Thursday, December 31, 2009

the end: 2007


2007
1. There Will Be Blood, directed by Paul Thomas Anderson
2. The Assassination Of Jesse James by The Coward Robert Ford, directed by Andrew Dominik
3. The Bourne Ultimatum, directed by Paul Greengrass
4. Zodiac, directed by David Fincher
5. Michael Clayton, directed by Tony Gilroy
6. I'm Not There, directed by Todd Haynes
7. The Diving Bell And The Butterfly, directed by Julian Schnabel
8. 2 Days In Paris, directed by Julie Delpy
9. No Country For Old Men, directed by Joel and Ethan Coen
10. Killer Of Sheep, directed by Charles Burnett
11. Before The Devil Knows You're Dead, directed by Sidney Lumet
12. Superbad, directed by Greg Mottola
13. This Is England, directed by Shane Meadows
14. No End In Sight, directed by Charles Ferguson
15. Southland Tales, directed by Richard Kelly

the end: 2006


2006
1. Children of Men, directed by Alfonso Cuaron
2. Half Nelson, directed by Ryan Fleck
3. Little Children, directed by Todd Field
4. Marie Antoinette, directed by Sofia Coppola
5. The Departed, directed by Martin Scorsese
6. When the Levees Broke/Inside Man, directed by Spike Lee
7. Casino Royale, directed by Martin Campbell
8. Tristram Shandy: A Cock and Bull Story, directed by Michael Winterbottom
9. Pan’s Labyrinth, directed by Guillermo Del Toro
10. Volver, directed by Pedro Almodovar

Wednesday, December 30, 2009

the new years dilemma

Robert Geller Tuxedo Shirt
Short Sleeve, $207
Long Sleeve, $235 (currently on sale at Odin for $69)

At the risk of sounding like a broken record, I will refrain from repeating the story of how I got home for the holidays. Let's just say there were flight and train cancellations, public transportation workers with terrible attitudes, and tiny seats that don't allow for much comfort, but I made it back to Louisville and I couldn't have been more relieved when I could put my things down and fall into my queen size bed. In a fit of frustration and rage directed at Southwest Airlines for canceling my flight and not refunding my money, I decided to take a quick trip to Odin to pick up something for New Years before my rescheduled flight was to leave on Christmas Eve morning. The racks parted and there was a Robert Geller long sleeve tuxedo shirt on sale for $69. Not much thought had to go into the purchase. I saw the short sleeve version on Confederacy's website a couple of weeks ago (pictured above), but the long sleeve version will be better suited for the sub-freezing temperatures predicted for the big night. I've seen people in New York wear tux shirts casually with a pair of jeans or even shorts in the summer time, so I can hold on to this shirt for all occasions. Maybe wrecked travel plans aren't so bad.

the end: 2005

2005
1. Brokeback Mountain, directed by Ang Lee
2. 2046, directed by Wong Kar Wai
3. The New World, directed by Terrence Malick
4. The Constant Gardener, directed by Fernando Meirelles
5. Junebug, directed by Phil Morrison
6. Match Point, directed by Woody Allen
7. King Kong, directed by Peter Jackson
8. Capote, directed by Bennett Miller
9. A History of Violence, directed by David Cronenberg
10. (tie) The Beat That My Heart Skipped, directed by Jacques Audiard/ Head-On, directed by Fatih Akin

Thursday, December 24, 2009

the end: 2004


2004
1. Eternal Sunshine of the Spotless Mind, directed by Michel Gondry
2. Before Sunset, directed by Richard Linklater
3. The Motorcycle Diaries, directed by Walter Salles
4. The Door in the Floor, directed by Tod Williams
5. Dogville, directed by Lars Von Trier
6. Spring, Summer, Fall, Winter…and Spring, directed by Ki-duk Kim
7. Closer, directed by Mike Nichols
8. Bad Education, directed by Pedro Almodovar
9. I Heart Huckabee’s, directed by David O. Russell
10. The Incredibles, directed by Brad Bird

want: kaboom

Christopher Kane Explosion T-Shirt
$248

I normally wouldn't say my tastes are aggressive, but there's something immediately appealing about this t-shirt. Christopher Kane's graphic approach to womenswear is the kind of evocative design that you wonder why no one has ever thought to do what he's created. I really loved the "Planet of the Apes" show from Spring 09 and the creepy nuclear clouds from Resort 10. That same intensity has obviously translated to menswear in which the image of a mushroom cloud is at once strikingly bold and in your face, but oddly minimal, bare, and discreet. I'll throw this on my last minute wish list that a very wealthy Santa should leave under my tree.

attack of the 50 ft. woman

Doutzen Kroes
photographed by Philip Riches


To my darling little Doutzen,
Happy Holidays and warmest wishes for the new year.
With all my love,
W.

Wednesday, December 23, 2009

final countdown


"Le Mans"
directed by Lee H. Katzin
1971

Things to note about this movie:
1. Steve McQueen.
2. There's not a touch of dialogue for the first thirty-seven minutes of the film.
3. This scene might seem indulgent, but damn if it's not entertaining.
4. Steve McQueen racing cars.
5. Early 70's Steve McQueen.

song of the week: one life stand


"One Life Stand"
Hot Chip
directed by Roel Wouters

The shoulder seesaw dance is the new Chicken Noodle Soup with the soda on the side.

the end: 2003


2003
1. Lost in Translation, directed by Sofia Coppola
2. 21 Grams, directed by Alejandro Gonzalez Inaritu
3. Kill Bill Vol. 1, directed by Quentin Tarentino
4. The Station Agent, directed by Tom McCarthy
5. City of God, directed by Fernando Meirelles
6. American Splendor, directed by Shari Springer Berman and Robert Pulcini
7. Spellbound, directed by Jeffrey Blitz
8. Capturing the Friedmans, directed by Andrew Jarecki
9. Whale Rider, directed by Niki Caro
10. Triplets of Bellville, directed by Sylvain Chomet

Saturday, December 12, 2009

the end: 2002


2002
1. Talk to Her, directed by Pedro Almodovar
2. 24 Hour Party People, directed by Michael Winterbottom
3. About A Boy, directed by Chris Weitz and Paul Weitz
4. Y Tu Mama Tambien, directed Alfonso Cuaron
5. Bowling for Columbine, directed by Michael Moore
6. Spirited Away, directed by Hayao Miyazaki
7. Punch Drunk Love, directed Paul Thomas Anderson
8. Far From Heaven, directed by Todd Haynes
9. Catch Me If You Can, directed by Steven Spielberg
10. 25th Hour, directed by Spike Lee

Thursday, December 10, 2009

song of the week: night by night


"Night by Night"
Chromeo
directed by Jeremie Rozan/Surface 2 Air

Midday dance party in an abandoned warehouse with multiple partners? YES, PLEASE!

Tuesday, December 8, 2009

want: tequila sunrise

Corzo Tequila, $48

Yes, a nice,warm adult beverage can get you through the cold doldrums of a long, dreary winter, but I've found that tequila still has that warm sting when you drink it any time of the year. I wish I was more of a tequila connoisseur (a New Year's resolution for 2010, perhaps?) and knew more about the complexities of the spirit, but it was Corzo's simple, yet bold bottle design that struck me enough to be worthy of a try (Fabien Baron designed it, 'nuff said). And the best part is you can have your name engraved on the bottle, a big proud red flag that this elegant bottle is all yours. Consider this my ideal stocking stuffer.

Friday, December 4, 2009

the end: 2001


2001
1. Waking Life, directed by Richard Linklater
2. Memento, directed by Christopher Nolan
3. Ocean’s Eleven, directed by Steven Soderbergh
5. Royal Tenenbaums, directed by Wes Anderson
6. Gosford Park, directed by Robert Altman
7. In the Bedroom, directed by Todd Field
8. Mulholland Drive, directed by David Lynch
9. L.I.E., directed by Michael Cuesta
10. Donnie Darko, directed by Richard Kelly

the jacket (pt. 286)

Shipley & Halmos
Belgrade Two Button Blazer, $395

The perfect movie. The perfect t-shirt. The perfect drink. The perfect weather. The perfect bacon cheeseberger. The perfect pair jeans. Will I ever be satisfied? Probably not, but the fun in searching for the perfect fill in the blank is the quest of trying each new candidate on for a size that will someday embody the title of perfect yada yada yada. In my eternal quest for the perfect black blazer (because yes, a black blazer is very different than a navy, gray, or khaki blazer and requires a different set of detective skills), I came across Shipley & Halmos's Belgrade Blazer from Fall 2009. Cotton twill, cut slim without drawing comparisons to sausage casing, unexpected, yet cool slant pockets, and without vents, it felt like my sartorial aspirations were realized. It's the perfect seasonless piece that I could own forever, or until the next life-changing black blazer comes my way and with this blazer currently in my closet, I don't see that happening for some time.

Friday, November 27, 2009

wanted: the cardigan

Marled wool Shawl-Collar Cardigan
J. Crew, $138

I have a theory that J. Crew has gotten too expensive since it has received the Obama seal of approval (seriously, why does NOTHING go on sale at the men's shop on Broadway?), but I can't resist this cardigan. I don't know if it's age or the fact that I shopped a ton this year, but I can't think of too many things I want for Christmas, but this cardigan has shot to the top of the list. Boardgames and Moon Shoes just don't do it for any more. However, this cardigan with the marled black and white knit looks like something Steve McQueen might have worn next to a fireplace in his chalet apr├Ęs-ski on the set of "Le Mans" and in my constant quest to steal any drop of his cool factor and impeccable style, I must have it. I won't participate in Black Friday, but the link will quickly get forwarded to Santa (a.k.a. my parents).

Monday, November 23, 2009

the end : 2000

2000
1. Traffic, directed by Steven Soderbergh
2. Erin Brockovich, directed by Steven Soderbergh
3. Billy Elliot, directed by Stephen Daldry
4. Best In Show, directed by Christopher Guest
5. Nurse Betty, directed by Neil LaBute
6. Dancer in the Dark, directed by Lars Von Trier
7. State and Main, directed by David Mamet
8. Pollock, directed by Ed Harris
9. Tigerland, directed by Joel Schumacher
10. Before Night Falls, directed by Julian Schnabel

Sunday, November 22, 2009

song of the week: "heaven can wait"


"Heaven Can Wait"
Charlotte Gainsbourg feat. Beck
directed by Keith Schofield

More reason to love French women and Beck.

Saturday, November 14, 2009

the end

With the first decade of the 21st century coming to a close, I couldn't help but think about what we'll consider great filmmaking in that pivotal period. My dad told me that at the time of "A Clockwork Orange"'s release, people hated it and thought it was offensive trash. Thirty some odd years later, it's lauded as an iconic film about the frisson between the monsters we are deep inside and the monsters society can construct us to be. I believe in new film and I think over the past ten years there have been some striking, affecting work that will hopefully resonate not only in their current beloved state, but will be considered a part of that iconic pantheon of artistic verisimilitude.

I've made a top ten every year since 1999. Over the next couple of weeks leading up to the new year, I'll reveal my lists for each year, ending in my list of the ten best films of the past decade. I know that 1999 was technically the end of the 1990's, but it's a good place to start to see what preceded the new millennium. Please note that when I was sixteen my palette was a little different than what it is now and the lists represent the films that I saw that year. I still feel that some of these films are important works that perhaps didn't win a plethora of awards, but say something about the late 90's/early 2000's of economic boom and downfall, the exploration of the self in the new frontier, and the changing face of heroism, themes that are topical for the moment, but resonate for an eternity.

These were my ten favorite films of 1999:

1. Magnolia, directed by Paul Thomas Anderson
2. Fight Club, directed by David Fincher
3. The Talented Mr. Ripley, directed by Anthony Minghella
4. Notting Hill, directed by Roger Michell
5. The Insider, directed by Michael Mann
6. Run Lola Run, directed by Tom Tykwer
7. Three Kings, directed by David O. Russell
8. All About My Mother, directed by Pedro Almodovar
9. Dogma, directed by Kevin Smith
10. The Matrix, directed by Larry and Andy Wachowski

Friday, November 13, 2009

the search continues...

Jimmy Choo for H&M
$299

The shape I love.
The color I love.
The price tag I do not love.
The fact that I would always have to say, "It's Jimmy Choo for H&M", every time someone asks where I got it, I do not love.

Perfect leather jacket, why must you elude me?

Sunday, October 18, 2009

model of the week: r'el dade

R'el Dade
Marilyn Modeling Agency

Tall, Texan, and this editorial in Numero. Do you need to know anything else?

Thursday, October 15, 2009

the dreamers


Fashion month has officially ended. New York. London. Milan. Paris. Gone and on to the next season in February. What does it all mean? Does anyone really care? The relief is akin to coming down from a sugar rush or the feeling of elation after a really good film. It was all fun, fleeting, but over in a flash and it's on to the next thing. In Matt Tyrnauer's "Valentino: The Last Emperor" and RJ Cutler's "The September Issue" the vortex of fun, fleeting, and flash is looked at from a distance as if it were on display at a museum, which isn't necessarily a criticism, but maybe a reality of a business and art that's based on dream building and intangible ideas that are purely superficial with a glint of reality. The paradox in both films is that the audience is treated to the world "The Devil Wears Prada", but under the guise of it being a serious documentary, but is everything we're seeing serious? Weekend getaways in Gstaad and tennis games with Louis Vuitton carry alls is not exactly serious material. Maybe that's not the point, but "Valentino" and "September Issue" raise interest issues of beauty, access, wealth, power, and the factory of dreams that is film and fashion.

The first thing to note about both films is that neither is terribly great, but good in ways that were perhaps unintended. They're reasonably entertaining portraits of a world most are unfamiliar with and for those that are familair with, the world seems even more glamorous, immediate, and tantalizing. For those who are fashion obsessed these two documentaries are the equivalent of Holly Golightly standing in front of Tiffany's on an early morning midtown rise. The dream of fashion is within reach, yet still has the distance that makes it so appealing. Exclusive with the promise of inclusive. Cinematically speaking both films look flat, with the exception of a wonderfully quiet moment in "The September Issue" with Grace Coddington in Versailles looking pensively into the distance as her mass of flame colored hair blows in the wind. What does work and what makes them such engaging films is their depiction of class, wealth, and power. Valentino Garavani and Anna Wintour are living high above in the proverbial Ayn Rand tower, doling out glamour, beauty, and illusion of wealth. Whether that's a dangerous threshold of power to have, where would we be without Valentino red or knowing how to mix and match designer labels? The arbiters of fashion teach us how to dress and essentially live. If we are what we eat, then we are also most certainly what we wear.

"The Devil Wears Prada" is an interesting turning point for a lot of things. Meryl Streep's unstoppable career was solidified with David Frankel's farce of fashion and work place antics. It makes you wonder why the wealth of important leading roles aren't going to Streep's contemporaries like Diane Keaton, Jill Clayburgh, Jane Fonda, and Sally Field, who are either stuck in romantic comedy film hell as the unattractive mother in law or some dreadful television serial. It was also the first major summer movie in the 2000's that connected to women that didn't rely on the star 90's big names Julia Roberts, Meg Ryan, Sandra Bullock, or Demi Moore, nor their unsuccessful next in line replacements like Reese Witherspoon, Jessica Biel, or Jessica Alba. I'm not sure it made a star out of Anne Hathaway, but it sure promised. It was also film about full on fashion. The numerous costume change sequences, the coat and bag throwing sequences, the inevitable gala sequence in which we see the stars all gussied up. Living in a post-"Sex in the City", fashion obsessed blogosphere, and celebrities as models world, fashion is enjoying a bit of a pop cultural zeitgeist moment. "The Devil Wears Prada" was at the right place at the right time and said something about fashion that had not quite been articulated before. One of the best scenes in the film is when Anne Hathaway's character naively claims fashion is just fashion. Not important. Not real. Not influential. Streep in only the way someone who has played everything from Woody Allen's lesbian ex-wife to Julia Child, gives a fantastic speech about how the blue sweater Hathaway's character is wearing is the result of the carefully crafted minds of magazine editors and high fashion designers who set the trends that trickle down to the affordable clothing most people who think they don't know or care about fashion, are actually just as complicit in fashion as those that pay thousands of dollars for over the knee boots and 80's revival mini-dresses. It's an excellent point that drives "Valentino" and "The September Issue." We laugh at the pugs wearing diamond earrings in the excessive world of Valentino set to the unironic tune of Nino Rota's score from "La Dolca Vita" or find the caricatures of the fashion magazine industry endlessly compelling for their one liners and seemingly religious dedication to their artifice, but as Streep articulates, everyone participates in fashion whether they're aware or not. The worlds of these two documentaries present the extreme side of fashion, but it's the extreme that feeds and influences the mainstream. Dream, beauty, money, power, rinse and repeat.

Beyond the influence of trends and the power of decisions and money, "Valentino" and "The September Issue" also try to penetrate the two very guarded people that once the lights go up and the credits roll, I wasn't entirely convinced I knew them better or more intimately, but the attempt is honorable and there are scenes in both films that are more revealing than perhaps intended. In "Valentino", Mr. Valentino gleefully recounts his childhood spent watching American movies of the 30's and 40's that present glamour with such unashamed joy and exuberance. Diluted isn't the right word and too harsh to describe the state of euphoria Valentino seems to be in and live in, but his work became his life and that parade of red dresses was not only the red carpet but also his real life. It's a rare way to live, but to Valentino it's the world he's created and it's the world the movie wants its audience to be seduced by in the same way it has seduced Valentino. Does the movie tell us anything about his family? No. Do we learn about a hidden softer side? Not entirely. Do we care? Why would we when his life is an endless platter of pretty dresses, pretty people, and really good parties? One of the film's great scenes finds Valentino frustrated by the creative control of not only his upcoming ready to wear collection, which would be one of his last, and the filmmakers capturing his world in between the not so controlled moments. He throws a fit like a child that he isn't being filmed enough or in the right way and that the hair tests on the models is nothing like he imagined. Perhaps Valentino has bought into his own dream too much. Can he always be the star in his own show in the way the women he adores from a bygone film era once were? It's humorous and ultimately human.

When a film includes one of its characters exclaiming, "My eyes are starved! There's a famine of beauty! A famine of beauty, honey!" you might not expect to glean much from the work other than there are some in this world that truly believe there is a famine of beauty. RJ Cutler's "The September Issue" is a film that is primarily about trying to penetrate the impenetrable. Cutler was graciously given access to the inner works of the offices of Vogue magazine, but the best scenes take place outside of the magazine in worlds in which viewers have never seen before. Early in the film, Wintour attends a breakfast meeting with the retailers from top department stores like Barneys, Bergdorf Goodman, and Saks, in which her vision of the upcoming trends for the season are considered very seriously in terms of what the buyers will put on their floor. Essentially, Wintour will decide on the blue sweater that ends up in the discount bin we will all purchase. Everything comes back to "Devil Wears Prada" so it seems. Another scene worth mentioning is when Cutler probes Wintour about her family. She cautiously and carefully describes how different her profession is compared to the work of her siblings who work in public service and more tangibly significant work. You get the sense that Wintour loves what she does and understands its importance, but maybe she recognizes the dreams she creates with Vogue are in fact dreams. Although fashion evolves and yet cyclical in the same breath, there is an end. Dreams only last as long as we're asleep. Film only lasts for its running time and fashion only lasts each season. The money, the influence, and the honest passion of those in the fashion industry are illuminated in "Valentino" and "The September Issue", and that's what sticks. In that context, the clothes are the eye candy to gorge on for an hour and a half, but after the sugar rush is over, these films leave traces of the realities of an industry easily lampooned, but as Streep says at the end of "Devil Wears Prada", it's a world that everybody wants to be a part of.

wanted: gomorrah

Gomarrah
directed by Matteo Garrone, 2009
Available November 24, 2009
Criterion Collection

"Gomorrah" is a great film on many levels, if not solely for its perfect opening and closing scenes. Everything else in between is pretty good too, but the violent opening and closing moments are some of the most beautifully cinematic and chilling scenes I've seen all year. This is high on my list of gifts I'd like to find under the tree this year.

Sunday, October 11, 2009

song of the week: "irm"


I've heard nothing but good things about Lars Von Trier's "Antichrist" from the brave who saw at the New York Film Festival. For whatever reason French actresses are especially astute at portraying quiet hysteria and beautiful madness (as evident by Isabelle Huppert's fantastic turn in Claire Denis's "White Material, a festival pick I saw and loved) and from what I hear, Charlotte Gainsbourg really goes for it and then some in Von Trier's brutal satire of liberal bourgeoisie and the horror of grief and loss. Gainsbourg has a new album due out early next year that already had my interest piqued with the news that it would be a largely collaborative effort between her and Beck, another fearless performer willing to explore new territories in his own continually spontaneous art. One of the first singles from the album is "IRM", French for MRI, is a curious source of inspiration. Gainsbourg was involved in a serious water skiing accident that caused her to endure six months of rehabilitation after a brain hemorrhage. The drone of MRI's is conveyed with the bouncy clash of mechanic sounding blips and kinks. It's groovy and yet part of a dark personal history. You can listen to the song here. I can't wait for her performance in "Antichrist" and the follow up to her phenomenal last album, "5:55."

"and all i saw was sock."

Vanity Fair, "The Hollywood Issue
April 2003

Take a look at those socks. Look closely. Go on. It's Jude Law's right ankle. That subtle flash of pink amongst the otherwise neutral palette is style defined. That image of subtle sartorial impact had a big effect on me when I bought this issue almost seven years ago. I'm not interested in copycating the look, but I bought a couple of pairs of socks at Uniqlo today in shades of kelly green, blue-grey, and stoplight red and I'm waiting for the moment that I can carefully have my pant leg expose a shot of color. Jude Law might be a movie star that never became a true movie star, but style is style and you can't ignore that peek of pink is pretty badass.

Saturday, October 10, 2009

tribute: the eye

Gisele, New York, April 1 1999
Photographed by Irving Penn
I think this was the image that secured my love for Brazilian supermodels. Rest in peace Irving Penn and many thanks.

W.

Thursday, October 1, 2009

l'enfer


3 things:
1. GOOD. GOD.
2. How was this movie never completed?
3. Why didn't I get tickets to the documentary about this unfinished would be masterpiece at the New York Film Festival?

the coat

Billy Reid
Peacoat, $675

The air is a little more crisp this week, which means the oppressive heat of summer is behind us and fall/winter is starting to settle in. It's not cold enough to break out the heavier outerwear yet, but when that day comes I want to be prepared with this Billy Reid peacoat. Made in Italy with a high quality wool and an impeccable fit, it's the embodiment of an "investment piece." That might be a big buzz phrase for the current trend of reinterpreted classics, but what's good is good and this is a fine piece of outerwear.

Saturday, September 26, 2009

last days pt. 1

I have not forgotten to express my undying jubilation about the recent Criterion Collection DVD release of Whit Stillman's genius take on youth and nightlife in "The Last Days of Disco." Although it happened over a month ago, my brain is still trying to compute that I met him and his muse, Chris Eigeman at the Lincoln Film Center screening timed with the release of the DVD. Once I'm able to fully put together my thoughts I'll of course share it with The Look-See. Until then, I've compiled my list of five songs that could have been on the already brilliant soundtrack. I can only imagine Charlotte and Alice awkwardly swaying off beat to these personal favorites:

"Dance Dance Dance (Yowsah, Yowsah, Yowsah)
Chic


"Disco Nights"
GQ


"You Can't Turn Me Away"
Sylvia Striplin


"Wordy Rappinghood"
Tom Tom Club


"We Got the Funk"
Positive Force

Wednesday, September 16, 2009

roll call


Where have I been? Busy.

Saturday, September 5, 2009

carry all

Man Tote, Price Upon Request
Pabst Blue Ribbon

The ultimate man tote and it's all mine!

Friday, September 4, 2009

i saw the light

Peek Table Lamp, $29.99
cb2

Don't ask why, but it took me forever to settle on a lamp I liked for my new apartment. It's the only one I wanted for my room, so it had to be jusssssst right. This lamp from CB2 is coolly designed with a partially transparent metallic shade that illuminates my room in a soft, calming light. Now I'm free to see the world!

song of the week: 90% of you


"90% of Me Is You"
Gwen McCrae
1974

Good stuff.

Saturday, August 22, 2009

the return

Fitted Chambray Button Down Shirt, $44.50

1969 Premium Jeans: The Straight Fit, $54.50
Gap

I remember the first thing I ever bought at the Gap. It was the summer before freshman year of high school and I had a job of which I spent every penny on nothing but clothes, candy, movies, and magazines. That doesn't sound too far off from how I spend my money as an adult, but I remember really saving my pennies to finally make the pilgrimage to the brand that defined a decade. Minimalist, straight forward classics, and accessible for everyone, Gap was good in its prime. Before American Apparel they were the go to go brand for the perfect basic t-shirt and before designer denim really took off in the late 90's and early 00's, the cool mid-range jeans to own were Gap. I went for the summer basics for my first purchase: a tomato red pique polo and a white t-shirt with a black and gray stripe that ran horizontally on the chest. I paid full price and felt very accomplished. That was then and now I rarely fall into the Gap. My attention has returned to the brand in the past couple of years with the appointment of Patrick Robinson as creative director, but can one man re-invent the wheel? With the re-design of their denim category, it's a strong possibility.

Gap has smartly hyped the return to fit for their denim. The emphasis on fit, cut, premium denim treatment, but at an accessible price point has led Robinson to declare Gap jeans to be the "best-fitting jeans in the world." That's a bit of a stretch, but they're certainly better than what I remembered. I went to the Gap last weekend and tried on the Straight and Authentic fits. I went with the Straight fit because it embodies everything I want out of a jean. They're slim cut but not super skinny, very comfortable in the seat, and have a good weight to them without feeling like I'm wearing a big bulky pair of pants. I went with a traditional dark wash, but I would certainly want them in black and gray, of which they're not available. The rest of the men's apparel wasn't terribly interesting with the exception of a denim chambray button down. It's light and treated to feel like you've owned it forever and it has a nice trim cut. Robinson is on his way to making Gap covetable again, but I hope if he can fit another Bill Withers song into the mix.

first look (i know i'm late): tron legacy


"Tron Legacy"
2010
directed by Joseph Kosinski

This could be amazing or really fucking stupid. The Daft Punk soundtrack already has me intrigued, but these brief minutes are something to behold.

Tuesday, August 18, 2009

finger lickin' good

Scallop Roll, $14.99
Chatham Fish Market

I think I still have sand in my hair. I spent the weekend in Providence, Rhode Island with one of my best and oldest friends. Pics are on their way, but the stand out of the trip was the discovery of the Scallop Roll at Chatham Fish Market in Chatham, Massachusetts after a quick afternoon at Lighthouse Beach. Tender and crispy, it was a mouthful of Cape Cod supplied perfection. Oh, and I accidentally squeezed lemon on the side of fries. It. Was. Life. Changing.