Are You Going Out In That

I am often asked this question; “What do you wear when you go out?”

Why am I asked such a question? Chiefly, because my particular inclinations (bow ties, paisley pocket squares and fuss) do not seem to marry with the idea of what that particular person considers ‘going out’ clothing. ‘Going out’ is unambiguous code for late night bar-hopping, clubbing, guest list queues and almost any activity past 6 in the evening that involves the purchase and consumption of alcohol and the ‘musical’ assailing of the ears.

For women, ‘going out’ is frankly ceremonial. Hours before departure, dresses are trialled with necklaces, shoes, bags, bracelets and boleros. Make-up is invariably applied, hair remarkably coiffed, skin moisturised and nails shining. Men make no such effort. In fact, men often make no distinction between day wear and evening wear at all. This is largely because the line between the two has blurred considerably, but also because eveningwear used to be so easy for the poor, uninterested male. All he needed was a few white evening shirts, a black bow tie and a dinner suit. He never cultivated alternatives or variations as women did. As stiff and as formal as it sounds, black tie was perfect for the man who didn’t care.

These days, he has the misfortune of choice. The most common dilemma is ‘Which clean shirt shall I wear?’ followed by ‘Which jeans match smell the best?’ For the shirt, usually untucked, worn with jeans is by far the most common ‘going out’ ensemble for men in my neck of the woods. I cannot stand it. It lacks invention. It lacks presence. Although, I admit, it is rather perfect for the environments in which it is often seen – dark, cramped, sweaty clubs that remind me more of a musical Tube ride at rush hour than an MTV video set.

Although I would always encourage a gentleman to wear the clothing he feels most comfortable in, even if this be tweed n’ cords, I always adjust my signature a little when I venture out for a ‘hit’ of nightlife. I tend to tone down; bright clashes of colour that work well in the sunlight have little effect in the gloom of a club. Also, I tend to work with more monochromatic colours – greys, white, black, navy blue – and stay away from brown. Colour and flourish added can be rather simple. Ties, if I wear them, tend to be simpler and stronger in contrast if patterned. If I go without a tie, I invariably add a silk pocket square. Silhouette is always important but at night it is particularly pertinent as less detail is on display; ergo, trousers should be flatteringly slim and jackets short.

I also think playing with texture is more important than playing with colour subtleties; the odd patent belt, velvet jacket or slub-silk trouser adds depth. The best thing is, ‘going out’ clothing is far easier for the male to achieve as so much of it can be borrowed from what is considered to be his ‘work wardrobe.’ For that ease of transition, the male is envied.

Style Movie: Coco Avant Chanel

One of the most interesting things about ‘Coco Avant Chanel’ was that for all its triumphant, feminist messages about suffragette-era women, succeeding ‘in a man’s world’, and rejection of conformity (including the institution of marriage), it actually paid peculiar, and not necessarily intentional, homage to the man.

Certainly, the ‘beast’ was duly embarrassed; boorish aristocrats proved to be no match for the cutting wit of little Coco, very well played by Audrey Tatou, who flicked her French fingers facetiously, clucked disapprovingly and smoked incessantly whilst the men surrounding her somehow succumbed to her interesting beauty and evident charm. She practically devoured Balsan, the boozy beast in the castle, and though she was certainly ‘targeted’ by the love interest, Arthur ‘Boy’ Capel, you couldn’t help but conclude it was she who had fired the arrow.

However, the reason the film was made was not because Chanel was simply another story of a determined woman who had battled sexism and prejudice before feminism had been invented, but because she was a fashion designer. The message of the film was valid but I was far more interested in what had possessed this sometime milliner, what had influenced her in achieving not, as some have concluded, merely parity with men but a style of such simplicity and grace that it completely changed the way males and females perceive dress.

The irony of the film is that Chanel inadvertently credits the timelessness and refined simplicity of Edwardian male style. It’s obvious that she isn’t wearing trousers, boaters, shirts and jackets simply because she is rebelling but because they appeal to her. And, of course, though men are blamed by Chanel for imprisoning women in the over-elaborate dresses of the early 20th century, she also admires them for the way they wear their own clothing. She copies them, borrows from them and not only finds inspiration in them but also genuine friendship; it’s very odd that so many have written it up as a battling, feminist tour de force.

To view her adaption of male clothing, pyjamas and rejection of frilly fuss as merely bog-standard, feminist nose-thumbing is to miss the point; Coco Chanel was an aesthete who happened to respect male clothing more than female clothing and it was clear she had not merely made a self-conscious decision to reject male oppression. Some of her comments about corsets and skin-exposure did have resonance of suffragette grievances but largely, her adjustment of female clothing seemed to have a lot more to do with her distaste for overcooked fashions.

Beautifully presented, Anne Fontaine’s film has plenty of examples of majestic menswear; glorious white tie, country tweeds and pre-war pinstripes. As much as it is a toast to one of the most influential personages in fashion, and one of the most famous women of the twentieth century, it is also a nod to Chanel’s famous line; “Fashion fades; only style remains the same.”

Autumn Tactics

Readers south of the equator will have to excuse the ‘timing’ of this article; it is biased. Even readers north of the equator might consider it a little premature. After all, we are yet to see the end of summer; the yachts are still bobbing, the barbecues still smoking, and yet I am already writing of the autumn. However, I believe in preparation. Although it might be a little depressing to flick through the new season’s wools and cashmere the sooner it is confronted, the sooner the shock will pass. Some time needs to be given to wardrobe changes, additions and subtractions need to be made, and in some cases, our rib n’ burger fatted bodies will need a re-evaluation with the tape measure.

I have compiled a list of four items I have considered - paying a little attention to the upcoming trends, much more attention to the overall aesthetic - as good investments for the coming season.

The suit: Three Piece Suit

While I am definitely a fan of odd waistcoats, nothing quite beats the majesty and impact of a waistcoat worn as part of a suit. Enough has been written of the flattering effect of waistcoats, and of the practical, but the thing that should be reiterated is that a three piece suit will upgrade almost anything you wear with it; it makes one look ‘tailored’ and refreshingly ‘buttoned-up’ in an increasingly casual world. It is important to remember to break up the fabric monotony with a pocket square and the more eccentric may wish to add a rather dandy silver-chained pocket-watch although you should remember not to wear a wristwatch when you do so.

The occasion: The Velvet Jacket

Evening jackets are very different to day jackets. And as the days turn darker, there’s even more of a division. Texture is a useful quality when we begin to layer our clothing a little more and velvet is the perfect foil for dreary grey evenings. Even with a plain shirt and trousers, the VJ will make you look like you have made a decent effort for that after-work cocktail party. Look out for the rakish shawl collared versions that are slowly appearing in the shops. Traditionally made in burgundy, deep blue or black, the VJ can easily be worn with denim.

The everyday: The Corduroy Jacket

If you think wearing a tweed jacket shouts ‘I know stats!’ you might wish to opt for a corduroy jacket. Both are perfect for the bookish, Ivy Leaguey autumn casual looks but corduroy is definitely the ‘younger’ jacket. When it begins to look battered, like a Barbour, it simply looks better. The matt texture allows for great contrasting with, for example, a paisley bow tie or a silk polka dot pocket square. It’s a robust old thing so it will be hard-wearing as well as warm. Dark brown is common, if not a little boring. Try navy blue, mustard or slate grey.

The versatile shoe: The Monkstrap

I love my lace up Oxfords but my ‘friend’ shoes – the ones I always rely on at times of indecision – are generally slip-ons. The monkstrap is not officially a slip-on but the more it gets used, the more likely it is that the strap will remain fastened when the shoe horn is put into action. My uncle has a battered pair of Church’s monkstraps that, he claims, haven’t been unfastened in 10 years. However, these shoes are of interest to more than the purely lazy – they have a character that makes them ‘jump out’ like no lace up; a shiny buckle will attract admiring glances. My particular favourite is the double monkstrap – of which I own a lovely Bordeaux pair; as fabulous with cords and jeans as cashmere and tweed.

What About Swimwear?

It is always interesting to see how far the man of style will go with his particular emphasis on and awareness of the importance of dress. What event or circumstance would limit such a man? Would he be put off when potholing? Chastened by cliffwalking? Or indeed, would he adjust his standards for even the most minor, everyday pursuit. I know of men of elegance, boulevardiers of style, whose self-taught panache seems to disappear when sporting activity is on the cards. The lesson, according to the arbiters of apathy, is that the sporting arena is about performance and not appearance. Whilst that may be true, it is never pleasant to contradict your code. I recently had to wear a pair of quite hideous Nike swimming shorts, as I had not travelled with a pair myself, and spent most of the time wading in the water, attempting to conceal their arresting-yet-tasteless luminosity.

Swimwear is generally a forgotten area in the stylish gentleman’s wardrobe. Whether this is a resignation, an acceptance of the paucity of stylish swimwear or rather a rebellion – a shedding of formality and ‘seriousness’, an opportunity to play the clown – I know not. However, I do know that it is possible to purchase a decent collection of swimming shorts that will not compromise the style of a gentleman; he can stand proud at the edge of the diving board, not cowed in the safety of the palm-shaded shallow-end.

Firstly, you will note that I stated the decent collection being composed of ‘shorts’ – avoiding trunks and thongs. For most men are rather modest in nature and are more likely to look for comfort and practicality in swimwear; tight fitting trunks may look fantastic on splendidly built gentlemen but they are made for speed in the water and not comfort on the beach. We need pockets – for currency to buy an ice cream, for the buzzing Blackberry, to carry the yacht keys – and there is nothing so revolting as a hotel guest who swings by the pool bar for a bite wearing a pair of Speedo’s finest nutcrushers.

The second thing to consider is size. Many men, of otherwise good style sense, wear swimshorts that defy the definition of the word ‘short’; the longer Bermuda style are in my opinion for spiky, spotty teenagers only. They remind me of the pirate pantaloon that made the often attractive male leg entirely shapeless. This is an important consideration. Women, and indeed some other men, can find a male leg very appealing. It is strong and has better definition than the female leg – which is why companies like Aristoc use male legs in their photography – and the more of it on display, the better. Longer shorts will make you appear shorter, and juvenile. The perma-bronzed surf-mad beefcake McConaughey tends to cover his powerful thighs with clown-like shorts – making his entire body look top-heavy, when it is anything but. If he were to wear proper swim shorts, the surf fraternity may laugh at him, but he would look far better; the balance would be much improved.

The second consideration is an important one; colour and pattern. Ironically, the men’s swimwear market is dominated by bright colours and floral patterns whereas the women’s swimwear market exhibits remarkable restraint. Hawaii-ism is rife in pattern choice with manufacturers like Vilebrequin (VILEbrequin an acquaintance once quipped) offering a glutton of petal and palm. Although it would certainly be fun to possess a pair of swimshorts covered in martini glasses, I’d never build a collection of such extravagance. Patterns are fine, but the majority of the collection should be composed of plainer models. Navy and mid blues are a good starting point as they will suit all skin tones and look richer in sunlight than black. Lighter colours such as lemony yellow look splendid with tans and richer colours like Ferrari red have great impact. Stripes are also a good idea as they recall some of the nautical notes of earlier eras of swimwear – I once saw a French gentleman in Crete wearing the most perfect Tricolore stripes. Logos, unfortunately, are hard to avoid but logically, the smaller the better.

Leather Elegance?

When I was a lad, my parents would take me travelling. We would venture near and far, as a family, and I have many adventures I can still clearly remember from those days. The most exciting time was around March when the holiday catalogues would arrive; I would read them, late at night before going to sleep, wondering which of the splendid locations I had been reading of my parents would choose. I was invariably inaccurate in my predictions. Nonetheless, I was never disappointed. Indeed, one of the most unlikely pleasures was travelling around the ‘cowboy’ states of America more than 12 years ago.

A great deal of time was spent in Dallas, visiting friends of my father. I remember the peculiarly large flags flapping on the highway, the massive glassy hotels, the car dealerships and the smell of meat and ‘bar-be-kew sawss.’ The first hotel we checked into was rather dull and resembled an office. It was named ‘Wilson’s World’ – a singularly American, if not slightly comic and optimistic name for a vast collection of dreary rooms and suites on the highway. As naïve (and pretentious) as we were, we took such a dislike to the dim, seemingly endless corridors, the beige furniture and the cold, dated corporate style of the joint that we came up with a semi-amusing song;

“We went to Wilson’s World, to stay for the night, night, night

When we got to the bar, the Coke did not taste right, right, right

When we went to the restaurant, we saw a bloke in his leathers

And dad said ‘How about checking out altogether?’”

This was oft repeated, nay chanted, throughout the holiday and it still manages to draw a smile today but the one thing that occurred to me recently when reminiscing was how we, as children, had decided that a leather jacket was somehow a humorous and unsightly mark of the commonplace. It was not a brattish observation. There was something rather unseemly about a cold-but-smart hotel restaurant providing custom to a leather clad man. I was recently speaking to someone who collects leather jackets, of differing styles, and who, regardless of weather, will always be seen wearing something constructed of hide.

It struck me that leather is rarely, if at all, a material of elegance. Leather trousers are of course, an abomination but even the oh-so-acceptable leather jacket is difficult to place. For a man who normally dresses casually, it’s a remarkably versatile garment; warm, practical and durable it will look and feel better than almost anything else. If however you are a man who likes adornment, wears ties, bow ties and shuns denim, a leather jacket is anathema. Frankly, if you’re a man of a very classic persuasion, it’s difficult to see where a lumpy, graceless leather jacket would fit into the wardrobe – amongst the mohair suits, cashmere trousers and French collar shirts.

However, after considering the problem, I came to the conclusion that elegance, at least a kind of elegance, is possible with leather – it simply means a) careful selection of the jacket itself b) considered pairings and c) an attitude adjustment.

For the first issue – the jacket selection – it is important that the jacket does not drown the man. Long sleeves and bulky shoulders are unacceptable. Though the jacket should never look ‘tailored’, it should not represent a ‘style retreat.’ Black is the classic colour for a leather jacket but brown is more chic and always remember that quality of leather should be paramount; designer ‘names’ are a secondary consideration.

Zips are more common on leather jackets but buttons are quite elegant; remember not to go for a jacket ‘imitation-in-leather.’ In other words, avoid leather jackets that have lapels and breast pockets. Of the styles available, the bomber or biker style are probably the best. Leather macs will make you look like a Nazi and leather blazers belong in a Spandau Ballet video.

For the second consideration, avoid trying to shove a square peg into a round hole and accept that your leather jacket has a certain ‘look’; it is undoubtedly more casual. Adding leather jackets to suit-like ensembles will make you look like a third rate Mafioso. It’s a weekend jacket. It needs to be respected as one. Denim is fine, if a little cliché; corduroy is better – imagine, for example, a nutty brown bomber with purple cords and loafers. Despite the casual shift, never wear trainers with a leather jacket.

Some of the best looks involve crisp open neck shirts, or perhaps a charcoal cashmere rollneck, some dark denim and slip ons; some of the worst involve Nike Air Max, baggy stonewashed jeans and ill-fitting polo shirts. The leather jacket is no friend to ill-fitting clothes. It will accentuate, and not disguise, how bad they actually are.

For the final consideration, keep in mind that your leather jacket is not your double breasted blazer. It is more knockabout, more carefree. It is tougher and simpler and does not mix well with primping.