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.

Space Oddities & Fashion in the 21st Century

Kudos to British Vogue and Tim Walker for this gorgeous October editorial. Cyberspace is a wonderful place, but FA2L loves print, too...

When the Going Gets Tough, the Tough Don Alaïa

The threat of a full-bore '80s revival can give one pause, but it also summons visions of powerful women wearing Azzedine Alaïa, one true bright spot–a fashion lodestar, in fact, still radiating brilliance–in an era that now seems light years away. A recent dash through the racks at Bergdorf Goodman saw my beautiful 23-year-old shopping companion literally stopped in her tracks by an Alaïa dress and swoon-inducing shoes. This brought to mind Suzy Gershman's Moscow Rule of Shopping, from Born to Shop. It was written before Russia joined the global marketplace, but the advice is sound:

The Moscow Rule of Shopping is one of my most basic shopping rules. Average
shoppers...want to see everything available, then return for the purchase of choice. However, if you live in Russia...you must buy something the minute you see it,
[or] it will be gone. Hence this international law: the Moscow Rule of
Shopping. Buy it when you see it, understanding that you may never see it again.

Alaïa is a notoriously contrary designer: he doesn't court the fashion press, he doesn't advertise (other than dressing some of the world's most beautiful models) and his shipments to retailers are haphazard, at best. Savvy women who stumble across his creations tend to snap them up, knowing they won't have a second chance. These shoes are at Browns, London (online, too). But hurry: She who hesitates is lost.

Benjamin and Doug's Excellent Fashion Adventure

In stressful times, people reach for the familiar: comfort food, comfort clothes. There's nothing wrong with that, but it does present challenges for fashion designers. If you've ever read a favorite story to a child, you'll understand–make one mistake, skip a page, fail to use the right effects in the right places and you're a goner. And adults can be just as demanding when it comes to remade classics.

That's why the timing is right for talented neo-traditionalists like Ben and Doug Burkman, aka the Burkman Bros, two handsome, amiable siblings from Toronto. They're smart, well-traveled and, like so many Canadians, beautifully-mannered. (Is it taught in schools, or something in the water?) They treat menswear essentials with respect, while managing to freshen things up around the edges; in other words, their designs appeal to guys who fear fashion, but sport enough clever details to attract fashion snobs. Plus, their clothes look, and feel, like they've been part of a man's wardrobe forever.

This deluxe cotton flannel shirt is a good example: It's a standard, but not standard-issue. The outer fabric is plush, and it's lined with glossy, lightweight oxford cloth. There are nice touches everywhere, from the metal locker loop chain to a small inside pocket set below one's rib cage. Buttons are simple and sharp; plaids align at key points; and the fit is trim but not tight. Find it at Kesner, New York; Lark, Vancouver; and Barneys New York stores. End of story.

www.burkmanbros.com