present tense of suit
A setup that speaks from the margins, not from authority: Tracing the brand's individuality and its background
Introduction
Now, suits have distanced themselves from their "intimidating" image and are entering a stage where they are spoken of in terms of lines, materials, and movement. The quality of a suit is determined by the "subtle differences" in the shoulders, torso, and hem, and these subtle differences are born from the brand's history and the local tailoring culture (backbone).
This article is not intended as a styling guide, but rather as a piece of reading that gently analyzes today's suits based on the design philosophy and historical background of each brand.
Sartorial Geopolitics – Savile Row/Rome/Naples
- Savile Row (UK): A "construction school" that uses interlining to create a three-dimensional chest. The lapels are neat, the shoulders are slightly roped, and the front is straight. While it has a dignified appearance, in recent years there has also been a trend towards lightness.
- Rome (Italy): Brioni's signature "Roman drape" style. The shoulders are not too tight, but still dignified, the chest is thick, the waist is pulled in just enough, and the powerful V-shape expresses elegance.
- Naples (Italy): The "school of lightness" represented by Chiton and Rubinacci. Spalla camicia (shirt sleeves), thin padding, soft front body. Curved, airy, and conforms to the body.
The differences between these three systems form the subtle differences between each modern brand.
1980s: Armani changed the way we display power
In the 1980s, when power suits were all the rage, Giorgio Armani chose to "stretch out the core." He thinned out the shoulder pads and interlining and created contours with draping. Using neutral colors such as gray and taupe as the base, his designs emphasized presence through white space rather than intimidation. The "light yet dignified" suit visualized in the film "American Gigolo" became the origin of the later "soft tailoring."
Brioni, in its time, refined the "dignity of Rome." With a full bust, elegantly wide lapels, and a naturally shaped waist, it maintained the dignity of Roman style while modernizing it with a balance between structure and sexiness. It is a lineage that has brought the persuasive power of classics into the modern era, as seen in the suits worn by James Bond.
Zegna is a company that focuses on fabric. It vertically integrates everything from woolen textiles in Northern Italy to complete manufacturing, achieving both drape and resilience through yarn, weaving, and finishing. It responded to the demand for "light and beautiful" that emerged in the 1980s from the textile side.
1990s: Minimalism and "Intellectual Neutrals"
Jil Sander has stripped away ornamentation and focused on creating a sense of cleanliness through lines and proportions. A slightly higher gorge, not too narrow lapels, and a clear, dark color. This is where the value of "tranquility = luxury" is clarified.
Helmut Lang pioneered the blending of minimalism and functionality by incorporating utilitarian elements (harnesses, flat pockets) into suits, and the tension between practicality and lines built a bridge to the urban minimalism of the 2000s.
Prada, with its "Ugly Chic" concept, introduced subdued, neutral colors like olive, mocha, and mustard to its tailoring. Materials used were gabardine, light twill, and the sheen of synthetic fibers. This expanded the stereotype that "beautiful = black or navy" when it comes to suits.
2000s: The Slimming Revolution and Re-learning Proportions
Dior Homme (Hedi Slimane era) defined the long and lean look with its low gorge, narrow lapels, and stovepipe pants. Thin shoulders, a tight torso, and long, straight hems made men look taller and more photogenic, completely redefining the standard for men's fashion.
At the other end of the spectrum, Thom Browne presented an "inversion of schoolboy." Short lengths, high waists, ankle-length, gray flannel. By redistributing length and shortness, the classic was given a new visual impact. These two trends (ultra-long and ultra-short) became the "coordinate axes" on which subsequent brands would position themselves.
2010s: Quiet luxury and materialism
ZEGNA (Alessandro Sartori) once again puts fabric first, using textures such as technical wool and loop yarn to create a relaxed look with a sophisticated feel.
The Row's ultra-thin interlining, long lengths, and deep neutral colors create a "quietly expensive" look. The precision of the stitching and ironing creates a subdued dignity.
Lemaire's natural shoulders and wide front body allow for space for air to flow freely. The clothes are designed to embrace the body's flow, rather than restrict it.
Maison Margiela used the suit as a canvas for re-editing, showcasing the science of balance by deconstructing, re-sewing and revealing the inside without compromising elegance.
2020s–Now: Long lines, deep colors, and a construction that avoids excess
Saint Laurent (Anthony Vaccarello) brought back the refined tension of black and dark tones with firm shoulders and long hemlines.
Dior Men (Kim Jones) applies atelier techniques (saddle stitching, camacerie curves) to a slim frame, creating everyday pieces that are not ceremonial.
Prada (Miuccia & Raf) exudes intelligence through the contrast of materials (dry wool x subtle sheen), while Bottega and Ferragamo layer shades of color over long lines typical of Milan.
At the same time, hand-sewn products from Brioni and Kiton have become lighter and softer, and are at a stage where they are transferring the persuasiveness of classic styles to a sense of "silence."
As a result, the current aesthetic sense of "long and lean but not too much" and "deep neutral colors, not just black" is shared.
Current conclusion:
Suits have evolved over the years, reflecting the history of each brand (geopolitics, the demands of the times, and technology).
The core of the current collection is ① long lines, ② deep neutral colors, ③ tranquility of materials, and ④ construction that avoids excess. We believe that "white space" as an alternative to authority accepts the wearer's individuality and behavior, and plays a central role in the wardrobe as an element that quietly shapes the silhouette.
A Spoon of MOOD
At MOOD, we see suits not as a "finished product" but as an editable platform. While respecting the backbone of the brand, we adjust the "subtle differences" to suit the body temperature of the day. We hope to incorporate a little of each vocabulary into our work, quietly building up a presence that can be conveyed without raising our voice. The lightness of Armani, the dignity of Rome, the curves of Naples, the tension of Saint Laurent, and the intelligence of Prada.
