Tagged: Side-Gusset Loafers
A Shot in the Dark: Inspector Clouseau’s Trench Coat and Trilby
Vitals
Peter Sellers as Jacques Clouseau, bumbling Sûreté investigator
Paris, Fall 1963
Film: A Shot in the Dark
Release Date: June 23, 1964
Director: Blake Edwards
Costume Designer: Margaret Furse
Tailor: Douglas Hayward
Background
Tomorrow will commemorate 60 years since the release of A Shot in the Dark, the sequel to The Pink Panther which introduced Peter Sellers as the inept Investigator Clouseau. Sellers’ comedic talent elevated Clouseau to a breakout favorite among audiences of The Pink Panther, which was otherwise meant to be a stylish ensemble comedy centered around David Niven’s dashing jewel thief in pursuit of the eponymous diamond.
After observing how Clouseau resonated with audiences, director Blake Edwards and his co-screenwriter William Peter Blatty adapted Henry Kurnitz’s comic mystery play A Shot in the Dark—itself a Broadway adaptation of Marcel Archard’s L’Idiote—to reprise Sellers’ characterization of Inspector Clouseau. Set in Clouseau’s home turf, the story introduced Clouseau’s long-suffering boss Commissioner Dreyfus (Herbert Lom) and martial-artist manservant Cato (Burt Kwouk) who would both reappear in all three subsequent Pink Panther films to be released the following decade.
A Shot in the Dark begins at the country estate of millionaire Benjamin Ballon (George Sanders) outside of Paris, where we observe the household and staff watching, evading, and romancing each other in the shadows… until a gunshot rings out and the head chauffeur is found dead in the bedroom of the alluring maid Maria Gambrelli (Elke Sommer), last seen clutching the victim’s own still-smoking Beretta pistol. Enter Inspector Clouseau onto the scene… stepping out of his car and immediately into the Ballon fountain, perfectly introducing the madcap mystery to follow. Continue reading
James Mason’s White Colonial Casual-wear in Island in the Sun
Vitals
James Mason as Maxwell Fleury, short-tempered plantation owner
On the fictional Caribbean island of Santa Marta, Spring 1955
Film: Island in the Sun
Release Date: June 12, 1957
Director: Robert Rossen
Costume Design: Phyllis Dalton & David Ffolkes
Background
Today’s post celebrates the great James Mason, who was born 113 years ago today on May 15, 1909. Whether playing a hero or villain or navigating a moral gray area in between, the velvet-voiced Mason brought a dignified presence to his performances.
Opposing the shining talents of Harry Belafonte and Dorothy Dandridge, Mason stars in this vividly photographed but dark-hearted drama as Maxwell Fleury, a privileged aristocrat dwelling on one of his family’s estates on the eponymous island.
Upon returning home in his sleek new Jaguar roadster one afternoon, he finds Egyptian cigarettes in his ashtray that fuel his baseless paranoia regarding his wife’s marital fidelity, a suspicion that dangerously spirals as the summery Santa Marta heat intensifies. Continue reading
Gene Barry’s Fawn Suit as Dr. Ray Flemming in Prescription: Murder
Vitals
Gene Barry as Dr. Ray Flemming, smarmy psychiatrist
Los Angeles, Spring 1967
Film: Prescription: Murder
Original Air Date: February 20, 1968
Director: Richard Irving
Costume Designer: Burton Miller
Background
This week in 1968, TV audiences were introduced to an unassuming yet indefatigable homicide detective in a wrinkled raincoat whose humble mannerisms and appearance belied an uncanny ability to bring murderers to justice. Oh, and just one more thing… that detective was named Columbo.
Peter Falk wasn’t the first to play the detective, nor was he even the first choice when Richard Levinson and William Link’s stage play was adapted for TV as Prescription: Murder, the first episode of what would become the long-running series Columbo. Bert Freed had originated the role in a 1960 episode of The Chevy Mystery Show, to be followed by Thomas Mitchell when Levinson and Link debuted the play Prescription: Murder two years later in San Francisco.
Prescription: Murder establishes many trademark elements of Columbo, including the delayed introduction of the shrewd but shabbily dressed lieutenant himself until after we watch the murderer of the week commit his—or her—crime.
Gene Barry set a standard in Prescription: Murder that the killers foiled by Columbo would follow for decades to come: arrogant, well-dressed, and clever enough to pull together a murder scheme that keeps them above suspicion… from all but Lieutenant Columbo, of course. Continue reading
Alain Delon’s Leather Jacket in Any Number Can Win
Vitals
Alain Delon as Francis Verlot, swaggering small-time thief
Paris, September 1960
Film: Any Number Can Win
(French title: Mélodie en sous-sol)
Release Date: April 3, 1963
Director: Henri Verneuil
Background
Any Number Can Win was adapted from Zekial Marko’s 1959 novel The Big Grab, the first of the author’s crime stories that would be adapted to films starring Alain Delon. Marko himself would adapt his novel Scratch a Thief into Once a Thief (1965), starring Delon, Ann-Margret, and Van Heflin.
Considered one of the best and certainly among the most stylish movies of the early 1960s, the ice-cool Any Number Can Win—released in France as Mélodie en sous-sol—begins with recently released ex-con Charles (Jean Gabin) searching for a new partner to help him with his ambitious heist. “I have a kid who just might jut cut it… I hope I don’t find him good for scrap.”
We then cut to what looks like a messy bachelor pad, where a young man is sprawled out on his bed, snapping his fingers to the jazz on his record player. He’s already dressed for larceny in his leather jacket, a dinner plate doubling as an ashtray—crowded with spent Gitanes and shelved on a pile of books—not far from his reach. Pulling back, we reveal that the “bachelor pad” is merely a corner of the family apartment that the young man shares with his reasonably concerned mother, whose shout from the kitchen leaps him to attention… revealing the one and only Alain Delon!
Rod Taylor’s Baracuta Jacket in The Glass Bottom Boat
Vitals
Rod Taylor as Bruce Templeton, charismatic aerospace lab chief
Long Beach, California, Spring 1966
Film: The Glass Bottom Boat
Release Date: June 9, 1966
Director: Frank Tashlin
Costume Designer: Ray Aghayan (credited with Doris Day’s costumes only)
Background
In the years since I’ve started this blog, I’ve discovered that there are many unsung “style heroes” that are often lost in the discussion of Cary Grant, Clark Gable, and Steve McQueen, including actors like Rod Taylor who brought understated elegance to flatteringly tailored suits and timeless casual attire alike.
I was first familiar with Taylor in The Glass Bottom Boat, one of my grandma’s favorite movies and one that we used to watch until we wore the VHS tape thin. Rewatching The Glass Bottom Boat two decades after those weekends at Grandma’s house, the plot holds up as one of the better and funnier of Doris Day’s filmography from the era, a romantic comedy infused with space age style and wit from some of the most talented and recognizable comedic actors of the era like Dom DeLuise, Paul Lynde, Dick Martin, John McGiver, and Alice Peace.
The plot centers around a flirtation between “space wizard” Bruce Templeton (Taylor) and his aerospace research lab’s latest PR fire, Jennifer Nelson (Day). He assigns her the secret—and ultimately fictional—Project Venus, ostensibly tasking her with writing his biography when it’s really just the researcher’s way of spending more time with the “kooky” young widow while conducting work like overseeing an evening test launch from his Long Beach lab.
What’d He Wear?
Taking a break from his natty tailored wear that includes business suits, blazers, and sport jackets, Bruce dons a beige Baracuta G9 blouson for his nighttime research. This was 1966, the same year that Frank Sinatra wore his own beige and navy Baracutas in Assault on a Queen and around the same time that Ryan O’Neal’s character Rodney Harrington popularized the jacket on Peyton Place, establishing the garment’s unofficial sobriquet as the “Harrington jacket.”
The British company Baracuta had introduced its cotton gabardine double-zip windbreaker in the 1930s, marketed for the golf course (hence the “G” in G9) though it soon found favor as a comfortable weather-proof style staple and inspired scores of copycats, particularly after the brand began exporting the G9 to the United States in 1954. Once the G9 went stateside and found fans among icons like Elvis Presley and Steve McQueen, there was no stopping its rise in popularity. (You can read more about the G9’s history at the official Baracuta website.)
In addition to the classic two-button standing collar, knit cuffs and hem, and slanted hand pockets with single-button flaps, Taylor’s raglan-sleeve Harrington jacket is clearly lined with Baracuta’s distinctive Fraser tartan plaid in red, green, navy, and white which had been approved by Lord Fraser shortly after the jacket’s 1937 introduction.

Bruce’s unzipped Harrington jacket reveals the Fraser tartan plaid lining characteristic to true Baracuta jackets.
More than 80 years after their introduction, Baracuta continues to offer the G9 in a continually increasing range of colors and fabrics, from a Rebel Without a Cause-inspired red to a warmer corduroy. The standard shell has evolved from its original cotton gabardine construction to a weatherproof blend of 50% cotton and 50% polyester as well as a breathable Coolmax® lining in a 65% cotton, 35% polyester blend.
Taylor wears a light blue polo shirt with a long three-button top that extends down to mid-chest, and he wears all three of the widely spaced buttons undone. Bruce Templeton evidently keeps a few light blue pocket polos in his collection as he also wears a similarly colored short-sleeve polo later in the film for a laidback night lounging at home with Jennifer, though that polo shirt is a richer sky blue and only has a two-button opening as opposed to the three-button polo he wears with the Baracuta jacket.
Bruce wears dark gray trousers with a fit over his hips that suggests a darted front, the less-celebrated but certainly effective alternative to pleats or a traditional “flat front”. He wears the trousers with no belt, instead fastened around his waist with an extended square-ended tab that closes through a single button.
Assuming that these are the same trousers he later wears with his navy blazer, they would also have belt loops, front pockets but no back pockets, and plain-hemmed bottoms.
Bruce’s wristwatch throughout The Glass Bottom Boat is a slim gold dress watch with a gold dial and flat gold bracelet, concealed by the ribbed cuff on his jacket’s left sleeve for this particular sequence.
The scene’s brief opening shot suggests that Bruce wears the same black leather side-gusset loafers that he wears with his suits at work. Despite his vast wealth and wardrobe—Bruce tends to wear these same shoes with everything, though it would appeal to his sense of practicality to have one pair of shoes that he can effectively wear with Harrington jackets, dinner jackets, and everything in between. Though American businessmen led the way in de-formalizing office wear in mid-century, slip-on shoes grew increasingly fashionable for men around the world to wear with lounge suits against the gradually less formal backdrop of the 1960s professional world.

Jennifer and Bruce’s “meet cute” earlier in the movie when he pulled her stuck heel from a vibrating grate. He would wear thees same side-gusset loafers with essentially all of his on-screen wardrobe.
Bruce isn’t the only Baracuta wearer in The Glass Bottom Boat. We very briefly see his helicopter pilot, Jim, sporting a navy Baracuta G9 with the distinctive Fraser Tartan lining as he waits for Bruce to join him in the passenger seat.

Jim wears a navy Baracuta G9 not unlike Steve McQueen wore in The Thomas Crown Affair.
How to Get the Look
In The Glass Bottom Boat, Rod Taylor illustrates the stylish staying power of simple essentials like a neutral-colored Harrington jacket, light blue shirt, and gray slacks, an ensemble that worked as well more than half a century ago as it does when worn by sharp dressers like Shawn today.
- Beige waterproof cotton Baracuta G9 zip-up blouson-style “Harrington jacket” with two-button standing collar, slanted hand pockets with single-button flaps, ribbed knit cuffs and hem, and red Fraser tartan plaid lining
- Light blue short-sleeve polo shirt with three-button top and breast pocket
- Dark gray darted-front trousers with belt loops, front pockets, and plain-hemmed bottoms
- Black calf leather side-gusset loafers
- Thin gold wristwatch with gold dial on flat gold bracelet
“The Harrington jacket has to be my favorite casual jacket of all time,” my friend Ryan told me. “My earliest memories of the Harrington has to be the beige Merc brand Harrington worn by my grandfather when I was a child, my grandfather was born in 1932, around the same time as Rod Taylor and Steve McQueen, so it is only natural that he would be drawn to the iconic jacket that was featured in so many films and television shows during the 1960s.”
Interested shoppers can find the classic Baracuta still available in addition to several other variations on the Harrington from reputable outfitters including Merc, the company that made the jacket worn by Ryan’s grandfather:
- Baracuta G9 in “natural” cotton/polyester (via Amazon or Baracuta)
- Ben Nevis Combat Harrington in beige polyester/cotton (via Ben Nevis)
- Ben Sherman Core Harrington in sand cotton (via Amazon or Ben Sherman)
- Farah Hardy Jacket in light sand cotton (via Farah Clothing)
- Fred Perry Check Lined Harrington in dark stone cotton (via Fred Perry)
- Grenfell Harrington in peached beige cotton (via Grenfell)
- Jump the Gun Harrington Raglan in beige cotton (via Jump the Gun)
- Lacoste Men’s Cotton Twill Jacket in beige cotton (via Amazon or Lacoste)
- Lyle & Scott Harrington in beige cotton (via Amazon)
- Merc Harrington in beige cotton/polyester (via Merc Clothing)
- Orvis Weatherbreaker in British tan nylon/cotton (via Amazon or Orvis)
- Peter Christian Harrington in sand cotton/polyester (via Peter Christian Outfitters)
- Private White V.C. “The Ventile” Harrington in sand cotton (via Private White V.C.)
- Tootal Modern Classic Harrington in beige cotton (via Tootal)
Do Yourself a Favor and…
Check out the movie.
The Quote
Who could sleep when you’re plotting a rendezvous with Venus?
The Barefoot Contessa: Bogie’s Gray Check Sport Jacket
Vitals
Humphrey Bogart as Harry Dawes, Hollywood director and screenwriter
Portofino, Italy, Fall 1953
Film: The Barefoot Contessa
Release Date: September 29, 1954
Director: Joseph L. Mankiewicz
Costume Designer: Rosi Gori (uncredited)
Background
Humphrey Bogart’s role in United Artists’ 1954 Technicolor triumph The Barefoot Contessa was not dissimilar to the film’s director, writer, and uncredited producer Joseph L. Mankiewicz, who had been writing in Hollywood for a quarter century. Continue reading
From Russia With Love – Red Grant on the Orient Express
Vitals
Robert Shaw as Donald “Red” Grant, lethal SPECTRE assassin
The Orient Express, Spring 1963
Film: From Russia With Love
Release Date: October 10, 1963
Director: Terence Young
Costume Designer: Jocelyn Rickards
Background
Two years ago on the 00-7th of October, I wrote about the gray wool suit that Sean Connery’s James Bond wore in From Russia With Love during his brutal fight with SPECTRE assassin Red Grant (Robert Shaw) aboard the Orient Express. Today’s post features Grant’s suit – also gray wool but in a heavier suiting mixed with brown yarns for a warm, fall-friendly outfit – in addition to the watch and weapons that are the tools of Grant’s unsavory trade. Continue reading
From Russia With Love – Red Grant’s Gray Check Suit
Vitals
Robert Shaw as Donald “Red” Grant, lethal SPECTRE assassin
Istanbul, Spring 1963
Film: From Russia With Love
Release Date: October 10, 1963
Director: Terence Young
Costume Designer: Jocelyn Rickards
Background
Robert Shaw set the Bond franchise standard as the dangerous Donald “Red” Grant in From Russia With Love, one of the most memorable antagonists in the series.
Grant is arguably the archetype for subsequent villains that followed his laconic, icy blond example like Vargas in Thunderball, Necros in The Living Daylights, and Stamper in Tomorrow Never Dies, though none could ever match Robert Shaw’s truly menacing presence on screen. Continue reading
Bond’s Covert Black Polo and Pants in Goldfinger
Vitals
Sean Connery as James Bond, British government agent and super spy
Geneva, Switzerland, Fall 1964
Film: Goldfinger
Release Date: September 18, 1964
Director: Guy Hamilton
Wardrobe Supervisor: Elsa Fennell
Background
James Bond: Do you expect me to talk?
Auric Goldfinger: No, Mr. Bond, I expect you to die!
For this 00-7th of October installment, BAMF Style is looking at the classic scene from the most iconic of Bond flicks, Goldfinger.
After successfully trailing the sinister Auric Goldfinger to his metallurgy plant in Geneva, James Bond chooses the dark of night to cover his covert investigations of the plant. He discovers Goldfinger’s gold smuggling enterprise and overhears his conversation with a Red Chinese agent about the mysterious “Operation Grand Slam”. Continue reading
The Sopranos: Christopher’s Black-on-Black in “D-Girl”
Vitals
Michael Imperioli as Christopher Moltisanti, New Jersey Mafia associate and aspiring screenwriter
New York City, Fall 2000
Series: The Sopranos
Episode: “D-Girl” (Episode 2.07)
Air Date: February 27, 2000
Director: Allen Coulter
Creator: David Chase
Costume Designer: Juliet Polcsa
Background
“D-Girl” is a turning point episode for Christopher Moltisanti. We had seen previous mentions of his screenwriting aspirations, including a poorly-written script on his Mac in “The Legend of Tennessee Moltisanti”, but “D-Girl” provides his Bugsy moment. Continue reading












