Style Icon: The Duke of Edinburgh

As one of the oldest members of the British Royal family, you would not expect Prince Philip, the Duke of Edinburgh (DoE) to be the most controversial and yet this gruff, plain-speaking, perpetually joking consort to the Queen is rarely anything but. A recent television interview in honour of his 90th birthday highlighted some of his increasingly impatient, fogeyish tendencies and provided some glorious PR-free gems; “I’ve done my bit, it’s someone else’s turn” and “Problem with the world is overpopulation. My solution would be family limitation” and “I’m not a green; I’m not a bunny hugger.”

If there is a Windsor family ‘line’, the DoE doesn’t tow it. Neither does he tiptoe around difficult subjects like his son Charles with hand-wringing or ‘Umms’ and ‘Aaahs.’ Instead, he launches into responses like a hungry beater at a hunt banquet, tearing into topics that politicians won’t even touch with the abandon and self-belief of a patriarch from another age. He doesn’t think much of himself either and his apparent bemusement at social functions, questioning eyes and baffled expression is down to, what he termed, “going downhill.” The DoE is looking for an exit from the circus.

However, as nonplussed as he was to receive birthday attention (“I’m 90, so what”), the DoE deserves further mention and recognition of an asset of his that has never failed him, something he carries so naturally and so free of artifice and something which has, unlike the rest of him, failed to decay; his style. While most people at 90 are stumbling around – if they’re still able to stumble – in Ecco shoes and comfy sweaters, the DoE mucks around in morning dress and white tie – at the appropriate occasions of course – as if he were still 23 years of age.

Recent events confirmed his ability to look comfortable in even the most outrageously flamboyant, brutally regal ensemble such as that he wore to his grandson’s wedding as well as his ability to outshine an assembly of power and celebrity at the Palace for a white tie state dinner. The DoE is a skilled natural in manners of his dress and one of his particular strengths is his maintenance of proper proportions; waistcoats worn at the proper height, trousers cut to the perfect length. His persistent adherence to this is often attributed to his having been brought up in another age, which is partly true, but it seems to be something he has passed down to his eldest son; a rare harmony in a notoriously discordant relationship.

Unlike his son however, the DoE is less ornate when it comes to sartorial decoration. He does not share his admiration for double-breasted suits and prefers a folded white square to the patterned silks, although his tie knot is noticeably thicker; perhaps a nod to the DoE’s acceptance of current fashion. The Prince of Wales is certainly more of a dandy than his father – not an uncommon remark in the history of the British Royal family – but the DoE always seems to be having more fun in his clothes rather than fun with his clothes. Not that there is a problem with the latter, quite the opposite. It is simply that the DoE’s approach, though less accomplished, possesses more idiosyncratic charm.

In his interview, the DoE scoffed when the interviewer asked how he would describe himself at birth “Well, I was a Greek national but I was Danish by race.” And now, how would he describe himself? “Well, I wouldn’t. I’m just ‘here.’”

A Stylish Movie: Diner

Diner (1982) is a dark and melancholy look into the lives of a group of buddies struggling with the transition to adulthood in 1959 Baltimore. Eddie (Steve Guttenberg) threatens to call off the wedding if his fiancee can’t pass his elaborate football quiz. Shrevie (Daniel Stern) fights with his young wife about the organization of his record collection. Billy (Tim Daly) has a pregnant girlfriend who refuses to marry him. Boogie (Mickey Rourke) is a womanizer with a gambling problem. Fenwick (Kevin Bacon) is an unemployed drunk. Modell (Paul Reiser) is a passive-aggressive mooch. These friends eat French fries with gravy, discuss their respective problems, and engage in much meaningless conversation in their favorite local diner. The movie is sort of like Seinfeld without the humor. For instance, in one scene Paul Reiser ponders: “You know what word I’m not comfortable with? Nuance. It’s not a real word. Like gesture. Gesture is a good word. At least you know where you stand with gesture. But nuance? I don’t know. Maybe I’m wrong.” I can totally see that same monologue coming from the mouth of George Costanza.

Although I found the “plot” to be rather tedious and depressing, Diner is at least a stylish movie. By utilizing thrift-store treasures, costume designer Gloria Gresham did an excellent job of recreating the late 1950s Ivy League look. Imagine lots of tweed and loosened repp ties with tie bars. In one scene Tim Daly wears a great navy-blue Duffle coat over his tweed jacket, tan sweater vest and brown pants. Bass Weejuns complete the outfit. Other small touches include the heavy ring that Mickey Rourke wears on a chain around his neck. Steve Guttenberg wears a wonderful thin, square gold watch with a brown leather strap. Kevin Bacon lights his cigarettes with a silver Zippo lighter and blows perfect smoke rings in the diner. He tools around town in very cool red Triumph TR3.

I find it hard to recommend Diner based upon entertainment value alone, but the movie does provide an excellent window into the roots of the American Trad style of dress. It is also fun to watch this group of famous actors in some of their earliest roles.

The Enduring Appeal of Gatsby

When I heard a new screen version of The Great Gatsby was being planned, I rolled my eyes and tutted audibly. As a Fitzgerald flag-waver, I was not only frustrated by the continued avoidance of his other fine works but was also grieved that Baz Luhrmann was at the helm.

As much as I enjoyed his production of Romeo & Juliet and admired his eccentric Moulin Rouge, I loathed Australia and the crucial issue with any production of Fitzgerald’s work is that it requires a subtlety of vision; subtlety is not something I associate with Mr Luhrmann. Add this to the sad fact that the true magic of Fitzgerald’s work – his glorious writing – is impossible to transfer to the screen and the prospect of yet another stab at this seminal work seems to me to be decidedly unwelcome.

However, there is one element of the production that I am looking forward to which no ham-fisted script, error of casting or inappropriate score can destroy; the costume. The last motion picture Gatsby, featuring Robert Redford and Mia Farrow, was famously costumed by Ralph Lauren. While the film itself was relatively weak, it remains a movie of classic style – on more than one occasion, I have enjoyed glimpsing scenes of it in a London bar (muted) behind the bottles of Grey Goose and Laphroaig. As good as Lauren’s costuming was, I expect the work on this version to be even better. Why? For the simple reason that it will be a more accurate representation of the era; it might lack a little of the 1970s pastel palette, but what it loses in floral appeal it will hopefully make up for in authenticity and detail.

Costuming in film has improved so much in the last 30 years; photographic archives are more readily available and more money has been made available, not just for the costumes themselves but for the research and hard work that goes in to developing them. Though many films have a tinge of the eras in which they have been produced, some period dramas are so accurately and beautifully costumed that it is only possible to tell the age of the feature by the age of the lead. Cameras can capture the most subtle texture differences; a silk dupion, a wool flannel, a crisp linen. A well costumed film, now more than ever, promises to be a gorgeous feast for the eyes and the prospect of Gatsby and an ensemble of moneyed, Jazz Age Long Islanders being given the latest touch of the classic ‘Gatsby’ aesthetic is terribly exciting.

So what is this classic ‘Gatsby’ aesthetic? Isn’t it just the preppy way Lauren represented him in the Seventies and continues to plug now? Well, yes and no. Lauren might have made that Gatsby, but that Gatsby also made Lauren. In fact, he always existed; the aloof looking chap in a dusty old photograph with slicked hair, a blue blazer, club stripe tie, white trousers, spectator shoes and horn-rimmed round sunglasses. He was an invention of his era, not of the movie industry. Lauren was simply able to look at the way men used to dress and say; “This is how he should be; this is Gatsby.” As most of it takes place on Long Island sound, I expect some sporty and nautical elements to the costume; plenty of white foundation and red-lipstick for Daisy, plenty of blue and white for Gatsby, some white bucks, spectators, tortoiseshell glasses and a vast array of suits including a loud blue pinstripe with peaked lapels, double breasted waistcoat and turn-ups, pocket watches, fedoras and boaters – they were still very popular in this period - rounded collars and, hopefully, full white-tie.

According to reports, Leonardo DiCaprio is playing the eponymous hero of the piece. There is sufficient precedent (Titanic, The Aviator) to suggest that he will prove to be an excellent Gatsby, if only as a splendid clothes horse.

A Stylish Movie: American Gigolo

American Gigolo (1980) stars Richard Gere as Julian Kay, an escort for wealthy women who is framed for the murder of one of his clients and the theft of her precious jewels. The movie was written and directed by Paul Schrader (of Taxi Driver fame) and produced by Jerry Bruckheimer.

American Gigolo is often listed among the top style movies of all time. The movie burst on the scene at the end of the bell-bottom disco era and stood as a preview of the narcissistic and hedonistic decade that followed. It is also the movie that introduced the world to the Armani suit and propelled Giorgio Armani, who created Gere’s wardrobe, to instant stardom.

The movie’s focus on luxury clothing becomes immediately obvious when one of the first scenes has Gere trying on tailored clothing in a high-end men’s store. Gere’s wardrobe includes soft, unstructured suits in silk, linen and Italian cotton. In a complete departure from the style of the 70s, Gere wears small collars, narrow ties, skinny belts and surprisingly high-waisted trousers. The movie ushered in slim Italian clothing as the style for the 80s and influenced the dress of an entire generation of men.

One scene that epitomizes the self-absorption and greed of the decade has Gere pulling out clothing from his immense closet and hyper-organized drawers. He then obsesses over the details of each outfit as he lays out Armani shirts, knit ties and jackets on his bed.

One casual outfit that I found to be particularly interesting included light blue jeans with a ribbon belt, a pale blue shirt, an unbuttoned double-breasted gray jacket with patch pockets and brown boots.

Unfortunately, where the movie shines in style, it lacks in substance. Most of the movie is an excuse to watch Gere (who is very fit and tan) dress and undress, and cruise around town in a Mercedes convertible. It does not even become apparent that the movie is a murder mystery until the first hour is past. Nevertheless, the movie includes some good music and provides a window to a now-bygone era of indulgence and excess.

A Stylish Movie: Bonnie and Clyde

Bonnie and Clyde (1967) stars Faye Dunaway as Bonnie Parker, a bored small-town girl, and Warren Beatty as Clyde Barrow, a small-time ex-con. The movie romanticizes the couple’s string of bank robberies that made newspaper headlines and caught the imagination of the Depression-era public.

Faye Dunaway is lovely in pencil skirts, berets and silk scarves. Warren Beatty is equally stylish in double-breasted suits, vests, spectator shoes and hats. As a touch of sprezzatura, his shirt collars are often askew. It’s odd to watch them rob banks while so well turned out.

One small detail in Beatty’s wardrobe struck me as particularly stylish. Early in the movie he takes Dunaway to town for a coca-cola. While they chat he chews on the end of a wooden matchstick. Several more identical matchsticks are tucked into his hatband. It’s a nifty personal touch like Gianni Agnelli wearing a watch on the outside of his shirt cuff.

Even members of the supporting cast exhibit interesting style. Michael J. Pollard plays C.W. Moss, a slow-witted auto mechanic turned getaway driver. He is often seen in blue jeans, chambray shirt, blue jean jacket, neckerchief and newsboy cap. That’s pretty stylish dress for changing the oil in your car.

Gene Hackman plays Barrow’s older brother Buck. In an interesting contrast, he mixes a tattered brown leather bomber jacket with gray pants, white button-down shirt and tie.

In addition to being a stylish movie, Bonnie and Clyde is entertaining to watch. The movie was nominated for numerous Academy Awards including Best Picture and Best Costume Design. In 1998 the movie was placed at #27 on a list of the 100 best American movies according to the American Film Institute.

For some entertainment and classic sartorial inspiration I recommend you watch Bonnie and Clyde.