Uniform Thoughts
From Dangerous Liaisons to Bottega Veneta, a few recent observations on clothes, pleasure and repetition.
The eye has to travel, as Diana Vreeland famously said, so here are a few of my recent ocular journeys and some musings about clothes, style and the things I might actually wear.
First up, last night was a visual treat as we attended Dangerous Liaisons at the National Theatre, starring Aidan Turner and Lesley Manville. The set revolved around a gigantic chandelier, with walls of mirrors evoking the importance of looking and being seen in the eighteenth-century aristocratic world of the drama.
As the play began, seemingly random aristocrats wandered into the scene, who turned out to be dancers. I was immediately struck by their costumes: evening scarves draped loosely around the neck, suggesting an attitude as much as an outfit. The effect reminded me of Haider Ackermann’s recent collections for Tom Ford: louche eveningwear that feels relaxed rather than rigid.
Similarly, Conner Ives has been exploring a softer approach to evening dressing, with silk scarves worn almost as cummerbunds. Less buttoned-up, but unmistakably nocturnal. Aidan Turner appeared in tailoring (costumes designed by Natalie Roar): cropped tuxedo jackets, sometimes embellished with glittering crystals, showing a similar disregard for conventional dress codes. This was dressing purely for a life of pleasure.
The restrained but still decadent style also brought to mind Nicholas Hoult’s appearance at the Met Gala, where a single Tiffany ruby brooch added sparkle to a minimal but powerful combination of a cropped leather blouson, pleated leather trousers and a black leather tie worn over a silver-grey shirt. All, enviably from the Prada archive, styled by Jason Bolden.
That leather tie stayed with me.
There’s something instantly late-night New York about a leather tie: part Patrick Bateman, part downtown New Wave rock star, via American Gigolo. Looking closer, there seems to have been a wider moment around leather neckwear, not least the super-glossy Bottega ties worn by A$AP Rocky and available in intrecciato variations on the Bottega site.
What interested me even more was the styling. Beyond black, there were leather ties in rust, olive and rich oxblood shades. Especially worn with checked shirts and boxier silhouettes, they suggested alternatives to the more expected formula of a long-sleeved shirt and leather trousers — a combination that can feel ambitious once the temperature rises.
As an autumn baby, I’m naturally drawn to browns, rusts and burnished colours, even though my wardrobe remains overwhelmingly black. As my hair edges towards complete whiteness, the monochrome contrast seems to work increasingly well, even in summer.
Still, something about those Bottega colour combinations sent me looking at shirts and pleated trousers in shades of tan and rust. They’re colours that feel surprisingly seasonless: grounded enough for autumn, but capable of working year-round.
I’m in the middle of a professional shift and, yes, deep middle age, and recently I’ve found myself wondering about uniforms.
The idea of a uniform is something I’ve always resisted. Perhaps it’s a desire to retain a sense of independence, regardless of where my employment might take me. Yet a recent comment from Bella Freud changed my thinking. Discussing her analyst’s wardrobe, she mentioned that he wears Margiela V-neck sweaters. “How chic!” responded guest Dan Levy.
The exchange lodged itself somewhere in my brain.
What would I wear repeatedly? What would minimise distraction while still providing a deep sense of personal satisfaction? What would be flattering, dependable and worth purchasing in multiples?
I’m not sure I have the answer yet, but it feels like the beginning of a useful line of enquiry. Watch this space for a future post devoted entirely to the subject.
Speaking of uniforms, the utility shirt has recently emerged as an alternative to the ubiquitous overshirt or chore coat.
Prada’s versions are probably the most striking, with strong outlines, structured seams and almost institutional clarity. Looking around online, I was surprised by how close some of them came to actual uniform shirts, complete with front pockets and epaulettes.
I’m interested in finding something similar in poplin for summer, potentially even something that could accommodate a tie, leather or otherwise, while avoiding anything that veers too far into costume territory. (”Cop shirt” was an alarmingly frequent search result.)
What I’m really looking for is something closer to the shirts from L.E.J, which seem to balance utility, militaria and loucheness in exactly the right proportions.
Prada has clearly explored this territory before, judging by the number of earlier examples now circulating on resale sites. Even Patrick Grant’s Community Clothing utility shirt, in a shade of stone, feels capable of transcending straightforward workwear with the right styling.
For now, I’m still looking.