Teddy Boy Rock'n'Roll

[Alan Eardley]

I was 15 when I started wearing the gear. At the time, no Teddy Boy clothes were available 'off the peg' - there was no concept of 'teenage fashion' in those days. Early on, one had to be well-off to afford drainpipes and a drape jacket as they were bespoke from some of the better tailors - the 'Chelsea set' and Guards to whom you refer patronised them in any case. In our case (provincial working class) we had to pursuade our local branch of Montague Burton to make us a suit. We all had cheap 'Sunday Best' suits made bespoke anyway as 'off the peg' suits were, as I recall, rare. Some branches would wouldn't comply - they had 'No Teddy Boys' signs in their window. As there was a Burton's or comparable outfitters in most towns we soon found out which branch would take your order, and the new idea of 'hire purchase' (payment by instalments) helped. The process involved looking at a pattern book with drawings of different 'stock' features. Most of the features of a typical 'Teddy Boy' suit were taken from different styles of morning clothing and formal wear, often from obsolete catalogues that were perhaps really Edwardian in origin. It was their combination and the cut that made the difference.

Just as there was no idea of 'teenage clothing', there was no concept of organised teenage music or dance. It seems incredible today that such a lucrative market could be unexploited, but it must remembered that teenage spending power was a recent (and resented) phenomenon. The Saturday night dances at the time usually featured a big band (usually in evening dress) playing swing and singers who were varyingly excruciating versions of Rosemary Clooney or Frank Sinatra. Dancing was 'modern ballroom'. The young people present would want to hear the latest rock and roll and skiffle numbers and would want to jive - their requests to the band were often refused and sometimes fighting would break out, adding to the rebellious image of Teddy Boys that the press loved to promote. Eventually, the organisers of such events would have to put on a 'novelty' act in the second half of the programme (so the 'real' dancers could go home) in the form of a skiffle or rock 'combo' - many of the British rock and roll musicians 'cut their teeth' in this environment.

Many dance-halls imposed what they called 'the fingertip test'. To get in you had to stand with your hand by your sides. If your jacket came below your finger ends, you didn't get in. Guess what? The rejects would cause trouble, which the press would seize on.

It seems like a different world, now.

Alan

If you get a chance, check out the video 'Long Jackets - Short Tempers.' The film shows a lot of old footage from the 50's and it's plain to see that, like the bodgies and widgies here in the 1950's, the Teds were just kids, some as young as 14 and 15, many of them 16-18 and a few as old as 22 or 21 back in the heyday of the Teddy Boy 'movement'.

Alan, that's a very insightful comment about the behaviour of the Teddy Boys being seen as 'youthful hi-jinks' if they'd occurred twenty years earlier. Or, perhaps, if the Guards Officers has behaved in such a way as to attract media attention, then it would have been classed as youthful exuberance as well.

 

[Jovan]

I've been following this thread for some time, and I appreciate the insight and stories by Mr. Eardley. :eusa_clap

Strange that it could create such an uproar. I don't like what a lot of today's youth are wearing either, but I would certainly never ban them from any place I owned (unless they were being punks ).

That said, a lot of the individual pieces look pretty cool to me -- the velvet collared suits* with the front yokes, the shoes, the long, thin "string" style bow ties. But paired with a lot of the ties, shirts, the baggy cuts, and haircuts that those guys are wearing... I honestly don't find it very good looking. No offence to the ones who dig this look. To me, it's like Justin Timberlake wearing that white three piece suit, but not in a very flattering way and not well coordinated. Just my two cents.

*The Beatles wore suits like this in their early days, strangely enough.

 

[Edward]

I've become more intrigued by the Ted look since i discovered the original fifties look. It appeals to the same part of me as the whole Edwardian / Victorian goth thing, which obviously shares many of the same stylistic sensibilities. Actually, what put me off for years was the Showaddy-Waddy style revivalist stuff. I'd love to put together an original fifties Ted style suit, though. I do have one drape jacket, bought new in 2006. I is however very much revivalist / characateur in style. Not something I'd ever wear outside of a costume look, but it was bought for the express purpose of simulating Richard O'Brien's Crystal Maze look, so:

I can see me carrying off a fifties ted look. I'd also love a zoot suit, but I've always shied away from it simply as a good one would cost the same as an A2 for jacket around trousers alone, and I don't know that I'd ever get much of an opportunity to wear it.

Just love these guys style, Dad & Daughter...

I think I'm in love..... tell you what, though, you'd never risk messing her around lest Daddy have a switchblade or a set of brass knuckles tucked away in there somewhere. I mean ,not that one wants to stereotype but still, you wouldn't risk it, would you? lol

 

[imoldfashioned]

Loving all these pictures--this one is adorable.

The outfit that woman is wearing in the picture Edward quoted above is fantastic; I particularly covet the vest.

 

[reetpleat]

I was 15 when I started wearing the gear. At the time, no Teddy Boy clothes were available 'off the peg' - there was no concept of 'teenage fashion' in those days. Early on, one had to be well-off to afford drainpipes and a drape jacket as they were bespoke from some of the better tailors - the 'Chelsea set' and Guards to whom you refer patronised them in any case. In our case (provincial working class) we had to pursuade our local branch of Montague Burton to make us a suit. We all had cheap 'Sunday Best' suits made bespoke anyway as 'off the peg' suits were, as I recall, rare. Some branches would wouldn't comply - they had 'No Teddy Boys' signs in their window. As there was a Burton's or comparable outfitters in most towns we soon found out which branch would take your order, and the new idea of 'hire purchase' (payment by instalments) helped. The process involved looking at a pattern book with drawings of different 'stock' features. Most of the features of a typical 'Teddy Boy' suit were taken from different styles of morning clothing and formal wear, often from obsolete catalogues that were perhaps really Edwardian in origin. It was their combination and the cut that made the difference.

Just as there was no idea of 'teenage clothing', there was no concept of organised teenage music or dance. It seems incredible today that such a lucrative market could be unexploited, but it must remembered that teenage spending power was a recent (and resented) phenomenon. The Saturday night dances at the time usually featured a big band (usually in evening dress) playing swing and singers who were varyingly excruciating versions of Rosemary Clooney or Frank Sinatra. Dancing was 'modern ballroom'. The young people present would want to hear the latest rock and roll and skiffle numbers and would want to jive - their requests to the band were often refused and sometimes fighting would break out, adding to the rebellious image of Teddy Boys that the press loved to promote. Eventually, the organisers of such events would have to put on a 'novelty' act in the second half of the programme (so the 'real' dancers could go home) in the form of a skiffle or rock 'combo' - many of the British rock and roll musicians 'cut their teeth' in this environment.

Many dance-halls imposed what they called 'the fingertip test'. To get in you had to stand with your hand by your sides. If your jacket came below your finger ends, you didn't get in. Guess what? The rejects would cause trouble, which the press would seize on.

It seems like a different world, now.

Alan

What great info. Thanks for posting. I agreethat something out of context will never have the same meaning or implications or effect. It certainly is possible that someone reviving an old style will give it new meaning. Such as wearing an ss uniform to a neo nazi rally. I do not know if the modern teds can get credit for imbuing it with some meaning of significance. That may be for history to decide.

I do tend to think the emo kids, punk rockers or even rockabilly guys are a lot closer to reenactors than they might think. I don't include swing era enthusiasts because we pretty well know it already.

Of course Rockabilly has a bit of culture built up around it, but the modern equivilant of the rockabilly is probably some white kid in Kentucky who listens to rap. The modern equivilent of a hot rodder is more close to an kid who buys a 1984 honda and puts a loud pipe on it and cruises his local mall.

I sometimes feel that no youth subculture can ever have the subversive meaning it used to anymore. The media is too quick to pounce on and monetize anything. But perhaps someday kids will be copying and revering and reviving something from today that resonantes.

Interesting thoughts though.

 

[reetpleat]

I've been following this thread for some time, and I appreciate the insight and stories by Mr. Eardley. :eusa_clap

Strange that it could create such an uproar. I don't like what a lot of today's youth are wearing either, but I would certainly never ban them from any place I owned (unless they were being punks ).

That said, a lot of the individual pieces look pretty cool to me -- the velvet collared suits* with the front yokes, the shoes, the long, thin "string" style bow ties. But paired with a lot of the ties, shirts, the baggy cuts, and haircuts that those guys are wearing... I honestly don't find it very good looking. No offence to the ones who dig this look. To me, it's like Justin Timberlake wearing that white three piece suit, but not in a very flattering way and not well coordinated. Just my two cents.

*The Beatles wore suits like this in their early days, strangely enough.

I think the original styles look great, but it is all ma mater of taste of course. But you can't underestimate the significance of the meaning. It was not just clothing. There wa meaning implied, and sometimes meaning inferred that were quite offensive and shocking to many.

the implied was something like we are working class youth and we are free to develop our own style and culture. Offensive class wise and to parents who do not want rebellious youth.

But the inferred statement was something more like the youth and working class of this country will no longer go along with the program so you better watch out because your time is coming to an end.

Not necesserily what the teds meant to say, but certainly what some of the public got from it. Quite inflammatory indeed.

Of course, today certain articles of clothing are banned from dance clubs, and even schools. certain hats, jeans, "gang wear" etc. Often this is code for black apparel. Not as bad as it sounds though. They may be justified in keeping out anyone white black or whatever who associates with certain style of dress which might go along with certain behavoir, and welcoming anyone who dresses in a more conventional manner. Still, I can't help but being a little concerned when people start talking that way.

Maybe getting a little off topic, but maybe not. While rock and roll was considered shocking by many, it was not in the black community. Certainly some considered it the devil's music, but there had been r and b and jump blues which was only a little different from rock and roll as it evolved.

What was shocking was white teens listening and even playing black music. This can not be underestimated. While punk rock or hippie rock may have beeon controversial due to political or social standards being challenged, that and an outregeous look and sound. But rock and roll and rap and hip hop, were not so outrageously new in sound, but they were black music moving into the mainstream which was considered quite shocking and controversial by many.

SO I am wnodering if there was any element of that for the teds. I know that the mods associated with black immigrants through their love of northern soul nad r and b, and the rude boys were common associates. But what was the ted relationship to african americans and british african immigrants? Did they listen to black music, or the white american kids that picked up on the music? Did they tend to be accepting or opposed to immigrants to england? Did the press portray an association that would further incriminate them?

 

[Salv]

...

SO I am wnodering if there was any element of that for the teds. I know that the mods associated with black immigrants through their love of northern soul nad r and b, and the rude boys were common associates. But what was the ted relationship to african americans and british african immigrants? Did they listen to black music, or the white american kids that picked up on the music? Did they tend to be accepting or opposed to immigrants to england? Did the press portray an association that would further incriminate them?

Teds, at least in London (I don't know what it was like where Alan lived), were at least as racist as their working class contemporaries, and would not normally have associated with black immignants, who were mainly Afro-Caribbean. My mum and her brother - my uncle Norman - were young Teds in Notting Hill in west London in the mid-50s, and when my mum started courting my Filipino father there was outrage from some family members.

Notting Hill was famously involved in several nights of race riots in August and September 1958, and there had been considerable tension between Teds and black families in the area for a while. The Guardian printed an article a few years ago based on recently released official files which included this paragraph:

While senior officers tried to play down the racial aspects to the riots the internal Metropolitan police files released this month at the public record office confirm that the disturbances were overwhelmingly triggered by 300-to 400-strong "Keep Britain White" mobs, many of them Teddy boys armed with iron bars, butcher's knives and weighted leather belts, who went "******-hunting" among the West Indian residents of Notting Hill and Notting Dale. The first night left five black men lying unconscious on the pavements of Notting Hill.

There's a short wiki page which has link to a fascinating news clip, filmed one week after the riots. Follow this link then you can select to watch either a QuickTime or WMP version.

Colin MacInnes' classic book Absolute Beginners contains a fictionalised account of the riots, and was written shortly after they took place. MacInnes certainly put much of the blame for the riots on the Teds.

 

[Benny Holiday]

Well, I can't speak for the British Teds, but when I was in my mid-late teens and the Rockabilly scene was in its prime here in Sydney, we considered ourselves the heirs of a continuing youth subculture. We loved the music, the cars, the clothes etc., and hated the mainstream culture that told us we had to conform to what the 'squares' wanted us to follow in music, dress and style.

In my experience, 99% of the original bodgies we came across, a couple of whom are still good friends of mine to this day, loved that we were keeping the original style going and continuing the music. They shared stories from their own teenage years and on plenty of occasions even gave us some vintage clothes they hadn't worn for years. Only on one occasion did one old guy tell a group of us that we were ridiculous for trying to recreate the past, which was not what we were on about at all. Because he missed the point, we simply told him to clear out and keep his opinions to himself.

I think it was Lee Rocker of the Stray Cats interviewed for the "Stray Tracks" video who stated, "Jazz isn't considered 20's music, and country isn't considered 30's music, so why does Rockabilly have to be labelled 50's music?" Indeed. The music and fashions associated with them still connect with hundreds of teenagers here every year. One only has to go to the Rose Seidler 50's Fair to see all the 15 and 16 year olds who are just getting into the subculture and digging it. It speaks to them still, and sets them off on a rebellion against mainstream society's push to make them buy the latest pre-torn jeans or bland pop CD.

I suppose it's the same with the Teds. They are carrying on the subculture they love, regardless of society's conception of 'eras' and 'times' and what a person is supposed to consume to feed the pop culture machine.

 

[Jovan]

Well said, Mr. Holliday.

 

[reetpleat]

Teds, at least in London (I don't know what it was like where Alan lived), were at least as racist as their working class contemporaries, and would not normally have associated with black immignants, who were mainly Afro-Caribbean. My mum and her brother - my uncle Norman - were young Teds in Notting Hill in west London in the mid-50s, and when my mum started courting my Filipino father there was outrage from some family members.

Notting Hill was famously involved in several nights of race riots in August and September 1958, and there had been considerable tension between Teds and black families in the area for a while. The Guardian printed an article a few years ago based on recently released official files which included this paragraph:



There's a short wiki page which has link to a fascinating news clip, filmed one week after the riots. Follow this link then you can select to watch either a QuickTime or WMP version.

Colin MacInnes' classic book Absolute Beginners contains a fictionalised account of the riots, and was written shortly after they took place. MacInnes certainly put much of the blame for the riots on the Teds.

Very interesting. Not surprising. The funny irony is that while poor working class whites and blacks in many countries often ahd animosity between them because they wre competing for the same jobs and piece of the pie or so they thought (and politicians and others didn't seem to mind fostering the idea) but at the same time they often lived in close proximity to each other, so it was very natural for culture to cross polinate.

There is a great book I have mentioned before called the Subculture, the meaning of style I think. It is about post war sub cultures in England from the war to the punk movement. It posits that you can track clutural cross polination in relation to economic conditions in england. In short, when the economy was good, blacks and whites got along and white subcultures were quite ready to embrace black music, style etc. When the economy was bad, they were more polarized. The skinhead culture is the most interesting I think as it did last through all the time. It began as a pro working class identity, but it ws not a big leap for pro working class to become anti immigrant for some.

I am only speaking from my limited knowledge. If I am mistaken about anything, feel free to educate me.

 

[reetpleat]

Well, I can't speak for the British Teds, but when I was in my mid-late teens and the Rockabilly scene was in its prime here in Sydney, we considered ourselves the heirs of a continuing youth subculture. We loved the music, the cars, the clothes etc., and hated the mainstream culture that told us we had to conform to what the 'squares' wanted us to follow in music, dress and style.

In my experience, 99% of the original bodgies we came across, a couple of whom are still good friends of mine to this day, loved that we were keeping the original style going and continuing the music. They shared stories from their own teenage years and on plenty of occasions even gave us some vintage clothes they hadn't worn for years. Only on one occasion did one old guy tell a group of us that we were ridiculous for trying to recreate the past, which was not what we were on about at all. Because he missed the point, we simply told him to clear out and keep his opinions to himself.

I think it was Lee Rocker of the Stray Cats interviewed for the "Stray Tracks" video who stated, "Jazz isn't considered 20's music, and country isn't considered 30's music, so why does Rockabilly have to be labelled 50's music?" Indeed. The music and fashions associated with them still connect with hundreds of teenagers here every year. One only has to go to the Rose Seidler 50's Fair to see all the 15 and 16 year olds who are just getting into the subculture and digging it. It speaks to them still, and sets them off on a rebellion against mainstream society's push to make them buy the latest pre-torn jeans or bland pop CD.

I suppose it's the same with the Teds. They are carrying on the subculture they love, regardless of society's conception of 'eras' and 'times' and what a person is supposed to consume to feed the pop culture machine.

Certainly, if something is continued in a line, it can legitimately be called an heir to the line. And I certainly did not mean to imply any disrespect to anyone that is part of it.

But the very nature of something like this continuing is that it will eventually appeal to a different type of person than it originally did. That is part of what makes it so interesting to me.

But while the originals were not rebelling against the modern age, the eventual rockabilly is making a statement against modern times and values. It becomes subversive in that. Dressing in a forties suit might be just as subversive in its rejection of modern values or style, but since it does not carry the historic trappings of rebellion, it is not seen as offensive. Course, nobody seems to mind rockabillys these days.

Another interesting question then. Does a modern ted offend anyone. Do people think they are trouble makers, or black marketeers (what is the term from the article?) or particularly rebellios, or do most people just lump them with emo kids, rockabillys, punk rockers, goths and other sub cultures or trends? Are they still a little dangerous. SOme of them look rather threatening to me caus they look kind of like football hooligans or skin heads. maybe I am just being prejudiced against working class youth. I am sure most of them are quite nice and the rest are only questionable after a number of pints.

Sorry to go on but I find subcultures fascinating.

One other question. Is there possibly an element of American wild west in the ted look. If they were embracing r and b and rockabilly music, then maybe they kind of fancied themselves western gamblers or something like that.

 

[Alan Eardley]

Make no mistake - most of the later Teddy Boys were racist in outlook and many were actively neo-fascist - one of the things that made them so offensive to a generation that had fought WW2 was their perceived racism and anti-Semitism. Racial violence was not that uncommon in the late 1950s.

Some of this was overt and sometimes it was based on misunderstandings. I remember my father throwing me out because I wore a black shirt I was given by one of the older Teds. To me it was just a nice shirt and went well with my black drape jacket and waistcoat. To Dad it signified Fascism, Oswald Mosely's Blackshirts and all that he had fought against in the war.

A US TV series featuring a Mississippi gambler called 'Maverick' showed in the UK when ITV started in 1956 (?). I remember it as influence on the later Teddy Boy look.

With respect, I don't buy this 'continuing tradition' view. Just because someone dresses or behaves in way that people used to in the past doesn't make them part of a continuing tradition, particularly if that tradition has lapsed and been revived. I people feel they are a part of such a tradition, fine. Good for them, but I think they are really 'revivalists' and there is nothing wrong with that. Like the 'folk song revival' of the 1960s.

Just my opinion.

Alan

 

[Edward]

Agreed, Alan..... there's absolutely no crime in reviving something good from the past. What I'm not so keen on is when folks miss the point (IMHO) and instead of preserving what was good about something past actively seek to retreat into the past. [huh]

 

[Rufus]

I lived for many years in Elephant and Castle, a traditional Teddy boy area, where there used to regular violent altercations between mobs from the Castle, and Baker's Arms, down the Old Kent Road in the 50s.

I've met many ex-Teds in pubs... and can attest to their bigotry towards ANYONE different.

Many youth cultures are hijacked by neofascists... the teds seem to have started with prejudice, and gone downhill from there. Certainly older generations of this movement actively encouraged rascism amongst younger groups. (Particularily in the 70s Ted revival.)

Many of my older mates were 1st gen. skinheads in the late 60s, and they were the younger upstart brothers of Mods. They were into Ska and reggae, and not at all rascist. They used to get attacked by Teds. My friend Brett was badly beaten for wearing Creepers.

The skins I met as a teenager were mostly neo-fascist halfwits who'd completely misunderstood the look they'd appropriated... and as a punk that put me at the wrong end of a number of kickings... My stomach would sink everytime I caught sight of a Boot boy or Ted.

In London now though, if you see someone who looks like a skinhead, he's most likely part of Soho's gay scene, which I find a wonderful reversal.

Even punk which started in an arty/gay scene was hijacked by dimwits. Look at the descent in ideas from a band like Subway Sect too... TheExploited. Ugh.

Ah well... I haven't run into any neo fascist ravers yet...

Rufus...

 

[reetpleat]

Interesting. I guess it is not so much the subcultures, but in general, many working class english were prone to racism, just as many americans were I guess.

What is interesting is the way in which european politics which Americans don't realy know are tied in. In other words, the yanks just went and fought hitler. The brits had to deal with, as the french, a long history of fascism, zaziism etc. I just readi wikipedia about Mussolini and it was interesting to note that all of europe was full of various competing ideas not unique to Germany.

While Americans had to deal with the aftermath of slavery, and trying to come to terms with our ethnic makeup, the British were dealing with the disintegration of the empire, and all the immigrants from around the world, coupled with tough economic times for the working class I guess.

And all the subcultures were in some way tied to the economic background of the participants.

Interesting that the teds never had any connection to immigrants, as many other trends had a bit of a love hate relationship.

Fascinating stuff.

 

[mike]

Even punk which started in an arty/gay scene was hijacked by dimwits. Look at the descent in ideas from a band like Subway Sect too... TheExploited. Ugh.

Very good points all around, especially the above! I think most people don't realize this. The bromley contingent was really a small group of arty intelligent friends, which eventually grew into the UK82 mohican/studs and leather uniform. the exact opposite of what punk began as only a few years earlier.

 

[mike]

Agreed, Alan..... there's absolutely no crime in reviving something good from the past. What I'm not so keen on is when folks miss the point (IMHO) and instead of preserving what was good about something past actively seek to retreat into the past. [huh]

As a 27 year old born & bred New Yorker, I've always loved teddy boy culture as I've seen it, which is from afar. I love the style, I love the music, I love to jive. Anything further I haven't experienced and I hope the farther it reaches away from the original era perhaps this racist stigma can be dwindled down to nothing if enough people are of a similar mindset to mine. I found in NY as a dj/promoter, I got a lot of people into aspects of psychobilly I really liked over other aspects of the music that I didn't really support. For instance, a focus on the more 80's garage trash element to the music and pairing music nights with strange great old films. In the process creating a bit more of an intelligent crowd than just the heavy metal based death-oriented psychobilly crowd in Los angeles! Enough proactive people and things can change, in either direction.

this became a wonderful thread! thanks everyone for their input!

 

[Edward]

As a 27 year old born & bred New Yorker, I've always loved teddy boy culture as I've seen it, which is from afar. I love the style, I love the music, I love to jive. Anything further I haven't experienced and I hope the farther it reaches away from the original era perhaps this racist stigma can be dwindled down to nothing if enough people are of a similar mindset to mine. I found in NY as a dj/promoter, I got a lot of people into aspects of psychobilly I really liked over other aspects of the music that I didn't really support. For instance, a focus on the more 80's garage trash element to the music and pairing music nights with strange great old films. In the process creating a bit more of an intelligent crowd than just the heavy metal based death-oriented psychobilly crowd in Los angeles! Enough proactive people and things can change, in either direction.

this became a wonderful thread! thanks everyone for their input!

Absolutely. It's all about keeping it fresh and relevant.

 

[Benny Holiday]

Very interesting discussion gents. I've been laying low with a sinus infection the last couple of days, so I've only just caught up with the last few posts.
I meant to say the other day that I like that look with the drape coat Edward, cool and casual.

Found some old pics to scan, anyway. From a tour of Canberra in 1991, my friend Greg messing about with my guitar, me dressed in a gunmetal gray and red drape that was new at the time (note the cow skull bolo tie):

And these pics were taken from a close friend's wedding. Lounge member Koop Kooper in his Ted days in a black drape, me, and our mate Andy (also now my brother-in-law) in 1997. The drape was a grey four-button coat with black velvet on the collar only. My Dad loved that coat and threatened to permanently borrow it from me! The waistcoat was one of three really sharp brocade numbers I had made by my tailor. It was a mulberry sort of colour with a smooth jacquard to it. The other waistcoats I had made were a grey brocade and a black velvet broacde, all very Doc Holliday a la Tombstone (which also inspired the coat):

In the last photo you can just see a hint of gold pocket watch chain. Yes, we were clowning around like idiots all night and having as complete ball!

 

[catsmeow]

Very interesting discussion gents. I've been laying low with a sinus infection the last couple of days, so I've only just caught up with the last few posts.
I meant to say the other day that I like that look with the drape coat Edward, cool and casual.

Found some old pics to scan, anyway. From a tour of Canberra in 1991, my friend Greg messing about with my guitar, me dressed in a gunmetal gray and red drape that was new at the time (note the cow skull bolo tie):

And these pics were taken from a close friend's wedding. Lounge member Koop Kooper in his Ted days in a black drape, me, and our mate Andy (also now my brother-in-law) in 1997. The drape was a grey four-button coat with black velvet on the collar only. My Dad loved that coat and threatened to permanently borrow it from me! The waistcoat was one of three really sharp brocade numbers I had made by my tailor. It was a mulberry sort of colour with a smooth jacquard to it. The other waistcoats I had made were a grey brocade and a black velvet broacde, all very Doc Holliday a la Tombstone (which also inspired the coat):

In the last photo you can just see a hint of gold pocket watch chain. Yes, we were clowning around like idiots all night and having as complete ball!

Allo! Allo! you look familar!