Summary. Sartorial style is organized around the craft of tailoring: garments engineered through cut, internal structure, and finishing rather than through prints, novelty, or visible branding. The word derives from the Latin "sartor," meaning tailor, and the aesthetic treats tailoring literacy as its core value system. A jacket is evaluated by its canvas construction, the roll of its lapel, and the pitch of its sleeve. Trousers are judged by their drape, rise, and break. Shirts are assessed by collar shape, cuff closure, and fabric weight. This evaluation framework developed across two geographic traditions: British structured tailoring centered on Savile Row in London, where bespoke houses have operated since the early nineteenth century, and Italian soft tailoring originating in Naples, where workshops like Attolini and Kiton developed lighter, less padded construction methods suited to Mediterranean climates. The two traditions represent different engineering solutions to the same problem: building a garment that shapes the body through internal construction rather than external decoration. Contemporary sartorial dressing draws from both, along with a global community of enthusiasts organized around publications like The Rake and Permanent Style, trade events like Pitti Uomo in Florence, and online forums where fabric specifications, construction methods, and fit details are discussed with technical precision.

In Material Terms

Fabric is the primary material in sartorial dressing, and the system for evaluating it is more codified than in most fashion aesthetics.

Wool suiting. Worsted wool is the foundational suiting fabric. The term "worsted" refers to a specific spinning method in which long-staple wool fibers are combed parallel before spinning, producing a smooth, compact yarn that weaves into a crisp, relatively wrinkle-resistant cloth. The alternative, woolen-spun yarn, uses shorter fibers that are carded rather than combed, producing a loftier, softer yarn used for flannel, tweed, and other textured fabrics.

Worsted wool quality is graded by the "Super" number system, which indicates the maximum fiber fineness of the wool used. Super 100s wool has a fiber diameter of 18.5 microns. Super 120s sits at 17.5 microns. Super 150s reaches 16 microns. Finer fibers produce a softer, more lustrous fabric, but they are also more fragile. A Super 100s or 110s suit in a mid-weight (260-280 grams per meter) cloth will hold its shape through years of regular wear. A Super 150s or 180s suit will feel luxurious on the hanger but may develop shine at the seat and elbows within a season of office use. The practical sweet spot for durability and hand feel falls between Super 100s and 130s for everyday suiting. Fabrics in the Super 150s-and-above range are reserved for occasions where the garment will see limited wear.

Major cloth mills supply the fabric from which suits are cut. Loro Piana (founded 1924, Quarona, Italy) produces cashmere and fine wool. Vitale Barberis Canonico (founded 1663, Pratrivero, Italy) is one of the oldest continuously operating mills. Holland & Sherry (founded 1836, London) and Scabal (founded 1938, Brussels) supply Savile Row and international bespoke tailors. Dormeuil (founded 1842, Paris) is known for both classic and novelty luxury cloths. These mills sell fabric by the meter or in lengths ("cuts") sufficient for a single garment, allowing bespoke and made-to-measure tailors to offer thousands of cloth options.

Beyond worsted suiting, flannel fills the autumn and winter register. Flannel is a woolen-spun fabric with a soft, slightly fuzzy surface created by milling (agitating the woven cloth to mat the fibers together). A mid-grey flannel suit, often cited as the most versatile garment in sartorial dressing, typically weighs 300-370 grams per meter. Heavier flannels (400+ grams) provide greater drape and insulation. Fox Brothers (founded 1772, Wellington, Somerset) is among the best-known flannel mills.

Tweed, a coarse woolen fabric originally from Scotland and the English-Scottish border region, provides the most textured option. Harris Tweed, protected by an act of Parliament since 1993, must be handwoven on the Outer Hebrides from locally dyed and spun yarn. Donegal tweed, from County Donegal in Ireland, is characterized by colorful nubs of fiber (called "slubs") scattered through the weave. These fabrics are used for sport coats and country jackets rather than business suits.

Canvas construction. The internal structure of a tailored jacket is the single most discussed construction detail in sartorial communities. Three methods exist, and understanding them is treated as a baseline literacy requirement.

Full canvas construction uses a layer of horsehair canvas (traditionally woven from horsehair and cotton, now sometimes blended with wool or synthetic fibers) that extends from the shoulder to the hem of the jacket front. This canvas interlining is pad-stitched by hand or machine to the wool shell, creating a three-dimensional chest shape that molds to the wearer's body over time. The lapel rolls naturally over the canvas, producing the soft, dimensional curvature that sartorial enthusiasts identify as the hallmark of proper tailoring. Full-canvas jackets from Savile Row bespoke houses require 50-80 hours of handwork.

Half canvas uses the same interlining in the chest and lapel area but switches to a lighter fusible (glued) interlining below the chest. This reduces construction time and cost while retaining the lapel roll and chest shape that a full-canvas jacket provides. Most quality ready-to-wear suiting from brands like Canali, Ring Jacket, and Caruso uses half-canvas construction.

Fused construction bonds a synthetic interlining directly to the shell fabric using heat-activated adhesive across the entire jacket front. This is the fastest and cheapest method, used in most mass-market suiting. The result is a flatter, more uniform appearance. In hot or humid conditions, the adhesive can degrade over time, causing the interlining to separate from the shell in visible bubbles. This failure mode is the practical reason sartorial communities treat fused construction as inferior, beyond any craft-purity arguments.

Shirting. Cotton is the standard shirting fabric, evaluated by fiber type, weave, and weight. Egyptian cotton (grown in the Nile Delta, extra-long-staple fibers), Sea Island cotton (grown in the Caribbean, the finest and rarest), and Supima cotton (American Pima, extra-long-staple) provide the longest fibers, which produce the smoothest yarns and most lustrous fabrics. Thomas Mason (founded 1796, Lancashire) and David & John Anderson (founded 1822, Glasgow) are heritage shirting mills, both now owned by the Albini Group.

Weave determines the texture and formality of shirting cloth. Poplin (a tight, plain weave with a fine rib) is the most formal, producing a smooth, crisp surface. Oxford cloth (a basket weave using heavier yarns) is more casual, with a visible texture and greater body. Twill weaves (diagonal ribbing) create various textures depending on thread count and yarn weight. Royal Oxford, a variation with a more pronounced basket structure than standard Oxford, sits between poplin and Oxford in formality.

Two-ply fabric (woven from yarns spun from two threads twisted together) produces a denser, more durable, and more lustrous cloth than single-ply. Thread count, expressed as "2-ply 100s" or "2-ply 170s," indicates the fineness of the yarn used, with higher numbers producing finer fabric.

Leather. Sartorial footwear is almost exclusively leather, and the construction method determines both quality and longevity. Goodyear welted construction (where the upper is stitched to a welt strip, which is then stitched to the sole) allows resoling and produces a structured, durable shoe. Blake construction (where the upper is stitched directly through the insole to the outsole) creates a lighter, more flexible shoe but is harder to resole and less water-resistant. Blake-Rapid construction adds a midsole, combining some advantages of both methods. Calfskin is the standard upper material for dress shoes. Shell cordovan, made from the dense, fibrous flat muscle beneath the hide of a horse's rump, is prized for its mirror-like finish and resistance to creasing. Horween Leather Company in Chicago is the primary source. Tanning a single shell cordovan hide takes approximately six months.

At Category Level

Sartorial style occupies a specific position relative to other aesthetics that use tailoring. Quiet luxury shares its restraint but prioritizes brand discretion over construction literacy. Power dressing borrows the suit's authority signals but treats the garment as a symbol rather than evaluating its make. Ivy style uses tailored elements (blazers, odd trousers, Oxford cloth button-downs) within a more casual, American framework that does not require the same construction knowledge.

What distinguishes sartorial dressing from these adjacent categories is that the garment's internal structure carries as much meaning as its external appearance. A sartorial participant evaluates a jacket by lifting the lining to inspect the canvas, by checking whether the buttonholes are hand-sewn, by feeling the weight and hand of the cloth. The construction details that are invisible to a general viewer are the aesthetic's primary content. This produces a form of dress where expertise is the access requirement: without knowledge of fabric, construction, and fit, the signals are illegible.

The aesthetic operates across a wide formality range, from a three-piece suit with a spread-collar shirt and a full Windsor knot (the most formal sartorial register) to an unlined sport coat over an open-collar linen shirt with pleated chinos (weekend sartorial). The connecting thread across these registers is attention to proportion, fabric quality, and construction standards, not a specific outfit formula.

Methodologically

This entry treats sartorial dressing as a construction-literacy system: a framework in which garments are evaluated primarily through material specification, internal structure, and the precision of their fit to the body. The aesthetic's content is located in the gap between what a garment looks like at a distance (often understated) and what it reveals upon close inspection (specific fabric, identifiable construction method, measurable fit parameters). This "close-reading" approach separates sartorial dressing from aesthetics where the garment's surface presentation carries the full message.

Word (Etymology)

"Sartorial" derives from the Latin "sartor," meaning tailor or patcher, from "sarcire," to mend or patch. The word entered English in the early nineteenth century as an adjective relating to tailoring or tailored clothing. Its adoption as a style-category label in the twenty-first century reflects the shift from describing a trade (tailoring) to describing a value system (garments evaluated through tailoring craft). In contemporary fashion discourse, "sartorial" signals that the speaker is evaluating clothing through construction and fit rather than through trend, brand, or surface pattern.

Subculture

The sartorial community developed primarily through online forums and niche publications in the 2000s and 2010s. StyleForum (founded 2002) and its London Lounge subforum became hubs for discussing cloth, construction, and commissions from bespoke tailors. The blog Permanent Style, written by Simon Crompton from London, has covered bespoke tailoring, cloth, and menswear since 2007, applying a detailed, specification-focused approach. The Rake, founded by Wei Koh in 2008, positioned itself as a luxury menswear magazine with extensive coverage of Savile Row and Italian tailoring houses.

The #menswear movement on Tumblr, peaking between roughly 2010 and 2014, popularized sartorial tropes (sprezzatura, pocket-square flourishes, double monks, unlined sport coats) for a younger audience. The movement drew heavily on Italian styling conventions photographed at Pitti Uomo, the menswear trade fair held biannually in Florence, where buyers, designers, and enthusiasts gather in the courtyard of the Fortezza da Basso. Street-style photographers including Scott Schuman (The Sartorialist, founded 2005) and Tommy Ton documented the event's attendees, whose outfits became reference material for a global audience. The #menswear era brought sartorial concepts into mainstream fashion awareness but also attracted criticism for prioritizing performative flourishes (aggressively short trousers, deliberately clashing patterns, excessive pocket squares) over the understated quality that traditional sartorial dressing values.

Trunk shows represent the sartorial subculture's commercial ritual. Bespoke and made-to-measure tailors travel to client cities, setting up temporarily in hotels or retail spaces to take measurements and show fabric books. These events function as both commerce and community gathering, allowing clients to meet their tailor, handle fabrics, and discuss commissions in person.

History

Beau Brummell and the origins of modern menswear (1790s-1810s). George Bryan "Beau" Brummell (1778-1840) is widely cited as the figure who established the template for modern male dress. Before Brummell, aristocratic men wore elaborate, colorful clothing: embroidered silk coats, powdered wigs, buckled shoes, and visible jewelry. Brummell, a middle-class man who gained social access through education at Eton and a friendship with the Prince Regent (later George IV), advocated a radically simplified approach: dark, well-cut coats, clean linen, restrained colors, polished boots, and meticulous personal grooming. His influence shifted the basis of male elegance from decoration to fit and fabric quality. The dark suit, white shirt, and necktie combination that became the standard male dress code for the following two centuries traces its outline to Brummell's principles.

Savile Row and British bespoke tailoring (1800s-present). Savile Row, a street in the Mayfair district of London, became the center of British bespoke tailoring in the early nineteenth century. The first tailor to establish premises on the Row was Henry Poole & Co., which moved there in 1846 (the firm itself was founded in 1806). Gieves & Hawkes (No. 1 Savile Row) traces its origins to the late eighteenth century through the merger of two firms: Gieves, which supplied the Royal Navy, and Hawkes, which served the British Army. Other houses that operated on or near the Row during its establishment period include Meyer & Mortimer, Strickland & Sons, and Henry Huntsman (Huntsman, founded 1849). By the late nineteenth century, Savile Row had become synonymous with the highest standard of tailored menswear, serving royalty, aristocracy, politicians, and wealthy international clients.

The British bespoke tradition emphasizes structured construction: a clearly defined shoulder (often with roping at the sleevehead), a suppressed waist, a clean chest achieved through extensive pad-stitching of the canvas, and a skirt that falls cleanly over the hips. The fit process requires multiple fittings (typically three to five for a first commission), during which the cutter adjusts the pattern on a muslin or baste (a rough version of the garment assembled in light fabric). A single bespoke suit requires 50-80 hours of labor and takes 8-12 weeks to complete.

Neapolitan and Italian tailoring (1900s-present). A parallel tradition developed in Naples, where Vincenzo Attolini (1903-1971) is credited with inventing the deconstructed Neapolitan jacket in the 1930s while working at the London House workshop under tailor Gennaro Rubinacci. The Neapolitan approach uses lighter canvas (or no canvas at the back), minimal or no shoulder padding, and a softer, more natural silhouette that follows the body's contours rather than imposing a geometric shape on them. The Neapolitan shoulder, known as the "spalla camicia" or shirt shoulder, gathers the sleevehead fabric slightly where it meets the shoulder seam, creating a rippled effect that signals handwork and the absence of structured padding.

Kiton (founded 1968 by Ciro Paone in Naples) and Isaia (founded 1957 by Enrico Isaia in Naples) brought Neapolitan tailoring to an international market. Rubinacci (the Rubinacci family has operated since the 1930s, initially as Gennaro Rubinacci's "London House" atelier) continues as a bespoke operation in Naples and Milan. Cesare Attolini (the firm founded by Vincenzo's sons) maintains the original Attolini construction methods.

The Italian concept of "sprezzatura," a term coined by Baldassare Castiglione in The Book of the Courtier (1528) to describe studied nonchalance, became the philosophical framework for a specific branch of sartorial style. In practice, sprezzatura in menswear means deliberate imperfections that signal ease rather than effort: a tie slightly loosened, a pocket square casually stuffed rather than precisely folded, the last button of a jacket sleeve left undone. This ethos became the dominant visual language of Pitti Uomo photography in the 2010s.

The ready-to-wear middle ground (1950s-present). Between bespoke and mass-market, a tier of quality ready-to-wear and made-to-measure brands developed to serve customers who valued construction but could not afford or did not require fully bespoke garments. Brioni (founded 1945, Rome) was among the first Italian tailoring houses to present menswear on a runway (1952), anticipating the model of luxury ready-to-wear that later became standard. Canali (founded 1934, Sovico, Italy), Caruso (founded 1958, Soragna, Italy), and Ring Jacket (founded 1954, Osaka, Japan) produce half-canvas or full-canvas suits in factory settings, maintaining handwork standards that distinguish their output from fused mass-market suiting.

Made-to-measure (MTM) occupies the tier between ready-to-wear and bespoke. An MTM garment begins with a pre-existing pattern that is adjusted to the client's measurements, rather than being drafted from scratch as in bespoke. The client selects fabric and specifies details (lapel width, button stance, pocket style, trouser configuration). Brands including Suitsupply, Spier & Mackay, and Proper Cloth offer MTM at accessible price points, while bespoke houses like Anderson & Sheppard and Huntsman offer it as a lower-cost entry to their work.

The #menswear era and digital sartorial culture (2008-2016). The convergence of street-style photography, Tumblr, Instagram, and menswear blogging created a period of heightened mainstream interest in sartorial dressing. Blogs like Die, Workwear (later rebranded as Put This On) and A Continuous Lean documented classic menswear and introduced a younger audience to concepts like canvas construction, Super numbers, and Italian tailoring traditions. The Tumblr #menswear community, centered on accounts like "fuckyeahmenswear," popularized a specific visual register: aggressively cropped trousers, brown double-monk strap shoes, unstructured sport coats, and pocket-square flourishes. Pitti Uomo attendance became aspirational, and the "Pitti peacock" became a recognizable figure: a man dressed in deliberately exaggerated sartorial codes for the benefit of street-style photographers.

This period expanded the sartorial audience significantly but also generated backlash. Critics argued that #menswear had reduced tailoring to a set of Instagram-optimized visual signals (short trousers, visible socks, aggressively dimpled tie knots) detached from the underlying craft values that traditional sartorial communities prized. By 2015-2016, the #menswear wave had subsided, leaving a smaller but more knowledgeable community focused on fabric, construction, and fit rather than on photographic impact.

Silhouette

• tailored jackets, single-breasted (two or three buttons) or double-breasted (6x2 or 6x1 configurations)
• clean shoulder line, ranging from structured (British, with roping) to soft (Neapolitan, with shirt shoulder)
• suppressed waist on the jacket, creating an hourglass or gentle V-shape from shoulder to hem
• trousers with defined crease, varying in rise (mid to high) and break (from no-break to half-break)
• waistcoats in three-piece configurations or odd-vest pairings
• shirts with structured collars (spread, cutaway, point, button-down for casual)
• overcoats (Chesterfield, polo coat, Ulster) in winter months

Materials

• worsted wool (Super 100s through Super 180s, with 100s-130s as the practical range)
• flannel (woolen-spun wool, 280-400 grams per meter, for autumn and winter)
• tweed (Harris, Donegal, Shetland) for sport coats and country wear
• cotton shirting (poplin, Oxford, twill, royal Oxford; Egyptian, Sea Island, or Supima cotton)
• linen (for summer suiting and sport coats, in weights from 200 to 280 grams per meter)
• silk (ties, pocket squares, linings; printed, woven, or grenadine)
• cashmere (knitwear, scarves, and blended suiting cloths)
• leather (calfskin and shell cordovan for shoes; calf, goat, or lamb for belts and goods)

Color Palette

• navy, charcoal, and medium grey as core suiting colors
• mid-grey flannel as the versatile staple
• camel and tobacco brown in sport coats and overcoats
• white and light blue as foundational shirting colors
• ecru, pale pink, and lavender as secondary shirting options
• burgundy, forest green, and gold as accent colors in ties, pocket squares, and knitwear
• earth tones (olive, tan, rust) in casual tailoring and cotton trousers

Details

• canvas construction (full or half) as the primary quality marker
• hand-stitched buttonholes, particularly the lapel buttonhole (called "milanese" when hand-sewn with a particular stitch)
• pick stitching (also called "AMF stitching") along lapel and pocket edges, a line of small hand stitches that signals craft investment
• surgeon's cuffs (functional sleeve buttonholes) that allow the sleeve to be unbuttoned
• lapel roll, the way the lapel curves from the gorge to the button, determined by the canvas and the tailor's manipulation rather than by pressing
• mother-of-pearl buttons (on shirts), horn buttons (on jackets and trousers), and corozo (tagua nut) as natural button materials
• interior finishing: hand-felled lining, clean seam edges, interior pocketing, printed or contrasting lining fabrics
• trouser details: side adjusters (instead of belt loops), extended waistband closures, double-reverse pleats or flat front

Accessories

Footwear carries significant weight in sartorial dressing and is often discussed with the same specification literacy as suiting.

• Oxford (closed-lacing, the most formal shoe): cap-toe, plain-toe, whole-cut, and brogued variations
• Derby (open-lacing, slightly less formal): in both plain and brogued versions
• Monk strap (single or double buckle): the double monk became a signature of the 2010s #menswear period
• Loafers (penny, tassel, horsebit, Belgian): ranging from casual to business-casual
• Chelsea boots and jodhpur boots for autumn and winter
• Benchmark shoemakers include Edward Green (founded 1890, Northampton), John Lobb (founded 1866, London and Paris), Gaziano & Girling (founded 2006, Kettering), Alden (founded 1884, Middleborough, Massachusetts), and Crockett & Jones (founded 1879, Northampton)

Neckwear and pocket squares. Silk ties in printed, woven, and grenadine (an open-weave mesh) textures. Knitted silk ties for less formal settings. Pocket squares in silk, linen, or cotton, folded in TV fold (straight edge), puff, or multi-point arrangements. The pocket square is one of the few areas where sartorial dressing permits visible color and personality, making it a frequent subject of styling discussion.

Other. Leather belts in brown and black calfskin, or braces (suspenders) as an alternative. Cufflinks for French-cuff shirts. Watches (dress watches with leather straps are the orthodox choice, though sport watches have become widely accepted).

Body Logic

Sartorial dressing treats the body as a three-dimensional form to be mapped and accommodated through construction. The jacket's internal structure (canvas, padding, wadding at the chest) is manipulated to enhance the wearer's natural proportions: building out a narrow shoulder, suppressing excess at the waist, smoothing the chest. The ideal is not to disguise the body but to present an improved version of its actual shape. A well-fitted jacket follows the body's contours at the shoulder and chest, nips at the natural waist, and extends cleanly over the hips without pulling, wrinkling, or gapping.

This body-mapping logic extends to trousers (rise set to the wearer's natural waist, thigh room accommodating actual leg shape, taper calibrated to shoe proportions) and shirts (collar size and shape selected to complement face shape, sleeve length set so the cuff extends exactly the prescribed amount below the jacket sleeve). The result is a silhouette that reads as authoritative and intentional precisely because the fit has been calibrated to the individual body rather than to a generic size chart.

Garment Logic

Sartorial garments operate on a hierarchy of construction quality that determines both price and perceived value. At the top sits bespoke: a garment drafted from scratch for one body, assembled largely by hand, with every detail specified by the client and interpreted by the cutter. Below that is made-to-measure: a pre-existing pattern adjusted to individual measurements, with fabric and details chosen by the client. At the base is ready-to-wear: garments produced in standard sizes from pre-set patterns, varying enormously in construction quality from fused fast-fashion suits to full-canvas factory-made garments.

Within each tier, the garment is evaluated on a consistent set of criteria. How does the fabric drape? Does the jacket hold its shape when unbuttoned? Does the lapel roll smoothly or does it look pressed flat? Are the pattern stripes matched at the seams? Does the interior finishing suggest care or cost-cutting? This evaluation framework is what makes sartorial dressing a literacy system: the ability to read these signals, and to make purchasing and commissioning decisions based on them, is the aesthetic's core competence.

The relationship between British and Italian approaches creates an internal dialectic. British tailoring optimizes for structure, producing a defined, geometric silhouette. Italian tailoring optimizes for ease, producing a softer, body-following drape. Most contemporary sartorial practitioners draw from both traditions, selecting British cloth with Italian construction, or wearing a Neapolitan jacket with English shoes. This mixing is treated as normal rather than contradictory.

Motifs and Themes

Recurring themes include craft over branding (the value of a garment resides in its construction rather than its label), visible expertise (dressing well in this system requires knowledge that must be learned), the tension between formality and individual expression (working within classic forms while finding personal variation), the preservation of handwork traditions in an era of industrial production, and the relationship between price and value (a well-made Super 110s suit that lasts a decade versus a poorly made Super 180s suit that deteriorates in a season).

The question of gatekeeping runs through sartorial culture. The knowledge barrier to full participation (understanding Super numbers, canvas types, last shapes, cloth mills) can function as exclusion, limiting the community to those with the time, resources, and social context to acquire this specialized information. The #menswear era partially democratized this knowledge through blogs and social media, but also created a performance layer where signals of expertise (visible sprezzatura, correct brand references) could be deployed without deep underlying knowledge.

Cultural Touchstones

• Beau Brummell (1778-1840): established the modern male dress code of dark, well-cut clothing evaluated by fit rather than decoration; his influence shaped two centuries of menswear conventions.
• Savile Row, London: the geographic center of British bespoke tailoring since the mid-nineteenth century; houses including Henry Poole, Huntsman, Anderson & Sheppard, and Gieves & Hawkes defined the standards for structured jacket construction.
• Pitti Uomo, Florence: the biannual menswear trade fair whose courtyard became the stage for street-style photography that defined the visual language of the #menswear era.
• Vincenzo Attolini and the Neapolitan jacket: the development of the soft, unstructured jacket in 1930s Naples created the alternative to British structured tailoring and established the Neapolitan school as a distinct tradition.
• The mid-grey flannel suit: often cited as the single most versatile garment in sartorial dressing, associated with both Savile Row tradition and 1950s-1960s American style (the "man in the grey flannel suit").
• The Sartorialist (blog, founded 2005): Scott Schuman's street-style photography blog, one of the earliest to document sartorial dressing as a living practice rather than a historical subject.

Brands and Designers

Savile Row and British bespoke:

• Henry Poole & Co. (1806, London)
• Huntsman (1849, London)
• Anderson & Sheppard (1906, London)
• Gieves & Hawkes (origins in the 1770s, No. 1 Savile Row)

Neapolitan and Italian tailoring:

• Kiton (1968, Naples)
• Isaia (1957, Naples)
• Cesare Attolini (Naples, family tradition from the 1930s)
• Rubinacci (1930s, Naples)
• Brioni (1945, Rome)

Ready-to-wear and made-to-measure:

• Canali (1934, Italy)
• Ring Jacket (1954, Osaka)
• Drake's (1977, London)
• Caruso (1958, Italy)
• Suitsupply (2000, Amsterdam)
• Spier & Mackay (2010, Toronto)

Footwear:

• Edward Green (1890, Northampton)
• John Lobb (1866, London)
• Crockett & Jones (1879, Northampton)
• Alden (1884, Massachusetts)

References

[1] Flusser, Alan. Dressing the Man: Mastering the Art of Permanent Fashion. HarperCollins, 2002. [2] Roetzel, Bernhard. Gentleman: A Timeless Guide to Fashion. h.f.ullmann, 2004. [3] Sherwood, James. Savile Row: The Master Tailors of British Bespoke. Thames & Hudson, 2010. [4] Crompton, Simon. The Anatomy of Style. Permanent Style, 2019. [5] Castiglione, Baldassare. The Book of the Courtier (1528). Translated by George Bull, Penguin Classics, 1967. [6] Kelly, Ian. Beau Brummell: The Ultimate Man of Style. Free Press, 2006. [7] Chenoune, Farid. A History of Men's Fashion. Flammarion, 1993. [8] Hollander, Anne. Sex and Suits: The Evolution of Modern Dress. Kodansha International, 1994.