The weekend didn't go as imagined and my bow tie/midnight blue evening suit aspiration was scuppered. I was forced to make a last minute black and white substitution on Matey off the telly. While he still looked rather good in Dolce, Louis and Hare, black and white itself feels like quite a problem for me these days. Am properly adverse to it. It's twenty years since Reservoir Dogs and its Agnes B black/white homogenised pyscho-defining moment, and its since been overplayed so thoroughly in a TV arena/popular styling, The Bublé effect has traumatised the combination sartorially, particularly when worn with a loosened straight tie.

A white shirt does ping out bright against black, and thats why it works so well on TV and film. But in real life it looks especially cheap now. The ongoing ubiquity of white shirt, black cocktail suit stance has led to mass mono-chrome fall-out. When worn in the UK it looks at best light entertainment safe-bet, at worst budget smoothy/natty waiter. In Italy Dolce & Gabbana's success has put a legion of its style conscious men in the format, to Dolces credit, but the look now seems exhausted and the black/white men like nicely turned out ushers. Its the nature of the business, and true stylers need to park the look for a decade or so while it refreshens it up. These popular symbols/images are just too potent to ignore. Had a similar problem with a blue suit, white shirt, black tie and a bright spotlight once. Thought was comfortably working Rat-Pack, the next thing it all went Can't Hurry Love*. Drop the mono-chrome set and go textural my brothers. I need you to be cool. Are you cool? Or are you Bublé?

Stubbs out.

*by Philip Collins