![]() ![]() But we weren’t setting out to do a fashion movie! That’s the irony. Each guy had a different tie corresponding with the width of his chest. You’ve also got to think about the chest and the tie width. We worked very seriously on those collars. If there’s even a half-inch between a man’s neck and the shirt collar, it’s not flattering. The secret of the whole look is the collar. “But why they look good is that each character’s ‘suit’ is tailored to fit his body. I had to have multiples for the characters that get bloody, then bloodier-I combed the racks. I made sure to ask the cinematographer if the navy ones would photograph black. That’s what I found, and that’s what I bought. But the rest-the real irony is-weren’t suits! They were solid black jackets, some navy, two or three button, and a bunch of black jeans and white shirts. Before Men’s Wearhouse, it was one of those cheap suit places in West Hollywood. Michael Madson’s suit came C&R clothiers. It was a little wider and more unstructured. “Harvey’s character’s the boss, so he would have had more money,” Heimann says, “and Harvey himself had a friendship with the designer Agnes B., so she gave him a suit. We were thinking on a similar aesthetic level.” We were going for character.”Īs for the irony of Tarantino putting color-named characters in monochromatic black and white suits, “Quentin and I had a deep collaboration,” says Heimann. He just showed me French gangster movies and a bunch of disjointed images from his head. Quentin never said he wanted black suits. And no one could describe them if they’re all wearing this uniform of black suit, white shirt, and skinny black tie. So I said to Quentin, ‘ Everybody can afford to go to a thrift store. “We knew these characters had probably just gotten out of jail. “We had ten grand for the entire budget,” Heimann recalls. Brown), Tarantino and RD’s costume designer Betsy Heimann ( Jerry Maguire, Pulp Fiction) created the later-ubiquitous look by necessity. street in black suits and Ray Bans was the Abbey Road street-parade moment of its time.Ĭo-writing, co-producing, directing, and starring in that dark violence-fest, wearing one of the slim silhouette black “suits” that made his crew of criminal dogs (Harvey Keitel as Mr. That gangster walk to pop music down an L.A. What? The lifer enfant terrible of quasi-exploitation films as anti as it gets (anti-everything, just name it) creating a true fashion wave? Yes, the notoriously undecorated director/writer inadvertently-or possibly, subversively, usually his intent-pretty much created the biggest fashion statement for guys in the last 25 years. Prada and her modern techno fabrics, then later by Hedi Slimane during the Dior Homme days (2000 to 2007), Thom Browne, Dolce & Gabbana, et al.īut its biggest push into the mainstream came from that uncharacteristic connoisseur of men’s fashion, Quentin Tarantino, with his 1992 film debut, Reservoir Dogs. to 5 a.m.) has been defining “cool”-proliferating like the motorcycle jacket, its demi-monde-gone-major-monde spiritual twin-ever since the early ’90s, helped along of course by Mrs. ![]() In fact, this particular 9 to 5 look (9 a.m. That’s because the SBS’s got everything a guy needs: a whiff of danger, gangster, spy-but he can still go to work and be toned down by kicks, boots, sunglasses-you know: daytime. Like the LBD, it’s ubiquitous, no-brow, and never wrong, from the boardroom to the courtroom to backroom of the Coachella stages and the Whitney Museum. There’s never quite been a men’s suit silhouette with the width and cultural scale as the narrow, or what we’d like to now dub “SBS”: the Skinny Black Suit, the modern male answer to the Little Black Dress. ![]()
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