The StyleForum Runway & High Fashion Thread - Page 50
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More than the first? I think his first collection was the best, with this one second. Still love my jacket, can't wait to wear it again.
Artishard has tons of plokhov now!
"My work is a constant battle between my want to be creatively expressive or explosive whilst at the same time being extremely calculated and literally conceptual. There’s an on-going desire just to draw, paint or sculpt but there’s also this extremely painfully analytical mind. It's like I suffer from it at times, I can't switch it off and I have to make sense of everything, the two sides contradict themselves at times." confesses the Buenos Aires born Aitor Throup in his Hoxton based studio and showroom. This design paradox is both the reason why Throup's work has helped remap the boundaries of menswear since his breakout graduate collection from the Royal College of Art back in 2006 and his atypical path. Despite his obvious talent and fruitful consultancy work for the likes of Stone Island and Umbro and his role as creative director for Kasabian, the subsequent output under his own name has been somewhat erratic. That said, there has always been just enough to ensure the appetite is whet. From his sartorially emotive 'The Funeral of New Orleans' in 2007 that told the story of how five members of a marching band protected themselves and their instruments in the face of the city's decimation (by Hurricane Katrina) to his trouser retrospective 'Legs' in 2010, Throup has always excited the industry whilst refusing to conform to the industry's rules or yield to its obvious pressures. As part of the inaugural London Collections: Men, the design talent made his long awaited and highly anticipated return to the London menswear fold as he presented his design manifesto, 'New Object Research'.
With a refusal to conform to fashion’s restrictive six month cycle, Tim Blanks, Sarah Mower and the designer himself discussed his philosophy before unveiling the articulated manifesto 'New Object Research' that will guide his design destiny. Parts of the industry might well have been confused but the overriding feeling was that of excitement. Throup has devised a new way of working - a fresh business model that will allow his justified design philosophy to flourish and allow people to buy his designs. Ultimately, 'New Object Research' is committed to developing new concepts and products, which are only released when they are fully, and properly executed. For Throup, creativity is fluid and unpredictable and should not be forced into predetermined timeframes. As the last six years spent in the studio demonstrate, the innovation of completely original products requires an unpredictable amount of time. The design team continues to work on a collection of design archetypes that transcend time and trend. Having unveiled the first archetype in June, the Shiva Skull Bag, Throup is set to reveal twenty more in January, if they meet his exacting standards. That's quite a jump in quantity and so with the pulse of the industry still racing at the news, we visited Throup at his Hoxton base to learn more about his manifesto and the man himself...
SS: I've always been intrigued by the play between art and design in your work and the launch of your design manifesto plays into that. I remember you reciting a quote you had read at your talk with Sarah Mower at the V&A a few years ago, 'artists create problems, designers solve them'...
Aitor Throup: When I graduated, even though it was from a design school, I wasn't a designer, I was actually more like an artist. I don’t think that the things that got me noticed were about the design. I don't even feel as though I designed those things, that collection; it designed itself really. I ease my work into being but how could I design the jacket of a saxophone player which incorporates a deconstructed modular version of their saxophone case, for example? You can come up with the idea but all of those elements are already there, pre-determined. It's about not taking direct blame for the aesthetic components or results. I'm obsessed with the idea of justification. For example, with the New Orleans collection, it just had to be a double breasted peaked lapel jacket made from black wool suiting because that is what they wear, it is a contextual point of reference to make it relevant to my story. After that I'm just constructing it as the concept dictates. Everything is there, I'm just giving a skin to the idea and then it comes out and you're still left thinking 'wow, I didn't expect that'. That's the reward. The unexpected is the definition of true innovation.
SS: Everything you've worked on feels so new. This cannot be an easy process...
Aitor Throup: To achieve newness, you have to go through a process that's validated and justified before you know what the item will look like. That's what interests me and excites me - that true newness. It can be beautiful or ugly, it just has to be. Everything has to have a reason - that's the fundamental thing that I've realised. You don’t need a function or a purpose to validate; you need a reason. When I was doing these collections, my reasoning of the contextualisation of ideas were finished. They were perfect. That's why I was able to speak with confidence about newness and the process that I was going through. I wasn't designing products but rather designing processes, I already had my justified design philosophy and the idea of branding through construction and ideas of unique blocks that make an archetypal way of designing, but that was as close as I got to being a designer. All of that stuff was art - inventing new forms which were heavy with conceptual narrative - and then I felt that this could be important, if the same level of newness that I had achieved with the conceptual thinking and the creation of new forms could be accomplished through an equally new and unique methodology of product construction and manufacturing. At that point I shifted my focus away from Art, towards the mechanics and engineering behind true product design; in order for the overall ‘artwork’ to be about newness.
SS: It has been six years since your acclaimed graduate collection, 'When Football Hooligans Become Hindu Gods' and it has been a process of evolution to now. Could you talk us through this period?
Aitor Throup: At that point, six years ago, I had my concept and art and had to do one of two things. Firstly, figure out a way around the seasonal limitations because I knew that I didn't want to create bullshit newness every six months i.e. thematic newness, as it just didn't interest me and I knew that the concepts I was generating were so close to my heart that I didn't want to let go of them ever, especially after 6 months. Secondly, I needed the impact of the product itself and how it is constructed to be equal to that of the art and the new forms. In the pursuit for newness and new forms the beautiful thing is that regardless how much conceptual depth there may be behind a product, it should also be able to be enjoyed purely through its aesthetic value, without explanation. I guess that having that option is what defines successful Art. To appreciate great art, you can be well versed in the artist and their artworks; which is possible with my work and the manifesto, but a lot of people just know that it is good or right without knowing anything about it. Great artwork is penetrable on many different levels. I knew that I didn't have that level of impact with the product. You can't invent this new way of thinking and new forms and then stitch it all together with a cheap overlocking machine; it just doesn’t feel right.
SS: So you were conscious that it would belittle the concept and narrative. So much time has since been invested in the construction...
Aitor Throup: I wanted a complete experience. New thinking, new form and new construction - everything had to be new. It has to sort of feel alien, but not in a scary way; in an attractive way. It could be a simple t-shirt or shirt but it has to leave people wondering about it. My work can be misconstrued as a quest for perfection but for me perfection is a negative term because it is hierarchical. It leads to the attachment of words like good, better, best, perfect. To be honest, I feel like I will never have the resources to push myself to make things 'better' even. We have spent six years in the studio, not even having the luxury of working to good, better, best but rather just right or wrong. Once you get to right, which I often refer to as correct, then you can start thinking about improving it but to get to correct, it has taken us up to this point. Correct is so difficult to achieve because my thinking is so precise. People end up being lazy, so they concentrate on being ‘better’ without caring whether they are approaching the problem or the solution in the correct way or not.
SS: This attitude, sheer focus and investment of time is rare in fashion...
Aitor Throup: What happens a lot and what is sad to me in fashion, is that it is widely accepted for people to utilise existing standardised solutions to ongoing problems. Even clothing the human body with a piece of flat fabric for example; the way I think, that is a problem because you have a three dimensional form that moves and changes and you just have a flat piece of fabric: which fabric do you use for what purpose, how do you cut it, where do you stitch, what shapes do you make, that is always where I start but so many designers just use specific existing blocks without questioning it to start their process, borrowing pre-existing forms. For them the true design process comes in the decoration of an existing form but that's not what interests me. I love a lot of fashion and I would never want to under-value it but it is not what I do, I wouldn't get a reward from operating like that.
SS: Given your desire to create truly new products, it can be all to easy to forget that you do look back...
Aitor Throup: I think all successful art and design that is truly new has to respect contextual points of reference and has to reference the history that came before it, other wise it is just abstract art. It is ego-centric, like painting with your eyes closed, and is the antithesis of what I do. You need to use the vocabulary of history to create resonance. It is why narratives are important because they are a design tool to allow me to tap in to points of reference. When I reference garments, it is a conceptual borrowing. For example, in the Football Hooligans collection, everything was a direct replica of a generic military garment because it is a reference to the most widely adopted and respected brands by the hooligans. That is sort of how Massimo Osti started C.P. Company and Stone Island, by exploring and re-creating utilitarian garments and making beautiful Frankenstein monsters out of them. I was effectively mirroring his own design process by starting with the military garments and transforming them in my own way which just so happened to be a metamorphosis into Hindu Gods. Every garment was a football hooligan transforming into a Hindu God. Everything I do is set out in the writing of the concept and narrative; it almost becomes a recipe.
SS: How would you describe your design process?
Aitor Throup: When I'm designing I am following my own instruction manual to create specific boundaries to focus and contain the work. The design process is in the writing. I don't generally use drawing to illustrate an idea. I use drawing to either inspire an idea or to draw from it after it has been made - it's weird. I don't know anyone else who works like that, I'm interested to know if anyone does, where they don't know what's going to come out at the end, and the drawing process itself results in a design.
SS: Having followed your work for some time with a keen interest, the presentation at London Collections: Men made complete sense to me but I'm sure a few people were left scratching their heads because it certainly challenged the norm. How has the reaction been to 'New Object Research'?
Aitor Throup: There were obviously a few head scratchers, but overall we've been surprised and overwhelmed by how instantly adopted it has been, whether in London, Paris or Trieste – the three places I found myself at immediately after the presentation. I've been to all of these places before and there are people in each who have continuously supported me, but this year was almost like; getting the manifesto out, has done two things. Firstly, it has put everything into one place where I can just point interested people to it because everything is there which makes me confident, and secondly, at the same time, the cathartic exercise of completing it has made me a different person, it has taken a big weight off my shoulders. When I started generating my design philosophies it was really in order for me to keep my sanity, a system of thought in which I could make sense of stuff. The ultimate is, if you're like a ball of energy that needs to be creative but at the same time you need to be analytical and mathematical about everything, normally they would contradict each other and that can't exist, so I went about creating these perfectly hermetically sealed perspex boxes which is my concept, the process, the design philosophy and narrative and once created I could then let my creative energy go - it can bounce around within it. I see it as these beautifully created boxes which contain the artistic mass, it can't escape from it, it is focused yet free to be.
Ultimately, I used London Collections: Men to remind people of my concepts and explain why I hadn't fully launched previously. The reason being that I hadn't figured out a business model that allows me to keep expanding ideas whilst producing products at the same high level as the concepts themselves. I wanted to make sure everyone came for an hour and I engineered a way for that to happen with the BFC thanks to Tim and Sarah's presence. Really, in addition to acting as a re-introduction to the industry, it was subverting the power of it, just like I did with Legs: the idea of the newest designer on the block launching their brand with a retrospective. Ultimately, my point is to show people that they can do whatever is right for them. If everyone did then it would be amazing, far more exciting. It was a little frustrating because we had a number of products ready by the time June came around, but it was all about restraint and making the event all about launching in six months and showing and selling just one piece, the Shiva Skull Bag. Presenting one piece only is a great way to force people to consider you as a product designer.
SS: Buyers and consumers alike are attracted to the confidence of Aitor Throup...
Aitor Throup: I think so. When we went to Paris we had a list of all these incredible stores we wanted to work with, but we ended up having to turn some of our favourite stores down. It is testament to the fact that these perceived boundaries and rules don't really work. Some of my favourite designers in the history of fashion have been victims of the indoctrination of the industry, the fact that they were forced into doing things a certain way. If they had done things in a slightly different way, their output might have been more prolific. It is what my manifesto is all about, it is my instruction manual of the ways in which I can protect and communicate my true art within the limitations of the fashion industry. My particular approach is all about creating timeless product archetypes extracted from non-seasonal continuous concepts, but imagine what some people could come up with as a unique system and business model of design more suited to the way they naturally work. I want to encourage that and empower people if I can, as the prospect is truly exciting for me.
SS: You chose to unveil the ‘Shiva Skull Bag,’ a completely functional military bag constructed in the shape of a human skull, as your first archetypal product but I'd like to talk a little about its larger cousin, the backpack.
Aitor Throup: The backpack is from one of my concepts: 'On the Effects of Ethnical Stereotyping.' It was all about how a black backpack can represent terror and death when you look at it in a certain way on the wrong person. It stems from the terror attacks in London in 2005. Through personal experience, people would get off the tube or bus I was on because I had a black rucksack, a beard and a bit of a tan. The project was about political fashion and at the time, and perhaps still, the most political item of apparel was the black rucksack. It was about conveying that sense of terror through product design in a second; so, it became an upside down skull: representing death, but only when you look at it the wrong way. I love the simplicity of a message teamed with the complexity of the product. So much effort went into designing this beautiful thing but ultimately it is so simple, an upside down skull that's perfectly functional that conveys this real, moral and political message in its very form. It's an artwork but it is all about product design. It had to be the best rucksack in the world that just so happens to be a piece of art. A marriage of art and product design. I love the balance: you don't know why you like it, it could be its form, function, meaning, construction, you love it all, that's the feeling I want to capture.
SS: Even hearing you talk about that feeling is exciting...
Aitor Throup: It is kind of like how you used to see a new toy, it's the closest feeling I can think of. When you're a kid and you get a new toy, everything about that toy excites you. It's the form, the shape, the name of the character, the smell, the colours, the joints, you love everything about it. I want my work to be like toys. There's as much value in the object as in what it represents, the character and where it comes from. If you get an articulated figure of Spiderman you don't just say *dons serious voice* 'Oh yes, this figure articulates well, it is made solidly," it is heavy with contextual value, it's Spiderman! You've read a thousand comics, watched the cartoons and all the films and all of that is embedded in this object. It's as much about the non physicality of it and what it is about rather than just what it is as an object. My clothes are like toys, that's the philosophy.
SS: That's a lovely analogy. What were your favourite toys?
Aitor Throup: I never grew out of toys really. I still play with them. I picked up a few Starcom ones recently actually. They are amazing, so cool. They pack so much in to these tiny cubes; they contain so much thought and functionality. I want to collect all of them now. They just transform. They are similar to my clothes in a lot of ways, the fact you can stow certain functional elements away and their systematic aesthetics, they look like that because of their activation - just like the feet on my trousers for example.
I count myself extremely fortunate to have spent an afternoon with Aitor Throup and his design team as the exciting label takes shape. His Hoxton based studio and showroom contains each design element and is where each considered process is executed, refined and archived. Here Throup explains the set up of the studio, before we taking you on a visual tour of his working environment...
"Everything has to make sense before I can do anything. The system is the following; I draw and conceptualise in my office, then the idea comes out to the cutting table where the initial patterns are cut in paper before being refined and then it goes down to the basement to be duplicated and archived before being replicated in fabric. It then gets made up on the middle floor. So from the initial idea to fruition, it travels from the top to the bottom, to the middle to be made before coming back up to being refined once more, the same cycle is done over and over again until it is ready and when it is ready it makes it up on to the rail alongside the other archive pieces."
After six years spent in the studio in an undetermined cycle of development and refinement, Aitor Throup has now devised a new way of working. With 'New Object Research' as his design guide, the acclaimed talent has crafted a fresh business model that will allow his justified design philosophy to flourish and allow people to buy his designs. The excited wait to play with Throup's toys is almost over...
6 years and change to be precise
exclusively for stylezeitgeist.com
NEW WORKS : SEPTEMBER 2012
STARTING WITH THE YARNS, I began working with my friend in early November last year, the master Luigi Parisotto,
to push our collaboration on organic fabric design ever further, to new heights of quality and environmental sustainability.
While his family's one hundred-year expertise centers upon the best cotton and linen fibre weaving in Italy, I felt he and
his family had the skill and the talent to create incredible wool fabrications too. At my urging and through research and
work, we found a beautiful silk and cashmere fibre yarn that both of us believed could be the basis of something entirely
new for a collection of fabrics from which to build our new clothing collection for this fall and winter. Super soft to the touch,
and extremely receptive to hand dye colorations (if handled and applied in the right manner), we decided to combine it
with pure virgin wool yarns, and in some cases, an antique "fat" linen yarn in archives that is no longer going to be
produced anywhere in the world (to be covered in another story). Here are photo images (above) of the original first loom
tests in silk, cashmere and wool cut straight off Luigi Parisotto's loom in Sarcedo Vicenza; as well as a detail closeup
(below) of the silk and cashmere fibre yarns that form the basis of the exclusive fabrics made only in the world for us,
to be used in the new collection... as a testament to what people who can still work with their hands, under fair and
proper conditions, are still capable of doing in this world today.
FROM THE LOOM TO A CLOTH that I can actually use and put my name on: some people still don't get it yet, but one
of the reasons I intensely study history is simply to be a better designer. Because for example, as great a weaver as
Luigi Parisotto is, I will not permit him generally to send his work for me (unlike his other clients), to an industrial finishing
plant where chemical cleaning, sizing, and dyeing operations are performed that require wasteful large minimum
quantities of fabric to be produced and handled, consume vast amounts of energy, release equally vast amounts of
chemicals into the environment, and in the end render the fabrics almost about the same as any other- in terms of look,
feel and texture. You see, in textile design, after over 30 years in the field, I have found that fabric finishing is a very big
deal, artistically. So now to achieve fabric for our designs that no one else in the world can offer artistically or
otherwise, I prefer to do the finishing myself. For the past 12 years in Italy, we have been studying artisanal finishing
techniques, and much of our knowledge came from the research we did for our medieval collections such as "Back to
the Future", "Classe Dirigeant", and "Heroes of Another Gender". Fabric dyeing by hand was a serious thing in that time,
and serious business. In 12th and 13th century Florence for example, it was a cutting-edge high tech industry. There
were over 200 families and enterprises doing hand dye work in an intensely competitive atmosphere... where nobody
dared divulge any of their secret recipes from which they could create their unique and special effects on fabric. So
important was the medium, that you could immediately tell the social class level of an individual anywhere in Europe by
the color of the cloth he or she was wearing. In many cases, the dye work was more precious than the fabric itself and
even the garment. It is with this knowledge, and over a decade of hands-on field experience using it, that we were able
to fully expand upon the loom work performed by Luigi and his team with the yarns pictured above, and bring it to the
actual realization of a truly beautiful and wonderful new cloth design to make clothing with. A totally future-oriented cloth
created in the 21st century that is intended to last its owner for decades of use: made possible by sustainable artisanal
technologies developed by our civilization's ancestors over the past thousand years, and the few die-hard people left
who are still able to preserve, protect and maintain this culture, art and know-how today. So, for those who think the
historical part of our work is dull or boring, the point here is simple- without the history component, this fabric, including
the way it feels, breathes and looks, would not be possible...
TOWARDS A PIECE FOR A CUSTOMER: with so much at stake that goes
into just the realization of the cloth alone, no less attention can be paid to where our work is going, and who is going to
handle it. Years ago, unlike most of our esteemed colleagues and brands, we decided to stop chasing and dealing with
whatever the latest and most talked about "it" stores were that hung out their shingles with all the important "it-names"
of the moment that they carried. We became particularly wary of the merchant who becomes his or her own "star-celebrity"
and then slowly loses touch with what made them successful in the first place... simply, exceptional merchandise (based
on good old-fashioned 'get off your ass and out into the field' research) and service, not their own personal "now-always-
seen-behind-sunglasses" stardom, when they enter into a showroom or sit down at a runway show. You see, that is when
they begin to lose it. Basically, it's like the kid's tag game, when you become the "it", that's when everybody starts to run
away from you. Instead, we slowly began to look for, and cultivate a new type of visionary retailer that was going to
focus on product, quality, and impeccable personal service for our customer, not names. And we were going to be tough
about it. Our showroom way up on the fourth floor of an ecclectic building on the rue Saint Martin is legendary for being
odd, difficult to find, and physically challenging to finally get up all the stairs to. And for good reason. It takes at least
several seasons for a buyer in Paris to even know about us, and a few more to even see our collection, let alone get
near to ordering it. Why? I have my reasons, and they are many. One is because, in the first place, there is too much to
learn about our work and how we want to treat our customers (and everybody we are involved in working with) in a typical
quick-and-dirty showroom visit, to possibly get it right. "Get it right," means you need to create a new cultural-working
atmosphere, approach, and system that will be able to survive, stand up to, and yes, eventually defeat the corporate
barbarians that are out to destroy our art and our very livelihoods right now. And getting it right is also the key these days
to succeed in a very tough and difficult market that simply has no room for anything that smacks of mediocrity, fakery, or
sameness. Our commitment to providing long-term value to our customers, demands that we build long-term working
relationships with our suppliers and our retail partners. So, we must carefully choose and evaluate the selection and
commitment with every single retailer with whom our customers will ever have to deal with to get our work. We intend to
work with our retailers for a long time, and we know that they must be experts on knowing every detail and aspect of the
pieces we will build for them and their clientele, and be able to communicate, teach, and inform their staffs and their
customers about our work and the services we are capable of providing them. This requires an investment in time,
education and communication with our retail partners far above and beyond the norm of anything in the market. We are
not another designer fashion plat du jour. And our work today is like no other in the world. This must be clearly, and
effectively communicated, demonstrated and proven to the end line consumer by our retail partners in the field, each and
every time someone walks in their door. And few people in the world understand and recognize this better, than a quiet,
dedicated shopmaster in Paris named Kamille, for whom we built this jacket...
OCWC01 4-button rounded-lapel single-breasted handmade coat.
One of only 3 pieces of its kind made in the entire world exclusively for Kamille in Paris from
our original relaxed body pattern and cut in a diagonal twill weave version of the very soft
luxurious organic silk, cashmere and wool fabric collection woven in Sarcedo Vicenza, Italy,
by Luigi Parisotto for us this season (see above). It was combined with special exquisite striped viscosa
jacquard weave linings from Como by Tessitura Mauri, and was all individually hand dyed in
our studios with a special process which took over 10 hours to reach the precise final color and
effect. The design also features elegant real olive wood buttons from Padova Italy, and real
hand stitched buttonholes (each one requires 8-10 minutes to cut and sew, over 40 minutes were
spent just on the buttonholes and button attachment for the single coat) in luxurious pure silk
Bozzolo Reale Milano Seta threads, plus generous seam allowances on all major seams which provide
alteration capability up to 2 sizes up or down for extended wearing life by its owner(s), and is
handsigned and numbered by the designer.
NLWS01 handmade long-shirt.
Two special versions of this super limited edition shirt design were created this season
exclusively for Kamille in Paris. The design features a removable top collar for a true “2-in-1”
design concept use for extra investment value, and was cut and made by hand using the special
superlux pure organic Venezia Super 120’s Double-Twist cotton shirting woven for us by
L. Parisotto and family in Sarcedo Vicenza Italy, and features a new longer proportion fit and
cut from our medieval period research combined with a unique single-button mid-century 1850's
inspired curved sleeve cuff design with extensive pleating details at the shoulder and back yoke
seams, real mother-of-pearl buttons made in Padova, and 14 hand sewn buttonholes with
pure silk Bozzolo Reale Seta Milan thread which require almost 2 and 1/2 hours of painstaking
expert work just to make the buttonholes for a single shirt. The piece was then specially dyed by
hand using English tea leaves for a subtle aged and mottled effect. Just 3 pieces in narrow
pinstripe weave, and 2 pieces in the classic bar stripe weave were made by hand for the world
this season, each exclusively for Kamille in Paris.
(continued from above)
GEOFFREY B. SMALL
exclusively for stylezeitgeist.com
NEW WORKS : SEPTEMBER 2012
PIACENZA ANGORA, CASHMERE & WOOL 3-PIECE SUIT
19th century cut jacket, waistcoat and suspender trouser created exclusively for
Kamille in Paris using an ultra-soft Fratelli Piacenza Cashgorissimo
angora, cashmere and wool herringbone cloth, hand dyed in our workrooms ( individual
suit piece details to follow). Shown with NLWS01 shirt (see above postings),
OCA01 handmade Piacenza angora, cashmere and wool cap, and hand made to order
calfskin derby by G. Rebesco for GBS Bespoke Shoes.
THE HAND DYED, 6-BUTTON NLWJ01 modified 19th century handmade jacket-
with working sleeve buttonhole surgeon cuffs was made by hand using a very special,
super-soft luxurious Piacenza ‘Cashgorissimo’ Angora, Cashmere and virgin wool dark
grey herringbone cloth fabric woven in Pollone Biella, Italy, by the oldest woolen mill in
the world and the world’s most respected cashmere fabric makers, Fratelli Piacenza 1733,
a special lining story of cotton regimental striped and Bemberg viscose antique striped deluxe
linings made for us in Como by Tessitura Mauri, one of Italy’s very best lining-cloth weavers,
a special mixed button story in real olive tree woods made for us in Padova Italy, and 14 hand-
sewn buttonholes in pure silk Bozzolo Milano Seta Reale threads which require at least 8-10 minutes
to create each one (over 2 and ½ hours were spent just on the buttonholes alone). The piece
was then hand dyed in our studios with a painstaking manual process which takes over 6 hours
for each piece to achieve its beautiful, and unique dark colorations and incredibly soft touch.
Only 3 pieces were made by hand in the entire world this season,
exclusively for Kamille in Paris.
THIS SPECIAL VERSION of the super limited edition NLWJ05 waistcoat design is one of only
3 pieces made by hand in the entire world this season exclusively for Kamille in Paris.
It was made from our original 19th century modified pattern from our research, and cut
from a very soft luxurious Piacenza ‘Cashgorissimo’ Angora, Cashmere and virgin wool
dark grey herringbone cloth fabric woven in Pollone Biella, Italy, by the oldest woolen
mill in the world and the world’s most respected cashmere fabric makers, Fratelli
Piacenza 1733 Spa, and special floral print pure cotton linings from Como, all individually
hand dyed in our studios with a special process which takes over 6 hours for each piece to achieve
its beautiful and unique dark colorations and incredibly soft touch. The piece features remarkable
buttons in real olive wood made exclusively for us in Padova, and extensive handstitch
lapel and pocket detailing along with 6 real hand stitched and marked buttonholes (that require
at least 8-10 minutes to create each one) in luxurious pure silk Bozzolo Reale Milano Seta thread,
and hand stitched buttons.
NLWP01 HANDMADE SUSPENDER TROUSER in super soft Piacenza angora, cashmere
and virgin wool herringbone cloth. Special cotton and hand cut vintage recycle garment leather
suspenders made by hand in our studios with authentic recycled vintage suspender buttons.
Front-closure buttons in real olive wood made for us in Padova Italy, 5 hand sewn and marked
buttonholes in pure silk Bozzolo Milano Seta Reale threads that require at least 8-10 minutes to
create each one. The piece was hand dyed in our studios requiring over 6 hours of expert work for
each piece to achieve its unique and beautiful dark colorations. Only 2 pieces made by hand in
the entire world this season, exclusively for Kamille in Paris.
Many of the special pieces shown above for Kamille were individually handsigned
and numbered after these images were taken, and prior to shipment and delivery to Paris.
all materials in this presentation pages 1-8 c. copyright 2012
geoffrey b. small, all rights reserved worldwide.
Thank you for viewing.
Coming up soon
New Works : September 2012 part 2
"Worker's caps, 'Bondone' cotton, & 'Fat' linen"
That removable collar.
His attention to detail and process is incredible. I really respect what he does but after reading his posts on SZ I can't help but shake my head at some of the ignorant and arrogant shit that comes out of his mouth. I understand he's extremely proud of his work and he has every right to be but the guy needs to relax.
Anyway great post shah!
Would you care to elaborate?
It just looks good to me (in a Dickensian way), construction and attention to detail is obviously there, and there's a story behind each creation which adds a pinch of uniqueness.
frankly I don't care about a designer's politics, I don't buy stuff because I am ideologically aligned with someone I buy it if it works with my vague, fuzzy idea of an aesthetic portrait I aim for. Just because he supports lazy folks at OWS and is opposed to the teachings of physics when it comes to nuclear energy doesn't translate much into my perception of his clothes, or at least how I'd wear them. I can still be an antiquarian imperialist with a nice top hat and vest with buttons originating from different factories I rule over ... and I don't have to subscribe to hippie Buddhist LSD abuse to enjoy Damir's orientalist pipe dreams (actually I know little of his politics, except that it involves listening to classical music) but I can still incorporate it into my closet.
It just looks good to me (in a Dickensian way), construction and attention to detail is obviously there, and there's a story behind each creation which adds a pinch of uniqueness.
Anyway I don't really have time to read that whole thread but while his posts had a pretty annoying & condescending tone, his points were pretty valid in terms of ethics and he clearly knows a whole lot about clothing manufacture. Also, have these guys been doing this stuff forever or is the Paul Harnden/Geoffrey B Small/Frank Leder stuff that looks like its from a past century a new trend?