Can One Ever Choose Where the Heart Leads Us?

We really like Proenza Schouler's portfolio, clutch, or whatever-you-call-it, but we're not sure why. Perhaps because it's not girly (swashbuckling men could carry it) or because it suggests vintage Americana, like something slung on the back of a Pony Express courier. Some details are excessive–all those grommets and straps–yet the overall effect is pleasing: it looks distinctive, useful and likely to improve with age. This bag may even last long enough to pass from one generation to another. So who are we to question love?

Chairs For Tailors and the People Who Love Them

Hans Wegner (1914-2007) was one of the great Danes of mid-20th-century design, a clear-eyed Scandinavian cabinetmaker who reduced furniture to its basic, most comfortable elements. He was rigorous, but playful, too: his Valet chair (1953), wittily capitalizes on the tendency people have to drape jackets over chair backs. And it doesn't stop there–the seat folds forward on hidden hinges, creating an upright trouser bar, and reveals a secret compartment for stashing cuff links, clothing brushes and other wardrobe necessities.

PP Møbler of Copenhagen (with whom Wegner often partnered) still makes the Valet chair, and original versions are available through vintage dealers or auctions. Whatever the source, it's a handsome addition to the dressing room of anyone who appreciates tailored clothing. FA2L particularly likes the piece's message of solidarity: with so much emphasis on its elegant, hanger-like back, Wegner's chair suggests that tailors, like cabinetmakers, offer skills and products worth preserving. Sometimes, even the furniture speaks fluent fashion.

A Little Bit of Scotland Plus a Lot of French Flair

The French house of Hermès is famous for its printed silk scarves and ties, but the company's menswear designer, Véronique Nichanian, also creates unusual accessories such as ties made of leather, cotton-and-silk or marvelously-textured wool tweed. FA2L loves this go-to-hell version of a Scottish plaid, complete with fringed edges and bright colors. It's the perfect bit of dash for any stylish man: traditional enough, but not so much that he'll want to play the bagpipes; and very, very chic. It's hanging in Hermès stores now (at a reasonable price, considering the tags on adjacent items) so snap one up while you can. And remember how nice those orange boxes look next to birthday cakes, peeking out of Christmas stockings or piled up under the tree.

BUY Louis Vuitton's Big Cashmere-and-Silk Scarf

Why? Because choosing one smart accessory allows you to tap into the current '80s revival (in this case, LV's punchy leopard print with Stephen Sprouse's distinctive rendering of the house name) without investing in another handbag. This stole will look great all winter, be useful next spring, and, if cared for, provide years of service on long plane trips or cool evenings near the shore. As an added bonus, you can take advantage of its size (4½ x 6½ feet) by tossing it over the back of a sofa whenever you're not wearing it. That's versatile!

Ladurée Celebrates the Holidays & La Dolce Vita

Yes, Christian Louboutin partnered with Ladurée earlier this Fall (resulting in some of the most gorgeous pastry packaging ever seen) but now it's Marni's turn. These sweet treats, shimmering in coats of edible gold leaf, will be available in early December at any Ladurée store. Please bring back enough to share...

Hamilton's 1883: Unstuffing the Stuffed Shirt

This happens to be a great moment for menswear. FA2L is thrilled, of course, but also curious: why such an explosion of talent at this particular time? Cultural anthropologists would likely point to cross-pollinating effects of globalization (and they're probably right), but we suspect something more visceral is also at work: Recent generations of designers, having grown up in the shadow of a greedy, overbearing corporate culture, are literally starving for self-expression.

The result is options, and plenty of them, from aggressive, futuristic tailoring (think Alexander McQueen or Raf Simons) to frankly nostalgic reworkings of beloved classics. Many traditional brands tap into this youthful energy by hiring young designers and setting them loose in the archives, with varying degrees of success. Sometimes, true love ensues (Thom Browne's quirky Black Fleece collection for Brooks Bros is obviously born from a match made in heaven) but such pairings work best when they strengthen a label's DNA. And fashion, like any human endeavor, has its own bloodlines and family trees.

Hamilton Shirts isn't as old as Brooks Bros, but it does boast an impressive pedigree. This Houston-based custom shirt maker was founded in 1883 and is now owned by fourth-generation siblings David and Kelly Hamilton. Together, they've plumbed the company's past and launched a ready-to-wear collection, 1883, combining vintage details, beautiful fabrics and decidedly unstuffy styling. There are distinctive Texan touches, including tissue-thin cotton utility shirts with button tabs (for rolled-up sleeves), trim madras button-downs and a range of lightweight popovers, like the linen version shown here. And since everything's designed for Houston's brutal heat, Hamilton's 1883 shirts can help men keep their cool just about anywhere in the world.

HOORSENBUHS Makes Me Feel... (Mighty Real)

The clothing and accessories we wear should feel as good as they look–that's half the pleasure of owning beautiful things. It's also a quality that can't be copied by average manufacturers, because most mass-produced goods are tethered to the lowest common denominator.

Designer Robert Keith shares Oscar Wilde's simple tastes: he's always content with the best. His unisex jewelry collection, HOORSENBUHS (named for a 17th-century Dutch trading ship), uses noble materials like 18k-gold, diamonds (both black and colorless) and soft, but rugged, leather. Everything's sculpted, shaped and assembled in Los Angeles, and the pieces are so finely finished they look newborn, not made: they have an air of inevitability that hallmarks good design. And when Keith drops a ring in the palm of your hand, you're a goner–its weight stirs an awareness of gravity and reconnects you to the earth.

The item we truly covet, however, is a leather strap with gold O rings. Keith makes several versions (the one above has a sprinkling of diamonds), but our favorite is the simplest. Wrapped and tightened around our wrist, it looked vaguely tribal and terribly chic. Best of all, it felt protective, like a contemporary talisman. Or, more accurately, like armor for a 21st-century fashion warrior.

Shake Your Bootie: Puma & Sergio Rossi Step Out

Sometimes, FA2L champions things that, admittedly, aren't long-term wardrobe investments the way custom-made loafers or haute couture gowns usually are. And that's fine. After all, a closet stocked with nothing but "investment" clothing is like a banquet without delicacies: no Champagne, no foie gras, no truffles and (heaven forbid) no dessert. Dull, dull, dull.

These high-heeled booties come from a collaboration between woefully under-appreciated Sergio Rossi and world-famous Puma. They're built on rubber soles with a sneaker's tread and rounded toes (not to mention all that lacing), but tower like supermodels on sexy 4" heels. Are they comfortable? Perhaps. Are they '80s throwbacks? Yes, in a good way. Will you keep them forever? Probably not. But FA2L suspects you'll have lots of fun in them while the party lasts.

Beth Terry's World of Tea & Olfactory Sympathy

She's just 5'7" in Azzedine Alaïa heels, but Beth Terry is huge in Japan. She's also celebrated by secret consumer societies (i.e., fragrance fanatics) around the world. The core of her business–a scent known as Té, combining smoky green tea, spicy cardamon and fresh celery–was launched in 1995, making it almost 15 years old. Yet it's likely the average shopper has never heard of her.

Terry's approach to perfume is deeply personal. She left a career in fashion because her acute, almost "burdensome" sense of smell, plus persistent childhood memories of drinking tea with her grandfather, literally compelled her to start a fragrance company. This passion sometimes crested the novice perfumer slightly ahead of the curve, from creating the scent (a tea-based fragrance seemed radical; Jean-Claude Ellena's Eau Parfumée au Thé Vert débuted in '93 but hadn't yet found its audience) to anticipating luxury's stealthier side with simple bottles and minimalist packaging. Fortunately, Terry had influential early champions, including Kate Betts (then Vogue's fashion news director), the Pressman family at Barneys, and buyers chez super-cool Paris boutique, Colette. Té was followed by Mare, a breezy, day-at-the-beach combination of sea salt, avocado and ginger lily, and Terry's aptly-named company, Creative Universe, expanded rapidly.

For all her success, however, Terry maintains the cachet and integrity of a niche brand, albeit with global appeal. The reference to Japan is no joke: she has a worldwide following, including die-hards seeking rare bottles of discontinued scents (even Té, once encountered, creates a strong urge to re-experience its heady combination of deeply satisfying and slightly disturbing elements). Of course, the fragrance landscape has changed since Terry forged her way across it; there are many niche brands but fewer original ideas, so fans are eager to see what this savvy woman unveils next. FA2L suspects they won't have long to wait.

www.luckyscent.com
Photograph by Ron Reeves, www.ronreeves.com

It's October: Yet Another Excuse For New Shoes

This killer pump is by young British designer, Chrissie Morris, who takes inspiration from Art Deco's romantic geometry but pushes it to extremes. Specialties include towering heels (which she sculpts herself), retro-futuristic styling (with nods to Salvatore Ferragamo, Roger Vivier and Blade Runner) and exotic or metallic leathers. Marlene, above, has a stunning, cantilevered profile, hidden platform and stingray inserts. Guaranteed, as the name suggests, to turn any girl into a lightning rod for the right sort of trouble.

The Unbearable Lightness of Being Gary Cooper

For slightly more than a decade–from the late '20s until the late '30s–screen actor Gary Cooper was the handsomest man in the world. He simply had no peer. At 6'3" he towered over leading ladies, many of whom used his height to their advantage: leaning into him, they could rest beautiful faces against his chest and appear sexy and sweet at the same time. Atop this well-built frame was a face with heroic bone structure that looked boyish, rugged or Art Deco sleek by turns. It probably stopped women in their tracks in Helena, Montana (Cooper's hometown) but, more importantly, it was a face made for the lights, cameras and action of what were then called moving pictures.

Cooper wasn't a particularly good actor, but he wasn't bad, either: he had a natural grace that cut through some of the nonsense other actors tried onscreen. He also looked great in clothes, which is why FA2L holds him so dear. He seemed to enjoy dressing well and understood what flattered him, yet he was less concerned about his appearance than other Hollywood celebrities (such as the famously fussy Cary Grant). For example, in Steichen's 1930 portrait above, Cooper's collar points are slightly askew; his stance is natural, not overly composed; and his white handkerchief seems jammed in his pocket rather than artfully displayed. But for all that, he looks completely devastating.

Cooper played opposite many of the era's great beauties–Greta Garbo, Tallulah Bankhead, Carole Lombard (and was famously involved with Clara Bow, Grace Kelly and Patricia Neal, among others)–but he sparked particularly well with Paramount's biggest star: Marlene Dietrich. In 1930's Morocco, during an audacious scene as a cabaret performer, Dietrich kisses a woman on the mouth and tosses a rose to Cooper's dashing Legionnaire. A torrid romance develops, culminating in an operatic ending which will not be divulged here. The two worked together again (and either began or continued an affair) in 1936's Desire, which has Dietrich's Parisian jewel thief meeting Cooper's automobile engineer on the road to Spain. Glamour, intrigue and love in the glittering moonlight ensue.

Sadly, Cooper did not age well: as poor health shadowed his face, he lost the bright-eyed, almost goofy charm that characterized many early performances. His reflexes slowed, his choice of parts became conservative, and he played cowboys, ballplayers and businessmen with the same bland folksiness (although plenty would disagree, as he remained a well-loved figure until his death in 1961, at age 60: Marlene Dietrich looks grief-stricken in the photo taken at his funeral). Ultimately, debating the relative merits of such an extraordinary career is beside the point, because "Coop" made millions of movie-goers happy during his lifetime and left behind some of the most glorious images of a man, and his clothes, ever seen on the screen. When the modern world hurts our eyes, it's comforting to slip into an art-house presentation of vintage '30s pictures, settle in with some Red Vines and bask in the moonlight that still glimmers in Gary Cooper's shining hair.

Photograph, top, by Edward Steichen, 1930; photographs, center, Paramount Pictures, 1930, 1933; and photograph, bottom, by Barry Feinstein, 1961, for Hollywood Foto-Rhetoric by Bob Dylan.

Women On the Verge of a Technical Breakthrough

When it comes to women's coats, far too many designers fail to balance form and function. Some produce things that are beautiful, but flimsy and useless; others make clothes that may very well be warm, but are also ugly and bulky. Fortunately, companies like Loro Piana understand the art of compromise. Thanks to their innovative work with leather and textiles–plus a team of thoughtful designers–half the world's population doesn't have to choose between looking like tweedy marshmallows or elegantly freezing to death.

This Eiger jacket is a good example. It's made of sleek, water-resistant leather (with suede details); lined in cashmere-wool flannel (with knit cashmere at the neck and cuffs); and boasts strategically-placed pockets of lightweight down for perfect insulation. Just as importantly, it's cut to flatter a woman's shape, with small shoulders, a trim, adjustable waist and a softly-draped skirt (the part below its waistline). Admittedly, a Loro Piana coat doesn't make as strong a fashion statement as something from, say, Balenciaga; but its jaunty silhouette would look equally smart on a tall, denim-clad 24-year-old girl dashing around Manhattan or a spry older woman running village errands (and will continue to do so for years to come). The fluffy fox collar detaches, and suggests a trapper hat as an appropriate accessory; add a bright scarf and you're ready to brave the elements. It's almost exciting enough to make one look forward to winter.

Cuff Love: Verdura and Chanel Made Quite a Pair

The Sicilian duke Fulco di Verdura ran with a fast crowd in the '20s, so it was only a matter of time before he crossed paths with Gabrielle "Coco" Chanel–a real dynamo whose meteoric rise as a couturière, businesswoman and social climber knew no limit. Chanel originally hired Verdura to design textiles, but she quickly recognized his talent for jewelry and initiated a collaborative partnership that produced some of the most memorable baubles of the 20th century.

Although Verdura's ambition ultimately propelled him to New York and Hollywood, he's probably best remembered for the Maltese cross cuffs he first made Chanel. (She wore them for decades.) They were further popularized by Diana Vreeland, who was so partial to various Verdura pieces one wonders if she ever took them off. Whether gossiping with Halston at Studio 54 or terrorizing underlings at the Costume Institute, she was often photographed wearing the duke's jewelry like fashionable versions of military decorations.

In 2007, the house of Verdura (overseen by CEO Ward Landrigan and his son and president, Nico) acquired Chanel's original cuffs; this year, they took advantage of the company's 70th anniversary to offer limited-edition reissues made of enameled gold set with sapphires, rubies and emeralds. They're not inexpensive, but their beauty and iconic status make them signature items any chic, no-nonsense woman would reach for every day. Average the cost-per-wear over a lifetime, and they're practically free. You do the math.

Photographs courtesy of Verdura; portrait of Chanel by Man Ray, 1935

"Be Vewy, Vewy Quiet, We're Hunting Wabbits"

Every model, publicist, designer and retailer knows there's nothing warm and fuzzy about the fashion business: it's a blood sport. That's why tough-guy gear is perennially popular. Denim, of course, has become the default setting for every man, woman and child, but a dash of military surplus or classic work clothing also projects enough irony to offset expensive watches and extraordinary shoes.

Canadian twins Dan and Dean Caten, designers of DSquared, do a lot to popularize a rugged, outdoorsy look (all very tongue-in-cheek, of course). They take wool hunting jackets, heavy leather topcoats and plaid shirts, reshape them to make them sexier (and more fashionable), and unleash perfect storms of male archetypes: lumberjacks, ski bums, and Canadian Mounties galore. Paul Bunyan, meet Tom of Finland.

The hat and bag here aren't "fashion," per se, but that's why we like them. The carry-all is L.L. Bean's Maine Inland Fisheries and Wildlife tote (we own it in camo print): you can choose one of four animals embroidered on the side, and part of each sale is donated to conservation efforts. The hat (spotted on a friend in Williamsburg, Brooklyn) is Stormy Kromer Mercantile's waxed cotton cap. Both are giving so much realness they could pass muster in a UP Michigan bar, yet they hum with enough personality to set fashion antennae quivering. Let the hunting and gathering begin.