Straight-of-grain Waistband Made Easy

If you enjoy sewing apparel, chances are that you'll encounter waistbands cut on the straight-of-grain frequently, especially with the popularity of separates in our wardrobes. In fact, so many of our garments have waistbands, and we open and close them so often, we tend to take them for granted. So let's take a look at why these waistbands deserve closer attention, and how to sew perfect ones.

Functions of a waistband

Waistbands are one way to finish the top edge of skirts, pants, and other separates. They're also part of the opening that provides entry for the garment. And perhaps most importantly, they anchor the garment at or near the waist. This small strip of fabric performs a big job: a waistband "carries" the entire garment.

Structuring waistbands

Because of these various functions, it's very important that waistbands are supported properly, which is accomplished through interfacing the waistband fabric. There are many interfacing materials that can be used, and the best one to choose depends on the amount of support and structure that's required for the particular garment style, fabric, and width of waistband. (Typically, wider waistbands need more support than narrower ones.) By experimenting with fusible interfacing, sew-in interfacings, and products specifically made for making waistbands, you'll discover which give you the results you like the most with specific fabrics and styles.

Selecting a waistband interfacing

The best way to choose which interfacing product to use for the inner support of a waistband is to make several test samples for each garment you make. Simply apply a few different interfacings to scraps of fabric after you've cut out the garment. With your fingers, feel the difference between the samples. You can also make a practice waistband if you want to make sure the interfacing in question will do a perfect job. Place the practice waistband around your body and try bending over and sitting. Does it keep it's shape or does it fold over? Is it too stiff? Does it feel comfortable? You'll also want to take into account what kind of wear the garment will receive; what kind of cleaning process the garment will undergo; and what type of closure the waistband will have.




Waistband materials

Waistbands are usually cut from the same fabric as the garment. Patterns generally call for the length of the waistband to be cut using the fabric's length-of-grain. This is preferable because the cross-grain normally has more inherent give than the length-of-grain. For design purposes, waistbands can be made from contrasting fabrics, or even from ribbon or other trims.

How wide should a waistband be? Most frequently, waistbands are either 1-1/4" wide or 1-1/2" wide, but there is no rule that says you must make your waistbands either of these widths. Some people like a narrower waistband - even as narrow as 3/8"; others prefer a wider waistband - 2" or more. Both comfort and style (design) will influence how narrow or wide you choose to make your waistbands.

Getting a comfortable circumference. Some people prefer snug waistbands and others prefer a looser fit. Commercial patterns have approximately 1" of ease in the waistband pattern (i.e., the finished waistband will be 1" larger than the waist measurement for the given size). But people's preferences vary a lot: some people like their waistbands equal to their actual waist measurement; some like their waistbands larger than their waist measurement; and some people like their waistbands smaller than their waist measurement. This is a personal choice - and part of the benefit of getting custom tailored garments is that you can make a waistband fit exactly how you like it!

Waistband closures

Some people choose a buttonhole and button closure, while others prefer a skirt/pants hook and eye (this is a flat hook-and-eye set that is about 1/2" long). The choice is yours, depending on the look you want to create. Using a hook-and-eye closure results in a very clean looking garment, while buttons can be a decorative element.

E-tailor at www.mycustomtailor.com

Color Coordination

COLOR ME KNOWLEDGEABLE

“Honey, does this red shirt and orange tie look OK together?”

We don’t need a degree in color engineering, but a lot hinges on this! Everyday you put together many elements of your attire. Your choice of the colors you mix and match can make a significant impression on how you look to others.

Colors are like kids and employees. Some work together, and get along just fine; others always fight.

Color is energy, if you’re wearing the colors that are right for you, you’ll look dynamic. Color coordination not only makes you look good, but also gives you an organized and professional image.

We’ll try to put an end to those mornings that find you late for work, standing in front of the mirror, holding up six ties, and two shirts against your new suit! Some basic color knowledge, and a lot of experience will help you coordinate those dazzling ensembles with confidence and ease, and maybe even have time for a second cup of coffee.

Men have it easier than women in the color world since most business is conducted in navy, or gray suits, white or blue shirts, and only in our ties and pocket squares are we “allowed” the freedom to get colorful (but even there one rarely sees fuchsia!). Well maybe on the golf course, but even there we look better if the colors match!

The word match comes from an Old English word "gemaecca" which was shortened to "macche" meaning mate or companion!




Why pink for little girls and blue for little boys? An old European fairly tale had baby girls springing forth from pink roses! Blue is the color of the heavens and parents thought it would protect infant sons from the Devil!

We’re not even going to discuss here coordinating the other factors like patterns or fabric weight, and texture. However when all the colors mesh and the patterns are not all the same design or size, you could pull off wearing all patterns!!

Note this News :

Perception of your IQ may be reflected in your shirt color!

When others are repulsed by “loud”, do they mean the volume of your voice or the colors of your clothes?

Both!

According to Clare Spiegel, president of Your New Image, a career consulting company, bright colors and loud talk give an impression of low intelligence!

As reported in Men’s Health Magazine, speaking in a mid volume during a speech or presentation projects more intelligence than speaking too loudly. Speaking in moderate tones presents a calm and authoritative image rather than an appearance that you are desperate to convince everyone of your point. Too loud also can be perceived as boisterous and obnoxious.

The same goes for loud clothing colors, Spiegel says! For example, if you’re going to don a Hawaiian shirt for an event where you need some semblance of astuteness, make sure the shade is dusty or muted, not bright.

Maybe that’s why serious business attire has always been navy or gray set off by a white shirt, and some necktie color to draw attention to your face. And now we know it’s a consideration for casual clothes!


E-Tailor at www.mycustomtailor.com

How To Make Your Own Custom Clothes Patterns

How to make your own custom clothes patterns. If you don't have the perfectly symmetrical body that clothing patterns are designed for, then this article will help you to alter them so they look custom made.

When you look at someone whose clothes fit perfectly, do you wonder what their secret is? It really isn't a secret, it is knowing how to custom fit patterns so you, too can have clothes that fit perfectly. Perhaps one shoulder is higher than the other, or perhaps one arm is bigger around than the other. Many minor physical differences can be made unnoticeable when your clothing fits.

You can do this in one of two ways, it is your choice depending upon your skill as a seamstress and the amount of time you have.

In the first method, you simply use a lightweight cotton fabric (such as sheeting) cut the pattern out and sew using basting stitches. Alter the garment as needed and then take the basting stitches out and use the altered cloth as a pattern.

In the second method, you first measure yourself, or have a friend help you. Measure both left and right sides of your body, and front and back on the left and right. You will end up with measurements that you can use to draw an accurate picture of yourself.

Use a dressmaker's dummy, or if one is not available, a large piece of paper to draw an accurate rendition of you, down the the inch. Now lay your pattern pieces on the drawing, notice where dart lines, waist measurements, underarm seams, etc., fall. If they don't land where you need them to, then adjust the pattern by adding or taking away. Darts can be moved up down, left and right. Waistlines can be lowered or raised. If the pattern does not fit across you can add a little extra.




Where possible, work from the center of the pattern to help keep the pieces symmetrical. Also remember that any changes to one piece will change any other pieces that attach to the one you changed. So if you change a neckline don't forget to adjust both front and back necklines, and any collars or facings.

After you have adjusted the pattern to fit you, cut out your material and sew it with basting stitches. Try on the garment to insure that the fit is what you want. Make any other adjustments before sewing with finished stitching.

For a more professional, custom made look follow the tips here. When you finish seams, make sure they are straight and even, finish the inside of the garment, attach buttons with several neat stitches. Tack down facings with hand stitches where seams are at the shoulder and the front. Pressing after each seam will insure a more professional look in the finished garment. When you have sewn the last button on, and are finished with the garment, wash it as you would normally, give it a final damp press and it is ready to wear.

Your garment will look as if it were expensively custom tailored to fit you, because it was. As you become more experienced with adjusting patterns you will find it takes the same amount of time as when you just stitched up the pattern as it came. Don't forget to remeasure yourself periodically, since we all change our shapes depending upon season, age etc. Enjoy your new clothing.

E-tailor at www.mycustomtailor.com

Mandarin Suit

The mandarin suit is less well known than its relatives, the Italian, British and American styles of mens suits, but it is the perfect attire for some occasions. Inspired by the lines of menswear in the east, this suit style might not be what you would choose for a highly formal occasion, but it has its place among the business suits in many a savvy dresser's wardrobe.

If you are unfamiliar with the concept of the mandarin suit, think of the Nehru jacket, or the jackets worn by the rather more controversial Chairman Mao. Imported into western tradition, mandarin style mens suits have found their way into business suit ranges, and even into the realms of formal wear, including tuxedo design.

The hallmark of the mandarin style is the collar on the jacket. This is a small, upright collar band. It does not fold over, in the sense in which we are more used to understanding the word "collar" in western traditions. If you have never seen this style you might be surprised to see how they have been taken up by contemporary designers, in the western world as well as their eastern homeland.

The modern mandarin collar suit has the elegance you might expect if you are familiar with the lines of oriental art. The jacket is sleek, snug and simple-without fussiness or unnecessary detail. Depending on the materials and colors used, the suit can be just as stylish as a designer suit by a big name Italian designer, and has earned its place in the pantheon of business suits. In light colours and linen and similar fabrics, this style of suit can also be summery and elegantly casual.




The look of these mens suits is clean and minimalist, with the jacket often substantially longer than jacket of a conventional suit. Without the V-shaped "gorge" of the conventional suit, the mandarin jacket will usually also have a number of buttons. The eye is drawn to the vertical, making this a flattering jacket style for men of shorter stature, although long jackets should be approached with caution by men with shorter legs. The length of the jacket tends to emphasise the torso, at the expense of leg length.

Mandarin suit styles aren't just for people whose roots lie in eastern lands. If you have an individualistic sense of style, or a dislike for conventional suits, then the great thing about this oriental style is that it is still unusual enough to make a bold statement. A big bonus for some men is this: with a mandarin collar, you simply can't add a tie, even if you want to, although you'll have to have appropriate shirts to wear these distinctive business suits with. If you want to make a slightly different fashion statement, this could be one of the suit styles that will help you do that.

E-tailor at www.mycustomtailor.com

Dressing Tips For Short Height Person

In order to achieve a taller appearance, you must establish a unified look from top to bottom that uses vertical lines, smooth transitions and thematic consistency. The goal is for people to perceive you either in passing glance or by general perception as a whole and not broken up in parts. Below are the top ten tips tactics (in no particular order) on how to look taller.

Short Hair:
Be sure to keep your hair short and neatly trimmed. Shorter hair allows us to see your neck and well trimmed short hair can create visual lines from the back of your neck up behind your ears, tapering into the body of your hair. Long hair hides your neck and forces our sightlines to naturally follow the growth of the hair down

Fit:
there are two aspects to "Fit" that are critical to appearing taller. First, your clothes must fit you well. Oversized or to tight, either way poorly fitted clothes accentuate every aspect of your body that you would prefer others to ignore. If you're not a tall man and want to build in good practices to appearing taller, be sure to find a good tailor and get your clothes fitting you as best you can. The second "Fit" element is your physical fitness. Shorter men who wish to appear taller must pay close attention to their fitness level. Being vertically challenged is no fault of your own but being unfit is all you!

Vertical patterns:
Stick with pin stripes or vertical patterns and absolutely avoid horizontal, big or loud patterns - simple as that!

Trousers:
Pleated Trousers are best to achieve a vertical sight line. A single pleat is recommended, much more in the way of fabric can defeat the purpose. Cuffs are not helpful in achieving height as they create unnecessary horizontal lines so go without cuffs.




Shoes:
Mens dress shoes typically have heels and most men do wear heeled dress shoes so be sure not to put yourself at a further disadvantage by wearing flat shoes. Incorporate heeled shoes into your work and causal wear wardrobe.

Monochromatic color scheme from top to bottom:
This tactic is one of the most important in order to achieve that unified look. Monochrome implies one color using different "tints and shades" of that same color. Staying with one hue (color) helps establish that unified and consistent theme. Here is a great example using black in a monochrome color scheme...black dress shoes, black socks, black trousers, black belt and a fitted long sleeved dark grey v-neck merino wool sweater.

Shirts:
dress shirt collars should be classic straight or narrow shirt collars with elongated collar tips. Sweaters should be v-neck not rounded. Skinny or slender neck ties with smaller knots, no bow ties. Again, our goal is vertical lines, bow ties and spread collars are horizontal and should be avoided.

Belt:
We always suggest your belt should match your shoes. We continue to stand behind this recommendation however, if can, get yourself dark brown or black dress shoes and let them become staples in your wardrobe. If you're hoping to achieve tall points having a noticeable horizontal element like a belt is bad news. Use a belt that is darker than your trousers, avoid thick belts, avoid clunky buckles and don't violate the match your shoes rule.

Jackets:
Single breasted is your best option. Never double breasted! Follow the tactics like pinstripes or vertical patterns, monochrome color schemes and above all be sure your jacket is tailored to fit you. A nicely tailored 3 button single breasted jacket will server your needs perfectly.

Posture etc:
You should not have to be told, if you're below average in height you don't have the latitude for poor posture. Don't slouch, stand up-right, project your confidence, walk with purpose, be assertive, speak clearly, definitively and in controlled lower tones...That's how to look taller!

E-tailor at www.mycustomtailor.com

Interview Attire

Interview attire is certain to be a critical element in the employer's first impression of you. Taking the extra time, energy and even costs to get this part right is paramount.Let's just suffice it to say, within the first 7-17 seconds of meeting you, the employer is formulating deep personal impressions of you that are terribly difficult to change. Take advantage of this and get your appearance right then we can talk about the other elements that affect the first impression.

As far as your interview attire, conservative and professional is the name of the game. Your goal is to look polished and be so appropriately dressed that the prospective employer notices your qualifications and not your distracting or poor choice of attire.

Business Suit:
Conservative colors and styles. Dark tones like charcoal grey or navy is recommended. If you don't own or wear suits on a regular basis it's probably best you avoid suits with patterns as matching patterns in suits, shirts & ties is an aquired skill for most men. In terms of style, single breasted two button is most simple and traditional and will fall in line with your conservative, professional look.

Dress Shirt:
Again, conservative and professional is the objective. For job interviews stick with the crisp white or blue dress shirt with a straight or traditional spread collars.

Tie:
The tie should obviously coordinate with your suit and shirt but it's also important not to overindulge here. Avoid big or busy patterns and overly loud or bright colors. In order to achieve our conservative, professional look, your tie has to be consistent with that theme. Be sure it's tied properly and that the length reaches the middle of your belt. Lower is too long and higher is too short.




Shoes:
Good leather oxfords (balmorals or bluchers), dark brown or black. Loafers can be acceptable but be sure to follow our rules for Loafers with Suits. Make sure your belt matches your shoes and make sure your shoes are polished and in good repair.

Socks:
Socks should be the same color as your trousers or darker. Be sure your socks are high enough to not show any leg when seated.

Grooming:
Well groomed! we're not here to tell you how long or short your hair should be or how much if any facial hair you should have. However, make darn sure you're trimmed, hair combed and neat, finger nails trimmed, nose, ear & brow hair trimmed. If your a scent man keep it to a minimum.

Accessories:
Accessories for men interviewing should not extend beyond a watch, glasses & ring. No earings or other peircings, exposed necklaces or braclets. Remember were conservative today!

Fit:
The last piece of advice we offer regarding interview attire is that your clothes fit. This seems to be a simple and obvious thing but many men try to get away with an emergency suit off the rack and/or that suit they have not worn in 4 years. Fit is vital in looking professional and put together. Too big and you look sloppy and immature, too tight and you'll look like it's been a while since you've done anything important enough to wear a suit. Be sure your clothes fit.

E-tailor at www.mycustomtailor.com

Elements Of Formal Clothing - Part 4

Waistcoats

Waistcoats (often called vests in the USA) were almost always worn with suits prior to the 1940s. They were revived in the 1970s and remained popular throughout that decade in some parts of the world, and remain popular, for example, in Germany. Waistcoats can be either single-breasted or double-breasted. A style that was quite popular among fashionable young men in the 1920s was to wear a single-breasted coat with a high-waisted double-breasted waistcoat. High-waisted single-breasted waistcoats were popular in both the 1920s–1930s and in the 1970s, and were often made with either five or six buttons. Today, many suit makers sell suits with waistcoats, although they often cost much more than a simple two-piece suit. A suit with a matching waistcoat is often called a three-piece suit. They are much more popular in continental Europe than in the USA, Britain, or Japan.

Trousers

Suit trousers are always made of the same material as the jacket. Even from the 1910s to 1920s, before the invention of sports jackets specifically to be worn with odd trousers, wearing a suit jacket with odd trousers was as an alternative to a full suit. However, with the modern advent of sports jackets, suit jackets are always worn with matching trousers, and the trousers have always been worn with the appropriate jacket.

Trouser width has varied considerably throughout the decades. In the 1920s, trousers were straight-legged and wide-legged, with a standard width at the cuff of 23 inches. After 1935, trousers began to be tapered in at the bottom half of the leg. Trousers remained wide at the top of the leg throughout the 1940s. By the 1950s and 1960s, a more slim look had become popular. In the 1970s, suit makers offered a variety of styles of trousers, including flared, bell bottomed, wide-legged, and more traditional tapered trousers. In the 1980s these styles disappeared in favor of tapered, slim-legged trousers.

One variation in the design of trousers is the use or not of pleats. The most classic style of trouser is to have two pleats, usually forward, since this gives more comfort sitting and better hang standing.This is still a common style, and for these reasons of utility has been worn throughout the twentieth century. The style originally descended from the exaggeratedly widened Oxford bags worn in the 1930s in Oxford, which, though themselves short-lived, began a trend for fuller fronts.The style is still seen as the smartest, featuring on dress trousers with black and white tie. However, at various periods throughout the last century, flat fronted trousers with no pleats have been worn, and the swing in fashions has been marked enough that the more fashion-oriented ready-to-wear brands have not produced both types continuously.




Turn-ups on the bottom of trousers, or cuffs, were initially popularised in the 1890s by Edward VII, and were popular with suits throughout the 1920s and 1930s. After falling out of style in World War II, they were not generally popular again, despite serving the useful purpose of adding weight to straighten the hang of the trousers. They have always been an informal option, being inappropriate on all formalwear.

Other variations in trouser style include the rise of the trouser. This was very high in the early half of the century, particularly with formalwear, with rises above the natural waist, to allow the waistcoat covering the waistband to come down just below the narrowest point of the chest. Though serving less purpose, this high height was duplicated in the daywear of the period. Since then, fashions have changed, and have rarely been that high again with styles returning more to low-rise trousers, even dropping down have waistbands resting on the hips. Other changing aspects of the cut include the length, which determines the break, the bunching of fabric just above the shoe when the front seam is marginally longer than height to the shoe's top. Some parts of the world, such as Europe, traditionally opt for shorter trousers with little or no break, while Americans often choose to wear a slight break.

A final major distinction is made in whether the trousers take a belt or braces (suspenders). While a belt was originally never worn with a suit, the forced wearing of belts during wartime years (caused by restrictions on use of elastic caused by wartime shortages) contributed to their rise in popularity, with braces now much less popular than belts. When braces were common, the buttons for attaching them were placed on the outside of the waistband, because they would be covered by a waistcoat or cardigan, but now it is more frequent to button on the inside of the trouser. Trousers taking braces are rather different in cut at the waist, employing inches of extra girth and also height at the back. The split in the waistband at the back is in the fishtail shape.

E-tailor at www.mycustomtailor.com

Elements Of Formal Clothing - Part 3

Single- vs. double-breasted jacket

Most single-breasted suits have two or three buttons, and one or four buttons are unusual. It is rare to find a suit with more than four buttons, although zoot suits can have as many as six or more due to their longer length. There is also variation in the placement and style of buttons, since the button placement is critical to the overall impression of height conveyed by the jacket. The centre or top button will typically line up quite closely with the natural waistline.

Double-breasted jackets have only half their outer buttons functional, as the second row is for display only, forcing them to come in pairs. Some rare jackets can have as few as two buttons, and during various periods, for instance the 1960s and 70s, as many as eight were seen. Six buttons are typical, with two to button; the last pair floats above the overlap. The three buttons down each side may in this case be in a straight line (the 'keystone' layout) or more commonly, the top pair is half as far apart again as each pair in the bottom square. A four-button double-breasted jacket usually buttons in a square. The layout of the buttons and the shape of the lapel are co-ordinated in order to direct the eyes of an observer. For example, if the buttons are too low, or the lapel roll too pronounced, the eyes are drawn down from the face, and the waist appears larger.

The custom that a man's coat should button "left side over right", anecdotally originates in the use of the sword, where such cut avoided catching the top of the weapon in the opening of the cloth (since the sword was usually drawn right-handed). Women's suits are buttoned "right side over left". A similar anecdotal story to explain this is that women were dressed by maids, and so the buttons were arranged for the convenience of their, typically, right-handed servants; men on the other hand dressed themselves and so the buttons were positioned to simplify that task.

Jacket lapel

A notched lapel
A peaked lapel
A shawl lapel

The jacket's lapels can be notched (also called "stepped"), peaked ("pointed"), shawl, or "trick" (Mandarin and other unconventional styles). Each lapel style carries different connotations, and is worn with different cuts of suit. Notched lapels are only found on single-breasted jackets and are the most informal style. Double-breasted jackets usually have peaked lapels. Shawl lapels are a style derived from the Victorian informal evening wear, and as such are not normally seen on suit jackets except for dinner suits.

In the 1980s, double-breasted suits with notched lapels were popular with power suits and the New Wave style.

In the late 1920s and 1930s, a design considered very stylish was the single-breasted peaked lapel jacket. This has gone in and out of vogue periodically, being popular once again during the 1970s, and is still a recognised alternative. The ability to properly cut peak lapels on a single-breasted suit is one of the most challenging tailoring tasks, even for very experienced tailors.

The width of the lapel is a varying aspect of suits, and has changed over the years. The 1930s and 1970s featured exceptionally wide lapels, whereas during the late 1950s and most of the 1960s suits with very narrow lapels—often only about an inch wide—were in fashion. The 1980s saw mid-size lapels with a low gorge (the point on the jacket that forms the "notch" or "peak" between the collar and front lapel). Current (mid-2000s) trends are towards a narrower lapel and higher gorge.

Lapels also have a buttonhole, intended to hold a boutonni?re, a decorative flower. These are now only commonly seen at more formal events. Usually double-breasted suits have one hole on each lapel (with a flower just on the left), while single-breasted suits have just one on the left.


Pockets

Most jackets have a variety of inner pockets, and two main outer pockets, which are generally either patch pockets, flap pockets, or jetted pockets. The patch pocket is, with its single extra piece of cloth sewn directly onto the front of the jacket, a sporting option, sometimes seen on summer linen suits, or other informal styles. The flap pocket is standard for side pockets, and has an extra lined flap of matching fabric covering the top of the pocket. A jetted pocket is most formal, with a small strip of fabric taping the top and bottom of the slit for the pocket. This style is most often on seen on formalwear, such as a dinner jacket.

In addition to the standard two outer pockets, some suits have a third, the ticket pocket, usually located just above the right pocket and roughly half as wide. While this was originally exclusively a feature of country suits, used for conveniently storing a train ticket, it is now seen on some town suits. Another country feature also worn sometimes in cities is a pair of hacking pockets, which are similar to normal ones, but slanted; this was originally designed to make the pockets easier to open on horseback while hacking.

Sleeves

Suit jackets in all styles typically have three or four buttons on each cuff, which are often purely decorative (the sleeve is sewn closed and cannot be unbuttoned to open). Five buttons are unusual and are a modern fashion innovation. The number of buttons is primarily a function of the formality of the suit; a very casual summer sports jacket might traditionally (1930s) have had only one button, while tweed suits typically have three and city suits four. In the 1970s, two buttons were seen on some city suits.Today, four buttons are common on most business suits and even casual suits.

Although the sleeve buttons usually cannot be undone, the stitching is such that it appears they could. Functional cuff buttons may be found on high-end or bespoke suits; this feature is called a surgeon's cuff. Some wearers leave these buttons undone to reveal that they can afford a bespoke suit, although it is proper to leave these buttons done up.Modern bespoke styles and high end off-the-rack suits equipped with surgeon's cuffs have the last two buttons stitched off-centre, so that the sleeve hangs more cleanly should the buttons ever be undone.

A cuffed sleeve has an extra length of fabric folded back over the arm, or just some piping or stitching above the buttons to allude to the edge of a cuff. This was popular in the Edwardian era, as a feature of formalwear such as frock coats carried over to informalwear, but is now rare.

Vents

A vent is a slit in the bottom rear (the "tail") of the jacket.Originally, vents were a sporting option, designed to make riding easier, so are traditional on hacking jackets, formal coats such as a morning coat, and, for reasons of pragmatism, overcoats. Today there are three styles of venting: the single-vented style (with one vent at the centre); the ventless style; and the double-vented style (one vent on each side). Vents are convenient, particularly when using a pocket or sitting down, to improve the hang of the jacket, so are now used on most jackets. Ventless jackets are associated with Italian tailoring, while the double-vented style is typically British.(This is not the case with all types of jackets. For instance, dinner jackets traditionally take no vents.)

Belted jackets

Suit jackets with belts on them became popular after World War I, especially on the exaggerated "jazz suits" which were popular in 1920 and 1921. After 1921, a more subdued style prevailed in which the belt was placed solely on the back of the coat, a half-belted back. This continued on many suit coats throughout the 1920s and early 1930s, usually on very fashionably made suits for the young. This style made a brief comeback in the 1970s when some suit coats again featured belts on the back.


E-tailor at www.mycustomtailor.com