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Rusty’s White Silver Suit in Ocean’s Thirteen

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Brad Pitt as Robert “Rusty” Ryan in Ocean’s Thirteen (2007), matching his shoes to his luggage rather than to his belt.

Vitals

Brad Pitt as Robert “Rusty” Ryan, casino heister and hotel manager

L.A. to Vegas, June 2007

Film: Ocean’s Thirteen
Release Date: June 8, 2007
Director: Steven Soderbergh
Costume Designer: Louise Frogley

Background

With Memorial Day in our wake, it’s now sartorially safe to whip out the white suitings from the back of your closet when dressing to impress this summer.

One movie that most influenced my own summer style during my formative years was Ocean’s Thirteen, a celebration of sprezzatura from Al Pacino’s bold business wear to the vivid outfits sported by Bernie Mac. For me, it was Rusty Ryan’s flashy suits and sport jackets that lingered in my mind when eyeing new summer threads.

It takes the flashy confidence of a Brad Pitt type to wear (and pull off) the literally flashy suit worn for his pre-dawn strut across the tarmac as Rusty boards a private plane chartered by Danny Ocean (George Clooney) for the team’s next job, accented by the cool “Not Their Fight” composed for the film’s awesome soundtrack by David Holmes.

This time, it’s personal.

What’d He Wear?

Costume designer Louise Frogley told the Daily Mail in May 2007, just before the release of Ocean’s Thirteen, that “Brad was sure that this time his style for Rusty Ryan had to be cleaner, much more simple – ‘less bling and less shiny-suity,’ as he put it,” though this seems at direct odds with his first on-screen suit, a very shiny white silver suit with a satin finish that gleams brilliantly under the dimly-lit airstrip at night and the Las Vegas morning sun.

Perhaps it’s most indicative that Rusty only wears this suit at the film’s outset, a spiritual success to his shiny gray silk suit in Ocean’s Twelve and only worn before learning the dire situation of his friend Reuben’s health.

The vivid color saturation of Ocean’s Thirteen makes some color identification difficult based on the lighting and treatment of a particular scene, especially with reflective suiting like this. Based on production photos that clearly depict a satin gray finish, I think we’re safest to call this color “white silver.”

The suit jacket is single-breasted with notch lapels that roll to the top of three gold shank buttons, all worn open. High on each of the jacket’s flared sleeve-ends are two smaller gold “kissing” buttons which match the three down the front and help differentiate this suit from a similar silver suit that gets brief screen time later in the movie.

Coffee in hand, Rusty settles in for a brief flight.

Coffee in hand, Rusty settles in for a brief flight.

The jacket has a welted breast pocket and straight flapped hip pockets plus a flapped ticket pocket on the right side. The shoulders are padded with roped sleeveheads, and the back has a single vent.

Rusty’s flat front trousers have a lower-than-traditional rise that reflects his casual nature. Straight pockets are cut along each side seam, and the slightly flared bottoms are finished with plain hems. His ivory leather belt, likely Prada, provides minimal contrast against his suiting, and the squared single-prong gold buckle coordinates with the gold buttons on the front and cuffs of his jacket.

Rusty wears a black dress shirt with a white pinstripe that coordinates with his suit and softens the otherwise stark contrast between the dark shirt and the light, shiny suit. The shirt’s large, tall point collar is worn open as is the next button down the shirt’s plain front. Rusty later wears this same shirt during the film’s climactic con with a charcoal silk suit, more appropriate for a night out in a casino.

If you blew all your money on the suit but you’re still looking for the perfect shirt to channel Rusty’s outfit, this affordable poly/cotton “Onyx Pinstripe Shirt” from Averill’s Sharper Uniforms nails the general look with the pattern and breast pocket… if not the distinctive details like the single cuffs.

Rusty wears the single cuffs unfastened (despite having holes for links), revealing the yellow gold Rolex GMT Master II strapped to his right wrist on a gold Oyster link bracelet.

Rusty consults with the team after landing in Vegas.

Rusty consults with the team after landing in Vegas.

Rusty’s Rolex watch isn’t his only gold accessory as he also wears two rings in addition to the gold pendant on a thin gold necklace around his neck. He wears a thick gold ring on the third finger of his right hand and a smaller gold ring on his left pinky.

Rusty's shiner gleams from the third finger of his right hand.

Rusty’s shiner gleams from the third finger of his right hand.

Brad Pitt is a noted fan of the Oliver Peoples eyewear brand and, in fact, wears a pair of their “Strummer” model aviators in Ocean’s Thirteen. However, the fashion-forward shades he is briefly seen wearing after descending on the Las Vegas tarmac more resemble the Ray-Ban RB 3291 sunglasses that Pitt was spotted wearing on set.

Identified by SunglasssesID.com, Pitt’s Ray-Bans are silver-framed with purple-gray gradient lenses (color code 003/8G). You can still pick up a pair at EyewearOrders.com.

Rusty struts off the plane, immune to the blinding qualities of his suit in the sunlight thanks to his protective shades.

Rusty struts off the plane, immune to the blinding qualities of his suit in the sunlight thanks to his protective shades.

Rusty foregoes matching his shoes to his belt and wears a pair of cognac-colored leather oxfords, likely the same pair that he wears with his other outfits in the film.

How to Get the Look

Brad Pitt and George Clooney on the set of Ocean's Thirteen (2007)

Brad Pitt and George Clooney on the set of Ocean’s Thirteen (2007)

Rusty delivers a fresh and flashy take on the post-Memorial Day white suit with this ensemble anchored by a satin silver bespoke suit and striped black shirt.

  • White silver satin-finished silk suit:
    • Single-breasted jacket with three gold shank buttons, notch lapels, welted breast pocket, straight flapped hip pockets with ticket pocket, two gold shank-buttoned cuffs, and single back vent
    • Flat front medium-low rise trousers with belt loops, straight/on-seam side pockets, and plain-hemmed bottoms
  • Black pinstripe shirt with tall collar, plain front, breast pocket, and single cuffs
  • Ivory leather belt with squared gold single-prong buckle
  • Cognac brown plain-toe balmorals/oxford shoes
  • White ribbed cotton sleeveless undershirt
  • Ray-Ban RB 3291 silver-framed sunglasses with purple-gray gradient lenses (color code 003/8G)
  • Rolex GMT Master II wristwatch with a yellow gold case, black bezel and dial, and gold “Oyster” link bracelet, worn on right wrist
  • Gold ring with brown stone, worn on right ring finger
  • Gold pinky ring, worn on left pinky
  • Thin gold necklace with a round gold pendant

Do Yourself a Favor and…

Buy the movie, or even the whole series.



Michael Caine’s Olive Sweater as Alfie

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Michael Caine as Alfie Elkins in Alfie (1966)

Michael Caine as Alfie Elkins in Alfie (1966)

Vitals

Michael Caine as Alfie Elkins, charming part-time car service driver and full-time cad

Middlesex, England, Summer 1965

Film: Alfie
Release Date: March 24, 1966
Director: Lewis Gilbert
Wardrobe Supervisor: Jean Fairlie

Background

During his stay in a convalescent home earlier in the movie, Alfie Elkins (Michael Caine) befriended Harry Clamacraft (Alfie Bass, hey his name actually is Alfie!). Alfie later returns to visit Harry, who requests that Alfie give a ride to his tired-looking wife Lily (Vivien Merchant) in his Rolls-Royce.

The reluctant ride turns into a summertime seduction as Alfie and Lily make a fateful stop for “a nice cup of tea.” As Alfie admits to us:

Well, what harm can it do? Old Harry will never know. And even if he did, he shouldn’t begrudge me… or her, come to that. And it’ll round off the tea nicely.

What’d He Wear?

This brief, pivotal scene features Alfie sporting a comfortable take on a preppy leisurewear ensemble, layering an olive sweater over a pale blue cotton shirt with a long button-down collar, plain front, and button cuffs, similar to the white button-down shirts that Alfie wears with his navy mohair suit.

ALFIE

Alfie’s wool v-neck sweater is colored somewhere between olive and artichoke green without much contrast between the jumper and his trousers. The sweater has raglan sleeves, which he rolls up over the wrist for a cuff.

"Cheer up," Alfie tells Lily just before embarking on the last thing that could possibly help her do so.

“Cheer up,” Alfie tells Lily just before embarking on the last thing that could possibly help her do so.

His gray flannel flat front trousers have straight pockets along each side seam and two jetted pockets in the back. They fit straight through the legs and are finished with plain-hemmed bottoms.

Appropriately for his drive into the country, Alfie wears a pair of dark brown pebble-grain leather penny drivers. These moc-toe drivers have a strap across the vamp like a classic penny loafer with the rubber-grommet soles that define a driving shoe. Alfie appropriately wears his for a leisurely weekend afternoon with thin dark navy socks.

The closest approximations to these shoes that I’ve been able to find are the Calvin Klein “Ivan” from Macy’s for $130 and the pricier Hugo Boss “Men’s Dandy” for $255. The most price efficient option I’ve seen are the Asher Green “Flager” for just $40 on Amazon. (All prices and availability as of May 2017.)

Alfie and Lily take an innocent tea at the York House and surrounding gardens in, Twickenham.

Alfie and Lily take an innocent tea at the York House and surrounding gardens in, Twickenham.

Alfie wears the same jewelry on his left hand throughout the film: a gold ring with a brown oval stone on his pinky and a stainless watch with a black Omega-style dial and a steel bracelet.

While sipping his tea, Alfie observes that Lily doesn't seem very happy... but that's none of his business.

While sipping his tea, Alfie observes that Lily doesn’t seem very happy… but that’s none of his business.

How to Get the Look

Vivien Merchant and Michael Caine, sourced from an original lobby card for Alfie (1966)

Alfie dresses comfortably and casually for a weekend afternoon in Middlesex, layering a v-neck sweater over a button-down shirt with flannel trousers and brown pebbled penny drivers.

  • Pale blue oxford cloth shirt with button-down collar, plain front, and button cuffs
  • Olive wool v-neck sweater with raglan sleeves
  • Gray flannel flat front trousers with straight/on-seam side pockets, jetted back pockets, and straight plain-hemmed bottoms
  • Dark brown pebble-grain leather moc-toe penny drivers
  • Black dress socks
  • Stainless wristwatch with a black dial on steel deployable-clasp bracelet
  • Gold pinky ring with a brown oval setting

Do Yourself a Favor and…

Buy the movie.


Inglourious Basterds: Aldo Raine’s Ivory Dinner Jacket

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Brad Pitt as Lt. Aldo Raine in Inglourious Basterds (2009)

Vitals

Brad Pitt as Lt. Aldo Raine, U.S. Army OSS officer and redneck leader of the “Inglourious Basterds”

Paris, June 1944

Film: Inglourious Basterds
Release Date: August 21, 2009
Director: Quentin Tarantino
Costume Designer: Anna B. Sheppard

WARNING! Spoilers ahead!

Background

Inglourious Basterds kicks off a two-film spree in Tarantino’s filmography focused on rewriting history with violent vengeance. In this revisionist take on World War II, a band of Jewish-American military guerillas – think The Dirty Dozen meets The A-Team – is assigned the sole task of secretly but brutally fighting their way through occupied German territory, murdering any Nazi encountered in their wake. The two-year spree of these “inglourious basterds” who give the film its title ends up in a Paris movie theater on the eve of the D-Day invasion with an opportunity to take down the German high command, including Hitler himself, to end the war.

It was at this point that I thought, “ah, here it is. The war didn’t end and Hitler didn’t die until a year later when he shot himself in his bunker, so the gang will definitely fail this mission.” Wrong! Leave it to QT to beautifully surprise me with a very welcome alternative history.

Inglourious Basterds plays with the common 007-esque spy film trope of putting its dashing hero in a tuxedo for an evening event, something which Brad Pitt himself would do with less irony in last year’s Allied (which, yes, will get a BAMF Style post soon!), but it’s terribly fun to watch Pitt out of place as the Tennessee roughneck sporting a white dinner jacket and struggling his way through his new Italian cover as stuntman Enzo Gorlomi. (Of course, this being QT, the name is an homage to the birth name of Enzo G. Castellari, director of 1978’s The Inglorious Bastards.)

Following a nomenclatural battle of wits with the sinister Hans Landa (Christoph Waltz), Aldo Raine almost immediately finds himself in Landa’s custody and a new battle of wits ensues. Landa’s grandoise flamboyance (“That’s a bingo!”) meets Aldo’s no-nonsense directness (“You just say ‘bingo'”) as the two men sift through their personal agendas to find a mutually beneficial plan to end the war that evening.

Of course, being a high-ranking officer in the evil SS, Landa isn’t permitted to come out totally unscathed, as he discovers when Aldo begins preparing his knife. “You’ll be shot for this!” Landa exclaims. Unaffected by the desperate cries of a Nazi, Aldo considers this for a second, then replies:

Nah, I don’t think so. More like chewed out. I’ve been chewed out before.

What’d He Wear?

Worldly villain that he is, Hans Landa instantly sees through Aldo’s weak cover and identifies to his guards “the guy in the white smoking jacket.” Of course, Aldo is actually sporting an off-white dinner jacket but the semantics of sartorialism hardly matter when the fate of the world is at stake. Either way, the guards know precisely who he means and Aldo finds himself in German custody before he even gets a chance to sip his champagne.

June is a summer month in Paris and the movie premiere is a festive occasion, so Aldo’s decision to wear an ivory dinner jacket is appropriate. Costume designer Anna B. Sheppard told Clothes on Film, “As I was using a lot of black tuxedos, uniforms, and SS black dress uniforms in the final scene, I wanted to use a more flamboyant and visible design to highlight the fact that he plays an Italian filmmaker.” Giorgio Armani is credited as the designer for Brad Pitt’s evening attire in the film.

Aldo stands out against both friends and enemies with his resplendent off-white dinner jacket.

Aldo stands out against both friends and enemies with his resplendent off-white dinner jacket.

The unsophisticated Aldo Raine is about as far from James Bond as a spy can get, but his off-white dinner jacket with its nontraditional satin-faced peak lapels and silk-covered two-button front is very similar to the ivory Tom Ford “Windsor” dinner jacket that Daniel Craig would wear six years later as 007 in Spectre… right down to the red carnation in his lapel.

Bridget is understandably nervous when Aldo's linguistic abilities are tested by the multilingual Hans Landa.

Bridget is understandably nervous when Aldo’s linguistic abilities are tested by the multilingual Hans Landa.

The wide and full-bellied peak lapels with strongly built shoulders, ventless back, and waist suppression takes inspiration from contemporary suits of the late ’30s and 1940s. Aldo’s dinner jacket also has silk-covered four-button cuffs, straight jetted hip pockets, and a welted breast pocket where he wears a folded white silk display kerchief.

Aldo's dinner jacket is handled roughly during his arrest. Note the fallen carnation on the floor below his left lapel.

Aldo’s dinner jacket is handled roughly during his arrest. Note the fallen carnation on the floor below his left lapel.

A double-breasted jacket with shawl lapels would have delivered the effect of Humphrey Bogart’s iconic dinner jacket in Casablanca, but it’s important to remember that this is hardly the outfit-of-choice for a rugged former bootlegger from the mountains of Tennessee who has unexplained rope burns around his neck. This guy is meant to look as uncomfortable as possible… and the discomfort pays off hilariously.

Aldo's palpable discomfort and the triangle of shirt material emerging below his buttoned jacket (despite his cummerbund) would surely tip off an urbane villain like Landa.

Aldo’s palpable discomfort and the triangle of shirt material emerging below his buttoned jacket (despite his cummerbund) would surely tip off an urbane villain like Landa.

The jacket itself isn’t without sartorial flubs (which may also be on purpose!), but actor B.J. Novak’s recollection from the production proves that the overall impact is more important than nailing the details:

Maybe the coolest night for me filming we shot in this truck, a scene where Brad Pitt and I were kidnapped, in handcuffs with bags over our heads. It was just an establishing shot. I showed up and all I had to do was be handcuffed and have this bag over my head. Brad Pitt is there in his white tuxedo jacket, and Tarantino, my all time hero is there behind the camera, and I realized there’s no way I can mess this up. I have a bag over my head, I’m handcuffed, I have no lines, there’s nothing I can do to mess this scene up. I just kinda looked around between every take and just marveled at my good luck. It was the most glamorous thing. I mean not only Brad Pitt, but like in a white tuxedo, and a mustache, and an accent, hamming it up and absolutely convincing, and taking you back to the ’40s. It was the most transformative film experience that I couldn’t mess up. I kept thinking “I can’t believe I’m here.”

PFC Utivich and Lt. Raine, captured but only hours away from ending World War II.

PFC Utivich and Lt. Raine, captured but only hours away from ending World War II.

Aldo’s black formal trousers have forward pleats and a slouchy medium rise, unfashionable in that or any era but quite fitting for a character unused to the trappings of formalwear. The trousers appropriately have a single satin braid down each side and plain-hemmed bottoms.

The waistband of the trousers is concealed by a black grosgrain cummerbund.

Aldo's shirt appears to have been made with vents through which he could conceal the straps of his knife's shoulder holster.

Aldo’s shirt appears to have been made with vents through which he could conceal the straps of his knife’s shoulder holster.

Aldo’s white formal shirt has a marcella front bib, a British compromise dating back to the early 20th century to give wearers the appearance of a full-dress shirt combined with the comfort preferred by Americans in the areas typically covered by a dinner jacket. Aldo wears three round diamond-filled silver shirt studs down his front bib. The shirt’s single cuffs are fastened with mother-of-pearl links.

The shirt is worn with a detachable wing collar, fastened at the neck with a gold stud, calling back the early days of formal dress when it was easier for men to wash or replace a collar than an entire shirt. Inglourious Basterds makes the most of this period detail by featuring Aldo wearing his shirt collar unfastened after his arrest.

Aldo's been chewed out before.

Aldo’s been chewed out before.

Aldo’s black silk bow tie is a butterfly-shaped self-tying model.

A rough night of negotiating calls for loosening the now unneeded bow tie.

A rough night of negotiating calls for loosening the now unneeded bow tie.

Despite other faux pas that may be present in his outfit, Aldo wears the most appropriate footwear, a pair of black patent leather oxford shoes with a straight cap toe. He also wears black dress socks.

The arresting SS officers are quick to find the dynamite strapped to Aldo's ankles.

The arresting SS officers are quick to find the dynamite strapped to Aldo’s ankles.

Aldo’s trusty Bowie knife is holstered in what appears to be a custom sheath under his left arm, held into place by a series of black leather straps running over the back and shoulders and under the front of his shirt.

Aldo's trusty Bowie knife, holstered under his left arm and taken by the Nazis during his arrest.

Aldo’s trusty Bowie knife, holstered under his left arm and taken by the Nazis during his arrest.

Premiere Props auctioned the complete formalwear worn by Donny Donowitz (Eli Roth) and Omar Ulmer (Omar Doom), the two other “basterds” who accompanied Aldo and Bridget to the Stolz der Nation premiere:

  • With his formal tailcoat, Donny wears a white Angels and Bermans dress shirt.
  • Omar’s double-breasted dinner jacket remains unidentified but his white wing collar shirt is La Valiere, his formal trousers are AAW-Berlin, and his black oxfords are from Siam Costumes.
  • Siam Costumes also provided the formal trousers to another unidentified character’s black tie ensemble (link) with a Henk ter Horst dress shirt.

How to Get the Look

Aldo Raine’s discomfort in formalwear is hilarious, but even the nontraditional details of his off-white dinner jacket can’t keep Brad Pitt from looking as sharp as you’d expect Brad Pitt to look.

  • Ivory wool single-breasted 2-button dinner jacket with wide satin-faced peak lapels, welted breast pocket, straight jetted hip pockets, silk-covered 4-button cuffs, and ventless back
  • White formal dress shirt with triple diamond-studded marcella bib and single cuffs
    • Detachable wing collar
    • Mother-of-pearl cuff links
  • Black silk self-tied bow tie
  • Black formal forward-pleated trousers with black satin side braiding and plain-hemmed bottoms
  • Black grosgrain cummerbund
  • Black patent leather cap-toe balmorals/oxford shoes
  • Black dress socks
  • Black leather shoulder holster sheath, for Bowie knife, concealed under left armpit

The Gun

Other than a single shot from Landa’s own Walther P38 used to dispatch the unfortunate driver Herman, Aldo Raine sticks to his trusted and true Bowie knife as his weapon of choice during the film’s final act. (To read more about the knife, likely a Smith & Wesson “Texas Hold ‘Em”, check out my post about Aldo’s pea coat and casual attire.)

Sorry, Herman.

Sorry, Herman.

His team, however, is assigned the innovative .38-caliber pistol glove, designed by the U.S. Naval Intelligence Office and developed by Sedgley in Philadelphia for short-range use by the U.S. Marine Corps and U.S. Navy. Known as the OSS Pistol Glove, the weapon consists of two cylinders fitted to the back of a leather glove; one cylinder contains a plunger that is pressed into the target and the other cylinder is the barrel that fires a single .38-caliber round into said target.

Donny presents Omar with one of the two pistol gloves they will use to gain access to Hitler's private viewing box.

Donny presents Omar with one of the two pistol gloves they will use to gain access to Hitler’s private viewing box.

In Inglourious Basterds, OSS Pistol Gloves are used by Donny Donowitz (Eli Roth) and Omar Ulmer (Omar Doom) to effectively gain entrance to Hitler’s private viewing booth. In addition to their costumes from the scene, Premiere Props also offers the bullet props from their glove guns for sale: Donny’s bullet and Omar’s bullet.

Do Yourself a Favor and…

Buy the movie.

The Quote

I’ve done my share of bootlegging. Up there, if you engage in what the federal government calls “illegal activity,” but what we call “just a man tryin’ to make a livin’ for his family sellin’ moonshine liquor,” it behooves oneself to keep his wits. Long story short, we hear a story too good to be true… it ain’t.

Footnote

Right down to the carnation of the edge of the long peak lapel, both Aldo the Apache and James Bond in Spectre appear to have taken some inspiration from the same ’40s fashions when determining their warm weather formalwear ensembles. Where Aldo opts for the traditional wing collar and bib front, however, Bond wears a pleated-front shirt with a turndown collar and a diamond-pointed bow tie.

Spy vs. Spy

Spy vs. Spy


Dean Martin Turns 100: Dino’s Iconic Tuxedo

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Dean Martin on the set of The Dean Martin Show, circa 1965

Vitals

Dean Martin, smooth and multi-talented entertainer

Burbank, California, 1965 to 1974

Series: The Dean Martin Show
Air Dates: September 16, 1965 – April 5, 1974
Director: Greg Garrison
Tailor: Sy Devore

Background

On June 7, 1917, Dino Paul Crocetti was born in Steubenville, Ohio, to Angela and Gaetano Crocetti, the latter a barber from the Abruzzo region in Italy where much of my own family hails. One hundred years later, the world remembers him as Dean Martin, the charming crooner whose legendary career spanned half a century as a major headliner from nightclubs and casinos to movies and TV shows.

Effortlessly charismatic and unflappable, Dino brought his smooth star power to his popular comedy act with Jerry Lewis and later as a leader of the Rat Pack alongside Frank Sinatra and Sammy Davis Jr.

CNN contributor Bob Greene wrote in 2012: “His friend Frank Sinatra may have liked the image of being Chairman of the Board, but the core of Martin’s enduring allure is that not only did he not want to be chairman, he didn’t even want to serve on the board: It would mean that he would be cooped up in some boardroom for meetings when he’d rather be out playing golf. The sight of him in a tuxedo – he wore it as comfortably as most men wear a pair of pajamas – says to people who weren’t even born when he was at the height of his fame: Take a deep breath and let yourself grin. Your problems can wait until tomorrow.”

While the boozy, womanizing antics of the Rat Pack may have alienated younger audiences during the radical ’60s, Dean Martin’s solo star never stopped shining. In 1964, Dean’s recording of “Everybody Loves Somebody” knocked the seemingly invincible Beatles off of the number one spot on the Billboard charts. Not only was it his first hit to crack the Top 40 in six years, but it almost immediately shot to the top of Billboard’s Hot 100 list. Later to be his signature tune, “Everybody Loves Somebody” retained its top position on the “Pop-Standard Singles” chart for eight weeks.

As Dean Martin demonstrated his staying power even in the age of the British Invasion, he was approached to headline a variety show on NBC. Reluctant to scale back his bread-and-butter work in movies and nightclubs and unwilling to commit to the pressures of a weekly show, Martin laid down admittedly and deliberately outrageous terms for his acceptance: a staggering salary of $40,000 and a commitment to show up only to the show’s taping without rehearsals. Of course, NBC was delighted for any response at all and accepted, and Dean announced to his family: “They went for it, so now I have to do it.”

The Dean Martin Show debuted on NBC on September 16, 1965 and became an NBC staple, running at 10 p.m. on Thursdays (Thirsty Thursday, of course) and, later, Fridays for 264 episodes until its final show on April 5, 1974. The show was exactly what one would expect of Dean Martin, a casual, genuine, and unpretentious hour of entertainment that benefited from the natural spontaneity of Dean’s unrehearsed performances and willingness to put himself out there. My grandma still laughs when remembering Dean’s genuine shock at the celebrity guests who would knock on a closet door on the set, surprising him as the producers almost always kept guest identities from Dean in order to provoke the best response.

While his fellow Rat Packers and stars of the era were often plagued with addictions and scandal, Dean Martin was seemingly most addicted to fake-drinking rather than actually imbibing as heavily as his image demanded, often filling his on-stage rocks glass with apple juice rather than his preferred J&B scotch whisky. Dean was a dedicated father to his seven children and was forever heartbroken when his son Dean Paul Martin was killed in a crash while flying with the California Air National Guard in March 1987.

A lifelong smoker of Kent cigarettes, Dean Martin was diagnosed with lung cancer in 1993. Despondent over the loss of his son six years earlier and tired after his long, successful career, Dean refused the surgery that may have prolonged his life and died in his Beverly Hills home on December 25, 1995 at the age of 78. The lights of the Las Vegas Strip where he had entertained so many were dimmed in his honor, and Ohio Route 7 through his hometown of Steubenville was renamed Dean Martin Boulevard.

The epitaph on his crypt in Westwood Village Memorial Park reads “Everybody Loves Somebody Sometime,” both the name of his signature song and the personal credo that defined his beloved persona.

What’d He Wear?

“In regular clothes, I’m a nobody,” Dean once reflected. “In a tuxedo, I’m a star.”

Thus, for his most starring role as the host of a long-running variety show, Dean dressed to the nines every night in a tailored dinner suit perfectly suited for his debonair playboy image.

Per his standards, Dean Martin was a star every week from the fall of 1965 through the spring of 1974.

Per his standards, Dean Martin was a star every week from the fall of 1965 through the spring of 1974.

The Dinner Jacket

The luxurious dupioni silk was Dino's suiting of choice when it came to his trademark dinner jackets.

The luxurious dupioni silk was Dino’s suiting of choice when it came to his trademark dinner jackets.

Over the course of his variety show from 1965 to 1974, Dean Martin wore at least four different styles of dinner jacket that reflected the fashions of the times. A few aspects remained consistent on each: all were black dupioni silk with a single-breasted, single-button closure and a welted breast pocket for his trademark red silk display kerchief.

Dino’s dinner suits are all made from that shiny, slubby pain weave silk fabric known as dupioni. Slightly heavier than other silks like shantung, dupioni silk may have worn warm for our hero during unrehearsed nights of singing, dancing, and prancing under the hot lights of a TV studio, but the fabric’s wrinkle-resistant properties lend well to the lounge lizard aspects of Dean’s persona, allowing him to luxuriate around the set week after week without his trademark tux looking rumpled.

His two dinner jackets with peak lapels were the most formally detailed with jetted side pockets and ventless back while his notch lapel dinner jackets incorporated other less formal details borrowed from business suits such as ticket pockets and side vents.

When Dean’s show debuted in September 1965, he appeared in a sleek ventless dinner jacket with slim peak lapels that roll to a single silk-covered button at his waist. The red silk display kerchief favored by several Rat Packers puffs out from his welted breast pocket while his straight hip pockets are jetted for clean lines through the torso. The sleeves end with three silk-covered buttons on each cuff.

Dino welcomes the audience with "Everybody Loves Somebody' during one of the first episodes in fall 1965.

Dino welcomes the audience with “Everybody Loves Somebody” during one of the first episodes in fall 1965.

As the show went on into the late ’60s, Dean’s tuxedo retained its closer cut but loosened up on its formality; by 1968, Dino was rocking slim notch lapels, flapped pockets, and long double vents on his dinner jacket… less formal elements but certainly appropriate given the “living room” nature of the production. The flapped hip pockets slant slightly backward and, like the flapped ticket pocket on the right, are positioned just below the buttoning point. He still has three cuff buttons, albeit black plastic sew-through buttons rather than the more elegant silk-covered buttons of his earlier jacket.

Dino sings "That Old Feeling" and "I Take a Lot of Pride in What I Am" with guest Ann-Margret during her fifth season appearance, February 1970.

Dino sings “That Old Feeling” and “I Take a Lot of Pride in What I Am” with guest Ann-Margret during her fifth season appearance, February 1970. (Link)

When the sixth season began in September 1970, Dean was back to a ventless dinner jacket with peak lapels, albeit wider lapels more fitting the fashions of the era. The hip pockets slant backward, and Dean’s ever-present red pocket square again puffs out from his welted breast pocket, echoing the jacket’s red faille lining. For the ’70s, Dean also started wearing jackets with single-button cuffs.

Dean Martin with guest Frank Sinatra during one of his many appearances. This particular episode is from New Year's Eve 1970.

Dean Martin with guest Frank Sinatra during one of his many appearances. This particular episode is from New Year’s Eve 1970. (Link)

Finally, by the end of the show’s run in the spring of 1974, Dean’s dinner suit fell victim to some of the excess of ’70s fashion with long double vents and extremely wide satin-faced notch lapels that extend to nearly an inch away from his armpits. The ticket pocket and straight hip pockets have wide flaps. This jacket, too, has a single black plastic button on each cuff.

Gene Kelly performs with Dean Martin, circa 1973. (Link)

Gene Kelly performs with Dean Martin, circa 1973. (Link)

At least some of his dinner jackets, most probably the earliest ones, were likely tailored by the Rat Pack’s unofficial tailor, Sy Devore. By the 1970s, Dean was known to wear dinner jackets tailored by Carmen Lamola of Beverly Hills, such as this black wool tuxedo that was auctioned in June 2008 as part of Julien’s Summer Entertainment Sale.

Like his fellow Rat Pack comrade Frank Sinatra, Dean Martin was a major proponent of the red silk pocket square, albeit worn more rakishly unstructured than the Chairman’s preferred TV fold… a difference that reflects both men’s styles, sartorial and otherwise.

Dino in particular seemed to favor bright red satin kerchiefs, providing a vibrant splash of color against the duo-toned black dinner suit and white shirt.

To add the Dean Martin touch to your formal attire, a crimson red silk pocket square like this.

Everything Else

Dean’s formal trousers naturally matched his dinner jackets, suited in black dupioni silk with a shiny satin stripe down the side of each leg. He often placed his hands in his side pockets, positioned just behind the satin braid.

The flat front trousers typically rose low on his waist, coordinating well with the low button stance of his dinner jackets. The bottoms are plain-hemmed, per standard practice for formal trousers.

Befitting his casual nature and a wise concession under the hot studio lights, Dean would forego wearing a waist covering such as a cummerbund or waistcoat, instead keeping his jacket buttoned and relying on the finely tailored coordination to keep him looking cool and composed.

Dino in repose.

Dean Martin seemed to abhor traditional dress shirts, fully embracing a button-down collar to wear with every outfit from sport coats and  business suits to dinner suits. Unacceptable to menswear purists, a button-down shirt with black tie is indicative of Dino’s unpretentious attitudes that lent him a unique degree of sartorial freedom. (Sinatra, an impeccable dresser whose precision bordered on obsessive compulsion, probably took issue with some of his friend’s fashion choices.)

Dino takes his unorthodox shirt a step further by often sporting the seemingly incongruous combination of a button-down collar and double (French) cuffs on the same shirt, a unique combination that was also worn – albeit less formally – by his friends Frank Sinatra and Cary Grant. Through the nine seasons of The Dean Martin Show‘s run, Dean wore a variety of cuff links, including sets in mother-of-pearl, diamond, or plain metal.

Dean Martin chats with guest Goldie Hawn in the fifth season premiere on September 18, 1969, discussing the virtues of dumb pride. (Link)

Dean Martin chats with guest Goldie Hawn in the fifth season premiere on September 18, 1969, discussing the virtues of dumb pride. (Link)

Interestingly, the most nontraditional element of Dean’s shirt was also the most consistent as he never appeared in anything but a white button-down shirt on his show… however, the details beyond that would often vary. A plain front was usual, but Dean would also wear shirts ranging from a front placket with mother-of-pearl buttons to diamond studs (as seen in the New Year’s Eve 1970 episode with Sinatra). Dean’s non-double cuff shirts were usually of the multiple-button barrel cuff variety, as seen in Ocean’s Eleven and in the famous photo from backstage at Carnegie Hall in 1961.

Dean shares a good-hearted laugh at the expense of Melissa Stafford, one of his "Golddiggers", who flubbed a line during a musical performance. (Link)

Dean shares a good-hearted laugh at the expense of Melissa Stafford, one of his “Golddiggers”, who flubbed a line during a musical performance. (Link)

Like the lapels of his dinner jacket, Dean’s black satin silk bow tie would grow in size over the course of the show to reflect the trends of each show’s particular season.

Dino's bow tie grew from a timeless butterfly-style in 1965 to a then-fashionable jumbo butterfly by the mid-'70s.

Dino’s bow tie grew from a timeless butterfly-style in 1965 to a then-fashionable jumbo butterfly by the mid-’70s.

Dean’s on-air footwear with his dinner suits was always a pair of black velvet Prince Albert evening slippers, both with and without gold embroidery.

While less formal than oxfords, the elegant Prince Albert slipper has long been an acceptable black tie footwear alternative in settings like the home, club, or other intimate gatherings. Dino also correctly wears his evening slippers with black dress socks, avoiding some men’s misconceptions that evening slippers should be worn sockless like bedroom slippers!

By wearing the less formal Prince Albert slippers, Dean essentially invited himself and his viewers into guests' living rooms every Thursday night.

By wearing the less formal Prince Albert slippers, Dean essentially invited himself and his viewers into guests’ living rooms every Thursday night.

Dean Martin typically wore his jewelry on his left hand. A silver (or white gold) diamond ring was a mainstay on his left pinky, dating back to his early career in the Martin and Lewis days. He would also usually wear a silver chain-link bracelet around his left wrist, a common affectation among Italian-American men.

Dino flashes his accessories and cuffs during an early episode of The Dean Martin Show.

Dino flashes his accessories and cuffs during an early episode of The Dean Martin Show.

In some early episodes, Dean could be spotted wearing a gold dress watch rather than his bracelet. This watch has a square silver dial and is worn on a gold bracelet.

Dean Martin wears a gold watch while enjoying a duet with Louis Armstrong, circa 1965 (link).

Dean Martin wears a gold watch while enjoying a duet with Louis Armstrong, circa 1965 (link).

For more information about Dean Martin in a dinner jacket, check out this early BAMF Style post about his black mohair tuxedo in Ocean’s Eleven (1960).

Go Big or Go Home

Dean Martin and his daughter Claudia singing alongside Frank Sinatra and his daughter Nancy on The Dean Martin Show's 1967 Christmas special.

Dean Martin and his daughter Claudia singing alongside Frank Sinatra and his daughter Nancy on The Dean Martin Show‘s 1967 Christmas special.

At the height of The Dean Martin Show‘s popularity, Dean hosted one of the most highly rated episodes at Christmas 1967 featuring regular guest Frank Sinatra and members of both of their families, including Martin’s wife Jeanne and all seven of his children (Craig, Claudia, Gail, Deana, Dean Paul, Ricci, and Gina) in addition to Sinatra’s three children (Tina, Nancy, and Frank Jr.)

Celebrity Christmas specials were a dime a dozen in the late ’60s, seemingly the backbone of Andy Williams’ career, but Dean’s show highlighted the warmth that set him apart as an entertainer. Dean may have loved opening his door to the surprise appearances of stars like John Wayne and Ann-Margret, but it was his family that truly gave him the most happiness.

Frank Sinatra essentially became a member of Dean’s family. As one of his first guests, Frank was often to return to The Dean Martin Show for incredible music duets and skits. It was only around the easygoing Dino that Frank could loosen up.

A loyal and unflappable friend, Dean would always step in to help Frank and it was often Dean’s cooler head that would prevail when the short-fused Frank was provoked by seemingly harmless triggers like an undercooked egg or a loud bar patron.

For all of his own faults, Frank could always depend on Dean.

For all of his own faults, Frank could always depend on Dean.

How to Get the Look

Dean Martin will be forever linked to the image of a charming figure comfortably clad in a black tailored tuxedo, looking forever at ease.

  • Black dupioni silk single-breasted 1-button dinner jacket with satin-faced peak lapels, welted breast pocket, straight jetted hip pockets, 3-button cuffs, and ventless back
  • White cotton shirt with button-down collar, plain front, and double/French cuffs
  • Black satin silk bow tie
  • Black dupioni silk flat front formal trousers with satin side stripe, straight side pockets, and plain-hemmed bottoms
  • Black velvet Prince Albert slippers
  • Black dress socks
  • Silver chain-link ID bracelet
  • Silver diamond pinky ring

Toss a red silk kerchief in your breast pocket and a glass of scotch in your hand, and that’s amore!

Do Yourself a Favor and…

Check out the show! In addition to a number of YouTube clips, compilation DVDs are also available on Amazon.

Of course, you should also be listening to the music. This 30-song collection is branded as his “essential” volume and with classics like “Ain’t That a Kick in the Head”, “Volare”, and “You’re Nobody ‘Til Somebody Loves You”, it’s a fine place to start.

I also like the mellow collection on Late at Night with Dean Martin, featuring an understated version of his signature hit “Everybody Loves Somebody” in addition to classics like “Baby Won’t You Please Come Home”, “Dream”, and “Mean to Me”.

The Quote

If you drink, don’t drive. Don’t even putt.

Footnote

There seems to be some confusion about whether or not Dean Martin’s birth date is June 7 or June 17. The earlier date seems to be the more widely accepted date. Either way, he’s a Gemini.

Somehow, his birth time has been confirmed as 11:55 p.m… which makes perfect sense.


Californication – Hank Moody’s Brown Shirt

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David Duchovny as Hank Moody in “Lights. Camera. Asshole”, Episode 4.08 of Californication.

Vitals

David Duchovny as Hank Moody, womanizing novelist and screenwriter

Los Angeles, Spring 2010

Series: Californication
Episode: “Lights. Camera. Asshole.” (Episode 4.08)
Air Date: February 27, 2011
Director: Adam Bernstein
Costume Designer: Peggy A. Schnitzer

Background

It just seems appropriate to feature Hank Moody on 6/9, so today’s #NiceDay post explores one of his lesser seen outfits.

Midway through the fourth season, in the midst of Hank’s post-Mia revelation legal troubles, he is offered a gig to rewrite the shitty dialogue littering the script of a zombie movie starring his latest fling, Sasha Bingham (Addison Timlin), as a police officer.

Of course, Sasha’s request for our favorite writer turns out be more libidinous than literary, so Hank escapes this potentially sticky situation… and finds himself landing in another one.

In the meantime, Hank’s daughter Becca (Madeleine Martin) has found herself following in her father’s substance-abusing footsteps, forcing Hank to reevaluate his life choices… and unfortunately giving him some relatable talking points when he finds himself talking to another frustrated parent (Callie Thorne) at a hotel bar. We all know how that will go.

What’d He Wear?

Hank’s outfit in this scene is an interesting outlier against his usual spectrum of navy to black. For all of his loyalty to brown leather jackets and boots, we rarely see Hank wearing a shirt any browner than the olive button-up that he started sporting in the show’s third season.

Yet, for this one episode in season four, Hank visits Sasha on set in a brown shirt with a slim collar and six brown plastic buttons down the front placket. He wears the button cuffs undone and rolled up to his elbows.

Hank promotes himself from writer to director over the course of a single episode.

Hank promotes himself from writer to director over the course of a single episode.

So why did this shirt make an appearance? And once it did… why just once? For one thing, it does seem a little tight on Duchovny’s torso, especially pulling at his shoulders.

Also, we may be discovering the origins of Hank’s preference for black shirts when he bends over to kiss Sasha’s forehead and reveals a large spot that is undeniably armpit sweat. Black and navy are the best colors for hiding moisture… although the darker fabrics may also create sweatier situations by absorbing the intense sunlight of a southern California afternoon.

Out of context, this screenshot looks rather problematic.

Out of context, this screenshot looks rather problematic.

Dark jeans are a staple of Hank’s wardrobe, worn for all occasions from a cocktail party to a trip to the gym. In just the previous episode, “The Recused” (Episode 4.07), Hank describes denim as “the people’s fabric” to a snobbish country club staffer.

Through most of the show’s run, including the fourth season, Hank wears Earnest Sewn bootcut jeans with copper buttons, the usual five-pocket layout, and belt loops that goes perennially unused.

Hank's hotel room hijinks are intensified when Sasha discovers the identity of his newest bedmate.

Hank’s hotel room hijinks are intensified when Sasha discovers the identity of his newest bedmate.

Hank wears his tried-and-true Timberland Torrance chelsea boots, although the dull brown suede of his well-loved boots contrast against the warmer shade of his shirt.

Not even convincing as a zombie, Hank proves why he should stick to writing rather than acting.

Not even convincing as a zombie, Hank proves why he should stick to writing rather than acting.

Despite the new shirt, his accessories remain the same. His thin gunmetal-framed sunglasses are the same brown-lensed Izod 725 shades that he’s worn since the first episode.

Hank wears his usual silver double-ridged ring on his right index finger and doubles up the black leather bracelets on his left wrist; a slim braided bracelet ist tied around his wrist with the studded snap bracelet worn just above it.

HANK

UrbanWrist’s reproductions of Hank’s bracelets are one of the company’s best sellers, available in this $40 bundle pack.

Go Big or Go Home

Need something to listen to? The show’s second episode introduced Becca’s fandom of the band Eagles of Death Metal which, four seasons later, made it into the show’s soundtrack with its “Stuck in the Metal with You” cover of Stealers Wheel’s similarly named and melodied 1973 hit single.

How to Get the Look

Perhaps it stands out because it’s so different from his usual, but Hank Moody’s brown shirt in this fourth season episode of Californication has always stuck out in my mind.

  • Brown shirt with slim collar, front placket, and button cuffs
  • Dark blue bootcut denim jeans
  • Brown sueded leather Timberland “Torrance” slip-on Chelsea boots with black elastic side gussets
  • Black socks
  • Black boxer briefs
  • Silver ring with two ridged bands, worn on the right index finger
  • Black leather bracelet with silver hexagonal and round studs, snapped on the left wrist
  • Thin black braided leather bracelet, also worn on the left wrist
  • Izod 725 sunglasses with thin gunmetal frames and brown lenses

Do Yourself a Favor and…

Check out the whole series. My favorites are the first and second seasons, but this episode appears smack in the middle of the fourth season.

The Quote

No stranger to misery, are you? I like that in a woman sitting alone at a bar.


Belmondo in Breathless: Camelhair Jacket in Paris

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Jean-Paul Belmondo as Michel Poiccard and Jean Seberg as Patricia Franchini strolling down the Champs-Élysées in an iconic scene from À bout de souffle (Breathless) (1960).

Jean-Paul Belmondo as Michel Poiccard and Jean Seberg as Patricia Franchini strolling down the Champs-Élysées in an iconic scene from À bout de souffle (Breathless) (1960).

Vitals

Jean-Paul Belmondo as Michel Poiccard, petty thief and killer on the run

Paris, August 1959

Film: Breathless
(French title: À bout de souffle)
Release Date: March 16, 1960
Director: Jean-Luc Godard
Costume Designer: Ellen Mirojnick

Background

Directed by Jean-Luc Godard from an original treatment by François Truffaut, À bout de souffle (or Breathless to us Americans) marked a defining moment in the evolution of French New Wave cinema. The lanky, youthful, and energetic Jean-Paul Belmondo shot to cinematic stardom as he became the new face of French New Wave, a term to which he charmingly admitted his own ignorance to P.E. Schneider of New York Times Magazine.

In that 1961 piece, Schneider was profiling Belmondo for a piece called “A Punk With Charm,” referring to the actor’s role in Breathless as the Bogart-idolizing Michel Poiccard, a swaggering and sociopathic walking id.

More than five decades later, Breathless remains a crucial touchstone of modern cinema with Belmondo’s performance praised alongside that of Jean Seberg as his stylish American girlfriend, an ingénue in appearance if not practice. Despite its lasting impact, Breathless takes itself about as seriously as its lead character (dare I call him the protagonist?), who floats from crime to crime and lover to lover in a series of jump cuts punctuated by Martial Solal’s jumpy jazz score.

Ella Taylor wrote in L.A. Weekly for the film’s 50th anniversary release in May 2010: “For those old enough to have cut their teeth on Godard’s first effort at messing with French film orthodoxy while blowing an ambivalent kiss to American gangster movies, the film comes as a thrilling reminder of how playful the master could be even when building a movie around a two-bit car thief and cop killer tooling around Paris, arguing love and existence with his American squeeze as he runs from the police. Perpetually in motion, raffish and cheap in his fedora and ill-fitting jacket, at once majestic and pathetic in his self-aggrandizing identification with Humphrey Bogart, Jean-Paul Belmondo’s Michel oozes pugnacity to authority and a double-edged promise of seduction and betrayal to Jean Seberg’s Patricia, whose angel face will prove to contain its own multitudes.” (link)

Belmondo and Bogie.

Belmondo and Bogie.

Later that year, Sarah Kaufman expanded on this theme for the Washington Post (link):

We don’t see a lot of male grace in films nowadays – built-up bulk and a punchier, more robust aesthetic have taken its place. Go back to the 1950s and, particularly in the art films, there’s a subtler, more detailed attention to the male form and its ability to express emotion. Belmondo may not be as polished as a Cary Grant, nor as sensuously sculpted as a Marlon Brando. His character in Breathless is perfectly hateful – a petty thief who sees himself as a classy tough even as he’s robbing and insulting his girlfriends. But what’s fascinating is that the way he carries himself tells us something entirely different.

We fall in love with this lowlife not because of his lines or his story but because of his moves. He bursts with an endearing, boyish energy, light-footed and carefree, fed by the restless motor of a dreamer. The jacked-up optimism in the way Belmondo moves tells us his character has heart, wit, and promise, even if his words convey the opposite.

Belmondo plays Michel, who heads to Paris from Marseille in a stolen car to a) retrieve money he is owed and b) lure his sometime girlfriend Patricia (Seberg) into running away with him to Rome. A romantic with a psychopathic streak, he ends up killing a policeman in a highway stop. Fugitive status only energizes him; once he reaches Paris, Michel is in open pursuit of Patricia, the guy who owes him the cash, and his own notion of noirish glamour.

What’d He Wear?

Jean-Paul Belmondo has been well-explored as a style icon in his own right with his own carefree sense of style, a degree of sprezzatura less studied in its genuine nonchalance than the term itself implies. In Breathless, Belmondo’s Michel takes this a step further, dressing “with the same carefree thoughtlessness as he lives: a cacophony of stripes and checks and stubby ties and a jacket that’s way too big for him,” as Richard James Savile Row wrote in its online tribute.

Michel begins the film in a chaotically large-scaled herringbone tweed jacket, both too big for him and too warm for the Marseilles summer climate. He impulsively ditches that tweed jacket after an equally impulsive roadside murder, sprinting into Paris where he finds relative safety in a new set of duds: a striped shirt, checked tie, and soft oversized sportcoat.

The youthful iconoclasm and energy exuded by Jean Seberg and Jean-Paul Belmondo strutting down the Champs-Élysées in Breathless became an iconic moment in the history of nouvelle vague.

The youthful iconoclasm and energy exuded by Jean Seberg and Jean-Paul Belmondo strutting down the Champs-Élysées in Breathless became an iconic moment in the history of nouvelle vague.

The gray-scale film and lack of available color photos from the production means I can only speculate about the color and some of the details of Michel’s clothing. Based on the texture, weight, and styling of his light-colored single-breasted jacket, I deduce that it is tan camelhair, an unseasonably warm choice consistent with the odd choices Michel makes when determining his wardrobe.

Ever the rulebreaker, Michael typically wears both of the two front buttons fastened. Both the blade and the tail of his tie often flop out through the opening over the first button, a clear mismatch of a too-short tie with a low button stance.

The jacket’s soft natural shoulders emphasize the oversized fit as the roped, shirred sleeveheads visibly fall below each shoulder.

If a jacket doesn't fit on your shoulders, no amount of tailoring can make it fit correctly at all.

If a jacket doesn’t fit on your shoulders, no amount of tailoring can make it fit correctly at all.

Despite its excessive fit through his chest and shoulders, Michel’s sport jacket is still considerably short for 1960. The jacket has short double vents, an indication of the increasingly seen trend of side vents of suit jackets and sport jackets through the middle of the 20th century.

The breast pocket is welted but the hip pockets are sportier, casual patch pockets. There are three buttons on the cuff of each sleeve.

"The long stride, the oversize jacket bobbing above it. He's filmed to look big and broad-shouldered, but it's the fluidity of his stride and the harmony in his whole body that telegraph abundant confidence. Head tipped back, posture regal, he's a man brimming with self-assurance and vitality," wrote Sarah Kaufman, accurately capturing Belmondo's on-screen swagger in her 2010 Washington Post article.

“The long stride, the oversize jacket bobbing above it. He’s filmed to look big and broad-shouldered, but it’s the fluidity of his stride and the harmony in his whole body that telegraph abundant confidence. Head tipped back, posture regal, he’s a man brimming with self-assurance and vitality,” wrote Sarah Kaufman, accurately capturing Belmondo’s on-screen swagger in her 2010 Washington Post article.

Think Michel limits his unconventional fashion to just his jacket? Au contraire!

Michael’s shirt, white with bold dark pinstripe, has a sport collar that curves away at the neck and clearly not meant to be worn with a tie. This button-less collar has the effect of a natural wide spread that Michel banks on keeping together by the strength of his tie knot. The collar is similar to the “unique Italian collar design” that Anto Beverly Hills offers its bespoke customers seeking a sport shirt to be worn sans tie.

BREATHLESS

Michel’s shirt has a plain front, breast pocket, and mitred barrel cuffs with two buttons to close.

Labels are visible for both the shirt and tie, but I’m not well-versed enough in late ’50s French menswear branding to definitively identify either garment.

Any Francophiles out there able to ID Michel's shirtmaker? It has to be French, right? (Right?!)

Any Francophiles out there able to ID Michel’s shirtmaker? It has to be French, right? (Right?!)

Michel’s necktie is patterned in a wide-scaled check resembling houndstooth.

The two-color tie is almost certainly black and white like this similar but less stylized tie available from Amazon.

Belmondo oozes French nonchalance on the streets of Paris.

Belmondo oozes French nonchalance on the streets of Paris.

Below the belt, Michel retains all the same clothing he had been wearing for the opening scene and the Marseilles murder. His dark wool trousers have double forward pleats with a small flapped coin pocket perfectly bridging both pleats on the right side. The trousers also have slanted side pockets and two back pockets which each close with a pointed flap. They are cut straight through the legs to the plain-hemmed bottoms.

Like his jacket, the trousers are oversized – likely even more generously fitting due to the double pleats – unattractively bunching up over the fly when Michel fastens them tight around his waist with a simple dark leather belt.

Michel gets ready in Patricia's apartment.

Michel gets ready in Patricia’s apartment.

Michel’s shoes are probably the most conventional aspect of his attire. He wears dark leather three-eyelet derby shoes with a cap toe.

The two pallid-looking businessmen on either side of our protagonist couple are dressed similarly to Michel in light jackets, dark trousers, and ties, but Belmondo's character is clearly not one of them. Nevertheless, the "uniform" shows his effort to blend in to the world of 1959 Paris... hampered by his own instincts to stand out with swagger.

The two pallid-looking businessmen on either side of our protagonist couple are dressed similarly to Michel in light jackets, dark trousers, and ties, but Belmondo’s character is clearly not one of them. Nevertheless, the “uniform” shows his effort to blend in to the world of 1959 Paris… hampered by his own instincts to stand out with swagger.

…although Michel wouldn’t be Michel if his footwear was totally conventional. His white socks boldly contrast with his shoes and trousers as he strides through the streets, unlike a more appropriate pair of trouser-matching dark socks.

Michel also wears a pair of white cotton boxer shorts with a short two-button adjustor tab on the front of the elastic waistband.

An undies-clad Michel smokes one of his own Gitanes cigarettes, eschewing Patricia's Chesterfield King Size cigarettes on the bedside table.

An undies-clad Michel smokes one of his own Gitanes cigarettes, eschewing Patricia’s Chesterfield King Size cigarettes on the bedside table.

Michel wears two thin necklaces with a short dropped pendant on each. One of the pendants appears to be etched with a monogram.

Michel's necklaces may be Belmondo's own jewelry. Does anyone know any more about these?

Michel’s necklaces may be Belmondo’s own jewelry. Does anyone know any more about these?

On his right wrist, Michel wears a chain-link ID bracelet that is also etched. In fact, close-ups of the bracelet appear to include the initials “J.P…” which would undoubtedly stand for Jean-Paul, indicating yet another piece of jewelry that may be one of Belmondo’s own personal items.

BREATHLESS

With each of his three outfits, Michel wears a different hat. Idolizing Humphrey Bogart as he does, Michel naturally opts to wear a fedora with his first two outfits; the dark fedora from the opening scene is replaced by a lighter felt fedora with this outfit.

Michel’s hat has a high pinched crown and a narrow black grosgrain band, certainly narrower than the typical bands of Bogie’s day.

Michel at his European coolest, looking exactly the way he wants people to see him.

Michel at his European coolest, looking exactly the way he wants people to see him.

After mugging a random man in a public restroom, Michel joins Patricia for a walk through the streets, holding his hat and revealing the inner leather hatband with a hatmaker’s insignia visible. More eagle-eyed or knowledgeable BAMFs out there may be able to ID Michel’s hat based on this angle.

Any idea about Michel's hat?

Any idea about Michel’s hat?

French New Wave hero that he is, Michel adds an extra layer of cool to his image by sporting a pair of semi-rimmed sunglasses with dark lenses and a metal “cat eye”-shaped browline frame, very evocative of the Jet Age but thus far unidentified.

Michel is the type of guy who reverently takes off his sunglasses in honor of a photo of Humphrey Bogart but leaves them on when kissing his girlfriend.

Michel is the type of guy who reverently takes off his sunglasses in honor of a photo of Humphrey Bogart but leaves them on when kissing his girlfriend.

The shape recalls Dior’s classic 2150 frame, but Belmondo’s sunglasses also share some cosmetic similarities with the vintage gold half-rimmed Nylor sunglasses worn by Brad Pitt in Allied (link).

In Cool Shades: The History and Meaning of Sunglasses, author Vanessa Brown comments on the scene when “the two ambivalent lovers lay kissing, both in their sunglasses – negating the conventional notion that this act requires either an intensely emotional mutual gaze or eyes closed. Kissing in sunglasses is not easy – they are physically cool to be able to do it without clumsiness – but equally the sunglasses imply vanity, insincerity, a different kind of “devil in the flesh.”

In effect, all of Michel’s wears from his shirt collar to his socks is wrong. (We’ll excuse the sunglasses, shoes, and hat!)

BREATHLESS

And yet… here we are discussing it nearly sixty years later. What’s the secret?

How to Get the Look

..and once you get it, you can put your own spin on it. Michel Poiccard cares about his appearance but not enough to pay attention to his actual clothes. You can emulate his style without making his same mistakes.

Adam Fox wrote for AskMen.com: “Clad in trim trousers, a blazer and a fedora while dangling a never-ending cigarette from his mouth, he epitomized French street style in every possible way. It’s a look that, when worn today, is completely carefree while still being fashion conscious. At its heart is a feeling of adventure that comes from looking like you didn’t try too hard. Belmondo, in a way, has come to represent a style that is perfectly imperfect.”

  • Tan camelhair single-breasted 2-button sportcoat with notch lapels, soft natural shoulders with shirred sleeveheads, welted breast pocket, patch hip pockets, short double vents, and 3-button cuffs
  • White pinstripe sport shirt with casual spread collar, plain front, breast pocket, and two-button mitred cuffs
  • Black-and-white large-scaled houndstooth check tie
  • Dark wool double forward-pleated trousers with belt loops, flapped right-side coin pocket, slanted side pockets, flapped back pockets, and plain-hemmed bottoms
  • Dark leather belt with a small squared single-prong buckle
  • Dark leather three-eyelet cap-toe bluchers/derby shoes
  • White socks
  • White cotton boxers with elastic waistband and front button-tab
  • Light felt fedora with high, pinched crown and narrow black grosgrain ribbon
  • Metal semi-framed browline “cat eye” sunglasses
  • Two thin necklaces with engraved pendants
  • Chain-link ID bracelet

If it’s too hot for Belmondo’s heavy layered getup, you could also channel Jean Seberg’s New York Herald Tribune shirt with this custom t-shirt from Society6 that will wink at other Breathless fans and baffle anyone else who may be wondering why you’re championing a newspaper that shuttered more than a half century ago.

Do Yourself a Favor and…

Buy the movie.

The Quote

Grief’s stupid, I’d choose nothing. It’s no better, but grief’s a compromise. I want all or nothing.


The Rum Diary: Gabardine Windbreaker and Chinos

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Johnny Depp as Paul Kemp in The Rum Diary (2011)

Johnny Depp as Paul Kemp in The Rum Diary (2011)

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

“In summary, this airman, although talented, will not be guided by policy,” heralded Hunter S. Thompson’s honorable discharge from the U.S. Air Force in November 1957, a considerable understatement given the iconic writer’s eventual symbolic anti-authoritarian status.

Following his discharge, Thompson tried a few journalistic stints in New York but was fired by Time (for insubordination) and the Middletown Daily Record (for damaging a candy machine) and moved to Puerto Rico in 1960.

Having failed to procure a position with the San Juan Star, Thompson wrote for the El Sportivo sporting magazine… though it folded quickly after his arrival. His experiences in San Juan formed the basis of The Rum Diary, a novel that he penned shortly after his return to the U.S. the following year, although it wasn’t published for more than three decades.

While it would be inaccurate to describe The Rum Diary as a strict roman à clef, its morose, restless narrator Paul Kemp is clearly modeled on Thompson himself, and Thompson’s friend Johnny Depp was naturally tapped to play the role in the film adaptation.

What’d He Wear?

In an interview with Lucky around the time of the film’s release, costume designer Colleen Atwood explained that “[Depp’s] character has a slightly Midwestern meets southern style that is very American and not at all European. His clothes are fairly stiff, but they kind of wilt in the heat, so it feels more relaxed. His stuff was all made out of this ’60s cotton.”

Paul Kemp dresses for his some dangerous escapades in Puerto Rico with the summer friendly layers of a light windbreaker, lightweight short-sleeve polo shirt, chinos, and desert boots. They are essentially the same elements that he wore earlier with the jacket of his blue gabardine suit, but dressed down with a windbreaker instead.

The modern idea of a windbreaker evokes an unlined rain jacket made from a paper-thin synthetic polyester or nylon, often brightly colored and fitted with a hood. In fact, windbreakers have a far more elegant pedigree, dating back to the 1940s as the trademarked name for a line of casual gabardine zip-up jackets made by John Rissman & Son in Chicago (like this one).

In The Rum Diary, Johnny Depp wears a stone-colored cotton gabardine blouson that shares much more in common with the original Rissman windbreaker than its modern descendent.

Maniacal night in an unfamiliar place or not, this seems like an impractical way for such a practical dresser to be wearing his hair.

Maniacal night in an unfamiliar place or not, this seems like an impractical way for such a practical dresser to be wearing his hair.

The point collar has a wide extended throat latch tab on the left side that, when closed, would fasten to a button under the right side of the collar, creating a quasi-Harrington “funnel neck” to protect a wearer’s throat from the elements.

With its flat collar and set-in sleeves that end with adjustable rather than elasticized cuffs, Kemp's windbreaker shares little in common with the classic Harrington jacket, which was just emerging as a menswear staple at the time that the film is set.

With its flat collar and set-in sleeves that end with adjustable rather than elasticized cuffs, Kemp’s windbreaker shares little in common with the classic Harrington jacket, which was just emerging as a menswear staple at the time that the film is set.

The jacket’s two outer patch pockets are so large that they take up the entire lower half of each front panel. Each pocket has a slanted hand opening.

The waistband is elasticized and the zip pull is shaped like an arrowhead. The cuffs at the end of each set-in sleeve have two buttons to adjust the fit on an arrow-pointed tab, although Kemp typically leaves his cuffs undone.

THE RUM DIARY

As he did with the blue suit jacket, Kemp cycles between two light-colored and lightweight cotton polos.

The pale blue cotton polo is the only real shakeup to Kemp’s otherwise monochromatic off-white palette in these scenes. The short but full set-in sleeves fall to his elbows, and he leaves the top two buttons of the shirt’s long three-button placket undone. The shirt has a rounded breast pocket.

Cigarettes, rum, and a typewriter... removing any doubts that Paul Kemp is the story's Hunter S. Thompson surrogate.

Cigarettes, rum, and a typewriter… removing any doubts that Paul Kemp is the story’s Hunter S. Thompson surrogate.

Later, Kemp dons a similarly styled white short-sleeve polo shirt that shares the voluminous fit, three-button placket, breast pocket, and short set-in sleeves of the previous shirt.

One of these things is not like the other... Kemp always looks hopelessly out of place when next to Bob Sala (Michael Rispoli).

One of these things is not like the other… Kemp always looks hopelessly out of place when next to Bob Sala (Michael Rispoli).

Kemp wears beige cotton gabardine chino trousers with a waistband tab that extends over the straight fly, slanted side pockets, and jetted back pockets with no buttons. The flat front chinos have short belt loops, through which Kemp wears a slim light brown center-stitched leather belt with its squared brass single-prong buckle off on the left side rather than over the center. The trouser bottoms are finished with short cuffs (turn-ups).

Kemp sails off into the sunset.

Kemp sails off into the sunset.

Kemp’s casual footwear of choice in Puerto Rico is a pair of tan suede chukka boots. He wears the chukkas with cream socks that nicely continue the leg line into his favorite pairs of beige chinos.

The hard brown leather soles differentiate Kemp's boots from desert boots, which would have crepe soles and would be an equally appropriate choice for this dressed-down outfit.

The hard brown leather soles differentiate Kemp’s boots from desert boots, which would have crepe soles and would be an equally appropriate choice for this dressed-down outfit.

Kemp adds a vintage touch to his otherwise timeless outfit by donning a pair of Sol Amor wraparound sunglasses with a curved gold semi-frame across the front and brown-tinted bubble lenses.

THE RUM DIARY

The plain military-style wristwatch that Kemp wears on his left wrist suits his character, modeled after Hunter S. Thompson who had just come off of a two-year stint in the U.S. Air Force before he took his job in San Juan. The plain steel case, black dial, and tan strap is indicative of watches like the Hamilton Khaki that were provided to the American military during the era.

The three stooges roll through the streets of San Juan.

The three stooges roll through the streets of San Juan.

Johnny Depp filming The Rum Diary, in character and on location in Puerto Rico, 2009.

Johnny Depp filming The Rum Diary, in character and on location in Puerto Rico, 2009.

How to Get the Look

Paul Kemp sticks to classic menswear staples in light colors and lightweight fabrics when comfortably layering for casual adventures around San Juan.

  • Stone-colored cotton gabardine zip-up windbreaker with flat point collar (with wide single-button throat latch tab), large patch pockets (with slanted openings), and set-in sleeves (with adjustable button cuffs)
  • White or pale blue lightweight cotton short-sleeve polo shirt with 3-button placket and breast pocket
  • Beige cotton gabardine flat front chino trousers with belt loops, extended waistband tab, slanted side pockets, jetted back pockets, and turn-ups/cuffs
  • Light brown center-stitched leather belt with a squared brass single-prong buckle
  • Tan suede two-eyelet chukka boots
  • Cream socks
  • Sol Amor gold-framed wraparound sunglasses with brown bubble lenses
  • Hamilton Khaki automatic wristwatch with steel case, round black dial, and tan strap

Do Yourself a Favor and…

Buy the movie.

You might be wise to read the book first to really get into the Hunter S. Thompson state of mind.


Bugsy Siegel’s Glen Plaid Double-Breasted Suit

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Warren Beatty as Benjamin “Bugsy” Siegel in Bugsy (1991). Photo sourced from Getty Images.

Vitals

Warren Beatty as Benjamin “Bugsy” Siegel, “celebrity” gangster and casino builder

New York, Summer 1945, and
Beverly Hills, December 1946

WARNING! Spoilers ahead!

Film: Bugsy
Release Date: December 13, 1991
Director: Barry Levinson
Costume Designer: Albert Wolsky

Background

Bugsy is an entertaining and stylish drama penned by James Toback, transforming the violent mobster in a suave and romantic visionary much as the real life gangster himself tried to reinvent his persona after moving out to the West Coast, choosing to rub elbows with the likes of George Raft, Gary Cooper, and Cary Grant rather than his old associates like Dutch Schultz, Lucky Luciano, and Joe Adonis.

One of the film’s many departures from the truth kills off its title character a good six months before his actual death, setting his mysterious assassination shortly after Christmas 1946. In truth, Benjamin Siegel was killed exactly 70 years ago today, June 20, 1947.

Otherwise, Bugsy keeps the general circumstances, setting, and suggested motives of Siegel’s death relatively intact. Like his cinematic counterpart, Siegel was killed in the Beverly Hills home of his mistress, Virginia Hill, portrayed in Bugsy by Annette Bening and later immortalized as “queen of the gangsters’ molls” after her profane testimony during the 1951 Kefauver hearings.

What’d He Wear?

Bugsy‘s costume team nicely recreated a 1940s-styled plain weave glen check worsted suit that Siegel was known to have owned, as he was wearing it when was killed. The film places Bugsy in this suit not only for his death but also for an off-shore “going away” party for Lucky Luciano prior to his deportation.

Would You Buy A Used Casino From This Man?

Would You Buy A Used Casino From This Man?

The six-button (6×2) formation of Bugsy Siegel’s suit jacket is the most classic double-breasted style, and Bugsy keeps at least the top button fastened at all times, allowing the wide peak lapels to luxurious sweep across his torso. The sharp-pointed lapels have straight gorges and a buttonhole through each side.

For added touches of ’40s authenticity, the jacket is ventless with padded shoulders and roped sleeveheads.

Getting blood on his suit is a typical hazard in Bugsy's line of work... of course, he would likely prefer that it wasn't his own blood.

Getting blood on his suit is a typical hazard in Bugsy’s line of work… of course, he would likely prefer that it wasn’t his own blood.

Bugsy could hardly call himself debonair without a pocket square, and he dresses for Luciano’s going away party with a white linen kerchief poking rakishly out of the jacket’s welted breast pocket. The hip pockets have slim flaps.

One small detail differentiating Beatty’s suit from the real Bugsy? Beatty wears a suit jacket with three-button cuffs; the real Bugsy had four-button cuffs on his suit when he was killed.

Bugsy, likely ordering a hit on a detail-obsessed blogger for calling out his suit's cuff buttons.

Bugsy, likely ordering a hit on a detail-obsessed blogger for calling out his suit’s cuff buttons.

Trouser pleats were de rigeur in the postwar 1940s, and Bugsy’s suit trousers have reverse pleats on each side of the zippered fly, in addition to a fashionably full ’40s cut and equally era-appropriate cuffs (turn-ups) on the bottoms. His black leather belt has a squared gold single-prong buckle.

And how do we know Bugsy's fly has a zipper? He takes the time to exhibit this detail to Joe Adonis shortly before kicking his ass.

And how do we know Bugsy’s fly has a zipper? He takes the time to exhibit this detail to Joe Adonis shortly before kicking his ass.

Warren Beatty wears a number of colorful silk sport shirts throughout Bugsy, but anytime he is wearing a jacket and tie, he always wears a white dress shirt with a long point collar and double (French) cuffs. This shirt may possibly be one of the monogrammed dress shirts from Sulka that he mentions with such pride during the opening sequence. His cuff links are a set of flat gold bars.

Since this suit’s first appearance is during a party, Bugsy sports a lively Deco-influenced silk tie with an amoebic beige and black pattern over a burgundy ground.

Big, bold ties were quite fashionable in the postwar era, and a clothes horse like Bugsy would have certainly sported one like this to a party.

Big, bold ties were quite fashionable in the postwar era, and a clothes horse like Bugsy would have certainly sported one like this to a party.

A year and a half later, Bugsy is in a much more somber place. After sinking millions of the mob’s money into his dream of the Flamingo Hotel and Casino, the casino seems doomed for failure and Bugsy receives the inevitable call summoning him home. This is no time for frivolity, so Bugsy wears a simple and solemn dark woven silk tie, possibly a navy grenadine weave.

BUGSY

Oxfords are the most formal shoe for business wear, and Bugsy appears to be wearing a cap-toe pair in black leather. We don’t see much of Beatty’s footwear in this sequence at all, but the real Bugsy Siegel appears to have opted for dark gray socks with this outfit in reality… not that this sartorial wisdom was enough to save his life.

Bugsy settles in for a lonely night of reading the newspaper, watching his own failed screen test, and getting shot.

Bugsy settles in for a lonely night of reading the newspaper, watching his own failed screen test, and getting shot.

Beatty loads his left hand up with Bugsy’s “status jewelry”, including a gold pinky ring with a small, dark round stone. He also wears a yellow gold tank watch on a black leather strap with a light-colored square dial with a darker inset square.

Dinner with the guys. Bugsy annoys George Raft (Joe Mantegna) and Mickey Cohen (Harvey Keitel) by not shutting up about his girlfriend the whole time.

Dinner with the guys. Bugsy annoys George Raft (Joe Mantegna) and Mickey Cohen (Harvey Keitel) by not shutting up about his girlfriend the whole time.

The real Bugsy Siegel wore a similarly shaped watch, a gold-filled Bulova with a square case and 6:00 sub-dial on a rice grain bracelet, as seen here.

Go Big or Go Home

…but don’t go to Virginia Hill’s home!

It was at Hill’s house at 810 N. Linden Drive in Beverly Hills that Bugsy met his end. He was sitting with Allen Smiley, his friend with whom he’d dined earlier that evening at Jack’s-at-the-Beach in Ocean Park when nine .30-caliber rounds from an M1 Carbine interrupted his reading of the Los Angeles Times, peppering Siegel with four shots, including one that sent his eye flying across the room after hitting the right bridge of his nose.

Much to the dismay of some viewers, I'm sure, Bugsy did not ignore the fact that Siegel's eye was shot out during his assassination.

Much to the dismay of some viewers, I’m sure, Bugsy did not ignore the fact that Siegel’s eye was shot out during his assassination.

I haven’t yet watched the 1940s-set Mob City on TNT, but the final episode depicted Bugsy Siegel’s assassination in a manner slightly closer to what reportedly happened in real life. The scene, featuring Edward Burns as Siegel, can be found on YouTube. (Beware of spoilers, of course.) Like BugsyMob City features the correct weapon and even places Siegel in a Glen Urquhart plaid double-breasted suit.

More About That…

Okay, so since you’re all very patient and nice to me, please allow some indulgence here. When I was in – holy shit – ninth grade in 2004, one of the many short (and usually mob-centered) films I made with my friends was called The Flamingo and focused on the last days of Ben Siegel… with yours truly in the lead role as Bugsy himself.

Little did I know that I was so into menswear at the time, as I tracked down a glen plaid double-breasted 6×2 jacket and floral-printed tie to wear for the eye-popping final scene. Since I was wearing one of my #Good dress shirts, I wore an old white undershirt over the shirt (with the tie and shirt collar over it) for the sequence when I would needed to get bloodied – or, uh, ketchupped. Check it out below :-/

Marlon Brando I was not. Evidently I had never learned the classic rule of movie deaths: don’t look directly at the camera with one eye while your other eye is supposedly being shot out of its socket.

How to Get the Look

Bugsy Siegel had to be fashionable to make it in the ultra stylish world of 1940s Hollywood, and no one could have been better than Warren Beatty to turn this sociopath into a social butterfly.

  • Black-and-white plain weave glen check worsted suit:
    • Double-breasted 6×2-button jacket with wide peak lapels, welted breast pocket, slim-flapped straight hip pockets, 3-button cuffs, and ventless back
    • Reverse-pleated full cut trousers with belt loops, side pockets, and turn-ups/cuffs
  • White dress shirt with long point collar, front placket, and double/French cuffs
    • Gold bar cuff links
  • Dark silk tie (with a Deco-inspired style if you’re feeling jaunty)
  • Black leather belt with gold squared single-prong buckle
  • Black leather cap-toe balmorals/oxford shoes
  • Dark gray socks
  • Yellow gold tank watch on black leather strap
  • Gold pinky ring with dark stone, worn on left pinky

Do Yourself a Favor and…

Buy the movie.

The Quote

Joey, can ya hear me? You’re lucky I didn’t have a lot to drink tonight. Your apology is accepted.



Chinatown – J.J. Gittes’ Light Gray Suit

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Jack Nicholson on set as J.J. Gittes in Chinatown (1974)

Jack Nicholson on set as J.J. Gittes in Chinatown (1974)

Vitals

Jack Nicholson as J.J. Gittes, private investigator and ex-policeman

Los Angeles, September 1937

Film: Chinatown
Release Date: June 20, 1974
Director: Roman Polanski
Costume Designer: Anthea Sylbert

WARNING! Spoilers ahead!

Background

Now that summer is upon us in the Northern Hemisphere, it’s high time to make sure that you’ve got some duds in your closet that are as appropriate for a day at the office as they are for the sunniest season.

A self-employed gumshoe like J.J. Gittes calls his own shots. As Chinatown is set in 1937, suits were de rigeur for men, but Gittes is hardly the type to rely on the gray flannel suit trope, especially in the sunny southern California locales.

Investigating the Mulwray case leads Gittes to some surprising settings, but such is the adventurous life of a private eye. Luckily for Gittes, his staff – the studious Walsh (Joe Mantell) and the simpler-minded Duffy (Bruce Glover) – are always on hand.

What’d He Wear?

Leave it to J.J. Gittes to drape himself in gray without looking even remotely boring. His light gray gabardine three-piece suit is a luxurious summertime look that defies the conventional gray business suit.

Promotional photo of Jack Nicholson as J.J. Gittes in Chinatown, following a particularly nosy night of investigations.

Promotional photo of Jack Nicholson as J.J. Gittes in Chinatown, following a particularly nosy night of investigations.

With its padded and roped shoulders, ventless back, and wide, sweeping peak lapels, the double-breasted suit jacket is cut in the tradition of typical ’30s fashions. Gittes wears the suit’s 6-on-2 button jacket open when sitting, standing, crouching, and reclining (his day of investigation indeed calls for a variety of postures!)

There are four buttons on the end of each jacket sleeve. The hip pockets are jetted, and Gittes wears a dark red silk kerchief in the welted breast pocket, coordinating with the pink in his shirt and tie.

Does the bespectacled, bow-tied, and buttoned-up Walsh envy or execrate Gittes' flashy sartorial savvy?

Does the bespectacled, bow-tied, and buttoned-up Walsh envy or execrate Gittes’ flashy sartorial savvy?

A sample of the stunning designs of costume designer Anthea Sylbert, who received her first Academy Award for her work on Chinatown, can be found online here.

Anthea Sylbert's original concept sketches of Gittes' suit, revealing the details of the vest and trousers as they would be incorporated into the final product.

Anthea Sylbert’s original concept sketches of Gittes’ suit, revealing the details of the vest and trousers as they would be incorporated into the final product.

Sylbert’s designs reveal an outfit clearly intended to be this one with a single-breasted, six-button waistcoat (or vest, as we Americans have dubbed it) with a notched bottom. Even though it’s worn open, the jacket’s full cut conceals much of the vest below it when on screen. Consulting Sylbert’s designs informs us that the vest likely has four welted pockets, a common aspect of 1930s suit waistcoats.

All of Gittes’ trousers have single reverse pleats, rising high to Jack Nicholson’s natural waist line with the waistline hidden under the vest of his three-piece suits. The trousers are generously cut through the legs, with 1″-high turn-ups (cuffs) at the bottoms.

“Rust brown suede shoes” with a wingtip toe are stipulated in Sylbert’s concept sketch, and the cognac suede wingtips seen on screen certainly fit the bill. These five-eyelet short-wing oxford brogues appear to be the same ones that Gittes wore with his tan birdseye tweed sport jacket later in the film. He wears them here with dark socks that appear to be black.

Oxford brogues in cognac brown suede are difficult to find these days, so Chinatown sartorialists may need to settle for open-laced derby-styled shoes like these fine Cole Haan “Warren” wingtips (link) or these Frye “James” wingtips (link).

Then again, we know Gittes likes his Florsheim shoes so you could also check out these “Jet” longwing oxfords from Florsheim, available in dark brown or sand tan for less than $100 (link).

Gittes loses his footing while trying to capture a juicy scoop.

Gittes loses his footing while trying to capture a juicy scoop.

The first time this suit makes its appearance, Gittes wears a light pink shirt with a white contrast collar and cuffs. The suit’s high-fastening waistcoat covers most of the shirt, making Gittes’ long collar points and cuffs the only parts of the shirt mostly visible, a look not uncommon in the late 1930s. His cuff links are plain gold oblong links.

CHINATOWN

Gittes’ black and white glen plaid tie threatens achromatism, but the tie’s pink overcheck coordinates with the shirt for a soft but effective color treatment.

CHINATOWN

The morning after Gittes’ “nosy fella” incident, he shows up to work in the light gray gabardine suit, but this time in a different shirt and tie. His shirt is striped with double sets of closely-striped thin brown stripes on a white ground and the same long-pointed collar as his light pink shirt. His tie is printed in a Deco-inspired series of brown swirls in three shades: beige, tan, and brown.

Gittes dials down the color for a decidedly less cheery day at work.

Gittes dials down the color for a decidedly less cheery day at work.

No matter what you’re wearing below the neck, no self-respecting ’30s private eye would dare venture out in public without his fedora. Gittes wears his usual dark gray felt fedora with its wide black grosgrain band.

Hat, camera, and pocket square: Gittes packs for the essentials for an afternoon at Echo Park.

Hat, camera, and pocket square: Gittes packs for the essentials for an afternoon at Echo Park.

Gittes wears a unique vintage wristwatch in Chinatown, a flat gold-toned watch with a square dial on a link bracelet that fastens through a single-prong buckle.

Gittes' watch bracelet gleams while he looks over his team's surveillance photos of Noah Cross and Hollis Mulwray.

Gittes’ watch bracelet gleams while he looks over his team’s surveillance photos of Noah Cross and Hollis Mulwray.

So You Wanna Be a Private Eye?

They say hiding in plain sight is best. To capture his subject’s suspicious behavior on camera, J.J. Gittes doesn’t always need to take refuge hiding on rooftops (we see what happens when he does!)

Instead, Gittes takes Duffy, the meatier-headed of his two assistants, out for a lovely late summer’s outing on Echo Park Lake.

Gittes finds an uninspiring subject in the form of his assistant Duffy (Bruce Glover). Of far more professional interest is the sight of Hollis Mulwray rowing alongside them with an unidentified young woman...

Gittes finds an uninspiring subject in the form of his assistant Duffy (Bruce Glover). Of far more professional interest is the sight of Hollis Mulwray rowing alongside them with an unidentified young woman…

While Duffy rows and grins, Gittes casually leans back and snaps some photos of the errant Hollis Mulwray enjoying an intimate-looking afternoon with a woman who is certainly not his wife! (Whether that woman is his wife’s sister – or daughter – is another question entirely…)

How to Get the Look

This ain’t your everyday gray business suit.

  • Light gray gabardine suit:
    • Double-breasted 6-on-2-button jacket with wide peak lapels, welted breast pocket, straight jetted hip pockets, 4-button cuffs, padded shoulders with roped sleeveheads, and ventless back
    • Single-breasted 6-button vest with four welted pockets and notched bottom
    • Single reverse-pleated trousers with side pockets and turn-ups/cuffs
  • Pale pink dress shirt with long white point collar and white double/French cuffs
    • Plain gold oblong cuff links
  • Black-and-white glen plaid tie with pink overcheck
  • Cognac brown suede 5-eyelet short-wing oxford brogues
  • Black socks
  • Gold-toned wristwatch with flat square dial on buckle-strap link bracelet
  • Dark gray felt fedora with wide black grosgrain band

For an extra pop of color, Gittes wears a red silk display kerchief in his breast pocket.

Do Yourself a Favor and…

Buy the movie.

The Quote

How do you like them apples?


Ryan Reynolds’ Tweed Jacket in Mississippi Grind

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Ryan Reynolds as Curtis Vonn in Mississippi Grind (2015)

Vitals

Ryan Reynolds as Curtis Vonn, charismatic drifter and gambler

Iowa to New Orleans, March 2014

Film: Mississippi Grind
Release Date: January 24, 2015
Director: Anna Boden & Ryan Fleck
Costume Designer: Abby O’Sullivan

Background

I was honored to correspond with Abby O’Sullivan, the talented costume designer who worked on Mississippi Grind, to learn firsthand insight about the inspiration, concept, and execution of the costumes that gave the film its distinctive look.

Abby recalls Mississippi Grind as “a special film” that stands out on her impressive resume due to the talents of the creative team, particularly directors Anna Boden and Ryan Fleck and cinematographer Andrij Parekh, who all contributed to developing the “distinctive 1970s Americana road movie” attitude that radiates off the screen like neon bar lights through Marlboro smoke.

Indeed, Curtis and Gerry’s journey through the country on Mississippi Grind also takes viewers on a journey reflecting gambling addiction with startling authenticity and dark humor… both aspects of classic ’70s cinema like California SplitFive Easy Pieces, and The Gambler.

It was this latter film that BAMF Style reader Shea Robison found many similarities when recommending Mississippi Grind to me (something to which I will be forever grateful to Shea!) Starring James Caan as an English professor addicted to gambling, 1974’s The Gambler was written by James Toback, who makes a brief cameo in Mississippi Grind. Shea, who has seen both films, told me that: “In The Gambler, the treatment of gambling addiction is more nuanced in a different way (and explained in a fantastically literary way), which is another aspect of Mississippi Grind that I appreciate because of the way it extends the ‘gamblers are just looking to lose’ theme.”

Mississippi Grind begins in the manufacturing town of Dubuque, Iowa, situation along the Mississippi River. Down-on-his-luck Gerry (Ben Mendelsohn) is sitting down to a poker game and finds himself across from Curtis (Ryan Reynolds), a magnetic gambler who soon wins over the table with his stories and offers of “Woodford!” for all. (Having had the good fortune of working firsthand with Ryan Reynolds when I was an extra in Adventureland, it’s very easy to see how this actor’s charisma would have contributed to Curtis’ amiable onscreen persona.)

Says Shea: “The reviews I read described Curtis as the happy-go-lucky bon vivant who hooks up with the sad sack Gerry as a kind of mission of mercy. What none of them saw is that Curtis had the same issues with women and intimacy that Gerry had with gambling, in that it was the high of love he was chasing, and he was letdown by the ‘winning’ with women, and so was always chasing that next high. I thought the writers did a particularly good job of showing that at some level both Curtis and Gerry were the same and both aware of their fatal flaws but not willing or able to change, though with Curtis it was much more subtle.”

After a number of chance meetings, Curtis finds himself a passenger in Gerry’s Subaru, headed along the Mississippi River toward a $25,000 buy-in poker game in New Orleans.

What’d He Wear?

The concept for Curtis’ look was developed by Abby O’Sullivan as a tribute to the style icons who defined individualism in the ’60s and ’70s: Paul Newman, Dennis Hopper, Steve McQueen, and Robert Redford.  “[Curtis] is from ‘The City that Care Forgot’,” explained Abby. “My assumption is he was left to his own devices and his plans in life are more based on adventure and idealism than on middle-class mile markers.” Using the directors’ visualization of a 1970s Americana road movie, the creative team worked in tandem with both directors to create “a visual that read both heavily nostalgic of the aesthetic yet contemporary and plausible.”

With one brief exception when dressing for an exclusive riverboat game, Curtis wears essentially the same outfit throughout Mississippi Grind: a mixed tweed checked sport jacket, light jeans, and worn brown boots. This is clearly his “uniform” through life, anchored by the jacket that BAMF Style reader Shea Robison referred to as “a security blanket.” Indeed, Abby’s original concept book for the character referred to each man wearing his version of “armor” that would be tarnished as their journey goes along.

“My idea was for one coat throughout – a coat for all times – that should be a bit impractical for the adventures he takes,” explained Abby. “An idealization of a certain type of man and visually complex enough to stare at on screen for long periods.”

Curtis’ jacket is a small-scale brown-and-black (on tan) tattersall check sportcoat in wool tweed, purchased from Lands’ End. The Lands’ End jacket was chosen for its boxy fit that resembled the ill-fitting “sack suit” of early American menswear – another visual callback to Americana.

Draped in his complex textured jacket, Curtis draws in Gerry, the audience, and fellow poker players from the very first scene.

Draped in his complex textured jacket, Curtis draws in Gerry, the audience, and fellow poker players from the very first scene.

Despite its outdoor sports origins, tweed has come to be associated (among the lesser-informed set) with professorial old men. Curtis keeps his collar popped at all times, transforming what could otherwise be a bookish, scholarly staple into a uniquely rebellious statement that screams “skid row punk”.

In addition to the navy felt under-collar, Curtis’s popped collar shows off the throat latch (also known as a storm tab) that would ostensibly connect across the neck to fasten to a button under the collar on the right side.

Curtis pops his notch lapels, revealing a throat latch on the left and the latch's fastening button on the right.

Curtis pops his notch lapels, revealing a throat latch on the left and the latch’s fastening button on the right.

In addition to the throat latch, the jacket’s sporty details include three patch pockets: a rounded breast pocket and flapped hip pockets. The three-button cuffs are smaller versions of the two buttons on the front, which Curtis wears open throughout Mississippi Grind.

The crested navy Lands’ End label is on the inside left panel of the jacket, stitched in the tan satin lining, just above where an inner breast pocket would be.

Choosing to wear his tweed jacket during an impromptu basketball game on the warm streets of New Orleans is just one of the many mysteries of Curtis.

Choosing to wear his tweed jacket during an impromptu basketball game on the warm streets of New Orleans is just one of the many mysteries of Curtis.

“I wanted the coat to be tightly tailored but not great quality,” said Abby. “He should have taken the time to tailor a Lands’ End coat – a bit like shining a penny.”

The jacket is split on the sides with short double vents. With its short length and high button stance, the jacket is reflective of current fashions; Curtis, however, does not seem the type to fret about what’s fashionable and what isn’t.

MISSISSIPPI GRIND

“Ryan has a very similar stature to his character references – Newman, Redford, and McQueen – which was a lucky turn for us,” said Abby. “If anything, he fit into the look better than we could have hoped. His height can carry the looks off and immediately echo the silhouette of those iconic 1970s characters.”

Curtis wears a pair of slim Levi’s denim jeans. The light blue wash nicely contrasts with the rugged textures of his tweed-draped upper half while also adding a degree of passé since darker denim is more fashionable these days. “We had to fight against Curtis reading too stylized,” explained Abby. “So the light jeans were a conscious move to authentify the character.”

Curtis kicks his way into trouble after venting his economic frustrations with Gerry.

Curtis kicks his way into trouble after venting his economic frustrations with Gerry.

Curtis wears a mahogany leather belt with a fancy “figure 8” stitch and a rectangular buckle created from the leather itself. This type of “scratchbless belt” connects with plastic hooks behind the buckle and was developed in 2000 for workers like movers, mechanics, and electricians, such as this $18 Dickies belt or this $25 belt from Boston Leather.

The belts were eventually co-opted by musicians who were tired of their belts scratching their instruments. Abby O’Sullivan made a conscious decision to place Curtis in a musicians belt as a nod to his’ origins in the Birthplace of Jazz and his musical mother. You can learn more about or pick up your own musicians’ belt here.

Note the stitching and the "no scratch" buckle.

Note the stitching and the “no scratch” buckle.

On his feet, Curtis rocks a pair of well-worn brown leather apron-toe lace-up boots. As I’ve noted, fashionability isn’t exactly at the top of Curtis’s list of priorities, but he at least manages to coordinate the color of his belt and shoes…if not matching the exact shades of brown leather used for each.

Curtis looks most at home when lounged across worn leather stools at a dive bar.

Curtis looks most at home when lounged across worn leather stools at a dive bar.

For someone spending a week on the road, Curtis refreshingly changes his underwear and socks throughout the film. (And, also refreshingly, that process is not depicted on screen.)

His tube socks range from dark brown after Gerry first spends the night on his couch to a white pair in the final scene. When changing into his “riverboat gambler” attire in St. Louis, we see the waistband of his gray cotton boxer briefs, but he appears to be wearing a pair of dark navy briefs at the film’s finale.

In repose, Curtis shows off his preference for varying colors of tube socks.

In repose, Curtis shows off his preference for varying colors of tube socks.

Since Curtis’ bag is his “closet” when on the road, he only has the clothes inside it at his disposal and the variations of what he wears reflects both his own economic and emotional state as he and Gerry travel from Dubuque to NOLA. In addition to the previously mentioned brands of Lands’ End and Levi’s, Curtis’ clothing was a mix of Billy Reid, vintage items, and items draped and created in-house specifically for the production.

“All of Curtis’s life had to fit in one bag so that was a big part of editing down his wardrobe,” explained Abby. Curtis saves himself some space in his bag by wearing the same jacket, jeans, belt, and boots throughout the movie, cycling through only four main shirts over the course of the eight days shown on screen, all worn over a series of undershirts, including a vintage-styled off-white cotton short-sleeve henley with a slim, three-button placket.

Curtis at his most stripped down after Gerry admits his fiscal irresponsibility.

Curtis at his most stripped down after Gerry admits his fiscal irresponsibility.

Most of Curtis’ shirts are button-up shirts, a pattern consistent with “the looks canonized in the mid 20th century… men’s sportswear stuck to a very specific formalized silhouette” as opposed to leisurewear.

For the first scene at the Dubuque poker table and for his arrival with Gerry at Simone’s in St. Louis, Curtis wears a blue-and-taupe plaid long-sleeve shirt on a white cotton ground. The shirt has two patch chest pockets with pointed, button-down flaps and squared button cuffs that are worn unbuttoned, though not rolled up. He leaves the first few buttons of the front placket undone, revealing his off-white henley undershirt (on day 1, in Dubuque) or a dark crew-neck t-shirt with white screen-printed text (on day 4, in St. Louis).

Shirt #1: Blue-and-taupe plaid on white, worn when making or rekindling acquaintances in new towns.

Shirt #1: Blue-and-taupe plaid on white, worn when making or rekindling acquaintances in new towns.

Curtis’ next shirt that we see is a faded blue long-sleeve shirt with eight mixed tan plastic buttons down the plain front, a breast pocket on the left, and squared cuffs worn unbuttoned. Both days that he wears it are on days that he goes to the track with Gerry.

When in Dubuque, Curtis wears his blue shirt with the collar popped to coordinate with the raised collar of his jacket. The top few buttons are always undone, revealing the white ribbed cotton sleeveless undershirt beneath it.

Shirt #2: solid blue, worn when betting at the track.

Shirt #2: solid blue, worn when betting at the track.

In Memphis, Curtis wears a salmon pink cotton shirt with a grid overcheck in rust, light blue, and navy. This long-sleeve shirt has a long pointed collar, front placket, two patch pockets, and mitred cuffs with two buttons to adjust the fit, although Curtis naturally leaves both buttons undone and often rolls up the sleeves.

For a night of clubbing in Memphis, Curtis wears a sleeveless undershirt, but he wears the henley as his undershirt for his drive to Little Rock the next day, where he believes Gerry is trying to reconcile with his ex-wife.

Shirt #3: Salmon pink plaid, worn for spontaneous romantic pursuits.

Shirt #3: Salmon pink plaid, worn for spontaneous romantic pursuits.

The only one of Curtis’ shirts that isn’t a button-up is this dark navy cotton long-sleeve crew-neck jumper with bold red horizontal stripes and ribbed cuffs. The bold stripe evokes 1950s insouciance, particularly counterculture icons like James Dean and Pablo Picasso who were noted fans of the similar Breton stripe.

Curtis always seems to wear this shirt just before embarking on a journey, wearing it the night before his impulsive road trip with Gerry and at the film’s finale when inviting the hotel desk clerk to Peru for the ultimate “Machu Picchu time”.

Shirt #4: dark jumper with red stripes, worn when "it's Machu Pichu time".

Shirt #4: dark jumper with red stripes, worn when “it’s Machu Picchu time”.

Curtis wears a pair of Tom Ford Snowdon TF0237 sunglasses with mottled tortoise acetate frames in “Dark Havana” (color code 52N). These Tom Ford frames made the rounds in 2015 cinema, with Reynolds himself wearing them later that year in Self/Less and Daniel Craig sporting a pair as James Bond in Spectre. You can still pick up a pair from the Tom Ford website for $415.

The value of a good pair of sunglasses on a road trip can never be over-emphasized!

The value of a good pair of sunglasses on a road trip can never be over-emphasized!

To emulate Curtis’ look without necessarily copying it detail-for-detail, Abby O’Sullivan recommends finding a Milano cut jacket “which echoes an American ‘sack suit’ but pulls more to the shrunken fit you see here on Ryan… If you can’t find a Milano cut, purchase an athletic cut suit and have it tailored to a half-size smaller” in the spirit of director Wes Anderson‘s preferred suit cut.

How to Get the Look

Curtis Vonn’s wardrobe in Mississippi Grind adds a contemporary touch to the celebrated style of mid-20th century’s counterculture icons, anchored by a complex mini-check tweed jacket that serves Curtis like armor.

  • Brown-and-black mini-tattersall check wool tweed Lands’ End single-breasted 2-button sportcoat with notch lapels (with throat latch), rounded patch breast pocket, flapped patch hip pockets, 3-button cuffs, and short double vents
  • Blue faded cotton button-up shirt with breast pocket and unbuttoned cuffs
  • White cotton henley or sleeveless undershirt
  • Light blue wash Levi’s denim jeans
  • Brown mahogany “figure 8”-stitched scratchless self-buckled Musicians Belt
  • Brown leather apron-toe lace-up boots
  • Tom Ford “Snowdon” TF0237 mottled tortoise-framed wayfarer-style sunglasses (“Havana”, color code 52N)

Do Yourself a Favor and…

Buy the movie.

The Quote

We can’t lose.

Footnotes

Despite the fan interest in the tweed jacket that Ryan Reynolds wore on screen in Mississippi Grind, most online searching yields only replicas for a maroon suede bomber jacket he evidently wore in real life around the time of the film’s release.

Gallery

Since there’s been some increased attention in this jacket, I wanted to include some of the behind-the-scenes photos I found around the Internet for a more complete look at the outfit. Perhaps one of these was taken by “a paparazzi dressed up as an old woman from the Eastern Bloc ” that Abby recalled from the production.


Brad Pitt’s Blue Linen Safari Jacket in Allied

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Brad Pitt as Wing Commander Max Vatan in Allied (2016)

Brad Pitt as Wing Commander Max Vatan in Allied (2016)

Vitals

Brad Pitt as Max Vatan, Royal Canadian Air Force intelligence officer

Casablanca, Morocco, Fall 1942

Film: Allied
Release Date: November 23, 2016
Director: Robert Zemeckis
Costume Designer: Joanna Johnston

Background

As a fan of World War II spy stories, particularly those of the Special Operations Executive, I had been intrigued by Allied since production began last year. The film weathered (or, some say say, benefited from) the pre-release gossip that a romance between co-stars Brad Pitt and Marion Cotillard had driven a nail in the coffin of the venerable Brangelina pairing, but off-screen whisperings shouldn’t diminish the impact of the finished product: a captivating period romance-thriller with all the beauty and intrigue of Casablanca in a glossy, well-executed package. (Though my hometown newspaper disagrees…)

Pitt plays Wing Commander Max Vatan, a Royal Canadian Air Force intelligence officer operating in Morocco with Marianne Beauséjour (Cotillard), a French Resistance agent, posing as his wife. The two are tasked with a deadly mission requiring the use of Sten submachine guns, so Max and Marianne head beyond the city limits for a tense bit of target practice.

What’d He Wear?

Joanna Johnston, a costume designer who proved her WWII chops with flicks like Saving Private Ryan and Valkyrie, received multiple well-deserved award nominations for her work in Allied. Neither of the film’s stars are strangers to glamour, and Max’s undercover sojourn in Casablanca provides many opportunities for Brad Pitt to show off the many attractive 1940s-styled suits that Johnston designed.

Joanna Johnston's costume sketch that would lead to Brad Pitt's blue safari jacket in Allied.

Joanna Johnston’s costume sketch that would lead to Brad Pitt’s blue safari jacket in Allied.

The target practice scene showcases a luxurious and eye-catching casual ensemble ideal for a military officer dressed for deep-cover desert duty in the guise of a well-to-do businessman. Johnston explained her choice for this outfit in an interview featured at Film School Rejects, which also includes some of her beautiful original costume sketches like the one to the right.

“It indeed does nod towards his military uniform, which is established in London, so both color and shape lead gently towards that,” Johnston shared in the interview. “It’s a casual, clean look based on some French styling and then tropical in fabrics for the heat of the desert… ’40s and modern at at the same time. Clean and masculine, ready for all possible action.”

Safari jackets had been a staple of European military serving in warm climates through the end of the 20th century, and Abercrombie & Fitch had started offering “Safari outfits” made from “Cravenetted” cotton drill as the world was at the brink of war in 1939. Even before the safari influence hit mainstream menswear, macho adventurers had been embracing safari jackets and suits, indicated by the “bush jacket” commissioned by Ernest Hemingway from Willis & Geiger in 1936.

Max’s safari-inspired jacket is made from a light blue herringbone cloth in either linen or a linen silk blend for the luxurious “tropical” touch that Johnston referenced.

In fact, the blue belted jacket with its four flapped pockets certainly evokes the image of Max’s Canadian Royal Air Force uniform, which he prominently wears during the film’s latter half.

As a civilian garment for style and comfort in warm climates, it forgoes some of the more traditional military-inspired safari jacket details like epaulettes or cuff straps that would add heft. In fact, it almost serves as a precursor to the leisure jackets that would – for better or worse – line the closets of trendy gents in the 1970s.

The jacket is loosely structured with shirring at the unpadded shoulders, though the belted waist adds a flattering degree of waist suppression that emphasizes Pitt’s strong physique. The wide, matching belt has a four metal grommets with a tall rectangular gunmetal single-prong buckle.

In addition to the belt, the single-breasted jacket has three metal buttons that Max wears fully fastened, acceptable due to the cut of the jacket and the fact that it’s a casual jacket and not a suit or sportcoat. The long-pointed revere collar evokes field jackets like the classic M1943 that would be issued to U.S. Army personnel the following year.

Like a traditional safari jacket, Max’s jacket has four flapped patch pockets – two on the chest and two larger pockets below the belt. Each close with a single metal button through the center of a pointed flap.

ALLIED

Though not exactly the same, fans can find a safari jacket in the similar spirit as Wg Cdr Vatan’s jacket with this blue all-linen piece from Ring Jacket.

Max’s bold yellow linen trousers stand out even in the bright desert sunlight. The waist is covered by the lower quarters of the blue jacket, but they’re likely styled like his other trousers in these scenes with a high rise, side pockets, jetted pockets, and double forward pleats that emphasize the already full cut. The bottoms are finished with turn-ups (cuffs).

Desert boots would be a reasonable choice with this outfit, and Johnston’s original sketch seems to call for a pair like the sand suede desert boots he wears later in the dunes with Marianne the morning of the assassination (these ones!). However, the actual shoes that Max wears with this outfit look closer to the off-white bucks (these ones!) that he wears in the city with some of his suits.

Assuming that they are the same shoes, Max wears a pair of white short-wing oxford brogues with a medallion wingtip toe, five lace eyelets, and tan hard leather soles.

His socks are beige.

The couple that shoots together...

The couple that shoots together…

Under his jacket, Max wears a light stone gray cotton knit polo with short sleeves. The collar is large and soft, and Max only wears the bottom of the three buttons fastened, revealing a glimpse of his white ribbed cotton sleeveless undershirt when sitting at dinner with Marianne.

ALLIED

Both of the accessories on Max’s left hand are props, worn “in character” as Maurice Berne, the successful Paris businessman. He wears a wedding band that appears to be white gold or silver on the third finger of his hand to indicate his cover marriage to Marianne.

Rather than wearing his military watch, Max wears a dressier yellow gold tank watch with a gold square dial on a dark brown leather strap. I haven’t been able to identify the manufacturer, but a luxury French jeweler like Cartier would certainly fit his cover.

Max is understandably distracted during his sweltering, sultry supper with Marianne.

Max is understandably distracted during his sweltering, sultry supper with Marianne.

Thanks to SunglassesID.com, we know that Brad Pitt wears a pair of vintage Nylor “Doublé Or Laminé” sunglasses in the Morocco scenes. The brand’s French pedigree also fits his Parisian cover story, although they were likely produced in the 1950s and would thus be anachronistic for the 1942 setting. (Although Max’s cover is considerably fashion-forward…)

A fashion-forward Max Vatan sports his Nylor sunnies in the desert.

A fashion-forward Max Vatan sports his Nylor sunnies in the desert.

Max’s Nylor glasses have gold-filled rectangular frames with a heavy browline that curves over each lens, similar to the Ray-Ban Olympian that Jon Hamm wore as Don Draper in the later seasons of Mad Men (see?). You can find still find these classic Nylor on eBay and replace the clear lenses with dark lenses à la Max Vatan.

How to Get the Look

Max Vatan’s safari-meets-leisure desert ensemble perfectly coordinates his military background with his cover as a fashionable businessman traveling in Casablanca with its vivid colors capturing the old world glamour and romance that defines Allied‘s mise en scène.

  • Blue herringbone linen/silk 3-button safari jacket with long-pointed revere collar, four patch pockets with pointed button-down flaps, matching belt (with gunmetal single-prong buckle), plain cuffs, and single back vent
  • Light stone gray cotton knit short-sleeve 3-button polo shirt
  • Double forward-pleated yellow linen trousers with side pockets, jetted back pockets, and turn-ups/cuffs
  • Off-white leather 5-eyelet medallion-toe wingtip oxford brogues
  • Beige socks
  • Nylor “Doublé Or Laminé” vintage sunglasses with curved gold-filled frames
  • White gold wedding band
  • Yellow gold tank watch with square gold dial on dark brown leather strap

The Gun

Max: How come you don’t know Stens?
Marianne:do know Stens. I didn’t see you set the trouble safety.
Max: You’ll be okay to use a Sten on the night, though?
Marianne: I would be okay if I had to use cutlery. Diversionary attack will happen five minutes later at 8:35. And then, everything will be in God’s hands.
Max: Good. Hopefully, he’ll know how to work the safety.

Sick burn, Max.

For anyone who may truly not know about Stens, a Sten submachine gun was a British weapon that saw widespread use among both regular military and resistance groups during World War II. The simple design of the Sten and the low cost to produce each weapon meant approximately four million Stens produced following the weapon’s development in 1940, although this quick, cheap, and easy production brought with it a reputation for unreliability.

Designed by Major Reginald V. Shepherd and Harold Turpin and first produced at Royal Small Arms Factory Enfield, the officially designated “Carbine, Machine, Sten” emerged during the Battle of Britain when British supplies of Thompson submachine guns purchased from the U.S. were in short supply. RSAF Enfield was contracted to quickly develop a weapon to arm a fighting force against the Axis. Turpin handbuilt and delivered his first prototype at the Philips Radio works in Middlesex.

The design went through several variations before development of the Sten Mark II, the most iconic of the Stens with more than two million produced. This rougher design eliminated the grip and the flash eliminator. The blowback-operated, open bolt weighs in at just over seven pounds with a side-loaded detachable box magazine that holds 32 rounds of 9x19mm Parabellum ammunition that would fire at a rate between 500 and 600 rounds per minute.

Max hands Marianne a Sten with two "jungle-taped" magazines.

Max hands Marianne a Sten with two “jungle-taped” magazines.

Nicknamed the “Plumber’s Nightmare” for its unpredictable reliability, the Sten was unpopular among front line troops but found plenty of use among insurgency groups and partisan fighters including the Special Operations Executive, as seen in Allied. One of the SOE-trained Czechs who famously assassinated SS-Obergruppenführer Reinhard Heydrich in May 1942 as part of Operation Anthropoid used a Sten submachine gun. (In fact, Jozef Gabčík’s Sten misfired at point-blank range, forcing his confederate Jan Kubiš to toss a grenade that caused enough damage to eventually kill Heydrich.)

Violette Szabo, a real life SOE agent dispatched into France, reportedly used a Sten to fight off elements of the 3rd SS Grenadier Regiment Deutschland when she was cornered outside of Salon-la-Tour. Legend has it that Szabo held her own with eight magazines for nearly half an hour before she was finally captured. Like so many brave women who volunteered to serve in foreign lands for SOE, Violette Szabo was executed in a concentration camp. Her life in SOE, including a depiction of her Sten-gunning last stand, is featured in the 1958 biopic Carve Her Name With Pride. Szabo is portrayed by actress Virginia McKenna.

Max is suspicious about Marianne's initial fumbling with the Sten, but the Sten was so notoriously unreliable that he should have been more suspicious of the weapon itself.

Max is suspicious about Marianne’s initial fumbling with the Sten, but the Sten was so notoriously unreliable that he should have been more suspicious of the weapon itself.

After target practice in the desert, the Sten gets some more exciting action later in the film on “the night” to which Max refers…

Do Yourself a Favor and…

Buy the movie.

I also just finished reading Rita Kramer’s fantastic Flames in the Field and I strongly recommend it.

The Quote

We both know people who’ve fucked each other. Then they fucked up and now they’re fucking dead.

Footnote

Today, June 30, is also the birthday of Pitt’s Allied co-star Lizzy Caplan!


John Wayne’s White Camp Shirt in Donovan’s Reef

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John Wayne as Michael "Guns" Donovan in Donovan's Reef (1963)

John Wayne as Michael “Guns” Donovan in Donovan’s Reef (1963)

Vitals

John Wayne as Michael “Guns” Donovan, island saloon owner and U.S. Navy veteran

French Polynesia, December 1963

Film: Donovan’s Reef
Release Date: June 12, 1963
Director: John Ford
Costume Designer: Edith Head

Background

Who better than John Wayne to feature on the day before that most American of holidays, the Fourth of July?

Donovan’s Reef takes John Wayne from his familiar settings of the wild west or a world war and places him in French Polynesia (though actually filmed in Hawaii) as the grizzled manager of the titular island tavern.

John Wayne is hardly a name that comes to mind when thinking of classic beachgoers, but photographs like this from Duke’s Acapulco resort in the 1940s taken by Phil Stern prove that Wayne (and fellow macho pal Gary Cooper) could be quite natty when the time came to relaxing under the sun.

What’d He Wear?

Guns Donovan (so nicknamed due to his wartime naval rating as a gunner’s mate), wears a number of military-inspired garments, but his attire for a day of ostensible leisure on the sea finds him in a more civilian friendly white short-sleeve camp shirt.

The shirt has five metal buttons on the plain front, including a button under the right collar leaf that fastens to a short tab on the left to close the shirt over the neck. Guns wears it totally buttoned up on land but fastens only the middle two buttons when out to sea.

John Wayne reminds me a lot of my grandfather in this screenshot, from the facial expression to the stance and even the way he is wearing his shirt.

John Wayne reminds me a lot of my grandfather in this screenshot, from the facial expression to the stance and even the way he is wearing his shirt.

Guns’ camp shirt has a breast pocket for his unfiltered “Morley” cigarettes and a straight bottom hem like a bowling shirt or a traditional Aloha shirt that would also be worn untucked. The short sleeves would fall naturally to Wayne’s elbows, but he folds each sleeve up about an inch higher. The back is double pleated on each side, allowing the shirt to better fit on Wayne’s broad-shouldered frame.

The sporty one-piece collar has no notch with a continuous line from the front of the collar leaf down the front of the shirt.

Guns lets loose by unfastening the few top buttons of his shirt for a day out on the water.

Guns lets loose by unfastening the few top buttons of his shirt for a day out on the water.

Before going out on the water, Guns wears a pair of khaki slacks that are likely the same lightweight cotton drill chinos he wears with his khaki military-styled shirts elsewhere in the film. The turn-ups (cuffs) on the bottom are another sign that they’re the same ones, so they likely have frogmouth front pockets and two patch pockets on the back and would be worn with a wide brown leather belt that coordinates with his brown leather chukka boots and beige socks that nicely continue the leg line from the trousers into his shoes.

Guns Donovan's camp shirt and khaki chinos is a fine afternoon outfit for a no-nonsense war veteran spending his days tending bar on a sleepy Pacific island.

Guns Donovan’s camp shirt and khaki chinos is a fine afternoon outfit for a no-nonsense war veteran spending his days tending bar on a sleepy Pacific island.

Once water-skiing becomes the order of the day, Guns wisely changes out of his slacks and into a pair of dark navy swimming trunks with a very short inseam.

Elizabeth Allen and John Wayne in a promotional photo from Donovan's Reef.

Elizabeth Allen and John Wayne in a promotional photo from Donovan’s Reef.

He also wears a plain navy blue twill baseball cap, although he removes the “USN” anchor insignia pin that he wears through the center of the crown elsewhere.

Cringeworthy sexism and racism abound in the dialogue of Donovan's Reef, but Guns' comment about Amelia's "Miss Bunker Hill" bathing costume is actually pretty good.

Cringeworthy sexism and racism abound in the dialogue of Donovan’s Reef, but Guns’ comment about Amelia’s “Miss Bunker Hill” bathing costume is actually pretty good.

On the water, Guns wears the navy canvas sneakers that he also wears with his khaki shirt and peaked cap and later interestingly wears with his gray sport jacket and tie. The sneakers have dark navy canvas uppers, white rubber outsoles, and three white grommets for the shoes’ thin white laces.

A classic staple of seaside workwear, canvas sneakers are still plentiful today with affordable options from Keds, Sperry, and Airwalk.

As John Wayne was a six-pack-a-day smoker who was diagnosed with lung cancer the year after Donovan's Reef was released, perhaps his cigarettes getting soaked wasn't the worst thing to happen in the long run...

As John Wayne was a six-pack-a-day smoker who was diagnosed with lung cancer the year after Donovan’s Reef was released, perhaps his cigarettes getting soaked wasn’t the worst thing to happen in the long run…

Guns wears both of his gold jewelry items – a wristwatch and a ring – on his left hand.

Like many military operators, Guns wears his watch with the round case on the inside of his wrist. It has a white leather strap that closes through a yellow gold buckle.

Guns is decidedly less amused than Lelani by Amelia's diving antics.

Guns is decidedly less amused than Lelani by Amelia’s diving antics.

The origins of John Wayne’s ring has been the subject of some online discussion. It resembles a large gold class ring with a red garnet stone, and it is possibly Wayne’s personal class ring from USC, where he played football in the late 1920s but never actually graduated after a broken collarbone left him unable to fulfill the duties of his athletic scholarship.

Despite the fact that it was a bodysurfing accident that had rendered him unable to play, Donovan’s Reef proves that Wayne certainly had no qualms about working so close to the water through the rest of his career.

John Wayne and Jacqueline Malouf in Hawaii during the filming of Donovan's Reef.

John Wayne and Jacqueline Malouf in Hawaii during the filming of Donovan’s Reef.

How to Get the Look

John Wayne provides a timeless template for comfortable seaside fashion in Donovan’s Reef.

  • White camp shirt with metal buttons, plain front, breast pocket, cuffed short sleeves, and straight bottom hem
  • Dark navy short-inseam swimming trunks
  • Navy blue cotton twill baseball cap
  • Yellow gold class ring with red garnet stone
  • Yellow gold wristwatch with round case on white leather strap
  • Navy blue canvas sneakers with white laces, three lace grommets, and white rubber outsoles

Landside, he wears more terrain-appropriate attire in place of his shorts and sneakers:

  • Khaki lightweight cotton drill flat front chinos with belt loops, frogmouth front pockets, patch back pockets, and turn-ups/cuffs
  • Brown leather belt with squared brass single-prong buckle
  • Brown leather chukka boots
  • Beige socks

Do Yourself a Favor and…

Buy the movie.

Footnote

Jacqueline Malouf, the L.A.-born actress who played Dr. Dedham’s oldest daughter Lelani, would have celebrated her birthday today as she was born on July 3, 1941. Sadly, Ms. Malouf passed away in 1999.


Llewelyn Moss: Cream-and-Brown Plaid Shirt

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Josh Brolin as Llewelyn Moss in No Country for Old Men (2007)

Vitals

Josh Brolin as Llewelyn Moss, taciturn welder, hunter, and Vietnam veteran

Del Rio, Texas, to Mexico, Summer 1980

Film: No Country for Old Men
Release Date: November 9, 2007
Director: Joel Coen & Ethan Coen
Costume Designer: Mary Zophres

WARNING! Spoilers ahead!

Background

Having found two million dollars in a briefcase at the scene of a drug deal gone sour, laconic welder Llewelyn Moss also finds himself the target of multiple groups of criminals.

Moss packs up his wife (Kelly MacDonald) and heads to the border town of Del Rio, Texas, where he shacks up in a motel. Eventually, Llewelyn is forced to face the fact that he’s not as wily as he thinks… however, he is crafty.

Llewelyn lets his MacGyver side show as he buys a tent (“the kind with lots of poles”), modifies a shotgun for more effective use as an assault weapon, and strategically rents a second motel room (“it’s got two double beds!”) to retrieve his cache of cash from the vent of his previous room, which has been taken over by killers of a drug syndicate.

One of the film’s most thrilling and suspenseful sequences finds Llewelyn putting his plan into action, using a contraption of tent poles and cheap wire hangers to slide his deceiving expensive briefcase across the vent… all while the gun-toting squatters in his old room find themselves ventilated by Anton Chigurh’s silenced shotgun.

Llewelyn’s “good ol’ boy” wits may have helped him out of that situation, but it isn’t until he gets to Eagle Pass and now finds himself the target of Anton’s shotgun that he realizes he’s betrayed by a simple piece of technology. Even with all the tent poles in the world at his disposal, Llewelyn is no match for this new breed of criminality.

What’d He Wear?

Like a hunter dressed in camouflage, Llewelyn Moss dresses to match the dry sandy tones of his West Texas surroundings. This costume choice isn’t unique to Llewelyn; all the characters who belong in this quiet, desolate setting – including Sheriff Ed Tom Bell – are dressed as an extension of that setting in earth tones and shades of beige, tan, and brown. Outsiders like Anton Chigurh and Carson Wells disrupt the natural order in their cooler blacks and grays; they may incorporate some Western-inspired details with yokes, boots, and hats, but these two men don’t belong like Llewelyn and Ed Tom… or at least they didn’t belong before.

Even when he leaves the rural trappings of Terrell County, Llewelyn is still dressed to blend in with his sandy palette, wearing a brown-on-cream plaid Western-styled snap shirt that resembles the tan-on-cream tartan plaid shirt he wore for his introductory scene. The plaid pattern consists of two grids in sand brown: four main stripes and a thinner grid of double stripe sets. Every section where the four main stripes cross is accented by a pale blue square behind it.

This blog tends to focus on clothing, but it's also worth mentioning that 2007 was definitely The Year of Josh Brolin's Badass '70s Mustaches.

This blog tends to focus on clothing, but it’s also worth mentioning that 2007 was definitely The Year of Josh Brolin’s Badass ’70s Mustaches.

Llewelyn’s shirt snaps down the front with seven mother-of-pearl snaps on the placket, including one on his collar that he leaves open. The long point collar is characteristic for 1980. Each sleeve has three snaps at the cuff, but Llewelyn typically wears the shirt cuffs unfastened and rolled up to his elbows.

Western-influenced details are the pointed yokes on the front of each shoulder and a pointed yoke in the center of the back. There are two patch pockets on the chest that each close with a pointed flap that snaps in the center.

NO COUNTRY FOR OLD MEN

Josh Brolin's screen-worn Anto shirt, courtesy of Premiere Props.

Josh Brolin’s screen-worn Anto shirt, courtesy of Premiere Props.

This is the third of four snap shirts that Llewelyn wears over the course of the film, and it most closely resembles the first one he wore when hunting pronghorn. His second shirt is blue and reflects the night sky. His fourth shirt, purchased after he shows up back in Texas wearing only a hospital gown and his Larry Mahans, is yellow with a fancy orange broken stripe.

Llewelyn Moss is one of many No Country for Old Men characters to wear shirts from Anto Beverly Hills, and this shirt is no exception. Several versions of this shirt, in various states of bloody distress, can be found at online auctions and sale sites.

One particularly bloody version of this costume was sold for $275 in November 2007, just one week after the film was released. The listing describes the three items sold as:

Llewelyn Moss’ (Josh Brolin) blood-soaked cream and brown plaid “Anto Beverly Hills” L/S snap-up western style shirt, white “Fruit of the Loom” undershirt tank top, and soiled blue denim “Levi’s” 505 regular fit jeans.

Brolin evidently wore several white ribbed cotton sleeveless undershirts with this outfit, as screen-worn versions from Hanes can be found at online collections like this one.

One item that never varies are Llewelyn’s blue denim straight fit jeans. The Levi’s back patch is visible as Llewelyn typically wears his shirt tucked in and never wears a belt.

The familiar Levi's branded "two horses" patch, seen here on Llewelyn's jeans, has been part of the Levi Strauss brand since 1886.

The familiar Levi’s branded “two horses” patch, seen here on Llewelyn’s jeans, has been part of the Levi Strauss brand since 1886. Read more about it here.

Levi’s has continually produced its 505™ Regular Fit jeans since 1967, made from 100% non-stretch ringspun cotton denim and still marketed as “the original zip fly jeans”. Llewelyn wears a pair of 505s in a rich dark blue stonewash. (Available from Levi’s directly or retailers like Amazon.)

Well established as the Texan’s Texan, it’s no surprise that Llewelyn Moss’s preferred footwear is cowboy boots. However, he was forced to abandon his own boots when the Bronco gunmen chase him into the water, so Llewelyn arrives in Del Rio wearing a pair of canvas low-top Converse Chuck Taylor All-Star sneakers with the distinctive white laces and white rubber outsoles. This item listing confirms their color as dark green. (Available from Amazon or straight from Converse for $50.)

(Left) Llewelyn Moss arrives in Del Rio with few, but valuable, belongings. (Right) Llewelyn's screen-worn shirt, jeans, and Converse sneakers, as featured in this listing.

(Left) Llewelyn Moss arrives in Del Rio with few, but valuable, belongings.
(Right) Llewelyn’s screen-worn shirt, jeans, and Converse sneakers, as featured in this listing.

“You got a pair of Larry Mahans, shouder size 11?” asks Llewelyn after he arrives in Del Rio, prepared to make his last stand in the tradition of John Wayne and Gary Cooper. He changes out of his Converses and slips into a pair of brown leather cowboy boots with decorative stitched shafts, similar to this bullhide pair found on eBay but in a slightly lighter shade of brown.

Larry Mahan is a retired rodeo champion and six-time winner of the World All-Around Rodeo Champion title, including five consecutive years from 1966 to 1970. He made the most of his fame, releasing a record album, appearing in movies and TV, and – most relevant for this blog – starting the Larry Mahan Boot Collection alongside his own clothing line in the 1970s.

Llewelyn's boots are the only item that survived his rough night at the border.

Llewelyn’s boots are the only item that survived his rough night at the border.

Boots in hand, Llewelyn is ready to complete his exciting purchase…

Llewelyn: “Y’all sell socks?”
salesman: “Just white.”
Llewelyn: “White’s all I wear.”

Llewelyn wastes no time in heading into the store’s restroom to change, evidently driven by a greater sense of urgency than a new pair of socks would normally require.

#CurtSchillingProblems

#CurtSchillingProblems

Llewelyn wears a beige straw hat with a wide curved brim. The tall, creased cattleman’s crown has irregularly perforated ventilation to keep him cool during long days spent hunting pronghorn under the Texan sun. The inside is unlined and has a black leather sweatband.

Llewelyn’s hat is possibly (and likely) a Stetson that shares some similarities with this 10X Rincon hat and this 10X Barrow hat, both in natural straw and each available for less than $100.

"You just call me if anyone else checks in tonight. And by anyone, I mean any swingin' dude." Readers of Cormac McCarthy's novel know that this was one line slightly changed for screen.

“You just call me if anyone else checks in tonight. And by anyone, I mean any swingin’ dude.” Readers of Cormac McCarthy’s novel know that this was one line slightly changed for screen.

While not the most dedicated or selfless of husbands, Llewelyn always wears his silver-toned wedding band on the third finger of his left hand. Poor Carla Jean…

Llewelyn Moss tries to fight his way out of a scrape at the Eagle Pass Hotel.

Llewelyn Moss tries to fight his way out of a scrape at the Eagle Pass Hotel.

How to Get the Look

Llewelyn Moss looks the part of a rugged, authentic Texan “man of the earth” from head to toe, from his no-frills Western-styled plaid shirt to his timeless jeans without a flashy belt or buckle.

  • Brown-on-cream plaid cotton Western-styled shirt with point collar, front placket (with mother-of-pearl snaps), chest patch pockets (with pointed single-snap flaps), and triple-snap cuffs
  • White ribbed cotton sleeveless undershirt
  • Levi’s 505 Regular Fit non-stretch cotton denim jeans in dark blue stonewash
  • Brown leather Larry Mahan cowboy boots
  • White tube socks
  • Beige straw Stetson cowboy hat with ventilated crown, curved brim, and thin dark brown leather corded band
  • Silver wedding band

The Gun

A man on the run heads into a Texas sporting goods store and asks for a twelve-gauge pump shotgun and a box of 00 buck shells that’ll give “a wallop”. Sam Peckinpah fans were undoubtedly reminded of Steve McQueen in The Getaway as Llewelyn Moss found himself picking out his Chinese-made Norinco clone of the classic Winchester Model 1897 pump-action shotgun.

Considering that he actually pays for the weapon and doesn't draw a pistol on him, Llewelyn Moss is much nicer to this store clerk than McQueen was in The Getaway.

Considering that he actually pays for the weapon and doesn’t draw a pistol on him, Llewelyn Moss is much nicer to this store clerk than McQueen was in The Getaway.

The book describes “a twelve gauge Winchester pump gun and a box of double ought buckshot shells” as Moss’ weapon of choice. References made to the shotgun’s external hammer, a feature exclusive to Winchester’s Model 1897 (and its far less common predecessor, the Model 1893) narrow it down exactly. It was this direction that also guided the film’s property master, Keith Walters, who mentions this fact in the DVD special features.

Llewelyn tries to be quiet with his hammer, but it's just loud enough to tip off Chigurh that his target may be waiting for him. (Still quieter than racking the slide, though!)

Llewelyn tries to be quiet with his hammer, but it’s just loud enough to tip off Chigurh that his target may be waiting for him. (Still quieter than racking the slide, though!)

“Moss has to kinda work for his weapons,” Walters noted. “Chigurh just somehow seems to pull them out of thin air.”

While a full-length Winchester Model 1897 shotgun would be very effective for hunting, Llewelyn needs something a bit more effective for darting around corners in old hotels. He begins by sawing off the walnut stock for a “pistol grip” effect, then duct-taping the grip to smooth it out and avoid splinters.

Next, he uses his handsaw to cut about eight inches off of the “Field”-length barrel, rendering it closer to the 20″ barrel of the “Riot” model.

Surely, firearms enthusiasts were cringing at the thought of an original Winchester being so crudely sawed... fear not, it's a Norinco reproduction.

Surely, firearms enthusiasts were cringing at the thought of an original Winchester being so crudely sawed… fear not, it’s a Norinco reproduction.

More than one million Winchester Model 1897 shotguns were manufactured in various configurations for 60 continuous years, including a “Trench” model that was so effective during World War I that the anguished Germans formally protested against the weapons.

Yeah, I would call that effective.

Yeah, I would call that effective.

While cosmetically similar to the Winchester original, the Norinco reproduction has received mixed feedback about; the “fit and finish” received some criticism when compared to Winchester, but Bob Campbell posted a glowing review of the Norinco’s “’97 Wild Bunch Shotgun” earlier this year at The Shooter’s Log.

Campbell, who owns both a Norinco replica and an original Winchester ’97 produced in 1957 during its final year of production, states that his “original Winchester isn’t quite as smooth as the Norinco Wild Bunch shotgun,” which he praises for its reliability, its accurate “period look”, and just being fun to fire. (The final point is partially due to the fact that the Norinco retains the Winchester’s lack of a trigger disconnector, allowing it to fire each time the action closes with the trigger depressed, a feature absent on most modern shotguns.)

Do Yourself a Favor and…

Buy the movie and read Cormac McCarthy’s masterful novel, to which the final film is very faithful. As Ethan Coen himself recalled from the brothers’ adaptation process: “One of us types into the computer while the other holds the spine of the book open flat.”

The Quote

Carla Jean: I got a bad feeling, Llewelyn.
Llewelyn: Well, I got a good feeling, so that should even out.


The Spy Who Loved Me: Bond’s Safari-Inspired Sportcoat

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Roger Moore as James Bond in The Spy Who Loved Me (1977)

Roger Moore as James Bond in The Spy Who Loved Me (1977)

Vitals

Roger Moore as James Bond, suave British MI6 agent

Cairo, Egypt, August 1977

Film: The Spy Who Loved Me
Release Date: July 7, 1977
Director: Lewis Gilbert
Wardrobe Supervisor: Rosemary Burrows
Tailor: Angelo Vitucci

Background

The Spy Who Loved Me was released 40 years ago today on July 7, 1977. As James Bond himself, the late Sir Roger Moore, noted in his highly entertaining 2012 book Bond on Bond: “The date on the posters read 07/07/77. Jim’s lucky numbers.” The day seems like an appropriate time for BAMF Style to celebrate the uniquely fashionable Bond so charmingly portrayed by Sir Roger during his 12-year tenure as 007.

The Spy Who Loved Me is often considered among the best of Moore’s seven Bond films, praised for the strength of its leads – with Moore in top form as 007 and well-matched with Barbara Bach – and its ability to balance the franchise-defining spectacle with true entertainment and thrills without delving too deeply into silliness. If the grounded and grittier For Your Eyes Only was Moore’s From Russia With Love, then The Spy Who Loved Me was his Goldfinger, offering up iconic Bond moments like the Union Jack parachute and the underwater Lotus dive, memorable characters like Agent XXX and Jaws, an alluring theme song in the form of Carly Simon’s “Nobody Does It Better” (not including the WTF choral version at the finale), and major action set pieces like the final submarine battle.

Arguably the most romantic Bond, Sir Roger found himself in many “instant lothario” moments that may stretch the limits of believability. Bond’s search for a shifty contact named Aziz Fekkesh leads him to Fekkesh’s Cairo home where 007 finds no Fekkesh but instead just Fekkesh’s lovely and lonely girlfriend, Felicca (Olga Bisera).

Bond plays "hard to get" for approximately 33 seconds.

Bond plays “hard to get” for approximately 33 seconds.

Felicca throws herself at Bond who, to his credit, actually gives it a moment’s hesitation:

Felicca: You are very suspicious, Mr. Bond…
Bond: I find I live much longer that way.

…before they start making out anyway.

The happy couple’s amorous lip-locking is immediately interrupted by Sandor (Milton Reid), a stocky assassin who – with his partner-in-henchmannery Jaws – is the film’s only link to the 1962 source novel that Ian Fleming himself had so despised. Bond pursues Sandor to the top floor, where the two engage in a few rounds of fisticuffs that lead to Sandor dangling over the edge of the roof while desperately clinging to Bond’s tie.

Finally having Sandor right where he wants him, Bond demands to know where he can find Fekkesh. “Pyramids!” is all that Sandor can respond with before Bond swats the man’s hand away, leaving the squat henchman to fall helplessly to his death below in a moment of ruthless efficiency that would be mirrored by Daniel Craig in Quantum of Solace (as well as by Moore himself in For Your Eyes Only).

Unfettered as Sandor’s corpse repaints the pavement below him, Bond straightens his tie and deadpans:

What a helpful chap.

Dear Sir Roger, you will indeed be missed.

What’d He Wear?

Roger Moore’s James Bond is often unfairly maligned for his safari jackets (what fashionable man in the ’70s wouldn’t have had one in his closet?), but this light tan cotton jacket from The Spy Who Loved Me is more along the lines of a safari-inspired sportcoat that nods to both Bond’s British military heritage while incorporating the fashions of the late 1970s.

Safari-inspired clothing is most effective when worn in the proper context, and a hot summer day in Cairo is just the opportunity for Bond to wisely wear this jacket, crafted from cool-wearing cotton with a dignified clean cut.

You can tell Roger Moore's Bond is extraordinarily interested in something when both eyebrows are called into action!

You can tell Roger Moore’s Bond is extraordinarily interested in something when both eyebrows are called into action!

The traditional image of a safari jacket is more like an unstructured field jacket or bush shirt, and Moore’s Bond certainly wore his fair share of those in The Man with the Golden GunMoonraker, and Octopussy. However,this  tan cotton jacket is canvassed and structured more like a sport jacket with a single-breasted, two-button front and wide lapels each with a cran Necker or “fishmouth” notch.

The sporty set-in flapped pocket on the left breast coordinates with the straight flaps of the hip patch pockets for a military look, although the lack of a breast pocket on the right keeps the look from looking too much like part of a uniform. Flapped breast pockets themselves are not all that unusual, but the set-in flapped pocket – cut into the cloth rather than sewn on like a patch pocket – is a distinctive feature that Roger Moore also wore on his Donegal tweed suit in Moonraker.

The belted back with its long single vent evokes the sporting image of a half-Norfolk jacket, a popular trend among the “1930s revival” fashions of the ’70s.

The belted back also adds a military-inspired air to the jacket, apropos its safari-inspired details.

The belted back also adds a military-inspired air to the jacket, apropos its safari-inspired details.

The jacket has straight shoulders, accented by epaulettes and roped at the sleeveheads. The epaulettes (shoulder straps) are another military-inspired detail that are standard on most safari jackets. Moore’s epaulettes are sewn at the shoulder and button to the jacket itself about an inch away from the collar. The epaulette buttons match the two buttons on the front of the jacket, which Matt Spaiser suggests are “probably made from the Tagua nut which comes from the seed of a tropical palm” in his excellent exploration of this outfit at The Suits of James Bond.

Note the stitching about ¼-inch in from all edges, here seen on the collar, shoulders, and epaulettes.

Note the stitching about ¼-inch in from all edges, here seen on the collar, shoulders, and epaulettes.

Rather than cuff buttons, each of Bond’s jacket sleeves is finished at the end with an inch-wide strap around the entire sleeve that adjusts through a buckle, similar to those found on classic trench coats.

Bond stakes out the pyramids, appropriately dressed to blend in with his ancient surroundings.

Bond stakes out the pyramids, appropriately dressed to blend in with his ancient surroundings.

With this jacket’s aesthetic in mind, I purchased an unstructured cotton jacket last summer that, in my mind, reflects the spirit – if not the exact details – of Moore’s jacket here and the similar cream jacket he wore in The Man with the Golden Gun. This jacket, the Nautica “Utility Blazer” in a “sandcove” beige-colored 97% cotton and 3% elastic blend, is still available from Nautica’s site a year later for $109.97 (as of July 2017). It lacks the structure and unique details of Bond’s jacket, but dammit if I don’t feel like kicking Sandor’s ass on an Egyptian rooftop when I’m wearing it.

Bond’s mottled light blue shirt in lightweight cotton was likely made by Moore’s preferred shirtmaker, Frank Foster. White mother-of-pearl buttons fasten up the front placket, and the long-pointed collar is very appropriate for 1977. The shirt also has the single-button “Lapidus” tab cuffs that would be a hallmark of Bond’s shirts in the late 1970s, appearing both in this film and in Moonraker.

THE SPY WHO LOVED ME

Bond’s tie consists of a complex series of thin stripes running from the right shoulder down to the left hip (the “American” stripe direction!) in the following pattern: navy, light blue, navy, taupe, navy, light blue, navy, white, red, white… and repeat!

The tie is fashionably wide for the 1970s with its large knot filling the space between the shirt’s collar leaves. Roger Moore appears to be wearing the same tie in real life during a May 1977 pre-release publicity event in Paris, seen here with co-star Barbara Bach.

While Sandor gripping Bond's tie may have saved his life (at first), the tie's own lifespan would have been drastically shortened by this savage treatment.

While Sandor gripping Bond’s tie may have saved his life (at first), the tie’s own lifespan would have been drastically shortened by this savage treatment.

If watchmakers wanted a sign that digital timepieces were now mainstream, The Spy Who Loved Me couldn’t have made it any clearer. Bond was one of the first to sport a digital watch with Roger Moore’s first appearance in 1973’s Live and Let Die, but – only four years later – digital watches had gone from modern to mainstream.

Mass produced digital LED watches made by Texas Instruments were selling for only $10 each in 1976, the same year that The Spy Who Loved Me was filmed. Pulsar, the Hamilton brand of digital watches that Moore sported when it was new in Live and Let Die had lost $6 million and was being acquired by Seiko. Seiko, as it turns out, was also providing the official watches of the Bond series.

In The Spy Who Loved Me, Bond wears a Seiko LC Quartz DK001 with a stainless steel case and bracelet and a digital display. Dell Deaton identified the exact model number – 0674-5009 – on his blog, James Bond Watches. More information about this comparatively rare watch can also be found at James Bond Lifestyle.

Bond's digital Seiko watch can be peeped under his left sleeve after Sandor meets his untimely demise.

Bond’s digital Seiko watch can be peeped under his left sleeve after Sandor meets his untimely demise.

Bond’s jacket in this scene may have been part of a full suit (more on that later), but he wears it here with a pair of slightly contrasting beige flat front trousers with a flared leg… though not nearly as flared as the white gabardine “bell bottoms” he later wears with his navy blazer.

The trousers have a fitted waistband that closes with a hidden hook closure on the extended front tab; there are no belt loops or side adjusters. In addition to the side pockets, there is a jetted back pocket on the right side that closes through a button.

Sandor looks absolutely disgusted by Bond's flared trousers. Get used to it, Sandor, this is 1977.

Sandor looks absolutely disgusted by Bond’s flared trousers. Get used to it, Sandor, this is 1977.

Horsebit moccasin loafers were Bond’s footwear of choice through the 1970s. The shoe was originated by Gucci, and Moore had, in fact, worn Gucci belts and shoes in Live and Let Die until switching to Ferragamo for the remainder of his Bond films at the “urging” of his neighbor who was married to Salvatore Ferragamo’s eldest son and was horrified to see Moore sporting the leather wares of a rival brand in his inaugural Bond film.

Thus, the snuff suede horsebit loafers that he wears with beige ribbed socks with this outfit were likely made by Ferragamo.

Bond literally kicks Sandor's ass.

Bond literally kicks Sandor’s ass.

Fan of these shoes? The lug-soled Rancourt for H. Stockton is available in snuff full-grain Repello suede for $340. Ferragamo still carries horsebit loafers like this $595 pair of Gancio Bit Loafer Shoes, but the “Castoro Brown” suede is a bit darker than Moore wears here.

Later in The Spy Who Loved Me, Moore wears a pair of similar colored slip-ons in tan calfskin with his light brown silk suit.

How to Get the Look

Roger Moore’s fashionable Bond dresses comfortably and contextually appropriate for his adventure in Cairo, seamlessly blending the actor’s preferred horsebit moccasins and tie stripes with a then-fashionable safari-inspired cotton sport jacket.

  • Light tan cotton single-breasted 2-button sportcoat with wide fishmouth notch lapels, flapped set-in breast pocket, flapped patch hip pockets, epaulettes, belted sleeve straps (with adjuster buckles), belted back, and single vent
  • Mottled light blue lightweight cotton shirt with long collar, front placket, and 1-button “Lapidus” tab cuffs
  • Multi-colored wide tie with thin right-down-to-left stripes in navy, light blue, taupe, red, and white
  • Beige flat front trousers with fitted waistband, extended front tab with hidden hook closure, side pockets, button-through jetted back right pocket, and flared plain-hemmed bottoms
  • Snuff brown suede slip-on moccasins with gold horsebit detail and tall-heeled leather soles
  • Beige ribbed socks
  • Seiko LC 0674-5009 Quartz DK001 stainless steel digital wristwatch

The Gun

Despite its role in solidifying the Walther PPK as a household-known weapon, the early entries of the Bond series are surprisingly error-prone when it comes to placing an actual PPK in 007’s hands. (The “PPK” used by Sean Connery in Dr. No was actually the larger Walther PP model, and the same film even swapped in the much different Browning Model 1910 pistol for a close-up shot that required a silencer.)

In The Spy Who Loved Me, James Bond’s signature sidearm makes an appearance when he draws it inside Fekkesh’s Cairo house, but is swapped out with a Beretta Model 70 by the time Bond makes his way to the pyramids in search of Fekkesh. Roger Moore holding a Beretta Model 70 also featured on much of The Spy Who Loved Me‘s promotional artwork including the Special Edition DVD cover.

Bond is so distracted by Jaws' imposing figure (not to mention those fucking teeth!) that even he doesn't notice that he's drawn the wrong gun.

Bond is so distracted by Jaws’ imposing figure (not to mention those fucking teeth!) that even he doesn’t notice that he’s drawn the wrong gun.
(The draw is accompanied by the unnecessary sound effect of a pistol’s slide being cocked.)

While the Walther PPK was originally designed to be a compact police pistol (Polizeipistole Kurz in German translates to “Police Pistol Short”), the Beretta Model 70 was developed to replace the Beretta M1935 service pistol and was thus slightly, but only slightly, larger than the PPK.

The Beretta Model 70 can be cosmetically differentiated from the Walther PPK due to the slightly extended barrel, the long and rounded trigger guard, and the long ejection port characteristic to Beretta pistols. The size difference is negligible, with the Beretta’s 3.5-inch barrel Beretta barely longer than the PPK’s 3.3-inch barrel. Unloaded, the all-steel Model 70 adds an extra two ounces in weight to the empty PPK’s 21 ounces. (The Beretta Model 71 “Jaguar” – chambered in .22 LR – was constructed from alloy, reducing the weight to only 17 ounces.)

Operationally, the Beretta Model 70 retained the single-action only operation of the M1934 and M1935 pistols while the Walther PPK is a traditional double-action (DA/SA) pistol. Both are chambered for .32 ACP (7.65mm Browning), but the Beretta Model 70 has a slightly higher capacity with a magazine that carries eight rounds to the PPK’s seven. (The larger Walther PP and Walther PPK/S can both match the Beretta’s eight rounds, however.)

Beretta Model 70

Beretta Model 70

According to IMFDB, the Beretta Model 70 made most of its appearances in Italian productions, including the 1976 film Street People (Gli esecutori); interestingly, Matt Spaiser notes on The Suits of James Bond that Street People also featured Roger Moore wearing this same tan jacket (as part of a suit, no less) a year before it appeared in The Spy Who Loved Me.

Do Yourself a Favor and…

Buy the movie.

The Quote

I had lunch, but… I seem to have missed dessert.

Footnote

In a story full of his trademark humor, Roger Moore candidly recalls his own arrival in Egypt in October 1976 for inclusion in Bond on Bond:

Roger Moore on location in Egypt, filming The Spy Who Loved Me in the fall of 1976.

Roger Moore on location in Egypt, Beretta Model 70 in hand, filming The Spy Who Loved Me in the fall of 1976.

Then we set off to Cairo, arriving on my birthday, in fact. I walked onto the location set and couldn’t quite understand why there were so many huge tents in the catering area. Catering manager George Crawford walked over, smiling widely, and said it was for my birthday lunch and, what’s more, he’d managed to find lobsters for us all. I looked down at these green creatures he proffered – which were still moving despite having been dead for six weeks! The birthday boy did not have the lobster for lunch and lived to see another year.

From Cairo, it was on to Luxor and quite possibly the worst hotel in the world. The same menu was presented to us every night of our two-week stay. It was the only large hotel in Luxor at the time, and guests seemingly only stayed for one night when they came to visit the temple of Karnak. My nightly meal consisted of what looked and tasted like a camel’s testicle on a bun – it was difficult to figure out which was which.

I was so pleased when director Lewis Gilbert suggested we take na early plane out of on our day of departure, meaning we could have a four-hour stopover in Cairo before flying back to London. Cubby liked to sound of that. “We can go to Shepherd’s Hotel for a slap-up lunch,” he beamed.

At Cairo airport the customs officials – not realized how undernourished we were – said we had to remain airside as we were “in transit” and could not therefore go into the city. But they told us not to worry, they’d prepared a couple of rooms for us to rest in. I said I’d share with Cubby while Lewis had his own room next door. No sooner had we walked in than Cubby proceeded to take his trousers off.

“I’ve got the part, Lewis!” I shouted through the wall.


Tony Rome’s Yellow Turtleneck and Ford Galaxie

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Frank Sinatra slides behind the wheel of a 1961 Ford Galaxie Sunliner with Jill St. John in Tony Rome (1967)

Frank Sinatra slides behind the wheel of a 1961 Ford Galaxie Sunliner with Jill St. John in Tony Rome (1967)

Vitals

Frank Sinatra as Tony Rome, private investigator and compulsive gambler

Miami Beach, Spring 1967

Film: Tony Rome
Release Date: November 10, 1967
Director: Gordon Douglas
Costume Designer: Moss Mabry

Background

BAMF Style’s biannual Car Week is back! For the first post of this summer’s installment of Car Week, let’s check in with Frank Sinatra in the sunny setting of late 1960s Miami Beach, where he plays the beer-swilling, boat-dwelling private eye Tony Rome.

The action begins on Rome’s said boat, the Straight Pass (ah, gambling, I get it), while Sinatra’s own daughter Nancy belts an overly specific title track about her father’s prowess romancing people’s daughters…but I don’t want to get into the psychology of that. Nancy Sinatra is a very talented singer who does a great job with the song she’s given, but Lee Hazelwood’s lyrics are almost totally incomprehensible to me (“Love is for those who have the time to, Rome is for those who are inclined to. Ladies’ hearts adore diamonds rings are not the very special things when Tony Rome is out and about.”) What?

Surprisingly, this was Sinatra’s first role as a detective, and it fits him like a carefully cocked fedora as he slips into the cynical, wise-cracking persona in the tradition of his late friend Humphrey Bogart. It’s a shame that Sinatra didn’t get a role like this ten years earlier as he would’ve been fine in the black-and-white noir days of Bogie, Ladd, and Mitchum instead of anachronistically hopping between go-go dancing clubs and other cultural trappings of the late ’60s that don’t quite jibe with the image of a hard-boiled detective.

What’d He Wear?

Turtlenecks and mock neck jumpers were popular for men in the mid-to-late 1960s, worn by some of the most stylish screen icons from Steve McQueen to Sean Connery’s James Bond, who sported a gray mock polo-neck jumper while scaling a Japanese volcano in You Only Live Twice, released only a few months earlier in 1967. (Coincidentally, Nancy Sinatra also sang the theme song to that 007 film. I far prefer that title track to this one.)

Although he was on the other side of 50 when Tony Rome was filmed, Sinatra adopts the youthful, fashion-oriented look of a yellow mock-neck jumper and khakis when aboard the Straight Pass at the film’s beginning and end, donning a peaked captain’s hat and dark navy hoodie when he is called out on a case. (Other than this, Sinatra’s Tony Rome dresses like the usual no-nonsense private eye: three gray flannel suits, always with a short-brimmed gray fedora.)

Rome’s yellow jumper is made from a lightweight interlock knit cotton which would breathe nicely in the warm weather while also keeping his skin protected from the glaring sun. The shirt has a looser fit, a wise choice given the expanding midsection of the famously skinny Sinatra’s ascent into middle age. The mock polo-neck collar is folded down and the ribbed cuffs are slid halfway up his forearms.

Ann's departure leaves Tony Rome now options other than to double-fist his morning martinis.

Ann’s departure leaves Tony Rome now options other than to double-fist his morning martinis.

Tony Rome includes an early – and unexpected – appearance of a zip-up hoodie, nearly a decade before Sly Stallone would famously beat some meat in Rocky while wearing a gray hoodie.

After a beer-soaked morning on his boat, Rome steps to shore and dons a dark navy cotton hooded sweatshirt with a long silver metal zipper that he leaves open. The sweatshirt has hand pockets, an elasticized blouson-style waist hem, and a large hood with a navy drawstring.

Cinematic private eyes before him favored the classic trench coat, but Tony Rome has no problem modernizing his look with a navy zip-up hoodie as his preferred top layer.

Cinematic private eyes before him favored the classic trench coat, but Tony Rome has no problem modernizing his look with a navy zip-up hoodie as his preferred top layer.

Rome wears the sweatshirt with each sleeve rolled partially up his forearms, though rolled higher than the sleeves of his jumper underneath. At the end of each elasticized cuff is a single dark navy plastic sew-through button on a short tab.

TONY ROME

Khaki trousers made from cotton twill chino cloth are a menswear staple with a long maritime pedigree, appropriate as Tony Rome’s casual seafaring trouser of choice. Rome’s flat front chinos are classically styled with straight pockets along the side seams, two jetted back pockets that each close through a button, and a straight fit with plain-hemmed bottoms.

Today, July 10, is also the birthday of Sinatra's Tony Rome co-star, Sue Lyon! I wonder if Sue ever got tired of constantly rehashing Lolita-type roles throughout the '60s.

Today, July 10, is also the birthday of Sinatra’s Tony Rome co-star, Sue Lyon! I wonder if Sue ever got tired of constantly rehashing Lolita-type roles throughout the ’60s.

As we more clearly see with his tucked-in white shirts, Rome wears a black leather belt with the squared steel single-prong buckle off to the left rather than centered, a fad that pops up time to time in the ’60s and ’70s as discussed in this forum. The fad likely began with musicians seeking to avoid scratching their instruments on their belt buckles, popularized among the mainstream by Elvis Presley.

Boat shoes are an obvious choice for the context, but Rome opts for sneakers in navy canvas, coordinating with both the color and youthfulness of his hoodie. Rome’s canvas sneakers have white rubber outsoles, white contrast stitching, and wide white laces through five eyelets. Rome wears his with white tube socks.

As I explored in last week’s post about John Wayne in Donovan’s Reef, canvas sneakers are a classic staple of seaside workwear and plenty of affordable options are still available today such as these five-eyelet shoes from Keds, Sperry, and Airwalk.

Rome's canvas sneakers are lightweight but secure as he goes about his shipboard errands.

Rome’s canvas sneakers are lightweight but secure as he goes about his shipboard errands.

Rome wears all of his jewelry on his left hand. His yellow gold wristwatch has a gold dial and is strapped to his left wrist on a black leather strap with a gold single-prong buckle. He also wears a gold diamond ring on his left pinky.

As captain of the Straight Pass, Rome appropriately wears a traditional peaked cap with a tall white cotton crown, a black band with black double-braided piping, and a short black shiny leather visor. The black crest in the center is embroidered with a gold naval motif.

Pretty wiped after a long day, Tony Rome still keeps his wits about him enough to needle a couple of meatheaded henchmen who snuck onto his boat.

Pretty wiped after a long day, Tony Rome still keeps his wits about him enough to needle a couple of meatheaded henchmen who snuck onto his boat.

Tony Rome was made smack dab in the middle of Sinatra’s short-lived marriage to Mia Farrow, a contemporary fashion icon 30 years his junior, so it makes sense that Sinatra would embrace a more youthful look even if his ability to pull it off is debatable. I personally prefer his more traditional ensemble of the same cap, chinos, and canvas sneakers seen here but with one of his white dress shirts. (However, since he doesn’t wear that while driving his Ford Galaxie, further exploration of that outfit will have to wait for a non-Car Week post.)

What to Imbibe

This being Frank Sinatra, you’ll see plenty of imbibing. Right from the get-go, the title sequence is basically a Budweiser ad.

Now that's what I call product placement!

Now that’s what I call product placement!

Once he’s gotten his morning beer out of the way and has accepted his first case, Rome meets Ann Archer (Jill St. John) at the Klosterman home and asks her to pour him a gin “and make it light.”

The following scene finds Rome escorting Ann home in his well-loved Ford Galaxie convertible when Ann asks if they can stop for a drink. Without missing a beat, Rome reaches over and pulls a flask-bottle of brandy out of his glove compartment.

A series of boozy adventures continue until the film’s final scene on the Straight Pass as Rome serves the martinis that he had lovingly prepared in advance for his date with Ann: “Vodka for you, and gin for me.”

Cheers!

Cheers!

How to Get the Look

Tony Rome adds youthful touches to a traditional seafaring outfit with a bright mock turtleneck, hoodie, and canvas sneakers.

  • Yellow lightweight knit cotton mock-turtleneck jumper with ribbed cuffs
  • Dark navy cotton zip-up hooded sweatshirt with silver-toned zipper, hand pockets, elasticized waist hem, and single-button elasticized cuffs
  • Khaki cotton twill chino trousers with belt loops, straight/on-seam side pockets, button-through jetted back pockets, and plain-hemmed bottoms
  • Black leather belt with brass single-prong buckle, worn to the left
  • Navy canvas sneakers with white rubber outsoles and five-eyelets for white laces
  • White tube socks
  • White peaked captain’s hat with gold embroidery, black piping, and black visor
  • Yellow gold wristwatch with round gold dial on black leather strap (with gold buckle)
  • Gold diamond ring

The Car

When not at the helm of the Straight Pass, Tony Rome cruises through Miami in his blue 1961 Ford Galaxie Sunliner convertible, a streamlined and slightly rusted relic of Ford’s marketing attempts to cash in on the Space Race craze of the late ’50s and early ’60s.

Kojak would be proud of that parking spot.

Kojak would be proud of that parking spot.

The Galaxie badge was first used by Ford in 1959 as a designation for the top models in its full-size range. Beginning with the 1962 model year, the Ford Galaxie became the official model name for all full-size Fords through the end of the 1974 model year.

Much like the Space Race that inspired the Galaxie’s name, the competition among American automakers in the early 1960s led to rapid innovations each year in both luxury and performance. Ford refreshed its model lines in 1960 and the wide fins that had so captured car buyers through the 1950s was replaced with a streamlined look as the Space Age eclipsed the Jet Age.

1961 saw further developments to the Ford Galaxie with revised sheet-metal bodywork and the tailfins all but replaced by two large circular “afterburner” taillights on each side blade. The new 390 cubic-inch V8 engine claimed a gross output of 401 horsepower with triple-two-barrel carburetors to be Ford’s top performing production engine in ’61, surpassing the downgraded 352 V8 with its two-barrel carburetor and single exhaust.

The aerodynamic Galaxie Special Series line in 1960 and 1961 consisted of the top-of-the-line Starliner hardtop and Sunliner convertible. Both were offered in 1961 with the full range of six available engines from the “Mileage Maker Six” up to the powerful 390 cubic-inch “Super V8”.

1961 Ford Galaxie Sunliner

Body Style: 2-door convertible

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

Engine: 351.9 ci (5.8 L) Ford 352 V8 with 2-barrel Holley carburetor

Power: 220 hp (164 kW; 223 PS) @ 4400 rpm

Torque: 336 lb·ft (456 N·m) @ 2400 rpm

Transmission: 3-speed Cruise-O-Matic automatic

Wheelbase: 119 inches (3023 mm)

Length: 209.9 inches (5331 mm)

Width: 79.9 inches (2029 mm)

Height: 55.5 inches (1410 mm)

The years following the iconic 1961 Galaxie model year would see a steady incline in Ford’s performance, production, and popularity until the high water mark year of 1964 when the iconic Mustang was introduced.

In fact, Ann Archer’s bright red 1965 Ford Mustang hardtop is briefly seen, parked next to Rome’s Sunliner, at the film’s finale.

Dueling Fords.

Dueling Fords.

For yet another Tony Rome/James Bond connection, Jill St. John would go on to play “Bond girl” Tiffany Case five years later in Diamonds are Forever… where she drives yet another red Mustang.

Do Yourself a Favor and…

Buy the movie… but prepare for some, uh, dated humor.



McQ’s Navy Blazer and 1973 Trans Am

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John Wayne as Det. Lon "McQ" McHugh in McQ (1973), armed in front of his 1973 Pontiac Firebird Trans Am.

John Wayne as Det. Lon “McQ” McHugh in McQ (1973), armed in front of his 1973 Pontiac Firebird Trans Am.

Vitals

John Wayne as Lon “McQ” McHugh, taciturn Seattle PD lieutenant

Seattle, Fall 1973

Film: McQ
Release Date: February 6, 1974
Director: John Sturges
Wardrobe Credit: Luster Bayless

Background

It’s no Hollywood secret that McQ was originally developed as a vehicle for Steve McQueen. Five years after McQueen sat behind the wheel of a hunter green Mustang GT390 careening through the streets of San Francisco in Bullitt, the role of gruff Seattle police lieutenant Lon McHugh was retooled for screen legend John Wayne, who took on his first detective role at the age of 66.

Wayne, whose entire left lung had been surgically removed after a bout with cancer a decade earlier, could only walk short distances without needing oxygen – much to the chagrin of director John Sturges – but still turned in a surprisingly energetic performance as a cop who combines Dirty Harry’s stubborn grit with Bullitt’s propensity toward speeding around the city in a sporty dark green American muscle car.

What’d He Wear?

In McQ, John Wayne sets aside his stockade jacket, silverbelly hat, and cowboy boots for a contemporary and all-American urban casual ensemble of a navy blazer, polo shirt, brown trousers, and loafers.

The dark navy wool blazer has medium-width notch lapels that roll to three plain brass shank buttons on a single-breasted front. There are two smaller non-functioning buttons on each sleeve cuff. The blazer has a welted breast pocket and jetted hip pockets. The shoulders are padded with roped sleeveheads.

With its medium-width lapels and conservative styling, Lieutenant McHugh’s blazer is essentially timeless, with the only possible concession to the era being the extended length of the double vents. The vents may have been cut long to work better with John Wayne’s 6’4″ height.

Lt. McHugh wears his navy blazer with vivid colored polos, adding a colorful touch to an otherwise conservative ensemble.

Lt. McHugh wears his navy blazer with vivid colored polos, adding a colorful touch to an otherwise conservative ensemble.

A similar hopsack blazer was included in a Julien’s Live auction in 2007 (link), though it was incorrectly listed as “worn by John Wayne in ‘McQ’;” the blazer actually worn in McQ has plain brass shank buttons rather than crested silver buttons and does not have patch pockets. The auction does provide some insight into Wayne’s size, as the Western Costume label reads a 46 chest and 19 sleeve.

After foiling an attempt to steal his car, McHugh arrives at work in a navy windbreaker, brown trousers, and royal blue short-sleeve polo shirt. He removes the windbreaker in the police station’s parking garage, replacing it with the more office-appropriate navy blazer.

I can’t confirm the material of McHugh’s polo shirts, but – given the appearance, the era, and some similar vintage items that I own – I would guess that they are made from polyester, nylon, or some other synthetic fiber with stretch properties. The sleeves are elbow-length and the collar is shaped with long points that are enveloped by the blazer.

The blue polo has a long four-button placket with a large “X” stitched inside a rectangle at the bottom. The patch breast pocket has a slim, pointed flap that closes with a small white plastic button that matches the four on the placket.

McQ

Later, McHugh wears the same outfit with a similarly styled polo in light yellow. This is the shirt that he wears during the film’s main car chase.

Check out that collar!

Check out that collar!

McHugh wears dark brown wool flat front trousers with frogmouth front pockets and plain-hemmed bottoms. He wears a black leather belt through the trousers’ wide belt loops, with a black leather holster on his left side that offers him a right-handed cross-draw for his 2″ barreled revolver (he begins carrying his off-duty Smith & Wesson Model 10 after surrendering his backup Colt Python to his superiors.)

McQ confronts his superiors before being forced to turn over yet another of his revolvers.

McQ confronts his superiors before being forced to turn over yet another of his revolvers.

McHugh wears a pair of brown leather apron-toe penny loafers with black socks.

By the mid-1970s, loafers were the business shoe of choice for many Americans.

By the mid-1970s, loafers were the business shoe of choice for many Americans.

John Wayne wears a simple brass Montagnard bracelet on his right wrist, gifted to him by the indiginous Montagnard people of Vietnam during the filming of The Green Berets in 1968. Modern Forces Living History Group reports that many American servicemen returned from Vietnam with these bracelets from the tribe, signifying friendship or respect. Manready Mercantile offers a striking replica of the “Montagnard Bracelet” in brass, copper, or steel (link), where they explain that “not only did Duke don the bracelet on his wrist until the day he passed, it’s said he lays with it to this day.”

McQ flashes his bracelet and watch while bracing a drug pusher.

McQ flashes his bracelet and watch while bracing a drug pusher.

On his left wrist, McHugh wears a gold chronograph on an olive drab vinyl strap, worn in the same manner as many military or ex-military operators with the face on the inside of his wrist. The silver dial has three sub-dials.

How to Get the Look

John Wayne brings sensibilities of traditional style to his role as urban cop Lon McHugh, sticking to a base outfit of navy blazer and bright-colored polo with brown trousers and slip-ons.

  • Dark navy hopsack wool single-breasted 3-button blazer with welted breast pocket, straight jetted hip pockets, 2-button cuffs, and double vents
  • Royal blue or bright yellow polyester short-sleeve polo shirt with 4-button placket and breast pocket (with button-down pointed flap)
  • Dark brown wool flat front trousers with belt loops, frogmouth front pockets, and plain-hemmed bottoms
  • Black leather belt with squared brass single-prong buckle
  • Black leather cross-draw holster, for 2″-barreled revolver
  • Brown leather apron-toe penny loafers
  • Black socks
  • Plain brass “Montagnard Bracelet”
  • Yellow gold chronograph wristwatch with silver dial (with three sub-dials) and olive vinyl buckle-strap

The Car

Tough cops in this era seemed to have an affinity for dark green American muscle cars. In McQ, John Wayne drives a 1973 Pontiac Firebird Trans Am in the somewhat rare color of Brewster Green.

Due to his height and reduced agility, John Wayne reportedly had to enter McQ’s Trans Am by sliding in with his right leg first while tilting to the left to allow room for his entire 6’4″ frame. When he first gets in the car to pursue the laundry truck after the drug heist, he tries to enter head first, an attempt which was undoubtedly foiled by the car’s relatively limiting 37.5-inch headroom (more than half the size of John Wayne’s height).

McQ stops by the side of the road in his Trans Am.

McQ stops by the side of the road in his Trans Am.

The second generation of the Pontiac Firebird, produced from 1970 to 1981, continued to share GM’s F-body platform with the Chevy Camaro, but only Pontiac offered the massive 7.5 L big block engine during this generation. (Chevrolet had planned to include a 454 V8 in this generation’s Camaro, but this concept never extended beyond technical manuals.)

The 1973 model year saw the introduction of the Super Duty 455 (SD-455) V8 engine, rated at 290 SAE net horsepower. The only other available option was the standard 455 cubic-inch V8. According to contemporary tests in Hot Rod, a standard 455-equipped T/A could complete a quarter mile in 13.5 seconds with a top speed of 104 mph.

As only 252 of the 4,802 T/A Firebirds produced in 1973 had the SD-455 engine, the Trans Am featured in McQ almost certainly has the standard 455 V8 engine.

1973 Pontiac Firebird Trans Am

Body Style: 2-door hardtop coupe

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

Engine: 455 ci (7.5 L) Pontiac 455-4 V8

Power: 250 hp (190 kW; 258 PS) @ 4000 rpm

Torque: 370 lb·ft (502 N·m) @ 2800 rpm

Transmission: 4-speed Borg Warner Super T-10 manual

Wheelbase: 108 inches (2743 mm)

Length: 192.1 inches (4879 mm)

Width: 73.4 inches (1864 mm)

Height: 50.4 inches (1280 mm)

All 1973 Firebirds, from the 250 cubic-inch six-cylinder base model up to the top Trans Am performance model, came standard with a manual transmission with GM’s Hydra-matic automatic transmission available as an option across the board. An observant commentor at IMCDB notes that the sound of McQ’s Pontiac in lower gears sounds more like the Borg Warner Super T-10 transmission rather than the louder Muncie M-22, which GM discontinued in early 1973.

At least two different Trans Ams appear to have been used during the production of McQ, one with a license plate of ICG 587 (seen above) and another registered as BRN 952 (seen below).

Note the BRN 952 license plate on this Trans Am.

Note the BRN 952 license plate on this Trans Am.

If you’ve got $150,000 to spare, you can pick up your own pristine 1973 Pontiac Trans Am in Brewster Green from this Tennessee seller… and this one is even loaded with the high-performance SD-455 V8!

The Gun

Police officers were still primarily armed with revolvers in the 1970s, and Lieutenant McHugh cycles through three distinct ones in the film’s earlier half; all three are eventually taken by his superiors over the course of the movie. He begins with a full-length Colt Python and a snub-nose Colt Python, the latter of which he wears in his belt holster.

After both Pythons are surrendered to his bosses, McHugh arms himself with his off-duty piece, a Smith & Wesson Model 10 with a 2″ barrel. Chambered in .38 Special, the 2″-barreled Model 10 is the prototypical “belly gun” favored by gangsters and cops in old movies. Smith & Wesson developed the five-shot “Chiefs Special” Model 36 for just that purpose in 1950, but the larger-framed Model 10 “Military & Police” with its six-shot capacity is a better fit for a big guy like John Wayne.

(It’s worth noting that the Seattle Police Department actually issued the Smith & Wesson Model 10-2, albeit with the standard 4″ barrel, to all officers from 1962 to 1995.)

The force created from a .38 Special going off inside the close quarters of a Pontiac Trans Am would surely be enough to deafen. Luckily, John Wayne practices smart trigger safety.

The force created from a .38 Special going off inside the close quarters of a Pontiac Trans Am would surely be enough to deafen. Luckily, John Wayne practices smart trigger safety.

After his superiors take away his third revolver in a row, McHugh decides that he’s mad as hell and not gonna take it anymore. He heads to a gun store and picks up a Browning Hi-Power, followed by a suppressed MAC-10 that he uses to great effect during the film’s climax.

Not your typical day at the shooting range...

Not your typical day at the shooting range…

Do Yourself a Favor and…

Buy the movie.


The Day of the Jackal: A Day Cravat and an Alfa Romeo

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Edward Fox in The Day of the Jackal, carrying a custom rifle in front of his 1961 Alfa Romeo.

Edward Fox in The Day of the Jackal, carrying a custom rifle in front of his 1961 Alfa Romeo.

Vitals

Edward Fox as “The Jackal”, mysterious professional assassin

Montemorro Forest, Italy, August 1963

Film: The Day of the Jackal
Release Date: May 16, 1973
Director: Fred Zinnemann
Costume Design: Joan Bridge, Rosine Delamare, and Elizabeth Haffenden

Background

On le 14 juillet (or “Bastille Day,” as we Yanks call it), BAMF Style is exploring one of Edward Fox’s many simple but elegant casual outfits in The Day of the Jackal, where he plays an enigmatic British contract killer tasked with the assassination of French President Charles De Gaulle.

This installment of Car Week ends as it started, featuring a 1961 model year convertible. In this case, it’s the white Alfa Romeo that “The Jackal” – as our smooth assassin is codenamed – drives through Europe, including for this brief interlude as he tests his new customized sniper rifle in the Italian countryside.

What’d He Wear?

The Jackal owns a realistically limited wardrobe of light earth-toned shirts, suits, jackets, and trousers that help him blend in as he traverses Europe in his quest to assassinate De Gaulle.

All of the clothing that The Jackal wears for his target practice has been seen elsewhere in the film, but this is the only time he wears this specific combination. His beige cotton shirt has double sets of thin white stripes. The firm, long point collar is worn open to showcase the day cravat around his neck. The rest of the mother-of-pearl buttons are all buttoned down the shirt’s front placket, although the single button on each rounded cuff is undone and folded back once over each wrist. (The fact that the shirt sleeves reach the end of his wrists perfectly when the cuffs are folded back indicates that the shirt sleeves may be too long for Edward Fox.)

THE DAY OF THE JACKAL

The day cravat – often incorrectly referred to as an “ascot” – is a staple of The Jackal’s undisguised wardrobe that adds a polished touch for a character that believes in his own standards of dress. In 1963, it would have been less dignified for a gent to wear only a shirt and trousers with no jacket, so The Jackal foregoes the standard neckwear of a long tie and dresses up his warm-weather casual attire with a series of patterned day cravats that also prevent his earth-toned ensembles from being too suspiciously inconspicuous.

For his afternoon of buying and shooting melons, The Jackal wears a maroon soft silk day cravat with white polka dots, worn under the unbuttoned collar of his shirt. He was previously seen wearing this same cravat during a brief stop in Paris, where he wore it with a light brown odd jacket and tan trousers.

The Jackal negotiates for his melons.

The Jackal negotiates for his melons.

The Jackal wears taupe gabardine flat front trousers with a long rise and an extended tab that secures in the front with a hidden hook closure. The side pockets are slightly slanted, and the back has double “Keystone”-shaped darts on each side with no pockets. Though fitted through the hips, the trouser legs slightly flare out to the plain-hemmed bottoms. The Jackal previously wore these taupe trousers to the British museum and spends much of the film wearing a similar pair of a warmer tan shade.

There are no belt loops for a clean, minimalist look, with the trouser fit adjustable around the waist via a buttoning tab on each side of the waistband, connected from a hidden elastic belt around the back of the waist. The tabs are pulled toward the front for a tighter fit, similar to the “Daks top” adjusters on Sean Connery’s trousers as James Bond, although The Jackal pulls his tabs tighter than 007 by wearing them on the second button rather than the first. (Based on the visible length and the slight “lump” of The Jackal’s side-tabs, it’s safe to assume that his trousers are fitted with three buttons on each side.)

Nothing suspicious here at all.

Nothing suspicious here at all.

The Jackal’s preferred footwear throughout the movie is a pair of brown leather double monk-strap loafers with taupe socks that correctly continue the leg line of his trousers.

A white car is easy to disguise when needed just by painting it a different color... in this case, blue. The Jackal approaches his wardrobe with the same sensibilities; it's hard to tone down loud clothing if needed, but it's certainly easy to disguise blander clothing by adding new elements.

A white car is easy to disguise when needed just by painting it a different color… in this case, blue. The Jackal approaches his wardrobe with the same sensibilities; it’s hard to tone down loud clothing if needed, but it’s certainly easy to disguise blander clothing by adding new elements.

Unobtrusive like the rest of his wardrobe, The Jackal wears a plain yellow gold wristwatch with a round case, light gold dial, and brown leather strap.

Ripe for the plinking.

Ripe for the plinking.

The limited palette of his clothing makes his disguises that much more effective.  The word “beige” itself is derived from the French term for natural wool that has been neither bleached nor dyed; thus, The Jackal in his beige clothing is an empty bland palette, quick to blend in with any added garment serving as an easy disguise, if needed.

How to Get the Look

The Jackal’s beige, taupe, and earth-toned clothes match Edward Fox’s hair and complexion to create a subconsciously bland effect with only his colored and patterned silk day cravats breaking up the monotony.

  • Beige (with double sets of thin white stripes) cotton shirt with firm point collar, front placket, 1-button rounded cuffs
  • Maroon (with white polka dots) silk day cravat
  • Taupe gabardine flat front trousers with extended front tab, 3-button adjustable side-tabs, slanted side pockets, darted back, plain-hemmed bottoms
  • Brown leather double monk-strap loafers
  • Taupe socks
  • Yellow gold wristwatch with round light gold dial and brown leather strap

The Car

The Jackal zips through Europe in a sporty white 1961 Alfa Romeo Giulietta Spider two-seat convertible.

The Giulietta Spider's 10.2 cubic feet of trunk space is all The Jackal needs for his compact custom rifle and melon.

The Giulietta Spider’s 10.2 cubic feet of trunk space is all The Jackal needs for his compact custom rifle and melon.

Alfa Romeo introduced its first Giulietta model at the 1954 Turin Motor Show with the Giulietta Sprint 2+2, designed by Franco Scaglione at Bertone. The four-door Berlina sedan was next in 1955, shortly followed by the two-seat Giulietta Spider that featured convertible bodywork by Pininfarina, the same legendary car design firm that had worked on iconic Alfa Romeo and Lancia sports cars throughout the 20th century in addition to the 1959 Cadillac Eldorado Brougham, the Ferrari Testarossa, and the 2007 Volvo C70 (a car that I once owned!)

By 1961, the refreshed Giulietta lineup included the Berlina, the powerful Turismo Internazionale (T.I.), the sporty Sprint models, and the Spider two-seat roadster.

1961 Alfa Romeo Giulietta Spider (Tipo 101.03)

Body Style: 2-door convertible roadster

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

Engine: 1290 cc (1.3 L) Alfa Romeo Twin Cam I4

Power: 91 hp (68 kW; 92 PS) @ 6500 rpm

Torque: 83 lb·ft (113 N·m) @ 3500 rpm

Transmission: 4-speed manual

Wheelbase: 88.6 inches (2250 mm)

Length: 153.5 inches (3900 mm)

Width: 62.2 inches (1580 mm)

Height: 52.6 inches (1335 mm)

The introduction of the Alfa Romeo Giulia in June 1962 marked the beginning of the end of the Giulietta model. The Giulia offered models with two sizes of Alfa Romeo’s venerable Twin Cam engine, the 1290 cc version that was currently found in the Giulietta and the new, more powerful 1570 cc engine for the Giulia only. While the Berlina and T.I. models were slowly phased out by 1965, the sportier Sprint and Spider models were incorporated into the Giulia lineup where they received new life with the new 1.6 L engine.

The Jackal's Alfa Romeo is registered with plates GE 16 1741.

The Jackal’s Alfa Romeo is registered with plates GE 16 1741.

The Alfa Romeo Spider would become its own model in 1966 with a relatively unchanged look – also designed by Pininfarina – through four generations of production until the final Spider – the 110,128th ever – rolled off the line for the 1993 model year. It was a 1966 Series 1 Spider 1600 that Dustin Hoffman famously drove as Benjamin Braddock in The Graduate.

The Gun

For his mission to assassinate De Gaulle, The Jackal has a unique bolt-action takedown single-shot rifle custom made for him by a gunsmith in Genoa to fire .22 Magnum ammunition. The folding rifle has a telescopic sight, a suppressor, and a broad shoulder stock that would later be incorporated into The Jackal’s disguise.

THE DAY OF THE JACKAL

The Jackal initially fires a few standard .22-caliber rounds into the helpless melon to give him a better sense of how to adjust the weapon’s sights. Once he is confident in the rifle’s ability to hit its target, he loads it up with one of the explosive bullets he plans to use on the day of the assassination.

The Jackal adjusts the zero on the telescopic sight.

The Jackal adjusts the zero on the telescopic sight.

Do Yourself a Favor and…

Buy the movie and read Frederick Forsyth’s thrilling 1971 novel.


David Niven’s Taupe Suit in Death on the Nile

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David Niven as Colonel Race in Death on the Nile (1978)

David Niven as Colonel Race in Death on the Nile (1978)

Vitals

David Niven as Colonel Johnny Race, lawyer and war veteran

Egypt, September 1937

Film: Death on the Nile
Release Date: September 29, 1978
Director: John Guillermin
Costume Designer: Anthony Powell

WARNING! Spoilers ahead!

Background

Following the grand success of 1974’s Murder on the Orient Express, one of the few adaptations of her work actually endorsed by Agatha Christie herself, producers rushed to find the next of her books to be adapted into a lavish, star-studded affair.

Death on the Nile was published in 1937, three years but ten books after Murder on the Orient Express, and included all of the necessary ingredients for success: the return of eccentric detective Hercule Poirot, an exotic location, and a glamorous victim among an international cast of characters… all of whom had the motive and means to commit the crime.

Poirot’s “boy Friday” to help him solve the case came in the form of Colonel Race, a steadfast Brit who first appeared in Christie’s earlier novel The Man in the Brown Suit. David Niven affably portrays the capable colonel with dignified charm and deadpan wit, often serving as the straightforward foil to Peter Ustinov’s more bombastic Poirot.

What’d He Wear?

The dignified Colonel Race shows an equally dignified approach to his wardrobe, dressing in timeless and well-tailored menswear staples including a classic black tie ensemble and a well-cut navy blazer. When boarding the Karnak for the group’s Nile voyage, Race sports a light taupe gabardine suit, straw boater, and regimental stripes.

Poirot and Colonel Race prepare for their journey.

Poirot and Colonel Race prepare for their journey.

Colonel Race’s suit jacket is in the traditional double-breasted style of six smoke buttons with two to button, although Niven occasionally wears the jacket à la Kent with just the bottom button fastened, allowing for a longer lapel roll. The peak lapels themselves are quite wide and full-bellied with long gorges and an especially long buttonhole on the left lapel.

The jacket is ventless, per 1930s fashions and the typical double-breasted cut, with padded shoulders and roped sleeveheads. The hip pockets are jetted, and the welted breast pocket contains a white linen pocket square that would serve a useful function for a gentleman sweating it out during a hot Egyptian expedition.

When wearing the full suit with matching trousers, Colonel Race also sports a natty pair of black-and-white leather spectator shoes with black laces and a black toe cap.

DEATH ON THE NILE

When the excursion party goes inland by camel for a day of exploring the wonders of ancient Egypt, Colonel Race dresses down with white ducks and white bucks. The cream gabardine trousers have double forward pleats and a wide straight leg for a comfortably large fit. The bottoms are finished with cuffs (turn-ups). Assuming that they’re the same trousers he later wears with his navy blazer aboard the Karnak, they would have four white buttons – two on the front, two on the back – that connect with his brown woven suspenders.

Colonel Race also leaves his black-and-white spectator shoes in his stateroom, opting for a pair of white leather five-eyelet perforated cap-toe derby shoes that, with his light tan socks, nicely complement his cream trousers.

Luckily, Colonel Race's hat isn't enough straw to break this camel's back.

Luckily, Colonel Race’s hat isn’t enough straw to break this camel’s back.

Colonel Race wears a white poplin shirt with a semi-spread collar, front placket, and double (French) cuffs with gold cufflinks.

As he proudly and correctly uses his rank in civilian life, Colonel Race wears only one long tie throughout Death on the Nile – the Royal Green Jackets’ regimental striped tie of red and black stripes on a forest green ground (like this one), an obvious choice for a proud officer that served in that regiment. Even the wide band on Colonel Race’s stiff straw boater is striped with the distinctive Royal Green Jackets regimental stripe.

There’s only one problem: the Royal Green Jackets weren’t formed until 1966, three decades after Death on the Nile is set.

Though Colonel Race, Andrew Pennington (George Kennedy), and Hercule Poirot (Peter Ustinov) are all adequately dressed for a sightseeing tour in late 1930s Egypt, only Colonel Race's ensemble - straw boater aside - is truly timeless. Also note Lois Chiles looking pensive over Peter Ustinov's left shoulder; the following year, she would star as "Bond girl" Dr. Holly Goodhead in Moonraker.

Though Colonel Race, Andrew Pennington (George Kennedy), and Hercule Poirot (Peter Ustinov) are all adequately dressed for a sightseeing tour in late 1930s Egypt, only Colonel Race’s ensemble – straw boater aside – is truly timeless.
Also note Lois Chiles looking pensive over Peter Ustinov’s left shoulder; the following year, she would star as “Bond girl” Dr. Holly Goodhead in Moonraker.

Niven himself had served with the Rifle Brigade, the light infantry regiment from which the Royal Green Jackets descended. Niven almost certainly wears the Royal Green Jackets’ regimental stripe throughout the film as a tribute to his service in the Rifle Brigade.

Colonel Race wears all of his jewelry on his left hand – a gold signet ring on his left pinky and a gold wristwatch with a gold bracelet.

David Niven, George Kennedy, and Peter Ustinov in Death on the Nile (1978)

David Niven, George Kennedy, and Peter Ustinov in Death on the Nile (1978)

How to Get the Look

Colonel Race dresses with the sophisticated dignity that one would expect from David Niven. His timeless outfit pays homage to British military heritage while also exploring the virtues of versatility when dressing for warm weather.

  • Light taupe gabardine double-breasted 6×2-button suit jacket with full-bellied peak lapels, welted breast pocket, straight jetted hip pockets, 4-button cuffs, and ventless back
  • Cream gabardine double forward-pleated trousers with suspender-button waistband, straight side pockets, jetted back pockets, and turn-ups/cuffs
  • White cotton poplin dress shirt with semi-spread collar, front placket, and double/French cuffs
    • Gold cuff links
  • Royal Green Jackets regimental striped necktie
  • Brown two-tone woven suspenders with gold adjusters and brown button-loop straps
  • White leather 5-eyelet perforated cap-toe bluchers with black leather soles
  • Light tan ribbed cotton socks
  • Stiff straw boater hat with wide Royal Green Jackets regimental striped ribbon
  • White ribbed cotton sleeveless undershirt
  • Gold wristwatch on gold bracelet, left wrist
  • Gold signet ring, left pinky

Do Yourself a Favor and…

Buy the movie.


Mad Men –“Smoke Gets In Your Eyes”

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Mad Men premiered ten years ago today on AMC, revolutionizing television and introducing the world to mysterious ad man Don Draper (Jon Hamm), the womanizing Korean War veteran whose endless consumption of Old Fashioneds and Lucky Strikes seem to serve only to make him better at his job.

The quintessential American businessman, Draper sports a classic gray flannel suit throughout the pilot episode. Check out this slightly updated version of one of my first BAMF Style posts on the tenth anniversary of “Smoke Gets In Your Eyes” (episode 1.01).

(Please forgive any dated references – this post first went live in October 2012!)

BAMF Style

Jon Hamm as Don Draper in the Mad Men pilot episode.

Vitals

Jon Hamm as Don Draper, Madison Avenue ad man with a dark past

New York City, March 1960

Series: Mad Men
Episode: “Smoke Gets In Your Eyes” (Episode 1.01)
Air Date: July 19, 2007
Director: Alan Taylor
Costume Designer: Janie Bryant

Background

If you haven’t yet seen Mad Men, most of your friends or every award show is convincing you to watch it. If you have seen it, then you likely know every episode from all seven series by heart, and you’ve been to at least two Mad Men parties.

Mad Men is a refreshing phenomenon to Americans. Refreshing especially after waves of popular TV meant Jersey Shore or Dancing With the Stars, or the inevitable and dreaded Dancing With the Stars of Jersey ShoreMad Men has style, class, and a story that is…

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BAMF Style: My 5 Formative Movie Suits

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For my birthday today (July 21, same as Ernest Hemingway and Robin Williams), I hope you’ll excuse an indulgent post as I explore the suits that grabbed my attention from a young age and stirred my early interest in men’s style. Though, given the dapper white jacket that Sean Connery wore on the cover of GQ the month I was born, I should have known what direction my life would eventually take!

While not necessarily the greatest suits to every appear in the movies, these five each contributed to my interest in menswear that led to the eventual creation of BAMF Style a decade later. Interestingly, all of the featured outfits are from period films, highlighting fashion of an earlier era (the 1930s, in more cases than not) and accentuated by a musical soundtrack designed to emphasize the character and the moment.

Warren Beatty in Bonnie and Clyde (1967), Jack Nicholson in Chinatown (1974), Nicholas Clay in Evil Under the Sun (1982), Ray Liotta in Goodfellas (1990), and Robert Redford in The Sting (1973)

Warren Beatty in Bonnie and Clyde (1967), Jack Nicholson in Chinatown (1974), Nicholas Clay in Evil Under the Sun (1982), Ray Liotta in Goodfellas (1990), and Robert Redford in The Sting (1973)

Bonnie and Clyde: Warren Beatty’s Brown Herringbone Tweed Three-Piece Suit

“All dressed up to rob a bank,” was costume designer Theadora Van Runkle’s note accompanying her early sketches of Clyde Barrow’s brown herringbone suit for the gang’s successful heist. Van Runkle must have had a soft spot for this classic but unseasonably warm tweed three-piece suit, as virtually the exact same suit appeared in the final version of the film itself with a green polka-dot tie, Panama hat, and spectator shoes. In a film renowned for its classic-inspired but modern-influenced fashion sense, this suit with its half-belted “action back” jacket is one item straight out of 1933.

Warren Beatty as Clyde Barrow in Bonnie and Clyde (1967)

Warren Beatty as Clyde Barrow in Bonnie and Clyde (1967)

The Suit: Brown herringbone tweed three-piece suit with a half-belted ’30s “action back” and high-fastening vest. White shirt with point collar and button cuffs. Green tie with bold yellow polka dots. White Panama hat with a black band. Black-and-white wingtip spectator brogues with black socks.

Check out my BAMF Style post from November 2014 for more information.

The Music: Lester Flatt & Earl Scruggs – “Foggy Mountain Breakdown”

The Story: I can’t remember what drove my early interest in Depression-era outlaws, but Bonnie and Clyde had always been on my cultural radar as I delved into my countless books about outlaws of the era, including Clyde Barrow and Bonnie Parker themselves. I first caught Bonnie and Clyde during a TCM movie marathon in the summer before I entered seventh grade. The next day, I bought the DVD at Media Play… and immediately rewatched it.

How old was I? 7th grade (2002)

Did I ever try to pull it off? Yes. I had purchased a similar suit on eBay and wore it for a few scenes of a student film I made about the life of 1930s bank robber “Pretty Boy” Floyd, one of Clyde Barrow’s contemporaries.

Chinatown: Jack Nicholson’s Light Gray Gabardine Three-Piece Suit

As “nosy” investigator J.J. Gittes in Chinatown (1974), Jack Nicholson refreshed the classic private eye “uniform” of a trench coat and dark suit with his bold wardrobe of earth tones, cream linen, and creative gray suits. In an example of the latter, a light gray gabardine three-piece suit, Nicholson looks cool and calm while conducting some surveillance on some suspicious behavior at Echo Park Lake.

Jack Nicholson as J.J. Gittes in Chinatown (1974)

The Suit: Light gray gabardine three-piece suit with a sweeping six-on-two button double-breasted front. Pink shirt with a contrasting white point collar and double/French cuffs with gold cuff links. Black-and-white glen plaid tie with pink overcheck. Dark gray felt fedora with a black band. Brown suede wingtip brogues. Dark red silk display kerchief.

Check out my BAMF Style post from June 2017 for more information.

The Story: Chinatown is one of many great films that I must thank my parents for introducing me to a young age. It was the first movie that ever sent me searching for the screenplay as quickly as possible after the credits rolled… although I did need some time to process the film’s famous finale before scrambling to the Internet.

If you haven’t yet read it, Robert Towne’s screenplay is a masterpiece in itself and encouraged me to embrace the medium of screenwriting and fully explore my own potential with it.

How old was I? 9th grade (2003)

Did I ever try to pull it off? Not to this degree. I had a light gray gabardine three-piece suit and a light gray birdseye double-breasted suit but never the twain have met. (Yet.)

Evil Under the Sun: Nicholas Clay’s Powder Blue Double-Breasted Summer Suit

After spending the majority of Evil Under the Sun (1982) masquerading as a philandering husband who abuses his desperate and destitute wife, Patrick Redfern (Nicholas Clay) makes a grand appearance with his wife Christine (Jane Birkin) in stylish duds that no one on the remote resort island would have ever pictured in the couple’s wardrobe. The emphasis is on Christine’s “transformation”, but Patrick’s affluent-looking traveling suit completes the impact of the duplicitous couple’s fashionable revelation.

Nicholas Clay as Patrick Redfern in Evil Under the Sun (1982), pictured here with Jane Birkin

Nicholas Clay as Patrick Redfern in Evil Under the Sun (1982), pictured here with Jane Birkin

The Suit: Powder blue lightweight worsted double-breasted suit in a wide-shouldered ’30s cut. White shirt with double (French) cuffs. Azure blue striped scarf swapped out for a low-contrast striped tie. White bucks and powder blue socks to match the suit.

Check out my BAMF Style post from August 2013 for more information.

The Music: John Lanchberry – “The Grotto” (arranged from Cole Porter’s “My Heart Belongs to Daddy” and “Just One of Those Things”)

The Story: I was in fifth grade when my sister tossed me a book she was reading for her ninth grade English class. It was Agatha Christie’s And Then There Were None, and it instantly instilled a love of old mysteries that remains to this day. After finishing the book in one sleepless night, I quickly began scouring my local Borders for as many Christie mysteries as I could find as well as their cinematic adaptations.

Evil Under the Sun, one of the more stylish if less thrilling movies based on Agatha’s books, was one of the first movies I owned on DVD, and my grandma and I must have watched it every other weekend for a year. The instrumental Cole Porter soundtrack, scored and arranged by John Lanchberry, remains one of my favorite albums to queue up for summer relaxation.

How old was I? 5th Grade (2000)

Did I ever try to pull it off? Not yet.

Goodfellas: Ray Liotta’s Gray Silk Suit

Among his many other skills, Martin Scorsese is a master of using music to create his moments on screen. After spending some time with the teenage Henry Hill and his cronies in 1950s Brooklyn, the scene freezes and the booming vocals of Billy Ward and the Dominoes’ “Stardust” takes over… transporting the viewer from a 1955 courtroom to “Idlewild Airport, 1963” and a pair of snappy alligator loafers.

“You look like a gangster!” were the horrified words of Henry’s mother when she sized her teenage son up from his pointy shoes to his double-breasted suit. Now, less than a decade later, we come to the same realization ourselves as we pan up the sharp silk suit and casually unbuttoned knit shirt to reveal the adult Henry, now far more a gangster than his mother could have feared.

Ray Liotta as Henry Hill in Goodfellas (1963). Left: Joe Pesci and Liotta on screen. Right: The iconic vertical tracking shot that introduces the adult Henry to audiences

Ray Liotta as Henry Hill in Goodfellas (1963)
Left: Joe Pesci and Liotta on screen
Right: The iconic vertical tracking shot that introduces the adult Henry to audiences

The Suit: Dark gray silk suit with slim Jet Age styling. Black knit shirt with gray gradient stripes and straight-cut bottom. Olive alligator tassel loafers.

Check out my BAMF Style post from October 2012 for more information. (NB: This post, like many others, is in sore need of an update.)

The Music: Billy Ward & his Dominoes – “Stardust”

The Story: I received Goodfellas as a Christmas gift when I was in eighth grade. I had never seen it and had only barely heard of it, although The Godfather and The Godfather Part II were regulars on my watch list and my bookshelves were full of volumes about gangland lore from the Castellammarese War to Peter Maas’ biographies of mob informants. From the first scene (and you all know the one I mean), my notion of how movies could entertain changed forever.

How old was I? 8th grade (2002)

Did I ever try to pull it off? Not yet. Would that I could find a shirt like that, though…

The Sting: Robert Redford’s Russet Brown Chalkstripe Suit

Thrilled from the unexpectedly large yield of his latest con, the first thing that Johnny Hooker (Robert Redford) does with his new loot is to head straight to a haberdashery to pick up the finest duds that a small-time grifter would want in 1936 Joliet, Illinois. Emboldened by his skid row suit and the requisite flowers and champagne, Hooker struts off to the local burlesque theater to pick up his date for the night and show her a good time… and by that I mean pissing away the rest of his income in a mob-owned basement gambling den.

Robert Redford as Johnny Hooker in The Sting (1973), pictured here with Sally Kirkland

Robert Redford as Johnny Hooker in The Sting (1973), pictured here with Sally Kirkland

The Suit: Russet brown chalkstripe suit with single-breasted, peak-lapel jacket and pleated trousers worn with suspenders. Pale blue geometric patterned shirt with long collar. Maroon, blue, and gray abstract-striped “kipper tie”. Brown mixed tweed newsboy cap. Brown leather wingtip brogues.

Check out my BAMF Style post from January 2013 for more information. (As noted in the Goodfellas post above, this early post could certainly use a rewrite… or at least a tune-up.)

The Music: Marvin Hamlisch – “The Easy Winners” (written by Scott Joplin)

The Story: For as influential as the above suits were for me, it was The Sting that truly stirred my sartorial interest from the moment I saw it. Edith Head’s well-deserved Academy Award for Best Costume Design radiated from every frame and led to an overhaul of my wardrobe from oversized Abercrombie & Fitch t-shirts, basketball shorts, and Vans to pinstripe suits, waistcoats, and flat caps… which made sixth grade even more awkward than it should be.

Despite the social setbacks that may have resulted from insisting on wearing a three-piece suit to school field trips, a lasting appreciation for menswear was developed after my parents first introduced me to The Sting, and my closet would never be the same.

How old was I? 6th grade (2001)

Did I ever try to pull it off? Indeed. I found a similar brown pinstripe suit at Value City – although it was a more neutral brown and it was double-breasted – and wore it for Halloween in 7th grade. Arguably my most esoteric costume to date.


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