Muses


“Style does not come to you unless you pay attention to it.”
Amanda Brooks


It is no secret that looking good, or actually looking right, is not high on the cultural curriculum of the American male. That’s a shame, really. This sartorial epidemic can partially be attributed to most men’s lack of style icons, or muses—whether it be one’s father (the ideal), celebrities, or simply a stylish gentleman. Personal style starts there though...muses; individuals, characters, or attitudes (past and present) you are drawn to.

 Bjorn Borg | Swedish Tennis Player

Bjorn Borg | Swedish Tennis Player

 David Hockney | English Artist

David Hockney | English Artist

 Mark Rothko | American Painter

Mark Rothko | American Painter

 John McEnroe | American Tennis Player

John McEnroe | American Tennis Player

 Alexander Calder | American Sculptor

Alexander Calder | American Sculptor

 Tina Barney | American Photographer

Tina Barney | American Photographer

 Jane Birkin | English-French Actress

Jane Birkin | English-French Actress

 Rothmans Porsche 911 Rally Car

Rothmans Porsche 911 Rally Car

 Pablo Picasso | Spanish Artist

Pablo Picasso | Spanish Artist

 Jacques Cousteau | French Explorer

Jacques Cousteau | French Explorer

 Jackie Onassis | Former First Lady

Jackie Onassis | Former First Lady

 David Hockney | English Artist

David Hockney | English Artist

We’ve recently employed—and consequently become addicted to—Instagram’s story “highlights.” One highlight in particular, labeled “Muses”, effectively collages images of our, well…muses. Stanley Marcus, former Neiman-Marcus president and CEO, believed that good taste could be acquired through environment and education, that the eye could be disciplined to differentiate between good and bad by a constant looking process. And that’s what it’s about, a constant looking process that eventually becomes a matter of instinct.

Men and Manners

by Eric Twardzik

The idea of writing—not to mention reading—a printed book of manners feels almost self-consciously anachronistic in this day and age, like an Oberlin freshman devising an independent field of study around blacksmithing. Leave it to David Coggins, the author of Men and Style, to produce a slim volume of “essays, advice and considerations” that not only feels of the moment but beyond it. If we’re all following his wisdom on smartphones and social media in five years, modern society would be a much more pleasant place.

From a design standpoint, the book itself is a pleasant experience. The tone is set by the minimalistic illustration of Coggins on its cover, sporting his trademark beard and hat. The author appears throughout the book in a series of humorous and sometimes surreal scenarios, like a cartoon Virgil guiding our journey through modern etiquette. While Coggins does most of the talking, guest opinions from the likes of Todd Snyder and our friend Pastor Curt Benham are sprinkled amid the pages, most enjoyably in the series of black-background pages titled “Grievances."

menmanners.jpg

A good deal of the book is focused on the still fuzzy topic of digital etiquette. Rather than acting as a scold, Coggins appeals to our better nature. In a subchapter titled “Distraction in Focus,” he asks us to consider whether our constant device-checking means we aren’t fully present in the company of friends. He warns against the contagious effects of one smartphone emerging at the table—soon everyone else is checking Instagram too—and delivers his counter: “I’ve adopted a policy that if a friend takes out their phone I just wait in silence until they’re finished. This usually communicates that they are interrupting the flow of what we had been sharing.”

Yet it’s not all smartphones and social media. Other chapters address timeless concerns of personal style. In the subchapter “At Home: Domestic Gods,” Coggins makes the case for the personalized domicile, again asking readers to aspire to something greater: “You are an individual, a thinker, and have even watched a Truffaut film on TCM. Your home should reflect that. You don’t have to live in a mood board for an interior design magazine, but when people visit your apartment they will definitely take your measure by it.”

It shouldn’t come as a surprise that the Men and Style author has dedicated a chapter to style, and it’s filled with gems worth sticking on the refrigerator door. We heartily concur with “There are many ways to make an entrance at a good restaurant, the opera or a smart party, and being underdressed is one of the least desirable,” as well as his adage that “If you want one thing in your closet to wear to make a good impression then get a blue, unstructured sportcoat.”

While it appears in the same chapter on style mid-way through the book, the claim by Coggins that “…when your life, livelihood and sense of style align, it’s a powerful place to be” just as easily could have been the book’s coda. There’s no doubt in our minds that Coggins inhabits such a sphere, and we hope that the advice in this volume will help more men get there.

Stubbs & Wootton Bespoke

by Eric Twardzik


We’ve got a soft spot for impractically. And when it comes to footwear, nothing rivals the Prince Albert slipper for its outright rejection of utility in favor of decor. You certainly don’t need a velvet upper with a hand embroidered monogram to get yourself from here to there—but it makes getting there a lot more fun.

Stubbs & Wootton continues to uphold this old-world art from their home base of Palm Beach, Florida. The slipper-maker was founded in 1993, but feels as if it belongs to another time. Part of that trick is their reverence for traditional shoemaking methods. The other is their borrowing the surnames of two English artists from the 18th century, George Stubbs and John Wootton. The two were famous for their equestrian scenes, making them appropriate namesakes for a brand whose product is inexorably linked to aristocratic excess and flair.

 F.E. Castleberry for Stubbs & Wootton bespoke in a Harris Tweed herringbone.

Each pair is meticulously hand-crafted by artisans in Southern Spain and comes fully leather lined, complete with a leather outsole and a short stacked heel. They offer a variety of ready-to-wear styles, ranging from a discreet, solid black velvet to leopard print needlepoint to embroidered smoking joints. Fine choices, all; but their bespoke program is where the possibilities are, well…endless.

First you’ll choose your style of embroidery: monogram, motif, varsity-style sweater letters, or International maritime signal flags. Then you’ll pick from their signature classic evening slipper last or a square-toed UK last with a higher vamp. Once that’s put to bed, the real fun begins—starting with fabrics.

In designing this bespoke pair, Fred supplied Stubbs & Wootton with suiting fabric and tie silk for the commission. He began with a grey herringbone Harris Tweed cloth, set it on their UK last, and then trimmed it with an English repp stripe silk. Then, throwing all caution to the wind, Fred had his monogram hand stitched in 14K gold bullion, a type of metal thread.

 English repp stripe silk piping.

English repp stripe silk piping.

 Hand embroiderd 14K gold bullion monogram.

Hand embroiderd 14K gold bullion monogram.

Goldwork, the art of embroidery of metal threads, is particularly prized for the way light plays on it. Originally developed in Asia more than 2000 years ago, its use reached a remarkable level of skill in the Middle Ages when a style called Opus Anglicanum was developed in England and used extensively in church vestments and hangings. After this period, it was then routinely employed in the clothing and furnishings of the royalty and nobility throughout Europe.

Today, it’s increasingly difficult to find anyone adept in goldwork. It’s time consuming, expensive, and laborious. Did we mention expensive? Especially when working with 14K gold. It’s a modern day go-to-hell move for the genteel.

As anyone who’s had one too many martinis at a cocktail party can testify, it’s all too easy to place your foot in your mouth. One way to avoid this is to let your feet do all the talking from the get-go…especially if what you’re saying is, “Go to hell (if you don’t like ‘em).”

Curaprox Toothbrushes

by Eric Twardzik


“The greatest luxury is beauty—seeing it, surrounding yourself with it, having the ability to create it, or simply enjoying it.”
Charlotte Moss


It’s a poverty of our modern lexicon that “luxury” and “expensive” are practically synonyms. As the renowned interior designer Charlotte Moss alludes, luxury has everything to do with feeling—and nothing to do with price tag.

Case in point: The CS 5460 toothbrush from Swiss maker Curaprox. Each costs a mere $6.95, but in our minds it’s as beautiful as some of the Swiss timepieces ringing in at several thousand times that amount.

The humble hygienic device is a testament to the out-of-the-box engineering the neutral nation is famous for. Its octagonal handle ensures the most advantageous brushing angle, and it manages to pack in 5,460 filaments (those would be the tiny threads that do all the brushing), each of which is just 0.1 millimeters in diameter.

But its technical merits are only half the story. The brush is beautiful. It’s considered. It’s fun. It’s designed with the whimsy of a Caran d’Ache fountain pen or a Swatch watch. Offered in 26 different color combinations, juxtaposing handles and bristles colored orange, lime green, magenta, and much more. It’s like brushing with an Ellsworth Kelly.

The art of living well begins in the minutiae and the mundane—right down to the requisite ritual of brushing before bed. And an object as beautiful and simple as a Curaprox toothbrush may help us remember to enjoy it while doing so.

Borg vs. McEnroe

It was one of tennis’ greatest rivalries. Fire and Ice. The gentleman and the superbrat. The cool Swede versus the troubled youth from Queens. While it lasted only three brief years, the utterly compelling rivalry culminated in one match—widely regarded as one of the greatest of all time—at Wimbledon in 1980…the men’s singles final.

Björn Borg versus John McEnroe.

The film is cinematically beautiful, sweeping, and captures the game of tennis like no other film before it. It’s the summer of 1980, days before Wimbledon. Borg is chasing his fifth consecutive Wimbledon title (or maybe it’s chasing him) and the ferociously abrasive McEnroe is the only man standing in his way. Their origin stories are intricately woven into the three days leading up to the tournament, all set against the emotionally swirling original score by Jonas Struck and Vladislav Delay.


“You have to find it. No one else can find it for you.”
Bjorn Borg


Shia Lebouf as McEnroe and Sverrir Gudnason as Borg marvelously mirror the demigods they play on the screen. The costume design is as magnetic as the rivalry itself. This particular era in tennis sportswear is nothing short of inspired. Each man serves as a brand muse in his own right. With Borg armored in Fila and McEnroe brandishing Sergio Tachini, both men laid claim to the red, white, and navy war paint.

The rivalry between Björn and John changed the world of tennis and changed both men forever. It’s a thriller of a film that only ends in tears for both…and, inevitably enough, for the audience too (yes, Fred got emotional during the epilogue).

Drake's Neckties

by Eric Twardzik


“Choosing a tie has to be an irrational act.”
Eugenio Marinella


This maxim, issued by the founder of E. Marinella, comes from a man submerged in neckwear. And yet it speaks to our own ethos concerning the tie. We don’t need them to keep us warm, protect us from the elements, or to wipe our mouths with (though feel free to do so with any Ralph Lauren factory/outlet tie). They serve a higher purpose. As Glenn O’Brien reasons in How to Be a Man, “The tie’s only function is beauty. It is an emblem of art and artifice.” And art is anything but rational.

It’s true that ties have become a rarer sight in our ever more casual world, but we’re not complaining. We’d rather see the necktie embraced by those wearing them out of free will rather than compliance. And if you’re anything like us, there’s no point in volunteering for tie duty unless you’re going to wear the very best—and that brings us to Drake’s.

 Drake's spring/summer '18 neckties.

Drake's spring/summer '18 neckties.

The London maker offers scores of new ties with each season. And while the colors, patterns, and prints offer more diversity than a Brown admissions brochure, each collection is united by a triptych of details that have collectively become known as sort of a Drake’s signature.

Almost all feature hand-rolled edges, a flared back blade, and—perhaps the most noticeable peculiarity—blades without tipping. “Tipping” refers to the fabric that backs most modern ties at each blade’s end. While the de rigueur practice of the day, tipping was historically seen as slightly suspect, as if it were concealing lazy craftsmanship.

By intentionally foregoing tipping, Drake’s casually pulls off the sartorial equivalent of a humble brag. The result is a relaxed—you might even say “floppy”—gait that emphasizes the hand-rolled edges, flared back blade, and devil-may-care rakishness of its ancestor, the cravat scarf.

 Fred wears  Drake's green sailing print silk and cotton tie  with our made-to-measure khaki cotton suit.

Fred wears Drake's green sailing print silk and cotton tie with our made-to-measure khaki cotton suit.

Highlights from the Spring '18 season employ interesting fabrics from Drake’s enormous offering. There are vibrantly colored tile and medallion prints in Panama silk, a lightweight textile known for its open, textural weave, matte finish, and remarkable knack for retaining bright hues. There is an orange mini circle and diamond print imbued with the luminosity unique to foulard silk. An abstract, rounded square print in navy uses the chalky power of madder silk to leave its mark.

It’s nearly impossible to pick a favorite. But if you really press us, we’ll shamelessly admit to fawning over these preppier designs: the medallions, the dots, the motif of a green sailing boat emblazoned on a silk/cotton blend. It’s just the right mix of texture, sheen, and weight and pairs perfectly with our English khaki cotton suit. The entire collection is so beautifully designed that you can be irrational in your choice and yet still be rationally dressed.