Details make the difference. Shop now and save! Build up your unique accessories stash.
A look at the history of men's fashion and style. Boardwalk Empire, Mad Men, Gatsby style accessory icons. How to's and color print match up advice.
Details make the difference. Shop now and save! Build up your unique accessories stash.
I stumbled across these images and information and found it so interesting, I had to share.
An essential piece of equipment for any soldier, there were many types and designs of canteens used by both armies. A classic design of the Federal forces after 1861 was the metal “bullseye” type (Model 1858) where rings were pressed into both sides of the canteen. Canteens made of wood or leather were also used, and they could be personalized by carving into the wood or painting the cloth cover with their owner’s name and company number (Field and Smith 2005).
Companies that produced large quantities of canteens were located primarily in the North, so Confederate soldiers had to rely on wooden canteens, crude blacksmith products, or whatever could be found on the battlefield. Despite having greater access to canteens, the North still had difficulty providing the necessary quantity, and found they had an increase in problems, such as leaking, due to the number of different manufacturers used (Jones 2007).
The canteen would have been issued with a dyed wool or cotton cover, some with a leather sling. The cover, in particular wool, would not only provide padding to prevent a leak if dropped and to muffle sound, but also would help cool the canteen through evaporation. The covers were produced through a mixture of machine and hand sewing, each modified by the soldier to fit. Often the canteen covers would be removed and used for patching uniforms.
Figural Whiskey Canteen, “H.A. GRAEF’S SON / N.Y. / CANTEEN”, (Denzin GRA-21), New York, ca. 1865 – 1880, deep yellowish olive amber figural canteen, 6 5/8”h, “1200” embossed on smooth base, tooled mouth, applied double handles, period cloth carrying cord. Perfect condition, and in a somewhat different shade of color than normally seen.
A golden canteen made during the Chinese Ming Dynasty, dated 15th century. – Gold was long held to be a symbol of wealth and prestige in China, and during the Ming Dynasty (1368-1644), the imperial court issued guidelines to partially restrict its use. In theory, only society’s most privileged were allowed to own large amounts of gold vessels and tableware. This canteen, decorated with a five-clawed dragon—a symbol of the emperor—was probably made for members of the ruling house. Based on style, this canteen dates to the fifteenth century. Its technique is repousse (a method of decorating a surface by hammering the reverse of the object). One of the round panels of the canteen’s belly was left open so that most of the vessel could be decorated from the inside. To close the canteen, a separately decorated sheet of gold was soldered in place. – Freer and Sackler Galleries, Washington D.C.
Gar Louisville Canteen – A ca 1895 canteen, tin with original polychrome painted stenciled decoration/inscription We Drank From The Same Canteen arched above a U.S. shield breasted spread winged eagle with E Pluribus Unum ribbon banner in beak, arrows & laurel branches in talons and straight-line inscription Louisville / 1861-1895 at bottom, with two small rings at sides for hanging, 5″ 0 diameter.
18th Century Canteen “IW” carved on both sides. Carried by Isaac Whitehead during the Revolutionary War. Wood, leather. D 19.7, W 10.8, L (strap) 143.5 cm
Leather covered glass canteen. Standard issue for the Danish armed forces, 1856 to about 1930. This is the 1873 version, made by Holmegaard Glasværk
Antique 1912-1914 Kingdom Bulgaria handmade wooden flask. The obverse an image the young prince Boris (His Majesty King Boris III), on the reverse side is the Coat of arms of the Principality of Bulgaria and an inscription dedication- “Of the reserve captain Lazarov from St. P. Kiossev” 1912-1913. The wooden flask bottle has original stopper with hanged leather strap, long leather strap and and very rich decoration. Handmade, hand engraved (pokerwork) and hand painted and coloured.
Canteen, 1863 – This round wooden barrel canteen is made of cedar and is held together by two tin straps. On one side is an inscription that reads “W. C. FLETCHER 4TH KY.” A house is carved on the other side of the canteen. Wood was used for the canteen because metal supplies were low in the South by 1862. William C. Fletcher joined the Confederate Army in 1861. He was about 18 years old. He died on May 7, 1865, most likely while fighting at the battle of Dallas, in Georgia.
“33rd National 1899 Encampment / Phila. Pa.” Label Under Glass Flask, America, 1899. Colorless, canteen form, threaded ground mouth with original metal closure. Colorful graphics, “Grand Army Of The Republic / 1861 * Veteran * 1866” (within star), wreath and two American flags below an eagle perched above two cannon barrels and a third flag), “Fred C. Wagner / S.W. Cor.Broad and Sus- / quehanna Av., Phila.” (in lower left). “U.S.” debossed on reverse, perfect and rare!.
Faience parlante, (French: “talking faience”), in French pottery, popular utilitarian 18th-century earthenware, principally plates, jugs, and bowls, that had inscriptions as part of its decoration. The city of Nevers was the outstanding centre for the production of faience parlante. The range of inscriptions included owners’ names, coats of arms, bacchic or facetious references, Masonic and trade emblems, quotations from songs and proverbs, urban views, allegorical designs, and commemorative themes.
The 2018 BBC series is presented by fashion historian Amber Butchart who examines figures from the past through the clothes they chose to wear in their portraits or effigies, including Marie Antoinette and King Charles II. Butchart looks for clues within the portraits, outlining the significance of the sitter and what the costume reveals about that person and the times in which they lived. Working alongside Amber is historical costumier Ninya Mikhaila who, together with her team, recreates the garments for Amber using the tailoring techniques of the given period.
A look at the Restoration king, Charles II, and how he used fashion as propaganda with an outfit that foreshadowed the three piece suit.
In each episode Amber looked at what these items of clothing tell us about the people who wore them and the historical time periods they came from. Now showing on BBC 4, the new series A Stitch in Time presented by fashion historian Amber Butchart takes us on an eye-opening journey through clothing worn by historical figures in politically significant paintings. Historical tailor Ninya Mikhaila and her team recreate the outfits using the methods that would have been employed at each point in history, transporting us to a bygone world of fashion.
We are also invited to explore some of the garments stored in the V&A’s collection of over 75,000 objects, giving us insight into how the fabrics appear in the paintings, and how they would have felt to the wearer. Butchart herself introduces each episode by positing that 'clothes are the ultimate form of visual communication – by looking at the way people dress we can learn not only about them as individuals, but about the society they lived in… in the words of Louis XIV, I believe that fashion is the mirror of history.'
The most frequently discussed innovation in dress that Charles II has been associated with was his decision to reject French fashion and to create a specifically English style – the vest – a fashion that Charles II stated he would ‘never alter. Pepys described how the king adopted this style in 1666 when he noted in his diary on 17 October that ‘The Court is all full of vests ; only, my Lord St. Albans not pinked, but plain black – and they say the King says the pinking upon white makes them look too much like magpyes, and therefore hath bespoke one of plain velvet’. Pinking comprised small cuts or holes, often in geometric patterns, cut in the top fabric of outer garments. More detail was supplied by the writer and diarist John Evelyn (1620–1706) who noted on 18 October : https://journals.openedition.org/apparences/1320
October 7 1666 Charles issued a declaration that his court would no longer wear ‘French fashions’. Instead, it would adopt what was known at the time as the Persian vest. A long waistcoat to be worn with a knee-length coat and similar-length shirt, it was made of English wool, not French silk. The emphasis was on cloth and cut, not ruffles and accessories.
Indeed, you could argue that the English suiting tradition began here – concentrating on silhouette and quality of wool rather than color or decoration – systematised by the plain propriety of Beau Brummel a century later.
The outfit was finished off with a sash, stockings and buckled shoes. Over time the waistcoat became shorter and shorter, until by around 1790 it reached the length we recognise today. It had been sleeveless since the 1750s.
The first version was modelled by the King himself outside Westminster Hall and, as described by diarist Samuel Pepys, was “of black cloth and pinked with white silk under it”.
Over time it became an excuse for extravagance, with some in the 18th century wearing them with up to 20 buttons and in patterns of spots, stripes and flora. But the version worn by Beau, in white or black is the one known to us today as part of a three-piece suit.
Just my take on pocket squares, lapel pins, ties & tie bars
Nice choice on the clean line, modern tie bar. Pocket square color choice is good but a straight edge would have been a more modern look.
Tie & pocket square match up
The blue tones in the pocket square and tie are not from the same blue family, and the flouncy pocket square is a bit much and looks messy.
Two tone, suit & tie
Cool green suit with a same cool feel pop of color tie.
Thin ties are more flattering than wide on shorter men
Color scheme good, tie choice bad. Thick woven ties that are wide do not work and the length is too short. It should touch your belt buckle.
Without a tie, just an open collar shirt and suit. Informal cotton straight edge pocket square works.
Summer light suits
With light colored suits, a subtle pocket square is a good choice, having interesting details, draws in the eye.
Don’t shy away from colors & prints
Especially if you are going with a solid color suit….go for it.
Never, never, never wear a wrinkled tie.
not to mention the blue jamboree here is killing me.
Feel free to contact us to put together some unique packaged gifts for your special someone.
If you are a fan of these shows and like the look, there is a creative way to bring some of these style elements into your every day look.
Great article from Vogue.
Certainly the crisp white shirt had one of its finest moments ever when Bacall wore it with a circle skirt in Key Largo. And who else but she could have given the beret an American accent, redefining it with a houndstooth suit in The Big Sleep? There was, alas, only one Lauren Bacall, but here are five ways to channel her unforgettable style.
I love fashion illustration, such an artistic way to view a bit of history. Some of our favorite names in the accessories industry are: Hickok, Anson, Swank and Wembley. If you are a fan of the retro narrow tie like Shaun Evans from Endeavour, hunt for the Wembley tie.
A few examples of our special box packaging. Free with multiple item purchases!
She has absolutely amazing style! What a great eye for color, texture & design. Whether it's a casual look with just a great jacket & pants with a pocket square or full hot professional styling with tie bar, necktie & lapel pin......This ladies is how it is done. BOSS STYLE
South China Morning Post: Fashion & Beauty
With her bleached blond pixie cut and bold style sense, fashion maven Esther Quek – the editor of CitizenK Arabia – is shaking up the style scene in Dubai and beyond, but still dreams of eating wanton mee in her home country.
Much like the identity of the quarterly magazine she edits, Quek’s style is contrarian, assured and unshrinking. With her sharply tailored suits, fearless styling and gravity-defying platinum locks, she’s a paparazzi’s dream and an endless source of inspiration to her legion of Instagram followers.
A fearless lady, Esther Quek is the distinguished group fashion and beauty director of luxury publications in the Middle East, namely The Rake, Revolution and contributes frequently to Condé Nast Traveller. Hailing from Singapore, this veteran stylist and journalist has immersed herself in fashion and publishing for nearly a decade. Esther is a regular on the international fashion circuit, and has been heralded as one of the influential style icons working in fashion today. Her sense of style and undeniable charm has seen her grace the pages of many fashion titles including Vogue and Style.com. Her illustrious career has flourished as she has continually proven herself to be an integral part in shaping fashion and the images of her global followers. As well as a style expert in the realms of fashion, beauty and lifestyle, Esther is respected for her creative work and comprehensive knowledge of the luxury world. After taking the bold step to move to Dubai, she makes her exceptional taste and expertise accessible to her growing audience. When she's not in the front row at fashion shows, Esther likes to travel to beach resorts, hunt for vintage dresses and watches, or find tailors who can create a perfect suit.
While researching fashion in the professional world of attorneys, I ran across this article that really expressed our views on the subject. Inside the wardrobe of legal drama Suits
Jolie sources much of the cast’s wardrobe from vintage and department stores in Toronto, where Suits is filmed, and makes trips to New York and Los Angeles, visiting consignment stores for one-off pieces and details like ties, cufflinks, collars or shoes that make the characters feel invested, she says. “It’s harder and harder to find really great pieces but I scour those stores all the time to see what’s different, to see what I’ve missed.”
For the women on Suits, Andreatta says she uses a lot of consignments. “The clothes are recycled, which is wonderful, and they’re insanely good quality. I find Dior, Chanel—and I use a lot of it—but it’s consignment.”
Andreatta suggests scouring vintage stores and online sites to add personality and to find designer pieces at a fraction of the cost. “Never be afraid of tailoring: Don’t be afraid to take it in and cut it up. If a jacket is too long, don’t be afraid to cut 5 inches out of it. Or you could cut a lapel down” to update a look and fit, she says.
Andreatta began her career styling attorneys more than 20 years ago, when she and a friend would take racks of clothes into law firms and talent agencies. She says times have changed—the palette has expanded, allowing lawyers more license to inject fun elements into their wardrobes.
“Women lawyers I meet want to wear the items from Suits,” Andreatta says. “You want to look beautiful but not provocative. Even seven years ago, women were dressing to fit in, to challenge men—and that was their way to compete with their colleagues. Now, it’s stronger and more to their benefit to just be women.”
Female attorneys aren’t the only ones who can find areas of self-expression through fashion. On Suits, Andreatta allows the personality of the male characters to shine through in a variety of ways. She adds romanticism with a decorative pocket square; others are dressed in vintage ties or bespoke, Savile Row-style suits.
We offer a great selection of one of a kind statement cufflinks for women as well as ties and pocket squares to complete the Boss Lady look. Below some inspiration for you and some special pieces selected from our three stores.
The above slideshow is provided as inspiration highlighting the varied beautiful styling of french cuffs with cufflinks adorning them.
Shop Woman's Renaissance for the latest french cuff shirt listings!