(Roughly) Daily

When brands get highjacked…

At far-right rallies across the U.S., an English tennis champion named Fred Perry hovers, invisible to the men unwittingly representing him. For the last two years, members of the Proud Boys cult of masculinity have worn Perry-branded striped-collar polo shirts with a Wimbledon-inspired laurel insignia as they shout at anti-fascist protesters and take rocks to the head. In blog posts and tweets dating back to 2014, their patriarch Gavin McInnes has instructed them that this — a Fred Perry cotton pique tennis shirt, always in black and yellow — is the proper armor for battling multiculturalism.

The Proud Boys at most have a few hundred active members, but they are a fixture at fascist “free speech” events like this month’s anti-Muslim marches, where they mingle with white supremacist and neo-Nazi groups. McInnes is eager to point out that the Proud Boys accept people of color, Muslims, and Jewish people — so long as those members also “accept that the West is the best” and reject non-Western immigrants to America (McInnes is Canadian). But McInnes insists his followers are not themselves white supremacists, a clarification he has to make partially because Fred Perry polos have a history of popping up at racist skinhead punk shows and rallies across Europe and the Americas. The shirts have been a fixture in some form or another, in all their two-dozen-plus colorways, in both fascist and anti-fascist politics for fifty years, here in the States but especially in England, where both the brand and the skinhead subculture that co-opted it are from…

The whole sordid story at “How Fred Perry polos came to symbolize hate.”

* “Every miserable fool who has nothing at all of which he can be proud, adopts as a last resource pride in the nation to which he belongs; he is ready and happy to defend all its faults and follies tooth and nail, thus reimbursing himself for his own inferiority.”
― Arthur Schopenhauer, Essays and Aphorisms

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As we cull our wardrobes, we might recall that it was on this date in 1787 that Edward Gibbon completed last lines of his monumental (and instructively cautionary) History of the Decline & Fall of the Roman Empire (nearly 25 years in the writing) between 11 o’clock & midnight in Lausanne.  He called it the “hour of my final deliverance.”

(In 1897, precisely 110 years later, Thomas Hardy visited the same spot and wrote his “Lausanne.”)

Edward Gibbon, portrait by Sir Joshua Reynolds

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