June 9, 2016 by Ville Raivio
VR: Your age and occupation?
CM: age 54, occupation actor.
Vr: Your educational background?
CM: Education: 1 year of college. College is like sushi. It’s not for everybody.
VR: Have you any children or spouse (and how do they relate to your style enthusiasm)?
CM: Married, Father of three. I rarely discuss my family in interviews.
VR: …and your parents and siblings’ reactions back when you were younger?
CM: My Uncle Raymond was my main fashion influence. He was always in a sportcoat or suit and he ALWAYS wore a Borsalino hat.
VR: What other hobbies or passions do you have besides apparel?
CM: My passions include collecting and drinking wines, fine dining, cigars and golf.
Vr: How did you first become interested in style, and when did you turn your eyes towards the classics?
CM: I first became interested in style from my favorite uncle, as well as watching films starring Cary Grant, Rex Harrison, Humphrey Bogart, William Holden and George Raft. I probably began really eyeing the classics as an influence beginning in my teen years. I also consider the book Dressing The Man by Alan Flusser an undeniable influence on my own personal style.
Featuring the lovely Julissa
VR: How have you gathered your knowledge of the tailored look — from books, talks with salesmen or somewhere else?
CM: One of my most memorable influences was a salesman for Neiman Marcus that I met in my late 20s by the name of Jance Reynolds. Jance was always impeccably dressed and was a GENIUS at mixing patterns. His influence on me was his classic style, but most of all he influenced my style by teaching me how to steer clear of “the safe look”, as he once said. The next time you’re out in a park, look at the way the colors of nature blend in ways that incorporate unlikely color match-ups, and yet, it all works. It was a profound discovery for me to compliment my accessories, ties, pocket squares, etc., choosing to match the square with a color in the shirt instead of the suit, for example. It became a fun challenge to find “unsafe” choices, when putting together an outfit.
Vr: Which tailors or RTW makers do you favour and why?
CM: My fabric supplier and tailor are somewhat of a guarded piece of information. My Uncle Raymond, who was as old school as they come, once said to me when I was very young: “Never loan anybody your pen, your car, your tailor or more than twenty bucks.” So, I never do. However, I will say why I favour them is because they’re both extremely knowledgable about their business, wonderful collaborators, have razor-sharp sense of style and are two of my dearest, closest and most valued friends. Being 6’5″ with a generous frame, the RTW market, for me, aside from some pocket squares and socks, is closed. Unless, I’d prefer shopping at the local “Big Man” shop, which I do not. So, I’ll give you some of the MTO/bespoke makes that I prefer.
My personal Fabric provider and my personal tailor: Suits, shirts, sportcoats, slacks, topcoats, outerwear and formalwear
Socks: William Abraham
Shoes: Saint Crispins, Edward Green, Koji Suzuki, Barbanera
Ties: Patrizio Cappelli
Pocket Squares: Hermès, Kiton, Drake’s, Charvet, Tom Ford, Cesare Attolini
RTW as well as MTO eyewear: Morgenthal-Frederics
Cufflinks: Deakin&Francis, Micheal Kanners, Kieselstein-Cord, Cartier (vintage), Thrift shops
Ties: Robert Talbott
As for why, the same goes for all. In my opinion, they are the best.
VR: How would you describe your personal style?
CM: If I were to describe my style, I would call it a modern update of 1940s jazz musician’s style. Another style influence that I think very highly of in terms of his personal style is a doctor by the name of Dr. André Churchwell. Google him. All I can say is, Wow. When I grow up, I wanna be like him.
VR: Have you any particular style or cut philosophy behind your items?
CM: My style or cut philosophy? I don’t know if I’d call it a philosophy, however, there are some things I always consider as a rule.
1. Dress for the WEATHER, not for the season. If it’s 85F degrees outside on Christmas Day, I’m wearing white pants, and white shoes.
2. Always take one thing off before settling on an outfit.
3. Spend money on the best shoes you can afford.
4. There’s no such thing as too many shirts, ties, or pocket squares.
5. A stylist can’t give you style.
VR: Who or what inspires you?
CM: I am inspired by any craftsman. As simple as that sounds, it takes a lot to be recognized as a craftsman in the truest sense of the word.
VR: What’s your definition of style?
CM: Style, in my opinion, is simply being confident and comfortable in your own skin and enjoying your own company, when no one else is around.
VR: Finally, given your knowledge on the subject, how would you describe the dress of American male actors off-screen?
CM: Like I said. A stylist can’t give you style.
Photos: The McBride archives
May 29, 2016 by Ville Raivio
The 3-roll-2 cut is a peculiar look that has been especially favoured by American clothiers in their jackets, suits and, occasionally, coats as well. The 3/2 jacket has three buttons on the chest, but only two of these have been cut for closing. A very long time ago the top two buttons could be closed, but on modern models only the middle one is actually used. The top-most third button is decorative and usually sewn on the lapel’s lowest point. In addition, these jackets are usually pressed to roll directly to the middle button. In text-form, this explanation is, of course, a bit addled but once the reader has seen one of these jackets, he will remember. Brooks Brothers, the most influential American men’s clothier, has told more about the cut’s history based on its archives. According to BB, the eccentric design was born at the beginning of the 1900s when young university students decided to have their 3-button jackets pressed to look like 2-button versions in force. During this time, the two button jacket was the so-called greatest fashion, but the young and hungry students couldn’t afford to renew their whole wardrobe. With steam and iron, the three-buttoned was altered to close like the two-buttoned. Following the students’ example, Brooks Brothers took to using the cut in their readymade clothing — and the model spread across the country.
The 3-roll-2 jacket is as fine and dandy as the rest of the models, though I consider it less plain and less formal due to the additional buttonhole on the lapel. On the 21st century, the cut is not widely seen in the selections of European clothiers. Perhaps this is due to traditions as the 3-to-2 was born and gained fame in America, and boys merely followed the example of their fathers. In the Ivy League school of style, the cut was an essential part of most jackets and suits. The cut spread to the other side of the Atlantic on the shoulders of tourists and travellers, but for one reason or another it didn’t gain as great a following in Europe. Some Italian tailors vehemently favour the look, but big factories have not fallen for it in droves. Ultimately Brooks Brothers also chose to use the 3-roll-2 look in their legendary number one sack suit, which became one of the most sold men’s suit models in the United States. Consequently, and with a stable mind, I choose to call this cut as American as apple pie, jeans, T-shirts and free market economy.
Photographic image: Mr Lauri Hilliaho
April 25, 2016 by Ville Raivio
April 7, 2016 by Ville Raivio
The good folks from The Museum at FIT reminded me of a nice up-coming assembly that is sure to interest Keikari’s numerous American readers. Info and invitation below — be sure to register at your leisure.
March 30, 2016 by Ville Raivio
VR: Your age and occupation?
EM: I was born in 1976, I am a senior shoemaker at Foster & Son.
VR: Your educational background?
EM: I went to Cordwainers’ College to study footwear design & I also did a hand-sewn shoemaking course in ’97.
VR:Have you any children or spouse (and how do they relate to your shoe enthusiasm)?
EM: I have two boys (aged 7 and 2). My husband is also in this trade, we both have a passion for bespoke shoes. My kids love watching us work, especially the oldest, it is a special treat for him to come up to the workshop and explore. I was making lasts up until 2 weeks before giving birth to both boys, so it is natural for them to hear banging noises and the scratching of wood, always being surrounded by shoes and tools!
VR: …and your parent’s and siblings’ reactions back when you decided to become a shoemaker?
EM: My parents have always been supportive, my great grandmother had a Geta (Japanese clog) business, though it came as a little surprise to them when I decided to go into the shoe trade, they were happy about it too.
VR: What other hobbies or passions do you have besides footwear?
EM: I enjoy cooking, painting and drawing but, above all, I have to say ” shoemaking”. It sounds insane but that’s what I do when I have free time. I love making shoes for myself, to be more precise! I enjoy thinking of what I want to make next and without realising it, my hands are already working. Having said that, I rarely find my own time nowadays, being a mother is hard work!
VR: How did you first become interested in shoes, and when did you turn your eyes towards artisanal shoemaking?
EM: I have relatively large feet for a Japanese girl and always had problems finding shoes that I can wear in Japan, even when finding something I liked they often didn’t have my size. Then I thought about designing and making shoes by myself. So I decided to take a footwear course at Cordwainers’ and moved to London.
They had hand-sewn shoemaking classes that fascinated me so much, seeing the traditional way of making shoes changed my perception completely. That’s when I learnt about bespoke shoemakers for the first time and visited Terry Moore, at Foster’s, with my friend. He was making a pattern by using normal brown wrapping paper and making a last using a shabby bench.
Using beautiful old tools, it was absolutely amazing, I thought this is it. This craft and the hand skill is what I want to gain. From that point I was determined to become a Bespoke Shoemaker.
VR: Why classics instead of fashion?
EM: With fashion, you need to keep creating new designs constantly. That, to me, is very tiring. Even with classics they do have trends but the movement is very slow. That’s what I feel comfortable with. My master always says, in terms of shoe designs, that all were completed around the 1930’s & after that it has been going around in this same circle.
VR: How have you gathered your knowledge of the crafts — from books, in-house training, workshops or somewhere else?
EM: I was apprenticed to Terry Moore at Foster’s, there learning most of my skills from pattern cutting, last making to shoemaking. I had a chance to see lots of good samples and also the shoemakers used to deliver shoes to Terry. I would ask questions about how they did things, little tips here & there constantly & I would take this information home with me, experimenting by trial and error. In terms of fit, being my own guinea pig was the best learning curve. You feel the comfort as well as pains.
VR: How would you describe the House Style of the shoes you make?
EM: With each customer, I simply try to produce the style that would suit him (and his feet), in the most elegant way possible within the accepted look. Never going for extreme. Understatement is the key.
VR: Do you have a favourite shoe model (eg. monk, derby, oxford, balmoral boot) and leather type?
EM: It is hard to choose! I enjoy making any types and wearing them as well. When I started learning, old Freudenburg stocks were the main leather available. I was so lucky that I got to practice with those beautiful leathers. They were like silk. Such soft and fine surfaces yet strong.
VR: There are several bespoke companies in the UK — why should my readers choose Foster&Son?
EM: We are traditional shoemakers, clients come to order their shoes for their life style needs. With the best materials and craftmanship provided, we produce anything from simple business shoes to evening dress shoes, country shoes, golf, riding boots & so on, depending on his life situation and the client’s needs, for different occasions. So, building long-term relationships with our clients is very important, to get to know them, to become trusted shoemakers. Having said that, we are happy to make you just a very special pair of shoes, of course!
VR: Who or what inspires you?
EM: My master, his attitude towards the way he deals with things, and discipline. Also my husband, his devotion to his work is purely exceptional. His knowledge and inspiration always help me get going.
VR: Finally, how can my readers find out if a shoe gives great support for the foot?
EM: Simple. You feel it.
March 26, 2016 by Ville Raivio
The dressing gown is a loose, light and comfortable layer for pyjamas or leisurewear. Its pedigree reaches back to the court dress of Persia, which was carried all the way to Europe on the journeys of diplomats and the like on the Silk Road. Enthused by them, the banyan, a flashy, long and loose lounging jacket for home use was born in the 1700s. It was cut in the shape of the letter T and preferably made from richly decorated silk as a sign of wealth. At first, the garment had no buttons and it was closed with a belt while the sleeves were rolled back. Often this lounging jacket was worn with a vest underneath, made from the same fabric. Contemporary heavy perukes were usually removed at home and replaced with sack-like turbans, a part of the banyan dress. It was most suitable to lounge, receive close guests or play cards in this costume. As time advanced, the garment was increasingly made to reseble an overcoat, even though the hem was very loose and gentlemen already took to heading outdoors while wearing banyans. Dressing gowns, based on previous banyans, were finally created before the end of the 1800s. These were not baselayer underwear but worn above pyjamas, nightshirts and such.
Before modern insulation- and construction techniques as well as central heating arrived, western appartments were invariably cold or at least draughty places. The inner constructions of suits and ceremonial clothes were likewise stiff, so most gentlemen threw them off at home. For more than a century, the dressing gown was useful so that shivering was avoided, lolling succeeded – and one didn’t shame himself half-nude when a surprise guest arrived. Most dressing gowns were tartan-patterned or plain before the 1920s, and their material was strong, warm wool or cotton flannel. Only later did the banyan-spirited crackling cloths return on men, and the gown’s belt or cords were reworked more ornamental. Pockets as well grew greatly in size.
The most common lapel model for dressing gowns has been the rounded shawl- or roll collar, familiar from some dinner jackets worn by a certain James Bond. The garment’s hem has shortened in time, tender silk cloths have become rare, and these days few men even own a dressing gown. The bathrobe has become much more popular and its plain terry cloth removes moisture after showering, is easy to clean and lasts well with wear. As apartments are warmer still around Europe, the popularity of dressing gowns has plummeted — and neither can they be called essential clothes as one can do without just fine. Still, the dressing gown likely appeals to vintage-inspired dressers and the man who enjoys stylish lounging.
February 28, 2016 by Ville Raivio
February 27, 2016 by Ville Raivio
The tab collar is an eccentric detail that stands out from the rest. A small tab, closed with snaps, a loop or magnets, is sewn between its sides and this bit raises the tie knot upwards. The collar type was born in Great Britain sometime in the 1920s but its inventor has been forgotten by my reference books. The collar gained fame and popularity when the Duke of Windsor (who else?) took a fancy to it. The Duke’s outfits were closely watched by all media and menswear shops grew their selections when the future king was seen wearing something novel. On the shoulders of the young prince, the tab collar travelled across the world on state visits. With him being the most photographed man of the times, tab collars spread to commonwealth and friend state stores in no time, ending up gracing the necks of thousands of others.
The most common tab collar have sharp, fairly long points, but rounded club collars have also been popular. The popularity of the tabbed collar continued to the 1930s, but waned after these times just to wax again in the ’60s. Frank Sinatra particularly favoured keeping tabs as part of his style and men followed his suit. The tab collar has its uppers and downers. The finer points include the fabric piece that nicely raises the tie and keeps it in place well, no matter how the head turns during the day. At the same time it also keeps the collar points close to the body of the shirt, a look that’s always clean. Still, tabs lose their shape and appeal if worn without a tie, the tab usually calls for a tiny knot and the collar has become rare. Like all rare and thus eccentric things, it attracts attention — not always for the better. Signs of the tab collar’s return have been in the media for a while now. James Bond, for one, has chosen it for his use in the latest films as this collar has long been the darling bud of Tom Ford, the latest Bond stylist.
The Mad Men series, as well, gathered great popularity in America, depicting the crazy years in advertising during the 1960s, and tabs were commonplace clothes during the times and thus in the series. Boardwalk Empire told stories about America’s prohibition years and marched numerous criminals onto screens, doing evil things in stylish shirts. Despite the ramifications of Donald Rumsfeld’s political positions, the fervour of his tab collars cannot be denied. Finally, Suitsupply, a popular young adult clothier, has offered the shirt for several years. While the collar type is still rare, it has better stayed alive in the USA than Europe, which it only visited to be born.
February 26, 2016 by Ville Raivio
In historical light, we are living an age of a young shirt type. The current one has buttons from the neck down to the hem, but for centuries before this, men’s shirts were simply dragged on. Closure was handled with cords, strings or with the help of a few buttons – in any case, the shirt could not be opened fully. This shirt cut has later on taken the name of popover. It was originally used for formal shirts and humble work garments, but as stiff detachable collars were left out and buttoning moved lower during the early 1900s, popovers became rarer. Thanks to their peculiar shape, they were worn for leisure almost without excetions.
During the 1960s, the American company GANT became known for shirts whose buttons ran out at the middle of the torso. To dress into them, the shirts had to be popped over the head — and this act gave its name to the shirts. Since then, the company has manufactured or has had made popovers from one year to another, but in random amounts and as part of varying lineups. Ralph Lauren’s company has done likewise, but theirs have popped up so randomly that fans of these shirts have been forced to hunt things down or have them made. Italy’s greatest style icon Gianni Agnelli was a fan of the popover in his off-time and style mavens followed suit, but for some peculiar reason the masses have not taken to popovers. Whatever was left of the shirt’s popularity after the Victorian times was cut off by World War part I and Redux. Afterwards the shirt was most popular in America as part of the Ivy League uniform, in Europe it has mostly died off.
The popover’s buttoning is shorter, so these models must be cut looser to allow ease of dressing and stripping. If they’re worn loose and over the trousers, however, the hem should be fairly form-fitting, and this adds difficulty for the maker. The length of the placket has been a matter of taste, but most companies have favoured 2-4 buttons. While regular shirts allow buttons to be moved a few cms to make room for changing guts, popovers are intolerant for such manoeuvres. Despite a few limitations, the popover offers any man an eccentric look that has been able to appeal for a few centuries now. Few garments achieve the same.
Copyright © 2013 Ville Raivio