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James Caan in Misery

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James Caan as Paul Sheldon in Misery (1990)

James Caan as Paul Sheldon in Misery (1990)

Vitals

James Caan as Paul Sheldon, successful but cynical romance novelist

Silver Creek, Colorado, Winter 1990

Film: Misery
Release Date: November 30, 1990
Director: Rob Reiner
Costume Designer: Gloria Gresham

WARNING! Spoilers ahead!

Background

Stephen King’s novels have provided the basis for some of the most enduring horror cinema, from Carrie and Christine to The Shining and The Stand. With Halloween a week away, I wanted to focus on a request I received to take a look at the protagonist’s style in the thrilling and witty adaptation of King’s self-inspired 1987 novel Misery. The novel was partly inspired by King feeling trapped both by his demanding, horror-loving fans and his own drug and alcohol demons, all embodied in the form of the obsessive tormentor Annie Wilkes.

Misery begins with novelist Paul Sheldon finishing his latest literary creation on a mint-colored Smith-Corona typewriter. Once he’s written all but the title, he celebrates with a glass of champagne, a single unfiltered cigarette, and a snowball thrown against a tree. “Still got it,” he notes before loading his sole manuscript in his ’66 Mustang and driving toward town to the tune of “Shotgun” by Junior Walker and the All-Stars, a booming soul single released the year before Paul’s Mustang rolled off the production line. (Clearly, this is a man more comfortable with the tools of an earlier era.)

Unfortunately, the New Yorker’s beautiful rear-wheel-drive pony car can’t handle the rigors of Colorado’s winding snow-covered roads and Paul soon finds himself bloodied, dazed, and trapped in his crashed Mustang… until a mysterious figure lifts him out of what would be a certain death scenario.

Paul awakens to the beaming face of Annie Wilkes (Kathy Bates in an Oscar-winning role), his “number one fan” who reveals herself to be his number one nightmare.

What’d He Wear?

Paul’s jacket for the Colorado winter is a tobacco brown suede blouson with a hunter green quilted lining for extra warmth in the snowy climate. The jacket has large bellows pockets on the hips that close with concealed-snap flaps, and there is a vertical opening behind each pocket for an additional hand pocket on each side. The zip-up jacket also has a two-button standing collar that Paul wears open and folded down like a standard shirt collar and ribbed knit cuffs and hem.

One last snowball before hitting the road... and hitting the snow.

One last snowball before hitting the road… and hitting the snow.

Paul wears multiple layers under his jacket, including a dark red shirt made from a heavy microfiber fabric, patterned with a grid made of a black mini-check. The shirt has a front placket with black plastic sew-through buttons, two button-through patch pockets on the chest, and button cuffs.

Annie ostensibly removes Paul’s shirt along with the rest of his clothing after his accident. She gives it back to him to wear, perhaps as a reward, when they dine together at his suggestion midway through his draft of Misery’s Return.

MISERY

Under the red shirt, Paul wears a black ribbed knit turtleneck.

A job well done.

A job well done.

Before he is confined solely to sweatpants, Paul wears a pair of medium blue denim jeans with a zip fly, worn without a belt.

Paul is pulled from his Mustang by a less-than-benevolent savior.

Paul is pulled from his Mustang by a less-than-benevolent savior.

Paul wears a pair of russet brown moc-toe work boots with two-tone rawhide laces through seven derby-style eyelets up the front of each boot. The boots also have two sets of grommets for decorative side lacing, similar to the classic Sperry Top-Sider boat shoe. Brooks Brothers, Ralph Lauren, and other companies that mastered preppy fashions have offered this type of “boat boot”, so named for their similarity to the traditional New England loafer.

He wears a pair of heavy ivory ribbed-knit wool socks to keep his feet warm when trudging through the snow.

MISERY

When Paul wakes up bedridden at Annie’s, his wardrobe is reduced to a white long-sleeve T-shirt, slightly torn. This may be the shirt that Paul had been wearing as a undershirt beneath his turtleneck, but the emblazoned logo for “OLD WEST SADDLERY Leather Goods | Outfitters” may suggest that it came from the shop of the same name in Cortez, Colorado.

MISERY

Not yet provided sweatpants by Annie, Paul spends his first few nights wearing only the light blue cotton boxer shorts he likely had on under his jeans during the accident.

Escape attempt #1 of many.

Escape attempt #1 of many.

After his first few nights and the revelation of Annie’s true motives, Paul begins cycling through different clothing that Annie presumably provides for him. A montage set to Tchaikovsky’s Piano Concerto No. 1 as interpreted by Liberace (who else?) showcases the progression of Paul’s wardrobe in captivity as he graduates from ratty henley shirts and sweatpants to the nicer flannel shirts in blue, white, and teal plaid as well as the Christmassy red, green, and white plaid shirt that he is wearing for the horrifying hobbling scene.

What to Imbibe

Paul Sheldon’s habit upon completion of his books is evidently well known in the literary world… or at least among die-hard fans like Annie Wilkes. His cigarette of choice is an unfiltered Lucky Strike, as seen in the opening shot of the film.

"You need a cigarette, because you used to smoke but quit, except when you finish a book, and you have just one. And the match is to light it..."

“You need a cigarette, because you used to smoke but quit, except when you finish a book, and you have just one. And the match is to light it…”

Also setting the scene in Paul’s hotel room as he finishes his novel in the opening scene is a chilling bottle of Dom Pérignon (“Dom Per-ig-non it is,” he later confirms to Annie) with a 1982 vintage.

"...and you need one glass of champagne, Dom Perig-non."

“…and you need one glass of champagne, Dom Perig-non.”

On the opposite end of the vino spectrum is the Gallo “Classic Burgundy” red table wine that Annie serves for their Liberace-scored dinner date of Spam-infused meatloaf. While not Paul’s preferred libation, he is nonetheless grateful to have the wine as a possible vessel for the codeine pills to drug Annie.

"Can't get this in a restaurant in New York."

“Can’t get this in a restaurant in New York.”

The Car

It’s not car week, but the plight of Paul Sheldon wouldn’t receive its due justice without describing the black 1966 Ford Mustang hardtop whose failure to perform on the snowy Colorado roads leads him to his fate with Annie Wilkes and her sledgehammer. (In the book, it was a Chevrolet Camaro.)

The newspapers describing Paul’s predicament incorrectly describe his car as a blue 1965 Mustang. In addition to the three horizontal sweeps on the side scoops, the 1966 Mustang appears to have a free-floating “horse and corral” emblem on the grille as opposed to the honeycomb effect created by the four vertical grille bars of the 1965 models.

MISERY

MISERY

The “289” badging and shots of the car’s interior help us determine that Paul Sheldon is driving a Mustang equipped with a 289 cubic inch “Windsor” V8 engine and Ford’s new C-4 “Cruise-O-Matic” three-speed automatic transmission. The 289 was offered in three different performance packages for 1966, a two-barrel, a four-barrel, and a High Performance four-barrel (only available with the four-speed manual transmission), but we can assume that Paul is driving the base two-barrel V8.

MISERY

1966 Ford Mustang

Body Style: 2-door hardtop

Layout: front-engine, rear-wheel-drive (RWD)

Engine: 289 cid (4.7 L) Windsor V8 with Autolite 2-barrel carburetor

Power: 200 bhp (149 kW; 203 PS) @ 4400 rpm

Torque: 282 lb·ft (382 N·m) @ 2400 rpm

Transmission: 3-speed automatic

Wheelbase: 108 inches (2743 mm)

Length: 181.6 inches (4613 mm)

Width: 68.2 inches (1732 mm)

Height: 51.2 inches (1300 mm)

Unfortunately, the rear-wheel-drive drivetrain doesn’t do Paul any favors while driving on the snow, and his Mustang skids out of control. If only Harry Ferguson Research had carried through on its prototype of an all-wheel-drive Mustang, having purchased and converted three Mustangs to 4×4 in the hopes of selling clients on its AWD system.

How to Get the Look

James Caan as Paul Sheldon in Misery (1990)

James Caan as Paul Sheldon in Misery (1990)

Paul Sheldon’s layered look nicely balances the aesthetic of a rugged outdoorsman with preppy success and would be equally fashionable and functional for autumn, winter, or even early spring.

  • Tobacco brown suede zip-up blouson jacket with two-button standing collar, flapped bellows pockets with hand pockets behind them, and ribbed-knit cuffs and hem
  • Red-and-black mini-check microfiber shirt
  • Black ribbed-knit cotton long-sleeve turtleneck jumper
  • White cotton “Old West Saddlery” long-sleeve T-shirt
  • Blue denim zip-fly jeans
  • Russet brown leather moc-toe “boat boots” with rawhide laces and side-lacing detail
  • Ivory ribbed-knit wool socks
  • Light blue cotton boxer shorts

Do Yourself a Favor and…

Check out the movie and read Stephen King’s novel.


The Shining – Jack Nicholson’s Corduroy Jacket

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Jack Nicholson as Jack Torrance in The Shining (1980)

Jack Nicholson as Jack Torrance in The Shining (1980)

All work and no play makes Jack a dull boy.

Vitals

Jack Nicholson as Jack Torrance, stir-crazy writer

Silver Creek, Colorado, Winter 1990

Film: The Shining
Release Date: May 23, 1980
Director: Stanley Kubrick
Costume Designer: Milena Canonero

WARNING! Spoilers ahead!

Background

Happy Halloween, BAMF Style readers! What better way to observe the most haunted holiday than with a look at one of the scariest and most suspenseful psychological horror movies, The Shining.

Three years after Stephen King’s novel was published, Stanley Kubrick brought his own adaptation of the story to the big screen with a screenplay co-written by novelist Diane Johnson, significantly altering the characters and motivations of the source novel.

Perhaps most significantly – and certainly cited as one of King’s greatest dissatisfactions with the movie – was Jack Nicholson’s portrayal of the central character, Jack Torrance, the new caretaker who brings his family to the Overlook Hotel for the winter and hopes the seclusion will help him with his writing… and to continue overcoming his battle with alcoholism. “Instead of playing a normal man who becomes insane, Nicholson portrays a crazy man attempting to remain sane,” wrote Cinefantastique editor Frederick S. Clarke in 1996.

Despite – or perhaps due to – Kubrick’s shift of Jack Torrance from sympathetically conflicted to singularly crazy, the resulting movie remains a major subject of speculative interpretation among film scholars and novices for nearly four decades. Is The Shining an allegory for the Holocaust (as Geoffrey Cocks argued) or the genocide of Native Americans (as Bill Blakemore suggested), or is it an indictment of American imperialism as John Capo has concluded?

What’d He Wear?

Jack’s signature outfit for much of The Shining takes its inspiration from classic blue-collar workwear. He is, after all, the hotel’s caretaker. He’s always been the caretaker.

Several film scholars have suggested that Stanley Kubrick directed The Shining as an allegory for American imperialism, thus making Jack’s red, white, and blue outfit take on a heavier significance.

According to the film’s costume designer, four-time Oscar winner Milena Canonero, the burgundy corduroy blouson jacket was hand-picked by Jack Nicholson from his own personal wardrobe for his character to wear in these scenes and an additional 11 replicas of the jacket were thus ordered for the production.

The original jacket was made by Margaret Howell, a British designer who got her start with menswear in the 1970s before expanding to design for women as well. Oliver Franklin-Wallis reported for British GQ in spring 2012 that Margaret Howell had just updated and reissued Nicholson’s iconic corded jacket the previous fall, selling for £465 and available “in two new fabrics, grey marl and blue gabardine, and with a slightly cropped silhouette.”

As of the fall of 2018, the only corduroy jacket available from Margaret Howell is this “boxy cut” work jacket in midnight blue corded cotton with three widely spaced buttons for £395. Fans hoping for a screen-accurate jacket will have to look elsewhere, such as one of the many replicas offered online.

The screen-worn jacket (size large) still had the Margaret Howell label when it was included in an Italian auction of props from Kubrick’s cinematic career in March 2018.

"Little pigs, little pigs, let me come in..."

“Little pigs, little pigs, let me come in…”

Jack’s burgundy corded blouson jacket has a one-piece, shirt-style spread collar. The jacket has a seven-button front with five buttons under a covered fly that ends above the waistband, which has a double-button closure. Except for this double-button closure in the front, the waistband is ribbed and elasticized in brown wool. The set-in sleeves close over each wrist with a squared single-button half-tab at the cuff.

The jacket has a long patch pocket on the left breast and a lower bellows pocket on each side, all with buttoned flaps.

Jack has an understandable reaction to learning he was making out with a ghost's rotting corpse.

Jack has an understandable reaction to learning he was making out with a ghost’s rotting corpse.

The auction catalog also included a burgundy cotton shirt that Nicholson reportedly wore during costume rehearsals though not in the film itself. This burgundy shirt was made in Sweden by London clothier Austin Reed, so it’s possible that his navy plaid check shirt came from the same shop.

The screen-worn plaid shirt is patterned with two interlocking white large-scaled grid check patterns on a navy ground. One check is a bold white windowpane bordered on each side by a red stripe for a shadow effect; the other check is two faded white stripes criss-crossing with a faded green stripe bordering each vertical set of double stripes.

Jack’s flannel shirt has a large point collar, a front placket with mixed tan plastic sew-through buttons, button cuffs, and a set-in breast pocket with a single-button flap, rounded on the corners.

Jack dissolves further into madness.

Jack dissolves further into madness.

Jack’s jeans are the classic Lee 101 Rider style in dark blue selvedge denim, the same model worn by James Dean in Giant and Rebel Without a Cause and by Steve McQueen in The Hunter, also released in 1980. These sanforized jeans with the original zip fly (a Lee innovation dating back to 1926) can be identified by the black tag with “Lee” in yellow on the corner of the back right pocket as well as Lee’s signature decorative curved “Lazy S” stitching across each of the back pockets.

SHINING

Jack wears a brown leather belt with contrasting tan edge-stitching and a thick squared steel single-prong buckle.

SHINING

Apropos his now neglected position as caretaker, Jack wears a pair of well-worn work boots that appear to be Timberland’s classic six-inch waterproof boots in gold wheat-colored burnished full-grain leather, now offered as part of the Timberland Heritage line from Timberland as well as Amazon.

Designed for waterproof comfort with seam-sealed construction, rubber lug outsoles, and brown leather padded collars, these plain-toe boots are derby-laced with seven brass grommets on each side for the two-tone laces.

Wendy (Shelley Duvall) finds a place for Jack.

Wendy (Shelley Duvall) finds a place for Jack.

Barely glimpsed on Jack’s left wrist is a steel wristwatch, which he wears throughout the film.

What to Imbibe

God, I’d give anything for a drink. I’d give my goddamned soul for just a glass of beer.

While Jack Torrance’s soul is certainly up for grabs, it’s not beer but bourbon that ends up satiating the part of him that has been craving a drink after spending the better part of a year on the wagon.

At least, the laconic Lloyd calls it “bourbon,” a surprising misstep for a professional bartender who ought to know that the Jack Daniel’s he pulls off the shelf for a thirsty Jack is actually a Tennessee whiskey rather than the differently distilled bourbon whiskey associated with Kentucky. After all, Jack Daniel’s proudly earns its Tennessee whiskey designation alongside other Tennessee whiskies like George Dickel after the spirit is filtered through sugar-maple charcoal chips, a step popularly known as the “Lincoln County Process” that became required under the law after Tennessee Governor Bill Haslam signed House Bill 1084 in May 2013.

Jack for Jack.

Jack for Jack.

I like you, Lloyd. I always liked you. You were always the best of them. Best goddamned bartender from Timbuktu to Portland, Maine. Or Portland, Oregon, for that matter.

In search of a drink, Jack feels an instant kinship with Lloyd, a connection communicated to the audience through their nearly matching “uniform” of similar jackets. While Lloyd’s burgundy velvet dinner jacket is more indicative of a bygone era, the color and texture it shares with Jack’s more contemporary corduroy blouson unifies the two in the Overlook Hotel’s unending time warp.

To be fair, Lloyd's selection of whiskies does look relatively limited with plenty of gin, cognac, and liqueur but nary much whiskey other than Jack Daniel's.

To be fair, Lloyd’s selection of whiskies does look relatively limited with plenty of gin, cognac, and liqueur but nary much whiskey other than Jack Daniel’s.

Lloyd: Women. Can’t live with them, can’t live without them.
Jack: Words of wisdom, Lloyd, my man. Words… of… wisdom.

And if drinking in a Prohibition-era setting, you’ll want the appropriate music. From Louis Armstrong and Bix Beiderbecke to Sidney Bechet and Duke Ellington, there’s no shortage of great musicians from the 1920s that can provide the soundtrack to your night of classic cocktails, however this British production used the stirring vocals of Al Bowlly backed by Ray Noble and his Orchestra to set the mood, most notably the 1934 recording of “Midnight, the Stars, and You” that leads into the end credits.

Jack Nicholson as Jack Torrance in The Shining (1980)

Jack Nicholson as Jack Torrance in The Shining (1980)

How to Get the Look

“As the winter and his madness closes in, Jack recedes to workwear staples: a corduroy bomber jacket, plaid flannel work shirt, jeans, and work boots,” wrote David Shuck in a thoughtful 2014 exploration for Heddels. “This stands in stark contrast to the black tie dinners that haunt his vision.”

  • Burgundy corduroy blouson jacket with shirt-style collar, 5-button covered fly front with double-button bottom closure, brown woolen elasticized hem, three patch pockets with buttoned flaps, and single-button cuffs
  • Navy, white, red, and green plaid flannel shirt with point collar, front placket, flapped set-in breast pocket, and button cuffs
  • Dark blue selvedge denim Lee 101 Rider jeans
  • Brown leather belt with contrasting tan edge-stitching and thick squared steel single-prong buckle
  • Timberland Heritage six-inch work boots in burnished, waterproof-treated full-grain wheat gold leather

Do Yourself a Favor and…

Check out the movie and read Stephen King’s novel. If you’re among the many fascinated with interpreting and exploring the film’s many possible meanings, check out Rodney Ascher’s 2012 documentary Room 237 featuring insights from Blakemore, Cocks, and other film scholars who provide unique analysis into the movie.

If you’re looking to take in the alpine aesthetic of The Shining with less of the axe-wielding madness, check out the Majestic Yosemite Hotel (former the Ahwahnee Hotel) which inspired much of the Overlook’s set design and architecture.

Fans should also check out some of this behind-the-scenes footage of the cast, including an increasingly intense Jack Nicholson.

The Quote

Here’s Johnny!

 

Gregory Peck’s Tweed in The Snows of Kilimanjaro

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Gregory Peck as Harry Street in Ernest Hemingway's The Snows of Kilimanjaro (1952)

Gregory Peck as Harry Street in Ernest Hemingway’s The Snows of Kilimanjaro (1952)

Vitals

Gregory Peck as Harry Street, adventurous American expatriate writer and former newspaper reporter

Paris, Spring 1925

Film: The Snows of Kilimanjaro
Release Date: September 17, 1952
Director: Henry King
Wardrobe Supervisor: Charles Le Maire

Background

The snowy month of January—and my shared half-birthday with Ernest Hemingway on the 21st—makes today a perfect time to look at Gregory Peck’s style in The Snows of Kilimanjaro, the first of Henry King’s two adaptations of Papa’s work that would star Ava Gardner and Peck’s second go at playing a Hemingway protagonist.

The film begins with a disillusioned Harry Street (Peck) at the foot of Mount Kilimanjaro in Tanzania, “said to be the highest mountain in Africa”, slowly dying from a leg infection spreading through his body. Despite receiving compassionate first aid from his resourceful, supportive wife Helen (Susan Hayward), Harry’s prognosis seems poor. He offers some personal musings on the nature of death, which makes him think even deeper into his own history…

Did I ever tell you about my beginning, when I was young… and my first love?

The lucid Harry recalls a quarter of a century earlier when he was in Paris as part of the “Lost Generation”, a real-life exodus that found American authors and artists like Hemingway, F. Scott Fitzgerald, and Gertrude Stein conducting their art and affairs against the romantic backdrop of 1920s Paris. It’s a place for painters, sculptors, and writers, and the few who are “just trying to be happy” as Gardner’s Cynthia Green would offer for her own motives.

We can’t quite pin down the year, though we know Harry would receive a telegram that summer while in Spain for the bullfights, summoning him to Damascus to cover the “fracas” between the French and the Syrians, which could be the Franco-Syrian War which ended in July 1920 or, more likely, the Syrian revolt of 1925-1927. But we’re getting ahead of ourselves! Back to Harry’s story…

This little ditty had everything: drama, tragedy, love, and poetry… simply everything!

What’d He Wear?

The strains of accordion music transport us to springtime in Paris, where a tweed-coated Harry Street struts in and gregariously greets the proprietor of Café Emile and orders a drink before he catches sight of the dazzling Cynthia Green (Ava Gardner) and cuts in to dance with her.

Harry wears a tweed sport jacket in a birdseye weave of alternating gray yarns, woven in a manner that creates an imperfect stripe effect.

Harry can't take his eyes off of Cynthia. Love at first sight.

Harry can’t take his eyes off of Cynthia. Love at first sight.

Gregory Peck didn’t become a customer of the famous Huntsman tailor shop on Savile Row until 1953, the year after The Snows of Kilimanjaro was released, so it’s unlikely that we may ever find out who tailored his sharp costumes, designed by the celebrated Charles Le Maire. Peck and Le Maire had worked together before on Gentleman’s Agreement (1947) and The Gunfighter (1950), and Le Maire’s contemporary approach to 1920s period costuming can also be seen in The Razor’s Edge (1946).

This particular sport jacket has substantial notch lapels that roll to a low stance with two sky blue plastic sew-through buttons that match the four buttons on each cuff. The ventless jacket has a welted breast pocket and straight flapped hip pockets, though the left pocket flap is occasionally tucked in to the pocket himself when Harry arrives at Emile’s.

Harry can't help but to try to steal a dance with Cynthia, cutting out Compton (John Dodsworth), her presumed date for the evening.

Harry can’t help but to try to steal a dance with Cynthia, cutting out Compton (John Dodsworth), her presumed date for the evening.

Harry wears a light blue cotton shirt with a soft spread collar with long points, a front placket, and rounded barrel cuffs that close on one of two buttons like many modern inexpensive, ready-to-wear dress shirts. He wears it with a dark royal blue silk tie.

THE SNOWS OF KILIMANJARO

Harry’s light gray flannel double reverse-pleated trousers have do not contrast much with his jacket, creating a suit-like effect when seen from afar. The trousers are finished with turn-ups (cuffs) on the bottoms and have side pockets where he frequently keeps his hands, though they’re likely styled with two back pockets like all of his other trousers.

Through the trouser belt loops, he wears a brown leather belt with a squared brass single-prong buckle.

Harry may have benefited from a stronger contrast between jacket and trousers, perhaps by wearing charcoal rather than light gray trousers, but at least the pattern of his tweed jacket provides some visual differentiation.

Harry may have benefited from a stronger contrast between jacket and trousers, perhaps by wearing charcoal rather than light gray trousers, but at least the pattern of his tweed jacket provides some visual differentiation.

The scene shifts from the boisterous Café Emile to a slowed-down jazz bar where Benny Carter serenades the crowd with his smooth saxophone improvisation. Reclined against a wall, Harry kicks out his feet, clad in a pair of brown suede cap-toe oxfords and light gray socks.

Harry sits on the floor of a crowded but quiet Paris nightclub, drinking Pernod and listening to jazz. Just a few feet to his left sits an artist, studiously working on a painting of a Paris street, while to his right is the alluring woman he'll fall instantly in love with. Welcome to the Lost Generation.

Harry sits on the floor of a crowded but quiet Paris nightclub, drinking Pernod and listening to jazz. Just a few feet to his left sits an artist, studiously working on a painting of a Paris street, while to his right is the alluring woman he’ll fall instantly in love with. Welcome to the Lost Generation.

Harry’s dark gray felt fedora has a black ribbed grosgrain band and a self-bound brim reminiscent of “the Cavanagh edge” used by some of the best hatmakers after Cavanagh’s first patent expired in 1931. This style remained popular well into the time of the film’s production in the 1950s, when they were worn by stars like James Stewart and Frank Sinatra (who wore Cavanagh hats exclusively).

Peck’s Harry Street would wear this same gray fedora with his other lounge suits and sport jackets throughout the film.

Another shared match for Harry and Cynthia's Gauloises.

Another shared match for Harry and Cynthia’s Gauloises.

Months later, Harry and Cynthia are living together in Paris when he finishes his first book, The Lost Generation. She catches up with him on the street with the news of its publication while he wears the same jacket, trousers, and belt but with a white shirt, a short teal tie, and the hint of a white linen handkerchief popping up from his jacket’s breast pocket.

Cynthia excitedly shares the news of Harry's imminent publishing, and it's off to Africa!

Cynthia excitedly shares the news of Harry’s imminent publishing, and it’s off to Africa!

Following that scene, it’s plenty of safari clothing for both Peck and Gardner, something she would be getting rather used to when starring in Mogambo the following year with Clark Gable and Grace Kelly. He wears plenty of tweed when he returns to Europe—sporting brown herringbone when in Spain for the bullfights and a gray mixed tweed suit on the French Riviera—but this distinctive jacket from his salad days in Paris never reappears.

What to Imbibe

Café Emile barmaid: Et, quelle est votre désir?
Harry: In English, that’s quite a question.

For non-Francophiles, Harry was asked “and, what is your desire?” He ordered “un fine,” or a high-quality brandy, perhaps a shortcut for fine à l’eau, the popular brandy-and-water concoction that featured in several of Ernest Hemingway’s Paris-set books and even made its way into Ian Fleming’s first James Bond novel when 007’s ally René Mathis orders one in Casino Royale.

“We got the daughter of the house over and each had a fine à l’eau,” Hemingway surrogate Jake Barnes narrates in the third chapter of The Sun Also Rises. In Hemingway’s posthumously published recollection of this era, he includes a fine-focused exchange with Ford Madox Ford:

“What are you drinking brandy for?” Ford asked me. “Don’t you know it’s fatal for a young writer to start drinking brandy?”

Decades after he was a “young writer”, Harry returns to Café Emile and is surprised and delighted to find that Emile stocks the same brandy behind his bar, and he splits a glass with the two young women accompanying him.

Twenty years after he first saw Cynthia in this very location, a drunk and disillusioned Harry returns to Café Emile—and Emile's cognac—with two dates in tow.

Twenty years after he first saw Cynthia in this very location, a drunk and disillusioned Harry returns to Café Emile—and Emile’s cognac—with two dates in tow.

But getting back to the roaring twenties… after Harry leaves Café Emile and settles in to hear Benny Carter playing “Blue Mountain” (also known as “Love Is Cynthia”) on his saxophone, he sips a cloudy drink that could only be the classic Lost Generation libation of Pernod and water that features in so many of Hemingway’s works.

Between drinks, Harry lights a cigarette and hears “Please?” before he can extinguish his match. Turning to his right, he sees Cynthia—the mysterious woman from Café Emile—with a cigarette suggestively dangling from her lips.

Two on a match.

Two on a match.

“Do you mind?” Cynthia asks after their introductions, picking up Harry’s glass and taking a considerable swallow of the concoction before handing it back.

Cynthia: You’d better take this from me, I sometimes drink too much.
Harry: Everything’s fair in the pursuit of happiness.

How to Get the Look

Gregory Peck and Marcel Dalio in The Snows of Kilimanjaro (1952)

Gregory Peck and Marcel Dalio in The Snows of Kilimanjaro (1952)

Peck // though the scene is set in the 1920s, peck’s wardrobe would also be fashionable and contemporary for the ’50s (some may argue moreso), but it’s a timeless touch that keeps his character from looking dated. while not perhaps the most historically accurate depiction of what would have been seen on the streets of Jazz Age Paris, it’s nice.

  • Gray birdseye tweed single-breasted 2-button sport jacket with notch lapels, welted breast pocket, straight flapped hip pockets, 4-button cuffs, and ventless back
  • Light blue cotton shirt with long-pointed soft spread collar, front placket, breast pocket, and 1-button rounded cuffs
  • Dark royal blue silk tie
  • Light gray flannel double reverse-pleated trousers with belt loops, side pockets, back pockets, and turn-ups/cuffs
  • Brown leather belt with squared brass single-prong buckle
  • Brown suede cap-toe oxford shoes
  • Light gray socks
  • Dark gray felt fedora with black ribbed grosgrain band and “Cavanagh edge”

Do Yourself a Favor and…

Check out the movie and Papa’s original short story.

Since the film spent years in the public domain, make sure you’re finding a worthwhile print of it to see the stunning, Oscar-nominated cinematography and art decoration (as well as Ava Gardner) in full Technicolor; the DVD box set included in The Ernest Hemingway Classics Collection offered by 20th Century Fox seems to be a good bet, and it was that set that provided the screenshots in this post.

A screenshot from the high-resolution DVD offered in The Ernest Hemingway Classics Collection... ...and a screenshot of the same scene from one of the many low-quality public domain prints floating around the Internet.

The Quote

It’s a case of avoiding a broken nose, Emile—mine or old Compton’s—because a laugh like hers would just have to lead it to a lousy fight.

Curb Your Enthusiasm: “Chet’s Shirt”

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Larry David on Curb Your Enthusiasm (Episode 3.01: "Chet's Shirt")

Larry David on Curb Your Enthusiasm (Episode 3.01: “Chet’s Shirt”)

Vitals

Larry David as himself, a neurotic comedy writer

Los Angeles, Summer 2002

Series: Curb Your Enthusiasm
Episode: “Chet’s Shirt” (Episode 3.01)
Air Date: September 15, 2002
Director: Robert B. Weide
Creator: Larry David
Costume Designer: Wendy Range Rao

Background

Larry David, style icon… nope, the phrase still doesn’t sound right, even two years later. Let’s cut him a break, though, as tomorrow is his birthday!

The comedian, writer, and creator of Seinfeld was born 72 years ago tomorrow—July 2, 1947—in Brooklyn. After a career spent behind the scenes, first as a writer on Saturday Night Live before he teamed up with Jerry Seinfeld, Larry finally decided to take a primary role in front of the camera by portraying an even more neurotic version of himself on Curb Your Enthusiasm. What began as an hourlong HBO special has turned into ten seasons and counting of an improvisational comedy masterpiece.

Larry’s latent passion for menswear rears its head in “Chet’s Shirt”, not only regarding the titular top but also his choice to make a major investment in an elegant new restaurant… almost certainly for the sole reason that he would be put in charge of determining the waitstaff’s uniforms.

Larry: Hey, how ’bout this?
Jeff: That’s what you want the waiters to wear?
Larry: Yeah, why not?
Jeff: So you want the waiters to dress like you?
Larry: Why’s that bad?

What’d He Wear?

Two years after Curb Your Enthusiasm premiered with an opening shot of Larry David’s “pants tent”, the third season began with yet another clothing-focused episode, this time the eponymous “Chet’s Shirt”, a black-and-cream silk shirt that Larry envies after spying it in a photo of his friend Barbara’s deceased husband Chet.

The recently deceased Chet models a Nat Nast shirt that becomes Larry's latest obsession.

The recently deceased Chet models a Nat Nast shirt that becomes Larry’s latest obsession.

“Boy, I love this shirt. That is exactly the kinda shirt that I would wear, don’t you think?” After some uncomfortable prodding of Chet’s widow, Larry finally finds out from Barbara (Caroline Aaron) that the shirt was likely purchased from Caruso’s on Wilshire Boulevard.

Sure enough, the next time we see Larry, he’s happily jaunting along Ocean Avenue with Jeff, sporting a black-and-cream silk shirt that could only be his latest purchase from Caruso’s, one of only three from the store’s remaining stock. When they get to their lunch meeting, even Ted Danson can’t help but to comment on Larry’s “really nice” shirt and ask where he got it. “Actually, I saw a dead guy’s picture,” Larry responds evasively—but not inaccurately.

After Ted’s compliment, Larry decides to buy the two remaining shirts from Caruso’s—one as a gift for Ted and one as a personal backup. “I always ruin my shirts, I stain ’em, and I like it; it’d be good to have an extra one. Is it crazy to have two of the same shirt?” Larry asks. Larry’s in luck, as the salesman is able to find the two last shirts in Caruso’s stock and holds them up, revealing the signature gold-embroidered-on-black Nat Nast label.

Larry buys the remaining stock of black-and-cream Nat Nast shirts from Caruso's.

Larry buys the remaining stock of black-and-cream Nat Nast shirts from Caruso’s.

“Come on, feel this material, this is beautiful,” Larry urges his wife, and you get a sense that George Costanza’s material-feeling gaffe may have had some genesis with the real-life Larry. He has a point, though, as Nat Nast has offered this “Rockabilly” shirt in several luxurious fabrics, including a 70/30 silk-viscose blend as well as 100% silk. Likely made from the latter, Larry’s shirt has long sleeves that button at the cuffs with a one-piece “Italian-style” camp collar, five smoke-gray plastic sew-through buttons down the plain front, and back side pleats. The mostly black shirt has wide cream panels on the front that extend from the shoulder seams down to the bottom of the shirt with cream contrast stitching along the inside.

Given his usual approach to dressing, the oversized Nat Nast shirt still looks "pretty, pretty good" on Larry David.

Given his usual approach to dressing, the oversized Nat Nast shirt still looks “pretty, pretty good” on Larry David.

Like all of his shirts, Larry’s new acquisition is oversized, dwarfing his already slim frame with its baggy fit. He wears it over a cotton crew-neck short-sleeve T-shirt in charcoal gray, just a shade lighter than the black of his shirt but hardly much of a contrast. His black trousers are likely pleated and worn with a belt.

Unfortunately, Larry counters his all-time style high of the Nat Nast shirt and black pants with a pair of uninspired gray sneakers and white tube socks. “I’m really happy with my new sneakers,” Larry shared in the previous season’s fifth episode. “You know, ’cause they’re gray. And, if you think about it, it’s a good color, ’cause white is really too bright and black is like a pair of shoes. And gray is kind of like right in the middle. They look good.”

Ted joins Larry, now down to his second of three Nat Nast shirts, for an afternoon spent watching The Wizard of Oz.

Ted joins Larry, now down to his second of three Nat Nast shirts, for an afternoon spent watching The Wizard of Oz.

You can read more about Larry David’s approach to sneakers in this 2017 article by Alec Banks for High Snobiety. The shoes seen in this episode do not appear to be New Balance, Nike Jordan, or Simple OS, all brands or models often associated with Larry’s real-life favored footwear.

Larry wears his usual watch which has been identified as an 18-karat white gold Patek Gondolo 5124 with a square rose gold dial and tan crocodile strap.

A day in the life of Larry David.

A day in the life of Larry David.

Larry also continues to wear his usual round-framed glasses with transition lenses, which Oliver Peoples claims as its own MP-3 model.

The Sopranos Connections

Despite his “character” being cast in a Martin Scorsese joint by the season’s end, there’s still little about Larry David that looks like the classic Italian-American gangster…until you realize that Chet’s shirt makes numerous appearances on The Sopranos. Interestingly, the shirt is always worn by men of considerable girth, the opposite in body shape from the lean and lanky Larry David.

Almost midway through “Two Tonys” (Episode 5.01), the fifth season premiere, Tony Soprano (James Gandolfini) enters his uncle’s home to visit an older mobster recently released from prison. Tony wears a black-and-cream Nat Nast “Rockabilly” shirt, identical to Larry’s in every respect except that Tony wears the short-sleeved version as opposed to Larry’s long-sleeved shirt.

James Gandolfini as Tony Soprano in "Two Tonys" (Episode 5.01)

James Gandolfini as Tony Soprano in “Two Tonys” (Episode 5.01)

Two episodes after Tony graced his kitchen with his own short-sleeved version of Chet’s shirt, his uncle Corrado “Junior” Soprano (Dominic Chianese) is flipping through the channels of his newly obtained cable service and catches sight of Larry and Jeff on Curb Your Enthusiasm, mistaking the pair for himself and his overweight caretaker Bobby Bacala (Steven R. Schirripa).

As Junior frantically tries to decipher Larry and Jeff’s misadventures with a Judy doll in the famous episode “The Doll” (Episode 2.07), his drowsy, elderly caretaker Tommy Di Palma (Ed Setrakian) tries to reassure him that the episode is nothing more than a TV pro-grum.

Junior: "The fuck... why am I on there?" Tommy: "What? It's not you." Junior: "What's that, my trial? That's Bobby! The fuck is this?" Tommy: "Junior, that's not you, it's a TV pro-grum. A movie."

Junior: “The fuck… why am I on there?”
Tommy: “What? It’s not you.”
Junior: “What’s that, my trial? That’s Bobby! The fuck is this?”
Tommy: “Junior, that’s not you, it’s a TV pro-grum. A movie.”

In the very next scene, Bobby himself strolls into the back room of the Bing… wearing a black-and-cream color-blocked shirt almost identical to the Nat Nast “Chet’s Shirt” that Tony had worn two episodes earlier. Bobby’s shirt, however, appears to be a lighter-weight linen or linen-silk blend as opposed to the full-silk version that Tony wears.

Steven R. Schirripa as Bobby "Bacala" Baccalieri in "Where's Johnny?" (Episode 5.03).

Steven R. Schirripa as Bobby “Bacala” Baccalieri in “Where’s Johnny?” (Episode 5.03).

A season later, Vito Spatafore (Joseph R. Gannascoli) wears his own black-and-cream short-sleeved Nat Nast “Rockabilly” during his idyllic retreat to Dartford, New Hampshire. The shirt briefly appears in “Johnny Cakes” (Episode 6.08) while Vito subjects himself to the inane conversation of his fellow B&B guests. Despite being such a Jersey-friendly shirt, the only time Vito wears it is when he’s away from his mob colleagues.

Vito Spatafore in the peaceful hamlet of Dartford, New Hampshire, in "Johnny Cakes" (Episode 6.08), sporting a Nat Nast "Rockabilly" silk shirt with his Oris watch.

Vito Spatafore in the peaceful hamlet of Dartford, New Hampshire, in “Johnny Cakes” (Episode 6.08), sporting a Nat Nast “Rockabilly” silk shirt with his Oris watch.

Tony’s Nat Nast fandom reappears in full force in “Irregular Around the Margins” (Episode 5.05), first with a brown-and-cream silk short-sleeved shirt and finally a unique black-and-navy version in the same cut and style, both times for scenes that end in Tony arguing with Carmela about his supposed sexual interlude with an underling’s fiancee.

James Gandolfini as Tony Soprano in "Irregular Around the Margins" (Episode 5.05)

James Gandolfini as Tony Soprano in “Irregular Around the Margins” (Episode 5.05)

How to Get the Look

Larry David on Curb Your Enthusiasm (Episode 3.01: "Chet's Shirt")

Larry David on Curb Your Enthusiasm (Episode 3.01: “Chet’s Shirt”)

Larry David may not be known for his sense of style, but there’s a reason that both he and Ted Danson find themselves so drawn to this classic silk shirt.

  • Black-and-cream color-blocked silk Nat Nast “Rockabilly” long-sleeve camp shirt with five-button plain front and button cuffs
  • Charcoal cotton crew-neck T-shirt
  • Black pleated trousers with belt loops and plain-hemmed bottoms
  • Black leather belt
  • Gray sneakers with white laces and white outsoles
  • White tube socks with black top trim
  • Oliver Peoples MP-3 glasses with round transition lenses
  • Patek Gondolo 5124 white gold wristwatch with rose gold rectangular dial on tan leather strap

Though the Rockabilly is no longer available from Nat Nast’s collection, older versions are relatively abundant from used clothing sellers online at places like eBay and Poshmark. I was able to find two short-sleeved versions on eBay—one linen, one silk—that are very comfortable.

Do Yourself a Favor and…

Check out Curb Your Enthusiasm, and find this episode at the start of the show’s third season.

The Quote

I don’t like talking to people I know, but strangers I have no problem with.

Gregory Peck’s Checked Summer Shirt in The Snows of Kilimanjaro

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Gregory Peck as Harry Street in Ernest Hemingway's The Snows of Kilimanjaro (1952)

Gregory Peck as Harry Street in Ernest Hemingway’s The Snows of Kilimanjaro (1952)

Vitals

Gregory Peck as Harry Street, expatriate writer and former newspaper reporter

French Riviera (Côte d’Azur), Summer 1936

Film: The Snows of Kilimanjaro
Release Date: September 17, 1952
Director: Henry King
Wardrobe Supervisor: Charles Le Maire

Background

As I spend this week on vacation, I reflect on how my birthday buddy Ernest Hemingway—born 120 years ago this week on July 21, 1899—would have spent his daiquiri-soaked summers. A brief vignette from Henry King’s The Snows of Kilimanjaro, an adaptation of Papa’s short story of the same name, may shed some light on the life of a bored writer spending the warm season in the French Riviera.

Gregory Peck stars as Hemingway surrogate Harry Street, an adventurous and accomplished American author who’s living with his flighty lover, Countess Elizabeth (Hildegard Knef), and spending his days in front of one of the typewriters that she had offered to entice him, writing “an interview with myself on the subject of success.”

Harry in his study, "probably doing something constructive," according to his uncle.

Harry in his study, “probably doing something constructive,” according to his uncle.

Harry’s writer’s block is interrupted by a visit from his urbane and witty Uncle Bill (Leo G. Carroll) who advises him to “Marry her, my boy. It’s the surest cure.” Of what, we wonder? His love for the glamorous Cynthia? Before we can find out, Liz herself strides into the room and quickly brings an end to their meeting, though Bill leaves with the very Hemingway-esque parting advice to see that Harry hunts more as “a man should never lose his hand at hunting.”

What’d He Wear?

For a day spent in front of a typewriter and taunted by the alluring scene outside straight out of Jacques Henri Lartigue, Edward Quinn, or Slim Aarons, Harry Street dresses down in a checked cotton camp shirt, silk scarf, and pleated pants, a comfortable and classic ensemble perfectly suitable for a decade when casual sportswear was becoming more modernized, acceptable, and accessible.

As Alan Flusser writes in Dressing the Man, “the neckerscarf folded in a four-in-hand knot adds a spot of flair to the unattended neckline… elevating a simple shirt-and-trouser outfit into an ensemble of surprising stylishness.”

Gregory Peck’s long-sleeved shirt is patterned with a blue mini-grid check on a white ground. The particularly long-pointed camp collar (with left-side loop) is worn open at the neck to accommodate the royal blue printed silk scarf that Harry wears around his neck. The shirt buttons up a plain front with a single button to close the breast pocket and button cuffs, though Harry wears them undone to roll his sleeves up to the elbows.

Harry and Liz trade bon mots about his mail.

Harry and Liz trade bon mots about his mail.

The blue grid check has endured as a timeless men’s shirting pattern in the decades since The Snows of Kilimanjaro was set and produced, though it’s much easier to find in modern dress shirts from companies like Charles Tyrwhitt and Mizzen+Main than in this vintage-inspired long-sleeve camp shirt more ideal for a slow weekend afternoon. With its line of wool and cotton board shirts, Pendleton Woolen Mills is one company that still specializes in this style of shirt with the closest equivalent (as of July 2019) being this brushed cotton flannel board shirt in blue and gray plaid.

Harry’s gray flannel trousers rise to Gregory Peck’s natural waist, a long rise that may look high by modern standards but is classically proportioned. The trousers have double reverse-facing pleats flanking the fly, on-seam side pockets, jetted back pockets, and turn-ups (cuffs) on the bottoms. Through the trouser belt loops, Harry wears a blue striped surcingle belt with a light blue stripe directly through the center of the blue canvas web body, fitted with tan leather ends and closing through a gold-toned single-prong buckle.

Canvas belts are particularly popular in the summer as a fitting accompaniment for the lighter-weight trousers that gents wears to stay cool during the hotter months. A number of retailers offer canvas belts detailed with various blue stripe patterns, including this D-ring buckle belt from Polo Ralph Lauren (and a budget version by Faleto) though, curiously, it’s Abercrombie & Fitch and Under Armour that (as of July 2019) offer more screen-accurate updates of Peck’s belt with its brown leather ends and metal single-prong buckle.

THE SNOWS OF KILIMANJARO

Harry’s two-tone wingtip shoes appear to be at thematic odds with the rest of the outfit, constructed of black leather with gray fabric vamps. He wears them with light gray socks that harmoniously continue the trouser leg line into the shoes.

Harry ensures privacy before one last brief conference with his wise old Uncle Bill.

Harry ensures privacy before one last brief conference with his wise old Uncle Bill.

Harry’s steel watch with its steel link bracelet is a bit more contemporary to the film’s early 1950s production than this scene’s setting of the mid-1930s, a time when leather bands were the prevailing wristwatch bracelets for men, though bonklip and Milanese metal bracelets were certainly in use in the years immediately following World War I. By the late 1940s, Rolex would patent its now-iconic Jubilee and Oyster link bracelets that would forever change the face—or more accurately, the bands—of men’s wristwatches.

Gregory Peck as Harry Street in Ernest Hemingway's The Snows of Kilimanjaro (1952)

Gregory Peck as Harry Street in Ernest Hemingway’s The Snows of Kilimanjaro (1952)

How to Get the Look

Harry Street dresses for leisure and luxury for his summer days spent fighting writer’s block and romantic boredom on the French Riviera.

  • Blue-on-white mini-grid check cotton long-sleeve shirt with large camp collar (with loop), plain front, button-through breast pocket, and button cuffs
  • Royal blue printed silk scarf
  • Gray flannel double reverse-pleated high-rise trousers with belt loops, straight/on-seam side pockets, jetted back pockets, and turn-ups/cuffs
  • Blue striped canvas surcingle belt with tan leather ends and gold-toned single-prong buckle
  • Black-and-gray two-tone wingtip lace-up shoes
  • Light gray socks
  • Stainless steel wristwatch with steel link bracelet

Do Yourself a Favor and…

Check out the movie and Papa’s original short story. The film’s years in the public domain led to an abundance of low-quality prints available on home media and streaming, but the best way to enjoy the stunning Oscar-nominated art direction and Technicolor cinematography is with a restored version as available on The Ernest Hemingway Classics Collection DVD box set offered by 20th Century Fox, the very set sourced for the screenshots in this post.

The Quote

How did I get in the habit of getting involved with women who always open my mail?

The Rum Diary: Kemp’s Off-White Corduroy Trucker Jacket

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Johnny Depp in costume as Paul Kemp on the set of The Rum Diary (2009)

Johnny Depp in costume as Paul Kemp on the set of The Rum Diary (2009)

Vitals

Johnny Depp as Paul Kemp, expatriate American journalist

San Juan, Puerto Rico, Summer 1960

Film: The Rum Diary
Release Date: October 28, 2011
Director: Bruce Robinson
Costume Designer: Colleen Atwood

Background

The end of this week means the start of summer, arguably the strangest summer I’ll have experienced in my thirty years. The global coronavirus pandemic has seen the cancellation of sunny getaways, a halt in peanut or crackerjack sales at old ballgames, and consumers foregoing bathing suit deals in favor of fashionable face masks (like these Magnum, P.I.-inspired masks made by my friends at Aloha Funwear!)

In the spirit of what promises to be a surreal summer, I’m exploring a functional look extracted from the chaos of The Rum Diary, adapted from Hunter S. Thompson’s semi-roman à clef inspired by his brief career with the Puerto Rican sporting magazine El Sportivo. More than a decade after he portrayed HST surrogate Raoul Duke in Fear and Loathing in Las Vegas, Johnny Depp returned to star in this somewhat less successful adaptation of a chapter from his late friend’s life.

Depp, who celebrated his 57th birthday last Tuesday, plays Paul Kemp who⁠—like Thompson himself—arrives in San Juan at the dawn of the 1960s to take on a doomed job at a doomed newspaper, staffed by a gaggle of misfits ranging from disgruntled photographed Bob Sala (Michael Rispoli) to the psychopathic reporter Moburg (Giovanni Ribisi).

Among the misadventures in The Rum Diary is the episode featured in this post where Kemp accompanies Sala on an errand to recover the photographer’s abandoned Fiat, which has been looted and stripped for parts. Despite the damage, the Fiat retains an operable engine which allows Kemp and Sala to return to town in it… though their awkward drive is made all the more awkward when they find themselves astride the policemen they had offended⁠—er, lit on fire⁠—the previous evening, forcing them to push the abused Fiat’s 499cc engine to its 17 horsepower limit as they make their getaway.

What’d He Wear?

This is an intentionally poor execution of what could be an inspired summer look, and I found it more worthy of BAMF Style inclusion for its concept than its somewhat more ragged and baggy screen execution. Far from indicating any issues with her work, I think this speaks volumes to the talent of costume designer Colleen Atwood, expertly using Paul Kemp’s clothing to communicate how much the character is growing increasingly out of his depth (Depp-th?) as the surrounding chaos consumes him.

Kemp is at his most dressed-down for the trip to retrieve Sala’s Fiat, clad in wrinkled off-white trucker jacket, striped long-sleeve T-shirt, and rumpled dark blue linen suit trousers that—with his messy hair and bruises—makes Kemp look considerably unkempt.

The wild-eyed Kemp is hardly on the same laidback level as the beer-cracking Sala.

The wild-eyed Kemp is hardly on the same laidback level as the beer-cracking Sala.

Johnny Depp on the set of The Rum Diary.

Johnny Depp on the set of The Rum Diary.

The off-white corduroy trucker jacket has a white brand tag on the left pocket flap that Levi’s reserved for its corded jackets and jeans at the time, per this comprehensive Beyond Retro guide. The cut and style of Kemp’s trucker jacket is consistent with the Levi’s 557XX or “Type III” introduced in 1967, several years after the setting of The Rum Diary, and I believe that non-denim fabrics like white denim were introduced even later in the decade. (Vintage examples like this 1970s-era jacket are still available via sites like Etsy.)

For advanced reading, I suggest Mads Jakobsen’s comprehensive guide for Heddels, which details the difference between the 557 jacket that Levi’s introduced in 1962 (to replace the earlier “Type II” jacket) and the more familiar 557XX that evolved five years later as the companion piece to the Levi’s 505 jeans.

Characteristics of the Type III Levi’s trucker jacket also present on Kemp’s jacket are the six copper rivet buttons, single-button cuffs (which he leaves undone), waistband button-tabs to adjust the fit, and tapered V-shaped seams running from the horizontal yoke under the pocket flaps to the waist hem. The two chest pockets align with the horizontal yoke and each close with a single rivet button through a pointed flap, and the lack of lower hand pockets suggests that this was produced prior to the 1980s.

Under the jacket, Kemp wears a white cotton long-sleeved T-shirt with balanced gray horizontal stripes and a white crew neck.

Kemp’s dark navy linen-blend flat front trousers are likely the orphaned trousers from his suit of the same color and material, detailed with belt loops, gently slanted side pockets, and plain-hemmed bottoms. Already generously cut, Kemp likely wears them low on his waist that creates a baggy, unflattering appearance.

Kemp and Sala inspect the destroyed—but drivable—Fiat.

Kemp and Sala inspect the destroyed—but drivable—Fiat.

Further dressing down this already casual outfit is Kemp’s choice of footwear, a pair of classic Jack Purcell sneakers that can be quickly identified by the signature black “smile” across the toe cap as well as the signature soles with the orange branded rectangle within the asymmetrical navy cutout shape, best seen in this behind-the-scenes shot of Depp on set. Canadian-born Jack Purcell was a world champion badminton player when he introduced his famous sneakers for P.F. Flyers in 1935, designed with flat soles and steel shanks embedded in the heels for optimal support on the court. After Converse’s parent company purchased the P.F. Flyers brand from B.F. Goodrich in 1972, Converse maintained the Jack Purcell brand and continues to make these sneakers today (available via Converse and Amazon.)

Depp’s screen-worn Jack Purcells have low white-bleached canvas uppers and white rubber outsoles with the white toe cap dented on the front for the curved “smile”. The sneakers have white laces through eight sets of eyelets and a pair of metal grommets on the inside of each upper for ventilation. He wears them with unfashionable white socks that remain thankfully covered by the full, baggy break of his trouser bottoms.

Among the most celebrated pieces of Paul Kemp’s style in The Rum Diary are his “jet age”-styled vintage wraparound sunglasses with a curved gold semi-frame across the front and brown-tinted bubble lenses. Known as the “Spectacular” sunglasses, these sunglasses were made first by Sol Amor in the 1950s before Renauld began manufacturing them in the ’60s.

Kemp's jet age "Spectacular" sunglasses protect his eyes from the bright Caribbean mid-day sun... and nurse his lingering hangover from his chaotic night.

Kemp’s jet age “Spectacular” sunglasses protect his eyes from the bright Caribbean mid-day sun… and nurse his lingering hangover from his chaotic night.

Kemp’s military-style field watch suggests the A-11 watch issued to American servicemen during World War II or its all-lumen successor, the A-17, both of which would be supported by the fact that Kemp was modeled after Hunter S. Thompson, who had just been discharged from two years of U.S. Air Force service before taking his job in San Juan. This history of the A-11 is a great read, detailing the Elgin, Bulova, and Waltham watches made for the military as well as the similar but non-officially designated watches made by Hamilton.

Kemp’s steel watch with its black dial is secured to his left wrist via tan canvas strap.

THE RUM DIARY

The jacket makes a brief final appearance later in the film, again in a shady situation as Kemp and Sala trade $50 to Moberg in exchange for a bike and wild drugs that they need to drop into their eyes. (The $50 comes with the added request that Kemp provide visual determination that Moberg has the clap, which Kemp confirms is indeed “a standing ovation.”)

Kemp wears a white shirt of such lightweight cotton that his skin and the outline of his white sleeveless undershirt can be clearly seen through it after getting wet in the rain. The shirt has a front placket, breast pocket, and button-down collar which Kemp neglects to fasten for a characteristically scrappy appearance.

For a touch of local authenticity, Sala drinks a can of Cerveza India. Introduced in 1938, this was the first beer brewed by Compañía Cervecera de Puerto Rico, one of the territory's two breweries.

For a touch of local authenticity, Sala drinks a can of Cerveza India. Introduced in 1938, this was the first beer brewed by Compañía Cervecera de Puerto Rico, one of the territory’s two breweries.

While a white button-down shirt could nicely dress up this otherwise casual outfit, Kemp misses the mark when dressing to go out in his drug-hazed desperation, buttoning a few of the jacket rivets over the shirt but letting the shirt’s long hem flow freely in the front and back for an appearance as unbalanced as the character himself was feeling at this point.

Were Kemp not in the state of mind he was in at this point, he may have ironed the shirt, buttoned it up, and tucked it in for an effective and functional casual look.

Were Kemp not in the state of mind he was in at this point, he may have ironed the shirt, buttoned it up, and tucked it in for an effective and functional casual look.

How to Get the Look

Johnny Depp in costume as Paul Kemp on the set of The Rum Diary (2009)

Johnny Depp in costume as Paul Kemp on the set of The Rum Diary (2009)

There’s nothing wrong with Paul Kemp’s choice of clothes, though steps could certainly be taken to improve his overall appearance, specifically sizing down the T-shirt and trousers, a need illustrated by this behind-the-scenes shot.

  • Off-white corduroy cotton Levi’s “Type III” trucker jacket with six copper rivet buttons, two chest pockets (with single-button flap), single-button cuffs, and button-tab waist hem adjusters
  • White-and-gray horizontal-striped cotton crew-neck long-sleeve T-shirt
  • Dark navy linen flat front suit trousers with belt loops, slanted side pockets, and plain-hemmed bottoms
  • White canvas-and-rubber Jack Purcell sneakers
  • White socks
  • Renauld “Spectacular” gold-framed wraparound sport sunglasses with brown bubble lenses
  • Military-style field watch with steel case, round black dial, and tan canvas strap

Your humble author was inspired by the elements of this look, and I purchased a muslin trucker jacket from J. Crew last summer, sporting it with striped tees and jeans for a summer road trip last year and a jaunt to Florida. While I’m hardly a style icon, I’d like to offer the below linked photos as photographic evidence of how I believe the look can be improved with better fits, even on a budget:

  • Photo 1 and Photo 2 (August 2019) with blue-and-white striped J. Crew T-shirt, Old Navy boat shoes, Invicta Speedway watch, and Ray-Ban aviators
  • Photo 3 (March 2020) with white-and-navy striped Banana Republic T-shirt

Do Yourself a Favor and…

Check out the movie. I also suggest reading Hunter S. Thompson’s original book, which took three decades to get published.

The Quote

Jesus! Your tongue is like an accusatory giblet!

The Snows of Kilimanjaro: Gregory Peck’s White Riviera Resortwear

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Gregory Peck as Harry Street in Ernest Hemingway's The Snows of Kilimanjaro (1952)

Gregory Peck as Harry Street in Ernest Hemingway’s The Snows of Kilimanjaro (1952)

Vitals

Gregory Peck as Harry Street, expatriate writer and former newspaper reporter

French Riviera (Côte d’Azur), Summer 1936

Film: The Snows of Kilimanjaro
Release Date: September 17, 1952
Director: Henry King
Wardrobe Supervisor: Charles Le Maire

Background

Despite its wintry title, The Snows of Kilimanjaro was expanded significantly from Ernest Hemingway’s original short story for Henry King’s lush 1952 cinematic adaptation, featuring plenty of summertime fun in Côte d’Azur during its prewar heyday.

The rest of the world may have been suffering from the Great Depression, but Papa surrogate Harry Street has risen to literary stardom and is now living la belle vie, adrift in the Mediterranean while his latest paramour “Frigid Liz, the semi-iceburg of the semi-tropics” frolics in the warm sea around him. Though lovely, Countess Elizabeth (Hildegard Knef) is hardly the treasured Cynthia (Ava Gardner), and Harry admits he’s only attracted to Liz for her elusive qualities, describing in Papa-esque prose that “she was something to hunt down and trap and capture.”

In addition to today being the birthday of Ernest Hemingway, who entered the world July 21, 1899, today is also my 31st birthday!

What’d He Wear?

There’s no mistaking that Harry Street is at leisure as our hero languishes on a raft off the Riviera in his summer whites. The short-sleeved linen camp shirt looks sun-bleached to a warm ivory color, styled with wide-pointed loop collar, shirring at the back yoke, breast pocket, and plain, placket-less button-up front. Through the light linen fabric of the shirt, we can discern the outline of what appears to be a white cotton short-sleeved V-neck undershirt.

Harry lazes in a pair of cream gabardine trousers with double reverse pleats, straight side pockets, button-through back pockets, and turn-ups (cuffs) on the bottoms. Much like famous rakes Fred Astaire and Errol Flynn, Harry dresses his waist with a silk sash, a strip of burgundy silk with white polka dots that breaks up the monochromatic outfit. As the trousers are appointed with buckle-tab side adjusters rather than belt loops, Harry wears the sash around the waistband, knotted on the left.

Blissfully adrift.

Blissfully adrift.

“The smartest sandals are those that make the foot look the most naked,” wrote the prolific sartorialist Sir Hardy Amies in his ABCs of Men’s Fashion, adding that said footwear may be hell for walking, but “they are, however, ideal for loafing in the garden, on a terrance, or on a boat.” Peck is outfitted accordingly for just such an activity, sporting a pair of light tan leather sandals with straps over the insteps and around the back of each ankle.

Despite what GQ tried and failed to convince us of a few years ago, wearing socks with sandals is never “cool”, though Peck’s Harry Street makes this surprising sartorial decision with such louche lack of concern that I’m almost willing to forgive. To illuminate any who haven’t closely examined the screenshot or have simply chosen to ignore it, Peck wears taupe ribbed socks with his sandals.

Harry shares a few fleeting moments of warmth with "Frigid Liz".

Harry shares a few fleeting moments of warmth with “Frigid Liz”.

Whether intentional or not, the actor’s own grandson Zachary Peck sported a very similar look of white summer shirt, cream trousers, and sandals when modeling for Jerusalem Sandals in 2018. The brand’s “Amos” ankle-strap sandals in honey-colored leather ($78.95 as of July 15, 2020) thus seem like a particularly fitting footwear choice for those looking to build their summer leisurewear à la Harry Street. If you’re not a fan of open-toed shoes but appreciate their breezy properties, I would recommend checking out these handmade huaraches from Dandy Del Mar ($99), a comfortable tribute to these early Mexican sandals.

Let’s Go Shopping

Plenty of modern retailers are taking inspiration from vintage looks so you can pay homage to Harry’s summer garb at any price point! All prices below as of July 16, 2020.

The Shirt

  • Abercrombie & Fitch Linen-Blend Camp Collar Button-Up Shirt in white linen/cotton ($20): I’ve mentioned elsewhere that A&F has been pleasantly surprising me lately, and this shirt—which I own in navy blue—is no exception. Harry wears short sleeves, but I like the look, fit, and feel of this affordable shirt too much to not include it.
  • Banana Republic Slim-Fit Linen-Cotton Resort Shirt in white linen/cotton ($39): Another inexpensive winner, styled like Harry’s with the neat added retro detail of flapped chest pockets.
  • Orlebar Brown Golden Gun Shirt in ivory Italian woven cotton (£195): Though part of their latest 007 Heritage Collection release, the timeless styling of this “capri collar” shirt is consistent with Harry’s look on the Riviera.
  • Scott Fraser Collection White Slub Cuban Collar Shirt in white cotton blend (£165): SFC is one of the best retro-minded outfitters out there, and this “Cuban collar” shirt provides another fine long-sleeved alternative.
  • short fin Camp Linen Shirt in white linen/cotton ($32.50): This basic linen camp shirt hits all the style points of Harry’s screen-worn shirt, though reviewers suggest to size up before purchasing!

The Trousers

  • 28 Palms Relaxed Fit 100% Linen Pant in white linen (up to $40): These simple, drawstring-waist trousers may not be as inspired by classic style as the others, but Harry’s attitude suggests that he may have worn these if he could have… plus, you’ll be tying a silk sash around your waist anyway, won’t you?
  • Orlebar Brown Griffon Two Tone Shell Wash Tailored-Fit Trousers (£185): Classic details (i.e. side adjusters) with modern sensibilities.
  • Scott Fraser Collection Classic Wide-Leg Trousers in white Irish linen (£245)
  • Scott Fraser Collection Gaucho Trousers in off-white linen/cotton (£270): These distinctive wide-legged trousers are less consistent with Peck’s screen-worn attire but took inspiration from the “beach pajamas” commonly seen in the luxurious world of the roaring ’20s Riviera.

How to Get the Look

Top marks for socially distant vacationing, Harry!

Top marks for socially distant vacationing, Harry!

Harry Street enjoys his hedonistic ennui in style, floating out in his light, louche, and simple “summer whites” with a rakish pop of color via a polka-dotted burgundy scarf around his waist and—say it ain’t so!—the daring and much-aligned footwear combination of socks and sandals.

  • Ivory linen short-sleeved camp shirt with wide-pointed loop collar, plain front, and breast pocket
  • Cream gabardine double reverse-pleated trousers with buckle-tab side adjusters, straight side pockets, button-through back pockets, and turn-ups/cuffs
  • Burgundy polka dot silk waist sash
  • Tan leather sandals with instep and ankle straps
  • Taupe ribbed socks

Do Yourself a Favor and…

Check out the movie and Hemingway’s original short story. The film’s years in the public domain led to an abundance of low-quality prints available on home media and streaming, but the way I enjoyed the stunning Oscar-nominated art direction and Technicolor cinematography was watching the restored version as available on The Ernest Hemingway Classics Collection DVD box set offered by 20th Century Fox, the very set sourced for the screenshots in this post.

The Quote

You’ve got a few other things at home I’d like to call my own.

Christopher Plummer in Knives Out

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Christopher Plummer as Harlan Thrombey in Knives Out (2019)

Christopher Plummer as Harlan Thrombey in Knives Out (2019)

Vitals

Christopher Plummer as Harlan Thrombey, mystery novelist and wealthy patriarch

Massachusetts, November 2018

Film: Knives Out
Release Date: November 27, 2019
Director: Rian Johnson
Costume Designer: Jenny Eagan

Background

The great Canadian actor Christopher Plummer died a week ago today at the age of 91 after three quarters of a century honing his craft across stage and screen from Shakespeare to The Sound of Music.

In his penultimate screen credit, Knives Out, Plummer starred as Harlan Thrombey, a charismatic writer who built his fortune through writing mystery novels and, on his 85th birthday, resolves to finally set his free-loading family free. The decision evidently results in Harlan’s violent death, which brings idiosyncratic detective Benoit Blanc (Daniel Craig) to the Thrombey family estate where he takes a special interest in Harlan’s devoted nurse Marta Cabrera (Ana de Armas) and what she may be able to reveal from Harlan’s final night.

Christopher Plummer and Ana de Armas in Knives Out (2019)

Harlan and Marta share a laugh in his private study.

What’d He Wear?

Aside from a few flashbacks, most of our screen-time with Harlan Thrombey is spent on the evening of his 85th birthday party, a celebration marred by his decision to break most of his family’s financial dependence on his self-made fortune. The next morning, Harlan is found dead in his study, a knife drawn across his throat having spilled his blood all over his tasteful clothing.

Many costumes and props from Knives Out were auctioned last year, the costumes often accompanied by extensive notes from Jenny Eagen’s costume team that indicate exact details about the manufacturer and materials used for each piece worn on screen. Though the auction has ended and the link no longer active (but can be found here, if any internet magicians want try to recover a cached version), Christopher Plummer’s primary costume as Harlan was among these auctioned pieces.

Christopher Plummer in Knives Out (2019)

Sharp-eyed viewers may notice that the painting of Harlan Thrombey that “monitors” Marta’s and Benoit Blanc’s progress over the investigation features the author wearing the same windowpane suit, striped shirt, and paisley tie that he would wear on the night he died.

Harlan dresses for his party in a Polo Ralph Lauren navy suit, checked with a subdued gray windowpane, and constructed from a soft wool gabardine. He’s almost exclusively seated when wearing the suit’s single-breasted jacket, but it’s enough to discern the notch lapels rolling to the top of a two-button front as well as a welted breast pocket and four-button cuffs.

I would suspect the suit has been cut with either single or double vents, the former more typical of classic American business suits while the latter side-vented style is frequently found on Ralph Lauren suits (including this discounted Lauren by Ralph Lauren navy windowpane suit available from Men’s Wearhouse as of February 2021; a more likely contender for an evolved version of Harlan’s suit would be this Polo Ralph Lauren suit, now unavailable but styled with all the hallmarks of Harlan’s screen-worn suit aside from a bolder windowpane check.) The full suit can be seen on display in photos shared by Hollywood Movie Costumes & Props, revealing other details like the straight flapped hip pockets.

Harlan signals his position of royalty as the Thrombey family patriarch with his rich gold silk tie, patterned with a paisley laced with sky-blue accents that call out the rich navy suiting or the lighter blue in his shirt.

Christopher Plummer in Knives Out (2019)

The suit’s flat front trousers have sliding-tab adjusters toward the back of each side of the waistband, fastening through silver buckles, though Harlan also holds up his trousers with a black leather belt. The belt coordinates to his black smooth calf Santoni loafers, worn with black ribbed socks that rise up over his calves. The unique slip-on shoes are accented with hand-sewn stitching around the apron toe and a braided panel across the instep that offsets the crocodile-textured vamps.

The trousers’ side pockets have gently slanted openings, and the jetted back pockets each close through a single button. The bottoms appear to be finished with turn-ups (cuffs).

Christopher Plummer in Knives Out (2019)

Not such a happy birthday after all! (Nor is it much of a spoiler, since this is literally our first look at Harlan Thrombey, about two minutes into Knives Out.)

We spend the most time with Harlan after the party, specifically through Marta’s recollections of the final night of his life. He’s more casually dressed for their round of Go, having discarded with his jacket and tie. Similarly to how men of his generation may have put on a cardigan to relax around the house, Harlan slips on an oatmeal-hued waistcoat (or “vest” to us Americans.)

This off-the-rack fine woolen tweed vest was made by Joseph Abboud, described by the costume tag as a “dull light beige leather” and size large. The vest has five brown plastic sew-through buttons, all worn undone by Harlan, with a finely welt following the edge of the single-breasted opening down to the notched bottom. Though the lining is a hairline navy-and-white stripe, the back of the vest is faced in the same tweed cloth as the front unlike some suit waistcoats where the back matches the lining. Harlan’s vest also has two lower welted pockets.

Christopher Plummer in Knives Out (2019)

Harlan’s striped cotton shirt echoes his suit with its classic white pattern against a blue ground. Indeed, the shirt is also a Polo Ralph Lauren product, described in the costumer’s tag as a “very light cornflower blue oxford type fabric [with] 1/8″ wide white pinstripes.” I could hardly describe the shirting better than that, so let’s move on to the details.

The shirt has a traditional spread collar, front placket, and double (French) cuffs that Harlan fastens with a set of “two 3/8″-wide cream pearly plastic buttons sewn together [with] a 1/2″-long cream thread sewing tack,” again according to the costume notes.

Christopher Plummer in Knives Out (2019)

Rather than flashier cuff links, Harlan fastens the double cuffs of his blue-and-white striped shirt with a set of plastic buttons converted to function like cuff links.

Harlan unbuttons his left cuff so that Marta may administer his intravenous dosages of ketorolac and morphine sulfate, revealing his wristwatch which has been identified as a vintage Waltham on a brown leather strap. It’s an appropriate choice for the New England-dwelling author as the Waltham Watch Company was headquartered just a dozen miles west of Boston and thus not far from the Thrombey estate.

Three years after producing its first prototype, the Boston Watch Company manufactured its first run of watches in January 1853. The following year, operations moved from Roxbury, Massachusetts to Waltham, where it would be reorganized after bankruptcy. The Waltham Model 1857 would become the first American pocket watch made of standardized parts and would be famously presented to Abraham Lincoln after he delivered the Gettysburg Address, signaling that the company had indeed arrived. Exactly 100 years after introducing the iconic pocket watch favored by Honest Abe, the Waltham Watch Company went out of business in 1957.

On his right wrist, Harlan wears a sterling silver ID bracelet on a link chain, but it remains generally covered by his closed shirt cuff; the steel-cased Waltham watch with its round cream dial and the brown leather strap closing through a gold-finished single-prong buckle remain much more prominently seen on screen.

Ana de Armas in Knives Out (2019)

Preoccupied with her patient, Marta my not be aware of which dosage she’s injecting into Harlan’s left arm, just a few inches above where he wears his watch.

Earlier that day, Harlan had confronted several of his family members who visited him in his study. He’s dressed more casually—and considerably more colorfully—in an earthy plaid sport jacket and a pink checked contrast-collar shirt.

The tweed single-breasted sports coat is block-checked in olive, sage-green, and rust, with a black and brown overcheck that makes the heavy twill jacket a somewhat more chaotic alternative to the tweeds one might expect to see worn by a wealthy older gentleman at his country estate, though the extended throat latch on the left notch lapel is a classic detail in the sportswear tradition. We don’t see much of the rest of the jacket aside from the straight, padded shoulders and welted breast pocket, though I’m sure the unique detailing and colorway could be enough for eagle-eyed sartorialists to trace its manufacturer. (If I had to guess, I’d suggest this was another Polo Ralph Lauren garment.)

Surprising contrast is added by Harlan’s hot pink shirt, detailed with a white mini grid-check that coordinates with the white cutaway-style spread collar. The double cuffs are made from the same checked pink cloth as the rest of the shirt, which I believe is also a Polo Ralph Lauren item as it resembles some of the Purple Label offerings I’ve seen from the brand in recent years.

Christopher Plummer in Knives Out (2019)

Harlan pairs a countrified plaid hacking jacket with a fashionably detailed hot pink shirt.

Finally, a brief vignette set earlier that autumn features Harlan sharing the details of his son-in-law’s infidelity with Marta, dressed for warmth and comfort in a gray wool shawl-collar cardigan sweater tonally paired over a gray jersey-knit polo-style shirt. The stitch patterns of Harlan’s cable-knit cardigan alternate between a classic diamond-stitch and braided cable, illustrating that Ransom isn’t the only one in the family who knows how to wear a sweater with style.

Christopher Plummer in Knives Out (2019)

Looking for computer recommendations from Harlan Thrombey? He may keep a mid-2000s Apple iMac G5 in his study, but it’s a Lenovo ThinkPad T61 that powers his investigating his suspicions regarding his adulterous son-in-law.

How to Get the Look

Christopher Plummer as Harlan Thrombey in Knives Out (2019)

Christopher Plummer as Harlan Thrombey in Knives Out (2019)
Cropped from a photo by Claire Folger (©Lionsgate)

Harlan Thrombey dresses tastefully for his 85th birthday, elegantly mixing patterns with his windowpane suit, striped shirt, and paisley tie, easily converting the look for comfort after the festivities by swapping out the jacket and tie for a stylish tweed waistcoat.

  • Navy windowpane wool gabardine suit:
    • Single-breasted 2-button jacket with notch lapels, welted breast pocket, straight flapped hip pockets, 4-button cuffs, and double vents
    • Flat front trousers with belt loops, slide-tab side adjusters, slanted front pockets, button-through back pockets, and turn-ups/cuffs
  • Light blue white-striped cotton shirt with spread collar, front placket, and double/French cuffs
  • Gold paisley silk tie
  • Beige heather woolen tweed single-breasted 5-button waistcoat/vest with two lower welt pockets
  • Black leather belt with silver-toned single-prong buckle
  • Black leather Italian loafers with hand-sewn apron toes, crocodile-textured vamps, braided instep straps, and leather soles
  • Black ribbed over-the-calf socks
  • Sterling silver chain-link ID bracelet
  • Vintage steel Waltham wristwatch with cream dial on brown leather strap

Do Yourself a Favor and…

Check out the movie, released on 4K Ultra HD, Blu-ray, DVD, and streaming services.

The Quote

I don’t fear death, but, oh God, I’d like to fix some of this before I go… close the book with a flourish.

The post Christopher Plummer in Knives Out appeared first on BAMF Style.


Robert Redford’s Tweed Jacket and Navy Polo in The Way We Were

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Robert Redford as Hubbell Gardner in The Way We Were (1973)

Robert Redford as Hubbell Gardner in The Way We Were (1973)

Vitals

Robert Redford as Hubbell Gardiner, Hollywood screenwriter

Malibu, California, September 1947

Film: The Way We Were
Release Date: October 19, 1973
Director: Sydney Pollack
Costume Design: Dorothy Jeakins & Moss Mabry

Background

Don’t take any crap…to the both of us… and all the absent friends, class of ’37.

Navy pals-turned-Tinseltown teammates Hubbell (Robert Redford) and J.J. (Bradford Dillman) cynically reflect on the decade since they graduated from college together, one world war and sold-out script later.

I always liked this brief scene in Hubbell’s office as the erstwhile novelist struggles with the changes he needs to make to his magnum opus in order to satisfy the whims of his Hollywood superiors, but it took on a new resonance for me during my most recent rewatch as this weekend will mark ten years since my own college graduation. What would that insecurely confident 21-year-old in 2011 think of the confidently insecure 31-year-old I am today?

While I’m over here thinking about the way I was, let’s turn back to The Way We Were. In a plot inspired by the plight of the real-life “Hollywood Ten”, the cautious J.J. tries to warn Hubbell about Katie (Barbra Streisand, who celebrated her 79th birthday last week) and her radical coterie planning to challenge the House Un-American Activities Committee (HUAC), but Hubbell tries to seem unaffected, instead concerned with everyone from the director to the actors weighing in on the screenplay he’s adapting from his own debut novel, A Country Made of Ice Cream. The conversation takes a nostalgic turn as Hubbell and J.J. recall their “glory days” of athletic scholarships and service in the South Pacific, before the stress of spouses and scripts.

What’d He Wear?

Playing a well-to-do Ivy leaguer-turned-Hollywood hotshot, the always-stylish Robert Redford waltzes through The Way We Were in a parade of fashionable fits that straddle the line between “golden age” accuracy and contemporary trends of the early 1970s. Among his celebrated sweaters and service uniforms, Hubbell slips in some more subdued styles like this navy long-sleeve shirt layered under a tweed jacket that stands out as a comfortable template for dressing casually at the office.

Hubbell’s navy pullover shirt has a stretchy cotton construction, likely made with some synthetic fibers that add extra cling to flatter Redford’s athletic frame. The long-pointed collar presides over the V-neck opening, devoid of buttons unlike the traditional polo shirt and similar to the style colloquialized as the “Johnny collar”. Though the neckline is relatively conservative, it’s just deep enough to show the chain of Hubbell’s gold necklace that he wears under his shirt.

Robert Redford as Hubbell Gardner in The Way We Were (1973)

Hollywood Hubbell leaves his shirts and ties in New York, favoring a more casual approach when dressing for work. The following year, Redford’s would star in The Great Gatsby which, as many high school essays would tell you, delves even deeper into the relative values of the west versus the east.

Though he tucks in the shirt by the time he gets home, Hubbell relaxes around the office with the shirt’s straight hem untucked over the waist line of his gray flat front trousers, which have slanted front pockets and are finished with turn-ups (cuffs) that were fashionable in the postwar years.

Robert Redford as Hubbell Gardner in The Way We Were (1973)

The boys of “Wentworth College” recall their glory years… and just how disappointed they are with how things have turned out in the decade since.

Wearing the shirt untucked covers his black leather belt, hiding the fact that the leather doesn’t match his gleaming smooth brown leather monk-strap loafers. He wears these with a pair of gray ribbed socks that, while a few shades lighter than his trousers, still effectively continue the leg line.

Hubbell wears a trio of jewelry and accessories on his hands. The sterling silver curb-chain ID bracelet on his left wrist was likely issued to him during his Navy service, and he continues to wear it in civilian life after the war. Famously a southpaw, Robert Redford typically wears watches on his right wrist, from which Hubbell’s all-gold watch flashes on a gold bracelet. On the third finger of his right hand, Redford also wears his own etched silver ring, which he had received as a gift from a Hopi tribe in 1966 and has worn in almost all his movies since then.

Robert Redford as Hubbell Gardner in The Way We Were (1973)

It’s 5:00 somewhere!

As he returns home at dusk, Hubbell balances a pair of silver-framed aviator sunglasses on the bridge of his nose. American Optical and Bausch & Lomb (as Ray-Ban) had been producing these distinctive frames for U.S. military pilots for a decade by the time World War II ended, so it’s likely that Hubbell had been introduced to this style during his war service.

Hubbell also now wears the black-and-white twill-weave tweed sports coat that had been slung over the back of his office chair. Though excess was in during this postwar age when Esquire gleefully ushered in the “Bold Look”, the shape and style of Hubbell’s wide, welted-edge notch lapels suggests a trend that would have been more fashionable during the ’70s than the ’40s, similar to the famous tweed jacket the actor would wear two years later in Three Days of the Condor. Under the lapels, the three black woven leather buttons present in a “3/2-roll” with two vestigial buttons adorning the cuff of each sleeve.

JACKET – he’s also wearing the black-and-white twill-weave tweed 3/2.5-roll sports coat that had been slung over the back of his chair, w/ its 3 black woven leather buttons, 2-button cuffs + flapped patch hip pockets, long single vent (very ’70s), welted/swelled edges, welted breast pocket

Robert Redford as Hubbell Gardner in The Way We Were (1973)

Hubbell dresses up the jacket when he wears it again for a disappointing screening of his movie, made all the more disappointing when the evening devolves into an argument between Hubbell and Katie about his infidelity with his former college fling, Carol Ann (Lois Chiles)… perhaps taking his earlier-seen sense of nostalgia a bit too far.

For the screening, he wears a red polka-dotted tie loosened under the open collar of his beige shirt. The long point collar may be meant to represent the extreme “spearpoint”-style collars that were briefly fashionable during this era in the late ’40s, though it’s more likely a contemporary shirt from the ’70s, perhaps made for Redford by his usual shirtmaker Nat Wise (now Anto Beverly Hills.)

Robert Redford as Hubbell Gardner in The Way We Were (1973)

Hubbell: Katie, the day you die, you’ll still be a Nice Jewish Girl.
Katie: Are you still a nice gentile boy?
Hubbell: I never was… I only looked it to you.

What to Imbibe

Hubbell fuels his and J.J.’s trip down memory lane with pours from his office bottle of rye labelled “Atlantic”, rather than the I.W. Harper that he had so definitively declared “best bourbon” during one of their many rounds a decade earlier. I’m not sure if “Atlantic” was an actual whiskey brand or a prop label made for the production, as Googling “Atlantic rye whiskey” merely yields images of the admittedly excellent WhistlePig rye as well as a 2014 article that appeared in The Atlantic about the rye-naissance.

Hubbell continues imbibing after returning home, pouring himself a glass of Seagram’s Seven Crown on the rocks. Introduced after Prohibition to help Seagram’s regain its American foothold, this budget-priced blended whiskey was bolstered in the 1970s by Seagram’s marketing it as the more intoxicating half of the simple 7 & 7 highball.

Robert Redford as Hubbell Gardner in The Way We Were (1973)

No 7Up needed for Hubbell Gardiner, who drinks his Seagram’s Seven Crown straight.

What to Write With

Hubbell battles writer’s block with a period-appropriate Royal typewriter in his office. While I recognized the model as one from the era, I asked my friend Eric Tidd—the Magic City superfan and typewriter enthusiast who runs the marvelous @MiramarPlaya Twitter account—to provide a little more background about the model and contextualize it in the scene:

The Royal KMM was produced from 1939 through 1948 and was a workhorse of a desktop machine. The cool little portable typewriter that Katie gave Hubbell would be much more accommodating to a lifestyle of living in the sunshine and driving around in a convertible because the KMM weighs over 30 pounds, although it looks perfectly at home on the desk of a successful screenwriter.

Robert Redford as Hubbell Gardner in The Way We Were (1973)

More great insight from Eric:

Now Hubbell is not the only war hero in the film; Royal halted production from around 1942-1945 when they re-tooled their factories to build aircraft parts, bullets, machine guns and rifles for World War II. Ironically, this coincided with the years when their product was most in demand due to the constant communication required for the war effort.  Because of this, there was a significant push to get citizens to donate their typewriters to the U.S. government to support the war.  This article by Robert Messenger has some great photos of actress Maureen O’Hara collecting typewriters from Hollywood screenwriters to add to the 600,000 that were needed to help the U.S. win the war.  I’ve attached an advertisement from Royal from the article showing a Royal KMM and pronouncing it as an Engine of War!  The ad goes on to say how important typewriters were for the Navy… perhaps Hubbell used a KMM during his war service and kept it during his civilian life.

How to Get the Look

Robert Redford as Hubbell Gardner in The Way We Were (1973)

Robert Redford as Hubbell Gardner in The Way We Were (1973)

From the Ivy-inspired tweed sports coat to the “California casual” pullover shirt, slacks, and strap loafers as well as his military-inspired accessories, Hubbell’s laidback attire for a day at the office communicates his life story as a privileged college student now working in Hollywood after his Navy service.

  • Black-and-white twill-weave woolen tweed single-breasted 3/2-roll sport jacket with wide notch lapels, welted breast pocket, flapped patch hip pockets, 2-button cuffs, and long single vent
  • Navy cotton-blend long-sleeve “Johnny collar” pullover shirt
  • Gray wool flat front trousers with belt loops, slanted side pockets, and turn-ups/cuffs
  • Black leather belt with squared silver single-prong buckle
  • Brown smooth leather single monk-strap loafers
  • Light gray ribbed socks
  • Silver-framed aviator sunglasses
  • Silver tribal ring
  • Gold watch with round case, gold dial, and gold bracelet
  • Sterling silver curb-chain ID bracelet
  • Gold necklace

Do Yourself a Favor and…

Check out the movie.

The Quote

Do you realize this is the first job we’ve ever had?

The post Robert Redford’s Tweed Jacket and Navy Polo in The Way We Were appeared first on BAMF Style.

Robert Redford Dressed for Tennis in The Way We Were

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Robert Redford and Barbra Streisand in The Way We Were (1973)

Robert Redford and Barbra Streisand in The Way We Were (1973)

Vitals

Robert Redford as Hubbell Gardiner, Hollywood screenwriter

Los Angeles, September 1947

Film: The Way We Were
Release Date: October 19, 1973
Director: Sydney Pollack
Costume Design: Dorothy Jeakins & Moss Mabry

Background

Tomorrow will be the final day of the 2021 Wimbledon tennis championships, which—due to COVID-19—were canceled last year for the first time since World War II. In the spirit of the oldest tennis tournament in the world, I wanted to highlight the classic tennis garb worn by Robert Redford for a brief scene in The Way We Were.

More than a decade after the popular athlete Hubbell Gardiner and passionate activist Katie Morosky (Barbra Streisand) kindled their mutual attraction in college, the two have reunited and have moved out to southern California, where the carefree Hubbell is all too comfortable turning his successful novel into a much tamer screenplay, aimed for mainstream audiences.

Helming the adaptation Hubbell’s novel is flamboyant director George Bissinger (Patrick O’Neal), whose coterie of radical friends reawaken Katie’s political proclivities that eventually threaten Hubbell’s Hollywood ambitions.

What’d He Wear?

Before the activism, arrests, and affairs that threaten Hubbell and Katie’s idyllic life in Hollywood, the two are invited to an afternoon of tennis at Bissinger’s estate, for which the couple dresses in the sporty knitwear traditionally associated with der weiße sport.

The Way We Were (1973)

It always bothered me to some degree that seemingly no effort was made to date Bissinger’s appearance to the ’40s, as his excessive hair length and safari-inspired leisure suit both suggest the early ’70s production timeframe.

Hubbell layers his tennis sweater over a white cotton polo shirt, likely short-sleeved per tradition and also to avoid an extra layer of fabric under the sleeves of his sweater; after all, even the decorously dignified Sir Hardy Amies allows that “the player’s comfort and personal wishes must come first” when outlining appropriate tennis attire in his 1964 volume ABCs of Men’s Fashion.

Depending on which side of the Atlantic you reside, you may recognize Hubbell’s outer layer as either a cricket jumper or a tennis sweater. Given that our protagonist is swinging his racket stateside, we can safely proceed with the latter nomenclature.

Hubbell’s sweater neatly follows the definition presented by Gentleman’s Gazette as “a white, ivory, cream or off-white cable-stitch knit pullover with a v-neck that is made of heavy cotton or wool. It features one or more colored bands along the v-neckline and optionally bands on the sleeves as well as the lower waist.” Following their emergence in the early 20th century, tennis sweaters enjoyed their greatest prominence through the 1930s and ’40s, the very timeframe depicted in The Way We Were.

Hubbell’s lambswool sweater has a cream cable-knit body with raglan sleeves and the requisite V-neck, accented by an even wider “V” of seven navy, red, and white balanced stripes that separates the body of the sweater from the ribbed neckline. The set-in sleeves are finished with ribbed cuffs that match the rest of the sweater, though the long-ribbed waist hem is also set apart by the same band of seven patriotic-colored stripes.

The Way We Were (1973)

The sweater’s warmer cream-colored body harmoniously contrasts against the stark white of his collared shirt underneath it.

Sir Hardy’s reflections on tennis attire in 1964 conceded that “shorts are now of course worn universally,” though he still makes the case for long trousers in the case of older men and young men with “unsightly legs”. As the thirtysomething Hubbell Gardiner and a man who was hardly considered unsightly in any way throughout the 1970s, Redford wears a pair of off-white cotton flat front shorts with on-seam side pockets.

The hem of his sweater covers the waistband, which may be self-suspended like the shorts that a shirtless Redford was photographed wearing for an off-screen tennis match around the same time.

The Way We Were (1973)

Ever the carefree type, Hubbell mindlessly tosses and catches his tennis racket as he takes his place on the court.

Hubbell strolls out onto the court wearing all-white tennis shoes with white athletic tube socks. Tennis had driven much of the development of modern sneakers or athletic shoes, originally designed for vacationers in the late 19th century to have greater comfort and easier movement at play.

The increasing popularity of running, basketball, and the Olympics over the start of the early 20th century saw the introduction of now-iconic athletic shoes like the Converse Chuck Taylor and Jack Purcell models to the degree that, by these immediate postwar years, Hubbell’s rubber-soled tennis shoes would have been the expected footwear for the day.

The Way We Were (1973)

Hubbell wears his usual complement of accessories, protecting his eyes from the late-summer sun with his favorite silver-framed aviator sunglasses. American Optical and Bausch & Lomb (as Ray-Ban) had been producing these distinctive frames for U.S. military pilots for a decade by the time World War II ended, so it’s likely that Hubbell had been introduced to this style during his Navy service.

The sterling silver curb-chain ID bracelet Hubbell wears on his left wrist was likely another remnant of his war service, which he continues wearing as a civilian. On his right wrist, Hubbell wears a gold watch with a gold dial on a gold bracelet. The wristwatch may have been a prop or one of Redford’s own, but we know that the ring on his third finger belonged to Redford himself, as he would later tell The Hollywood Reporter that he had received it as a gift from a Hopi tribe in 1966 and wore in almost all of his subsequent movies through the present day.

The Way We Were (1973)

Hubbell and Katie didn’t get the memo about matching visors.

By the 1970s, tennis sweaters had generally been phased out in favor of dressing lighter to be more comfortable when exerting. A more commonly seen outer layer was now a white polyester jacket with a zip-up front that could be more swiftly put on, taken off, or worn open.

The year before he co-starred as George Bissinger in The Way We Were, Patrick O’Neal played a murderous architect on Columbo whose tennis game is interrupted by the inquisitive eponymous detective. In this first-season episode, “Blueprint for Murder”, O’Neal models an example of fashionable tennis attire at the time, consisting of his white Lacoste polo tucked into white trousers with a belt and layered under a white warmup jacket.

Patrick O'Neal on Columbo, Episode: "Blueprint for Murder"

Patrick O’Neal exemplifies how tennis attire had evolved by the early 1970s in the Columbo episode “Blueprint for Murder”.

The Car

Hubbell and Katie drive to Bissinger’s home in his new ride, a racing green 1947 MG TC roadster that retains the original right-hand drive of its British heritage, as did all TCs exported to the United States.

The Way We Were (1973)

With Katie by his side, Hubbell’s newfound success lands him in the cockpit of a brand-new 1947 MG roadster.

MG launched the T-Type roadster in 1936 as a slightly larger evolution of the earlier P-Type, though its 94-inch wheelbase was still relatively shorter than many of its contemporaries. Two iterations of the T-Type—to be designated the TA and the TB—were produced prior to World War II, when production ceased.

MG’s first postwar model was the TC, credited with popularizing sports cars in the United States among well-to-do drivers like Hubbell. Just over 10,000 TCs were produced between 1945 and 1949, all open two-seat roadsters that retained the prewar TB’s 1250cc inline-four engine, albeit with a higher compression ratio that produced an additional half-unit of horsepower for a total of 54.5 bhp.

The Way We Were (1973)

Hubbell and Katie may have needed a little more storage than the MG TC could provide if they had been invited to a round of golf rather than tennis.

Two more T-Type models would be produced before 1955, when MG revamped its flagship car’s popular but aging design to fit the aerodynamic aesthetics of the fabulous fifties.

How to Get the Look

Robert Redford and Barbra Streisand in The Way We Were (1973)

Robert Redford and Barbra Streisand in The Way We Were (1973)

Tennis may be known as “the white sport” for its colorless clothing, but tennis sweaters like the one Robert Redford wears in The Way We Were illustrate how color can be incorporated by the red, white, and blue accents against the otherwise creamy cable-knit body. Redford layers the sweater with his all-white short-sleeved pullover shirt, shorts, and shoes that remain part of the usual tennis kit today.

  • White cotton short-sleeved tennis shirt with 2-button placket
  • Cream cable-knit lambswool tennis sweater with navy, crimson, and white-trimmed V-neck and ribbed waist hem
  • White cotton flat front shorts with self-suspended waistband and on-seam side pockets
  • White tennis shoes
  • White athletic tube socks
  • Silver-framed aviator sunglasses
  • Silver tribal ring
  • Gold watch with round case, gold dial, and gold bracelet
  • Sterling silver curb-chain ID bracelet
  • Gold necklace

Do Yourself a Favor and…

Check out the movie.

The post Robert Redford Dressed for Tennis in The Way We Were appeared first on BAMF Style.

La Piscine: Alain Delon’s Iconic Swimwear

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Alain Delon as Jean-Paul in La Piscine (1969)

Alain Delon as Jean-Paul in La Piscine (1969)

Vitals

Alain Delon as Jean-Paul Leroy, moody ad agency writer on vacation

French Riviera, Summer 1968

Film: The Swimming Pool
(French title: La Piscine)
Release Date: January 3, 1969
Director: Jacques Deray
Costume Designer: André Courrèges

WARNING! Spoilers ahead!

Background

More than a half-century after its release, La Piscine remains hailed as one of the most stylish movies, not just for French designer André Courrèges’s costumes but also its sun-drenched Côte d’Azur setting, Michel Legrand’s jazzy score, and the smoldering expressions of its quartet of stars. “The less you put in words, the more you will oblige me to have imagination,” director Jacques Deray reportedly screenwriter instructed Jean-Claude Carrière.

Deray’s “imagination” draws the most from the dangerously intense sexual tension among its leads, beginning with Alain Delon and Romy Schneider as the vacationing couple spending their summer in an opulent villa secluded in the French Riviera. For his first of nine collaborations with Deray, Delon had personally insisted on Schneider to play his leading co-star, and the two ex-lovers were reunited on the screen for the first time in a decade as Schneider returned to acting for the successful second phase of her prolific career.

Romy Schneider and Alain Delon in La Piscine (1969)

Marianne keeps an eye on Jean-Paul as he absently smokes his Fontenoy cigarette.

“Glamour is really essential to understanding the appeal of this film,” explained Nick Rees-Roberts in the recent Criterion Collection documentary, Undressing a Legacy. “Use of design in the film is purposeful, it’s intentional,” explaining the contributions of the setting, score, costumes, and more all worked together to develop the famous evocative mise-en-scène. Recalling David Hockney’s stylized paintings of the ’60s, the swimming pool indeed hosts much of the tension and action driving our characters, almost a secondary character whose reputation shifts from “the best thing about this place” according to Delon’s character to something that must be drained by the end.

Indeed, La Piscine begins in the villa’s eponymous pool, where Jean-Paul (Delon) drowsily lounges in idle and idyllic bliss. He’s only momentarily disrupted by the splash his playful paramour Marianne (Schneider) makes as she leaps into the pool before emerging in a dripping black bikini, allowing both Delon and the audience time to take in her elegant form before she stands over Jean-Paul and tempts him into a poolside tryst. This opening sequence sets the tone for the gaze-driven, slow-burning eroticism that propels La Piscine‘s quiet chaos.

Romy Schneider and Alain Delon in La Piscine (1969)

This production photo of Romy Schneider and Alain Delon depicts Marianne standing over Jean-Paul’s head just before the poolside seduction shown in extreme close-up in the final film.

Their rapture is interrupted—in more ways than one—by Harry Lannier (Maurice Ronet), another of Marianne’s former lovers whom she invites to the villa, much to Jean-Paul’s chagrin. Both Jean-Paul and Marianne are surprised by the appearance of Harry’s 18-year-old daughter Pénélope (Jane Birkin), a quiet beauty whom Marianne watches with some amusement as Jean-Paul can’t help but to turn his hungry gaze to her.

To read more about La Piscine, I recommend Robert Abele’s May 2021 review for the Los Angeles Times, which describes the continued action as:

What transpires over the next few charged days of al fresco mornings, frisky afternoons and alcohol-laced nights—including an impromptu party Harry throws for his daughter’s birthday with a caravan’s worth of young guests—is a vibrating psychodrama about possessiveness and insecurity. You can practically hear the ticking toward whatever violent reckoning has been set in motion by this quartet’s baggage and maneuverings. The pool at this picturesque Riviera getaway is where these passions come to mix and clash. Certain longings emerge, and others find a watery demise.

What’d He Wear?

Of course, Alain Delon looks great in his clothing (how couldn’t he?), though La Piscine almost intentionally deconstructs the fashionable figure he cut a decade earlier as Tom Ripley in Plein soleil, dressing him in staples that could be found in any man’s wardrobe: a few button-up shirts, some dirty jeans, and jackets and sweaters to layer on for the evening chill.

“What’s particularly apparent about La Piscine is the display of Delon’s body: the bathing suits, the casual jeans,” said Rees-Roberts. “This isn’t really seen as a fashion films for the costumes they used for Delon, it’s more seen as a fashion film for the fashion industry’s reworking of the film in the context of contemporary fashion advertising.” (For proof, look no further than the 2009 ads Dior ran for its Eau Sauvage cologne, which re-cut the opening sequence of a bronzed Delon by the pool.)

Alain Delon as Jean-Paul in La Piscine (1969)

Meet Jean-Paul.

Brown Patterned Trunks

The opening shot may be one of the most famous vignettes from La Piscine as Jean-Paul lounges by the pool clad only in sunglasses and his brown paisley swim trunks. He raises a green glass to his lips, draining the last of his orange juice, and leans back against the stone, only for Marianne’s splash to arouse him from his bliss. (It wouldn’t be his first arousal in the scene.)

Apropos trending European fashions of the era, these tight nylon trunks have a short inseam with no visible straps, drawstrings, belt loops, or anything else that would adjust the fit; the only added detail is a patch pocket over the back right. The all-over pattern consists of brown jagged leaf-like shapes of varying sizes, each containing a darker brown paisley shape and printed against an ivory ground.

Alain Delon in La Piscine (1969)

Within a decade of the Vuarnet eyewear brand launching as a collaboration between French opticians Roger Pouilloux and Joseph Hatchiguian and Olympic gold medal skier Jean Vuarnet, Delon elevated the brand’s reputation to new heights when he wore his personal pair of black nylon-framed Vuarnet 06 sunglasses in La Piscine. Now designated the Legend 06 by Vuarnet, the frames will be associated with an another screen icon with Daniel Craig wearing them in his final James Bond movie, No Time to Die.

Alain Delon in La Piscine (1969)

Jean-Paul shuts the world out from behind his Vuarnets.

After emerging from the pool, Jean-Paul wraps his green terry towel around his waist and slips into his black espadrilles. These casual slip-on shoes are perfect for lazy days poolside, constructed of soft black leather uppers and the traditional jute outsoles. For more easily sliding in and out of his espadrilles, Jean-Paul frequently ignores the soft back heels, flattening them against the soles for a backless sandal-like effect.

Alain Delon in La Piscine (1969)

Jean-Paul and Marianne welcome their guests, though Jean-Paul doesn’t bother to dress in any more than his towel and espadrilles over his swim trunks.

Delon’s Jean-Paul wears the same clothing throughout the sequence, but it’s Marianne who significantly changes clothing not once but twice. At the start, she’s a vixen in her stylish black bikini, the top held on only by two thin straps that Jean-Paul easily unworks during their poolside assignation. She hastily wraps a towel around herself to answer the phone, and—upon learning of Harry’s imminent arrival—changes into a more modest (but still fashionable) white one-piece bathing suit.

As coded in Psycho nearly a decade earlier, women in black undergarments are represented to have more “sinful” thoughts on their mind while white signifies “purer” motives. By the time Harry and Pénélope actually arrive, Marianne has layered in even more pale colors, donning an over-shirt that hides even more of her body from her visiting ex-lover. She may play with Harry’s affections and Jean-Paul’s jealousy throughout La Piscine, but Marianne’s “purity”-coded clothing can’t hide her true intentions of remaining faithful to Jean-Paul.

Bright Floral Trunks

For all subsequent forays into the pool, Jean-Paul wears a pair of bright orange-and-yellow swim shorts, patterned in a groovy large-scaled floral print of white and hot pink flowers with sage-green leaves. Like the earlier trunks, these are tight with a fitted waistband, short inseam, and only a patch pocket over the back right.

Alain Delon in La Piscine (1969)

Jean-Paul groggily approaches the pool, dressed in a black buttoned-up shirt that marks one of the few instances he wears a shirt with his swim trunks.

The shorts are first seen as Jean-Paul approaches the pool one morning before breakfast, pulling off his semi-buttoned tight black short-sleeved shirt and sliding out of his black espadrilles before flopping in. Harry is strangely proud to catch Jean-Paul ogling Pénélope, and the two sit down for coffee… which Harry then excitedly takes to use to wake up a nude-sleeping Marianne.

Alain Delon and Maurice Ronet in La Piscine (1969)

Also of note: Harry’s blue static-printed kimono.

Later, Jean-Paul walks in on Pénélope idling in the corner of the living room as Harry plays one of his new recording artists’ albums for Marianne. Lounging in her black bikini, she initially seems receptive to Harry’s flirtatious overtures but then even moreso to Jean-Paul’s return, asking him: “Is it hot out?”

“Scorching,” he responds.

Another day, Jean-Paul and Harry race across the pool, and Marianne determines Harry was the winner as “he touched it first.” Is she signifying that Harry remains the ultimate winner of her affection as he “touched” her before Jean-Paul? Seemingly not, as she then rejects Harry’s offer to accompany him to Saint-Tropez, instead remaining poolside in Jean-Paul’s massaging hands.

Alain Delon and Romy Schneider in La Piscine (1969)

Similar to the Vuarnets being Delon’s personal eyewear, I believe these floral trunks—and possibly the black shirt—may have also been his own, as he was photographed by Jean-Pierre Bonnotte wearing something very similar while partying at sea with Brigitte Bardot in Saint-Tropez in August 1968, right around the time production would have started on La Piscine on August 19.

The details of the unique print on his trunks suggest that these are either the same pair or duplicates, and we also see more of the short-sleeved shirt with its narrow collar and a chest pocket on the left side with a button-down flap. Seeing the shirt in closer detail also reveals that the long placket extends down below his chest, though it doesn’t button all the way to the bottom and is thus a popover shirt (explaining why Jean-Paul takes it off by pulling it over his head.)

Alain Delon and Brigitte Bardot in Saint-Tropez, August 1968

Brigitte Bardot and Alain Delon basking topside off Saint-Tropez in August 1968, photographed by Jean-Pierre Bonnotte.

What to Imbibe

We learn that Jean-Paul doesn’t drink, but he still runs to assist Marianne as she brings out the drinks tray to serve a newly arrived Harry and Pénélope. In addition to the orange juice (which Jean-Paul prefers) and Perrier, the alcoholic options available on the tray include Johnnie Walker Red Label blended Scotch whisky, Martini vermouth, and Ricard pastis, an anise-and-licorice-flavored apertif named after its Marseilles-born distiller Paul Ricard.

Harry opts for the Scotch, while Marianne, Jean-Paul, and Pen all drink orange juice.

Romy Schneider, Alain Delon, and Jane Birkin in La Piscine (1969)

After Harry changes out of his clothes to dive into the pool, Jean-Paul takes his seat between Marianne and Pénélope.

Alain Delon as Jean-Paul in La Piscine (1969)

Alain Delon as Jean-Paul in La Piscine (1969)

How to Get the Look

La Piscine immortalized the casual elegance of the late ’60s in the Riviera, celebrating bright and boldly patterned swimwear for men to make the most of idle holidays with little else to do but swim and sleep.

  • Black short-sleeved popover shirt with breast pocket (with button-down flap)
  • Bright, boldly patterned nylon short-inseam swim trunks with fitted waistband and back-right pocket
  • Black leather jute-soled espadrilles
  • Vuarnet 06 (VL000600017184) sunglasses with black nylon frames and brown Skilynx lenses

Of course, you’ll also want a set of sage-green terry towels to dry off between various romps and naps.


California-based leisure outfitter Dandy Del Mar—a particular favorite of mine—drew upon these styles when creating some of their signature swimwear, particularly the “Cassis Square Cut Swim Brief”.

Made from a blend of nylon and spandex to deliver the stylishly snug fits of the late ’60s, two pairs specifically reminded me of Delon’s trunks in La Piscine, the brown “Gardenia” print and the orange “Mango Lagoon” print.

Do Yourself a Favor and…

Check out the movie, remastered for a new Criterion Collection release last month. (As of yesterday, the film is also streaming on the Criterion Channel!)

I also hope fans of Alain Delon are following the Instagram account @AlainDelonArchive, managed by my friend behind @thesilverclassics!

The post La Piscine: Alain Delon’s Iconic Swimwear appeared first on BAMF Style.

La Piscine: Alain Delon’s Windowpane Shirts and Autumn-Ready Storm Rider

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Alain Delon and Romy Schneider in La Piscine (1969)

Alain Delon and Romy Schneider in La Piscine (1969)

Vitals

Alain Delon as Jean-Paul Leroy, moody ad agency writer on vacation

French Riviera, Summer 1968

Film: The Swimming Pool
(French title: La Piscine)
Release Date: January 3, 1969
Director: Jacques Deray
Costume Designer: André Courrèges

WARNING! Spoilers ahead!

Background

“Actually, I don’t care much for summer,” the glamorous sun-kissed socialite Marianne (Romy Schneider) explains, clarifying “just the in-between seasons.” As tomorrow marks the first day of autumn in the Northern Hemisphere, start finding your style for this transitional “in-between” season!

Alain Delon and Romy Schneider in La Piscine (1969)

Hailed as one of the most stylish movies of all time, Jacques Deray’s celebrated sizzler La Piscine reunited real-life lovers Alain Delon and Romy Schneider as Jean-Paul and Marianne, a couple spending the summer idling at their friends’ Côte d’Azur villa. Jean-Paul, a failed writer who sold out to make a career in advertising, is dismayed by the arrival of Harry (Maurice Ronet), one of Marianne’s past paramours… only to find himself drawn to Harry’s bonny daughter Penelope (Jane Birkin).

As Harry inserts himself deeper into the couple’s romantic getaway, Jean-Paul focuses his attention on “Pen”, and the two introverts find themselves pulling away from an impromptu party that Harry organized at the villa. The duo bond over Penelope’s frustration with her father’s flirtation with Marianne right in front of Jean-Paul, but Pen is surprised by Jean-Paul’s ambivalence when he explains that “some nights, anything goes—or almost anything.”

What’d He Wear?

When not luxuriating—or murdering anyone—by the eponymous pool, Jean-Paul dresses casually for days at the villa, typically rotating between two windowpane-checked short-sleeved shirts. Both shirts are grounded with a white puckered linen base that take on the respective cast of each check, so the tan-checked shirt looks slightly creamier while the blue-checked shirt has an icier tone. (Some modern retailers like Abercrombie & Fitch have revived these lightweight shirtings, though you can also scour places like eBay for older pieces that also fit the bill.)

Jean-Paul more frequently wears the white shirt with the golden tan windowpane check. The shirts have casual button-down collars with an additional button on the back of each collar, a front placket, breast pocket, and box-pleated back. The elbow-length sleeves are relatively loose, providing a more comfortably airy fit.

Alain Delon in La Piscine (1969)

Though their relationship has all but dissolved by this point, Jean-Paul and Marianne are still coordinated by his shirt’s tan check echoing her golden shirt.

Jean-Paul frequently wears black casual trousers, likely cotton, styled with belt loops, curved front pockets, jetted back pockets, and plain-hemmed bottoms. He holds them up with a wide black leather belt with a tall gold-toned double-prong buckle that coordinates to ten double sets of metal grommets, with Delon usually wearing the belt fastened through the second tightest set; two brass studs shine from the other side of the belt buckle as well.

Alain Delon in La Piscine (1969)

Another day, Jean-Paul wears an almost identical linen short-sleeved shirt but with the sky-blue windowpane that gives the shirt’s white body an icy cast. Similarly styled with its button-down collar, front placket, breast pocket, and back box-pleat, the shirt was almost certainly made by the same manufacturer of the tan-checked shirt.

During the day, Jean-Paul tucks the blue-checked shirt into his blue denim jeans, which appear to be the same Lee 101 Rider jeans that he also wears with a solid light-blue long-sleeved two-pocket shirt.

Alain Delon, Jane Birkin, and Romy Schneider in La Piscine (1969)

Jean-Paul eyes Penelope and Marianne in the villa’s kitchen.

Alain Delon and Romy Schneider during production of La Piscine.

Alain Delon and Romy Schneider during production of La Piscine.

“You cold?” Marianne asks Jean-Paul as he pulls on his blue denim Lee Storm Rider jacket, to which he responds: “A bit.”

Similar to other superstars of his era like Steve McQueen and Robert Redford, Delon favored the Lee Storm Rider in real life; based on the placement and degrees of distress to the denim, this appears to be Delon’s own personal jacket.

Lee had developed the Storm Rider while vying for denim supremacy against fellow American outfitters Levi’s and Wrangler through the mid-20th century, introducing the rebranded Storm Rider in the fall of 1953 as a warm and hard-wearing evolution of its decades-old 101LJ “Cowboy Jacket”, characterized by a tan pinwale-corduroy collar and insulated by striped gray woolen flannel “blanket” lining. (As of September 2021, Lee Jeans still sells the 101 Storm Rider, though the only availably shell is a dark ’70s selvedge denim branded “dry”.)

The style would be copied by other manufacturers, but Delon’s screen-worn jacket appears to be a true Lee, based on the brand’s signature zigzag stitching around the six copper rivet buttons up the front as well as the type of pleats extending down from the slanted chest yokes to the hem, beginning under the rounded flap of each chest pocket. These pocket flaps each close with a single rivet button, as do the cuffs and waist adjuster tabs, but Delon rakishly wears both buttons undone and the ends of each sleeve partially cuffed over his wrists.

Alain Delon and Romy Schneider in La Piscine (1969)

Jean-Paul pulls on his Lee Storm Rider for a quiet moment outside with Marianne.

That night, Harry arrives at the villa with carloads of revelers that he met at Saint-Tropez. Jean-Paul has changed out of his blue jeans back into the black trousers, again worn with the belt with double rows of grommets.

Jean-Paul’s shoes are the same black leather jute-soled espadrilles that he had worn with his swimwear, again worn sans socks. Black espadrilles are relatively common, particularly in the canvas-upper variant (as affordably offered by ASOS, H&M, and Viscata), but leather uppers tend to come at more of a premium as observed by the respective offerings from Gucci, Hugo Boss, Paul Stuart, and Yves St. Laurent. You could also hedge the costs with the suede-upper “Manebi Hamptons” espadrilles offered by J. Crew in a black-like shade of “patriot blue”. (Availability as of Sept. 2021.)

Alain Delon and Jane Birkin in La Piscine (1969)

Jean-Paul and Penelope break away from the party to stroll by the pool.

Jean-Paul wears a stainless steel wristwatch with a round silver dial, secured on a steel bracelet. A watch enthusiast in real life, Delon had amassed at least one hundred luxury watches from Breitling, Cartier, Rolex, and more prestigious brands over the course of his career, eventually even releasing a collection branded with his own name. On screen, he wore two different Baume & Mercier watches (in Le Samouraï and Big Guns) and an Audemars-Piguet (in Comme un boomerang), though I’m not certain what brand we’re seeing in La Piscine, which was released during this same timeframe.

Alain Delon and Romy Schneider in La Piscine (1969)

Jean-Paul wears the Storm Rider only briefly on screen, though it memorably reappears later when Penelope has borrowed it to warm up following their controversial swim.

Jane Birkin in La Piscine (1969)

Penelope sits down to dinner, still wearing Jean-Paul’s Lee Storm Rider.

How to Get the Look

Alain Delon and Romy Schneider in La Piscine (1969)

Alain Delon and Romy Schneider in La Piscine (1969)

Jean-Paul’s wardrobe in these scenes reflects a surprising degree of American influence, from the double denim (made by an American brand, no less) to the button-down collars of his shirts. Only the sockless espadrilles realign with the outfit with his European setting and heritage.

Perhaps excluding the espadrilles, the outfit also exemplifies how to layer for seasonal transitions, with the linen shirts being comfortably light in hot weather while the blanket-lined cowboy jacket adds warming insulation when the weather cools.

  • White windowpane-checked linen short-sleeved shirt with button-down collar, front placket, breast pocket, and box-pleated back
  • Blue denim Lee Storm Rider blanket-lined “cowboy jacket” with tan pinwale corduroy collar, rivet buttons, two button-down flap chest pockets, button cuffs, and button-tab side adjusters
  • Blue denim jeans (or black flat front trousers with belt loops, curved front pockets, and plain-hemmed bottoms)
  • Wide black leather belt with gold-toned double-prong buckle and metal grommets
  • Black leather jute-soled espadrilles
  • Steel wristwatch with round silver dial on steel bracelet

Do Yourself a Favor and…

Check out the movie, remastered for a new Criterion Collection release this summer and also now streaming on the Criterion Channel!

Fans of Alain Delon should also follow the Instagram account @AlainDelonArchive, managed by my friend @thesilverclassics!

The Quote

My problem is that, if a woman shows any interest, I fall in love, and I’m helpless.

The post La Piscine: Alain Delon’s Windowpane Shirts and Autumn-Ready Storm Rider appeared first on BAMF Style.

The Shining — Jack’s Gray Tweed Interview Sport Jacket

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Jack Nicholson as Jack Torrance in The Shining (1980)

Jack Nicholson as Jack Torrance in The Shining (1980)

Vitals

Jack Nicholson as Jack Torrance, former teacher, aspiring writer, and potential hotel caretaker

Silver Creek, Colorado, Fall 1979

Film: The Shining
Release Date: May 23, 1980
Director: Stanley Kubrick
Costume Designer: Milena Canonero

WARNING! Spoilers ahead!

Background

Want to inject some Halloween spirit into your office attire this week without sending your co-workers into a panic? Take seasonal inspiration from Jack Torrance’s tweed jacket and tie as he successfully interviewed for the job of caretaker of the Overlook Hotel in Stanley Kubrick’s adaptation of Stephen King’s The Shining.

Jack’s on his best behavior as he sits down for his interview with the hotel’s affable manager Stuart Ullman (Barry Nelson), who—given the hotel’s murderous past—takes care to forewarn Jack of the potential for cabin fever. Through Jack Nicholson’s trademark grin, the interviewee reassures Ullman that “five months of peace is just what I want,” as he outlines a new writing project.

What’d He Wear?

From his plastered smile to almost-obsequious amiability, Jack’s clearly trying to make a good impression for the interview… despite it literally resulting to be the job from hell. He may not own a full two-piece suit, so he cobbles together the pieces from his days in academia—note the professorial tweed jacket and knitted tie—and tried to create the effect of a suit with gray trousers which may also be the only non-denim pants he owns.

Made from a gray-and-black broken twill tweed, Jack’s two-button sports coat has notch lapels, a welted breast pocket, and straight hip pockets with flaps that he occasionally wears tucked into the pockets themselves. Cut with a long single vent that dates it more than the moderately timeless width of the notch lapels, the jacket also has the unique detail of a single button on each cuff rather than the more traditional three, four, or even two.

Jack Nicholson as Jack Torrance in The Shining (1980)

Jack wears a muted teal cotton shirt patterned with a white graph-check that’s offset by a thinner overlay check bisecting each cell. The two chest pockets with their squared flaps and the unique spread of the soft collar suggests that this is a sportier shirt not typically worn with a tie, contributing to Jack’s scrappy quasi-academic appearance. The texture of his bottle-green knitted tie coordinates with the jacket’s coarse tweed, though the tie’s viridescence clashes against the predominantly teal shirt.

Jack Nicholson as Jack Torrance in The Shining (1980)

Jack’s double reverse-pleated trousers are a medium-to-dark shade of gray that doesn’t quite contrast enough against the jacket, creating too much of a mismatched suit effect. The trousers have side pockets and plain-hemmed bottoms that are just flared enough to be fashionable in the late ’70s. He holds the trousers up with a brown leather belt that has a gold-finished squared single-prong buckle.

Jack Nicholson as Jack Torrance in The Shining (1980)

Jack strides through the Overlook lobby.

Jack’s burgundy leather moc-toe penny loafers coordinate with the informality of his jacket and tie, the shoe leather also echoing his belt leather. Gray socks appropriately continue the trouser line into his shoes.

Jack Nicholson as Jack Torrance in The Shining (1980)

Joined by Bill Watson, Stuart Ullman feels confidence that he’s making the right choice with Jack Torrance.

The next time we see Jack, he’s bringing his family to the Overlook in their cramped yellow Volkswagen. He wears another tweed sport jacket, though he’s swapped out his tie for a sweater and wears jeans.

How to Get the Look

Jack Nicholson as Jack Torrance in The Shining (1980)

Jack Nicholson as Jack Torrance in The Shining (1980)

In an increasingly informal culture, Jack’s interview garb makes the argument for dressing up more casual shirts with textured Ivy staples like tweed sports coats and knit ties.

  • Gray-and-black broken twill tweed single-breasted 2-button sport jacket with notch lapels, welted breast pocket, straight flapped hip pockets, 1-button cuffs, and long single vent
  • Teal graph-checked cotton sports shirt with spread collar, two squared-flap chest pockets, and button cuffs
  • Bottle-green knitted tie with flat bottom
  • Dark gray wool double reverse-pleated trousers with belt loops, side pockets, and plain-hemmed bottoms
  • Brown leather belt with squared brass-finished single-prong buckle
  • Burgundy leather moc-toe penny loafers
  • Gray socks

I find a green knitted tie is a great statement piece that belongs in every man’s wardrobe. I prefer the look of knitted silk, though wool knit ties also offer a rugged coarseness; polyester knits are less ideal but may be preferred for budget-minded gents looking to see if the look is right for them.

Based on construction and quality, you can find green knitted ties for any budget such as:

  • Gianni Feraud Knitted Tie in “khaki” (but it’s actually green) polyester ($73 $16, ASOS)
  • Marks & Spencer Skinny Square End Knitted Tie in dark green polyester ($22, M&S)
  • Polo Ralph Lauren Knit Silk Tie in green silk ($95, Ralph Lauren)
  • Ted Baker Sold Knit Linen & Silk Skinny Tie in green linen/silk blend ($95, Nordstrom)
  • The Tie Bar Knitted Tie in hunter green silk ($25, The Tie Bar)
  • WANDM Men’s Knit Tie in green polyester ($13.99, Amazon)

All prices and availability above updated as of October 17, 2021.

Do Yourself a Favor and…

Check out the movie and read Stephen King’s novel.

The Quote

I’m lookin’ for a change…

The post The Shining — Jack’s Gray Tweed Interview Sport Jacket appeared first on BAMF Style.

Jeffrey Wright in Hold the Dark

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Jeffrey Wright and Riley Keough in Hold the Dark

Jeffrey Wright and Riley Keough in Hold the Dark (2018)

Vitals

Jeffrey Wright as Russell Core, thoughtful and grizzled wolf expert

Alaska, December 2004

Film: Hold the Dark
Release Date: September 28, 2018
Director: Jeremy Saulnier
Costume Designer: Antoinette Messam

WARNING! Spoilers ahead!

Background

With another snowstorm predicted for this weekend, I tend to find strange comfort in dark, brooding winter-set tales. A recent search to replenish my cinematic catalog led me to the moody Hold the Dark, an under-promoted Netflix release starring Jeffrey Wright as a wolf expert summoned to a remote Alaskan town by a quietly distressed mother, Medora Slone (Riley Keough), who hopes he can use his skills to hunt the wolf she believes responsible for the disappearance of three local children, including her own six-year-old son.

Despite his doubts that the activity can be attributed to wolf behavior, Core investigates and finds himself enveloped in a bleak and brutal mystery appropriately dark for a grim place that gets less than six hours of sunlight each day.

What’d He Wear?

Russell Core pulls up to the Slone household, where Medora awaits, holding a much-read copy of his book, A Year Among Them. He emerges from the car, dressed almost identically as in the photo on the book’s back cover in possibly the same cap and coat, though his grayer hair prompts Medora to observe: “Oh! You’re old.”

Jeffrey Wright in Hold the Dark

Perhaps wearing the same clothing has only heightened the visual dissonance of Russell Core’s age progression since his book was published.

Core dresses for the long winter in a beige hooded parka with a water-resistant outer shell likely made from polyester or a blend of treated cotton and synthetic fibers. Regarding terminology, an “anorak” typically refers to a waterproof hooded pullover jacket, while a “parka” has evolved to typically refer to a hip-length coat that’s been reinforced against the cold weather from the fur-lined hood to the down- or synthetic-stuffed insulation.

Core’s parka has a double-fastened front, consisting of a beige heavy-duty plastic two-way zipper that extends up to the neck, covered by an additional four-button fly “placket” for added snugness. The waist can be cinched with a drawstring rigged along the inside of the coat. The jacket has four pockets: a gently slanted hand pocket on each side of the chest, accented with a small brown leather triangle sewn into the top and bottom, and large flapped bellows pockets over the hips.

Jeffrey Wright in Hold the Dark

Core’s well-traveled parka informs us that he came prepared… with the traditional fur trim around the hood suggesting a familiarity and comfort among the wolves he’s been summoned to hunt.

The style echoes the military-style parkas that had been authorized as the N-3B for USAF service in the 1950s and became a civilian favorite in the decades to follow. These earned the moniker of “snorkel parkas” as the effect made by fastening the front of the hood left only a short “snorkel” of vision for the wearer.

As the front buttons and zips fasten only to the neck, the front of the fur-lined hood has two silver-finished snaps to fasten—thus creating the “snorkel” effect—and is lined in a dark brown piled fur. The rest of the jacket is lined in a quilted beige polyester, appearing a shade warmer and lighter than the outer shell, though it may also just look cleaner as it hasn’t been regularly exposed to the elements.

A unique visual detail of Core’s parka is the printed band around the bottom, consisting of two white-bordered strips that appear to be olive tribal-like “X” shapes embroidered against a dark blue ground.

Jeffrey Wright in Hold the Dark

Core generally wears the same clothing throughout the duration of Hold the Dark, which seems to be set over a few days—if not weeks—leading up to Christmas. Given this context, Core wisely restricts to durable layers made from strong fabrics and all tonally coordinated, not just to ensure coordination but also to subtly communicate his grounded nature to the audience. As he is so connected to the natural world, it makes sense that Core would wear all earthy shades along the brown spectrum, suggesting soil.

Under his parka, Core wears the intermediate layer of a dark brown mixed wool cardigan sweater with patch pockets over the hips. The sweater offers full chest coverage with a ribbed “placket” that buttons up to the neck, tapering to a short ribbed standing collar that could ostensibly be folded over like a shawl collar.

Jeffrey Wright in Hold the Dark

Core makes a startling discovery.

Core’s everyday shirt is a taupe-brown field shirt in a lightweight yet durable cotton canvas, as popularized by outdoor outfitters like L.L. Bean. The seams are double-stitched, including over the edges and along the button-down collar, front placket, and the two narrow pocket flaps that button closed over the patch-style chest pockets. The long sleeves close with a single button through each barrel cuff.

Jeffrey Wright and James Badge Dale in Hold the Dark

Stripped down to shirt-sleeves over undershirts, Core and the affable Detective Donald Marium (James Badge Dale) consider the violence around them over some late night whisky.

Wearing the top few buttons of his shirt undone exposes what appears to be a off-white henley that Core wears as an undershirt… until we see him waking up in his motel room, revealing that we were just seeing the top of a full-length union suit!

After its heyday through the latter half of the 19th century, the union suit generally fell out of usage, save for rural working men or those located in extremely cold environments… an apt description for Keelut, Alaska.

Core’s cream-colored union suit appears to be made from a very thin ribbed-knit cotton, though it shows signs of pilling from frequent wear. The top half has at least six white plastic buttons up a front placket that extends from the waist to the rounded neck. As Core remains either under his bed covers or seated through the entirety of his screen-time stripped down to his union suit, we can’t see if it has the characteristic “fireman’s flap” (or “crap flap”, if you’re so crudely inclined) that would unbutton over the seat to allow Core to relieve himself without getting fully undressed.

Jeffrey Wright in Hold the Dark

Core rotates through a few pairs of brown pants before finally settling on the blue denim jeans he wears for the climactic sequence joining Mariam as they pursue the Slones to the hot springs. The most prominently seen trousers he wears before this sequence as the dark brown corduroy jeans that he wears during the confrontation against Cheeon, who brutally defends himself against the siege with a belt-fed M60 machine gun.

The plain-hemmed bottoms are tucked into his big fur boots—more on those later!—but his rolling through the snow reveals the distinctive ridges of medium-wale corduroy, an appropriate cloth for keeping warm in the wintry outdoors given corduroy’s fabled origins as a sporting fabric among European hunters. The closed parka generally covers the top of these trousers, but his post-gunfight drink with Mariam shows that they’re styled like jeans and held up with a brown leather belt.

Jeffrey Wright in Hold the Dark

Core takes cover behind a squad car as Cheeon lays heavy fire from his M60.

Core regularly wears his knitted cap and gloves, two must-haves for extended time outdoors in the winter. (I know I always keep a backup beanie and gloves in my car!)

Given its ubiquity and longevity, the simple but sturdy knitted cap is known by a variety of names, ranging from “beanie” to “toque” as well as militarized terms like “watch cap” for its role warming the heads of service members standing watch. The hat has also been known as a “skull cap” for its naturally conforming to the shape of the wearer’s head. Due to its original construction, many still call it a “wool hat” or “woolly hat” though many modern beanies are constructed from less-itchy synthetic fibers.

Core’s brown ribbed-knit beanie coordinates with the rest of his apparel, with differently colored threads mixed into the material as well. His knitted gloves are black, a rare departure from the earthy shades dominating the rest of his gear, and may be lined for greater warmth than the standard knitted glove style provides.

Jeffrey Wright in Hold the Dark

Core’s knitted cap and gloves provide him with a base level of protection against the bitter Alaskan chill… while it may be enough to protect him from the cold, he’s soon wise enough to know it won’t be enough to stop one of the 7.62mm rounds from Cheeon’s spitting M60.

“You’re gonna need better boots,” Medora Slone immediately observes, outfitting Core in her husband’s distinctive fur boots, which he pulls over his thick off-white wool socks and which Vernon (Alexander Skarsgård) recognizes after his return. The boots emerge as crucial imagery through Hold the Dark, establishing both the Slones’ and Core’s lupine characteristics.

Given their importance on screen, costume designer Antoinette Messam and her team took special care to craft them as described by CAFTCAD: “The lead character’s boots were made by covering an extreme weather rubber boot with fur. They were sewn and glued to resemble boots worn by Inuit men when hunting for game in the Arctic. Eventually, the snow started to melt and the fur on the boots were getting wet and started to disintegrate. The costume team had to find creative ways to keep the continuity look of boots. It became a patchwork quilt of pieces of fur glued on top of the rubber.” These fur uppers are secured by a single rawhide lace tied around the base of each boot shaft.

Jeffrey Wright in Hold the Dark

Jeffrey Wright in Hold the Dark

Promotional production photo of Jeffrey Wright in Hold the Dark.

The boots aren’t Medora’s only contribution to Core’s wardrobe, as she also provides him with a massive fur coat when she instructs him to: “Find it. Kill it.” The coat was likely issued not just for warmth but also to further blend Core in amongst the wolves.

Though Core only wears the fur coat for this wolf-hunting sequence, it understandably received special attention from the costume team, who—as explained by CAFTCAD—developed the coats “from scratch using traditional materials and techniques that would have been used by the Inuit community,” including caribou and ring seal fur that had been shaved and pieced together.

While Core’s beige polyester jacket qualifies as a modern parka, this large fur coat better fits its original definition as a staple of Inuit clothing. Distinguishing features of Inuit parkas range so greatly in style, cut, and usage, that the only defining feature they all seem to share is the construction from animal hide; in fact, the word “parka” means simply “animal skin” in the Aleutian Islands. Core’s hooded men’s parka with the fur side out would likely classify it as Qulittuq in Canadian Inuktitut terminology.

Core’s borrowed fur parka is essentially a long-sleeved wrap with a full hood and an uneven hem. As there appears to be no integrated closure, Core secures it around his waist with a wide tan leather belt that fastens through a large squared steel single-prong buckle.

Jeffrey Wright in Hold the Dark

Core treks into the snowy woods, swathed in fur in a traditional Inuit parka borrowed from the Slones.

Core reinforces his gear when he travels into the wilderness in search of the wolves, with snow goggles strapped onto his head. His two-piece heavy duty mittens have forest-green backs and golden-yellow rawhide palms, with a strap to adjust the fit over the back of each wrist.

Jeffrey Wright in Hold the Dark

CORE

Core wears a watch on his left wrist that goes generally unseen due to his long-sleeved layers, so we rarely ever see more than the dark leather strap that closes through a single-prong buckle. He also wears a gold wedding ring on his left hand.

Core occasionally relies on a pair of reading glasses with small round silver-toned frames.

Jeffrey Wright in Hold the Dark

On his flight to Alaska, Core reconsiders the curious letter he had received from Medora Slone.

The Guns

Core is given a Ruger Mini-14 rifle by Medora, who duct-tapes over the muzzle to keep snow and other debris from entering the barrel. (Though some dramatic tension is provided from Core struggling to remove the tape from the barrel, it’s been suggested that the bullet’s 3,240 ft/sec. velocity would have rendered such potentially fatal efforts to be unnecessary as the round would have ripped through the tape without it obstructing his shot to a significant effect.)

A popular rifle among civilians, hunters, and law enforcement, the Ruger Mini-14 was introduced in 1973 as a downscaled variation on the already-obsolete M14 battle rifle, though with mechanical similarities to the older M1 Garand. The Mini-14 has been made available in a variety of configurations and chambered for different types of ammunition, though the predominant loads are the dimensionally similar 5.56x45mm NATO military round and its commercial .223 Remington counterpart.

In addition to the full-stock Mini-14 “Ranch Rifle”, Ruger’s Mini-14 variations can include blackened furniture, a folding stock, and a “GB”-designated “government barrel” that incorporates a bayonet lug. The Slone family’s Mini-14 taken by Core has a blackened side-folding stock (which he carries extended), a black pistol grip, a stainless non-GB barrel, and a thirty-round magazine.

Jeffrey Wright in Hold the Dark

Core wears the Ruger Mini-14 slung over his shoulder, with the barrel taped to keep out snow while he leaves the side-folding stock fully extended.

During the police gunfight with Cheeon, Core debates whether or not he should leave his relatively safe position to assist a wounded rookie officer. His desire to help getting the best of him, he takes a Remington Model 870 Police Magnum pump-action shotgun from a downed policeman and fires at Cheeon, creating just enough of a surprise distraction that he’s able to pull the wounded officer out of harm’s way.

Remington has produced more than 11 million Model 870 shotguns since the design’s introduction in 1950. Like the Mini-14, it has been offered in nearly every configuration imaginable, with varying barrel lengths, stock and grip options, wooden and synthetic furniture, and shells, though 12-gauge remains the most popular. Also like the Mini-14, the Model 870 has proven popular with civilians, hunters, and law enforcement, as well as having been authorized for military usage around the world.

Given the context of the scene, Core’s commandeered Model 870 is a classic Police Magnum variant with blued finish, hardwood stock and slide, and 12-gauge shells.

Jeffrey Wright in Hold the Dark

A determined Core takes action with a Remington Model 870 Police Magnum.

In the final act, Core accompanies Detective Marium by air to the Alaskan hot springs as the hunt for Vernon Slone intensifies. Marium’s bolt-action rifle, rigged with a scope, has been identified on IMFDB as a Tikka T3 which eventually ends up in Core’s hands.

Sako introduced the T3 rifle in 2003 as a product of its Finnish-made Tikka brand. Barrels range from 16 to 24 inches long, with variations in fixed and folding stocks, wooden or synthetic finish, and a range of calibers from small rounds like .204 Ruger and .223 Remington up to big-game ammunition like .338 Winchester Magnum and 9x3x62mm.

Marium’s Tikka T3 has a black synthetic stock and a long blued barrel that appears to be compensated with an integrated muzzle brake.

Jeffrey Wright in Hold the Dark

Core aims Marium’s black Tikka T3 bolt-action rifle.

What to Imbibe

Following the massacre, Core joins Detective Marium (James Badge Dale) and his wife for a home-cooked spaghetti dinner, accompanied by red wine with a fictional “Coteaux d’Etienne” label. As the men clean the dishes and meditate on the increasing violence of the situation, Marium pours both he and Core several much-needed drams of The Glenlivet 21 Year Old single malt Scotch whisky.

Jeffrey Wright and James Badge Dale in Hold the Dark

If any situation calls for 21-year-old Scotch, Core and Marium encountered it earlier on that bloody December day.

While my experience with The Glenlivet has yet to include any of its offerings aged more than 18 years, I can provide some additional context from the official website:

Meticulously crafted over its 21 years, this whisky is put through a combination of hand-selected American oak and ex-sherry casks, which impart the distinctive flavor of dried fruits and a bold richness, vibrant intensity and long finish.

Each cask is hand-selected and individually nosed and approved, and every batch has its own special nuances, making it a rare and unique liquid indeed. Aromas are beautifully melted, resonant with dried fruit from the sherry cask, but with spicy hints of cinnamon and ginger.

Colored enticingly of rich amber, with shimmering shades of copper, the finish of this prestigious expression is long and warm.

How to Get the Look

Jeffrey Wright in Hold the Dark

Jeffrey Wright in Hold the Dark (2018), having swapped out his corduroys for blue jeans but wearing otherwise the same as we’ve seen him wearing when not wrapped in fur.

Jeffrey Wright models a functional and modernized alternative to the Jeremiah Johnson aesthetic for wintry layering in the snow, relying on tonally coordinated, tried-and-true military-informed pieces like his well-traveled knitted cap and insulated parka, supplemented with fur boots and a massive fur coat when he needs additional warmth… or to blend in with the wolves.

  • Beige waterproof polyester “snorkel” parka with fur-trimmed/lined hood (with two-snap front closure), four-button/zip-fastened front, slanted chest pockets, large flapped bellows hip pockets, and tribal-style bottom band
  • Dark brown mixed wool short shawl-collar cardigan sweater with patch hip pockets
  • Taupe-brown cotton canvas field shirt with button-down collar, front placket, two flapped chest pockets (with button-down flaps), and button cuffs
  • Dark brown corduroy cotton jeans with belt loops, five-pocket layout, and plain-hemmed bottoms
  • Brown leather belt
  • Inuit-style fur-patchworked rubber boots
  • Ivory wool socks
  • Cream-colored thin ribbed-knit cotton union suit
  • Brown ribbed-knit “beanie” cap
  • Black knitted gloves
  • Gold wedding ring
  • Wristwatch on dark leather strap

Do Yourself a Favor and…

Check out the movie… and then read Elena Nicolaou’s explanation of the ending for Refinery29.

The movie was based on William Giraldi’s novel, which sounds like it’s also worth reading!

The Quote

The natural order doesn’t warrant revenge.

The post Jeffrey Wright in Hold the Dark appeared first on BAMF Style.

On the Road: Sam Riley Channels Kerouac in Dark Blue Flannel Plaid

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Sam Riley as Sal Paradise in On the Road

Sam Riley as Sal Paradise, Jack Kerouac’s alter ego, in On the Road (2012)

Vitals

Sam Riley as Sal Paradise, aspiring writer based on future Beat icon Jack Kerouac

Queens, New York, Winter 1947

Film: On the Road
Release Date: October 12, 2012
Director: Walter Salles
Costume Designer: Danny Glicker

WARNING! Spoilers ahead!

Background

Jack Kerouac was born 100 years ago today on March 12, 1922 in Lowell, Massachusetts. His 1957 roman à clef On the Road became a defining work of what would be called the Beat Generation, chronicling the author’s wanderings in the late 1940s with contemporaries like William S. Burroughs, Neal Cassady, and Allen Ginsberg, all thinly disguised in the novel with pseudonyms.

Kerouac had started work on the novel almost immediately upon returning from his travels, the original draft being a continuous, single-spaced 120-page “scroll” that he typed across three weeks in April 1951. This free-flowing stream of consciousness has been called the ideal medium that captured the mad impulses that drove his adventures with Cassady, represented by the larger-than-life character Dean Moriarty.

Published six years later, On the Novel launched Kerouac to literary stardom and invited decades of ongoing analysis, criticism, and influence across all artistic mediums. Despite its fame, On the Road resisted cinematic adaptation for more than half a century, though Kerouac himself had shown interest in bringing it to the screen as indicated by a letter he sent to Marlon Brando the same year that the book was published, suggesting that Brando play Dean while Kerouac portray his own alter ego, Sal Paradise. (While Kerouac’s acting skills remain untested, the kinetic character of Dean Moriarty does seem a suitable fit for Brando’s particular talents.)

Francis Ford Coppola purchased the rights to On the Road in 1979, a decade after Kerouac’s death, but the project languished in development hell for decades as Coppola himself struggled to write a script. After seeing The Motorcycle Diaries, Coppola tapped director Walter Salles and writer José Rivera to bring the novel to the screen. Years of research and rewriting led to a script that blended elements from Kerouac’s original scroll with the fictionalized pieces of the final novel, with filming finally commencing across the latter half of 2010 across various locations in Canada, the United States, and even briefly in the Andes.

Éric Gautier’s cinematography felt like one of the movie’s strongest aspects, beautifully capturing the parts of the continent that have changed little in the three quarters of a century since Kerouac and Cassady’s cross-country treks: the nature, the small towns, and the road itself.

Responses to On the Road were mixed, and perhaps the novel’s own “unfilmable” nature is what doomed production for all these years. That pulsating, unpredictable energy so embodied by Kerouac’s writing and his literary portrait of Dean Moriarty can never be truly replicated by a movie, a medium that relies on substantial planning and always some degree of artifice and intentionality.

That said, Garrett Hedlund’s performance as the impulsive Dean remains another strong aspect of the movie—as it should be—as Hedlund captures the bedeviling charisma and rootlessness that would have made him a fun companion for adventures… and unreliable when it’s time to go home. Given his significance as the chassis for these adventures, it’s appropriate that the movie begins with the same four words that Kerouac used to launch Sal’s narration:

I first met Dean…

What’d He Wear?

On the Road introduces us to Sam Riley as Sal Paradise, hunched over his typewriter in Queens in a haze of writer’s block of Camel smoke. He’s dressed in a blue plaid flannel shirt, one of at least five that he would cycle through over the course of the movie, establishing a loose “uniform” for our author surrogate. Sal’s on-screen garb includes a rotation of at least twenty shirts, mostly long-sleeved work shirts in variously weighted flannel cloth, with the occasional sweater.

The limited selections available to Sal in his “road closet”, typically hefted around the country in a Army-style rucksack, requires pieces both versatile and durable enough to withstand the rigors of the road… and of a friendship with the unpredictable Dean Moriarty. In addition to a few military items like his olive “jeep sweater” and G.I. khakis, most of what Riley wears as Sal echoes the sturdy workwear that had been increasingly popular during these postwar years and were a fixture of the real Jack Kerouac’s wardrobe. (The third chapter of On the Road even includes a “wool plaid shirt” fished from Sal’s canvas road bag and lent to a fellow wanderer named Eddie, with Sal mourning the loss of the shirt—and its attached sentimental value—when the absent-minded Eddie hops into a passing trailer.)

“[Kerouac was] swayed by the rugged look of Americana,” wrote Brenden Gallagher for Grailed. “It was the style of the lumberjack, the farmer, the factory worker, the painter and the military man that moved him. He combined these working class looks with the bohemian flavor of the beatniks to create what writers in the years after would call ‘anti-fashion’; today we would likely chalk this look up as ‘street style.’ While Ginsberg was known to sport a thrift store blazer and a second-hand tie, Kerouac looked every bit the part of the Americana wanderer. Together, they helped create a defining look in American counterculture. More specifically, Kerouac’s style was at once a homage to, and identification with, the American working class.”

Jack Kerouac

The real Jack Kerouac, clad in his characteristic plaid flannel work shirt, in the 1950s.

Costume designer Danny Glicker wisely selected to source some of Sal’s shirts through a partnership with Pendleton Woolen Mills, the venerated Portland-based outfitter known for their wool board shirts and blankets. Several of Riley’s screen-worn shirts have the obvious characteristics of a Pendleton board shirt—such as the woven loop collar and the dual pockets with non-buttoned flaps—but I’m not sure if this first flannel was one of the Pendleton pieces.

The shirt’s pattern reflects a simple dark blue-and-white buffalo plaid as its foundation, overlaid with a gradient-shadowed blue double-lined grid check. The cloth is a heavy flannel wool, a smart layer for keeping warm while spending long wintry nights perched at a typewriter next to his bedroom window.

Sam Riley as Sal Paradise in On the Road

The shirt has a comfortably large fit, consistent with the era’s fuller-fitting style that Sal accentuates via his practice of often wearing his shirts only partially buttoned—if at all—in this case, leaving all the dark blue 4-hole buttons undone on the plain front with its horizontal buttonholes, always showing his undershirt. Sal’s white ribbed cotton sleeveless undershirts have higher and more rounded necks than the typical A-shirt (or “wifebeater”, to use the unfortunate nickname these undershirts obtained around the same time as his travels with Dean.)

Kristen Stewart and Sam Riley in On the Road

Impressed by her ability to roll a joint, Sal stops to talk with Dean’s underaged wife Marylou (Kristen Stewart). The cinematic version of Marylou makes a stronger impression on Sal than her literary counterpart, whom he describes from their first meeting as “awfully dumb and capable of doing horrible things… outside of being a sweet little girl.”

Sal’s wide collar lays flat, with a short loop-tab made from the same cloth extending from the left side, presumably to fasten to a smaller button positioned under the right collar leaf. The shirt has two chest pockets, but—unlike the traditional Pendleton board shirt—these are open-top pockets with no flaps. The sleeves end with a buttoned cuff, though Sal keeps these undone and rolled up his forearms.

Sam Riley as Sal Paradise in On the Road

Chad King (Patrick John Costello) tells Sal and Carlo Marx (Tom Sturridge) about his wild friend Dean, newly arrived from Denver. Though Hal Chase—who inspired the Chad character—introduced Neal Cassady to the Beat circle, Chase would soon distance himself from the group, particularly after William Burroughs shot and killed his common-law wife Joan Vollmer in 1951. Marx was Kerouac’s nom de plume for Allen Ginsberg.

Sal wears taupe-brown wool trousers, likely pleated, with side pockets, jetted back pockets, and turn-ups (cuffs) on the bottoms.

While on the road, Sal hits the pavement in a pair of worn-in brown leather derby-laced work boots, and these heavy-soled brown shoes he wears during these early scenes in New York appear to be the same. These boots would be a smarter choice for the road than the Mexican huaraches that Kerouac described in the first part of the novel as “plantlike sieves not fit for the rainy night of America and the raw road night,” further criticized by his fellow traveler Montana Slim and forcing Sal to ponder why he brought “the silliest shoes in America,” which had since been reduced to “bits of colored leather sticking up like pieces of a fresh pineapple.”

Sam Riley as Sal Paradise in On the Road

For a night on the town, Sal pulls on a red and black buffalo check flannel work jacket. Often associated with lumberjacks, this check pattern was developed in the mid-19th century by a designer at Woolrich in central Pennsylvania. The pattern caught on among outdoorsmen, and “Woolrich jacket” emerged as a shorthand term for these rugged red-and-black jackets, whether they were actually made by the company or not.

In fact, Woolrich’s current lineup—as of March 2022—doesn’t quite include the same sort of zip-up, four-pocket buffalo plaid jackets as worn in On the Road, but you can still find a few from other companies like the Legendary Whitetails Men’s Outdoorsman Jacket (Amazon).

Sam Riley as Sal Paradise in On the Road

“I went to the cold-water flat with the boys, and Dean came to the door in his shorts.” — On the Road, Chapter 1

Such a blue-collar garment would seem out of place on the streets of cosmopolitan New York in the late ’40s, but this aligns with the sartorial statement that Kerouac and his fellow Beats were perhaps unintentionally making, as argued by G. Bruce Boyer for MR PORTER (and quoted by Gallagher in Grailed):

“Hip” was the youthful point of view that emerged after WWII, as a counterweight to both the fear and conformity of a bleak past and a dubious future. Prole clothes and a laid-back demeanor formed its aesthetic correlative. The angry young rebels in the 1950s were the precursors of the new way fashion would work: not from the top of the social ladder down, but from the bottom up. Street clothes and work clothes—the gear of cowboys and ex-GIs, industrial laborers, the zoot suits of the jazz musicians that Mr. Kerouac adored, and farm hands—would enter the realm of style. It was the style of the Underclass Hero, the Prole Rebel.

This waist-length jacket zips up from the waist hem to the neck, at the crux of the wide-pointed shirt-style collar. Two patch pockets are rigged at mid-chest, each covered with a flap that closes through a large black button. A gently slanted hand pocket is set-in on each hip, just below the chest pockets. The set-in sleeves are finished with a pointed cuff that closes through a single button, and a short tab on each side of the waist can adjust the fit.

Sam Riley as Sal Paradise in On the Road

While Carlo Marx and Chad King have adopted more city-friendly overcoats, Sal dresses for the New York City nightlife in his buffalo check work jacket when he’s taken to his destiny via an introduction to Dean Moriarty.

How to Get the Look

Sam Riley as Sal Paradise in On the Road

Sam Riley as Sal Paradise, Jack Kerouac’s alter ego, in On the Road (2012)

Jack Kerouac dressed consistently with his working-class roots, scrabbling a closet full of military surplus gear and heritage workwear brands like Pendleton and Woolrich for an understated style now associated with countercultural toughness: a mid-century rebellion against the idealized conformity of “the man in the gray flannel suit” represented by men in dyed flannel shirts instead, worn with practical work jackets and boots instead of chesterfields and oxfords.

  • Blue-on-white shadow plaid woolen flannel long-sleeved shirt with camp collar (and loop), plain front, two chest pockets, and button cuffs
  • Red-and-black buffalo check woolen flannel zip-up waist-length hunting jacket with button-down flapped chest pockets, slanted hand pockets, and side-adjuster waist-tabs
  • Taupe-brown wool pleated trousers with belt loops and turn-ups/cuffs
  • Brown leather derby-laced work boots
  • Black socks
  • White ribbed cotton sleeveless undershirt

Do Yourself a Favor and…

Check out the movie, and read Kerouac’s 1957 novel: both the published version and the author’s “original scroll” are available.

The post On the Road: Sam Riley Channels Kerouac in Dark Blue Flannel Plaid appeared first on BAMF Style.


California Split: George Segal’s Aran Turtleneck

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George Segal as Bill Denny in California Split

George Segal as Bill Denny in California Split (1974)

Vitals

George Segal as Bill Denny, magazine writer and casual gambler

Los Angeles, Winter 1973

Film: California Split
Release Date: August 7, 1974
Director: Robert Altman
Costumer: Hugh McFarland

Background

In honor of George Segal, who died a year ago today, today’s post introduces us to his character in California Split, directed by Robert Altman and described by Tim Grierson and Will Leitch for Vulture as the greatest movie about gambling ever made, “one of the high watermarks of ’70s hangout cinema.”

The film begins by following Segal’s Bill Denny between poker games at an L.A. gambling den, where he makes the acquaintance of fellow player Charlie Waters (Elliott Gould). After a few shared drinks and a mugging that leaves both men united by their lack of funds, Charlie brings Bill back to the pad he shares with filles de joie Barbara (Ann Prentiss) and Susan (Gwen Elles), kicking off a chaotic friendship between the laconic Bill and live-wire Charlie that eventually takes them to Reno in search of the ultimate high-stakes game. Will Bill be able to resist the gambling addiction that has enveloped his garrulous new pal?

Elliott Gould, Ann Prentiss, and George Segal in California Split

Breakfast à la Barbara: Froot Loops for Bill, Lucky Charms and Budweiser for Charlie.

Segal was cast early in the production, grounding the movie with a reserve that appropriately balanced Gould’s rambunctious energy that screenwriter Joseph Walsh recalled was a byproduct of the fact that “Elliott lived his gambling, he came out of the box just like in a horse race when a great horse comes out of the box.”

Though Segal initially felt stifled by Gould’s liveliness and—like his character—was ultimately uninterested in gambling, the actor later recalled how much fun he had during the production:

It was like a party. It was so civilized back then. There were no long hours. It was relaxed. That’s why those movies from the ’70s were so good. We were all relaxed and enjoying what we were doing.

What’d He Wear?

As opposed to Charlie’s frenetic sense of dress, cycling various boldly printed shirts under his tattered tan sports coat, Bill generally follows a more timeless and tasteful sense of style that layers his subdued lightweight jackets over knitwear. Through the first act of California Split, Bill wears a dark navy cotton jacket that stylistically resembles a cross between a contemporary leisure suit jacket and an oversized Navy surplus “CPO shirt”, not unlike the shirt-jackets—or “shackets”—popular today.

Bill’s dark navy cotton side-vented shirt-jacket has a long pointed collar that sits flat on his chest, five dark blue plastic buttons that he keeps open, single-button cuffs with short pointed tabs, and twin chest pockets that close with dual-pointed “sawtooth”-style flaps.

George Segal as Bill Denny in California Split

As the voiceover from the California Club video explains the basic fundamentals of poker, Bill makes his way toward his next game at table number 10.

Bill looks comfortable at the tables in his ivory turtleneck, knitted in a variety of classic Aran stitchwork: cable-knit through the body with long diamond stitches down each side of the chest and set-in sleeves. The rolled neck (also known as a “polo neck”) is widely ribbed like the cuffs and hem.

Irish fishing folklore dictates that every stitch on an Aran-knit jumper carries deeper meaning. Diamond-shaped stitching, said to resemble fishing mesh or the small fields on the Aran islands, symbolize wealth, luck, and success… all elements that would benefit Bill during long nights at the poker tables. Arguably the most frequently encountered stitch, the cable represents fisherman’s ropes to symbolize their safety while out to sea. (Read more from Knit Picks and Shamrock Craic.)

George Segal as Bill Denny in California Split

“I dealt the second one a little hard, it never hit the floor, not even close.”

You can find genuine Irish Aran sweaters from merchants like The Irish Store and Sweater Shop or lower-priced recreations from retailers like ASOS and Stag Provisions (as of March 2022).

Though Bill’s sweater appears to be in generally good shape, it shows some signs of age via the hungry moths that have gotten to the right side, particularly under the armpit. Bill wears it against his bare torso, as we see when Charlie pulls it up to apply the shaving cream they use to self-medicate after getting beaten up by Lew’s pals.

Elliott Gould and George Segal in California Split

“That shaving cream is not gonna stain your white sweater, don’t worry,” Charlie assures Bill.

Bill’s flat front trousers are a tobacco brown corduroy with a narrow wale known as “needlecord” or “pinwale”. These trousers have a fitted waistband, with no belt loops or side adjusters. The front pockets are the full-top “frogmouth”-style with a single jetted back right pocket. The bottoms are finished with turn-ups (cuffs).

Bill wears walnut brown leather plain-toe monk shoes with a single strap across the instep that closes through a gold-toned buckle. (I own and can endorse the budget-friendly Florsheim Sorrento single-strap monks.) The tan ribbed socks are thematically coordinated to the warmer tones of his sweater, trousers, and shoes.

George Segal as Bill Denny in California Split

Bill ducks under another table after Lew decks him after suspecting he’s silently partnered with Charlie, whom he’d never met before that evening.

The following morning, having grabbed a few winks while crashing on Charlie’s sofa, Bill shows up to work in a pair of tortoise-framed aviator-style sunglasses he’s reluctant to take off.

George Segal as Bill Denny in California Split

After a long night of bets, beer, and beatings, Bill’s in no condition to work.

How to Get the Look

George Segal as Bill Denny in California Split

George Segal as Bill Denny in California Split (1974)

Especially when contrasted against his new pal, Bill Denny’s simple outfit of an Aran jumper and corduroys when introduced to us in California Split establishes his more practical nature, albeit with interesting touches like the trousers’ beltless waisband and his monk-strap shoes. I can certainly recommend this smart casual look for early spring, though I can’t quite endorse the casino-to-conference room spirit in which Bill wears it.

  • Dark navy cotton 5-button shirt-jacket with long pointed collar, two “sawtooth”-flapped chest pockets, pointed single-button cuffs, and side vents
  • Ivory unbleached wool Aran-knit turtleneck sweater
  • Tobacco brown “pinwale” corduroy cotton flat front trousers with fitted waistband, full-top “frogmouth”-style front pockets, jetted back-right pocket, and turn-ups/cuffs
  • Walnut brown leather plain-toe single-strap monk shoes
  • Tan ribbed socks
  • Tortoise-framed aviator-style sunglasses

Build the outfit:

  • Patagonia Better Sweater Shirt-Jacket in “new navy” (Backcountry)
  • Alex Mill Fisherman Cable Turtleneck Sweater in ivory (Stag Provisions)
  • And Now This corduroy trousers in dark brown (Macy’s)
  • Florsheim Sorrento monk-strap slip-ons in cognac (DSW)
  • Express ribbed sweater socks in camel (Express)
  • Ray-Ban RB2198 “Bill” sunglasses in Havana tortoise (Ray-Ban)

Availability as of March 2022.

Do Yourself a Favor and…

Check out the movie.

The Quote

Twenty dollars says you can’t name the seven dwarves.

The post California Split: George Segal’s Aran Turtleneck appeared first on BAMF Style.

The Man Who Came to Dinner

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Monty Woolley as Sheridan Whiteside in The Man Who Came to Dinner (1942)

Vitals

Monty Woolley as Sheridan Whiteside, catty, cantankerous, and “celebrated author and critic”

Ohio, Winter 1941

Film: The Man Who Came to Dinner
Release Date: January 1, 1942
Director: William Keighley
Costume Designer: Orry-Kelly

Background

Based on a play of the same name by Moss Hart and George S. Kaufman, the holiday-centered screwball comedy The Man Who Came to Dinner was released 80 years ago this year. Inspired by Hart’s own experiences with critic and writer Alexander Woollcott, the eponymous “man” is Sheridan Whiteside, an acerbic radio personality whose well-publicized national tour includes a stop in the invented town of Mesalia, Ohio, where his prestige has preceded him more than his condescending attitude.

Whiteside arrives in Mesalia on Thanksgiving Eve, several days ahead of his planned lecture to stay at the home of the well-to-do Stanley family, despite his snobbish protestations that “I simply will not sit down to dinner with Midwestern barbarians… I think too highly of my digestive system.” As the prim Women’s Club president Mrs. Stanley (Billie Burke) excitedly describes Mesalia’s culture, Whiteside turns to make one of his many acerbic quips at the small town’s expense, but karma sends the self-described “first man of American letters” tumbling down a staircase. Whiteside’s resulting hip fracture unfortunately extends his brief stay into an extended respite, during which he essentially takes over the Stanley home through the holidays, inviting in a parade of colorful guests and bizarre gifts.

“Christmas is Mr. Whiteside’s personal property. He invented it, it belongs to him,” explains Whiteside’s long-suffering secretary Maggie Cutler (Bette Davis) on Christmas Eve, after he’s been staying in the Stanley home for nearly a month. “Tomorrow morning, very first thing, Mr. Whiteside will open each and every present… and he’ll raise the biggest stink that you’ve ever seen in your life.”

What’d He Wear?

After weeks spent convalescing and barking out orders from his room at the Stanley domicile, Sheridan Whiteside finally makes his grandiose reappearance, resplendent in a Christmassy silk dressing gown and necktie while pushed in a wheelchair by his much-abused nurse Miss Preen (Mary Wickes, a frequent face of holiday classics like It’s a Wonderful Life and White Christmas.) “Big Lord Fauntleroy,” taunts Maggie as Whiteside attempts to be characteristically domineering from his silken-swathed throne on wheels, proving she can dish it back as much as her supercilious boss.

The first of Whiteside’s robes is festively festooned in a holly-and-berry print, likely in green and red (respectively), against a darker ground and with a matching shawl collar, cuffs, and sash in an elegant light-colored satin silk. This dressing gown also has a breast pocket and hip pockets.

Whiteside wears a woolen blanket over his lap, so the only other pieces of his wardrobe generally visible are his white shirt and his silk tie, printed with abstract swirls and a dark-dipped blade. The shirt has a spread collar, front placket, and two-button cuffs.

Monty Woolley in The Man Who Came to Dinner (1942)

Next, Whiteside wears a darker silk dressing gown, covered in a Deco-style print of circles, lines, and swirls that reminds me of cigarettes, smoke, and ashtrays, echoing a favorite activity of Whiteside who’s rarely far from his cigarette holder. This robe is similarly detailed as the first with its light satin-finished collar and cuffs and trio of pockets, though this sash matches the body of the robe rather than the collar and cuffs. (Eagle-eyed reader Parker Cross noted to me on Twitter that this appears to be the exact same robe worn nearly a decade later by Robert Walker as the dapper but dangerous Bruno Antony in Hitchcock’s great 1951 thriller Strangers on a Train.)

“How do you like my new tie?” he asks the youngsters when trying to soften them up. “I think your tie is very pretty” replies the daughter Harriet (Ruth Vivian), with the son Richard (Russell Arms) going even further: “Now that we’re on speaking terms, Mr. Whiteside, I don’t mind telling you, I’ve been admiring all your ties!”

Whiteside: Do you like this one?
Richard: I do!
Whiteside: (untying it) It’s yours!

The tie that captures young Richard’s attention depicts jazz fiends playing an array of instruments like trumpet, clarinet, and double bass, with only the eyes and mouths of each “performer” illustrated on their pale faces against a dark ground.

Monty Woolley in The Man Who Came to Dinner (1942)

At one point, Whiteside pushes back one of the grand silken cuffs to check his watch, a metal wristwatch on a brown leather strap.

Monty Woolley in The Man Who Came to Dinner (1942)

His jazz-fiends tie replaced by an “air tie” with his shirt buttoned to the neck, Whiteside’s wristwatch gets some brief air-time from under the grand cuffs of his dressing gown.

On Christmas Eve, Whiteside wears a checked woolen flannel twill garment with a more intentional structure and a shorter length that suggests a comfortable smoking jacket rather than one of his dressing gowns. The colors of this tri-toned tartan plaid jacket may be lost to history, though lobby cards suggest that the darkest check is an appropriately seasonal wine-red. As with his robes, the smoking jacket has a collar and cuffs in an elegantly contrasting fabric, this time a dark velvet rather than silk. The lapels have the slim notches characteristic of the “cran Necker” or “Parisian” style, in the same dark velvet also seen facing the full belt, turned-back cuffs, and atop the set-in breast and hip pockets.

Whiteside wears another swirly tie, uniquely trussed to present a conservative repp stripe over the knot with the rest of the tie printed in more colorful swirls echoing the eyes of storms.

Monty Woolley in The Man Who Came to Dinner (1942)

Whiteside wears dark woolen trousers, almost certainly pleated and finished on the bottoms with turn-ups (cuffs). Regaining some mobility, he’s swapped out his slippers for brown leather plain-toe ankle boots with straps across the tops like jodhpur boots.

Monty Woolley in The Man Who Came to Dinner (1942)

Though Whiteside’s grand loungewear may be his most memorable attire, he bookends the movie wearing his traveling suit—a striped broken-twill two-piece tweed clabber—for his arrival the day before Thanksgiving and on Christmas Day.

This sporty suit consists of a single-breasted, two-button ventless jacket with softly padded shoulders, notch lapels, four-button cuffs, and patch pockets, with a plain white linen kerchief in the breast pocket. His trousers have an appropriately long rise to meet the jacket’s buttoning point at Woolley’s natural waistline, and the bottoms are finished with turn-ups (cuffs).

Monty Woolley in The Man Who Came to Dinner (1942)

Even with his staid tweed suit, Whiteside continues his tradition of wearing flashy ties. His Christmas tie is patterned with a series of white and dark balanced stripes that are perpendicularly cornered and overlaid by large white polka dots.

To combat the wintry weather, Whiteside layers with a dark wide-scaled broken twill tweed Balmacaan-style overcoat, with a Prussian collar, five woven leather buttons, slanted welt hand pockets, turnback cuffs, and the requisite raglan sleeves characteristic of a classic Balmacaan coat. He also wears a dark soft felt or velvet trilby and a dark tri-toned tartan plaid woolen scarf with fringed ends.

Monty Woolley in The Man Who Came to Dinner (1942)

Careful on those icy steps, Sheridan!

What to Imbibe

Maggie’s beloved playwright paramour Bert Jefferson (Richard Travis) offers to mix up a quick quartet of his self-titled Jefferson Special cocktails to celebrate Lorraine’s faux engagement. “My Jefferson Special will cure anything!” the amiable newspaperman promises. Unfortunately, we never get to learn more about these drinks, other than the fact that a rejuvenated Sheridan Whiteside requests that his be a double.

Monty Woolley in The Man Who Came to Dinner (1942)

Just because Bert Jefferson doesn’t tell us what’s in his Jefferson Specials doesn’t mean we can’t figure something out for ourselves!

Given what little we had to go on—primarily, the appearance of the cocktail with its foamy finish—I set out to look for an adequate alternative, preferably incorporating bourbon so that I could pay tribute to Bert’s surname by using Jefferson’s Bourbon, which also happens to be one of my favorites.

The search for a frothy seasonal cocktail with bourbon as a base spirit led me to Julie Kotzbach’s recipe for a Bourbon Flip, found on Bread Booze Bacon and described as “a lighter take on eggnog.”  You’ll need these ingredients:

  • 2 ounces of bourbon (Ms. Kotzbach used Maker’s 46, but I’d use Jefferson’s for reasons stated above)
  • 1 ounce of simple syrup
  • 1 large egg, raw
  • Nutmeg, freshly grated

Break the raw egg and pour its entire contents—sans shell, of course—into a shaker with the bourbon and simple syrup, then shake it vigorously for more than a minute. Strain it into a coupe or vintage martini glass, top with the freshly grated nutmeg, and serve!

The “flip” category of mixed drinks originated at sea during the 17th century, though by the time Jerry Thomas published his seminal bar guides nearly 200 years later, the overall definition of a flip had evolved into hot or cold drinks made with a spirit, egg, sugar, and spice, though lacking cream to differentiate them from nog. Base spirits were typically brandy, rum, or gin, though even port wine and sherry were often used, such as the pair of sugared-rim sherry flips ordered by William Holden and Nancy Kwan in The World of Suzie Wong (1960).

Nancy Kwan and William Holden in The World of Suzie Wong (1960)

The sherry flips served in The World of Suzie Wong don’t look very appetizing, and Suzie’s reaction informs us that these lacking qualities aren’t limited to its presentation.

Historical examples of flip drinkers include:

  • Future U.S. President Ulysses Grant, who enjoyed hot rum flip while he was a young West Point cadet in the 1840s
  • Roaring ’20s bon vivant Harry Crosby who drank porto flips with New York Journal columnist Molly Cogswell
  • Scottish-born ambassador R.H. Bruce Lockhart who cited daily rations of brandy flips to overcome his malaria in the early 1910s

How to Get the Look

Vegging around the house during Christmas more frequently means T-shirts and sweatpants or a family in matching pajamas, but Sheridan Whiteside sets a template for dignified loungewear in his silk robes or velvet-collared smoking jacket with white shirts and fanciful ties.

Monty Woolley in The Man Who Came to Dinner (1942)

Do Yourself a Favor and…

Check out the movie. “With so many sentimental movie takes on Christmas, especially in the 1940s, the dose of irreverence is refreshing,” wrote Jeremy Arnold in TCM’s Christmas in the Movies.

You can also read more about Orry-Kelly’s glamorous costume design in this piece by GlamAmor.

The Quote

Is there a man in the world who suffers as I do from the gross inadequacies of the human race?

The post The Man Who Came to Dinner appeared first on BAMF Style.

Leslie Howard in The Petrified Forest

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Leslie Howard and Bette Davis in The Petrified Forest (1936)

Vitals

Leslie Howard as Alan Squier, itinerant and nihilistic writer “… in a way”

Black Mesa, Arizona, January 1936

Film: The Petrified Forest
Release Date: February 6, 1936
Director: Archie Mayo
Costume Designer: Orry-Kelly (uncredited)

WARNING! Spoilers ahead!

Background

“Petrified Forest, eh? A suitable haven for me. Well, perhaps that’s what I’m destined to become… an interesting fossil for future study,” suggests the self-deprecating Alan Squier (Leslie Howard) after he learns more about the surrounding desert region he’s entered after his thumb-powered journey to “set forth and discover America.”

Alan was portrayed on both stage and screen by the multi-talented Leslie Howard, an English actor, director, producer, and writer who was born 130 years ago today on April 3, 1893. Howard was one of the biggest stars of the 1930s, thanks to his performances in movies like Of Human Bondage (1934), The Scarlet Pimpernel (1934), Pygmalion (1938), and his perhaps most enduring performance as Ashley Wilkes in Gone With the Wind (1939).

Portending his fervent wartime activity in service to the Allies during World War II, one of Howard’s final roles was in Pimpernel Smith, a 1941 retelling of The Scarlet Pimpernel that Howard also produced and directed, updating the story to a contemporary anti-Nazi thriller. Pimpernel Smith was considered to be such effective pro-British propaganda that it has been cited as a factor in why BOAC Flight 777 may have been specifically targeted when it was shot down by eight German fighters on June 1, 1943, killing all 17 aboard including the 50-year-old Leslie Howard.

Like many of his generation, Howard was an accomplished actor of both stage and screen. It was while originating the role of Alan Squier when The Petrified Forest opened on Broadway in 1935 that Howard encountered a talented but relatively unknown actor named Humphrey Bogart, who was playing the John Dillinger-inspired outlaw “Duke” Mantee, whose armed takeover of the Petrified Forest BBQ catalyzes the drama. When Warner Brothers tapped Howard for the screen adaptation but wanted to cast the more established—and thus bankable—Edward G. Robinson as Duke, Howard refused to reprise his own role without Bogart opposite him. Proving Howard’s own bankability, Warner Brothers caved and a cinematic legend was born as The Petrified Forest reignited Bogart’s screen career, leading to his own stardom within five years. Bogart would remain forever grateful to Howard, to the extent that he and Lauren Bacall named their second child Leslie Howard Bogart in tribute to the late actor when she was born in 1952.

The Petrified Forest on Broadway in 1935. Note how closely the costumes worn by Humphrey Bogart (far left, seated in dark waistcoat) and Leslie Howard (far right, standing in two-button tweed jacket) resemble what they would wear in the following year’s film adaptation.

The Petrified Forest is set in an isolated diner at the edge of the Petrified Forest National Park in Arizona, run by Jason Maple (Porter Hall) with the help of his nostalgic cowboy father “Gramp” (Charley Grapewin) and his daughter, the lonely artist Gabrielle (Bette Davis) who is instantly smitten as the dusty and disillusioned Alan strolls into their eatery and regales them with the stories of his experiences.

“A writer? Well, that’s a funny thing,” comments Gramp. “Yes, it is,” laughs Alan, adding “I belong to a vanishing race… I’m one of the intellectuals.” Alan elaborates on feeling increasingly out of place in the world, as he was “born in 1901, the year Victoria died… I was just too late for the Great War and too soon for the new order.”

On the lam after a deadly robbery, Duke’s gang ultimately takes over the Petrified Forest BBQ, frightening its handful of staff and patrons… aside from the fatalistic Alan, who sees the situation as an opportunity for engaging the dangerous Duke in philosophical debates—and perhaps an opportunity for a sacrifice that would allow Gabrielle to escape her dead-end life and follow her dreams beyond the petrified forest.

Alan: Do you believe in astrology?
Duke: I couldn’t say, pal.
Alan: Well, I don’t normally. But tonight, as I was walking along that road… I began to feel the enchantment of this desert. I looked up at the sky, and the stars seemed to be mocking me, reproving me. They were pointing the way to that gleaming sign and saying: “There’s the end of your tether. You thought you could escape and skip off to the Phoenix Palace… but we know better.” That’s what the stars told me… for perhaps they know that carnage is imminent, and that I’m due to be among the fallen. Fascinating thought.
Duke: Let’s skip it. Here’s happy days.

What’d He Wear?

Alan Squier may be a drifter, but he’s still a philosophical one and dresses the part in his tweed jacket and tie, albeit dusty and disheveled after his extended time on the road, a look that was requested several years ago by a BAMF Style reader.

The single-breasted tweed sports coat has two buttons that Leslie Howard always wears both fastened, bucking the sartorial convention that informs men to never button the bottom button of their jackets, and there are three buttons at the end of each cuff. The tweed birdseye weave is a larger scale than usual, resulting in a jacquard diamond-shaped pattern with irregular flecks of fabric adding texture and character. The ventless jacket has notch lapels and patch pockets over the hips and left breast, the latter dressed with a white linen handkerchief.

Leslie Howard as Alan Squier in The Petrified Forest (1936)

Alan wears a plain white cotton shirt with a long spearpoint-style collar, front placket, and button cuffs which he often wears fastened but with the rounded edges self-cuffed. Unlike most drifters—even of that era—who likely wouldn’t bother with neckwear, Alan still wears a light-colored woolen knit tie, its coarse texture harmonious coordinating with his tweed jacket.

Leslie Howard as Alan Squier in The Petrified Forest (1936)

Alan’s mid-colored woolen flannel trousers are likely pleated and possibly even worn with a belt, though his practice of keeping both buttons of his jacket fastened prevents us from clearly seeing any details around the waist. The trousers have side pockets and a full fit through the legs down to the bottoms, which are finished with turn-ups (cuffs).

The lighter color of his apron-toe derby shoes suggests tan leather, worn with dark socks.

Leslie Howard and Bette Davis in The Petrified Forest (1936)

Alan’s medium-colored felt trilby looks a bit misshapen and dusty from his hard travel, detailed with a darker narrow grosgrain ribbon.

Leslie Howard and Bette Davis in The Petrified Forest (1936)

Signifying him as more of an intellectual than the stereotypical vagrant, Alan wears a pair of pinky rings—one on each hand. The ring on his right pinky appears to be a simple band, while the left pinky ring is a chunkier signet ring.

Leslie Howard as Alan Squier in The Petrified Forest (1936)

What to Imbibe

Alan pairs his lunch with a refreshing Apache Beer, a regional brew that the Petrified Forest BBQ advertises extensively in signs posted throughout the dining area. Phoenix-based Arizona Brewing Company had just introduced the beer in June 1934, just a year and a half before The Petrified Forest was filmed and released.

Apache touted itself as “the most popular beer in Arizona” and, within a year, it was being distributed throughout the southwestern United States. The brewery continued to innovate both its products and packaging, through it restructured during World War II and ceased production of Apache Beer just shy of a decade after it was introduced, realigning behind its new A-1 Beer brand. In October 1964, the brewery was sold to the Carling Brewing Company of Cleveland. (You can read more about Apache and the Arizona Brewing Company in this comprehensive article by Ed Sipos for American Breweriana Journal, excerpted by BeerHistory.com.)

Leslie Howard and Charley Grapewin in The Petrified Forest (1936)

When Alan returns after Duke Mantee’s takeover of the Petrified Forest BBQ, Duke offers him a beer, but Alan requests “do you mind if I have some of that whiskey instead?” He gets served a pint of Golden Eagle rye whiskey which, like Apache Beer, is considerably well-advertised throughout the joint.

Unlike Apache Beer, I can’t verify if Golden Eagle was an actual brand at the time of production or if this was merely a prop label. There was a Golden Eagle Distilleries Company which produced bourbon and rye, founded in San Francisco in 1903, though it would be negatively impacted by the famous earthquake three years later and wouldn’t survive for more than a decade, all but vanished from the City by the Bay by 1912 according to the Virtual Museum of Historical Bottles and Glass.

“You better not drink any more of that rye whiskey,” Gabrielle later warns him. “It isn’t the rye, it’s the same disease that’s afflicting Boze… frustration!” Alan exclaims in response.

Leslie Howard, Bette Davis, and Dick Foran in The Petrified Forest (1936)

How to Get the Look

Leslie Howard as Alan Squier in The Petrified Forest (1936)

After brushing off the dust and adjusting a button here and a tie knot there, the dignified drifter Alan Squier presents a relatively timeless traveling outfit in his tweed sports coat, woolen tie, and flannel trousers.

  • Diamond jacquard birdseye-woven tweed single-breasted 2-button sport jacket with notch lapels, patch breast pocket, patch hip pockets, 3-button cuffs, and ventless back
  • White cotton shirt with spearpoint collar, front placket, and button cuffs
  • Light-colored woolen knit tie
  • Mid-colored woolen flannel pleated trousers with side pockets and turn-ups/cuffs
  • Tan leather apron-toe derby shoes
  • Dark socks
  • Dark felt trilby
  • Simple band ring, worn on right pinky
  • Signet ring, worn on left pinky

Do Yourself a Favor and…

Check out the movie.

The Quote

Oh, I’m eternally right… but what good does it do me?

The post Leslie Howard in The Petrified Forest appeared first on BAMF Style.

Mad Men: Kinsey’s 420-Friendly Mohair Cardigan

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Michael Gladis as Paul Kinsey on Mad Men, Episode 3.03: “My Old Kentucky Home”

Vitals

Michael Gladis as Paul Kinsey, blowhard advertising copywriter

New York City, Spring 1963

Series: Mad Men
Episode: “My Old Kentucky Home” (Episode 3.03)
Air Date: August 30, 2009
Director: Jennifer Getzinger
Creator: Matthew Weiner
Costume Designer: Janie Bryant

Background

Though Mad Men is typically associated with alcohol, especially in the early seasons set early in the 1960s, the series still included a handful of memorable 420 moments, from Don Draper’s flashback-inducing toke at a Bohemian shindig to when Pete Campbell finally chills out with a much-needed spliff to the tune of Janis Joplin toward the end of the sixth season. But before we get to that point, we have a trio of Sterling Cooper creatives spending their Saturday afternoon trying to smoke their way to success on the Bacardi account in the third-season episode “My Old Kentucky Home”, set sixty years ago in the spring of 1963.

While the senior staff are invited to “work disguised as a party” hosted by Roger Sterling and his new wife Jane, copywriter Paul Kinsey (Michael Gladis) is among the Sterling Cooper skeleton crew of Smitty Smith (Patrick Cavanaugh) and Peggy Olson (Elisabeth Moss) stranded in the office on this sunny spring weekend.

Little of Kinsey’s interests beyond an enthusiasm for science fiction remain consistent throughout the series, as he continually grasps at shifting identities out of desperation for acceptance. When we met him in the spring of 1960, he was nearly identical to his clean-shaven, suit-and-tie colleagues who spent their workdays drinking and harassing secretaries. Two years later, Kinsey has embraced a more Bohemian image and lifestyle in keeping with his wish to be perceived as creative and socially aware, having grown out a beard and given to Orson Welles-inspired pontification. (If you think this doesn’t suit him, just wait a few years until he’s joined the Hare Krishna movement… while still writing Star Trek spec scripts.)

Kinsey typically takes pompous puffs from his pipe, but the lack of oversight in the office—and perhaps the desire to look interesting in front of younger colleagues whom he likely perceives as threats to his professional relevance—inspires him to call in an old pal from Princeton to hook him up with weed, leading to one of the most memed moments from the series:

Elisabeth Moss as Peggy Olson on Mad Men

What’d He Wear?

With his patterned sports coats, tab-collar dress shirts, and monk shoes, Paul Kinsey developed his style to become one of the more interesting dressers among the men of Sterling Cooper by the second season—and I’m sure he’d only be too delighted to hear it. Of course, when Kinsey’s hookup insists they limit their exposure by using Kinsey’s cardigan to keep their smoke from escaping out into the rest of the office, where Peggy’s judgmental secretary Olive (Judy Kane) sits, Kinsey instantly reveals his lack of cool when he protests:

It’s mohair!

The six-button mohair sweater in question is color-blocked in three shades of brown: tan across the shoulders, cognac across the chest, and a darker walnut shade around the bottom, this being the same color that trims the edges. The sleeves are set-in at the shoulder and reflect the same color-blocking scheme down each arm.

Michael Gladis as Paul Kinsey on Mad Men, Episode 3.03: "My Old Kentucky Home"

“It’s mohair!”

Kinsey’s coordinated shirt is beige cotton with a faint tonal stripe. The spread collar is shaped with a roll similar to a button-down collar, and the shirt has a breast pocket with mitred bottom corners. The 7-button front placket is stitched close to the edges, and the barrel cuffs also have button closures.

Like his boss Draper, Kinsey wears a plain white cotton short-sleeved undershirt, though wearing his shirt open at the neck shows the top of the undershirt’s crew-neck.

Michael Gladis and Patrick Cavanaugh on Mad Men, Episode 3.03: "My Old Kentucky Home"

Kinsey may consider himself among those who think young, but his mohair cardigan and rumpled shirt are no match for the youthful Smitty in his leather jacket and dark striped shirt.

Kinsey maintains the color continuity of his outfit through the brown wool flat-front trousers, held up by a narrow dark brown leather belt that closes through an etched gold box-style buckle. The trousers have quarter-top side pockets, button-through back pockets, and plain-hemmed bottoms.

Likely appreciating them as an offbeat but professional alternative to his colleagues’ lace-ups, Kinsey wears brown calf leather monk shoes. As the name implies, this footwear originated among monks in 15th century Europe, characterized by one or two straps that buckle closed over the vamp. Kinsey’s plain-toe monk shoes are of the single-strap variety, closed through a brass-finished single-prong buckle. His chocolate brown cotton lisle socks more closely match his shoe leather than his trouser fabric.

Michael Gladis as Paul Kinsey on Mad Men, Episode 3.03: "My Old Kentucky Home"

Despite his desire to establish himself as a creative individualist, his watch is far more commonplace than the Rolex or Jaeger-LeCoultre models worn by his boss Draper or the gold triangular-cased Hamilton that accounts man Ken Cosgrove (Aaron Staton) would show off two episodes later as a gift from a client.

Kinsey’s gold-toned dress watch has a round champagne-colored dial and is worn on a dark brown leather strap.

Michael Gladis and Miles Fisher on Mad Men, Episode 3.03: "My Old Kentucky Home"

Luckily, Sterling Cooper’s client Utz is able to satisfy the creative team’s munchies.

Kinsey’s friend Jeffrey Graves (Miles Fisher) wears a plaid cotton sports coat that would have fit in at the Sterling Cooper garden party, while also strikingly resembling the plaid jackets issued as part of Banana Republic’s Mad Men collection several years later.

How to Get the Look

Michael Gladis as Paul Kinsey on Mad Men, Episode 3.03: “My Old Kentucky Home”

Paul Kinsey’s mohair cardigan may not be iconic stoner-wear on the level of The Dude’s Pendleton zip-up sweater in The Big Lebowski, but it’s still a unique piece to elevate his weekend office-wear. I can’t really blame him for wanting to protect it after he’s asked to stuff it under the door, but he may have been wise to find a cooler way to protest.

  • Brown tri-tone mohair 6-button cardigan sweater
  • Ecru tonal-striped cotton shirt with shaped spread collar, front placket, breast pocket, and button cuffs
  • Brown wool flat-front trousers with belt loops, quarter-top side pockets, button-through back pockets, and plain-hemmed bottoms
  • Dark brown leather belt with engraved gold-toned rectangular box-style buckle
  • Brown calf leather plain-toe single-monk shoes
  • Dark-brown socks
  • White cotton crew-neck short-sleeved undershirt
  • Gold dress watch with round gold dial on dark brown leather strap

Do Yourself a Favor and…

Check out the whole series.

The Quote

This is the way the world ends. This is the way the world ends. This is the way the world ends….

The post Mad Men: Kinsey’s 420-Friendly Mohair Cardigan appeared first on BAMF Style.

Curb Your Enthusiasm: Larry’s White Wedding Suit

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Larry David on Curb Your Enthusiasm (Episode 10.04: “You’re Not Going to Get Me to Say Anything Bad About Mickey”)

Vitals

Larry David as himself, a neurotic comedy writer

Cabo San Lucas, Mexico, Summer 2019

Series: Curb Your Enthusiasm
Episode: “You’re Not Going to Get Me to Say Anything Bad About Mickey” (Episode 10.04)
Air Date: February 9, 2020
Director: Jeff Schaffer
Creator: Larry David
Costume Designer: Leslie Schilling

Background

Happy birthday to Larry David! Born 76 years ago today on July 2, 1947, LD grew successful as a co-creator of Seinfeld in the 1990s before becoming more visibly famous as an exaggeratedly neurotic version of himself on Curb Your Enthusiasm, which is currently producing its twelfth (and possibly final) season.

The tenth-season episode “You’re Not Going to Get Me to Say Anything Bad About Mickey” begins with Larry consulting with the ubiquitous Leon (J.B. Smoove) amidst construction of Latte Larry’s, the “spite store” he’s building to steal business from his rival Mocha Joe (Saverio Guerra), who stops in to remind him that “good coffee is all about the beans.”

At the same time, Larry’s coterie is planning a plane trip to Cabo San Lucas for their friend Mickey’s wedding, despite Larry grumbling about having to travel two hours for a wedding, prompting his manager Jeff (Jeff Garlin) to utter the episode’s title in the unseen Mickey’s defense… and who could portray such a widely revered friend but the absurdly charismatic Timothy Olyphant?

This being LD’s world, the trip is fraught with low-stakes drama, including the “combustible situation” of his ex-wife Cheryl (Cheryl Hines) attending, Ted Danson’s unexpected arrival during an oral hygiene emergency, and Larry being twice asked to provide the pilot captain with each passenger’s weight ahead of the journey. As no one is willing to volunteer the information—with Jeff’s wife Susie (Susie Essman) going so far as to scream “I’d rather be dead in the Sea of Cortez than have you know what I weigh!”—the 163-pound Larry must resort to guessing, and his under-estimation results in he and his date Donna (Megyn Price) needing to jettison their luggage en route.

What’d He Wear?

It’s always fun for Curb fans when LD dresses beyond his usual sartorial formula of soft layers in typically neutral colors. Forced to abandon his luggage due to their private plane’s weight restrictions, Larry embraces the opportunity to dazzle his pals with a summery ensemble appropriate for a resort wedding.

Susie earnestly—if a bit passive-aggressively—compliments “I like the color, I like you in color,” while her husband Jeff is more candid about Larry’s new look: “What’s going on here? Are you Our Man in Havana? Are you undercover for the CIA?”

Larry David and Megyn Price on Curb Your Enthusiasm (Episode 10.04: "You're Not Going to Get Me to Say Anything Bad About Mickey")

Donna may not love her borrowed dress from Susie, but Larry seems pretty pleased with himself in his new white suit.

The color in question comes from a floral shirt that Larry wears under the suit, patterned with a large-scale print of pale-yellow flowers and dark-green leaves against a light sky-blue ground. The pattern encourages the idea of a “Hawaiian shirt”, though the shirt design differs—specifically with its point collar rather than the flat camp collar of conventional aloha shirts. A column of white stitching down the front creates a placket-like effect aside the seven buttons.

Larry layers the floral shirt over one of his characteristic white cotton undershirts. Series costumer Leslie Schilling explained to Caroline Reilly for a 2020 Vulture interview that all of Larry’s white Supima cotton crew-neck undershirts are made by the Los Angeles-based Cotton Citizen, founded in 2012. The shirt’s recognizable banded crew neck is visible under the floral shirt’s open collar, and the visible sleeve-ends under Larry’s jacket suggests a long-sleeved T-shirt.

J.B. Smoove and Larry David on Curb Your Enthusiasm (Episode 10.04: "You're Not Going to Get Me to Say Anything Bad About Mickey")

For better or worse, Leon’s fashion sensibilities may be rubbing off on Larry as he picked out his new clothes for Mickey’s wedding.

Larry dresses appropriately for the warm Cabo weather in a bleached summer-weight suit, made of white cotton. The single-breasted suit jacket has notch lapels, double vents, a welted breast pocket, and patch pockets on the hips that are consistent with the suit’s sporty nature. The two mixed light brown buttons on the front match the four “kissing” buttons on each cuff.

The untucked shirt covers the tops of his trousers, but we see enough to know that they have side pockets and button-through back pockets. The plain-hemmed bottoms bunch up a bit at Larry’s feet, but they otherwise fit generally well for an off-the-rack suit purchased in a pinch.

Larry wisely leaves his usual ECCO sneakers in his “little box” of a hotel room, having smartly purchased a set of brown leather apron-toe penny loafers to compliment his suit. Schilling’s insights in her Vulture interview with Caroline Reilly suggest that LD likes to wear ECCO shoes in any situation, raising the possibility that these slip-ons were also made by the Danish footwear brand. His light taupe cotton lisle dress socks neatly balance the contrast between his white suit and his brown shoes.

Larry David, Megyn Price, Susie Essman, and Jeff Garlin on Curb Your Enthusiasm (Episode 10.04: "You're Not Going to Get Me to Say Anything Bad About Mickey")

Larry makes a stylish impression on his friends who are used to his neutral sport jackets, sweaters, and corduroys.

Larry has a tradition of wearing hats to beachside weddings, as established in “The Korean Wedding” (Episode 5.09) when he wore a ridiculous straw hat to their friends Mark and Marla’s wedding. “I’m married, I can wear whatever I want,” Larry told Jeff at the time.

Five seasons and a divorce later, Larry doesn’t have the same excuse to back his sartorial decisions, so he has to up his headgear game while protecting his famously bald scalp from the Mexican sun. His ivory woven linen short-brimmed trilby with its narrow brown edge-stitched leather band may contribute to the “man of mystery” pastiche that Jeff chides (evidently, Jeff making fun of Larry is part of the tradition), but it certainly harmonizes with the colors and spirit of the rest of his suit.

Larry David on Curb Your Enthusiasm (Episode 10.04: "You're Not Going to Get Me to Say Anything Bad About Mickey")

The Danson beef heats up.

Larry continues wearing his favorite Oliver Peoples glasses, specifically the round gold-framed MP-3 model that he had been wearing since the ’90s. “He does have a pair that are transition lenses,” Schilling confirmed to Reilly for Vulture, and these are almost certainly the glasses he wore for Mickey’s wedding.

After having worn a rectangular-cased watch with a pink dial for many of the show’s early seasons, Larry introduces a new round-cased watch during the tenth season, secured to his left wrist on an edge-stitched taupe napped leather band. The stainless steel watch has an elegantly simple design, with a large white matte dial detailed only with non-numeric hour indices and a sub-dial at 6 o’clock.

Larry David on Curb Your Enthusiasm (Episode 10.04: "You're Not Going to Get Me to Say Anything Bad About Mickey")

Larry grabs a sack of the Hacienda Hidalgo coffee beans that he hopes will launch Latte Larry’s over Mocha Joe’s.

Larry’s watch isn’t seen clearly enough to confirm the maker, but I suspect it could be an automatic Longines, though I can’t align as specific model with the details on the screen-worn timepiece. (The closest current approximation I’ve seen is the 39mm L4.812.4.11.2 model from Longines’ “Elegant Collection”, though this has Roman numeral indices rather than simple bars.)

How to Get the Look

Larry David and Megyn Price on Curb Your Enthusiasm (Episode 10.04: “You’re Not Going to Get Me to Say Anything Bad About Mickey”)

When Larry David steps out of his sartorial comfort zone, he does so with pizzazz, having some fun for a beachside Cabo wedding in an off-white summer suit, floral-printed shirt, and coordinated trilby.

  • White cotton suit:
    • Single-breasted 2-button jacket with notch lapels, welted breast pocket, patch hip pockets, 4-button “kissing” cuffs, and double vents
    • Flat-front trousers with side pockets, button-through back pockets, and plain-hemmed bottoms
  • Sky-blue floral-printed short-sleeved shirt with point collar
  • White Supima cotton crew-neck long-sleeve T-shirt
  • Brown leather apron-toe penny loafers
  • Light taupe cotton lisle dress socks
  • Ivory linen short-brimmed trilby with narrow edge-stitched brown leather band
  • Gold round-framed Oliver Peoples MP-3 transition-lens glasses
  • Stainless steel automatic dress watch with white dial (with non-numeric hour indices and 6 o’clock sub-dial) on edge-stitched taupe napped leather band

Do Yourself a Favor and…

Check out the series, including the tenth season—available on DVD and streaming on Max.

The Quote

This is why you don’t invite divorced couples to a wedding, Mickey!

The post Curb Your Enthusiasm: Larry’s White Wedding Suit appeared first on BAMF Style.

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