The logo, this well-known. Tom Ford even “drew” the G of Gucci on the most intimate part of the model. The sharp journalist Natalia Aspesi didn’t come forward with positive or negative comments, but she declared, lapidary: “Tom Ford has found the G-spot”. But that was an adv. What happens if the mere mortal, not a mannequin or a celebrity, completely primps with logos, randomly and everywhere? “Logoed” garments, especially for men, are fairly dangerous: it’s easy to drift into vulgarity, and to show a lack of personality. A completely different matter when the logo is shown in a moderate way and when it appears only once in the outfit, for example on the belt buckle, or on the briefcase, maybe on a leather or metal bracelet. To sum up, style is recognisable also in sobriety and good taste used to show the “object of desire”. In this case, the logo is welcome. The initials of Louis Vuitton carved in stone (project of Barthélémy & Griño).

 Great feats. In May 1932 the American aviator Amelia Mary Earhart (1897-1937) carried out a great feat: she flew solo from Terranova Island (Canada) to Londonderry (Northern Ireland) in fourteen hours and fiftysix minutes. The picture of her seems to be an adv campaign shot by Fallai for Armani in the late 80s – early 90s. And she is “very Armani” too: short hair, tie and trousers, “comme des garçons”. This is one of the most suitable looks for women who love wearing men’s clothes or for men with a lean build that prefer a classic but unusual elegance. Sure, the tie can be too wide and old-fashioned. But, considering the great return in menswear of fluid and wide volumes, I’m sure that the tie with a width of at least 8cm will be back soon on the catwalks. The pioneer of the solo non-stop flight across the ocean Amelia Mary Earhart in 1935.

Legend has it that Tom Ford dismissed out of hand one of his team’s designers due to his suggestion to include a short-sleeved shirt in the s/s collection. Actually, it’s not a really loved garment. Because it mustn’t be worn under the blazer (the cuff must always appear from the jacket’s sleeves), and it requires, in theory, tapered arms, that only a few have. But in the 40s and 50s it was in fashion, among style icons too. Well, this year the short-sleeved shirt is back: with floral/tropical prints, made of silk and viscose or cotton and linen. In the first case, it’s soft and fluid, suitable for an eccentric, young and self-confident man; in the second case, more “rigid”, suitable for both young and adults. Frank Sinatra at Lewisohn Stadium in NY, in 1943.

This week’s picture, from the book Richard Avedon Performance (published by HNA), appeared on Harper’s Bazaar in 1962. This story was shot in Paris, between Chez Maxim’s and the Saint-Régis Hotel, and it was based on an idea of Avedon that, for its production, made himself directed by Mike Nichols (the director of The Graduate). The shooting would have been a homage/satire to the legendary and troubled love story between Liz Taylor and Richard Burton. In this picture – which staged a false press conference – the american actress/model Suzy Parker wears a Yves Saint Laurent dress. The model that plays the role of Burton is obviously in pure Sixties mood too: black round-neck pullover, dark thin tie and white shirt whit mini-collar. Trousers and shoes also black. So I suggest a total black that refers to that decade, which was certainly – with the Fourties – a period of great elegance. Suzy Parker in a picture by Richard Avedon for Harper’s Bazaar (1962)

Divergent thinking. Wide trousers with turn-up, maybe intentionally turned on a leg for this picture, pullover with a wide oval neckline worn on the bare skin, watch with a round clock face, penny loafers and…white, short socks. The etiquette of menswear has very strict rules, and one of them is about socks: they mustn’t be white nor short. But history of fashion and style icons prove just the opposite. The picture we are talking about is from 1951. More than sixty years have passed by, but this is here, flawless, to show us that the charm of some men and of a certain movie iconography is timeless. Is breaking the rules a luxury allowed only to movie, literature and art stars? Maybe. But the temptation to revalue that casual-chic look, which is so “imperfect” in its elegance, is really strong: try to add some garments, to set the tone of the outfit, and see if it works. Gene Kelly in 1951, picture by Alfred Eisenstaedt.