ANSWERS TO THE MOST IMPORTANT QUESTIONS: The Meaning of Ralph Lauren Nationalism.
When Lauren developed his own retail palaces in the 1980s, he chose properties like the former Rhinelander mansion of the Upper East Side of Manhattan that applied the same principle on a grander scale. Lauren’s restaurants, including the Polo Bar in Midtown Manhattan, are popular partly because they create a tiny stage on which his style of dressing looks appropriate, rather than for any merits of the cuisine. It’s said that Lauren even provides a location-appropriate wardrobe for visitors to his residences around the world. Nothing could be farther from, say, John Fetterman’s insistence on dressing for the Senate floor as if he were joining a pickup basketball game.
Lauren is fond of insisting that he’s not interested in trends. Actually, the details of his products are less consistent than this claim suggests. Lauren got his start as an independent operator selling napkin-width neckties that were a striking contrast to the slim lines of the Mad Men era. As admiring observers recognized, it was brilliant marketing strategy that allowed Lauren to build up a full product line. Once you bought a fat tie, you needed a new shirt with a taller and wider collar. A shirt like that wouldn’t look right under the tubular “sack” coat then favored by American men. So you also had to buy a new suit featuring broader shoulders, wider lapels, and more shape around the waist. Lauren launched his career, in short, as a vendor of the kind of 1970s gear that is still the butt of jokes. An unintentional revelation of Ralph Lauren: In His Own Fashion, a 2019 coffee table book by the clothier Alan Flusser, is just how trendy some of this stuff was.
The days of lapels that touched the shoulders passed, and Lauren had worked the exaggeration out of his look by the 1990s. Although it receives less attention in authorized chronicles of the Ralph empire, this was also the period when Polo was adopted as the aspirational brand of hiphop, then emerging as the world’s dominant popular music.
Lauren jettisoned his fat tie phase by the end of the 1970s. In 1991, Tom Wolfe discussed why this was a trend that didn’t really catch on in the boardroom in an interview with his longtime editor, Clay Felker, for M Inc. in their January 1991 issue:
TW: I ran into Richard Press—this must have been about 1970, I guess. He was telling me how finally at his stores, J. Press—against all of his better instincts—he started stocking these big lapels and all the rest of it. He said they just died there on the rack, and he said finally it dawned on him that “the reason we can’t sell these things is that executives in New York were tired of looking like their messengers.” That’s the real problem with these innovations. You’re going to be picked up by messengers and other groovy-looking people. You’re not going to have that status demarcation between upper and lower.
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CF: As you look at what people are wearing now, do you see anything interesting or do you have any comments about international style?
TW: You see American casual clothes everywhere. Just the triumph of jeans alone, it’s another example of something else we were talking about—what a tremendous victory the United States has won, not just in the political area with the collapse of Communism, but in the cultural area. The Berlin Wall came down and all these pictures on television of young Germans climbing the wall, they looked like Akron. Everybody’s got on these sneakers and their jeans and the wind-breakers-the American windbreakers-and all the rest of it. Ben Wattenberg makes a point which is rather nice, I think, that we’re always wringing our hands because we’re driving Japanese cars and all our young people think that Toyota is the basic American car and we use Japanese computers to transmit all our most vital information. We watch television on Japanese sets, we run with Japanese Walkmans planted to our skulls, we watch movies on Japanese VCRs-as does the rest of the world. He says, what movies are they watching? He says, how many Japanese movies does anybody around the world watch on these things? They’re all watching American movies. On the Walkman, they’re all listening to American music. He says if you have to choose, if you can only choose one, if you can only dominate either the hardware or the software, he says for God’s sake dominate the software. This, I think, is true in casual clothes. That’s the American triumph, but it’s still the English that won the battle of formal clothes.
It was Lauren who created a more stylized version of what could be found at Brooks Brothers and brought it to the masses. But eventually, as Samuel Goldman writes at Compact, Lauren’s company eventually went back to the future:
After its Ron Burgundy phase, Polo settled on a relaxed, grownup silhouette that acquired shape from the drape of the cloth rather than the wearer’s physique.
Popular in the ’80s and ’90s, this cut was an outlier to the preference for very slim proportions that took over around the turn of the 21st century. Without abandoning the old inspirations for fabric or color, Ralph Lauren products shrank until they could be worn successfully only by teenage ectomorphs. The constrictive results made an unfortunate contrast to those classic advertising campaigns orchestrated by the photographer Bruce Weber. The key to the success of Weber’s images wasn’t so much the beauty of the models, although that was considerable. It was that they looked so relaxed in the soft textures and accommodating proportions.
Plus ça change.