Buck the Trend

As the year and the decade draw to a close it is quite common to reflect on the past and look forward to the future.  I hope as you reflect on the past year that you are not feeling remorse about spending your hard-earned dollars on a "daring swashbuckling outfit" or "a military jacket showing a hint of Sgt. Pepper."  These were apparently among the trends for mens fashion in the fall of 2009.

Looking ahead, the predicted trends for mens fashion in 2010 include knitted leopard-print shirts, big cotton bags, and multiple belts worn across the torso.  I've seen reports that the hot color for spring is orange....

In the new year, resolve to avoid the fashion of the season.  Instead resolve to invest in high-quality timeless pieces that flatter your body shape, complexion and personality.  Buck the fashion trends and resolve to be stylish.

Hidden Gems at Brooks Brothers Factory Outlet

I hit the Brooks Brothers Factory Outlet over the weekend to see if I could pick up any good post-Christmas deals.  On Saturday everything in the store was forty percent off.  Before noon they took an additional ten percent.  And I had a AAA coupon worth another ten percent.

When I go to the Brooks Brothers Factory Outlet, I am on the lookout for retail store clothing that has been moved to the outlet store.  Factory outlet stores used to stock overruns and seconds from their retail stores.  These days most of the factory outlet stores handle their own line of clothing that is of inferior quality and workmanship.  You may notice that most of the clothing at the Brooks Brothers Factory Outlet is from the "346" line (a reference to their flagship store at 346 Madison Avenue) that is of lower quality than items from the Brooks Brothers retail stores.  However, if you are careful to check the labels it is possible to find a random jacket, sweater or tie from the retail store.

I found about eight retail store ties mixed in with the wide selection of "346" ties.  In a side-by-side comparison the difference in quality of fabric and construction is wildly apparent.  I selected the two ties pictured above.  They are seventy percent cashmere and thirty percent silk.  They are identical except for color; one is navy and the other is light blue.  The ties were originally priced at $125, but were marked down in the outlet store to $59.50.  With the sale and coupon I paid about $29 each.

There are hidden gems to be found at the outlet stores if you know what you are looking for.

Book Review: The Suit

Michael Anton, a former speechwriter for President George W. Bush, New York Mayor Rudy Giuliani, and Secretary of State Condoleeza Rice, authored The Suit: A Machiavellian Approach to Men's Style under the pen name Nicholas Antongiavanni.  Anton, a regular contributor to the internet style forums under the moniker "manton," drew tongue-in-cheek inspiration for The Suit from Machiavelli's The Prince.  This small book is packed full of sartorial minutiae.  If you care "Whether Suspenders and Many Other Things Which are Bought and Worn By Dandies Every Day Are Tasteful or Tasteless" then this is absolutely the book for you.

Here is a great interview with Anton about The Suit from Humanities, March/April 2008, Volume 29, Number 2:

A Conversation with Michael Anton

Michael Anton is the author of The Suit, a parody of Machiavelli's The Prince and a ringing defense of old-fashioned dressiness for men, written under the nom de plume Nicholas Antongiavanni. He is also a speechwriter who has worked for Governor Pete Wilson, Mayor Rudolph Giuliani, the National Security Council, President Bush, and, more recently, Rupert Murdoch. His articles on men's fashion have appeared in the American, the Wall Street Journal, City Journal, and other publications.

NEH Chairman Bruce Cole: Thanks for coming all the way from New York.

Michael Anton: To me this is an honor. The National Endowment for the Humanities should be reserved, in my mind, for the great figures in American letters. Just to be in their company, in any kind of way, is staggering to me.

Cole: Well, you've been in the company of Tom Wolfe.

Anton: He's one of my heroes. And Harvey Mansfield, who gave the Jefferson Lecture last year, is another.

Cole: Do you know him?

Anton: Yes, a little. My ambition for the book was fulfilled when Mansfield told me he liked it. He said, “I finished your book, I enjoyed it very much. And as soon as I was done, I went shopping.”

Cole: First off, what should we call you?

Anton: You can call me Mike Anton. My pen name, Nicholas Antongiavanni, is not meant to obscure my real identity. It is kind of a two-pronged joke. One is to make the name sound more like Niccolò Machiavelli, who is the inspiration for the book and who gives the architecture for the book and for all kinds of literary devices. Second, it is meant to conjure this imagined figure of authority on men's fashion. I pictured Nicholas Antongiavanni as a very dashing boulevardier who you might think was qualified to give you clothing advice.

He's an alter ego, which I needed because I am kind of a dull person in real life. I have a regular job and a suburban home and all that, but I overdress. I aspire to be a dandy in that sense only. The word "dandy" comes up a lot in the book; it's my term of highest praise. But it's very much a clothing-oriented dandy.

The original conception was taken over by French theorists—surprise—in the mid-nineteenth century. They expanded the idea to encompass an entire lifestyle, including a certain dissoluteness. And I am not like that. But in the sense of somebody who is too into clothes, to the point of it being not exactly respectable, then, yeah, I am.

People have wondered, Why didn't you write the book in your own name? Are you ashamed of writing about clothes? Well, a little. I'd rather be known for some really substantive intellectual achievement, but this is what I wrote. And I do love the subject.

You know, the original title of the book was supposed to be The Dandy. Just one title, no subtitle, and the author's name, Nicholas Antongiavanni. I thought the parallel to The Prince would be a little closer. Also, the dandy, like the prince, is a type of man.

The publisher thought the word would turn off readers, and so they decided to change it. But, to me, the purpose of the book was as much to do Machiavelli pastiche as it was to write about clothes. So I was lucky and grateful to find a publisher that would publish it more or less exactly as I wanted it, even though they made me change the title.

Cole: What led you to write this? In several parts, it is actually more of a how-to-dress book.

Anton: Yes.

Cole: But it's much more than that.

Anton: It is like The Prince. It's meant to be a normative book, and sometimes it has a bullying tone, "Thou shall do this, Thou shall not do that," very categorical, like The Prince. But, also like The Prince, there's usually some trapdoor underneath the categorical rules that the reader who's skimming it will miss. And if you follow the rules too closely, you're led into error.

The inspiration was simply that I love clothes and I love Machiavelli. I came to unite the two by chance when I was in grad school. I was working on a paper about The Prince. And I had this idea. I mean, here's this classic book on how to rule. Wouldn't it be funny if there were such a book on how to dress? And I wrote the table of contents, and later I fiddled with it a little bit, but it mostly stuck.

Then I started to write the easy chapters, the short ones. But I skipped around. I conceived the book in the fall of 1994, and I finished writing it in August of 2002. It took another four years to get it published.

Cole: And published very handsomely. I mean they really did a nice job. Who did your illustrations?

Anton: Edwin Fotheringham. They gave him the manuscript and an idea of what I wanted. My only regret is there weren't more illustrations. I think it would have really enriched the book, but ultimately it was a cost issue.

Cole: You start off with a dedicatory letter, right?

Anton: Yes, exactly like The Prince. It has the same number of chapters as The Prince. It has the same pattern of chapter groupings, although unstated. The reader has to figure it out, and I think it's easier to figure out my book than The Prince. But it's still not made explicit.

And there are any number of passages from The Prince that I borrow from in parody. I tried to keep it as chapter-to-chapter symmetrical as possible, but it wasn't always possible. I also was a little bit loose about stealing things from the Discourses and the Florentine Histories.

Cole: But you have an ulterior motive in this letter, right?

Anton: Sure, the letter is an introduction to the book, and it's a sort of guide to how to read the book.

Cole: And you're also currying favor?

Anton: Right, just like Machiavelli. Scholars to this day debate how seriously Machiavelli meant the dedicatory letter. Was he really trying to get a job from Lorenzo de' Medici? I agree with the school that says he probably would have taken it if offered, but that he wasn't under any illusions that it was going to be offered. So the dedicatory letter really serves another, covert purpose.

Cole: Then you have the last chapter, right, which circles back.

Anton: Right.

Cole: It's an exhortation, right?

Anton: Yes. You can either count the book as a dedicatory letter plus twenty-six chapters, which is one way, or you can count the dedicatory letter and Chapter 26 both as framing material, and the meat of the book as the twenty-five chapters, in which Chapter 13 is the central chapter.

I love the way Machiavelli uses different plans at the same time overlapping one another. And depending on from which angle you look at this plan, it has a different aspect. And every one of them is sort of correct and true to what he's trying to do. I didn't get even a tenth of his complexity, or probably even a hundredth, but everything I could understand and mimic, I tried to do.

Cole: What was the publisher's reaction when you showed them this?

Anton: Well, first I tried agents, and I got numerous replies saying, Gee, I really see the merits in this, but I don't know what I can do with it.

I got a few offers saying, Look, you know a lot, there's lot of history in here, there's a lot of guidelines in here, but the structure is weird, and the writing style will turn everybody off. So let's start over with a new proposal and build a real book.

The first time somebody said that to me, I actually did it. I wrote the proposal, or at least most of it, but my heart was not in it. I came to the conclusion that it had to be this way or not at all.

Cole: The book has a very good balance between Machiavelli and your own interest in contemporary and historical clothing. That makes for an interesting mix.

Anton: Well, that is another thing I borrowed from Machiavelli. He says, in The Prince, that his knowledge of how to rule has two fundamental sources. One is his experience as a high official in the Florentine government for fourteen years. The other is his deep reading of ancient things, by which he means Roman and Greek ancient history. My parallel to that is my own experience as a wearer of clothes and an observer of what I see around me, and, for the historical part, my reading of literature and my study of film and photographs of the greats from the thirties. And, for me, the canonical source, my Livy as it were, is Esquire and Apparel Arts magazine from the 1930s.

Cole: What is Apparel Arts?

Anton: Apparel Arts was a trade magazine for men's clothing stores. It reported on what was being worn at the highest echelons of society, what was popular, and it sort of gave advice on what to stock, and it gave ideas for outfits and displays and things like that.

It was a big hardback quarterly started in the thirties, geared to the clothing trade. It was meant for shop owners, buyers, and the like, and it gave advice on what men wanted, what was fashionable, how to set up displays, and so on.

Apparel Arts gave birth to Esquire. It was so successful with men generally, and not just the trade, that Arnold Gingrich, the founding editor, thought a general interest men's magazine that had a lot of fashion in it would be successful. And, of course, Esquire published Dos Passos and Hemingway and Fitzgerald and everybody. And they had long-form reporting and cartoons. Those Esquires from the thirties are real gold mines.

I look at them, and I marvel that there's no magazine like it today. Every issue had twelve pages of fashion illustrations with captions, usually a one-paragraph caption, most of them written by Gingrich himself, very pithy descriptions of the clothes you were seeing. There were never photographs of models. They never covered brands. They just covered types of clothing pieces.

Here is a blue shantung suit, that kind of thing, worn with this and this, shown at a location to give you a kind of context, all very highfalutin. It was sort of Ralph Lauren before Ralph Lauren. If they wanted to do beachwear, the location would be Palm Beach or Cap d'Antibes. There were great pictures of the Oak Room at the Plaza Hotel, stuff like that.

This was in the middle of the Depression. But very fluffy comedies about the high life were incredibly popular in the middle of the Depression.

Cole: It's kind of escapist.

Anton: Yeah. People down on their luck wanted to go and watch Preston Sturges's comedies about rich people fooling around on a steam cruiser. And that's what Esquire also gave them.

Cole: Apparel Arts came with little swatches in them, right?

Anton: Yes. They would have swatches in them. If you can find them with swatches still in there, those are extremely valuable. But the swatches were just glued on, and they've either been ripped out or they've fallen out.

I first came in contact with Esquire or with Apparel Arts in, of all places, the Santa Cruz County, California, Public Library, which has four of them. This was before I really got into clothing, before I started spending money anyway. I am also inspired by Alan Flusser's books.

Flusser knows everything about clothes, and his books are beautifully done. His Clothes and the Man has a lot of Esquire and Apparel Arts plates at the front, a dozen of them at least.

Cole: I wonder how those magazines got in the Santa Cruz public library.

Anton: I have no idea. But whenever I went home, I would borrow one of my parent's cars, go down to the library, and go back to the stall to study those things, take notes off of them, really look at the pictures and learn from them.

When I moved to New York in the early nineties, I came across a complete set. The Fashion Institute of Technology and the New York Public Library have them all. It's a little complicated to get access, but it can be done.

Cole: Sort of the Holy Grail.

Anton: To people who really get into this to an unhealthy degree like I have, it is the Holy Grail. Apparel Arts offers the sort of beau ideal of a great male wardrobe. Even if everything in there is not something you would do today, like wearing white chamois gloves and carrying a malacca cane.

I have commissioned suits or coats or put together ensembles based on something I saw in Apparel Arts. A friend of mine who lives in Europe has a relationship with cloth mills. He has commissioned mills to copy old patterns. He'll get ten guys to each take 3 or 4 meters and can then justify a run of 30 or 60, because that's usually the minimum these mills will do. This is when you know you've lost it.

Cole: Have you noticed how the fifties have come back after being despised for so many years?

Anton: Every era comes back. The past will be an eternal inspiration for designers, because the burden of coming up with new ideas all the time is sort of unbearable.

Cole: It's also true in the history of art, where the art of your grandfather and grandmother's generation is always being revived. And what's really interesting is not only the culture and style that's being revived, but why they're being revived. It's important too.

Anton: Though it depends on what you mean by "important." In the larger scheme of things, I'd be the first to admit, clothing's not important.

Cole: I think that fashion is one way of understanding what we're about, and it's also one way of understanding what the past is about. What is that great Mark Twain quote in your book?

Anton: “Clothes make the man. Naked people have little or no influence on society.”

Cole: Exactly.

Anton: I don’t mean to denigrate the subject of clothing. People say to me, Who cares that you wrote a book about fashion? It’s not an important subject like war or peace or high finance or public policy. And all I can say to that is, Right, of course it’s not.

Cole: But it’s not insignificant either.

Anton: Agreed.

Cole: I know you have thought a lot about art and class, and where fashion inspiration comes from.

Anton: Chapter 24 is a mini history of clothing since the French Revolution, a philosophic history the way Machiavelli would do it, very lightly stating underlying reasons and offering sweeping generalities. You are free to say, Oh, you’re just making this up. I want to see a footnote here. And I have gotten a little of that blowback, to which I just say, It’s not that kind of book. I mean, it is a book, like the Discourses or like The Prince, that boldly charges ahead with an argument.

Cole: Talk a little bit about that. What is your argument?

Anton: That basically throughout human history, the tone of society was set by the top, at every level, and that included clothes. The major changes came from the top, and even when a trend was to dress down, that mostly came from the top.

The last big earthquake for us, in men’s clothing was after World War I. The twenties shook everything up. Then things got hammered out in the thirties, and we are still living with those rules.

But all that was based on trends that had arisen decades or even centuries before. First, you had the rise of the country gentleman in Britain, who was sort of conservative and set in his ways, but also contemptuous of or just had no time for court attire and that kind of fanciness. And his clothes became popular. He would wear them to town, in a way that was not done in prior epochs. And then you have this history-making figure in Beau Brummell.

He took the country squire garb, changed it a little, explaining to his tailors exactly what he wanted them to do, and he was copied by everybody in London from the prince regent on down. He revolutionized the way the upper class, and the striving upper middle class, in Britain dressed for the entire nineteenth century.

Brummell put a stake through the heart of peacockery, yet when you think Brummell, you think overdressed dandy. But at the time he was considered ascetic almost, you know, blue coat, buff trousers, black boots, white linen, no ostentation, everything defined. The excellence of clothing was in how well it was cut, and how well it fit.

Cole: As opposed to what?

Anton: As opposed to gold braid and lace and ostentation. Think of pre-1789 French court dress. He was the enemy of all of that.

Brummell’s basic idea of being plain and sober and clean carried throughout the nineteenth century. It gets a new twist with the Victorian era. The Victorians keep the basic premise but change a few things. For some reason blue goes out for coats, and black comes in. The history of black is in itself a very strange and controversial topic. You’d be surprised how much passion it ignites.

But the democratizing force or element of Brummell’s innovation was not intended by him. Well, it was partially intended by him. Try to remember who he was. He was not an upper class kid. His father was a court functionary, who basically stole money from the treasury. He built up a small fortune of several thousand pounds, which was an enormous amount of money in those days.

And so George, or Beau, in his late teens inherits this money and uses it to join an extremely fashionable regiment, which was the regiment of which the prince regent was a colonel. They did nothing. They just camped out near Brighton and had parties all the time. When the regiment was actually posted to do something, Brummell resigned his commission, and said, Well, the party is over, I don’t want to play anymore.

He took his money, moved to London, bought a townhouse in Mayfair, and basically started living a kind of dissolute life, where he’d get up late and take a lot of time to get dressed and go to lunch and come back and dress again and go play cards and dress, et cetera.

One reason that he changed clothing, I think, was to level the playing field. If the rules were going to remain the same, he couldn’t compete. He didn’t have rank, position, or enough money to really spend in that fashion.

Cole: Why did his innovations catch on?

Anton: One, the prince regent loved the style, and he adopted it in total. He worshiped Brummell, until they had a falling-out. And everybody copied the prince as much they copied Brummell. But there was also a certain aesthetic, you know, a purity or perfection of virtue to it. And there was probably also a desire for change.

Cole: Did that make London a fashion capital of the world?

Anton: Yes. London was the men’s fashion capital in the nineteenth century and most of the twentieth century, without question. Apparel Arts would just take for granted, and Esquire too, that it was London for men, Paris for women.

There’s no question that the modern suit as we know it was born in London, refined in London, and perfected in London. Anybody who is wearing a suit with shoulders, lapels, a collar, and front buttons is wearing something that is a direct descendant of what English country squires wore, that was brought to town, perfected by Brummell, and refined in the Victorian era.

The suit that we wear was the track suit of its day. It’s called a “lounge suit.” This term has fallen out of use. You still see it in formal diplomatic invitations, in the U.K. for example. It will say, “Dress: Lounge Suit.” What they mean is a suit with a jacket that matches the trousers. The lounge suit takes a short coat—meaning a coat that doesn’t come down to the knees, either all the way around like a frock coat, or only in the back like a morning coat. When it first started to be worn, it was considered informal.

You were not supposed to wear it for business, or to any kind of ceremony, or to church, certainly not to dinner anywhere. It was to knock around in during the day. It was sort of scandalous to wear it anywhere else.

It eventually pushed aside its peer competitors for daywear at least. Evening wear hung on a lot longer, and it’s still sort of with us. The tailcoat is not quite dead, but it’s almost. Black tie is still doing reasonably well, better in Europe than in the United States.

Cole: But these sort of vestigial remains signify a certain kind of event or a certain kind of gravity, right?

Anton: Yes, there has always been a pyramid or a hierarchy of formality in clothes, and it’s very strict at the top. White tie is the strictest of all, morning coat, et cetera. There is not a whole lot of variation there.

One of the frequent topics that comes up on Internet forums is, I got an invitation to X, and here’s what the dress code says, what does that mean?

People don’t know anymore. And the people giving the invitations don’t quite know what to say. So they’ll just say something like “business casual,” or “dressy contemporary,” and you go, What the heck? But in the old days you knew it.

It said “formal,” and if it was in the daytime, that meant a morning coat, which is a long cutaway coat like Spencer Tracy wore in Father of the Bride. If it said “formal,” and it was in the nighttime, that meant a tailcoat, which is cut very short in front and has the long tails at the back. If it said “semi-formal,” it meant either a stroller, which is a short black coat worn with odd striped trousers for the daytime, or what we call black tie today, a tuxedo.

“Informal” meant what you and I have on, a suit and shirt and tie. And there was no, “Don’t wear a tie” in those days. It was just inconceivable, maybe in your own house, but not if you were going to be seen by other people. In Apparel Arts there are drawings of people skiing in ties, of people fly-fishing in ties. Now there is a debate about how much Apparel Arts actually reflected what was going on, but I don’t doubt that everything they claim to have seen and reported actually happened somewhere.

Cole: When people talk about being a Beau Brummell, does anybody know what that means anymore?

Anton: I think the name still resonates. I just saw an ad for a new store in downtown New York called Beau Brummell.

Cole: Really?

Anton: But they sell duck-billed shoes and other slick stuff that Brummell wouldn’t wear if he suddenly came back to us. But the name still resonates.

Cole: But when people think of Beau Brummell, they think what?

Anton: They think flash. Which he was the antithesis of. Because he’s known as the well-dressed man, the fastidious man, and it’s hard not to think flash, even though he was the antithesis of flash.

Cole: You talked about how fashion used to come from the top, right? Now what’s going on today?

Anton: Well, I don’t pretend to be a general fashion expert. I know little about women’s fashion, for example. And I am actually kind of a weekend slob.

Cole: That’s shocking.

Anton: I mean if I go out to dinner, I will wear trousers and an odd jacket, which is when your jacket doesn’t match your trousers. My wife calls that “dandy casual.” I won’t wear an odd jacket and trousers to work in an office building. Which has become completely acceptable. But not that long ago it was something you were just not supposed to do.

Cole: Okay. What are the sources for today’s fashion, if not the upper echelons of society?

Anton: I would say there are bottom-up fads and top-down fads. The bottom-up fads are things conceived on the street or in the school playgrounds. You don’t know exactly where they come from, but they catch on, and all of a sudden they are everywhere. These are popular with kids, or people pretending to be kids, but they hardly touch grown-up clothes.

Other fads, I think, are just created by designers. They come up with an idea, and it takes the world by storm. Another source of change is the creeping casualization of society.

People don’t want to put up with inconvenience, or any discomfort, and one of the ways that they are pushing refinement out of their lives is through their clothes.

When I was a little kid in the seventies, everybody wore a tie to work. Downtown San Francisco in the mid-1970s looked like a movie of Manhattan in the forties. It was the suit-and-tie capital west of the Mississippi.

I go home every year, and I usually take a walk around. And standing at the corner of Montgomery and California—which is like the Wall and Broad of the West—one morning, I saw one guy in ten minutes go by in a suit and tie. It happened to be a bespoke suit, beautifully done up. I gave him the thumbs up, but everybody else is casual. And it was like 9:00 a.m.

People don’t want to wear the stuff anymore, unless they have to. And as a kind of perk, business began to lighten up the dress codes. But it was also the rise of the more freewheeling, meritocratic industries, particularly Hollywood and the dotcoms. The Silicon Valley guys never wear ties. And as their business became more and more important, and they interacted with big law firms and the big banks and things like that, their casual style spread.

Cole: But when did this all start?

Anton: I think casualization starts in the seventies. The country went a little crazy in the sixties and decided to rein it in in the eighties.

Cole: Do you think of the seventies as the most egregious period in the history of fashion?

Anton: I don’t know about that. I like certain things about the seventies. It was a more dressed-up time than we are in today. Sure, they wore wide ties and wacky lapels, stuff you would never want to see again. But, in aggregate, there were more suits and ties.

There was also an emphasis on fit and silhouette. In tailoring, I prefer a little softer and slouchier style, but I do think the seventies suit had an echo of Brummell’s clean line and the form-fitting aesthetic—even if it looks kind of crazy to our eyes today.

The seventies was also the last great era of the vest, and I like vests. I get them with everything but summer suits. And I’m sort of sad to see the vest go.

Cole: The double-breasted with the vest—that’s rare.

Anton: The double-breasted with the vest is rare, and I used to be one of those who believe that double-breasted should not have a vest.

Cole: I think it should.

Anton: Part of the original conception of the double-breasted suit was that you didn’t have to have the vest. The double-breast keeps your torso covered. For that reason, in England, the double-breasted was considered less formal than a single-breasted three-piece.

Cole: What about the eighties?

Anton: I think there was a kind of comeback for formality in the eighties. It’s no accident that Martha Stewart became huge in the eighties. Preppy came back in the eighties. Was that just a function of the Preppy Handbook? I don’t think so, but the Preppy Handbook was probably both cause and effect in that sense. And the nineties was very bad for clothing.

Not in the sense that you saw all kinds of crazy things that you never want to see again. Instead it was bad because people stopped caring. Clothing became an afterthought, and then the casualization wave really started to roll in the mid-nineties, and through the dotcom bubble, after which you had a bit of a counterreaction. Many of the biggest banks and law firms, which had gone business casual, reverted in ’01, ’02, ’03.

Cole: How do you define business casual?

Anton: Well, the acid definition is you don’t have to wear a suit and tie every day to work in an industry where previously you did, and for the last hundred years it was absolutely expected. There are a lot of problems with it, but one of them is it’s impossible to define, and that has actually caused a lot of confusion and angst among men.

The feeling is, I know how to wear a suit and tie every day, even if I find it boring or if it annoys me, but I know what it is. What is business casual? A jacket but no tie? Is it jeans? Are khakis okay? But I don’t think business casual undermined the suit. I think what undermined the suit are, A, men think it’s uncomfortable and, B, they don’t want the bother.

Now I don’t think it is uncomfortable. As clothing became less important, people concentrated less on fit, and if your clothes don’t really fit well, they aren’t going to be comfortable. If they do fit well, you shouldn’t be that uncomfortable in your suit and tie.

Cole: Is it that clothes no longer denote a kind of status and hierarchy?

Anton: I don’t think that’s actually new. The point of the suit was to rid clothing of status distinction. In Brummell’s London, you’d go into one of those clubs. And everybody in there is above a certain level, but when everybody is wearing that blue coat and buff trousers and the black polished boots, you don’t necessarily know which one’s the duke, which one is the impoverished son of a viscount, and which one has no family connection to a title at all.

During America’s postwar economic expansion, the era from, say, ’45 to ’65, you could not tell by dress the CEO from yesterday’s hire.

The CEO might have French cuffs, while the kid would have buttoned cuffs and a buttoned-down collar, but they would both be wearing the uniform: a very sober dark suit, single-breasted, almost always in that era, a white or blue shirt, you know, a plain sober tie, and black or burgundy shoes.

What’s new is this desire for comfort and to be done with the bother. You will read articles sometimes saying the suit is back. Don’t believe them. The suit is never going to be back as the mass uniform of the everyday worker.

Its last holdout will be government. A certain formality is expected when you’re doing the people’s work. But otherwise I think the suit will be a special occasion garment for client meetings and big-time things in business, and ultimately what may happen is, if the tail coat completely dies, then black tie will move up to become the super ceremonial garment, and most events that today require black tie will become suit and tie.

Cole: Well, what about white tie?

Anton: I don’t think there are even half a dozen white-tie social events left in this country.

Cole: The Gridiron Dinner.

Anton: Right. And there will be maybe one white-tie state dinner in an entire administration. I researched this for a long article in City Journal in ’02. It turns out that Clinton wore white tie three times.

There used to be a diplomatic reception once a term. The president would host the entire diplomatic corps at the White House. And that was always white tie, and Clinton did it white tie. The other time was when they hosted the emperor and empress of Japan.

The Japanese are still more formal than we are. The Japanese still wear morning dress, for instance. When you see a photo of the Japanese Cabinet, from the prime minister on, they’ll all be in morning dress.

Cole: I was in Japan. I was surprised at the level of dress and, first of all, the formality. Everybody is wearing a suit all the time. And if you go into some of these big department stores, Ginza, for instance, they have their own bespoke shops right there. Very impressive.

Anton: There are a lot of dandies over there.

Cole: One thing I love in your book is when you talk about how dressing the wrong way can ruin you. “And thus he was ruined.”

Anton: Right. That’s a Machiavellian phrase. He loves the word “ruined,” and he likes to apply it tongue in cheek. My book is over the top on purpose. You’re not supposed to take it entirely seriously.

Cole: Let’s talk about presidents.

Anton: There are a few passages that I’m really proud of, and that’s one of them. Chapter 19 of The Prince is the longest chapter in the book, and arguably the most important. Machiavelli takes a grand tour of the Roman emperors. I take you through the modern presidents. And that chapter, also 19, is a very important chapter in my book. It’s about formality and dandification as the twin principles that govern dress and how they are often in tension and often complementary, and the best dressers strike the right balance.

Cole: That’s an important point in your book.

Anton: Yes. Formality is dressiness. It means adherence to a strict code, which is more traditional. It’s about dressing appropriately for the occasion and being quiet. It’s about conformity and sobriety.

Dandification is being a little splashy. And there are a number of ways to do it. One is just by being loud, wearing a loud pattern or a bright color. Another is to take liberties in the way you mix things.

For instance, the shoes I wore today are a mid-brown color called chestnut, and I have on a dark blue suit. That’s, strictly speaking, a violation of the rules. If I wore these shoes with this suit in London, and the most proper city gent were to look down and see my feet, he’d think I was naff, that I was really out of it, because I should be wearing black shoes.

So it’s a little dandified to mix this shoe with this suit. But each thing in itself is not terribly dandified. If you want to just be straight-up formal and not get yourself in any trouble at all, you wear a dark suit, grey or blue, definitely not double-breasted, a white shirt, and a very discrete blue tie and black shoes. As soon as you start playing around with that, you are dandifying.

In my book, I use the modern presidents as examples of how they reconciled the dandified and the formal and thus do I explain their political success or failure. Which is of course a joke.

Cole: I kind of believe it, I have to say.

Anton: Well, a politician’s clothing could send certain signals. John Kerry had a problem being seen as a northeasterner, really rich, out of touch, kind of an elite guy. And he was always wearing shirts from Turnbull and Asser. Anybody who knows how Turnbull and Asser makes the shape of their collar or the cuffs could tell. And his ties were from Hermes.

He knew it was a problem. So he started wearing American shirts, and then he got his ties, which looked quite a bit like Hermes ties, from this little company called Vineyard Vines. But they’re Massachusetts-made.

But even then, I don’t think Kerry overcame his problem of appearing to be an effete, elite northeasterner in the American mind.

We Americans don’t like politicians to be too flashy. If you want to make it in national politics, you’ve got to be low-key, formal. You’ve got to look prepared for the job, serious, grown-up.

Cole: And not call attention to your clothes, right?

Anton: Some people can get away with it. FDR dressed like the patrician he was. And occasionally he did really crazy things like wearing that cape at Yalta.

But that was in the pre-television, pre-Internet age. It was probably easier to be a little bit dandified than it would be today. Truman was actually a very spiffy president, double-breasted all the time, bow ties, hats. He had been a haberdasher and was clearly into it. But in the end, I claim, his clothes brought him down. Eisenhower was the absolute epitome of a kind of middle-American, stolid, conservative dresser.

I rank FDR, Kennedy, and Reagan as the most elegant presidents, because all of them combined dandification and formality successfully, though in different ways. And Johnson? There is a wonderful quote that I got from Tom Wolfe where Johnson, who sort of dresses like a hick, becomes Kennedy’s running mate. And Kennedy at the time was getting his suits made in England—this became a controversy by the way, because it suggested a taste for the high life. Any American politician who gets a Savile Row-made suit and tries to run for office will find that it’s a problem because it marks you as an elitist and because you’re not buying American.

In Hatless Jack, Neil Steinberg explains how Kennedy actually had a press conference in which he announced he’d gotten another tailor, a New York tailor, and explained that he was getting his suits made in New York, and that guy charged more than Savile Row charged at the time, but at least the controversy died down.

Cole: Nobody raised the issue that he had a bespoke suit though, right?

Anton: It was more accepted in those days if you were, you know, well-born and a high-ranking official.

Cole: When I first started going to Italy, this was sort of the transitional era when buying something off the rack was something you didn’t do. As an impoverished graduate student, I had all my suits made by a tailor who worked with his wife, parents, and assorted cousins.

Anton: In Italy today, the bespoke industry is thriving as it is nowhere else.

Cole: But you could afford to do that back then. That’s the difference.

Anton: Right.

Cole: But we were talking about Kennedy.

Anton: Yes. He popularized the two-button suit, which was sort of a big deal at the time because Americans had by and large been wearing the three-button suit for fifteen years. He updated the Ivy League look that dominated America from 1945 through the fifties. Kennedy spruced it up, gave it a few English touches, and smartened it a little bit, like what Brummel did for country clothes.

But, as I was saying about Johnson, he dressed off the rack in Texas, and then he becomes Kennedy’s running mate. He sees these suits that fit Kennedy so fabulously well. So Johnson goes to Savile Row and says to the tailor, "Make me look like a British diplomat." And he started getting Savile Row from that point on.

Cole: You know, that’s interesting. I don’t know if you’ve read Caro’s biography.

Anton: No, I haven’t.

Cole: I’m not sure that’s right, because Caro talks about how, once he got into the Senate, Johnson was fanatical about clothes, and he wanted the absolute best clothes he could get and the most expensive clothes and evidently had a big collection of cuff links. But you also have a very interesting passage on Carter.

Anton: A lot of what I say about politicians’ clothing is intended tongue in cheek, but I do think Carter really hurt himself dressing the way he did. It suggested a downgrading of the presidency, of making it smaller. Take the address from the Oval Office in a sweater about how we all need to cut our energy use. Well, the message may have been appropriate at the time, but the clothes didn’t help.

I think he thought he was leading by example. But that undercut his image quite a bit. Reagan won the election for much larger reasons than clothing. But part of it indeed was how presidential Reagan looked in his crisply tailored Hollywood suits.

Cole: Reagan wouldn’t go into the Oval Office without a tie and a jacket.

Anton: Right. I worked for the Bush White House, and this current president is the same way. But Reagan came out of Hollywood and was the first president in a long time to dress not in the quintessential American Ivy League way. His suits were a lot more fitted. They had very strong shoulders as opposed to the more slouchy Ivy League look, very fitted in the waist, tapered, trim, always French-cuffed shirt, and the spread collar, and the big windsor knot, which is something I don’t actually like, but it looked good on him. And always a white handkerchief in the breast pocket of his jacket.

Cole: He could wear clothes, definitely.

Anton: And he famously revived the brown suit, which had become a kind of joke. Sometime in the seventies the brown suit became a mark that you were from the Midwest, a bad marker, not marking you as a good, down-home American, but as a rube. But Reagan brought it back to life.

Cole: And is it thriving, the brown suit?

Anton: Depends on where you go. London has had a prejudice against brown in town from time immemorial, although the Federation of Merchant Tailors, which is the trade association of London tailors, issued a press release in 1993 saying the rule has been repealed. No doubt they were just saying, We want to do anything we can to boost sales. However, brown is still hardly ever seen in London, and in finance and the major industries, you will not see it, and wearing it will be considered a faux pas.

The Italians love brown suits, and my dandy friends also love brown suits. There is a sense that it’s fine for almost everything, except you wouldn’t wear it to a job interview, you wouldn’t wear it to a major presentation where you are the focus of attention. Other than that, I’d say it’s a great alternative.

Cole: Well, this has been terrific.

Anton: Thanks for having me.

Jiffy Steamer

My days of trying (and failing) to relax wrinkles with a steaming hot shower are over.  For Christmas I received the pictured Jiffy personal garment steamer.  Steaming is the gentlest method for removing wrinkles from fabric.  Ironing crushes and scorches the fibers of fabric; steam relaxes the fibers and causes the wrinkles to release.

Jiffy is the world's oldest manufacturer of garment steamers, having made them in United States since 1940.  I received model J-2000M, the model recommended for home use.  It is built like a Sherman tank with heavy brass, wood and steel.  To use you simply fill the water reservoir with clear water and flip on the switch.  Within two or three minutes a steady stream of steam is gushing from the metal steam head.  To steam a hanging garment you lightly touch the fabric with the steam head and the wrinkles instantly vanish.  I have successfully tested the steamer on wool sweaters, cotton dress shirts and tailored suits.  In each case the steam quickly and gently freshened those garments.  I would highly recommend a Jiffy steamer.

Southern Proper

I hope that everyone is enjoying the holidays.  Yesterday I received several lovely, thoughtful and stylish gifts that will be fodder for a number of posts in the days to come.  I received three pocket handkerchiefs as gifts.  Two were white linen hanks that are always appropriate and infinitely useful.  Both pocket squares were purchased in South Carolina; one came from Ben Silver in Charleston and the other from Rush Wilson in Greenville.  The third is the pictured pheasant-themed plum and olive pocket square from Southern Proper, headquartered in Atlanta, GA.  Southern Proper, run by two proper young Southern belles, markets clothing that could best be described as Southern preppy.  Here is some background on Southern Proper from their website:

Men of the south have always been noted for their distinguishable décor and dress. Their honey-soaked accents and captivating manners charm women from all parts of the world. However, it's the tradition of sophisticated and influential attire that completes their status as gentlemen; for field or fancy, men of the South are always well-dressed. Furthermore, southern men with their modest but strong sense of style have admittedly been dressed by the daintiest of hands.

With this in mind, and after several years of dressing their own southern beaus, Emilie Claire Henderson (fondly known as Emmie) and Reagan Elizabeth Hardy, decided it was time to take their respect for men and their love for fashion to a new level; combining elements of southern heritage and classic haberdashery, they developed Southern Proper, a southern-inspired line of clothing, neckties, bowties and accessories for men who have a deep appreciation for style and heritage. Complimenting the southern gentlemen's courteous manners and sweet humility, this line of clothing is pleated and tied, crisp and certain.

If women can be described without insult by a recipe, then Emmie has all the ingredients for a cool, glass of lemonade. Her style is classic and refreshing, with a touch of prim sweetness. Born and raised on a farm in Ripley, Tennessee, Emmie's demeanor is as soft and simple as the cotton she helped harvest during her childhood. Whether she's planting or politicking, Emmie casually flips her collars and delicately drapes her sweaters.

With a twist of pearls and a twang of spirit, Reagan is all sass and shag. Her eclectic wardrobe is silky and strawberry, with a little bit of posh tucked in the corners of her closet. Raised in Kinston, North Carolina, Reagan spent most of her time on the front porches of the Carolina Coast. Her graceful and extravagant style is best for walking after midnight, and if you meet her on the path, you realize she might still have a little sand in her too-high heels.

Using elements of their own distinct styles, Reagan and Emmie, women who believe in old-fashioned love and new-fashioned trends, have created a company for the southern men they adore. As the old saying goes, "Look your best, but more importantly, hang your arm on someone who looks his best too." These belles of the barn and beach tie together timeless with down home southern heritage like a well-knotted bow tie. Reagan and Emmie are all things southern, and certainly all things proper.

The Presidential Fold

There is anecdotal evidence that the Presidential fold of a pocket square got its name around the time that President Harry S. Truman was in office.  The sober Presidential fold (also known as the flat fold) is quite similar to the TV fold in that both reveal a straight narrow strip of fabric above the breast pocket.  While the end results are similar, the execution differs.  As I explained in my last post, the TV fold is done on the diagonal.  In contrast, the Presidential fold is done on the square. 

To execute the Presidential fold simply fold the square into quarters.  Make sure that the hand-rolled edges are at the top and right.  Depending on the size of the hank, it may be necessary to fold the left edge under to make the handkerchief narrow enough to fit into your breast pocket.  Fold the bottom up an appropriate amount to accomodate the depth of the pocket.  Finally, arrange the folded pocket square in your breast pocket so that a straight narrow strip of fabric is revealed.

The TV Fold

There are quite a number of different ways that a man may fold a pocket square before he stuffs it into his breast pocket.  The so-called "TV fold" is one of the more understated (some would say boring) methods of displaying a pocket handkerchief.  The fold's roots can be traced to the pioneering broadcasters of the 40s and 50s.  Above is an early photograph of Walter Cronkite displaying a white linen pocket square folded in this style.

To execute a TV fold first fold the pocket square in quarters.  Then fold the square diagonally to create a triangle.  Fold together the two bottom points of the triangle so that they overlap in the center.  Flip the handkerchief so that the remaining point is facing downward and the smooth side of the hank is facing out.  Arrange the folded handkerchief in your breast pocket so that about a quarter of an inch of straight fabric is visible above the top of the pocket.

Yellow Gloves

Pictured are my new pair of yellow deerskin dress gloves.  They were handcrafted in Wisconsin by the Berlin Glove Company that has operated in Berlin, WI, since 1869.  My purchase was inspired by several photographs I saw on The Sartorialist blog of men wearing yellow gloves.  As you may see, yellow gloves add a nice splash of bright color to otherwise dreary winter attire.

Styles of Dress

Compare and contrast these three images from The Sartorialist.  Each is good example of a distinct style of dress.  Notice that with each style a different piece of colorful attire takes center stage.

The first man is dressed in a style that is typically seen on many American men.  The tie is the main focal point.  It seems that most men in the United States, myself included, own and wear a wide variety of colorful patterned ties.  Those ties add some life and interest to the humdrum white and blue dress shirts available at the local mall.

A brightly-colored shirt is the central focus of the man's attire in the second photograph.  Notice how the conservative suit and plain necktie take a back seat to the shirt.  This is a characteristic of the English style of dress where flamboyant bespoke shirts are available on London's Jermyn Street.  The propensity of Brisitsh men to limit their wardrobe to either solid ties, or rep ties pronouncing allegience to a particular school, club or regiment, left room for the rise of fancy shirts as the dominant article of clothing in English dress.

While the English experiment with colorful shirts, the Italians widely experiment with daring suit cloth and vibrant accessories.  This Itialian style requires a subtle canvas, popularly known as the Italian Background, upon which to display these showy items of apparel.  The Italian Background is simply a plain black or dark blue necktie on a light blue shirt.  Notice in the third picture how this subtle background provides balance for the bright blue coat.

To Cuff or Not to Cuff?

Some men espouse a rule that pleated pants should have cuffs and that flat-front trousers should remain uncuffed.  I do not believe that such a strict rule exists; whether to cuff your pants is more a matter of personal style and preference. 

There are some practical considerations that one should contemplate when deciding whether to cuff a pair of pants.  Cuffs are appropriate on odd trousers to be worn with blazers and sport jackets.  They are equally appropriate on suit pants.  However, cuffs are inappropriate for formal wear.

Cuffs add weight to the bottom of the trouser leg; this may help pleats drape more properly.  The extra fabric of cuffs at the bottom of the leg also visually balances the added volume of pleats at the top.  On the other hand, trousers without cuffs look sleeker because the line of the leg remains unbroken.  This fact is especially important for short men.  A horiztonal cuff breaks that long visual line and will make a short man's legs look even shorter.

When it comes to cuffs, the choice is yours.   You really can't make a wrong decision.  But the next time your tailor asks if you want cuffs, give some thoughtful consideration to these factors before making an informed choice based on your own style and preference.  At least then there will be some reason behind the decision.

A Classic Jacket

I have written several times about my appreciation for hunting-inspired clothing.  One such item, the Barbour waxed-cotton jacket, is one of the classiest pieces of outerwear that one may own.  J. Barbour & Sons was founded by John Barbour in England in 1894.  Their classic jacket is woven from long-pile Egyptian cotton that is then impregnated with a weatherproof coating of wax.  Over time this wax cracks and sheds to provide an appealing careworn apperance.  The substantial zipper has large brass teeth and a strudy ring pull.  The roomy pockets provide plenty of space for life's necessities.  The collar is hard-wearing corduroy.

Bernhard Roetzel wrote, in Gentleman: A Timeless Fashion, that the Barbour jacket "protects you from bad weather, but also protects you from being improperly dressed.  ...  The Barbour is neither excessively costly nor especially difficult to get ahold of.  But it conveys taste, a sense of style, and an attachment to tradition - particularly if it is old and extensively patched."

You may notice that three Coats of Arms appear on the Barbour label. They represent the Royal Warrants of Queen Elizabeth II, HRH Prince Philip Duke of Edinburgh, and Prince Charles, the Prince of Wales. Their prescence on the label means that Barbour has been given the prestigous honor of being appointed to supply these members of the British Royal Family.

The jacket is great paired with jeans and a sweater in town on the weekend.  It is equally at home in the country.  My Barbour jacket has kept me warm and dry on many occassions of inclement weather in the field.

Consider investing in a Barbour jacket.  It may well be the last jacket you ever have to buy.

Tom James

On the referral of a friend, I met yesterday with a representative of Tom James.  Tom James is a company that offers made-to-measure clothing and wardrobe advice.  They claim to be the world's largest manufacturer and retailer of custom clothing.  One of their selling points is that their representatives will come to your home or office to outfit your wardrobe; this may be a draw for men who find shopping inconvenient.

I went into the meeting with an open mind, but armed with some negative preconceived notions about what to expect.  I had researched the company on a number of the style forums that I have previously mentioned in this blog.  Many men have complained on those forums that the representatives from Tom James are high pressure salesmen, not knowledgeable tailors.  Nevertheless I agreed to a meeting out of curiosity.

The Tom James representative arrived at my office at the scheduled time.  While we engaged in some introductory small talk, I examined his attire.  His clothing fit reasonably well, but one negative thing jumped out immediately at me.  The pinstripe of his suit was a repeating pattern of letters spelling out T O M J A M E S T O M J A M E S T O M J A M E S.  That struck me as a bit cheesy and flashy.  On a more minor note, his breast pocket was empty.

The representative asked me some preliminary questions about my wardrobe needs and explained their services.  He highlighted the convenience of their in-office services, and offered to outfit me in everything from underwear to suits.  On the issue of their custom suits, I asked if there would be any fittings during the process.  He looked a bit confused and explained that the factory would make a pattern from the measurements taken in my office and then deliver a finished suit that could be altered if necessary.  If you were to have a suit made by tailor, you should expect several fittings during the process so that any major errors in the pattern may be corrected early in the process.  I'm afraid the method used by Tom James could result in a hot mess.

The representative suggested some packages of suits, shirts and ties.  When I told him that I was not currently in need of shirts or ties he moved on without the expected high pressure sales pitch.  I told him I could use a pair of basic gray pants to wear with navy blazers or tweed jackets.  He produced some fabrics at different price points, but was unable to explain why one set of fabric was better or higher priced than another.

I decided, out of curiosity more than anything, to order one pair of gray flat front trousers.  The representative took four measurements - waist, seat, length and rise.  The only detailing option he offered was whether to add cuffs to the bottom of the legs.

We scheduled a meeting in January for delivery of the pants.  My expectations are not high, but I will be curious to examine the fit and quality of the pants.  I will give an update in January when the pants are complete.

Black Suit for Business?

Black wool is for formal wear.  Black and white is striking at night, but in the daylight black is too severe for the complexion of most men; suits in blue, gray and brown are much more flattering for the majority of complexions.  Futhermore, dark blue, charcoal and dark brown are a much better accompaniment for the shirts, ties and shoes that a man is likely to wear in a business setting.

The Blue & the Gray

The title of this post does not refer to the 1982 television miniseries about the War of Northern Aggression.  Instead I refer to the classic color combination of gray and blue.  Consider combining a gray suit with a white shirt and blue tie.  A navy suit combined with a light blue shirt and gray tie works equally well.  For the weekend try a dark pair of blue jeans with a light gray cashmere sweater.  When selecting your attire, remember the blue and the gray.

The Propriety of a Monogram

Some men choose to stylishly personalize their bespoke dress shirts with a monogram; however, one must be careful when displaying a monogram to avoid looking pretentious.  Alan Flusser wrote in Dressing the Man that "discretion is paramount to good taste, and large or conspicuously placed initials are indiscreet." 

The monogram should be in small block letters.  To maintain discretion, some men request that the monogram be sewn from thread that matches the shirt so the monogram nearly disappears.  Others may choose a coordinating color, or even a signature color, as an exercise of personal style. 

The most discrete locations for a monogram are inside the yoke or on the tail.  The only person likely to see the monogram is the one who launders the shirt; keep in mind that monograms originally developed as a means of identifying shirts at the laundry.  The most discrete, yet visble, location for a monogram is about five inches above the waist and to the left of the placket.  The location is discrete because a buttoned jacket completely obscures the monogram.  This is the location where I choose to place my monogram.  My personal opinion is that other locations (i.e., breast pocket, collar, and cuff) are stylistically dangerous territory.  Unless you are an auto mechanic, do you really want your name emblazoned across your chest for the whole world to see?  Keep it discrete.  When it comes to monograms, less is definitely more.

Fall Pocket Square from Ben Silver

Ben Silver is located on historic King Street in Charleston, South Carolina.  The Ben Silver Collection, available online and through print catalogs, is a tribute to classic style.

I recently purchased this wool and silk tapestry theme fall pocket square from Ben Silver.  The Moghul Knights Game Hunting pocket square is woven for Ben Silver by Drakes of London.  It is from the same collection as the Bird of Paradise hank that I featured in a previous post.  Both patterns were inspired by paintings from India's Moghul period.

Green Gloves

Yesterday a package arrived in the mail from Chester Jefferies containing a new pair of hand-made green capeskin driving gloves that I ordered online just a few weeks ago.  The Chester Jefferies website is quite easy to navigate.  You may select the style of glove, the type and color of leather, and the lining.  When it comes to fit you may either request a standard glove size or mail a tracing of your hand for a perfect fit.  With all that, the prices are still surprisingly reasonable.

I took my inspiration from this photograph from The Sartorialist.  As a side note, I have recently noticed an interesting twist on breast pocket decoration.  Instead of wearing a pocket square, some men are adorning their breast pocket with a pair of gloves.  I first noticed this practice in some of the photographs from The Sartorialist.  The Paul Stewart Holiday 2009 catalog that came in the mail yesterday also includes a photograph showing a jacket breast pocket decorated with a pair of gloves.  I like the look; maybe I'll give it a try with my new green gloves.

Contrast in Texture

Texture is one thing to consider when selecting the day's tie and pocket square combination.  A contrast in texture adds interest to your attire.  If you plan to wear a lustrous silk tie, consider a matte pocket handkerchief like linen or cotton.  It is hard to go wrong with the classic combination of silk tie and white linen pocket square.  On the other hand, the dulled surface of a wool or linen tie benefits from the sheen of a of silk hank.

Pocket Handkerchiefs: Coordinate, Don't Match

Your pocket handkerchief should not match your tie.  Instead, your pocket handkerchief should coordinate with some other element of your attire.  For instance, you may wish to coordinate your pocket handkerchief with a secondary color from your tie or a stripe in your shirt.  A solid colored tie might coordinate with a patterned pocket handkerchief.  You could display a white linen pocket square to complement a contrast collar dress shirt. 

Coordinating a pocket handkerchief with your attire is admittedly a challenge, primarily because there are no hard and fast rules to guide you in the selection; once again, that selection must be an expression of your own personal style.  I encourage you to experiment with your attire.  Display a pocket handkerchief that you believe coordinates well with your outfit and then listen to the comments that you receive, both positive and negative.  Through that experimentation process you may begin to refine your own personal style.  But along the way, keep this advice in mind:  coordinate, don't match.

Mainstream "Style" Magazines for Men Really Suck

I recently received one of those frequent flyer offers in the mail where you can convert unused miles into freebie magazine subscriptions.  My miles were about to expire so I selected subscriptions for GQ and Esquire.  Now I'm confused.  Who is the target audience for these magazine?  It's obviously not me.  Most of the trendy clothes these magazines promote could only be worn by some young buck in his twenties.  But what college kid can afford a $2600 pea coat?  Who are these fashionable little fellows with the fifty thousand dollar clothing allowances?

GQ contains approximately two pages of worthwhile style advice.  Glenn O'Brien, known as The Style Guy, solves the "sartorial conundrums" of his readers.  His column provides the only reasonable style advice in the entire magazine.

Esquire was arguably the style bible of the early part of the twentieth century, a time when mens' style consciousness was at its peak.  You may have seen some of the old illustrations that once graced the pages of Esquire.  Those illustrations gave practical style advice on matters like coordinating different items of clothing, or which colors complement different complexions.  Many of those "old" illustrations still have relevance today.  Remember that style is timeless.  But oh how the great have fallen.  What passes for style advice in the current Esquire is a photo shoot of some famous person wearing the overpriced clothing of the magazine's advertisers.  The ticket price for one outfit pictured in the November 2009 issue:  $17,195.  Seriously?

Fortunately we live in an age where an unimaginable volume of information is readily available at our fingertips over the internet.  I hope that this blog is able to provide some helpful style advice.  Three other excellent blogs that I read daily are A Suitable Wardrobe, The Sartorialist, and Permanent Style.  I also enjoy reading the style forums at The London Lounge, Ask Andy About Clothes, and Style Forum.

If you prefer sitting on the couch flipping pages, I would recommend two excellent books on mens' style:  Alan Flusser's Dressing the Man, and Gentleman by Bernhard Roetzel.  I've read some positive reviews about a new magazine called The Rake.  Unfortunately it's published somewhere in Asia (I think maybe Singapore) so subscription rates are a little rough in the States.  There is always Christmas......

Ralph Lauren Odd Jacket

My biggest purchase during the long weekend in Charleston was a Ralph Lauren odd jacket that I bought at Grady-Ervin & Co. on King Street.  The jacket is a black and white herringbone tweed with four bellows pockets and brown suede elbow patches.

I'm thinking this new jacket will work well with jeans and a sweater on the weekend, or maybe even dressed up for the office with gray flannel pants, sweater and tie, and brown suede shoes. I left the jacket in Charleston for a few alterations - shortened sleeves, an inch out of the waist, and a nip from the back of the collar. It should arrive via UPS next week. I'll post some follow-up pictures once I've had a chance to accessorize.

Silk Knots

While I was in Charleston over the weekend I stopped in at Brooks Brothers on King Street.  Their silk knots, regularly nine dollars each, were on sale at four for twenty dollars.  And I had a twenty-five percent off coupon.  Needless to say I picked up a selection of them.

Silk knots are a colorful alternative to metal cufflinks used to fasten French cuffs.  These silk knots, or monkey fists, are made from three strands of elastic silk interwoven to create two round knots connected by two of the three elastic strands.  Because the knots are made from three strands of elastic silk, they may be produced in one, two or even three color combinations.

Consider coordinating your silk knot with a stripe in your shirt, a check in your tie, or even your socks.  The quite adventurous might even try coordinating a tri-color silk knot with three similar colors in a tweed jacket.  Because of the multitude of color combinations available, the possibilities are limitless.

Middleton Place

I spent a long weekend in Charleston, SC.  We stayed at our favorite spot in Charleston, the Inn at Middleton Place.  The Inn is sited on the bluffs overlooking the Ashley River

Awarded for its architectural design and found to be a modern counterpoint to the neighboring 18th-century Middleton Place plantation, the Inn's distinctive architecture and simple, rustic decor lends to the beauty of the property.  With dramatic floor to ceiling windows that evoke a sense of living within nature and wide plantation shutters for privacy, guests enjoy the sights and sounds of nature at its finest.

Each room is furnished with handcrafted furniture, hardwood floors with braided rugs and warm cypress paneling.  A wood burning fireplace adds to the ambiance and can be enjoyed during the cooler months while a 150 gallon garden tub beckons guests to relaxation.  The Inn's 53 private accommodations are found in four separate, bold, geometric structures each located within a short and convenient walking distance of one another.

Just a short walk from the Inn is the garden at Middleton Place.  Begun in 1741 by Henry Middleton, President of the First Continental Congress, the 60-acre formal garden is accented by ancient live oaks draped heavily in Spanish moss.  Middleton Place has survived war, hurricanes and earthquakes to earn the distinction as a National Historic Landmark.  If you are ever in the area, the garden is worth a visit.