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The Good Place: Michael’s Gray Plaid Suit

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Ted Danson as Michael on The Good Place. (Episode 1.08: "Most Improved Player")

Ted Danson as Michael on The Good Place. (Episode 1.08: “Most Improved Player”)

Fellow fans of The Good Place can rejoice… the third season of this forking great comedy returns tonight with an hour-long premiere episode on NBC!

Vitals

Ted Danson as Michael, afterlife “architect”

The Good Place, present day

Series: The Good Place
Episodes:
– “Most Improved Player” (Episode 1.08), dir. Tristram Shapeero, aired 10/27/2016
– “…Someone Like Me as a Member” (Episode 1.09), dir. Dean Holland, aired 11/3/2016
Creator: Michael Schur
Costume Designer: Kirston Mann

WARNING! Possible spoilers ahead…

Background

Following a major revelation from Eleanor Shellstrop (Kristen Bell) at the end of The Good Place‘s seventh episode, she is summoned to Michael’s office like a trip to the principal’s office. The otherwise affable architect tries to be stern but comes off more like a disappointed parent as he sets out to test her fitness to possibly stay in the neighborhood, but finds her innate dishonesty to be a considerable obstacle:

You lied so much, you forgot your own birthday. Not a great start.

Unfortunately, Michael’s attempts at testing Eleanor’s goodness is hampered by the fact that a recently murdered, and thus rebooted, Janet (D’Arcy Carden) is reduced to delivering cacti as opposed to his requested files. (If you’re unfamiliar with the show, this must be a very confusing description.)

Michael is thus forced to revert to a manual questionnaire, asking questions like “Did you ever reheat fish in an office microwave?” or “Did you ever take off your shoes and socks on a commercial airliner?”, two sins considered unforgivably grotesque even by Eleanor, a sinner described alternately as “a giant chunk of spinach in the teeth of the universe” by Michael and “a wet pile of mulch… and, like, dead slugs” by Trevor (Adam Scott), the Bad Place demon sent to retrieve her after she eventually fails Michael’s tests.

Of course, by the time Trevor and his trashy companions arrive, Michael appears to have had a change of heart and aims to negotiate to let “Fake Eleanor” stay in his neighborhood. The negotiations are complicated by his complacency and eagerness to please, however, and he ends up allowing the demons to trash Tahani’s home during an all-night rager set to the tune of “Who Let the Dogs Out?” and the Nixon tapes.

"Let's party!"

“Let’s party!”

What’d He Wear?

Eight episodes into my first viewing of The Good Place, I was so intrigued by Ted Danson’s colorful manner of dress that I knew the show would get plenty of BAMF Style attention. After all, Michael is a far cry from Danson’s oversized rugby shirts and utility shirts as Boston bartender Sam Malone on Cheers. It was specifically this gray plaid suit, which seems to make its sole appearance in this two-episode arc, that caught my attention. Michael wears a two-tone gray shadow plaid suit with a thin purple windowpane check that overlays the darker plaid in the suiting.

Like Michael’s teal plaid suit, this could certainly be described as “jaunty”, and it’s no wonder the the demons from The Bad Place treat him as an accommodating pushover. Michael can wear these playfully colorful ensembles when dealing with humans like Eleanor over whom he has total control, but Trevor’s Bad Place demons are a different story. The next day, after Tahani’s pep talk convinces him to be a tougher negotiator, he dresses in a more “serious” navy suit.

"Most Improved Player" (Episode 1.08) begins with a somber Michael calling Eleanor into his office.

“Most Improved Player” (Episode 1.08) begins with a somber Michael calling Eleanor into his office.

The single-breasted jacket has notch lapels that roll to a two-button front that Michael often wears with the top button fastened. The lapels and other edges are stitched about a half-inch from the edge. The jacket also has a welted breast pocket, for one of Michael’s many colorful pocket squares, straight flapped hip pockets, and kissing four-button cuffs. The lining is a bold purple-on-purple patterned satin silk.

The jacket’s double vents are effective for Michael, who often places at least one hand in his trouser pockets but takes pride in an impeccable appearance.

When it comes to negotiating, a plaid suit and a bow tie have no power against a guy in a bedazzled DRESS BITCH T-shirt.

When it comes to negotiating, a plaid suit and a bow tie have no power against a guy in a bedazzled DRESS BITCH T-shirt.

The suit’s matching flat front trousers have side pockets, jetted back pockets, and plain-hemmed bottoms.

Michael has evidently given up on his suspenders experiment from the fourth episode and has returned to wearing belts, which he deems far more practical, though matching belt leather and shoe leather doesn’t seem to be much of a priority in his Good Place neighborhood as he wears a black belt with a squared steel single prong buckle.

THE GOOD PLACE

Despite his black belt, Michael wears his usual walnut brown calf derby shoes with four eyelets and bicycle toes. His socks are horizontally striped in black and gray.

The party is only getting started when the Nixon Tapes are queued up on the karaoke machine.

The party is only getting started when the Nixon Tapes are queued up on the karaoke machine.

Although this is the sole appearance of the suit, Michael’s lilac striped shirt can be seen with a few other outfits – including his seafoam velvet dinner suit – over the course of The Good Place. The shirting consists of thin stripes alternating in lavender and white on a lilac cotton ground, with the colors nicely pulling out the subtle purple windowpane grid of the suiting for a more colorful overall effect.

The shirt has a spread collar, plain front, and mitred-corner button cuffs.

THE GOOD PLACE

Michael wears a navy micro-textured silk bow tie in a large butterfly (thistle) shape, making its first appearance in the show with this suit.

Making its second appearance, however, is Michael’s lavender silk pocket square with its yellow and black paisley print. He had previously worn this pocket square in the breast pocket of his muted navy plaid suit when introducing flying lessons in the show’s second episode.

Michael can't handle yet another cactus.

Michael can’t handle yet another cactus.

Michael’s eyeglasses appear to be the Oliver Peoples “Riley” frame made from black lightweight plastic with “rounded contouring, pin detailing, and a retro keyhole bridge,” as described on the OP site.

Ted Danson as Michael on The Good Place. (Episode 1.08: "Most Improved Player")

Ted Danson as Michael on The Good Place. (Episode 1.08: “Most Improved Player”)

How to Get the Look

Of his many check suit and sport jacket combinations, Michael’s gray plaid suit from the first season of The Good Place is a particular standout.

  • Gray two-tone shadow plaid suit with thin purple windowpane overcheck
    • Single-breasted 2-button jacket with peak lapels, welted breast pocket, slanted flapped hip pockets with ticket pocket, 5-button cuffs, and long double vents
    • Flat front fitted-waistband trousers with side pockets and plain-hemmed bottoms
  • Lilac striped cotton shirt with spread collar, plain front, and mitred button cuffs
  • Navy micro-textured silk bow tie
  • Black leather belt with squared steel single-prong buckle
  • Walnut brown calf leather four-eyelet bicycle-toe derby shoes
  • Black and gray horizontally striped socks
  • Oliver Peoples “Riley” black plastic-framed glasses with rounded contouring and keyhole bridge
  • Lavender silk pocket square with yellow and black paisley print

Do Yourself a Favor and…

Check out the series. The first and second seasons are currently available to stream on Netflix (as well as to purchase on DVD), and the third season premieres on NBC tonight!

The Quote

Unless I can find a compelling reason to keep you here, you will spend eternity with murderers and arsonists and people who take off their shoes and socks on commercial airlines!


Indiana Jones’ Tweed Jacket for Dinner

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Harrison Ford as Indiana Jones in Indiana Jones and the Temple of Doom (1984)

Harrison Ford as Indiana Jones in Indiana Jones and the Temple of Doom (1984)

Vitals

Harrison Ford as Indiana Jones, adventurer and archaeology professor

India, Summer 1935

Film: Indiana Jones and the Temple of Doom
Release Date: May 23, 1984
Director: Steven Spielberg
Costume Designer: Anthony Powell

Background

A memorable scene in Indiana Jones and the Temple of Doom finds the titular archaeologist and his two newly introduced companions, Willie Scott (Kate Capshaw) and Short Round (Ke Huy Quan), invited to a banquet at Pankot Palace hosted by the young Majarajah Zalim Singh (Raj Singh). The trio doesn’t take warmly to the feast, which includes such delicacies as “snake surprise” and chilled monkey brains.

One of my favorite aspects of Indiana Jones and the Temple of Doom is the alternative costumes that Indy sports when not in his signature leather jacket and fedora. In addition to a Casablanca-inspired (but ’80s-executed) white dinner jacket at the film’s outset, Indy uses this dinner as an opportunity to dress up his usual bush shirt and “pinks” trousers by donning a tweed sport jacket and bow tie.

In a way, this outfit is truest to Dr. Jones’ actual self, presenting outwardly as a respectable if somewhat old-fashioned professor while he remains a tough and daring adventurer at his core.

What’d He Wear?

Tweed is a staple of Indiana Jones’ wardrobe, however the rugged woolen cloth typically makes its appearance as the suiting of choice for one of his three-piece numbers while teaching in the sober environs of Marshall College.

Indy showed remarkable foresight in bringing along this tweed jacket, perhaps anticipating that his adventures might lead him to a situation calling for more formal attire than his brown leather jacket. The sport jacket in question is a barleycorn tweed woven with dark brown and tan threads.

Note the weave of Indy's tweed jacket.

Note the weave of Indy’s tweed jacket.

This marks the only appearance of this particular tweed jacket in the Indiana Jones series, as it’s not orphaned from either of the tweed three-piece suits that Dr. Jones wears in Raiders of the Lost Ark or Indiana Jones and the Last Crusade.

Indy’s ventless, single-breasted jacket has notch lapels with swelled edges that roll to a two-button front. The two front buttons and the two buttons on the end of each sleeve are mixed brown plastic sew-through buttons. The jacket has a patch pocket on each hip and a welted breast pocket.

Magnoli Clothiers, which specializes in replica attire from movies like the Indiana Jones series, currently offers the similar “Tweed Professor Jacket” in several colors of pure wool tweed for $545.

The apple-bearing Indiana Jones pays a late night visit to Willie Scott.

The apple-bearing Indiana Jones pays a late night visit to Willie Scott.

The versatility of Dr. Jones’ khaki cotton safari shirt becomes an asset for his more formal dinner in Indiana Jones and the Temple of Doom when he is able to convert it into a dressy enough shirt by adding the aforementioned tweed jacket and a bow tie. Only the slightly darker brown sew-through buttons on the front placket and squared cuffs indicate that he may be wearing something other than the usual dress shirt.

When Jones removes his jacket upon returning to his room, we see the epaulettes (shoulder straps), self-strip front pleats, and pointed button-down pocket flaps that reveal it to be a bush shirt. According to IndyGear.com, the shirt was originally designed by Andreas Dometakis. You can pick out your own from one of two replica versions available from Magnoli Clothiers as the “Adventure Shirt”, currently offered for $125.

INDY

Indy’s dinner garb packs a professorial punch with his subtly patterned bow tie. The tie is drab dark brown to coordinate with the earthy tones of the rest of his outfit.

As you might expect, Magnoli Clothiers also offers their own replica of this tie with a “repeating ‘neat’ pattern of woven pink and green diamonds,” though this wool-and-silk neckwear is a pre-tied bow tie rather than the self-tying style that Harrison Ford wears on screen. The “Professor’s Bowtie” is available on the Magnoli site for $45.

Dr. Jones looks every bit the staid New England college professor as he drops some knowledge on the Maharaja's guests.

Dr. Jones looks every bit the staid New England college professor as he drops some knowledge on the Maharaja’s guests.

Indy’s brown khaki twill wool trousers that he wears with his leather jacket are also appropriate for his dinner with the Majarajah. Modified from the trousers nicknamed “pinks” for their puce hue by the U.S. Army and Army Air Corps officers who wore them during the World War II era, these trousers with their reverse pleats and 4″ military-style plain hem would look just as appropriate in any civilian’s closet, particularly when worn with a natty tweed jacket and bow tie to dinner.

These button-fly trousers have slanted side pockets, back pockets with scalloped, single-button flaps, and belt loops where Indy wears his officer’s-style brown cotton web belt with a brass slider buckle. Magnoli replicas of both the “Officers’ Pinks” (also their “Adventure Pants”) and the web belt can be found for $125 and $6, respectively.

INDY

Again, the versatility of Indiana Jones’s signature costume proves to be valuable as his brown waxhide ankle boots are hardly recognizable as the same rugged Alden model 405 “Truebalance” boots that he wears for traversing rickety bridges or clambering onto Nazi cargo trucks.

It was reportedly Harrison Ford himself who informed what would be Indy’s favored footwear as he was a fan of the Middleborough, Massachusetts-based Alden Shoe Company‘s boots. More information can be found at IndyGear.com, and interested buyers can still buy the “405 Original Brown” work boots or seek out Magnoli Clothiers’ “Adventure Boots” replicas for $515.

Whether seeking dangerous escapades or an exotic dinner, Indy always wears dark brown cotton lisle socks with his boots.

The evening before, Indy's well-traveled boots can be seen as he takes a few restful moments chatting with Willie.

The evening before their invitation to dinner, Indy’s well-traveled boots can be seen as he takes a few restful moments chatting with Willie.

SunglassesID.com identified Indy’s glasses as the Savile Row “Beaufort Panto” model with a 14-karat gold frame, “Chestnut” tortoise rims, and half-covered cable.

Indy and Willie discuss "nocturnal activities."

Indy and Willie discuss “nocturnal activities.”

The significance of Dr. Jones wearing his glasses to dinner, and then removing them for a trade of romantically charged bon mots with Willie was explored by the blog That Moment In, which suggests a Superman-like transformation. When he removes his glasses, Dr. Jones – the “suave, apple-munching playboy” who had inspired passionate infatuation from his students – transforms back into the focused, adventure-driven Indiana Jones who has little time for carnal extracurriculars.

How to Get the Look

Harrison Ford as Indiana Jones in Indiana Jones and the Temple of Doom (1984)

Harrison Ford as Indiana Jones in Indiana Jones and the Temple of Doom (1984)

Indiana Jones ably blends his two personalities: the analytical professor and the adventurous archaeologist. The tweed jacket, bow tie, and glasses are all emblematic – and easily removable – sartorial symbols of his position at Marshall College while the core of the outfit – his safari shirt, officer’s “pinks”, and ankle boots – reveal his truer alter ego as the Indy we all know best.

  • Brown barleycorn tweed single-breasted 2-button sport jacket with notch lapels, welted breast pocket, patch hip pockets, 2-button cuffs, and ventless back
  • Khaki cotton long-sleeve safari shirt with spread collar, pointed-flap button-down chest pockets, button-down shoulder epaulettes, vertical front strips, and squared 1-button cuffs
  • Dark brown subtly patterned bow tie
  • Light brown twill wool single reverse-pleated officer’s trousers with 7 belt loops, slanted front pockets, button-down scalloped flap back pockets, and 4″ military-hemmed plain bottoms
  • Brown cotton officer’s webbed belt with brass slider buckle
  • Brown waxhide leather Alden 405 apron-toe 5-eyelet/4-hook ankle boots with leather-faced cotton duck lining and rubber heels
  • Dark brown cotton socks
  • Gold-framed eyeglasses with tortoise rims and round lenses

Do Yourself a Favor and…

Check out the movie, or the whole series.

The Quote

Nothing shocks me. I’m a scientist.

M*A*S*H – Alan Alda as Hawkeye Pierce

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Alan Alda as Captain "Hawkeye" Pierce on M*A*S*H, Episode 1.06 ("Yankee Doodle Doctor").

Alan Alda as Captain “Hawkeye” Pierce on M*A*S*H, Episode 1.06 (“Yankee Doodle Doctor”).

Vitals

Alan Alda as Captain Benjamin “Hawkeye” Pierce, U.S. Army doctor

Korean War, 1950-1953

Series: M*A*S*H
Air Dates: September 17, 1972 – February 28, 1983
Creator: Larry Gelbart
NB: Almost all screencaps below are from the first season, which aired during the 1972-1973 season.

Background

Adapted from Robert Altman’s 1970 film MASH, itself inspired by Richard Hornberger’s 1968 novel (published under the pseudonym Richard Hooker), the Korean War-set series M*A*S*H lasted four times as long as the war it portrayed and broke new ground for serialized television, blending comedy and drama.

As one of the highest-rated shows in television history, M*A*S*H‘s eleven-season duration meant inevitable cast changes as characters from Hooker’s novel and Altman’s film were replaced with entirely new creations. Laidback commanding officer Henry Blake (McLean Stevenson) was replaced by the avuncular Sherman T. Potter (Harry Morgan) who always reminded me of my grandfather, “Trapper John” McIntyre (Wayne Rogers) was replaced by B.J. Hunnicutt (Mike Farrell) as Hawkeye’s partner-in-cocktails, and the bible-beating hypocrite Frank Burns was replaced by Boston brahmin Charles Emerson Winchester III (David Ogden Stiers) as the pompous ranking roommate in “The Swamp”.

Steadily present throughout the show’s run were chief nurse Margaret “Hot Lips” Houlihan (Loretta Swit), cross-dressing Corporal Max Klinger (Jamie Farr), gentle chaplain Father Mulcahy (William Christopher, though he was played by George Morgan in the pilot), and – of course – the martini-guzzling maverick surgeon, Captain Benjamin Franklin “Hawkeye” Pierce.

M*A*S*H will always be a special show for me as I remember watching the antics of the 4077th while getting ready for school in third grade. Even then, I had always admired Hawkeye Pierce’s laidback swagger, always getting the last word and the last laugh. No matter what my parents had laid out for me to wear to school that day, I almost always snuck a forest green flannel shirt and a set of dog tags in my backpack to wear over my t-shirt to try to emulate my TV hero… proving that taking sartorial tips from movies and TV shows is something of a lifelong habit for me.

As I was only eight years old at the time, I’m sure much of the show’s humor went directly over my head, but there were always moments that lasted: Hawkeye and Trapper heading out to defuse an unexploded “bomb”, Radar announcing Henry’s death, Hawkeye idly filing a skeleton’s fingernails, Potter and Hawkeye drunkenly shooting from a foxhole, and the iconic two-hour finale that remains one of the most watched TV broadcasts in history.

MASH

Finding clips on Youtube barely sustained my M*A*S*H nostalgia until the entire show was briefly available to stream on Netflix a few years ago. My girlfriend and I blazed through the first season, and I found myself both laughing (at jokes that I fully understood for the first time) and being emotionally moved.

The show was abruptly taken off of Netflix that spring, but my M*A*S*H fever was reawakened. Twenty years after I was sneaking my old green shirt into school to add a touch of Hawkeye to my daily look, I finally brought the whole look together for an affordable and comfortable Halloween costume (see here) that allowed me the extra bonus of guzzling martinis all night.

What’d He Wear?

OG-107 Type III Fatigues

Daily attire for Hawkeye and most of the crew at the 4077th MASH consists of the basic U.S. Army work uniform in OG-107, a dark green shade of 8.5 ounce carded cotton sateen designated as “Olive Green 107”. The OG-107 Cotton Sateen Utility Uniform was produced in three varieties over the course of its 37-year run:

  • The Type I’s production run of 1952-1963 makes it the only OG-107 uniform that would have been realistically available to the characters on M*A*S*H due to its Korean War setting, and many characters – including Trapper John – wear it.
  • The Type II with its mitred-corner pocket flaps was produced in limited numbers from April 1963 through 1964, occasionally sported on the show by Major Frank Burns and other characters.
  • The Type III remains the most commonly seen model of OG-107 fatigues due to its long production run from late 1964 through 1989 when it was superseded by the camouflaged battle dress uniform (BDU). Major updates included pointed pocket flaps, cuff buttons, and removal of the waist-hem adjuster buttons. Although it wasn’t produced until more than a decade after the Korean War ended, the Type III model is worn by Hawkeye on M*A*S*H.
    • The Type III also grew to iconic pop culture status when John Lennon wore one formerly belonging to a Sergeant Reinhardt.

More information about specific differences between the uniforms and which M*A*S*H characters wear which variations of the OG-107 uniform can be found at the Crabapple Cove tumblr page here. Interestingly, as Crabapple Cove points out, no one on the show – not even extras – can be seen in the historically correct green herringbone twill (HBT) combat uniform that was introduced during World War II and worn through the bulk of the Korean War.

But getting back to what Hawkeye and the other characters did wear…

"Sticky Wicket" (Episode 1.21)

“Sticky Wicket” (Episode 1.21)

Hawkeye’s OG-107 Type III “jungle jacket”, designated “Shirt, Man’s, Cotton Sateen, Olive Green Shade 107”, has the standard placket-less front with six sew-through concave buttons in olive drab matte-finished plastic. The two patch pockets on the chest close with the pointed flaps that were updated for the Type III, and they each close with a single button.

There is also a single button on each cuff, though Hawkeye invariably wears his shirt cuffs unbuttoned for an extra touch of insouciance. Hawkeye’s practice of wearing the shirt unbuttoned and untucked would have surely run afoul of any commander more strict than Henry Blake.

"Requiem for a Lightweight" (Episode 1.03)

“Requiem for a Lightweight” (Episode 1.03)

Hawkeye always wears a cotton short-sleeve crew-neck T-shirt in colors ranging from tan and khaki to olive and teal.

Hawkeye drafts yet another of his famous letters home in "Dear Dad...Again" (Episode 1.18).

Hawkeye drafts yet another of his famous letters home in “Dear Dad…Again” (Episode 1.18).

From the “Swamp” to the golf course, Hawkeye always wore his OG-107 Type III pants in the same 8.5 oz. cotton sateen cloth as his fatigue shirt. These flat front trousers have belt loops, front patch pockets with slanted side openings, back patch pockets with button-down flaps, and plain-hemmed bottoms.

Hawkeye, at mischief and at rest.

Hawkeye, at mischief and at rest.

The simple cotton web belt has been a mainstay of American military uniforms since its introduction to U.S. Army uniforms in 1937. In the more than 80 years since then, usage of this inexpensive, simple, and durable belt expanded to other American military branches and even organizations like the Boy Scouts of America.

While khaki, OD #3, and OD #7 had been the Army’s standardized color palette during the World War II era, the OG-107 takeover during the Korean War even extended to accessories like belts and thus Hawkeye’s belt consists of olive green cotton webbing with a brass tip and brass buckle box.

MASH

The M1948 boot in russet brown leather would have still been the issued footwear through the Korean War, so the black leather combat boots routinely hitting the dirt at the 4077th would have been yet another anachronism. In fact, it wasn’t until 1958 that black leather combat boots were authorized and quickly adopted with the earlier stocks of russet boots dyed black.

The “Boots, Service, Combat, Russet M1948″ and their black leather successors were reportedly optimal for both garrison wear with their smooth, polished grain leather uppers and for long marches with the Goodyear-welt construction, diamond-treaded soles, and the ankle support provided by eleven lace eyelets up the calf.

However, these black combat boots were modified in 1962 with the elimination of the cap-toe and a height decrease from 10.5″ to 8.5”, which also reduced the lace eyelets from eleven to nine. This model was nicknamed the “McNamara boot” as a nod to the cost-cutting Robert McNamara, Secretary of Defense to John F. Kennedy and Lyndon Johnson from 1961 to 1968. Hawkeye wears these McNamara boots with no toe caps and nine lace eyelets throughout the duration of M*A*S*H.

Radar hands Hawkeye his black combat boots in "Henry, Please Come Home" (Episode 1.09).

Radar hands Hawkeye his black combat boots in “Henry, Please Come Home” (Episode 1.09).

Even the socks worn by Hawkeye and his comrades were OG-107, and these olive drab ribbed wool socks had to be high enough to rise above the tops of his boots.

MASH

Although most of his daily attire is anachronistic, Hawkeye’s M-1951 field jacket is accurate to the period depicted across the show. Developed and issued after the bitterly cold Korean winter of 1950-1951, the “Jacket, Shell, Field, M-1951” was an improvement upon the M-1950, itself an update of the World War II-era M-1943 field jacket. For harsher weather, a separate liner could be buttoned into the inside, and a separate hood designed to fit the M-1951 field jacket, overcoat, and parka could be buttoned onto the outside of the neck. (Read more about the M-1951 field jacket at olive-drab.com or Wikipedia.)

The M-1951 retained the four-pocket structure of its immediate predecessors, but the buttons on the pockets and front closure with replaced with snaps and the front closure was reinforced with a zipper. Buttons remained at the neck, on the cuffs, and on the epaulettes (shoulder straps). The jacket could also be tightened with cinch draw cords on the waist and hem. The cloth is a wind-resistant 9-ounce cotton sateen in the same olive drab (OG-107) color as Hawkeye’s fatigues.

Bundled up in his field jacket and fatigues during "The Army-Navy Game" (Episode 1.20).

Bundled up in his field jacket and fatigues during “The Army-Navy Game” (Episode 1.20).

Ever the rascal, Hawkeye’s underwear gets more screen time than you may expect from a show about this man’s army. In the first season, at least, he seems to sport military issue under shorts in the form of khaki cotton boxers that likely have the three-button fly on the front.

Considerably less bundled when assigned to high duties in "Chief Surgeon Who?" (Episode 1.04).

Considerably less bundled when assigned to high duties in “Chief Surgeon Who?” (Episode 1.04).

By the fourth season, Hawkeye got more brazen about his skivvies, once the target of Frank Burns’ wrath when the overzealous major catches him in a pair of periwinkle-on-white striped cotton boxer shorts in “The Novocaine Mutiny” (Episode 4.21).

Frank: "What do you think you're doing, wearing civilian underpants?" Hawkeye: "Is nothing sacred? These happen to be my mother's."

Frank: “What do you think you’re doing, wearing civilian underpants?”
Hawkeye: “Is nothing sacred? These happen to be my mother’s.”

The Aloha Shirt

Blue and white seems to be Hawkeye’s go-to color for casual wear, finding any occasion to embrace leisure with his cotton Aloha shirt with a navy-and-white “Hawaiian” print. In fact, this Hawaiian shirt with his fatigue pants is actually the first outfit that Hawkeye wears on screen, seen during a round of golf and gin with Trapper John in the opening scene of the pilot episode.

OG-107 and aloha shirts on the green in the pilot episode.

OG-107 and aloha shirts on the green in the pilot episode.

The shirt pattern consists of large white hibiscus patterns printed on a navy blue ground. The short-sleeved shirt has a one-piece camp collar, a plain front with clear plastic sew-through buttons, and a breast pocket.

Ho-Jon again serves as Hawkeye's caddy in "Henry, Please Come Home" (Episode 1.09).

Ho-Jon again serves as Hawkeye’s caddy in “Henry, Please Come Home” (Episode 1.09).

While not an exact replica, gents who want to replicate the Hawkeye leisure look on a budget can pick up this navy-and-white hibiscus-patterned Aloha shirt made in Hawaii by RJC for less than $30 on Amazon. The reviews are off and on in terms of sizing and cloth quality, but I’ve found it to be comfortable on summer vacations and certainly durable enough to last the several washings it has been through.

The Cardigan

On chilly days when a Hawaiian shirt would be less than appropriate, Hawkeye layers up with a chunky charcoal cable-knit shawl-collar cardigan sweater. Arguably a civilian garment, this sweater has five sew-through buttons on the front, with the second button missing, and patch pockets on the hips. The oversized cardigan wears long like a robe, and the sleeves fall off the shoulders and are folded back once on each cuff.

Penning a letter home in the first season Christmas episode, "Dear Dad" (Episode 1.12).

Penning a letter home in the first season Christmas episode, “Dear Dad” (Episode 1.12).

The cardigan makes its first appearance when Hawkeye is training Trapper John for his boxing match in “Requiem for a Lightweight” (Episode 1.03), and it makes the rest of its infrequent appearances during episodes set in cold weather, such as the Christmas episodes.

The Robe

Particularly after grueling shifts in the O.R., cocktail hour calls for ultimate comfort. For Hawkeye Pierce, this means a maroon robe in pinwale-corded cotton. Though it may come as a surprise to some, the U.S. Army actually did issue bathrobes to its medical department (Source: WW2 U.S. Medical Research Centre.)

Hawkeye’s lightweight corduroy robe, which was auctioned in June 2016, is typical of these government-issued robes with its shirt-style collar and corded drawstring neck, waist belt, and “M.D. USA” embroidered in white on the left hip pocket.

MASH

When Hawkeye reluctantly assumes the titular duty in “Officer of the Day” (Episode 3.03), he indicates his disdain for the role by wearing his robe in lieu of a proper uniform, in addition to his hated gun belt (sans gun), black “O.D.” armband (which stands for Olivia de Haviland, if you ask Hawkeye), and a cowboy hat.

Radar explains Hawkeye's new temporary duties to him as "Officer of the Day" (Episode 3.03).

Radar explains Hawkeye’s new temporary duties to him as “Officer of the Day” (Episode 3.03).

Before the maroon U.S.-issued robe, however, Hawkeye’s pilot episode loungewear consisted of a bright red cotton kimono with black and white Japanese logography and imagery printed on the front and back.

The pilot episode featured Hawkeye in more locally influenced loungewear.

The pilot episode featured Hawkeye in more locally influenced loungewear.

Service Uniform

In yet another rare win for era-appropriate uniforms, M*A*S*H correctly depicts its officers’ service uniforms with brown jackets and khaki trousers that were reclassified as semi-dress uniforms in 1949.

The “pinks and greens” uniform, nicknamed for the pinkish khaki trousers and the green-leaning brown jackets, was the standard U.S. Army service uniform through World War II and the Korean War before it was phased out in favor of the green Class A uniform in September 1954. Now, more than 60 years after this uniform last saw service, the U.S. Army has announced its consideration of bringing back the iconic pinks and greens to supplement the all-blue Army Service Uniform (ASU) that was standardized within the last decade.

Pinks and greens for B.J., Frank, and Hawkeye for the latter's trial in "The Novocaine Mutiny" (Episode 4.21).

Pinks and greens for B.J., Frank, and Hawkeye for the latter’s trial in “The Novocaine Mutiny” (Episode 4.21).

Hawkeye’s winter service coat in a dark brown (olive drab shade no. 51) 18 ounce wool serge has peak lapels, epaulettes for the officer’s rank insignia (silver captain’s bars, in Hawkeye’s case), and a single back vent. Hawkeye and his fellow officers all wear gold “U.S.” arm-of-service pins on the jacket collars with the gold caduceus Medical Corps (MC) insignia on the lower lapels.

The two box-pleated chest pockets and the two large bellows hip pockets each close with a single gold crested shank button that resembles the four buttons on the front, with only three visible above the matching fabric belt with its gold buckle. This belted winter service coat in OD Shade 51 was primarily associated with officers of the World War II-era U.S. Army Air Forces (USAAF) until it was standardized for the U.S. Army by the early 1950s.

Hawkeye dresses to the nines with a red silk scarf and golf club for his mockery of the gung-ho Major Burns in "5 O'Clock Charlie" (Episode 2.02).

Hawkeye dresses to the nines with a red silk scarf and golf club for his mockery of the gung-ho Major Burns in “5 O’Clock Charlie” (Episode 2.02).

The semi-dress/service uniforms worn by the 4077th’s male officers are worn with khaki shirts and brown ties, the combination standardized by the time of the Korean War after a decade of the dress code’s evolution.

The khaki cotton poplin shirt had emerged as the standard “Class C” warm-weather service shirt in 1942, replacing the “Class A” white linen shirt. By the time of the Korean War, the shirt was designated “Summer, Semi dress, Army Shade 61” with a narrow spread collar, epaulettes, two chest pockets with mitred-corner, button-down flaps, and two-button cuffs.

The chocolate brown ties worn by Hawkeye and his cohorts are wool-and-mohair blend ties in the same OD Shade 51 as the winter semi-dress coats.

"The Moose" (Episode 1.05)

“The Moose” (Episode 1.05)

Officers across the U.S. Army and the USAAF were familiar with the puce-colored wool elastique trousers in “drab shade 54”, informally known as “pinks” for their pinkish hue (or “rosy glow”, if you will.)

While strictly a military-issued trousers, officers’ pinks have taken on a newfound popularity due to the pleated pair that Harrison Ford wore as Indiana Jones. By the early 1950s, standardization of military uniforms meant Hawkeye was issued a pair of less complicated flat-fronted pinks with belt loops, straight side pockets, back pockets with scalloped button-down flaps, and plain-hemmed bottoms. He wears another web belt, this one in a yellow shade of khaki with a brass slider buckle.

"Henry, Please Come Home" (Episode 1.09) finds Hawkeye, Trapper John, and Spearchucker Jones welcoming Henry by the episode's end.

“Henry, Please Come Home” (Episode 1.09) finds Hawkeye, Trapper John, and Spearchucker Jones welcoming Henry by the episode’s end.

Before the U.S. Army transitioned from brown footwear to black footwear in the mid-to-late 1950s, Hawkeye and his pals appropriately wore russet brown leather derby-laced service shoes and dark brown cotton lisle with their service uniforms.

Kimonos and service uniforms when visiting Henry Blake, who has been temporarily reassigned to Tokyo, in "Henry, Please Come Home" (Episode 1.09).

Kimonos and service uniforms when visiting Henry Blake, who has been temporarily reassigned to Tokyo, in “Henry, Please Come Home” (Episode 1.09).

Hawkeye wears both the peaked officer’s caps and folding garrison cap with his service uniforms. When wearing the garrison cap, his silver captain’s bars are pinned to the left side.

The first appearance of Hawkeye in his service uniform, during "The Moose" (Episode 1.05).

The first appearance of Hawkeye in his service uniform, during “The Moose” (Episode 1.05).

Though he isn’t a follower of Army decorum, Hawkeye does seem to swap out for a dressier timepiece when dressed in his service uniform, sporting a gold wristwatch on an expanding bracelet when dressed in his pinks and greens.

Hawkeye’s Accessories

A hallmark of Hawkeye’s rakish daily look is wearing his dog tags on the outside of his undershirt, considered a no-no by those in the know.

Drawing straws for a date with the titular nurse in "Edwina" (Episode 1.13).

Drawing straws for a date with the titular nurse in “Edwina” (Episode 1.13).

For much of the pilot episode, Hawkeye wears a brown bucket hat with a tall crown, a holdout from the camouflage bucket hat that Donald Sutherland wore for his portrayal of Hawkeye in the 1970 film MASH. Once the show quickly became an independent entity, the bucket hat saw only limited reappearances.

Hawkeye's bucket hat in the pilot episode maintained sartorial continuity with the 1970 movie, but it wouldn't remain an established part of his image as the show went on.

Hawkeye’s bucket hat in the pilot episode maintained sartorial continuity with the 1970 movie, but it wouldn’t remain an established part of his image as the show went on.

For colder weather, Hawkeye bundles up with a brown wool knit “watch cap” and occasionally supplements that with a mustard brown wool scarf.

Christmas martinis in "Dear Dad" (Episode 1.12).

Christmas martinis in “Dear Dad” (Episode 1.12).

Whether its the diffusing of an unexploded bomb or a drive into hostile territory, extreme situations call for even a non-combat officer like Hawkeye Pierce to don his M1 helmet, the U.S. Army’s iconic steel helmet that was standard issue from the start of World War II in 1941 until 1985.

The M1 helmet actually consists of two helmets: the “steel pot” shell over an adjustable-fitting liner, the latter of which could be worn on its own for hard hat-like purposes though it would provide little practical protection in a combat scenario.

Hawkeye dons his little-seen helmet to diffuse a bomb in "The Army-Navy Game" (Episode 1.20).

Hawkeye dons his little-seen M1 helmet to diffuse a bomb in “The Army-Navy Game” (Episode 1.20).

Hawkeye also wears a wristwatch, a simple steel watch with a silver dial on a khaki fabric strap that differs from the black-dialed field watches worn by most of his cohorts like Trapper John (and certainly differs from the Rolex Submariner that appears to be worn by Henry Blake!)

Hawkeye's watch pokes out from under his sleeve in the pilot episode.

Hawkeye’s watch pokes out from under his sleeve in the pilot episode.

What to Imbibe

Swill gin? Sir, I have sipped, lapped, and taken gin intravenously, but I have never swilled!

Hawkeye Pierce takes his drinking seriously, as his response to Frank Burns in “Chief Surgeon Who?” (Episode 1.04) illustrates. Gin is his intoxicant of choice, homemade in a rudimentary still constructed in his barracks, “The Swamp”, that he shares with fellow aficionado Captain “Trapper John” McIntyre. And in said still, “these guys make a gin that can melt your dog tags,” testifies the psychiatrist Captain Hildebrand in “Divided We Stand” (Episode 2.01).

Hawkeye drinks hundreds of martinis over the course of the show, including 37 in the first season alone… and that’s with an uncharacteristic zero martinis in seven of these 24 episodes.

"I'd like a dry martini, Mr. Quoc, a very dry martini. A very dry, arrid, barren, desiccated, veritable dust bowl of a martini. I want a martini that could be declared a disaster area. Mix me just such a martini."

“I’d like a dry martini, Mr. Quoc, a very dry martini. A very dry, arrid, barren, desiccated, veritable dust bowl of a martini. I want a martini that could be declared a disaster area. Mix me just such a martini.”

Hawkeye: Actually, I’m pursuing my lifelong quest for the perfect, the absolute driest martini to be found in this or any other world. And I think I may have hit upon the perfect formula.
Trapper John: Five to one?
Hawkeye: Not quite. You pour six jiggers of gin and you drink it while staring at a picture of Lorenzo Schwartz, the inventor of vermouth.

(While Lorenzo Schwartz is a funny name, it was actually Antonio Benedetto Carpano who is credited with the development of modern vermouth in 1786 when the distiller infused white wine with herbs and spices to create a beverage so popular that he was forced to keep his shop open 24 hours a day.)

Hawkeye stares at the "red wine" he created in an empty vermouth bottle using gin and food coloring for his date with the wounded nurse, Lieutenant Erika Johnson (Joan Van Ark) in "Radar's Report" (Episode 2.03).

Hawkeye stares at the “red wine” he created in an empty vermouth bottle using gin and food coloring for his date with the wounded nurse, Lieutenant Erika Johnson (Joan Van Ark) in “Radar’s Report” (Episode 2.03).

Hawkeye is loyal to his potable of choice, turning down celebratory champagne from Ho-Jon in “Cease-Fire” (Episode 1.23) despite rumors of a possible end to the war. “I’ll stick with gin,” Hawkeye assures him. “Champagne is just ginger ale that knows somebody.”

However, the potential cease-fire is one of several situations that finds Hawkeye and the boys enjoying their brew of choice, the fictional Star beer.

Trapper John and Hawkeye celebrate the possibility of war's end with beer in "Cease-Fire" (Episode 1.23).

Trapper John and Hawkeye celebrate the possibility of war’s end with beer in “Cease-Fire” (Episode 1.23).

TV shows like M*A*S*H generally featured less real world products than movies due to product placement concerns, so fictional labels like Star must be deployed for the surgeons and nurses of the 4077th to drown their sorrows after long days of meatball surgery. The 1970 film, on the other hand, featured plenty of Budweiser and Pabst Blue Ribbon enjoyed by Hawkeye, Trapper John, Ugly John, Duke Forrest, the Painless Pole, and even Father Mulcahy.

The Gun

Despite his position as an officer in the United States Army, Hawkeye Pierce is far more comfortable carrying a martini glass than a firearm. In fact, when Frank Burns orders him to don a holster and gun belt in “Officer of the Day” (Episode 3.03), Hawkeye responds with:

I will not carry a gun, Frank. When I got into this war, I had a very clear understanding with the Pentagon: no guns. I’ll carry your books, I’ll carry a torch, I’ll carry a tune, I’ll carry on, carry over, carry forward, Cary Grant, cash-and-carry, carry me back to Old Virginnie, I’ll even harakari if you show me how, but I will not carry a gun!

Two seasons later, Hawkeye was again memorably asked to take up arms in the episode “Hawkeye Get Your Gun” (Episode 5.11) when he and Colonel Sherman T. Potter find themselves drunkenly taking cover in a foxhole from enemy fire.

Hawkeye reluctantly holds his service pistol, in fact a 9mm Star Model B rather than the M1911A1 that was issued and fielded by the U.S. military through most of the 20th century.

Hawkeye reluctantly holds his service pistol, in fact a 9mm Star Model B rather than the M1911A1 that was issued and fielded by the U.S. military through most of the 20th century.

Col. Potter: I said fire that weapon.
Hawkeye: All right. (to the gun) You’re fired. (to Potter) I did it as gently as I could.

Although the venerable M1911A1 was the U.S. military’s service pistol through most of the 20th century, including the Korean War, the unreliable nature of .45-caliber blanks cycling through semi-automatic pistols at the time of the show’s production meant the Star Model B, a Spanish-made pistol in 9x19mm Parabellum, often stood in for the classic .45.

Functionally and cosmetically similar to a standard .45-caliber 1911 pistol with its recoil operation and single-action trigger, the Star Model B can be differentiated for its brass external extractor on the right side of the slide and the lack of a true 1911’s signature grip safety.

How to Get the Look

Alan Alda as Captain "Hawkeye" Pierce on M*A*S*H

Alan Alda as Captain “Hawkeye” Pierce on M*A*S*H

Hawkeye Pierce’s daily fatigues – and M*A*S*H as a whole – is a celebratory showcase of the U.S. military’s olive drab aesthetic, although the work uniform worn by Alan Alda shares much more in common with Vietnam War-era uniforms than the older garb that would have been issued during the Korean War in the early 1950s.

  • Olive green cotton sateen M-1951 field jacket with zip/snap front, four snap-flapped pockets, epaulettes, and 1-button cuffs
  • Olive green cotton sateen OG-107 Type III shirt with 6-button front, two button-down pointed-flap chest pockets, and 1-button cuffs
  • Khaki cotton short-sleeve crew-neck T-shirt
  • Olive green cotton sateen OG-107 Type III flat front pants with belt loops, button fly, patch side pockets, button-down flapped back pockets, and plain-hemmed bottoms
  • Olive green cotton web belt with brass slider buckle
  • Black leather plain-toe combat “McNamara boots” with nine eyelets
  • Olive green wool socks
  • Light khaki cotton boxer shorts
  • Steel dog tags
  • Steel wristwatch with plain silver dial on khaki strap

You can read more about authorized U.S. Army uniforms during the Korean War at the appropriately titled olive-drab.com.

Alda’s maroon corduroy robe and blue-and-white Aloha shirt were donated to the Smithsonian after the show wrapped, and photos of the screen-worn costumes can be found here.

Do Yourself a Favor and…

Check out the series. All eleven seasons are commercially available, and I was very lucky to have recently received the complete DVD set from my girlfriend’s parents as a birthday gift.

The Quote

War isn’t hell. War is war, and hell is hell. And of the two, war is a lot worse.

Footnote

Alan Alda was one of only two main cast members who actually served in the U.S. military in Korea, having spent a six-month tour with the U.S. Army Reserve in Korea. The other cast member was Jamie Farr, whose two-year stint in the U.S. Army led him to Japan and Korea.

From Russia With Love – Red Grant on the Orient Express

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Robert Shaw as Donald "Red" Grant in From Russia With Love (1963)

Robert Shaw as Donald “Red” Grant in From Russia With Love (1963)

Vitals

Robert Shaw as Donald “Red” Grant, lethal SPECTRE assassin

The Orient Express, Spring 1963

Film: From Russia With Love
Release Date: October 10, 1963
Director: Terence Young
Costume Designer: Jocelyn Rickards

Background

Two years ago on the 00-7th of October, I wrote about the gray wool suit that Sean Connery’s James Bond wore in From Russia With Love during his brutal fight with SPECTRE assassin Red Grant (Robert Shaw) aboard the Orient Express. Today’s post features Grant’s suit – also gray wool but in a heavier suiting mixed with brown yarns for a warm, fall-friendly outfit – in addition to the watch and weapons that are the tools of Grant’s unsavory trade.

In one of the most faithful retellings of an original Ian Fleming plot, Bond’s escape from Istanbul aboard the famed Orient Express finds him calling for backup from MI6, who sends the staid Captain Nash (William Hill) from Station Y to intercept Bond at the station in Zagreb, Croatia. However, the icy “Red” Grant is already several steps ahead of our protagonist and makes short work of Nash, assuming his identity with what Ian Fleming describes as a “cheap brogue” and appending his sentences with “old man” to the annoyance of Bond after the two make contact.

After Bond satisfies his suspicions with a cursory search of “Nash”‘s belongings, he, Grant, and a lovesick Tatiana Romanova (Daniela Bianchi) sit down for supper in the dining car for a dinner of grilled sole and wine. Bond orders Taittinger Blanc de Blanc for Tatiana and himself, and Grant may have managed to avoid suspicion if he had followed 007’s example of ordering white wine… but the unsophisticated assassin can’t help himself and orders Chianti. “The red kind,” he even clarifies to the astounded waiter. Bond does his best to disguise his dismay, but he once again grows suspicious.

Will fifty gold sovereigns be enough to buy James Bond out of trouble?

Will fifty gold sovereigns be enough to buy James Bond out of trouble?

…though not quite suspicious enough. Minutes later, Bond finds himself waking in a daze in his own cabin, staring at his own Walther PPK pointing back at him in the hands of a focused madman devoid of a conscience. 007’s mind races, appealing to the one trait that proves to be his captor’s undoing: greed.

What’d He Wear?

Red Grant’s travel aboard the Orient Express marks a sartorial departure from the gun club check suit he’d worn for most of the story to this point. Perhaps to stay warmer as the journey takes him further north of the equator, Grant wears a heavy gray and taupe mixed wool suit with white and brown yarns creating a stripe effect in the suiting.

The texture and colors of Grant’s suit recall the “reddish-brown tweed coat” that Ian Fleming described his literary counterpart to be wearing, but the similarities between the clothes worn in the book and in the movie end there.

Grant remains taciturn as Bond tries to make sense of his situation.

Grant remains taciturn as Bond tries to make sense of his situation.

“You look very fit, Nash,” observes Bond, with a hint of suspicion. If Grant had wanted to downplay his athleticism, he could have opted for a suit with a fuller fit that would have concealed Robert Shaw’s muscular physique. However, Grant himself has a good deal of vanity – ironically, one of the many traits he hates about Bond – and it is this degree of vanity that prevents him from wearing something that would be less flattering.

The single-breasted suit jacket has slim notch lapels of a moderate width that roll just to the top of his three-button front. He keeps a white linen handkerchief folded in the jacket’s welted breast pocket.

Red Grant prepares to execute James Bond.

Red Grant prepares to execute James Bond.

With straight flapped hip pockets and a single vent, this suit jacket has a similar cut and style to the jacket of his gun club check suit, though this jacket is uniquely detailed with only a single button on each cuff.

Grant prepares to use MI6's "secret" code to gain Bond's trust at the Zagreb station.

Grant prepares to use MI6’s “secret” code to gain Bond’s trust at the Zagreb station.

Grant’s double forward-pleated trousers are finished with turn-ups (cuffs), which receive prominent screen time as he reaches down for the holster strapped to his right ankle. As Robert Shaw appears to be wearing them with no belt, these trousers may be fitted with button-tab side adjusters like Anthony Sinclair tailored for Sean Connery to wear with his Bond suits.

The fight sequence does provide a few glimpses of the trousers under the jacket, though the dark lighting of the scene prevents all but the most eagle-eyed viewers to ascertain details beyond the fact that Grant’s trousers have side pockets and at least one jetted back pocket on the right side of his seat.

After leading the unsuspecting Captain Nash to his fate, Grant assumes the staid British agent's identity when relaxing opposite Bond on the Orient Express.

After leading the unsuspecting Captain Nash to his fate, Grant assumes the staid British agent’s identity when relaxing opposite Bond on the Orient Express.

In addition to many of the shirts worn by Sean Connery, George Lazenby, and Roger Moore as James Bond, London shirtmaker Frank Foster also made many of the luxurious shirts for Bond’s allies and villains. As Robert Shaw was a customer, it’s more than likely that his cream poplin shirt in this scene was made by Frank Foster. It has a semi-spread collar, front placket, and double (French) cuffs.

The gig is up. Grant keeps his gun drawn as he approaches a now-unconscious Bond.

The gig is up. Grant keeps his gun drawn as he approaches a now-unconscious Bond.

A continuity error shows two different sets of cuff links worn during this scene. For most of the first part of the scene, Grant wears a set of gold square cuff links with a purple stone.

Grant flashes his cuff links as he balances Bond's PPK across his own shoe to attach the suppressor.

Grant flashes his cuff links as he balances Bond’s PPK across his own shoe to attach the suppressor.

When Grant opens Bond’s case and the fight begins, he is seen wearing a set of gold disc links with a light blue enamel-filled circle and a raised gold semi-sphere center. He wears these cuff links through the end of the scene.

The pale blue-gray shirting suggests that this pick-up shot featured Robert Shaw (or a stand-in actor costumed as Grant) wearing a different shirt with the suit from this scene. That would explain the blue enamel cuff links returning, although they appear to be worn through the duration of the fight sequence.

The pale blue-gray shirting suggests that this pick-up shot featured Robert Shaw (or a stand-in actor costumed as Grant) wearing a different shirt with the suit from this scene. That would explain the blue enamel cuff links returning, although they appear to be worn through the duration of the fight sequence.

Grant’s black tie has a wider blade than Bond’s ties, and Robert Shaw wears it tied with a more Fleming-approved four-in-hand knot than the Windsor knot derided by Bond in the novel.

Grant tries to keep 007 at ease with a laidback demeanor during dinner. Unfortunately, ordering the wrong wine is no way to settle James Bond's tension.

Grant tries to keep 007 at ease with a laidback demeanor during dinner. Unfortunately, ordering the wrong wine is no way to settle James Bond’s tension.

Red Grant wears his standard footwear, a pair of black calf plain-toe slip-ons with short black elastic side gussets that resemble a Chelsea boot cut off at the ankle. They may be comfortable shoes, but Grant – in his final moments – may have found himself yearning for a pair of kicks equipped with poison-tipped blades à la Rosa Klebb.

Grant wears these shoes with a pair of plain black ribbed socks. The right sock is somewhat covered by a small black nylon holster fastened around his leg just above the right ankle with a subcompact Llama .25-caliber pistol on the outside.

Grant sneakily reaches for his concealed pistol, a .25-caliber Llama strapped to his ankle.

Grant sneakily reaches for his concealed pistol, a .25-caliber Llama strapped to his ankle.

When Grant first meets Captain Nash at the train station in Zagreb, we see Grant casually but quickly putting on a pair of gray nubuck leather gloves as the two enter the station. Grant emerges seconds later, now wearing Nash’s hat and carrying his attache case as he pulls off the gloves he wore for the murder. Later, aboard the Orient Express, the audience knows that Grant is again preparing to kill as he slides on his gloves while Bond negotiates for the proverbial last cigarette.

Grant’s other murderous accessory and one of the few gadgets seen in the film is his customized Milan wristwatch with a retractable garrote wire on an O-ring. Theheavy steel watch, replicated at YourProps.com, has a white dial with gold case markers at each quarter hour and black numeral markings at all but 3:00, where the number is cut out for a date window. The brown leather strap is debossed through the center.

Grant grins with murderous glee as he prepares to execute Bond with his garrote watch.

Grant grins with murderous glee as he prepares to execute Bond with his garrote watch.

To complete his persona as “Captain Nash”, Grant takes the deceased Station Y agent’s dark gray trilby with its narrow band and short brim. Bond himself would later appropriate this hat after killing Grant and departing the train to meet his contact.

A tale of two agents: Grant, as Captain Nash, makes contact with 007.

A tale of two agents: Grant, as Captain Nash, makes contact with 007.

Red Grant’s on-screen outfit differs much from the colorful ensemble of his literary characterization, as described here in Chapter 25 of Ian Fleming’s novel:

The man had taken off his mackintosh. He was wearing an old reddish-brown tweed coat with his flannel trousers, a pale yellow Viyella summer shirt, and the dark blue and red zig-zagged tie of the Royal Engineers. It was tied with a Windsor knot. Bond mistrusted anyone who tied his tie with a Windsor knot. It showed too much vanity. It was often the mark of a cad. Bond decided to forget his prejudice. A gold signet ring, with an indecipherable crest, glinted on the little finger of the right hand that gripped the guard rail. The corner of a red bandana handkerchief flopped out of the breast pocket of the man’s coat. On his left wrist there was a battered silver wristwatch with an old leather strap.

After he drops his cover and admits his identity to Bond, Grant divulges that his clothes were provided by “the wardrobe department” of SMERSH, the Russian counter-intelligence agency.

The Gun

A pro assassin like Red Grant would always have the right tools for his lethal job. The Mauser C96 he carried for long-range work in the gypsy camp would be impractical for concealed carry and the close quarters assassination he has planned on the Orient Express.

In addition to turning 007’s own Walther PPK against him – and carrying the actual Captain Nash’s own PPK in his attache case – “Red” Grant chooses a small but capable enough sidearm. While crouched beside James Bond in his compartment on the Orient Express, Grant slyly lets his right hand fall down his leg, pulling up his trouser cuff and swiftly drawing a subcompact .25-caliber Llama XVIII with dark brown plastic grips from an ankle holster then using it to pistol-whip Bond and briefly knock him unconscious.

The small Llama does the trick for Grant in the short run, giving him just enough of an advantage and the ability to keep Bond subdued before he can arm himself with Bond’s own PPK, chambered in the more lethal .32 ACP cartridge.

Grant keeps his Llama pointed on Bond during their confrontation on the Orient Express. The suppressor for Bond's Walther PPK sticks out of Grant's breast pocket.

Grant keeps his Llama pointed on Bond during their confrontation on the Orient Express. The suppressor for Bond’s Walther PPK sticks out of Grant’s breast pocket.

The Llama XVIII was a relatively new firearm at the time of From Russia With Love‘s production, chambered in .25 ACP with a six-round magazine as a downsized version of the Llama XV. After the passing of the U.S. Gun Control Act of 1968, the subcompact Llama XVIII was discontinued.

Reportedly weighing in around 0.51 kg despite its small size and anemic ammunition, the Llama XVIII would have been a hefty carry piece for Grant to be dragging along on his ankle. However, these miniature .25-caliber pistols appear to be the weapon of choice for SPECTRE operatives in From Russia With Love as Rosa Klebb would later draw a pearl-gripped model when confronting Bond and Tatiana in Venice during the film’s final act.

The .25 ACP is often criticized for its anemic qualities, including by Ian Fleming himself. Fleming had initially armed his hero with a .25-caliber Beretta based on his own experience with the weapon while serving with British Naval Intelligence during World War II. Once the James Bond novels were an international phenomenon by the mid-1950s, firearms expert Geoffrey Boothroyd was compelled to write to Fleming and suggest that he arm his secret agent with a more powerful weapon, suggesting a revolver like the Smith & Wesson .357 Magnum. Following some correspondence between the two that included Fleming’s insistence on a semi-automatic pistol for Bond, a compromise was reached and the author chose the German-made Walther PPK in .32 ACP (7.65mm) as his hero’s new armament.

"The first one won't kill you, not the second, not even the third... not till you crawl over here and you kiss my foot!"

“The first one won’t kill you, not the second, not even the third… not till you crawl over here and you kiss my foot!

In the novel, Grant – as “Captain Nash” – claims to be unarmed (“Got a Luger at home, but it’s too bulky for this sort of job”), so Bond hands over his .25-caliber Beretta. The weapon that Grant uses against Bond on the Orient Express was actually a weaponized version of the novel War and Peace with “ten bullets in it – .25 dumdum, fired by an electric battery,” developed by the Russians.

Robert Shaw as Donald "Red" Grant in From Russia With Love (1963)

Robert Shaw as Donald “Red” Grant in From Russia With Love (1963)

How to Get the Look

When Robert Shaw’s intimidating “Red” Grant finally steps from the shadows to make contact with James Bond during the final act of From Russia With Love, he is able to keep the agent’s suspicions at bay with his sophisticated striped suit and subdued shirt and tie… though it’s not enough to belie Grant’s ignorance in the proper wine to drink with fish.

  • Gray-and-taupe striped wool suit:
    • Single-breasted 3-button suit jacket with notch lapels, welted breast pocket, straight flapped hip pockets, 1-button cuffs, and back vent
    • Double forward-pleated trousers with side pockets, jetted back right pocket, and turn-ups/cuffs
  • Cream poplin dress shirt with spread collar, front placket, and double/French cuffs
    • Gold square cuff links with purple center stone
  • Black tie
  • Black leather plain-toe side-gusset loafers
  • Black dress socks
  • Black nylon right-hand-draw ankle holster, for subcompact .25-caliber Llama pistol
  • Milan wristwatch with heavy steel case, white dial (with 3:00 date window), brown leather strap, and garrote wire
  • Black leather gloves with basket-woven thumbs

Do Yourself a Favor and…

Check out the movie.

The Quote

You may know the right wines, but you’re the one on your knees.

The Barefoot Contessa: Bogie’s Gray Check Sport Jacket

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Humphrey Bogart as Harry Dawes in The Barefoot Contessa (1954)

Humphrey Bogart as Harry Dawes in The Barefoot Contessa (1954)

Vitals

Humphrey Bogart as Harry Dawes, Hollywood director and screenwriter

Portofino, Italy, Fall 1953

Film: The Barefoot Contessa
Release Date: September 29, 1954
Director: Joseph L. Mankiewicz
Costume Designer: Rosi Gori (uncredited)

Background

Humphrey Bogart’s role in United Artists’ 1954 Technicolor triumph The Barefoot Contessa was not dissimilar to the film’s director, writer, and uncredited producer Joseph L. Mankiewicz, who had been writing in Hollywood for a quarter century. Mankiewicz had just celebrated back-to-back Oscar wins for both Best Director and Best Screenplay for A Letter to Three Wives (1949) and All About Eve (1950) and was at the top of the Hollywood game at the time The Barefoot Contessa was produced in 1954, providing Ava Gardner with one of her signature roles and establishing a glamorous tribute to Technicolor and the waning years of Hollywood’s golden age.

Bogart’s Harry Dawes had been absent for a while by the time he catches up with Maria Vargas (Gardner) in the Italian coastal town of Portofino, itself emerging as a popular vacation spot for Bogie and his wife Lauren Bacall, who had accompanied him to the city during the production. Approximately two years had passed since Harry first met Maria in the back room of a Madrid nightclub, but it’s only been six weeks since Maria met the smooth Italian count she now plans to marry.

What’d He Wear?

Harry Dawes’ sartorial approach for the first half of The Barefoot Contessa mirrored that of Humphrey Bogart in real life, consisting of full-fitting fifties suits and sport jackets with natty bow ties. However, Harry has considerable loosened up by the time he visits Maria in Italy, and his daily dress is now exclusively casual with v-neck sweaters and open-neck shirts.

For his reunion with Maria on the streets of Portofino, Harry wears a colorfully layered ensemble anchored by a light wool sport jacket in a gray-on-light gray geometric basket weave pattern that resembles a mini-check. Like much of Humphrey Bogart’s on-screen wardrobe, the jacket appears to be part of his real life collection, as this photo from early 1949 after the birth of his son Stephen suggests.

The single-breasted sports coat has notch lapels that roll to a three-button front, which Harry wears both open and with the center button fastened. The shoulders are wide and padded in accordance with the decade’s trending fit, and the sleeves end with four buttons on each cuff. The ventless jacket has large patch pockets on the hips and a squared patch pocket on the left breast, where Harry keeps a white linen pocket square loosely tucked.

Count Vincenzo Torlato-Favrini (Rossano Brazzi) makes the acquaintance of Maria's old pal, Harry Dawes. Harry's casual American attire provides a sartorial contrast to the continental count, who is always composed in a fashionable gray suit and tie.

Count Vincenzo Torlato-Favrini (Rossano Brazzi) makes the acquaintance of Maria’s old pal, Harry Dawes. Harry’s casual American attire provides a sartorial contrast to the continental count, who is always composed in a fashionable gray suit and tie.

Under his jacket and his sweater, Harry’s shirt is barely seen but the bold slate blue color makes a big impression and helps what little is seen of the shirt pop. The shirting has a thick white windowpane check. Likely a casual long-sleeve sport shirt, the shirt has a large point collar and is worn unbuttoned at the top.

Note the subtle basket weave pattern of Harry's sports coat and compare it to the bolder, stronger windowpane check of his shirting.

Note the subtle basket weave pattern of Harry’s sports coat and compare it to the bolder, stronger windowpane check of his shirting.

Harry’s intermediate layer between his sports coat and his shirt is a light gray knit long-sleeve V-neck sweater with double sets of yellow vertical stripes.

BOGIE

Harry wears a pair of dark gray flannel trousers with a then-fashionable full fit, finished with turn-ups (cuffs) on the bottoms. No belt is seen under the buttoned jacket or the hem of his sweater, but we can assume that his belt – if he is wearing one – would be brown to coordinate with his footwear.

His shoes are walnut brown cap-toe slip-on loafers with short elastic side gussets, worn with dark gray socks that continue the leg line of his trousers into his shoes.

Ava Gardner and Humphrey Bogart on location in Portofino, February 1954.

Ava Gardner and Humphrey Bogart on location in Portofino, February 1954.

While Harry’s solid-colored suits and bow ties loosened up to patterned sport jackets and open-neck shirts by the end of the story, he always wears the same hat, a short-brimmed brown felt fedora with a narrow band and a feather on the left side of the crown.

Harry eagerly catches up with Maria. If I were having a conversation with Ava Gardner, I'd probably be hanging on to every word as well.

Harry eagerly catches up with Maria. If I were having a conversation with Ava Gardner, I’d probably be hanging on to every word as well.

The ring on Bogart’s third finger of his right hand is his usual gold ring with two rubies flanking a center diamond. On the opposing hand, he wears a gold wedding band that symbolizes Harry Dawes’ happy marriage to Jerry (Elizabeth Sellars).

The small watch on Harry’s left wrist is yellow gold with a gold dial and a russet brown leather strap. Based on the size of the small round case, it does not appear to be the tonneau-shaped Longines Evidenza that has been identified as one of Bogie’s real-life timepieces that frequently made its way into his movies.

Maria and Harry reunite in Portofino.

Maria and Harry reunite in Portofino.

Ava Gardner and Humphrey Bogart in The Barefoot Contessa (1954)

Ava Gardner and Humphrey Bogart in The Barefoot Contessa (1954)

How to Get the Look

Humphrey Bogart brought his own sartorial tendencies to his roles, and The Barefoot Contessa was reflective of Bogie’s own early ’50s aesthetic, including this casual and comfortable patterned ensemble of a sporty jacket, sweater, and shirt topped off with a short-brimmed fedora.

  • Gray basketweave-patterned wool single-breasted 3-button sport jacket with notch lapels, patch breast pocket, patch hip pockets, 4-button cuffs, and ventless back
  • Slate blue (with white windowpane check) long-sleeve sport shirt with large point collar
  • Light gray (with yellow vertical double set stripes) knit V-neck long-sleeve sweater
  • Dark gray flannel pleated trousers with side pockets and turn-ups/cuffs
  • Walnut brown cap-toe slip-on loafers with short elastic side gussets
  • Dark gray dress socks
  • Brown fedora with narrow brown band and feather
  • Gold ring with two ruby stones flanking a center diamond stone
  • Gold wedding band
  • Gold wristwatch with gold dial on russet brown leather strap

Do Yourself a Favor and…

Check out the movie… though be cautious that you’re watching the 1954 film and not Ina Garten’s much acclaimed cooking program. (Unless you’re trying to master the perfect beef bourguignon, then Ina’s got you covered.)

Steve McQueen’s Corduroy Sport Jacket as The Cincinnati Kid

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Steve McQueen and Tuesday Weld in The Cincinnati Kid (1965)

Steve McQueen and Tuesday Weld in The Cincinnati Kid (1965)

Vitals

Steve McQueen as Eric “the Kid” Stoner, hotshot poker player

Louisiana, Fall 1936

Film: The Cincinnati Kid
Release Date: October 15, 1965
Director: Norman Jewison
Costume Designer: Donfeld (Donald Lee Feld)

Background

The Cincinnati Kid was released today in 1965 with Steve McQueen in the title role as the actor was paving his way to stardom through the decade with a string of iconic movie including The Great Escape (1963), The Sand Pebbles (1966), and finally Bullitt and The Thomas Crown Affair in his banner year of 1968.

McQueen’s timeless sense of cool adds an era-defying quality to his performance as poker prodigy Eric “the Kid” Stoner. The Kid’s simple, functional wardrobe was hip enough to be contemporary to the 1960s while also reflective of the film’s 1930s setting.

McQueen’s enduring wardrobe remains relevant more than 50 years later, including outfits like this fall-friendly ensemble from the Kid’s visit to the farm where his girlfriend Christian (Tuesday Weld) lives with her family, a retreat from the Big Easy – and away from the seductive Melba (Ann-Margret) – before his high-stakes poker game.

What’d He Wear?

Like the gray tweed jacket and navy sweater worn in a previous scene, The Kid’s sports coat and sweater delivers an early template for the Bullitt look that would be forever associated with Steve McQueen’s image.

When he’s in the city, the Kid tends to wear cooler tones like black, gray, and blue, but this trip to Christian’s bucolic homestead calls for earthy tones that reflect the bucolic, homespun environment. Thus, this olive pinwale corduroy (also known as “needlecord”) single-breasted sport jacket makes its sole appearance in this sequence.

The Kid turns on the charm.

The Kid turns on the charm.

Likely ventless like his gray tweed jacket, this sports coat has fully padded shoulders with no roping at the sleeveheads. There are two buttons on each cuff.

The corduroy sport jacket has notch lapels that roll to a high-fastening three-button front. The Kid wears the collar turned up when he first arrives at Christian’s door, revealing the reinforcing square patch under each collar leaf. The jacket has four external patch pockets, two on the chest and two larger ones on the hips, all covered with non-fastening flaps.

Turning up the collar transforms the Kid's decent sports coat into a warm casual jacket.

Turning up the collar transforms the Kid’s decent sports coat into a warm casual jacket.

The Kid wears the rust burnt orange ribbed knit wool sweater that he wore with his black waxed jacket.

CINCI KID

The Kid wears the same brown wool trousers with single forward pleats, a hook-and-eye extended tab waistband front closure, small belt loops (sans belt), slanted side pockets, and turn-ups (cuffs) that he wore with the brown shawl-collar cardigan.

This pleasant pastoral scene could not be further from the world the Kid is used to... yet he seems to be taking to it rather well.

This pleasant pastoral scene could not be further from the world the Kid is used to… yet he seems to be taking to it rather well.

Not surprising for a down-on-his-luck young man who spends his money on poker games rather than trips to the tailor, the Kid only has one set of shoes, a pair of black patent leather derbies that take some abuse over the course of the movie as his craft leads to a few back-window escapes in the murky alleyways of Depression-era New Orleans.

How to Get the Look

Steve McQueen and Tuesday Weld in The Cincinnati Kid (1965)

Steve McQueen and Tuesday Weld in The Cincinnati Kid (1965)

In The Cincinnati Kid, Steve McQueen continues establishing the future Bullitt template with a textured sports coat over a pullover sweater with dark trousers, wearing earthy tones here appropriate for his getaway from the big city into the more pastoral settings of Christian’s family farm.

  • Olive pinwale corduroy single-breasted 3-button sport jacket with two flapped chest patch pockets, two flapped hip patch pockets, 2-button cuffs, and ventless back
  • Rust orange ribbed knit wool crew-neck sweater with long set-in sleeves
  • Brown wool single forward-pleated trousers with slim belt loops, extended concealed-hook front tab, slanted side pockets, and turn-ups/cuffs
  • Black leather derby shoes
  • Black socks

Do Yourself a Favor and…

Check out the movie.

Brad Pitt’s Blue Casual Wear in World War Z

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Brad Pitt and Abigail Hargrove in World War Z (2013)

Brad Pitt as Gerry Lane and Abigail Hargrove as his daughter, Rachel, in World War Z (2013)

Vitals

Brad Pitt as Gerry Lane, former United Nations investigator

Philadelphia, Fall 2012

Film: World War Z
Release Date: June 21, 2013
Director: Marc Forster
Costume Designer: Mayes C. Rubeo

WARNING! Spoilers ahead!

Background

As Halloween approaches and witches, vampires, and zombies prepare their annual big screen takeover, there’s still talk in the air of a sequel to World War Z, the 2013 thriller starring Brad Pitt as a former U.N. investigator tasked with saving his family – oh, and the world – during a viral outbreak that spawns a zombie apocalypse.

The film is loosely adapted from Max Brooks’ innovative novel, World War Z: An Oral History of the Zombie War, that employed a docudrama-style narrative as “collected” by a U.N. commissioner, measuring the geopolitical impact of the plague and its subsequent conflicts. In fact, it was the geopolitical themes that drew Brad Pitt to the idea of a film adaptation, though they were dropped during the transition to the big screen in favor of more traditional “zombie film” elements.

Though World War Z borrows little more than its title and its realism-driven approach from Brooks’ innovative novel, it remains an entertaining, suspenseful, and unique film in its own right.

Gerry Lane (Pitt) is a former U.N. investigator who now spends his days as the perfect pancake-flipping family man, living with his wife (Mireille Enos) and two daughters in a suburb of Philadelphia, almost oblivious to the viral outbreak that pervades the daily news. From his Trader Joe’s-stocked pantry to the safe Volvo station wagon, Gerry’s life is a 21st century version of the suburban Eisenhower-era ideal… until the spreading disease hits the City of Brotherly Life.

Both a good dad and a resourceful investigator, Gerry picks up the Subway Sam doll that his daughter dropped during a panicked escape… and uses the doll’s second-counting mechanism to time how fast a victim regenerates once bitten by a zombie. Once he gets his family secured with the U.S. Navy (it helps to have friends in high places), Gerry is called back into action to help track, contain, and eliminate the plague.

What’d He Wear?

The affable Brad Pitt waves to a photographer on the Glasgow set of World War Z. Many set shots like this show more details of the actual jacket and outfit than are clearly seen in the fast-moving, and often dark, action on screen.

The affable Brad Pitt waves to a photographer on the Glasgow set of World War Z. Many set shots like this show more details of the actual jacket and outfit than are clearly seen in the fast-moving, and often dark, action on screen.

Gerry Lane begins World War Z in a very accessible everyday casual ensemble of a zip-up jacket, layered v-neck sweater and T-shirt, and comfortable jeans, all in blue.

Costume designer Mayes C. Rubeo told the Costume Designers Guild that her goal was to dress Gerry’s family in “non-gloomy colors to represent a sense of hope and their try for survival — without distracting from the action.”

While the rest of his family is outfitted in more colorful clothing than the monochromatic Gerry, his outfit represents Rubeo’s goal as his layers get increasingly bolder and brighter as they get closer to the skin.

Gerry’s outer layer is a Harrington-inspired jacket in a navy lightweight waxed cotton, or possibly a cotton/nylon blend. It has the standing collar of a traditional Harrington jacket but it fastens around the neck with only one button rather than the usual two.

The jacket has slanted hand pockets with no flaps, raglan sleeves, and pointed tabs on the cuffs designed to button through one of two buttons to adjust the fit over the wrists.

Several brands offer their own replicas of this specific jacket, though of questionable quality. The quintessential Harrington jacket remains the Baracuta G9, though budget-minded shoppers may be interested in the similar jacket from ASOS with a price tag of less than $60. If you want something closer to Pitt’s jacket with the single-button throat latch and buttoning cuffs, you could check out ROYALE Filmwear’s take on the Tom Ford jacket made for Daniel Craig in Quantum of Solace.

One last moment of family bliss.

One last moment of family bliss.

Gerry’s marine blue V-neck sweater from Banana Republic is more representative of his life as an affable suburban dad than as a badass zombie-fighter. When the sweater was auctioned and sold for £732 by Prop Store last year, the material was described as “a silk, cotton, and cashmere blend,” a signature fabric blend that is still part of Banana Republic’s knitwear lineup five years later, though not in the bold blue tone worn by Gerry. The neck line, cuffs, and waist hem are narrowly ribbed for a trimmer fit.

Production photo of Fana Mokoena as Thierry Umutoni with Brad Pitt as Gerry Lane in World War Z (2013).

Production photo of Fana Mokoena as Thierry Umutoni with Brad Pitt as Gerry Lane in World War Z (2013).

Under the sweater, Gerry wears a French blue cotton T-shirt with a crew neck that fills in the gap under the dropped neckline of his sweater. The shirt is short-sleeved, as evident by the outline of the short sleeves under the upper arms of the sweater. Pitt’s signature silver ring pendant is worn on a thin silver chain under his T-shirt.

Gerry checks out the U.N.'s new command center from the RFA Argus, a British ship that portrayed the USS Argus in World War Z.

Gerry checks out the U.N.’s new command center from the RFA Argus, a British ship that portrayed the “USS Argus” in World War Z.

Gerry wears dark blue denim bootcut-style jeans with a thick brown leather belt. The tan stitched design on the bottom of the back left pocket may help identify the brand.

Left: Behind-the-scenes shot of Pitt during production in Glasgow, which doubled for Philly on screen. Right: Promotional photo of Pitt in World War Z.

Left: Behind-the-scenes shot of Brad Pitt during production in Glasgow, which doubled for Philly on screen.
Right: Promotional photo of Pitt in World War Z. Note the stitch detail on the bottom of the back pocket of his jeans.

Gerry wears a pair of black leather plain-toe boots with dark brown outsoles. These low boots are laced derby-style with brown round laces through at least four pairs of metal eyelets.

I know from experience how expensive it can be to replace a Volvo side mirror, so I can't blame Gerry from stopping to pick it up (left). I also can't blame him for slamming on the gas after realizing that zombies have taken control of Philadelphia (right).

I know from experience how expensive it can be to replace a Volvo side mirror, so I can’t blame Gerry from stopping to pick it up (left). I also can’t blame him for slamming on the gas after realizing that zombies have taken control of Philadelphia (right).

Gerry’s distinctive watch was made by the Italian brand Terra Cielo Mare, a family company inspired by Italian military history who takes its name from the Italian for “land, sea, and sky.” Part of the brand’s land-oriented (Terra) product line, the Orienteering watches take their name from the functionality that allows wearers to orient themselves using stellar maps on the back of the watch cases. Since their introduction in 2010, Orienteering watches are “dedicated to the great explorers who have always needed an instrument to orient themselves on land and sea, even in adverse conditions,” per Terra Cielo Mare’s site.

The company provided seven Terra Cielo Mare Orienteering PVD watches to the production for Brad Pitt to wear on screen, as costume designer Mayes C. Rubeo explains in her interview with Designed by Hollywood. Gerry’s watch has a black PVD-treated titanium 44mm case, black dial, and 22mm-wide strap in brown English leather.

WORLD WAR Z

Gerry wears his wedding band, which appears to be white gold, on the third finger of his left hand. It isn’t the only accessory he wears that symbolizes his connection with family.

On his right wrist, Gerry wears two colorful knotted bracelets that appear to be friendship bracelets, likely made for him by his daughters. One is embroidered with teal thread while the other appears to be brown.

WORLD WAR Z

Once Gerry sets out on his globe-trotting mission that takes him from South Korea to Israel and finally to Wales, he changes into a different dark zip-up jacket over a navy utility shirt, shemagh scarf, and baggy khaki Crye Precision G3 cargo pants.

What to Imbibe

It’s the middle of a zombie apocalypse and you and your family just narrowly escaped with your lives from the violent scene of a Newark supermarket looting. If a kind stranger hands you a Budweiser, I think that’s as good a time as any to enjoy your beer.

Gerry accepts a Bud from Tomas' father.

Gerry accepts a Bud from Tomas’ father.

The Gun

After Gerry and his family commandeer an RV to facilitate their escape from Philadelphia to Newark, Gerry’s daughter Connie digs around in the back of the RV and finds a hunting rifle, identified by IMFDB as a Remington Model 700 BDL bolt-action rifle.

Gerry picks up the Remington Model 700 that Connie found in the RV before trekking into the Newark grocery store.

Gerry picks up the Remington Model 700 that Connie found in the RV before trekking into the Newark grocery store.

The Remington Model 700 has been in continuous production since 1962 when the ADL and BDL models were introduced. In the nearly six decades since, countless variants have been developed in varying finishes, barrel lengths, calibers, and features. The venerable rifle is not only a popular hunting rifle for civilians, but it also inspired the M24 and M40 rifles for the U.S. Army and the U.S. Marine Corps, respectively, in addition to being adopted by various police and military forces around the world.

Grocery-raiding turns deadly as Gerry is forced to defend Karin during an altercation in the frozen aisle.

Grocery-raiding turns deadly as Gerry is forced to defend Karin during an altercation in the frozen aisle.

Given the effectiveness of a melee weapon in a skirmish with multiple fast-moving zombies, Gerry is given a kitchen knife by Tomas’ father which he duct-tapes to the barrel of the rifle as a makeshift bayonet.

Brad Pitt on the Glasgow set (standing in for Philadelphia) of World War Z (2013)

Brad Pitt on the Glasgow set (standing in for Philadelphia) of World War Z (2013)

How to Get the Look

Brad Pitt’s Gerry Lane makes the most of monochromatic street wear, showing us how a well-traveled action hero like Matt Damon’s Jason Bourne might adapt his utilitarian aesthetic of casual jacket, layered sweaters, and jeans to a life of comfortable suburban retirement.

  • Navy waxed cotton Harrington-inspired zip-up jacket with 1-button standing collar, raglan sleeves, adjustable-button pointed-tab cuffs, and slanted side pockets
  • Marine blue silk/cotton/cashmere long-sleeve V-neck sweater with ribbed neckline, cuffs, and hem
  • French blue cotton crew-neck short-sleeve T-shirt
  • Dark blue denim bootcut jeans
  • Brown leather belt with squared steel single-prong buckle
  • Black leather plain-toe derby boots with dark brown outsoles and brown laces
  • Small silver ring, worn as a pendant on a thin silver necklace chain
  • Terra Cielo Mare Orienteering watch with black PVD-coated titanium case, black dial, and brown leather strap
  • Two colorful friendship bracelets
  • White gold wedding band

Do Yourself a Favor and…

Check out the movie. It has the personal distinction for me as the last movie I ever saw at the iconic Twin Hi-Way Drive-In theater outside of Pittsburgh, a place where my family often watched the latest releases when I was a kid.

The Quote

Movimiento es vida. (Movement is life.)

BAMF Style’s Guide to Halloween

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9 Days to Halloween!

Do you wear a costume on Halloween? If so, do you go for something scary, witty, or low-key (I’m thinking three-hole-punch Jim…), or do you prefer something recognizable from pop culture?

I tend to aim for the latter, if for no other reason than I can usually dig into my own closet to find something comfortable. Usually one or two additional pieces need to be thrifted or bought online, but channeling my favorite movie or TV characters has always made Halloween costume hunting a relatively stress-free process.

With Halloween parties kicking into high gear this upcoming weekend, I want to provide a helpful guide for BAMF Style readers in search of costumes based on some of my own experience. For example, I’ve learned to avoid the esoteric (like my 7th grade Halloween costume when I was Robert Redford in The Sting) and embrace costumes with character-defining props, be it Don Draper’s pack of Lucky Strikes or Thomas Magnum’s Detroit Tigers cap.

My goal was to set you up with the elements you need for an easy, comfortable, and – most importantly – stress-free Halloween costume! (Plus… many elements from these costumes can be worn independently and thus expand your wardrobe! Win win.)

BAMF Style Halloween
As Amazon Prime guarantees the speedy shipping required to get these items to you in time for your Saturday party, I used that as my main source for researching pieces to order for your costume, but you should feel free to look for even more inexpensive avenues first, such as borrowing, thrifting, or even finding things from your own closet. Many of you would already have a few starters for many of these costumes, such as a white dress shirt, khaki t-shirt, blue jeans, or boots!

All prices listed for the below items are current as of October 22, 2018. Keep in mind that the below suggestions are for budget-minded Halloween costumes rather than actual outfits. Clothing you wear on a more regular basis should be a more meaningful investment.


James Bond

As played by Sean Connery in Goldfinger (1964)

Specifically… his iconic white dinner jacket worn during the opening sequence (as seen here.)

Ideal for: a “nice” house party with better photo ops and a lesser chance of spilled beer ruining your white jacket.

Sean Connery as James Bond in Goldfinger (1964)

Sean Connery as James Bond in Goldfinger (1964)

What he wore: A tailored ivory dinner jacket with slim self-faced peak lapels and a red carnation pinned to the left lapel, a white satin-striped dress shirt with gold cuff links, a slim black bow tie, midnight blue pleated formal trousers with button-tab side adjusters and satin side stripes, black loafers with elastic side-gussets and black dress socks, and a vintage Rolex Submariner dive watch on a black, olive, and green-striped NATO strap.

What you can wear:

  • Ivory dinner jacket with slim, self-faced peak lapels. Since white dinner jackets shouldn’t have silk-faced lapels (despite the Tom Ford garment that Daniel Craig wears in Spectre), a one-button suit jacket could work in a pinch. After all, this is Halloween, not a fancy dress ball.
    • Dinner jackets from Amazon, even of lesser quality, are around $99. Try thrifting.
  • Red carnation, pinned to left lapel
    • Synthetic carnation lapel pin from Amazon: $14
  • White satin-striped shirt with French cuffs
  • Gold cuff links
    • Cuff links from Amazon: $9.90
  • Black bow tie
    • The Tie Bar bow tie from Amazon: $21.99
  • Midnight blue or black pleated formal trousers with silk side braid
  • Black slip-on loafers, preferably with elastic side gussets
  • Steel dive watch with black rotating bezel and dial on a black, red, and olive NATO strap
    • Barton NATO strap from Amazon: $18.50

What to drink? Bond’s famous “shaken, not stirred” vodka martini needs no introduction, and the lemon peel adds both a zesty – and character-appropriate – touch. Enjoy in a stemmed martini glass.

Take it to the next level with…

A seagull. A replica Walther PPK may be the obvious choice for a 007 prop, but to truly convey the spirit of the scene – and stand out from any other Bonds at the party – having a seagull strapped to your head would really get heads turning at your Halloween soiree.

...especially if said party has a pool.

…especially if said party has a pool.

While not ideal, perhaps this seagull hat available through Amazon Prime could be cleverly manipulated to add a Goldfinger-esque touch to your Bond costume.

How did I do? Poorly. The one time I ever dressed as James Bond for Halloween was in 2008, my sophomore year of college, when I still had plenty to learn about real style, and I won’t even show you here. I wore a black single-button dinner jacket with broad grosgrain-faced peak lapels (good), a white pleated-front shirt with convertible cuffs (um), a black pre-tied polyester bow tie (oh no!), and – for this I truly must atone – black chinos with a belt. My watch was a strange Timex conglomeration of a digital sport watch on a metal link bracelet (at least it wasn’t Velcro). In a shoulder holster, I also carried an airsoft Walther P99 with a prop silencer… probably not the wisest accessory at a college party.


Don Draper

As played by Jon Hamm on Mad Men (2007-2015)

Specifically… a gray business suit like he wore in the pilot episode (as seen here) and throughout the 1960s-set series.

Ideal for: the office party, as long as you don’t plan on lighting up at your desk.

Jon Hamm as Don Draper on Mad Men (2007-2015)

Jon Hamm as Don Draper on Mad Men (2007-2015)

What he wore: Tailored American sack suits in conservative gray, taupe, brown, and blue wools, white cotton dress shirts with breast pockets and French cuffs, slim ties often with a stripe or subtle retro pattern, slim belts with box buckles and leather-matching derby shoes, a dress watch, short-brimmed fedoras, and neutral raincoats short enough for a city commute.

What you can wear:

  • Gray retro-minded business suit consisting of a single-breasted, 2-button or 3/2-roll jacket with narrow notch lapels and flat front trousers
  • White linen or cotton pocket square, neatly folded into the jacket’s breast pocket
    • Linen pocket square from Amazon: $7.99
  • White cotton dress shirt with front placket, breast pocket (a must!), and French cuffs
    • Buttoned Down white dress shirt from Amazon: $39
  • Slim, straight vintage tie
    • Monochrome striped tie from Amazon: $10.99
  • Slim black leather belt with a box-style buckle
    • Savile Row belt from Amazon: $10.49
  • Black derby shoes
    • Jivana non-leather derbies from Amazon: $25.99
  • Any classic dress watch. Don’s changing styles over the seasons included a gold Jaeger-LeCoultre tank watch on a brown leather strap and a steel Rolex Explorer with a black dial and link bracelet so any vintage-minded watch should communicate the needed aesthetic.
    • CIVO quartz watch from Amazon: $18.99
  • Taupe or gray short-brimmed fedora. This should be a genuine felt fedora with a grosgrain ribbon and not one of the cheap polyester trilbies from the Walmart clearance rack.
    • Target, on the other hand, has a decent vintage-inspired fedora made from real wool with a black grosgrain ribbon and a reasonable $17 price tag. Click to see.
  • Taupe or khaki knee-length raincoat… not a trench coat.
    • London Fog (Mad Men-approved brand) coat from Amazon: starting at $85

What to drink? The Old Fashioned was Don’s signature mixed drink from the first episode on… though it can get time-intensive to keep filling your glass with the delectable combo of whiskey, bitters, and muddled cherries and oranges. Instead, consider carrying a bottle of Canadian Club and you’ll serve the dual purpose of having a character-appropriate prop while also never having to wait in line for the bar.

Enjoy in a round, silver-rimmed rocks tumbler based on Dorothy Thorpe’s iconic “Roly Poly” design.

Take it to the next level with…

A pack of Lucky Strikes in your shirt’s breast pocket. You may not be a smoker, but the red “bullseye” logo popping from under the white shirting of the left breast pocket is pure Don… at least until he vindictively switches his cigarette brand to Old Gold in the fifth season.

How did I do? Not bad. Don Draper was my costume of choice for Halloween 2011, the year before I started BAMF Style. The gray narrow pinstripe lightweight wool suit is from Banana Republic, purchased during the height of Mad Men fashion fever two years earlier. The vintage white shirt, brown cotton Van Heusen tie, and black Cardin belt all belonged to my grandfather in the 1960s with some of his own Camel tobacco likely buried in the crevasses of the shirt pocket.


Indiana Jones

As played by Harrison Ford beginning with Raiders of the Lost Ark (1981)

Specifically… his adventurer outfit (as seen here.) For more details, check out the definitive IndyGear.com.

Ideal for: the chilly-weather outdoor party.

Harrison Ford as Indiana Jones in Indiana Jones and the Last Crusade (1989)

Harrison Ford as Indiana Jones in Indiana Jones and the Last Crusade (1989)

What he wore: Brown lambskin “action back” flight jacket, khaki safari shirt, light brown twill wool pleated trousers inspired by officers’ “pinks”, khaki web belt, brown waxhide Alden 405 boots, brown leather gun belt and holster, British Army-surplus gas mask bag, and brown fedora.

Given the time and detail put into the Magnoli Clothiers reproductions of Dr. Jones’ screen-worn attire, I’m also including those links below although I understand that considerably more shipping time should be considered.

What you can wear:

  • Brown leather flight jacket with adjustable waistband tabs
    • Non-leather replica jacket from Amazon: $59
    • Genuine leather replica jacket from Amazon: $129 or $139
    • Magnoli Clothiers’ screen-accurate “Adventure Jacket”: $635
  • Khaki safari shirt with epaulettes and flapped pockets
    • Khaki shirt from Amazon: starting at $22.97
    • Magnoli Clothiers’ screen-accurate “Adventure Shirt”: $125
  • Light brown or khaki pleated trousers
    • Lee flat front chinos from Amazon: starting at $14.99
    • Wrangler pleated khakis from Amazon: $37
    • Magnoli Clothiers’ screen-accurate “Adventure Pants”: $195
  • Khaki web belt
    • Rothco “government khaki” web belt from Amazon: $5.99
  • Brown work boots
    • Bruno Marc work boots from Amazon: starting at $32.99
    • Magnoli Clothiers’ screen-accurate “Adventure Boots”: $515
  • Brown fedora
    • Indiana Jones-branded fedora from Amazon: starting at $27.50
  • Khaki canvas satchel
    • Rubie’s Indiana Jones-branded satchel: $5.99
    • Rothco khaki canvas medic bag: $16.99

What to drink? Indy wasn’t known to be much of a drinker, but when he did… whiskey shots seem to be appropriate.

Take it to the next level with…

Indy often found himself in sticky situations, so his props tend to be on the more violent side. Rather than packing a replica revolver to your Halloween party, his bull whip may be a more appropriate and less intimidating costume prop.

How did I do? I never did. Maybe next year.


Thomas Magnum

As played by Tom Selleck on Magnum P.I. (1980-1988)

Specifically… one of his Hawaiian shirts and Tigers baseball cap combos. For more details, check out this comprehensive list from Magnum Mania!

Ideal for: the warm outdoor party.

Tom Selleck as Thomas Magnum on Magnum, P.I. (1980-1988)

Tom Selleck as Thomas Magnum on Magnum, P.I. (1980-1988)

What he wore: A series of bright Aloha shirts including the iconic red “jungle bird” shirt, tight blue jeans with a khaki USN web belt, navy twill baseball cap (either supporting the Detroit Tigers or representing his USN service in Da Nang), black-dialed dive watch (first Chronosport, then Rolex), off-white casual shoes (either Sperry Top-Sider boat shoes or Puma “Easy Rider” sneakers), and U.S. Navy jewelry including POW/MIA bracelet and team ring.

What you can wear:

  • Tropical-printed Hawaiian shirt
    • “Funky” red Aloha shirt from Amazon: starting at $7.99
    • Paradise Found red “jungle bird” Aloha shirt from Amazon: starting at $58, or from Maui Shirts: $64.98, reduced from $90
  • Blue jeans
    • Signature by Levi Strauss blue jeans from Amazon: starting at $14.90
  • Khaki web belt
    • Rothco “government khaki” web belt from Amazon: $5.99
  • Detroit Tigers navy baseball cap
    • MLB ’47 Detroit Tigers cap from Amazon: $24.64
  • Stainless dive watch with black dial on black resin strap
    • Casio MDV106-1A from Amazon: $41.93
  • Off-white or light brown boat shoes
    • KINGSHOW boat shoes from Amazon: $23 to $28
    • Sperry Top-Sider boat shoes from Amazon: starting at $54
  • Silver cuff bracelet – you should only wear a POW/MIA bracelet if you’re earnestly honoring the memory of a service member.
    • Plain satin-finished steel cuff bracelet from Amazon: $13.99

What to drink? This is your night to enjoy something tropical and fruity out of a pineapple. Should you decide to do so, you may want to learn one or two beach cocktails to get you in the proper mindset.

Take it to the next level with…

…I’d suggest a red Ferrari like Magnum’s classic 308, but that wouldn’t do you so good beyond the party’s parking lot. (Plus, after a few tropical cocktails, you’d be best returning home in an Uber.) For a more inexpensive and enduring solution, grow your mustache! After all, Magnum isn’t truly Magnum without his iconic soup strainer… an issue for which TV Guide took the recent CBS reboot to task.

How did I do? Not bad, considering that I look more like Mario than Magnum when I let my mustache grow. My dad already owned the Tigers hat, my summer wardrobe includes a number of Hawaiian shirts, and a pair of light brown Sanuks were comfortable stand-ins for Magnum’s usual boat shoes. The costume was a fair hit when I sported it during Halloween 2016.


Tony Montana

As played by Al Pacino in Scarface (1983)

Specifically… the dressed-down and coked-up business suit he wears for the famous bloody finale (as seen here.)

Ideal for: a house party where you know the host and guests very well.

Al Pacino as Tony Montana in Scarface (1983)

Al Pacino as Tony Montana in Scarface (1983)

What he wore: Dark navy chalkstripe three-piece business suit, white shirt with open neck and French cuffs (with gold cuff links), slim brown leather belt with gold buckle, black Cuban boots with raised heels, gold Omega La Magique dress watch with round black dial on a rectangular case, yellow gold chain-link necklace, and gold diamond ring.

What you can wear:

  • Dark chalk stripe or pinstripe three-piece suit with flour (please tell me it’s flour) strategically scattered on it. Unlike more sophisticated dressers like Bond or Don, the actual details of the suit are less important for the costume than the accoutrements.
    • Stacy Adams black chalk stripe three-piece suit from Amazon: starting at $129.99 
  • White dress shirt with “bloodied” collar and top few buttons undone, revealing…
    • Van Heusen poplin shirt from Amazon: starting at $18.96
  • Gold necklace
    • Gold “snake chain” necklace from Amazon: $12.99
  • White pocket square
    • Linen pocket square from Amazon: $7.99
  • Black leather Chelsea boots or Cuban boots
    • Stacy Adams black zip-side boots from Amazon: starting at $72.62
  • Brown leather belt with gold buckle (character-endorsed leather contrast!)
    • Dark brown belt with gold buckle from Amazon: starting at $8.49
  • More gold jewelry, including a slim watch, diamond (or diamond-like) ring, and bracelet
    • Gold-finished mesh-bracelet watch from Amazon: $14.99
    • Golf-finished link bracelet from Amazon: $9.99
    • Gold-finished “diamond” ring from Amazon: starting at $4.99

What to drink? Booze isn’t exactly Tony Montana’s signature vice, so you’re more on your own. “Gin is fine”, Tony tells Frank Lopez at their first meeting, though tequila or mezcal may be a better fit with the spirit of the costume.

Take it to the next level with…

From the cocaine and blood to a prop M16, any props associated with this costume would have to be exercised with extreme caution. This actually may be a costume where authenticity would get you an arrest rather than an award.

How did I do? A relative success. I dressed as Tony Montana for Halloween during my senior year of college in 2010, sporting a charcoal double-striped flannel Brooks Brothers three-piece suit that had belonged to my grandfather and thus was slightly oversized, but the flannel suiting nicely held the carefully applied white flour (à la Tony’s yeyo) throughout the evening. I wore a white shirt with some theatrical blood around the collar, black Chelsea boots by Timberland, and as many rings and bracelets as I could dig up, including a fake gold Rolex and my high school class ring. Again, I made the less-than-advisable decision to bring a prop weapon to the party, though at least my toy M16 with the M203 underbarrel was clearly plastic.


Hawkeye Pierce

As played by Alan Alda on M*A*S*H (1972-1983)

Specifically… the Army-issued OG-107 fatigues he wears on a daily basis (as seen here.)

Ideal for: the basement party as these clothes are relatively comfortable, lightweight, and casual when compared to some others and can better withstand the rigors of spilled beer and sweat.

Alan Alda as Capt. "Hawkeye" Pierce on MASH (1972-1983)

Alan Alda as Capt. “Hawkeye” Pierce on M*A*S*H (1972-1983)

What he wore: The OG-107 Type III “jungle jacket” issued by the U.S. Army from 1964-1989, worn unbuttoned over drab t-shirts ranging from green to khaki, with matching OG-107 pants, an olive drab web belt, black Army-issued “McNamara boots”, olive drab wool socks, and dog tags.

What you can wear:

  • Olive green cotton shirt-jacket with two button-flapped chest pockets and button cuffs
    • Vertx olive utility shirt from Amazon: starting at $17.51
    • Levi’s sherpa-lined shirt-jacket from Amazon: $41.02
    • Search eBay for OG-107 shirts
  • Khaki or olive drab cotton short-sleeve crew-neck T-shirt
    • Rothco khaki t-shirt from Amazon: starting at $6.99
  • Olive green cotton military-styled pants with patch-style front pockets and button-flapped back pockets (or a well-worn set of chinos, in a pinch)
    • Quality Durables Co. utility chinos from Amazon: $35.95
  • Olive green cotton web belt with brass/gold slider buckle
    • Olive web belt from Amazon: $7.99
  • Black combat boots
    • Unlisted by Kenneth Cole synthetic zip-side boots from Amazon: starting at $36.12
    • Dr. Martens black leather boots from Amazon: starting at $76.99
  • Olive drab socks
    • Wigwam olive drab wool-blend socks from Amazon: starting at $6.99
  • U.S. Army-style dog tags
    • Plain silver dog tags from Amazon: $9.99

What to drink? Hawkeye drank approximately four dozen martinis per each season of M*A*S*H, always with the homemade gin distilled right in the tent and almost always with an olive or two plopped in for good measure. As with 007 above, enjoy in a stemmed martini glass.

Take it to the next level with…

Unless you’ve got that martini basically glued to your hand, there’s little to differentiate your costume from that of Scruffy Vietnam-era Serviceman. (Yes, I meant to say “Vietnam-era” as Captain Pierce’s duds are anachronistic to the show’s Korean War setting and weren’t issued until the mid-1960s.) Thus, consider scratching the OG-107 shirt and T-shirt, keep the dog tags, and opt for a navy-and-white hibiscus-patterned Hawaiian shirt (like this one) that Hawkeye prefers for leisurely pursuits like golfing and gin-guzzling.

If you want to add a more militaristic touch, you can always wear it under an olive drab field jacket like the M-1951 that Alan Alda often wore as Hawkeye.

How did I do? Pretty well, despite the fact that my hair was considerably shorter than Alda’s scruffy anachronistic ‘do that was more contemporary to the 1970s and 1980s production and certainly not in adherence with U.S. military regulations.

Hawkeye inspired my latest Halloween costume, worn in 2017, when I sported an authentic OG-107 Type III shirt in 8.5 oz. olive drab cotton sateen cloth, unbuttoned on the front and cuffs, with an inside-out khaki cotton t-shirt, an old set of prop dog tags (though with the more contemporary black rubber trim than Hawkeye’s bare metal tags), a pair of olive washed cotton J. Crew chinos, a brown web belt, and black combat-style boots.


James Caan in Misery

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James Caan as Paul Sheldon in Misery (1990)

James Caan as Paul Sheldon in Misery (1990)

Vitals

James Caan as Paul Sheldon, successful but cynical romance novelist

Silver Creek, Colorado, Winter 1990

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

WARNING! Spoilers ahead!

Background

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

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

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

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

What’d He Wear?

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

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

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

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

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

MISERY

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

A job well done.

A job well done.

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

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

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

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

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

MISERY

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

MISERY

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

Escape attempt #1 of many.

Escape attempt #1 of many.

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

What to Imbibe

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

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

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

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

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

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

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

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

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

The Car

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

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

MISERY

MISERY

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

MISERY

1966 Ford Mustang

Body Style: 2-door hardtop

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

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

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

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

Transmission: 3-speed automatic

Wheelbase: 108 inches (2743 mm)

Length: 181.6 inches (4613 mm)

Width: 68.2 inches (1732 mm)

Height: 51.2 inches (1300 mm)

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

How to Get the Look

James Caan as Paul Sheldon in Misery (1990)

James Caan as Paul Sheldon in Misery (1990)

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

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

Do Yourself a Favor and…

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

Top Gun – Maverick’s G-1 Flight Jacket

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Tom Cruise and Kelly McGillis in Top Gun (1986)

Tom Cruise and Kelly McGillis in Top Gun (1986)

Vitals

Tom Cruise as LT Pete “Maverick” Mitchell, hotshot United States Naval Aviator

NAS Miramar near San Diego, Summer 1985

Film: Top Gun
Release Date: May 16, 1986
Director: Tony Scott
Costume Design: Wingate Jones, John Napolitano, Bobbie Read, and James W. Tyson

Background

On March 3, 1969 the United States Navy established an elite school for the top one percent of its pilots. Its purpose was to teach the lost art of aerial combat and to insure[sic] that the handful of men who graduated were the best fighter pilots in the world.

They succeeded.

Today, the Navy calls it Fighter Weapons School. The flyers call it: TOP GUN.

In 1922, the same year that the U.S. Navy commissioned its first aircraft carrier, Navy Day was established to commemorate the birthday of Theodore Roosevelt, whose vast accomplishments included serving as Assistant Secretary of the Navy before the ascended to the presidency. On Navy Day, it’s hard to think of a movie more associated with the United States’ naval warfare branch than Top Gun, which celebrated the talents and competition among U.S. Naval Aviators.

Of course, Top Gun wasn’t the first major movie of the decade to take the audience deep into the culture of the U.S. Navy’s aviation program. In fact, it wasn’t even the first to star a rising young actor as a motorcycle-riding hotshot who engages on a trope-laden romance and considers quitting after the untimely death of a close friend and brother-in-arms.

While the Navy didn’t support or encourage An Officer and a Gentleman, however, it did put its full force into the more escapist and action-packed Top Gun… and it paid off. Supposedly, Top Gun was such an effective recruiting tool that the U.S. Navy saw a 500% increase of young men joining the service in the hope of taking to the skies like Maverick, Iceman, and Goose… well, maybe not like Goose.

Of course, it probably also helped that the Navy saw the impact that Top Gun was having on its impressionable viewers and, according to contemporary reporting in the Los Angeles Times, set up recruiting booths in major cinemas to capitalize on the recharged patriotism – and adrenaline – of its audience.

Not that they needed to. More than 30 years after its release, Top Gun is still a major force in pop culture, frequently quoted, referenced, and parodied in movies like Team America and shows like Archer. A sequel is even in the works, with Top Gun: Maverick set to hit theaters in the summer of 2020.

But even before Maverick and Goose first informed us of their mutual need for speed, the filmmakers needed a star for their project. Tom Cruise was only 23 years old in the summer of 1985, but he had already racked up a reputation as a rising star after a string of early ’80s hits like TapsThe OutsidersRisky Business, and All the Right Moves. Cruise was initially reluctant to take on the part of Lieutenant Pete Mitchell, but producer Jerry Bruckheimer recalled that the actor quickly changed his mind after the Navy’s famous Blue Angels took him into the skies for an afternoon of barrel rolls.

The experience was characteristic of Tom Cruise’s career-long dedication to mastering his character’s on-screen crafts. Maverick’s iconic arrival to Miramar, aka “Fightertown, U.S.A”, finds him cruising in on a Kawasaki Ninja 900/GPz900R as Kenny Loggins’ “Danger Zone” plays in the background. Although it’s a major part of his character, the actor had never ridden a motorcycle until Top Gun, and he went to House of Motorcycles in El Cajon to take lessons from the staff in their parking lot. By the time production was underway, Cruise looked at home on the Kawasaki, which was then the fastest production motorcycle in the world and one hell of a ride for a novice motorcyclist.

What’d He Wear?

The military flight jacket now known as the G-1 was developed during the 1930s and found use with both U.S. Army Air Corps and U.S. Navy aviators as early as 1938, though it wasn’t officially adopted until 1940 when the U.S. Navy designated it the M-422A. The U.S. Army Air Force, which superseded the Air Corps, followed suit in 1943 when General Henry “Hap” Arnold discontinued production of the iconic A-2 jacket and adopted this jacket, now designated ANJ-3 (Army Navy Jacket 3). The jacket was standardized as the G-1 in 1947, made of goatskin leather and with a real mouton fur collar, which had not always been found on the wartime M-422A jackets.

With the exception of an ill-advised discontinuation from 1979 through the beginning of 1981, the G-1 remained continuously issued to Navy, Marine Corps, and Coast Guard flight crews while the Air Force stuck with the nylon and Nomex bomber jackets that were standardized in the 1950s. The success of Top Gun in 1986 boosted sales of the G-1 among civilians and ensured the jacket’s place in American pop culture. Perhaps after seeing the effect that Top Gun had on Navy recruitment and adoption of its apparel, the USAF reinstated the WWII-era A-2 leather flight jacket in 1988 and it remains authorized for qualified air crews, Missileers, and space operations personnel.

Tom Cruise and Kelly McGillis during production of Top Gun (1986).

Tom Cruise and Kelly McGillis during production of Top Gun (1986).

The G-1 flight jacket is constructed from a rich brown cowhide leather, though the original WWII-era jackets were made from goatskin. The real mouton collar from this era, and from the jacket worn by Tom Cruise, has been replaced in recent years by a synthetic fur such as Dynel pile, which Schott uses for their G-1 jackets. Some companies, like Alpha Industries, offer their civilian G-1 jackets with goatskin shells and genuine mouton collars to emulate the classic flight jackets.

Other signature details of the G-1 are the straight-zip front, the ribbed-knit cuffs and hem, and the bi-swing back for greater arm movement with a belted effect across the waist. There are two large patch pockets, each with a button-down flap.

Context clues tell us that Maverick’s iconic flight jacket belonged to his father, the unseen Duke Mitchell, a fellow Naval Aviator who “disappeared in an F-4, November 5th, 1965.” One instant hint for viewers should be the large patch on the back reading “FAR EAST CRUISE 63-4”, indicating service in East Asia during the years 1963 and 1964 when Tom Cruise would have been two years old. (Maverick’s talent is prodigious, to be sure, but implying that he has been serving in the Navy from such a young age is a stretch.)

TOP GUN

Many companies offer reproductions of Pete Mitchell’s many military patches, and sites like Wizard Patch were a fantastic resource for seeing exactly which patches were used and where they were laid out.

Full list of patches on Maverick’s G-1 flight jacket:

TOP GUN

  • 3rd Marine Air Wing (right upper chest)
  • USS Oriskany (right chest)
  • Texas | Dallas (left shoulder)
  • Seabees (left upper chest)
  • 3rd Marine USMC Amphibious Force (left chest)
  • USS William H. Standley (left chest)
  • VF-192 Golden Dragons “Throwback” (right arm, top)
  • Top Ten, USS Ranger/CVW-2 (right arm, bottom)
  • U.S. Naval Air Station Jacksonville (left arm, top)
  • Tom Cat (left arm, bottom)
  • Comcrudesflot 9 “On the Move” (back, left shoulder)
  • Far East Cruise 63-4 | USS Galveston (back, top)
  • Duke Mitchell (back, right shoulder)
  • Vigilance | Cruisers, Destroyers, Pacific (back, lower left)
  • U.S. flag (back, center)
  • U.S. 7th Fleet (back, lower right)

Since the G-1 likely belonged to his father and isn’t part of Maverick’s Navy-issued apparel, he never wears it with his service khaki uniform, summer white uniform, or even his flight suit.

With all service uniforms, the U.S. Navy authorizes its officers to wear most white undershirts, whether the fabric is 100% cotton or a cotton/polyester blend and whether the style is a traditional crew-neck shirt, v-neck, or sleeveless. Maverick always wears his G-1 flight jacket over a white cotton short-sleeve crew-neck T-shirt with a large breast pocket with a pointed bottom.

TOP GUN

When not in uniform, Maverick prefers a pair of classic Levi’s jeans in medium blue stonewash denim. Levi’s has identified them as their 501 Original Fit, and the signature button fly of the 501 can be seen on screen. He almost always wears them with a thick black leather Western-style belt with a big curved steel single-prong buckle, keeper, and tip, all with a matching engraved silver finish.

Playing beach volleyball in jeans isn't the strangest thing about this scene. Not by a long shot.

Playing beach volleyball in jeans isn’t the strangest thing about this scene. Not by a long shot.

Maverick’s Western-style belt and cowboy boots communicate his cowboy-like nature for the audience, but the boots in particular were also a practical decision made at the studio’s insistence to make up for Tom Cruise’s three-inch height difference when acting opposite the 5’10” Kelly McGillis.

The distinctive red, yellow, and green cowboy boots appear to be the same ornate Justin boots that he would wear four years later in Days of Thunder (1990), sold at auction in December 2011 for $2,000. The boots have red shafts, yellow vamps, and green wingtip toe caps, back quarters, and accents. The colors may be indicative of the three colors of a stoplight, with the green most visible to signify Maverick’s oft-quoted “need for speed”.

TOP GUN

Under his jeans, Maverick wears a pair of white cotton briefs as authorized by the Navy.

Both in and out of uniform, Maverick wears the steel double ID tags issued to all service members of the U.S. military since 1906. Both of Maverick’s “dog tags” have the black rubber “silencers” around the edges

Even in civilian gear like this dark blue pinwale-corded button-up shirt, Maverick wears his dog tags.

Even in civilian gear like this dark blue pinwale-corded button-up shirt, Maverick wears his dog tags.

Top Gun establishes Ray-Ban as the preferred eyewear for the country’s top airmen, and Eye Care Universe has created a fantastic breakdown of the many Ray-Ban models featured on screen from Maverick, Iceman, and Goose to the cantankerous, coffee-spilling “Air Boss”. (The only major USN character to not wear aviators? Wolfman, who leans in even further to his cowboy aesthetic and wears a set of browline-framed Ray-Ban Clubmasters.)

Maverick’s Ray-Bans of choice were the brand’s flagship large gold-framed aviators with green lenses. More than 30 years later, the exact sunglasses are still available as the Ray-Ban RB3025 Aviator Classic 001/62, denoting the color code (001) of gold frames with green polarized G-15 lenses and the 62mm “Large” size.

TOP GUN

Maverick’s Orfina Porsche Design Chronograph fits the Navy’s guidelines for watches to be “conservative and in good taste” with its gunmetal PVD-coated stainless steel case and link bracelet. The racing-oriented watch, powered by Lemania’s 17-jewel Swiss automatic movement, has a black dial with three black sub-dials, an orange second hand, and day and date windows flanking the Porsche Design logo on the watch’s face.

Maverick flashes his Orfina watch while setting a date with Charlie.

Maverick flashes his Orfina watch while setting a date with Charlie.

Interestingly, two shots of what is purportedly Maverick’s left wrist show what appears to be a stainless steel Rolex Submariner with a black dial and black rotating bezel on a steel “Oyster”-style bracelet. Both shots are from the same angle during flight scenes, once during the opening sequence and another during the final MiG battle.

Based on the glimpse we get of the Rolex dive watch with its lack of date window, I would guess it to be a ref. 5513 Submariner à la Roger Moore and Robert Redford.

Based on the glimpse we get of the Rolex dive watch with its lack of date window, I would guess it to be a ref. 5513 Submariner à la Roger Moore and Robert Redford.

Maverick’s Uniforms

When dressed for duty, Maverick can be found in one of three U.S. Navy-issued uniforms, the most iconic of which is likely his sage green flight suit, one of which was later donated to Planet Hollywood. These government-issued suits were made from flame resistance Nomex fabric with six zippered pockets on the chest, right thigh, calves, and left upper arm for best access when sitting in the cockpit of an F-14.

Since this is part of his actual uniform, Maverick only wears patches that he has actually earned, though director Tony Scott recalled receiving criticism during the production about the unrealistic patches on the actors’ flight suits. Maverick appears to be wearing a U.S. Navy patch, a VF-1 patch indicating service in the Navy’s “Wolfpack” Fighter Squadron 1, a patch indicating service on the USS Ranger (CV-61), an F-14 “Tomcat” patch, and the dark blue ID patch with his name and wings embroidered in red.

Goose and Maverick size up their new instructor.

Goose and Maverick size up their new instructor.

Maverick’s most commonly seen service uniform is the Service Khaki uniform, designed to be a wear-round uniform “for office work, watchstanding, liberty, or business ashore,” according to Navy Personnel Command guidelines.

The uniform’s khaki short-sleeved shirt is a 75% polyester, 25% wool blend with an open one-piece camp collar on which Maverick wears his rank insignia, a set of double silver bars signifying the O-3 pay grade (Lieutenant in the Navy and Captain across other U.S. military branches.) The shirt also has two patch breast pockets with pointed button-down flaps. Above the right pocket he wears his gold placard with his name and rank; above the left pocket he wears the gold “wings” badge of a U.S. Naval Aviator and two rows of award ribbons. His undershirt is likely one of the same white cotton crew-neck pocket T-shirts he wears with his G-1.

The matching flat front trousers have straight side pockets, two jetted back pockets (with a button through the left pocket), plain-hemmed bottoms, and belt loops for his khaki web belt with a well-polished gold anodized buckle. Top Gun often incorrectly features its military officers bareheaded when appearing in uniform outdoors, and Maverick keeps his khaki garrison cap in his right trouser pocket rather than on his head while walking outside on more than one occasion. Maverick also wears the prescribed black dress shoes – a well-shined pair of patent leather oxfords – with black socks.

TOP GUN

For the brief but iconic scene of Maverick’s first encounter with Charlie while drinking with Goose and his fellow Top Gun students, the pilots wear their Summer White service uniforms, designated for summer only and appropriate as the film takes place over the course of the summer.

What to Imbibe

The all-American Budweiser beer tends to the the brew of choice for our all-American airmen, and it’s this king of beers that fuels Maverick’s ambition as he serenades Charlie with The Righteous Brothers’ “You’ve Lost That Lovin’ Feeling” on the night they meet.

Goose is understandably unenthusiastic.

Goose is understandably unenthusiastic.

Weeks later, after finally landing a date with Charlie, Maverick drinks the chilled white wine she offers with dinner, a chenin blanc from the Charles Krug winery.

Charlie tops off Maverick's glass.

Charlie tops off Maverick’s glass.

Though one may initially assume that Charlie’s choice of wine is a bottling related to Krug, the world’s “best-rated house of champagne”, Charles Krug is actually the oldest winery in Napa Valley. House of Krug began creating its prestige champagnes in 1843, just shy of 20 years before Charles Krug Winery was established in St. Helena, California, in 1861. (And why not? California was hardly a major player in the Civil War.)

Tom Cruise as LT Pete "Maverick" Mitchell in Top Gun (1986)

Tom Cruise as LT Pete “Maverick” Mitchell in Top Gun (1986)

How to Get the Look

Top Gun repopularized the insouciant dressed-down ensemble of a white T-shirt and jeans with a half-zipped jacket, transforming the U.S. military’s half-century old G-1 flight jacket into an overnight fashion phenomenon.

  • Dark brown goatskin U.S. Navy G-1 flight jacket with mouton fur collar, zip front, button-down flapped patch pockets, and ribbed-knit cuffs and hem
  • White cotton crew-neck short-sleeve T-shirt with pocket
  • Blue denim Levi’s 501 Original Fit jeans with belt loops and button fly
  • Black leather Western belt with engraved silver single-prong buckle, keeper, and tip
  • Multi-colored leather Justin cowboy boots with red shafts, yellow vamps, and green accents and wingtip toes
  • Ray-Ban RB3025 Aviator Large (001/62) gold-framed sunglasses with green polarized lenses
  • Orfina Porsche Design Chronograph watch with gunmetal PVD-coated stainless steel case, black dial (with three sub-dials and day/date windows), and gunmetal PVD-coated stainless steel link bracelet
  • Silver military ID “dog tags” with black rubber “silencer” edges

Do Yourself a Favor and…

Check out the movie… and consider Maverick’s military-inspired look if you need a last-minute Halloween costume this weekend!

The Quote

I feel the need… the need for speed!

The Shining – Jack Nicholson’s Corduroy Jacket

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Jack Nicholson as Jack Torrance in The Shining (1980)

Jack Nicholson as Jack Torrance in The Shining (1980)

All work and no play makes Jack a dull boy.

Vitals

Jack Nicholson as Jack Torrance, stir-crazy writer

Silver Creek, Colorado, Winter 1990

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

WARNING! Spoilers ahead!

Background

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

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

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

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

What’d He Wear?

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Jack dissolves further into madness.

Jack dissolves further into madness.

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

SHINING

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

SHINING

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

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

Wendy (Shelley Duvall) finds a place for Jack.

Wendy (Shelley Duvall) finds a place for Jack.

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

What to Imbibe

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

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

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

Jack for Jack.

Jack for Jack.

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

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

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

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

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

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

Jack Nicholson as Jack Torrance in The Shining (1980)

Jack Nicholson as Jack Torrance in The Shining (1980)

How to Get the Look

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

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

Do Yourself a Favor and…

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

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

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

The Quote

Here’s Johnny!

 

Pal Joey: Sinatra’s Silk Loungewear

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Frank Sinatra as Joey Evans in Pal Joey (1957)

Frank Sinatra as Joey Evans in Pal Joey (1957)

Vitals

Frank Sinatra as Joey Evans, womanizing nightclub singer

San Francisco, Spring 1957

Film: Pal Joey
Release Date: October 25, 1957
Director: George Sidney
Costume Designer: Jean Louis

Background

The same year that Pal Joey was released, Frank Sinatra released A Swingin’ Affair!, his latest concept album from Capitol Records. The fourth track, “I Guess I’ll Have to Change My Plan”, was written by Arthur Schwartz and Howard Dietz in 1929, when it was introduced by Clifton Webb in the songwriting duo’s revue The Little Show.

I guess I’ll have to change my plan
I should have realized there’d be another man
Why did I buy those blue pajamas
Before the big affair began

For decades, the song carried the subtitle “The Blue Pajama Song” for the above lyric (which Julie London changed to “black pajamas” in her 1959 rendition) and became a standard for vocalists like Tony Bennett, Bing Crosby, Bobby Darin, Patti Page, Rudy Vallee, and most recently Bob Dylan on his recent album, Triplicate, which included many numbers from the “Great American Songbook”.

This #SinatraSaturday, let’s take a look at the luxurious silk blue (and red) pajamas that Ol’ Blue Eyes wore for a brief but memorable scene in the 1957 Technicolor musical Pal Joey.

What’d He Wear?

Forced out of the house for the night when his girlfriend Vera (Rita Hayworth) hosts a sophisticated soiree, Joey Evans retreats to Vera’s opulent yacht where he plans to spend the evening in luxurious leisure, chain-smoking Chesterfields and reading the latest entertainment scoop from Variety, identified as the April 17, 1957 by its characteristically pun-tastic headline: TV sugar-‘codes’ old features.

Joey dresses for his hedonistic night in with a rakish red paisley-on-midnight blue silk brocade suit that consists of a sash-tied smoking jacket top and matching tuxedo-inspired pajama bottoms.

The good life, à la Joey Evans.

The good life, à la Joey Evans.

The fabulous fifites were the last stand of the smoking jacket, a bridge between casual comfort and formal fashion that Sir Hardy Amies addressed in his strict 1964 manifesto ABC of Men’s Fashion as “as old fashioned as a smoking room… yet the idea is charming and very sensible.”

With its tailored hip-length fit, shawl collar, padded shoulders, and ventless back, Joey’s top qualifies as a traditional smoking jacket. The wide shawl collar and turnback cuffs appear to be black velvet with red silk trim. It ties in the front with a sash made from the same red-on-blue paisley fabric as the rest of the outfit, and it has hip pockets and a welted breast pocket where Joey wears an off-white silk pocket square that matches his cream silk cravat.

Joey's night of solitude is complicated by the surprise arrival of his former girlfriend Linda English (Kim Novak).

Joey’s night of solitude is complicated by the surprise arrival of his former girlfriend Linda English (Kim Novak).

Like the smoking jacket-inspired top that borrowed styling cues from a shawl-collar dinner jacket, the pajama pants are similar to tuxedo trousers with their red silk side braiding that echoes the piping on the lapels and cuffs.

PAL JOEY

The only truly appropriate footwear for an outfit like this would be personalized velvet slippers, and Joey absolutely rises to the occasion. Velvet slippers remain a mainstay of classic menswear outfitters like Brooks Brothers, who currently offers them in black, dark green, and burgundy for $298 a pair. “Grandest of all are velvet slippers, with your monogram or crest embroidered in gold thread,” explained Amies when comparing the variety of slippers available to gents circa 1964.

Pal Joey recognizes the importance of the character’s vanity, beginning the scene with a shot of his black velvet slippers with their black leather trim, hard leather soles, and “Joey” emblazoned with red embroidery across each slipper, echoing the personalization on the shirt Joey wore earlier that day. He wears them with midnight blue ribbed silk dress socks.

Joey leaves no doubt regarding the ownership of his velvet slippers.

Joey leaves no doubt regarding the ownership of his velvet slippers.

On his left wrist, Joey wears the gold tank watch on a black leather strap that he wears throughout the film, likely an item that belonged to Sinatra in real life.

PAL JOEY

If you have any interest in seeing what the real Sinatra slept in, The Golden Closet currently features a plain beige pajama set that the entertainer wore in the late ’70s and gifted to his friend and personal costumer Michael Castellano. These pajamas are much more modest than the lavish loungewear that Joey Evans wore.

How to Get the Look

Frank Sinatra as Joey Evans in Pal Joey (1957)

Frank Sinatra as Joey Evans in Pal Joey (1957)

“Joey’s attempt at sophistication – donning a smoking jacket and monogrammed slippers – ensures he remains no more than a gigolo,” states Karen McNally in her thoughtful article for The Conversation about how Frank Sinatra’s films addressed postwar masculinity.

Joey Evans dressing in head-to-toe silk and velvet may not make him a gentleman… but it certainly makes him comfortable.

  • Red paisley-on-midnight blue silk brocade pajama suit:
    • Sash-tied smoking jacket with red-trimmed black velvet shawl collar and cuffs, padded shoulders, and ventless back
    • Trousers with red silk side braiding and plain-hemmed bottoms
  • Cream silk cravat
  • Cream silk pocket square
  • Black velvet slippers with black leather trim and red embroidered monogram
  • Midnight blue ribbed silk dress socks
  • Gold tank watch on black leather strap

Do Yourself a Favor and…

Check out the movie, and give Sinatra’s A Swingin’ Affair! album a swingin’ listen.

All the President’s Men: Woodward’s Corduroy Suit

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Robert Redford as Bob Woodward in All the President's Men (1976)

Robert Redford as Bob Woodward in All the President’s Men (1976)

Vitals

Robert Redford as Bob Woodward, investigative journalist for The Washington Post

Washington, D.C., Summer 1972

Film: All the President’s Men
Release Date: April 9, 1976
Director: Alan J. Pakula
Costume Supervisor: Bernie Pollack

Background

In the spirit of the U.S. midterm elections tomorrow, I’m exploring one of my favorite political-themed movies, the 1976 thriller All the President’s Men based on the real-life investigative reporting of Carl Bernstein and Bob Woodward during the Watergate scandal that led to Richard Nixon’s resignation as U.S. President.

June 18, 1972: Woodward had only been at The Washington Post for nine months when he was assigned to cover the arrest of five burglars who had been caught breaking into the DNC office at the Watergate hotel complex the previous evening. As Woodward continued to investigate with fellow Post reporter Carl Bernstein, the once-minor story connects the break-in to campaign contributions for Nixon’s Committee to Re-Elect the President (aptly nicknamed “CREEP”), revealing then-unprecedented levels of political corruption.

Woodward and Bernstein’s investigative assignment, fueled by McDonald’s and Oreos, leads the two men on a maze across Washington, DC, from the glamorous homes of prominent political fundraisers to darkened parking garages, where Woodward secretly meets with W. Mark Felt (Hal Holbrook), then the associate director of the FBI.

Woodward: The story is dry. All we’ve got are pieces. We can’t seem to figure out what the puzzle is supposed to look like. John Mitchell resigns as the head of CREEP, and says that he wants to spend more time with his family. I mean, it sounds like bullshit, we don’t exactly believe that…
Deep Throat: (sarcastic) No, but it’s touching. Forget the myths the media’s created about the White House. The truth is, these are not very bright guys, and things got out of hand.
Woodward: Hunt’s come in from the cold. Supposedly he’s got a lawyer with $25,000 in a brown paper bag.
Deep Throat: Follow the money.
Woodward: What do you mean? Where?
Deep Throat: Oh, I can’t tell you that.
Woodward: But you could tell me that.
Deep Throat: No, I have to do this my way. You tell me what you know, and I’ll confirm. I’ll keep you in the right direction if I can, but that’s all. Just… follow the money.

Top: The real Carl Bernstein and Bob Woodward in The Washington Post newsroom, 1973. Bottom: Hoffman and Redford as Bernstein and Woodward.

Top: The real Carl Bernstein and Bob Woodward in The Washington Post‘s newsroom, 1973.
Bottom: Hoffman and Redford as Bernstein and Woodward.

Felt, whose identity was confirmed to the public in a May 2015 Vanity Fair article, was nicknamed “Deep Throat” by Post editor Howard Simons after the Linda Lovelace skin flick of the same name. The sobriquet was also a better disguise for the source’s name than “My Friend,” the shorthand that Woodward had been using in his notes that unfortunately shared its M.F. initial letters with Felt’s actual name.

During one of their late night meetings, Deep Throat is shown advising Woodward that his and Bernstein’s lives are in danger, illustrating the very real danger to American journalists that extends more than 180 years into history when Elijah Parish Lovejoy, the pro-abolition editor of the Alton Observer, was killed at his printing press by an Illinois mob that supported slavery. Lovejoy – who was killed on November 7, 1837, two days before his 35th birthday – has been memorialized as the first name on the Journalists’ Memorial in Washington, D.C.’s Newseum and has been called the “first casualty of the Civil War” despite his death occurring nearly a quarter-century before the conflict officially began.

In the decades since Lovejoy’s death, scores of American journalists have been targeted and killed for their reporting – often of political corruption – and it’s with this knowledge that a worried Woodward shows up at Bernstein’s apartment, insists of silence, turns up the Vivaldi on Bernstein’s hi-fi, and types out his latest findings in one of the most gripping sequences from the movie.

Carl Bernstein (Dustin Hoffman) and Bob Woodward (Robert Redford) in All the President's Men (1976)

Carl Bernstein (Dustin Hoffman) and Bob Woodward (Robert Redford) in All the President’s Men (1976)

What’d He Wear?

The Corduroy Suit

Although he occasionally wears other sport jackets or odd trousers, Bob Woodward’s workhorse suit in All the President’s Men is a light brown pinwale-corded cotton suit. Pinwale, also known as “pincord” or “needlecord” is on the finer end of the corduroy spectrum with a count of approximately 16 wales per inch (as opposed to 11 wales per inch in standard corduroy), with wales referring to the tufted cords that give the fabric its name.

Compared to heavier, warmer-wearing wide-waled corduroy, Woodward’s finer pinwale corduroy suit is a wiser choice for the hot, humid summers of Washington, D.C. Lighter-wearing fabrics like linen or non-corded asset may have been more comfortable, but the durability of corduroy would be a strong asset for a tireless reporter constantly on the move; if Woodward had to wear corduroy, he made the right choice.

At the grand jury hearing for the Watergate burglars the day after the break-in, Woodward gets some intel that this story may go a little deeper than people expect.

At the grand jury hearing for the Watergate burglars the day after the break-in, Woodward gets some intel that this story may go a little deeper than people expect.

The single-breasted, 3/2-roll suit jacket has wide notch lapels consistent with the era’s fashion trends. The three front buttons and the two spaced buttons on each cuff are brown woven leather. Woodward’s jacket also has a welted breast pocket, flapped patch pockets on the hips, and a long single back vent.

No time for ironing shirts or straightening ties at the Washington Post. Woodward runs through his notes with the editorial team, including Harry M. Rosenfeld (Jack Warden), the Post's metropolitan editor who worked closely with Bernstein and Woodward and worked to keep the story with them rather than the paper's national reporters.

No time for ironing shirts or straightening ties at The Washington Post. Woodward runs through his notes with the editorial team, including Harry M. Rosenfeld (Jack Warden), the Post‘s witty metropolitan editor who worked closely with Bernstein and Woodward and worked to keep the story with them rather than the paper’s national reporters.

Woodward’s flat front suit trousers, which he sometimes orphans to wear with a navy odd jacket, have wide belt loops and slightly flared plain-hemmed bottoms. The side pockets are slanted, and there are two jetted back pockets though only the left back pocket closes through a button.

ALL THE PRESIDENT'S MEN

Redford’s Bob Woodward appears to wear only one belt with all of his outfits in All the President’s Men, a wide brown leather belt with a squared single-prong brass buckle.

ALL THE PRESIDENT'S MEN

In addition to orphaning his light brown corduroy suit trousers to wear with other jackets, Woodward also makes a habit of orphaning his corduroy suit jacket to wear with other trousers, such as a pair of dark brown corduroys. Apart from the different color, they appear to be the same as the suit trousers with a similar cut and styling.

Woodward and Bernstein, hard at work in the former's apartment.

Woodward and Bernstein, hard at work in the former’s apartment.

Like his belt, Woodward appears to wear only one set of shoes, a well-worn pair of walnut brown leather derbies, almost invariably worn with black socks.

Shirts and Ties

“Very few ties in this film are knotted with any authority,” wrote Andy Wright for Atlas Obscura in September 2016, also remarking on the ubiquity of “rolled up sleeves and enormous, disarrayed collars.”

Woodward arrives at the courthouse on the morning of June 18, 1972, to cover the indictment of the five burglars who were part of the “White House Plumbers”, a covert unit established to “help the President stop some leaks” as Nixon aide David R. Young told his grandmother. The five men under arrest – Bernard Barker, Virgilio Gonzalez, Eugenio Martínez, James McCord, and Frank Sturgis – left many clues that helped Woodward in the early days of his investigation, including Barker’s address book and bank account information.

This outfit, Woodward’s first of the film, consists of a light blue oxford cloth button-down collar shirt and a wide-bladed navy necktie with a field of blue teardrop-shaped patterns that create the effect of a repeating zig-zag pattern. (Woodward would later wear this outfit with a navy blue sport jacket and this suit’s trousers when he and Bernstein make a return visit to the home of former CREEP treasurer Hugh Sloan.)

Days at the courthouse and late nights in the Post bullpen.

Ivy-inspired looks for days at the courthouse and late nights in the Post bullpen.

One of Woodward’s most frequently worn shirts with this corduroy suit is the same multi-checked shirt that he wears with his beige cotton sport jacket, worn here with a thick black textured knit tie. The shirt is checked with dark navy, blue, and mustard gold on a white ground, and it has a long-pointed spread collar, front placket, breast pocket, and single-button rounded cuffs with a gauntlet button that he often leaves undone.

Woodward chases after sources.

Woodward chases after sources.

Another Woodward favorite shirt is the blue-and-white striped cotton shirt that he wears with a bulky navy knit tie. Like his other button-down collar shirts, this has a front placket, breast pocket, and single-button rounded cuffs with a gauntlet button over the wrists.

Another promising source.

Another promising source.

For days in the newsroom with Bernstein and late nights meeting with Deep Throat, Woodward also wears a light mini-checked shirt with a large point collar, front placket, breast pocket, and button cuffs. In the office, he wears it with the same navy textured tie seen earlier, and the color coordinates with the blue check pattern.

Woodward works on a story on his Olympia typewriter.

Woodward works on a story on his Olympia typewriter.

Occasionally, Woodward and Bernstein’s investigative interviews took them no further than the Post‘s newsroom, such as when the pair is depicted interviewing Sally Aiken (Penny Fuller), based on real-life national staff reporter Marilyn Berger who had shared drinks in her apartment with Ken Clawson, the married deputy director of White House communications who didn’t want to lose his “wife and a family and a dog and a cat” after the circumstances of their conversation came to light.

When Woodward talks to Sally, he wears a light taupe hairline-striped oxford-cloth cotton shirt with a button-down collar, front placket, breast pocket, and single-button rounded cuffs, as well as a brown tie covered in a field of beige patterned dots.

Woodward and Bernstein play good cop, bad cop with an understandably reticent Sally Aiken.

Woodward and Bernstein play good cop, bad cop with an understandably reticent Sally Aiken.

By the time Woodward and Bernstein compare notes at McDonald’s, we’re seeing plenty of realistic repetition in their wardrobes as Woodward wears the previously seen blue-and-white striped button-down shirt with the brown pattern-dotted tie. This is one of the instances where he orphans the light brown corduroy suit jacket by wearing with a pair of darker brown corduroy trousers.

Bernstein and Woodward taking a much deserved break.

Bernstein and Woodward taking a much deserved break.

The navy tie with the blue teardrops returns with another checked shirt, this one with a subtle navy mini-check, a large ’70s point collar, breast pocket, front placket, and button cuffs – undone and rolled up. With this shirt and tie combo, Woodward orphans the corduroy suit jacket by wearing it with a pair of navy slacks.

ALL THE PRESIDENT'S MEN

Under all of his shirts, Woodward typically wears a white cotton V-neck undershirt.

Redford’s Accessories

Robert Redford didn’t let the fact that he was playing a real person get in the way of wearing his usual accessories. On the third finger of his right hand, he wore the silver imprinted ring that he received as a gift fro, representatives of the Hopi tribe in 1966 and has appeared in most of his movies.

A frustrating interlude on the phone with Clark MacGregor while chasing down Kenneth H. Dahlberg...

A frustrating interlude on the phone with Clark MacGregor while chasing down Kenneth H. Dahlberg…
This classic shot, nearly six minutes long, was masterfully designed by cinematographer Gordon Wills to manipulate the audience’s focus on Redford as Woodward despite other distractions in the scene. You just have to watch it to truly appreciate it.

Redford also wore his own stainless steel Rolex Submariner 1680 that he wore in many of his 1970s films, including The Candidate (1972), another politically themed film. While I don’t believe that Woodward’s watch at the time was a Rolex (just from looking at contemporary photos), he certainly adopted wearing what appears to be a two-tone DateJust later in life.

ALL THE PRESIDENT'S MEN

Little seen under his shirt due to his penchant for ties (loosely worn though they may be), Redford also wears his usual silver necklace, best seen during the tense sequence typing out his notes from a Deep Throat meeting in Bernstein’s flat.

How to Get the Look

Robert Redford as Bob Woodward in All the President's Men (1976)

Robert Redford as Bob Woodward in All the President’s Men (1976)

Robert Redford’s wardrobe as reporter Bob Woodward in All the President’s Men is anchored by a rumpled corduroy suit that adds preppy flair.

  • Light brown pinwale-corduroy cotton suit:
    • Single-breasted 3/2-roll button single-breasted jacket with notch lapels, welted breast pocket, straight flapped patch pockets, spaced 2-button cuffs, and long single vent
    • Flat front trousers with tall belt loops, slanted side pockets, jetted back pockets, and slightly flared plain-hemmed bottoms
  • White/navy/gold-checked shirt with large spread collar, front placket, breast pocket, and button cuffs
  • Dark navy or black knit tie
  • Light brown leather derby shoes
  • Black socks
  • White cotton V-neck undershirt
  • Silver Hopi ring with black imprint, worn on right ring finger
  • Rolex Submariner 1680 stainless steel wristwatch with black bezel, black dial, and steel “Oyster”-style link bracelet

Do Yourself a Favor and…

Check out the movie and read Bernstein and Woodward’s classic book!

Most importantly, all Americans should be sure to vote in tomorrow’s midterm elections! Uber and Lyft have both announced that they’re offering free rides to local polling stations in response to 29% of young adults telling a Tufts University study that lack of transportation prevented them from voting in the 2016 election.

The Quote

If you’re gonna do it, do it right. If you’re gonna hype it, hype it with the facts. I don’t mind what you did. I mind the way you did it.

Purple Noon: Alain Delon’s Blue Silk Suit

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Alain Delon as Tom Ripley in Purple Noon (1960)

Alain Delon as Tom Ripley in Purple Noon (1960)

Vitals

Alain Delon as Tom Ripley, charming American con artist and sophisticated sociopath

Rome, Italy, August 1959

Film: Purple Noon
(French title: Plein soleil)
Release Date: March 10, 1960
Director: René Clément
Costume Designer: Bella Clément

WARNING! Spoilers ahead!

Background

Today is the 83rd birthday of French actor and worldwide style icon Alain Delon. Born November 8, 1935, in Sceaux, a commune south of Paris, Delon entered the film world during a trip to the Cannes Film Festival shortly after his dishonorable discharge from the French Navy. Attending Cannes with his friend, actress Brigitte Auber, Delon caught the eye of one of David O. Selznick’s talent scouts. A contract was offered, but Delon would later choose to cancel the contract in favor of remaining in France to begin his film career there.

After a few leading roles in France, it was Plein soleil in 1960 that boosted Delon to international stardom. Released as Purple Noon in the English-speaking world, this adaptation of Patricia Highsmith’s 1955 thriller novel The Talented Mr. Ripley starred Delon as the cunning sociopath Tom Ripley, a portrayal that Highsmith herself highly approved of.

Following the murder of his friend Philippe Greenleaf (Maurice Ronet), Ripley begins taking steps to assume the deceased man’s identity, beginning with a trip to Rome in one the dead man’s bespoke suits and monogrammed shirts.

What’d He Wear?

“Since its debut on the Riviera in the late twenties, the pure silk dupioni suit has always been the last word in summer chic,” wrote Alan Flusser in his definitive Dressing the Man, illustrating his point with a dapper Prince Charles on holiday in Hawaii outfitted in a gleaming white dupioni silk tailored suit. Indeed, with its slubby imperfections and fluid sheen, dupioni remains one of the more romantic suitings, evoking images of a leisurely champagne lunch in Saint-Tropez or an evening out in Monaco…

…or conducting business in Rome, in the case of Alain Delon’s Tom Ripley.

Ripley prepares for a full day as Philippe Greenleaf.

Ripley prepares for a full day as Philippe Greenleaf.

Having recently “inherited” the expansive wardrobe of the late bon vivant Philippe Greenleaf, Ripley dons a rich dark blue dupioni silk suit and sets out for a day of transactions ranging from brokering the sale of Greenleaf’s boat to forging his passport.

In Dressing the Man, Flusser describes dupioni as “a luxurious shantung-style silk fabric made from a double silk fiber from two cocoons nested together… combining the best of natural fiber worlds.” He further offers that “the classic shades are cream, brown, blue, and elephant gray.” In dark, somber colors like charcoal gray, dupioni silk could make an argument for office wear, though Ripley’s bold blue suit plays to the elegant suiting’s potential for opulence.

Despite the lavish qualities of the suiting, the fit and details of Ripley’s purloined blue suit are all business. The single-breasted jacket has notch lapels, a 3/2 button roll, a ventless back, and jetted hip pockets. Ripley adds a touch of color with a sky blue satin silk pocket square folded in his welted breast pocket, picking up the lighter blue of one of his tie stripes without being an exact match.

Ripley’s suit jacket also has functioning three-button “surgeon’s cuffs”, hardly a rakish detail in itself unless worn as Ripley does with one of the buttons undone. Despite the likely apocryphal story that surgeon’s cuffs got their name from battlefield doctors unbuttoning their cuffs to roll up their sleeves before performing surgery rather than taking the time to remove their jackets, the more contemporary practice of a fellow leaving one or more of his sleeve buttons undone is more or less out of a desire to show off that the cuffs are not the ornamental variety typically found on off-the-rack jackets.

Note the undone last button on Ripley's cuff.

Note the undone last button on Ripley’s cuff.

The suit’s beltless trousers have a full, flattering fit with double reverse pleats and turn-ups (cuffs) on the bottoms.

Ripley wears derby shoes made from black calf leather.

Ripley makes an impression as he strides through Rome traffic.

Ripley makes an impression as he strides through Rome traffic.

Ripley balances the less businesslike elements of the suit by wearing it with a classic white shirt and striped tie. The white cotton shirt has a wide spread collar, plain front, and button cuffs.

The identity of the shirt’s true owner is made clear with the red-embroidered “Ph.G.” monogram on the left breast, signifying that Ripley’s transformation into Greenleaf is underway.

"Discretion of paramount to good taste, and large or conspicuously placed initials are indiscreet," writes Flusser of monogrammed shirts in Dressing the Man. He would likely approve of the understated monogram Greenleaf chose for his shirt... if not the disheveled way in which Ripley wears it.

“Discretion of paramount to good taste, and large or conspicuously placed initials are indiscreet,” writes Flusser of monogrammed shirts in Dressing the Man. He would likely approve of the understated monogram Greenleaf chose for his shirt… if not the disheveled way in which Ripley wears it.

In a fine example of textural coordination, Ripley wears a slubby shantung silk tie that echoes his dupioni silk suiting. The tie is patterned in wide “uphill” stripes in navy, light gray, and light blue.

Like knit ties and tweed, the slubby textures of the shantung silk tie and dupioni silk suit work together nicely to unify Ripley's ensemble.

Like knit ties and tweed, the slubby textures of the shantung silk tie and dupioni silk suit work together nicely to unify Ripley’s ensemble.

With their complementary cool tones, this blue and gray striping is a common combination in men’s neckwear. Drake’s currently offers a half-shantung silk, half-cotton tie in a similar tri-color stripe.

Alain Delon as Tom Ripley in Purple Noon (1960)

Alain Delon as Tom Ripley in Purple Noon (1960)

How to Get the Look

Dupioni silk’s long association with luxurious Mediterranean leisure makes it an ideal choice for the late bon vivant Philippe Greenleaf and the successor to his identity, Tom Ripley, who wears the suit in a business context with complementary cool colors that communicate his passionless professionalism.

  • Blue dupioni silk suit:
    • Single-breasted 3/2-roll jacket with notch lapels, welted breast pocket, straight jetted hip pockets, functional 3-button “surgeon’s cuffs”, and ventless back
    • Double reverse-pleated trousers with turn-ups/cuffs
  • White cotton shirt with spread collar, plain front, and button cuffs
  • Navy, blue, and gray widely “uphill”-striped shantung silk tie
  • Sky blue satin silk pocket square
  • Black calf leather derby shoes
  • Gold pendant necklace on thin gold chain
  • Steel watch with round silver dial on navy blue strap

Do Yourself a Favor and…

Check out the movie.

Michael Corleone’s Corduroy Jacket in The Godfather

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Al Pacino as Michael Corleone in The Godfather (1972)

Al Pacino as Michael Corleone in The Godfather (1972)

Vitals

Al Pacino as Michael Corleone, war hero and Mafia son

New York City, December 1945

Film: The Godfather
Release Date: March 15, 1972
Director: Francis Ford Coppola
Costume Designer: Anna Hill Johnstone

Background

As we get closer to the holidays, today’s #MafiaMonday look from The Godfather is a fall-friendly approach to dressing for cooler weather and grayer days.

And the days are indeed gray for the Corleone family, particularly the recently returned Michael (Al Pacino). Things were going pretty well for a while, as the decorated Marine hero had just attended the wedding of his sister Connie (Talia Shire) and was looking forward to a comfortable life with his girlfriend Kay (Diane Keaton)… until his father, Vito Corleone (Marlon Brando), was shot and badly wounded by Mafia rivals.

Now, a gloomy Michael is home for the holidays but has little to do other than hang around the family’s Long Island compound and learn a few family secrets about making sauce. He keeps his date with his girlfriend Kay (Diane Keaton), though the couple’s quiet dinner at the St. Regis does little to alter his glum attitude.

Following their date, Michael goes to visit Vito in the hospital and discovers that McCluskey (Sterling Hayden), a corrupt New York City police captain, has dismissed the bodyguards. Sensing something wrong, Michael recruits the trembling baker’s son Enzo – who really couldn’t have picked a worse time to drop in on a family friend – to stand in front of the hospital until reinforcements arrive.

Michael’s gambit was enough to deter one round of potential killers, but a bitter, blustering, and furious Captain McCluskey arrives on the scene and decks him. Michael ends up with a sizable shiner on his jaw, but the real damage runs far deeper as the next morning we witness the young man’s transformation from the ambitious war hero hoping for a safe family life into the calculating mob boss capable of both planning and executing murder:

They want to have a meeting with me, right? It will be me, McCluskey and Sollozzo. Let’s set the meeting. Get our informants to find out where it’s going to be held. Now we insist it’s a public place, a bar or a restaurant; some place where there’s people there so I’ll feel safe. They’re going to search me when I first meet them, right? So I can’t have a weapon on me then. But if Clemenza can figure a way to have a weapon planted there for me, then I’ll kill them both.

What’d He Wear?

It’s Christmastime in New York, and the nip in the air means pulling out the coats and scarves. After wearing a brown overcoat and striped brown scarf for some holiday shopping with Kay, Michael ditches the scarf and instead pulls out a second, heavier brown topcoat that buttons up to the neck. It’s worth noting that both of Michael’s coats before he gets more involved with the mob are a deep, earthy shade of brown, communicating a grounded sincerity.

This brown napped wool coat has four widely spaced mixed plastic sew-through buttons up the front from just below his waist line to his neck, where the top button fastens under a flat, shirt-style collar. The coat has hand pockets and the cuffs are triple-banded with no buttons or fastening.

"When Michael Corleone went into the city that night it was with a depressed spirit," wrote Mario Puzo at the start of Chapter 9 of The Godfather. "He felt that he was being enmeshed in the Family business against his will and he resented Sonny using him even to answer the phone."

“When Michael Corleone went into the city that night it was with a depressed spirit,” wrote Mario Puzo at the start of Chapter 9 of The Godfather. “He felt that he was being enmeshed in the Family business against his will and he resented Sonny using him even to answer the phone.”

Ivy League style is a hallmark of Michael Corleone’s fashion sense during his brief “civilian era” between the Marine Corps and the Mafia, so noticeable that even his older brother Sonny can’t help but comment on it when Michael suggests taking a more active – read: murderous – role in his family’s activities. His brown pinwale corduroy cotton sport jacket is an Ivy style staple.

GODFATHER

The single-breasted two-button jacket has notch lapels, a welted breast pocket, and straight flapped hip pockets, all with swelled edges. There is a single vent in the back and two spaced non-functioning buttons at the end of each sleeve.

"The change in him was so extraordinary that the smiles vanished from the faces of Clemenza and Tessio," wrote Mario Puzo in Chapter 10 of The Godfather. "Michael was not tall or heavily built but his presence seemed to radiate danger. In that moment he was a reincarnation of Don Corleone himself."

“The change in him was so extraordinary that the smiles vanished from the faces of Clemenza and Tessio,” wrote Mario Puzo in Chapter 10 of The Godfather. “Michael was not tall or heavily built but his presence seemed to radiate danger. In that moment he was a reincarnation of Don Corleone himself.”

Michael’s oxford-cloth cotton shirt with its button-down collar is another Ivy classic that’s far more collegiate than criminal in its associations. The hairline striping is dark navy on white, and it appears to be the same shirt he would wear with his charcoal flannel three-piece suit when executing Sollozzo and McCluskey at Louis’ Restaurant. The shirt has a breast pocket, front placket, and single-button barrel cuffs with mitred corners.

The autumnal striped silk tie coordinates with the other colors in his outfit with “downhill” diagonal stripes of varying widths in bronze, brown, and gray.

GODFATHER

Michael wears a pair of dark gray flannel trousers, the pants that Alan Flusser refers to as “the blue blazer of cool-weather dress slacks” in his seminal Dressing the Man, commenting that “should you be considering a new sport jacket and are having difficulty visualizing it with a medium gray trouser, move on.” Michael’s gray trousers have turn-ups (cuffs) on the bottoms, and he wears them with a dark brown leather belt.

The belt coordinates with his brown leather V-front derby shoes with two-eyelet lacing. These shoes and his black socks are Michael’s standard footwear with his civilian wardrobe.

As Michael begins strategizing on behalf of his family's criminal empire, he adopts a powerful yet comfortable position in his chair that would become his signature.

As Michael begins strategizing on behalf of his family’s criminal empire, he adopts a powerful yet comfortable position in his chair that would become his signature.

Before he would graduate to the 18-karat gold Omega for his reign as Don of the Corleone crime family, Michael sported a much simpler timepiece, a plain steel wristwatch on a black leather strap. With its black dial, it could be a military watch – and thus possibly made by Hamilton, Bulova, or Elgin – that he may have retained from his wartime service in the U.S. Marine Corps.

Time is running out for Michael Corleone to avoid the powerful pull of his family's dark side. If only he had stayed longer during his date with Kay...

Time is running out for Michael Corleone to avoid the powerful pull of his family’s dark side. If only he had stayed longer during his date with Kay…

Go Big or Go Home

…and enjoy a home-cooked pasta dish with Clemenza’s signature recipe for Sunday gravy, which he teaches Michael after some gentle ribbing about his phone call with Kay.

Come over here, kid, learn something. You never know, you might have to cook for twenty guys someday.

You see, you start out with a little bit of oil. Then, you fry some garlic. Then you throw in some tomatoes, tomato paste. You fry it, you make sure it doesn’t stick. You get it to a boil, you shove in all your sausage and your meatballs, heh? And a little bit of wine, and a little bit of sugar, and that’s my trick.

The Barefoot Clemenza at work.

The Barefoot Clemenza at work.

Progresso appears to be the brand of choice for the Corleone family’s Sunday sauce. (As far as wine goes, anything from a glass jug ought to do the trick.)

Al Pacino as Michael Corleone in The Godfather (1972)

Al Pacino as Michael Corleone in The Godfather (1972)

How to Get the Look

From the hotel to the hospital and back home again, this sequence features the last stand of Michael Corleone’s traditional Ivy-inspired style as he finally finds himself unable to resist the pull of his family’s criminal ventures.

  • Brown pinwale corduroy single-breasted 2-button sport jacket with notch lapels, welted breast pocket, straight flapped hip pockets, spaced 2-button cuffs, and single vent
  • White-and-navy dress-striped oxford-cloth cotton shirt with button-down collar, front placket, and mitred button cuffs
  • Autumnal “downhill”-striped tie
  • Gray flannel flat front trousers with turn-ups/cuffs
  • Dark brown leather belt with squared steel single-prong buckle
  • Brown leather 2-eyelet derby shoes
  • Black dress socks
  • Brown wool 4-button topcoat with flat collar, hand pockets, and single vent
  • Steel military-style field watch with black dial on black leather strap

Do Yourself a Favor and…

Check out the series and read Mario Puzo’s 1969 novel that started it all.

The Quote

It’s not personal, Sonny. It’s strictly business.


Arabesque – Gregory Peck’s Windowpane Sport Jacket

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Gregory Peck and Sophia Loren in Arabesque (1966)

Gregory Peck and Sophia Loren in Arabesque (1966)

Vitals

Gregory Peck as David Pollock, American hieroglyphics professor

Oxford to London, Wednesday, June 16, 1965

Film: Arabesque
Release Date: May 5, 1966
Director: Stanley Donen
Tailor: H. Huntsman & Sons, London

WARNING! Spoilers ahead!

Background

Three years after helming “the best Hitchcock movie that Hitchcock never made,” director Stanley Donen again returned to the romantic world of lighthearted espionage with Arabesque, based on Alex Gordon’s 1961 novel The Cypher. Like Charade before it, Donen brought two glamorous and popular stars together for a lighthearted and stylish spy story against a European backdrop.

Donen wasn’t confident with the script, which was constantly being rewritten, so he made up for it with unusual and experimental shots that add to the movie’s unique aesthetic. “Our only hope is to make it so visually exciting the audience will never have time to work out what the hell is going on,” Donen reportedly told Christopher Challis, who directed the film’s BAFTA-winning cinematography. Thus, like The Thomas Crown Affair (1968) to follow, a relatively ordinary plot was spiced up for the screen by clever cinematography and an emphasis on style.

We meet our Hitchcockian hero, Professor David Pollock (Gregory Peck), as he’s teaching an admittedly dry hieroglyphics classic on behalf of the missing Professor Ragheeb (George Coulouris). After his lecture, Pollock is cornered by Sloane (John Merivale), a sinister Brit who murdered Ragheeb in the opening scene, who asks to speak with him. “Well, if it’s about that small outstanding bill at the bookstore, there’s a simple explanation… poverty,” Pollock drolly responds.

At Sloane’s urging and the suggestion of the prime minister of an unrevealed Middle Eastern country, Pollock reconsiders his initial stubbornness and finds himself taking a meeting with the disturbingly suave shipping magnate Nejim Beshraavi (a disturbingly Mancunian Alan Badel), who asks him to consult on an inscription… the very one that Sloane had earlier obtained during Ragheeb’s murder.

While a guest in Beshraavi’s home, Professor Pollock encounters the striking Yasmin Azir (Sophia Loren), who requests that he help her with her dress.

Yasmin: Can you manage?
Pollock: I always tremble when I’m happy.

Over dinner with a jealous and possessive Beshraavi, Yasmin uses a clumsy spill as an opportunity to slip a cryptic note into Pollock’s hand. Unfortunately, Pollock is no 007, and our inexperienced hero accidentally drops the note into his honey and is forced to cover for the slip by claiming it’s a prescription for indigestion (as he tries to digest so many dry books as a professor.) He soon picks up a spy trick or two, however, and tries to flush the note away before covertly meeting the lovely Miss Azir in her room at the top of the stairs.

“Call me Yasmin,” she insists. “At least while you’re in my bathroom.”

Fun with Gregory Peck and Sophia Loren on the set of Arabesque (1966). Note that Peck has evidently changed out of his character's brown suede derby shoes and into a pair of black-and-white sneakers.

Fun with Gregory Peck and Sophia Loren on the set of Arabesque (1966). Note that Peck has evidently changed out of his character’s brown suede derby shoes and into a pair of black-and-white sneakers.

He gets even further than that when Beshraavi stops by, forcing him to hide in the shower. Of course, Beshraavi insists that Yasmin not delay her shower on his account… and she steps into the shower with a fully clothed and rather befuddled Pollock standing behind her.

He'd complain, but who'd listen?

He’d complain, but who’d listen?

The twists and turns are just beginning, as David and Yasmin next stage an escape from the home in the form of a faux kidnapping that leads Beshraavi’s henchmen to chase the couple to the zoo, where he ends up taken captive yet again – this time by Yasmin and her mod pals who leave him drugged up and mock-bullfighting on the side of the highway.

What’d He Wear?

Gregory Peck had been a client of the venerable Savile Row tailor H. Huntsman & Sons for more than a dozen years by the actor took on the role of David Pollock in Arabesque in 1966. The role of an American professor teaching at Oxford provided the perfect opportunity for Peck to show off his impeccably tailored English clothing on screen, beginning with a brown windowpane sport jacket and odd trousers worn for the first half of the movie.

Peck wears a brown flannel sport jacket with a two-color windowpane check in subdued rust and black. The jacket nicely fits his professorial character, though the soft napped flannel cloth would be more appropriate in the country than an evening in London.

ARABESQUE

Tailored by Huntsman, Peck’s single-breasted jacket features many elements of the traditional English style, including natural shoulders, notch lapels of moderate width that roll to a two-button front, double vents, and flapped hip pockets with a flapped ticket pocket on the right side.

Professor Pollock takes in the elegance of Yasmin's lavatory.

Professor Pollock takes in the elegance of Yasmin’s lavatory.

The countrified jacket has unique suede elbow patches in a half-oval shape that only covers the back half of each elbow. Each sleeve has two spaced buttons at the cuff.

ARABESQUE

Despite the arguably English cut of his jacket, Peck’s oxford cloth button-down shirt enjoys a more American association dating back to the waning years of the 19th century when John E. Brooks was inspired by English polo players’ practice of attaching buttons to their shirt collars to keep them from flopping around during matches.

Made by the venerable Frank Foster of London (as confirmed by the shirtmaker’s Instagram page), Peck’s shirt is a pale eggshell cotton, a shade warmer than plain white for stronger harmony with his earthy jacket and tie. The shirt has a spread button-down collar, breast pocket, and single-button rounded cuffs.

David's shirt - and his dignity - are somewhat worse for wear after an unusual Wednesday.

David’s shirt – and his dignity – are somewhat worse for wear after an unusual Wednesday.

Peck’s tie consists of a repeating field of rust-and-green paisley teardrop-shaped patterns on a black ground, creating a rustic-toned effect that nicely coordinates with the brown windowpane jacket.

Pollock and Yasmin stage their escape from Beshraavi's home.

Pollock and Yasmin stage their escape from Beshraavi’s home.

“I thought it would be cool to give my dad a pair of jeans,” Peck’s son Anthony said in a 2016 article in Hollywood Reporter. “I put them underneath the Christmas tree in about 1975… He opened them and he gave a wholly convincing performance. He tried them on with a Huntsman tweed and made me believe I’d given him the greatest thing ever. Only in my adulthood did I realize that I had never seen them again. As I said, my father knew who he was.”

Peck was a master of the venerable and versatile gray flannel trousers. By the mid-1960s, pleats and turn-ups were growing démodé among the fashionable set, but Peck – with his timeless sensibilities regarding traditional menswear – dressed in Arabesque with a pair of dark gray flannel trousers styled with double forward pleats and cuffed bottoms.

With this outfit and his brown flannel suit worn at the film’s climax, Peck’s David Pollock wears a burgundy belt in exotic scaled leather with a squared gold single-prong buckle.

Pollock sleeps off a rough night.

Pollock sleeps off a rough night.

In Dressing the Man, Alan Flusser writes of the suede shoe’s initial difficulty in securing a foothold – if you’ll forgive the pun – on men’s feet. The men’s suede shoe made its inauspicious debut on the feet of the Prince of Wales (who else?) when Edward VIII sported a pair of brown buckskin lace-ups with his gray flannel suit at the 1924 International Polo match at Long Island’s Meadowbrook Country Club. “Though the sovereign-to-be’s sartorial proclivities were already legend on both sides of the Atlantic, fashion observers were aghast at his supposed breach of good taste in sporting ‘reverse calf’ (as suede was then termed) oxfords, with a suit, no less,” describes Flusser.

Luckily for today’s natty dressers, the era’s fashion arbiters ignored the critics and the reluctant retailers and, within a decade, “the brown buckskin shoe had so infiltrated sporting circles that no well-dressed Brit considered his wardrobe complete without at least one pair. On the opposite shore, the society sportsmen at Meadowbrook and Piping Rock Country Clubs on Long Island were so enamored of the brown tweed jacket and gray flannel trouser combination that he who ‘really belonged’ invariably finished off this ensemble with a pair of the new buckskin shoddings.”

Flusser including the detail of the timeless ensemble of a brown tweed jacket, gray flannel trousers, and brown buckskin shoes recalls Gregory Peck’s kit throughout the first half of Arabesque, at least until the good professor finds himself sharing a shower with Sophia Loren… a fine situation for anyone, to be sure, though not promising for the longevity of his footwear.

Peck's David Pollock wears a pair of dark brown suede derby shoes with charcoal wool socks... hardly ideal for a shower, no matter who else may be joining.

Peck’s David Pollock wears a pair of dark brown suede derby shoes with charcoal wool socks… hardly ideal for a shower, no matter who else may be joining.

Much is said about how the color of hosiery should complement its surroundings (preferably to match the trousers), but less reported is the importance of choosing socks that connect with the texture of the rest of the outfit. The great Flusser said it most effectively: “for the sock to effect a stylish transition between trouser and shoe, it must share some of their physical properties.” Peck masters this transition with his chunky charcoal ribbed wool socks that both continue the leg line of his dark gray trousers while also linking the coarser texture of his flannel jacket and trousers and his suede shoes.

Professor Pollock’s gold watch is never seen as clearly as the sinister Major Sloane’s Everite 21-jewel timepiece, though the details of its silver dial and russet brown leather strap are visible on screen.

A ringing phone can be a hangover's worst enemy.

A ringing phone can be a hangover’s worst enemy.

Gregory Peck as Professor David Pollock in Arabesque (1966)

Gregory Peck as Professor David Pollock in Arabesque (1966)

How to Get the Look

Gregory Peck and Sophia Loren both brought their personal style to their roles in Arabesque. While her exquisite costumes were designed by Christian Dior, Peck retained the services of his usual tailor, Huntsman, for a tasteful, timeless, and decidedly English aesthetic that suits his dignified – if unadventurous – character.

  • Brown windowpane check flannel single-breasted 2-button sport jacket with notch lapels, welted breast pocket, straight flapped hip pockets with right-side ticket pocket, spaced 2-button cuffs, and double vents
  • Pale eggshell cotton shirt with button-down collar, front placket, breast pocket, and 1-button rounded cuffs
  • Rust-and-green paisley teardrop-on-black ground tie
  • Dark gray flannel double forward-pleated trousers with belt loops, side pockets, and turn-ups/cuffs
  • Burgundy scaled leather belt with squared gold single-prong buckle
  • Dark brown suede derby shoes
  • Charcoal ribbed dress socks
  • Gold watch with silver dial on russet brown leather strap

Do Yourself a Favor and…

Check out the movie.

The Quote

If I could find my head, I’d go get it examined.

Don Draper’s Brown Striped Suit for Thanksgiving 1960

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Jon Hamm as Don Draper in "The Wheel", Episode 1.13 of Mad Men.

Jon Hamm as Don Draper in “The Wheel”, Episode 1.13 of Mad Men.

Vitals

Jon Hamm as Don Draper, mysterious advertising creative director

New York City, Spring to Fall 1960

Series: Mad Men
Episodes:
– “Ladies Room” (Episode 1.02), dir. Alan Taylor, aired 7/26/2007
– “New Amsterdam” (Episode 1.04), dir. Tim Hunter, aired 8/9/2007
– “Shoot” (Episode 1.09), dir. Paul Feig, aired 9/13/2007
– “The Wheel” (Episode 1.13), dir. Matthew Weiner, aired 10/18/2007
Creator:
 Matthew Weiner
Costume Designer: Janie Bryant

Background

This particular suit makes sporadic appearances across the masterful debut season of Mad Men, AMC’s much-acclaimed drama set in the world of American advertising in the 1960s.

We first see the dashing ad exec Don Draper (Jon Hamm) wearing it as he takes a drag from one of his Lucky Strikes during a meeting with his creative team in the second episode, “Ladies Room” (Episode 1.02). After he clears the office of the meeting’s junior attendees, he contemplates the age-old question of “what women want” with the agency’s senior accounts man, Roger Sterling (John Slattery).

Two episodes later in “New Amsterdam” (Episode 1.04), the suit shows up during a contentious client meeting with the stubborn and “pious” Walt from Bethlehem Steel. Sniveling and ambitious junior account man Pete Campbell (Vincent Kartheiser) is none too pleased about Don’s treatment of Walt, and Don uses the younger man’s rebuke as an opportunity to insult his side of their shared profession:

Don: You do your job. Take him sailing, get him in a bathing suit. Leave the ideas to me.
Pete: (defiant) I have ideas.
Don: I’m sure you do. Sterling Cooper has more failed artists and intellectuals than the Third Reich.

But the suit’s most significant appearance comes in the first season’s memorable finale, “The Wheel” (Episode 1.13), set in the final work days leading up to Thanksgiving 1960. Don makes the easy decision to forego spending the holiday with his family in favor of preparing for a pitch to Kodak to win the business advertising their new slide projector, tentatively named The Wheel. “‘Kodak reinvented the wheel.’ They’re gonna hear that ten times,” Don drolly speculates.

However, a return to the shoebox full of mementos from his past life as Dick Whitman, the jarring news of his half-brother Adam’s suicide, and a late night conversation with a pantless Harry Crane (Rich Sommer) who has been sleeping in his office after his first – of many – extramarital dalliance, inspires Don to refocus his pitch on family and nostalgia.

Neither Don, Harry, or the audience could have expected this moment to result in one of the most stirring scenes in modern television.

Neither Don, Harry, or the audience could have expected this moment to result in one of the most stirring scenes in modern television.

The next day, Don’s still wearing the same suit but looking as good as ever, no doubt having changed his shirt for one of the fresh ones kept in his drawer. He wows Kodak as well as his own team with a nostalgic pitch for Kodak’s projector, which he rechristened the “Carousel”.

Scored by David Carbonara’s “The Carousel”, this sentimental sequence remains emotionally effective not only for the show’s viewers but also its own characters as poor Harry Crane runs from the room in remorseful tears.

Kodak reps and Sterling Cooper sit back to watch Don's pitch. Harry Crane won't know what hit him.

Kodak reps and Sterling Cooper sit back to watch Don’s pitch. Harry Crane won’t know what hit him.

Don himself returns home with a newfound appreciation for the family life he had taken for granted… but, sadly, his realization came too late as he’s already missed the chance to spend Thanksgiving with his wife and children, who are spending the holiday at her parents’ house. The season closes with Bob Dylan’s “Don’t Think Twice, It’s Alright”, anachronistic for the show’s 1960 setting but ushering in the next season that begins in 1962.

Interestingly, show creator Matthew Weiner’s conception of this moment came from his own moment of uncertainty. “At the time, I didn’t know if there was gonna be another season of the show,” Weiner said, according to a Business Insider article covering a Mad Men-related exhibit at the Museum of the Moving Image. “And it was important for me to not only use Bob Dylan, because I love the idea of the central premise of the show that someone like Don, who lived in that world and dressed like that and had that job was going to be listening to this music… I also just love the words to this song because it’s a moment of Don in deep regret about losing his family.”

What’d He Wear?

The Brown Striped Suit

“No brown in town” had hardly ever been the rule in America that it once was across the pond, and it would have been all but forgotten on both sides of the Atlantic by 1960 when Madison Avenue’s ad men were riding up the elevators to their swanky, wood-paneled offices.

“While there are those diehards who refuse to consider a brown suit, there is no man who cannot wear one to personal advantage,” writes Alan Flusser in his definitive Dressing the Man. “The dark brown suit offers many virtues, the first being its freedom from dependence on the predictable blue and gray.”

Blue and gray are undeniably staples of Don Draper’s wardrobe, though he’s never shied away from professional attire in varying shades of brown, particularly when he needs to rely on the palette’s earthiness. For instance, Don grounds himself with this brown striped suit – one of his first season favorites – when presenting to a client with a reputation for piety in “New Amsterdam” (Episode 1.04) and for an important nostalgia-centered pitch in “The Wheel” (Episode 1.13).

Don updates his professional brown suits throughout the seasons with differing shades and patterns, but his first makes an appearance in the show’s second episode, “Ladies Room” (Episode 1.02), when he holds court in his office wearing a dark brown flannel with rust-colored rope striping.

"Ladies Room" (Episode 1.02)

“Ladies Room” (Episode 1.02)

Don’s suit jacket suggests fashion sensibilities of the 1950s with its full fit and length, perfectly appropriate for 1960 but perhaps an explanation for why this suit makes its final appearance at the end of the first season in favor of more contemporary suits to follow.

The single-breasted suit jacket has a 3/2-button roll, with the center fastening button appropriately dividing the shirt and tie above it and the trousers below it for balanced proportions. The jacket has straight flapped hip pockets in line with the lowest button, and Don wears a neatly folded white cotton pocket square in the jacket’s welted breast pocket. The jacket also has a single vent, non-functional “kissing” two-button cuffs, and narrow shoulders with roped sleeveheads.

Don wows his audience with a sharp suit and a sharp presentation.

Don wows his audience with a sharp suit and a sharp presentation.

When worn properly, Don’s flat front trousers have a long rise in accordance with the era’s fashions, but long nights in the office find his trouser waistline slumping, despite his slim vintage Brooks Brothers belts with box-style buckles to hold them up. His trousers have straight side pockets, jetted back pockets (with no buttons), and turn-ups (cuffs) on the bottoms.

One of many late nights in the office spent drinking, preparing the perfect pitch, and drinking some more.

One of many late nights in the office spent drinking, preparing the perfect pitch, and drinking some more.

Don almost always matches his belt leather to his shoes, wearing a dark brown leather belt with a steel box buckle in “Ladies Room” (Episode 1.02) and “The Wheel” (Episode 1.13) and a black leather belt with a brass buckle in “New Amsterdam” (Episode 1.04) and “Shoot” (Episode 1.09).

Shirts and Ties

Particularly during his career at Sterling Cooper in the early 1960s, Don exclusively wears white dress shirts with his suits, notably keeping a backup collection of laundered and folded white shirts in his desk drawer when he needs to change after spending the night “in the city”. His shirts have a semi-spread collar, front placket, and breast pocket for his ubiquitous Lucky Strike cigarettes.

It's really amazing that this guy made it to 1970 without getting lung cancer. For more about Don Draper's "weird agelessness", check out Neima Jahromi's thoughtful piece for The New Yorker just before the show's finale in May 2015.

It’s really amazing that this guy made it to 1970 without getting lung cancer.
For more about Don Draper’s “weird agelessness”, check out Neima Jahromi’s thoughtful piece for The New Yorker just before the show’s finale in May 2015.

All of Don’s shirts at the office have squared double (French) cuffs, where he wears a rotating selection of stylish links. In “Ladies Room” (Episode 1.02), he coordinates with his gold-toned tie with a set of gold elongated hexagonal cuff links.

"Ladies Room" (Episode 1.02)

“Ladies Room” (Episode 1.02)

With his toned down dark tie in “The Wheel” (Episode 1.13), Don wears a simpler pair of flat silver square cuff links.

Pre-pitch confidence in "The Wheel" (Episode 1.13).

Pre-pitch confidence in “The Wheel” (Episode 1.13).

For this suit’s first two appearances, in “Ladies Room” (Episode 1.02) and “New Amsterdam” (Episode 1.04), Don wears an “old gold”-colored tie with yellow scattered dots placed along a series of subtle “downhill” diagonal ribs.

Old gold, a shade closer to brown mustard than the shiny yellow gold of jewelry, is a curious color for Don Draper as the show’s first scene establishes Old Gold cigarettes as the primary competitor for his client, Lucky Strike; by the show’s end, Don himself would shift to smoking Old Golds… but I digress. This is Don’s most commonly worn tie with this suit.

Don takes a stand in "New Amsterdam" (Episode 1.04).

Don takes a stand in “New Amsterdam” (Episode 1.04).

In “Shoot” (Episode 1.09), Don steps into his office to find a mysterious package from McCann-Erickson’s Jim Hobart, offering membership in the New York Athletic Club in exchange for Don bringing his creative directing talent to their agency. As he opens the gift and considers his professional conflict during an internal meeting, he wears a slim tie with equally narrow “downhill” stripes in olive, black, beige, and brown.

Same place, three months later. Don contemplates a new opportunity in "Shoot" (Episode 1.09).

Same place, three months later. Don contemplates a new opportunity in “Shoot” (Episode 1.09).

The suit’s final appearance finds it paired with Don’s most subdued tie, a slim piece of neckwear in a solid brown so dark that it looks black in some lighting.

Sometimes Don Draper even impresses himself.

Sometimes Don Draper even impresses himself.

Everything Else: From Head to Toe…to Wrist

Like all professional gentlemen of the mid-century era, Don would never dream of traversing to and from his office without his hat and coat. For the former, he typically sports a felt short-brimmed fedora – made from gray, taupe, or brown felt – with a black grosgrain band.

Don’s coat changes depending on the season, pressing his usual khaki thigh-length raincoat into service on the warm but wet rainy days of spring and summer. This raglan-sleeve coat has single-button pointed half-tab cuffs, a single vent, and red iridescent satin-finished lining.

Arriving at the office in "Shoot" (Episode 1.09).

Arriving at the office in “Shoot” (Episode 1.09).

For chillier days, like the late November days leading up to Thanksgiving 1960, Don wears a brown glen plaid wool topcoat with slim-notched lapels, a single-breasted front with three widely spaced buttons, straight flapped hip pockets, and set-in sleeves with half-cuffed ends.

The empty house that greets Don on the eve of Thanksgiving 1960 sets him on a path contemplating his decisions, priorities, and responsibilities. The empty house that greets Don on the eve of Thanksgiving 1960 sets him on a path contemplating his decisions, priorities, and responsibilities.

Though he invariably wears chocolate brown dress socks to continue the leg line of his trousers, Don switches between wearing brown and black shoes with this particular suit. The makers of these shoes can’t be definitively determined, though Jon Hamm was known to wear dress shoes made by Florsheim and by Peal and Co. (by Brooks Brothers) across the show’s run.

For the transitional seasons of early spring and late fall (as seen in “Ladies Room” and “The Wheel”), Don wears a pair of brown leather cap-toe derby shoes. During the warmer months like late spring into summer, he wears black calf leather cap-toe oxfords, a more formal style.

Don, living the idyllic life of a suburban family man, but too distracted in his work to appreciate it. (Episode 1.04: "New Amsterdam") Don, home alone and desperate for the family surroundings he had previously taken for granted. (Episode 1.13: "The Wheel")

The wristwatch that Don wears throughout the first season has been strongly hypothesized to be a steel Jaeger-LeCoultre Memovox with a replacement black and white “tuxedo dial” and a black leather strap. The Memovox was very innovative when introduced in 1956 as it was the first automatic wristwatch to include a mechanical alarm function. It was produced through the 1960s and revived in 2012. Don would stick with Jaeger-LeCoultre, wearing the Reverso style in the second and third seasons, before he switched to his Rolex Explorer in the fourth season and his Omega Seamaster DeVille for Mad Men‘s final three seasons.

Late night anguish in "The Wheel" (Episode 1.13).

Late night anguish in “The Wheel” (Episode 1.13).

As far as underwear goes, interested parties can follow Don’s example with all white cotton for his crew-neck short-sleeved undershirts and boxer shorts.

Go Big or Go Home

Just go home!

What to Imbibe

Canadian Club had been Don’s fuel for conceptualizing the Kodak pitch… up to the moment that he curled into the fetal position and passed out on his couch. However, he still accepts Duck Phillips’ congratulatory glass when Ken Cosgrove offers a “here’s how!” toast after the pitch’s success.

MAD MEN

MAD MEN

To answer Peggy Olsen’s question in the pilot about the difference between “rye” and “Canadian whisky”, it is technically incorrect to use both terms interchangeably as Canadian whiskies – like Canadian Club – are required by law to have been mashed, distilled, and aged at least three years in Canada. Some Canadian distillers add small amounts of rye grain to their mashes, creating a demand for “rye” in Canada, though corn remains the primary grain for most Canadian whisky.

Corn, rye, and barley are used in the three distinctive mashes for Canadian Club, which celebrates its 160th anniversary of production this year. Hiram Walker had initially founded his distillery in Detroit in 1858 but very quickly moved it across the Detroit River to Windsor, Ontario, as the temperance movement picked up legs across the U.S. Within two years, it gained the nickname of “club whisky” for its popularity in gentlemen’s clubs, and it took the formal name of Canadian Club in 1890 to adhere to American import laws regarding country of origin.

Prohibition only bolstered C.C.’s popularity, as gangsters like Al Capone went to great lengths to smuggle it into the U.S., creating a demand for this smooth whiskey that found its legal American sales skyrocketing once Prohibition was repealed in 1933. By the start of World War II less than a decade later, C.C. was being sold in 90 countries around the globe. The famous “Canadian Club” neon sign was placed in Times Square in 1952, where it would remain an iconic fixture of Times Square photography for 21 years. The brand has only continued to grow, with new bottlings like Canadian Club Reserve and Canadian Club rye introduced over the last few decades.

And from what vessel would Don and his cronies drink Canadian Club? Why, a round, silver-rimmed rocks tumbler based on Dorothy Thorpe’s famous “Roly Poly” design.

How to Get the Look

“Whether in a winter or summer weight, plain or pinstriped, double- or single-breasted, the high-class brown suit will always be a power player in any male wardrobe aspiring to permanent stylishness,” writes Alan Flusser in Dressing the Man, and they are words that Don Draper takes to heart with his rotation of strong brown suits over the course of the show.

Jon Hamm as Don Draper in "New Amsterdam", Episode 1.04 of Mad Men.

Jon Hamm as Don Draper in “New Amsterdam”, Episode 1.04 of Mad Men.

  • Dark brown flannel suit with rust-colored rope stripe
    • Single-breasted 3/2-roll jacket with notch lapels, welted breast pocket (with white cotton pocket square), straight flapped hip pockets, spaced 2-button cuffs, and single vent
    • Flat front trousers with belt loops, straight/on-seam side pockets, jetted back pockets, and turn-ups/cuffs
  • White cotton dress shirt with semi-spread collar, front placket, breast pocket, and double/French cuffs with gauntlet button
    • Gold elongated hexagon cuff links
  • Gold silk tie with scattered yellow dots
  • Dark brown belt with steel box-type buckle
  • Dark brown calf leather cap-toe derby shoes
  • Dark brown dress socks
  • Taupe felt short-brimmed fedora with black grosgrain ribbon
  • Khaki raglan-sleeve raincoat or brown glen plaid topcoat, weather dependent
  • Jaeger-LeCoultre Memovox steel-cased wristwatch with black-and-white “tuxedo dial” and black leather strap

Do Yourself a Favor and…

Start with the first season, but you’ll eventually want to check out the whole series.

If you want to see the show – and Jon Hamm’s powerful performance as Don Draper – at some of its best, check out the nostalgic Kodak pitch moment from the first season finale, “The Wheel” (Episode 1.13).

The Quote

Well, technology is a glittering lure. But there is a rare occasion when the public can be engaged on a level beyond flash – if they have a sentimental bond with the product.

My first job, I was in-house at a fur company with this old pro of a copywriter, a Greek, named Teddy. Teddy told me the most important idea in advertising is “new.” It creates an itch. You simply put your product in there as a kind of calamine lotion. He also talked about a deeper bond with a product: nostalgia. It’s delicate, but potent.

Teddy told me that in Greek, nostalgia literally means “the pain from an old wound.” It’s a twinge in your heart, far more powerful than memory alone. This device isn’t a space ship… it’s a time machine. It goes backwards, forwards. It takes us to a place where we ache to go again. It’s not called The Wheel. It’s called a Carousel. It lets us travel the way a child travels. Around and around, and back home again… to a place where we know we are loved.

Mogambo: Clark Gable on Safari

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Clark Gable with Ava Gardner and Grace Kelly in Mogambo (1953)

Clark Gable with Ava Gardner and Grace Kelly in Mogambo (1953)

Vitals

Clark Gable as Victor Marswell, big game hunter

Kenya, Summer 1952

Film: Mogambo 
Release Date: October 9, 1953
Director: John Ford
Costume Designer: Helen Rose
Tailor: H. Huntsman & Sons, London

WARNING! Spoilers ahead!

Background

In my home state of Pennsylvania, the Monday after Thanksgiving is considered an unofficial holiday among hunters as the opening day of the state’s firearms deer season, a day when hunters are expected to bag approximately 25% of the season’s harvest, according to the Tribune-Review.

The 1953 adventure Mogambo stars Clark Gable as a hunter on safari in Africa with his eyes on even bigger game than deer: the hearts of Ava Gardner and Grace Kelly.

Victor Marswell – or “this big Congo Casanova,” as Gardner’s Eloise “Honey Bear” Kelly derides him – is a refresh of Gable’s earlier role in Red Dust (1932), a steamy pre-Code drama centered on a love triangle between a rugged outdoorsman, a brassy painted lady, and an upper-crust married woman. In addition to recasting the roles of the female leads, Mogambo updated the setting from Red Dust‘s rubber plantation in French Indochina to an African safari.

Eloise Kelly: A weird sort of business to be in, collecting animals. I guess it’s fun for a man, isn’t it?
Victor Marswell: When it’s profitable.

Though a hit among audiences and critics with Academy Award nominations for both Gardner and Kelly, Mogambo‘s production was fraught with its own behind-the-scenes drama, from Clark Gable protesting director John Ford’s treatment of Ava Gardner to Gable’s own far-too-friendly relations with the much younger Grace Kelly. In fact, it was reportedly Gable’s fondness for hunting that kickstarted their affair, as Kelly would often accompany him on hunting trips during breaks in the production.

“He was as masculine as any man I’ve ever known, and as much a little boy as a grown man could be,” Doris Day once described Gable. This idiosyncratic combination of masculinity and childish insecurity can be observed in stories from the production, such as Gable’s insistence on hirsute members of the crew or cast – including co-star Donald Sinden – having their torsos shaved clean so that they would not appear to be more “manly” than the bald-chested Gable.

With moments like this, where Gable's character lights a cigarette using the fiery end of a campfire stick, the actor had little reason to worry about losing his reputation for ruggedness.

With moments like this, where Gable’s character lights a cigarette using the fiery end of a campfire stick, the actor had little reason to worry about losing his reputation for ruggedness.

The ever-vivacious Ava Gardner, a year into her tumultuous marriage to the oft-visiting Frank Sinatra, managed to stay out of the rest of the cast and crew’s drama, instead creating her own… often for her own amusement. When the British colonial government complained of her habit of bathing on location with the assistant of young men from the local Watusi population, she shed her clothes and walked naked through the camp. Of course, the famously jealous Sinatra responded by gifting her a shower unit that Christmas.

What’d He Wear?

In his definitive menswear volume Dressing the Man, Alan Flusser defines the bush jacket, or safari jacket, as “a belted, single-breasted shirt jacket with four patch pockets and flaps in tan cotton drill or gabardine.” The safari jacket emerged as popular casual wear for civilians first in the 1930s before enjoying a revival again in the 1970s that found everyone from Roger Moore’s James Bond to Bob Newhart co-opting the look with varying degrees of success and enduring degrees of controversy.

However, there can be no argument made against Clark Gable’s macho hunter sporting exclusively safari clothing when actually engaged on a safari, as worn in Mogambo (1953). Gable’s safari wardrobe was tailored by H. Huntsman & Sons of Savile Row, and it was this experience that reportedly converted Gable into a Huntsman customer for the last decade of his life.

Then again, any tailor that would bring someone this close to Ava Gardner and Grace Kelly would probably earn my lifetime business as well.

Then again, any tailor that would bring someone this close to Ava Gardner and Grace Kelly would probably earn my lifetime business as well.

The Safari Shirt

After wearing a navy polo shirt for his introduction both to the audience and to Eloise Kelly, Victor Marswell makes his first appearance in his character’s iconic safari clothing when giving Kelly a tour of the animals that he keeps around. For this tour and subsequent days on safari, he wears a tan cotton drill bush shirt with the long sleeves unbuttoned and rolled up to his elbows.

Victor on safari with his wide-brimmed hat, bush shirt, and belt equipped with a five-round ammo carrier.

Victor on safari with his wide-brimmed hat, bush shirt, and belt equipped with a five-round ammo carrier.

The shirt has a very wide-pointed collar, epaulettes (“shoulder straps”), and a front placket for the tan plastic sew-through buttons. There are two box-pleated chest pockets that each close with a mitred-corner, single-button flap.

Bush Jacket #1

The first of Victor Marswell’s two short-sleeved bush jackets to appear on screen is the heavier of the two, distinguished by its pointed chest pocket flaps and front placket with four large tan buttons. This jacket makes its introduction during Kelly’s first dinner with Victor and the boys before they are interrupted by a hunt for a rhino (which Kelly mistakes for a kangaroo) and their subsequent evening cocktails that result in a kiss between the two: “Now, wait a minute, Marswell! You’re turning into the original African hot rod.”

The perfect bush jacket for a rhino hunt.

The perfect bush jacket for a rhino hunt.

This gabardine bush jacket has a shorter collar than his shirt with distinctive shoulder yokes that extend diagonally from his heavy epaulettes buttoned at the neck. The box-pleated chest pockets have pointed single-button flaps, and the large bellows pockets below the belt have rectangular flaps that also each close with a single button. The jacket is self-belted with a double-prong brass buckle.

Victor works his charm on a jilted Honey Bear.

Victor works his charm on a jilted Honey Bear.

Bush Jacket #2

Victor Marswell’s more frequently seen bush jacket is a lighter-weight cotton drill that can be visually distinguished by the straight flaps on the chest pocket and a plain front with no placket for the five-button closure.

Note the subtle differences between this and the heavier bush jacket seen above.

Note the subtle differences between this and the heavier bush jacket seen above.

This lighter cotton bush jacket is styled similarly to the other, with a short, shirt-style collar, diagonal yokes extending from under the epaulettes, and four patch pockets. However, the two chest pockets have straight single-button flaps. The bellows pockets below the belt also have straight flaps that each close with a single button. The self belt closes with a tall brass single-prong buckle. The “action back” is pleated on the sides under the shoulders, and there is a single vent.

The "action back" pleats are helpful for someone on safari who may need to quickly move their arms to raise a rifle... or to speed up when running away from an angry panther.

The “action back” pleats are helpful for someone on safari who may need to quickly move their arms to raise a rifle… or to speed up when running away from an angry panther.

Victor typically wears these bush jackets on their own, rather than layered over shirts, but he does wear this one over his long-sleeved safari shirt – with both the jacket and shirt sleeves rolled up – at one point during the group’s adventure.

Life imitated art as Clark Gable and Grace Kelly reportedly began an affair after taking secluded hunting breaks during the production, much as their respective characters Victor Marswell and Linda Nordley took advantage of their seclusion from the rest of the safari to begin their romance.

Life imitated art as Clark Gable and Grace Kelly reportedly began an affair after taking secluded hunting breaks during the production, much as their respective characters Victor Marswell and Linda Nordley took advantage of their seclusion from the rest of the safari to begin their romance.

Occasionally, Victor wears a red paisley cotton bandanna around his neck. The pattern is a typical white-and-black paisley print on the bright red cotton ground.

MOGAMBO

The Vest

When Victor does layer over his shirt, he usually opts for the cooler-wearing option of a sleeveless safari-inspired vest. This long, thigh-length vest is styled like his shirt with a large collar, epaulettes, and four patch pockets. The two large patch pockets on the chest have straight, single-button flaps, as do the two very large bellows pockets below the waist where he keeps his Camel cigarettes and lighter.

This vest makes its most prominent appearance toward the end of the safari during Victor’s sincere conversation with Donald that reveals Victor’s own guilt about seducing the young man’s wife. He removes the vest when he gets back to his tent in time for the climactic shooting.

Victor spits some life lessons.

Victor spits some life lessons.

The only non-safari-oriented outerwear that Victor Marswell wears is a yellow oilskin rain slicker with a collar and button front that he wears during an inclement evening spent with Eloise Kelly at his camp.

Everything Else

Victor’s wears khaki gabardine trousers with a long rise and double forward pleats that allow a full fit through the legs. These trousers have tall, slim belt loops, slightly slanted side pockets, and two back pockets that each close through a button and are placed high, just below the belt line. The bottoms are finished with turn-ups (cuffs).

Victor gives Honey Bear Kelly a tour of his grounds.

Victor gives Honey Bear Kelly a tour of his grounds.

“Well, bless your big, bony knees!” cat-calls Eloise Kelly when she spots Victor wearing shorts with his lightweight bush jacket. The full-fitting, double forward-pleated shorts are styled exactly the same as his slacks with tall, slim belt loops, side pockets, and two highly placed button-through back pockets.

Don't try this at home: advice that applies to both voluntarily being a spear target and wearing high-waisted pleated shorts with no shirt.

Don’t try this at home: advice that applies to both voluntarily being a spear target and wearing high-waisted pleated shorts with no shirt.

Victor’s cotton web belt is a slightly darker shade than his clothing, closer to true khaki, with the edges trimmed in brown leather and a tall, slim brass buckle. A carrier with five loops has been attached to the right side of his belt to hold five extra .270 WCF rounds for his rifle.

Victor Marswell may have the ammunition on his belt, but his oafish comrade Boltchak (Eric Pohlmann) holds the rifle.

Victor Marswell may have the ammunition on his belt, but his oafish comrade Boltchak (Eric Pohlmann) holds the rifle.

Victor switches between two different pairs of light brown suede boots, as he did with his navy polo shirt. For heavier duty days, he wears a pair of rich tobacco brown cap-toe hunting boots that are tightly derby-laced up the front with two adjustable straps cinched up the leg.

On other occasions, typically ones that call for him to be wearing shorts, he wears a lighter pair of sand-colored reverse calf ankle boots, also derby-style but with nine eyelets laced up the front and a moc-toe. His hosiery includes tall beige socks or gray leg-warmers, depending on the situation.

Victor Marswell shares some of his hard-learned wisdom. "Well, bless your big, bony knees!"

Victor’s go-to headgear on safari is a dirty beige hat with a pinched crown, wide brim, and thin brown leather band. It’s not as structured as the darker tan fedora-like hat that he wears around camp (seen with his navy polo shirt and above when Kelly is eyeing up his shorts.)

Victor lights a Camel using the traditional match rather than part of his campfire.

Victor lights a Camel using the traditional match rather than part of his campfire.

Clark Gable wore his personal timepiece in Mogambo, a 14-karat yellow gold Rolex Oyster Perpetual, ref. 6011. This wristwatch with its faded off-white matte dial and textured black leather strap was included in a 2013 auction of other Hollywood memorabilia. Also on his left wrist is a slim brown woven leather corded bracelet.

MOGAMBO

Victor wears a gold signet ring on his left pinky, a real-life affectation of Clark Gable who wore signet rings exclusively on that finger through most of his professional career.

What to Imbibe

For late, romantic evenings with sassy vagabond showgirls like Honey Bear Kelly, Victor Marswell knows he can’t go wrong with the classic highball: merely a shot or two of booze topped up with soda, ginger ale, or plain water.

Victor: Kelly, you’re all right. How about a drink?
Kelly: Oh, I’d love one!
Victor: Sorry about no ice.
Kelly: Oh, that’s alright. Doctors say it’s bad for your pouch, anyway.
Victor: Soda or water?
Kelly: Water.

Victor Marswell, "the original African hot rod," serves some late night highballs.

Victor Marswell, “the original African hot rod,” serves some late night highballs.

Many drinks and a long, dramatic safari later, Victor returns to his tent to drown his sorrows after deciding to not get in the way of the young Nordley couple’s happiness. He grabs an iron mug, a bottle of Hennessy Three Star, and begins pouring.

Ideal drinking buddies.

Ideal drinking buddies.

A 1950s bottle of Hennessy Three Star, similar to what Clark Gable would have poured himself as Victor Marswell in Mogambo (1953).

A 1950s bottle of Hennessy Three Star, similar to what Clark Gable would have poured himself as Victor Marswell in Mogambo (1953).

County Cork-born officer Richard Hennessy had become familiar with the Charente region of Cognac, France, during his service with the French Army’s Irish Brigade. In 1765, Hennessy opened a cognac distillery in the region and quickly capitalized on the increased demand for cognac and other spirits imported from the European continent. More than 250 years after the distillery was founded, Hennessy enjoys a status as the world’s largest cognac producer with more than 50 million bottles sold each year and a connotation as a luxury brand with hip-hop associations.

Exactly 100 years after the distillery was founded, the founder’s great-grandson Maurice Hennessy introduced the star classification system including Hennessy Three Star, now known as Hennessy V.S., the world’s most popular cognac. The V.S. appellation, meaning “Very Special”, can be confusing for novice cognac drinkers, as it merely refers to the minimum age of a cognac and thus the least expensive variety.

Interestingly, Hennessy Three Star cognac was also Clark Gable’s liquor of choice in the original 1932 version, Red Dust!

Seeing double? Gable's Dennis Carson (in Red Dust) and Victor Marswell (in Mogambo) both rely on Hennessy in their times of need.

Seeing double? Gable’s Dennis Carson (in Red Dust) and Victor Marswell (in Mogambo) both rely on Hennessy in their times of need.

The Gun

As an experienced hunter, the primary tool of Victor Marswell’s trade is a classic Winchester Model 70 bolt-action rifle. Included in an auction of Clark Gable-related items in 2011, the firearm was described to have been made in 1949 and chambered in .270 Winchester Center Fire (WCF).

Clark Gable's screen-used Winchester Model 70. Source: DearMrGable.com.

Clark Gable’s screen-used Winchester Model 70. Source: DearMrGable.com.

Since its introduction in 1936, the bolt-action Winchester Model 70 has earned renown among sportsmen and serious shooters as “the rifleman’s rifle” for its quality, reliability, and classic aesthetic. Winchester redesigned the rifle in 1964, some say to its detriment, but the Model 70 still reigned supreme when Gable’s Victor Marswell carried his on safari in Mogambo.

MOGAMBO

“Over the years it was chambered for just about every rifle cartridge ever produced and it became the rifle of choice for many hunters and shooters,” wrote Range365’s Bryce M. Towsley of the Winchester Model 70. “After a then up-and-coming writer named Jack O’Connor began praising the Model 70 chambered in .270, the rifle and cartridge moved to the top of the heap in the world of serious hunting rifles.”

Stepping back a few decades, it was in 1925 that Winchester unveiled its new .270 Winchester rifle cartridge, a necked-down .30-06 Springfield, as a chambering for its bolt-action Model 54, a predecessor of the Model 70. The high-performing 130-grain round was determined to be suitable for big game in addition to lighter bullets (100-grain) marketed for varmint hunting and heavier rounds (150-grain) offered for larger game like bears, deer, elk, and moose. However, it took nearly 20 years for the cartridge to truly attain its modern reputation.

By the time Mogambo was released, O’Connor was writing about his exploits with his custom Model 70 in .270 Winchester for Outdoor Life magazine, describing his exploits taking his “No. 1” rifle hunting for elk in Wyoming, for blackbuck in India, and for red sheep and ibex in Iran. Thanks to popular writers like O’Connor, the .270 WCF overcame its pre-WWII stagnation and has proven its staying power through generations of hunters.

MOGAMBO

Once the safari has commenced, Victor also gives Eloise Kelly a loaded Webley revolver, a Chekhov’s gun of sorts that will factor into the film’s climactic finale.

How to Get the Look

Clark Gable as Victor Marswell in Mogambo (1953)

Clark Gable as Victor Marswell in Mogambo (1953)

There’s truly no place like an actual safari to wear safari clothing. Clark Gable’s choice of Huntsman for the hunting season in Mogambo delivers a classic pedigree to his functional sportswear.

  • Khaki short-sleeved, self-belted bush jacket in gabardine or lightweight cotton drill with flapped chest pockets, flapped bellows pockets, and epaulettes
  • Red paisley neckerchief
  • Khaki gabardine double forward-pleated trousers (or shorts) with tall belt loops, slightly slanted side pockets, jetted button-through back pockets, and turn-ups/cuffs
  • Dark khaki web belt with brown leather trim and brass buckle
  • Tobacco brown suede derby-laced cap-toe hunting boots with two adjustable straps
  • Beige knee-high socks
  • Rolex Oyster Perpetual ref. 6011 yellow-gold wristwatch on textured black leather strap
  • Gold signet ring, worn on left pinky
  • Tan safari-style hat with pinched crown, wide brim, and thin brown leather band

Do Yourself a Favor and…

Check out the movie, and also treat yourself to the original 1932 version, Red Dust.

The Quote

I make my contribution to this mixed-up community they call the world.

Joe Kidd

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Clint Eastwood as Joe Kidd in Joe Kidd (1972)

Clint Eastwood as Joe Kidd in Joe Kidd (1972)

Vitals

Clint Eastwood as Joe Kidd, former bounty hunter

Territory of New Mexico, Spring 1902

Film: Joe Kidd
Release Date: July 14, 1972
Director: John Sturges

Background

After more than a decade as a rising star, particularly in the genre of Westerns, Clint Eastwood took on the title role in Joe Kidd (1972), an idiosyncratic revisionist Western written by Elmore Leonard that would be one of the last films directed by the legendary John Sturges.

We meet Joe Kidd when he is locked up for poaching on Native American land in the small town of Sinola, New Mexico, on a spring day in 1902, ten years before New Mexico would become the 47th state admitted to the U.S. A former bounty hunter, Joe remains neutral when he is invited to join a landowner’s posse tracking down the Mexican bandito Luis Chama (John Saxon), but he is eventually convinced to join after one of Chama’s attacks hits closer to home.

What’d He Wear?

Having changed out of the tweed suit he was wearing in town, Joe Kidd dresses for his days on the trail tracking Luis Chama. A departure from the iconic “Man with No Name” image that Eastwood had cultivated across a trio of Italian-made films in the mid-1960s, Joe Kidd’s hunting attire is simple, practical, and surprisingly timeless save for one or two details.

Joe wears a thigh-length hunting jacket in brown wool fleece, though it more resembles a fuzzy angora sweater than the synthetic “performance fleece” that have enjoyed modern popularity thanks to brands like Eddie Bauer and Old Navy. The ventless, five-button jacket jacket is accented in brown leather, from the large Ulster-style collar and “turnback” cuffs to the jetting on the straight hip pockets.

JOE KIDD

Under the open collar of his shirt, Joe wears a plain black silk neckerchief that was auctioned and sold for just under $600 in December 2011. Eastwood’s friend, stuntman John “Bear” Hudkins, had gifted the screen-worn neckerchief to Andrew Yochem for his help with the horses on the set of Joe Kidd, and it was the Yochem Estate who subsequently offered the piece for auction.

The extra-long disco collar is a little more 1972 than 1902, but we'll give Joe a pass here.

The extra-long disco collar is a little more 1972 than 1902, but we’ll give Joe a pass here.

Joe wears a dark maroon melange flannel shirt with black sew-through buttons down the plain front and a single button closing each cuff. Underneath, he wears a beige henley-style undershirt that occasionally pokes out of the bare triangle between his maroon shirt and the kerchief around his neck. Assuming that the maroon shirt is a woolen flannel, the undershirt provides a comfortable layer between Eastwood’s skin and the itchy woolen shirting.

Joe gleefully reacquaints himself with his returned revolver.

Joe gleefully reacquaints himself with his returned revolver.

Joe’s burnt orange needlecord flat front pants have belt loops, side pockets, and two patch pockets in the back. This medium-dark shade between orange and brown was very popular during the 1970s and still shows up frequently in sports and school colors, such as by Auburn University, Oklahoma State University, University of Texas at Austin, the Chicago Bears, the Cleveland Browns, and the San Jose Sharks.

His wide, smooth black leather belt with its squared steel single-prong buckle coordinates with his black neckerchief, while his tan tooled leather gun belt with its cartridge loops and Single Action Army holster better echo the leather of his boots.

JOE KIDD

Joe’s dark brown napped leather riding boots have silver Western spurs around the heels with leather straps buckled over the vamps.

Joe's got spurs that jingle jangle jingle...

Joe’s got spurs that jingle jangle jingle

Another piece of Joe Kidd’s wardrobe that has been sold at auction is his dark brown Stetson hat in 3X beaver, purchased from Nudie’s Rodeo Tailors in North Hollywood.

“The dark brown Stetson hat features an inverted crown and ornamental beige leather whip braid hatband with fringe at one end,” describes the auction listing. “Retaining interior leather sweatband with gold gilt imprinted ‘John B. Stetson Company, 3 X Beaver’ on the left, ‘Nudies Rodeo Tailors, North Hollywood, California’ on the right and ‘XXX Stetson’ on the back of the band.”

An understandably upset-looking Joe.

An understandably upset-looking Joe.

Joe also has a pair of tan leather three-point work gloves that keep his hands protected for dangerous work like sniper standoffs with Olin Mingo (James Wainwright), one of Frank Harlan’s henchmen.

Want to know more about the rifle Joe uses in this scene? I suggest you keep reading...

Want to know more about the rifle Joe uses in this scene? I suggest you keep reading…

The Guns

Joe Kidd’s sidearm is a Single Action Army revolver with a 7.5″ barrel. The Single Action Army design was developed for U.S. military trials in the early 1870s by Colt engineers William Mason and Charles Brinckerhoff Richards. The “New Model Army Metallic Cartridge Revolving Pistol” began production in 1873 and the legendary “Peacemaker” would gain a prominent place in American history and pop culture as “The Gun That Won the West”, alongside the venerated Winchester rifle.

The powerful .45 Colt (or .45 Long Colt) black powder cartridge was developed for the Colt Single Action Army, though the revolver was offered for many handgun and rifle rounds from .32-20 Winchester (WCF) and .38-40 WCF up to .41 Colt and .44-40 WCF.

The Cavalry-issued Single Action Army with its long, 7.5″ barrel became the standard, though other popular models would quickly become available with 5.5″ barrels, 4.75″ barrels, and even some “compact” revolvers with barrels less than four inches long.

Call in the cavalry: Joe Kidd carries a Single Action Army with a 7.5" barrel.

Call in the cavalry: Joe Kidd carries a Single Action Army with a 7.5″ barrel.

Despite the fact that it wasn’t Joe’s primary weapon, the Mauser C96 being effectively – almost over-effectively – handled by Clint Eastwood has become a lasting image from Joe Kidd. An early semi-automatic pistol that was developed for the German military, the “Broomhandle” Mauser is an unlikely contender for a starring role in an American Western.

As its designation implies, the Mauser C96 was first produced in 1896 and was fielded by armed forces in Germany, China, Italy, and the Ottoman Empire within a decade. The unique-looking weapon’s popularity extended to the British Empire, where it was privately purchased by officers like a young Winston Churchill and T.E. Lawrence.

Thus, it’s reasonable that the Mauser pistol would end up in the hands of a New Mexico mercenary like Lamarr Simms (Don Stroud) by the spring of 1902, providing a contrast to the abundance of single-action revolvers and lever-action rifles associated with scenes in the Old West. As written in the IMFDB description, Lamarr “fits the unique holster/stock combo to the back of the grip to shoulder the pistol like a rifle.” After he steals the Mauser and uses it during his escape from Harlan’s posse, Joe handles it the same way, though the weapon fires about 30 rounds before the ten-round magazine actually needs to be reloaded.

The screen-used prop Mauser from Joe Kidd was sold on eBay from a seller in Littleton, Colorado, netting a total of $1,827.99 when the auction closed in December 2015. (See photos of the screen-used handgun here.)

The 7.63x25mm Mauser pistol would later be the basis of Han Solo's blaster in the Star Wars series.

The 7.63x25mm Mauser pistol would later be the basis of Han Solo‘s blaster in the Star Wars series.

While some may have considered the Mauser C96 to be anachronistic, the weapon’s production timeline actually meant it was considerably appropriate for the film’s 1902 setting. (The bottomless magazine, however, is certainly an error.) The Ross rifle that Joe uses during his escape from the bounty hunters, however, is a slight anachronism.

The straight-pull bolt-action Ross rifle was developed for Canadian service following a dispute between Canada and the United Kingdom regarding licensing of the venerable British Lee-Enfield rifle for Canadian forces during the Second Boer War. Sir Charles Ross, a Scottish entrepreneur and sharpshooter, offered to finance the factory to make the rifles and thus lent his name to the weapon’s appellation.

Based on the design of the Austrian Mannlicher M1895 rifle, which had refined Ferdinand Ritter von Mannlicher’s innovative straight-pull action bolt, the Ross Mark I rolled off the production line in 1903, just a year after Joe Kidd was set. It was followed two years later by the Ross Mark II, which proved to be capable for target shooting but ultimately unsuitable for the rigors of trench warfare that Canadian soldiers faced during World War I.

The .303 British cartridge was the original round for Ross rifles, though the company began testing with alternate cartridges as early as the Ross Model 1903 Sporter when some rare examples were offered in .256 Mannlicher and .370 Express. F.W. Jones developed the medium-game .280 Ross rimless cartridge in November 1906 for Ross Rifle Company for its sporting rifles, and the Mark III was expressly designed in 1910 for the new .280 Ross.

In Joe Kidd, Joe steals a custom sporterized Ross Mark III (Ross Model 1910) rifle from the bounty hunters’ collection. The Wollensak 4x scope and micrometer mount, identified by IMFDB, help Joe during his sniper standoff with Mingo.

After decades of the all-American Winchester lever-action rifle ruling the West, it's quite a difference to see a Clint Eastwood shouldering a Canadian-made rifle developed after a dispute with the English over a war in South Africa.

After decades of the all-American Winchester lever-action rifle ruling the West, it’s quite a difference to see a Clint Eastwood shouldering a Canadian-made rifle developed after a dispute with the English over a war in South Africa.

The film’s 1902 setting is only provided by looking closely at screen props like Luis Chama’s wanted poster and the 45 stars on the Sinola County Courthouse flag; the actual setting could ostensibly be anytime before 1907, thus making the Ross Model 1910 rifle slightly less of an anachronism.

Joe Kidd is notable among Westerns for its unique selection of weapons not often seen in the genre, aided both by the slightly more modern setting of pre-statehood New Mexico Territory and also writer Elmore Leonard’s wish to include lesser-seen firearms.

Clint Eastwood as Joe Kidd in Joe Kidd (1972)

Clint Eastwood as Joe Kidd in Joe Kidd (1972)

How to Get the Look

Joe Kidd wears an appropriately ochre-toned ensemble for his adventure in the mountains, blending a quintessentially Western aesthetic with timeless practicality.

  • Brown wool fleece 5-button hunting jacket with leather Ulster collar and “turnback” cuffs, leather-jetted hip pockets, and ventless back
  • Dark maroon melange flannel wool shirt with plain, button-up front and button cuffs
  • Beige henley-style long-sleeve undershirt
  • Black silk neckerchief
  • Burnt orange needlecord flat-front pants with belt loops, side pockets, patch back pockets, and plain-hemmed bottoms
  • Black smooth leather belt with squared steel single-prong buckle
  • Tan tooled leather gun belt with holster for Single Action Army revolver
  • Dark brown napped leather riding boots with silver spurs
  • Dark brown 3X beaver Stetson inverted-crown hat with beige leather whip-braid hatband

Do Yourself a Favor and…

Check out the movie.

The Quote

Lamarr, I got a dollar here says I can break your neck before you get that rig moved a half inch.

The V.I.P.s: Louis Jourdan’s Tweed Jacket

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Louis Jourdan and Elizabeth Taylor in The V.I.P.s (1963)

Louis Jourdan and Elizabeth Taylor in The V.I.P.s (1963)

Vitals

Louis Jourdan as Marc Champselle, “a gigolo… a buffoon… a professional diner-outer… a notorious sponger!”

Heathrow Airport, London, Winter 1963

Film: The V.I.P.s
(also released as Hotel International)
Release Date: September 19, 1963
Director: Anthony Asquith
Costume Designer: Pierre Cardin (uncredited)

Background

Happy December! For the first month of winter in the Northern Hemisphere, we look to the stylish 1963 film The V.I.P.s, a cinematic celebration of jet-age luxury starring an impressive international cast as a group of travelers stranded at London’s Heathrow Airport and the neighboring Hotel International for a cold but passionate January night.

Screenwriter Terence Rattigan supposedly based this drama on his friend Vivien Leigh’s attempt to leave Laurence Olivier for her lover, Peter Finch, until Leigh and Finch’s flight out of London airport was delayed by fog, giving Olivier time to rush to the airport to confront them and convince Leigh to return home with him.

While Elizabeth Taylor and Richard Burton famously played the feuding married couple in the first of a dozen films they would star in together, in a role that would become all too real for the film’s cast and crew, the role of Liz’s dashing – if irresponsible – paramour went to Louis Jourdan, a suave Marseille-born actor who had taken a break from his fledgling film career during World War II to join the French Resistance. Twenty years after his role in The V.I.P.s, Jourdan would bring his urbane sophistication to the James Bond franchise as Kamal Khan, the villain opposite Roger Moore’s 007 in Octopussy (1983).

What’d He Wear?

“Jourdan flew to London from Hollywood at the last moment to appear in the film, bringing his own wardrobe with him,” wrote Sam Kashner for Vanity Fair in July 2003, providing the definitive behind-the-scenes account of this movie. “‘I had never seen anything like it,’ remembers [assistant director Peter] Medak, who was the first to greet Jourdan on the set. ‘There were 20 pairs of gray flannel trousers in various shades, and sport jackets, and those shoes! The same shoes Cary Grant used to wear, those kind of loafers. He always looked immaculate on-screen and off—he was famous for that.”

Early in his career, Louis Jourdan had been a model for Pierre Cardin, and Cardin’s uncredited costume design on The V.I.P.s leaves little doubt that it was Cardin’s designs that provided the bulk of Jourdan’s wardrobe as the debonair Marc Champselle.

Marc drapes himself in a camel cashmere raglan-sleeve coat. The single-breasted coat has a single-breasted three-button covered fly front; when he turns up the notch lapels, a fourth button is revealed at the neck to close the coat over the chest for additional warmth. The full-fitting, knee-length coat has hand pockets with large vertical openings, cuffed sleeves, and a single vent.

Note the raglan sleeves and the button at the neck.

Note the raglan sleeves and the button at the neck.

Perfect for a winter day in London, Marc wears a gray herringbone tweed sport jacket with an American-inspired cut with no darts and a single rear vent. The single-breasted front has notch lapels with swelled edges that roll over the top of three dark gray plastic buttons. Two non-functioning buttons are spaced apart on each cuff. The jacket also has a welted breast pocket and straight flapped hip pockets.

Marc stands in the lobby of Hotel International.

Marc stands in the lobby of Hotel International.

In the welted breast pocket of his tweed sportcoat, Marc wears a red silk pocket square, printed in a foulard pattern of ornate olive squares.

Marc enjoys a moment with Frances in her suite.

Marc enjoys a moment with Frances in her suite.

“His need is for Charvet ties and silk shirts,” Paul growls about Marc. If that’s the case, Marc is certainly ignoring his needs for his day of luxury air travel, wearing instead a considerably subdued cotton shirt and solid black tie.

Marc’s shirt is pale gray with a semi-spread collar and double (French) cuffs. His only concession to any sort of sartorial grandeur is this regard is a set of large and ornate gold cuff links with enamel-painted striped shields on the faces.

Marc flashes his cuff links as he works out an arrangement with Paul.

Marc flashes his cuff links as he works out an arrangement with Paul.

Marc keeps his neckwear simple with a plain black tie, knotted in a four-in-hand. It may indeed be a Charvet tie, but not conspicuously so.

THE VIPS

Seemingly in line with the real Louis Jourdan’s reported penchant for gray flannel trousers, Marc Champselle wears a pair of dark charcoal wool flat front trousers that rise to his waist, just at the buttoning point of the jacket. They appear to be beltless and finished on the bottoms with plain-hemming rather than cuffs.

Despite Peter Medak’s recollection of Jourdan wearing “those kind of loafers… Cary Grant used to wear”, his character appears to be wearing black calf leather lace-up derby shoes with black socks to continue the leg line.

Marc indulges in his virtues: gambling, drinking, and womanizing.

Marc indulges in his virtues: gambling, drinking, and womanizing.

Marc wears a plain gold watch on a black leather strap, fastened to his left wrist.

What to Imbibe

Although much of the movie is set in a V.I.P. lounge where the characters have little to do other than drink, The V.I.P.s featured far more imbibing behind the scenes than on the screen. Richard Burton “would drink Bloody Marys before noon, then a second bottle of vodka for lunch,” while Peter Medak told Vanity Fair decades later about Elizabeth Taylor drinking glasses of straight vodka in her makeup chair before going on camera.

Booze was even a major part of the film’s promotional tactics. Anatole “Tolly” de Grunwald designed a marketing campaign that included a contest where the winning “V.I.P.” would win a personalized portable bar that was stocked with twelve bottles of Booth’s High & Dry gin, three bottles of dry vermouth, and a set of cocktail accessories.

In the film itself, White Horse blended Scotch whisky seems to be the booze of choice for our stranded characters. White Horse has been continually produced since 1861, and it was reportedly distributed to crews of the U.S. Army Air Force 467th Bombardment Group when stationed at RAF Rackheath in England during the final months of World War II. The whisky’s blend includes Glen Elgin and Lagavulin, before the latter would become a popular single malt bottling in its own right, including as the favorite of Parks and Recreation‘s Ron Swanson.

“I thought we might be needing this,” Marc offers when he brings a bottle of White Horse to Frances’ hotel suite.

THE VIPS

Later, a squabble between Frances and her jealous husband Paul leads to her cutting her hand. He pours out a dram of White Horse for both of them before he realizes…

Paul: Didn’t know you liked whisky.
Frances: It’s not my bottle.
Paul: Oh, I see… do you think he’ll forgive us?

Paul soon gets the chance to find out as Marc returns to Frances’ suite and is drolly greeted by Paul: “I’ve stolen some of your whisky, I hope you don’t mind.”

“Not at all,” responds the jilted lover.

How to Get the Look

Louis Jourdan as Marc Champselle in The V.I.P.s (1963)

Louis Jourdan as Marc Champselle in The V.I.P.s (1963)

A dapper dresser in real life, Louis Jourdan brought a fashionable yet functional aesthetic to his character in The V.I.P.s with a timeless ensemble just as appropriate for a natty winter day at the office as for high-class air travel.

  • Gray herringbone tweed single-breasted sport coat with notch lapels, 3/2-roll dark gray plastic buttons, welted breast pocket, straight flapped hip pockets, spaced 2-button cuffs, and single vent
  • Pale gray cotton shirt with semi-spread collar and double/French cuffs
  • Black tie
  • Charcoal wool flat front trousers with side pockets and plain-hemmed bottoms
  • Black calf leather derby shoes
  • Black socks
  • Camel cashmere raglan coat with notch lapels, single-breasted 3-button covered-fly front with throat button, large vertical hand pockets, cuffed sleeves, and single vent
  • Red square-printed foulard silk pocket square
  • Gold watch on black leather strap

Do Yourself a Favor and…

Check out the movie.

The Quote

Look, I’m not insulted. From all you know of me, you’ve a perfect right to suppose that I can be bought off. As a matter of fact, I have been bought off by a jealous husband before… two, come to think of it.

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