A Gentleman Gets Dressed Up: What to Wear, When to Wear It, by John Bridges, Bryan Curtis

By John Bridges, Bryan Curtis

Let's get something instantly. outfits are not making the man... yet they do make a distinction. And whether we love the assumption of appearances riding impressions, a man's external usually is perceived as a hallmark of what's taking place at the interior.

Fortunately, tasteful and acceptable dressing doesn't require inordinate quantities of time or funds. Any guy can hit the door in advantageous form with just a little forethought and slightly cognizance to some instructions. by no means brain the heady cologne and dressmaker labels. With a army blazer, a very good bar of cleaning soap, and a standard haircut routine, he'll be good on his strategy to turning into the man who understands precisely find out how to go well with up, whatever the celebration. most crucial, A Gentleman will get Dressed Up illustrates how a man's normal self belief and character are the easiest starting place for any dresser.

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Additional resources for A Gentleman Gets Dressed Up: What to Wear, When to Wear It, How to Wear It (Revised and Expanded)

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James Sullivan, in memory of Mrs. 1ab). Gift of M. 4 '0tI; le . :? r :? j^u^ V' ; 9% *' ; ??? 1) I A I' ' ,r sm I ',d,el Ii he delicacy of the printed textiles in the group of costumes from about 1840 on the opposite page is especially evocative of the ideal of femininity at the time, when the romantic exaggeration of the 1830s waned into sentimentality. C. Willett Cunnington describes the fashion as presenting "a demure prettiness, restrained by moral rectitude," with the bonnet "a perfect symbol T of meekness and modesty ...

For well over threedecadeshe workedand reworkedhis conceptsto perfectminutedetails, straininghis ideas, his materials, and his clients to their limits. Of the two eveningdressespicturedhere, the Four-LeafClover,or Abstract, ball gown in the foregroundbest reflectsthe sculpturalengineering of his work. Versionsof the dress in the backgroundwereordered by rlientsfrom 1949to 1972. ,. :??

C Ji -: he bustle,havingreachedits most exaggerated shape in the late 1880s, suddenly deflated at the end of the decade to become little more than a small pad at the center back of the waist. Abruptly the silhouette changed into the "hourglass figure" that we associate with the turn of the century or the Gay Nineties. The sleeve took only slightly longer to grow once again into a full-blown gigot. By 1895 wide shoulders, narrow waists, and wide hemlines were once again in vogue. The aesthetic of both the textile design and dress silhouette of the period is to some extent an exaggeration of earlier ideas.

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