Gone Motherlanding

   For the next 2 weeks, I'll be here:

Via EasyTrack Ghana

   And will be doing a lot of this:

Via Africa ATA

 Via Latter Day Saints

   My internet usage will be rather limited, but if anything post-worthy happens here or in my head, I'll let you know

B

Via Myoptionsabroad.com

Tonight's the Night For Steppin'

   Now and again, one could stand to use a little Cole Porter-inspired New Wave in their lives. Ladies and gentlemen, Mr. Joe Jackson:

The Cravat Post (and Other Knick Knacks)

   Prompted by a couple of comments on StyleForvm regarding cravat use amongst the young (the most specific being "How can I wear an ascot and not look gay kthxbye?"), I have taken upon myself to investigate this Scoobariffic mystery

   I'll begin by informing you that you're likely screwed if you wear them as ultra traditionally as possible, unless you are genuinely in costume or ridiculously full of elan. I own 3 and only trust myself to wear them to either a wedding, in character at a party or without a standard suit jacket/blazer/odd jacket, unless it's a three piece suit and a cravat that's sized more like a scarf

   Call me a sentimental young fogey, but I rather think the morning suit cravat holds up very well. I wore it as a groomsman last year, yet not only had I no say in the outfit (aside from relatively accurate fit), but when I arrived wearing the lilac cravat in a traditional manner with a pearl tie-pin, the rest of the four-in-hand cravat-sporting wedding party physically attempted to rearrange it whilst I was still wearing it. Good times

Via the New York Times , this J.C. Leyendecker look encapsulates elegance through illustrative prowess

Judy and Fred during the final scenes of Easter Parade, from a Telegraph featurette 

   But you want to know about less occasional and more down to earth usage. So make it casual. You need to refer to Apparel Arts/Esky and the Duke of Windsor on this one, and even if you are young, let Will at A Suitable Wardrobe guide you along the way (he also has the most comprehensive collection of Apparel Arts images in the menswear sphere)

   Instead of a regular cut jacket, try something a touch offbeat (I don't like reusing shots, so the link is necessary) or something more relaxed and informal like a cardigan (Will favours a safari-styled shirt jacket - colonial, yet still uncommon enough to be interesting). Or just get them in a particularly eyecatching size, tune up the nonchalance and colour match with extreme prejudice:

The DoW treats it as just another part of the ensemble by harmonising it with the rest of the outfit. Bold, bright and relaxed

   What I'm also driving at is using scarves instead. You get the combination of flash and practicality without the self consciousness. Some of you may remember this one:

   This would also look rather clean and somewhat exuberant with a waistcoat, either as part of a suit or a more informal ensemble - there's something of the lounge lizard about it. It's also rather enjoyable with a v-neck:

   You should also have noted by now that rather than the standard references of Lord Byron or early 20th century motorists, I'm actually interpreting something of a mariner look, which is far less overexposed and flouncy and much more enjoyable since it doesn't need to be worked at or overstated. Think also to the peacoats-and-flat-caps casual styles of the young Paul Newman but with decorative neckwear

   For those of you who don't want too much material but enjoy the look nonetheless, well, there's always a neckerchief; leaving the ends out is standard, though one can also sport them tucked in like so:

   For the upcoming seasonal change, look to the new collection of a certain Japanese designer whose name, I'm finding, is becoming rather redundant to type. You probably know who I'm referring to by now, and he's tackled this gilded age look with utter aplomb and a clear idea of how to make it natural today.

   As befitting JW's "new feeling for basics," the proportions are executed rather similarly to my own silhouettes, generally mixing slim-but-not-tight upper halves with flowing trousers and structured looks that utilise shorts to avoid severity, alongside some well mannered quirks and enviable pattern mixing

   Observe that the neckwear is even worn with polo and short sleeved shirts and without jackets. A perfect way to bring these Esky looks back into focus:

JW CdG Man S/S10 images from GQ.com. A full review may appear after its release next month

   If you don't believe that you have a flair for the look, the solution is very simple - find someone with a flair for it and take inspiration. After that, the rest seems easy

   As for the neckerchief with suits-look, let me get back to you when I've made it happen for myself. Oooh, excitement

Loaded With Soul

   As well as being the perfect Sunday afternoon motion picture delight if one's in the mood for song, dance and gentility, genre classic Easter Parade is pure escapism, firing-on-all-cylinders showbiz creativity and catnip for satorial details fiends

   In my favourite sequence (with all due respect to 'Steppin' Out With My Baby' and 'We're Just a Couple of Swells'), Fred Astaire goes 'Drum Crazy' and exhibits the charm, aplomb, fleetfooted steps and stylistic nous that had the makers entice him out of retirement when his colleague, fellow icon and friend, Gene Kelly, was forced to bow out. Nearing 50 at the time, he does not approach his routine with the blink-and-miss rapidfire tapping of his younger days, but all of his hallmarks are present and correct - the warmth mixed with goofy, curious humour, his almost peerless agility and his command of body, audience and stage. Just look at his exit - total and intuitive awareness of his environment in full display, he performs a variety of cane tricks, finishing with his trademark spinning catch and exits with a wave and a smile in bounding, mercurial twirls

   Cheating a child out of an Easter Bunny never looked so admirable

   I also greatly appreciate the ease in which he performs in tailoring. The film is set in 1912 and was made in 1948; educated guesses aside, I have no idea who made Astaire's suit nor whether its Edwardianisms were more appropriate for the earlier or the later date but I'll be damned if the majority of the ensemble doesn't hold up today (I still can't forecast a spats return)

   Nor do I feel uniquely qualified to expound on the peerlessness of his looks - when there are not one but two excellent extollings at Dandyism and an essential tome (and a Sartorialist guest post pitting the dandy dancer against Cary Grant) by G. Bruce Boyer, there's no place for me in the running. But this walking, singing Leyendecker illustration-ensemble is one of the defining images of Astaire in my mind - simple, harmonious colours, the derby/bowler sitting nonchalantly on his head - a continent and ease of use away from the stereotype it became in the City of London - and a precisely tailored two piece that matches his range of movement so well, the notion of a suit as a second skin is wholly fulfilled. Everything that people miss when trying to bring a suit to life is here

   Working primarily with light accents, as dictated by the springtime setting, the hue of the two-piece's grey finds a natural companion in the white waistcoat, which, in turn, is complemented by the spats and even the pearl tie pin. The pink shirt adds a jaunty air; the black necktie works with the shoes and bowler to maintain balance through contrast. The blues that shade the other accessories are perfect. Befitting his successful Broadway star character - hardly a world away from Astaire himself - this is a somewhat patrician, but nevertheless relaxed and creative man, not a businessman. Everything is natural; everything simply works

   'Drum Crazy', the song? It was written by legendary composer Irving Berlin, which alone speaks for itself, but it boasts qualities not mixed together often enough - danceability, hummability, quotability. Oh, and a relentlessly playful sensibility, so refined that it works in all sorts of drum licks and drum kits with the randomness of a jam session yet never shortchanges the other instruments in play. Even the xylophone. And when it almost arbitrarily becomes a marching band stomp, it nevertheless feels right, because if there's anything that should be freewheeling, it's Fred Astaire in full flight

No Longer Hiding

   I've listened to the odd enquiry regarding a particular little detail and so I've gone and dealt with it: this column now has an e-mail address. Some of you already have my personal one and you can continue to use it until you inexplicably become unsettling and I have to avoid you and/or close the account

   So: barimavox@googlemail.com. So as people may want to contact me this way if necessary, then it is only right that I should be sent necessary things. Dirty jokes, dinner recipes, offers to pose for life drawing classes and so on. I don't consider it to be an essential, but at the very least, I suppose I'm covering a base or two

   As you were

Max Tundra - Parallax Error Beheads You (2008)

Parallax error beheads you
Framing of a history lost
Caravans of infants
Fortified against the frost
Systems under boulders
Compacting penumbra now
Salons unprotected
Disappear beneath a brow
Absence round the edges
Crackles in an orange sky
Shutters on the safety
Standing by for your reply
Appalachian figure
Gazing down upon you, proud
Future life projecting
Something that you never vowed
And if I loved you
Doesn't mean I'll see you in the crowd

   So go the words as Ben Jacobs (I'll refrain from using his pseudonym because last night one of my best friends described it as akin to a wrestling name and now I have luchadores on the brain) upends the previously instrumental nature of 'Orphaned', the endearingly unsettled fifth track of his third album and the first song on the record to willfully indulge his free associative lyrical bent. I'm not familiar with every single landscape photograph the words may mean to evoke but I love singing along nonetheless

   'Orphaned' happens to be my favourite song of the LP for funny reasons. As Jacobs produces every scrap of his eclectic, musical history recombinant-sounds on an Amiga, it easily resembles the BGM that would flow from the tinny speakers of a Sega Game Gear or a Nintendo Game Boy, albeit warmer and more full bodied. It's mostly made up of a great number of cut-up-and-stitched together half-second samples, similar to the work of dance producer Akufen, that sound like the twitching of neurons set to whimsical, freewheeling electro-funk. And consisting as it does of about 3 sections that last 8 bars each, it's the earworm equivalent of a merry-go-round. But then I do have a little weakness for looped productions. Conversely, the rest of the record is in a far more structured vein, which allows Jacobs to spread his almost limitless musical imagination in as many directions as he likes

   As long as I'm referencing video game BGM, I've long described 'Which Song', probably one of Jacobs' best received productions, as Scritti Politti's 'Perfect Way' absorbed into the Streets of Rage soundtrack. Expounding on some of his favourite topics - failed relationships with girls and satirising his own nerdiness - the song's juddering danceability, dynamic keyboard playing, jingle-like hooks and register-stretching falsetto brings out Scritti's adoration of prime Michael Jackson even moreso than the band themselves could and yet remains a definably Max Tundra track. Especially with lyrical winners like "Just because I don't like football/Or wear expensive shoes/Doesn't mean my friendship isn't something you should choose," though I find the ensuing bridge a little close to the bone ("Ultimately/Different coloured fabrics sewn/Together would be/Many times more useful if/They taught me to flirt/But instead inanimate/They hang there inert/Waiting to encumber me")

   Like any good nerd with a computer, Jacobs is a dab hand with an arrangement, showing it off deftly during 'The Entertainment', morphing it from a lightly accompanied show tune (yes, I see what's been done there) to a hands-in-the-air Euro dance number before settling into a time signature shifting keyboard-led electronic jam. This is also exemplified by the opener, 'Gum Chimes', a 70s TV theme-like harpsichord-led  ditty that could support dozens of harmonies, serves as the quietest, most restrained moment on the album and has a winning way with a trumpet and a xylophone. He also adds an appreciated alternative perspective to the 80s nostalgia that's driven many of this decade's musical and cultural impulses - like modern studio greats Cornelius and Timbaland, he has a strong signature sound and a wildly obsessive attention to each and every detail that makes his genre and decade hopping distinct from mere pastiche and aping. Aside from the aforementioned influences, 'Number Our Days' (opening with "Nothing happens when you die/You don't leave your body and fly off into the sky/The deities you count on were just made up by some guy") sounds like an off-key hybrid of The Pet Shop Boys and early Jam & Lewis (specifically, Cherelle and Alexander O' Neal's 'Saturday Love'), with Jacobs on vocoder, increasingly redolent of a robot Eeyore, falsetto choruses aside

   The closer, 'Until We Die', which puts a more optimistic spin on Jacobs' fatalism, is stadium synth prog gone deliriously madcap for 11-plus minutes. Elsewhere, he finally crosses off rock music and thrash on his checklist, formerly in the high speed, off kilter, slightly noodly fun of 'Will Get Fooled Again' (also about dating, this time through popular internet sites - "I met the girl on eBay/She was bidding on Halfway to a Threeway") and latterly on 'Nord Lead Three', an exuberant, lo-fi valentine to his favourite analog synthesiser. A valentine dominated by a drumkit and guitars; I like that. 'Glycaemic Index Blues' (and with this, I believe I've covered all 10 tracks) is a twitchy, fast electro-funk number; almost unbearably zippy with pitch-shifted singing but suddenly sideswiped by a plaintive "I'm so alone" amongst the jumbled lyrics to remind us that Jacobs's (or his persona's) disposition is as changeable as his sonic backing

   As an unabashed J-Pop and picopop fan, I'm wholly receptive to Parallax Error...'s hypermelodic showstopping, expert technical manoeuvering and blipvert-esque musical joyriding. It also shares some of my favourite things about those genres - pop classicism, a respect and love for conventions combined with gleeful boundary pushing, absurd catchiness and a truly elastic mindset that makes such endearing flights of fancy possible

   And writing as a fellow neurotic, I believe that Jacobs manages to express the very picture of a modern introvert in more words and self-mocking humour than other such people will express in their lives, mine included. Sweet, catchy, fantastical, offbeat, patience testing and very, very expressive; not an album for mass consumption, but it easily finds favour with many a proud oddball

   And that's one to grow on

Glamourous

And now for a post that doesn't feature me in it

   As an addendum to The Party Post, I'd like to reiterate that we're rolling headlong into the party season; a time of frivolity, stupidity, overconsumption, enjoyment and your parents being overly embarrassing/overly affectionate/overly or not so overly generous/overbearing pompous asses. For those of you who have more strings to your social bow than the ritual cheese overload and rite of humiliation/schadenfreude/sexual misadventuring that is the office Christmas Party, get dressed to express, impress and flounce the night away in as strut-worthy a manner as possible. Be glamourous. And if you cannot, be mildly insane:

Sammy Davis Jr.

From the aptly named Iconic Photos, Edward VIII and Wallis Simpson in a London nightspot in 1936. The photographer, James Jarche, covertly concealed his camera in his bowler for just such an occasion. When did the paparazzi stop being so creatively underhanded? Today, such deviousness means that you're also paid to write about it or are reporting to a superior in at least one governmental departmment

Alain Delon

Claus von Bulow; socialite, theatre critic and Man With a Dark Side

Truman Capote accompanied by then Washington Post president Katherine Graham at his Black and White Ball, November 1966

Keith Richards of The Rolling Stones; the suit is actually an appealingly carefree shade of purple

Keef's bandmate and dandy drummer par excellence, Charlie Watts, in good company

On the far left, Julian Ormsby-Gore, late son of the also belated David Ormsby-Gore, 5th Baron Harlech and diplomat, accompanied by his sister, Victoria, and interior designer David Mlinaric, who sports a Mr. Fish suit since donated to the Victoria & Albert Museum. Alongside the other Ormsby-Gore siblings, the lifestyles of all three existed at the intersection of rock, aristocracy and hippydom during the Swinging 60s; Mlinaric was once asked to leave Annabel's for his flagrant sporting of a white suit. I can't help but approve

Andy Warhol and Edie Sedgwick

Liliane Bettencourt with her late husband, André

The late Brooke Astor, long-lived socialite and social activist

Antonio Azzuolo A/W 2008

Renowned operatic soprano, the late Maria Callas

A recently departed pop colossus

   Note the stylish proliferation and use of accessories, from signature eyeframes to louchely held cigarettes, nonchalantly draped scarves to ethnic jewelry, studded sparkling belts to lustrous furs. Looks that kill

(Author's note: I'm shocked at how easily the opening paragraph wrote itself. Misanthropy Mode has its advantages. Perhaps by (re)attaching my "Keep Away" sign to my forehead over the holidays, I may finally get to catch up on my reading)

Blue and Green are Never Seen

   It's strange, but I'm reasonably certain that this is a rather uncommon garment colour pairing in menswear, hence the borrowed title. This doesn't have to be the case. The trick is usually to vary shade and manage the intensity that either colour is more than capable of. What I'm demonstrating below is both the tip of the iceberg and starting to approach an extreme where formal looks are concerned. A more sober and perhaps more harmonic take is a navy suit with a more restrained shade of green tie, which I'm also fond of utilising on occasion:

   Additionally, a green odd jacket can work wonders with a blue shirt. This is fairly tone dependent, to be fair - a deep green can handle possibly any variation of blue, but it's best to shy away from particularly bright greens no matter the shirt unless you are pure prep perfection, a la the Hamptons visions of Ralph Lauren's summer ensembles. I've a purple jacket , a burgundy jacket and two light blues , but a mint green hardly tops the next 20 on my wishlist. Nevertheless, my sage green jacket is liked and is also neutral and dull enough that I've gone all the way up to royal blue shirtings, although strong sky blues seem to be the most fun:

   For a look at perhaps the most fun I've experienced with this mixture, a memory lane trip into this column's infancy exhibits my rarely worn "secret weapon" - my green shirt . The shirt actually has blue stripes woven in, which nods to another suggestion - wearing two garments predominantly shaded in blue and green with complementing overtones of one in the other; say, a green pinstriped blue suit with a light green shirt. I don't have a blue suit with a green pattern, but perhaps I have time to find one

   Writing this also begs the question of which comes first - mastery over colour or over pattern? I don't think it's too uninformed to posit that Europe has a great handle on both, due in no small part to the proliferation of coloured, patterned shirts that have cemented the reputations of the likes of Hilditch & Key, Charvet and Turnbull & Asser, further adorning and/or inspiring well dressed men worldwide. At the end of the day, anyone can wear patterns, but not everyone is particularly willing to wear colour. But if the most daring one could go is blue and green, it's far more simple than it may first appear

The Party Post

Photograph by Daniel Barnett

   Always wear something interesting to a party, even when it's a costume. Parties are a dime a dozen for the average social animal, so don't count on the atmosphere, guests and copious alcohol consumption to make it memorable (especially the last one, unless your braincells happen to be of singularly resilient genetic stock)

   The most "young" party-friendly piece I own is the tailored tracksuit-derived jacket from Junya Watanabe Man S/S 07, which, perhaps too literally, puts the "sport" in "sportjacket." At least a third of its brilliance rests in the fact that it's publicly unwearable beyond flamboyant social occasions and the occasional "Go to Hell" day. Another third is that the construction is absolutely amazing, showing off an array of decorative stitches and nylon strips set on top of practically seamless patching and shaping. It looks utterly insane... and it's nevertheless an utter dream to wear, even moreso than the more subtle trenchcoat I wear from the same collection. It pairs well with rollnecks, with bowties, with scarves and very judiciously selected neckties

   Despite being my second choice for the Psychedelic 60s party I swaggered about at recently, as displayed above, it proved a hit where accuracy was concerned (I aimed to channel a fusion of Jimi Hendrix and The Who's Pete Townshend, though suffice to say, a combination of Nutter's and Mr. Fish was my ideal. It helps to actually own such things first)

(Author's note: the hat was acquired at a party; I awoke wearing it the next morning and I never saw its previous owner again. I do hope she's not missing it much, six years down the line)

   As for more traditional, and sedate, occasions, you cannot go wrong with the old black tie. If inclined, or required, to jazz it up, I find a patterned white scarf and a crushed velvet double breasted go a long way, even when everyone else at a "Black Tie With a Hint of Après-Ski" party is dressed more ostentatiously:

What do you like to wear to parties?