The classic men’s suit refuses to die. Despite disruptive sartorial movements like the rise of streetwear and the increasing casualisation of C-suite uniforms — not to mention a global pandemic that put everyone in athleisure — the final nail in its coffin has yet to be hammered.
In fact, some insiders believe that the aftermath of Covid-19 was partially responsible for hastening the suit’s most recent reinvention. “I think everyone got tired of wearing sweatpants and are now excited to dress up again,” says menswear writer Jeremy Freed. “And as dress codes have relaxed, dressing for the office doesn’t mean what it did a generation ago.”
In other words, now that suits are no longer an office requirement, they’re seen as something novel, even fun, to wear.
Designers are reworking them accordingly. Whether it was the louche excess of Saint Laurent’s swaggering suits, the roomy ease of the Row’s monastic tailoring, or even Zegna’s nubby, boxy workwear-hybrid versions, the autumn 2024 collections saw marquee labels take a languid approach to the classic two-piece.
This new wave of looser, relaxed suiting isn’t the full baggy pleats of ’90s-era Giorgio Armani, but it does point toward a look that offers more ease and rakish appeal: a bit of Italian sprezzatura, some West Coast informality, and, yes, some ’80s Wall Street swagger. We are calling it Armani Light.
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A bevy of smaller, buzzy labels has led the charge. British label Drake’s has cornered the “cool professor” vibe with its emphasis on classic European styles like Fair Isle sweaters or Prince of Wales sports coats. The Greenwich Village custom tailoring shop J Mueser crafts classics with a twist, while Stoffa, also in New York, specialises in a soulful, suit-meets-pyjamas insouciance.
“Over the past few years, we’ve noticed the majority of people choosing a more relaxed silhouette for their suits,” says Jake Mueser, proprietor of J Mueser. “Everywhere from the runway to the office, people are choosing varying degrees of drape-ier fits. I’ve certainly been cutting our trousers and jackets in a more relaxed way. Old Armani and Ralph Lauren Polo shoots have romantically swept the hearts of the industry.”
Freed, meanwhile, noticed the change coming from tailoring operations like the Armoury in New York and the Anthology in Hong Kong, which are adding more informal cuts to their roster. “In one sense, it’s looking back to the 1980s and Armani’s drapey, relaxed silhouette,” he says. “But it’s also about comfort and spending years wearing athleisure and elastic waists. People don’t want to be put into straitjackets.”
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This all coincides with the natural trend cycle that, after years of slim suiting pushed by the likes of Thom Browne and Hedi Slimane, has circled back to a shape that is more generously cut. According to data from Google Trends, searches for double-breasted suits are up 11% y-o-y; those for pleated pants are up 20%. Vogue just put Billie Eilish on its October cover in an oversized pale yellow suit from Gucci.
“Just as the slim silhouette came in as a reaction to the bagginess of the ’90s, we have this looser silhouette now,” says Derek Guy, a popular social commentator who goes by the handle @DieWorkwear. “People originally bought the slim silhouette because it signalled that you were kind of in the know, and it doesn’t signal that anymore.”
But pleated, baggy looks aren’t necessarily for everyone. Michael Fisher, a stylist who works with Jake Gyllenhaal, Oscar Isaac and Sebastian Stan, among others, stresses how important fit is and considering one’s body type when auditioning a new look.
“If you’re pear-shaped with bigger thighs and a bigger butt,” he says, “pleats are not going to be your friend. But if you’re on the skinny side, pleats and a wider leg can work.” He also notes that a pair of pants with a good crease and clean half-break (meaning the pant hem rests at the top to the middle of the shoe), can help avoid looking sloppy.
When it comes to fitting a jacket, Fisher says the jacket’s shoulder should be in line with your own. Another trick, Freed says, is to find a jacket with a slightly wider armhole. (Simply lift your arms when trying on a jacket to make sure it doesn’t pinch.) Guy, on the other hand, notes that for this slightly breezier look, a shoulder that extends just a bit beyond your natural endpoint is also acceptable.
Perhaps we can take the latest spins on suiting as a reaction to the current working-stiff archetype, exemplified in hit shows like Industry, where young folks in London’s finance world wear clothes that are staid and drab — plain sweaters and slacks in hues of black, navy and grey. It’s efficient and coherent but without an ounce of romance or style.
Armani, of course, showed that this wasn’t always so. His suits, especially in the 1980s and early ’90s, were broad-shouldered, many-pleated, and rendered in striking shades of greige. His clothes had a dynamism and braggadocio that today’s company-branded half-zip sweaters and fleece vests could never replicate. No wonder designers today are looking back to take a page from this timeless look.
