Women's Cufflinks

Fashion icons like Ralph Lauren are showing women's cufflinks in a very creative way. Women's cufflinks are quite the underestimated and under represented accessory in the marketplace. I have always been a fan. Here is the tricky part....There is such a poor selection of great french cuff shirts or blouses available. Why let that stop you from rocking some fabulous statement cufflinks to the office or with a great white shirt and jeans on the weekend. Just take your favorite shirts to a seamstress and have them ADD A EXTRA BUTTONHOLE TO YOUR CUFFED SHIRTS! Done. Happy shopping and you are welcome.

We have a beautiful selection of special vintage trinket boxes that can be purchased as upgraded packaging, just convo us for ideas.

Trinket Boxes & Stash Boxes: Free with Special orders!

Since the 17th century, there has been a spurt in the production of trinket boxes since the Limoges Box was introduced in France. As it was manufactured by the King’s own kilns, it became a rage with the nobility. In the late 19th century, trinket boxes were a necessity on the vanity cases and dressers of women all over the world. From handcrafted ivory boxes inlaid with jewels of the east to the delicate porcelain boxes of France, there was a rich variety available.

A jewelry box, also known as a casket, is a receptacle for trinkets, not only jewels. It may take a very modest form, covered in leather and lined with satin, or it may reach the monumental proportions of the jewel cabinets which were made for Marie Antoinette, one of which is at Windsor Castle, and another at the Palace of Versailles; the work of Schwerdfeger as cabinetmaker, Degault as miniature-painter, and Thomire as chaser.

We LOVE trinket and stash boxes! We can't resist picking up special boxes while out on our vintage treasure hunts. It is such fun to use these as special packaging upgrades for special orders. We have quite a collection covering various sizes and materials such as wood, ceramic, leather etc.

Just CONVO us for details!

Tracy & Mike

A look at Giorgio di Sant' Angelo fashion designer and stylist

Giorgio di Sant' Angelo, commonly known as Giorgio Sant'Angelo, (1933–1989) was an Italian fashion designer. He was known for creating ethnic-inspired looks early in his career, for which he won the prestigious American Coty Fashion Critic's award in 1968 and in 1970.

Using fabrics like tie-dyed chiffon, leather & cotton, he created romantic clothing that reflected the hippie culture of the era. But his innovative use of knitwear, which he continuously developed throughout his career, was often his signature and an influence on other designers. Sant'Angelo was born a nobleman in Florence, Italy, as the son of a Florentine count. He received a degree in architecture at the University of Florence, then later studied industrial design & ceramics. He also studied with Picasso for six months, as the result of winning an international ceramics competition, sponsored by the French government. Picasso encouraged his student to "trust his own restless creativity and to keep on trying new artistic ventures," and Sant'Angelo created an animated film cartoon and submitted it to Walt Disney. Impressed by the film's inventiveness, Disney brought him to Hollywood and gave him an apprenticeship. But unable to speak English well, Sant'Angelo was lost in the vastness of Los Angeles and quit after 15 days.

Sant'Angelo moved to New York City after his experience at Disney. He first worked as textile artist, and later worked in interior design. For fun, he started making Lucite & plastic jewelry. Catherine de Montezemolo first noticed the jewelry, then later Diana Vreeland, who started featuring it in Vogue magazine. This set his career into motion. Ms. Vreeland recognized the talent that Sant'Angelo showed, and hired him as a freelance stylist. It was out of this collaboration that some of the most iconic fashion photographs of the 1960s were taken. Shots like the model Verushka wrapped in fur in the desert, or psychedelic flower makeup around one of Twiggy's eyes.

Sant'Angelo opened his own ready-to-wear business in 1966. He experimented with knits, and developed new fabrications with textile mills like DuPont. He also collaborated with textile converters like Crantex, to create his own prints, and leather makers like Calderon, for his accessories. He cited various native & ethnic cultures as the inspiration for his collections, like the American Indian or the Bohemian Gypsy. But his most important contribution to modern women's clothing at the time was his liberating construction techniques and his use of stretch fabrics. He rejected the traditional shift with the zipper-up-the-back, and instead, designed clothing that wrapped, tied, hung or clung to the body. He didn't simply design clothes, he ornamented the body and made fantasy wearable. He made couture pieces for celebrities & entertainers as well. Eventually, he started to license his name and expand into cheaper, more affordable clothing. The first line was called Sant'Angelo 4U2, which were less expensive versions of his fantasy pieces. Then there was the 'Marjer Parts' line, which was also more affordable, but more trend-influenced. Later, he dropped the 'di' from his last name & licensed out his name as Giorgio Sant'Angelo. https://en.wikipedia.org/wiki/Giorgio_di_Sant'_Angelo

Great Website! http://blog.fidmmuseum.org/museum/giorgio-di-sant-angelo/

Rare Sant'Angelo scarf, available in our Modern Renaissance Store. https://www.etsy.com/listing/263491597/authentic-signed-giorgio-di-santangelo?ref=shop_home_active_18

Women wearing Menswear: GET THE LOOK

Form fitted suits, silk neckties, pocket squares, tie bars, lapel pins & cufflinks.

The power of wearing menswear. You really have to jump right in and be bold. The complete look will include the elements of feminine accessories to soften up the hard edges. Notice the details & the use of lapel pins, the added design element of a patterned pocket square, feminine cufflinks and of course the beautiful necktie. Finding a necktie is the challenge. Most companies that sell women's neckties go a bit predictable and generic. The best way to find ties that will work on a woman are to go with vintage. Alot of the vintage ties were made shorter and thinner than traditional ties of today. When it comes to cufflinks, we offer one of a kind custom designs. These ladies cufflinks are both unique in their look and very glamorous and feminine. Even if you may not want to go with the FULL look, you can add a pocket square to your suit jacket to bump up the cool factor.

Chocolate glass swirl cufflinks with antique pearl button backs from our Etsy store

Example from Modern Renaissance Man. Vintage silk in gold and teal medallion design

Silk pocket squares & leather magnetic leather flowers from our women's store: Woman's Renaissance

Scrumptious silk necktie in pinks and purples with amazing pink and gold cufflinks from our Etsy Stores.

Antique fushia lapel pin and paisley pocket square from our Etsy store

Amazing woven silk necktie with vintage enamel feathered bird lapel pin, from our Etsy stores of course!

A helpful tip in closing......If you would like to start wearing and enjoying cufflinks but cannot find the french cuff shirts that you like, just take your shirts to a tailor, have them remove the button off of the cuff and replace it with another button hole!

The Art of The Button

I ran across this article while researching the history behind some of our Antique Button Mag TAKs.  Looks like the appreciation of buttons as art goes way back. Evidently Charles Dickens was as guest writer for magazines back in the day. I have included in this blog several excerpts from an article in the publication HOUSEHOLD WORDS. The title of this article is “What there is in a Button”. Published Saturday, April 10, 1852. Here is a link to the entire magazine article: http://hammond-turner.com/index.php/history/charles-dickens

Charles Dickens 1852

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Birmingham England was the center of the world’s button-making. There are records showing that Birmingham was producing buttons as far back as 1166. In 1700, there were 104 button manufacturers, at a time when men were paid 7 shillings a week (35p) and children one shilling (5p) a week when they reached the ripe old age of ten years. (The pound was divided into twenty shillings or 240 pennies. It remained so until decimalization on 15 February 1971.)

The button was once Birmingham’s stock-in-trade. One 18th-century visitor commented that the folk of the town seemed to do nothing but make buttons.

“It would be no easy task,” said William Hutton in 1780, “to enumerate the infinite diversity of buttons manufactured here…” Even by the middle of the 19th century, when the trade was declining, there were some 6,000 employed in the industry in the town. They could be mother-of-pearl, silk covered, stamped and embossed, glass and shell, cut-steel and brass; they could be for a military uniform, or for high end fashion; they might simply keep your pants up. All these required different techniques. The cheaper varieties were turned on simple lathes or molded on stamping machines. The shanks were also produced mechanically and one of the machines invented for this purpose (by R. Heaton of Slancy Street) was probably one of the earliest examples of a fully self-acting contrivance capable of performing a whole series of consecutive operations without re-setting.

A few examples of our Upcycled Victorian Buttons re-invented as magnetic pins.

A few observations made by Charles Dickens.

It is a serious thing to attempt to learn about buttons at Birmingham. What buttons are we thinking of? we are asked, if we venture an inquiry. Do we want to see gilt, or silvered buttons? or electro-plated? or silk, or Florentine buttons? or mother-of-pearl, or steel, or wood, or bone, or horn buttons? All these are made here. Before we have made up our minds what to see first, we hear somebody say that button-dies are among the highest objects of the die-sinkers, and medallists' art. This not only suddenly raises our estimate of buttons, but decides us to follow the production of the button from the earliest stage—if Messrs. Allen and Moore will kindly permit us to see what their artists and workmen are doing. This is not the first time that we have had a hankering after this spectacle. When we saw electro-plating—when we saw the making of pencil-cases and trinkets—we observed and handled many steel dies, and wondered how they were made. Now we are to learn.

It was not a little surprising to see, in other manufactories, ranges of shelves, or pigeon-holes, covering whole sides of rooms, filled with dies, worth from ten shillings to twenty-four shillings each. It was rather sad, too, to be told that a large proportion of these might never again be of any use—the fashion of a few weeks, or even days, having passed away. A single die will occupy one man a month, with all his faculties in exercise; while another, with more natural aptitude, or courage, or experience, will do the same thing in two or three days. To think of one thousand in a year, produced with this effort and ability, and then to remember that button dies are among the highest productions of the art, cannot but elevate our respect for buttons very remarkably.

Before we go to the medal press, we must look round this room a little. Ranged on shelves, and suspended from nails, are casts of limbs, of whole figures, of draperies, of foliage,—of everything that is pretty. This art comes next to that of the sculptor; and it requires much of the same training. When partially-draped figures are to be represented, the artist engraves the naked figure first, and the drapery afterwards; and to do this well, he must have the sculptor's knowledge of anatomy. He must be familiar with the best works of art, because something of a classical air is required in such an article as a medal.

Metal tints, open cut designs and a wide variety of button themes. Re-invented as Mag TAKS.

Think of the varieties of horses and dogs, besides the game! For crest buttons, the lions and other animals are odd and untrue enough; but, out of the range of heraldry, all must be perfect pictures. And then, the word "pictures" reminds us of the exquisite copies of paintings which the die-sinker makes. Here is the "Christus Consolator" of Scheffer reproduced, with admirable spirit and fidelity, within a space so small, that no justice can be done to the work unless it is viewed through a magnifying glass.

Coming soon, as reinvented Mag TAKS to our Etsy store.

Here are long rooms, large rooms, many rooms, devoted to the making an article so small as to be a very name for nothingness. "I don't care a button," we say: but, little as a button may be worth to us, one single specimen may be worth to the manufacturer long days of toil and nights of care, and the gain or loss of thousands of pounds. We can the better believe it for having gone through those rooms. There we see range beyond range of machines—the punching, drilling, stamping machines, the polishing wheels, and all the bright and compact, and never-tiring apparatus which is so familiar a spectacle in Birmingham work-rooms. We see hundreds of women, scores of children, and a few men; and piles of the most desultory material that can be found anywhere, one would think—metal plates, coarse brown pasteboard, Irish linen, silk fringes, and figured silks of many colours and patterns.

Beautiful Antique sunflower design made in brass added as an embellishment to a brass tie bar

There is surely something charming in seeing the smallest things done so thoroughly, as if to remind the careless, that whatever is worth doing at all, is worth doing well. We no longer wonder as we did, that the button branch is one of the most advanced in the business of the die-sinker and medalist. Here we had better stop, though we have not told half that might be related on the subject of buttons. It is wonderful, is it not? that on that small pivot turns the fortune of such multitudes of men, women, and children, in so many parts of the world; that such industry, and so many fine faculties, should be brought out and exercised by so small a thing as the Button.

Our latest line is the Victorian Hand Painted Porcelain Button. Beautifully feminine and timeless design. Each artist's personal artistic style reflected in each design.

With the Holidays right around the corner, we hope that you will consider giving the gift of Antique Art with the upcycled functionality of the Mag TAK. Wear A Bit Of History!

"Men vs Boys" The power of a suit

Okay, I get it, not every guy likes wearing suits, or has the type of job that requires a suit. With that said, if you are so inclined to wear suits. You have got the leg up. Below is a picture of my father in law when he was 18 years old in 1938. Gilbert Xavier. A very dapper young man. Polished look with great fitted suit & vest, tie with tie chain and even a pocket square. 

Wearing a suit is a sort of armor in a way. It adds to your body's silhouette giving you nice broad shoulders. Men respect men in suits and women feel protected by the look of a man in charge. I thought it might be of interest to share with our readers some History of Suits.

The modern lounge suit's derivation is visible in the outline of the brightly colored, elaborately crafted royal court dress of the 17th century (suit, wig, knee breeches), which was shed because of the French Revolution. This evolution is seen more recently in British tailoring's use of steam and padding in molding woolen cloth, the rise and fall in popularity of the necktie, and the gradual disuse of waistcoats and hats in the last fifty years.

The modern lounge suit appeared in the late 19th century, but traces its origins to the simplified, sartorial standard of dress established by the English king Charles II in the 17th century. In 1666, the restored monarch, Charles II, per the example of King Louis XIV's court at Versailles, decreed that in the English Court men would wear a long coat, a waistcoat (then called "petticoat"), a cravat (a precursor of the necktie), a wig, and knee breeches (trousers), and a hat.

In the early 19th century, British dandy Beau Brummell redefined and adapted this style, then popularized it, leading European men to wearing well-cut, tailored clothes, adorned with carefully knotted neckties. The simplicity of the new clothes and their somber colors contrasted strongly with the extravagant, foppish styles just before. Brummell's influence introduced the modern era of men's clothing which now includes the modern suit and necktie.

Beau Brummell (1778-1840) a Regency dandy and fashion leader, famous for his elegant dress, his witty remarks and his friendship with George, Prince of Wales, the future George IV.In 1786, Brummell was sent to Eton with his elder brother, William. They were Oppidans or fee-paying boys and boarded with Dame Young. Brummell mingled with the aristocracy, becoming known for his gentlemanly manners and ready wit, which kept him out of trouble. He developed an interest in dress and his elegant bearing earned him the nickname Buck Brummell. When Brummell’s father died in 1794, he left his estate to be shared equally between his three children, rather than the whole going to his eldest son. The estate, valued at around £60,000, was to be held in trust until the children came of age. This was a huge fortune, equivalent to more than £5 million today using the retail price index, and more like £70 million when relative earnings are taken into account. 

Beau Brummell in 1815

Brummell moved into 4 Chesterfield Street in 1799 and determined to become the best dressed gentleman in London. His levées became events of great importance as gentlemen, including the Prince of Wales, came to see how he dressed. It was around 1800, after Brummell’s first season in London, that he acquired the nickname Beau.

His style was understated elegance, with a limited palette of colors, rather than the gaudy finery of the Georgian gentleman. He was famous for the intricate folds of his neck cloth and the Bath coating material of his blue jacket. He patronized a variety of tailors so that no one could say that they made him famous.

Suit cuts may change, tie widths may change, collar styles may change......but the power of a suit never does.

Rescued & Upcycled Vintage

Part of the inspiration behind the products in our Etsy stores is the appreciation of great designs of the past. There seemed to be a focus on detail and creativity that is lacking in the costume jewelry designs today. For one thing, most of what is available now is produced in China. When we use the word rescued, literally, we feel a responsibility to preserve and pass on the beautiful pieces that were created by innovative artists based in the USA. Believe it or not, there were quite a few companies based in the United States creating wonderful pieces that withstand the test of time regarding style and design for men & women. Upcycled pieces by our company were created as a way to offer these great finds, re-invented with magnets as a way to wear them in a variety of ways while not harming beautiful, delicate fabrics.

Swank began creating men’s and women’s costume jewelry in 1897, when it went by the name of Attleboro Manufacturing Company, named after it’s location in Attleboro, Mass. The company was started by Samuel Stone and Maurice Baer. The company started making men’s pieces starting in 1908, but they didn’t begin focusing only on men’s pieces until shortly after World War I. During the war the company created dog tags for the U.S. military and it was this shift in manufacturing that led the company to specialize in men’s jewelry.

Wear a bit of history with the best of Swank. We offer the "pick of the litter". Beautiful elements of art & design for your cuffs & ties

As the class structure in America changed, so did measures of real wealth. Women in all social stations, even the working-class woman, could own a small piece of costume jewelry. The average town and country woman could acquire and wear a considerable amount of this mass-produced jewelry that was both affordable and stylish.

Costume jewelry was also made popular by various designers in the mid-20th century. Some of the most remembered names in costume jewelry include both the high and low priced brands: Crown Trifari, Dior, Chanel, Monet, Napier, Corocraft, Coventry, and Kim Craftsmen.

       A beautiful example of preserved vintage Swank. Silver fish cufflinks & tie tack set.

A significant factor in the popularization of costume jewelry was the Hollywood movie. The leading female stars of the 1940s and 1950s often wore and then endorsed the pieces produced by a range of designers. If you admired a necklace worn by Bette Davis in The Private Lives of Elizabeth and Essex, you could buy a copy from Joseff of Hollywood, who made the original. Stars such as Vivien Leigh, Elizabeth Taylor and Jane Russell appeared in adverts for the pieces and the availability of the collections in shops such as Woolworth made it possible for ordinary women to own and wear such jewelry.

Perfect example of gorgeous Vintage Rescued Upcycled design by Modern Renaissance Man. This piece was re-invented as a Mag TAK. A magnetic "Chick Magnet" pin that can be worn anywhere.

In many instances, high-end fashion jewelry has achieved a "collectible" status, and increases in value over time. Today, there is a substantial secondary market for vintage fashion jewelry. The main collecting market is for 'signed pieces', that is pieces which have the maker's mark, usually stamped on the reverse. Amongst the most sought after are Miriam Haskell, Coro, Butler and Wilson, Crown Trifari and Sphinx. However, there is also demand for good quality 'unsigned' pieces, especially if they are of an unusual design.

The term “costume jewelry” was coined in the 1920s, but jewelry and ornamentation made out of non-precious materials have been worn since ancient times. While it is sometimes labeled as “junk,” “fake,” or "fashion" jewelry, costume jewelry often incorporates workmanship and materials on par with, or better than, fine jewelry.

The 20th century brought about a sea change in how jewelry was perceived and used. Before then, women adorned themselves with jewelry made of precious and semi-precious stones and metals as a means of flaunting the wealth of their husbands. Therefore, jewelry was mostly worn by the rich to convey their standing in society, although it could also symbolize one's religious affiliation, the state of a romance, or a period of mourning.

But early in the 20th century, thanks to new materials and industrialization, fashion designers started to experiment with jewelry as an expression of style and creativity, using non-precious materials so that pieces could be bigger and bolder, in line with the Art Deco style and flapper fashions that were emerging. Because these pieces were made of inexpensive materials and not meant to be keepsakes or heirlooms, they could be more trendy and outrageous.

Talking Style with George Hahn

“Sex and the City,” “Law and Order: Criminal Intent,” and Miramax’s “Kate & Leopold.”

Meet GEORGE HAHN: georgehahn.com “a blog that I wanted to read: a journal designed for men who weren’t millionaires, but who also wanted to look good and live well. And here we are.” New York City since 1994

I was looking for some interesting podcasts to listen to and ran across George Hahn. Not only was it an ahh haa moment but an Amen moment. I reached out to George to invite him to share his take on style and fashion with our readers and to our delight, he accepted.

•      If you were to pick your top 5 fashion classic pieces, what would they be?

Navy suit, black oxfords or brogues, white dress shirt, Levi’s 501 jeans & white t-shirt 

• What are your thoughts on these “fashion forward” looks that appear on designer runway shows?

I have absolutely nothing against fashion. I celebrate it, actually. I personally have no place for Thom Browne in my wardrobe, but his clothes are never boring and his shows are spectacular. There are also the economics to consider. The business of fashion is responsible for countless jobs. If people are buying, that’s good. But personally, I’m not one for designer/label porn. I can’t think of any label/designer clothes I own. When people ask me what or who I’m wearing, I have no boastful answers, except maybe my Alden Chukka boots (but most designer-obsessed people wouldn’t know who that is). I’ve always said… “There’s looking like you care about your clothes, and there’s looking like clothes are all you care about.” I prefer to fall into the former category.

• I saw an article on your blog about dressing for your 40’s. Could you expand on what the advantages are?

We spend our 20s figuring out who we’re not, our 30s figuring out who we are, and our 40s being it. By the time we hit 40, the “who am I" experimentation should be over. We should have a basically established look and a signature haircut. That’s not to say that there isn’t room for post-40 reinvention if one wishes, but if it turns into one of those clownish clichés where an aging guy looks like he’s trying to keep up with the kids, it looks foolish and sad.

As I approached 40, I felt ripe for a reinvention. I felt like I couldn’t keep up the jeans and sneakers uniform with confidence. This might sound silly, but when I saw Casino Royale, I was reminded how James Bond was always a character men wanted to be, in theory or fantasy. He looks great, in both his suited and casual modes - like a man who cares about his clothes, not a man who cares only about his clothes. I also always admired earlier periods in our culture when men had a higher sense of occasion than they do now. With both examples, we look at the character and the time with a certain wistfulness combined with hesitation. “I would love to look like that, but I couldn’t.” Why not? So I decided to go for it, investing in tailored suits and grown man shoes. I started paying attention to details and to history and to classic notions that seemed impervious to trends. When I started dressing like this more consistently, my life changed - all for the better. People perceived me differently. I made more money. I got better tables in restaurants. Things like that. It’s gotten to a point where I feel quite comfortable in a suit. (And it’s also a matter of respect: respect for oneself and respect for the people, places and things I encounter when I step out.) But I think all of this can be summed up in one word: maturity.

• Do you feel that affordability play a part in developing your wardrobe personality?

Absolutely. I do not subscribe to the notion that style should be expensive or unattainable for normal people. Looking good is not the exclusive domain of the wealthy. In fact, looking better in a $500 suit than the guy who spent $5,000 is not only quite possible, but it's immeasurably satisfying.

• Personally, I feel that the pocket square is one of those style elements that adds so to a look. It seams that there are so many “guides how to style a pocket square” that some men are a bit intimidated. Do you agree that casual is best? Small poof or straight edge fits most occasions without looking like you are trying too hard. #cheap tricks: Get your pocket square poof, twist a rubber band around the other in and pop it in your pocket. BTW, Loved your #cheap trick rubber band on the arm under a suit to hike up the sleeve. Genius.

I love that rubber band gimmick. Such a cheap trick. (And it works!). I love pocket linen, though I don’t always wear it. My preference is cotton so that I can actually use it to clean my glasses or wipe my nose. Form and function. The older I get, the less I fuss over it. The only occasion on which I iron a basic white handkerchief into perfect Mad Men lines is for black tie. Other than that, I like it to look (and be) easy and effortless. 

• A quote from your blog http://georgehahn.com/......“trendy is the last stage before tacky” – Karl Lagerfeld

What is your take?

I’m not one for trendy. I don’t have the budget or the interest. I like classic and timeless. And simple. There’s a reason we revere iconic images of certain movie stars from the past. They looked amazing then, and they’d look amazing now. Just do a Google image search of names like Steve McQueen, Marcello Mastroianni, Michael Caine or the patron saint of timeless men’s style: Cary Grant. That said, a little tasteless accent is okay. To quote the inimitable Diana Vreeland: “We all need a splash of bad taste… No taste is what I’m against."

•I really enjoyed your podcast on wearing suits.
 http://georgehahn.com/category/podcast-3/
•Can you share the highlights?
       Oh gosh, I think I’ll end up repeating myself from my answer to the “dressing your age” question. I love suits. Even more, I love well-tailored suits. As a guy who lives in New York City… Gotham… Metropolis… the Naked City, it is the ultimate uniform for me. A man looks his most elegant in a well-tailored suit. Yet, men seem to fear elegance or being “overdressed.” I’ve been overdressed and under dressed many times in my life. I’d much rather err on the side of overdressed. We live in hyper-casual “athleisure” times, and it’s tragic. It would be a nicer world if we could cure the allergy to elegance.

•       Attainable fashion. The article on your blog http://georgehahn.com/the-new-york-times-mens-style-section-is-great-if-youre-wealthy/ . This article really hit the nail on the head. I feel that great products with style should stand on their own. How does being frugal really pay off?

Circling back to my earlier response on affordability, a man of distinction need not be a real big spender. I am not impressed at all by ostentatious displays of expensive luxury goods. Against the backdrop of our current economic disparity, I actually find it profoundly vulgar. The new Men’s Style section of The New York Times featured an article on singer John Mayer’s watch collection, which is valued in the tens of millions. Super vulgar. Even when someone finds it necessary to flash a designer logo on the frame of a pair of sunglasses, I think it’s gross. Anyone with money can acquire. Boring. What’s more interesting to me is when someone does something fabulous with limited resources. When a movie star on the red carpet has the unshaved balls to step out from the chorus of luxury label whores and answer “Who are you wearing?” with something like J.Crew, Indochino, Suitsupply or even “my custom tailor,” my faith in manhood will be restored.

• What is your pearl of wisdom on style?

When in doubt, ask yourself, “What would Cary Grant do?"

• We truly appreciate you sharing your time and insight.

The pleasure is mine. Thank you for asking!

Historical fashion inspiration: Why? because great design never goes out of style.

Part one: Men

http://www.gq.com/entertainment/celebrities/201504/jon-hamm-after-mad-men

There are certain art elements that help to create your style and personality. Maybe you lean towards the minimal, mid century clean lines of Man Men or fancy yourself more of a 1900's type of guy like Boardwalk Empire or Peaky Blinders. It's the small details that assist you in pulling off just the right look.

Skinny silk ties, clean line tie bars and cufflinks. Don usually tends to go with the straight edge pocket square styling.

http://www.amc.com/shows/mad-men/cast-crew/don-draper

Roger shown here with a tight set up. Suit with vest in a nice charcoal blue, mixing up patterns in his tie and poof style pocket square.

Classic diagonal striped skinny tie with the crisp white shirt and dark suit. Modern twist accessories shown: Black and brushed silver mod cufflink and tie bar set.

Don loves him some diagonal striped ties. This one show is quote the collector tie by Contessa Mara.

Striped skinny ties are the way to go for the Mad Men look. Shown is a vintage tie from "The Bon" Bon Marche' with historical roots in Seattle, WA.

Nucky ain't afraid of pastel colors. Baby blue plaid suit with a tone on tone tie and of course, to complete the look....always........the collar bar. http://www.hbo.com/boardwalk-empire

Chalky is a big fan of the bright and bold bow tie. Always a great lesson in mixing colors and prints. Shown with a bow tie in a red, navy, orange and lime green paisley bow tie and a pair of antique Guilloché cufflinks in a rich mohogany. (Courtesy of the MRM store on Etsy)

"Lucky" Luciano all buttoned up with his gray flannel and blue striped suit & vest with tie and collar bar. Boardroom business look complete with silk suspenders.

Jimmy in a deep chocolate brown pinstripe suit and a red lapel flower ands collar bar. Shown above, a red leather lapel magnetic "Mag TAK" and antique collar bar. (Courtesy of our MRM Etsy store)

Nucky wins hands down for the best ties on the show. MRM on Etsy curates ties so that we can offer our clients "pick of the litter" shopping all in one store.

My new favorite show "Peaky Blinders". A gangster family epic set in 1919 Birmingham, England and centered on a gang who sew razor blades in the peaks of their caps, and their fierce boss Tommy Shelby, who means to move up in the world. Newsboys caps, bow ties, FOB's and pocket squares. https://www.netflix.com/title/80002479

According to Carl Chinn, the name Peaky Blinders is popularly said to derive from the practice of stitching razor blades into the peak of their flat caps, which could then be used as weapons. Chinn describes this as an unrealistic scenario, and says a more mundane explanation is that "peakys" was a common nickname for popular flat caps with peaks. The gangs were known to have a distinctive clothing style, wearing the peaked caps, cravats and bell-bottom trousers, while "a line of brass buttons down the front gave added distinction". Their style of dress was similar to that of the Manchester-based gangs of the same period known as Scuttlers.

Women wearing pants, suits and cufflinks: A look back in history and today's trends

Let's start with a look back in time. (from Wikipedia) Since the adoption of trousers in Western Europe in Late Antiquity, trousers have been largely worn by men and not by women until the early 20th century. Amazon wearing trousers and carrying a shield with an attached patterned cloth and a quiver. Ancient Greek Attic white-ground alabastron, ca. 470 BC, British Museum, London. During World War I, women wore their husbands' (suitably altered) trousers while they took on jobs previously assigned to men, and increasingly wore trousers as leisurewear in the 1920s and 30s. And for a period in the 1970s, trousers became quite fashionable for women. In the United States, this may be due to the passage of Title IX of the Education Amendments of 1972, which ruled that dresses could not be required of girls. Dress codes changed in public schools across the United States.

Oh yeah, I was caught up in the Title IX. Me and by "best friends" ALL decided to buck the system by wearing pants to school. The plan was set. I was going to wear a really cool pink and green pantsuit complete with a little vest with gold chains down the front. I bounced out of the house that morning feeling like a rock star. Low and behold, my "best friends" chickened out on me. So, off to the principal's office I went. The assistant principal got in her station wagon and drove me home so that I could change my outfit. I have to say I remember she had a look of " I have no choice" on her face, but nonetheless, this matter had to be taken care of. So I go in the house and mom quickly helped with my costume change. As I was heading out the front door, she said, " Honey I won't tell anybody okay?" What the heck was that all about? I need to drill down into who implemented that little regulation.....for another day.

Sportswear and tailored fashions: Unfussy, tailored clothes were worn for outdoor activities and traveling. The shirtwaist, a costume with a bodice or waist tailored like a man's shirt with a high collar, was adopted for informal daywear and became the uniform of working women. Wool or tweed suit (clothing) called tailor-mades or (in French) tailleurs featured ankle-length skirts with matching jackets; ladies of fashion wore them with Fox furs and huge hats. Two new styles of headgear which became popular at the turn of the century were the motoring veil for driving and sailor hats worn for tennis matches, bicycling and croquet.

 

Below is my take on the look and feel of the "Power Suit". Feminine but yet Owning it!

Oxfords or heels, ties with tie bars, statement earring and a gorgeous pair of cufflinks. Featured products are from our Etsy Stores. One of a kind designs.

Metallic flowers, rhinestones and gold & Iridescent wired crystals: Cufflinks for ladies

Big, Bold & Beautiful: Cufflinks for ladies

Classic elegance in sapphires and pearls: cufflinks fore ladies

Statement ladies cufflinks in abalone & mother of pearl

A modern take on the suit. Magnetic cufflinks with silk covered back buttons. Can be worn with any shirt.

Cufflinks featured are Czech glass with antique blown glass pearl button backs.

Featured are a pair of polished stone horseshoe cufflinks.

Esther Quek can rock a suit! www.estherquek.com/A fearless lady, Esther Quek is the distinguished group fashion and beauty director of luxury publications. Featured are a pair of amazing watermelon crystal cufflinks for ladies.

The feminine twist, Ruffled blouse and french cuffs

Classic, Sexy & Timeless. Women wearing menswear.

from our client's mouth to your ears

an open letter to men: from our guest blogger

As a fellow 'male' I am continually baffled at how easily most men are quite content with just following the crowd, or copying what their friends do just to fit in. In the world of fashion, I have noticed that most men on dates in restaurants continually dress as though they are going to a sports bar with their buddies to watch a game.  At best, if they do wear a suit, it is without a tie and pocket square.  The ladies however, are ALWAYS dressed to 'visually' impress their dates (i.e. jewelry, makeup, sexy shoes, stylish dress etc.).

Why doesn’t a man reciprocate and dress sharp for his lady?  If you think 'sharp' means a suit jacket WITHOUT A TIE . . . . YOU ARE DEAD WRONG!   I have been in many restaurants with my wife (4 and 5 star category) where all the ladies were dressed to the MAX, but the men were at worst, wearing just casual slacks and an open plain shirt; and at best a suit but without any tie. 

If you want proof that your lady secretly wants her date to look sharp, I can testify that in almost every restaurant my wife and I go to, there is at least one lady who turns her head and stares at my suit / tie combination while I leave; and they are with dates!  One glaring example, my wife and I were eating at the PLUME restaurant in Washington DC.  (Just ‘GOOGLE’ this name and look at the pictures of this restaurant.)   This is probably the most elegant and exclusive 5 star restaurant I have been to.  Every woman in the restaurant was dressed in FORMAL evening wear.  I think I was the only man wearing a full suit / tie / pocket square in the place.  When I got up to leave, at least 3 tables of ladies dropped their forks and just stared as I walked by.

Guys, wake up!  Women appreciate men in FULL suits when going out!  You not only feel good about yourself knowing you look sharp, but you are showing your lady that she is special and deserves an escort dressed as special as she is.

What NOT to wear: Plain slacks with plain open shirt - - Jeans and T-shirt with baseball cap - Suit jacket with jeans - Suit without a tie.

WHAT YOU SHOULD WEAR: Full coordinated suit / tie / pocket square. Pay attention to color coordination between the tie, shirt and suit jacket.

Generally, wear a lighter color shade of tie or a tie of a complementary color if wearing a dark suit.  Example: For a Black suit, wear Red or Blue or Yellow colors in your tie with a WHITE shirt. Never black tie with a black suit.  People need to see the tie as an additional visual element to the entire look.

For a pocket square, try to use the same or similar color shading as the tie color.

Trust me; I have been proven right over and over again.  Women appreciate men in fine suits and ties.  Just think, if you follow this dress code, you will stand out head-and-shoulders above the other men in the room who are still clueless.

Carlos

a treasured client of our ETSY store: Modern Renaissance Man.

From a woman's point of view: Fact, women love guys in ties. They love seeing them put them on, and taking them off.

There are a few jackets and jeans looks that work in non formal settings. Business casual with a little Peaky Blinders/ Deadwood worked into the mix.

Historical Fashion Inspiration

There are certain details that pass the test of time as just good design. This blog post is just my take on the subject. Going back through history, men have enjoyed a bit of dapperness. When watching shows like Peaky Blinders, Boardwalk Empire, Mad Men, my eye is drawn to the details, the accessories.

The unknotted necktie with a tie tack up high. Get the look with a Mag TAK. Made with magnets so you don't ruin your nice silk ties.

Boardwalk Empire guys are all over the collar bar. It is an easy add on functional accessory. It has a way of totally tightening up the whole look. Badass in the boardroom.

Tie adornment details from left to right: Victorian gold painted black glass magnetic Mag TAK. Victorian metal picture button of an angel Mag TAK. Mantique Vintage "Churchill" hat pin upcycled into a Mag TAK.

Lapel pins have always been a part of the mix. Icons of clubs, legions or just a decorative element. I like to think this is the perfect way to add a bit of personality to your outfit as well as a way to draw people in. A little bit of something that grabs people's attention, they ask about what it is or what it means......Then my friend you have a conversation going. Shown above: A brass Victorian antique button featuring a soldier wearing a helmet,  Upcycled into a magnetic pin. Mag TAK. This can be worn on a jacket lapel, hat or necktie.

LOVE the polished, buttoned up look here. Pocket square, scarf, cufflinks, the whole nine yards. The Mag TAK is a great substitute for the stick tie pin shown here. Don't poke holes in your beautiful silk ties.

Demystifying the Cufflink

First step: Throw out all of the Rules. If you like the concept of cufflinks, wearing art on your cuffs, there are some great options for you. Let's talk about the cuff styles.

1) Traditionally, cufflinks are worn with a french cuff shirt. This is a double layer of cuff. A rather formal look. Stiff fabric can support a fairly heavy cufflink, where as a ladies french cuff may be of a lighter weight fabric so the cufflinks need to be lighter weight as well. French cuff shirts lend themselves to either a post style cufflink, a chain style cufflink or a mesh wrap.

2) Most shirts have a barrel style cuff with a sewn on button. A single layer cuff. This is where it gets interesting. To create a more casual look, there are several ways of working with this style of cuff so that you can Rock the Cuff Art.

a) You can snip off the button on a cuff and have your tailor create a button hole so that your barrel cuff would then have two holes to work in a cufflink.

b) If you really want to keep things versatile in your wardrobe shirt options, Just throw on a pair of our New Mag Linx™! Super strong magnets used to create one of a kind designed cufflinks with a silk covered back button. Just open up your barrel cuff and add your links to your cuff.

Imagine the possibilities! As a bonus, these cufflinks can be worn separately on other pieces of clothing, just like our Mag TAK™. Wear it on your hat, your jacket lapel or your scarf.

Mag TAK™  &    Mag Linx™

The most versatile accessories on the market, created by

The Modern Renaissance Man

The look and history of suspenders & braces

Below are excerpts from an article by By Mary Bellis Inventors Expert.

During the 1820s, British clothing designer Albert Thurston began to mass manufacture "braces", the British word for suspenders. These "braces" were attached to trousers by leather loops on the braces to buttons on the pants, rather than metal clasps that clasped to the trouser's waistband. At that time, British men were wearing very high waisted trousers and did not use belts.

On December 19, 1871, Samuel Clemens received the first of three patents for suspenders. Samuel Clemens' pen name was none other than Mark Twain. Twain is the famous American writer and the author of Huckleberry Fin. His suspenders described in his patent as "Adjustable and Detachable Straps for Garments," were designed to be used for more than just trousers. Twain's suspenders were to be used with underpants and women's corsets as well.

The first patent ever issued for modern suspenders the kind with the familiar metal clasp was issued to inventor David Roth, who received US patent #527887 issued in October of 1894.

The first suspenders were joined together to make a "H" shape in the back. In later designs, suspenders were "X" shaped, and finally, the "Y" shape became popular.

Original designs show suspender straps made of a tightly woven wool known as "box cloth".

According to some American companies, braces usually refer to the leather or cloth strips with button ends that attach to pants. For the British, however, braces refer to all suspenders. After losing popularity during World War I, as men became accustomed to uniform belts, braces (suspenders) were still regular attire throughout the 1920s. Because of their image as 'underwear', some men switched to belts during the 1930s as the waistcoats which had hidden braces became worn less. This also signaled the switch of position of the securing buttons from outside of the waistband to the inside. Life magazine stated in 1938 that 60% of American men chose belts over suspenders (braces). Though the return of fuller-cut trousers in the 1940s revived braces, they did not dominate over belts again to the same extent, however in the UK they remained the norm to wear with suits and dress trousers
 

So through out history, men have been sporting suspenders & braces. It is indeed a manly look. Whether they are worn with flannel, a worn white button down shirt and denim or all tightened up with a crisp business suit....The look is a winner.

mRm accessories: a his and her's accessory store

Why not? Whether you are shopping for yourself or your significant other, certainly convenient, wouldn't you say? Showcased below are some fantasy match ups. Back in the day, men were gentlemen and women were ladies. Accessories are the perfect doable way of adding just a dab of dapper and glam. Establish your personal style. Accessories should say something about yourself. Your love of history and antiques. Or maybe your nerdy side of loving insects. Maybe you like the look of steampunk with it's rich deep colors, velvet, cameos, waistcoats and top hats, without all of the clockwork orange. Eclectic you} Velvet blouse, cameo accessories with a maxi and boots. Gentlemen sporting a great cut wool suit with waistcoat style vest (kind of Hell on Wheels, Anson Mount) a great tie and Victorian button Mag TAK & collar bar(a tad Boardwalk Empire).

Antique pin in a deep fushia, magenta & navy geometric pocket square and gorgeous boho glam rhinestone bits of loveliness.

Fresh and sporty pop of color classics for the gentlemen. Paisley silk pocket square, and vintage vegetable button button Mag TAK. Vintage West German glass upcycled "Chick Magnet" and Czech rhinestone opal peach statement bracelet.

Victorian Black mourning glass button Mag TAK. Czech dangle earrings in cognac amber and dark purple #Gypsy Winter. Chick Magnet, barbell collar bar and textured silk pocket scarf in Rich deep colors.