Midnight Blue Mohair Dinner Jacket

The SB. dinner jacket with peaked lapels OPPOSITE Cole Porter and Doug Fairbanks Jr. in D.B. dinner jackets.

1930s Dinner Suit

in sarin or grosgrain. w ith either shaw i or peaked lapels, per manent fashion is assured.

Dinner jacket models that deviate from these four classic archetypes or boast such informal embellish incurs as notched lapels or flap pockets devolve into sar torial oxymorons, convoluting both the forms aesthetic logic and its promise of timeless elegance The w hole idea of a formal suit is to distinguish itself from the notch lapel business suit, not replicate it

The balance of the proper dinner jacket s derail ing remains fairly straightforward a welt breast pocket for w hite linen handkerchief and a w orking buttonhole on the left lapel to hold a botitoiiniere Double besomed (jetted) hip pockets can be either plain or trimmed in the same silk as the lapel. Like the tailcoat, the single breasted dinner jacket takes one waist button and four closely set a

Midnight Blue Dinner SuitMidnight Blue Dinner JacketMidnight Blue Silk Dress

sleeve buttons, which can either be simple black horn or covered in the lapel's silk facing (either grosgrain or satin to match).

Since most formal affairs are held in climate controlled environs, a finished or unfinished mid-weight worsted (9% to 10V1 ounces) should take a man comfortably through three seasons of the year Like the tailcoat, dinner clothes are trimmed in facings of varying degrees of luster; therefore, so as not to ov erstate the sheen quotient, the dinner jacket's 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

When it comes to color, the base worsted cloth is limited to black or midnight blue. In the 1930s, midnight blue began to replace black, because under artificial light the dark blue retained its richness while black sometimes gave off a rust or artificial cast The term "midnight blue" conjured up images of the shank of the evening, when romance and rambunctiousncss were in full swing. While midnight blue dinner coats originally took matching facings, black grosgrain or satin trim mings have been worn since the thirties.

Back in the days when the bon v ivant required more than one dinner jacket, it was not unusual to find him donning a lightweight version in mohair or silk. Today, the dulled sheen of babv mohair and fine worsted wool is one of the few tasteful exceptions to the rule that normally consigns shim clothes to the parvenu side of t he tracks I lea-is Italy's Gianni Agnelli swathed in silkenlike mohair dinner wear dinner jacket alternatives s one ascends the social ladder. \\ irli its increasing demands for dress up. the odd or separate dinner jacket surfaces. Paired with the conventional formal trouser. this nonmatching jacket surrogate is often a variation on the velvet-smoking*jacket theme and traditionally reserved tor less grand affairs. So long as its design conforms to one of the four classic models mentioned earlier its fabric can flirt with adventure. I scorting the Duchess ol Kent from his London house to her awaiting chariot, our man Fairbanks sports a satin faced velvet smoking jacket and monogrammed slippers in toe.

\ffecting an offbeat aplomb that only the genuine English toff can muster, artist and photographer t ecil Beaton squires lee Radziwill to the English premiere of Coco. Between Beaton's own formal garniture and their matching velvet frocks, the couple radiates glamour.

245 Formalweai

Lee Radziwill House London

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