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The Natural – Roy Hobbs’ Cardigan

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Robert Redford as Roy Hobbs in The Natural (1984)

Robert Redford as Roy Hobbs in The Natural (1984)

Vitals

Robert Redford as Roy Hobbs, eager baseball prodigy

Chicago, Spring 1923

Film: The Natural
Release Date: May 11, 1984
Director: Barry Levinson
Costume Design: Gloria Gresham & Bernie Pollack

Background

Tomorrow is MLB Opening Day, meaning baseball season is back and in full swing (forgive the pun), so let’s take a look at a look from one of the most classic of baseball movies, The Natural.

“I guess some mistakes you never stop paying for,” are the words that must echo through Roy Hobbs’ brain every day for the 16 years after he was shot by a self-destructive—or just generally destructive—baseball groupie, Harriet Bird (Barbara Hershey).

When Bernard Malamud was working on his debut novel, The Natural, he took inspiration from the story of Eddie Waitkus, the former first baseman for the Philadelphia Phillies who was shot and nearly killed by an obsessive female stalker who, as she later told an assistant state attorney, wanted “to do something exciting in my life.”

The multi-talented Waitkus had been deemed a “natural” during his rookie years before he joined the U.S. Army and received four Bronze Stars for his service in the Philippines. He returned from the war and became a rising star for the Chicago Cubs, and it was at Wrigley Field on April 27, 1947 that 17-year-old Ruth Ann Steinhagen (born Ruth Catherine Steinhagen before she changed her middle name) first laid eyes on him.

For more than two years, Steinhagen’s infatuation with Waitkus grew, including after his trade to the Phillies after the 1948 season. On June 14, 1949, the Phillies returned to Chicago for the first of a four-game series against the Cubs, winning 9-2. Now 19 and working as a typist, Steinhagen attended the game and followed Waitkus back to the Edgewater Beach Hotel that evening, where she sent him a note using the alias of “Ruth Anne Burns”, a woman he was acquainted with, insisting that he come to her room to discuss “something of importance.” When Steinhagen refused to explain any further over the phone, Waitkus went up the three floors to her 12th floor room. “I have a surprise for you,” Steinhagen greeted him, supposedly introducing herself as Mary Brown, a friend of Ruth Anne Burns.

The consequences of lust, per Malamud; Roy Hobbs ended up with a belly full of lead while Harriet discovered she was a Bird that couldn't fly.

The consequences of lust, per Malamud; Roy Hobbs ended up with a belly full of lead while Harriet discovered she was a Bird that couldn’t fly.

Steinhagen’s plan to stab Waitkus then shoot herself was muddled when the first baseman took a seat. Nevertheless, she pulled a .22-caliber rifle from her closet and shot Waitkus as he stood back up. The bullet just missing his heart and lodged in his lung. She knelt beside the wounded Waitkus, placing her hand on his as he asked: “Oh, baby, what did you do that for?” Unable to find a second bullet to shoot herself, she called the front desk of the hotel to announce “I just shot a man…” and waited for the medical attention that would save Waitkus’ life.

Unlike Roy Hobbs, Waitkus did not need to wait 16 years to return to baseball and donned his uniform again just two months later on August 19 for “Eddie Waitkus Night” at Shibe Park. Despite his 1950 season that led the “Whiz Kids” in scoring and recognition as the Associated Press “Comeback Player of the Year”, the incident haunted Waitkus for the rest of his life as he developed a drinking problem and was always concerned that people questioned his motives for going to Steinhagen’s hotel room in the first place.

While Waitkus may have had some valid reasons to visit Steinhagen’s room based on the note to him sent using an actual acquaintance’s name, the moment was transformed by Malamud into a morality lesson as it was more lurid impulses that guided Roy Hobbs to Harriet Bird’s room and the business end of her .38.

What’d He Wear?

After a brief prologue set during his formative years, we officially meet Roy Hobbs, the picture of all-American innocence: a seemingly incorruptible blond-haired, bright-eyed teenager (played by a 47-year-old Robert Redford!) in a tweed cap and cardigan, going off to play baseball for the big leagues!

Roy, age 19, spends one final night with Iris (Glenn Close) before heading off to try out for the Cubs.

Roy, age 19, spends one final night with Iris (Glenn Close) before heading off to try out for the Cubs.

One of two "hero" sweaters worn by Robert Redford in The Natural, courtesy of The Golden Closet.

One of two “hero” sweaters worn by Robert Redford in The Natural, courtesy of The Golden Closet.

According to its listing at The Golden Closet, Roy’s long beige cardigan was one of two knitted for the production by Broadway Knitting Mills, which had modified a loom to match a period-correct knit pattern. The sweater has a rounder knit up the wide placket and around the neck, which folds over into a shawl collar when Roy wears it. It has five mixed brown plastic sew-through buttons and welted pockets on the hips.

It may be significant that the next time we see the cardigan after the Nebraska-set opening, Roy is in Chicago after a train ride that led to his acquaintance with the dark, mysterious, and alluring Harriet Bird. After she calls his room, Roy throws the cardigan over his shirt and tie and eagerly strolls off to his fate.

Roy’s shirt is light blue with subdued brown stripes. It has a front placket and single-button rounded cuffs. Per the predominant style for dress shirts in the early 1920s, the shirt does not have an attached collar and is instead worn with a white rounded club collar that can be removed, cleaned, and starched on its own. As laundry capabilities increased and formality decreased over the course of the decade, the detachable collar became an old-fashioned relic reserved solely for formal wear, and even then it was soon eclipsed by attached-collar shirts by mid-century.

Roy Hobbs takes a phone call that he should have avoided.

Roy Hobbs takes a phone call that he should have avoided.

Roy wears a brown tie with a tan vine-like pattern in the Deco tradition, tied in a tight four-in-hand knot that barely fills the space between the leaves of his detachable club collar.

THE NATURAL

Roy’s light brown striped flat front trousers have belt loops, though he neglects these in favor of wearing suspenders (braces) instead, fastened to buttons on the inside of his trouser waistband. The trousers also have straight pockets along the side seams, jetted back pockets, and turn-ups (cuffs) on the bottoms.

Connected to the inside of the trousers via tan leather hooks, the suspenders have thick burgundy stripes on the outer sides with thin light blue stripes more concentrated in the center for a gradient effect.

In the days before free HBO in hotel rooms, guests like Roy had few sources of amusement beyond staring out the window...

In the days before free HBO in hotel rooms, guests like Roy had few sources of amusement beyond staring out the window…

The lack of formality and general palette of the outfit call for brown footwear, and Roy meets this calling with a pair of light brown calf lace-ups and darker brown socks.

...and getting shot in the belly.

…and getting shot in the belly.

Redford again proudly wears the silver ring on his third finger, which he received as a gift in 1966 from the Hopi tribe and has worn in almost all of his movies since. The ring is more an affectation of the actor than anything connected to Roy Hobbs.

Robert Redford as Roy Hobbs in The Natural (1984)

Robert Redford as Roy Hobbs in The Natural (1984)

How to Get the Look

Though arguably dressed in the fashion of the early ’20s, Roy Hobbs looks every bit the innocent, All-American baseball hero when he stands in Harriet’s doorway with his shawl-collar cardigan, starched white collar, and suspenders. The latter two may be less fashionable for casual wear, but there’s no reason not to have a thick cardigan like Roy’s in your wardrobe.

  • Beige vintage-knit wool shawl-collar cardigan with five-button front and welted hip pockets
  • Light blue (with subtle brown stripes) cotton dress shirt with front placket and single-button cuffs
    • White detachable club collar
  • Brown tie with abstract tan vine-like pattern
  • Light brown striped wool flat front trousers with belt loops, straight/on-seam side pockets, jetted back pockets, and turn-ups/cuffs
  • Burgundy-trimmed suspenders with thin light blue gradient center-striping and tan leather hooks
  • Light brown calf leather lace-up shoes
  • Dark brown socks
  • Taupe tweed cap
  • Silver Hopi Indian ring with black imprint, worn on right ring finger

Do Yourself a Favor and…

Check out the movie… and give Bernard Malamud’s 1952 novel a read but be advised that the film took many liberties—often for the better—from its source material.

You can also read more about the actual Eddie Waitkus shooting in this compelling excerpt by Rich Cohen for Sports Illustrated.


Don Draper’s Taupe Plaid Sport Jacket

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Jon Hamm as Don Draper on Mad Men (Episode 7.01: "Time Zones")

Jon Hamm as Don Draper on Mad Men (Episode 7.01: “Time Zones”)

Vitals

Jon Hamm as Don Draper, advertising creative director and whiskey aficionado

All around the United States, Summer 1968 through Summer 1969

Series: Mad Men
Episodes:
– “For Immediate Release” (Episode 6.06), dir. Jennifer Getzinger, aired 5/5/2013
– “The Better Half” (Episode 6.09), dir. Phil Abraham, aired 5/26/2013
– “Time Zones” (Episode 7.01), dir. Scott Hornbacher, aired 4/13/2014
– “The Strategy” (Episode 7.06), dir. Phil Abraham, aired 5/18/2014
Creator: Matthew Weiner
Costume Designer: Janie Bryant

WARNING! Spoilers ahead!

Background

Don Draper, the quintessential “man in the gray flannel suit”, showed his first inkling of sartorial malleability in the trippy “Signal 30” (Episode 5.05) when he reluctantly wore a bold plaid sport jacket gifted to him by his new wife Megan (Jessica Paré) to a business dinner party. The scene causing a stir among Mad Men audiences surprised to see even Don following the mid-1960s trends being followed by the younger and more fashion-conscious characters Pete Campbell (Vincent Kartheiser) and Ken Cosgrove (Aaron Staton).

Fast-forward to one season later, “For Immediate Release” (Episode 6.06), set in the spring of 1968. By now, we already know that Don’s been expanding his wardrobe to keep up with the times, so it’s no surprise to find him sitting at a hotel bar in Detroit, sporting a different plaid jacket and nursing an Old Fashioned. (The surprise comes when we see him willingly opening up to one-time competitor Ted Chaough (Kevin Rahm) from rival agency CGC, but more on that later…)

Over the next season as we approach the end of the swingin’ sixties, Don illustrates how this taupe plaid sport jacket is the perfect item for heading straight from work into a weekend getaway, versatile enough for you to do it your way.

What’d He Wear?

The taupe plaid sports coat is one of Don Draper’s most frequent—and versatile—warm-weather staples in the show’s latter seasons, packed along for business trips, personal getaways, and even weekend forays into the office. The structured sport jacket appears to be made from a cotton shell, a comfortable, cool-wearing, and appropriately casual fabric for a piece that Don only pulls from his closet for informal situations in warmer climates.

The bold jacket has a semi-solid taupe ground overlaid with a check consisting of 15 thin stripes—alternating between tan and black—shadowed on each side with an orange stripe.

The jacket's first appearance—"For Immediate Release" (Episode 6.06)—in a scene that would lead to his professional reuniting with Peggy Olson.

The jacket’s first appearance—”For Immediate Release” (Episode 6.06)—in a scene that would lead to his professional reuniting with Peggy Olson.

The plaid single-breasted jacket is cut without front darts in the tradition of the classic American sack coat with a short fit and a high two-button front with the buttoning point well above the natural waist line. The two dark gray plastic buttons on the front are echoed with the spaced two-button cuffs.

The sport jacket also has short double vents, gently slanted hip pockets with flaps, and a welted breast pocket that Don wears sans pocket square.

The jacket's last appearance, one season later in "The Strategy" (Episode 7.06), a scene that would lead to his personal reconciliation with Peggy.

The jacket’s last appearance, one season later in “The Strategy” (Episode 7.06), a scene that would lead to his personal reconciliation with Peggy.

Episode 6.06 (“For Immediate Release”)

Detroit, May 1968. You can picture Don, unable to sleep, pulling on the most comfortable—yet still presentable—shirt that he has, dressing it up just enough with this trusty jacket for its first appearance, and heading down to the hotel bar to chain-smoke his Old Golds and drink the first of who-knows-how-many Old Fashioneds.

The well-traveled shirt in question is a yellow cotton button-down shirt, a spring-friendly Ivy favorite. The shirt has a slim button-down collar, breast pocket, and front placket and barrel cuffs that fasten with yellow plastic buttons.

Don and Ted begin their night at the hotel bar as muddled as the fruit in their Old Fashioneds. A few drinks later, a plan has been hatched to save both ad men's careers and agencies.

Don and Ted begin their night at the hotel bar as muddled as the fruit in their Old Fashioneds. A few drinks later, a plan has been hatched to save both ad men’s careers and agencies.

Don wears dark trousers, probably dark brown to remain thematically appropriate.

Episode 6.09 (“The Better Half”)

Upstate New York, July 1968. Don has decided to fulfill some of his parental duties by attending his son Bobby’s summer camp, but the situation escalates into something much different when he and his ex-wife Betty (January Jones) find their relations heating up past the family-friendly phase for one last tryst between two unhappily remarried exes.

What drew Betty back in? Was it the sight of Don bonding with his middle child while wearing a vintage navy nylon knit polo with a Puritan Ban Lon label? This raglan-sleeve polo is accented with ribbed beige tips accompanied by slim bronze striping on the large collar, sleeves, and widely spaced two-button placket with no button at the neck.

A dubious-looking Don Draper.

A dubious-looking Don Draper.

Or maybe it was the full effect of his sport jacket worn with the summer-appropriate beige flat-front trousers? Worn with a slim black leather belt that closes through a silver-toned box-type buckle, these beige chinos have straight side pockets, a right-side coin pocket, and back pockets and are finished with plain-hemmed bottoms.

Don ignores the “rule” about matching one’s footwear to his belt, instead wearing a pair of dark brown leather tassel loafers with black socks. The shoes are dark enough that the discrepancy isn’t noticeable, and the choice of brown is more harmonious with a summertime casual outfit with khaki chinos.

Scenes from summer camp in "The Better Half (Episode 6.09).

Scenes from summer camp in “The Better Half (Episode 6.09).

The next morning, Don and Betty are forced to repress their encounter with the arrival of Betty’s new husband Henry Francis (Christopher Stanley). Don, dressed in the same outfit but with a more traditional light blue oxford cloth button-down (OCBD) shirt, is relegated to a lonely booth across the room. The shirt has a large button-down collar and front placket. As we don’t see the cuffs under the jacket, it may be short-sleeved like the polo he wore the previous day.

Mad Men? More like Sad Men.

Mad Men? More like Sad Men.

Miscellaneous costume note… An oft-discussed red herring from “The Better Half” (Episode 6.09) was the later scene that found Don and Megan arguing on the balcony of their New York penthouse as the ominous sound of sirens punctuated the background. Don was still wearing his taupe plaid sport jacket for the conversation, but it was Megan’s outfit that drew the most attention, wearing a white T-shirt with a bold red five-point star that ignited several unexpected (to me, at least) fan conspiracy theories that Megan Draper was Mad Men‘s stand-in for Sharon Tate, who wore a similar T-shirt in a famous William Helburn photo shoot for Esquire magazine in 1967.

A red star T-shirt and ominous sirens in the background... was Megan destined for a violent end?

A red star T-shirt and ominous sirens in the background… was Megan destined for a violent end?

“No coincidence!” mentioned costume designer Janie Bryant, fanning the flames on Twitter when Helburn’s daughter pointed out the similarities. Fans immediately began speculating based on a growing mountain of connections… was Megan heading for a similar fate as Ms. Tate? (Spoiler: nope.)

Episode 7.01 (“Time Zones”)

Los Angeles, January 1969. At the start of Mad Men‘s seventh season, we learn that Sterling Cooper & Partners has expanded out to California with its satellite office in the trusty hands of Pete Campbell and Ted Chaough. While out visiting Megan, who has moved to Benedict Canyon (only fueling the Sharon Tate connection theories), Don stops by the famous Canters Deli in L.A. for lunch with an ebullient Pete.

Dressed for business despite his unwelcome position with SC&P, Don wears a cream button-down shirt with a solid black tie. The shirt has a larger collar than the yellow shirt he wore half a season earlier when plotting with Ted in Detroit, as well as a front placket, breast pocket, and single-button cuffs.

That's the face anyone would make during an extended conversation with Pete Campbell.

That’s the face anyone would make during an extended conversation with Pete Campbell.

Don wears copper brown flat front trousers with belt loops, side pockets, jetted back pockets, and plain-hemmed bottoms. Again, he appears to be wearing a slim black leather belt and dark brown tassel loafers, though Don seems to have embraced a California casual style by wearing low, “no-show” socks with his loafers.

Don oversees the delivery of an unwanted TV to Megan's Lauren Canyon abode.

Don oversees the delivery of an unwanted TV to Megan’s Lauren Canyon abode.

Episode 7.06 (“The Strategy”)

New York City, June 1969. With Chevy no longer an SC&P client, Peggy Olson (Elisabeth Moss) is putting her full effort into securing the Burger Chef account for the agency, though her insecurities create frustrating obstacles. Having been rehired by SC&P a few episodes earlier, Don shows up—hat literally in hand—over the weekend to lend his hand at finessing the pitch and reassuring Peggy of her own talents and abilities, a reconciliation between the two that culminates with a comforting dance to Frank Sinatra’s “My Way” on the radio, an anthem emblematic of the brilliant ad man’s personal ethos.

Don and Peggy face the final curtain... or at least the final season.

Don and Peggy face the final curtain… or at least the final season.

This is the most that Don dresses up the taupe plaid jacket, wearing one of his classic white dress shirts with a semi-spread collar and double (French) cuffs as opposed to the button-down collar, button-cuff shirts he wore with the jacket for earlier appearances. Per usual, the shirt has a front placket and breast pocket for Don’s cigarettes.

Don wears a “downhill”-striped navy silk tie with sets of orange-and-gold stripes crossing against the navy ground from the right shoulder-down-to-left hip.

Don saves his colorful work wear for the weekends.

Don saves his colorful work wear for the weekends.

Don wears dark navy flat front trousers with side pockets, back pockets, and belt loops for his black leather belt with its rectangular brass box-style buckle.

Working late into the night.

Working late into the night.

Don’s favorite summer hat, a blue-gray short-brimmed trilby made from fine Milanese Pinzano straw, is in his hand when he appears in the office, but—ever aware of social conventions—he isn’t seen wearing it during the all-indoor scene. The hat has a black band with colorful mauve-and-gray stripes.

Hat in hand, Don offers Peggy his assistance on the creative strategy for Burger Chef.

Hat in hand, Don offers Peggy his assistance on the creative strategy for Burger Chef.

Accessories and More

After a few Jaeger-LeCoultres and a Rolex Explorer across the first half of the show, Don Draper wears a beautiful and classic Omega Seamaster DeVille luxury watch during the latter half from his 40th birthday celebration at the top of season five to his Big Sur retreat at the end of the final season.

The stainless steel Omega has an automatic movement, a black dial with a 3:00 date indicator window, and a black textured leather strap. It was one of four watches included in a Christie’s auction from December 2015, where it sold for $11,875. Per the auction listing, “the watches were leased to the show by vintage watch specialist Derek Dier, who has supplied watches to the movie industry, noted musicians, actors, writers, artists, international dignitaries and Fortune 500 CEOs. Mad Men Property Master Ellen Freund worked with Dier to select the watches.” The Christie’s page further describes the watch as: “Signed Omega, Automatic, Seamaster, De Ville, Ref. 166.020, Movement No. 23’943’081, Circa 1960.”

"'We'... that's interesting," comments Don, the nucleus of a GM-wowing merger forming in his mind.

“‘We’… that’s interesting,” comments Don, the nucleus of a GM-wowing merger forming in his mind.

While his choice of timepieces varied over the show, Don’s preferred underthings never deviated from his usual white cotton crew-neck undershirt and matching white boxer shorts with an elastic waistband.

Don slips into bed with Megan in "Time Zones" (Episode 7.01).

Don slips into bed with Megan in “Time Zones” (Episode 7.01).

What to Imbibe

For a dedicated Canadian Club drinker like Don Draper, something about this jacket seems to bring out the Seagram’s fan in him.

Don and Betty beat the dry conditions of Bobby’s summer camp when he admits to having located a bottle, pulling a pint of Seagram’s 7 from under his jacket and pouring some into Betty’s can of Fresca while taking pulls straight from the bottle himself.

The divorced drinking buddies before one final tryst.

The divorced drinking buddies before one final tryst.

The Seagram’s marque is applied to several whiskies. Seagram’s Seven Crown (or Seagram’s 7) is the American blended whiskey, while Seagram’s V.O. is its Canadian whisky cousin. Branded “Canada’s Finest,” the whiskey earned its “V.O.” name as it was supposedly the “very own” blend conceived by Joseph E. Seagram for his son Thomas’s wedding in 1913.

Don and Peggy do plenty of damage to a bottle of Seagram’s V.O. during their weekend strategy session at the office in “The Strategy” (Episode 7.06).

MAD MEN

Of course, when Don Draper has his druthers, he’s enjoying an Old Fashioned, and not just one of them. “For Immediate Release” (Episode 6.06) finds him spending a sleepless night at the hotel bar in Detroit, the telltale muddled fruit giving away the whiskey cocktail in front of him.

A familiar image: Don Draper with an Old Fashioned and a pack of cigarettes, though he's switched from his Luckies of earlier seasons to Old Golds after Lucky Strike left his agency at the end of the fourth season.

A familiar image: Don Draper with an Old Fashioned and a pack of cigarettes, though he’s switched from his Luckies of earlier seasons to Old Golds after Lucky Strike left his agency at the end of the fourth season.

I’m always on the search for bars with a creative and delicious approach to classic whiskey cocktails. This week, Level 7 Pittsburgh hooked me up with their signature Smoked Manhattan to see what I thought. I ventured to the bar at the top floor of the AC Hotel Pittsburgh on Wednesday, which also happened to be International Whisk(e)y Day and thus as good a time as any to raise a celebratory glass. (And, of course, I channeled my favorite ad man in a spring-friendly plaid sport jacket.)

The pour.

The pour.

The drink in question was expertly mixed by the bartender, Mel, with a smoky finish that’s tastier—and arguably healthier—than the vapors of Don Draper’s Old Golds.

As vermouth can make or break a Manhattan, the choice of Lustau—a botanical sherry-based Spanish vermouth—added a welcome complexity to the drink, though the highlight of the order is arguably the smoking process.

“It’s definitely a crowd-pleaser,” explained Dustin, director of beverage and food. “One order leads to 20 once everyone sees the interesting presentation.”

Mel fired a blow torch onto an inch-wide oak plank for approximately ten seconds then placed a clean coupe glass atop the flaming wood, simultaneously extinguishing the flame and infusing the inside of the glass with smoke. After mixing the Maker’s Mark, Vermut Lustau, and bitters over ice, she strained the concoction into the smoke-infused glass and the delicious drink was complete.

The finished product: a delicious Smoked Manhattan (sans a few heavy sips from yours truly!) next to the well-torched oak plank that helps add the cocktail's distinctive flavor.

The finished product: a delicious Smoked Manhattan (sans a few heavy sips from yours truly!) next to the well-torched oak plank that helps add the cocktail’s distinctive flavor.

Whether you’re a local yinzer or a tourist in the City of Champions, I recommend checking out Level 7…and especially ordering the Smoked Manhattan!

How to Get the Look

Jon Hamm as Don Draper on Mad Men (Episode 6.09: "The Better Half")

Jon Hamm as Don Draper on Mad Men (Episode 6.09: “The Better Half”)

Consider the context: are you looking for something to wear for a warm day at the office or dressing up your style for a summer weekend? Either way, grabbing a jacket like this is a fine place to start!

  • Taupe plaid single-breasted two-button sack-style sport jacket with notch lapels, welted breast pocket, slanted flapped hip pockets, spaced 2-button cuffs, and short double vents
  • Cream or light blue oxford cotton shirt with button-down collar, front placket, breast pocket, and button cuffs
  • Tan, brown, or navy flat front trousers with belt loops, side pockets, back pockets, and plain-hemmed bottoms
  • Black slim leather belt with silver-toned rectangular box-style buckle
  • Dark brown tassel loafers
  • Black socks
  • Omega Seamaster DeVille wristwatch with stainless 34mm case, textured black crocodile strap, and black dial with date indicator

Dress it up à la Don Draper with a white French-cuff shirt and complementary striped tie…or dress it down with a dark knit polo with complementary accent colors!

Don Draper shows the versatility of a colorful plaid sport jacket across the show's final seasons.

Don Draper shows the versatility of a colorful plaid sport jacket across the show’s final seasons.

Do Yourself a Favor and…

Check out the whole series.

The Quote

The future is something you haven’t even thought of yet.

Tommy Wiseau in The Room

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Tommy Wiseau as Johnny in The Room (2003)

Tommy Wiseau as Johnny in The Room (2003)

Vitals

Tommy Wiseau as Johnny, a “misunderstood” banker and Lisa’s future husband

San Francisco, Fall 2002

Film: The Room
Release Date: June 27, 2003
Director: Tommy Wiseau
Costume Designer: Safowa Bright-Asare

Background

It’s April Fools’ Day! The perfect time to switch gears from looking at timeless style in great movies and TV shows… and reflect on extremely questionable “style” from a movie celebrated as an unmitigated cinematic disaster.

The Room is nearly two hours of brain-numbing non-sequiturs, unresolved “plot” threads and an inconsistent narrative, more screen time for a single football than The Longest YardAny Given Sunday, and Rudy combined, and writing that fails to compare with a monkey pounding on a keyboard… and yet this bizarre melodrama has racked up one of the most loyal cult followings in American cinema. Its nonsensical dialogue (“Do you understand life? Do you?!”) has permeated pop culture and sent packs of people to midnight screenings each year, armed with plastic spoons and questions and praise for the film’s eccentric auteur, Tommy Wiseau.

So who is Tommy Wiseau? Despite how much he may have craved fame as a filmmaker, Wiseau is notably evasive about his origins. He’s undeniably from Europe—some have suggested Poland while it’s known he spent time in France—though he claims New Orleans as his sole place of origin. By the 1990s, his increased interest in pursuing a career in film led him to California, where he split his time in various business ventures in both Los Angeles and the San Francisco Bay Area, where he became acquainted with fellow aspiring actor Greg Sestero.

Greg was the laidback yin to Tommy’s intense yang, and the two developed an uneasy friendship over the following half-decade as Tommy worked tirelessly on his magnum opus, first a play, then a 500-page book, and finally an incomprehensible screenplay inexplicably known as The Room.

The Room was the end result of a $6 million budget raised through a shady blend of real estate transactions, entrepreneurship, or leather jacket and apparel sales. For obvious reasons, it barely lasted in theaters outside of Tommy paying to keep it open in one cinema for two weeks to qualify it for Academy Award nominations (of which it received zero). The Room may have been lost to history if not for Michael Rousselet and Scott Gairdner who became obsessed with Tommy’s masterpiece, bringing scores of friends to the final screenings of the theatrical run. Word spread, and soon The Room was a late-night phenomenon, with midnight screenings in theaters across the country. Tommy’s dream has been somewhat realized as he’s now a mega-star, particularly to fans of The Room, having made appearances on late-night talk shows and even at the Oscars as the on-stage guest of James Franco, whose movie about the making of The Room racked up the Academy Award nomination that eluded Tommy during his fledgling film career.

Tommy Wiseau maintains that the film’s popularity—and it’s reputation as one of the worst movies ever made—stems from his intention to make a “so-bad-it’s-good” dark comedy… despite all cast and crew involved in the production confirming that it was the mysterious man’s attempt at an autobiographical drama.

What’d He Wear?

As a roman à clef to his real life—or at least his perception of it—Tommy Wiseau did little to differentiate between himself and his character, Johnny, right down to the character’s uninformed sartorial choices. At best, the character dresses for his job at “the bank” in oversized suits with baggy shirts and dramatically loose ties. At worst, he’s going full Wiseau, storming out onto his roof in a navy suit jacket over a black V-neck T-shirt with baggy cargo pants and excessive belts.

And it’s this that brings us to possibly the most famous scene in The Room, a sequence that begins with Johnny storming onto the roof of his building, screaming about his future wife Lisa’s accusations of abuse when he stops to casually greet his friend: “Oh, hi, Mark” (a character named after Matt Damon, if you need any further insight into the machinations of Tommy Wiseau’s mind.) It’s a single shot with only 21 words of dialogue that supposedly took Wiseau—the lead actor, writer, and director—at least 32 takes over three hours before something considered satisfactory was delivered.

THE ROOM

Chapter five of The Disaster Artist by Greg Sestero and Tom Bissell outlines the morning the scene was filmed. “Tommy was sporting his white Gilligan hat, red-lensed Oakleys, a black tank top, and sand-colored cargo pants,” recalls Sestero of Wiseau’s arrival on set. Unfortunately, Wiseau’s chronic lateness meant that the costume designer, Safowa Bright-Asare, had already left the set during his absence to run wardrobe errands. Despite being told that Bright-Asare would be returning soon…

Tommy, unsatisfied, headed directly to wardrobe and dressed himself. He probably could not have picked a worse outfit had he been blindfolded: an ill-fitting navy blue sport coat over his favorite black tank top and sand-colored cargo pants, the pockets of which were stuffed with lotion bottles, antiwrinkling gel, purple scrunchies, hair clips, and cash. He looked like an aging metrosexual commando.

The aging metrosexual commando, reporting for duty.

The aging metrosexual commando, reporting for duty.

Sure enough, Bright-Asare—whom Sestero praised for her “decent and conscientious on-set presence”—soon arrived on set from her errand and was aghast at the site of Wiseau having chosen his own wardrobe, describing the outfit as “unfilmable.”

Tommy, of course, refused to change. “I keep my stuff, sweetie. You are late. Please don’t do this again.”

“Tommy,” Safowa said, “you can’t just pick things off the rack at random and start shooting.” Sensing she wasn’t going to win this argument, she turned to grab her camera. “I need to get a Polaroid of your outfit for continuity.”

“Continuity,” Tommy said, stopping her, “is in your forehead.”

“Would you at least empty your pockets?” Safowa asked. “Can we agree to that?”

“I cannot,” Tommy said. Safowa briefly looked like she was about to punch him. Tommy, noticing this, put his hand on her shoulder. “You are very sweet, and I push you little bit. But don’t hate me yet.” From Safowa’s expression it was clear that Tommy’s request was several seconds too late.

Tommy grips the water bottle that Greg gave him as a prop to help keep him focused on delivering his now-famous line just before slamming the bottle to the ground.

Tommy grips the water bottle that Greg gave him as a prop to help keep him focused on delivering his now-famous line just before slamming the bottle to the ground.

Tommy—er, Johnny—dresses for the scene in a navy blue single-breasted suit jacket, unlike the double-breasted suit jacket he wears for most of the film. The ventless three-button jacket is worn open and has a welted breast pocket, straight flapped hip pockets, and three-button cuffs.

THE ROOM

Greg Sestero, who played Johnny’s friend Mark in addition to serving as the movie’s line producer, mentioned in The Disaster Artist that this black tank top was one of Tommy’s favorites. The sleeveless cotton shirt has a V-neck and is reinforced around the neckline and armholes.

The shirt is seen on its own a few scenes later during a brief round of alley football with Mark, Denny (Philip Haldiman), and Mike (Scott Holmes, though Wiseau credited him as “Mike Holmes” because he forgot the actor’s actual first name).

The scene that gave birth to the phrase "me underwear".

The scene that gave birth to the phrase “me underwear”.

And then… the cargo pants. Greg Sestero describes them as sand-colored, though the on-screen appearance is closer to a light, washed-out stone color. Even without the heavy loads, they would be remarkably baggy, but Wiseau has loaded up the each of the cargo pockets, which close with what is likely a velcro-fastened flap with a small black tag toward the front. The pants also have slanted side pockets toward the top and belt loops around the waist.

Baggy cargo pants with a suit jacket and tank top are already enough of a fashion faux pas, but Wiseau actually goes the step further of wearing zip-off cargo pants. Also known as “convertible pants” by incurable optimists, these are the two-in-one garment where the wearer can zip off both legs of his trousers below the knee to convert them into shorts. While this could be an asset for hiking or similar activities, I can’t think of a practical reason why Johnny would be wearing them.

Rooftop fun with Denny.

Rooftop fun with Denny.

The real Tommy Wiseau rarely stopped at just one belt for his pants, telling his buddy Greg that “it keeps my ass up, plus it feels good.” Luckily, whether it was the intervention of costume designer Safowa Bright-Asare or Tommy’s own rare moment of clarity, Johnny seems to forego wearing multiple belts even with more dressed-down ensembles such as this. Note that I said “seems to” as the actual trouser-suspension question raises more questions than it normally would.

Johnny is clearly wearing at least one black leather belt, studded with a two silver squares toward the tip, and closed through a steel single-prong buckle… but is the belt just very long and wrapped around multiple times, or is he wearing a second identical belt off-kilter on top of the other one?

"I'm so happy I have you as a best friend, and I love Lisa so much."

“I’m so happy I have you as a best friend, and I love Lisa so much.”

Johnny completes his outfit with a pair of chunky black calf leather derby shoes with squared toes, worn with black socks.

THE ROOM

Any costume continuity in The Room is due to the efforts of Safowa Bright-Asare, who put up with wild work conditions for her unenviable task of trying to tame Tommy Wiseau’s sartorial sensibilities. “Tommy had given her a miniscule budget and so she spent much of her time despairingly combing through L.A. thrift stores to piece together outfits,” recalled Sestero. “The result was a ‘Wardrobe’ unit consisting of a single homeless-shelter rack of clothing and a few plastic laundry tubs.”

Despite the odds, Bright-Asare successfully developed a signature look for her characters such as cowboy Mark, sultry Lisa (Juliette Danielle), bookish Peter (Kyle Vogt), and sensible and stylish Michelle (Robyn Paris). For a script that disallowed any major character development, Bright-Asare was able to communicate much about her characters through these costumes and her established aesthetics.

Nearly 15 years later, Bright-Asare’s work—and Wiseau’s attempted undoing of it—was brought back to life by costume designer Brenda Abbandandolo, who painstakingly recreated The Room‘s “fashions” for The Disaster Artist (2017), dressing James Franco, Dave Franco, Ari Graynor, Seth Rogen, and others in outfits replicating how the original cast and crew looked during the four-month shoot in 2002.

James Franco as Tommy Wiseau, trying one of many takes in The Disaster Artist (2017).

James Franco as Tommy Wiseau, trying one of many takes in The Disaster Artist (2017).

You can read more about Abbandandolo’s work in Esther Zuckerman’s December 2017 article for Racked.

What to Imbibe

You have a few options if you want to imbibe à la The Room:

The Good: A bottle of water, preferably one that hasn’t been thrown on the ground.

Also, Greg noted that as soon as he gave Tommy the water bottle to distract him before the big “I did not! Oh, hi Mark” scene, Tommy “immediately started peeling off the water bottle’s sticker, because nothing scared Tommy more than having to pay someone for permission to use a logo. Tommy is probably the world’s single most copyright-obsessed person who does not also have a law degree.”

The Bad: According to Greg Sestero in The Disaster Artist, Tommy was fueled by his “customary five cans of Red Bull.”

The Ugly: “Scotchka”, or the unholy concoction that Lisa makes for her and Johnny after his rough day at work.

How to make it? Why, just grab a bottle of Scotch, grab a bottle of vodka (Sobieski, it appears to be), pour in the Scotch first, and top it off with vodka. Best enjoyed with a pizza topped with half Canadian bacon with pineapple, half artichoke with pesto, and light on the cheese.

"Don't worry about it. It's good for you."

“Don’t worry about it. It’s good for you.”

Supposedly, the “Scotchka” seen on screen was actually meant to be a blend of cognac and vodka… as if that’s any better.

Tommy Wiseau as Johnny in The Room (2003)

Tommy Wiseau as Johnny in The Room (2003)

How to Get the Look

Why would you even try?

  • Navy blue wool single-breasted 3-button suit jacket with notch lapels, welted breast pocket, straight flapped hip pockets, 3-button cuffs, and ventless back
  • Black cotton V-neck sleeveless tank top
  • Stone-colored cotton flat front cargo pants with belt loops, side pockets, Velcro-flapped cargo pockets, and convertible zip-off bottoms
  • Black leather belt with steel single-prong buckle and studded with silver squares
  • Black leather square-toe derby shoes
  • Black socks

Do Yourself a Favor and…

Check out the movie and read The Disaster Artist by Greg Sestero and Tom Bissell.

Adapted from Sestero and Bissell’s book, the Oscar-nominated movie-about-the-movie, The Disaster Artist (2017) starring James Franco as Tommy and Dave Franco as Greg, is also worth a watch, particularly for longtime fans of Tommy Wiseau’s magnum opus.

The Quote

I did not hit her, it’s not true! It’s bullshit! I did not hit her! I did not. Oh, hi, Mark.

The Yakuza: Robert Mitchum’s Tan Parka and Turtleneck

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Robert Mitchum as Harry Kilmer in The Yakuza (1974)

Robert Mitchum as Harry Kilmer in The Yakuza (1974)

Vitals

Robert Mitchum as Harry Kilmer, tough former detective

Tokyo, Spring 1974

Film: The Yakuza
Release Date: December 28, 1974
Director: Sydney Pollack
Costume Designer: Dorothy Jeakins

WARNING! Spoilers ahead!

Background

The unique neo-noir Japanese gangster movie The Yakuza was conceptualized by brothers Paul and Leonard Schrader based on Leonard’s letters to Paul while living in Japan, particularly about the yakuza and the screen presence of Ken Takakura. While Takakura was almost always guaranteed to play a role, the crucial positions of the director and the lead actor—who would portray an aging former detective sent to Japan in service to an old friend—were still in transition.

Early in the pre-production stages, it looked like Robert Aldrich would direct with Lee Marvin in the lead role, until Marvin’s clash with Warner Brothers led to Robert Mitchum taking the role. To the director’s unwelcome surprise, Mitchum did not want to work with Aldrich, so Sydney Pollack was brought in to replace him. Pollack’s attachment meant interest from Robert Redford—who had already worked with Pollack in Jeremiah Johnson and The Way We Were—in the lead role, though Redford deemed himself too young and Mitchum remained.

What’d He Wear?

After they’ve been condemned to death by the yakuza and already lost two people close to them, Harry and Ken team up for a revenge assault, first against Harry’s old friend George Tanner (Brian Keith) and finally against the yakuza boss Tono (Eiji Okada).

Harry dresses for the assault in a tan parka, hip-length and fur-lined through the body and hood. The parka has a covered front fly that buttons left-over-right with additional buttonholes on the right side that ostensibly connect to buttons along the inside of the left.

The calm before the storm.

The calm before the storm.

The parka is pulled in at the elasticized waist, where it has a belt stitched into place on the sides with two loops on the back. The belt is meant to close in the front with a single-prong buckle, though Harry wears it open and occasionally tucks at least one end of the belt into the pocket. There are two bellows pockets on the hips, each closing with a button-down flap.

Harry takes—and returns—heavy fire.

Harry takes—and returns—heavy fire.

The sleeves have tan leather trim on the edges and can be tightened with a half-belted buckle on the inside of each cuff.

Note the details of the parka: adjustable half-belt under the cuff, bellows pocket with button, removable fur lining, and the adjacent button and buttonhole on the right side.

Note the details of the parka: adjustable half-belt under the cuff, bellows pocket with button, removable fur lining, and the adjacent button and buttonhole on the right side.

The parka’s removable fur lining is the same shade of tan as the shell, buttoned into place and insulating the torso area of the parka as well as the hood. There are three buttons along the edge of the hood.

Ken and Harry face one final adversary.

Ken and Harry face one final adversary.

The Yakuza is one of the best movies for fans of the turtleneck, as both Robert Mitchum and Ken Takakura cycle through plenty of rollnecks worn with suits, sport jackets, and casual wear. For this revenge mission, Harry wears a heavy ribbed-knit turtleneck in black wool, perhaps too bulky to qualify as one of Sterling Archer’s beloved “tactile-necks” but employed more or less for the same purpose here.

THE YAKUZA

Harry tucks the turtleneck into a pair of taupe brown corduroy trousers with frogmouth front pockets and flared plain-hemmed bottoms.

Production photo of Robert Mitchum and Ken Takakura.

Production photo of Robert Mitchum and Ken Takakura.

The trousers are worn with a dark brown leather belt with a large single-prong buckle, rounded on one side and in a polished gold-toned metal. The belt coordinates with his brown ankle boots.

Harry metes out revenge with his .45.

Harry metes out revenge with his .45.

Mitchum wore his own Rolex through much of his ’70s oeuvre, though his stainless Rolex DateJust with its silver dial and steel “Jubilee” bracelet can only briefly be glimpsed under his left sleeve.

The Guns

The perfect choice for a former U.S. serviceman, Harry Kilmer arms himself with a .45-caliber M1911A1 pistol with a scratched-off serial number from his friend Oliver’s collection, using it to great effect throughout The Yakuza.

During this era, the .45 ACP blank round was unreliable so many productions—The Wild Bunch, The Getaway, and Three Days of the Condor to name a few—replaced .45-caliber 1911 pistols with cosmetically similar Star Model B pistols that fired the more universal and blank-reliable 9×19 mm Parabellum round. The Yakuza appears to be an exception as Mitchum seems to be fielding and firing a genuine M1911A1 throughout the movie.

Note the large muzzle bore, indicating that Harry is likely armed with a genuine blank-firing .45 than a 9mm substitute.

Note the large muzzle bore, indicating that Harry is likely armed with a genuine blank-firing .45 than a 9mm substitute.

Harry also uses the snub-nosed .38 Special revolver that Ollie had given to Dusty (Richard Jordan), which appears to be an early model Smith & Wesson Model 10 with a 2″ barrel.

Two-gun Harry crashes into Tanner's office.

Two-gun Harry crashes into Tanner’s office.

Harry’s heavy artillery is a hammerless boxlock double-barreled shotgun, lent to him by Goro. Not only does Harry field this massive weapon with just one hand, but it’s his non-dominant left hand and it’s while alternating his use of a heavy .45 or .38 in his right hand.

Harry upgrades his backup weapon into something a bit heavier.

Harry upgrades his backup weapon into something a bit heavier.

As the user who created The Yakuza‘s IMFDB page observes, “only an old time tough guy movie star like Robert Mitchum could carry off using a full size double barreled shotgun and a Colt .45 automatic convincingly.”

How to Get the Look

Robert Mitchum as Harry Kilmer in The Yakuza (1974)

Robert Mitchum as Harry Kilmer in The Yakuza (1974)

Robert Mitchum dresses for action and comfort when taking on a dangerous yakuza faction, though his style could just as easily be channeled for a walk outside on a chilly spring weekend.

  • Tan gabardine hooded parka with belt, two flapped bellows pockets, belted cuffs with leather edge trim, and removable fur lining
  • Black ribbed-knit turtleneck sweater
  • Brown corduroy flat front trousers with belt loops, frogmouth front pockets, and flared plain-hemmed bottoms
  • Dark brown leather belt with polished gold-toned rounded single-prong buckle
  • Brown leather ankle boots with raised heels
  • Rolex DateJust steel-cased wristwatch with silver dial and steel “Jubilee” bracelet

Do Yourself a Favor and…

Check out the movie.

The Quote

Well, it may be futile, but it’s not a gesture.

Arabesque – Gregory Peck’s Brown Flannel Suit

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Gregory Peck as David Pollock in Arabesque (1966)

Gregory Peck as David Pollock in Arabesque (1966)

Vitals

Gregory Peck as David Pollock, American hieroglyphics professor

London, June 1965

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

WARNING! Spoilers ahead!

Background

Today marks the 103rd birthday of Eldred G. Peck, better known to the world as Gregory Peck after dropping his first name in pursuit of his now legendary acting career. Peck received five Academy Award nominations over the course of his career, finally winning the Best Actor statue for his performance in To Kill a Mockingbird.

Later in the decade, Peck starred opposite his friend Sophia Loren in Arabesque, Stanley Donen’s follow-up to Charade that—like its predecessor—blended elements of comedy, espionage, and romance into one Hitchcockian package, though even Donen had to admit that the film was more style than substance.

Peck and Loren are at their most stylish when their characters team up to halt the assassination of Hassan Jena (Carl Duering), the prime minister of an unidentified country in the Middle East. After spending their first night together and deciphering the hieroglyphic MacGuffin, David Pollock (Peck) and Yasmin Azir (Loren) hop into her red Mercedes-Benz 230SL coupe and race off to stop disaster.

The car is a more effective tool than David’s Diner’s Club card in gaining entrance to the PM’s airport audience, and when David finally insists that the PM is about the be killed, the police officer guarding the event drolly replies: “I hardly think so, sir. This is England!”

What’d He Wear?

The famously well-tailored Gregory Peck was a client of H. Huntsman & Sons both on and off screen, and the English setting of Arabesque provides the perfect opportunity for the actor to sport the Savile Row tailor’s wares, including this brown flannel suit that Peck wears for this climactic sequence.

The single-breasted suit jacket has notch lapels that roll to a two-button front, a welted breast pocket, straight flapped hip pockets, double vents, and three-button cuffs.

ARABESQUE

Though pleated trousers were increasingly less fashionable over the course of the 1960s, Peck’s suit honors English sartorial tradition with its double forward pleats. The trousers also have side pockets, jetted back pockets that each close through a single button, and turn-ups (cuffs) on the bottoms.

Gregory Peck makes the case for pleats.

Gregory Peck makes the case for pleats.

Peck wears his character’s usual burgundy belt made from an exotic scaled leather like alligator or crocodile skin. The belt closes with a small gold-toned squared single-prong buckle.

ARABESQUE

The suit may be cut and styled in accordance with English traditions, but David’s choice of shirt is an all-American classic. John E. Brooks was inspired by English polo players who kept their shirt collars in place with buttons, leading to the 1896 introduction of the Brooks Brothers button-down shirt.

Despite the shirt’s English origins, the practice of wearing a button-down collared shirt with a suit and tie was far more acceptable in the dressed-down American culture seventy years later when David Pollock donned his ecru cotton button-down collar shirt in a London hotel room. The shirt, made by Frank Foster of London (as confirmed by the shirtmaker’s Instagram page), has a spread button-down collar, breast pocket, and single-button rounded cuffs.

The collar may be unbuttoned but, believe me, it has buttons!

The collar may be unbuttoned but, believe me, it has buttons!

David’s tie is dark green with a mini red paisley pattern, tied in a small four-in-hand knot.

Style icons Sophia Loren and Gregory Peck in Christian Dior and H. Huntsman & Sons, respectively.

Style icons Sophia Loren and Gregory Peck in Christian Dior and H. Huntsman & Sons, respectively.

There is a brief moment when the label of David’s tie can briefly be seen as he and Yasmin frantically try to crash the prime minister’s reception at the airport.

Can any vintage menswear experts ID the maker of David's tie?

Can any vintage menswear experts ID the maker of David’s tie?

David’s shoes are burgundy leather apron-toe derbies that coordinate with his belt, worn with charcoal socks.

Yasmin and David scramble to get away safely with the prime minister in tow.

Yasmin and David scramble to get away safely with the prime minister in tow.

David wears an elegant gold wristwatch with a silver dial and russet brown leather strap that coordinates with his earthy wardrobe and burgundy leather belt and shoes.

Let's hope that watch is waterproof!

Let’s hope that watch is waterproof!

While concentrating on some early morning reading (and deciphering) in their room at the Kelly Hotel, David wears a pair of light brown plastic glasses that enhance his professorial reputation.

ARABESQUE

If Peck looks professorial in his eyeglasses, he looks very cool in his gold-framed aviator-style sunglasses that get tragically limited screen time. These amber-tinted shades are best seen when David sits in Yasmin’s Benz, though the inclement weather obviates their need in the first place.

This isn't the sort of weather that calls for sunglasses, but when you've got a sharp pair of aviators like David Pollock does, it would be a sin to waste them.

This isn’t the sort of weather that calls for sunglasses, but when you’ve got a sharp pair of aviators like David Pollock does, it would be a sin to waste them.

Gregory Peck and Sophia Loren in Arabesque (1966)

Gregory Peck and Sophia Loren 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 flannel tailored suit:
    • Single-breasted 2-button jacket with notch lapels, welted breast pocket, straight flapped hip pockets, 3-button cuffs, and double vents
    • Double forward-pleated trousers with belt loops, side pockets, button-through jetted back pockets, and turn-ups/cuffs
  • Pale eggshell cotton shirt with button-down collar, front placket, breast pocket, and 1-button rounded cuffs
  • Dark green tie with red mini-paisley pattern
  • Burgundy scaled leather belt with squared gold single-prong buckle
  • Burgundy leather apron-toe derby shoes
  • Charcoal ribbed dress socks
  • Gold watch with silver dial on russet brown leather strap
  • Gold-framed aviator sunglasses

Do Yourself a Favor and…

Check out the movie.

The Quote

Our life expectancy may be nil, but I’d like you to know that this has been a real warm human experience.

The Rockford Files: Jim’s Pilot Episode Gun Club Check

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James Garner as Jim Rockford on The Rockford Files (1974-1980)

James Garner as Jim Rockford on The Rockford Files (1974-1980)

Vitals

James Garner as Jim Rockford, wisecracking private detective and ex-convict

Los Angeles, Summer 1974

Series: The Rockford Files
Episode: “Backlash of the Hunter” (Pilot)
Air Date: March 27, 1974
Director: Richard T. Heffron
Creator: Roy Huggins & Stephen J. Cannell
Costume Designer: Charles Waldo

WARNING! Spoilers ahead!

Background

Today would have been the 91st birthday of James Garner, the charismatic actor who grew to stardom with his starring roles on the Western series Maverick and in The Great Escape (1963) before taking on what would be his signature role as struggling private eye Jim Rockford on The Rockford Files.

Roy Huggins and Stephen J. Cannell developed The Rockford Files as a spiritual successor to Maverick, reinventing Garner’s charming gambler Bret Maverick as a modern-day private investigator with the same sarcastic yet sincere attitude and conflict-averse nature. Having already proven his private eye credentials by playing Raymond Chandler’s famous detective in Marlowe (1969), Garner stepped into Jim Rockford’s loafers and established one of the greatest TV roles ever.

This is Jim Rockford. At the tone, leave your name and number. I’ll get back to you…

Each episode of The Rockford Files began with a message left on Rockford’s answering machine, typically a humorous non-sequitur illustrating his world of bounced checks, missed payments, gilted dates, and persistent sales reps before launching into the show’s iconic opening credit sequence, scored by a distinctive and memorable theme song composed by Mike Post and Pete Carpenter.

Following the credits, audiences were treated to an hour in Rockford’s world as the ex-convict private eye sped around the greater L.A. area in his latest Pontiac Firebird Esprit, doing his best to earn his usual rate of $200 a day plus expenses…not that he typically received this payment from his clients.

The pilot episode, a movie-length episode retitled “Backlash of the Hunter” for syndication, established much about the show and character that would last the duration of the series, including his beachside mobile home (though the address and location would change), his circle of unreliable clients, colorful confidants, and distrustful police officers, his unfortunate financial situation, his relationship with his retired trucker father “Rocky”, and his preference for talking his way out of trouble rather than fighting.

What’d He Wear?

Perhaps in the spirit of classic noir detectives, Jim Rockford’s wardrobe was famously off-the-rack, inexpensive duds that represented ’70s streetwear at its best with a rotation of sport jackets (often plaids, checks, and tweeds), large-collared shirts worn open at the neck, gabardine slacks, and loafers. For the first of several posts to come celebrating and exploring Jim Rockford’s off-the-rack style, we go back to where it all began with the pilot episode, “Backlash of the Hunter”, that aired six months before the first season premiered in September 1974.

We first meet Jim Rockford walking on the beach with his father Rocky, played here by Robert Donley rather than Noah Beery Jr., who would make the role memorable over the next six seasons. Jim has to disappoint Rocky by changing their plans to go fishing as he has a potential client, Sara Butler (Lindsay Wagner), waiting for him at his mobile home/office.

Jim is still dressed for fishing when he meets Sara, sporting a sporty beige waxed cotton jacket. While the same length as a sports coat, the jacket has a Harrington-style standing two-button collar and a zippered front with white tape that extends from the collar down to the bottom of the jacket that hits the hips. The sleeves can be tightened at the cuffs with one of two brown sew-through buttons through a pointed half-tab in the same chocolate brown suede that matches the underside of the collar. The jacket also has four patch pockets—two plain ones on the chest, two pleated ones on the hips—that all close through a single button on a pointed flap.

Though I believe this jacket’s appearances are limited to the pilot, it gets plenty of screen time, book-ending the episode as Jim wears it during both the prologue and the desert-set conclusion.

Rocky is so disappointed that Jim can't go fishing with him that he completely changes his appearance for the rest of the series.

Rocky is so disappointed that Jim can’t go fishing with him that he completely changes his appearance for the rest of the series.

Sara hires Jim to find out who killer her wino father two months earlier, and the case begins, setting off a feature-length showcase of car chases, bathroom fights, and the witty repartee that would become The Rockford Files‘ hallmark.

After taking her case, Jim changes into a more characteristic sport jacket in a bold gun club check that would become an early-season staple for the detective. As Alan Flusser describes in Dressing the Man, the erstwhile Coigach check from the west of Scotland received its more evocative “gun club” moniker when it was adopted as the livery for an American shooting club around 1874. “Its warp and weft are generally arranged in three colors and woven in two-up, two-down twill. An even check pattern with rows of alternating colors,” in Rockford’s case, these alternating colors are maroon and navy on a gray ground.

THE ROCKFORD FILES

The single-breasted jacket has substantial notch lapels, fashionable for the mid-1970s without looking as excessive as some disco-era lapels, that roll over the top of the three black woven leather buttons on the front for a classic 3/2-roll, which Jim wears both open and with only the center button fastened.

Rockford’s jacket also has a welted breast pocket, set-in hip pockets with wide flaps, a long single vent, and non-functioning two-button cuffs. All in all, a stylish jacket for the era that still manages to avoid the most egregious of the decade’s menswear trends. In smaller scales and larger scales like Rockford wears here, gun club check remains a timeless menswear pattern with modern examples available from purveyors like Spier & MacKay.

Rockford checks with his sources to confirm Sara's identity and the story that she's pitched him.

Rockford checks with his sources to confirm Sara’s identity and the story that she’s pitched him.

When taking Sara’s case and beginning his investigation with her, Jim wears a navy shirt made from a silky synthetic material, likely rayon as this would have been popular in 1974, with a large point collar, front placket, and two-button barrel cuffs. Per Rockford’s laidback style standard, he wears it with no tie and the top few buttons undone at the neck and chest.

Rockford takes a drag from his Camel as he listens to Sara Butler's story.

Rockford takes a drag from his Camel as he listens to Sara Butler’s story.

The shirt is tucked into a pair of dark navy flat front trousers with thick belt loops, side pockets, jetted back pockets with a single button each, and plain-hemmed bottoms. He wears a thick belt in plain black leather with a polished gold-toned single-prong buckle.

THE ROCKFORD FILES

As Sara caught Jim while he was dressed for fishing, he’s still wearing sneakers rather than the loafers that would become his signature. These navy canvas sneakers have thick white rubber outsoles and white laces that, combined with his white socks, make the extremely casual footwear especially jarring when worn with his sports coat and slacks.

Jim and Sara's blonde fellow diner in the periwinkle jacket seems so ashamed of Rockford's underdressed footwear that she must shield her eyes from them.

Jim and Sara’s blonde fellow diner in the periwinkle jacket seems so ashamed of Rockford’s underdressed footwear that she must shield her eyes from them.

Later in the episode, Jim is getting a late bite with Sara when he notices they’re being followed. Jim lures the hood—Jerry Grimes (William Smith)—to a bar, where he uses some classic P.I. trickery to knock him out before interrogating him…and mocking his decision to follow him in a bright red Cadillac convertible. Jim continues to ruin Jerry’s night, first by getting Sara to hit on Jerry at the bar and then slip him some knock-out drops back at his hotel so she and Jim can search his room. The adventure—and the truth about Rockford’s five-year stint in prison—leads to Jim and Sara hooking up, then heading to Vegas to bring the case to a conclusion.

For this final act of the episode, Jim again wears the gun club check jacket but over a sky blue shirt similarly styled to the navy shirt with its long point collar, front placket, and two-button cuffs.

THE ROCKFORD FILES

Jim’s new outfit also means new pants, a pair of chocolate brown slacks otherwise identical to the navy trousers with their thick belt loops, pockets, and plain-hemmed bottoms. He whips off his thick brown leather belt and uses it to restrain Jerry by securing his legs to a bathroom stall, presumably leaving the belt behind when he ditches Jerry as well. (Luckily, he picks up a new, identical one before his trip to Vegas!)

THE ROCKFORD FILES

If the navy sneakers were particularly informal for Jim Rockford’s style, the cordovan leather lace-up ankle boots are a touch more formal than we’re used to seeing in later episodes. There appears to be some issues of continuity during the bathroom fight sequence as James Garner looks to be wearing a pair of Chelsea boots during some of the action while other shots while he’s restraining Jerry clearly show a pair of plain-toe oxfords.

THE ROCKFORD FILES

The outfit as a whole serves as a fitting template for what would be a quintessential Jim Rockford look, though he would soon branch out into more individualistic touches such as his black, brown, and tan loafers with bar-chain horsebit detailing and colorful, striped belts.

One constant from this outfit and the rest of Rockford’s ensembles is his watch. James Garner first picked up his steel Heuer Carrera 3647N racing watch in the mid-1960s, around the time he made the motorsport epic Grand Prix (1966), and it’s fitting that this durable, racing-oriented watch would dress the wrist of Jim Rockford, a character whose Pontiac Firebird—and his signature “J-turn” maneuver in it—became almost as iconic as the character himself.

THE ROCKFORD FILES

The Heuer Carrera was also a trusted timepiece of Mario Andretti, whose gold 1967 Carrera Pilot 1158CH is featured in Matt Hranek’s A Man and his Watch alongside a steel Heuer Autavia that the racing legend was gifted by Motor Age magazine following the 1967 Indianapolis 500.

You can read more about Garner’s watch in this marvelous 2017 article at Calibre 11 with exclusive photos that reveal the actual words “JAMES GARNER” inscribed on the two-register black dial.

“Exit Prentiss Carr”…and beyond

After being worn for a substantial amount of the pilot episode and several promotional photos, the jacket makes its next appearance in “Exit Prentiss Carr” (Episode 1.04), the episode that introduces us to the Raymond Chandler-esque town of Bay City, California, where Rockford is far from welcome.

Jim spends a day in Bay City investigating the death of the titular Mr. Carr while wearing this jacket over a bright scarlet shirt that follows its blue predecessors from the pilot with its silky rayon-like cloth, long point collar worn open at the neck, front placket with self-colored buttons, and two-button barrel cuffs. His flat front trousers are now a shark gray with frogmouth front pockets and button-through jetted back pockets and are worn with the same black belt that we saw in the pilot episode, here coordinated to match his black leather drivers with their gold bar-chain horsebit detail.

Rockford borrowed his client's butter yellow Mercedes-Benz for an investigation in Bay City, but it wasn't enough to hide him from the two Bay City cops out to get him.

Rockford borrowed his client’s butter yellow Mercedes-Benz for an investigation in Bay City, but it wasn’t enough to hide him from the two Bay City cops out to get him.

Unlike the pilot episode when Jim’s blue and brown underpinnings were independent of the jacket, “Exit Prentiss Carr” shows Rockford coordinating the colors of his sports coat to the clothes he wears with them; the bold red shirt draws out the jacket’s maroon check, the black belt and shoes pull out the black check in the jacket, and the gray trousers harmonize with the slightly lighter gray ground in his jacket.

The Gun

Part of Jim Rockford’s appeal is his diversion from the prototypical TV hero or fictional detective. He’s a moderate drinker (mostly in social situations), he prefers to talk his way out of situations rather than using his fists, and he’s very hesitant to carry a gun, mostly because the piece he does have he doesn’t have a license to carry though he does tell a client in “Tall Woman in Red Wagon” (Episode 1.05) that he’s “scared to death of ’em.” There are rare situations—such as the finale of the pilot episode—where Rockford finds the need to arm himself, however, and in those situations, he turns to his cookie jar.

In “Backlash of the Hunter”, Sara is in Rockford’s mobile home when he spies him unwrapping something retrieved from said jar. “What’s that?” she asks.

“It’s my gat,” responds Rockford, flashing a Smith & Wesson Model 19 revolver with a 2.5″ barrel before sticking it in his belt and explaining that he doesn’t have a permit to carry it despite his detective’s license.

Rockford checks out his "gat", properly keeping his finger off the trigger. Having served in the U.S. Army during the Korean War, James Garner no doubt would have been familiar and comfortable handling firearms properly and safely.

Rockford checks out his “gat”, properly keeping his finger off the trigger. Having served in the U.S. Army during the Korean War, James Garner no doubt would have been familiar and comfortable handling firearms properly and safely.

The weapon was introduced as the Smith & Wesson .357 Combat Magnum in late 1955, developed for the police market as a K-frame alternative so that officers could efficiently and effectively carry .357 Magnum revolvers without dealing with the heft and bulk of the N-frame original. When Smith & Wesson began numbering its models in 1957, the N-frame became the “Model 27” while the K-frame was designated the “Model 19”. In 1966, the 2.5″ barrel became standard with the Smith & Wesson Model 19-2 variant.

Two decades before John McClane would down a helicopter with two shots from a .38 in Die Hard with a Vengeance, Jim Rockford beat him to it, blasting away with his S&W Model 19 from a rocky cover in the desert and finally bringing an end to Jerry Grimes’ criminal career…and life.

Jim's fishing jacket returns for a the climactic action scene in the desert.

Jim’s fishing jacket returns for a the climactic action scene in the desert.

By the second season, Jim’s sidearm would be established as a third-generation Colt Detective Special, a cosmetically similar blue steel snub-nosed revolver with a shrouded ejector rod, though the Detective Special was primarily chambered for .38 Special rather than the longer and more powerful .357 Magnum cartridge of the Smith & Wesson Model 19.

Private Eye Trick

Rockford’s aversion to physical fighting means he often takes shortcuts—or as some would call it, fighting dirty—to get the upper hand on his opponents, particularly ones that he’s gotten tired of having follow him over the course of a case. In “Backlash of the Hunter”, the target of Rockford’s trickery is Jerry Grimes. Grimes, a martial arts expert played by the physically imposing William Smith, would likely have an advantage over Rockford, so the private eye prepares himself for battle by heading into a bar bathroom where he would appear to be cornered.

Once there, Rockford spills some liquid hand soap over the floor between him and the door. He then backs into a corner and reaches into his pocket for a roll of dimes to give his inevitable punch some extra power.

Note that this has been corrected from a shot that was reversed to make it appear that Rockford was pulling his coins from his right-hand pocket when—as you can see in this corrected shot—it was actually his left hand pocket.

Note that this has been corrected from a shot that was reversed to make it appear that Rockford was pulling his coins from his right-hand pocket when—as you can see in this corrected shot—it was actually his left-hand pocket.

When Jerry enters the bathroom, Rockford is standing there waiting for him. The thug isn’t quite quick to attack though, until Rockford hits him in the pride bone:

You gotta be one of the dumbest lookin’ apes I ever saw. ‘course, you big, muscle-bound guys, you’re usually compensating for feelings of inadequacy.

Unable to stomach the continued attacks on his pride, Jerry lunges for Rockford, who hits him back with a fistful of dimes. Jerry, unable to gain traction on the soap-covered floor, slips onto his back, where Rockford is able to knock him unconscious and subdue him by using his own belt to secure his legs to the hook outside a bathroom stall.

The trouble with karate, Jerry, is it’s based on a ridiculous assumption that the other guy’ll fight fair.

Advantage Rockford!

Advantage Rockford!

How to Get the Look

As with most eras, an overly fashionable dresser in the 1970s could risk looking dated in the decades to follow. Luckily for Jim Rockford, his no-nonsense approach to dressing incorporates trendy sensibilities onto a timeless foundation. Jim’s lapels and collars may be a touch wide, but—ultimately—his chosen “uniform” of a checked single-breasted sports coat, open-collar dress shirt, flat front slacks, and casual shoes transcend trends to work in any period.

James Garner as Jim Rockford on The Rockford Files (Pilot Episode: "Backlash of the Hunter")

James Garner as Jim Rockford on The Rockford Files (Pilot Episode: “Backlash of the Hunter”)

  • Gray twill (with maroon and black gun club check) single-breasted 3/2-roll sport jacket with wide notch lapels, welted breast pocket, wide-flapped hip pockets, 3-button cuffs, and long single vent
  • Blue rayon shirt with long point collar, front placket, and 2-button cuffs
    • Navy or sky blue are Rockford-approved colors from the pilot episode
  • Dark flat front trousers with wide belt loops, side pockets, button-through jetted back pockets, and plain-hemmed bottoms
    • Dark navy or chocolate brown are Rockford-approved colors from the pilot episode
  • Thick leather belt with polished gold single-prong buckle
    • Black or brown leather are Rockford-approved leathers from the pilot episode
  • Cordovan leather plain-toe oxford shoes
    • While his shoes in the pilot are either too-casual sneakers or too-formal oxfords, later episodes would show the detective’s preference for the just-right loafers
  • Dark brown socks
  • Heuer Carrera 3647N racing chronograph watch with steel case, black dial (with two registers), and black leather strap

The pilot episode also introduces a few other odd jackets that would be Rockford staples across the first season, including a light brown herringbone tweed 3/2-roll jacket and a dark gray flannel blazer with three shining metal buttons.

Do Yourself a Favor and…

Check out the series.

The Quote

Well, I think it makes me an unprincipled jerk. Since I don’t have any real close friends, I have to get along with myself so I don’t take cases where I don’t think I’m wasting my time or your money.

Belmondo in Breathless: Tweed in Marseille

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Jean-Paul Belmondo as Michel Poiccard in À bout de souffle (Breathless) (1960).

Jean-Paul Belmondo as Michel Poiccard in À bout de souffle (Breathless) (1960).

Vitals

Jean-Paul Belmondo as Michel Poiccard, small-time car thief

Marseille, France, August 1959

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

Background

Happy birthday, Bébel! Jean-Paul Belmondo was born 86 years ago today in Neuilly-sur-Seine, west of Paris. Following a brief career as an amateur boxer and his compulsory military service, Belmondo began acting in the mid-1950s and found international stardom after his performance in Jean-Luc Godard’s À bout de souffle (Breathless to English-speaking audiences), a seminal example of the burgeoning French New Wave cinematic movement.

Belmondo brought his fiery Aries energy to the role of Michel, a young and impulsive petty thief who can’t stop obsessing over his Bogie-inspired image long enough to concern himself with how he’s going to get away with his increasingly dangerous crimes.

We first meet Michel in Marseille, where he makes the snap decision to steal an older couple’s Oldsmobile 88 sedan. To his delight, Michel discovers a revolver in the dashboard while making his reckless getaway, continuing his reckless, impulsive streak by using the piece to gun down a police officer investigating the stolen car.

Michel sits in the car that started it all, a 1956 Oldsmobile 88 Holiday Sedan.

Michel sits in the car that started it all, a 1956 Oldsmobile 88 Holiday Sedan.

Michel’s next stop? Finding refuge and the chance to make a clean getaway with his American girlfriend, Patricia (Jean Seberg)… as soon as he’s found some money in the purse of his French girlfriend Liliane (Liliane Dreyfus). He’s far from the noir hero he thinks he is, but it’s exciting to watch Belmondo blend both nonchalance and extreme passion as the ultimately doomed romantic thief.

What’d He Wear?

Throughout Breathless, Michel’s oversized wardrobe communicates just how out of his depth the young criminal is, even if he doesn’t know it. As expected for a penniless man on the run, Michel has no wardrobe options other than the clothes on his back, and his style evolves as he gains and loses pieces throughout the story. In fact, Michel loses much of his opening outfit over the course of these first few sequences.

Michel begins the story in a chaotically large-scaled herringbone tweed jacket, too big for him and doubtlessly too warm for the Marseilles summer climate. The pattern of his jacket is a two-color broken twill weave, less neat than the traditional herringbone. To the best of my knowledge, there is no color photography or easily accessible historical record of the specific colors of Michel’s wardrobe, but the sharp contrast of the two colors on his jacket indicate the likelihood of black and white.

Michel performs his magic under the hood, and the car is his.

Michel performs his magic under the hood, and the car is his.

The oversized single-breasted jacket with its three-button front, notch lapels, flared cuffs (with three non-functioning buttons), and long double vents is the first of Michel’s wardrobe to go, just enough of a decorum breach in the late ’50s for Liliane to notice it when he makes his larcenous visit…

Liliane: No jacket?
Michel: I left it in my Alfa Romeo.

The hat would follow as the next of Michel’s wardrobe to go, tossed into the Olds as he retrieves the revolver. Given his Humphrey Bogart obsession, it’s no surprise that Michel would choose a fedora, though its slim ribbed grosgrain silk band is more contemporary to the film’s late ’50s production rather than the glory days of Bogie’s noir period decades earlier. Though he would replace it with a lighter-colored hat upon reaching Paris, the dark felt color of Michel’s first fedora indicates his villainous streak, evoking the classic trope of early Westerns; Michel may be the de facto protagonist of the story, but he’s still a murderous criminal.

Michel channels Bogie with his hat low, eyes squinted, and cigarette raised.

Michel channels Bogie with his hat low, eyes squinted, and cigarette raised.

Finally, Michel also loses his belt somewhere between Marseille and Paris. The slim, dark leather belt struggled enough to hold up his oversized trousers, often slipping above the hidden hook closure of the trouser waistband.

Sloppy!

Sloppy!

Michel’s first shirt in Breathless is plain white cotton with a slim spread collar, breast pocket, and button cuffs that he rolls up after ditching his jacket. After reaching Paris, he would swap this out for a white shirt with bold stripes and a shaped collar with no button at the neck, worn with a soft camelhair oversized sport jacket and checked tie.

His medium-colored wool knit tie has a flat bottom and is worn in a Windsor knot, confirming Ian Fleming’s instinct not to trust men in Windsor knots as he had written in From Russia With Love three years before the movie was released.

Lucky monkey.

Lucky monkey.

Under and below the belt, Michel wears the same clothing through his adventures in Paris as he had worn in Marseille. The dark wool trousers have double forward pleats with a small flapped coin pocket neatly bridging both pleats on the right side. There are also slanted side pockets and two back pockets that each close with a single button through a pointed flap.

BREATHLESS

Michel wears plain dark leather derby shoes with a V-shaped front and three-eyelet open lacing. Rather than matching his trousers to his socks, he wears a pair of off-white socks that scream from his ankles under the plain-hemmed bottoms of his trousers.

The gentleman on the run always takes the time to make certain that his shoes are shined.

The gentleman on the run always takes the time to make certain that his shoes are shined.

Best seen as he plays with his newly found revolver, Michel wears an ID bracelet on an oval-chain link bracelet. The actual ID bar plate appears to be etched with the initials “J.P.”, so this is almost certainly Belmondo’s own item.

Michel raises his revolver.

Michel raises his revolver.

Unseen under his shirt and tie are Michel’s two thin pendant necklaces.

The Gun

Michel is thrilled to find a revolver in the glove compartment of his stolen Olds, specifically a Modèle 1892, which served as the standard sidearm for the French military for decades. For some reason, the Mle 1892 has adopted the inaccurate nickname of the “Lebel revolver” despite no apparent connections to Colonel Nicolas Lebel, who had lent his name to the earlier Modèle 1886 service rifle. A more accurate moniker for the weapon is the “Saint-Étienne 8mm” as this double-action revolver was first produced by the state-owned Manufacture d’armes de Saint-Étienne (MAS) and is chambered for the 8mm French Ordnance cartridge, also known as the 8×27 mm R round.

Michel lives his self-image for a fleeting moment.

Michel lives his self-image for a fleeting moment.

Ubiquitous in France during the early 20th century, more than 350,000 Mle 1892 revolvers were produced from 1892 to 1924. Issued to commissioned officers in the French Ground Army and the French Navy beginning in 1893, the Mle 1892 was fielded in great numbers during World War I. The Mle 1892 also found use with the Gendarmerie nationale as well as many French police officers well into the 1960s.

The six-round cylinder of Michel's Mle 1892 in extreme close-up as he takes a fatal shot.

The six-round cylinder of Michel’s Mle 1892 in extreme close-up as he takes a fatal shot.

The Mle 1892 revolver was chambered for the 8×27 mm R cartridge, essentially a proprietary round that only fit the Mle 1892 or inexpensive copies from neighboring nations like Belgium or Spain. This anemic 8mm round—often likened to the stopping power of the .32 ACP semi-automatic pistol cartridge—remains one of the few noted drawbacks to this otherwise durable, accurate, and reliable handgun.

How to Get the Look

Jean-Paul Belmondo as Michel Poiccard in À bout de souffle (Breathless) (1960).

Jean-Paul Belmondo as Michel Poiccard in À bout de souffle (Breathless) (1960).

A herringbone tweed jacket, white shirt, knit tie, and slacks is a classic look for the gentleman of taste… which Michel Poiccard is decidedly not. Michel’s inability to pull off such an outfit reinforces the importance of fit; you may have the proper clothes, but—unless you’re a French New Wave anti-hero—it’s essential to ensure that they fit properly or you may as well be wearing a burlap sack.

  • Black-and-white large-scale herringbone tweed single-breasted 3-button sport jacket with notch lapels, welted breast pocket, flapped hip pockets, 3-button cuffs, double vents
  • White cotton shirt with spread collar, breast pocket, and button cuffs
  • Wool knit tie with flat bottom
  • Dark wool double forward-pleated trousers with belt loops, flapped right-side coin pocket, slanted side pockets, flapped back pockets, and plain-hemmed bottoms
  • Slim dark leather belt with single-prong buckle
  • Dark leather three-eyelet cap-toe derby shoes
  • White socks
  • White cotton boxers with elastic waistband and front button-tab
  • Dark felt fedora with slim ribbed grosgrain silk band
  • Two thin necklaces with engraved pendants
  • Chain-link ID bracelet

Do Yourself a Favor and…

Check out the movie.

The Quote

After all, I’m an asshole. After all, yes, I’ve got to. I’ve got to!

The Aviator: Leo’s Belstaff Flying Jacket

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Leonardo DiCaprio as Howard Hughes in The Aviator (2004)

Leonardo DiCaprio as Howard Hughes in The Aviator (2004)

Vitals

Leonardo DiCaprio as Howard Hughes, eccentric and ambitious aviation and movie mogul

Hollywood, Fall 1927 through Summer 1928

Film: The Aviator
Release Date: December 25, 2004
Director: Martin Scorsese
Costume Designer: Sandy Powell

Background

The Aviator wastes no time in establishing why the film is titled as such, providing the first look at the adult Howard Hughes as he’s beginning production on his World War I epic Hell’s Angels (1930). Hughes hires Noah Dietrich (John C. Reilly) to run his business enterprises—”and do a damn good job,” he adds—so he can focus his obsessive Capricorn energy on Hell’s Angels, a production combining the ambitious young mogul’s passions for aviation and movie-making. After beginning production on October 31, 1927, the film would take nearly three years to complete.

Eight months later, production has stalled on Hell’s Angels as Hughes awaits the clouds he needs so that the speed of his planes would be evident to audiences. “War Postponed – No Clouds” reads a sign that greets Dietrich as he drives onto the set. “It has been eight months, where are my goddamn clouds?!” Hughes barks at Professor Fitz (Ian Holm), a top meteorologist from UCLA that Hughes hired for this very purpose. Finally, the beleaguered Fitz is overjoyed to discover the needed clouds—ones that look like “giant breasts full of milk”, mind you—over Oakland.

The Original Memphis Five’s “Fireworks” reprises from an earlier scene as Hughes quickly mobilizes the production and flies off to Oakland to film the flying sequences, excited directing the effort from his own plane with a mounted camera. When this camera is knocked off by a close-flying plane, an undeterred Hughes draws his own handheld camera and films as he flies.

THE AVIATOR

The distinctive color particularly in the early scenes of The Aviator was Martin Scorsese’s intention to reflect the evolving color capabilities during the early decades of cinema, recreating Cinecolor and two-strip Technicolor through a post-production graphics processor developed by Joshua Pines of Technicolor Digital Intermediates.

The film won five Academy Awards, for Best Cinematography, Best Costume Design, Best Film Editing, Best Art Direction, and Best Supporting Actress recognizing Cate Blanchett’s performance as Katharine Hepburn.

What’d He Wear?

Howard Hughes commands the set of Hell’s Angels dressed like the pilots his film is portraying with his flap-front flight jacket, Fair Isle sweater, breeches, and tie. While not exactly a uniform like the Allied flying aces celebrated in his epic, Hughes’ outfit reflects the typical flying costumes of barnstormers, the amateur pilots who provided popular entertainment during the early days of aviation in the 1920s by performing aerial tricks at country shows.

The brown tanned leather flying blouson with its retro-inspired wide flaps was developed specifically by British clothier Belstaff for The Aviator and designated the “Howard”, for what I hope should be obvious reasons. Dressed in this jacket, Hughes looks like he’s ready to hop into the open cockpit of a classic biplane at a moment’s notice and take to the skies… because he is.

Hughes demands clouds from Professor Fitz, flashing the anachronistic but recognizable Belstaff logo on the left sleeve of his flight jacket.

Hughes demands clouds from Professor Fitz, flashing the anachronistic but recognizable Belstaff logo on the left sleeve of his flight jacket.

Eli Belovitch and his son-in-law Harry Grosberg established “Bellstaff Brand” (with an extra “L” that would remain until the 1930s) in Staffordshire, England, in 1924. It quickly became a favorite among motorcycle racers as well as aviation pioneers Amelia Earhart and Amy Johnson. Despite the age of the brand, there are a few anachronisms with Hughes’ jacket being a Belstaff as the company did not begin producing jackets in colors other than black until the 1970s, nor did the recognizable Phoenix logo exist until 1969 when it was used to represent the signature Trialmaster jacket. (Read more about Belstaff history from the official site!)

As it’s been 15 years since The Aviator was released, the Belstaff “Howard” is no longer in production though some examples of this Gold Label jacket can be found on eBay and other online used retailers.

The experts at Magnoli Clothiers also created their own accurate reproduction of the Howard, borrowing from the other part of his name for the “Hughes jacket” that “embodies the extravagant nature of aviator Howard Hughes” with the same wide flaps, adjustable side tabs, and double breast pocket as the screen-worn garment.

At $419, a slightly less expensive alternative is the Mr. Styles “Barnstormer” leather jacket with its slightly less exaggerated button-up front flap and a set-in breast pocket rather than the double pocket on Hughes’ jacket.

Promotional photo of Leonardo DiCaprio as Howard Hughes in The Aviator, sporting a tanned leather Belstaff flying jacket.

Promotional photo of Leonardo DiCaprio as Howard Hughes in The Aviator, sporting a tanned leather Belstaff flying jacket.

With its asymmetrical flapped front, Hughes’ waist-length flying blouson could be an antecedent for the modern motorcycle jacket, resembling that more than the modern flight jacket. The large lapel flaps button left-over-right onto four sew-through buttons placed in a straight diagonal line from Hughes’ right shoulder down to the center of his stomach, just above two closely spaced buttons on the waistband. For additional closure, there is a hook on the collar that closes over the neck.

The jacket has a single outer pocket, a small patch pocket over the left breast that closes with a buttoned flap, placed on top of a larger patch pocket with a welted opening on the right side for a double pocket effect. There is a straight horizontal yoke across the upper back that lines up with the seams that extend the length of each set-in sleeve down to the cuffs, which close on one of two buttons. The jacket also tightens around the waist with buckle tab adjusters toward the back of the right and left sides.

Hughes impatiently awaits "his" clouds!

Hughes impatiently awaits “his” clouds!

Hughes wears a plain white cotton shirt with a point collar, front placket, and button cuffs. His tie is block-striped in burgundy and red with a thin salmon shadow stripe between each, all stripes in the “downhill” direction of right shoulder-down-to-left hip. Hughes wears the same tie in the following scene when he wears a rust-windowpane check three-piece suit to the famous Cocoanut Grove nightclub and requests additional cameras from Louis B. Mayer.

Under the jacket, Hughes wears a classic Fair Isle knit pullover sweater in tan, dark brown, teal, and white, with the sandy tan most prominently around the V-neck opening and waist hem. According to Hardy Amies in ABC of Men’s Fashion, this knitting technique “with rather intricate and usually highly colored patterns knitted into it a bands” originated from the Moorish designs of sailors rescued from a Spanish galleon that wrecked near Fair Isle in the Shetland Islands, thus inspiring the island’s artisans to make the style their own.

THE AVIATOR

Fair Isle knitwear was popularized in the early 1920s when the Duke of Windsor famously sported one as the captain of the Royal and Ancient Golf Club in Saint Andrews, shining a sartorial spotlight on the Fair Isle region and boosting this Scottish region’s struggling economy. It would have still been considerably en vogue when Hughes wore his while commanding the Hell’s Angels set in 1927.

Hughes wears a pair of old-fashioned flannel riding breeches with a wide, full fit through the thighs, tapering down around the knee and laced from the outside of each knee down to suppress the bottoms of these trousers to fit inside his boots.

Noah Dietrich's unorthodox job interview. In reality, the two men started working together two years earlier in November 1925 when the 19-year-old Hughes interviewed him by asking him to explain the principles of the internal combustion engine and how a battleship can effectively find its target. "I want you to make me the richest man in the world," was supposedly Hughes' directive upon hiring the 36-year-old businessman.

Noah Dietrich’s unorthodox job interview. In reality, the two men started working together two years earlier in November 1925 when the 19-year-old Hughes interviewed him by asking him to explain the principles of the internal combustion engine and how a battleship can effectively find its target. “I want you to make me the richest man in the world,” was supposedly Hughes’ directive upon hiring the 36-year-old businessman.

Hughes wears a pair of lace-up calf boots in russet brown leather, a shade closer to red than his jacket. These high-laced boots have seven derby-laced eyelets and 15 sets of speed hooks up the shaft, resembling the field service boots worn by American pilots (often with puttees) and the British military during World War I.

Leonardo DiCaprio as Howard Hughes in The Aviator (2004)

Leonardo DiCaprio as Howard Hughes in The Aviator (2004)

How to Get the Look

The Aviator introduces Howard Hughes as a man driven by his innate adventurous spirit, the sort of person who not only owns a flying jacket and boots but wears them for that purpose and layers them with a sense of classically informed style with his Fair Isle knitwear, necktie, and breeches.

  • Brown tanned leather flap-front flying blouson jacket with wide front flaps (with four buttons to close and two buttons on the waistband), double patch pockets on left breast, buckle-tab waistband adjusters, and adjustable button cuffs
  • White cotton shirt with point collar, front placket, and button cuffs
  • Burgundy-and-red “downhill” block-striped tie with thin salmon border striping
  • Fair Isle sweater in amber, brown, teal, and white
  • Brown flannel riding breeches
  • Russet brown leather calf boots with 7 derby-laced eyelets and 15 sets of speed hooks

Do Yourself a Favor and…

Check out the movie.

The Quote

There’s really only one thing you gotta know: my folks, they’re gone now, so it’s my money. Now what I choose to do with that money may seem crazy to those sons-of-bitches in Houston, and I’m sure as hell it does, but it all makes good sense to me, you got that?


Clifton Webb’s Blazer in Titanic (1953)

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Clifton Webb as Richard Ward Sturges in Titanic (1953)

Clifton Webb as Richard Ward Sturges in Titanic (1953)

Vitals

Clifton Webb as Richard Ward Sturges, millionaire, estranged family man, and fastidious dresser

RMS Titanic, April 1912

Film: Titanic
Release Date: April 16, 1953
Director: Jean Negulesco
Costume Designer: Dorothy Jeakins

Background

Julia: You’re up early.
Richard: I had to scratch around for something to wear. Not a bad shop, they have everything.
Julia: Dinner jackets, I trust.
Richard: Naturally. It will be ready tonight. So… life can go on.

This exchange summarizes the 1953 melodrama Titanic, one of the first attempts to tell the now-infamous story of the real-life sinking of the White Star Line’s premiere ocean liner during its maiden voyage in April 1912, sending more than 1,500 passengers and crew to their deaths as a few more than 700 spend a chilly night in uncovered lifeboats, waiting for help to arrive.

Released 66 years ago tomorrow, 20th Century Fox’s Titanic focuses more on the personal drama of the fictional Sturges family: pretentious and aloof patriarch Richard (Clifton Webb) and his strong-willed, responsible wife Julia (Barbara Stanwyck) who tries to protect their children from taking after their profligate father. Cut from the same cloth as his wickedly snobbish Waldo Lydecker character in Laura, Richard Ward Sturges delights in his children’s obvious preference for him as he showers them with a decadent lifestyle that would no doubt spoil them as adults if not for their more practical mother’s interventions.

Though a hardly technically accurate depiction of the ship or its sinking, the filmmakers still put admirable effort in to bringing the Titanic to life for its audiences as the backdrop for the Sturges family drama, re-stirring public interest in the disaster that would aid the decade’s release of A Night to Remember (1958), the exceptional cinematic adaptation of Walter Lord’s well-researched account of the sinking.

What’d He Wear?

Thanks to the ship’s tailor shop (an invention of the filmmakers), Richard Ward Sturges can walk the decks of the Titanic with dignity without having to wear the same three-piece business suit he boarded in. For the evening, he naturally has an immaculately tailored black tie kit, but the afternoons call for a more leisurely ensemble of a timeless navy blazer with tie and gray flannel trousers.

After the blazer originated in the 1880s as a regatta jacket with bold, colorful stripes, its nautical associations evolved the garment into a simpler garment more familiar to today’s gentlemen: the navy blazer. “Solid serge or striped blazers with flannel trousers and straw boaters became a familiar Edwardian sight,” writes Alan Flusser in Dressing the Man. “They were subsequently joined by versions of the English navy’s reefer jacket in double- and single-breasted models with gilt buttons and club badge on the breast pocket.”

“With blue and white as the imperatives of nautical dress, navy blazers and white trousers made a dashing sports outfit for the American man of the 1920s. Being class conscious, he adopted it as another means of distinguishing himself from the masses. Whether in a solid color and piped at the edges or in bold regatta stripes, the lightweight blazer became a summer sensation.”

Classic though the look may be, it may still have been too informal for a man of Richard’s standing in the late Edwardian era though far more acceptable in the decades to come.

The family Sturges, sans youngest child Norman.

The family Sturges, sans youngest child Norman.

Richard’s dark navy wool blazer appears to be doeskin, a medium-weight woolen flannel with a tight weave that adds extra warmth while walking the breezy decks of a ship and keeps the garment surprisingly durable despite the cloth’s soft nap. His ventless blazer closes in the front with two of four mother-of-pearl sew-through buttons in a square, double-breasted formation, a nautically appropriate look that nods to the traditional reefer jackets worn by naval officers. The three buttons on each cuff are downsized versions of those on the front of the blazer. There are flapped patch pockets on the hips and a welted breast pocket, where Richard wears a neatly presented white linen pocket square.

This particular double-breasted blazer has notch lapels, an unorthodox but not uncommon combination that indeed dates back to the earliest days of the contemporary lounge suit, though it enjoyed its greatest mainstream acceptance during the “power suit” era of the 1980s. He dresses his left lapel with a fresh white carnation.

No love lost between Richard and Julia, who attempts to insult him with: "Oh, yes, I forgot. 'The best dressed man of his day.' That's what they're going to write on your tombstone."

No love lost between Richard and Julia, who attempts to insult him with: “Oh, yes, I forgot. ‘The best dressed man of his day.’ That’s what they’re going to write on your tombstone.”

Richard’s white shirt includes the most period-specific detail of the entire outfit, a stiff, detachable rounded club collar with narrow tie space. He wears a dark polka-dot tie with a four-in-hand knot.

Richard stiffly smirks with pride as his children mimic his own snobbish behavior.

Richard stiffly smirks with pride as his children mimic his own snobbish behavior.

Richard’s practice of keeping his blazer fully buttoned prevents us from seeing more of the outfit, though he wears gray flannel trousers with turn-ups (cuffs) on the bottom that break cleanly over his black patent leather oxfords, worn with black socks.

TITANIC

A peaked cap adds nautical panache with its dark navy cloth cover and black patent leather visor. Like a true gentleman, Richard only wears his hat while outdoors.

Production photo of Clifton Webb and Barbara Stanwyck in Titanic.

Production photo of Clifton Webb and Barbara Stanwyck in Titanic.

Per Clifton Webb’s real-life practice, Richard wears a pinky ring on the little finger of his right hand.

How to Get the Look

Clifton Webb as Richard Ward Sturges in Titanic (1953)

Clifton Webb as Richard Ward Sturges in Titanic (1953)

A man who prides himself on his dignity like Richard Ward Sturges would naturally be perfectly dressed for any situation, be it a tweed hacking jacket in the country, a traditional dinner jacket for the evenings, or a nautically inspired navy blazer for an afternoon at sea.

  • Navy doeskin flannel wool double-breasted blazer with notch lapels, 4×2 mother-of-pearl button front, welted breast pocket, flapped patch pockets, 3-button cuffs, and ventless back
    • White silk pocket square
    • White carnation boutonnière
  • White dress shirt with double/French cuffs
    • Detachable club collar
    • Cuff links
  • Dark polka dot tie
  • Gray flannel trousers with turn-ups (cuffs)
  • Black patent leather oxford shoes
  • Black dress socks
  • Dark navy peaked cap with black patent leather visor
  • Pinky ring

Do Yourself a Favor and…

Check out the movie.

The Quote

May I bone your kipper, mademoiselle?

Matt Helm’s Pink Silk Sport Jacket in The Silencers

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Dean Martin as Matt Helm in The Silencers (1966)

Dean Martin as Matt Helm in The Silencers (1966)

Vitals

Dean Martin as Matt Helm, smooth secret agent and photographer

New Mexico to Phoenix, August 1965

Film: The Silencers
Release Date: February 18, 1966
Director: Phil Karlson
Costume Designer: Moss Mabry
Tailor: Sy Devore

Background

Dean Martin infused his lounge lizard persona into a James Bond-like spy for his four-film portrayal of Matt Helm, a playboy whose love for turtlenecks, womanizing, and drinking above actual spying may make him more of an antecedent for the character of Sterling Archer than of 007 himself.

With a bossa nova score by Elmer Bernstein and a hip mid-sixties sartorialism styled by costume designer Moss Mabry and the Rat Pack’s go-to tailor Sy Devore, the Matt Helm series serves as a swingin’ time capsule to the waning heyday of hi-fis and hedonism. Though it may be dated, the series—particularly this first film, The Silencers—seems perfectly content with that and, in fact, it may be an intentional way for the 1966 zeitgeist to remain intact for modern audiences. Never taking itself too seriously, packed with decent talent, and sticking to a tight, quick-paced plot, The Silencers differentiates itself from its contemporary spy spoofs like Casino Royale in that it can still entertain 50 years later.

No longer an active agent in the employ of the American agency Intelligence and Counter-Espionage (ICE), Matt Helm spends his days as a philandering photographer more comfortable with shooting photos than shooting bad guys. An early scene in The Silencers finds Matt returning from a shoot one evening, dropping ice cubes into his J&B—Dean Martin’s preferred Scotch in real life—when he spots a woman’s discarded clothing leading to the bedroom and comments to himself: “Treasure hunt!” The hunt leads to his discovery of Barbara, a heavily made-up blonde bombshell clad only in one of his tuxedo shirts, who claims to have been sent by his former boss at ICE to try to convince him to report back to duty instead of heading to Acapulco the next day as he had planned.

Barbara: What’s in Acapulco that you can’t find here?
Matt: Mexicans.

Matt succumbs to the woman’s charms, but—luckily—exotic ICE agent Tina (Daliah Lavi) is there to save him from Barbara with three .22-caliber rounds to the blonde’s back. She reveals that Barbara was a potential assassin sent by the “Big O” organization, proven by the signature bullets in the .38 packed in Barbara’s purse.

Matt succumbs to the woman’s charms, but luckily the exotic .22-wielding ICE agent Tina (Daliah Lavi) is there to save him from Barbara, revealed to be a potential assassin sent by the Big O organization, proven by the trademark bullets in the .38 packed in her purse.

Daliah Lavi would prove to be the queen of mid-sixties spy spoofs, appearing the following year in Casino Royale (1967), the Charles K. Feldman-produced parody of Ian Fleming's first James Bond novel, as well as The Spy With a Cold Nose (1966) and Some Girls Do (1969).

Daliah Lavi would prove to be the queen of mid-sixties spy spoofs, appearing the following year in Casino Royale (1967), the Charles K. Feldman-produced parody of Ian Fleming’s first James Bond novel, as well as The Spy With a Cold Nose (1966) and Some Girls Do (1969).

Tina convinces Matt—here invoking his code name “Eric” from the original Donald Hamilton novels—to return to working for ICE rather than just putting it in his drinks. After the two subdue even more enemy agents outside Matt’s home, the two are on the road to Phoenix in his big Mercury Colony Park “woodie wagon” while we’re treated to a non-diegetic version of Dino crooning “South of the Border” with modified lyrics lamenting that he most postpone his trip to Mexico.

What’d He Wear?

Dean Martin’s first on-screen outfit as Matt Helm, aside from the red turtleneck and gray slacks from an earlier dream sequence, is a pink raw silk sport jacket over a beige roll-neck jumper with brown trousers and brown suede boots.

While many gents may be insecure about wearing a pink silk sports coat, Dino pulls it off with the self-assured confidence of anyone else in a sharp gray suit or a classic navy blazer. It helps that the jacket is nicely tailored, no doubt a product of Sy Devore, the legendary “tailor to the stars” who was Hollywood royalty up to his death in 1966. The jacket has khaki shank buttons on the cuffs, pockets, and front, where the top of the two buttons fastens perfectly where his tucked-in turtleneck meets the trouser waistband.

Matt Helm gets home and promptly reaches for a bottle of Scotch. Dean Martin's influence on the character is very thinly veiled, indeed.

Matt Helm gets home and promptly reaches for a bottle of Scotch. Dean Martin’s influence on the character is very thinly veiled, indeed.

Distinctive for its nubby matte finish and light-wearing open weave, raw silk is a luxurious warm-weather alternative to shinier, heavier silks and more resistant to wrinkling than linen or cotton, making it an ideal fabric for a swingin’ cat like Matt Helm who spends his days and nights in the warm southwest climate and always needs to look his best should a woman sneak into his apartment and leave her discarded underwear lying around.

Matt Helm's kryptonite.

Matt Helm’s kryptonite.

Matt’s double-vented jacket has four external pockets, all closing with a single button through a rectangular flap. The two breast pockets are set-in, the lower hip pockets are billows-style.

The elbows are reinforced with khaki suede patches that coordinate with the buttons on the front, pockets, and two-button cuffs of the sport jacket.

Only a blonde bombshell can get Matt Helm to turn his back on a bottle of Scotch.

Only a blonde bombshell can get Matt Helm to turn his back on a bottle of Scotch… luckily for us, as this shows the sporty details on the sides of the jacket like suede elbow patches and bellows pockets.

Matt wears a beige turtleneck in a soft, lightweight fabric, likely a fine gauge silk knit or a cashmere blend. The jumper has a full polo neck and is elasticized at the cuffs.

"You're really loaded," Matt comments to Tina after helping her off with her dress and spying the brassiere holster for her .22 under her right-um-armpit. "Talk about a booby-trap." (Okay, that one wasn't too bad.) "That's a crazy holster. Makin' love to you is like playin' Russian roulette." (Okay, did he really need four different jokes in a row for the same holster?)

“You’re really loaded,” Matt comments to Tina after helping her off with her dress and spying the brassiere holster for her .22 under her right-um-armpit. “Talk about a booby-trap.” (Okay, that one wasn’t too bad.) “That’s a crazy holster. Makin’ love to you is like playin’ Russian roulette.” (Okay, did he really need four different jokes in a row for the same holster?)

Matt wears a pair of chocolate brown flat front trousers. The plain-hemmed bottoms are slightly flared to accommodate his brown suede boots, which fasten with a brass zipper on the inside of each boot.

Kicking back poolside.

Kicking back poolside.

Sadly, Matt’s luxurious leisure outfit gets ruined upon encountering the klutzy Gail Hendricks (Stella Stevens) at the Phoenix hotel pool, first when she dries off in front of him and splashes him his water and—more definitively—when she spills her Bloody Mary all over him.

Following the latter calamity, Matt drapes himself in a colorfully striped serape, though it isn’t enough to cover his underthings as Tina escorts him back to her hotel room, prompting Tina to comment: “I must say, she got you undressed a lot faster than I ever did.”

Not only does Matt expose his white cotton boxer briefs, but we also see his knee-high dress socks made from a thin dark brown silk to coordinate with his trousers and boots.

What to Imbibe

At the hotel pool, Gail recovers herself and offers to buy both Matt—and Tina—a drink, so he orders for them both:

Gail: Can I buy you a drink? I feel I owe you one. (to Tina) I’m sure I owe you one too. I’d really feel better if you’d accept.
Matt: Thank you very much, I’ll have Scotch and soda, and she’ll have aquavit on the rocks.
Gail: (eyes her own Bloody Mary) Hm. I’ll have to try that.

Based on an earlier scene, there’s little mystery surrounding what Scotch he would have preferred, as—like Dino himself—Matt heads straight for the bottle of J&B Rare upon his return home. This blended Scotch whisky was introduced after the repeal of Prohibition in 1933 as Justerini & Brooks had been perfecting their product for the American market. (Truman Capote, also a fan, would refer to it only as “Justerini & Brooks” rather than the shortened and more familiar “J&B”; if a storekeeper didn’t understand the request, Capote would refuse to elaborate and would simply look elsewhere for his chosen nectar.)

Unpretentious, timeless, and smooth, J&B is a fitting choice as Dean Martin’s favorite. He was reportedly a lifelong Scotch drinker, having favored mainstream brands like Black & White or Haig & Haig during the early days of his fame, according to Ciro’s nightclub proprietor Herman Hover in Iain Russell’s profile for scotchwhisky.com. However, Dean followed the fashionable set in the late ’50s and, by the time he was a full-fledged member of the infamous Rat Pack, a bottle of J&B and accompanying rocks glass were an ever-present part of Dean’s stage act.

Booze and blondes: the Dean Martin image in a nutshell.

Booze and blondes: the Dean Martin image in a nutshell.

Of course, it’s now well-known that his act was just that… an act. The glass of booze served as an effective prop for Dean to build his laidback stage persona, though there were many occasions where the glass itself was reportedly full of apple juice rather than Scotch. He certainly imbibed off-stage, but not with the recklessness of his fellow Rat Packers like Frank Sinatra or Sammy Davis Jr.

Instead, it was Dean’s fondness for smoking that led to his end. Loyal to his Kent King Size cigarettes—naturally, also Matt Helm’s choice—Dino was diagnosed with lung cancer when he was 76. Just over two years later, on Christmas 1995, Dean Martin died of emphysema in his Beverly Hills home. The lights of the Las Vegas Strip were dimmed in the entertainer’s honor.

The Guns…and Camera?

Upon seeing that he’s marked for death by The Big O, as Tina points out that the blonde had four additional assassins waiting outside in a black sedan, Matt heads to his gun cabinet and swings open a private door… revealing more guns, prompting Tina to joke: “Who designed this house, Smith & Wesson?”

Despite Tina’s comment, none of Matt’s considerable gun arsenal seems to include any firearms from that venerated Massachusetts-based manufacturer. Next to his shotguns and long guns, we see:

  • a Type 14 Nambu service pistol, fielded by the Japanese military during World War II and the inspiration for the Ruger .22 Standard
  • a unique insurgency pistol that appears to be the grip of a full-size pistol with a trigger and short barrel on top
  • a nickel-plated Colt Detective Special with walnut grips and a classic two-inch barrel
  • a large riot gun/grenade launcher with a brass trigger guard and skeleton stock

Matt also grabs a second snub-nosed .38 revolver for himself, tucking it into the left side of his trouser waistband.

Although Matt arms himself with a .38, the first weapon that he actually uses is a customized Richomatic 225 camera, modified with a double-barreled dagger-shooting action that would make Q proud.

Matt Helm's Richomatic 225 gives a whole new meaning to the term "photo shoot".

Matt Helm’s Richomatic 225 gives a whole new meaning to the term “photo shoot”.

The Richomatic 225 6×6 TLR camera was introduced by Ricoh in 1959 as an evolution of their earlier Richoflex Diacord L.

How to Get the Look

Dean Martin as Matt Helm in The Silencers (1966)

Dean Martin as Matt Helm in The Silencers (1966)

While we’ve seen James Bond in pink shirts and pink ties, Matt Helm is the ’60s spy with enough moxie to attempt—and successfully pull off—wearing a pink sports coat. Dino’s also wise enough to let the jacket be the flashiest of his garb, neutralizing it with a beige roll-neck and plain brown pants as well as a pair of cowboy-inspired boots that reinforce his position as the all-American alternative to agent 007.

  • Pink raw silk single-breasted two-button sport jacket with notch lapels, two set-in breast pockets (with button-down flaps), two bellows hip pockets (with button-down flaps), two-button cuffs, and double vents
  • Beige fine gauge silk knit turtleneck jumper
  • Chocolate brown flat front trousers with flared plain-hemmed bottoms
  • Brown suede boots with inside zippers
  • Dark brown thin silk dress socks
  • White cotton boxer shorts

Do Yourself a Favor and…

Check out the movie or the whole four-film Matt Helm series.

The Big Lebowski – The Dude’s Medina Sod Bowling Shirt

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Jeff Bridges as "The Dude" in The Big Lebowski (1998)

Jeff Bridges as “The Dude” in The Big Lebowski (1998)

Vitals

Jeff Bridges as Jeffrey “The Dude” Lebowski, laidback stoner and bowler

Los Angeles, Fall 1991

Film: The Big Lebowski
Release Date: March 6, 1998
Director: Joel Coen & Ethan Coen
Costume Designer: Mary Zophres

WARNING! Spoilers ahead!

Background

If you know what day it is, you probably have a good idea about why BAMF Style is returning to the less-than-formal style of Jeffrey “The Dude” Lebowski today.

While his Pendleton cowichan knit cardigan from a previous post is arguably his signature wardrobe staple, today’s post takes a look at a truly one-of-a-kind item from The Dude’s laidback closet.

What’d He Wear?

Interestingly, the one time that The Dude actually wears a legit bowling shirt in The Big Lebowski, it’s for making the final arrangements for his recently deceased pal Donny rather than for actually going bowling… though he does spend some time at the alley bar for one more White Russian.

The golden yellow short-sleeved shirt has a plain front with mother-of-pearl sew-through buttons and a brown shoulder yoke that extends onto the upper chest and back, though the slim collar is yellow. The shirt’s collar qualifies it as arguably the most formal piece of clothing that The Dude wears in the whole movie, and it’s not even technically his! The brown-stitched “Art” above the left breast pocket with its embroidered bowling pins and ball belies the true owner. So, who is Art?

According to an article by Kymberli Hagelberg that ran in the Akron Beacon Journal a few weeks after The Big Lebowski was released in March 1998, this was an actual 1960s bowling shirt belonging to Art Myers, a former truck driver and manager at Medina Sod Farms in Medina, Ohio, a city just over 20 miles west of Akron. Evidently, Art was quite an asset for his team, as the shirt has a “League Champion” patch on the left sleeve.

Costume designer Mary Zophres found the shirt in 1996 after it had made its way to a Los Angeles thrift shop and picked it up on the spot for The Dude. Of course, with “MEDINA SOD” emblazoned in brown on the back of the shirt, the production company Bitter Creek Productions needed to get express permission from the company to feature their name on screen. After a few weeks of trying, owner/operator Scott Gregoire granted permission free of charge, but he couldn’t confirm which Art associated with the company the shirt had belonged to. Fast forward two years to brothers Tim and Steve Myers, who identified the shirt as their father’s after spotting Bridges wearing it in a promotional photo for The Big Lebowski.

Then 56, Art confirmed to the Beacon Journal that the shirt was his and—though he hadn’t seen a movie in theaters for decades—he was pleased to see that an artifact from his free-wheeling days of beer and bowling made its way into a major production and planned to see it on the big screen with his four sons.

And Medina Sod? This leading provider of quality turfgrass sod since 1960 updated its name to Medina Turf Farms. (I am unable to confirm if the company still has a bowling team… let alone a championship one.)

The Dude and Walter step off the Sunken City trail in San Pedro to scatter Donny's ashes in the wind.

The Dude and Walter step off the Sunken City trail in San Pedro to scatter Donny’s ashes in the wind.

Ever the man of leisure, The Dude wears a pair of wrinkled plaid shorts with a brown shadowed grid-check on a cream ground. The knee-length cotton shorts have straight side pockets, but any other details are concealed under the shirt’s untucked hem. While The Dude isn’t one to care much for outfit coordination or matching, the shorts harmonize relatively well with the colors of the shirt… at least by The Dude’s standards.

The Dude reaches into his limited footwear collection and again dons his trademark transparent PVC jelly sandals, nicknamed for their resemblance to jellyfish. These jellies are among The Dude’s costume pieces that came from Jeff Bridges’ own closet. If you’re interested in a pair of jellies yourself, you can check out the dwindling stocks from LaMeduse.com. (As the site explains, “Meduse in French means jellyfish because of the similarity between jellyfish tentacles and Medusa’s hair.”)

"Fuck it, Dude. Let's go bowling."

“Fuck it, Dude. Let’s go bowling.”

The Dude wears a pair of Vuarnet VL1307 sunglasses with matte black plastic square frames and green polarized lenses, though no amount of polarization can protect them from Donny’s scattered ashes covering them… as well as The Dude’s entire face.

The Dude gets one last moment with Donny.

The Dude gets one last moment with Donny.

Originally retailing for $350, these sunglasses were once available from third-party sellers on Amazon though they’re unavailable as of April 2019.

Jeff Bridges as "The Dude" in The Big Lebowski (1998)

Jeff Bridges as “The Dude” in The Big Lebowski (1998)

How to Get the Look

Little did 26-year-old Art Myers know in 1968 that replicas of his simple shirt would be made and sold in bulk as Halloween costumes after his bowling attire would be immortalized on screen in one of the most popular cult comedies of all time. While you’d be better served to track down a one-of-a-kind vintage bowling shirt of your own, fans dedicated to cribbing the Lebowski look can find replicas of varying quality on Amazon.

  • Yellow polyester short-sleeve bowling shirt with brown front-and-back yoke, plain front, breast pocket (with bowling embroidery and “Art” monogram),
  • Brown-on-cream shadow grid-check plaid cotton knee-length shorts with side pockets
  • Transparent PVC “jelly” sandals
  • Vuarnet VL1307 sunglasses with matte black plastic square frames, “saddle nose” bridge with molded plastic pads, and green polarized 58mm lenses

Do Yourself a Favor and…

Check out the movie, one of my all-time favorites.

The Quote

Well, you know… the Dude abides.

Jack Nicholson’s Red Nylon Jacket in Five Easy Pieces

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Jack Nicholson as Robert "Bobby" Dupea in Five Easy Pieces (1970)

Jack Nicholson as Robert “Bobby” Dupea in Five Easy Pieces (1970)

Vitals

Jack Nicholson as Bobby Dupea, aimless oil worker and classical piano prodigy

Bakersfield, CA, to Puget Sound, Fall to Winter 1970

Film: Five Easy Pieces
Release Date: September 12, 1970
Director: Bob Rafelson
Wardrobe Credit: Bucky Rous

WARNING! Spoilers ahead!

Background

Happy birthday, Jack Nicholson! The prolific actor was born 82 years ago today on April 22, 1937.

Five Easy Pieces remains among my favorite of Nicholson’s extensive filmography. His performance as Bobby Dupea—”a man condemned to search for the meaning of his life,” according to director Bob Rafelson—earned the actor his second of 12 Academy Award nominations.

The shiftless Bobby rejected his roots and refined upbringing by a musically oriented, educated Puget Sound family to reinvent himself as a hard-drinking, easy-living oil rig worker living a blue-collar life outside of Bakersfield with his co-dependent, Tammy Wynette-obsessed girlfriend Rayette (Karen Black, in a deservedly Oscar-nominated performance) who works in a local greasy spoon. Unlike his family’s cadre of classically trained musicians and philosophical professors, Bobby’s circle includes his ex-con co-worker Elton (Billy “Green” Bush), Elton’s TV-obsessed wife Stoney (Fannie Flagg), and a couple of local floozies (Sally Struthers and Marlena MacGuire) that he picked up in a bowling alley.

Seemingly content but hardly pleased with his life, Bobby’s past comes calling when a visit with his sister Partita (Lois Smith) reveals that his father is sick. Bobby gets home, tosses his suitcase onto the bed where Rayette is silently sobbing into a pillow, and tells her that he’s leaving for a few weeks as he packs his shirts. Believing that he will never return to her, the distressed waitress hints at suicide and soon finds herself next to him in the passenger seat of their ’63 Mercury, blissfully singing along to Tammy Wynette (who else?) as they make their way up the coast. Along the way, Bobby stops to help two women in distress: the filth-obsessed Palm Apodaca (Helena Kallianiotes, though Jack originally wanted Janis Joplin for the role) and her passive partner Terry Gross Terry Grouse (Toni Basil…yes, the singer of “Mickey”) on their way up to Alaska.

Palm: Alaska’s very clean. It appeared to look very white to me. Don’t you think?
Bobby: Yep. That was before the big thaw.
Palm: Before the what?

The foursome stops at a diner to grab a bite to eat for the now-famous scene where Bobby verbally spars with a waitress (Lorna Thayer) who refuses to accommodate his meal request due to the restaurant’s strict “no substitutions” policy.

Everyone remembers the famous exchange between the waitress, who retorts Bobby’s sarcasm with “You want me to hold the chicken, huh?” only for him to respond “I want you to hold it between your knees,” which was included on a list of The 100 Greatest Movie Lines by Premiere in 2007. While very entertaining in its own right, the scene also sums up the quandaries of Bobby’s rootless existence. In my opinion, the most significant line comes earlier when Bobby responds to the waitress’ insistence that he orders directly off the menu with: “I know what it comes with, but it’s not what I want.”

Palm, the most countercultural character we meet in Five Easy Pieces, is ebullient with praise for Bobby’s defiant handling of the situation, though he’s more cynical as he actually wasn’t successful in obtaining what he ultimately wanted—in this case, his breakfast. As much as he tries to game the system and figure out his own path, he’ll never be truly satisfied.

Yeah, well, I didn’t get it, did I?

Bob Rafelson recalls that screenwriter Carole Eastman (credited as Adrien Joyce) enhanced the scene as he had originally envisioned it by concluding it with Bobby sweeping the glasses off the table…something she had seen Jack Nicholson do in real life.

“We all hung out in a coffee shop called Poopy’s up on the Strip,” recalled Jack Nicholson in 2009. “We were actors, so we’d go and sit there all day lookin’ at people. And I came late at the end of the afternoon, and I ordered up my coffee, but they’d been there three or four hours. And I’m sipping the coffee, and Mrs. Poopy came over and she took my coffee away… ‘You people have to get out of here’ and so forth, and I said ‘Oh, really?’ and I went like this and I just cleared the table… and I said, ‘Really? How ’bout that, Mrs. Poopy? This was my cup of coffee.'”

Although the scene survived all of Bob Rafelson’s original drafts for the movie that would become Five Easy Pieces, the director has expressed disappointment that this scene has become such a memorable moment from the movie as he feels it’s disconnected from the rest of the story, instead preferring the dinner scene around the Dupea family table after the “disruption” of Rayette’s arrival.

The later dinner scene is soon followed by arguably the movie’s most powerful sequence. Following a conversation with Catherine (Susan Anspach), Bobby wheels his father’s wheelchair out near the shoreline and crouches in front of him for a remorseful confession and apology where he hopes to make amends for his abandonment of his family and his father’s expectations for his talented son.

What’d He Wear?

We first meet Bobby Dupea while he’s wearing this casual red nylon jacket, driving home with a case of Lucky Lager to the sounds of Tammy Wynette’s “Stand By Your Man”, an anthem frequently played by his girlfriend Rayette. This jacket, invariably worn with cowboy boots and jeans, features in many of Five Easy Pieces‘ most significant scenes from Bobby’s road trip and diner stop to his climactic apology to his father.

The Jacket

With its insulated nylon construction and knit collar, cuffs, and hem, Bobby’s blouson jacket clearly takes some style cues from the famous MA-1 bomber jacket developed for the U.S. military and popularized during the 1950s, though it’s more of a fashion-oriented piece in its bolder crimson shade of red and fold-over short shawl collar. The jacket has a silver-toned YKK zip front, set-in sleeves, and slanted welt hand pockets.

Bobby, at his family home but more lost than ever after a conversation with Catherine.

Bobby, at his family home but more lost than ever after a conversation with Catherine.

Unlike many bomber-style jackets where the knitted portions are similarly colored with the jacket, the short fold-over shawl collar, cuffs, and hem are a dark charcoal ribbed knit wool that contrasts with the rest of the garment.

Note the shoulder pleats that allow greater arm movement, which would be a particular asset when wearing this jacket over a heavy sweater as Bobby does.

Note the shoulder pleats that allow greater arm movement, which would be a particular asset when wearing this jacket over a heavy sweater as Bobby does.

The contrasting fold-over shawl collar makes the jacket particularly unique, though many retailers—such as Levi’s and Rothco—offer their own variants of the classic MA-1 in bright red for a Bobby Dupea-inspired look in a pinch, though this also means the military-inspired sleeve pocket and pocket flaps.

Your humble author in a red nylon Gap jacket with gray knit details, plus navy ribbed cotton Cherokee mock-neck, dark blue Goodfellow & Co. jeans, brown Justin boots, gold-framed Kenneth Cole Reaction sunglasses, and steel UNLISTED by Kenneth Cole watch on bund-inspired strap. Click here to see another view of this outfit with the jacket unzipped to show the Nocona tooled belt.

Your humble author in a red nylon Gap jacket with gray knit details, plus navy ribbed cotton Cherokee mock-neck, dark blue Goodfellow & Co. jeans from Target, brown Justin boots, gold-framed Kenneth Cole Reaction sunglasses, and steel UNLISTED by Kenneth Cole watch on bund-inspired strap.
Click here to see another view of this outfit with the jacket unzipped to show the Nocona tooled belt.

For a more subdued approach, burgundy jackets are also a possibility, though they go in a different direction than the brown-ish cast of the Five Easy Pieces jacket. The fast-fashion experts at H&M developed this burgundy nylon-blend lightweight jacket for an affordable $34.99, though it still lacks the contrasting knit details and adds a breast pocket that removes from the clean-looking chest of Nicholson’s jacket.

We get a little closer with these burgundy-colored bomber jackets with black contrasting knit pieces:

  • G-Style Contrast Lightweight Bomber Jacket in burgundy polyester, $34.95
  • Masorini Maximilian Bomber Jacket in wine red polyester, spandex, and cotton, $60

An interesting and fashion-forward alternative to the above options is The Kooples Nylon Flight Jacket in burgundy with contrasting knit accents on the extended collar, cuffs, and hem. It carries a hefty price tag of $575 from Bloomingdale’s and the details still differ from what we saw with Nicholson’s jacket on-screen, but a commentor on the Bloomingdale’s site mentioned that it’s a warm jacket which would better serve the fall-to-winter weather of Jack’s drive than the lighter weight options of the discount purveyors above.

About two years ago, I purchased a lightweight burgundy nylon zip-up blouson from Gap with a gray ribbed-knit collar, cuffs, and hem. Introduced in November 2016 according to the manufacturer’s tag, this jacket has become a staple for road trips for its water resistance, versatility, and comfort.

Five Easy Looks

Bobby wears this jacket with five different shirts, creating five easy looks for wearing this jacket with Lee jeans and cowboy boots.

The opening sequence finds Bobby driving home through Bakersfield, eventually settling in front of the TV with a beer before Rayette drags him into the bedroom to talk about their plans for the night. He wears a classic light blue chambray snap-front shirt from Wrangler, evident by the signature “W” stitching on both chest pockets. Each patch pocket closes with a single snap on a pointed flap. The shirt has a slim spread collar, pointed yokes, and triple-snap cuffs.

Nearly 50 years after Nicholson wore his in Five Easy Pieces, this shirt is still available from Wrangler though competing brands like Dickies and Levi’s offer their own similar alternatives.

Shirt #1: A light blue Wrangler snap-front when relaxing on the bed with Lucky Lager in one hand and Rayette in the other.

Shirt #1: A light blue Wrangler snap-front when relaxing on the bed with Lucky Lager in one hand and Rayette in the other.

Bobby changes into a more casual T-shirt for a night at the bowling alley. (“In the gutter, isn’t that wonderful?” he comments on Rayette’s bowling ability.) The body of this cotton crew-neck T-shirt is ivory white with long green set-in sleeves. Contrasting sleeves are a feature of the “baseball T”, though most frequently with raglan 3/4-length sleeves like this shirt.

Shirt #2: A cream-and-green long-sleeve T-shirt for an unsatisfying night of bowling.

Shirt #2: A cream-and-green long-sleeve T-shirt for an unsatisfying night of bowling.

Bobby’s loud floral-patterned shirt makes a few welcome appearances, first in Bakersfield when stopping in to visit Rayette at work after an argument and again in Puget Sound when chatting with Catherine after her day of horseback riding:

Riding? That’s dangerous, you know. You play the piano all day then jump on a horse, you could get cramps.

With its yellow and orange flowers on a mustard-sage ground, this Western-yoked shirt is arguably the trendiest item of his wardrobe, consistent with both the colors and styles that emerged as hallmarks of 1970s fashion. The shirt has a spread collar, front placket with white sew-through plastic buttons, and two-button cuffs. There are two small chest pockets, each a pointed-bottom patch with a reinforced pointed patch at the top of each pocket.

Shirt #3: The yellow-and-orange floral shirt is the trendiest—and thus, least timeless—item we see from Bobby's wardrobe.

Shirt #3: The yellow-and-orange floral shirt is the trendiest—and thus, least timeless—item we see from Bobby’s wardrobe.

It isn’t until about 40 minutes into Five Easy Pieces that Bobby and Rayette hit the road for Puget Sound. During the chilly but picturesque drive north in their Mercury sedan, Bobby wears a navy blue turtleneck sweater in a heavy wool knit with a ribbed polo neck, cuffs, and hem. He appears to be wearing it over a white undershirt tucked into his jeans, seen as he changes the tire during one of Palm and Terry’s arguments.

The heavier navy turtleneck has a fuller polo neck than the black one that he would wear most frequently with his brown corduroy blazer. April can be a rough time to go shopping for a heavy wool turtleneck in the Northern Hemisphere as most shops are rolling out their summer attire, but Amazon will always have you covered with items like this.

Shirt #4: The heavy navy turtleneck keeps Bobby warm as he travels north.

Shirt #4: The heavy navy turtleneck keeps Bobby warm as he travels north.

The black cotton turtleneck does make a brief appearance under the red nylon jacket during Bobby’s dramatic outdoor conversation with Catherine, though the jacket is zipped up to the neck and conceals the layers beneath it. If you opt for a lighter weight black turtleneck like Bobby, there are some affordable merino-blend examples on Amazon from Kallspin and Paul Jones.

Everything Else

When not working on the oil fields, Bobby Dupea wears a pair of classic blue selvage denim Lee 101 Rider jeans with the signature “lazy S” back pocket stitching. Lee still offers the 101 Rider as part of its European Collection for $170. You can also find non-Rider Lee jeans on Amazon. Read more about Bobby’s denim in Five Easy Pieces in this exploration by Rope Dye.

Bobby wears a taupe brown leather belt with a rounded brass single-prong buckle, embroidered with “figure-8” contrast stitching. This classic belt design is still easy to find nearly 50 years later (see Amazon.)

Bobby wears a pair of brown leather cowboy boots, not out of professional or cultural necessity, but likely as part of his reimagined self-image.

Amazon’s best-selling Western boot as of April 2019 is the Ariat Rambler, an appropriately named choice given Bobby’s “rambling man” nature. Like Bobby Dupea’s boots, these have pull straps on both sides of the top of the shaft and wide, flat soles.

Betty, Twinky, and Bobby hang out in their underwear, giving us not only a full view of Bobby's go-to boots but also a glimpse at his white patterned boxer shorts.

Betty, Twinky, and Bobby hang out in their underwear, giving us not only a full view of Bobby’s go-to boots but also a glimpse at his white patterned boxer shorts.

Under his boots, Bobby wears a pair of classic white ribbed cotton tube socks, best seen when he’s changing out of his low bowling shoes back into his boots.

Flanked by Stoney and Rayette, a frustrated Bobby takes off his bowling shoes to put his boots back on.

Flanked by Stoney and Rayette, a frustrated Bobby takes off his bowling shoes to put his boots back on.

Bobby wears a plain gold watch with a champagne gold dial on a brown leather Bund strap. The strap consists of a narrow band for the watch that is secured on a broad band, typically wider than the diameter of the timepiece itself. The warmth of a double-layered Bund strap makes it ideal for Bobby’s journey north into cooler climates.

Per Primer’s comprehensive guide to watch straps, the distinctive Bund strap was developed for German aviators during World War II to protect the wearer’s skin from the cold air at extreme altitudes or from scalding metal in a post-crash fire.

Once Stoney and Rayette leave, Shirley—or is that Betty?—and Twinky make their move on Bobby.

Once Stoney and Rayette leave, Shirley—or is that Betty?—and Twinky make their move on Bobby.

Decades before his permanent front-row seats at the Oscars and Lakers games, Jack Nicholson knew how to rock a pair of shades. In this case, it’s a set of perfectly chosen sunglasses with a Jet Age-inspired gold bar across the top of the rimless lenses, dipping over the nose, with slim temples that disappear under Jack’s long hair.

It has been suggested that Bobby wears the venerated Ray-Ban Olympian sunglasses, but the Olympians have full frames that encapsulate the lenses as opposed to Bobby’s shades, which are much closer to the iconic Sol Amor “Nylor” sunglasses.

For his long drive north, Bobby wears a pair of yellow deerskin leather gloves, ideal for work or driving like these Magid gloves available from Amazon for less than $14 as of April 2019.

Rayette and Bobby hit the road.

Rayette and Bobby hit the road.

What to Imbibe

It’s Lucky when you live in California was the original slogan for Bobby Dupea’s brew of choice, Lucky Lager.

Launched in 1934 by General Brewing Company in San Francisco, the beer received its name after a regional contest. Armed with a genuinely high-quality product, rapidly increasing demand, and the storied resources of the McCann-Erickson advertising agency, the brand had aggressive expansion in its sights during the post-WWII era, expanding its footprint as far north as Vancouver, Washington, in 1950, and eventually as far east as Salt Lake City in 1960. By 1962, it was producing more than two million barrels annually and its expanded distribution meant an updated slogan: It’s Lucky when you live in America.

Bobby enjoys one of many countless Lucky Lagers that fuels his listless life.

Bobby enjoys one of many countless Lucky Lagers that fuels his listless life.

Bobby drinks Lucky Lager like most people drink water, so it makes sense that he would be very precise about his “hangover helper” breakfasts. Sop up after your late night with “a plain omelette” accompanied by health-conscious tomatoes and wheat toast—instead of cottage fries and rolls—and a cup of coffee… as long as your waitress allows it.

Bobby: I’d like a plain omelette, no potatoes, tomatoes instead, a cup of coffee and wheat toast.
Waitress: No substitutions.
Bobby: What do you mean? You don’t have any tomatoes?
Waitress: Only what’s on the menu. You can have a number two—a plain omelette—it comes with cottage fries and rolls.
Bobby: Yeah, I know what it comes with, but it’s not what I want.
Waitress: Well, I’ll come back when you make up your mind.
Bobby: Wait a minute, I have made up my mind. I’d like a plain omelette, no potatoes on the plate, a cup of coffee, and a side order of wheat toast.
Waitress: I’m sorry, we don’t have any side orders of toast. I’ll give you an English muffin or a coffee roll.
Bobby: What do you mean you don’t make side orders of toast? You make sandwiches, don’t you?
Waitress: Would you like to talk to the manager?
Palm: Hey, mac…
Bobby: Shut up. (to the waitress) You’ve got bread and a toaster of some kind?
Waitress: I don’t make the rules.
Bobby: Okay, I’ll make it as easy for you as I can. I’d like an omelette—plain—and a chicken salad sandwich on wheat toast, no mayonnaise, no butter, no lettuce, and a cup of coffee.
Waitress: A number two, a chicken salad sand. Hold the butter, the lettuce, and the mayonnaise, and a cup of coffee. Anything else?
Bobby: Yeah, now all you have to do is hold the chicken, bring me the toast, give me a cheque for the chicken salad sandwich, and you haven’t broken any rules.
Waitress: You want me to hold the chicken, huh?
Bobby: I want you to hold it between your knees.
Waitress: You see that sign, sir? Yes, you’ll all have to leave! I’m not taking any more of your smartness and sarcasm!
Bobby: You see this sign? (sweeps the glasses off the table onto the floor)

What to Drive

This isn’t BAMF Style’s usual #CarWeek, but it’s still worth celebrating the trusty off-white 1963 Mercury Monterey Breezeway sedan that Bobby and Rayette drive more than a thousand miles north from Bakersfield to Puget Sound.

Bobby pulls his Mercury into a service station.

Bobby pulls his Mercury into a service station.

Mercury first introduced the Monterey model to its lineup in 1952. As the decade continued, Mercury built its full-size line that culminated in 1958 with the premium Montclair, the flagship Park Lane, and the short-lived but stylish Turnpike Cruiser.

Mercury would revive the various model names over the decades to follow, but only the Monterey was still offered as a full-size for the 1963 model year, sharing the full-size banner with the performance-focused S-55 variant as the marque invested in its newer, smaller models like the compact Comet and mid-size Meteor.

The 1963 Monterey introduced the reverse-slanted, power-controlled “Breezeway” rear window, which had already found success with Ford’s station wagons, the third generation Lincoln Continental, and Mercury’s own innovative Turnpike Cruiser. As this unique cosmetic option was added, three engines were dropped—the six-cylinder “Mileage Maker” and the 292 and 352 V8—making the 390 V8 standard with a new, higher-powered 406 V8 option.

The Monterey was the only Mercury of any body style to be produced continuously through the 1960s with the nameplate finally retired after the 1974 model year. It was briefly revived for the Mercury Monterey minivan, which some could consider an insult to the once-stylish nameplate that reigned supreme during the fabulous fifties and swinging sixties.

1963 Mercury Monterey Breezeway

Body Style: 4-door hardtop sedan

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

Engine: 390 cid (6.4 L) Ford “FE-Series” V8 with 4-barrel carburetor

Power: 300 hp (223.5 kW; 304 PS) @ 4600 rpm

Torque: 427 lb·ft (579 N·m) @ 2800 rpm

Transmission: 3-speed Ford “Cruise-O-Matic” automatic

Wheelbase: 120.0 inches (3050 mm)

Length: 215.0 inches (5461 mm)

Width: 80.0 inches (2032 mm)

Height: 55.5 inches (1410 mm)

Although Bobby’s Monterey is fitted with California license plates (#ARW-633), some IMCDB commentors have suggested that “the lack of chrome trim on the lower beltline” indicates a Canadian-only model, which could be a possibility given that the scenes at the Dupea family home were actually filmed on Vancouver Island in the Canadian province of British Columbia rather than Puget Sound.

How to Get the Look

Jack Nicholson as Robert "Bobby" Dupea in Five Easy Pieces (1970)

Jack Nicholson as Robert “Bobby” Dupea in Five Easy Pieces (1970)

Jack Nicholson dresses for casual comfort with a red nylon jacket, Lee jeans, and cowboy boots that he adapts for different climates and situations, from a lightweight baseball-style T-shirt for bowling in Bakersfield or a heavy turtleneck for traveling north to see his family.

  • Red nylon zip-front bomber-style blouson jacket with charcoal ribbed-knit shawl collar, cuffs, and hem, shoulder pleats, and slanted welt hand pockets
  • Navy wool knit turtleneck sweater with ribbed rollneck, cuffs, and hem
  • Blue selvedge denim Lee 101 Rider jeans
  • Brown tooled leather “figure 8”-stitched belt with round brass single-prong buckle
  • Brown leather cowboy boots
  • Yellow deerskin leather work gloves
  • Sol Amor-style sunglasses with curved gold top bar and rimless green lenses
  • Gold wristwatch with champagne gold dial on brown leather bund strap

Do Yourself a Favor and…

Check out the movie.

The Quote

The best that I can do… is apologize.

Richard Burton’s Gray Tweed Jacket in The Sandpiper

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Richard Burton as Dr. Edward Hewitt in The Sandpiper (1965)

Richard Burton as Dr. Edward Hewitt in The Sandpiper (1965)

Vitals

Richard Burton as Dr. Edward Hewitt, self-righteous Episcopal boarding school headmaster

Big Sur, California, Spring 1965

Film: The Sandpiper
Release Date: June 23, 1965
Director: Vincente Minnelli
Costume Designer: Irene Sharaff

Background

Seventy years ago today, more than 500 gathered on a picturesque terrace overlooking the Pacific Ocean for the grand opening of Nepenthe, a restaurant named for the medicine of ancient Greek mythology that helped one forget their sorrows.

Development on the land began in 1925 with the construction of a log cabin. Two decades later, Hollywood royalty Orson Welles and Rita Hayworth purchased the cabin on a whim but never did anything further, selling it in 1947 to Bill and Madelaine “Lolly” Fassett. The Fassetts hired Frank Lloyd Wright protégé Rowan Maiden to expand the area into a large terrace with room for dancing, dining, built-in bleachers, and a fire pit.

After the restaurant opened on April 24, 1949, Nepenthe became renowned for its stunning panoramic views of 50 miles of Big Sur’s south coast as well as Graves Canyon and the Santa Lucia Mountains.

Artists, writers, and celebrities flocked to the iconic restaurant in the decades to follow, with newlyweds Elizabeth Taylor and Richard Burton a frequent presence during the production of their Big Sur-set melodrama, The Sandpiper. (Read more about their time at the restaurant here.)

“And there is no other Nepenthe, where those who made The Sandpiper came and relaxed and found the spirit of the endless day even as night came to the noblest thing I have ever seen,” narrated Burton in a documentary about Big Sur produced during the film’s production. Nepenthe was so ingrained into regional culture that the famous terrace was reconstructed on a sound stage for a scene where Burton’s and Taylor’s characters verbally spar with one of her friends, played by Charles Bronson.

The lovestruck Dr. Edward Hewitt traveled an hour south from Monterey in search of Laura Reynolds, the free-spirited mother of one of his students, with the excuse that he needed her to sign papers to keep her son at his school though he eventually admits that he “cannot dispel [her] from [his] thoughts,” and the couple’s inevitable affair begins… or, as she puts it, he did what he’s wanted to do ever since he first saw her.

After a little bit of guilt and a lot more lying later, Edward arrives on Laura’s beach for a weekend together, having told his wife that he “was going to San Francisco for three days on a fundraising drive” for the school.

Edward at the film's finale, leaving Laura—and Big Sur—behind him.

Edward at the film’s finale, leaving Laura—and Big Sur—behind him.

“It must be wonderful to live in such a place forever,” narrated Burton in the same documentary. “But think twice before you try it, for it is a land not always quiet and serene but often dramatic, violent, awesome. This is Big Sur… even today.”

What’d He Wear?

Though we first meet him in his Episcopal vestments, Dr. Edward Hewitt has a fine wardrobe of tailored suits, comfortable casual wear, and everything in between, including a plaid three-button blazer and a number of timeless tweed sport jackets.

One of the latter is a fine black-and-gray mixed tweed sports coat with a traditional American undarted sack cut, not unlike the one that Louis Jourdan wore as Burton’s romantic rival two years earlier in The V.I.P.s.

Edward and Laura at Nepenthe.

Edward and Laura at Nepenthe.

The single-breasted sport jacket has three black buttons on the front that match the three buttons on each cuff. It has a welted breast pocket, straight flapped hip pockets, and single back vent.

Edward wears a white self-striped shirt made from such a thin, lightweight cotton that the reinforced crew-neck band of his short-sleeved undershirt can be easily seen through the fabric. His shirt has a spread collar, plain front, and double (French) cuffs fastened with squared gold cuff links.

A guilt-ridden Edward reacts coldly after his first night with Laura.

A guilt-ridden Edward reacts coldly after his first night with Laura.

Edward’s repp tie maintains his outfit’s monochromatic mien, block-striped in black and dark gray in the traditionally American “downhill” right shoulder-to-left hip direction. The tie is consistent with the super slim trends of the mid-1960s, primarily straight from knot to blade and no wider than 2.5 inches.

Dictating in his office, Edward determines that he needs a break. Off to Nepenthe it is!

Dictating in his office, Edward determines that he needs a break. Off to Nepenthe it is!

The Tie Bar currently offers a similar product, the 2.5″-wide Black College Stripe Wool Tie in a blend of 70% wool and 30% silk.

Edward’s attire below the waist is simple and uncomplicated, coordinating with his grayscale upper half. He wears charcoal flat front trousers with belt loops—but no belt—and black leather lace-up shoes with dark socks.

While his monochromatic jacket and tie may have been a bit conservative for Nepenthe, Edward eventually lets down his sartorial guard when he arrives at Laura’s for a romantic beach weekend together, wearing his same gray tweed jacket and charcoal slacks but with a polo as a dressed-down alternative to the white shirt and tie.

Edward "loosens up" for a beach weekend, foregoing his usual shirt and tie in favor of a polo buttoned to the neck.

Edward “loosens up” for a beach weekend, foregoing his usual shirt and tie in favor of a polo buttoned to the neck.

This long-sleeve polo shirt is a light blue cotton knit with a three-button top that he wears fully fastened when he arrives on the beach but unbuttons as he loosens up with Laura by the fire.

Considerably more casual for some snuggle time with Laura by the fire.

Considerably more casual for some snuggle time with Laura by the fire.

After his weekend in the sun with Laura, the gray tweed jacket is exclusively worn with a white shirt and solid charcoal skinny tie rather than the striped tie seen earlier. At the film’s finale, as he’s planning to embark on his summer trip and his separation from his wife, Claire (Eva Marie Saint), he carries a khaki raincoat with a beige windowpane-checked lining.

An icy parting between Edward and Claire.

An icy parting between Edward and Claire.

On his left wrist, Burton wears a gold wristwatch, likely one of the actor’s own timepieces. Based on the timing of the production and the glimpses we get of the watch, it may be the yellow gold Patek Philippe that Taylor had gifted him during the production of Cleopatra a few years earlier. This automatic watch has a champagne gold dial and a woven gold bracelet. Admittedly, a Patek Philippe would be quite a showy piece for a school headmaster to wear.

How to Get the Look

Richard Burton as Dr. Edward Hewitt in The Sandpiper (1965)

Richard Burton as Dr. Edward Hewitt in The Sandpiper (1965)

A gray tweed sport jacket should be a staple of every gentleman’s wardrobe, a versatile piece that can be dressed up with a shirt and tie or dressed down with a polo and slacks… or even jeans, not that you’d see the dignified Dr. Hewitt sporting denim. The neutral palette also allows its wearer to add color or remain understated, as we see with Edward’s white shirts and dark ties.

  • Gray mixed tweed single-breasted 3-button sport jacket with notch lapels, welted breast pocket, straight flapped hip pockets, 3-button cuffs, and single vent
  • White self-striped thin cotton shirt with spread collar, plain front, and double/French cuffs
  • Black-and-gray “downhill”-striped skinny silk repp tie
  • Charcoal flat front trousers with belt loops, side pockets, and turn-ups/cuffs
  • Black leather lace-up shoes
  • Black socks
  • White cotton crew-neck short-sleeve undershirt
  • Khaki raincoat
  • Patek Philippe yellow gold automatic wristwatch with champagne-colored dial and woven bracelet

Do Yourself a Favor and…

Check out the movie or see a variety of movies that Liz and Dick made together with the Taylor and Burton Film Collection.

The Quote

Well, I served in the Medical Corps during the war, and I can’t tell you how many dying and wounded men found something of god’s mercy at the end of just such a needle as you described.

Gig Young in That Touch of Mink

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Gig Young as Roger in That Touch of Mink (1962)

Gig Young as Roger in That Touch of Mink (1962)

Vitals

Gig Young as Roger, neurotic financial advisor

New York City, Spring 1962

Film: That Touch of Mink
Release Date: June 14, 1962
Director: Delbert Mann

Background

Though not regarded among the best of either Cary Grant or Doris Day’s filmographies, That Touch of Mink will always have a special place for me as one of the movies I used to watch with my grandma, who introduced me to many classic stars from the era through her collection of VHS tapes that we watched nearly to oblivion.

In this romantic comedy, it’s the leads’ best friends who are the most fun to watch, both Audrey Meadows (who Grant—a fan of her work on The Honeymooners—campaigned to have added to the cast) and Gig Young as Grant’s right-hand man.

“Whenever you play a second lead and lose the girl, you have to make your part interesting yet not compete with the leading man,” Young explained in a 1966 interview. “There are few great second leads in this business. It’s easier to play a lead; you can do whatever you want. If I’m good, it always means the leading man has been generous.”

Indeed, Young did credit Grant’s generosity with him in That Touch of Mink, encouraging and urging Young to make more of his role as the cheerfully neurotic Roger. The psychiatry-obsessed Roger resents himself for giving up an honorable career as a Princeton economics professor (“the Ivy League Socrates,” Grant’s character mocks) in favor of earning $50,000 a year (this was 1962, after all) as financial advisor to the “cold, ruthless, predatory” business tycoon Philip Shayne. Of course, Philip is played by Cary Grant so he’s rarely less than the perfect gentleman… and all the moments where Philip’s chivalry shines, Roger grows openly furious at Philip for poking holes in the toxic image he had created of his boss.

Roger: To my everlasting shame, I sold out. That wasn’t enough for you! Every year, you further humiliate me by raising my salary!
Philip: Aw, it’s inexcusable. It’s like rubbing salt in the wound.
Roger: Yes, and at Christmas, you gave me stock in the company. Why are you trying to destroy me?

Before Philip is even thinking about his morning coffee, Roger is pouring himself a dram of whiskey and crediting his oft-mentioned analyst, Dr. Gruber (Alan Hewitt), with why’s he’s started drinking first thing in the morning. (Interestingly, Elizabeth Montgomery would request a divorce from Young the following year, citing his alcoholism as grounds.) If that isn’t enough of a red flag regarding the exalted Dr. Gruber’s questionable talents, we see him taking advantage of Roger’s honesty during their sessions for stock tips.

Born Byron Elsworth Barr in St. Cloud, Minnesota, Gig Young had an impressive film career that lasted nearly 40 years and included an Academy Award for Best Supporting Actor for his performance in They Shoot Horses, Don’t They? (1969) as well as two nominations for Come Fill the Cup (1951) and Teacher’s Pit (1958). So why is this talented performer so little remembered today? The mysterious circumstances of his end seem to have something to do with it. On October 19, 1978, Young and his fifth wife, Kim Schmidt, were found dead in their Manhattan apartment of an apparent murder-suicide just three weeks after they were married. It has been hypothesized that Young first shot Schmidt before killing himself.

Like his character in That Touch of Mink, Young was known to be a patient of another questionable therapist, Eugene Landy, whose unconventional and unethical treatment of clients like Beach Boys co-founder Brian Wilson led to his medical license being revoked.

What’d He Wear?

Sartorially speaking, it must have been hard for male actors to be noticed when sharing the screen with Cary Grant, particularly when the debonair actor played a a rich and sophisticated character like Philip Shayne who can afford to dress like, well, Cary Grant. However, Gig Young’s natty duds prove to be a worthy screen partner for Grant’s tailored suits, providing an interesting yin to Grant’s elegantly simple yang with his series of business-friendly gray suits worn with a cycle of skinny knit ties and odd waistcoats.

Day 1: We meet Roger as he idles in Philip’s office, enjoying some of his boss’ whiskey as a morning libation and extolling the virtues of his analyst, Dr. Gruber. After his requisite complaining about selling out to work on Wall Street, Roger is issued a demeaning task by his otherwise benevolent boss: take $100 across the street to apologize on his behalf to a young blonde who was splashed that morning when his black limousine drove through a puddle.

Roger finds himself inspired by the woman, Cathy Timberlake (Doris Day), who offers to accompany Roger up to Philip’s office to throw the money in his face… until she sees that Philip is actually Cary Grant and finds herself instantly charmed by his disarmingly suave demeanor.

Roger’s daily style template is established in this sequence with a sleek, fashionable two-piece business suit, odd waistcoat, light shirt, and skinny knit tie. He wears his most frequently seen suit, in gray-blue pick wool. The single-breasted suit jacket has narrow notch lapels that roll to a two-button front, and it has a welted breast pocket, straight flapped hip pockets, short double vents, and two-button cuffs. The flat front trousers have buckle-tab side adjusters, side pockets, and plain-hemmed bottoms.

Roger wears a plain white poplin shirt with a spread collar, front placket, and single-button cuffs. His slim knit tie is dark navy blue, and he wears his favorite waistcoat, a gray jersey-knit cotton single-breasted vest with two pockets, and a straight bottom with a notch under the four-button front.

Roger is delighted to hear that Cathy Timberlake isn't going to accept his boss' apology.

Roger is delighted to hear that Cathy Timberlake isn’t going to accept his boss’ apology.

Day 2: Roger walks into his boss’ office, happier than Philip is used to seeing him. Of course, Roger has an explanation for his cheer:

I had a wonderful night’s rest. You know the trouble I have sleeping? Well, I’ve solved it. Just before you go to bed, you put three tranquilizers in a jigger of brandy and you drink it. You still can’t sleep but you’re so relaxed that you don’t worry about it. It was exhilarating.

Philip takes the wind out of Roger’s sails by explaining his current conundrum with Cathy, the woman that Roger had hoped would put Philip in his place. “Roger, I’ve been wrestling with my conscience all morning. And I lost,” declares Philip. “That’s an upset,” quips Roger. Philip elaborates by explaining his decision to revoke his offer to take Cathy to Bermuda, given his perception of her naïveté. “What a terrible thing to do to me,” Roger moans. “To you?!” responds Philip. “I built this image of a man—cold, ruthless, predatory—then you go do a decent thing like this and destroy that image,” says Roger, disgusted by his boss’ decency. “You’ll set me back years in my analysis!”

During this conversation, Roger wears another blue-gray semi-solid wool suit, albeit a slightly darker one than from the previous day. His gray vest is the same, and he wears another white shirt, but his forest green knit tie is his only sartorial divergence from anything on a cool blue-to-gray scale during the whole movie.

Roger gets earthy with his dark green knit tie.

Roger gets earthy with his dark green knit tie.

Day 3: The darker blue-gray suit falls victim to an egg salad assault at the automat, courtesy of Connie, so Roger is back in his original medium gray-blue suit and navy knit tie when he and Leonard (William Lanteau), the Bergdorf Goodman coordinator, watch Cathy board her Pan Am flight to Bermuda with Philip the following day.

"Look at her. It's like watching Joan of Arc on her way to the fire."

“Look at her. It’s like watching Joan of Arc on her way to the fire.”

Day 4: The next morning, Roger finds less-than-desirable results when testing the “hair down, glasses off” trope with his secretary, Miss Jones (Jan Burrell), when he sees that Philip is prematurely back from Bermuda after a disappointing trip with Cathy.

"Miss Jones, do you see what I see?"

“Miss Jones, do you see what I see?”
“Where?”
“It’s a miracle. Joan of Arc put out the fire.”

After Roger takes the opportunity to revel in the schadenfreude (“Things went pretty badly, didn’t they? It was a disaster, wasn’t it?”), we finally get to meet the much-discussed Dr. Gruber. “It’s good to be home,” Roger giddily remarks as he settles onto Dr. Gruber’s couch and loosens his tie, now a royal blue knit tie worn with a pale blue poplin shirt. The suit and vest are the same gray-blue wool suit and mid-gray knit waistcoat as he wore for his first appearance.

Roger settles in for another long session with his analyst.

Roger settles in for another long session with his analyst.

A few hours later, Roger ends up on his own couch when calling Dr. Gruber from his office. This shot gives the viewers our best look at the black calf leather derby shoes with their two- or three-eyelet open lacing and long, sleek vamps that he wears with black socks for all of his on-screen outfits.

A therapy junkie like Roger probably should have his own couch like this in his office.

A therapy junkie like Roger probably should have his own couch like this in his office.

Day 5: The next morning, another failed trip for Philip in Bermuda finds an overjoyed Roger actually buying flowers for Cathy… but Connie and Cathy’s neighbors mistake him for Philip, subjecting him to being knocked down the stairs, beaten with a broom, and chased by a dog.

The abuse ruins Roger’s newly seen blue suit, but it gives us a pretty good look at the buckle-tab side adjusters on his trousers as he tumbles down the steps in her apartment building.

Roger takes a tumble.

Roger takes a tumble.

Philip: What happened?
Roger: I was knocked down two flights of stairs and then viciously attacked by a dog in a taxi. This has been the most satisfying day of my life!

"When the cab hit a hydrant and the women started beating me with brooms, I found out... they had nothing against me, they thought they were hitting Philip Shayne! Before I go to the hospital, I just wanted you to see what people think of you. And you deserved everything I got!"

“When the cab hit a hydrant and the women started beating me with brooms, I found out… they had nothing against me, they thought they were hitting Philip Shayne! Before I go to the hospital, I just wanted you to see what people think of you. And you deserved everything I got!”

Before the carnage, Roger was dressed quite nicely in a blue suit, styled like the previous suits. The scene also introduced us to a new waistcoat for Roger, this one in a dark navy but cut and styled exactly the same as his gray one with its stretchy jersey-knit cotton and four-button front with welt pockets. He wears this with a white shirt and skinny navy knit tie.

Day 6: Roger has evidently cleaned himself up when he returns to the office in time to observe Philip reading his good-bye letter and promissory note from Cathy. A frustrated Philip tasks Roger with finding a potential “simple, dull, unimaginative” husband for Cathy.

While the gray knit vest, pale blue shirt, and dark navy knit tie have all been seen before, this is the first and only appearance of Roger’s gray suit with its narrow pinstripe. The single-breasted suit with its two-button jacket is otherwise similar to his others, aside from the three-button cuffs on the end of each jacket sleeve.

Day 7: Roger begins conspiring with Connie—and a reluctant Cathy—to get Philip interested in marrying Cathy. (Keep in mind that it’s been less than a week since the two met, but that’s early ’60s romantic comedy for you!)

Cathy: Look, he doesn’t love me. He just feels sorry for me.
Roger: Doesn’t love you? He’s compared you to the plague!

Roger points out that Philip completely nixed the list of potential husbands that he drews up, a list that included Rock Hudson as an in-joke both to Day’s frequent collaborations with him as well as the fact that the Philip Shayne role was developed with Hudson in mind before Grant was cast. These scenes illustrate how the interactions between Roger and Connie are a highlight of the movie.

Roger and Philip are nearly matching in their gray-blue semi-solid suits, though this one differs from Roger’s first gray-blue suit with its tonal plaid pattern and three-button cuffs. He wears otherwise familiar-to-the-viewer clothing like his pale blue poplin shirt, dark navy knit tie, and dark navy knit waistcoat which, evidently, wasn’t too damaged in the dog attack two days earlier.

Employee and employer: unified in gray-blue suits and dark ties. Note that Gig Young wears a shirt with a spread collar to complement his longer-shaped head while Cary Grant's point collar complements his wider head.

Employee and employer: unified in gray-blue suits and dark ties. Note that Gig Young wears a shirt with a spread collar to complement his longer-shaped head while Cary Grant’s point collar complements his wider head.

A madcap chase leads to the film’s humorous climax at Al’s Motel in Asbury Park, where both Roger and Philip mistake the mild-mannered Mr. Smith (John Fielder) for Cathy’s smarmy date, Everett Beasley (John Astin).

Denouement: The film ends with a vignette the following spring that finds Roger walking through Central Park with Philip, Cathy, and their new baby. When the happy couple steps away to take a photo, Roger runs into Dr. Gruber and shows him the baby that was the product of his obsessive diatribes in therapy.

Perhaps as an indicator of his more carefree state of mind, Roger breaks his sartorial pattern by sporting a hairline-striped seersucker sport jacket with classic blue and white stripes, worn with dark gray trousers.. He curiously wears the three-button jacket with just the lowest button fastened, much like Cary Grant himself wore tailored jackets during these latter years of his career.

Free from the stresses of working for the unmarried Philip Shayne, Roger lets loose in a comfortable seersucker sport jacket with no waistcoat.

Free from the stresses of working for the unmarried Philip Shayne, Roger lets loose in a comfortable seersucker sport jacket with no waistcoat.

Roger wears a white shirt with a rolling spread collar and button cuffs. His slate-colored satin silk tie has a single black stripe “uphill” in the center.

How to Get the Look

Gig Young as Roger in That Touch of Mink (1962)

Gig Young as Roger in That Touch of Mink (1962)

Befitting his dependability as Philip Shayne’s right-hand man, Gig Young’s Roger follows a reliable template of gray-blue business suits, odd waistcoats, and knit ties as he carries out his boss’s bidding… and then sits on his psychiatrist’s couch to complain about it.

  • Gray-blue semi-solid pick wool business suit
    • Single-breasted two-button suit jacket with notch lapels, welted breast pocket, straight flapped hip pockets, two-button cuffs, and short double vents
    • Flat front suit trousers with buckle-tab side adjusters, straight/on-seam side pockets, and plain-hemmed bottoms
  • Medium gray jersey-knit cotton single-breasted four-button waistcoat with two pockets and notched bottom
  • White or pale blue poplin shirt with spread collar, front placket, and single-button cuffs
  • Navy blue skinny knit tie
  • Black calf leather long-vamp derby shoes
  • Black dress socks

Do Yourself a Favor and…

Check out the movie.

The Quote

It upsets you, doesn’t it? The puppet master ran across a puppet who won’t perform and then cuts all his strings. She’s become a symbol of hope to all of us who sold out for that touch of mink. You give us good salaries, paid vacations, insurance. You take away our problems and act like you’ve done us a favor. Well, you haven’t, and some day there’ll be an uprising, and the masses will regain the misery they’re entitled to!

Footnote

I noted that fans of Arrested Development may have noted some similarities to Roger asking his homely secretary to remove her glasses and let her hair down to see if it makes her more attractive to GOB asking the Bluth Company secretary (and his father’s mistress) Kitty Sanchez to do the same, both men thinking that it should work based on “the movies”.

This isn’t the only moment that would be parroted 40 years later on Arrested Development as Philip Shayne’s ride in the back of a poultry van finds his curiosity getting the best of him as he opens a basket only to reel in disgust at finding “a plucked chicken”. Dead dove, do not eat, anyone?

Tony Soprano’s Copper Tweed Jacket at the Track

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James Gandolfini as Tony Soprano with Joe Pantoliano as Ralph Cifaretto on The Sopranos (Episode 4.05: "Pie-o-My")

James Gandolfini as Tony Soprano with Joe Pantoliano as Ralph Cifaretto on The Sopranos (Episode 4.05: “Pie-o-My”)

Vitals

James Gandolfini as Tony Soprano, New Jersey mob boss

Monmouth Park, Oceanport, NJ, Fall 2001

Series: The Sopranos
Episodes:
– “Pie-o-My” (Episode 4.05, dir. Henry J. Bronchtein, aired 10/13/2002)
– “Eloise” (Episode 4.12, dir. James Hayman, aired 12/1/2002)
Creator: David Chase
Costume Designer: Juliet Polcsa

WARNING! Spoilers ahead!

Background

In the spirit of the upcoming Kentucky Derby, today’s #MafiaMonday post features a day at the races for Jersey wiseguys Tony Soprano, Silvio Dante, Carlo Gervasi, Hesh Rabkin, and Ralph Cifaretto, whose recent purchase—a racehorse named Pie-O-My—delights the guys by coming from behind to win.

“If it’s not love at first sight between Tony and the episode’s eponymous racehorse, it’s love at first victory, particularly since Tony’s strategic advice helped it win,” observes Matt Zoller Seitz and Alan Sepinwall in their masterful episode analysis in The Soprano Sessions, released earlier this year.

Also along for the day at Monmouth Park is Tony’s financial investor, Alan Ginsberg, who offers his takes on Carmela’s investment suggestions. Ginsberg’s suggestion to forego a life investment trust puts Tony on guard regarding his wife’s motives and leads to one of many confrontations between the two when he returns home.

The Soprano marriage isn’t faring much better seven episodes later during a visit to their daughter’s apartment in New York. Carmela recently learned that Furio, Tony’s Italian-born associate whom she’s been obsessing over, has left the country, leaving her heartbroken, bitter, and unprepared for a discussion of the homoerotic undertones of Herman Melville’s Billy Budd with Meadow’s worldly, intelligent, and open-minded friends..

Meadow's friends, Colin (Evan Neuman) and Alex (Aleksa Palladino), in "Eloise" (Episode 4.12).

Meadow’s friends, Colin (Evan Neuman) and Alex (Aleksa Palladino), in “Eloise” (Episode 4.12). Palladino would later make an impression on Boardwalk Empire audiences as the Bohemian artist Angela Darmody.

The scene also includes one of my favorite low-key Sopranos humor moments. The Billy Budd conversation begins when A.J. shares that he got a C on his paper about the book. Carmela is incredulous, but Tony rises to his son’s defense, albeit mildly: “He usually gets D’s and F’s. What’s with you today, you okay?” Carmela vehemently denies the book’s homosexual content suggested by Meadow and her friends, and one of them describes a passage where Melville compares Billy to a nude staute of Adam before the Fall. A disgusted A.J. recoils with “really?”, prompting a disappointed Tony to sternly comment: “I thought you read it,” and A.J. looks down in shame. It’s a subtle moment but a relatable one, made all the more effective by the fact that the conversation keeps going despite the aside between the two Soprano men.

Tony Soprano may be a Mafia boss whose top enforcer fled the country just as he’s stressed about a potentially deadly dispute with the New York mob… but he’s still a dad, and a good dad gets upset when his kids are under-performing in school.

What’d He Wear?

Always a champion of well-cut, classic sport jackets, Tony Soprano wears a rich copper brown sports coat in lightweight tweed with a subtle light blue windowpane check, both for a day at the racetrack cheering on the titular horse in “Pie-O-My” (Episode 4.05) and again, albeit more casually, for a dinner party with his daughter’s friends in “Eloise” (Episode 4.12).

He may be a mob boss, but he's also a dad. Tony can't help but to make a dentistry joke after finding out his daughter's boyfriend's chosen vocation.

He may be a mob boss, but he’s also a dad. Tony can’t help but to make a dentistry joke after finding out his daughter’s boyfriend’s chosen vocation.

The copper tweed sports coat has notch lapels that roll to a top of a three-button front. Tony’s single-breasted jackets vary between one-, two-, and three-button fronts across the series, with the actor’s 6’1″ height helping him effectively balance the latter as seen on this particular garment. The jacket has double vents, four-button cuffs, and straight hip pockets with flaps that are occasionally tucked in to present the appearance of jetted pockets.

At the racetrack in “Pie-O-My”, Tony wears a solid slate-blue silk pocket square in his jacket’s welted breast pocket, coordinating with his shirt and tie while also drawing out the subtle windowpane check of his sports coat.

The hippodrome is a curious place to be issuing or receiving investment advice, but that doesn't stop Tony from asking some questions from his curiously named financial advisor, Alan Ginsberg (Stewart J. Zully).

The hippodrome is a curious place to be issuing or receiving investment advice, but that doesn’t stop Tony from asking some questions from his curiously named financial advisor, Alan Ginsberg (Stewart J. Zully).

Tony’s “Pie-O-My” shirt is a rich French blue cotton with a point collar and plain front fastened with mother-of-pearl buttons. The shirt has squared double (French) cuffs, worn with a set of knotted gold cuff links.

Tony takes Ginsberg's advice by signing all but one of Carmela's financial requests...a life insurance trust that could cause problems should the two divorce.

Tony takes Ginsberg’s advice by signing all but one of Carmela’s financial requests…a life insurance trust that could cause problems should the two divorce.

The mobsters on The Sopranos—Tony included—occasionally mimic the early 2000s-era trend of matching their solid silk ties to their shirts, popularized by Regis Philbin on Who Wants to Be a Millionaire?, but Tony averts the trend here by wearing a slate silk tie similar to the shirt but closer to gray for a more noticeable contrast. The tie has faded brown-and-yellow woven silk dots that also coordinate with the jacket.

Tony’s light brown slacks are only a shade lighter than his jacket, a low-contrast look that evokes a two-piece suit until one looks closer to note the jacket’s textured tweed and subtle pattern. Like many of Tony’s trousers, the slacks have triple reverse pleats with side pockets, button-through back pockets, and turn-ups (cuffs) on the bottoms. He wears them with a dark brown leather belt that has a polished steel single-prong buckle.

Tony goes in for some gabagool after "giving" Carmela "two out of three" financial requests.

Tony goes in for some gabagool after “giving” Carmela “two out of three” financial requests.

Champion jockey Aaron Gryder with the show's cast.

Champion jockey Aaron Gryder with the show’s cast.

Brown shoes are a wise choice with this earthy outfit, and Tony wears a pair of dark walnut calf derby shoes that are best seen in this behind-the-scenes photo posted on the Twitter account of Aaron Gryder, the professional jockey who also played Pie-O-My’s jockey in this episode.

When the guys are venturing out onto the grounds at Monmouth Park to meet with Pie-O-My’s winning team, Tony layers against the autumn chill with his go-to black wool raglan coat. The coat made its first appearance as the Jersey weather started getting colder in “The Telltale Moozadell” (Episode 3.09) with several appearances toward the end of the third season, though I believe the Monmouth Park scenes in “Pie-O-My” are the coat’s swan song.

The black coat has a Prussian collar with an exposed button at the neck with a concealed fly for the remaining buttons down the front. Each raglan sleeve tightens at the cuff with a half-tab that closes with a single button.

It’s a warmer day in early spring when Tony next dons the copper jacket, this time for a family dinner with Meadow, her boyfriend Finn, and her college roommates. The informality of the occasion gives Tony a chance to dress down, and he wears an inky royal blue short-sleeved polo shirt with a cross-check textured knit pattern and three flat black plastic sew-through buttons, worn with the top button undone. He accents the look with a navy patterned silk pocket square that avoids directly matching the shirt.

Again, Tony neutralizes the warmth of the jacket with cool blues that calls out the subtle blue windowpane check.

Again, Tony neutralizes the warmth of the jacket with cool blues that calls out the subtle blue windowpane check.

To keep his look casual and avoid the more formal suit-like appearance of the closely matching light brown slacks, Tony wears dark navy pleated trousers.

Tony gets some concerning news about Furio... though it's hardly as concerning as the update he would receive about his one-time favorite enforcer in the next episode.

Tony gets some concerning news about Furio… though it’s hardly as concerning as the update he would receive about his one-time favorite enforcer in the next episode.

Once again, we’re treated to Tony’s usual assortment of gold jewelry and accessories. He wears his gold religious pendant on a gold chain around his neck and a gold curb-chain link bracelet on his right wrist. Dressing his right pinky is a gold ring with a diamond and ruby stones, balanced by his gold wedding band on the third finger of his opposing hand.

Tony’s luxury watch is an 18-karat yellow gold Rolex Day-Date ref. 18038 “President”, so named for its distinctive link bracelet with a hidden clasp. This chronometer has Roman numerals around the champagne gold dial with a long display for the day of the week at the top and a date window at 3:00.

Tony flashes his gold jewelry and accessories during dinner at Meadow's apartment.

Tony flashes his gold jewelry and accessories during dinner at Meadow’s apartment.

If you haven’t been quite as lucky at the track as Tony Soprano but you want your wrist to look the part, Seiko offers a gold-toned stainless lookalike for about 1% of the price of a new Rolex President.

What to Imbibe

Mint Juleps may be the classic libation for the Kentucky Derby, but Tony, Ralph, and the guys celebrate with Cristal, the famous flagship cuvée of Champagne Louis Roederer.

Cristal dates back to 1876, six years after the death of Louis Roederer himself. Alexander II of Russia lived in fear of assassination (rightly so, as the events of March 1881 would prove), and the Tsar was nervous that the standard dark green champagne bottles with their indented bottoms would mask any potential assassin’s means, be they the insertion of explosives into this indentation or otherwise. Thus, for the Three Emperors Dinner with the leaders of Germany and Austria-Hungary, Alexander requested that the Roederer team design his personal cuvée in transparent crystal glass bottles with a flat bottom. The lead glass used for construction of the bottle led to the name Cristal.

Cristal outlived the Russian monarchy, as Louis Roederer—once the official wine supplier to the Imperial Court of Russia—decided to market internationally after the fall of the Russian Empire in 1917. More than a century later, this champagne has become an alcoholic shorthand for wealth and luxury.

James Gandolfini as Tony Soprano on The Sopranos (Episode 4.05: "Pie-o-My")

James Gandolfini as Tony Soprano on The Sopranos (Episode 4.05: “Pie-o-My”)

How to Get the Look

Tony Soprano illustrates how one sport jacket can be dressed up for a day at the track or dressed down for dinner with your daughter and her friends (…wait, shouldn’t that be reversed?)

Dressed up:

  • Copper brown (with subtle sky blue windowpane check) single-breasted 3-button sport jacket with notch lapels, welted breast pocket, straight flapped hip pockets, 4-button cuffs, and double vents
    • Slate blue silk pocket square
  • French blue cotton shirt with spread collar, plain front, and double/French cuffs
    • Gold knot cuff links
  • Slate gray silk tie with woven brown-and-yellow dots
  • Light brown triple reverse-pleated slacks with belt loops, side pockets, button-through jetted back pockets, and turn-ups/cuffs
  • Walnut brown calf leather derby shoes
  • White ribbed cotton sleeveless undershirt
  • Black wool topcoat with Prussian collar, concealed fly front, and raglan sleeves with buttoned half-tab cuffs
James Gandolfini as Tony Soprano on The Sopranos (Episode 4.12: "Eloise")

James Gandolfini as Tony Soprano on The Sopranos (Episode 4.12: “Eloise”)

Dressed down:

  • Copper brown (with subtle sky blue windowpane check) single-breasted 3-button sport jacket with notch lapels, welted breast pocket, straight flapped hip pockets, 4-button cuffs, and double vents
    • Navy blue silk pocket square
  • Dark indigo cross-check textured knit short-sleeve polo shirt with 3-button collar
  • Dark navy triple reverse-pleated slacks with belt loops, side pockets, button-through jetted back pockets, and turn-ups/cuffs
  • White ribbed cotton sleeveless undershirt

With both outfits, Tony wears his usual accessories:

  • Rolex President Day-Date 18238 yellow gold wristwatch
  • Gold open-link chain bracelet
  • Gold pinky ring with ruby and diamond stones
  • Gold wedding band
  • Gold open-link chain necklace with round St. Jerome pendant

Do Yourself a Favor and…

Check out the entire series.

The Quote

We all get lucky.


American Gigolo: Stone Jacket and Jeans

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Richard Gere as Julian Kaye in American Gigolo (1980)

Richard Gere as Julian Kaye in American Gigolo (1980)

Vitals

Richard Gere as Julian Kaye, high-price L.A. escort

Los Angeles, Spring 1980

Film: American Gigolo
Release Date: February 8, 1980
Director: Paul Schrader
Costumer: Bernadene C. Mann
Costume Coordinator: Alice Rush
Richard Gere’s Costumes: Giorgio Armani

Background

Strut into spring like Richard Gere’s confident Julian Kaye, the titular American gigolo of Paul Schrader’s 1980 thriller.

We follow Julian through the streets of Beverly Hills as he’s being followed by Michelle Stratton (Lauren Hutton), a state senator’s wife who has grown considerably interested in him. Aware—and amused—that Michelle is tailing him, Julian strides into Tower Records where he allows her to bump into him, sparking a flirtatious conversation to the tune of John Hiatt’s “Take Off Your Uniform”.

The song was no doubt chosen to score the scene with something trendy and new, but it’s a significant choice as we hear it while watching Julian “out of uniform”, not wearing his usual sport jacket, slim tie, and slacks as he isn’t professionally on the make, instead pursuing a more serious personal relationship as he charms Michelle while “slumming it” in casual open-neck shirt and jeans.

What’d He Wear?

Julian Kaye spends his working days and nights decked out in a Giorgio Armani wardrobe of luxurious linen, silk, and wool crepe sport jackets, suits, and ties. He’s rarely off the clock, but his leisure hours are typically devoid of elegance with ill-advised pieces like a long-sleeve polo with slim shawl collar or Daisy Duke-style denim shorts.

The most significant occasion where Julian manages to dress down without losing the dapper panache of his Armani pieces is his confident stride down the sidewalks of Westwood, comfortably outfitted for the warm afternoon in a pale blue cotton shirt with the sleeves rolled past the elbows, tight jeans, and a stone-colored sport jacket tossed over his shoulder.

Despite the many pieces in his sartorial collection, many of Julian’s sports coats are indistinguishable in color, all falling somewhere on Armani’s signature “greige” spectrum in gray, taupe, tan, and beige. This double-breasted jacket is no exception, colored in a tan-leaning shade of stone gray lightweight wool crepe. The ventless jacket is styled with the unique combination of a double-breasted front with notch lapels, a formation that has remained primarily a relic of 1980s trends though it remains somewhat more common on women’s suit jackets and blazers. The notch lapels roll above the single-button closure of the four-button front.

The jacket has a welted breast pocket, patch hip pockets, and three-button cuffs. Though structured at the shoulders with its roped sleeveheads, the looser fit of the jacket connects the Armani “second skin” profile to the boxy power suits that would become a hallmark of men’s fashion in the ’80s.

Richard Gere struts his Armani stuff as Julian Kaye in American Gigolo.

Richard Gere struts his Armani stuff as Julian Kaye in American Gigolo.

For the more iconic portions of the sequence, notably Julian’s sidewalk strut that leads him into the record store, he keeps the jacket slung over his shoulder, showing off his physique through his lightweight cotton shirt.

The pale blue hairline-striped shirt has a point collar that is noticeably larger than the collars on shirts he wears with ties. The shirt has a plain front, two set-in chest pockets with non-buttoning flaps, and rounded single-button cuffs that, when he’s out and about, Julian unbuttons and rolls up neatly past his elbows.

More strutting.

More strutting.

Julian’s striped waxed cotton web belt is similar to a surcingle belt, though it lacks the leather pieces in favor of a single lightweight band that connects in the front with a gold-toned squared single-prong buckle. The belt itself is tan with a dark navy center stripe.

It’s difficult to find belts like this that lack the signature leather of the surcingle belt, though this belt from Amazon keeps the leather piece considerably small.

And strutting into the famous Tower Records.

And strutting into the famous Tower Records.

Julian’s light blue high-rise jeans differentiate this outfit the most from his earlier sport jacket-and-slacks ensembles. With their tight fit through the hips and lack of front pockets, these high-rise jeans are clearly “fashion” jeans rather than the traditional offerings of workwear brands like Lee, Levi’s or Wrangler, indicating of an era when jeans were evolving from utilitarian to a symbol of trendy informality.

Almost certainly made by Giorgio Armani, Julian’s jeans have patch back pockets and slightly flared legs to accommodate the shafts of his light brown leather boots with raised heels. Roots has been credited with Gere’s footwear and belts in the movie, though the brand seems to have evolved away from the dressier offerings showcased in American Gigolo.

Julian accessorizes with his go-to set of oversized Armani sunglasses with large round gradient lenses. The tortoise frames are closer to a golden orange than the traditional brown.

Amazon offers a few similar inexpensive frames for shoppers looking to channel the Julian Kaye look, such as this pair from Union Accessories or this more wayfarer-inspired pair by SOJOS and currently enjoying its position as the #1 new release in men’s sunglasses as of May 2019. Either way, don’t be afraid to hunt for unisex pairs as this type of frame has also been popular for women.

For those with a substantially higher budget, you could always see what Armani has in its current men’s sunglasses lineup, including these Pilot sunglasses in black on yellow Havana acetate that, save for the double bridge, could be a spiritual successor to Julian’s distinctive frames.

Julian covertly checks his six to see who's following him.

Julian covertly checks his six to see who’s following him.

Julian wears a luxurious yellow gold tank watch, fastened to his left wrist with the rectangular blank dial facing inward. Cartier and Omega have been suggested as likely brands for the sleek watch as some eagle-eyed viewers reportedly sighted the latter’s distinctive Greek letter logo on the watch’s gold single-prong buckle.

Julian and Michelle bond over shelves of records.

Julian and Michelle bond over shelves of records.

Dressing It Up…

The stone-colored crepe double-breasted jacket makes another reappearance later when Julian is pulled in for a police interrogation. When not in the denim duds issued to him for the lineup, he wears the jacket more dressed up than before with a light blue shirt, striped tie, and pleated slacks.

Julian should have heeded the message stamped on his garage wall.

Julian should have heeded the message stamped on his garage wall.

Though it’s a light blue long-sleeve shirt with two flapped pockets, this deeper sky blue shirt has a narrow spread collar and bellows pockets—rather than set-in pockets—with button-down flaps that close through white buttons matching those down the plain front and on each cuff.

Julian wears a navy-on-blue “uphill” pencil-striped knit tie by Basile, the same boutique designer that provided most of Lauren Hutton’s fashionable costumes.

Julian wears his usual taupe leather belt with a rounded gold single-prong buckle through the slim belt loops of his pleated khakis, which have side pockets, button-through jetted back pockets, and plain-hemmed bottoms. He also wears his gray leather cap-toe oxfords with dark navy socks.

Julian tears his Mercedes apart.

Julian tears his Mercedes apart.

After Julian returns to his apartment to discover that Leon’s “boy” has been there, likely framing him for the murder, he ditches the jacket and tie in favor of a beige windbreaker that he dons to search his car for Judy Rheiman’s missing jewels before he goes on the run.

Paranoia.

Paranoia.

The blouson-style windbreaker has a long point collar, patch pockets with slanted openings, and knit cuffs and hem.

How to Get the Look

Richard Gere as Julian Kaye in American Gigolo (1980)

Richard Gere as Julian Kaye in American Gigolo (1980)

Julian Kaye looks cool, casual, and comfortable as he dressed down pieces of his fashionable Giorgio Armani wardrobe with jeans and sleek accessories.

  • Stone-colored lightweight wool crepe double-breasted 4×1-button sport jacket with notch lapels, welted breast pocket, patch hip pockets, 3-button cuffs, and ventless back
  • Pale blue self-striped lightweight cotton long-sleeve shirt with point collar, plain front, two set-in chest pockets with flaps, and 1-button rounded cuffs
  • High-rise blue denim jeans with belt loops and back pockets
  • Tan-and-dark navy striped waxed cotton web belt with squared gold single-prong buckle
  • Light brown leather boots with raised heels
  • Gray jersey-knit cotton short-inseam underwear
  • Gold tank watch with a black dial on smooth black leather strap
  • Light tortoiseshell large-framed Giorgio Armani sunglasses with brown gradient lenses

Do Yourself a Favor and…

Check out the movie.

The Quote

Anything for a friend.

Lando Calrissian

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Billy Dee Williams as Lando Calrissian in The Empire Strikes Back (1980)

Billy Dee Williams as Lando Calrissian in The Empire Strikes Back (1980)

Vitals

Billy Dee Williams as Lando Calrissian, smooth administrator of Cloud City and former “card player, gambler, scoundrel”

A Long Time Ago in a Galaxy Far Far Away

Film: Star Wars: Episode V – The Empire Strikes Back
Release Date: May 21, 1980
Director: Irvin Kershner
Costume Designer: John Mollo

WARNING! Spoilers ahead!

Background

After the recent release of the trailer for the upcoming Star Wars: Episode IX – The Rise of Skywalker teased Billy Dee Williams’ return as Lando Calrissian,  I wanted to celebrate the character’s debut nearly 40 years ago in The Empire Strikes Back for this post on May the 4th, casually observed as “Star Wars Day”.

With movies like Brian’s Song and Lady Sings the Blues among his filmography, Billy Dee Williams was a popular star when he first auditioned for the role of Han Solo in the first Star Wars movie released in 1977. Three years later, Williams finally found his place in the Star Wars saga with the role of Cloud City’s charismatic administrator—and Solo’s one-time pal—Lando Calrissian.

We meet Lando when the Millennium Falcon’s broken hyperdrive forces Han Solo (Harrison Ford) to take a chance by landing “the fastest hunk of junk in the galaxy” at Cloud City, a tibanna gas mine outpost managed by the ship’s original owner, Lando, whose origin story gets a deeper introduction in Solo: A Star Wars Story where he is portrayed by Donald Glover. Han is surprised to find that the gambler and smuggler he knew in his younger days has seemingly transformed into a responsible and politically connected businessman.

Yeah, I’m responsible these days. The price you pay for being successful.

Unfortunately, the true price of Lando’s success was the betrayal of his old pal as he not only turned Han, Leia, Chewbacca, and the droids over to Darth Vader but also agreed to set a trap for Luke Skywalker’s return. Lando soon laments that “this deal is getting worse all the time” as he secretly acts on the behalf of his new friends, organizing their escape from Bespin and eventually rising to the rank of general in the Rebel Alliance in Return of the Jedi (1983), the final film of the original trilogy.

This May 4th, we mourn the recent loss of Peter Mayhew at the age of 74. Standing more than seven feet tall, the Surrey-born actor portrayed Chewbacca in five live action Star Wars films before he retired from the role after The Force Awakens (2015). He leaves a legacy of grace, kindness, and enthusiasm for his many fans and the impact of his role.

What’d He Wear?

Lando Calrissian’s sweeping sky blue vestments are appropriately colored given the nephological associations of the floating colony he oversees.

The outer layer is a knee-length circle cape with a sky blue shell and bronze brocade silk lining with shades of gold and sage green. The cape has a wide turndown collar in a very dark leather (or leather-effect material) that matches the piping of his shirt.

Lando greets Cloud City's latest arrivals.

Lando greets Cloud City’s latest arrivals.

The shirt is a loose-fitting, silky sky blue long-sleeve henley with an overlapping V-neck placket with no visible buttons but a hidden closure that fastens the placket just below the mid-point. The long sleeves are gathered at the cuffs, which are trimmed in the same dark leather as the shirt’s placket and the cape’s collar.

Two of the coolest and most popular characters in the Star Wars universe—Lando Calrissian and Boba Fett—were both introduced in The Empire Strikes Back while in service to Darth Vader, though Lando's disingenuous corruption would be short-lasted.

Two of the coolest and most popular characters in the Star Wars universe—Lando Calrissian and Boba Fett—were both introduced in The Empire Strikes Back while in service to Darth Vader, though Lando’s disingenuous corruption would be short-lasted.

A symbol of his grand position—and his ability to be corrupted by the empire—the cape is ditched when Lando actively begins helping Leia, Chewie, C3PO, and R2D2 as the gang of five makes their escape from Bespin.

The abandonment of this grandiose garment strips Lando down to just his shirt, pants, belt, and boots, more resembling his new confederates in the Rebel Alliance.

The abandonment of this grandiose garment strips Lando down to just his shirt, pants, belt, and boots, more resembling his new confederates in the Rebel Alliance.

Lando wears plain navy blue flat front trousers with no visible pockets, finished with plain-hemmed bottoms. The waist is covered by Lando’s wide black leather belt has trapezoidal links that increase in size around his waist as they get to the central front piece, a large keystone-shaped buckle embossed with three squares, stacked vertically and connected like a maze.

Promotional photo from The Empire Strikes Back.

Promotional photo from The Empire Strikes Back.

Lando clicks his heels down the halls of Cloud City in a pair of well-shined black patent leather cap-toe boots with gently raised heels and decorative etching on the shafts that extend up to mid-calf. (Lando’s footwear had been identified as “Liwari shoes” in Star Wars: The Visual Dictionary, but I’m not sure if that’s what these are meant to be.

Lando at leisure.

Lando at leisure.

On his right wrist, Lando wears a “wrist link” device, the Galactic Empire’s precursor to the Apple Watch. The surprisingly prescient gadget consists of a squared silver pod worn on the inside of his right wrist with five small red buttons, two small silver buttons, and a large black rectangular button.

While hardly as stylish as a Rolex or Omega, the wrist link was a well-timed gadget, appearing on the scene at a time when even James Bond wore a digital watch.

Lando subtly communicates with his cyborg assistant, Lobot (yes, this is the name of John Hollis' character!), when he implements Cloud City's rebellion against its new Imperial overlords.

Lando subtly communicates with his cyborg assistant, Lobot (yes, this is the name of John Hollis’ character!), when he implements Cloud City’s rebellion against its new Imperial overlords.

While ready-made costumes exist, you can also follow the well-informed and deeply researched guides from Star Wars fans like the creators at Rebel Legion.

The Finale

The finale of The Empire Strikes Back features Lando undoubtedly in service to the Rebel Alliance. To remove all doubt, we briefly see him in the cockpit of the Millennium Falcon with Chewbacca at his side while dressed in the very Han Solo-like outfit of a beige collared shirt and black vest.

"Luke, we're ready for takeoff."

“Luke, we’re ready for takeoff.”

General Calrissian

As a newly appointed general in the Rebel Alliance during the events of Return of the Jedi, Lando adopts his khaki uniform of a short-sleeved jerkin with a concealed fly and a high crew-neck top worn under the collar leaves of his slightly lighter-colored long-sleeve shirt under it. The jerkin has a small, flapped, inverted box-pleated pocket on each of the short sleeves while the long-sleeve shirt also has flapped bellows pockets on the sleeves just above the elbows. General Calrissian wears his insignia on both shirt collar leaves and on the left breast of the jerkin.

"Good luck." This shot was actually reversed in the finished film; it's been corrected here to reflect the actual appearance of Lando in uniform.

“Good luck.”
This shot was actually reversed in the finished film; it’s been corrected here to reflect the actual appearance of Lando in uniform.

Lando’s new role finds him back in a cape, albeit a more sober one made from a slate gray waffle-knit fabric and connected across the neck with a taupe braided cord similar to a fourragère. Over his baby blue flat front trousers with a yellow stripe down each side, Lando wears another thick black leather belt but in a more traditional style with a squared steel-toned single-prong buckle. The belt coordinates with his black leather jackboots, worn over his trouser bottoms.

Lando reconnects with an old pal.

Lando reconnects with an old pal.

General Calrissian carries his Alliance-issued handgun in a brown leather shoulder holster under his left arm with a thick belt that crosses his chest from right shoulder-down-to-left hip like a Sam Browne belt. He wears another wrist link on his right arm, though it’s much larger and worn on a wide dark brown leather cuff that covers the squared cuff of his shirt and fastens with two brass rivets on the underside.

Young Lando…

Donald Glover portrayed a younger but no less rakish Lando Calrissian in Solo: A Star Wars Story (2018). One standout outfit is a yellow shirt with a dramatically flapped front, welted breast pocket, and long turnback cuffs, all accented in black.

Read more about how young Lando’s look was established by costume designers Glyn Dillon and David Crossman in Maiysha Kai’s June 2018 article for The Glow Up.

Lando's slim black scarf with the irregular bright lines was reportedly inspired by the Death Star's corridors seen in A New Hope.

Lando’s slim black scarf with the irregular bright lines was reportedly inspired by the Death Star’s corridors seen in A New Hope.

Glover’s Lando also wears a cape, though it’s a shorter black one, as well as black pants and black leather boots.

…and Older Lando

It looks like Billy Dee Williams is set to reprise Lando Calrissian in Star Wars: Episode IX – The Rise of Skywalker, wearing a yellow shirt with black trim that echoes Donald Glover’s portrayal of the younger character while also reflecting the aesthetic of the henley-draped-under-a-cape that he wore in The Empire Strikes Back.

Welcome back, Billy Dee!

Welcome back, Billy Dee!

What to Imbibe

We never get much of a chance to see Lando at leisure, as his invitation for Han and Leia to enjoy “a little refreshment” results in a trap set to lead the two directly into Darth Vader’s hands. One imagines that, had Lando the opportunity to truly entertain his friends, they would have been welcomed by an endless supply of Colt 45.

National Brewing Company from Baltimore introduced Colt 45 to the world in 1963, bringing competition to a malt liquor market that had been previously dominated by Country Club. Although it shares its name with the popular handgun and ammunition, the brewer insists that the product was named after Jerry Hill, the Baltimore Colts’ star running back throughout the decade who wore #45.

More than a half century later, the Baltimore brewery is defunct but its brands—National Bohemian Beer (“Natty Boh”) and Colt 45—remain in production by Pabst Brewing Company.

The Gun

When Lando has his guards overpower the Imperial Stormtroopers escorting the rebel prisoners to Darth Vader’s ship, he also takes their BlasTech E-11 Blaster Rifles, first doling out a pair to Leia and Chewbacca before commandeering one himself. As Lando later yields one of the blasters to great effect against the stormtroopers themselves, we understand that the stormtroopers’ notorious inability to hit their targets is likely a fault of the user and not the firearm itself.

The E-11 blasters issued to the stormtroopers were built from the British-made Sterling L2A3 submachine gun, provided by Bapty & Co., according to IMFDB. Despite it being a “blaster” rather than the firearms we’re familiar with, the prop guns are still occasionally seen ejecting spent cartridge cases, particularly as Lando trades gunfire with the stormtroopers. (One wonders why they would even need to be loaded with blanks in the first place if the laser effect would just be added in post-production anyway!)

Note the spent cartridge casing being ejected from the right side of Lando's blaster.

Note the spent cartridge casing being ejected from the right side of Lando’s blaster.

The spent cartridge issue was rectified for Return of the Jedi, where most of the E-11 blaster props were built from MGC Sterling replicas rather than actual firearms modified to fire blanks. By that film, however, now-General Calrissian carried a smaller handgun, modified from a Heckler & Koch P9S semi-automatic pistol, in a shoulder holster as seen here.

How to Get the Look

Billy Dee Williams as Lando Calrissian in The Empire Strikes Back (1980)

Billy Dee Williams as Lando Calrissian in The Empire Strikes Back (1980)

The undeniably dashing Lando Calrissian embraces simple elegance for his cushy political gig as the proud administrator of Cloud City

  • Sky blue long-sleeve henley shirt with dark leather placket and cuff trim
  • Sky blue knee-length circle cape with dark leather turndown collar and bronze brocade lining
  • Navy blue flat front trousers with plain-hemmed bottoms
  • Black leather link-style belt with embossed keystone-shaped black leather frontpiece
  • Black leather mid-calf boots with etched shafts and raised heels
  • Silver digital “wrist link” device on black strap

We all know capes aren’t for everyone… unless you’re Frank Costanza’s lawyer, so how can you really bring a taste of Lando to an everyday outfit?

  • Light blue long-sleeve henley with navy piping
    • iClosam “Casual Slim Fit Henley”, $18.99
  • Medium blue jacket with a shirt-style collar
    • Banana Republic “Lightweight Officer’s Shirt Jacket”, $129
  • Navy blue flat front trousers with simple pockets
  • Black belt with black “ratchet” buckle
  • Black Chelsea boots
  • Steel digital wristwatch

Above prices as of May 4, 2019.

Do Yourself a Favor and…

Check out the original trilogy.

The Quote

Why you slimy, double-crossing, no-good swindler. You’ve got a lot of guts coming here, after what you pulled.

From Russia With Love – Kerim Bey’s Beige Suit

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Pedro Armendáriz as Kerim Bey in From Russia With Love (1963)

Pedro Armendáriz as Kerim Bey in From Russia With Love (1963)

Vitals

Pedro Armendáriz as Ali Kerim Bey, gregarious MI6 station chief

Istanbul, Turkey, Spring 1963

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

WARNING! Spoilers ahead!

Background

Kerim Bey, the gregarious head of MI6’s Station T (T for Turkey), is one of the more memorable characters from the early films of the James Bond franchise. A proudly streetwise counter to the taciturn and sophisticated agent 007, the two got on like gangbusters. It’s tragic that Kerim was designated by Ian Fleming as the story’s “sacrificial lamb” as it would have been satisfying to follow his interactions with Bond across multiple adventures à la Felix Leiter or even René Mathis, who actually returned in Fleming’s novel version of From Russia With Love, though Armendáriz’s death would have prevented this anyway. Today’s 00-7th of May post is a tribute to this charismatic character.

From Russia With Love was the final film for Mexican actor Pedro Armendáriz, who was born 107 years ago this week on May 9, 1912. Though he was only 50 years old during the film’s production, the actor was terminally ill and grew weaker over the shoot, at times to the point that director Terence Young would step in as Armendáriz’s double. Soon after production wrapped, Armendáriz smuggled a handgun into his Los Angeles hospital and committed suicide on June 18, 1963, the day before the release of his penultimate film, Captain Sindbad, in which he played a character named El Kerim.

Armendáriz was only 51 when he died, leaving two children, a daughter—Carmen—who became a TV producer, and a son—Pedro Jr.—who would follow his father’s footsteps as an actor and even appeared in the Timothy Dalton-starring 007 adventure Licence to Kill (1989).

What’d He Wear?

Not only was the role of Kerim Bey seemingly tailor-made for the charismatic Pedro Armendáriz, but the character is finely tailored in his suits, continuing the tradition from Dr. No of establishing an ally that dresses appropriately for accompanying the Savile Row-tailored James Bond on his adventures. While he doesn’t wear as many suits as Bond, Kerim arguably exhibits a more colorfully diverse wardrobe with his warm weather-friendly lounge suits in light gray sharkskin, gray pinstripe, and beige gabardine—all in the same style and cut—with a rotation of striped ties.

“Ah, my friend. Come in. Come in.” A very large man in a beautifully cut cream tussore suit got up from a mahogany desk and came to meet him, holding out his hand. A hint of authority behind the loud friendly voice reminded Bond that this was the Head of Station T, and that Bond was in another man’s territory and juridically under his command.

From Russia With Love (1957), Chapter 14: Darko Kerim

The “cream tussore suit” is the only one of Kerim’s outfits that is well-described in Ian Fleming’s novel, and it may have inspired the filmmakers to dress Pedro Armendáriz in this beige gabardine suit with a sheen that suggests a silky material, evocative of the novel’s coarse tussar silk suit.

Kerim Bey wears his trademarks of a simple and stylish suit, striped tie, and an easy smile.

Kerim Bey wears his trademarks of a simple and stylish suit, striped tie, and an easy smile.

Kerim’s suit jacket has narrow lapels, each with a gently rounded notch similar to the “clover”-style lapel, which roll to the three-button front, which he almost always wears with the top two buttons fastened across all of his suit jackets. The ventless suit jacket has three-button cuffs, straight flapped hip pockets, and a welted breast pocket that he wears without his usual neatly folded white pocket square.

Good times at the gypsy camp...

Good times at the gypsy camp…

Kerim wears a cream poplin shirt that harmonizes with the beige suit for a softer contrast than if he had worn a plain white shirt. The light cream shirt has a spread collar, front placket, and double (French) cuffs that are worn with flat gold rectangular cuff links.

...and less-than-good times at the gypsy camp.

…and less-than-good times at the gypsy camp.

Kerim’s tie is multi-striped in the “uphill” right hip-to-left shoulder direction, a repeating pattern of a medium-width black stripe flanked by thin stripe sets in silver, rust, and silver. Each of those stripe sets are separated by fourteen thin stripes alternating in silver and black. He wore the same tie earlier in teh day with his gray pinstripe suit when his office was bombed and he and Bond staked out the Russian consulate.

It’s tied in a Windsor knot, so obviously the cinematic Bond doesn’t share the literary Bond’s untrustworthy connotation of the knot as Kerim Bey provides to be one of 007’s most trustworthy and reliable allies across the series. The tie is held in place with a gold tie bar at mid-torso, just visible above the jacket’s buttoning point.

Kerim stoically watches two women fighting over a man at the gypsy camp, arguably one of the stranger sequences in Bond movies.

Kerim stoically watches two women fighting over a man at the gypsy camp, arguably one of the stranger sequences in Bond movies.

Kerim’s habit of wearing his suit jacket buttoned at all times, even when sitting, prevents the viewer from observing the details of his suit trousers, particularly around the waist and hips. Below the jacket, the legs taper down to the turn-ups (cuffs) on the bottoms.

Bond runs to Kerim's aid... or is he just running to the bottle of rakı?

Bond runs to Kerim’s aid… or is he just running to the bottle of rakı?

Kerim appears to be wearing the more casual and country-friendly dark brown suede derby shoes, possibly even ankle boots, as opposed to the black lace-ups he wears with his business suits.

Kerim sets up a protective barrier with the dinner table, no doubt spilling some rakı in the process.

Kerim sets up a protective barrier with the dinner table, no doubt spilling some rakı in the process.

Had Bond known that his mission to Istanbul would have included dinner at a gypsy camp, he may have packed something other than his businesslike black derbies as well—perhaps the similar brown suede derby-laced low boots that he sports with his tweed jacket in Goldfinger—but, alas, our protagonist wears the most countrified of his multiple gray business suits, a charcoal flannel two-piece, for his evening with Kerim and Vavra.

Kerim also sports his standard headgear, a natural-colored straw hat with pinched crown. The narrow black band is all but hidden by the upturned brim when Kerim wears the hat.

Less prominent than Bond’s Rolex is Kerim’s yellow gold wristwatch, which shines from his wrist with its round case, silver dial, and flat gold bracelet.

Suit ruined.

Suit ruined.

What to Imbibe

When in Istanbul… do as the Istanbulites do. For James Bond, that’s accepting Kerim Bey’s gracious offer of rakı, the national drink of Turkey despite Kerim disregarding it as “filthy stuff”. An anise-flavored apéritif similar to ouzo, rakı is different from raki (with a dotted “i”), a grape-based pomace brandy similar to grappa.

Fleming’s novel also features rakı during Bond and Kerim’s interlude at the gypsy camp as well as during an earlier lunch, where Bond offers that his first taste of rakı was “identical with ouzo.”

“It will be disgusting but I have sent for rakı,” Kerim assures Bond as they make their way to the table, where in front of each of them was a large plate of some sort of ragout smelling strongly of garlic, a bottle of rakı, a pitcher of water and a cheap tumbler. More bottles of rakı, untouched, were on the table. When Kerim reached for his and poured himself a tumblerful, everyone followed suit. Kerim added some water and raised his glass. Bond did the same. Kerim made a short and vehement speech and all raised their glasses and drank.

Kerim pours Bond a glass.

Kerim pours Bond a glass.

Similar to absinthe, adding chilled water to rakı turns the drink into a milky concoction. The white color resulted in the rakı-and-water combination known colloquially as aslan sütü, or “lion’s milk”.

The Gun

Like Bond and his fellow MI6 agents, Kerim Bey carries a Walther PPK that he draws and fires during the gypsy camp gunfight, though it spends the bulk of the battle out of battery after a jam. The jam is actually depicted in one shot, but it hasn’t been cleared when Kerim is shown firing back at the Bulgar assassins.

Kerim fires his own Walther PPK during the Bulgar assassins' ambush of the gypsy camp.

Kerim fires his own Walther PPK during the Bulgar assassins’ ambush of the gypsy camp.

Kerim’s PPK is likely chambered for .32 ACP (7.65mm Browning) like Bond’s sidearm, though the pistol is typically offered in both .32 ACP and .380 ACP with the latter caliber more popular for its relatively higher stopping power. Even 007 was issued a .380-caliber Walther PPK/S as recently as Skyfall (2012), albeit with the addition of a palm-reading safety mechanism.

How to Get the Look

Pedro Armendáriz as Kerim Bey in From Russia With Love (1963)

Pedro Armendáriz as Kerim Bey in From Russia With Love (1963)

Like his London-sent colleague, Kerim Bey displays a keen sense of style, and he appropriately wears his gray lounge suits for business (and business-related travel) while reserving this beige suit for more recreational pursuits, such as his dinner with 007 at Vavra’s gypsy camp.

  • Beige gabardine suit
    • Single-breasted 3-button suit jacket with “clover” notch lapels, welted breast pocket, straight flapped hip pockets, 3-button cuffs, and ventless back
    • Flat front trousers with turn-ups/cuffs
  • Light cream poplin shirt with spread collar, front placket, and double/French cuffs
  • Black, silver, and rust multi-striped tie
    • Gold tie bar
  • Natural-colored straw hat with narrow black band, pinched crown, and upturned brim
  • Dark brown suede derby-laced ankle boots
  • Charcoal socks
  • Yellow gold wristwatch with silver dial on flat gold bracelet

Do Yourself a Favor and…

Check out the movie.

The Quote

It seems we’ve come on the wrong night. Two girls in love with the same man threaten to kill each other. It must be settled the gypsy way.

Fred Astaire’s Stone “Girl Hunt” Suit in The Band Wagon

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Fred Astaire and Cyd Charisse in The Band Wagon (1953)

Fred Astaire and Cyd Charisse in The Band Wagon (1953)

Vitals

Fred Astaire as Tony Hunter, musical comedy star

New York, Spring 1953

Film: The Band Wagon
Release Date: August 7, 1953
Director: Vincente Minnelli
Costume Designer: Mary Ann Nyberg

Background

Today marks what would have been the 120th birthday of Fred Astaire, the renowned Nebraska-born dancer and singer whose prolific career on stage and screen extended more than three quarters of a century.

The Band Wagon (1953) is considered a highlight of the entertainer’s career, starring Astaire as a once-famous musical star who hopes to revive his career with a major Broadway production. Even if you’re not into musicals, it’s hard not to appreciate Astaire’s elegant footwork as he masterfully dances through the film’s culminating number, “Girl Hunt”, based on the novels of Mickey Spillane.

What’d He Wear?

In accordance with the noir-ish, Mickey Spillane-inspired theme of this number, Fred Astaire strolls out on stage looking like the classic hard-boiled screen gangster, though his narrated introduction as “Rod Riley, a detective,” informs us that he’s on the other side of the law.

His warm stone-colored suit bridges the beige and light gray spectrum and appears to be a luxurious soft serge. The two pieces are perfectly balanced, with the trousers rising to the buttoning point at the top of the single-breasted jacket’s two buttons. In keeping with the era’s trends, the jacket is somewhat oversized at the shoulders,

The ventless jacket has substantial notch lapels, four-button cuffs, straight jetted hip pockets, and a welted breast pocket where “Rod” wears his white linen pocket square.

Smoke 'em if you got 'em.

Smoke ’em if you got ’em.

Astaire wears a bold French blue cotton shirt with a button-down collar, plain front, and barrel cuffs that all fasten with white mother-of-pearl buttons. He wears a white knitted silk tie, knotted in a four-in-hand, that is held in place with a rakishly slanted gold tie bar just above the jacket’s buttoning point.

Astaire keeps his jacket fastened through the sequence, keeping the suit unified as he elegantly dances rather than having the jacket flap about his waist. Despite his jacket covering the top of his trousers, we can see that they have pleats—at the height of their fashionability in the early 1950s—and are worn with beige silk suspenders (braces) with gold adjusters. The trouser bottoms are finished with turn-ups (cuffs).

While beige or even light gray socks would harmonize with the suit, Astaire’s French blue socks coordinate with the shirt to create the image of a blue “bodysuit” under the suit so that, as the sleeves or trouser bottoms ride up as he dances, one sees the blue layer first. He wears black patent leather cap-toe oxfords with slightly raised heels.

Rod Riley's clues.

Rod Riley’s clues.

Despite his gangster-like appearance, Rod’s white hat provides visual assurance that he’s one of the good guys. This fedora is made of cream felt with a sharply pinched crown and black ribbed grosgrain silk band.

While also adding a Bogart-esque touch to the Rod Riley character, the fedora also adds a few inches to Astaire’s height as he dances with Cyd Charisse.

Rod lights yet another cigarette over the course of his "investigation".

Rod lights yet another cigarette over the course of his “investigation”.

Rod’s jewelry includes in a gold signet ring on his right pinky and a gold curb-chain bracelet on his left wrist.

Rod Riley solves another case. Note Astaire's suspenders, glimpsed under the right side of his suit jacket.

Rod Riley solves another case. Note Astaire’s suspenders, glimpsed under the right side of his suit jacket.

Smooth Criminal.

Smooth Criminal.

Astaire’s outfit for this sequence in The Band Wagon would influence Michael Jackson’s similar attire in the video for his 1988 hit single “Smooth Criminal” where he famously performed his anti-gravity lean in a white pinstripe suit, silky blue shirt, white knit tie, and white fedora, though MJ went a step further back in time with his classic spats that fit the 1930s vibe of the video’s setting.

The Gun

Fred Astaire, with a gun? Sure, why not? Tony’s character in The Band Wagon, Rod Riley, is a detective, and he draws his own nickel-plated revolver as his voice-over reflects:

Somewhere in the city there was a killer, and that was bad… bad for the killer because I shoot hard.

The revolver appears to be a nickel-plated Smith & Wesson Model 10 with white pearl grips. This classic police sidearm is chambered in the venerable .38 Special round, though the short “pops” seen when Rod actually fires the revolver implies that it has been modified to function more like a cap gun than a blank-firing stage weapon.

He again draws the Smith & Wesson revolver when Cyd Charisse dances against him in a slinky red dress, hardly a occasion that would require firearms.

How to Get the Look

Fred Astaire and Cyd Charisse in The Band Wagon (1953)

Fred Astaire and Cyd Charisse in The Band Wagon (1953)

An elegant dresser in real life, Fred Astaire no doubt had significant input into the suit that his character Tony Hunter would wear for the pulp-inspired dance in The Band Wagon:

  • Stone-colored serge suit:
    • Single-breasted 2-button suit jacket with notch lapels, welted breast pocket, straight jetted hip pockets, 4-button cuffs, and ventless back
    • Pleated trousers with turn-ups/cuffs
  • French blue cotton shirt with button-down collar, plain front, and single-button cuffs
  • White knitted silk tie
  • Gold tie bar
  • Black patent leather cap-toe oxford shoes
  • French blue socks
  • Cream felt fedora with black ribbed grosgrain band
  • White linen pocket square
  • Gold signet pinky ring
  • Gold curb-chain bracelet

Do Yourself a Favor and…

Check out the movie.

The Quote

She was bad, she was dangerous, I wouldn’t trust her any farther than I could throw her… but she was my kind of woman.

Nucky Thompson’s Blue Glen Plaid Suit

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Steve Buscemi as Enoch "Nucky" Thompson on Boardwalk Empire (Episode 4.08: "Old Ship of Zion")

Steve Buscemi as Enoch “Nucky” Thompson on Boardwalk Empire (Episode 4.08: “The Old Ship of Zion”)

Vitals

Steve Buscemi as Enoch “Nucky” Thompson, corrupt Atlantic City politician and bootlegger

Atlantic City, Summer 1924

Series: Boardwalk Empire
Episodes:
– “The Old Ship of Zion” (Episode 4.08, dir. Tim Van Patten, aired 10/27/2013)
– “White Horse Pike” (Episode 4.10, dir. Jake Paltrow, aired 11/10/2013)
– “Farewell Daddy Blues” (Episode 4.12, dir. Tim Van Patten, aired 11/24/2013)
Creator: Terence Winter
Costume Designer: John A. Dunn
Tailor: Martin Greenfield

Background

This #MafiaMonday, turn back the calendar almost a century to some spring-friendly fashions courtesy of Enoch “Nucky” Thompson, the delightfully corrupt bootlegger who ruled Prohibition-era Atlantic City on HBO’s Boardwalk Empire. Steve Buscemi’s character was based on the gregarious Enoch “Nucky” Johnson who indeed used his political position to rule the New Jersey resort city’s underworld during the roaring ’20s and beyond until he was convicted for tax evasion in 1941 and spent the following four years in federal prison.

Toward the end of Boardwalk Empire‘s fourth season, we find the fictional Nucky overseeing a shipment of booze from Florida while trying to manage his beleaguered older brother Eli (Shea Whigham), Eli’s ambitious college-aged son Will (Ben Rosenfield), and his latest paramour/business partner Sally Wheet (Patricia Arquette).

What’d He Wear?

The Suit

Several episodes toward the end of Boardwalk Empire‘s fourth season feature Nucky Thompson in this spring-friendly blue glen plaid three-piece suit, almost assuredly one of the legions of dapper suits made for Steve Buscemi to wear on the series by venerated Brooklyn tailor Martin Greenfield. With a navy, black, and rust plaid check on a teal-blue ground, the suiting balances his penchant for bold patterns and colors with traditional businesswear.

"White Horse Pike" (Episode 4.10)

“White Horse Pike” (Episode 4.10)

The single-breasted suit jacket has Nucky’s signature high three-button front with notch lapels, a welted breast pocket, and slanted flapped hip pockets. Each sleeve is roped at the shoulder head and ends with four buttons and the Edwardian detail of a narrow gauntlet cuff.

Closer looks at Nucky's suit jacket and waistcoat details in "White Horse Pike" (Episode 4.10).

Closer looks at Nucky’s suit jacket and waistcoat details in “White Horse Pike” (Episode 4.10).

Nucky always wears this suit jacket open to show off the matching single-breasted waistcoat (vest) which has notch lapels like the jacket. The six-button waistcoat has four welted pockets, keeping his gold pocket watch in one pocket with the chain looped “double Albert” style below the middle button across the waist.

Steve Buscemi and Patricia Arquette in "The Old Ship of Zion" (Episode 4.08).

Steve Buscemi and Patricia Arquette in “The Old Ship of Zion” (Episode 4.08).

The inside of the suit jacket and the back of the waistcoat are lined in matching gold spotted brocade silk lining. There is also an adjustable strap across the lower back of the waistcoat.

The flat front trousers rise just high enough that the waistband remains unseen under the waistcoat. However, shots of Nucky preparing for the day in “The Old Ship of Zion” (Episode 4.08) show that the trousers are fitted with belt loops though he avoids those in favor of wearing suspenders (braces), sporting a set in blue-gray silk suspenders with russet brown leather hooks that connect to buttons along the inside of the waistband.

The trousers have side pockets, jetted back pockets that close through a single button each, and plain-hemmed bottoms.

Nucky dresses for the day in "The Old Ship of Zion" (Episode 4.08).

Nucky dresses for the day in “The Old Ship of Zion” (Episode 4.08).

Brown shoes are Nucky’s choice with this suit, sporting a pair of walnut brown leather oxfords in “The Old Ship of Zion” (Episode 4.08) and a darker pair of burgundy oxfords in “White Horse Pike” (Episode 4.10).

Shirts and Ties

Nucky Thompson’s style evolves as the Prohibition era progresses over the show’s timeline, particularly notable with his shirts. At the start of the series, set at the dawn of the decade in early 1920, Nucky wears a distinctive, old-fashioned “keyhole-cut” stiff white detached collar on all of his colorfully patterned shirts. Dress shirts with attached collars had only recently been patented after World War I by the Phillips-Jones Corporation (now Phillips-Van Heusen), though fussier and more sophisticated dressers like Nucky would have continued wearing their detached collar shirts.

By mid-decade, even traditional dressers like Nucky were taking their fashion cues from youth. Nucky still wore shirts with detached white collars during the show’s fourth season, set in 1924, but the collar shape more closely resembled an attached turndown collar, albeit still a clean contrast against his striped shirts.

“The Old Ship of Zion” (Episode 4.08)

“Well, you found the coffee,” a half-dressed Nucky comments as he walks out in the morning to find his nephew Will (Ben Rosenfield) poring over the newspaper with a cup of joe.

Nucky’s half-dressed state shows off his collarless striped dress shirt with a plain white neckband where he will later fasten the collar with a single brass stud in the front and back. The ecru shirt is covered in alternating triple stripe sets in periwinkle and tan. It buttons up a plain front and has self-double (French) cuffs with links that snap together.

Nucky snaps his cuff links together while talking with his nephew in "The Old Ship of Zion" (Episode 4.08).

Nucky snaps his cuff links together while talking with his nephew in “The Old Ship of Zion” (Episode 4.08).

Once Will declines his offer to join him on “some business” as his father Eli would be present, Nucky arrives at one of his liquor warehouses where a babbling Mickey Doyle is already driving both Thompson brothers crazy with an anecdote about accidentally dating his girlfriend’s sister.

After giving the lucky first bottle of a new shipment from Florida to Eli as an olive branch, Nucky is intrigued to see that the brassy barmaid Sally Wheet (Patricia Arquette) joined the booze on its way up from the Sunshine State.

By that time, Nucky has fully dressed for his day at work, having attached a white point collar with a hairline-width self-striping to the neckband of his shirt. The collar is pinned with a gold safety-style pin under the knot of his periwinkle silk tie, which is ornately patterned in large magenta-and-tan and orange-and-tan bursts.

Nucky greets an unexpected visitor.

Nucky greets an unexpected visitor.

Nucky wears a camel felt homburg with a dark brown ribbed grosgrain silk ribbon and camel grosgrain trim along the edge of the brim. As the weather is approaching a warm Atlantic City summer, he needs no overcoat.

Following an engage of bon mots with Sally, Nucky returns to his hotel home to find Mayor Ed Bader (Kevin O’Rourke) “havin’ a little chin wag” with Will.

“White Horse Pike” (Episode 4.10)

After discovering that drug dealer Vincenzo Petrucelli (Vincenzo Amato) is in league with New York gangsters Joe Masseria (Ivo Nandi), “Lucky” Luciano (Vincent Piazza), and Meyer Lansky (Anatol Yusef) to import heroin to the northeast via rum shipments to Nucky, Nucky once again has Lansky on his knees and at gunpoint.

Lansky: He would’ve killed us if we didn’t go along.
Nucky: You think I fucking won’t?

Even though Eli draws his .45 at that moment and holds it to Lansky’s head, history tells us that the man who famously once said the mob was “bigger than U.S. Steel” wouldn’t be killed in a New Jersey ditch in 1924, instead becoming one of the few mobsters to enjoy old age and relative retirement when he passed away in Miami Beach in January 1983 at the age of 80.

The rest of Nucky’s day includes meetings into the evening with friends like Chalky White (Michael K. Williams) and foe like Masseria and Dr. Valentin Narcisse (Jeffrey Wright), eventually preparing for battle by episode’s end as he racks his pistol and slips it into his inside jacket pocket.

Nucky once again wears a striped dress shirt with a detachable white point collar, though this shirt is striped in slate blue and lavender and has contrasting white double cuffs.

A tense phone call in "White Horse Pike" (Episode 4.10).

A tense phone call in “White Horse Pike” (Episode 4.10).

Nucky’s light pink silk tie is covered in a neat alternating sequence of burgundy octagons enclosing a tan square that itself encloses a gold circle and a larger, more complex design in gray, burgundy, navy blue, tan, and gold.

Nucky barks at Meyer Lansky, who once again finds himself on his knees and at gunpoint.

Nucky barks at Meyer Lansky, who once again finds himself on his knees and at gunpoint.

Nucky now wears a dove gray felt homburg with a black grosgrain ribbon.

“Farewell Daddy Blues” (Episode 4.12)

After the action-packed drama of the season, Will is back at his parents’ home, taking his father’s luggage out to Nucky’s waiting car, where he confronts his uncle after he saw him holding a gun to Eli’s head. “He’s your father, my brother, and I’m not the person you think I am,” responds Nucky.

Nucky wears a serene pale blue shirt devoid of stripes or any other patterns with self-double cuffs, though this shirt is also worn with his contrasting white collar. He wears a gold silk tie with small sets of four navy squares that all connect on a low-contrast yellow grid.

Nucky, more subdued than we're used to seeing him, in "Farewell Daddy Blues" (Episode 4.12).

Nucky, more subdued than we’re used to seeing him, in “Farewell Daddy Blues” (Episode 4.12).

The gray homburg from “White Horse Pike” (Episode 4.10) reappears as Nucky smokes and chats with Will from the back of his car.

What to Imbibe

In “The Old Ship of Zion” (Episode 4.08), the brothers Thompson are overseeing a shipment of rum from Florida, transported in boxes of “Alligator Supreme Oranges”. The growing rift between Nucky and Eli isn’t enough to stop the former from cracking open a box and gifting a bottle to Eli, assuring him that “it’s good luck.”

"The first bottle. It's good luck," Nucky assures Eli as he hands him a bottle from their latest illegal shipment.

“The first bottle. It’s good luck,” Nucky assures Eli as he hands him a bottle from their latest illegal shipment.

The brotherly love is interrupted by the unexpected arrival of Sally Wheet. After rebuffing Nucky’s dinner invitation, Sally grabs one of the discarded oranges sent with the liquor shipment and tosses it at Nucky as she walks away: “Here! Mix yourself a rum swizzle.”

While it hardly sounds like something that a dedicated whiskey drinker like Nucky Thompson would order, let’s take a look at the Rum Swizzle to see how much more than an errant orange it would take!

He's got rum and oranges... realistically, can Nucky carry out Sally's suggestion?

He’s got rum and oranges… realistically, can Nucky carry out Sally’s suggestion?

The Rum Swizzle emerged in the Caribbean during the 19th century, though many contemporary accounts describe a simple drink of local rum diluted with water and mixed with a forked root that would become known as “swizzle sticks” once they entered mass production in the years following Prohibition. When Alec Waugh held what he boasts as the world’s first cocktail party in April 1924, the same year that these episodes of Boardwalk Emprie are set, rum swizzles were on the esteemed novelist’s menu for his guests.

“Jamaican rum had been blended with Rose’s lime juice and sharpened with Angostura,” wrote Waugh for Esquire half a century later. “Large nuggets of ice kept the mixture cool. It was very potent. The first sip made me shiver, in the way that a dry martini does. It also sent a glow along my veins. ‘This,’ I said, ‘is going to be a party.'”

Sinclair Lewis was also a fan of the drink, including them in his 1925 novel Arrowsmith and his ex-wife, Vogue editor Grace Hegger, included them in her 1931 autobiography Half a Loaf about her time with him.

By Prohibition’s end, the concoction was firmly established as the national drink of Bermuda, where it was a house favorite at the Swizzle Inn in Bailey’s Bay on the north end of Hamilton Parish.

Nucky's got the rum and the orange...does he really need anything else?

Nucky’s got the rum and the orange…does he really need anything else? (Image sourced from goslingsrum.com)

To make a Bermuda Rum Swizzle, pour the following into a pitcher with crushed ice:

  • 4 ounces of black rum
  • 4 ounces of gold rum
  • 5 ounces of pineapple juice
  • 5 ounces of orange juice
  • juice of two lemons (optional)
  • 3/4 ounces of grenadine syrup (or 2 ounces of Bermuda falernum)
  • 6 dashes of Angostura bitters

Shake the pitcher ingredients with crushed ice until the mixture is frothing at the head, then strain into six chilled martini glasses or rocks glasses filled with ice and garnish each one with an orange slice, a cherry, and a pineapple wedge! In the spirit of Bermuda, Gosling’s rum is often recommended.

There are several other variants on the Rum Swizzle, including tiki guru Don the Beachcomber’s more potent version that swaps out the rums for 151-proof rum and adds a few drops of absinthe.

The Gun

Nucky Thompson prefers to conduct business as cleanly as possible without getting his hands dirtier than they would touching a bribe. When the times get tough, though, Nucky isn’t afraid to pack some heat.

After carrying smaller caliber Colt revolvers during the first three seasons of Boardwalk Empire, Nucky begins carrying a semi-automatic pistol with the blued Colt Model 1903 Pocket Hammerless that he chambers and pockets in “White Horse Pike” (Episode 4.10).

Nucky prepares for a confrontation in "White Horse Pike" (Episode 4.10).

Nucky prepares for a confrontation in “White Horse Pike” (Episode 4.10).

The Colt Model 1903 Pocket Hammerless, available in both .32 ACP and .380 ACP (the latter marketed as the “Model 1908 Pocket Hammerless”), was one of the most popular American handguns during the earlier half of the 20th century among both civilians and criminals. I can speak from experience when I say that, more than 100 years after my particular model was produced, a well-maintained Colt Model 1903 still operates with relative smoothness, reliability, and accuracy.

Nucky’s Colt pistol gets more prominent screen time in “Farewell Daddy Blues” (Episode 4.12) and he also carries it during the duration of the fifth season, albeit in a shoulder holster.

How to Get the Look

Steve Buscemi as Enoch "Nucky" Thompson on Boardwalk Empire (Episode 4.08: "Old Ship of Zion")

Steve Buscemi as Enoch “Nucky” Thompson on Boardwalk Empire (Episode 4.08: “The Old Ship of Zion”)

As his criminality deepens and Nucky Thompson drifts further away from his garrulous political position into a hardboiled gangster, his once-colorful wardrobe affects a more businesslike aesthetic in conservative shades of blue and gray while still incorporating the character’s signature sartorial affectations and tailoring details.

  • Blue glen plaid suit with navy, black, and rust check:
    • Single-breasted 3-button long jacket with notch lapels, welted breast pocket, slanted flapped hip pockets, 4-button gauntlet cuffs, and long single vent
    • Single-breasted 6-button waistcoat/vest with notch lapels, four welted pockets, notched bottom, and adjustable back strap
    • Flat front high-rise trousers with belt loops, straight/on-seam side pockets, jetted back pockets, and plain-hemmed bottoms
  • Light blue striped dress shirt with collarless neckband, plain front, and double/French cuffs
    • White hairline-striped detachable point collar
    • Gold collar pin
    • Snap-function cuff links
  • Light pastel-colored and neatly patterned silk tie
  • Blue-gray silk suspenders
  • Brown leather oxford shoes
  • Camel or gray felt homburg with ribbed grosgrain silk ribbon
  • Gold-filled Elgin open-face pocket watch with white dial (with Arabic numerals and 6:00 sub-dial) and 18″ gold “double Albert” chain with ruby-studded triple-cube fob

This suit inspired one of my own recent custom purchases, a three-piece suit tailored by Surmesur though I opted for wide peak lapels on a 3/2-roll jacket and a double-breasted waistcoat with sweeping peak lapels.

Do Yourself a Favor and…

Check out the whole series.

The Quote

Someone once told me all of man’s problems come from his inability to just sit in a room.

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