Manolo for the Men

The accusation, now frequently heard, of “cowboy politics” stems from the iconic image of Ronald Reagan as an all-American denim-clad horseman.   But it turns out that, while Reagan had long enjoyed riding horses, his cowboy attire originated as a bit of showmanship:

In 1966, a local reporter from KTIX in San Francisco wanted to do a segment on horseback with the candidate for governor of California. Lyn Nofziger, Mr. Reagan’s press secretary, accompanied the reporter and was shocked to see his candidate in jaspers [jodphurs?] and English riding boots.

“When he changed into his riding clothes, he came out. And I looked at him—and he was not yet the governor—and I said, ‘You can’t do that,’” Mr. Nofziger recalled. “He said, ‘This is the way I always ride.’ I said, ‘This is not the purpose of that. It’s to get votes. They’re going to think you look like a sissy!’ He’s a great cowboy, looking at him. He played a cowboy in movies.

You can find photos of Reagan in his more aristocratic, English riding-wear here.

As reported in the Daily News, a recent film screening in New York became the site of a case of extraordinarily bad manners:

Soon after the lights went down, a source tells us, “a man in the audience started yelling, ‘Don’t touch me!’ People looked around and shrugged. Ten minutes later, the voice yells again, ‘I said don’t touch me!’”

Again, people shrugged off the disturbance. But a few minutes later, says our source, “the guy stands up in the darkness and thwacks the guy behind him with a big festival binder. He hit him so hard everybody could hear it. Everyone freaked out and turned around.”

The thwacker? New York Post film critic Lou Lumenick.

The thwackee? Esteemed Chicago Sun-Times film critic Roger Ebert.

After battling thyroid and salivary gland cancer for years, Ebert, 66, can no longer speak.

“Apparently, Roger was just trying to tap Lumenick on the shoulder to signal him that he couldn’t see the movie,” surmises our source. “He was trying to ask him to move over a bit.”

Though Lumenick seemed surprised to see whom he had struck, he offered no apology, according to another source.

Obviously, Lumenick’s hitting of Ebert was beyond the pale, but even if the former had just responded rudely, he would have been at fault.   He ought to have upheld a principle of charity: on first glance, assume that other people have good intentions and motives, even if they’re not obvious at first. But even if in this case the tappee had been actually rude, Lumenick should have remembered that the true test of manners is how you deal with people with no manners.

Rubén Albarrán, lead singer of the popular Mexican rock band Café Tacuba, nearly always wears a white fedora/mask to feign anonymity, perhaps even that of a luchadore.  (This is even more obvious when he wears his bizarre coxcomb cap.)  But Izzy can’t help but thinking of Dumb Donald, the lunkheaded character from the TV show Fat Albert who literally pulled he wool over his eyes in his permanent pink stocking hat.

There are only two ways to wear an open collar under a jacket: 1) firm and erect, 2) limp and flaccid. Someone, please get Mr. Clooney some Viagra for his shirt.

Regardless of one’s politics, it’s hard to deny that in choosing Joseph Biden as his running mate, Barack Obama picked the best-dressed man in the Senate.  Admittedly, there’s not much competition for that title, but Biden stands out due to his willingness to wear form-fitting suits in a shade other than blue or gray, fun suspenders, pocket squares, casual shirts with the top two buttons undone, and, in the winter, a chesterfield coat with a velvet collar.   And in what is perhaps a bold statement about his foreign policy, he often wears shirts with French freedom cuffs.

Izzy is more than a bit fascinated by the appearance of film directors, whose line of work makes them especially attune to visuals. Hence, he was especially happy to see an interview of Peter Bogdanovich about his trademark bandanna:

You have developed a very distinct signature style of wearing ascots. How did that start?

They are not ascots. An ascot is usually silk and an English thing. I’m just wearing a bandanna; it’s not so fancy. Most of the time they are cotton and different sizes. It started when I was shooting The Last Picture Show in Texas, and I liked wearing it because it made me feel secure. I don’t know why. But it feels cozy, and I kept wearing it.

Do you wear one when you are not working or making a professional appearance?

Yeah, I wear them all the time. When I make a professional appearance, I sometimes wear a tie so as not to be too unusual.

Do you think the bandanna is quite unusual?

People seem to have caught on and it seems to be a big deal.

How do you tie it?

Over and under, and over and under, twice until it’s a knot.

Do you think personal style is a professional asset?

Yes, until it gets mannered. I may have to stop doing this because it may get too mannered. But I prefer it to a tie.

So why don’t you stop?

It feels comfortable – I’d feel bereft if I got rid of it. The New Yorker ran a piece about me and they had a shot of me tying the bandanna and I though, “Christ, it’s getting to be a bit much.” But, you know….

But you do recognize that it has become part of your brand identity.

Yes, it has.

There is something else I do all the time that nobody seems to have noticed, something I picked up from Audrey Hepburn. When I did a picture with Audrey in 1980 called They All Laughed, I noticed that she never buttoned the buttons on her sleeves, and I asked her about it and she said, “It’s more comfortable this way!” And I tried that and it is more comfortable. I was never thinking about a product or brand; I just started dressing this way because I like it.

Has anyone ever said anything negative about your bandanna?

I think some people are annoyed because they think it’s an affectation. My friend Jerry Lewis hates it; he says it reminds him of a director from the 30s. But I ignore him, and he forgives me.
[...]

Who are your style icons?

Cary Grant; and I knew him too. The first time I went into his office he said, “Is that a Brooks Brothers jacket?” I said, “Yes.” And he said, “Right off the rack, right? They’re great.”

[...]
Do you have any advice for other professionals creating a logo?

Wear what feels comfortable and feels good on you. I wore a bandanna on every picture since The Last Picture Show, but I didn’t wear it in everyday life. Then I thought, “Why shouldn’t I? I should do it all the time.” It could still be a distant echo of wanting to be a cowboy.

Only at the end of the interview does Bogdanovich hint at the real reason of the bandanna: it reminds people of his long-past glory days following the release of his one big hit, The Last Picture Show, which not coincidentally was set in small-town Texas. And as for why no one notices his other sartorial signature, his not buttoning his cuffs, he should realize that that bandanna hogs people’s attention. In any case, one idiosyncracy should have been enough.

Born a slave, the nineteenth-century abolitionist Frederick Douglass was not only one of the best orators in American history, he was also one of the most dashing—whatever it takes to captivate an audience. Izzy would love to see someone resurrect Douglass’ romantic hairstyle, a sort of a combed-over afro.

Werner Herzog, the obsessive director of obsessives real and imaginary, a filmmaker whose career began with his stealing a camera from film school, serves as a stark example of a gentleman who ought to have kept his moustache.  That horizontal strip of hair flatters a long face and de-emphasizes a mountainous nose.  Given that one of Herzog’s chief fixations has been the nature of manliness, it’s all the stranger that the director of Fitzcarraldo deforested the wide swath between his nose and mouth.

If, while recently visiting the troops in Kuwait and Afghanistan, Barack Obama strove to look like the ordinary man, he succeeded all too well.  With his shapeless black polo shirt, ill-fitting pleated khakis (note the bunching in the crotch and the pooling at the ankles), and prominently-displayed Blackberry and wireless microphone, he is dressed for dorky casual Friday (a/k/a golfwear at the office).  The only exception to that sorry look are his brown suede boots, which clash with his black shirt and belt.  Making matters worse, his unbuttoned collar emphasizes the scrawniness of his neck.

Izzy’s biggest objection, however, is the visibility of Obama’s electronic gear.  If it’s true that you should never let them see you sweat, it’s all the more the case that you should never let them see your Blackberry.  Visibly wearing such equipment makes a man look like a slave to the office, a terrible thing for any would-be chief executive.   Obama should either have worn a jacket to conceal such necessities or, better yet, have had his assistants carry them.

Rafael Nadal may have bested Roger Federer at Wimbledon, but the defeated, in classic tennis apparel, outclassed the victor, who went slumming in a sleeveless, collarless muscle shirt.  Ready for a body slam, not a Grand Slam, all that Nadal was lacked was some visible tattoos.

The visual contrast of these two players reminded Izzy of an excellent, if little known, book on the history of tennis: Sporting Gentlemen: Men’s Tennis from the Age of Honor to the Cult of the Superstar.  Written by E. Digby Baltzell, the sociologist who both coined the term “WASP” and taxonomized that species, the book discusses the decline of tennis from a game of amateur sportsmen upholding an aristocratic code of honor (e.g., the unwritten rule that close calls go to your opponent) into a mercenary high-stakes sport in which players throw temper tantrums on the court.  In the modern era, Arthur Ashe epitomized the old ideal, while John McEnroe represented all that was rotten.  Sartorially at least, Nadal rejects the gentlemanly tradition.

Federer’s white polo shirt, interestingly, traces back to the French tennis player René Lacoste himself.  According to Wikipedia:

While winning the 1927 U.S. Open championship, René Lacoste of France wore something that he himself had created: a white, short-sleeve shirt made exclusively of a light knitted fabric called “jersey petit piqué” that served to wick away moisture due to heat, the very first version of performance clothing in sports. The shirt was a radical departure from tennis fashion of the day, which called for stiff, woven, long-sleeve oxfords. In 1923 during the Davis Cup, the American press nicknamed Lacoste “the Alligator” because of a bet made about an alligator-skin suitcase. With no cognate in his native tongue, the nickname was changed to le crocodile in French. The nickname stuck due to his tenacious behavior on the courts, never giving up his prey. Lacoste’s friend, Robert George, drew him a crocodile which Lacoste then embroidered on the blazer he wore on the courts.

Once he retired from the sport, Lacoste went into the shirt business, savvily putting a crocodile logo on the shirt’s breast—the first time a trademark was placed on the exterior of clothing.   If that wasn’t the Mark of the Beast, Izzy doesn’t know what is.

There is perhaps no more casually elegant shirt collar than the camp collar.  Constructed without a collar band (the strip of fabric that fastens around the neck), the soft collar is part of the same piece of fabric as the body of the shirt, giving it a truly seamless look.  Generally worn unbuttoned, they have a tendency to spread wide.  As Dean Martin proved, they can help separate a gentleman from the pack.

If Izzy may be permitted a little immodesty, he was pleased as spiked punch to discover that the Guardian has praised his humble blog.  In the immortal words of that British newspaper, what you are reading is “a splendid American fashion blog that appears to be written by Niles off Frasier.”  As for the comparison to the fictional Dr. Niles Crane, a neurotic Jungian psychiatrist (is that redundant?), Izzy will accept it insofar as Niles was both over-educated and fastidious in his taste in art, culture, and clothes, even if he occasionally fell for 1990s fads seen above: shirts with narrow collars and widely-spaced stripes, impressionistic ties, and double-breasted suits with fat lapels rolled to the bottom button. Happily, in the show’s later seasons, Niles rarely needed sartorial therapy.