Published in L'Officiel Hommes Italia No. 5

          Being a man, I have the strange notion to look like one: short hair, confident posture, direct speech, and clothes appropriate of a man. For clothes, while not entirely making the man, do say an awful lot about him.

           Dressing like a man is my small act to resist society's plunge toward infantilism. It is all too common to see someone in public looking like they just left the gym locker room. There is nothing so ridiculous as a grown man dressed like a ten year old boy. While everyone is getting undressed (both literally and figuratively) I feel compelled to put my clothes on.

          Unless you lay in bed all day studying the ceiling, clothes are worn. If fashion is art, and clothes a type of craftsmanship, then you could argue that the act of getting dressed is the art that you create every single day. Art is made to express and to please yourself—as it is with dressing. There are days when nothing that remarkable happens but a particularly sharp outfit can elevate every action of the day, transforming it into something you remember because of what you were wearing. So I'll continue working in my chosen medium, striving to transcend the pedestrian and the dreary with elegant grace.

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SALVATORE FERRAGAMO created this vibrant green suit, accented by tone on tone pinstripes. Double breasted, with wide peak lapels, it avoids the boxy cut that befalls so many other double breasted models. The fancy checked pattern in navy and white of the GIANFRANCO FERRE shirt is a flawless foil to the suiting. Only someone like ETRO is capable of making a handkerchief strong enough to maintain ground against the loud colours established by this suit and shirt combination. An old tie purchased at a thrift store was made for H.J.Abdella Men's Shop in Gloversville, NY. The wild pattern holds its own and the wide size is appropriate for the suit's larger lapels. For the man of limited means, the buying of old second-hand clothes, "dead guy" clothes ("vintage" as some say) can offer tremendous value. The fabric quality and construction of mass produced clothing of the past is far superior to today's mass produced, and even slightly higher end, clothing. Corners are invariably cut today, the money being spent on branding and advertising rather than high-quality production. This makes sense as modern day people do not know clothes. They know labels. If one were to remove all the tags from a garment, there are but a discerning few who could examine the stitches, feel the fabric and determine if the price tag corresponded accurately. If the article of 30, 50, or even 70 years of age looks sharp today, then my friend, it always will. Needless to say, all the new clothes pictured here are of outstanding quality and meet our prescribed standards.

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A vision in greys. The classic cut wool overcoat by CORNELIANI, in nubby wool ‘carpet texture’, sports a Chesterfield collar and provides ample warmth against inclement weather. If perhaps a bit less warmth is desired, the coat is draped over one’s shoulders, as seen. The four colour sweater, a gradient of greys into black, is a “Creazione of Minazelli” and a Made in Italy tag appears not once, but twice. They are obviously proud of their 100% wool creation and as well they should be, for it’s a scream. Inherited from a dear friend who passed away, it is quite sentimental to your correspondent. Being a compulsive thrifter, said friend bought it from a Salvation Army in Chicago, Ill. Already dead guy clothing when he bought it, it is now dead guy twice over. The grey all wool full cut trousers from GIANFRANCO FERRÉ sit where trousers should: at the waist. This lengthens the legs and gives comfort while seated. The hue of grey is highlighted by a chalk-stripe, ever so delicately coloured with a touch of yellow.

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MAURO GRIFONI makes this beautiful double breasted jacket with patch-pockets in pale grey. The colour will surely brighten up a glum overcast winter day, yet the comfy wool will halt penetrating chills. The tab collar and covered placket of the white high-count brushed-cotton shirt by ERMENEGILDO ZEGNA has a minimalist feel and provides a clean palette to build upon. Let us not forget the wisdom of the white shirt. After a long night of cavorting and carousing, when one lacks sleep and is looking haggard, donning the white shirt will immediately brighten one’s visage and give spectators the illusion that you are a man of ‘early to bed, early to rise’ temperament. Here, a collar pin is added with striking effect; tab collars practically demand a collar pin of some sort. The beige Cervelt hat from BORSALINO tops off the look (and the head). This exceptional hat is made from deer pelt, which gives it superior breathing ability, keeping the hair fresh. Embarrassment is thus avoided when the hat is removed while in the company of your special lady.

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Classic contrast in pure white and black. GUCCI provides all: jacket, shirt, and tie. The suit is single breasted, two buttons, made of wool and silk; its slim cut slices through the night. The spread collar shirt is pristine, and we can see here the brightening power of the white shirt. For even with a bit of stubble, the face appears fresh and attentive. A thin black tie in silk is proportioned to compliment the width of the lapels. One might think this to be a rather boring ensemble, but if everyone is trying to be "different" then sometimes, counterintuitively, the best way to stand out is to completely fit in.

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This bit of haberdashery, which mixes six different patterns, would make the Prince of Wales (the one that mattered: Edward VIII) nod approvingly. The earthy tones and textures capture the crisp air of changing foliage. We begin with a soft wool ETRO jacket in autumnal brown. The two button jacket is unstructured, lacks shoulder augmentation, and fits quite snugly on the waist, which creates a unique silhouette. Orange ‘dot-dash’ pinstripes jump tastefully off the brown canvas. The blue and white small check cotton dress shirt by BRIONI plays well off the jacket. Meanwhile the PAUL SMITH woven silk tie with multi-colored dots on a purple field brings the two elements together. BRIONI also supplies our silk pochette of white paisley on bold fuscia. The rougher finish and stripes of many greens on the old Vivienne Westwood trousers makes a charming appurtenance to the ETRO jacket. Purple socks by Robert Talbot, to the calf naturally, are also worn and make our sixth pattern. The overall effect perfectly evokes the mood of fall and the confluence of patterns gives this ensemble an eccentric flair.

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The height of British-ness is seen in this kit. The numerous layers, textures and patterns again pay homage to the debonair Prince of Wales. A two-button fancy windowpane suit in shades of purple by PAUL SMITH LONDON is the perfect combination of classic tailoring and eccentric pattern. Its bristly wool is heavy in weight and a pleasure to touch: certainly a quality garment. The SALVATORE FERRAGAMO brick red shirt is soft wool, combining the comfort of a casual shirt with the sharp tailoring of a dress shirt. Adding an extra layer of warmth is a bird’s eye texture gilet by BRIONI. The v-neck is perfect for displaying the chunky knit wool CORNELIANI tie in navy. A vest keeps one’s chest covered but does not constrict the sleeves of a shirt, a really marvellous thing. Just make sure to leave the jacket on, for a sweater vest without a jacket will mark one as a true hayseed. Originally worn for sport, our pal the Prince made plus fours fashionable for everyday wear in the early 1920s. Certainly it takes a degree of aplomb to wear them but their obscurity and unique shape make it worth the effort. Derby Tweed made this pair, scooped up in London from Levinson’s, one of the few British second-hand stores that refuse to stock their racks with American chaff. The shooting stockings and tassels are made by Cordings in London. Eric Clapton is now the owner and its unexpected patron. Without his support the store would probably cease to exist. It is perhaps the only good thing the guy has ever done.