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Accessories, New Trends

Style News

Favourbrook has been for over three decades a Godsend for gentlemen looking for something different, when it comes to formalwear writes Robin Dutt. Indeed, when I was in charge of wardrobe for the film (‘Against Nature’) centring on the life of one of fiction’s great Dandies, Des Esseintes, I knew where to find the principal frock coat. As it turned out, it was a one-off (although everything at Favourbrook is made in small batches) a superb floor-sweeping coat made of the finest velvet in deepest purple to be worn by the star, Allan Corduner. I also arranged the costumes for his counterpart, Adrian Dunbar but they had to look markedly different to Corduner’s magnificence. And that magnificence is something that Oliver Spencer, pictured above, knows all about.

Mr Spencer’s take on formal wear was to suggest that such attire need not be dull and predictable, so he gave a Dandy edge to frockcoats and waistcoats, shirts and cravats, many festooned with motifs – flowers, bees, dots and stripes in a symphony of colours – unexpected but never overdone. In some ways he just might have been tipping a hat to the Peacock Parade of London’s ‘sixties scene and twenty years later, the much missed Scott Crolla who for ten sadly short years reimagined exotic clothing for a new breed of man.

But to know how not to step over the taste line when it comes to male sartoria is an art indeed. Beau Brummell’s point that if people turn to look at you in the street, something is very wrong. Such a man is either too tight or too fashionable – both sartorial crimes then and now. This is the season for more and more formal wear to be dusted off and make appearances at festive parties and formal dinners – the arts of embroidery, embellishment and strategic blending or contrast stitching all playing their parts. This season, whilst you can purchase Favourbrook classics, the emphasis seems to be on cleaner and more strident silhouettes redolent of Victorian or Edwardian fashion plates and engravings, in shades of Dove grey, Midnight Blue and Lamp Black. Of course, there is still room enough for personalization by way of an elegant and decorative waistcoat to play centre stage or the rich multi folds of a silk, richly appointed tie or cravat. Of course, it is all about the careful sourcing of luxury fabrics and evocative colours – elements that write the wearer’s sartorial autobiography.

As Oliver Spencer says, ‘Rather than trying to reinvent the wheel, or in our case, change our DNA in order to accommodate the growth of casualwear in menswear, we stiffened our upper lips and dug our polished Oxford heels in to design a collection that fully encapsulated the timelessness of traditional formalwear.’

Simplicity is dress is often the most difficult thing to achieve but this is where the efficacy of the classics comes to the fore. So, expect to see wardrobe staples which won’t scare the horses but will draw many an admiring glance such as the traditional frock and tail coat or the sumptuousness of a lush velvet Nehru coat. Of course an Indian construct with an undeniable heritage, the Nehru is one of those styles which is so versatile that it effortlessly blends Eastern construct with Western styling. Again, Scott Crolla knew this only too well. He would have approved, one thinks.

Favourbrook, 16 & 17 Pall Mall, London, SW1Y 5LV Tel – 020 7493 5060.

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Style News Favourbrook has been for over three

Accessories, Shirts

Who would have thought that something so essentially for the gym or an element of underwear or nightwear might find iconic status, asks Robin Dutt? But this is exactly what the humble T-shirt has done. Perhaps from the very beginning, this garment must have screamed marketing potential. From comic slogans and of course rock band imagery to political statements, the basic ‘T’ is as vocal as it is ubiquitous. Those Frankie Goes to Hollywood ‘RELAX’ shirts have passed into pop iconography, as has the image of designer, Katherine Hamnett wearing a statement about the Pershing Missile to a reception at Number 10 Downing Street with a rather bemused (irritated?) Mrs Thatcher in that shot.

Somehow a leveller which can also be stratospherically priced, the ‘T’ whether from Hanes, Fruit of the Loom or high street favourite, M&S, has made itself indispensable in probably every wardrobe in every country. Who can forget those vintage silhouetted Che Guevara examples in cherry red or jungle green or the classic Punk ‘Never Mind the Bollocks’, Sex Pistols statement in English Mustard? And then consider the subtlety of Vivienne Westwood’s orb-motif shirts and Camden Town Goth specials, screeching Metallica, Alice Cooper, Marilyn Manson or Whitesnake.

But then, a simple T can be a very subtle and anonymous thing. Just remember how many images of fashion supremo, Giorgio Armani there are, who partners such examples with the fluidity of his liquid tailoring? A fresh white T and a subtle blue blazer? Charm itself… A ‘T’ is simply a go-to and a saviour. It can spell rebel and man of taste too.

So, it is no surprise perhaps that this pop and rock garment will probably fly off the shelves at the Stones’ London store, a range which brings out brillo and bravado in equal measure – with chunks of cheek and irony not too far behind. Perfect with jeans, perfect with a suit, a T-shirt is forever. Collaborating with Irish T-shirt brand, Tonn, (Gaelic for wave) the band has produced three styles – two, short-sleeved examples and one long sleeve style. Tonn produces organic T-shirts and use ethically sourced cotton designed in Ireland and produced in Portugal with a traceable production line. They were originally selected to produce T-shirts for Ronnie Wood for the No Filter tour in 2018. RS No.9 Carnaby is stamped on the inside of every garment to celebrate the Rolling Stones’ rock boutique which opened in 2020. As everyone will know, Carnaby Street was the vital pavement stage and catwalk for Mods and Rockers, Punks and Goths, Skinheads and Hippies, for many decades and the presence of the Rolling Stones’ shop and the new Queen outlet close by reinforce this historic strip’s musical credentials.

Mary Harding, Director of Tonn says, ‘The biggest band in the world has taken this little Irish brand to their hearts.’

The short sleeve T comes in at £50 and the long, £60 and will be available from the shop and from the Tonn website.

Rolling Stones shop, 9 Carnaby Street, London, W1

carnaby.therollingstonesshop.co.uk

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Who would have thought that something so

Gifts

For the first time, Caran d’Ache places the art of engraving on the centre stage to create an enhanced slim
lined Léman writing instrument. Léman Slim Lights has a baguette diamond guillochage,
reminiscent of a dazzling jewel. An exceptional design with a cascading body, this collection
glitters as it plays with light to create infinite reflections. Léman Slim Lights is a subtle blend of precious
materials that is magnified by the traditional guillochage technique, still upheld by Caran d’Ache today.

The Léman Slim Lights collection is brought to life by Caran d’Ache’s craftspeople, with a process similar to that of the leading jewellery houses. The polishing reveals the rhodium-coated silver of the instrument’s body, so its attributes shine in the best light, while the countless engraved prisms lend the appearance of a diamond. A delicately lacquered white button is the perfect finishing touch to this finely-crafted masterpiece. Caran d’Ache carries out this meticulous technique from start to finish in the
Geneva-based workshop.

Léman Slim Lights seamlessly joins Caran d’Ache’s signature Léman collection, which has paid homage to
the beautiful hues of Lake Geneva for over 20 years. The intensity of the seasons, the glittering waves and
the magic of lakeside nights are reinterpreted in these truly essential writing instruments. With its
streamlined body, the exceptionally light Léman Slim instruments offer easy handling and optimum writing
comfort, complete with a touch of timeless elegance.

The Léman Slim Lights are available as a fountain pen, roller pen or ballpoint pen to purchase from
Harrods.

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For the first time, Caran d’Ache places

Lifestyle, News

Leather looks tribal and always will, says Robin Dutt

Some might opine that leather has had a bad press. Undoubtedly useful as this ancient material is, it carries with it often psychological significance and curious connections. But it is not only for the denizens of Soho, seeking entertainment, nor yet the would-be biker rock and roller – who works in Greggs. Banish the very idea of Herr Flick or Herr von Smallhausen in floor-sweeping trench coats in ‘Allo, ‘Allo! from your mind and also put out of your mind the burly foundry worker in a kiln fire-crusted, stained gillet. And as for Del Boy… No. Leather can be a pleasure and in the tailoring world it is regarded as another functional material with properties and qualities that it uniquely possesses. It is a versatile, seductive material that is transformative. A good leather garment really does have a personality of its own.

One often wonders why, in certain quarters, items are stamped, “Genuine Leather” or “Real Leather”? Unless it is Pleather, Vegan-Leather, Faux Leather, Leatherette, PU Leather or plainly, Artificial Leather, one has to say that leather is, after all…simply, leather – but, like people, divided into classes. Perhaps it goes back to even relatively modern times when if an item was made of the skin of cows, oxen, sheep, goats, pigs, deer or what you will (each animal origin having its own distinct name of leather type) because of the husbandry and tending required over years, to nurture the skins was costly to acquire and so the customer had to know that it was real. Indeed, the skin is a by-product and a valuable one at that – from purely farm-functional garb to the most glossy of couture items. Over time, leather has proved time and again its magnetism as, even in fashion circles, investment pieces or pedestrian essentials. The plain fact of the matter is that even if you are not a fan of leather you just might have more than you think in your wardrobe made of the stuff – and I don’t mean footwear. Accessories, trimmings, weekend jackets and the like all count. In a sense for some a go-to material, it is for others not even thought about.

Of course, the crafting of the hides of animals (first wild and then also domesticated) can really be traced back to the time before humankind crafted language. After the kill, there was the thrill (and necessity of fashioning skins into clothes). The ancient Egyptians and Romans were masters of leather tanning and sculpting, realising the material as both attractive and durable. And, from these bygone days through the mediaeval times, innovations and improvements in the leather processes of production ensured better qualities and versatilities. The invention of better leather tooling and cutting devices made work in these matters more efficacious and although still a costly material (as it is, in general, even today) the demand and spread of the very idea of wearing leather has enshrined it as something of a staple – but one with many layers of use.

In tailoring, couture, ready-to-wear and even the high street, leather boasts a contemporary presence. Much of this influence can be traced back to the use of leather in nut brown jackets, first introduced in the 1900s for the militia. And then of course the 1920s saw Irving Scott create the first leather motorcycle jacket for Harley Davidson and what the rebels of the 1950s Hollywood scene did for variations on a biker theme such as Marlon Brando and James Dean is still evident today and probably always will have a resonance. It spelt, “Rebel”. And when the punks took to the stage in the 1970s, what was the one item that screamed brash individuality from rooftop and basement alike? The leather biker’s jacket; but in this case, and probably not quite as ever before, that jacket was scarred by slogans, pinned with safety pins, badged, studded and deliberately cut into and torn. Too perfect was too pedestrian. Leather looked tribal. And always will.

And then, what did David Sylvian rock up in on the cover of Quiet Life, Steve Strange on The Anvil and Bryan Ferry on The Bride Stripped Bare (left)? The effect is, even today, immediate, in each different case. Rebellious poses here were struck without resorting to the biker model, just sleek, beautifully tailored leather.

Leather remains a superb source material for designer craftsmen and classic tailors who understand how effective it can look from catwalk to street. Its durability (and, yes, it can get better with age and wear too) makes it a partner in crime to the wearer and sends out a definite message. That message is still redolent of something suave and dangerous in many quarters and for many wearers. It is an aspect of the uniform of intent. Gianni Versace was a superb visionary of tailored, sculpted leather, lending those who wore his early examples a high-octane gloss and, in his case, made chicly ironic by the gilt Medusa buttons which made his male models a hedonistic, impossibly beautiful army of celestial soldiers. The lavish elaborate stitching hinted at luxe de luxe and the hand of an artist. High catwalk camp it might have been but serious street theatricality it was too. And it was all so obscenely expensive which was part of the magnetism. Contrast the sleek, cocktail, streamlined blazer examples from such Houses as Gucci, Hermes, Tom Ford and Ralph Lauren and this will show how versatile leather can be. All four Houses are practically interchangeable when it comes to displaying the sotto voce timelessness of what leather should be – no fashion, just passion to prove a point. As for the classic revisited Yves Saint Laurent trench in leather, it simply hasn’t been bettered.

As (good heavens!) Albert Einstein said, “one leather jacket solves the coat problem for many years”. Indeed, you can even purchase the replica (and very chic and functional) jacket, a favourite of the genius from Leathercult for a comparative song.

Respected British brands such as Aquascutum and Dunhill (in their day) and tailors, Gieves and Hardy Amies know what to do with leather. In the case of the former, the House once produced a very limited range (26 in the edition) of sculpted leather jackets with army chevron and coiled swirl-domes on one shoulder and arm, hinting at gladiatorial decoration/protection. Proudly, their “No 1 Savile Row” address-logo, snakes around the collar. Vivienne Westwood often incorporates a certain “fit and flow” approach to her leather or suede garb as in the legendary (and eminently collectable Chico jacket) – boxy and youthful with more than a hint of the irreverent; Tailored and tumbledown at the same time. Indeed, very Chico Marx. This is the very opposite of the sculptured tailoring of that leather supremo pair, Whittaker-Malem who since 1988 have been slicing and sculpting leather in an extraordinary way and have worked for, among others, Alexander McQueen and Hussein Chalayan. Their costume design can be appreciated in films such as Die Another Day, The Dark Knight and 300: Rise of an Empire.

But can you get leather wrong? Of course! You can be too old for it. You’ll know when! If it really doesn’t suit your frame – don’t do it. A sausage, a good silhouette does not make… And there is a reason why black is the only real incarnation for a seriously-taken leather item (unless you are in the country) or are experimental – but still tasteful. Wearing black leather is a personal campaign. It is as to clothing yourself in a slice of sculpted night – full of clandestine adventure.

And if that’s all too much for you…there are alternatives in the soft fabrics department.

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Leather looks tribal and always will, says

Art & Antiques

Exhibition News 

No one quite does florals like the celebrated jewellers, Van Cleef & Arpels, writes Robin Dutt. The company’s lusciously simple and elegant settings for their flawless gems are world renowned and often feverishly collected. I remember so well, a ‘happening’ at London’s Home House, more than a decade or so ago, when the unique and chic Joan Rolls organised a series of mis-en-scenes featuring performers (ballet dancers, opera singers and statuesque models) in many of the well appointed suites, each chamber informed by a single glorious example of the craftsmanship of Van Cleef & Arpels, which was established in 1906. Vincent Meylan in ‘Van Cleef & Arpels :Treasures and Legends’, (2011) points out – ‘Van Cleef & Arpels was not merely a purveyor of jewels to men and women who possessed – and still possess – colossal fortunes, but also their confidant’.

This season, the well-respected photographer, Mika Ninagawa (pictured above) will show her take on some of the jewellery house’s floral gems in almost impossibly vibrant colour. Flowers are transient, living gems – something that the talented jeweller, JAR (Joel Arthur Rosenthal) as another prime exemplar, would understand so perfectly – the joy being their ephemeral essence and so all the more precious. Seasons remind that you cannot force the hand of Nature and so capturing their spirit of life in natural and often rare gemstones is an attractive reminder of the magic and intensity of a variety of buds and blooms – from the very simplest fruit blossom to the complexity of shade and pattern seen in say, an orchid. Ninagawa knows this only too well, as her love of Sakura (Japanese cherry blossom, in blush pink) shows which has a specific bloom time in Spring, is an international tourist attraction and indeed, a much loved domestic delight and source of national pride. The artist spends days at a time, photographing these ballerina blooms in different light and from different angles producing unusual and stunning effects.

The current exhibition, ‘Florae’ features some 100 flower-inspired jewellery masterworks but is it Art imitating Nature or Nature imitating Art? Either way, the result is indulgently glorious and a seduction of the senses.

Hotel d’Evreux, Place Vendome, Paris, France until November 14.

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Exhibition News  No one quite does florals like