National Geographic History - 05.2019 - 06.2019

10 MAY/JUNE 2019

PROFILES

deny the story failed. His impudent and

stylish persona sometimes made false-

hoods difficult to identify.

Exile and Ignominy

By his late 30s, the same piercing humor

and cool impertinence that had marked

his ascent up the social ladder also marked

his descent into disgrace. Brummell did,

in fact, publicly insult the prince regent,

asking the prince’s companion, “Who is

your fat friend?”

Whether this was, in fact, the offense

that brought an end to their relationship

in 1812 is still lost in historical rumor. The

loss of his royal patron did not immedi-

ately affect Brummell’s lofty societal po-

sition, but his extravagant lifestyle and

gambling habits had exhausted the small

fortune he had inherited from his father.

To escape his creditors, in 1816 Brummell

fled to Calais, in northern France. He was

appointed British consul in 1830 in near-

by Caen, but the position lasted only two

years. Lacking diplomatic immunity, he

was jailed for his mounting debts. Char-

itable friends from England secured his

release, but Brummell spent his final days

in a state of severe depression and self-

delusion. The man who had thought beer

the most vulgar of drink confused it with

champagne. He donned an evening coat,

lit candles, and displayed flowers to host

parties for nobles who were but ghosts—

long-dead royalty whose departure from

his imaginary soiree was signaled only by

a brief respite from madness.

In 1840, at the age of 61, Brummell died

in an asylum in Caen, and was buried in a

coffin paid for by charity, an ignominious

end for a man once celebrated for his style.

His legacy, however, is assured. Finding

his elevation to style icon inexplicable,

Brummell once asked a confidant: “If the

world is so silly as to admire my absurdi-

ties... what does that signify?” Even so,

his “absurdities” permanently trans-

formed men’s fashion and lifestyle. His

creation of the sculptured suit, collar and

tie—even a grooming routine—still in-

forms the way many men dress. Indeed,

with his nonchalant display of wit, poise,

and indifference that aimed to astonish

rather than to please, Brummell created

not only the modern concept of individ-

uality but celebrity.

His bronze statue stands in a fitting

location: London’s historic and fashion-

able Jermyn Street, home to the city’s fin-

est men’s tailors. It bears Brummell’s

mantra: “To be truly elegant one should

not be noticed,” a perhaps ironic encap-

sulation of the man who was not only no-

ticed but copied, the catalyst and poster

boy of a fashion revolution.

—Ignacio Peyró

COLOR LITHOGRAPH OF BEAU BRUMMELL

DRESSED IN HIS ICONIC STYLE, BY ROBERT

DIGHTON, 1805

A CUT ABOVE

BEAU BRUMMELL was not an aristo-

crat; he was a commoner admitted

to the royal circle. Maintaining that

position meant living beyond his

means. Some historians believe

that the sobriety of his style was

linked to the relative modesty of his

origins. As he could not compete in

terms of jewels and ornamentation,

he concentrated instead on refining

the cut of his clothes. Brummell

created and made fashionable the

modern man’s suit. His attire was

hand- tailored and form flattering,

marking the end of billowy panta-

loons and tunics. The linen cravats

that he expertly knotted were the

precursors of modern ties, and the

structured shirts he favored were of

a similar cut to those worn today.

BRIDGEMAN/ACI

Linen, muslin, or

silk cravat

High, pointed,

riding boots

(Hessians)

Form-fitting

breeches

A short, slightly

tousled haircut

Short-tailed

jacket

Top hat, cane,

and gloves