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Posts from the ‘Image’ Category

Zero Collar Gap: The Third Signal of a (good) Handmade Suit

A screaming collar gap ... such a pity for a promising look

Collar Gap Offender


It’s surprising to notice that so many people with exquisite taste fail to notice the importance of a good collar fit with no “collar gap”. In my own experience, I have been slow to pay attention to collar gaps on suits, especially when mesmerized by an otherwise incredible look of an ensemble.

Compared to many readers, I am fairly new to the world of tailoring, with only about two years of suit-making self-study. Yet I have noticed, after spending many years in surgical wear and fabric design (with patents on a major surgical fabric product) that I have gained a real fascination with the dynamics of garment appearance, fit and function. Out of all the components of suit making that I’ve learned to date, it is particularly interesting to watch how collar fit affects the front and back fit of a coat.

Collar fit is such a strong component to the overall look of the suit, and if we start paying attention to different collar presentations, then we can quickly spot examples of a properly sewn suit collar and a poorly constructed suit collar. Here is a prime example of a poorly constructed suit collar that may be “fault elusive” to many. It is a pinterest sensation that is hard not to like, with a real problem–a shouting collar gap:


Even our dear Prince Charles, in his earlier years, made the mistake of wearing a suit with the dreaded collar gap in one of his portraits. Here we see a photo of the Prince years ago, with a text book example of how a collar gap contributes to the front V-Tug of the suit coat. But, not to worry since in the years that followed, prominent Savile Row houses such as Anderson & Sheppard promptly corrected the problem with technical precision. Take a look at the Prince’s before and after photos.


In this photo, we see:

1. an obvious coat collar gap with the jacket pulling away from the shirt,

2. the shirt collar is showing fully underneath the coat collar on the back of the neck, instead of less than 3/4″ (or less than 2 cm) of shirt collar fabric that should extend from the coat collar.

3. the classic front panel V-tug, and “fabric collapsing” in the chest area,

4. a secondary collapsing gap created between one of the lapels on the coat and the shirt itself, causing the lapel to lose its intended straight line.

Of course, the prince does have his hand in his pocket, which can affect the overall look, but since he is doing so carefully while choreographing his pose, we can conclude that his pose probably has minimal affect on the front drape of his coat.

And now, notice the corrections in this suit:


In this photo, we see the following corrections:

1. the suit collar follows the shirt collar closely, with what appears to be around less than 3/4″ (less than 2 cm) of shirt collar showing,

2. there is the correct amount of tugging of fabric around the chest and waist area of the coat, and

3. the overlapping lapel does not rise and curve against the shirt, but lies flat at a straight angle.

THE PHYSICS OF A SUIT COLLAR


To understand the physics of fabric draping that occurs when there is a collar gap, perform a simple exercise:

First, take hold of the back of the collar of the shirt or coat that you are wearing now and pull the collar backwards. You will notice two things that happen:

1.The front panel of your shirt or coat will pull up upwards, creating a “V-Tug” appearance with some fabric collapsing around the chest area.

2. The back of your shirt or coat will “bunch”, creating fabric folds.

When the collar is working in the opposite direction of the neck, an opposing upward pull occurs on the front of the jacket, and fabric is pulled up and “bunches” around the upper back.

Yet, when the collar is sewn properly and hugs the neck, these problems are eliminated.


To illustrate the point, pull your collar downwards, towards your neck, and notice the dynamics that occur in correcting the chest and upper back fit.

In this situation, the fabric on the back of the jacket is secured flush against the body and the fabric in front works with gravity to create a nice drape with the correct amount of tugging around the chest and the waist of a well-sewn suit.

Compare the different upper back results in the following two suits:


Upper back “Bunching”


Smooth upper back

Here, the close fit of the collar is vital in helping the fabric across the upper back lie smoothly against the body.

HOW UNEVEN SHOULDERS CAN CAUSE A COLLAR GAP

Most of us are not exactly evenly proportioned. And, it’s not unusual for one shoulder to be lower than the other shoulder. When wearing a ready-to-wear suit, the person with uneven shoulders can see a few problems occur:

If the left shoulder is higher, as seen below, in a ready-to-wear suit that is uniformly sewn,

* a collar gap will form, usually around the shoulder that is set lower, and

* fabric bunching will occur that moves in the direction the higher shoulder (as seen above)


In the photos of Prince Charles above, his right shoulder appears lower than his left shoulder, and the collar gap is showing against his weaker shoulder. In the photo that follows, it appears that his tailor has made the corrections necessary to even out the appearance of his shoulders.

Other than slightly adjusting the coat button positions (moving the buttons a fraction higher or lower) on these problem-suits which are pulling either to the left of the right, or a valiant attempt to slightly pad the lower shoulder, there is little that one can do to correct this type collar gap problem on a ready-to-wear suit. A person with offset shoulders should whenever possible, have his or her suits handmade.

IT’S ABOUT AWARENESS

As we take notice of how the collar fits around the neck, we develop an eye for fine tailoring.

Here are some contrasting examples of the bad and the good:


Collar gap with classic V-Tug with collapsing fabric and a curved (instead of straight) left lapel.


And now for the good:


PG Director Greg Jacomet in Cifonelli (who worked with an uneven shoulder). Here there is no collar-gap, around 2 cm of shirt collar showing in back, a straight lapel angle, and the correct amount of front tugging.


Stefan Bernard in a Zegna jacket. Notice the close collar fit on both sides of the neck, and the correct front panel tugging. The lapel angle is intentionally curved instead of straight, with both lapels curved and angled evenly.


Pal Zileri. A nice RTW specimen on all counts.

There are a few things you can do to improve the situation of dealing with a collar gap, ranging from wearing wide-spread shirt collars to mitigate the appearance of the collar opening to looking at having a tailor build up a weak shoulder on the coat, to making a subtle shift in button placement to improve a pull of the coat to the left or to the right (again, usually indicted by uneven shoulders). But, of course, having the collar correctly made to form to your neck from the beginning will save a lot of trouble in the end.

Any fool can know, the point is to understand- Albert Einstein

Sonya Glyn Nicholson

sources:

Dress Like a Grown Up

The Garment Doctor: The Collar Gap

Garment Doctor Series

Bespoke Suits in Singapore: Kevin Seah

Kempt: How a Spread Collar Can Improve a Collar Gap

How the Necktie Conquered the World

The necktie is a powerful gesture and sometimes we may underestimate its effect.  After being commissioned by Parisian Gentleman to write about this complex “strip of fabric” that can say so much with so little, I found the necktie’s story to be more captivating than expected.

Brioni, The Regiment Tie, Purple. The Regiment Tie communicates respect for convention, seriousness, straight-talk, and perhaps a little “frat boy” churned into the mix. Serious or relaxed…a perfect choice; but, be careful not to infringe upon a regiment or club and wear a regiment tie that has been designed to represent a specific organization.

Consider the power of a rather small piece of apparel such as the necktie.  This slice of fabric can make or break a job interview, determine admittance or rejection into a fine restaurant and be a key factor in whether a man is to be taken seriously, or not.  And it is fascinating to consider that a man’s choice of a necktie may give insight into his personality.

Stefano Ricci, Lavender Gray Paisley. A nice paisley conveys boldness and when well chosen, displays a strong flair for style (and perhaps even a slight penchant for the flower power era).

The vintage Sulka Tie is now an ultra rare deadstock item that the most every tie aficionado may seek to own.

From Drakes, London: “There’s a touch of sartorial audacity in a silk knitted tie that’s oddly liberating and we’re proud that our knits continue to set the standard. Starting with the finest quality spun raw silk they’re knitted on hundred year old looms that produce the distinctive crunchy ‘cri de la soie’ hand, the true mark of quality and authenticity in knitted silk ties. Spots are sewn on by hand. Made in Germany, 100% silk, 7cm width”

AN UNLIKELY BEGINNING

The first known version of the necktie is located in the massive mausoleum of China’s first emperor, Shih Huang Ti (buried in 210 B.C and whose tomb was unearthed in 1974 near the ancient capital city of Xian).

Inordinately afraid of death, the emperor wanted to slaughter his entire army to accompany him into the next world. Persuaded by his advisors to take life-size replicas of the soldiers instead, astonishingly, his tomb contains 7,500 life-size terracotta replicas of Shih Huang Ti’s regal fighting force. Reproduced in painstaking detail are their armor, uniforms, hair, and even facial expressions of the soldiers. Each figure is different – except in one respect: all wear neck cloths.

Other records indicate the Chinese did not wear ties, so why the emperor’s guards wore carefully wrapped silk cloths around their necks is unknown.  With silk looked upon as a great luxury, the neck cloths were likely a symbol of high honor and prestige.

THANK YOU, CROATIA

Hats off (or on) to Croatia for the contribution of introducing the necktie globally. As early as the mid-1600s, during the European Thirty Year War, from around 1618-1648, Croatian soldiers fought in various regions of Europe. The traditional Croatian military dress included a noteworthy scarf tied around the neck, which is very similar to the style in which the necktie is worn today.

The setting is now in Prague; the year, 1618.  Some Prague agents of the Holy Roman Emperor were in a state of dissent when a group of citizens threw the agents out of a window. The agents landed on a dunghill and happened to survive. Being foul tempered because of this angst with Prague, it is said that the 30 Year War ensued soon after. which gave way to an immediate need for Croatian mercenaries. Although these Croations were rough-and-ready fellows, they held fast to making a style statement by displaying notable neckwear.

The word “‘cravat” is a derivative of the word “Croat”. It is an enigma as to why the Croatians exacted such imitation.  Still, as these Croatian soldiers were stationed in Paris during the reign of Louis XIV, the Croatians’ overall style greatly impressed their French counterparts and French men rather quickly borrowed from their sense of fashion–most notably when it came to neckwear. “.

The tie gained entry into the bourgeois style circle of that era as a sign of elegance and the cultivated elitism, and soon after the rest of Europe fell at the cravate’s feet. Of course today we witness the power of the necktie in practically every culture, with 85 different tie methods and a wide array of materials and colors.

A SIGN OF OUR TIMES: OLD IS NEW

After a few generations of aiming towards exaggerated convenience in most every area of life, recently we have witnessed a hunger for handcrafted items. We have grown fatigued with all of the computer and machine generated merchandise.  Herbs and natural remedies often are favored in place of chemically produced drugs.  Handwritten notes are more valued than the common email.  And, a taste for meticulous custom-clothing has caused a case of amnesia when trying to remember the need for a shopping trip to the mall.

Today, the celebrated necktie has seen a specific revival in the house of Passaggio Cravatte, founded in 2010 by Gianni Cerutti and Marta Step. The shop is located in Robbio, Italy (near Milan and the Malpensa airport) and uses the rare practice of hand-cutting the entire necktie from a single piece of fabric, then the tie is carefully hand-stitched and meticulously hand-folded using a seven-fold method form the early 1900s to produce a newly made vintage piece.  Even the fabric is taken from 90 percent real vintage cloth and is hand printed with patterns that are hard to find and virtually unobtainable.

Passagio Cravatte seven fold passaggiocravatte.com

The result?  Nothing short of magnificent.  While a Sulka tie can be an amazing find, now there is a chance to take the pursuit of a “magical tie” a step further by experiencing firsthand the traditional necktie original construction–simply because of a dream transposed into reality by two determined Italians to return to the tried and true method of producing a work of art that can be selected, cut and sewn on demand.

THE NECKTIE: NOT TO BE FEARED

And so, whether you resent having to dress for an occasion or find pleasure in doing so, we must admit that the necktie is a wondrous opportunity for a man to express himself in a way that makes people take notice.  The necktie can give a man the chance to portray power or humility, seriousness or humor, status or convention.  If more men looked at the tie as a tool (and we know how the male species loves tools), then maybe we will accelerate even further this era of a a return to style.

The Enduring Fedora

Put on a hat and people will notice.  And if you can wear a hat and make it look like a natural extension of your wardrobe, then you have found your hat groove.

The fedora is a massively appealing style in hats.  This medium-brimmed hat comes either with a C-crown or indentation at the top of the hat for a roomier fit. The brim follows the entire base of the fedora and often a hat band or ribbon is featured just above the brim.  Hat materials include traditional felt, canvas and straw.

What you may not know is that a woman (not the men of the 1920s-60s) prompted the enduring style of the fedora. Victorien Sardou introduced us to the fedora hat in a play written for Sarah Bernhardt.  Bernhardt (Princess Fédora) plays the heroine of the story and this possibly began a general fascination by women which still lingers today.

The fedora is associated with Prohibition, the Great Depression, gangsters and savvy detectives.   Humphrey Bogart is the iconic example of donning a fedora in Casablanca. The hat is also recognized in the productions of The Spirit, Daisuke Jigen, Freddy Krueger, Dick Tracy, Rorschach and Indiana Jones; and, the fedora is particularly closely associated with film noir characters.  More recently, Leonard Cohen may be best known for his allegiance to the hat.

Some spectacular examples of the female and male fedora:

As for the men, I particularly like how most of the men (with the exception of Russell Brand), have mastered a nice tilt at the front brim of the hat, which adds more overall interest.

In this example, while Depp carries off the Fedora look with his hat selection and brilliant tilt, Brand obviously misses the mark.

Style – Visual Shorthand

Maybe Jean Cocteau had it right by summarizing, “Style is a simple way of saying complicated things.”  I believe that style could mean something as simple as visually and non-visually expressing the truth of who we are, without any filters.  And, wonder if style and freedom are more closely related than we realize.  As I search for my personal definition of style, I’m drawn to this:  style is expressing the truth of who you are (outwardly and inwardly), with freedom from boundaries.

If someone is not oppressed (by government, organizations, or personal situations), then he or she is free to truly express his or herself by outward appearance, words and actions.

It is fascinating to me to realize that people who are not oppressed by outside forces, and are free to express themselves, so often place self-imposed boundaries, which prohibit them from communicating their true personal style.

If we have confidence in our ourselves and our personal decisions, then it is possible to release self-imposed boundaries like worrying about judgement from others and experiencing guilt for self-indulging.  On the flip side, a narcissist or completely self-focused person cannot successfully express personal style, because true style must factor in bringing pleasure to other people as well as ourselves.

And really, how is a being a painter of true art much different from someone who spends real effort on self-expression through presenting his or her body and mind in the best way at the highest level?

Self-expression is an art, which in turn becomes a pattern of personal style.  Monet and van Gogh painted a certain way, which of course, rendered a definitive style–so much so, that we recognize the artist by simply viewing the painting itself.  So we too, may develop a style specific to ourselves…to the level  that we could be recognized by others even before they see our faces.  This is an incredible thought.

Perhaps you recognize these people without the benefit of seeing their faces?

Answers: Jackie O, Oscar Wilde, Carolyn Bessette Kennedy, James Dean, Brigitte Bardot, Ryan Gosling, Princess Di, Steve McQueen.

Jacket Buttoning Ritual – What Men Already Know

The ritual of suit and sports jacket “buttoning and unbuttoning” is very simple:  Each time a man or woman wearing a suit or sports jacket sits, he or she unbuttons one jacket button. And every time he or she stands, the person re-buttons the jacket button.

I love rituals.  There is something knowing and beautiful about  participating in the intentional repeating of a pattern of behavior.  Being a part of a ritual allows the ability to communicate volumes with a simple action or series of actions.   We may light candles, do sun salutations, tuck a child into bed a certain way, clink wine glasses while making eye contact but not cross glasses during a toast, or even adjust our wardrobe in a certain way when we sit or stand. The ritual feels lovely and this is perhaps why we enjoy repeating it.

In regard to jacket buttoning and unbuttoning, the practical reason for unbuttoning a suit jacket when sitting is obvious since if the button remains buttoned while sitting, the tension placed on the button-hole and button causes wear and tear on the tailoring work and robustness of the cloth and stitching over time.

The custom of buttoning just one button of the classic jacket could be a little less practical in application.  Apparently King Edward VII, “Bertie”, son of Victoria (1841 – 1910, King 1901 – 1910) was so heavy that he could not get the bottom button of his vest fastened and so His subjects followed his lead and today most men’s suits, sports jackets or vests are not designed to button the bottom button. Or, the practice of not buttoning the bottom button could be a result of early (very long) waistcoat design. So, to allow for more ease during walking, the bottom buttons were left undone.

Men have known this buttoning ritual for ages, but many women are perhaps oblivious to some degree.  Notice how Don Draper in the Mad Men series pulls off the buttoning/unbuttoning ritual effortlessly.

This ritual may vary from culture to culture (e.g., in Japan and China, business people and uniformed students could be expected to fasten all buttons regardless of jacket styles.)

While there are many variations on this detail of unbuttoning and buttoning, the standard sitting while unbuttoning and standing while buttoning is an iconic practice that is worth capturing here.

Many men are often proud to say that they are in touch with their feminine side and we laugh about this and appreciate it at the same time.  So in turn, by participating in what has traditionally been viewed as male culture, women can discover a certain strong appeal and aura of power in experiencing the world of their male counterparts, as well.

Tartan Beauty

Aristocratic Tartan

Steeped in history…It’s the feeling I get when I see an image of The Scottish Register of Tartan.  The register is maintained by the National Archives of Scotland based in Edinburgh, with the aim to provide a definitive and accessible resource to promote and preserve tartan.

This edict seems like a noble goal and the book appears like a treasure trove–a piece of history that you can hold in your hands.  And, if you have a tartan cloth that you would like to register and preserve, then you may be able to do so at http://www.tartanregister.gov.uk/

I imagine holding this book would create a real connection with its contents.  It is reminiscent of my Grandmother’s collection of fabrics that she held dear and kept in an open basket, which invited anyone passing by, to cast a hand in the bin, feel the fabrics and feed the eyes with the various colors and patterns.

Sir Jamie [right] with SNP enterprise minister Jim Mather at the launch of his register plans, 2008. The register itself is made up of the existing registers of the Scottish Tartans Authority and the Scottish Tartans World Register (now defunct) and new registrations from 5 February 2009 and on.

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Reflecting on this feeling of “fabric and history” reminded me of another story of “keeping revered fabrics”.  As a child, I had the pleasure of sitting cross-legged underneath my Great-Grandmother’s giant quilt frame (circular, perhaps 8 feet in diameter), downstairs in a well-lit cellar.  On this day, my Great-Grandmother was hosting what is called “A Quilting Bee”, and, as a 5 year-old child,  I took this occasion to sneak underneath the loom where I could not be seen.  Similar to sitting underneath a round dining table draped with a huge cloth, I saw at least eight sets of old-lady-craftswoman legs, gathered in a circle, with busy hands working together, to complete a quilt masterpiece, one stitch at a time.

This practice of the quilting party was brought to the states from Europe and surged in popularity in the 1800s.

While it was fascinating to see the hands of these women work each individual stitch, most intriguing was the conversation of these women, that I eavesdropped on, (me hidden beneath the loom in a clandestine fashion, dead center in the midst of all these knees and squirming feet).  The southern quilts that these ladies produced were constructed with fine stitchery and elegant fabrics.  The host house of the quilting party, had the privilege of keeping the quilt.

And so, for some reason, seeing The Scottish Register of Tartan, transports me back to all sorts of memories of days past.  When I view these regal fabrics, I imagine what it would be like to wear true Scottish tartan and it makes me want to stroll the grounds of the Edinburgh castle.

or even take a day trip and drive out to the country, pulling the car aside after a long, slow, cruise with the windows down, and walk along a Scottish country dirt road, picnic in hand, perhaps in Tayside.

Of course I became curious to know how a tartan fabric may be registered and began researching the process a bit.  Here is an example of a nice fabric that is part of the registry:

STA ref: 8036
STWR ref: none
Designer: Jones, Harriet
Tartan date: 01/01/2009
Registration date: 1 November 2011
Category: Name
Restrictions:
Registration notes: Designed by Harriet Jones of Holland & Sherry for a Mr Guzzo of Montreal who is “fascinated by all things Scottish and wishes a ‘family’ tartan using his family’s colours.” Being woven by the copyright holder Joseph H Clissold.

My personal favorite, using woven tartan, is the tartan coat.

Coat by Betsey Johnson:

Linda Evangelista, in Oscar de la Renta, gets a kick out of tartan (Arthur Elgort shoot)

And last, and perhaps best of all, a bespoke creation from Timothy Everest, who has been fantastically described as “borderline cheeky”, from Fall, 2011.

True Emphasis

Attitudes direct actions.  Two famously good displays of attitude are expressed by Wells and Wintour:

“Style is knowing who you are, what you want to say, and not giving a damn”
― Orson Welles

“Create your own style… let it be unique for yourself and yet identifiable for others.”
― Anna Wintour

The way of presenting oneself can be just as much about the attitude possessed as the wardrobe selected.  And the two (wardrobe with attitude) tend to go hand-in-hand.  To get to the point of raising the bar in regard to style, we should possess the will of sincere and real self-expression sans sheep herding, trend-following mentality.  Wells and Wintour display this example of perspective perfectly, and show us how strength of thought which leads to overt action in presenting our best selves, can be a virtue.

One way strength in resolve can be expressed outwardly is by emphasizing a certain physical feature or even a specific article of clothing, while playing down other features or clothing.

For example, some women have an implicit knack for emphasizing either the mouth or eyes.  But notice that precisely one, not both physical features are emphasized at a time.  Here Keira Knightley’s shows a strong yet delicate play on her eyes, while playing down her other features:

Conversely, Michele Williams gives the mouth focus while keeping other facial features subtle:

Hyper-focusing on an article of clothing can most certainly have a memorable effect.  A man with a propensity towards highlighting his tie choice and playing down complimentary garments is a prime result of this method:

Burberry is notoriously good at the art of hyper-focusing, as is the case with Cara Delevingne sporting strong eyes and displaying the Burberry timepiece, with other clothing and features taking a quieter tone:

This art of hyper-focusing can be likened to a solo performance contrasted with an orchestra rendition.  Both are quite good, but it is at times the solo that is most remembered.

Personal Style Personified — How to Do It

Stop and stare.  Yes, Rita Hayworth had this power over millions.  The personal style that she developed for herself, created a feeling of blissful dizziness among those who were lucky enough to know her.  Developing her personal style didn’t happen in a vacuum…Rita made it happen…and each of us can create our own campaign to relay our own, albeit unique, personal style. No need to copy anyone else; your style is your own.

From Wiki: “Appearing first as Rita Cansino, she agreed to change her name to Rita Hayworth and her hair color to dark red to attract a greater range of roles. Her appeal led to her being featured on the cover of Life magazine five times, beginning in 1940.”

Notice, that Rita purposefully created her own image. And once again, she agreed to change.  The agreement with yourself to change can be ground breaking and exciting!  Using her imagination, Rita looked at her body and behavior as a blank canvass that she could paint however she liked.  What a beautiful thought that each of us can express ourselves how we like as well!

Here are four ways to create your own powerhouse image:

  • Be Notable! How are you different?  What makes you a stand-out?  Be able to recite the answer to these questions upon a second’s notice! And be able to tell your story to anyone that wants to know, about how you are different. Perhaps you have the sought after ability to rally a group into action…when everyone else on a team is ready to give up, you can give an impromptu speech and turn the tide from a general sense  of apathy to real group aspiration. In a nutshell, BE MEMORABLE.  And, take it one step further, have one physical feature that defines you.  Rita had her red hair.  Maybe you have amazing lips, piercing eyes, unique nose, perfect posture.  Name your favorite feature about yourself, and don’t let a day go by when you neglect this one defining facet of yourself.
  • Have at least one Mind-Blowing Success Story  Perhaps you were and apprentice under a phenomenally accomplished person (success by association).  Or maybe you pulled off a project successfully that no one else seemed to be able to handle.  Perhaps you were a beauty queen of your small town.  Or maybe you won almost every spelling bee you ever competed in during your life.  Other accomplishments include being a patent holder, making a speech or performing at a major venue, you get the idea. Put your strengths out there, and don’t be shy to share the stories behind them upon a moment’s notice.
  • What is the RISK of doing business with you?  This is an area where you must know yourself and identify that one weakness of yours that could get you in trouble.  Perhaps you have no experience with almost anything in life…you are a complete neophyte.  Or you are a procrastinator, someone who doesn’t finish what you start, a late-starter, moody, or struggle with an attitude.  Now, once you know your weakness, it’s key to identify the strengths and differentiating characteristics that best minimize the risk.  For example: If you have no experience  (Risk: UNPROFESSIONAL), you’ll want to highlight the past project that you have worked on to show that you are DEPENDABLE.  Notice how you can focus on your dependability to negate your unprofessionalism?
  • Dress To Kill This is the number one, easiest way to have an advantage on 95 percent of the population. And so, other than laziness, why not make the effort?  There is no doubt that you will feel amazing when you dress amazingly.  And, the incredible part about dressing well is observing how others suddenly react more positively towards you.  One way to achieve dressing well, is to dedicate a 5-foot section of clothes in your closet as your “best of the best”.  This is called “space organization”.  Go to this 5-foot space regularly to dress and present yourself in the best possible way.

To review, be notable by telling your story and highlight one key physical feature about yourself, be able to tell your mind-blowing success story, and know the key risk about yourself, and be able to balance it with a key strength. Finally, of course, if you want to make a big impression, you must dress to kill.

Sources:

http://the99percent.com/tips/5563/Present-Yourself

http://en.wikipedia.org/wiki/Rita_Hayworth

Today’s Inspiration

60s Style Icons — Natalie Wood and Raquel Welsh.

Classic.  Enduring.

The Zebra — Here to Stay

Image bу Roger Wo

I’m beginning to think the zebra pattern has become a classic design, rather than a fad.  And, have actually found a reluctant acceptance to this observation.  A rather nice example of Emillo Pucci’s creation.

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