Formal Shoe Types

“There is no foot pain so severe, no dress shoe so fragile, no commute to arduous as to justify the sartorial holocaust that is wearing trainers with a suit” - Things A Man Should Know About Style, Omelianuk and Allen.

“If suits are to a man’s wardrobe as a house is to his life, then shoes are akin to his car. And the reasons are that they are the second most expensive part of any wardrobe, and the most telling measure of a man's taste” - The Suit, Antongiavanni.

Closed Lacing / Open Lacing
Formal shoes can be divided into two groups: closed lacing and open lacing.
Closed Lacing (also known as Oxfords, Balmorals or Bals): In the case of a closed lacing shoe, the two sides of the upper that are drawn together by laces are sewn under the front part of the shoe. As a result, the tongue consists of a piece of material sewn onto the shoe beneath the lacing. Closed lacing shoes are deemed to be more formal the open lacing shoe (described below).



Open Lacing (also known as Derbys or Bluchers): In contrast to the closed lace shoe, on an open laced shoe, the two sides of the upper that are drawn together by laces are sewn onto the top of the shoe. Thus, the tongue is merely an extension of the piece of leather that covers the toe. Open-laced shoes, because they are more bulky than closed-laced chose, are thought to be less formal.

Formal Variations
There are of course many variations on these two broad categories. The precise delineation of the further sub-categories, however, can be complicated given the minute difference in the style. Moreover, some brands like to use the original name styles as a model name in their range.

For example, although the closed-lace shoe is often called an Oxford, technically the term Oxford refers to one version of the close-laced shoe, namely no decoration on the vamp. The open-laced equivalent is known as a “plaintip”. Similarly, the Balmoral is, technically, a style of closed-lace shoe with straight side seams. The “toe-cap” is a particularly popular version of both types of shoe and has an additional piece of leather covering the toe. A style with a toe-cap that extends to the back of the shoe is called a “longtip”. Other styles include Adelaide (no side seams) and wholecuts (single piece of leather). Another open-lace version is the Veldts (described below)

Co-respondents (also known as “spectators”) are shoes made with two colours, often seen on the golf course. The classic version has a white suede vamp and brown toe-cap, heel counter and throat. They are typically worn with less formal clothes and only to informal, outdoor events.





One further way in which shoes are often adjusted aesthetically is by way of “brogueing”, a method that borrows the Gaelic word for shoe, “brog”. This process involves punching small holes into the leather in various places on the shoe. Again, combinations of the styles describe above with various extents of brogueing have has led to many different variations, some with their own name. For example, “punched caps” have holes on the toe-cap seam, “quarter brogues” have holes along the toe-cap and on the side seams, “half brogues” have the same plus a design on the cap, “three-quarter brogues” have the same plus decoration on the “counter” (that sits above the heel), and “full brogue” (called a “wingtip” by the Americans) have brogueing on every seam from toe to heel. Some brogues are described as “Budapests” since good quality brogueing is done in Hungary.

Another way in which the basic style can be adjusted is by shaping the toe of the shoe in different way. These vary from square, rounded and pointed. The rounded variety are deemed to be the most traditional, while pointed shoes tend to be deemed somewhat less so. Antongiavanni, for example, states that “pointed toes are for women”.

Finally, the chukka boot (taking its name from the sport of polo’s term for a “quarter”) is a shoe with uppers that extend further up the leg to cover the heel, but stay short of being called a boot. These are also often referred to as "chelsea boots".






Semi Formal Variations
The monkstrap is neither a lace-up nor a loafer, but instead uses a buckle (or buckles) to close the shoe, and takes it name from the buckle fastenings seen on monks’ sandals. In its classic form it has one buckle, is plain toed and bereft of broguing. Nevertheless, other versions exist: the French, for example, like to add an extra buckle. Although it is technically an “open-laced” shoe, the vast expanse of uninterrupted leather means that it sleekness can minimise the foot.

The monkstrap is both a comfortable and convenient shoe, although it is seen to be slightly less formal than the lace-up varieties. This likely stems from the fact that many hardline commentators recommend avoiding shoes with metal decorations over the vamp: Hardy Amies, for example, believed that no metal should feature on a shoe. Conversely, Antongiavanni writes in The Suit that “the only metal a dandy will allow to interrupt the sublime visage of polished leather is the buckle on a monk strap”. Aside from this, though, some argue that the buckle and longer tongue can affect the way in which the trousers sit at the hem. As a result, shoes with buckles typically look best with slim-cut and shorter-cut trousers so that the glint of the buckle and the extended vamp are visible.

Loafers are slip-on shoes that have become increasingly popular, amounting to half the shoes sold today. Of the true welt-stitched loafers, there are two broad groups. The first is penny loafers, so called because Ivy league students used to insert a one penny piece in the design on the cross strap. The Weejun is one such famous version of the penny loafer, and takes its name from the word “Norwegian”, from where the shoe originated. Another is the “Beefroll”, who’s name refers to the thickened seams at each end of the cross strap.


The other group of loafers is those with a tassel hanging from the top of the vamp. These are often cut higher than the Weejuns and give a more elegant silhouette. Generally, loafers are made to a wide spectrum of quality, and in a wide spectrum of formality, so care should be taken not only to choose a well made pair from a reputable brand, but also to ensure that the design and styling is commensurate with the outfit. Technically, moccasins are also included in the loafer family of shoes.

Cufflinks

In his book The Suit, Antongiavanni states that aside from tie pins, “watches and cufflinks are the only other jewellery-like indulgence permitted to a gentleman”. Similarly, Roetzel writes in Gentleman “cuff links belong to the group of accessories whose impact is inversely proportional to their size, because although they are minute, and are often not even visible, they make a very big contribution to the overall look”. In other words, the cufflink represents an important sartorial supplement that tends to garner more interest than its size might otherwise dictate. To this end, below is a short summary of how the cufflink came about, and some of the key aspects of its design.

History
Cufflinks are said to predate the shirt, with evidence of their use being found in ancient hieroglyphics in King Tut's tomb. These were typically made of rope, ribbon or tape, and were used in varying forms up until the 18th Century. Cufflinks as we know them, however, were first used during the 1700s. The precise date is unknown; although the cufflink was first mentioned in writing in 1788, buttons had already ceased to be decorative, and shirts with true cufflink slits were in existence. They were often made hand made with gold or silver and set with gemstones, and thus were typically worn only by the rich.

It wasn't until the Industrial Revolution in the late 18th Century and early 19th Century that cufflinks were opened up to a wider audience. The invention of the steam-driven stamping machine, electro-metallurgy and other technological and chemical developments meant cufflinks could be mass-produced in various formats. Similarly, double cuffs had become popular, in turn driving the demand for cufflinks. These new retailers, unable to afford precious metals, demanded alternative mediums such as enamel, semi-precious stones and metals, as well as fakes.

During the 1880's, an America called George Krementz patented a device based on a civil war cartridge shell-making machine that could mass produce one-piece collar buttons and cufflinks. Later, during the 1920s, the enamel cufflink became the most prevalent style, and was further supported by the mobilation of the Faberge artisans from Russia as the communist revolution drove them to emigrate West. Later still, the 1930s saw the introduction of low-cost plastics. In the 20th century cufflink use peaked in the mid 1960s when “Swank Inc”, a popular manufacturer of the time, was making 12 million a year.

These days the cufflink’s extent of use varies from region to region. The British tend to use them regularly, due in part to their preference for long-sleeved shirts with French cuffs, but also as means to add some individuality to an otherwise traditionally conservative business look. The Italians, by contrast, prefer to reserve them for more formal occasions such as weddings, where the design can be significantly more fanciful. The Americans tend not to wear them at all, choosing instead the barrel cuff.

Design
In short, the cufflink itself a decorative fastener worn by men or women to fasten the two sides of the cuff on a dress shirt that has double, or French, cuffs. The link can be worn so that the ends of the cuff are either "kissing" (with the ends pinched together) or "barrel-style" (with one end overlapping the other), although the former is much more common.

Cufflinks themselves are made from a variety of materials, shapes and colours. Generally speaking, precious metals are often deemed to be the most formal option, followed by enamel and then plastic, subject of course to the designs and colours used.

The fastening mechanism design can vary widely. There are chains, swivels, bridges, elastic, snaps or screws. The former is certainly deemed to be the more traditional and formal, comprising a chain and two connecting two oval-shaped ends. Although traditional by all accounts, they can take a considerable amount of effort to put on. Swivels can take the form of “bullets” (a rotating cylinder with bevelled ends) or an elongated oval (flat metal bent into shape). The swivels turns on a central post, allowing the wearer to thread it through the cuffs, before twisting it back to secure it in place. Bridges are non-moving connectors, and are put on the cuff by simply threading the smaller of the ends through the buttonholes. Other versions include bridges combined with a swivel mechanism that closes around the outside of the shirt, as well as snaps and screws.

The part positioned on the most visible side, is usually larger and can be decorated in many ways: traditional cufflinks (such as gold or stripes with out without a monogram), contemporary cufflinks (often minimalistic in design and using modern materials), novelty cufflinks (that might assume an allegiance with a particular sport or hobby) and humorous cufflinks (often depicting funny messages or images). Like most garments, some are appropriate for business wear and others are not; as Fink writes in The Man's Book "there is a fine line between the smart and the naff, and the inexperienced are best advised to stick to the plainest designs".

An alternative type of cufflink is the “silk knot”, also known as a “monkey's fist” (although, technically speaking, the knot is a turk's head, not a monkey's fist). This is basically an intricately tied knot of elasticated silk. Better-known in Europe, the humble knot is actually just as well regarded as its more expensive peers. Indeed, as a substantially cheaper alternative they are an inexpensive way of experimenting with different colours and bolstering a cufflink collection.

Some of the popular brands of cufflink include Ian Flaherty, Sonia Spencer, Ravi Ratan, Murray Ward, Babette Wasserman, Duchamp, Dunhill, Simon Carter, Fiona Rae, Paul Smith and Tateossian and Tiffany. Leading retailers of cufflinks are John Lewis, KJ Beckett, House of Fraser, Selfridges, and Liberty of London, which all offer collections from some of the aforementioned cufflink designers.

Gambling Basics

Your first trip to a casino doesn't have to be a stressful experience. Sure, it may seem intimidating - all the different games, the noise, the lights, the cocktails being shuffled around by short-skirted waitresses. And at first you might feel out of place among the other patrons who all appear so poised. But even the high rollers had to start somewhere, and hopefully after reading this you’ll feel you have a grasp enough of the basics to have a go.

The Basics

The best way may just be to jump right in. Walk into the casino prepared to show ID (most places require that you’re 21) and bring as much cash as you’re prepared to spend, and can afford to lose. It might be a good idea to leave the cash card at home - casinos do all have a copious amounts of ATMs, but topping up is a bad habit to get into, especially at this early a stage.

Drinks at casinos are usually complimentary if you’re playing, though if you order at the bar you may be required to pay. So take your first baby steps - stroll on over to the slots, ease some cash into one and look around for a cocktail waitress as you pull your first lever.

Slot Machines
By far the most popular games, slot machines are sometimes called “one-armed bandits” in reference to the lever you pull to start the reels turning and the speed with which they empty your pockets!

Slot machines are available in a number of denominations - from penny machines up to $100 machines in some places, so it all depends on how much you want to risk. For a first timer, it may be safer to stick to the quarters.

You'll usually find the denominations listed on the machines, as well as above the appropriate areas on small neon signs. Decide how much you want to spend then choose which machine looks fun/attractive to you.

You can usually insert bills from $1 to $100 into the machine, with some still accepting coins. You then decide how many quarters you want to play at a time, from “one up” to “Max bet,” which may be as many as four at a time. Obviously the more quarters you bet the greater your winnings, with some yielding significantly higher returns on the max bet.

Each slot has its own requirements for paying out, with most having pictures of bars, fruits, sevens, etc which you have to land on a “pay line” in order to win. Some machines also have wild cards which may take the place of a missing picture to complete the set on the pay line.
The best thing to do is to familiarize yourself quickly with the rules, and then just start playing. You can “cash out’ with a button on the machine that will usually print a receipt with your winnings that you then take to the cashier or insert into another one-armed bandit if you’re feeling daring (sorry, that $10,000 win isn't going to all come out in quarters!)

Table games
The most popular card games are Blackjack and Poker. You just have to find a table that suits your minimum bet (displayed on the signs on each table), with these usually starting out at a $5 dollars per hand minimum. Find an empty chair at a table, exchange your cash for chips with the dealer when the hand already going on at the table has finished, and you're ready to begin.

Black Jack
In Blackjack, the object of the game is to reach 21 with the cards in your hand (or as close as you can) without going over (called a “bust”). You play against the dealer, not the other players, and you have to get closer to 21 than the dealer without busting.

The court cards (king, queen, jack) are all worth 10 points, with aces worth 1 or 11 – you can choose.
You decide at the start of each hand how much you want to gamble. Try the minimum until you're comfortable. The dealer will deal each player 2 cards face up. You then have to say “hit” me (or signal with a small hand gesture) if you want another card or “stay” (or another appropriate gesture) if you feel you’re close enough to 21 without busting. You can hit more than once, and hold at any time.

The dealer, meanwhile has dealt himself two cards – one face up, the other face down. After all the players have gotten as close to 21 as they can, or have busted, the dealer will try and get to 21. This is where you actually have an advantage over the dealer. You can hold on 16, but a dealer has to hit again if he has anything less than 17, meaning he has a greater chance of busting.
There is actually a mathematical system that tells you when it is best to hit or stay, depending on what cards you have. It's easy to learn the basics of this system, and here's a useful and free website to practice on that gives some pointers on when to hit and what to look for in the dealer's hand: www.hitorstand.net.

Poker
Poker has more complex rules, and also an array of variations on the game, with Texas Hold 'em being particularly popular these days. Unlike Blackjack, you're playing against the other players.
In all poker games your win will depend on the combination of cards in your hand compared with your opponents, with different combinations being worth more than others. For example, a flush is when all the cards in your hand are of the same suit, but not in sequence. If they are also in sequence this is called a straight or running flush. A full house is when you have three cards of the same rank, and two of another (for example, 3 of hearts, 3 of clubs, 3 of spades, jack of hearts, jack of clubs). There's also four of a kind ( four cards of different suits but the same rank), three of a kind, and two pair, where you have two cards of one rank and two cards of another.

You can pull off the infamous “bluff’ in poker by making the other players believe your hand is better than it actually is, and not folding despite a less than great set of cards.
While it may be fun for those that know the rules, it's best to brush up on your knowledge of the specifics of the game first if you’ve never played before. Check out www.pokerlistings.com/poker-rules if you think poker may be your game.

Roulette
The spinning wheels of roulette are always an enticing draw for newcomers. Here too, you must find a table bearing a sign for the minimum bet you are willing to wager and then find an available spot at that table.

There are a number of ways of betting on the roulette table - whether on one number, a range, a combination, odd/even or red/black.
The ball will be rolled along the outside of the wheel (the spinner will announce when it’s too late to place any more bets) until it stops and lands in a small pocket in front of a red or black number up to 36, plus a 0 and a 00.

Betting on one number will yield better pay offs, but at much reduced odds of winning. If you bet red/black or even/odd you're more likely to win, but those winnings won’t be nearly as high, while betting on a range of numbers will obviously increase your chances but force you to wager more.

Craps

The famous dice game we've all seen in the movies also requires that you find an empty place at a suitably priced minimum bet table.

Basically you have to roll a set of 2 dice in a series of rounds to earn more and more money. If your first roll is a 2, 3, or 12 you lose your money (called “craps”). If your first roll is a 7 or 11 you win. If any other number is rolled you must continue rolling until that number or a 7 or 11 is reached.

The rules of this game are also a bit complex for a novice. You can find information here if you want to try it: www.gamblingplanet.org/craps.php.

Remember...
Like with so much else, a bit of practice goes a long way, and the Internet gives you the chance to practice without losing your shirt. But it goes without saying that whenever gambling is involved, you should be careful, and going with cash only can be a good way of keeping things under control.

And if you do strike it lucky, remember that many times the key difference between a more successful gambler and one who isn't is knowing when to walk away. Whether it is because you've just won big or lost everything you came with, try and avoid the temptation of having “just one more go.”

Dress Shirt Cuffs/Sleeves

Cuff Type
On a dress shirt there are two main types of cuff. The first is known as the button, barrel or single cuff. This type is fastened with one, two or sometimes even three buttons. The the corners of the button cuff are typically finished with a corner or rounded cut.

The second type of cuff is known as a double cuff, or sometimes as a French cuff. This cuff requires a cufflink to fasten it since there are no buttons. The term "double" comes from the fact that the cuff is basically twice the length of a typical cuff, but folded back on itself so that the cuff link actually holds together four layers of material. French cuffs can be finished in several ways; corner, rounded or bevel.

Cuff Size
The interaction between the sleeve and the cuff is important, since the size of the cuff dictates how far down the wrist/hand the overall sleeve will fall. Thus, the cuff itself should be tight enough so that it can’t slip too far down the hand, but not too tight that is appears to constricted or too short. As Antongiavanni writes: "When the cuffs are buttoned, they should rest at the base of your thumb with the excess sleevel length gathering above". If positioned correctly approximately half an inch of shirt will protrude from underneath a jacket.

Sleeve Length
Again referring to Antongiavanni, "With the cuffs unbuttoned, they [the sleeve] should cover a third of your hand". As a result, when the cuff is fastened a small amount of excess sleeve should gather above the cuff. This ensures that there is sufficient room for the wearer to move and bend their arms without the sleeve riding up.

Cuff to Sleeve
Although a minor consideration, some attention should be paid to how the sleeve is joined to the cuff. The reason for this is that the end of the sleeve is typically wider than the cuff. This requires the tailor to sew one or two pleats into the sleeve where it is attached to the cuff. This pleating should be done neatly and symmetrically so that the joins on each arm look the same.

Short Sleeve / Long Sleeve
Generally speaking, long sleeves are deemed to be more formal than short sleeves. This is primarily because formal dress has its roots in covering more, not less, of the body. Long sleeves also present the wearer with greater flexibility; they can be rolled/folded up when it is warm, they allow the wearer to add an additional element of style into the outfit by wearing cufflinks and they simply look better when worn with a suit/jacket. As the Financial Times wrote, "The length of the sleeve seems to be one area in which a man's fidelity is rock solid. Like the political party they choose, to support their entire lives, their allegiance to the long-sleeved shirt shows no sign of swaying" (Financial Times, July 26/27 2008). Subject to uniform requirements, most would agree that short sleeves should be reserved for t-shirts, polo shirts, Hawaiian shirts and shirts made for sports.

Dress Shirt Collar

Collar Types
The collar is a focal point on the dress shirt as it one of the more visible components, particularly as it frames both the face and the tie. Collars can be easily divided into two broad groups, namely "stand-up" or "turn-down". The former was far more popular in the past, but is still seen today in specific versions of so-called formal dress (tuxedos and tailcoats). During the early 20th century, though, the turn-down became the norm, and so we focus on that version here. There are several versions of the turn down collar. In order of popularity they are: the basic turndown, the cutaway, the soft-collar and the detachable


Basic Turn-Down
The basic, or regular, turn-down forms represents the fundamental form, from which the other styles of the turn-down collar have developed. On a regular turn-down the angle between the top button (caused by the inside edges of each point) is less than 90 degrees. While most collars are close to this 90 degree threshold, it is not uncommon to find some versions at the acute end of the spectrum, for example those seen in popular Mafia movies. The basic turn-down is generally pretty user-friendly; it looks good with a suit and tie, but can be worn open with more casual wear.

Tab/Pin Collar
Within the basic turn-down genre, there are two specialised versions called "the tab" and "the pin" are specialised versions. The tab collar and the pin collar are rarely seen, but do still seem to enjoy limited popularity in the US. Their names describe what is involved; the tab or pin acts as a small bridge between the collars causing the tie to stand out a little further. In terms of collar shapes, typically the tab’s points are longer and thinner, whilst the pin’s collar points are shorter and actually have rounded corners. Both styles require a tie.

Cutaway Collar
The cutaway, or spread, collar describes a collar with an angle of more than 90 degrees. The widest style is sometimes called the Windsor collar, named after the British Duke who regularly wore this style (and who also has a necktie knot named after him). It seems the spread collar has remained popular amongst the British Royals, with Prince Charles having also worn one for years. The principal idea behind the spread collar is to allow a knotted necktie to be more visible, although the shirt can be worn without one. Around the late 90s the cutaway became very popular in the City of London, driven in part by the dashing cuts and colours of Thomas Pink.

Soft-Collar/Button-Down
The soft-collar differs from the basic turndown and the cutaway in two main ways. The first is as a result of the type of material typically used on such as shirt; while the traditional dress shirt collar is usually stiffened, the soft-collar, as its names suggests, is not. Secondly, the collar point often features a button-hole used to fasten the collar to a small button on the front of the shirt near the collar bone, the so-called "button-down".

Generally speaking, it seems that the soft-collar remains very popular in the US (and Italy to some extent), primarily led by brands such as Brooks Brothers (a American menswear staple for many years), but is becoming less popular in other parts of the world, notably the UK and France. Indeed, the Financial Times recently reported that "even Britons who, along with Americans, were once only too happy to button down now appear to be giving up this particular shirt choice”. In terms of formality, the soft-collar is typically considered to be slightly less formal than the basic turn-down or cutaway. This is due, in part, to the fact that the shirt is often made of softer material, and although it can be worn with a tie, tends to look better with a single-breasted blazer or tweed jacket, rather than a suit.

Detachable
The final collar style, is the so-called detachable collar. This is significantly older design that allowed the collar (and cuffs of the shirt) to be removed and washed separately since they were more susceptible to dirt. They are strongly reminiscent of the dandified days of old, particularly due to the fact that it takes much longer to put on. Despite this, it is still worn by many, including “Bonfire of the Vanities” author, Tom Wolfe.

Collar Fit
No matter what the style of the collar, it is the fit of the collar that is crucial to a shirt fitting properly. The primary consideration here is that the collar is neither too tight nor too loose around the neck. Antongiavanni writes: "If your collar gapes or stands away from the neck at any point, it is too large. If you feel compelled to unbutton it or loosen your tie, it is too small". A quick way to check is being able to insert two fingers between the neck and the collar with the top button done up. The secondary consideration is that the height of the collar is appropriate. The key points here are that the collar should sufficiently tall enough to fully cover the necktie and to track about half an inch above the collar of the jacket. Additionally, some consideration should be given to the length of the wearer's neck (shorter collars for those with shorter necks, taller collars for those with longer necks). Finally, the collar tips should touch the shirt and remain touching the shirt when the top button is done up, a tie put on and/or the head is turned; collars whose points are raised are indications that the collar size is too small.

Collar Types

Image source: www.bindalcotex.com

Ready-made, Made-to-measure, Bespoke

While the "suit quality" spectrum is very broad, there are four fundamental categories of garment construction that can help begin to determine where an individual suits sits. Importantly, though, because the quality of a suit is also determined by several other factors (such as the skill of the tailor and the quality of material used), the categories can often overlap.


Ready-made, machine-made
A ready-made (or “off-the-peg”) suit is one that is available for immediate purchase, usually from a high-street clothes store. The manufacturer’s designers create a basic pattern which, according to their interpretation, will fit most of the general public. The production systems for such garments have improved in both quality and speed in recent years, with good quality suits now being made in only several minutes. As a result, the ready-made suit sits at the lower end of the cost spectrum.

Importantly, though, it isn’t just mass market brands that utilize these systems, but also designer labels. So although a brand name will help sell a suit, it won't necessarily help fit a suit. As always, you should be guided by the fit and the feel of the cut of a particular brand (in particular, how the jacket fits around the neck and shoulders), as well as the quality of fabric and construction. These aspects should remain priorities: suits made by Hugo Boss or Armani may cost more than Marks & Spencer or Brooks Brothers, but they may not always fit better as a result.

Bear in mind, if the fit is close, but not perfect, alterations to ready-made suits can easily be made. Remember, if a good fit is between sizes, it is best to purchase the larger and have the excess fabric removed, rather than having a suit with too little material.

Good quality ready-made suit brands include: Marks & Spencers, Austin Reed and Brooks Brothers.

Ready-made, hand made
Less common is the hand-made ready-made suit. This suit will have been made with a high level of craftsmanship and materials (perhaps by an assembly line of tailors employing tailoring skills used on bespoke suits), but will still be designed around a basic body shape.

The fabrics in which such garments are offered are generally of the same high quality as a bespoke suit; because the workmanship is typically of such a high quality it is appropriate to make the garment in good cloth. Like bespoke, it is common to find the button holes hand-sewn and the coat made with a "floating" canvas.

Brands such as Chester Barrie, Brioni and Oxxford produce ready-made hand-made suits.

Made-to-measure
Made-to-measure is the third type of suit construction and should not be confused with bespoke.

The made-to-measure is an entirely acceptable choice for many, offering a way in which to purchase, relatively inexpensively, a well fitted suit. While a bespoke suit "outclasses" a made-to-measure suit, the latter recognizes that many cannot, or do not wish to, pay for a full bespoke suit. Made-to-measure provides an effective opportunity to create something unique, particularly as some made-to-measure tailors present various options with regard to specific parts of the suits, such as pocket details, buttons and lining colour, among others.

This method differs from the bespoke process in a number of ways, namely “that a standard cut is adjusted as far as possible to the customer’s measurement and personality”, and thus will “lack the individuality of a custom-made or bespoke suit” (Gentleman, Roetzel). Similarly, it is typically only the basic measurements that are taken, rather than the full spectrum noted during a bespoke fitting. Finally, it is important to remember that the taking of measurements does not necessarily mean that the suit will have the same level of craftsmanship seen on a bespoke suit.

In the US there is not so strong a tradition of bespoke garments and, as a result, the term "made-to-measure" is often used interchangeably, and sometimes, misleadingly. Remember that the taking of a few measurements does not mak a suit fully bespoke and the price paid matches the extent of the work.

Bespoke
A bespoke suit is one that is made to precisely fit both the body of the customer and the wishes of the customer.

As Roetzel writes, “An individual cut is devised… depending on his measurements and his requirements, and it will be precisely adjusted to his figure and his character” (Gentleman, Roetzel). In order to ensure this superior fit the tailor will take typically require a minimum of 20 measurements for the jacket and at least 5 measurements for the pants. As a result, bespoke offers a solution to individuals who may find it difficult to find suits that fit their boy shape.

As its name implies, a bespoke suit also allows the customer to voice his desires on various aspects of the suit, ranging from basic decision over color and the number of buttons to minute details such as stitching, button types and pocket style. It is then for the tailor and the cutter to convert these general wishes into a garment that can be worn and actually fits. “The really important point is for the cutter to understand the customer’s personal wishes and tastes almost intuitively, which is essential for translating them perfectly into the suit.” (Gentleman, Roetzel).

The method by which a bespoke suit is created is a very careful and gradual process, and is designed to minimize room for error. After the various measurements are taken, an initial pattern is created. This pattern exclusively reflects the stature and personal characteristics of the customer, and will be retained and verified by the tailor each time the customer comes for a new fitting. Thus, it is very common to see large piles of individual patterns adorned with names of clients at a bespoke tailors.

After the paper is drafted, the fabric, which may have been selected at the time of the fitting, and then ordered from the mill, is cut. There are several subsequent fittings to guide the tailor toward a precise fit. At this point, minor things like the presence of a wallet, keys and/or watch are all taken into consideration.

A suit is first fitted in canvas, but then is gradually covered over with increasing amounts of the outer material. The canvas remains part of the suit, but eventually “floats" between the outer shell and the inner lining, something that can felt in the finished product. Crucially, this differs from a “fused” canvas in which the various layers of the suit are fused together with glue, resulting in a less flexible ensemble that is more susceptible to dry cleaning and rain. The canvas is often shaped with horsehair, gives the jacket a lasting shape and elegant drape, and also provides the proper roll to the lapel.

In terms of actual construction, each piece of the custom garment is typically hand cut with scissors, not a machine or laser. The seams, however, are often completed by sewing machine (even at the most elite of bespoke tailors) since it ensure a straight line, although some parts of the suit is still done by hand, such as button holes, collars and pockets.

“The total time it takes to make a genuine customer made of bespoke suit is about 40 hours. 24 hours suits are impossible. A minimum of several days from measuring to the first fitting is the rule, if the tailor’s time allows. It will then usually be another six to eight weeks before the suit is finally ready” (Gentleman, Roetzel).