Fabric comes in different weights. In the menswear industry, this is measured in ounces or grams per square meter. American tailors tend to use ounces; Europeans and Asian tailors tend to use grams. Here we see swatches from Draper's Ascot book ranging from 8oz to 12oz.
In men's tailoring, 12-14oz is considered midweight. Anything less than 12 oz is lightweight; anything above 14oz is heavyweight. Once you get above 18oz, this is considered "coating" weight, which is to say it's typically used for overcoats.
If you live in a very hot, humid climate, then you might want to wear lighter weight fabrics, especially in open weaves, as they will wear cooler. Here's a suit made from a Harrisons of Edinburgh cloth (from their Indigo book). If I remember correctly, this is an 8oz fabric.
Conversely, here's a pair of grey flannel trousers made from what I believe is a 16oz cloth and a wrap coat made from a whooping 27oz cloth. You would melt if you wore this outfit in the summer, so it's strictly for cold days.
Lots of things go into how a fabric hangs or keeps its shape: the fiber composition, the weave, the finishing, etc. However, one important dimension is the weight. Here are two pure linen suits. Right is 11oz; left is 17oz. Look at the difference in the wrinkles around the lap.
Men in the past wore much heavier fabrics. It wasn't unusual for a summer suit to start around 13oz; winter suits to start around 16oz. This is partly why everything hung so well and looked so great. Look at the sharpness of these trousers.
Over time, fabric has gotten lighter weight for a variety of reasons. First, the spread of central heating meant that people no longer had to wear heavy clothes indoors. Second, a combination of technology and animal breeding made lightweight cloth more accessible.
The fashion industry also sold men on the idea that lighter, shinier, and silkier fabrics were more luxurious. "Oh la la, monsieur! Just feel that fabric. So silky and smooth and lightweight. You will always be so comfortable!"
There are two problems with lightweight fabrics. First, any mismatch between the tailoring and your body will show up in the form of ugly wrinkles and creases. Heavy fabrics hang better, so they're more forgiving. Check out how these heavy tweed trousers hang.
Second, as mentioned earlier, lightweight fabrics will hold their winkles more readily than their heavier counterparts (all things equal). Trump buys many of his suits from Brioni, and luxury Italian brands like these often sell customers on the idea of "luxurious" wools.
If you get a lightweight fabric, you have to compensate in other ways. For instance, Ascot's 2-ply Ascot fabrics clock in at 8oz. But the yarn has been given an extra twist during the spinning process, which makes them naturally wrinkle resistant.
Everyone has to figure out which types of fabrics are right for them. Your internal furnace, sensitivity to heat, lifestyle, and climate all play a part. One person might sweat in 14oz fabrics; another person is totally fine in something as heavy as 18oz, even in the same area.
But as a general rule of thumb, you should try to wear the heaviest fabrics you can bear. Trump favors lightweight, luxurious wools almost year round, and that's why his pants often look wrinkly.
Sorry, this is switched. The suit on the left is made from an 11oz pure linen. The suit on the right is made from 17oz pure linen. You can see how the suit on the right is less wrinkly. This is due to the difference in fabric weight.
Any time I talk about a wealthy person's outfit, someone in the comments is quick to reply: "They're rich, you think they care?" No one has to care about my opinions or clothes, regardless of net worth.
But let's talk about the connection between wealth and aesthetics 🧵
About a year ago, Tucker Carlson told Chris Cuomo that "postmodern architecture" is intentionally designed to deaden the spirit. The clip was widely circulated online by people such as Benny Johnson, who seemingly agreed.
Postmodern architecture was actually a very brief movement that emerged in the 1960s as a counter-reaction to modernism's austerity and uniformity. Examples of postmodernism include Michael Graves's Portland Building and Guild House. Also Phillip Johnson's PPG Place.
Trump released a $250 fragrance (one for women, one for men).
Sometimes a fragrance can be expensive because it contains certain ingredients or involve artisanal, small-batch production. But with no note breakdown or even a description of the scent, what justifies this price?
I'm reminded of this 2016 blog post by Luca Turin, one of the best writers on fragrances. Even for niche perfumery he warns: "Niche perfumery stands a good chance of disappearing up its own rear end if it merely becomes yet another golden opportunity to rip off the customer."
If you're into fragrances, as I am, I encourage you to not support celebrity bullshit like this. Go to real perfumers. Some of my favorites include:
— AbdesSalaam Attar: He's a self-taught Sicilian Sufi perfumer who only uses natural ingredients. Many of his perfumes feel like you're walking through a Middle Eastern bazaar or spice market. Milano Caffe, Cuoio dei Dolci, and Tabac are worth a sniff. He can also do bespoke perfumes using your favorite notes.
— DS & Durga: David Moltz describes himself as doing "scent travel." He has an uncanny ability to transport you to far off places. I like Cowboy Grass, Debaser, Amber Kiso, and Burning Barbershop. If you can get a sample of his Pale Grey Mountain, Small Black Lake Sample (made part of his Hylands collection), it's really good with tailored tweeds.
— Anything by Jean Claude Ellena: One of the most famous perfumers in the world. His scents have been likened to watercolor paintings and chamber music because they're light, airy, and have a transparent quality. This makes them particularly good for spring/ summer. Check his scents from Hermes, such as Terre d'Hermes and Un Jardin sur le Nil, which are easy to find on discount. L'Eau d'Hiver for Frederic Malle is also great, but a bit more expensive.
— Tauer Perfumes: Andy Tauer is a chemist and self-taught perfumer who specializes in dry, spicy, woody scents. L'Air du Desert Marocain makes you feel like you're in the middle of the desert at night. Lonestar Memories is like being next to a crackling campfire while picking up on the scent of tobacco and leather. IMO, a must try if you're exploring niche perfumery.
Always try to get samples before buying a bottle. Check shops such as Luckyscent, Surrender to Chance, and The Perfumed Court. Also pick up a copy of Perfumes by Luca Turin and Tania Sanchez.
People think I'm biased against Jeff Bezos, but here's F. Caraceni Sartoria, widely considered one of the best bespoke tailoring houses in the world, commenting on Bezos's wedding suit.
"The most terrible, frightening, horrible tuxedo ever seen in my life. I'm really suffering"
Nothing to do with politics, only quality tailoring. F. Caraceni made suits for Silvio Berlusconi, who was hardly beloved by progressives. Many people don't know much about tailoring, which is fine, but this doesn't mean that rich or expensive = good.
Caraceni's work:
Here is a dinner suit F. Caraceni made for Yves Saint Laurent.
Let me make the case for why the NHL should abolish its dress code, which currently requires players to wear a suit and tie while heading to and from games. 🧵
The arguments I've seen for the dress code fall into one of two categories: players look better in a coat-and-tie (some use descriptions such as "classy"). Others say that requiring players to dress in this way shows respect for the game. I will address each argument in turn.
It's true that tailoring once played a larger role in sports. Basketball coaches, for instance, used to wear tailored jackets pretty regularly, even at games. Some even looked quite good in these outfits.
It's true that progressives valorize "ugliness." But I think this person doesn't interrogate this position enough and thus lands at the wrong conclusion.
Let me give you a new perspective on ugliness. 🧵
In popular discourse, the world was once good, people were virtuous, and all things were beautiful. Then modernity came along and destroyed everything. In this view, beauty is an objective standard that has been corrupted by liberalism.
I contend that beauty in personal appearance is subjective, not objective. In fact, its standards rest on the shifting tectonic plates of politics, economics, and technology. Let me give you examples.
Today, we think of these photos as the standard for male beauty and dress: