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Telegraph
9 hours ago
- Entertainment
- Telegraph
Morning suits felt generic, so I wore national dress to Royal Ascot
As a menswear editor, I'm approached nearly every year to write some kind of men's style guide for Royal Ascot – and I always decline. The uniform for each enclosure has changed only in small degrees for the best part of a century, so it rarely piques my interest. At least they allow divorcees these days. The pomp and ceremony surrounding such occasions are meant to show a country and its people at their best, so 'national dress' – the most symbolic, patriotic attire worn for official events – is de rigueur. But what many top-hatted chaps wilting beneath their starched collars and tailcoats don't realise is that there's more than one uniform to wear to Royal Ascot. I'm lucky enough to be invited to the Royal Enclosure every year, and each time I admire the guests who reject the generic look and instead adopt national dress – a long-standing part of Ascot's stylistic heritage. For example, traditional dress includes the Japanese wearing kimonos and guests from the Arab world in thawbs. It made me wonder: why am I here wearing another man's clothes? While I was born British, my bloodlines stretch much further afield. My parents were born in what was then British Malaya – now Malaysia – and I am Malaysian Chinese and Malaysian Indian (that's the short version); two groups that have long contributed to the rich melting pot of Malaysian culture. To me, nationality is what's on your passport, but heritage and ethnicity are rooted in the lands you are culturally tied to. So, while I'm British by nationality, I consider myself Malaysian, Chinese and Indian – and I'm proud of all three. When I was growing up in the UK, in a predominantly white area, I was the token Asian kid. People would ask me where I was from, but it was usually out of curiosity rather than hostility. Nowadays, in our PC–obsessed times, when Caucasians ask where I'm from, I respond by asking whether they want to know where I live or what my ethnicity is. They're often mortified by the suggestion that they're really enquiring about my ethnicity – and I have no idea why (look at my face and listen to my accent; something doesn't add up). If you don't ask, you don't learn – and that's key to understanding our fellow humans. But I digress. Back to the task at hand – an ensemble for Royal Ascot. I began looking into the logistics of wearing the national dress of my heritage. Strangely, it seemed a rather grey area within the very defined dress code guidelines on the Ascot website, which states: 'Overseas visitors are welcome to wear the formal national dress of their country… if your national dress does not include a headpiece, then you do not need to wear one.' Overseas? What if you culturally identify with an 'overseas' nation but don't hold its citizenship? I wrote to the Ascot PR board to clarify this. It took some time, but I eventually received a response stating that I was welcome to wear the national dress of my heritage 'as long as it adheres to the national dress codes of that nation.' Okay, clear enough. For me, that meant the Baju Melayu – traditionally Malay attire but worn by all races at official government ceremonies. While I am not ethnically Malay, according to the guidelines, this was what would pass muster with the Royal Enclosure stewards – and hopefully not send them into a clammy sweat when deciding whether to admit me. The Baju Melayu developed from Islamic clothing in 15th-century Malacca, when North Indian traders came to the Malay peninsula, which is why it resembles the salwar kameez – the long tunic shirt style and flowing trousers common in South and Central Asia. This coordinated two-piece suit is wrapped with a samping at the waist – a short sarong-like garment made from an ornate silk-cotton brocade fabric known as songket, traditionally woven with gold or silver threads on wooden looms in a vast array of patterns, each with its own significance. The headgear is either a songkok – a black fez-like lozenge-shaped cap – or, for the most regal occasions, the tanjak or tengkolok, which is essentially a songket fabric crown wrapped around the head; each Malaysian state has its own specific shape. The style I'm sporting here is from Kedah – originally the historic state of Penang Island, where my mother hails from. I could also have worn the Perak tanjak in homage to my father's home state, but I didn't like the shape as much. And I can attest it's a lot more airy than a topper, thanks to its open-crown design. It's a pretty fine-looking outfit, and I shall be proud to wear it to shine a spotlight on this lesser-known national dress – and hopefully be a little more comfortable in the often sultry weather at the racecourse. If anything, I'd like to encourage more attendees of such occasions to do the same. If you don't practice your cultural customs, they're soon consumed by the tidal wave of globalisation. Several decades ago, on my first visit to the Big Apple (New York City), I visited the Ellis Island museum and was struck by the displays of parcels wrapped with all manner of different knots. I learnt that immigration officials could tell where people hailed from just by the way they had knotted the string on their luggage. All these cultural quirks and nuances have long been lost in the mists of time. But I hope we can at least preserve our national dress, wherever we hail from, to celebrate the differences that make up the rich tapestry of human culture – before the world morphs into one generic white Gap T-shirt. Or standard morning suit, in this instance. How did it go on the day? On the drive to the racecourse, the first hurdle in my mind was entering the Royal Enclosure in a mode of dress that probably isn't very familiar to the stewards. But it passed without ceremony. They barely batted an eyelid. They were more concerned about the possibility of me smuggling in food in my raffia bag (but didn't even want to look in my Tanjak). After passing the gilded gates, I couldn't shake off the swarm of photographers – mildly annoying, as I needed to pee after spending two hours in a car from east London, trying to sit in a way that wouldn't wrinkle my clothes. Walking through the grounds of the Royal Enclosure and stepping into the turf-level Summerhouse, I received many smiling, admiring and curious glances, but no one approached me. Perhaps they thought I didn't speak English – or more likely, were too timid for fear of putting a foot wrong. A colleague informed me that, in this locale, people are concerned about breaching protocol. Perhaps they thought I was some minor Sumatran princeling. It was a different story once the booze started flowing. Several top-hatted and fascinator-clad couples came over to compliment me – and they knew what it was. 'I lived in Singapore in 1988/1991/etc – it's beautiful.' One chap, part of an all-male group in toppers, came up to say, 'You look a damn sight better than us.' But of course, the biggest fans were women. They had competition with their headgear, after all. Endless pictures. And compliments. I also received several curtsies, which made me chuckle. Who did they think I was?! Later, while wandering around Car Park 3 searching for my driver, I heard a familiar lilt shout, 'You're Malaysian!' It was another driver (not mine, sadly), from Kuala Lumpur, who was thrilled with my outfit. 'I've not seen this for years. Thank you for promoting our culture,' he said. It was probably my happiest memory from the day – even though we were standing on a sun-baked patch of dusty gravel.
CTV News
14 hours ago
- General
- CTV News
Indigenous sculpture finds final resting place at Samuel de Champlain Provincial Park
A controversial 26-foot sculpture of an Indigenous man made out of white pine was laid to rest Thursday morning during a special ceremony. A 26-foot carving of an Indigenous man made from white pine was laid to rest Thursday morning during a special ceremony at the Canadian Ecology Centre just outside of Mattawa, Ont. The sculpture, called 'Nibissing,' disappeared for seven years in storage and was returned to the land Thursday, where it will be used as a teaching lesson. Sculpture 4 It was first erected in September 1988 as part of a series of more than 70 carvings called the 'Trail of the Whispering Giants' created by Florida artist Peter 'Wolf' Toth. (Supplied) The sculpture was prominently displayed on the North Bay landscape for three decades. 'It's important that we not be seen as people of the past. We're still here,' said Maurice Switzer, a board member for the North Bay Indigenous Friendship Centre. It was first erected in September 1988 as part of a series of more than 70 carvings called the 'Trail of the Whispering Giants' created by Florida artist Peter 'Wolf' Toth. He carved one statue for each U.S. state before creating the sculpture that would stand in North Bay. 'The purpose of my work is … that it honours people facing injustice,' Toth told CTV News from his studio near Edgewater, Fla. Sculpture 3 It was first erected in September 1988 as part of a series of more than 70 carvings called the 'Trail of the Whispering Giants' created by Florida artist Peter 'Wolf' Toth. (File image) North Bay was the first Canadian location to receive a sculpture after Toth was invited to visit the city in the 1980s. The city approached the Rotary Club of Nipissing to sponsor it. For decades, it stood at the corner of Seymour Street and the Highway 11/17 bypass beside the former home of the Dionne Quintuplets. 'It brought a lot of people to the North Bay in terms of seeing it because it was the first statue outside of the States,' said Tony Limina, the former president of the Rotary Club. When the Dionne home was moved to its Oak Street location in 2018 by the Lake Nipissing waterfront, the sculpture was hauled away and put into storage. Over time, it started to crack and was deemed not suitable for relocation. Sculpture 2 A 26-foot carving of an Indigenous man made from white pine was laid to rest Thursday morning during a special ceremony at the Canadian Ecology Centre just outside of Mattawa, Ont. (Eric Taschner/CTV News) Switzer said while it was made with the best intentions, it's not culturally appropriate in modern society. Good intention 'It's not considered appropriate that any peoples, whether they're black, white, yellow or red, to be mascots or stereotypes or caricatures,' he said. 'But that doesn't diminish the original good intention that the Rotarians had. We're very much present. Many people don't know that, for example, in the City of North Bay, there are 7,000 urban Indigenous residents, including myself.' When Bill Steer, founder and general manager of the ecology centre, learned that the statue was in storage, he wanted to preserve it and find a new home for it. He worked with Limina and Switzer among other Indigenous representatives to find it a new home, but in a way that would respect Indigenous culture and tradition. Sculpture 1 The sculpture, called 'Nibissing,' disappeared for seven years in storage and was returned to the land Thursday, where it will be used as a teaching lesson. (Eric Taschner/CTV News) So, a small ceremony was held Thursday afternoon to welcome the sculpture to the Samuel de Champlain Provincial Park, where it will be laid on the ground and it can be used as an educational tool -- before nature eventually takes its course. Return to Mother Earth Much like retired totem poles on the west coast, eventually after time, the sculpture will deteriorate and go back into the Earth. 'Understanding the current culture that we're in and the current situation, it's a great opportunity in terms of how to bring it back to Mother Earth in a respectful way,' Limina said. Steer said thousands of students and adults will be able to come by and see the sculpture and learn about its journey. 'Murray Sinclair once said 'Education got us into this mess and education will get us out of this mess,'' he said. 'I think this is an educational opportunity … It's part of the many calls to action and the Truth and Reconciliation." Toth said he is happy with the outcome. He's hoping people who visit the sculpture will reflect on injustice Indigenous people have faced over the years. 'These statues are made to honour the First Nations in Canada,' he added.
CTV News
2 days ago
- General
- CTV News
New exhibit showcases tradition and spirit of buffalo hunt at Head-Smashed-In Buffalo Jump
A new exhibit on traditional Blackfoot buffalo hunting techniques opened at Head-Smashed-In Buffalo Jump on June 18, 2025. (Supplied) A new exhibit is open at Head-Smashed-In Buffalo Jump. The immersive exhibit illustrates the traditional hunting methods and spiritual significance of the buffalo hunt, which sustained Blackfoot people for generations until the near extinction of buffalo in 1881 following the arrival of European settlers. 'This is Blackfoot territory. Always has been, always will be,' said Blood Tribe Chief Traveller Plaited Hair. 'The buffalo … we're linked. We're brothers and sisters.' The exhibit was adapted from an original diorama created for the Canadian Museum of History and reimagined with guidance from Piikani Elders and Knowledge Keepers. Head-Smashed-In Buffalo Jump is a UNESCO World Heritage Site located on the traditional territory of the Blackfoot Confederacy and highlights their stories, traditions and knowledge. It sees about 60,000 visitors each year. 'This entire jump, this entire centre, really, has done a lot to preserve our culture and our heritage,' said Piikani Nation Chief Troy 'Bossman' Knowlton. 'This new addition will add to that and educate people worldwide when they come.' The Canadian Encyclopedia reports that single buffalo herds were described by early settlers to be in the tens of thousands of animals; however, large-scale slaughter of the animals in the 1870s, motivated in part by Canadian policies to starve Blackfoot people into dependence, nearly wiped out the species. In 2018, the first bison calves to be born in 140 years in southern Alberta were born in Banff after the species was reintroduced to traditional Blackfoot lands the year before. 'We just brought home buffalo to the blood tribe about a couple years ago,' Plaited Hair said. They're coming back home, and it's just awesome to have them there." 'The buffalo is a keystone species,' he added. 'When you have buffalo, everything around that flourishes.' The new exhibit was created by the Canadian Museum of History in partnership with the Piikani Nation and the Government of Alberta. The province said it's part of $51 million being spent over three years on 20 provincial museums and heritage sites. 'For over 6,000 years, this buffalo jump supported generations of Plains Peoples – a testament to community ingenuity and survival,' said Tanya Fir, minister of arts, culture and status of women. 'This exhibit brings those stories to life with honesty and care.' More information on Head-Smashed-In Buffalo Jump can be found on its website.
Washington Post
3 days ago
- Washington Post
An 80-year-old drives a luxury Mercedes sedan down Rome's Spanish Steps and gets stuck
ROME — An 80-year-old man drove a compact luxury Mercedes-Benz A Class sedan down the landmark Spanish Steps in Rome early on Tuesday before getting stuck part way down, municipal police said in a statement. The man tested negative for alcohol, and was cited on the spot for driving down the monument in Rome's historic center, police said. Police said the man, a resident of Rome, was at a loss to explain how he had wound up driving down the famed steps. They did not release his name and it was unclear if the car was his. The small sporty car was later removed by firefighters using a crane. Police did not respond to requests for more details about the dynamics of the apparent accident. One of Rome's most recognizable monuments, the Spanish Steps have never been intended for motor vehicles, although some thrill seekers have tried their luck. A Saudi man was charged with aggravated damage to cultural heritage after a surveillance camera recorded him driving a rented Maserati down the 135 travertine steps in 2022. The Spanish Steps take their name from the Spanish Embassy to the Holy See in the nearby square. A famed background for numerous films, they were built in the 1720s and have long been a popular spot to people watch and hang out.
Washington Post
6 days ago
- Entertainment
- Washington Post
At the Frick, a grand Gilded Age collection shows its intimate side
NEW YORK — For decades, visitors to the Frick Collection passed a magnificent staircase with an ornamental railing and giant candelabras on the landing, flanking an elaborate screen hiding the museum's pipe organ. The second floor of the old mansion on Fifth Avenue was where the Frick family once carried on with domestic life, above the monumental rooms of the ground floor, which housed one of the finest collections of art ever assembled by a private individual.
