The London Lounge

Everyone who grasps the powerful yet elusive idea of Style agrees that it does not reside in things, or else all but the most poor would have it (when often it is the poor who manifest it naturally). Yet every time we are called to manifest it ourselves, all we can think of is cloth bunches, tailors, watches, shoes, cars, perfumers. Things are in no way indispensable to Style. It is Style that gives sense to things. If we are able to “make sense” without the beautiful things we are used to, without our bespoke suits, without our handmade shoes, our handsewn silk ties, fine watches and colognes, then we’ll truly be masters at giving these things the sense they deserve. They do not create Style where none exists and making them the object of our attention to the detriment of sense will only make us drift ever farther away from Style.
The world of bespoke is so alluring, so mesmerizing in its infinite possibilities that it is easy to get drunk with freedom, lose ourselves in the phantasy and forget Style, which should be our real mission. Phantasy is what we need least in a world where everything is possible; what we need is the power of vision, good instincts, inspiration and a steady inner voice that will tell us how to navigate.
Perhaps Style is best brought to light “in the dry”, so we can't confuse the means with the substance. Any aspirer to Style should determine to go without for a period of time. When we become so attached to things that we can no longer conceive Style in their absence, humbling simplicity can bring out the vision and force of true Style.
A powerful actor can play Hamlet barefoot in a pair of boxers and a white T-shirt and still keep his audience on tiptoe. Others could never get the public’s attention without the pomp of costume, makeup, scenography and lighting – and even then, they look impressive, but unconvincing.
The basics of Style are not the gray suit, the brown brogues or the blue tie. They are in the generosity of our regards, in our gracious smiles, in the good words we have for others, in the good relationship we have with ourselves, in our good humour, in the way we are able to put a smile on people’s faces, to make them enjoy our company. So let’s get back to basics and work on bringing some Style to the surface while minimizing the background noise of things. After this exercise, we should be able to better enjoy and breathe sense into the wonderful things our skilled artisans toil to make for us. A Stradivari may bring out the very best in an inspired violinist, but no violin will ever make a great artist out of a cheap fiddler.

Costi, it's very true. Style comes from within. Bespoke shoes, handmade suits, fine neckties cannot change a thing, if you as a person doesn't manifest style. I also think it can be a good idea going back to that root forgetting material things once in while .

I would like to add a dimension to your style concept. In lack of a better word, let's call it beauty. Style is not only maximizing personal expression in what you do. Its also doing it in a beautiful way. A personal interpreation of one of Beethoven's piano sonatas can be very interesting, but to be captivating, it has to be beautiful too.

Absolutely, when Style is uncovered and manifested, beauty is included and implied, it is a side effect. When you let things happen, when you let them be, let them come through naturally, you generate more authentic beauty than you could ever create artificially. Sergiu Celibidache, the famous director of the Muenchner Philarmoniker, once said: "You don't make music, you just let it happen". A Beethoven sonata IS beautiful, all you need to do is perceive this beauty and render it, reflect it in your playing. The personal touch comes through your unique way of doing it, but as soon as you try to consciously "make it personal", you lose touch with the inherent beauty of the piece.
There is also beauty in imperfection. In his "History of Ugliness", Umberto Eco quotes Marcus Aurelius writing about how the broken crust of a loaf of bread, never intended by the cook, contributes to its attractiveness. The patina of a worn shoe is nothing but a bunch of creases and discolorations, which we find charming. Perhaps Plato explains this kind of beauty best when he writes that all things are beautiful insofar they correspond to their respective Idea.

"His garments are rich, but he wears them not handsomely."

The Winter´s Tale, W. Shakespeare.

Costi, I fear that you are right for I am a cheap fiddler. In fact, it is worse than that. I love to play so I'll play very cheaply and if no one will pay cheaply then I'll play for free. I doubt that a Strad would help me very much. However, I do seem to play better in the oxford gray DB.

Instead of fiddling away in the gray DB, go the other way around and see what comes out if you dress to the music of this gypsy fiddler:

http://www.youtube.com/watch?v=EHR1eZ23qCw

The cheap fiddler is he who does not hear the music and just plays the violin for effect. Here is a virtuoso master for comparison, with the same piece:

http://www.youtube.com/watch?v=Mag2mc5Vva0

Here he is again, in white dinner coat - does it make any difference to your ear?

http://www.youtube.com/watch?v=Zx8tTI3x ... re=related

Dry, heartless technique - a beautiful tune made into a showpiece. Like a charming, soft, mottled gray flannel overtailored into a stiff, boxy, militaristic armour suit - looking sharp, eh?
Of the two, I believe the CHEAP fiddler is the latter...

Ingres played his proverbial violin because it enabled him to bring out, to give expression to parts of him that could not come through in his painting or otherwise. He didn't play to impress or entertain anyone. That didn't make him a cheap fiddler, either - au contraire.