savile row


Some of Cathy Sarver’s photographs of George Harrison, and parts of the note George wrote to Cathy, Carol and Lucy after All Things Must Pass was completed, screen capped from the documentary Beatles Stories: A Fab Four Fan’s Ultimate Road Trip.

“An Apple Scruff was a Beatle fan that came to Apple every day Monday through Friday. Everybody knows the name of their business was Apple, and we hung out on the front steps of their building, waiting for them to arrive. And then once they’d arrived, we were waiting for them to leave.When George finished the song ‘Apple Scruffs’, he asked us to all come in. And of course, we were dumbfounded because we were never asked to come in. We’re all sitting in there and they turn on the song ‘Apple Scruffs’. ‘Apple Scruffs, how I love you.’ It was amazing. We were all in a little huddle around him. He handed us this letter.

[reading in full] ‘Dear Carol, Cathy and Lucy. Now as it’s finished - and off to the factory. I thought I’d tell you that I haven’t a clue whether it’s good or bad as I’ve heard it too much now! During the making of this epic album (most expensive album EMI ever had to pay for) I have felt positive and negative - pleased and displeased, and all the other opposites expected to be found in this material world. However, the one thing that didn’t waver, seems to me, to be ‘you three’ and Mal, always there as my sole supporters, and even during my worst moments I always felt the encouragement from you was sufficient to make me finish the thing. Thanks a lot, I am really overwhelmed by your apparent undying love, and I don’t understand it at all! Love from George (P.S. Don’t hold this evidence against me.) P.P.S. Phil Spector loves you too!

He was a sweet man.” - Cathy Sarver, Beatles Stories: A Fab Four Fan’s Ultimate Road Trip [x]


Reminder: Gordon Parks Was Cooler Than You

You’re probably familiar with the work of Gordon Parks, whether it’s his photography (over a decade documenting America and Americans, years of fashion photography for Vogue, portraits for Life ), his film-making (Shaft, The Learning Tree), or his writing, his music. Or his painting, maybe—there wasn’t much Mr. Parks didn’t excel at. Pretty much any article about Parks will mention the breadth and depth of his talent, and the barriers he had to break down as an African American in the photography and film businesses in the middle of the 20th century. They may not mention that he was absurdly, absurdly stylish.

Parks knew elegance. Having grown up on a farm in rural Kansas and fallen into a photography job, Parks would eventually photograph the highest and lowest of American society—you can tell from his portraits that he was a man at ease with himself, who could make his subjects comfortable, no matter where they came from. Judging by the photographic record of Parks himself, he was a fan of the buttondown collar and natural shoulder jacket, as well as a good turtleneck. He wore a lot of open shirt collars, and when he wore a tie he made good choices–above see a dark silk knit and a perfectly askew bow tie. He looked great in a denim jacket, and wore a dinner suit as well as anyone.  Parks also makes a tremendous case for the moustache.

He made his subjects look great, too. The dignity and defiance in his famous 1942 portrait of Ella Watson, a cleaner in a government building. His photograph of a fish market stevedore, a trio of boys in Harlem; his fashion shoots, in which he specialized in photographing models in motion, or his photos of icons like Muhammad Ali. According to Parks’ daughter, Ali once asked the photographer to take him to his tailor—"I want to look like you,“ Ali said. Maybe Parks did—they both used Helman, a Savile Row firm that merged with Dege and Skinner in the 1980s.

h/t Je Suis Perdu for the reminder.