1059165ar

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1 Document generated on 05/10/2019 3:50 p.m. Imaginations Journal of Cross-Cultural Image Studies Revue d’études interculturelles de l’image A Clean Sharp Image: Don Cherry’s Suits as Sartorial Statements Julia Petrov Fashion Cultures and Media – Canadian Perspectives Article abstract Volume 9, Number 2, 2018 Canadian sports commentator Don Cherry is notorious for his outspoken opinions and flamboyant style, both attracting popular attention. This article examines his URI: https://id.erudit.org/iderudit/1059165ar attention-grabbing on-air style as an extension of both his values for the game of DOI : https://doi.org/10.17742/IMAGE.FCM.9.2.5 hockey and his view of himself as a working-class boy made good. I argue that Cherry deliberately uses his suits to embody his social and personal values. Drawing on fashion studies approaches, I show that while not exactly fashionable in terms of See table of contents trendiness, Cherry’s suits are examples of the ability of clothing to be indexical of working-class personality transformed. Publisher(s) York University ISSN 1918-8439 (digital) Explore this journal Cite this article Petrov, J. (2018). A Clean Sharp Image: Don Cherry’s Suits as Sartorial Statements. Imaginations , 9 , (2), 41–54. https://doi.org/10.17742/IMAGE.FCM.9.2.5 This document is protected by copyright law. Use of the services of Érudit (including All Rights Reserved ©, 2018 Julia Petrov reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit. Érudit is a non-profit inter-university consortium of the Université de Montréal, Université Laval, and the Université du Québec à Montréal. Its mission is to promote and disseminate research. https://www.erudit.org/en/

2 “A CLEAN SHARP IMAGE”: DON CHERRY’S STATEMENTS AS SARTORIAL SUITS JULIA PETRO V - Abstract he Canadian sports broadcaster Don | Canadian sports commentator Don Cherry is no “Grapes” Cherry is a fixture of nation - torious for his outspoken opinions and flamboyant style, both al broadcasting and cultural life. He is - attracting popular attention. This article examines his atten T best known for his segment “Coach’s Corner,” tion-grabbing on-air style as an extension of both his values broadcast during intermissions in NHL games for the game of hockey and his view of himself as a work- on CBC, CityTV, and Sportsnet channels. His ing-class boy made good. I argue that Cherry deliberately uses - weekly game commentary has earned the atten his suits to embody his social and personal values. Drawing th tion of a nation, and he was even voted the 7 on fashion studies approaches, I show that while not exactly fashionable in terms of trendiness, Cherry’s suits are examples Greatest Canadian in a national televised con - of the ability of clothing to be indexical of working-class per - test (Jubas). His legendary status seems to be as sonality transformed. much due to his knowledge of the game as his garb: “loud as the jackets he wears” (Rush), as New York Times the put it. Indeed, he has be - Résumé | Le commentateur sportif canadien Don Cherry est come not only iconic because of his longevity as célèbre pour ses opinions fracassantes et son style haut en cou- a media personality, but also iconic because his leur qui captent tous les deux l’attention du public. Cet article outfits have become conventionalised references examine son style accrocheur devant la caméra comme une to themselves. extension de ses valeurs pour le sport du hockey et de l’image qu’il a de lui-même comme celle d’un enfant de la classe ou - To a casual observer, Don Cherry’s champion - vrière qui a réussi. J’avance l’idée que Cherry utilise délibéré- ing of an aggressive, working-class masculini- ment ses tenues pour symboliser ses valeurs sociales et person- ty in his “Coach’s Corner” segments on CBC’s nelles. Utilisant les approches des études sur la mode, je cher - Hockey Night in Canada may seem to be at odds che à montrer que bien qu’elles ne soient pas véritablement du with his custom-tailored, flamboyant style. dernier cri en termes de mode, les tenues de Cherry sont des - Cherry’s sartorial choices have been the amus exemples de la capacité du vêtement à représenter la transfor - ing subject of countless interviews, YouTube mation de personnalité de la classe ouvrière. compilation videos, Reddit threads, and even Buzzfeed quizzes, but, unlike his contributions to discourses around sports, Canadian nation - al identity (Knowles; Dallaire and Dennis), vio - lence (Gillet White and Young; Allain, “Real Fast and Tough”), and masculinity (Jubas; Allain, “A Good Canadian Boy”), the statements made by his suits, though widely acknowledged as be - ing part of his popular appeal, have not been the sustained and singular subjects of academic

3 A CLEAN SHARP IMAGE study. This article, then, will build on this earli - a suit and tie, and his clothing choices are deep - er work and provide a fashion studies descrip - ly conservative: blacks, blues, greys, and khaki colours predominate, with subdued patterns in tion of his style, drawing on Cherry’s own words stripes, dots, or checks only periodically intro - to get at the meanings of his outrageous on-air duced. He prefers single-breasted jackets, and outfits. - generally eschews decorative details like pock - et squares and tie clips. Overall, MacLean seems Inspired by Julie Rak’s analysis of Cherry’s con struction of himself in the context of Canadian generally uninterested in promoting his person - ality visually; indeed, his style might be consid celebrity, this article examines his suits from a - cultural studies perspective, analysing Cherry’s - ered retiring even for a news reader or a politi - cian. When studying video of the two hosts to construction of his public image through the de - gether over time, through clips made available tails of his iconic look. Far from just a strategy - online, a deliberate pattern of rhetorical oppo - to draw visual attention to himself as a televi sition seems to emerge, with MacLean’s drab - sion personality (often at the cost of his conser - ness serving to further illuminate Cherry’s flam - vatively dressed co-anchor, Ron MacLean), it is - boyance. Sometimes, the two men’s outfits even clear that Cherry is proudly savvy about the se seem coordinated, as though they had commu miotics of his suits, and knowingly rejects main - - nicated beforehand which colours or patterns stream menswear. His assertive provisioning of his own fabrics, the hyper-masculine cut of his Cherry would wear, so that MacLean could wear something (usually a tie) to match or contrast jackets, the old-fashioned details of his collars with his costar. and cuffs, and the brash prints that match his - bold tone are all symbolic extensions of his ex In the early days of “Coach’s Corner,” Cherry pressed values for the game of hockey. While his would stand out less due to the patterns of his stiff high collars and triple-breasted jackets can - - not be called fashionable in the sense of follow jackets (the early 1980s being a period of bold ing or setting trends, I argue that Cherry’s style fabrics in fashion) and more for their cut (not the loose and unstructured sports jackets as belongs to a tradition of working-class male sar - th -century dudes, were then popular), as well as his eccentrical torial self-definition, from 19 - ly old-fashioned shirts with their tall starched mashers, and swells, to 1950s teddy boys and the - fashionable rappers of today, updated for a me white collars and often contrasting patterned - diated modern visual culture that thrives on the body. His ties, too, would frequently be the sub ject of comment on- and off-air. Yet as time went projection of personality. on, Cherry began to revel in increasingly more outrageous prints, which have, with the advent Cherry’s Look of the social network, been the fodder of blogs, - A former hockey player and coach, Don Cherry YouTube compilations, and other internet com mentary (Fig. 1). His jackets in particular are so has been a fixture of sports commentary on Ca - closely watched that he brings them to the stu nadian television for nearly 40 years. Since 1986, - dio in a garment bag, putting them on only just he has been partnered with veteran sportscaster before filming his segment (Popplewell). Part - and referee Ron MacLean, who provides a gen tle foil to Cherry’s brash appearance and opin of this is so that he looks as neat as possible - ions. MacLean dresses professionally on air, in JOURNAL OF CROSS-CULTURAL IMAGE STUDIES REVUE D’ÉTUDES INTERCULTURELLES DE L’IMAGE ISSUE 9-2, 2018 · 42

4 JULIA PETROV Unlike some celebrities who assemble their (Cherry, Hockey Stories 82) but there is also a outfits from available ready-to-wear garments, theatrical element to the anticipated reveal. Cherry’s suits are not off-the-rack. Starting in - 1985, Cherry’s suits were custom-made by Frank The classic Don Cherry look is readily classifi able. He wears two- or three-piece suits, often in Cosco, an experienced Toronto tailor to pro - fessional athletes, until shortly before Frank’s a bright solid or extremely large-scale pattern. death in 2007. Since 2010, Cherry’s main tai - His jackets always have very wide shoulders, ag - gressively angled notched lapels, and can be sin - lor has been John Corallo at the North Toron - gle-, double-, triple-, or even quadruple-breast to boutique The Coop (Deacon). The bespoke - approach to building ed. He accessorizes with pocket squares Cherry’s suits is, like his shirt collars, out - and a flower in his lapel (usually a rose, side the conventional fashion system. Cher - in honour of his first ry purchases his own wife). Sometimes, he fabrics (usually dis - will also add a pin—a Remembrance Day - count upholstery ma poppy or a Support terial from the nation - al chain store Fabri - - the Troops gold rib bon. His shirts (only cland) and takes them to Coop for tailoring ever worn once) may be white or patterned, to his own specifica - tions. Both the fabric but always with very - and the fit are import high starched collars ant to Cherry, as he re (3 ½ inches), the tabs - Figure 1: “The many suits of Canadian hockey commentator Don Cherry,” Reddit, uploaded by used ihateyourband, 15 held by a bar, and mono - - vealed on his Twitter ac Jan 2013, http://imgur.com/gallery/zT2H1 - grammed wide cuffs, usu count in 2013: “Well, I go ally with prominent sports-themed cufflinks. A to a store called Coop on Yonge Street. John, my tailor does a great job. I’ve been going to him for large wristwatch and heavy diamond ring on his 3 years. I just give him material and I don’t have left hand accentuate his gesticulations on screen. He does not wear tie bars, apparently because he to worry. They fit like a glove. Tight and that’s often untucks his tie to demonstrate its design the way I like them. It’s very difficult to work on screen: these are sometimes custom-printed with the material I give him as you know they aren’t made for suits” (qtd. in Cowan). Thus, ev - for him and feature sayings or animals of which erything about his outfits is unique: their mate he is fond; alternatively, he also wears ties with - sports franchise logos, cartoon characters, or in rial, fit, and style. patterns that match his jackets. These are tied The blog Don We Now Our Gay Apparel, dedi - in a single Windsor knot, in a unique reverse - method Cherry shares with his idol, hockey leg cated to the subject of Cherry’s on-screen looks, suggested that he looks like a 1920s gangster (“Is end Bobby Orr (Pearce). - Don Cherry a Code Name?”). This is an apt met aphor, because, like Cherry, the enduring image ISSUE 9-2, 2018 · 43

5 A CLEAN SHARP IMAGE well as the peaked lapels that point to aggressive of these petty criminals, as portrayed in classic Hollywood films, is of working-class boys who shoulder pads, are throwbacks to that decade’s fashion. Indeed, when interviewed by the na - maintained their image with casual violence, tional newspaper snappy dialogue, and occasional bigotry. Al - about his The Globe and Mail style in 2002, Cherry stated: “I consider my style though Cherry’s exaggerated suits are a long way away from the casual elegance of James Cagney, that of the men of the 1930s, where men had there is some similarity to the wide lapels, tall an elegant style, tight suits, tight collars, lots of collars, and sharply tailored silhouettes of the jewellery, a clean sharp image” (Pearce). Cherry th - was born in 1934, and his stated role-model is early-20 century. The starched collars Cher his father, Del Cherry—an amateur baseball and ry wears were a feature of menswear around 1905-1915. Indeed, his preferred combination of a white starched collar and patterned shirt can be seen in advertisements for Arrow Collars of - that period (Fig. 2). Indeed, Cherry’s use of pat terned cloth, such as large-scale checks, tartans, - or bold-coloured stripes is also a feature of Vic torian and Edwardian sportswear, the fabrics of Figure 2: “Arrow collars & shirts. Saturday evening post, April 12, 1913.” The New York Public Library Digital Collections. 1895 - 1917. The Miriam and Ira D. Wallach Division of Art, Prints and Photographs: Art & Architecture Collection, The New York Figure 3: Menswear 1930s - American, Plate 020. Gift of Public Library. http://digitalcollections.nypl.org/ Woodman Thompson. Costume Institute, Metropolitan items/510d47e2-90e6-a3d9-e040-e00a18064a99 Museum of Art. http://libmma.contentdm.oclc.org/cdm/ ref/collection/p15324coll12/id/9072 which were considered more informal than the - solids and pinstripes worn for business or eve - football player—whose custom-tailored, dan ning occasions. However, the emphasis on the dy style was also derived from that era. Indeed, - chest and shoulders seen in Cherry’s jackets is in his autobiography, Cherry captions a photo graph of his father holding him as a toddler with more characteristic of 1930s menswear (Fig. 3). the rhetorical question, “Doesn’t he look like While his jackets are, in general, cut higher, the placement of the buttons opening wide across he should be in ?” (Cherry, Boardwalk Empire n.p.)—alluding Cherry Straight Up and Personal the chest and narrowing towards the waist, as JOURNAL OF CROSS-CULTURAL IMAGE STUDIES REVUE D’ÉTUDES INTERCULTURELLES DE L’IMAGE ISSUE 9-2, 2018 · 44

6 JULIA PETROV to the HBO series centred on criminal activ Ron MacLean’s suits or the double gold medals - won by the Canadian hockey team. Evidently, ity in Atlantic City, N.J. during the 1920s and - 1930s. When interviewed for the Canadian life Cherry is also conscious of whether his clothing style talk show - achieved its desired effect; reminiscing about his Steven and Chris in 2012, Cher coaching days, he recalls wearing a plaid jacket - ry reiterated: “I go back to 1936—the way [peo whose flattering fit was not accurately recorded ple] dressed back then. I thought they were the sharpest dressers of all” (“Backstage Q&A”). by a journalist: “So there I was with a nice jacket on, sort of a light brown plaid. I had black pants. I looked pretty good. [...]. The next day in the Yet exaggerated collars, bold prints, and ac - centuated waistlines were also revived in the paper, a woman reporter really ripped us. [...]. male fashions of the 1970s, the decade of Cher - She said, ‘Not only that, Cherry had a very bland ry’s coaching career. His son Tim suggests that jacket on.’ [...]. She didn’t say that I had a nice the outrageous jackets date back to 1979, when plaid jacket. [...]. Never let the facts get in the Cherry was interviewed by American journal - way of a good story” (Cherry, Hockey Stories Part 2 112-113). Although this incident took place - ists wearing a crushed velvet burgundy or pur in 2001 or 2002, Cherry remembers it bitterly. In ple jacket: “To me, that was Dad’s first over-the- his autobiography, he captions a photo of him - top jacket. It was pretty tame compared to some of the jackets he wears today” (Cherry, Hockey self as a coach in the 1970s in a dark three-piece - 305). According to Cherry, howev Stories Part 2 suit with a pocket square, watch chain, and pin nipping his tall collar behind a snowflake print - er, he began wearing the high collars and plaid ed tie as “Looking sharp behind the bench in the jackets that are synonymous with his style as Boston Garden” (Cherry, Straight Up And Per - - early as 1971, when he was coaching in Roches sonal n.p.). ter, N.Y. It is unsurprising, then, that he should choose to reference the fashions of his coaching Hockey, to Cherry, is not an excuse for mere days in his Coach’s Corner outfits. play or casual violence; as he points out, “when you’re going to play hockey, you’re not going to Semiotics and Values see your friends, and you don’t want to look like Don Cherry’s Sports - a bunch of thugs” (Cherry, herry has been conscious of his cloth Heroes 53). Even the violence that is, to Cher - - ing for a long time. In his books, he re - ry, an important part of the game, comes with C calls what he wore at important junc its own set of sartorial rules; Cherry considers tures: writing about his earliest Coach’s Corner segments, he remembers his outfit: a tan ul - one of his main contributions to hockey to be redesigning clothing to be more conducive to tra-suede jacket (Cherry, Hockey Stories Part fights. He claims to have loosened elbow pads - 2 41). Remembering the challenges of present for swinging punches, tied down sweaters like ing in Sochi during the 2014 Winter Olympics, sock garters to prevent being ambushed when he concludes: “I don’t know if ‘Coach’s Corner’ was good or not, but the suits were and Canada another player would pull it over his head, and won both golds in hockey—that was the main cut a slit in the neck of his jersey to save his neck thing” (Cherry, Straight Up and Personal 90). from injury when it would get pulled (Cherry, The syntax of the sentence makes it difficult Straight Up And Personal 162-4). In this con - text, the adapted hockey uniform is a means to to determine whether he is prouder of his and ISSUE 9-2, 2018 · 45

7 A CLEAN SHARP IMAGE achieve the kind of aggressive play that Cherry It does my heart good to see them [minor midget players] with their team jackets and equates with the game—the kind of behaviour that Kristi Allain has called “hegemonic Ca - their shirts and ties. What sport in the world has young players wearing shirts and ties to nadian hockey masculinity” (“Real Fast and - Tough” 473). and from their games? The same as our ju - nior teams—90 per cent shirts and ties. I re member in the American Hockey League, To Cherry, wearing a suit—or at the very least, we’d travel ten hours on the bus, but when a shirt and tie—is part of the professional image we’d get off, we would have shirts and ties, required for hockey. Apart from having a uni - respect for the game and respect for our form and special equipment to play the game, - selves. (Cherry, he frequently encourages both amateurs and Straight Up And Personal professionals to wear formal clothing to delin - 161) - eate the sport as a distinctive activity and to civ ilize their behaviour. The game is special, and he - As a television commentator on hockey, there - fore, Cherry strives to maintain the same sar believes that formality is part of hockey’s heri - torial standard on screen. Setting a public ex - tage. A care for image and protocol is, for Cher - ample through his dress in demeanor hearkens ry, aligned with professionalism, team spirit, - - back to a Renaissance ideal of the courtly gen upward mobility, and Canadian culture (Cher r y, tleman with a moral imperative to dress accord - Don Cherry’s Sports Heroes 54). Honesty and ing to his station, as a historian of the suit David respectability are also important hockey values M. Kuchta writes: “bravery in dress was justified for Cherry, something he believes is expressed by bravery in battle. Conspicuous consumption through dress: was a rightful and manly honor bestowed upon One night on “Coach’s Corner,” I showed him by his noble status and position at court” some basketball players walking into their - (503-504). Just like his Renaissance predeces game dressed like slugs, and then I showed sors, Cherry’s self-fashioning is a social and pro - fessional obligation. some hockey players walking into their game dressed like they just stepped out of Cherry’s consciousness about clothing has be - Esquire, and then I showed Evander Kane - of the Winnipeg Jets in an interview, and come part of his performance as a commenta - he looked like a male model. I was making tor. He is purposeful with his image and visibili ty, as he explained in an interview on a point. Hockey players have respect for Steven and Chris : themselves and respect for the game. In many ways—the way they act and the way Straight Up And Per - they dress. (Cherry, When I was in Boston I got a new suit and 159) everybody in the papers were saying: “Oh, sonal what a beautiful suit.” So I thought, “Well, He credits the lack of drugs and crime in hockey if they like this suit, let’s get a plaid.” So I (as opposed to other sports) to this uniformed - got plaid. It then got to a point where peo - courtesy, and thinks this is something that starts ple were tuning in to see what I was wear at a young age in amateur hockey: ing, not what I was coaching. Then I got into television. I remember they all wore JOURNAL OF CROSS-CULTURAL IMAGE STUDIES REVUE D’ÉTUDES INTERCULTURELLES DE L’IMAGE ISSUE 9-2, 2018 · 46

8 JULIA PETROV Cherry’s suit in the zebra print, with a high-col blue jackets. I said, “I don’t have to wear - one of those jackets.” So I got into the plaid lared shirt, wide tie, and pocket square (but sans Cherry’s signature rose in his lapel). In ef - and everything else. Now I go out and get drapery and everything. I think the kids get - fect, Mercer is Cherry’s mirror image—if Cher a big kick out of it too. (“Backstage Q&A”) ry is an effete, but heterosexual hypermasculine man, Mercer is openly gay, but heteronormative in his self-presentation; the joke is that accord - - He frequently discusses his outfits on air, point ing out details to the camera. When he does, he ing to stereotypes Mercer (who usually wears open-collar white shirts and black suits) should highlights them as a costume; they permit him be wearing outrageous outfits. Yet I would argue to express his allegiance to particular hockey that Cherry’s suits are exaggerated symbols for teams through his choices of colours or logos, what he perceives as his authentic self: a proud or to appeal to “the kids” with cartoon ties. In - ly well-tailored working-class athlete. Further - 2008, he gave fans a comic look into his style - more, as Rak suggests, his suits allow him to process with an appearance on the CBC satiri align himself with the costumed fan audienc - cal program Rick Mercer Report (Fig. 4). Cher - - es for hockey, but also, in his self-aware outra ry took the host through the drapery section at Fabricland, choosing a zebra print. The duo geousness, as an outsider to the wealthy elite then proceeds to fittings at his tailor, and all the who control the media and the game. while Cherry signs autographs. In the last scene, Cherry adjusts his tie in a mirrored door, from Working-Class Dandy behind which Mercer emerges wearing a copy of t is very important to Cherry to stay close to his roots. He devotes a section in his autobi - I ography to what he calls his “minor leaguer” ways—the lingering sense that his fame and suc - cess are fleeting. He describes feeling guilty fly - ing first class, eating out, or buying expensive consumer items; he envies Ron MacLean’s abil - ity to treat himself and thinks about what it felt like to work an insecure job in construction or in minor-league hockey. He lives in a small house and drives old cars. He insists that this is a con - scious consumer choice, rather than a character trait: “I am not cheap, I pay my rounds” (Cherry, Figure 4: Screencap from “Making a suit with Don Cherry.” YouTube, uploaded by Rick Mercer Straight Up And Personal 106). Indeed, over and https://www.youtube.com/ Report, 18 Nov. 2008, over again in interviews he underscores the fact . watch?v=EFPuMzza9hk that he sources and pays for his clothing himself. Globe and Mail In an interview, the newspaper asked him, “Where do you shop? Any special people who help you out—salespeople, friends, family? Do you have any sponsors?” (Pearce). In an age of celebrity stylists and endorsement ISSUE 9-2, 2018 · 47

9 A CLEAN SHARP IMAGE deals, such a question is natural. Yet Cherry she writes: “Camp is the modern dandyism. bristled, and emphasized his independence in Camp is the answer to the problem: how to be a dandy in the age of mass culture” (528). Her his reply: “I buy my own clothes, nothing is giv - position has more recently been reasserted in en to me, except the odd ties that a fan will send Fabio Cleto’s definition of camp as an aesthetic, to me. Nobody picks out my clothes but me!” - centering on carnivalesque flouting of conven (Pearce). Eleven years later, in a series of tweets, tions, especially in the decoration of the body he reiterated this point: “I pay for my shirts, through fashionable excess (9-10). While there suits, ties, jackets, cars etc. I pay for everything. are certainly elements of camp’s ironic frivolity I do not get anything for free. That’s just the way it has to be. As my dad used to say... there is no in Cherry’s wardrobe choices, his fastidiousness free lunch in this world” (qtd. in Cowan 2013). about his appearance is, however, less related to a performance of sexuality and more close - It seems that this sartorial independence is not ly aligned with a long tradition of working-class merely a statement of his individuality, but also related to his sensitivity about his class roots. preoccupation with appearance as a declaration of cultural capital. As Kristi Allain has noted in her discussion of Cherry’s sports commentary, “A Good Canadi - In his seminal 1979 text, Dick Hebdige analyzed an Boy,” the former coach champions a nostalgic the uses of dress by working-class youth sub - cultures in Britain, noting a tradition amongst vision of a primarily rural, working-class, ag - many of them towards a kind of dandyism. gressive masculinity within hockey, with its own The use of the term “dandy” may be a misno - wholesome morality policed through hard work mer—generally, dandies are men who practice and fair play. Yet there are many contradictions - extreme self-restraint in their search for fash inherent in his avowed identities—his lucrative ion perfection as opposed to being flamboyant - roles as spokesperson for leading brands and his fame put him far apart from the hard-scrabble ly vulgar. However, in popular usage, the term does refer to men who display above-average country boys he identifies with. Furthermore, concern with self-fashioning and the highly vis - - although his style harkens back to a tougher ver sion of heteronormative masculinity, he himself - ible performance of style, in opposition to nor - mative (casual) attitudes to clothing (see Bre recognizes that its performative flamboyance ward for a definitive overview of dandyism). may be seen as camp: “I must admit my style has been called foppish, but I like it. I also heard on Likewise, in Hebdige’s case studies, these of - the radio the other day that I looked like a gay - ten-marginalized groups used dress to distin because everything was so clean and neat and all guish themselves. Hipsters, teddy boys, mods, Rastafarians, skinheads, and punks to varying jewellery. Love it!” (Pearce). Indeed, more than - degrees all appropriated nostalgic and aspira one Twitter user has noted a similarity between his style and that of the camp gay icon Sir Elton tional aesthetics to locate their own imagined John (CBC News; @Pegger3D). Homosexuality identities. While James Gillett, Philip White, and eccentric or extravagant dress are aligned - and Kevin Young suspected that Cherry’s dan dyism was a caricature and part of an act (61), in heteronormative stereotypes because of their association with effeminacy. Susan Sontag has a comparison between subcultural style and suggested that both are expressions of mediated - Don Cherry’s dress reveals compelling similar ities. Cherry has fashioned himself into an icon: popular modernity; in “Notes on Camp” (1964), JOURNAL OF CROSS-CULTURAL IMAGE STUDIES REVUE D’ÉTUDES INTERCULTURELLES DE L’IMAGE ISSUE 9-2, 2018 · 48

10 JULIA PETROV like the players he coached, he uses his body as capital. This self-awareness of sartorial per - formance has a long history: Monica L. Miller identifies it in Black dandyism (219), its roots in - the dress of the working classes, diasporic Afri th cans, and sports figures of the early-20 - centu ry. Even earlier than that, the swells, mashers, th and dudes of the 19 century were working-class men who dressed in upper-class styles, often in highly patterned and heavily accessorized suits to attract attention. These men were associat - ed with various disruptions of middle- and up - - per-class social norms, with their affected cloth ing, slangy speech, preoccupation with leisure Figure 5: Alfred Concanen, Music sheet cover for ‘I like to be a swell’, written by Gaston Murray, sung by Arthur Lloyd, 19th century, lithograph, 33.5 x 23.5 cm, Gabrielle Enthoven Collection, Victoria and https://collections.vam.ac.uk/item/ Albert Museum. O1249920/i-like-to-be-a-sheet-music-murray-gaston/ Figure 7: “Cockney” and “Bowery” from World’s Dudes series (N31) for Allen & Ginter Cigarettes, 1888, Commercial color lithographs, 7 x 3.8 cm each, The Jefferson R. Burdick Collection, Gift of Jefferson R. Burdick, Metropolitan Museum of Art. http://www. metmuseum.org/art/collection/search/411306 , http:// www.metmuseum.org/art/collection/search/411240 pursuits and alcohol, as well as their propensi - ty towards assault: the swell (Fig. 5) betrays his pretensions to a higher status with his showy dress and extreme facial hair; the masher mar - Figure 6: Tiller family marionette company, marionette ionette (Fig. 6) holds a beer bottle in his hand, representing a young ‘masher’ brandishing a beer bottle, 1870 to 1890, carved wood with paint and such young men were known for sexually and fabric, 71 cm, Victoria and Albert Museum. harassing barmaids and music hall actresses; https://collections.vam.ac.uk/item/O57558/ marionette-tiller-family-marionette/ and Fig. 7 shows a brutish yet stylish man from ISSUE 9-2, 2018 · 49

11 A CLEAN SHARP IMAGE the Bowery, an area of New York City notorious - be much heavier than MacLean, which demon for gang activity. strates how the suits are calculated to emphasize and enlarge Cherry’s appearance. All these classes of men, across time, have co-opted dominant cultural status symbols to Cherry points out that he has two wardrobes: one for his public appearances as a television overcome their own disenfranchised status-- personality and another for his private life. He which Roopali Mukherjee has identified as a ba - - sis for hip-hop style (the alliance between rap - writes: “All those fancy suits and jackets. Hon pers and luxury brands as a form of social po - estly, I treat them as costumes. I feel more at - home with a T-shirt, cut-off sleeves and Cra sitioning). Yet it can also be said to be true for zeewear [American athletic-wear brand] pants” other groups, such as the white working classes th th of the late-19 Straight Up And Personal and early-20 105). Yet this centuries. And so, (Cherry, casual look is also costume-like. Indeed, candid it seems, also for Don Cherry: he is able to use - images of Cherry out-and-about show him al his platform to signal the values of those from - backgrounds such as his and to give them cul most undercover in oversized trench coats or tural visibility. baggy football jackets, heavy boots or trainers, loose pants, and flat-caps worn low. Even when But Is It Fashion? - trying to be inconspicuous, he maintains a dis tinct visibility. herry’s outfits garner a lot of public at - - With his deliberate references to 1930s style, tention: there are blogs, Tumblrs, Twit ters, and Pinterest boards dedicated to C Cherry stands apart from the contemporary styles embraced by modernity. Yet he is not the his “style,” though most are tongue-in-cheek - - only famous silver-haired male to wear anachro homages to his most outrageous looks. His jack nistic clothing. The eminently fashionable Karl ets even have been screen-printed as designs for hockey jerseys, usually for charity games—the Lagerfeld also wears extremely high collars (as high as four inches, custom-made for him by the medium has become the message, as Cherry’s London tailors Hilditch and Key), accessoriz - - outfits have come to stand in for the man him es with heavy jewelry, and does not shy away self. Some players, such as Montreal Canadiens from bold pattern or outspoken opinions. He is - defenceman P.K. Subban and Edmonton Oil equally aware of its theatricality; in 2007 he said ers captain Connor McDavid, have worn Cher - of his style, “I am like a caricature of myself and ry-style suits as cheeky tributes to the legend - I like that. It is like a mask. And for me the Car - ary commentator (Subban actually borrowed nival of Venice lasts all year long” (“Karl Lager one of Cherry’s jackets for an on-air impression - feld’s Quotes”). It is perhaps more appropriate to in 2015). His co-host, Ron MacLean, also riffs - call both of their looks a style rather than fash on Cherry’s looks sometimes—wearing a dou - ion—while it is imitated, it is not commercial - ble-breasted jacket on his return to “Hockey - ly popular in the way that mass-market fashion Night in Canada” in 2016 (Mudhar), or borrow ing one of Cherry’s jackets (in saffron-yellow is, and imitations tend to be loving humorous raw silk) in 2002 (“Hockey Night in Canada”). parodies of Cherry or Lagerfeld as personalities Surprisingly, it fit him rather well through the rather than wholesale attempts to copy a look for its aesthetic appeal. Karl Lagerfeld has even shoulders and arms, although Cherry appears to JOURNAL OF CROSS-CULTURAL IMAGE STUDIES REVUE D’ÉTUDES INTERCULTURELLES DE L’IMAGE ISSUE 9-2, 2018 · 50

12 JULIA PETROV ties. Much to our regret, when the finals run integrated aspects of his look for fashion collec - into late June and we’re in the heat from tions (such as white collared shirts for his ready- to-wear Fall 2017 collection) for those who wish places like L.A. and Tampa, the shirt looks uncomfortable—and they are, but you are to playfully masquerade as the designer, whose brand is his own appearance. Indeed, Cherry who you are. (47) discourages would-be imitators; when asked - No matter how outrageous he may seem to oth “What’s your number one Steven and Chris, on ers, or how out of touch with contemporary fashion tip?” Cherry replied: “I don’t recom - trends, Cherry has a deep need to be authentic mend anyone to wear what I’m wearing, espe - to his own vision of himself. cially the shirts. They’re very uncomfortable. As my Dad told me one time: it’s better to look - good than feel good. You have to feel uncom Conclusion fortable” (“Backstage Q&A”). Indeed, to suffer n the early 2000s, the “Coach’s Corner” for fashion seems to be, for Cherry, another way - segment was sponsored by men’s cloth to express his masculine strength and fortitude. I ing brand Moore’s. As Thom Workman has pointed out, the contrast between their conser Cherry’s style might be called kitsch: it is icon - - - ic but irreverent. Indeed, Rak has suggested vative, cut-price styles and Cherry’s flashy out fits presented an apparently ludicrous contrast - that there is an element of irony within Cher ry’s wardrobe choices, a knowing nod to his fans (37). Yet as this article has shown, the company’s “Well Made, Well Priced, Well Dressed” slogan and an idealized past (162). However, despite its - - also fits well with Cherry’s ideas about respect seeming outlandishness, Cherry is totally com ful, humble, frugal, working-class hockey and, if mitted to his look, and this consistency makes it seem sincere. Although he was named Canada’s we are to take his own words at face value, about - himself also. Any expression of identity, includ - “worst-dressed man” in 1994 (Smith), he actu ally produced a surprisingly sensible list of tips ing through dress, is inevitably informed by the Macleans for wearing suits and ties for magazine intersecting gender, class, and other social con - in 2013, exhorting male readers to press their texts of the individual, and so Cherry’s suits are clothing and consider its fit and appropriateness a performance of self and all-at-once reference: th and final tip, he to the occasion. Yet, for the 10 his father and the decade of his birth; traditional - admits that while a casual look may be appropri - sportswear; the self-made working-class back ate to some occasions (such as travelling by air), ground he identifies with; his coaching career; it is not for him. Likewise, in his autobiography, - the professional masculine image of Canadi an hockey; his personal aesthetic; his late wife; Straight Up and Personal , Cherry discusses his flight to Afghanistan: and his performative role as an on-air com - mentator. Cherry is a master of the language of It seems we are flying forever, and I can clothes; like him, his suits are loud, and like his on-screen opinions, their message is bold and look around and everybody looks so com - fortable in their casual wear. Why do I have straightforward. While undoubtedly calculated to be so vain that I must travel in a suit, shirt to make the maximum visual impact for me - and tie? Ron [MacLean] and I are the only dia dissemination, they are also authentic to his sense of his own identity. ones in the media who travel in suits and ISSUE 9-2, 2018 · 51

13 A CLEAN SHARP IMAGE Cherry, Don. Don Cherry’s significance as a Canadian public Don Cherry’s Hockey Stories and Stuff. Doubleday Canada, 2009. figure and his appeal to hockey fans and Cana - dians at large is due not only to his knowledge Don Cherry’s Sports Heroes . Doubleday Canada, 2016. ---. of the game but also to his skillful and sincere sense of style. The apparent paradox of his out - . Doubleday Canada, 2011. Hockey Stories Part 2 ---. landish outfits and his conservative views and identity is resolved by viewing Cherry in light of the history of working-class dandyism. Further ---. - Straight Up and Personal: The World According to Grapes . Doubleday Canada, 2015 more, as he is perhaps the only Canadian pub - lic figure to generate so much media attention for his clothing, an analysis of Cherry’s style is Cleto, Fabio. “Introduction: Queering the Camp”. Camp: Queer Aesthetics and the Performing Subject: A a contribution to the field of Canadian fashion Reader , edited by Fabio Cleto, University of Michigan studies and the ways in which dress and identity Press, 1999, pp. 1-42. are uniquely aligned in this context. Cowan, Stu. “Want to Dress Like Don Cherry?” - Mon treal Gazette http://montrealgazette. , 10 Sept. 2013, Works Cited com/sports/want-to-dress-like-don-cherry . Accessed 20 Aug. 2017. Allain, Kristi A. “Real Fast and Tough”: The Con - Sociology struction of Canadian Hockey Masculinity.” of Sport Journal , vol. 25, no. 4, Dec. 2008, pp. 462-481. Dallaire, Christine, and Claude Denis. “’If you don’t speak French, you’re out’: Don Cherry, the Alberta Francophone Games, and the discursive construction - ---. “ ‘A Good Canadian Boy’: Crisis Masculinity, Ca - Canadian Journal of So of Canada’s francophones.” nadian National Identity, and Nostalgic Longings in , vol. 25, no. 4, 2000, pp. 415-40. ciology Don Cherry’s Coach’s Corner.” International Journal of Canadian Studies , no. 1, 2015, pp. 107-132. Deacon, Eleni. “Meet the Man Who Dresses Don Torontoist http://torontoist. , 19 Sept. 2013, Cherry”, com/2013/09/meet-the-man-who-dresses-don-cher - “Backstage Q & A: Don Cherry.” CBC , 29 November, . Accessed 20 Aug. 2017. ry/ - http://www.cbc.ca/stevenandchris/life/back 2012, stage-q-a-don-cherry . Accessed 20 Aug. 2017. Gillett, James, White, Philip. & Young, Kevin. “The prime minister of Saturday night: Don Cherry, the - Breward, Christopher. “The Dandy Laid Bare: Em See CBC and the cultural production of intolerance”. - - Fashion Cul bodying Practices and Fashion for Men.” , ing Ourselves: Media, Power and Policy in Canada , edited by tures: Theories, Explorations and Analysis edited by Helen Holmes and David Taras, Harcourt, Stella Bruzzi and Pamela Church Gibson, Routledge, Brace & Jovanovich, 1996, pp. 59-72. 2000, pp. 221-238. CBC News. “Cherry’s jacket draws bouquet of Methuen, 1979. Subculture: The Meaning of Style. Hebdige, Dick. https://www.cbc. , 15 Jun. 2011, Tweets.” CBC News ca/news/canada/cherry-s-jacket-draws-bouquet-of- “Hockey Night In Canada: Share your HNIC stories”, tweets-1.1100393 . Accessed July 30, 2018. https://www.thestar.com/ Toronto Star , 4 June 2014, - sports/hockey/2014/06/04/hockey_night_in_can JOURNAL OF CROSS-CULTURAL IMAGE STUDIES REVUE D’ÉTUDES INTERCULTURELLES DE L’IMAGE ISSUE 9-2, 2018 · 52

14 JULIA PETROV Mukherjee, Roopali. “The Ghetto Fabulous Aesthet - , Accessed 20 ada_share_your_hnic_stories.html , Cultural Studies ic in Contemporary Black Culture.” Aug. 2017. vol. 20, no. 6, 2006, pp. 599-629. Don We Now Our . Twitter @Pegger3D. “He’s dressed like ELTON JOHN”. “Is Don Cherry a Code Name?” 14 May 2018, 5:14 p.m., - Gay Apparel , 3 Oct. 2009, https://twitter.com/Pegger3D/ https://doncherryjacket . Accessed July 30, 2018. watch.wordpress.com/2009/10/03/is-don-cherry-a- status/996181903806992385 . Accessed Aug 20, 2017. code-name/ Pearce, Tralee. “You look first-class, you play first- https://www. Globe and Mail class.” , 02 Mar. 2002, Jubas, Kaela. “Theorizing Gender in Contemporary theglobeandmail.com/life/you-look-first-class- Canadian Citizenship: Lessons from the CBC’s Great - you-play-first-class/article25292455/ . Accessed 20 est Canadian Contest.” Democracy in Education , spe - Aug. 2017. , vol. 29, Canadian Journal of Education cial issue of no. 2, 2006, pp. 563-583. DOI 10.2307/20054177. Popplewell, Brett. “In His Corner: Behind the scenes - at Coach’s Corner, the most famous segment in Ca Knowles, Richard Paul. “Post-, “Grapes,” Nuts and http://www.sportsnet. , Sportsnet nadian television.” Flakes: “Coach’s Corner” as Post-Colonial Perfor - ca/hockey/nhl/behind-the-scenes-at-coachs-corner- mance.” , vol. 38 no. 1, 1995, pp. 123-130. Modern Drama . Accessed 20 Aug. 2017. don-cherry-ron-maclean/ Kuchta, David M. (2007). “‘Graceful, virile, and use Rak, Julie. “Lament for a Hockey Nation, Don Cherry - and the Apparatus of Canadian Celebrity.” Cultures ful’: The origins of the three-piece suit.” The Men’s of Celebrity in Canada. Edited by Katja Lee and Lor Fashion Reader , edited by Andrew Reilly and Sarah - Cosbey, Fairchild, 2000, pp. 498-511. raine York, Wilfrid Laurier University Press, 2016, pp. 150-178. Macleans. “10 tips from Don Cherry: ‘When wearing Rush, Curtis. “Don Cherry Regains His Roar.” The a striped shirt, only a plain tie’ ... and other tips from New York Times, 26 Dec. 2017, p. B5. , 21 Jun. 2013, http:// the Coach’s Corner.” Macleans www.macleans.ca/society/life/10-fashion-tips-from- Smith, Leslie C. “Fops Faux Pas.” The Globe and Mail, . Accessed 20 Aug. 2017. don-cherry/ 29 Dec. 1994, p. D4. “Making a suit with Don Cherry.” YouTube, uploaded https://www. by Rick Mercer Report, 18 Nov. 2008, - Sontag, Susan. “Notes on ‘Camp’.” The Partisan Re . youtube.com/watch?v=EFPuMzza9hk view , Fall 1964, pp. 515- 530. Slaves to Fashion: Black Dandyism Miller, Monica L. “Karl Lagerfeld’s Quotes.” Vo g u e , 9 Feb. 2009, Duke Uni - and the Styling of Black Diasporic Identity. - http://www.vogue.co.uk/gallery/karl-lagerfeld-fa versity Press, 2009. mous-quotes . Accessed 20 Aug 2017. Mudhar, Raju. “Rogers admits overhaul of Hockey Workman, Thom. “The Neo-Liberal Rollback in Night in Canada didn’t catch on”, - , 27 , ed Toronto Star Historical Perspective.” Working in a Global Era https://www.thestar.com/sports/hock - June 2016, ited by Vivian Shalla, Canadian Scholars Press, 2011, pp. 37-67. ey/2016/06/27/ron-maclean-confirmed-as-host-of- . Accessed 20 Aug. 2017. hockey-night-in-canada.html ISSUE 9-2, 2018 · 53

15 A CLEAN SHARP IMAGE Image Notes Figure 5: Alfred Concanen, Music sheet cover for ‘I - Figure 1: “The many suits of Canadian hockey commen like to be a swell’, written by Gaston Murray, sung - tator Don Cherry,” Reddit, uploaded by used ihateyour by Arthur Lloyd, 19th century, lithograph, 33.5 x 23.5 http://imgur.com/gallery/zT2H1 band, 15 Jan 2013, - cm, Gabrielle Enthoven Collection, Victoria and Al bert Museum. https://collections.vam.ac.uk/item/ Figure 2: “Arrow collars & shirts. Saturday evening O1249920/i-like-to-be-a-sheet-music-murray-gaston/ post, April 12, 1913.” The New York Public Library Digital Collections. 1895 - 1917. The Miriam and - Figure 6: Tiller family marionette company, mar Ira D. Wallach Division of Art, Prints and Photo - ionette representing a young ‘masher’ brandish - graphs: Art & Architecture Collection, The New York ing a beer bottle, 1870 to 1890, carved wood with http://digitalcollections.nypl.org/ Public Library. paint and fabric, 71 cm, Victoria and Albert Mu - items/510d47e2-90e6-a3d9-e040-e00a18064a99 seum. https://collections.vam.ac.uk/item/O57558/ marionette-tiller-family-marionette/ Figure 3: Menswear 1930s - American, Plate 020. Gift - of Woodman Thompson. Costume Institute, Metro Wo r l d’s Figure 7: “Cockney” and “Bowery” from http://libmma.contentdm. politan Museum of Art. Dudes series (N31) for Allen & Ginter Cigarettes, 1888, oclc.org/cdm/ref/collection/p15324coll12/id/9072 Commercial color lithographs, 7 x 3.8 cm each, The Jefferson R. Burdick Collection, Gift of Jefferson R. http://www. Burdick, Metropolitan Museum of Art. Figure 4: Screencap from “Making a suit with Don , http:// metmuseum.org/art/collection/search/411306 - Cherry.” YouTube, uploaded by Rick Mercer Re www.metmuseum.org/art/collection/search/411240 port, 18 Nov. 2008, https://www.youtube.com/ . watch?v=EFPuMzza9hk JOURNAL OF CROSS-CULTURAL IMAGE STUDIES REVUE D’ÉTUDES INTERCULTURELLES DE L’IMAGE ISSUE 9-2, 2018 · 54

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