Review And Launch Party: Sharp Suits

Tomorrow (Tuesday 29th) is the launch party for Eric Musgrave’s new book, Sharp Suits. It’s being held at Richard James’s premises on Savile Row – the proprietor also lending an introduction to the book.

Sharp Suits itself is a very welcome addition to the literature on classic men’s tailoring. There is precious little of it about.

Alan Flusser dominates the field, with his most recent publication, Dressing the Man, a primer for everyone interested in classic menswear. Indeed, it’s so good that I stole from it for the title of my blog – the book is subtitled Mastering the Art of Permanent Style.

Beyond Flusser, there are idiosyncratic works like Nicholas Antongiavanni’s The Suit and Nicholas Storey’s History of Men’s Fashion. The first is a job pitch that is entertaining but feels the lack of illustrations; the second is an English barrister’s rather particular opinion on clothes, and isn’t really much of a history. There are others, but really Flusser is the only one I would recommend without qualification. Until now.

Musgrave’s book is superb and should really be titled A History of The Suit; it would have been a more accurate title, though perhaps less appealing. Sharp suits takes the reader through several, from different cultural viewpoints. The first is a basic outline, from Charles II’s adoption of the Persian vest (and hence the three-piece suit) through to Armani and Prada. The others look at suit design, royalty, the Italians, the Americans, the French, rock stars and move stars (in that order).

Each chapter is lucidly and sharply written – as you’d expect from an ex-editor. But the personal touches are the brightest aspect of the text. Much of the factual timeline I already knew, but hearing about Musgrave’s commissioning of a brown, double-breasted suit from a rather frustrated tailor at Burton’s, or his recollection of an eighties suit made from cellophane, adds a lot of needed colour.

The other reason to buy this book is the sheer volume and quality of the images. Flusser, as more of a ‘how to’ book, is illustrated by swatches and examples. Other works lack good photos at all. Indeed, Sharp Suits is probably most similar in aim to Laurence Llewelyn-Bowen’s Men of Fashion, a radio show earlier this year that presented a cultural history of menswear. But that sorely lacked pictures. Musgrave’s book makes up for it in spades.

If anyone asked me what primers they should read on classic menswear, I would recommend Dressing the Man and Sharp Suits. One is a guide, the other a history; one definitely American, the other more European.

Sharp Suits is available from Amazon and Waterstone’s now at these links:
Amazon
Waterstone’s

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Berluti Polishing Events

The shoe polishing events that Berluti holds for its loyal customers are legendary. Started by Olga Berluti and nicknamed the Swann Club, it involves gentlemen taking over their beloved shoes, sitting at a dinner table in their cotton socks and polishing the shoes with the greatest of attention. According to previous attendees, these events have something of the schoolyard atmosphere about them – all of a sudden the men become little boys, eager, earnest and more than a little competitive.

The events are also well known for the champagne that is used in the last stage of polishing. It is the acidity in the champagne that is key, removing the last vestiges of oil from the surface of the shoe to give it that extra shine. This, the firm admits, could be achieved with any wine. But champagne does add a certain romance to the whole enterprise.

These events are something that the new UK retail manager at Berluti in London, Lorenza Cavalli, is keen to build on. They foster loyalty to the brand and help Berluti keep in touch with its clientele. Indeed yesterday and today (September 25 and 26), Berluti is inviting its customers to drop by the shop for a drink (it is open until 7:30), let the staff take a look over their Berlutis to provide advice, and get a new pair of shoelaces for them.

It is amazing how many men are happy with old, frayed laces – even those that spend an inordinate amount of time polishing the shoes.

Berluti is also planning more polishing evenings at the London store, so look out for these in the coming months. Indeed, Permanent Style has already been invited to the first such evening – so watch this space for tales of debauchery, patina and polish.

Cavalli is new to menswear, her previous job being in the bespoke department at stationer Smythson and other jobs including watchmakers Ebel. But she still says she feels right at home with men’s shoes – something about the fascination that men who truly love their clothes bring to luxury houses like Berluti. “The customers are so interested in the products, in the technical side of them, in the history and the ethos of the company. It is a lot less flighty and trendy that womenswear,” she says.

In other Berluti news, the firm has just launched its new luggage. This is in the Venezia line, the same as the famous Un Jour bag (both pictured here). The design is similar in that it is a simple leather without much ornamentation, just a characteristic patina. The wheels, modelled after those of racing cars, also make it very manoeuvrable, while the thin leather makes it extremely light – lighter than a lot of other non-leather luggage.

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Reader Question: Working In A Bank

Sim, Oxford: I was wondering if you could assist me with your experience regarding sartorial issues, the yays or nays, within banking. I have heard from fellow interns that French-cuff shirts and heavy pinstriped suits should never be worn as they depict status, status an intern does not yet have, and are thus considered a faux-pas by people higher up the chain. Any truth in this and if so, any particular things to avoid?

I think the general guidelines on discretion guided by propriety, and to an extent the dignity of business, should be enough here Sim. It’s just that bankers get a bit more snippy and competitive about it.

If you’re going for a job interview, everyone knows you should be well dressed and smart without standing out. The same thing applies to your first job – or in this case your first internship. Dress as smartly or smarter than your superiors and wear nothing that draws attention.

So I would advise you to wear navy and grey suits, shirts that are white, blue or a blue stripes, and ties that are solid colours or simple stripes/geometric patterns. Wear expensive suits if you have them, equally nice shirts and ties. But keep them sober, and finish it off with a nice pair of black Oxfords.

Avoid: braces, handkerchiefs, waistcoats, double-breasted jackets, trouser cuffs, bright socks, contrast collar or cuffs, ‘humorous’ ties, ‘humorous’ cufflinks, ‘fashion’ suits, and strong colours and strong stripes everywhere. They will all draw attention to your clothes rather than yourself, which is certainly not the aim of an internship.

The reason that some of these items of clothing become status symbols among bankers is that they are often flash and always competitive. Wearing a big, bold pinstripe suit is a way to demonstrate that you can get away with wearing it. Because you have attained such a level of success that it cannot be dented by wearing tasteless clothes.

While it is true that some of these items of clothing are more traditional and hark back to earlier days of banking, it is unlikely that this is the reason they are being worn. There will be exceptions, but these are often men over 50 who actually remember when most colleagues wore braces and white collars.

I would have thought French cuffs would have been alright, though, if all other advice is followed. It can be your little indulgence.

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Why You Buy Bespoke Suits First

After four bespoke suits made in Hong Kong over the past few years, and now embarking on my second British bespoke suit, I find it hard to see how I could ever stop getting a particular thrill out of it. But it will be a while before I pay for bespoke shoes.

Ignore for the moment that I can’t afford bespoke shoes. (I can buy bespoke suits off Savile Row or in the City from £800 and up, but I’ve yet to find a bespoke shoe maker who is as proportionately affordable.) Even if I was spending the usual £3000 or so for a Savile Row suit, I’m not sure I’d be spending £2000 on bespoke shoes.

Equally, when you read the experiences of older men they still buy ready-to-wear shoes even though they never buy ready-to-wear suits anymore.

I think the reason is that a bespoke suit is both more comfortable to wear and flattering. Bespoke shoes are pretty much just about comfort.

A bespoke suit is more comfortable because it hugs your contours and your proportions. It ensures that the waist doesn’t restrict you when you turn or reach for something. And (more impressively, since that last aspect of fit could be achieved by just buying a bigger suit) it allows your arms to move independently without dragging the body of jacket wherever it goes.

So, it’s more comfortable. But that comfort also produces flattery and beauty. If you are relatively slim, the jacket is likely to be more pinched at the waist, giving you broader shoulders and a sharp silhouette. The shoulders will follow yours exactly, creating a smooth, sculpted body of cloth. Overall, as the Dictionary of English Trades (1804) describes the work of a cutter, it will “create a good shape where nature has not granted one”.

But shoes look beautiful no matter how badly they fit. OK if the fit is really terrible the leather might be distorted and bulge (if too small) or crease in the wrong place and leave an awkward curl at the toe (if too big). And a bespoke shoe does follow the lines of your feet better, making it look a little daintier and sculpted.

But generally, being a little big or a little small makes no difference aesthetically. Most of the aspects of shoes associated with bespoke, like a slim and bevelled waist, can also be found on high-end ready-to-wear (like Gaziano & Girling, for example, or Lodger’s English contemporary last).

So for now, I’ll be sticking with ready-to-wear shoes.

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A Rakish Evening At Rubinacci

Last night saw the launch of issue five of The Rake magazine at the London branch of Rubinacci on Mount Street. Copies of the issue, with Luca Rubinacci sitting nonchalantly on the cover, were liberally distributed and a blow-up image of Luca adorned a poster in the corner. In the circumstances he was rather modest, as indeed were father Mariano Rubinacci and his twin sister, all anxious to extend their most generous hospitality to the great, good and (most importantly) stylish of London that attended.

After a brief introduction from The Rake’s Editor-in-Chief, Christian Barker, Nick Foulkes gave the keynote address. Nick wrote the cover story for this issue of The Rake, profiling Mariano and Luca, and he was full of bon mots to describe Rubinacci’s tailoring elegance, as well as anecdotes describing occasions where a knowledge of Rubinacci has come in most useful. As each name dropped with a (self-confessed) clang, Nick described his conversations with Luca di Montezemolo and the British Royal Family, both of which were saved by a reference to Rubinacci and his soft, elegant lines. It’s the international language of style, don’t you know.

The guest list was a testament to how far The Rake has come in just under a year (particularly given the sheet rain coming down outside). Most of those present knew and liked the magazine, agreeing it was a breath of fresh air in a magazine market dominated by lad’s mags and fashion quarterlies. Those that didn’t know it were instantly impressed when they picked it up – testament to the photography of Munster (also present) as much as anything else, in my opinion.

The sheer exuberance of colour and texture in the Rubinacci store makes it a perfect backdrop to social occasions, and many of those present remarked what a great idea it was to have such launches in locations like this. Indeed that drew the most comments of the evening – after those referring to the massive block of Parmesan cheese.

As a regular contributor to The Rake, I am of course biased. But it is still true that no magazine or website gives me such a sartorial thrill as reading this magazine. Hopefully my contributions go some way to giving that pleasure to others.

The Rake is still only available outside Asia by subscription, but plans are afoot to change that. In the meantime, Lodger on Clifford Street is selling a limited number of copies of issue 5 at the moment – priced at £10.

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