New Sheridan Club Talk: On Top Hats

Just to inform you all, I would be doing a ‘Turn’ for the New Sheridan Club on Wednesday 7th March 2012 at one of their monthly club nights. I’ve done a Turn before talking about academical dress but for this one I will be talking about top hats.

The talk will be based on the Guides I have written in regards to sourcing and polishing toppers but would also explain more about the history, usage and how they are made.

If you are interested, please go to The Wheatsheaf (go upstairs) on Rathbone Place (just off the TCR end of Oxford Street) in London at 7pm on the day. The talk would commence at 8pm and hopefully be finished by half past.

As it’s a NSC club night, members go for free, non-members must pay £2 unless it is their first visit. And as usual, gentlemen are reminded that ties must be worn (or you will be made to wear a nasty polyester one in ghastly colours/designs).

If you do have a top hat, please bring it with you and wear it on the night (yes, even inside as this is an exceptional occasion). I will give you an estimation as to its worth and some advice, etc.

Top Hat Advice and Guidence

Here are the essential articles concerning top hats that will be useful to you all but permanently placed on here for easy access.

Guide to Buying a Top Hat

The only guide on the internet to top hat sourcing and purchasing with some information on restoration. Deals with silk, fur and opera hats.

Don’t go and buy a topper until you have read this essential imformation!

Guide to Polishing a Top Hat 

Guide to bringing a silk topper to a high polish. Mostly based on self-experimentation and some existing practices.

Evening dress: hoisery

There has been much explanation written about the exact details of black and white tie and all its various components but when it comes to hoisery (i.e. socks) there is only sometimes a glancing mention and with no other explanation as to why such-and-such is used though there is some information in the Black Tie Guide. Here I would briefly explain what sort of socks are appropriate for evening wear.

Silk hose with court shoes

Firstly, as all will know, evening dress is rooted in Brummell’s stipulation for simple elegancy and simple monochromatic colour scheme of black and white, but sometimes with a subtle hint of colour that is in harmony with everything. Thus, our black tie and white tie is essentially based on these principles. In the day, we wear every colour under the sun, at night we wear simple yet elegant colours letting the superior cut and details of the coats speak for themselves. We will be mostly indoors so our attentions are to be focused above the waistline and this is why white in these ensembles are restricted to the shirt (and waistcoat and tie) and everything else is black. The studs would be often of silver or gold or MOP and these are on the said white shirt (and/or waistcoat). One of the reasoning for this is that the men should not outshine the ladies who would be in fabulous and colourful gowns. It is the yin-and-yang of sartorial courtship.

So, it is therefore required that the socks be black (or mid-night blue if the coat and trousers are of that same colour) in order for them to blend in and be inconspicuous. This is also why one should not wear spats (which are outdoor garments anyway) with evening dress, especially white ones, nor two toned shoes with coloured galoshes with them. It draws attention to the feet when one should be focusing above. Not only that, it creates an unneatliness with the trouser hem moving about creating various shapes of colour.

Very attention drawing...

One could be forgiven for wearing coloured socks with black tie as it is informal (by my standards at least!), but it is highly inappropriate for white tie as it is the most formal dress code for civilians (almost uniform) and high formality requires uniform precision and so it must be black and nothing else. Wearing coloured socks for white is like wearing coloured socks for a full dress military uniform; it is out of place and not in harmony with the scheme. And it is especially silly if one wears coloured socks with court shoes!

So, what kind of black socks one could wear?

Tradition says it should be silk but there is some leeway here. Given the black would make them inconspicuous, the material would not make much of a point of importance since the primary objective is already achieved. Thus, silk, cotton (which could be mercerized), even wool would be appropriate depending on the climate and needs. They could be plain, ribbed or clocked.

Wool and cotton socks (of whatever length to suit tastes) are fairly easily to come by so I will not go further into this. The only thing I would advise (and this is relevant to all socks) is to have a ‘hand-linked toe’ which basically means the toe cap seam is hand seamed so it is flat and without the excess nobbily protrusion across the top of the toes inside the sock itself which often causes discomfort.

Silk, however, is much more difficult to obtain. There are various sources which I will now highlight.

Half hose

Half hose refers to the length being below the knee. These would be calf length or knee length. Calf length ones require the wearing of sock garters to avoid them slipping down.

Patra stocks calf length ones of two different lengths (the long version isn’t long enough to not use a sock garter with). They are of a good weight and is long lasting. At £10.50, they are very reasonable. They are pure silk but with some nylon on the band.

Another place you may get a sheerer pair of these is at Austin Reed (and some other high-end London shops). They are priced at £14.

For knee length socks, there is Gieves & Hawkes. Theirs are much more sheerer than the Patra ones; very light and feel very comfortable, but they don’t last very long if you wear them excessively (one of my friends wore a hole in them after one night!)

At £25 a pop, they would probably be best reserved for a very special event. They exist in the navy/mid-night blue version. They are 100% pure silk with no nylon on the band.

For those in the US, there is Brooks Brothers.

Full hose

Full hose refers to above knee hose and includes stockings and ‘tights’. These are not necessary for you normal black or white tie but are if you wear breeches for white tie.

As far as stockings are concerned, these are extremely hard to come by as no one save those who wear court dress would need to wear them. They need a garter belt to hold them up.

Silk hose, garter belt and court shoes for court dress

The only place I have found that sells silk stockings for men is James Townsend & Son in America but they exist in grey and off-white versions meaning you’ll have to dye them black.

As for tights, these can be had via a few places. Ede & Ravenscroft stock some but they are cotton-nylon ones which will not do.

The only other place I have found is UK Tights which make a pair for men but not in 100% silk. These are opaque enough for use with breeches.

Morning dress: footwear

I will now describe the various shoes and boots that are suitable to be worn for morning dress (or indeed, formal day wear if one wants to). The main rule is that it must be black (the vamp I mean; though the uppers may be of a different colour; this will be explained later). Brown shoes or boots will not do, nor any other colour under the sun. They must also be well polished to an almost patent-like shine. Dull and scruffy footwear shows that one has not put effort into it. The leather should be box calf. Patent is really for evening wear though they were standard in the past.

Oxfords

Typically, these are the most common sort of footwear for morning dress and are readily available on the high-street as ready-to-wear in a range of different qualities and prices.

Oxfords with toe-cap

Essentially, they have closed-lacing rather than open (as is the case for the Derby and these are not suitable as they are more associated with the Country). There is the option to have one with or without the toe-cap. Sometimes for those with a toe-cap, a fine line of broguing may be added onto the seam. This is acceptable.

Oxfords with a line of tooling at the toe-cap seam

Extremely versatile, they can be worn for normal everyday business and also evening wear for those on a tight budget.

These also exist in a form where the uppers are in a contrasting material/colour (see button boots below for more info) but they are not available in a ready-to-wear form. Also called ‘two-tone’ shoes.

Oxfords with galoshes

Chelseas

Moving up the scale, another less obvious choice is the Chelsea boot.

Chelsea boots

Typically, it is whole cut with side elastic to make putting them on easier. These are still versatile enough to be worn for everyday wear and can still be bought on the high street.

Balmoral boots

Now we are entering the more exciting range of boots. The Balmoral boot (or ‘Oxford boot’) is essentially like an Oxford but in boot form. Typically, it has a line of broguing on the toe-cap seam and sometimes around the vamp seam.

Balmorals in black cordovan

They can be made entirely of the same leather but may have the uppers/galoshes in another contrasting material and/or colour. This is often grey suede. The effect is like having spats on but in a more elegant manner.

Balmorals with a contrasting upper

These are much dressier, especially if you have contrasting uppers. Ordinary ones can be found on high-end shoe shops but the ones with contrasting uppers can only be had as a special order.

Button boots

The ultimate form of footwear for morning dress is the button boot. These are known by various names, including ‘galosh-top(ped) button boots’, etc.

Button boots

The pattern is more or less the same as that of the Balmorals but the uppers are not laced and instead button at the side. The uppers are almost always made of contrasting material which include suede, box calf, boxcloth (thick wool felt) and canvas. Colours could be black, grey, yellow/buff, white, etc.

Button boots with yellow galoshes

The buttons could be horn, domed-metal, mother-of-pearl, etc. The way these are put on is with a button hook. Some are made with non-working buttons and with a zip at the back; these are to be avoided (if you’re going to spend all that money buying a pair, you might as well get a proper working pair or don’t bother at all).

Instructions on how to button-up button boots.

These boots cannot be bought ready-to-wear and must be made-to-order or via bespoke means making them very rare and elusive.

Notes on evening shoes

The above shoes could be used for evening wear provided they are of patent leather (yes, even the button boots!) Of course, with the Balmorals and button boots, the uppers should be of a dark colour (such as grey, black of midnight blue) and for the button boots, the buttons should be dark domed-metal or covered in black silk.

Another good idea is to get satin/silk ribbon laces for Oxfords and the like which will mark it out as different from a day shoe.

Oxford with ribbon laces

Sources

Your average Oxford and Chelsea boots can be easily obtained through high-street or high-end retailers. The customised Balmorals and bespoke button boots may be obtained from the bespoke shoe/bootmakers which include:

Clifford Roberts, Northampton (specialises in Balmoral boots; made-to-order)

John Lobb, St James’s Street, London (bespoke)

Henry Maxwell, Jermyn Street, London (bespoke)

G. J. Cleverley, Royal Arcade, London (bespoke)

Gaziano & Girling, Kettering and Norwich (bespoke)

Rakuten, Japan (does a line of button boots)

Tailoring: morning dress trousers 2

I have more or less completed them. I might have to do some tweaks here and there but here they are (with some of the progress images). Photos of me wearing them will be forthcoming.

At the moment, I am working on a navy linen double-breasted waistcoat.

Topsides prepped. Fly prepared for buttonholes.

Waistband seamed

Fly buttonholes hand worked

Side seam sewn. Pocket's felled on. 'Curtain' installed. Fly sewn on.

Leg seam sewn up

Seat seam sewn. Waistband lining installed. Fly buttons sewn on.

Detail of the top closure

The finished pair, pressed

The whole process took around 6 weeks or so, mainly because it was all hand sewn (a sewing machine never touched it). It is not 100% perfect given it is my first ever pair that I made but now I am able to make them from scratch.

《琴者必備》 Essentials of a qin player

When one is a qin player, other than having a qin in possession, there are certain other extras one must (or ideally should) have in the qin bag pocket. These items are mostly common-sense yet many only have one or two and are thus ill prepared for all eventualities that may arise. It is better to be prepared than not to be.

Most of these are good to have with you while some are optional (unless under certain conditions).

Strings (絃): obviously, for when one string fails/breaks. A full set of strings (that are the same type that are strung on the qin) makes perfect sense. Preferably, they should all be prepped beforehand by tying the fly knots, thus saves you time from fiddling about with the strings trying to figure/remember how you tie them.

Pads (墊): necessary when playing on a table (which is 9 times out of 10). These are either the sandbag or the non-slip pad type. Rubber pads would not do as they have a smooth, often powdery, surface which would not keep the qin in place.

Cloth (布): a cotton handkerchief would do. This would be used to wipe the dust off the qin (you wouldn’t believe the amount of dust gathers on the surface of the qin that is then transfered onto your fingers…) and to use in stringing traditionally (unless you want you fingers to be cut off like wire to cheese). Some might say the qin bag is sufficent enough for this but having a massive wad of fabric/stiff padded nylon in your hand is not going to make stringing easier… Can be used as an aid to turning the tuning pegs that have a ridiculously smooth surface designed to make turning them near nigh impossible (you might have to wet the cloth to create more adherence).

Silk thread (絲綫): this is for if the rongko breaks and you need to make another one. The rongko shouldn’t break if it is made of silk but you don’t know about other people’s qins’ rongko (which could be made of cotton and that does break very easily). Having a spool (10m of thick pure silk thread is enough for a short thin one) at the ready means you don’t have to fiddle about with having to harvest the remaining broken, knotted and tangled threads of the ex-rongko, trying to make a new one from inferior materials in a mad frustrating rush. Also useful for replacing defective rongko made of cotton, polyester, wool, rayon and pre-twisted cord. Indeed, even better if you make one or two rongko beforehand which would save time.

Tuning peg (軫): having a spare just in case one breaks (very unlikely if made of wood, but jade pegs will smash if they hit a hard floor). Also can be used to replace defective/badly-made pegs of others.

Metal wire (鐡綫): a medium gauge metal wire, around 10″ long, that is bendable (without it snapping) is used for stringing the rongko through the holes; an almost impossible task without.

Matchstick (柴): or toothpick: good for propping up the strings on the bridge as one solution to buzzing, etc.

Piece of silk (絲): or other thin fabric. Can be used to place under the strings at the wrapping end under the qin as one solution to wolf-tones.

Rosin (松香): the kind used by cellist and violinists (any quality would do). This can be applied to the wrapping end of (non-silk) strings to cut the chances of them slipping, especially when the goose feet legs are rounded rather than square.

Of course, if you have that tuning device contraption then you should add the zither wrench to the list (and also (this is very important) learn how to use it; and yes, someone did actually need my help for this would you believe which is beggar’s belief when the whole point of having said device is to not have to ask little old me to help with stringing every time a string breaks…)

An example of a badly cut waistcoat

I am currently compiling material for my forthcoming post on the ‘Rules of Waistcoats’ which would attempt to explain a few things such as why the bottom button of a SB waistcoat should remain unbuttoned, etc. I have recently come across this example of a DB waistcoat in buff linen. Although I have no problems with the fabric, I have serious issue with the cut. Take a close look at it:

http://www.esquire.co.uk/2010/01/an-alternative-way-of-looking-buff/

From this you can see that it is cut in a very untraditional manner. Nothing wrong you might say but look again at the fit and the styling and how it all goes together.

Firstly, you can see that the waistcoat is far too long. Instead of the hem ending a few inches below the waist, it ends so far down onto the hips! What’s wrong with that you may ask. What is wrong is that it would have a constricting effect on the hips. As the hips are larger than the waist, the effect it has on the waistcoat is to push the waistcoat upwards. This tendency is natural as the line between the waist and hips are slanted and as you know, if you squeeze a block of wood that has sides that taper with a wide bottom and and narrow top, your fingers would naturally slide upwards rather than downwards or stay in position. That’s the exact same effect that would happen here and more so as the waistcoat is body hugging rather than a drapping garment.

Secondly, because of the extremely low hemline, the balance of the whole ensemble is thrown off. Strangely, the person who made it has decided on four buttons rather than the usual six or eight (the latter would have have been more appropriate for this waistcoat given its length) which means the bottom buttons are bizzarely placed on the middle line of the waistcoat rather than (correctly) an inch or so above the hem. This has to be done, of course, because if he places them in the correct place, the opening would gape and also (as above) the hip would be constricted and created discomfort as well as cause the waistcoat to be pushed up even more to remove the pressure and force placed on it at the bottom. Hence we end up in this strange scenario where there is a good 4 inches of opening running down to the hem. This is fine when the wearer is standing but when he sits down, the opening would slay open as the hips expand and the force travels sideways (and the entire waistcoat would be pushed upwards; with a big gape at the opening between the top and bottom buttons as they are placed too far apart). The result is an inelegant look and rather messy.

Lastly, there are no pockets which renders the whole waistcoat’s value and practicality (to store small items such as loose change, Oyster cards and timepieces, etc) null and void.

There seems to have been no thinking by the ‘tailor’ about how waistcoats are meant to fit a person’s body or why things are done in certain ways in the first place. It seems more of a display piece of how not to cut a waistcoat rather than an item of merit that is meant to be worn at all. This is all down to modern fashion and designers who creates things that ‘look cool’ in their eyes but in actual practice does not work as a functioning piece of clothing.

First and foremost in the importance of tailoring is fit and this seems to have been entirely ignored. One wonders whether the ‘tailor’ ever made a DB waistcoat at all or even knows how to draft a proper pattern…

Note that there are other issues that I haven’t dealt with here but more of the details would be covered in the said post about waistcoats mentioned at the beginning which would include, amongst other things, a WTF?! on this little number:

Tailoring: morning dress trousers 1

I’m currently working on a pair of cashmere stripes for myself (to be worn at my cousin’s wedding in March 2012). The cloth was sent to me by Mikael Sjölund of Sweden as a present so it was the perfect opportunity to make my first pair.

After many hours of research I have gained enough knowledge to draft the pattern and make them. So far, I have cutted the cloth and the actual making up will commence when I have got one or two materials that I need for the trimmings.

Here are a few photos of the pieces.

Draft of trousers. Had to redraft the undersides as I missed 1" off the waist!

Muslin to test the pattern

Cloth (doubled over) chalked and cut with marking stitches.

They would be made using bespoke techniques so it would be mostly hand sewn.

Short guide to linings and trimmings

Here is a short guide to various linings and trimmings for garments.

Linings

Silk taffeta: a very luxurious lining for coats, etc. Has a rough feel to it.

Silk satin: used mostly for lining court dress/livery.

Rayon taffeta (ermazine): plain weave rayon with a feel of silk.

Rayon satin: smooth and shiny.

Rayon twill: has diagonal weave.

Cotton-back twill: rayon twill with a cotton backing. Heavier than normal linings and good for vintage style coats and body coats.

Cotton silesia: a fine and smooth medium weight cotton. Often used for backings as well as linings.

Striped linings: used mostly for sleeves but can also be used for trouser waistbands. Cotton, linen or rayon.

Trimmings

Wool/horsehair canvas: various types for different garments. Mainly used for reinforcing the body.

Linen canvas/holland: used to reinforcing pockets, flies, etc. Can be used as a ‘button-catch’ to give strength to where buttons are sewn.

Cotton tape: used to edge and mark folds in the garment.

Cotton pocketting: medium to heavy weight.

Buttonhole cutter

This just came through the post today.

It is a buttonhole cutter; the ones that are used by proper tailors.

There are several types that I’ve seen on the internet. They are mostly the ‘chisel and woodblock’ ones that only cut a straight hole for bar buttonholes. Another type has a handled hole puncher included for the keyhole. The pilers type are few and rare and cut straight holes but this one can cut the keyhole and slit at the same time.

There is a stiff rubber pad with inch markings on it that you can adjust for the right length of buttonhole. Very useful and it works well. Made in Italy and is vintage. I am lucky to have won it off eBay for around £18.

Forgotten Vintage

Some of you might like to know that I have am currently working on a voluntary basis at a new vintage charity shop in Birmingham (UK) called ‘Forgotten Vintage.’ It’s in the Great Western Aracde in the city centre and I currently do Monday to Thursday from 1pm to 5pm. It is open seven days a week from 10am to around 6pm (slightly later openings and earlier closings at the weekend).

http://www.forgottenvintage.com/

The charities supported are two homeless ones called SIFA Fireside and Reach the People Charity; both based in Birmingham. We accept donations in form of unwanted second-hand or vintage/retro clothes, shoes, accessories, etc. You may also propose to volunteer. In any case, you may contact Mr Carl Foley for enquiries and further details via the website above.

Since I now have a physical presence in a shop I am now able to take orders and commissions directly at the shop for C. H. Wolfenbloode, my robemaking and tailoring persona. It has to be by appointment of course so I am prepared. This is ideal if you require me to make a waistcoat or something that requires several fittings. It is also good to come to speak to me properly about what I can and cannot do and go through options, etc with you.