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Gary Cooper’s Aviator Uniform in Wings (1927)

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Gary Cooper as Cadet White in Wings (1927)

Gary Cooper as Cadet White in Wings (1927)

Vitals

Gary Cooper as Cadet White, U.S. Army Aviation Section, Signal Corps aviator

Camp Kelly (San Antonio, Texas), Spring 1917

Film: Wings
Release Date: August 12, 1927
Director: William A. Wellman
Costume Design: Travis Banton & Edith Head (uncredited)

Background

Ninety years ago today, Wings won the first Academy Award for Best Picture—more accurately, the award read “Academy Award for Outstanding Picture.” Though silent movies were still the norm at the time of Wings’ release in August 1927, The Jazz Singer introduced recorded sound to film upon its release two months later, and Wings remains the only true silent film (unless you include The Artist) to take home the Best Picture prize.

While elements of that first award ceremony at the Hollywood Roosevelt Hotel on May 16, 1929, are still traditions today—namely celebrities arriving in luxury cars to cheering fans—the ceremony itself, hosted by Douglas Fairbanks, lasted no longer than 15 minutes and was not broadcast on radio or television, nor was there any suspense for award nominees during the event as the winners in each of the twelve categories had been made public three months earlier.

Not only was the groundbreaking World War I aviation epic the first Oscar winner, it also launched the career of Hollywood legend Gary Cooper.

The 25-year-old Cooper was one of 35 actors who William A. Wellman looked at for the brief but important role of Cadet White, the confident aviator assigned to share a tent with the film’s two leads until he dies in an aviation crash (“a flock of figure eights before chow”) the same day. Though only on screen for two silent minutes a half hour into the movie, the actor’s easygoing yet electrifying charisma radiated off the screen and assured him a lifetime of leading roles for more than three decades to follow.

What’d He Wear?

Wings was the second film that legendary costume designer Edith Head worked on, following The Golden Bed (1925), though it was most assuredly Travis Banton who took the lead on the film as he was the de facto costume designer for star Clara Bow… despite Bow irritating him by making her own alterations to her costumes, such as cutting off the sleeves and—according to Bow’s biographer David Stenn—campaigning for a tight belt to be added to her military uniform to flatter her figure.

As opposed to Bow, with whom he had began a tumultuous affair despite her recent engagement to Victor Fleming, Gary Cooper was more assuredly an easier subject for the costume designers to work with as he was outfitted in the dapper leather greatcoat and uniform of an American aviator.

While he’s referred to as “Cadet” White, Cooper’s character isn’t commissioned with the full rank of Flying Cadet as that was not formally created until an act of Congress on July 9, 1918. He is, however, a student in the U.S. Army Signal Corps’ Aviation Cadet Training Program and thus attired in uniform pieces of the U.S. Army, albeit with additional garments specifically designated for the corps’ newly formed Aviation Section.

Per the U.S. Army uniform regulations issued in 1917 (Special Regulations No. 41):

Special articles of clothing for aviation purposes are provided and authorized as indicated hereafter. They are in addition to the usual articles of clothing for garrison and field service. All officers and enlisted men on duty in the Aviation Section will obtain them on memorandum receipt from the Quartermaster. They will be hold in addition to all the other clothing as required by these regulations.

Cadet White wears a long brown leather flying coat that extends to just above his knees, a dashing piece of outerwear that marked the early direction of aviation style before waist-length flight jackets became the standard with pieces like the leather A-2 and the nylon MA-1 later in the 20th century. The coat has broad lapels and a tightly spaced 6×3-button double-breasted front with an additional button under each side of the collar to close the coat at the neck.

Cadet White dresses for duty.

Cadet White dresses for duty.

In addition to the two parallel columns of three buttons down the front, White’s coat has a leather self-belt that closes through a double-ring metal buckle. The coat also has slanted set-in hand pockets at the waist level and half-tabs on each cuff to adjust the tightness around White’s wrists.

In the early days of U.S. military aviation, coats like these were typically not standard issue, especially to cadets. According to paragraph 75(b) of the 1917 regulations:

Leather aviator coats (or, in case of water squadron, antisinking coats).—Will be worn while engaged in flying, except in the tropics, where the leather coat may be dispensed with.

Many military pilots obtained leather flying coats through private purchases, like this similar tanned leather coat once owned and worn by Lieutenant John M. Schaupp, Jr., according to the U.S. Militaria Forum. Note the differences between this coat and Cooper’s coat, particularly the additional row of buttons on the front, the bellows pockets on the hips, and the additional vertical-opening pocket over the left breast.

Off to perform "a flock of figure eights before chow!"

Off to perform “a flock of figure eights before chow!”

Rather than the standing-collar tunic worn by both enlisted men and officers during World War I, the trio of cadets all wear the standard M1916 pullover shirt in olive drab woolen flannel with point collar and single-button cuffs. The long front placket extends about halfway down the shirt with three widely spaced buttons. The rectangular button-down flaps on the two set-in chest pockets were added for the M1916 pattern shirt, which the U.S. Army would continue to wear through 1937. Non-regulation M1916 shirts in a lighter weight cotton poplin with four-button plackets were also available for private purchase.

Affixed to each leaf of White’s collar are the bronze Type I collar discs with a “U.S.” disc on the right collar leaf and the regimental crossed flags signifying his service in the Signal Corps on the left.

Per paragraph 76(c), “when off duty, in permanent and maneuver camp and out of camp, officers and enlisted men will wear a plain black cravat tied as a four-in-hand. No other style or color of cravat will be so worn.” Cadet White wears a black tie that, unlike the straight ties of Jack and David, flares out to a wide blade on the bottom. All three cadets’ ties are short enough to reveal that the pullover shirt’s placket does not extend to the trouser waist line.

White’s flat front trousers are likely the same olive drab wool as his shirt, with thin belt loops, frogmouth-style slanted front pockets, and jetted back pockets. The bottoms of his trousers are tucked into the leggings worn over the top of his boots. He wears a khaki web belt that closes through a brass box-style buckle.

It looks like Cadet White missed a belt loop on the back right side.

It looks like Cadet White missed a belt loop on the back right side.

When the U.S. Army adopted its new uniform regulations in 1902, it also changed the color of its standard issue field boot leather from black to a russet brown. Cadet White wears these cap-toe field boots, derby-laced through eight eyelets and a set of speed hooks with a pair of light khaki canvas M1910 leggings covering the uppers and the bottoms of his trousers.

They can be differentiated as the M1910 leggings by their triple sets of eyelets: one pair at the top, one pair at the bottom, and one pair in the center. The later M1917 pattern leggings would be laced with eight eyelets coordinating with seven speed hooks opposite.

Both white and black socks were authorized for U.S. Army wear during World War I, though—other than the white ribbed crew socks on his cot—Cadet White’s socks are never seen as he keeps his boots and leggings on while taking his nap.

The 1917 uniform regulations illustrate the consistent overlap between gear specifically worn by aviators and motorcycle messengers, including the brown leather flying helmet and goggles:

Aviators and motorcycle messengers will wear special helmets prescribed. In summer they shall be of pliable russet leather, lined with felt; in cold weather, aviators will wear a fur-lined soft russet-leather helmet.

— Paragraph 89, 1917 uniform regulations

These early flying helmets were often constructed of leather for its warmth, waterproof, and windproof qualities as well as its relative flexibility in fitting a wearer’s head without taking up too much space. A wide flap on each side can be fastened with a strap under the chin.

Improved type of triplex goggles will be worn by all aviators and motorcycle messengers in the Aviation Section of the Signal Corps while engaged in their respective duties… Clear or amber-colored glass, according to the desire of the person using them.

— Paragraph 86, 1917 uniform regulations

Cadet White appears to be wearing the classic NAK flying goggles that were standard issue for U.S. Army aviators during World War I. The goggles themselves are laminated glass that appear to be amber-tinted, per the regulations above. The frame is a lightweight aluminum that folds in the center, backed by a chenille fur trim and held in place on a plain elastic strap worn over the helmet.

An example of NAK-V flying goggles, made by Resistal with small vents on the side of the frames, can be seen at Historic Flying Clothing. Read more about Triplex-type goggles at Military Sun Helmets.

You can read more about American military uniforms during World War I here. You can also see examples of various countries’ World War I aviator uniforms at The Vintage Aviator, including a photo of a U.S. pilot’s dark brown leather flying jacket, which looks slightly closer to Cooper’s coat than Lieutenant Schaupp’s example.

Go Big or Go Home

Cadet White’s choice of snack is still available today! In what has to be one of the earliest examples of prominent product placement on the big screen, White offers Jack a bite of his Hershey’s Milk Chocolate with Almonds bar, then drops the candy on his cot.

Admittedly, it's hard to argue that this is positive product placement as it's a partially eaten candy bar thrown onto a pair of discarded socks.

Admittedly, it’s hard to argue that this is positive product placement as it’s a partially eaten candy bar thrown onto a pair of discarded socks.

After White’s death, Jack and David are ordered to pack up the aviator’s belongings. They notice that the Hershey bar is placed atop both of his socks, so Jack gingerly picks up the socks and allows the Hershey’s to tumble back onto the bedding.

How to Get the Look

Gary Cooper as Cadet White in Wings (1927)

Gary Cooper as Cadet White in Wings (1927)

As the dashing but ill-fated aviator Cadet White, Gary Cooper supplements his standard U.S. Army uniform with the long leather coat, helmet, and goggles befitting his role.

  • Brown leather flying coat with wide lapels, 6×3-button double-breasted front, leather self-belt with double-ring buckle, slanted hand pockets, and single-button pointed-tab cuffs
  • Olive drab wool pullover M1916 shirt with point collar, half-length 3-button front placket, two flapped set-in chest pockets, and single-button cuffs
    • “U.S.” bronze Type I right-collar disc
    • Crossed flags Signal Corps insignia bronze Type I left-collar disc
  • Black tie
  • Olive drab wool flat front trousers with belt loops, slanted front pockets, and jetted back pockets
  • Khaki web belt with brass box-style buckle
  • Russet brown leather cap-toe field boots with eight derby-laced eyelets and speed hooks
  • Off-white ribbed crew socks
  • Light khaki M1910 canvas leggings
  • Brown russet leather flying helmet with ear flaps
  • NAK Triplex-type flying goggles with lightweight folding teardrop-shaped aluminum frame, chenille fur trim, and amber-tinted laminated glass lenses

Do Yourself a Favor and…

Check out the movie. The American military cooperated heavily in the production of Wings, providing plenty of resources from actual soldiers to equipment including nearly the entire existing fleet of U.S. Army pursuit planes.

The Quote

Luck or no luck, when your time comes, you’re going to get it!

Footnote

Gary Cooper followed up his portrayal of a Great War aviator in Wings by playing a Captain in the Royal Flying Corps the following year in Lilac Time (1928).


The Sopranos: Full Leather Jacket

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James Gandolfini as Tony Soprano on The Sopranos (Episode 2.08: "Full Leather Jacket")

James Gandolfini as Tony Soprano on The Sopranos (Episode 2.08: “Full Leather Jacket”)

Vitals

James Gandolfini as Tony Soprano, New Jersey mob chief

North Caldwell, New Jersey, Spring 2000

Series: The Sopranos
Episode: “Full Leather Jacket” (Episode 2.08)
Air Date: March 5, 2000
Director: Allen Coulter
Creator: David Chase
Costume Designer: Juliet Polcsa

Background

It’s the jaaacket!

As a series centered around life in the American Mafia, it’s no surprise that the fashions of The Sopranos feature plenty of leather jackets. But there’s only one jaaacket, and it’s this piece of throwback outerwear that gives the eighth episode of the second season its name.

Guest star David Proval (who turns 77 today!) starred as Richie Aprile, the excessively prideful ex-con who believes his “old school” values earn him a top spot in the North Jersey mob pecking order, though he often clashes against the rules established by new boss Tony Soprano (James Gandolfini).

Amid rising tensions between the two, Richie makes the peace offering of a leather jacket to Tony, excitedly recalling that he had taken the jacket a generation earlier from a famous local tough… but Tony is, at best, bemused by the vintage gift.

“Junior’s aside when Richie gives Rocco’s jacket to Tony—’He later died of Alzheimer’s’—illustrates how meaningless Richie’s petty, long-ago victory was,” notes Sopranos scholars Matt Zoller Seitz and Alan Sepinwall in their essay about the episode in The Sopranos Sessions, released to great acclaim earlier this year. “When Rocco breathed his last, he didn’t remember Richie’s triumph or anything else.”

After granting the jacket a sniff, Tony pays Richie the ultimate insult when—during a visit to Tony’s home—Richie spies the Soprano maid’s husband sledging through the house in his prized coat.

What’d He Wear?

Prior to “Full Leather Jacket”, we never actually see Tony Soprano wearing a leather jacket as all of his casual outerwear to this point had been cotton or gabardine bomber-style jackets. Of course, one minute in the coat received from ultimate trendsetter Richie Aprile, and Tony would soon begin wearing blousons and blazers in black and dark brown leather from the end of the second season through the series finale.

One could hardly call Richie Aprile’s taste in clothing refined, and his outerwear in particular seems to consist of a cycle of ratty Members Only jackets. However…

Tony: What’s dis?
Richie: “What’s dis?” It’s the jaaacket!
Tony: The jacket…
Richie: The jacket I took off Rocco DeMeo.
Tony: Oh yeah… yeah.
Richie: Cocksucker had the toughest reputation in Essex County, but he never came back after I got ‘tru wit’ him.
Uncle Junior: He later died of Alzheimer’s.
Tony: Oh yeah?
Richie: Try it on!
Tony: It’s your fuckin’ jacket.
Richie: You love this jacket! You and my kid brother, you woulda killed for this jacket… silk lining, fine Corinthian leather… nobody believed with my size, I could carry this jacket, but with the belt… it was like Rommel.
Tony: It’s a… nice jacket.

"Ya look like Robert Evans over heah," says Richie of Tony after the latter reluctantly dons the jacket, recalling the famous movie producer of the '70s.

“Ya look like Robert Evans over heah,” says Richie of Tony after the latter reluctantly dons the jacket, recalling the famous movie producer of the ’70s.

The mahogany leather car coat has wide lapels that suggest its 1970s provenance and closes with a closely spaced 4×2-button double-spaced front with a full self-belt that wraps around the waist and closes through a single-prong buckle. The bellows pockets on the hips are box-pleated with quilted single-button flaps that match the quilting on the wide turnback cuffs.

Tony takes a whiff of that fine Corinthian leather.

Tony takes a whiff of that fine Corinthian leather.

Richie claims that the coat is made from “fine Corinthian leather,” a marketing shortcut for the Newark-processed leather developed by Chrysler in the mid-’70s. Chrysler’s advertising agency Bozell had first used the term “Corinthian leather” the previous year in advertising materials for the 1974 Imperial LeBaron, though it was popularized by celebrity spokesperson Ricardo Montalban as he described the “rich Corinithan leather” used to make the cushioned seats offered in the 1975 Chrysler Cordoba.

The lining does appear to be silk, per Richie’s dialogue, though the sky blue, old gold, and white paisley pattern covering it is hardly the stuff of opulent luxury.

Check out that lining!

Check out that lining!

Tony wears a short-sleeve cream-and-black knit pullover, styled like a T-shirt with a raised and ribbed mock-neck in cream. The ends of the elbow-length short sleeves and the hem are also ribbed in cream, except for the right sleeve which is black to match that side of the shirt.

The shirt is mostly cream save for the front right side—including the right sleeve—that is black. The black right side is separated by the cream left side with a tan zig-zag vertical line that begins a series of parallel zig-zag lines in white, brown, tan, white, and brown out to the end of that side of the shirt, all extending down from the shoulder seam to just above the ribbed hem. The only decoration on the black right side of the shirt is a small abstract embroidered pattern in dark brown, beige, and tan that resembles steam rising from a freshly poured cup of coffee.

Tony wears black trousers with either double or triple sets of reverse pleats, side pockets, and jetted back pockets that each close with a button. The untucked shirt covers his waist, though he’s probably wearing a black belt.

Tony checks out the material of Richie's own jacket.

Tony checks out the material of Richie’s own jacket.

Contrasting the flashy jacket and loud shirt on his upper half, Tony wears a subdued pair of black calf apron-toe derby shoes and black socks.

Naturally, Tony wears his full complement of gold jewelry and accessories, including his yellow gold Rolex Day-Date ref. 18238 on the “President” link bracelet, gold wedding ring, ruby-and-diamond gold ring on his right pinky, and gold figaro chain-link bracelet on his right wrist. While we don’t see it due to the high neck of his pullover, he likely is wearing his usual gold necklace with the St. Jerome pendant as well.

James Gandolfini as Tony Soprano on The Sopranos (Episode 2.08: "Full Leather Jacket")

James Gandolfini as Tony Soprano on The Sopranos (Episode 2.08: “Full Leather Jacket”)

How to Get the Look

Whether you’re trying to look like Rocco DeMeo or Robert Evans, Richie Aprile’s got you covered with a super ’70s jacket.

  • Mahogany “Corinthian leather” double-breasted car coat with wide lapels, self-belt, box-pleated bellows pockets with quilted flaps, and quilted gauntlet cuffs
  • Cream-and-black abstract patterned knit mock-neck
  • White ribbed cotton sleeveless undershirt
  • Black double reverse-pleated trousers with belt loops, side pockets, jetted button-through back pockets, and turn-ups/cuffs
  • Black leather belt with single-prong buckle
  • Black calf leather apron-toe derby shoes
  • Black socks
  • White ribbed cotton sleeveless undershirt
  • Rolex President Day-Date 18238 yellow gold wristwatch
  • Gold open-link chain bracelet
  • Gold pinky ring with ruby and diamond stones
  • Gold wedding ring
  • Gold open-link chain necklace with round St. Jerome pendant

Do Yourself a Favor and…

Check out the entire series, but watch the second season to see the jaaacket!

The Quote

So what brings you to an English-speaking neighborhood?

Kevin Costner as Frank Hamer in The Highwaymen

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Kevin Costner as Frank Hamer with a Remington Model 8 rifle in The Highwaymen (2019)

Kevin Costner as Frank Hamer with a Remington Model 8 rifle in The Highwaymen (2019)

Vitals

Kevin Costner as Frank Hamer, tough Texas special investigator and former Texas Ranger

Texas and Louisiana, Spring 1934

Film: The Highwaymen
Release Date: March 15, 2019 (March 29, 2019, on Netflix)
Director: John Lee Hancock
Costume Designer: Daniel Orlandi

Background

Following a decorated career in law enforcement that found him bravely and successfully leading investigations and captures of violent criminals, Frank Hamer is not the sort of man who should need a cultural reevaluation in his defense. And yet, it was the most celebrated victory of Hamer’s career—bringing an end to Clyde Barrow and Bonnie Parker’s violent crime spree—that would eventually result in the former Texas Ranger being villianized in the 1967 film Bonnie and Clyde that romanticized the titular outlaw couple to carry out its countercultural message.

Perhaps unwilling to drag the real Frank Hamer’s name through the mud, Robert Benton and David Newman had actually renamed the gang’s hunter Frank Bryce in their original screenplay, initially distancing the film’s deceitful, mustache-twirling villain from the diligent real-life Hamer… until the legendary Ranger’s surname was restored for the character that would eventually be portrayed by Denver Pyle.

Furious at the unfair portrayal of her husband, Hamer’s widow Gladys successfully sued the producers for defamation of character, receiving an out-of-court settlement in 1971. Unfortunately, the cultural damage to Hamer’s name had already been done and he was firmly entrenched in the minds of Bonnie and Clyde‘s audiences as a bitter, cruel, and petty manipulator rather than the thoughtful and disciplined lawman that capped a celebrated career with a methodical and dedicated three-month pursuit that ended the bloody career of two of America’s most notorious criminals.

The real Frank Hamer in 1934 with the black Ford V8 he drove for thousands of miles that spring in pursuit of Bonnie and Clyde.

The real Frank Hamer in 1934 with the black Ford V8 he drove for thousands of miles that spring in pursuit of Bonnie and Clyde.

Gladys Hamer wasn’t alone in her frustration with the posthumous re-imagining of her brave husband as a villainous figure. Nearly 40 years after Pyle’s Frank Hamer exacted his petty revenge against Warren Beatty and Faye Dunaway’s glamorous Bonnie and Clyde, screenwriter John Fusco had successfully pitched his long-time idea of cinematic redemption for Frank Hamer. The original concept was to reunite Paul Newman and Robert Redford to play Hamer and Maney Gault, the fellow former Ranger who eventually joined Hamer’s hunt for the outlaw couple, until Newman’s death in 2008 meant a different direction would be needed. Finally, in February 2018, Netflix announced that the film had entered production as The Highwaymen. with Kevin Costner and Woody Harrelson starring as Hamer and Gault, respectively, with the title referring to the ex-Rangers’ special commission for the Texas Highway Patrol.

The real Star Service Station owned by Henry Barrow on Eagle Ford Road (above) and The Highwaymen's recreation of it (below).

The real Star Service Station owned by Henry Barrow on Eagle Ford Road (above) and The Highwaymen‘s recreation of it (below).

Despite taking some liberties with historical facts, the film goes to considerable lengths to recreate the details of the hunt for the Barrow gang, recalling many of the correct dates, names, and places, such as H.B. Barrow’s Star Service Station on Eagle Ford Road in West Dallas. The Highwaymen also includes details that aren’t as well-known parts of the Barrow gang legend, such as Clyde’s habit of wearing ladies’ wigs to disguise himself, Emma Parker’s “red beans and cabbage” code when her daughter Bonnie would be returning home, and the Barrow and Parker families’ furtive communication with the gang via thrown bottles. Even the actual criminals’ cigarette preferences—unfiltered Camels for Bonnie and hand-rolled Bull Durham for Clyde—are included.

In addition to the ex-Rangers Hamer and Gault, we also meet the officers that assisted Hamer during his pursuit of the killers, including Smoot Schmid, Ted Hinton, and Bob Alcorn from the Dallas County Sheriff’s Office and Henderson Jordan and Prentiss Oakley, the Louisiana sheriff and deputy who joined Hamer, Gault, Hinton, and Alcorn for the famous ambush on May 23, 1934. (Read more about the posse and see photos here.)

A month after Netflix announced that production of The Highwaymen was underway, the filmmakers were on location on Louisiana State Highway 154, setting the scene for the final ambush near where the original incident had taken place, a few miles south of Gibsland. They planted trees along the right-of-way and added dirt to cover the blacktop, converting the asphalt two-lane highway into the one-lane dirt road that had been Bonnie and Clyde’s last stop on that quiet spring morning.

The film shows Hamer and his fellow officers reviewing their results on May 23, 1934.

The film shows Hamer and his fellow officers reviewing their results on May 23, 1934.

On the 85th anniversary of his permanently closing the case on Bonnie and Clyde, today’s post looks at a more positive look at Frank Hamer via Kevin Costner’s performance as the weathered lawman in The Highwaymen, released onto Netflix less than two months ago.

What’d He Wear?

“Frank did not start fights, he became adept at the ending them,” states John Boessenecker in his biography of Hamer, Texas Ranger: The Epic Life of Frank Hamer, the Man Who Killed Bonnie and Clyde. This reputation made Hamer the ideal candidate as the man leading the charge to end Clyde Barrow’s violent criminal career.

Following the deadly Eastham Prison Farm jailbreak organized by Bonnie and Clyde, Texas prison chief Lee Simmons (John Carroll Lynch) approaches the grizzled ex-Ranger Frank Hamer at his home and asks him to “put them on the spot”. Hamer takes some time to consider the offer before leaving home to take on his new task of bringing these dangerous fugitives to justice.

Kevin Costner as Frank Hamer in The Highwaymen, armed with a Single Action Army in his belt and a Remington Model 11 shotgun in his hand.

Kevin Costner as Frank Hamer in The Highwaymen, armed with a Single Action Army in his belt and a Remington Model 11 shotgun in his hand.

Much dialogue in The Highwaymen concerns whether or not Texas Rangers like Frank were anachronistic in an age of criminals armed with automatic weapons and high-powered cars, though Frank’s fashion sense has kept up with the times with his striped three-piece suit and dark fedora replacing the wide-brimmed Stetson and spurs that he wore a generation earlier while patrolling the Texas border.

According to author John Boessenecker, Hamer had indeed abandoned the cowboy aesthetic as he took on the more visible role of senior captain of the Texas Rangers in the early 1920s, adhering to the new rules and regulations established in 1919 that expressly prohibited “the wearing of boots, spurs, wide belts, etc., or having a pistol exposed while visiting cities of towns.” Thus, Hamer stashed away his cowboy boots, wide-brimmed hat, and western gear when not hunting in favor of business suits and narrow-brimmed Stetsons… though Old Lucky was still tucked in his waistband, out of sight but easily accessible should trouble arise.

Costner’s Hamer spends his entire pursuit of Bonnie and Clyde wearing the various pieces of a dark striped flannel three-piece suit. The charcoal suiting is patterned with double sets of thin burgundy stripes, each shadowed on the outside by a thicker muted gray stripe.

Hamer confronts his old pal Maney Gault on the streets of Lubbock before agreeing to let him join the manhunt.

Hamer confronts his old pal Maney Gault on the streets of Lubbock before agreeing to let him join the manhunt.

The single-breasted, two-button suit jacket has notch lapels, a welted breast pocket, straight flapped hip pockets, three-button cuffs, and a single vent. The details are safe but timeless, allowing Hamer—a man of modest tastes and arguably little interest in fashion—to need no more than this single suit to fit his needs.

Months after beginning their pursuit of Bonnie and Clyde, Hamer and Gault find luck with an informant, Ivy Methvin (W. Earl Brown), whose fugitive son Henry is the latest addition to the Barrow gang.

Months after beginning their pursuit of Bonnie and Clyde, Hamer and Gault find luck with an informant, Ivy Methvin (W. Earl Brown), whose fugitive son Henry is the latest addition to the Barrow gang.

The suit has a matching waistcoat (vest) that gives Hamer some versatility as he adds and sheds layers during his investigation that extends from February into the warmer late spring months. The single-breasted waistcoat has six buttons that fasten down the front to a notched bottom. There are four welted pockets on the front and an adjustable strap across the lower back.

Dressed down in Dallas.

Dressed down in Dallas.

Hamer’s suit trousers are styled with double reverse pleats, a 1920s trend that would have also comfortably accommodated the aging lawman’s expanding midsection. They have slanted side pockets, jetted back pockets with a button through the left pocket, and plain-hemmed bottoms.

Hamer wears a black leather belt with a dulled silver-toned box-style buckle. While some menswear experts would advise against wearing a belt with a three-piece suit, Hamer put practicality before sartorialism and required the stability of a belt for his trousers as he made a practice of tucking “Old Lucky”, his heavy .45-caliber Colt Single Action Army revolver, in his waistband. Also, as Hamer frequently dressed suit sans waistcoat—and jacket, on some occasions—it would make perfect sense to wear a belt… not to mention that Frank Hamer doesn’t give a damn about your sartorial advice.

Gault, Hamer, and Hinton investigate a double murder in Grapevine.

Gault, Hamer, and Hinton investigate a double murder in Grapevine.

While dressed in the striped three-piece suit, white shirt, necktie, and fedora of any regular businessman of the era, Hamer’s black leather boots with their tall shafts and pointed toe caps subtly nod to his history as a Ranger without overwhelming the rest of the outfit.

The choice is somewhat at odds with Hamer’s onetime remark that “boots were made for riding, and I’ve got no desire to look like a ‘pharmaceutical Ranger’,” but these particular boots are subtle enough that they don’t draw attention like a more colorful or decoratively stitched leather would.

The Grapevine investigation continues.

The Grapevine investigation continues.

Hamer wears exclusively white self-striped lightweight cotton shirts. Each shirt has a point collar, front placket, button cuffs, and a breast pocket where he keeps his frequent packs of Lucky Strike cigarettes. The film’s production team correctly used the pre-World War II green packets before the brand switched to its white packs with red “bullseye” centers.

Note the green bulge in his breast pocket where he keeps his packet of Lucky Strike cigarettes.

Note the green bulge in his breast pocket where he keeps his packet of Lucky Strike cigarettes.

“Frank, shedding his coat and shoes, collapsed in a chair, removed his necktie, and undid three buttons on his green shirt,” recounts John Boessenecker of hours following Hamer’s ambush of Bonnie and Clyde, providing some colorful context to the black-and-white photos of Hamer and his posse that day.

Costner’s shirts as Hamer are shirred in the back with six narrow pleats gathered at the center under the horizontal yoke.

Hamer cycles through five ties over the course of his investigation, all wide ties with small four-in-hand knots and a short length that come up a few inches short of his trouser waistband.

He begins and ends the manhunt wearing the same tie, a black and charcoal striped tie that appears to be widely striped in the “downhill” (right shoulder down to left hip) direction but in fact consists of blocked sets of hairline-width stripes. Perhaps due to the solemnity of both occasions that he wears it—leaving home and then dressing for the final kill—it is the only tie that Hamer wears tightened rather than loose with an open collar.

The almost-black effect of the tie and the suit are fitting options for Hamer to wear on the first and last days of the manhunt when he knows he will be dealing death to Bonnie and Clyde.

The almost-black effect of the tie and the suit are fitting options for Hamer to wear on the first and last days of the manhunt when he knows he will be dealing death to Bonnie and Clyde.

“Happy Easter,” Hamer greets Gault with when they wake up in the front seat of the Ford on the morning of Sunday, April 1. In reality, Hamer spent Easter morning at home with his family in Austin before he received news of the double cop killings in Grapevine that set him back on the trail of Bonnie and Clyde.

Hamer fittingly wears his most festive and colorful neckwear for this typically celebratory spring holiday, a crimson red tie with small white polka dots.

On Easter morning, Hamer performs more troubling duties, investigating the double murder of policemen E.B. Wheeler and H.D. Murphy outside of Grapevine, Texas. The "festive" red tie for Easter coordinates with the blood being spilled by the Barrow gang.

On Easter morning, Hamer performs more troubling duties, investigating the double murder of policemen E.B. Wheeler and H.D. Murphy outside of Grapevine, Texas. The “festive” red tie for Easter coordinates with the blood being spilled by the Barrow gang.

Days later, Hamer and Gault extend their pursuit of the Barrow Gang beyond Texas. “Open range now,” comments Gault as they drive into Oklahoma, where they find uncooperative witnesses from a service station attendant to a migrant camp. During this excursion, Hamer wears a dark navy tie with closely spaced pin-dot stripes alternating in baby blue and tan in the “uphill” direction. Hamer wears the same tie a few weeks later when questioning the recently furloughed Wade McNabb, another reluctant informant.

Hamer and Gault find themselves at a literal crossroads on April 6, 1934, immediately following Barrow’s murder of Constable Cal Campbell outside of Commerce, Oklahoma. The two ex-Rangers drive into Coffeyville, Kansas—famously the town where the Dalton gang was shot to pieces attempting a double bank raid in 1892—for lunch and a discussion of Hamer’s 16 gunshot wounds. The lunch leads to an entertaining (but ultimately fictional) car chase that ends up with Clyde’s Ford leaving Hamer and Gault in the dust.

Hamer wears yet another striped tie with a dark navy ground for this occasion, though the “downhill” stripes alternate in medium and light gray, separated by a thin burgundy stripe. This tie also appears with the full three-piece suit when Hamer and Gault travel to Bienville Parish in search of Henry Methvin’s family.

Gault and Hamer exchange typical casual lunch conversations about how many bullets Hamer is carrying in him. (Sixteen, by the way.)

Gault and Hamer exchange typical casual lunch conversations about how many bullets Hamer is carrying in him. (Sixteen, by the way.)

Fed up with the lack of cooperation and progress of his manhunt, Hamer is depicted as storming into the Star Service Station one mid-April day for a one-to-one chat with Clyde’s father Henry Barrow (William Sadler). This tense conversation marks the sole appearance of Hamer’s navy self-patterned tie.

Two men very disappointed in Clyde Barrow: Frank Hamer, his eventual killer, and Henry Barrow, his relatively honest father.

Two men very disappointed in Clyde Barrow: Frank Hamer, his eventual killer, and Henry Barrow, his relatively honest father.

Hamer looks more businessman than cowboy in his all-black fedora, which looks similar to one that the real-life Ranger was photographed wearing during the Barrow gang manhunt in 1934. The hat has a pinched crown and a black ribbed grosgrain silk band.

In his somber striped business suit, white shirt, necktie, and fedora, Frank Hamer could just be a typical 1930s businessman leaving his home in a Ford sedan on his way to work. The Remington Model 8 semi-automatic rifle in his hand may give a different impression, however.

In his somber striped business suit, white shirt, necktie, and fedora, Frank Hamer could just be a typical 1930s businessman leaving his home in a Ford sedan on his way to work. The Remington Model 8 semi-automatic rifle in his hand may give a different impression, however.

Not surprisingly, Hamer wears no jewelry aside from a plain gold wedding band on the third finger of his left hand. The ring symbolizes his marriage to his second wife, Gladys (Kim Dickens), who Hamer married in 1917 while serving as a special bodyguard to Gladys’ father, rancher Billy Johnson.

The circumstances of the early days of the Frank and Gladys Hamer union against the backdrop of the Johnson-Sims Feud make for one of the more thrilling lesser-known passages in Hamer’s history, particularly the couple teaming up for a gunfight in Sweetwater, Texas, that led to the death of Gladys’ deceased husband’s brother-in-law and former Ranger, “Gee” McMeans. This October 1917 shootout—one of 52 that Hamer recalled from his lifetime—is thrillingly recounted in John Boessenecker’s book as well as this 2016 article by Bob Boze Bell for True West magazine.

Hamer decides his next move.

Hamer decides his next move.

The first few months of Hamer’s manhunt had been primarily an investigation that found the lawman following leads across the South and Midwest. It wasn’t until May 23, 1934, that the veteran gunfighter was expecting combat. Thus, Costner’s Hamer supplements his full three-piece suit with a cartridge belt loaded with rifle rounds—likely .35 Remington—to be fully prepared to take down the Barrow gang.

Gault maintains fire with his Colt Monitor as Hamer tosses aside his Remington Model 8 in favor of Old Lucky.

Gault maintains fire with his Colt Monitor as Hamer tosses aside his Remington Model 8 in favor of Old Lucky.

The Car

“‘spose you’re gonna wanna take my new Ford,” Gladys Hamer observes when she realizes there’s no convincing her husband not to take up the hunt for Bonnie and Clyde.

Gladys’ stunning black 1934 Ford V8 sedan with its red-spoked wheels is the ideal choice for chasing the criminals, not just for the power—”85 horses, ain’t she fun?” suggests Gladys—but also because it was the same car favored by Barrow himself when making his speedy getaways. While police at the time were often equipped with older model Plymouths, Dodges, and Chevrolets with six-cylinder engines, Hamer’s Ford V8 made him Barrow’s automotive equal… and thus a more suitable hunter.

#CarWeek is still more than a month away at BAMF Style, but The Highwaymen features enough glamour shots of Gladys’ “new Henry Ford” that it could practically be a commercial for owning your own ’34 Ford V8… which, to be honest, is a personal goal of mine.

Having changed the automotive industry for a quarter century with the introduction of the Ford Model T in 1908, the company was craving its next major innovation at the start of the Depression era. In 1932, the same year that Clyde Barrow was released from prison, began his crime spree with Bonnie Parker, and committed his first confirmed murders, Ford introduced its legendary “flathead” V8 engine. While cars with eight-cylinder engines were hardly new at the time, they were rarely affordable until Ford introduced its relatively powerful 221 cubic-inch V8, powered by 65 horses, as the standard engine for the 1932 Ford Model 18.

Over the next two years, Ford made incremental improvements to the flathead V8 engine, increasing output to 75 horsepower in 1933 (for the Model 40) and finally 85 horsepower in 1934 (for the Model 40B). By this time, Clyde Barrow’s unparalleled driving skills were legendary among law enforcement and the public, and the gang stole V8-powered Fords almost exclusively to the point that Barrow reportedly penned a now-famous letter to Henry Ford in April 1934, praising and thanking him for the “dandy car” his company produced.

1934 Ford V8 Fordor Deluxe (Model 40B)

THE HIGHWAYMEN

Body Style: 4-door sedan

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

Engine: 221 cu. in. (3.6 L) Ford flathead V8

Power: 85 hp (63 kW; 86 PS) @ 3800 RPM

Torque: 150 lb·ft (203 N·m) @ 2200 RPM

Transmission: 3-speed manual

Wheelbase: 112 inches (2845 mm)

Length: 147 inches (3734 mm)

Width: 57 inches (1448 mm)

Height: 63 inches (1600 mm)

After 1934, Ford dropped its lower performance options, leaving only the flathead V8 across its various body styles and models for 1935 and 1936, a decision that would catapult it beyond Chevrolet as sales leader. With the flathead V8 ostensibly perfected in 1934, Ford focused on primarily cosmetic updates to all of its models through the end of the Depression and into the early years of World War II when all American automobile production was temporarily suspended.

Putting the highway in "highwaymen".

Putting the highway in “highwaymen”.

As well as Hamer’s black Ford V8, the Barrow death car was also well-represented, even with the correct Arkansas license plates (#15-368) that were fitted to the car when it rolled to a stop in front of the posse’s rifles and shotguns on May 23, 1934.

Described as “Cordoba gray” though the actual color was closer to a light tan, the 1934 Ford Model 40 (Type 730) DeLuxe Fordor Sedan rolled off the River Rouge assembly plant in February 1934, where it was shipped to the Mosby-Mack Motor Company and purchased by Ruth Warren of Topeka, Kansas, on March 15 for $835. The new Ford had only been in the Warren family for weeks when it was stolen by Bonnie and Clyde on April 29. Having switched Mrs. Warren’s Kansas license plates #3-17832 out for Arkansas plates, the outlaw couple were the de facto owners of the car until they were shot to pieces inside it less than four weeks later.

Armed with Old Lucky, Hamer does his part in shooting the car to pieces.

Armed with Old Lucky, Hamer does his part in shooting the car to pieces.

Henderson Jordan, sheriff of Bienville Parish, Louisiana, where the couple was killed and one of the members of the posse who shot them, initially refused to return Mrs. Warren’s car to her until he was threatened with imprisonment by a federal judge. Read more about the famous “death car” here.

The Guns

The real Maney Gault and Frank Hamer pose with a BAR and Remington Model 11 shotgun found in the Barrow gang's death car, May 1934.

The real Maney Gault and Frank Hamer pose with a BAR and Remington Model 11 shotgun found in the Barrow gang’s death car, May 1934.

Frank explained why he had been victorious in so many shootings. After pointing out that his preferred weapon was a rifle, he explained how he used a revolver. “The great thing about shooting with a six-gun is to hold it steady and not to shoot too quick. What I mean is this: a man who is afraid, who is nervous, cannot shoot straight with a six-shooter grasped in his hand. The muzzle of the gun will wobble with every nervous beat in his hand… When you’ve got to fight it out with a six-shooter the only sure way is to make the first shot count… Take it slow and cool. Don’t get excited.”

— John Boessenecker, Texas Ranger: The Epic Life of Frank Hamer, the Man Who Killed Bonnie and Clyde, Chapter 12 (“Gunfighter”)

While skill with firearms isn’t unexpected for a Texan born and bred in the waning days of the Old West, Frank Hamer was legendarily adept with everything from revolvers to rifles. The legendary Ranger’s particular favorite sidearm was “Old Lucky”, the 4.75″-barreled single-action “Quickdraw Model” Colt .45 he was presented with during his tenure as the popular city marshal of Navasota, Texas, between his appointments as a Texas Ranger. As Boessenecker recounts:

Navasota’s city council was pleased with Hamer’s performance, and that spring they increased his salary to $100 a month. Equally impressed was C.M. Spann, the county attorney. In June 1910 he presented Frank with a fancy, engraved single-action Colt .45 revolver, F.A. HAMER inscribed on the back strap. This was the first time Hamer had ever received such a magnificent gift, and he was deeply touched by the gesture. He would carry this Colt—his favorite—through many trying years in the Texas Rangers and nicknamed it Old Lucky.

Indeed, Hamer would carry Old Lucky throughout his entire life, defending himself during the Sweetwater gunfight in 1917 where he fought side by side with his new wife Gladys, showing off with it during shooting expeditions while cleaning up Texas boom towns in the 1920s, drawing it from his waistband after ambushing Bonnie and Clyde in the 1930s, and even showing it off to “King of the Cowboys” himself Roy Rogers upon meeting the star at his California home in the late 1940s. Old Lucky was eventually auctioned for $165,000.

The Highwaymen reinforces Frank Hamer and Maney Gault’s cowboy natures by arming them with Single Action Army revolvers, as at least Hamer certainly was in real life, with Costner’s Hamer first seen fine-tuning his skills by paying some local kids to toss bottles in the air for him to shoot. Costner also co-opts Hamer’s real-life practice of carrying Old Lucky in his waistband, sans holster.

Frank introduces a stubborn service station attendant to Old Lucky.

Frank introduces a stubborn service station attendant to Old Lucky.

The Remington Model 8 semi-automatic rifle is prominently featured as one of Hamer’s own weapons that he packs along for the journey, arming himself with it as he did in real life for the May 1934 ambush. Designed by John Browning, the recoil-operated Model 8 was introduced to the civilian market in 1905 as the first commercially successful semi-automatic rifle and found quick success in the sport hunter market, though it was also favored by law enforcement. In fact, Frank Hamer owned and used several different Model 8 rifles that he used for both purposes.

Remington introduced four new rounds for the Model 8:  .25 Remington, .30 Remington, .32 Remington, and .35 Remington. Hamer notably carried the former during an October 1918 expedition to capture and kill the dangerous criminal Encarnacion Delgado. “Good God! Watch Frank use the pear burner on him!” exclaimed a member of Hamer’s posse as he observed Hamer squeezing the trigger of his .25-caliber Remington Model 8 so quickly that “the blazing muzzle looked like the flame of a ‘pear burner’ torch,” as Boessenecker describes.

In the spring of 1922, Hamer was presented with “a beautifully scroll-engraved .30-caliber [Remington] Model 8 semiautomatic rifle, inscribed CAPT. FRANK HAMER OF THE TEXAS RANGERS on the left side of the frame,” which was shipped to the same Petmeckey’s Sporting Goods store in Austin where the Rangers often purchased their weaponry. This .30 Remington would become Hamer’s favorite deer hunting rifle.

A decade later, an all-new Remington Model 8 would come into play for the most storied chapter of Hamer’s life: the hunt for Bonnie and Clyde. Having lent his .25-caliber Remington Model 8 to Maney Gault to use in the ambush, Hamer armed himself with a customized Model 8 chambered in .35 Remington, the most powerful round offered for this particular rifle. (Prentiss Oakley, deputy sheriff of Bienville Parish, Louisiana, was also armed with a borrowed Remington Model 8A that he reportedly used to fire the first fatal shots.)

Hamer’s rifle, serial number #10045 was a special order from Petmeckey’s originally with a 15-round box magazine that was modified to accept a “police only” 20-round magazine, obtained via the Peace Officers Equipment Company in St. Joseph, Missouri. Every last round would count against the well-armed Clyde Barrow.

Armed with his Remington Model 8, Frank Hamer prepares for his final showdown with Clyde Barrow and Bonnie Parker.

Armed with his Remington Model 8, Frank Hamer prepares for his final showdown with Clyde Barrow and Bonnie Parker.

Despite their reputation as old-fashioned cowboys, the Rangers kept up with the latest technology and weaponry that would keep them evenly matched with the increasingly well-armed criminals they faced. In fact, the Rangers were the first to introduce airplanes to Texas law enforcement during the Mexia boomtown raids in early 1922 and a reporter breathlessly noted “they are armed with machine guns, high-powered rifles, and automatic pistols” as Hamer and his Rangers held off a Waco lynch mob that spring.

While Hamer still proudly carried his single-action “Old Lucky” during this period, the Rangers did not stubbornly stick to their tried-and-true 19th century firearms and eagerly adopted the most innovative tools of the trade. As early as January 1922, three Thompson submachine guns were purchased for the Rangers with some of Hamer’s men—though not the senior captain himself—fielding portable .45-caliber “tommy guns” during raids in Mexia and corrupt Texas boomtowns.

Like his prey Barrow, Frank Hamer had little use for the Thompson despite the Rangers’ enthusiastic adoption of the weapon in the early 1920s. Boessenecker writes that “the Thompson was the antithesis of Hamer’s style of combat shooting. He believed in calm, deliberate marksmanship, firing as few shots as possible, thus reducing the danger to innocent civilians… For those who carried a Thompson, calmness, deliberation, and deadly marksmanship were not part of the equation. Hamer recognized that its threatening appearance would be useful in cowing mobs, but he never once used a fully automatic weapon in a gunfight.”

The Highwaymen features an entertaining scene that finds a lone Hamer entering a Lubbock, Texas, gun store at the start of his manhunt. He pulls out a small book that guided some of his research and declares:

I’d like to have a look at that Thompson submachine gun… and the Colt Monitor machine-rifle—one up top there with the custom pistol grip—and a Colt automatic pistol and a 1917 Smith right behind it. And I wanna see that BAR, .30-06. And the ’03 Springfield with the glass up top there. And that Remington Model 11 riot gun over there.

The Lubbock gun store clerks meet their new favorite customer.

The Lubbock gun store clerks meet their new favorite customer.

Like the Ford V8 sedan that he transports his high-caliber stockpile in, all of the weapons that Hamer chooses were known to be used by the Barrow gang. The BAR, of course, was Clyde’s favorite, and the gang always had many .45-caliber M1911 pistols in stock from its frequent robbing of military and police armories, often stealing more than three dozen at a time. Clyde also got his hands on a stag-gripped Smith & Wesson M1917 revolver—identified in several of the gang’s famous photos taken in the spring of 1933—taken from Springfield, Missouri, motorcycle cop Tom Persell after they had kidnapped him for a few hours that January. The short-barreled Remington Model 11 semi-automatic shotgun in both 12- and 16-gauge was also a common weapon in the Barrow gang’s arsenal, particularly 16-gauge models modified with a sawed-down barrel and stock to be wielded by Bonnie Parker as her “whip-it” gun and still on her lap when the couple was killed.

Hamer specified to the gun store clerk that he wanted the Model 11 with the shorter, 20″ barrel, indicating a weapon that would be intended more for close quarters combat than hunting. It makes a few appearances in his hands over the course of The Highwaymen, first pulled from the Ford’s backseat as Gault talks to the denizens of a migrant camp that harbored Bonnie and Clyde before examining the criminal couple’s recently abandoned campground nearby.

Remington riot gun in hand, Hamer finds a discarded bottle of Hiram Walker's Royal Oak whiskey... remnants of the Barrow gang's last campsite.

Remington riot gun in hand, Hamer finds a discarded bottle of Hiram Walker’s Royal Oak whiskey… remnants of the Barrow gang’s last campsite.

While fun to watch, the gun store shopping scene is decidedly fictional. Hamer was already armed with “Old Lucky” and his trusty Remington Model 8 rifle when he set out on the manhunt, but it wasn’t until Texas National Guard unit commander Weldon Dowis was contacted in the spring of 1934 on Hamer’s behalf that he was able to take delivery of weapons powerful enough to outgun Clyde Barrow and puncture the steel doors of his stolen Fords. After Texas congressman Hatton Summers effectively intervened on Hamer’s behalf, “Dowis reluctantly issued a pair of BARs to Hamer and his men,” according to Jeff Guinn in Go Down Together. “He said decades later that he had to teach the lawmen how to shoot them—the BARs were so powerful that they required a much stronger grip than ordinary rifles.”

As Clyde Barrow stood at 5’7″ and never more than 130 pounds, the heavy Browning Automatic Rifle (BAR) remains a surprising weapon of choice for the slightly built outlaw, particularly when one considers the theory that he would weld three 20-round box magazines together for one “super-magazine” that could fire nearly 60 rounds of potent .30-06 Springfield rifle ammunition at a rate of more than 500 rounds per minute. Designed by John Browning like many of the other weapons featured here, the BAR was hurried into production after the United States entered World War I and remained in U.S. military service through World War II and even in limited quantities during the Vietnam War. (Read more about Clyde Barrow’s preferred weapons here.)

In 1931, Colt introduced the Colt Monitor (R80) automatic machine rifle, intended for law enforcement usage but also offered to the civilian market for $300 each, and produced a limited run of 125 rifles, of which 90 would eventually be purchased by the FBI. The Monitor was operationally identical with the fully automatic BAR, with mostly cosmetic differences including a separate pistol grip and butt stock attached to a lightweight receiver and a barrel length shortened from the BAR’s 24″ down to 18″ with the addition of a 4-inch Cutts compensator.

Gault: "What the hell is that?" Hamer: "It's a Colt Monitor machine-rifle. Fires a 20-round volley at 3,000 feet per second. Our boy Clyde, he prefers a Browning Automatic, .30 cal. Pretty much the same gun, except now the little shit uses a welded over-and-under clip that can fire 40." Gault: "Well, he ain't met Old Lucky." Hamer: "Shit, I ain't that lucky."

Gault: “What the hell is that?”
Hamer: “It’s a Colt Monitor machine-rifle. Fires a 20-round volley at 3,000 feet per second. Our boy Clyde, he prefers a Browning Automatic, .30 cal. Pretty much the same gun, except now the little shit uses a welded over-and-under clip that can fire 40.”
Gault: “Well, he ain’t met Old Lucky.”
Hamer: “Shit, I ain’t that lucky.”

Impressed by Hamer’s display with the powerful BAR, Gault asks if he has another Colt Monitor for him and eventually it is Gault who is shown using the Colt Monitor during the climactic ambush of Bonnie and Clyde. In real life, Gault had carried a .25-caliber Remington Model 8 as stated above and the group’s sole Colt Monitor was in the hands of Dallas County Deputy Ted Hinton…who is seen firing a standard M1918 BAR rather than a Monitor in The Highwaymen when, in fact, it was Hinton’s fellow deputy Bob Alcorn that was armed with a BAR in real life. Alcorn and Gault were also armed with backup Remington Model 11 riot shotguns.

While the Colt Monitor may have been among the latest in American weaponry, Hamer doesn’t discriminate based on age of a weapon’s design. “Let me see that old Winchester you got there, that .30-30,” Hamer requests in the gun shop, indicating a blued lever-action Winchester Model 1894 rifle. “I’ll be needin’ one gun that won’t jam,” Hamer grunts about his necessity for the old-fashioned but familiar rifle.

Henderson Jordan, the sheriff of Bienville Parish, Louisiana, is depicted firing the Winchester in the final ambush, which fits with Jeff Guinn describing the lawman with “a Winchester lever-action rifle” in Go Down Together. Nearly 30 years before Bonnie and Clyde were killed, Hamer himself had used a Winchester Model 1894 Saddle Ring Carbine to kill murderous swindler Ed Putnam.

Amidst the automatic and semi-automatic rifles arming him for his journey, Hamer finds comfort in the mechanical reliability of a classic Winchester rifle.

Amidst the automatic and semi-automatic rifles arming him for his journey, Hamer finds comfort in the mechanical reliability of a classic Winchester rifle.

Hamer continues his order in the gun shop after looking over the Smith & Wesson Model 1917, requesting “a handful of them half-moon clips for this Smith if you  got ’em.”

The M1917 revolver was hastily developed during World War I when the U.S. military faced a shortage of the relatively new M1911 semi-automatic pistols. The military had plenty of .45 ACP ammunition but not enough pistols to issue, so they requested the nation’s two major revolver manufacturers—Colt and Smith & Wesson—to adapt their heavy-frame civilian New Service and .44 Hand Ejector revolvers, respectively, to fire .45 ACP. Joseph Wesson, son of Daniel B. Wesson, patented the unique half-moon clip that would allow these revolvers to fire this rimless semi-automatic pistol ammunition. At the government’s request, Smith & Wesson allowed Colt to use these half-moon clips for free, though Smith & Wesson kept an ace in the hole by fitting their M1917 cylinders with a shoulder that would permit the rimless cartridges to headspace on the case mouth.

Despite how finnicky he is about the revolver and getting one without the “shiny” nickel finish, Hamer never actually carries or fires the M1917 revolver on screen. Interestingly, it was an M1917 revolver—albeit a Colt with stag grips—that Denver Pyle had carried as Hamer in 1967’s Bonnie and Clyde.

"You have this in black instead of nickel?" Hamer asks. "Too damn shiny."

“You have this in black instead of nickel?” Hamer asks. “Too damn shiny.”

“I want all of ’em. Along with four cases of .45 lead, same for the .30-06, and say an even hundred for each of the others,” Hamer concludes, finally completing his order at the Lubbock gun store.

“What all you goin’ after that needs this much firepower?” asks the gun shop owner. “If you don’t mind me askin’.”

“No sir, I don’t mind at all,” replies Hamer, looking up from his gun catalog but not answering the question, characteristic of the famously laconic lawman.

How to Get the Look

Kevin Costner as Frank Hamer in The Highwaymen (2019)

Kevin Costner as Frank Hamer in The Highwaymen (2019)

Although he has an extensive reputation and experience as a gunfighter on horseback, Frank Hamer’s wardrobe has evolved by the 1930s to follow the new Texas Ranger standards for business suits, neckties, and city hats… though Kevin Costner’s portrayal in The Highwaymen balances the sartorial image with a pair of subtle black leather boots nodding to the veteran lawman’s cowboy nature.

  • Charcoal multi-striped flannel three-piece suit:
    • Single-breasted 2-button jacket with notch lapels, welted breast pocket, straight flapped hip pockets, 3-button cuffs, and single vent
    • Single-breasted 6-button waistcoat (vest) with four welted pockets and adjustable back strap
    • Double reverse-pleated trousers with belt loops, slanted side pockets, jetted back pockets, and plain-hemmed bottoms
  • White self-striped lightweight cotton shirt with point collar, front placket, breast pocket, shirred back, and button cuffs
  • Dark striped tie with short, wide blade
  • Black leather belt with dulled silver box-style buckle
  • Black leather cowboy boots with pointed toe caps
  • White cotton sleeveless undershirt
  • Black felt fedora with black ribbed grosgrain silk band
  • Gold wedding ring

Do Yourself a Favor and…

Check out the movie, streaming now on Netflix.

The Highwaymen (2019)

The Highwaymen (2019)

As someone who’s been reading about the Barrow gang for more than 15 years, I was delighted by the amount of often-ignored details, facts, names, and incidents that were included in The Highwaymen‘s depiction of the outlaw duo’s final months and the manhunt that permanently stopped them.

While there are still liberties taken for the sake of storytelling (perhaps most significant being that it was Dallas County Deputy Sheriff Bob Alcorn who rode with Hamer for most of the investigation instead of Maney Gault, who didn’t join until about two months later), The Highwaymen may be one of the most fact-informed adaptations of the story—and respective personalities—of Bonnie Parker, Clyde Barrow, and Frank Hamer. You can read more about the truth and fiction of the film’s approach in Andrew R. Chow’s March 2019 analysis for TIME.

If you’re looking to learn more about Hamer, I suggest John Boessenecker’s 2016 biography Texas Ranger: The Epic Life of Frank Hamer, the Man Who Killed Bonnie and Clyde. As Boessenecker concludes, “Frank Hamer played an important role in American history. He was part of the forces that dragged Texas—kicking and screaming—into the twentieth century. He started life as a humble cowboy and ended up the most extraordinary lawman of his era. His controversies had been many; his victories, even greater. From his ironfisted protection of African Americans to his war against the immoral Texas Bankers Association, he showed what a lone Ranger, armed with little but courage and a Colt .45, could accomplish.”

The Quote

Outlaws and mustangs, they always come home.

John Wayne’s Navy Windbreaker as McQ

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John Wayne as Lon McHugh in McQ (1974)

John Wayne as Lon McHugh in McQ (1974)

Vitals

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

Seattle, Fall 1973

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

Background

Today marks the birthday of John Wayne, the American icon who reinvented his half-century image as a stalwart of Westerns and war movies by taking on a duo of contemporary cop roles, beginning with McQ in 1974 and followed up with Brannigan the following year.

Born May 26, 1907, Duke was over 60 as he watched younger stars like Steve McQueen and Clint Eastwood steal the action movie thunder with urban-set police thrillers. While McQueen’s impressive wheelmanship would be incorporated into McQ, it was the “shoot first, ask later” style of Eastwood’s Dirty Harry that particularly resonated with the old-school star as the opening sequence of McQ finds Duke’s rugged Seattle detective foiling a dockside hitman with his own six-shooter.

What’d He Wear?

After being informed of his ex-partner’s murder, Lieutenant Lon McHugh dresses for work in a navy blue windbreaker layered over a bright blue polo and brown slacks.

The navy windbreaker, made from a lightweight water-resistant nylon, has a large point collar with an extended tab on the left side that connects to a button on the right to close at the neck, though Duke wears the jacket half-zipped and open over the chest.

McQ

The jacket’s long raglan sleeves close at the cuffs with a single button, though Wayne keeps the cuffs unbuttoned and rolled up as the sleeves would likely otherwise be slightly too long.

McHugh’s windbreaker has slanted hand pockets and a storm flap on the back. It extends below his waist with no blouson-style elasticized hem, harmonizing with Wayne’s expanding mid-section and also allowing him freer access to the revolver holstered on his belt.

McQ

McHugh wears a royal blue polo shirt made from a silky synthetic material—likely polyester—with a large collar, elbow-length short sleeves, and a long four-button placket with a large “X” stitched inside a rectangle on the bottom. The patch breast pocket has a slim, pointed flap that closes with a small white plastic button that matches the four on the placket.

McHugh changes out of his windbreaker into a more office-friendly blazer for a day on the job.

McHugh changes out of his windbreaker into a more office-friendly blazer for a day on the job.

McHugh wears dark brown wool flat front trousers that rise to his natural waist, where he wears a black leather belt with a black leather holster on the left side for a cross-handed revolver draw.

McHugh reholsters his 4"-barreled Colt Python service revolver after killing an assassin.

McHugh reholsters his 4″-barreled Colt Python service revolver after killing an assassin.

The trousers have frogmouth-style front pockets and are finished with plain-hemmed bottoms that break cleanly over his brown leather apron-toe penny loafers, worn with black socks.

McHugh stands over the corpse of Samuels, the hitman who attempted to kill him on his boat.

McHugh stands over the corpse of Samuels, the hitman who attempted to kill him on his boat.

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

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

McHugh's bracelet and wristwatch are visible as he holsters his backup Colt Python.

McHugh’s bracelet and wristwatch are visible as he holsters his backup Colt Python.

After his exciting morning at the docks, he changes into a more office-friendly navy blazer for his duty work.

The Gun

Lieutenant McHugh begins the film armed with his duty weapon, a blued steel Colt Python revolver with a 4-inch barrel and walnut grips, carried cross-draw style in a holster attached to the left side of the right-handed John Wayne’s belt. Introduced in 1955, the large-framed Python was Colt’s response to Smith & Wesson’s stronghold on the .357 Magnum revolver segment. The top-of-the-line revolver spent several decades as a law enforcement favorite until American police agencies began an en masse adoption of semi-automatic pistols in the late ’80s and early ’90s.

The six-inch barreled Python was a particular favorite among uniformed police while the four-inch barreled versions made inroads with plainclothes officers like the fictional Lon McHugh.

After McHugh stops a thief attempting to steal his Pontiac, he spies a hitman on the dock, takes aim with his Python, and fires with deadly accuracy.

After McHugh stops a thief attempting to steal his Pontiac, he spies a hitman on the dock, takes aim with his Python, and fires with deadly accuracy.

“I better have that for the inquest, Lieutenant,” McHugh is instructed after the shooting on the docks. While it’s surprising to see someone ask John Wayne to hand over his six-shooter, it’s even more surprising to see him surrender it!

That is, until we learn that he has a backup Colt Python, also in the “royal blue” steel finish but with a shorter 2.5″ barrel, stashed in the trunk of his Pontiac.

McQ

This Python too would eventually be given to his superiors, forcing McHugh to arm himself with his off-duty .38 Special, a similarly snub-nosed Smith & Wesson Model 10 revolver.

How to Get the Look

John Wayne as Lon McHugh in McQ (1974)

John Wayne as Lon McHugh in McQ (1974)

McQ provided John Wayne the opportunity to take a more relatable approach to dressing for spring than a stockade jacket, Stetson, and spurs.

  • Navy blue lightweight nylon zip-up windbreaker with large point collar, slanted hand pockets, raglan sleeves with 1-button cuffs, and rear storm flap
  • Royal blue polyester short-sleeve polo shirt with 4-button placket and breast pocket (with button-down pointed flap)
  • Dark brown wool flat front trousers with belt loops, frogmouth front pockets, and plain-hemmed bottoms
  • Black leather belt with squared brass single-prong buckle
  • Black leather cross-draw holster, for 2″-barreled revolver
  • Brown leather apron-toe penny loafers
  • Black socks
  • Plain brass “Montagnard Bracelet”
  • Yellow gold chronograph wristwatch with silver dial (with three sub-dials) and olive vinyl buckle-strap

Do Yourself a Favor and…

Check out the movie.

Purple Noon: Alain Delon’s White Suit

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Alain Delon as Tom Ripley in Purple Noon (1960)

Alain Delon as Tom Ripley in Purple Noon (1960)

Vitals

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

Rome, Italy, August 1959

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

WARNING! Spoilers ahead!

Background

Whether or not you subscribe to the mindset that it’s only appropriate in the Northern Hemisphere after Memorial Day, there’s a strong chance you’ll be seeing a lot more white over the summer months to follow. For gents interested in standing out with a white suit this summer, Alain Delon sets a characteristic gold standard in Plein soleil, itself a paean to elegant summer style. This French adaptation of Patricia Highsmith’s famous psychological thriller novel The Talented Mr. Ripley was released as Purple Noon to English-speaking audiences.

Delon’s Tom Ripley wears the white suit, undoubtedly a piece from his late pal Philippe Greenleaf’s wardrobe, while establishing his identity as Philippe and checking into the elegant Hotel Excelsior in Rome. Opened in 1906, this famous hotel was evidently a popular location for stylish European films in 1960 as it also featured prominently in Fellini’s La Dolce Vita.

What’d He Wear?

Of white suits, the venerable Hardy Amies wrote in 1964 that “there is certainly nothing smarter than this, but it is difficult in a white suit to have the air of nonchalance that I think real good dressing requires.” Enter Alain Delon as Tom Ripley, who would most assuredly assuage the late Sir Hardy’s fears.

Like the striped regatta blazer, Tom Ripley’s white suit gets comparatively little play on screen but remains memorable to sartorially minded viewers. “Borrowed” from the luxurious closet of the recently deceased Philippe Greenleaf, the suit is a shade of white with just enough of a yellow cast that leans toward ivory. The suiting has the irregular slubs indicative of dupioni silk, described in Alan Flusser’s Dressing the Man as “a luxurious shantung-style silk fabric made from a double silk fiber from two cocoons nested together… combining the best of natural fiber worlds.”

Cut the same as his navy dupioni silk suit, the white suit jacket is single-breasted with notch lapels that roll to the center button of the 3/2 roll front. The ventless jacket has a welted breast pocket, straight flapped hip pockets, and three-button cuffs that are likely also functioning “surgeon’s cuffs.”

The trousers, which correctly rise to the buttoning point of his jacket on his waist, have double reverse pleats and are finished on the bottoms with turn-ups (cuffs).

Ripley's white suit shines as he strolls through the much more conservatively dressed crowd outside the Excelsior on a warm summer night in Rome. 

Ripley’s white suit shines as he strolls through the much more conservatively dressed crowd outside the Excelsior on a warm summer night in Rome.

Unlike Fitzgerald’s dashing romantic hero Jay Gatsby, who counters the stark whiteness of his suit with a flashy silver shirt and gold tie in his quest for exemplifying wealth and elegance, Ripley keeps his underpinnings simple with a plain white cotton shirt and solid navy silk tie that would look just as appropriate with a navy or charcoal business suit.

Some gentlemen’s complexions may make such a high-contrast tie inadvisable with an all white outfit, but Alain Delon’s dark hair and features add a complementary balance. The ensemble would no doubt receive a passing grade from Alan Flusser, who featured two side-by-side photos of identically dressed men in an off-white suit, white shirt, and dark striped tie, noting that “the necktie’s high-contrast format actually invites the eye to look at his face because of its compatibility with his [black] hair and light skin.”

Ripley carb-loads. When in Rome...

Ripley carb-loads. When in Rome…

The informed dresser has plenty of room to experiment with shirts and ties when pairing with his white suit, but regarding footwear I offer one simple suggestion: no black shoes. I once saw a community theater production of Cat on a Hot Tin Roof where a very capable actor took the stage as Southern patriarch “Big Daddy” Pollitt in a sharp white suit… but the outfit’s balance was completely upset by the actor’s black oxfords. As the gentleman commanded the audience’s attention with his powerful delivery of Tennessee Williams’ “mendacity” lines, I found myself distracted by the fact that the man looked like he had stepped in mud and was stomping all over the stage with it.

While shoes in the brown spectrum would no doubt harmonize with a white suit, Delon sports a pair of white penny loafers… the very shoes that Philippe had admonished Tom for pulling from his closet earlier in the film during his playful—and private—roleplay as Philippe.

Ripley's white loafers sit at the foot of the valet stand that houses his white suit, white shirt, and navy tie.

Ripley’s white loafers sit at the foot of the valet stand that houses his white suit, white shirt, and navy tie.

Alain Delon as Tom Ripley in Purple Noon (1960)

Alain Delon as Tom Ripley in Purple Noon (1960)

How to Get the Look

Though Tom Ripley is impressed and seduced by his friend’s luxurious clothing, once he has stepped into Philippe’s white loafers, he must play the part of his deceased playboy pal by appearing to pay little attention to what he is actually wearing, even when decked out in a sharp, eye-catching ensemble like a white silk suit.

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

Do Yourself a Favor and…

Check out the movie.

Clint Eastwood’s Derby Jacket in The Eiger Sanction

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Clint Eastwood as Dr. Jonathan Hemlock in The Eiger Sanction (1975)

Clint Eastwood as Dr. Jonathan Hemlock in The Eiger Sanction (1975)

Vitals

Clint Eastwood as Dr. Jonathan Hemlock, college art professor and former assassin

Switzerland, Summer 1974

Film: The Eiger Sanction
Release Date: May 21, 1975
Director: Clint Eastwood
Costume Supervisor: Glenn Wright

Background

Happy birthday to Clint Eastwood, the actor and director who combined his talents in dozens of films, beginning with Play Misty for Me in 1971. Based on Trevanian’s 1972 novel, The Eiger Sanction was Eastwood’s third directorial effort. While criticized for his story, the thrilling climbing scenes and stunning mountain cinematography—namely, Monument Valley and Zion National Park—remain standouts of the espionage thriller.

As Dr. Jonathan Hemlock, a celebrated art professor with a known adventurous side and a less known dangerous past, Eastwood insisted on performing all of his own stuntwork himself, including the climactic climbing scene that found him dangling by a rope more than 4,000 feet above the valley floor.

“You know what? Way down deep, you got the makings of a real bad ass,” Ben Bowman (George Kennedy) tells Hemlock as the two hone the professor’s climbing skills on a mountain outside Bowman’s Arizona climbing school.

The Eiger Sanction begins as Dr. Hemlock is reluctantly recruited back into the fold of “C2”, a shadowy government agency for whom he used to perform “wet work.” After Dragon (Thayer David), the organization’s eccentric “M”, pays him $20,000 cash and ensures that his priceless collection of 21—soon to be 22—illegally gained paintings will be free from government scrutiny, Hemlock agrees to a final “sanction” against one of the two assassins who have been killing C2 spies in Europe.

Following the completion of that sanction, Dr. Hemlock learns that his pal Henri Baq was among the C2 spies that have been murdered and fervently agrees to accept a second sanction to terminate the other, still unidentified assassin, understanding that the sanction will take the veteran climber back to the Eiger mountain in the Bernese Alps, a summit that Hemlock has tried—and failed—to climb twice before. “If the target’s trying to climb the north face of the Eiger, chances are my work would be done for me,” observes Hemlock, no doubt referring to the 41 climbers that had died attempting to climb the Eiger’s treacherous north face in the forty years prior. Indeed, between 1935 and May 2019, at least 64 climbers are known to have died in their attempts, earning the Eiger’s north face—the biggest in the Alps—the nickname of Mordwand, German for “murder wall.”

Hemlock is tasked with joining a four-man group of climbers, through Dragon isn’t sure which of the other three—the Frenchman desperately trying to look young and virile in front of his seductive wife, the aggressive and arrogant German, or the impulsive Austrian who was known to have killed a man prior—is his target.

What’d He Wear?

Much like his fellow professor-with-a-wild-side Indiana Jones, Dr. Hemlock leaves his spectacles and tweed garb back in the States as he sets out for his dangerous adventures overseas. A staple of Hemlock’s European wardrobe is a beige nylon blouson jacket, similar to the jackets popularized by Derby of San Francisco in the mid-1960s. Eastwood had previously worn a darker brown Derby jacket as the titular San Francisco cop in Dirty Harry (1971)… though, unlike his jacket in Dirty Harry, Eastwood’s beige jacket in The Eiger Sanction lacks the front fly with an exposed button at the neck.

While the bright red turtleneck may not be everyone's first choice, Dr. Hemlock is arguably a better dresser than his garish colleague Pope (Gregory Walcott of Plan 9 from Outer Space fame).

While the bright red turtleneck may not be everyone’s first choice, Dr. Hemlock is arguably a better dresser than his garish colleague Pope (Gregory Walcott of Plan 9 from Outer Space fame).

With its zip-up front and ribbed-knit cotton collar, cuffs, and rear hem, the derby jacket was a commercial evolution of the classic MA-1 bomber jacket developed by the U.S. Air Force, though the derby jacket can be differentiated by the swelled seam that extends horizontally across the top of the front and back for a shoulder yoke effect.

Dr. Hemlock faces his greatest challenge: the north face of the Eiger.

Dr. Hemlock faces his greatest challenge: the north face of the Eiger.

Dr. Hemlock’s derby jacket first appears for his assassination of Kruger. As the scene is set in Zurich during late spring, Dr. Hemlock finds urban-friendly accompaniments to the jacket with a black turtleneck. He wears dark brown polyester flat front trousers with frogmouth-style front pockets, jetted back pockets (with a button through the left pocket), and plain-hemmed bottoms, held up with a wide brown leather belt with a rectangular brass buckle embossed with an eagle.

Best seen as he climbs the wall to furtively gain access to Kruger’s building, Hemlock’s shoes are dark brown suede sneakers with white piping around the opening and heavy black crepe soles like the Hutton Original Playboy boots that Steve McQueen made famous in Bullitt. Hemlock wears them with black socks.

Hemlock's brown suede sneakers see two kinds of action: climbing in Zurich and canine in Arizona.

Hemlock’s brown suede sneakers see two kinds of action: climbing in Zurich and canine in Arizona.

The derby jacket gets more screen time after Hemlock meets the climbing team at Hotel Bellevue des Alpes at Kleine Scheidegg. For these scenes, he dresses more casually in jeans and a bright red turtleneck with a ribbed-knit neck.

Hemlock wears fashion-forward blue jeans with flared bottoms that tragically approach the “bell bottom” fad that was reaching its height—or should I say width—around the time of the film’s production. The jeans have a zip fly and belt loops, though Hemlock does not wear a belt with them.

They're not bell bottoms... but they're close. Still better than Pope's whole getup, though.

They’re not bell bottoms… but they’re close. Still better than Pope’s whole getup, though.

The jeans’ sole pockets are two patch pockets on the front, trimmed across the straight top openings with a white broken stitch underlined by a solid tan stripe. There are no back pockets; instead, a vertical seam runs down each leg from the waist line to the bottoms that is accented in the same white broken stitch and solid tan shadow stripe.

Hemlock sits down for a drink, showing the dated details of his jeans including the decorative stitching on the patch-style front pockets and along the back of the seat.

Hemlock sits down for a drink, showing the dated details of his jeans including the decorative stitching on the patch-style front pockets and along the back of the seat.

With this outfit, Hemlock wears khaki napped leather bicycle-toe ankle-high sneakers with dark brown laces through three derby-laced eyelets. These unique shoes resemble the modern “dress casual” offerings of economical brands like Clarks and Skechers. He again wears black ribbed socks.

Clint Eastwood, stomping out bad style since 1974.

Clint Eastwood, stomping out bad style since 1974.

When carrying out the first on-screen sanction in Zurich, Dr. Hemlock wears a pair of bronze metal-framed sunglasses in a wide aviator-style shape.

The delivery cap is part of the disguise, not the outfit.

The delivery cap is part of the disguise, not the outfit.

What to Imbibe

When Dr. Hemlock joins his fellow climbers for one last beer in the lounge at the Hotel Bellevue des Alpes 12 hours before heading up the mountain, the group shares communal bottles of Feldschlösschen that they pour into their respective glasses. Founded nearly a century prior in 1876, Feldschlösschen remains the largest brewery in Switzerland, though it was acquired by Carlsberg in 2000.

The international group of climbers get better acquainted, giving Dr. Hemlock the opportunity to determine who may or may not be his target.

The international group of climbers get better acquainted, giving Dr. Hemlock the opportunity to determine who may or may not be his target.

Despite Dr. Hemlock’s stated and shown affinity for Wild Turkey, he also puts away plenty of beer over the course of The Eiger Sanction, one of at least a half dozen movies where Clint Eastwood’s character enjoys Olympia beer. This Washington-brewed beer that prided itself on the artesian water used in its making first appears as he and the gregarious Ben Bowman enjoy bottles at Bowman’s climbing school-turned-singles club in Arizona.

The Olympia Brewing folks must have been thrilled by this degree of product placement.

The Olympia Brewing folks must have been thrilled by this degree of product placement.

“I can out-drink you right now,” Hemlock brags to Bowman.

“Well, you just enjoy that one,” replies Bowman,” ’cause you’re off the sauce ’til you’re in shape for the climb.”

Hemlock is none too pleased to hear about his friend’s restrictions, but the diligence pays off after he is able to complete the challenging climb of the 640-foot Totem Pole rock spire in Monument Valley and is rewarded by Bowman pulling a six-pack of Olympia from Hemlock’s bag.

Eastwood has stated that sitting atop the Totem Pole in Monument Valley, the location for many of John Ford's famous Westerns, remains one of his fondest filmmaking memories.

Eastwood has stated that sitting atop the Totem Pole in Monument Valley, the location for many of John Ford’s famous Westerns, remains one of his fondest filmmaking memories.

Bowman: Want a beer?
Hemlock: You gonna call room service?
Bowman: We got beer…
Hemlock: You hauled beer up this rock? You’re insane.
Bowman: I may be insane, but I’m not stupid. (opens Hemlock’s backpack) I didn’t carry it, you did, it’s in your pack.

Mike Hoover, the famous mountaineer who taught Eastwood how to climb for The Eiger Sanction, obtained special permission from Navajo Nation for the production to both climb and film at the Totem Pole as the nation had prohibited climbs to this significant formation. Eric Bjornstad and Ken Wyrick climbed the Totem Pole and prepared the location for Clint Eastwood and George Kennedy to replace them on the 18-foot wide summit. Production of The Eiger Sanction remains the last time that climbers were allowed to scale the Totem Pole.

The Gun

“About your gun, I got one waitin’ for you, it’s at the hotel. It’s a C2 special with no serial number, it’s in a candy box,” Pope tells Dr. Hemlock.

Dr. Hemlock’s sidearm for his sanctions is a blued Smith & Wesson Model 40 Centennial revolver with a snub-nosed 1-7/8″ barrel. Built on Smith & Wesson’s compact “J-frame”, the Model 40 was available in a range of calibers from .22 Long Rifle and .22 Magnum up to .357 Magnum, though Hemlock likely carries the venerated .38 Special in the five-round cylinder.

Dr. Hemlock's Smith & Wesson Model 40 Centennial, just out of his reach during a sanction in Zurich.

Dr. Hemlock’s Smith & Wesson Model 40 Centennial, just out of his reach during a sanction in Zurich.

Introduced in 1952, the 100th anniversary of Smith & Wesson (hence the “Centennial” moniker), the most distinctive feature of the Model 40 is the fully enclosed hammer to avoid it snagging on clothing when drawn from a pocket, though a grip safety similar to the one featured on old-fashioned Smith & Wesson “Lemon Squeezer” revolvers was added to aid shooters who were not yet used to double-action only (DAO) revolvers that did not have a hammer to be cocked before firing.

A lighter-weight aluminum-framed alternative, the Model 42 Airweight Centennial, was also made available in 1952 but production on both the Model 40 and Model 42 revolvers ended in 1974.

Also in the 1950s, Smith & Wesson introduced the Model 38 Bodyguard series that added a rounded “camel hump” shroud over the hammer, though this lacked the grip safety of the Model 40 and the Model 38’s hammer could still be accessed by the thumb while the Model 40’s hammer was totally enclosed.

How to Get the Look

Clint Eastwood as Dr. Jonathan Hemlock in The Eiger Sanction (1975)

Clint Eastwood as Dr. Jonathan Hemlock in The Eiger Sanction (1975)

When not scaling a mountain or lecturing a room of college students, Dr. Jonathan Hemlock dresses down in a comfortable beige derby jacket, turtleneck, and suede lace-ups.

  • Beige nylon zip-up derby jacket with ribbed-knit collar, cuffs, and hem, horizontal yoke, and slanted hand pockets
  • Red turtleneck jumper with ribbed-knit roll-neck
  • Dark blue denim “fashion” jeans with belt loops, patch-style front pockets, decorative stitching, and flared bottoms
  • Khaki suede bicycle-toe sneakers with brown laces
  • Black ribbed socks
  • Bronze-framed sunglasses with wide aviator-style lenses

Do Yourself a Favor and…

Check out the movie. While many elements may not have stood the test of time, the climbing sequences remain spectacular nearly 50 years later… as does the late George Kennedy’s larger-than-life performance as Hemlock’s charismatic old pal.

Fans should probably also watch “The Archer Sanction,” the sixth season episode of Archer that lifts the general plot and drops it into Sterling Archer’s hilariously absurd world of espionage.

The Quote

She’s a very destructive woman… you know the type.

In Memory of David Knowles

David Knowles (1947-1974) was an expert mountaineer who joined Mike Hoover and Clint Eastwood for production of The Eiger Sanction. On August 13, 1974, the second day of principal photography on the mountain, a large rock broke free and smashed into the team, fracturing Hoover’s pelvis and killing the 26-year-old Knowles. Following an impromptu wake, Eastwood considered canceling the production but the climbers assured him that completing the production would assure that Knowles’ death would not be in vain. You can read more about the incident here.

Don Draper’s Gray Plaid for Summer, Part 1: 1960

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Jon Hamm as Don Draper on Mad Men (Episode 1.10: "Long Weekend")

Jon Hamm as Don Draper on Mad Men (Episode 1.10: “Long Weekend”)

Vitals

Jon Hamm as Don Draper, mysterious advertising creative director

New York City, Summer 1960

Series: Mad Men
Episodes:
– “The Hobo Code” (Episode 1.08), dir. Phil Abraham, aired 9/6/2007
– “Long Weekend” (Episode 1.10), dir. Tim Hunter, aired 9/27/2007
Creator: Matthew Weiner
Costume Designer: Janie Bryant

WARNING! Spoilers ahead!

Background

Happy first full week of June! As the weather warms up, let’s take a look at comfortable yet appropriate dressing for the summer workplace with a few cues from the dapper Don Draper.

“The Hobo Code” (Episode 1.08)

Mad Men‘s eighth episode begins as Peggy Olson (Elisabeth Moss) intersects her boss on his way into the office and directs him to the opulent office of the agency’s eccentric founding partner, Bert Cooper (Robert Morse). Don lets his guard down as he anxiously awaits his meeting with Cooper, but his apprehension and insecurity is soon allayed as Cooper hands him a $2,500 bonus check in between rants about Ayn Rand.

Listen, I’m not here to tell you about Jesus. You already know about Jesus. Either he lives in your heart or he doesn’t.

Emboldened by the check, Don stands defiant during his client meeting the same day with the Belle Jolie lipstick team, leading to a victory for the agency for which Don gives Peggy, his secretary and latest member of the copywriting team, her due for her contribution.

While Peggy and the rest of the agency celebrate their latest win, Don visits his Bohemian mistress Midge (Rosemarie DeWitt) in the midst of her hosting some of her beatnik friends as they “get high and listen to Miles.” A few tokes and emotionally revealing Polaroids later, Don decides to end his affair with Midge after realizing that she and the pretentious theater owner Roy are in love. He makes one last-ditch effort for her to join him on an impromptu overseas trip (“Paris. Now. Let’s go.”) before signing his bonus check over to Midge and leaving her forever… or at least until DeWitt gets one last shining moment in the show’s fourth season.

Roy: The cops. You can’t go out there.
DonYou can’t. (leaves)

“Long Weekend” (Episode 1.10)

Two episodes later, summer has passed and it’s Labor Day weekend. We’ve already checked in on Roger Sterling’s style for his long weekend in the city, and Don also plans on staying in Manhattan after seeing his wife Betty (January Jones) off with her widowed father and his “friend” Gloria. In the office that Friday, Don is part of a skeleton crew comparing JFK’s latest ad with that of their prospective client, Richard Nixon, with whom Don identifies for their parallel tracks of “a self-made man” who rose to great heights only a few years after getting out of the military.

Don allows himself some quiet delight when he hears that the Menken family—”father and daughter”—will be coming into the agency for a meeting that day, providing him an opportunity to fuel his attraction for the sophisticated store owner Rachel Menken (Maggie Siff). Following the meeting, the elder Menken, Abraham (Allan Mitchell), sums up Don for his daughter: “He’s very good…persuasive. A little dashing for my taste…”

The day you sign a client is the day you start losing them.

After lamenting the loss of Dr. Scholl’s together, Don reluctantly accompanies Roger (John Slattery) down to the casting area where he watches with cynical bemusement as Roger plays Richard Dawson to the young sets of twins who came to audition for Fred Rumsen’s double-sided aluminum commercial. Don’s bemusement grows to discomfort with the increasingly lecherous turn of events, but Roger compels him to stay and entertain Eleanor (Megan Stier) whose twin sister Mirabelle (Alexis Stier) is the current object of Roger’s affection.

Promotional photo of Don Draper (Jon Hamm) and Eleanor Ames (Megan Stier) in "Long Weekend" (Episode 1.10).

Promotional photo of Don Draper (Jon Hamm) and Eleanor Ames (Megan Stier) in “Long Weekend” (Episode 1.10).

Roger’s insistence turns out to be fortuitous as it means Don is still in the office and able to act fast when the silver-haired ad man suffers a mid-coital heart attack, juxtaposed by the dulcet sounds of the McGuire Sisters’ cover of “Volare”. As a delusional Roger starts calling out for Mirabelle while on the gurney, Don smacks him and reminds him that his wife’s name is Mona. That’s what friends are for.

Friends or not, Don’s existential crisis is now in full swing as he finds himself at Rachel Menken’s apartment door, admitting his vulnerability (“I don’t like feeling like this”) and asking to come in. She knows just as well as we do what’s about to happen next…

MAD MEN

What’d He Wear?

Don Draper seems to have a suit for everything. In the first season, we see plenty of this medium gray suit with its muted blue plaid on summer days that begin in the office and extend just a little too long into the night. The plaid differentiates the suit from the shiny gray suit with a subdued windowpane that Don often wears during the first three seasons, including his memorable first attempt to woo Rachel Menken in “Marriage of Figaro” (Episode 1.03).

This suit also has a sheen to it that suggests the possibility of a wool/mohair blend as mohair was quite en vogue at the start of the 1960s.

Don Draper isn't here to tell you about Jesus. You already know about Jesus.

Don Draper isn’t here to tell you about Jesus. You already know about Jesus.

The single-breasted suit jacket has narrow lapels with the then-fashionable “half clover” notches that are rounded on the bottom corner. The lapels roll to a two-button front, positioned to button at his natural waist line, and he wears a neatly folded white pocket square in the jacket’s welted breast pocket.

MAD MEN

MAD MEN

Don’s jacket has straight hip pockets that are covered with flaps. The short double vents and spaced two-button cuffs are also details that were popular on men’s tailoring in the early 1960s.

Sterling Cooper's creative team consults after a successful pitch in "The Hobo Code" (Episode 1.08).

Sterling Cooper’s creative team consults after a successful pitch in “The Hobo Code” (Episode 1.08).

The suit has matching flat front trousers with straight side pockets, jetted back pockets, and turn-ups (cuffs) on the bottoms. Through the belt loops, Don wears a dark brown leather belt with a silver-toned enclosed box-style buckle in a rectangular shape, a type of belt that he would wear across most of the show’s earlier seasons… though there is a blink-and-you’ll-miss-it continuity error in “Long Weekend” (Episode 1.10) where Don rises from his office chair and reveals a squared gold single-prong belt buckle.

Down to his shirt sleeves for a night of Polaroids and pot at Midge's apartment.

Down to his shirt sleeves for a night of Polaroids and pot at Midge’s apartment.

Don has a rotating cycle of black and brown dress shoes that he wears to the office, though he correctly coordinates his belt to his footwear in these episodes with a pair of cap-toe oxfords in a dark brown shade close to burgundy, best seen in “Long Weekend” (Episode 1.10) as he chats with Eleanor Ames in his office. His taupe dress socks neatly harmonize with his gray trousers and brown shoes.

Late night entertaining in Don Draper's wood-paneled office.

Late night entertaining in Don Draper’s wood-paneled office.

Don wears strictly white cotton dress shirts to the office during the first season, set years before his business style would evolve to include non-white dress shirts made from blue or striped fabric. These shirts, which Don hides a backup stash of in his office drawer, have semi-spread collars, front plackets, and breast pockets for his endless packs of Lucky Strike cigarettes.

"The Hobo Code" (Episode 1.08) lands Don in one of those sweaty evening situations that would definitely require a changed shirt if he plans on heading straight back to the office the next morning.

“The Hobo Code” (Episode 1.08) lands Don in one of those sweaty evening situations that would definitely require a changed shirt if he plans on heading straight back to the office the next morning.

Double (French) cuffs are a standard fixture of any shirt that Don Draper wears to the office. In “The Hobo Code” (Episode 1.08), his French cuffs are worn with a pair of large gold links consisting of an oval outer ring with “X”-shaped bars that cross over the center opening. Two episodes later in “Long Weekend” (Episode 1.10), our philandering ad man dresses his wrists with a set of more conventional gold rectangular-shaped cuff links recessed at the edges.

A tale of two cuff link sets.

A tale of two cuff link sets.

Don’s neckwear for both of this suit’s first season appearances are skinny ties in a cool tone of French blue, a color that nicely calls out the suiting’s subtle plaid.

“The Hobo Code” (Episode 1.08) finds Don wearing a duo-toned “downhill”-striped tie with wide cornflower blue stripes—each bisected by two thin French blue stripes—on a French blue ground.

"The Hobo Code" (Episode 1.08)

“The Hobo Code” (Episode 1.08)

In “Long Weekend” (Episode 1.10), Don wears a solid-colored silk tie in a slightly darker shade of French blue.

"Long Weekend" (Episode 1.10) finds Don all too happy to let Betty deal with her family drama on her own, choosing instead to remain in the city.

“Long Weekend” (Episode 1.10) finds Don all too happy to let Betty deal with her family drama on her own, choosing instead to remain in the city.

As one updates his clothing for the seasons, so should he update his supplemental accessories. Especially in “The Hobo Code” (Episode 1.08), we see Don’s summer hat, a gray straw short-brimmed trilby with a black-and-purple striped band that spends more screen time in this episode in his hands than on his head.

"You can't," Don assures Midge's pal, aware that his business garb is also a protective suit of armor when encountering police in 1960 New York City.

You can’t,” Don assures Midge’s pal, aware that his business garb is also a protective suit of armor when encountering police in 1960 New York City.

The wristwatch that Don wears throughout the first season has been strongly hypothesized to be a steel Jaeger-LeCoultre Memovox with a replacement black and white “tuxedo dial” and a black leather strap. The Memovox was very innovative when introduced in 1956 as it was the first automatic wristwatch to include a mechanical alarm function. It was produced through the 1960s and revived in 2012.

Don would stick with Jaeger-LeCoultre for the second and third seasons with his gold Reverso watch before he switched to his Rolex Explorer in the fourth season and his Omega Seamaster DeVille for Mad Men‘s final three seasons.

What to Imbibe

A dedicated whiskey drinker, Mad Men wastes no time in establishing Canadian Club as Don’s elixir of choice, drinking it neat and on the rocks and no doubt as an ingredient in Old Fashioneds when imbibing outside the office.

In “The Hobo Code” (Episode 1.08), Don’s then-secretary Peggy Olson enters his office following his bellowed demand for “Ice!” and is greeted with her own roly-poly glass of Canadian Club to celebrate her successful copy with the Sterling Cooper creative team.

Cheers!

Cheers!

Don is feeling less celebratory two episodes later when he knocks at Rachel Menken’s door late at night. One suspects he would drink just about anything, and Rachel takes a bottle of J&B Rare from her own collection to pour drams of this popular blended Scotch whisky for both her and Don.

Don has more on his mind than to question Rachel pouring him Scotch instead of Canadian whisky... and, after the night he's had, he likely wouldn't turn down anything with alcohol in it.

Don has more on his mind than to question Rachel pouring him Scotch instead of Canadian whisky… and, after the night he’s had, he likely wouldn’t turn down anything with alcohol in it.

It’s perhaps worth noting that, while Canadian Club does not appear to be among the contents of Rachel’s home bar, she does have a bottle of Crown Royal that could have satiated Don’s Canadian whisky preference. This itself may be an anachronism as Crown Royal, while it was first distilled in Canada in 1939, was not legally introduced to the United States market until later in the 1960s.

Crown Royal made considerable progress in the 55 years since it was first legally introduced, now considered the top-selling Canadian whisky in the U.S.

Jon Hamm as Don Draper on Mad Men (Episode 1.10: "Long Weekend")

Jon Hamm as Don Draper on Mad Men (Episode 1.10: “Long Weekend”)

How to Get the Look

Gray single-breasted suits have been the de facto “uniform” of American business for the better part of a century, though Don Draper shows us how he could make this office classic seasonal and stylish—without sacrificing his penchant for professionalism—for the summer of 1960.

  • Gray with subtle blue plaid effect wool or wool/mohair blend suit:
    • Single-breasted 2-button suit jacket with slim “half clover” notch lapels, welted breast pocket, straight flapped hip pockets, spaced 2-button cuffs, and short double vents
    • Flat front trousers with belt loops, slightly slanted side pockets, jetted back pockets, and turn-ups/cuffs
  • White cotton dress shirt with semi-spread collar, front placket, breast pocket, and double/French cuffs
    • Gold cuff links
  • French blue solid or striped skinny straight silk tie
  • Dark brown leather oxford shoes
  • Taupe cotton lisle dress socks
  • Gray straw summer trilby with black-and-purple striped band
  • Jaeger-LeCoultre Memovox steel-cased wristwatch with black-and-white “tuxedo dial” and black leather strap

Do Yourself a Favor and…

Check out the whole series.

The Quote

Well, I hate to break it to you, but there is no “big lie”. There is no system. The universe is indifferent.

Footnote

Interestingly, Don wears this suit to bookend the sole moments that he is not actively engaged in an extramarital affair during the first season (aside from the season finale)—wearing it when he breaks things off with Midge in “The Hobo Code” (Episode 1.08) and again when he begins his brief affair with Rachel in “Long Weekend” (Episode 1.10).

Don Draper’s Gray Plaid for Summer, Part 2: 1970

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Jon Hamm as Don Draper on Mad Men (Episode 7.08: "Severance")

Jon Hamm as Don Draper on Mad Men (Episode 7.08: “Severance”)

Vitals

Jon Hamm as Don Draper, somewhat less mysterious advertising creative director

New York City, Summer 1970

Series: Mad Men
Episodes:
– “Severance” (Episode 7.08), dir. Scott Hornbacher, aired 4/5/2015
– “The Forecast” (Episode 7.10), dir. Jennifer Getzinger, aired 4/19/2015
Creator: Matthew Weiner
Costume Designer: Janie Bryant

WARNING! Spoilers ahead!

Background

Ten years after Don Draper (Jon Hamm) walked the halls of Sterling Cooper in a gray-blue plaid summer suit, let’s see how the ad man updated his look for the summer of 1970.

As Monday’s post highlighted a suit worn in the eighth and tenth episodes of Mad Men‘s first season, this post looks at a similar suit worn in the eighth and tenth episodes of the seventh and final season as the late spring of 1970 extended into the summer.

“Severance” (Episode 7.08) kicks off the second half of the show’s final season in April 1970 with the refreshed, revalidated, and recently single Don Draper dreaming of Rachel Katz, née Menken (Maggie Siff), ten years after their brief affair that began in “Long Weekend” (Episode 1.10). Don asks his sweetheart of a secretary, Meredith (Stephanie Drake), to find his former paramour, but Meredith learns only that Rachel has recently died… sending him on a lonely spiral that results in an alleyway assignation with a diner waitress named Diana (Elizabeth Reaser).

Two episodes later, Don’s world has drastically changed as he prepares for work in his now-empty “$85,000 fixer-upper” of an apartment while his realtor Melanie nags him to clean the carpets:

You know what it looks like? It looks like a sad person lives here. And what happened to him? He got divorced, spilled wine on the carpeting and didn’t care enough to replace it. Even for himself.

Things aren’t much more peaceful at SC&P, where Don is summoned to the office of Roger Sterling (John Slattery) and asked to write for him a 2,500-word “Gettysburg address” on the future of the company—the episode’s titular forecast. “I’d do it myself,” Roger states, “but one of us is very busy.”

What’d He Wear?

Unlike the gray plaid summer suit seen in the 1960 episodes featured in Monday’s post, the subtle blue complex check on Don’s light gray suit in 1970 gives the suiting more of a blue-ish cast than gray. The cloth itself is likely a lighter-weight worsted.

Don reconnects with Diana.

Don reconnects with Diana.

The suit is detailed in a manner consistent with the widening fashions of 1970 that are ultimately more timeless than the excess of disco-era fads and less dated than some of the details in Don’s gray striped suit that is the final one he would wear on screen. (This suit maker’s label, a black patch with a white border, is briefly visible as Don returns from his alleyway assignation with Diana in “Severance” (Episode 7.08), should anyone here by able to identify it!)

The single-breasted jacket’s notch lapels are far more substantial than the slim lapels of his 1960 suits, rolling to a two-button front with a buttoning point fixed just above the natural waist line. The front buttons and the three buttons on his cuffs are all sky blue plastic. The jacket has a long single vent, a welted breast pocket—where he revives his practice of a neatly folded white pocket square in “The Forecast” (Episode 1.10)—as well as straight hip pockets with wide flaps.

Don spars with his realtor again.

Don spars with his realtor again.

Not only were pleated trousers becoming increasingly unfashionable by the end of the 1960s, but Don Draper was never the sort of man who preferred them. These flat front trousers are no exception, and they are styled like his usual business trousers with side pockets and jetted back pockets. The bottoms are plain-hemmed with a short break, and he wears a black leather belt with a gold single-prong buckle.

Getting marching orders from Roger Sterling.

Getting marching orders from Roger Sterling.

Don’s black socks have the gold threading on the toes that indicate they were likely made by Gold Toe, the 100 year old company originally known as Great American Knitting Mills that introduced its signature gold-threaded reinforced toes during the Great Depression as shoppers needed stronger socks rather than more socks. Don appears to wear Gold Toe socks for both business and leisure, sporting them here with his office attire and later wearing them when casually dressed for a cross-continent road trip.

Don dresses for work in his now-minimalist apartment.

Don dresses for work in his now-minimalist apartment.

As opposed to the brown footwear that supplemented his gray-blue plaid summer suit of the first season, Don sports a pair of plain black calf lace-up dress shoes, likely derbies, that coordinate with his black leather belt.

Despite his cryptic dream, “Severance” (Episode 7.08) finds Don in relatively high spirits as he’s once again enjoying the bachelor lifestyle and a position of power at the agency. His colorful tie, brightly “downhill”-striped in two shades of blue and yellow gold, reflects his more celebratory stance and the new, bolder look—sometimes bordering on tacky—of the decade to follow.

No doubt vintage, this tie in "Severance" (Episode 7.08) is admittedly not one of Don's more timeless or stylish ties.

No doubt vintage, this tie in “Severance” (Episode 7.08) is admittedly not one of Don’s more timeless or stylish ties.

“The Forecast” (Episode 7.10) features a more classic piece of neckwear, a solid navy silk tie that reflects the sobriety of his latest position with an empty apartment, no romantic prospects, and the potential that his agency won’t last into the next decade. Both ties are wider, consistent with the era’s fashions and the width of his suit jacket lapels.

Back to basics with a white shirt and navy tie in "The Forecast" (Episode 7.10).

Back to basics with a white shirt and navy tie in “The Forecast” (Episode 7.10).

By 1970, Don shows some comfort with introducing non-white shirts into his office wear though this suit is never accompanied by anything more colorful than the pale ecru shirt seen in “Severance” (Episode 7.08), and he wears a standard white shirt with his solid navy tie in “The Forecast” (Episode 7.10). Both shirts, per usual, have semi-spread collars, front plackets, breast pockets, and double (French) cuffs, which are fastened—at least in “The Forecast”—with a set of ornate gold oval-shaped cuff links.

Yet another exasperating day at SC&P.

Yet another exasperating day at SC&P.

As “Severance” (Episode 7.08) is still set in the spring, Don arrives at the office with his cooler weather outerwear: a khaki raglan-sleeve raincoat and a traditional dark gray felt short-brimmed trilby with a narrow band.

Don prepares for a range of springtime weather in "Severance" (Episode 7.08) with a summer-friendly suit, raincoat, and felt hat.

Don prepares for a range of springtime weather in “Severance” (Episode 7.08) with a summer-friendly suit, raincoat, and felt hat.

By “The Forecast” (Episode 7.10) and the heat of a Manhattan summer, Don carries his natty gray Pinzano straw hat with its short brim and mauve-and-gray-striped-on-black band, the same summer hat he brought into the office one weekend a year earlier when wearing his taupe plaid jacket in “The Strategy” (Episode 7.06).

By "The Forecast" (Episode 7.10), Don needs only a decorum-informed straw hat for his excursions outdoors.

By “The Forecast” (Episode 7.10), Don needs only a decorum-informed straw hat for his excursions outdoors.

From the fourth season on, Don’s luxury watch was a classic Omega Seamaster DeVille with a stainless steel case, black dial with a 3:00 date indicator window, and a black textured leather strap. Don’s Omega 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.

Don's Omega emits subtle luxury and taste from his left wrist.

Don’s Omega emits subtle luxury and taste from his left wrist.

From what one can tell, Don sticks with his tried-and-true undergarments of a white cotton short-sleeved crew-neck T-shirt and white cotton boxer shorts with an elastic waistband.

What to Imbibe

After Don’s decade-and-a-half of pouring whiskey down his throat during the workday finally caught up to him, the partners of SC&P agreed to bring him back on in the spring of 1969 on the condition that he would not be drinking in the office, outside of client hospitality.

Where do the rules stand a year later? When Don is called to Roger’s office in “The Forecast” (Episode 7.10), he carries a curious-looking brown glass bottle with a jaunty blue label.

Don holds the mysterious bottle by the neck, giving the camera a great view of the label that—were Roger not in focus—we may be able to identify.

Don holds the mysterious bottle by the neck, giving the camera a great view of the label that—were Roger not in focus—we may be able to identify.

While I’m somewhat familiar with beverage branding of the ’60s and ’70s, this one had me at a loss. While the bottle would likely be more of a receptacle for beer these days, the label suggests something more family-friendly, along the lines of a cola. There’s always the possibility that it was something fictional created by the prop department, but Mad Men strove for accuracy in reflecting real life brands,

There has been some discussion about it on Reddit, though no one has come to a consensus:

How to Get the Look

Jon Hamm as Don Draper on Mad Men (Episode 7.10: "The Forecast")

Jon Hamm as Don Draper on Mad Men (Episode 7.10: “The Forecast”)

Whether it’s the sleeker menswear era of 1960 or the bolder period of 1970, Don Draper (with the help of Mad Men costume designer Janie Bryant) remains a prime example of how one can adapt business attire to fit the seasons without sacrificing professionalism.

  • Light gray and blue plaid summer-weight worsted wool suit:
    • Single-breasted 2-button suit jacket with notch lapels, welted breast pocket, wide-flapped hip pockets, 3-button cuffs, and long single vent
    • Flat front suit trousers with belt loops, side pockets, jetted back pockets, and plain-hemmed bottoms
  • White cotton dress shirt with semi-spread collar, front placket, breast pocket, and double/French cuffs
    • Gold oval ornate cuff links
  • Solid navy or blue-and-gold “downhill”-striped wide tie
  • Black calf leather derby shoes
  • Black Gold Toe dress socks
  • Gray Pinzano straw short-brimmed trilby with black, mauve, and gray-striped band
  • Omega Seamaster DeVille wristwatch with stainless 34mm case, textured black crocodile strap, and black dial with date indicator

Do Yourself a Favor and…

Check out the whole series.

The Quote

A lot of wonderful things happened here.


Matt Helm’s Blue Blazer in Murderers’ Row

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Dean Martin as Matt Helm in Murderers' Row (1966)

Dean Martin as Matt Helm in Murderers’ Row (1966)

Vitals

Dean Martin as Matt Helm, smooth secret agent

French Riviera, Summer 1966

Film: Murderers’ Row
Release Date: December 20, 1966
Director: Henry Levin
Costume Designer: Moss Mabry
Tailor: Sy Devore

WARNING! Spoilers ahead!

Background

Happy birthday to Dean Martin, born Dino Paul Crocetti on June 7, 1917, in Steubenville, Ohio! After a successful singing and acting career that included partnerships with Jerry Lewis and the Rat Pack as well as his own TV show, Dino was tapped for the role of Matt Helm, the American counter-agent at the center of author Donald Hamilton’s espionage novels.

While Hamilton wrote his Matt Helm novels with a serious tone, Dino’s characterization parodied the character as more of a playboy lounge lizard, the American satirical answer to his contemporary womanizer James Bond. Thus, the four Matt Helm movies produced in the late ’60s often starred the popular singer opposite many of the most attractive leading ladies of the decade.

Dean Martin with his co-stars Camilla Sparv and Ann-Margret on the set of Murderers' Row (1966).

Dean Martin with his co-stars Camilla Sparv and Ann-Margret on the set of Murderers’ Row (1966).

Martin’s second Matt Helm feature, Murderers’ Row, sets the agent on a mission to rescue a scientist, Dr. Norman Soleris, from the evil Dr. Julian Wall (Karl Malden, who cheerfully chews the scenery in his purple silk suit and rotating accents), aided by the scientist’s daughter Suzie (Ann-Margret) who “borrows” her preppy boyfriend Billy’s boat to transport them. Murderers’ Row reunited Karl Malden and Ann-Margreat a year after the two co-starred with Steve McQueen in The Cincinnati Kid.

I'm not sure if it qualifies for a full-length BAMF Style post, but can we all appreciate Karl Malden's purple silk suit as Dr. Wall? It's hardly timeless or classic... but Malden pulls it off.

I’m not sure if it qualifies for a full-length BAMF Style post, but can we all appreciate Karl Malden’s purple silk suit as Dr. Wall? It’s hardly timeless or classic… but Malden pulls it off.

Matt and Suzie are captured—of course—and the agent’s true identity is revealed. A plot clearly inspired by Dr. No follows, though Ann-Margret’s Suzie proves to be much more than a stylish damsel-in-distress in an era of more complacent Bond girls. Once she’s released from her torture wall, Suzie sabotages Dr. Wall’s computer system, activates a super-magnet that helps Matt evade his most dangerous attacker, and takes action to take out the pilot of Dr. Wall’s hovercraft to control it herself.

What’d He Wear?

Perhaps a nod to their nautical transportation, Matt Helm dresses in a blue double-breasted blazer that recalls a classic naval reefer jacket. These bolder blue blazers were increasingly fashionable during the mid-to-late 1960s, as recently popularized by Roger Sterling‘s rotation of at least three similar double-breasted blue blazers in the later seasons of Mad Men.

Between Matt's blue double-breasted blazer and Suzie's Breton stripe jumper, the spy couple sets an attractive example for timeless style at sea!

Between Matt’s blue double-breasted blazer and Suzie’s Breton stripe jumper, the spy couple sets an attractive example for timeless style at sea!

The blazer is made from a rich blue material with a soft nap and sheen that could indicate the luxurious combination of a cashmere and silk blend. The double-breasted jacket has peak lapels that roll to a single buttoning point on the four-button front. All four of the buttons are silver-toned metal shank buttons.

Not the ideal situation for a spy in a dastardly villain's headquarters.

Not the ideal situation for a spy in a dastardly villain’s headquarters.

The blazer has a welted breast pocket, flapped hip pockets, and non-functioning two-button cuffs with smaller versions of the silver-toned shank buttons on the front. The blazer also has double vents.

Matt loads his pockets to prepare for a final confrontation with Dr. Wall.

Matt loads his pockets to prepare for a final confrontation with Dr. Wall.

The leisure-embracing Matt Helm often supplements his suits, sport jackets, and blazers with the easy comfort of a pullover turtleneck jumper. In this case, he sports a powder blue turtleneck that complements his blazer. The jumper has a finely ribbed-knit roll neck (or “polo neck”), cuffs, and hem.

Looking smooth, even in distress.

Looking smooth, even in distress.

Matt wears his turtleneck untucked over his waistband, but his action scenes (and even a few inaction scenes) give us looks at the details of his gray sharkskin wool trousers, including the beltless waistband with buckle-tab adjusters on the sides and the single reverse pleats on each side of the fly. The trousers have slanted side pockets, no back pockets, and straight legs that end with plain-hemmed bottoms.

Matt wears black suede chukka boots and black socks.

The suede chukka boots absorb much of the ground sand as Matt fights Dr. Wall's henchmen.

The suede chukka boots absorb much of the ground sand as Matt fights Dr. Wall’s henchmen.

“Polka dot shorts!” exclaims Suzie.

Thanks to Suzie’s loose grip during their maritime rescue, no questions are left unanswered about Matt Helm’s choice of undergarments with this outfit, wearing a pair of white cotton boxer shorts with very large crimson red polka dots.

Few people are this amused by their pants being pulled down unexpectedly, but it makes sense that Dino wouldn't mind Ann-Margret being the one doing the pulling. This is one instance where a belt may be preferable to side adjusters, though.

Few people are this amused by their pants being pulled down unexpectedly, but it makes sense that Dino wouldn’t mind Ann-Margret being the one doing the pulling. This is one instance where a belt may be preferable to side adjusters, though.

What to Imbibe

Matt pretends that he will take Dr. Wall’s side by pouring himself a glass of Bourbon for a monitored call to his boss, Mac, who knows that it’s a ruse by telling his colleagues: “Matt Helm never took a drink of bourbon in his life!”

With Suzie chained for torture on the wall behind him, Matt buys time by indicating to his bosses that he is drinking Bourbon rather than his beloved Scotch.

With Suzie chained for torture on the wall behind him, Matt buys time by indicating to his bosses that he is drinking Bourbon rather than his beloved Scotch.

Indeed, Matt Helm shares Dean Martin’s preferred whisk(e)y of choice: Scotch.

The Gun

The Matt Helm series continued to separate itself from the comparatively grounded early James Bond adventures by issuing its hero with a series of secret weapons developed with bizarre quirks, such as the Hy Hunter Bolomauser modified AR-7 pistol that only fires ten seconds after the trigger is pulled. (Source: IMFDB)

Bond fans would recall the Armalite AR-7 survival rifle in 007’s hands as he shot a Bulgar assassin and disabled a SPECTRE helicopter in From Russia With Love. In this case, the weapon has been cut down to only its main receiver with a shortened, detachable barrel and a large wooden grip, somewhat resembling the classic Mauser C-96 “Broomhandle” pistol or—perhaps more accurately—the Star Wars “blaster” that the C-96 inspired.

Matt unboxes his modified AR-7 while on Billy's yacht.

Matt unboxes his modified AR-7 while on Billy’s yacht.

Despite its quirks, the gun is used quite effectively, confounding Matt’s attackers when they pick it up and often trade friendly fire… and it ultimately proves to be the undoing of Dr. Wall himself.

Dr. Wall (dying): Clever.
Matt Helm: If you say so.

Matt's pistol falls to the ground during a fight at Dr. Wall's base.

Matt’s pistol falls to the ground during a fight at Dr. Wall’s base.

A guard uses Matt’s delayed-fire AR-7 to accidentally take out another guard who, in turn, returns fire with his own folding-stock carbine. With both guards out of commission, Matt upgrades his firepower by arming himself with the latter guard’s M1A1 Carbine, a semi-automatic rifle chambered for .30 Carbine that was developed for the U.S. Army and most widely fielded by paratroopers during World War II. The side-folding stock differentiates the M1A1 from the standard M1 Carbine model.

Matt uses the M1A1 Carbine to dispatch another guard who has Suzie in his gun sights.

Matt uses the M1A1 Carbine to dispatch another guard who has Suzie in his gun sights.

Somewhat less lethal is Matt’s pocket pistol taken from Coco (Camilla Sparv), a nickel-plated and ornately engraved “ice” pistol that fires an icy blast rather than actual bullets. The weapon comes in handy to silently—if somewhat unrealistically—disable several of Dr. Wall’s guards that he encounters during his infiltration of the lair.

Matt cools down one of Dr. Wall's guards.

Matt cools down one of Dr. Wall’s guards.

How to Get the Look

Dean Martin as Matt Helm in Murderers' Row (1966)

Dean Martin as Matt Helm in Murderers’ Row (1966)

Whether your day at sea will end up with invading a villain’s lair or simply enjoying a drink on the deck of your friend’s boat, Dean Martin’s Matt Helm provides a stylish template for your nautical adventure.

  • Blue napped cashmere/silk double-breasted blazer with peak lapels, 4×1-button front, welted breast pocket, straight flapped hip pockets, 2-button cuffs, and double vents
  • Powder blue turtleneck with ribbed-knit neck, cuffs, and hem
  • Gray sharkskin single reverse-pleated trousers with buckle-tab side adjusters, slanted side pockets, and plain-hemmed bottoms
  • Black suede chukka boots
  • Black socks
  • White (with large dark red polka dots) cotton boxer shorts

Do Yourself a Favor and…

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

The Quote

Nobody dies for nothing.

Richard Burton’s Golf Cardigan 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

Pebble Beach, California, Spring 1965

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

Background

This Thursday, June 13, the USGA U.S. Open begins at Pebble Beach Golf Links, a renowned public golf course in Monterey County celebrating its centennial this year. 2019 marks the sixth time that Pebble Beach has hosted the U.S. Open, the first time being in 1972, seven years after Richard Burton teed off for a brief scene in The Sandpiper.

The Sandpiper recognizes the golf course’s significance in business transactions, even for school headmasters like Dr. Edward Hewitt (Burton) and his group of major donors. One fellow golfer offers to donate $300,000 to the school’s chapel fund if Dr. Hewitt hits the green… unfortunately, his ball flies into the water instead.

What’d He Wear?

Rarely seen without a dress shirt and tie, Edward dresses for golf in a casual cream knit polo shirt with a large collar and three dark brown buttons fastened to the neck.

Edward prepares his shot.

Edward prepares his shot.

Edward opts to wear green for the green…though in this case, his green is an olive wool knit cardigan sweater with a straight-cut bottom, six-button front, and welted pockets. The set-in sleeves are elasticized at the cuffs, keeping the material of the sleeves away from his hands as he swings. The cardigan has a short two-button vent on each side of the waist hem.

Edward keeps his earthy tones intact with a pair of dark brown flat front trousers with straight side pockets and jetted back pockets. His shoes appear to be standard brown calf derbies rather than any sort of golf-informed footwear like kilties or cleats, though it’s difficult to tell given the fact that we only really see his feet in wide shots.

A picturesque spot for fundraising.

A picturesque spot for fundraising.

Edward wears a cream leather golf glove on his left hand. Though they had been commercially available for the better part of a century, golf gloves were not universally popular until the 1960s when golf-wearing champions Arnold Palmer and Jack Nicklaus sported them on the green. Read more about the history of the golfing glove here.

Since Edward wears the glove on his non-dominant left hand, it runs up against his gold wristwatch, possibly the Patek Philippe that Elizabeth 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… unless he’s one heck of a fundraiser, though his golf skills seem to prove otherwise.

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)

Richard Burton taps into his innately timeless sense of style when teeing off at the famous Pebble Beach Golf Links in The Sandpiper, dressing for the cool coastal California climate in an earthy cardigan, polo, and slacks.

  • Cream knit long-sleeve polo shirt with three dark brown buttons
  • Olive wool knit 6-button cardigan sweater with welted pockets, straight-cut bottom, elasticized cuffs, and 2-button side vents
  • Dark brown flat front trousers with straight/on-seam side pockets, jetted back pockets, turn-ups/cuffs
  • Brown calf leather derby shoes
  • Black socks
  • Patek Philippe yellow gold automatic wristwatch with champagne-colored dial and woven bracelet
  • Cream leather golf glove

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.

Casino – De Niro’s Pink Robe

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Robert De Niro as Sam "Ace" Rothstein in Casino (1995)

Robert De Niro as Sam “Ace” Rothstein in Casino (1995)

Vitals

Robert De Niro as Sam “Ace” Rothstein, Vegas casino executive and mob associate

Las Vegas, Spring 1978

Film: Casino
Release Date: November 22, 1995
Director: Martin Scorsese
Costume Design: Rita Ryack & John A. Dunn

Background

More than a year has passed since I last explored the expansive and flashy wardrobe worn by Robert De Niro as “Ace” Rothstein in Casino, so what better occasion than the real Ace’s birthday to take another look at the casino executive’s colorful attire.

Frank “Lefty” Rosenthal was born 90 years ago today—June 12, 1929—in Chicago, where he spent his formative years and early career until moving to Miami in the early ’60s. Within the decade, Lefty grew tired of the attention from local police and federal authorities and moved out to Las Vegas, where he swiftly and secretly established himself as the operator of the now-demolished Stardust Resort and Casino.

Lefty’s tenure in Vegas was plagued from the start due to his mob connections and the eventual arrival of his once-friend Anthony “Tony” Spilotro, a violent enforcer from the Chicago Outfit looking to make his own mark in Sin City. In Casino, Spilotro was renamed Nicky Santoro for Joe Pesci’s explosive portrayal of him.

What’d He Wear?

I lost control? Look at you! You’re fucking walking around like John Barrymore! A fuckin’ pink robe and a fuckin’ cigarette holder?

— Nicky Santoro

While not quite as opulent as the monogrammed dressing gown Barrymore wore in Dinner at Eight (1933), Ace’s pink silk robe with its violet-and-gold triple-prong repeating print is a far cry from anything that Nicky would feel comfortable wearing. The robe has a broad shawl collar, a breast pocket and two large hip pockets, and it ties around the waist with a sash made from the same fabric as the rest of the robe. The sleeves have wide self-cuffs at the ends, extending about six inches back from each wrist.

Ace's choice of loungewear provides yet another source of conflict between the two frenemies.

Ace’s choice of loungewear provides yet another source of conflict between the two frenemies.

Ace wears the same light pink self-striped satin silk pajamas that he sported earlier with his similarly patterned navy silk robe. The pajama set has a button-up top with a plain front and breast pocket.

Ace laments that there's just never anything good on TV these days...

Ace laments that there’s just never anything good on TV these days…

Ace completes his image of luxurious leisure with a pair of black velvet Prince Albert house slippers with hard soles, worn without socks. According to the De Niro movie costume archive at the Harry Ransom Center at University of Texas at Austin, these are likely the “black slippers with gold beaded embellishment on vamp” by Neiman Marcus.

Scorsese directs Pesci and De Niro on set.

Scorsese directs Pesci and De Niro on set.

Perhaps as he was planning to go to bed, Ace’s hands are bare of rings or excess jewelry and he instead wears only his 18-carat white gold vintage Bueche Girod wristwatch with its blue square dial tri-sected by thin white gold bars.

Ace ashes one of his many Dunhill cigarettes before taking a late night call.

Ace ashes one of his many Dunhill cigarettes before taking a late night call.

Go Big or Go Home

For the most part, Ace tries to stay out of his former pal Nicky’s profanity-laden tirade against mob-friendly banker Charlie Clark (Richard Riehle), instead supervising the conversation from behind his well-stocked home bar, a watering hole so exquisitely decorated that it is clearly the domain of the man in the immaculate silk dressing gown.

No home bar is complete without a photo of you shaking hands with Kevin Pollak.

No home bar is complete without a photo of you shaking hands with Kevin Pollak.

How to Get the Look

Robert De Niro as Sam "Ace" Rothstein in Casino (1995)

Robert De Niro as Sam “Ace” Rothstein in Casino (1995)

Lounging around the house in a pink satin robe and pajamas may not be an instinctive choice for your morning attire, but it certainly evokes the elegance of a bygone era… particularly in the right context; pink-on-pink loungewear may be best deployed for a comfortable breakfast in bed with a loved one and not for overseeing a gangster’s attempted extortion of a bank president.

  • Pink patterned silk dressing gown/robe with wide shawl collar, breast pocket, hip pockets, wide-cuffed sleeves, and waist sash
  • Light pink self-striped satin silk pajama set:
    • Button-up pajam top with plain front and breast pocket
    • Pajama pants with plain-hemmed bottoms
  • Black velvet Prince Albert slippers with gold beaded embellishment and hard leather soles
  • Bueche Girod 14-carat white gold vintage wristwatch with blue square face on link bracelet

Do Yourself a Favor and…

Check out the movie.

The Quote

Listen, I would appreciate it if you’d stay out of my personal life, okay? You wouldn’t like it if I did it to you.

Footnotes

I should’ve never married him. He’s a Gemini. Triple Gemini. Duality. Gemini is the snake, you know. You can’t trust a snake.

— Ginger McKenna (Sharon Stone)

Given the real Lefty’s birthday of June 12, Ginger’s frustrated reference to his being a Gemini is completely accurate, as is her judgement that the twins symbolize duality, though her ruling that “Gemini is the snake” is an inaccurate blending of Western astrology and the Chinese zodiac. (His June 12, 1929, birthdate also squashes her “triple Gemini” theory as his Moon sign would technically be Virgo… which makes sense.) However, it is true that the period of February 10, 1929, to January 29, 1930, is the year of the snake under the Chinese zodiac.

(The real Ginger, Geraldine “Geri” McGee, was born on May 16, 1936, thus sharing her Taurus sign with Tony Spilotro, the real Nicky. According to astrologer Joanna Martine Woolfolk, romance between Taurus and Gemini is “an unpromising match.”)

Shaft’s Brown Leather Coat

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Richard Roundtree as John Shaft in Shaft (1971)

Richard Roundtree as John Shaft in Shaft (1971)

Vitals

Richard Roundtree as John Shaft, tough private detective

New York City, January 1971

Film: Shaft
Release Date: June 25, 1971
Director: Gordon Parks
Costume Designer: Joseph G. Aulisi

Background

Almost 50 years after Richard Roundtree first stepped out onto a busy New York City street, John Shaft remains a cultural icon with the release of the fifth and latest installment of the Shaft canon that arrived in theaters this weekend.

Roundtree made his cinematic debut in 1971’s Shaft, establishing the blaxploitation genre and rapidly followed by two sequel movies and a short-lived TV show that all starred the former model as the tough private eye from Ernest Tidyman’s series of novels. Roundtree would reprise his role as John Shaft I—uncle of Samuel L. Jackson’s character—in Shaft (2000) and Shaft (2019)… yes, that’s three films in one series all named Shaft.

The film begins with Roundtree’s Shaft spending a wintry day dodging Harlem crime boss Bumpy Jonas (Moses Gunn) and his goons until Bumpy finally corners the detective in his midtown office to hire him to find his missing daughter. Also memorable from the original Shaft is Isaac Hayes’ funky soundtrack, anchored by the Academy Award-winning theme song.

What’d He Wear?

From the get-go, Shaft establishes his wardrobe as a variety of leather jackets and turtlenecks, all for various purposes. When the time comes to assault a mob hideout, it’s a black leather motorcycle jacket (and matching pants!) with a black turtleneck. But when he’s making an impression for strutting through the streets, it’s hard to do better than a long brown leather coat.

Shaft owns the streets of 1971 New York City.

Shaft owns the streets of 1971 New York City.

This first-seen of Shaft’s leather outerwear takes styling cues from a classic trench coat—albeit in mahogany leather—with its double-breasted front, epaulettes, belted waist and cuffs, and long fit. It’s an appropriately ’70s-styled update to the classic, trench-coated private eyes of film noir and undoubtedly made a lasting contribution to the enduring movie and TV trope of the “badass long coat”.

The front of Shaft’s coat has two columns of three brown plastic sew-through buttons in addition to a self-belt that fastens through a gold buckle. The set-in sleeves are also belted on the cuffs, each with a gold single-prong buckle that can be adjusted to tighten around the wrist.

Shaft confronts a gangster who broke into his office.

Shaft confronts a gangster who broke into his office.

Shaft’s coat has short epaulettes (shoulder straps) with a button near the neck. There are large patch pockets on the hips, covered with flaps, and edge-stitching throughout. The lining appears to be blue satin silk. Magnoli Clothiers has developed its own replica of John Shaft’s original coat, priced at $895 and available to be customized in a variety of different leathers.

Under Shaft’s signature leather coat, the detective keeps his look fashionable with a series of suits and blazers all worn with turtlenecks. His first suit, seen as he walks the streets of New York, enjoys a shoe shine, and confers with his police pal Vic Androzzi (Charles Cioffi) consists of a large-scaled dark brown, teal blue, and beige plaid with a rust-orange center stripe on each plaid set, all on a golden brown flannel ground.

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

Shaft makes himself at home in Lt. Vic Androzzi's office.

Shaft makes himself at home in Lt. Vic Androzzi’s office.

The suit’s matching flat front trousers rise high to his natural waist with slightly slanted side pockets, jetted back pockets, and gently flared plain-hemmed bottoms and is worn with a wide dark brown belt with a shiny gold squared single-prong buckle.

Shaft tucks in his tan cashmere knit turtleneck, which has a finely ribbed roll-neck and cuffs.

A moment of reflection in Shaft's office.

A moment of reflection in Shaft’s office.

According to his shoeshiner Cul (Arnold Johnson), there is a scuff on the left toe of his brown leather square-toed ankle boots.

Shaft starts his day with a cup of coffee and a shoeshine.

Shaft starts his day with a cup of coffee and a shoeshine.

The first day’s sequence is followed by a brief series of vignettes showing Shaft looking for Bumpy’s daughter, checking with his usual contacts and informants. He wears his coat buttoned up so that we can see little of his outfit aside from his black turtleneck and black leather gloves.

Recently hired by Bumpy Jonas, Shaft hits the streets.

Recently hired by Bumpy Jonas, Shaft hits the streets.

A few days later, an extended sequence includes Shaft taking his original suspect Ben Buford (Christopher St. John) to see Bumpy before he arrives at the No-Name Bar to “serve” two of the mobsters who have been assigned to take him out. He layers warmly under the brown leather trench coat with a brown barleycorn tweed suit that has a red windowpane check.

Back at his apartment, Shaft gets some TLC from Linda (Margaret Warncke), his date for the evening.

Back at his apartment, Shaft gets some TLC from Linda (Margaret Warncke), his date for the evening.

This tweed suit has a single-breasted jacket styled similarly to the plaid suit. The flat-front suit trousers share the plaid suit’s high rise, slanted side pockets, and jetted back pockets, though they lack belt loops. Instead, these trousers have an extended waistband that fastens in the front with a single button through a single belt loop. Shaft evidently doesn’t need a belt in this scene as he isn’t wearing the shoulder holster that typically connects to his belt.

Shaft again wears a light, neutral-colored knit turtleneck tucked into his trousers, though this particular jumper is cream-colored cashmere with raglan sleeves.

Early the next morning, Shaft again wears this cream-colored cashmere sweater when he goes to visit the two mobsters he encountered at the No-Name Bar, now in police custody, though he opts for a blazer and slacks instead of a suit. The dark navy double-breasted blazer has six shiny gold-toned buttons.

Shaft visits the two hoods he subdued at the No-Name Bar.

Shaft visits the two hoods he subdued at the No-Name Bar.

Shaft’s light gray flat front trousers have slanted front pockets, no back pockets, and flared plain-hemmed bottoms. He wears them with a thick black leather belt with a shaped gold single-prong buckle, used to secure his shoulder holster in place.

Shaft kicks his feet up on his coffee table, showing the audience his black leather loafers with gold horsebit detail worn with black socks.

Note Shaft's brown leather trench coat next to him on the sofa.

Note Shaft’s brown leather trench coat next to him on the sofa.

The danger of Shaft’s line of work necessitates his carrying a sidearm, particularly a snub-nosed Colt Detective Special in a black leather shoulder rig. The holster itself is suspended under his right arm for a smooth left-handed draw, supported with a black vinyl strap across his shoulders.

Strapped Shaft.

Strapped Shaft.

Shaft wears a steel wristwatch with a round silver dial on a unique rally-style bracelet. The bracelet has three large holes on each side of the watch case, connected by a series of smaller holes as the band extends around the wrist.

While rally watch straps are often made of leather, metal bracelets with large round perforations like Shaft’s also emerged during the 1960s as a stylish alternative to the breathable straps popularized by race car drivers. (For example, check out this 22mm wide stainless “half bangle” watch band from Vollmer.)

What to Imbibe

We know Shaft is a heavy coffee drinker, enjoying a cup during his opening shoe shine and even fueling up for his final confrontation with an espresso (despite the bored waitress’ neglect of a lemon peel), but what does this super fly private eye to relax?

Cheers!

Cheers!

After spotting two mobsters—Carmen and Patsy—at a neighborhood bar, Shaft asks the friendly bartender if he can take over behind the bar and approaches the two men, asking for their order.

“Scotch and water, both,” responds Carmen (George Strus), prompting Shaft to draw a bottle of Dewar’s White Label to pour each a dram on the rocks. “On the house, gents,” he tells them, “and since the house is buying, I’ll have one,” pouring himself a tall glass over ice as well.

Shaft asserts dominance over the two mob hoods by drinking his Dewar's straight rather than mixing it with water.

Shaft asserts dominance over the two mob hoods by drinking his Dewar’s straight rather than mixing it with water.

“That’s all booze!” Carmen exclaims after realizing no water was added. “Right on—all booze, one zillion percent,” laughs Shaft.

The Gun

Given his profession, it’s appropriate that John Shaft’s preferred armament is the Colt Detective Special revolver, carried in a shoulder holster under his right arm.

Shaft draws his Detective Special on a gangster he cornered in his office.

Shaft draws his Detective Special on a gangster he cornered in his office.

This classic “belly gun” was one of the first to balance power and concealability upon its introduction in 1927, allowing its users to carry six rounds of the venerable .38 Special round in a relatively compact package with its “snub-nosed” two-inch barrel. Shaft carries the original first-generation Detective Special, most identifiable by its unshrouded ejector rod.

Shaft actually owns two Detective Specials: a blued steel model with wooden grips that he carries for most of the film and a nickel-plated backup that he keeps in his refrigerator, seemingly reserved for special occasions.

When preparing for the climactic rescue mission, Shaft swaps out his blued Detective Special for a nickel-plated one. Given the lack of functional difference between the two models, the "upgrade" is purely cosmetic to give Shaft a flashier piece for the finale.

When preparing for the climactic rescue mission, Shaft swaps out his blued Detective Special for a nickel-plated one. Given the lack of functional difference between the two models, the “upgrade” is purely cosmetic to give Shaft a flashier piece for the finale.

Richard Roundtree as John Shaft in Shaft (1971)

Richard Roundtree as John Shaft in Shaft (1971)

How to Get the Look

John Shaft updated the classic film noir trench coat and fedora to a long leather coat and turtleneck that made him the toast of the streets of ’70s New York.

  • Brown mahogany leather trench-style coat with wide edge-stitched lapels, double-breasted 6-on-3 button front, patch hip pockets with flaps, belted front with slide-through buckle, and set-in sleeves with belted cuffs
  • Brown plaid flannel suit:
    • Single-breasted 2-button jacket with notch lapels, welted breast pocket, straight flapped hip pockets, and 4-button cuffs
    • Flat front trousers with belt loops, slightly slanted side pockets, jetted back pockets, and plain-hemmed bottoms
  • Tan cashmere knit turtleneck with ribbed neck and set-in sleeves with ribbed cuffs
  • Dark brown leather belt with squared gold single-prong buckle
  • Brown leather square-toe ankle boots
  • Black leather shoulder holster with vinyl support strap and belt connector strap
  • Steel wristwatch with round silver dial on metal rally-style bracelet

Do Yourself a Favor and…

Check out the movie.

The Quote

Don’t bull me, man. I got the right number. This is Shaft.

Tony Soprano’s Black Floral Assassination Shirt

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James Gandolfini as Tony Soprano on The Sopranos (Episode 1.13: "I Dream of Jeannie Cusamano")

James Gandolfini as Tony Soprano on The Sopranos (Episode 1.13: “I Dream of Jeannie Cusamano”)

Vitals

James Gandolfini as Tony Soprano, New Jersey mob chief

Jersey City, NJ, Fall 1998

Series: The Sopranos
Episode: “I Dream of Jeannie Cusamano” (Episode 1.13)
Air Date: April 4, 1999
Director: John Patterson
Creator: David Chase
Costume Designer: Juliet Polcsa

WARNING! Spoilers ahead!

Background

This week marks the sixth anniversary of the June 19, 2013, death of James Gandolfini, the brilliant actor who made Tony Soprano one of the most compelling TV characters of all time. Today’s #MafiaMonday post celebrates one of Tony’s most iconic moments on The Sopranos… pulling a pistol out of a dead fish’s gaping mouth to shoot a rival mobster. While the show is filled with scenes that exhibit the depths of Gandolfini’s brilliant acting, this memorable sequence has always stuck with me.

The first season follows Tony’s increasing feud with his proud uncle, Corrado “Junior” Soprano (Dominic Chianese), who has been plotting to have his nephew assassinated. The last attempt to kill Tony failed so by the season’s final episode, “I Dream of Jeannie Cusamano”, Junior has enlisted the help of his top two lieutenants, the unrepentant douchebag Mikey Palmice (Al Sapienza) and the more pitiful Chucky Signore (Sal Ruffino). It’s the latter that Tony and his cronies identify as the likely triggerman in the next attempt, so the Soprano crew decides to get the upper hand.

Chucky is mooring his boat, Villain II, at Liberty Landing Marina in Jersey City when he is shocked by the sudden appearance of a smiling Tony Soprano, walking toward him in shorts and carrying a large fish.

Tony: Jesus Christ, relax!
Chucky: The fuck you doin’ here?
Tony: Takin’ the Stugots, puttin’ her in the marina next door.
Chucky: No shit…
Tony: Look at this baby I caught right off the point here…

Tony reaches his right hand into the fish’s mouth, pulling out a compact Beretta pistol, leveling it, and emptying all eight shots into a panicky Chucky’s chest. It’s a loud kill as the gunshots were sure to echo through the marina, but Tony is too satisfied with the elimination of an immediate threat to be concerned with witnesses.

R.L. Burnside’s “It’s Bad You Know” begins as we cut to Tony’s trusty consigliere, Silvio Dante (Steven Van Zandt), pulling the chains and concrete blocks from the back of his car to sink Chucky’s body.

What’d He Wear?

With summer starting at the end of this week, there’s no time like the presents to pull your Aloha shirts and tropical prints from the back of your closet. Though “I Dream of Jeannie Cusamano” is likely set closer to the fall, Tony embraces his seafaring mission with a loud silk short-sleeved shirt with a colorful tropical print of pink flowers with teal leaves on green stems, all contrasted against a black ground.

Tony adds a literal context to the Mafia-associated phrase "sleeping with the fishes".

Tony adds a literal context to the Mafia-associated phrase “sleeping with the fishes”.

Tony would later wear a similar black tropical-patterned shirt while vacationing for his birthday in “Soprano Home Movies” (Episode 6.13), the start of the final season, providing some unification with this shirt worn at the finale of the starting season.

There may be an unwritten—but not unspoken—rule that “a don doesn’t wear shorts”, but the context of taking a boat out to sea seems as good a time as any to sport a pair of black Bermuda shorts… especially ones with back pockets where Tony can carry his Beretta after completing the hit.

Continuing the theme of nautically appropriate attire, Tony wears a pair of classic brown leather boat shoes. His footwear isn’t seen clearly enough to ascertain whether or not his shoes are the classic Sperry Top-Sider that originated the boat shoe style when they were introduced in 1935, but it’s a good bet.

After dispatching Chucky Signore, Tony appropriates the recently deceased mobster’s mariner’s cap, also known as a Greek fisherman’s cap or a “fiddler cap” based on Topol wearing a brown one as Tevye in Fiddler on the Roof (1971). The nautical affiliations date back to the early 20th century when merchant navy sailors wore these soft-topped caps in navy or black, a tradition that extended to more recreational skippers like Chucky over the following decades.

Mariner’s caps are defined by their soft cover, matching visor, and decorative braiding detail. They are traditionally constructed from navy blue or black wool felt.

Chucky's mariner's cap is hardly the most flattering headgear for Tony, but now doesn't seem to be a good time to criticize the Beretta-toting mob boss.

Chucky’s mariner’s cap is hardly the most flattering headgear for Tony, but now doesn’t seem to be a good time to criticize the Beretta-toting mob boss.

Tony has discarded all of his normal jewelry, wearing no gold bracelet, no Rolex, and no pinkie ring. Only his gold pendant and his gold wedding band remain.

The Gun

Due to the larcenous nature of their use of firearms, few characters on The Sopranos have a signature weapon, using whatever they can get their hands on (likely sans a legible serial number) and quickly discarding it after their latest crime. “I Dream of Jeannie Cusamano” is the sole appearance of the Beretta Cheetah, a compact semi-automatic pistol that the Italian manufacturer developed in the late 1970s also known as the “Series 81” line.

The actual Cheetah handled by James Gandolfini was included in an auction by The Golden Closet, which identified it specifically as a Beretta Model 85BB Cheetah, chambered in .380 ACP and designated with the serial number D11606Y, leased to the production by Weapons Specialists Ltd. (You can also find the listing at Julien’s Live.)

Tony Soprano's screen-fired Beretta Model 85BB Cheetah pistol as featured on The Sopranos, sourced from The Golden Closet.

Tony Soprano’s screen-fired Beretta Model 85BB Cheetah pistol as featured on The Sopranos, sourced from The Golden Closet.

There are many variants of the Beretta Cheetah, all differentiated by their model number and letter suffices. Models 81 and 82 are chambered for the smaller .32 ACP cartridge, with the Model 81—Tony Montana’s chosen sidearm in Scarface—carrying a double-stack 12-round magazine while the Model 82 has a single-stack magazine that holds nine rounds.

Models 83, 84, 85, and 86 are all chambered for .380 ACP (9mm Short). The Model 86 is the outlier with its redesigned, 4.37″-long tip-up barrel like the subcompact Beretta Jetfire series that can load cartridges directly into the chamber. The Model 84 holds a double-stacked, 13-round magazine while the Models 83 and 85 have single-stacked magazines, though the Model 83 has a longer 4″ barrel and a seven-round magazine. The Model 85—Tony Soprano’s assassination weapon in this scene—carries eight rounds in the magazine and has a 3.81″-long barrel like most other Cheetah variants.

Armed with his Beretta Model 85BB Cheetah, Tony settles a family dispute in the classic Soprano fashion.

Armed with his Beretta Model 85BB Cheetah, Tony settles a family dispute in the classic Soprano fashion.

The standard Model 87, the single-action Model 87 Target, and the competition-designed Model 89 are all chambered in .22 Long Rifle (.22 LR). The Model 87 shares cosmetic similarities with the base .32 and .380 models while the Model 87 Target and Model 89 have longer barrels just shy of six inches.

Most Beretta pistols are also designated by letter suffices: base model (no letters), B, BB, F, and FS. The base model is the most stripped down with only an ambidextrous frame-mounted safety and wooden grips. The B suffix introduced an automatic firing pin safety, while the BB suffix—like the Model 85BB seen in Tony Soprano’s hands—adds details like additional slide serrations and white dot and post sights. All of the aforementioned models have rounded trigger guards, unlike the F and FS series that squared off the trigger guard as well as an addition of a combination safety/decocker lever.

How to Get the Look

James Gandolfini as Tony Soprano on The Sopranos (Episode 1.13: "I Dream of Jeannie Cusamano")

James Gandolfini as Tony Soprano on The Sopranos (Episode 1.13: “I Dream of Jeannie Cusamano”)

What could be less threatening than a guy in a Hawaiian shirt and shorts holding a giant fish? Tony Soprano uses this to his advantage for an assassination.

  • Black with pink floral, teal leaf, and green stem tropical print silk short-sleeved resort shirt with point collar, plain front, and breast pocket
  • White ribbed cotton sleeveless undershirt
  • Black cotton Bermuda shorts with side pockets and jetted back pockets
  • Brown leather two-eyelet boat shoes
  • Gold open-link chain necklace with round St. Jerome pendant
  • Gold wedding ring

This isn’t an uncommon aesthetic for an Aloha shirt, so see if the look is right for you with these budget options:

  • Dioufond in “black” cotton/poly ($11.99-$19.99)
  • 28 Palms in “black bamboo” silk/linen ($13.13-$40.00)
  • H&M “Slim Fit Patterned Shirt” in “black floral” cotton/viscose ($29.99)
  • Hawaii Hangover in “black rafelsia floral” rayon ($35 – $46)
  • Hopioneer in cotton/poly ($17.99)
  • Leisurely Pace in “red hibiscus” polyester ($17.99)

And, if you’re a little more serious about investing in this look:

  • Tommy Bahama “Tahitian Tweets” camp shirt in black silk ($125)

Do Yourself a Favor and…

Check out the entire series, but start with the epic first season—one of the strongest starts in TV history.

Bond’s Green Safari Jacket in The Man with the Golden Gun

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Roger Moore as James Bond in The Man with the Golden Gun (1974)

Roger Moore as James Bond in The Man with the Golden Gun (1974)

Vitals

Roger Moore as James Bond, British government agent

Bangkok, Thailand, Spring 1974

Film: The Man with the Golden Gun
Release Date: December 20, 1974
Director: Guy Hamilton
Tailor: Cyril Castle
Clothes by: Jimmy Chen
Wardrobe Supervisor: Elsa Fennell

Background

Today marks the momentous 20th anniversary of the first time I’d ever seen a James Bond movie. June 19, 1999, was the first Saturday of my summer vacation after 4th grade, and my friend Nate was hosting a dozen friends for his 10th birthday party. Among the pizza, pop, and festivities was a rented copy of The Man with the Golden Gun on VHS… and thus Roger Moore was my introduction to agent 007.

Arguably one of the most iconic outfits—for better or worse—from Moore’s sophomore outing is the green safari shirt-jacket and cream trousers that the agent wears when he arrives to meet Andrea Anders (Maud Adams) at a Muay Thai match to take possession of the film’s MacGuffin, a solex agitator.

Unfortunately, Andrea’s dead—shot in the chest—with the solex agitator initially nowhere to be found. Bond finds himself sitting next to the sinister yet sophisticated Francisco Scaramanga (Christopher Lee), who prides himself on the “difficult… but most gratifying” shot that ended Andrea’s life before introducing his peanut-munching pal Nick Nack (Hervé Villechaize) who has a derringer aimed at Bond, prompting the agent to quip: “A gun in a bag of peanuts, how original. What will they think of next?”

As Scaramanga pontificates, Bond spies the solex agitator among the trash at Andrea’s feet and slides it under his loafer, smoothly smuggling it to his ally Lieutenant Hip (Soon-Tek Oh)—undercover as a waiter—by pretending to purchase a bag of peanuts from him. Unaware of Bond’s maneuver, Scaramanga surprisingly departs after a brief chat—hoping that he and Bond shall never meet again—and the whole movie might have ended there with Bond’s mission relatively accomplished… until the MacGuffin ends up with the bumbling but beautiful MI6 agent Mary Goodnight (Britt Ekland), who finds herself in the trunk of Scaramanga’s AMC Matador.

With vacationing Louisiana sheriff J.W. Pepper (Clifton James) riding shotgun, Bond gives chase in an AMC Hornet stolen from a Bangkok dealership (gee, I wonder if AMC paid for all of this product placement?) with considerable impressive stunts to follow, beginning with a “J-turn” from reverse that would be popularized on The Rockford Files, which premiered the same year.

In a truly impressive stunt ruined by a truly awful slide whistle, Bond—in actuality, stunt driver Loren “Bumps” Willard—performed a groundbreaking “aerial twist” as the red Hornet drove off the elevated broken end of a bridge and rotated counter-clockwise a full 360° before making a smooth landing on the other side of the bridge.

Pretend there's no slide whistle.

Pretend there’s no slide whistle.

Despite the impressive stunt, it’s not enough for Bond and Sheriff Pepper to catch the assassin whose Matador transforms into a plane that flies away.

What’d He Wear?

The inclusion of this distinctive shirt-jacket in Orlebar Brown’s official 007-inspired collection this season makes this the perfect time to take another look at Sir Roger’s outfit. Perhaps more than any other actor who would strap on James Bond’s Walther PPK, Roger Moore stepped into the role with a well-informed and strongly developed sense of style, a sartorial savvy that permitted him to take more risks than Sean Connery who often reverted to safe but stylish classic pieces like the navy blazer, brown tweed jacket, and gray business suit with “cocktail cuff” shirts and navy grenadine ties.

Armed with English clothing experts like Cyril Castle and Frank Foster as well as his own experience as a natty dresser in The Saint and The Persuaders!, Moore had no need for such a safe “uniform”, introducing a style for James Bond that effectively balanced the trends of the ’70s with timeless style. Yet, there has been much unfair dismissal of Moore as “the leisure suit Bond” from those who overlook his beautifully tailored suits and sport jackets crafted by such hands as Mr. Castle, Angelo Roma, and Douglas Hayward.

While safari-inspired clothing was indeed a 1970s trend that many men wore at the wrong time and wrong place—look no further than episodes of classic city-set sitcoms like The Bob Newhart Show for evidence—Sir Roger’s 007 wore only well-cut, well-made safari clothing and only when appropriate, such as in warm, tropical environments. Even Ian Fleming did not shy away from dressing the literary James Bond in safari clothing, describing the “faded khaki bush shirt” that Bond borrowed for the final chapter of Diamonds are Forever.

Thus, the warm southeast Asian setting of The Man with the Golden Gun provides an appropriate setting for Roger Moore’s James Bond to step out in safari garb like this green safari-style shirt worn with light slacks and loafers.

Even in an urban setting like Bangkok, Bond's safari shirt-jacket provides comfort in the warm climate and is appropriately dressed up for the city with his linen trousers and leather loafers.

Even in an urban setting like Bangkok, Bond’s safari shirt-jacket provides comfort in the warm climate and is appropriately dressed up for the city with his linen trousers and leather loafers.

In its auction listing, the Prop Store confirms that Moore’s bespoke green safari shirt was “a custom-made garment by Hong Kong tailor Jimmy Chen,” made from lightweight cotton in a light shade of sage green similar to the Class A uniform dress shirts worn by the U.S. Army at the time.

Fitted with a half-belted back and double side vents, the shirt-jacket has a wide camp collar and the usual safari-inspired detailing of epaulettes (shoulder straps) and four patch pockets, all box-pleated with pointed flaps that close with a single button.

Bond’s green long-sleeved shirt has four widely spaced buttons in “pearlescent green”, as described by the Prop Store auction, and Moore wears the top button undone for extra breeziness.

The cuffs also close with a button, but Moore wears them unbuttoned and rolls up his sleeves through the entire sequence.

Armed with his trusty Walther PPK and his less trusty companion Sheriff J.W. Pepper, Bond prepares to confront Scaramanga.

Armed with his trusty Walther PPK and his less trusty companion Sheriff J.W. Pepper, Bond prepares to confront Scaramanga.

Using the exact original shirt that they purchased at auction in 2014, EON Productions coordinated directly with Orlebar Brown on their version of the “Bond Safari Jacket”, which is again available on their site in most sizes for $595 after initially selling out within a week of the line’s release on May 15, 2019.

The official Orlebar Brown "Bond Safari Jacket", accompanied by atmospheric props and photos.

The official Orlebar Brown “Bond Safari Jacket”, accompanied by atmospheric props and photos.

Orlebar Brown’s unlined shirt-jacket in a breathable blend of 51% cotton and 49% linen takes its cues from The Man with the Golden Gun, right down to the “tonal imitation mother of pearl buttons” and “military pockets and epaulette detailing.” The most notable differences appear to be:

  • the color, which OB also calls “sage” but more resembles the darker, earthier tone of green used to make the U.S. Army’s OG-107 and OG-507 fatigues popularized by M*A*S*H, and
  • the modernized details, including slimmer pocket flaps and collar than what would have been fashionable in the 1970s.

For firsthand feedback about the OB collection, including this particular piece, I refer you to Matt Spaiser of The Suits of James Bond and a review by my friend Shawn Michael Bongiorno. (You can also read a thoughtful and detailed analysis of the original outfit from The Suits of James Bond here.)

If the OB price tag is a little high, Iconic Alternatives again saves the day with its characteristically thorough research that finds affordable updates for all of Moore’s safari-influenced shirts and jackets as James Bond, including a nice alternative in a pale “marine green” cotton/linen twill by Massimo Dutti.

While Bond's safari shirt may not be for everyone, even its most ardent critics should agree that Sheriff J.W. Pepper's touristy getup isn't right for anyone.

While Bond’s safari shirt may not be for everyone, even its most ardent critics should agree that Sheriff J.W. Pepper’s touristy getup isn’t right for anyone.

Bond wears the safari shirt untucked with the hem covering the waistband of his trousers, a pair of cream-colored flat front slacks in a lightweight slubbed material almost certain to be linen. The trousers appear to have vertical pockets cut along the side seams and the plain-hemmed bottoms are fashionably flared.

Given the lack of layers preventing him from comfortably holstering his sidearm, he appears to keep his Walther PPK tucked into the left side of his waistband, secured by his belt. Moore’s black leather belt, briefly seen as he pulls the PPK from his waistband, has a large semi-oval gold buckle and is likely among the Salvatore Ferragamo leatherware that the actor began wearing wearing after his then-neighbor, who was married to Salvatore Ferragamo’s eldest son, expressed concern that 007 had worn Gucci belts and shoes in Live and Let Die.

Production photo of Roger Moore as James Bond, drawing his Walther PPK from his trouser waistband in The Man with the Golden Gun. (Source: Thunderballs archive)

Production photo of Roger Moore as James Bond, drawing his Walther PPK from his trouser waistband in The Man with the Golden Gun. (Source: Thunderballs archive)

While some strict menswear purists would advocate that wearing a black belt means a gent should be sporting black shoes, Moore’s Bond skirts that “rule” by wearing a pair of more contextually appropriate plain-toe loafers in a rich brown leather, albeit accented with black contrast leather including the woven tassels and side lacing as well as the black hard leather soles.

Despite the conspicuous Gucci branding throughout The Man with the Golden Gun, these shoes are likely also a product of Ferragamo. Moore’s beige ribbed socks neatly continue the trouser leg line into the shoes.

The unique details of these shoes make it very difficult to find modern equivalents unless one is willing to purchase them in all one color or with a different type of two-tone detailing.

The unique details of these shoes make it very difficult to find modern equivalents unless one is willing to purchase them in all one color or with a different type of two-tone detailing.

Bond wears his signature Rolex Submariner, a reference 5513 Oyster Perpetual with a stainless steel 40mm case, black rotating bezel, black dial, and stainless Oyster-style bracelet.

The Man with the Golden Gun marks the last time that Roger Moore’s 007 wears the character’s usual Rolex Submariner as he would switch to Seiko watches from The Spy Who Loved Me through his final appearance in A View to a Kill. In fact, the Rolex would only appear once more on Bond’s wrist, worn in 1989 by Timothy Dalton in Licence to Kill.

The Car

It’s not officially #CarWeek yet, but how would we not talk about the red 1974 AMC Hornet X that James Bond “borrows” from an AMC dealership… complete with Sheriff J.W. Pepper already riding shotgun.

In retrospect, the car itself is nothing too spectacular—representative of the underdesigned, underpowered state of the American automotive industry in the mid-1970s—but the impressive feat designed and performed in an AMC Hornet X in The Man with the Golden Gun earns it a notable place among 007’s gadget-laden Aston Martin DB5 or amphibious Lotus Esprit.

The dream team of James Bond and Sheriff J.W. Pepper chase after Scaramanga in their commandeered red AMC Hornet X.

The dream team of James Bond and Sheriff J.W. Pepper chase after Scaramanga in their commandeered red AMC Hornet X.

American Motors Corporation (AMC) formed in 1954 during the largest American corporate merger to that point in history when Nash-Kelvinator and the Hudson Motor Car Company combined forces to take on the Big Three—Chrysler, Ford, and GM—lasting more than three decades before it was absorbed and bought out by Chrysler in the late ’80s.

However, AMC proved to be a force on the marketplace during the disco decade, consolidating its passenger car offerings in the ’70s and introducing the compact Hornet range in 1970, coinciding with the American demand for smaller cars as the looming gas crisis threatened the once-enduring supremacy of increasing power or prestigious size.

The compact Hornet replaced the Rambler for a seven-year production run of sedans, hatchbacks, and eventually wagons. By 1973, AMC neatly adapted the Hornet to incorporate new emissions controls with two six-cylinder and two eight-cylinder engines, with the two-barrel 360 cubic-inch V8 providing the most power at 175 horsepower, still underpowered when compared to the American muscle heyday of only three years earlier but considered “a mildly spirited performer” by Matt Stone and Preston Lerner in History’s Greatest Automotive Mysteries, Myths, and Rumors Revealed.

1974 AMC Hornet X

Body Style: 2-door hatchback coupe

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

Engine: 360 cu. in. (5.9 L) AMC V8 with 2-barrel carburetor

Power: 175 hp (130.5 kW; 177 PS) @ 4000 RPM

Torque: 285 lb·ft (387 N·m) @ 2400 RPM

Transmission: 3-speed “TorqueFlite” automatic

Wheelbase: 108 inches (2743 mm)

Length: 187 inches (4750 mm)

Width: 71.1 inches (1807 mm)

Height: 52.5 inches (1334 mm)

The filmmakers envisioned a stunt adapted from Jay Milligan’s Astro Spiral Javelin show cars that thrilled audiences across the United States, but in order to ensure that the roll could be carried out safely, the stunt team created what became the first computer-modeled car stunt in movie history, utilizing resources at the Cornell Aeronautical Labratory (CAL) to calculate the stunt that would call for a 3,219-pound weight (including the car and driver), a launch speed of 40 miles per hour, and a distance of 52 feet between ramps which would be disguised as a broken bridge.

At a curb weight of 3,236 pounds, the AMC Hornet was the ideal car of the era’s offerings that could make the intended barrel roll jump work on screen. A 1974 Hornet X in “matador red” with dealer-installed 14×6 Cragar S/S wheels, a floor-mounted three-speed TorqueFlite automatic transmission, and the top-of-the-line 360 V8 engine was supplied to the production (according to IMCDB) and modified with a redesigned chassis, center-positioned steering wheel, and larger wheel wheels. You can read more about the actual Hornet hatchback used on screen at James Bond Lifestyle.

For the safety of stunt driver Loren “Bumps” Willard (who went tragically uncredited in the film), seven tests were performed in advance before the actual manned jump, with emergency personnel on standby should anything go wrong. In a testament to both the driver’s skill and the precision of the filmmakers’ pre-jump testing, only a single take was needed as Willard completed the roll in one attempt, a stunt that would be lauded by Guinness World Records as “revolutionary”. Read more about this impressive, innovative stunt in Jason Torchinsky’s June 2015 article for Jalopnik.

Roger Moore as James Bond in The Man with the Golden Gun (1974)

Roger Moore as James Bond on location filming The Man with the Golden Gun (1974). Given the impressive stunt performed in the film, AMC referring to “a whole new driving experience” seems like quite the understatement.

How to Get the Look

“Don’t knock it until you’ve tried it,” goes the old adage, and I have to think it’s particularly appropriate for Roger Moore’s oft-aligned safari attire as James Bond.

Personally, this outfit from The Man with the Golden Gun is my favorite of 007’s safari outfits, helped by the contrast between the shirt and trousers that makes it more of a casual outfit than a straight safari costume.

  • Light sage green cotton safari shirt-jacket with large camp collar, epaulettes, four-button front, four box-pleated pockets with button-down flaps, and button cuffs
  • Cream linen flat front trousers with wide belt loops, straight/on-seam side pockets, and slightly flared plain-hemmed bottoms
  • Black Italian leather Salvatore Ferragamo belt with gold semi-oval buckle
  • Brown leather plain-toe tassel loafers with black woven leather tassels and side lacing
  • Beige ribbed socks
  • Rolex Submariner 5513 Oyster Perpetual stainless wristwatch with black bezel, black dial, and stainless link bracelet

On the other hand, if you’re interested in dressing like J.W. Pepper… don’t.

Do Yourself a Favor and…

Check out the movie.

The Quote

Well, we, er… all get our jollies one way or another.

Sidney Poitier’s Printed Shirt in Lilies of the Field

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Sidney Poitier as Homer Smith in Lilies of the Field (1963)

Sidney Poitier as Homer Smith in Lilies of the Field (1963)

Vitals

Sidney Poitier as Homer Smith, helpful handyman

Arizona, Summer 1963

Film: Lilies of the Field
Release Date: October 1, 1963
Director: Ralph Nelson
Wardrobe Credit: Wesley Sherrard

Background

Happy first day of summer! As the Northern Hemisphere officially enters its warmest season, menswear retailers have been dutifully swapping out their pea coats and sweaters in favor of tropical-printed short-sleeved shirts.

While some prints are wild and some just get weird, the most timeless styles of floral or natural patterns have remained the same in the more than eight decades since Ellery Chun first advertised his Aloha shirt in The Honolulu Advertiser in the summer of 1935.

Even the famously fashionable Sidney Poitier wore a classic Aloha shirt for his Academy Award-winning role in Lilies of the Field as Homer Smith, the traveling handyman whose brief stop outside of Tucson for water for his station wagon turns into an extended job as he eventually takes on the task of building a new chapel for a group of nuns.

What’d He Wear?

Though Lilies of the Field was released in black-and-white with few color photographs documenting the production, we can be reasonably certain that Homer’s lightweight cotton shirt as he escorts the group of nuns to Sunday mass is white with a green leafy print, worn over a white cotton crew-neck undershirt, a lively variation from the herringbone three-button sport jacket, white shirt, and tie that he had typically worn for driving the sisters to mass.

The short-sleeved camp shirt has a large collar with a small loop on the left side that ostensibly would fasten over the neck to a small button under the right collar leaf. The shirt has a plain front for the large white two-hole sew-through buttons.

Back in town and unable to stomach the "big breakfast", Homer simply orders a Coke from Juan.

Back in town and unable to stomach the “big breakfast”, Homer simply orders a Coke from Juan.

Banana Republic's Soft Camp Shirt in "Botanical Khaki" provides a decent modern match to Poitier's summer shirt in Lilies of the Field.

Banana Republic’s Soft Camp Shirt in “Botanical Khaki” provides a decent modern match to Poitier’s summer shirt in Lilies of the Field.

Looking for a modern alternative? Luckily, the modern trend toward printed shirts for men means a variety of options are available from a range of retailers.

As of June 2019, Banana Republic offers a line of soft rayon camp shirts for $69.50 including one in the “Botanical Khaki” pattern of green leaves, some with blooming red flowers, scattered over a white ground.

Nordstrom also offers a selection of similarly patterned shirts, from the higher-end silky sport shirts like the ALLSAINTS “Virginia Slim Fit Print Shirt” and Tommy Bahama “Adriatric Fronds Silk Blend Sport Shirt”, both in tasteful black-on-white patterns, to the more modestly priced but no less tropical offerings of surf-and-skate brands O’Neill, Quiksilver, and Vans.

Less of a match—but also considerably less expensive—is the “7 Leaf” pattern polyester camp shirt by ELETOP, available on Amazon.

In Lilies of the Field, Poitier lets the shirt garner all the sartorial attention and keeps the rest of his outfit subdued with a pair of dark—possibly black or dark brown—trousers, dark loafers, and dark socks.

Homer sprints around the front of his '59 Plymouth station wagon.

Homer sprints around the front of his ’59 Plymouth station wagon.

These may be the same beltless flat front trousers and cap-toe side-gusset slip-on shoes that Homer had worn earlier with his three-button sport jacket and tie when driving the sisters to mass before breakfast.

The final element that brings a definite cool factor to Poitier’s simple summer-friendly ensemble is a pair of black plastic sunglasses. While the maker is unconfirmed today, the frame is similar to the Ray-Ban Wayfarer that had first entered production in the 1950s, though Poitier’s shades appear to have more roundness to the bottom of the frames than the classic Wayfarer.

Poitier exudes cool in his wayfarers and printed shirt, a noted contrast to the rugged workwear and sport jackets he wears for the rest of Lilies of the Field.

Poitier exudes cool in his wayfarers and printed shirt, a noted contrast to the rugged workwear and sport jackets he wears for the rest of Lilies of the Field.

Sidney Poitier as Homer Smith in Lilies of the Field (1963)

Sidney Poitier as Homer Smith in Lilies of the Field (1963)

How to Get the Look

It’s no surprise that the always elegant Sidney Poitier takes a timeless approach to the summer Aloha shirt.

  • White with green leafy print lightweight cotton short-sleeved camp shirt with plain front
  • White cotton crew-neck short-sleeve undershirt
  • Black flat front trousers with side pockets and turn-ups/cuffs
  • Black calf leather cap-toe slip-on shoes with elastic side gussets
  • Black socks
  • Black plastic wayfarer-style sunglasses

Do Yourself a Favor and…

Check out the movie.


The Talented Mr. Ripley: Dickie’s Navy Silk Blazer

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Jude Law as Dickie Greenleaf in The Talented Mr. Ripley (1999)

Jude Law as Dickie Greenleaf in The Talented Mr. Ripley (1999)

Vitals

Jude Law as Dickie Greenleaf, narcissistic profligate playboy

Italy, October 1958

Film: The Talented Mr. Ripley
Release Date: December 25, 1999
Director: Anthony Minghella
Costume Design: Ann Roth & Gary Jones

WARNING! Spoilers ahead!

Background

Whether you’re dressing for a snazzy summer brunch this sunny Sunday morning or taking sprezzatura inspiration for the office, Jude Law’s wardrobe from The Talented Mr. Ripley radiates mid-century Mediterranean luxury essential for your spring-to-summer sartorial transformation.

This 1999 adaptation of Patricia Highsmith’s classic psychological thriller novel spends more time with the doomed Dickie Greenleaf (Jude Law) than its stylish French predecessor, Plein soleil (1960), including this brief foray from Naples to Rome where the obsessive Tom Ripley (Matt Damon) joins Dickie for some drinks al fresco.

Dickie and Tom’s quality time is interrupted by the arrival of Dickie’s fellow Princeton grad Freddie Miles (Philip Seymour Hoffman), who is organizing an alumni skip trip to Cortina over Christmas. Classical pianist Tom is none too pleased with the interloper, forced to the sidelines as Dickie and Freddie ignite their shared passion for bebop at a record store.

Fans of Plein soleil will recognize this sequence as the 1960 film’s starting point, culminating in the uncomfortable scene where Dickie catches Tom wearing his luxurious clothes, though in this case it’s his tuxedo rather than a striped regatta blazer.

What’d He Wear?

Away from his knit resort shirts and sun-friendly shorts, Dickie Greenleaf dresses for his urban adventure in a navy silk blazer and tie with off-white trousers and sockless loafers. The single-breasted blazer is a dark navy dupioni silk with peak lapels that roll over the top of three silver-toned shank buttons. It has a welted breast pocket, patch hip pockets, double vents, and three smaller silver-toned shank buttons on each cuff.

Dickie puffs away on a cigarette without a care in the world. Tom, on the other hand, has quite a few cares.

Dickie puffs away on a cigarette without a care in the world. Tom, on the other hand, has quite a few cares.

When in Rome, Dickie wears an ice white shirt with a pale blue cast that more softly contrasts with the dark blazer than a plain white shirt. The shirt has a point collar and double (French) cuffs that are worn with gold rectangular bar-shaped links.

Dickie’s tie in Rome is a repeating pattern consisting of six thin alternating pale blue and French blue stripes, a medium-width gray stripe equivalent to the width of the six blue stripes, and then five thin stripes: three white and two slate-gray. All of his tie stripes are in the “uphill” direction of left shoulder-down-to-right hip.

“We are therefore today rather inclined to abandon the white linen jacket and merely retain white linen trousers,” wrote Hardy Amies in his ABC of Men’s Fashion, decrying the difficulty of maintaining the look of a white jacket. Regarding the white trousers, however, Sir Hardy wrote that “there is nothing more comfortable to wear or more pleasant to see than these.”

While the nautical effect of a white trousers with a navy blazer would be most effective by the sea, Dickie wisely opts for an off-white pair of ivory silk slacks when further inland for the more urban setting of a warm afternoon in Rome. Dickie’s trousers have single reverse pleats in line with the first belt loop on each side of the fly. The trousers have straight pockets along the side seams, jetted back pockets that each close through a single button, and turn-ups (cuffs) on the bottoms. Dickie wears a brown leather belt with a  single-prong buckle covered in the same brown leather as the rest of the belt.

Dickie rises to meet Freddie Miles. Tom is far less enthused.

Dickie rises to meet Freddie Miles. Tom is far less enthused.

Dickie’s two-tone loafers are black and white leather, reflecting the strong contrast of his dark blazer and light trousers. These moc-toe slip-ons are black along the outside with white vamps. They obviously don’t coordinate with his brown leather belt, but Dickie’s general approach to dressing throws the accepted “rules” of style out the window in favor of a fashion-informed look that screams of confident distinction.

G.H. Bass recently introduced its Larson Colorblock Weejuns, a similarly colored penny loafer, albeit with a black “penny keeper” strap across the white vamp. This fashionable slant on an Ivy League classic seems like the ideal modern update for Dickie the Princeton grad.

Dickie does not appear to be wearing socks, though it’s also possible that Jude Law is wearing “no-show” socks that give a gent the carefree appearance of wearing his shoes sans hosiery while indeed furtively sporting a pair that covers from toe to heel to prevent body oils from affecting the shoe leather.

Dickie tops off his look with a black porkpie hat, the same headgear he sported earlier at the jazz club.

Dickie and Tom finish their business at a Naples bank before heading to Rome.

Dickie and Tom finish their business at a Naples bank before heading to Rome.

Later, for “our last trip!” to the Sanremo Music Festival, Dickie dresses down the blazer even further for their train ride by wearing it with a beige ribbed sport shirt. It’s likely the same shirt he wore earlier during the brief vignette of a bocce game, so it has a camp collar, plain front with smoke-toned sew-through plastic buttons, and short sleeves.

On the train to Sanremo.

On the train to Sanremo.

Upon arriving at the jazz festival, Dickie again wears the blazer with a dress shirt and tie, though it’s more appropriately appointed for an evening function with a plain white shirt—also with point collar and French cuffs—and a black tie with multi-colored polka dots.

(Of possible interest to some is the fact that the narrative sets the date of the music festival at November 7, 1958, though the actual Sanremo Music Festival always took place during the last weekend of January in the late 1950s.

One of many nights in Dickie Greenleaf's life that is fueled by champagne.

One of many nights in Dickie Greenleaf’s life that is fueled by champagne.

Dickie wears his usual complement of jewelry, including two rings and his steel wristwatch with its silver dial and silver mesh bracelet that closes through a single-prong buckle. He wears the watch on his left wrist, a hand that also plays host to the gold pinky ring with its gleaming gold stone that Dickie earlier informed Tom that he “had to promise—capital P—never to take it off.” On the middle finger of his right hand, Dickie wears a plain gold double-ridged ring.

By wearing a gold ring on his middle finger, Dickie subtly calls attention to that most offensive of digits, communicating his dismissive attitude to the rest of the world.

By wearing a gold ring on his middle finger, Dickie subtly calls attention to that most offensive of digits, communicating his dismissive attitude to the rest of the world.

What to Imbibe

When in Rome… Tom and Dickie drink as the Romans do, sharing a bottle of San Marco Frascati Superiore. This modestly priced white wine from central Italy uses the Malvasia di Candia Aromatica, Malvasia del Lazio, and Trebbiano Toscano grapes for a textured, refreshing drink on a hot day.

Dickie seems to be much more comfortable in the spirit of an idle afternoon drinking wine at a Roman outdoor cafe.

Dickie seems to be much more comfortable in the spirit of an idle afternoon drinking wine at a Roman outdoor cafe.

How to Get the Look

Jude Law as Dickie Greenleaf in The Talented Mr. Ripley (1999)

Jude Law as Dickie Greenleaf in The Talented Mr. Ripley (1999)

Dickie Greenleaf puts his own unique spin on the classic blue blazer, opting for unique fabric like a dark navy dupioni silk and stylishly accompanied with porkpie hat, off-white slacks, and two-tone loafers worn sans visible socks.

  • Dark navy dupioni silk single-breasted blazer with peak lapels, 3/2-roll silver shank buttons, welted breast pocket, patch hip pockets, double vents, and 3-button cuffs
  • Ice white cotton dress shirt with point collar, front placket, and double/French cuffs
  • Gray, blue, and white “uphill”-striped silk tie
  • Ivory silk single reverse-pleated trousers with belt loops, straight/on-seam side pockets, jetted button-through back pockets, and turn-ups/cuffs
  • Brown leather belt with self-covered single-prong buckle
  • Black-and-white leather moc-toe loafers
  • Black porkpie hat with black ribbed grosgrain silk band
  • Steel wristwatch with silver dial on silver mesh bracelet
  • Gold double-ridged ring, worn on right middle finger
  • Gold signet pinky ring with gold stone, worn on left pinky

The unique tie would be difficult to find, but many retailers offer their own summer-friendly ties in the spirit of Dickie’s light blue stripes:

Do Yourself a Favor and…

Check out the movie and read Patricia Highsmith’s novel.

Quote

The most important question is… where do we eat?

The Great Gatsby: Three Suits in Three Adaptations

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Vitals

Robert Redford in The Great Gatsby (1974), Toby Stephens in The Great Gatsby (2000), and Leonardo DiCaprio in The Great Gatsby (2013)

Robert Redford in The Great Gatsby (1974), Toby Stephens in The Great Gatsby (2000), and Leonardo DiCaprio in The Great Gatsby (2013)

Jay Gatsby, romantic millionaire and shady bootlegger

Long Island, NY, Summer 1922

Played by Robert Redford in…

Film: The Great Gatsby
Release Date: March 29, 1974
Director: Jack Clayton
Costume Designer: Theoni V. Aldredge
Clothes: Ralph Lauren

Played by Toby Stephens in…

Film: The Great Gatsby
Release Date: March 29, 2000
Director: Robert Markowitz
Costume Designer: Nicoletta Massone

and played by Leonardo DiCaprio in…

Film: The Great Gatsby
Release Date: May 10, 2013
Director: Baz Luhrmann
Costume Designer: Catherine Martin
Clothes: Brooks Brothers

Background

With its now famous tale of doomed romance, debauchery and death, and the failure of the American dream against a backdrop of riotous parties and scandalous adultery, The Great Gatsby was destined for the screen from the moment it hit shelves in the spring of 1925 at the height of what its author, F. Scott Fitzgerald, coined “the Jazz Age.” The following year, a silent film—now essentially lost—was released. In the decade of fickle fads from dance marathons to swallowing goldfish, interest waned in Fitzgerald’s magnum opus and the troubled author struggled between inconsistent work and alcoholism for his remaining years.

Nearly a quarter century later, Alan Ladd starred as Fitzgerald’s protagonist in what would be the first major adaptation still accessible to today’s audiences. Right from the start, the filmmakers recognized the essential role that style played in telling the story and enlisted the services of legendary costume designer Edith Head. John Farrow was set to direct, but disagreements over who would play the flapper Daisy Buchanan led to Elliot Nugent taking the helm instead… perhaps making it poetic justice that John’s daughter Mia Farrow would play Daisy herself 25 years later. Producer and co-screenwriter Richard Maibaum was encouraged by Ladd’s real-life Gatsby-like qualities to make the film, despite Fitzgerald’s all-but-forgotten reputation by the late 1940s. Though it was somewhat dismissed by contemporary reviewers, Maibaum felt satisfied by Charles Beckett assuring him that he singlehandedly inspired a revival in the life and works of F. Scott Fitzgerald… though tragically a decade too late for the author to ever recognize his cultural impact.

F. Scott Fitzgerald and Zelda Fitzgerald head out for a drive outside their Westport, Connecticut, summer home, circa 1920. Scott may have had an outfit like this tweed Norfolk jacket when he wrote about Gatsby's "caramel-colored suit" for driving into the city in the fourth chapter of The Great Gatsby.

F. Scott Fitzgerald and Zelda Fitzgerald head out for a drive outside their Westport, Connecticut, summer home, circa 1920. Scott may have had an outfit like this tweed Norfolk jacket when he wrote about Gatsby’s “caramel-colored suit” for driving into the city in the fourth chapter of The Great Gatsby.

Hollywood dusted off the famous novel yet another quarter-century later with its star-studded adaptation scripted by Francis Ford Coppola (fresh off of his success with The Godfather) and directed by Jack Clayton. Robert Redford and Mia Farrow played the two stylish, star-crossed lovers with Sam Waterston, Lois Chiles, and Bruce Dern rounding out the cast. Howard da Silva, who had starred as Gatsby’s eventual killer George Wilson in the 1949 film, returned here as the wise, cautious gambler Meyer Wolfsheim who Fitzgerald had based on the real-life Arnold Rothstein. Despite the lavish production value, period-perfect music, and stunning costumes designed by Theoni V. Aldredge, reception was ultimately lukewarm.

Of course, another quarter-century passed before Fitzgerald’s written work was again adapted for the screen, this time by A&E Television Networks for a made-for-TV production starring Toby Stephens as Gatsby, Mira Sorvino as Daisy, and the ageless Paul Rudd as narrator Nick Carraway. No doubt restrained by its budget and production limitations, the 2000 A&E adaptation still puts in a solid effort at bringing Fitzgerald’s work to life though is perhaps ultimately underwhelming. Of note are the unique costumes designed by Nicoletta Massone, whose experience with related material includes her Emmy award-winning work for Zelda, a 1993 made-for-TV movie starring Natasha Richardson and Timothy Hutton as Zelda and Scott Fitzgerald.

This time, Hollywood split its usual wait time in half before taking on the story again with the grandiose auteur Baz Lurhmann directing a talented cast of Leonardo DiCaprio, Carey Mulligan, Tobey Maguire, Joel Edgerton, Isla Fisher, Jason Clarke, and Elizabeth Debicki in an energetic retelling that—if not overly faithful to the source material—did more to awaken young interest in the classic story than legions of exasperated high school teachers.

If you’re interested in comparing the four versions from a scholastic perspective, please enjoy this essay by Dr. Anna Wulick. If you’re interested in comparing some of the significant suits across the most recent adaptations, read ahead!

What’d He Wear?

With the majority of its action set from the late spring through early September of 1922, The Great Gatsby is among my pantheon of classic summer reads, though it may also have something to do with me discovering the book during a beach vacation before I entered the seventh grade. Having just watched The Sting for the first time and discovering my personal interest in classic menswear and style, I was particularly thrilled by Fitzgerald’s passages describing Gatsby’s wardrobe and how clearly it represented his newfound status among the West Egg elite.

Recovering himself in a minute he opened for us two hulking patent cabinets which held his massed suits and dressing-gowns and ties, and his shirts, piled like bricks in stacks a dozen high.

“I’ve got a man in England who buys me clothes. He sends over a selection of things at the beginning of each season, spring and fall.”

He took out a pile of shirts and began throwing them, one by one, before us, shirts of sheer linen and thick silk and fine flannel, which lost their folds as they fell and covered the table in many-colored disarray. While we admired he brought more and the soft rich heap mounted higher — shirts with stripes and scrolls and plaids in coral and apple-green and lavender and faint orange, and monograms of Indian blue. Suddenly, with a strained sound, Daisy bent her head into the shirts and began to cry stormily.

“They’re such beautiful shirts,” she sobbed, her voice muffled in the thick folds. “It makes me sad because I’ve never seen such — such beautiful shirts before.”

The Great Gatsby, Chapter 5

Robert Redford's Gatsby dazzles Mia Farrow's Daisy with his colorful shirts, all clearly from Turnbull & Asser.

Robert Redford’s Gatsby dazzles Mia Farrow’s Daisy with his colorful shirts, all clearly from Turnbull & Asser.

Unlike some authors, Scott Fitzgerald went to great lengths to include colorful, specific descriptions of his central character’s suits, communicating to his readers that Jay Gatsby’s clothing is a significant part of how he has reinvented himself. Unfortunately, Fitzgerald doesn’t go into quite the obsessive detail of a style blogger so, aside from color—and in some cases, fabric—there’s no way to truly discern which adaptation most accurately depicted Fitzgerald’s vision for the character. Thus, all we can do is look at each of Gatsby’s suits individually in their respective contexts and examine how accurately each adaptation’s costume reflects fashions of the 1920s, how much it works in the context of the scene, and how much it flatters the particular actor portraying the character.

Given how much fashion is intertwined with the rise and fall of West Egg’s most famous inhabitant, it’s no surprise that major cinematic adaptations of The Great Gatsby always attract major clothiers to provide costuming for its handsome hero from the Ralph Lauren tailoring and Turnbull & Asser shirts bedecking Robert Redford in the 1970s to costume designer Catherine Martin’s much-publicized collaboration with Brooks Brothers in 2013 to not only dress Leonardo DiCaprio for the screen but also to release an exclusive, Gatsby-inspired line available for public purchase.

Brown in Town

We hadn’t reached West Egg village before Gatsby began leaving his elegant sentences unfinished and slapping himself indecisively on the knee of his caramel-colored suit.

The Great Gatsby, Chapter 4

Perhaps the least flashy of Jay Gatsby’s suits described by Fitzgerald, the millionaire wears this when he asks Nick Carraway to lunch to first truly acquaint himself with our humble narrator… and dredge up the nerve to ask him to host the reunion with Daisy, his former love.

It’s worth noting that, particularly in the 1920s, it was still likely an “old money” mindset that one would wear brown only for country pursuits and never to town, even on weekends. Either out of ignorance for this arbitrary standard or a willful rejection of the “rules”, Gatsby—both in the book and the color screen adaptations—is always depicted wearing a brown suit for his lunch with Nick in midtown Manhattan.

Three variations of Gatsby's caramel suit: muted stripes for Redford, bold plaid for Stephens, and a subtle windowpane that comes closest to the "caramel-colored" description for DiCaprio.

Three variations of Gatsby’s caramel suit: muted stripes for Redford, bold plaid for Stephens, and a subtle windowpane that comes closest to the “caramel-colored” description for DiCaprio.

Of the three color adaptations of The Great Gatsby, only Robert Redford seems to wear all suits that are variations of the same cut: single-breasted jacket, double-breasted waistcoat with wide lapels, and pleated trousers.

Redford’s brown suit for his drive to town with Nick (Sam Waterston) is his first non-formalwear that gets any prominent screen time, and it’s an elegant introduction to the collaboration of costume designer Theoni V. Aldredge and Ralph Lauren’s tailoring. (Read more about the unraveling of Aldredge and Lauren’s tumultuous association during the production in Jason Dike’s September 2015 article for High Snobiety.)

Perhaps less summer-appropriate than its successors, Redford’s three-piece suit is made from chocolate brown wool with muted gray-blue chalk stripes. The single-breasted jacket has wide notch lapels that roll to a two-button front left open throughout the scene to reveal the beautifully cut double-breasted waistcoat with its low six-on-three button stance, sweeping peak lapels, straight-cut bottom, and gold pocket watch chain extending across his torso. The double reverse-pleated trousers rise appropriately high enough to conceal the waistband under the waistcoat and are finished with turn-ups (cuffs). Though promotional stills featuring Redford in this suit plainly show a pair of solid walnut brown oxfords, the screen-worn shoes are clearly dark brown and white spectator wingtip derbies.

Redford wears a pale ecru cotton shirt with a large white contrast collar and single cuffs fastened with large gold cuff links embellished with green stones, evoking his fascination with the green light on the end of Daisy’s dock. The dark brown silk necktie is patterned with tan geometric squares and floral-shaped circles, tied in a wide Windsor knot. He completes the look with a cream felt fedora with a brown pleated “puggaree” ribbon.

While bold and fashionable, the outfit with its extreme collar, lapel, and tie widths would be hard to mistake it as anything other than a stylish 1970s interpretation of 1920s trends. You can read the full BAMF Style post about this outfit here.

Redford's Gatsby prepares to tell Nick a somewhat embellished version of his life story.

Redford’s Gatsby prepares to tell Nick a somewhat embellished version of his life story.

If Redford’s otherwise fashionable suit wasn’t quite summer-appropriate, the costume team of the 2000 A&E television production took heed and was sure to dress Toby Stephens in a lighter-toned suit with a large-scaled fawn-and-beige plaid pattern that is just informal enough for a Saturday afternoon lunch in town.

With its high-fastening single-breasted suit jacket and matching six-button waistcoat, Stephens’ suit looks more like it was made to resemble an authentic menswear offering from the early 1920s. The three-button jacket has short notch lapels, welted breast pocket, jetted hip pockets, and two-button cuffs. The waistcoat has four welt pockets, and the trousers are flat-fronted with turn-ups (cuffs) on the bottoms over his dark brown shoes.

Stephen’s cream cotton shirt has a semi-spread collar, front placket, and buttoning cuffs at the ends of sleeves that are slightly too long. His silk tie is block-striped in cream and dark brown with a thin dark brown stripe shadowing above each wider dark brown stripe.

Stephens' Gatsby sits down for a pleasant lunch with Nick.

Stephens’ Gatsby sits down for a pleasant lunch with Nick.

Unlike its predecessors, Leonardo DiCaprio’s first prominently featured lounge suit in 2013’s The Great Gatsby seems to hit the “caramel-colored” description right on the nose, adding a subtle light blue windowpane check to the basket-weave summer-weight wool suit. The suit also establishes this Gatsby’s predilection for peak lapels on a single-breasted jacket, a trend that began in the 1920s when it “masterminded the metamorphosis of the male torso,” according to Alan Flusser in Dressing the Man. “By rigging a single-breasted jacket with a double-breasted rever, this lapel treatment virtually neutralized the double-breasted edge in formality. This option offered particular relief in the summer months, since single-breasted styles eliminated the warmth of the DB’s overlapping fronts.”

Additionally detailed with functioning four-button “surgeon’s cuffs” (as was Redford’s brown suit) and slanted besom hip pockets, the three-button jacket is worn both fastened and open, the latter revealing DiCaprio’s matching five-button single-breasted waistcoat and the flat front and frogmouth-style pockets of his trousers, which are plain-hemmed over his brown two-toned derbies.

DiCaprio’s light blue shirt nicely calls out the coordinating windowpane of his suiting. He wears the collar pinned with a silver barbell-style pin, pushing forward the knot of his salmon silk tie with its blue-and-cream criss-crossing stripes. Like Redford, he wears gold cuff links with green faces, though DiCaprio’s green is enamel. A tan silk pocket square puffing from his jacket’s welted breast pocket contrasts just enough to make an impact.

DiCaprio’s Gatsby completes the look not just with a natty straw boater bedecked with a navy striped ribbon but also a pair of vintage-inspired Bottega Veneta sunglasses with round tortoise frames. You can read the full BAMF Style post about this outfit here.

Nick Carraway (Tobey Maguire) and Jay Gatsby (Leonardo DiCaprio) are treated to exotic-looking highballs during their "lunch" in this production photo from The Great Gatsby (2013).

Nick Carraway (Tobey Maguire) and Jay Gatsby (Leonardo DiCaprio) are treated to exotic-looking highballs during their “lunch” in this production photo from The Great Gatsby (2013).

White Suit for a Romantic Reunion

The flowers were unnecessary, for at two o’clock a greenhouse arrived from Gatsby’s, with innumerable receptacles to contain it. An hour later the front door opened nervously, and Gatsby, in a white flannel suit, silver shirt, and gold-colored tie, hurried in. He was pale, and there were dark signs of sleeplessness beneath his eyes.

The Great Gatsby, Chapter 5

Gatsby wants Daisy to see his success upon their first encounter, and there would be few garments more fitting to counter her last image of him in his drab U.S. Army uniform tunic than a resplendent white suit with underpinnings in silver and gold, the elements most representative of success.

Three variations of Gatsby's famous white suit: a matching double-breasted waistcoat for Redford, a more conventional single-breasted waistcoat for Stephens, and a non-matching odd waistcoat for DiCaprio.

Three variations of Gatsby’s famous white suit: a matching double-breasted waistcoat for Redford, a more conventional single-breasted waistcoat for Stephens, and a non-matching odd waistcoat for DiCaprio.

Before we explore the respective white suits worn by Redford, Stephens, or DiCaprio, let’s take a step back to 1949 when Alan Ladd’s Gatsby was preparing for his reunion with Daisy (Betty Field) in the humble home of Nick Carraway (Macdonald Carey). The black-and-white film would have made this an ideal opportunity to dress Gatsby in white without having to worry about losing the effect of Fitzgerald’s intended color.

Yet, Edith Head dressed Ladd in a dark double-breasted jacket, probably navy, with white flannel trousers, spectator wingtip shoes, and striped tie. The reason for Head’s decision is lost to history; maybe Ladd refused to wear an all-white suit, maybe no heed was given to the clothing description in the novel, or perhaps Head determined that Gatsby would look most debonair in this high-contrasting sophisticated summer look.

Alan Ladd's Gatsby foregoes the bold white suit of Fitzgerald's source material in favor of a safer, more debonair combination that keeps the trousers but pairs them with a dark blazer.

Alan Ladd’s Gatsby foregoes the bold white suit of Fitzgerald’s source material in favor of a safer, more debonair combination that keeps the trousers but pairs them with a dark blazer.

And then there’s Robert Redford. Cut almost the same as his brown striped suit, this white linen three-piece suit shows the major impact that color can have as the white suit almost jumps off the screen, demanding the viewer’s—and Daisy’s—attention.

The details are the same as we’ve seen before, with the single-breasted, notch-lapel suit jacket worn (both open and closed) with the double-breasted waistcoat and pleated trousers with turn-ups.

The “silver shirt and gold-colored tie” are represented almost verbatim with a metallic gray-blue Turnbull & Asser shirt and gold silk tie with the large knot resting atop a silver collar pin keeping the large collar leaves in place. The double (French) cuffs are fastened with a set of gold cuff links that echo the tie, the pocket watch chain, and the gold ring on his left pinky that has a dark green stone.

Poking out of the jacket’s welted breast pocket is a metallic gray-blue pocket square, no doubt cut from the same material as the shirt.

Redford wears plain white oxfords, reflecting the decade that introduced and established white bucks as a summer footwear essential. You can read the full BAMF Style post about this outfit here.

Gatsby and Nick prepare to escort Daisy to his mansion.

Gatsby and Nick prepare to escort Daisy to his mansion.

Toby Stephens’ white suit is arguably that adaptation’s most accurate success. Stephens is shown proudly dressing for the day, buttoning the top four of five buttons on his cream summer-weight wool waistcoat before donning the matching three-button, single-breasted jacket with its notch lapels, welted breast pocket, straight flapped hip pockets, three-button cuffs, and long single vent. As on Redford’s suits, the trousers have double pleats on each side of the fly. The bottoms have turn-ups (cuffs) that break over his brown leather derby shoes worn with cream socks.

While the suit itself could be a product of any decade, the light blue cotton shirt showcases the most period detail of the outfit, even if not a perfect reflection of the “silver shirt” described by Fitzgerald. Stephens’ screen-worn shirt is actually a neckband shirt, worn with a detached stiff white club collar held in place with gold studs on the front and back of the neck. The double cuffs are fastened with a set of gold center-ridged rectangular cuff links.

“Is this tie too much?” Stephens’ Gatsby asks. “Nah, it’s very gold,” responds Paul Rudd’s Nick. The shiny gold tie, worn in a four-in-hand knot, appears to be shantung silk.

Stephens' nervous Gatsby solicits some friendly advice from Nick regarding his shiny gold tie.

Stephens’ nervous Gatsby solicits some friendly advice from Nick regarding his shiny gold tie.

DiCaprio’s Gatsby wears perhaps the most creative approach to Fitzgerald’s described suit, consisting of an ivory linen-blend two-piece suit with DiCaprio’s usual details of slim peak lapels on a three-button single-breasted jacket and flat front trousers with plain-hemmed bottoms, but the suit is contrasted with a tobacco brown herringbone linen waistcoat. The decision to outfit Gatsby in an odd waistcoat has some historical basis as Alan Flusser describes that “a cursory survey into this American tradition begins in 1928, the Gatsby era, with a linen waistcoat in pastel shades of tan, gray, and blue… apparently in such favor that the trade paper Men’s Wear decreed that ‘the linen “odd” vest is an important item in the wardrobe of every man who makes any pretense whatever at following the fashions.'”

His metallic gray silk shirt with a blue cast to it has a long point collar, again held in place with a steel barbell-style pin, and single cuffs worn with silver “sunburst”-effect cuff links. Rather than a plain gold tie like Redford and Stephens, DiCaprio’s tie is closer to the yellow-orange spectrum and is patterned with double sets of thin red “uphill” stripes. The tobacco brown paisley silk pocket square calls out the vest rather than the shirt or tie. DiCaprio wears the summer-friendly footwear of cream-and-gray spectator shoes.

You can read the full BAMF Style post about this outfit here, which includes a look at the suit’s matching waistcoat worn by Gatsby for his funeral.

Production photo of Leonardo DiCaprio's Gatsby anxiously awaiting Daisy in The Great Gatsby (2013).

Production photo of Leonardo DiCaprio’s Gatsby anxiously awaiting Daisy in The Great Gatsby (2013).

“An Oxford man!… Like hell he is! He wears a pink suit.”

“An Oxford man!” [Tom] was incredulous. “Like hell he is! He wears a pink suit.” …

I hadn’t gone twenty yards when I heard my name and Gatsby stepped from between two bushes into the path. I must have felt pretty weird by that time, because I could think of nothing except the luminosity of his pink suit under the moon.

The Great Gatsby, Chapter 7

His gorgeous pink rag of a suit made a bright spot of color against the white steps, and I thought of the night when I first came to his ancestral home, three months before.

The Great Gatsby, Chapter 8

White suits can be expected among the rich—particularly the nouveau riche—during the warm season, but a well-executed pink suit is practically a three-legged unicorn. Gatsby is at his most romantic here, and as the summer heat rises on Nick Carraway’s 30th birthday, so do the great lengths to which Gatsby will demonstratively show Tom Buchanan just how much Tom’s wife Daisy means to him… and how little Tom means to her.

Three variations of Gatsby's loud suit for the climactic confrontation: Redford in solid pink linen, Stephens breaking from the established color with striped yellow suiting, and DiCaprio in period-perfect pink pinstripes.

Three variations of Gatsby’s loud suit for the climactic confrontation: Redford in solid pink linen, Stephens breaking from the established color with striped yellow suiting, and DiCaprio in period-perfect pink pinstripes.

As with the white suit, Robert Redford’s Gatsby lets the bold presentation of his solid pink linen three-piece suit do the talking for him with no need for patterns or excessive accessorizing. The single-breasted, notch-lapel suit jacket, double-breasted waistcoat with peak lapels, and pleated, cuffed trousers are all cut and styled as we’ve seen with his other lounge suits, though the buttons on the jacket and waistcoat are all off-white plastic, adding a sporty degree of informality appropriate for the occasion.

Redford’s Gatsby wears a plain white cotton shirt with a large club-style collar, front placket, and single cuffs fastened with gold links with oblong brown stones. His cornflower blue silk tie is patterned with a series of yellow floral crests and tied in a Windsor knot that covers the wide spread between the rounded shirt collar leaves. Redford again sports the white bucks that accompanied his white suit, and he actually wears the white newsboy cap that appeared in promotional material with the white three-piece suit but was never worn on screen with that suit.

You can read the full BAMF Style post about this outfit here.

Redford's Gatsby takes the first of a few hits in one excessively hot and action-packed afternoon when he watches Daisy interacting with the daughter she raised with Tom.

Redford’s Gatsby takes the first of a few hits in one excessively hot and action-packed afternoon when he watches Daisy interacting with the daughter she raised with Tom.

Whether for artistic reasons or—more likely—budgetary limitations, the 2000 made-for-TV adaptation dresses Gatsby for the climactic sequence in a striped yellow suit as far from pink as any of the color adaptations have been, though the loudly striped suit still has its intended impact as evident by Tom Buchanan’s line being condensed to “Oxford man! You seen the way he dresses?”

It may not be pink, but Toby Stephens’ suit is no doubt flashy and inspired by fashions of the roaring ’20s with its single-breasted, peak-lapel jacket, matching four-button waistcoat, and double forward-pleated trousers with turn-ups and belt-less waistband meant to be worn with suspenders. The suiting consists of a complex multi-stripe of a white stripe shadowed by hairline navy stripes and bisected with a blue stripe on a yellow ground for a very summer-friendly, confectionery effect.

Stephens even wears another period-appropriate neckband shirt in plain white cotton (avoiding any clashing with the boldly striped suit) and with gold front and back studs holding in place a white detachable semi-spread turndown collar. With the collar attached and round gold “sunburst”-motif cuff links (the same ones we are shown Daisy putting on his uniform shirt cuffs back in 1917) in place on the shirt’s French cuffs, Gatsby wears a navy-and-forest green “downhill” block-striped tie with thin stripes separating each navy and green stripe: white between green and navy, and yellow between the navy and green.

Stephens wears a wide-brimmed natural straw hat with a black band, styled more like a fedora than the straw boater favored by DiCaprio’s Gatsby. He wears both his usual gold ring with the dark green stone and a gold tank watch on a dark brown leather strap. His shoes are dark burgundy leather derbies that are worn with cream socks.

Stephens' Gatsby takes an emotional punch after meeting Daisy's daughter.

Stephens’ Gatsby takes an emotional punch after meeting Daisy’s daughter.

Gatsby finds the tide of the afternoon turning increasingly against him.

Gatsby finds the tide of the afternoon turning increasingly against him.

Leonardo DiCaprio’s light pink pinstripe linen three-piece suit by Brooks Brothers was, in my opinion, the pièce de résistance of Catherine Martin’s costume design for the 2013 adaptation, combining the author’s original vision, timeless tailoring, interesting sartorial detail, and contextual significance. The suit is just pink enough to earn Tom’s jealous ire (and our admiration) without making the romantic millionaire look too much like a caricature.

The single-breasted suit jacket again has peak lapels, albeit fuller-bellied ones that roll to a lower three-button stance than his others and which he mostly wears with just the top button fastened. The welted breast pocket, accented with a burgundy silk pocket square, slants toward the center of the jacket while the hip pockets with their shaped flaps slant backward like a traditional hacking jacket. The jacket sleeves are roped at the shoulders and finished at the cuffs with a substantial neo-Edwardian “turnback cuff” and two mother-of-pearl sew-through buttons mirroring the three on the front and the five on the matching waistcoat underneath.

The matching flat-fronted trousers are beltless, worn with blue diagonal-striped suspenders that get plenty of screen time as Gatsby excitedly shares the truth of his origins with Nick later that night. The plain-hemmed bottoms break over his cream-and-brown wingtip oxfords that are worn with tan dress socks. Returning accessories include the stiff straw boater with its navy striped band, the tortoise Bottega Veneta round-framed sunglasses, his stainless steel tank watch, and his ring.

DiCaprio’s Gatsby doesn’t restrict the pink to his suit, wearing a pale pink-and-white striped silk shirt with a soft point collar pinned under a salmon-and-burgundy diagonal block-striped silk tie. You can read the full BAMF Style post about this outfit here.

Promotional photo of Leonardo DiCaprio in The Great Gatsby (2013).

Promotional photo of Leonardo DiCaprio in The Great Gatsby (2013).

Who Wore It Best?

Curiously, all three adaptations dress Gatsby’s hand with a noticeable pinky ring though no mention is made of this ring in Fitzgerald’s novel. While pinky rings were not uncommon affectations in the roaring ’20s, what would have inspired all three costume designers to include this for their respective Gatsbys?

Do Yourself a Favor and…

Check out the adaptations and judge for yourself:

  • The Great Gatsby (1949), directed by Elliott Nugent and starring Alan Ladd as Gatsby, Betty Field as Daisy, and Macdonald Carey as Nick
  • The Great Gatsby (1974), directed by Jack Clayton and starring Robert Redford as Gatsby, Mia Farrow as Daisy, and Sam Waterston as Nick
  • The Great Gatsby (2000), directed by Robert Markowitz and starring Toby Stephens as Gatsby, Mira Sorvino as Daisy, and Paul Rudd as Nick
  • The Great Gatsby (2013), directed by Baz Luhrmann and starring Leonardo DiCaprio as Gatsby, Carey Mulligan as Daisy, and Tobey Maguire as Nick

You should also absolutely read F. Scott Fitzgerald’s original book!

Happy summer, old sport.

The Grissom Gang: Tony Musante’s Tan Plaid Jacket

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Tony Musante as Eddie Hagen in The Grissom Gang (1971)

Tony Musante as Eddie Hagen in The Grissom Gang (1971)

Vitals

Tony Musante as Eddie Hagan, smooth and ruthless fringe mobster

Kansas City, Summer 1931

Film: The Grissom Gang
Release Date: May 28, 1971
Director: Robert Aldrich
Costume Designer: Norma Koch

WARNING! Spoilers ahead!

Background

Based on James Hadley Chase’s controversial novel No Orchids for Miss Blandish, Robert Aldrich’s sweat-soaked Depression-set crime drama The Grissom Gang hardly features the finest or most inspiring of that elegant era’s sartorialism, but it does showcase unique and interesting approaches to 1930s menswear, particuarly in the wardrobe of the slick underworld dandy Eddie Hagan (Tony Musante).

A hardworking actor throughout his six-decade career who was born 83 years ago tomorrow, Musante’s signature role is considered to be the gritty police series Toma but he declined to continue the show after a single season, a move that the actor never regretted despite many commenting that it would have launched him to stardom. Instead, the show was retooled for Robert Blake and renamed Baretta while many of the writers and crew went on to work at The Rockford Files.

Not long before Toma, Musante joined the ensemble cast of The Grissom Gang, co-starring the always reliable Scott Wilson  and Kim Darby, two years removed from her role as the precocious Mattie Ross in True Grit. While Wilson’s dimwitted gang leader Slim has fallen head-over-heels for the gang’s sophisticated kidnap victim Barbara Blandish (Darby), Eddie has taken up with Anna Borg (Connie Stevens), a platinum blonde torch singer tangentially connected to the Grissom Gang.

Eddie: How come you never get your ass out of bed?
Anna: Well, it’s the place you seem to like it the most.

Between tossing coffee mugs (full of coffee, of course) and profanity-laced insults between them, the couple seems destined—or perhaps doomed—for the mutually destructive relationships associated with gangsters and their molls. Unfortunately, their domestic non-bliss is interrupted by the arrival of private eye Dave Fenner (Robert Lansing), who easily tricks the brassy singer into volunteering information about the Blandish kidnapping case. Eddie unexpectedly returns home just in time to find Anna spilling the beans to Fenner, who smoothly knocks Eddie upside the head with his briefcase on his way out the door.

Eddie’s pride takes a greater hit than his aching head when he realizes just how much Anna really knew about the crime. The dramatic floozy herself starts connecting the dots, realizing Eddie’s involvement in not only the kidnapping but the death of her former paramour, Frankie Connor (Michael Baseleon). Anna reaches for the .35-caliber Smith & Wesson in her drawer, but Eddie’s got the drop on her and ends the singer’s life with three shots from his Colt .32.

To this point, Eddie had always tried to maintain a level of sophistication to rise above the ruffians of the Grissom Gang, but Anna’s murder awakens his ugly violent side. In need of female companionship, Eddie corners Barbara and is about to force himself on her before a knife-wielding Slim Grissom slips into the room, recognizing Eddie’s intentions for the kidnapped heiress that Slim has fallen in love with, and slick Eddie’s era of outsmarting the Grissom Gang comes to a violent end.

What’d He Wear?

Eddie Hagen is hardly the model of ’30s sartorial perfection, though he enjoys the distinction of being the best dressed member of the scrappy Grissom Gang by virtue of wearing not only interesting suits, jackets, shirts, and ties, but also clothes that actually fit.

The tan single-breasted jacket is patterned in a subtle, low-contrast plaid and styled with short peak lapels that roll to a three-button front. This single-breasted, peak-lapel style was first popularized during the 1920s as menswear transitioned toward emphasizing athletic silhouettes with strong shoulders and suppressed waists. Eddie’s ventless jacket also has a welted breast pocket, straight flapped hip pockets, and two non-functioning, spaced-apart buttons on each cuff.

Getting smacked in the head with a briefcase doesn't start Eddie's day on the right foot.

Getting smacked in the head with a briefcase doesn’t start Eddie’s day on the right foot.

Despite the bleak nature of the Great Depression and the resulting somber approach to menswear, many men’s clothiers were having more fun with their tie patterns, a tradition that would explode with the post-WWII “Bold Look” of wild designs on “kipper ties” with blades fattening out to 5-6 inches. As crime dominated the headlines during the 1930s, gangsters would flaunt their wealth and status by wearing loud patterns that clearly took some expense to create.

Eddie’s cream silk tie, a precursor to the 1940s Bold Look fashions, consists of an abstract black amoebic pattern, reinforced with a thinner red pattern weaving in and around it, with each amoebic blob containing an imperfect bullseye-like shape of two red rounded squares encircling a red dot. A gold tie bar with a wide name plate is clipped askew a few inches above the tip.

Eddie wouldn’t be Eddie if he wasn’t mixing various stripes and patterns all in one outfit. His linen shirt is striped with six sets of thin gray stripes on an ecru ground that, from a distance, have the effect of wide block stripes. The shirt has a plain front and two-button squared cuffs, and he keeps the point collar fastened under the tie knot with a gold collar pin that he keeps pinned to the left collar leaf even after removing his tie and unbuttoning the neck of his shirt.

Eddie's bad day just got worse when he looks up to see a wild-eyed Slim Grissom approaching him with a knife.

Eddie’s bad day just got worse when he looks up to see a wild-eyed Slim Grissom approaching him with a knife.

Again, Eddie stays true to himself by foregoing solid trousers in favor of a pair of beige-on-tan bengal-striped trousers that add an additional element of colorful chaos to his neutral-toned ensemble. The flat front trousers rise to his natural waist, where he wears not only a black leather belt through the 1/2″-dropped belt loops but also a redundant set of solid burgundy suspenders (braces) with gold adjusters and brown leather hooks that fasten to buttons along the inside of the trouser waistband.

Per the old expression, Eddie’s practice of “belt and braces” is excessive as only one of these devices is really needed for holding up one’s trousers. In context of the fact that Eddie regularly wears a tan leather shoulder holster for his Colt, he should have foregone the suspenders as they only interfere with the holster. The rig itself clearly connects to the belt as well, looping around the belt on the right and left sides and fastening through a gold single-prong buckle, proving that the belt is necessary while the suspenders are only a potential hindrance.

Belt, braces, and holster for Eddie Hagen.

Belt, braces, and holster for Eddie Hagen.

Eddie’s striped trousers have straight pockets along the side seams, jetted back pockets, and turn-ups (cuffs) on the bottoms. We don’t get a good look at his shoes, but they appear to be black lace-ups, possibly in napped leather, worn with black socks.

Black footwear indeed coordinates with Eddie’s belt, but the gangster would have better served his neutral-toned outfit by sporting a belt and shoes in shades of brown leather.

Eddie tops off his look with his usual natural-colored straw fedora with its pinched crown, short brim, and colorfully striped band in beige, burgundy, and brown on a lavender ground. He also wears a gold tank watch with a white squared dial and tan leather strap.

The Gun

Eddie’s holstered “heater” is what draws him back to his and Anna’s shared apartment, and it’s Chekhov’s Colt that marks the endgame for Eddie Hagan as his argument with Anna escalates to both pulling pistols on each other but the semi-professional Eddie has the faster draw and quickly ventilates Anna with three shots from his nickel-plated Colt Model 1903 Pocket Hammerless semi-automatic pistol.

Eddie spies his trusty Colt Model 1903 Pocket Hammerless that he had left behind in its holster.

Eddie spies his trusty Colt Model 1903 Pocket Hammerless that he had left behind in its holster.

By the era that The Grissom Gang was set, the Colt Model 1903 Pocket Hammerless had grown to be one of the most popular handguns in the United States over the quarter-century of its existence to that point. The attractive pistol’s safety mechanisms and ease of use made it attractive to civilians while its relatively high capacity of eight .32 ACP rounds in the magazine (or seven for .380 ACP models) in an easy-to-conceal package ensured its popularity among the criminal element, particularly urban-oriented gangsters like Eddie.

Per its name, the Colt Model 1903 Pocket Hammerless often did not require a holster for ease of carry, and infamous bank robber John Dillinger was rumored to have a .380-caliber model in his trouser pocket when he was cornered by the FBI and killed on July 22, 1934 (though there remains some dispute as to whether or not Dillinger was actually armed.)

At 1.5 pounds, this small Colt pistol was light for its era but heavy by modern standards, all but eclipsed by lightweight polymer-framed “pocket pistols” like the Kel-Tec PF-9, Ruger LCP, and Smith & Wesson Bodyguard, all capable of carrying .380 ACP and 9x19mm Parabellum ammunition in subcompact frames that weight considerably less than a pound.

How to Get the Look

Neutral tones aren’t always safe and boring… Eddie Hagen’s final, and arguably flashiest, outfit is this somewhat chaotic summer-oriented combination of a tan sports coat with a printed tie, and striped trousers, all over-accessorized with collar pin, tie bar, and the redundant duo of belt and braces, opting for a brash sartorial approach that communicates his ability to buy loud clothing during the early 1930s when many in the country could hardly afford to buy even the most sober attire.

Tony Musante as Eddie Hagen in The Grissom Gang (1971)

Tony Musante as Eddie Hagen in The Grissom Gang (1971), holding his freshly fired Colt Model 1903 Pocket Hammerless. After a recent struggle, he’s lost his hat and his tie was dislodged from its gold clip.

  • Tan subtle plaid single-breasted 3-button sport jacket with straight-gorge short peak lapels, welted breast pocket, straight flapped hip pockets, spaced 2-button cuffs, and ventless back
  • Beige (with sets of six gray stripes) linen shirt with pinned point collar, plain front, and stacked two-button squared cuffs
    • Gold collar pin
  • Cream silk tie with abstract red-and-black amoebic pattern
    • Gold tie bar with ID plate
  • Beige-on-tan bengal-striped flat front trousers with dropped belt loops, straight/on-seam side pockets, jetted back pockets, and turn-ups/cuffs
  • Black leather belt with wide gold rectangular single-prong buckle
  • Burgundy suspenders with gold adjusters and brown leather button-hooks
  • Tan leather shoulder holster with gold single-prong buckle belt straps
  • Black napped leather lace-up shoes
  • Black dress socks
  • Natural straw fedora with beige, burgundy, and brown-striped lavender band
  • Gold square-cased wristwatch with white square dial on tan leather strap

Do Yourself a Favor and…

Check out the movie.

The Quote

Dumb, Anna. You were really dumb.

Curb Your Enthusiasm: “Chet’s Shirt”

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

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

Vitals

Larry David as himself, a neurotic comedy writer

Los Angeles, Summer 2002

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

Background

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

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

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

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

What’d He Wear?

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

A day in the life of Larry David.

A day in the life of Larry David.

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

The Sopranos Connections

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

How to Get the Look

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

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

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

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

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

Do Yourself a Favor and…

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

The Quote

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

Tom Cruise in Rain Man

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Tom Cruise as Charlie Babbitt in Rain Man (1988)

Tom Cruise as Charlie Babbitt in Rain Man (1988)

Vitals

Tom Cruise as Charlie Babbitt, yuppie exotic car sales executive

Across the United States, Summer 1988

Film: Rain Man
Release Date: December 16, 1988
Director: Barry Levinson
Wardrobe Credit: Bernie Pollack

WARNING! Spoilers ahead!

Background

Let’s kick off this summer’s #CarWeek! As today, July 3, is Tom Cruise’s birthday, there’s hardly a more appropriate subject than the iconic Buick Roadmaster he drives for his trip across the United States with Dustin Hoffman in Rain Man.

Cruise stars as Charlie Babbitt, an L.A. yuppie with a failing exotic car import and sales business who just had to postpone a romantic getaway with his girlfriend Susanna (Valeria Golino) to return to Cincinnati for his estranged father’s funeral. With his business in trouble, Charlie at least looks forward to the promise of a substantial inheritance until he learns that his sole endowment from the millionaire’s estate is the very 1949 Buick convertible that drove father and son apart in the first place… as well as the rose bushes, he definitely got the rose bushes.

Charlie’s search for the heir to his father’s fortune leads him to Wallbrook, a mental health facility where he learns that he has an autistic older brother, Raymond (Dustin Hoffman), and—in a moment of ill-advised opportunism—kidnaps his brother with the initial hopes of returning to Los Angeles and letting the courts settle who deserves Sanford Babbitt’s fortune. Along the way, Charlie develops a true kinship with and appreciation for Raymond, particularly after realizing that his memories of the protective “rain man” from his childhood were actually of the older brother he barely got to know.

It’s lucky for the two men’s relationship that Raymond refused to fly any airline except Qantas, providing the opportunity for the brothers to bond as they drive from one secluded motel and country diner to the next with the occasional stop for Judge Wapner but nary a K-Mart to be patronized.

I must say, I’m with Raymond on this one; if I’m going to be traveling across the U.S., I’d pick a car over a plane anytime, especially if that means a cruise on Route 66 in a classic American convertible.

What’d He Wear?

Properly accessorized with Ray-Ban sunglasses, Charlie Babbitt’s got the look of a stylish but selfish yuppie, exclusively sporting cool tones of gray, charcoal, and navy silk with nary any warmth to his palette save for the gold Rolex shining from his wrist, making him the smooth urbanite response to Don Johnson’s pastel-clad ’80s hero in Miami Vice.

Prologue

Los Angeles

To the tune of The Belle Stars’ “Iko Iko”, we meet Charlie Babbitt as he looks over a sleek new Lamborghini Countach, the latest import to his sales fleet of exotic cars. His attire for the workday is clearly consistent with how he dresses for every occasion: a trendy suit or sport jacket with pleated trousers, a coordinating soft polo or silk button-up, and loafers.

  • Charcoal 2-button short-sleeve polo shirt
  • Light gray mini-herringbone linen/silk suit:
    • Single-breasted 1-button jacket with notch lapels, welted breast pocket, straight jetted hip pockets, 3-button cuffs, and ventless back
    • Double reverse-pleated suit trousers with fitted waistband, extended 1-button front tab, side pockets, flapped back-right pocket, and plain-hemmed bottoms
  • Black leather tassel loafers
Charlie admires his reflection on a glossy new Lamborghini... and the strategic placement of the luxury marque's logo tells us even more about what the young man thinks of himself.

Charlie admires his reflection on a glossy new Lamborghini… and the strategic placement of the luxury marque’s logo tells us even more about what the young man thinks of himself.

Day 1 – Saturday

Leaving L.A.

After a tense day at the office, Charlie and Susanna are on their way to a romantic getaway in Palm Springs when he gets a call on his car phone (hello 1988!) informing him of his father’s death and redirecting him to Cincinnati for the funeral.

  • Charcoal microfiber soft silk shirt with spread collar (buttoned to neck), plain front, breast pocket, and button cuffs
  • Dark navy windowpane (rust and faded white check) slubbed linen-blend twill Bobby Yosten single-breasted sport jacket with notch lapels, low 2-button stance, welted breast pocket, straight jetted hip pockets, 3-button cuffs, and ventless back
  • Light gray mini-herringbone linen/silk double reverse-pleated suit trousers with fitted waistband, extended 1-button front tab, side pockets, flapped back-right pocket, and plain-hemmed bottoms
  • Black leather tassel loafers
A busy day at the office.

A busy day at the office.

Day 2 – Sunday

A funeral in Cincinnati

Dressed in a shiny gray silk suit, Charlie’s attire for his father’s funeral is hardly traditional but apropos the lack of warmth between he and Sanford Babbitt. Given how abruptly Charlie and Susanna changed their plans from a romantic weekend in Palm Springs to a rainy funeral in Cincinnati, it’s likely that Charlie didn’t even stop home in L.A. to pack a new bag and instead just brought along the clothes he was planning to wear on vacation. In that context, this suit is still probably the most formal piece from Charlie’s road wardrobe as everything else consists of odd jackets and slacks.

  • Charcoal microfiber soft silk shirt with spread collar (buttoned to neck), plain front, breast pocket, and button cuffs
  • Gray silk suit with black-and-white slubbing:
    • Single-breasted 1-button jacket with notch lapels, welted breast pocket, straight jetted hip pockets, 3-button cuffs, and ventless back
    • Double reverse-pleated trousers with fitted waistband, extended 1-button front tab, side pockets, jetted back-right pocket, and plain-hemmed bottoms
  • Black leather tassel loafers
Charlie attends the funeral of his estranged father.

Charlie attends the funeral of his estranged father.

Sanford Babbitt’s funeral marks the first of two times that Charlie would wear this particular suit in Rain Man. The suiting is gray silk with black-streaked slubbing, similar to the “atomic fleck” effect popular during the 1950s, with the occasional white slub.

Day 3 – Monday

Meeting Raymond at Wallbrook

Of course, today’s Monday. I always drive the car on Saturday. Never drive on a Monday.

Charlie Babbitt first meets his brother Raymond the day after his father’s funeral when hoping to identify the mysterious unnamed trustee inheriting his father’s $3 million estate.

Charlie processes the fact that, at the age of 26, he has just learned of the existence of his older brother Raymond.

Charlie processes the fact that, at the age of 26, he has just learned of the existence of his older brother Raymond.

The disappointed son’s personal investigation takes him to Wallbrook, a psychiatric hospital in Cincinnati, where he whisks Raymond away in his father’s prized Buick Roadmaster. The scene implies that Charlie and Susanna take Raymond across state lines into Kentucky, but the Vernon Manor Hotel—now a pediatric hospital—was actually located at 400 Oak Street in Cincinnati. (Curiously, this is the address that Raymond provides as the K-Mart that is his preferred underwear purveyor.)

  • Dark navy knit cotton 2-button short-sleeve polo shirt by Carroll and Company
  • Dark navy windowpane (rust and faded white check) slubbed linen-blend twill Bobby Yosten single-breasted sport jacket with notch lapels, low 2-button stance, welted breast pocket, straight jetted hip pockets, 3-button cuffs, and ventless back
  • Light gray mini-herringbone linen/silk double reverse-pleated suit trousers with fitted waistband, extended 1-button front tab, side pockets, flapped back-right pocket, and plain-hemmed bottoms
  • Black leather tassel loafers
  • Gray socks
  • Gray cotton Calvin Klein boxer shorts with white stitched band branding (though he gives Raymond a pair of “Hanes 32” underwear a few days later)
Charlie stands astride his newly inherited Roadmaster on the driveway ("slow on the driveway") at Wallbrook.

Charlie stands astride his newly inherited Roadmaster on the driveway (“slow on the driveway”) at Wallbrook.

Both the sport jacket and the polo shirt have since been auctioned. The Bobby Yosten jacket, described as a “navy blue knobby linen blend” in the auction listing has yet to be sold, but the polo shirt—made by Carroll and Company and described as a size M—was included with a pair of screen-worn woven gray trousers that sold for $2,560.

A more complete version of the outfit, consisting of a second Bobby Yosten jacket, a second navy knit cotton Carroll and Company polo (this one size L), gray-and-white herringbone slacks (size 30×31), black-and-gray diamond pattern socks, and light blue cotton Perry Ellis boxers (size 30) was also auctioned, yielding a total of $3,000.

The kidnapper makes his ransom demands.

The kidnapper makes his ransom demands.

Susanna: You use me, you use Raymond, you use everybody!
Charlie: Using Raymond? Hey Raymond, am I using you? Am I using you, Raymond?
Raymond: Yeah.
Charlie: Shut up! He is answering a question from a half hour ago!

Day 4 – Tuesday

Grounded

Now traveling sans a frustrated Susanna, Charlie dons the silk suit from his father’s funeral two days earlier and takes Raymond to breakfast at a diner in Newport, Kentucky—directly across the river from Cincinnati—where both he and waitress Sally Dibbs (Bonnie Hunt) are duly impressed by Raymond’s ability to instantly count the number of matches (246) that spilled to the floor.

Charlie isn't yet used to the fact that he'll need to keep an extra eye on Raymond, particularly when in a new place.

Charlie isn’t yet used to the fact that he’ll need to keep an extra eye on Raymond, particularly when in a new place.

Charlie intends for it to be a single stop before their flight back to L.A., but—as Raymond’s preferred accident-free Qantas does not fly from Cincinnati to Los Angeles—Charlie must change plans and begins the first leg of a long road trip in the Roadmaster that had proved to be the final wedge in his relationship with his father.

  • Charcoal knit long-sleeve polo shirt with three widely spaced buttons
  • Gray silk suit with black-and-white slubbing:
    • Single-breasted 1-button jacket with notch lapels, welted breast pocket, straight jetted hip pockets, 3-button cuffs, and ventless back
    • Double reverse-pleated trousers with fitted waistband, extended 1-button front tab, side pockets, jetted back-right pocket, and plain-hemmed bottoms
  • Black leather tassel loafers
Qantas receives the greatest word-of-mouth advertising it could ask for in the form of Raymond Babbitt's memorization and recital of aviation disaster stats and facts.

Qantas receives the greatest word-of-mouth advertising it could ask for in the form of Raymond Babbitt’s memorization and recital of aviation disaster stats and facts.

Day 5 – Wednesday

Bumblefuck, Missouri

So much for a long road trip. The rain prevents Raymond from allowing he and Charlie to leave their room at “the Honeymoon Haven Motel in Bumblefuck, Missouri”, presumably off of U.S. Route 60.

  • Pale gray shirt covered with mini navy dots, with point collar, plain front, and two low-slung chest pockets
  • Gray silk double reverse-pleated trousers with fitted waistband, side pockets, flapped back-right pocket, and plain-hemmed bottoms
  • Brown leather penny loafers
  • Charcoal socks
Charlie's clothing is as gray as his attitude as he downs Pepto-Bismol in a lonely motel room.

Charlie’s clothing is as gray as his attitude as he downs Pepto-Bismol in a lonely motel room.

Day 6 – Thursday

Old 66 in Oklahoma

Clear skies on Thursday mean extended road time for Charlie and Raymond, who admits that he isn’t wearing any underwear as he’s out of his fresh pairs from K-Mart. Growing increasingly impatient with his inability to deal with his brother’s condition, Charlie stops in Guthrie, Oklahoma, where he takes Raymond to a family doctor who eagerly explores Raymond’s intellectual talents and aptitude for math, even if he isn’t able to process the concepts on a practical level. The rest of the day’s activities include phone booth farting and a Judge Wapner “emergency” before the two finally stop for the night at the Big 8 Motel in El Reno, Oklahoma, where they bond over their shared memories of Charlie’s childhood.

  • Dark navy knit cotton 2-button short-sleeve polo shirt by Carroll and Company
  • Light taupe double reverse-pleated suit trousers with fitted waistband, extended 1-button front tab, side pockets, flapped back-right pocket, and plain-hemmed bottoms
  • Brown leather penny loafers
  • Taupe socks

Although the photos from this auction listing for the dark navy polo and “gray woven slacks” indicate that the costume was worn in this scene, the trousers depicted in the auction listing differ with the more neutral-toned taupe slacks seen on screen.

With the help of a small-town doctor, Charlie discovers the depth of his brother's talents.

With the help of a small-town doctor, Charlie discovers the depth of his brother’s talents.

It’s this sequence in Oklahoma, halfway through the brothers’ road trip, where we start to see Charlie’s genuine affection toward Raymond and concern for his wellbeing emerge, and with that shift in attitude comes a slight palette shift toward taupe and ivory, slightly warmer colors than his usual shades of gray.

The ivory comes into play when Charlie recognizes the desperate situation on their hands if Raymond isn’t able to watch The People’s Court when it airs. Posing as “Donald Clemons from the A.C. Nielsen Company” with his partner, “Mr. Bainbridge”, Charlie dons a light gray silk single-button sport jacket to give himself a more professional appearance as he tries to gain his brother entrance to a rural farmhouse… with a television.

Raymond and Charlie hustle to meet the approaching deadline of "one minute to Wapner."

Raymond and Charlie hustle to meet the approaching deadline of “one minute to Wapner.”

This light gray jacket with white slubbing was part of a selection of Cruise’s screen-worn clothing included in a 2013 auction.

Day 7 – Friday

Into the desert

Raymond entertains himself with the washers and dryers at a coin-operated laundromat in the desert, presumably located in Tucumcari, New Mexico, though the actual location has been identified as Blue Diamond, Nevada. (Tucumcari, however, would be consistent with the trip’s adherence to the old Route 66.) After some bad news from his associate Lenny, we follow the Roadmaster on a lonely drive through the desert into Vegas, set first to the tune of Lou Christie’s “Beyond the Blue Horizon” before Aaron Neville and Rob Wasserman’s “Stardust” takes over the soundtrack, two contemporary takes on 1920s and 1930s standards.

  • Suva gray silk shirt with slim point collar, plain front, breast pocket, and button cuffs
  • Gray wool tweed Sy Devore double-reverse pleated trousers with fitted waistband, slightly slanted side pockets, double flapped back pockets, and plain-hemmed bottoms
  • Black leather tassel loafers
  • Black-and-gray socks
No more missing Wapner, thanks to the portable Sony TV that Charlie thoughtfully purchased for Raymond... though there are moments where the laundromat machines prove to be even more compelling than The People's Court.

No more missing Wapner, thanks to the portable Sony TV that Charlie thoughtfully purchased for Raymond… though there are moments where the laundromat machines prove to be even more compelling than The People’s Court.

Though simple, the outfit is one of Charlie’s most interesting. His somewhat oversized shirt, a trend of the ’80s, is gray silk with a rosy cast similar to the color known as “suva gray”. While comfortable, silk’s proneness to wrinkling shows after Charlie spends several hours in the driver’s seat of his father’s Roadmaster.

At first, the trousers appeared to be the same ones belonging to the suit he wore for his father’s funeral, but a closer look reveals that this has two flapped back pockets, rather than just the right pocket flapped as on the suit trousers. Furthermore, an auction listing for the outfit describes the trousers as “slate gray tweed wool,” no doubt an unusual and uncomfortably warm choice for these desert scenes and certainly different from the obvious silk of his suit.

The same auction listing informs us that the trousers are a product of Sy Devore, the “tailor to the stars” who styled the Rat Pack during their early ’60s heyday. Though the legendary Devore himself died in 1967, the Sherman Oaks store carrying his name has continued dressing some of Hollywood’s elite for the better part of a century.

Day 8 – Saturday

Vegas, baby!

A chance observation at a diner outside Las Vegas inspires Charlie to test Raymond’s quick counting and memory, soon discovering that his brother’s skills include card counting… and how! With a dream in mind to recoup at least the $80,000 he needs to save his business, Charlie enthusiastically backtracks to Las Vegas. (Based on the fact that both men are still wearing their clothes from the day before, I wonder if this scene was intended to immediately follow his phone call from Lenny the previous day before the decision was made in post-production to push this a day later.)

Once the brothers Babbitt have returned to Las Vegas, we’re treated to the iconic scene of both gents newly tailored in gray subtle plaid suits—Charlie’s single-breasted, Raymond’s double-breasted—as they approach a Caesars Palace blackjack table.

  • White satin tonal self-striped shirt with narrow point collar, plain front, breast pocket, and single-button cuffs
  • Gray subtle plaid open-weave wool tailored suit:
    • Single-breasted jacket with notch lapels, low 2-button stance, welted breast pocket, straight jetted hip pockets, 3-button cuffs, and ventless back
    • Reverse-pleated trousers with fitted waistband and plain-hemmed bottoms
  • Black leather shoes
  • Gray-on-gray patterned socks
Production photo of Dustin Hoffman and Tom Cruise in their new gray suits and at the tables in Rain Man.

Production photo of Dustin Hoffman and Tom Cruise in their new gray suits and at the tables in Rain Man.

“It’s not K-Mart,” observes Raymond of his new duds, though the timing of the scene and the length of his sleeves indicates that he is still likely wearing something off-the-rack as no tailor or bespoke manufacturer would be able to whip up two new suits in a matter of minutes. Raymond would wear his new suit and shirt again two days later for his custody hearing in L.A.

Day 9 – Sunday

Home

A week after he left, Charlie Babbitt finally returns to his Los Angeles apartment, now accompanied by his brother Raymond, closer than ever to Susanna, and a whole lot wiser. Thus, it’s no coincidence that he’s wearing his warmest palette yet, having come a long way from the cool gray tones of a week earlier.

  • Pale gray shirt covered with mini navy dots, with point collar, plain front, and two low-slung chest pockets
  • Taupe woven double reverse-pleated suit trousers with fitted waistband, extended 1-button front tab, side pockets, flapped back-right pocket, and plain-hemmed bottoms
  • Brown leather penny loafers

RAIN MAN

Their road trip behind them, Charlie changes into a light gray slubbed silk single-button ventless sport jacket, the same that he had worn in Oklahoma days earlier, over his navy short-sleeve polo and with dark trousers and black shoes for his nighttime meeting with Dr. Burner. The sequence finds Charlie, only a week ago desperate for cash, turning down a $250,000 check because he wants the chance to care for his brother Raymond.

Day 10 – Monday

Custody hearing

Home after his days on the road with Raymond, Charlie dons his most professional look yet for the climactic custody hearing with the psychiatrists Dr. Bruner from Wallbrook and Dr. Marston. His suit is a somber charcoal worsted with a single-breasted, two-button jacket with a single vent. Charlie wears the suit with the white satin-striped shirt he picked up in Vegas, buttoned to the neck as usual.

Charlie makes his case for Dr. Marston, played by the film's director Barry Levinson.

Charlie makes his case for Dr. Marston, played by the film’s director Barry Levinson.

Day 12 – Wednesday

Bye-bye, Rain Man

Two days later, a matured Charlie Babbitt takes Raymond to the Santa Ana bus station for Dr. Bruner to return him to Wallbrook. Perhaps of some significance is the fact that he wears a variation of the same outfit he wore when he first met Raymond (and removed him from his comfortable home in Wallbrook), though the trousers are a warmer shade.

  • Dark navy windowpane (rust and faded white check) slubbed linen-blend twill Bobby Yosten single-breasted sport jacket with notch lapels, low 2-button stance, welted breast pocket, straight jetted hip pockets, 3-button cuffs, and ventless back
  • Dark navy knit cotton Carroll and Company short-sleeve polo shirt with two buttons
  • Taupe woven double reverse-pleated suit trousers with fitted waistband, extended 1-button front tab, side pockets, flapped back-right pocket, and plain-hemmed bottoms
"One for bad, two for good."

“One for bad, two for good.”

The similar clothing indicates Charlie’s redemptive rebirth, returning him to the moment when he first met Raymond but giving him the opportunity to “do it right” by respecting Raymond and the level of care that is best for him. This time, as Charlie walks away from Dr. Bruner wearing a dark navy windowpane jacket, dark polo, and slacks, he isn’t committing an act of near-felonious selfishness.

Shoes

Charlie packs two pairs of shoes, one for each palette. He wears black calf leather tassel loafers earlier in the trip, with his blue and gray tones, as well as with his gray suit in Vegas.

Once Charlie’s sense of warmth and humanity emerges, sensed through the warmer colors in his clothing, he sports a pair of brown penny loafers that better complements that earthy aesthetic.

Two similar outfits with two different pairs of shoes: black tassel loafers while trying to arrange the release of his father's multimillion-dollar fortune in exchange for returning Raymond, and brown penny loafers while seeking help for Raymond in a small Oklahoma town.

Two similar outfits with two different pairs of shoes: black tassel loafers while trying to arrange the release of his father’s multi-million-dollar fortune in exchange for returning Raymond, and brown penny loafers while seeking help for Raymond in a small Oklahoma town.

Accessories

By the mid-1980s, Tom Cruise had been Ray-Ban’s de facto cinematic ambassador for years, first popularizing the Wayfarer in Risky Business (1983) before redefining cool eyewear with his aviators in Top Gun (1986). As the stylish yuppie Charlie Babbitt in Rain Man, there was no doubt that Cruise would return to the most fashionable eyewear purveyor of the eighties, here sporting a pair of classic Ray-Ban Clubmaster sunglasses with black “browline” frames, hooked into the breast pockets of his jackets when he isn’t wearing them.

Susanna and Charlie's coordinated eye rub does not seem to be intentional, but something unexplained causes both characters to rub their right eyes with their right index fingers at the same time.

Susanna and Charlie’s coordinated eye rub does not seem to be intentional, but something unexplained causes both characters to rub their right eyes with their right index fingers at the same time.

“Well forgive me, I’ve lost my secret decoder ring!” Charlie exclaims during his first breakfast with Raymond. He may have been sarcastic about having a secret decoder ring, but his right hand is considerably weighed down with other jewelry. On his ring finger, he wears a silver ring with a black enamel inlay through a pebble effect. On his pinky, he wears a bulky gold signet ring with his initials “C.B.”

Charlie doesn't get his rings get in the way of taking a drag from his Newport.

Charlie doesn’t get his rings get in the way of taking a drag from his Newport.

“It’s a Rolex,” purrs the sleazy Harry Ellis (Hart Bochner) in Die Hard, released just five months before Rain Man during the height of Rolex fever in the late eighties. Charlie Babbitt would be paying attention to what watch screamed status, and a solid yellow gold Rolex Day-Date—the watch that Blake (Alec Baldwin) would tout as costing “more than your car” four years later in Glengarry Glen Ross—would suit Charlie’s needs to a T.

Charlie’s faith in Raymond is illustrated when he wastes no time pawning the watch in Vegas in order to bankroll their card-counting spree. (And he’s soon able to buy it back with $3,500 from their $86,000 winnings at blackjack!)

Charlie's Rolex appears to be worn on a "President"-style link bracelet, indicating his own lofty ambitions even if he isn't close to reaching them.

Charlie’s Rolex appears to be worn on a “President”-style link bracelet, indicating his own lofty ambitions even if he isn’t close to reaching them.

What to Listen to

In addition to an excellent score by relative newcomer Hans Zimmer, Rain Man has one of the greatest and most evocative soundtracks. From Tommy Edwards’ “Please Love Me Forever” and Bob Luman’s “Lonely Women Make Good Lovers” in rural diners to “Dry Bones” by the Delta Rhythm Boys for heir neon-lit arrival at an Oklahoma motel and Lou Christie’s country-inspired take on the 1930 standard “Beyond the Blue Horizon” as the Roadmaster works its way through the desert, the soundtrack perfectly suits the movie’s nostalgic Americana vibe.

The Babbitt brothers’ arrival and entrance to Las Vegas are also beautifully heralded, first by Aaron Neville and Rob Wasserman’s quiet update of Hoagy Carmichael’s 1927 standard “Stardust” as the two drive into town the first night and finally by an orchestral version of “They Can’t Take That Away From Me” as the reunited trio leaves Sin City with Raymond taking a turn at the wheel, continuing Fred Astaire’s rendition that Raymond watched in The Barkleys of Broadway (1949) on his new handheld television.

Of course, perhaps the most famous music queue from Rain Man is Etta James’ classic “At Last”, the soundtrack for Charlie’s impromptu dance lesson with Raymond in their comped suite at Caesars Palace.

Mack Gordon and Harry Warren penned “At Last” in the early 1940s when it became a considerable hit for Glenn Miller and his Orchestra and lingered as a secondary standard over the next few decades until Etta James put it on the map with her beautiful and stirring rendition for her 1961 album of the same name. Notable cuts on At Last! also include “Stormy Weather”, “A Sunday Kind of Love”, “Trust in Me”, and a brassy bluesy take on Willie Dixon’s “I Just Want to Make Love to You”, but it’s the powerful title track that became James’ signature song, rising to #47 on the Billboard Hot 100.

Rain Man arguably breathed new life into “At Last”, introducing it to modern audiences and paving the way for its inclusion in countless more movie and TV soundtracks, commercials, and wedding ceremonies. James herself performed it upon her 1993 induction into the Rock and Roll Hall of Fame, and Beyoncé covered it for President Barack Obama’s first dance with his wife at his January 2009 inaugural ball.

The Car

For a guy who deals in brand-new Lamborghinis and personally drives a shark gray Ferrari, it’s worth wondering what Charlie Babbitt thought about traversing the country in a forty-year-old Buick.

“Knew this car my whole life, only drove it once,” recalls Charlie. “It’s a 1949 Buick Roadmaster convertible. Only 8,000 production models made, straight eight—Fireball Eight. It was the first full year of the Dynaflow transmission… I know it by rote.”

While it was this car that permanently estranged Charlie from his father, it’s the same car that leads to his renewed acquaintanceship with his brother as Charlie emerges from Wallbrook to find Raymond behind the wheel, adding his own color commentary by correcting that there were, in fact, 8,095 production models made (there were actually 8,244) and that the seats were once a brown leather as opposed to their current “pitiful red” color.

"Fart."

“Fart.”

Buick first introduced the Roadmaster in 1936 as a reimagining of its Series 80 model. The Roadmaster went through several redesigns before World War II when Buick followed the queue of all American auto manufacturers and halted production in 1942. Under GM design head Harley Earl, the first major postwar redesign arrived for 1949, the same year that Sanford Babbitt’s pride and joy rolled off the production line and—as both Charlie and Raymond would confirm—the first full year that the two-speed Dynaflow automatic transmission was offered as standard equipment after it had surprised Buick with its popularity as an option for the ’48 model.

The celebrated “Fireball Eight” was also upgraded for 1949 with an increased power output of 150 horsepower that could propel the heavy car to a top speed of 110 mph. A cosmetic addition to all 1949 Buick models were the iconic “VentiPorts” installed on the front fenders. Initially inspired by the exhaust stacks of a fighter plane, these became an off-and-on signature of the Buick marque for decades to follow, most recently reintroduced in 2014. The ’49 Roadmaster completed its powerful aviation-inspired look with the “bombsight” hood ornament, first introduced in 1946.

1949 marked an all-time high for the Roadmaster, selling a total of 88,130 models, but the future of the Fireball Eight engine was in jeopardy. Though displacement had increased since its introduction in 1931, the Fireball Eight was a veritable dinosaur by the early ’50s, and Buick needed a short-stroke eight-cylinder engine to keep up with its competitors. 1953 marked the final model year both for this iconic generation of Roadmasters as well as for Buick’s venerated straight-8, ushering in a new era of sleek Roadmasters powered by the smaller and more powerful “Nailhead” V8 engine.

1949 Buick Roadmaster

Body Style: 2-door convertible

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

Engine: 320 cid (5.2 L) Buick straight-8 “Fireball Eight”

Power: 150 hp (112 kW; 152 PS) @ 3600 rpm

Torque: 280 lb·ft (380 N·m) @ 2000 rpm

Transmission: 2-speed Dynaflow automatic

Wheelbase: 126 inches (3200 mm)

Length: 214.1 inches (5438 mm)

Width: 79.9 inches (2029 mm)

Height: 63 inches (1600 mm)

The actual beige yellow 1949 Roadmaster driven by Tom Cruise and Dustin Hoffman in Rain Man was auctioned in December 2012, yielding $170,050.

While the car was fitted with Ohio license plates #368-P9C for the production, it’s unknown if it had the necessary FM adapter for Raymond to enjoy “97X – BAM! The future of Rock and Roll” on the standard AM-only radio.

Charlie and Raymond cruise west in their father's prized Roadmaster.

Charlie and Raymond cruise west in their father’s prized Roadmaster.

What to Pack for the Road

Charlie Babbitt’s “road closet” sticks to a palette of blues and grays in slubbed, lightweight linen and silk with the occasional earthier color or fabric slipping into the mix. The character generally sticks to styles that are both fashionable and flattering: ventless single-breasted jackets, trousers with double reverse pleats meant to be worn beltless, and two pairs of loafers.

Tom Cruise's screen-worn navy linen-blend Bobby Yosten sports coat, navy cotton Carroll and Company polo, and black-and-gray herringbone slacks from Rain Man. Worn on at least three occasions on screen, this is as close as Charlie has to a signature outfit. (Source: iCollector)

Tom Cruise’s screen-worn navy linen-blend Bobby Yosten sports coat, navy cotton Carroll and Company polo, and black-and-gray herringbone slacks from Rain Man. Worn on at least three occasions on screen, this is as close as Charlie has to a signature outfit. (Source: iCollector)

Jackets:
Charlie’s single-button and low two-button tailored jackets are a flattering choice to balance Tom Cruise’s height while also adhering to the lower-stance fashions of the ’80s.

  • Dark navy (with rust and faded white windowpane check) slubbed linen-blend twill Bobby Yosten single-breasted sport jacket with notch lapels, low 2-button stance, welted breast pocket, straight jetted hip pockets, 3-button cuffs, and ventless back
  • Gray slubbed silk single-breasted 1-button suit jacket with notch lapels, welted breast pocket, straight jetted hip pockets, 3-button cuffs, and ventless back
  • Light gray slubbed silk single-breasted 1-button sport jacket with notch lapels, patch pockets, 3-button cuffs, and ventless back

Shirts:

  • Dark navy knit cotton 2-button short-sleeve polo shirt
  • Charcoal knit 3-button long-sleeve polo shirt
  • Charcoal microfiber soft silk shirt with spread collar, plain front, breast pocket, and button cuffs
  • Suva gray silk shirt with slim point collar, plain front, breast pocket, and button cuffs
  • Pale gray shirt covered with mini navy dots, with point collar, plain front, and two low-slung chest pockets

Trousers:
No belts for Charlie Babbitt! All of his pleated trousers have been tailored to perfectly fit around the waist, eliminating the need for belts, suspenders, or even side-adjuster tabs.

  • Light gray mini-herringbone linen/silk double reverse-pleated suit trousers with fitted waistband, extended 1-button front tab, side pockets, flapped back-right pocket, and plain-hemmed bottoms
  • Gray slubbed silk double reverse-pleated suit trousers with fitted waistband, extended 1-button front tab, side pockets, jetted back-right pocket, and plain-hemmed bottoms
  • Gray wool tweed Sy Devore double-reverse pleated trousers with fitted waistband, slightly slanted side pockets, double flapped back pockets, and plain-hemmed bottoms
  • Taupe woven double reverse-pleated suit trousers with fitted waistband, extended 1-button front tab, side pockets, flapped back-right pocket, and plain-hemmed bottoms
Tom Cruise and Dustin Hoffman in Rain Man (1988)

Tom Cruise and Dustin Hoffman in Rain Man (1988)

Shoes:

  • Black leather tassel loafers
  • Brown leather penny loafers

Socks:

  • Black-and-gray diamond-patterned socks
  • Charcoal socks
  • Gray socks
  • Taupe socks

Underwear:

  • Gray cotton Calvin Klein boxer shorts with white stitched band branding
  • Light blue cotton Perry Ellis boxer shorts

Accessories:

  • Ray-Ban Clubmaster black browline-framed sunglasses
  • Rolex Day-Date “President” yellow gold wristwatch
  • Silver ring with black enamel inlay through pebble effect
  • Gold monogrammed signet pinky ring

Do Yourself a Favor and…

Check out the movie.

The Quote

What you have to understand is, four days ago he was only my brother in name. And this morning we had pancakes.

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