What is the standard to which we compare all suits? What makes lapels narrow or wide, a jacket long or short, or a button stance low or high? Style theorists—and I use this term loosely—talk about timeless suits that we should only be wearing, but what makes a suit timeless? Does this timeless suit even exist? Every decade of the past one hundred years has had its mark on the suit, though people will often cite the 1940s as the golden age of the suit. But most suits from the 1940s would now look outdated. James Bond was not yet around in the 1940s, so it’s not really a decade relevant to this blog.
Throughout every decade there have been tailors and clothing shops that did their best make and sell clothes that are ignorant of trends. From the 1980s to the end of the last decade, the American institution Brooks Brothers hardly took fashion trends into consideration. English shops like Pakeman, Catto & Carter and Purdey haven’t bowed to current fashion trends. But even many Savile Row bespoke tailors have considered and still consider fashion trends. They made narrower lapels in the 1960s and wider lapels in the 1970s, but never went to the extremes of fashion houses. Now, many of them are making trousers with a lower rise than they ever did before, and the drape cut is practically gone. The former Conduit Street tailors like Sean Connery’s Anthony Sinclair and Roger Moore’s Cyril Castle certainly kept up with fashion trends—especially the latter—but they kept classic proportions in the back of their minds and did not let fashion make their suits unflattering to the wearers.
A suit with balanced, classic proportions is generally the most flattering suit, since it considers the wearer’s body first and foremost. Alan Flusser writes about this in considerable depth in his book Dressing the Man. Pierce Brosnan’s suits in The World Is Not Enough excellently illustrate the principles of a timeless suit with balanced proportions, and I will be using the suits from that film to illustrate what makes the suits look so timeless. This timeless look is what I compare all other suits to. The suits in Die Another Day and Casino Royale have similarly timeless proportions, and the suits in On Her Majesty’s Secret Service, Octopussy and A View to a Kill come close.
Pierce Brosnan’s suits in The World Is Not Enough are all classically cut and styled in the Roman cut, which is derived from the English military cut. The charcoal suit in Bilbao and the pick-and-pick suit in Azerbaijan are the most basic of all the suits in the film, and thus they are the best to demonstrate what makes a classic suit. The suit jackets are made in the most classic of all jacket styles, the button three. They are cut for the lapel to gently roll over the top button, but they can still button at the top. The jackets have double vents at a medium length of around 10 inches. Double vents, single vents and no vents are all classic styles, though single vent is the sportiest style and no vent is the dressiest style. A vent length of 8 to 10 inches is the most classic since it is long enough to be useful but not too long as to cause unnecessary flapping about. The exception to vent length is for a longer 12-inch single vent on a hacking jacket since it splits open better on horseback. Besides the double vents, Pierce Brosnan’s charcoal and pick-and-pick suit jacket also have straight pockets with flaps and four buttons on the cuffs, which are the standards for suit jackets.
What is the classic length of a jacket that we compare all other lengths to? The jacket length is ideally one half the distance from the base of the neck to the floor. For people with a longer torso than their legs, the jacket length should be long enough to cover the bum. For most people, the bottom of the jacket lines up with the thumb knuckle. This length keeps the body looking balanced and neither top-heavy nor bottom-heavy. A longer jacket can make a man look shorter, whilst a shorter jacket can give the man leggier, more feminine proportions.
The part of the jacket that changes most with fashion is the width of the lapels. Ideally, the lapel width should be roughly half the distance from the collar to the edge of the shoulder, which ordinarily ends up being between 3 and 3 1/2 inches. This lapel width splits up the chest evenly. Though wide lapels have the effect of making the shoulders look wider, they can make the chest look smaller. Narrow lapels do the opposite. Extremes of either lapel width throw off the balance of the body. Pocket flap depth ordinarily follows lapel width and is around three quarters of the width of the lapel. The best lapel gorge height—where the notch is—is just as important to balance as the width of the lapels. A gorge that is too low shortens the lapel lines and brings the eye away from the face, but it has the benefit of giving the chest more presence. On the other hand, a gorge that is too high makes the chest look weak, so the right placement is key.
The button stance has a big effect on the look of a jacket and a man’s perceived height and strength. The button stance is at the button that fastens, which is the middle button on a jacket with three buttons and the top button on a jacket with two buttons. A button stance that is too high makes a man look taller by extending the perceived leg length at the expense of a smaller-looking chest. A low button stance does the opposite. Pierce Brosnan’s button stance in The World Is Not Enough has the perfect balance and is about an inch lower than midway from the top of the jacket to its hem. The button stance should also correspond to the natural waist, which is typically about an inch above the navel. The body bends at the waist and placing the button stance there helps the jacket move better with the body.
A jacket’s shoulder width and amount of padding should be balanced to the person and not be too wide or narrow, or too built-up. But this is one thing that can vary within the realm of classic style. Pierce Brosnan’s shoulders on his Brioni suits in The World Is Not Enough are straight, built up with a lot of padding and slightly extended past his natural shoulders. But the shoulders are not overdone and actually balance his build. Something less dramatic could work just as well and look equally classic. The fullness of the chest and amount of waist suppression have the most allowance to vary within classic style, as long as they aren’t so tight that they put stress on the jacket or so loose that the jacket looks sloppy. Brosnan’s suit jackets in The World Is Not Enough have a clean chest with a gently suppressed waist.
Just as the amount of fullness or tightness in the body of the jacket can vary within the realm of classic proportions, the amount of fullness and tightness in the trouser legs can vary too. Naturally, the fullness of the trouser legs should be in proportion of the fullness of the jacket. A jacket with a full chest needs to be balanced by trousers with a full thigh. If the jacket tapers a lot at the waist, the trousers shouldn’t be baggy. Just like a jacket should not be so tight that is pulls, the same goes for trousers. Other than that, anything goes for the width of trouser legs. Pierce Brosnan’s suit trousers in The World Is Not Enough fit neatly through the thigh and taper gently to the turned-up hem, which mimics the clean but not dramatic cut of the jacket. The front of the classic suit trousers can have pleats or darts (like most of Pierce Brosnan’s suit trousers in The World Is Not Enough), or be plain.
There is, however, a proportionate standard for the trouser rise. Like the jacket’s button stance, the trouser rise needs to work with the shape and movement of the body. There is a reason why classic suit trousers rise to the natural waist, like Pierce Brosnan’s suit trousers do. The waist is the narrowest part of the body and should be emphasised. Placing the trouser waist there does just that. The trousers have nowhere to fall down when they are at the narrowest part of the body. And by wearing trousers at the waist instead of at the hips, the legs look longer. The trouser rise should also correspond to the jacket’s button stance so that the shirt and tie don’t show below that jacket’s fastened button. It makes the suit look more fluid and the whole body look taller and slimmer.
There is still plenty of room for creativity in a suit with balanced proportions. Just because a suit follows this classic formula doesn’t mean it has to be boring. The silhouette, the most defining aspect of a suit’s design, can vary considerably and still be balanced. Though Pierce Brosnan’s suits in The World Is Not Enough have straight, padded shoulders, the shoulders are just as proportionate and as classic as the natural shoulders on Roger Moore’s Douglas Hayward suits. Smaller stylistic details can also make a big difference. Sleeveheads can be roped or flat. The shape of the gorge can curve in different ways or not curve at all. The amount of belly in the lapels can vary. The quarters and pocket flaps can be more rounded or more squared for much different looks.
Though fashion notoriously messes with the suit’s classic proportions, tailors may also alter these proportions to better suit people with extreme body types. For instance, a very tall man may benefit from a lower gorge (lapel notch) so he looks more grounded, and a short man can benefit from a higher gorge that lengthens the lapel lines. A man with a large head can benefit from extended shoulders so his head looks more balanced with the rest of his body. A short man can benefit from a shorter jacket length that will make his legs look longer. But any of these taken to the extreme like fashion has often done over the years is ultimately not flattering.
Classic proportions aren’t just about the suit. We all know that the width of one’s tie should match the width of a jacket’s lapels. However, the shirt collar also needs to be in proportion with the lapel and tie width. The shirt collar point length can match the width of the lapels, though in practice the collar points are typically a little shorter than lapel width. It is more important that the collar match the shape and size of one’s head rather than the jacket’s lapels. Pierce Brosnan’s collar has roughly 2 3/4 inch points, but his lapels are around 3 1/2 inches wide. The size of the cuffs should correspond to the size of the collar. Brosnan’s cuffs are around the same 2 3/4 inches deep as his collar points.
It’s not just the point length of a shirt collar that can match the jacket’s lapels. The angle of a shirt collar’s spread should roughly correspond to the jacket’s gorge height and angle. A narrower point collar points to a lower notch whilst a wider spread collar points to a higher notch. Pierce Brosnan’s moderately wide spread collars in The World Is Not Enough roughly follow the angle of the lapel gorge and end at around the same height of the lapel notches. But more important than matching the gorge angle, the collar spread should inversely match the width of the face. Pierce Brosnan’s face, however, is neither wide nor narrow, so he can look good in almost any collar. The height of a collar is determined by the length of one’s neck and has no relation to the proportions of other parts of the outfit.
When some of the suit jacket’s proportions are tailored to best suit the person wearing the suit, and the suit, shirt and tie are well-designed to be in proportion with each other like Pierce Brosnan’s are in The World Is Not Enough, the entire of the outfit will be classically proportioned and most flattering. The clothes in The World Is Not Enough escape the clutches of fashion trends and look just as great today as they did fifteen years ago.
For more about the classic proportions of a suit, read Alan Flusser’s book Dressing the Man.