Step-by-Step: The Odd Waistcoat and Kilgour

Picking out and wearing an odd waistcoat with a suit needs a little more explication.

The previous post on this topic produced some surprise and scepticism, both among friends and on my blog (Permanent Style). The reaction, I find, is similar to that enjoyed by a suggestion on ties with jeans. Both are looks I favour because they add a twist to classic style (to paraphrase Paul Smith); they demonstrate an understanding of men’s style without sticking to a rigid set of rules.

They are, however, both hard to pull off. As was pointed out, they are not for the uninitiated, as small things – the weight of the waistcoat, the material of the tie – turn them from personal style into cringe worthy quirk.

The key to wearing a tie with jeans is material, as explained in comments to that post. The more casual the material, the better – wool, cotton, linen, in that order; but never silk unless it is knitted (and even then it is perhaps a little too dressy). Proportion, also, is important, with the narrower and more lightweight the tie the less formal it appears.

The waistcoat is similar. One reader commented that an odd waistcoat with a suit is “just odd, dandified in the extreme.” I can understand this reaction entirely, especially as the odd waistcoat that springs to everyone’s mind is brightly coloured, or at least lightly coloured – such as the buff waistcoats worn to many formal occasions.

But I would argue that if this waistcoat is plain, dark and of a slightly more casual material - flannel works well - it can look very suitable (no pun intended). After all, it is only slightly more dressy than a V-neck sweater underneath a suit, and performs a similar function.

Another reader commented that “I would be careful about using the third piece of a three-piece suit as an odd waistcoat. Especially if it is a stripe.” The waistcoat must, of course, be plain. A striped sweater would be hard to work, but possible. A striped waistcoat would not.

It must also be dark, falling as a shadow to the suit rather than a highlight. Dark grey with a lighter grey, patterned suit, for example (a checked suit works better than a stripe again, I’ve found, probably because the check is inherently more sporty). Black, also, can work well, though perhaps a little funereal. To avoid this, stick with a blue shirt, not white.

As if to prove my point, Kilgour has just come out with a selection of odd waistcoats in black and blue wool with its Autumn/Winter collection. I personally prefer the range without white piping (unlike the item pictured). But the suggestion that the customer might like to wear it with his winter, flannel suit demonstrates how far Kilgour has already run with this idea.

Also, having tried one of these on in the Savile Row store, the great thing about the Kilgour odd waistcoat is that it is cut much longer than the average part of a three-piece suit. This reflects the fact that men tend to wear their trousers on the hips rather than the waist today, yet the waistcoat should leave no exposed shirting between it and the waistband. A perennial problem (see the second part of The Waistcoat Theory for more) has been solved.

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Why no Silk Socks?

One of my favourite things about wearing black tie is silk socks. In particular, the lovely pair of Brooks Brothers black, silk, full-calf socks I own. They rarely get worn except at black-tie events, and are therefore as much a part of the ceremony as the bow tie or the shirt studs.

Every time I wear them I am amazed by how cool silk is. Somehow, they feel cooler than bare legs. Each time an ankle is exposed or you remove a shoe, a gust of cold air rushes over the skin, as if it the silk were taking breath. Bare skin doesn’t do that.

Silk is used in wool mixes for a similar reason. Summer, cashmere sweaters often contain a percentage of silk as it is good at keeping you cool in heat and warm in cold. While wool on its own is very good at ventilation (which is why all the old cycling jerseys were made from loose-weave wool), the silk makes the material a good summer weight.

The same applies to socks. Many cashmere socks contain a percentage of silk in order to make them more usable day to day. (I recommend the Pantherella wool mix sock, which contains 17% silk alongside cashmere.) Without silk, cashmere socks are really only good for the coldest of winter days or for wearing around the house.

Which brings me to the title of this post. If silk is so breathable and comfortable, why does no one sell silk socks for everyday dress use? A 100% silk sock has a sheen to it, and is a little transparent, so I can understand why these would not be practical. But why not silk/cotton mixes? Surely a minority percentage of silk in a cotton sock would make it more breathable without any noticeable difference in texture?

For an answer, I turned to my local tailor here in the City, PA Crowe of 11 Ludgate Square. His response: “Silk socks are not considered to wear well, lasting proportionately less time than cotton or wool. Plus some people say they pull a little on the heel, retaining their shape less well and becoming uncomfortable over time.”

Both of these are good reasons why silk socks are fine for special occasions – they are worn infrequently and usually only in the evening.

However, a silk/cotton mix sock would suffer far less from these problems. The biggest reason they are not manufactured in bulk, in turns out, is economy. Combining the two is expensive and the market is untested.

Instead, PA Crowe recommends Cotton Lisle – a much finer cotton that has some of the properties of silk. But I maintain that someone should begin offering cotton/silk mix socks. Has anyone seen any on sale anywhere?

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Interesting Facts on Loafers!

Well, I found them interesting. Largely because no one had ever told me them before. You probably know them already. Here goes.

Loafers are for people who loaf. And you’ll never guess who people that loaf are. They’re Norwegian farmers off to see their cows. You see, the cattle loafing area is the place on a farm where the cows are taken to be milked. And Norwegian farmers used a certain, convenient slip-on shoe to get out to this loafing area. Hence it’s called a loafer.

The shoe was launched by the announcement of this discovery in a 1932 story in Esquire magazine. (Yes, Esquire used to be a superlative style magazine. Bible even. Then it was relaunched in the 1980s as an all-things-to-all-men magazine, also known as a no-things-to-all-men magazine. Oh well. Bring back Esquire/Apparel Arts, that’s what I say.)

That Norwegian shoe must have been different to the slip-ons we see today. Only the very rich or eccentric would go out to milk his cows in his Gucci loafers with classic riding bit. Think of the mud. But the idea was there – the design built of necessity, a simple shoe that could be popped on for a brief job outside, and removed with ease when you returned to the house.

Similar, in a way, to the reason so many more people wear loafers for flying these days. It’s much quicker to check you’re not a shoe bomber.

This brings us on to my second exciting fact. The loafer is often referred to in the US as a Weejun because it sounds like the last two syllables of Norwegian. Perhaps you knew that already, but I didn’t. Imagine how satisfying the mental connection was. So instant; so obvious.

It turns out that just two years after the Esquire story, in 1934, John R Bass, Maine shoemaker of repute, introduced a loafer with a bar bridge across it, and christened it the Weejun to sound like Norwegian. The bar bridge was supposedly shaped like Mr Bass’s wife’s lips. It was as if Mrs Alice Bass were kissing the feet of her husband as he left the house every day.

Last but certainly not least, when the Bass Weejun became popular on US campuses in the 1950s it was occasionally used by students to carry a penny or a dime, in the event of an emergency phone call. Hence the penny loafer. Any or all of these facts may be erroneous, mythical or just plain made up (would the penny fall out if you ran anywhere?). But they are satisfying – a stylistic, philological and cultural history rolled into one.

As mentioned in a previous debate on slip-on shoes (Reader’s question: The deck shoe) I prefer the more elegant, less chunky slip-on. This season, Paul Smith’s dark green or red “Marcello” loafers are worth a look. Let’s face it, you probably don’t have any red or green slip-ons already.

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Stockholm Style Report

I adore capital cities. As much as I enjoy exploring the rustic magnificence of a nation’s countryside or the quaint villages where few speak English, the colliding and clashing worlds in a capital are what makes them such hubs of importance. Though I had been privy to sceptical mutterings about Warsaw I found it to be a vibrant and engaging city. Not exactly a capital like Paris or London but a city of echoes and opportunity; a strange mixture of a deep and troubled past and a future unknown.

I recently visited the Swedish capital of Stockholm. I had the same sensations of collision; of the internationalism of the city. Stockholm is known as the ‘Venice of the North’; another version of a city that has been built on islands. And, like Venice, a significant proportion of the city’s charm is the water itself; the sound of lapping waves, the glorious sunshine reflecting on ripples. In Stockholm, as in Venice, I went in search of the aesthetics that made the city what it was; the boulevards, the bridges, the Baroque buildings and the blondes.

I had heard, and read, much of the differences between Östermalm and Södermalm some of which were purely sartorial; Öster was traditional and conservative, Söder was youthful and bohemian. It was hardly surprising to me that Östermalm represented the elite, established area of Stockholm with the magnificent Strandvägen, the grand hotels and theatres and that Södermalm represented an old working class area on the rise – directly corresponding to my native London; the West and East ends respectively. Though I did not wish to introduce a seed of argument and contest about the social and sartorial differences of Stockholm, it was with strange and apropos accident that I should favour, out of the entire city, a small area known as ‘Gamla Stan’; the Old Town of Stockholm which lies between these two areas. However, whilst it was full of the most charming alleyways, squares and churches, it was also overloaded with tourists; quite easily, the very worst dressed group in the entire city. About this I am sure the Söders and the Östers can certainly agree.

This young man was walking with a group of friends down Nybrogatan; I saw a flash of blue suede loafers, blonde hair and a swinging cream cable cardigan and leapt at the opportunity. For me, this was a good example of casual Stockholm. It’s not stiff and fabricated, nor is it lazy or sloppy; his belt is an appropriate colour for his shoes and an appropriate style for the casual nature of his dress. The cardigan is splendid as it captures the essence of ‘Fisherman chic’; a style that seems so relevant in maritime Stockholm. The loafers add summertime Mediterranean warmth to what is really the very picture of a casual Baltic ensemble.

This genial chap was encountered in the quaint streets of Gamla Stan. The Dylan-esque hair, sunglasses and moody colourings make him a prime example, I have been informed, of Södermalm style. The trousers are well-cut (a refreshing change from London - most men in Stockholm know how long their trousers are supposed to be), the style may be simple, but it’s the fit of the rollneck, the nonchalance of the ‘mane’ and the belt buckle which make him photographable. Androgyny is not a particular look I favour but in this instance, it works rather well; the delivery is all about subtlety.

This gentleman, who, facially, looks like a combination of Ben Affleck, Ryan Reynolds and Ryan Gosling – with a smattering of Gordon Gekko – was rather busy on the telephone when I requested his portrait but he acquiesced to my request. He was chosen for his excellent use of the double-breasted suit, but also as an example of how well-fitted the clothes of Swedish men were. Aside from the slick-backed hair, the striped shirts and the pocket squares, the most appealing aspect of Stockholm sartorial style was that the suit wearers appear to have attended some magical ‘Wear a suit that fits you properly’ night classes; from bouncers to bankers, web designers to waiters, no matter if the suit was from H&M or Sulka, their suits fit well. Very well. Some might regard this photo and draw upon the fact that the material pulls slightly across the centre. But is it too small? I think not. I think little ripples of material actually work and make the wearer look fitter and younger; too often, men drown in badly fitting DBs.

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Reader Question: Odd Waistcoats

Arctin Pengiun: Do you feel that a vest patterned to match slack or the rest of a suit is too much and that a vest should always contrast the rest of the outfit? Does this fit into your definition of ‘costume’? I am curious about your thoughts.

Tintin: I’m wearing [a waistcoat] now. Lilac with mother mother-of-pearl buttons. The DB vest is sooo British. I’m afraid I’ll be shot for wearing this vest much less a DB.

There appeared to be a slight miscommunication regarding my previous posting on double-breasted waistcoats. I have to confess that the illustration I provided was probably at fault: while I was discussing waistcoats that are part of a three-piece suit, and therefore match both the jacket and trousers, the illustration showed an odd (i.e. non-matching) buff waistcoat.

The illustration was too lovely not to include, but it obviously led some to the wrong conclusions.

All my recommendations in that previous post, and indeed all others relating to The Waistcoat Theory, refer to the third piece of a three-piece suit. This third element is, I maintain, elegant and intensely practical today. When most men in the office don’t wear a jacket, the waistcoat keeps their tie prim and their silhouette long.

Odd waistcoats are hard to wear well unless one is at a formal event. For formal daywear, buff (yellow) and a variety of other pale colours have long been worn to enliven an otherwise grey ensemble. The best days to see such an outfit in days gone by were a church occasion, such as Easter. Today, they are only really seen at weddings and horse racing. On these occasions they can look great, though personally I still prefer a pale-grey three piece. Subtle style wins every time.

And this is the dominant problem with the odd waistcoat. Tintin’s lilac waistcoat sounds lovely, but I find myself hard pressed to think when I would wear it. Certainly never for work, and it seems an odd item to wear casually – a dressier piece of clothing for a less dressy situation. Much of this is personal taste, though, and the wider varieties of casual wear are beyond the scope of this blog.

To answer Mr Penguin’s question, no, I believe the waistcoat should nearly always match the rest of the suit you are wearing.

If you are to wear an odd waistcoat with a suit the two rules to bear in mind are: keep your jacket on whenever you can; and keep the waistcoat dark and plain.

Think of the odd waistcoat in the same way as a sweater. A V-necked sweater underneath a suit can look very stylish. A forest green with a mid-grey suit, for instance, or a dark purple with navy (one of my favourite ever Sartorialist shots featured a purple jumper under a navy blazer. Scott commented that it was looks like that that inspire him in menswear. I couldn’t agree more.)

However, that sweater looks good when it is dark and plain, and when it is peeping out from under the jacket. Without the jacket, the outfit is just a sweater and slacks – the style has gone. Suddenly the sweater is the outfit, rather than being an accent.

So for odd waistcoats, think plain complements. For example, I have a dark-grey three-piece suit. The waistcoat looks good under a lighter grey check suit. I also have a tan herringbone waistcoat that I think works well with a dark brown suit.

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