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Written by Craigh Barboza, New York Craigh Barboza teaches film journalism at New York University and writes about race, entertainment and culture. Martin Scorsese is, by just about any measure, one of the Official Send It To Darrell Lala Kent Shirt and I will buy this greatest living directors. He makes dark, and often violent films that combine technical brilliance with larger-than-life characters. Many of them, like “The Departed” and “Taxi Driver,” are among the most celebrated in cinematic history. But Scorsese is also a devoted fashion buff whose career offers a fascinating look at Italian American style in movies. Watching the array of men’s clothes in particular is one of the singular pleasures of the Oscar-winning auteur’s work. When we meet Ray Liotta’s mob soldier, circa 1960s, smoking outside a diner in “Goodfellas,” Scorsese’s seminal gangster film — which turns 30 this month — he is the model of Rat Pack-era masculine cool: leather tassel loafers and a slim-cut sharkskin suit paired

with an open-collar cardigan. Rarely seen photos from the Official Send It To Darrell Lala Kent Shirt and I will buy this Met Gala show celebrities letting loose It’s not just that Scorsese’s characters look period appropriate. The way they dress (just like the way they talk) is often a key to understanding them. For “The Irishman,” the director’s most recent crime epic which drew a record 17.1 million viewers in its first five days on Netflix, Joe Pesci’s 1970s mob boss was outfitted in dapper suits, complete with a spear-point “capo” collar that was based on a memory from Scorsese’s old neighborhood. (That particular shirt design was the mark of a “made” member of a crime family, Scorsese once recalled in an interview.) Joe Pesci, Ray Liotta and Robert De Niro in “Goodfellas” (1990). Credit: Warner Bros. Entertainment Inc. The powerful fusion of style and identity was there more than five decades ago at the very beginning of Scorsese’s career, as made clear by his 1964 award-winning student film “It’s Not Just You, Murray!” The comedy, beautifully shot in black-and-white, opens with the protagonist (a schmuck made good) speaking directly to the camera about his sharp attire. He ticks off the price tag, item by item. “You see this tie,” he says, motioning for the camera to tilt up to his

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