The current styles were founded in the revolution during the late 18th century that sharply changed the elaborately embroidered and jewelled formal clothing into the simpler clothing of the British Regency period, which gradually evolved to the stark formality of the Victorian era. It was in the search for more comfort that the loosening of rules gave rise in the late 19th century to the modern lounge suit.

In the early 19th century, British dandy Beau
Brummell redefined and adapted this style, then popularised it, leading European men to wearing well-cut, tailored clothes, adorned with carefully knotted neckties. The simplicity of the new clothes and their sombre colours contrasted strongly with the extravagant, foppish styles just before. Brummell's influence introduced the modern era of men's clothing which now includes the modern suit and necktie. Moreover, he introduced a whole new era of grooming and style, including regular (daily) bathing as part of a man's toilette.
In this regency period, the predominant upperclass clothing introduced by Brummell for day wear was a tightly fitting, dark coloured tailcoat with non-matching (usually pale) trousers, pale waistcoat, white shirt and cravat and tall boots.

Towards the start of the Victorian period, the frock coat, initially not just black, became popular, and quickly became the standard daily clothing for gentlemen. From the middle of the
19th century, a new (then informal) coat, the morning coat, became acceptable. It was a less formal garment, with a cut away front, making it suitable for wearing while riding.
Morning dress and the frock coat garments were not suits, because they were worn with trousers that didn't match in color or fabric; a matching waistcoat and trousers were considered informal and could be described using the short-lived term ditto suit. The frock coat was still the standard garment for all formal or business occasions, and a tailcoat was worn in the evenings.

Parallel to this, the dinner jacket was invented and came to be worn for informal evening events. It was descended from white tie (the dress code associated with the evening tailcoat) but quickly became a full new garment, the dinner jacket, with a new dress code, initially known as 'dress lounge' and later black tie. When it was imported to the United States, it became known as the tuxedo. The 'dress lounge' was originally worn only for small private gatherings and white tie ('White tie and tails') was still worn for large formal events. The 'dress lounge' slowly became more popular for larger events as an alternative to full evening dress in white tie.

The beginning of the Edwardian era in the early
20th century brought a steady decline in the wearing of frock coats as the morning coat rose in relative formality, first becoming acceptable for businessmen, then becoming standard dress even in town. The lounge suit was slowly accepted as being correct outside its original settings, and during Edwardian times gradually began to be seen in town. While still reserved for private gatherings, usually with no ladies, black tie became more common.
In North America, the "sack suit", a cut of lounge suit, saw a large rise in popularity, and, except for the shoulders, it is unfitted, loose, and informal, as it has no darts.

After the end of the first World War, most men adopted the short lounge coated suit. Long coats quickly went out of fashion for everyday wear and business, and the morning coat gained its current classification of "formal". During the 1920s, short suits were always worn except on formal occasions in the daytime, when a morning coat would be worn. Older, more conservative men continued to wear a frock coat, or "Prince Albert coat" as it was known. In America, for evening occasions, the short dinner jacket virtually replaced the long
"full dress" tails, which was perceived as "old hat" and was only worn by old conservative men. In
Britain, black tie became acceptable as a general informal alternative to white tie, though at the time the style and accessories of black tie were still very fluid.

In the late 1970s, several brands, most notably
Haggar, started to introduce the concept of
"suit separates", separately sized coats and pants allowing a man to purchase the appropriate coat and pant size. "The concept of
'Custom Fit Suits' was a Haggar innovation allowing gentlemen to purchase jackets and pants separately, by size, which eliminated the need for tailoring the pant." ' The 1980s saw a trend towards the simplification of the suit once again. The jacket became looser and the waistcoat was completely dispensed with. A few suit makers continued to make waistcoats, but these tended to be cut very low and often had only four buttons. The waistline on the suit coat went down again in the 1980s to a position well below the waist. By 1985-1986, three-piece suits were on the way out and making way for cut double-breasted suits and two piece singlebreasted.

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CLASSIC FIT :-
The Classic Fit is easy to wear and comfortable.
A suit that features a classic cut has a clean body shape, but is cut big enough through the chest and waist, which results in less constriction for the wearer.
SLIM FIT :-
A Slim-Fit suit is, as the name suggests, a suit that is fitted closer to the body and that doesn’t have any excess fabric. Many people call these suits Italian
fits, as initially Italian suits were tailored more closely to the body.
MORDREN FIT :-
The Modern fit is neither a classic fit nor a slim fit: it falls between the two. Suits that have a modern fit are not as roomy as Classic Fit suits, but are not as sharply tailored as a Slim Fit.
CLASSIC FIT
SLIM FIT
MORDREN FIT

SINGLE BREASTED :-
A single-breasted jacket has only one set of buttons and button holes, which do not overlap. It can be two buttoned, generally accepted, or three buttoned. It has a ‘V’ shaped neck and the back is of silk. Also called, the British style suit, it generally gives a casual look as compared to the double breasted.
DOULE BREASTED:-
The double-breasted is the one which has two front overlapping across the body. It is traditionally ventless i.e., having no flaps at the back. It generally has four or six button options.
LOUNGE SUIT :-
Lounge suits, a man’s formal suit for ordinary day wear. As meant for day work so the fit is comfortable.
It can be worn with or without a tie. Light to medium colors are preferred. Single breasted is preferred with two buttons. Three buttons give it a more formal look. Lately, linen suits are a big draw in this category.
SINGLE BREASTED
DOULE BREASTED
LOUNGE SUIT

DINNER SUIT :-
Dinner suits, basic black tie suit. Generally in dark colors and traditional fit. Lately, slim fit is preferred.
BUSINESS SUIT :-
Next in line are the business suits, very formal cut and stylish in sober colors and sharp fits.
Different from lounge, as they are more conservative and formal, common being the pinstripe suit in navy or black. Double and single breasted, both go well.
MANDARIN SUIT :-
Mandarin suit is an oriental inclusion into this list. With a Nehru collar or the band collar, is generally worn with full button on. Cut very closely to the body, gives a very lean and sharp look. These are very elegant for an evening out.
DINNER SUIT
BUSINESS SUIT
MANDARIN SUIT

WEDDING SUIT :-
Wedding suits for the ceremonial occasions are catching on fast. They vary in cuts and silhouettes. Fabrics are velveteen, jacquard and other sheen or a luxury fabric meant for luxury wear. The trend is currently of single to two buttons with slim fit. Experiment with lapels and pockets.
WEDDING SUIT
ZOOT SUIT :-
Worth mentioning in the article are the zoot suits or the
Jazz age suits. Originated by the African Americans – long coats, high waisted, big lapels, should think before trying it out. Not everyone can fit this bill.
TUXEDOS :-
The tuxedos are ultra formal and the ultimate in the suit line. It can be stylized for the ceremonial wear. It is mostly seen being worn by Hollywood stars walking the
Oscar red carpet in the traditional black tuxedo.
ZOOT SUIT
TUXEDO

 Dinner jacket in the context of menswear first appeared in England around 1887.
 In the US around 1889.
 In the 1960s it became associated in North America with white or coloured jackets specifically.
Tuxedo in the context of menswear originated in the US around 1888. It was named after Tuxedo Park, a Hudson Valley enclave for New York’s social elite where it was often seen in its early years. The term was capitalized until the 1930s and at first referred only to the jacket. When the jacket was later paired with its own unique trousers and accessories in the 1900s the term began to be associated with the entire suit.

In upstate New York lies Tuxedo Park, a beautiful retreat for the rich, developed in the 1880s. A supporter of the Tuxedo Park Project, James Brown Potter, went to
England on vacation in the summer of 1886. Potter and his wife, Cora, met the Prince of Wales at a court ball in
London. The Prince invited them both to visit him at
Sandringham, his 11,000-acre estate in Norfolk.
Accounts of the Prince’s experimentation appear around 1885 variously referring to "a garment of many colours, such as was worn by our ancestors" and "short garments coming down to the waist and made on the model of the military men’s jackets." The garment as we know it (suit jacket with tailcoat finishes) was first described around the same time and often associated with Cowes, an English seaside resort and centre of British yachting that was closely associated with the Prince. It was originally intended for warm weather use but soon spread to informal or stag winter occasions. As it was simply an evening tailcoat substitute, it was worn with all the same accoutrements as the tailcoat including the trousers.

 The earliest tuxedo jackets were of the same black material as the dress coat with one, two or no buttons and a shawl collar faced in satin or ribbed silk.
 By the turn of the twentieth century the one-button model had become standard.
 By World War I, the grey option had fallen out of favour but the
"midnight blue"
 Colour, texture and pattern became increasingly popular in warmweather jackets in the 1950s.
 In the 1960s, these variations became increasingly common regardless of season or climate.
 By the 1970s, mass-market retailers began offering white and coloured versions of the entire suit to its rental customers.
 in the 1990s tuxedo jackets increasingly took on other traits of the business suit, such as two- and three-button styling, flap pockets, and centre vents.
These trends have continued into the early 21st century and midnight blue is now once again a popular alternative.

The tuxedo’s accompaniments have also evolved over time. The most traditional interpretation of these elements –
Formal Shirt Formal waistcoat or cummerbund bow tie

Tuxedos may be made from a great variety of fabrics today. These include wool, polyester, and rayon. Fancy detailing is generally an imitation silk satin such as polyester or rayon. Linings may be acetate or polyester. Stiffeners are an important part of the tuxedo as they help the shoulders, collar and lapel retain their shape. These stiffeners may be felt (underneath the collar) and buckram, a coarsely-woven fabric used in more structured ready-to-wear outfits. Fasteners typically include synthetic component buttons that can hold up to the chemical bombardment they receive during endless dry cleanings, and metaltoothed zippers in the trousers.
WOOL
POLYESTER
RAYON

Fabrics, new colors, interesting lapel shapes, length of coat, or flare of the trousers may be among the new styling features the designers manipulate to produce new products.
Pattern makers provide the tools that will enable the manufacturer to produce these new tuxedos—the patterns. The process for this is fairly straight-forward; the pattern parts are sketched on paper and once there is consensus that these parts will create the targeted design, the pieces are digitized into a Computer-
Aided Design (CAD) system. All men's fashions are drafted in prototype pattern form in one size referred to as 40 regular, which includes a jacket with a 40-inch chest, a 32-33 inch sleeve length, and a pair of trousers with a 33-34 inch waist.
The prototype pattern is used to cut out a size 40 regular tuxedo. The company then assesses the styling and decides whether the tuxedo will indeed be marketable as well as the complexity and expense involved in production. Upon approval, the pattern is graded—proportionally scaled, up or down off of size 40 regular, lengthening or broadening the pattern as necessary. The variety of pattern sizes produced is significant since many tuxedo manufacturers offer the product in sizes from 36 extra short to 60 XXL. Specifications for cutting patterns is fed into the CAD system so that the pattern pieces are devised on a computergenerated system that produces all subsequent sizes of the 40 regular prototype.

The sequence of operations includes the following general steps, each with many subcomponents.
• First, the two front panels are sewn together, which generally includes some stiffening in parts of the bosom. The stiffening fabric is sewn to each panel so they become a single unit. The fabrics are sewn inside out in order to hide the stitching upon reversal.
• Pockets are sewn in by the operator next. If they are patch pockets, like a breast pocket, they are sewn on the outside of the panel. Pockets in the seams have a lining that is sewn to the inside of the panel along the seam opening. The pocket edges are finished off by tucking excess fabric and stitching the seam edges to smooth and secure the seam at its openings.
• The back of the coat is constructed by sewing the two back panels together down the center. The front panels are connected to the back at the shoulder seams but not the side seams. Stiffening or padding may be sewn in at this point if needed.

•If the sleeves are to be lined they are juxtaposed with thin lining and sewn down the inner arm on a sewing machine. Again, the fabric is sewn from the interior in order to hide the seams and produce a more polished looking garment.
•The remaining lining is added to the coat body at this point. A thin layer of satin-like fabric is usually used for the lining and is cut to the dimensions of the front and back panels. The lining is sewn with both finished sides facing each other, and then flipped right side out. The sleeves, already sewn together, are attached to the coat at the armhole.
•Finally, the collar, including the lapel, is assembled. This has a shell or top of the lapel of satin (characteristic of a tuxedo) and an interfacing consisting of felt with a piece of canvas built into it and buckram to give it strength. The interfacing is cut to the shape of the collar and sewn into a "sleeve" of the outer fabric. Contrasting fabrics, such as satin striping along the edge of the collar are sewn onto the outer fabric as well prior to jacket attachment. The lapel is constructed using the same process as the collar, but in different shapes and styling. The lapel is sewn along the front opening of the front panels. After assembling and attaching both the lapel and collar, the coat is complete.

Pattern of Coat

Trousers are not generally sewn to a specific length. Instead, the end is often left with a pinked edge so the store can hem each leg up or down as needed.
• If the trouser legs are to be lined, the liner fabric is cut to match the size and shape of the trousers. The thin lining, usually a The fabrication of a tuxedo.
Satin-like fabric, is juxtaposed on the interior of the leg before the legs are put together. Once the lining has been sewn in, the trousers are sewn together along the back inseam and along the outer side of each leg.
• The characteristic satin stripe is applied along the outside of each trouser leg with topstitching. The legs are then sewn together at the interior curved seat seam and interior leg seams as well.
• The waistband, which is generally folded at the top and stiffened within with buckram or some other interfacing, is sewn all around the upper edge of the raw edge of the trousers. The belt loops are constructed of small, machine-sewn strips of self-fabric and are attached at regular intervals onto the waistband.

• The zipper is sewn to the interior of the trousers so that the overlapping fly fabric covers the metal teeth of the fastener.
• When the coat and trousers are completely assembled, the parts must be finished. Finishing refers to closing off raw edges with closely stitched thread, such as that seen around buttonholes. It also includes sewing buttons onto the coat and pressing both the trousers and the coat. The hem of the trousers may remain a raw edge. The tuxedo is now complete.
Pattern of
Trouser

• When the invitation states Formal, Black Tie, Black Tie Invited or Black Tie Optional
• To the opening of the opera, ballet or symphony
• Ball or formal dance
• Formal dinner party or reception
• Dinner at a formal restaurant (some folks think you should be dressed at least as well as your waiter)

• Double Breasted
• Single Breasted Peak (the most traditional)
• Shawl Collar - flattering for heavier men
• Notched Collar
• Three-button

Tuxedo manufactures need to keep up with changing men's fashions; men's styles change almost as frequently as women's fashions. Couturiers with great cache greatly affect the design of higher-style tuxedos. New styles by well-known designers seen at very public events, such as the Academy Awards presentation, certainly have resonance in the manufacture of tuxedos. New colors, and occasionally new fabrics creep into tuxedo use but the days of outrageous tuxedos are largely over. In fact, the conservative black tuxedo with white shirt used for middle-class weddings rarely varies from year to year. The challenges that face tuxedo manufacturers primarily revolve around their ability to construct tuxedos competitively.