Braille SS11

Following the success of Braille’s A/W10 debut collection, A Gentle Wake, founders Benjamin Vorono and Samuel Kientsch return with zeal for SS11. The labels sophomore collection is a celebration of freedom, speed and optimism. Inspired by the modernist design of Palm Springs juxtaposed with the natural landscape of Agua Caliente Canyon. 

Entitled Colt, it reflects the mountainous, desert landscape of the region as pleated blazers, jackets and rain coats incorporate the contours of the pleated Blazers, Jackets and Rain Coat. Shirts in sheer cotton in sun-faded shades of husk, loosely reference the palm tree oasis. Luminescent tweeds give visibility to the night explorer, whilst maintaining elegance and subtlety. Waxed cotton outerwear is used to protect from heavy rain and extended sleeve plackets to ease motion for the adventurous and active gentlemen...

To celebrate the launch of their new online store, Braille screened a film of the collection throughout LFW on a mobile cinema. You may have seen driving from show to show, and party to party but if not, don't worry (I missed the mobile showings too), we can share it with you. The film showcases the collection’s modernist lines, clean cuts and natural desert hues while helping to celebrate the launch of the brands online store on 1st October.

For the film, Sam and Ben created four additional showpieces made from the scraps of the collection. This included the creation of a silk/hemp fabric which was manipulated to reflect a texture of raindrops which was then hand dyed and waxed to form a tiered raincoat. The design duo also created an offset checkered board blazer assembled with rectangles of Wolf Fish leather and Luminescent tweed. 

Braille SS11 COLT from Samuel Kientsch on Vimeo.

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.

Reiss screens Elements for AW10

A still from Reiss' Elements campaign

What do you think of when you walk past Reiss? It is a store that provided my first real suit and a good number of wardrobe essentials over the years when I felt like treating myself on the high street. In truth, I've not ventured inside for some time. Business of Fashion described the high street fixture much better than I ever could; "offering beautifully designed, well-crafted clothing at an honest price, sitting somewhere in the middle of the high street and high-end, Reiss had carved out a distinctive market positioning." However, this unique value proposition was not enough. It has since become an often overlooked chain, its store quietly went about their business. Always on the periphery. No longer. This evening, Reiss screened its new film Elements and I took my seat at the preview. Directed by Jamie Morgan, Elements, provides a much needed adrenaline shot to the veins of the high street and the brand itself.

With Elements Reiss have created something truly unique to the high street.

“This season is a step forward for Reiss with a collection that we are really excited about. Showing our key products in this new and innovative way felt right for where we are going, as a way of capturing all the energy and excitement that is apparent throughout every aspect of our brand. And generally, if we ’re this excited about it, I ’m confident that our customers will be to.”

David Reiss on AW10 and the Elements campaign

The fashion film movement has undoubtedly hit the mainstream in recent seasons and I for one welcome it and am excited to see how the medium evolves. With the realisation that video has such powerful engagement potential as well as an ability to capture the sentiment of the brand, Reiss' decision to showcase the AW10 collection in this manner was a simple one.

“We set out to make art . Our objective was to create a confident and captivating visual statement for Reiss to day an d as a mark of intent for the future. The search for the new and the need to push the boundaries are key to how we stay relevant. ‘Elements’ is the nature of all Reiss stands for while clearly visualising our sexy, modernist stance.”

Andy Rogers, Brand Director

Isaac Carew stylishly facing a torrential downpour.

The creative inspiration came as the result of an artistic collaboration with Jamie Morgan, renowned photographer and film maker who founded London’s creative collective ‘Buffalo’ in the 1980’s. The ‘Buffalo’ collective changed the nature of image making through its pioneering work in The Face. Morgan's sense of exploration and creative instincts then brought him to explore moving images which translated into a series of short but beautifully emotive films as well as portrait and documentary studies. Jamie’s minimalistic and structured style epitomise this evocative and powerful narrative. With 'Elements' Morgan helps to showcase the well crafted products (particularly seen in the tailoring) while visualising the modern, sexy element of the brand. The film attempt to and succeeds at evoking a moment of fashion. Rather than emerging from a purely commercial place, this campaign focuses on creativity and helps capture the magic of fashion. Without further ado, I pass you over to the smouldering pair of Natasa Vojnovic and Isaac Carew braving the elements while joined by an array of symbolic animals...

A full web launch follows this preview in September, coinciding with the arrival of the Autumn/Winter 2010 collection in stores. I might not have popped inside a store for some time but that will change come the autumn.

I am love and the colours of Summer

I was fortunate to watch Guadagnino's work of daring and skill in I Am Love on the opening release night. Over a week has passed and my mind and body are still recovering from the all senses stimulation received during those one hundred and twenty minutes. The beauty washed over me in waves and I'm still tingling. Guadagnino's fluid camera almost becomes a character in itself. John Adams' crashing, arresting and impulsive scores added to the defining moments beautifully. The shifting focus from reading the character's lips to reading the film itself. The symbolic role that food plays. The Raf Simons for Jil Sander wardrobe as visual metaphor of character evolution. The crushingly beautifully landscape of Linguria. All of these elements still excite my . However, the facet that has left the most lasting impression is the colour palette. Every time I close my eyes I see flashes of dazzingly bright acid colours before focusing on a wild field of zucchini flowers. After similarly watching the film on opening night, Colin at Sharpened Lead penned an excellent piece on the film's palette where he rightfully declared that the "film defines the colours of Summer."

The ideal palette for Summer.

The story is bold enough, but true daring is at play in the film’s style. Swinton and Guadagnino describe it as ‘Visconti on acid’ and that’s as good a phrase as any to describe the film’s intoxicating allure. Swinton is ridiculously enjoyable to watch, dressed in colours that I want to eat, drink and consume in any way possible, just pass me a spoon. Swinton's wearable androgyny makes her a true icon of style regardless of style. It is the interplay of orange peel and amber with powder blues and navy that I love from the very marrow of my bones. Now you might ask why it has taken me this long to post about my obsessive love for the film. The answer is that I have been searching for pieces that I could add to my wardrobe that could happily nestle against the busom of the film's style. I did not have to look all too far, it was right under my nose in the form of Hentsch Man. Last week I shared a sneak preview of the labels AW10 collection but it is the current offering that ends my search...


As mentioned in previous posts Hentsch Man is a simple, elegant and wearable menswear label that provides men with classic wardrobe basics with a dashing addition of colour and slim cuts. The current selection (shown above) is the perfect wardrobe for the sunshine. The Joe cords in ochre, the blue Benny shirt, the bright orange fedoras crafted by Parisian milliners La Cerise sur Le Chapeau and the Argentinian delivery bags reborn as chic weekend bags are just a few of the highlights. For the more daring amongst us the brand has designed a range of Nantucket shorts exclusively for Garbstore. They would not look out of place on the slender, well defined legs belonging to Tilda Swinton...oh I am in love with the colours of Summer...

The Nantucket shorts are available exclusively at Garbstore.

The beauty of A Single Man

Tom Ford's A Single Man.

For many months now, I've been hearing that Tom Ford’s debut feature is a sumptuous mix of Mad Men and Far From Heaven and I cannot recall ever being as excited by a films style credentials. On Sunday afternoon I finally grasped the opportunity to watch Ford's directorial debut. Armed with a colossal coke and a ponderous tub of popcorn I took my slightly uncomfortable seat, ready to watch the beauty wash over me. It certainly didn't disappoint in this regard. The film is a thing of beauty. From a lingering shot of a perfectly placed tie bar to a languarous close up of plump lips dragging on a cigarette, Eros makes his presence felt at every turn. The Ninety nine minutes of running time can reduced succinctly and accurately in a mere sentence or two. The rest of the film demonstrates a number of shooting techniques including countless saturation changes but very little else other than a splendidly rose tinted snapshot of 60's American style...

"It takes time in the morning for me to become George, time to adjust to what is expected of George and how he is to behave. By the time I have dressed and put the final layer of polish on the now slightly stiff but quite perfect George I know fully what part I'm suppose to play." George Falconer.

As expected, A Single Man is as impeccable as the director's own crisp, exact menswear collections."It was clear in the script how meticulous George is," says costume designer Arianne Phillips. "There was a fastidiousness and perfectness to the way he was planning the last day of his life." George is the type of man who has a daily uniform, a drawer full of perfectly starched, crisp white cotton shirts which reminded me of our post on Personal Uniforms last year. Phillips started her research with 1960s sack suits, then made the silhouette more appealing to the contemporary eye. Produced in Ford's factory in Italy, Falconer's suits manage to be both boxy and form fitting at the same time but a part of me would have preferred to have seen the sack suits.

The costumes on the supporting players are just as memorable. Kenny (played by Nicholas Hoult attempting an interesting American accent), a student who comes to Falconer's emotional rescue, appears somewhat angel-esque in a white mohair sweater. The sweater was modeled after one Phillips discovered in a book of 1960s street-wear photos taken by Swiss photographer Karlheinz Weinberger. "It was one of my inspiration photos for the character, so Tom suggested we make a sweater like it. We had a weaver in London do it." For the benefits of a style blog, style over substance is no bad thing, let the following images wash over and inspire you...

Stop Motion Inspired

Inspired by stop motion, the stylish Fantastic Mr Fox.

Last month, our old chum from across the water, The Sunday Best, asked the question "Is it strange to find style inspiration in an animated movie?' and duly answered his own pondering with 'Probably not when that movie is directed by Wes Anderson and features George Clooney'. I was fortunate enough to watch the film yesterday evening and in between scoffing my face with popcorn (half salted, half sweet) and covering my nose (after someone was sick a few rows back) I was certainly inspired and in awe of the style on show in this stop motion animated film. I find style inspiration everywhere, in fact more often than not I find it in the places where you'd least expect. This is very much more a Wes Anderson film than it is the Roald Dahl book that I remember but this is no bad thing. There are all the Anderson archetypes which have made this director great; stunning visuals with an exquisite attention to detail, issues of fatherhood, musical guest appearances and literary flourishes throughout. Everything is just so - from Mr Fox's well fitted double breasted corduroy suit to Badger's pocket square. Everything is measured, everything is perfect. I certainly could take a more measured approach to my everyday dressing. Everything should have a place, I just need to find said place...

Wes Anderson illustration by James Taylor for the Guardian.

Mr Fox's ensemble is a tight-fitting corduroy suit based on fabric from one of the dandyish forty year olds own suits. Mr Fox's suit is made of orange/brown-ish corduroy. It should come as no surprise to see that its hero sports a natty double-breasted version of Anderson's beloved suit, (as captured by the Sartorialist on at least one occasion) tastefully accessorised with a few ears of wheat in the breast pocket. The whole look is akin the colour of a leaf in autumn, in fact Anderson and his team wanted the whole film to look like Autumn. It is little wonder then that this film's style resonates so strongly, as you all know, I am obsessed by the colours of the season and dressing accordingly.

Wes Anderson in Paris. Shot by the Sartorialist (who else?!)

The talented chaps over at Street Etiquette recently highlighted the virtues of corduroy and I've certainly been respecting this durable textile much more in recent years. I'm somewhat embrassed to admit that there was a time when I would outright refuse to wear anything corduroy because my adoloescent mind deemed it far too uncool for me. Thankfully, I have grown out of this phase and truly respect it for what it is, a versaitle fabric perfect for the cooler months. "I rely on corduroy," Anderson admits in the recent Guardian interview. "I've been here in London a week – this is all I've got. "They last a couple of years. I have a guy who makes them specially for me. They're very inexpensive and I can just call him up and say, 'Can I have another one please?'" I'd certainly like his tailors number. In the meantime, I plan to swing by Lambs Conduit street to pop in to Pokit to inspect their corduroy suit offering because I have heard great things about this tailors.

Trapped between the stripes...

Cary Grant in Hitchcock's To catch a thief.

For the last week or so I have become consumed by a desire to own a certain 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. However, as great as Audrey looked in her Breton creation, there is one film moment which really resonates with me when I think of those stripes: Alfred Hitchcock's To Catch A Thief. It might take a brave man to accessorise a breton top with a red silk scarf the way Cary Grant did but I think I could be just that man to give it a try...I just need to invest in this classic staple. I have seen two recent incarnations of the classic breton and both appeal to different sides of me and I have to admit to being a little torn between them...

As previously mentioned here on, for S/S 10 E. Tautz took inspiration from a set of photographs of the Duke of Windsor holidaying on the island of Majorca 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 above look really caught my attention. It just exemplifies how an good an Englishman can look abroad, the relaxed, almost nonchalent tailoring is a million miles away from the larger lout beach dwellers that come to mind today.

The E. Tautz version of the breton is certainly appealling to my more classic side but there is another, very different version which is also tempting me with its charms. Susie loved Sibling's warped take on the Breton and her enthusiasm is infectious in this respect. 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. Here, Sibling collaborated with artist Noah Scalin (of askulladay.com) to incorporate his skull patternation into the stripes perfectly. I just can't look at it for too long because it make my eyes feel a little drunk. I am a man currently torn between two bretons. I want them both.

Thomas Crown is a British Tailoring Affair

"The film remains one of the most empowering intersections between masculinity and sartorial expression ever captured by the camera's lens." Wei Koh for the The Rake.

I've been suffering from the most serious form of 'man flu' and in typical, gender form have spent the last week or so moaning to anyone and everyone who would listen, well when I've had the energy to. In amongst all the grumbling, I've slept a great deal and watched a fair bit of daytime TV. Thankfully the odd movie or two breaks up the terrible daytime offerings, otherwise I might have lost my mind by now. I was able to watch a film I've been meaning to for some time, The Thomas Crown Affair. The 1968 original of course, not the 1999 Pierce Brosnan remake.

Steve McQueen's magnificent wardrobe stole the show the 1968 heist film. Few leading men have looked so well tailored as McQueen did in his role as the high-class jewelery thief. It is little surprise then that the likes of Ralph Lauren, Tom Ford, Timothy Everest and Ozwald Boateng all regard it as one of the most influential moments in men's style. Of course, the film has its critics, even in 1968, audiences realised it was a film of style over substance, but there is nothing wrong with that now, is there? There is plenty of eye candy what with Ferrari GT 250s, Rolls Royces, Faye Dunaway's thirty one costume changes and of course, McQueen's wonderfully British tailored splendour. The Thomas Crown Affair is something of a catalogue of '60s conventions, from its clipped editing style to its photographic trickery, to its mod design, the decades stlye oozes out from every pore.

It was up to British tailoring legend Doug Hayward, the man responsible for Michael Caine's super lean suits in The Italian Job, to outfit McQueen in this marvellous array of suits. The suits are perfectly representative of classic British tailoring. There are of course classic three piece suits, waistcoats without lapels, two button coats with well-suppressed waist, a gold Patek Philippe pocket watch and a wealth of other sartorial perfections. Every detail of McQueen's dress is executed with perfect sartorial precision and it certainly eased my aches and pains whilst watching it. As I return to the sofa feeling sorry for myself, I will leave you with the original trailer to enjoy...

Picture Postcard: Savage Grace

I must admit that I am struggling this morning after a work jolly where the drinks were flowing free but I'm excited because I've packed my bag and will be leaving for Manchester when the clock strikes five. In an ideal world though my day before I leave London would involve me lying on my sofa watching a film in my darkened living room instead of pretending to work in a hot, loud office. After reading the Mr Peacock interview with Style Salvage favourite, Kwannum Chu yesterday if I were at home, I would be watching the wonderfully stylish and weird Savage Grace. I talked about the film soon after watching it last summer but if you've not had a chance to see it for yourself it is well worth it for its style alone! The film is a tale of money and madness, incest and matricide and tells the saga of Brooks and Barbara Baekeland - heirs to the Bakelite plastics fortune - and their son Anthony, unfolding against a glamorous international background.

When asked who his style icons were, the always wonderfully turned out Kwannum responded with Sebastien Flyte from Brideshead Revisited and Anthony Baekland from Savage Grace. The character played by Eddie Redmayne is one of the most stylish men I have seen on the silver screen for as long as I can remember. Comparisons can certainly be drawn with The Talented Mr Ripley but I believe this film has more style substance. I will leave you with the best style related one liner I have ever heard which was uttered by Anthony whilst declaring his suit was Anderson & Sheppard..."One can walk in to Gieves but one has to be walked into Anderson & Sheppard."

Day Lewis is dancing, here's to the weekend

Is your Friday lacking a little glamour? Well, the trailer for Rob Marshall's Nine should give you that much needed shot of glamour to kick start your weekend. If Day Lewis is dancing then it is time to slip in to your best dancing shoes and do the same, the weekend is here after all.

The film is described as a vibrant musical which follows the life of famous film director Guido Contini (played by Daniel Day-Lewis) as he reaches a creative and personal crisis whilst balancing the numerous women in his life. As EJ will tell you, I am a little hesitant when it comes to musicals but I would watch Mr. Day-Lewis in anything. The abundance of beautiful women including Penelope Cruz, Sofia Loren, Marion Cotillard, Kate Hudson and (even) Nicole Kidman (I won't mention 'Fergie' here) all add to the equation and I'll certainly sit back and watch all of the beautiful people. Here's to the weekend!

A Student's Italian Affair

Inspired by Italian 60s cinema, the winning look by Rafael Cunha who was inspired by the work of Ernest Trova

Susie first mentioned how second year Central Saint Martins menswear fashion students were recently asked to combine British tailoring and Italian fabrics to make one outfit inspired by 1960s' Italian cinema last week and I've been waiting for the images to share with you. ever since. Thankfully the wait is over because this was some design brief and the resulting looks are truly something. I have spent many an afternoon transfixed on the style and beauty shown during this golden era of Italian cinema and it is always great to see some emerging menswear design talent.

Razor sharp tailoring by runner up Lisandro Olmos

What started out as a sourcing trip for Christopher New (the CSM menswear tutor) thankfully ended up as an interesting brief for the second year menswear students on the CSM Fashion BA course. New, was invited by the Italian Trade Commission to visit the factories of some major Italian cloth manufacturers and this resulted in the brief to design and produce a look based on tailoring and inspired by 60s Italian cinema. For the second year students it was an opportunity to work with luxury fabrics, most for the first time.

A modern interpretation. So Huang's take of 60's cinema

Italian suits of the 1960’s set new standards for tailoring and the students were asked to watch seminal films of the era for inspiration including Fellini's La Dolce Vita (1960) and 8 1/2 (1963), Visconti's Rocco and his Brothers and Antonini's L’avventura. The result is some exciting looks which break new ground creatively for the I.C.E. whilst introducing future designers to the benefits of these luxurious cloths (not to mention us).

My favourite entry by Daisuke Suzuki

The looks were presented last Thursday at CSM's Southampton Row base and three students were awarded prizes by a judging panel which included Francesca Serafine (Deputy Directory of the ITC), Andrew Davis (former editor of Arena) and Christopher New. Hampus Beggren and Pavel An were runners up whilst Rafael Cunha was declared the winner. The winning look was inspired by priests and the code behind how they dress, from this point, Cunha had to develop a character and decided to tell the favoured story of 60s Italian cinema; the story of a man who finds himself questioning his beliefs.

A full article including interviews with the students can be read on DazedDigital.

Eager for a Werther's Original from Bond

OK, I should warn you in advance that this is a slightly strange post but welcome to the inner thoughts of my odd, little mind....I picked up the latest issue of Monocle earlier this evening and as I was flicking through the pages somewhat excitedly over my Mocha in a crowded coffee chain I encountered the sight of an old friend on the back cover. Sean Connery is the second grandad I've always wished I had so it is always nice to see him now and again. Here he stars in the new Louis Vuitton ad shot by Annie Leibovitz and tonight was the first time that I've seen it. I have grown up with the best James Bond ageing very well indeed whilst he starred in some great films and a number of bad ones. In the shot taken close to his Bahamas home, Connery is the picture of masculine cool - I wish I look this good when I reach 78. Mr. Connery if you are reading this, you can give me a Werther's Original anytime.

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!

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.

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.

Unlikely Style Icons - Team Zissou

Wes Anderson is one of my favourite directors because his films burst with detail, colour and textures. The Life Aquatic with Steve Zissou is a great film, arguably his best - I recently picked up a copy for three pounds no doubt it will be one of the films I turn to when I'm just not sure what to do with myself on a wet Sunday- however I didn't think it would have any kind of impact on men's style. Steve Zissou was written with Bill Murray in mind, it just could not have been anyone else could it...however, this chap featured on both the Sartorialist and Facehunter was certainly inspired by the internationally famous oceonographer and his team...Team Zissou!

The lost member of Team Zissou as captured by the Sartorialist

Update: Since posting I came across more Team Zissou on Dejour

Sunday Monkey Business

Nursing a hangover and all alone in the flat (because Susie is in Paris for the week) Sunday has been a lazy day for me. My time lounging on the sofa was well spent though because Film4 were showing the perfect Sunday afternoon film, Monkey Business. The film has a star studded cast including Cary Grant, Ginger Rogers, Marilyn Monroe and Charles Coburn but more interestingly than boasting stars the film shows them in a very different light than to how the audience expects to see them.

There is no doubt that Cary Grant is one of the most stylish men ever. While most have seen Cary Grant and indeed remember him for the romance and Hitchcock films of this decade such as An Affair to Remember, To Catch a Thief and North by Northwest, Monkey Business is reminiscent of the screwball comedies of the 30's. Very funny and full of just plain silliness, this film is a great way to pass a Sunday afternoon. Although in a more comedic role than I'm used to seeing in, he's still as stylish as ever. The style on display is more than similar to Mad Men. As Valet showed us how to get the style from the show of the moment and I just had to share it with you all once again.

1.) Sterling silver tie bar by David Donahue, $40 at Nordstrom. 2.) Lemtosh frames, $169 (without prescription) at Moscot. 3.) Sidecar gunmetal briefcase by Dunhill, $1,240 at Dunhill, 212.753.9292. 4.) Bow tie by Band of Outsiders, $92 at Blue Bee. 5-7.) Ties, (from left) Mike & Chris, $83, Ralph Lauren, $125 and Shipley & Halmos, $92, all available at Blue Bee. 8.) Suit by John Varvatos Star USA, $795 at Nordstrom. Shirt by Theory, $125, at Nordstrom. Tie by Hickey, $115 at Hickeystyle.com. 9.) Wool hat by Rod Keenan, $360 at Barneys New York stores. 10.) Cotton handkerchiefs, $25 for a pack of seven, at Brooks Brothers.

I will leave you with a piece of wisdom from Grant's character - "You're old only when you forget you're young." Now I'm off to buy a pair of braces after being inspired by this film.