Italian vs English cloth for tuxedos

As a rule of thumb in the trade, Italian cloth tends to be soft, fluid and gently lustrous, while English cloth tends to be firm, dense and durable. That is a tendency, not a law: both countries weave everything from featherweight to heavy. Still, put two black bolts side by side and the difference in feel is usually obvious, and it is worth understanding before you choose.

Italian cloth: soft, with a gentle sheen

Italy's long-established wool centre is the Biella district of Piedmont, home to mills such as Vitale Barberis Canonico. Italian cloth is often finished for a soft hand: a smooth surface, a gentle drape and a quiet lustre rather than a glare. Under evening lights, an Italian black tends to look deep and warm rather than flat.

The trade-off of softness is that a jacket stands less on its own. It still looks good, but the shoulder and chest follow the wearer rather than shape him. And because the yarn is fine, a soft cloth may crease more if you sit for long hours. You can read about one specific mill in our note on Vitale Barberis Canonico cloth.

English cloth: firm, dense, durable

English wool tradition is tied to Yorkshire and the London merchants. English cloth is typically woven close, with a crisp hand and more weight, giving it body. A jacket cut from it holds clean lines: square shoulder, flat lapel, upright chest. Over many wearings it keeps its shape and resists abrasion, which suits a formal suit you intend to keep for years.

The price of firmness is weight and warmth. A heavy English bolt is fine in an air-conditioned ballroom but will feel oppressive outdoors in Ho Chi Minh City. The merchant Holland & Sherry is a familiar name for this kind of cloth, covered in Holland & Sherry cloth.

Which climate suits which

Climate matters more than country of origin:

• Hot and humid all year, as in Ho Chi Minh City: favour light, fine-yarn, open weaves. Light Italian cloth is often easier, but lightweight English cloth works too.
• Receptions in air-conditioned rooms: firmer cloth is tolerable and sweat is less of a worry.
• Cold-season travel abroad: heavy English cloth is the natural choice.

What counts is the weight printed on the selvedge (see reading the selvedge), since two "English" bolts can differ enormously. Origin comes second.

Matching cloth to cutting style

Cloth goes with construction. There are two familiar directions:

Cutting style	Character	Cloth that tends to suit
Structured, square	Lifted shoulder, upright chest, commanding line	Firm, closely woven English cloth
Soft, natural	Light shoulder, follows the body, little padding	Soft, fluid Italian cloth

A classic peak-lapel tuxedo with a structured line, such as TUX-004 (black, peak lapel), shows to full effect in cloth with body. A soft shawl-collar jacket such as TUX-001 (black, woven texture, shawl lapel) suits cloth with drape. The differences between English, Italian and American cutting are covered in English, Italian and American tuxedo styles.

A few things to remember

• No cloth is absolutely right. There is cloth that suits the man, the occasion and the climate.
• A country name is only a starting point; weight, yarn count and finish decide how it feels to wear.
• Feel both cloths side by side. Handling them directly beats any written description.
• A soft, light cloth suits a man who moves around; a firm one suits a man who likes a stern line. Do not give up comfort in a hot climate for a little extra shape.

Advice from the Mon Amie workshop

The Mon Amie cloth library holds both schools, so you need not choose from imagination. A consultant will lay two bolts next to each other, let you handle and crumple them, then advise according to the occasion and the cut you prefer. You can book a cloth fitting at a showroom and see for yourself.