Style Movie: The King’s Speech

It is over a year since I last contributed to this series. The simple truth of the lapse is that though I must have seen over 50 films in that period, none of them stirred anything inside me which was capable of inspiration.

None, that is, until I saw The King’s Speech.

A film that has received plaudits from far and wide – from the New York Times to Her Majesty herself – it is easy to regard The King’s Speech ‘superficially’ as simply an excellent and uplifting true tale of triumph. However beneath this ‘surface’, it is also a film which manages to preach elegance without once ascending to the pulpit, a film which indulges and educates the viewer in inter-war sartoria without excess showiness – a wardrobe performance worthy of it’s regal title.

Colin Firth, first as the Duke of York and then as George VI, is the picture of patrician sartorial cleanliness; matte wool suits (no shiny tack in these decades), soft collars and thin silk foulard ties. In fact his wardrobe is so achingly classic, it’d be difficult to say anything in his ensembles was ‘dated.’

Geoffrey Rush, by comparison, is more extravagantly dressed – if extravagant is the correct word – as he adorns himself with bow ties and chalk stripes; the kind of natty get-up you might see Manolo Blahnik strutting around in. Still, though his dress is more individual, it is no less worthy of the ‘timeless’ award.

Both men, giants on the screen, advance the quiet but strong case for such careful sartorial thought that to see them accepting awards for performances in their own clothing is something of a disappointment.

This happy period of men’s clothing is pleasing to the eye. So much so that it provides a raison d’être to entire brands – Hackett, Ralph Lauren – and as such it is always ‘with us’ to some extent. Perhaps it is this reason why the costumes in The King’s Speech, aside from those of Helena Bonham Carter, seem somewhat familiar. They do not distract because they are both a happy harmony of the best of historic men’s clothing and that which we know and use today.

There were even subtle details which tickled me as much as the excellent script; the fact that Geoffrey Rush’s wardrobe was limited in size whereas Colin Firth’s was gigantic (I didn’t see a repeat garment) was true to character, as well as the fact that Geoffrey Rush’s trousers were of inferior tailoring (too long) and that there were no noticeable problems with Firth’s at all. All these subtle differences were more indicative of the gulf between the gentlemen’s positions in the world; one a speech therapist, the other a royal prince.

My favourite moment in the film came when, having told his children a strange story about a penguin, Colin Firth lurched onto the floor, in white tie, to hug them good night at which point his white elasticated waistcoat came undone. However, instead of clipping the scene and pasting in one in which his waistcoat was correctly fastened, Hooper allowed us to see a marginally unkempt prince momentarily fiddling to restore his waistcoat. Natural and utterly charming.

Stylish Television: Boardwalk Empire

Boardwalk Empire is an original television series that premiered this fall on HBO. The show follows Enoch “Nucky” Thompson (played by Steve Buscemi) who is a powerful politician and gangster in control of Atlantic City at the dawn of Prohibition.  The show was created by Terence Winter, the Emmy Award-winning writer of The Sopranos. The first episode was directed by Academy Award Winning Director Martin Scorsese.

The shows producers have done an incredible job of recreating 1920 Atlantic City, including an elaborate wardrobe from this Golden Age of Style. Most of us are accustomed to seeing this clothing in black and white photographs from the era. Boardwalk Empire brings the era to life in full, accurate color. Through extensive research of period fabrics and colored catalogs, the program’s costume designer, John Dunn, discovered a surprisingly vibrant palate of color.

While much of the production has relied heavily on vintage clothing, period clothing was made for most of the principal cast. Martin Greenfield Clothiers, a New York tailoring institution that manufactures high-quality garments for stores like Brooks Brothers, was selected to make costumes based on Dunn’s investigations. New York Daily News reported that a team of 120 tailors worked for almost a year to turn period tweeds and heavy worsteds into at least 200 costumes for about 68 different characters.

For an epic, full-color perspective on the Golden Age of Style, check out HBO’s Boardwalk Empire.

Wall Street II

This week the long awaited Wall Street II: Money Never Sleeps hit the big screen. With Michael Douglas reprising the role of anti-hero Gordon Gekko, the ruthless, street-fighting financier, it promises much. As the original remains one of my favourite films I sincerely hope it delivers.

The original Wall Street defined a decade, Thatcherism and Raganomics both. For years strutting peacocks in the city expounded “lunch is for wimps” and bought the line “greed is good”. It celebrated and legitimised an attitude on Wall Street, and within the Square Mile here in the UK, which some argue we’re now paying for.

But beyond that third rate university lecturer’s socio-economic analysis, one thing is undeniable, by god it was a stylish film. Gekko’s wardrobe was of course designed by Alan Flusser, doing for him and his reputation what The Great Gatsby did for Ralph Lauren. Of course he didn’t create the look, it’s hallmarks of braces, white collar and cuff shirts, pinstripe suits in dark colours was a part of the culture of the Square Mile long before the film. But he certainly summed it up, captured it for posterity, and in the guise of Gekko breathed new life into it, making it - for want of a better word - accessible.

From what I’ve seen, this latest film has a new and very definite look, one that retailers have been quick to pick up on.  Back in June I got an Autumn/Winter collection preview from distinguished family owned tailors – and one of my favourite outfitters - Ede & Ravenscroft. I was hoping to provide pictures before now, but as it happens, the launch of Wall Street II has made this very apt. Their Boardroom Collection pays homage to Gekko’s new look, the keystone of which is the single breasted suit with double breasted waistcoat. I have to say that this has long been one of my favourite styles of suiting, and far from easy to get – off the peg anyways. While the new film doesn’t invent the look or the suit, it seems more than likely that we will see more of it; which may or may not be a good thing, depending on your point of view.

Sequels never quite fulfil the hype or the expectation, but for those of us interested in matters sartorial, I suspect this film is likely to generate discussion.

The Dandies Of The NBA

Basketball is not a sport I associate with dandyism. In fact, it is not a sport I associate with much at all, though that is not for want of trying. My memories of playing basketball at school are rather unhappy ones. Not exactly of ideal stature, I was enthusiastic but was invariably subjected to that terrible, psychologically injurious humiliation of being among the last in team selection. Outside of school, basketball was not really a sport other British children seemed keen on. I remember being alone, bouncing my tomato-red Chicago Bulls ball (a birthday present) disconsolately outside during holidays, attempting three pointers. As far as the sport was concerned, that was as far as I went – my interest gradually waned, I picked up other hobbies and my bright red ball steadily deflated and dusted in the garage.

I happened to be trawling Mxolisi Ngonelo’s blog when I discovered his coverage of NBA style which inspired me to research what turned out to be a trove of dandily dressed, assured and stylish young athletes. I was rather taken aback. Most English sportsmen dress appallingly. There are exceptions, but the majority of the stars in the sporting galaxy look better in their nylon kit than they do at some off-duty shindig. Footballers are notoriously badly dressed; though many of them are multi-millionaires, fathers and husbands they dress like unemployed and insecure university dropouts. The NBA dandies are the direct opposite. Clever with colour and texture and refreshingly elegant in cut, they put other sportsmen in the shade.

Miami Heat’s LeBron James uses subtle palettes, stylish tailoring and tasteful accessorising to create his more-than-just-smart looks. Likewise New Orleans Hornets point guarder Chris Paul, who artfully stuffs his squares into his breast pocket, dandifies his looks with waistcoats and well-tied ties. Carmelo ‘Melo’ Anthony of the Denver Nuggets splashes colour with aplomb and originality and twenty-three year old Wes Johnson, drafted into the Minnesota Timberwolves only this year, nevertheless presented himself at the draft in one of the most mature yet vibrant ensembles of all; a brass buttoned double-breasted blazer, yellow shirt, red patterned tie, tie clip, plaid trousers and green pocket square.

My favourite of the NBA dandies simply has to be Dwayne Wade, known as D Wade, who also bounces balls for the Miami Heat. Colour, fit, accessories, variation; the man has it all, delivering juicy, elegant and undeniably attractive ensembles with composure. And he has the accolades to prove it, being named as the NBA’s best dressed player by GQ in 2006 and in 2006 and 2007 making it to number four in Esquire’s Best Dressed Man in the World awards. Of course, there is as much ‘street’ as ‘neat’ to the NBA and hoodies are as prevalent as Hermes, but these players provide the perfect example of elegance to aspiring athletes wishing to make it in this game or any other; these men evidently enjoy their clothes as much as they appear to enjoy their sport. Bravo! The dandies of the NBA.

A Stylish Movie: To Catch A Thief

To Catch a Thief (1955) is an Alfred Hitchcock classic starring Cary Grant and Grace Kelly. Grant plays the roll of John Robie, a jewel thief nicknamed “The Cat” who has retired to the French Riviera. Following a series of jewel thefts in the area, Robie becomes the prime suspect and must prove his innocence by catching the thief.

To Catch a Thief is full of great clothing. Even the cops wear double-breasted suits. The movie was nominated for the 1955 Academy Award for costume design. While watching the movie, I paid particular attention to Grant’s wardrobe.

The movie opens with Grant in a round-necked pullover with blue and white horizontal stripes, a red and white polka dot silk around his throat, a pair of gray wool pleated trousers, brown loafers and light gray socks. I noticed a minor continuity error a few scenes later; Grant was in the same outfit sans socks.

Later in the movie Grants wears an outfit with similar elements. He pairs a heather-gray pullover with light-gray pants. The silk at his neck appears to be a paisley pattern of dark fall colors like rust, navy and dark green. His hair is sleek and shiny. Maybe Brylcreem?

One notable scene supports the assertion that a gentleman should carry two handkerchiefs. The first is for display in the jacket’s breast pocket, and the second is for personal hygiene (one for showin’ and one for blowin’). After a passionate kiss between Grant and Grace Kelly, Grant uses a white handkerchief produced from the trouser pocket of his tuxedo to wipe the lipstick from his lips. Meanwhile, a white pocket square appears angled jauntily in the breast pocket of his shawl-collared tuxedo jacket.

In my favorite outfit from the movie, Grant wears a light bluish-gray jacket with patch pockets and gold buttons. Interestingly, the jacket sports only two sleeve buttons. Also of dubious note is the fact that in one scene Grant fastens all three of the jacket’s buttons. The jacket is paired with light gray pants, a white dress shirt with button-down collars, a navy cravat with small white dots, and brown tassel loafers.

For some classic sartorial inspiration I recommend you watch To Catch a Thief.