Presenting: Tidbits on Clark Gable's Tailored Wears

You can see how balance and drape of the masculine look of the 1930s was perfected in the suits Clark Gable wore. In 2012, we live in a time where pants and vests fight for where a man’s waist should be, but in the eyes of Eddie Schmidt in the 1930s (Clark Gable's Tailor), there was no wondering, he knew exactly where and how to outfit a man. You can just see in his creations that anatomy takes precedence, from the break of the shoulder to the nape of the neck, to the point at which his trouser waistbands match up with his lowest vest buttons, you can see the comfort that comes from that proper fit in every movement. For example on Clark Gable, In movies such as It Happened one Night and Dancing Lady, suits that Gable has to wear are not only more extravagant and accentuated in design than their counterparts from a decade earlier (1920s suits that were more about fit than they were altering a man's proportions), but you can see with the right tailoring how Gable is at ease, acting casual even when dressed to the nines in clothes that aren't just about fit, but about drape as well. His suits were in harmony with his persona, and I blame his tailor. We can go into the tales of how Clark Gable Demanded that Eddie make all his wears for all his pictures, even Gone with the wind (there was quite a battle over getting Eddie to work on that one), but I’d rather take a look at why I think Eddie Schmidt was a true master at what he did. 

By the way, not buttoning the bottom button on a vest is a decision, not a rule. If the vest cuts away so the button wont reach, then the tailor made the decision for you.

Now to the vests

One striking difference between what you see on Gable and what you see on most modern suits is how short the vest is and how high the trousers are. Of course in the 1920s you'd see low waisted trousers quite often and you'd have longer vests to compensate, but by the 1930s fashion sent mens waistbands higher (it's rumored that The Motion Picture Production Code had come into play and trouser waistbands were getting higher in order to hide the possibility of seeing a navel but I have yet to find reference to navels in the code or its addendums).  The vest is very trim and actually gives Clarks chest a bit of lift, a peacock effect. Something that is best achieved with a good cloth of about 16 oz in weight or more. Anything less tends to look too wrinkled and will pull too much at the buttons if tailored so fitted. It also helps that Clark is in prime shape.

Look at the cut, like a scimitar slash from a skilled hand. When buttoned, the cut of the vest looks beautifully trim, gently curving over his hips and hiding his trouser waistband, it's as though it's molded to his body. Armhole high enough so that the vest holds its place while not cutting into the armpit. 

Now to the jackets

The waist is pinched… quite pinched. This trim look was kind of the trademark of the 30s man. The 20s were about fitted trousers and sack coats that carried over from the post frock coat era, and the 30s were about sharp-shouldered bold chested masculinity and draping trousers. The shoulders became broader, the waists became snugger, and the jacket skirts flared away to point out the fulcrum of the body where the trouser waist and the jacket and vest all met at one point. 

One button to center it all!

Now to the trousers

While jackets were about controlling the fit and accentuating the waist, Eddie went with an all out drape that fell straight while standing tall, but swathed and rippled while a man was in movement. Quite dramatic. And again... high waisted and meeting with the center point of the jacket. Balanced! The trousers narrowed a little toward the bottom as to not swallow the show, but did not peg to a point where one would look like he was standing on an apple.

Anywho, just wanted to get some of my thoughts out there regarding why I love the looks of Eddie Schmidt's tailored good on Gable. Also just needed to see if my keyboard still worked, since I've been behind on a few articles and need to give my writing (as bad as it may seem) a bit of a workout.

Take care, and see you next entry!

Romance wears a spear point collar

I'm proud to introduce to you, the Paramount collar dress shirt! 

It took months of work to get these shirts to come out exactly as I wanted them...  shirts that look as though they came off a rack in the 1930s, back when romance came in a spear point collar. 

A shirt with the look and feel of a dead-stock vintage shirt that doesn't just end at the collar, the detail is seen in every aspect of of its design, from yoke to tails... no detail was missed.

Unfused but double stitched. I love collars that have a mind of their own and don't look like cardboard on your neck, the Old Hollywood look. I don't wear collar stays, but you might, so I put in a vintage style collar stay pocket that runs along the edge of the collar rather than down the center.

Classic long butterfly tails, just like in the 1930s

And for those that have had trouble finding a proper collarless shirt that takes stiff collars, this model comes with spaces for studs front and back and comes with a detachable spearpoint collar.

They are on sale for the holiday season, so check out www.mattdeckard.com for cloth choices.

Rescheduling of tweed

I'm going to move the Third Annual Los Angeles Tweed Pub Crawl to Saturday. Do to several scheduling conflicts and out of respect to a memorial that will take place friday for a well known and well respected member of our vintage scene. Please make note of the change and I hope to see you all at the Biltmore Saturday -- Matt Deckard

They Might Have Got Rid of the Details But It's Still in the Details

To be obvious, it’s the wristwatch… at least that’s what advertisers tend to show, but what happened to all the cool men’s jewelry? All those little details that showed who you were, be it a fastidious fop or an on the ball details man. The wristwatch is one detail, yes, yet it’s not the first thing people see. In fact, it’s hard to see unless you are going out of your way to show it off. So here are a few other options when it comes to the man who doesn’t have the time to pull back his shirt sleeve every time he reaches out to shake hands. THE COLLAR BAR      The collar bar was a common staple in a man’s dresser drawer - a piece of metal with a clip at either end. You would put your tie on, place the bar under the tie, clipping the ends to the collar points to give the tie a much needed lift. It could be gaudy and gold or subtle and silver, and it was a detail that accentuated personality along with wardrobe. They would look like swords, guns, anything, even a plain shiny bar, and when it was the right collar bar it didn’t look like you were wearing too much, it just looked like you were you. THE TIE BAR      The tie bar was that thing that kept your tie from flapping in the wind or falling out of your jacket. It clipped your tie to your shirt. When you are on your way to Budapest fighting off that spy on the roof of a train, the last thing you need is your tie getting in the way. Once standard issue and seen on men throughout the office, now they are an obscure object that some notice a little too much if paired with modern ties… perhaps it’s because today’s ties just don’t take well to tie bars. They were for a time when ties were narrower and the materials were not as thick. Back then, ties could get caught up in the wind, but today’s ties are so thick that they are akin to wearing a piece of cardboard down the front of your chest. THE WATCH CHAIN      The watch chain could be hung from the lapel button hole, falling into your chest pocket, connected to a belt loop with the chain leading to the pants pocket, or draped across your vest pockets in a myriad of manners. It was your connection to time and one of the staples in a man’s wardrobe that disappeared with the invention of the men’s wristwatch. Ads were all over magazines and jewelers carried any type of chain you could imagine, from ones that looked like steel cables to ones that looked like braided gold. Some men even went without the chain and opted for a simple shoestring. Nothing like having your wrist free and knowing your watch is securely fastened to some part of your suit. Train conductors had steel chains and bankers had gold. It was a status symbol more noticeable than any wristwatch could ever be. THE SIGNET RING      The signet ring keeps you in the know when you are trying to determine if you are talking to an ally or an enemy. Crests of companies, regiments, clubs, societies, families, and fraternities, they have long been used to weed out those that did not belong and leave imprints in wax to seal messages. A subtle defining item that says loud and proud ‘I am a Freemason,’ and it doesn’t wear out like the silk-screened logo on a t-shirt. Whether you are a Knight Templar or an Eagle Scout, that emblem on your ring can someday get you that airline seat upgrade for which you’ve always been hoping.      All of the above are little details that can easily be forsaken, though should never be dismissed. Mixing and matching fabrics is nice when putting on a jacket and tie, but truly going the extra inch and adding the details is what makes the well dressed stand out from the dressed. There are men hunting for just the right wristwatch and there is no shame in having the right wristwatch, but it’s one thing that has to be pulled out to be displayed and once put back under the cuff, it’s something you have to brag about in order to give it attention. The items above are out in the open and say nothing about you other than that you truly do have style and don’t need to continuously adjust your tie in order to show it off.  For good measure... a pic of me wearing a trusty vintage collar bar

The Third Annual Los Angeles Tweed Pub Crawl

Please, leave your bikes at home for this tweed event... you wont be needing them.

Friday November 9, 2012
Starting at 8:00pm

Wear your tweed. Whether it be a suit, a sport jacket, a cap, a scarf a skirt or a tie, put it on and let’s go out!

We’ll meet at the bar at the Millennium Biltmore Hotel in Los Angeles and stroll to downtown’s finest purveyors of cocktails and ales. From 8pm ‘til we’re through.

Hope to see you there.

You should know better and so should your tailor!

Douglas Fairbanks cozy in his well tailored suit.

Frustration drove me to custom. I wanted the suit Connery wore in Goldfinger; one in which you can throw punches unencumbered. I wanted the suit Cary Grant wore in Holiday which allowed him do a back flip with ease. I wanted that jacket Eddie Schmitt made for Gable in It Happened One Night, a jacket that let him throw his hands behind his head as a pillow without having the collar climb up his neck...try that in a basic off the rack mall suit. One need only click to TCM to see what’s been lost when it comes to fit and style. Not just the fits on the stars, but what once fit the public. 

Clark Gable in that wondrous Eddie Schmitt confection with nipped waist wide shoulder and high waisted draping trousers.

Cary Grant flipping back.

Granted it may be just my perspective, but when I’m subjected to Oswald Boateng in his peach suits or Thom Browne in his Eddie Munster recreations of the Rat Pack I see how fashion has stolen quality and style from men’s apparel—pushing thinner fabrics, and putting outfits on models two sizes too small and selling them to a public with a sales force pushing the idea that men’s clothes are meant to be worn 2 sizes too big in order to be comfortable. The biggest sin (and you can read about it in my earlier Savile Row article) is the gross negligence when it comes to tailors making a good armhole. And not just the tailors, off-the-rack makers have brought down standards as well. I wear a lot of vintage and when it comes to the past…somehow they understood the human body does not have droopy armpits. 

Back when I was roughly the size of Stubby Kaye I wondered where I could get a suit, or a jacket, or anything that looked as comfortable as he had. It wasn’t just guys of his girth who had the luxury of armholes with the seam close to their armpit where it belonged; it was skinny guys like The Duke of Windsor (yes I invoke his name though it gets used too often). Laurel and Hardy, Abbott and Costello…it became apparent the degeneration of armhole size had nothing to do with size; big and small alike wore jackets that gave them the freedom to stick a newspaper under their armpits and feel it right under their armpits and not four or five inches away. 

Connery showing off his battle skills in Gold Finger

And what’s the benefit? Well just watch Connery in Goldfinger and see that fight seen on the train or how he looks when sitting on the ground eating a meal in his suit. Then watch the Brosnan films and you’ll witness the difference. I could go on longer though I already wrote it elsewhere. Now I’ll get to the point.

When I go custom I get what I want. I have a closet full of wrong things and after getting several made-to-measure mistakes and a couple of bespoke suits, which turned out to be more what the tailor wanted than my vision, I at last decided to head out and find someone who gave a damn about my opinion and understood clothing history...someone who made clothes and liked clothes. A tailor who didn’t shout the praises of the super 200s fabrics, and knew that stripes can be matched on shoulders and lapels as long as you have an accommodating stripe. A tailor who knew jacket, trousers and vest were intended to harmonize with one another (I see too many modern three-piece suits that look like a mish mash—long vests, oversized jackets and to top off the look, waistbands showing below that long vest).

I tired of the low-waisted trouser dictatorship that made a man with a belly like myself feel so uncomfortable…pull up your pants and end up with no space, so you have to let the waistband hover at a point that logically defies the sensibilities of fit and comfort. Below the waist and above the hips. If the trousers are at the waist you have a shelf of wool in front of you when you sit. It looks a hell of a lot better than the cotton slide that disappears into the crevice where a waistband somewhere lies. So number one, I wanted a tailor unafraid to take the pants “too high”—Gary Cooper Clark Gable Cary Grant Edward G. Fucking Robinson high. High to the point that the center button of the suit rested right in front of the trouser waistband (it’s called comfort).

I wanted a tailor who would give me not just the belt in the back à la the one on Harrison Ford’s Raiders tweed suit, but that could make the half-belt look as though it was not just a floating affectation as one sees on modern Brooks Brothers pieces (can they really not check their archives to see how it’s supposed to be done?); to construct something like a lynch pin at the crux of the waist giving it meaning, an accentuation to the ensemble and not a piece of sewn on cloth with no purpose. I wasn’t looking for a custom-fitted two button politician’s suit like those Penny’s and Oxxford mastered over the past thrity years, I was looking for that suit that made you take center stage when you entered the room. Something that owned the room without demanding the room as the esteemed Jack Newcastle would say.

After egregious trial and error, I finally settled on one man in Long Beach. He didn’t question what I liked. He didn’t scoff when I mentioned requiring dense heavy wool, unheard of these days, the kind that’d take the punishment of riding horseback through Yellowstone and then sitting in on a UN Security Council meeting. He did object that it would be hot, and I replied that were I to get hot I’d take off the jacket, same as I do with my vintage suits. Queried if I liked top stitching and I said it looked ugly (it is, you’ll admit, just too all over the place). Brought in several findings from the past and also showed him where the other tailors got it wrong. Where they had cut the gorge of the vests too high, and those tailors who’d made the pleated trousers look diaperish because of their pleated low waists and narrow cut. Not to mention the jackets with their damnable low-slung armholes. I showed him vintage goods, even the everyday vintage Sears Roebuck job with the high-slung armholes that made all the difference in the world. I showed him the belted backs and the pinched waists and the fit of the chests and the length of the skirts, I showed him the skeleton linings and the dynamically curved lapels…you can get anything with a custom suit and he recognized that I knew what I wanted, and I knew I had finally found the tailor that wasn’t bluster. I found the tailor with open ears.

Thus I began laying groundwork. First off the trousers. Forward pleats; look at this style’s offerings today you’ll note men look terrible in them…but again, those are the offerings of today. I needed high waisted full cut with forward pleats. I asked for flat felled seams down the sides and a watch pocket under the waistband set right in the seam. Nothing too fancy, other than a waistband that was in front but not in back. Suspender buttons on the outside in back and inside in front.

We went over the vest next. I made clear in no uncertain terms that the vest be fitted. A glove to hold one in, not a drape of extra fabric that swayed under a jacket. They wore them fitted back in the day and I watch in agony as tailors make them loose or too long now—fitted, it must be fitted. For this task I gave him a vintage vest from one of my 1930s suits. It had 5 functional buttons down the front and a cutaway one at the bottom. Four pockets, one split for a pen, and one inside pocket big enough to slide in a passport.

The jacket ends up most difficult to describe because it harbors all the details. To make it easy I drew the suit with measurements for certain pieces so there would be no question of how it would look on my body. A three-button front with no cutaway so I may button all three should I wish (King Edward is dead and I don’t need to follow rules that some still attribute to him). Peak lapels a bit wider than today’s standards (like those you see in Hitchcock’s Rope) with little to no curve. Machine top stitching on the lapels, skirt of the jacket and the pocket flaps, not right on the edge as one sees done by hand, but a quarter inch in from the edges. A ticket pocket was the final front detail. The shoulders were to skim my shoulders without giving that aircraft carrier look of cardboard holding them up and the end of the shoulders were to have a little roping…just so it didn’t look like the shoulder slopes had no end. He discussed with me my body shape and what he saw, which shoulder was higher, which way I dressed, which limb was bigger where…that’s his job and he knew the human body well.

The back I’d decided upon was an old design I’d seen resurrected by Brooks Brothers and Ralph Lauren a few times, though they had done so in a Frankenstein Monster sort of way. In theory, it was a belted back with a yoke and a center pleat that disappeared when your arms were relaxed. Vintage example are a mechanical feat in which you must reach really far before the pleat opens (watch accompanying video to see one in action). Modern reproductions of this look have been failures, the reasons being a) (and I will say it again) the armholes are cut too low, but primarily b) moderns are made with a full lining. When you make an action-back jacket fully lined your movement is limited by the amount of lining. And since they added no extra lining to accommodate for the pleats, you end up with an inaction action-back. And then there is c) they put darts under the belt instead of pleats (as seen on last summer’s Brooks Bros line). Great ideas brought back with awful research and worse execution. For my suit I went with a ¾ lining, satin on the chest and shoulders and nothing between my shirt and the sky but wool. Along with the action pleat in the center, I asked for four ¼ inch deep pleats facing outward that were to be above the belt and below the yolk. More than a quarter inch and you have a mess. The four shallow pleats added just enough detail to give that Hollywood appeal of the 30s.

Due consideration was given to the fabric. I cogitated over stripes, and plaid, and came near choosing a solid brown; I always suggest to my friends that they have a good grey suit as it will prove their most versatile. Grey works with black and navy and proves less boring than any other starter suit. But I wasn’t concocting a starter, I was designing my suit down to a tee. For that suit I chose black. It looked good on Lincoln, and who’s going to question that? Best to have sedate fabric and exquisite tailoring, especially on a first go.

Roosevelt sporting his black suiting, 

and me sporting mine.

Since having that suit made, I’ve spoken with many a stylist and fashion writer and designer and while there are alternately many in those columns who both know vintage and the way it should fit, those who simply throw on what’s made today without regard to the history of costume, consistently, I’m happy to say, when they see the suit their initial assertation is to remark how good it looks. Then they ask if it’s vintage. I think this suit has captured that feeling of the days when you wore the suit and not the other way around, and that’s the whole point. It’s my suit. Not clothes I wear but clothes in which I live. And because he’s a tailor without an ego and goes along with the style even if at times he thinks it looks bad, he’s my tailor.

Joe Hemrajani has his own style though he’s not here to oppress me with it…Joe’s here to help me develop mine and to make my visions come to life, and when you visit, you better know what you want. I've been taking clients to him for years, clients that want to get a specific look crafted to exact specifications. 

His company has been working with me to make suits for clients, suits that in every detail are exact replicas of those made in years gone by. We aren't a chop shop that takes your measurements online then sends you ill-fitting sewn-together pieces of material pretending to be a suit. Joe and his brother are custom tailors that travel the US going city to city taking measurements and photos and keeping track of the little details like wrist sizes, hip tilts, and arm curves that make all the difference when you see yourself in a mirror. The suits are not cut from altered made-to-measure patterns, they are true bespoke…even if it’s via satellite. Joe sends his data to Hong Kong the moment you are through with your request. The curve of the lapels, the depth of the gorge and the stance of the buttons… all to spec with my decisions. Of course if you want that Standard political blue suit with that too big look, they can do that too…but this is not the company to go to for that suit. With details from full canvassing, great looking shoulders (turn them inside out and compare the closeness of the hand stitching to what you get in the high end Italian suits), back buttons and functional sleeve buttons (I like ’em), it’s got all the bells and whistles other bespoke tailors give, but without their style influences getting in the way of what you want. When I go custom I get what I want. And for tailors, that seems to be a hard thing to find. When you decide to go custom, and have had trouble getting what you want, contact me. As with many others that have come before, Joe and I will work together to make you the suit of your dreams.

Yoke backed pleated jacket with half belt. Made to spec fallowing Raiders design... had to pattern this one out so it sat correctly and closed correctly. Exacting measurements have to be done with every client for the action back to work properly.

The back design of the world's greatest trousers.

The latest tweed.

Paradise Lost

It is a very sad duty to inform my clients that Deckard Headwear is suspending production for the foreseeable future. The manufacturer I was using is, after over 150 years of business, closing its doors and thus I no longer have the ability to produce hats of the quality I, and you, require.

I will be issuing refunds.

Despite this sad turn of events, rumblings are a-brew about a new magazine that my comrades and I are formulating about all things interbellum. Great work afoot on that front.

There is a sartorial point I will make in this post, that being:

When it comes to how much shirt cuff should be shown, I go for about ½ or even one inch below the cuff. The shirt cuff must cover the wrist bone while your arms are at your sides while the jacket does not.

There is the presidential look that follows the modern James Cash Penney, Jr. look of wearing one’s jacket sleeve longer, but this isn't very clean...it may be more militaristic, granted, and can work with a sport coat as those are meant for more labor intensive wearing, but when one wishes to actually dress, the judging by the wrist bone method is the way to go.

If you are trying to be young and trendy—hip, if you will, do by all means show much more shirt cuff in your slender gear.