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Paisley: full of possibilities

10 Jul

red paisley

Take a moment to look at this picture. Do you notice the incredible detail? The harmonized colours? The pleasant but erratic pattern? You’re looking at paisley, one of the most gorgeous decorative patterns humans have ever devised.

Paisley is an incredible pattern to work with because it is so full of possibilities: paisley can be done in any scale, it may be multi-coloured or monochrome, simple or intricate, and the pattern may be regular and repeating or varied, irregular, and seemingly random. This wonderful, natural design has deep, rich roots that date back to ancient Mesopotamia, the land between the Euphrates and Tigris rivers (modern-day Iran, Iraq, Kuwait, and Syria), where it found its way into building decoration, carpets, fabrics, and the decorative arts of the Babylonians, Assyrians, and Sumerians.

This nature-inspired pattern, originally known as botteh or boteh in its native Persian, means “bush, shrub, a thicket, bramble, [or] herb. Some would even take it to mean a palm leaf, cluster of leaves…and flower bud,” according to the Heritage Institute discussing Zoroastrianism, the ancient Persian religion and philosophy.

The boteh pattern is a much-loved, time-tested pattern that eventually made its way into India where it really dug in its heels. For hundreds of years, beautiful cashmere wool shawls decorated with the boteh pattern were popular, and during the 1700s, boteh shawls cast a spell on European women who fell in love with the soft, warm, patterned fabric. During the colonial period, British men returning home from India brought the shawls as gifts for their women, and the demand for these exotic shawls grew in Europe. Seeing an opportunity, the British East India Company began to export the enormously popular and expensive shawls to Europe during the later 18th century.

As the shawls became more fashionable, the demand for them grew, but the high cost kept many away until European hand weavers began to copy the boteh patterned shawls and produced items at a fraction of the cost of the real thing. In 1805, the weaving mill in Paisley, Scotland became the boteh weaving centre of Europe, and the name Paisley became synonymous with the pattern. As weaving technology evolved in the UK, the original 2-colour paisley shawls turned into 5-colour patterns, though this still paled in comparison to the Indian versions that boasted up to 15 colours.

What is paisley?

The paisley pattern can range from very simple to extremely ornate, sometimes positioned loosely among leaves, or flowers, other times simple in regular and repeating patterns. The common denominator is the tell-tale curved teardrop shapes. It is the shape of the paisleys that I find particularly interesting because no one really knows what it’s supposed to represent, though there are many options and theories.

Paisleys could signify halved fresh figs, mangoes, gourds, licks of flame, or Cypress trees (sacred to the Zoroastrians); kidneys, tadpoles, tear drops, pears, or sperm if you’re Freudian.  (During research, I came across a Jehovah Witness message board that discussed paisley as a representation of sperm and therefore considered “taboo”). In any case, paisley seems to have originated as a fertility symbol and becomes more fantastic as it evolves.

Modernized examples of this racy design seen below by Paul Frederick show the incredible variance in paisley patterns, from bold and multi-coloured paisley to quiet tone-on-tone, and from elaborate designs to simple shapes (photos used with permission):

Blue paisley Paul Frederick tie

Tone-on-tone paisley Paul Frederick tie

 

 

 

 

 

 

 

 

 

 

 

Paul Frederick paisley tie

Paul Fredrick blue paisley tie

 

 

 

 

 

 

 

 

 

 

 

Paisley in menswear

While the paisley motif was woven into fabrics most often worn by women, western men were left out of experiencing this gorgeous pattern until the 1920s-1930s, when paisley was printed on silk and used in men’s ties.

“In response to changing fashion,” says Francois Chaille in  The Book of Ties, “Paisley is constantly being up-dated: hundreds of new paisley motifs make their appearance on ties every year. The motif provides rich opportunities for coloristic nuance and formal invention.”

Of course we in the west remember paisley worn extensively in the 1960s and revived in the 80s, but paisley has never really gone away. In fact, you may find a paisley tie in your collection, or maybe a paisley bandana or neckerchief (Cary Grant liked to wear these under his collars). If you’re lucky, you may have a Ralph Lauren paisley pocket silk for your breast pocket.  Stylish introverts could opt for a pair of low-key paisley socks, and daring darlings may rock paisley Ted Baker shirts or a cool sports jacket with a chic paisley lining.

Paisley isn’t just for clothing. The high-end Italian design house, Etro, likes to incorporate paisley into its collections, and offers paisley luggage, day books, wallets, and manbags in their iconic paisley “comprised of red, turquoise, yellow, olive green and ivory adapted and evolved to become the signature pattern for the brand: an instantly recognisable style which became inevitably synonymous with the luxury world of Etro,” their website says.

If wearing paisley is luxurious, it is also refined. New York image consultant, John Molloy, said paisley ties signify good breeding and education. Alan Flusser, author of Dressing the Man says, “Of all the loud neckties, [Molloy] deemed paisley as the only permissible one because it was the “fun tie” of the upper middle classes.”

I implore you to pull out your whimsical paisley and wear it with confidence; it is so beautiful and varied in pattern, colour, and scale, that everyone will be able to find the right paisley print for them. It is a pattern that speaks of human history, elegance, and refinement; it is a delightful and permanently stylish pattern, and an excellent investment for any gentleman’s image.

 

Through the eyes of Tom Ford: Pride 2014

26 Jun
Tom Ford by Helmut Newton

Photograph by Helmut Newton. Published in Vogue, March 1999.

With Toronto hosting World Pride this year, I feel that much more inspired to celebrate the powerful gay icons that have shaped our world. I spotlighted Freddie Mercury in 2012, Liberace in 2013, and for 2014, the focus is on the clothing, detail, luxury, and the daring of Tom Ford.

Tom Ford is a man who personifies BOLD not only in his clothing designs but in his business dealings. Before launching his own menswear label in 2007, he spent ten years as Creative Director for Gucci and brought them from near bankruptcy to $3 billion a year in sales. He is aligned with Estee Lauder for the Tom Ford Beauty Brand, and he counts 98 retail Tom Ford stores in the world among many other achievements.

American Vogue‘s editor-in-chief, Anna Wintour, says Ford has an uncanny way of conveying the same three core themes: sex, power, and divine decadence. “I don’t think I have ever worked with anyone with a greater passion for detail or a clearer vision of his aesthetic goals,” she says.

Ford is a powerhouse of talent that goes beyond fashion design. In 2009, he directed and co-wrote the screenplay for  A Single Man, a tale of gay angst in the early 1960s, starring Colin Firth and Julianne Moore. I recommend it; it’s tasteful and interesting, but tragic.  Ford’s debut film won many awards and Firth received an Oscar nomination for best actor.

He is incredibly talented and successful; a billionaire with enormous power in the fashion industry, and audacious as all hell. Tom Ford does what he wants and he does it well, otherwise he wouldn’t carry clients like Johnny Depp and Daniel Craig. Yet with all that going for him, with all the success and power and wealth, Tom Ford remains human.

Images of beauty 

Ford studied architecture before he turned to fashion and understands how to build things. He uses geometry in his designs and creates sensuous lines and angles in magnificent, often textured, deeply coloured fabrics in his menswear collections.

He seems to have an inborn sense of balance and opulence and learned about fashion through his mother and grandmother. “My mother was very chic, very classic,” he recalls in an interview with Biography. “My paternal grandmother was very stylish in a very Texas way—everything big and flashy, from jewelry to cars.”

Tom Ford jackets

Note the gorgeous geometry of Ford’s jacket lapels and the sumptuous fabrics and colours.

“The images of beauty you get in your childhood stick with you for life,” Ford explains, “So there’s a certain flashiness at Gucci—Texas-inspired—with a certain Western feel.”

When asked if Texas has influenced his designs, Ford tells FDLuxe,  “I have certain notions of glamour that I never lost… I like a heel on a boot. I feel better with a heel. That Texas taste—big hair and a lot of makeup—was my first notion of beauty. And I have to say, to this day, I still have a thing for big hair.”

The big, bold, and flashy was woven into Ford’s designs for Gucci and used in his own menswear line. The casual luxury of his Western-inspired spring/summer 2015 collection is comprised of suede jackets with tasselled sleeves, jeans, denim shirts, and jean jackets–a far cry from his iconic suits and shirts, dapper enough for 007 himself.

“What we wanted to do was to expand sportswear so that our customer has something to wear for every occasion of his life,” he says of the collection.

Ford uses bold and unexpected colour in his menswear collections, and in his current men’s line, pink, lilac, and ocean blue jackets are paired with white shirts and trousers. Coming up for fall/winter 2014, blacks, greys, creams, and earthy colours mixed in with  beautiful violets and royal blues in cotton-silk Jacquard and velvet cocktail jackets.

Tom Ford the human

Despite what we might think a billionaire designer who caters to high-end clients like Jay-Z, Kanye West, and Drake might be like, Tom Ford is a regular person.

I spoke to former model, Patrick Marano, now husband and manager to gay media mogul, Shaun Proulx, who posed for a 2005 Tom Ford sunglasses campaign.

“The shoot was in L.A. Poolside,” Marano recalls, “At the break Tom came and ate with us. He was very down-to-earth and friendly. And of course he looked great, impeccably dressed.”

Ford is a real person; he’s sensitive and romantic, and he loves to be in love and be in a relationship:”I’m someone who likes being part of a couple and always wanted that and always sought that,” he says, “And it would probably be true for me whether I was gay or straight.”

When Ford saw his long-term partner, Richard Buckley, the former Editor-in-Chief of Vogue Hommes International, at a fashion show in 1986, it was love at first sight. More than twenty-five years along, Ford and Buckley married this past spring and welcomed their son, Alexander John Buckley Ford (Jack), into the world in 2012. Ford has proved to be a devoted partner and father.

“I feed Jack, I dress him, I change his diaper, and I have a good two or three hours with him every morning, just me and him.” Ford says, “At night, again, I put him to bed and try to spend as much time with him as possible.”

Though it may be unbelievable, our superstar designer changes diapers, cooks, and unless he’s travelling, gets home each night to feed Jack. Now that he’s raising a child, his perspective of the world has changed. In particular, he no longer receives Botox injections, saying, “A lot of things I cared about before I don’t care as much about anymore.”

It’s refreshing that a superstar like Tom Ford understands his limited relevance and shelf-life. “No matter how hard you try there is a cultural moment, but eventually that window’s gone, your time on Earth is finished, and you might as well leave,” he says, “I could absolutely die tomorrow–I would not care. I feel like I’ve lived, I feel like I’ve had a great life.”

Tom Ford‘s style advice:

  • A man should never wear shorts in the city. Flip-flops and shorts in the city are never appropriate. Shorts should only be worn on the tennis court or on the beach.
  • At home, off-duty, I wear T-shirts from Fruit of the Loom but I have them tailored – if the sleeves are cut over the tricep your arms look much better.
  • Keep your jacket buttoned. Always. It’s just really flattering – it will take pounds off you.

 

Boutonnieres

29 May
Oscar Wilde wearing a boutonniere

Playwright, Oscar Wilde, wearing a boutonniere.

The boutonniere, French for buttonhole,  is a flower worn in the lapel of  a man’s jacket, commonly considered a formal accessory worn with formal attire. We don’t have many occasions to dress up anymore (unfortunately), but boutonnieres have made a comeback across the pond and have been a part of the British royal/upper class wardrobe since around the mid 18th century.

Having a boutonniere made at a florist ensures a keep-fresh flower that comes with tipped pins to use on the underside of your lapel, but the flower is actually meant to be stuck through the boutonniere hole on the upper lapel of your suit. High-quality suits will have a set of boutonniere loops sewn on the underside of the lapel to thread a short stem through. Read more about boutonniere buttonholes at the Gentlemen’s Gazette, and have a look at their do-it-yourself instructions for boutonniere loops.

Canadians will fondly remember our former Prime Minister, Pierre Trudeau, our most stylish politician to date, who wore a red rose in his lapel. Patrick Gossage, former Press Secretary to Pierre Trudeau describes Trudeau’s “rider” for out-of-Ottawa engagements that included orange juice and cookies in all of his hotel rooms and a daily fresh red rose for his lapel. To me, Trudeau’s boutonniere signifies the last vestige of the political gentleman.

Boutonniere history

The boutonniere is very British. In fact, according to The Rake, the Duke of Windsor brought the boutonniere to North America in the 1930s and influenced many of Hollywood’s top actors of the time; HRH’s signature white lapel carnation was mimicked by Fred Astaire, Douglas Fairbanks Jr, and Gary Cooper.  (Cary Grant opted for a red carnation.) Modern British boutonniere-wearers still follow the Duke of Windsor’s lead, but younger royals like Princes William and Harry like to wear blue cornflowers in their lapels.

Though flowers have been associated with men throughout history, proof of the boutonniere itself doesn’t appear until 1769 when Gainsborough painted Captain William Wade in his military dress uniform with a spring of posies worn on the lapel of his cutaway coat.

Though it’s difficult to pinpoint exactly when grooms started wearing boutonnieres, the floral tradition at weddings is a long one. According to BrideandGroom, “The bouquet formed part of the wreaths and garlands worn by both the bride and groom. It was considered a symbol of happiness. Originally bridal wreaths and bouquets were made of herbs, which had magical and meaningful definitions for the couple’s future life. Traditional Celtic bouquets included ivy, thistle and heather. Ancient uses included herbs, not flowers, in bouquets because they felt herbs — especially garlic — had the power to cast off evil spirits.”

Modern boutonniere options

When choosing flowers for your boutonniere, consider your lapel width and work with proportion. Since the fashion now is to wear suits with thinner lapels, smaller blooms like carnations, small roses, or thin calla lilies are recommended. Dana William Hamilton at The New Leaf florist in Toronto says many men choose white and red boutonnieres for dark streamlined suits. “They add a little whimsy,” he says.

“Young men going to proms wear them,” Dana explains, “Young people are looking online and training themselves to dress well in the old style.”

Grooms and groomsmen are the most obvious people to wear boutonnieres. Dana stresses the importance of the groom’s boutonniere looking slightly different than the other men in his wedding party–often a flower used in the bride’s bouquet is added to the groom’s boutonniere. People often have boutonnieres made for the deceased, Dana tells me, which shows “a lovely respect”.

Dana calls for hearty flowers for boutonnieres because usually, occasions that ask for a boutonniere are long, and there is a lot of hugging and wear and tear on the flower. Hale flowers like rose, carnation, calla lilies, and stephanotis (clusters of small white fragrant flowers related to jasmine) are recommended. If you’re looking for strongly perfumed blooms, freesia is a delicious choice and the beautiful gardenia, but the latter flower is very fragile and has no stem–gardenias must be wired to create a boutonniere, so take this into consideration before choosing your boutonniere flowers.

Are all boutonnieres made of flowers? No! There is nothing wrong with a flowerless boutonniere–in fact, Dana says, he often finds himself making boutonnieres just out of greenery like Italian Ruscus mixed with Greek myrtle for texture. Boutonnieres could actually be made of fabric flowers (silk is popular) or crafted as statements like these cool ones on Etsy. Like the rock buttons of the 80s, a lapel boutonniere is a good way to express yourself and tell the world a little about you.

I would love to see men making use of their boutonniere buttonhole with a fresh flower especially now that we’re in spring, but as The Rake puts it, “Suffice to say, the language of flowers is well and truly obsolete, and a contemporary gentleman’s only consideration is whether a flower in one’s lapel enhances a suit or proves to be the detail that pushes elegance over the border to ostentation.”

Be bold, but be careful.

 

Flirting: A personal deconstruction

15 May

flirtbroken heart, flirting verb \ˈflərt\

: to behave in a way that shows a sexual attraction for someone but is not meant to be taken seriously

: to think about something or become involved in something in a way that is usually not very serious

: to come close to reaching or experiencing something (Merriam-Webster Dictionary)

Do you flirt? Maybe you are a flirt. Flirting is fun and not meant to be literal. But sometimes it is. Depending on the flirtee’s emotional state, they may take heavy flirting as “s/he wants me”, but does it mean that person is insecure or needy, or is it that they’re reading heavy messages from you?

Last month, I meet a singer at a show who said, “I noticed you when you came in.” Our conversation continued and he invited me to his next gig the following month. The next day, he contacted me online and we had a sometimes flirty off-and-on conversation over the next few weeks. I was titillated!

When the next gig came along, he talked and hung out with me and my friend a bit, and had a wonderful performance. I remember thinking, “Awesome! I’ve got this one in the bag!” He did nothing that would make me think otherwise. I bought him a drink and he invited me to his next gig. I said we should do something before then, and he said, “I would if I was single.”

I told him to take it as a compliment and then I left.

Lots of things going on here.

1. Ethics: Why would an attached man say he noticed me when I came in?

2. Assumptions: When is it friendly conversation and when is it a come on?

a) I suppose this is where the emotional state of the flirtee comes in: people open to romantic interests may take flirting to heart and will feel like they’ve been drop-kicked across a muddy field when the flirter reveals that they’re not actually available. It’s the price we pay for allowing ourselves to become hopeful and emotionally attached to a person or idea.

b) It could be that I made an assumption about the singer’s level of interest, but  I’m really not sure of another way I could have interpreted “I noticed you when you walked in”. That would prick up any single person’s ears.

c) When do we determine when it’s relevant to mention our emotional status?  At what moment do we decide that this person is chatting us up so we can gently slip “girlfriend/wife-partner-boyfriend/husband” into the conversation to indicate our emotionally UN-availablity? A clear statement up front will set boundaries. However, some instigators of innocent conversations will roll their eyes at your assumption that you think we’re looking for more time with you.

Assuming that everybody wants you reflects the size of your ego or your insecurity, and may cause enough paranoia for you to go on the defensive just because someone speaks to you: “Back off or my boyfriend will kick your ass”. These types you’d want to back away from anyway.

3. Mixed messages: My brother, a musician himself, insists the guy was leading me on. There is a fine line between innocent flirting and leading someone to believe something that isn’t true. I have trouble understanding why anyone would consciously mess with someone emotionally like that; it seems cruel. The singer doesn’t seem like the kind of guy who would pull that kind of thing; he seems honest, gentle, and down-to-earth. I’m confused.

4. Rock and roll: My buddy, Stephen, says flirting is the vernacular of the music industry; a language bred into musicians. He says there are three kinds of flirting:

  • Social flirting: In public places like bars or clubs, flirting is “safe”, even for married and otherwise spoken-for men who can engage in this light, fun, social interaction. It’s about showing someone you find them interesting, attractive, and otherwise charming and that’s usually uplifting!
  • Get-down flirting: A heavy, blatant prelude of good things to come.
  • Marketing flirting: I know it’s only rock and roll, but PR is important. If flirting is written into the music schtick, it can certainly grab people’s attention, create a desire, keep people coming out to gigs with their friends. Stephen says the singer is more concerned with success than protecting my feelings. “It’s games people play,” he says.

Another entertainer I know says he leverages flirting for laughs in his act. “I intentionally flirt with very old women in the crowd. Women who I’d never flirt with, so it doesn’t seem too creepy.”

“Flirting makes the older lady feel kinda special but they know it’s not for real,” Matt says, “Everyone knows what’s going on for sure.”

There was a handsome personal trainer at my old gym who mostly worked with women and understood the art of marketing flirting: he held his client’s hands as they walked around the gym, he held women’s upper bodies as they lifted dumbbells, and watched his clients intently in the mirror which always caused a face-busting smile on the women who completely fell under his spell.

This kind of marketing flirting is the carrot dangling before the donkey who can never reach it; it is the kind of flirting I’ve fallen victim to. The price of the transaction was my heart and my hopes, dashed by the rock and roll machine.

This flirty experience has made me feel good, excited, and given me something to look forward to. At the same time, the flirting has made me feel like I’ve been duped, sucked in to believing that the singer was actually interested in me, and this has made me feel not only lousy, but dumb for reading the signs wrong.

Sigh.  What can I do? I’m just a vulnerable human like anyone else, but now I’ll know to wear a thicker skin.

Tips for an awesome spring!

1 May

It’s May Day! That means that spring is here and it’s officially time to welcome the new season. Here are some easy and practical tips for a great spring!

Spring pollenspring apple blossoms

If you suffer from spring pollen allergies and find yourself sneezing and wiping your watering stinging eyes, are you taking the gentlemen’s approach?

Sneezing into your sleeve works if you’re in a cramped public space like a subway, but the best way to reign in your sneezes and pollen-induced tears is of course, the hankie.

Using a cotton or linen handkerchief to wipe your dripping orifices is the better and more elegant way (plus it’s easier on the environment). Find them in department stores or check vintage shops for old and interesting hankies!

Shoes

old shoes

If you’re the type of guy who wears the same shoe all year around, or if you have a spring collection that’s made its way out of storage, sit down and take a good look at them–what kind of condition are they in? Scuffed? Worn? Heels ground down? Spring is a great time to take your shoes to a shoemaker and have them cleaned up, or do it yourself.

I’m always telling men not to toss their old shoes because they are easily restored.  Have a look at this 7-minute video by British bootmaker, John Lobb, who shows the professional way to shine shoes–you’ll be astonished!

Besides shining, a shoemaker can re-heel or re-sole your shoes. Worn heels are unsightly and may put a damper on your confidence. Have your shoes redone to give yourself an instant boost!

Brighten and de-stink!vinegar bottle

After a while, anything made of fabric will absorb the smells around it, and this is not necessarily good news. I am a proponent of natural cleaning products, and gents, nothing beats vinegar for cleaning and removing odours. Using vinegar in your laundry brightens colours, renews drabness, and prevents static cling.

For stuff like socks, gym shirts, stained tea towels, and dish rags, get a stock pot or other large cooking vessel and fill with water. Add a cup of white distilled vinegar and bring to a rolling boil. Add your items, turn of the heat, and let soak overnight. Run through the wash and hang to dry. If you’re lucky enough to have a clothes line, hang outside in the sun to naturally deodourize and mildly bleach.

Other great vinegar tips from 1001 Uses for White Distilled Vinegar:

Remove perspiration odour and stains on clothing, as well as those left by deodorants by spraying full-strength white distilled vinegar on underarm and collar areas before tossing them into the washing machine.

Get cleaner laundry! Add about 1/4 cup white distilled vinegar to the last rinse. The acid in white distilled vinegar is too mild to harm fabrics, yet strong enough to dissolve the alkalies in soaps and detergents. Besides removing soap, white distilled vinegar prevents yellowing, acts as a fabric softener and static cling reducer, and attacks mold and mildew.

Eliminate manufacturing chemicals from new clothes by adding 1/2 cup white distilled vinegar to the water.

In the words of Robin Williams, “Spring is nature’s way of saying “let’s party!”. Preparing for the party takes work and energy, but you’ll feel great about your efforts, so get in there and enjoy!

Ethical man = sexy man!

20 Mar

By this point, we’re all well aware that we have to manage manufactured goods by recycling, reusing, and repurposing, because the earth won’t get healthier if we continue to create new stuff out of raw materials and toss them into a landfill when we’re done.

The movement to creatively and stylishly reuse existing materials and objects is in full swing and I’ve seen some super cool ways to reuse stuff: got an old ladder? Mount it on a wall to make a book shelf! Make lamps and other cool stuff out of cassette tapes, and for die-hard sports fans in possession of old soccer or basketballs, make a hat! (Check out this blog: 25 Interesting DIY ideas to reuse old things.)

As an image consultant, I like to offer eco-friendly alternatives to my clients and for this post, I’ve found some super stylish accessory pieces for the eco-conscious gent.

Men’s environmentally conscious accessories

Mod wallet by Couch

Couch Mod arrow wallet available at Nice Shoes.ca. Image used with permission.

One of the cooler Canadian eco-conscious and cruelty-free businesses is Nice Shoes, which sells much more than nice shoes. Nice Shoes sells an obvious array of footwear plus great bags, belts, and wallets at their Vancouver shop and online store.

Shown here is the Couch Mod wallet. Couch makes cruelty-free vinyl wallets out of material leftover from their guitar straps (see below). Wallets have lots of room to hold 12 plastic cards and a bill fold for cash.

Repurposed vinyl pieces are strong, durable, easy-to-clean, and vegan/cruelty-free, and I recommend them if you want an inexpensive, ethical long-term investment: I’ve had a vegan bag for several years and it hardly looks worn.

Nice Shoes carries different men’s, women’s, and unisex lines. Below is a fine brown satchel by Matt and Nat, a great overnight bag for the discerning eco-conscious man:

Jack satchel

“Jack” by Matt and Nat, available at niceshoes.ca. Image used with permission.

Vintage car-conscious

Can you think of anything cooler than using the vinyl interior of an early 1970s Volkswagen Beetle to make a guitar strap? Neither can I. Couch, out of Signal Hill, California, does guitar and camera straps from vintage vinyl and repurposed seat belts along with other cool gear.

Couch vintage Volkswagon guitar strap

Couch vintage Volkswagen upholstery guitar strap. Image used with permission.

Being a vegan myself, I like what Couch stands for:

…when it came to making guitar straps, we were not into purchasing the actual hides of leather and then stamping the tabs out of asymmetric sides of beef before sewing them on our straps. The buying and selling of animal skin carcasses was a little too weird for us, thanks.

Couch also makes excellent, hard-wearing, gear for men like wallets, belts, and shaving bags. The toiletry bag below is made of vinyl upholstery originally intended to cover the interior of late 60s/early 70s Pontiac GTOs. This houndstooth model has a metal zipper and is lined with waxed canvas to keep your stuff dry when you splash around the sink.

GTO shaving bag

The houndstooth upholstery of the Pontiac GTO makes for a cool shaving bag. Image used with permission.

In the end, gents, you’re responsible for your actions and the products you use. Like men who volunteer, support animal rights, walk a mile in heels as a gesture to end violence against women, or get involved with anti-bullying campaigns, impassioned, eco-minded men are attractive and in demand. More than that, guys who use repurposed goods out of an eco-conscience are not just good for the future of our planet, dang! they’re downright sexy!

A little gift for the winter blahs

6 Mar

dirty boots

This winter has been horrendous. Gawd, when will it end? Many of us have reached our winter breaking point: it’s friggin’ cold and I’m at my palest; I’ve been wearing the same clothes for months, salt has eaten my footwear alive, and I just want it to be over!

Take a breath and decide to give yourself a gift and clean your winter boots. An odd gift, I know, but you’ve been neglecting them for weeks and the winter has been so cold for so long that you didn’t even notice that their lower third are white with salt. Have a good look at your boots, pick them up, and bring them into the bathroom.

Clean one boot at a time using the instructions below so you can compare the grimy boot to the clean one. I promise that this will give you a feeling of proud accomplishment that will lift your winter spirits:

You’ll need:

  • about 15-20 minutes
  • dirty, salt-stained winter boots
  • damp rag
  • drying rag
  • spent toothbrush
  • cup of warm water
  • shoe polish, leather conditioner, protective spray

Then:

1. Clean your boots:

toothbrush

Toothbrushes are fantastic cleaning tools

For smooth leathers, use a damp rag to wipe off the surface of your boots. You may have to rinse the rag a couple of times before you’re done depending on the filth level your boot finds themselves in.

Elbow grease may be necessary–this is where the toothbrush comes in handy. Short nylon bristles can get into places a cloth can’t, so start scrubbing with your toothbrush and get the dirt and grime out of boot seams, shoelace grommets, the boot tread, and the texture of the sole. Dip the toothbrush in the cup of warm water periodically.

If and only if your boot is waterproof, you can rinse the salt-stained sole under a warm tap, then rub dirt and salt off with a rag and/or a toothbrush. Dry.

2. Clean your laces: 

Do you tie your boots with dirty laces hardened by salt? Fix the problem by unlacing the dirty strings, then submerge them in warm water working the stains away with your fingers. Add a little soap if you like. Push the water out down the length of the lace, then hang to dry (over the shower curtain) or press water out with a towel. Re-lace when dry.

3. Lubricate your zipper:

As you know, fellas, lubrication is important to anything mechanical–and this includes zippers! If your boot has a zipper and that zipper is salt-dried and sticking, it’s time to clean and lubricate the mechanism. If you’ve had the misfortune of having to replace a boot zipper, you’ll know how much it costs, and this will save you some hard-earned dough.

I looked around and found zipper lubricating info on the web. One site suggested using Vaseline or soap (I tried this but it didn’t work well… uh, was the soap supposed to be wet?), but ended up choosing almond oil for the job. I squeezed a few drops onto a Q-Tip and lightly swept it up and down both sides of the zipper, then moved the lube around by zipping and unzipping the boot several times – worked like a charm! Cooking oils like olive oil may work here too, but not sure if any specific types of oil would react to the plastic zipper teeth, so use at your discretion.

4. Polish and protect:

Your boots are now looking a whole lot better than they did 10 minutes ago. To make your leather boots look better for longer, apply a leather conditioner to keep the material supple, allow to dry, then you can go ahead and use polish to cover the scuffs and bring back the colour. Always spray with a protective spray to ward off the next round of winter filth.

5. Shoe repair:

I can’t stress enough how important shoe maintenance is. You’ve invested in your footwear, so take care of it. You can have your boots re-heeled and re-soled; cleaned, stretched, and waterproofed, so you don’t have to throw this winter’s boots away, just get them fixed. Easier on the earth and more money in your account.

Well done! Wearing clean footwear feels civilized and it will give you a lift, no matter what the temperature. Just remember, only a few more weeks of winter 2014 to go, then spring arrives–hooray!

My uncle the Olympian

20 Feb
Jim Trifunov, courtesy of the Saskatchewan Sports Hall of Fame

Jim Trifunov, courtesy of the Saskatchewan Sports Hall of Fame

If you aren’t old enough or you’re not from the Canadian prairies, you probably haven’t heard of an amazing man who fostered the sport and spirit of wrestling and amateur sport in Canada, a man who competed in three Olympic Games, and a man with a twinkle in his eye and a smile to share, my Great Uncle, James Trifunov.

Uncle Jim was a featherweight and bantamweight self-taught freestyle wrestler who competed in the 1924, 1928, and 1932 Olympic Games, won ten national championships between 1923 and 1933, and was awarded a gold metal in the 1930 British Empire Games (now known as the Commonwealth Games).  According to the Saskatchewan Sports Hall of Famehe had only one defeat on Canadian soil. 

I was just a kid when Uncle Jim and Aunt Mary would come to Regina to my Grandmother’s house from Winnipeg for Christmas, Easters, and sometimes Thanksgivings. I remember him fondly; he spoke in a voice tinged with a far-away Slavic accent, always happy, always interested in what my brother and I had to say for ourselves. I was too young to understand his passion for wrestling and his outstanding achievements, and I never knew of the difficulties he went through to make it to world-class competitions (literally).

History

Jim immigrated to Canada from Serbia with his family in 1910 and settled in Regina, Saskatchewan, where, I suspect, his early life must have been difficult. His father died a few years after the family relocated, and his mother had four children to take care of. Then there was the climate. Being from Saskatchewan myself, I cannot imagine what it must have been like trying to survive without central heating on the harsh Saskatchewan prairie in the winter. Hard times.

In 1922, Jim took up wrestling at the Y.M.C.A. despite the Y’s lack of a formal wrestling program. Still, it sent a team to the Canadian championships and the following year, Jim won the Canadian bantamweight championship. In 1924, he was selected for the Olympic wrestling team.

Back in those days, the Canadian government’s athletic funding was rather limited, leaving athletes scrambling to pay their own way to compete in the Games. In 1924, Jim’s colleagues took up a collection to send him to Paris, and in 1928, friends and help from the Saskatchewan government got him to the Amsterdam Games, where he won a bronze medal for Canada.

Jim Trifunov, courtesy of the Saskatchewan Sports Hall of Fame

Jim Trifunov, courtesy of the Saskatchewan Sports Hall of Fame

“For each of his three Olympic appearances,” says the Canadian Sports Hall of Fame (CSHF), “he had to take his annual two-week holiday plus an additional four weeks leave from [his job at] the Regina Leader Post. In 1936, the Leader Post sent him to Winnipeg for two weeks to help with the administration of the Free Press.”

Those two weeks became 57 years and Uncle Jim became an active leader in Winnipeg’s amateur sport community. He started off with the Winnipeg Y.M.C.A. wrestling club, then coached at the University of Winnipeg. From then on, his list of accomplishments grew out of his love of sport:

  • President of the Manitoba Wrestling Association for 25 years;
  • Director of the Canadian Amateur Wrestling Association;
  • Director of the Winnipeg Y.M.C.A.;
  • President of the Winnipeg Bowling Association (1950-52);
  • Chairman of the boxing and wrestling committee of the Canadian Amateur Athletic Union (1952-1960);
  • Coach for the Canadian wrestling teams at the 1952, 1956, and 1960 Olympic Games;
  • Team Manager for the Canadian wrestling teams at the British Empire Games (1954) and the British Commonwealth Games (1970) where his wrestlers won nine medals in ten weight classes;
  • Inducted into Canada’s Sports Hall of Fame (1960);
  • Inducted into the Saskatchewan Sports Hall of Fame (1966);
  • Chairman of the Manitoba Boxing and Wrestling Commission;
  • Diploma of Honour International Amateur Wrestling Federation (1976);
  • Inducted into the Manitoba Sports Hall of Fame (1981);
  • Founding Director of the Manitoba Sports Federation;
  • Chairman of the Manitoba Sports Hall of Fame & Museum Inc.;
  • Member of the Order of Canada (1982).

Respect 

“Jim Trifunov was the President of the Hall of Fame when they hired me as Executive Director back in 1990, so I knew your great-uncle fairly well,” says Rick Brownlee, Sport Heritage Manager at Sport Manitoba“Jim was a role model who taught me what a solid work ethic could accomplish, what a few kind words could do to encourage, and what a firm handshake meant.”

“He just happened to be the most energetic octogenarian I had ever met.”

Uncle Jim was a true gentleman, polite, friendly, and always neat in a jacket and tie. My family remembers him fondly as a kind, happy, generous man, the kind of man who could carry on a conversation with anyone, and a man who loved to be with family. He was an absolute delight.

My brother remembers him as a gentleman of a by-gone era who taught him the difference between Greco-Roman wrestling and the campy 1970s Western Canadian Stampede Wrestling (that bore the Hart brothers).

“When I was seven, we went through the Sears Christmas Wish List catalogue to see what I would buy with one million dollars,” Danny says, “It stopped at about $100.00 when I got bored of it. He thought it was great fun.”

Jim Trifunov, courtesy of the Manitoba Sports Hall of Fame & Museum Inc.

Jim Trifunov, courtesy of the Manitoba Sports Hall of Fame & Museum Inc.

Though I didn’t get to see much of Uncle Jim as I got older, he continued to do amazing things for sport, wrestling, and for the people of Manitoba. The CSHF explains that Jim “worked tirelessly to achieve a permanent home for the Manitoba Sports Hall of Fame, which opened five days before his death.”

When we finally cut the ribbon to open his dream of the Manitoba Sports Hall of Fame Museum in 1993,” Rick Brownlee recalls, “Jim as wheelchair-bound and a shell of his former self. But he cut the ceremonial ribbon nonetheless and I saw a spark in his eyes that day that I had not seen for quite a while.”

Jim Trifunov changed the face of Canadian amateur sport and built a foundation for future athletes with a passion I had never imagined. I’m fortunate to have known him, if only for a brief time, and the memory of his spark still brings a smile to my face.

The Sting, among other things

6 Feb

I was lucky enough to see Susan Claassen’s wonderful A Conversation with Edith Head in Toronto last month. Ms Claassen’s 90-minute near-monologue was impressive, as was learning of Ms Head’s costume design work on over 1100 films. What really struck me, the men’s image consultant in love with men’s clothes, was that Edith Head, winner of seven other Oscars for dressing the most talented and glamorous actresses in Hollywood, named The Sting as her favourite costume work because she learned that she preferred dressing men to women (sounds familiar!). 

Oscar winning The Sting costume designs
Edith Head’s costume renderings for The Sting. Photo by Jason Hollywood. Used with permission.

Head was able to make her stars look flawless– “Accentuate the positive and camouflage the rest,” as she used to say. She had two men, the equivalent of today’s George Clooney and Brad Pitt to outfit in period costume, and I though I can’t imagine what would need camouflaging on Paul Newman or Robert Redford, Ms Head certainly accentuated the positive in these two actors.

Seen in the top rendering, Redford’s pinstriped suit nipped in at the waist compacts his torso and broadens his shoulders, boosting his masculine shape, and at right, note the photo of Paul Newman in the soft royal blue suit and dove grey hat playing up his brilliant blue eyes.

I watched The Sting last night and took note of the costumes which made me think of a quote from Savile Row tailor, Edward Sexton: “The man should wear the suit; the suit should never wear the man”. Similarly, Edith Head said, “My motto is that the audience should notice the actors, not the clothes.”

If you are part of the audience who didn’t notice the clothes, let me take you on a brief walk through the character, the costumes, and the celebration of the period, filled with timeless visual symbols and signs of gentlemanly demeanour.

The Sting

The time is 1936 in Joliet, Illinois. The first scene begins with a shot of a pair of fancy two-tone shoes walking past down-and-out men lying on the dusty sidewalk. The man in the shoes walks up the fire escape of a building into a busy gambling den– our first suggestion that despite the country’s Depression, there is money to be made and those who make it, dress fine.

The Sting

The man in the two-tone shoes is conned out of $11,000 by three men, one of whom is small-time con artist, Johnny Hooker (Redford), scruffy in his dust-coloured unmatched trousers and jacket, and tie-less shirt. The first costumes we see strike the contrast between small and big-time crooks.

The Set-Up

By the time Hooker meets up with Henry Gondorff (Newman) in Chicago to do the “Big Con” and swindle crime boss, Doyle Lonnegan (Robert Shaw), out of half a million dollars, they’re getting their gang together to create a theatre of success and wealth in a fake betting club. Each new gang recruit is told to “go grab yourself a suit”. And so the set-up begins.

1930-era silk tie available at Kingpin's Hideaway.

1930-era silk tie available at Kingpin’s Hideaway.

High-rollers wear shiny shoes and three-piece suits with loud, short, wide silk ties. Hooker, the young and eager up-and-coming con-man, needs grooming, and we watch his metamorphosis from small-time grifter to big-roller. Gondorff takes him to a barber shop for a shave, a haircut and a manicure, then to a tailor who fits a high-waisted navy pinstriped suit with peak lapels and matching waistcoat with a short colourful silk tie.  This silhouette, especially in pinstripes, elongates Redford’s legs and exaggerates his masculine V shape, giving him added visual appeal and at the same time, reflecting his character’s youth, its impatience, and its folly.

Snap-together composite and mother-of-pearl cuff links available at Kingpin's Hideaway.

Snap-together composite and mother-of-pearl cuff links available at Kingpin’s Hideaway.

We watch the rest of Gondorff’s gang transform into “men of wealth” with the addition of pocket hankies, spats, shiny two-tone shoes, tie pins, French cuffs and cuff links; starched collars, braces, walking sticks, and gloves to their already fancy suits and waistcoats.

“Not only do these men look more the part by dressing dapper, they’re more confident,” says Jonathan Hagey at Kingpin’s Hideaway, a men’s vintage shop in Toronto, “They carry themselves with more authority and create the illusion that they are well-to-do types.”

When Gondorff’s gang changes from small-time to big-time, it isn’t only their wardrobe that changes, but their behaviour as well. When Gondorff first meets Lonnegan at a poker game, he wants to fool Lonnegan into thinking he’s an inexperienced and foolish card player. He bursts in, smelling of gin, and says, “Sorry I’m late, I was taking a crap.” Lonnegan has little patience for the unrefined dress of the crass newcomer. “This is a gentleman’s game and a tie is required,” he says sternly.

Though the gang plays it as close to Lonnegan’s look as they can, not all the details are the same. Enter the costumer’s insinuation of character.

Charles Dierkop, Robert Redford, and Robert Shaw.

Have a look at the above screen shot and notice the difference in lapel widths and shapes. During this period, lapels were high and often peaked. Redford, the “hero/hunk”, has rounded and upward pointing peaks on lapels in proportion to his body and suggestive of his young age but Shaw, the “villain” is always seen in wide, exaggerated lapels with straight, pointed peaks. In this shot, Shaw looks larger than the other two and particularly devilish with his sharp, massive lapels and waxed moustache.

The Aftermath

The Sting won seven of eleven Oscars including Best Picture, Best Director, and of course, Best Costume Design, but this doesn’t come without some dispute. Edith Head is fabled to have been a little ruthless in her career path, not giving credit where credit was due. In fact, she was sued by the costume illustrator who said it was she who actually designed Newman and Redford’s costumes (source), but I can’t seem to find the outcome of that lawsuit, so I can’t say if it’s true. 

What I do know is that when Edith Head, the most celebrated costume designer in Hollywood history, accepted her Oscar for best costume design for The Sting, she flitted onto the stage in her signature dark glasses and short bangs, in a long white dress with a matching black-trimmed vest.

“Just imagine dressing the two handsomest men in the world, and then getting this!” she said, holding out her award. Her joy and pride in the project cannot be disputed; it is a wonderful film on every level, and tells the story of elegant and ageless gentlemen’s dress and behaviour.

For those of you stylish and confident enough to blend 1930s elegance into your wardrobe, here are more period goodies from Kingpin’s Hideaway:

Dove grey beaver fur fedora.

Dove grey beaver fur fedora.

Two-tone leather spectator / correspondents shoes.

Two-tone leather spectator / correspondents shoes.

Grey double breasted wool jacket with oxblood pinstripe.

Grey double-breasted wool jacket with oxblood pinstripe.

The spawn of Savile Row

23 Jan

It’s the third and final instalment of our Savile Row series, where we’ll get better acquainted with the men that have moved Savile Row style into the 21st century.

In its 200 year history, Savile Row has experienced three major changes: the elegance of proper and formal dress for the first 150 years or so, the reinvention of the Savile Row workmanship woven into the modern style of the Swinging Sixties, and into the new bespoke movement of the 1990s and into the future.

Remember Tommy Nutter, the maverick tailor of 60s London, and his cutter, Edward Sexton who dressed the Beatles and other dandies of the period? These two gents bent the hard rules of Savile Row set during the late 19th century and turned fine tailoring into “the male peacock revolution of the Sixties” (read more from Nutter’s obituary).

Both Nutter and Sexton are the roots of modern bespoke, and their guidance and influence is rampant in modern bespoke and design.

Sexton is Paul McCartney’s tailor and according to the Savile Row Style Magazine, McCartney’s daughter Stella trained under Sexton, “serving an apprenticeship that stood her in good stead when she went on to found her own design business.” Sexton continues to design for men and women like musicians, Annie Lennox and Pete Doherty; models, Cindy Crawford, and Naomi Campbell, and designed costumes for Bill Nighy and Reece Ifans in The Boat That Rocked (recommended watching about a pirate radio in 60s England), among many others.

Tommy Nutter died in 1992, but his legacy has been transferred to two of the three “New Generation” designers: Ozwald Boateng, a self-taught tailor “inspired and guided by Tommy Nutter [who has] carried on his mentor’s legacy of introducing Savile Row to a new Generation,” and Timothy Everest, a one-time Nutter apprentice who blends “impeccable craftsmanship with individualism”. (Source.)

Savile Row’s New Generation

Ozwald Boateng is serious about style based on personality and emotions–“soul, spirit, energy, that’s what it’s about,” he says in a 2009 short film, Why Style Matters.  As a teenager, Georgio Armani inspired Boateng to want to become a superstar of international design, and he has certainly reached his goal. Boateng has designed suits for US president, Barack Obama, and the likes of Will Smith, Jamie Foxx, Forest Whitaker, Spike Lee, John Hurt, and Sir Richard Branson. He has injected into the tradition of Savile Row, bright, exciting colours, and indeed, his shop at 30 Savile Row pops with colour–he says his shirts look more like jewels. 

To Boateng, suits represent respectability, and he uses the time-honoured ways of Savile Row and its traditional fabrics in his unconventional cuts and colours to make modern, stylish, and individual clothes because as he says, “Style is a journey, it is an extension of who you are and your character”.

Unless he’s doing  commissioned bespoke, Welshman and MBE, Timothy Everest, though not as fearless as Boateng when it comes to colour, celebrates the modernization of Savile Row’s tradition of craftsmanship. “The perceptions of tailoring were old-fashioned, long-winded, boring, expensive, and elitist,” Everest explains, “So we had to turn these things around to be relevant.” 

On his website, Everest explains his sartorial evolution: “It was the early 90s and everyone had gone through the whole “designer” and “brand” thing,” he says. “I felt like I could introduce a new generation to the joys of handmade clothing–investment pieces that stood out and were built to last.”

Everest’s career is incredible–he collaborated with Marks & Spencer to create off-field uniforms for England’s football team for the 2008 European Championships and the 2010 World Cup, was the Group Creative Director for Daks, acts as M&S’s Creative Consultant overseeing the Autograph, Sartorial, and Luxury tailoring collections, and designed the uniforms for the Virgin Racing team, among many other varied projects.

Teaming up with British fashion design company, Superdry, Everest did the unthinkable and created a modern clothing collection based in traditional British tailoring. The Superdry line offers a “trans-seasonal” collection of casual coordinating separates in razor-sharp skinny suits in fine fabrics and much attention to detail.

At #29 Savile Row is the shop of Richard James, whose business philosophy is to “produce classic clothing of unsurpassable quality, but to push the boundaries through design, colour and cut.”

According to UK GQ, “James ruffled feathers by maintaining traditional suit-making techniques (using English mills like Fox Brothers & Co, reflecting his commitment to craftsmanship) yet at the same time sweeping aside tradition where necessary (by reflecting the catwalks and having the audacity to open on weekends).”

James designs for the rock and roll elite like Mick Jagger, Mick Ronson, and the Gallagher brothers when Oasis was at its peak but before Liam started his Pretty Green line. James is responsible for Elton John’s stage costumes for his Vegas shows too.

Richard James and I share a love of fabrics and textures and we also agree that black is not the wonderful colour that people think it is: “I don’t like black very much on men,” he says in a Details interview, “It’s not a very flattering colour. A bright navy blue cheers you up. I remember going to see [UK Prime Minister] David Cameron, and he wanted a navy suit. I said, ‘Well, if you have a navy suit on television, it usually looks like a black suit.’ So we made a brighter navy, and he looked fantastic!”

Our feature designers, Boateng, Everest, and James, the spawn of Savile Row, have succeeded in modernizing the deep sartorial traditions of the Row to update younger generations with wearable style, sophistication, and impeccable craftsmanship.

 

The Beatles + Savile Row? Yes!

9 Jan
On the 1969 album, Abbey Road, three of four Beatles wore Tommy Nutter suits.

On the 1969 album, Abbey Road, three of four Beatles wore Tommy Nutter suits.

Part two of our Savile Row series has links to a well-loved and heavily-influential band that shaped our modern musical world – The Beatles.

Back in the day, the “I buried Paul” phrase heard at the end of “Strawberry Fields Forever” claimed by conspiracy theorists to mean that Paul McCartney was dead, was supported by the image of Paul walking in bare feet across Abbey Road outside of Abbey Road Studios where the Beatles recorded. The idea was that John, in white, symbolized the preacher, Ringo in black, the undertaker or a mourner, Paul, presumed deceased (with a secret imposter taking his place in life and in the studio) in bare feet, and George in hard-wearing denim, the gravedigger.

Complete crap, of course. It turns out that the three of the four Beatles wore Tommy Nutter suits, the rebel tailor of Savile Row.

(Have a look at this interesting page with a short video about the famous cross walk, or “zebra crossing”.)

Nutter, together with his expert cutter, Edward Sexton, opened the influential Nutters of Savile Row in 1969. Nutter’s was a solid symbol of Swinging London – the shop had financial backing from singer Cilla Black (who also worked with Beatles producer George Martin and recorded in Abbey Road studios) and her husband Bobby Willis, who happened to be the Managing Director of the Beatles’ Apple Corps, Peter Brown, board member of Apple Corps and a one-time assistant to Beatles’ manager, Brian Epstein, and lawyer, James Vallance-White.

“Tommy was a one-man revolution, single-handedly responsible for introducing fashion to Savile Row, whilst committing the equally audacious act of inviting the fairer sex to share a world that had previously been the preserve of gentlemen.” (Source)

Nutter and Sexton were famous for their modern bespoke suits with wide lapels, and flared jackets nipped in a the waist, with accompanying flared trousers in bold colours and patterns that catered to posh businessmen and rock stars. Timothy Everest, then a young man who apprenticed with Nutter interviewed with The Arbuturian, said, “Tommy was very good at articulating to a new audience what bespoke was all about.” 

Nice, but their clientele, especially during the late 60s, were unpredictable even at the upscale Mayfair address: “Tommy came to work one morning to find John Lennon and Yoko Ono standing naked in his shop window, and was later called over to Apple Studios to hear Hey Jude before it was released. “Paul and John asked him what he thought and he said it was a load of sh*t.”” 

Location, location, location

Carnaby Street, the leader of Swinging Sixties fashion was just a few blocks away from Savile Row. Carnaby Street was wildly popular among young people, offering cool mod gear by designers like Mary Quant in shops like Lord John. These young, hip, up-to-the-minute disposable fashions were quite different from the quality of the Savile Row tailors, but times were changing, and so were the neighbours.

The Beatles took over 3 Savile Row in 1969, setting up the offices of Apple Corps, each Beatle taking his own office in the five-storey building, a former gentleman’s club. It was here, or rather, the roof of #3 that became the stage for their final live performance and the Let It Be film that came of it.

For an excellent account of the day and the performance, see this link on the Beatles Bible webpage, and enjoy the music, recorded on the roof of Apple Corps, shocking bespoke-wearing business men and delighting fans who climbed up on their own roofs to see and hear this fantastic spectacle!

PS – Paul kicked off his shoes before walking on the zebra crossing because that day in August was warm