Brooks Brothers Gets Ready for the Spring

Brooks Brothers recently launched its Spring line and I think it looks pretty good. It’s not cutting edge or breaking any new stylistic ground, but the design team has decided to channel the golden age of menswear – 1930s and ‘40s Hollywood. They have done a pretty good job of capturing the flair of that era, while at the same time reinterpreting the fashions for today’s consumers.

There is a pleasing balance to the overall style, timeless classics like sport coats cut for warmer weather in silk and merino blends and lightweight Harris Tweed, shawl collared cardigan sweaters, and elegant shirting. There are also a few items that take some sartorial guts to wear, like the Ghurka styled belted shorts and pink seersucker blazer. Neither is particularly edgy, but sometimes it’s easier to be outrageously shocking than truly classic.

This season’s collection, as with nearly all since the company was acquired by Italian Claudio Del Vecchio in 2001, has a distinctly European feel. The overall message is American glamour, but the execution is quite continental. Not that Brooks Brothers has ever been slacker when it comes to actual quality, but until Mr. Del Vecchio took the reins, there had been a very distinct sense of sartorial stagnation.

Not too long ago, I also stopped by Brooks Brothers’ flagship store on Madison Avenue to check out the Black Fleece line. Thom Browne’s joint venture with Brooks has been both lauded and paned. Up on the third floor of the store, with a huge plasma screen showing runway clips in a slightly industrial showroom style setting with freestanding sample racks, I found a hipper version of the Brooks Brothers’ traditional clubby feel. Overall, I was impressed.

I ran into two Japanese gents trying on Black Fleece oxford shirts and asked them for an opinion on fit; “definitely a slimmer fit,” came the reply. But they both seemed pretty impressed; and so was I. The samples on display, turned inside-out, highlighted exceptional tailoring and the fabrics were alternately butter soft or weighty and dense - each appropriate to the piece.

The general feel of the collection is a merger between the pared down monochromatic aesthetic of 1950s America and the restrained yet stylized European body conscious look of today. It’s not your dad’s Brooks Brothers, but it’s also not abandonment of classic style. That same traditional sensibility is there, but with a twist.

Some things however, like the dove gray morning coat tricked out with white trim, a la boating jacket, are wholly decorative and practically nonfunctional in the real world (at least mine). Browne’s trademark shrunken suit has been elongated to the more realistic proportions of actual men who don’t work the runways for a living. It’s a fresh breath of air for a classic label.

Another strong design season is putting Brooks Brothers back on the style map.

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Bell & Ross: An Interesting Watch

When it comes to wrist watches, the shape and style of the watch case is often a variation on a common platform. They are round, rectangular or Tourneau – all traditional shapes. Once in a while though, a manufacturer comes along and dramatically changes the playing field. While not for everyone, Bell & Ross is one of those companies. Designed after airplane cockpit gauges, their BR Instrument line of timepieces is about as distinctive as you can get.

Founded in Switzerland in 1992 by a group of aeronautical designers, Bell & Ross is focused on producing watches that are both distinctive and suitable for use by demanding professionals like pilots, divers, astronauts and specialized police units.

What sets Bell & Ross apart from other Swiss watchmakers is its focus on utilitarian design, complimented by exceptional technical craftsmanship usually found inside luxury cases. Their designs tend to follow the school of “form follows function,” so the distinctive square shape of the Instrument line is, in fact, dictated by the goal of precision timekeeping and durability.

The company has four stated design principles that guide the development of their timepieces: water resistance, mechanical precision, readability and performance. The readability principle has perhaps the biggest impact on the watch’s physical design.

Hence, the Instrument line looks like, well, flight instruments. This practical design scheme ultimately makes for a truly unique watch in what too often seems like a sea of sameness.

These square cased watches are large, distinctive and instantly recognizable. Particularly unique is the watch face’s strong graphic design; large white markings on matt black backgrounds. The goal, of course, is to mimic the clear visual indicators of cockpit controls.

The Instrument line comes in four primary models: the BR 01-92 black dial automatic; the BR 01-94 Chronograph; the BR 01-96 big date; and the BR 01-97 power reserve. There is also a rather elaborate tourbillion model that is, to me, a little funny looking. For those out there with smaller wrists, there is also a mid-sized version of the Instrument line in a 42 millimeter size.

In keeping with the demands of collectors, each of these watches is also available in finishes other than black; from brushed steel to rose gold. While large and frankly clunky looking when lying on a table, once on the wrist, Instrument watches are particularly masculine looking.

If you are looking to invest in something interesting when it comes to watches, take a look at the Instrument line from Bell & Ross – it’s definitely different.

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“Vintage Authentic” v. Plain Old Authentic

Some time ago, I was clearing out my closet and came across a pile of old Brooks Brothers oxford cloth button downs. I had not worn these shirts in almost a dozen years, yet there they were; classic, frayed and waiting for a wash. These shirts took years wear in and have a nice threadbare look around the collar and cuffs. If I went looking for these oxfords in a store right now, I’d have to pay a hefty premium for the “vintage” details and “hand finished” distressing.

But I don’t have to; I have the real thing although these days the real thing seems to be less of an ideal. The kind of character that used to take years of wear and tear, weekend chores and yard work can know be picked up by the dozen at the store. We have become such a culture of instant gratification that we can now expect, and receive, instant heritage. These artificially old clothes are of perfectly good quality of course and they are great assets to any wardrobe. Still, I’m very happy to know that these classic shirts are not fakes. They do not have a manufactured history. The various scars and scrapes took me time and effort to develop, not a giant machine that churns out personality by the bolt.

I am still a fan of companies like J. Crew, a label synonymous with pre-beat up classics. But I grew up before the art of creating ready wear history became the norm, so there is comfort knowing that the character these shirts have is, in fact, mine. Much of what is in my closet has taken a lifetime to age and I am proud of that. It’s like a sort of long-term investment.

Of course I also appreciate the benefits offered by the modern textile industry. I like the fact that I can go and buy a pair of khakis that are comfortable right off the bat and that I can’t even remember the days of having to “break in” jeans - something the modern teenager cannot even fathom. Still, there is a certain sense of accomplishment in creating the patina of your own wardrobe.

If nothing else, this experience fits neatly in line with my manta of buying classic clothing that will last. Remember, the perpetually sought after “old money” look speaks of timeless classics - worn out khakis, glossy leather shoes re-soled a hundred times and patched tweed coats - because these cherished articles were actually worn for years. Sometimes, as in the case of Gianni Agnelli’s suits, they’re worn for generations. Thrift is a valued personality trait.

Don’t live in the past however; always make sure to inject new styles and fresh perspectives into your wardrobe. Even the most classic of clothes will not be in fashion forever. Design and cuts change over time, colors go in and out and lapel and tie widths will fluctuate. Wear what you like and makes you happy but always make a point to invest in clothes that offer some long term quality. Fashions fade, style endures and clothes really do develop their own personality. And that you cannot manufacture.

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Commuter & Dad Bag Test - Bag #1: The J. Peterman Company Counterfeit Mailbag

Anyone who reads Off The Cuff knows that I am always thinking about bags in one way or another because men today need them more than ever. And for those of us who commute by bus or rail, like me, we need good bags.

This led to the idea of the Commuter and Dad Bag Test. Unlike some other tests out there, I did not concoct some elaborate rating scale with minute technical benchmarks. I am simply looking at the bag’s suitability for use in the real world. Is it something I will actually want to carry around all day? Is it user friendly and well designed? Can it carry a laptop and a baby bottle without making me nervous?

I have already tested several bags, which entails real life day-to-day usage. I’m using them for work, running errands and carrying stuff around. They are being dropped, stuffed, rained and occasionally stepped on. My scoring system is fairly simple: I’ll tell you what I think, why I think it, and give you an overview of each bag’s performance, pros and cons. I am happy to now present the first review.

The J. Peterman Company Counterfeit Mailbag (US$298.00 / www.jpeterman.com)

Background
This is the only leather bag in the test and also the only messenger bag style bag. It is modeled after the old mail carrier bags that lugged generations of correspondence across the United States. Like the original, it is designed to hang off your shoulder or be carried by the sturdy handle (a modern concession).

Its manufacturer, The J. Peterman Company, is a remarkable company in its own right. Based in Lexington, Kentucky, its founder and namesake, John Peterman, is something of a cult figure in the premium catalog world. For more than 20 years, his iconic “owner’s manuals” have made their way to one expectant mailbox after another. With impressionistic watercolor images and pithy short stories instead of bland product specs, each one is a treat for the eye.

The company may also sound familiar to fans of the TV show “Seinfeld,” which turned John Peterman into a pompous blowhard played with aplomb by actor John O’Hurley (ironically, a part owner of the company). He did such a wonderful job of creating a larger than life character that most viewers did not even realize it was based on a real person and an actual company.

Those familiar with J. Peterman are ardent fans who appreciate its unique offerings and worldly (and wordy) marketing approach. The Counterfeit Mailbag is an original J. Peterman product and one I have long admired – a personal note of thanks goes out to John Peterman for providing the bag for this test.

The results
The day after it arrived, I loaded up and headed off to the office. I quickly lost track of the number of compliments I received by the time I headed home. It certainly has impact on people. Perhaps it is the obvious functionality in its DNA or the classic, simple styling of the thick yet supple leather, but something in this bag makes people like it.

Overall, I have to admit that this is not the ultimate commuter bag. It is not really designed for such a purpose, and actually that’s fine. This bag has so much personality and practical style that it’s almost unapologetic about its limitations. So, while I would recommend it as a great general purpose bag, using it in a commuter-specific role is not what it’s cut out for.

There is one giant open compartment which makes up 90% of the bag and a large exterior zippered pocket in front. This is all covered by an enormous leather flap. The large open pocket has a simple yet ingenious leather tab that buttons on to a brass stud used to keep the pocket pulled closed.

Design-wise, the large main compartment provides no organizational features; it’s just a big space that allows things to move around and get lost. Also, because of the bag’s design – it has a wide structured bottom and a flexible opening that is pulled closed via the tab – stuff naturally gets pushed out of place. For example, although my laptop had plenty of room in the bag, it also quickly shifted around and caused files and notebooks to slide to the bottom. With no additional interior pockets, my cell phone and Blackberry were quickly lost form view.

The zippered front pocket is quite large and slightly gusseted to allow for expansion. The zipper, as with all of the bag’s hardware, is top notch and sturdy. There are no pen loops or extra interior pockets so your smaller items will get jumbled a bit as well.

The sturdy leather shoulder strap is just that, a shoulder strap. Like the original, this bag is designed to be slung over one shoulder, not cross body. There is also a substantial padded leather handle, so it can be carried in business case fashion as well. Usually a perfunctory appendage on shoulder bags, this handle is wholly functional and well designed. Positioned at the center rear of the bag, it distributes weight fairly evenly, so it can be comfortably carried for long periods of time.

Wrap up
The Counterfeit Mailbag is perhaps my favorite overall bag. Neither a briefcase nor a messenger bag, it is actually the closest thing to man bag that I’ve come across. It is absolutely masculine and works quite well with a suit; just make sure to carry it by the handle so as to not mess up your jacket. At the same time the almost total lack of modern luggage engineering gives it a rugged, timeless appeal that works with a leather bomber and fedora. In fact, you are duly instructed to beat the heck out of it to help accelerate the aging process.

This is the kind of bag you want to carry around; it has unmistakable personality and a real sense of history and purpose to it. Just accept its organizational limitations and enjoy.

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The Roots of American Preppy

This column grew out a discussion on my blog, Off The Cuff DC, on the relationship between classic and preppy styles. The subject quickly became an effort to identify the real roots of American preppy and what it means today.

New England preparatory schools, conservative protestant values and social stratification all combined to create an environment which produced the uniform we know today as the preppy look. Actually, what passes today as “preppy” is a fantasized ideal of make believe history. It is a manufactured past that distorts the classically rooted values which gave birth to the preppy culture. When a kid is called a prep today, it usually means that he wears rugby shirts and shops at Abercrombie & Fitch (I remember when A&F was, in fact a great store). There is no sense of history or understanding of the preppy culture and that’s too bad, because it’s a pretty interesting history.

Yes, it started mostly at New England prep schools and ivy walled colleges. But the roots of preppy style can also be traced to a focus on social achievement, uniformity of style, propriety, proper decorum and class distinction. Conformity of dress at school resulted in the basic uniform of coat, tie, button down shirt, grey flannels or chinos and loafers or lace ups. Codes, traditions and sports also helped to nurture a bond and familiarity among budding preps and instilled in them a feeling of belonging.

This environment helped create a culture of exclusivity that had real influence. To say you prepped at Andover (a feeder school for Harvard) or Hotchkiss (a feeder school for Yale) could win you access to the right social circle or get you into really great parties. And once in the working world, to say you were a Yale man could mean getting the right job, joining the right club or vacationing on Martha’s Vineyard.

As preps sought to instill that sense of tradition and lifestyle in their own children, they looked, of course, to their own preppy past. To the oak paneled lecture halls of Exeter, the squash courts of Deerfield and the rowdy but stylish nights at Choate Rosemary Hall. So their offspring were trucked off to the old alma mater and the cycle began again. But, as with so many other attempts to create a bubble of exclusivity, the prep school aesthetic eventually moved beyond its original sphere of influence.

People want what they do not have or what seems more attractive than what they do. So, when the Preppy Handbook hit the shelves in 1980, its editor Lisa Birchach (herself a Brown grad) overnight became the arbitrar of all things pink and green. People didn’t care that it was intended to be both a send-up of the “true” prep culture as well as a tongue and cheek education for those looking to emulate the life. They saw a way of living that was far more exciting, cultured, sporty and stylish than their own - and they wanted it.

For the first time, preppy culture had been distilled into a portable and easy to understand resource. The privileged and windswept lifestyle that had taken generations of Blue Bloods to develop and refine was now a commodity to be bought and imitated. I often use the term “democratization,” to describe this moment in the life of prep. That is because once the Preppy Handbook came out, kids across the world latched onto the most attractive aspect of the preppy life: its look, the rumpled and ironic blending of dress and casual clothes.

As one of my readers sharply pointed out though, the iconic Ralph Lauren image of mixing dress and purposeful clothing did not start out as a fashion movement; “you don’t wear foul weather gear over your blazer because you’re a blue-blooded American demonstrating your accessibility without appearing tacky; you do it because you’re a wise-mouthed elitist who smugly tells your Latin professor, technically speaking, you haven’t broken any rules so there’s nothing he can do about it. And of course it’s sailing gear, because your father does own a yacht…”

The original audience for the rebellious “foul weather gear over the blazer” look was other preppies and their families. Yet, as this type of hybrid style came into its own, it seeped out into regular society. Eventually spreading to Madison Avenue, it was popularized by style influencers like Ralph Lauren. The prep boom of the 1980s waned over time due, I think, to its extreme and vibrant interpretation of the preppy culture; there was an almost cartoonish quality to the movement. Broadly speaking, the current resurgence in preppy style has taken on a more worn, comfortable and “vintage” personality. It seems approachable and less stuffy.

An interesting thing has happened to the breeding grounds of prepdom too. If you walk through Harvard Yard or Yale’s Old Campus, you don’t see too many of the snooty old-line preps anymore. They are still there of course, along with Skull & Bones and the legacy kids whose wealthy parents bought their admission. But what you really see is that a majority of the kids milling around campus these days more closely reflect the modern world. The prep thing is still very strong – stronger perhaps than in the 1980s – but it has been modernized and updated. Just like everything else in life.

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