Give That Man a Job

It is a truth universally acknowledged that a gentleman in possession of good style should be in want of an appropriate career. However, it is not always that gentlemen of taste end up in the most fitting positions; some labour away in environments and with schedules that seem inconsistent with their particular perspective on the world. Though he might toil, such toil might seem fruitless and alien. Through his determination and strong imagination, he might chance upon an opportunity; from this opportunity, he might contrive a new position and he may be called upon to present himself before an individual, or perhaps a panel of judges, who will not only listen but also observe his manner, his character and inevitably, his appearance.

Most men of style may be fairly confident of maintaining a manner appropriate for the expectance the individual or panel judge might hypothesise, they might also be rather bluff about the scrutiny of their character, reasoning that a man of idiosyncratic style necessarily possesses lashings of character. On the final, superficial matter of appearance, the man of style may wave away caution and counsel with a hearty and slightly disbelieving chuckle; “Good Lord, the one area I should be relied upon to dazzle!”

However, it is this cocksure dismissal of guidance that represents a man most in need of restraint; the way one wears clothing is not only considered a positive expression of talent, flair and knowledge. It can also be considered merely decorative, distracting and denoting a man lacking direction. Smartness is one thing, but intimidate possible employers and you might scupper your chances.

A flair for restraint

One of the things I have always been told by employers is that focus and drive are two of the most important traits interviewers search for when inspecting prospective employees; “After basic qualifications” a lawyer once told me “we observe and question looking for potential.” Anyone too precocious in knowledge or dress might be considered, in equal measure, a poseur or a swellhead; few jobs require Narcissi so even if your self-tutored style is aesthetically appealing and artistic, it’s time to play ‘out of character’ – but not fully. If you are prone to pocket squares, by all means wear one but avoid posy pretensions; fold or scrunch it neatly and inconspicuously. Ties should be darker, and with plainer more conservative patterns; psychedelic paisley may be wonderful, but it can distract an employers eyes, and therefore mind, from your ingenuous ramblings on working with charities in Africa.

Good but not your ‘best’

Some people might believe I would wear my ‘best’ suit to a job interview – to create the best impression, to be ‘remembered’; however, being remembered as the lad in the ‘lovely tailored suit’ may not go down well when the selection procedure is furthered. Whilst others might be remembered for their earnestness, wide vocabulary or attractive self-confidence, you might only be remembered for the beauty of your costume. The suit should be a good suit, no question. I would frequently favour a single breasted medium-grey suit – black looks cheap and, should there be nervous scratchings of the head, shows up snowfall-dandruff on the lapels. Whilst I have many unique shirts such as French collared pinks and lilacs, interesting checks and stripes, a light plain shirt is versatile and lacks the distraction-factor.

Best foot forward

The one sartorial area to really captivate the employer by revealing a caring and dedicated character is in footwear; men frequently wear ghastly shoes, at least they do in London, and in an interview, wearing incorrect, scruffy or badly kept footwear can sometimes be a deal-breaker. “Women really do judge a man by his shoes – it shows whether he cares or not” a friend once told me, and it seems to be true; the first thing female colleagues notice on me are my shoes and when I asked one of them if they could remember five or six pairs that I owned, they reeled through eight or nine from memory. This is not only an area to excel in if the interviewer happens to be female, it is also advisable for the inevitable comparisons with other prospective employees; well cleaned and polished black Oxfords with neatly tied, non-fraying laces (make the bows small) make a serious statement, especially when they are flashed in a confident crossing of the legs.

What Is Wrong With Men

“There go those rules again!” sang Connie Francis. And boy, have I felt her exasperation throughout my life. I am not a principal enemy of rules as I believe in their indispensability in an ordered society; rules are generally for the good of the majority. My ‘rule twitch’ is a physical and psychological event that occurs when I react to the proposition or promotion of a rule that displeases me; why the displeasure? Well, it is probably because the rule, though it benefits the majority, actually inhibits me. I prefer to think of the reason of rule rather than the rule itself; aside from the amusing and quirky, and often forgotten, ‘laws’ of society, most rules have a reason based on a belief.

Even in clothing, rules have their place. Most frequently cited, the use of black cloth in evening dress for gentlemen was based on the belief that it offset the magnificence of the women’s dresses much better. Anyone turning up to a ball in anything other than this well-regulated form of dress was shunned; the reason for the uniform remains, the rule remains relevant. However, as useful as sartorial rules are when the core reason for their being – the belief in an ideal aesthetic – remains, they are, I find, something that men hide behind far too often.

Compared to the energetic and aesthetic driven attitude of many women, men are shamefully reticent, reluctant and actually rather feeble. Whereas women embrace, where style is concerned, men are sceptical; where women hope, men often withhold. A woman trying on a rare and unconventional shoe style in a store attracts feminine eyes of admiration and envy; the minds behind those pairs of eyes are sometimes mired in self-doubt but rarely are they objectively critical of the possibility. A man in the same position usually attracts sniggers of insecurity and frowns of disbelief; men are often so self-confident in their own lack of confidence that insecurity often comes across as crass arrogance.

It’s no wonder in a society that assumes artfully clothed men and manfully attired women are homosexual that experimentation with clothing, among fellow men, is akin to a social faux pas. Men I have never initiated conversation with reveal onion-like layers of insecurity and ignorance with words like; ‘Dodgy ‘at mate, dodgy ‘at.’ I have met some relatively coarse women but, though they can still be rather unworldly, they are more likely to spring to my defence than join in attack. Is this something to do with the legendary female imagination? Are females simply more capable of appreciating difference than men?

Whatever the reason for this disparity in thinking, it exists. Some might cry that it ‘depends on the man’ others that it ‘depends on the woman’. Some might even suggest it has little to do with sex and more to do with personality, but this I do know; women applaud bravery ferociously, especially when it is converted into victory.

Sartorial Love/Hate: Madras

When I was walking around a smart branch of H&M recently, flicking through the deep rows of spring and summer jackets that possessed that particular, dense aroma of newness, my eye caught sight of a little picture of a bow tie; a rather incongruous but interesting little scribble with the clichéd but admirable words ‘Be brave. Be yourself.’ It seems H&M is not content in providing extraordinarily inexpensive clothing to budgeting gentlemen, it also coaches them in matters of confidence and experimentation. Bravery in dressing, and in particular the encouragement of experimentation, is something I plan to address more fully but the true subject of this article is a peculiarity of menswear that usually requires a hefty dose of bravery to attempt; a cloth of old, Indian origin that many see as the definitive pattern of spring and summer.

Madras cloth, named after the south-east coastal settlement in India (now renamed Chennai), has one of those interesting Anglo-Indian histories; like Mulligatawny, the Cummerbund and Pyjamas, it is a marriage of Indian creativity and colonial curiosity. The patchwork madras (the word ‘patch’ originates from the Indian word ‘pach’chadamu’) is perhaps the most interesting as it is an excellent example of thrift; offcuts of fabric were not thrown away but simply sewn together to contrive complete garments. This type of madras garment, now regularly manufactured for luxury brands like Ralph Lauren, is perhaps one of the more potent examples of why this cloth has some sighing in approbation, others sneering and frowning in detestation.

Madras is otherwise known as 60/40 cloth in India, which refers to the thread count; lengthwise 60, crosswise 40. This is apparently the perfect combination for producing cotton fabric of sufficient lightness to wear in heat, but also sufficient strength to endure the years of use. True madras cloth colours also ‘bled’ when washed, which resulted in a blending of the colours, but now, ‘modern’ madras is manufactured using stable dyes which means that the colours no longer run. It is frequently used for summer garments like shorts, short and long sleeved shirts, casual jackets and even hats, but remarkably the grander list is the list of formats the material once took before it fell out of favour; watch-straps, hat-bands, bow ties and waistcoats have all been made in madras, a fact which points more to the aesthetic value of the patterns and dyes than the usefulness of a lightweight fabric.

For many, the dizzying combination of asymmetrical plaid and riotous colour is all too much. The gentleman of minimalism, more interested in black and white linen, is surely likely to be baffled by the use of such a bizarre fabric but I believe the beauty of madras, much like paisley – another great Indian invention – depends on how much you use of it. For example, a madras jacket would in my opinion look very appealing if it was worn with a plain sky blue shirt, navy blue shorts and Sebagos; it would be a rather noisy ensemble if it was worn with garments of a competing pattern, or of too sedate a tone. The garment most men are likely to possess is a madras plaid shirt; I have some, my father and grandfather too – the question is, when and how to wear it? I happen to think that as established as they are, madras shirts are most definitely a sport-casual item and still rather eccentric; to wear them, one must affect complementary eccentricities, but in a controlled and dignified manner. A plain blue cotton tie, or a plain green bow tie with a madras shirt, beneath a blue blazer or a smart linen jacket.

Young Style Icon: Chuck Bass

Regular readers might remember a derogatory article I penned about the brand Abercrombie & Fitch – the success of which I attributed, partly, to the strength of its presence in the powerful television series that portray the glamorous but tragic lives of American youth; a formula of attraction that captures the imagination of Americana hungry teens worldwide. The ‘dramedy’ fixture appeals, and is therefore marketed, to young girls. There is very little evidence in these well-packaged productions that young males are a target audience. And, of course, why should there be? Young boys are expected to be out playing sports, surfing, engaging in pubescent banter and chasing girls; there’s little time or consideration for following the boring, made-up lives of cry-babies.

And yet there will be those who, with a willingness to please, catch a few scenes with their girlfriend; there will be those who are more than vaguely aware of the characters names, who’s been with who and who wears the best clothes. The characteristic of many of these shows has been that while the girls can be well catered for in the wardrobe department, with significant product placement and even fashion leadership; Chloe handbags, Juicy Couture tracksuits and Paul Frank t-shirts, the boys are – aside from a few cult logos – A&F, Penguin and Fred Perry – uninspiring and rather ordinary. Marketing is a huge part of these programmes. In fact, some programmes are so blatant as to even mention the designers during an episode – a brutal kind of marketing that angers some parents who are press-ganged into making these child-pleasing purchases.

However, the chief problem, in my view, with acceptance among young school-age boys and girls, has a lot to do with timidity; boys don’t dress in ordinary, ugly clothing out of any sort of pride but fear – a fear of being unconventional, of constituting something girls might consider odd or even threatening. Popular culture wields a mighty hand in dictating fashion; it’s no surprise that in the UK thousands of girls began to ape the cutesy short-skirted, pigtailed image of Britney Spears in ‘Hit Me Baby One More Time’ after only a few bars of ‘Oh baby, baby…’ It is therefore encouraging that the hit television show Gossip Girl, about the sheltered, seemingly perfect lives of young Manhattan socialites actually features a positive male style role model for any transfixed teen; it matters not that gazing at the screen are mostly hearts-a-fluttering young girls, sighing and blowing kisses, the exposure of such style to an audience so used to a style aesthetic of printed t-shirts, skater jeans and Converse All-Stars is a positive thing; I can imagine the love struck young ladies sighing up and down the country; ‘I never thought bow ties could look so cute.’

Chuck Bass is without doubt one of the most popular characters on Gossip Girl. And alongside his devilish good looks, precocious cynicism and intimidating manner, he also attracts a huge amount of attention for his sartorial style. Of course, some say, he’ll look good in anything – but that’s hardly the point; the point of this particular form of style leadership is that items of attire youths previously associated with out-of-step fathers and grandfathers now have a completely different association; you can guarantee that an observant, self-confident young man somewhere will walk into a house party to whispers of respect and admiration rather than ridicule; ‘Look’ the girls twitter ‘he dresses like Chuck Bass.’

There isn’t really a signature look for Mr Bass. He certainly loves using colour, wears shoes rather than trainers, embraces supposedly ‘poofy’ materials like silk, cashmere and velvet and though there is always a trend-twist to his ensembles, his overall look promotes good grooming and an appreciation of detail. Some might dismiss the looks as typical American prep; the sort of aesthetic Ralph Lauren has advanced since the mid-Sixties. However, Bass is no stiff, Brooks-Brothers-of-old cut-out; there is a charm and energy to his exciting ensembles that reveals an inner confidence bordering on priggishness. Most know-it-alls in teen dramas are vilified; made out to look shallow, geeky and ultimately unattractive but Bass has depth. Bass manages to turn up in a bow tie, powder blue suit and sockless loafers, sip a cocktail and deliver cruel putdowns in the manner of Max Beerbohm – an unlikely crush perhaps, but the result is generally irresistible.

Time to Look ‘Younger Than Springtime’

“Ties and pocket squares.” Click. You know that pocket squares are here to stay when they are treated, not as merely an unusual accessory for the eccentric, but as a natural accompaniment to the necktie; no longer marooned at the bottom of the html page, waiting to be clicked. This revolution, and though a slow one it is still a revolution, means that more and more men are prepared to turn to accessories that were once considered pointless ornamentation. Men that before, only admitted to owning a couple of ties - but now boast of a mushrooming collection.

Spring is a time to consider these little wardrobes-within-a-wardrobe; as the weather warms, and the waistcoats are put away, the tie takes centre stage in the ensemble once more. There is, to my mind, no quintessential ‘spring tie’; there are ties one would wear in this period one would never wear in autumn or winter, but there isn’t a definitive stretch of silk that every man should own for spring, but merely ideas; combinations and contrasts. For example, spring is a time for colour variation. Not that autumn and winter tones need, or indeed should be colourless rather that, like Mother Nature herself, the vividity of the tones should be carefully considered.

The glory of Spring’s natural beauty has inspired musicians and poets to songs and sonnets. The wonderful energy and majesty of a tiny but brilliant zest-coloured flower sprouting from the fields gives one’s mind a little lift; it’s remarkably stimulating and rousing. A similar satisfaction can be derived from careful colour selection – you’d be surprised how a little consideration can give you such pleasing results.

The most eyecatching colour mixing can only occur when coloured shirts are used – white shirts are indeed smart and have the crisp, fresh elegance of a spring, but for the brighter, lighter ties of spring, the expanse of white tends to dilute the tones rather unhappily. Spring should be a time to expand your collection of coloured shirts; light blues, royal blues, ivy greens, daffodil yellow, salmon pinks. I would plump for smaller checks and stripes for the full colour effect and also because loud checks and stripes, with even louder ties, are dreadfully mismatched.

Think Satsuma

A warm Satsuma orange is a perfect colour for spring time, especially when matched with a cold blue or green shirt – worn beneath a mid-Navy blue suit, this would complete a rich but not outrageous ensemble.

Spring Salmon

Salmon pink is a glorious colour to employ at springtime and has excellent adaptability; working very well with buff, grey or navy suits. Ties can be either brash and playful – light blue, or lemon and cream striped, or a little more conservative (but no less impressive) – grass green or navy polka dot. I think a light grey suit, salmon pink shirt and navy polka dot tie is complete Spring chic.

The Big Blue

Most chaps are more than willing to break from the monotony of white-shirted wardrobes at anytime of year with a mid to light blue number, but when the sunny, warm days of mid-Spring are here, and the sky seems somehow bluer, it’s time to consider a more intense indigo; a big blue. Such a shirt works well with a range of ties, though arguably the range is smaller than that of a lighter shirt; salmon pinks, grass greens and sky blues match well.