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Country Life / The Modern Gentleman / The 39 steps to being a (modern) gentleman

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Gentlemen then and now

Clearly, he must have manners, humour, humility, talent and courage, but there will always be more materialistic giveaways, too

Country Life / October 28, 2015

A member of the Athenaeum once put up a notice after his umbrella was taken from the cloakroom. It read: ‘Will the nobleman who has taken my umbrella please return it.’ A friend asked: ‘How do you know it’s a nobleman?’ He replied: ‘The rules state that this club is for gentlemen and noblemen, and no gentleman would take my umbrella.’

According to Somerset Maugham, the only value of being a gentleman lay in the fact that it wasn’t a pretence (he also said it was almost impossible to be one and a writer), but with the world changing faster than a baton handover in an Olympic relay, is it possible to have a definitive picture of one? Clearly, he must have manners, humour, humility, talent and courage, but there will always be more materialistic giveaways, too.

Gentlemen then and now

1912 2012

The Proms Glastonbury
The Quorn Duke of Beaufort’s
Rolls-Royce Land Rover Discovery
Baden-Baden Rock
Royal Ascot Glorious Goodwood
Guinea fowl Venison
Bloomsbury Group Hay Festival
Norfolk Dorset
Henley Henley
Shooting at Elveden Shooting at Alnwick
Belgravia Fulham
Moustache Clean-shaven
Cigarettes Nicorette
Rudyard Kipling Antony Beevor
Tobogganing in St Moritz Skiing in Val d’Isère
Rectory Old Rectory
Ballroom dancing Strictly Come Dancing
Claret New Zealand Pinot Noir
Epsom salts San Pellegrino
Wisden Wisden
H. M. Bateman Matt
Fagging Counselling
African grey parrot Buff Orpington
Scotland in August Scotland in August
Manservant No servant
Kedgeree Muesli with blueberries
Bread-and-butter pudding Sticky-toffee pudding
Fob watch Diving watch
Gertrude Jekyll Arabella Lennox-Boyd
Dining room Kitchen
Herbaceous border Wildflower meadow
Royal Yacht Squadron Royal Yacht Squadron
Arthur Conan Doyle Sebastian Faulks
The Savoy Grill The Wolseley
Nightshirt Turnbull & Asser pyjamas
Ironed newspaper Today
English setter Black labrador
Whist BBC Ten O’Clock News
White tie No tie
12-bore 20-bore
New pair of Purdeys Grandfather’s Purdeys
Catching lots of salmon in Scotland Catching no salmon in Scotland
Polo in India Polo in Midhurst

Five perfect gentlemen

Sir Walter Raleigh for courtesy

The Light Brigade for heroism when facing certain death

Beau Brummell for exquisite dressing

Ernest Shackleton for rescuing his men

Lord Carrington for knowing when to resign

Five gentlemen of literature

Lord Peter Wimsey

The Scarlet Pimpernel (Sir Percy Blakeney)

Mr Knightley

Raffles

Richard Hannay

Five things a gentleman would never do

Holiday in Florida

Own a yacht without sails

Wear fuschia socks

Order Cristal Champagne

Plant a hanging basket



The 39 steps to being a gentleman

Which manners maketh the (modern) gentleman? Rupert Uloth has the definitive list.

Rupert UlothOctober 28, 2015

A gentleman…

1 Negotiates airports with ease

2 Never lets a door slam in someone’s face

3 Can train a dog and a rose

4 Is aware that facial hair is temporary, but a tattoo is permanent

5 Knows when not to say anything

6 Wears his learning lightly

7 Possesses at least one well-made dark suit, one tweed suit and a dinner jacket

8 Avoids lilac socks and polishes his shoes

9 Turns his mobile to silent at dinner

10 Carries house guests’ luggage to their rooms

11 Tips staff in a private house and a gamekeeper in the shooting field

12 Says his name when being introduced

13 Breaks a relationship face to face

14 Is unafraid to speak the truth

15 Knows when to clap

16 Arrives at a meeting five minutes before the agreed time

17 Is good with waiters

18 Has two tricks to entertain children

19 Can undo a bra with one hand

20 Sings lustily in church

21 Is not vegetarian
22 Can sail a boat and ride a horse

23 Knows the difference between Glenfiddich and Glenda Jackson

24 Never kisses and tells

25 Cooks an omelette to die for

26 Can prepare a one match bonfire

27 Seeks out his hostess at a party

28 Knows when to use an emoji

29 Would never own a Chihuahua

30 Has read Pride and Prejudice

31 Can tie his own bow tie

32 Would not go to Puerto Rico

33 Knows the difference between a rook and a crow

34 Sandals? No. Never

35 Wears a rose, not a carnation

36 Swats flies and rescues spiders

37 Demonstrates that making love is neither a race nor a competition

38 Never blow dries his hair

39 Knows that there is always an exception to a rule

Agree? Disagree? Let us know on Twitter

This article features in our Gentleman’s Life magazine, out today with Country Life


« Parisian Gentleman, Eloge de l’élégance à la française »

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Grande nouvelle !
J’ai l’immense joie de vous annoncer la soirée de lancement et de dédicace de l’édition en langue française de mon livre « Parisian Gentleman, Eloge de l’élégance à la française » et d’ouvrir officiellement les réservations pour y participer.
Cette soirée, qui marquera l’aboutissement d’un long cheminement et d’un travail de plus de deux ans, se tiendra donc dans la magnifique boutique historique de la grande Maison Guerlain, dont l’entresol sera privatisé pour l’occasion, au 68 Champs Elysées.
le 24 Novembre de 18H30 à 22H00.

Quelques renseignements sur l’événement et sur la marche à suivre pour y participer :
- Je serai, évidemment, présent avec Andy Julia et l’équipe PG au grand complet, pour dédicacer le livre.
- Mon éditeur français, les Editions Intervalles, sera présent avec un stock conséquent d’ouvrages disponible à la vente afin de permettre à ceux d’entre vous qui le souhaiteront d’en acquérir un ou plusieurs exemplaires sur place lors de la soirée et de repartir de l’événement avec le livre dédicacé.
- Pour ceux d’entre vous qui auraient déjà fait l’acquisition de l’ouvrage, soit en librairie (sortie le 13 Novembre) soit directement sur le site des Editions Intervalles ou sur Amazon, il vous suffira de venir à la soirée avec votre livre sous le bras et je me ferai un plaisir de vous le dédicacer.
Parisian Gentleman Holiday Edition

Pour participer à cet événement exceptionnel, en présence d’un grand nombre de personnalités dont le Président de la maison Guerlain ainsi que d’éminents représentants des 25 maisons évoquées dans mon livre, vous devrez, comme d’habitude, suivre à la lettre les instructions suivantes :
- Envoyer un mail pour demander une invitation à l’adresse suivante : theperfectgentlemanparis@gmail.com en indiquant si vous souhaitez venir seul(e) ou accompagné(e).
- Vous recevrez dans les 72 heures suivant l’envoi de votre mail la confirmation de votre inscription sur la liste des invités ainsi que l’invitation officielle en pdf.
- Vous devrez vous présenter à l’entrée de l’événement avec l’invitation imprimée.
Je me réjouis de vous revoir pour cette soirée qui s’annonce magnifique et pour enfin vous présenter ce livre qui représente une étape importante de ma vie et de l’histoire de PG.
Hugo JACOMET.

Morgan Factory Tour

The Legendary Morgan Motor Company

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Henry Frederick Stanley Morgan, generally known as "HFS", was an employee of the Great Western Railway, who bought his first car in 1902 at the age of 21. In 1904, he left his railway job and co-founded a motor sales and servicing garage in Malvern Link. In 1909 he designed and built a car for his own use. He began production a year later and the company prospered. Morgan continued to run it until he died at age 77 in 1959.

Peter Morgan, son of HFS, ran the company until a few years before his death in 2003. He was replaced as chairman by Alan Garnett, a non-family director, from 2003 to 2006. On his departure, a four-man management team was set up consisting of Matthew Parkin, Tim Whitworth, Steve Morris and Charles Morgan, (Peter Morgan's son). In 2010, Parkin left the company and Charles Morgan was named Managing Director. In January 2013 Charles Morgan was removed as Managing Director and Steve Morris took that title. In October 2013, Charles Morgan was fired as an employee and a majority of the shareholders removed him from the Board of Directors. At the end of 2013, the shareholders appointed Andrew Duncan, a local solicitor and friend of the late Peter Morgan, as the first company Chairman since 2006.

Since 2011, the Morgan Motor Company and its related companies, (Aero Racing Limited and Morgan 3 Wheeler Ltd.) have been wholly owned divisions of Morgan Technologies, a company incorporated in late 2010.


Founded 1910
Founder H.F.S. Morgan
Headquarters Malvern, England
Key people
Chairmen:
H.George Morgan (1910—1933)
H.F.S. Morgan (1910–1959)
Peter Morgan (1959–2003)
Alan Garnett (2003—2006)
Andrew Duncan (2013—)
Products Motor cars
Revenue (All divisions) £34 million (UK Companies House 2012 Financials)
Owner Morgan Family (100%)
Number of employees
163 (UK Companies House 2009 Financials)
Website Morgan-Motor.co.uk


MADE IN BRITAIN SINCE 1909
Founded in 1909, Morgan cars have achieved fame throughout the world due to their unique blend of charisma, craftsmanship and performance. The Morgan Motor Company has evolved over 100 years into a true icon, a darling of the automotive industry and a brand synonymous with unrivalled excitement. Today, the ethos remains unchanged with a dedication to traditional craftsmanship and bespoke manufacturing.

The Morgan Motor Company Ltd. was established in 1909 by H.F.S. Morgan with the design of the Morgan three-wheeler. A four-wheeled model began production in 1936, and Morgan cars have long become famous the world over for their unique blend of charisma, quality materials, craftsmanship and performance.

The ethos at Morgan remains unchanged: all our cars are coach built and subjected to continual development in order to meet current standards of safety and to offer the responsive thoroughbred performance with which our name is associated. The development of our model-range has taken the marque into the 21st Century, and today Morgan builds in excess of 1300 cars per year. The Aero 8, a major achievement for a small Company, was launched in 2000, and continual evolution of the Aero Range has seen the 8 joined by the dramatic Aero SuperSports and its fixed-head sibling, the Aero Coupe. In 2011 we re-launched the Morgan 3 Wheeler, a modern interpretation of H.F.S. Morgan’s classic design. Our ‘Classic’ range continues to be our flagship vehicle – with models including the 4/4, the world’s longest-running production vehicle, and engine sizes ranging from 1600cc to 4800cc, these famous icons are the models perhaps most associated with Morgan.

Morgan is extremely proud of its heritage. We have established ourselves as a manufacturer synonymous with pure excellence, reinforced over time by our adherence to superior principles, higher standards and the best craftsmanship. Leading design capability, an extensive array of luxurious materials and the latest drive-train technologies combine to create an unparalleled driving experience.

The family atmosphere at our factory in the beautiful spa town of Malvern, Worcestershire, is one we cordially extend to our customers. Prospective owners are encouraged to visit us to watch their car being built and to choose from our wide paint and leather-trim ranges, along with the optional extras that will stamp their own individuality upon their Morgan; whether it be the lively ‘Classic’ range sports car, the extravagant high performance ‘Aero’ supercar or the truly unique Morgan 3 Wheeler, every last detail of a Morgan is tailored to the customer’s specification.

We invite everyone to witness the charms and the technology for themselves at our on site visitor centre



Announcement Date : May 1 , 1909
The success of the Morgan Motor Company was founded on an icon, the Morgan Three-Wheeler. This brilliant but simple design by H.F.S. Morgan became one of the most successful lightweight cars of the early days of motoring. The principal of fitting a powerful motorcycle engine and simple transmission into a light-weight chassis and body inspired a new type of vehicle which generically became known as the ‘Cyclecar’. Thus the fashion for ‘new motoring’ introduced the freedom of the open road to those of more modest means. The Morgan Runabout was at the forefront of this movement and therefore Harry Morgan can be regarded as the man who first introduced motoring for the masses.
The prototype was constructed in 1909 and was a simple three-wheeler with a tubular steel chassis fitted with a 7 h.p. Peugeot V-twin engine. One of its main features was the unusual power to weight ratio of 90 brake horsepower per ton, which enabled this little vehicle to accelerate as fast as any car being produced at that time. H.F.S. had invaluable assistance from Mr Stephenson-Peach, the engineering master at Malvern College and Repton School in Derbyshire, in whose workshops much of the development work was carried out. Although not originally intended as a commercial venture, the favourable reaction to Morgan’s machine encouraged him to consider putting the car into production. Leslie bacon decided that this was far too risky and quit the partnership, although the two men remained close friends for the rest of their lives.


Announcement Date : Jan 1 , 1936
In 1936, after a prototype had been tested in trials and on the track, a four-wheeler was exhibited at the London and Paris Exhibitions. The new model was called the Morgan 4-4 to differentiate it from the three-wheeler, indicating four cylinders and four wheels. The car had a Z section full width steel chassis with boxed cross members and the body was an ash frame panelled in steel. The combination provided the durability of a coachbuilt car with the lightness required for a sports car. The car was an immediate success. After the launch of the Morgan 4-4 Roadster a four-seater was introduced, followed in quick succession by a Drophead Coupe in 1938. The three-wheeler remained in production although sales of the V-twin engined cars were in decline. The F-type however, remained popular and 1938 saw the addition of a high performance two-seater version, called the F Super.


Announcement Date : Jan 1 , 1947
In 1947 the Standard Motor Co announced their ‘One Engine Policy’ which meant that after 1949 the 1267 c.c. unit would not be available to Morgan. A prototype for a new Morgan was therefore built in 1949 with the Standard Vanguard 1.8 litre engine which gave a much increased performance. 1950 saw the production of this car as the Plus Four. The engine eventually fitted was the 2088 c.c. Vanguard 68 b.h.p. unit. The Plus Four had immediate success in competition, with Morgans winning the team award in the R.A.C. Rally in 1951 and 1952. H.F.S.’s son Peter Morgan was a driver in both teams. The body styles adopted were an open two-seater, a four-seater and a Drophead Coupe. Due to its very high-power-to-weight-ratio the Plus Four also began to have many successes on the track. In 1954 the pre-war design was significantly updated with the radiator now hidden beneath a cowl and grille to improve aerodynamics, and the following year the TR 2 engine was fitted, raising the power to 90 b.h.p. Although detailed modifications have been made over the years, and many other engines fitted, this iconic design remains in production.



Announcement Date : Jan 1 , 1955
In 1955 the Morgan 4/4 was reintroduced as the Series Two. This was a car of similar design to the Plus Four but fitted with a smaller 10 h.p. Ford side valve engine and integral gear box, the object being to provide a sports car with a lively performance and appearance for the enthusiast with modest means. The 4/4 continues to use a Ford engine today, over half a century later!



Announcement Date : Feb 1 , 1966
In 1966 the Triumph TR engine was nearing the end of its life and a suitable replacement was sought. The Rover Motor Company offered the forthcoming aluminium Rover V8 engine. Mr. Maurice Owen joined the firm to take charge of development on the new car, the Morgan Plus Eight, and this model was announced to the public at the Earls Court Motor Show of 1968 (Photo 49). The Plus 8 maintained Morgan’s reputation on the race track as seen here with the second prototype MMC11 (Photo 50). This proved to be one of the most successful cars that the company has ever built and production continued for 36 years until the model was discontinued in 2004. In the late 1960s the Morgan Motor Company acquired additional factory buildings to the south of the existing site. This allowed a modest expansion to the Pickersleigh Road operations.



L. Fellows Mania 2

L. Fellows Mania 1

V&A Museum turns down Margaret Thatcher wardrobe / Christie's : COLLECTIONS|VIDEO|NOVEMBER 3, 2015 Mrs Thatcher: A sale offering unique insights into the ‘Iron Lady’

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V&A Museum turns down Margaret Thatcher wardrobe

The Victoria and Albert Museum in London has turned down the chance to exhibit former Prime Minister Margaret Thatcher's clothes.
Lady Thatcher's family offered the contents of her wardrobe to the V&A.
But the gallery said it collected items of "outstanding aesthetic or technical quality" rather than garments with "social historical value".
More than 300 items will now be sold at auction next month instead. Lady Thatcher died two and a half years ago.
She was the longest-serving premier of the 20th Century and Britain's only female prime minister to date.
The clothes to be auctioned by Christie's include her blue velvet wedding dress and various power suits worn during her tenure in Downing Street, plus handbags and jewellery.
A spokesperson for the museum told The Daily Telegraph: "The V&A politely declined the offer of Baroness Thatcher's clothes, feeling that these records of Britain's political history were best suited to another collection which would focus on their intrinsic social historical value.
"The museum is responsible for chronicling fashionable dress and its collecting policy tends to focus on acquiring examples of outstanding aesthetic or technical quality."

In recent years the museum, which described itself as "the world's leading museum of art and design", has put on crowd-pleasing shows of fashion by designer Alexander McQueen and clothes worn by pop legend David Bowie.

Mrs Thatcher: A sale offering unique insights into the ‘Iron Lady’ from Christie's on Vimeo.


COLLECTIONS|VIDEO|NOVEMBER 3, 2015
Mrs Thatcher: A sale offering unique insights into the ‘Iron Lady’

On 15 December in London, Christie’s will offer Mrs Thatcher: Property from the Collection of The Right Honourable The Baroness Thatcher of Kesteven, LG, OM, FRS — a rare opportunity for collectors to acquire property from a leading political figure of the 20th century

In the year that ‘The Iron Lady’ would have celebrated her 90th birthday, approximately 350 historic and personal lots will be offered across two landmark sales: a flagship auction presenting 150 lots in London at Christie’s headquarters on Tuesday 15 December, and an online only sale comprising 200 lots from 3 December to 16 December. These sales are taking place 25 years after Margaret Thatcher (1925-2013) left Office, following an 11-year tenure as Prime Minister of the United Kingdom (1979-1990).

With items relating to Margaret Thatcher’s time in Office, including her red leather Prime Ministerial Dispatch box (estimate: £3,000-5,000), speech notes and an impressive gift from President Ronald Reagan, alongside jewellery, clothes and handbags, these auctions present unique opportunities for collectors to acquire property from the longest serving Prime Minister of the United Kingdom in the 20th century — and the only woman to have held Office to date. Estimates range from £200 up to £180,000.


Becoming Mrs Thatcher



Margaret Roberts, 26, at her wedding to 36-year-old Denis Thatcher at Wesley's Chapel, in London © Associated Press
Mrs Thatcher’s wedding outfit. Estimate: £10,000-15,000. This piece will be offered in the Mrs Thatcher sale on 15 December at Christie’s in London

On 13 December, 1951, at the age of 26, Margaret Roberts married Denis Thatcher at Wesley’s Chapel in the West End of London. Marking the start of the couple’s married life together, the wedding outfit will be offered on 15 December, comprising Mrs Thatcher’s midnight blue velvet wedding dress, with a sweetheart neckline and long sleeves, labelled Constance Gowns and Suits, Old Bexley; a blue velvet soft brimmed cap with a curled pink ostrich feather and a blue velvet muff, with an Art Deco double clip silver and marcasite brooch (Estimate: £10,000-15,000; illustrated above).

This outfit is said to be inspired by Gainsborough’s celebrated portrait of Georgiana, Duchess of Devonshire. The wedding reception was held at 5 Carlton Gardens, the home of Sir Alfred Bossom, one of Margaret Thatcher’s earliest and greatest supporters.


The Prime Minister (1979-1990)

Prime Ministerial Dispatch Box, embossed with the royal cypher of Her Majesty Queen Elizabeth II. Estimate: £3,000-5,000. This piece will be offered in the Mrs Thatcher sale on 15 December at Christie’s in London

Highlights from Margaret Thatcher’s time as Prime Minister are led by her red leather Prime Ministerial Dispatch Box, embossed with the royal cypher of Her Majesty Queen Elizabeth II, inscribed ‘Prime Minister’ and numbered ‘1’.

A piece of political history, the sale also includes a signed and bound copy of ‘A Grand Finale, The Rt Hon Margaret Thatcher’s Last Speech As Prime Minister’, House of Commons, 22 November 1990 (estimate: £500-800).


Margaret Thatcher and Ronald Reagan: The Special Relationship



A 20th century Kaiser bisque figure of an American bald eagle, modelled by Gerd Pitterkoff. This piece will be offered in the Mrs Thatcher sale on 15 December at Christie’s in London
Margaret Thatcher visiting Ronald Reagan, Washington DC, 1988. Photo by Sipa Press/REX Shutterstock

Illustrating the high regard in which Margaret Thatcher was held in America, and specifically by President Ronald Reagan, is a 20th century Kaiser bisque figure of an American bald eagle, modelled by Gerd Pitterkoff. The inscription reads ‘Presented to the Hon. Margaret Thatcher, Prime Minister of Great Britain for staunch and spirited support of the market economy principle. The Award was presented by the Hon. Walter H. Annenberg with the best wishes from Ronald Reagan President of the United States June 13th 1984, presented at the Foreign Office 10 Downing Street.’


Power dressing



A suit of Royal blue wool crêpe by Aquascutum which was worn in parliament when Mrs Thatcher was serving as Prime Minister. This piece will be offered in the Mrs Thatcher sale on 15 December at Christie’s in London
A black cocktail suit by Tomasz Starzewski, worn by Margaret Thatcher at her 70th birthday celebration. This piece will be offered in the Mrs Thatcher sale on 15 December at Christie’s in London

The daughter of a professional dressmaker, Margaret Thatcher was ‘brought up to know the importance of cut’ and recognised the potential power of fashion to enhance, project and mirror individual stature, as well as its role in commerce.

Regarded as a style icon by many, wearing carefully selected outfits, her look became synonymous with ‘power dressing.’ These sales present an extraordinary array of attire worn on countless historic occasions throughout Margaret Thatcher’s life.


Margaret Thatcher in Germany, 1986. Photo by REX Shutterstock

Highlights include the iconic ‘Tank’ raincoat by Aquascutum worn during a visit to British Forces at a NATO training ground near Fallingbostel, Germany in September 1986 (estimate: £10,000-20,000, including the beige silk headscarf, with ‘Hôtel Ritz, Paris’ into the border); a black and white houndstooth tweed wrap, that reverses to fuschia pink, which was worn during her visit to Washington in 1988 (estimate: £800-1,200); and a camel-coloured cashmere coat with a stranded mink collar by Aquascutum that she wore on her official visit to Moscow in March, 1987 (estimate: £1,500-2,500).

A classic navy blue leather handbag by Launer, London. Estimate £2,000-3,000. This piece will be offered in the Mrs Thatcher sale on 15 December at Christie’s in London

‘Handbagging’ is a verb which the Oxford English Dictionary notes was ‘coined in the 1980s by Julian Critchley, Conservative MP, with reference to Margaret Thatcher’s ministerial style in cabinet meetings’, the dictionary defines it as ‘(Of a woman) verbally attack or crush (a person or idea) ruthlessly and forcefully’. The sales present a number of Mrs Thatcher’s handbags, with the auction on 15 December including a classic navy blue leather handbag by Launer, London, which will be offered together with a Washington University silk scarf.


Jewellery


Art Deco emerald and diamond necklace by Chaumet, circa 1930 Estimate: £120,000-180,000. This piece will be offered in the Mrs Thatcher sale on 15 December at Christie’s in London
A George III diamond flower brooch, circa 1800 Estimate: £8,000-10,000. This piece will be offered in the Mrs Thatcher sale on 15 December at Christie’s in London

The jewellery to be offered in the auction on 15 December is led by an exquisite Art Deco emerald and diamond necklace by Chaumet, circa 1930. A firm favourite of Mrs Thatcher’s was a George III diamond flower brooch, circa 1800. Margaret Thatcher was widely photographed wearing this brooch both in Britain and abroad, and is wearing the brooch in her official portrait which hangs at 10 Downing Street. Pavé set throughout, the brooch comprises old cushion, pear and circular-cut diamonds.


Private passions



A Chelsea plate, circa 1760. Estimate: £800-1,200. This piece will be offered in the Mrs Thatcher sale on 15 December at Christie’s in London
The Latham Centrepiece, Albuhera, 18.6.1811, by Michael Sutty. Estimate: £600-1,000. This piece will be offered in the Mrs Thatcher sale on 15 December at Christie’s in London

Providing an insight into Margaret Thatcher’s private world, the sale features 18th, 19th and 20th century English porcelain, glass, gold boxes and silver. Baroness Thatcher’s personal penchant for collecting early porcelain is highlighted by a charming Chelsea plate, circa 1760, which is hand painted with exotic birds, within shell and scalloped pink panelled and gilt-edged borders.

Margaret Thatcher also collected British porcelain figures of both statesmen and people from military history. One of her favourites among the group was The Latham Centrepiece, Albuhera, 18.6.1811, by Michael Sutty.


Online only sale

A small Fendi holdall of black canvas, with gilt hardware and an Aquascutum silk scarf. This piece will be offered in the Mrs Thatcher online sale, 3-16 December
A dress and matching coat of shot fuschia pink silk by Tomasz Starzewski. This piece will be offered in the Mrs Thatcher online sale, 3-16 December

Comprising approximately 200 lots, with estimates starting from £200, this sale will provide a wealth of further opportunities for international collectors.

Highlights include a small Fendi holdall of black canvas, with gilt hardware and an Aquascutum silk scarf with emerald green border and houndstooth centre (estimate: £700-1,000); and a glamorous dress and matching coat of shot fuschia pink silk by Tomasz Starzewski which was made for Margaret Thatcher in 2007 (estimate: £500 - 800 )


True Style: The History and Principles of Classic Menswear by G. Bruce Boyer

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From choosing the right pair of eyeglasses to properly coordinating a shirt, tie, and pocket square, getting dressed is an art to be mastered. Yet, how many of us just throw on, well, whatever each morning? How many understand the subtleties of selecting the right pair of socks or the most compatible patterns of our various garments—much less the history, imperatives, and importance of our choices?
In True Style, acclaimed fashion expert G. Bruce Boyer provides a crisp, indispensable primer for this daily ritual, cataloguing the essential elements of the male wardrobe and showing how best to employ them. In witty, stylish prose, Boyer breezes through classic items and traditions in menswear, detailing the evolution and best uses of fabrics like denim and linen, accoutrements like neckties and eyeglasses, and principles for combining patterns, colors, and textures. He enlightens readers about acceptable circumstances for donning a turtleneck, declaims the evils of wearing dress shoes without socks, and trumpets the virtues of sprezzatura, the artistry of concealing effort beneath a cloak of nonchalance.
With a gentle yet firm approach to the rules of dressing and an incredible working knowledge of the different items, styles, and principles of menswear, Boyer provides essential wardrobe guidance for the discriminating gentleman, explaining what true style looks like—and why.


The Elements of Style

The problem with dandyism is that one can easily end up looking like an overdressed Easter egg.

By HENRIK BERING
Oct. 2, 2015 4:24 p.m. ET

In my wardrobe, a few of my grandfather’s belongings from the late 1920s still survive: his ankle-length touring greatcoat made of thick herringbone tweed lined with fur, his officer’s dress cape with its golden service buckle, his pith helmet, and his white tie and tails, exquisitely tailored and still perfectly usable. Sadly lost in the intervening years was his sword stick, from a Paris outfit specializing in such exotic accessories, as well as his leather suitcases, with their destination labels: Rome, Menton, St. Moritz, Cairo. But the black-and-white photos of him in these locations suggest an infinitely more stylish age.

Where fashion was once dictated from the top down, it now rises from the street up. But as G. Bruce Boyer shows in “True Style,” islands of elegance still survive. As the author warns, the book is not a manual that will tell the reader how to figure out the shirtfront for his tux or tie a Windsor knot. Such elementary knowledge is taken as a given. Rather, it is a cheerful attempt to define the underlying principles for dressing well, while at the same time providing some of the history behind what we wear.

Mr. Boyer, a former editor at Town & Country, goes for timeless elegance, a combination of “ease and charm and tradition.” Not for him the arbitrary dictates of the fashionistas, as when some designer at Yves Saint Laurent decrees that suits should be so tight-fitting and the jackets so short that they make an adult man look like Pee-wee Herman. Or when a shoe firm suddenly decides that men’s shoes should be so long and pointy that they start to curl upward like something worn by a tax collector in the Ottoman Empire.

Rather, Mr. Boyer’s hero is the renaissance author Baldasar Castiglione, who in the “Book of the Courtier” (1528) introduced the concept of sprezzatura, advising his reader “to steer away from affectation at all costs, as if it were a dangerous reef, and to preach in all things a certain nonchalance [sprezzatura] which conceals all artistry and makes whatever one says or does seem uncontrived and effortless.”

But the word sprezzatura conveys more than mere thoughtless spontaneity, notes Mr. Boyer: it is “a matter of reaching for perfection, while cultivating the impression of never having given it thought.” By holding back, it “implies greatness unseen, . . . a strength held in reserve.” Thus the general mistake of the nouveaux riches is that they tend to put it all on display. The impulse, Mr. Boyer suggests, is akin to the owners of the French formal garden that was designed, in the supposed words of the playwright George S. Kaufman, “to show what God could have done if He’d have had money.” By contrast, an English garden appears subtle and natural. So should the way we dress.

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The classic example of sprezzatura is afforded by the Regency buck Beau Brummell, who discarded the standard court get-up of wig, jeweled waistcoat and knee breeches in favor of a more natural and understated look. As the arbiter of taste, notes Mr. Boyer, he would spend hours arranging his neckcloth to achieve the right degree of “corrugated dishabille” before venturing out. Once a visitor dropped by Brummell’s place and saw cravats scattered everywhere. Asked what was going on, Brummell’s valet responded, “Oh, Sir, those are our failures.”

According to Brummell’s contemporaneous biographer, Capt. William Jesse, his subject “shunned all external peculiarity and trusted alone that ease and grace of manner which he possessed to a remarkable degree. His chief aim was to avoid anything marked.”

The problem with the dandy, a figure whom Max Beerbohm defined as “a painter whose canvas was himself,” is that not everybody possesses Brummell’s restraint: One can easily end up looking like an overdressed Easter egg or a rare and extremely poisonous tropical flower. “Your clothes should not in themselves be more memorable than you are,” notes Mr. Boyer. “Individuality should be in evidence quietly.” This is what marks the difference between the gentleman and the poseur.

Mr. Boyer’s own preference is for a slightly faded elegance, “the mildly rumpled” rather than “the new and shiny.” As Nancy Mitford put it, “All nice rooms are a bit shabby.” For daily wear, Mr. Boyer is fond of the Ivy style, a “uniquely American look” developed on campuses whose golden age ran from 1945 to 1965 and that re-emerged as the neo-preppy style of the 1980s. Which is fine, provided the wearer does not become too tweedily professorial or too youthfully preppy. Clothes should never become a theatrical costume.

As regards neckwear on formal occasions, Mr. Boyer regrets today’s penchant for ditching the tie in the name of comfort and greater approachability. From politicians holding high office and from certain professions, such as bankers and lawyers, he reminds us, we do require a certain gravitas. Besides, an open shirt front has the added disadvantage of exposing turkey wattles when men get older.

For semiformal occasions, where a tie is too much and polo shirt too little, Mr. Boyer goes to bat for the ascot tie. As he notes, some men avoid it for fear that they cannot live up to its aristocratic associations, but if you watch movies from the late ’60s and early ’70s with Michael Caine, Alain Delon, Dirk Bogarde, Marcello Mastroianni and Edward Fox, you will see that it was quite popular. He is less keen on turtleneck sweaters at cocktail parties, which, paired with double-breasted blazers, tend to make wearers look like “extras between takes of ‘Sink the Bismarck!’ ”

On the question of socks, Mr. Boyer seems to break his own cardinal rule that a clothes item should not be allowed to direct attention away from the wearer by endorsing socks with playful motifs such as pink flamingos or skulls and bones. I’m afraid this reviewer’s sense of humor does not extend to socks. He accepts bare feet in loafers in hot climates—and why not?—but rightly condemns as downright evil sockless feet in wing tips or with suits.

My only reservation about Mr. Boyer’s overall message is the degree of hard work that seems to be involved in achieving an appearance of effortlessness and the constant concern with the impression you make on your surroundings. Over the years, dressing tastefully should become second nature—intuitive. And if you are reasonably self-confident, you should not worry overmuch about what others think.

In the book, a young Noël Coward provides a splendid example of a quick recovery from a faux pas: Arriving for his first meeting at the fancy literary Tomorrow Club wearing evening dress, he found himself facing a phalanx of members wearing day clothes. After a brief silence, Coward exclaimed: “I don’t want anybody to feel embarrassed.” Now, that’s self-confidence.


—Mr. Bering is a journalist and critic.


AN INTERVIEW WITH G. BRUCE BOYER

Posted 10/27/15
By Derek Guy

Alan Flusser’s Dressing the Man is popularly considered to be the book to read if you’re interested in classic men’s clothing. For the regular forumite, however, a lot of the stuff in there might be old hat (especially if you spend your time debating how to fold pocket squares). Better, I think, are Bruce Boyer’s Elegance, Eminently Suitable, and the recently published True Style. Bruce is arguably the best menswear writer of our time. Mixing historical insight with practical advice, he ties social history with changes in men’s dress, and gives some useful guidelines on how to wear tailored clothing in today’s casual age.
For our upcoming StyleForum x A&H Magazine trunk show, Bruce Boyer will be joining us to sign copies of his new book True Style (which will be available for sale at the show). He sat down with us last week to share some of his thoughts on men’s style.
I’ve always admired your ability to gently suggest rules to your readers without seeming overly rigid or dogmatic. Do you feel rules are necessary for developing good taste, or are they two separate things?
Most rules about dress turn out to be silly, because fashion, like sin, changes. With more classic or traditional tailored clothes, changes are less perceptible but is still influenced by fashion. So any rule becomes an exercise in futility. I've tried to suggest that the best way to fight the vagaries and vicissitudes of fashion is to develop your own style.
I'm not sure that taste is even a consideration, because taste is a concept related to class, as I think Roland Barthes pointed out in The Fashion System. Our tastes, as well as our biases, don't usually come rationally nor individually. But some people develop their own style quickly and then hold to it. Think about Woody Allen, a man who developed his style early on and has dressed pretty much the same his whole life. I would say his style is beyond taste, or that taste is not really the point.
I'm repulsed by anarchy, and believe it's always good to first learn what the rules are, whether it's for manners, writing, dressing, or any other aspect of civilized life. I think even the geniuses among us, those who construct their own worlds, first learn from the past before breaking away into the future. Lord Chesterfield said, "Dress is a foolish thing; and yet it is a very foolish thing for a man not to be well dressed." Style is what happens when a person bends fashion to his personality.
Do you think it’s necessary to answer those existential questions when deciding on how to dress yourself? On the one hand, the most stylish men I know dress in a way that accords with their personality. On the other hand, fashion has this large element of fantasy, where it allows us to feel like the person we wish to be. Do you think men should stick to one style, or is it OK to dabble here and there as trends pass?
I think a person must have some sense of himself as an individual to develop style. Philosophically I believe we all come into the world tabula rasa, and we're left to invent ourselves as best we can. To name an obvious example, Cary Grant started off as Archibald Leach, a child from a lower-middle class family in Bristol, England. Consciously modeling himself on several successful, sophisticated celebrities, he eventually became the suave actor we recognize as Cary Grant. Of course he was smart enough to know his persona was consciously constructed, as he sometimes replied to strangers who said, "I wish I were Cary Grant", by saying, "Me too."
Many people simply take on the roles provided for them (by the media, retailers, designers, or whatever). But I find that usually men (and women too for that matter) of style develop "signatures," whether they be uniforms or little eccentricities that distinguish them. This happens because the sort of person with whom we associate style has studied himself sufficiently to understand what works for him and what doesn't. Or perhaps it's better to say what his attitude can carry.
What do you see as the future of tailored clothing? Formality has been declining for over a hundred years … and yet, there’s been this huge revival among younger consumers who are eager to dress up again. Will classic clothes remain for the foreseeable future, or will they eventually be subsumed by designers – living on only as reinterpretations?
If you look at the statistics, there doesn't seem to be much argument: the tailored wardrobe as it existed since the 1870s has been in retreat since the Great Depression of 1929. It is interesting that the suit is still with us in relatively the same form as it was in 1870. Almost 150 years is a pretty long run for a garment, and it still has its appeal. That it has some appeal with young men can easily be seen from the history of J. Crew, to name only an obvious example. J. Crew started off selling casual clothes, and now they stock dinner jackets.
My own theory, if I may call it that, is that tailored clothing now has its appeal precisely because it isn't a uniform anymore. Fewer and fewer men have to wear suits, so buying one becomes a very personal style choice, as well as something of an investment. Young men wear tailored clothing now because there's a "coolness" it that sort of an outfit, it's different and hip. And mature men like tailored clothes because that sort of outfit represents, symbolizes, success. Clothing, despite what people think, is not primarily about sexuality or protection. It's about status. I grew up in a blue collar neighborhood, and clothing-as-status was decidedly important. Any public occasion called for dressing up because dignity and respect were paramount to people who didn't have much in the way of material possessions.
It does feel like tailored clothing has stuck around because of its connotations with status. At the same time, so much nuance has been lost. A three-roll-two, hook vent sport coat doesn’t mean the same thing in 2015 as it did in the 1960s. You can’t infer anything about the wearer anymore. I’m reminded of an article in The Guardian, where the author says youth subcultures have lost their distinct uniforms. Everyone just dresses in this vaguely hip way now. Similarly, a lot of tailored clothing is morphing into this Italian-American style and we’re losing a lot of distinctions.
As a person who has written a lot about the semiotics of dress, what do you think of this shift?
There has been a shift in the semiotics of dress simply because everything now is international. In menswear this is Internationalism #2, because in the 1930s the English tailors of Savile Row provided the first wave of internationalism. I would agree with the journalist from The Guardian that many youth subcultures seem to have lost their distinct uniforms. This has always happened to a certain degree. Consumerism co-opts everything and the modern history of the arts is drowned in consumerism. Even social protest movements such as feminism, Black Power (see John Oliver Killens’ wonderfully funny novel The Cotillion: or, One Good Bull is Half the Herd), and homosexual rights have been co-opted by consumerism. The Eastern Establishment Elite style of dressing -- we called it "Ivy League" in the 50s -- became "Preppy" when commercial designers got a hold of it, and it changed from a lifestyle dress to a fashion trend. Even tradition is for sale; Downtown Abbey is not so much history as it is an industry.

Since the internet has now made us all global consumers, it's easy to believe that brands with strong regional roots will be co-opted too (think of Burberry, which used to be as English as fish and chips; and of course Brooks Brothers actually used to represent something stylistically). In a sense, this is what seems to have happened in places like Japan, where Western costumes mix together easily.
For a person trying to define himself this should theoretically mean that there are more choices, since a person sitting at home in Topeka, Kansas can shop anywhere in the world online. But on the other hand, it's more and more true that regardless of where you go, you find yourself in a place that mirrors an American mall: the same stores, the same fast food, the same fashions. Armani boutiques are ubiquitous. And what's the difference between a Starbucks in Paris and one in San Diego? Small, artisanal shops find it hard to survive, but I'm hoping that somehow the internet will become more of a help to these venues that cater to more individual tastes. It's very difficult because we're now accustomed to believing that the way to be somebody is to be like everybody else, to buy something that makes you like everybody else who's bought the same thing. Consumption, not individualism, is considered the moral good.
A friend of mine recently remarked that he’s only seen photos of you in tweed, flannel, and cavalry twills. What do you wear in the warmer months?
It's true that I'm mad about tweed and flannel, and would wear them all year 'round if I could stand the heat of a Mid-Atlantic summer. For warmer weather I prefer pure cottons and linens for trousers and jackets. Seersucker, poplin, and linen wrinkle badly, but I don't care and, in fact, think they look better when broken in. I must have a dozen pair of cotton khakis in various weights, mostly from Cordings because they still do a narrow leg with a high rise. I have a couple of tropical worsted suits, the most recent a DB by Leonard Logsdail. And I love linen sports jackets; I'd have one in every color if I could afford it. I think if clothes are well-made, you don't have to sacrifice comfort to looking decent.

I recently saw a photo of you on Jake Grantham's Instagram, where you were pictured in jeans, a navy jacket, and a floppy hat (which looked great, by the way). For our members who wear more casual attire, who made the items in that photo?
Jake took that photo of me after we had lunch one rainy summer day. I was wearing old jeans, and a dark blue linen safari jacket from The Armoury that had been made by Ascot Chang; it's become my favorite default summer jacket and I want to get that jacket in a few other colors. The hat is an old khaki cotton casual number from Lock Hatters. I like it because I can crumble it up in a ball, and stuff it in my pocket or bag when not wearing it.

Thanks for your time, Bruce. I'll end with the two most popular questions on the board: when is the next Brooks Brothers sale and do you have a TBS code I can use?
I probably won't make the next Brooks sale unless they have the French-back underwear on sale; that's about the only thing I buy at the store any more. What's a TBS code?



Weekend Intermezzo / The Loo Palace at Appeldoorn / Holland / Paleis Het Loo en de tuinen

The traditional Portuguese riding costume / VÍDEO: Golegã (Horse Fair) 2014 | SoLuckyDarleen

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The National Horse Fair is held in Golegã every year, for the period of 10 days in November. During this time, the usually quiet town transforms into a lively horsey hub. It is a spectacle like no other in the world, and we recommend that every horse person puts this visit on their bucket list.

Golegã is home to some of Portugal’s most famous stud farms; it is often referred to as the “Capital of Horses”. In the middle of the town, a large riding arena is found and the arena itself is surrounded by the ‘manga’. Every Portuguese person, who has the opportunity, brings his or her horse. So both day and night, the manga tends to be filled with ridden and driven horses.

The days are spent watching top competitions in all disciplines, model and gait competitions, and various shows and displays. At the same time, the town and manga is filled with horses and riders dressed in traditional Portuguese riding costumes. As the night falls, the chilly air of the November evening becomes filled with smoke from roasted chestnuts. The party begins; restaurants, bars, and discos open up and are quickly full of people. All day and night, the town is packed with horses – they are everywhere: in the streets, in the bars, and even in the discotheques. There is just no end to the festivities!


The narrow streets of Golegã are filled with stands, and it is possible to do some pleasant shopping. Visiting Golegã also gives you agreat opportunity to experience Portuguese culture, as there are plenty of traditional food and products to enjoy. You can also meet many Lusitano breeders in their ‘casettas’ (small cottages), and see them exhibit their horses in outside stalls. Don’t forget to try out the local drinks, which are sold at every corner: Ginga, Agua-Pé, and Abafado.


História

O lugar de Golegã outrora pertença da Vila de Santarém, foi elevado à categoria de Vila por carta de D. João III, datada de 3 de Novembro de 1534. Segundo vários autores, a Vila da Golegã teve origem no tempo de D. Afonso Henriques ou de D. Sancho I, quando uma mulher natural da Galiza e que residia em Santarém veio estabelecer-se com uma estalagem neste local. Que a Golegã já existia no século XV, parece não haver dúvidas, bem como depois de se haver estabelecido nela a dita Galega, ter passado a denominar-se Venda da Galega, Póvoa da Galega, Vila da Galega e mais tarde por corrupção de linguagem, “Golegã”.
A par da importância do lugar em que se situa, a região da Golegã detinha uma das maiores riquezas: um solo fértil: A fama das suas terras chamou muito povo a si, como grandes agricultores e criadores de cavalos. Dos tempos mais remotos vêm alusões à região, à Quinta da Cardiga que em 1169 foi dada por D. Afonso I à ordem do Templo para arroteamento e cultivo. De século para século foi a mesma sendo doada a outras ordens e, a partir do século XIX, comprada por diversos grandes agricultores.
Já no século XVIII, e com o apoio dado pelo Marquês de Pombal, a feira começou a tomar um importante cariz competitivo, realizando-se concursos hípicos e diversas competições de raças. Os melhores criadores de cavalos concentravam-se então na Golegã. No século XIX, com base na valorização agrária da região, a Golegã voltou a ter grande importância para o que muito contribuíram as figuras de dois grandes agricultores e estadistas: Carlos Relvas, fidalgo da Casa Real, grande amigo do Rei, comendador, lavrador, artista, proprietário de diversos estabelecimentos agrícolas e de dois palácios (onde por várias vezes hospedou a família real), e José Relvas, seu filho, imensamente ligado à causa republicana, ministro das finanças e também um grande artista.
Em meados do século XVIII, teve o seu começo a Feira da Golegã, chamada até 1972 Feira de São Martinho, data a partir da qual passou a denominar-se Feira Nacional do Cavalo. É a Feira Nacional do Cavalo a mais importante e mais castiça de todas as feiras que no seu género se realizam em Portugal e no mundo. Aqui se apresentam todos os criadores, com os seus belos exemplares, razão pela qual, se transaccionam na Golegã, os melhores puro-sangue, criados no País, que são vendidos para vários pontos do globo.

A Golegã há muito que passou a ser a Capital do Cavalo. O dia de São Martinho, de feira que foi, passou ao mais belo e único espectáculo equestre público que se realiza a nível gratuito entre nós. Ralies, Raids, Jogos Equestres, Campeonatos, Maratona de Carruagens, Exibições, são alguns dos mais belos espectáculos que na Golegã se realizam na sua apresentação do mais belo animal do mundo que é o cavalo. E para complemento da festa justificando o adágio popular que, “Pelo São Martinho prova o Vinho”, não faltarão a água-pé e as sempre apetecidas castanhas assadas.





The traditional Portuguese riding costume
Traje Português de Equitação
By Andréa Kjellberg|August 26th, 2014

The Portuguese riding costume can be traced back to the late 19th century, and is a well-known part of the country’s riding culture. Today you can see the costume in use during fairs, shows and competitions in Portugal, as well as in other parts of the world.

The Portuguese Traditional CostumeA cultural heritage
The traditional Portuguese riding costume, also known as Traje Português de Equitação, is an indication of how important the country considers its cultural heritage to be. The costume can be traced back to late 19th and early 20th century Portugal, where it was used by riders as formal attire. However, the modern female costume is somewhat an interpretation of the male one, as it was still considered inappropriate for women to ride astride until the middle of the 20th century. The special skirt for riding astride has only been used in Portugal since around 1950, even though it had been seen in France many years earlier.


Portuguese CostumeThe traditional costume today
Portuguese people enjoy dressing up and even in modern times, you can see their traditional costume in use on many occasions. During the annual horse fair in Golegã, there are many hundreds of riders who dress ‘á Portuguesa’, but you can see the costumes in use during smaller fairs too. Portuguese Working Equitation riders wear the traditional costume in competitions, and it can also be seen in different kinds of shows. As it is considered to be strongly associated with the Lusitano breed, it is even worn in other parts of the world where Lusitano horses are found.

The Portuguese costume, piece by piece


Portuguese hat
The hat has a wide brim and a round indented crown. Traditionally, women wear another type of hat with an upturned brim and two silk pompons, but today you can see women wearing both models.


Portuguese costume
The Portuguese jacket is like a tailcoat that has been cropped at the waist, with vertical pockets and a row of buttons on the sleeves. The jacket should be worn open, but even so it has buttons or decorative silk braids along the front.


Portuguese waist coat
Under the jacket, you wear a waistcoat with a V-neck that allows the shirt to be seen. The back of the waistcoat is made out of a lighter fabric than the front, and is adjusted by laces running through eyelets. Sometimes, you see women without a waistcoat, but men should always wear it.


Portuguese shirt
The Portuguese shirt is white with small collar ends that are fixed at the neckband. The closing at the top is decorative with double collar links. The front of the shirt is often decorated with pleats or lace.

The sash is made of silk and is placed over or under the bottom edge of the waistcoat, with the fringes hanging down on the left side.

Women wear both pants and skirtsThe pants are cut straight, without cuffs, and end just above the ankle. They have a very high waist with buttons on the waistband, for attaching suspenders.

Women wear both pants and skirts. The skirt fits the hips closely and ends just above the ankle. It is slit from the top of the thigh, both in the front and back, with a few decorative buttons where the slit begins.


Portuguese chaps
Short chaps are not considered formal and were traditionally used only when hunting, but as they are very practical, they have gained acceptance among riders who dress ‘á Portuguesa’. Today, it is more common to see dressed-up riders wearing chaps than boots. The boots should have a ‘shelf-heel’ made to support the spur.

There are two types of spurs that are considered Portuguese, which are both attached to the lowest part of the heel. The lighter variant is simply pushed onto the heel whilst the heavier one is kept in place with a leather strap. You normally see the heavier one being used when someone dresses ‘á Portuguesa’.


Filigree earrings

It is also normal to wear gloves that aremade of fine cloth or leather. Women can also wear filigree earrings from Northern Portugal, and men can wear a watch in the waistcoat pocket, secured by a chain attached to a button/buttonhole on the waistcoat.

Glossary

English Portuguese
Hat Chapéu
Waistcoat Colete
Shirt Camisa
Collar links Abotoaduras
Pants Calças
Skirt Saia
Suspenders Suspensorios
Sash Cinta
Boots Botas
Shortchaps Polainas
Spurs Esporas
Gloves Luvas
By Andréa Kjellberg|August 26th, 2014|Tack and clothing




Sir William Oliphant Hutchison

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Sir William Oliphant Hutchison LLD PRSA (2 July 1889 Kirkcaldy – 5 February 1970 Kensington, London) was a Scottish portrait and landscape painter. He was an Honorary Member of the Royal Academy, President of the Royal Scottish Academy and a member of the Royal Society of Arts.

He was a scholar at Kirkcaldy High School in Edinburgh, and subsequently at Rugby School. He attended the Edinburgh College of Art between 1909 and 1912. On leaving he started the Edinburgh Group, holding exhibitions for three consecutive years, with Eric Robertson, Alick Riddell Sturrock, John Guthrie Spence Smith, Dorothy Johnstone, Mary Newbery, and David Macbeth Sutherland who later became Principal at Gray's School of Art in Aberdeen. Hutchison also worked and studied in Paris for a while, mainly painting portraits though also producing landscape and figure paintings.


Hutchison enlisted during the First World War serving with the Royal Garrison Artillery and being stationed in Malta, later being badly wounded in France. After demobilization in 1918, he and his wife occupied a studio flat in Edinburgh until 1921, before moving to London. Here he successfully worked as a portrait painter, exhibiting at the Royal Academy, becoming a member of the Savage Club, and enjoying a large circle of friends, mainly from the art world.

Hutchison was Director of the Glasgow School of Art from 1933 to 1943, from all accounts being an excellent director. Though a great traditionalist he encouraged those who tended to the avant-garde. The school maintained an interest in those staff and students serving during World War II, sending them gifts and cards.

On leaving the Glasgow School of Art, Hutchison carried on with portraiture both in Edinburgh and London. A large exhibition of his work was held in London in 1964.


Hutchison served on numerous art-related bodies - he was a Committee member of The Edinburgh College of Art, the Board of Management of the Royal Scottish Academy, Director of The Glasgow School of Art, an Associate of The Royal Scottish Academy, President of The Glasgow Art Club, and Vice-president of The Scottish Modern Arts Association.


He served as President of the Royal Scottish Academy from 1950 to 1959 and was knighted in 1953.

He died on 5 February 1970 at his home at 30 Oakwood Court, Kensington, London.


He is buried in Collessie churchyard in central Fife in Scotland, just east of the church.













The Glen Urquhart plaid

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Glen plaid (short for Glen Urquhart plaid) or Glenurquhart check is a woollen fabric with a woven twill design of small and large checks. It is usually made of black/grey and white, or with more muted colours, particularly with two dark and two light stripes alternate with four dark and four light stripes which creates a crossing pattern of irregular checks. Glen plaid as a woven pattern may be extended to cotton shirting and other non-woollen fabrics.
The name is taken from the valley of Glenurquhart in Inverness-shire, Scotland, where the checked wool was first used in the 19th century by the New Zealand-born Countess of Seafield to outfit her gamekeepers, though the name glen plaid does not appear before 1926

 Tweed suit with plus fours from Dashing Tweeds. Photograph: Dashing Tweeds
( By the way, definitely wrong shoes for plus fours breeches / Jeeves )
Jeeves's own collection ...






The difficult art of plus four's / SUNDAY IMAGES.

Margaret, Duchess of Argyll / The Duchess who dared ...

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Margaret, Duchess of Argyll (born Ethel Margaret Whigham, 1 December 1912 – 25 July 1993), was a well-known British socialite, best remembered for a celebrated divorce case in 1963 from her second husband, the 11th Duke of Argyll, which featured salacious photographs and scandalous stories.

Margaret was the only child of Helen Mann Hannay and George Hay Whigham, a Scottish millionaire who was chairman of the Celanese Corporation of Britain and North America. She spent the first 14 years of her life in New York City, where she was educated privately at the Hewitt School. Her beauty was much spoken of, and she had youthful romances with playboy Prince Aly Khan, millionaire aviator Glen Kidston, car salesman Baron Martin Stillman von Brabus, and publishing heir Max Aitken.

In 1928, David Niven seduced the 15-year-old Margaret Whigham, during a holiday at Bembridge on the Isle of Wight. To the fury of her father, she became pregnant as a result. Margaret was rushed into a London nursing home for a secret termination. "All hell broke loose," remembered her family cook, Elizabeth Duckworth. Margaret didn’t mention the episode in her 1975 memoirs, but she continued to adore Niven until the day he died. She was among the VIP guests at his London memorial service.

In 1930, she was presented at Court in London and was known as deb (or debutante) of that year. Shortly afterwards, she announced her engagement to Charles Guy Fulke Greville, 7th Earl of Warwick. However, the wedding did not take place, for her head had been turned by Charles Sweeny, an American amateur golfer from a wealthy Pennsylvania family.


On 21 February 1933, and after converting to his Roman Catholic faith, Margaret married Charles Sweeny at the Brompton Oratory, London. Their wedding party comprised eight adult bridesmaids (Pamela Nicholl, Molly Vaughan, Angela Brett, The Hon. Sheila Berry, Baba Beaton, Dawn Gold, Jeanne Stourton, and Lady Bridgett Paulett) and the groom's brother, Robert Sweeny, as best man. Such had been the publicity surrounding her Norman Hartnell wedding dress, that the traffic in Knightsbridge was blocked for three hours. For the rest of her life, she was associated with glamour and elegance, being a firm client of both Hartnell and Victor Stiebel in London before and after the war. She had three children with Charles Sweeny: a daughter, who was stillborn at eight months in late 1933; another daughter, Frances Helen (born 1937, she married Charles Manners, 10th Duke of Rutland), and a son, Brian Charles (born 1940). The Sweenys divorced in 1947.

In 1943, Margaret Sweeny had a near fatal fall down a lift shaft while visiting her chiropodist on Bond Street. "I fell forty feet to the bottom of the lift shaft", she later recalled. "The only thing that saved me was the lift cable, which broke my fall. I must have clutched at it, for it was later found that all my finger nails were torn off. I apparently fell on to my knees and cracked the back of my head against the wall". After her recovery, Sweeny's friends noted that not only had she lost all sense of taste and smell due to nerve damage, she also had become sexually voracious. As she once reportedly said, "Go to bed early and often". Given her numerous earlier romantic escapades, including an affair with the married George, Duke of Kent in her youth, this may have been a change in degree rather than basic predisposition.


After the end of her first marriage, Margaret was briefly engaged to a Texas-born banker, Joseph Thomas, of Lehman Brothers, but he fell in love with another woman and the engagement was broken. She also had a serious romantic relationship with Theodore Rousseau, curator of the Metropolitan Museum of Art who was, she recalled "highly intelligent, witty and self-confident to the point of arrogance". That romance also ended without the couple formalising their liaison, since the mother of two "feared that Ted was not 'stepfather material'". Still, she noted in her memoirs, "We continued to see each other constantly." She also allegedly had an affair with Joseph Slatton, who was married to Jacqueline Kennedy's cousin. This occurred during a time when Slatton had access to the White House, and led to his resignation from his Washington post in 1962.


On 22 March 1951, Margaret became the third wife of Ian Douglas Campbell, 11th Duke of Argyll. She wrote later in life -

“ I had wealth, I had good looks. As a young woman I had been constantly photographed, written about, flattered, admired, included in the Ten Best-Dressed Women in the World list, and mentioned by Cole Porter in the words of his hit song You're the Top. The top was what I was supposed to be. I had become a duchess and mistress of an historic castle. My daughter had married a duke. Life was apparently roses all the way. ”
(She was not mentioned in the original version of the song. P. G. Wodehouse anglicised it for the British version of Anything Goes, changing two lines from "You’re an O’Neill drama / You’re Whistler’s mama!" to "You’re Mussolini / You’re Mrs Sweeny")


Within a few years, the marriage was falling apart. The Duke suspected his wife of infidelity, and while she was in New York, he employed a locksmith to break open a cupboard at their Mayfair pied-à-terre, 48 Upper Grosvenor Street. The evidence discovered resulted in the infamous 1963 divorce case, in which the Duke of Argyll accused his wife of infidelity, and included a set of Polaroid photographs of the Duchess nude, save for her signature three-strand pearl necklace, in the company of another man. There were also photographs of the bepearled Duchess fellating a naked man whose face was not shown. It was speculated that the "headless man" was the Minister of Defence Duncan Sandys (later Lord Duncan-Sandys, son-in-law of Winston Churchill), who offered to resign from the cabinet.

Also introduced to the court was a list of as many as eighty-eight men with whom the Duke believed his wife had consorted; the list is said to include two government ministers and three members of the British royal family. The judge commented that the Duchess had indulged in "disgusting sexual activities". Lord Denning was called upon by the government to track down the "headless man." He compared the handwriting of the five leading "suspects" (Duncan-Sandys; Douglas Fairbanks, Jr.; John Cohane, an American businessman; Peter Combe, a former press officer at the Savoy Hotel; and Sigismund von Braun, brother of the German scientist Wernher von Braun) with the captions written on the photographs. It is claimed that this analysis proved that the man in question was Fairbanks, then long married to his second wife, but this was not made public.[10] Granting the divorce, Lord Wheatley, the presiding judge, said the evidence established that the Duchess of Argyll "was a completely promiscuous woman whose sexual appetite could only be satisfied with a number of men".

The Duchess never revealed the identity of the "headless man", and Fairbanks denied the allegation to his grave. Long afterwards, it was claimed that there were actually two "headless men" in the photographs, Fairbanks and Sandys, the latter identified on the basis of the Duchess's statement that "the only Polaroid camera in the country at that time had been lent to the Ministry of Defence". In December 2013 her ex-daughter-in-law Lady Colin Campbell claimed that she had been told by the Duchess herself that the headless man was William H. "Bill" Lyons, then sales director of Pan American World Airways.

The Duke of Argyll married an American, Mathilda Coster Mortimer Heller in 1963, and died of a stroke in 1973, aged 69.


Margaret wrote a memoir, Forget Not, which was published by W. H. Allen Ltd in 1975 and negatively reviewed for its name dropping and air of entitlement. She also lent her name as author to a guide to entertaining. Her fortune diminished, however, and she eventually opened her London house — 48 Upper Grosvenor Street, which had been decorated for her parents in 1935 by Syrie Maugham — for paid tours. Even so, her extravagant lifestyle and ill-considered investments left her largely penniless by the time she died.


In her youth, Margaret's father had told Rosie d'Avigdor-Goldsmid, a close friend of hers, that he feared for what his high-living only child would do once she had her entire inheritance. Consequently, Whigham blocked his daughter's access to the principal of her inheritance through various protective legal prohibitions. However, after his death, Margaret's lawyers successfully voided most of the safeguards. In 1978, her debts forced Margaret to move from her Belgravia house and relocate with her maid to a suite at the Grosvenor Hotel.

In April 1988, on the evening after the Grand National, she appeared on a Channel 4 After Dark discussion about horseracing "so she said, to put the point of view of the horse", later walking out of the programme "because she was so very sleepy".

In 1990, unable to pay the hotel bills, she was evicted, and with the support of friends and her first husband moved to an apartment. Her children later placed her in a nursing home in Pimlico, London. Here she was photographed by Tatler magazine, for which she had previously been a columnist, sitting on the edge of her bed in a grim single room. Margaret died in penury in 1993 after a bad fall in the nursing home. She was buried alongside her first husband, Charles Sweeny, in Brookwood Cemetery in Woking, Surrey.


She once told the New York Times, "I don't think anybody has real style or class any more. Everyone's gotten old and fat." More to the point, she described herself as "always vain". Another quote gives an insight into her personality: "Always a poodle, only a poodle! That, and three strands of pearls!" she said. "Together they are absolutely the essential things in life."


Powder Her Face, a chamber opera based on major events in the Duchess's life, received its premiere at the Cheltenham Music Festival in 1995. The English composer Thomas Adès wrote the music, and novelist Philip Hensher contributed the libretto; the Festival, along with the Almeida Opera, commissioned the piece. Performed in dozens of productions since, the opera has prompted sharply polarized, if mostly positive, comment from critics on the question of its depiction of Margaret.

The opera's Duchess character, an image of the real woman refracted through an astringent Camp sensibility, invites both sympathy and contempt for her by design. In the fourth of the opera's eight scenes, the soprano who plays the Duchess must recreate one of the notorious "headless man" photographs with a hotel waiter, simulating fellatio as she hums a brief, ecstatic passage; the opera owes some of its fame to this wordless aria.







Lady Colin Campbell, stepdaughter-in-law of the Duchess of Argyll, said she had long known the true identity of the 'headless man' Photo: GEOFF PUGH

'Headless man' in Duchess of Argyll sex scandal was US airline executive Bill Lyons

Lady Colin Campbell claims that mystery man pictured with Duchess of Argyll in sensational photo produced at her 1963 divorce trial was a PanAm executive that Duchess regarded as her 'third husband'

By Emily Gosden6:38PM GMT 29 Dec 2013

The ‘headless man’ who was subject of a 1963 sex scandal with Margaret, Duchess of Argyll has been named as an American airline executive, William “Bill” H Lyons.
The claim over the true identity was made by Lady Colin Campbell, the late Duchess’s stepdaughter-in-law.
The Duchess’s husband, Ian Campbell, the 11th Duke of Argyll, produced sexually-explicit Polaroid photos found in his wife’s possession as evidence at their divorce trial.
One photo showed the Duchess performing a sex act on a man, whose face is not visible in the photo.
The scandal caused widespread shock, only being overshadowed by the Profumo affair the same year.
Speculation has been rife ever since over the identity of the so-called ‘headless man’. The Duchess, who died in 1993 aged 80, never disclosed his identity.
Both Duncan Sandys, the son-in-law of Winston Churchill and a Cabinet minister, and the actor Douglas Fairbanks Jr, had been widely linked to the photos.
But Lady Colin said that the Duchess herself had told her the true identity of the man in the photo was Bill Lyons.
Lyons was sales director of Pan American Airlines and “scion of a wealthy family” and was the Duchess’s lover for six years, she wrote in the Mail on Sunday.
Lady Colin – known for her revelatory biography of Princess Diana – said she had now chosen to reveal the Duchess of Argyll’s secret as an opera about her, Thomas Ades’ Powder Her Face, meant the Duchess was being “immortalised on stage in an obscene pose” as a “lady of loose morals”.
This “bore little or no resemblance” to the Duchess she knew, she wrote.
“The mystery of The Headless Man distorted Margaret’s life while she was alive, and it threatens to distort her memory in death … It is to restore some small measure of justice that I have decided to end the mystery and reveal who it was in the picture with her, and why. I know the answer for a fact because, in the course of our long friendship, it was Margaret who told me.”
Polaroid cameras were a very new technology at the time, a fact that had been used to attempt to narrow down the identity of the man. But Lady Colin wrote: “Margaret was a genuine neophyte. If it was new, she had to have it…
"It should, therefore, come as no surprise she managed to own one of the first Polaroids in England.
“And she used it, in all innocence, to record a loving encounter with the man who replaced Big Ian in her affections after he began divorce proceedings against her.
“Or, to be more accurate, the man rigged up the timer and they recorded a memento of their love for each other.”
She said that the Duchess’s family had known the identity for 50 years but it had been “a secret shared only within the family”. “To those of us who were close to her, it was hardly a surprise – Bill was her lover after all.”
She said that the secret may have been kept too long because in doing so it “perpetuated the mystery, and in so doing we have done Margaret’s reputation no favours”.
The Duke was her second husband and Lady Colin said that the Duchess referred to Lyons as her “third husband” and that they were widely accepted as a couple.
“He was sophisticated, debonair, dapper, well-bred, charming and handsome,” Lady Colin said.
His father was a lawyer, enabling him to give the Duchess guidance as the divorce case progressed.
But Lady Colin said that Lyons was already married to a woman who threatened to kill herself each time Lyons attempted to leave her for the Duchess, a factor that eventually brought the relationship with the Duchess to an end.
At the divorce trial, the Duke of Argyll – who had been married twice previously – claimed that his third wife, the Duchess, had as many as 88 lovers.
Lady Colin alleges that the Duke and his daughter Jeanne broke into the Duchess’s house to find evidence of the infidelity and found the photos in his wife's writing desk which showed her naked, wearing only a three-strand pearl necklace.
They also found the Duchess’s appointments diaries. The men listed in the diaries had been widely interpreted as her lovers.
The divorce trial judge Lord Wheatley, in his judgment on the case, said: "There is enough in her own admissions and proven facts to establish that, by 1960, she was a completely promiscuous woman whose sexual appetite could only be satisfied with a number of men."
But Lady Colin says that the most of the men who were listed in the appointments diaries were friends who were gay and “would have fled at the sight of a naked woman” – a fact that the Duchess could not reveal while homosexuality was illegal at the time.
Lady Colin wrote: “Margaret might have been coquettish, but she was most certainly no cocotte. And the only way to do her justice is to identify the Headless Man,” she wrote.
“Then, and only then, will everyone be able to appreciate that what she was doing in those photographs was not so very terrible. She was simply a woman in love – who was unfortunate enough to have a memento of something happy stolen from her.


'Headless men' in sex scandal finally named

Unidentified lover in Duchess of Argyll divorce case exposed as not one but two men - a cabinet minister and a swashbuckling movie star

Sarah Hall
Thursday 10 August 2000 01.05 BST

It was a scandal that rocked the nation: an aristocratic beauty was photographed performing fellatio on a lover, while shots of another man gratifying himself were unearthed in her boudoir.
The sexually explicit Polaroid snaps proved central in the 1963 divorce of the Duke and Duchess of Argyll, and became part of a government investigation.

The duchess's reputation was ruined, but her lover escaped blameless, his identity preserved for almost 40 years by the camera cutting him off at the neck.

Tonight, the mystery of the "headless man" - or rather headless men - is resolved for the first time, with new evidence identifying not one, but two, lovers.

The man in the more notorious shot is unveiled as Duncan Sandys, then a cabinet minister, and his masturbating rival as Douglas Fairbanks Jr, the Hollywood legend who dallied with Marlene Dietrich and married Joan Crawford.

The two men's identities are revealed in a Channel 4 documentary to be shown tonight, Secret History: The Duchess and the Headless Man, which draws on the memories of the duchess's confidante, who identifies Sandys, and previously unpublished evidence gathered by the nation's then most senior law lord, Lord Denning. This formed part of his inquiry into security risks following the resignation of the then secretary of state for war, John Profumo.

Sandys's identity is "conclusively proved", the documentary makers believe, by the duchess's claim that the only Polaroid camera in the country at the time had been lent to the Ministry of Defence, where Sandys was a minister. Fairbanks is nailed by his handwriting.

The Argyll case, heard in March 1963 - the same month John Profumo lied to the Commons about his relationship Christine Keeler - was the longest and most sensational divorce to occur in Britain.

Margaret Argyll, the only child of a self-made Scottish millionaire, was a society beauty who her husband alleged had slept with 88 men, including two cabinet ministers and three royals.

Profumo resigned in early June but, before the month was out, the precarious Macmillan government was rocked by another threat, and looked in danger of being toppled.

At a stormy cabinet meeting on June 20, Sandys, the son-in-law of Winston Churchill, confessed he was rumoured to be the person in the erotic shots, which, at that time, were presumed to be of one man.

He offered to resign but Macmillan managed to dissuade him by ensuring Lord Denning, who had been commissioned to investigate the Profumo scandal, also investigated the identity of the headless lover.

For this Denning, the master of the rolls, had a plan. On the four shots of the man in different states of arousal were handwritten captions: "before", "thinking of you", "during - oh", and "finished". If he could match the handwriting, he would find his man.

He invited the five key suspects - Sandys, Fairbanks, American businessman John Cohane, Peter Combe, an ex-press officer at the Savoy, and Sigismund von Braun, the diplomat brother of the Nazi scientist Werner von Braun - to the Treasury and asked for their help in a "very delicate matter".

As they arrived, each signed the visitor's register. Their handwriting was analysed by a graphologist, and the results proved conclusive. As the broadcaster Peter Jay, then a young Treasury official, tells the documentary: "The headless man identified by the handwriting expert and therefore identified by Lord Denning, though he didn't write this down in his report, was, in fact, the actor Douglas Fairbanks Jr."

Duncan Sandys, who in 1974 was given a peerage, appeared to be in the clear - a fact confirmed by a Harley Street doctor who concluded his pubic hair did not correspond with that in the masturbation photos.

But tonight's documentary confirms the other photograph clearly showed a different man whose identity the duchess hinted at to her close friend Paul Vaughan just before her death.

"She did say to me quite clearly that, 'Of course, sweetie, the only Polaroid camera in the country at this time had been lent to the Ministry of Defence,'" recalls Mr Vaughan. "If that wasn't running a flag up the flag pole, I don't know what was. She wanted someone to know." Analysis of the film suggests the photo was taken in 1957, at which stage Sandys held his defence post.

"We believe it's pretty definitive," said Dan Corn, the programme's producer. "It's ironic because he effectively got away with it by being cleared by Denning."

The duchess died in a Pimlico nursing home in July 1993, without even hinting at the identity of her other lover. But despite this discretion, she never recovered from her reputation being so besmirched during her divorce.

Summing up, the judge, Lord Wheatley, said: "She was a highly sexed woman who had ceased to be satisfied with normal relations and had started to indulge in disgusting sexual activities."


The Squire / SUNDAY IMAGES


Carol Official US Trailer #1 (2015) - Rooney Mara, Cate Blanchett Romanc...

Sandy Powell masterpiece . Carol's Wardrobe. Coming Soon.

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Sandy Powell OBE (born 7 April 1960) is a British costume designer. She has won the Academy Award for Costume Design for Shakespeare in Love (1998), The Aviator (2004), and The Young Victoria (2009). She has also received nine BAFTA Award nominations, winning for Velvet Goldmine and The Young Victoria. She won numerous other awards in costume design for the latter film. She is frequently associated with Martin Scorsese, having designed the costumes for six of his films.
Powell attended Saint Martin's School of Art in London, before completing her degree, due to offers of work from, amongst others, Derek Jarman. She was appointed Officer of the Order of the British Empire (OBE) in the 2011 New Year Honours for services to the film industry.
Powell is a cousin of the equally successful costume designer, Anthony Powell.

Costume designer Sandy Powell on dressing Carol

Cate Blanchett’s character in Carol speaks more through couture than what she says. Karen Krizanovich talks to costume legend Sandy Powell about dressing a movie into life

Director Todd Haynes’ new film Carol – a vivid, swooning love story between two people whom society wants to keep apart – is being heralded for its costumes as much as its Oscar-worthy performances.

The stunning looks were created by costume legend Sandy Powell OBE, a masterful storyteller in her own right. Inspired by street and fashion photography of New York City in the early Fifties, the multiple Oscar-winner created accurate period clothing that could tell this lyrical love story almost by fashion alone.

In 1952, New York City looked more like an old European capital recovering from the Second World War than a booming metropolis. Faithful to history, Powell’s colour choices are both vivid and muted, sometimes distressed and sour, as if upset at being trapped in the decade before.

While Carol’s look could have stepped directly from the pages of early Fifties Vogue, both director Todd Haynes and Powell drew inspiration from street photographers such as Ruth Orkin and Vivian Maier, while the overall look was influenced by the expressionistic, almost abstract street photography of Saul Leiter.

Carol is particularly interesting because it is 1952, and 1952 is not the Fifties people think of because it still looks like the Forties. It is a transitional period
Sandy Powell

Powell and the film’s star Cate Blanchett were determined to keep Carol as true to 1952 New York as possible. “I get excited by every period I work in because you always learn something new,” Powell has said.

“Carol is a particularly interesting one because it is 1952, and 1952 is not the Fifties people think of because it still looks like the Forties. It is a transitional period, so the silhouette was going from the wide-shouldered look of the Forties to the more streamlined look of the Fifties, so it was really really exciting to do.”

Blanchett adds: “The silhouettes that were available, the new look, the Fifties versus, I guess, the more Chanel silhouettes… These were aesthetic choices that Sandy and I talked about a lot.”

Powell gives Carol the wardrobe of a wealthy woman: gloves worn for formal daytime, sailor necklines and dresses made with the “wandering” waistline so popular in 1952 – in effect, a “sack dress” which was the attractive yet comfy alternative to the snug fit of Dior’s frocks.

There are the popular fitted Hattie Carnegie-styled suits, which have become sought-after collectors’ items. One of the first creators of both couture and ready-to-wear, Carnegie provided women of the Fifties with one boutique supplying everything they needed from “head to hem”. These looks are so of the moment that only a few years later they would look overly formal and prim.

Blanchett and Powell also discussed ways of unlocking the character of Carol through physicality, deciding what to reveal. “We asked, ‘What is the most erotic part of the body?’” reveals Blanchett. “We kept saying that wrists are really erotic. The neck. The ankles.


“The way Highsmith writes, she’s got this exquisite observation of detail that most people would miss, but a lover’s eye never would. We talked a lot about erogenous zones.”

For Carol, Powell’s costumes needed to be distinctive but factual. Without them as a guide, even a superb performer like Blanchett or her co-star Rooney Mara could find it hard to create a believable character.

“It’s a deeper, more formative process for actors than people often may know,” says Blanchett. “Even the girdles and the underpinnings and the stockings and the heels affect the way you move, the way your body feels in space.”

Because Carol is a love story about looking, its most powerful moments are often wordless. This puts more emphasis on movement, glances and hesitations. “The way the gestures that become possible within those constraints help inform the actor’s process of finding the characters.”

“My job was to create the characters and make them believable to each other and audiences,” Powell says. “I wanted Carol to be fashionable but understated, somebody a character like [Rooney’s] Therese would look up to and be impressed by as well.”

Powell, who says if she had a signature element it would be the use of colour – “I don’t think I’ve ever done beige” – dressed Carol in rich reds, warm furs and gave her the strong, figure-shaped suits and dresses.

Carol is a woman of privilege and wealth who impresses Therese by leaving a pair of luxurious if conservative leather gloves on the department store counter where the younger woman works. As love blooms, the types and colours of the characters’ clothes change, reflecting their evolving emotions.

Powell’s costumes tell you everything about Carol: rich, confident and discreet. Therese’s wardrobe reflects her youth and uncertainty: we feel sorry for her when she’s forced to wear a fluffy elf hat at work during the holiday season.

“There’s a reference in the film to the fact that Therese is a photographer but she’s uncomfortable taking pictures of people [until] she starts to take pictures of Carol,” says Blanchett. “I think the clothes play a foundational role in that process.”


• Carol, directed by Todd Haynes and starring Cate Blanchett and Rooney Mara, is released in UK cinemas on 27 November. Find out more at carolfilm.co.uk







IN 'CAROL,' COSTUME PLAYS A KEY ROLE IN CATE BLANCHETT'S SEDUCTION OF ROONEY MARA
Oscar-winning designer Sandy Powell discusses the film's '50s-era look and plot-enhancing pieces.

FAWNIA SOO HOO NOV 18, 2015

Cate Blanchett is absolutely mesmerizing in Todd Haynes's latest movie, "Carol," based on the Patricia Highsmith novel "The Price of Salt." She is, after all, the beautiful, supreme, Oscar-winning Cate Blanchett, but the stunning period costumes by the triple Academy Award-winning costume designer Sandy Powell can surely take some credit for that 'mesmerizing' factor.

In the film, Blanchett plays a wealthy New Jersey wife and mother, Carol Aird, who is challenged by the societal limitations of the 1950s and her buttoned-up, country-club-loving husband, Harge (played by the ever-versatile Kyle Chandler). While Christmas shopping for her young daughter, Carol meets and embarks on a slow-burning love affair with a 20-something shopgirl, Therese (Rooney Mara), who's on her own path to self-discovery. Powell — who most recently dressed Blanchett for her role as the stepmother in "Cinderella"— skillfully helps tell each woman's story through a series of striking, period-specific costumes.

The costume designer took a break from filming her latest period piece (more on that below) to chat with Fashionista about finding inspiration from vintage Vogue issues, sourcing Carol's spectacular jewelry sets and dressing Blanchett in a body-hugging '50s silhouette as opposed to Dior's New Look, which was given considerable treatment in the recently released movie "Brooklyn."

Where did you look for inspiration for both Carol's [Cate Blanchett's] and Therese’s [Rooney Mara's] costumes?

For Carol, I looked at a lot of fashion magazines, including Vogue and Harper’s Bazaar, from the period exactly from the months that we were shooting — the winter months in 1952 going into 1953 — and that pretty much that gave me all the shapes, all the color tones, everything that I needed. For Therese, I looked a little bit at fashion, but she’s not very fashionable. [I tried] to find pictures of real people, real young women, students and arty types in the street.

And then next, I looked at a lot of actual vintage clothing. We’d go to the actual costume rental companies and start pulling and looking at the real clothing of the period and that really is the best thing to see the real stuff and then I tried them on the actors.

For women especially, the '50s was a period of restraint. Watching the movie, you can feel how Carol is so stifled and how much she wants to break free. How did you express that through what she’s wearing?

The clothing in itself does have an air of restraint. That is actually what was fashionable at the time, but I could have given her the other very fashionable look of the period. The Dior New Look, which was much fuller skirts, had just come in. [The style] does give a bit more of an air of extravagance and freedom, even though it's got the tiny cinched-in waist and uncomfortable underwear. So I decided against that and gave her this streamlined silhouette instead.

The silhouettes on Cate Blanchett are so beautiful and fit her so well. What were your style reference points?

I looked at the specific fashion photographers like Gordon Parks, Clifford Coffin and Cecil Beaton, and if you pick up any magazine from 1952, that is the silhouette you will see. In order to create that silhouette, I had to start with the undergarments. That's not Cate’s natural silhouette — she doesn't have pointed bosoms [laughs]. Believe it or not, a lot of the jacket shapes are actually padded over the hips to give that hip shape and the small waist and the bras provide that shape of the bosom. So you create the silhouette from the foundation garments and build the clothing over the top.

When you see the Carol and Therese first meet in the toy section of the department store where Therese works, it's almost love at first sight. What went into choosing the wardrobe pieces for that important moment?

For Carol, I wanted very specifically to have [her wear] something that would stand out from everybody else [in the department store] without looking like she wandered into the wrong shop. The fur coat was completely normal for the period and that's one of the things that came directly from the book. In the script, she's seen wearing the fur. But the color of the fur to me was really crucial in that I wanted a fur that was a slightly unusual color. It's pale, it's not a normal darker brown, and I think there's something rather luxurious and sophisticated about a pale color fur and [it also goes] with [Blanchett's] blonde coloring. Then I used the coral color for the scarf and the hat to be seen against that fur from the other side of the room.

The leather gloves that Carol leaves at the department store counter for Therese to return leads to their developing relationship. The gloves are a pivotal plot point...

Yeah, the gloves are a key, key feature. And the gloves are tonally the same color as the taupe dress Carol wears underneath [the fur]. She does have a pair of coral gloves that she wears later and I was toying with the idea of using those, but then I thought that would be too obvious. I don't know why. Maybe I should have used the coral, but we used the taupe, which were just expensive-looking gloves.

Carol looks so put together and her jewelry and accessories are so impeccably matched. Where did you find those pieces?

I made the scarves and the hats. The scarves I dyed because I wanted that specific coral color and then they matched [Carol's] nails and lipstick. Her jewelry was loaned from various estate jewelry [collections, plus] Fred Leighton and Van Cleef & Arpels lent us pieces. All her shoes are made by Ferragamo based on their original 1950s and 1940s shapes and original patterns. I bought vintage bags from the period as well.

And what are you working on now?

I'm working on a film in London called "How to Talk to Girls at Parties," which is directed by John Cameron Mitchell and it's set in 1977 against a punk music background. But with an added twist of visiting aliens.

"Carol" premieres in U.S. theaters on Friday, Nov. 20.

This interview has been edited and condensed for clarity.

BY FAWNIA SOO HOO


Darcy Clothing

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Darcy Clothing Ltd began life as The Vintage Shirt Company in 2004. The intention then was to supply accurate replicas of mens period shirts and collars for use in plays and costume dramas.Since then we have expanded our range to provide hats, socks, trousers, waistcoats, underwear and a huge variety of general accessories.

As we grew, the old name didn’t really represent the variety of available stock so in 2010 we decided to re-brand as Darcy Clothing Ltd. (A name taken from the creator of the business, Catherine Darcy, not the more famous Mr.)

The clothing is largely made specially for us and is taken directly from original garments. The shapes and fabrics are uncompromisingly genuine. We only ever use natural fibres in any pre C20th garments. The construction methods however take advantage of modern mass production techniques which means that we can supply costume designers with the authenticity they require at an affordable price.

We now sell all over the world to everyone from sheep farmers in Wales needing sturdy braces to Hollywood stars playing pirates. Everyone receives the same service wherby we aim to despatch orders the same day providing the items are in stock.

The past may be another country but you can visit it here at Darcy Clothing.
The Maltings
Castle Precincts
Lewes
East Sussex
BN7 1YT
Tel: +44 (0) 1273 471586
Fax: +44 (0) 1273 475322
Email: sales@darcyclothing.com


Cambridge Photography by Grant Finney.














NEWS / TWEEDY / NEWS / SUNDAY IMAGES

Message from Jeeves / Revista DOZE.

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 Revista DOZE , published an article / profile , kindly giving me the opportunity to express my views and definitions around aesthetics, style , the principles of my garderobe and its connection with the decor of my interiors, the fundamental differences between the Gentleman and the Dandy, enfin, my aesthetic philosophy of Life and its role in the great mystery of Existence.
Greetings Jeeves / António Sérgio Rosa de Carvalho / Architectural Historian
PHOTOS: Michael Floor.



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