TUXEDO FABRICS

Because tradition and discretion require a dark tone, the variations of the tuxedo are the varieties of its cloth.

The rules fabrics follow are bound by structure. The drape must be sharp, and the shoulders ensure a strong silhouette.

Traditionally, the tuxedo is black. If one is to be photographed, however, a dark navy is often preferred. In a photograph, where black becomes brown, blue becomes black.

More than color, however, it is the fabric which determines the way light will fall on a suit. Choosing a fabric is choosing a kind of light.

The fabrics vary most in shine.

Mohair is a fibre of the angora goat. Its texture shows wide scales, welcoming and reflecting a high amount of light. This gives the fabric its sheen. Eyecatching, its effect is close to that of silk. Its crispness, however, suggests fragility. Worn, it is sometimes compared to poplin.

It is for those who seek to temper this effect that woollen weaves are available. Mat, they signify discretion. Tailors often employ them in jackets with clear shoulders, with a sharp canvas.

Barathea is the choice of tradition. Where the fibre gives mohair its sheen, it is the weave that maintains its rigor. Barathea is a satin weave: its natural thickness ensures a sharp silhouette. In this, it conjures the tuxedo’s history - the tradition of its weight, the firmness of its hold. Barathea from the 1930 have the weight of modern-day coats.

On occasion, mat and shiny weaves are combined in order to find balance - one in which the wearer wants to be seen. Lighter, wool gabardine, hopsack, are often on offer. Their shine is barathea’s, but they do not forsake their lightness.

One choice does not belong to this scale. Though it does not send light back, velvet is no less a declaration of sight.