Sail Down Savile Row - The Lanvin Shopfront

   The Hermès tie booklets once contained a whimsical manifesto extolling the outlook-enhancing properties of donning a marvel of printed and finely woven silk in a skilfully knotted manner beneath a shirt collar. "An Hermès Day," if you will. Yesterday evening, I had something of "A Lanvin Night" when my camera shifted from inside my pocket to outside the entertaining and blithely directed window display in a moment of admiration

   The most notable aspect of the presentation is the way it holds its own on Savile Row, highlighting the variation in gentleman's dress that I'm perennially championing as one of the joys of traditional clothes. It's true that Lanvin is a fashion house first and foremost, but it's actually one of the better fits amongst its peers for the Row's current incarnation

   The fundamental aesthetic that menswear chief Lucas Ossendrijver presents is referential to as many men's dress codes as he likes, and almost as invigorating to the tailoring institution on a purely youthful and visual level as Ozwald Boateng was in the 1990s and as Nutter's of Savile Row was in the 1960s and 1970s. And it's not as if Lanvin doesn't house a bespoke operation in the basement, although I doubt the actual work takes place there as it does in much of the other basements up the street

   Lanvin's menswear is generally considered directional for the mix of its fabrics - including various innovations, blends and techniques I'll never study - its signature tonal palette and its classicist outlook that brings together romantic and elegant French nobleman stylings with underfed, overprivileged 24-hour party playboy. A very subdued envisioning of this notion presents itself in photo number one, which shows two "youths" enacting a sort of Brideshead-in-the-Tropics scenario. There's a keen intersecting of "Dressing correctly, like Dad" simplicity (also note the Panama) with the eyecatching colours and "Let's face it, I'm good looking" chest baring of a brash young heartbreaker, along with the rebellious cool kid use of Lanvin's infamous high-top trainers

   My most immediate thought was how little this directly resembled the runway collection from which these pieces originated, morphing from the occasionally effete, ruched and slouchy ensembles on show into something more akin to an Apparel Arts plate. This nod to the golden days of 20th century menswear is more directly expressed in the outfits of photo numero dos, which contrasts the first with more dignified, but still leisurely, tailored ensembles

   It takes a special kind of insight to make a cravat - or a scarf filling in for one - appear nonchalant and essential in this day and age, but it's mandatory in the outfit below. The bold suit on the right is simply a delight. The tone-on-tone look in full is not entirely successful - a suit like that works best with stark or exuberantly patterned contrasts - but the colouring alone recalls the two Savile Row tastemakers mentioned above

   Not every window display is inspiring. And I don't think there's anything to adapt personally that I haven't already considered or done before. But I appreciate that the Lanvin vision is so uncompromising and so thorough, always seeking a way to view the classics with slightly new eyes

Pop Culture Thumbs-Up - 13/05/09

   Heavy dataflow - the gynoid (that's a robot in female form, kids) that's begun educating the youth of Japan is capable of six basic emotions, including anger and disgust. And will probably give birth to Skynet somewhere down the line

   As Star Trek returns to our screens this month, I think it's only right that we hear from its most iconic alien and how he felt about returning to the series. You will believe a Vulcan can cry

   Cheers and Frasier's delectable snark goddess Bebe Neuwirth as Morticia in a Broadway production of The Addams Family? I should emigrate

   Not entirely cultural, but Greece have stepped up to ban Google Street View. I applaud the progressiveness of the service, but hate that it now takes the fun out of my imagining myself as a little dot on a large map

   And I've finally written an article for MensFlair. Now all I have to do is try and keep it up

On The Street - That Waistline!

   For Fiona, who's always been curious about Ghanaian street fashion. And for me, who's always in need of nipple warming techniques

The Afternoon Tea at Yumchaa

   Should you ever find yourself stuck for an interesting teahouse to visit in Soho, this little charmer is ready to serve you. It has a wide variety of delectable and individual rooibos blends, charming surroundings and cool staff at the counter. I recommend the Chilli Chilli Bang Bang brew, myself

   And one can't deny that the decor is just a little photogenic

The Best Dressed "Me"

Your author in 2005, wearing the apex of his "personal uniform" in rumpled style

   Simply put, everyone has a look. Some even have three. But not everyone thinks deeply about how they look on a day to day basis

   For those who dress to live, the greatest effort expended will be on occasions such as interviews, parties and weddings, and even then, it's a gamble as to how often they succeed at it. For those who live to dress, well, that's always a different story

   The diligent duo at StyleSalvage have mused once or twice on the topic of a personal uniform, an exterior combination of garments that readily identifies the signature appearance of its wearer. And, inspired by the thoughts of the talented Richard Haines, they have done so in an insightful manner. Their posts connected with me because I've long considered my own style to be a uniform of sorts - an experimental traditional style that's supplemented by various personal tics

   Over the years, the favoured remark that I've received - meant sincerely or backhandedly, either is fine - is a variation of "I couldn't wear that," which suits my design perfectly, especially when I'm in a more subdued ensemble at the time. But nevertheless, I've always had conflicted feelings about the idea of a personal uniform. I can accept being thought of as "smart," "dapper" and in other similar terms in general, but it's more interesting that I receive them at times when dressed in a manner that could be more charitably described as "zany " - a recent stint of jury service inspired the words, "Snappy outfit," when the smartest thing I was wearing was a cardigan. But that's drifting from the point a little

   Or maybe not. Experimentation within your style is a good thing and I fully champion it. It's often seemed that this style exploration dies down as one descends into dotage, having ostensibly "perfected" the image that is then presented to the outside world daily. The implication is that once you've passed a certain age, there should be no more effort to surprise or to catch the sartorial eyes of others off guard. And in truth, I don't really think it's that simple

   I believe that experimentation actually changes itself as one continues to explore, and I think resources such as Advanced Style or The Sartorialist really stand up for the sharpest dressers of the elder set. When you're older, you should really be doing what the hell you want. After you've discarded what doesn't work, you can then focus on what does and then introduce different things that may or may not work either, but certainly weren't there before. A simple example is changing from Dior Homme-esque skinny jeans to the revivalist Oxford Bags-style of Bottega Veneta - you're still wearing denim, but everyone who knows you is going to pick up on the new silhouette straight away

Some consider slimmer trousers to suit me better, but why stay in one place?

   People who alter their entire looks are motivated by a wealth of thoughts (or neuroses), that can include changes in music tastes, the interests and lifestyles of their friends and/or lovers, working environments, "growing up" and, more often than not, celebrity culture and advertising. At the opposite end of the scale, those of an alternative bent aren't necessarily the better dressed, nor is their approach more intrinsically cool, but they are more likely to be honest and steadfast about their appearance - "I couldn't wear that," indeed

   The members of music subcultures who actively engage with their scenes and dress accordingly are on to something, because they don't often care what other people think. The imitators they inevitably attract do, but that shouldn't be to the detriment of their style leaders

   So don't just do what others are doing. There's a reason it's called a "personal uniform" - there needs to be a sense of the person inside for it to be called your own. I'm not talking about full-blown iconoclastic originality here - we all dress within various frameworks and archetypes, myself included. Unless you make your own clothes and have the vision and ability for an entire paradigm shift in dressing, you're no more individually attired than anyone else in a basic sense, presuming that you're not given to wearing costumes daily

   I will always respect the attention to detail that guides retro-fetishist fans of 19th and early-to-mid 20th century dressing, but I don't respect the message behind it - "Nostalgia rules, classicism is the way, didn't we look so much better oh so long ago?" This will fail on a number of levels, not least of which is looking dated, and the successful ones are only so when they put something of their own personality into the looks instead of making it all about their preferences. Nevertheless, if you're adopting a look, it's always necessary to have an icon or a touchstone that you can build off instead of directly aping

Between his style of music and the fairly precise recreations of mid-20th century ensembles, where does fanboyism end and clever marketing begin?

   I myself was once accused of "wearing traditional clothes in a fashionable way," although for some time, my goal was actually the opposite. But while I hesitate to consider my style truly sophisticated, I believe that a sense of enjoyment and an awareness of history have helped evolve my look away from a simplistic province of sportscoat-tie-trousers and the decidedly "fashionable" eccentric combos involving ties and t-shirts I wore to go clubbing 2 years ago. It's a sign of the times that I have the freedom to go from Victorian frippery to post-war gent to 70s lounger, but I won't simply Xerox these looks, because that would be silly

   To some, my "personal uniform" is obvious and can be boiled down to a simple word or archetype like "dapper." It will likely remain the case, no matter what details I can swap out, and considering the relative variety of pieces I've used in my basic ensembles over the years, that's saying something

When it comes down to it, the only real deviations most will see are that I'm wearing a bow tie and look even more "retro" than normal. That's experimentation for you

   For me, a personal uniform does not just boil down to designers or signifiers or archetypes. It should reflect your view of yourself and your life. All I want to be is the best dressed "me" that I can

Your author in 2009 - same basic outfit as the first, but the details have been tweaked in a more considered and neat manner

Barima in Digital

   For the sake of my rampant narcissism, two recent appearances on different corners of the interweb have "merited" this post. Yay me. First up, my friend, Shel, asked very nicely if I'd pose for her own blog, Fashion Jezebelle, and it was a request that certainly wouldn't join the masses that I've selectively refused from women over the years. Naturally, my photo is somewhere close to the bottom of the page

   Lastly, Winston saw fit to use a selection of photographs from last Saturday's Prohibited Night Out in a recent column for Mensflair.com. A generous friend, and a talented writer. And not quite how I was expecting to first contribute to Mensflair, but life happens. I cannot recommend the site highly enough

Art of the Pattern Clash

   Some might say that it's a very British mannerism to clash patterns in clothing. However, if I had grown up in West Africa after all, I would have done that anyway. But irrespectively, I just love doing it, no matter how classy or dodgy the results might be

   The short sleeved crew neck jumper is conspicuous on its own, all colours, stripes and sporty bands. There's even a number on the back, like a sports top. There's a slight synergy in what I'm wearing underneath. The long sleeve shirt keeps things relatively neutral with a white base, and relates subtly to the jumper with thin stripes in green and blue

   As for the neckwear, something about this outfit called for a cravat. While other colours probably could have done, the pale yellow base is neutral enough for the overall outfit, while blending in with the other plain and lighter colours of the outfit. About the only way this felt less than hazardous was excercising sobriety with my lower half, keeping the belt, trousers and shoes dark and sombre

   Remember that at least one or two (or four) calm pieces in a multi-patterned ensemble should prevent you from blinding onlookers when you're out and about. It works for me

Customisation Deux: A la Mode

   Fiona took the lead on this latest "garment recalibration." Despite the florid, humourous twist it sometimes added to my ensembles, I'd pretty much resigned myself to having no further use for this ice cream man-friendly Interno8 shirt, although, seeing as it wasn't the only one of the three I own that I didn't choose myself, it, along with one other, would always face that fate

   But why let such a fetching red-and-white houndstooth pattern go to waste just because of an enormous collar and billowy fit issues? 'Twould fly in the face of my current "everything is usable" philosophy (if you ignore that a dozen of my pieces will be appearing online with an Ebay banner above their photos in about a week's time):

Before

   Together, over a delicious meal one evening, we came up with a concept that hearkened back to the kind of summer shirts young, open fated men would have worn in some bygone time where summer outfitting didn't mean slogan t-shirts, crocs and mismatched shorts

   Of course, the irony is that the shirt is unwearable at temperatures above 30 degrees due to its weight, but the look will still hold up on less tepid days

After

   The collar has been rendered inside out in a more unique banded style, while the 3-button barrel cuffs have migrated halfway up the sleeves. We thought that such an idiosyncratic detail should not go to waste. The fit around the body has been altered slightly, but a follow-up is forthcoming if I keep wasting away, as everyone seems to think I am

   All in all, a definite improvement

The first entry in this series is available here

Setting the Style: Antonio Azzuolo

   It must be said, a lot of new designers don't just appear with the kind of pedigree, experience and class that Mr. Azzuolo's résumé boasts. A Ryerson University, Toronto graduate with a B.A.A. in Apparel Design (specialisation: Men's Tailoring), he achieved first place in the menswear category at the prestigious "Festival des Jeunes Stylistes de Hyères", having based himself and his work in Milan. Taking the opportunity presented by the award to move to Paris ensconced him in the offices of Kenzo and Hermès for over ten years, but perhaps his most gilded appointment was as design director for Ralph Lauren's Purple and Black Labels. Until he decided to strike out on his own. And naturally, that's where his work gets really interesting

   Beyond his achievements and accolades, Azzuolo carries an exposure to Italian bespoke tailoring that may as well be the result of DNA encoding, though that kind of argument carries greater weight considering both of his parents worked in fashion. But his background is not the only signifier of his potential for success, as his instinct for aesthetics has the rare blend of practicality and desirability that should be a bedrock in men's fashion. Azzuolo has a facility for cuts that are realistic and youthful without appearing as pastiche or cliché, and his responses to the various fashion trends of these hyperkinetic times gives a classical appearance to a majority of his pieces

   Which is just as well, because the lost aristocratic look is hardly a widespread phenomenon in today's world, but fans of slim trousers, bold primary colours, prints, dashing double breasted jackets, cropped tailoring and practical-yet-regal hooded coats are going to be keeping tabs on this line. Especially me. The a.a. collections are not sold in London, which leads one to wonder, "Isn't this exactly what Liberty is for?"


The line trades on menswear staples, building up the look of its customer through consistency and seasonal adaptability. Scarves add interest in looks all year round, while the accessories of gloves and buttonholes emphasise the completeness of a gentleman's look that can often be missed by today's sartorialists, who are perhaps too conscious of appearing overly layered or styled. Azzuolo's reference points have been bandied about in both interviews and articles, but it would be remiss of me not to point out the clean European refinement that pervades his work and makes the viewer instantly aware of his bespoke background. Add to this the old school rock'n'roll elements of tight fits, fingerless gloves and ostentatious use of opulent fabrics and accoutrements, and the line takes on a particularly energetic aspect

   Although he doesn't specifically reference the period, I can't help but think that the Bright Young Things, in a 21st century incarnation, would happily be clad in his designs. Other designers trading in updates of - and twists on - traditional menswear look to produce work that's more calculated in appearance, all shiny, flashy fabrics, barely controlled patterns and excessive or unnecessary detailing that verges on unviewable vulgarity. There isn't any of that here. This is a line that reflects the interests and personal history, rather than the lifestyle obsessions and glitz worship, of its creator. It's a line that just seems to make sense


   The work of his stylist, Sally Lyndley, is invaluable in promoting the attractions of the label. On the runway and in the photoshoots, her contributions emphasise the freedom of breaking suits down into adaptable pieces and, just as necessarily, balances the standard youthful appearance of the models with the bearing that Azzuolo's tailoring seems to instantly impart. On reviewing his debut show, The New York Times's The Moment made instant comparisons to Gossip Girl's moody manipulator, Chuck Bass, but this is more of a different animal to the teen idol, balancing layering and flair with more restrained palettes and an instinct for elegance than is seen whenever Ed Westwick is onscreen. But if there's any synergy between these two, it's an important one - a young man drawn to the idea of dressing up is always a boon, moreso if he has a creative taste that he can express through distinct, well kempt looks. And, tenuously or not, this link gives the line an additional shot of pop culture-friendly relevance


   This is far from the first post in blogworld on Azzuolo, and definitely not the last. Ordinarily, amongst a designer's product, there's normally one collection that inspires me with inquisitiveness and appreciation. Sometimes, two. Rare is the one that consistently keeps me watching, but if Azzuolo can parachute into my ones to watch with such efficiency, I'd be surprised if I didn't still care about him in 3 years time

Photos: a.a. and Men's Style

An interview with Azzuolo

More information, photos, press and contacts at a.a.