Lapo Elkann: Creative (or Affected) Dresser

It must be difficult being the wild, party loving younger son of a family very much in the public eye. The elder, the heir, courts responsibility from an earlier age; the family guides them, history sets fine examples and though a great weight is set upon their shoulders, their path is clear and pre-defined. Younger sons, though they may be part heirs, are not given this sort of mollycoddling. Second sons like Prince Harry are privileged, yes; the third in line to the throne never wants for a thing, but just what is expected of him?

The Agnelli family are the Italians royals’. They are photographed, interviewed, fawned over and worshipped as surrogates for the vacant throne. Though the Prince of Naples and the Duke of Aosta may fight out their pretensions to the kingdom of Italy, Hello!, OK! and the “stalkarazzi” only seem interested in what the people want, and an insight, whether welcome or unwelcome, into one of the most glamorous and privileged Italian dynasties is, ironically, what the people want the most.

One member of the family, a younger son as it happens, is currently the media’s target of choice. Agnelli by blood, but not by name, Lapo Elkann is becoming an increasingly recognisable chap on the transatlantic chichi charity circuit. Ciao-ing everyone in Cipriani from Mary-Kate Olsen to Donald Trump, the enigmatic New York born Italian has also made a name for himself as a man of style. Though he is criticised by some for mocking his grandfather Gianni’s true style in an over-affected way, Elkann’s approach is actually rather more sophisticated than an alleged raid of old Agnelli’s wardrobe.

His elder brother, John Elkann, who is tipped to become head of the Fiat group, is certainly well-dressed but not in a noticeable way. His clothing, like his so-far-so-good life, is sober. Lapo is wilder; his risky choices in clothing mirror his high-octane reputation for drugs (he survived an overdose of cocaine in 2005 that put him into a coma), dating numerous MAWs (model/actress/whatever) and pursuing a vigorous enjoyment of life that is standard form for third generation scions.

His interesting blend of hand-me-down suits, tailored jackets, retro sports clothing and natty accessories is actually quite original. I can fully understand why Vogue saw fit to drape the prestigious accolade of Most Stylish Man over this stallion’s shoulders; combining double-breasted suits with Bikkembergs and using a piece of tying rope as a belt is somewhat revolutionary and though his experimentation produces mixed results, I applaud his efforts.

One thing affirming his innovative approach is the inability to pin-down or label one designer or one icon of his influence. Some men dress like window displays from Bond Street; borrowing everything from one designer and reproducing a look. What I like about Elkann is that he IS his look. He is impossible to pigeon-hole and that makes him all the more appealing.

I also like the curious duplicity of his wardrobe. Sometimes, he masquerades as the obedient offspring; stiff collars, styled hair and pinstripes, then suddenly he is the billionaire-to-be hellraiser; insolent tennis shoes, plush pashminas, stubbing out cigars in his grandfathers suits. ‘Tut-tut’ indeed.

Apart from his little foray into design with überfashion designers DSquared, or his updating of the Fiat brand (his suggestions to return to retro, including the reinstatement of the 1930s badge, were fantastically successful), Elkann has been quiet in his artistic pushes. However, something tells me that a man with so many ideas for his own form must have more creativity up his sleeve.

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Icons of Timeless Style – Part II: Albert Einstein, Thomas Keller

As I continued to mull over who I consider real icons of style, I made an effort to look past the obvious. As one reader helpfully pointed out, while my fist two choices are certainly icons of style, they were not particularly unexpected.

I cannot argue with this; both President Kennedy and Mr. Clooney are well known in part because of their personal style. When I assembled this list though, I specifically sought out individuals from a variety of fields, points in time, and fame.

For this next round, I turn to a childhood hero and brilliant restaurateur. Neither is particularly well known for their wardrobes. The first is perhaps best known for a total lack of sartorial élan while the second is seen primarily in chef whites. Custom tailored for certain, but still just chef whites.

Albert Einstein

Yes. I said Albert Einstein. Why, you might ask; I mean he was not exactly known for his sartorial elegance. And that’s exactly why I put him on this list. He is the smart man’s anti-dandy. At least that is how he chose to have the world view him.

While his signature absentminded professor look became synonymous with brilliance unconcerned with the banalities of style, many close to Einstein tell of a man quite aware of his look’s impact. While no one would claim him to be overly interested in fashion, Einstein was very conscious with his public persona; using the rumpled suit and out-of-control hair to his own ends.

Einstein was quite deliberate with his dress, in part because it worked to his advantage. It was in fact a disarming tool, a shield that deflected expectations. It was also who he was as a person. Albert Einstein was in a sense the Bill Gates of his day; brilliant but sartorially challenged – or challenging, depends on your view.

In so many ways Einstein was his own man, and I think that is what always impressed me the most. Rising from patent clerk to heights of international acclaim, he never really changed who he was. Sure, for white tie ceremonies he would don white tie, but he never tried to be someone else. The hair still popped out at odd angles and the dress clothes had a slightly rumpled something about them. He was always just Albert; brilliant yes, but just Albert.

That is what I always admired about Albert Einstein; not just the mind bending intellect but the totally individual personality of which he was never ashamed. If he was cold, he put on a cardigan. End of story.

Thomas Keller

I actually had a little internal debate about listing Mr. Keller. I had trouble choosing between him and another exceptional chef and showman, Chicago’s Charlie Trotter. Both are epicurean technicians of the highest order, but Keller won out due to his remarkable ability to maintain unimpeachable standards in outlets spread across the country.

Thomas Keller is one of the world’s top living chefs and, if things keep going the way they have, one of the best ever to live. He is quite simply that good every day of the week and other chefs speak his name with hushed tones normally reserved for higher powers. He is also equally well known for not being an arrogant snob, which in his industry is equally remarkable.

Among his many accomplishments is the evolution of California cuisine to international acclaim and almost singlehandedly turning Napa Valley into a fine dining and luxury lifestyle destination. Keller has also elevated the entire dining experience – from food storage and preparation to coffee service – to a sublime and almost reverential experience.

Thomas Keller’s obsessive dedication to perfection, be it ingredients or wait staff uniforms, has placed him and his universe of restaurants – namely The French Laundry – on a wholly unique plain.

So exacting is his staff’s culinary skills that the French Laundry’s kitchen was replicated in the virtual world for the blockbuster animated film, “Ratatouille.” The movie’s restaurant characters and their culinary skills were all based on meticulous recreations of Keller’s chefs. It is no small honor that the movie was wildly successful in France – viewed as a loving dedication to the true wonders of gastronomy.

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Style Movie I Enjoyed: The Darjeeling Limited

This week I was fortunate enough to see a movie that actually allowed style itself to play a crucial part. Most movies are prone to product placement; never so much stylish as verbose projects full of marketable names. However, the film I enjoyed, The Darjeeling Limited, was a film that was prepared to place style on an equal billing with the leading names of Owen Wilson, Adrien Brody and Jason Schwartzmann.

It wasn’t that there was an overload of style; fantastical outfits and utterly artistic camera work weren’t really key components of the film. In fact, the three lead characters wore the same outfits throughout the film. The film’s director and co-writer Wes Anderson is well-known for his tendency to ‘uniform’ his characters. And, bizarrely, though some critics denigrate his efforts on film as superficial, his focus on costume and scenery unhealthy, it is surely far easier to argue that Wes is frugal with his approach. In fact, when it came to it, less was more as far as the movie goer was concerned.

For ideas on clothes for his leading men, Wes turned to friend and designer, Marc Jacobs. Known for his subtly modern takes on classic menswear, Jacobs is one man who has conquered the misconception that modern designers court fashion for the ego boost and the money. Jacobs, while he may be genuinely in love with clothing, is well known for his dislike of fashion. Thus, for a costume designer on a major motion picture, he makes for a wise choice. The leading men wore variations on the grey flannel suit, symbolic of their blood connection as brothers. Their shirts, though of the same cut, were of very different colours which was symbolic of their emotional distance from one another at the beginning of the story.

Carrying off symbolism through costume isn’t a new trick, nor is it particularly difficult, but the effect is appealing. Schwartzmann’s black shirt echoed his dark, rather Don Juan playboy status (he has intercourse with a stewardess in a train toilet), Brody’s crisp white represented his belief that he was the most deserving (married with a child on the way) and the least guilty, and Wilson’s shirt was a dark khaki which represented his position as the balance between the other two brothers; the force that reaffirmed their brotherhood. Symbolism is ubiquitous in Anderson’s movies, and there is no escaping it in this.

The style of the picture is an amalgam of influences. On the one hand you have the delicious cliché of wealthy westerners travelling through India with absurd amounts of luggage, behaving like tourists and ludicrously expectant of miracles when wandering through sacred places. On the other hand you have three sharply dressed men who sit lounging in their compartment, sipping painkillers with a cigarette drooping from their lips. Dressed for the Western metropolis, where their outfits might sink into anonymity, they come to the fore in rural India. In fact parts of the film reminded me of much fashion marketing I have seen; improbably attractive people, improbably dressed in an improbable location. In The Darjeeling Limited, the improbability didn’t matter, and though I am more likely to be seen in India wearing a white suit, club tie and pith helmet, I appreciated Jacobs clothing.

I also appreciated the beautiful Marc Jacobs for Louis Vuitton luggage which was carted around by Brody, Schwartzmann and Wilson as they continued their journey through India. Blissfully monogram free, the luggage (pictured below) was caramel brown in colour (Vuitton likely using their Nomade leather as the base material) and was covered in charming embossed motifs of elephants, giraffe’s, zebras and palm trees. The design for the motifs was not by Jacobs, but Anderson’s brother, Eric, and the effect was truly and unabashedly colonial. Even their father’s initials were printed on the side. There were a great number of items: two or three suitcases, a steamer trunk, a keepall, a reporter satchel and a briefcase, and there were frequent Abbey Road style shots of the procession of brothers with their matching luggage.

As a style film it doesn’t have the complexity or beauty of The Talented Mr Ripley or the elegance of Breakfast at Tiffany’s, but there is a certain North By Northwest quality to the outfits – that ‘good in all conditions take-me-anywhere’ label to the suits. In terms of the movie’s undeniable charm, style does indeed play a leading role.

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Icons of Timeless Style – Part I: JFK, George Clooney

With terms like “style” and “fashion” being attributed to every moderately talented celebrity with a pretty face, I recently sat down and considered who I consider to be true style icons. Not the fleeting hotshots for me; no, I am talking about men of substance who have endured the test of time as well as those who clearly will.

When I think of those people to whom I look to for inspiration, I demand far more than flash. I want substance, meaning, thoughtfulness, intellect, and individuality. Over the next few columns I will share with you my own list of style icons and tell you why I find them inspiring and worth emulating. My list includes politicians, literary giants, actors, royalty and industry moguls. Each one of them represents the true mix of style and substance.

JFK

John Fitzgerald Kennedy was a charming, magnetic and very intelligent leader. He was a breath of fresh air to a country facing uncertain times. He also happened to be married to Jacqueline Bovier; still considered to be the archetype of a modern First Lady.

The Kennedys were an iconic couple that still embodies the American political ideal: power, money, charm, history, class, and at least the appearance of approachability. To this day, Jack and Jackie are the closest thing to royalty the United States has ever produced. President Kennedy died young of course, but that has forever secured his legacy of a shining icon taken too soon. Enormous potential left unfulfilled.

He had a classic, timeless style about him – some might say it was the kind only money could buy – but he and his family brought elegance and graciousness to the White House. He was also a strong leader, author, Pulitzer Prize winner, and brilliant politician. Kennedy’s personal style is also enduring. It has been said that when he took the oath of office bare headed, the first president to do so, it was the death knell of the hat industry. He brought the Ivy League look to the global stage and made the sack suit the international sartorial symbol of America.

Comfortable in both white tie and tails or khakis and an old sweater, he was informally stylish and at the same time elegantly disarming. Republican or Democrat, all presidential hopefuls secretly compare themselves to JFK. That is his enduring power.

George Clooney

Yes, he is an actor; but George Clooney has moved beyond mere acting and playing the playboy. Clooney is an artistic and idealistic force that reaches far beyond Hollywood. He is also very much the playboy – tough life.

An amalgam of Cary Grant, JFK, and Orson Welles, Clooney has created a distinct persona that is unique in today’s celebrity culture: a socially conscious, intellectual sex symbol. He is also one of the few actors who can truly be called classic. It’s very easy to imagine him working with someone like Gary Cooper or Humphrey Bogart.

The son of a reporter, George Clooney is articulate, inquisitive and intelligent. Politically active and astute, it’s also easy to see him running for office. That alone places him in a different league from other celebrities with a “cause.” A liberal, he happily picks fights with conservative pundits – and often wins. A powerful producer and director, he also picks projects with a message; sometimes veiled, like “Three Kings,” and other times very, very clear, like the Academy Award winning “Good Night and Good Luck.”

Clooney’s own fashion sense is an integral part of his timeless look, so much so that he was chosen to grace the inaugural cover of Men’s Vogue. Clooney is constantly compared to Cary Grant and his affinity for classic, simple outfits in monochromatic pallets is a direct homage to Grant’s enduring image. George can wear a black turtleneck and polo coat like no one else.

Clooney also has an approachability that is very un-celebrity. I can attest to this from firsthand experience. Meeting George Clooney on a D.C. street a few years ago, I found him to be a very nice guy. He had no handler, no entourage and seemed genuinely happy to take pictures with people and sign a few autographs. He was a real gentleman without pretense. The very next day I saw him on TV at a global hunger conference.

Both of these men epitomize timeless style backed up by real substance. One was violently taken away from us. Yet in that moment of loss the world gained, for lack of a better term, a legend. Jack Kennedy will forever be asking us what we can do for our country. He will inspire generations to come with both his style and his deeds.

The other man inspires us today in a different manner. Not static in history, George Clooney is very much alive and still creating his future legacy. Just as he challenges his audiences with landmark projects like the gutsy, live telecast of “Catch 22,” he challenges his peers to back up their platitudes about global warming, education and the scourge of AIDS with substance and action.

To me, these two men are definitely worth admiring.

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Style Icon: Noel Coward

The artistic polymath Noel Coward was also one of the most desired and admired men of his day. A playwright, award winning actor, composer and society wit, Coward was the living exemplar of a Hollywood super-character; suave, clever and wickedly talented.

He was also one of the leaders of fashion and his high position of influence meant that his particular interpretive chic was followed by many men who would, had he not been Noel Coward, probably not have allowed themselves to be persuaded so.
Coward was flamboyant, and his wardrobe was no exception to this. Not garish and gaudy like a Quentin Crisp, Coward’s style was sleeker and less baroque. He had idiosyncrasies to be sure; white shoes were a favourite of his, as were large almost clown-like bow ties but he was never inflexible.

His style changes throughout the decades of his life display his openness to fashion and new ideas. In photographs of Noel Coward, at the height of his powers in the 1930s or towards the end of his career, and his life, in the 1970s, you get a sense that Coward was enjoying himself all the way. At no point do you look at him and see a defeated man; an embittered oldie who has let the world go by. He looks thoroughly active; taking part, mixing in and providing creativity all the way.

In addition to his artistry of dress, Coward had a knack for posing. Never shy of the camera, some of his portraits are works of art; sitting or standing, Coward gestures and throws mordant smiles at the lens.

Coward is often credited with being a 20th century dandy. Alongside the other candidates however, Coward shines. He was never foppish nor brassy, and his jaunty style was always in good humour and was as much a part of him as the witty melodies running through his mind. Other modern dandies have tended to mock dandyism, taking the meaning of the word to a tasteless extreme. Coward’s part in fashion was rather like that of Brummell’s; a modernity that doesn’t look too modern, an elegance that doesn’t look like ornamentation. Coward couldn’t abide vulgarity and often spoke of his friend and contemporary rival Ivor Novello as a talented man, one capable of being “violently glamorous” but also a “little vulgar.”

Coward was all about discretion and taste; a thoroughly English gentleman who put his best foot forward. He is likely to be remembered, fortunately, for what he gave to the world. As long as his name is muttered approvingly by generation upon generation of devotees, the world will be exposed to the unique and entertaining personality he was; an icon in all the best denotations of the word.

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