A deep burgundy from Fox’s archive book. The colour of old port — and behaves like it on film.

A tweed for the groom who plans to wear it again — and hand it down.

Wool dyed in natural indigo by a single Kyoto family. Each bolt is slightly different — yours is yours alone.

A workhorse Super 130s in deep charcoal — the reference cloth for serious tailoring. Spun in Quaregna, finished in fresh Alpine water, with a hand that softens with wear and a drape that photographs flawlessly under any light.

A finer, dressier sibling to the 130s. Midnight navy reads near-black at altar, deep blue in afternoon light — the preferred evening cloth of grooms photographed on film.

From the highest grade of Tasmanian merino. A quiet stone grey that holds its line through long ceremonies and longer dinners.

The Savile Row warm-weather standard. High-twist yarns spun open for airflow — the cloth tailors choose for July weddings and August boardrooms.

A weighty herringbone in heritage browns. Built for stone churches, candlelit barns, and Northern winters.

A proper English flannel — milled, brushed, then rested. Slate grey that softens shadows and forgives a long ceremony.

Dormeuil’s century-old jacketing cloth in deep bordeaux. Built for late-autumn weddings and the photographs that follow.