Gainsbourg: Unlikely Style Inspiration

The very mention of Serge Gainsbourg conjures up images of a true French style icon. The swirls of smoke, the conveyor belt of beautiful women, the double-breasted jackets worn with well tailored shirts unbuttoned, the white Repetto jazz shoes or the black cuban heels, the Breitling Navitimer watch and the seemingly ever present stubble. Yes, Gainsbourg's suits and jackets were impeccably tailored, his shirts always fit just right, but it was his attitude that really defined his style. Over his exciting, inspiring and controversial career he showed that one can always wear great clothes, but superior style comes from within. So, it was with some sartorial excitement that I sat down in front of a screening of Joann Sfar's movie portrait, Gainsbourg (Vie Heroique) earlier this week. Even though the film might have lacked a coherent narrative at times, I enjoyed Eric Elmosnino's performance (an actor with an eerie resemblance to the man himself) and often found myself wishing that I would catch a glimpse of Mr Hare's Godard shoe in one of the shots...

However inspiring these style snapshots were it was during the earlier moments of the film that really left the greatest style impression on me. Sfar, who based the film on his graphic novel, boldly sites Gainsbourg's musical career in its political context and unapologetically positions his leading character's talent and complex personality in relationship to his Judaism and French antisemitism. Gainsbourg's Jewish identity is a source of tension throughout the film but it is during a look at the young musician that it is at its most significant. Our hero during his boyhood is played superbly by Kacey Mottet Klein. We see young Lucien startled by an antisemitic cartoon poster, and realising that this crude daub is supposed to refer to him and his kind. It is during these moments and his early demonstrations of rebellion that offer a more interesting style proposition...

Rather than instilling a desire to attempt a roll neck and a double breasted pinstripe jacket, in homage to one of Gainsbourg's most iconic look, Sfar's biopic left me contemplating the idea of well tailored outerwear teamed with shorts, long socks and boots. I expected to fall for the Gallic charms of Serge but found a great deal more sartorial intrigue around Lucien. Unlikely style inspiration indeed.

Saturday Night and Sunday Morning

Every once in a while we receive an email to our Style Salvage inbox that brightens up our day. As you can imagine our email account is crammed full with all kinds of weird and wonderful press releases but there was one afternoon last week where we received two wide smile inducing correspondence from readers. One of which came from Louis Hunter who opened my eyes to a style rich film in Saturday Night and Sunday Morning...

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Hi Steve,

I'm a big fan of the blog and always look forward to the next post. Like you, I to am longing for autumn to commence as I do every year at around this time. The need to reintroduce those garments that have been in hibernation over the summer months is growing ever stronger. In response to your post on Gainsbourg a personal favorite film of mine is 'Saturday night and Sunday Morning'. I'm not sure of your already aware of it but if your ever in need of nostalgic trip to Northern England then this is perfect film especially in preparation for the cooler months ahead. The clothes of Arthur Seaton, played by Albert Finney are spot on throughout and Shirley Anne Field is not exactly hard on the eyes. I just thought I would share this with you as it is something which I very much enjoyed. Keep up the blogging as it brings us all much enjoyment,

Yours Sincerely,

L Hunter.

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Now, I had a vague idea that I might have watched Saturday Night and Sunday Morning during an almost forgotten wet afternoon but I couldn't be sure. Intrigued by the email, I managed to get my hands on a copy of the film, made myself some popcorn and sat down to a classic piece of 60s filmography. The film is based on Silitoe's novel in which he focuses on the life of Arthur Seaton, a young man who endures working in a factory all week so that he can afford to drink and chase women on Saturday evening.

"I'm out for a good time - all the rest is propaganda!"

Arthur Seaton

In his first starring role, Albert Finney gained international acclaim for his impressive portrayal of the rebellious factory worker. The sights and sounds of industrial Nottingham resonate with a grimy thud as Arthur Seaton works his tedious factory job. Through strong ale, women and practical jokes, he vents his frustrations against the establishments of work and marriage until his reckless ways lead him to a night that changes his life...

Clothes play a signficant role in highlighting the key themes of the film. Every Friday Seaton quickly escapes from work wearing his grubby overalls and plaid shirt before transforming in to a gentleman of the night. Seaton might still live at home with his parents in a tiny room but his wardrobe is bursting with outerwear, well cut tailoring and tie options. While offering a nostalgic trip of working class life in Northern England the Midlands the film showcases a wardrobe that is ideal for the fast approaching cooler season ahead.

Magazines in the Spotlight: Encens

Regular readers may have noticed that it has been quite some time since our last 'Magazine In The Spotlight' post but this is not want of trying. I have been frequently and somewhat furiously finger flicking my way through the racks at newsagents and bookstores far and wide before leaving empty handed. Of course, I have encountered the usual suspects but for one reason or another these have failed to truly excite me and therefore warrant a post. I relayed my woes during a recent shopping jaunt at b Store and thankfully proprietor Matthew Murphy stepped in and offered the name of a title that had previously been unknown to me, Encens. His enthusiasm for the title was infectious. As I left the store with my purchases I instantly began my search of Soho for the publication which came to fruition at the ever reliable Compton News. Since finding it I have struggled to put it down which is no easy task given the weight of this style beast. 

Encens number twenty six stands apart from previous issues as it signals their departure from the bi-annual format. Now published once yearly, the publication has taken on several properties which would classify it closer to a book. Firstly, the thickness and hardcover bound, its qualities as an object are just as powerful as the visual stories inside. During his Fashion Pioneers talk with Imran Ahmed, Jefferson Hack highlighted the growing importance of specialisation and what visionary science fiction author and futurist William Gibson terms mooks: “a hybrid of a book and a magazine where stories can be told in depth with beautiful photography.” Encens is undoubtedly more 'mook' than magazine. It is an exploration of the two editors, Samuel Drira and Sybille Walter, aesthetics and something of a manifesto against disposable fashion. Stylist Drira and photographer Walter share a passion for the drape and fall of clothing, a subtle tailoring and a softness of finish and form. Throughout this weighty hardback, there is an incessant delivery of their vision as opposed to a summation of the trends or season based investigations that we have come to expect from style magazines. This vision is contained is shared within everything from an interview with Yves Saint Laurent taken from Vogue in November 1983 to a celebration of the menswear design talent of Damir Doma and Kris Van Assche. Despite the temptation to scan every single page for you, I've decided to pick out a few highlights. Let the images inspire...

Moving back and forth from the present to the past, the editorials and features have a timeless quality. Fashion magazines tend to constantly strive forward. Even though the latest collections may have been influenced by styles or characters from yesteryear, these influences tend to be ignored. Magazines are blinkered to the past. Encens however, takes a fond gaze at the aesthetics of the past which still should have clout today. The publications stands for an independent and long terms approach. Neither Dirra nor Walter are obsessed with clothes of the moment. For them, the best fashion has three common denominators - simplicity and style but also a sense of timelessness, the capacity to either be or become a classic. In one feature they celebrate Kris Van Assche and Damir Doma, declaring their designs to be menswear at its best. A fluid silhouette, void of the typical restriction of menswear, stripped of the 'for men only' labels. Both have a desire to render the ready made boxes of menswear, sharing ideals of versatility and a nomadic existence. The following quote from Per Spook in another feature echoes these ideal...

"One of my golden rules is to be at ease in a garment. Men hate feeling confined. Likewise, discretion, rather than disguise. A man's wardrobe must have its own personality, yet not be recognisable. I have always preferred the classicism of a great simplicity, natural materials, cuts that are worn loose, and since my clothes do not have linings, they remain light and supple." Per Spook.

Encens' relevance exists in the very fact that it is not grounded in any sort of fast fashion, instead quite the opposite. Although seasonality is expected in fashion, I respect and admire anyone who turns against those implemented measures of time. I heartily recommend that you add this publication to your reading list, consider it pleasurable homework.

Earning my stripes...

E. Tautz SS10...winning the battle of the stripes...

Cast your mind back to the end of September and you might recall that I found myself trapped between the stripes of two very different interpretations of a wardrobe staple, the Breton top. Those all too familiar signature blue and white stripes were originally the garb of French sailors and fishermen but the lightweight chambray cotton versions have since become a symbol of classic cool. The traditional loose fit, wide neck and dropped shoulders that we all know and love, caught the eye of Gabrielle Chanel during a trip to the beach, or so the story goes (as demonstrated in Coco Before Chanel), and she copied the look to kick start a fashion craze and association with style which has never really subsided. During the SS10 Menswear Day presentations at LFW my brain was torn by two incarnations of the classic Breton by E. Tautz and Sibling respectively. I ended up making the correct decision with my more classic style aesthetic winning out...

E. Tautz's Breton is hand made in Great Britain.

Before I wax lyrical about the winning effort, I have to say a few words about the effort which pushed it to right to the very last stripe. Susie loved Sibling's warped take on the Breton in particular and her enthusiasm was infectious. Sibling's knitwear pieces frequently combine timeless qualities and tongue-in-cheek references, all expertly knitted with fine gauge precision that never ceases to surprise me. For their Breton, Sibling collaborated with artist Noah Scalin (of askulladay.com) to incorporate his skull patternation into the stripes perfectly. As persuasive as this collaboration was my desire to have a more classic example of the Breton won through, it just had to to be the E. Tautz version. After placing my order back in November I patiently waited for the Welsh grannies to create my early Christmas present (to myself). Last Friday I got the email that I had been hoping for and nipped down to Savile Row to pick up the piece which had been a recurrent subject of my day dreaming (for some months). The timing was perfect because I was escaping London for a quiet weekend by the Kentish coast and the jumper made a welcome addition to my already bulging suitcase....

Breton jumper by E. Tautz, trousers by Maison Martin Margiela and brogue boots by Lodger.

In a piece on Permament Style, Simon Crompton spoke to Patrick Grant who affirmed that “the stripes on a traditional Breton sweater shouldn’t break into the neckline, The first one should start just below, right across the chest. Jerseys, and those made by machine, rarely achieve this as they are made from just a single pattern." It is easily achieved however, if like E. Tautz's version, it is hand knitted. I keep describing this as a classic example of the Breton but, there is a contemporary twist, sections taken out of the stripes on the arms of the sweater. This, like the rest of the collection demonstrates chic menswear combined with a sense of humour, a sense of Englishness that has been lost over the years. The revived house strives to make stylish clothes to which a wardrobe can be built from. Patrick hopes that in "in ten years time I'd like to think that there are customers who have built a wardrobe of E Tautz, that allows them to dress beautifully every single day of the year, whatever the weather," I'd certainly love to be such a gentlemen and build on my first piece of E. Tautz.

Braving the wind with the Breton jumper by E. Tautz and trousers by Maison Martin Margiela

As mentioned previously, the SS10 E. Tautz collection took inspiration from a set of photographs of the Duke of Windsor holidaying on the island of Mallorca in the 1930’s. Patrick Grant and his team explored the whole idea of an Englishman enjoying life on the Mediterranean in the summer and the Breton look really caught my attention. It encapsulates how well an Englishman can look abroad, the relaxed, almost nonchalant tailoring is a million miles away from the larger lout beach dwellers that come to mind today. There was one photograph in particular which inspired the Breton look above. It was of the Duke of Windsor sitting cross legged wearing a beautiful Breton jumper with rolled up ivory flannels and a pair of espadrilles. With biting winds and freezing temperatures I could not quite replicate this picture of summer serenity but I did my best. Now, comparing Westgate-on-sea during the bitter cold month of January to the Mediterranean at the height of Summer is madness but my trip did provide an opportunity to beach test my latest purchase...

In need of another layer..Custom made suit jacket by j.a.daye worn with polka dot pocket square from Muji, Breton jumper by E. Tautz, trousers by Maison Martin Margiela and brogue boots by Lodger.

The man who shot the 60s

William Burroughs (1960)

Me unwell is not a pretty sight. For the past week or so I have been feeling sorry for myself. In between sleeping too much and dashing to the toilet (too much information? Sorry!) I have been catching up on missed shows to help pass the time. One of the real highlights was BBC4's The Man Who Shot the 60s (currently on iplayer). Brian Duffy was one of the greatest photographers of his generation and part of the one "terrible trio." He defined the image of the 1960s and was as famous as the stars he photographed. However, until this show I had never heard of him. The show explores his fall from view and follows his preparation for the first exhibition of his work whilst reminding me of the sixties style that I love and showing off some favourite style icons.

Reggie Kray and grandfather (1964)

Duffy was one of three photographers who helped capture and shape the vibrancy of London in the swinging sixties. Throughout his career Duffy worked non stop, celebrity, fashion, advertising he did it all. Quickly establishing himself as one of the stars of the scene in sixties London.

Michael Caine (1964)

Throughout the 60s and 70s Duffy’s career soared as he shot close cropped images with exaggerated angles for fashion magazines, minimalist studio portraits with white backgrounds, stylish Pirelli calendars and award winning commercials. Then, in 1979, Duffy snapped. Built a bonfire and began to throw his negatives into the flames. Thankfully a number of negatives were saved but these languished in boxes until 2007. Then Duffy’s son recognised their value and began work on reminding us of his father's talent.

Sidney Poitier (1965)

With the shots of Michael Caine and Sammy Davis Jnr I am reminded of the sartorial wizard that was Doug Hayward who dressed both of these men. Hayward was the tailor of the swinging 60s. The working class hero advocated that a well cut suit can transform a man, yet you should never notice the suit but instead notice only the man. He upheld the centuries old British tradition in which male style ascends, and transcends classes.

Sammy Davis Jr and May Britt (1960)

It is difficult to talk about Duffy without situating him alongside his peers, which inevitably means David Bailey and Terence Donovan. Hopefully this show will help restore his status in this 'terrible trio.' They all helped shape a mostly mythical image of London in the 1960s, where fun and sex could be had, where dreams could come true. Still, the tailoring and style was real.

Vogue (1964)

Advent - Day Eight

Video time again. This time it's Fred and Ginger in the snow singing 'a Fine Romance'. Boys, take note of Fred's winter dressing; he looks wonderful in his bowler hat and black, fur trimmed coat (though please go faux if you want to copy this bit!) complement by pale gloves and scarf. Enjoy!

Unlikely Style Icons - Parisian Toddler

Dress You Up In My Love from Jak&Jill Blog

Is it wrong for someone (who is close to clocking up a quarter of a century!) to be both jealous and in awe of someone who could still (possibly) wet the bed? This stylish Parisian toddler was caught in all of his perfectly styled, sartorial glory by Tommy and ever since I saw it a couple of days ago I just can't get the image out of my head. I am green with envy because I just adore his jacket and have been on the hunt for something similar for some time. but to no avail. There is simply no way that you would see a child dressed anywhere near as stylish as this little chap anywhere other than Paris. I can assure you that despite my undoubted cuteness I partook in a vast number of social faux pas but that is all part and parcel of growing up for most of us. What do you make of this little chap, are you in awe like me or do you find it a little creepy?

Advent - Day Three

Considering yesterdays advent treat had an almost overwhelming Christmas feel to it, I thought we best take a step back from the season and celebrate Oscar Wilde for box number three.

I am fond of his great work and could spout off a number of fitting quotes but there is one in particular which resonates with me right now...

“Looking good and dressing well is a necessity. Having a purpose in life is not.”

Advent - Day Two

Despite the Advent Calender I am finding it difficult to get into the Christmas spirit. Therefore underneath number two I wanted the quintessential Christmas song to get one and all in the mood...

Bing Crosby and Marjorie Reynolds in Holiday Inn

Of course the likelihood of it being a white Christmas for us all is extremely slim. I was however inspired by a recent post by the Cablog where he admitted to being smitten by the thought of a white Christmas so dressed accordingly.

We should all follow this stylish Norwegian's lead and take the pressure of old mother nature and make it a white Christmas whatever falls from the sky.

Picture Postcard: What a rocket scientist should look like

It is a magnificent moustache, bristling with mischief, sweeping from cheek-bone to cheekbone like a second smile

Daniel Jubb, 24, the owner of the moustache, looks like a Victorian scientist transposed to the 21st century

EJ brought this image into my life last week as it was part of her daily batch of links she sent my way and I just had to share it with you. Daniel Jubb is a rocket scientist and this is exactly how a rocket scientist should look. I just can't believe that this chap is a mere twenty four years old...I am the same age and am neither a rocket scientist or more importantly could never grow a moustache like this!

Witty style advice from yesteryear

I stumbled across this book reading the latest issue of Monocle on the train ride home (after the great knitting mistake - see below post for details.) It was first published in 1964 and is a great present idea for any man you know. For all men—and indeed all women who are interested in men’s clothes—here is an alphabetical guide to men’s fashion written with wit and expert knowledge. From the etiquette of dressing for all occasions to the meaning of technical terms, Hardy Amies’s skillful eye guides you safely through style decisions on everything from blazers and brogues to skiing and sandals. No man can afford to be without this classic style bible. To demonstrate this point one only has to read a few of the many highlights within these pages:

On bowler hats Amies remarks "The only truly smart headgear." I think it is a shame that this hat is only worn by actors portraying bankers in TV series or in jest.

On tailoring - ”There’s no such thing as a designer of menswear-—it’s only history. The suit around the world is based on the English suit, which began in about 1670. Any man, whether he’s American, Japanese, French or whatever, who wants to be seriously well dressed, looks to the Englishman’s suit for how to achieve it.”— I think times have moved on somewhat from this stance but you have to admire his national pride in English Sartorialism but thank goodness we can proclaim today that there are a number of great designers of menswear!

Sir Hardy Amies died in 2003, but his legacy and style continues under his protégé Ian Garlant at Hardy Amies Plc. He opened his fashion house in 1945 and became Dressmaker by Appointment to Her Majesty The Queen. Famous for menswear and his keen eye for classic style, Amies had a regular fashion column in Esquire magazine. I will leave you with some wise words penned by Sir Hardy Amies. Seemingly effortless style is the most favoured form of style:

“A man should look as if he has bought his clothes with intelligence, put them on with care, and then forgotten all about them.”

Brando a threatening figure in silk pyjamas

I was fortunate enough to catch A Streetcar Named Desire at the BFI on Sunday... it was best possible way to spend a grey, Sunday afternoon in Autumn. If you have not seen this film I urge you to see it! In the rehearsals for the 1947 stage production of Tennessee Williams' A Streetcar Named Desire (it is one of the only plays that I took notice of in my A-level English class), director Elia Kazan warned that the play was becoming 'the Marlon Brando show'. With the 1951 film, Kazan's prophecy came true: this is the movie that made Brando a star. His raw, electrifying turn as Stanley Kowalski is still reckoned to be one of the greatest screen performances of all time. When people think about Marlon Brando's style, they often think of this film first and the look recalled is one of muscular physique, tight sweaty t shirt (induced from the combination of New Orleans heat and the heavy physical activity of bowling) and of course Brando's hair which is pure perfection! I can understand why this look is so iconic and it is the most common Brando look throughout the film. However, the style which left the greatest impression on me comes during the films darkest moments and sees Brando sporting stripey silk pjs (as pictured above). How do people feel about silk pyjamas? When I used to think of them my mind was instantly filled with images of Hugh Hefner but now I see them in a different light. I am a both a little attracted to them and at the same time freaked out by the very thought of them. With Christmas coming I might just try and recreate my own Brando look...

For those of you who have (somehow) not seen the film and have no idea what I'm talking about I urge you see it or at the very least watch the trailer below:

Trailers of this era are so very different to the ones today...I prefer the slow pace of yesteryear.