Leather Lust Object No.9

A crocodile skin luggage set by Bijan. "Reassuringly expensive" and suitable for all those "overnight adventures" one gets up to away from the bedroom

An Expensive Existence Failure

   Through StyleForvm this morning, I have learnt that we now have yet another Fabulous Dead Person to memorialise. Petkanas, I'm counting on you

Bijan Pakzad, 4 April 1944 – 16 April 2011

With my ego, I would have been successful anyplace, but America gave me the opportunity to show my taste

   Despite my raft of accidental globe trotting, I've never gotten around to visiting Beverly Hills, but between clever marketing, the world press and two seasoned Earth travellers whom I call "Mum and Dad," I had a wisp of an awareness about this alluring brand Bijan and how it filled the closets of the great, the good and primarily, the wealthy. Naturally, it was his range of scents - always one of the easier ways to integrate a designer's name into one's possessions - and that striking, almost graffiti-like logo that made a lasting visual impression on me; an indelible link to the glitterati of the planet might also have had something to do with that

   'The Persian Master of Fashion' - and a proud one at that, steadfast to his Iranian roots to the last, which is even borne out by the music on his website - was known for his 'appointment only' visitor's hours; highly appropriate, given that he had custody of "the most expensive store in the world," grown through his charm, good fortune, entrepreneurial nous (apparently genetic; his family was staunchly self-made) and dogged industriousness. He dressed a list of men so illustrious that they have been typed out and published in better obituaries than this one, as well as in his Wikipedia entry (his son Nicolas stated that he dressed over 40,000 clients, including all five living American Presidents). He was exceedingly fond of the colour yellow - good for him, me and you. And he loved his automobilia, did this one - every single write-up will probably mention how he enjoyed parking the jewels of his four wheeled fleet outside his store before attending to the whims and wants of those who came a'calling

   His signature flair for design splendour was hardly confined to clothes and fine living, and in the late 1980s, he sought a more luxurious way to fire bullets, achieving it with a Colt revolver made from gold. But then when of his most perceptible traits was how greatly he loved his work; you can see it in every twinkly eyed portrait taken to show that this brand had a face and it was that of a kindly, charismatic, expensive Iranian who would transform one from schlub to film star for the price of the average home and make it feel worthwhile. But back to the handgun:

The gun had a leather handgrip fashioned for a .38-cal. Colt revolver; inlaid in the cylinder was 56 grams of 24-karat gold. The revolver was placed in a mink pouch in a Baccarat crystal case embossed with the customer's name. Bijan's own signature is engraved in gold on the barrel of the gun. Only 200 such guns were made. In 2005, one of these guns sold to Jacob Nahamia at Christie's auction house for over $50,000 USD.

   The Bijan brand will endure, of course - it is a family enterprise - but naturally, the stewardship will be different and perhaps a little less aureate. So to conclude, I think it's only polite that I highlight an ethos worth sharing in:

The world said to conform, the world said to settle for less, the world said to compromise and no one would know... so I made my own world

   Godspeed, Mr. Bijan

Let's Go Airside

   I am enjoying being back in London, which is a pleasing, if stark, contrast to my feelings about this much vaunted metropolis when I left. I think that amongst the varied vagaries of my life that impelled me to take a working sabbatical from the place was that I was then losing my ability to see what it has to offer. I might be over it now, for I am taking rare pleasure in its foibles again: it still holds the most charming of Georgian architecture, the most reticent of heterosexual dancefloor patrons and the most pellucid and brief of summer dresses

   I have subsequently lowered my resistance to a number of things since my return. I have performed at karaoke on two separate large nights out in the past week alone. I visited Graham Browne Tailors for alterations. I stumbled across a group of 'bladers outside the National Gallery, performing deftly along a line of twenty overturned plastic cups no more than 3 feet apart, and resisted the urge to yell "The hardest part of rollerblading is telling your parents that you're gay!" (an old joke; one not easily forgotten). I even mustered up the urge to observe a controversy response first hand by visiting the John Snow pub in Soho earlier this evening to see what would become of the homosexual group kiss-in that was being performed in support of the two amorous young fellows who were ejected from the premises on Wednesday. My tweets say it all; I really had no idea that gay men - on their primary London stomping grounds, no less - could make a mass gathering so boring that I had to turn to micro-blogging about it and then became careless over my own spelling

   Being back has also inspired me to experiment a little. Given how the previous paragraph ended, I am sure I know what you are thinking, but no; I am actually talking about t-shirts:

   Although I don't plan to make a habit of this, I have held this design in high esteem for a few years. As a student, I became enamoured of the annual Airside T-Shirt Club, due to a fondness for its rotating cast of media designers - Cozyndan, James Jarvis, Pete Fowler, Laurent Fetis - and its singular constant, Airside co-founder Fred Deakin, whose excellent downtempo band Lemon Jelly was interviewed by me in 2002. So I joined for the 2004 run; I'm pleased to say that it was a banner year and I still retain each piece, including the above design by Deakin himself. And in a funny full circle-manner - where this post is concerned - I was actually living in Ghana that year, too

   Airside's shop can be found here. Normal flamboyance will resume with the next outfit post

Aquamusic

   Why don't they make stars like Esther Williams any more? And no, I do not refer to the sensuous and slightly sonorous voice behind the funk nugget 'Last Night Changed It All', although she, too, is worthy of appreciation

   Known as the "Million Dollar Mermaid" at MGM after the 1952 film she starred in, Williams made a great many films under the studio's aegis, amongst which was Ziegfeld Follies. I recall watching it as a small and entranced child who was as far from being the world's keenest swimfan as Josef Fritzl is from being a humanist; the enrapturing aspects of those beatific, synchronised sequences nevertheless left quite the  impression. This was a special time; a time I refer to as "My First Impression of Wet Women"

   YouTube naturally has a myriad video range of her work (I recommend this embedding-unfriendly profile from That's Entertainment) and whilst much of it seems genteel and quaint, there is always a particular dignity, physical grace and acute professionalism in her movements - par for the course in Cinema's Golden Age, of course. But then, I've often been accused of preferring to look too closely at nice forms:

  

Sidney

June 25, 1924 – April 9, 2011

   I think that mustering up an effective eulogy to Sidney Lumet is a touch beyond me today. I have hardly watched each of his films, but I am certainly a little versed in those the world considered the greats; the most recent dip into his back catalogue being The Verdict (one can tell my addiction to Turner Classic Movies/TCM has been nearing a plateau, of late). Because of this, I can also spare us all the ramble involving the various ways in which The Wiz scarred me for life (consider the Wicked Witch's melting scene - my God, for something so cartoony, it seems so... visceral, like Christopher Lloyd in Who Framed Roger Rabbit?, perhaps. And no three year old Michael Jackson fan wishes to see his idol torn apart - what would Freud say?). Besides, I think he actually came aboard that project because he wanted to sleep with Diana Ross

   One of the best things about Lumet's work is that in an increasingly cynical existence referred to as "life," his rich seam of humanist work has embedded itself so deeply in the culture that there is practically a quotable for every film he shot. Consider:

"Attica! Attica!"

"I'm as mad as hell, and I'm not going to take this anymore!"

"Drop your cocks and grab your socks!"

   (I may be reaching with that last one)

   The past decade has seen a number of our leading lights of the creative arts pass on; this year has seen more than I would care to name, in fact. And as far as I can discern, it seems to be quite the struggle to replenish the sorts of technical qualities and insights into human behaviour that talents like Lumet offered. But then, that's what iconic status means to me - a capacity to achieve or to symbolise achievement so that others may observe, learn, admire and wish it was them about to galvanise the careers of several gossip columnists by indulging in behaviour most indelicate at the celebrity festooned after party of a major awards event

   Farewell, Mr. Lumet. And for the record, Serpico, Dog Day Afternoon and Network were my other favourites. I like your actors when they shout

Leather Lust Object No.8

Filofax Ostrich Leather Agenda

MGMT - 'Brian Eno' (Cornelius Remix, 2010)

   An unexpected delight tonight was discovering that one of my dearest musical icons had taken on this "vampire punk rock song" by the well-known, noisily tuneful combo last year, for if there's one thing that Keigo Oyamada does peerlessly, it's recombinant mutant pop music that makes hipsters say "Oh!", bloggers say "Wow!" and cats say "Meow!"

   Who knows what invigorating effect a little MGMT has had on Cornelius, but this is his most offbeat remix in quite some time; the sort of à rebours slip into hummable oddity that was last embraced on his remake of Bloc Party's 'Banquet' (and interesting how this paean to the pioneer that has doubtlessly influenced Cornelius and MGMT sounds not entirely dissimilar to the (paid for) paean to Oyamada himself written by Japanophile sonic oddity Momus). In a funny way, this might almost sum up his career, for as a man of consummate kitsch and a connoisseur/player of practically every musical genre created, it is both old  and new for him to embrace that favoured instrument of Dracula's most entrenched pop cultural representation, the harpsichord. A cheeky reading of MGMT's bloodsucker intentions, perhaps, but whatever brings out Oyamada's intrinsic whimsy is good for us all, much like Emma Stone is. Were I angling for a role in music PR, I might describe its frenetically beatless qualities as akin to "skipping on air," but I am seeking to engage, not to scar my semi-regular readers for life; I can do that with my outfit photographs on any other day

   I was in need indeed of a new song with which to see in this season's sunsets; not only do I have that now, but it even doubles as a happy little ditty to imagine playing Transylvanian Families to. That Cornelius: always thoughtful, forever delivering

Shine One On

   

Elegant slubbing, courtesy of Al Pacino as Michael Corleone in The Godfather

   For one shining moment last year, I owned a light grey slubbed Shantung silk suit for spring and summer; as is customary in my collection, it was double breasted, Roman made, from the 1980s (the period most associated in my mind with the Suits With Runs Look) and formerly owned by my father. And then "formerly" became "presently," so I wait for either old age or senility to make it mine once again. "This kind of suit, my son," he intoned, "is not yet for you." I don't think this was said because he perceives a lack of gravitas in my make-up; I think he just remembered that it still fits him. And unlike him, my arms are long enough for my fingertips to graze my knees, so there is that...

   I believe that each summer suiting choice, particularly Dupioni and Shantung silk, mohair and cotton, is a beautiful and unique snowflake; a catholicon to all that may feel particularly rote and lifeless about warm wools. Silks have a galvanising aspect when tailored, imputing colours with texture and hypnotic iridescence at their most beautiful (Shantung being the more flamboyant, slubbier and occasionally rougher take compared to Dupioni); mohair distinguishes itself with its sheen, crispness, lightness of wearing and valuable versatility (particularly the ones that look slightly pearlescent in various lights - see also this excellent article by good pal Winston C);  cotton and its endearingly wrinkly aspects create the most relaxed tailoring of all. I, like others, also recognise the considerable charm of linen, the most rumpled of all, and its warm weather boons to even the heavy sweaters amongst us all. But I am ultimately a texture addict, not to mention one who often, like Sixth Doctor Colin Baker, dresses like "an explosion in a rainbow factory;" this is a tendency that silk clothing enables very, very easily and is the exact reason I plan to acquire a new (or new-old) one of my own when fortune and funds permit. Mohair is my second choice and I have recently viewed a number of vintage Savile Row examples that might still be mine if anything can be done about the sleeves (I'd also enjoy seeing some from China). It is to marvel at the unique fabric designs that the 1960s and 1970s produced for summerwear

 

Two examples that may possibly be silk-blends (or just shiny), courtesy of Robert De Niro's character Sam "Ace" Rothstein in the undeniably excellent Casino. Note the iconic Ultra Goliath eyeframes

   When I commented on Roger Moore's Cyril Castle-created Dupioni suit at The Suits of James Bond today, I initially considered that I wanted a very light grey version for myself (steel blue, light or rust brown, burgundy, forest green and off white also loom large), since that sort of icy look is quite the head-turner on very bright days. I have never thought such a colour to really suit me, despite owning a patch pocketed version in ramie from good old Junya Watanabe that I love, but in a slightly shinier form, my mind's eye makes it look rather becoming. It can also handle many accessory colourings and with my skin tone, a Mr. Fish-inspired presentation of a matching white or bone-coloured shirt and necktie feels more than possible. A silk trifecta formed from the three main ensemble components also seems ridiculously appealing

Moore's first 007 Dupioni number, dark grey and double breasted, as seen in Live and Let Die, via The Suits of James Bond

   Of course, it is worth recalling that lightweight silks are vulnerable to stains, crotch rot and the accidental snags caused by the fingers and rings of an amorous partner, so those who are also tempted may wish to blend. Wool, linen, cashmere and cotton mixes, as well as heavier silks have much to offer; they can sacrifice some of the breathability, but done well, style always remains

 The Modern Jazz Quartet in mohair suits for The Cocktail Age

   London is bright again. Let's shine one on for the summer

 

Prince Charles in Dupioni silk suiting

Leadbelly - 'Where Did You Sleep Last Night' (1944)

For the record, I'm unfamiliar with the Kurt Cobain-sung cover. I just had a rather bluesy weekend