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Justified – Raylan Givens’ Tan Suede Jacket

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Timothy Olyphant as Deputy U.S. Marshal Raylan Givens, armed with his BlackBerry and a Glock in this promotional still from Justified (Episode 1.02: “Riverbrook”)

Vitals

Timothy Olyphant as Raylan Givens, old school Deputy U.S. Marshal

Harlan County, Kentucky, Spring 2010

Series: Justified
Episodes:
– “Riverbrook” (Episode 1.02, Director: Michael Dinner, Air Date: March 23, 2010)
– “The Collection” (Episode 1.06, Director: Rod Holcomb, Air Date: April 20, 2010)
– “Veterans” (Episode 1.11, Director: Tony Goldwyn, Air Date: May 25, 2010)
Creator: Graham Yost
Costume Designer: Ane Crabtree

Background

In the second episode of Justified, Deputy U.S. Marshal Raylan Givens is assigned the unenviable task of escorting Dewey Crowe (the hilarious Damon Herriman) from jail to prison.

Perhaps to treat himself for taking on such a Herculean test of his patience, Raylan allows himself some gloating at the expense of the recently ventilated Boyd Crowder (Walton Goggins) and, following Dewey’s successful delivery to the Kentucky State Prison, stops off for some “road food”… and that’s when the action starts.

What’d He Wear?

Before the Justified costume design team settled on his denim trucker jacket, Raylan Givens’ off-duty outerwear was typically an unstructured tan suede sport jacket. (Although it would surely be inaccurately marketed as an “unstructured blazer” in the current menswear climate…)

This jacket only appears during the first season when Ane Crabtree was the show’s costume designer and, even then, predominantly at the outset of the second episode, “Riverbrook” (Episode 1.02). After Patia Prouty took over as the costume designer for the second season onward, it was never seen again.

Raylan's smirk isn't long for his face after facing the business end of an escaped convict's shotgun.

Raylan’s smirk isn’t long for his face after facing the business end of an escaped convict’s shotgun.

The unstructured jacket has three dark brown buttons down the front, although the short fishmouth-style notch lapels often flap back over the buttons since Raylan always wears it open. Two smaller buttons decorate each cuff.

A reasonable look for anyone's face upon the realization that some one-on-one time with Dewey Crowe is imminent.

A reasonable look for anyone’s face upon the realization that some one-on-one time with Dewey Crowe is imminent.

The jacket is fully lined in what appears to be taupe satin-finished rayon. There is a single vent in the back. The three outer pockets are all patch pockets with rounded bottoms. The large hip pockets close with a rectangular flap.

JUSTIFIED

In “Riverbrook” (episode 1.02), Raylan wears an indigo blue chambray shirt with white plastic buttons up the edge-stitched front placket to the collar, worn open with the top two buttons undone to reveal the white ribbed cotton sleeveless undershirt beneath it.

The two patch pockets on the chest have mitred bottom corners and close at the top through a white plastic button, and the left pocket has a stitched slot for a pen. Each cuff also closes with a single white plastic button.

JUSTIFIED

The shirt may be a darker version of the medium-sized Merona “denim shirt” included in a 2014 ScreenBid auction lot with another of Raylan’s first season outfits. If so, the choice to place Raylan in a budget shirt from Target’s house brand would be very on brand for the no-nonsense lawman who always puts function before fashion.

As of May 2017, Target currently offers a very similar woven cotton shirt, “Crafted by Lee”, albeit with metal buttons and pocket flaps.

When the jacket reappears in “The Collection” (episode 1.06) and “Veterans” (episode 1.11) later in the season, Raylan is now wearing it with a brown plaid flannel shirt half-buttoned over a beige cotton long-sleeve henley.

The plaid pattern consists of a large-scaled grid of thin beige shadow stripes, windowpaning over the shirt in sets of two spaced out a half-inch apart. The shirt itself has a front placket, flapped chest pockets, and buttoned cuffs.

Raylan confronts Boyd in the U.S. Marshals' office in "Veterans" (episode 1.11). Note the brown band on his wristwatch, swapped out from the black strap in "Riverbrook" (episode 1.02).

Raylan confronts Boyd in the U.S. Marshals’ office in “Veterans” (episode 1.11). Note the brown band on his wristwatch, swapped out from the black strap in “Riverbrook” (episode 1.02).

Raylan also wears a pair of classic Levi’s 501 jeans in dark blue stonewashed denim. Advertised by Levi’s as “The Original Button Fly Jean”, the straight-leg 501 jeans would be Raylan’s preferred bottom half for the show’s duration. In addition to the Levi’s site, you can pick up a pair of classic 501s from online retailers like Amazon.

A dazed Raylan.

A dazed Raylan.

Raylan’s light brown tooled leather belt is also likely from Levi’s, as his later belts would be, with brown embossed designs and a steel single-prong buckle. He clips his Deputy U.S. Marshal badge to the front of his belt, just to the right of the buckle.

Fixed to the right of his belt, Raylan wears the light brown full-grain leather Bianchi Model 59 Special Agent® thumb break paddle holster, model #19128, for a smooth right-handed draw of his full-size Glock 17.

Raylan is even forced to surrender his backup weapon at the hands of the fugitive criminals in "Riverbook" (episode 1.02), giving viewers a good look at his belt and holster as well as the distinctive red tag of his Levi's jeans.

Raylan is even forced to surrender his backup weapon at the hands of the fugitive criminals in “Riverbook” (episode 1.02), giving viewers a good look at his belt and holster as well as the distinctive red tag of his Levi’s jeans.

The embossed tooling of his brown leather belt coordinates with his slightly darker but equally decorative custom Lucchese cowboy boots in “cigar” brown ostrich leg.

Raylan steps out in "Veterans" (episode 1.11).

Raylan steps out in “Veterans” (episode 1.11).

After switching between a Rolex and a TAG Heuer in the pilot episode, “Riverbrook” (episode 1.02) establishes the latter as Raylan’s everyday timepiece.

He wears a brushed steel Series 6000 Chronometer with a white dial, switching between a black debossed leather strap (as seen in “Riverbrook”) and a brown alligator strap (as seen with his browner outfit in “The Collection” and “Veterans”).

JUSTIFIED

Career criminal Douglas Cooper (Chris Ellis) immediately finds himself on Raylan’s bad side by purloining the lawman’s treasured cowboy hat, a sahara tan cattleman’s hat in 200XXX beaver, custom made by Baron Hats of Hollywood for their long-time customer and fan Timothy Olyphant to wear on the show.

In addition to the 4.25″ crown and 3.25″ “Prairie Wave” brim, the hat – marketed as The RG by Baron Hats – has a brown hand-tooled 3/8″-wide leather band with a steel Ranger-style buckle on the left.

"Honestly? I tried it on one time, and it fit," is Raylan's explanation for his iconic hat when questioned later by Rachel in "Riverbrook" (episode 1.02).

“Honestly? I tried it on one time, and it fit,” is Raylan’s explanation for his iconic hat when questioned later by Rachel in “Riverbrook” (episode 1.02).

Old school cowboy cop that he is, Raylan also wears a sterling silver horseshoe ring on the third finger of his right hand, channeling the preferred transportation of spiritual forebears like Wyatt Earp and Bat Masterson.

How to Get the Look

Before a layered denim trucker jacket and jeans was firmly established as his standard off-duty look, Raylan Given’s preferred casual attire consisted of this unstructured suede jacket and jeans that, when paired with a cowboy hat and boots, is certainly reminiscent of the traditional Western lawman.

  • Tan suede single-breasted unstructured sport jacket with three-button front, short fishmouth notch lapels, patch breast pocket, flapped patch hip pockets, decorative 2-button cuffs, and single back vent
  • Indigo blue chambray shirt with front placket (with white plastic buttons), button-through patch pockets on chest, and button cuffs
  • Dark blue stonewashed denim Levi’s 501 straight-leg button-fly jeans
  • Brown tooled leather belt with squared steel single-prong buckle
  • Tan full-grain leather Bianchi Model 59 Special Agent® paddle holster for a full-size Glock pistol
  • Lucchese cigar-colored brown ostrich leg Western-style boots with decorative stitched calf leather shafts
  • White ribbed cotton sleeveless undershirt/A-shirt
  • Baron Hats “The RG” sahara tan 200XXX beaver cattleman’s hat with a thin tooled leather band
  • TAG Heuer Series 6000 Chronometer wristwatch with brushed steel case, white dial, and black alligator strap
  • Sterling silver horseshoe ring with braided side detail

I can’t testify personally to its quality, but one of the closest examples I’ve been able to find online is this “Sublime Suede Pickstitch Blazer” (link) from Territory Ahead for $375, although it lacks the patch pockets of Raylan’s jacket.

The Guns

At the sound of a pump shotgun being chambered behind him, Raylan Givens’ hand flies to the Glock 17 worn in a Bianchi holster on the right side of his belt.

“There’s no way in hell you’re gonna be able to draw and fire before your head comes off,” warns the shotgun-toting Cooper behind him. “I could get him,” assures Raylan, indicating the possible fate of the dimwitted Price in front of him.

Raylan doesn’t make much of an effort to conceal the Glock on his belt, but a more experienced crook like Cooper knows that a guy like Raylan is almost certainly carrying a backup piece.

“And your backup,” instructs Cooper, and the not-oft-foiled Raylan is forced to reach behind his back to slowly produce the subcompact Glock 26 pistol that he occasionally is seen carrying as a secondary sidearm.

Raylan is forced to hand over his backup Glock 26.

Raylan is forced to hand over his backup Glock 26.

The Glock 26 was developed in 1995, introduced as a concealed carry alternative aimed for the civilian market. Chambered for 9x19mm Parabellum, the Glock 26 feeds from a standard magazine of 10 rounds, but – like most of Glock’s subcompact pistols – is designed to feed magazines interchangeable between models of the same caliber; thus, the Glock 26 can also feed from the full-size Glock 17’s standard 17-round magazine and the compact Glock 19’s standard 15-round magazine.

The relationship of service and subcompact Glocks can also be found in the film U.S. Marshals (1998), when Deputy U.S. Marshal Samuel Gerard (Tommy Lee Jones) is forced to hand over both his .40-caliber full-size Glock 22 and its subcompact .40-caliber variant, the Glock 27, as he boards a plane.

In addition to being Raylan’s backup weapon for at least the first four seasons of the show, the Glock 26 is also prominently featured on Justified as the standard sidearm of Deputy U.S. Marshal Rachel Brooks (Erica Tazel).

Do Yourself a Favor and…

Buy the entire series. The screenshots featured here are from the first season.

The Quote

What you’ll have to do now is ride the rap, as they say. That’s all anybody has to do.



McQ’s Navy Blazer and 1973 Trans Am

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John Wayne as Det. Lon "McQ" McHugh in McQ (1973), armed in front of his 1973 Pontiac Firebird Trans Am.

John Wayne as Det. Lon “McQ” McHugh in McQ (1973), armed in front of his 1973 Pontiac Firebird Trans Am.

Vitals

John Wayne as Lon “McQ” McHugh, taciturn Seattle PD lieutenant

Seattle, Fall 1973

Film: McQ
Release Date: February 6, 1974
Director: John Sturges
Wardrobe Credit: Luster Bayless

Background

It’s no Hollywood secret that McQ was originally developed as a vehicle for Steve McQueen. Five years after McQueen sat behind the wheel of a hunter green Mustang GT390 careening through the streets of San Francisco in Bullitt, the role of gruff Seattle police lieutenant Lon McHugh was retooled for screen legend John Wayne, who took on his first detective role at the age of 66.

Wayne, whose entire left lung had been surgically removed after a bout with cancer a decade earlier, could only walk short distances without needing oxygen – much to the chagrin of director John Sturges – but still turned in a surprisingly energetic performance as a cop who combines Dirty Harry’s stubborn grit with Bullitt’s propensity toward speeding around the city in a sporty dark green American muscle car.

What’d He Wear?

In McQ, John Wayne sets aside his stockade jacket, silverbelly hat, and cowboy boots for a contemporary and all-American urban casual ensemble of a navy blazer, polo shirt, brown trousers, and loafers.

The dark navy wool blazer has medium-width notch lapels that roll to three plain brass shank buttons on a single-breasted front. There are two smaller non-functioning buttons on each sleeve cuff. The blazer has a welted breast pocket and jetted hip pockets. The shoulders are padded with roped sleeveheads.

With its medium-width lapels and conservative styling, Lieutenant McHugh’s blazer is essentially timeless, with the only possible concession to the era being the extended length of the double vents. The vents may have been cut long to work better with John Wayne’s 6’4″ height.

Lt. McHugh wears his navy blazer with vivid colored polos, adding a colorful touch to an otherwise conservative ensemble.

Lt. McHugh wears his navy blazer with vivid colored polos, adding a colorful touch to an otherwise conservative ensemble.

A similar hopsack blazer was included in a Julien’s Live auction in 2007 (link), though it was incorrectly listed as “worn by John Wayne in ‘McQ’;” the blazer actually worn in McQ has plain brass shank buttons rather than crested silver buttons and does not have patch pockets. The auction does provide some insight into Wayne’s size, as the Western Costume label reads a 46 chest and 19 sleeve.

After foiling an attempt to steal his car, McHugh arrives at work in a navy windbreaker, brown trousers, and royal blue short-sleeve polo shirt. He removes the windbreaker in the police station’s parking garage, replacing it with the more office-appropriate navy blazer.

I can’t confirm the material of McHugh’s polo shirts, but – given the appearance, the era, and some similar vintage items that I own – I would guess that they are made from polyester, nylon, or some other synthetic fiber with stretch properties. The sleeves are elbow-length and the collar is shaped with long points that are enveloped by the blazer.

The blue polo has a long four-button placket with a large “X” stitched inside a rectangle at the bottom. The patch breast pocket has a slim, pointed flap that closes with a small white plastic button that matches the four on the placket.

McQ

Later, McHugh wears the same outfit with a similarly styled polo in light yellow. This is the shirt that he wears during the film’s main car chase.

Check out that collar!

Check out that collar!

McHugh wears dark brown wool flat front trousers with frogmouth front pockets and plain-hemmed bottoms. He wears a black leather belt through the trousers’ wide belt loops, with a black leather holster on his left side that offers him a right-handed cross-draw for his 2″ barreled revolver (he begins carrying his off-duty Smith & Wesson Model 10 after surrendering his backup Colt Python to his superiors.)

McQ confronts his superiors before being forced to turn over yet another of his revolvers.

McQ confronts his superiors before being forced to turn over yet another of his revolvers.

McHugh wears a pair of brown leather apron-toe penny loafers with black socks.

By the mid-1970s, loafers were the business shoe of choice for many Americans.

By the mid-1970s, loafers were the business shoe of choice for many Americans.

John Wayne wears a simple brass Montagnard bracelet on his right wrist, gifted to him by the indiginous Montagnard people of Vietnam during the filming of The Green Berets in 1968. Modern Forces Living History Group reports that many American servicemen returned from Vietnam with these bracelets from the tribe, signifying friendship or respect. Manready Mercantile offers a striking replica of the “Montagnard Bracelet” in brass, copper, or steel (link), where they explain that “not only did Duke don the bracelet on his wrist until the day he passed, it’s said he lays with it to this day.”

McQ flashes his bracelet and watch while bracing a drug pusher.

McQ flashes his bracelet and watch while bracing a drug pusher.

On his left wrist, McHugh wears a gold chronograph on an olive drab vinyl strap, worn in the same manner as many military or ex-military operators with the face on the inside of his wrist. The silver dial has three sub-dials.

How to Get the Look

John Wayne brings sensibilities of traditional style to his role as urban cop Lon McHugh, sticking to a base outfit of navy blazer and bright-colored polo with brown trousers and slip-ons.

  • Dark navy hopsack wool single-breasted 3-button blazer with welted breast pocket, straight jetted hip pockets, 2-button cuffs, and double vents
  • Royal blue or bright yellow polyester short-sleeve polo shirt with 4-button placket and breast pocket (with button-down pointed flap)
  • Dark brown wool flat front trousers with belt loops, frogmouth front pockets, and plain-hemmed bottoms
  • Black leather belt with squared brass single-prong buckle
  • Black leather cross-draw holster, for 2″-barreled revolver
  • Brown leather apron-toe penny loafers
  • Black socks
  • Plain brass “Montagnard Bracelet”
  • Yellow gold chronograph wristwatch with silver dial (with three sub-dials) and olive vinyl buckle-strap

The Car

Tough cops in this era seemed to have an affinity for dark green American muscle cars. In McQ, John Wayne drives a 1973 Pontiac Firebird Trans Am in the somewhat rare color of Brewster Green.

Due to his height and reduced agility, John Wayne reportedly had to enter McQ’s Trans Am by sliding in with his right leg first while tilting to the left to allow room for his entire 6’4″ frame. When he first gets in the car to pursue the laundry truck after the drug heist, he tries to enter head first, an attempt which was undoubtedly foiled by the car’s relatively limiting 37.5-inch headroom (more than half the size of John Wayne’s height).

McQ stops by the side of the road in his Trans Am.

McQ stops by the side of the road in his Trans Am.

The second generation of the Pontiac Firebird, produced from 1970 to 1981, continued to share GM’s F-body platform with the Chevy Camaro, but only Pontiac offered the massive 7.5 L big block engine during this generation. (Chevrolet had planned to include a 454 V8 in this generation’s Camaro, but this concept never extended beyond technical manuals.)

The 1973 model year saw the introduction of the Super Duty 455 (SD-455) V8 engine, rated at 290 SAE net horsepower. The only other available option was the standard 455 cubic-inch V8. According to contemporary tests in Hot Rod, a standard 455-equipped T/A could complete a quarter mile in 13.5 seconds with a top speed of 104 mph.

As only 252 of the 4,802 T/A Firebirds produced in 1973 had the SD-455 engine, the Trans Am featured in McQ almost certainly has the standard 455 V8 engine.

1973 Pontiac Firebird Trans Am

Body Style: 2-door hardtop coupe

Layout: front-engine, rear-wheel-drive (RWD)

Engine: 455 ci (7.5 L) Pontiac 455-4 V8

Power: 250 hp (190 kW; 258 PS) @ 4000 rpm

Torque: 370 lb·ft (502 N·m) @ 2800 rpm

Transmission: 4-speed Borg Warner Super T-10 manual

Wheelbase: 108 inches (2743 mm)

Length: 192.1 inches (4879 mm)

Width: 73.4 inches (1864 mm)

Height: 50.4 inches (1280 mm)

All 1973 Firebirds, from the 250 cubic-inch six-cylinder base model up to the top Trans Am performance model, came standard with a manual transmission with GM’s Hydra-matic automatic transmission available as an option across the board. An observant commentor at IMCDB notes that the sound of McQ’s Pontiac in lower gears sounds more like the Borg Warner Super T-10 transmission rather than the louder Muncie M-22, which GM discontinued in early 1973.

At least two different Trans Ams appear to have been used during the production of McQ, one with a license plate of ICG 587 (seen above) and another registered as BRN 952 (seen below).

Note the BRN 952 license plate on this Trans Am.

Note the BRN 952 license plate on this Trans Am.

If you’ve got $150,000 to spare, you can pick up your own pristine 1973 Pontiac Trans Am in Brewster Green from this Tennessee seller… and this one is even loaded with the high-performance SD-455 V8!

The Gun

Police officers were still primarily armed with revolvers in the 1970s, and Lieutenant McHugh cycles through three distinct ones in the film’s earlier half; all three are eventually taken by his superiors over the course of the movie. He begins with a full-length Colt Python and a snub-nose Colt Python, the latter of which he wears in his belt holster.

After both Pythons are surrendered to his bosses, McHugh arms himself with his off-duty piece, a Smith & Wesson Model 10 with a 2″ barrel. Chambered in .38 Special, the 2″-barreled Model 10 is the prototypical “belly gun” favored by gangsters and cops in old movies. Smith & Wesson developed the five-shot “Chiefs Special” Model 36 for just that purpose in 1950, but the larger-framed Model 10 “Military & Police” with its six-shot capacity is a better fit for a big guy like John Wayne.

(It’s worth noting that the Seattle Police Department actually issued the Smith & Wesson Model 10-2, albeit with the standard 4″ barrel, to all officers from 1962 to 1995.)

The force created from a .38 Special going off inside the close quarters of a Pontiac Trans Am would surely be enough to deafen. Luckily, John Wayne practices smart trigger safety.

The force created from a .38 Special going off inside the close quarters of a Pontiac Trans Am would surely be enough to deafen. Luckily, John Wayne practices smart trigger safety.

After his superiors take away his third revolver in a row, McHugh decides that he’s mad as hell and not gonna take it anymore. He heads to a gun store and picks up a Browning Hi-Power, followed by a suppressed MAC-10 that he uses to great effect during the film’s climax.

Not your typical day at the shooting range...

Not your typical day at the shooting range…

Do Yourself a Favor and…

Buy the movie.


Jimmy Stewart’s Green Sweater in Vertigo

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James Stewart as John "Scottie" Ferguson in Vertigo (1958)

James Stewart as John “Scottie” Ferguson in Vertigo (1958)

Vitals

James Stewart as John “Scottie” Ferguson, former San Francisco detective

San Francisco, Fall 1957

Film: Vertigo
Release Date: May 9, 1958
Director: Alfred Hitchcock
Costume Designer: Edith Head

WARNING! Spoilers ahead!

Background

San Francisco has always been a popular setting for detective movies. From 1940s film noir like The Maltese Falcon through the gritty ’60s and ’70s era with movies like BullittDirty Harry, and McQ, Hollywood has made the most of its picturesque neighbor to the distant north.

Though Alfred Hitchcock had filmed in the Bay area before, Vertigo was his first cinematic effort actually set in San Francisco and he makes the most of his setting.

One pivotal scene finds Jimmy Stewart’s ex-cop character Scottie Ferguson on the trail of “Madeleine” (Kim Novak), a mysterious beauty who he was asked to tail by an old college buddy who was concerned about his wife’s activities. Scottie’s surveillance leads him to the San Francisco Bay itself, where he arrives just in time to fish Madeleine out after an apparent suicide attempt.

Today’s post is the first of two this week to feature a San Francisco cop clad in a green V-neck sweater after a pivotal run-in with a blonde femme fatale…

What’d He Wear?

“Scottie, in a pair of grey trousers and an old sweater, is wandering about the room, trying to think things out,” describes Alec Coppel and Samuel Taylor in their original screenplay for Vertigo.

Scottie spends most of the film in suits or sport jackets with ties, but he chooses a more dressed down approach after fishing Madeleine out of San Francisco Bay, sporting a V-neck sweater in a peaceful, muted shade of green with a white shirt and dark gray pleated slacks. The sweater has a ribbed hem and long ribbed cuffs.

Scotty exudes earthy comfort in his soft moss-toned sweater.

Scotty exudes earthy comfort in his soft moss-toned sweater.

Scottie’s white poplin shirt appears to be one of his usual dress shirts with a front placket and two-button rounded cuffs. He wears it sans tie and open at the neck here, allowing the long point collar to flap over the neck opening of his sweater.

The v-shaped neckline of Scottie's sweater revealing just enough of the shirt without showing the second button.

The v-shaped neckline of Scottie’s sweater revealing just enough of the shirt without showing the second button.

When not wearing a full suit, Scottie’s trousers of choice are a pair of dark gray pleated flannels. In addition to this scene, he also appears to wear them with his brown birdseye tweed sport jacket and the blue ribbed knit cardigan.

The dark gray pleated slacks have a full fit characteristic to the ’50s with double reverse pleats and cuffs (turn-ups) on the bottoms. The high rise keeps the waistband mostly concealed under his sweater, but he bends over to reveal a slim black leather belt around his waist. There is a straight pocket along each side seam and two jetted back pockets; only the left back pocket appears to have a button closure.

For as swanky as his living room is, Scottie's kitchen could use some work.

For as swanky as his living room is, Scottie’s kitchen could use some work.

Scottie still wears his well-traveled cordovan brown leather oxford brogues with medallion perforated wingtips. His socks appear to be black.

VERTIGO

Scottie’s wristwatch is yellow gold with a round case and a black ring on the white dial, worn on a black leather strap.

Scottie's watch pokes out from under the sleeve of his sweater as he hands Madeleine a much-needed cup of coffee.

Scottie’s watch pokes out from under the sleeve of his sweater as he hands Madeleine a much-needed cup of coffee.

Go Big or Go Home

…and Scottie’s home is a swell one!

Scottie’s apartment is located in Russian Hill, one of the original “Seven Hills” of San Francisco. The exterior shots were filmed at 900 Lombard Street, placing his bachelor pad about a block away from the famous steep and winding thoroughfare claimed to be “the crookedest street in the world.”

Inside, Scottie’s abode is decked out to define masculine mid-century modern. The long, low sofa is upholstered in a flecked taupe fabric, there’s a burgundy leather chair and ottoman for reading important books, and the entire back wall is a window shaded with Venetian blinds and peach curtains battling for supremacy at perpendicular angles.

To read more about Scottie’s apartment, check out this well-researched piece from Reel SF.

Scottie lights a thoughtful fire, aware of the fact that the shivering stranger that he fished out of the cold San Francisco Bay and placed naked in his bed might appreciate some warmth.

Scottie lights a thoughtful fire, aware of the fact that the shivering stranger that he fished out of the cold San Francisco Bay and placed naked in his bed might appreciate some warmth.

Interested in putting together your own mid-century aesthetic for your own residence? Check out Primer’s Mid Century Modern on a Dime for tips.

How to Get the Look

Scottie takes a classic and comfortable approach to his casual attire for a night in, pulling together several menswear staples for a timeless ensemble.

  • White poplin dress shirt with long point collar, front placket, and 2-button rounded cuffs
  • Green wool v-neck sweater with ribbed cuffs and hem
  • Dark gray flannel double reverse-pleated trousers with belt loops, straight/on-seam side pockets, jetted back pockets, and turn-ups/cuffs
  • Slim black leather belt
  • Cordovan leather wingtip oxford brogues
  • Black socks
  • Gold wristwatch with round case, black-ringed white dial, and black leather strap

Do Yourself a Favor and…

Buy the movie.


Basic Instinct: Black Bomber Jacket and Jeans

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Michael Douglas as Nick Curran in Basic Instinct (1992)

Michael Douglas as Nick Curran in Basic Instinct (1992)

Vitals

Michael Douglas as Nick Curran, suspended homicide detective

San Francisco, April 1991

Film: Basic Instinct
Release Date: March 20, 1992
Director: Paul Verhoeven
Costume Designer: Ellen Mirojnick

Background

The nylon bomber jacket has made a comeback in recent years with few knowing the story of its all-too appropriate name, developed as the “MA-1” in the 1950s for American bomber pilots to replace the older B-15 flight jacket. Two decades later, the bomber jacket hit the civilian market with manufacturers like Alpha Industries introducing it to new audiences in colors other than the standard military olive drab. It was further popularized in TV and movies, including the almost ubiquitous appearance of an Alpha Industries MA-1 worn by Steve McQueen in The Hunter (1980).

Though the MA-1 bomber jacket was being phased out of active military use by the early ’90s, it still remained a staple of men’s casual wear and was a fitting choice as the go-to off-duty jacket worn by Michael Douglas’ fashionably tailored homicide detective Nick Curran in Basic Instinct.

What’d He Wear?

Having spent much of the early portion of Basic Instinct in custom tailored suits and shirts from Cerruti and Anto, respectively, the recently suspended Nick Curran makes the most of his suspension by noticeably dressing down for a night of clubbing with the mysterious Catherine Tramell (Sharon Stone).

Nick struts into the club wearing a large and loose sage green sweater with a ribbed waist hem and a deep v-neck. The sweater is rather nice, likely made from a luxurious soft wool like merino or cashmere, but Nick’s decision to wear it sans undershirt results in a somewhat sleazy effect that may fit in at a coked up den of iniquity like Johnny Boz’s club but doesn’t age the outfit well… plus a wool sweater against bare skin in a sweaty dance club won’t do any favors to the sweater or the skin.

Though a deep v-neck top with no undershirt is typically a bold choice best suited to only the most casual of situations, Nick Curran looks relatively conservative when compared to his fellow clubgoers (is that woman on the left just wearing a bra?)

Though a deep v-neck top with no undershirt is typically a bold choice best suited to only the most casual of situations, Nick Curran looks relatively conservative when compared to his fellow clubgoers (is that woman on the left just wearing a bra?)

Following his tryst with Catherine, Nick steps outside to find her with her sometime girlfriend Roxy (Leilani Sarelle). He’s zipped up to protect himself against the cold in a black nylon bomber jacket, complete with two snap-flapped hand pockets, a zippered patch pocket on his left sleeve with two pencil slots, and black ribbed knit collar, cuffs and blouson-style hem.

Michael Douglas is likely wearing an original Alpha Industries MA-1 jacket, still manufactured nearly five decades after they were introduced to the civilian market. You can pick one up in any of seven colors – including black – for $150 on Amazon or the Alpha Industries site, which suggests it as the perfect garment for “a spontaneous night in the city.” I’m sure Nick Curran would agree!

The morning after...

The morning after…

Not sure if a black nylon bomber jacket is right for you? (Spoiler: it probably is!) Try this affordable $30 Jackson™ bomber jacket from Target (link).

When meeting his partner, Gus “Cowboy” Moran (George Dzundza), to break the news about his amended nature of his association with the dangerous Miss Tramell, Nick wears the same outfit but with a dark burgundy knit polo shirt thankfully replacing the green sweater. The shirt has three large mother-of-pearl sew-through buttons on the top placket, and Nick curiously wears the shirt collar over the knit collar band of his jacket.

This was always a facial expression where Michael Douglas' resemblance to his father Kirk looks uncanny.

This was always a facial expression where Michael Douglas’ resemblance to his father Kirk looks uncanny.

Nick wears a pair of medium-light blue wash jeans with a straight leg and the familiar red tag on the back pocket indicating that these are likely Levi’s 505™ Regular Fit jeans in what would now be called “medium stonewash” denim. Marketed on the Levi’s site as “the original zip fly jeans,” the 505 Regular Fit was first created in 1967 and is currently celebrating its 50th year of production. Nick wears his Levi’s with a dark brown leather belt.

BASIC INSTINCT

Nick wears chestnut brown suede desert boots with brown socks, best seen when approaching Catherine the morning after their first night together.

At least it's a picturesque walk of shame!

At least it’s a picturesque walk of shame!

He is certainly meant to be wearing the same boots that evening with Gus, but a shot of Michael Douglas’ stuntman leaping out of the way of Roxy’s speeding Lotus reveals a pair of black leather trainers with flat soles.

An IMDB search informed me that this is likely stunt performer Michael Runyard. Props to you, Michael!

An IMDB search informed me that this is likely stunt performer Michael Runyard. Props to you, Michael!

Nick’s watch, a plain stainless wristwatch with a white dial and steel expanding bracelet, doesn’t get much screen time in this sequence, further evading any sort of positive identification.

How to Get the Look

Sharon Stone and Michael Douglas in a promotional image from Basic Instinct (1992)

Sharon Stone and Michael Douglas in a promotional image from Basic Instinct (1992)

Nick Curran’s bomber jacket, jeans, and desert boots are pure McQueen (and thus, highly BAMF-endorsed) but the deep v-neck without a shirt underneath? I bet you can find a way to do better!

  • Black nylon MA-1 bomber jacket with flap hip pockets, zip-up left sleeve pocket, and knit collar and cuffs
    • Alpha Industries MA-1 Flight Jacket: Amazon
  • Sage green soft wool v-neck long-sleeve sweater
  • Medium blue stonewash Levi’s 505 Regular Fit straight-leg denim jeans
    • Levi’s 505 Regular Fit Jeans: Amazon
  • Dark brown leather belt with single-prong buckle
  • Chestnut brown suede desert boots
  • Black socks
  • Stainless steel wristwatch with round white dial on steel expanding bracelet

Do Yourself a Favor and…

Buy the movie.

Footnotes

Looking for a more traditional way to sport an otherwise fine green v-neck sweater? Nick Curran also revives the sweater a few scenes later, this time layered over one of his attractive brown cotton Anto dress shirts.

Same sweater, different day.

Same sweater, different day.

You can also take notes from fellow former San Francisco detective John “Scottie” Ferguson (James Stewart) in Vertigo (1958), who wears a similar sweater with a plain white shirt as seen in Tuesday’s post.


Justified – Raylan’s Tan Suit Jacket and Jeans

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Timothy Olyphant as U.S. Marshal Raylan Givens in the pilot episode ("Fire in the Hole") of Justified.

Timothy Olyphant as U.S. Marshal Raylan Givens in the pilot episode (“Fire in the Hole”) of Justified.
(Photo by: Prashant Gupta, FX)

Vitals

Timothy Olyphant as Raylan Givens, proudly old-fashioned Deputy U.S. Marshal

Harlan County, Kentucky, March 2010

Series: Justified
Episode: “Fire in the Hole” (Episode 1.01)
Air Date: March 16, 2010
Director: Michael Dinner
Creator: Graham Yost
Costume Designer: Ane Crabtree

Background

BAMF Style concludes this weeklong focus on first episodes with an outfit from the pilot of Justified, one of my favorite modern crime shows.

Justified‘s pilot has a special place in my heart for being filmed in southwestern Pennsylvania, just outside my hometown of Pittsburgh. According to a June 2009 article in the Pittsburgh Post-Gazette, the region was chosen for both aesthetic and practical reasons as a viable double for the South but with a tax rebate for film and TV productions that Kentucky doesn’t offer (or at least didn’t offer at the time.)

The pilot mostly follows the plot of Elmore Leonard’s short story “Fire in the Hole”, named for the signature catchphrase of criminal Boyd Crowder (Walton Goggins). Deputy U.S. Marshal Raylan Givens (Timothy Olyphant) is recalled to his home region of eastern Kentucky, an area proud of its coal-mining roots. In fact, Raylan had once dug coal with Boyd, who has used white supremacy as his ticket to attracting a gang of hoodlums that support his lifelong ambition of blowing shit up.

As tensions escalate throughout the episode, the trigger-happy Raylan finds himself sitting across the dinner table from the wild-eyed Boyd… each man armed with a .45 as Boyd’s fiery sister-in-law Ava (Joelle Carter) stands over the scene with a shotgun.

What’d He Wear?

After making his move to Kentucky, Raylan Givens re-purposes the jacket from the tan lightweight wool suit that he wore in the opening of the episode while serving as a Deputy U.S. Marshal in Miami.

The single-breasted suit jacket has slim notch lapels, a welted breast pocket, and straight flapped hip pockets with pick stitching throughout.

JUSTIFIED

The tan suit jacket has two brown horn buttons that he wears open as well as four smaller brown horn buttons on each cuff. A brief shot of Raylan performing a one-handed brass check on his 1911-style pistol (see “The Gun” section below) gives a glimpse of the suit’s white-and-blue striped lining, a lining that I’ve seen on suits from Nautica and Tommy Hilfiger although Raylan has also been known to be dressed in Banana Republic suits.

The jacket’s straight padded shoulders and suppressed waist develop the silhouette of the strong Western lawman, though the slight bunching over his holster on his right hip may explain why Raylan switches to darker suits and sport jackets through the rest of the series’ run.

Raylan defines cool, calm, and collected as he stands before a .45-waving Boyd Crowder.

Raylan defines cool, calm, and collected as he stands before a .45-waving Boyd Crowder.

Raylan wears a black cotton long-sleeve shirt with a spread collar, front placket, and patch pocket on the left breast. The rounded cuffs are fastened with a single button.

JUSTIFIED

Raylan opts for jeans even with his business suit jackets, so this dressed-down occasion is no exception. His jeans are a rich dark blue denim with a low rise and straight fit through the legs. They are likely Levi’s due to his known preference for the Levi’s 501™ Original Fit jeans through the rest of the series as well as the signature “Arcuate Design” stitching on the back pockets. (Levi Strauss includes “arcuate” among the many helpful terms in its online Denim Dictionary.)

Raylan prepares for a dangerous evening encounter.

Raylan prepares for a dangerous evening encounter.

Raylan would also wear Levi’s belts later in the series, but a reader commented on an earlier Raylan post that he was wearing belts from Chambers in the first few episodes. The belt isn’t seen closely enough to discern exact detail in this episode, but it’s dark brown tooled leather with a large steel single-prong buckle. Fastened to the right side of his belt is a tan-finished full-grain leather holster for his sidearm, in this case a compact 1911-variant Colt pistol. In subsequent episodes, he would carry his USMS-issued full-size Glock in a Bianchi Model 59 Special Agent® thumb break paddle holster.

Raylan’s tooled brown leather belt coordinates nicely with the rugged textured of his custom Lucchese anteater cowboy boots, which would be replaced by ostrich leg boots from the second season onward.

The "Harlan County" courthouse on screen is actually the Washington County Court of Common Pleas, built in Washington, PA at the turn of the century at the then-extravagant cost of $1 million.

The “Harlan County” courthouse on screen is actually the Washington County Court of Common Pleas, built in Washington, Pennsylvania, at the turn of the century at the then-extravagant cost of $1 million.

Reportedly, Timothy Olyphant had approached Hollywood hatmaker Baron Hats to create Raylan’s signature headgear, a sahara tan cattleman’s hat in 200XXX beaver that Baron Hats now markets as “The RG”, in an obvious nod to our protagonist. However, some readers have commented that Raylan’s hat is clearly a Stetson “Carson” hat (which would be re-branded and re-banded for sale as the “Marshall” due to its association with Justified.)

Either way, the hat is truly the stuff of classic Western heroes with its tall 4.25″ crown, 3.25″ brim, and the slim tooled brown leather hat band with a three-piece buckle set.

Though the interior of the courthouse was in Washington, Pennsylvania, Raylan and Ava find themselves on the balcony of the Armstrong County Courthouse in Kittanning, 70 miles northeast, with the city's famous Citizens Bridge in the background between them. This bridge would also famously be featured in The Mothman Prophecies (2002).

Though the interior of the courthouse was in Washington, Pennsylvania, Raylan and Ava find themselves on the balcony of the Armstrong County Courthouse in Kittanning, 70 miles northeast, with the city’s famous Citizens Bridge in the background between them. This bridge would also famously be featured in The Mothman Prophecies (2002).

The first episode establishes Raylan’s single piece of jewelry, a sterling silver horseshoe-shaped ring that he would wear on the third finger of his right hand for the duration of the series.

Dirty phone.

Dirty phone.

Before his sportier TAG Heuer would become Raylan’s watch of choice, Timothy Olyphant wore a stainless steel Rolex Submariner in several scenes of the pilot with the distinctive “Oyster”-style link bracelet prominently seen as he lights Ava’s cigarette for her.

Only the Oyster bracelet is visible here, but other scenes (featuring other outfits) plainly show Raylan wearing a Rolex Submariner.

Only the Oyster bracelet is visible here, but other scenes (featuring other outfits) plainly show Raylan wearing a Rolex Submariner.

“Fire in the Hole” marks the one and only appearance of Raylan’s tan suit jacket. The only other time he would wear a tan jacket is his more casual suede coat seen in a few following episodes in the first season.

How to Get the Look

Raylan Givens re-purposes an orphaned tan suit jacket with a black shirt and dark jeans as he finds his new look in his old hometown.

  • Tan lightweight wool single-breasted 2-button suit jacket with slim notch lapels, welted breast pocket, straight flapped hip pockets, 4-button cuffs, and single back vent
  • Black cotton long-sleeve shirt with spread collar, front placket, breast pocket, and 1-button rounded cuffs
  • Dark blue denim Levi’s 501™ Original Fit jeans
  • Light tan 200XXX beaver cattleman’s hat with a thin tooled leather band
  • Lucchese brown anteater cowboy boots
  • Dark brown tooled leather belt with steel single-prong buckle
  • Tan full grain leather Bianchi Model 59 Special Agent® paddle holster for a SIG-Sauer P226
  • Rolex Submariner stainless steel dive watch with black bezel and dial and “Oyster” link bracelet
  • Sterling silver horseshoe ring with braided side detail

The Gun

A classic 1911 is a fitting choice for a tough, old school lawman like Raylan Givens, though it’s only seen as his sidearm of choice in the pilot episode before switching to his Marshal-issued Glock 17.

Having presumably had his SIG-Sauer P226 used in the Miami shooting suspended, Raylan arms himself with a compact 1911-series pistol for the final act of “Fire in the Hole”. The experts at IMFDB identified the firearm specifically as a custom Colt Officer’s Enhanced Mark IV.

Raylan performs a one-handed brass check on his subcompact Colt. Don't try this at home.

Raylan performs a one-handed brass check on his subcompact Colt. Don’t try this at home.

The Colt Officer’s Enhanced Mark IV is a variant of the 3.5″-barreled subcompact Colt Officer’s ACP pistol introduced by Colt in 1985 as a response to the many downsized 1911 pistols being produced by competitors like Detonics and Rock Island Arsenal. The Colt Officer’s ACP would make its first prominent screen appearance in the hands and holster of Al Pacino’s character Lieutenant Vincent Hanna in Heat.

According to IMFDB, Raylan’s custom pistol is differentiated by its “added beveled mag well, 3 hole combat trigger, and Novak sights.”

Raylan keeps his pistol trained on Boyd after firing a shot over Ava's dining room table. Based on the position of the slide, it appears to have jammed.

Raylan keeps his pistol trained on Boyd after firing a shot over Ava’s dining room table. Based on the position of the slide, it appears to have jammed.

Do Yourself a Favor and…

Check out the first season but watch the whole show.

The source material, Elmore Leonard’s short story “Fire in the Hole”, is also excellent reading.

The Quote

You make me pull, I’ll put you down.

Gallery

Timothy Olyphant photographed on location in southwestern Pennsylvania, June 2009. Co-stars Joelle Carter and Timothy Olyphant during a break from filming at the courthouse in Washington, PA. Production photo of Timothy Olyphant and Joelle Carter. Production photo of Timothy Olyphant as Raylan Givens, taken by FX photographer Prashant Gupta.

John Wayne’s Plaid Sportcoat in Brannigan

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John Wayne as Lt. Jim Brannigan in Brannigan (1975)

John Wayne as Lt. Jim Brannigan in Brannigan (1975)

Vitals

John Wayne as Jim Brannigan, tough Chicago PD lieutenant

London, Fall 1974

Film: Brannigan
Release Date: March 26, 1975
Director: Douglas Hickox
Wardrobe Credit: Emma Porteous

WARNING! Spoilers ahead!

Background

If McQ was John Wayne’s Dirty Harry, then its spiritual successor Brannigan was his Coogan’s Bluff, a “fish out of water” cop film that finds the Duke’s taciturn American lawman in London to secure the extradition of arch-criminal Ben Larkin (John Vernon) under the watchful – and often judgmental – eye of the quintessentially English Scotland Yard Commissioner Swann (Richard Attenborough).

Beer mugs and bullets fly as Brannigan pursues the supposedly kidnapped Larkin, all the while evading deadly traps from double-barreled shotguns to combustible commodes à la Lethal Weapon 2.

Thank you to Craig, a great BAMF Style reader and Patreon supporter, who has also lent support by sending his personal DVD copy of Brannigan (in addition to several other films) to allow me the opportunity to take screenshots and write about this much-requested film.

What’d He Wear?

For most of his adventures in London, Brannigan wears a plaid jacket, grenadine tie, and brown trousers that he occasionally punches up with a sweater vest. As John Wayne was influenced to star in McQ and Brannigan after the success of the Dirty Harry franchise that he had initially turned down, the outfit may be a nod to Clint Eastwood’s similar ensemble of a brown plaid jacket, sweater vest, and tie in the first Dirty Harry film.

The Staples

Brannigan’s flannel wool sport jacket consists of a brown, beige, and rust plaid on a muted tan ground. The jacket has notch lapels with a light brown felt undercollar revealed when Brannigan wears the collar flipped up.

BRANNIGAN

The single-breasted sportcoat has a low two-button front with brown horn buttons that match the two spaced non-functional buttons on each cuff. The ventless jacket has natural shoulders with roped sleeveheads, a welted breast pocket, and straight welted – rather than jetted, flapped, or patch – hip pockets.

Brannigan investigates the second of two deadly traps set for him in his rented London pad, this one of a more lavatorial nature.

Brannigan investigates the second of two deadly traps set for him in his rented London pad, this one of a more lavatorial nature.

Brannigan wears a pair of brown wool plain front trousers that appear to be shaped with darts over the front, adhering to flat front-friendly ’70s fashions while  providing a roomier fit over John Wayne’s hips. Speaking of ’70s fashions, these slacks also have “frogmouth” front pockets and slightly (but only slightly) flared plain-hem bottoms, both of which were popular during the decade. Brannigan wears a wide brown leather belt with a squared brass single-prong buckle.

Promotional photo of John Wayne in Brannigan, set during the film's climactic final gunfight.

Promotional photo of John Wayne in Brannigan, set during the film’s climactic final gunfight.

Brannigan antagonizes the staid Commissioner Swann by insisting on continuing to wear his sidearm in London, carrying his 4″-barreled Colt Diamondback revolver in a brown mahogany leather holster with a snap-fastened retention strap on his right hip, similar to this saddle leather Galco “DAO” holster.

BRANNIGAN

By the 1970s, the slip-on loafer had risen through the hierarchy of the sartorial world to such a level of acceptance that Roger Moore even wore them with James Bond’s signature dinner jackets in The Man with the Golden Gun (1974), The Spy Who Loved Me (1977), and Moonraker (1979).

Brannigan wears a pair of brown leather loafers with a split moc-toe and a half-strap across the vamp with a small brass buckle on the outside of each shoe. The purely decorative buckle is rectangular with a single bar across the opening, similar to these shoes I found on Pinterest.

The brass decoration on Brannigan's loafers may help identify their manufacturer.

The brass decoration on Brannigan’s loafers may help identify their manufacturer.

Brannigan breaks up the earth tones of his outfit the first day with a pair of burgundy cotton lisle socks. Following that, he reverts to a less interesting but perhaps more sartorially acceptable pair of brown socks that carry the line of his trousers into his loafers.

Left: Brannigan recovers "ransom money" after a kidnapping, flashing a pair of natty burgundy socks. Right: The next day, Brannigan's socks are decidedly less interesting in a trouser-matching shade of brown.

Left: Brannigan recovers “ransom money” after a kidnapping, flashing a pair of natty burgundy socks.
Right: The next day, Brannigan’s socks are decidedly less interesting in a trouser-matching shade of brown.

Outfit #1

Brannigan’s sense of style at home in Chicago is established to be more of an open-collar approach. When he calls upon Commissioner Swann at London’s exclusive Garrick Club, he is given a necktie to wear and is never seen without a tie for the duration of the film.

Brannigan most frequently wears a cream cotton shirt with a button-down collar that he sometimes wears unbuttoned to lay flat like a spread collar. The shirt has a front placket and single-button rounded cuffs. When he wears the cream shirt, Brannigan also wears a brown grenadine woven silk tie of moderate width to coordinate with the lapels of his jacket.

Brannigan sticks to earth tones when sporting a cream OCBD shirt and brown tie with his plaid jacket.

Brannigan sticks to earth tones when sporting a cream OCBD shirt and brown tie with his plaid jacket.

Outfit #2

Brannigan also wears the jacket with a light blue oxford cloth button-down shirt and a scarlet red grenadine tie. Like his other OCBD, this shirt has a front placket and single-button rounded cuffs.

Brannigan injects some color into his earth tones with a light blue shirt and red tie.

Brannigan injects some color into his earth tones with a light blue shirt and red tie.

Though it’s difficult to tell when worn buttoned and with a sweater vest, the button-down collar is quite wide as best seen when he wears the shirt casually sans tie and with the unbuttoned collar flat over his sweater vest.

The black sweater vest is a fine wool, likely merino, with a long-ribbed waist hem and a high v-neck that covers most of the tie below the knot.

This behind-the-scenes shot of John Wayne on the Brannigan set shows his sweater vest tucked into his trousers.

This behind-the-scenes shot of John Wayne on the Brannigan set shows his sweater vest tucked into his trousers.

Outerwear and Accessories

Brannigan wears a black balmacaan-style waterproof raincoat with set-in-sleeves, a tall collar, covered fly front, and single back vent.

It's a bit sunny for needing a coat like that, Brannigan...

It’s a bit sunny for needing a coat like that, Brannigan…

Brannigan is seen donning a gray felt short-brimmed fedora with a wide black grosgrain ribbon when preparing to run out to his car during some nighttime research. He isn’t typically a hat wearer, so the fedora is merely an excuse for a waiting assassin to mistake the hat-wearing Sergeant Jennifer Thatcher (Judy Geeson) for Brannigan, thus giving our protagonist an even more dramatic reason for wanting revenge against London’s criminal element.

All of a sudden, the non-hat-wearing Brannigan needs a hat to go outside... and on the very night that Jennifer wears a similar hat to volunteer to go out to his car for him. Interesting.

All of a sudden, the non-hat-wearing Brannigan needs a hat to go outside… and on the very night that Jennifer wears a similar hat to volunteer to go out to his car for him. Interesting.

On his right wrist, John Wayne wears a simple brass Montagnard bracelet that gifted to him by the indiginous Montagnard people of Vietnam during the filming of The Green Berets in 1968. Modern Forces Living History Group reports that many American servicemen returned from Vietnam with these bracelets from the tribe, signifying friendship or respect. Manready Mercantile offers a striking replica of the “Montagnard Bracelet” in brass, copper, or steel (link), where they explain that “not only did Duke don the bracelet on his wrist until the day he passed, it’s said he lays with it to this day.”

BRANNIGAN

Brannigan wears a wristwatch with the face on the inside of his wrist, a John Wayne-ism consistent with his watch-wearing habits both in real life and on screen. The brief glimpse we get reveals a steel octagonal case, plain white round dial, and drab strap.

Note the grenadine weave of Brannigan's brown silk tie.

Note the grenadine weave of Brannigan’s brown silk tie.

What to Imbibe

Last time I was here, people were gettin’ bombed a different way.

Brannigan orders himself a Guinness while drinking at the pub with Drexel.

Brannigan's Guinness goes to waste when it's splashed on his sweater vest, prompting an old-fashioned barroom brawl.

Brannigan’s Guinness goes to waste when it’s splashed on his sweater vest, prompting an old-fashioned barroom brawl.

Later, at the home of Mel Fields (Mel Ferrar), he downs a dram of Cutty Sark.

Brannigan helps himself to Mel's booze.

Brannigan helps himself to Mel’s booze.

How to Get the Look

Too many earth tones for you? Swap in some color with a light blue shirt, red tie, or even burgundy socks. Want to layer up for a chilly day? Brannigan added a black merino wool sweater vest.

  • Brown, rust, and beige-on-tan plaid flannel single-breasted 2-button sportcoat with notch lapels, welted breast pocket, straight welted hip pockets, spaced 2-button cuffs, and ventless back
  • Cream cotton shirt with button-down collar, front placket, and single-button rounded cuffs
  • Brown grenadine woven silk tie
  • Brown wool darted front trousers with belt loops, frogmouth front pockets, and plain-hemmed bottoms
  • Brown leather belt with squared brass single-prong buckle
  • Brown leather slip-on loafers with half-strap and decorative brass side buckles
  • Brown cotton lisle socks
  • Brass “Montagnard” bracelet
  • Stainless steel octagonal-cased wristwatch with round white dial and drab strap

The Gun

Lieutenant Jim Brannigan’s sidearm – and the cause of much consternation for Scotland Yard’s Commander Swann – is a blued Colt Diamondback with a 4″ barrel, chambered for .38 Special.

John Wayne with a six-shooter. You can take the Duke out of the wild west, but...

John Wayne with a six-shooter. You can take the Duke out of the wild west, but…

Colt introduced the Diamondback in 1966 as a scaled-down version of the popular Colt Python, particularly aimed at law enforcement agencies that forbade its officers the use of .357 Magnum ammunition as found in the Python. The Diamondback was offered in .38 Special for police use and .22 LR and .22 WMR for target shooters.

Two years after its introduction, a snub-nosed Colt Diamondback .38 with a 2.5″ barrel was carried by Steve McQueen in Bullitt, an iconic film considered an influence for John Wayne’s later police roles in McQ and Brannigan.

I’m surprised that Brannigan was armed with the Colt Diamondback rather than the full-sized Python as the latter weapon’s larger size seems more consistent with John Wayne’s image. Not only that, but the Diamondback was never authorized for Chicago Police Department officers (to my knowledge) while the Colt Python actually was authorized by the CPD during the period that Brannigan was set and filmed.

Do Yourself a Favor and…

Buy the movie.

The Quote

Too damn simple.

Footnote

Brannigan‘s costume designer, Emma Porteous, would later serve in the same capacity for three consecutive James Bond films: Octopussy (1983), A View to a Kill (1985), and The Living Daylights (1987).

Dirty Harry’s Brown Blazer in Magnum Force

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Clint Eastwood as Inspector "Dirty Harry" Callahan in Magnum Force (1973)

Clint Eastwood as Inspector “Dirty Harry” Callahan in Magnum Force (1973)

Vitals

Clint Eastwood as Harry Callahan, tough San Francisco Police Department inspector

San Francisco, August 1972

Film: Magnum Force
Release Date: December 25, 1973
Director: Ted Post
Costume Supervisor: Glenn Wright

Background

Earth tones are a fall favorite for many, so take a few notes for your Friday date night style from Clint Eastwood’s earthy ensemble in Magnum Force, the first of four sequels featuring the incorruptible Inspector Harry Callahan.

Continuing what must be a subconscious focus on tough ’70s cop movies from Wednesday’s Brannigan post, this scene features Harry swilling Schlitz in front of the TV with Carol McCoy (Christine White), the wife of a suicidal traffic officer. When his superiors get word of a potential grocery store holdup, Harry – who had been demoted to stakeout duty – is called into action with his trusty .44.

Interestingly, Magnum Force was Christine White’s second time playing a wife whose husband suffers from nervous breakdowns; ten years earlier, she played the wife of William Shatner’s character in “Nightmare at 20,000 Feet”, a famous episode of The Twilight Zone.

What’d He Wear?

Brown is a relatively uncommon color for blazers, assuming you follow the definition of a blazer as a structured odd jacket with metal buttons. In Magnum Force, Harry wears both this brown serge blazer and a more traditional navy blazer. Clint Eastwood would later wear a different dark brown blazer in the following Dirty Harry film, The Enforcer.

Harry’s brown serge wool single-breasted blazer has two gold crested shank buttons on the front as well as two smaller gold buttons spaced on each cuff. The blazer has some concessions to the decade with its fashionably wide notch lapels and long single back vent.

Harry strolls into the station with his partner Early Smith (Felton Perry). Will Early meet the same fate as Harry's other partners on the force?

Harry strolls into the station with his partner Early Smith (Felton Perry). Will Early meet the same fate as Harry’s other partners on the force?

In addition to a welted breast pocket, Harry’s brown blazer has sporty inverted box pleat patch pockets with flaps.

Harry settles in for an evening with "the beer that made Milwaukee famous."

Harry settles in for an evening with “the beer that made Milwaukee famous.”

Harry’s light taupe shirt has a large collar, plain front, rounded breast pockets, and breast pocket with a straight yoke. His maroon and gold repp tie follows the traditional American “downhill” stripe direction with a thin beige stripe bordering under each of the gold stripes.

Harry approaches his latest kill.

Harry approaches his latest kill.

When Harry removes his blazer in the grocery store, he reveals his light brown leather shoulder holster, reportedly custom made by Jerry Ardolino for the films for Eastwood to carry his iconic large-framed Smith & Wesson Model 29 revolver under his left arm. You can read more about the original holster at Lawman Leather Goods.

MAGNUM FORCE

The holster fastens to the right and left sides of Harry’s belt, a strap of wide brown leather with a large brass single-prong buckle. Harry wears taupe brown gabardine flat front trousers with slanted side pockets, two jetted back pockets (with a button through the left back pocket), and plain-hemmed bottoms.

Harry appears to be wearing the same shirt, slacks, belt, shoes, and socks that he would wear with his brown herringbone tweed jacket during the finale. He wears dark brown leather plain-toe derby shoes with dark brown cotton lisle socks that match his footwear rather than his trousers.

Harry darts through the aisles of hte grocery store in search of his target. Those shelves of white porcelain vases and flatware surprisingly made it through this action scene mostly intact!

Harry darts through the aisles of hte grocery store in search of his target. Those shelves of white porcelain vases and flatware surprisingly made it through this action scene mostly intact!

Clint Eastwood does not wear a watch in Magnum Force.

What to Imbibe

Harry kicks back with a can of Schlitz, the classic Milwaukee-brewed beer that had dominated American beer production through the beginning of the 20th century before settling into its comfortable connotation as a working class brew of choice, very fitting with Harry’s image.

Schlitz and stuffed animals. Hell of a Friday night, Harry.

Schlitz and stuffed animals. Hell of a Friday night, Harry.

Though it isn’t featured in this scene, Olympia beer was also a Clint Eastwood favorite that he promoted in this film as well as many of his major roles through the decade.

How to Get the Look

Harry Callahan’s shades of brown reflect the earthy, no-nonsense character as well as the palette of the era.

  • Brown serge wool single-breasted 2-button blazer with notch lapels, welted breast pocket, flapped inverted box-pleat patch hip pockets, 2-button cuffs, single back vent
  • Taupe shirt with large collar, plain front, breast pocket, and button cuffs
  • Maroon and gold striped repp tie (right-down-to-left “downhill” direction) with thin beige stripes under each gold stripe
  • Taupe gabardine flat front trousers with belt loops, slanted side pockets, jetted back pockets, and plain-hemmed bottoms
  • Dark brown leather belt with large brass single-prong buckle
  • Dark brown leather plain-toe derby shoes
  • Dark brown cotton lisle socks
  • Light brown leather shoulder holster (RHD) for a Smith & Wesson Model 29 revolver

The Gun

Harry Callahan’s blue steel Smith & Wesson Model 29 attained iconic status the instant Clint Eastwood drew it from his shoulder holster in Dirty Harry. Two years later, Harry carried the same weapon with a 6.5″ barrel and rosewood grips in Magnum Force.

Harry steadies his aim as he eyes the Cost Plus robbers through the store's two-way mirror.

Harry steadies his aim as he eyes the Cost Plus robbers through the store’s two-way mirror.

Harry’s line that his .44 load is “a light Special” has led some to interpret that his Model 29 is actually loaded with .44 Special ammunition rather than the more notorious .44 Magnum.

Do Yourself a Favor and…

Check out Magnum Force or pick up the entire five-film Dirty Harry collection.

The Quote

Well, here’s three salty-lookin’ dudes!

True Detective – Ray Velcoro’s Dark Western-Yoked Jacket

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Colin Farrell as Ray Velcoro on the second season of True Detective (after ditching the mustache and bolo tie that defined the character's early-season look.)

Colin Farrell as Ray Velcoro on the second season of True Detective (after ditching the mustache and bolo tie that defined the character’s early-season look.)

Vitals

Colin Farrell as Ray Velcoro, troubled and crooked Vinci PD detective

Ventura County, California, fall 2014 to spring 2015

Series: True Detective
Season: 2
Air Dates: June 21, 2015 – August 9, 2015
Creator: Nic Pizzolatto
Costume Designer: Alix Friedberg

WARNING! Spoilers ahead!

Background

The second season of HBO’s True Detective is, in my opinion, better judged when on its own than against its masterful and delightfully idiosyncratic first season. The second season brought together Colin Farrell, Rachel McAdams, Taylor Kitsch, and Vince Vaughn in an acid neo-noir more in the pulp crime tradition of Dashiell Hammett and Raymond Chandler’s worlds than that of Rust Cohle and Marty Hart.

Even the show’s fictional and corrupt berg of Vinci, California, shares some undeniable similarities with the Bay City of Chandler’s Philip Marlowe novels, though it was indeed based on the rough industrial city of Vernon, where it was partially filmed.

Our self-destructive, repressed, and expendable cop protagonists, portrayed by the Farrell-McAdams-Kitsch triad, practice maverick techniques that border on impropriety but their ideals and values align them with the incorruptible Philip Marlowe and Sam Spade… naturally leading to the straight-out-of-pulp “last stand” holed up in a secluded motel room with seemingly endless bottles of whiskey.

The second season of True Detective uses these seemingly cliched tropes we know – the hard-drinking, the smoking (Ani’s e-cig!), the cynical promiscuity – to establish these cops’ “noir credentials,” so to speak.

Viewing the series through that lens contextualizes it so that the cliched dialogue, moody jazz riffs, and plot over-complexity are refreshed as merely genre tropes that one not only expects but enjoys. It’s still not great TV, particularly in the oft-discussed “golden age of television,” but it can still be hella entertaining if you want it to be. (And, okay, some parts are really bad… but that can be entertaining too.)

What’d He Wear?

Much is made of the second season’s focus on defining, claiming, or reclaiming masculinity, so costume designer Alix Friedberg took inspiration from the most masculine of American archetypes – the Old West cowboy – when dressing Colin Farrell as troubled Vinci detective Ray Velcoro.

“Friedberg’s inspiration for Ray was a blend of law abiders and law breakers – a little Clint Eastwood as Dirty Harry; a little Bob Dylan; and some of Richard Avedon’s weary loaners from In the American West,” reported Valli Herman for a 2015 Costume Designers Guild article. “My concept boards called upon some iconic ’70s musicians that echo the timelessness and disheveled nature of Ray’s clothes,” stated Friedberg. “Jim Morrison, Waylon Jennings, Tom Waits all had elements that influenced his look.”

Ray Velcoro's introduction to viewers mirrors the appearance of Rust Cohle in the first season, providing visual - if not narrative - continuity between the disconnected stories.

Ray Velcoro’s introduction to viewers mirrors the appearance of Rust Cohle in the first season, providing visual – if not narrative – continuity between the disconnected stories.

A staple of Ray Velcoro’s rugged, minimalist wardrobe is a series of three earth-toned sport jackets worn over the course of the season, all very similar but with distinctly different styles. His most frequently worn of these three, worn for his first and last on-screen appearances and for many episodes in between, is this dark taupe ranch sportcoat with Western front and back yokes. This jacket features in nearly every episode except for the second and fifth.

All of Farrell’s sport jackets were custom made for the production, though Friedberg recalled taking inspiration from “some classic ’70s and ’80s blazers that we found in the costume shops.” The same Costume Designers Guild article describes Friedberg’s process of obtaining fabrics from B. Black & Sons, a Los Angeles fabric wholesaler that’s been doing business since 1922.

Comparing the B. Black & Sons catalog to screenshots of Farrell on screen seems to indicate that this particular was possibly made from a woolen tweed fabric referred to as “heather brown” by the company, further aged and dried by the costume department to create Velcoro’s desired look.

TRUE DETECTIVE

“We wanted [Ray’s coats] to have the timelessness of a larger lapel and the fit of a coat that has been slept in day after day,” explained Friedberg, and Velcoro’s on-screen sport jackets certainly meet those ends. The show was produced at the height of the recent super-slim fashion trends for men, but Velcoro eschews it in favor of a more timeless, if baggy, direction.

This particular single-breasted jacket has notch lapels of moderate width that roll to a two-button front, the most classic and timeless of all men’s jacket styles. It takes obvious inspiration from the classic Western ranch suit with its pointed front yokes (rather than a breast pocket) and double-pointed back yoke. The yokes appear to be sewn only at the top, casting a small shadow outlining the bottom of each yoke.

The noir-ish lighting at the Black Rose Bar accentuates Velcoro's semi-sewn jokes on his dark taupe jacket.

The noir-ish lighting at the Black Rose Bar accentuates Velcoro’s semi-sewn jokes on his dark taupe jacket.

The yokes are what make this jacket most distinctive, and Circle S appears to be the go-to purveyor of similarly styled ranch suits. The Circle S “Lubbock” suit jacket in “heather chestnut” is a fine alternative for Velcoro’s warmer brown Donegal tweed jacket worn in other episodes.

Unlike Velcoro’s aforementioned brown Donegal tweed jacket, this jacket has no back pleating. The jacket also has a long single back vent, straight flapped hip pockets, slightly padded shoulders with roped sleeveheads, and three-button cuffs at the end of each sleeve.

Ray and Ani during an investigation in "Maybe Tomorrow" (Episode 2.03).

Ray and Ani during an investigation in “Maybe Tomorrow” (Episode 2.03).

Ray Velcoro has a realistically limited closet for a man who cares little about fashion, often rotating through the same shirts with various outfits and situations.

The shirt that Velcoro most frequently wears with this outfit (and with others, if I’m not mistaken) is a drab khaki work shirt like something you’d find at Eddie Bauer or L.L. Bean. In fact, the closest alternative I’ve found is L.L. Bean’s “Sunwashed Canvas Shirt, Traditional Fit” made from 100% cotton canvas in “sandstone” color (still available for $44.95 as of November 2017).

This large-fitting shirt – worn with this jacket in episodes 1, 7, and 8 – is consistent with Ray’s palette of washed-out earth tones. The shirt has two box-pleated patch pockets on the chest that each close with a single button through a mitred-corner flap. Each cuff closes on one of two buttons for an adjustable fit as well as a smaller button on the gauntlet that Velcoro typically leaves undone. All buttons, including the pocket flaps, the cuffs, and up the front placket, are brown urea plastic.

A boozed-up and bloody-cuffed Ray Velcoro visits his son Chad in "The Western Book of the Dead" (Episode 2.01).

A boozed-up and bloody-cuffed Ray Velcoro visits his son Chad in “The Western Book of the Dead” (Episode 2.01).

In “Maybe Tomorrow” (Episode 2.03) and the following episode “Down Will Come” (Episode 2.04), Velcoro wears his dark taupe ranch sportcoat with a striped snap-front shirt that made its first appearance with the brown Donegal tweed jacket. The shirting is a purple-gray ground intermittently interrupted by a series of a light gray-blue shadow stripes (each, in tern, bisected by a thin navy stripe).

The shirt has Western yokes with single shoulder points that skew to the outside of the shirt (closer to the armpits), opposing the skewed and slanted pocket flaps that snap closed toward the center of the shirt. On these pocket flaps and up the front placket are large gunmetal lozenge-shaped snaps; there are also two stacked snaps on each cuff.

Day and night in "Maybe Tomorrow" (Episode 2.03).

Day and night in “Maybe Tomorrow” (Episode 2.03).

“Church in Ruins” (Episode 2.06) features a cleaned-up Velcoro two months after the “Vinci Massacre.” The detective has resigned from the Vinci PD and is working private “security” as a glorified mob collector for Frank Semyon’s Vinci Gardens casino. In addition to his clean-shaven upper lip, the new role also finds Velcoro in a new light blue chambray shirt with a spread collar, front placket, two patch pockets on the chest, single-button cuffs, and double back side pleats.

This is arguably his most “fashionable” shirt (and, indeed, LookLive reports that it was obtained at Nordstrom), though the chambray work shirt still has strong utilitarian origins on the decks of U.S. Navy cruisers in the early years of the 20th century.

Promotional photo from "Church in Ruins" (Episode 2.06) during Velcoro's visit with his son Chad (Trevor Larcom).

Promotional photo from “Church in Ruins” (Episode 2.06) during Velcoro’s visit with his son Chad (Trevor Larcom).

The chambray shirt has large off-white plastic buttons that stand out against the solid material of the shirt. Each chest pocket has mitred bottom corners and as single button through the top to fasten it to the shirt.

These buttons don’t fare so well during Velcoro’s drug-fueled binge in the same episode when he tears the front of the shirt open, leaving only the top three buttons intact. His dramatic gesture reveals his standard undershirt, a standard white ribbed cotton sleeveless A-shirt.

Same episode, same couch, same shirt, albeit ripped open and having taking a few buttons casualty.

Same episode, same couch, same shirt, albeit ripped open and having taking a few buttons casualty.

Along with the mustache and floppier hair, one item that Ray Velcoro only wears as a Vinci detective is… a bolo tie! The bolo tie was developed in the mid-20th century and were quickly affiliated with Western wear and Native American attire. As of 2017, it is the official neckwear of Arizona, New Mexico, and Texas, establishing its strong association with the southwest, though it’s had periods of popularity in East Asia and England, where it was dubbed the “shoestring necktie.”

On Velcoro’s tie, the bolo itself is a silver oval with a turquoise stone bordered by a silver braid, worn around Velcoro’s neck on a dark brown leather braided cord (lariat) that Friedberg likened to “a noose” with silver decorative metal tips (aiguillettes) at each end. Ray wears his bolo slid considerably down on his chest, a less formal look consistent with his casual demeanor. According to LookLive, Velcoro’s bolo tie is a product of Taos Indian Trading Company.

Check out that bolo!

Check out that bolo!

And why would a modern man following a classic American cowboy aesthetic wear anything but Levi’s jeans? Ray Velcoro invariably wears Levi’s 501® Original Fit jeans in standard blue denim, with his knife clipped into his right side pocket.

Subtle.

Subtle.

Velcoro wears a solid brown leather belt with a squared dull steel single-prong buckle.

You paid heed to the spoiler alert at the top of the page, right? Velcoro meets his bloody end in "Omega Station" (Episode 2.08).

You paid heed to the spoiler alert at the top of the page, right?
Velcoro meets his bloody end in “Omega Station” (Episode 2.08).

When on duty, he wears his Vinci PD detective shield on the left front of his belt and a black holster for his Browning Hi-Power on the right side of his belt. After hanging up his badge, he also retires his police-issued holster and carries his Hi-Power in a tan leather inside-the-waistband (IWB) holster fastened to the back of his jeans with a black clip.

Following a rigorous process that found Colin Farrell testing out many pairs of boots, Farrell and Friedberg settled on a pair of custom-made cowboy boots from the Stallion Boot Company of El Paso for Ray Velcoro’s signature footwear, keeping his look consistently southwestern from neck to toe. Friedberg describes the short, square-toed boots as “a real, steady working man’s boot,” and recalls that it was “thrilling watching him in the first fitting walk around in Ray’s boots and instantly develop his second skin.”

Velcoro steps through the wreckage of his model planes in "Church in Ruins" (Episode 2.06).

Velcoro steps through the wreckage of his model planes in “Church in Ruins” (Episode 2.06).

“While Ray Velcoro swayed from good to bad and back again, his penchant for Western wear never faltered,” noted Kit Hamlen of Paste in a September 2015 article. “With the occasional bolo tie, cowboy hat, denim, and sturdier tweed, Velcoro’s wardrobe was authentically desert wrangler dry. In addition to his characteristic scowl and slicked back hair, Velcoro proved to be the new sheriff in town. At least, until, he wasn’t.”

What to Imbibe

Ray Velcoro gives True Detective audiences plenty of glimpses into his boozes of choice, although his addictive tendencies are far from glamorized à la the early episodes of Mad Men.

In the first episode, we see Velcoro sneaking pulls from a small plastic flask-type bottle of Jim Beam in his car… furtively, of course.

Bourbon is Velcoro's chosen hooch when steeling his nerves for a paid thuggery job in "The Western Book of the Dead" (Episode 2.01).

Bourbon is Velcoro’s chosen hooch when steeling his nerves for a paid thuggery job in “The Western Book of the Dead” (Episode 2.01).

Later in the episode, we catch up with Velcoro at the Black Rose, enjoying one of several bottles of Modelo Especial, the Mexican beer that seems to be his brew of choice with its multiple appearances throughout the second season of True Detective.

Velcoro is sitting with gangster Frank Semyon, who has his own bottle of Johnnie Walker Blue Label at the table… establishing Semyon’s more exclusive and expensive palette when compared to Velcoro’s choice of the U.S.’s second most popular imported beer. Velcoro gets his hands on his table-mate’s Johnnie Blue, pouring himself a glass and shooting it back, much to Semyon’s bemusement…

Frank Semyon: “You’re supposed to savor that.”
Ray Velcoro: (pouring another) “Let me try it again.”

Velcoro double-fists $2.50 beer and $250 Scotch.

Velcoro double-fists $2.50 beer and $250 Scotch.

We learn in “Down Will Come” (Episode 2.04) that Velcoro keeps a portable hangover cure in his glovebox in the form of drugs, Tums, and a 375mL bottle of Smirnoff “Red Label” 80 proof vodka; in Paul Woodrugh’s time of need, he turns to the latter for aid.

Well, that's just... irresponsible.

Well, that’s just… irresponsible.

Following the Vinci Massacre gunfight later in the same episode – one of the season’s high points – Velcoro has cleaned up his act as a private citizen, presumably tossing his glovebox contents in favor of trying to win the approval of his son’s social worker. Of course, a tough custody visit sends Velcoro right off the wagon and he makes a quickie stop for enough drugs and booze to make Jim Morrison green with envy.

The star of Velcoro’s drug-fueled binge in “Church in Ruins” (Episode 2.06) is a prominently placed bottle of Jose Cuervo Especial, further establishing moderately priced tequila as the elixir of choice when one is looking for a wild night to regret.

TRUE DETECTIVE

Evidently, no real-life beer brands could afford to be associated with Velcoro’s debauched solitary bacchanal, and he is seen drinking a bottle with the fictional “Haber Kern” label, a product of Hollywood prop-maker Independent Studio Services.

There’s little to admire about the “Church in Ruins” (Episode 2.06) binge other than the music, as the sequence is set to the badass “Human Being” by the New York Dolls, the closing track of their 1974 album Too Much Too Soon.

How to Get the Look

Ray Velcoro takes his style cues from traditional (if slightly toxic) archetypes of American masculinity with Western influences from his jacket and jeans to his bolo tie and boots.

  • Dark “heather brown” taupe tweed single-breasted 2-button “ranch” sport jacket with Western yokes, notch lapels, flapped hip pockets, 3-button cuffs, and long single vent
  • Drab khaki washed cotton utility shirt with spread collar, front placket, button-down flapped inverted box-pleat chest pockets, and button cuffs
  • White ribbed cotton sleeveless A-style undershirt
  • Silver turquoise-set bolo tie with dark brown braided leather lariat and silver-tip aiguillettes
  • Dark blue denim Levi’s 501 Original Fit jeans
  • Brown leather belt with dulled steel squared single-prong buckle
  • Brown leather square-toed short slip-on boots

The Gun(s)

Ray Velcoro’s chosen sidearm, both as a Vinci PD detective and his “private” life to follow, is a classic Browning Hi-Power in blued steel with walnut grips. He carries the Hi-Power holstered, first in a belt holster and then an IWB after he resigns from the force.

The Browning Hi-Power was first produced in 1935 when it was adopted as the Belgian military service pistol, following a nearly two-decade design process with firearms legend John Browning at the helm. (Browning died in November 1926 and never saw the pistol’s final design come to fruition.)

The Hi-Power differentiated itself from other semi-automatic pistols of the era with its then-revolutionary double-stacked magazine, designed by Dieudonné Saive to increase the capacity to 13 rounds of 9x19mm Parabellum ammunition without substantially increasing the size of the pistol. The first of the “Wonder Nines”, the Browning Hi-Power and its various clones and adaptations continue to be used today.

One of the design changes over the Hi-Power’s production history replaced the former single-hole “ring” hammer with a more traditional flat hammer as found on the classic 1911 pistol. This change, among others, was implemented in 1973 and all following pistols to be produced are referred to with the unofficial “Type 73” designation.

With its external extractor and flat hammer, Velcoro’s Hi-Power is clearly a Type 73.

Velcoro, armed with his own Browning Hi-Power and Frank Semyon's Mossberg 500 Cruiser, takes cover in the final episode, "Omega Station" (Episode 2.08).

Velcoro, armed with his own Browning Hi-Power and Frank Semyon’s Mossberg 500 Cruiser, takes cover in the final episode, “Omega Station” (Episode 2.08).

Cornered by a team of mercenaries and corrupt cops in the final episode, “Omega Station” (Episode 2.08), Velcoro takes to the hills with Frank Semyon’s recently purchased Mossberg 500 Cruiser shotgun for backup.

The standard Mossberg Model 500 was introduced in 1960 as a competitor to the popular pump-action shotguns produced by Ithaca, Remington, and Winchester. Mossberg has produced many variants of its successful Model 500 design over the years, and it is the Model 500 Cruiser with its factory-installed pistol grip that Velcoro slings over his shoulder for his last stand in “Omega Station”.

Promotional photo of Colin Farrell as Ray Velcoro, armed with a shotgun for his last stand, in the final moments of True Detective's second season.

Promotional photo of Colin Farrell as Ray Velcoro, armed with a shotgun for his last stand, in the final moments of True Detective‘s second season.

Do Yourself a Favor and…

Give the second season of True Detective a chance… but you should definitely watch season one.

The Quote

I was never big on runnin’.


The French Connection – Popeye Doyle’s Overcoat and Gray Suit

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Gene Hackman as "Popeye" Doyle in The French Connection (1971). Over his right shoulder is Eddie Egan, the real-life inspiration for the character.

Gene Hackman as “Popeye” Doyle in The French Connection (1971). Over his right shoulder is Eddie Egan, the real-life inspiration for the character.

Vitals

Gene Hackman as Jimmy “Popeye” Doyle, gruff NYPD narcotics detective

New York City, December 1970

Film: The French Connection
Release Date: October 9, 1971
Director: William Friedkin
Costume Designer: Joseph Fretwell III

Background

Happy birthday to Gene Hackman, born this day in 1930! This year’s Academy Award nominations were announced last week, so today’s post explores the birthday boy’s first Oscar-winning performance as NYPD narc “Popeye” Doyle in The French Connection.

Eddie Egan was a real detective with the NYPD who, with his partner Sonny Grosso, was instrumental in a 1961 investigation that dissolved a massive heroin ring. The case would form the basis of a 1969 non-fiction book by Robin Moore that was swiftly adapted into the fictionalized film The French Connection. Gene Hackman, who by now had two Oscar nominations to his credit, was tapped for the role of “Popeye” Doyle, the profane detective modeled after Egan, while Egan himself would serve as technical advisor and play the smaller role of Walt Simonson, Doyle’s supervisor.

The movie culminates as Doyle, Simonson, and their fellow NYPD detectives finally catch up with the French kingpin Alain Charnier (Fernando Rey) on the Triborough Bridge connecting Randalls Island and Wards Island, the latter of which would be the setting of

What’d He Wear?

The conclusion of The French Connection features Popeye Doyle in one of his rumpled business suits worn with a warm overcoat, scarf, and gloves to keep the determined detective comfortable in the chilly stakeout weather of a New York City winter.

Popeye’s dark navy wool topcoat has a knee-length fit that serves him better than a full-length overcoat when dashing in and out of cars in pursuit of his suspects. When the time comes to make a bust, he pins his NYPD badge #373 to the left of the coat’s narrow notch lapels.

The single-breasted coat has three buttons to close in the front and a single non-functioning button on each of the half-tab cuffs. The lapels, cuffs, and hip pocket flaps all have swelled edges.

Production photo of a bundled-up "Popeye" Doyle.

Production photo of a bundled-up “Popeye” Doyle.

Popeye wears the same navy herringbone scarf and dark brown cotton knit gloves that he wore with his brown suit and coat earlier in the movie.

A signature element of the Popeye Doyle aesthetic is his iconic porkpie hat, the preferred headgear of the real-life Eddie Egan though the detective refused to lend one of his own hats to the production. The wardrobe team thus obtained a different dark brown porkpie hat for Gene Hackman to wear in The French Connection.

Hat, gloves, and scarf. Popeye's grandmother would be proud.

Hat, gloves, and scarf. Popeye’s grandmother would be proud.

As the decidedly less-than-fashionable porkpie may imply, Popeye Doyle isn’t the sort to keep up with the latest style trends. He wears a gray worsted two-piece suit that appears to be a holdout from the ’60s. Little is seen of the suit under his overcoat, but it appears to have a single-breasted jacket with slim notch lapels that roll to a low two-button stance and flat front trousers with turn-ups (cuffs) that are worn with a dark brown leather belt.  (It may possibly be the same suit that Hackman would wear four years later in the sequel, French Connection II.)

Popeye runs ahead to "greet" Alain Charnier (Fernando Rey).

Popeye runs ahead to “greet” Alain Charnier (Fernando Rey).

For a long night spent taking apart a luxury Lincoln belonging to French television personality Henri Devereaux (Frédéric de Pasquale), Popeye removes his outer layers and tucks his loosened tie between the buttons of his shirt, which looks even sloppier than if he had removed it altogether!

Popeye’s white shirt has a narrow spread collar, a plain front with plastic buttons, a breast pocket, and button cuffs that he unfastens and rolls up for his long night under the Lincoln.

A rumpled Popeye after a night of Lincoln-stripping.

A rumpled Popeye after a night of Lincoln-stripping.

Popeye wears a gray twill tie with double blue stripe sets in the American “downhill” direction, perpendicular to the left-down-to-right twill.

POPEYE DOYLE

Popeye sports his well-worn pair of dark brown leather plain-toe derby shoes with two lace eyelets on cutaway eyelet tabs.

"...and I'm gonna nail you for picking your feet in Poughkeepsie!"

“…and I’m gonna nail you for picking your feet in Poughkeepsie!”

Although Popeye is typically seen wearing black cotton lisle socks with this outfit, there is a brief continuity error seen when the detectives are impounding Devereaux’s car and Hackman’s trousers ride up to reveal a pair of mustard gold socks!

A bust gives us a glimpse of Popeye's socks, which appear to be mustard yellow rather than their usual black.

A bust gives us a glimpse of Popeye’s socks, which appear to be mustard yellow rather than their usual black.

Watches in Movies identified Popeye Doyle’s watch as a Timex Marlin with a plain silver dial on a gold expanding bracelet. As this watch was marketed as a no-frills, low-cost timepiece, it’s likely that the gold finish is a gold-toned stainless steel.

POPEYE DOYLE

Timex has since reissued the Marlin, marketing it as “the gentleman’s standard” with a starting price of $199.

How to Get the Look

Porkpie aside, Popeye Doyle’s gray suit and outerwear form the basis for a timeless business outfit that translates just as well nearly 50 years later.

  • Gray worsted wool suit, consisting of:
    • Single-breasted 2-button jacket with slim notch lapels, welted breast pocket, flapped hip pockets, 2-button cuffs, and single vent
    • Flat front low-rise trousers with belt loops and turn-ups/cuffed bottoms
  • White shirt with narrow spread collar, plain front, breast pocket, and squared button cuffs
  • Gray twill tie with double sets of blue diagonal “downhill” stripes
  • Dark brown leather belt with brass single-prong buckle
  • Dark brown leather 2-eyelet plain-toe derby shoes
  • Black cotton lisle socks
  • Dark brown felt porkpie hat with wide ribbon and white lining
  • Dark navy wool knee-length single-breasted 3-button overcoat with slim notch lapels, flapped hip pockets, half-cuffed 1-button sleeves, and single vent
  • Navy herringbone wool scarf with frayed edges
  • Dark brown cotton knit gloves
  • Timex Marlin analog wristwatch with white dial on expanding gold bracelet

The Gun

Art imitates life as the Colt Detective Special is abundant in the hands of lawmen and lawbreakers alike in The French Connection. “Popeye” Doyle, his supervisor Walt Simonson, and federal agent Mulderig (Bill Hickman) all carry blued first-generation Detective Specials as do many of the Boca crime family mobsters that the NYPD engages during the Wells Island gunfight.

A tense Doyle with his Detective Special drawn on Wells Island.

A tense Doyle with his Detective Special drawn on Wells Island.

The aptly named Detective Special was introduced by Colt in 1927 in tandem with the larger-framed Official Police, both chambered in .38 Special and aimed for usage among American police departments. Two years after The French Connection was released, Colt introduced an updated third generation of the Detective Special with the most notable cosmetic change being an extended barrel shroud to enclose Colt’s once-signature exposed ejector rod.

For some reason, Doyle’s revolver switches between a Colt Detective Special and the Smith & Wesson Model 36 “Chiefs Special”, both in the Wells Island warehouse scene and during the film’s iconic car chase. While both are blued .38 Special revolvers with wooden grips and 2-inch “snubnose” barrels, the Smith & Wesson can be differentiated with its ejector rod socket, ramp-style front sight, and five-round cylinder as opposed to the six rounds of the Colt Detective Special.

Both the Colt Detective Special and the Smith & Wesson Model 36 had been authorized for NYPD use during the ’60s and ’70s, according to Range365, and the short-barreled Model 36 was even the issued sidearm of choice for female officers.

Do Yourself a Favor and…

Check out the movie.

The Quote

That son of a bitch is here. I saw him. I’m gonna get him.

No Country for Old Men: Sheriff Ed Tom Bell

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Tommy Lee Jones as Sheriff Ed Tom Bell in No Country for Old Men (2007)

Tommy Lee Jones as Sheriff Ed Tom Bell in No Country for Old Men (2007)

BAMF Style is delighted to present another post from the masterful pen of contributor “W.T. Hatch”. Enjoy!

Vitals

Tommy Lee Jones as Sheriff Ed Tom Bell

Terrell County, Texas, Summer 1980

Film: No Country for Old Men
Release Date: November 9, 2007
Director: Joel Coen & Ethan Coen
Costume Designer: Mary Zophres

Background

The crime you see now, it’s hard to even take its measure.

Sheriff Ed Tom Bell first won election as the sheriff of Terrell County, Texas, when he was just 25 years old. A World War II veteran, Bell saw firsthand the horrors of that particular conflict and likely sought solace in serving his community back home. Still on duty in the summer of 1980, what is truly surprising about Sheriff Bell – and the other law enforcement officers in the movie – is how little gear they carry while on duty when compared to today’s law enforcement professionals. Bell, for example, carries just his trusted M1911 pistol sans protective vest, handcuffs, baton, pepper spray, taser, or even a spare magazine.

What’d He Wear?

Terrell County is an enormous area of some 2,300 miles with a population of just 1,600 people in 1980. Ed Tom’s department is very small in comparison to the county’s size requiring him to actively patrol, investigate, and enforce the law from his squad car, horseback, and on foot. From a pragmatic standpoint, Ed Tom’s uniform choices reflect the scope and breadth of his responsibilities. Viewed through a more symbolic lens, Ed Tom’s duty uniform colors match the barren Texas landscape because Bell is as much a part of the land as his job as a lawman has become a part of his soul. Sheriff Bell’s clothing evokes both the traditional image of a Texas county sheriff but also pays tribute to his wartime military service. Indeed, the combination of light brown shirt and dark brown trousers – complete with the aforementioned M1911 pistol – are strikingly similar to the M1937 uniform issued to U.S. Army personnel in WWII. (See BAMF Style articles on Major Reisman and Wardaddy Collier for more information.)

Deputy Wendell (Garret Dillahunt) accompanies Sheriff Ed Tom Bell on horseback.

Deputy Wendell (Garret Dillahunt) accompanies Sheriff Ed Tom Bell on horseback.

Ed Tom wears a tan-colored cotton long-sleeve shirt with white plastic buttons made by Flying R Ranchwear. The shirt is simple in appearance but does have a subdued Western yoke design on both the front and back. The shirt has two functional chest pockets, a seven-button placket and a single button at the wrists.

Wendell: "It's a mess, ain't it, Sheriff?" Ed Tom: "If it ain't, it'll do till the mess gets here."

Wendell: “It’s a mess, ain’t it, sheriff?”
Ed Tom: “If it ain’t, it’ll do till the mess gets here.”

In keeping with his minimalist approach to law enforcement equipment, Bell wears a Terrell County Sheriff patch on either shoulder but no American flag, name plate, awards, or other accoutrements more commonly found on a contemporary police uniform. Above his heart, however, Ed Tom wears a gold star shaped sheriff’s badge. The metal device is 2.25″ long and affixed to his shirt with two pins and backing damits. The words SHERIFF and TERRELL COUNTY are embossed on the badge.

"You know Charlie Walser's got that place out east of Sanderson? You know how he used to slaughter beeves, hit 'em right there with a maul... truss 'em and slit their throats?"

“You know Charlie Walser’s got that place out east of Sanderson? You know how he used to slaughter beeves, hit ’em right there with a maul… truss ’em and slit their throats?”

Ed Tom wears a pair of dark brown denim jeans in a straight leg cut. These pants have four pockets and are closed by a zipper and brass button. Brown denim is the perfect color and material for a West Texas sheriff. The dark color hides the inevitable windblown dust and denim affords protection from the harsh landscape.

NO COUNTRY FOR OLD MEN

Bell uses a tooled dark brown leather belt, albeit in a lighter shade then his trousers, with silver hardware to carry his sidearm. The belt appears to be the popular Western-style Ranger belt that is appropriate to the character and movie’s location. In an uncharacteristic clothing choice given his age and profession, Sheriff Bell does not wear a separate gun belt, instead using a small brown leather holster to carry his M1911 pistol.

"Oh... now that's aggravating."

“Oh… now that’s aggravating.”

Like virtually all of the movie’s male characters, Ed Tom wears brown leather cowboy boots, the details of which are mostly hidden by his pants.

Sheriff Bell favors a white-colored straw cowboy hat with a simple, thin brown leather hatband perfect for the West-by-God-Texas summer heat. In addition to providing much needed shade, the hat cools the wearer with three small ventilation holes on each side of the crown. A true Texas gentleman, Sheriff Bell generally removes his hat while indoors, greeting a lady, or delivering bad news to the bereaved. The exact manufacturer is unknown, but Ed Tom likely wears a Stetson or Resistol brand hat.

NO COUNTRY FOR OLD MEN

Ed Tom is not much of a man for accessories, eschewing even a wedding ring. He does, however, make use of black plastic frame reading glasses whilst enjoying his breakfast in the local diner and attempting to make sense of the day’s news.

"Here last week they found this couple out in California. They rent out rooms for old people, kill' em, bury' em in the yard, cash their social security checks. Well, they'd torture 'em first, I don't know why. Maybe the television set was broke."

“Here last week they found this couple out in California. They rent out rooms for old people, kill’ em, bury’ em in the yard, cash their social security checks. Well, they’d torture ’em first, I don’t know why. Maybe the television set was broke.”

On his left wrist, Bell also wears a gold analog watch with a blue-and-white round dial and hash marks in place of numbers. The watch has a matching gold metal wrist band.

"You go see Charlie, he still can't reach up with his right hand for his hat... Point bein', even in the contest between man and steer the issue is not certain."

“You go see Charlie, he still can’t reach up with his right hand for his hat… Point bein’, even in the contest between man and steer the issue is not certain.”

Tommy Lee Jones as Sheriff Ed Tom Bell in No Country for Old Men (2007)

How to Get the Look

Ed Tom Bell’s uniform is ideal for chasing psychotic killers across the Texas landscape… or equally fitting for a day of hiking, horseback riding, or other outdoor and safer activities.

  • Tan cotton long-sleeved shirt with Terrell County Sheriff’s Department patches and white plastic buttons on the sleeves and placket
  • Brown denim duty pants with four buttons
  • Brown leather Ranger-style belt with silver hardware
  • Brown leather cowboy boots
  • White straw cowboy hat with leather headband
  • Gold-colored metal analog wristwatch with round blue-and-white dial
  • Black plastic reading glasses

Fans should be aware that Tommy Lee Jones’ screen worn costume is available for private purchase here.

The Gun

Ed Tom is an aging man who views the past as a simpler and better time. While he is cognizant of the changes in his world, Bell attempts to emulate his predecessor sheriffs’ approach to keeping the peace. In his opening dialogue, Bell reflects back on the “old time sheriffs” – many of whom did not feel the need to carry a firearm and wonders how they would fare in modern society. Bell’s selection of a Colt Series 70 Combat Government Model is indicative of his military past, attempt to carry on traditional sheriffin’, and a nod to the ever-present violence he is charged to keep at bay.

NO COUNTRY FOR OLD MEN

Although Bell never fires his weapon throughout the movie, he is certain in the knowledge his target will go down, and stay down, when hit by the venerable and reliable .45 caliber round.

NO COUNTRY FOR OLD MEN

To learn more, ride on over to the Internet Movie Firearms Database writeup on the weapons of this film.

Do Yourself a Favor and…

Check out the movie and Cormac McCarthy’s 2005 novel, written only two years before the film’s release.

The Quote

And then I woke up.

Justified, Season 6 – Raylan Givens in All Blue

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Timothy Olyphant as Deputy U.S. Marshal Raylan Givens on Justified (Episode 6.02: "Cash Game", 2015)

Timothy Olyphant as Deputy U.S. Marshal Raylan Givens on Justified (Episode 6.02: “Cash Game”, 2015)

Vitals

Timothy Olyphant as Raylan Givens, old-fashioned Deputy U.S. Marshal

Harlan County, Kentucky, Fall 2014

Series: Justified
Episode: “Cash Game” (Episode 6.02)
Air Date: January 27, 2015
Director: Dean Parisot
Creator: Graham Yost
Costume Designer:  Patia Prouty

Background

The second episode of Justified‘s sixth and final season introduced a few new characters that would be help drive the series toward its action-packed endgame, including a shockingly mustache-less Sam Elliott as ruthless yet refined gangster Avery Markham.

This early in the season, however, Raylan has yet to meet Mr. Markham, instead forced to converse with the likes of his low-level henchmen like the oversized dimwit Choo-Choo (Duke Davis Roberts).

What’d He Wear?

After some uneven experimentation in early episodes, Raylan Givens had established his usual look over the six seasons of Justified. In addition to the cowboy hat and boots from which he never deviated, one could expect to see the taciturn lawman strutting into the office in a black suit jacket, jeans, and skinny tie or the “denim sandwich” of a trucker jacket and jeans when off-duty. Sure there had been variations, with different suits and sport jackets in shades of gray and brown entering the mix but rarely anything more colorful than that.

Winona: Brown suit, black suit. 1, 2, 3, 4 shirts. Two pairs of jeans.
Raylan: What the hell’s that supposed to mean?
Winona: Oh, just by looking at your closet one would think you were a simple man.

Justified, “The Life Inside” (Episode 2.02)

It’s thus a surprising single-episode departure when Raylan spends the entirety of the sixth season’s “Cash Game” episode in an all blue ensemble anchored by a navy single-breasted peak-lapel suit jacket.

This solid navy jacket is softly napped like doeskin flannel. With a standard welted breast pocket and straight flapped pockets, the style of the jacket implies that it is orphaned from a lounge suit, though Raylan only wears it with jeans for its sole onscreen appearance. There are long side vents, allowing a little more room for the bulge created by Raylan’s holstered full-size Glock on his right hip.

The jacket has roped sleeveheads and is loosely shaped with darts, though Raylan somewhat negates the fitted effect by wearing it open. The peak lapels are pick stitched at the edges, rolling to the top of a two-button front with four smaller matching buttons on the ends of each sleeve.

"Now that ain't polite. You just about hit me, and now you're gonna sling foul utterances in my direction?"

“Now that ain’t polite. You just about hit me, and now you’re gonna sling foul utterances in my direction?”

Rather than opting for contrast with a lighter shirt or tie, Raylan sticks with a generally monochromatic scheme by wearing a navy shirt and tie. This lack of contrast keeps the look informal, harmonizing with his jeans better than a dressier and lighter blue shirt would.

The mini-checked cotton shirt has a slim spread collar and narrow front placket that reminds me of the standard offerings at places like Banana Republic, J. Crew, and Macy’s during the “slim fit” craze of the mid-2010s. This connection makes sense as much of Raylan’s clothing was known to be sourced from these retailers, though this may be the navy-and-black checked A.P.C. shirt that made an appearance during the show’s final episode and would be auctioned following the production.

JUSTIFIED

Raylan often wore vintage ties sourced by the show’s costume team, and this satin-finished navy tie is likely no exception. Two off-kilter gray-stitched rectangles in the center of the tie break up the solid navy ground.

Raylan wears his standard Levi’s 501 jeans, recognizable by the familiar little red tag on the inside of the back right pocket. These “Original Fit” jeans have a button fly and standard five-pocket layout, sitting low on his waist.

Raylan smirks while sartorial purists shudder.

Raylan smirks while sartorial purists shudder.

Like Raylan himself, his trusty tooled leather belt has seen plenty of wear and tear with the dark brown leather slightly worn on the top and bottom edges. There is tan contrast stitching along the edges and a steel single-prong buckle. On the right side of the belt, Raylan carries his Glock 17 in a tan-finished full-grain leather paddle holster, custom-made to resemble the Bianchi Model 59 Special Agent® that he’d worn in the first season.

Glock and badge: the tools of Raylan's trade.

Glock and badge: the tools of Raylan’s trade.

In the early episodes of Justified, Raylan stood tall in a pair of anteater cowboy boots from Lucchese, though he switched to the somewhat less expensive ostrich leg boots following the show’s second season. The Western-heeled boots have decorative stitching on the shafts, though they tend to be mostly concealed by Raylan’s jeans.

Raylan cuts off Choo-Choo's pursuit.

Raylan cuts off Choo-Choo’s pursuit.

By now, you know that Raylan Givens completes his cowboy image with a hat to supplement the boots. Baron Hats custom made this sahara tan 200XXX beaver hat with a 4.25″ cattleman’s crown, 3.25″ brim, and slim ranger-buckled tooled leather band for Timothy Olyphant to wear on the show, and it continues to market “The RG” hat on their site.

Raylan consults with Ava (Joelle Carter) for his 1:30 "haircut".

Raylan consults with Ava (Joelle Carter) for his 1:30 “haircut”.

Raylan sports a practical yet stylish TAG Heuer Series 6000 Chronometer on his left wrist. This watch has a brushed steel case, white dial, and black leather strap, though he often substitutes it for a brown leather strap in coordination with his other accessories like boots and belt.

An always welcome exchange with fellow marshal Tim Gutterson (Jacob Pitts) over morning coffee.

An always welcome exchange with fellow marshal Tim Gutterson (Jacob Pitts) over morning coffee.

One last cowboy touch: Raylan always wears a textured sterling silver ring with a horseshoe shape on the third finger of his right hand.

Timothy Olyphant as Deputy U.S. Marshal Raylan Givens on Justified (Episode 6.02: "Cash Game", 2015)

Timothy Olyphant as Deputy U.S. Marshal Raylan Givens on Justified (Episode 6.02: “Cash Game”, 2015)

How to Get the Look

Though unique for Raylan Givens – whose tailored jacket palette tends to fall more in the black, brown, and gray camp – all blue makes a delightful ensemble for spring. Whether or not you can pull off the tricky navy-on-navy-on-navy trifecta, Raylan’s cowboy hat and boots, or wearing a tie with jeans is yet to be seen…

  • Navy flannel single-breasted 2-button suit jacket with peak lapels, welted breast pocket, straight flapped hip pockets, 4-button cuffs, and long side vents
  • Navy mini-checked cotton shirt with slim spread collar, narrow front placket, and squared button cuffs
  • Navy satin silk vintage skinny tie with two center askew gray-stitched rectangles
  • Dark blue denim Levi’s 501 bootcut jeans
  • Dark brown tooled leather belt with a dulled steel single-prong buckle
  • Tan full grain leather thumb-break paddle holster for a full-size Glock pistol
  • Lucchese “cigar”-colored brown ostrich leg Western-style boots with decorative stitched calf leather shafts
  • Baron Hats “The RG” sahara tan 200XXX beaver cattleman’s hat with a thin tooled leather band
  • TAG Heuer Series 6000 Chronometer wristwatch with brushed steel case, white dial, and black leather strap
  • Sterling silver horseshoe ring with braided side detail
  • White ribbed cotton sleeveless undershirt

Do Yourself a Favor and…

Check out the entire series, though this episode makes its sole appearance in the sixth and final season.

The Quote

Son, are you real smart or real stupid?

Jimmy Stewart’s Blue Suit in Vertigo

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James Stewart as John "Scottie" Ferguson in Vertigo (1958)

James Stewart as John “Scottie” Ferguson in Vertigo (1958)

Vitals

James Stewart as John “Scottie” Ferguson, former San Francisco detective

San Francisco, Fall 1957

Film: Vertigo
Release Date: May 9, 1958
Director: Alfred Hitchcock
Costume Designer: Edith Head

WARNING! Spoilers ahead!

Background

Today is the 60th anniversary of the release of Vertigo, Hitchcock’s noir-esque thriller and the last of his collaborations with James Stewart. Hitch blamed Jim for the film’s lack of success at the box office, but history would give Jim the last laugh as a 2012 reevaluation for BFI’s Sight & Sound led to a poll of critics choosing Vertigo as the greatest film of all time, beating out long-standing #1 choice Citizen Kane.

What’d He Wear?

As former San Francisco detective John “Scottie” Ferguson in Vertigo, James Stewart wears a rotating selection of business suits in shades of blue, gray, and brown. The suits are all generally cut the same – single-breasted, three-button jackets with notch lapels and pleated trousers with turn-ups – with variations in the suiting and style: three are flannel while two are serge, three have ventless jackets while the other two have short vents, and two of the suits have sporty patch pocket jackets as well.

With the exception of the somber death inquest, this bold royal blue serge suit serves as Scottie’s go-to “going out” suit for evenings at Ernie’s, whether he’s on a date or just drinking stag.

The single-breasted suit jacket has substantial notch lapels that roll to a three-button front. The shoulders are wide, balancing James Stewart’s lean physique, with a then-fashionable ventless back and three buttons at the end of the sleeves. This and the gray flannel suit he wears when rescuing Madeleine (Kim Novak) from the Fort Point bay are Scottie’s two suits with patch pockets on the jackets.

Three-button jackets are typically recommended for taller men, providing the perfect balance for a taller man like the 6'3" James Stewart.

Three-button jackets are typically recommended for taller men, providing the perfect balance for a taller man like the 6’3″ James Stewart.

Pleated pants were back on the rise during the 1950s, and Scottie’s suit is no exception… and, speaking of rise, these trousers have a long rise that may be considered high by today’s standards but is perfectly proportional with the suit and Jimmy Stewart’s height, as the trouser waistband meets the jacket’s middle button right at the buttoning point.

Scottie wears his trousers with a slim textured belt that appears to be dark navy leather, even though traditional black leather would be more consistent with the character. The belt has a long, thin steel single-prong buckle.

Under the wide turn-ups (cuffs) on the bottom of his trousers legs, Scottie also appears to be wearing his usual cordovan wingtip derby brogues with a pair of dark navy socks.

Scottie strides into Ernie's yet again.

Scottie strides into Ernie’s yet again.

Despite his colorful suits, sport jackets, and sweaters, Scottie never diverges from his usual white cotton poplin dress shirts with two-button rounded cuffs, though there is some variance as to his choice to wear a collar bar.

Up to the point of Madeleine’s death (I warned you about spoilers!), he always wears a collar bar with his shirts and ties. For this suit’s first major appearance, at the inquest following her death, he begins wearing his shirts without collar bars. It’s a subtle difference, but it must be a meaningful one as he again resumes his practice of wearing a collar bar in his shirt after making Judy’s acquaintance and growing obsessed with turning her into Madeleine.

At Madeleine’s death inquest, Scottie maintains a generally monochromatic look with a tie that appears to be blue cross-checks on a lighter cornflower blue ground. Perhaps symbolic of his distracted state of mind, he foregoes his usual collar bar and wears the tie’s tail slightly longer than the blade… a custom that has been co-opted by modern practitioners of sprezzatura.

Keeping things appropriately low-key and monochromatic for a death inquest.

Keeping things appropriately low-key and monochromatic for a death inquest.

Later, we see Scottie at Ernie’s, where he wears a solid crimson red tie.

Red, white, and blue for a solitary night of drinking.

Red, white, and blue for a solitary night of drinking.

After meeting Judy, Scottie returns with her to Ernie’s in the hopes of recreating his experiences with Madeleine. He even returns to wearing a collar bar as well as this striped tie that he had worn earlier. This silk tie is striped in red and alternating shades and thicknesses of gray in the “downhill” American direction of right shoulder-down-to-left hip. Scottie wears this tie with both a silver collar pin and a silver tie bar.

Keeping an eye on Madeleine, perched at the bar at Ernie's.

Keeping an eye on Madeleine, perched at the bar at Ernie’s. This was technically the first appearance of the suit, though it only made a single-shot appearance. He later wears the exact same thing in the same setting.

A brief vignette of Scottie dancing with Judy, prior to her Madeleine makeover, shows him wearing what appears to be a dark navy tie with thin, widely spaced white stripes in the same “downhill” direction.

"Enjoying" a dance with Judy, wearing a little-seen striped tie.

“Enjoying” a dance with Judy, wearing a little-seen striped tie.

Scottie wears a subtle gold dress watch, secured to his left wrist on a black leather strap.

James Stewart as John "Scottie" Ferguson in Vertigo (1958)

James Stewart as John “Scottie” Ferguson in Vertigo (1958)

How to Get the Look

James Stewart’s Scottie Ferguson showcases how dressing boldly can still be tasteful and traditional with this vivid blue serge suit, one of several suits that he rotates through over the course of Vertigo.

  • Royal blue serge suit:
    • Single-breasted 3-button jacket with notch lapels, patch breast pocket, patch hip pockets, 3-button cuffs, and ventless back
    • Single reverse-pleated trousers with belt loops, side pockets, and turn-ups/cuffs
  • White poplin dress shirt with long point collar, front placket, breast pocket, and 2-button rounded cuffs
  • Slim black leather belt
  • Cordovan leather wingtip oxford brogues
  • Dark navy socks
  • Gold wristwatch with round case, black-ringed white dial, and black leather strap

Do Yourself a Favor and…

Check out the movie.

Out of Time – Denzel Washington’s Aloha Shirt

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Denzel Washington as Banyan Key police chief Matt Whitlock in Out of Time (2003)

Denzel Washington as Banyan Key police chief Matt Whitlock in Out of Time (2003)

Vitals

Denzel Washington as Mathias Lee “Matt” Whitlock, Banyan Key police chief

Banyan Key, Florida, summer 2002

Film: Out of Time
Release Date: October 3, 2003
Director: Carl Franklin
Costume Designer: Sharen Davis

Background

If you’re lucky enough to count a well-made Aloha shirt or two in your closet, summer is the time to bring them to the front of your rotation. After all, boldly printed shirts dominated at Milan Fashion Week this month, and I have a feeling we’ll be seeing a few more Hawaiian shirts on gents of all generations this summer.

While Hawaiian shirts in movies and TV are often played for comedic purposes, the tropical neo-noir Out of Time unironically – and successfully – dresses its protagonist in a setting-appropriate printed Aloha shirt for the lion’s share of the film’s action.

In this No Way Out-inspired thriller set in the bright and sunny Florida Keys, Denzel Washington plays a charming chief of police with a department of only four officers in the small town paradise of Banyan Key (filmed in the real-life city of Boca Grande). Chief Whitlock is currently undergoing a divorce from his ex-wife Alex (Eva Mendes), a fellow detective, while juggling an affair with local woman Anne Merai Harrison (Sanaa Lathan), the wife of an aggressive ex-football star (Dean Cain)… setting up all the elements for intrigue.

What’d He Wear?

Chief Matt Whitlock spends his days on duty in the comfortable white polo and black shorts that comprise his police uniform, but for an anxious night waiting for news from his cancer-stricken mistress (and her abusive husband), he changes into a blue tropical-printed Aloha shirt and light, loose-fitting slacks. Matt is still wearing this outfit the next day when he’s risen from his slumber with word that the couple’s house has burned down… with two bodies found on the scene.

Production photo of Eva Mendes and Denzel Washington in Out of Time (2003).

Production photo of Eva Mendes and Denzel Washington in Out of Time (2003).

One thing I appreciate about Denzel Washington’s wardrobe in Out of Time is the accessibility of the brands he wears. Matt Whitlock seems like the kind of guy who would stop by the local mall when he needs some new clothes, spend about ten minutes in a store grabbing affordable stuff that’s approximately his size, and then spend the rest of the day at the driving range. And if Matt is going to be picking up a Hawaiian shirt at the mall, it only makes sense that he’d be grabbing a shirt from Tommy Bahama, the Seattle-based brand that has been a mainstay of ready-to-wear island-wear for more than two decades.

Matt spends the majority of the film’s action wearing a silk Aloha shirt from Tommy Bahama, printed all over in an “island theme” motif with palm trees, mountains, and sail boats in mute slate blue and white on a cornflower blue ground. The shirt has a one-piece camp collar with a loop on the left side that would connect to a button under the right side of the collar, and there are seven brown faux-nut buttons down the plain front. The shirt also has a breast pocket.

Though the auctioned version of the shirt is a size medium, it still looks a bit oversized on Denzel Washington’s 6’1″ frame. The shirt’s larger, looser fit means the short set-in “half” sleeves begin off the shoulders and extend down his arms to drape over the elbows.

OUT OF TIME

The loud pattern covering the shirt doesn’t make it easy to discern right away, but taking a closer look at the progression of Denzel Washington’s look over the course of the film reveals that at least five shirts were used over the course of the production, each slightly differing in how the pattern is presented on the shirt… even though the pattern itself of palm trees, mountains, waves, and sail boats remains the same.

It’s certainly not unusual for a film to have multiples of a character’s costume on hand; in fact, it’s now standard practice that Tom Ford makes dozens of Daniel Craig’s suits for his action scenes as James Bond.

The easiest way to determine which shirt is being used in which scene is by looking at his shirt collars; over the course of Out of Time, the corner of Matt’s right collar goes from hosting the side of a palm tree, to the entire base of a palm tree and a sail boat, to a more bare scene, to just the boat sails and the palms at the top of a tree, and finally the vegetation at the base of the palm tree. (See below!)

The key is the collar: note the slightly different patterns present on Chief Whitlock's shirt collar as the movie progresses... yet the rest of the shirt tends to always look the same.

The key is the collar: note the slightly different patterns present on Chief Whitlock’s shirt collar as the movie progresses… yet the rest of the shirt tends to always look the same.

The large shirt also covers Chief Whitlock’s sidearm, a SIG-Sauer P228 semi-automatic pistol carried in his brown leather off-duty holster worn on the right side of his walnut brown leather belt for a dominant-hand draw.

Chief Whitlock shows us the utility of an armed off-duty officer wearing a slightly oversized shirt.

Chief Whitlock shows us the utility of an armed off-duty officer wearing a slightly oversized shirt.

Matt’s ivory chinos are from Banana Republic’s “Dawson” line of khakis marketed for their relaxed fit and comfortable 100% cotton construction, both compatible elements with his laidback island vibe. These flat front trousers have belt loops, gently slanted side pockets, slim-welted back pockets, and plain-hemmed bottoms.

Fifteen years after the film’s release, Banana Republic has re-energized this timeless chino design with its “Emerson” line that undoubtedly takes style cues its predecessor, the Dawson. The Emerson Straight Chino in khaki-colored 100% cotton is as close to the style and fabric of Denzel’s screen-worn trousers as is currently offered (as of June 2018), though the “transition cream” color available for the cotton-stretch Emerson Straight Rapid Movement Chino is a little closer to the color of the trousers worn in Out of Time. (Of course, you can also scan sites like Westfield for original Dawson chinos, if you’re so inclined.)

Note the black Banana Republic tag above the welt of Matt's back right pocket.

Note the black Banana Republic tag above the welt of Matt’s back right pocket.

Matt’s cool, comfortable, and casual wardrobe doesn’t end at his ankles… nor does he go the “uninformed dad” route of socks-and-sandals. Instead, he opts for a pair of unique slip-on loafers in tan nubuck leather from Mephisto, a Palm Beach footwear purveyor. The cool-wearing shoes have vamps littered with small holes to ventilate the wearer’s feet, and Mephisto’s signature Air Jet insole system ensures maximum comfort.

This particular variety of Mephisto footwear seems to be discontinued as of June 2018, though interested shoppers can still find pre-owned pairs thanks to sites like eBay. The Mephisto “Ulrich” in camel appears to have taken over the mantle as the brand’s pre-eminent vented-vamp loafer, available for $354.95 per pair.

As a loyal Motorola i90c user, Matt shows his disdain for DEA Agent White's Motorola i1000. Ah, the pre-iPhone days...

As a loyal Motorola i90c user, Matt shows his disdain for DEA Agent White’s Motorola i1000. Ah, the pre-iPhone days…

While the vented Mephisto shoes are probably the type of footwear one could wear sans socks, Matt sports a pair of brown knit cotton lisle socks. Thanks to the auction listing, we know that his shoe size is 10.5 and that the socks have yellow stitching at the toes, similar to the ubiquitous Gold Toe sock brand.

OUT OF TIME

Chief Whitlock’s watch is also appropriate for a practical guy who lives and works by the water. He wears a Casio Marine Gear AMW320D-9EV “Dual Time” watch, so named for its traditional analog dial and digital display inset across the bottom. This quartz dive watch has a black bidirectional rotating bezel with yellow markers that coordinate with the shiny yellow dial.

As I remember seeing in real life and movies and TV, yellow-dial dive watches like this were all the rage for characters from macho cops like Arnold Schwarzenegger in Kindergarten Cop (who had a Casio) and “Herc” on The Wire (who wore a similar Seiko) as well as the decidedly non-macho Ross Gellar on Friends.

This Casio has a 44mm stainless steel case and is secured to his wrist on a 25mm-wide ridged black resin band that closes with a steel single-prong buckle. You can read more about the watch on Casio’s website, though interested buyers may be able to find one on Amazon.

For those unable to tell that it's a little after 12:30 (though the slightly rotated bezel does throw things off a bit), there's always the digital display.

For those unable to tell that it’s a little after 12:30 (though the slightly rotated bezel does throw things off a bit), there’s always the digital display.

Sunglasses would be a daily must-have item for anyone living in the Florida Keys, and Chief Whitlock makes good use of his matte sand-framed navigator-style aviator sunglasses with amber-tinted lenses.

Less of a functional must-have and more of a fashion accessory, Matt also wears a small gold hoop earring in his left ear lobe.

OUT OF TIME

Chief Whitlock’s final piece of jewelry is a slim gold medallion worn on a gold necklace.

Matt's necklace medallion falls out of his shirt while he reaches for his SIG-Sauer under Paul Cabot's motel room bed following a tussle in the room... and on the balcony.

Matt’s necklace medallion falls out of his shirt while he reaches for his SIG-Sauer under Paul Cabot’s motel room bed following a tussle in the room… and on the balcony.

Denzel Washington's screen-worn costume from Out of Time. Source: Nate D. Sanders Auctions.

Denzel Washington’s screen-worn costume from Out of Time. Source: Nate D. Sanders Auctions.

In October 2015, items from Denzel Washington’s screen-worn costume in Out of Time were auctioned by Nate D. Sanders Auctions:

Denzel Washington screen-worn costume, worn as ”Matt Lee Whitlock” in the 2003 crime drama ”Out of Time”.

Four piece outfit includes shirt, slacks, socks and loafers: (1) Tommy Bahama short sleeve blue and white shirt with island design, size medium; (2) Banana Republic ”Dawson” khaki slacks, size 36/34; (3) Pair of brown knit socks with yellow stitching at toes, measures 16”; (4) Mephisto ”Air-Jet” brown leather slip on loafers, size 10.5.

This outfit (including the same shirt) had previously been included in an auction in December 2013 but failed to sell. The auction listing is still live on iCollector and even includes a photo of the mentioned socks.

The same auction included a prop wallet that Denzel Washington’s character carried, complete with his state ID, police ID, two Capital One cards, and three Visa cards.

Denzel Washington as Banyan Key police chief Matt Whitlock in Out of Time (2003)

Denzel Washington as Banyan Key police chief Matt Whitlock in Out of Time (2003)

How to Get the Look

This might not be the best outfit for a guy trying to fit in while dodging the authorities, so limit your summer activities to bellying up to the bar or lounging on a beach somewhere, and you should be fine.

  • Blue-on-light blue island-printed silk Aloha/Hawaiian shirt with camp collar, seven brown faux-nut buttons, breast pocket, and short set-in sleeves
  • Ivory cotton flat front chino trousers with belt loops, slanted side pockets, right-side coin pocket, jetted back pockets, and plain-hemmed bottoms
  • Walnut brown leather belt with steel square single-prong buckle
  • Brown leather belt holster, for SIG-Sauer P228 pistol
  • Tan nubuck leather vented-vamp slip-on loafers
  • Brown cotton lisle socks with yellow toe-stitching
  • Casio Marine Gear AMW320D-9EV “Dual Time” quartz dive watch with 44mm stainless steel case, black rotating bezel, yellow analog dial with digital display, and ridged black resin strap
  • Sand-toned matte-framed navigator-style aviator sunglasses with amber lenses
  • Gold mini-hoop earring
  • Gold medallion/pendant on gold necklace

The Gun

As chief of the Banyan Key Police Department, Matt Whitlock’s issued sidearm is a blued steel SIG-Sauer P228, carried in a brown leather holster on the right side of his belt.

OUT OF TIME

OUT OF TIME

SIG-Sauer introduced the P228 in 1988 as a downsized version of its full-framed P226 model. Commercially available with only a traditional double-action (DA/SA) trigger, the P228 was only marginally smaller than the P226 with its 3.9-inch barrel length, only a half-inch shorter than the P226.

Unlike the multi-chambered P226, the P228 was only offered in the popular 9x19mm Parabellum round throughout its production, carrying 13 rounds in a double-stack magazine as opposed to the eight-round single-stack magazine of its cousin, the SIG-Sauer P225.

OUT OF TIME

OUT OF TIME

Denzel Washington is also seen wearing this outfit on most of the promotional artwork for Out of Time (2003).

Denzel Washington is also seen wearing this outfit on most of the promotional artwork for Out of Time (2003).

Shortly after its introduction, the SIG-Sauer P228 was adopted by the U.S. Secret Service and designated into U.S. military service as the M11 pistol. The P228 was produced continuously for nine years until it was considered to be replaced by the similarly sized SIG-Sauer P229.

In addition to its stainless steel construction as opposed to the P228’s carbon steel, the P229 was made available in multiple calibers, from the small .22 LR round up to the approved law enforcement .357 SIG and .40 S&W rounds as well as the prerequisite 9x19mm Parabellum.

Despite its ostensible replacement by the P229, the SIG-Sauer P228 remained in limited use among some branches of the U.S. military, though it is scheduled to be formally replaced by a carry-sized variant of the modular SIG-Sauer P320.

Do Yourself a Favor and…

Check out the movie.

Michael Douglas’s Light Brown Cerruti Suit in Basic Instinct

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Michael Douglas as Nick Curran in Basic Instinct (1992)

Michael Douglas as Nick Curran in Basic Instinct (1992)

Vitals

Michael Douglas as Nick Curran, suspended homicide detective

San Francisco, April 1991

Film: Basic Instinct
Release Date: March 20, 1992
Director: Paul Verhoeven
Costume Designer: Ellen Mirojnick

Background

The scene itself needs no introduction. Nick Curran (Michael Douglas) sits in a shadowy interrogation room full of detectives (including Newman!) with Hitchcockian ice-cold blonde Catherine Trammell (Sharon Stone) facing them. In one of the most-paused moments of the VHS era, Catherine deftly uncrosses her legs just enough to guarantee that the room – and the audience – know that she neglected to wear underwear that day.

Nick already knew that, of course, but she has the rest of the room eating out of her hand, craning their necks so hard to get a glimpse that you think poor Newman’s head is on the verge of popping off of his neck. The manipulative ploy

If you haven't seen the famous scene by now, you've almost certainly seen it parodied.

If you haven’t seen the famous scene by now, you’ve almost certainly seen it parodied.

In the spirit of Michael Douglas’ 74th birthday today, BAMF Style is taking a look at the fall-friendly office look he sports during this unforgettable scene.

What’d He Wear?

The scene has become so famous for what Sharon Stone isn’t wearing that viewers’ minds may need to be refreshed as to what other characters actually are wearing. Michael Douglas’ fashionable cop once again dresses for the job in head-to-toe Cerruti, with a light brown suit made from worsted twill-weave wool.

Note the twill suiting.

Note the twill suiting.

Nick Curran’s three contemporary suits, designed by Ellen Mirojnick, are all neutral tones, ranging from this warmer light brown suit to a cool light gray suit with a taupe suit falling somewhere in the middle. Ms. Mirojnick has frequently collaborated with Michael Douglas across his career, delivering some of his most iconic and influential looks in Fatal Attraction (1987), Wall Street (1988), and its sequel, Wall Street: Money Never Sleeps (2010), as well as Basic Instinct. Most recently, the designer has earned accolades for her work in The Greatest Showman (2017) and Cinemax period series The Knick.

Nick’s light brown suit is fashionably styled for the early 1990s with its widely notched lapels, low two-button stance, jetted hip pockets, and ventless back, not to mention the overall cut. The jacket also has a welted breast pocket and three-button cuffs.

Nick takes in the sights at Catherine's home.

Nick takes in the sights at Catherine’s home.

After their resurgence in the 1980s, pleats remained popular for fashionable gents well into the following decade, and Douglas’ suit trousers in Basic Instinct are styled with double reverse pleats. The trousers have straight side pockets, jetted button-through back pockets, and plain-hemmed bottoms.

Nick wears a dark brown leather belt with a steel single-prong buckle with his English tan stiff leather holster for his Glock service pistol snapped onto the right side of his belt. He keeps a matching leather pouch with a spare Glock magazine on the back left side of his belt.

Shooter takes a coffee break.

Shooter takes a coffee break.

Anto of Beverly Hills custom made Michael Douglas’ shirts in Basic Instinct, using a high-quality end-on-end cotton. This sky blue silky-effect shirt is styled like his others with a point collar, plain front, button cuffs, and no pocket.

Buttoned up at the office... and considerably loosened up after.

Buttoned up at the office… and considerably loosened up after.

The ’90s also saw a resurgence of bold ties with loud patterns and blades up to 4″ wide. Ellen Mirojnick wisely avoided these perilous trends and outfitted Nick Curran in neckwear just wide enough to be stylish in the ’90s and patterned with a relatively subdued print of gold and beige swirls on olive green silk.

BASIC INSTINCT

Nick Curran’s preference for Chelsea boots with his suits set him apart as a hipper, younger detective more tuned in to style than his conservatively dressed comrades. These slip-on boots with elastic side gussets are a similar English tan leather as his holster and magazine pouch, and he wears them with a pair of light brown socks that nicely coordinate with his suit.

These guys are no match for Catherine Trammell.

These guys are no match for Catherine Trammell.

When Nick heads home with his off-and-on paramour Dr. Beth Garner (Jeanne Tripplehorn), the resulting scene reveals that he seems to prefer black boxer briefs.

What to Imbibe

Nick Curran has had some issues with substance abuse in the past, but this episode is enough to send him back to the bar. “Double black Jack on the rocks,” is his order, implying a double pour of Jack Daniel’s Tennessee whiskey over ice… just what you’d expect from a cop on the edge.

How to Get the Look

Michael Douglas as Nick Curran in Basic Instinct (1992)

Michael Douglas as Nick Curran in Basic Instinct (1992)

Nick Curran’s sleek on-duty suits benefit from a strong sense of balance, balancing ’90s trends with timeless fashion and balancing the neutral tones of his suit and tie with a bright blue shirt.

  • Light brown high-twist worsted wool tailored Cerruti 1881 suit:
    • Single-breasted 2-button suit jacket with notch lapels, welted breast pocket, straight jetted hip pockets, 3-button cuffs, ventless back
    • Double reverse-pleated trousers with belt loops, side pockets, jetted button-through back pockets, and plain-hemmed bottoms
  • Sky blue cotton shirt with point collar, plain front, and button cuffs
  • Green, gold, and beige swirl-patterned silk tie
  • Dark brown leather belt with squared steel single-prong buckle
  • Brown (English tan) leather belt holster and magazine pouch
  • Brown (English tan) leather Chelsea boots
  • Light brown dress socks
  • Black boxer briefs
  • Steel wristwatch with round white dial on steel bracelet

A photo of the full costume – including shirt, tie, and boots – can be found here.

Do Yourself a Favor and…

Check out the movie.

The Quote

You like playing games, don’t you?

True Detective – Ray Velcoro’s Denim Wrangler Jacket

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Colin Farrell as Ray Velcoro on the second season of True Detective (Episode 2.04: "Down Will Come")

Colin Farrell as Ray Velcoro on the second season of True Detective (Episode 2.04: “Down Will Come”)

Vitals

Colin Farrell as Ray Velcoro, troubled and crooked Vinci PD detective

Ventura County, California, fall 2014 to spring 2015

Series: True Detective
Season: 2
Air Dates: June 21, 2015 – August 9, 2015
Creator: Nic Pizzolatto
Costume Designer: Alix Friedberg

WARNING! Spoilers ahead!

Background

True Detective returns to HBO tonight with the premiere of its third season, which has been suggested to be a return to form after the poorly received second season, which aired three and a half years ago.

The second season was a well-intended—if not perfectly executed—departure from the first season, transporting us from the evocative Louisiana swamplands to the noir-esque metropolis of southern California, experienced through the shifting perspectives and murky morals of three cops and an ambitious gangster. While all four shared the spotlight throughout the series, Colin Farrell’s Ray Velcoro emerged as the show’s likeliest contender for central character.

We meet Velcoro during his tenure as a troubled and incorrigibly crooked detective with the fictional Vinci, California police department and tapped to serve on a task force with Ventura County detective Ani Bezzerides (Rachel McAdams) and CHP officer Paul Woodrugh (Taylor Kitsch) to solve the murder of a shady city manager, Ben Caspere. Velcoro begins collecting clues through his own shady sources, including the aforementioned gangster Frank Semyon (Vince Vaughn), and Velcoro’s independent investigation leads him to a secret home owned by Caspere… where Velcoro is blasted with two non-lethal rounds from a shotgun.

What’d He Wear?

Ray Velcoro established an image—and reputation—as a “cowboy cop” in the first two episodes, cycling through a wardrobe of Western-styled tweed jackets, snap-front shirts, bolo ties, jeans, and cowboy boots. The series’ third episode, “Maybe Tomorrow” (Episode 2.03), finds him in recovery from the shotgun incident, checking in with his doctor, his superiors, and his grumpy ex-cop father Eddie (Fred Ward).

For this off-duty day, and intermittently through three episodes to follow—”Down Will Come” (Episode 2.04), “Church in Ruins” (Episode 2.06), and the arguably strongest episode “Black Maps and Motel Rooms” (Episode 2.07)—Velcoro adopts the more casual attire of a denim trucker jacket with a light, copper brown corded collar.

Velcoro introduces his denim Wrangler jacket to viewers in the third episode, "Maybe Tomorrow" (Episode 2.03).

Velcoro introduces his denim Wrangler jacket to viewers in the third episode, “Maybe Tomorrow” (Episode 2.03).

Velcoro’s Wrangler trucker jacket was one of the more popular wardrobe items from True Detective‘s second season. The manufacturer was quickly confirmed by the small black logo patch with “Wrangler” in yellow, stitched in just above the left chest pocket, but fans have also suggested that the jacket is of 1990s vintage, tailored to fit Colin Farrell.

The dark blue denim jacket has six metal buttons down the front and a seventh bottom button on a short extended tab along the waistline. All seven buttons correspond to a horizontal buttonhole reinforced with copper-colored thread to match the color of the thin-waled corduroy collar.

Velcoro enjoys his usual vices of a cigarette and a beer.

Velcoro enjoys his usual vices of a cigarette and a beer.

Velcoro adopts the subtle disguise of a lighter wash denim jacket with a regular collar when trying to entrap his boss in the season finale, “Omega Station” (Episode 2.08). Evidently, wearing his own Wrangler trucker jacket would have made it too obvious that it was him so he had to find a different jean jacket for his disguise, complete with large-framed aviators and cowboy hat. Just the sort of outfit to blend in at a train station in Anaheim… sure.

Maybe the trick to an effective disguise isn't to blend in but actually to stick out even more?

Maybe the trick to an effective disguise isn’t to blend in but actually to stick out even more?

Velcoro’s favorite shirts are the slightly oversized washed cotton utility shirts often associated with outdoors wear retailers like Eddie Bauer or L.L. Bean. The one he wears most frequently with his corded-collar Wrangler denim jacket is a drab olive green color with mixed brown urea plastic buttons, worn in “Maybe Tomorrow” (Episode 2.03), “Church in Ruins” (Episode 2.06), and “Black Maps and Motel Rooms” (Episode 2.07). The shirt has two box-pleated patch pockets on the chest that each close with a single button through a mitred-corner flap. Each cuff closes on one of two buttons for an adjustable fit as well as a smaller button on the gauntlet that Velcoro typically leaves undone.

"Black Maps and Motel Rooms" (Episode 2.07)

“Black Maps and Motel Rooms” (Episode 2.07)

“Down Will Come” (Episode 2.04) is the sole time that Velcoro wears a different shirt with his Wrangler jacket and jeans, opting for the light blue chambray cotton shirt that is also seen with his taupe tweed jacket. Based on the U.S. Navy’s classic work shirt, this chambray shirt has large off-white plastic buttons on the front placket. Each chest pocket has mitred bottom corners and as single button through the top to fasten it to the shirt. // These buttons don’t fare so well during Velcoro’s drug-fueled binge in the same episode when he tears the front of the shirt open, leaving only the top three buttons intact. His dramatic gesture

"Down Will Come" (Episode 2.04)

“Down Will Come” (Episode 2.04)

Under all of his shirts, Velcoro typically wears a white ribbed cotton sleeveless undershirt (or “A-shirt”), though it gets the most exposure in these scenes when he wears his olive utility shirt unbuttoned in the motel room.

Production photo of Colin Farrell in "Black Maps and Motel Rooms" (Episode 2.07)

Production photo of Colin Farrell in “Black Maps and Motel Rooms” (Episode 2.07)

During the first half of the season, when Velcoro is still a Vinci PD detective, he prefers to wear black or dark brown cotton stretch jeans with his denim Wrangler jacket, presumably to avoid the “denim sandwich” or “Canadian tuxedo” look.

After he gives up his badge mid-season and goes into private security, Velcoro is more comfortable wearing regular blue denim jeans, specifically a pair of Levi’s 501® Original Fit in a dark indigo wash. Throughout the series, he wears the same wide dark brown leather belt with a large steel single-prong buckle.

You've heard of manspreading... now check out jeanspreading.

You’ve heard of manspreading… now check out jeanspreading.

Velcoro’s police-issued holster for his Browning Hi-Power is a black right-side belt holster. Once he’s left the force, he carries the same Hi-Power in a tan leather inside-the-waistband (IWB) holster fastened to the back of his jeans with a black clip. He also carries his knife clipped in the right front pocket of his jeans.

Production photo of Colin Farrell and Rachel McAdams in "Black Maps and Motel Rooms" (Episode 2.07)

Production photo of Colin Farrell and Rachel McAdams in “Black Maps and Motel Rooms” (Episode 2.07)

Valli Herman reported in a  2015 Costume Designers Guild article that costume designer Alix Friedberg took inspiration from “a blend of law abiders and law breakers… some of Richard Avedon’s weary loaners from In the American West” when developing Ray Velcoro’s Southwestern sartorial aesthetic. Thus, our anti-hero stays true to a pair of brown leather custom-made cowboy boots with a short, square toe from the Stallion Boot Company of El Paso.

What to Imbibe

Doctor: May I ask how much you drink in a given week?
Ray Velcoro: All I can.

It’s no wonder that Ray Velcoro lives his life on the edge, unafraid of the potentially fatal consequences of his investigation while his liver wails for help against an endless barrage of beer, whiskey, vodka, and tequila… and those are just the legal substances he abuses.

Sitting at his usual table at the Black Rose, Velcoro can often be found chain-smoking his Natural American Spirit cigarettes—the yellow pack, equivalent to what used to be called “Lights”—and taking long pulls from his bottles of Modelo Especial. This Mexican beer was first bottled in 1925 and, as of July 2014 when the series was in production, it was the second most imported beer to the United States, selling nearly 23 million cases annually. Modelo Especial is a product of Grupo Modelo, the Mexico City brewery that also brews the Corona and Pacífico export brands.

TRUE DETECTIVE

The most neo-noir moments of True Detective find Ray Velcoro and Ani Bezzerides holding up in their secluded motel room with knives, guns, and a bottle of J.P. Wiser’s Deluxe. J.P. Wiser’s holds the distinction of being Canada’s oldest continually produced Canadian whisky. John Philip Wiser began production of his product at the Charles Payne Distillery in Prescott, Ontario, in 1857.

Ray and Ani console each other, though it's the whiskey that deserves the most credit for easing their moods (and inhibitions).

Ray and Ani console each other, though it’s the whiskey that deserves the most credit for easing their moods (and inhibitions).

Perhaps the choice of J.P. Wiser’s whiskey was meant to imply that our protagonists are growing wiser through their collaborative investigation? It’s not a very commonly seen spirit in TV shows and movies, though it did appear in the hands of the violent McManus brothers in The Boondock Saints (1999).

The Gun

Ray Velcoro carries a Browning Hi-Power as his sidearm both on duty and while working private security for Frank Semyon after his resignation from the Vinci Police Department. While this early “Wonder Nine” semi-automatic pistol remains a reliable, venerable choice eighty years after its development, it’s surprising to see it as a policeman’s authorized sidearm in an age that finds most law enforcement agencies issuing more modern and lighter Glock, SIG-Sauer, and Smith & Wesson handguns with double-action systems.

Velcoro's doctor glances at the holstered Hi-Power. He may be concerned that Ray's excessive drinking is a problem, but there are far more dangers in the detective's life than just his habitual imbibing.

Velcoro’s doctor glances at the holstered Hi-Power. He may be concerned that Ray’s excessive drinking is a problem, but there are far more dangers in the detective’s life than just his habitual imbibing.

John Browning began his development of what would become the Browning Hi-Power around the start of World War I in 1914, though it would take more than two decades for the weapon to actually enter production. Working within the French military’s stipulated guidelines of a caliber of 9 mm or larger, weight no more than 1 kilogram,

Working within the French military’s stipulated guidelines, Browning took nearly ten years to create a prototype of a pistol with an external hammer, magazine disconnect, a weight not exceeding one kilogram, and a capacity of at least ten rounds in a caliber of 9 mm or larger. Browning filed his patent in June 1923, but he died four months before the patent was granted in February 1927. It would take another eight years before the Browning Hi-Power was officially introduced to the world, but what an impression it made. Dieudonné Saive expanded on Browning’s design, developing a staggered, double-stacked magazine that expanded the capacity to a full 13 rounds of 9×19 mm Parabellum ammunition, earning it the moniker “Wonder Nine” that would be applied to other high-capacity 9 mm pistols to follow.

How to Get the Look

Colin Farrell as Ray Velcoro on the second season of True Detective (Episode 2.04: "Down Will Come")

Colin Farrell as Ray Velcoro on the second season of True Detective (Episode 2.04: “Down Will Come”)

Ray Velcoro dresses down when off-duty with a denim jacket that he takes caution not to wear with matching jeans, a pro tip for trucker jacket wearers who don’t want to look like they’re sporting a mismatched leisure suit.

  • Dark blue denim Wrangler trucker jacket with camel brown corded collar, chest pockets with button-down flaps, hand pockets, and single-snap cuffs
  • Olive drabi washed cotton utility shirt with spread collar, front placket, button-down flapped inverted box-pleat chest pockets, and button cuffs
  • White ribbed cotton sleeveless A-style undershirt
  • Dark blue denim Levi’s 501 Original Fit jeans
  • Brown leather belt with dulled steel squared single-prong buckle
  • Brown leather square-toed cowboy boots

As of January 2019, the only new denim jacket that Wrangler offers with a corded collar is the Wrangler® Blanket Lined Denim Jacket, lined with a red buffalo check flannel acrylic material that adds a warm, rustic aesthetic. However, ASOS and other manufacturers currently offer corded-collar trucker jackets without visible blanket lining.

Do Yourself a Favor and…

The first season of True Detective earned the show a reputation that some say was blemished by the second season, though I think the latter sits better when watched independently rather than as an extension of the first.

Either way, early reviews for the third season starring Mahershala Ali sound as though it’s worth tuning in tonight!

The Quote

Frankly, I’m apoplectic.


Sidney Poitier in In the Heat of the Night

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Sidney Poitier as Virgil Tibbs in In the Heat of the Night (1967)

Sidney Poitier as Virgil Tibbs in In the Heat of the Night (1967)

Vitals

Sidney Poitier as Virgil Tibbs, Philadelphia homicide detective

Sparta, Mississippi, September 1966

Film: In the Heat of the Night
Release Date: August 2, 1967
Director: Norman Jewison
Costume Designer: Alan Levine

Background

Happy birthday to the great Sidney Poitier, born 92 years ago today on February 20, 1927. The actor’s personal favorite among his prolific filmography is In the Heat of the Night, which won the Academy Award for Best Picture in 1967, a year that found him pulling off a peerless hat trick that included that film as well as Guess Who’s Coming to Dinner? and To Sir, with Love.

In the Heat of the Night has it all: gripping—and often funny—writing, pitch-perfect acting from all, and a noirish atmosphere dripping with a Southern Gothic twist. The masterful score by Quincy Jones ranges from bluesy to soulful, kicked off by the stirring title song performed by Ray Charles, welcoming us to the sweltering burg of Sparta, Mississippi.

Heading home after a visit to his mother, Virgil Tibbs finds himself in Sparta in the wee hours of the morning, waiting for his next train. Half-asleep in the deserted station, Tibbs is accosted and arrested for murder by Sam Wood (Warren Oates), who delivers him to the Sparta police station. Tibbs calmly withstands the relentless questions from Sparta’s police chief, Bill Gillespie (Rod Steiger, who won an Academy Award for this role), until the chief implies that Tibbs could have honestly come by the hundreds of dollars in his wallet. “Now what do you do up there in little old Pennsylvania to earn that kind of money?” Gillespie chides.

“I’m a police officer,” Tibbs memorably responds, pulling out his credentials as Gillespie’s aggression transforms into shock. As the misunderstanding is resolved, both Tibbs’ own chief and Gillespie himself manage to goad the detective into sticking around in Sparta to assist with the investigation.

What’d He Wear?

“You hear the talk about Cary Grant and Steve McQueen, but I don’t think anybody wore a suit better than Sidney Poitier,” observed film critic Elvis Mitchell in a February 2017 Vanity Fair article that details the actor’s marvelous trio of films that cemented him as the most prolific actor of 1967.

Laura Jacobs further illustrates the points with her notation that “in each movie he wears a gray flannel suit as if it were a form of lightweight knight’s armor,” though Virgil Tibbs’ well-cut dark gray suit that he wears throughout his time in Sparta is likely a worsted with a silky blue cast that suggests a finer material.

IN THE HEAT OF THE NIGHT

The single-breasted suit jacket has slim lapels with wide notches that gently curve over the lower corners, suggestive of the “half clover” notch lapels that trended during the mid-sixties. The lapels roll just over the top of three gray-blue plastic buttons that work in tandem with the darted fit to present a strong, structured silhouette that flatters Poitier’s tall, lean 6’2″ physique.

The jacket has a welted breast pocket, straight flapped hip pockets in line with the lowest button, vestigal four-button cuffs, and a single vent.

Tibbs theorizes.

Tibbs theorizes.

The flat front trousers rise to Poitier’s natural waist, where he suspends them with a black leather belt that closes in the front through a polished steel single-prong buckle. The trousers are plain-hemmed on the bottoms with jetted back pockets and straight side pockets where the exasperated detective often places his hands.

Tibbs greets Sam Wood's patrol car before a long, late-night investigation.

Tibbs greets Sam Wood’s patrol car before a long, late-night investigation.

Tibbs wears a pair of black calf cap-toe shoes with V-front three-eyelet derby lacing and black socks.

Back where it all started: Gillespie tracks Tibbs down to the train station to ask him not to leave town.

Back where it all started: Gillespie tracks Tibbs down to the train station to ask him not to leave town.

Tibbs adds an Ivy-inspired touch with his button-down collar shirts and striped repp ties. During his first few days in town, he wears an ecru button-down collar shirt with a scarlet and navy wide-striped repp tie.

The tie’s stripe formation evokes the classic Brigade of Guards tie that signals service in that formation of the British Army, though the stripes on Tibbs’ tie appear to be double the width of the traditional Guards tie stripes and follow the Americanized stripe direction of right shoulder-down-to-left hip.

Primary colors: Tibbs wears shades of red, yellow, and blue as he faces Gillespie in his office after Sam Wood brings him in for suspicion of murder.

Primary colors: Tibbs wears shades of red, yellow, and blue as he faces Gillespie in his office after Sam Wood brings him in for suspicion of murder.

While Sidney Poitier was a customer of Frank Foster—the venerated London shirtmaker who dressed the likes of Cary Grant, Gregory Peck, Frank Sinatra, the Beatles, and three James Bond actors among many others—the company confirmed that they did not make his shirts for In the Heat of the Night. (To see Poitier wearing Frank Foster, check out To Sir, With Love, released the same year.)

The ecru cotton shirt has a button-down collar in more of a spread than a point shape. The shirt fastens up the plain front with four-hole sew-through mother-of-pearl buttons with a column of two identical buttons on each squared cuff.

Tibbs fields a call from his boss, who requests that the detective remain in Sparta to assist with the murder investigation. Gillespie is all ears.

Tibbs fields a call from his boss, who requests that the detective remain in Sparta to assist with the murder investigation. Gillespie is all ears.

After two long nights with the Sparta PD, Tibbs shows up refreshed the next morning in a new blue shirt and striped tie only to be greeted with the news that Chief Gillespie is arresting the excitable Sam Wood, the officer who discovered the dead body two nights earlier. Tibbs can’t help but to laugh (“You’re making a mistake!”) now that yet a third suspect has been wrongly accused of the murder in as many days.

Tibbs again sports a striped repp tie, this time with navy and silver stripes about an inch wide and, like the previous tie, following the Americanized “downhill” stripe direction.

IN THE HEAT OF THE NIGHT

The closest regimental neckwear equivalent is likely the tie of the Queen’s Own Royal West Kent Regiment, a line infantry regiment of the British Army that was disestablished in 1961 after eighty years.

His light blue cotton shirt is styled similarly to the previous shirt with a spread-shaped button-down collar, plain front, and two-button barrel cuffs.

A long day turns into a long night, and it ain't over yet.

A long day turns into a long night, and it ain’t over yet.

After the murderer has been caught, Tibbs oversees the confession from the doorway in his dressiest shirt yet, a beige cotton number with a classic spread collar and double (French) cuffs, worn with a plain bright red satin silk tie that’s almost identical to the train he’s about to board.

A lighter suit, a dressier shirt, and a solid tie for Tibbs' last day in town.

A lighter suit, a dressier shirt, and a solid tie for Tibbs’ last day in town.

Also worth noting is the fact that—while similar in style, cut, and details—Tibbs appears to be wearing a different suit, made from a lighter shade of gray wool and detailed with darker buttons.

Third time's a charm: Tibbs finally makes it onto his train out of town.

Third time’s a charm: Tibbs finally makes it onto his train out of town.

What to Imbibe

Chief Gillespie: You know a lot of things, don’t you? Well, what do you know about insomnia?
Virgil Tibbs: Bourbon can’t cure it.

During Tibbs’ action-packed last night in Sparta, he and Chief Gillespie wile away the hours with a bottle of Wild Turkey, though the chief seems to do the lion’s share of the drinking… or at least of showing the effects of drinking.

Both reclined in their rumpled light blue shirts, dark trousers, and a bottle of bourbon between them, Tibbs and Gillespie have never been closer.

Both reclined in their rumpled light blue shirts, dark trousers, and a bottle of bourbon between them, Tibbs and Gillespie have never been closer.

“You know, Virgil, you are among the chosen few,” offers Chief Gillespie after a long night of drinking. Indeed, Virgil Tibbs is a classic heroic figure – smart, strong, and still flawed, admitting that he allowed his investigation to divert in the wrong direction, following his own suspicions of the bigoted town big shot Endicott “for personal reasons” after the two men famously exchanged slaps.

Sidney Poitier as Virgil Tibbs in In the Heat of the Night (1967)

Sidney Poitier as Virgil Tibbs in In the Heat of the Night (1967)

How to Get the Look

Virgil Tibbs’ arrival in Sparta makes him easily the most fashionable man in town with his sleek, modern suit and Ivy-inspired underpinnings of light button-down collar shirts with striped repp ties.

  • Dark gray worsted suit
    • Single-breasted 3-button jacket with slim notch lapels, welted breast pocket, straight flapped hip pockets, 4-button cuffs, and single vent
    • Flat front trousers with belt loops, straight/on-seam side pockets, jetted back pocket, and plain-hemmed bottoms
  • Ecru cotton shirt with spread button-down collar, plain front, and two-button cuffs
  • Scarlet-and-navy “downhill”-striped repp tie
  • Black leather belt with polished steel single-prong buckle
  • Black calf leather cap-toe 3-eyelet derby shoes
  • Black dress socks

Do Yourself a Favor and…

Check out the movie, which was just given the Criterion Collection treatment in grand form last month.

The Quote

They call me Mister Tibbs!

Jimmy Stewart’s Blue-Gray Flannel Suit in Vertigo

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James Stewart as John "Scottie" Ferguson in Vertigo (1958)

James Stewart as John “Scottie” Ferguson in Vertigo (1958)

Vitals

James Stewart as John “Scottie” Ferguson, former San Francisco detective

San Francisco, Fall 1957

Film: Vertigo
Release Date: May 9, 1958
Director: Alfred Hitchcock
Costume Designer: Edith Head

WARNING! Spoilers ahead!

Background

In the spirit of yesterday, March 12, being deemed Alfred Hitchcock Day, not to mention being one week away from the first day of spring in the Northern Hemisphere, even if the weather itself can’t make up its mind…

For those whose offices call for jackets and ties, dressing for work during these transitional weather periods can be a challenge, balancing professionalism with comfort in the context of an uncertain weather forecast. As San Francisco detective “Scottie” Ferguson in Vertigo, James Stewart provides a solution.

Scottie works and lives in San Francisco, a city famous for its mild climate with little seasonal variation, thus our hero establishes for himself a rotation of flannel and serge business suits in traditional colors like blue, gray, and brown. Flannel suits are particularly fortunate assets to have in one’s closet when the morning air is still cool but hardly worthy of packing a topcoat and scarf for the day.

After spending the introductory scene with his friend Midge (Barbara Bel Geddes), Scottie is summoned to the office of his college pal Gavin Elster (Tom Helmore), a shipbuilding exec who goads the reluctant detective into agreeing to follow his wife Madeleine, setting the plot of this classic thriller in motion.

What’d He Wear?

Scottie arrives at Gavin’s office at the San Francisco shipyard wearing a spring-friendly blue-gray two-piece business suit made from a flannel cloth just weighty enough to provide comfort in the cool weather without requiring an additional layer.

The blue-gray flannel suit is tailored and styled to be consistent with his other suits with a single-breasted, three-button jacket that flatters and balances Jimmy Stewart’s height. Unlike his sportier suits with patch pockets, this suit jacket has the standard welted breast pocket and straight set-in hip pockets typically associated with business suits.

VERTIGO

The jacket also has three-button cuffs. It is Scottie’s only suit jacket with a vented back, as both this blue-gray flannel suit jacket and his birdseye tweed sports coat have a single vent in the back.

Scottie takes an interesting job from his pal Gavin Elster.

Scottie takes an interesting job from his pal Gavin Elster.

Like Scottie’s other suits, the blue-gray trousers have single reverse pleats, a long rise, and a wide fit through the legs to the turn-ups (cuffs) on the bottoms. Per his habit of matching his belts to his suits—rather than to his shoe leather—Scottie wears a slim textured belt in dark navy leather with a long silver-toned single-prong buckle.

VERTIGO

Under the wide turn-ups (cuffs) on the bottom of his trousers legs, Scottie also appears to be wearing his usual cordovan wingtip oxford brogues with a pair of dark navy socks. In this case, the navy socks coordinate with the color of his suit trousers, but he tends not to be very discerning in this case with his other suits as he wears the navy socks with almost everything.

Scottie's blue-driven outfit makes him stand out against Gavin's mahogany and burgundy office decor, though his cordovan derbies camouflage his feet into the carpet.

Scottie’s blue-driven outfit makes him stand out against Gavin’s mahogany and burgundy office decor, though his cordovan derbies camouflage his feet into the carpet.

Despite the variance in his suits, Scottie always pulls from an army of white cotton poplin dress shirts, almost always worn—at least at first—with a gold collar pin under his tie knots. His shirts have front plackets, breast pockets, and two-button cuffs that, like his three-button suit jackets, balance his long arms.

When he’s visiting Gavin Elster’s office and getting his assignment, he wears a royal blue tie with a motif of gray diamond shapes organized in rows and columns down the tie blade. Scottie holds the tie in place with a silver tie bar at mid-torso, just above the buttoning point, and he wears it with the back slightly longer than the front blade.

VERTIGO

Many scenes later, Vertigo climaxes with Scottie’s realization that his recent acquaintance Judy (Kim Novak) was actually Elster’s mistress posing as his own wife Madeleine to distract Scottie during their plan to kill Madeleine by faking her suicide. (The two talk about a night out at Ernie’s, but we shouldn’t be surprised when they don’t end up going as Scottie isn’t wearing his royal blue “go-to-Ernie’s” suit!)

During this segment, Scottie again wears his blue-gray flannel suit from the beginning, perhaps as a symbolic recognition that his story is starting again from scratch… just as it had when he wore it to Elster’s office and was first instructed to follow the woman he believed to be Madeleine. Instead of the blue patterned tie, though, Scottie wears a shiny gray shantung silk tie with alternating dots in black and white.

Scottie confronts Judy with his knowledge of the truth.

Scottie confronts Judy with his knowledge of the truth.

He may have a belt for almost every suit, but Scottie wears only one hat throughout Vertigo, a chocolate brown felt fedora that is likely the same headgear that Jimmy Stewart wore in many of his films from the decade. Discussion at the online forum The Fedora Lounge has suggested that Churchill Ltd. made Jimmy Stewart’s Vertigo hat and thus was the maker of his tried-and-true brown fedora throughout his 1950s career, though the forum also suggests Borsalino, Cavanagh, Dobbs Fifth Avenue, and Stetson among the possible brands that the actor preferred.

Hat in hand.

Hat in hand.

Scottie wears his gold dress watch on a black leather strap, fastened high on his left wrist.

Scottie's watch peeks out from his left sleeve.

Scottie’s watch peeks out from his left sleeve.

James Stewart as John "Scottie" Ferguson in Vertigo (1958)

James Stewart as John “Scottie” Ferguson in Vertigo (1958)

How to Get the Look

Fight the late winter blues with a springtime business suit in blue-gray flannel that brings comfort, professionalism, and warmth to your office wear.

  • Blue-gray flannel suit:
    • Single-breasted 3-button jacket with notch lapels, patch breast pocket, patch hip pockets, 3-button cuffs, and single vent
    • Single reverse-pleated trousers with belt loops, side pockets, and turn-ups/cuffs
  • White poplin dress shirt with long point collar, front placket, breast pocket, and 2-button rounded cuffs
    • Gold collar pin
  • Royal blue tie with gray diamond-patterned motif
  • Slim navy leather belt with wide single-prong buckle
  • Cordovan leather 5-eyelet wingtip oxford brogues
  • Dark navy socks
  • Gold wristwatch with round case, black-ringed white dial, and black leather strap

Do Yourself a Favor and…

Check out the movie.

The Quote

You shouldn’t keep souvenirs of a killing. You shouldn’t have been that sentimental.

Kevin Costner as Frank Hamer in The Highwaymen

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Kevin Costner as Frank Hamer with a Remington Model 8 rifle in The Highwaymen (2019)

Kevin Costner as Frank Hamer with a Remington Model 8 rifle in The Highwaymen (2019)

Vitals

Kevin Costner as Frank Hamer, tough Texas special investigator and former Texas Ranger

Texas and Louisiana, Spring 1934

Film: The Highwaymen
Release Date: March 15, 2019 (March 29, 2019, on Netflix)
Director: John Lee Hancock
Costume Designer: Daniel Orlandi

Background

Following a decorated career in law enforcement that found him bravely and successfully leading investigations and captures of violent criminals, Frank Hamer is not the sort of man who should need a cultural reevaluation in his defense. And yet, it was the most celebrated victory of Hamer’s career—bringing an end to Clyde Barrow and Bonnie Parker’s violent crime spree—that would eventually result in the former Texas Ranger being villianized in the 1967 film Bonnie and Clyde that romanticized the titular outlaw couple to carry out its countercultural message.

Perhaps unwilling to drag the real Frank Hamer’s name through the mud, Robert Benton and David Newman had actually renamed the gang’s hunter Frank Bryce in their original screenplay, initially distancing the film’s deceitful, mustache-twirling villain from the diligent real-life Hamer… until the legendary Ranger’s surname was restored for the character that would eventually be portrayed by Denver Pyle.

Furious at the unfair portrayal of her husband, Hamer’s widow Gladys successfully sued the producers for defamation of character, receiving an out-of-court settlement in 1971. Unfortunately, the cultural damage to Hamer’s name had already been done and he was firmly entrenched in the minds of Bonnie and Clyde‘s audiences as a bitter, cruel, and petty manipulator rather than the thoughtful and disciplined lawman that capped a celebrated career with a methodical and dedicated three-month pursuit that ended the bloody career of two of America’s most notorious criminals.

The real Frank Hamer in 1934 with the black Ford V8 he drove for thousands of miles that spring in pursuit of Bonnie and Clyde.

The real Frank Hamer in 1934 with the black Ford V8 he drove for thousands of miles that spring in pursuit of Bonnie and Clyde.

Gladys Hamer wasn’t alone in her frustration with the posthumous re-imagining of her brave husband as a villainous figure. Nearly 40 years after Pyle’s Frank Hamer exacted his petty revenge against Warren Beatty and Faye Dunaway’s glamorous Bonnie and Clyde, screenwriter John Fusco had successfully pitched his long-time idea of cinematic redemption for Frank Hamer. The original concept was to reunite Paul Newman and Robert Redford to play Hamer and Maney Gault, the fellow former Ranger who eventually joined Hamer’s hunt for the outlaw couple, until Newman’s death in 2008 meant a different direction would be needed. Finally, in February 2018, Netflix announced that the film had entered production as The Highwaymen. with Kevin Costner and Woody Harrelson starring as Hamer and Gault, respectively, with the title referring to the ex-Rangers’ special commission for the Texas Highway Patrol.

The real Star Service Station owned by Henry Barrow on Eagle Ford Road (above) and The Highwaymen's recreation of it (below).

The real Star Service Station owned by Henry Barrow on Eagle Ford Road (above) and The Highwaymen‘s recreation of it (below).

Despite taking some liberties with historical facts, the film goes to considerable lengths to recreate the details of the hunt for the Barrow gang, recalling many of the correct dates, names, and places, such as H.B. Barrow’s Star Service Station on Eagle Ford Road in West Dallas. The Highwaymen also includes details that aren’t as well-known parts of the Barrow gang legend, such as Clyde’s habit of wearing ladies’ wigs to disguise himself, Emma Parker’s “red beans and cabbage” code when her daughter Bonnie would be returning home, and the Barrow and Parker families’ furtive communication with the gang via thrown bottles. Even the actual criminals’ cigarette preferences—unfiltered Camels for Bonnie and hand-rolled Bull Durham for Clyde—are included.

In addition to the ex-Rangers Hamer and Gault, we also meet the officers that assisted Hamer during his pursuit of the killers, including Smoot Schmid, Ted Hinton, and Bob Alcorn from the Dallas County Sheriff’s Office and Henderson Jordan and Prentiss Oakley, the Louisiana sheriff and deputy who joined Hamer, Gault, Hinton, and Alcorn for the famous ambush on May 23, 1934. (Read more about the posse and see photos here.)

A month after Netflix announced that production of The Highwaymen was underway, the filmmakers were on location on Louisiana State Highway 154, setting the scene for the final ambush near where the original incident had taken place, a few miles south of Gibsland. They planted trees along the right-of-way and added dirt to cover the blacktop, converting the asphalt two-lane highway into the one-lane dirt road that had been Bonnie and Clyde’s last stop on that quiet spring morning.

The film shows Hamer and his fellow officers reviewing their results on May 23, 1934.

The film shows Hamer and his fellow officers reviewing their results on May 23, 1934.

On the 85th anniversary of his permanently closing the case on Bonnie and Clyde, today’s post looks at a more positive look at Frank Hamer via Kevin Costner’s performance as the weathered lawman in The Highwaymen, released onto Netflix less than two months ago.

What’d He Wear?

“Frank did not start fights, he became adept at the ending them,” states John Boessenecker in his biography of Hamer, Texas Ranger: The Epic Life of Frank Hamer, the Man Who Killed Bonnie and Clyde. This reputation made Hamer the ideal candidate as the man leading the charge to end Clyde Barrow’s violent criminal career.

Following the deadly Eastham Prison Farm jailbreak organized by Bonnie and Clyde, Texas prison chief Lee Simmons (John Carroll Lynch) approaches the grizzled ex-Ranger Frank Hamer at his home and asks him to “put them on the spot”. Hamer takes some time to consider the offer before leaving home to take on his new task of bringing these dangerous fugitives to justice.

Kevin Costner as Frank Hamer in The Highwaymen, armed with a Single Action Army in his belt and a Remington Model 11 shotgun in his hand.

Kevin Costner as Frank Hamer in The Highwaymen, armed with a Single Action Army in his belt and a Remington Model 11 shotgun in his hand.

Much dialogue in The Highwaymen concerns whether or not Texas Rangers like Frank were anachronistic in an age of criminals armed with automatic weapons and high-powered cars, though Frank’s fashion sense has kept up with the times with his striped three-piece suit and dark fedora replacing the wide-brimmed Stetson and spurs that he wore a generation earlier while patrolling the Texas border.

According to author John Boessenecker, Hamer had indeed abandoned the cowboy aesthetic as he took on the more visible role of senior captain of the Texas Rangers in the early 1920s, adhering to the new rules and regulations established in 1919 that expressly prohibited “the wearing of boots, spurs, wide belts, etc., or having a pistol exposed while visiting cities of towns.” Thus, Hamer stashed away his cowboy boots, wide-brimmed hat, and western gear when not hunting in favor of business suits and narrow-brimmed Stetsons… though Old Lucky was still tucked in his waistband, out of sight but easily accessible should trouble arise.

Costner’s Hamer spends his entire pursuit of Bonnie and Clyde wearing the various pieces of a dark striped flannel three-piece suit. The charcoal suiting is patterned with double sets of thin burgundy stripes, each shadowed on the outside by a thicker muted gray stripe.

Hamer confronts his old pal Maney Gault on the streets of Lubbock before agreeing to let him join the manhunt.

Hamer confronts his old pal Maney Gault on the streets of Lubbock before agreeing to let him join the manhunt.

The single-breasted, two-button suit jacket has notch lapels, a welted breast pocket, straight flapped hip pockets, three-button cuffs, and a single vent. The details are safe but timeless, allowing Hamer—a man of modest tastes and arguably little interest in fashion—to need no more than this single suit to fit his needs.

Months after beginning their pursuit of Bonnie and Clyde, Hamer and Gault find luck with an informant, Ivy Methvin (W. Earl Brown), whose fugitive son Henry is the latest addition to the Barrow gang.

Months after beginning their pursuit of Bonnie and Clyde, Hamer and Gault find luck with an informant, Ivy Methvin (W. Earl Brown), whose fugitive son Henry is the latest addition to the Barrow gang.

The suit has a matching waistcoat (vest) that gives Hamer some versatility as he adds and sheds layers during his investigation that extends from February into the warmer late spring months. The single-breasted waistcoat has six buttons that fasten down the front to a notched bottom. There are four welted pockets on the front and an adjustable strap across the lower back.

Dressed down in Dallas.

Dressed down in Dallas.

Hamer’s suit trousers are styled with double reverse pleats, a 1920s trend that would have also comfortably accommodated the aging lawman’s expanding midsection. They have slanted side pockets, jetted back pockets with a button through the left pocket, and plain-hemmed bottoms.

Hamer wears a black leather belt with a dulled silver-toned box-style buckle. While some menswear experts would advise against wearing a belt with a three-piece suit, Hamer put practicality before sartorialism and required the stability of a belt for his trousers as he made a practice of tucking “Old Lucky”, his heavy .45-caliber Colt Single Action Army revolver, in his waistband. Also, as Hamer frequently dressed suit sans waistcoat—and jacket, on some occasions—it would make perfect sense to wear a belt… not to mention that Frank Hamer doesn’t give a damn about your sartorial advice.

Gault, Hamer, and Hinton investigate a double murder in Grapevine.

Gault, Hamer, and Hinton investigate a double murder in Grapevine.

While dressed in the striped three-piece suit, white shirt, necktie, and fedora of any regular businessman of the era, Hamer’s black leather boots with their tall shafts and pointed toe caps subtly nod to his history as a Ranger without overwhelming the rest of the outfit.

The choice is somewhat at odds with Hamer’s onetime remark that “boots were made for riding, and I’ve got no desire to look like a ‘pharmaceutical Ranger’,” but these particular boots are subtle enough that they don’t draw attention like a more colorful or decoratively stitched leather would.

The Grapevine investigation continues.

The Grapevine investigation continues.

Hamer wears exclusively white self-striped lightweight cotton shirts. Each shirt has a point collar, front placket, button cuffs, and a breast pocket where he keeps his frequent packs of Lucky Strike cigarettes. The film’s production team correctly used the pre-World War II green packets before the brand switched to its white packs with red “bullseye” centers.

Note the green bulge in his breast pocket where he keeps his packet of Lucky Strike cigarettes.

Note the green bulge in his breast pocket where he keeps his packet of Lucky Strike cigarettes.

“Frank, shedding his coat and shoes, collapsed in a chair, removed his necktie, and undid three buttons on his green shirt,” recounts John Boessenecker of hours following Hamer’s ambush of Bonnie and Clyde, providing some colorful context to the black-and-white photos of Hamer and his posse that day.

Costner’s shirts as Hamer are shirred in the back with six narrow pleats gathered at the center under the horizontal yoke.

Hamer cycles through five ties over the course of his investigation, all wide ties with small four-in-hand knots and a short length that come up a few inches short of his trouser waistband.

He begins and ends the manhunt wearing the same tie, a black and charcoal striped tie that appears to be widely striped in the “downhill” (right shoulder down to left hip) direction but in fact consists of blocked sets of hairline-width stripes. Perhaps due to the solemnity of both occasions that he wears it—leaving home and then dressing for the final kill—it is the only tie that Hamer wears tightened rather than loose with an open collar.

The almost-black effect of the tie and the suit are fitting options for Hamer to wear on the first and last days of the manhunt when he knows he will be dealing death to Bonnie and Clyde.

The almost-black effect of the tie and the suit are fitting options for Hamer to wear on the first and last days of the manhunt when he knows he will be dealing death to Bonnie and Clyde.

“Happy Easter,” Hamer greets Gault with when they wake up in the front seat of the Ford on the morning of Sunday, April 1. In reality, Hamer spent Easter morning at home with his family in Austin before he received news of the double cop killings in Grapevine that set him back on the trail of Bonnie and Clyde.

Hamer fittingly wears his most festive and colorful neckwear for this typically celebratory spring holiday, a crimson red tie with small white polka dots.

On Easter morning, Hamer performs more troubling duties, investigating the double murder of policemen E.B. Wheeler and H.D. Murphy outside of Grapevine, Texas. The "festive" red tie for Easter coordinates with the blood being spilled by the Barrow gang.

On Easter morning, Hamer performs more troubling duties, investigating the double murder of policemen E.B. Wheeler and H.D. Murphy outside of Grapevine, Texas. The “festive” red tie for Easter coordinates with the blood being spilled by the Barrow gang.

Days later, Hamer and Gault extend their pursuit of the Barrow Gang beyond Texas. “Open range now,” comments Gault as they drive into Oklahoma, where they find uncooperative witnesses from a service station attendant to a migrant camp. During this excursion, Hamer wears a dark navy tie with closely spaced pin-dot stripes alternating in baby blue and tan in the “uphill” direction. Hamer wears the same tie a few weeks later when questioning the recently furloughed Wade McNabb, another reluctant informant.

Hamer and Gault find themselves at a literal crossroads on April 6, 1934, immediately following Barrow’s murder of Constable Cal Campbell outside of Commerce, Oklahoma. The two ex-Rangers drive into Coffeyville, Kansas—famously the town where the Dalton gang was shot to pieces attempting a double bank raid in 1892—for lunch and a discussion of Hamer’s 16 gunshot wounds. The lunch leads to an entertaining (but ultimately fictional) car chase that ends up with Clyde’s Ford leaving Hamer and Gault in the dust.

Hamer wears yet another striped tie with a dark navy ground for this occasion, though the “downhill” stripes alternate in medium and light gray, separated by a thin burgundy stripe. This tie also appears with the full three-piece suit when Hamer and Gault travel to Bienville Parish in search of Henry Methvin’s family.

Gault and Hamer exchange typical casual lunch conversations about how many bullets Hamer is carrying in him. (Sixteen, by the way.)

Gault and Hamer exchange typical casual lunch conversations about how many bullets Hamer is carrying in him. (Sixteen, by the way.)

Fed up with the lack of cooperation and progress of his manhunt, Hamer is depicted as storming into the Star Service Station one mid-April day for a one-to-one chat with Clyde’s father Henry Barrow (William Sadler). This tense conversation marks the sole appearance of Hamer’s navy self-patterned tie.

Two men very disappointed in Clyde Barrow: Frank Hamer, his eventual killer, and Henry Barrow, his relatively honest father.

Two men very disappointed in Clyde Barrow: Frank Hamer, his eventual killer, and Henry Barrow, his relatively honest father.

Hamer looks more businessman than cowboy in his all-black fedora, which looks similar to one that the real-life Ranger was photographed wearing during the Barrow gang manhunt in 1934. The hat has a pinched crown and a black ribbed grosgrain silk band.

In his somber striped business suit, white shirt, necktie, and fedora, Frank Hamer could just be a typical 1930s businessman leaving his home in a Ford sedan on his way to work. The Remington Model 8 semi-automatic rifle in his hand may give a different impression, however.

In his somber striped business suit, white shirt, necktie, and fedora, Frank Hamer could just be a typical 1930s businessman leaving his home in a Ford sedan on his way to work. The Remington Model 8 semi-automatic rifle in his hand may give a different impression, however.

Not surprisingly, Hamer wears no jewelry aside from a plain gold wedding band on the third finger of his left hand. The ring symbolizes his marriage to his second wife, Gladys (Kim Dickens), who Hamer married in 1917 while serving as a special bodyguard to Gladys’ father, rancher Billy Johnson.

The circumstances of the early days of the Frank and Gladys Hamer union against the backdrop of the Johnson-Sims Feud make for one of the more thrilling lesser-known passages in Hamer’s history, particularly the couple teaming up for a gunfight in Sweetwater, Texas, that led to the death of Gladys’ deceased husband’s brother-in-law and former Ranger, “Gee” McMeans. This October 1917 shootout—one of 52 that Hamer recalled from his lifetime—is thrillingly recounted in John Boessenecker’s book as well as this 2016 article by Bob Boze Bell for True West magazine.

Hamer decides his next move.

Hamer decides his next move.

The first few months of Hamer’s manhunt had been primarily an investigation that found the lawman following leads across the South and Midwest. It wasn’t until May 23, 1934, that the veteran gunfighter was expecting combat. Thus, Costner’s Hamer supplements his full three-piece suit with a cartridge belt loaded with rifle rounds—likely .35 Remington—to be fully prepared to take down the Barrow gang.

Gault maintains fire with his Colt Monitor as Hamer tosses aside his Remington Model 8 in favor of Old Lucky.

Gault maintains fire with his Colt Monitor as Hamer tosses aside his Remington Model 8 in favor of Old Lucky.

The Car

“‘spose you’re gonna wanna take my new Ford,” Gladys Hamer observes when she realizes there’s no convincing her husband not to take up the hunt for Bonnie and Clyde.

Gladys’ stunning black 1934 Ford V8 sedan with its red-spoked wheels is the ideal choice for chasing the criminals, not just for the power—”85 horses, ain’t she fun?” suggests Gladys—but also because it was the same car favored by Barrow himself when making his speedy getaways. While police at the time were often equipped with older model Plymouths, Dodges, and Chevrolets with six-cylinder engines, Hamer’s Ford V8 made him Barrow’s automotive equal… and thus a more suitable hunter.

#CarWeek is still more than a month away at BAMF Style, but The Highwaymen features enough glamour shots of Gladys’ “new Henry Ford” that it could practically be a commercial for owning your own ’34 Ford V8… which, to be honest, is a personal goal of mine.

Having changed the automotive industry for a quarter century with the introduction of the Ford Model T in 1908, the company was craving its next major innovation at the start of the Depression era. In 1932, the same year that Clyde Barrow was released from prison, began his crime spree with Bonnie Parker, and committed his first confirmed murders, Ford introduced its legendary “flathead” V8 engine. While cars with eight-cylinder engines were hardly new at the time, they were rarely affordable until Ford introduced its relatively powerful 221 cubic-inch V8, powered by 65 horses, as the standard engine for the 1932 Ford Model 18.

Over the next two years, Ford made incremental improvements to the flathead V8 engine, increasing output to 75 horsepower in 1933 (for the Model 40) and finally 85 horsepower in 1934 (for the Model 40B). By this time, Clyde Barrow’s unparalleled driving skills were legendary among law enforcement and the public, and the gang stole V8-powered Fords almost exclusively to the point that Barrow reportedly penned a now-famous letter to Henry Ford in April 1934, praising and thanking him for the “dandy car” his company produced.

1934 Ford V8 Fordor Deluxe (Model 40B)

THE HIGHWAYMEN

Body Style: 4-door sedan

Layout: front-engine, rear-wheel-drive (RWD)

Engine: 221 cu. in. (3.6 L) Ford flathead V8

Power: 85 hp (63 kW; 86 PS) @ 3800 RPM

Torque: 150 lb·ft (203 N·m) @ 2200 RPM

Transmission: 3-speed manual

Wheelbase: 112 inches (2845 mm)

Length: 147 inches (3734 mm)

Width: 57 inches (1448 mm)

Height: 63 inches (1600 mm)

After 1934, Ford dropped its lower performance options, leaving only the flathead V8 across its various body styles and models for 1935 and 1936, a decision that would catapult it beyond Chevrolet as sales leader. With the flathead V8 ostensibly perfected in 1934, Ford focused on primarily cosmetic updates to all of its models through the end of the Depression and into the early years of World War II when all American automobile production was temporarily suspended.

Putting the highway in "highwaymen".

Putting the highway in “highwaymen”.

As well as Hamer’s black Ford V8, the Barrow death car was also well-represented, even with the correct Arkansas license plates (#15-368) that were fitted to the car when it rolled to a stop in front of the posse’s rifles and shotguns on May 23, 1934.

Described as “Cordoba gray” though the actual color was closer to a light tan, the 1934 Ford Model 40 (Type 730) DeLuxe Fordor Sedan rolled off the River Rouge assembly plant in February 1934, where it was shipped to the Mosby-Mack Motor Company and purchased by Ruth Warren of Topeka, Kansas, on March 15 for $835. The new Ford had only been in the Warren family for weeks when it was stolen by Bonnie and Clyde on April 29. Having switched Mrs. Warren’s Kansas license plates #3-17832 out for Arkansas plates, the outlaw couple were the de facto owners of the car until they were shot to pieces inside it less than four weeks later.

Armed with Old Lucky, Hamer does his part in shooting the car to pieces.

Armed with Old Lucky, Hamer does his part in shooting the car to pieces.

Henderson Jordan, sheriff of Bienville Parish, Louisiana, where the couple was killed and one of the members of the posse who shot them, initially refused to return Mrs. Warren’s car to her until he was threatened with imprisonment by a federal judge. Read more about the famous “death car” here.

The Guns

The real Maney Gault and Frank Hamer pose with a BAR and Remington Model 11 shotgun found in the Barrow gang's death car, May 1934.

The real Maney Gault and Frank Hamer pose with a BAR and Remington Model 11 shotgun found in the Barrow gang’s death car, May 1934.

Frank explained why he had been victorious in so many shootings. After pointing out that his preferred weapon was a rifle, he explained how he used a revolver. “The great thing about shooting with a six-gun is to hold it steady and not to shoot too quick. What I mean is this: a man who is afraid, who is nervous, cannot shoot straight with a six-shooter grasped in his hand. The muzzle of the gun will wobble with every nervous beat in his hand… When you’ve got to fight it out with a six-shooter the only sure way is to make the first shot count… Take it slow and cool. Don’t get excited.”

— John Boessenecker, Texas Ranger: The Epic Life of Frank Hamer, the Man Who Killed Bonnie and Clyde, Chapter 12 (“Gunfighter”)

While skill with firearms isn’t unexpected for a Texan born and bred in the waning days of the Old West, Frank Hamer was legendarily adept with everything from revolvers to rifles. The legendary Ranger’s particular favorite sidearm was “Old Lucky”, the 4.75″-barreled single-action “Quickdraw Model” Colt .45 he was presented with during his tenure as the popular city marshal of Navasota, Texas, between his appointments as a Texas Ranger. As Boessenecker recounts:

Navasota’s city council was pleased with Hamer’s performance, and that spring they increased his salary to $100 a month. Equally impressed was C.M. Spann, the county attorney. In June 1910 he presented Frank with a fancy, engraved single-action Colt .45 revolver, F.A. HAMER inscribed on the back strap. This was the first time Hamer had ever received such a magnificent gift, and he was deeply touched by the gesture. He would carry this Colt—his favorite—through many trying years in the Texas Rangers and nicknamed it Old Lucky.

Indeed, Hamer would carry Old Lucky throughout his entire life, defending himself during the Sweetwater gunfight in 1917 where he fought side by side with his new wife Gladys, showing off with it during shooting expeditions while cleaning up Texas boom towns in the 1920s, drawing it from his waistband after ambushing Bonnie and Clyde in the 1930s, and even showing it off to “King of the Cowboys” himself Roy Rogers upon meeting the star at his California home in the late 1940s. Old Lucky was eventually auctioned for $165,000.

The Highwaymen reinforces Frank Hamer and Maney Gault’s cowboy natures by arming them with Single Action Army revolvers, as at least Hamer certainly was in real life, with Costner’s Hamer first seen fine-tuning his skills by paying some local kids to toss bottles in the air for him to shoot. Costner also co-opts Hamer’s real-life practice of carrying Old Lucky in his waistband, sans holster.

Frank introduces a stubborn service station attendant to Old Lucky.

Frank introduces a stubborn service station attendant to Old Lucky.

The Remington Model 8 semi-automatic rifle is prominently featured as one of Hamer’s own weapons that he packs along for the journey, arming himself with it as he did in real life for the May 1934 ambush. Designed by John Browning, the recoil-operated Model 8 was introduced to the civilian market in 1905 as the first commercially successful semi-automatic rifle and found quick success in the sport hunter market, though it was also favored by law enforcement. In fact, Frank Hamer owned and used several different Model 8 rifles that he used for both purposes.

Remington introduced four new rounds for the Model 8:  .25 Remington, .30 Remington, .32 Remington, and .35 Remington. Hamer notably carried the former during an October 1918 expedition to capture and kill the dangerous criminal Encarnacion Delgado. “Good God! Watch Frank use the pear burner on him!” exclaimed a member of Hamer’s posse as he observed Hamer squeezing the trigger of his .25-caliber Remington Model 8 so quickly that “the blazing muzzle looked like the flame of a ‘pear burner’ torch,” as Boessenecker describes.

In the spring of 1922, Hamer was presented with “a beautifully scroll-engraved .30-caliber [Remington] Model 8 semiautomatic rifle, inscribed CAPT. FRANK HAMER OF THE TEXAS RANGERS on the left side of the frame,” which was shipped to the same Petmeckey’s Sporting Goods store in Austin where the Rangers often purchased their weaponry. This .30 Remington would become Hamer’s favorite deer hunting rifle.

A decade later, an all-new Remington Model 8 would come into play for the most storied chapter of Hamer’s life: the hunt for Bonnie and Clyde. Having lent his .25-caliber Remington Model 8 to Maney Gault to use in the ambush, Hamer armed himself with a customized Model 8 chambered in .35 Remington, the most powerful round offered for this particular rifle. (Prentiss Oakley, deputy sheriff of Bienville Parish, Louisiana, was also armed with a borrowed Remington Model 8A that he reportedly used to fire the first fatal shots.)

Hamer’s rifle, serial number #10045 was a special order from Petmeckey’s originally with a 15-round box magazine that was modified to accept a “police only” 20-round magazine, obtained via the Peace Officers Equipment Company in St. Joseph, Missouri. Every last round would count against the well-armed Clyde Barrow.

Armed with his Remington Model 8, Frank Hamer prepares for his final showdown with Clyde Barrow and Bonnie Parker.

Armed with his Remington Model 8, Frank Hamer prepares for his final showdown with Clyde Barrow and Bonnie Parker.

Despite their reputation as old-fashioned cowboys, the Rangers kept up with the latest technology and weaponry that would keep them evenly matched with the increasingly well-armed criminals they faced. In fact, the Rangers were the first to introduce airplanes to Texas law enforcement during the Mexia boomtown raids in early 1922 and a reporter breathlessly noted “they are armed with machine guns, high-powered rifles, and automatic pistols” as Hamer and his Rangers held off a Waco lynch mob that spring.

While Hamer still proudly carried his single-action “Old Lucky” during this period, the Rangers did not stubbornly stick to their tried-and-true 19th century firearms and eagerly adopted the most innovative tools of the trade. As early as January 1922, three Thompson submachine guns were purchased for the Rangers with some of Hamer’s men—though not the senior captain himself—fielding portable .45-caliber “tommy guns” during raids in Mexia and corrupt Texas boomtowns.

Like his prey Barrow, Frank Hamer had little use for the Thompson despite the Rangers’ enthusiastic adoption of the weapon in the early 1920s. Boessenecker writes that “the Thompson was the antithesis of Hamer’s style of combat shooting. He believed in calm, deliberate marksmanship, firing as few shots as possible, thus reducing the danger to innocent civilians… For those who carried a Thompson, calmness, deliberation, and deadly marksmanship were not part of the equation. Hamer recognized that its threatening appearance would be useful in cowing mobs, but he never once used a fully automatic weapon in a gunfight.”

The Highwaymen features an entertaining scene that finds a lone Hamer entering a Lubbock, Texas, gun store at the start of his manhunt. He pulls out a small book that guided some of his research and declares:

I’d like to have a look at that Thompson submachine gun… and the Colt Monitor machine-rifle—one up top there with the custom pistol grip—and a Colt automatic pistol and a 1917 Smith right behind it. And I wanna see that BAR, .30-06. And the ’03 Springfield with the glass up top there. And that Remington Model 11 riot gun over there.

The Lubbock gun store clerks meet their new favorite customer.

The Lubbock gun store clerks meet their new favorite customer.

Like the Ford V8 sedan that he transports his high-caliber stockpile in, all of the weapons that Hamer chooses were known to be used by the Barrow gang. The BAR, of course, was Clyde’s favorite, and the gang always had many .45-caliber M1911 pistols in stock from its frequent robbing of military and police armories, often stealing more than three dozen at a time. Clyde also got his hands on a stag-gripped Smith & Wesson M1917 revolver—identified in several of the gang’s famous photos taken in the spring of 1933—taken from Springfield, Missouri, motorcycle cop Tom Persell after they had kidnapped him for a few hours that January. The short-barreled Remington Model 11 semi-automatic shotgun in both 12- and 16-gauge was also a common weapon in the Barrow gang’s arsenal, particularly 16-gauge models modified with a sawed-down barrel and stock to be wielded by Bonnie Parker as her “whip-it” gun and still on her lap when the couple was killed.

Hamer specified to the gun store clerk that he wanted the Model 11 with the shorter, 20″ barrel, indicating a weapon that would be intended more for close quarters combat than hunting. It makes a few appearances in his hands over the course of The Highwaymen, first pulled from the Ford’s backseat as Gault talks to the denizens of a migrant camp that harbored Bonnie and Clyde before examining the criminal couple’s recently abandoned campground nearby.

Remington riot gun in hand, Hamer finds a discarded bottle of Hiram Walker's Royal Oak whiskey... remnants of the Barrow gang's last campsite.

Remington riot gun in hand, Hamer finds a discarded bottle of Hiram Walker’s Royal Oak whiskey… remnants of the Barrow gang’s last campsite.

While fun to watch, the gun store shopping scene is decidedly fictional. Hamer was already armed with “Old Lucky” and his trusty Remington Model 8 rifle when he set out on the manhunt, but it wasn’t until Texas National Guard unit commander Weldon Dowis was contacted in the spring of 1934 on Hamer’s behalf that he was able to take delivery of weapons powerful enough to outgun Clyde Barrow and puncture the steel doors of his stolen Fords. After Texas congressman Hatton Summers effectively intervened on Hamer’s behalf, “Dowis reluctantly issued a pair of BARs to Hamer and his men,” according to Jeff Guinn in Go Down Together. “He said decades later that he had to teach the lawmen how to shoot them—the BARs were so powerful that they required a much stronger grip than ordinary rifles.”

As Clyde Barrow stood at 5’7″ and never more than 130 pounds, the heavy Browning Automatic Rifle (BAR) remains a surprising weapon of choice for the slightly built outlaw, particularly when one considers the theory that he would weld three 20-round box magazines together for one “super-magazine” that could fire nearly 60 rounds of potent .30-06 Springfield rifle ammunition at a rate of more than 500 rounds per minute. Designed by John Browning like many of the other weapons featured here, the BAR was hurried into production after the United States entered World War I and remained in U.S. military service through World War II and even in limited quantities during the Vietnam War. (Read more about Clyde Barrow’s preferred weapons here.)

In 1931, Colt introduced the Colt Monitor (R80) automatic machine rifle, intended for law enforcement usage but also offered to the civilian market for $300 each, and produced a limited run of 125 rifles, of which 90 would eventually be purchased by the FBI. The Monitor was operationally identical with the fully automatic BAR, with mostly cosmetic differences including a separate pistol grip and butt stock attached to a lightweight receiver and a barrel length shortened from the BAR’s 24″ down to 18″ with the addition of a 4-inch Cutts compensator.

Gault: "What the hell is that?" Hamer: "It's a Colt Monitor machine-rifle. Fires a 20-round volley at 3,000 feet per second. Our boy Clyde, he prefers a Browning Automatic, .30 cal. Pretty much the same gun, except now the little shit uses a welded over-and-under clip that can fire 40." Gault: "Well, he ain't met Old Lucky." Hamer: "Shit, I ain't that lucky."

Gault: “What the hell is that?”
Hamer: “It’s a Colt Monitor machine-rifle. Fires a 20-round volley at 3,000 feet per second. Our boy Clyde, he prefers a Browning Automatic, .30 cal. Pretty much the same gun, except now the little shit uses a welded over-and-under clip that can fire 40.”
Gault: “Well, he ain’t met Old Lucky.”
Hamer: “Shit, I ain’t that lucky.”

Impressed by Hamer’s display with the powerful BAR, Gault asks if he has another Colt Monitor for him and eventually it is Gault who is shown using the Colt Monitor during the climactic ambush of Bonnie and Clyde. In real life, Gault had carried a .25-caliber Remington Model 8 as stated above and the group’s sole Colt Monitor was in the hands of Dallas County Deputy Ted Hinton…who is seen firing a standard M1918 BAR rather than a Monitor in The Highwaymen when, in fact, it was Hinton’s fellow deputy Bob Alcorn that was armed with a BAR in real life. Alcorn and Gault were also armed with backup Remington Model 11 riot shotguns.

While the Colt Monitor may have been among the latest in American weaponry, Hamer doesn’t discriminate based on age of a weapon’s design. “Let me see that old Winchester you got there, that .30-30,” Hamer requests in the gun shop, indicating a blued lever-action Winchester Model 1894 rifle. “I’ll be needin’ one gun that won’t jam,” Hamer grunts about his necessity for the old-fashioned but familiar rifle.

Henderson Jordan, the sheriff of Bienville Parish, Louisiana, is depicted firing the Winchester in the final ambush, which fits with Jeff Guinn describing the lawman with “a Winchester lever-action rifle” in Go Down Together. Nearly 30 years before Bonnie and Clyde were killed, Hamer himself had used a Winchester Model 1894 Saddle Ring Carbine to kill murderous swindler Ed Putnam.

Amidst the automatic and semi-automatic rifles arming him for his journey, Hamer finds comfort in the mechanical reliability of a classic Winchester rifle.

Amidst the automatic and semi-automatic rifles arming him for his journey, Hamer finds comfort in the mechanical reliability of a classic Winchester rifle.

Hamer continues his order in the gun shop after looking over the Smith & Wesson Model 1917, requesting “a handful of them half-moon clips for this Smith if you  got ’em.”

The M1917 revolver was hastily developed during World War I when the U.S. military faced a shortage of the relatively new M1911 semi-automatic pistols. The military had plenty of .45 ACP ammunition but not enough pistols to issue, so they requested the nation’s two major revolver manufacturers—Colt and Smith & Wesson—to adapt their heavy-frame civilian New Service and .44 Hand Ejector revolvers, respectively, to fire .45 ACP. Joseph Wesson, son of Daniel B. Wesson, patented the unique half-moon clip that would allow these revolvers to fire this rimless semi-automatic pistol ammunition. At the government’s request, Smith & Wesson allowed Colt to use these half-moon clips for free, though Smith & Wesson kept an ace in the hole by fitting their M1917 cylinders with a shoulder that would permit the rimless cartridges to headspace on the case mouth.

Despite how finnicky he is about the revolver and getting one without the “shiny” nickel finish, Hamer never actually carries or fires the M1917 revolver on screen. Interestingly, it was an M1917 revolver—albeit a Colt with stag grips—that Denver Pyle had carried as Hamer in 1967’s Bonnie and Clyde.

"You have this in black instead of nickel?" Hamer asks. "Too damn shiny."

“You have this in black instead of nickel?” Hamer asks. “Too damn shiny.”

“I want all of ’em. Along with four cases of .45 lead, same for the .30-06, and say an even hundred for each of the others,” Hamer concludes, finally completing his order at the Lubbock gun store.

“What all you goin’ after that needs this much firepower?” asks the gun shop owner. “If you don’t mind me askin’.”

“No sir, I don’t mind at all,” replies Hamer, looking up from his gun catalog but not answering the question, characteristic of the famously laconic lawman.

How to Get the Look

Kevin Costner as Frank Hamer in The Highwaymen (2019)

Kevin Costner as Frank Hamer in The Highwaymen (2019)

Although he has an extensive reputation and experience as a gunfighter on horseback, Frank Hamer’s wardrobe has evolved by the 1930s to follow the new Texas Ranger standards for business suits, neckties, and city hats… though Kevin Costner’s portrayal in The Highwaymen balances the sartorial image with a pair of subtle black leather boots nodding to the veteran lawman’s cowboy nature.

  • Charcoal multi-striped flannel three-piece suit:
    • Single-breasted 2-button jacket with notch lapels, welted breast pocket, straight flapped hip pockets, 3-button cuffs, and single vent
    • Single-breasted 6-button waistcoat (vest) with four welted pockets and adjustable back strap
    • Double reverse-pleated trousers with belt loops, slanted side pockets, jetted back pockets, and plain-hemmed bottoms
  • White self-striped lightweight cotton shirt with point collar, front placket, breast pocket, shirred back, and button cuffs
  • Dark striped tie with short, wide blade
  • Black leather belt with dulled silver box-style buckle
  • Black leather cowboy boots with pointed toe caps
  • White cotton sleeveless undershirt
  • Black felt fedora with black ribbed grosgrain silk band
  • Gold wedding ring

Do Yourself a Favor and…

Check out the movie, streaming now on Netflix.

The Highwaymen (2019)

The Highwaymen (2019)

As someone who’s been reading about the Barrow gang for more than 15 years, I was delighted by the amount of often-ignored details, facts, names, and incidents that were included in The Highwaymen‘s depiction of the outlaw duo’s final months and the manhunt that permanently stopped them.

While there are still liberties taken for the sake of storytelling (perhaps most significant being that it was Dallas County Deputy Sheriff Bob Alcorn who rode with Hamer for most of the investigation instead of Maney Gault, who didn’t join until about two months later), The Highwaymen may be one of the most fact-informed adaptations of the story—and respective personalities—of Bonnie Parker, Clyde Barrow, and Frank Hamer. You can read more about the truth and fiction of the film’s approach in Andrew R. Chow’s March 2019 analysis for TIME.

If you’re looking to learn more about Hamer, I suggest John Boessenecker’s 2016 biography Texas Ranger: The Epic Life of Frank Hamer, the Man Who Killed Bonnie and Clyde. As Boessenecker concludes, “Frank Hamer played an important role in American history. He was part of the forces that dragged Texas—kicking and screaming—into the twentieth century. He started life as a humble cowboy and ended up the most extraordinary lawman of his era. His controversies had been many; his victories, even greater. From his ironfisted protection of African Americans to his war against the immoral Texas Bankers Association, he showed what a lone Ranger, armed with little but courage and a Colt .45, could accomplish.”

The Quote

Outlaws and mustangs, they always come home.

John Wayne’s Navy Windbreaker as McQ

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John Wayne as Lon McHugh in McQ (1974)

John Wayne as Lon McHugh in McQ (1974)

Vitals

John Wayne as Lon “McQ” McHugh, taciturn Seattle PD lieutenant

Seattle, Fall 1973

Film: McQ
Release Date: February 6, 1974
Director: John Sturges
Wardrobe Credit: Luster Bayless

Background

Today marks the birthday of John Wayne, the American icon who reinvented his half-century image as a stalwart of Westerns and war movies by taking on a duo of contemporary cop roles, beginning with McQ in 1974 and followed up with Brannigan the following year.

Born May 26, 1907, Duke was over 60 as he watched younger stars like Steve McQueen and Clint Eastwood steal the action movie thunder with urban-set police thrillers. While McQueen’s impressive wheelmanship would be incorporated into McQ, it was the “shoot first, ask later” style of Eastwood’s Dirty Harry that particularly resonated with the old-school star as the opening sequence of McQ finds Duke’s rugged Seattle detective foiling a dockside hitman with his own six-shooter.

What’d He Wear?

After being informed of his ex-partner’s murder, Lieutenant Lon McHugh dresses for work in a navy blue windbreaker layered over a bright blue polo and brown slacks.

The navy windbreaker, made from a lightweight water-resistant nylon, has a large point collar with an extended tab on the left side that connects to a button on the right to close at the neck, though Duke wears the jacket half-zipped and open over the chest.

McQ

The jacket’s long raglan sleeves close at the cuffs with a single button, though Wayne keeps the cuffs unbuttoned and rolled up as the sleeves would likely otherwise be slightly too long.

McHugh’s windbreaker has slanted hand pockets and a storm flap on the back. It extends below his waist with no blouson-style elasticized hem, harmonizing with Wayne’s expanding mid-section and also allowing him freer access to the revolver holstered on his belt.

McQ

McHugh wears a royal blue polo shirt made from a silky synthetic material—likely polyester—with a large collar, elbow-length short sleeves, and a long four-button placket with a large “X” stitched inside a rectangle on the bottom. The patch breast pocket has a slim, pointed flap that closes with a small white plastic button that matches the four on the placket.

McHugh changes out of his windbreaker into a more office-friendly blazer for a day on the job.

McHugh changes out of his windbreaker into a more office-friendly blazer for a day on the job.

McHugh wears dark brown wool flat front trousers that rise to his natural waist, where he wears a black leather belt with a black leather holster on the left side for a cross-handed revolver draw.

McHugh reholsters his 4"-barreled Colt Python service revolver after killing an assassin.

McHugh reholsters his 4″-barreled Colt Python service revolver after killing an assassin.

The trousers have frogmouth-style front pockets and are finished with plain-hemmed bottoms that break cleanly over his brown leather apron-toe penny loafers, worn with black socks.

McHugh stands over the corpse of Samuels, the hitman who attempted to kill him on his boat.

McHugh stands over the corpse of Samuels, the hitman who attempted to kill him on his boat.

John Wayne wears a simple brass Montagnard bracelet on his right wrist, gifted to him by the indiginous Montagnard people of Vietnam during the filming of The Green Berets in 1968. Modern Forces Living History Group reports that many American servicemen returned from Vietnam with these bracelets from the tribe, signifying friendship or respect. Manready Mercantile offers a striking replica of the “Montagnard Bracelet” in brass, copper, or steel (link), where they explain that “not only did Duke don the bracelet on his wrist until the day he passed, it’s said he lays with it to this day.”

On his left wrist, McHugh wears a gold chronograph on an olive drab vinyl strap, worn in the same manner as many military or ex-military operators with the face on the inside of his wrist. The silver dial has three sub-dials.

McHugh's bracelet and wristwatch are visible as he holsters his backup Colt Python.

McHugh’s bracelet and wristwatch are visible as he holsters his backup Colt Python.

After his exciting morning at the docks, he changes into a more office-friendly navy blazer for his duty work.

The Gun

Lieutenant McHugh begins the film armed with his duty weapon, a blued steel Colt Python revolver with a 4-inch barrel and walnut grips, carried cross-draw style in a holster attached to the left side of the right-handed John Wayne’s belt. Introduced in 1955, the large-framed Python was Colt’s response to Smith & Wesson’s stronghold on the .357 Magnum revolver segment. The top-of-the-line revolver spent several decades as a law enforcement favorite until American police agencies began an en masse adoption of semi-automatic pistols in the late ’80s and early ’90s.

The six-inch barreled Python was a particular favorite among uniformed police while the four-inch barreled versions made inroads with plainclothes officers like the fictional Lon McHugh.

After McHugh stops a thief attempting to steal his Pontiac, he spies a hitman on the dock, takes aim with his Python, and fires with deadly accuracy.

After McHugh stops a thief attempting to steal his Pontiac, he spies a hitman on the dock, takes aim with his Python, and fires with deadly accuracy.

“I better have that for the inquest, Lieutenant,” McHugh is instructed after the shooting on the docks. While it’s surprising to see someone ask John Wayne to hand over his six-shooter, it’s even more surprising to see him surrender it!

That is, until we learn that he has a backup Colt Python, also in the “royal blue” steel finish but with a shorter 2.5″ barrel, stashed in the trunk of his Pontiac.

McQ

This Python too would eventually be given to his superiors, forcing McHugh to arm himself with his off-duty .38 Special, a similarly snub-nosed Smith & Wesson Model 10 revolver.

How to Get the Look

John Wayne as Lon McHugh in McQ (1974)

John Wayne as Lon McHugh in McQ (1974)

McQ provided John Wayne the opportunity to take a more relatable approach to dressing for spring than a stockade jacket, Stetson, and spurs.

  • Navy blue lightweight nylon zip-up windbreaker with large point collar, slanted hand pockets, raglan sleeves with 1-button cuffs, and rear storm flap
  • Royal blue polyester short-sleeve polo shirt with 4-button placket and breast pocket (with button-down pointed flap)
  • Dark brown wool flat front trousers with belt loops, frogmouth front pockets, and plain-hemmed bottoms
  • Black leather belt with squared brass single-prong buckle
  • Black leather cross-draw holster, for 2″-barreled revolver
  • Brown leather apron-toe penny loafers
  • Black socks
  • Plain brass “Montagnard Bracelet”
  • Yellow gold chronograph wristwatch with silver dial (with three sub-dials) and olive vinyl buckle-strap

Do Yourself a Favor and…

Check out the movie.

Jimmy Stewart’s Brown Tweed Sports Coat in Vertigo

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James Stewart and Kim Novak in Vertigo (1958)

James Stewart and Kim Novak in Vertigo (1958)

Vitals

James Stewart as John “Scottie” Ferguson, former San Francisco detective

San Juan Bautista, California, Fall 1957

Film: Vertigo
Release Date: May 9, 1958
Director: Alfred Hitchcock
Costume Designer: Edith Head

WARNING! Spoilers ahead!

Background

Let’s wrap up this week’s commemoration of Alfred Hitchcock’s 120th birthday with another exploration of the style in Vertigo, now considered one of the Master of Suspense’s masterpieces though it may have been overlooked during his lifetime and resulted in the end of his successful collaborations with James Stewart.

One of the movie’s most famous and shocking scenes finds detective Scottie Ferguson (James Stewart) and the woman he was hired to follow, Madeleine Elster (Kim Novak), driving together to Mission San Juan Bautista, which Scottie had identified as the location of Madeleine’s recent nightmares. After the two express their feelings for the other, Madeleine suddenly dashes up the mission’s bell tower as Scottie—impeded by his agoraphobia from pursuing her—seemingly leaps to her death.

The Spanish mission, founded in June 1797 by Fermín Lasuén of the Franciscan order, was suggested to Hitchcock as a filming location by Judy Lanini, the daughter of associate producer Herbert Coleman. Though the mission’s steeple had been demolished in a fire, Hitchcock developed his own vision of the mission’s bell tower that was executed with scale models, matte paintings, and trick photography to create an effective setting for Madeleine Elster’s death.

What’d He Wear?

Like Steve McQueen a decade later in Bullitt, James Stewart dresses for the Bay Area’s transitional season climate in a brown tweed sports coat, though Jimmy’s Scottie Ferguson approaches the look with considerably more formality with his white pinned-collar shirt and striped tie as he drives “Madeleine” (Kim Novak) south to Mission San Juan Bautista outside of Monterey.

Scottie wears a brown birdseye tweed jacket with a single-breasted, three-button front that balances Stewart’s tall, lanky frame. The sporty jacket is detailed with swelled edges on the notch lapels and the three patch pockets. The sleeves are roped at the shoulders and finished with three buttons at the cuffs. The jacket’s short single vent makes it one of only two vented jackets that he wears on screen.

VERTIGO

Scottie’s charcoal trousers provide a somber, low-contrast bottom half to the suit, but opting for a dark gray rather than brown provides enough of a visual contrast that it doesn’t look like an attempt to combine mismatched pieces into a suit.

The buttoned jacket conceals the trouser waistband and top, but roomy fit through the trousers and the consistency of Scottie’s style tells us that these likely have single reverse pleats like this others and are worn with a belt. We don’t know what color belt and Scottie’s unorthodox practice of wearing colorful belts to match his suits (consider the blue belt) widens the array of options, though it’s likely that he wears a slim burgundy belt that would coordinate with his shoes as well as his jacket. The trouser bottoms are finished with turn-ups (cuffs).

Scottie and "Madeleine" make the rounds of Mission San Juan Bautista.

Scottie and “Madeleine” make the rounds of Mission San Juan Bautista.

Scottie wears his usual burgundy wingtip oxford brogues with five lace eyes, worn with his also standard dark navy socks.

Kim Novak and James Stewart on the set of Vertigo at San Juan Bautista.

Kim Novak and James Stewart on the set of Vertigo at San Juan Bautista.

The white cotton poplin shirt is another Scottie standard with its pinned point collar, held together with a white gold or silver pin under the tie knot, front placket, breast pocket, and two-button barrel cuffs that balance Stewart’s long arms.

Scottie’s striped tie for his drive to the mission with Madeleine was also worn earlier with his brown serge suit. It is striped in multiple shades of blue, including a periwinkle, royal blue, and dark navy, all split with hairline stripes and following the “uphill” direction of British regimental ties, and it is held in place with a silver-toned tie clip.

VERTIGO

The tweed sports coat makes a brief appearance later in Vertigo during Scottie’s date with Judy, this time worn with a bright red foulard tie patterned in a crimson geometric grid with a yellow dot at the center of each grid cell. The tie is held in place with a gold tie bar just above the jacket’s buttoning point.

Scottie strolls on a sunny afternoon date with Judy.

Scottie strolls on a sunny afternoon date with Judy.

Scottie also wears a chocolate brown felt fedora during this date, suggested to be James Stewart’s personal hat that appeared in many of his movies throughout the ’50s and well into the ’70s. Discussion at the online forum The Fedora Lounge has suggested that the hat is a product of Churchill Ltd., though the forum also suggests Borsalino, Cavanagh, Dobbs Fifth Avenue, and Stetson among the possible brands that the actor preferred.

He sports his usual gold wristwatch, strapped high on his left wrist with a black leather band.

How to Get the Look

James Stewart as John "Scottie" Ferguson in Vertigo (1958)

James Stewart as John “Scottie” Ferguson in Vertigo (1958)

Unlike he’s spending a quiet evening at home (or in a sanitarium, as this scene would drive him toward), Scottie Ferguson never dresses in any less than a tailored jacket, white shirt, and tie and never more casually than this smart dark tweed sports coat and slacks.

  • Brown birdseye tweed single-breasted 3-button sport jacket with notch lapels, patch breast pocket, patch hip pockets, 3-button cuffs, and single vent
  • Charcoal wool single reverse-pleated trousers with belt loops, side pockets, and turn-ups/cuffs
  • White poplin dress shirt with long point collar, front placket, breast pocket, and 2-button rounded cuffs
    • White gold collar pin
  • Blue “uphill” multi-striped tie
    • Silver tie clip
  • Burgundy slim leather belt with rectangular single-prong buckle
  • Burgundy cordovan leather 5-eyelet wingtip oxford brogues
  • Dark navy socks
  • Gold wristwatch with round case, black-ringed white dial, and black leather strap

Do Yourself a Favor and…

Check out the movie.

The Quote

I won’t lose you.

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