John Berendt, best known for his 1994 nonfiction bestseller "Midnight in the Garden of Good and Evil," reflects on the early influences that shaped his distinctive literary voice and longtime interest in men's fashion in a new collection of essays. At 86, Berendt revisits his decades-long exploration of style and culture in "Class Act: A Gentleman’s Guide to Dressing Well," released last week by Vintage Books. The book compiles 50 installments—some revised—of his "Classics" column for Esquire, which he wrote from 1982 until 1994.
Berendt's career began shortly after graduating from Harvard, when Esquire editor Harold Hayes recruited him at age 21 to cover men’s style—a beat the young writer initially found daunting. However, Berendt soon embraced the challenge, transforming fashion into a lens for storytelling. His columns blended literary flair with historical insight, uncovering facts such as the superiority of wild animal skins for gloves and debunking fashion myths like the origins of Bermuda shorts and the argyle pattern.
This approach also laid the groundwork for his signature narrative style in "Midnight in the Garden of Good and Evil." Berendt’s keen observations of clothing and manners helped him portray complex characters and social dynamics in Savannah, Georgia, where he moved in the mid-1980s to research the 1981 murder of Danny Hansford by antiques dealer Jim Williams. The book’s opening contrasts the mismatched attire of Williams, striving to maintain appearances, and Hansford, portrayed as a threatening figure by his vulgar T-shirt.
Berendt credits a subtle, nonjudgmental tone in his writing, preferring to let individuals reveal themselves rather than casting direct criticism. This ethos mirrors the symbolic “Bird Girl” statue featured on his book's cover, which represents a balance of good and evil but ultimately serves to nourish rather than judge.
Despite his extensive experience writing about refined sartorial details—ascots, pinstripes, and turtlenecks—Berendt's personal style remains understated. He prefers casual wardrobe staples such as black Nautica T-shirts, Wrangler jeans, and classic loafers, reserving formal items like bow ties and cummerbunds for special occasions. His essay "The Turtleneck" notably describes the garment as embodying "masculine poise and arrogance," illustrating his enduring appreciation for sartorial nuance.
His longtime literary agent, Suzanne Gluck of William Morris Endeavor, recalls his old-fashioned yet impeccably polite demeanor. Berendt’s Manhattan townhouse, filled with "Midnight in the Garden" memorabilia, antiques, and original artworks connected to his subjects, reflects his layered approach to storytelling—embracing both the tangible and ephemeral aspects of his career. Among the displayed items is a painting gifted by Jim Williams, symbolizing their complex relationship.
Berendt’s ongoing fascination with the small details of life, from watches to gongs, underscores his commitment to craftsmanship and memorable moments. Though some of his vintage timepieces no longer function, he favors simple reliability, citing a $22 Timex as a current favorite. His commissioned gongs serve as artistic signals marking departures, fitting for a writer ever attentive to striking openings and graceful conclusions.
In all, Berendt’s reflections present a portrait of a writer who found literary voice through the refinement of fashion and an acute sensitivity to human character, continuing to influence a distinctive genre of narrative nonfiction.