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The Prettiest Woman: You Are the Suit You Wear

The Prettiest Woman
You Are the Suit You Wear
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Notes

table of contents
  1. Cover
  2. Half Title Page
  3. Series List
  4. Title Page
  5. Copyright Page
  6. Dedication
  7. Contents
  8. Like Clockwork: “Bring the Jobs Back to America”
  9. She’s a Pretty Woman
  10. Nostalgia
  11. A Hollywood Genealogy
  12. Cold Calling Is a Mug’s Game
  13. Wall Street
  14. You Are the Suit You Wear
  15. Raymond Williams: A Brief Word
  16. The Patient Is on Life Support but Is Not Yet Dead
  17. The Baseness of/in the Superstructure
  18. Working Women
  19. Late Industrial Capitalism 1: “Making Things in America”
  20. Late Industrial Capitalism 2: Nostalgia and Grievance
  21. On Morality: A Brief Žižekian Word
  22. It’s Big in Japan
  23. The Boro Aesthetic
  24. Bastard 1
  25. A New Economy of the Prostitute and Its Dangers
  26. My Fair Lady, Beverly Hills Style
  27. All a Pretty Prostitute Needs Is Her Own Dr. Henry Higgins
  28. The Upside of Not Knowing Which Fork to Use
  29. Who’s Driving Edward Lewis?
  30. Bastard 2: The Hostility of the Takeover
  31. Oedipal Drama, Pretty Woman Style
  32. Making and Unmaking in the Oedipal Family Drama
  33. To Make Something
  34. Father’s Son, Mother’s Son: The Enduring Phantasmatic Father
  35. The Žižekian Ethics of Mick Jagger
  36. “It Must Be Very Difficult to Let Go of Something So Beautiful”
  37. To Steal, to Make of Steel
  38. Acknowledgments
  39. Series List Continued (2 of 2)
  40. Author Biography

You Are the Suit You Wear

Sartorial exemplarity is a matter of importance to Gekko. “Don’t come in here again dressed like that,” Gekko reprimands Bud at their first lunch meeting. No Wall Street broker who reports to and keeps company with Gordon Gekko would deign to wear prêt-à-porter. To rectify matters sartorial, Gekko gives Bud the name of his tailor. Gekko does not explicitly warn Bud against his penchant for Brooks Brothers button downs and rep ties, but the sartorial injunction is clear. “Get thee to my tailor:” learn to dress as I do.

Meanwhile, Gekko is quietly locked into his own sartorial standoff, one that is international in its reverberations and not at all local.

If Bud Fox is a young man of ambition caught between two worlds, Carl’s and Gekko’s, if Bud is trying to negotiate between two sets of opposing values (the union man in his overalls and the corporate raider), if Bud is in the process of ditching his $400 prêt-à-porter attire for Gekko-like bespoke suits, then Gekko is not only matching his financial muscle with but also pitting his sartorial wits against his English corporate raider counterpart: Sir Lawrence Wildman (Terence Stamp), who here represents that most famous of English corporate raiders, Sir James Goldsmith. “Sir Larry” is a study in Saville Row understatement. Tasteful, sober, Prince of Wales checks, cutaway collars, Windsor knotted ties.

This is the ultimate sartorial transatlantic showdown. American flash versus the timeless and enduring elegance of the Olde World. Like his clothing, Gekko is front and center, the camera attending to his attire in concentrated wide shots, as if to capture the full impact of its allure. Sir Larry appears almost always in profile. As if we are only meant to catch a glimpse of the richness of the fabric of his suit, as if that is enough to settle the sartorial matter in the Englishman’s favor. Turns out that a bold blue woolen chalk stripe suit may be able to hide a multitude of moral failings, but it can’t swing the sartorial battle in the American’s favor. Less, as they say, is more. Score one for the Olde World. “Greed” may be “good,” and Sir Larry may find himself outsmarted by his hungrier and more unscrupulous (it’s a matter of degree, not a difference in type) American corporate raider counterpart, but his understatement wins the day, at least sartorially.

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Raymond Williams: A Brief Word
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Excerpts from “Street Life,” words and music by Will Jennings and Joe Sample, copyright 1979 Irving Music, Inc. and BMG Rights Management (UK) Ltd.; all rights for BMG Rights Management (UK) Ltd. administered by BMG Rights Management (US) LLC.; all rights reserved; used by permission; reprinted by permission of Hal Leonard LLC.

The Prettiest Woman: Nostalgia for Late Industrial Capitalism by Grant Farred is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License.
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