The Stephanie Rushton Portrait Shoot, Part One

   The short version: Stephanie meets Winston at a party, photographs him, is subsequently referred to me and a breezy early evening in Mayfair becomes photographic memories for all

Sartorial Profiling

   The fellows who run Fine and Dandy - shop and blog - recently submitted me to their semi-regular profiling of men who wear bow ties, hats and mankinis. Being guilty of all three means I have to own up to it somewhere, and they have followed The Mode Parade almost since the beginning, so it was a call worth heeding

   Being interviewed on other spaces is not a bad thing at all. Perhaps I should begin a series of my own

When I Was in London

   ... I was mostly clad in the gloves and the coat because I respect my body's temperature that much:

   It was good to be back. And now I've left again. And The Mode Parade is going to experience a few small adjustments for the time being, but it certainly isn't going away for now. Indeed, more to come

Barima in Print

   I'm in the current issue of The Chap and had forgotten about it. The link is in the sidebar. It transpires that my full name is too long for publication

If I Were in London...

   ... I'd be wearing something like this oldie photo, here:

   Actually, I'll return on Thursday morning, so this is utterly relevant. I hear it's a little nippy out and that I have to stay away from the yellow snow. Luckily, I have some pigskin gloves that I'll be taking out for a little spin

The Bojangles Post

The Bill 'Bojangles' Robinson Monument in Richmond, VA

   Bill ‘Bojangles’ Robinson (1878 - 1949) is the perfect representative of a favoured archetype of mine; the energetic, sharply dressed, dynamic hoofer of the early 20th century. Alongside Gene Kelly, The Nicholas Brothers and, of course, Fred Astaire, he is also an ideal exemplar for the freedom, precise lines and pure élan of skilled tailoring. His capacity for generosity, dignity and rising up against all the odds that faced him are also excellent guidelines for living

   As a man of motion, his jackets gave him the freedom to perform his steps whilst looking his best. Look at how the low padded shoulders and the height of the armholes combine to allow him near-unrestricted movement without distorting the garment’s structure. The sweeping belly of his lapels and loosely structured fit add to his energy and agility immensely

   For those who appreciate my use of full cut trousers, this is where it comes from. What gives Bojangles the edge is that he has no need for my kaleidoscopic enthusiasm; his flamboyance lies in the cut, which is simply of its time

 

   There is any number of reasons as to why his style has not passed on into public legend, but he is as admirable to me as Cary Grant is to everyone else. Ever complimentary of other footwork talents, Astaire’s tribute to him in 1936's Swing Time may be history’s only relatively passable example of blackface, and I say that because I've no real reason to doubt Astaire's sincerity:

   Unexpectedly, his baton was taken up briefly in 2003 and 2004, by, of all people, will.i.am in the ‘Hey Mama’ video and Usher in ‘Caught Up’, respectively. The choice of garments and silhouettes, along with the fact that both men use the videos to highlight their skill as dancers is indicative of inspiration, if not tribute

Dancing alongside Shirley Temple

   I wouldn’t go as far as to include myself as part of his legacy, although an uncle of mine teasingly referred to me as ‘Bojangles’ after I danced with everyone in sight at a recent wedding reception. I still can’t say that I’m not flattered

   Let's hear it for Mr. Bojangles

In Their Element

The In Group – 18th July 1967

Back Row: Susannah York, Peter S. Cook, Tom Courtenay, Twiggy

Centre: Joe Orton, Michael Fish

Front Row: Miranda Chiu, Lucy Fleming

   I’ve felt like sharing this Patrick Lichfield-shot image for a while; it’s been a favourite since a collection of Swinging London photographs passed through my field of browsing vision some time in the distant past. I certainly think this mixture of languor, exclusivity and energy ranks with his airily bohemian portrait of Yves Saint Laurent in Marrakesh two years later, even allowing for their compositional differences

   It also seems to be the only reference for what the man who devised the kipper tie and the wardrobes of Terence Stamp in Modesty Blaise, Jon Pertwee in Doctor Who and Peter Sellers in There’s a Girl in My Soup, Michael Fish, looked like, never mind anything more recent. Surrounded by other luminaries of his scene and taking centre stage in clothing of his own design, one can discern the flair and the garrulousness that made him and his work a desirable commodity; the latter still is, if I have anything to say about it

   The online provenance of this image lies with Shana Ting Lipton; her mother, Miranda Chiu, is seated by Fish’s right knee. Ms. Lipton, an international pop culture and travel writer/editor/journalist and cultural researcher/strategist with an incisive worldview and an exceedingly interesting website, is ostensibly who I want to be when I grow up. My world could certainly use more of her like

   In terms of appearances, there’s certainly a marked difference between this clan of memorable tastemakers and the brand name/High Street scruff of today’s Hot Young Things in an identikit photoshoot. It’s all in the elements

Style Time Dies...

   ... say hello to Mode Parade

   This is a minor metamorphosis

Relaxed Suiting

The Fifth Earl of Lichfield, Thomas Patrick John Anson, via LIFE Magazine

   Men who want to leave the suit behind when their day is done at the coalface are shortchanging themselves. Learning to adapt and procure suits for occasions and for pleasure is merely another aspect of the fun that comes with sharpening one's image. And that suits-with-trainers lark only ever worked for downtown New York New Wavers and David Tennant

   There are other options, you know:

YSL, circa 1969

Also from LIFE, The Beatles take Japan. And Lennon probably didn't need to ask anyone if it was acceptable to sport a muted pink suit

Etro, via the NY Times; the label has entirely defined itself through uncompromising flamboyance, sharp cuts and playful patterning

Etro for summer. There's only one element I'd not wear

The post-colonial African hipster look revived for the NY Times. Suits by Viktor & Rolf (l) and Dries Van Noten (r)

   Let's face it; the mods, suedeheads and peacocks were deriving much enjoyment from their appropriation of traditional dress codes and the results thereof. It's all over Patrick Lichfield's face up above; he's bold, but not over the top, able to enjoy his appearance without being self conscious about it. Given what parades up and down today's metro paving, it's only out of the ordinary because sartorialism is the current incarnation of iconoclasm. Having said that, it still takes a brave or uncaring man to wear a hat crown as large as his face

Mick Jagger and Mary Whitehouse. Really

The 1971 wedding of Mick and Bianca Jagger. His suit was from Nutter's of Savile Row; at this time, the pattern was cut by master tailor Edward Sexton. His shirt was created by Deborah & Clare of Beauchamp Place. The photograph is, of course, by Patrick Lichfield, via The Independent

   It's been well documented that I achieve a more informal look the same way other likeminds do; my shirt and tie combinations could only really be seen at parties or in a creative office. Anyone who really thinks bold ensembles are de rigueur in a conservative professional environment is an idiot or has befriended one too many wide boys. But going the other way and playing the colour field down doesn't harm a suit's out-of-the-office cachet:

Knit tie, green pocket square, striped cardigan; relaxed in more of a cosy sense than a creative one, but also perfectly felicitous for a dressy occasion

   Rather than simply thinking "It's not for me" or "I'm not (delete as appropriate) cool/rich/famous/handsome/slender/crazy enough to pull this off," you simply have to remember that menswear is about the details. For every exuberant pattern, there must be a balancing act performed by the cut; it must, of course, fit exceptionally well. Don't compound the potential shock factor of a statement fabric with offbeat tailoring decisions (unless it's a shorts suit, which is a topic for a future time). Stick with two buttons in a single breasted or go double in a 6x4 configuration. Rather than standard padded shoulders, why not try roped shoulders and/or lightly padded natural shoulders. Retain a well shaped silhouette with subtle buttons. Let the fabric do the shouting

   If anyone would like a place to start, I can think of nowhere better than Dashing Tweeds. Their Exploded Houndstooth design has previously appeared on this column. I do like this Foulkesian 3-piece tailored from one of their cloths by Savile Row's Davies & Son:

Via James Sherwood

   A final thought: don't neglect the outerwear