Recently the comments section has been lively with discussion about Brooks Brothers shirts. Obsessing over them is practically an institution; as early as the mid-’60s George Frazier was writing, “What the hell’s happening to the roll on Brooks Brothers buttondowns?”
There’s a reason men get so worked up about them: they have strong attachments to this particular article of clothing. Like the fellow in the drawing above.
The cartoon by Charles E. Martin appeared in the New Yorker in 1952 and is available from the Conde Nast Store.
But be forewarned: the print costs more than a new Brooks Brothers shirt. — CC
No need to be long-winded, so I’ll keep it short: Jackets that are too short make men look like boys, while jackets of adequate length make boys look like men. Take it from these 1927 Whiffenpoofs — estimated ages 18-22. These gentlemen songsters may be doomed from here to eternity, but it’s not for being slaves of fashion.
Thanks to frequent comment-leaver S.E. for the excavation of this superb image. — CC
While performing a Google Image search for some random terminology recently, I came across an illustration that caught my eye. It turned out to be from an artist named Joe Bowler who made his living in the ’50s and ’60s doing advertising and magazine illustrations.
Quite a few have details that would interest us here, such as the guy above, with buckle-back chinos and rep-striped billfold. (Continue)
Frequent comment-leaver Old School alerted us to this 1966 Gant ad, which he’d found on the web but didn’t think had been tumblred to death.
The ad copy attests to correctness of Gant’s oxford buttondowns, including its “casual roll of the collar.” (Continue)
Last week Ivy-Style.com presented Julien Dedman’s 1954 Playboy article on Brooks Brothers. In this post, Rebecca C. Tuite, whose book on Seven Sisters style is forthcoming, examines the author’s parody of life at Yale.
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“Yale men everywhere join in one brotherhood at eventide to remember the golden days of yesteryear and the great gothic towers of this university whose flying buttresses and grinning gargoyles symbolize a Yale Spirit that will not die – not even if you beat it with a stick,” wrote Julien Dedman (Yale Class of 1948) in the introduction to his 1950 compendium of cartoons, “Boola Boola! A Satirical Peek at Yale, Its Foundations and Other Unmentionables.”
Perhaps it’s just as well that the Yale spirit was so unshakable, as Dedman took aim at everything from boring Whiffenpoof performances to Burberry sportcoats, dastardly Dostoevsky assignments to disappointing dates with Vassar girls in his lampoon of life at Yale in the 1950s. Blending original caricatures and reprints from Dedman’s work at the Yale Record, “Boola Boola!” is not only an amusing snapshot of Yale campus life over 60 years ago, but an homage to the work of America’s oldest college humor and cartoon publications, the Yale Record.