This page was designed as a catch-all, featuring temporary diversions. At the moment I have posted a somewhat random selection of pictures with accompanying commentary, many of which are of friends and acquaintances. And so I proudly present to you this... I love this hypothetical ensemble. It's an apt expression of the values I like to espouse: warmth, kindness, and strangeness. Yes, yes, I know this is silly Victorian clip art, but take a good look at the ease with which it all comes together without feeling pinched or stiff. Very much at ease with itself, with its slightly rumpled comfort and dusty colors (the light blue trousers and green jacket are wonderful; even the spats seem to work, incredibly). Hats and waistcoats are very practical, but are viewed as unnecessary affectations for some reason. Ah, the theatricality of the pavonine incroyables! The red coat with striped stockings, nose-high neckcloth and braided locks are a delight—but the robin's egg blue gloves! Never without a cudgel, these fellows. At that time in post-revolutionary France, one could read others' political affiliations by their clothes, and so on occasion one had to defend oneself. Cecil Beaton and David Hockney. Note David's mismatched socks and Cecil's cravat and green velvet suit. James Jimenez, lounging in front of Cafe Reggio, a Greenwich Village institution since 1927. James complained that people wouldn't leave him alone that day, constantly taking photos of him like he were an attraction. Of course James understood why he attracted gawkers, but it bothered him, nonetheless. I think they just interfered with his own enjoyment; you see, some may think that such a lark is intended solely for attention, but such a conclusion is the product of a conventional mind. It would be closer to the truth to say that James was trying to live out a little bit of the world he has long nurtured in his fertile noggin. In short, he wanted an afternoon of freedom: to dress the way he liked, and to visit a place he greatly enjoyed without being harassed. It's something most people take for granted, but is often beyond the reach of those individuals whose rich imaginations outstrip their surroundings. Quite courageous, to lay oneself bare like that. Massimiliano, in his Turin home. Note the bold choice in shoes—just the twist needed for such a stately suit. Without them, the ensemble would look too stiff, serious and uninspired. A masterful stroke, as it suggests that everything on him is absolutely intentional, and not mere deference to conventional tastes. Nothing quite like Italian brio. Massimiliano in his library donning a bespoke jacket featuring heroic lapels and a cinched waist, with a distinctive shirt and tie combination. Very elegant and poised, yet relaxed and lively. An exemplar of Old World sprezzatura. And now for a distinctly American flavor: San Franciscan Robert Haines draws from a variety of mid-century modernist sources (Jacques Tati figures largely in Robert's pantheon). His tie is by the late California designer Ernest Beall. Being a vintage connoisseur, Robert has about 180 of his designs, all of which which bring to mind the muted yet sunny colors used in the work of West Coast modernist painter Richard Diebenkorn, known for his beautiful abstract Ocean Park series. There's much to be said for a personal aesthetic informed by one's surroundings. Dickon Edwards in his London flat. Here we see the deliberate bending of sartorial rules with the marvelous white socks and spectators (after all, such rules are obeyed slavishly only by those who lack their own style). Dickon has two basic looks—one in a dark suit, one in a light—but uses his limited palette to maximum effect. Dickon is a fellow of modest means, but has taken his limitations, and made them into a leitmotif. Dickon's taste is what is in the forefront here, not his wallet. Doran at home with his companion, Vlad. The piping in this suit is superb, and Doran gives great profile. Momus about Chinatown in a wonderful tramp aesthete thrift ensemble, perfect for such a rainy day. It's not hand-tailored and it isn't "classic"—but it is fresh and stylish, without being trendy. Not an easy thing to do, if one has limited resources; no hiding behind nostalgia here. Here we have Noah Georgeson, producer of Devendra Banhart, Bert Jansch and Joanna Newsom. The hair and beard are unkempt, but provide a wonderfully lively contrast with his somewhat studious tramp aesthete emsemble. He has the air of a southern gentleman here, and I love how he has incorporated the seersucker jacket with the vest and tie. Top marks all around. Patrick McDonald seen here making his appointed nocturnal rounds, looking as gloriously garish as ever with his Liz Taylor-inspired eyebrows, plaid jacket and Rod Keenan chapeau. The color theory going on in this ensemble is truly inspired. Patrick makes no apologies for his otherworldliness, nor should he—a true club/beau monde hothouse flower, bless him. Lest you think me partisan, let's now have a look at our man Sean, a neckwear designer at Ralph Lauren who enjoys exploring a conservative aesthetic that paradoxically comes off as conspicuous, perhaps even a bit radical. Here we see a mix of customized and vintage items that Sean pulls off beautifully with his tall frame and carefully-groomed, vaguely British looks (an apt example of how one has to take one's physical presence into consideration when putting a look together). The shoes are perfect, as are the shirt and tie. Is it new? No, but the execution is the point here, not the novelty. Bravo, Sean. A softspoken gentleman entered Obscura one Friday when I was discussing details with friends Evan and Mike about a reading. His dress was vintage/thrift, but he had made it all his own by adding little details like a sewn-on pocket, elbow patches and back cinch. Brought to mind how young guys will customize and soup up a Honda Civic. Of course it's "overdone" and "incorrect", but it's not about who can be the most impeccable: it's art (look up the Baroness Elsa von Freytag Loringhoven for another example of someone who explored wearable art). It's about the process, the tinkering, and the challenge of turning commonplace dross into something beautiful and unique. He uses shortcomings and imperfections as his medium. His overall look may seem silly to those without an artistic temperament, but this weeds out the clueless gits, doesn't it? There's a generous, humane warmth to this ensemble--I'd even go so far as to call it ethical, since he's repurposing existing clothes. Mike is obviously someone who loves to live imaginatively, and doesn't take himself too seriously. Besides, sometimes the most refined thing to do is to toy with vulgarity. Made my night. What about female dandies, you ask? Well, here's Radclyffe Hall, whose lover was... ...fellow "dandie" Una Vincenzo, Lady Troubridge. Here's our own Lady P, up in a tree for a recent photo shoot for Swindle. (Courtesy Adam Wallacavage)