The dinner jacket, as it is known in England, the tuxedo on this side of the pond, or the quaint “smoking” in continental Europe, is fraught with rules and regulations so stiff, they are seen by some as restrictive and intimidating. In contrast, the rules should make it easy to dress within a proper framework. One should purchase quality, of course, as a good tuxedo will last many years. Styling should not be too experimental, lest you be embarrassed to wear it a few years hence. While black is the default option, a midnight blue appears richer and darker under many indoor lights. I have often wondered, too, why an extremely dark charcoal might not make an exceptional substitute, showing a very subtle contrast against the black of the lapel.

On the subject of lapels, only peak or shawl should be considered acceptable, although I am now leaning towards the shawl, since it is rarely seen outside of semi-formal, while the peak has enjoyed a fashionable renaissance on business wear and even sportcoats lately. (I do approve of this recent rakish development.) The peak lapel, however, is perhaps a bit more flattering for those who cut a more robust silhouette. Both satin and grosgrain are acceptable, but grosgrain lends a more subtle and richer sheen.

The bowtie, of course is the most traditional, and best mirrors the color and texture of the lapels, (black, of course, in satin or twill, similar to grosgrain.) There has been somewhat of fashion lately for four in hand ties. Some feel that the elongating effect of the four-in-hand is more flattering, others feel unease at tying the bow tie. While somewhat less traditional, the four in hand can look quite elegant when done in a color and texture not seen in business dress, say silver satin. It also eliminates the need for studs.

(In part two, we will continue to study the rules and nuances of semi-formal. Right this minute, however, please excuse me as I dress for dinner.)

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The gentleman who embraces American heritage is quite an enigma. He is of the present, but also avidly honors the past.

I am encouraged by this rediscovered trend. It echoes a time in our life, shortly before Franklin’s discovery of electricity, that we found inspiration in the heritage and tradition of American-made clothes. As youngsters, we embarked on a quest for original Levis 501s: raw, rugged and shrunk to fit, as if they were the Holy Grail of Style.

This current movement, which reminds us of our fabled youth, reflects a feeling for quality and tradition, while respecting the old fashioned American work ethic. Indeed, when a dapper gent was a mere youngster, American manufacturing was a given with a strong presence by Levi Strauss and others. Now with a proliferation of goods made in the countries whose governments don’t really feel the love for us, there is a substantial movement to rediscover what the American worker can do.

Heritage is not just about America, of course, but is a respect for skills learned, passed down through generations, and sustained through a modern enlightenment of the origins of what we wear. In a sense, it is no different from the farm-to-table movement; the interest in jazz, blues, bluegrass, and other indigenous forms of American music; and the strong aromas of regional and cultural blends in the melting pot of America.

Heritage is about the merging of ethnic groups and cultures to find a common ground in the making of fine quality, a common ground in which we all believe in a common goal. While many of our finest tailors have a past born in other lands, the skills and work ethic they bring to the table are among the finest in the world, and we can certainly find a pride that such diverse people can create marvelous products for the benefit of all.

That is why, when practical, we must support the American worker, as well as our neighbors and trading partners throughout North America and Europe. Although the initial cost might be slightly greater, the value added, for all of us, will far exceed the cost.

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