Gentleman

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© h.f.ullmann publishing GmbH

Original title: Der Gentleman – Handbuch der klassischen HerrenmodeISBN 978-3-8 80-0197-2

For the new updated edition: Bernhard Roetzel

Project coordination: Dania D’EramoLayout: e.fritz, berlin 06 (on the basis of the original design by Malzkorn,

Büro für Gestaltung GmbH, Cologne)

© for the English edition: h.f.ullmann publishing GmbH

Original translation into English: Christine Bainbridge, Anthea Bell, Terry Moran and Martin Pearce in association with First Edition Translations Ltd, Cambridge, UKTranslation of the updates into English: Susan Ghanouni in association with

First Edition Translations Ltd, Cambridge, UK

Overall responsibility for production: h.f.ullmann publishing GmbH, Potsdam, Germany

Printed in China

ISBN 978-3-8480-0262-7

10 9 8 7 6 5 4 3 2 1

X IX VIII VII VI V IV III II I

[email protected]

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4


Bernhard Roetzel

GENTLEMANA Timeless Guide to Fashion

Photography Günter Beer

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CONTENT4

8FOREWORD

10THE GENTLEMAN’S

VISITING CARD

12THE BEARD

14 Shaving at Home 16 At the Barber’s • 17 A Good Wet Shave18 The Electric Shaver • 20 Different Men,

Different Beards • 22 Timeless Scents 24 The Perfumer’s ABC

25 Lorenzo Villoresi

26THE HAIR

28 The Joys of Visiting the Hairdresser 30 What Should I Put on My Hair?

32 The Right Way to Wash Hair 34 Hairstyles with Character

36 The Toupee: For and Against 37 The Fake Hair of the Stars

37 Chest Hair • 38 The Royal Hairbrush39 The Manicure

40UNDERWEAR

42 The Most Important Question of All 44 Variations Underneath 46 A Fly-Away Success

48THE SHIRT

50 A Gentleman’s Shirt • 51 Good Shirts ata Glance • 52 Collar Shapes

54 Cotton • 55 Swiss Quality-Alumo 56 The Stuff Shirts are Made of

57 Folding a Shirt 58 Shirts with Soul • 60 The Best English

Shirtmakers • 62 How a Custom-Made Shirtis Created • 64 Checks for the Weekend

65 The Brooks Brothers Shirt • 66 The RightShirt – the Right Fit • 68 Washing and

Ironing – the Fundamentals of Shirt Care



CONTENT 5

70THE NECKTIE

72 From Neckcloth to OrnamentalNeckwear • 73 Stars of the Stripes 74 A Good Necktie • 75 Woolen

Neckties • 76 A Great Success from theGrande Nation • 77 The Best of the Best

78 The Origins of Silk 79 Making a Necktie • 80 The Custom-Made Necktie • 81 The Business Necktie

82 The Four-in-Hand • 83 How to Tie aNecktie • 83 The Windsor Knot

84 The Bow Tie • 86 Tying a Bow Tie 87 The Cravat

88THE SUIT

90 Style in the Suit • 91 ButtonUndone • 92 The Mecca of the

Custom-made Suit • 96 The EnglishSuit • 97 Patterns and Fabrics • 98 A Suit

from Gieves and Hawkes • 102 BeckensteinMen’s Fabrics • 104 Three Savile Row

Customers • 105 The King of Style • 106The Right Kind of Tweed Suit • 108 The Italian

Suit • 109 Handmade Ready-to-wearClothing – An Italian Art • 110 Brioni – veni,

vidi, vici • 112 Kiton or the Vision of CiroPaone• 112 Exclusive to Kiton: The Fabrics

114 The Summer Suit 116 Brooks Brothers

118SMART CASUAL

120 The Sports Jacket • 122 Needle andThread • 124 Tweed Plus • 126 Attolini –

A Suit made by the Boss• 128 Today’sSports Jacket • 128 An Eye for Detail 130 Fabrics for Trousers to Go with the

Sports Jacket • 132 The Gray Eminence 134 Khaki Couture

135 Shorts • 136 The Right Sort of Jeans 138 The Cut • 139 How Trousers Got their

Cuffs • 140 The Waist Area 140 The Trousers in Detail

141 Other Lands, Other Trousers 142 All about Suspenders • 144 The RightBelt • 146 The Blazer – a Living Legend

148 Blazer and Trousers

150SHOES

152 Good shoes 156 John Lobb • 158 Formal shoes

with closed lacing • 160 Formal shoeswith open lacing • 162 Loafers

164 Moccasins Italian Style 166 Monkstraps – the Shoes with Buckles

167 Other Word for Weatherproof 168 Not all Leathers are Equal

170 The Center of the Shoe world172 The Shoemaker’s Tools • 174 How a



CONTENT6

Shoe Takes Shape • 178 The Other Word forCordovan • 180 Suede Shoes

182 American Classics – Saddle Shoes 183 Slippers • 184 The Royal Wellington

Boot • 186 Socks – Getting the CombinationRight • 188 Shoes and the Rest

190OVERCOATS & JACKETS

192 Overcoat Culture • 194Essential Overcoats • 198 The

Officer in the Gentleman • 199 TheDuffel Coat • 200 The Barbour

Phenomenon • 201 The Story of the Waxed Jacket

202 The Barbour in Detail • 203 TheTop Six • 204 Short is All Right

206THE HAT

208 The Hat Past and Present 210 The Bowler • 212 Courage to Wear

Hats • 214 Who Wears Hats? 216 The Panama

218ACCESSORIES

220 Those little differences 222 The Everyday Ballast • 224 One has it –

but where? • 226 What does it tell us? 228 The best watches in the world

230 All About the Watch • 232 Less is More• 234 Preface to Tobacco

236 The Cigarette • 238 The Pipe 240 Classic Pipe Squad

241 The Manufacture • 242 The Cigar• 244 The Sizes • 246 The Bar in the

Pocket • 248 The Cuff Link 250 Our Daily Companion

252 The Original • 254 Traveling inStyle • 256 For the Short Trip 258 The Knack with the Jacket

259 The Right Way to Pack a Suitcase260 The Walking Cane • 261 The Lap

Robe • 262 No Fear of Rain 264 The Other Word in Umbrellas

266 Glasses • 268 Not only when the SunShines • 270 The Handkerchief 272 From Hand to Breast Pocket

274 The Right Combination • 276 The Glove278 Scarf Refinement



CONTENT 7

280KNITWEAR

282 In the Beginning Was the Sweater 284 From Sheep to Wool

286 Classic Knitwear • 288 BetweenEngland and France • 289 The Guernsey in

Detail • 290 From Fine to Chunky Knit 292 Correct Coordination • 294 For ColdWinter Days • 296 Pure Understatement:

the cashmere sweater

298SPORTING LIFE

300 Why Sport? • 302 Hunting, Riding,Fishing… • 304 Shooting – the Outfit

306 James Purdey & Son: Country Look bythe King of Gunsmiths • 307 The pocketknife308 Riding – the Outfit • 310 Spectating in

Style • 312 Fishing – the Outfit • 314 Hole inOne • 316 The Crocodile 317 The Other Polo Shirt

318 Water Sports – the Outfit

320FORMAL DRESS

322 White or black? • 324 The Tuxedo –and What Goes With It • 325 Black & White326 White Tie • 328 A Jacket for Smoking

328 Available to Rent… 329 The Right Shoes • 330 Morning Dress

332HOME COMFORT

334 A Hint of Decadence 336 Breakfast with Style

338 A Souvenir from the Colonies 340 Home Comfort

342APPENDIX

344 Looking after your Wardrobe 344 The Suit • 346 The Necktie 346 Shoes • 347 Shoe Repair

348 Glossary • 353 Index 358 Picture Credits • 359 Bibliography – a Selection • 359 Acknowledgments



FOREWORD8

Ten years have passed since this book was first published,during which time it has come to be regarded as a classicof its kind and been translated into many different languages.The publication of this revised new edition with its fresh layoutmay prompt fans of the original edition to ask whether thechanges and additions were absolutely necessary. “TheGentleman” was, after all, about classic men’s fashion, or,as one American colleague very aptly described it, “perma-nent fashion.” Is such a style even subject to change at all?

The original edition could – in theory – have been leftunchanged for another ten years since the number of factswhich needed updating turned out to be surprisingly few andthe rules a gentleman must observe when assembling hiswardrobe have, in any case, barely changed at all. Never-theless, the book did contain gaps in certain areas which Ihave been wanting to fill for some considerable time – thequestion of Italian style, for example, needed to be lookedat more closely. Moreover, over the course of the past tenyears, I have discovered a large number of new manufac-turers, producers and studios, a few of which I would like tointroduce in this new book.

I hope that all my readers will thoroughly enjoy thisnew edition of “Gentleman,” which, like the original, seeksto kindle a sense of enthusiasm for quality, elegance and tra-ditional craftsmanship. It would give me, as the author, enor-mous pleasure if, along the way, I also manage to help oneor two readers to discover their own personal style.

Bernhard Roetzel

FOREWORD


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INTRODUCTION10

One thing should be clear: clothes do not make a man agentleman; and, by the same token, a real gentleman is always a gentleman, even without his clothes. However, itwould be a mistake to conclude from this that our appear-ance is not important. Clothes are the visiting card of a per-sonality, and should therefore be chosen to match it.

This book is an attempt to provide a comprehensivedescription of the proper style of attire for a gentleman. Bythis we mean a dress code that has its roots in England, andthat is accepted around the world today as classic style.Anyone who dresses as described in this book can be surethat he will look well-dressed, whether he is in London, Paris,Brussels, Düsseldorf, Rome, Milan, New York, or Tokyo.

Dressing like a gentleman means mixing tailored gar-ments and mass products, exclusiveness and modest practi-cality. A pair of Levi’s jeans with a tailored, made-to- measuretweed jacket is just as acceptable a weekend outfit as good-value boat shoes from Sperry with chinos by Polo RalphLauren and a blazer from Gieves and Hawkes. Dressing likea gentleman is therefore not to be equated with a stubbornconservatism. Innovations which prove their worth and look

good gradually find acceptance in the international stylecanon of London, Milan, and New York. Jeans are a goodexample. Although it took a while, these blue cotton trouserseventually established themselves, and are now familiar andaccepted leisurewear items almost everywhere. Or there isthe Husky jacket, which was invented at the beginning of the1960s but only became well known around the world in the1980s. Or Diego Della Valle’s Tod’s shoes, which have onlybeen on the market since 1979. Combining pieces ofclothing and accessories of the most varied origins to assem-ble a harmonic, interesting whole demands a thoroughknowledge of the history of the individual garments. Natu-rally, this knowledge may also lead to the quite consciouscreation of new and unusual combinations, which may occasionally even be the products of intuition and chance.But someone who does not wish to rely on these imponder-ables should learn about the individual components of hiswardrobe. Only by doing so will he eventually understandhow to wear them properly.

Of course, it is not by chance that English clothes andEnglish style are discussed so much in this book. London

THE GENTLEMAN’S VISITING CARD



INTRODUCTION 11

became the leading fashion center in Europe as early as theeighteenth century, especially since important new ideaskept coming from the British Isles. While the French aristoc-racy lived at the royal court, their English counterparts spenta great deal of time on their country estates. Their favoritepastime was fox hunting, and this required a completely newstyle of dress. The knee-length coat was a hindrance whenriding, so it was cut shorter and shorter. The vest becameshorter to match, and the pants tighter. This new look wastaken up throughout Europe: in France the English frock coatbecame the fraque, and in Germany the Frack, while laGrande Nation corrupted “riding coat” into redingote.

Only at the end of the nineteenth century was the colorfinally driven out of the suit that evolved during the eighteenthcentury, and consisted of a frock coat, vest, and pants. Inview of the muddy roads of the time and the city air filledwith soot and smoke by innumerable coal fires, this trend wasthoroughly practical. Only in the country was there a con-trast to the gray and black of the city. The colors of naturethe nobility saw on their country estates were reproduced inhunting and riding clothes. Unknown trendsetters whowanted to be able to wear comfortable riding jackets in thecity as well came up with the idea of having them made ofdark materials. Ultimately, it is this development we have tothank for the cut of the modern suit, with its short jacket. Inconsequence, the modern man who finds a dark suit stiff and

formal may console himself with the knowledge that, in asense, it is the dark version of a leisure outfit.

But there is also another lesson to be drawn: dressinglike a gentleman costs not only time, but money as well. Aninvestment in a good garment generally entails further expen-diture. Someone who is wearing a pair of genuinely goodshoes for the first time will automatically cast a critical eyeover the rest of his clothes. And as a consequence the needfor a good suit arises almost out of necessity. This, in its turn,demands good shirts and ties.

It is a process which usually takes several years, andit is better that way. A wardrobe must grow like the decora-tion of an apartment. This is a highly individual process,which can, and should, lead each of us to a unique style. Ashas already been mentioned, clothes are the visiting card ofa personality.


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THE BEARD

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THE BEARD14

An indispensable element of wet shaving isa shaving brush made from genuine badgerhair. A. Simpson & Co. continues to makeshaving brushes entirely by hand, using atechnique that has remained unchangedsince the firm was founded in 1919. Thefirm’s current range comprises 75 differentmodels.

In the past, the application of aftershavelotion to freshly shaved skin often causedpainful stinging. Nowadays modern groom-ing products have a pleasant cooling andsoothing effect on the skin. The traditionalLondon firm of Taylor’s of Bond Street recom-mends its range of alcohol-free gels andbalms which are specially formulated tosoothe the skin and produce a velvetysmooth finish.

Thanks to its soft consistency, tube-basedshaving cream can quickly produce a richlather. Simply squeeze the required amount– 1 inch (2 cm) should be sufficient – intothe palm of the hand and rub onto damp-ened skin. Tube-based shaving cream is aless economical option than shaving soap,however.

An altogether elegant as well as ecologically sound option is to use shaving soap in a woodenbowl as this can be refilled with fresh soap whenever necessary. Since just a small amount ofshaving soap on the brush is sufficient to soften the beard, the need for a refill will be a rela-tively rare occurrence.

SHAVINGAT HOME



THE BEARD 15

Shaving cream is available in tubes and potswith screw-top lids. Cyril R. Salter is a well-known brand originating in Great Britain,where the firm's range of products is still pro-duced. The shaving cream comes in variousfragrances, one of the most popular of whichis Indian sandalwood.

Is it acceptable for a gentleman to use shav-ing cream out of an aerosol can? Is this nottoo vulgar and indicative of the sort of con-venience mentality that is frowned upon?Certainly a wooden bowl containing shavingsoap does have greater sensory appeal thana metal can, the design of which resemblescar spray paint. Nevertheless, shaving foamdispensed from a can does have its pros andits devotees. It is useful for anyone in a hurry,and the more leisurely shaving ritual can,after all, be reserved for weekend enjoyment.

Aftershave is rather less popular than it usedto be since most men have grown tired ofsubjecting themselves to the stinging discom-fort that accompanies the application ofalcohol-based astringents to freshly shavedskin. Nowadays other products are availablethat sterilize the skin without pain, such asPink Aftershave by D. R. Harris, which isscented with rose water.

Wet shaving provides a good, close shavebut its effect on the skin is akin to a cleansingand peeling treatment. Most gentlemen findan aftershave milk a pleasant treatment. Notonly does it sooth minor nicks, but it softensand moisturizes the skin.

Shaving soap is available in a variety offorms. One slightly less fashionable alterna-tive is the shaving soap stick, which neverthe-less represents an extremely practical andeconomical choice. Remove the cap, twist upthe soap from the base, and rub it onto wetstubble. The small amount of soap applied tothe skin in this way can be worked up intoan extremely rich lather with the use of ashaving brush.

While regular air travelers who only carryhand luggage must obviously conform tosecurity regulations, a small bottle of shavingoil is not likely to raise any objection since itcontains only a minimal amount of liquid.What is more, it can be applied without ashaving brush. Simply apply to wet skin, thenmassage it into your face and shaving cancommence. The specialist products illustratedare available from The English Scent, a spe-cialist store in Berlin. Its current range can beviewed on the Internet, ordered online, anddispatched throughout the world.



THE BEARD16

When Emile Zola spoke of a “ladies’ paradise,” he was refer-ring to the institution of the enormous department store, thattemple of commerce in which fine Parisian ladies abandonedthemselves to unrestrained frenzies of buying in the mid-nineteenth century. By contrast, the good old barber’s shopis a paradise for men. It is a place where a man can engagein conversations of a particular kind that are only possiblewith a hairdresser: a little banal, entertaining for the most part,and always highly relaxing. The close physical contactencourages a certain familiarity, which is balanced out by thegeneral nature of the conversation. In contrast to the ladies,

a man does not discuss intimate matters with his hairdresser.He is more likely to talk about cars, the weather, recent orupcoming horse races, and what is on television. But, sad tosay, the barber’s shop is a threatened species, though it hasnot quite died out completely yet. Fortunately, many Europeancities still have traditional gentlemen’s hairdressers that offertheir customers a good shave and a timeless haircut. It is usu-ally men who work in these establishments, true to the old rulethat, apart from his wife, a real gentleman does not allow him-self to be touched by a woman. His doctor, his tailor, and,indeed, his hairdresser, must be male.

AT THE BARBER’S



THE BEARD 17

A GOOD WET SHAVE

Before the actual shave can commence, the beard is softened with hottowels. This procedure also encourages the blood circulation in the skinof the face.

The customer’s face is lathered using a real badger-hair brush. Thelather softens the stubble and makes it easier to shave.

The cheeks are shaved first. The razor is always drawn “with thegrain,” that is, in the same direction as the hair growth.

The barber holds the customer gently by the nose so that his upper lipis just tight enough.

The point of the chin requires particular skill, and no beard should beleft underneath the bottom lip. But this is not a problem for a barberwho is well versed in his craft.

When the shave is finished, the remaining soap is rubbed off, and theskin finally patted dry. This subjects the customer’s face to a thoroughexfoliation.


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THE SUIT 115

When you try on a very light, half-lined Italian summer suitfor the first time you will be surprised that its lightweight fabriccan be used for a suit at all. But if the suit fits well – whetherbecause the right size is in stock, or you have ordered amade-to-measure suit, or you have had the suit custom-madefrom the first to your own measurements – you will be aston-ished to realize that this lightweight fabric hangs as well asthe suit you wear in the fall. You can feel cool air aroundyour legs as you walk, light actually seems to shine throughthe jacket, and the sleeves are so thin that the double cuff ofyour shirt seems heavy and stiff by comparison. When youlook down at your legs you can see the ground through thefabric to right and left of your feet through your trousers. Andnote that we mean a woolen suit, although the wool is of solight a weight that it seems almost like shirting fabric – butunlike the cotton of a shirt it does not crease.

Of course summer suits can be made in other fabrics,such as cashmere, silk, mohair, and cotton. But a tropicalweight of pure wool is the best material for a suit to be wornto the office every other day in summer. Mohair, made fromthe hair of the angora goat, is equally hardwearing. Thisgrainy, elastic fabric is mainly made into tuxedos, but it canalso be used for summer suiting, although not everyone likes

the luster that is characteristic of mohair. Silk is also a typicalsummer fabric, and it was the Italians who reintroduced silkto the gentleman’s wardrobe, like cotton and linen. Cottonand linen are certainly comfortable to wear in hot weather,but they crease badly, and a suit made of such fabrics soonloses its shape. In addition, the light weight of linen andcotton means that they do not drape so elegantly or hangout as well as pure wool – these materials just do not havethe weight to pull the suit back into shape again as quickly.These vegetable fibers, then, are to be recommended onlyif you do not mind creases in a suit, and if your suit will begiven enough time between wearings for the creases to fallout again.

The creases in linen suits are less likely to fall out thanthose of cotton suits, and so the wearer will have to be pre-pared to tolerate a somewhat crumpled look.

THE SUMMER SUIT

If you think of cashmere only as asoft, warm, woolen fabric, then letyour tailor show you lightweightcashmeres for summer. They are softbut still pleasantly cool to wear.Cashmere is not as hardwearing asmerino wool, but keeps its shapebetter than cotton and considerablybetter than linen. At the establish-ment of the Dusseldorf tailor Heinz-Josef Radermacher the client canchoose from a wide range of thisnoble cloth.

Lightweight woolen fabrics havelong been regarded as ideal forsummer. Fabrics like “Super 100” oreven lighter weights combine thegood qualities of pure wool with thelight, airy quality you want in sum-mer. With very lightweight grades ofpure wool you can get through thesummer almost crease free.

Many men find it difficult to think ofsilk as a suiting fabric, perhapsbecause most of them connect it pri-marily with the delicate Hermèsscarves worn by their wives or girl-friends. But silk dyed in appropriatecolors is an ideal material for sum-mer suits. The Italians are masters ofthe production and working of thisluxurious fabric.

Mohair, like cashmere, is spun fromthe hair of a goat and then woven.It is an extremely elastic materialand creases even less than merinowool, so it is ideal for formal sum-mer suits. Most men think of mohairas the typical fabric for a tuxedo –in black or dark blue evening dress,the sheen of the weave is particu-larly noticeable. In fact this charac-teristic luster makes it harder toenvisage mohair as correct for day-time wear. Although it is used forsuits that are to be worn during the

day, not many gentlemen havethese in their wardrobes.

Cotton is pleasantly cool to wear insummer and is therefore an idealmaterial for lightweight suits.However, the great disadvantage ofthese typically pale summer suits isthat they crease easily, which is aparticularly annoying featurebecause it affects the fit of the suit.Concertina folds inside the elbowand at the hollow of the knee, forinstance, make the sleeves andtrousers of the suit look too short.But many men either will put up withthis drawback because of the pleas-antly light feel of wearing cotton ordo not even feel that it is a disad-vantage.

Opinions on linen are divided.Traditionalists usually regard it as amaterial suitable only for whitehandkerchiefs. Others consider linen

the ultimate summer fabric and thinkthat its typical creases look distin-guished. You could call it a market-ing coup that an obvious drawbackhas been presented as a mark ofhigh quality. Irish linen is consideredthe best. Linen for summer wear canbe bought in many different weights,from heavy to very light. Since linencreases even more easily than cot-ton, and the creases do not hangout, it is not used much in classic ortraditional tailoring. The cut and fitof a linen suit does not aim to lookgood in spite of creasing, and sosuch suits fall into the province ofready-made designer clothing ratherthan good tailoring.

The Italian manufacturer Belvest is renowned for producing extremelylightweight suits that feel almost like shirts even in extreme summer tem-peratures.



THE SUIT116

Brooks Brothers is not only the most famous gentlemen’s out-fitters in the United States but also an American institution.When Andy Warhol received his first check in 1955 for aseries of advertisements for the shoe firm of I. Miller, hebought 100 identical white shirts from Brooks Brothers.

Brooks Brothers was founded in 1818, and can thuslook back on as long a tradition as many Europeangentlemen’s outfitters. Its history is closely linkedwith the history of America. For instance, on hissecond induction into office in 1864 PresidentAbraham Lincoln wore a coat from BrooksBrothers. Nineteen years before this memo-rable event, in 1845, Brooks Brothers sold itsfirst ready-made suit – a complete novelty inthe United States at the time. It was the pred-ecessor of today’s Brooks Brothers suit in thatit was a characteristic “sack suit” cut with nat-ural shoulders, three buttons, and a vent in theback of the jacket and the top buttonhole waspressed in with the lapel. Typical fabrics are blue andgray pinstripes, gray herringbone, Prince of Walescheck, plain blue, gray, and olive. Sizes range in single stepsfrom 36 inches up to 50 inches, with jackets in up to fivelengths – regular, short, medium long, long, and extra long– and trousers in regular, short, and long lengths. Alterationsare made in the firm’s own workshop. In addition, jacketsand trousers can be chosen in different sizes, something thatis not usually possible on the continent of Europe, and the

trousers come either with or without pleats. Prices are lowerthan for European ready-to-wear suits of good quality. Andif you do not need to buy suits off the rack, you can usuallyfind something to suit you here in the way of shirts, neckties,

underwear, socks, and above all sportswear. BrooksBrothers supply the originals we are used to seeing in

Ralph Lauren designer versions: check shirts,sweaters, rugby shirts, corduroy trousers, andchinos. The shoe department is worth visitingtoo, since the Brooks Brothers label sells,among other things, Alden’s famous cordovanshoes, which can be recognized by the largeeyelets for the laces. The great advantage ofBrooks Brothers, however, has always beenthat if you like something so much you wouldrather not try anything else for a change, youcan always reorder it. But today the firm dis-

plays traces of a modernizing trend regarded withsome skepticism by old Brooks Brothers customers,who feel that it is diluting its style and quality andmaking unnecessary concessions to modernity. It

is to be hoped that this will not lead to the loss of a sense ofthe firm’s identity, since its charm and strength lie in its main-tenance of tradition.

BROOKS BROTHERS

Brooks Brothers suits can bebought with either two or threebuttons. In the three-button ver-sion the top buttonhole ispressed in with the lapel so thatit cannot be buttoned up. Youshould never forget to point outthis feature to your dry cleaner,or the buttonhole will bepressed straight.

The Brooks Brothers suit has nat-ural, rounded shoulders, a fea-ture which is responsible for thecasual silhouette of the cut ofthe sack suit. The back vent is atypical feature. It allows free-dom of movement, and you canput your hands in your trouserpockets without pushing the

jacket out of shape. The onlydrawback is that then the jacketopens up at the back, allowinga view of the wearer’s behind –which is not always especiallyattractive. The trousers sit highon the hips, and can beordered with or without pleats.Although pleats went out offashion for a time in Europe, atthe end of the twentienth cen-tury many European men canscarcely imagine trousers with-out them. Whereas in America,trousers with unpleated frontare the norm and are held upby suspenders for the sake ofcomfort rather than fashion.



Seersucker is the summerclassic in New York. InEurope, on the other hand,men tend to look slightlyeccentric in a seersucker suit.The word derives from theIndian term shirushaker,meaning “puckered,” whichis in fact a good descriptionof the characteristic structureof the material. It can bebought in pure cotton or amixture of cotton and syn-thetic fibers. It is highly suit-able for summer wear, beingvery lightweight.

Prince of Wales check isregarded as very suitable forbusiness suits in the UnitedStates, where they say thatthis pattern is appropriate for“school, work, and travel.” Infact a suit in Prince of Walescheck is practically indestruc-tible, since it hardly showsstains. Men with black, gray,or white hair in particular findthat the pattern looks goodon them, but a man who israther short or thin shouldchoose it only for a single-breasted suit – otherwise itcan look overpowering.

A fine gray herringbone pat-tern in flannel is a realAmerican classic. Europeantailors use the material morerarely, but gray herringboneflannel is an interestingnuance in between plaingray wool and the moresporting look of a Prince ofWales check, which may notsuit all types of occasions.

Gray flannel has beenacceptable for business suitsin Europe only since the1950s. In America, it haslong been as popular withbankers and stockbrokers asthe dark blue, pinstriped, orherringbone suits which arecommon elsewhere.


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APPENDIX

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APPENDIX344

LOOKING AFTER YOUR WARDROBEThe SuitIf you want to look after your suit, you must first handle it withcare. This does not mean treating it with kid gloves. On thecontrary, you will only look good in a suit if you move quiteunaffectedly when you wear it. Careful handling is just amatter of treating a suit with love and attention. As the productof great craftsmanship and many hours of work, it has earneda certain degree of respect. Anyone who has seen howmuch work goes into a good suit and how long it takes fora two-dimensional strip of fabric to be shaped into a pieceof clothing that fits the wearer perfectly will regard the gar-ment with new eyes. In practice, this means that the suitshould be hung up on a broad, well-shaped clothes hangerafter it has been worn. Ideally, the hanger should be shapedlike a pair of shoulders. The hanger does not need to bemade of wood as long as it is the right size and fills out thejacket.

The hangers on which suits are hung in shops arenarrow so that more clothes can be fitted onto the rails andinto the display units. In order to prevent the sensitive shoulderseam from stretching out of shape while the jacket is hungup on these narrow hangers, it is fixed with white cottonthread, which is removed after the suit has been purchased.Good hangers can be bought in a department store.

Pants should hang on a pants hanger, which clampsonto the bottom hem so that they are pulled into shape bytheir own weight. If you place great store on an immaculatelyironed crease, you can put your pants in a pants press, oriron your pants by hand. When you do this, always lay apiece of damp, white cotton cloth between the iron and thematerial. Otherwise, the suit will be shiny after it has beenironed.

Do make sure you have emptied the pockets beforeyou hang up a jacket. After a day in action a suit needs aday of rest. If it has been worn for several days in succes-sion, the rest period should be lengthened to match. Beforethe suit is hung away it should be given a quick brush. Thisshould be done with a clothes brush made of natural bristle.Clothes brushes are available in various grades for differenttypes of material. For example, particularly soft goat’s hairbrushes are used for sensitive cashmere. It is best to buy Eng-lish brushes, such as the ones produced by G. B. Kent & Son.You would be well advised to avoid the sticky rolls that aresupposed to pick up fluff. They leave behind traces of adhe-sive on the material, which can cause considerable damage.

It is definitely much better to simply remove hairs and fluffwith your fingertips.

Go gently when you brush your suit. Do not pull off thebuttons! The pockets also require careful treatment. Dirt reallybuilds up in the cuffs of a pair of pants. They should be emp-tied and brushed as often as possible. You should turn yourtrousers inside out now and then in order to brush them fromthe inside. A suit should not disappear into the wardrobestraight away after it has been brushed. It is better to let it airfor a while in an open window, on a balcony protected fromthe rain, or in a bathroom. Wool fibers need moisture to main-tain their elasticity. A steam bath is just as beneficial to a suitas a Turkish bath to its owner. Clothes can be steamed easilyin any bathroom. Close all the windows and air-vents, runhot water until steam forms, and then hang up the suit for awhile in the misty atmosphere you have created. This gets ridof creases and unpleasant odors.

The experts are not in agreement about dry cleaning.The traditionalists of Savile Row say that it is unnecessary:brushing, airing, and steaming are quite sufficient, whilestains should be treated individually. Others see no dangerin dry cleaning: the real problems are associated with howa garment is ironed afterwards. Anyone who has seen howa suit is treated at the dry-cleaners round the corner will def-initely stick to brushing and airing. Ironing a suit is a highlyskilled task, and getting a suit ready to be worn with an irontakes a very long time. Bad ironing can practically destroya suit. It is best to ask the leading gentlemen’s outfitters inyour area which dry-cleaning company offers the bestservice.

Custom-made clothes can be taken to a tailor to becleaned. He will also send your suit away to be cleaned,but will get it back unironed, and then iron it to a professionalstandard. In any case, if the suit fits well and the material isof the right weight for the time of year, it will not even needto be cleaned. After all, a suit hardly ever comes into directcontact with bare skin.

Tailors and valets have been relying on the“brush andsteam” method to get dirt and creases out of suits since

time immemorial.



GLOSSARY348

GLOSSARY they are usually single-breasted versions of the navy-blue blazer.BlucherAn American-English term for a shoe with open lacing.The quarters of a Blucher are stitched onto the vamp.The vamp, the part of the shoe that covers the instepand the toes, is made of the same piece of leather asthe tongue.BoaterA hard straw hat with a flat crown and round brim.Boat ShoeA moccasin with leather laces and a non-skid plasticsole. The Sperry Topsider is the original boat shoe.Bowler HatA stiff hat developed in the workshops of the legendaryhat makers Lock’s, better known in the US as the “derby.”It was commissioned by William Coke, and intendedas a form of headwear for gamekeepers. It was origi-nally called the “coke hat,” and only became known asthe bowler when the company Bowler & Son beganproducing the new hat around 1850. See also Derby.BraidA silk stripe along the outer seam of the pants leg. A sin-gle braid is worn with a dinner jacket, a double braidwith tails.BreechesAn English term for riding pants.

British WarmA short, sand-colored, double-breasted woolen coatwith leather buttons and epaulettes. Originally a Britishmilitary coat.BudapestsWingtip shoes. A version of the British brogue devel-oped in Budapest.Buffalo HornA material used for the buttons of suits and sports jackets.Button-down ShirtA shirt with collar tips buttoned to the breast. The origi-nal version is the button-down shirt with a soft-roll collarmade by Brooks Brothers of New York.

CCanvasCanvas is used in traditional tailoring to give shape toa suit jacket. A custom tailor will sew it in by hand, butin industrial manufacturing it is stuck in with adhesives.Canvas that has been fused in stops the material of agarment falling loosely, reduces the breathability of the

suit, and is less durable than hand padded canvas.CashmereYarn or weave made from the fine hair found under thecoarse winter coat of the Cashmere goat.Casual SuitA suit that is not worn to work in the city, but for leisureactivities and days in the country. Casual suits are usu-ally made of rustic woolen cloths in natural shades,often checked. A casual suit could be described as asports jacket with matching pants.Cavalry TwillA warm, extremely long-lasting woolen material with acharacteristic diagonal structure. It is mostly used in thebeige and brown pants traditionally worn with sportsjackets and blazers.Chalk StripeA classic pattern used in suit-making, with white strips ona gray or blue background. It is often used for double-breasted suits.ChesterfieldA city coat with a fly front. Traditionally, a Chesterfieldis single breasted, comes in a gray herringbone pattern,and has a black velvet collar. The Chesterfield is alsoavailable in blue, black, or beige.CheviotA robust, but very coarse, worsted fabric made from thewool of the Cheviot sheep. A typical material forEnglish sporting suits.Club TieOriginally a necktie in the colors of an English club thatwas only available to club members. Today it is used asa general term for the striped necktie.CoatThe word used in Savile Row for a sports jacket or thejacket of a suit.Coat-makerA tailor who specializes in making jackets.Coke HatSee bowler hat.CordovanA term for horse leather, a rare and expensive rawmaterial used in shoemaking. Only the leather from thehind parts of the horse can be used. One hide suppliestwo round pieces of leather, just enough for two orthree pairs of shoes. The best Cordovan shoes are con-sidered to be those made by the North American man-ufacturer Alden.CottonThe most important textile commodity. Cotton is evenmore widely used than natural wool. Underclothes,overshirts, jeans, chinos, and Gabardine raincoats aretypical garments made of cotton.Covert CoatA single-breasted coat made of covert cloth, a mediumtwill, and reaching as far as the knee. Its typical featuresare a fly front and four simple parallel decorative seamsabove the cuffs and along the bottom hem.Crombie CoatA dark-blue single-breasted city coat with an open but-ton facing.Cuff LinksTwo identical objects shaped so that they pass throughthe button holes of the cuff to fasten it. They are securedin place with a bar, a chain, or an elasticized ribbon.CuffsA relatively recent invention, pants cuffs have only beenworn since the first half of the nineteenth century.

AAdjustable WaistbandA pants waistband with an adjustable device inside itthat can be used to vary the waist measurement. Pantswith an adjustable waistband do not need to be wornwith a belt. Adjustable waistbands are usually found onpants that are held up by suspenders.

BBalmoralIn America the Balmoral, sometimes shortened to “Bal,”is a shoe with closed lacing. The most formal of allBalmoral shoes, the Oxford, is called the “BalmoralOxford” in the USA.Bedford CordA thick woolen material that makes extremely warm,durable jackets, suits, and pants. It is often used in shoot-ing wear.BeefrollAn American loafer.BeltA strip of material, usually leather, that is fed throughloops on the waistband and is used to hold pants inposition. It should match the wearer’s shoes. Beltsreplaced suspenders as the favored means of holdingup suit pants after the Second World War.Bemberg RayonThe manufacturer’s name for a silky material made ofcotton and used as a lining.Bengal StripesNarrow stripes on a white shirt, usually dark blue, deepred, or dark gray. A classic pattern for business shirts.

Bespoke Tailoring An English term for what is known in American Englishas “custom-tailoring.” One definition is: “a garment cutby an individual, for an individual, by an individual.”Blazer1. A dark-blue double-breasted jacket with two sidevents and gilded brass buttons (the navy-blue blazer).2. A single-breasted club jacket, usually with sewnpockets and brass buttons. Traditionally, club jacketswere striped and came in the colors of a club. Today

Bemberg Rayon

Bowler hats



INDEX 353

INDEXPages with detailed entries on

subject are in bold.

AAaltsz, Tony 19

accessories 220-279

Acqua di Parma 22

‘action-man’ sweater 295

Adenauer, Konrad 138, 223

adjustable waistband 140, 143,

352

aftershave 14, 15

Agnelli, Gianni 35, 65, 227

Aida Barni (firm) 296

Alden (firm) 65, 116, 153, 154,

155, 158, 163, 178, 179, 181

Allen, Woody 127, 214, 267

Allen-Edmonds (firm) 153, 154, 158

Alumo (firm) 55

Altman & Co., B. (firm) 111

Anderson & Sheppard (firm)

94, 101, 104

angling, see fishing

Anne, Princess 185, 201

aran sweater 291, 295

Armstrong, Neil 228

Asprey & Garrard (firm) 256

Astaire, Fred 37, 133, 214, 327

Attolini (firm) 59, 126-127, 128

Au Grand Rasoir (firm) 20

Audemars Piguet (firm) 228, 229

BBabers (firm) 177

Badge & Button Company (firm)

149

badger hair 14, 17

Balmoral Oxfords 158, 348

bandanna 72

Barbera (firm) 128

Barbour (firm) 201

Barbour jacket 200-203, 305

Barbour, John 201

baseball cap 213

Bass (firm) 65, 154, 162

Bass Weejuns 162, 317

bathrobe

see also dressing gown 337

Baume & Mercier (firm) 228, 229

Baume, William 228

Bausch & Lomb (firm) 268, 269

Beard 14-25

beard styles 20

Beckenstein Men’s Fabrics (firm)

102-103

Bedford cord 125, 305, 348

beefroll loafer 162, 348

Belcher, James 72

belt 96, 144-145, 349

Belvest (firm) 115, 147

Bemberg rayon/silk 348

Benetton, Luciano 267

Bengal stripes 348

Bennett, Tony 37, 113

beret 213

Berluti (firm) 157

Bernhard, Prince of the

Netherlands 18

Bespoke 93, 104, 348

bill pocket 225

Billings & Edmonds (firm) 104

blazer 146-149, 318, 348

Blucher 160, 161, 179, 348

Blücher, Gebhard Leberecht 160

boat shoes 163, 186, 319, 348

boater 212, 348

Bogart, Humphrey 37

Boothby, Sir Brooke 277

boots 305, 308, 312, 313

Borotra, Jean 316

Borrelli, Luigi (firm) 59

Borsalino 213

bow tie 85, 86, 325, 327

Bowler & Son (firm) 211, 348

bowler hat 210-211, 213, 348

Box, Joseph 169

boxcloth 142, 143

boxer shorts 42, 44

Braun (firm) 19

breeches 348

Breguet (firm) 228, 229

Breguet, Abraham-Louis 228

Breitling (firm) 228, 229

briefcase 250

Brigg & Sons 264

Brigg,

see Swaine, Adeney,

Brioni (firm), 110–111, 128

Brilliantine 31

British warm 195, 348

brogue 158, 159, 160, 161, 165,

181

Brooks Brothers (firm) 65, 116, 127,

143, 179, 182, 214

Brooks Brothers shirt 65

Brooks, John 65

Brown, Davies & Co. (firm) 50

Brugnon, Jacques 316

Brummell, George Bryan 72

Brun, Henrik 45

brushes,

see hairbrushes; clothes

brushes

Brylcreem 30

Budapests 159, 165, 348

buffalo horn 348

Burberry, Thomas 198

Burberrys (firm) 198

Burlington (firm) 187

Bush, George 80

button-down shirt 64, 65, 249

buttonhole 96

buttons 51, 96, 123, 129, 149

CCagney, James 213

Calcani, Armando 110

camelhair cloth 189

canvas 101, 129, 348

Car Shoe 154

Cardoso, Lopez 18

care of clothes 57, 68-69,

344-347

Carré, John le 130

Carreras, José Joaquin 236

Cartier (firm) 228, 229, 233, 237

cashmere 103, 115, 348

jacket 128, 314

necktie 75, 76

production 284

scarf 278, 279

suit 114, 115

sweater 296

cavalry twill 130, 131, 148, 195,

348

chalkstripes 97, 189, 348

chambray 64, 65

Chameau, Le (firm) 305

Charles II, King of Great Britain 72

Charles, Prince of Wales 35, 53,

94, 104, 143, 201, 209

Charvet (firm) 74, 339

Cheaney & Sons, Joseph (firm)

153, 154, 167, 170

checks 189, 314, 348, 350

see also gingham; house check;

Prince of Wales check;

shepherd’s check

chest hair 37

Chesterfield (coat) 194, 348

Cheviot 125, 189, 348

chinos 65, 134, 149, 181

Church, Thomas 170

Church’s (firm) 153, 154, 159, 166,

170-171, 175

Churchill, Randolph 237

Churchill, Winston 84, 183, 215,

228, 237

cigar 242-245

cigarette 236-237

cigarette case 222, 237

cigarette lighter 222, 237

Clapton, Eric 104

Cleverly, George (firm) 165

clothes brush 344, 345

clothes hanger 344, 345

club jacket 146

club necktie 72, 73, 348

coat 192-199, 304

coat maker 92, 100, 348

Cochet, Henri 316

Coke, William 211



PICTURE CREDITS358

PICTURE CREDITSThe overwhelming majority of the illustrations, not listed here individually, arenew photographs by Günter Beer. Other pictures were kindly provided or created by the following:

ro. = row, col. = column, c. = center, ri. = right, l. = left, t. = top,b. = bottom

© Achim Bednorz, Cologne, 24 background© Action Press, Hamburg, 20 c.col.b., 214 l.t. (photo: Holland), ri.t., 282, 322 l.b.© Aida Barni, Prato, 296-297© Alden Shoe Company, Middleborough, 169, 178., 179 t.© Alumo AG, Appenzell, 55© Anton Perich, Katonah, 104 c., 137© Archiv für Kunst und Geschichte, Berlin, 20, l.col.t. (photo: Paul Almasy), 35l.col.t, 135 ri., 138 (photo: AP), 182 b. (photo: Ursula Litzmann), 199 ri.t., 223(photo: Gill, Riet/AP), 234 (photo: Ernest E. Gottlieb), 243 background(photo: Erich Salomon)© Archiv Pfeiffer-Belli, Munich, 229 except 2. col. from l., 2. from b.© Asprey, London, 256 ri.t.© Astrid Fischer-Leitl, Munich, 284, 288 ri.© Attolini, Naples, 126-127© Barbour & Sons, Simonside, 201 ri.b., 203 c.col., ri.col., 312 ri.col.t.© Bass & Co., Melton Mowbray, 162 l.t.© Bavaria Bildagentur, Munich, 285 (photo: Buchholz), 303 ri. (photo:Images)© Belvest, Piazzola sul Brenta, 114, 146© Bernhard Roetzel, Berlin, 21, 72 l., 76 b.l., 77 r., 93, 102-103, 109, 129b.c., 157 t., 165 b., 170 b., 184-185, 306 b., 307 t., 328 b.© Braun AG, Kronberg im Taunus, 19 ri.t. and b., 68 l.© Brioni, Rome, 110, 111© Camera Press Ltd., London, 84 background© Cartier, Paris, 229 2.col. from l., 2 from b., 233 2. from t., 3. from t., 237c.col.b., ri.col.b.© Cheany & Sons, Northamptonshire, 167 b.© Church & Co., Northampton, 159 t.ro.ri.© Cordings of Piccadilly, London, 64 background, 106, 304 l., 308 t.ro.© Crockett & Jones, Northampton, 159 t.ro.l., b.ro.l. and ri., 161, 162 b.ro.l.and ri., 166, 167 t., 170-171, 181 b.ro.© Culver Pictures Inc., New York, 214 c.b.© Curtis Publishing Company, Indianapolis, 335© Deutsches Wollforschungsinstitut, Aachen, 285, ri.b.© Eduard Meier, Munich 159 l., 183 l., 347 b.l. and ri. © Emanuel Berg (Shirtmakers Family GmbH) 52-53© E.F.F., Erill Fritz Fotografien, Berlin, 14-15, 30 t. and c., 31© Ermenegildo Zegna, Milan, 225 col.l.c., col.ri.t., col.ri.b., 250 © Filmarchiv Siegfried Tesche, Garbsen, 226 l.t.© Fotografie Schulzki, Bergisch Gladbach, p124/125 background,p144/145, 153, 188, 220, 232, 233 ri.b., 236 t., p268/269, p276/277background© Francesco Maglia, Milan, 265 © GAMMA/StudioX, Paris, 142 t. (photo: Georges Merillon, 201 ri.t. (photo:De Keerle), 209 (photo: Jayne Fincher), 227, 239 ri.t., 241 ri.col. (photos: J.-M. Turpin)© Georg Valerius, Cologne, p154/155, 157 except t., 168, 172, 174, 179b., p180/181 background, p244/245 background© Greve Schoenfabriek, Waalwijk, 164 background (photos: Piet Pulles), 165t. and c.

© Helga Lade Fotoagentur, Frankfurt am Main, 10 ri. (photo: Dass), 11 l.(photo: Pictures), 11 ri. (photo: Willi Arand), 24 (photo: BAV), 37 ri.col. (photo:Rainer Binder), 54 (photo: BAV), 226 background (photo: J. M. Voss), 288(photo: Bernd Wenske), 302 c. (photo: Ege), p314/315 background (photo:BAV), p318/319 background© Henri-Lloyd, Manchester, 205 b., 318 l.t.© Hermès, Paris, 76, 77© Horse & Hound, London, 310 l.b. (photo: David Miller), ri.b. (photo: TrevorMeeks), 311 background (photo: Trevor Meeks© IFA-Bilderteam, Düsseldorf, 312 l.t., (photo: Aberham)© Impress, Munich, 121, 216 l.t.© Justin Bird, London, 246, 324 ri.© Karin Heßmann, Dortmund, p286/287 background© Kent & Sons, Hertfordshire, 38 l.t., c.b.© Kiton, Naples, 112-113© laif, Cologne, 78 (photo: Gernot Huber), 245 ri.t. (photo: ConradPiepenburg), 245 c. (photo: Anna Neumann)© Lewin & Sons, London, 248 background, ri.b.© Lock, London, 216 l.b.© Lorenzo Villoresi, Florence, 25© Luigi Borrelli, Naples, 59© Marinella, Naples, 80, 81 l.t., c.t., ri.t, c.l., c.c., c.ri.© Marion Schweitzer, Munich, 104 ri.t. (photo: Rex Features), 105 l. (photo:Rex Features), 224 (photo: Tom Hustler), 327 ri.t.© Mauritius - Visa Image, Frankfurt, 204 background© Miele, Gütersloh, 68 background© Moviestore Collection, London, 210 background, l.b.© National Trust Photographic Library, London, 9 (photo: Andreas vonEinsiedel), 72 t. (photo: Andreas von Einsiedel)© Ogilvy & Mather, New York, 239 l.t. (photo: Multimedia Publications)© Philips, Eindhoven, 18, 19 l.© Private collection, Milan, 230© Quadrillion Publishing, Godalming, 211 ri.t., 300, 302 l.’ 309 ri., 311 ri.b.,330© Rupert Tenison, London, 58, 75 l.t., ri.b., 85 c., 90, 92 l., 96, 98, 107, 194ri., 195 l., 196 l., 200, 250 c., 262, 263, 290, 294 t., 328 t., 331 c.b., 340,345 background, 351 b.© Scabal SA, Brussels, 91© Sipa Press, Paris, 20 l.col.b., c.col.t. (photo: Sipa Icono), ri.col.t. (photo:Dalmas), ri.col.b. (photo: Roussier), 35 l.col.b., c.col., ri.col., 36 l.t. (photo:Baumann), 37 l.col.t. (photo: Jeanneau), l.c. (photo: Rudling), l.b. (photo: FredProuser), c.col.t., c.c. (photo: Bébert), c.b. (photo: Rickerby), 43, (photo: PatrickFalco), 65 t. (photo: Dossier), 104 b. (photo: Stevens/Villard), 214 ri.b., l.b.,215 l.t., l.b. (photo: Clergue), 237 c.t. (photo: Clergue), ri.t. (photo: AlexandraBoulat), 238 l.b., 267 ri.t. (photo: Trippett), ri.b. (photo: Matel), c.t. (photo:Chan), c.b. (photo: Kessler), 297 ri. (photo: SAMA), 315 ri. (photo: Tavernier),316 t. (photo: Baumann), p318/319 background (photo: hl), 325 ri.t., ri.b.© Tate Gallery, London, 227 ri.b.© The Hulton Getty Picture Collection, London, 132, (photo: Bert Hardy)© The Ronald Grant Archive, London, 64 c., 278 c.© Tony Stone Bilderwelten, Munich, 82 ri.b. (photo: Doug McKenzie), 139 t.© Tumi, Middlesex NJ, 256 ri.t., c.b.© Ullstein Bilderdienst, Berlin, 105 ri.t. (photo: Camera Press), ri.b. (photo:Camera Press)© VOLMA Wirkwaren, Hechingen, 47 ri.t., ri.b.© Vuitton, Paris, 251 ri.b., p254/255, 256 c.t., 257, 261© Yello Sport, Cologne, 317 l.


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