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Post by I Love Melvin on Sept 25, 2023 23:14:17 GMT
I love Marilyn's casual look in Clash By Night (1952), wearing what appears to be mens jeans. She did it on loan-out to RKO and they didn't have the same interest in maximizing her glamor quotient the way her home studio did. It's nice seeing her as just a pretty girl instead of the glamazon she became over the next few years. Unless I'm mistaken, it's the last time we saw her in jeans until The Misfits almost a decade later.   |
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Post by jamesjazzguitar on Sept 25, 2023 23:58:57 GMT
Monroe's character wears jeans in the Western River of No Return with Robert Mitchum (1954).
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Post by intrepid37 on Sept 26, 2023 0:40:43 GMT
My God, but she was alluring!
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Post by Fading Fast on Sept 26, 2023 2:38:06 GMT
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Post by I Love Melvin on Sept 26, 2023 11:54:07 GMT
Monroe's character wears jeans in the Western River of No Return with Robert Mitchum (1954). Right you are. I'd forgotten about that.  |
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Post by jamesjazzguitar on Sept 26, 2023 14:19:34 GMT
Monroe's character wears jeans in the Western River of No Return with Robert Mitchum (1954). Right you are. I'd forgotten about that. The River of No Return is one of my favorite films with Monroe, since her character is more down to earth. |
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Post by BunnyWhit on Sept 30, 2023 15:54:14 GMT
Bunny, you're probably the person to ask about this. Universal sort of specialized in the genre, with a lot of those "Arabian" adventures in the forties, and The Golden Horde was followed by The Golden Blade (1952) with Rock Hudson and Piper Laurie and Douglas Sirk's Sign of the Pagan (1954). So would a lot of this stuff just have been lying around the wardrobe department waiting for a costumer to play mix-and-match with what they already had, using, say, Ann Blyth as a sort of Mrs. Potato Head? Or did leading ladies always get new stuff? I'm sure the budgets were paltry, so probably supporting players got hand-me-downs. And do you know the role of Western Costume, which we hear about a lot but I'm not sure what part it played in Hollywood? Did most studios routinely use it or just the low-budget studios? And how did Western acquire its stock? Did studios sell them stuff they'd made for their own films in order to recoup some of the cost and to avoid having a lot of costuming on hand which they may or may not ever use again? A lot of questions, I know, but I don't believe I've ever heard anyone talk about it and you're our Costume Whisperer.
“And starring Ann Blythe, as Mrs. Potato Head!” …. I’d pay to see that.
Thanks for all the great questions, I Love Melvin!
I know very little about Western Costume. I’ve looked for information a little bit over the past years, and I mostly find that it is either sparse or conflicting. The company was started by L.L. Burns who had previously worked for an Indian trading company where he fostered relationships with people on reservations from whom he sourced goods. Burns also had interests in film. I think he was at one time a small studio founder or something similar. I know that he was around the movie industry a lot, and when his knowledge of Native American ways and people became known, he was in demand for advising costumers and eventually for sourcing. I believe at one time nearly all costumes used in films were provided by Western. It seems the company changed ownership a lot, both before and after the Depression. I think it was sometime in the 1930s when the company added the workrooms and began manufacturing costumes and props, and that sent business booming again. The influx of immigrants from across the globe during the 1920s through 1940s meant craftspeople and artisans could be hired to make authentic garments and other items. For a time, Western was actually owned by a collective of motion picture studios, but I’m not sure for how long. After the Studio Era, when studios were revamping how they made films, as they pared down or downright eliminated their costume departments, Western bought everything. Of course by this time Western was also outfitting for television. Several more changes in ownership took place before the company was back to a sole owner, and I believe it’s been the same owner for quite a few years now. All through its history, whether during the good or lean times, Western has been considered the pinnacle.
*************************************************************************************************************************
I believe Universal’s series of “exotic” films during WWII were largely an attempt to offer theater goers something to think about other than the war. Perhaps that also explains the flamboyant costumes in those films. Universal had been quite invested in monster films, but the popularity of those films waned with the war when there was horror enough in real life. It seems all the Arabian films were intended to provide an opportunity to escape and employ one’s greatest powers of suspension of disbelief.
*************************************************************************************************************************
I have a little bit of knowledge about the reuse of costumes. Leading ladies did not always wear new garb in every film, but nearly always. Often when costumes were reused, it might be a dress/suit/gown that was worn by a leading lady or other principal actor that gets recycled for use on a supporting player or extra. This allows the costume to offer the appropriate look for the setting of the film, elevating the background to match the opulence of the main players. It gives the whole feel of the film a boost. Because the costume was front and center in its original use, it would be of the best possible design and workmanship, which is why it would survive to be used again. Garments are not always reused in their entirety, or they might be redesigned somewhat, and this can help an item look new or span time periods if necessary. Depending on the construction and materials used in the original garment, changes can be much more cost effective than building a whole new garment, even if that were to be pursued on a budget.
The practice of reusing costumes is interesting. Sometimes we notice it, but mostly we do not. Then a few years ago I found the books Hollywood Costume (Landis, V&A, 2010), and In A Glamorous Fashion: the Fabulous Years of Hollywood Costume Design (Lavine, Scribner’s, 1980) from which I learned about the very interesting case of the Fabregé dress.
Travis Banton designed the dress for Marlene Dietrich to wear in the opera scenes in Angel (1937), her final film at Paramount.
Banton was the head costumer/designer at Paramount through the height of the glamor of the 1930s. He designed for all of Dietrich’s roles at Paramount, creating the sophisticated, lavish looks that became the Dietrich style.
The Fabregé dress is a Persian style gold fitted gown with round neck, long sleeves, peplum, train, and all-over beading. The accompanying stole is six feet long and trimmed all-round with sable. (If you pay attention to it, you’ll start noticing that a lot of costumes at Paramount were trimmed with fur. Adolf Zukor worked as a furrier in New York before he went to California and made Hollywood.) At a cost of $8000, it was the most expensive gown Banton ever designed. (That’s $170k today, folks.) It also was much-coveted by Dietrich, clotheshorse extraordinaire, who wanted to keep the gown for her personal collection, as she’d kept other gowns from films through her career. Legend has it that Dietrich became so furious upon being refused by the producers that she stormed off the set. I’m sure swear words were involved. On both sides.
After Dietrich’s departure from Paramount, the dress did not languish on a garment rack. It was worn on film numerous times by leading ladies and extras alike for the next forty-something years, the final time being by Barbara Hershey in 1985. It was part of a retrospective at the Metropolitan Museum in the 1970s, and it also was part of a show at the V&A about ten or fifteen years ago or so.
Mary Astor -- Midnight (1939)
It looks like the sleeves might have been cut back to three-quarters here, but it also looks a bit like they are bunched above her elbow and simply are pushed up. Also, I swear it looks like a velvet stand collar has been added.
Rose Hobart -- A Night at Earl Carroll's (1940)
Here the neckline has been lowered, and it does look like the sleeves have been shortened to three-quarter length.
Laraine Day publicity photo, c. 1944. The neckline has been returned to the original.
Felicia Atkins -- The Errand Boy (1960)
Still the lowered neckline, and sans sleeves.
Kay Christian -- A New Kind of Love (1963)
The stole was taken apart to construct the turban.
 
Barbara Hershey -- My Wicked Wicked Ways (1985)
The ensemble has been returned to its original look. Sorry, I can't find a really good pic of her in the dress.
After its final wearing, the gown was too fragile to be worn anymore or even to be displayed. The gown was purchased at a Christie’s auction in 1990 by costume historian and archivist Larry McQueen who gave the gown a painstaking restoration. McQueen actually consulted with one of the original beaders who worked on the dress, and he did a great deal of the work himself. If I remember correctly, over 3000 hours were invested in the work, which is most likely much more time than it took to create it originally. There’s no telling how much the restoration cost.
Does every single costume deserve such a treatment? No. But some do, and this one, as the kids are saying, is chef’s kiss.
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Post by Fading Fast on Sept 30, 2023 18:37:59 GMT
Bunny, you're probably the person to ask about this. Universal sort of specialized in the genre, with a lot of those "Arabian" adventures in the forties, and The Golden Horde was followed by The Golden Blade (1952) with Rock Hudson and Piper Laurie and Douglas Sirk's Sign of the Pagan (1954). So would a lot of this stuff just have been lying around the wardrobe department waiting for a costumer to play mix-and-match with what they already had, using, say, Ann Blyth as a sort of Mrs. Potato Head? Or did leading ladies always get new stuff? I'm sure the budgets were paltry, so probably supporting players got hand-me-downs. And do you know the role of Western Costume, which we hear about a lot but I'm not sure what part it played in Hollywood? Did most studios routinely use it or just the low-budget studios? And how did Western acquire its stock? Did studios sell them stuff they'd made for their own films in order to recoup some of the cost and to avoid having a lot of costuming on hand which they may or may not ever use again? A lot of questions, I know, but I don't believe I've ever heard anyone talk about it and you're our Costume Whisperer.
“And starring Ann Blythe, as Mrs. Potato Head!” …. I’d pay to see that.
Thanks for all the great questions, I Love Melvin!
I know very little about Western Costume. I’ve looked for information a little bit over the past years, and I mostly find that it is either sparse or conflicting. The company was started by L.L. Burns who had previously worked for an Indian trading company where he fostered relationships with people on reservations from whom he sourced goods. Burns also had interests in film. I think he was at one time a small studio founder or something similar. I know that he was around the movie industry a lot, and when his knowledge of Native American ways and people became known, he was in demand for advising costumers and eventually for sourcing. I believe at one time nearly all costumes used in films were provided by Western. It seems the company changed ownership a lot, both before and after the Depression. I think it was sometime in the 1930s when the company added the workrooms and began manufacturing costumes and props, and that sent business booming again. The influx of immigrants from across the globe during the 1920s through 1940s meant craftspeople and artisans could be hired to make authentic garments and other items. For a time, Western was actually owned by a collective of motion picture studios, but I’m not sure for how long. After the Studio Era, when studios were revamping how they made films, as they pared down or downright eliminated their costume departments, Western bought everything. Of course by this time Western was also outfitting for television. Several more changes in ownership took place before the company was back to a sole owner, and I believe it’s been the same owner for quite a few years now. All through its history, whether during the good or lean times, Western has been considered the pinnacle.
*************************************************************************************************************************
I believe Universal’s series of “exotic” films during WWII were largely an attempt to offer theater goers something to think about other than the war. Perhaps that also explains the flamboyant costumes in those films. Universal had been quite invested in monster films, but the popularity of those films waned with the war when there was horror enough in real life. It seems all the Arabian films were intended to provide an opportunity to escape and employ one’s greatest powers of suspension of disbelief.
*************************************************************************************************************************
I have a little bit of knowledge about the reuse of costumes. Leading ladies did not always wear new garb in every film, but nearly always. Often when costumes were reused, it might be a dress/suit/gown that was worn by a leading lady or other principal actor that gets recycled for use on a supporting player or extra. This allows the costume to offer the appropriate look for the setting of the film, elevating the background to match the opulence of the main players. It gives the whole feel of the film a boost. Because the costume was front and center in its original use, it would be of the best possible design and workmanship, which is why it would survive to be used again. Garments are not always reused in their entirety, or they might be redesigned somewhat, and this can help an item look new or span time periods if necessary. Depending on the construction and materials used in the original garment, changes can be much more cost effective than building a whole new garment, even if that were to be pursued on a budget.
The practice of reusing costumes is interesting. Sometimes we notice it, but mostly we do not. Then a few years ago I found the books Hollywood Costume (Landis, V&A, 2010), and In A Glamorous Fashion: the Fabulous Years of Hollywood Costume Design (Lavine, Scribner’s, 1980) from which I learned about the very interesting case of the Fabregé dress.
Travis Banton designed the dress for Marlene Dietrich to wear in the opera scenes in Angel (1937), her final film at Paramount.
Banton was the head costumer/designer at Paramount through the height of the glamor of the 1930s. He designed for all of Dietrich’s roles at Paramount, creating the sophisticated, lavish looks that became the Dietrich style.
The Fabregé dress is a Persian style gold fitted gown with round neck, long sleeves, peplum, train, and all-over beading. The accompanying stole is six feet long and trimmed all-round with sable. (If you pay attention to it, you’ll start noticing that a lot of costumes at Paramount were trimmed with fur. Adolf Zukor worked as a furrier in New York before he went to California and made Hollywood.) At a cost of $8000, it was the most expensive gown Banton ever designed. (That’s $170k today, folks.) It also was much-coveted by Dietrich, clotheshorse extraordinaire, who wanted to keep the gown for her personal collection, as she’d kept other gowns from films through her career. Legend has it that Dietrich became so furious upon being refused by the producers that she stormed off the set. I’m sure swear words were involved. On both sides.
After Dietrich’s departure from Paramount, the dress did not languish on a garment rack. It was worn on film numerous times by leading ladies and extras alike for the next forty-something years, the final time being by Barbara Hershey in 1985. It was part of a retrospective at the Metropolitan Museum in the 1970s, and it also was part of a show at the V&A about ten or fifteen years ago or so.
Mary Astor -- Midnight (1939)
It looks like the sleeves might have been cut back to three-quarters here, but it also looks a bit like they are bunched above her elbow and simply are pushed up. Also, I swear it looks like a velvet stand collar has been added.
Rose Hobart -- A Night at Earl Carroll's (1940)
Here the neckline has been lowered, and it does look like the sleeves have been shortened to three-quarter length.
Laraine Day publicity photo, c. 1944. The neckline has been returned to the original.
Felicia Atkins -- The Errand Boy (1960)
Still the lowered neckline, and sans sleeves.
Kay Christian -- A New Kind of Love (1963)
The stole was taken apart to construct the turban.
Barbara Hershey -- My Wicked Wicked Ways (1985)
The ensemble has been returned to its original look. Sorry, I can't find a really good pic of her in the dress.
After its final wearing, the gown was too fragile to be worn anymore or even to be displayed. The gown was purchased at a Christie’s auction in 1990 by costume historian and archivist Larry McQueen who gave the gown a painstaking restoration. McQueen actually consulted with one of the original beaders who worked on the dress, and he did a great deal of the work himself. If I remember correctly, over 3000 hours were invested in the work, which is most likely much more time than it took to create it originally. There’s no telling how much the restoration cost.
Does every single costume deserve such a treatment? No. But some do, and this one, as the kids are saying, is chef’s kiss.
If I'm the head of Paramount, I offer Dietrich the opportunity to buy the dress at $8000 (or maybe some discounted price for the use in the movie) and she either buys it or stops complaining. Unless Dietrich's contract says she gets to keep her wardrobe, property rights apply, even to stars.
You have to wonder if any other costume was used forty-seven years apart in movies. |
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Post by I Love Melvin on Sept 30, 2023 23:31:45 GMT
What an outstanding post. I enjoyed reading all of it. The knowledge that some have here is incredible. Thank you, BunnyWhit, for sharing it with us (and for taking the time to type it all out and for finding and posting all those great pictures).
If I'm the head of Paramount, I offer Dietrich the opportunity to buy the dress at $8000 (or maybe some discounted price for the use in the movie) and she either buys it or stops complaining. Unless Dietrich's contract says she gets to keep her wardrobe, property rights apply, even to stars.
You have to wonder if any other costume was used forty-seven years apart in movies. Totally agree. Outstanding post, Bunny. One thing which amazed me was the use of the Banton dress in A New Kind of Love (1963). I've seen that movie and Joanne Woodward played a buyer for an American department store who was something of an industrial spy, scoping out European fashion houses so that her firm could make cheap replica knock-offs. So the show in your picture was intended to represent the height of contemporary fashion almost three decades later, quite a tribute to the enduring appeal of that dress. You taught us a lot, Bunny, by following that particular thread (the Banton dress). |
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Post by I Love Melvin on Sept 30, 2023 23:45:45 GMT
Bunny, you're probably the person to ask about this. Universal sort of specialized in the genre, with a lot of those "Arabian" adventures in the forties, and The Golden Horde was followed by The Golden Blade (1952) with Rock Hudson and Piper Laurie and Douglas Sirk's Sign of the Pagan (1954). So would a lot of this stuff just have been lying around the wardrobe department waiting for a costumer to play mix-and-match with what they already had, using, say, Ann Blyth as a sort of Mrs. Potato Head? Or did leading ladies always get new stuff? I'm sure the budgets were paltry, so probably supporting players got hand-me-downs. And do you know the role of Western Costume, which we hear about a lot but I'm not sure what part it played in Hollywood? Did most studios routinely use it or just the low-budget studios? And how did Western acquire its stock? Did studios sell them stuff they'd made for their own films in order to recoup some of the cost and to avoid having a lot of costuming on hand which they may or may not ever use again? A lot of questions, I know, but I don't believe I've ever heard anyone talk about it and you're our Costume Whisperer.
“And starring Ann Blythe, as Mrs. Potato Head!” …. I’d pay to see that.
Hey, it's apparently worked for Barbie, so why not Mrs. Potato Head? |
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Post by dianedebuda on Oct 1, 2023 11:42:09 GMT
This thread is just so entertaining ... from someone who just wears jeans or shorts and t-shirts day in and day out. 
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Post by Fading Fast on Oct 1, 2023 12:16:37 GMT
This thread is just so entertaining ... from someone who just wears jeans or shorts and t-shirts day in and day out.
Then came Covid and Zoom calls. Initially, there was some dressing up - ties, suit jackets, collared shirts - on those calls, but very quickly that changed to no ties, no suit jackets and then everyone was wearing t-shirts and fleece jackets (in the winter). I haven't worn a suit or tie since Covid.
So, like you, I sit around, similarly, in worn-out chinos or jeans and t-shirts all day. But yes, I am "offended" when I see that some man is wearing an ill-fitted suit or a tie that doesn't match in a sixty-plus-year-old movie. I am not at all proud of the man that I have become.
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Post by NoShear on Oct 2, 2023 13:22:02 GMT
Bunny, you're probably the person to ask about this. Universal sort of specialized in the genre, with a lot of those "Arabian" adventures in the forties, and The Golden Horde was followed by The Golden Blade (1952) with Rock Hudson and Piper Laurie and Douglas Sirk's Sign of the Pagan (1954). So would a lot of this stuff just have been lying around the wardrobe department waiting for a costumer to play mix-and-match with what they already had, using, say, Ann Blyth as a sort of Mrs. Potato Head? Or did leading ladies always get new stuff? I'm sure the budgets were paltry, so probably supporting players got hand-me-downs. And do you know the role of Western Costume, which we hear about a lot but I'm not sure what part it played in Hollywood? Did most studios routinely use it or just the low-budget studios? And how did Western acquire its stock? Did studios sell them stuff they'd made for their own films in order to recoup some of the cost and to avoid having a lot of costuming on hand which they may or may not ever use again? A lot of questions, I know, but I don't believe I've ever heard anyone talk about it and you're our Costume Whisperer.
“And starring Ann Blythe, as Mrs. Potato Head!” …. I’d pay to see that.
Thanks for all the great questions, I Love Melvin!
I know very little about Western Costume. I’ve looked for information a little bit over the past years, and I mostly find that it is either sparse or conflicting. The company was started by L.L. Burns who had previously worked for an Indian trading company where he fostered relationships with people on reservations from whom he sourced goods. Burns also had interests in film. I think he was at one time a small studio founder or something similar. I know that he was around the movie industry a lot, and when his knowledge of Native American ways and people became known, he was in demand for advising costumers and eventually for sourcing. I believe at one time nearly all costumes used in films were provided by Western. It seems the company changed ownership a lot, both before and after the Depression. I think it was sometime in the 1930s when the company added the workrooms and began manufacturing costumes and props, and that sent business booming again. The influx of immigrants from across the globe during the 1920s through 1940s meant craftspeople and artisans could be hired to make authentic garments and other items. For a time, Western was actually owned by a collective of motion picture studios, but I’m not sure for how long. After the Studio Era, when studios were revamping how they made films, as they pared down or downright eliminated their costume departments, Western bought everything. Of course by this time Western was also outfitting for television. Several more changes in ownership took place before the company was back to a sole owner, and I believe it’s been the same owner for quite a few years now. All through its history, whether during the good or lean times, Western has been considered the pinnacle.
*************************************************************************************************************************
I believe Universal’s series of “exotic” films during WWII were largely an attempt to offer theater goers something to think about other than the war. Perhaps that also explains the flamboyant costumes in those films. Universal had been quite invested in monster films, but the popularity of those films waned with the war when there was horror enough in real life. It seems all the Arabian films were intended to provide an opportunity to escape and employ one’s greatest powers of suspension of disbelief.
*************************************************************************************************************************
I have a little bit of knowledge about the reuse of costumes. Leading ladies did not always wear new garb in every film, but nearly always. Often when costumes were reused, it might be a dress/suit/gown that was worn by a leading lady or other principal actor that gets recycled for use on a supporting player or extra. This allows the costume to offer the appropriate look for the setting of the film, elevating the background to match the opulence of the main players. It gives the whole feel of the film a boost. Because the costume was front and center in its original use, it would be of the best possible design and workmanship, which is why it would survive to be used again. Garments are not always reused in their entirety, or they might be redesigned somewhat, and this can help an item look new or span time periods if necessary. Depending on the construction and materials used in the original garment, changes can be much more cost effective than building a whole new garment, even if that were to be pursued on a budget.
The practice of reusing costumes is interesting. Sometimes we notice it, but mostly we do not. Then a few years ago I found the books Hollywood Costume (Landis, V&A, 2010), and In A Glamorous Fashion: the Fabulous Years of Hollywood Costume Design (Lavine, Scribner’s, 1980) from which I learned about the very interesting case of the Fabregé dress.
Travis Banton designed the dress for Marlene Dietrich to wear in the opera scenes in Angel (1937), her final film at Paramount.
Banton was the head costumer/designer at Paramount through the height of the glamor of the 1930s. He designed for all of Dietrich’s roles at Paramount, creating the sophisticated, lavish looks that became the Dietrich style.
The Fabregé dress is a Persian style gold fitted gown with round neck, long sleeves, peplum, train, and all-over beading. The accompanying stole is six feet long and trimmed all-round with sable. (If you pay attention to it, you’ll start noticing that a lot of costumes at Paramount were trimmed with fur. Adolf Zukor worked as a furrier in New York before he went to California and made Hollywood.) At a cost of $8000, it was the most expensive gown Banton ever designed. (That’s $170k today, folks.) It also was much-coveted by Dietrich, clotheshorse extraordinaire, who wanted to keep the gown for her personal collection, as she’d kept other gowns from films through her career. Legend has it that Dietrich became so furious upon being refused by the producers that she stormed off the set. I’m sure swear words were involved. On both sides.
After Dietrich’s departure from Paramount, the dress did not languish on a garment rack. It was worn on film numerous times by leading ladies and extras alike for the next forty-something years, the final time being by Barbara Hershey in 1985. It was part of a retrospective at the Metropolitan Museum in the 1970s, and it also was part of a show at the V&A about ten or fifteen years ago or so.
Mary Astor -- Midnight (1939)
It looks like the sleeves might have been cut back to three-quarters here, but it also looks a bit like they are bunched above her elbow and simply are pushed up. Also, I swear it looks like a velvet stand collar has been added.
Rose Hobart -- A Night at Earl Carroll's (1940)
Here the neckline has been lowered, and it does look like the sleeves have been shortened to three-quarter length.
Laraine Day publicity photo, c. 1944. The neckline has been returned to the original.
Felicia Atkins -- The Errand Boy (1960)
Still the lowered neckline, and sans sleeves.
Kay Christian -- A New Kind of Love (1963)
The stole was taken apart to construct the turban.
Barbara Hershey -- My Wicked Wicked Ways (1985)
The ensemble has been returned to its original look. Sorry, I can't find a really good pic of her in the dress.
After its final wearing, the gown was too fragile to be worn anymore or even to be displayed. The gown was purchased at a Christie’s auction in 1990 by costume historian and archivist Larry McQueen who gave the gown a painstaking restoration. McQueen actually consulted with one of the original beaders who worked on the dress, and he did a great deal of the work himself. If I remember correctly, over 3000 hours were invested in the work, which is most likely much more time than it took to create it originally. There’s no telling how much the restoration cost.
Does every single costume deserve such a treatment? No. But some do, and this one, as the kids are saying, is chef’s kiss.
With the Internet the world obviously is more open with the exchange of ideas and such yet, T CM seems to have become more closed: You deserve your fashion show on T CM, BunnyWhit. |
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Post by NoShear on Oct 3, 2023 0:16:16 GMT
This thread is just so entertaining ... from someone who just wears jeans or shorts and t-shirts day in and day out.
Then came Covid and Zoom calls. Initially, there was some dressing up - ties, suit jackets, collared shirts - on those calls, but very quickly that changed to no ties, no suit jackets and then everyone was wearing t-shirts and fleece jackets (in the winter). I haven't worn a suit or tie since Covid.
So, like you, I sit around, similarly, in worn-out chinos or jeans and t-shirts all day. But yes, I am "offended" when I see that some man is wearing an ill-fitted suit or a tie that doesn't match in a sixty-plus-year-old movie. I am not at all proud of the man that I have become.
I relate to Robert Redford's office attire in "ALL THE PRESIDENT'S MEN":  - including wearing beige wingtip type shoes. Permanently influenced by the prep period during the first half of the 1980s, I've found dress slacks in anything not at least somewhat flared as seen above to be a difficult find. Straight pants seem to have eventually become entirely uncommon on the non-casual racks. Do you find this to be true, Fading Fast?? |
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Post by Fading Fast on Oct 3, 2023 1:42:07 GMT
LOL. Ten years ago, I switched from going into an office every day in a suit and tie (and business causal attire on Friday) to working from home way before it became popular. Until Covid, though, I still put on a suit and tie for some in-person meetings, but that was fading as the years went by as more businesses went biz casual or all casual.
Then came Covid and Zoom calls. Initially, there was some dressing up - ties, suit jackets, collared shirts - on those calls, but very quickly that changed to no ties, no suit jackets and then everyone was wearing t-shirts and fleece jackets (in the winter). I haven't worn a suit or tie since Covid.
So, like you, I sit around, similarly, in worn-out chinos or jeans and t-shirts all day. But yes, I am "offended" when I see that some man is wearing an ill-fitted suit or a tie that doesn't match in a sixty-plus-year-old movie. I am not at all proud of the man that I have become.
I relate to Robert Redford's office attire in "ALL THE PRESIDENT'S MEN": - including wearing beige wingtip type shoes. Permanently influenced by the prep period during the first half of the 1980s, I've found dress slacks in anything not at least somewhat flared as seen above to be a difficult find. Straight pants seem to have eventually become entirely uncommon on the non-casual racks. Do you find this to be true, Fading Fast?? |
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