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the world will pay their real value." - William Thourlby Good manners will open doors that the best education cannot. -Clarence Thomas
What do James Bond and Cary Grant have in common? They represent the quintessential gentleman. It's what makes them so charming and beloved. They are smooth and suave, and know how to behave in every situation. What do they have that I don't? You must be asking yourself. Nothing, it's just that they read the book on etiquette. Although one might think they're a staple of a bygone era, true gentlemen never go out of style.
those occasions when it's simply awkward (i.e. hospital nurses or business messenger). When you do tip, don't be cheap. Respect the 15% gratuity for restaurant tabs and nothing less than $10 for a significantly useful maitre d'. 8) Project high moral values Even if you know that deep down you're not, appear as if you were virtuous. A real gentleman always comes out of everything smelling like a rose.
7. Ask if she needs anything: This is one that most guys already do, but helps complete the gentleman in all of us nevertheless. When at social events, make sure to ask the lady if you can get her something to drink (or eat, depending on the event). Show her that you care about her comfort and needs. 8. Open the door : In a business context, opening the door for women can be a contentious issue, so don't make it too obvious. If there are men and women in the group, hold the door for everyone. In a social context, a gentleman will always hold the door for a lady. In addition, go around to open the car door and wait there until she is seated. 9. Retrieve dropped items: When someone drops something, pick it up and hand it back, whether it's a glove, a file folder or a twenty-dollar bill. Make sure you bend at the knees, not from the waist. 10.Walk beside a lady on the stairs: Never walk behind a woman on the stairway, especially if she's wearing a miniskirt. Walk beside her or slightly ahead of her on the stairs. When exiting a subway station in a crush of people, a gentleman will avert his eyes from the thighs ahead of him. The same principle applies if you are walking on the streets; don't follow any woman you don't know too closely. 11.Walk on the outside of a sidewalk: This allows your lady to be farther from the traffic. This way, if someone is going to be splashed, it will be you, not her. I know, I know... but that's the price to pay if you want to be a gentleman. As author John Bridges says, being a gentleman requires "a little logic, a bit of forethought and a great deal of consideration for others." Gentlemen, if I may call you that, these are the rules of etiquette you should observe in everyday life. Elevate yourself above the rabble and display the mannerisms of a true gentleman. The world will appreciate such a rarity and your career will most definitely benefit from your good manners and savoirfaire .
Party etiquette
The following tips apply for those occasions when you are venturing out into social events and get-togethers. God forbid you didn't know how to act like the gentleman you are.
1. Acknowledge your acquaintances : Don't play hide & seek with the
people you know, even if you don't feel like talking to them. Bite the bullet, initiate the mandatory greetings, and get it over with.
2. Address new acquaintances by their title and last name: Doctor
and military ranks are important to the people who have these titles. Mr. and Mrs. should be used for the others (if you're unsure about a woman's marital status, use Ms. when addressing her). Wait until they ask you to use their first name before doing so. There's nothing more irritating than someone who uses your first name two minutes after having met you.
3. Look at your interlocutor: Your attention should always be focused
on the person you are talking with. Always look at them when listening as well as when you are in control of the conversation. Again, it's a question of respect.
4. At dinner, address those on your left and right: Unless it's a frat
house keg fest, don't shout across the table -- concentrate on those closest to you. This will keep the proceedings calm and orderly.
5. Never remove coat or necktie when in company: By keeping your
clothes on, you show that you consider the other guests important enough for you to remain fashionably tip-top.
6. Only talk when you've been formally introduced: Which is why the
phrases "Have we met?" or "Have we been introduced?" are so handy. If you feel like speaking to somebody, find a person the two of you have in common and arrange a proper introduction.
7. Let your social superiors address you first: Unless you are on intimate terms, always let your social superior address you. This may seem archaic, but think of it in modern terms. You see Bill Gates at the party; do you go talk to him? Not unless you want his bodyguard to intervene. It can be clumsy, so arrange an introduction.
Feeling Gallant?
You know how to act around the ladies, don't you?
1. Never smoke in the presence of a lady unless invited to: In this age
of political correctness it has almost become a given. While she may not ask you to, make sure you do request her permission.
2. Remove the cigar from your lips if a lady passes by: This one is
pure common sense. It's a security measure as well as an indicator of high regard.
3. Offer your seat to women: Classics are always fashionable. Some
feminists would certainly have a fit, but most women will definitely value the gesture.
4. Always carry a woman's packages: Let's face it; today's women
would probably shoot you a puzzled fleeting look, so at least offer to do so. This lets her know you respect her and are courteous enough to inquire as to her comfort. 5. Carry a handkerchief: Plan ahead. Have a clean handkerchief in your pocket, especially when you attend a funeral. It's also a great idea to have a hanky handy for a lady friend to dry raindrops or tears. 6. Share your umbrella: It's very gallant to offer your umbrella to a lady. On a chilly evening or if the air conditioning is high, your wife or date might appreciate the loan of your suit jacket and others will notice your thoughtfulness. However, this gesture may be viewed as patronizing in a business setting, so don't do it for a female colleague unless hypothermia is imminent. 7. Cough thoughtfully: If you're overcome by a fit of coughing or sneezing, excuse yourself and leave the meeting or dinner table for a few minutes. Return quietly and apologize again as you take your seat.
8. Pay the bill discreetly: When you invite someone for lunch or dinner, accept the bill discreetly and without fanfare. When you're the guest, you may offer to pay your share or to buy the wine but it is ungentlemanly to argue about who will pay the tab. Finally, while excessive chivalry is what drove Don Quixote to madness, good manners are never uninvited in this era of fast business and faster relationships. Remember that behaving like a gentleman brings out the lady in every woman.
1. Don't "kiss and tell": Discretion, honor and integrity are of paramount importance in developing and maintaining your reputation as a gentleman. Details of your love life should remain private. Similarly, if a colleague has too much to drink at a party, be discreet. Never break a confidence and don't participate in unkind gossip. 2. Interrupt politely: Etiquette dictates that you should never interrupt, but that's not always practical. Interjecting your comments while someone else is speaking is definitely impolite, unless there is an emergency, or other good and valid reason. If you must interrupt or leave a conversational group, be sure to say, "excuse me" or "I beg your pardon." Being polite means treating other people's situations, opinions and feelings with respect. 3. Be prudently punctual: It's important to be respectful of people's time. Arrive on time for meetings, business functions and social events. If a meeting is dragging on later in the day than planned, a gent will ask if there are any time conflicts. A true gentleman also recognizes when it's time to leave a party.
Suave Communication
1. Practice good etiquette: Being courteous and respectful extends to how you handle your oral and written communications. Letters and voicemail messages should show that you are well-mannered and professional. In addition, practice e-mail Netiquette and cell phone etiquette. 2. Be a gracious guest: Thank the host at a social or business function. At a company party, always seek out and thank the most senior management in attendance, plus your own boss and the party organizers. 3. Thank others: Send handwritten thank-you notes for any gifts you receive, whether they are from suppliers or clients, or even your greataunt Martha. Thank your server at lunch, the doorman at your building and your colleague who brings in donuts. Recognizing other people's thoughtfulness demonstrates your good breeding. 4. Don't be politically incorrect: The difference between a gentleman and a boor is class. Show you have it. Avoid off-color jokes and gossip. A few cheap laughs at someone else's expense will tarnish your image, both socially and professionally. 5. Practice small talk: Whether you're at a wedding reception or business conference, how you make conversation will boost the impression of your refinement. Charming conversationalists mentally rehearse small talk on a variety of topics, avoiding religion, politics and sex. A gentleman listens attentively, making eye contact, showing interest and graciously drawing other people into a conversation.
Table Manners
1. Never speak with food in your mouth: No one wants to see what you're chewing or listen to you talk with a mouthful of food. If you're asked something and your mouth is full, signal your apologies and, if your dining partners are refined, they will patiently wait until you're able to reply. Unless there's a valid reason to wolf down your food and bolt from the table, eat slowly and converse with your tablemates. 2. Don't reach across someone: When dining with others, don't reach over; politely ask someone to pass the bread. When they do, take the tray or basket and offer the passer a piece of bread before taking one. If the bread is in front of you, pass it to the person beside you and, if they are knowledgeable about good etiquette, they will offer it to you before taking their own. 3. Put down your knife: Unless you're expecting an attack from a pack of marauding wild animals, put down your knife after cutting your food and before eating it. It demonstrates good table manners, slows down the process of eating and allows you more time to showcase your talents as a scintillating conversationalist. 4. Follow the host's lead: At a business dinner or dinner party, don't sit until your host does, and don't begin eating until they have lifted their fork. Wait to drink your wine until your host proposes a toast or takes a sip. Do not smoke until everyone has finished, and then only smoke if it is clearly permitted and once you have asked permission of your tablemates. 5. Bring your food to your face, not your face to your food: You shouldnt be leaning over your food, shoveling it into your mouth with a distance traveled of only 6 inches. Instead, sit straight, balance a single bite on the utensil of choice and bring it directly to your mouth. And never drink from your soup bowl.
Informal Dinner Setting By informal seated dining I mean that at some point all parties will be seated and a set meal will be served and conversation will take place over food. Examples are recruiting events, business meals, or Easter dinner with the fiances family. This is a place setting you might see. Note the word Luncheon could be substituted for breakfast or dinner, as you can see this set-up anytime of the day.
The general guidelines are this: Everything revolves around the plate o Forks to the left o Spoons and knives to the right. When it comes to silverware, o You start on the outside and work inward. Therefore, if in the picture above we had a fork for appetizers (which we do not), it would be to the left of the dinner fork (which is the one seen). Your glass, when not in use, should remain in the upper right area of your setting. Notice the water goblet is usually larger than your wine glass.
Formal Dining
Formal Dinner Setting The first clue that youll be attending a formal dinner will be the uniform suits and in many cases black tie are required. The picture will give you an idea of the set-up youll face. The Napkin Place your napkin in your lap within 1 minute of sitting at the table to dine. Do not tuck it into the front of your shirt collar like a bib or into your pants; unfold it just enough to cover your lap (usual leaving it half folded is enough, although fully unfolded is fine for larger men). Although it can serve to protect your trousers from a spill, its main purpose is to enable you to seamlessly remove food from the sides of your mouth. As such, use it when needed and when finished or excusing yourself from the table place it neatly to the left of your plate.
However, there is nothing wrong with putting them on the table during a conversation between meals and during coffee or tea.
Reaching on the other hand is never allowed; if anything is beyond your normal reach (meaning you have to rise from your seat to get to it) or is within anothers personal space, always ask the person closest to pass the item you need.
And if something spills? First, deal with the item spilling and next do what you can to assist the host with the immediate cleanup. And then forget about it and enjoy your meal.
Your fork should be closest to you with tongs pointed up, the knife with its cutting edge facing the forks tongs; not only does this tell a waiter or host that you are finished, it is the most stable position for your silverware when a person seeks to clear your place for dessert or drinks.
Saying Goodbye
Before leaving, say thank you to your hosts all of them. If the event is large (more than 30 people) and you must leave immediately but your hosts are in the middle of entertaining other guests, you can pull a French leave and slip out without saying goodbye directly in these situations it is prudent to ask a trusted friend, if present, to pass a goodbye message. However, a follow-up call or message within 24 hours is mandatory to explain why you departed without saying goodbye.
Final Tips
1. Enjoy yourself and have a few drinks if you are so inclined; however do not ruin your hosts night by being the guy who after a half -dozen drinks starts making off-color comments and then argues loudly with his girlfriend. 2. Talk with people I mean, really listen to them, understand what they say, and have a good conversation. If you are the only person who has spoken for the last 10 minutes, you are not having a conversation you are giving a presentation. 3. Turn the cell phone off and enjoy the moment. Do not put it on silent, as nothing says Our conversation is less important than some random call than you peeking at your cell phone every 5 minutes. You can live without Twitter and Facebook for a night. 4. The best way to acquire proper table manners is to practice them at every meal; make them a habit, teach them to your children, and when you need them they will be there.
The dinner table is the center for the teaching and practicing not just of table manners but of conversation, consideration, tolerance, family feeling, and just about all
the other accomplishments of polite society except the minuet. -Judith Martin
NOW UNTO CLOTHING (ESPECIALMENTE PARA LOS ZAPATOS DE RAFAEL Y EL CLOSET COMPLETO DE DAVID)
mainstream manufacturers may be fine for teenage proms and youthful nuptials but they certainly won't hold water at proper black-tie events where guests are expected to be adult enough to know better.
A mature understanding of black tie must come instead from an appreciation of the rich tapestry of tradition that lies hidden beneath its visible components. Thanks to modern society's ignorance of traditional etiquette, the amount of detail contained in the precise definition of black tie can seem a little overwhelming at first. It may also appear somewhat arbitrary to people born after 1980 who are used to casual eateries and casual workplaces which lack any semblance of a formal dress code. However, once a man begins to understand the premise of an outfit being correct rather than just passable, he realizes the significant benefits of a dress code. Acing the black-tie test has nothing to do with skill or experience, it is simply a matter of following the rules.
Black Tie
No matter what extremes Hollywood people go to in making black tie garish and tieless, the real thing retains its unassailable verve, lan and sheer swankiness. Glenn OBrien (GQ Style Guy)
The black-tie code in context: The code is used specifically to maximize an occasions formality "Formal", in turn, is defined as the maintaining of tradition Traditions evolve (If they didnt then the tuxedo would still be unacceptable in mixed company The current definition of proper black tie, like most contemporary definitions throughout its past, provides options that can produce either a timeless look or a look relative to a specific era. While the relative look can be hit or miss (remember ruffled shirts and powder blue suits?) the timeless look delivers optimal results every time: It makes a man look taller, stronger and younger, it focuses attention on his face, it provides sophistication, swank and uniformity and it channels timehonored sartorial convention. Therefore if we strip past and present black-tie definitions of their temporal variations, we are left with the quintessential or classic black tie code: the Depression-era ideal.
Prior to the 1930s black tie was still largely an informal offshoot of white tie, borrowing its parents white waistcoat, stiff shirt and even bow tie at times. During the Depression era it finally came into its own with its standardization of the black waistcoat, adoption of a formal turndown-collar shirt and acceptance of swank warm-weather alternatives such as the doublebreasted and white jackets and the cummerbund. No other era could have produced such a sartorial success, says author and designer Alan Flusser. Since the culmination of the dinner jackets design in the late 1930s, mens fashion has yet to improve upon the genius of its original design or the unimpeachable refinement of its accoutrements. It is for this reason that the standards of the 1930s have remained the benchmarks for successful black tie to this day.
1) Jacket Fabric: o Black wool is the norm o Midnight blue is equally correct Model can be: o Single-breasted o Double-breasted Lapels can be: o Peaked lapel o Shawl collar o Notched lapel is most popular but not accepted by traditionalists and can have: Satin facing Grosgrain facing No vents is most formal One button is traditional for single-breasted models but two buttons are becoming acceptable Pockets should not have flaps 2) Trousers Same material as jacket Single braid along outside seams to match lapel facings Cut for suspenders (braces in UK) No cuffs (turnups in UK) 3) Waist Covering Optional waist covering is traditionally either: o Black cummerbund made from silk to match jacket facing o Best suited to shawl collar jacket; not particularly popular in o Europe
o Black low-cut evening waistcoat; best suited to peaked lapel o Jacket o Either is worn with single-breasted jacket models but not with double-breasted 4) Shirt White fabric, turndown collar Fronts can be either pleated or piqu (marcella in UK) Shirt traditionally has eyelets for studs; some authorities allow for fly-fronts French cuffs (double cuffs in UK) Wing collar is considered unflattering or inappropriate for black tie by most authorities; some allow it but only in its traditional white tie form 5) Neckwear Black self-tie silk bow tie to match lapel facings Black silk four-in-hand tie (long tie) has become a popular alternative although it is rejected by traditionalists 6) Footwear Black shoes can be o Patent or highly polished leather oxfords (most popular) o Patent or highly polished leather pumps (most traditional) Black silk or fine fabric hose, over-the-calf length 7) Accessories Harmonizing black, gold or mother-of-pearl studs and cufflinks Suspenders (braces in UK) of black or white silk Optional white silk or linen handkerchief as pocket square 8) Outerwear
Chesterfield coat is most conventional but any other dark dressy coat is acceptable; rain (trench) coats are not appropriate Evening dress scarf of white silk with tassels
The dinner jacket is the foundation of the black-tie ensemble. The model, style and facings chosen for the jacket set the tone for the formality and swank of the remaining attire. It also embodies the refined minimalism that sets evening wear above a simple suit through the clever concealment of each garments working parts.
The original and most formal model of dinner jacket is the single-breasted model. Unlike regular suits it has only one button which allows the front to be cut in a deep V shape that mimics the ideal male torso. Because the single-breasted model is often worn unbuttoned (see sidebar) it requires that the trousers exposed waistband be covered by a cummerbund or waistcoat. This in turn provides more opportunities for versatility in a man's formal ensemble.
The double-breasted model became accepted as an informal alternative to the single-breasted in the 1930s and is now considered equally correct. This model looks better buttoned when the wearer is standing so there is no need for any sort of waist covering. However, because men usually prefer to unbutton their jacket when seated the double-breasted option could be considered less convenient. This type of jacket traditionally has four buttons
and fastens with either the bottom row (known as 4-on-1 style) or both rows (4-on-2) depending on the cut.
Lapels The peaked lapel and shawl collar are equally authentic and correct.
The peaked lapel is derived from the tailcoat and for that reason it is considered the more formal of the two styles. The upward and outward sweep of this style also serve to emphasize height and shoulder width. The shawl collar, on the other hand, is influenced by the smoking jacket and conveys a softer image than its angular counterpart. Considered less formal due to its origins, it nonetheless appeals to urbane dressers due to its aftersix exclusivity. The shawl collar is also the style most popular on warm weather jackets and other alternative dinner jackets.
Although the notched lapel is by far the most popular style today and proponents point out that it has made occasional appearances since Victorian times, the styles derivation from the common lounge suit has traditionally limited it to a fashion-forward alternative. It was not until the late 1970s that etiquette and style experts began to consider it to be correct for formal attire and even then its acceptance was limited. Therefore this style is covered in the Contemporary Black Tie section.
Vents
The original dinner jackets were made without vents then later offered with side vents. While side vents provide easier access to trouser pockets and are more comfortable to sit in, they can also make the jacket less slimming and somewhat compromise the intended formality of the tuxedo.
The center (aka single) vent is unacceptable not only because of its sporty pedigree (it was designed for horseback riding) but also because it opens up when a man reaches into his trouser pockets thus exposing the seat of his pants and often a white patch of shirt to boot. Despite its inappropriateness, the single vent is becoming more common on dinner jackets as mainstream manufacturers save money by patterning their tuxedos on standard suit styles. Fortunately, a good tailor can convert these jackets into ventless models by closing the vent.
Jacket Fabric
Ever since the British perfected the process of making and tailoring cloth, refined dressers have harmonized their clothing with their environment. This is seen in the customary association of of dark finished worsteds with urban settings, earth-tone coarse tweeds with the countryside and pale lightweight fabrics with the summer months. Thus it is only logical that the darkest and most refined materials would be reserved for after-dark socializing. Color Besides its natural association with night, the deliberate use of black for traditional evening wear has two distinct aesthetic advantages. First, it imbues the wearer with an aura of dominance and power. Second, when worn with a white shirt and accessories the juxtaposition of black's complete lack of color against white's complete spectrum of color creates the greatest contrast possible. If the topic was printing rather than formal dress, observed the author of The Aesthetics of the Tuxedo, classic black tie would be the equivalent of putting words in bold.
While black is the norm, midnight blue is also a classic. This extremely dark hue of navy blue achieved its popularity in the 1930s due to its ability to retain its richness under artificial light whereas black fabric is generally more reflective and can sometimes give off a greenish or grayish cast, particularly if the cloth is not brand new. For this reason midnight blue is frequently described as being "blacker than black" although "richer than black" would be a more accurate definition. Similarly, midnight blue has the upper hand at parties that start prior to sunset because black has a tendency to appear dull and lifeless in daylight. Sadly, such a garment is rarely offered in the ready-to-wear world and usually has to be obtained on a madeto-measure basis.
A white dinner jacket may be worn in warm weather but only under certain conditions. See Warm-Weather Black Tie for complete details.
Material
Formal suits are typically made from finished or unfinished worsted wool (a type of yarn that produces a firm, napless fabric). Because tuxedos are worn far less frequently than business suits and dont have to stand up to the same amount of wear and tear over time they can be made of a much finer wool than their everyday counterparts.
In his book Dressing the Man, classic couturier Alan Flusser provides sage advice on the benefits of discretion when choosing a fabric finish: Like the tailcoat, dinner clothes are trimmed in facings of varying degrees of luster; therefore, so as not to overstate the sheen quotient, the dinner jackets base cloth should be in a dulled or matte finish. Subtle textured weave effects such as baratheas and mini-herringbones, or quiet variegated effects
avoid affectation while adding surface interest to the formal ensemble. This recommendation applies more to North Americans as British tailors generally consider barathea to be the norm for eveningwear wools and silks.
Despite what some salespeople will claim, there is no such thing as a yearround weight for suit material. However, since formal affairs almost invariably take place in climate-controlled environments, experts concur that a 9-10 ounce fabric (300-340 grams/square metre) is the most practical choice.
Jacket Finishes
Lapel Facings One of the most distinctive traits of a tuxedo jacket is the decorative covering on the lapels known as facing. This not only provides a jacket with an elegant flair but also emphasizes the V effect created by peaked lapels. The best facings are made of pure silk, while less expensive ones contain a synthetic component. The silk can take the form of smooth satin or the dulled ribbed texture of grosgrain. Although the former is much more common in North America and particularly well suited to the shawl collar the latter, according to Flusser, is preferred in England due to its association with custom tailoring. Be aware that the facing chosen for the lapels will determine the type of material used for the bow tie and cummerbund and possibly the waistcoat. Here too, grosgrain may be seen as preferable because it permits some contrast in textures for the bow tie while satin facings require the neckwear to match which may result in an affected look.
Lapel Buttonhole Classic sartorial pundits strongly recommend that all dinner jackets have a working buttonhole on the left lapel for a boutonniere (buttonhole in UK the literal translation of the French term). Ready-to-wear jackets may have to be taken to a qualified tailor who will know where to locate the hole and how to skillfully add it to the silk-faced lapel. Custom-made formal jackets will also sometimes have a stem holder on the reverse side of the lapel. This is typically a small cord that keeps the stem in place so that the flower does not fall out of one's lapel over the course of an evening of dining and dancing.
Pockets The double-besomed jetted (slit) hip pocket is the only style understated enough to compliment the dressy dinner jacket. Flap pockets are not appropriate for formal attires refined minimalism due to their busier and bulkier design and are simply an attempt by tuxedo manufacturers to save money by using standard suit patterns (although sometimes they will trim the edges of a flap pocket so that the flap can be tucked in or removed if desired).
Besom welts can be of self fabric or trimmed with the lapels silk facing, though classic menswear scholar Nicholas Antongiavanni suggests that for the English this latter touch is a sure sign of hired clothes.
The dinner jacket should also have a welt breast pocket to hold a pocket handkerchief. Ticket pockets are for functional day suits and would only create unnecessary clutter on a dinner jacket.
Buttons The jackets sleeves should be finished with four buttons with their edges touching, just like the sleeves on the tailcoat and better business suits.
All of the jackets buttons can be plain black or covered in the lapels facing.
Trousers
Black-tie trousers are made of the same fabric as the jacket. The waistband is meant to be covered either by a cummerbund, waistcoat or closed double-breasted jacket so it is essential that it sits high enough to remain hidden throughout the evening. Men with a trim waistline and an expert tailor can accomplish this by means of custom-made trousers with adjustable side tabs. Everyone else will require trousers cut for suspenders (braces in the UK). Belts are out of the question as they add bulk to the waistline and will invariably become exposed as the trouser waist gradually creeps downwards. A trimmed waistband is a relatively recent invention designed to replace the cummerbund but its inability to cover the shirt's waist makes it a poor substitute. The side seams of formal trousers are also covered. Employing a technique common to military dress uniforms, they are concealed by a single band of
facing that is either satin or grosgrain to match the jackets lapels. In the past braid was also used for this purpose but today the term is often used generically to refer to the more common silk stripe. This elegant detail also serves to emphasize the suits vertical lines thus enhancing the wearers height. The formal trousers minimalism is rounded out by strategically placed side pockets and the absence of cuffs. Side pockets are usually cut on the trousers side seam making them virtually invisible and more easily accessible, particularly when wearing a cummerbund or waistcoat. Trouser legs are always plain because cuffs (turn-ups in UK) are too casual (they originated as a mudguard) and would interfere with the side braid. The absence or presence of pleats is a matter of comfort and personal preference and does not impact a dinner suits formality.
Side vents.
The difference between midnight blue and black is most obvious in daylight (top) and least apparent in artificial light (bottom).
Barathea dinner jacket from British bespoke tailors Norton & Townsend.
Grosgrain detail.
Buttonholes are not as common in shawl collars most likely because they tend to interfere with the uninterrupted line of the collar.
Evening trousers' vertical stripe (shown here in satin) and side pockets emphasize height.
Wing-Collar Shirt
The Full-Dress Original
The full-dress shirt is the only classic style of wing collar
With its tall, starched wing collar and stiff, plain bosom, this classic shirt radiates the elegance and gentility of a nobler era and imbues the most ordinary of men with an aristocratic air. Despite being rarely seen with black tie since the 1940s, some sartorial authorities such as Alan Flusser and Nicholas Antongiavanni advise that this option remains perfectly acceptable today, although it should be limited to the very formal single-breasted peaked-lapel jacket. Other pundits argue that the wing collar should remain the domain of white tie for aesthetic reasons. Etiquette maven Miss Manners is one of those who feel that while the bow ties uncovered band is fine in a white-on-white scheme, gentlemen with their black ties exposed all around their necks look silly. Canadian style guru Russell Smith agrees, finding the visible metal clasp of the tie band to be particularly unattractive. He also notes the fact that the wing collars height pushes against a double chin and makes a full-faced or overweight man look constrained and puffy.
The Modern Reinvention
In the 1960s American manufacturers created the attached collar version of the wing-collar shirt. At first it maintained the traits of the original but by the late 1970s it was featuring soft pleated fronts with miniscule wings -- modern and much maligned incarnation
Turndown-Collar Shirt
Popularized in the early 1930s by the future Duke of Windsor, turndowncollar dinner shirts offered a more comfortable and practical alternative to the cardboard-stiff full-dress model in that they were softer, did not require extensive starching and laundering and could be buttoned in front instead of in the back. Initially considered too informal for any occasion outside of summer, they soon became the black-tie shirt of choice following the war. The body of a soft evening shirt is typically constructed of a thin fabric that provides maximum breathability such as fine broadcloth, poplin, batiste or voile. The turndown collar can either be spread or semi-spread as shown in the pictures to the right and bottom left. The spread version is more formal and because its tips are hidden under the jacket lapels it is well suited for the streamlined shawl-collar. The sleeves of soft-front shirts always carry French cuffs (double cuffs in the UK).
1/2" pleat with spread collar
The final visible portion of the shirt, the bosom, is a bibshaped or vertically rectangular double layer of fabric unique to formal shirts. The bosom is traditionally decorated with pleats or piqu. For the first option, wide or box pleats were the most common style during the 1930s but the narrow pleats that are so popular today have been around since the 1940s.
A dressier alternative was devised by London shirt makers of the 1930s who decorated the bosom, cuffs and collars with the piqu normally associated with the full-dress shirt. This combination is commonly known as a marcella shirt after the British term for the birdseye pattern that is used in the piqu. Black-tie shirts are traditionally closed with two to three studs depending on the wearers height although it should be noted that some classic etiquette authorities limited studs to stiff-front shirts only and prescribed pearl buttons for soft-front models instead.
Marcella shirt
Bosoms can be unstarched (soft- front) or lightly starched (semi-stiff). In the latter case, the bib should end above the waistline to prevent it from billowing out when the wearer sits down. And to keep either type of shirt front from pulling out of the trousers when the wearer stands up, higher-end models will have a tab that attaches to a button on the inside of the trouser waistband.
Voile formal shirt Bib, collar and cuffs
Like the bottom of the shirts bib, the tab is hidden by the formal waist covering. There are no pockets on formal shirts as they are not considered dressy and would interfere with the reinforced bosom.
Trouser tab
Formal Hose
With a classic black-tie ensemble even the hosiery is carefully selected to enhance overall elegance. The traditional choice is black silk socks, descendants of the hose worn at court with knee breeches. The material's dull luster serves as an effective complement to the trouser's silk stripes and an elegant transition from the matte wool of the trousers to the glossy finish of the shoes. When wearing a midnight blue dinner suit hose should be of the same color. Fine-ribbed cotton-lisle and even wool have been acceptable alternatives for evening hose since Edwardian times. However, GQs Style Guy wisely advises that if a man is wearing pumps he should make sure the socks are very thin because If you wear them with thick black socks youll look like a lesbian. Regardless of the material or color chosen, formal socks must be calf height. There is probably no better way to ruin a formal outfit than by flashing bare shins when you sit or cross your legs.
Ultimately, the preferred color is irrelevant because suspenders are underwear and as such are never meant to see the light of day. (This is one of the primary reasons that a gentleman never removes his jacket at a formal function.)
Formal suspenders are always the button-on variety never clip-on and they customarily feature soft, knitted ends instead of the stiffer and more bulky leather tabs found on ordinary suspenders. Socks should be held in place by a sock garter (sock suspender in the UK) to ensure that they do not sag or bunch, an unfortunate trait of silk hose. Drooping socks are not only unsightly but can also result in exposed shins when a man sits or crosses his legs.
Sock garters keep hose in place
Formalwear purists can opt for garters that match their braces.
To ensure that such flowers fit properly The Boutonniere: Style in Ones Lapel suggests that they be adapted into true boutonnieres. A florist will remove the bud, wrap the stem and even level the base of the flower all so that the bloom sits flat against the lapel. Remembering that boutonniere is French for button hole will help you remember that these flowers are inserted through the lapel, not pinned on top of it. Also keep in mind that a boutonniere is not a miniature bouquet; the stereotypical accoutrements of babys breath, leafy stems and colored berries belong at a wedding, not at a black-tie gala. Boutonnieres are not worn with decorations and to avoid gilding the lily (so to speak), it is also best not to combine them with pocket squares unless one or both are white.
Overcoat
The most conventional overcoat for evening dress since the 1930s has been the chesterfield coat. However, the coat's characteristics are more important than its name because interpretations can vary significantly. The color should be black, dark blue or oxford gray, the length should be knee length or longer and the model should be single-breasted fly front or double breasted. A black velvet collar is ideal Note that raincoats (a.k.a. trench coats) are not appropriate outerwear for a tuxedo or tailcoat.
Evening Scarf
The correct formal scarf is one made of white silk with tassels.
Gloves
The classic outdoor glove for Black Tie is gray chamois, buck or mocha (soft suede leathers made from sheep, deer or goat skin) in either button, snap or slip-on style. Dressy black leather gloves are also perfectly appropriate.
Hat
For men who consider a stylish outfit to be incomplete without accompanying headwear, the black or midnight blue homburg has been the most accepted hat for the dinner jacket since the 1930s.
Classic Precedents
For those readers who have reached this page after learning the Etiquette, History and Classic Components of black tie, it will be readily apparent that tinkering with the conventional formal wardrobe is akin to tampering with perfection. However, perfection is a relative concept, which means that there is always room for reinterpretation. The key to tasteful personalization is recognizing that the difference between skillfully bending the rules and ineptly breaking them lies in ones knowledge of their underlying principles. Men who wish to experiment with unproven black-tie variations should maximize their chances for success by first learning these fundamentals.
A red velvet "house coat or smoking jacket" is worn by the host of an "informal dinner party at home".
Others who prefer to take advantage of tried-and-true options can simply choose from the following sartorial precedents favored by some of the most stylish dressers of the twentieth century. Discretion is an important factor in assembling an evening kit that is distinctive without being distasteful; the adage less is more couldnt be
better suited to customizing a wardrobe that derives its primary appeal from its refined simplicity. Therefore, when choosing among the following classic alternatives it is best to limit yourself to one item at a time. Also be aware that a mans age and an events formality will impact the appropriateness of these alternatives.
Adding Color
While color is the simplest way to customize a black-tie ensemble, its indiscreet use is the most common culprit in degrading the tuxedo from elegant formal attire to a sophomoric prom costume.
(These faille cummerbunds offered by Ben Silver are the epitome of traditionally tasteful colors.)
In Dressing the Man, classic menswear authority Alan Flusser offers some basic advice for avoiding this pitfall: Use only one colored accessory: Injecting more than one contrasting accessory into the two-color format fragments its formal integrity into smaller, less important pieces. Surround the color with black: By limiting your selection to only those components predominantly bordered by black, such as the waistcoat, cummerbund, dress shirt or pocket square, you have ensured that this single dollop of dissonance remains part of the whole.
Use deep, rich colors: The tonalities capable of enriching this already dramatic, high-contrast composition are those registering an equal
Jacket
The cardinal rules for alternative jackets is that they are appropriate only for less formal occasions, such as a private party at home or at a private club, and that all other aspects of ones ensemble comply with the rules for proper black tie Even then, advises menswear author Nicholas Antongiavanni, they should be approached with caution fo r they do not command universal respect.
Restrict color to an item that is largely surrounded by black
Smoking Jacket
As the inspiration for the original dinner jacket, the smoking jacket remains a popular alternative to the traditional black-tie coat. Although fashioned in many different styles it is always constructed of colored velvet in dark hues usually of green, violet, burgundy or blue. The most authentic types of smoking jacket can be either double-breasted or single-breasted and have frog closures in place of buttons as well as a self-faced shawl collar. Classic variations popular in the 1930s were velvet hybrids that featured standard buttons and had self-faced peaked lapels on the double-breasted models or silk-covered shawl collars and cuffs on the single-breasted.
Single-breasted smoking jacket with classic link closure
More contemporary iterations are simply tuxedo jackets in every detail except for the velvet fabric. English haberdashers often include these designs in the smoking jacket category while North Americans are more likely to refer to them velvet dinner jackets. The American moniker may better describe the garment's appearance but the British terminology reflects its suitability for informal lounging rather than formal dining. These pseudo dinner jackets are discussed further on in Contemporary Jackets.
Waist Covering
Matching Sets
First and foremost, do not wear waist coverings and bow ties made out of matching colors or patterns. The black-tie outfit is close enough to a uniform as it is and accessories should be used to avoid a pre-packaged look, not to encourage it. As A Gentleman Gets Dressed Up so aptly puts it, a gentlemans pocket square, tie, and cummerbund were never intended to share the same gene pool.
White Waistcoat
While colored and patterned waistcoats inherently diminish the formality of the tuxedo, the white piqu full-dress waistcoat actually elevates it. This posh variation best paired with the very formal wing-collar shirt and peaked-lapel jacket was common in the 1920s and 1930s and was prescribed by Emily Post for the most formal of black-tie occasions right up until the 1970s. Today it remains a stylish alternative for many dapper dressers.
Shirt
Silk dress shirts have long been accepted as a luxurious warm-weather alternative to cotton.
A silk dress shirt with fly front is a swank touch for summer
Neckwear
The Rule
There is one very simple rule for replacing the black bow tie: dont. Regardless of how commonly this sartorial gaffe appears at formal functions, it is still a faux pas. While it is true that matching ties and cummerbunds were recommended by even the most esteemed etiquette and fashion authorities from the 1960s through the early 80s, since that time there has been a return to classic standards which dictate the solid black bow tie is the only correct option with the black dinner jacket. This is not simply a matter of changing fashions but, rather, a reflection of timeless style. Unlike the waistcoat, cummerbund or handkerchief, a contrasting bow tie is not framed by a dark color and therefore stands out as a glaring distraction. It has the effect of gift wrapping the neck and detracting from the face which is supposed to be the focal point of the suit. And don't even think of substituting a white bow tie.
Just as with the evening tailcoat, the full-dress bow tie is never meant to be seen outside of a white-tie ensemble and its appearance with a tuxedo is considered a grave solecism.
Wearing a pre-tied scarlet bow and cummerbund set with a modern wingcollar shirt and bleached white coat will virtually guarantee that you spend your evening taking other guests' drink orders or being asked what time your band starts playing.
Footwear
The classic alternative in black-tie footwear is the elegant evening slipper. Also known as the Prince Albert slipper, this soign accent is made of velvet with leather soles and features a grosgrain bow or a motif or the wearers initials embroidered in gold. These slippers share the same dark colors as the smoking jacket with which they make a perfect pairing.
Formal slippers offer a luxurious personal touch
Like the smoking jacket, they are appropriate only for private occasions. Formal hose can have a clock design that is either self-colored or of a contrasting color to match another accessory. However, the latter option should be used with discretion.
Accessories
Suspenders (Braces)
Because you would never be so uncouth as to remove your jacket at a formal event your suspenders will never be seen by anyone other than your intimate companions. Consequently this is a perfect opportunity to go ahead and indulge yourself.
Jewelry
Like formal hose, cufflinks and studs are another option for subtly enhancing a color that has been introduced by another component in the formal ensemble.
Pocket Square
Handkerchiefs in dark colors make for a natty touch, especially with warm-weather attire. Just be sure not to wear a colored boutonniere at the same time.
Boutonniere
If you're really daring you could revive the 1930s vogue for blue cornflower boutonnieres.
Blue cornflower
Bow Ties
A red and green plaid is a fitting touch for a less formal Christmas party as long as precautions are taken to minimize its distraction from the overall outfit:
Only for Christmas (and 1950s-themed proms).
The colors should be tastefully dark The bow should be self-tied The band must be hidden by a turndown shirt collar It should not be worn with a matching waist cover
In addition, the tie should be constructed of silk as per standard formal bow ties. Most tartan bow ties are sold in the same wool used to make kilts but their rough, unfinished texture makes them inappropriate for formal attire.
Etiquette
The white dinner jacket's origin on cruises and at tropical resorts speaks to its specific role as a less formal alternative to traditional black tie. It is only appropriate at formal occasions in the tropics year round and in America during the summer season, typically at open-air social gatherings such as country club dances and yacht club parties. While summer in the southern United States qualifies as being at least subtropical, the same cannot be said for the more temperate northern states and Canada. It is for this reason that numerous experts advise using discretion north of the Mason-Dixon line in order to avoid dressing for effect rather than for the occasion. Indeed, black-tie guests north of the 49th parallel would be wise to heed the example of their British cousins who do not consider the United Kingdom's temperate climate to be appropriate for white formal wear at any time of the year (with the notable exception of Last Night at the Proms).
And if a man is particularly serious about formal convention, a white jacket should never be worn in the city unless one has a napkin over his arm or a saxophone up to his lips as Esquire once put it. Don't forget that the white jacket is an alternative, not a directive. The black jacket is perfectly acceptable in any season and any locale and actually trumps the formality of the white version.
Warm-Weather Variation
Acceptable as a substitute to standard black tie year round in tropical climates and in summer in North America. 1) Jacket White or preferably ivory Self-faced lapels All other details as per classic jacket 2) Trousers Black All other details as per standard black-tie trousers 3) Waist Covering Black Cummerbund 4) Shirt As Per Standard Black-Tie Shirt 5) Neckwear As Per Standard Black-Tie Neckwear 6) Footwear As Per Standard Black-Tie Footwear 7) Accessories Optional colored silk or linen handkerchief as pocket square All other details as per standard black-tie accessories
Dinner Jacket
Model and Style
Single- or double-breasted models are both correct and both offer distinct advantages for warm-weather climates. The former allows the jacket to be worn open while the latter permits the wearer to dispense with a waist covering. While peaked lapels are perfectly acceptable, the more casual effect of the shawl collar is ideally suited to this less formal dinner jacket.
Fabric
Although etiquette experts generally refer to these alternative jackets as white and rental shops are filled with brightly bleached polyester coats, sartorial authorities deliberately prefer descriptors such as off-white, ivory, cream or winter white instead. There are a number of reasons for this: White wool and other natural fabrics take on a yellowish appearance over time When worn in abundance pure white is counterintuitive to the understated elegance that formal wear is intended to convey Bright white is unflattering to fair-skinned faces Unlined, lightweight natural fabrics are acceptable alternatives to the standard worsted wool. Cotton Gabardine Linen Avoid synthetic fabrics, as they dont breathe well (and usually dont look very good either).
Finishes
Traditionally, the lapels are self-facing meaning that they are covered in the same fabric as the rest of the jacket. The details of the pockets, vents and buttons are the same as for the classic jacket.
Trousers
Warm-weather trousers follow the same rules as classic trousers including their black or midnight blue coloring. If choosing to have a pair purpose-tailored for hot climes it stands to reason that they should be constructed of lighter weight worsted than used for a year-round tuxedo.
Waist Covering
The cummerbund is the overlay of choice for tropical weather as it covers up less of the torso than does the waistcoat, thereby keeping the wearer cooler. It is worn only with single-breasted jackets not just because of classic black-tie etiquette but also because adding an unnecessary layer of clothing under a closed double-breasted model would defeat the purpose of this warm-weather alternative. As with the year-round ensemble, the cummerbund is traditionally made of black silk in a grosgrain or satin finish but can be used as an opportunity to inject a tasteful color or pattern into ones evening wear.
Shirt
The classic pleated-front shirt with soft turndown collar is traditionally paired with the light colored jacket due to its equally relaxed air.
Neckwear
The same details apply as per the classic bow tie including the matching of the tie's fabric but not its color with the cummerbund.
Footwear
While either type of classic footwear is acceptable, the formal pump's more stylish appearance is an ideal complement to the swank demeanor of warmweather black tie.
Accessories
White suspenders are a prudent choice when wearing light-colored jackets constructed of thin materials. A handkerchief of white silk is always natty but this is a perfect chance to infuse the warm-weather ensemble with a dash of tasteful color, particularly if not wearing a boutonniere. In the heyday of the white dinner jacket stylish men would also wear colorful cufflinks and shirt studs set with precious stones that matched the cummerbund or pocket square The complete warm-weather kit: as swank today as the year it originated. The shawl collar is by far the most usual lapel for the warm-weather dinner jacket. The peak lapel is relatively rare on the summer coat. The white dinner jacket is worn with standard black-tie trousers and cummerbund.
This ivory wool jacket is enhanced by a colored pocket square (but diminished by flap pockets and a center vent).
Every generation laughs at the old fashions, but follows religiously the new. Henry David Thoreau
Not only does our perception of elegance continue to evolve, but some of the classic garments of black ties golden age have become virtually extinct. On a less practical level, it is simple human nature to be tempted by the prospect of improving perfection, particularly for each new generation looking to make its mark.
Antongiavanni. All the necessary compromises have already been made. To press further is to lapse into vulgarity for the sake not of comfort but of fashion. A 2004 Wall Street Journal editorial concurs:
This is the power of the traditional costume--it is at the same time aristocratic and democratic. The very uniformity of the tuxedo makes it socially leveling. And whereas most instruments of democratic equality tend to lower all boats, the tuxedo levels up. Would-be improvements invariably throw the aristocratic-democratic balance out of whack.
Social Pitfalls
As botched as they may have been, past generations misguided choices of prom and wedding formal styles impacted no-one but the wearers. By the time the perpetrators were old enough to attend proper black-tie functions they had usually learned their lesson and realized the numerous benefits of following the dress codes customary interpretation. However, many of todays young men particularly in the creative industries have decided to carry their indiscretions beyond the wedding hall and into the realm of formal galas. Here their choices also impact those around them because they diminish the sartorial uniformity that lies at the heart of the Black Tie dress code.
Poor Influences
When debonair movie stars and performers like Clark Gable and Cary Grant used to walk the red carpet they could be always counted upon to epitomize black ties understated elegance and uniformity. Today, however, Hollywood fashions are often influenced by young celebrities who have little or no understanding of the principles of mens formal dress and view it primarily as a tool for attracting attention. The all-pervasive fashion industry is no better a teacher because it is largely composed of the same stylists that feed the witless celebrity mill. While menswear magazines and high-end retailers once educated readers on the etiquette and elegance of conventional evening wear, they now spotlight designers frenzied attempts to catch the public's fleeting attention. Coutures practice of constantly trying to reinvent fashion may be fine for everyday wear but it is anathema to attire named for its role as a preserver of traditional form. These capricious designer and celebrity trends then filter down the fashion pyramid to influence the offerings of the mainstream formalwear shops that cater to the vast majority of the tuxedo wearers. Consequently this industrys salespeople are more likely to be trained as specialists in inventory turnover than experts in traditional etiquette. It is much easier, after all, to sell a young man on the latest vogue then to take the time to explain the sublime advantages of a century-old tradition.
These merits are achieved through a few fundamental rules Black tie manifests established sartorial tradition. Black tie is grounded in black. White is always secondary and color is to be used sparsely and with great discretion. Black tie emphasizes understated details and elegant finishes.
The following definition is drawn from fifty authoritative American and British resources published over the past seventy years.
1. Coat (Evening Tailcoat)
Black wool is the norm but midnight blue is equally correct Cut in a double-breasted pattern but not intended to close Peaked lapels faced in satin or grosgrain, the latter considered more refined Front of coat ends slightly below the waist, coat tails end just behind the knees
2. Trousers
Color and material to match coat Two narrow stripes or one wide stripe of satin, grosgrain or braid along outside seams Trousers cut for suspenders (braces in UK); high enough rise for waistband to be covered by short waistcoat No cuffs
3. Waistcoat
White piqu (Marcella in UK) Low cut single-breasted or double-breasted, usually backless Length does not extend below front of tailcoat Oblong self-faced revers (lapels)
4. Shirt
White fabric with stiff bosom of plain linen, plain cotton or piqu (Marcella in UK) High, stiff, detachable wing collar Stiff single cuffs fastened by links Eyelets for one or two studs
5. Bowtie
Bow tie of white piqu (Marcella in UK), preferably to match waistcoat Butterfly or batwing shape Self-tie
6. Footwear
Black pumps or plain-toed oxfords of either: Patent leather (most traditional) Highly polished calf leather Black silk hose, over-the-calf length
7. Accessories
Mother-of-pearl shirt studs (or buttons), waistcoat studs and cufflinks Button-on suspenders (braces in UK) and optional sock garters of white silk Optional white linen handkerchief as pocket square Optional white boutonniere Optional pocket watch with gold or platinum key chain is most traditional but evening wristwatch is also acceptable Optional white kid dress gloves for indoor wear
8. Outerwear
Black or midnight blue single- or double-breasted overcoat; chesterfield is especially appropriate Optional white silk scarf with tassels White buckskin gloves Either black silk top hat or collapsible opera hat is optional
Body
The full-dress tailcoats design is particularly efficient at adding stature to shorter men due to its ability to visually elevate the waistline. Like any tailored jacket, the tailcoats waistline typically mirrors the wearers natural waistline but unlike other jackets the coat fronts and corresponding white waistcoat end shortly below the waistline. And because the dividing line between the white waistcoat and the black trousers visually breaks the body into vertical halves, the deliberate raising of this line gives the impression of longer legs. Diminutive hoofer Fred Astaire employed an exaggerated waist height to great effect in his flawlessly tailored full-dress suits and it was also favored by the English in the 1930s for its dramatic aesthetics. Like the waistline, other construction details of the coats front can vary according to changing fashions but the practices described in a 1913 issue of Vanity Fair have been the norm ever since: The front effect of the coat is best when well opened, exposing considerable shirt, the lapels rolling to a little below the top button of the waistcoat from where the line slants away to the edge which inclines slightly upward and rounds into the skirt.
This contemporary take on full dress features a lower waistline than the classically cut tailcoat
As for the rear of the coat, Manual of Politeness dictated in 1837 that Not a crease should be discernible in the back or tails and this still holds true. In addition, the collar of the coat must fit snugly at the neck and rise just high enough to cover the shirt collars rear stud and the bow ties band while still allowing a significant portion of white to remain visible.
Original image on left has been altered to show impact of correct tail length and better trouser fit, as well as proper waistcoat length relative to coat front.
Sleeves
Fred Astaires famous tailcoats also incorporated the requisite high armholes that prevented the coats sleeves from pulling at the body no matter the position of his arms, a feature that is just as relevant to todays formal dancers. Similar to the collar, sleeves should be cut short enough to reveal a gleaming expanse of white linen at the cuff, ranging from half an inch to one inch depending on the wearers height. Tailcoat sleeves are also relatively narrow, traditionally just wide enough to allow the shirt cuff to slip through.
Skirt (Tails)
A center vent that rises up to the waistline divides the coats skirt into two tails which originally inspired the nicknames swallow-tail coat and claw-hammer tailcoat. The tails generally extend down to the bend of the knee in a straight line with a gentle curve at the bottom.
Lapels
The peaked lapel has been standard since the turn of the twentieth century. Not only is it the most formal style of suit lapel but its sweeping upward diagonal lines also create the impression of a powerful V-shaped torso. Connoisseurs of vintage formal attire may occasionally stumble across a shawl-collared tailcoat from the interwar years and wish to adopt the style. If so, they should view it in context of an era when full dress was worn so frequently that gentlemen naturally sought an alternative take on the classic. Unless ones social calendar is chock full of white-tie events, it is best to leave the shawl collar to the sartorial history books. Some modern designers like to dress the ultra-formal tailcoat with the business suit's informal notch lapel. The only reason for choosing this paradox would be to ensure your fellow guests know that your clothing is rented.
Other Considerations
Most other aspects of a coats cut are purely aesthetic and therefore subject to changing fashions. This includes the amount of drape (fullness over chest and back), amount of shoulder padding and size and curve of the lapels. See Style Basics for guidelines that will help make a suit as timeless as possible.
Tailcoat Fabric
Black has been the norm for evening wear since the 1850s and midnight blue has been a correct and striking alternative since the 1920s. The most common fabric since the late Victorian era has been worsted wool with an understated finish such as barathea which is preferred by Britons. Mohair and wool blends have been an acceptable alternative since the late 1950s, favored for their ability to add a tastefully dull sheen to the suit.
Example of barathea wool (with grosgrain trimmed button).
Tailcoat Finishes
Lapel Finishes
The best lapel facings are made of pure silk while less expensive ones contain a synthetic component. The silk can take the form of smooth satin or the dulled ribbed texture of grosgrain. Although the former is much more common in North America its shiny, somewhat theatrical finish is not as popular in Britain where the understated look of grosgrain is often preferred. The left lapel should have a working buttonhole for a boutonniere (known in Britain, ironically, as a buttonhole). Quality formal coats will also include a stem holder on the reverse side of the lapel.
Lapel finished with grosgrain facing and buttonhole. Note also the unique embroidered buttons on this vintage coat.
This is typically a very small cord that keeps the stem in place so that the flower does not fall out of one's lapel over the course of an evening of dancing and dining.
Buttons
Because the double-breasted evening tailcoat has not been designed to close since the 1820s, the two rows of front buttons have become purely decorative. There are three buttons in each diagonal row and their spacing is a matter of style. Sleeves buttons are also ornamental: there should be four of them spaced closely together beginning about half an inch from the end of the sleeve. Unique to the tailcoat are the two buttons found at the back of the waistline, a vestige of a time when the coats tails were folded up and buttoned to the back for convenience when riding on horseback.
Grosgrain covered sleeve buttons on vintage formal coat.
All buttons are usually covered in the same facing as the coats lapels although black bone buttons were acceptable up until the 1950s.
Pockets
In company, as little as possible should be borne in pockets of the coat ; indeed, a full-dress coat should be made without pockets. The reasoning behind this salient advice from an 1837 etiquette manual is that the weight and bulge of loaded-down pockets will obstruct the graceful lines of the contoured dress suit. Thus, hip pockets are never seen on a tailcoat and a breast pocket (introduced in the Edwardian era) is left empty by more fastidious dressers. This lack of pockets presented a dilemma for nineteenth century gentlemen who were expected to remove their otherwise mandatory dress gloves when dining. In typical English fashion, Regency dandy Beau Brummell had his tailor hide pockets in the inside folds of the coats tails and this remains a feature of better tailcoats to this day.
Inside-out tailcoat showing interior tail pocket (on right).
Full-Dress Trousers
Full-dress trousers are constructed of the same fabric as the tailcoat. Because it is essential that they sit just above the bottom of the coat's fronts they must be cut with a high rise (waistline). And because it is equally essential that they remain there throughout an evening of spirited ballroom dancing they must be cut for, and held up with, suspenders (braces in the UK). They can be constructed with flat fronts as they were prior to the 1920s or with pleats as has been popular since the advent of baggier fashions following the First World War. A primary characteristic of formal clothing is the concealment of its workings and fastenings. This can be seen in the aforementioned silk-covered coat buttons, the decorative studs in a formal shirt and the trim that covers the outer seams of formal trousers. This silk trim is either satin or grosgrain to match the coats lapels and consists of either one wide stripe or two narrow stripes to differentiate it from tuxedo trousers. (Apparently this is derived from the military practice of using double stripes to indicate higher rank.) In the past, braid was also used for this purpose but today the term is often used generically when referring to trouser trim in general. The evening suits refined minimalism is further aided by the placement of the side pockets on the trousers side seam rendering them virtually invisible. Finally, formal trouser legs are always plain as cuffs (turn-ups in UK) are too casual (they originated as a mudguard) and would interfere with the side braid.
Full-Dress Waistcoat
Cut
The full-dress waistcoat is constructed of white piqu (marcella in the UK). It can be single- or double-breasted but always features a deep V-shaped opening and is made in the backless style popularized by the future Duke of Windsor in the 1920s. The most critical consideration is its length. Novices invariably treat the white-tie waistcoat as a typical suit vest, believing that as long as it covers the trouser waistband then its length beyond that point is irrelevant. This approach is fine for vests covered up by standard hiplength suit jackets. However, with a coat that is cut high up at waist level, a long waistcoat's bottom will be left completely exposed beneath the coat fronts. The discordant juxtaposition is made all the more glaring by the stark contrast of the black coat and white vest. Onlookers are thus left to infer that a man's dry cleaner must have accidentally shrunk the coat down to a childs size -- Therefore it is critical that the full-dress waistcoat be either altered or custom-tailored to suit your actual tailcoat; it must be long enough to cover the trouser waistband yet not so long as to extend below the coat fronts. Within these parameters there is room for extensive variation in shape of the waistcoats revers (lapels) and its bottom edge, making it the sole garment than may be used to add a personal touch to the otherwise rigid white-tie uniform.
Finishes
Better quality models will have a neckstrap that adjusts with buttons rather than a metal ring. Neither type of fastener is ever visible, though, as a proper full-dress shirt will have a loop built into its upper back designed to hold the neckstrap and the bow tie band from riding up above the tailcoats collar. Finer waistcoats will also feature a small loop near their bottom edges that fastens to the inside of the trouser and ensures that the weskit will not ride up and expose the waistband. The single-breasted model closes with three buttons while the double-breasted version usually takes four. The buttons are usually self-faced (US) or mother-of-pearl (UK) and on better models they can be replaced with formal waistcoat studs if desired.
Full-Dress Shirt
Next to the tailcoat, the full-dress shirt is arguably the most important aspect of white tie's regal bearing. Discovering the exquisite details of this aristocratic garment transports a man back to a romantic era of unsurpassed refinement and at the same time instils dismay at the proletarian substitute so ubiquitous today. The shirt body is made of broadcloth or a very lightweight fabric such as voile which will help the wearer to stay cool. It is constructed in a collarless tunic style to accommodate the requisite detachable collar which, along with the bosom and sleeve cuffs, are the only portions presented to admiring onlookers.
Front
The classic full-dress shirt commands a military-like formality with a stiff and simple bosom made from plain linen, plain cotton or cotton piqu (typically marcella in the UK). This bib-shaped thick layer of fabric is heavily starched to give all men the appearance of a firm, flat torso, regardless of their actual physique. In order to prevent the cardboard-stiff shirtfront from billowing out like a sail when the wearer sits down and the excess material has nowhere else to go, the properly tailored bosom will end just above the trouser waist and just inside the suspenders. The front traditionally takes one or two (visible) studs depending on the wearers height (a single stud adds the illusion of stature) or his tastes.
Collar
The collar of the full-dress shirt is distinguished not just by its folded wings but also by its height. Originally, these detachable collars stood nearly as high as the wearer's jaw line and even today they should extend at least three quarters of an inch above the coat collar. Combined with the heavily starched fabric and the broad wings that helped keep the bow tie perfectly in place, the resulting effect framed all mens faces in regal splendor to quote classic couturier Alan Flusser. While such collars are difficult to find today they remain the epitome of formality. Detachable collars are fastened to the tunic shirt with a shorter stud at the back of the collar and a longer one in front that can accommodate the overlap of fabric at the throat. Because of the shirt design, only the front stud touches the neck. Therefore, the flat back of this stud should be of bone or mother-of-pearl as metal may leave a mark on the skin. . The extended portion of the stud is usually brass but is not seen as it is covered by either the bow tie at the front of the collar or by the bow tie band at the back.
Cuffs
This most formal style of shirt takes stiff barrel cuffs (single cuffs in UK) which are intended to extend further beyond the coat sleeve than do the softer French-style double cuffs worn with a dinner jacket. Although they are not folded back, these cuffs are still fastened with links instead of buttons. They are made of plain linen or cotton or they can be in piqu to match the shirts bosom.
Better formal shirts feature a tab that fastens to the inside of the trousers to prevent the shirt from riding up.
Other Details
It is a little known fact today that when a bow tie is worn with a wing collar shirt its band should never be seen above the coat's collar. Consequently, a finely tailored formal shirt will have a loop stitched immediately below the collar for the specific purpose of keeping the bow ties band and the backless waistcoats neck strap discreetly tucked away under the jacket. Less diligent manufacturers will omit the loop to save costs but this can be easily remedied by a trip to the tailor. Quality formal shirts will also feature a tab that attaches to the inside of the trouser waistband in order to keep the shirt from riding up over the course of an evening. Like all working details of a formal ensemble this tab is hidden in this case by the waistcoat. There are no pockets on formal shirts as they are not considered dressy and would interfere with the reinforced bosom.
The practice of wearing wing-collared shirts declined dramatically after the 1930s introduction of the formal turndown shirt for the dinner jacket and the dinner jackets subsequent replacement of the tailcoat as standard evening wear. As the wing collars popularity declined, the number of dry-cleaners able to properly wash and starch them also dwindled. In response, shirt manufacturers began to attach the wing collar to their full-dress shirts in the 1960s. This new style took off in the seventies and eighties and has become the norm for wing collars. Consequently, men who are unwilling to seek out a conventional detachable collar shirt should look for a contemporary collar that at least resembles the classic archetype as much as possible. In other words, it should be taller than the one and a half inches that is typical for regular shirt collars, should feature pronounced wings instead of the paltry tabs that are so common now and should have a fused construction so that it remains as stiff possible during wearing. All other details are the same as the classic shirt including the stiffness and minimal decoration of the bosom; soft pleated fronts are strictly for black tie.
The tie is traditionally semi-butterfly or batwing shaped as described in Classic Black-Tie Neckwear It should go without saying that a self-tied model is infinitely preferable to a factory-assembled version. If pre-tied neckwear is considered unrefined in a relatively informal office environment then it can only be viewed as downright gauche in the context of an ultra-formal society ball, royal state dinner or Nobel Prize ceremony.
Full-dress bow tie with detachable collar full-dress shirt.
White tie may be a virtual uniform but it is a gentlemans uniform and a gentleman appreciates the human touch of a slightly irregular hand-tied knot compared to the cold perfection of a pre-fabricated contraption. Adjustable-length models are acceptable although there is a sublime pleasure derived from donning a tie custom sized to fit a mans own neck and devoid of clasps, hooks and extraneous material. When tying the tie, keep in mind that formal bow ties are meant to be worn outside the wings of the collar, not tucked behind them. Finally, unless you are a waiter or a butler you must never wear a black bow tie with a tailcoat. Ever.
Formal lace-ups of patent leather or polished calfskin are correct shoes for full dress. However, with its sixteenth-century origin and its long history as de facto footwear at the royal courts and grand ballrooms of Europe, the pump is the most formal of evening shoes and thus the best suited to the evening tailcoat. For similar reasons, the aristocratic pedigree and elegant sheen of silk hose make them preferable to other types of dress socks.
Accessories
Cufflinks and Studs
The cardinal rule for full-dress jewelry is that it be expensive yet discreet. As Vogues Book of Etiquette said of mens evening jewelry in 1925, "Whatever they wear must look as if it were useful by intention and valuable by chance." Most contemporary authorities keep it simple and suggest that shirt studs, cufflinks and waistcoat studs (if applicable) all be a matching set of mother-of-pearl but there is also a long history of dapper alternatives. Shirt studs have traditionally been most popular in mother-of-pearl or genuine pearl but precious or semiprecious stones were also acceptable. If they were matched with waistcoat studs then they were often of white pearl, white enamel or crystal.
Mother-of-pearl evening set. Proper cufflinks are double sided to dress both sides of the cuff.
Cufflinks could also match the studs or they could stand apart in plain platinum or plain gold, the latter often being of the white variety.
Boutonniere (Optional)
If a boutonniere is worn with full dress then it must be white. Carnations are the most traditional choice but small gardenias are also acceptable. There was a vogue for dark red carnations among young mavericks from the 1930s to the 1950s but this would likely be considered a bit obnoxious at most white-tie ceremonies today
Outerwear
Overcoat, Evening Cloak
The chesterfield coat is the most conventional topcoat for evening wear but any dressy style is appropriate. Capes are best left to Transylvanian counts.
Evening Scarf
The correct evening scarf is white silk with tasseled ends as illustrated in Classic Black-Tie Outerwear
Evening Gloves
Traditionally, white buckskin were the most popular street gloves but white chamois and doeskin (soft suede leathers made from sheep or deer skin, respectively) were also correct.
Hat (Optional)
The extended height of the traditional top hat is a swank counterbalance to the tailcoats length and its luxe finish is the ideal complement to the coats silk trim. It remains a perfectly correct choice for a man who has the nonchalance required to pull it off and the willingness to pay a small fortune for an accessory that will be checked at the door. There are two models of top hat to choose from: standard and collapsible.
The best standard models are made from black silk or from beaver fur felt that is highly polished in order to look like silk. The silk version, commonly known as a silk hat, was the most popular but is no longer made since the last mill that produced the required silk has gone out of business. Such top hats now must be purchased second hand from vintage dealers for prices that can range up to 1,800 (approximately $2,800 US) or higher. Beaver-fur styles, on the other hand, are still being manufactured by English companies such as 330year-old Lock & Co. Hatters where prices start at a mere 365 ($585 US).
silk hat
Top hats made of inexpensive wool felt are also available but this type of material is suitable only for daytime headwear. The collapsible model is known as an opera hat or a gibus hat. This model has been acceptable with evening wear since the Regency era and is still made by a handful of companies. Traditionally it has been constructed of ribbed silk (especially in the US) or dull merino cloth (especially in the UK). Alternately, a black stiff-brimmed homburg fedora has been endorsed by various authorities since the 1960s as a more modern version of the fulldress hat. Its low crown and dull finish may lack the stature of the topper but at least it keeps the head warm and looks better than a toque.