful flannel suit here in a blue chalk stripe version. The jacket is 6 buttons with lapel rolled
to the bottom buttons and worn with light blue spread collared shirt and interestingly enough an ivory
colored polka dot tie with blue dots. Note the yellow carnation at the lapel. Shoes are brown reversed
calf and in gent’s hands is a lightweight checked Shetland topcoat. On his head this gent wears a light
weight blue porkpie hat with navy or black band.

If you pay attention to this illustration, you will realize that this is an alternative version of the very first
illustration with light grey db suit. Of course with the exception of chalk stripes. Note the shirt and tie
scheme is exactly the same as in the first illustration… as in both cases ties are lighter than the shirts.
Note the jetted pockets on the jacket and the very natural shoulders . This model is perfectly fine for
either side or non vented backs.
Okay… this next two ensembles are from summer of 36’

Here you have two very different ensembles that are as far apart in terms of formality as they can be for
summer wear. But we will study them one by one. The gent on the left depicts an ideal formal suit for
proper town matters. This suit is a 3-pc DB in a somewhat brighter blue (not navy) with red and white
stripes. Jacket is 4 button and lapel rolled to bottom. Jacket carries jetted pockets, worn with it is a light
blue shirt with a starched white collar & cuffs, a light weight red and white checked tie and a dark blue
homburg for headwear. He wears black calf town shoes (which unfortunately got cut off in the scanning
process).

The gent on the right wears what was used to be called as a “Beach suit” and was actually imported from
French resorts. This here is actually made in linen with shirt carrying military pockets and epaulets. His
shoes are blue canvas with rope soles. With this outfit usually a colored silk handkerchief (mostly in
dotted motifs) is worn. Unfortunately, this is one of those items that are long gone from men’s
wardrobes. And certainly there are almost second to none good ones out there. However, if you find
yourself in possession of such an article it can be used for summer suburban wear or even in cities for say
an evening walk in the park. Don’t worry, nobody will call you out of place if you wear this for a summer
evening walk. ( be careful about the foulard muffler though).
Next we have 2 gents portraying summer suburban / resort wear. These are from summer of 36’

The gent on the right wears a 3-pc glen plaid suit of Saxony fabric, which is known for its softness and
draping qualities. Here is suit jacket is 3 buttons with lapel rolled to middle button & the pockets are
slanting in spirit of country wear. Jacket’s back is side vented. Also note the particular shape of the lapels
and the collar ( this collar is wider than the lapel). You can leave your vest at home for the warmest of
days. Hat is green colored porkpie and shoes are brown reversed calf. Shirt is a light tan / brownish with
deep red foulard tie. The color of this suit is a mixture of olive and brown and creates a mottled effect
that is desirable for country suits. By the way, if you must wear a hat… try straw for summer or brown
felt for cooler days. Green hats are not easy to wear these days and as such are usually best left alone in
most cases.

The other gent on the left wears a variation of what the first illustration in this post depicts (the gent on
the right in first illustration). Here you have a light weight Shetland jacket with slanting pockets and side
vents at the back. Worn with it are white cricket cloth trousers, a tweed checked cap, green dotted
foulard muffler and Norwegian brown and white shoes. Underneath the jacket you can wear a crew neck
or mesh cotton polo shirt. More on this combination below in detail.
Let us look at 3 illustration from winter 35-36 (Resort Season)

Alright… the first gent on the left wears something truly unique in terms of pattern. It is a 3 button SB
jacket with lapel rolled to middle button and side vents at the back. Note the ticket pocket. This is a light
grey colored herringbone summer Shetland with a bold light blue over plaid. Worn with white flannel
slacks and monk front brown shoes with leather soles and heels. Worn at his neck is a dotted foulard silk
muffler.

Now, here is the thing about this jacket. This is a classic example of what the “smart set” often used to
do. These people were in love with heavier tweedy & sporty patterns so much that when summer
approached it usually posed a threat for them because they no longer could wear these patterns in
warmer months. So, what they did was… they asked their weavers to have the cloth made in porous light
weights such as summer weights Shetlands… or even had cotton flannel replicated the look of a tweedy
fabric so that it was wearable in summer months. I have addressed this practice of using fuzzy cotton to
create this woolen look. Of course, to have the genuine dept and texture you indeed have to get the
heavier versions but since these gents already owned the heavier versions it was only a matter of time
that they acquired the lighter versions also.
Now, no need to frown on summer Shetlands. They have their purpose… and that is in summer months.
Of course, it becomes something of concern, when a majority of people want to opt for these light weight
porous tweeds all year round and relinquish the heavier versions…but that decision obviously relay on
the consumer and that is where matters of personal taste are of utmost importance. While you may be
able to locate light weight Shetlands for summer wear in such old fashioned patterns, I cannot even
begin to think where you can find their cotton counterparts… if they exist at all. Anyways, the purpose of
this brief discussion was to explain to you the various concepts that are shown here… the rest is on you.

2. The second (middle) gent is wearing a beautiful summer cream shade gabardine suit with crisp lines in
a SB version, jetted pockets and a plain back. Shirt is a small green check with spread collar, the tie is
also green with a larger plaid motif. Shoes are brown crocodile. This suit is actually an SB counter part of
the DB ivory suit (see above) from Nassau. You can have this suit perfectly well with patch pockets and
vents at the back if such is your style.

3. On the far right side we have a casual look that is perfect for beach wear, summer informal evenings
and general sport events. This gent is wearing a mesh silk polo shirt with a buttoned front (quite
unusual) and two beast pockets. The pants are dark blue linen and shoes are white canvas with rope
soles. You can wearing white bucks also.
Okay… let us look at the rarest suit of these all so far. This is from summer 35’ season.

Painted at one of the MOST exclusive places visited by the fashionable set of the era; The Bath and
Tennis Club with further mentioning of Breakers Beach and other places like that. Here the gent in the
seat is of interest to us first and foremost. He is wearing a glen plaid suit of seersucker that is quite
prominent in terms of pattern. The over all color is brown-reddish and it is a 6 button DB. Worn with it
is a yellow and red silk foulard muffler, brown and white lisle hose with horizontal stripes, and final white
unlined bucks with red rubber soles and heels.

Last edition of this series (Vol. II No. IV) I presented a diamond weave seersucker which was also quite
rare but not like this. Think about this for a minute… How often you tend to see seersucker suits in
plaids, let alone Glen Urquharts like this one above?
The other gent on the right wears a red white and blue horizontal striped lisle beach suit with navy blue
collar, wine ribbed trunks and blue raffia sandals. Try paring this shirt with a solid blue navy crash slacks
with white buck or blue canvas sneakers.

Moving towards the end we have an illustrations that truly seems to define casual elegance. This is from
Spring of 37’

Ah… quite something isn’t it? The gent on the left wears a 3 button dark / pine green blazer of home
spun tweed with patch pockets and brass buttons (breast is also patch), grey flannel trousers, brown
reversed calf shoes, soft flannel shirt (often taffeta) with attached collar, solid crocheted tie and a light
(willow) green sporty hat. Note that this gents blazer is much darker in shade than the one above,
prescribed for tennis and breakfast themes.
The gent on the right is of utmost interest to us. He wears a solid navy alpaca cardigan with chalk striped
grey flannels, Norwegian model golf shoes, a lightweight taffeta flannel shirt in peach color, dark striped
tie, and a one piece tweed checked cap.

Here the mixing of a solid cardigan with patterned trousers, the similarity in color of hat and shoes, and
the open two top buttons of the cardigan is any thing but un-intentional. Note that the bottom most
button is also left undone. You should learn to employ this scheme is as much as possible, especially if
you have naturally broad shoulders to perfectly support the cardigan. With the ever decreasing formality
it is getting harder to wear the jackets in most instances and as such a cardigan may be the proper bridge
between the formality of a jacket and informality present in a casual / sporty shirt.

These cardigans have three major advantages. One; they are quite informal as explained above and can
take you almost anywhere with being much conscious of your attire. Two, the provide an excellent
opportunity to wear ties and dress shirts with them, which includes almost all the shirt and tie
combinations present for sport jackets (except maybe the very formal ones… For example you will not
wear a shirt and tie combination here that you wouldn’t have worn with a sports jacket… like a solid tie &
a white spread collar shirt / double cuffs matched with a hounds tooth checked sports jacket). And finally
these cardigans allow you to wear your high back braces trousers by hiding the suspenders underneath.

In addition to all this, if you use some imagination you will realize that these cardigans can be used in
lieu of informal jackets for displaying patterns… like small checks or may be even discreet woolen stripes
such as chalk. So, thereby when using patterned cardigans you can keep the trousers solid, just as you
would when selecting a sport jacket & odd slacks combination. You can use other sweaters like v-necks
but make sure they have DEEP V’s at the front for properly showing shirt and tie combination. Leave
the super high narrow v openings to the modern day trendy designers.

Before warping everything up in this illustration you should take note of the gents in the background.
The two yellow jackets are short oiled silk rain jackets and the white colored is a rain coat of cotton
gabardine.
Finally with all possible summer suit styles explained… let us have a line-up of them all in one place so
you can compare and contrast their finer points. This great illustration is from summer of 36’. There is a
color version of this also, which I could not locate.

Okay… here we go…

1.Quite possibly the rarest of all summer suit options and certainly discussed in AA highly infrequently.
This is a patch pocket DB suit of 6 buttons done in a summer weight chalk stripe flannel. Note that this
has two lower pockets in patch while the breast one is welted. Quite advisable due to the fact that the DB
is full 6 buttons. Personally, speaking as great as the idea is… I will ONLY recommend this version if you
have all other summer styles covered or live in an excessively hot / tropical environment where you have
to relay on them year round. If you do decide to go for this style, not that it should be executed in a
woolen fabric preferably in brown or light grey. Try avoiding darker grey or blues for this one. This suit
will shout BESPOKE, as to the best of my knowledge no (recent) RTW manufacturer has ever indulged
in this style. Shirt is white short collared worn pinned with a striped rep tie. Shoes are calf on a town last.

2. This is a SB 2 button patch pocket suit of open weave “crash” fabrics that are extremely suitable to
summer suitings. As with the #1 above, this too, is made with lower two pockets in patch. Here the shirt
is a spread collar worn pinned with a lighter colored summer foulard tie. Shoes are buck full brogues
with leather sole and heels. This fabric is best executed in an SB version though you may opt for DB if
you wish.
3. Ah… the good old sports back suit jacket with bi-swing pleats, center pleat and a belted back. This is
one of the oldest models for summer suits. At the front it has patch pockets (actually bellows style). The
ideal fabric for this suit is either a Gabardine, Linen or tropical worsted. I will not advise this in a flannel
(esp. in summer time). Its jacket is the most genuine sports coat if used separately. Note the razor like
back creases of the trousers.

4. Another 2 button SB suit, but this one is with all three patch pockets and the fabric is a self
herringbone weave. This is best done in either light weight woolen or if you can get… cotton flannel to
replicate the look of wool. You can also try this model in summer weight Shetlands but then the trouser
crease will not be as sharp. Note here the shirt is darker than the suit and the over all effect is quite
casual. This was usually done with blue shirts and off-white / ivory colored suits.

5. My personal favorite of them all. 6 button DB with two lower patch pockets, welt breast pocket, worn
with short collar pinned shirt and a foulard tie. Observe the slightly higher button stance ( as opposed to
#1) and the very high arm holes. This is best done in tropical worsteds and may be Linen. Note while the
style of the suit is almost same as the #1, this is a much more practical suit than that. Note the cut of the
trousers and the town calf wing-tip shoes.
let us view the final part of this summer line-up.

6. Here we have a classic sports jackets in a bi-swing belted back fashion. This is one of the classic all time
favorite models. Note that this model is best adapted to summer weights Shetlands (in summer) , even
linen. Here this actually, is a cotton flannel which (like in the blue and grey illustration above) in which
the pattern is a hound’s-tooth check or can be a district plaid variety. This model is best executed in a
brownish color perhaps with an over plaid. The trousers are light grey flannel but can also be of linen
especially if the jacket’s fabric is cotton flannel.
7. This is actually quite similar to the #4 in the illustration above but the fabric is Irish linen and it is
worn without a tie. You can also try another AA recommended combination of cotton & angora… that is
of course if you can find such cloth. It is worn with a darker polo mesh shirt collar worn outside. Worn
with it are saddle combination shoes. While, this is a genuine non-formal summer look, I would advise
caution here. It was a very new look in 1930s. Sadly seven decades later it has been overdone and beaten
to death so to speak… so be on guard. However, usually this is never done with a patch pocketed linen
suit (masses seem to opt for worsteds). Another thing to think about is the color. While here it is shown
in white, I will recommend a natural linen shade for a truly smart effect. While you are at it, you can
have the properties of #6 (belted fancy back jacket) incorporated into this one without much effort.

8. A Very RARE SUIT indeed! A summer 6 button DB suit made in a small checked fabric either a
tropical worsted or summer weight saxony. This suit here has jetted pockets instead of patch. So what is
so unique about this suit? Try looking for yourself. Go ahead see if you can locate it.

… stumped?

Notice the button stance. It is 6 buttons with lapel rolled to bottom button… but look where it is located
at. So basically it is a Kent style DB where the button stance has been pushed up quite a bit. This style is
advisable for gentlemen who feel that they need visual height in their garments. This is one of the few
places where such a configuration was presented in AA. So, the question arises…can you have this suit
with lower patch pockets?

I will say… probably No. Just like it is drawn. This is a style that is best left with flapped / jetted or
perhaps if you insist welt pockets. It has a certain metropolitan air to it, which I cannot pin point exactly.
But, nevertheless… my first suggestion will not be towards patch pockets here.

9. Lastly we have the good old Donegal tweed rough textured suit, a fabric that is certainly long wearing
and has a lot of texture. The jacket is SB 3 button with bellows pocket, fancy back & bi-swing pleats. This
is worn with brown reversed calf shoes. At his neck this gent has opted for a foulard dotted motif muffler
in lieu of collared shirt and tie. However, the polo shirt underneath is till full sleeved.

Well, this is it. This should certainly take care of the summer suits styling options as well as giving you
other neat ideas to think about. Let us wrap up this section and move towards the last section of this
post.

END OF SECTION IV OF THIS POST

START OF SECTION V OF THIS POST

Here is the last section of this post. This portion is really for fun reading. It is from summer of 37’ and is
purely about Savile Row, what it was like to shop at these tailoring establishments during 20s and 30s.
Read carefully, you will surprisingly notice a few similarities that are still quite common today.

From early Summer of 1937

On Savile Row tailors

Sporting and Mufti Tailor

cold—
It isn’t British to barge in and order a suit, cold —you must be properly introduced

It was my first experience with English tailors. And with English salesmanship. “That’s a pretty good
piece of cloth. It’ll wear pretty well, won’t it?” He didn’t answer. Instead he took the bolt of heavy brown
cheviot, unrolled several folds and draped them over his extended leg. After admiring it for a minute he
tossed it back on the counter. “It will do, sir.”

“But—isn’t it---isn’t it really a first-class piece of goods?” As one accustomed to American methods of
selling, this was shocking. By rights he should have asserted that it was the finest suiting on Jermyn
Street. If not the finest in London. Or possibly the best in the world. No, he replied in a quite tone.

“It will give you good service, sir.” Nothing more. No use selling that English tailor his own stuff. That
was all I could get out of him. It would give me good service. So it did. A suit and an overcoat of that
material lasted for several years. Then it was thrown into moth balls while the owner went to war.
Afterward it was hauled out, worn three or four years more, and eventually when everyone concerned
was heartily sick of it, given to the Salvation Army. Someone somewhere is still wearing it. Of course that
was pre-war suiting. The man who waited on me, in 1911, is now the Managing Director of the firm.
Clients, even old clients of twenty-six years’ standing, don’t see him often. But last summer I was
reminding him. Of that suit. “Ah, they don’t make material like that nowadays.”

No more they do. Yet if English materials have changed in a quarter of a century, English salesmanship
has not. Nor have English tailors and their shops. The little establishment in the West End of London,
just a few doors from the place where King Edward VII housed his mistress at the turn of the century, is
exactly the same as it was twenty-six years ago. The same bolts of cloth on shelves reaching to the ceiling.
The same frosted front preventing the profane passer-by on Jermyn Street from gazing into the interior.
The same tinkle-tinkle-tinkle of the bell. Over the door as you enter. The same brisk step from the
cutting room in the rear. There are changes in the world, but not among the Guild of Merchant Tailors
in the town of London, of which the Managing Director of this firm who cut my suit in Nineteen Eleven
is now President.

Tailor shops typify the country in which they are situated. In Germany tailors are military in tone.
There’s much clicking of heels, bowing from. The waist, uniforms of various kinds are in evidence on the
dummies, there are designs for uniforms on the wall. In Germany the tailor’s shop is a guard room. In
the United States it’s a business office. There is a general air of brisk efficiency. Small squares of
materials are placed in scrapbooks so you can look them over quickly. Hard stiff-backed chairs don’t
invite you to linger. This is a business outfit. It’s run like an office. No time to waste here.
The English tailor isn’t in the least interested in the army as a rule. Nor is he running a business on
production lines. His place is a club for men and the ‘members are his clients. Along the front of the
shop runs a wide counter with bolts of cloth spread out. There are two huge leather armchairs before a
coal fire and a table on which is Sketch, Tatler and the Bystander. The table also holds an opened box of
fifty Benson and Hedges cigarettes, several boxes of matches and a copy of this morning’s Times. The
atmosphere of the place invites you to stay. Buying a suit here is a rite. The Britisher doesn’t expect to do
it in a hurry. He’ll spend an hour or more and the tailor wants him to. This place isn’t an office, it’s a
club.

A club that anyone can join? Not at all. This place is a club and run like a club. You don’t just go into a
club and say you’d like to buy a meal, and you don’t walk into John Walls or any West End tailor and say
you’d like to order a suit of clothes. If you did, the senior member of the firm would advance from the
rear and tell you firmly he was sorry but he couldn’t oblige you. Believe me, that’s that. Even one’s own
tailor takes no nonsense. In twenty-six years I’ve never opposed his wishes. When he says a certain
suiting is not for me because it doesn’t wear well enough, he is saying he won’t make it up for me. No use
arguing.

You’re introduced to a good London tailor just as you are to a club. You may laugh at this way of doing
business, but you have to admit that three generations of one family have been in the firm, carried along
the business, and prospered. So there must be something in their methods. Naturally they see no reason
for changing, although the head of the firm assured me last summer that things weren’t what they used
to be. The bookkeeper who sat in the tiny office leaning over the three-foot ledgers from which he sent
out bills on Lady Day (March 25) and Michaelmas (September 29) had died. Now there’s a new
bookkeeper and a typewriter in the office. Imagine, a typewriter!

Yes, the English tailor runs a club and the Englishman looks on it with an air of proprietorship. He talks
of his tailor as “my man,” and says, “Why don’t you come to my man, he’ll do you for a guinea less.”
When a Britisher says that, take it as a compliment. He means he is willing to introduce you to his tailor.
You are going to be proposed for membership in his club.

At this club you pay in. guineas. In the olden days the current coin was a golden guinea, worth one
pound and one shilling. There are no guineas in. circulation today, but the tradition still persists and the
London tailor gets five per cent extra on all purchases. As a rule you pay from twelve to seventeen
guineas, (sixty to seventy-five dollars) for a lounge suit, and from fifteen to twenty-two guineas (seventy-
five to a hundred and ten dollars) for a dress suit. Besides this, you have other privileges at this club,
because the average London tailor performs various confidential services for his client that no American
tailor would think of rendering.

Thus he receives, holds, forwards or destroys mail. He is willing to get them anything within reason at
any time. A client wires from Kenya Colony where he has been stationed three years, that he is coming
to London to be best man at a wedding the afternoon that he arrives. He wants a complete outfit ready.
It is; cutaway, striped trousers, waistcoat, necktie, shirt, socks, shoes and silk hat. Everything fits
perfectly, too.

The West End tailor is a combination of banker, secretary, confidential adviser, and even bartender. In
London you commonly drink at certain hours, during lunch, dinner, or after the theatre. So a Bond
Street tailor runs a regular speakeasy for his customers. You take an elevator to the third floor where
there is a completely equipped cocktail lounge with bar. There’s only one rule here. You can drink as
much as you like, but you cannot pay for your drinks. Of course, if on the way out you choose to stop off
at the ground floor and inspect their latest suiting, the firm will be pleased to show them.*

*These are truly the days gone by. Now a days you would be hard pressed to get your suit “right”, let
alone all these additional things.
The tailor cashes checks for clients. He gets them the best seats at the theatre. He engages a table at the
Ritz for dinner. He telephones their lady friends. Once a client in Egypt asked a tailor to buy a gold
watch and chain of a certain kind and send it out. This year a client wrote from India asking a London
tailor to have five seats for the Coronation and an Austin car ready when he steps off the P. & O. boat
train at Victoria. The tailor dresses his client for a big event like a presentation at Court. Once a tailor I
know had a dog left on his hands all day by a customer, and had to walk the dog in. Hyde Park.

The tailor knows more of a client’s private life in England than does his own family. There’s a reason for
this close relationship. There are very few ready made clothing stores in England, and nearly all men go
to tailors, good or bad, expensive or cheap. As a rule the Englishman of the upper class goes to the man
who made clothes for his father. You can understand this when you realize how the connection
originates and how it grows. Besides his shop in the heart of London, John Walls maintains a junior club
in the little town of Eton across the river from the castle of Windsor. In this damp and unhealthy valley
is the famous public school called Eton for which you have to be entered before you are seven days old.
Once this firm was the only tailor in town. They make the two pairs of Eton jackets costing three
guineas, the two flannel blazers and the two pairs of flannel trousers every boy at this school is obliged to
have. Here the young Etonian at the age of nine has his first connection with a tailor.

He goes from Eton to the varsity at Oxford or Cambridge. The tailor follows him, and hardly a fortnight
goes by but the junior member of the firm doesn’t look in on him, just in case. He takes his
measurements, shows samples, and when a choice is made cuts the suit and brings it down to Oxford.
Perhaps the student discovers he’s badly in debt. An obliging tailor will bill the boy’s father for a suit and
hand over the twelve guineas. You see why the relationship is confidential.

The war comes. The tailor makes the young man’s uniform. Afterward he continues to cut his clothes.
Maybe the junior member of the firm has become the Managing director by now and his son a junior
member making clothes at Eton for the children of his client. Observe that nothing is ever said about
money. He pays or he doesn’t pay as he wishes. Englishmen are not prompt with their tailors. It’s an old
English custom. When the client comes in with a check for fifty pounds to square his account, he
immediately orders three new suits and is fifty pounds in debt again.

Some Englishmen never get square with their tailors until they die. Although most London tailors have
from 1,000 to 2,000 pounds outstanding all the time, losses are probably one-fifth that of the tailor in an
American city. In England they know their clients.

It takes a lot to sever the relationship there between client and tailor. It has, however, been done. Once
the junior member of a tailoring firm traveling in the provinces was asked by a client to stay over an
extra day and call on him. He did so, got an order, and being short of cash because of the extra day,
borrowed a pound note. The following morning the head of the firm received a letter with a check to
close the account, canceling the order. Another time the same junior member was sauntering down the
High at Oxford on the way to the train, smoking a cigarette, when he passed an undergraduate who was
a client. The Managing Director was immediately advised of the fact and the connection severed because
a member of the firm was smoking in business hours. To sell a client the same pattern as a member of
the latter firm or his club happened to wear, would also cause trouble. More than one West End tailor
has been forced to take back a suit on this account. That’s why a good house never as a rule buys more
than one suiting of each material, except what is usually called by the tailoring guild “bread and cheese
stuff,” that is, blue serge and grey flannel.

The top class tailor in London is often a tyrant. A firm like Scholte of Savile Row who made suits for the
former King Edward pays no attention to the “wish or wishes of their clients. They make a Scholte suit or
nothing.* They cut the suit the way all their other suits are cut. If you don’t like it they’ll politely suggest
you go somewhere else. Like many Englishmen, the Duke of Windsor is fussy about his clothes. His coat
and waistcoat are cut by Scholte and his trousers fashioned by another cutter of a different firm.
Naturally you don’t drop in on a house of this kind and order one suit at a tune. They expect you to
order several. And don’t forget to slip a pound note to the chief cutter when you have your first fitting.
*I wonder why does this sound all so familiar! Evidently certain things haven’t changed much for good
or for worse.

You can spend a lot of money with a good West End tailor, although on the whole their prices are about
one-half what the same goods and finish would cost in New York or Chicago. There are several reasons
for this. A good cutter in London gets £15 or £20 a week, whereas in New York he is worth $10,000 a
year. Labor is much cheaper in London, so is overhead, so is material. Because the good tailors on this
side use mostly English goods on which the duty is about75 per cent. You can pay big sums for special
kinds of suits in London, however. John Walls once made a diplomatic suit for a British consular agent
in the East, costing £220, or about $1,100. This included the uniform, a coat, hat, trousers, and also a tin
box to keep it in so the gold braid would not tarnish in the hot weather.

Diplomatic and ceremonial uniforms are the most expensive to make, and not every West End tailor can
make them. When you see & sign over an establishment marked “Court” or “Court Tailor,” it means
they specialize in regalia, velvet coats and breeches for ministers and ambassadors of the Crown,
presentation suits and the like. “Military and Civil,” over the shop means that he makes ordinary clothes,
and also that he has been appointed to some regiment m the British Army as the special tailor of the
regiment, and cuts the uniforms for the officers. “Sporting and Mufti” indicates he concentrates
particularly on hunting and riding clothes. Occasionally one firm, like Johns and Peg, the tailors for the
Guards Brigade, do all the different kinds.

You. Have to visit a West End tailor to realize how your wife feels when she gets to Paris. You have to
see that cloth, touch it, watch it thrown in rippling folds on the table to appreciate what she goes through
when she steps into a big dressmaker’s shop on the Rue de la Paix. Because it’s hard to resist the appeal
of that material, especially when you stop to think that you’re getting something for half what it would
cost in New York. You may have a closet full of suits you can’t wear out at home, but you forget it for the
moment. Under the spell of British salesmanship, that aloof, detached air which stands off and lets you
get deeper and deeper in bolt after bolt of cloth, you forget all sorts of things. You pull yourself together.
You remark that you don’t need a new suit, and anyway you haven’t paid for the overcoat made last
year.

‘If I may say so, sir, we’re not exactly waiting on the doorstep.”

All right. Go ahead. Make up his stuff. Two pairs of trousers and no pocket on the breast of the coat.
Heaven knows when he’ll get paid for it. Heaven knows by this time English. Tailors don’t expect
payment soon.

There… How was that for an old Savile Row account? Pretty neat… won’t you say? However, as
explained in the beginning… please don’t go to Savile Row today expecting this kind of service and care.
If you do… you will most likely be disappointed. This above is an account from times long gone by. That
doesn’t necessarily means that it is all tailor’s fault or anything like that. It is just that times have changed
much and tailors like other are forced to cope up with a lot of things that were of no concern to them
seven decades ago. What is important is that Savile Row still exists today as a world class tailoring center.
Now, whether it will stay like this for another seven decades?… is a topic totally open for debate.

Well… this should take care of everything for the time being. Plus I am kind of tired too.

Sincerely
Etutee

END OF LAST SECTION V OF THIS POST