Quotation: Brummel's Rules

"By 1801, the Brummel look was required uniform for Almack's - which meant his evening costume, consisting of white cravat and waistcoat, dark blue or black tailcoat and black knee breeches and stockings or tight black pantaloons. A 'solemn proclamation' went out from the club that only 'silk stockings, thin shoes and white neckclothes [were to be] invariably worn.' Wider trousers, or any addition of color, were unacceptable. Brummel's rules for men's attire at Almack's began to pare down men's evening wear to the formal black and white that has remained, evolving by the end of the 19th century into the even more structured 'white tie and tails.'"

- Beau Brummel, Ian Kelly

Quotation: The Look

"'Over his white shirt and perfect neckcloth, Brummel wore a pale or white waistcoat - or 'vest' in the parlance of the tailors of the period and in modern American usage. The waistcoat hid a small addition to a gentleman's wardrobe that is often forgotten in the annals of fashion history and Brummel's place in it: braces or suspenders. These are absent from the wardrobes of the previous generation ... Without them, the severe line along the thighs and lower legs was impossible, as belts were both inimical to the style and unflattering to the majority. Brummel wore breeches or pantaloons in the morning, in soft stocking-woven fabric or often soft leather, All this pale and white palette was thrown into sharp relief with two items in dark colors. A dark jacket - always deep blue - was cut away at the front to form tails, for ease on horseback but also to increase the apparent length of the wearer's legs. Black Hessian boots - from Hesse in Gemany - completed the ensemble. These were walking or riding boots with a tassel at the front that served to distinguish them from turn-top riding boots, which briefly had about them the taint of Napolean. The perfection of the cut and sculptural strength of the style were communicated with even greater clarity and strength by the sober palette."

- Beau Brummel, Ian Kelly