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Spectre – Bond’s Black Suit and Aston Martin in Rome

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Daniel Craig as James Bond, exiting an Aston Martin DB10 prototype in Spectre (2015)

Daniel Craig as James Bond, exiting an Aston Martin DB10 prototype in Spectre (2015)

Vitals

Daniel Craig as James Bond, British government agent

Rome, November 2015

Film: Spectre
Release Date: October 25, 2015
Director: Sam Mendes
Costume Designer: Jany Temime

WARNING! Spoilers ahead!

Background

Spectre, Daniel Craig’s latest outing as James Bond, featured the globe-trotting agent once again battling the international terrorist organization SPECTRE and confronting the evil megalomaniac at its head, Ernst Stavro Blofeld (Christoph Waltz).

One of the most requested outfits from BAMF Style readers is the black three-piece Tom Ford suit that 007 wears when he arrives in style to a gangster’s funeral in Rome with his prototype Aston Martin. The tactiturn agent – once again gone rogue – swiftly seduces the gangster’s widow, the ravishing Lucia Sciarra (Monica Bellucci), before using her deceased husband’s ring to trick his way into a SPECTRE meeting. Bond finds himself face-to-face with Blofeld… and is surprised to recognize him as his half-brother of sorts, Franz Oberhauser. His cover blown, Bond is chased out of the meeting and back behind the wheel of his DB10 as he escapes the “Palazzo Cardenza” and Blofeld’s angry henchmen.

The Craig era has increasingly focused on retro elements of the 007 series, and it’s rarely been executed better than this entire Rome sequence that blends sophisticated luxury, stylish tailoring, seductive romance, larger-than-life action, and comic relief.

Many aspects of this outfit have been ably covered by experts, from The Suits of James Bond’s treatment of the tailoring to James Bond Lifestyle‘s rundown of the specific clothes and accessories featured in the scene, but I’d like to address the requests I’ve gotten from readers Adam, Birdman, Nico, Spencer, and many others by offering my own unique approach – and admiration – during Car Week on the 00-7th of December.

What’d He Wear?

Daniel Craig as James Bond on the set of Spectre (2015)

Daniel Craig as James Bond on the set of Spectre (2015)

Aside from his iconic dinner suits, which are entirely different, black suits are decidedly not a staple of James Bond’s wardrobe. In fact, the only other time 007 wore a solid black suit on screen was for a gangland funeral in Diamonds are Forever (1971) when Sean Connery wore a heavy black three-piece suit to bid farewell to a deceased diamond smuggler, though his dark, heavy suiting could have hardly been a comfortable choice in the hot Mojave Desert.

James Bond’s black three-piece suit at Sciarra’s funeral is probably the best-fitting suit of Daniel Craig’s wardrobe in Spectre, with dramatic yet classic-inspired details that make it a fine choice for fitting in among flashy gangsters. Perhaps the choice to dress Craig in this suit was an intended homage to Diamonds are Forever; if so, it was a rare sartorial improvement upon an earlier example.

Craig’s suiting, identified as “black Super 110’s medium herringbone” wool by James Bond Lifestyle, is both more interesting and more versatile than the flat black of Connery’s suit. The suit was developed from the Tom Ford “Windsor” model, which also makes an appearance as the model of Bond’s ivory dinner jacket on the train through Morocco, though all of his other suits in Spectre are the Tom Ford “O”Connor” model.

Read more about the suit here:

Production photo of Monica Bellucci and Daniel Craig in Spectre, highlighting his sharp black Tom Ford "Windsor" three-piece suit.

Production photo of Monica Bellucci and Daniel Craig in Spectre, highlighting his sharp black Tom Ford “Windsor” three-piece suit.

The jacket features many signatures of the vintage-inspired Tom Ford “Windsor” that takes its styling cues from fashions of the 1930s and 1940s as well as the style’s revival during the 1970s disco era. These details include wide peak lapels, a fuller chest with a suppressed waist, and wide flaps over the hip pockets and ticket pocket.

The jacket also has a single vent and five-button cuffs with the last button undone, proving to be something of a habit of Craig’s Bond when dressed in his Tom Ford suits. Like his O’Connor suits, this jacket has a curved “barchetta” breast pocket where Bond wears a white silk Tom Ford pocket square with a black rolled edge.

SPECTRE

This black suit is Daniel Craig’s first three-piece suit on screen since the final scene of Casino Royale nearly a decade earlier. This suit’s matching waistcoat (vest) is single-breasted with a six-button front, though the lowest button is placed on the notched bottom and isn’t meant to be buttoned. Like waistcoats from the “golden age” of menswear in the ’30s and ’40s, this particular vest has four welted pockets.

Over the waistcoat, Bond wears a custom shoulder rig for his blued Walther PPK, crafted from brown leather for a classic look that not even Sean Connery’s Bond had. The rig has a holster under the left armpit, offering Bond a smooth right-handed pistol draw. Five of these holsters were custom made by armorer Dave Evans for Daniel Craig to wear throughout Spectre.

In most situations, revealing a shoulder holster during a romantic interlude would probably kill the mood.

In most situations, revealing a shoulder holster during a romantic interlude would probably kill the mood.

The suit’s flat front trousers rise just high enough to meet the bottom of the waistcoat rather than the more classically proportional higher rise that would obscure the trouser waistline under the garment. The trousers have on-seam side pockets and jetted back pockets, and the bottoms are plain-hemmed rather than finished with turn-ups (cuffs) like Daniel Craig’s other Tom Ford suits across the series.

Since his first Tom Ford suit in Quantum of Solace, all of Craig’s lounge suits as 007 have been fitted with buckle-tab side adjusters on each side of the waistband. The trousers have an extended front waistband tab with a hidden hook closure.

The slide-buckle adjusters on Bond's trousers are silhouetted as he makes his aerial escape from the SPECTRE meeting in Rome.

The slide-buckle adjusters on Bond’s trousers are silhouetted as he makes his aerial escape from the SPECTRE meeting in Rome.

Bond’s level of disguising himself for the funeral even extends to his shirt collar, as he forgoes the regular point collars he wears elsewhere in Spectre and opts for a white cotton poplin Tom Ford shirt with a large point collar pinned under the tie knot with a gold-toned metal “barbell”-style bar that connects via an eyelet in each collar leaf.

The bold collar is complemented by a wide black tonal-check woven silk tie, also by Tom Ford, that Bond wears knotted in the Windsor knot that Fleming’s iteration had derided as “the mark of a cad” in the novel From Russia With Love.

SPECTRE

The cuffs on Bond’s white shirt here have a graceful cutaway curve that reveals the two stacked buttons that fasten the sleeve around the wrist. While the shirt’s pinned collar may be part of the agent’s disguise, these distinctive “cocktail” cuffs that blend French cuff elegance with button cuff functionality are classic 007.

Also known by the more descriptive “turnback cuff”, these shirt cuffs have unconfirmed origins but their popularity boomed during the mid-20th century on the wrists of style icons like Yul Brynner, David Niven, and Peter Sellers. When Dr. No introduced the world to James Bond in 1962, Sean Connery exclusively wore cocktail cuff shirts with his lounge suits.

Interestingly, a number of Italian names for the cuff have emerged over the decades – Milanese, Neapolitan, Portofino, and simply “the Italian cuff” – which strengthens their suitability for 007’s current mission in Rome.

Daniel Craig channels Bond's sartorial past with his cocktail cuff shirt.

Daniel Craig channels Bond’s sartorial past with his cocktail cuff shirt.

Eschewing the traditional oxfords and derby shoes, James Bond opts for a pair of black double-monk boots, introducing a new style of footwear to the 007 oeuvre. For this, Bond turns again to Crockett & Jones, his reigning favorite footwear purveyor dating back to the four different models of shoes and boots that he wore in Skyfall (2012).

Craig wears black calf leather Camberley cap-toe ankle boots from Crockett & Jones’s “Main Line Collection” with two straps per boot that each buckle on the outside of the vamp. The Dainite rubber soles provide much-needed added traction as Bond finds himself bursting through windows, running over rooftops, and jumping down several floors to escape Oberhauser/Blofeld’s Stormtrooper-trained gunmen. You can pick up a pair of your own for $785 from the Crockett & Jones site.

Read more abut the boots at:

The Camberley's Dainite soles give Bond a soft landing after his aerial escape from the Aston Martin. Note the double straps on each boot.

The Camberley’s Dainite soles give Bond a soft landing after his aerial escape from the Aston Martin. Note the double straps on each boot.

For the outdoor sequence at Sciarra’s funeral, Bond augments his look with a long black bridge coat, black leather gloves, and Tom Ford sunglasses.

Bond’s black wool double-breasted bridge coat adds a somber and stately touch. Although 007 is dressed in disguise, the bridge coat is an appropriate choice for Commander Bond, RNR, with its naval origins. A longer alternative to the pea coat that shares its Ulster collar and straight cut, the bridge coat’s appellation stems from its intended design for naval officers commanding their ship from the vessel’s bridge.

Traditional military bridge coats are appointed with gold shank buttons and epaulettes (shoulder straps) for the officer’s rank insignia, but Bond’s stylish civilian coat has eight black horn buttons in a rectangular, double-breasted four-button layout and straight, unadorned shoulders. The coat has two slanted hand pockets at the sides and set-in sleeves with plain cuffs. Bond’s knee-length coat is pulled in at the waist with its belted back, decorated with a black button at each end of the belt.

Read more about the bridge coat at The Suits of James Bond.

Interestingly, Bond only fastens the second button down, hardly an efficient method for keeping warm and not the most accessible style if he needs quick access to his Walther PPK.

Interestingly, Bond only fastens the second button down, hardly an efficient method for keeping warm and not the most accessible style if he needs quick access to his Walther PPK.

Daniel Craig wears two pairs of Tom Ford sunglasses in Spectre, the first being this set of Tom Ford “Snowdon” FT0237 sunglasses with a frame in a dark tortoise brown frame called “Dark Havana” (color code 52N) and gray lenses that take on a brown cast in the finished film. Ryan Reynolds also wore a pair of Tom Ford Snowdon shades in Mississippi Grind, released earlier in 2015.

Read more about the sunglasses at James Bond Lifestyle.

SPECTRE

Bond wears a pair of black driving gloves as he’s pulling up to the funeral in his DB10. Dents made these gloves as well as the black gloves that Craig wore in Skyfall, though these are the “Fleming” model designated with the product code 15-1007. These three-point gloves have perforated fingers, an elasticized palm, and a strap over the wrist that closes in the front with a Dents-branded dome stud. Dents takes pride in the hairsheep leather used to make them, claiming this to be the best leather for gloves due to its “natural strength and elasticity” as well as the fact that the sheep providing the leather grows hair rather than wool.

Read more about the gloves here:

Bond accessorizes for a funeral.

Bond accessorizes for a funeral.

Spectre reintroduced the NATO watch strap for 007, exactly fifty years after Sean Connery wore his Rolex on a striped strap in Thunderball. The well-publicized timepiece in Spectre is a steel Omega Seamaster 300 chronometer, specifically the SPECTRE Limited Edition model (reference 233.32.31.21.01.001) which was sold to the public in a limited release of 7,007 pieces.

The watch, powered by Omega’s Master Co-Axial calibre 8400 movement, has a 41mm brushed and polished stainless steel case. The bi-directional black ceramic bezel is marked at each hour from 1 to 0 (0 instead of 12) and coordinates with the black dial housed under the sapphire crystal. // The five-striped nylon strap alternates in black and gray like a true NATO strap. You can read more about the watch at James Bond Lifestyle.

A NATO-strapped dive watch and an Aston Martin with an ejector seat... some things never change at MI6.

A NATO-strapped dive watch and an Aston Martin with an ejector seat… some things never change at MI6.

What to Imbibe

Lucia: If you don’t leave now, we’ll die together.
Bond: I can think of worse ways to go.
Lucia: Then you’re obviously crazy, Mister-
Bond: Bond. James Bond.

Spectre promised a return to the old-fashioned elegance associated with early Bond films, thus calling for an obligatory scene of a sharply suited 007 enjoying champagne with a beautiful woman. In this case, the woman is Lucia Sciarra (Monica Bellucci), the glamorous widow of the gangster that Bond killed in Mexico City. The champagne is Bollinger R.D. 2002.

Bond's unorthodox seduction method in Spectre consists of breaking into a woman's home, murdering two assassins, and helping himself to her champagne.

Bond’s unorthodox seduction method in Spectre consists of breaking into a woman’s home, murdering two assassins, and helping himself to her champagne.

Bollinger’s association with the James Bond film franchise dates back to 1973 when Roger Moore ordered a bottle (“slightly chilled”) to his hotel room in San Monique. Readers of the novels, however, may recall that the brand shows up as early as Diamonds are Forever, Ian Fleming’s fourth novel of the series, published in March 1956.

R.D. stands for récemment dégorgé, or “recently disgorged”, and this particular type of Bollinger was exclaimed to be “the best” by Georgi Koskov (Jeroen Krabbé) in The Living Daylights (1987).

The Car

Bond: If you’ve come for the car, I parked it at the bottom of the Tiber.
Q: Well, not to worry, 007. It was only a £3,000,000 prototype.

The sleek silver 2015 Aston Martin DB10 that 007 speeds through the streets of Rome was designed specifically for Daniel Craig’s James Bond to drive in Spectre.

Bond's bespoke DB10 glides through the streets of Rome en route Sciarra's funeral.

Bond’s bespoke DB10 glides through the streets of Rome en route Sciarra’s funeral.

Aston Martin’s design team led by chief creative officer Marek Reichman worked closely with director Sam Mendes, who unveiled the DB10 as “the first cast member” at the film’s official press launch in December 2014. Only ten actual DB10 cars were eventually produced, all hand-built at the company’s state-of-the-art headquarters in Gaydon, England.

The DB10 design took many aesthetic and operational cues from the Reichman-designed Aston Martin V8 Vantage, borrowing the Vantage’s six-speed manual transmission and building its chassis on a modified version of the same VH Generation II platform that underpinned the last decade of Vantage models. The DB10 is powered by the same 4.7-liter V8 engine found in the V8 Vantage S, accelerating the DB10 from 0 to 100 km/h in 4.3 seconds and reaching an estimated high speed of 193 mph.

2015 Aston Martin DB10

SPECTRE

Body Style: 2-door coupe

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

Engine: 4.7 L Aston Martin “AJ37” V8

Power: 430 hp (321 kW; 436 PS) @ 7300 rpm

Torque: 361 lb·ft (490 N·m) @ 5000 rpm

Transmission: 6-speed manual

Wheelbase: 106 inches (2705 mm)

Length: 174 inches (4410 mm)

Width: 87 inches (2204 mm)

Height: 49 inches (1250 mm)

Read more at Aston Martin‘s official website.

Of the ten Aston Martin DB10 models that were made, eight were used in the finished film. Two “show cars” remained, with one sold at auction in February 2016 for £2.4 million (or $3.5 million), far exceeding Christie’s expectations and making it the only DB10 ever offered for sale to the public… though one was also loaned out for Princess Eugenie of York’s wedding to Jack Brooksbank in October 2018.

Officially released production photo of Bond's DB10 in Rome.

Officially released production photo of Bond’s DB10 in Rome.

After the popularity of Spectre and Bond’s bespoke DB10, Aston Martin began incorporating design details into the latest version of the Vantage, unveiled in November 2017, though the new car is powered by a 4.0-liter Mercedes twin-turbo V8 engine paired to an eight-speed ZF automatic transmission, developing a whopping 503 bhp.

How to Get the Look

An enduring menswear misconception is that black suits are essential to a man’s wardrobe when, in fact, they are among the least useful suits and hardly worth the investment for a quality item.

The most appropriate time to wear a solid black suit – and the only time we see James Bond wearing one other than his dinner suits – is to a funeral. Daniel Craig’s black three-piece Tom Ford suit in Spectre has the additional distinction of a unique herringbone cloth that elevates it above the standard black suit into something that could be more practically worn for business… or for speeding through the streets of Rome in a bespoke sports car.

Daniel Craig as James Bond in Spectre (2015)

Daniel Craig as James Bond in Spectre (2015)

  • Black herringbone wool Tom Ford “Windsor” tailored suit:
    • Single-breasted 2-button jacket with wide peak lapels, welted breast pocket, wide-flapped straight hip pockets with ticket pocket, functional 5-button “surgeon’s cuffs”, and long double vents
    • Single-breasted 6-button waistcoat with four welted pockets, notched bottom, and adjustable back strap
    • Flat front trousers with extended hook-closure waistband tab, buckle-tab side adjusters, on-seam side pockets, jetted back pockets, and plain-hemmed bottoms
  • White cotton poplin Tom Ford dress shirt with pinned point collar, front placket, back side darts, and 2-button turnback/”cocktail” cuffs
    • Gold barbell-style collar bar
  • Black tonal-check woven silk Tom Ford tie
  • Black calf leather double monk-strap Crockett & Jones “Camberley” cap-toe ankle boots
  • Black socks
  • Dark brown oiled leather shoulder rig with RHD holster for Walther PPK
  • Black wool Tom Ford bridge coat with Ulster collar, 8×4-button double-breasted front, slanted side pockets, belted back, and plain cuffs
  • Dents black hairsheep leather three-point driving gloves
  • Tom Ford “Snowdon” FT0237 sunglasses in “dark Havana” (52N) tortoise frame with gray lenses
  • Omega Seamaster 300 SPECTRE Limited Edition (233.32.41.21.01.001) stainless steel wristwatch with black dial (and “lollipop” seconds hand) on black-and-gray striped NATO strap

Do Yourself a Favor and…

Check out the movie.


Frank Sinatra’s Navy Blazer for the Holidays

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Frank Sinatra trims the tree during the opening of "Happy Holidays with Bing & Frank," the 1957 Christmas special episode of The Frank Sinatra Show.

Frank Sinatra trims the tree during the opening of “Happy Holidays with Bing & Frank,” the 1957 Christmas special episode of The Frank Sinatra Show.

Vitals

Frank Sinatra, multi-talented entertainer

Hollywood, December 1957

Series: The Frank Sinatra Show
Episode: “Happy Holidays with Bing & Frank” (Episode 1.10)
Air Date: December 20, 1957
Director: Frank Sinatra
Wardrobe Credit: Morris Brown
Tailor: Sy Devore

Background

Happy birthday, Frank Sinatra! To celebrate the 103rd anniversary of Ol’ Blue Eyes entering the world in a Hoboken tenement, let’s look back at a time when Frankie was sittin’ on top of the world: the late 1950s.

After the low point of his life and the prospect of his career in ruins, Sinatra bounced back with an Academy Award-winning performance in From Here to Eternity (1953) and a seven-year recording contract with Capitol Records that yielded an impressive string of concept albums that remain among the best popular music ever recorded.

Sinatra was one of the biggest stars of the world in 1957 when ABC signed him to a $3 million contract for The Frank Sinatra Show, a variety and drama series for which Sinatra would have almost total artistic freedom.

As the Chairman of the Board was a lifelong Christmas fanatic, it was unquestioned that the series would feature a special holiday episode, which Sinatra himself stepped up to direct, though he knew the show would need a guest worthy of the season he loved.

“He was a guerilla, if he wanted to direct, [he would direct],” said the show’s producer William Self during a 2003 Q&A at the Museum of Television & Radio (MT&R) after the show was unearthed. “It was Frank’s idea to do a Christmas show with Bing. He respected Bing a great deal… they got along great, and Frank just said, ‘I’m gonna direct it,’ and I said, ‘Yes, sir!'”

A year after their success together in High Society, the 1956 musical remake of The Philadelphia Story, Bing Crosby joined Frank for the half-hour special episode. Both stars were big enough to work their own preferred way, so the musical “duets” were recorded ten hours apart to accommodate Bing’s preference for pre-recording in the morning and Frank’s preference for live recording in the evening.

Frank joins Bing for a duet of "The Christmas Song".

Frank joins Bing for a duet of “The Christmas Song”.

“Nobody embraced Christmas as he did,” Nancy Sinatra told Variety of her father’s love for the holiday season. It was Nancy who unearthed the original 35mm film print of the holiday special while she was looking through disintegrating items in the family vault.

“I think this show exemplifies that he loved this time of year,” said Tina Sinatra, Frank’s youngest daughter, during the same MT&R Q&A, though both daughters dispute that Frank would ever live in what Tina described as a “bachelor’s lair” as Nancy pointed out that he would have hated all of the green on the set – from the mint-colored Royal typewriter to the bright green horse that would later be used on the set of The Brady Bunch.

“You see how neat Dad was with the trimming of the tree? Forget it,” Nancy explained to the audience of the 2003 Q&A, demonstrating Frank’s real-life method of haphazardly throwing tinsel on a tree.

“That was only once… it was late he got tired,” argued Tina.

“…and drunk,” added Nancy, to a knowing audience’s laughter.

“Happy Holidays with Bing and Frank” aired Friday, December 20, 1957 on ABC. The warm half-hour program includes many genuine moments, such as Sinatra accidentally dropping an ornament while trimming the tree during the opening number, “Mistletoe and Holly”. Despite producer William Self wanting to reshoot the scene, Frank merely shrugs off his clumsiness, casually bending down to pick it up before re-hanging it on the tree, adding a touch of authenticity that makes viewers feel like me may be watching the real Frank Sinatra decorating his home for the holidays… albeit while dressed impeccably in a blazer, cuff links, and silk tie in the well-lit Samuel Goldwyn Studios in West Hollywood.

What’d He Wear?

Sinatra dresses sharply for an evening of holiday entertainment, though his three-button navy blazer and gray flannel trousers recalls a similar look he wore in Pal Joey (1957), released just two months earlier.

Frank kicks back between numbers in the swingin' bachelor pad set.

Frank kicks back between numbers in the swingin’ bachelor pad set.

Frank’s dark navy wool blazer was almost definitely tailored by Sy Devore of Beverly Hills, the go-to tailor for the Rat Pack as well as gents in their orbit including Bing, Nat King Cole, Bob Hope, Jerry Lewis, Elvis Presley, and John Wayne. It’s a darker shade of blue than the blazer he wore earlier that year in Pal Joey, and this particular jacket has silver crested shank buttons rather than the gold buttons on the Pal Joey blazer. Frank fastidiously wears the blazer with the top two buttons fastened, leaving the third correctly undone. There are also three smaller matching buttons on each cuff.

The ventless blazer has notch lapels, straight flapped hip pockets, and a welted breast pocket for his neatly folded white linen pocket square.

"Me, have a date, did you think? Heavens to Betsy, no," Frank sheepishly responds when Bing assumes that the "intimate" dinner he arranged is for a young female caller. For context, Frank and Ava Gardner had only divorced months earlier, though they'd been separated since October 1953.

“Me, have a date, did you think? Heavens to Betsy, no,” Frank sheepishly responds when Bing assumes that the “intimate” dinner he arranged is for a young female caller. For context, Frank and Ava Gardner had only divorced months earlier, though they’d been separated since October 1953.

“He was crazy about his ties – only silk would do, in muted patterns or dignified stripes,” writes Bill Zehme in The Way You Wear Your Hat: Frank Sinatra and the Lost Art of Livin’, the definitive guide to the Chairman’s sense of style. “He favored the feel and designs of Sulka, which he learned from George Raft, who wore Sulka everything. Turnbull & Asser impressed him as well.”

Nancy Sinatra apparently inherited her father’s eye for neckwear, vigorously noting during the 2003 Q&A that the restoration made his tie look grayer than the bold blue it was in real life.

“Fancy ties and grandma’s pies, and folks stealin’ a kiss or two,” croons Frank as he rubs the shiny satin of his blue cravat during “Mistletoe and Holly”. When he later repeats the verse, he actually pulls the tie out of his blazer to reveal that the right side of the bottom down to the blade is a lighter shade of blue, creating an asymmetrical “dipped” effect.

"Fancy ties", indeed.

“Fancy ties”, indeed.

When not wearing a tuxedo for the evening, Frank seemed to prefer keeping his evening ensembles as close to black tie with dark (but never brown) suits and sport jackets worn over plain white shirts. His white cotton shirt in the Christmas special has a large point collar with a shapely, semi-spherical curve over the tie space. Behind-the-scenes shots illustrate that the shirt buttons up a plain front and has a monogram on the left breast.

Naturally, the shirt also has double (French) cuffs for Frank’s required cuff links. “Cuff links were, of course, required always,” writes Zehme, who recalls family anecdotes about the Chairman’s two drawers for cuff links alone. “He got them everywhere, but especially loved to buy them from a Florida hustler named Swifty Morgan.”

The flat gold square links that Sinatra wears on his cuffs for this special Christmas episode are consistent with the elegant minimalism of the rest of his outfit. Whether or not they were purchased from the questionable Mr. Morgan is lost to history.

♪ Santa Claus is Comin' to Town ♪

♪ Santa Claus is Comin’ to Town ♪

While Frank Sinatra paid attention to how he dressed, he was hardly a flashy dresser. In fact, the most affected piece of his wardrobe in this particular episode was his subtly monogrammed belt buckle, a silver pinhead-textured box-style buckle with “FS” embossed in the upper left and lower right corners, respectively.

Bing and Frank behind the scenes of "Happy Holidays with Bing & Frank", late 1957.

Bing and Frank behind the scenes of “Happy Holidays with Bing & Frank”, late 1957.

Navy blazers and khaki slacks have become something of an easy go-to ensemble for gents looking for a shortcut to dressing well. While there’s nothing inherently wrong with that combination, I prefer the more classic balance of dark gray wool trousers with a navy blazer. Frank sports a pair of dark gray flannel trousers that, combined with the double reverse pleats and the fashionably full fit of the late ’50s, look voluminous on the slim singer’s frame. They have side pockets and are finished with turn-ups (cuffs) on the bottoms.

“There was no excuse for brown shoes past sundown, ever,” writes Zehme. “To emphasize his convictions, [Sinatra] was not above inserting lit firecrackers into the brown shoes of any comrade.” Keeping this in mind, it’s no surprise that Frank wears a pair of black calf cap-toe oxfords and black socks with his ensemble.

While his guest had the presence of mind to wear black shoes for his appearance on the show, one wonders how Frank must have seethed at Bing’s decision to appear on his evening-set Christmas special wearing a brown suit.

FRANK

Frank wasn’t as much of a jewelry enthusiast as his fellow Rat Packer Sammy Davis Jr., but he would occasionally wear a ring on his right pinkie, whether it was the signet ring with his family crest or one of the matching diamond rings he had made for him and Dean Martin. The ring worn in this special appears to be a different one altogether with a large black surface.

Well, Merry Christmas, ladies and gentlemen, and welcome to our Christmas show for Bulova – the gift of a lifetime – and Chesterfield – my cigarette.

The Frank Sinatra Show was proudly sponsored by Bulova and Chesterfield and, though Ol’ Blue Eyes was almost definitely reading from cue cards for the above opening to the episode, he was certainly a confirmed Chesterfield smoker during this era before he switched to Camels for his Reprise years and beyond.

Could his watch possibly be a Bulova then? The show certainly makes a case for it as the first part of Frank’s clothing we see is his gold wristwatch, strategically positioned with the round silver dial gleaming from the inside of Frank’s wrist as he trims his tree.

♪ Oh by gosh, by golly... it's time for shameless product placement ♪

♪ Oh by gosh, by golly… it’s time for shameless product placement ♪

Founded in New York City by Bohemian immigrant Joseph Bulova in 1875, Bulova has been a steady presence in the American watchmaking scene for nearly 150 years, breaking ground not only for its technical innovations but also its marketing savvy. Bulova produced the first-ever advertisement broadcast on radio (1926), followed by the first-ever TV advertisement fifteen years later (1941).

Now owned by the Japanese conglomerate Citizen Watch Co., Bulova continues to make men’s watches that pay homage to its mid-century reputation, particularly the Classic Collection. If you’re looking for the simple elegance of Frank’s gold case, silver dial, and dark leather strap, check out the Aerojet (also on Amazon) or the Surveyor, both available for under $250.

A brief “fantasy” sequence finds the two crooners joining the carolers for a brief – and unquestioned – transportation back to Merry Olde Victorian England, where they merely supplant their 1957 outfits with ulsters, scarves, and felt toppers to fit in with the Ralph Brewster Singers.

Bing and Frank step back into history.

Bing and Frank step back into history.

Frank may have been known for the way he wore – and cocked – his hats, and you have to admit that he brings more swagger to a felt top hat than one might expect.

What to Imbibe

Frank: Bingo, can I offer you a little toddy?
Bing: Ah, a little toddy for the body might just take the chill off. What are you featuring here tonight, Frank?

Frank pours “a little jazz” for himself and Bing as they launch into a fun “Jingle Bells” duet, though it isn’t until the song is over that we hear Frank explain “what’s going on in the tub here.”

Our host is quick to clarify that the “tub” full of apples that Bing refers to is actually “an old English wassail bowl,” and that the two are thus imbibing in wassail. Frank claims the recipe is hundreds of years old (he’s not wrong) before bemusing about the “wonderful time in merry old England,” which of course inspires our crooning heroes to saunter outside and join a group of Victorian-era carolers.

Frank makes Bing sing for his booze.

Frank makes Bing sing for his booze.

Wassail? What’s that?

In short, it’s a hot, mulled cider punch that originated in England during the Middle Ages as part of a yuletide ritual for luck in the coming year’s harvest. The ritual itself is known as “wassailing”, which was typically observed on Twelfth Night (January 5 of 6). The traditional Christmas carol “Here We Come A-wassailing” (Americanized to “Here We Come A-caroling”) celebrates this practice and the spirit of generosity as the rich would offer up the contents of their wassail bowl to carolers that arrived at their door with cheerful songs promising good fortune.

The earliest known wassail was actually a drink called “lambswool” that consisted of warmed mead with roasted crab apples dropped in and bursting. By the 1600s, the drink evolved to a mulled cider spiced with cinnamon, ginger, nutmeg, and sugar, and topped with slices of toast for sopping. Modern recipes have extra spirits – often with a base of wine, brandy, or sherry – and are topped with apples and oranges, perhaps in tribute to the original crab apples of the lambswool recipe.

According to “We Two Kings”, the tenth season holiday-themed episode of Frasier, the bowl itself is integral to the definition of its contents.

Martin: Why don’t you just use the punch bowl?
Frasier: Because then it wouldn’t be wassail, it would be punch.

Fed up with his pretentious son, Martin consults the dictionary for a clearer definition of wassail and learns that it is merely defined there as “a Christmas punch.”

The Music

Our old friend, Mr. Bing Crosby, will be our guest, and the accent is on music, both traditional and modern… and here’s one of the newer songs…

Frank doesn’t mince words when beginning his holiday show. After the first sentence mentioning his sponsors, he spends the next sentence introducing his guest, the show’s focus, and the first song, “Mistletoe and Holly,” for which he shares a writing co-credit.

 

Bing himself shows up after the song, joining Frank in a short a capella round of “Happy Holiday,” an Irving Berlin tune that Bing himself had introduced in the 1942 film Holiday Inn:

Bing: Say, that must be your key.
Frank: This is my ballpark!

The good Mr. Crosby comes bearing gifts, including his own recent Christmas album, A Christmas Sing with Bing Around the World. In turn, Frank hands him “a jolly group of Christmas songs… by me.”

While Bing had recorded plenty of holiday-themed albums by the time of the special, A Jolly Christmas from Frank Sinatra was Frank’s second holiday record but his first full-length holiday album as his 1948 album, Christmas Songs by Sinatra, had been originally released by Columbia as a 78 rpm album set and a 10″ LP record.

Recorded in the decidedly non-wintry setting of Los Angeles in the early summer of 1957, A Jolly Christmas from Frank Sinatra consists of twelve holiday tracks featuring Frank backed by an orchestra conducted by Gordon Jenkins, who also arranged the music for the album. Choral backing is provided by the Ralph Brewster Singers, who also appeared as the Victorian-era carolers in this special. The album was first released on September 21, 1957, though the CD reissue 30 years later included two bonus tracks: the 1954 single versions of “White Christmas” and “The Christmas Waltz”, the latter being one of my personal favorites.

Bing and Frank gifted their own records to the other.

Bing and Frank gifted their own records to the other.

The entire playlist for the “Happy Holidays with Bing & Frank” special:

  • “Jingle Bells” (Instrumental)
  • “Mistletoe and Holly” (Frank Sinatra)
  • “Jingle Bells” (Frank Sinatra & Bing Crosby)
  • “Deck the Halls” (The Ralph Brewster Singers)
  • “God Rest Ye Merry Gentlemen” (Frank, Bing, and The Ralph Brewster Singers)
  • “Hark the Herald Angels Sing” (Frank, Bing, and The Ralph Brewster Singers)
  • “O Come All Ye Faithful” (Frank, Bing, and The Ralph Brewster Singers)
  • “The First Noel” (The Ralph Brewster Singers)
  • “It Came Upon a Midnight Clear” (Frank Sinatra)
  • “Away in a Manger” (Bing Crosby)
  • “O Little Town of Bethlehem” (Frank Sinatra & Bing Crosby)
  • “Rudolph the Red-Nosed Reindeer” (Bing Crosby)
  • “Santa Claus is Coming to Town” (Frank Sinatra)
  • “The Christmas Song” (Frank Sinatra & Bing Crosby)
  • “White Christmas” (Frank Sinatra & Bing Crosby)

How to Get the Look

Frank Sinatra in "Happy Holidays with Bing & Frank," the 1957 Christmas special episode of The Frank Sinatra Show.

Frank Sinatra in “Happy Holidays with Bing & Frank,” the 1957 Christmas special episode of The Frank Sinatra Show.

The Chairman of the Board illustrates the classic navy blazer’s versatility for holiday get-togethers, whether you’re dressing for a party or a one-on-one musical dinner with a respected pal.

  • Dark navy wool single-breasted blazer with 3 silver shank buttons, welted breast pocket, straight flapped hip pockets, 3-button cuffs, and ventless back
  • White cotton shirt with large point collar, plain front, breast monogram, and button cuffs
  • Blue satin silk tie with light blue “dipped” blade
  • Dark gray flannel double reverse-pleated high-rise trousers with belt loops, slanted side pockets, button-through jetted back pockets, and turn-ups/cuffs
  • Black leather belt with textured silver monogrammed box buckle
  • Black calf leather derby shoes
  • Black socks
  • Bulova yellow gold wristwatch with silver dial on black leather strap

Do Yourself a Favor and…

Check out the TV special. You can pick up the features-laden DVD, which restores the black-and-white original broadcast to full color, or stream the special itself on Vimeo.

You can also read more about Frank’s daughters Tina and Nancy celebrating their father’s legacy and love of the holidays in this article written by Chris Willman last December for Variety.

Christmas in Connecticut: Chief Quartermaster Jones

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Dennis Morgan and Barbara Stanwyck in Christmas in Connecticut (1945)

Dennis Morgan and Barbara Stanwyck in Christmas in Connecticut (1945)

Vitals

Dennis Morgan as Jefferson Jones, U.S. Navy Chief Quartermaster and war hero

Connecticut, Christmas 1944

Film: Christmas in Connecticut
Release Date: August 11, 1945
Director: Peter Godfrey

Background

Something about a naval uniform always reminds me of the holidays. Maybe it’s the happy homecoming of the heroic Commander Harry Bailey in It’s a Wonderful Life, or maybe it’s the charming naval hero in Christmas in Connecticut who finds himself instantly falling for Barbara Stanwyck (relatable enough) after he arrives on her doorstep to spend a memorable holiday in New England.

Christmas in Connecticut is breezy, funny, and classic holiday entertainment in the spirit of the optimistic post-World War II zeitgeist. Barbara Stanwyck and Sydney Greenstreet take a break from their recent run of sinister roles – hers in Double Indemnity and his in, well, anything he’s done – as food writer Elizabeth Lane and her domineering editor Alexander Yardley, respectively. Like his magazine’s readers, Mr. Yardley believes Elizabeth to be the perfect homemaker and invites himself to her fictitious Connecticut farm to spend the holidays with her equally fictitious husband and baby.

Of course, Elizabeth – the single New Yorker who just likes her cushy writing gig for the chance to wear a mink coat – can’t even properly flip a flapjack.

...or so she thinks.

…or so she thinks.

Elizabeth’s situation is complicated when Yardley invites a war hero who turns out to be the charismatic Jefferson Jones, played by Dennis Morgan, who was born 110 years ago yesterday. The potential “catastroph!” twists at every turn as neither the faux-homemaker nor the dashing Navy hero can resist falling for the other.

XMAS IN CT

As feel-good fun released shortly after the United States was out of World War II, Christmas in Connecticut quickly recouped its budget to gross more than $3 million at the box office, making it one of the top movies of 1945 and certainly a more uplifting one than The Bells of St. Mary’s, the year’s top-grossing film, which was released just before Christmas.

I prefer my uplifting Christmas movies to have a jolly Sydney Greenstreet than a terminally ill nun.

I prefer my uplifting Christmas movies to have a jolly Sydney Greenstreet than a terminally ill nun.

What’d He Wear?

Barbara Stanwyck and Sydney Greenstreet may have been playing against type, but Dennis Morgan had just enjoyed the biggest role of his career as a U.S. Army Air Force colonel in God is My Co-Pilot (1945) and Warner Brothers was likely eager to get the popular actor back into a military uniform for his next performance. Thus, Morgan’s naval officer Jefferson Jones spends the majority of his screen time, after his discharge from the military hospital, wearing the timeless blue service dress uniform, designated “Service Dress, Blue, A”.

In March 1919, shortly after World War I, Uniform Change 27 authorized the double-breasted reefer jacket that U.S. Navy officers wear to this day, replacing the single-breasted fly-front coat that had been first authorized in 1877. The update was inspired by the tunics worn by British Royal Navy officers as well as a reflection of the evolution of civilian menswear and business dress. (Read more about the history and evolution of the U.S. Navy uniforms here.)

Quartermaster Jones thus arrives at Elizabeth Lane’s “home” in the winter-friendly service dress uniform constructed in dark navy wool serge, 16-ounce weight. The double-breasted reefer jacket has eight gilt buttons with four to button in a straight, rectangular layout. As Jones’ Chief Petty Officer (CPO) rank places him among the enlisted rather than commissioned officers, the 28-line buttons are slightly smaller than those on commissioned officers’ jackets, though a regulation immediately after the war would increase CPO reefer jacket and overcoat button sizes to 35-line and 40-line, respectively, to match those of commissioned and warrant officers.

The ventless jacket has straight peak lapels, welted hip pockets, and a welted breast pocket, which his ribbon row is placed directly above.

Jeffy Boy's forgotten fiancee gets a mixed reception at the Sloan household the day after Christmas.

Jeffy Boy’s forgotten fiancee gets a mixed reception at the Sloan household the day after Christmas.

Jeffy Boy introduces himself to Elizabeth as “Quartermaster Jones,” consistent with the pre-1949 practice of U.S. Navy enlisted service members identifying themselves by occupational type, which was also denoted by the placement of one’s rank insignia with Seaman branch ratings worn only on the right sleeve – as we see with Jones – and non-seamen wearing theirs on the left sleeve only.

A full-color version of the insignia that Jefferson Jones would wear as a Chief Petty Officer rank with a Quartermaster rating.

A full-color version of the insignia that Jefferson Jones would wear as a Chief Petty Officer rank with a Quartermaster rating.

The practice of members of the Seaman branch wearing their rank insignia on only their right sleeves was established in 1841 while other ratings were worn only on the left sleeve. This was still in practice a century later during World War II for petty officers with the occupations Boatswain’s Mate, Fire Controlman, Gunners Mate, Mineman, Signalman, Torpedoman’s Mate, Turret Captain, or Quartermaster like our pal Jones. The practice was disestablished on April 2, 1949, and – as of December 2018 – all Chiefs across all occupations wear their rank insignia only on their left sleeves.

Jones’ insignia consists of three red chevrons topped by a single red rocker with a white embroidered eagle perched on the rocker and a white embroidered ship’s wheel between the chevrons and the rocker. The three chevrons and single rocker indicate his Chief Petty Officer rank while the ship’s wheel indicates his occupation in the Seaman branch, leading us to the conclusion that Jones’ correct ratingis that of Chief Quartermaster (CQM). (Read more about World War II-era U.S. Navy ranks and insignia here.)

XMAS IN CT

Jones’ rank is easily enough to discern, though his medals require some deeper investigation. I’m no military historian, but I looked at all three of his service ribbons from varying angles and – even without the benefit of color to help identify them – I think I have an idea of the three he is wearing, though the third poses more of a mystery. (See more U.S. Navy awards/ribbons here.)

From left to right:

  • China Service Medal: Established on August 23, 1940, by Navy Department General Order No. 135, this medal was awarded for qualifying U.S. Navy service between the inclusive dates of July 7, 1937, and September 7, 1939, subsequently extended to include service rendered between September 2, 1945, to April 1, 1957. If this is the case, it would imply that Jones’ service dates back to the late 1930s, before U.S. entry into World War II.
    • Description: Golden yellow ribbon with a single red stripe toward each end
  • American Defense Service Medal: Established on June 28, 1941, by FDR’s Executive Order 8808, this medal was awarded for qualifying active service in the American armed forces between September 8, 1939, and December 7, 1941… aka up to two years leading up to World War II. Unlike the China Service Medal, it was available to service members across all branches, though U.S. Army members had to serve 12 months to be eligible while Navy and Marine Corps members were eligible based on any length of service. This solidifies the theory that Jones has been an active member of the U.S. Navy since before World War II. Per the standard order of display, this would follow the China Service Medal as it does on Jones’ jacket.
    • Description: Golden yellow ribbon with a two sets of thin 1/8″-wide tri-parted stripes toward each end – blue/white/red on the left and red/white/blue on the right – each separated from the ends by a 3/16″-wide golden yellow edge stripe and a 3/4″-wide center stripe. The colors are technically the dark “Old Glory blue” and scarlet red.
    • Jones wears two bronze service stars on this ribbon, here correctly worn in lieu of fleet clasps for service on the high seas.
  • American Theater Campaign Medal: Established on November 6, 1942, by FDR’s Executive Order 9265, this medal was awarded for service within the American Theater beginning December 7, 1941, the day of the Pearl Harbor attack. The medal was last awarded on March 2, 1946.
    • Description: “Oriental blue” ribbon with a 1/8″-wide center stripe in Old Glory blue, white, and scarlet, plus sets of 1/16″-wide stripes in white, black, scarlet, and white to represent the German and Japanese enemies engaged in conflict, respectively.
Jefferson Jones' service ribbons tell the story of his Navy career, dating back at least six years.

Jefferson Jones’ service ribbons tell the story of his Navy career, dating back at least six years.

Consistent with the Navy’s desire for its service uniform to reflect the trends in men’s everyday business attire, the prescribed shirt for blue service dress is a plain white cotton shirt – with a soft, turndown collar and non-flapped breast pocket – to be worn with a “plain black” woven silk tie, knotted four-in-hand. Jones’ shirt and tie follows all regulations, while the shirt’s point collar and the tie’s wide blade reflect the predominant fashion of the mid-1940s.

He lasted 16 days on a raft in the middle of the ocean, but a splash of soapy water in his eyes and Jefferson Jones is done for!

He lasted 16 days on a raft in the middle of the ocean, but a splash of soapy water in his eyes and Jefferson Jones is done for!

Jones’ dark navy flat front trousers match the reefer jacket. They have side pockets, jetted back pockets, and belt loops for his black leather belt with – we can assume – a gold-plated brass single-prong buckle. Navy uniform regulations issued in 1922 dictated black grain leather belts “of best quality”, but the service has since adopted cotton web belts for service dress uniforms.

Jones eagerly rolls up his sleeves to help Robert- er, Roberta with her bath.

Jones eagerly rolls up his sleeves to help Robert– er, Roberta with her bath.

“Black shoes, high or low Oxford, shall be laced, of black leather, and shall be worn when blue trousers are prescribed,” reads the same 1922 regulations on U.S. Navy uniforms. Jones’ dark lace-ups indeed appear to be black calf cap-toe oxfords, worn with dark socks. Black and white were the only colors of socks authorized for Navy service members, so we can assume that Jones’ socks are also black.

XMAS IN CT

The snowy New England winter calls for a heavy coat and gloves. The Navy authorized gloves to be “iron gray… made of suede, lisle, or silk thread”, though Jones appears to be wearing a pair of black or charcoal gloves made from a heavier knit fabric.

Jones also wears a warm bridge coat, essentially an overcoat-length pea coat that extends to his knees. After its popularity as naval outerwear, the bridge coat style was appropriated for civilian fashions. In fact, James Bond (Daniel Craig) wore a bridge coat in Spectre that was nearly identical to the one worn by Dennis Morgan’s naval hero in Christmas in Connecticut, right down to the eight non-gilt buttons and lack of epaulettes, though the back belt of 007’s coat had a decorative button on each end.

Jones’ double-breasted coat is likely made from a heavy, 30-ounce dark navy Kersey wool that was used for much U.S. Navy outerwear throughout the 20th century.

Love at first salute.

Love at first salute.

The double-breasted coat has eight horn buttons in two parallel columns of four buttons each, meant to be worn with all four buttons on the right fastened. There are two additional buttons on the underside of each collar that connect to buttonholes on the lapels. It has slanted hand pockets, a half-belted back with a single vent, and raglan sleeves with plain cuffs devoid of buttons, tabs, or any other adjustment mechanism.

XMAS IN CT

Both blue and white caps were authorized for commissioned, warrant, and chief petty officers, though winter often meant the blue cap was most frequently seen. The blue peaked “combination cap” is made with a stiff dark navy 16-ounce broadcloth cover, a black patent leather strap across the front attached to a 22-line gilt button at each end, and a black patent leather visor. Pinned directly to the front of the cap is a gold-plated brass fouled anchor device with the letters “U.S.N.” in sterling silver, fastened midway on the anchor shank.

The fouled anchor device is specific to the Chief Petty Officer rank. Although USN officially stands for "United States Navy", it also carries a symbolic abbreviation for Unity, Service, Navigation.

The fouled anchor device is specific to the Chief Petty Officer rank. Although USN officially stands for “United States Navy”, it also carries a symbolic abbreviation for Unity, Service, Navigation.

Jones wears a leather-strapped wristwatch with a light round dial on his left wrist.

Sources

If you’d like to know the U.S. Navy uniform regulations at the time of World War II, check out this comprehensive 1922 volume issued by the Department of the Navy. If you’re curious about the variety of uniforms worn by U.S. Navy enlisted members and officers during World War II, read more here.

To read the modern specifications for a male Chief Petty Officer’s Service Dress Blue uniform, check out the official U.S. Navy regulations here or the history of CPO uniforms here.

The Music

Although Christmas in Connecticut makes no secret of its holiday setting, the central song has nary a jingling bell or roasting chestnut. With music by M.K. Jerome and lyrics by Mack Scholl, “The Wish That I Wish Tonight” became a considerable hit for 1945 with versions recorded by Ray Noble and his Orchestra (with vocalist Trudy Irwin), Jo Stafford, and the Duke Ellington orchestra.

However, Dennis Morgan’s booming tenor does offer a heck of a job with the Christmas standard “O Little Town of Bethlehem” while Elizabeth trims the tree.

“Nice voice, that boy,” notes Yardley. It’s so entrancing, in fact, that a distracted Elizabeth drops the massive ornament she was holding. It isn’t until she insists that he keeps playing that he shifts gears from Christmas carols to the wistful “The Wish That I Wish Tonight”.

CQM Jones’ Uniform

Dennis Morgan as CQM Jefferson Jones in Christmas in Connecticut (1945)

Dennis Morgan as CQM Jefferson Jones in Christmas in Connecticut (1945)

The U.S. Navy’s “Service Dress, Blue A” was introduced at the end of World War I and has remained relatively unchanged for a century of American conflict. The fitted, military cut of both the uniform and the bridge coat would have made Jefferson Jones seem very dashing to magazine writers and military hospital nurses alike.

  • Dark navy wool serge double-breasted U.S. Navy service dress reefer jacket with eight gilt buttons (four to button), welted breast pocket, welted hip pockets, and ventless back
    • Chief Quartermaster (CQM) insignia on right upper-arm sleeve
    • Three service ribbons in single row above breast pocket
  • Dark navy wool serge U.S. Navy service dress trousers with flat front, belt loops, side pockets, and plain-hemmed bottoms
  • White cotton shirt with point collar, front placket, breast pocket, and button cuffs
  • Black woven silk tie
  • Black grain leather belt with brass-plated gold single-prong buckle
  • Black calf leather cap-toe oxford shoes
  • Black socks
  • Dark navy peaked combination cap with black patent leather visor and fouled anchor “U.S.N.” device
  • Dark navy Kersey wool double-breasted 8×4-button bridge coat with side pockets, raglan sleeves, half-belted back, and single vent
  • Wristwatch on leather strap

So you like the look but you’re not in the Navy? Easy enough! Swap out the uniform for a navy double-breasted blazer and charcoal trousers, and add a colorful flourish with a festive red pocket square.

Do Yourself a Favor and…

Check out the movie… and make sure it’s this 1945 version. A remake was made in the early 1990s with Dyan Cannon, Kris Kristofferson, and Tony Curtis, directed by Arnold Schwarzenegger, of all people. While Arnie may have hit holiday gold with Jingle All the Way, this particular story was best left to the originals.

The Quote

I’m as free as a bird!

White Christmas: Bing’s Gray Plaid Suit

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Bing Crosby as Bob Wallace in White Christmas (1954)

Bing Crosby as Bob Wallace in White Christmas (1954)

Vitals

Bing Crosby as Bob Wallace, Broadway crooner and World War II veteran

Pine Tree, Vermont, December 1954

Film: White Christmas
Release Date: October 14, 1954
Director: Michael Curtiz
Costume Designer: Edith Head

Background

Happy holidays, BAMF Style readers! I hope all who celebrate are having a very merry Christmas whether you’re spending it with loved ones or beloved movies.

One of the most esteemed entries in the ever-expanding world of holiday cinema is White Christmas (1954), the story of two World War II veterans who go into show business together. Business is booming for the song-and-dance men Bob Wallace (Bing Crosby) and Phil Davis (Danny Kaye) with nary a complication in sight… until the two make the acquaintance of the lovely and talented Haynes sisters and change their plans to join them for a gig in Vermont. Bob is smitten with the vocalist Betty (Rosemary Clooney), while Phil finds himself drawn to the dancer Judy (Vera Ellen).

The fun really begins when the foursome arrives in Vermont on an uncharacteristically sunny December afternoon and head to the inn where the women are performing, only to discover that it’s run by their popular ex-commanding officer, Major General Tom Waverly (Dean Jagger). Will the showbiz pros be able to deliver a show good enough to bring business to Waverly’s failing inn? Will Bob and Betty find love despite their stubbornness? And, most importantly, will it snow on Christmas? You’ll just have to watch!

Bing and Rosie send their regards as well.

Bing and Rosie send their regards as well.

Though Bob Wallace sticks mostly to suits, sport jackets, and the occasional service uniform, the real Bing Crosby dressed to the nines for special occasions like the holidays.

Though Bob Wallace sticks mostly to suits, sport jackets, and the occasional service uniform, the real Bing Crosby dressed to the nines for special occasions like the holidays.

Bing Crosby carved himself quite a place in Christmas lore, having recorded nearly a dozen Christmas albums over the course of his half-century career, the bulk of which were recorded in the 1950s after the success of White Christmas established him on the holiday map.

Even Frank Sinatra’s kids were forced to admit that “Bing Crosby was there first,” as Nancy told Variety during a 2017 interview. Bing was thus a natural choice when holidayphile Ol’ Blue Eyes was tapping a partner for his 1957 Christmas special.

Bing’s first major role in a Christmas-themed movie was in the season-spanning Holiday Inn (1942), co-starring Fred Astaire and Marjorie Reynolds, where he first introduced Irving Berlin’s song “White Christmas”. Although the plot elements of showbiz pros at a New England inn during the holidays remained intact, the story was mostly reimagined when it was loosely remade as White Christmas in 1954.

What’d He Wear?

Bing Crosby was in fine sartorial hands for his role in White Christmas, whether he was dressed by his usual tailor H. Huntsman of Savile Row or by the film’s costume designer, the esteemed Edith Head.

“Having done costuming for a number of Bing Crosby and Bob Hope’s Road pictures prior to White Christmas, [Head] knew exactly how to make Crosby’s character shine,” notes Jeff Saporito for ScreenPrism.”

Bob Wallace dresses fashionably for his arrival in Pine Tree, Vermont in a glen plaid suit, striped tie, and long-sleeved cardigan sweater meant to combat the expected snowww in “New England’s winter playground”.

The suit is a gray finely checked glen plaid wool. The single-breasted jacket has notch lapels that roll to a low, two-button stance. It’s detailed with a welted breast pocket – where Bing wears a white pocket square – as well as flapped hip pockets and a narrowly flapped ticket pocket just above the right-side hip pocket. The jacket has a short single back vent and three-button cuffs that match the mixed brown-and-tan plastic sew-through buttons on the front.

Imagine if it was customary for all hotel guests to salute the hotel owner upon meeting them.

Imagine if it was customary for all hotel guests to salute the hotel owner upon meeting them.

Bob adds some holiday festivity – and a warm additional layer – with a burgundy knit long-sleeve cardigan sweater under his suit jacket. A lifelong golfer, Bing Crosby’s cardigans became an increasing part of his image as he aged, and Slazenger even reintroduced the blue lambswool cardigan he wore during his iconic “Peace on Earth/The Little Drummer Boy” duet with David Bowie during Crosby’s TV Christmas special, “Bing Crosby’s Merrie Olde Christmas”, which aired posthumously a few weeks after the singer’s death in October 1977.

The burgundy cardigan in White Christmas has smoke gray plastic sew-through buttons and is made from a lightweight material, possibly even a linen-wool blend, that reveals the silhouette of his tie under the sweater. Bob would later wear the same cardigan, shirt, and tie with his dark gray flannel blazer when seeing Betty off on her train to New York toward the end of the movie.

Like his neckwear in the preceding scene with his powder blue mini-checked jacket, Bob wears another fancy-striped tie. The brown tie is patterned with tan “downhill” stripes that are split by very narrow stripes in brown, periwinkle, tan, and orange. His white cotton shirt has a large semi-spread collar and plain front, though it’s hard to tell if the shirt has his usual double (French) cuffs under the sleeves of his cardigan sweater.

The suit’s pleated trousers have a full fit and are finished on the bottoms with turn-ups (cuffs) that cover most of his black patent leather lace-up shoes that appear to be the same cap-toe oxfords he wore during the “Sisters” number in Florida. The full break of the trouser bottoms prevents us from seeing if Bob is wearing some of his more colorful hosiery like the yellow or red socks that make appearances during his time at the Columbia Inn.

From remarks about grass-covered igloos to suggesting that they're actually in southern Vermont, the gang has more jokes about the weather than Linda from finance when you run into each other on Monday morning at the office coffeemaker.

From remarks about grass-covered igloos to suggesting that they’re actually in southern Vermont, the gang has more jokes about the weather than Linda from finance when you run into each other on Monday morning at the office coffeemaker.

Now that they’re heading for the cozy, casual confines of a winter getaway in Vermont, Bob swaps out his business-friendly gray fedora for an all-brown felt fedora with a wide brown grosgrain band. As it was evidently 68°F the day before, Bob has no need to don the camel overcoat he carries over his arm, though he does wear his butter yellow cashmere scarf with its frilly edges, albeit untied.

It's never too late to start harmonizing about snow.

It’s never too late to start harmonizing about snow.

Bing Crosby wears his own wristwatch in White Christmas, a plain gold-toned watch on a tooled brown leather curved strap with a gold single-prong buckle. The watch appears in several other Crosby flicks of the ’50s such as High Society, where he also wears it with the face on the inside of his wrist; though this could be explained as a holdout from Captain Wallace’s service in the U.S. Army, it’s one of the many real-life Bing Crosby traits that the actor brought to his performance.

Just the Jacket…

When dressed more casually for his rounds of rehearsals at the Columbia Inn, Bob later wears the jacket orphaned with a bold blue knit polo shirt, gray wool trousers, bright yellow socks, and a red-and-blue striped silk handkerchief around his neck.

What's a retired general supposed to do when the Army doesn't want him back? If only there was a song about it...

What’s a retired general supposed to do when the Army doesn’t want him back? If only there was a song about it…

It’s a natty outfit, to be sure, and one worthy of its own discussion… perhaps next Christmas!

Bing Crosby as Bob Wallace in White Christmas (1954)

Bing Crosby as Bob Wallace in White Christmas (1954)

How to Get the Look

It’s no surprise that a sharp dresser like Bing Crosby would bring his colorful, well-tailored style to the role of Bob Wallace in White Christmas.

  • Gray glen plaid wool suit
    • Single-breasted 2-button jacket with welted breast pocket, straight flapped hip pockets with ticket pocket, 3-button cuffs, and single vent
    • Pleated trousers with turn-ups/cuffs
  • Burgundy lightweight knit long-sleeve 5-button cardigan sweater
  • White shirt with large semi-spread collar, plain front, and double/French cuffs
  • Brown tie with tan “downhill” stripes and complex narrow stripes
  • Black leather cap-toe oxford shoes
  • Gold wristwatch on tooled brown leather curved strap
  • Brown felt short-brimmed fedora with brown grosgrain band
  • Butter yellow cashmere scarf with frilly edges

Do Yourself a Favor and…

Check out the movie, and have a very happy holiday season!

The Quote

Well! Must be wonderful in Vermont this time of year… all that underwear.

Sammy Davis Jr.’s Gray Jacket in Ocean’s 11

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Sammy Davis Jr. and his Ocean's Eleven (1960) cast mates Frank Sinatra, Dean Martin, Peter Lawford, and Joey Bishop.

Sammy Davis Jr. and his Ocean’s Eleven (1960) cast mates Frank Sinatra, Dean Martin, Peter Lawford, and Joey Bishop. (Photo by Sid Avery)

Vitals

Sammy Davis Jr. as Josh Howard, sanitation worker and World War II veteran

Beverly Hills, December 1959

Film: Ocean’s Eleven
Release Date: August 10, 1960
Director: Lewis Milestone
Costume Designer: Howard Shoup
Tailor: Sy Devore

Background

The days between Christmas and New Year’s Eve are an ideal week for reunions. In the Rat Pack’s arguably most famous film, Danny Ocean (Frank Sinatra) organizes a reunion of eleven men from his 82nd Airborne unit for a heist to ring in the new year.

After deciding not to attempt the life of “a one-eyed third baseman in Mobile,” former paratrooper Josh Howard (Sammy Davis Jr.) took a job in sanitation. “Trash is where you find it,” Josh explains. “You gotta follow the fleet!”

With few other promising prospects, Josh finds himself easily recruited back into the fold of his old army pals for the simultaneous robbery of five Las Vegas casinos at midnight on New Year’s Eve. “He’s the main cog,” Danny tells the team regarding Josh’s role in the heist. “If he goofs, it’s over.”

What’d He Wear?

As a professional sanitation worker, Sammy Davis Jr.’s character Josh Howard spends much of the heist’s planning and execution in the decidedly less-than-glamorous but functional uniform of a gray jumpsuit and turtleneck. However, the kickoff meeting calls for something a little more stylish and Josh is more than up to the task.

Josh dresses for the group meeting in a light gray sport jacket, like the group’s leader Danny Ocean, though Davis wears a jacket more conventional in its suiting and styling than Sinatra’s distinctive tweed jacket.

Josh’s light gray semi-solid jacket appears to be worsted wool with slim notch lapels that roll to a high-buttoning three-button front that, again like Danny, is worn with the top two buttons fastened.

The four ex-paratroopers discuss how they'll use their ill-gotten gains before they've even planned the heist.

The four ex-paratroopers – Josh, Sam Harmon (Dean Martin), Danny, and Jimmy Foster (Peter Lawford) – discuss how they’ll use their ill-gotten gains before they’ve even planned the heist.

The ventless jacket has two “kissing” cuff buttons at the end of each sleeve and straight, jetted pockets on the hips. In the jacket’s welted breast pocket, Josh wears a gray patterned silk pocket square.

Josh, Danny, and Jimmy can't hide their amusement at their outlandish benefactor Spyros Acebos (Akim Tamiroff).

Josh, Danny, and Jimmy can’t hide their amusement at their outlandish benefactor Spyros Acebos (Akim Tamiroff).

As a contrast to his white-shirted comrades, Josh wears a light gray shirt just a shade cooler than his jacket for a natty monochromatic look, balanced by a slim, straight black satin silk tie that coordinates with the trousers.

Josh’s shirt has a slim semi-spread collar, a front placket, and squared barrel cuffs that each close with an oversized mother-of-pearl button.

OCEAN'S ELEVEN (1960)

Josh wears a pair of charcoal gray trousers with a medium rise and a thin fitted waistband, shaped over Davis’ hips with reverse pleats. These trousers have frogmouth front pockets, no back pockets, and plain-hemmed bottoms. The sheen of the trousers suggests a fabric of mohair or a mohair blend, a popular suiting during the era and certainly a favorite of Sammy Davis Jr., who would wear a brown mohair double-breasted suit for the film’s iconic finale.

The sleek, monochromatic outfit gets a subtle pop of color with Josh’s bright red socks, worn with black leather derby shoes.

Erstwhile lieutenant Jimmy Foster (Peter Lawford) calls the "alumni meeting" to order.

Erstwhile lieutenant Jimmy Foster (Peter Lawford) calls the “alumni meeting” to order.

Josh wears a gold wristwatch with a link bracelet on his left wrist.

Sammy Davis Jr. and his fellow Rat Packers Frank Sinatra, Dean Martin, Peter Lawford, and Joey Bishop prepare for Sid Avery to take promotional photos for Ocean's Eleven (1960).

Sammy Davis Jr. and his fellow Rat Packers Frank Sinatra, Dean Martin, Peter Lawford, and Joey Bishop prepare for Sid Avery to take promotional photos for Ocean’s Eleven (1960).

How to Get the Look

Sammy Davis Jr. embraced the opportunity to dress his character in the original Ocean’s Eleven in more than just a sanitation worker’s jumpsuit, opting for a cool, casual ensemble ideal for a low-key evening gathering.

  • Light gray semi-solid worsted wool single-breasted 3-button jacket with welted breast pocket, straight jetted hip pockets, “kissing” 2-button cuffs, and ventless back
  • Light gray shirt with slim spread collar, front placket, and large mother-of-pearl button cuffs
  • Black silk slim tie
  • Charcoal gray mohair reverse-pleated trousers with fitted waistband, frogmouth front pockets, and plain-hemmed bottoms
  • Black leather two-eyelet V-front derby shoes
  • Red socks
  • Gold wristwatch on link bracelet
  • Gray-on-gray patterned silk pocket square

Do Yourself a Favor and…

Check out the movie.

The Quote

It’s simple enough… in my book, “brave” rhymes with “stupid” and it still does.

Michael Corleone’s Black New Year’s Eve Suit

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Al Pacino as Michael Corleone in The Godfather Part II (1974)

Al Pacino as Michael Corleone in The Godfather Part II (1974)

Vitals

Al Pacino as Michael Corleone, cold and calculating Mafia boss

Havana, New Year’s Eve 1958

Film: The Godfather Part II
Release Date: December 12, 1974
Director: Francis Ford Coppola
Costume Designer: Theadora Van Runkle

Background

Happy New Year’s Eve!

On this transitional #MafiaMonday, we transport back 60 years to New Year’s Eve 1958, a tumultuous night in world history as armed rebels connected to the vanguard 26th of July Movement overthrew Cuba’s incumbent president Fulgencio Batista, ending the five-year Cuban Revolution and establishing a communist government under the movement’s leader Fidel Castro.

“Gentlemen, to a night in Havana! Happy New Year… Feliz Año Nuevo!” toasts a gregarious Fredo Corleone (John Cazale) as he holds court in the Cuban capital with a bevy of politicians and his brother, taciturn and thoughtful mob boss Michael (Al Pacino).

Michael Corleone finds himself an unwitting spectator to this momentous occasion in history, but the most impactful happening in his life is the discovery of his brother Fredo’s betrayal. An innocent slip of the tongue while in the audience of a far-from-innocent live sex show reveals that Fredo lied about his previous contact with Johnny Ola (Dominic Chianese), right-hand man to Hyman Roth (Lee Strasberg), letting slip to Michael that his own brother was behind his attempted assassination earlier that year.

While not one to show emotion, even Michael can’t put on a poker face and buries his head in his hands as he processes the news… though he did quickly have the presence of mind to use the seconds after he found out to order his own assassin to eliminate both Roth and Ola.

The following sequence builds to one of the most powerful scenes in cinema. The revelry continues as the gangsters, the politicians, and their Cuban government hosts remain blissfully unaware of the rebels preparing for action. A party at the presidential palace finds a distressed Michael confronting his insecure little brother, grasping his face in both hands for a kiss of death, then declaring: “I know it was you, Fredo. You broke my heart. You broke my heart!”

In a daze, Fredo backs away and just has enough time to disappear into the crowd before the president announces his resignation “to avoid further bloodshed” as slot machines and parking meters start hitting the pavement. Unhurried but with determination to get out, Michael is the first American to leave and get a jumpstart on the immediate exodus from Cuba in the wake of the revolution.

What’d He Wear?

Black suits are among the more controversial aspects of menswear. While few doubt the propriety of black suits at a funeral, many sartorial purists insist that black suits have no purpose that can’t be better served by a charcoal or dark navy suit, while many retailers – specifically American retailers – continue to market black suits as essentials for any gent’s wardrobe. (For proof, I would offer photos from my high school homecoming dances where at least three out of every four male students were outfitted in an ill-fitting black suit from Macy’s.)

The reality rests somewhere in the middle. While black suits are inordinately worn for occasions where they’re not appropriate, they can make a natty alternative to dinner jackets for an evening out on the town with no dress code requirements, particularly when the black suiting is of an interesting pattern, texture, or fabric.

It is perhaps worth noting that Michael Corleone never dons formal black tie in the first two entries of The Godfather canon, even when the men around him are appropriately attired in dinner jackets and tuxedoes. At his sister’s wedding in The Godfather (1972), the recently returned war hero Michael is still wearing his USMC service uniform. In The Godfather Part II (1974), many of his criminal and congressional cronies don dinner jackets and bow ties to celebrate New Year’s Eve in Havana but Michael opts for a solid, but shiny, black suit with a plain white shirt and black tie.

Al Pacino takes direction from Francis Ford Coppola on the set of The Godfather Part II (1974).

Al Pacino takes direction from Francis Ford Coppola on the set of The Godfather Part II (1974).

Michael’s black suit, white shirt, and black tie is a reversal of his brother Fredo’s white suit, black shirt, and white-dominant tie, indicating the polarity of the two brothers while also communicating the details of their personalities. Fredo is all flash, dressing the part of the extravagant gangster that he hasn’t the skills or moxie to be without the support of his family name. Michael, on the other hand, remains conservative and businesslike yet understatedly elegant. If someone – be they a policeman or hitman – entered the club looking for a gangster, their eyes would pass right over Michael and land on Fredo.

The black and white in Michael and Fredo's respective New Year's Eve wardrobes perfectly contrast the other.

The black and white in Michael and Fredo’s respective New Year’s Eve wardrobes perfectly contrast the other.

Al Pacino's screen-worn black mohair suit jacket. (Source: GoLive.au.)

Al Pacino’s screen-worn black mohair suit jacket. (Source: GoLive.au.)

Though limited, Michael Corleone’s elegant wardrobe in The Godfather Part II is versatile enough to be as effective as a wardrobe twice its size. The black mohair three-piece suit that Michael wears for business – and a funeral – in the United States is perfect, sans waistcoat, for a New Year’s Eve celebration in the warmer tropical environment of Havana.

The black suit was custom-made for the production by the venerable Western Costume Co., which has been dressing Hollywood’s finest for more than a century. Based on the suiting’s distinctive sheen and its varying degrees of reflecting different light, the material is likely a mohair and wool blend. Mohair was a common element of 1950s and 1960s suits, popular for its lustrous properties and practical comfort in warm weather, and it adds more depth to Michael’s suit than a standard black wool suit.

Michael’s black mohair suit jacket is single-breasted with notch lapels that roll to the top of a three-button front. The scenes are either too dark or the shots are too close on Michael to show much of the details on screen, but the jacket’s strongly roped sleeveheads and padded shoulders are silhouetted throughout Michael’s time in Havana.

The jacket is shaped by darts and gently suppressed through the waist. It has a welted breast pocket, straight flapped hip pockets in line with the lowest button, and three-button cuffs. It has been auctioned several times throughout the decades, and this online listing from Nate D. Sanders’s 2012 auction offers additional description.

The suit trousers have double forward pleats on each side of the fly with side pockets and turn-ups (cuffs) on the bottom. Michael likely wears the same black leather belt that he wears when he wears the full three-piece suit with waistcoat.

A distracted Michael watches the Cuban Army marching through the presidential palace, minutes before midnight.

A distracted Michael watches the Cuban Army marching through the presidential palace, minutes before midnight.

Even with a white shirt and black tie, Michael’s unique suit fabric says reserved party guest rather than reservoir dog. He wears a solid black tie, knotted in a four-in-hand, ostensibly the same black tie that he would later wear to his mother’s funeral. The white cotton poplin shirt has a long point collar, front placket, and single-button cuffs.

The yellow gold watch Michael wears in The Godfather Part II has been speculatively identified as a vintage Omega Constellation from the 1950s with a white dial and shining gold bracelet. His only other piece of jewelry is the plain gold wedding ring on his left hand.”

PACINO

Black footwear is the only way to go with a solid black suit. Michael wears black calf derby shoes and black socks.

What to Imbibe

Though he never vocally confirms it, the tall, dark highball with a lime slice that Michael raises to Fredo’s toast is most likely a Cuba Libre, one of the two “local drinks” made with rum that Fredo mentioned in his pitch to the gangsters and the senators:

Okay, gentlemen, it’s refill time here. You might try some of those local drinks, you know, Cuba Libre, piña colada…

PACINO

The agreed origin story of the simple and refreshing Cuba Libre dates back to the turn of the 20th century when bottled Coca-Cola was first imported into Cuba from the U.S. after the Spanish-American War.

In the 1960s, Bacardi advertising executive Fausto Rodriguez recalled witnessing the creation of the first Cuba Libre when he was a 14-year-old U.S. Army Signal Corps messenger in the summer of 1900. The apocryphal story goes that the teenage Rodriguez joined his employer in a bar, where the man requested Bacardi rum mixed with Coca-Cola, impressing a nearby group of American soldiers with the order. The new drink was christened with the slogan of the Cuban independence movement: Cuba Libre, which translates to “Free Cuba”.

So, uh, just a rum and Coke, right?

Technically, yes, but there’s a difference between your buddy splashing a couple shots of Captain Morgan into a tall glass of RC Cola. Some say that the lime makes all the difference for a Cuba Libre. Others go further, advising that it be light rum topped off with cola in addition to the lime, an essential ingredient that takes a simple rum-and-Coke order to the Cuba Libre level. In fact, Coca-Cola ceased importation into Cuba after the U.S. embargo of 1960, so a true Cuban-made Cuba Libre is now often prepared with the domestic product tuKola.

If you’re following International Bartenders’ Association (IBA) guidelines, fill a highball glass with ice then pour in 5 centiliters of light rum, 12 centiliters of cola, and a centiliter of fresh lime juice. Garnish with a lime wedge and serve with a song that will set you in the right mood…

How to Get the Look

Al Pacino as Michael Corleone in The Godfather Part II (1974)

Al Pacino as Michael Corleone in The Godfather Part II (1974)

An evening out on the town provides a gentleman the rare appropriate opportunity to wear an all-black suit, particularly one made from an interesting suiting like Michael Corleone’s shiny mohair or silk.

  • Black mohair-blend suit:
    • Single-breasted 3-button jacket with notch lapels, welted breast pocket, straight flapped hip pockets, 3-button cuffs, and ventless back
    • Double forward-pleated trousers with belt loops, side pockets, and turn-ups/cuffs
  • White cotton poplin shirt with point collar, front placket, and 1-button rounded cuffs
  • Black tie
  • Black leather belt with rounded gold-toned single-prong buckle
  • Black calf leather derby shoes
  • Black silk socks
  • Omega Constellation yellow gold wristwatch with round white dial on gold bracelet
  • Gold wedding band, left ring finger

Do Yourself a Favor and…

Check out the series… and have a very healthy, safe, and happy new year!

The Quote

I know it was you, Fredo. You broke my heart. You broke my heart!

Cary Grant’s Tuxedo in Indiscreet

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Cary Grant and Ingrid Bergman in Indiscreet (1958)

Cary Grant and Ingrid Bergman in Indiscreet (1958)

Vitals

Cary Grant as Philip Adams, sophisticated playboy economist

London, Fall 1957 to Spring 1958

Film: Indiscreet
Release Date: June 26, 1958
Director: Stanley Donen
Tailor: Quintino

Background

Happy birthday to the great Cary Grant, born 115 years ago today on January 18, 1904, in Bristol, England. Born Archibald Leach before he assumed his catchier stage name, Grant’s signature screen presence blended his self-deprecating sense of humor with peerless suavity in both attitude and style. Grant’s popularity during the mid-20th century and the height of the dinner suit’s ubiquity meant the debonair actor would don a tuxedo almost as frequently as James Bond… and it’s not surprising to hear that Grant was an early contender for the role of 007, at least in the mind of the character’s creator Ian Fleming.

Between 1955 and 1962, Grant starred in seven contemporary-set films that didn’t require him to be in military uniform; of these, he sported a tuxedo in all but one (the lone exception, North by Northwest, featured the actor wearing arguably the most famous suit in movie history so there was little need for black tie.) In the middle of this impressive and stylish run of movies is Indiscreet, a Stanley Donen-directed romantic comedy that earned Grant his first of five Golden Globe nominations.

Indiscreet reunites Grant with Ingrid Bergman, with whom he had shared remarkable chemistry—and a rather famous kiss—in Hitchcock’s 1946 thriller Notorious. Bergman plays Anna Kalman, a successful London-based actress whose life has been lucky in all but love. After a string of boring men, she meets the charming, interesting, and seemingly eligible economist Philip Adams (Grant) who would be her perfect match except for one small detail… he tells her that he’s married.

Despite his confession of marriage, Anna pursues a date with Philip with the unspoken understanding that it will be the beginning of an affair. Philip arrives at her flat the following Saturday evening to pick her up before the ballet. The conversation is stilted—particularly when considering each’s intentions for the other—with topics ranging from dinner reservations to climate change before Anna is swarmed by autograph-seekers on the way to dinner at The Players Club.

Of course, their legitimately engaging conversation over dinner results in the couple so immersed in each other that they’re late for the ballet. Surrendering their tickets to a young couple, Philip and Anna find themselves aimlessly wandering the streets of London, sharing their first kiss by the Thames. By now, the affair is inevitable and it’s only a matter of time before Anna’s heart is broken by a married man who refuses to leave his wife… or is it?

Cary Grant and Ingrid Bergman amuse themselves with newspaper clippings on the set of Indiscreet (1958)

Cary Grant and Ingrid Bergman amuse themselves with newspaper clippings on the set of Indiscreet (1958)

Months later, Philip breaks the news to Anna that his NATO job is summoning him to New York for 3-5 months. She is devastated, but luckily the two have plans for a party that evening with friends at the Royal Naval College’s annual Spring Dance at The Painted Hall, where they spent their first evening together. By the time they’re sitting down to dinner, a spiteful Anna knows the truth that Philip isn’t married and that he merely pretends to be so that he can end his various romantic entanglements before women begin talking to him about marriage.

A famous scene finds Philip obliviously mugging his way through dancing a Scottish reel, unaware that Anna is fuming mad and awfully fed up with him and his antics, though it gives the erstwhile Archie Leach an opportunity to show off the dancing expertise he learned early in his career.

Anna keeps the ruse going after dinner when Philip returns for a nightcap, torturing him—and his pride—with dreamy talks about an ex-suitor named David who has returned his attention to her. It’s nice to see Ingrid Bergman get to emotionally manipulate someone else for a change!

Philip: For an evening that started out well, this has turned into one of the most exasperating evenings of my whole life.
Anna: Your life isn’t over yet…

What’d He Wear?

Both Cary Grant and Ingrid Bergman were immaculately dressed in Indiscreet, Bergman outfitted by Christian Dior while Grant was tailored by Quintino, the Beverly Hills tailor also credited with making his iconic suit in the following year’s North by Northwest.

Indiscreet showcases a parade of elegant tailoring from Grant’s business suits to a full white tie kit. The pièce de résistance of Grant’s wardrobe as Philip Adams is arguably the sharp three-piece dinner suit in dark midnight blue wool that makes several appearances during Philip’s various romantic outings with Anna.

Elegance indeed.

Elegance indeed.

This tuxedo echoes his formal wear in the previous year’s An Affair to Remember, though this single-breasted dinner jacket has a traditional single-button closure rather than the link-button closure on his jacket in An Affair to Remember. The single front button and the four cuff buttons on his Indiscreet dinner jacket are all black plastic sew-through buttons rather than the silk-covered kind often found on formal wear.

Philip and Anna's first date begins with an awkward—but stylish—elevator ride.

Philip and Anna’s first date begins with an awkward—but stylish—elevator ride.

Grant had worn a similar dinner jacket during his last collaboration with Ingrid Bergman, Hitchcock’s 1946 spy thriller Notorious, so it’s possible that he may have just nostalgically repurposed the jacket for his reunion with her a dozen years later in Indiscreet. In addition to the details of the black plastic sew-through buttons, both dinner jackets share their cut with a full chest and straight shoulders.

Perhaps the most compelling argument that it’s the same jacket is the width of the broad, satin-faced peak lapels with their slanted gorges. These lapels would have been more fashionable at the time Notorious was filmed and set in the mid-1940s and they look somewhat—but only somewhat—out of place on a dinner suit in the late ’50s.

Ingrid Bergman and Cary Grant on the set of Indiscreet (1958). The dinner suit appears to be the same, though Grant wears cap-toe oxfords rather than the opera pumps he wears in-character.

Ingrid Bergman and Cary Grant on the set of Indiscreet (1958). The dinner suit appears to be the same, though Grant wears cap-toe oxfords rather than the opera pumps he wears in-character.

Particularly interesting when considering the jacket’s lineage, BAMF Style reader “Wolf” commented on the post about his tuxedo in An Affair to Remember that Cary Grant may have worn the Notorious dinner jacket as early as 1940 when attending the premiere of The Philadelphia Story. It seems hardly likely that Cary Grant—of all people—would wear a dinner jacket that was pushing 20 years old in one of his films, but that could be a testament to the quality of tailoring.

Would Grant have been wearing Quintino-tailored garments as early as the 1940s? Given that Indiscreet’s opening credits so proudly tout “Cary Grant’s clothes by Quintino”, the dinner suit that he wears for significant portions of the film and the majority of its promotional artwork would undoubtedly have been made by Quintino.

Cary Grant was known to favor wearing a waistcoat with his dinner suits rather than a cummerbund. Here, he sports a single-breasted waistcoat with a wide-bellied “dog ear” shawl collar, welted pockets, and three very closely spaced buttons.

White shirts are the most classic and formal option for black tie, and Grant would be the last to break a tradition like that. His white formal shirt in Indiscreet has his usual point collar that he preferred as he was self-conscious about the size of his head, consistent with Alan Flusser’s direction in Dressing the Man that “medium to long straight-point collars will narrow a wide countenance.”

The shirt has a plain marcella bib front that takes two visible diamond shirt studs, and he wears a set of round mother-of-pearl cuff links in the shirt’s double (French) cuffs.

Philip enthusiastically claps along during the Spring Dance. Anna... not quite as enthusiastic.

Philip enthusiastically claps along during the Spring Dance. Anna… not quite as enthusiastic.

A large black silk butterfly-shaped bow tie harmonizes with the wide silk-faced lapels. A smaller bow tie tends to make one’s head look bigger—an issue where Grant was famously self-conscious—so it makes sense that he would opt for larger bow ties.

INDISCREET

Philip wears double forward-pleated formal trousers that match the midnight blue wool of the dinner jacket with a thin double silk braid down each side. The waistband of the trousers is never seen as Grant never removes his dinner jacket on screen, but they like have buckle-tab side adjusters to fit around the waist. The bottoms are plain-hemmed per formalwear tradition.

Philip is none too pleased with Anna receiving late evening calls, purportedly from a rival for her affections.

Philip is none too pleased with Anna receiving late evening calls, purportedly from a rival for her affections.

Grant’s chosen footwear with his black tie ensemble is a pair of patent leather opera pumps. This shoe, considered the most formal, was increasingly rare across the 20th century as men opted for the more accessible and versatile black patent leather oxford shoe to accompany their dinner suits. “They are correct wear with evening dress, especially if you are dancing,” writes Hardy Amies in The ABC of Men’s Fashion, adding that they “have been largely, and I think, unfortunately, replaced by a light tie-shoe in patent leather.”

Decades later, Alan Flusser remarked in Dressing the Man that, “as a vestige of male court dress, the opera pump remains the sole item of men’s fashion to enter the twenty-first century pretty much as it left the nineteenth.” The pumps that Grant wears in Indiscreet are black patent leather—the most formal and correct material—with black ribbed grosgrain silk bows and red silk lining. He wears them with dress socks made of thin black silk.

Philip makes a point of his elegant sartorialism by keeping his patent leather pumps in hand while gesticulating around Anna's room.

Philip makes a point of his elegant sartorialism by keeping his patent leather pumps in hand while gesticulating around Anna’s room.

Philip Adams wears a gold watch with a white rectangular dial on a black leather strap, possibly the Cartier Tank that Grant wore in real life. Louis Cartier took inspiration from the Renault tanks that rolled through the Western front when designing this innovative timepiece that helped popularize wristwatches when they entered mass production after World War I. Over a century of production, these watches have been appropriately associated with some of the most elegant style icons including Clark Gable, Jacqueline Kennedy, Yves St. Laurent, Rudolph Valentino, Princess Diana, and—of course—Cary Grant.

INDISCREET

During the awkward conversation that precedes their first date to the ballet, both Philip and Anna comment on the unseasonably muggy weather. However, the passing hours herald a chill in the November air, and Philip finds himself wearing the black wool knee-length Chesterfield that he was carrying. He buttons all three of the single-breasted coat’s buttons and even fastening a fourth button at the neck, closing the coat over his chest for additional warmth.

The weather may have decreased in temperature, but the passion between Philip and Anna increased over the course of their date.

The weather may have decreased in temperature, but the passion between Philip and Anna increased over the course of their date.

The coat also has hand pockets, cuffed sleeves with no buttons, and a long single vent.

What to Imbibe

On their first real date, Philip and Anna both order Scotch and soda at The Players Club. One of the simplest drinks, with its ingredients limited to Scotch whisky and carbonated soda water, the Scotch highball emerged as a particular favorite of the Mauve Decade and remained in vogue through the first half of the 20th century before it was supplanted by more “interesting” drinks during the resurgence of cocktail culture in the ’50s and ’60s.

Scotch and soda carries particular significance throughout Indiscreet, as Anna had previously complained that they were only two of a dozen words spoken by her previous paramour, a banal “Greek statue” of a colonel. However, she was more than happy to mix some Johnnie Walker Red Label with soda water during her and Philip’s first evening together earlier that week, and she herself orders a Scotch and soda with him at The Players Club.

The Players Club evidently chooses not to serve highballs in traditional highball glasses.

The Players Club evidently chooses not to serve highballs in traditional highball glasses.

Dinner at The Players Club is accompanied by a few bottles of Pouilly-Fuissé, a dry Mâconnais white wine. The Pouilly-Fuissé village appellation was instituted in 1936, taking in the four villages of Solutré-Pouilly, Fuissé, Vergisson, and Chaintré.

The passage of time is marked during Philip and Anna's date as the waiter removes one bottle of Pouilly-Fuissé to replace it with another. Any oenophiles able to ID the bottle?

The passage of time is marked during Philip and Anna’s date as the waiter removes one bottle of Pouilly-Fuissé to replace it with another. Any oenophiles able to ID the bottle?

The night after the Spring Dance, a jaunty Philip pours out “champagne for the occasion… some for you, some for me. I’ll swizzle it with my nose.”

How to Get the Look

Cary Grant in Indiscreet (1958)

Cary Grant in Indiscreet (1958)

Once one has accepted the fact that it’s not very possible to match Cary Grant’s level of elegance when wearing a tuxedo, feel free to take inspiration from his sartorial wisdom. Grant’s venerated place as a style icon is no accident: he had access to fine tailoring (in this case, Quintino), he was aware of what was most specifically flattering to his physique and looks, and he respected the traditions of men’s formalwear without being afraid to make his own mark.

  • Midnight blue wool single-button dinner jacket with wide silk-faced peak lapels, welted breast pocket, straight jetted hip pockets, and 4-button cuffs
  • White cotton formal shirt with point collar, plain front, and double/French cuffs
    • Diamond shirt studs
    • Round mother-of-pearl cuff links
  • Black silk large butterfly-shaped bow tie
  • Midnight blue wool three-button formal waistcoat with “dog ear” shawl collar, V-shaped opening, and welted pockets
  • Midnight blue wool double forward-pleated formal trousers with double-striped silk side braiding, on-seam side pockets, and plain-hemmed bottoms
  • Black patent leather opera pumps with black grosgrain bows and red silk lining
  • Black silk dress socks
  • Black wool single-breasted Chesterfield coat with notch lapels, three-button front, straight hip pockets, cuffed sleeves, and single vent
  • Cartier Tank gold watch with white rectangular face on black leather strap

Do Yourself a Favor and…

Check out the movie.

The Quote

I don’t consider myself a snob, but I’m sure there are no one among my acquaintances who follow women to powder rooms!

Footnotes

A brief vignette of Philip returning to London to see Anna’s performance in her new play finds him enthusiastically clapping while dressed in his classic dinner suit. The short clip has been immortalized in GIF format and is likely more recognizable to many modern Internet users than the movie Indiscreet itself. (Though I would love to be proven wrong!)

INDISCREET

Pal Joey: Sinatra’s Red Fleck Mess Jacket

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Frank Sinatra as Joey Evans in Pal Joey (1957)

Frank Sinatra as Joey Evans in Pal Joey (1957)

Vitals

Frank Sinatra as Joey Evans, womanizing nightclub singer

San Francisco, Spring 1957

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

Background

Joey Evans’s first night with the band finds him already complicating his romantic life, balancing his attraction to the demure singer Linda English (Kim Novak) with the vivacious ex-stripper Vera Prentice-Simpson (Rita Hayworth) when the band is hired to play a gig at Vera’s place as a fundraise for the local children’s hospital.

Speaking of which, the children’s hospital in my hometown is currently sponsoring a terrific fundraiser for sports fans. Learn more about how you can enter to win autographed gear from Steelers and Penguins and support the cancer programs at UPMC Children’s Hospital of Pittsburgh here!

But back to Joey, who can’t hold his tongue after sizing up the glamorous Vera…

Joey: Not a bad-looking mouse.
Ned: Yeah. Too bad you can’t afford her brand of cheese.

Sappy romantic that I am, I was inspired to draft this post in the spirit of Valentine’s Day this past week, though my work at the hospital has also informed me that February is Heart Month, an observance to raise awareness of cardiovascular diseases that kicks off with #NationalWearRedDay on the first Friday of the month.

What’d He Wear?

Red is the uniform color for Ned Galvin and his Galvinizers, from the mens’ mess jackets to Linda’s satin dress.

Per Alan Flusser in Dressing the Man: “The white mess jacket represented the first radical change in male evening wear and received such broad national acceptance that it was immediately adopted for the uniforms of bellhops and orchestra members.” The decision to dress the gents of the band in matching mess jackets was a common practice in mid-century America, though it can arguably be linked to the reduced popularity of the mess jacket as an alternative to traditional black tie due to its growing connotation implying that its wearer was among “the help”.

Joey and Linda, two galvanizing Galvinizers in red.

Joey and Linda, two galvanizing Galvinizers in red.

The red wool waist-length mess jackets worn by Joey and the boys are covered with three-color flecking in burgundy, gold, and white. The jackets are double-breasted with flat black plastic two-hole sew-through buttons in the classic six-on-two formation with a seventh button along the edge of the right side; evidently, unlike some mess jackets, this one was built with functioning buttons that could be closed, though Joey wears his open for a slightly more relaxed appearance.

A reassuring wink. Joey shows us one major benefit of mess jackets: a wearer can stick his hands in his trouser pockets without bunching up the jacket.

A reassuring wink. Joey shows us one major benefit of mess jackets: a wearer can stick his hands in his trouser pockets without bunching up the jacket.

“While it resembled a tailcoat cut off at the waistline, the mess jacket was not flattering to many figures, particularly those that didn’t happen to resemble that of Adonis,” comments Flusser. Like the traditional mess jacket, Joey’s band uniform coat ends at the waist, gently coming to a point in the center of his back.

PAL JOEY

Befitting the semi-formal nature of mess jackets, Joey wears his with a plain white cotton shirt without the frilly lace trim or fancier pleats of the dress shirts he would later wear with more formal dinner jackets. Instead, the shirt has a plain front with mother-of-pearl sew-through buttons and double (French) cuffs fastened in place with his usual large silver-toned ridged round silver cuff links. The shirt has a large point collar where he has knotted a long, straight black silk bow tie.

PAL JOEY

Though Joey’s mess jacket was made with functional buttons to allow the wearer to close the front, he wears it open, revealing the wide black pleated silk cummerbund that elongates his waist for a considerably high rise. The cummerbund conceals the top of his black wool formal trousers, which have double reverse pleats flanking the fly, side pockets, and the usual black grosgrain silk braid down each side to the plain-hemmed bottoms.

Joey, front and center.

Joey, front and center.

Joey’s shoes are black patent leather oxfords, worn with black socks.

Joey willingly withdraws to the side of the stage to spectate as Vera reverts to her days as Vera with the Vanishing Veils to perform "Zip".

Joey willingly withdraws to the side of the stage to spectate as Vera reverts to her days as Vera with the Vanishing Veils to perform “Zip”.

Though Joey would later wear a gold tank watch not dissimilar to Sinatra’s own, he doesn’t appear to have a visible timepiece in this sequence.

Frank Sinatra as Joey Evans in Pal Joey (1957)

Frank Sinatra as Joey Evans in Pal Joey (1957)

How to Get the Look

By the time of Pal Joey‘s production in the mid-1950s, the role of the mess jacket had been mostly subjugated to slick bands and the service industry, with Joey and his fellow Galvinizers falling under the former category.

Yet, it’s hard to beat Frank Sinatra in formal attire and Joey still dresses to impress in the band’s issued duds.

  • Red flecked wool waist-length mess jacket with shawl collar, six-button double-breasted front, and plain cuffs
  • White cotton dress shirt with long point collar, plain front, and double/French cuffs
    • Round silver ridged cuff links
  • Black straight bow tie
  • Black pleated silk cummerbund
  • Black double reverse-pleated formal trousers with satin side stripes, straight/on-seam side pockets, and plain-hemmed bottoms
  • Black patent leather oxfords
  • Black silk socks

Do Yourself a Favor and…

Check out the movie!

PAL JOEY


Jimmy Stewart’s Blue-Gray Flannel Suit in Vertigo

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James Stewart as John "Scottie" Ferguson in Vertigo (1958)

James Stewart as John “Scottie” Ferguson in Vertigo (1958)

Vitals

James Stewart as John “Scottie” Ferguson, former San Francisco detective

San Francisco, Fall 1957

Film: Vertigo
Release Date: May 9, 1958
Director: Alfred Hitchcock
Costume Designer: Edith Head

WARNING! Spoilers ahead!

Background

In the spirit of yesterday, March 12, being deemed Alfred Hitchcock Day, not to mention being one week away from the first day of spring in the Northern Hemisphere, even if the weather itself can’t make up its mind…

For those whose offices call for jackets and ties, dressing for work during these transitional weather periods can be a challenge, balancing professionalism with comfort in the context of an uncertain weather forecast. As San Francisco detective “Scottie” Ferguson in Vertigo, James Stewart provides a solution.

Scottie works and lives in San Francisco, a city famous for its mild climate with little seasonal variation, thus our hero establishes for himself a rotation of flannel and serge business suits in traditional colors like blue, gray, and brown. Flannel suits are particularly fortunate assets to have in one’s closet when the morning air is still cool but hardly worthy of packing a topcoat and scarf for the day.

After spending the introductory scene with his friend Midge (Barbara Bel Geddes), Scottie is summoned to the office of his college pal Gavin Elster (Tom Helmore), a shipbuilding exec who goads the reluctant detective into agreeing to follow his wife Madeleine, setting the plot of this classic thriller in motion.

What’d He Wear?

Scottie arrives at Gavin’s office at the San Francisco shipyard wearing a spring-friendly blue-gray two-piece business suit made from a flannel cloth just weighty enough to provide comfort in the cool weather without requiring an additional layer.

The blue-gray flannel suit is tailored and styled to be consistent with his other suits with a single-breasted, three-button jacket that flatters and balances Jimmy Stewart’s height. Unlike his sportier suits with patch pockets, this suit jacket has the standard welted breast pocket and straight set-in hip pockets typically associated with business suits.

VERTIGO

The jacket also has three-button cuffs. It is Scottie’s only suit jacket with a vented back, as both this blue-gray flannel suit jacket and his birdseye tweed sports coat have a single vent in the back.

Scottie takes an interesting job from his pal Gavin Elster.

Scottie takes an interesting job from his pal Gavin Elster.

Like Scottie’s other suits, the blue-gray trousers have single reverse pleats, a long rise, and a wide fit through the legs to the turn-ups (cuffs) on the bottoms. Per his habit of matching his belts to his suits—rather than to his shoe leather—Scottie wears a slim textured belt in dark navy leather with a long silver-toned single-prong buckle.

VERTIGO

Under the wide turn-ups (cuffs) on the bottom of his trousers legs, Scottie also appears to be wearing his usual cordovan wingtip oxford brogues with a pair of dark navy socks. In this case, the navy socks coordinate with the color of his suit trousers, but he tends not to be very discerning in this case with his other suits as he wears the navy socks with almost everything.

Scottie's blue-driven outfit makes him stand out against Gavin's mahogany and burgundy office decor, though his cordovan derbies camouflage his feet into the carpet.

Scottie’s blue-driven outfit makes him stand out against Gavin’s mahogany and burgundy office decor, though his cordovan derbies camouflage his feet into the carpet.

Despite the variance in his suits, Scottie always pulls from an army of white cotton poplin dress shirts, almost always worn—at least at first—with a gold collar pin under his tie knots. His shirts have front plackets, breast pockets, and two-button cuffs that, like his three-button suit jackets, balance his long arms.

When he’s visiting Gavin Elster’s office and getting his assignment, he wears a royal blue tie with a motif of gray diamond shapes organized in rows and columns down the tie blade. Scottie holds the tie in place with a silver tie bar at mid-torso, just above the buttoning point, and he wears it with the back slightly longer than the front blade.

VERTIGO

Many scenes later, Vertigo climaxes with Scottie’s realization that his recent acquaintance Judy (Kim Novak) was actually Elster’s mistress posing as his own wife Madeleine to distract Scottie during their plan to kill Madeleine by faking her suicide. (The two talk about a night out at Ernie’s, but we shouldn’t be surprised when they don’t end up going as Scottie isn’t wearing his royal blue “go-to-Ernie’s” suit!)

During this segment, Scottie again wears his blue-gray flannel suit from the beginning, perhaps as a symbolic recognition that his story is starting again from scratch… just as it had when he wore it to Elster’s office and was first instructed to follow the woman he believed to be Madeleine. Instead of the blue patterned tie, though, Scottie wears a shiny gray shantung silk tie with alternating dots in black and white.

Scottie confronts Judy with his knowledge of the truth.

Scottie confronts Judy with his knowledge of the truth.

He may have a belt for almost every suit, but Scottie wears only one hat throughout Vertigo, a chocolate brown felt fedora that is likely the same headgear that Jimmy Stewart wore in many of his films from the decade. Discussion at the online forum The Fedora Lounge has suggested that Churchill Ltd. made Jimmy Stewart’s Vertigo hat and thus was the maker of his tried-and-true brown fedora throughout his 1950s career, though the forum also suggests Borsalino, Cavanagh, Dobbs Fifth Avenue, and Stetson among the possible brands that the actor preferred.

Hat in hand.

Hat in hand.

Scottie wears his gold dress watch on a black leather strap, fastened high on his left wrist.

Scottie's watch peeks out from his left sleeve.

Scottie’s watch peeks out from his left sleeve.

James Stewart as John "Scottie" Ferguson in Vertigo (1958)

James Stewart as John “Scottie” Ferguson in Vertigo (1958)

How to Get the Look

Fight the late winter blues with a springtime business suit in blue-gray flannel that brings comfort, professionalism, and warmth to your office wear.

  • Blue-gray flannel suit:
    • Single-breasted 3-button jacket with notch lapels, patch breast pocket, patch hip pockets, 3-button cuffs, and single vent
    • Single reverse-pleated trousers with belt loops, side pockets, and turn-ups/cuffs
  • White poplin dress shirt with long point collar, front placket, breast pocket, and 2-button rounded cuffs
    • Gold collar pin
  • Royal blue tie with gray diamond-patterned motif
  • Slim navy leather belt with wide single-prong buckle
  • Cordovan leather 5-eyelet wingtip oxford brogues
  • Dark navy socks
  • Gold wristwatch with round case, black-ringed white dial, and black leather strap

Do Yourself a Favor and…

Check out the movie.

The Quote

You shouldn’t keep souvenirs of a killing. You shouldn’t have been that sentimental.

Don Draper’s Taupe Plaid Sport Jacket

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

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

Vitals

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

All around the United States, Summer 1968 through Summer 1969

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

WARNING! Spoilers ahead!

Background

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

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

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

What’d He Wear?

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

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

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

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

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

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

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

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

Episode 6.06 (“For Immediate Release”)

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

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

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

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

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

Episode 6.09 (“The Better Half”)

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

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

A dubious-looking Don Draper.

A dubious-looking Don Draper.

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

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

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

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

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

Mad Men? More like Sad Men.

Mad Men? More like Sad Men.

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

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

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

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

Episode 7.01 (“Time Zones”)

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

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

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

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

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

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

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

Episode 7.06 (“The Strategy”)

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

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

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

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

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

Don saves his colorful work wear for the weekends.

Don saves his colorful work wear for the weekends.

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

Working late into the night.

Working late into the night.

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

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

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

Accessories and More

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

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

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

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

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

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

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

What to Imbibe

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

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

The divorced drinking buddies before one final tryst.

The divorced drinking buddies before one final tryst.

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

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

MAD MEN

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

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

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

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

The pour.

The pour.

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

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

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

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

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

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

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

How to Get the Look

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

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

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

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

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

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

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

Do Yourself a Favor and…

Check out the whole series.

The Quote

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

Belmondo in Breathless: Tweed in Marseille

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

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

Vitals

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

Marseille, France, August 1959

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

Background

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

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

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

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

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

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

What’d He Wear?

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

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

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

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

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

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

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

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

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

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

Sloppy!

Sloppy!

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

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

Lucky monkey.

Lucky monkey.

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

BREATHLESS

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

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

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

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

Michel raises his revolver.

Michel raises his revolver.

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

The Gun

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

Michel lives his self-image for a fleeting moment.

Michel lives his self-image for a fleeting moment.

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

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

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

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

How to Get the Look

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

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

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

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

Do Yourself a Favor and…

Check out the movie.

The Quote

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

Clifton Webb’s Blazer in Titanic (1953)

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Clifton Webb as Richard Ward Sturges in Titanic (1953)

Clifton Webb as Richard Ward Sturges in Titanic (1953)

Vitals

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

RMS Titanic, April 1912

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

Background

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

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

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

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

What’d He Wear?

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

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

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

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

The family Sturges, sans youngest child Norman.

The family Sturges, sans youngest child Norman.

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

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

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

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

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

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

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

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

TITANIC

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

Production photo of Clifton Webb and Barbara Stanwyck in Titanic.

Production photo of Clifton Webb and Barbara Stanwyck in Titanic.

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

How to Get the Look

Clifton Webb as Richard Ward Sturges in Titanic (1953)

Clifton Webb as Richard Ward Sturges in Titanic (1953)

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

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

Do Yourself a Favor and…

Check out the movie.

The Quote

May I bone your kipper, mademoiselle?

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.

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.

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.

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?

Grand Prix: James Garner’s Burgundy Blazer and Shelby GT350H

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James Garner as Pete Aron in Grand Prix (1966)

James Garner as Pete Aron in Grand Prix (1966)

Vitals

James Garner as Pete Aron, determined Formula One driver

Clermont-Ferrand, France, Summer 1966

Film: Grand Prix
Release Date: December 21, 1966
Director: John Frankenheimer
Costume Supervisor: Sydney Guilaroff

Background

#CarWeek continues with Grand Prix, the action-packed, globe-trotting racing epic that director John Frankenheimer made in the tradition of Grand Hotel with a talented international cast including James Garner, Eva Marie Saint (who celebrated her 95th birthday yesterday), Yves Montand, Toshiro Mifune, Jessica Walter, Brian Bedford, and Thunderball villain Adolfo Celi. As a talented driver in his own right, Garner looks natural behind the wheel as Pete Aron, the Formula One driver hoping to salvage his career after gaining a reckless reputation, and the unique racing cinematography—in part credited to “visual consultant” Saul Bass—make the film a must for fans of the racing genre and earned the film its well-deserved Academy Awards for Best Sound Effects (Gordon Daniel), Best Film Editing, and Best Sound (Franklin Milton).

Indeed, Garner—who would later show off his automotive prowess on The Rockford Files—trained extensively for the role with Bob Bondurant, who also appeared as one of the drivers, and the actor emerged from the experience with a firm, lifelong passion for motorsports. Bondurant and Frankenheimer both noted that Garner’s talent was on par with many professional Grand Prix drivers, and his dedication to the role and passion for driving meant that Garner himself performed much of the stuntwork himself, including the dangerous scene where a fuel leak at Brands Hatch during the British Grand Prix sets his car aflame.

GRAND PRIX

Unable to find work as a driver due to his reputation for recklessness, Pete Aron takes a gig with the Federal Broadcasting Company (FBC) covering F1 races, beginning with the French Grand Prix at the Circuit de Charade in Puy-de-Dôme. As he and the other FBC correspondents step out of their station wagon, one of his co-workers assures him, “don’t look so glum, it’s an honorable profession… You’d rather be a dogcatcher or something?” “Or somethin’,” affirms Pete.

At the race, Pete confronts Scott Stoddard’s wife Pat (Jessica Walter), seeking the spotlight to “represent the Stoddard name” despite having not spoken to her injured husband in weeks. Fashion journalist Louise Frederickson (Eva Marie Saint) insists that Pete was too hard on her, but his debonair fellow driver Jean-Pierre Sarti (Yves Montand) suggests that Pete’s aggression was not unwarranted. All the same, Pete finds Pat in the stands and apologies for his “bad manners,” though the effects of his apology don’t last long:

Pat: What does it matter to you what I do or don’t do? Girl has to make a living.
Pete: Last time a girl said that to me, she was stepping out of her skirt and asking for a hundred-dollar bill.

Implications of prostitution aside, Pat ends their conversation on a flirtatious note by telling Pete to “speak for yourself” after he suggests the two don’t like each other. She picks things up without missing a beat the following day, asking for a truce over a drink at the race track bar.

Pat: You know, I’ve known you for—what—two and a half years? And all I know about you is that you drive cars. That’s all anyone knows, as far as I can tell.
Pete: You’ve just written my biography.

Pat then engages Pete’s sole known hobby by asking for a ride back to her hotel, cutting to his Shelby Mustang GT350H screaming around a mountainous bend and nearly blowing a sluggish Citroën 2CV off the road. “You know, I’ll never understand why none of you get this sort of thing out of your system on the track!” observes Pat. “You all drive like maniacs!”

Pat could be talking about Pete, or the line could be addressing James Garner himself, who—with his mentor Bondurant—attracted attention all through Europe in their black-and-gold GT350H, one of the approximately 1,000 “Rent-a-Racer” Mustangs developed by Carroll Shelby exclusively for Hertz.

At the door to Pat’s hotel room, Pete declines her invitation to enter but instead asks her to join him for dinner that night. Upon returning to his room, he finds a note from the powerful Izo Yamura (Toshiro Mifune), the film’s Soichiro Honda surrogate who offers Pete the opportunity to join his team and rejoin the F1 world as a driver rather than a journalist, ending their interview by assuring him: “By the way, you are a terrible broadcaster.” With Yamura’s job opportunity, Pete hangs up his burgundy FBC blazer and gets fitted for a new white fireproof driving suit.

What’d He Wear?

When Pete Aron alights from the “Federal Broadcasting Company” Citroën station wagon, we immediately sense from Pete’s glum expression and the burgundy blazer that matches his fellow passengers that the disgraced driver has taken a new job covering Grand Prix races. These melange flannel jackets are emblazoned with the gold shield-shaped crest of “FBC TV” stitched onto the breast pocket. The hip pockets are also patch pockets, both covered with a flap.

The blazer has three gold crested shank buttons on the front, flattering for James Garner’s 6’2″ height, with two smaller ornamental gilt buttons on the cuffs. Edge swelling is present from the slim notch lapels and all three pockets to a seam down the center of the back to the single vent.

Pete finds himself among his one-time peers, about to compete in the French Grand Prix as he's reduced to broadcasting from the sidelines.

Pete finds himself among his one-time peers, about to compete in the French Grand Prix as he’s reduced to broadcasting from the sidelines.

As burgundy menswear enjoys a gentle renaissance a half-century after Grand Prix, many retailers offer sport jackets and blazers in the spirit of Garner’s FBC uniform jacket, though the current trend toward two-button jackets adds a layer of difficultly to channeling his three-button look:

  • Edwards polyester two-button blazer with flapped patch hip pockets (Amazon, up to $78.27)
  • Gioberti polyester/rayon two-button blazer (Amazon, $54.99)
  • Hardwick “Classic Fit” polyester/wool hopsack two-button blazer (Amazon, $295)
  • Z Zegna melange wool/silk two-button sport jacket (Nordstrom Rack, $499.97)

Pete wears a white cotton shirt with a slim button-down collar, consistent with the narrowing fashions of the mid-1960s. The shirt has a front placket, breast pocket, and single-button rounded cuffs. The FBC correspondent uniform also includes a bright crimson red tie, a skinny and straight piece of neckwear that coordinates with the shirt’s narrow collar and the blazer’s slim lapels.

GRAND PRIX

For Pete and Pat’s drive back to the hotel and their subsequent flirtation in the hallway, Pete has removed his red tie, wearing it tucked into his breast pocket like a display kerchief or pocket square.

Pete’s charcoal gray wool slacks are worn beltless, though his keeping the blazer on throughout the sequence prevents the audience from being able to easily ascertain if they are fitted around the waistband or detailed with side-adjuster tabs like Sean Connery’s celebrated “DAKS tops” included on his Anthony Sinclair-tailored trousers for his contemporary portrayal of James Bond.

Pete returns to his hotel room to find a note suggesting that he indeed has a future in the motorsport that he loves.

Pete returns to his hotel room to find a note suggesting that he indeed has a future in the motorsport that he loves.

Pete balances the vibrancy of his upper half with a sober-toned lower half, keeping his footwear simple with a pair of black leather loafers with black socks. This was the decade that casual moc-toe driving shoes gained popularity, particularly among those speeding through Europe in elegant roadsters, but the new shoe would still likely be considered too informal—at least by FBC’s company standards—for wearing with a blazer, white shirt, and tie. (Read more about the history of drivers in Jake Gallagher’s August 2013 “Dropping Knowledge” article for GQ.)

If you’re in the market for a subtle black leather driving shoe—sans any contrast stitching, horsebit detailing, or even a “penny” strap—Amazon offers well-reviewed and relatively affordable drivers from Polo Ralph Lauren and Sperry that could suit your needs…and probably make a professional like Pete Aron green with shoe envy.

GRAND PRIX

While most of Pete’s outfit is informed by his role as an FBC broadcaster, the stainless ID bracelet on his right wrist still unifies him with his fellow F1 drivers. Before the final Italian Grand Prix at Monza, we get a look at each driver’s bracelet, etched with his respective name and blood type, should an accident happen during the race.

Pete and his fellow drivers' steel identity bracelets serve as a constant and grim reminder of the dangers that they face each time they take the wheel before a race.

Pete and his fellow drivers’ steel identity bracelets serve as a constant and grim reminder of the dangers that they face each time they take the wheel before a race.

While it was around this time that James Garner began wearing the Heuer Carrera 3647N racing watch with its black dial that would prominently appear on The Rockford Files, he wears a different watch as Pete Aron. (Read more about Garner’s real-life Carrera 3647N in this well-researched Calibre 11 article from August 2017.)

Based on the fact that Pete’s steel-cased wristwatch has only a crown without additional pushers, we can deduce that he’s not wearing a chronograph and thus not a different version of the Heuer Carrera as the Calibre 11 article suggests that he also had a Carrera with a white dial. Pete’s watch is strapped to his left wrist on a black leather band with a steel single-prong buckle.

Despite her fast lifestyle, Pat Stoddard (Jessica Walter) is far from enthusiastic regarding the speed at which Pete Aron drives her to her hotel.

Despite her fast lifestyle, Pat Stoddard (Jessica Walter) is far from enthusiastic regarding the speed at which Pete Aron drives her to her hotel.

Pete isn’t much to comment on style, but—walking Pat back to her hotel room—he has to ask her: “Why do you all do that…wear your sunglasses on top of your head? It looks ridiculous.”

What to Imbibe

“I’ll have one of those,” Pat Stoddard requests when she joins Pete Aron at the bar. Pete indicates to the bartender that he’s ordering a second drink for his companion. The drink itself—which sounds something like “la-mem-shows“—remains unidentified due to the lack of subtitles for that particular line on my DVD copy as well as the fact that we never see the bottle used by the bartender to fill the bottom of Pete and Pat’s highball glasses with this respective brown liquid.

A far easier spirit to identify—and one more traditionally associated with Formula One—comes at the end of the film as a victorious Pete is given a bottle of G.H. Mumm Cordon Rouge to commemorate winning the world championship following the Italian Grand Prix at Monza.

Pete Aron and his new racing chief Izo Yamura (Toshiro Mifune) celebrate his victory with a magnum of G.H. Mumm's finest.

Pete Aron and his new racing chief Izo Yamura (Toshiro Mifune) celebrate his victory with a magnum of G.H. Mumm’s finest.

Not surprisingly, the long association of champagne and F1 racing began with the French Grand Prix, specifically the July 2, 1950, race at Reims-Gueux when winner Juan Manuel Fangio, a fascinating individual in his own right, was gifted a bottle of Moët & Chandon. However, it wasn’t until 1966—the same year that Grand Prix was set—that the now-famous “champagne spray” was born, albeit by accident, when Jo Siffert’s bubbly sprayed all over his well-wishers upon his opening the sun-pressurized bottle. (Read more about the history of champagne and F1 racing at The Wine Lifestyle.)

Although Garner’s Pete Aron toasts his victory with a bottle of G.H. Mumm Cordon Rouge, it wasn’t until 2000 that G.H. Mumm became the official F1 sponsor, providing bottles for podium celebrations for the next 15 years of their sponsorship.

The Car

Throughout my lifelong fascination with muscle cars, I’ve long been intrigued by the brief but legendary history of the Shelby GT350H, the modified “Rent-a-Racer” fastbacks offered by Hertz in the late ’60s. Painted to promote Hertz’s corporate color scheme with gold LeMans racing stripes and rocker stripes on a black body, the GT350H was the result of a collaboration between Ford, Shelby, and the Hertz Corporation.

The car’s association with Grand Prix emerged when champion race car driver Bob Bondurant agreed to train James Garner, who he described as a “natural” behind the wheel of a fast car. Bondurant was a member of the Shelby American racing team, bringing the team a victory piloting a Shelby Cobra Daytona Coupe during the 24 Hours of Le Mans in 1964. The following year, Bondurant’s work with Garner found the two sharing a 1966 Shelby Mustang GT350H for training on the track and motoring through Europe during the making of John Frankenheimer’s landmark racing film.

Despite Carroll Shelby's role on the production, James Garner's GT350H actually gets considerably few on-screen glamour shots, with the bulk of its screen time reduced to interior shots.

Despite Carroll Shelby’s role on the production, James Garner’s GT350H actually gets considerably few on-screen glamour shots, with the bulk of its screen time reduced to interior shots.

Within a year of Ford debuting its now-legendary Mustang for the “1964½” model year, Carroll Shelby embraced the powerful pony car’s potential and adopted its design for his own performance-based marque, introducing the Shelby Mustang GT350 later in 1965. Unlike the Ford Mustang, which balanced performance with relative luxury, Shelby’s GT350 was initially designed solely to be a street machine, though subsequent model years would see the addition of options that increased driver comfort and ease of driving. The GT350 was produced only with the highest performing Mustang engine, the 289 cubic-inch “Windsor” V8 with a larger 4-barrel Holley carburetor, glasspack dual exhaust, and high-riser aluminum intake manifold contributing to the increased power output of 306 horsepower.

By 1966, Shelby’s popular Mustang was being marketed solely as the “Shelby GT350” with “Mustang” dropped from the name. The company entered into a partnership with the Hertz Corporation to offer 1,000 GT350s—with another 800 pushed by Ford—to the company for rental use that would be returned, refurbished, and resold after their rental use… though legend has it that many of these Mustangs were returned to Hertz by weekend racers often with a lesser engine swapped in for the Shelby-modified HiPo 289 and even evidence that roll bars had been welded inside the car.

While most of the GT350H Mustangs were fitted with Ford’s “Cruise-o-Matic” three-speed automatic transmission, the first 85—including the one driven by James Garner in Grand Prix—had the four-speed Borg Warner T-10 manual transmission. These original “Rent-a-Racers” remain particularly desirable for collectors. (Check out full specs for the ’66 GT350H with four-speed manual here.)

GT350H

1966 Shelby Mustang GT350H

Body Style: 2-door fastback

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

Engine: 289 cu. in. (4.7 L) Ford “Windsor” K-code V8 with 4-barrel Holley 715 CFM carburetor

Power: 306 bhp (228 kW; 310 PS) @ 6000 RPM

Torque: 329 lb·ft (446 N·m) @ 4200 RPM

Transmission: 4-speed manual

Wheelbase: 108 inches (2743 mm)

Length: 181.6 inches (4613 mm)

Width: 68.2 inches (1732 mm)

Height: 51.2 inches (1300 mm)

Thanks to Carroll Shelby’s role as Grand Prix‘s “technical consultant”, a 1966 Shelby GT350H with chassis #6S611 was loaned to the production for James Garner to drive both on- and off-screen.

Bondurant recalled that “the car drew a crowd everywhere Jim and I drove it. Every time we parked, there were more people around it than any Ferrari.” You can read more about Bondurant and Garner’s experience training for the film and see photos of the actual GT350H, recently restored to show quality, in Matt Stone’s 2015 article for Mustang 360°.

We get our final look at Garner’s GT350H as Pete arrives at the Monza race course before the fateful Italian Grand Prix later that summer, the final race of the film and the one that drives home the high stakes of his dangerous but thrilling sport.

Pete eases his GT350H into the paddock at Monza.

Pete eases his GT350H into the paddock at Monza.

During the 2006 New York Auto Show, Ford revived the original Hertz concept with the updated Shelby GT-H, only available through the Hertz car rental agency. To celebrate the 40th anniversary of hte original GT350H, this limited run of 500 Mustangs echoed the original fastbacks of the ’60s with gold-on-black paint and performance upgrades that included the FR1 Power Pack and the FR3 Handling Pack, both from Ford Racing Performance Group.

James Garner as Pete Aron in Grand Prix (1966)

James Garner as Pete Aron in Grand Prix (1966)

How to Get the Look

While the crested blazer, bright tie, and slacks may be part of Pete Aron’s new uniform as a race-day broadcaster, James Garner wears the outfit well…even if his character wears it with considerable disdain.

  • Burgundy melange flannel single-breasted 3-button blazer with slim notch lapels, patch breast pocket (with gold “FBC TV” crest), patch hip pockets with flaps, 2-button cuffs, and single vent
  • White cotton shirt with slim button-down collar, front placket, breast pocket, and 1-button rounded cuffs
  • Crimson red straight tie
  • Charcoal wool flat front trousers with beltless waistband, side pockets, and plain-hemmed bottoms
  • Black calf leather loafers
  • Black socks
  • Stainless steel identity bracelet (with name and blood type: “Pete Aron | Blood Type B.”)
  • Stainless steel wristwatch with white dial on black leather strap (with steel single-prong buckle)

Do Yourself a Favor and…

Check out the movie.

You should also visit the Bob Bondurant School of High Performance Driving, located in Chandler, Arizona, outside of Phoenix. The 50-year-old school was just rescued from bankruptcy earlier this year, thanks to three former graduates. At a previous job, I had the privilege of hosting a classic car cruise at the Bondurant school, and it was thrilling to be at the track.

The Quote

I guess I’m just an old-fashioned boy at heart.

Magic City: Ben the Butcher’s White Linen Guayabera

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Danny Huston as Ben "the Butcher" Diamond in "Feeding Frenzy", episode 1.02 of Magic CIty (2012-2013)

Danny Huston as Ben “the Butcher” Diamond in “Feeding Frenzy”, episode 1.02 of Magic City (2012-2013)

Vitals

Danny Huston as Ben “the Butcher” Diamond, sadistic and volatile Miami gangster

Miami Beach, spring 1959

Series: Magic City
Episodes:
– “Feeding Frenzy” (Episode 1.02, dir: Ed Bianchi, aired April 13, 2012)
– “The Harder They Fall” (Episode 1.06, dir: Ed Bianchi, aired May 11, 2012)
– “Crime and Punishment” (Episode 2.01, dir: Clark Johnson, aired June 14, 2013)
Creator: Mitch Glazer
Costume Designer: Carol Ramsey

Background

Considering classic gangland style evokes images of pinstripe suits, flashy jewelry, and wide-brimmed fedoras… but what do gangsters wear when the sun’s at its brightest? On #MafiaMonday, let’s travel down to sunny Miami Beach where—even in the middle of January—mobster Ben “the Butcher” Diamond is dressed in lightweight linen for days by the swimming pool and nights at the cocktail lounge in Starz’s canceled-too-soon period drama Magic City.

What’d He Wear?

Ben the Butcher’s summer-friendly style includes a variety of colorful shirts from across the rainbow, from deep purple and seafoam green to bright yellow and baby blue. Villain that he is, he looks natural in his black linen shirt, but he also embraces the comfortably airy nature of white linen.

In the first season, Ben’s go-to white linen shirt is a classic guayabera, the Cuban dress shirt distinctive for its decorative alforzas and the four patch pockets—two on the chest, two on the hips—each decorated with a pointed yoke and decorative button. It is this full complement of four pockets that makes a true guayabera, as the Ramon Puig website writes:

History traces the roots of the guayabera back to the beginning of the 18th century to the province of Sancti Espiritus, Cuba where Ramon Puig was born. As legend has it, an Andalusian immigrant by the name of Jose Gonzalez asked his wife Encarnacion to make him a long-sleeve white linen shirt with four large pockets so that he could carry his cigars, writing instruments, handkerchief and “otras cositas” (other small things) during the course of his work day. The elegance and overall practicality of the shirt caught on with the local “guayaberos” (guava farmers) who then filled the lower pockets with guayabas (guava fruits) and baptized the shirt “guayabera.”

The second distinctive feature of a guayabera, the alforzas, are also present on Ben’s shirt. These vertical strips run from shoulder to hem, met at each end with a pointed yoke finished with a decorative button similar to the pocket detail. Ben’s white shirt has a single set of alforzas down each chest panel through the center of the pockets as well as three on the back.

Ben’s white guayabera appears to be a size too large for him, though this—as well as its lightweight linen shirting—would make it a very breezy garment for a warm day in Miami Beach.

Production photo of Danny Huston taking aim as Ben Diamond, clad in a white guayabera in "Feeding Frenzy" (Episode 1.02).

Production photo of Danny Huston taking aim as Ben Diamond, clad in a white guayabera in “Feeding Frenzy” (Episode 1.02).

Ben wears the shirt’s cuffs loosely rolled up in “Feeding Frenzy” (Episode 1.02), though he’s fastened them—either with buttons or cuff links—for his late meeting with Bel and Ike in “The Harder They Fall” (Episode 1.06).

For the shirt’s first appearance in “Feeding Frenzy”, worn with a pair of plain black trousers, Ben is taking a phone call in his living room when he grows annoyed with his girlfriend Lily’s dog and, swapping the phone in his hand for a .38-caliber revolver, marches outside to quell the dog’s barking before all-too-calmly resuming his call. As he’s relaxing at home, he wears a pair of elegant black velvet Prince Albert slippers with black leather trim and gold embroidering on the vamps.

MAGIC CITY

Following that episode, Ben restricts his on-screen white shirts to evening visits to the Miramar Playa’s swanky Atlantis Lounge, first when accompanied by Del for a private meeting with Ike Evans in “The Harder They Fall” (Episode 1.06).

For this outing, he wears a pair of off-white trousers, possibly the same cream-colored Brooks Brothers trousers made from 100% Irish linen that he would also wear with many of his other shirts. If so, they have a zip fly, straight side pockets, and jetted back pockets that are all covered by the untucked shirt hem. The plain-hemmed bottoms break cleanly over his tan leather shoes.

Ben and Bel call on Ike for a late meeting at the Atlantis Lounge in "The Harder They Fall" (Episode 1.06).

Ben and Bel call on Ike for a late meeting at the Atlantis Lounge in “The Harder They Fall” (Episode 1.06).

The second season premiere, “Crime and Punishment” (Episode 2.01), is set in spring 1959, shortly after the first season ends. Again, Ben makes a grand entrance to the Atlantis Lounge, bedecked in a new white linen shirt but back to the plain black trousers, worn with black leather shoes that may possibly be his bicycle-toe buckle-strap ALDO loafers seen in other episodes.

The second season shirt could be accurately described as a “pocketless guayabera” as it retains the classic alforza pleats though they are unencumbered by pockets as they make their vertical journey down from shoulder to hem, met by a decorative button at each end, similar to the black Renato shirt he wears throughout the series. This white shirt also has a concealed fly front and double (French) cuffs, which he dresses with a set of gold cuff links that each consist of a rectangular frame with a horizontal gold bar across the center.

MAGIC CITY

Ben wears jewelry apropos his name, notably the large diamond shining from the gold ring on his right pinky. On the opposing hand, he wears his classic gold wristwatch. In the first season, this timepiece has a round black dial with gold non-numeric markers on a gold case, strapped to his left wrist on a black leather band.

Accessorizing like a gangster: pinky ring, gold watch, and nickel-plated .38.

Accessorizing like a gangster: pinky ring, gold watch, and nickel-plated .38.

For Magic City‘s second season, Ben would swap out his gold watch for a Hamilton Electric with a light silver dial and gold numeric markers on a dark brown alligator strap. Given how many of these particular scenes are set inside, Ben has no need to wear his usual black Victory sunglasses, though they would be a natty touch to this summer-friendly ensemble.

The Gun

The Smith & Wesson Model 10 with its four-inch barrel spent the better half of the 20th century as the sidearm of choice for most American police departments, apropos the revolver’s original designation as the Smith & Wesson “Military & Police Model” when it was introduced to the market in 1899.

While a professional killer like Ben Diamond would no doubt appreciate the reliability of this venerable weapon, there’s no way the unapologetic gangster would want to carry a blued steel model that could be mistaken for a police officer’s weapon, instead selecting his armament finished in a bright nickel that gleams when drawn under the shining Florida sun.

Don't do it, Ben!

Don’t do it, Ben!

The selection seems to be in line with Ben Diamond’s firearm preferences as he also makes use of a M1911A1, the classic .45 pistol made famous by American GIs during World War II, though Ben the Butcher’s 1911 is nickel-plated unlike the military-issued models in their blued or “parkerized” finish.

How to Get the Look

Danny Huston as Ben "the Butcher" Diamond in "Feeding Frenzy", episode 1.02 of Magic City (2012-2013)

Danny Huston as Ben “the Butcher” Diamond in “Feeding Frenzy”, episode 1.02 of Magic City (2012-2013)

Ben Diamond illustrates how to elevate a white shirt and black trousers into an interesting summer ensemble that transcends its own relative simplicity.

  • White lightweight linen guayabera shirt with spread collar, four patch pockets (with pointed yokes and decorative buttons), and double-strip alforzas down each front panel with decorative buttons
  • Black flat front trousers with belt loops, zip fly, straight/on-seam side pockets, button-through jetted back pockets, and plain-hemmed bottoms
  • Black leather belt
  • Black velvet Prince Albert slippers with gold-embroidered vamps
  • Gold pinky ring with set-in diamond
  • Gold wristwatch with a dark leather strap

If you’re more into the all-white look for summer, you can follow Ben’s example of swapping out the black trousers and slippers for cream linen slacks and tan derbies.

Ben’s only other white shirt makes a brief appearance in the penultimate episode when he accosts Lily in the pool while wearing a white linen Cubavera shirt with fancy taupe, brown, and black embroidered striping down each chest panel. This unique garment seen may possibly be the subject of its own BAMF Style post at a later date.

Do Yourself a Favor and…

Check out the series.

The Quote

Abso-fucking-lutely I’m threatening you.

First Man: Neil Armstrong’s Gun Club Check and Omega

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Ryan Gosling as Neil Armstrong in First Man (2018)

Ryan Gosling as Neil Armstrong in First Man (2018)

Vitals

Ryan Gosling as Neil Armstrong, NASA astronaut and former U.S. Navy pilot

Houston, Texas, August 1962 through March 1966

Film: First Man
Release Date: October 12, 2018
Director: Damien Chazelle
Costume Designer: Mary Zophres

Background

In addition to being my 30th birthday, today is also the 50th anniversary of when Neil Armstrong became the first person to step onto the surface of the Moon at 02:56:15 UTC on July 21, 1969, six hours after he and Buzz Aldrin landed the Apollo Lunar Module Eagle as part of the Apollo 11 spaceflight, a mission also manned by command module pilot Michael Collins.

Last year, Damien Chazelle directed Ryan Gosling in First Man, a biopic focused on Neil Armstrong’s life and career through the 1960s from the tragic death of his young daughter Karen to his triumphant first steps on the Moon… “one small step for man, one giant leap for mankind.”

First Man traces Armstrong’s career as an astronaut back to his initial application that led to interviews for astronaut selection at Ellington Air Force Base in Houston, Texas, on August 13, 1962. The astronauts chosen would be attached to Project Gemini, NASA’s second human spaceflight program and so named for its goal of sending two humans into space, an expansion on the previous Project Mercury’s achieved goal of sending one man into Earth’s orbit…and returning him safely, of course.

Pete Conrad: Neil, I was sorry to hear about your daughter.
Neil Armstrong: I’m sorry, is there a question?
Pete Conrad: What I… What I mean is… Do you think it’ll have an effect?
Neil Armstrong: I think it would be unreasonable to assume that it wouldn’t have some effect.

In addition to his celestial achievements during the 1960s, First Man also focused on Neil Armstrong’s personal life, including how the family grieved and healed following Karen’s death and how his relationship with his wife Janet (Claire Foy) evolved over the course of a decade that ended with one small step on the lunar surface.

What’d He Wear?

The excellent period costumes in First Man were designed by Mary Zophres, working again with director Damien Chazelle and actor Ryan Gosling after their successful earlier collaboration in La La Land (2016). Zophres shared insight during a November 2018 interview with Janet Kinosian for the Los Angeles Times, published about a month after the film’s release.

For the world of Gemini-era NASA, Zophres considered that “the story centers in Houston, and they were in a secluded suburb outside of Houston and had maybe three stores they shopped at — Sears and a couple of others,” explaining her more conservative approach to dressing the film’s characters despite the increasingly colorful palette of 1960s menswear. “I proposed to Damien early on that it’s not the Brady Bunch, and the research backed us up, so we took a very conservative approach to the way the people dressed.”

One item of muted color that gets plenty of wear from Neil Armstrong’s closet is a gun club check flannel sport jacket. Also known as the Coigach, Alan Flusser describes this Scottish-originated check as “an even check pattern with rows of alternating colors.” In Armstrong’s case, these colors alternate between brown and black horizontal stripes that cross-cross olive and blue vertical stripes.

FIRST MAN

The single-breasted sports coat has narrow notch lapels with short notches that roll to a three-button front. The jacket has two-button cuffs and a welted breast pocket, though details like the hip pockets and the back vent situation are not readily available from the garment’s screen appearances.

FIRST MAN

Armstrong’s go-to office shirt in the film’s early scenes, set throughout 1962, is light blue oxford-cloth cotton with a large button-down collar, front placket, breast pocket, and box-pleated back. Most notable are the short sleeves often associated with NASA engineers of this era.

Though the simple blue short-sleeved button-down marks him as far from a fashion plate, Armstrong further assures his exclusion from Eleanor Lambert's storied International Best Dressed Hall of Fame List by wearing it buttoned to the neck, sans tie.

Though the simple blue short-sleeved button-down marks him as far from a fashion plate, Armstrong further assures his exclusion from Eleanor Lambert’s storied International Best Dressed Hall of Fame List by wearing it buttoned to the neck, sans tie.

When dressing up for his interview for astronaut selection in August 1962, Armstrong dresses up the shirt with his gun check sport jacket and a skinny navy blue tie patterned with a series of white six-segmented parallelograms arranged like “downhill”-direction stripes.

Armstrong's well-intended sartorial approach would have benefited from full-length shirt sleeves, but I suppose 1960s NASA is one of the few places where wearing a short-sleeved shirt and tie actually helps during your job interview.

Armstrong’s well-intended sartorial approach would have benefited from full-length shirt sleeves, but I suppose 1960s NASA is one of the few places where wearing a short-sleeved shirt and tie actually helps during your job interview.

The interview sequence begins with a close shot of Armstrong’s feet, including the cuffs of his dark navy blue trousers, recalling a story that Zophres relayed from Ryan Gosling’s first costume fitting with “the perfect pair of trousers:”

I’d found a pair of 1960s dead stock [unworn] with the tags still on. They were Ryan’s perfect size; I don’t think we even had to hem them! It was the very first fitting and the second trousers we tried; I remember saying, “OK, that’s Neil.”

Armstrong’s feet in this sequence are dressed in black leather apron-toe four-eyelet derby shoes and black socks.

FIRST MAN

By spring 1966, the on-screen Armstrong has finally graduated to long-sleeved shirts under his sports coats and suit jackets, abandoning the NASA-associated practice of short-sleeved shirts with skinny ties.

Having noted that Sears likely directed most of the astronauts’ sense of style, Zophres explained to the Los Angeles Times that she “looked at Sears’ period catalogs and paid attention to the colors that were available and also checked the material’s content. There were light yellows and ivories and such. And I also used shirts with texture, natural fibers where you could actually see the warp and weft of the cotton—the vertical and horizontal—since there were so many close-ups. Today’s material just looks thinner and flimsier for some reason; it doesn’t have the same texture that a white cotton dress shirt from the 1960s had. When you wash them, they sort of come alive vs. disappear.”

Armstrong’s white cotton long-sleeve shirt for the Gemini 8 presser has a point collar and is worn with a slim black tie with a pattern of small white boxes, appropriately evoking a celestial scene of stars across the night sky. He is possibly wearing the same brown wool flat front trousers with side pockets, jetted back pockets, and turn-ups (cuffs) that he wore when dancing with Janet two years earlier, though the navy trousers from his 1962 interview would also be suitable.

NASA Exceptional Service Medal pinned to his left lapel, Armstrong fields the media during a press conference for Gemini 8 in the spring of 1966.

NASA Exceptional Service Medal pinned to his left lapel, Armstrong fields the media during a press conference for Gemini 8 in the spring of 1966.

The Gemini 8 presser calls for Armstrong to wear his NASA Exceptional Service Medal on his left lapel, a commendation established in July 1959 that recognizes U.S. government employees who have shown “significant, sustained performance characterized by unusual initiative or creative ability that clearly demonstrates substantial improvement which contributes to NASA programs.” The light blue horizontally ribbed grosgrain ribbon is flanked on each side by a yellow vertical stripe, each bisected by a thin navy stripe. Suspended from the ribbon is a round , 39mm-wide gold medallion with “NA” and “SA” flanking a grid globe resting on two olive branches.

A simpler but no less symbolic accessory that Armstrong wears at all times is the gold wedding band on the third finger of his left hand.

First Man also features Neil Armstrong wearing several Omega watches, an accurate reflection of Omega’s storied history with the space program rather than straight product placement. During the scenes of Armstrong returning to work in early 1962 shortly after the death of his daughter, he is depicted wearing a classic steel Omega CK 2605 with a silver dial and 6:00 sub-dial, gold markers and “dauphine” hands, and a tan leather strap.

Even before NASA's best and brightest were sporting Omegas in orbit, Armstrong wears a classic CK 2605 during a mournful day at work in early 1962.

Even before NASA’s best and brightest were sporting Omegas in orbit, Armstrong wears a classic CK 2605 during a mournful day at work in early 1962.

Omega introduced the Speedmaster chronograph in 1957, intending its use for motorsports though its place in history would be during the space race rather than any car race. The durable, reliable, and fashionable watch caught the eye of astronauts like Wally Schirra, who first wore his personal Omega Speedmaster CK 2998 aboard the fifth manned U.S. space mission, Mercury-Atlas 8, in October 1962.

I took this photo of Michael Collins' Omega Speedmaster worn during Apollo 11 at the Smithsonian's traveling exhibit "Destination Moon" that was at the Heinz History Center in Pittsburgh from September 2018 through February 2019.

I took this photo of Michael Collins’ Omega Speedmaster worn during Apollo 11 at the Smithsonian’s traveling exhibit “Destination Moon” that was at the Heinz History Center in Pittsburgh from September 2018 through February 2019.

Less than three years later, the manual-winding Omega Speedmaster Professional Chronograph had passed all of NASA’s qualifying tests for space flight under extreme conditions and was approved to be the official watch of the space program on March 1, 1965. The same month, Gus Grissom and John Young would wear their Speedys during Gemini 3, and an Omega Speedmaster 105.003 was strapped to the left wrist of Ed White’s G4C space suit with a long nylon Velcro-secured strap during his famous space walk during Gemini 4 in June 1965.

Much was made of the fact that the iconic Omega Speedmaster would be appearing in First Man, reported on by Esquire, Forbes, and The Hollywood Reporter, and promoted by Omega as the company proudly supplied period-correct Speedmasters to the production. This was no doubt met with enthusiasm by its star Ryan Gosling, a vintage watch enthusiast, who would wear on screen both the ST 105.003 reference which was tested by NASA in 1964 and the ST 105.012 “Moon watch” that Armstrong famously wore both for his training and the eventual mission to the Moon.

Though during the lunar landing itself, Armstrong did leave his ST 105.012 inside the lunar module as a backup as the module’s electronic timer had malfunctioned and the Speedmaster was more reliable, thus making Buzz Aldrin‘s ST 105.012 the first actual watch to be worn on the Moon. Of his decision, Aldrin wrote, “few things are less necessary when walking around on the Moon than knowing what time it is in Houston, Texas. Nonetheless, being a watch guy, I decided to strap the Speedmaster onto my right wrist around the outside of my bulky spacesuit.”

Back on Earth, Armstrong sports his Omega Speedmaster Professional Chronograph through press conferences and internal meetings. The watch is housed in a 42mm stainless steel case with a slim black rotating bezel and black dial with three sub-dials. As he’s wearing it with a sport jacket and slacks rather than a space suit, Armstrong sticks to the classic steel link bracelet rather than the black Velcro-fastening nylon strap worn in orbit.

Having returned from his first mission in space, Armstrong wears a NASA-approved Speedmaster as he meets with the organization's top brass following Gemini 8.

Having returned from his first mission in space, Armstrong wears a NASA-approved Speedmaster as he meets with the organization’s top brass following Gemini 8.

You can see more of the screen-worn watches from First Man with context about their use in this Watch Advisor article. Though Aldrin’s Moon-worn Speedmaster was lost or stolen en route the Smithsonian Institution, you can find the real Neil Armstrong’s watch among the displays at the National Air and Space Museum in Washington, D.C.

What to Listen to

One of the most tender moments in First Man finds Neil and Janet dancing late at night to “Lunar Rhapsody” from the first of three records featuring the collaboration of thereminist (and podiatrist) Dr. Samuel J. Hoffman and exotica maestro Les Baxter.

“That’s an old favorite of mine… it’s an album made about 20 years ago, called Music Out of the Moon,” Armstrong stated when he played a cassette tape of tracks from the album, compiled for him by Hollywood producer Mickey Kapp, during Apollo 11’s flight back from the Moon.

Recorded and released in 1947, Music Out of the Moon was one of the first albums to have a full-color cover and considered the best-selling theremin record of all time.

How to Get the Look

Ryan Gosling as Neil Armstrong in First Man (2018)

Ryan Gosling as Neil Armstrong in First Man (2018)

Not everyone who worked at NASA in the ’60s wore white short-sleeved shirts and skinny ties… though Ryan Gosling’s Neil Armstrong is seen wearing his share of that combination in First Man. For meetings with the public and top brass, Armstrong dresses it up with a subdued but interesting gun check sport jacket and a long-sleeved shirt.

  • Brown, black, olive, and blue gun club check single-breasted 2-button sport jacket with slim notch lapels, welted breast pocket, straight hip pockets, 2-button cuffs, and vented back
  • White cotton long-sleeve dress shirt
  • Black slim and straight tie with small white boxes
  • Dark flat front trousers with belt loops, side pockets, jetted back pockets, and turn-ups/cuffs
  • Black leather belt
  • Black leather apron-toe four-eyelet derby shoes
  • Black socks
  • Omega Speedmaster Professional ST 105.012 stainless steel “Moon watch” chronograph with black rotating bezel and black dial (with three sub-dials) on steel link bracelet

Do Yourself a Favor and…

Check out the movie and James R. Hansen’s definitive biography of Neil Armstrong.

The Quote

I had a few opportunities in the X-15 to observe the atmosphere. It was so thin, such a small part of the Earth that you could barely see it at all. And when you’re down here in the crowd and you look up, it looks pretty big and you don’t think about it too much… but when you get a different vantage point, it changes your perspective.

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