Halloween Costumes
A couple of years ago, I made some suggestions to readers on the subject of Halloween fancy dress. A friend who had read the article told me that he agreed with me on the characters I had suggested but warned me that I was being rather too traditional, and perhaps a little naïve in my suggestions. Apparently, as Halloween parties are now so popular, and passé, in the western world, particularly in the United States of America, the old fashioned practice of appearing as classic gothic or horror associated ‘characters’ is on the wane.
An American friend recently told me that almost anything passes as a Halloween outfit these days, as long as it is recognisable. Characters from generic television dramas, grinning sports personalities and rather harmless looking stars from stage and screen. A favourite outfit for young women; the Playboy bunny. As much fun as joining a room full of unconnected and attractive characters from popular culture is, it’s not really in the interest of the gentleman of style to part completely with custom. Though dressing up as Clark Gable may sound enticing, the style man needs to stand firm with his flag of tradition.
Phantom of the Opera
Gothic horror stories are the bread and butter of Halloween. Gaston Leroux’s tale, a judgment on the cruel superficiality of humankind, bombed as a text but it has become one of the most famous stories of all time thanks to the many film and stage adaptations. Appearing as the Phantom is an excellent choice for a stylish gentleman. It involves little investment beyond a facial mask and perhaps a cape – everything else, he is likely to possess in his own wardrobe. The ideal way to do it is to wear an evening tailcoat, with matching trousers and a wing collar shirt. The waistcoat could be white or black, but should be of a low break and the neckwear could be simple – a white bow tie – or it could be more dramatic; try tying a black silk scarf into a large floppy bow around your neck.
Jack the Ripper
One of the most famous criminals of all time, Jack was the original Ripper. His serial killings mystified Victorian society but it is his status as the greatest murderer who was never caught that has given rise to the conspiracies, the theories, the horror and the legend. Modern thinkers are convinced that the Ripper was an anonymous nutcase of feeble education. More significant to the man of style are the popular representations of the Ripper as a Victorian gentleman like Sir William Gull, the royal physician, or even the heir to the throne himself, Prince Albert Victor, who have ensured that the dark shadow that looms over Whitechapel wears a top hat and an Inverness cape. In addition to these items, white tie with a smattering of wash-off fake blood could be worn (pour the fake blood into a water pistol and squirt from a distance to get the ‘genuine jugular’ look). Carrying a surgeons knife is going a little too far so spook the outfit further by wearing some absinthe-coloured round spectacles.
Dorian Gray
Nothing much needs to be written of Gray. He is everywhere. He is the perfect representation of the vanity of humankind. About him, no words are more apt than these; “For what shall it profit a man, if he shall gain the whole world, and lose his own soul?” Wilde’s character, as beautiful as he appears, is the embodiment of evil and as such has some of the highest Halloween credentials. The man of style would also be relieved to learn that to appear as Gray requires very little in the way of expensive costume addition. The goal should be to appear as a late Victorian fop; a cravat, wing collar, waistcoat, pocket watch and perhaps a velvet jacket. Placing a rather ancient looking key on a chain and wearing it as a necklace adds a vital prop, aside from that there is very little else to do except to beautify yourself and attempt to look as young and attractive as possible. Another option, to make your character choice more obvious, is to paint one half of your face in rather gruesome decay, leaving the other half quite pure. To make this work properly, you will need a make-up assistant of considerable skill.
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The Next Step: The Buttonhole
I recently attended a screening of Oliver Parker’s take on The Picture of Dorian Gray. Parker, having directed two of Wilde’s plays previously, turned his Wilde-loving hand to this notoriously tricky gothic horror with relative ease. Like most of Fitzgerald’s work, Wilde’s only novel is exceedingly difficult to translate to the screen as most of the poetic beauty in the work is only possible with Wilde’s language and observation. What works on the page, and in the mind’s eye of the reader, does not necessarily work on the screen. Nevertheless, it was rather entertaining and artfully conceived – the critics will bay, no doubt, but as Wilde stated in the preface to the novel it matters not: all art is quite useless.
To live for a useless thing would irk most men of a sensible nature. Most people do not like to be told that they have no purpose or that what they do has no value other than decoration. The artist comfortable with the uselessness of his own artistry is a happy fellow, but a rare one. Wilde himself pursued and commented on art and vilified its manifestations as vehemently as he celebrated them; fashion was one of his favourite subjects for attack. While wittily cynical about the artless side of fashion, he was often effusive about its potential for beauty; “A well made buttonhole” he quipped “is the only link between Art and Nature.”
If a well-dressed man is rare, a well-dressed man with a buttonhole is almost unheard of. Men are somewhat terrified of flowers. Even when they procure them for a lady love, they walk with an embarrassed shuffle, horrified that someone would see that they have purchased such extravagant tokens of affection. They hand them over with a puzzled frown as if their gift was possibly radioactive and they gripe with a rueful sneer when the expensive blooms begin to wilt. Men are mercilessly practical; beauty that inevitably dies is scarcely worth the purchase. However, as Dorian Gray teaches us, some beauty is more precious because it fades. “The world is yours; for a Season” spoke Lord Henry.
I rather like that buttonholes, impressively inexpensive from the right florist, are not eternal. I like the fact that they wilt and die. Wilde was right; they are the coming together of Art and Nature. They bloom with the majesty of Michelangelo and wilt with more tragic splendour than the Bard’s finest lines. Their purpose is not at issue; their value is unquantifiable. It’s strange that some men consider they are entirely useless in the context of dress when they themselves adopt silk pocket squares that will almost certainly never be used for the purposes of a cold or even the tears of a shoulder-leaning young lady. There is plenty that is useless about a gentleman’s attire, adding a purely decorative flower will not denigrate the ‘utility’ of the ensemble further. However, if utility is your chief concern in matters of dress these words will mean nothing to you.
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The Old Favourite: The Duffel Coat
When I was at university I had already begun to grow into the sort of clothing my parents approved of; wearing shoes instead of trainers, sensible overcoats instead of paper thin fashion jackets. It was an instinctive switch. My life had changed course. I felt that I was suddenly more responsible for my own maturation. I decided to grow up. However, I grew up unilaterally. A girl who had been interested in attaining my affections remarked that I had matured too soon. She said that I would eventually suit the clothing style that I had begun to adopt, but when I was a good deal older. “It’s just not sexy” she once commented, rather inanely. Others conformed to the student wardrobe with greater ease than I. I was never happy in a hoodie. As a result I developed, alone, a confidence in wearing clothing that was seen by many as ‘too old’ for my age.
When I recently expressed an interest in purchasing a duffel coat, a friend of mine remarked that I was probably now a little too old for one. A little maturation, a few years and suddenly no longer am I too young for clothing but, in actual fact, too old. The window for wearing such an item must be remarkably small according to this wisdom. A couple of years at the most? Bizarre.
It’s for certain that the duffel coat is a classic, collegiate item of clothing that seems to belong on wooden pews in dusty libraries beneath dreaming spires rather than draped over an Eames chair in an air-conditioned office boardroom. It has a childlike simplicity. It makes no attempt to conceal its origins as a practical garment for Naval officers; the fastenings and toggles often look like reef knots and it is certainly not an item of refinement.
However, although it is not an item to wear with your pinstripe suits it can surely be a perfect friend on chilly, winter days. The duffel material is a heavy wool and, designed to keep sailors warm in freezing Atlantic winds, provides more than adequate protection for cold, metropolitan Sundays. The toggles themselves, ideally horn, were designed to be fastened and unfastened whilst wearing cumbersome gloves and the hood, perhaps the most ‘juvenile’ feature of the entire garment, provides protection against icy winds. Beyond these practical points, the duffel coat has an undeniably youthful aesthetic. It manages to dress down even the dressiest of accessories – bow ties, silk scarves and waistcoats – and yet does not alienate them. It draws from these items a dishevelled elegance that is interesting and distinctly ‘weekend.’
It actually does make gentlemen look younger. Unlike trainers, hoodies, printed t-shirts and other remainders of a varsity wardrobe - which merely make gentlemen look desperate. Wear it with slim trousers or jeans in blue or khaki. Gloverall, the original military surplus suppliers, are the best producers of quality duffel coats.
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Style City Of Choice
London and New York are under the fashion spotlight at the moment. New York is (at the time of writing) over halfway through their ‘Fashion Week’ now rebranded, rather strangely and confusingly, as ‘Mercedes-Benz Fashion Week’ and London’s begins on the 18th with a special menswear day on the 23rd. Whoop-de-do you might say. For what interest could there be in such a vacuous, female-focused, brand driven love-in for the man of style? Indeed, as I wrote of my experience at London Fashion Week a couple of years ago, though the event itself is, admirably enough, an opportunity for the most minor of clothing designers, and even design and textile students, to exhibit their work to an international and highly powered audience of press and buyers, it was depressingly dominated by kitsch, faddish female flim-flam; the sort of stuff that is easy to sell to an unknowing and unsuspecting fashionista but to an eye more interested in material value and longevity, utterly worthless.
In a way, it’s a chance for London to ‘have their fashion fifteen minutes’, and with British (Christopher Bailey) and ‘technically’ British (John Galliano) talent amongst the elite of world fashion an opportunity to show that when it comes to fashion, the Brits can muck in with the Italians and the French awfully well. In the same way, New York’s week at the tents in Bryant Park – with the ubiquitous Sartorialist Scott Schuman snapping outside – has equal talent to show off and proves that creativity at the very peak of clothing design is not only of a European variety. To the gentleman of style, all this ‘good for you’ back slapping of young, ambitious designers may be all very well, but as these are female and buyer driven events, you might wonder ‘Why the special focus?’
The point is that the show has ulterior branding motives. As well as showcasing talent, they’re also events which market the nations, and particularly the cities, in which they are held. Huge companies fight over sponsorship and event partnerships – desperate for the glittering arm of ‘fashion’ to drape over their drab, corporate shoulders – and hotels, restaurants, shops and bars hold special fashion ‘events.’ All this gleeful ‘25 years of British fashion’ and anxious promotion of British talent got me to thinking about, arguably, fashion’s mightiest citadels – Milan and Paris. Two cities which in fashion terms need no introduction. Everyone knows they are the heart and lungs of world fashion and yet, to some, their reputation is often their cover.
Paris and Milan have the stock of high fashion names and make all fashion conscious, and fashion fearful girls weak at the knees when they imagine the boulevards of emporia; the slick, monochrome style of the Parisians and the bright, showmanship of the Milanese. However, as useful as they are to the fashionable fairer sex, it is often more satisfying finding something you need in London or New York. NYLon’s moments are small moments in international high fashion but many more people, more interested in style and quality, value them highly.
Which, dear reader, is the style city of choice for you? Is it the New York of Ralph Lauren, Thom Browne and Brooks Brothers or perhaps the Paris of Charvet, Chanel and Hermes? Or maybe you are attracted to the Milanese names of Armani, Prada and Brioni or even the London style of Burberry, Aquascutum and Richard James?
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This Season I Shall Mostly Be Wearing…
One of the great differences between men and women when it comes to clothing selections is that whilst women remain keen to keep ‘up to date’; reading fashion bibles, flicking through blogs, gazing at the ensembles of celebrities, fewer and fewer men are at all interested with what the fashion houses are pushing out and more and more seem to be taken with what works; something that has impact. When the seasons change, it is extraordinarily rare for any males of my acquaintance to ask me what is ‘in fashion’ for the coming months. They talk rather of things they’ve ‘always wanted to own’; a particular style of coat or shoe perhaps. Most acquisitions are not in pursuit of a fashionable aesthetic but part of a slow maturation that lifts them from being mere boys into manhood.
Knitted waistcoats
Knitted waistcoats did feature in a few collections for the coming season but they’re hardly a recent invention. Less formal than some other styles of waistcoat, the knitted waistcoat is warm and comfortable to wear – essentially it is a sleeveless cardigan – and offers a textural difference in suit ensembles. It is also smarter than the V-neck jumper which can look rather bulky underneath suit jackets and blazers and due to it being available in a number of colours, offers good colour matching/contrasting opportunities. This is an ideal garment of comfort and elegance for the colder seasons.
Burgundy
Although a colour associated with autumn, burgundy is not considered ‘the’ colour of the season. Nevertheless, it is a perfect time of the year to experiment with this attractive tone. It is certainly masculine but has a refined, quietly aristocratic quality that softens greys and blues which can often look harsh in autumns golden light. Burgundy cords look particularly fine with brown brogues and a burgundy waistcoat with a grey flannel suit sounds daring but is actually rather a classic combination. Smaller additions such as a burgundy paisley pocket square or a clubby tie add that touch of the regal. Burgundy is also a wonderful partner for other autumnal colours like forest green, tan and chocolate brown.
Patterned trousers
Showing flair is easy in autumn; until winter overcoats cover the resplendent ensembles, there is ample opportunity to enjoy, and experiment with, combinations and accessories. I personally think that autumn is the perfect time of the year to wear odd patterned trousers; hounds-tooth, checks and stripes. Whereas summertime seems to call for lower leg simplicity – cooler, paler colours - the introduction of autumnal winds and the natural ‘fuss’ that comes with dressing for the season seems to call for some variation on pant pattern. A classic Prince of Wales check trouser with a blue blazer or perhaps a blue chalk stripe with a brown hounds-tooth jacket.
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• Ruffs, Cuffs and Farthingales (by Winston Chesterfield)
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• Smarter Style (by Michael Snytkin)
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