Bow Ties Sydney, Australia - Le Noeud Papillon - Specialists In Self Tying Bow Ties
Friday, December 31, 2010
Thursday, December 30, 2010
Tuesday, December 21, 2010
I am loading up this portrait of Paul Bertelle again to show the difference that you get on a bow depending on how you tie it. Below, Style Bloger Dan Trepanier tied the bow so that the white became a recessed colour, whereas here, Paul is bringing out all the tricolours and it gives a different, somewhat more preppy look. I love this shot because the Harbour Bridge, which is normally a feature, as it was when Oprah was here Down Under, is instead a faint idea in the background.
Wednesday, December 15, 2010
Sunday, December 12, 2010
Thursday, December 9, 2010
Friday, December 3, 2010
Thursday, December 2, 2010
Tuesday, November 30, 2010
The book is not only a history of Savile Row, it is a history of society through clothing. It looks at both Hollywood and the Aristocracy, highlighting the role that Savile Row played in the coronations of Kings and Queens, on the movie sets of Hollywood and in the lives of those illustrious patrons of the row. With short histories of Beau Brummell, the origins of the dinner suit through Henry Poole and Co, and the major tailors of the Row, this book deserves its place on coffee tables this Christmas.
Sunday, November 28, 2010
Look, I am normally the type of person that would blow smoke up TF's arse because really, he is a pioneer and he has spent so much energy putting quality back into Off The Rack clothing. But, I am not a fan of these jackets. The season previous I thought they were sublime. But I have never been one for this kind of paisley patterned type of fabric. The right person could pull it off though. As for the bow ties, he is still right on the money though I don't think these bows match the outfits for this particular shoot.
Friday, November 26, 2010
Thank you very very much for being the DJ at our wedding on 30 October 2010 at “Kilkee”. I apologise for not getting back to you sooner. We had an amazing day / night and have had so many people comment “who was that awesome DJ, he just knew how to read the party and play what was appropriate for the young ones and old ones”. We can’t express how happy we were with your services. You were an absolute pleasure to deal with an a truly wonderful personality. I have spoken to Cam a couple of times since the wedding and told him how much fun we had and he was so pleased to have recommended you. To be honest most of the day was just a blur but occasional I would actually pay attention to what song you were playing it would just bring a smile to my face, because what you played was exactly what I would have asked to you to play, if we had of given you a play list and to then pack up and start playing again at the shearing shed just blew us away. A couple of our friends are getting married over the next year (in Sydney though) so I hope it will be ok if I give them your details.
Now I know that you also sell bow ties and I know that I told you that Jono (my new husband) does not wear bow ties but as a sign of our appreciation we would really like to purchase one of your bow ties as a keepsake. I had a look on your website and have found one that I like but I am not sure how to buy it. Do you sell them online cause I don’t get to Sydney much to go to any of your stockist. If not, I will make a special trip to Sydney to buy one.
Thank you again sooooooo much you just made our wedding day perfect.
Wednesday, November 24, 2010
Tuesday, November 23, 2010
Monday, November 15, 2010
Sunday, November 14, 2010
The Bespoke Gangster Style of HBO's Boardwalk Empire
This month brings many glad sartorial tidings by way of the culture. There is Oliver Stone's sequel to Wall Street, the wardrobe process of which we've already uncovered. And there's a few more episodes of Mad Men, which we've been chronicling on The Style Blog this season as it continues to hold the mantle of Last Drama Standing since The Sopranos (or maybe The Wire, but still). But on Sunday comes the next great HBO epic from Sopranos alum Terence Winter, and John from Cincinnati this is not: In the Martin Scorsese-helmed pilot alone, you will see the kind of elaborate filmmaking you've haven't seen since, well, film. And with elaborate shoots comes an elaborate wardrobe — perhaps the most serious style throwback the small screen has witnessed this side of a BBC period miniseries. So before we begin weekly style recaps for this series as well, its costume designer, John Dunn, offered us some of his wisdom on bloodstained suits, the importance of a man's tailor, and the (fashionable) difference between working-class thugs and true gangsters. Without too many spoilers.
This is my process: About four months before we started filming, I hit the research libraries at FIT, I went to the Brooklyn Museum, the Met. I would go to the rental houses, and I would meet with the vintage dealers. I pored over tailoring books from the period — just completely immersed myself in 1920. The entire first season all takes place that year, so I was very focused on making sure that the cut and the silhouette of the clothing was that: 1920.
With Marty and Terry Winters, I developed the feel for each of the characters. We all wanted it to be very, very accurate and specific to the period. So, I limited myself to the fabrics of 1920. It got to the point where a couple of times I had woolens manufactured for suiting because I couldn't find exactly what it was that I wanted.
I knew that we were going to have to build suits.
I had to find a tailor; I didn't want the suits to all be vintage — old and raggedy, that had to be restored — so I used Martin Greenfield. I think you've heard of him.
I've got characters going to the tailor and having things made brand-new. It was a big deal for a man to get his suit made. Men didn't have many suits, so it was an important piece in their wardrobe.
We're used to looking at the 1920s in black-and-white. We see photographic documentation, we see films for the period — all black-and-white. When I was doing the research, I found various references to color in the magazines, and to my surprise the descriptions were very vivid. Tailoring companies used to have these large, coffee-table-size books with sketches of men's clothing that often included swatches of fabrics that they were manufacturing the suits out of. Man, there was some serious color there.
It's not exaggerated in any way. Nucky [Johnson, played by Steve Buscemi] is based on a real person who was known as a serious dresser. I tried to put myself in his place and see who he would be looking at. I thought, probably, someone who is well-known and trend-setting like the Prince of Wales would heavily influence him.
Atlantic City was a boom town where people were able to completely reinvent themselves, and their presentation was becoming more and more important — as important as it is now. A character like Nucky would understand the importance of the image that he's projecting. The minute he stepped out into the boardwalk of the hotel, he wanted everyone to know he was there. Of course, that would require that he have a lot of clothing.
Nucky wears a collar bar. The collars actually needed controlling back then, so the collar bar was very popular. We did have a particular collar specifically designed for Nucky, though: a period collar that has a little keyhole cutout in the center — when you close the collar with the collar bar, there was then a little hole that the necktie would come out of. No one else was allowed to wear that.
You do have other characters who don't have the financial means, or their social situation is such that they just didn't have clothing. Al Capone and Jimmy [Darmondy, played by Michael Pitt, pictured left] are working-class Joes at this point. It could be that you're going to see a transformation.At this point, Jimmy's just come back from the war and doesn't have a job, and Al Capone has got a wife and kid that he's supporting and they just — you need some sturdy, working-guy clothing. And if you get the job done and finally the bills start getting paid, then you can afford to look like the other guys and make the commitment that you're going to dress like that. So I don't think the way that they're dressed in the pilot is a huge departure from what they would've been dressed like at that time in their financial situation, but they had to ride on their good looks more than their expensive wardrobe.
The speaking characters, bad things happen to them. So I often have to have multiples on suits. That's what led me to working with Martin Greenfield and getting them to where they could make me a suit in four days, and in triplicate, so that the unspeakable could happen to some of the characters.
The Atlantic City people are a fashion-forward people, because they want to present themselves in a flashy way to say "I'm the top dog" with their clothing. But it's also a seaside setting. So despite the fact that most of the people there were working class, there was also this element of great wealth in a summer situation. I would say I probably did a lighter palette in Atlantic City and more colorful.
New York was much more serious and elegant. We did really cutting-edge tailoring for Arnold Rothstein. Lucky Luciano [left], I would say, is trying to be elegant but he's not there yet. Part of the story is that Arnold Rothstein takes the rough edges off of Lucky and he becomes quite a well-dressed man, but at this point he still makes a few mistakes. So his wardrobe is a little more crass and will become more elegant as the series progresses.
For Chicago, I wanted to have a real old-world connection of darker colors — just a more Italian, European feeling of the old country. These people were tied a little more closely to the people coming in from Europe, and Italy probably most specifically.
When I do feature films, I generally have the complete arc of the character. I know exactly what's going to happen to them, I know what happens to them in the middle of the movie, and I know where they are at the end. In the series, I have no information other than the script of the episode that I'm working on. I have hints of maybe what's going to happen to their character, but it keeps you very focused on where they are in that moment. It's more like life.
I don't like to do boring clothing, but you also have to make sure that you're not suddenly putting somebody in something that isn't going to make sense four episodes from now.
Read more: http://www.esquire.com/blogs/mens-fashion/boardwalk-empire-costume-designer-091510#ixzz15GBc4d7h