At a man’s feet. It is said that a man’s elegance stays also (and especially) in the shoes he wears. A pair of shoes can be fashionable, classic or sporty, depending on the kind of man that wears it and, for every variety of shoes, there are rules to be respected in terms of elegance. Style has nothing to do with beauty and quality of an accessory: when style is absent, the accessory itself loose its identity. The wider is the offer, the higher is the chance to get wrong. The crocodile – for example – has to be “impoverished” by a minimal look; the chelsea-boot mustn’t be worn with wide-bottomed trousers; bicolor shoes has to be worn with caution and, in case of bright colours’ matches, it’s good to bear in mind that they’re “dedicated” to trendy under 30. Age has its weight talking about sneakers too: if you are over 30 but you wear them because they’re comfortable, do it just in the spare time. In doubt, it’s better to choose classic: a brogue in calf leather, but never in black before 6 pm.

Breaking the rules. Who knows me well, knows that I can’t stand social occasions: I limit my participation to the bare minimum. Then there’s the matter of outfit. Legend has it men are helped: “A beautiful dark jacket, white shirt, bow-tie or tie and you’re ok”, First of all, we’re bored to dress in the same way too; then, not necessarily only ladies can transgress. Can you try to break the rules? Yes, but only if you are already eccentric in everyday life. So, how to break the etiquette’s code for a social event? Take a look at the collections: there’s a triumph of check fabrics, from the micro-printed to the tartan, and there’s a big celebration of colour that leaves space to the most daring matches. And a lot of fashion accessories, and “little” objects of desire, but destined to a vertical decline soon. Picture by Jean-Baptiste Mondino.

 Black returns. Total black has been celebrated by many designers such as Prada, Costume National, Dolce&Gabbana, Armani and Helmut Lang. In particular, french brands have glorified it, from Stefano Pilati, when he was creative director for Yves Saint Laurent, to Dior Homme, Louis Vuitton, Hermès and Jean Paul Gaultier. And what about the far away 80s, when the cote dark-intellectual reigned, thanks to the japanese brands Comme des Garçons and Yohij Yamamoto. Today black is living a second life. Above all in leather, that “joins” fashion even sewn with wool, as the case of Valentino. Black leather evokes a sport imagination linked to motorcycles’ world, but it celebrates firts of all an erotic idea: just think about the pictures by Robert Mapplethorpe. If black leather’s trend will become established, I’m sure that black will return in fabric and knitwear soon. I hope not in shirts.

New Sartorial.  Fashion merge with classic, and tailoring update itself. This is the new revolution of menswear, the only one real trend that has resisted since several seasons ago. Fashion is the new mean of a centuries-old tradition, that is the bespoke; boutiques have cocoon-like lounges ready to receive the most demanding customers, the ones that until some years ago “went to the tailor”. The essence doesn’t change, it’s just a matter of habit: tailor make his experience available and designers help him to renovate, revise the cuts and suit’s fitting. The concept has been sanctioned by Dolce & Gabbana, that presented in London – birthblace of bespoke – a cruise collection composed by very classic suits of tailoring finish. Without provocation purposes but, actually, with a great respect, they have mixed the gentle and polite touch of the best british tradition and italian knowledge, taste and flair.  Anderson & Sheppard’s team in the picture by Ben Baker for Fortune Magazine (2008).

Revival. Chinatown is one of the best American movies of the 70s. It won the Oscar Award for the screenplay by Robert Towne but it should have deserved to win also for the direction by Roman Polanski and for the performances by Jack Nicholson and Faye Dunaway, the two main actors, and by John Huston as actor in a supporting role. This movie is 40 years old but it looks more recent: the rhythm is fast, the plot is engaging, the end leaves breathless. The love story between Evelyn and Noah takes shape in the middle of a mistery that is disclosed in the end, leaving the spectator with a bad taste and upset for a irreversible damage, that has no way out. “When it was released it was considered a new-noir; now, many years later, it could be included in the original noir movies” we read on the Chicago Sun-Times, highlighting its modernity. Even the costumes, that trace fashion of the late 30s, are up-to-date: the sunglasses with round lenses, the wide-brimmed hat, light colours in the shades of beige for the outerwear and printed ties. If you’ve never watched it, you have to. If you know it, it’s a masterpiece to rediscover. Jack Nicholson in “Chinatown”