Linen is usually the relaxed cloth: patch pockets, soft shoulders, sleeves pushed up. The double-breasted jacket with peak lapels is usually the opposite, a shape that belongs to worsted and formal occasions. This commission put the two together on purpose. In Singapore there are daytime weddings, garden receptions and long lunches where a proper jacket is expected and a wool one would be unbearable, and this is the jacket for them.

The cloth is Solbiati’s Art du Lin, 100% linen woven in Italy from a twisted three-ply yarn. Three strands are twisted together before weaving, and that twist gives the cloth the body a structured jacket needs. It creases less than an ordinary linen and recovers better when it does, and the natural slubs in the yarn give the surface a quiet texture you only notice up close.

The colour is a pale stone, a grey with a trace of green in it. It is cool to look at in strong daylight and easier to wear than white or cream: it does not glare in the sun and takes a navy tie, a white shirt or an open collar equally well.

It is cut as a six-button double-breasted with broad peak lapels that sweep up towards the shoulder. Because the cloth already carries texture, the details stay formal and clean: a curved barchetta at the breast, jetted pockets at the hips, and white buttons that pick up the lightness of the linen. The buttonholes are finished by hand.

The full canvas matters more in linen than in almost any other cloth. Linen on its own has no memory; left unsupported, a double-breasted front sags and the lapels flatten by the afternoon. The canvas gives the chest its shape and lets the lapel roll in one line from collar to button, so the jacket still looks cut rather than simply worn at the end of a hot day. It will crease. It is linen, and the creases are part of the point.