Reader profile: Bent

Outfit 1: Green cord suit
- Suit: Schaap tailors, green 700g Holland & Sherry cord
- Jumper: De Bonne Facture
- Shirt: J Press
- Tie: Drake’s
- Shoes: Alden cordovan, modified last
- Socks: Frans Boone
- Watch: 1960s IWC
Hi Bent. How would you describe what you do?
I’d say I find it hard to concentrate on just one thing! But no, I live in Belgium and the lion’s share of my life was spent in music. I was in a band [Das Pop] and made some solo records; I spent 20 years in bands, touring the world, all that stuff.
But I noticed that doing music, only music, didn’t really work for me, even though it was what was expected. And I’d studied painting originally - I always had one foot in the art world, one in the music world. I also wanted something more for my head, more thoughtful. So I ended up doing radio, presenting a culture show here in Belgium. That’s what I do mostly today.
I’d say the consistent thing there is enthusiasms for lots of things, rather than anything like a straight path.
And how long have you been into clothes?
From very early childhood actually. I was transfixed early on by clothes and what they could mean. My grandfather was someone who always wore tweed jackets and suits, and wherever I used to read a children’s book, I would ask my mother to make me clothes like the main character. So there was a period where I went to school in farmer’s attire, complete with wooden shoes filled with straw.
You’re kidding! How long did that last?
Well, longer than the headmaster liked. He wasn’t too charmed. But it was really my way of putting myself out there you know, and I guess it still is.
In children’s books the clothes are often deliberately over the top, to create a character. So you were always going to come across as something extreme.
You’re right, but it all seemed completely normal at the time.
I’ve always found it interesting how the villains in stories are portrayed as dandies. They’re a bit too smart, a bit too flashy. Loud colours, tie pins, spectator shoes.
That’s right, and in Disney films too. Always very snappy and quite camp.
The green cord suit you’re wearing here is pretty bold. Is this typical for you?
Yes I’d say so, though it was really a gamble at the time. It seemed fresh to me, something David Hockney could have worn I guess, which spoke to me.
Then as soon as I put it on, it was the most natural, most comfortable piece of tailoring I’d had - it’s like a tracksuit, yet the colour also means it has this kind of aura around it. It’s the piece I wear the most, oddly. You’d think it would be a kind of now-and-then thing, but no.
Are there times when a gamble like that hasn’t paid off?
Yes absolutely. Sometimes you just don’t know - you think something will be very versatile, that you’ll wear the hell out of it, and it doesn’t prove to be the case. It’s hard to know for sure.
If I haven’t worn something for a year, I tend to think I should pass it on, find someone else who will wear it. That’s happened to me with navy suits. I’ve tried a few, because you always hear that’s the thing you should really have, that everyone should have. But it’s never really stuck.
It doesn’t feel, at least from the times we’ve met, that you’re a navy suit kind of guy.
No, I have enjoyed wearing them and they hold a lot of meaning - I love what they stand for. But perhaps you’re right, perhaps it isn’t me.
Outfit 2: Dries
- Jacket: Vintage tweed, from Crowley Vintage
- Sweater: Dries van Noten
- Chinos: 1940s vintage, from Le Vif
- T-shirt: Norse Projects
- Beret: AWMS
- Socks: AWMS
- Shoes: Quoddy for Beige
How much does that idea of meaning affect how you dress?
Quite a lot I think, in that I’m really interested in the power a garment can hold, how it can influence how you move through the day and through your life.
How does it affect your day?
I feel like all the pieces I keep around are infused with this kind of meaning. Every time I put something on I cloak myself in that meaning, if that makes sense.
So are you saying particular clothes have personal meaning for you, or that a type of garment has meaning in the way it’s viewed in society?
Both I guess. Because clothes have a history, they have a context and a cultural significance; but then they always some personal significance as well.
Can you give us an example?
Sure, so I saved up - in terms of time and money - for my first tweed jacket when I was about 30. It was a very rough Harris Tweed, very classic, and very expensive for me at the time.
I had promised myself that I would buy this jacket when I had finished writing a particular short story, so when I did it was like a moment of emancipation, like I was allowing myself to be that guy. The kind that wore a tweed jacket and all the public associations - East Coast university, academic, oxford, all that stuff.
So it was like a moment you were allowing yourself to be more grown-up, more adult?
Exactly, exactly.
You’re wearing a sweater from Dries Van Noten here. How do you see the value of designer brands compared to more classic menswear?
Well I love Dries van Noten - fantastic stylist, fantastically nice guy. Antwerp-based so I know a lot of people that work for him, and I know him a little. I love his universe.
I wear more classic menswear because it’s less prone to change, but I love fashion as a window towards the possible you know? A show is like a walk through the head of a designer. They’ll show you this view of extremity, but then there will always be more familiar things you can buy into as well.
That’s interesting, because sometimes readers find fashion a little alienating, too extreme to really connect with.
Yes I get that. For me I love the richness of clothing and a show is an exploration of that, a mining of a particular inspiration and often a time, filtered through the view of this one person. It has a freshness always, and provides context for all the more traditional clothing.
What other designers do you like?
Another Belgian guy, Raf Simons of course. Also strongly rooted in classic menswear but willing to go very far out. Then Italians, Prada and its interpretation of their traditions too.
Outfit 3:
- Overcoat: De Bonne Facture
- Jacket: Drake’s
- Sweater: Frans Boone
- Trouser: Adret
- Belt: Uniqlo
- Shoes: Alden modified last, Color 8 cordovan
- Cap: Vintage, McDonald’s Olympics sponsorship
How much has your attitude to clothing been influenced by the fact that you’ve been a performer for much of your life?
Quite a lot probably. The way I’ve always seen pop music, the visual is just as important as the aural. I’ve always loved playing with it, being adventurous for this, and maybe even doing things that would shock my contemporaries.
What kind of thing?
Well, I would play a show in a bright purple ski outfit, that was actually probably a women’s ski outfit. But the way it made me feel, well it made me feel like a beautiful space man. So it all worked out.
Amazing. I was going to ask actually how what you wore on stage differed to what you wore in normal life, but it sounds it was basically taken up a notch?
Well, yes taken up a notch, you want a little more shake, a little more drama. But a little more sophistication too. So I like to wear quite rugged things during the day, tweed and corduroy, but during the night there can be some satin, some shine, some velvet.
Has that changed since you’ve stopped performing, or has it pretty much stayed the same?
It’s really interesting because I’m about to perform again, in May, after a long hiatus. So I’m now pondering what I’m going to do on stage, I’m in the middle of thinking about it actually.
Will it be a little more grown-up, now you’re older?
I guess the purple ski outfits are a thing of the past. I might have something made, some tailoring, perhaps a pastel. I have this tailor, Schaap, that is quite willing to try different things and that helps a lot.
Do you think you might develop a kind of uniform, I’m thinking of someone like Nick Cave with his black suits and big-collared shirts. Artists tend to become more consistent but in some ways also more themselves, as they grow older.
Yes I can definitely see that. I think it’s something you just have to feel, how the clothes make you feel.
Your Aldens here are all on the modified last, is that the most comfortable for you?
Yes in fact it’s the only shape of leather shoe I can wear without an [orthopaedic] insole. I have them from both Paris and New York, so naturally the Parisian ones are one size larger!
Ha! And which do you prefer, the Anatomica sizing or the Moulded Shoe?
The Parisian I think, they’re more comfortable.
You only have the one watch here, an old IWC. I think you said you’re not much of a watch guy?
Yes though it’s largely a budgetary thing. I’m the watch guy I can afford to be!
There is a fair range in prices of things in this outfit as well, from Adret cords to a Uniqlo belt. How do you see that contrast?
I spend more on jackets and shoes generally; shetland sweaters never last very long so it’s ridiculous to spend too much on them.
Those Adret cords were very expensive but I was immediately smitten with that old 1980s corduroy when I saw it; it was like nothing else. So yes that year my children had to eat nothing but salted peanuts.
But it depends what you want out of clothing. The belt is from Uniqlo but it’s strong and its aged well. There’s only so much you can do with a brown leather belt; but then sometimes you have to allow yourself to be bedazzled by something, like that Adret corduroy and the way it was made.
Some things are just a question of function - I picked up that belt years ago and I’ve liked how it’s gained this patina so I’ve kept it. Whereas other things are about beauty and romance. It’s often a mistake to value all clothes by the same factors.
Wonderful, thank you Bent. Any closing thoughts?
I buy a fair amount of clothes, certainly compared to the normal guy; but I buy sturdy things and I often go weeks thinking about something before I buy it. I think that’s a sensible approach, and if you do it thoughtfully and don’t buy too much, it is possible to build a wardrobe that is very enjoyable and suitable to yourself as a person.
Perfect.
Very nice and natural feeling interview. I like his dedicated artisan kind of style. Couldn’t wear a single outfit by myself, but it surely does work great for him!
I wondered why shetland Sweaters are not holding up that well? Got myself one 2,5 years ago and wore the hell out of it and it’s still going strong, even tho it’s kinda heavily brushed (from Drake’s)?
In my experience, the quality of Shetlands varies greatly depending on the manufacturer. My Cordings Shetland crew necks (made by Hawick Knitwear now gone) over 10 years old, are as good as new. My Cordings v-necks (now apparently made by Harley) that I bought two or three years ago were awful. They have just been binned due to neck stretching and holes in the elbows.
I am planning to replace them with crew necks from Jamieson’s or the Shetland Woollen Company. Harley seems to be most common supplier (e.g. William Crabtree and Campbell’s of Beauly solids) but I’m reluctant to take the risk. It would therefore be useful to know who supplies Drake’s but it’s probably cheaper to buy directly from the manufacturer.
They also vary considerably in thickness, which will be a big factor
And also in tightness of the knit?
A little, yes
I had a poor experience with a Harley as well, after just a couple of months the seam came away under the armpit (wife mended it), disappointed given the cost.
My Shetland from Harley has had a small hole in the arm (now fixed) and a hole in the hem (still unfixed) but is otherwise holding up well.
@ Jon and Aaron, Harley’s jumpers don’t have much room under the armpits. The size guides confirm that they are around a size smaller, e.g. compared to William Lockie, across ther chest. The sleeves are tighter too so o Harley’s jumpers, especially the seams, will stretch more with wear – hence the misshapen neck and holes. The other Shetland brands, mentioned above, appear to be similarly sized. I will probably go up a size in future.
Drake’s current Shetlands look a lot like those by Harley but I wouldn’t be able to say that with any confidence
Jamieson’s now supplies Drakes but the wool used is much lighter with a subtle brushing. Jamieson’s own brand is more of boxy fit (and on the small side, size up) and made of coarser wool. I like both but Drakes, now being a fashion brand, is ridiculously expensive for what you get. Jamieson’s is good value especially if you buy on sale from the likes of No Man Walks Alone. My experience with Harley has also been good, no quality issues. I tend to buy them from the Belgian label “Howlin’”. Finally, Crabtree’s shetlands are made by Lockie and decent. They also stock Jamieson’s fair isles.
How do you know Jamieson’s is the maker for Drakes?
A few years ago they had a story thing on their website about Michael Hill visiting the Shetland isles etc and talked about their new sweaters and who makes them.
Got it. They do fit differently now in my experience, they may have changed suppliers. They look much more similar to Harley these days in my opinion
Maybe they’ve changed again in the last year or so, I don’t know. I last bought one in Dec 2022 about a year after their Jamieson’s story I think. At that point you could tell they had switched manufacturer because the sizing went from numerical to alpha and the fit had changed as well.
The 2025 Shetland stock at Drakes is by Harley (or at least part of it is) – I know because when I was in the store trying one of the jumpers on I asked if these were Harley and I got a very coy nod in reply.
Hello Bent. That Outfit 1: Green cord suit is a Killer One!
Thanks, Amit. So comfortable, too.
Great interview. Two quotes leapt out at me towards the end of the piece:
“It’s often a mistake to value all clothes by the same factors.” – a lot of wisdom in a short sentence! And arguably relevant regardless of one’s personal means – cost weighed against expected wear/usage is always a really interesting question, I think, unless one’s budget is truly unlimited!
and
“…I often go weeks thinking about something before I buy it. I think that’s a sensible approach, and if you do it thoughtfully and don’t buy too much, it is possible to build a wardrobe that is very enjoyable and suitable to yourself as a person.”
This I also identify with very strongly – and yet the way I dress probably couldn’t be more different from the way Bent dresses! This made me smile this morning because it’s a lovely reminder, I think, of how PS is so much about commonality of principles rather than similarity of “look”. Bravo Bent and bravo Simon!
Thank you W. Bent is so thoughtful and eloquent
I agree! Transcending the unconscious idea that everything can be reduced, and should conform to, some type of consistent algorithm is very liberating.
Fantastic outfits – definitely my favourite reader profile yet!
What are you doing in your shetlands though man?! I’ve got shetlands that have lasted 5+ years and still have a life left in them!
Cheers! Come autumn, I usually fall in love with a shaggy dog (Howlin’, De Bonne Facture, J. Press, etc) in one specific colour and then monomaniacally wear it to shreds. Entirely my own fault.
I have a similar approach on things I really like. Wear them to death and move on. If something is particularly good on me, I may buy two.
Some great looks. Not all for me but very nice nonetheless. I saw a man in London recently in a well worn cord suit sitting reading a paperback book in a local coffee shop in London. Understated cool.
All the best.
Love Bents style, not me at all, I’d be the navy suit guy but I’d like for society to move towards direction where more people would feel comfortable expressing themselves dressing like Bent does.
I found the comment about villains as dandies or rather more broadly extravagant people who dress smartly intriguing. There seems to be a strong pattern of this occurring through various forms of media and cultures. Why do you think this is? Is it how creative people view authority figures plus a bit of flair to make the character visually more interesting? Or maybe the flair represents the perversion from norm and the instinctive fear within people towards unknown or destructive change?
I think there has been some interesting discussion around this and Disney villains, especially as Disney has changed direction in recent years.
But I can certainly see how a default would be for a hero to be an ‘everyman’ and therefore wearing things that appeal to everyone, or everyone can see project themselves onto (T-shirt, jeans etc). Of course this changes over time and cultures.
In the UK at least, I think there’s something that pervades quite a lot of media too, of the ‘wide boy’ salesman, that’s usually a little too fancy, too flash, over the top. There are class aspects to that too of course.
If you look at old (and some more recent) cartoons and comics, if someone is a “Dr” or “Baron” they are almost certainly going to be bad – even Sherlock Holmes, despite having some dandy traits, is opposed by PROFESSOR Moriarty, a man of “good birth and excellent education”). If they have well-kept facial hair (a twirly moustache and/or a goatee), it’s a given.
I think this can be traced back to pulp fiction (the publications, not the movie), which were marketed towards the working class. The heroes should be, if not everymen, then at least relatable to the everyman. They have attributes that the readers can relate to, and even their backgrounds and achievements feel familiar to the reader. The antagonist, on the other hand, isn’t just evil but other. They have titles hinting at privilegie and wealth that the readers could never hope for, and their fancy (but unpractical) clothing and neat facial hair shows that they do not need to do a honest days work in their lives. These traits are often combined with a hint of an effeminate nature: the villain doesn’t look or act as a stereotypical man of the times. This is obviously a stark contrast with the heroes in classic literature, who were often kings, knights or scholars. If I were more of an anthropologist, I would start pondering if this represents a search for identity for the working classes (who, deprived of their trade and land by industrialisation, needed a new ideal), or if it’s a clever trick by the barons and doctors to keep the workers content in their place…
Regardless, this view seems to have taken on a life of its own. Even in menswear (which is, if we stereotype, an interest for people with a fair amount of money), the phrase “dandyesque” is usually used as a negative, as is “aspirational”. There is far more scorn than praise for pitti peacocks, and the menswear community still seem to fear “standing out to much” nearly as much as we fear moths 🙂
Those first points are interesting. Of course there are always exceptions, rich guys like Bruce Wayne or Tony Stark. But most are more relatable
Thanks for thinking along, the idea of contrasts makes sense on one hand but I’m not entirely sure I agree with framing the key aspect as being class warfare. To me it seems more often than not that the central struggle for heroes is trying to preserve or restore something and the villain seems to be the force of negative change, either current or has done it in the past. I’m now realising proper discussion would maybe be out of scope of this article and comment section.
Speaking of “villains” in suits, Melania Trump made quite an impression with her outfit during inauguration. I was in a larger company when it was broadcasted on the news and there were a multiple comments. I wonder if it will have a larger effect on fashion as a whole. How do you feel about it Simon, a success?
I really resonated with your remark, “ isn’t just evil but other.” The ‘othering’ we do people in terms of style, manners, speech only build ramparts between us.
“If you look at old (and some more recent) cartoons and comics, if someone is a “Dr” or “Baron” they are almost certainly going to be bad – even Sherlock Holmes, despite having some dandy traits, is opposed by PROFESSOR Moriarty, a man of “good birth and excellent education”). If they have well-kept facial hair (a twirly moustache and/or a goatee), it’s a given.”
Hercule Poirot? Well, he’s a foreigner, so one of the “others”…
There may be a bit of America vs. the UK/ Europe at play here, something that’s held on for decades.
If one rolls way back to the ’50s, the US was pushing the James Dean ideal (jeans and T-shirt), while the UK just a few years later would hand the world the James Bond ideal (dressed to the nines, with rare exceptions, such as the beach. wear a more casual but still flattering outfit was called for).
I have always wondered what on earth one might do with a turquoise shetland, and Bent has helpfully answered the question. An unusual style, to be sure, but definitely one of the most inspiring reader profiles. Even if I don’t think I’ll be going quite so colorful anytime soon.
I have a turquoise Shetland and it’s remarkably versatile. Mine is usually worn with a tattersall shirt, beige moleskin/cavalry twill trousers and an olive paddock/waxed jacket. Like Bent, I also have a green/olive corduroy suit and it looks great with a red or maroon jumper. I love his DB overcoat but would have liked to have seen more of the PoW check jacket.
Any idea where to get hold of a half decent tattersall shirt these days?
A great feature on someone who manages to be both classic and bold at the same time: it’s hard to put together outfits that would be noticable at Pitti, but feel authentic rather than costumey, and Bent goes 3/3!
I think the quote “I love fashion as a window towards the possible” is an interesting take on how you can include fashion as a part of a more classic wardrobe. As tailoring is often seen as “old fashioned”, ways to include contemporary twists are often desirable: I’ve experimented with scarves, but knitwear is an interesting way to do it.I find that look infinitely more interesting than the “baseball cap and Drake’s chore coat” style that seems to have become the new new menswear look. Of course, fashion brands are tricky because it should still be something that’s YOU, something you have a connection to. Wearing the same logomania high fashion that you see all over social media probably isn’t advisable.
Can you please explain the Alden modified sizing? Reading the individual write-ups, i understand Anatomica recommends bigger sizing. But I’m guessing the shoe itself, the last, the design and the sizing is exactly the same at both shops, yes? E.g. a cordovan oxford in modified 9EEE at Moulded will be exactly the same as the shoe as Anatomica, only the latter will recommend going for a size 10.
Yes exactly. It’s set out fairly clearly in the Anatomica piece hopefully. As ever, comments there also add something
I always love these reader profiles, and this one in particular resonated with me at an intellectual and pragmatic level. His observations, almost pithy maxims, are useful pieces of advice: “Some things are just a question of function […] whereas other things are about beauty and romance. It’s often a mistake to value all clothes by the same factors,” or “Sometimes you have to allow yourself to be bedazzled by something,” The idea of fashion as “a window toward the possible” (which I take to be thinking about an outfit as a proposition rather than a set of orders, rules). And for those of us who do not have bottomless budgets: “I often go weeks thinking about something before I buy it.” I do this too, and while it doesn’t guarantee that, once a piece of clothing ends up in your wardrobe, that it will always work, I think there is a deep pleasure in holding something as an object of thought, planning, imagination (a word that one might like to see used more in menswear conversation).
Simon, one of the best you’ve posted…what a sensible and stylish gentleman! His whole attitude to life and clothes ( and note the order I have put those two ideas) remind me of my late and lamented friend the American painter Duncan Hannah…please keep more of this sort of thing coming which resonates with this geriatric follower. Bent has style…and he reveals though his comments, that he also has grace. Kudos to you and PS
Thanks Michael
I thoroughly enjoyed reading Twentieth-Century Boy. Late and lamented indeed.
The green corduroy is then what one could consider as Bent’s navy suit, right? It reminds me of “Green Henry” , a novel by Swiss author Gotfried Keller in which the main character (an artist type) is always dressed in green.
I like the beret (outfit 2), the white socks surprise me the most, though. The cap however combined with that wonderful coat makes Bents head look smaller (turtle effect), may I suggest… ahum… a hat?
Interesting observations e.g. about fashion. If I’m right Raf Simons spent some time at an Italian tailor’s shop in Antwerp before he became famous. A good read and food for thought, thanks 🙂
Hi Burt, funny thing: I did get a fantastic wide brimmed taupe felt hat from my Florentine friends Matteo and Veronica at Superduper mere hours after we did the PS shoot. So close! But I get what you’re saying.
Hello,
I have a shoe related question that is not really related to this post.
I am looking to make my first Shell Cordovan shoe purchase. I’ve narrowed it down to an Alden Loafer in Color 8.
The split is the LHS, or the Full Strap.
Overall, my style is pretty casual. Mainly jeans, chinos and fatigues, with western shirts or OCBDs. Since I am more casual, I feel like the LHS makes more sense, but I really like the low vamp and the shape of the full strap. When Simon and Alessandro Squarzi wear the full strap in a casual setting, I think it looks fantastic. Do you think both loafers can be worn interchangeably and I am thinking about this too much? Just the sleeker last seems slightly more formal, but I see it worn with jeans and a ball cap and it works.
Thank you!
I think you can definitely wear the full strap with those more casual trousers. The only downside to it I think is that people find it a lot harder to fit comfortably
Thank you Simon. That makes sense. That sleek shape probably makes the toe area a challenge.
Hi Simon, this was a great read (also, thanks for alerting us to Das Pop, whom I’m listening to us I write this)! Since you mentioned Nick Cave, I’m a bit curious what you think of his style: is he exceptionally well dressed, for a musician, or does his never-changing costume (suits from Bella Freud; Gucci loafers etc.) border on sartorial laziness?
I’m not sure on style among performers Anders to be honest, it’s not something I’ve ever given much thought to. But I’d certainly say it would be judged by very different parameters – it is part of a performance, but also i’d imagine important to feel honest to the person and to the music
Hi Simon, it might be an opportunity for an article! How the type of music you listen to, and the imagery associated with, has influenced you aesthetic and way of dressing over the years. Very much aware that you are not a teenager anymore – not being rude (we are exactly the same age :). But if it has an influence somehow, could be worth thinking about it.
Yes, true
Very nice, I admire the taste in color and the nod to Atlanta Olympics!
Salute! Good use of colour. If I could offer any advice, I would say take those colours a bit further. e.g. red can be found in brown, so instead of using a bold red, find a brown that includes that cool tone of red and work with it.
All roads lead to brown in menswear, we eventually find our way back to the more pious colours after going full circle through everything.
Also good job wearing dusty blue cords instead of blue jeans. Underrated style move.
Buenas noches.
Una entrevista muy agradable de leer. Me han gustado mucho los pantalones de pana…, ¡qué colores!
Y los zapatos…
Hace poco leí el dicho de una persona mayor…, dice así: «comprar una cosa mala es comprarla dos veces». Estoy de acuerdo…, también con Don Bent…, comprando con IQ puedes construirte un buen vestidor.
Un saludo.
So much depth to this interview with Bent, who wears his intelligence and insight so lightly. As others have said, his love of life shines through. I was charmed by his memory of asking his Mum to make clothes based on the main character in his favourite books. Our kids should feel this way – creative, daring, unapologetic – so kudos to his mum.
Never thought I’d read a quote like this here –
“So there was a period where I went to school in farmer’s attire, complete with wooden shoes filled with straw”
This made me feel great ! Thanks Bent.
” …a beautiful space man” ?
Or maybe just another Space Oddity.
Nice interview.
I appreciate the mixing of old and new, something I do a lot of myself.
Found Bent very down-to-earth and someone whose philosophy about clothes I could relate to. My takeaway: “I’m the watch guy I can afford to be.” Isn’t that so prosaic?
A familiar face from the recent De Bonne Facture lookbook!
Handsome devil. “Wes Anderson” type outfits which is perfect for an artist.
The best.
What a great personal style and wonderful and eloquent view of clothing. I really enjoyed this article. Thank you!
I have the same Shetland sweater from Frans Boone. It’s a Lawrence J. Smith.
Good interview. I am wondering, however, about the length of the trousers — why so short? The trousers do not even touch the shoe. I have seen the same look from other tailors, especially in Scandanavia. Why? Is it a trend?
I’m almost not sure if you’re joking Maurice! It’s been a trend for almost 20 years.
The trend these days is slowly in the opposite direction, but it can still look good with materials like cord and when there’s a turn-up, such that a break would be very chunky. Also bear in mind Bent has his hands in his pockets in many of these shots, which will pull them up
Hi Simon,
I often struggle with trouser length, and probably I am not alone. Especially also whether a different length is appropriate for different trousers. E.g. I have my summer trousers and chinos / jeans a little shorter than my winter flannels, and trousers with a wider hem longer.
There are also other issues, like a not straight hem (my more formal trousers are ca 1-2 cm shorter in the front than in the back), or also the location (Italians, for example, seem to wear their trousers shorter).
This might be worth an article as it concerns everyone.
Thanks Markus, yes I agree, that’s a nice idea
Yes, an article is a good idea. There are a number of different variables, two of which are,
a. the size of the trouser hem at the bottom
b. where the trousers sit on the waist, either at the natural waist or somewhere below.
The key is to get the trousers to fit at the waist first. Otherwise, you can end up with something either too short or too long. A full break that is too long will look sloppy.
The first is certainly important. The second I’m less sure of – a good fit will always mean the trousers stay in the same place and don’t slip down, but are you saying high-rise trousers suit a particular length at the bottom?
Thanks, Simon, I have of course seen these short-hemmed trousers, but I attributed it to various reasons:
a. a man wanted to look like Lee Marvin in Point Blank, see https://www.youtube.com/watch?v=5im5K7M0yLo&t=12s . In this initial scene, you can clearly see Marvin’s character, Walker, wearing trousers with what I will term a “negative break.” In other words, the bottom of his trousers do not even touch the top of his shoe.
b. their tailor made a mistake, such as with a RTW suit where the trousers need altering in the waist and the length. I have had the problem where the tailor pins the waist and then pulls the trouser down off the waist in order to adjust the length. When wearing the trousers on the natural waist, the length is then too short. The approach I developed was to alter the trousers in 2 stages — first the waist/seat, and then the length in a second fitting. This 2-step approach also applies when buying RTW trousers to fit in the hips/thight/seat with the intent of taking in the waist and hemming the length.
c. the man had gained weight, which either causes the trousers to become shorter through waistline expansion or forces the man to pull the trousers up higher which consequently shortens the length. Or the hands-in-the-pockets phenomenon!
d. the man wanted trousers with the intent of walking through puddles of water and did not want the bottom of his trousers to get wet.
e. The man wanted to make an ideological statement of a political or religious nature. For example, in Kosovo men who had adopted what I will call a conservative religious stance would grow a beard and wear their trousers hemmed at the ankles.
It was only when I started reading this website that I found many photos of men who appeared to be intentionally wearing trousers with a “negative break” (which is now a new category to add to “no break”, 1/4 break, 1/2 break, and full break).
So I thought I would ask about what appeared to be a trend!
Thanks!
The best one yet! Bent is positively stylish, all three outfits were bold, interesting and cohesive. Love the colours, would buy the green suit in a heartbeat.
Great style, Bent! And looks very comfortable. I have to try some similar combinations
Great.. to me this person clearly does his own thing on a higher level than some of the other reader profiles. Different brands, different fits.. Lets be honest most reader profiles have a lot of the same brands, rubato, bryceland.. wich is very cool. But this was a lovely different take. And love the green suit.
Fantastic profile and interview, thanks! Like others I found Bent’s turn of phrase quite compelling. Especially the “window toward the possible”, which is similar to the way I’ve thought about art in general. His style is also lovely of course, a really individual and coherent way of wearing an unusual mix of clothes that remains grounded in classical good taste (subjective as that might be).
Bent, you inspired me to finally try some different combinations I had been contemplating for some time, but never had the self-assurance to actually try. Nothing as dramatic as your wardrobe, but still new for me. It is the thought process and application of principles that I find so appealing.
In the 90’s, I worked for a multinational company with an affiliate in your neighbor The Netherlands. My recollection was that they wore purple, green, and ochre colored suits. Your green suit was not as surprising to me as one might expect. Beyond corporate issue navy and grey. Good fun.
Very enjoyable profile of Bent. Really natural looking style and great pairing of colours.
On things not being as versatile as expected: I barely wear my navy suit even though I work in a bank and very often wear all navy in a casual context. Grey suits have been much easier for me to combine with plain to bold ties and all colours of footwear.