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Is it possible for a menswear enthusiast to enjoy a vintage film that heavily features suits— without wanting to dress like it? That’s how I used to feel about North by Northwest. 

I first saw the film back in 2016 at the suggestion of my new internet-turned-IRL friend Spencer. I was already drawn to vintage styling, particularly Golden Era/Apparel Arts, but my appreciation of mid-century vibes, ivy, and more contemporary-classic cues was still budding. At the time, I was already aware that Cary Grant’s grey suit outfit was considered one of the most iconic costumes of all time; many menswear bloggers would repost photos from the flick. I, unfortunately, was unimpressed. It was just too plain, too boring! Grant’s Roger Thornhill was far too streamlined and austere compared to the fun patterns (and separates) that I preferred to look at for inspo. 

That being said, I was completely enthralled by the movie. I was on the edge of my seat (or dorm couch), gasping, laughing, and being confuzzled at just what was going on– much like Thornhill himself. Leave it to Hitchcock to make such a ridiculous thriller! The banter alone was something like I had never seen/heard before. I found myself watching it over and over each year, especially when it was around a friend who had never seen it before. It’s always a treat to see people’s reaction to the film, particularly if their only exposure to Hitchcock was Psycho or The Birds. NXNW is a damn good film! 

North by Northwest quickly became one of my favorite movies. Not just for a cinephile’s sake, but for pure enjoyment! I found that I can throw it on and be taken for a ride– though not one that involves bourbon.  The film is was exactly what I would want to do, if I were to ever make a movie– a balance of levity and tension, all with people in suits, though perhaps I’d dress them with a bit more complexity (to mimic the plot, you know).

As you could expect,  I was always a huge fan of Bernard Hermann’s score. This may not be surprising considering that I am an overall fan of film music, but those who know me well will recall that I like a particular approach to film scores, one that is usually complex in orchestration and thematically diverse. Bernard Hermann forgoes the latter. 

Instead of using individual themes for each character, Hermann opted to compose a largely singular musical identity for North by Northwest. It’s a more minimalistic approach when compared to the menagerie of leitmotifs found in a typical John Williams score, but it fits the movie perfectly– chiefly because the theme itself is far from minimal. Hermann’s dizzying and frenetic main theme is a Spanish-inspired dance, written in a quick-paced 6/8 signature that jumps between 123456 and 1-2-3 counts. Strings, brass, and woodwinds all take turns playing the swirling melody and punchy rhythms in between pounding timpani and sharp tambourines of this chaotic toccata. 

Hermann has literally created danse absurde, underscoring each time Thornhill gets tossed around by whatever life throws at him: the police, Vandamm, and a determined crop-dusting assassin, to name a few. As such, the theme goes through multiple interpolations, showcasing the prowess of the orchestra as well as Hermann’s compositional skill. I was blown away by each variation; it felt incredibly intricate and natural, with each stab and surge propeling us forward into the conspiracy. Hermann really makes you feel that you and Thornhill are dancing with what seems to be a deadly practical joke. 

The music culminates in the climactic “The Gates / The Stone Faces / The Ridge” cue, where Hermann really gets to play with his blustering dance theme. I particularly like the sustained chords that play whenever the camera centers on the Faces of Mount Rushmore (0:45), representing a stoic tension that serves as a respite against the chaotic dance. It’s quite an inspired choice to have a minimal thematic identity for the Mountain, but that is exactly what I love about film music: it affords you an artful and lightly abstract way to express a story. 

There is also a wonderful love theme to represent Ms. Kendall, the pseudo femme fatale that is unable to resist Thornhill’s charms (and “nice face”). It is a bit overly romantic but endearing, giving us a breath of stability and optimistic hope against the dark, jumpy meter of the Main Theme. Hermann can do it all– and certainly did so on Hitchcock’s films until they parted ways before The Family Plot in 1976, when a young Johnny Williams stepped in to write Hitchcock’s music, fresh from scoring a little film about a shark.

Much like my appreciation of the film’s subdued sartorial style, it was interesting to find how much I enjoyed the score, as thematically restrained as it was. It was proof that I can enjoy a Spartan approach to motifs, provided that the main theme is not only expressive of the core ideas of the film, but is also written and orchestrated interestingly; it’s not just about copy and pasting minimal piano music. Oddly, the score to North by Northwest reminded me of Silvestri’s music for Back To The Future, which also utilizes one theme that changes based on the attitude of the scene. In this film, Hermann is committed to his Dance, which ended up being not only appropriate for the movie but also became one of the most iconic film scores of all time. 

Less is more, it seems! 

Building an appreciation for that approach is likely why I’ve come around to enjoying the costuming in this film. It’s actually comforting and even inspiring to see a character stick to one look–  especially one that is both dashing and restrained– no matter what they happen to be doing. Granted, it is mainly because Thornhill is on the lam for nearly the entire flick and can’t change his clothes, but he seems just as dedicated to wearing his beloved suit and tie as he is to clearing his name– and figuring out just what the fuck is going on. 

With each viewing of the film, because again, I love it so much, the more I began to see just how stylish this film is– and I mean, more than just Roger Thornhill and his iconic grey suit. Again, I haven’t seen much Hitchcock (I saw Rear Window a bit later only last year, tookmyself to Vertigo just last year), but at least in this film, everyone is dressed to the nines with sharp suits, crisp white shirts, and solid neckties in a tight four-in-hand– a contrast to the boxier looks of the late 50s and their ostentatious full Windsors. 

This gives North by Northwest an air of sophistication, which plays wonderfully with the snappy, wry dialogue as well as the absurd conspiracy that Thornhill finds himself in. It also just makes the film feel “classic and timeless”, even though the entirety of the plot may not have worked today…or would it? Perhaps with today’s plethora of digital identifiers, it may be exponentially more difficult to convince a shrewd villain that you’re not a spy. Maybe the story would play out the same way even if the setting were updated. But lord, please don’t remake this film. 

Anyway, even though I’m not really a “solids” type of guy, I humorously find myself wearing plain shirts and ties whenever I watch this film, which again, is at least a few times a year.  Hell, I know that I’ve gone tonal a bit more over the years in general, as a form of experimentation, though with things I already own.  Granted, it may not be something I do often, but it feels nice to give a little nod to Thornhill (or is it Kaplan?) by intentionally going minimal for once– especially with a grey suit. Like with my long-awaited appreciation of grey suiting, perhaps appreciating Thornhill’s look just comes with age;  austerity becomes endearing when we gain a few miles. Grant himself, being a tan and silver-haired 55-year-old in the film, certainly looks quite badass in his sartorial ensemble.

And so while North by Northwest isn’t totally to blame for my increasing admiration for tonal pairings and grey suits, it certainly ranked higher and higher in my catalogue of stylish films over the years. Again, this is all quite surprising when you consider just how much I enjoy plaid jackets, striped shirts, and abstract-geometric ties. 

All of these semi-regular introspections came to a head when my good friend Kady told me that North by Northwest was being shown at The Frida (a 4K digital restoration, not a 35mm print, unfortunately). I knew that I had to do it, even if it was an hour away in Orange County. Thanks to heavy Los Angeles traffic, I actually missed the first 15 minutes of it, but thankfully, I’d already seen this film countless times. I can mouth “think thin” at exactly the right moment. 

I obviously had a great time at the show, marveling at the cinematography, air-conducting Bernard Hermann’s excellent score, and yearning for stranger on a train to hit on me in a manner as obvious as Eve Kendall. Everyone in the audience seemed to have a wonderful time as well— you could hear them laugh at Thornhill’s one-liners and crafty getaways, as well as cringe hard when he foolishly pulls the knife out of the unsuspecting Mr. Townsend of Unipo, right in front of a photographer, no less! 

It is a surreal experience to be able to watch a movie the way it was meant to be seen, especially after only watching it on home release or through streaming. I had just done it with Jaws for its 50th anniversary, and so doing it for yet another member of my Letterboxd Top 4 was an absolute necessity. After all, I will always be on the side of being as Tangible as possible! 

Kady, who is a regular attendee of art house theaters and someone I’d consider to be a true cinephile, had surprisingly never seen this film before. It was a double treat for her to finally notice that I was indeed dressed like our lanky and sardonic protagonist; the usher who let me in also noticed my attire. 

And so after watching this whirlwind delight of a movie on the big screen while wearing the exact outfit he wears (at least with what I own), it was clear that North by Northwest deserved its own blog post. I am far from the first one to write about the film, as my colleagues at Bond Suits and BAMF have already written their own excellent in-depth pieces. Their posts are streets ahead of mine (and have certainly informed some of my own takes), but hopefully you, dear reader, will find some enjoyment from my own approach and appreciation of the refined and subdued tailoring in this beloved film. 

Fashion people will always say that it’s important to find your uniform. Well, Roger Thornhill certainly has one for North By Northwest…but that’s mainly because he’s forced to remain in the same change of clothes over the course of a few days. Being wrongfully accused of murder will do that to you! In that way, Roger Thornhill’s grey suit is the real star of North by Northwest–  the damn thing goes through so much punishment for nearly two-thirds of the movie! It makes sense as to why this humble yet elegant garment is considered one of the most famous suits in cinema history.

The infamous suit is a grey, checked (yes, it has a pattern) suit cut in a conservative late 1950s style: ventless, padded shoulders, moderate lapels, gentle 3-roll-2, and double forward-pleated trousers with a moderate taper (the trousers also feature side tabs). The suit almost feels like it’s pointing forward toward the soft and trim aesthetic that American Ivy provides, but it still has a tempered (and a bit British) attitude. It is interesting to note that the suit changes appearance in different scenes; Bond Suits asserts that there were a few suit copies made depending on the stunts involved, and you can tell based on the angle/size of the lapels. 

Thornhill doubles down on the soft, tonal aesthetic through the use of a grey tie—which Bond Suits points out is actually a micro-pin dot pattern instead of being completely solid— that is just a tad lighter than the suit. But even with this subtle difference, the overall effect still feels a bit matchy-matchy, but admittedly, it makes Thornhill look elegant and a bit chic without being too somber– light, tonal combos will do that for you. He certainly stands out among the other characters who not only wear patterned ties but also employ more contrast in their outfits overall. 

Speaking of contrast, Thornhill’s shirt is a standard white (or cream) point collar shirt with French cuffs (where he apparently uses different cufflinks throughout the film, despite changing his full attire only once). It’s the Supreme Business Shirt, which makes sense for Thornhill’s profession and certainly for the Occasion of cocktails with clients/colleagues (and not for running away from crop-dusting assassins). I like that it’s rather full cut, though not as much as his more casual attire at the climax of the film, as it creates a beautiful bloused effect with his high-rise, pleated trousers, reminding me of typical Golden Era Styling of the decades prior to this film. Seeing as the shirt was one of Cary Grant’s own, this makes sense. 

Of course, Thornhill does exude some fun personality through the use of his sunglasses, which does not help at all in hiding his identity at the Grand Central ticket counter. A P3-style frame in a vibrant orange-brown tortoiseshell, it certainly stands out against his business attire; it may have looked more at home with separates or a cream summer suit. Granted, the frames aren’t as bold as Lermontov’s buy-eye frames or Bob Dylan’s cat eyes, but Thornhill’s certainly hold their own (and are much more wearable, especially cross-eras). There’s a reason why I think that P3s are a quintessential frame for a sunglass arsenal. 

Understated and elegant, Roger Thornhill’s attire is as Cary Grant as it gets. It’s quite a minimal aesthetic which echoes much of his actor’s IRL taste in style, especially in his later years. I’d definitely feel like it makes sense witty advertising exec who has monogrammed handkerchiefs and matches, as well as an overbearing mother (who looks to be about his age). 

I do think it’s an interesting choice to have him be tonal, creating a nuanced expression that is formal and “soft”, all at the same time. It also exudes an unfussy vibe, especially as Thornhill eschews a pocket square, which only further emphasizes the tonal nature of his attire and places more attention on his shirt as the only point of contrast. Granted, almost every other character goes without a pocket square, but it’s the most noticeable on Thornhill, who you would expect to wear one. The appearance of a pocket square, as well as the use of a navy tie, is what makes Connery’s outing as Bond in Dr. No come across as a bit more dressy, or even dandy, when compared to the subdued Thornhill. 

All that being said, Thornhill’s look is certainly iconic. Even with some of the dated elements (shoulders, buttoning point, lapels), the holistic look feels incredibly classic and serves as inspiration for any well-dressed man. It’s no surprise that Thornhill’s look was indeed copied by Bond and other cinematic characters. 

Again, I initially wasn’t fully sold on the look. As someone who prefers mixing patterns, I always felt that Thornhill was just a tad too matchy and ultimately too formal– especially because it was the grey on grey. Cary Grant’s sardonic ease was not enough to reconcile it. It’s not that I don’t like tonal looks, grey suits, or white shirts– I do, but I usually do these moves in other ways, usually with some sort of pattern (plain shirt + patterned tie and vice versa) and with darker colors (think tonal with chocolate brown). But of course, this has changed over time, and I’ve come to appreciate it. Again, I even dressed up as him to watch the film in person, and you know what? It felt natural and firmly Ethan. Again, age will do that for you!

But do you know what I was always drawn to? Thornhill’s “sloppy” costume change for the last part of the film.

I remember audibly saying “damn” when I first saw Thornhill step out from behind the changing curtain in the hospital scene. It’s such a perfect look that, while a bit humorous considering the “well-tailored” appearance he’s had throughout most of the film, it is exactly the vibe I aimed for in menswear. It also coincided with my initial exploration of Ivy Style.

Despite Thornhill’s beloved grey checked suit and tie being able to bounce back from plane attacks and being shot at (with a blank), it can’t handle a simple knockout punch. After coming to in a hospital bed, the Professor provides Thornhill with new clothes: an OCBD, dark reverse pleated trousers, a belt, and low-vamp tasseled loafers. It’s certainly a far cry from Thornhill’s sharp business attire, though he does keep the light blue-grey socks, which contrast nicely with his dark trousers and shoes, evoking more of an ivy look.

This contrast of vibes is especially apparent with the new shirt. Not only is it more casual, through its use of ecru Oxford cloth and a button-down collar (compared to business-ready white poplin and a sharp point collar), but the fit is incredibly baggy, blousing exponentially more than Thornhill’s (or Grant’s) custom-but-intentionally full-cut shirt. Thornhill even has to roll back the cuffs on his sleeves because they’re too long, a move that I’ve done when I’m too lazy to go to the tailor and alter my second-hand OCBDs. That being said, the shirt still had a lot of charm, no doubt due to Thornhill’s lanky frame (blousing into a tight little waist is enthralling) and overall vibe. He was how I wanted to look when wearing an OCBD. 

Even though Thornhill had obvious distaste for his second look, I really loved it. When we consider the modern context, his attire isn’t dressy, but it also isn’t super casual; the balance of which was intriguing to me. And even though I seldom go tie-less in my own attire, I still felt such an attachment to this look. I even shouted it out on a trip to SF back in 2016.  He just looked so easy and slouchy, which is exactly what I had been aiming for. 

From what I remember, this was one of the first times I ever saw white socks with loafers. Not only that, but the move was done with what would be considered “dress pants” instead of with firmly casual items like chinos or jeans. The move would eventually become fully canonized and something I employ today. Though again, I would likely still be in a tie and jacket. Maybe I’d also have to be knocked out and forced to only wear a button-up and trousers. 

Perhaps if the inspiration is compelling enough, I’ll update this with a tie-less and tucked OCBD look without the aid of a jacket and tie. 

Having the excuse to revisit this movie helped me enjoy the non-Thornhill menswear. North by Northwest is indeed a stylish movie, and that definitely extends to the antagonists. 

Vandamm, played by the wonderfully subtle James Mason, is quite a fashionable villain, complete with his own “uniform”, though unlike Thornhill (or “Kaplan”), he actually gets to change his clothes. His template is a solid suit, crisp white shirt, and some sort of vest or waistcoat. It’s an elegant rig that plays into the intellectual-gentleman attitude that Mason was known for. Vandamm is quite a curious character, as he not only is rich, but he also seems to avoid direct violence (opting for “subtle manslaughter”) and prefers conversation and negotiation, though you can certainly feel his sinister motives seething through each word out his his mouth. 

In his first appearance, Vandamm wears a grey tie, almost as a nod to Thornhill, but dons a black (or dark charcoal) PC suit, complete with a double-breasted waistcoat– a bit of an “old school” look, but one that makes sense for a British gentleman. The outfit is an exquisitely formal look (just shy of being a tuxedo) and one that makes sense for an evening party, if we assume that it was indeed happening and not a part of the elaborate ruse. Not only does this dark and dressy attire firmly establish Vandam as a bad guy, but it also shows that he is the boss. As a contrast, the underlings who pick up Thornhill from the Plaza are in sportier looks, wearing a taupe summer suit and a grey flannel suit; the latter is one of the two recurring characters who wear a pocket square. 

Interestingly, Vandamm forgoes the waistcoat during the auction scene, wearing a light grey flannel suit and a tie with an abstract pattern (quite 50s). But when we get to Mount Rushmore, Vandamm gets right back into his normal digs by wearing a lapeled green waistcoat with brass buttons with a mid-grey tweed suit. It’s quite ivy (his suit even has a swelled back seam and hook vent), which he maintains during the climax of the film, where Vandamm wears the same tweed suit but swaps the green for a cream knitted waistcoat. 

Neither of these things feels as overtly villainous or formal as Vandamm’s initial look, but it works to make him feel a bit refined and dandy.  The overt ivy nods make sense if we are to take the photograph, which shows Vandamm in front of NYU (presumably a faculty group photo), as an accurate piece of his backstory.  He is certainly a cosmopolitan, judging not just by his Anglo-meets-American attire, but by his interior decorating.   Vandamm’s rakish disposition is fully expressed when he dons a black homburg during what BAMF calls a “dignified nighttime getaway”.  A gentleman needs his hat–as well as a selection of books (in addition to the needed microfilm)– even when he’s on his way out! 

I do want to talk about Leonard and the Professor, both of whom are quite stylish despite their supporting roles. 

Like Thornhill, Vandamm, and the be-hatted henchman, Leo G. Carroll’s “Professor” also wears grey suits. His first suit is a light grey flannel and is cut similarly to Thornhills, though adapted for the Professor’s body type: broad shoulders, a medium-lapel, and a low buttoning, 3-roll-2 closure.  He complements it with a light blue, graph check point collar shirt (with French cuffs), and a darker blue, small-print geometric tie. It’s a conservative look, one that is appropriate for a presumably senior-level spymaster for the CIA. To me, it also calls to mind Thornhill’s own tonal look, perhaps signalling to the audience that the Professor and Thornhill are on the same side, though the former doesn’t get involved until absolutely necessary.

At Mount Rushmore, where it seems that everyone but Thonrhill gets to change their clothes, the professor wears a different grey suit. This one not only has a subtle stripe, but it also seems to be a bit of an older suit, as evident by the wider lapels, which would have been a bit out of place on a current/late-50s suit. The brown fedora also helps emphasize how “old” his attire is.  The shirt is plain white with cufflinks (everyone seems to be wearing these too), and the tie is a small dotted navy, fastened with a full Windsor knot (which he also employed previously). The choice to use that knot is an interesting one, provided Thornhill and Mason both use a four-in-hand. 

Lastly, we have Leonard, Vandamm’s “secretary” and right-hand man, played by the indomitable Martin Landau (who was amazing as Bela Lugosi in Ed Wood). According to Bond Suits, BAMF, and a few other sources, Leonard was meant to be better dressed than Thornhill. In the meta, it was reported that Landau went to the same Beverly Hills tailor (Quintino) to get outfitted for the role. In the universe of NXNW, Leonard appears to be a dark mirror to Thornhill– for his appearances in Glen Cove and the auction, Leonard dons a black (or navy) 3-button SB suit with a crisp white point collar and dark navy tie with a tight four-in-hand. The formal and conservative nature is a dark mirror to the fashion-forward and “lighter” Thornhill, but also makes sense as someone who serves Vandamm, though not in the vein of looking like a stereotypical butler or manservant in a Stroller suit.

Leonard’s attire at Mount Rushmore also showcases his connection to Vandamm. Whereas his master has a flannel suit and jaunty waistcoat, Leonard has a sporty suit, complete with pocket flaps not just on his hips, but on his jacket breast pocket as well (a nod to his master’s English background?). The suit is still a solid (sticking to his uniform of sorts), but it’s done in a lighter grey and in a barleycorn tweed, firmly placing it as a country suit. It’s quite a contrast from the somber palette that Leonard was seen in before. While I am unable to see his shoe choice for the previous scenes, we can see that Leonard wears black three-eyelet derbys– a great choice for a casual suit. 

Unfortunately, all the drip in the world can’t save Leonard from being taken out with real bullets— not very sporting, but karmic considering how he could’ve helped Eve and Roger once he had secured the microfilm. He could’ve made it out alive (but likely would’ve been imprisoned for life or executed for treason). 

I find it quite interesting to revisit this film at my current stage of life, where I’ve largely stabilized in not just my wardrobe but in my style. Even though I may not dress exactly like Thornhill, I can admire his faithful attachment to his subdued look, which is something that we can appreciate. After all, I am the kind of person who will wear his chosen outfit the entire day, no matter what may be happening. Though to be honest, wearing a suit at the grocery store, the cafe, or even to drinks– simply because I was already wearing it– is eccentric but not outlandish. 

And even though the film is a far cry from the pattern mixing frenzy that I love (a la Esquire Man), it does say something about the power of minimalism, by which I mean a grey suit, white shirt, and solid tie. It feels like you could be a spy– or at least be mistaken for one. From Thornhill to Vandamm, everyone looks incredibly chic, waltzing elegantly through a thrilling and ridiculous plot. That attitude is entirely why I consider North by Northwest to be one of the most stylish films of all time. It is no surprise that Bond’s costuming seems to take after Thornhill, though as we all know, 007’s attire was a bit more ’60s and was certainly dressier thanks to the use of a pocket square– and a focus on evening wear.

Then again, I can’t help but dress like Thornhill each time I watch the film. Hell, at the time of writing, I find myself wanting to be like Leonard and wear a dark suit, white shirt, and dark tie, (though I fear that this will make me look a bit too Reservoir Dogs). In any case, if a plain suit and tie is what gets me mistaken for a secret agent, then so be it. I do think that my absurd and stubborn sense of humor would certainly lead me to be forced to drive down a winding road under the influence of Bourbon. What I certainly won’t have is the huge wad of simoleons that seems to constantly have the right amount for whatever Thornhill needed during that wild week. 

This film will always hold a special place in my heart. North by Northwest is more than just something I watch for menswear inspo– it’s a fun and exciting film, full of snappy dialogue, great cinematography, and of course, a great score that will always bewilder me. An orchestral Fandango for a thriller? How did Hermann think of it? All of these reasons are why this film is in a perpetual place in my LetterBoxd Top 4— and why it’s one of the few movies that I can throw on whenever I feel like chirping myself up (surprisingly, none of the Star Wars films are on that list). 

Obviously, I wasn’t the only one who watched it, though Spencer and MJ unfortunately did not make it to the IRL screening. But as you expected, they were already intimately familiar with this Hitchcock outing, and so we made it the subject of the latest bonus episode! We all have such a love for this damn movie! 

– end of blog post –

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Always a pleasure,

Ethan M. Wong (follow me on IG)

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