the fabric the tabs are made from, and the gold print on leather of the maker's name are just so beautiful.
everything about old boots is just perfect.
Fletch, you see those gapless collars in teens-early 20s catalogues, though not as long pointed.
i would guess the ones in the film were a 70s throw-back to those early styles.
if you do it for a reason that's fine. from the 80s on it seemed that everyone who wore a bespoke suit had to have three visual cues to signpost the fact: the working cuff buttons open, prominent pick stitching around the lapels, and flashy lining (preferably red). thankfully all three have been...
i always thought leaving your working cuff buttons open was a bit naff too. a lazy way of saying "hey everyone, this is bespoke get it ? bespoke !".
now working cuff buttons and pick stitched lapels are done by every other brand and are no longer a quick signifier of a bespoke suit.
overall...
i was at a talk / interview once with Darius Khondji (cinematographer of Delicatessen) and he said that one of his personal dream projects would be a 16mm black and white version of On the Road, and he mentioned Robert Frank's photo book 'the Americans' as inspiration. i could see that working...
at the moment i prefer the 8 dart in any given fabric, but i don't think there are really any issues with using large or small scale patterns in either style. both work.
TT, you'd have to unpick the waistband (and waistband lining), turn the pleat around and re-sew it, but it should be fine and shouldn't effect the hang.
only thing that could go wrong is if the fabric has faded at all and exposes a dark bit behind the pleat; unlikely though.
i'm a fan of 30s Betty Boop. 30s Popeye is good too and has some inventive use of 3-D backgrounds, although the plots are a bit formulaic compared to the
more unpredictable, freewheeling, surreal Boop storylines.
also a fan almost anything directed by Chuck Jones (especially Roadrunner)...
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