Raymond G. Twyefoort models the latest fashion for the American businessman—an ensemble suit featuring coat and waistcoat in the same color—in this case, mouse gray, January 30, 1929. The waistcoat is double-breasted with a low opening and is snug at the waist. Striped trousers in the same color as the coat are worn without a cuff. Black shoes with buff spats and gray bowler hat complete the look.
Photo: Associated Press via the NY Daily News
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Paul Guilfoyle again - gloves and cigar
From Star Trek Discovery - Terra Firma parts 1 and 2.
As promised, more Guilfoyle pics. OK, I might have posted one or two of them before, but he bears repeating.
So what do we have to get my organs aching? Leather gloves, cigar, bowler hat, suit and overcoat.
The man would look good in just a ropey vest and pair of underpants, he's that handsome, and I wouldn't mind seeing him like that anyway.
But here he is looking sharp, and that really gets me going. Then you give this man a cigar to smoke and suddenly he's in a different league.
Of course, the costume department made one serious sartorial mistake: he should have been wearing a bow tie. Shameful error of judgement.
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This silly picture makes two serious points.
The simpler your disguise, the more effective it will be. So, don't overdo it!
Clothes and props from the store can bring about lightning changes in your appearance.
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DAY 8 Mr. Grizz
I originally blurred the stars but I didn't like it so they're staying the way they are. Kinda rushed sorry. ANYWAY this is Glam rock Grizz a reference to FNAF security breech. Based his design heavily off Freddy for obvious reasons. Thought it would be funny if he was a jazz boi and played the trombone.
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A man should look as if he’s bought his clothes with intelligence, put them on with care and then forgotten all about them.
- Sir Hardy Amies
While Hardy Amies may now stand for tradition, he was a maverick designer for his time. One of the initiators for ready-to-wear clothing for men, he was the first designer to stage a menswear fashion show in the Savoy Hotel in 1962, and was also the first designer on Savile Row to lower the height of men’s trousers. Amies penned his iconic ‘ABC to Men’s Fashion’ in 1954, during a revolutionary period for men’s clothing.
Sixty years on, it has become an iconic style guide and reference book for menswear, alphabetically detailing the etiquette of men’s fashion, with Hardy’s signature humour and aplomb to be found on every page. “It is easy to think of fashion as frivolous,” Amies wrote in his foreword, “Clothes are however very much part of our lives and should be used to make our lives easier.”
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The Unbearable Lightness of Being is a novel written by Milan Kundera. The bowler hat is one of its motifs. (rolffimages via Adobe Stock)
The Unbearable Lightness of Being
If someone offered you a life that repeated itself infinitely, would you take it? Life as we know it is deprived of weight; for every event occurs only once. Thin and fleeting, the present is inscrutable. The future is shrouded by uncertainty. Friedrich Nietzsche, for one, favoured repetition: the beauty of necessity. A life of eternal recurrence? Divine!
The Unbearable Lightness of Being by Milan Kunderais a story about the heavy and the light. The heavy signifies fate: the force of being ‘nailed to eternity’, of carrying the ultimate responsibility of our actions by seeing them repeat, their necessity, their reality, and their truth.
The light signifies the present: its weightlessness, ethereality, and the absence of burden.
Which is the correct approach to life: heavy or light? Nietzsche and Parmenides disagree on which is the positive pole.
According to Nietzsche’s eternal return, fate is to be loved. In it we face what is necessary and thereby see beauty. Amor fati!
Parmenides, by contrast, saw splendidness in constancy. He forbade change, let alone a perpetuity of things coming in and out of existence. Reality is unchanging; being cannot be dispelled, regathered, or repeated. Lightness is cherished.
The answer remains ambiguous to us all. Indeed, Kundera’s characters slew between both sides of the dilemma. Though one senses Kundera himself is drawn to the heavy.
Our experience of love (amongst many other things) exemplifies the opposition of heavy and light.
In love you attach yourself to The One: the person with whom you could spend eternity, over and over. Love is therefore heavy: undying and unable to be thinned by repetition. ‘En muss sein!’ Kundera cites Beethoven: ‘It must be so!’ Love is a necessary connection.
Yet, in imagining just one small change to the past, we meet an unbearable lightness. ‘Es könnte auch anders sein,’ writes Kundera: ‘It could just as well be otherwise’.
Life is full of such mysterious oppositions and ambiguities.
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