000 Brandnames by zenothefab

VIEWS: 393 PAGES: 294

									)Limited series (max 500), numbered and signed

    -   Flat front chino
    -   5 (or 6) pocket straight/regular
    -   5 pocket hyped
    -   Jeans jacket
    -   Twill jacket

ERGO

King continues in its tradition of producing some of the best Selvedge jeans in the street wear
game
13.5oz shuttle loom raw selvedge denim construction ? the most luxurious jeans this season
Classic embellishments with red selvedge trim, selvedge edging on the top of rear pockets and fifth
pocket with red crown embroidery on top of back right pocket. Double crossed rear belt loops
feature with quad amber stitching running below rear waist panel
Narrower Straight leg cut
Limited to just 300 pieces with strictly no repeats
Fully customised rivets and buttons, with internal stash pocket, laundry loops and internal waist
taping
Woven Cyan blue King label on fifth pocket and embroidered K logo on fly panel
Genuine leather tab on rear waistband
Inside leg 32 up to and including 34, inside upwards are 34

30/32/34/36




Hugely limited and brilliantly executed this first drop represents the most iconic moments and
characters from the film series using classic silhouettes

The attention to detail on the shoe is unbelievable and offers something for Star Wars and Adidas
collectors alike.




SPURR denim

1y wash
2y wash (holes)
broken twill (bleached)
lightweight denim
white denim
black denim (remaining black)
resinated denim + whiskers




Each piece is supplied with a signed certificate of authenticity and they are all individually
numbered.

the ad lauded readers for their impeccable sense of style and eye for high fashion.
It turns out that implicit attitudes towards the store were more positive than explicit attitudes.
They were also better predictors of reported likelihood of making future purchases, as well as
likelihood of joining the store’s club. So it seems that while participants quickly dismissed these ads
at the explicit level, the flattery was exerting an important effect outside their awareness.
The authors speculated that the susceptibility to flattery stemmed from a simple desire to feel good
about themselves. Indeed, we hold ourselves in high esteem, a phenomenon known as the above-
average effect.

…the world’s premier creator of designer jeans & apparel

appreciation of a quality product that lasts a long time and not a seasonal throwaway fashion item.

The factory philosophy is a craftsman style of approach as oppose to a business, commercial
approach (in my experience). They seem to add the passion, craftsmanship and love into the
garment or textile. As a designer this makes your job a lot easier and enjoyable. The Japanese
and the Italians are also the best textiles makers in the world but the Japanese absolutely rule
on denim. Nobody makes denim like the Japanese, especially selvedge. They have been
indigo dying for thousands of years so what do you expect! I had many great experiences
working in these countries and found a similarity.

Q. What is your advice to denim lovers?

A. My advice is do not buy your jeans pre washed and vintage looking. Buy them unwashed
and raw and let them wear down naturally with wear. Indigo is such a beautiful and unique
dye that wears and washes away gradually like no other. It‘s such a waste to have it blasted
out. Customers should also be aware that the laundering and treating of denim has a
negative impact on our environment, this is being addressed by the industry quite
dramatically right now.



Want your jeans to reflect your unique personality ? For those denim maniacs who want their
jeans to look their second persona, check out these tips from Fashion Idie

    1. Avoid washing your jeans - jeans should not be washed too much- it washes away the
       unique patterns that are being developed on the jeans.
    2. Don’t be scared to get dirty
    3. Sleep in your jeans! - Though not very comfortable , it will result in forming stronger creases
       on the jeans.
    4. Sweat is good- let the sweat loosen the fabric of your jeans.
    5. Basic dark colored and unwashed jeans - It would be better if you take darker indigo denim
       with little or no wash so that there is a plenty of room for denim effects to take place.
    6. Let defects happen naturally - don’t create cuts or defects yourself. Let them happen as you
       wear the jeans..Trekking, playing football etc might be good ideas to expedite the defects on
       your jeans.
    7. Wear them in the shower- or even swim in them .. Lets jeans resize more to your shape.
    8. Dry them in shade and turned inside out - prevents undue color loss.
    9. Wear them as often as possible-The more you wear, the faster the effects get ingrained onto
       your jeans.
    10. And if you still don’t get the desired results in a year (yes, it takes that much time), just
        distress them!
Sea Washed(!) : The jeans have been hand washed in the sea and dried on the rocks nearby.This
means that the washing effects will be subtle and denim will be hard (no chemicals to soften the
denim are used).’Whiskering’ and ‘honeycombing’ will come with time as the jeans wears
out..Exclusive tailoring is used whereby each jeans is tailored by a single operator who signs each
completed pair(if I am correct -Earnest Sewn also uses such tailoring techniques to ensure quality).



The Atelier LaDurance concept is developed without the use of a marketing orientated brand strateg
y. It is our specific small-scale context
that builds, directly, a personal relationship with the shops that sell. And indirectly, the people who b
uy the Atelier LaDurance product.




be·spoke (b -sp k )

v.

Past tense and a past participle of bespeak.

adj.

1. Custom-made. Said especially of clothes.

2. Making or selling custom-made clothes: a bespoke tailor.

bespoke [bɪ ˈ spəʊ k]

adj Chiefly Brit

1. (esp of a suit, jacket, etc.) made to the customer's specifications

2. (Clothing & Fashion) making or selling such suits, jackets, etc. a bespoke tailor



Nonbleached cotton waistband& pocketing

Nonbleached cotton pouch with drawstring packaging

Zigzag cut piece of raw denim as patch




We take a closer look at still rather young french brand Bleu de Paname‘s new Spring/Summer 2010
Collection. Inspired by goods with heritage, the brand offers a selection of jackets, shirts, shorts, t-
shirts a denim this season. The lookbook is styled in an interesting way, always perfectly matching the
materials and looks of the pants and the top. Not really something we are very much into, but
individually the collection definitely has some great pieces.
Seth Godin


Clothes don't make the man, the man makes the man. Clothes (and the brand) just amplify that.

   Persistence in the face of a skeptical authority figure is a powerful ability
                       -term strategy, standing out pays off in the long run

Telling a story on the label
In this case, the marketer is hoping for old-time, genuine, down-to-earth and real.

5. Two really good things here. First, it's for very dry skin. This is brilliant. If your skin is dry,
you don't want to hear that it's sort of dry, kind of dry, not as dry as that guy over there... No,
you want to hear that it's extremely dry, really dry, so dry it's like sand. That kind of dry. This
bottle understands how very dry your skin is, and it's here to help.

Also, it's in French! I love that there's the language of love and sophistication and diplomacy
right here on the bottle. I can imagine that models for Chanel are using it on the Rive Gauche

It took guts to take this packaging so over the top. It doesn't match my worldview, but it might
match yours. There's not a lot of room for slightly-out-of-the-ordinary.


[and a bonus from George Orwell: "In a time of
universal deceit, telling the truth is a
revolutionary act."]
Sprezzatura

This is an archaic Italian word for being able to do your craft without a lot of visible effort.
It's a combination of elan and grace and class, sort of the opposite of loud grunts while you
play tennis or a lot of whining and fuss when you help out a customer.

The less a project or task or opportunity at work feels like the sort of thing you would do if
this is just a job, the more you should do it.

art.

The alternative is to focus not on ALL the people in the market, but just a few. Winning hands
down with 25% is plenty in this market, and perhaps in your market too.
You could figure out how to tell the delicious story, by referencing (copying the style of)
other products in other categories that are already seen as delicious, at least by this audience.
You could tell the snobby varietal handmade story, and that's been done many times as well.
Or you could tell a story that is yours and yours alone.
For example, the Madecasse story about made by Africans in Africa is very powerful, at least
as powerful as fair trade, if not more (they keep four times as much money in Africa by
selling a bar as they would if they just sold beans to other companies).
If that's true, then why not put your workers on the label? Big beautiful pictures that would be
an amazing juxtaposition against all the other abstract stuff in the store. Tell me the story of
the worker on the back. Make each one different and compelling. Packaging as baseball card.
I wouldn't put a word on the front, just the picture. Now I not only eat something that tastes
good, but I feel good. You've made it personal. The story on the back is about a real person,
living a better life because I took the time to buy her chocolate instead of someone else's.
When I share the chocolate, I have something to say. What do you say when you give
someone a chocolate bar? This package gives you something to say.
Or be fun and funny. Make the product itself almost a bumper sticker, something worth
buying and talking about.
The two elements that must come together are:
          The story you can confidently tell and
          the worldview the buyer tells herself
When those align, you win
-------------------------
          You can name your idea anything you like, but a google-friendly name is always
           better than one that isn't.
          Don't plan on appearing on a reality show as the best way to launch your idea.
          Waiting for inspiration is another way of saying that you're stalling. You don't wait for
           inspiration, you command it to appear.
          Don't poll your friends. It's your art, not an election.
          Never pay a non-lawyer who promises to get you a patent.
          Avoid powerful people. Great ideas aren't anointed, they spread through a groundswell
           of support.
      Spamming strangers doesn't work. Spamming friends doesn't work so well either, but
       it's certainly better than spamming strangers.
      The hard part is finishing, so enjoy the starting part.
      Powerful organizations adore the status quo, so expect no help from them if your idea
       challenges the very thing they adore.
      Figure out how long your idea will take to spread, and multiply by 4.
      Be prepared for the Dip.
      Seek out apostles, not partners. People who benefit from spreading your idea, not
       people who need to own it.
      Keep your overhead low and don't quit your day job until your idea can absorb your
       time.
      Think big. Bigger than that.
      Are you a serial idea-starting person? If so, what can you change to end that cycle?
       The goal is to be an idea-shipping person.
      Try not to confuse confidence with delusion.
      Prefer dry, useful but dull ideas to consumer-friendly 'I would buy that' sort of things.
       A lot less competition and a lot more upside in the long run.
      Pick a budget. Pick a ship date. Honor both. Don't ignore either. No slippage, no
       overruns.
      Surround yourself with encouraging voices and incisive critics. It's okay if they're not
       the same people. Ignore both camps on occasion.
      Be grateful.
      Rise up to the opportunity, and do the idea justice.
Why you, why now?

That's really the only questions between you and a sale.If someone is going to buy from you,
is it because you're the cheapest? That's a hard thing to maintain. There better be a more
sustainable reason than that.If they're going to by from you today, is it because you're in
proximity, the closest, the one source that can satisfy the itch they happen to have? It's a little
like being a peanut vendor at the ball game. You need a big crowd and you have to give up a
big share of your income in exchange for being in the right place at the right time.The goal is
to create an offering that can answer these two questions. Why from you and why right
now...Most businesses that struggle are unable to answer these two questions in a compelling
fashion. They act as though they deserve that sale, or that they need to aggressively close so
you'll buy today, instead of working to build in these very elements to the product itself.

what industry wants.
Fashion stores don't want sensible clothes that don't change from year to year. Hard to make a
living doing that. They like zingy designer names and ever-changing fashion and fads. That's
how they make a living.

Yet, without "why?" there can be no, "here's how to make it better."
Seven years from now, what will you have to show for what you're doing right now? If your
answer is, "not much," perhaps you should consider a new plan, one that might generate a
different answer, or, at the very least, be a more fun way to waste seven years.



Design is essential but design is not brand.

they are going to light up your heart, eyes, and soul, with their excellence.




Rich people will always indulge the desire to stand out, but I wonder if there's a new version:

Spending on and investing in time, not stuff.

And it's not so wasteful, this focus on craftsmen.

The new trend in spending money is to buy things that are painstakingly hand built instead of
efficiently mass produced. It might not be a better price than what you could buy at Target,
but the very fact that you can pay for an artisan to create it, an artist to design it, a talented
worker to bring it to life--that act makes a powerful statement about what you can afford and
what's important to you. Instead of a bigger house, it's a house that's built from scratch by
craftsmen. Instead of a bigger steak, it's a handmade dish of local poached vegetables...

All marketers tell a story. The "this is the best price and value" story is just one of those
available, and in fact, it's rarely the most effective for the audience you may be trying to
reach.




April 14, 2010


Vintage Denim Looks Back to the Future
By Retna Wooller
                        Brand building and heritage lines earn consumer respect that goes
beyond celebrity endorsements and clever advertising. Now more than ever, denim brands
like Levi Strauss & Co, Lee and Wrangler are shifting their focus to vintage patterns,
advertisements and ideals that highlight each brand’s unique denim
tradition.

Money Washington Raw Jean
Raw Indigo
http://www.endclothing.co.uk/brands/money/money-washington-raw-jean.html

Premium raw denim jean made from red selvedge denim with a 1 US Dollar note
encapsulated in a wash resistant sleeve in the back pocket. The back, and watch pockets
feature embroidered detail and the back label is cut into 'Money' sig logo shape.

       Raw Red Selvedge Denim
       Money Ape Logo Embroidered into Back Pocket
       Money Selvedge Decal on Inner Waistband
       Real US Dollar Bill Attached
       Limited Numbers
fysieke eigenschappen van het product
  borduursels
  prints
  speciale voeringen
  knopen
  geweven etiketten
  leder etiket
merk-eigenschappen
  beperkte reeksen (exclusiviteit / schaarste)
  zo perfect mogelijke afwerking
  standaard fits
  handmade
  authentic finishing + modern twists
  fabric from Asia
  designed in Europe
  handmade in Africa
  on Authentic American Sewing Machines
  Zeno World Denim
  Zeno World Vintage
  Zeno World Class
  hangtags zoals luchthaven labels
  print op voering met uitleg van waar de style
  komt

Designed by Stormhand | Country: The Netherlands

―Atelier LaDurance is a small scaled, independent French denim label that has the passionate
drive to make top crafted products. It develops limited runs at a traditional atelier in the south
of France.

The Atelier LaDurance comprehensive visual identity. Packaging, labeling and point of sale
items are designed purely from a practical point and they display the kind of logical simplicity
you are likely to find deeply rooted into the French aesthetic of every day.

Like the repairkit: an emergency capsule that has been put together to an autonom-ous design
with only off-the-shelf metal components. Manually assembled, one by one and attached to all
Atelier LaDurance denim products with a keyring. Containing a thimble, 2 buttons and a
piece of lining and a piece denim cloth.‖

Designed by Narrow House | Country: Spain | Fonts used: Perpetua

As our relationship and their business grew, we suggested that they should begin to ‗play‘
with their brand and as an experiment we created a range of special edition packaging. In that
first year we created 3 special edition boxes that proved to be an enormous success, creating a
buzz and gaining free publicity in many newspapers and fashion magazines.

From there, the idea has grown and now we create between 5 to 10 different special edition boxes
throughout the year. We base the designs for each box on the fashion/beauty theme, but they can
easily go off on a tangent, often becoming quite abstract.

http://lovelypackage.com/wp-content/uploads/2008/11/nike_lobster2.jpg

het uitgangspunt van de beleveniseconomie, namelijk dat mensen meer willen dan een product
alleen, en bereid zijn flink te betalen voor de unieke belevenis die daarbij hoort

As a start-up, the key is listening. Test and listen, sometimes not liking what you hear, but do it anyways, putting ego aside.
Well, after a month of various length pitches, boot camps and demos, we have decide to change things up again, for the
following reasons.
- As an engineer so tightly wound into this project, my message gets caught up in sentences that are grammatically correct,
full of adjectives and maximized buzz words. Guess what? Readers want pretty pictures and brief descriptions.
- As brilliant as our product is, the more we show it to people, they see its potential in
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The true strength of Viktor & Rolf’s work is its    genuine modesty.                                    Although

from time to time they make grand statements and their output can be astonishing in its
proportions, the essence of their work is high-quality simplicity: look around you, take what you see
and improve on it. No idealistic aims or wild fantasies – just add a golden finish to the lead of daily
life.

All this is entirely in keeping with the Low Countries tradition that idiosyncrasy and uniqueness are
only valued if they are kept at arm’s length, and that a modest attitude is expected. Viktor & Rolf
have succeeded precisely because they have not rejected these conventions, yet have developed a
wonderful sincerity that tests the boundaries of this sham context and so exposes its falsehood. They
have thus set a new standard for coming generations of artists and designers without ever
repudiating their origins.


Giorgio Armani sparked the trend for re-worked tailoring with a softly constructed new type of suit in the ‘70s.
Characterized by a distinct lack of internal structure, the design allowed garments to hang in a much more relaxed
way than ever before. Traditional British tailoring has also been repeatedly re-worked in the years since then, as
the country‘s traditional methods have evolved into reinvented styles of sophistication.

has now propelled a new wave of innovative tailoring, elevating the modes of classical craftsmanship
to a new level.

before successfully establishing a signature look of simplicity and sharpness under his own name.
                                             Kashoura‘s vision is all about maximizing from the
minimal—he has an impressive knack for lifting the shoulders of men‘s jackets to make them
look sturdier, and unabashedly uses unique finishing techniques (looped and detachable shirt
collars, jacket cuff fastenings) for a chic practicality. ―Creating shape with cloth and structure
around the body can only really be done in a small number of ways [that are] not necessarily
unique to me,‖ he explains, but adds: ―though I do admit to having some of my own special
tricks!‖

Carolyn Massey, meanwhile, graduated from the Royal College of Art in 2005. She is

quintessentially British in her approach to design, inspired, arguably
obsessed, with detailing and military influence. Her 2009 collection, for instance, was infused
by historic silhouettes and traditional schoolboy-esque tailoring drawn from research at both
the National Army Museum and the Museum of Eton Life at Eton School.

The latest a/w ‗10 collection continues down the same well-researched route, unearthing
traditional patterns of a bygone era like smocks and flight suits along with some additional
contemporary suiting. In addition to her nostalgic designs, Massey is also known for creating
more technical garments that are synonymous with mountaineering and fishing wear—
lightweight trench coats in technical fabrics with utilitarian pocket details, for example—
which illustrate her natural dexterity with both form and function.

This intense tailoring and couture training and obsession with the quality and cut of fabrics
are paramount in Gerbase‘s designs for her own label 1205. ―Generally I start a collection
with fabric, ―she explains, ―balance and proportion in the cut are something I consider at
length with every garment…even before the fabric has been cut.‖


Nom de Guerre Desert Corps Jacket
Khaki

Premium cotton twill military-styled jacket from Nom de Guerre, based on an archive design
used by the Desert Corps, this jacket is expertly finished with some incredible detailing.
        100% Cotton Twill
        Button Closure Placket Cover Featuring Military Styled Buttons
        Two Front Handwarmer Pockets
        Epaulette Detail
        Two Way Collar With Storm Flap and Concealed Hood
        Adjustable Cuff Band
        Limited Numbers



 11345

£469.00

TAKE my younger son to an ice cream parlor or restaurant if you really want to torture him.
He has to make a choice, and that‘s one thing he hates. Would chocolate chip or coffee chunk
ice cream be better? The cheeseburger or the turkey wrap? His fear, he says, is that whatever
he selects, the other option would have been better.

Gabriel is not alone in his agony. Although it has long been the common wisdom in our
country that there is no such thing as too many choices, as psychologists and economists
study the issue, they are concluding that an overload of options may actually paralyze people
or push them into decisions that are against their own best interest.

There is a famous jam study (famous, at least, among those who research choice), that is often
used to bolster this point. Sheena Iyengar, a professor of business at Columbia University and
the author of ―The Art of Choosing,‖ (Twelve) to be published next month, conducted the
study in 1995.

In a California gourmet market, Professor Iyengar and her research assistants set up a booth of
samples of Wilkin & Sons jams. Every few hours, they switched from offering a selection of
24 jams to a group of six jams. On average, customers tasted two jams, regardless of the size
of the assortment, and each one received a coupon good for $1 off one Wilkin & Sons jam.

Here‘s the interesting part. Sixty percent of customers were drawn to the large assortment,
while only 40 percent stopped by the small one. But 30 percent of the people who had
sampled from the small assortment decided to buy jam, while only 3 percent of those
confronted with the two dozen jams purchased a jar.

That study ―raised the hypothesis that the presence of choice might be appealing as a theory,‖
Professor Iyengar said last year, ―but in reality, people might find more and more choice to
actually be debilitating.‖

Over the years, versions of the jam study have been conducted using all sorts of subjects, like
chocolate and speed dating.

But Benjamin Scheibehenne, a research scientist at the University of Basel in Switzerland,
said it might be too simple to conclude that too many choices are bad, just as it is wrong to
assume that more choices are always better. It can depend on what information we‘re being
given as we make those choices, the type of expertise we have to rely on and how much
importance we ascribe to each choice.

Mr. Scheibehenne recently co-wrote an analysis, to be published in October in The Journal of
Consumer Research, examining dozens of studies about choices. One problem, he said, is
separating the concept of choice overload from information overload.

In other words, he said, how much are people affected by the number of choices and ―how
much from the lack of information or any prior understanding of the options?‖

Research also shows that an excess of choices often leads us to be less, not more, satisfied
once we actually decide. There‘s often that nagging feeling we could have done better.

Professor Iyengar and some colleagues compared how American and French families coped
after making the heart-wrenching decision to withdraw life-sustaining treatment from an
infant. In the United States, parents must make the decision to end the treatment, while in
France, the doctors decide, unless explicitly challenged by the parents.

This contrast in the ―choosing experience,‖ she wrote, made a difference in how the families
later coped with their decisions.

French families weren‘t as angry or confused about what had happened, and focused much
less on how things might have been or should have been than the American parents.

It is important to note that no one is suggesting that parents be kept out of the loop in such a
crucial matter. Rather, the choice, as Professor Iyengar said, was between ―informed
choosers‖ and ―informed nonchoosers.‖

Since, fortunately, most of our decisions are less weighty, one way to tackle the choice
problem is to become more comfortable with the idea of ―good enough,‖ said Barry Schwartz,
a professor of psychology at Swarthmore College and author of ―The Paradox of Choice‖
(Ecco, 2003).

Seeking the perfect choice, even in big decisions like colleges, ―is a recipe for misery,‖
Professor Schwartz said.

This concept may even extend to, yes, marriage. Lori Gottlieb is the author of ―Marry Him:
The Case for Settling for Mr. Good Enough‖ (Dutton Adult, 2010). Too many women — her
book focused on women — ―think I have to pick just the right one. Instead of wondering,
‗Am I happy?‘ they wonder, ‗Is this the best I can do?‘ ‖

And even though we now have the capacity, via the Internet, to research choices endlessly, it
doesn‘t mean we should. When looking, for example, for a new camera or a hotel, Professor
Schwartz said, limit yourself to three Web sites. As Mr. Scheibehenne said: ―It is not clear
that more choice gives you more freedom. It could decrease our freedom if we spend so much
time trying to make choices.‖

E-mail: shortcuts@nytimes.com
Designed by Tower of Babel | Country: United States

―Lucifer‘s Elixir is a self-promotional piece that I produced and handed out to colleagues and
confidants. Each swing-top bottle included a vintage skeleton key and a booklet explaining
symbology, numerology and other ―secrets of the universe‖. It was meant to invoke an
initiation into a secret society a la the Freemasons or Skull & Bones. What better to ponder
the meaning of the universe than some nice bourbon whiskey!‖

Her 3 year old eponymous company designs all of its embroidery in-house and everything is




ethically                                                    Made in Italy, working only with the best


Italian artisans using biologically




sustainable                                                                      materials whenever


possible, an approach highlighted by the brand‘s participation in

In demanding economic times, the major fashion houses are going back to their roots for inspiration
April 77 Selvedge Stretch Denim

by Tim Yu in Style on 23 June 2009




French label Aprill 77 emphasizes high quality construction and fabrics and in their first year
they have already made an impact on the denim scene. A standout from their upcoming
Fall/Winter 2009 line is their Japanese selvedge stretch denim pant and jacket. It's the first
we've heard of stretch selvedge denim.

There are only two factories in the world that can produce this type of denim, and in limited
runs. Inquiries into how they produce the denim were not answered out of fear of being
copied.

Hand washed and made in Japan, the denim weighs in at 13.5oz and is composed of 98%
cotton and 2% elastic. Each piece comes nicely packaged in a Bleu de Chine bag, all the
better to protect the $430 pants and the $420 jacket. Both drop in September and can be found
at Berdorf Goodman or April 77.

http://bekvamclothing.blogspot.com/
How to buy
Made-to-order listings are posted in the shop every couple weeks. The quantities are very
limited and tend to sell out quickly. The best way to snag something you want is to watch here
for update times or sign up for the MAILING LIST.


All clothing is handmade by me(Hannah Elise)from
my original patterns with careful attention to
quality, construction, fit and detail.
I use luxe, natural + organic fabrics to create
simple yet sweetly detailed pieces in small batches.

+ SIZE CHART +
------------------------------------

Please note these are body(not garment)measurements.

XX-small
------------
Bust: 28-30in
Waist:23-25in.

X-small
------------
Bust: 31 - 32in.
Waist: 24 - 26in.

Small
------------
Bust: 33 - 34in.
Waist: 26 - 28in.

Medium
------------
Bust: 35 - 36in.
Waist: 28 - 30in.

Large
------------

Bust: 37 - 38in.
Waist: 30 - 32in

All sales are final, so if you have any questions
(about size, fit, care etc...)please convo me before you purchase.

Hey, There's nothing in your shop. What's going on?

         I only make few garments for each collection update. In the past collections have sold out
         within an hour of listing. I typically make a new collection every few weeks or so. To get
         updates and information about coming designs please visit my blog:

         Bekväm clothing


         Or sign up for my mailing list by emailing me at:

         bekvamclothing(at)yahoo(dot)com
Do you accept custom orders

        Sorry, at this time I am not able to accept custom orders

do you ship internationally?

        Yes

What forms of payment do you accept?

        I accept Visa, MasterCard, American Express, Discover, or regular account payments
        all through PayPal.




How secure is this store?

        This store uses PayPal for payments, and PayPal automatically encrypts your
        confidential information in transit from your computer to ours using the Secure
        Sockets Layer protocol (SSL) with an encryption key length of 128-bits (the highest
        level commercially available).

Do I need a PayPal account to purchase from this store?

        No, you are not required to have a PayPal account to purchase from this store.
        Although if you already have a PayPal account you may use it.

How will my item ship/ How soon will it ship?

        I am currently a full time student and I also work part time. I mail packages whenever I get
        the chance. Generally items will ship out within 5 business days.

        I ship USPS Priority Mail(within the states)and First Class Mail(international). I am
        not responsible for lost packages. I've never had any problems using USPS priority or
        First Class international, however is you would feel more comfortable having your
        item shipped USPS Priority with tracking/insurance, just let me know and I will bill
        you for the difference.




A similar impulse recently prompted the whimsical New York men's wear designers Duckie Brown to
mine the archives of the Wisconsin-based shoe company Florsheim (est. 1892) to create a new
laceless wingtip and star-spangled Patriot boot. The Japanese designer Daiki Suzuki, who has been
creating modern updates on the Woolrich catalog as head of the firm's upscale men's wear label
Woolrich Woolen Mills, says that some credit for these new takes on old styles goes to Europe and
Japan, where Americana has been fashionable for a generation. ''It's not a trend,'' he insists. ''It's
more like a style. It's basics.''

Hardly worth the effort

In most fields, there's an awful lot of work put into the last ten percent of quality.

The last ten percent is the signal we look for, the way we communicate care and expertise and
professionalism. If all you're doing is the standard amount, all you're going to get is the
standard compensation. The hard part is the last ten percent, sure, or even the last one percent,
but it's the hard part because everyone is busy doing the easy part already.

The secret is to seek out the work that most people believe isn't worth the effort. That's what
you get paid for.

Aitor Throup, Kim Jones and JW Anderson

Do you think youth culture is as important to style as it was?

Aitor Throup:There is no youth culture left, is there? No one is angry anymore; kids are
ultimately a lot happier because everything is so accessible online.
KJ: If you're emo, you can meet millions of other emos online straight away, and if you're
gay, you can meet millions of other gay kids online straight away. You're not one kid fighting
your corner anymore.

Do you think the loss of what our generation knew as youth culture, and the fact that younger
people today don't have those “tribe” affiliations, has affected the way you design?

AT: When I was growing up in Burnley around football casuals, that idea of going to watch
the match every Saturday and being a part of a group of like-minded individuals, wearing
something that affiliated you with the people around you – that really did inspire and capture
me in some way. The idea that you associated through the labels and brands that you wore –
 Stone Island or CP Company, for example. Ultimately we were appropriating those brands
and taking them out of context, and it was that I found really interesting; we were pushing
them forward. I have never found myself inspired by what is happening online.
KJ: I remember realising after going to a nightclub in Australia, based on how people were
dressed, you could have been at any club in the world. There is no sense of people creating
their own culture anymore; it is about following one leadership. That really is the effect of the
global online community.

So what is it that you are looking to now – what do men want from their clothes?

JA: I think men are a lot more stylistically driven than they were. They are more willing to, in
that clichéd way, ―shop for the weekend.‖ They are willing to invest, to take more risks and
indulge.
AT: It depends though. It‘s easy to say ―men‖ but you can't genalise like that. I go up to
Burnley and, trust me, it is still full of men who aren‘t willing to pay much for clothes.
JA: Yes I agree, but if you look at it on a global economic level, men are spending more on
clothes than they were.
Where do you think this is taking menswear?

JA: I think that we are going to see brands pan out a lot more. The brands that will be both
stable and creating something interesting and innovative will be the ones that manage to
encompass many different men.
KJ: It is about tiering, having something that funds the more avant-garde or experimental
designing. That is the position designers now ideally want to be in, to have a mainline that is
purely their vision where they push boundaries and to have other avenues that drive the
business.

Liberty of London is a luxury collection at heart and at core. Under the creative direction of
Tamara Salman, the 130 year-old brand continues its tradition of decorative style, while
maintaing the emphasis on high quality materials that gives the label a prestigious and
timeless feel. The unmistakable British style is paired with Italian craftsmanship in the
continuous re-interpretation of the classic prints that came to life with the brand's founder,
Arthur Liberty: the "lanthe", an art nouveau design dating from 1900, and the "Hera" a
peacock-feather print from 1876.


Wired and Influential

Opening the event, New York University professor and LuxuryLab founder Scott Galloway,
underscored the importance of Generation Y with some simple, but astounding numbers. Born
between 1977 and 1994, Gen Y currently spends $150 billion a year on consumer goods.
That‘s five times more than their parents did at their age. They also influence another $50
billion in purchases made by others. Indeed, according to a recent report by Harris Interactive,
one in every three consumer dollars spent in the United States today is influenced by someone
under the age of 18.

Laura McEwen of Teen Vogue reiterated this point in a presentation entitled ―Gen Y and the
Dynamics of Influence,‖ noting that teenage women increasingly influence fashion and
beauty trends and drive purchasing decisions amongst older consumers.

Gen Y‘s profound influence in the marketplace is directly linked to their familiarity with
digital media, said Jane Buckingham, an expert on youth trends and founder of trend
marketing and consulting company Trendera. Indeed, 96% percent of Generation Y is active
on at least one social networking site.

A New Definition of Luxury

But what we want more than anything is to belong, to feel like we‘re in a clique.‖ For Tavi,
luxury products should be like a secret society that connects you to like-minded individuals
and not a mainstream, homogenised stamp of status. Brand markings should be secret
emblems that only certain people recognize, she said.

When a company offers them a unique point of view, an authentic experience and meaningful
connections to a community, today‘s teenagers are happy to evangelise the brand. But if not,
this influential, internet-empowered generation will go out and find somebody else who does
— and if that doesn‘t exist yet, they‘ll create it themselves.
combining innovation and a history steeped in fine craftsmanship

Such customers are never named – that would be nothing short of uncouth. It's perhaps not
surprising, therefore, that the rather more banal issue of distinguishing counterfeit product
from the real thing is easily dealt with by M Vuitton.

"For me, it's obvious," he says. "The Louis Vuitton product speaks for itself, for its quality.
Through the elegance of the product and the elegance of the person who carries one can easily
identify whether it is real." More specifically: "It's in all the details. Where we do hand-
stitching, the counterfeiters never do, for example. Really, one can easily see the difference
between a bag that was made in one hour and a bag that was made in 10.

"I represent 155 years of know-how," says Patrick-Louis Vuitton without batting an eyelid.
"And so I think the clients are reassured. They know, meeting me, that we will make
something extra-ordinary for them, quite extraordinary and unique. There are no other brands
where a M Vuitton himself will come and design your luggage. That's very special."

And with that he's off back to Paris, most likely travelling with a prototype for a new design
rather than anything more obviously rarefied. "Because the best way to test luggage is to
travel with it," he says.

It is sure next summer we will play golf! That is not colette who says that but the Kitsuné label
which claims a Preppy Golf look very 60's Côte d'Azur. We stepping from the country club to
cocktail parties thanks to a classic wardrobe but a modern style, we dare turquoise and rope-soled
sandals and we score.

FLORENCE, Italy — In the shadow of luxury giants like Gucci and Louis Vuitton, a Florence-based
business called The Creative Archives has been quietly offering emerging designers from the UK a
rare chance to see their work produced by authentic traditional craftsmen, whose skills are
increasingly under threat in a machine-made luxury world.

The idea is neatly reciprocal: emerging designers get access to highly-skilled labour-intensive services
that they might not normally be able to afford; artisans get the opportunity to apply their techniques to
new, buzz-worthy designs and keep their skills alive; and consumers get exclusive, limited edition
products.Everybody, as they say, wins.

Each season, TCA receives proposals from recent design graduates or lesser-known designers. Patel‘s
selection criteria is simple. ―I don‘t believe in giving young designers a chance as a purely
philanthropic exercise, it has to be merited,‖ he says. He is also quick to differentiate TCA from fashion
grants and prizes. TCA, he says, helps designers with production, logistics, quality control, sales and
press, as well as financing.


For SS10 and AW10, TCA‘s signature products are digitally printed scarves by award-winning designer
Mungo Gurney, a 2006 Central Saint Martins graduate. Gurney worked under the direction of Patel
and his team and interacted closely with Achille Pinto, a historied factory in Como, Italy that produced
the scarves. As part of the collaboration, Gurney receives an 8 percent royalty on sales, similar to a
traditional licensing and production deal.
For Christmas, TCA is planning to expand their product range beyond scarves, working in
collaboration with innovative fashion designer Hussein Chalayan to develop printed suede gloves, sold
exclusively at Browns boutique in London.


To help attract more consumers, TCA hopes to provide a little bit of curiosity, ―much like the idea of
buying something at the farmer‘s market,‖ Patel says, ―where you feel you‘re supporting a young
designer and you‘re buying something that‘s beautiful and conscientiously sourced.‖ He goes on to
mention that pricing is key, ―I don‘t think things should be overpriced, and luxury brands have a huge
mark-up.‖


But can a niche enterprise like this succeed as a business? On this, Patel sounds an optimistic note.
―Currently, we‘re in the red. In the first season we picked up six or seven accounts, and we did about
30,000 euros in sales, and we did a profit of about 8,000 euros. I think by the end of the year, we
should be in the black,‖ he asserts.

Ideally, Patel would like to work with 200-250 of the best multibrand stores in the world, with each of
them placing orders of between 3,000 and 5,000 euros a season. ―If that happened [the business]
would have the right size and reach,‖ he says.


With a production process that‘s completely transparent, TCA is a micro-sized alternative to big luxury
brands whose products are made in mass quantities, often by machine. Indeed, Patel hopes to help
instill a commitment to high-quality manufacturing amongst a new generation of young creatives
while making them commercially successful at the same time.

Christophe Lemaire was named Artistic Director of Hermès for womenswear, replacing longtime
incumbent Jean-Paul Gaultier

―I was never really attracted to the star system and the whole media-obsessed fashion of the 80s. I
really think it was something that preserved fashion more than it served it,‖ he reflects. Fingering his
―bible‖ — his copy of Cheap Chic Update: the 1970s fashion guidebook he discovered after meeting its
editor, Carol Troy, at a dinner in late-1980s New York – he confesses his design philosophy is in stark
contrast to his beginnings.


―Fashion for me is less of this runway culture, when I am designing, the goal is the person who will
wear it. I was always more interested in creating refined and creative, wearable fashion than just
images.‖ Modern, workingwomen from the actor Lauren Hutton to the photographer Ewa Rudling are
immortalised on the pages of Cheap Chic Update, dissecting personal style and discussing the
importance of a good white T-shirt over fad clothing — central to Lemaire‘s sartorial philosophy.

Growing up, the young Lemaire was interested in the quality of life objects could bring and was first
attracted by industrial design. ―For me, style, fashion and clothes were part of a more global interest in
the stuff that surrounds us. Now I have rediscovered why I wanted to make fashion and I‘m extremely
clear about what I want to do.‖ Lemaire talks of his clothes in a way that relates them to a kind of
costume or uniform – costume to be worn for the theatre of life – it is paramount that his collections
work in the everyday. ―I can only do 50% of the job,‖ he smiles. ―It‘s commonsense that style is very
much linked to the person who wears the clothes. I never believed that fashion could be some style that
you could buy. I can only try being as precise as possible in the way that I make clothes that will
underline a personality.‖

―When you have beautiful fabric and you reduce it to the maximum essential design — you can mix it
and play with it and then you can tell your own story. I don‘t believe the designer can tell you which
story you can tell.‖




"Craft and the art of design–whether it’s perfume, furniture, fashion, film, or music–is very appealing to me. I
really appreciate and admire the skill and time it takes to create true art in design.

By ERIC FELTEN

Louis Vuitton has been caught pulling the wool—a very fine and delicately woven wool, no
doubt—over the eyes of consumers. Britain's Advertising Standards Authority this week
demanded that the luxury company cease and desist with ads that imply their products are
made by hand.

The glossy magazine advertisements featured a Vermeer-worthy model at a workbench,
addressing a leather handle: "A needle, linen thread, beeswax, and infinite patience protect
each over-stitch from humidity and the passage of time," read the ad copy.

The bureaucrats paid to protect the public from flimflammery declared this to be a fraud.
"[C]onsumers would interpret the image of a woman using a needle and thread to stitch the
handle of a bag," the agency ruled, "to mean that Louis Vuitton bags were hand stitched." In
truth, some of the work is done with the efficacious and none-too-tony assistance of sewing
machines. For shame!

View Full Image




Corbis

OK. We do need him.
Should we care? One is inclined to recommend the Advertising Standards Authority as a fine
place for the U.K.'s new coalition government to find some savings.

Why the preference for the handmade, anyway? Yes, there are still goods where skilled
craftsmanship makes all the difference: No machine can match the judgment of an
experienced luthier, who has to adapt to the acoustic quirks of each piece of wood he carves
for a violin. But does it matter whether a product is crafted by hand or stamped out by
machine, if the consumer can't tell the difference?

The aura of the handmade has been around ever since machines displaced tools as the main
means of manufacture. Nineteenth-century moralists lamented the loss of honest
craftsmanship and built a movement embracing goods that were objectively less well made
than their factory-made counterparts.



Thorstein Veblen derided this as " exaltation of the
defective                   ," which he disdained as just another manifestation of the leisure
class's taste for waste. He sneered at the "propaganda of crudity and wasted effort," that led
such advocates of the artisanal as John Ruskin to champion products of "painstaking
crudeness and elaborate ineptitude" over the "visibly more perfect goods" made cheaper by
machines. He hated the smug vanity of people flaunting Ruskin's rough-hewn books.

There is a robust Ruskinite movement afoot again today, celebrating the rustic and exalting in,
if not the defective, the artless (where art is understood as artifice). It is in foodstuffs where
the modern taste for the artisanal flourishes most fully. Many are the farmers markets now
offering bruised peaches and splotchy tomatoes as a rebuke to the plastic gloss of supermarket
produce.

Who knows how much of this is really grown by Mr. Green Jeans, and how much is just the
battered leftovers from the warehouse, repurposed for the farm stand. But there is no doubt
that perfection is now about as fashionable in foods as it is in Persian carpets.

Louis Vuitton, like many modern makers of luxury goods, is in a tricky position. Their clients
expect the glossy perfection that machines make possible. But they don't want the taint of
mass-market cheapitude that comes with highly productive technology.

A role must be found for craftsman, because these days nothing is more rare and exotic. For
all the micro-tolerances of the machine work that go into making a Ferrari, the company has
technicians assemble its engines by hand. Perhaps that's the most efficient and effective way
to do it; or perhaps it's an inefficiency that lends its own aristocratic gloss.

Bugatti brags that it employs actual humans to caress its Veyron coachwork for hours per
car—an extravagance, and purposefully so. Or take champagne: A few houses still hire men
to do the riddling by hand, turning the bottles in racks to work the sediment down onto the
cork for removal. Machines can now do it in a fraction of the time and at a fraction of the
cost, but of course without the elegant wastefulness of a million turns of the wrist.

Once upon a time the craftsman's touch could be displayed through personalization—the
adding of monograms and various options for customization. Machine-made goods came off
the assembly line with a perfect sameness that was a liability: making the ability to choose
and specify details a great luxury. But in the last 20 or 30 years, computer-controlled
production has democratized customization. When you can order a computer-cut shirt from
Land's End for $50, customization loses its upper-crustiness.

What is Louis Vuitton to do? The company could always try to show that there is some by-
hand work involved in its handiwork by embracing the ethic of the splotchy tomato. Myth has
it that weavers once inserted errors in their work to signal that, unlike the unlucky Arachne,
they wouldn't try to achieve godlike perfection. Imperfection today is a different signal. It's a
declaration that the weaver isn't a machine, which is why newbie carpet collectors are told to
look for uneven stitching.

If imperfection becomes a desirable luxury- good quality, savvy factory manufacturers will
simply start programming their computers to insert certain random and human-seeming flubs
into the products. Advertising police will never stop luxury goods from delivering more
mystique than reality. That may make such pricey purchases a conspicuous waste of one's
money—but wasn't that always the point?

The starting point for Givenchy's creations was always the cloth. "Fabric is the most extraordinary
thing, it has life. You must respect the fabric," he insists. His aesthetic was classical, pure and
sometimes slightly severe; with an occasional surprising flourish such as the cutaway, crescent-
shaped detail on the back of the dress Hepburn wore in Breakfast at Tiffany's. He says today that
"the little black dress is the hardest thing to realise, because you must keep it simple."
Cristobal Balenciaga, whom he considered, "a great architect", because "all the proportions of
Balenciaga are strong, modern, wonderful".

It's clear from his Union lecture that the designer isn't exactly enthralled by the modern fashion
world. He doesn't believe that actresses at Cannes have the "great style" of silver-screen legends
such as Carole Lombard or Judy Garland, dismisses some collections as just there to sell bags and
shoes, and considers many designers out of touch with reality; showing "impossible, crazy clothes"
rather than "thinking about the life of a woman".

Instead he is philosophical. "Every epoch is different, and you must accept the reality," he smiles,
"C'est la vie. Happily, for many years we had a wonderful time. Beautiful fabric, beautiful people,
beautiful memories." In that order it seems. For Hubert de Givenchy, everything starts with the
fabric.

Carga (which means “load or to carry” in Spanish) is an alternative Argentinean bag brand which has
fused sleek, contemporary, architectural design with unique materials to deliver a wearable yet
stylish product.

Carga 05 Sling Bag Features:
. industrial wool felt
. aluminum rivets
. adjustable leather strap
. serial numbered
. back leather pocket
. internal leather pocket

CARGA’s architectural design style is heavily influenced by construction techniques using fabrics and
hardware parts. No visible branding can be seen apart from a steel disc embossed with a unique
serial number. Each bag is constructed out of industrial felt secured by aluminum rivets.

I have always been interested in using construction principles in unexpected ways, says Mauro
Bianucci, CARGA founder & Designer.

Mauro Bianucci is an Argentinean architect with over 10 years experience who works in his
homeland, New York and Barcelona where he resides. Mauro saw a unique opportunity to fuse his
architectural design knowledge, with the natural and authentic materials of South America, to create
a fashion format that delivers an urban yet sophisticated collection.
                                                         Heritage Research
                                                         Whilst new to the UK, Heritage Research has
                                                         been available in Japan for some time.
                                                         Initially intended for the Japanese market
                                                         only, they are a brand who take the phrase
                                                         'handmade' very seriously, boasting an array
                                                         of garments that grace the hands of only
                                                         three craftspersons from start to finish whilst
                                                         being constructed.

                                                         Every piece is made to order in an English
                                                         workshop; Cut, sewn and finished by hand
                                                         using traditional tailoring methods and the
                                                         finest British and Japanese fabrics with the
                                                         additions of military grade RiRi zips, horn
                                                         buttons and leather bindings and trims.

                                                         With inspiration drawn from international
                                                         military, outdoor and workwear themes,
                                                         Heritage Research create collections that
                                                         strike a perfect balance between classic and
                                                         contemporary clothing.

                                                         See all items...




In a few words how would you define beautiful?
Anything that makes my heart race.

Who are nowadays the most stylish people in the world and why.

                                I always think the really
I suppose it is the people who care about such things, but

stylish ones seem like they are not trying at all. It is just who they are, and
they are generally very beautiful and very rich.

One must have charm, and let’s face it: money helps. Charm allied with riches and position
is fairly irresistible.
What is your motto?                                              Do you
know what happened to the man who got everything he ever wanted? He lived
happily ever after.

Miles Redd
Bonobos

Waist
         Curved waist band for better fit and no bunching of fabric
Rise
         Medium rise, with some magic in the seat to be comfortable but not frumpy
Thigh
         Flattering cut is neither too tight nor too loose
Inseam
         Our pants come with a longer inseam than most guys need—34" for waist sizes up to
         33, 36" for waist sizes 34 and above. We know that hemming is an extra step, but it is
         one that we believe is important for pants that break perfectly over your shoes.
Finish
         Straight leg, a slightly more conservative take on our classic Bonobos style
Fabric
         100% washed khaki
Color
         Brown


The Sapphires continue the Bonobos tradition of fantastic blue dress trousers. We unearthed
this rare fabric, which comes from venerated Italian mill Loro Piana, among the finest in the
world, in our tireless search for quality and elegance.
In certain lights, the Sapphires appear lighter than a solid navy wool trouser, owing to a faint
heather in a deep cerulean undercurrent, reminiscent of the Mediterranean. It‘s a special color
and a special trouser, sure to become the crown jewel of a classy wardrobe.

We cut these in a classic straight leg with no back pocket flair and only made a couple
hundred pairs - they won‘t last. An all weather wool trouser you can wear year round, The
Sapphires look great with just about any solid or pattern dress shirt in a lighter color such as
white, blue, pink or yellow. We prefer a cordovan, dark brown, or light brown dress shoe and
belt combo. Experts may elect to wear white shoes or even a canvas/woven loafer.




Capture people’s hearts, create ipad-like ‘must-have’ feeling by exclusivity and perfection


Earthly delights
Paradise on earth

Robes for paradise

Website:

        http://www.nuzieclothing.com
        http://www.twitter.com/NuzieClothing

Company Overview:

        Nuzie' Clothing is a premium fashion brand.

Mission:

        To build a legacy in the fashion industry, as one of the TOP, high quality, fashion forward
        companies. "Rich in Quality...Royal in Stature"

Products:

        Fashion for the entire family.

Designers shrugged off the global economic slump at Milan‘s menswear fashion week, opting for bold,
impeccable suits to woo demanding buyers keen on wearing something more than once.

However, many brands shown at Milan's spring-summer 2011 fashion week that ended on Tuesday
took lively risks, seeking innovation while preserving Italian tailoring quality.

"Even the wealthiest clients want a justification to buy. They tell us, 'Our wardrobes are full.
Show us what we don't have,'" Spain-based buyer Martin Kucera told Reuters.

"The times when people bought clothes for just one night are gone. They want something they
can use again," he said.
Imagine Ferrero Rocher being sold in plastic wraps instead of the gold foils; totally unappealing! The
way you package and present your product really makes an impact on many economic equations and
its market presence. Designers understand this only too well, which is why we have so many creative
innovations in the packaging sector. In a way Industrial Design and Product Design is quite dependent
on Packaging. Synergistic packaging can not only enhance a product‘s appeal, it can also increase the
brand-value and pricing focus.

Verpakt in dozen, op elke doo seen thema (bedrukt? Stickers? Bvb worker=communist cccp
typography & graphics / beach short=50‘s style graphics / cargo=space age graphics / traveler jacket =
airline tag zoals à valies…)

De doos = tegelijk ook een ‗zak‘ (Gaatjes erin aan één kant met touwtje erdoor om te dragen)

Verschillende dozenformaten (buis, pizza, kubus) die makkelijk in standaard Takatex
verzendingsdozen passen


World map print                              (dotty technique, different size dots: big for continents,

small for water) on globe, logo inside map (dots of different color)




Before we created we collected.
But we collect not just to acquire; we collect to examine, analyze, and to learn. Decades in the
making, the DENHAM GARMENT LIBRARY supplies the raw material for our research,
design and development. We can‘t benefit from tailoring traditions unless we understand them
better, and new ideas crumble if they‘re not built on a strong foundation. Each item in the
library tells a story and each one represents a starting-point for our collections.

Jason Denham‘s single-minded obsession with denim is the primary inspiration for the brand.
His conviction that deep knowledge comes with extensive research is central to the whole
studio‘s design approach. The label‘s own growing archive is home for an expansive
collection of archetypal jean models as well as workwear, military clothing and travel gear
from the last century all the way up until today.

We know our predecessors, our contemporaries and our competitors. We take inspiration
from anyone and any place producing relevant ideas but we‟re never content simply to
reproduce someone else's approach even if that person's name has been safely lost to history.
The research feeds our passion and our passion is to progress our tradition ever forward.

WORSHIP TRADITION. DESTROY CONVENTION




If luxury brands all want to sell the idea of exclusivity and being
special, then why are their identities so similar? Would love to hear everyone’s perception of luxury.

Luxury, certainly, is not labelling people!

Luxury brands offer safety to rich people.

Elitism. Part of the great struggle of life. The brand we have appeals mainly to money, and trying to
look like you have lots of it!

expensive difficult to find materials and perfectly designed and crafted goods

I agree with post that argue that luxury doesn't exist anymore, since what is considered to be
luxurious is so easily obtained in this day and age. True luxury is exclusive. Exclusive to each person. A
cup of noodles can just as easily be luxurious as a beautifully crafted vehicle or a vacation to a
secluded island. luxury is finding zen in what you enjoy and making it the best it can possibly be.
which requires no label, but is often a result in making something luxurious marketable.

Luxury is when you don't see the tacky LV logo all over a bag... they should pay us to advertise for
them like that... The nice LV has no obvious logo all over it and 95% of it is not fake.

exclusivity, the rare and complicated to obtain :)

I think HANDMADE is the future, it's definitely a kind of exclusivity............

luxurious not always means fancy, is a sign of richness but not for culture and elegance.
luxury = desires, mainly thanks to famous artists who wear luxurious stuff. hard to afford by
the average. la creme de la creme. something I will never have


The logo identity graphics is normally much more sober so they can transmit a timeless perspective.
That's so important in the luxury market

Its about maintaining their popularity, whilst staying out of the mainstream, and also producing high
quality, ultra stylish goods at prices that not everyone can afford.

They are not selling you uniqueness, they're selling membership of "the club."

menos es más, siempre

Luxury brand identities are similar for the same reason that tortilla chips packaging is similar.
Looking similar gains you entry to a brand category. Unfortunately, exclusivity is still a
vestige of the class system and only guarantees that your companions poolside will be a pretty
boring group.


Exactly...and the club is not exclusive as long as you have to wear a logo. It is only aspiring
wannabe's that want to communicate: "I can afford this" it is a price-tag.


is being different really the same as being special? identical identities doesn't mean you're not
special or deserving of luxury.


luxury is handmade, and wellmade.


In most cases luxury is just another form of homologation...


For most of the people, luxury is what they can't buy. For the people that can, they are just buying
nice stuff, most of the time handmade with skills and passion...a labor of love.

―Simplicity is the hardest design principle to follow,‖ says Ian Cameron, chief designer at Rolls-Royce,
thus expressing the most central principle that all his designs follow: what he means is the kind of
simplicity which develops organically out of complexity.
Her eponymous label Elenany has been up and running for more than a year now. It’s sporty,
unapologetically urban and – most importantly – Islamic. One of her most famous designs is a long
grey coat, with a hood and a lining that features bold orange graphics of a minaret. Overseas her
designs are being snapped up and she’s just returned from Indonesia.
Maxi dresses are a classic example of this cross pollination. This summer’s latest must-have is about
more, not less fabric. For once Muslim women can walk down a high street and see that long skirts
are back in vogue. Unsurprisingly, Tajima has adopted the maxi dress with relish.

―I like to think my clothes would appeal to anyone,‖ she says. ―There a great potential for
crossover.‖




Company of We | Building an Online Fashion Business
Posted: 08 Jul 2010 02:38 AM PDT




Company of We, S/S 2010 | Source: Company of We


NEW YORK, United States — Today, building a strong online sales channel is often vital to the
success of an emerging fashion business. But because the task can seem daunting, many young
designers delay developing their own e-commerce sites, and instead outsource their internet sales to
online retailers, losing a significant share of full retail margin that can be earned when selling directly
to the end consumer.


While it‘s almost always cost-prohibitive for a new brand to open a bricks-and-mortar store in the
early days of the development of a new fashion business, New York-based menswear label Company
of We has proven that setting up a fully owned and operated e-commerce presence from day one can
be done — and done well — in a way that‘s cost-effective and relatively simple.


Company of We, the brainchild of Jayzel Samonte and Christopher Crawford, began in June 2009
entirely as an e-commerce site. There was no budget for expensive fashion presentations or advertising
campaigns. But when the young brand launched its first line online, it sold out — 2,000 units to be
exact — in just eight days.

Starting their company online felt like a completely normal and natural move, says Jayzel: ―I think it is
where things have evolved to. All of our friends shop online at designer sales sites like Gilt Groupe and
rarely go to luxury department stores unless it‘s sale season.‖


So how did they do it?


The partners began by researching off-the-shelf software packages. ―If you devote a weekend to it, you
can do it on your own. You can build it from the ground up, [adding] shopping cart software to your
existing site. Or you can purchase all-inclusive programs like Volusion [that come with] a concise
inventory system, shopping cart, ROI Tracking, customer database and easy to use templates.‖

Not wanting to limit themselves to a templated look and feel, Company of We ultimately hired web
technicians to help them. But, with the bottom line in mind, the pair instructed their developers to
create a simple site focused solely on product. ―It‘s important not to go crazy on sophisticated flash
presentations and complicated designs when you can achieve the same level of success by keeping it
clean, concise and focused,‖ advises Jayzel.


―It‘s very low overhead to start as an e-commerce store. You‘re looking at $2,000-3,000 dollars a
month,‖ adds Christopher. Compare that with commercial rents for physical space, which can easily
add up to ten times this amount.

Easy online data tracking was another plus. ―We were methodical with our ROI tracking and tracked
our growth on sites like Alexa and Google Analytics,‖ Jayzel explains.

And then there‘s the added advantage of dealing with the consumer directly, which can be especially
important during the early days of a fashion brand. When you operate your own e-commerce channel,
―you get a lot of feedback, which is a great way to gauge what the market is before you get into a larger
wholesale front,‖ Christopher added.


Today, building on its online presence, Company of We is found in retail stores around the world,
including cult favorites like New York‘s Oak and LA‘s Fred Segal, as well as big name department
stores like United Arrow, Holt Renfrew, and Saks Fifth Avenue. Their profit margin is just below 40
percent and their product never goes on sale.


With an accessories line coming soon and a possible expansion into womenswear on the horizon,
things are looking bright. But while Company of We now make more money offline than online, they
continue to emphasise the importance of e-commerce: ―We always want to maintain a strong presence
[online]. It was the heart of our company.‖


Elizabeth Peng, an M.A. student in Fashion Journalism at Central St Martins, is an editorial intern at
The Business of Fashion.

To the average Joe, the luxury-watch business might seem completely upside down.

The most expensive, in-demand watches these days are solid black, ultrathin timepieces with
little or no identifying brand markers. They are designed not to be noticed.
                                                                              (Courtesy of Rolex)

       For patricians or poseurs?

The lower end of the luxury-watch market is filled with chunky, gold and bling-encrusted
models that scream for status. Unlike the luxury-car market, where the more expensive cars
are designed to attract attention, watches are the reverse. Less costs more.

What gives?

A doctoral student and two professors have been studying luxury goods and their ―brand
prominence‖–how noticeable a brand or logo is on a product. They tried to figure out what
types of consumers want luxury goods with big logos and what types want luxury goods with
no logos.

Their finding: truly rich consumers want subtle badges or status, while the lesser wealthy
want bigger logos. The research–-led by Young Jee Han, a doctoral student in Marketing at
the Marshall School of Business, University of Southern California–breaks the luxury market
into four strata of rich consumers.

They are:

Patricians. High in financial means, Patricians are ―principally concerned with associating
with other patricians rather than dissociating themselves from other classes of consumers.
They use subtle signals because only other patricians can interpret them.‖ They pay a
premium for understatement.

Parvenus. ―Parvenus are affluent—it is not that they cannot afford quieter goods—but they
crave status. They are concerned first and foremost with separating or dissociating themselves
from the havenots while associating themselves with other haves, both patricians and other
parvenus.‖ Parvenus love the Louis Vuitton logo, the researchers say.

Poseurs. Like Parvenus, Poseurs are ―highly motivated to consume for the sake of status.‖
Poseurs ―do not possess the financial means to readily afford authentic luxury goods. Yet they
want to associate themselves with those they observe and recognize as having the financial
means (the parvenus) and dissociate themselves from other less affluent people.‖ Poseurs like
counterfeit luxury goods.

Proletarians. These are less-affluent consumers who also are less-status conscious.
―Proletarians are simply not driven to consume for the sake of status and either cannot or will
not concern themselves with signaling by using status goods. They seek neither to associate
with
the upper crust nor to dissociate themselves from others of similarly humble means.‖ They
tend to avoid luxury goods altogether.

Which category do you think you fall in? Or is there a fifth
category? (Would Warren Buffett be a billionaire proletarian?)




Autumn/winter 2010 sees the 15th anniversary of sleek, chic, Gallic shop Comptoir des Cottoniers,
whose low-fi sense of timeless yet modern elegance has made itself felt across high streets Europe-
wide. To celebrate its birthday, Comptoir is inviting budding designers to customise one of their
classic trenches, and the lucky winner will walk away with £850 worth of vouchers. Get scribbling ?
the closing date is 6 September. Comptoirdescottoniers.com



The A.P.C. Trecnch Mac is a slim fit. You may want to buy a size up to wear an extra layer or a suit
underneath. Check below for measurements. For further information, check our Sizing Guide.

             Pit to Pit   Back     Shoulder      Arm

 X-Small       18.5"      27.5“       16“       18.25"

  Small       19.75"      37.75“      17“       18.75"

 Medium        20.5"       38“       17.5“       19"

  Large       21.25"      38.25“    17.75“       19"

 X-Large       22.5"      39.5“     18.25“      19.75“




La Pâtisserie des Rêves
Artful confections at a Parisian gallery-style bakery


by Laura Neilson in Food-Drink on 1 April 2010
In a city where bakeries are more plentiful than actual berets, pastry maestro Philippe
Conticini's La Pâtisserie des Rêves—a futuristic gallery-like shop in Paris where sweet-
toothed visitors ogle spectacular pastries and gâteaux—makes a fresh addition.
Conticini opened his pâtisserie in September 2009 after closing his previous pastry-focused
enterprise, Exceptions Gourmandes, a year earlier. The author of several cookbooks,
including "Sensations Nutella," a book devoted entirely to recipes made with the addictive
chocolate hazelnut spread, the Parisian chef is no stranger to distinctive projects, baking
eccentricities and sensational confections.

The seven-month-old pâtisserie, located on an unassuming (but posh) street on Paris' Left
Bank, features a fantastic display of seasonal cakes and tarts, as well as classic goodies with
inspired twists. Try the rich praline cream-filled Paris-Brest, a "reconstructed" Saint-Honore
cake, or larger-than-life sweet brioche rolls that unfurl into sticky strips of fleshy pastry.
Unlike most pastry shops that keep consumables behind a counter, Conticini's displays his
creations throughout the entire space, adding to the gallery-like ambiance. While many items
are self-serve (a rarity amongst Parisian pâtisseries), a central island showcases a series of
temperature-controlled glass domes containing demo desserts that, when chosen for purchase,
come fresh from the back kitchen.

The pricing of fakes reveals something important about how the human mind calculates value.
In many instances, we crave authenticity as an end unto itself. We want the real iPhone not
because it works better but because it‘s the real one. The same logic explains why we splurge
on Hermes bags, Rolex watches, Prada T-shirts, fancy Bordeaux, and expensive art. (How
much would you pay for a fake Picasso print?) While a Rolex is a lovely piece of time
keeping machinery, the value of the watch has nothing to do with its function. Instead, it
depends on the intact authenticity of the brand.

It‘s easy to ridicule this behavior as mere snobbery. We might look down on the pretentious
fools carrying Louis Vuitton luggage, or bragging about their Vertu phone, or wearing
underwear with a big logo. We probably assume that they‘ve just wasted a lot of money on
some costly social signaling, or that they‘re using the brands to assuage their deep insecurity.

Unfortunately, we‘re all vulnerable to the same tendency. There‘s now suggestive evidence
that our faith in the authentic — especially when the authenticity is supported by effective
marketing campaigns — is a deep-seated human instinct, which emerges at an extremely early
age. Consider a clever experiment led by the psychologists Bruce Hood and Paul Bloom. The
scientists tested 43 children between the ages of three and six. The children were shown a
―copying machine‖ — it was actually tachistoscopes that were modified to have flashing
lights and buzzers — and told that it could make an exact copy of any object. After the
machine was demonstrated for the kids — the scientists ―copied‖ a block and a rubber animal
— Hood and Bloom then told the kids that the machine could also duplicate toys. A ‗‗stretchy
man‘‘ was then placed in the box and the illusion repeated. Interestingly, the young children
actually preferred the ―duplicate‖ toy and chose it 62 percent of the time. The kids didn‘t
worry about the ―authenticity‖ of the stretchy man.

But Hood and Bloom didn‘t stop there. They also had many of the young kids bring in their
―attachment objects,‖ such as their favorite blanket or stuffed animal. (I still remember losing
Johnny, my stuffed penguin, at the tender age of five. Grief.) The scientists then offered to
―copy‖ the object for the kids. Four of the children simply refused — they wouldn‘t let their
blankie anywhere near that nefarious device. But even those kids who allowed their
attachment object to be ―copied‖ almost always refused to see the objects as equivalent. The
new duplicate was a bootleg blankie, an ersatz stuffed animal. Even though the children were
assured that the objects were identical, they intuitively believed that the copy wasn‘t the same.
It lacked a history, a bond, a sentimental attachment. It was inauthentic.

The same principle applies to brands. Although we outgrow stuffed animals, we never get
beyond the irrational logic of authenticity and essentialism. There are certain things whose
value depends largely on their legitimacy. While I might listen to bootleg music on my
iPhone, I want the phone to be genuine. I want that Apple logo to be real. Why? Because the
brand has effectively woven itself into my emotional brain.* Because when I see that logo, I
don‘t see a functional object. Instead, I‘ve learned to respond to everything that isn‘t
functional, all those subtle connotations conveyed in the glossy ads. There are many blankets
in the world. But there is only one blankie. The best brands are blankies.
*The clearest demonstration of this phenomenon at a neural level remains the classic
McClure/Montague study of Coke and Pepsi.

Note: This post was inspired by an awesome presentation at Scifoo 2010 by Bruce Hood and
Paul Bloom. If you‘d like to learn more about this work, you should read their books.


Read More http://www.wired.com/wiredscience/2010/08/why-do-we-care-about-luxury-
brands/#ixzz0vcCrnfTQ

Choosing your customers

Yes, you get to choose them, not the other way around. You choose them with your pricing,
your content, your promotion, your outreach and your product line.

When choosing, consider:

How much does this type of customer need you

How difficult is this sort of person to find...

and how difficult to reach

How valuable is a customer like this one...

and how demanding?

It's not a matter of who can benefit from what you sell. It's about choosing the customers
you'd like to have.

Yes, you can train them. By rewarding some behaviors over others, by keeping some
promises not others, by having some expectations instead of others, you get the audience you
deserve. Some things you can train customers to do:

       Be respectful
       Be patient
       Keep their satisfaction to themselves
       Be selfish
       Be focused on a superstar
       Demand personal service
       Be calm
       Never settle for the current iteration
       Be cheap
       Embrace acceptance
       Spread the word
       Expect pampering
       Demand free
       Be eager to switch brands to save a buck
       Value and honor long-term loyalty
       Be skeptical
The customers you fire and those you pay attention to all send signals to the rest of the group.




Conhece a lã + chique do mundo?
08.03.2009




   Reprodução                                                                               100%
                                              vicunha

A lã de vicunha é tão cara, mas tão cara, que era impossível encontrar um tecido 100%
vicunha no mundo… até a escocesa Holland & Sherry decidir produzi-lo. A tecelagem
demorou cinco anos para conseguir esse feito – as vicunhas, animais que vivem nos Alpes
Andinos, têm muito pouca lã e só podem ser torsadas de três em três anos.

Resultado: um terno 100% lã de vicunha custa US$ 70.000. A empresa só consegue fazer 18
ternos com a quantidade de lã que tem, e o Rei dos Marrocos, Mohammed VI, já encomendou
3!



“Cut is everything,” she said, leaning over the cutting out table in her atelier, her scissors poised
above a length of cloth mapped with chalk guidelines. “It means knowing how to design the paper
model from which the cloth will be cut, and this implies the ability to measure a person not only as
regards size, but also stance. The jacket I make for a straight-backed man will not be the same as the
one for a person of the same size with sloping shoulders. Only once the cut is perfect can the needle
work begin.”
After much searching, Ms. Checcucci found an elderly tailor who agreed to take her on as an unpaid
disciple. “He taught me everything I know about detail, and it’s the details that make the difference,”

―It‘s as though a generation brought up on mass produced garments is suddenly beginning to
realize that there‘s more to dressing than passively buying clothes off the peg.‖

Ms. Checcucci makes clothes to order for men and women from the best Italian fabrics, and
re-models existing attire. Three fittings are generally required for a man‘s jacket, which takes
about a month to make and costs €950, about $1,300, plus the price of the fabric. A woman‘s
sleeveless dress costs €150 plus fabric and requires one fitting and two weeks for delivery.

In the wider world, however, Ms. Zucchi Frua became increasingly aware that people were losing
their contact with textiles because they had given up the small skills that provide know-how. She had
a spacious ground-floor room in the fashionable canal area of Milan and decided to make something
out of it. “What I had in mind was a nexus for exchange to do with fabrics, colors, yarns and sewing,”
she said, surrounded by bolts of fabric and a battery of sewing machines in her luminous new
workshop. What she needed to sell was know-how at reasonable prices.




You can live without some of these, but go in with your eyes open if you do:

    1. Build in virality. Consider: Groupon.
    2. Don't sell a product that can be purchased cheaper at Amazon.
    3. Subscriptions beat one-off sales.
    4. Try to create an environment where your customers are happier when there are other
       customers doing business with you (see #1).
    5. Treat different customers differently.
    6. Generate joy, don't just satisfy a need for a commodity.
    7. Rely on unique individuals, not an easily copyable system.
    8. Plan on remarkable experiences, not remarkable ads.
    9. Don't build a fortress of secrets, bet on open.
    10. Unless there's a differentiating business reason, use off the shelf software and cheap cloud
        storage.
    11. The asset of the future is the embrace of a tribe, not a cheaper widget.
    12. Match expenses to cash flow--don't run out of money, because it's no longer 1999.
    13. Create scarcity but act with abundance. Free samples create demand for the valuable (but
        not unlimited) tier you offer.
    14. Tell a story, erect a mythology, walk the walk.
    15. Plan on obsolescence (of your products, not your customers).
Takuji Suzuki started his brand TS back in 1999 and the Not So Hard Work Co.,Ltd a year later. In early
2009 he decided to alter the name to 'ts(s)' and started selling outside Japan for the first time.
Unique, traditional style with a contemporary interpretation form the basis of ts(s) with influences
from work, military and sport.
£140.00
       Available exclusively in Europe at The Bureau, we present Daiki Suzuki's functional
        basics line - Workaday. Basics with a high emphasis on quality and cut, these products
        are perfect for everyday casual workwear.
       Workaday one rinse indigo 5 pocket jean.
       Regular, straight leg jean with button fly, blue line selvage and cotton Workaday rider
        patch.
       On the waist, these come up slightly on the small side - approx 1 inch smaller than
        stated. All inside legs come up as approx 34 inches.
       100% Cotton.
       Made in USA.
£135.00
       Levi's Vintage Clothing 1947 501 xx.
       Hailed as the definitive five-pocket jean, the 1947 501 is the quintessential 501 jean.
        After the War, the 1947 501 was in huge demand as the features such as the arcuate
        stitch on the back pocket and zinc buttons returned. Belt loops and copper rivets
        became standard.
       Arcuate stitching design is back after WWII rationing, belt loops, hidden rivets on
        back pockets, Two Horse leather patch, button flyand single sided big 'E' red tab.
       14oz (after wash) red selvage, rigid, indigo denim.
       Fit is regular with a straight leg. Please remember to allow for shrinkage when
        choosing your size.
       Made in U.S.A.
£380.00
       Prps Barracuda dark wash indigo 5 pocket jean.
       Limited edition jean with only 250 pairs made. Each pair is individually numbered on
        the inside of the left pocket bag.
       Selvage denim with leather 'limited edition' patch, folded back pockets, fly with mixed
        coloured buttons, black coated copper studs and rivets and printed pocket bags.
       Red line selvage detail on the leg and coin pocket.
       Straight leg, slim fit (not skinny, just a good regular slim fit).
       100% African cotton, made in Japan.
       P51P03XXC3
   

Measurements in Inches
   Waist Leg Rise Thigh Knee Hem
30 30      32 10      11.5    8.5    8.25
32 32      34 10      11.5    9      8.5
34 34      34 10      12      9.25 8.75
36 36      34 10.5 12.5       9.5    9
Select Size:



£235.00
       Raleigh denim are a small team based in the home of American denim - North
        Carolina. Founded by husband and wife, Victor and Sarah Lytvinenko, they do
        everything under one roof using locally sourced materials and artisanal methods.
        Check out the hems; sewn on their favourite old machine: 43200G Union Special
        chainstitch hemmer.
       Blacktone raw selvage 'Lincoln' 5 pocket jean. The blacktone indigo dye wears more
        grey than blue.
       Slim, straight cut jean made from 12.25oz White Oak Cone Denim.
       Gold stitching, button fly and leather patch.
       Only small runs of each jean are made and each individual pairs' number is hand
        stamped on the leather patch and signed on the inside pocket.
       Made in USA.
       Thin, straight leg fit.
       Denim is sanforized so shrinkage will be minimal in a cold wash (around 2%).
   

Measurements in Inches
   Waist Leg Rise Thigh Knee Hem
30 30        35 9.75 10.5         8     7.5
31 31        35 10     10.5       8.25 7.75
32 32        35 10     11         8.5   7.75
33 33        35 10.5 11           8.5   8
34 34        35 10.5 11.25 9            8.25
36 36        35 11     12         9     9.5



PRINT FULL SIZE ON INSIDE LINING
OF JACKETS
PRINT ON POCKET LININGS
http://thebureaubelfast.typepad.com/noticeboard/2010/07/ral.html

handcrafted

jeansmiths
£115.00
        The Woolrich Woolen Mills project originates from the desire to create unique items
         for their simplicity and authenticity, to give way to a different dress style that
         interprets the need of those who don't need to be noticed and so are attracted to
         the silent exclusivity of the clothes. Designed by Daiki Suzuki, every single piece of
         the WWM collection has its own history, use and functionality. This season, the
         collection is heavily inspired by Daiki's love of surfing.
        Cool River Organic Cotton Ranger Pant.
        Organic cotton twill pants with 2 front pockets, coin pocket, and 4 back pockets.
        Slim fitting with a tapered leg.
        100% cotton. Made in USA.
     

Measurements in Inches
   Waist Leg Rise Thigh Knee Hem
30 30    32.5 11  11    8.5 6.75
32 32       34     11.5 11.5       9       7
34 34       34     11.75 12        9.5     7.5
36


Engineered Garments Khaki Metallic Poplin Cinch Pant
£115.00

        Engineered Garments took its brand name from a pattern maker hired to draft the first
         round of patterns. She claimed that the clothes were not designed but engineered due to the
         vast amount of detailing involved in each garment, to which Daiki Suzuki agreed. Details from
         American sportswear, outdoor clothing and military uniform are all included in the collection
         and give Engineered Garments unique and practical detailing missing in much clothing today.
        Khaki metallic poplin Cinch Pant.
        2 front pockets, coin pocket and 2 button fastening back pockets
        Zip fly, ties at hems and cinch back.
        95% cotton, 5% metal. Lightweight.
        Made in New York.
        Slim, tapered fit, waist is as size stated.
     

Measurements in Inches

     Waist Leg Rise Thigh Knee Hem

30 30      32 10.5 10         8.25 7
   Waist Leg Rise Thigh Knee Hem

32 32      32 10.5 10.5 8.5     7.25

34 34      33 11   11     8.75 7.5

36 36      33 11.5 11.5 9       7.75

Select Size:




Acne was created in the late nineties by Stockholm based design agency ―Ambition to Create
Novel Expressions‖ (ACNE). Initially just a denim offshoot, Acne created a limited edition
collection of 100 pairs of unisex jeans. Since the first full collection launched in 1998 Acne
has gone from strength to strength, with customers and critics responding to their infinitely
wearable and classic clothes. The subtle luxury and understated designs originate from the
ethos that the clothes should feel like someone‘s wardrobe. Cool and personal. The result is
that nothing dominates anything else, yet every piece is effortlessly stylish. Capsule t-shirts in
numerous colours and fits appear seasonally, whilst denim comes in classic fits and washes,
with minimal detailing. The collection extends to beautifully detailed shirting, knitwear and
tailored coats and jackets.
Adidas Originals is the heritage line of Adidas and references and re-issues rare gems and
forgotten classics from the Adidas archives. You can expect to see quality track tops, jackets
and accessories that have formed the history of Adidas from as early as the 1940s, right
through to the 1980's. With the original Trefoil logo, spearheading every collection – you
know that you can expect some of the most iconic and revered sportswear ever created, from
your basic classics to the most sought after collectors items.




The company AIAIAI was born out of Copenhagen‘s nest of creativity known as the A-house.
Apart from hosting a club on top of the old industrial building AIAIAI initiated a collective
consisting of more than 200 young artists, musicians and designers in the years 2005-2006.
Together with a variety of different people, designers, musicians, artists etc. Aiaiai create
earphones, headsets, headphones and other consumer electronic related products that makes a
genuine statement.
Anderson‘s have been producing beautiful leather and canvas belts since 1996 and in their
pursuit for quality, combine modern techniques with the experience and tradition of the Parma
leather artisans – sourcing only the highest quality materials from the best European suppliers.
Available in a wide range of colours and styles, Anderson‘s belts are hand finished by skilled
craftsmen, and deserve to be worn proudly round your waist!




April 77 was launched in 2002 by frenchman Bric Partouche and is notable as a brand where music
and fashion collide. Already a cult fashion favourite in their native France, the brand is heavily
influenced by a punk and rock 'n' roll aesthetic. They now boast their very own record label where
they champion emerging and independent talent. The clothing collection is comprised of a range of
outerwear and a strong denim line, with a distinct graphic sensibility, inspired by underground youth
movements and modern history.




Now over 100 years old, Barbour is a 4th generation family owned company who have
developed a unique understanding of technical and functional traditional outerwear. Barbour
is an authentic British brand providing a wardrobe of clothes for country pursuits as well as
catering to fashion conscious shoppers keen on Barbour‘s core values of heritage, durability,
fitness for purpose and attention to detail. Today Barbour's headquarters are still in
Simonside, South Shields. Although it sources products from around the globe, Barbour's
classic wax jackets are still manufactured by hand in the factory in Simonside. Recent
collaborations with To-Ki-To (also available at a too) have further enhanced Barbour‘s
reputation at the cutting edge.
Back in 1920, Eugenio Calabrese (a dandy noblesman) took pride in choosing his 'tie of the
day'. The chosen tie was the most important article in his wardrobe and after collecting over
200, he decided to design his own collection - fulfilling a penchant for ties to suit his mood.
By the 1960s, Eugenio‘s son Sir Francesco began distributing the ties to the best tailors and
boutiques around. Today, the brand have gone on to sell a whole range of accessories
including bags.




The philosophy of Dutch label Cold Method is based around what they refer to as the ‗9
Aesthetics‘. What this means in simple terms is a capsule wardrobe for the modern man –
comprised of nine key elements from the humble t-shirt, the timeless denim jean, through to
the classic coat. Add to this, niftily tailored shirts and luxurious knitwear and you can go
some way to understanding what the designers at Cold Method are trying to achieve with their
classic, functional and infinitely wearable clothes.




Folk has already become a firm favourite at a too with both the staff and customers alike. The
combination of classic, understated menswear staples and traditional English tailoring,
combined with the quirky Folk twist are what makes this brand so distinctive. You can expect
to find a wide range of shirting including everything from colourfully checked flannel short
sleeves and raglan-sleeved granddad collars. Knitwear also forms a big part of the collection
and comes in an array of seasonal colours all with that unique Folk aesthetic and subtle
detailed finish. Add to this a range of accessories and their own dedicated footwear line,
Shöfolk, and you can see why Folk have become such a cult brand in a matter of years.


Heritage Research garments are crafted in England using the finest British and Japanese fabrics.
Every piece is cut, sewn and finished by hand using traditional English tailoring methods. Through a
design process that references original heritage garments, the cut is adapted to a modern silhouette
while natural fabrics such as linen, cotton and wool provide a rich texture and ensure durability. The
addition of Swiss RiRi zips, horn buttons and leather binding make each piece entirely functional yet
distinctive. With inspiration drawn from military, outdoor and workwear themes, HR creates
collections that strike a perfect balance between classic and contemporary clothing.




King Krash is the new label from denim legend Donwan Harrell, creative director of Prps.
Inspired by the non-conformist ideology of seventies inner city culture, King Krash channels
the vibrant mosaic of illegal street-racing gangs such as the Viceroys, Satan Spades, Passaic
Street Racers, and La West Side Familia. Given little choices in life and inspired by their
predecessors the Hells Angels, these subversive groups created an attitude and style of their
own. Many wore customised outfits advertising their club names and emblems, each
representative of the idiosyncratic nature of their clans. Just as indigenous tribes made unique
distinctions in their apparel, these street commandos strived for individualism.




Every year D'Artisan produce a limited edition denim to mark the end of the year. This year a
competition was held to name the two pigs that have featured in their logo and been at the centre of
their branding for 30 years. This model is dedicated to one of the pigs, named Indy. It is a left hand
twill 14oz denim that will fade beautifully. Purple selvedge. Limited to just 150 pairs, they come in a
box set with denim banner. Made in Japan. The fit on these is low rise with a slim/regular cut.
Inspired by lee with the pocket shapes and dartisan pocket tab.

30 years of producing denim at the highest level has led to this. The SP-013 is the centre-piece of the
30th anniversary celebration, a denim that has 30 years of experience in its genes. A 17oz denim that
has been dyed with Tokushima indigo repeatedly for 30 times by hand. The result is an unbelievable
inky blue that when worn will fade into an incredible blue colour. Gold buttons, rivets and gold
thread embedded in the selvedge. Triple stitched throughout the jean. Beautiful thick leather badge.
Pocket bags are a Japanese fabric, with the dartisan text. A limited product to 200 pairs, each with its
own serial number. Spare buttons and rivets in the pouch. Made in Japan. The fit is regular straight
with a slight taper.

A 16oz denim with red white and blue stitching throughout the seams. The tabs have been
painted on, a feature of the great war which this model is inspired by. Pocket bags are
Japanese hemp with the D'Artisan shirting pattern. A beautiful wash, all done by hand at the
D'Artisan denim laundry in Kojima. Made in Japan.

Size 32 actual measurements in inches:
Waist 31
Front Rise 11
Back Rise: 14.5
Thigh 11.5
Leg Opening 8.5
Inseam 33



Work fit jacket based on a vintage workwear design. However the designer has considered
every detail to produce a serious quality jacket. Made from 16oz unsanforised Japanese denim
with a blanket lining made from Japanese recycled wool, reproducing the Lee storm rider
lining. Large lined side pockets. Full chest map pocket and riveted selvage inside hanging
pocket.

The jacket is made without shoulder seams for enhanced comfort. Short straight collar with
"Levis first type" style stitch. Center back pleat and adjustable side straps. Triple stitch arm
holes for strength and kick-pressed copper dome rivets.

The jacket has been dip dyed in indigo by hand in Norfolk, a process that allows the raw
cotton to shrink meaning the jacket will not shrink any further if washed.

Size 2 to fit 39/40
Size 3 to fit 41/42
Size 4 to fit 43/44
a staple collection at a too for many years now, Levi‘s Vintage Clothing produce superior
quality, timeless denim and work wear clothing with that all important authenticity and
heritage characterised by such an iconic manufacturer. By faithfully recreating iconic
garments and jean shapes from their extensive archives, Levi‘s keeps the history of denim
alive. Their classic jeans are made with historic quality selvage denim, from original narrow
looms, using the exact same techniques as in 1873, and non-denim pieces are exact sourced
reproductions.




Founded in the USA by creative director Donwan Harrell, PRPS exists as brand that strives to
deliver the perfect product for the discerning denim enthusiast. PRPS selects the finest
Zimbabwean cotton, which is then shipped to Japan and woven into the finest denim cloth on
vintage Levi‘s shuttle looms. It‘s luxury status stems from this selection of materials and
expert Japanese craftsmanship that goes into each and every pair in their extensive denim
range, ultimately producing a product superior in durability, texture and finish. The collection
also encompasses everything from classic sweatshirts to military and work wear inspired
jackets and shirts.
Yoshida&co. ltd is a bag manufacturer founded by Kichizo Yoshida in 1955. He became
famous as a hand sawing craftsman. And he devoted himself to making high quality bags. His
motto was ―Heart and soul into every stitch‖and‖Made in Japan‖. In 1960, he sent his first
son, Shigeru, to Italy for the study of bag making, and his third son, Katsyuki, to the U.S,
England and Germany, where he gained much experience to be a world class bag designer. In
1981, Katsuyuki was elected to the member of the New York Designers Collective for the
first time as a Japanese. This award won him good reputations in overseas. Porter was
established in 1962 as Yoshida&co ltd's first corporate brand




Tiger of Sweden is a European brand founded by Swedish tailors Markus Schwarmann and
Hjalmar Nordström. Initially a suiting specialist, the brand we know today was further
developed in the early 90's, with a more fashion focussed identity. Enjoying sustained growth
since then they have become known for their smart, traditional tailoring and outerwear that is
given a contemporary twist, you can expect to find sleek trench coats, tapered trousers and
luxurious fabrics, with a distinctly smarter aesthetic
Philip Stephens launched Unconditional in 2003 as a small but perfectly formed capsule
collection and since then the label has dramatically grown in size, going from strength to
strength, where it has now become one of the must-see shows at London Fashion Week and a
globally recognised brand, popular with many high profile actors and celebrities. It‘s easy to
see why, as the collections are consistently interesting and have an intrinsic sense of comfort
and style, all of their own. This is evident in their now famous hoods, made from luxury
wools and cashmeres, which are cut in simple, structured shapes. The wearable collections
provide a perfect mixture of basics and more eye catching signature pieces, and it seems the
beauty is in the details – with clever finishing apparent throughout.




Exclusively available in the UK at a too, we have stocked Canadian brand Wings & Horns for
a number of years and remain consistently impressed with their superior quality menswear.
The collections are usually centred around comfort with the emphasis on quality fabrics and a
great fit. Military and Naval jackets are reinterpreted in heavy sweatshirt materials, and long
sleeve tops come in thermal waffle fabrics. Shirts are over dyed and feature zips and
fastenings, whereas hoods are slim fit and double thick. The distribution of Wings & horns is
extremely limited, and this, combined with an excellent product, means that demand for the
label is high – so be quick!




You Must Create, also known as YMC, was formed in 1955 by Fraser Moss and Jimmy
Collins, in a response to increasing demand for stylish, modern, and functional clothing. Since
then, YMC has grown from strength to strength, becoming a highly significant label. YMC
are not led by seasonal trends, but try to provide the solution for intelligent clothing that is
both wearable and distinctive. Collections gradually develop from season to season, whilst a
modernist approach ensures good ideas maintain longevity.




Inventory Item 007:
Duluth Utility Pack
$195.00

Duluth Pack make some of the best canvas bags in the world. With a great history between
Canada and the USA, the lakeside company have become known for their lifetime guarantee.
We took their 51 Pack made some small some adjustments to better suit our needs in the city,
while still being able to withstand the rigors of the outdoors. For the Spring we brought back
the third strap, brass hardware and custom patch but opted for navy and tan coloured canvas
and added a locker loop to hang the bag when it's not in use. Perfect for a commute to the
office or a quick spring getaway.
-
16.5" Wide
20" Deep
Made in USA
Available in Navy and Tan

A comprehensive guide to vintage US workwear and overalls and how it has been remade into
modern day fashion products. Hundreds of pages full of images from the past and how those
styles have been reproduced in the present.

Wm. J. Mills & Co.
Ice Bag
$135.00

Wm. J. Mills & Co. have been making some of the best looking and toughest canvas bags for
decades. Perfecting their craft through making sails in Greenport, NY, the company now
offers some of our favorite tote bags out there. Crafted with pride in the USA, the #8 cotton
duck canvas bags are water resistant as shipped, and are machine washable. The Ice Bag is the
biggest tote bag and one that we use daily at Inventory.
—
18" Long x 9" Wide x 14" Deep
One inside zip-pocket
Made in USA
Sold Out




The Real McCoy's
Indigo Tote Bag
$65.00

A tough indigo denim tote bag made in Japan with nice labelling and a sturdy construction.
It's a nice size for daily use, trips to the grocery or carrying your boots to practice.
—
Made in Japan
L:21" x H:15"
Sold Out




Wm. J. Mills & Co.
Sag Harbor Duffle Bag
$150.00

Wm J Mills have been making some of the best looking and toughest canvas bags for decades.
Perfecting their craft through making sails in Greenport, NY, the company now offers some
of our favorite tote bags out there. Crafted with pride in the USA, the #8 cotton duck canvas
bags are water resistant as shipped, and are machine washable. The Sag Harbor Duffle is an
ideal sized duffle bag for weekend trips, packing up your gear for a shoot or just lugging a
change of clothes around for the day.
—
25.5‖ Long x 11‖ Diameter
Made in USA

Sold Out
Engineered Garments
Ashfield Jacket
$480.00

Originally made as an exclusive collaboration with Beams Plus in Japan, the Ashfield jacket
makes its first appearance in a full collection this Fall/Winter. One of our favorite fabrics was
the olive wool which is soft, warm and has a rich deep brownish green tone to it. Not taking
the safari theme too literally, this version is more wearable and pairs nicely with some boots
and trousers for the winter.
—
Made in the USA
Olive Wool Twill
Unlined
—
This jacket is now in-stock however Engineered Garments is not sold online so please email
or phone us for more information..
Contact us for Availability




The Real McCoy's
2-Pack Sports Tee
$100.00

The Real McCoy's specialize in knit goods and the 2-Pack sporting goods t-shirts are a fine
example why. Made in Japan from 100% cotton, the shirts are tough yet lightweight. They fit
a little on the small side and come in 2 packs. Available in white or grey, the shirts are
modeled after standard gym issue goods from back in the day.
—
Made in Japan
100% Cotton
Available in white and grey
Email us if you'd like to buy the shirts as a single or mixed pack.
—
Medium 38-40" Chest
Large 42-44" Chest
Nom de Guerre Desert Corps Jacket
Khaki

Premium cotton twill military-styled jacket from Nom de Guerre, based on an archive design
used by the Desert Corps, this jacket is expertly finished with some incredible detailing.




       100% Cotton Twill
       Button Closure Placket Cover Featuring Military Styled Buttons
       Two Front Handwarmer Pockets
       Epaulette Detail
       Two Way Collar With Storm Flap and Concealed Hood
       Adjustable Cuff Band
       Limited Numbers
 11345

€574.01 €402.66




Kitsuné Stripe Short Sleeve Carpenter Shirt
White & Navy

Half-button short sleeve shirt from Kitsuné, mixing classic Oxford styling with a
contemporary twist. The finish and attention to detail in this shirt is exceptional and must be
seen to be believed.
        100% Cotton
        Made in Italy
        Chest Pocket
        Button Down Collar
        Double Cuff on Sleeve with Triangle Cut Detail
        Made in Italy
 10861

€182.36 €91.79

This shirt is a slim fit, below are some approximate sizes and measurements;

Small - 20.5" Pit to Pit / 28" Collar to Hem (at back)
Medium - 21" Pit to Pit / 28.5" Collar to Hem (at back)
Large - 22.5" Pit to Pit / 29" Collar to Hem (at back)
X-Large - 24" Pit to Pit / 30" Collar to Hem (at back)
And so the marketing challenge is to sell the problem.

(Interesting paradox: a lot of people aren't willing to embrace that they have a problem unless
they also believe that there's a solution... so part of selling a problem is hinting that there's a
solution that others are using, or is right around the corner.)



Development into more eco-friendly ways of producing denim and finishing jeans is without
alternative. I do not like to think of such a fundamental necessity in terms of trend.
This is why cotton growers, denim suppliers, garment factories and brands should not see
"organic" or "sustainable" as a marketing tool, but as a moral obligation. It is a mistake to
assume that eco-friendly cannot mean cost-effective. As example I would like to mention that
many jeans factories are in warmer climate (South China -250 sunny days a year-, Turkey,
Mexico, Bangladesh...) and is just a matter of will to install solar heating for the laundry
boiler or solar-electricity converting panels.

First of all the word Organic denim is a misnomer...anything made of organic compound is
organic...so any cotton is organic in that sense. Now Organic Cotton meaning from market
point of view is what deepak said and in that case a full organic denim would be one made
from organic cotton and should follow ecofriendly process throughout its manufacturing right
from dyeing, finishing , washing etc. which is almost impossible bcos all these process
involves chemicals which are harmful in one way or the other. So in a nut shell we need to
first define the true meaning of Organic denim.

Is it the denim made from 100% organic cotton? or its the Denim which is made from 100%
organic cotton and all the process involved is ecofrindly from every point of view?

At $10 is the retail price a minimum will be $ 2-3 profit for retailer so at $6-7 FOB how is it
possible to have a organic Denim treated in organic way in terms of cotton/fabric processing /
wet processing ?

Even if i consider the lowest possible price the equation is as below

Fabric $ 3.5 x 1.5 M = $5.25
Trims $ 0.75 = $0.75 (Thread/Zipper /Buttons/Rivet )
Cut to Make $1.25 = $1.25
Wash = $1.25 ( Not possible if we have to use bule sign chem)
Frieght = $0.45
Insurance =$0.15
Profit =$0.50

Total = $9.6

original vintage PAN AM Airlines Bag, like it has been used by pilots an
stewardesses in the Seventies. This bag is an 100% old vintage original, no new
reproduction. This bag is in very good-above average condition, it looks like new
and I think it is unused or very, very hardly used. Marginal signs of age, caused by
storage, but not worth to mention, nothing major. This bag is clean and ready for
use.
There are no damages, holes or rips. The zipper has the PAA Logo on it and works
perfectly. Check out the pics, to get an impression about its amazing good
condition. A "hard to find"-item, a real collectable and a very stylish extravagant
fashion accessoire. Measssures appr. 15 x 8 x 6 1/2".
Band Of Outsiders specialises in reworking iconic vintage-inspired looks, and its market just keeps on
expanding as their uniquely detailed styling captures the current trend for quality apparel with a
twist. Having worked with Sperry for a few seasons now (the ballistic nylon boot was a particular
highlight), while we're pretty much done with boat shoe silhouettes following a summer overdose of
dockside designs, the Sperry, harking back to 1935, is a perennial. Low-cut is ubiquitous, but this
chukka boot is superb. The thin traction sole, that upper and the lace threaded detail, with a moc-toe
and choice of colours that range from grey flannel and standard colours to dual shades makes these
some modern classics.

Timo Weiland ingeniously combines classical art, beauty and fashion to create accessories and
debuted on Spring 10 season with a men’s and women’s clothing line. To create the brand identity,
we utilized the details of classic garments and accessories and their progressive interpretation of
elegance. Also, portraying their contemporariness to reflect qualities of the brand.

"Fashion used to be for a chosen few,'' Beker said, svelte as never before in skinny cuffed
jeans and boyfriend jacket. "Other people could salivate over it. But the people who were the
real fashion followers were very elitist.

"That's really changed incredibly." Of course, it's mostly about cheap-chic

After a certain age, too, we want to be careful about how we dress. The pieces are easy to
wear. They're related separates so they go great together. They would work great as a bare-
bones wardrobe.

"But they will also go with any fabulous high-end pieces that you might have or any pieces,
really.
"It's all about the mix these days."

Beker was born to fashion, she says. Her father worked at a slipper factory in Toronto's
garment district, her mother made all her clothes, and in the 1970s, when she was living in
Newfoundland, Beker made her own clothes.

While Beker says she can't predict whether the Edit collection will survive the fashion jungle,
she said both The Bay and her Montreal partners are enthusiastic and in it for the long run.

The idea came up just five months ago, and all parties ran with it.

The sweet-spot age would be the 35-year-old, but the collection is right for any woman from
25 to 55 who is looking for the great clothing that somebody has edited into the must-haves of
the season, she said.

The name was deliberately chosen, Turner added, because Beker has gone through all the
stuff that is out there in the world and selected the keepers.

"The beauty of her collection is that it's not a collection. It's her selection of what she thinks is
important on trends on a seasonal basis.

"She becomes a personal fashion director to all these women who are looking for direction."


Shirts You Can Wear

If you‘ve never before worn a shirt, you‘re in for a real treat! Even if you wear shirts every
day, you may not know all the versatile uses ready to be enjoyed with a shirt from
Shirtsyoucanwear.com.

With a shirt you can:
       Prevent public nudity by covering shameful areas of your body. Especially effective for
        women!
       Stay warm by repelling cold winds. Also works with air conditioning.
       Avoid sunburns–shirts can absorb 103% of the sun’s most damaging rays, prolonging your
        life.
       Clean up spills. Use your shirt to quickly mop up liquids including coffee, milk, and pet
        accidents.
       Pay off loan sharks. You can’t give away “the shirt right off your back” if you’re not wearing
        one.
       Define your identity, by wearing a shirt expressing thoughts and ideas written by someone
        else!

Always remember to wear shirts responsibly. Do not clean with sandpaper. Never fold using
scissors. Not for use while showering or at nudist colonies.

Your accessories should always be the loudest thing about you. Isabella Blow once told me that,"
says Roman Milisic, who co-founded Diehl with his wife, Mary Jo Diehl.
STYLED is a coming together of like-minded people to present a unique and ever changing vision; a
wearable presentation of looks pulled from our ever-changing brand mix.


I hope that people will be open and curious enough to get right inside our platform. We are trying to
bring profile product to them minus the snobbery that is so often associated with this level of retail.
More than anything, I just want them to be happy in the knowledge that everything we are offering
has been bought for one reason and one reason only, and that is because we love it. We love what
we do, we love what we sell, and at no point do we ever think “I wonder if we could sell this.” We
buy it if we love it and don’t buy it if we don’t. It’s as simple as that.

The blizzard of noise (and the good news)

As the amount of inputs go up, as the number of people and ideas that clamor for attention
continue to increase, we do what people always do: we rely on the familiar, the trusted and the
personal.

The experience I have with you as a customer or a friend is far more important than a few
random bits flying by on the screen. The incredible surplus of digital data means that human
actions, generosity and sacrifice are more important than they ever were before.

Design signatures: "Contemporary filigree fused with modern luxury. The lace-like quality of some of our
collections is created through a technique called filigree, a traditional Spanish design technique. I travelled
around Spain searching out the best filigree artisans who have mastered the craft and understand
contemporary jewellery design."
How would you describe your ideal client? “Those with a great sense of style. They understand
fashion trends but also appreciate the heritage and ethical aspect of jewellery. These customers are
conscious of eco-sustainable fashion and its importance in today’s society.”
What is your brand philosophy? “Leblas is a fine jewellery boutique that fuses traditional techniques
with modern design and sustainable practices. The core philosophy behind Leblas is embedded in the
belief that a business can be socially responsible and still design both contemporary and aesthetically
beautiful pieces.”

Design signatures: "The beauty of Made is there is no signature style. Made's highly regarded reputation
is due to our incredible collaborations with high profile celebrities and the crème de la crème of the
jewellery world. The breadth and versatility of our different collections means that each collection is
totally unique.

Design signatures: "Feminine, handcrafted, unique, up-cycled and heritage."

Design signatures: "Graphic, textural prints, soft body-con and subtle femininity."

Design signatures: "Witty and purposeful. Sassy and un-apologetic."
How would you describe the She Died of Beauty women? "A fashionable fantasist with an appetite for all
things exaggerated. Somebody who embraces humour, style and conscience."
What is your brand philosophy? "There is no reason why style and conscious can't co-exist"
What's new for you this season? "A fashionable responsibility."
Design signatures: "Discreetly dramatic yet simple and elegant, with hints of the mysterious."
How do you see the brand moving forward and developing? "I aim to make my brand an asset to the
global community both by serving my customers with top of the line design and quality and offering
nourishment to their minds to come closer to the beauty and wonder that lies within. Also, I'd like to
invest some of the profits to buy land, to safeguard it and all of us who depend upon it."
Name three things that are inspiring you for spring/summer 2011: "Elegance, simplicity and femininity,
inspired by a European metropolis mixed with the French Riviera."
What is your brand philosophy? "Luxury on a Monday."
How do you see the brand moving forward and developing? "For each and every collection, we push
ourselves to meet the needs of the Righteous woman - in terms of fashion, quality and fit. Our future lays
in a continuous expansion of our brand into the international market. At the same time, we work to
always improve our production and find new, interesting and sustainable materials."
What's new for you this season? "New sustainable materials and an even more sophisticated, feminine
and classy look."

How would you describe the Sagen woman? "Stylish, very independent and any age from 15 to 99."

How would you describe your ideal client? “They believe what they wear is an expression of their
own individuality, style and ideals.”




I love and support all things that got that special ‘BELGIUM’ label on it.

One of the positives of a trend like the current ‘made in England’ trend is that it can open
doors to brands who might’ve have been ignored previously. S.E.H Kelly are an example of
this.

Launched in 2009, SEH Kelly is made up primarily of two people in Sarah Kelly (the designer)
and Paul Vincent. The duo had previously worked in the clothing industry for just under a
decade, including a few years for a house on Saville Row. “*Saville Row+ is a terrific,
fascinating place to work,” they say. “In our time there, we’ve worked predominately with
domestic suppliers and production facilities - it was apparent for a long, long time that when
we started something of our own, English mills and factories would be at the heart of it.”

The UK based label is obsessed with the UK textile and clothing industry, their experience at
the Row strengthening their stance. “We’ve seen a good number of the establishments we
work with close down - irrevocable loss of livelihoods and generations of region-specific skills
and knowledge,” they say. “Having witnessed this at first hand, we’re resolved to working
with people and establishments across the country that retain local industry and
craftsmanship. Every stage of production, no exceptions or allowances made.”

True to their stance, everything from SEH Kelly is made in England, at either Somerset,
London or Nottingham respectively. Whilst the fabrics come exclusively from the Cotswolds
in Cumbria. “For shirting, we use brushed cotton/wool mixes and cotton pinpoints” whilst
using corduroy and tougher cotton fabrics for their outerwear. They use of English materials
extends to their Corozo and horn buttons, both of which are made in England.
When it comes to the topic of prestige in clothing, the duo state that, “Being mindful of
what’s in your wallet is nothing new, and nor is wanting to know a product inside-out before
you part with your money - what seems different is that the mindset is stronger and more
widespread than in recent years.

The economic downturn might be one factor. Another, more positive one, is the ease with which
consumers can get hold of information and share it among themselves — they’re no longer beholden
to press, brands or traditional media for facts and opinions. And that, we think, must be a good thing.
Long may it continue.”

Denham 1st
Edition

woensdag 25 augustus 2010
                                         Het Nederlandse jeansmerk Denham heeft een nieuwe
                                         lijn gebracht, genaamd ‗1st Edition‘. De spijkerbroeken
                                         uit de lijn zijn Japanse handgemaakte denims. Er zijn vijf
                                         varianten voor mannen, vier voor vrouwen. In één broek
                                         zit soms meer dan tachtig uur werk. Elke variant heeft
                                         dan ook maar een oplage van 150 stuks. Daarnaast is de
                                         lijn momenteel slechts bij één winkel per land
                                         verkrijgbaar, waaronder Colette in Parijs, Present in
                                         Londen en de Denham winkels in Amsterdam en Tokyo.
                                         Verkoopprijzen variëren van 349 tot 499 euro.
De 1st Edition-lijn maakt vanaf volgend seizoen (lente/zomer 2011) deel uit van de reguliere
collectie.



10 LESSONS LEARNED

Distill your vision. Our company‘s vision can be expressed in two words: ―Democratize fashion.‖ It
took us weeks to come up with a meaningful yet succinct phrase, but we now use it daily when we
speak to investors, customers, employees and designers.


Partner with people who act like founders. During our first round of hiring, we looked for
experts in technology, web design, marketing and designer relations. But it‘s their personal drive and
willingness to rally around a vision that has been of greatest value.

Double your cost estimates. We were slugged with hidden cost after hidden cost: lawyers, samples,
web hosting and optimization tools… The list goes on. Be prepared.


Great ideas can come from unpredictable places. Some of our best technology ideas came from
our merchandising staff. An engineer suggested a new way to run our photo shoots. Our online
community manager recommended a state-of-the-art accounting package. Remember, great ideas can
come from anywhere.
Establish your own brand first. We received all kinds of partnership, affiliate marketing and co-
branding offers, but felt strongly about forging our own brand first, and partnering later.

Go easy on paid marketing. We found that paid marketing channels, such as SEO/SEM and PR
agencies, were often low-impact. Instead, we‘re focused on sharp editorial, partnering with blogs and
great service early on.


Face-to face meetings still rule. We always try to meet designers in person, rather than relying on
a flurry of emails and phone calls. It gives us the opportunity to establish trust, and in most instances,
actually saves more time than going back and forth electronically.


Soak up feedback. We asked everyone we knew for feedback on our website, business model and
value proposition, then figured out whose comments made sense. It‘s important to seek feedback and
even more important to filter it.

Be transparent. We openly shared bad news about designers, investors and employees with relevant
people inside and outside the company, as this helped us come to a solution quickly. We also regularly
shared the good news!


Joie de vivre! Startup life can sometimes seem full of endless challenges, long uphill battles and
uncertain outcomes. Remembering to enjoy the day‘s little victories is crucial.


Designed for fashion, function, practicality & durability




Albam: Craft For The Weekend
September 3, 2010 | Simon Crompton
―This is the point that your girlfriend starts worrying,‖ says Albam co-founder James Shaw,
bent over the stitching on the company‘s new Ventile mac. ―See this round the cuff? The
stitching varies slightly where the maker took her foot off the sewing machine, changing the
pressure momentarily. It‘s not perfect – it‘s handmade, personal.‖

I don‘t know much about casual clothing – I‘ll leave trainers and denim to other geeks – but
the craft at Albam has a lot in common with bespoke tailoring. It‘s all about individuality, as
with that stitching, and craft and value. Coats, T-shirts and knitwear are made the old-
fashioned way because there is a belief that it is better – it lasts longer, it wears better and it
works.

I rarely speculate what Gentleman‘s Corner readers wear at the weekend (indeed part of me
hopes they wear full tweed and neckerchiefs). But if it is chinos and sweatshirts, I would hope
they are made by a brand with the same attitude to craft as their tailor. Like Albam.




James and Albam co-founder Alastair didn‘t start making clothes in Britain out of any ethical
stance and they refuse to be poster boys for that movement. They were just living in
Nottingham and wanted to try and make a T-shirt; so they went to the local factories to see if
they could do it.

The first one failed, the second was better, but by that time they they were already importing
their own yarn out of frustration. The T-shirts are made in that factory today, each by a single
woman moving the cloth around by hand on a pedal-operated machine that James describes as
―a cross between a car and a one-man band‖. The motivation is not philosophical: ―It‘s just a
nice way of making a T-shirt.‖

They started with very limited runs, having ―spent most of our frighteningly small amount of
money on business cards and stationery‖. Factories were convinced to make six items, as
uneconomic as it might be. And today shirts are usually only made in runs of 70 in each
colour; there will be just 100 of the shawl-collar cardigans across five sizes.
What began as necessity is now a nice push for quick sales among loyal customers, anxious
not to miss out on new lines. I realised that to my cost a couple of weeks ago, when I popped
into the shop and fell in love with the Alpine jacket. Made of Ventile like the new mac (a
pure-cotton fabric used by Arctic explorers, as synthetics can freeze and crack), it has taped
seams and would have been perfect for cycling into work. But they only had two left, both in
big sizes.

Fortunately, I did get some great chinos – and here‘s another tailoring link. When James and
Alastair were coming up with this cut they went to a trouser cutter, not a designer, without
any preconceptions of what they should look like. The result is jeans and chinos that fit a lot
more like suit trousers, with a higher and darted waist. We‘re not talking wear-with-braces
height, on your belly button, but just an inch higher than normal jeans – making them far
more comfortable and yet still narrow and stylish through the leg.

―When trousers are designed for fit they are surprisingly comfortable,‖ says James. ―At least,
surprising for all those who have been wearing tight jeans on their hips.‖
The other great design element is the coin pocket. You know that little pocket normally
tucked inside the side pocket on trousers, which is too small and narrow to get anything in,
and even if you did get anything in you couldn‘t get it out? Well here it‘s wider, shallower
and an inch below the waistband. You will actually put change in there.

Albam is also good value for money, rather like bespoke. It‘s easy to be cynical about pricing:
without knowing a brand‘s exact margins, ‗value‘ can seem like so much marketing. But once
you‘ve talked through the elements that go into an Albam product, you‘re convinced as you
can be without getting out the accounts. It‘s rather like a recent comment on my series about
making George Cleverley shoes, which said: ―By the time you‘ve read all the posts you feel
exhausted. You just want to give them the two grand and not hear from them again until the
things are done.‖

Production in England (and shirts finished in Portugal) is obviously more expensive. But
materials are the big expense. The fabric most hiking jackets are made out of will cost you £1
or £2 a metre; that Ventile stuff is more like £20. And RiRi zips (see my post on their quality
here) will set you back around another £10 each. Suddenly it‘s surprising the chinos are only
£89. But again, there is little pretense: ―I‘d like to make clothes that are like Marks & Spencer
used to be. When you‘d go in wanting a navy cardigan and find exactly what you wanted,
well made and well cut, for a decent price,‖ says James.
Every season James and Alastair like to think they improve the clothes they do, gradually but
methodically. The piece that first made them famous, a fisherman‘s cagoule, has gone through
several iterations – adding a better button, then a better thread, later a stronger draw cord,
eventually corozo-nut buttons, finally better corozo buttons. They are happy to upgrade items
when customers notice theirs have been superseded. ―And our customers notice,‖ says James.
Apparently some are just as obsessive about cotton macs I am about welting.

New lines drop into Albam all the time. The best place to keep up to date with them is the
behind the scenes blog, but look out on Gentleman‘s Corner for updates as well. Rumour has
it they might even be making some of those Alpine jackets again. Here‘s typing with crossed
fingers.
Permalink | Tags: Albam, menswear


Why did Artistic Garments choose denim as an
area of growth ?
I guess you could say Denim is in our blood !


There are actually several factors that influenced us. For example raw materials; Pakistan is the fourth
largest cotton producer in the world with an annual production of 14 million bales. This makes Textiles
one of the most important industries in the country. We could have chosen other segments within this
industry such as twills, home textiles etc. but we have always been very passionate about Denim. It is a
fascinating product- always changing and evolving yet staying true to its core.

Every season we see something new and innovative in this field and that really excites us. The glamour
associated with denim is quite attractive as well. You constantly see it featured in movies, endorsed by
celebrities, on the runway and now it‘s making its way into Couture. Also, the various denim
tradeshows provide an opportunity to network with denim lovers from around the world, teaching you
a lot about the industry and its infinite possibilities.


How do you think Artistic Fabric Mills is
different from other denim mills in Pakistan?
Firstly, we are one of the oldest Denim mills in the country. However, the oldest doesn‘t always mean
the best. Being the best is about Innovation, dedication, investment and a true passion for denim – all
of which are qualities we pride ourselves upon.
We like to think of ourselves as leaders in the Pakistan market rather than followers. The reason for
this being that investing in the best technology and human resources is one of our fundamental beliefs.
With a vision to serve the buyers better, we move forward with an experienced team of people and a
strong orientation to latest technical know-how.

Artistic Fabric Mills continuously strive to be the best by investing in superior R&D.


We use only the finest quality dyes and liquid indigo. Our weaving department is equipped with the
latest Projectile and Rapier looms. We have modern finishing and mercerizing set ups, with an added
bonus of Stenter technology, through which we create premium finishes and coatings.


We predict that the next 2 years are going to be challenging but rewarding at the same time. Denim is a
lifestyle and that culture will never cease so we hope it will grow bigger and better.




Even if you are on the right track, you will get run over if you keep standing there‖

DUFFY: Back to my asking you. What would it take for you to feel as if you‘d sold out as a
designer?

JACOBS: If we didn‘t believe in what we did, then I would feel that we sold out. As long as
we do things with integrity and believe in them and are passionate, I don‘t think we‘ve sold
out. Whether it‘s an $11 flip-flop or a $2 key ring or a $2,000 dress, they‘re all done with
integrity. They‘re all done with a design sense. As long as the creativity exists, then I don‘t
think it‘s a sellout. A sellout is putting your name on any piece of crap and then expecting
people to buy it because it‘s got your name on it. That‘s what a sellout is to me.

I’m very excited about it!

These outsourced products, however, continue to be sold at very high prices because their
"marketing executives played up the companies' heritage and claimed that the items were still made
in Europe by hand", says fashion correspondent and author Dana Thomas in her best-selling book,
Deluxe: How Luxury Lost Its Luster.

Such companies get away with it by hiding the "Made in China" label "in the bottom of an inside
pocket or stamped black on black on the back side of a tiny logo flap", she adds. "Some bypass the
'provenance' laws requiring labels that tell where goods are made by having 90 per cent of the bag,
garment or shoes made in China, and then attaching the final bits - the handle, the buttons - in Italy,
thus earning a 'Made in Italy' label.

"Or some just replace the original label with one stating it was made in Western Europe."

Congruence Theory postulates that individuals tend to be more responsive to people and messages
that are consistent with their own beliefs and attitudes.

In considering the outsourcing option, luxury brand marketers need to consider this: Do consumers
consider as unethical the practice of outsourcing of luxury brands while marketing them at a
premium as handmade by artisans? Is it worthwhile to engage in global outsourcing while keeping
consumers in the dark about such a practice?

Research has found that if corporate actions are perceived as unethical, the company stands to lose
favour with even its most committed customers. In the long run, ethical judgments can lead
consumers to accept or reject a company's business activities entirely.

As outsourcing becomes a global phenomenon with unabated growth, it becomes imperative that
luxury brand marketers confront these issues.

Website:

       http://www.coldmethod.com

Mission:

       “To offer affordable luxury to a broad audience of men worldwide. By creating collections
       based on CM’s core concept of the 9 aesthetics, covering the different aspects of a man’s
       appearance and lifestyle”

Products:

       THE 9 AESTHETICS

       What men need is a capsule wardrobe with a limited number of essential pieces that create a
       sophisticated look for everyday. This tool is the basic philosophy of every COLD METHOD
       Collection.

       T-SHIRT
       A T-shirt should feel like a second skin emphasising a man’s torso, making him feel confident,
       comfortable and relaxed.

       DENIM
       Denim reflects your life by the daily wear and tear. Find the right fit, quality and wash and
       you’ll be automatically perceived as a man with attitude.

       SHIRT
       A great shirt is all about construction. Perfect tailoring with a smattering of understated
       details is the answer to a killer silhouette.

       KNITWEAR
       A man’s knitwear adds lashings of luxury to his wardrobe and is truly a cameleon, adaptable
       to all occasions. Made of the finest yarns, it adds an individuality that you don’t get from any
       other item.

       PANTS
        Don’t miss the point with pants, your daily necessity! The rest of your efforts will have been
        wasted if your pants don’t complete your look.

        SUIT
        A suit is a man’s armour. A sharp cut and fiendish fabric will make you look like the most
        successful man in the room.

        COAT
        A coat is your protective outer shell and needs to be eye-catching. It is the garment that will
        make or break your first impression.

        ACCESSORY
        An accessory should accentuate your mood. It speaks volumes about the man without saying
        a word.

        CM2
        A domain defined by the reflection of a man’s character, choices and charisma. Any time any
        place.

Sometimes, price is an attitude

Passed a store the other day. The sign read 99 CENTS! And the subtitle was, "Everything $1
and up".

The 99 cent store was never popular because there's some magical power about the price that
is a penny less than a dollar. No, it's because it represents an attitude, that this stuff is
CHEAP. Not absolute cheap, just relatively cheap. Not even a good value, just cheap. Cheap
compared to its non-cheap competition.

At the other end of the spectrum, the prices at the Hermes store appear to be missing a
decimal point or two. The attitude is, "wow, this stuff is expensive." It's not about what you
get, it's about how it feels to pay that much.




Aquarama
Deeply rooted in the skills and values of local Umbrian artisans, Aquarama is a true outerwear
specialist making tradition, quality and historic know-how, contemporary.

Buttero
Family at work.
Perhaps better know in Japan
than in Europe, the Buttero family
are creating great high quality shoes based on authenticity, tradition and creativity.
Luca, Massimiliano and Claudio
are keeping it real by using traditional machines and handcraft methods as long as preserving
leather’s unmistakeable fragrances.
The “spaghetti western” favorites, Tuscany style…

Boglioli
Boglioli jackets are unique
and no one in the world makes
a tailored, unstructured garment
dyed jacket like these people.
What began as a simple tailor’s shop in the early 20th century then became a reference for
redeveloping traditional suits and jackets in exclusive and high quality fabrics. Boglioli dyes some of
their ready made jackets while respecting
the Italian tailoring traditions.




Giorgio Brato
A real master when it comes to dying leather and craftsmanship techniques, making each piece one
of a kind, the “tinto in capo “technique is his main virtue.
What more can we say about a guy who used his favorite wine
do dye a collection?!…
Neil Barrett
Originating from a tailor’s family allowed Neil to firmly engrave
his unique signature style based on brilliant designs and combining british tailoring skills with the
finest italian craftsmanship. Bringing together quality, wearability and fashion trends,
he makes great unpretentious clothes for real guys.




Our Legacy
These swedes are really making
it happen. Step by step they are building a brand by picking up casual classic style influences
and transforming it into cool contemporary uncompromised looks. Another good example
of the “nordic takeover”.




Raf Simons
Clean structural cuts, tailored linear silhouettes and youth culture references. Strongly influenced by
art, music, performance and photography, Raf Simons is considered one
of the great innovators in contemporary men’s fashion.
Isolation, future, community, nature, freedom – all these describe the work of the belgian designer
who regards people
as the real driving force.

Tonello
Tailoring meets modernity. Strongly anchored in tradition, experience and the highest
industrial tailoring technique, Tonello brings us classics with

a modern appeal, always focused on detail,      scrupulously followed methods and
the high quality
of the raw materials.




Ts(s)
Balancing between oppositions, adapting
the styles of work, military, sport and so on. Particular in colors and patterns while blending and
switching the way of adopting materials.
We are quite thrilled to carry these japanese flavored styles.

Presently, I see twitter as more of a sensationalization tool, rather than a brand-building tool. It
would be good for those brands which are sensation-seeking for sure. However, when your clientèle
happens to be patricians and parvenus, do you really wish to focus on sensation-seeking of
signalling? Probably in future this situation may change but as of now, the question remains on
should luxury brands or for that matter any brand (other than tech brands) be using twitter?

The Singer sewing machine, one of the most complex devices of its century, had each piece
fitted by hand by skilled laborers.

Sometime after this, once Henry Ford ironed out that whole assembly line thing, things
changed. Factories got far more complex and there was less room for improvisation as things
scaled.

The boss said, "do what I say. Exactly what I say."

Amazingly, labor said something similar. They said to the boss, "tell us exactly what to do."
In many cases, work rules were instituted, flexibility went away and labor insisted on doing
exactly what they had agreed to do, no more, no less. At the time, this probably felt like
power. Now we know what a mistake it was.

In a world where labor does exactly what it's told to do, it will be devalued. Obedience is
easily replaced, and thus one worker is as good as another. And devalued labor will be
replaced by machines or cheaper alternatives. We say we want insightful and brilliant
teachers, but then we insist they do their labor precisely according to a manual invented by a
committee...

Companies that race to the bottom in terms of the skill or cost of their labor end up with
nothing but low margins. The few companies that are able to race to the top, that can
challenge workers to bring their whole selves--their human selves--to work, on the other hand,
can earn stability and growth and margins. Improvisation still matters if you set out to solve
interesting problems.

The future of labor isn't in less education, less OSHA and more power to the boss. The future
of labor belongs to enlightened, passionate people on both sides of the plant, people who want
to do work that matters.
XXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXX
XXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXX


Michael Bastian

The hardest thing is to take something familiar and make it better. The easiest thing is to
create something no one has ever seen before. There’s a reason no one’s ever seen it —
because someone tried it, and it didn’t work in the real world.”

His clothes are made by Brunello Cucinelli in Italy, something that makes the prices higher
than even Bastian himself wants them. ““It’s crazy, I can’t even afford my clothes. Right now,
it hurts a little too much, It should hurt a little, but it shouldn’t kill ’em. That’s the law of
designer clothes.”

When asked about what kind of man he dresses Bastian states that, “The Michael Bastian
man is really a guy who is basically traditional in his dressing, but also appreciates a modern
fit, a little humor, and all of the luxury details usually found only in more classically tailored
lines. I also think he’s a little more introspective than most - all of the secrets are kept on
the inside. I know it sounds a little sentimental, but what I love most about designing
menswear is that hopefully I’m making guys feel a little more confident and better about
themselves every day.”



“Based in the understory of the Central American rain forest, Understory Chocolatiers is a company
that cares about every step of the chocolate making process. Dedicated to making a great end
product, Understory Chocolatiers takes every step into their own hands from bean to bar.”
Designed by Sandstrom Partner | Country: United States

―Moonstruck Single Origin Chocolate Bar Collection. Moonstruck Chocolate is a Portland,
Oregon based company known for making premium handcrafted truffles. This chocolate bar
packaging line is Moonstruck‘s first entry into the premium, single origin chocolate category.
Our goal was to create a chocolate bar packaging line that imbues the same qualities that drive
Moonstruck brand enthusiasm through its truffles: handcrafted quality, visual beauty, multi-
sensory experience and imagination. The illustrations and typography are a hand-cut paper
style. The finishes include: Matte Soft-Touch (color areas). Glossy Soya-kote varnish with
emboss (white areas). Thick UV varnish (chocolate logo). Matte silver foil.‖

-)-------------------------------------------

Made using the best denim sourced from Japan and woven on authentic narrow looms following a
manufacturing process dating back to the 1930s, the characteristics of each pair of dunhill jeans are
enhanced with every wear. Each pair features the following authentic details: selvedge edge on the
inner seams of outside leg, inside coin pocket, two colour contrast top stitching, and rivets for
reinforced strength to all stress points.

These slim fit trousers feature sideseam pockets and side adjusters for a neat, streamlined look.
Team with a cashmere vee neck and a checked shirt for those days when a suit is not required.

• Slant pockets.
• Unfinished
• Professional dry clean only.
The great attraction of fashion is that it diverted attention from the insoluble problems of beauty and
provided an easy way -- which money could buy... to a simply stated, easily reproduced ideal of
beauty, however temporary that ideal. Theodore Zeldin

But if you're a big man, the bigger the lapel, the thinner you look.

What I find really odd is when you go to a beautiful restaurant like Scott's, you see couples
coming in and the ladies are dressed up - heels on, made up, fantastically gorgeous - and the
men are in trainers, jeans and untucked shirt. It's a laddishness I find difficult. You do it when
you're 16, not when you are 32.

Everyone wants a pocket square now. There are not a lot of things that a man can do if he wants
something decorative: he can wear a tie, have a coloured lining in his suit or wear strongly coloured
socks. Less people are wearing ties now, so a pocket square gives your outfit a bit of personality and
oomph.

The perfect suit is this: a three-ply "travel suit" you cannot crease. You can wear it in summer and
winter, it feels a bit coarse but you can virtually see through it. There are a lot of things out there
that are so luxurious you almost need a valet to look after them. But with this you can go to New
York and at the end of the flight, the suit will look better than you do. That's luxury for me.

Women thrive on novelty and are easy meat for the commerce of fashion. Men prefer old pipes and
torn jackets. Anthony Burgess

Loyalty is what we call it when someone refuses a momentarily better option.

If your offering is always better, you don't have loyal customers, you have smart ones. Don't
brag about how loyal your customers are when you're the cheapest or you have clearly
dominated some key element of what the market demands. That's not loyalty. That's
something else.

Loyal customers understand that there's almost always something better out there, but they're
not so interested in looking.

Loyalty can be rewarded, but loyalty usually comes from within, from a story we like to tell
ourselves. We're loyal to sports teams and products (and yes, to people) because being loyal
makes us happy. Why else be a fan of the Cubs? Some customers like being loyal. Those are
good customers to have.

Loyalty isn't forever. Sometimes, the world changes significantly and even though the loyal
partner/customer likes that label, it gets so difficult to stick that he switches.

I think there's no doubt that some brands and teams and politicians and yes, people, attract a
greater percentage of loyal fans than others. Not because they're bigger or better, but because
they reinforce the good feeling some people get when they're being loyal. Hint: low price or
supermodel good looks are not the tools of choice for attracting people who enjoy being loyal.

Rewarding loyalty for loyalty's sake--not by paying people for sticking it out so the offering
ends up being more attractive--is not an obvious path, but it's a worthwhile one. Tell a story
that appeals to loyalists. Treat different customers differently, and reserve your highest level
of respect for those that stand by you.


EMBOSS LOGO OP VISITEKAARTJES!
ETERNAL BLISS

Rivetten in edelmetaal – zilver of goudlegering – platina (de sterkte van het metaal is definierend
of het kan gebruikt worden.

Dazed Digital: Which person has inspired you most in your work?
Dries Van Noten: The list is extremely long. Various different people have inspired me throughout
my career. From Francis Bacon to Vassareli, Coco Chanel to Christian Dior, Cecil Beaton, musicians,
architects… the list is endless. When we were studying at the Royal Antwerp Academy we were
taught to seek inspiration from everyone, everything and everywhere. My parents and grandparents
were also a great inspiration for me a very young age.

In the design process there’s a need to be culturally comprehensive. Younger people tend to be more
obvious in showing their creativity through clothing, hairstyles and their appearance. It’s the
earnestness and naivity of youth that inspires. On other occasions, our design process can easily be
borne from something non-youth related and be found in anything from a reading, photo to a piece
of music for example.

DD: Have you had to struggle to stay independent?
Dries Van Noten: Yes. Though, the ‘price’ has been worth paying. We never sought a partnership
throughout the history of the company. I do think however that if there was ever a time we may
have even considered a partnership would have been that moment in the 90’s when the big groups
were buying everybody up. An interesting moment indeed, but one that I’m glad we were able to get
through. That was the fortunate thing having been auto-financed from the very beginning. We never
really needed to think about it. This independence and liberty meant I was, and still am, able to grow
as I wish and to do exactly what I want in a creative sense. It leads me to be able to really do my best
to bring out a different personality in each collection that I produce.

It’s well-proportioned sportswear without lots of bells and whistles; done with a clever eye for cut (a
narrower armhole, a niftier elevated waistline, the kind of tricks Scott Sternberg of Band of Outsiders
excels at)

LABEL ZIGZAG OPSTIKKEN
All men possess elements of anarchy within their character. Anarchy is not about the total absence of
rules, but rather the significance of autonomy. The Casely-Hayford ethos represents a unique
expression of freedom created when conformity threatens identity, or convention restricts
spontaneity; we fuse this expression of the free spirit with the very particular gestures of English
sartorialism. The House aims to distil a multitude of ideas into a simple pure entity: innovation
through tradition.
The Casely-Hayford house has been founded on two simple phrases: 'English Sartorialism'
and 'British Anarchy'; phrases which embody key elements of the English character.

The House follows a tradition of adherence to the dress code which was first established in
the 19th century, when, through adopting elements of attire from military convention and
sporting pursuits, certain pointers came to define modern western dress. This timeless style
has stayed close to the heart of the discerning 21st century man. Casely-Hayford has chosen
to use these parameters to highlight the brand signature.

Craftsmanship is at the fore of the brand ethos. The skills of Master Craftsmen are utilised
at every stage of the development process, to hone each product and employ original methods
of construction, which continue an English discipline passed on from generation to
generation. We nurture first hand experience of Savile Row tailoring methods and knowledge
of traditional and modern making techniques to create a pure vision of understated elegance.

Casely-Hayford aims to fulfill the requirements of the international man who
experiences and absorbs many influences, yet chooses to distil this knowledge by
maintaining a quiet confidence. With this confidence he may sometimes prefer
subversion over reverence. He savours the point where anarchy and sartorialism merge;
his lifestyle reflects the Casely-Hayford fusion between sportswear and tailoring to create an
unwavering statement of modern British style.
GEOFFREY B. SMALL

mission and principles

mission:

since 1979, to continuously elevate the art, science and technology
of making clothes by hand.

principles:

1. respect for the individual
2. service to others
3. strive for excellence
4. strive to have fun
5. loyalty & trust

The licensing agreement with an Italian manufacturer worked poorly and after a year and a
half, shortly after the events of 11 September 2001, he restarted his own independent firm
again, this time in Italy, making special clothes by hand in his apartment in Cavarzere in
strictly limited edition series for a select group of leading research shops in the world.
With a maximum of five hundred pieces per season made for the world, the concept was
successful and enabled Small to survive the ongoing world political and economic crises, and
continue to be able to produce and develop a dedicated pure research collection of some of the
industry's most advanced and personal clothing designs.

                                GEOFFREY B. SMALL
                                       LIMITED EDITION
                                          MAN/WOMAN

                                    AW.2009-10/SS.2010

                                        Special Collection Pieces
                                       exclusively in the world at:

                                               FRANCE:

                                               KAMILLE


                                           40 rue de Saintonge
                                            75003 Paris France
                                       tel /fax +33 01 42 78 53 01
                                         kamille0259@orange.fr

                                              GERMANY:

                                      FIFTY EIGHT'S BUY HEIDT

                                          Kronbergerstrasse 19,
                                     D60323 Frankfurt/Main, Germany
                               tel +49 069 72 55 35 / fax +49 069 17 46 90
                                            info@fiftyeights.de

                                               BENELUX:

                                        NUZYN / KOOS FABER


                                                Amsterdam
                                          tel.+31(0)6-49965101
                                         koosvaber@yahoo.com


                                          UNITED KINGDOM:

                                        PLease contact us directly
                                        for up to date information

                                       geoffreysmall@hotmail.com

                                        USA / NORTH AMERICA

                                             IF BOUTIQUE

                                  94 Grand Street New York, NY 10013
                                  Tel. 212.334.4964 Fax. 212.334.4961
                                            ifsoho@yahoo.com

                                           SARTORIALOFT


                               1820 Industrial Street #103 Los Angeles CA.
                                 By appointment. tel +1 (213) 291 3242
                                         www.sartorialoftla.com
                                           info@sartorialoft.com

                                             MIDDLE EAST
             IF BOUTIQUE DUBAI

         Villa 26, Umm al-Sheif Street,
                Umm Suqeim 1,
                    Dubai, UAE
               tel. 971504358761
         ifboutique_dubai@yahoo.com

                 JAPAN / ASIA

                    OKURA

              Daikanyama, Tokyo
              +81 03-3461-8511
     http://www.hrm.co.jp/okura/index.html

                  AL SELECT

  101,2-11-13, kichijoji-honcho musashino-city,
          TOKYO 180-0004 JAPAN
            tel/fax +81 0422221197
          alselect.web.officelive.com
                salselect@live..jp

                MINORITY REV

2-19-35 Hirao Chuo-ku Fukuoka 810-0014 JAPAN
    tel +81 92 534 8518/fax +81 92 403 1828
              www.minorityrev.com
              info@minorityrev.com

            JOURNAL STANDARD


                (lady's stores)
             Shibuya Jinnan, Tokyo
                Shinjuku, Tokyo
              Omotesando, Tokyo
                   Fukuoka,
                     Kyoto,
                 Horie, Osaka
                Umeda, Osaka

                    contact:
             tel +81.03-5457-0719

               PLAGUESEARCH

            4-8 Mikawacho Nakaku
          Hiroshima JAPAN 730-0029
            tel/fax .81.082 244 8558
            www.plaguesearch.com
           plaguesearch@mac.com

                    AGEHA

         2-5-7 Sannomiya-Cho Chuo-ku
             Kobe JAPAN 650-0021
   tel. 81.078 331 0767/ fax 81.078 3318851
               www.ageha-jb.com
           ageha-kobe@ageha-jb.com



         JOHN BULL PRIVATE LABO
               (men's stores)
          Jingumae, Harajuku, Tokyo
             Shinsaibashi, Osaka
                    Kyoto
                  Okayama

                    contact:
   1F, JB Bldg 6-10-11 Jingumae, Shibuya-Ku
             Tokyo, Japan 150-0001
    Tel.81.3.3797.3287/Fax. 81.3.3797.3285
            harajuku@johnbull.co.jp
                                                            (women's stores)
                                                              Daikanyama
                                                                Niigata
                                                                 Kyoto
                                                               Okayama

                                                                contact:
                                                          m-hara@johnbull.co.jp



                               The Men's and Women's Archive and special order clothing, bag and shoe
                                          collections are available exclusively in the world at:

                                                   GEOFFREY B. SMALL - PRIVATE


                                                                 Warning:

                          Do not purchase any Geoffrey B. Small products from any non-suthorized dealers.
 Any articles not purchased from these authorized dealers either at retail or online, may be counterfeit, illegally copied or stolen goods,
                             and should be reported to the proper legal authorities and our offices on-sight.


GEOFFREY B. SMALL

                                                        LIMITED EDITION

A dedicated pure research collection of entirely handmade pieces produced by the designer himself in his
apartment workrooms in Italy.
Presented each season to the world trade buyers and press exclusively in Paris during the men's and women's
designer weeks, and recognized as a
world leader in fashion concept development and hand made technologies, design and materials.
Maximum production limited to 500 total unique pieces for the world per season.
Offering the world's most advanced artisanal techniques, textile treatment, fabrics, components, new garment
construction and vintage recycle design.
Available exclusively in a select and extremely limited number of authorized special shops in the world each
season.

exclusive worldwide dealers




Note: due to extensive copying by industry competitors worldwide, we do not show the
majority of our recent collections or designs online.
For additional information to view our collections and designs please contact:
geoffreysmall@hotmail.com

                                                       PRIVATE SERVICES


                        For clients unable to shop with our existing authorized dealers.
 We offer special made to order service of our collections to selected private individuals worldwide on a very
                           limited membership-only basis via e-mail at retail pricing.
 We also offer original studio workroom repairs, component parts, maintenance, alterations and modification
                                                    services
                            for all Geoffrey B. Small design pieces made since 1979.
    For further information or to apply for these very special services please contact our Cavarzere Venezia
                                          workrooms in Italy directly:
 “Since 1979, a continuing mission to elevate the art and
  science of making clothes by hand"

   Perhaps no label in the world represents more individuality,
   sartorial dedication, and personal attention




FROM MAKING clothes for friends in an attic, to becoming his native city Boston’s leading bespoke tailor,
to helping to pioneer recycle designer clothing in the Paris collections, Geoffrey B. Small has continually
been on a mission to save the lost art of designing and making clothes by hand. Now working in Italy, his
limited edition collection brings this artisanal concept to its most refined level to date.
A dedicated research collection of entirely handmade pieces made by the designer himself in his
apartments in Italy. Maximum production limited to 500 pieces total for worldwide distribution, 1-25
pieces per model. Offering advanced artisanal techniques in textile treatment, new garment
construction, and Small’s signature vintage recycle design.
Perfecting the Art of the Imperfect



At a time when many are claiming to be making items by hand, few actually are. Every piece in Small’s
production is imperfect, perfect proof of its authentic individual creation. Each order is made one-at-a-
time in Japanese- style Kanban method. Each recycle article is personally selected, prepared, cut, resized,
reconstructed and finished by hand. Each new production article requires paper patterns, cutting, sewing
and pressing all by hand. And all items are hand-packed individually for delivery to clients.



Even the hangtags are filled in by hand

denoting the client the article was made for, and the numbered series production of the article.




Since 1991, all hangtag information has been written by hand detailing the article, size, fabric, color and
client the piece was made for. In addition, Limited Edition hangtags denote the example number of the
article and the total number of examples produced. The tag in the photo will be attached to the second
piece in a series of 14 LS3 model handmade avant-garde shirts produced in the world (“EX. 2/14”).



Perfection lies in the imperfect, what less discerning people might consider defects, are in reality the
most valuable elements, every piece has anomalies that prove its authenticity of individual production
and assembly.
The result: hours and hours of work making each item of exceptional value and as beautiful, individual
and special as humanly possible.




One Jean
What if yourself and only 99 others could profess to own a pair of jeans so exclusive they had
their own production number? Because that‘s exactly what ex-Evisu and Levi‘s designer
Mark Westmoreland has created, and put modestly, it‘s a couture jean for the denim head.
Justifiably called the One Jean, they‘re only available from five retailers worldwide, two of
them being Dover Street Market and oki-ni.com. The end product of a prototype that took
Westmoreland four years to refine and produce in conjunction with the Shiotoni brothers of
Japan, the jeans are a combination of vintage features that pools the collective knowledge of
jean makers worldwide.

Speaking to Westmoreland about the processes involved in its creation, it becomes all too
apparent how these details contribute to the individuality of each pair. ―Crikey, it's all about
the craftsmanship. I made the first jean one night in a factory, showed it to my friends in
Japan, worked on the fit and construction and it was so important to me that the jean was to be
made as if it was the first ever jean, so I just used a single stitch machine, no twin needle, no
run & fell machine, hence the French seam. But I had to keep to the industry standard with the
chain-stitch hem and the bartacks also have the correct number of stitches, because once
you've worked in a Japanese factory, you can't do it any other way.‖

Using US cotton to produce the One Jean, this is then dyed and woven near Hiroshima at a
family run mill but this was by no means where the pain staking aspects ended; ―The jeans
were then delivered to me where I hand painted the red bartack on the spade pocket with pure
indigo, hand brand the leather patches and hand embroider the inside label,‖ explains
Westmoreland of the final touches. Once purchased, customers can request their unique
number stamped onto a leather patch ensuring their solitary rareness and guaranteeing entry
into this unrivalled 100-club!


One should bear five things in mind when buying a quality suit, says Richard James in the
current edition of ShortList. Number one? Think silhouette, which encompasses a couple of
basic points that, indeed, are best not forgotten when buying any suit: how it fits and how it
looks.

And much of your jacket’s (or suit coat’s) silhouette will depend on how it is fastened. “You
should always stick to a one or two-button, rather than a three-button jacket,” advises
Richard. “A one or two-button jacket creates a slimmer, longer and leaner silhouette,
enhancing the body in all the right areas.” (See our luxury mohair, single button, peaked
collar suit with slant pockets – worn with a black, classic gingham single button shirt and a
broad grey and black striped silk tie – above.)

The silhouette aside, the other things left to consider are angled pockets, side vents, side
trouser adjusters and colour. See ShortList, below, for the yays and nays and ins and outs of
each of them.

“‘&’ is a personal accessory brand that I created for the purpose of fulfilling a need that I felt wasn’t
being filled. Having a product that gave you all the tools to create an accessory for your phone or
what have you and let you customise it how you want. I played with the identity for a while refining
and trying to fully utilize the package. The logo was created to adapt to its product be it a phone,
wallet or ipod it can be customised itself.”

Paraphernalia

I found this quote striking and provocative - "Once you have something well cut you can change
proportions. So let's say you have a 38 inch waist, if you have a really well cut suit, you can knock two
inches off your waist".


It's interesting because it highlights two profoundly different views of the suit or jacket. Should the
jacket take the leading role in shaping how you look? Or should your natural form (chest, shoulder,
etc) do more of the job in informing your look? In other words, should you change what you have or
use what you have?


You will undoubtedly find individuals who    believe adamantly in one or the other. I,
for one, believe we're all better off in having both options available, experimenting and making an
informed decision (or decisions), and adapting over time.


Boateng is getting at the construction of "style" and proposing the tailor play an active role in shaping
it. I would add that the ability to project style depends on a few ingredients: one part material reality
(i.e. I have a size 38 waist), one part self-perception and one part perception by others.

It's funny, because I keep on meeting young, upcoming designers who really value craftsmanship. I
guess it's a backlash against these over-marketed, so-called "luxury" products. It reminds me a bit of
Martin Margiela's work in the early 1990s, using recycled garments and making them fashionable.
I think this whole idea of vintage becoming so expensive and exclusive is not something that truly
existed before Margiela. He also made Replicas, which were exact copies of old clothes, while
everyone else ripped them off pretending their work was "new".




Levis Vintage 1954 501 Rigid Dry Jean, see below for measurements. For further information, check
our Sizing Guide. PLEASE NOTE: This Garment Is Shrink-To Fit.

                   Rise     Thigh    Knee      Ankle

   30“ Waist       11"       10"      8.5"     7.75"

   32“ Waist      11.5“      10"      8.5"      8"

   34“ Waist       12"       10“       9“       8.5"

   36“ Waist      12.5"     10.5“      9“       8"
British Esquire Editor Jeremy Langmead
British Esquire Editor Jeremy Langmead comes by to collect his new, single breasted, single
button Prince of Wales check with a gold, orange and turquoise overcheck suit from Richard
James Bespoke.
The Prince of Wales check is a subtle variation of the large, bold, black and white
Glenurquhart check, which lore has was adopted for country pursuits by the Seafield family of
Moray, Scotland in the mid-nineteenth century. Its name and popularity came about through it
being taken to by the Prince of Wales, later Edward VII. And its reputation as a design of
style and something suited to town as much as country was cemented by a latter, famously
urbane, Prince of Wales, he who ended his days in exile as the Duke of Windsor.
―This suit is perfect for days in the office when you want to turn the smart switch to full
volume; it also acts as a genius hangover cure: however groggy you might feel you can slip
this on and immediately look and feel a million times better. Not so long ago a gentleman was
never supposed to wear check in town. Nor brown shoes, either,‖ says Jeremy, pictured here
in both. ―Hardy Amies will be turning in his grave.
―At Esquire we‘ve noticed that men are keen to know about the basics and rules of men‘s
fashion, but like to play with them, too.‖
Devils on Horseback
A tasty treat with an ominous-sounding name, devils on horseback are prunes or dates stuffed
with chutney and wrapped in bacon. The name is thought to have been inspired by its contrast
to angels on horseback, which are oysters—whose curled edges resemble wings––wrapped in
bacon. Photo: Dorling Kindersley/Getty.
“Un vrai produit de luxe est simplement un produit qui a été bien fabriqué”. C’est le message que
veut faire passer Optimo, un des derniers magasin de chapeaux traditionnel au monde. Consciente
de détenir un savoir-faire en voie d’extinction, l’enseigne souhaite aujourd’hui toucher une cible
élargie, “du vieux de la veille qui comprend vraiment ce que signifient style et qualité, à des amateurs
plus récents qui souhaitent faire l’expérience de ce que c’est que de posséder un vrai beau chapeau“.

Bleu de Paname poursuit son petit voyage dans le temps, à la recherche de la France industrielle. Ce
faisant, elle revisite des classiques, de ceux que portaient jadis les ouvriers des grandes entreprises
hexagonales.
Pour la saison automne-hiver 2010-2011, la collection s’appelle Uniforme, en référence aux tenues
que les salariés des usines devaient, parfois, revêtir pour exercer leur métier.
La jeune marque parisienne propose ainsi des pantalons de peintre, des vestes de comptoir, des
chemises d’inventaire, des vestes de sport, mais aussi des jeans, des gilets, des pulls, des t-shirts, des
doudounes sans manches, des parkas, etc.
Les coloris, sobres, se limitent au bleu, au gris et au beige. Comme pour les précédentes saisons, Bleu
de Paname a créé des vêtements simples, solides et élégants, qu’elle fait fabriquer en France
exclusivement.


Bleu de Paname, ce sont des vêtements simples, élégants, pratiques, et bleus pour l’essentiel. Des
vêtements classiques, de ceux qu’on appelle «basiques», n’ont pas parce qu’ils sont rudimentaires,
mais parce qu’ils constituent des bases vestimentaires sûres, sur lesquelles le temps et les modes qui
se succèdent n’ont pas vraiment de prise. Des intemporels, en quelque sorte, imaginés et dessinés à
Paris, lieu de résidence et source d’inspiration des créateurs de la marque. Mais Bleu de Paname, ce
n’est pas seulement cela. C’est aussi un hommage à une époque révolue, celle du travail pour tout le
monde, celle où l’on enfourchait sa Mobylette, bleue elle aussi, pour se rendre au travail, à l’usine
peut-être. Ou à Rungis. Une époque où l’on parlait encore de cols bleus, par opposition aux cols
blancs qui, dans les bureaux, travaillaient en bras de chemises, blanches.
Aujourd’hui, la Mobylette à disparu, l’usine qui la fabriquait aussi, avec ses ouvriers. Dans la gamme
Bleu de Paname, on trouve des jeans, des chemises bleues, de soudeurs ou d’infirmiers, des pulls,
des casquette, des vestes de comptoir ou de bougnat, des blousons et des parkas. Si hommage au
passé il y a, le style des collections est quant à lui bien d’aujourd’hui. Mais parce que pour les
créateurs de cette jeune marque, la référence au monde ouvrier n’est pas seulement affaire de
marketing, chaque pièce est fabriquée ici (en Aquitaine, dans le Nord-Pas-de-Calais et dans les
Vosges, les finitions sont faites à Paris), par des femmes et des hommes qui firent hier la réputation
du textile et des vêtements fabriqués en France. Cette qualité dont tant de marques se réclament
aujourd’hui, qui pourtant font fabriquer un peu partout dans le monde. Un peu partout sauf en
France, justement. Bleu de Paname est désormais membre de Made in Respect, une association qui
promeut le respect des hommes et de leur savoir-faire, qui défend la fabrication locale et
l’environnement.

The Shipley & Halmos design collective provides a current and essential wardrobe for men and
women who value forward thinking and individuality. The brand's designs posses a strong sense of
modernity and progression with respect to classic tradition in form and idea.

Justement, quels sont ces fondamentaux ?

Franck : Toujours avoir un point de base. Pour définir une identité, il faut avoir une origine :
un nom, une date, une couleur… Une fois que cette origine est bien déterminée, que tu en es
fier, tu peux ensuite te permettre de construire l‘histoire. Parce que si ta direction change, tu
pourras toujours revenir sur ce point bien défini, il y aura toujours une base à laquelle tu
pourras te référer.


Franck : Il y a chez nous une volonté de respecter la photographie, et d‘essayer de la
préserver. Si tu achètes tous les magazines, tu peux vite faire une overdose. Il y a quand
même beaucoup de copies de copies de copies… qui sont à chaque fois un peu moins bien…

 Alexandre : Ce que j‘ai appris ici et ce qui me motive tous les jours, est cette volonté de rayer
les effets, et d‘aller vers une image plus qu‘une image de mode.

Comment définiriez-vous une bonne communication ?

Franck : Une communication sincère ! Si tu aimes le rouge et que la mode est au bleu, et que
tu te dis « moi aussi je vais faire du bleu », tu risques de mal le faire, d‘être à côté. Je pense
qu‘il faut toujours être le plus clair et le plus sincère possible. Une marque peut être vulgaire,
austère ou peu importe, si c‘est assumé elle le vendra bien, il y aura toujours quelqu‘un pour
l‘apprécier et le comprendre.



Qu’est ce qui motive votre envie de vous impliquer sur un projet plus que sur un autre ?

Franck : C‘est une histoire d‘envie de la marque. Il n‘y a pas de bonnes ou de mauvaises
marques. Il y a celles qui veulent jouer le jeu et les autres.



Alexandre : Ce n‘est pas forcément les plus grandes marques qui nous font vibrer, il y a des
maisons plus petites, un peu bancales qui par contre ont vraiment l‘envie de faire quelque
chose, et là c‘est forcément plus motivant parce qu‘il y a une forme de challenge et de liberté
qui est intéressante pour nous. Il faut un enthousiasme et une marge de manœuvre, même si ça
ne veut pas dire qu‘il n‘y a pas de contraintes. Au contraire, nous sommes plutôt à la
recherche des ces contraintes, elles sont souvent essentielles.
Franck : Nous fuyons surtout les propositions où l‘on doit refaire ce que l‘on a fait chez le
voisin. Certaines marques sont tellement paralysées par la peur que quelle que soit la
proposition qu‘on leur fait, elle est vouée à l‘échec car elles refusent de se remettre en
question et veulent le changement sans rien toucher. Elles aimeraient la forme mais sans le
travail qui va avec. Pour Balmain et Isabel Marant qui ont chacune des univers bien différents,
le parallèle que l‘on peut faire c‘est l‘enthousiasme interne. Quand nous sommes arrivés chez
Balmain, il n‘y avait qu‘un directeur financier quasiment tout seul avec un créateur. Mais il y
avait une vraie volonté, un vrai enthousiasme. Isabel Marant était déjà beaucoup plus
structurée mais avec la même envie que les choses évoluent.



Alexandre : C‘est vraiment comme dans un couple. Si l‘un des deux a moins envie que
l‘autre, ça ne peut pas marcher. À l‘inverse, avec la synergie des deux, il peut se passer de
belles choses.



Franck : Mais maintenant, on s‘en rend compte assez rapidement. Au début tu te remets
beaucoup en cause, tu cherches à savoir ce que tu n‘as pas fait correctement, mais quand une
décision ne veut pas être prise, tu ne peux rien faire… Une campagne c‘est 20 % de la réussite
d‘une marque, peut-être même moins. Mettre juste un bon mannequin, un bon photographe et
faire une jolie campagne sans remettre en question ce qui doit l‘être, c‘est un coup d‘épée
dans l‘eau, ça ne sert à rien. Il faut une équipe en place, qui n‘a pas forcément besoin d‘être
grande, mais il y a des points stratégiques dans une société et si tu ne les modifies pas au bon
moment, ça ne peut pas avancer.

Quel regard portez-vous sur la période actuelle ? Est-elle inspirante ?

 Franck : Oui très inspirante, car on sent bien que c‘est la fin d‘un monde, probablement la
fin de ce principe de starification de tout et de n‘importe qui. Les créateurs et autres avec des
egos pas possibles, des exigences et des souhaits disproportionnés c‘est quand même démodé.
Tout ce qui peut être associé au faux luxe, à la vraie vulgarité, au profit d‘un camouflage de
travail me semble un peu démasqué. C‘est rassurant de voir la proposition de Phoebe Philo
chez Céline, de voir qu‘une Fiat 500 se vend très bien, qu‘ Hermès ne soit pas détrôné… A
contrario, la démesure actuelle nous pousse à désirer profondément plus de simplicité, de
proximité et finalement quelque chose de peut-être plus pudique et sincère. C‘est vrai que j‘ai
envie que la notion de travail (très présente chez la nouvelle génération), la notion de temps et
donc de patience soient plus perceptibles .

---------------------

Non les Italiens n‘ont pas inventé le jean, ni même les Nîmois, ni même les Anglais vendant
la toile denim. Tout simplement parce que la toile que nous portons tous aujourd‘hui n‘a rien
à voir.
Alors, il est gentil le François Girbaud dans sa préface du livre lié à l‘exposition «laisser
planer le doute», on se doute surtout qu‘il a eu le nez fin en se disant que tout le monde
tomberait dedans.
Et il a eu raison, vu que tous sont trop occupés à relayer l‘information en prenant argent
comptant un discours marketing.
Girbaud a sûrement lu Bernays.

Le denim n‘a de gênois que la teinture utilisée par les Anglais et les Français pour l‘ancien
denim fait de laine et de soie.
Le denim d‘aujourd‘hui est un sergé de coton fait de deux couleurs, indigo et blanc.
L‘indigo non plus n‘est pas italien, mais indien à l‘origine.
C‘est légèrement différent et gênant.

Après 2 ans à avoir porté sans relâche le même jean, à l‘avoir parfois lavé, à sec ou non, afin
de trouver un juste compromis entre amour du denim et vie sociale, on s‘attache forcément.
Mais voilà, les jeans s‘usent. C‘est plutôt l‘effet recherché, hélas il arrive rapidement que des
trous apparaissent.

On peut cependant garder la tête haute : la plupart des jeans troués que l‘on peut apercevoir
dans la rue ont subit des coups de ciseaux de leur propriétaires… Mais un trou, si il n‘est pas
entretenu comme il le faut, s‘agrandit rapidement et peut aller jusqu‘à rendre un jean
importable.

« Repair Jeans » est un magasin situé Porte d‘Italie, à Paris. Depuis plus de 20 ans, Georges,
le maître des lieux, propose des services de rachat, de vente et de personnalisation de jeans.
Qui dit jeans d‘occasions dit pièces rares et convoitées, et même si cela n‘est pas l‘offre
principale du magasin, quelques beaux 501 à liserés sont présent dans son impressionnante
réserve. Mais les autres services proposés par Georges sont tout autant intéressants.

Tout d‘abord, Georges vous propose de réparer vos jeans : tout trou, peu importe sa taille, sera
comblé et rendu presque invisible. Pour ce faire, il applique un morceau de jean en dessous de
la zone à réparer puis, grâce à une machine à coudre adaptée à la tâche, il va passer et
repasser, dans le sens de la trame afin de garantir une réparation solide. La réparation est
effectuée dans le fond du magasin, par Georges lui-même, qui s‘assure à grand coups de
pédales que ses clients ne reviendront pas de si tôt.

Georges vous propose aussi de broder sur vos vêtements ce que bon vous semble. Ce type de
personnalisation, un classique du milieu du siècle dernier, possède un charme certain. Ce
travail est effectuée après commande chez des connaissances du propriétaire du magasin, un
couple de retraités qui furent les distributeurs en Europe de ces machines de broderie. De quoi
ajouter le nom de son escadron sur sa flight jacket ou même broder le nom de son équipe de
baseball sur sa varsity jacket .

Je vous laisse apprécier ces quelques photos du magasin, du travail et de l‘offre de Georges.

Maverick Dif
Porte d‟Italie
8B Avenue de Fontainebleau
94270 Le Kremlin-Bicêtre
www.repairjeans.com
Levi’s et Lee ayant commencées l’épopée du jean dès le XIXème siècle, suivies de peu par Wrangler,
personne ne peut vraiment lutter en arrivant un ou deux siècles après, au niveau de l’histoire comme
de l’innovation, de l’amélioration. Il y a donc un décalage entre les marques qui doivent s’inventer
une histoire, un héritage et celles qui en ont un car elles sont issues de la tradition américaine.

Dans un monde où la différenciation n‘est plus que marginale, le détail est roi.
Le combat se joue sur le bouton, le revers et la chaussette.
T‘as intérêt à savoir où t‘approvisionner.

On vous présente donc un fournisseur de distinctions en provenance du pays nippon.

Boutons et denim.
Boucles et magazines.

Encore une fois, les habitants du Soleil Levant sont là en renfort et X-Kaijin-X ne déroge pas à
la règle.

Belle sélec‘ et bon marché.

Albam est une jeune marque anglaise qui a fait ses débuts en 2006, vendant des vêtements
simples et élégants aux détails travaillés, s‘inspirant de l‘utilitaire et du pratique.

Une grande partie de leurs vêtements sont produits sur le sol britannique, dans des usines
ayant résisté à la délocalisation et ayant auparavant servi à fabriquer des pièces de grands
noms de l‘habillement anglais. Un sourcing en adéquation avec l‘air du temps qu‘ils
n‘hésitent pas à mettre en avant sur leur blog.

Leurs collections sont systèmatiquement bien fournies en pièces intemporelles, simples et
appréciables. Leurs collaborations, avec Gloverall pour certains manteaux et avec Grenson et
Quoddy pour les chaussures, sont toujours bien choisies et sans aucune faute de goût.

Vous ne trouverez des vêtements Albam chez des revendeurs qu‘à de rares occasions (oi
polloi notamment), ils n‘étaient jusqu‘alors accessibles que dans leur magasin de Soho ou à
travers leur site internet (qui livre à l‘international). Ce contrôle de la distribution, rappelant
d‘ailleurs beaucoup APC à l‘époque, leur permet d‘offrir des vêtements de qualité, fabriqués
en Angleterre à des prix plutôt raisonnables (85 £ le chino en denim japonais, 195 £ le
bomber…).

Aujourd‘hui, Albam a connu une croissance exceptionnelle et possède déjà 3 boutiques
stratégiquement placées à Londres. Ce n‘est pas pour autant que l‘entreprise manque de
projet, elle prévoit en effet de sortir un ouvrage contenant des photographies des usines
anglaises confectionnant ses produits. Les photos, réalisées par John Spinks, devraient être
exposées à Londres en parallèle l‘année prochaine.

We continue to manufacture our products in Great Britain and if this isn‟t possible then we
look as close to home as possible, so we now have good friends in Portugal, USA, Italy. Our
aim is to bring as much product back to Britain and we have spent the last year building a
business with your help and support that is enabling our British factories to grow and develop
with us.
There is no hidden agenda with this, but there is something that is great about making
products in an area when people think you are slightly crazy “because no one does it
anymore”. In some respects there is an old mindset within Albam combined with a forward
outlook. I hope it can continue, and whilst we want to be your “best kept secret” we need
your help and support to spread the Albam art of living and keep making great products, tell
some like minded friends and you were still the first to know!

Soho Albam Store : 23 Beak Street London
East End Albam Store : 111a Commercial Street London
Islington Store : 286 Upper Street London
Site web : http://www.albamclothing.com/


Carpe cras (cras=tomorrow)

Cost reduction for high-end markets

If you sell at the top of the market (luxury travel, services to Fortune 500 companies, financial
services for the wealthy...) you might be tempted to figure out ways to cut costs and become
more efficient.

After all, if you save a dollar, you make a dollar, without even getting a new customer.

Resist.

The goal shouldn't be to reduce costs. It should be to increase them.

That voice mail service that saves you $30,000 a year in receptionist costs--it also makes you
much more similar to a competitor that is more efficiently serving the middle of the market.

Go through all the ways you serve your customers and make them more expensive to execute,
not less. Your loyalty and your market share will both grow. People who can afford to pay for
service often choose to pay for service.

An effective brand isn't just one you can recognize. It should stand for something greater. A brand is
the symbol of a company that requires no explanation. Today's brands evoke emotion and symbolize
not just a product, but a lifestyle.

--------------------------

It would be interesting to see the prices of some other Japanese denim brands when we are talking
about Uniqlo. These prices were posted in our previous post on Blue in Green Soho – Japanese
Denim Shop


Denime - $298-$325
Eternal - $255
Evisu Japan - $240-$385
Fullcount & Co. - $275-$330
Momotaro Jeans - $250-$315
Oni Denim - $185-$585
Paul Smith Japan - $325
Pure Blue Japan - $169-$559
Samurai Jeans - $275-$665
Skull Jeans - $240-$350
Somet - $210-$295
Studio D’Artisan - $265-$620
Sugar Cane & Co. - $265-$370
Sunrise Japan - $348-$358
The Real McCoy’s - $248-$368
Warehouse Co. - $245-$275

The market is not seduced by logic

People are moved by stories and drama and hints and clues and discovery.

Logic is a battering ram, one that might work if your case is overwhelming. Wal-Mart won by
logic (cheap!), but you probably won't.

"Brands are meaning-making machines,"

The brand. "JetBlue has humanized the travel industry," Moldavski says. Rather than pouring millions
into traditional advertising, JetBlue invests its money into its workforce, recognizing that a pleasant
flight and friendly staff is the best advertisement for its brand -- even when one of its crew members
decides to jump out the emergency slide. "Essentially, every employee is a mini-brand ambassador.

"Here is the grandfather of all brands that function like a culture," Hahn says. Patagonia was founded
by the legendary climber, Yvon Chouinard, which lends the brand unmistakable authenticity.
Chouinard even gives his employees surfing and snowboarding breaks when conditions are peak.
"Patagonia has supported environmental and sustainability causes since before the word
sustainability was ever used," Even Patagonia's Facebook page is "almost entirely consumer driven,"
according to Bemporad, a plain example of the emotional connection the customers feel, and the
pride they have in their sustainable, active lives. When customers buy Patagonia, they are supporting
everything they care about.

Frankel says your product and services are not your brand -- they're proof of what your brand
promised. Craftsman has mastered the art of crafting solid, durable tools, and if they ever fail, there's
a lifetime guarantee to protect you -- that's a trusty brand. "If your grandfather bought a wrench in
1946, and it broke yesterday, they'll replace it for free," Frankel says.

Coca-Cola and Pepsi
You're probably gasping. Frankel says that while Coca-Cola may be a successful brand, it is not a good
brand. The true test, he says, is that if you go to a diner and request a Coke and are met with, "Pepsi
okay?" 99 percent of people will say, "Yes." A good brand would be irreplaceable. The same goes for
Pepsi, because it works both ways. Both are iconic companies with great advertising, but both brands
are watered down when you look at the actual product -- the soda.

"Brands co-opt a cause in ways that aren't genuine, to exploit market interest."

Brands have a responsibility to be honest with the consumer, brand watchers say, and while this
marketing ploy may be a short-term gimmick, it will "diminish the brand equity" in the long run,
So even though Microsoft products dominate in many categories, the brand equity is missing and its
customers don't feel pride or affection toward their PCs. "Even people who work there call it The Evil
Empire,"

When a brand's actions contradict its words, you've got a troubled brand," she says. And when that
brand irresponsibly lets millions of barrels of oil leak into the Gulf of Mexico, you've got a very
troubled brand. "Values get tested in face of adversity and they either fail or succeed," Hahn says.

Sure, the brand has visibility, but high awareness is no longer the sole definition of a good brand.
People use Facebook, but they don't self-identify with it, and many users have revolted over the
site's privacy issues, putting the reportedly $35 billion site on thin ice. "What happened to MySpace
could happen to Facebook," Hahn says. "No one seems to like what Facebook stands for, but
everyone's using it. That's a brand problem."

Five rules for your About page

When someone comes to your site for the first time, they're likely to hit 'about' or 'bio'. Why?
Because they want a human, a story and reassurance.

Here are some helpful guidelines (okay, they're actually imperatives):

1. Don't use meaningless jargon:

... is a recognized provider of result-based online and mobile advertising solutions. Dedicated to complete value chain
optimization and maximization of ROI for its clients, ... is committed to the ongoing mastery of the latest online platforms -
and to providing continuously enhanced aggregation and optimization options.


2. Don't use a stock photo of someone who isn't you (if there is a stock photo of you,
congratulations). The more photos of you and your team, the better.

3. Make it easy to contact you. Don't give a contact address or number that doesn't work.

4. Be human. Write like you talk and put your name on it. Tell a story, a true one, one that
resonates.

5. Use third party comments and testimonials to establish credibility. Use a lot of them. Make
sure they're both interesting and true.

Japanese denim has for some time been regarded as among the best, due to its artisanal means
of production. After the Second World War, when American denim makers shifted to
industrial modes of manufacture, their traditional shuttle looms were snapped up by Japanese
artisans . Though these small American looms, which are still used by Japanese denim brands,
are labour-intensive, they produce a high-quality selvedge denim (selvedge refers to its woven
or 'self-finished' edge that does not fray) with a tighter weave and denser finish.

All of this has kept the price of Japanese denim high. But lately a number of high-street and
mid-market brands (such as Gap with its Japanese denim 1969 range) have launched their
own reasonably priced versions. What sets Uniqlo's premium range apart, says the company's
head of product development and merchandising, Yuji Honzawa, is its manufacture at the
prestigious Kaihara mill, which has been producing denim since 1970.
'Kaihara is particular about using only Pima cotton, sourced in the US, as this is the best
quality,' says Honzawa, who has worked in the industry (previously at Levi's and the Japanese
brand Edwin) for more than 20 years. For added strength, the cotton is respun a total of 64
times, after which the indigo dye is applied by a special rope-dyeing process (the threads are
wound up like rope and pulled back and forth through a network of rollers and vats) to deepen
the final hue. With finishing elements such as rivets and buttons also produced at Kaihara, 'the
end result,' Honzawa says, 'is highly durable jeans.'

Uniqlo constructs its jeans in China and Bangladesh ('to ensure we achieve a lower
manufacturing cost while using highest quality denim,' Honzawa says). This distinguishes it
from higher-end brands such as PRPS, which weaves, constructs and washes its denim in
Japan. But PRPS jeans retail from £150, whereas Uniqlo's premium range starts at £39.50.

The launch last spring of Uniqlo's premium range reflects the rise in demand for Japanese
denim. Sam Lobban, the menswear buyer at Selfridges, attributes this to an increased
awareness among savvy buyers of authentic fabrications. 'What really makes Japanese
selvedge so superior is the depth of colour - the specialist washing techniques take to selvedge
denim better to give a more 3D and rich colour.' Just as important as the finish is the shape of
the jean. 'Selvedge denim tends to be on a more "regular" fit,' Lobban says. 'This works better
for the coarser and heavier denims, and also suits the overall aesthetic. It's also a style that
most men suit.' All the more reason for every man to invest in a pair.

5 PREMIUM DENIM BRANDS

Naked and Famous Best hard-wearing For denim aficionados, this Canadian brand founded in
2008 prides itself on its specialist ranges, from 32oz selvedge denim (the heaviest ever and so
stiff it stands up) to 'snowpant' waterproof denim. Weird guy, £160, Naked and Famous, from
Selfridges ( selfridges.com ).

Studio d'Artisan Best for evening A highly regarded Japanese brand founded in 1979, Studio
d'Artisan is known for slim, sophisticated styles. Perfect paired with a jacket or brogue for
work or evenings. Indigo denim, £250, Studio d'Artisan, from Liberty ( liberty.co.uk ).

PRPS Best distressed For denim snobs, the American label PRPS was launched in 2003 by a
former Nike designer impressed by Japanese craftsmanship. The denim is spun on vintage
Levi's shuttle looms and put through an ageing process to create the brand's signature finish.
Heavy duty blue jeans, £365, from Indigofera ( indigofera.co.uk ).

Levi's Vintage Best classic Exact replicas of pieces from the company's archives in San
Francisco, Levi's Vintage jeans are woven on selvedge looms at Cone Mills in North
Carolina. The brand's success reflects the rise in demand for traditional American denim: a
pair of vintage 501s is considered as good as most denim coming out of Japan. 501 mid blue,
£90, Levi's ( eu.levi.com ).

Edwin Best dark Described as the 'Levi's of Japan', Edwin started producing denim in 1961
and is famous for innovations - the brand produced the first 16oz selvedge denim and
invented 'stonewash'. The range tends towards jeans that sit low on the hips. Rainbow Listed
Selvage 13.7oz, £130, Edwin ( liberty.co.uk ).
About the Brand:
4 Stroke is a relatively new offshoot of denim megaproducer Aalfs Manufacturing, designed and run
by New York-native and denim-industry lifer, Tobias Levine. While not necessarily the face of the
artisan denim movement, 4 Stroke’s churning out an extremely high-quality product and is able to
source and develop fabrics, as well as wash and production methods, most smaller outfits can’t.
Indeed, both passion and resources run deep in this outfit. And it’s this dynamic that helped them
secure the aqua cone-mills selvage fabric that is what 4 Stroke calls the “ArrestYourself” wash. The
unique aqua warp and grey weft combo makes for an interesting pattern and should yield some
interesting wear patterns throughout the coming months.

interestingly enough, it was in the ’80′s that donna karan introduced her “seven essential (or easy)
pieces,” which consisted of a collection of seven garments – a bodysuit, a coat, a jacket, blouse, skirt,
pants and something a little fancier for the evening – that, when owned as whole, would pretty much
cover every basic clothing need.
the pieces were created to work together and could be mixed and matched to take you from day to
evening. the collection itself was designed for simplicity and ease in stylish dressing for the modern
woman (as donna karan viewed her.)

Lim describes himself as an “evolutionary designer rather than a revolutionary one,” as he
said in a recent Chicago Tribune interview. “For us it’s about building a brand. That’s
counterintuitive with fashion, where everything is of the moment, the it thing, the latest
thing, the greatest thing. But you look at all the greats, the masters, it’s taken them a
decade, a lifetime to get to where they are.”

When asked about the difference between menswear and womenswear he said, “With
men’s *fashion+ you push it to a point, but then it’s closed. With guys it’s different from
women, because you need to be their mother or their best friend—it goes slowly.”

Lim’s main selling point has been his relative affordability - something of a rarity in the world
of high end fashion. Like the vast majority of companies we feature here, Lim’s not about
reinventing the wheel but rather perfecting what already exists. As Coach creative director
Reed Krakoff says, in an interview with New York Magazine, “Phillip’s clothes are very easy
to understand. It sounds logical, but things don’t always come together so well.”

Every product needs a story, as does every brand. The product's origin. The creators' ideals.
Or a unique experience. These stories provide value.
Consumers are looking to share narratives as a way to express their knowledge, identity,
status, and connections. As the DNA of viral marketing, these stories help people connect
more deeply with a brand, a product, and others around them.

TAKE ACTION: Designing for Life's Changes
1. Share what you care about
How might design authentically express values to attract like-minded consumers?
2. Empower people to make it their own
How might we encourage consumers to participate by telling their own stories?
3. Localize
How might we speak to community to provide deeper meaning and connection in an
increasingly commoditized world?
4. Be discriminating
How might we identify the key aspects of design that connect to the story's focus?

THE EVIDENCE: Stories from Around the Globe
Shoes Make the Man




A self-proclaimed sneaker geek, Carl has over 500 pairs in his collection. His current
favorite? A pair of laser-etched Nikes he picked up in Japan. The detailing is subtle, but to
those in the know, they have enormous value. The specialty stores he visits on his travels, like
Alife in New York or Kicks in Los Angeles, fly a bit below the radar. Knowing about them is
all about making the right connections. To garner sneaker cred, Carl participates in online
communities, sharing his knowledge and proclaiming his status through his collection.

Bragging Rights on a Global Scale
A lot of people travel to Costa Rica to take surf lessons. But only a handful can learn from an
internationally renowned pro during a weeklong, invite-only surf camp.




Lee, a 36-year-old investment banker from Manhattan, works hard to attract opportunities like
this. She and her banking industry friends are adrenaline junkies, always on the hunt for the
next exceptional experience. Whether it‘s indulging in local treatments at an exclusive $1200
per night spa in Thailand or bypassing the months-long waitlist at a trendy restaurant in
Vegas, Lee gathers experiences to increase her social and professional profile.

Working in a typically male-dominated industry, she may not always get invited to go bear
hunting with the guys in Alaska. But she can still impress the firm's partners with her access
to exclusive resorts in remote parts of the globe.
Discerning Chickens Cause a Stir
In Andhra Pradesh, India, a region where clean water is scarce, one humble local farmer's
chickens are better off than most people. Searching for a way to differentiate his product, he
took a big risk by starting to give his chickens purified water to drink. Soon after the switch,
the farmer's chickens started growing faster, suffered less disease and produced more eggs.
Overall, they were much healthier than the neighboring villagers' chickens being fed water
from the local well.
News about these high-quality chickens spread rapidly through the local community. Not only
did the entrepreneurial farmer's sales shoot up, but sales of purified water went through the
roof.




Red Cross
With IDEO's help, the Red Cross not only has a redesigned mobile center, they have a deeper
connection with their donors. The key to altering the overall experience was to switch the
focus from the recipients to the donors. Each donor now writes a postcard with their own
personal story about why they were motivated to donate blood. These postcards are then
posted on the wall at the center for others to read and be inspired by.
The Perfect Ingredient for Self-Expression
Lori's cupboards overflow with obscure artisan food products. She spends a great deal of time
scouring the Internet and boutique stores, focusing on details about ingredients and the
artisans themselves. To deepen her knowledge, she also subscribes to online newsletters and
attends food conferences.
30 and single, Lori isn't that engaged with her career, so she has a lot of time and money to
spend on food. And her friends reap the benefits. "All summer long, I entertain on the front
porch," she
says. "My friends tell me I'm in the wrong line of work."
Shun Knives




The shimmering pattern of a Shun knife‘s layered steel blade is a distinctive visual clue that
can elicit pangs of jealousy at a dinner party. This "Damascus look" tells a more evocative
brand story about Japanese heritage and craft than anything Shun could ever express focusing
on SUS410 High Carbon Stainless Steel or VG10 core.

Tesco
Tesco is a company that emphasizes locally-grown food as a link to safety. From health
challenges like Mad Cow to environmental impacts due to importing, Tesco encourages
regional sourcing whenever possible. And by finding local products across the UK and
Ireland, they can connect not only with consumers' sense of security, but also their national
pride.
-----------------------------------------------------------------------------------------------------------------
Sizing Guide. Nom De Guerre classic fit

                    Rise         Thigh       Knee        Ankle

  30“ Waist        10.25“        10.25"          8"      7.75"

  32“ Waist          11“          11"        8.75"        8"

  34“ Waist         11.5“        11.5"           8.5"    8.25"

  36“ Waist          12"          12“            9.5“    8.75"



The Pretty Green Straight Jean is true to tag size, with a very slight taper from the knee. For further
information, check our Sizing Guide.

            Rise        Thigh            Knee           Ankle

  30”       10"            11"            8.5"          7.5"
 32“      10.5"      11.5"      8.75"      8.25"

 34“       11"       11.5“       9“         8.5"




Created for the W Hotel concept of a high-profile, über-connected concierge (that they call a
W Insider), designer James Small's bespoke belts put the party on your hips with covetable
accessories like a hip flask, credit card and phone holders, decision dice pocket, a slot for a
USB stick and a Saint Christopher medal "for extra special luck."

The accessory, commissioned by the W London and American Express, celebrates of the
recent opening of the W Hotel on the vibrant Leicester Square, reflecting a sense of travel and
keeping you on the ready for impromptu amusement about the town.

John Smedley

Based in Matlock, Derbyshire, the fine-gauge knitwear specialist John Smedley has operated
as a family-owned business for more than 225 years. Best known for its Sea Island cotton and
New Zealand merino wool, the company boasts that 99.6 per cent of the 430,000 items that it
produces each year are made in Britain. 'We are the oldest continuous manufacturer of
clothing in the UK,' says the creative director, Dawne Stubbs, adding that because of this,
John Smedley has over time nurtured a skilled workforce. But bringing manufacturing
back to Britain will not be easy, she warns: sourcing buttons and threads locally often
constitutes a challenge, and rebuilding a skilled workforce is even harder. Grey merino
wool crewneck and red merino wool roundneck, £122 each, John Smedley ( johnsmedley.com
).
Sizing Guide. APC BabyCord 5 pocket

                   Rise         Thigh    Knee    Ankle

   30“ Waist        9“           8"       6.5"    5.5"

   32“ Waist       10“           9"        7"     6.5"

   34“ Waist       11"           10“      7.5“     7"




Our Legacy have become synonymous with quality clothing, and for good reason, this baby wale
corduroy jean is a prime example. As with all of their designs, our Legacy stay true to heritage design
wherever possible, with finishes and materials that are truly exceptional.

The Our Legacy Baby Cord Jean is true to tag size, with a slight taper from the knee. For further
information, check our Sizing Guide.

           Rise          Thigh          Knee     Ankle

 30”       10"        10.75"            8"       7.25"

 32“      10.5"       11.25"            8.5"     7.5"

 34“       11"            12“            9“       8"




XXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXX

Affluent consumers expect luxury retailers‘ websites to replicate the same shopping
experience they offer in their stores. Two of the hallmarks of an exceptional luxury store are
customer intimacy and elegant product presentations. Luxury retailers are challenged to
mimic that experience online. Few of them are taking advantage of personalized product
recommendations and other online tools that would reflect their understanding of their
customers‘ wants and needs.

―Wealthy consumers are among a new breed of online shoppers who are not easily swayed by
marketing hype,‖ said Grau. ―They feel empowered by the internet and diligently research
online to find good deals and assess product quality. And they feel entitled to a superior
online shopping experience with rich visual content and white-glove treatment.‖

"410 BC is an independent, design-driven brand offering high quality, sweatshop free clothing
and goods released in limited quantities. Based out of New York, 410 BC is both a clothing
company and an artist collective. Collaborating with a variety of artists, 410 BC stands as a
collective of likeminded individuals who strive to create unique designs, while producing
goods through ethical means. The goal of 410 BC is not only to produce products free of
sweatshop labor, but also to design innovative clothing free from passing trends. 410 BC has
commissioned and designed clothing drawing influence from a wide range of subcultures
including skateboarding, punk, hip-hop, indie and diy."

"410 BC is the date that Democracy was restored in Athens. The Athenians were at war and their
victory in 410 BC enabled them to restore their traditional institutions. They had a choice and they
chose the route less taken, maybe the choice was a little bumpier, but overall, the end result was a
lot better than any alternative. At its core, this is what 410 BC as a company truly represents, a
choice. While creating sweatshop free quality clothing, 410 BC strives to design clothing with
integrity."

http://www.410bc.com/

Demonstrating strength

Apologize

Defer to others

Avoid shortcuts

Tell the truth

Offer kindness

Seek alliances

Volunteer to take the short straw

Choose the long-term, sacrificing the short

Demonstrate respect to all, not just the obviously strong

Share credit and be public in your gratitude

Risking the appearance of weakness takes strength. And the market knows it.

So, consider this a bit of a refresher course: the lessons marketing can learn from "the
neighborhood":

1.) Relationship-Building Trumps Flashiness: It's hard to imagine a children's show getting
less flashy than Fred Rogers. Most of the time, it was him directly addressing his viewers. He
took us on trips to see a few guests. And he had people stop by. Even his "make-believe
world" was of the decidedly low-tech sort. Yet, I don't remember ever feeling bored when
spending time with Mr. Rogers, because he replaced that flashiness by building an honest
relationship with his viewers, by making the show constantly address "our" concerns...at least
as best a television personality might do in the days of a one-way medium.

2.) Don't Promise More Intimacy than You Can Deliver: A few months back, I distinctly
remember stumbling upon an episode of Mr. Rogers' Neighborhood in a hotel room
somewhere when the most extraordinary thing happened: Fred looked into the camera, and he
said something along the lines of, "I've really enjoyed talking with you this week. I hope I
have answered a few of the questions you've had. I really wish I could know each and every
one of you personally, but unfortunately this television show is the only way we have to talk.
If you have other questions that I haven't answered, find someone you love and who loves you
in your own life and ask them." Really, is there a more perfect mindset that brands should
take, online or off?

For brands that appeal to a large customer base, the company cannot have personal
relationships with everyone. Social media provides a way to be more conversational, to give a
venue for customer contact when they have a problem, etc. The key is to take the appropriate
tone with customers, to demonstrate approachability but also be honest about the limits, lest
customers be disappointed. (In a recent episode of FX's Louie, Louis C.K. ends up stalked by
a fan's brother who thinks he should eat dinner at IHOP and make out with his sister because
she's a fan. Perhaps Louie hasn't managed his professional reputation and approachability
appropriately...And, yes, I am cognizant of the fact that this may be the first and only time
Fred and Louie are compared.)

3.) Be Consistent in Who You Are and What People Should Expect from You: From Fred
Rogers' first show in 1968 until his last in 2001, surprisingly little changed about Fred Rogers.
That's in part because his brand stood as a calm in the changing seas of culture. There were
many subtle shifts in the nuances of his shows: the anxieties he addressed and the topics he
covered. But Fred always found a way to address them from the standpoint that people
expected from his brand. Mr. Rogers was a trusted friend we could always return to. Brands
should be responsive to culture, should have their ears on the latest changes: but they should
do so always remembering why audiences might come to them and respecting the audience's
desires in the process. Fred didn't hire a trendspotter to map out every new clothing shift or
music shift in American culture to make sure he was part of it, that he was hip. Instead, he
listened to the gentle hum of "slow culture change," and he made sure his show remained
relevant for decades.

4.) Customers' Questions Are Worth Answering: Mr. Rogers answered all our questions,
occasionally including the ones that we may have been afraid to ask. He assured us that
there's no way we could get washed down the drain when we take a bath. He helped assuage
our fears surrounding war, divorce and other somewhat taboo topics for children's shows. He
talked us through the death of his goldfish we'd watched every day on his show. In short, his
staff seemed to do a great deal of research to address the fears of children, from the serious,
uncomfortable issues adults didn't want to discuss to the trivial issues parents might often
dismiss or laugh off. Mr. Rogers took us seriously, asked us what our pain points were, and
offered the best solution he could. Brands might be well served to do this a little more often
for their customers.

5.) Brands Can Take a Stand: Despite his calm demeanor, Mr. Rogers was known for
taking a stand for what he believes in, in a way that was consistent with his public persona.
When President Nixon proposed cutting the budget of public broadcasting in half to fund war
efforts in Vietnam, Rogers spoke passionately to the Senate. When the media industries tried
to block the spread of the Betamax, Mr. Rogers testified as a staunch supporter of home
recording and timeshifting. And, when Burger King parodied Rogers to advertise their fast
food, Rogers held a press conference explaining to parents that he not affiliated with the
burger chain and that he was afraid children would be misled by the ads and think that Mr.
Rogers endorsed their food. (His response was so convincing that Burger King issued an
apology and pulled the ads.) In short, when it was a topic that was consistent with who Mr.
Rogers was, Fred was known as being quite outspoken--albeit always in his calm and
respectful tone. Brands too often shy away from supporting something, or else--when they do-
-their "causes" are disjointed from the work the company does and what they stand for.

Mr. Rogers saw the value of cultivating his own brand. But he did so in a quiet and dignified
way that made the tone and authenticity of his show--and his relationship with viewers--
unmatched by any television property I've seen before or after. And, as I consider how many
marketers likely grew up with the words of Fred Rogers guiding their way as kids, I can't help
but think that we've all too often strayed away from some of those first lessons we heard as
children.

How to Choose the Bottoms Size




There are two type of sizes,
"Body Size" and "Product Size".
■ A:Waist measurement (body size)
Around the natural waistline, where your body bends.
■ B:Waist measurement (products size)
Actual waist girth of the product.
Select the product referring to the Product Size, and based on your waist measurement(body
size).




Bottoms Size Chart
SIZE                                         30      31      32      33      34      35
                                             inch cm inch cm inch cm inch cm inch cm inch cm
A:Waist measurement (body size)              30 76 31 78.5 32 81 33 83.5 34 86 35 88.5

     Size       B:Waist measurement          31.9 81   32.9 83.5 33.9 86 34.8 88.5 35.8 91 36.8 93.5
 (Product size) Hip width                    37.4 95   38.4 97.5 39.4 100 40.4 102.5 41.3 105 42.3 107.5
                Thigh                        11.4 29   11.6 29.5 12 30.5 12.2 31     12.4 31.5 12.6 32
                 Rising length               8.9 22.5 8.9 22.5 9.1 23 9.1 23   9.3 23.5 9.4 24
                 Bottom width                7.7 19.5 7.9 20 8.1 20.5 8.1 20.5 8.3 21 8.3 21
                 Inseam(cm)                  86.5
      ・Each products has each size, please choose the product referring to the product size.
      ・Select the length between Inseam limitation when you need to correct the crotch.

Bottoms Measurement
When you select the size of the products,
please measure the size with bottoms that you have as an indication.
      ・Measure it after putting on the flat stand or floor, and get the wrinkles out
       when you measure the size.
      ・Misalignment in the crease and measurements may differ from actual dimensions.
       Please note.
      ・The different type of bottoms, may be slightly different measurement methods.




Copyright©UNIQLO CO., LTD. All Rights Reserved.
                              XS                 S               M                 L               XL




                       inch        cm     inch       cm   inch       cm     inch       cm   inch        cm

   Body length back    28          71     28.7       73   29.5       75     30.3       77   31.1        79

    Shoulder width     16.7        42.5   17.3       44   17.9       45.5   18.9       48   19.9        50.5

      Body width       20.1        51     20.9       53   21.7       55     23.2       59   24.8        63

   Sleeve length(cb)   32.9        83.5   33.9       86   34.8       88.5   35.8       91   36.6        93

   Sleeve hem width    5.3         13.5   5.5        14   5.7        14.5   5.9        15   6.1         15.5




Inch Size




Cm Size
       


Jill Sander pants for Uniqlo


(+J)Slim Fit Flat Front Trousers

SIZE                                                      30      31      32      33      34
                                                          inch cm inch cm inch cm inch cm inch cm
A:Waist measurement (body size)                           30 76 31 78.5 32 81 33 83.5 34 86

                                  B:Waist measurement     32.3 82 33.5 85 34.6 88 35.4 90 36.2 92
                Size              Hip width (reference)   37.4 95 38.6 98 39.8 101 40.6 103 41.3 105
            (Product size)        Thigh                   11.8 30 12.2 31 12.6 32 12.8 32.5 13 33
                                  Front rise              9.1 23 9.3 23.5 9.4 24 9.4 24 9.6 24.
                                  Bottom width            7.7 19.5 7.9 20 8.1 20.5 8.1 20.5 8.3 21
                                  Inseam(cm)              86.5
       ・Each products has each size, please choose the product referring to the product size.
       ・Select the length between Inseam limitation when you need to correct the crotch.
Open the Future
Luxury will be simplicity.
Purity in design, beauty and comfort for all.
Quality for the people.
Basics are the common language.
The future is here: +J.


Sr. Buyer Merchant - Men's Progressive - Levi's
Levi Strauss & Co. (San Francisco Bay Area)
Posted:

October 3, 2010

Address:

San Francisco, CA

San Francisco, CA 94111

Occu:

Merchandiser

Type:

Full-time

Description:

Sr. Buyer Merchant - Men's Progressive - Levi's

The purpose of this position is to create and drive compelling consumer driven merchandising
strategies that will meet or exceed the retailer's and Levi's® financial expectations for the U.S.
Wholesale business. This job requires both the analytical as well as the creative insights to help
manage current business conditions as well as anticipate future market trends along with the
respective merchant, design and sales partners.

- Create dynamic product briefs that clearly state business needs for the season
- Drive segmented line development activities in order to grow market share
- Select the ideal consumer focused line content from the regional product offer
- Analyze and interpret selling information to help current and future seasons
- Drive ideal assortments by account with Sales partners
Properly interpret market place insights including consumer and competitor shifts and trends
- Identify optimal suggested retail pricing structure
- Partner with demand and supply planning teams to optimize inventory upsides and minimize risks
- Successfully educate with Sales team of line content and strategies that enable achievement of
sales goals and push the line forward
- Partner with merchandising and design team on focused product lifecycle management
- Ensure financial metrics are met including revenue, GM%, and inventory turn
- Effectively collaborate/influence with internal and external partners
- Manage one or more lower level Buyer Merchants
- For this particular position, candidate should understand the leading denim consumer profile and
marketplace
- Consumer target is our most advanced consumer - he starts trends, is in to the newest ideas, shops
in leading channels
- A creative mindset is needed for this fast paced business

Basic Qualifications:
- Bachelor's degree (5+ years combined college education and work experience may be substituted
for a degree)
- Minimum 3 years direct merchandising experience working at an apparel manufacturer or marketer
- Proficiency with MS Office applications (Word & Excel)

Additional Qualifications:
- Analyze, interpret and apply selling/consumer data to product brief
- Build profitable assortment plans
- Strong cross functional influence to drive profitability
- Ability to communicate effectively through market brief
- Capability of working with accounts in market or with retail stores to deliver profitable and relevant
assortment

Visit:
www.levistrauss.com/careers
and reference job code # 1000468

Apply by

Website:

http://levistrauss.taleo.net/careersection/2/jobdetail.ftl?lang=en&job=92600

But from these denim ashes arose Rag & Bone, because it made both Wainwright and his old
friend Neville (whom he encouraged to cross the Atlantic to run the business side of things)
realise that there was a gap in the market for well-made, functional garments - "In other
words, the kind of clothes we wanted to wear ourselves," says Wainwright. The first sticking
point was that neither of them had any formal fashion training. This would have been a hurdle
too far for most fledgling designers, but the duo had a plan. Rather than just tell them what
they wanted, they would learn from the garment manufacturers themselves, starting again
with that elusive search for the perfect pair of jeans.
"We were told that the best old denim factories were in Kentucky, so we travelled down and,
in Tompkinsville, met a lot of people there who had spent their years cutting, stitching and
making jeans," says Wainwright.

Both men turned out to be fast learners. They launched their menswear line in spring 2004,
marrying the classic American pieces they had sourced from the likes of Kentucky and giving
them that transatlantic tailoring twist - "After all, I still wear my father's hand-me-down
suits," says Wainwright.

By 2007 they were awarded the prestigious CFDA (Council for Fashion Designers of
America) Award for Menswear Designer of the Year - and won it for the second time this
year. Having conquered America, the duo returned to these shores in triumph. The latest
collection stays true to its American roots, but has spread its wings to encompass some retro
military style as well as a dash of alpine chalet chic. "Timeless and relevant," in Wainwright's
words.

We can still teach our American cousins a thing or two, it seems.



The first sticking point was that neither of them had any formal fashion training. This would
have been a hurdle too far for most fledgling designers, but the duo had a plan. Rather than
just tell them what they wanted, they would learn from the garment manufacturers
themselves, starting again with that elusive search for the perfect pair of jeans.

"We were told that the best old denim factories were in Kentucky, so we travelled down and,
in Tompkinsville, met a lot of people there who had spent their years cutting, stitching and
making jeans," says Wainwright.

Both men turned out to be fast learners. They launched their menswear line in spring 2004,
marrying the classic American pieces they had sourced from the likes of Kentucky and giving
them that transatlantic tailoring twist - "After all, I still wear my father's hand-me-down
suits," says Wainwright.

By 2007 they were awarded the prestigious CFDA (Council for Fashion Designers of
America) Award for Menswear Designer of the Year - and won it for the second time this
year. Having conquered America, the duo returned to these shores in triumph. The latest
collection stays true to its American roots, but has spread its wings to encompass some retro
military style as well as a dash of alpine chalet chic. "Timeless and relevant," in Wainwright's
words.

We can still teach our American cousins a thing or two, it seems.

The British parodist Max Beerbohm once commented, "True dandyism is the result of an artistic
temperament working upon a fine body within the wide limits of fashion."
"Modesty was made for the ugly."

who has described him as the living embodiment of sprezzatura (the Italian word that describes the
art of doing a difficult task so gracefully, that it appears effortless).
So it is not surprising that he has been approached by Harrods to produce a capsule collection of
ready-to-wear pieces known as Luca Rubinacci. "It is called this in both the sense that it was directly
inspired by pieces I have in my own wardrobe," says Rubinacci, "and that the pieces add up to create
a complete wardrobe for the modern man."




No question: The Scots know their way around a kilt. More so than, say, the Milanese. So when
Miuccia Prada decided to make a kilt, she went to the masters—and Prada’s “Made In…” program
was born.

Inspired by her world-travelling grandfather, Mario, Prada canvassed the globe for artisans with
whom to collaborate on traditional apparel pieces. The result is four “Made In” collections that pay
tribute to the specific expertise of the regions. Prada Made in Scotland will be a collection of
traditional tartan wool kilts, made in workshops that use centuries-old techniques (above). Made in
India focuses on chikan, an ancient Indian embroidery. Made in Japan will be denim, for custom
orders in a variety of cloths and washes. And Made in Peru, traditional campesino alpaca knits.

And while they may be geographically specific, they’re still Prada. That means you can bet they’ll
work just fine with, say, a banana-print top—which is, these days, apparently the Milanese specialty.

Edwin,

Established in Japan 1947 by Mr Tsunemi who had a passion for denim, which inspired him to import
them directly from the North America because no denim was manufactured in Japan at that
time.Used, worn-out and dirty denim which had to be laundered and mended by hand in order to sell
on to his customers.In 1951 domestically manufactured denim was available for the first time in
Japan. This product was expensive and of inferior quality with greater sophistication in fits, washes
and quality.
From this point on in Edwin denim history, quality, craftsmanship,
innovation and integrity have been paramount to the ethos and aesthetic for the brand.
Black Label Sen is a division of Edwin, which was created in 1990 by Edwin. The ‘new vintage’ denim
concept, encompasses the beauty replicating vintage washes by hand from using the same templates
and references of the Edwin denim created in the 1947.

Room 322
10988- 124 Street
780.748.4496
http://www.room322shop.ca/

Jack Flynn is a new brand based in Amsterdam focusing on men‘s tailoring and outerwear
with a casual twist. With their first collection just in store for fall 10, the brand‘s aesthetic
comes from fusing together the traditional pattern making of a skilled tailor and sportswear
influences to produce great jackets and outerwear pieces, using nylons, cottons and wool
fabrics from Japan and Korea to enhance the collection.

The brand‘s next collection for spring 2011 features around 25 pieces and is titled ‗Edge
Explorer‘. “We draw our inspiration from the influences around us and we are inspired by
the need to escape, explore and discover along the fringe areas of land & sea, city &
suburbia, at dawn & dusk. The protection from the cool drawing in of night the spray of the
sea and the last train home or first bus in the morning during those long summer days.”

Check dunhill.com for presentation of styles (rotating models)
Gaatjes in leather patch om zo vast te zetten via punten (knoopaanzetmachine) zoals op labels bij
Dick Rijna (nederlandse merknaam)


What makes a policy or a politician pro business? Some would tell you it includes:

      Lower or eliminate the minimum wage
      Eviscerate OSHA and other safety and pollution inspections
      Make it difficult for workers to easily switch jobs from one company or another
      Educate the public just enough for them to be compliant cogs in the factory system
      Fight transparency to employees, the public and investors
      Cut corporate taxes

I think these are certainly pro-factory policies. All of them make it easier for the factory to be
more efficient, to have more power over workers and to generate short-term profits.

But ―business‖ is no longer the same as ―factory‖. (Aside: Factories don't have to make
stuff... they're any business that focuses on doing what it did yesterday, but cheaper and
faster.) It turns out that factory thinking is part of a race to the bottom, to be the
cheapest, the easiest place to pollute, the workforce that will take what it can get.

It's not surprising that there's tension here. If you are working hard to cut prices and improve
productivity, you might view labor as a cost, not an asset, and you might want as little
hindrance as possible in the impact you have on the community. On the other hand, a business
based on connection and innovation and flexibility may very well have a different take on it.

I grew up not too far from the Love Canal. It‘s a world famous toxic waste dump. While it
helped the short tem profits of Hooker, the chemical company that dumped there, it‘s not clear
that looking the other way was a pro-business strategy. At some point, a healthy and fairly
paid community is essential if you want to sell them something.

The oil sands project in Alberta Canada is a factory-friendly effort. So was the lead
excavation in Picher, OK. Creating systems that leverage the factory can often lead to
financial success (in the short run). The problem is that the future doesn‘t belong to efficient
factories, because as we train people to look for the cheap, we race to the bottom--and
someone else, somewhere else, will win that race.

Perhaps we could see pro-business strategies looking more like this:

      Investing in training the workforce to solve interesting problems, so they can work at just
       about any job.
      Maintaining infrastructure, safety and civil rights so we can create a community where
       talented people and the entrepreneurs who hire them (two groups that can live wherever
       they choose) would choose to live there.
      Reward and celebrate the scientific process that leads to scalable breakthroughs,
       productivity and a stable path to the future.
      Spend community (our) money on services and infrastructure that help successful
       organizations and families thrive.
Once you‘ve seen how difficult it is to start a thriving business in a place without clean water,
fast internet connections and a stable government of rational laws, it‘s a lot harder to take
what we‘ve built for granted.

Capital is selfish and it often seeks the highest possible short-term results. But capital isn‘t
driving our economy any longer, innovation by unique people is. And people aren‘t so
predictable.

Linchpins are scarce. They can live where they choose, hire whom they want and build
organizations filled with other linchpins. The race to the top will belong to communities that
figure out how to avoid being the dumping ground for the organizational, social and physical
pollution that factories create.

I have found something I really like and fits outstanding out of the gate… The Stanton’s are
(for me) the perfect mix of a heavier weight denim, that is still comfortable, well fitting for
any occasion, and with just enough details to brag…

Denim Details:

-14 oz Sanforized Japanese Denim from Nihon Mills in the famous Okayama Prefecture.
100% pure Indigo Dye.
-Selvage on fly
-Selvage on coin pocket
-Branded buttons and rivets
-Hidden pen pocket in right back pocket
-Hand silk-screened pocket bag
-Single needle continuous stitch on waistband
-Belt loops sewn into the waistband
-Hand branded leather patch
-Handmade in downtown Los Angeles

Offer lifelong repair service on selvage denims


Mentors provide bespoke guidance. They take a personal interest in you. It's customized, rare
and expensive.

Heroes live their lives in public, broadcasting their model to anyone who cares to look.

The internet has created a long tail of heroes. There are tens of thousands of musicians, artists,
entrepreneurs, social leaders, politicians (okay, maybe not thousands of these), coders and
colleagues to find and emulate. WWHD. What would my hero do?

I find heroes everywhere I look. I find people who speak to me over my shoulder, virtual
muses, who encourage me to solve a problem or deal with a situation the way they would.
This is thrilling news, because there are so many heroes, so freely available, whenever we
need them.
For all the people out there using the fact that Jeff Bezos (or Jacqueline Novogratz or Husain
Abdullah or Chris Anderson or Anne Jackson) won't be their mentor as an excuse for inaction,
there are a dozen who realize that their example is enough.

Like a custom made suit, a mentor is a fine thing to have if you can find or afford it. But for
the rest of us, heroes will have to do.

Nike president and CEO Mark Parker was one of the featured speakers. Parker told the story
of what transpired when, shortly after he became CEO, he got a call from Steve Jobs.




                                        "Do you have any advice?" Parker asked Jobs.

"Well, just one thing," said Jobs. "Nike makes some of the best products in the world.
Products that you lust after. Absolutely beautiful, stunning products. But you also make a lot
of crap. Just get rid of the crappy stuff and focus on the good stuff."

Parker told his audience, "I expected a little pause and a laugh. There was a pause but no
laugh. He was absolutely right. We have to edit."

PRPS has teamed up with Berlin boutique 14oz. on an exclusive pair of Barracuda denim. The
raw denim comes limited to only 50 pairs, with each pair being individually numbered on the
back leather tag. The denim is now available from 14oz. and goes for 349 Euros.

Take a further look at the denim after the jump.
Arts & Science, based in Aoyama, Tokyo and brainchild of renowned stylist Sonya S. Park has a very
strong philosophy based on minimal design. While the fashion line is the core of the label, the label is
comprised of a comprehensive line of products under the “Over the Counter” name that includes
a selection of candles, hair combs, tea leaves and limited edition food produce and much more. Think
Silly have recently added the Arts & Science “Over the Counter” Collection to the select list of labels
in store.
Please tell us the difference between LVC and Made & Crafted.
As a kind of nickname, LVC is workwear and Made & Crafted is churchwear. Clean outfits that you
wear on a Sunday to be with your family. If LVC is about the rigid and unwashed interpretation of
workwear, Made & Crafted is about elegance and innovative casualwear which Levi’s has never done
before. The trend was always to look at the history and reproduce and reproduce. Levis Made &
Crafted has a new twist to it. It’s almost luxury in the arena of jeanswear.

Can you tell us more about LVC and the new Levi’s XX division?
Although LVC was born in 1999 it was never global. It was a much smaller selection of products and
was distributed in different ways in Europe, Japan or the US. There was no consistency. There was a
desire for that kind of product but it was never fully developed. So in 2009 Levi’s decided to open a
new division called XX which is nothing more than a unit that takes care of and develops the top of
the pyramid of Levis brands: LVC and Made & Crafted. They are now both developed globally. It’s one
range for the entire world – one voice, one language, one religion. Our design team is made up of
scientists not fashion designers. We look at fabrics and washes with a microscope. Half of this store
represents the biggest selection of made in the U.S. products anywhere in the world. 90% of what we
make is made in LA.

You have no marketing campaign but are you going to do any kind of media for LVC?
We have the idea to establish a LVC blog in the next few months. It will be very consumer-
interactive. It won’t be about just publishing information but also getting information from the
public. Within two or three months we should be able to go live with a very simple format.

It was mentioned in the Japanese press release that the store and brand is about customers finding
the brand and not the other way around. Can you explain this a little bit more?
The space in Aoyama is perfect for us. I look at it as a home not as a flagship store. This was designed
not to be a flagship store. We actually ‘un-designed’ the store. It’s the bare minimum. One thing we
have revolutionized in the world of Levi’s, is this concept. From being a marketing driven company
we are becoming a product driven company. This is revolutionary even though it should be normal.
It’s no longer normal. For us though it’s all about the product and this home. It’s not about an
advertising campaign. We have no campaign: zero advertising. We don’t need that. We are in the
business of selling poetry. How can you advertise poetry? Instead of being in Omotesando or Cat
Street or in Ginza we decided on an odd location because we are discreet, not a fashion brand. We
are a space, a destination brand. We are sure people will come. This is going to become like a church.
For me personally this is a dream come true. I have opened stores all over the world but never in
Japan. This store for me looks very 2010 and very Levi’s. This is the new vintage. In the future these
jeans will be the next collector’s items. We are trying to give the public a very humble message
telling them that they have a home. If they want to come here and listen to music and hang out, they
can stay. We will have events like embroidery classes, music and seminars about denim. It’s a cultural
space for the brand.


Q&A: Maurizio Donadi on the global dna of Levi’s Vintage Clothing


Singled out by Alberta Ferretti and Kim Jones, feted by Brown's, Versace and Tom Ford:
Thomas Crisp is not your standard Ravensbourne undergraduate.

The 22-year-old designer was awarded the best menswear prize at 2010's Graduate Fashion
Week and then won the British Fashion Council's MA scholarship to the Royal College of Art
- an accolade never before awarded to a menswear designer. GQ caught up with Crisp to talk
about his future in fashion, his advice on affordable style and why now is the time for a men's
jewellery line...

I think rebellion has had its day. The most rebellious thing you can do is, not exactly wear a
suit, but look as though you're in the system and milking it for all it's worth. In this day and
age it's really rebellious to say - look how well I'm doing in this recession.

The Tom Crisp man is international; he's very aware of clothes but doesn't want to be really
out there. What I want to do now is very structural, architectural lines and angles. I'm into
technology and science in clothing - welding material, bolting clothes together and really just
exploring as much as possible.

I love techniques and processes. You can inject leather with colour instead of dyeing it in a
normal process - you get the raw hide and use a hypodermic needle to squeeze the colour
under the skin. Because skin keeps the water in, if you do it on the second or third layer down
it keeps the colour, it holds it. That's what I want to explore - that kind of weird, artisanal
process.

I absolutely hate nostalgia. I hate people going, "Oh, this looks so 19th century."

There's something about men's clothing that is a lot more relaxed - the whole menswear
world is a lot more relaxed.You can warp it in different ways. If I ever did womenswear, it
would be my menswear collection, in a smaller size - like what Heidi Slimane did at Dior for
Dior Homme.

James Long's 2011 collection was really good. I love the prints! That's going to be my look
for next summer - James Long shorts, white T-shirt, possibly a little blazer over the shirt. And
that's it. That's summer 11.

I think jewellery for men is going to be amazing. I love that whole Lanvin collection with
all the massive tribal jewellery. I'd like to do something very architectural and plain. I have
this idea of doing it all in steel and doing cuffs and collars. So you've got a T-shirt on, but it
looks like you're wearing a shirt because you've got these cuffs and a collar on - but it's
actually steel. You could have a bow tie as well. Or use leather, digitally printed so it looks
like steel but it's a bit softer.

Everyone has got to have a good suit - go somewhere expensive. Make sure it fits your
shoulders and your proportions. It's better to invest in something a little more special,
otherwise suddenly you'll find you haven't got enough fusing in the lapels or something and it
crinkles up. Also buy a suit that matches your skin tone - black or navy suits most guys.
Obviously go weird if you feel up to it. But there's no point buying a Calvin Klein bright
orange suit if you're not going to wear it.

Always have a stable of good tees. Good tees go with anything - Henson and Hugo Boss are
great.

The best jeans I've ever found are from Marc by Marc Jacobs. Amazing, amazing fit.
They're not too bad in price - around £62, which is good for a pair of jeans. They're classic as
well - classic washes, classic colours. Also if you find somewhere that is a good fit then buy
three or four.

Cos is amazing for dressing on a budget - it's all about editing the High Street. It sounds
quite laborious, but it's worth just looking at the high street pieces, looking at what you're
buying and asking where you're going to wear this. The High Street tends to fall down
because they concentrate so much on trends and not good basics. I spent a good year looking
for a pair of good black shorts - but Cos have really well-designed essentials.

My favourite pair of shoes are some Lanvin high tops from spring/summer 08. £800 -
that's serious shoe money.

For black tie it has to be classic black, doubled-breasted, starched shirt and bow tie. I
think you can go a bit crazy with the bow tie though, possibly get one of those feather ones
from Lanvin - or buy one of my steel ones!

There are two types of mistakes men can make with fashion. It's either being too overly
confident with what you're wearing and then it ends up becoming a mess. The other thing is
wearing trends too literally. Just integrate it into your own style. Men play around [in their
Twenties], and then they plateau. They either get to a style that they find and like and look
good in and just stick with that look - or they just collapse, like my dad.

I wore a Day-Glo leotard once. I was very much in the scene when all the Nu-rave stuff was
going around. I think I had some bright orange hot pants on as well. Glitter everywhere. It
was to a club night called Anti Social [held in Shoreditch at Bar Music Hall] when there was
that mini club kid revival thing. It was really fun but what the hell was I thinking?

With shirts you've got to look for something with a good collar. Sometimes when they
curve the collars it makes you look a bit infantile. You want nice, sharp points on the collar.
Helmut Lang shirts are really good because they move the darts so it actually fits your back
properly.

You can literally choose anything you want when you get a bespoke suit - so you don't
need to do what your tailor says. In terms of fabric and lining - have whatever you want. You
can get absolutely what you want, but at the same time it's a good idea to listen. They can
clock your body as soon as you've walked in the door. The guy I interned with used to work at
Huntsman and he said he could instantly tell what kind of suit a person needs. This guy came
in once and he wanted massive pleats, a ridiculous amount of pleats - eight either side of his
trousers. Which was excellent.

Matthew Goode always looks good in suits and George Lamb always looks great -
particularly that little bit of grey in his hair. Just for sheer exuberance, Johnny Weir always
looks great. He's a figure skater. He's just nuts - he wears high heels and velvets to premieres.

I get my suits from Hurwundeki. I just bought a classic navy double-breasted suit with gold
buttons. It's Korean - they make the sizes for Korean men, so the shoulders are a little bit
smaller, so it fits me.

I love the yellow windbreaker from Junya Watanabe - I saw that yellow and I almost had
convulsions. It almost brought tears to my eyes. I'm going to be on holiday in a pair of James
Long shorts and a Junya Watanabe windbreaker. I'm going to look ridiculous.

Click here to read Personal Style from Hurts, Patrick Cox, Richard James, David Gandy, Kim
Jones, Pharrell Williams and Michael Bastian.

For more on Thomas Crisp, see Vogue's article.

It would be too easy to say that Jason Denham was born to do denim. But it's hard to resist when
you hear the Amsterdam-based jean-maker talk about his craft. "I've worked in the industry my
whole life. It's that real cliché that I've never done a day's work in my life. It's my hobby. I love the
denim. I love what I do." Fifteen years after he moved to Holland, this week Denham is back in
London with a new store - his third after Amsterdam and Tokyo - in a four-storey former warehouse
on Charlotte Street in the heart of London's Shoreditch. The legend above the entrance - "The truth
is in the details" - is born out inside: archive pieces, exposed brickwork and scissors jutting from walls
with jeans hanging from them. The effect is more that of a museum than a shop.

Denham's spiritual and actual home though is in the Netherlands. "Holland has a great jeanswear
culture. In Holland they eat jeans for breakfast, lunch and dinner. It's crazy. Because there's a real
jeanswear mentality, the customer is very educated. I set up a denim agency in Holland and I was
consulting with brands. If people's fits were wrong, we'd go and fix them, or if people couldn't wash
jeans, I'd go and show them how to do it. After a while I thought let's make a brand. I made Blue
Blood, which was great in the beginning but we sold it to an Italian company." Following the sale,
Denham travelled the globe for inspiration - call it his own personal Eat, Pray, Jeans. "I realised that
there was nothing really exciting in the marketplace, nothing that got my heart pumping and gave
me chicken skin. So I thought OK, my goal is to create mouth-watering, exciting product and
everything that goes with it. That's when I decided to use my family name, which was kind of meant
to be. It had to happen at some point."

So what does get his washes flowing? "If you look at the trend of what's out there now, everyone is
following this big vintage story, looking back at archives for authenticity. I have a huge collection
myself: old jeans, military stuff, workwear, old scissors, all kinds of stuff." Such as a tailor's scissor
from 1550 - "In those days scissors were operated by two people so it has this long pin and blades. It
looks a bit like Pac-Man" - and a pair of Levi's from 1940 in "fantastic condition". "It's not exciting
enough just to recreate that, so we have this design mantra: worship tradition, destroy convention.
What we love is to take things further, to make it exciting, to do different stuff. There was a guy in
1850 who said, 'OK, I'm going to make a pair of jeans or a pair of trousers out of tent material. And to
make them even stronger, I'm going to put nails in the pockets.' No one thinks like that now."

No one except Denham, that is. "A lot of the collection is made from re-cut vintage materials. So
we've been out buying Dutch army tents and ponchos and cutting them up and recreating them into
new styles. It's fabric which is 30 years old, which gives it its homage to tradition, but then we've
invented a new style and moved it on." Denham is adamant though that you don't have to be a
denim- obsessive to shop there. "The skill of being a good designer is knowing when to take the
pencil off the paper. A lot of denim products are overdone. The way that we present our goods and
the service that we give and everything that goes with it, that makes the customer come in and
realise what's going on. Just making the jeans and stacking them up and buying them in a box, that
doesn't really work anymore. Saying this jean is offered in a 32 leg and a 34 leg is a little bit old-
fashioned. We've trained guys and imported the best Union Special machines from America [which
had to be airlifted into the store], the original machines on which you do the chain-stitch hems. The
whole idea is that people can come in and say, I want to wear my jean this length or this length, and
we can alter it."

We hazard an educated guess that he wears a lot of jeans. "Every day. For a guy who's worked in
jeans all of his life, I have a lot in my closet but not as many as you'd expect. I like to take a fresh one,
a clean one, and wear it wear it wear it for a few years and then wash it. In the three window boxes
at the back of the store there's one jean which was worn by myself for two years and washed one
time and you can see all the character and personality. The next jean is by our art director who
smokes a lot and you can see where his fag packet has been. His knees are worn out from cutting
out. I like that kind of personality."

32 Charlotte Road, Shoreditch, London EC2A 3PB. denhamthejeanmaker.com

Trendwatching.com terms this trend Massclusivity. The site first introduced the concept in
October of 2003 (http://trendwatching.com/trends/MASSCLUSIVITY.htm), hailing it as a
trend to watch and defining it as follows:

This „exclusivity for the masses‟, or Massclusivity, can be an instant add-on and revenue
booster for many services in the public domain. Massclusivity is NOT about exclusively
opening up Harrods or Macy‟s late Sunday night for a Hollywood super-celeb looking for a
last-minute party dress, but rather about setting up special in-store coffee lounges or
luxurious fitting rooms for members only. Respect and privilege are scarce nowadays.
Reason enough to add them to your offerings.

When Apple's executives took the stage in Cupertino yesterday, they weren‘t just listing off
the new features and products. They were giving a master class in how to design and market
world-class products. Here are a few of the lessons we took home:

Watch what’s working in one product line, and adapt it to your other product lines …

Companies with multiple product lines often run them as separate fiefdoms, rarely interacting,
other than occasional hobnobbing among their executives. Few share their lessons well. Apple
showed yesterday that it‘s one of them. ―We invented some new things [for the iPhone and
iPad operating system, iOS], and we‘ve perfected it over the last several years,‖ Jobs said.
―We‘re inspired by some of those innovations in the iPad and the iPhone [and] we‘d like to
bring them back to the Mac.‖

Smart companies make a habit of harvesting business lines for practices and features that
work well, and then spreading those insights to other business lines, to improve products and
processes there.

… but don't copy indiscriminately

Apple could have said, ―Multitouch is working so well in mobile devices, let‘s start making
the screens of our laptops and desktop monitors as well.‖ The company soon realized,
however, that it was the principle of multi-touch that worked, but the implementation didn‘t
have to be the same for both sets of devices.

―We‘ve tons of user testing on this, and it turns out… touch surfaces don‘t want to be
vertical,‖ Jobs said yesterday. ―After a short period of time, you start to fatigue…. Touch
surfaces want to be horizontal.‖ So Apple simply implemented new multitouch capability on
the trackpad for OS X Lion.

Know where to hold your ground

Apple made many changes to the MacBook Air to make it smaller and more lightweight. It
pulled out optical drives and replaced them with a solid-state drive. The laptop now has a
unibody. It reengineered internal components so they fit together more compactly. But there
were two features that didn‘t shrink: the keyboard and the trackpad. Customers wanted
smaller, lighter-weight devices. But Apple also knew—as anyone who‘s spent time using one
of the new mini-netbook computers knows—that you can‘t use a smaller keyboard for the
kind of extended use MacBook users need before your hands start cramping up.

The folks at Apple didn‘t make decisions based on a single criterion. They understood all the
variables their customers valued, and made their design decisions based on those.

Know what you’re really selling—and sell that
Sure, the new features in iLife ‘11 were impressive. The ability to make more exciting trailers
for your home movies, for example, or to learn the piano by following along with a
professional chamber orchestra. But what was Apple really selling?

In the era of reality TV, we all secretly hanker for the glamour of instant fame. As Randy
Ubillious, Apple‘s chief architect for video applications, demonstrated the new features in
iMovie ‗11, he wasn‘t just offering us the ability to make home movies faster and more easily.
He was selling us stardom.

Toss in a little bling

Apple hired the London Symphony Orchestra to score a soundtrack you can use on your
iMovie-made movie trailers. Who can say that‘s not exciting? The trailer to your home movie
about rafting down the Grand Canyon, or traipsing about Paris, or seeing the Penguins in
Patagonia, set to music performed by the same people that did the score to Star Wars? It‘s the
kind of retro cool that Apple‘s hipster fans go crazy for. Know what your customers value,
and toss a little bling in your products that speaks to those values.

Italian premium brand Golden Goose always takes its inspiration serious. Same holds true for their
latest release – the Pivetta Hiking Boots. Unlike many others, the brand did not try to bring the hiking
boot into the 21st century and rather presents a brand new, vintage looking boot. They look as if they
were taking off of the feet of a hiker 50 years ago. As with all of their product, you can be sure that the
quality is the best in terms of materials and fabrication.

Ideas spread when people to choose to spread them. Here are some reasons why:

    1. I spread your idea because it makes me feel generous.
    2. ...because I feel smart alerting others to what I discovered.
    3. ...because I care about the outcome and want you (the creator of the idea) to succeed.
    4. ...because I have no choice. Every time I use your product, I spread the idea (Hotmail, iPad, a
       tattoo).
    5. ...because there's a financial benefit directly to me (Amazon affiliates, mlm).
    6. ...because it's funny and laughing alone is no fun.
    7. ...because I'm lonely and sharing an idea solves that problem, at least for a while.
    8. ...because I'm angry and I want to enlist others in my outrage (or in shutting you down).
    9. ...because both my friend and I will benefit if I share the idea (Groupon).
    10. ...because you asked me to, and it's hard to say no to you.
    11. ...because I can use the idea to introduce people to one another, and making a match is both
        fun in the short run and community-building.
    12. ...because your service works better if all my friends use it (email, Facebook).
    13. ...because if everyone knew this idea, I'd be happier.
    14. ...because your idea says something that I have trouble saying directly (AA, a blog post, a
        book).
    15. ...because I care about someone and this idea will make them happier or healthier.
    16. ...because it's fun to make another teen snicker about prurient stuff we're not supposed to
        see.
   17. ...because the tribe needs to know about this if we're going to avoid an external threat.
   18. ...because the tribe needs to know about this if we're going to maintain internal order.
   19. ...because it's my job.
   20. I spread your idea because I'm in awe of your art and the only way I can repay you is to share
       that art with others.



―The quality is the priority. It‘s not necessarily so much about the story until we feel the
product is in a spot that‘s gonna compete on it‘s own. And then, once we can really find a
great manufacturing concept (it‘ll work).

What we‘ve found is that even if you have a great manufacture and a great story somethings
don‘t fit in the market. We‘ve been working on leather because we feel it‘s a really
underserved category due to having the whole baggage to it. People feel like there‘s a bit of
voodoo connected to it, animal rights and everything. But if you‘re able to really show the
whole story of leather as providing jobs for people.

Specifically, we‘ve been looking at a tannery in ecuador. We feel it can bring a new type of
excitement about a timeless craftsmanship story. The biggest way of doing it is making sure
we have an incredible basis of relationships. So when we came across the whole concept for
Nepal (their latest project) it wasn‘t something that sprung up, we‘d been out there three times
beforehand and we‘d heard about the knitting opportunities within cashmere, did a sampling
process and really honed in on the timeline. And just to make sure, that if we‘re gonna put a
lot of effort and investment into the inventory we‘re gonna be confident it can be executed on
time.

When we did the briefcase in Uganda, we had to work off a two and a half month delay due to
strike in Uganda. And we feel that as part of the rules of engagement and to be investing in
this new supply chain, they don‘t call it third world partners for nothing. We want to first
make sure that we have a great track record with the people we work with and they can give
us some samples of projects that have been successful and, most importantly, the quality
stands alone and they can execute on a timely manner.‖

To mark the arrival of luxury French leather label Noir Basic on the site, oki-ni caught up
with Creative Director Marc Leblond for an introduction to the collection and the
craftsmanship behind it ...

BETH | In your own words, what‘s the story of Noir Basic? How did the three of you come
together, what are your backgrounds and what do you offer to the brand as individuals.

MARC LeBLOND | Anthony Lellouche, Romain Bernardini and myself (Marc Leblond)
came together through mutual friends. We‘re all from different backgrounds; the world of
professional poker, alternative cultures and entrepreneur minds, we wanted to create high end
& sophisticated versions of everyday basics.

Anthony is the CEO, Romain is Executive Director and I am the Creative Director. We are
complementary; entrepreneurial seriousness mixed with creative and forward ideas coming
from a sartorial need to create something based on minimalism and authenticity.
Do you work to trends ? How does your design process begin every season ?

Trends are not important to us, they are way too versatile and short lived; too much based on
the 2000s 'throwaway society'.

Our philosophy leans towards craftsmanship, fashion trends are way too volatile. Noir Basic
try produce everlasting garments handcrafted in France and influenced by vintage styles from
the 1920s to the 1980s; a tribute to both American and French basics. Inspiration are very
eclectic: street art, classic movies, Hermès, French nouvelle vague, hip hop staples, punk
rock, rocksteady/ska from Godard to Daft Punk ...

Our lines are timeless and are evolving every season, basics with a modern twist with an
utilitarian feeling and high standards.

Your leathers are amazing, some of best we‘ve come across. What‘s the story behind them,
where do you source them from?

All our leathers comes from France or Italy, our garments are handcrafted in a luxury
workshop in the heart of Paris that works with all the big names of avenue Montaigne

... we value the ‗Made in France‘ label, we‘re trying to keep the artisan craftsmanship alive. It
is essential for us, something made locally with a great attention to details. So, all jackets are
made in Paris by a great artisan who makes some of the most beautiful jackets in the world.
We source our leather in an ancestral French tannery, mostly washed or suede lamb with little
touches of exotic leathers and a 100% twill silk lining. We also use deerskin, alligator,
stingray… lately we‘ve developed a special Patina with Nicolas Chevalier of 180G, a modern
version of what Berlutti does.

Our denim comes straight from the source, Okayama in Japan and we use French terry double
weaved cotton.

925 silver jewelry details from a great Parisian jeweller and twill silk linings from Lyon.

Like most of us we began finding suppliers at the trade fair Première Vision building strong
relationships with them, the advantage of going local

What is the Noir Basic philosophy?

Noir Basic operates a fusion between vintage, street wear, basics, the highest quality materials
and French expertise in craftsmanship.

The Noir Basic man would be a modern man who loves timeless lines treated with a modern
twist; someone minimalist, sober and elegant who is looking for garments that will last.

I want them to become vintage and give pleasure to the people who wear them.
Craftsmanship, details & timelessness are our philosophies.
The name ―Loopdye‖ results from the method of skying or air passage for oxidizing the Indigo-dyed
yarn and the method of passing through the Indigo dye. On the other 2 important Indigo machine
types, the dyed yarn is passed through from 6-8 Indigo boxes on rope machines or 6-20 Indigo boxes
on slasher (sheet) Indigo machines, multiple dye boxes being necessary for dark shades because only a
small amount of Indigo can be applied in each immersion. After immersion in each Indigo dye box, the
yarn is conducted through the air after each box, where the reduced Indigo (yellow-green) is oxidized
or ―fixed‖ by oxygen in the air returning to the original blue, then the yarn enters the next dye box,
passes into the air and so forth until the required depth of shade is developed.

In the case of rope and sheet ranges, this oxidation takes place above each dye box. In the Loopdye
process, there is only a single Indigo box through which the yarn passes 4-5 times. The
white cotton is pulled into the front of the machine and passes first through the pre-treatment boxes,
then moves through a reactor which can be used for steaming or additional reaction time for sulfur-
bottoming or Mercerization, followed by washing. The wet yarn then enters the Indigo dye box. When
the yarn exits the dye box, instead of moving forward, the yarn is carried to the rear of the machine,
around the top and rear of the yarn creel from where it started, passes under the yarn creel where it is
returned to the Indigo box for another dye passage. This continuous passage of yarn between
the yarn creel and the dye box is in the form of a ―loop‖ which is almost circular. After
making multiple loops through the Indigo dye box the yarn is conducted through wash boxes and on to
drying cylinders. The Loopdye machine is a simplified version of a ―sheet‖ or ―slasher‖ Indigo machine.
After drying the Indigo-dyed yarn, the yarn passes directly to sizing where the yarn is prepared for
weaving. Because the sizing part of the machine must stop in order to remove a completed weaving
beam, in order to prevent the dyeing unit from stopping as well, there is a yarn accumulator between
the drying cylinders at dyeing and the wet-size boxes. When the yarn stops moving on the sizing unit, a
series of parallel cylinders begin to move apart allowing the yarn from the dye unit to continue through
dyeing and allows the size machine approximately 2 minutes of time to install an empty weaving beam
and re-start the sizing machine.


Loopdye Machines in the Denim Industry
In the early 1990‘s, thee were approximately 30 Loopdye machines in use. Currently, the number is
reported to be 60 or so. The biggest concentration of these machines is in Brazil. Vicunha employs 11
of these machines, Canatiba, Santana and Cedro have 2 units each, while Tavex, Tear, Textil
Kafi, Santista have 1 each. There are 9 of these machines that have been equipped with
nitrogen units which use nitrogen gas as protective blanket over the surface of the Indigo dye. The
nitrogen gas prevents oxygen in the air from attacking sodium hydrosulfite resulting in more
consistent dyeing and reducing consumption of hydrosulfite, lowering costs and pollution. There are
other claimed advantages such as higher speeds and darker Indigo color.
Advantages and Disadvantages


      1.   Productivity – When compared to a multi-box slasher machine, productivity is
           essentially equivalent since the yarn loading, start-up times and speeds are similar. Rope
           dyeing machines can produce up to 4 times as much dyed yarn.

      2. Capital Investment – The Loopdye machine has the lowest initial costs of continuous
           Indigo dyeing machinery, currently reported to be approximately 25% less than 8 dyebox
           slasher machine.

      3. Operating Costs – Maintenance and energy costs are reported to be approximately 20%
           lower with Loopdye when compared with slasher dyeing and even lower than with rope
           dyeing.

      4. Space requirements – The Loop machine with a single dye box requires less floor space
           than either sheet dyeing or rope dyeing. Rope machines also require higher ceilings because
           of the design of the airing arrangement.

      5. Indigo Dyeing Quality – The newer designs of Loopdye are reported to have little of the
           problems with Cross-Shade (side-to-side) shading than with slasher dyeing equipment.
           Indigo consistency from the start-to-finish of dyeing can be expected to be better with the
           inclusion of nitrogen units. Rope machines still have an overall advantage in terms of
           Indigo dyeing quality, but this may be overcome by employing improved chemical blending.

      6. Sulfur dyeing – The Loopdye machine can be equipped with a steamer for cold-pad sulfur
           bottoming which will provide greater consistency than a hot application in the 1st box. The
           Loop machine is not provided with enough boxes after Indigo dyeing for sulfur topping as
           the slasher dyeing is. With the newer methods for cold-sulfur dyeing, the Loop machine is
           ideal for sulfur colors since it the dye can be applied in only one box, which allows for faster
           color changes and less dye discarded after the dye lot is finished. Rope machines still have
           the greatest flexibility with regard to producing a full range of denim colors.

      7. Weaving Efficiency – The methods of dyeing, especially of sulfurs, has a direct effect on
           warp yarn breakage in weaving, which lowers operating efficiency as well as fabric and
           garment quality. Experience with the older design of Loopdye machines demonstrated
           higher levels of warp breaks in weaving than other Indigo machines. Rope dyeing results in
           the lowest-level of weaving stops, largely because yarn breaks in dyeing can be repaired at
           long-chain re-beaming.

      8. Versatility – In the higher denim fashion market, some companies like Vicunha have
           had success using a combination of Loopdye and slasher dyeing. Overall, the
           slasher dyeing with its greater number of application boxes offers more flexibility in product
           development, while rope dyeing provides the greatest flexibility for denim product
           development.
Q: Who is your current favourite denim icon. I am thinking the person who has the most
denim style?
A: Pierre Morisset, G-Star's head designer. He has his own style when it comes to denim and
isn't afraid to experiment, while keeping the heritage of the denim in mind.
Q: Which person living or dead would you most like to see in a pair of your jeans?
A: Steve McQueen, one of the coolest and most authentic actors ever.

Q: Having previewed lots of jeans companies, I still think that G-Star has one of, if not THE,
most forward collection. As I told you when we met at Fashion Week, I was impressed by G-
Star's vast choice of exciting jeans and denim pieces. What is your explanation?
A: G-Star has a few pillars on which our designs are based. These are traditional tailoring,
craftsmanship, innovation and functionality, among others. This results in various denim fits,
silhouettes, washings and details, so we can offer a very broad choice range.

Le luxe se définit par sa simplicité et son évidence. Si un créateur, aujourd’hui, a
parfaitement saisi cette idée c’est bien l’anglais Adrien Sauvage, à tout juste 27 ans, il
réinterprète le costume 3 pièces ainsi que la chemise et désacralise ces pièces
emblématiques pour les rendre plus accessibles au travers du projet photographique : This is
not a suit. Pour compléter ce travail il a écrit, réalisé et joué dans The art of DE, (DE : Dress
Easy) vidéo en noir et blanc sur le processus créatif du designer et la façon dont s’orchestre
sa journée (commençant par 2 barres de Kit Kat). Le temps se réduit à une seule aiguille pour
des collections imperméables aux saisons et tendances. Le dress easy devient une
philosophie à part entière qu’on applique à toutes les activités de la vie. Vidéo à découvrir
dans la suite :




The paradox of an instant, worldwide, connected marketplace for all goods and services:

All that succeeds is the unreasonable.

You can get my attention if your product is unreasonably well designed, if your preparation is
unreasonably over the top, if your customer service is unreasonably attentive and generous
and honest. You can earn my business or my recommendation if the build quality is
unreasonable for the intended use, if the pricing is unreasonably low or if the experience is
unreasonably over-the-top irresistible given the competition.

Want to get into a famous college? You'll need to have unreasonably high grades, impossibly
positive recommendations and yes, a life that's balanced. That's totally unreasonable.

The market now expects and demands an unreasonable effort and investment on your part.
You don't have to like it for it to be true.

In fact, unreasonable is the new reasonable.

                              Shop of the Week: Tenue de Nîmes

While there‘s an enthusiastic consumer market out there declaring their devotion to denim,
the pursuit of finding a pair of jeans that actually fit is considered by some an insufferable
task. Those who find themselves in the latter camp need to visit ‗denim inspired‘ boutique
Tenue de Nîmes, who ‗claim to have a pair of jeans for anyone, male or female‘.

Settling upon a shopfront within the Jordaan district of downtown Amsterdam, joint owners
and old friends René Strolenberg and Menno van Meurs opened the concept store in 2008,
enlisting the help of friend and art director Joachim Baan to create the interior concept and
design.

The space is divided into two parts – ‗old‘, where classic brands such as Levi‘s Vintage,
Acne, Momotaro Jeans and Nudie are kept, and ‗new‘ where an array of contemporary
designs from Camilla Norrback, Mads Nörgaard and Nigel Cabourn reside (alongside the
private Tenue de Nîmes label).

In addition to the store and label, Tenue de Nîmes also operates as an agent for other denim
specialists and fashion brands within the Benelux region, leveraging the brand and utilising
the duo‘s extensive business knowledge within the niche.

Renown for attentive service and detailed product understanding, Tenue de Nîmes is a denim
experience for true indigo aficionados. We spoke with Menno to find out more…

What is the philosophy behind Tenue de Nîmes?
The basic idea behind our store is to be ‗denim heaven‘. When our parents were young there
were true denim stores that would carry a pair of jeans for everyone. This is why we carry so
many different kinds of brands: whether you search for a nice basic pair of Lee jeans, or a
handmade, natural indigo pair of Momotaro jeans with sterling silver buttons, we have it all.
We also want to have the right pair of jeans for men and women.

Everything we sell besides denim has a natural connection with jeans or its identity in general.
We are always in search of the most desirable products from around the globe and for value at
the same time. Quality is something we embrace firmly.

Is visual merchandising an important aspect of the store?
Marshall McLuhan said it in such a powerful way: ‗the medium is the message‘. People who
underestimate the value of their physical store don‘t understand retail. Consumer minds are
driven by emotion. The way your store looks, smells and feels does something to the
customer‘s willingness to buy from you instead of from all the other lovely stores around.

Who is responsible for buying stock at Tenue de Nîmes?
My partner Rene Strolenberg and myself do all the buying. Recently we added a very talented
women Sophie van Bentum to the team to support us with women‘s buying.

What do you look for when choosing designers to stock? Do you find the brands or do they
find you?
Well let‘s just say that it goes both ways. We travel the world in order to find the ‗Real
McCoy‘, but obviously people know where to find you too after a while.

What labels are your favorite latest discoveries?
We are very honored to work with the Manabe family from Japan. They are the owners of
Momotaro jeans – one of the greatest denim labels available in the world. The unique aspect
of this particular brand is that they produce their own fabric, so all their jeans are made from
in-house material. In my opinion that is what denim production should be all about. Guiding
your products from Zimbabwe cotton plant to the ultimate 15.7 oz Japanese denim. 
But
basically all our brands make us proud on a daily basis. We search for long-term relationships
with brands and the people behind them. Whether it is a one-man-brand or a multinational, we
do not care, as long as the philosophy is something we can support.

Tenue de Nîmes have a blog at http://www.journaldenimes.com, and communicate regularly
via Twitter and Facebook. How else do you incorporate social media and technology into
your business? What effect do you think it has?
We live in a time where you can no longer ignore the power of the Internet. We use social
media to stay in touch with our clients and prospects. People have estimated that by the year
of 2015, 40% of the global retail will take place online, and social media supports that. Next
to activation we actively monitor what is going on in the world by being online, it keeps us
updated on a daily basis.

What about online retail?
We are planning on launching a huge online platform next month. It will basically unite all
the online fragments of our company in one URL at http://tenuedenimes.com. It will be our
online store, blog and company website in one. We will go live during our two-year
anniversary. It will be our ultimate online experience, completely custom-made for Tenue de
Nîmes.

What else can we expect from Tenue de Nîmes?
Next to our store we publish a magazine called Journal de Nîmes four times a year. It has
started to become an online cult if I may say – the last issue has been read by more than
50,000 people online. Have a look at the last issue, as well as the past issues, on
http://issuu.com/nimes.

Tenue de Nîmes: http://tenuedenimes.com

Shopfront
Elandsgracht 60
1016 TX Amsterdam
The Netherlands
Tel: +31203204012

Showroom
Prins Hendrikkade 142
1011 AT Amsterdam
The Netherlands




Thursday, October 14, 2010
Exclusive 14 oz. Limited Edition by PRPS




Premium denim brand PRPS launches a limited edition men’s style for Berlin based store 14 oz. Only
a batch of 50 jeans were produced. The jean is made of raw denim and has a unique indigo wash.
The fit is the popular Barracuda cut, superb detailing such as the Japanese red/white selvedge and a
back patch which carries each piece individual „Limited Edition“ number make it the most desirable
denim product of the season.

PRPS signatures and details the limited edition with five different shanks on each button fly, contrast
pocket bag lining with the 14 oz. logo and unique red and white selvedge. The jeans is sold at a price
of € 349,90.

PRPS uses African cotton combined with expert Japanese construction to create the finest product
available. The quality of the cotton used to make PRPS products is an extremely important factor in
creating perfect fabrics and determining the value of our garments. PRPS founder Donwan Harrell
carefully selected a few, family-run denim manufacturers, in small towns throughout Japan who
possess a deep understanding of craft and expertise. PRPS denim is woven on vintage shuttle looms.

14 oz. offers its customers a one-of-a-kind brand portfolio combined with an overall shopping
experience and evokes an atmosphere of comfort and appreciation. The selected brands stand out
due to their quality and authenticity and support an individual style. The 14 oz. in Berlin is the winner
of the German retail prize “Store of the Year 2009“ in the category fashion.

To order or for questions regarding availability, colours or sizes:
store@14oz-berlin.com
+49 (0)30 280 40 514
Mon. – Sat., 11 a.m. – 08 p.m.

Delivery via UPS.




It’s often noted that there’s a distinct lack of French menswear, but there are a few labels
who buck that trend outside of the likes of APC. One of the newer labels that have been
making waves is Paris based Production Artisanale.

Started by Quentin Nghiem in 2004, Quentin says he chose the name because it “reflects my
way of working, it’s more anonymous and, also, Production Artisanale can be a variety of
products for future projects”. Prior to Production Artisanale Nghiem worked at the likes of
Martin Margiela and Louis Vuitton’s mens lines as well as at Christian Astuguevieille, where
he did research for the packaging of Comme Des Garcon’s perfumes.

When it comes to the philosophy behind the company, the Columbian born designer says, “I
didn’t have any money when I started the collection, so I tried to do something interesting
with the materials that I could afford. I always remember that I said ” sometimes a piece of
cloth can be more interesting than a piece of silk only it depends what you do with it.” His
aim is to straddle the lines between the new and the old, making pieces that are based on
history without resorting to repro pieces. “My vision is more conceptual than fashionable”,
he says. “I like the idea that my pieces are limited and handcrafted”.

With everything made in Paris, Nghiem uses dead stock fabrics, recycled leather, organic
cotton and fabrics from vintage military pieces for his collections, which run on the idea of a
central fabric theme - be it patchwork or the aforementioned military pieces - that runs
throughout each piece in the collection.

When it comes to the topic of prestige no longer being enough to sell clothing, Nghiem says,
“Our prices are calculated by the many hours of work, the charges, the salaries and the
amount paid to the showroom. We don’t have any press activity ,otherwise the prices will be
20% more. I just feel that maybe the retailers have to reduce the coefficient, (usually x 2.5 to
3) because at the end it becomes very expensive for customers. Fashion is expensive and,
unfortunately, only some people have the chance to enjoy it.”


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Cliches

When you launch a new idea or project into the world, you'll probably use connections to
what has come before as a way to tell your story.

Caribou Coffee, for example, uses all sorts of metaphors and cues and even verbal tropes that
we learned from Starbucks. These signals help us understand that the place we're about to
enter isn't a steakhouse, isn't a shoeshine stand and isn't a massage parlor. It's a place to get a
latte.

Books that want to be bestsellers work hard to look like previous bestsellers, from the store
where they are sold to how many pages long they are to how much they cost. These signals
help us determine that this object is something worth buying and reading.

Cable TV does this, politicans do this, computer resellers do this.

Here's the thing: you can't stand out if you fit in all the way, and thus the act of deciding
which part isn't going to match is the important innovation.
Matching an element almost looks like failure. Matching not-at-all, on the other hand, is the
refreshing whack on the side of the head that causes attention to be paid.

When your car looks like a car but the doors are gullwing, we notice them. When your suit
looks like a suit but the lining is orange, we notice it. When you apply for a job and you don't
have a resume, we notice it.

This was the secret of the golden age of comic books. 90% of every hero was on key,
professionaly done, easy to understand... which allowed the remarkable parts to stand out.

You can't be offbeat in all ways, because then we won't understand you and we'll reject you.
Some of the elements you use should be perfectly aligned with what we're used to.

The others... Not a little off. A lot off.

Today, I‘m thrilled to report on what‘s next for me.

       To reinvent the way books are created when the middleman is made less important.
       To reinvent the way books are purchased when the tribe is known and embraced.
       To reinvent the way books are read when the alternatives are so much easier to find.
       To find and leverage great ideas and great authors, bringing them to readers who need them.

The notion of the paper book as merely a package for information is slowly becoming
obsolete. There must be other reasons on offer, or smart people will go digital, or read
something free. The book is still an ideal tool for the hand-to-hand spreading of important
ideas, though. The point of the book is to be spread, to act as a manifesto, to get in sync with
others, to give and to get and to hand around.

Our goal is to offer ideas that people need and want to spread, to enjoy and to hold and to
own, and to change conversations.

Working with a great team at Amazon, I‘m launching a new publishing venture called The
Domino Project. I think it fundamentally changes many of the rules of publishing trade non-
fiction.

Trade publishing (as opposed to textbooks or other non-consumer ventures) has always been
about getting masses of people to know about, understand and read your books. The business
has been driven by several foundational principles:

1. The middleman (the bookstore) has a great deal of power. There‘s only a limited amount of
shelf space, and there are more books (far more books) than we have room for. No display, no
sale. That‘s one reason books are published with the economically ridiculous model of 100%
returns from bookstores. Huge stores can carry thousands of books and return them if they
don‘t sell. Large chains get a say about what‘s on the cover, what the title is, and they even
get paid for shelf displays.

2. The audience (the reader) is largely unknown to the publisher, and thus to the author.
Authors with large followings still have to start over with each book, because they don‘t have
permission (or the data) to contact loyal readers directly.
3. Pricing and product are static and slow. Once a book is published, the price is set forever.
Add to that the glacial speed from conception to publication date and you see a system that is
set up to benefit neither the publisher nor the reader.

4. Books are inherently difficult to spread. The ideas in books might travel, but the act of
recommending a book, having the idea stick and a new sale get made is slow or broken. Given
how important the ideas in books are, this chain has many weak links. It's worth rethinking
how a publishing house could organize around its ultimate goal, which is to spread ideas.

The internet and the Kindle are changing all of these rules. The Domino Project is designed to
(at least by way of example) remap many of these foundations.

1. There is no middleman. Because there is infinite shelf space, the publisher has more control
over what the reader sees and how. In addition, the Amazon platform allows a tiny
organization to have huge reach without taking significant inventory risk. "Powered by
Amazon‖ is part of our name—it describes the unique nature of the venture... I get to figure
out the next neat idea, and Amazon can handle printing, logistics and the platform for
connection.

2. The reader is tightly connected with the publisher and the author. If you like the sort of
things I write or recommend, you can sign up here (for free, using your email) and we can
alert you to new works, send you free samples and otherwise make it easy for you to be smart
about the new ideas that are generated. (RSS works too).

3. Pricing can vary based on volume, on timing, on format. With this project, I‘ve made the
decision to ignore the rules that publishers follow to get on the New York Times bestseller
list. There‘s no point in compromising the consumer experience or the product merely to get a
nice ego boost and a small shot of promotion. More on this in a future post, but I'll let you use
your imagination.

4. Digital goods and manifestos in book form make it easier to spread complex ideas. It‘s long
frustrated me that a blog post can reach 100 times as many people as a book, but can‘t deliver
the nuance a book can. The Domino Project is organized around a fundamentally different
model of virality, one that allows authors to directly reach people who can use the ideas we‘re
writing about.

The Domino Project is named for the domino effect—ideas can quickly spread, moving
through a previously static set up. Our mission isn‘t to become a promotional machine,
focused on interrupting large numbers of people or having significant promotional chops
through traditional media. Instead, we're grabbing the opportunity to choose and deliver
manifestos that are optimized for the tribe, for the small group that wants to grab them, inhale
them and spread them. The good ones will spread, first from person to person, then from one
circle to another, and eventually into large groups.

Monday

Dec272010


Fifthrequisite Jeans
"Philosophy: Jeans are what we love, born from a strong passion and thirst of denim and
thread. Inspiration, faith and trust in philosophy lead us to believe everyone who has a hunger
for a pair of life, style and fashion from times to time in everyday life. Design comes from the
passion of love that defines and glues all the gaps of life together."



"Fifthrequisite‘s philosophy is to create a great pair of jeans that become a part of your life
which are based on the 4 fundamentals of human life, making people stay true to the attitude
of life and also, being all about their jeans."

Designed by Son King.

More info and pictures after the break.

Fifthrequisite has been born to fulfill the desire of human needs. After all, no matter what
color, nationality, gender or religion, we all live to EAT, DRINK, SLEEP, and have SEX. We
aim to show the power of denim which has been created with the finest quality, from thread to
artisan. Our denim allows you to show your personality, and live your dreams - FIF

Superior Finishing: Fifthrequisite was delicately made by great denim artisans with the
combination of modern and traditional garment manufactures to achieve premium quality.
Their finishing was made carefully, concentrating on detail such as adding bar-tack about 27
tacks all around the jeans, using chain stitch machines to create durability in order for them to
last longer, controlling the same sewing space between stitches, and cautiously quality control
checking the jeans before packaging. For these reasons, the production time is much longer
and the cost is over 5 times higher than the normal rate in the market.

Superior Materials: Fifthrequisite jeans uses premium denim and suitable materials from Top-
rank suppliers around the world to build their jeans.
Fabric: Their first collection used premium denim from a well-known denim factory in Japan
which gives great fading results when aged.

1. Midnight Selvage, 13.5oz raw Japanese red selvage, doubled twill in rich dark indigo. This
had been created by American old vintage shuttle looms from WWII, which had been
developed by Japanese and used to produce world original denim. This fabric is used for
Romeo, a slim cut model which is quite hard to produce and this needs to spend the denim
length more than twice as usual.

2. Grass Green Indigo, 10.5oz raw stretch denim made in Japan 98% cotton, 2% Elasthane to
add comfort. This fabric uses for fifthrequisite's skinny fit called Giselle.

3. Vintage Japanese Linen has been used for their left pocket for their signature.

Button & Rivet: All Fifthrequisite‘s buttons and rivets are made of Orichalcum metal which is
used to produce ancient swords in Greek and Roman history. Orichalcum was called Gold
Copper in the past and considered as second only to gold the strongest metal in the world.
Their buttons and rivets are shining the first wear, and they will look more vintage after a
period of time, with less brightness.

Leather Patch: The Fifthrequisite‘s leather patch is in the indented circle form. It obviously
looks cool from the back view which isn‘t seen much in other jean brands. The patch was
made from special genuine cow leather which will change its color through time and different
environments. Therefore, it is called living leather.

Alumina Glove: The sanding glove is in each packaging of fifthrequiste jeans for the denim
lover to create their own style. It‘s made from fabric coated with corundum mineral.

Packaging Material: The Fifthrequisite packaging is made of 100% recycled paper.




 dimension:
Size



26.6x29.6x5.6 CM
Packaging size
the jeans size and shipping weight.
                                                               is calculated to fit perfectly to
Anonymous: Do you prefer adjustable metal tabs or adjustable buttons on your suit pants? Is one
more formal than the other? Also, I assume your suit pants do not have belt loops…correct?

I’ve had a few such questions over the past few months, so let’s try and cover all the bases at
once.

I always wear ‘metal tabs’ (side adjusters, side straps, strap and buckle) with my suits and
similarly formal odd trousers. And I prefer belt loops with my casual trousers (chinos, jeans,
cords).

With formal trousers, belts and therefore belt loops should be avoided for several reasons.
They detract from the formality of the suit; they interrupt its clean, well-tailored lines; they
are uncomfortable on thinner, worsted cloths (would you wear a belt with pyjamas?); and
when cinched tight, they buckle the trouser waist, creating an ugly bunching.

So no belt loops. Why not tabs with buttons? Because they tighten elastic inside the
waistband all the way around the back, creating similar bunching. At their tightest, the look
is not that far off the elasticated waist of tracksuit bottoms. Side tabs, even when highly
cinched, restrict any bunching to a couple of inches on either side. Plus they offer a
continuous range of settings – buttons are discrete.

And why not braces? Well, I can see their virtues and I’ve tried them consistently on one
suit, but they are not for me. Yes, the line of the trouser is cleaner and no shirting is exposed
below the jacket’s waist button. But I spend some time every day in just trousers, and the
high rise then looks unstylish and frankly unflattering. I also find the comfort of greater room
in the waist is outweighed by the discomfort of having barathea wrapped around my
shoulders.

By the way, side straps should be positioned on the waistband seam, not the waistband
itself. This makes them more comfortable and, if worn at the hips as I do, adds an extra inch
to the rise. The waistband is amply hidden when wearing a waistcoat.

I enthusiastically recommend side straps, particularly if you currently have belt loops on your
suit trousers. Belt loops can easily be removed by a tailor, and side straps can be made out
of the turn-up on the inside of the trouser leg, if enough excess has been left.

And then why belt loops on casual trousers? Because side straps don’t work as well on very
heavy cloths, and their weight makes slippage less of an issue. Plus, I like belts. They are
another opportunity to wear beautiful, hand-stitched leather and to accessorise effectively.
A good belt can add colour in a way that would be garish in leather anywhere else.

[Pictured: Charcoal suit from Toby Luper, with side straps on the waist seam]


View article...

Five ingredients of smart online commerce

While it might be more fun to rant about broken online forms and systems, we can learn a lot
from sites that aren't broken as well.

Consider the Ibex store. Here are five things they do that make them successful online:

    1. They sell a product you can't buy at the local store. This is easily overlooked and critically
       important. Because it's unique, it's worth seeking out and talking about. Just because you
       built a site doesn't mean I care. At all. But if you build a product I love, I'll help you.
    2. They understand that online pictures are free. Unlike a print catalog, extra pictures don't cost
       much. Make them big. Let me see the nubbiness or the zipper or the way you make things.
    3. They use smart copy (but not too much).
    4. They are obsessed with permission. Once you sign up, you'll get really good coupons and
       discounts by email. Not too often, but often enough that my guess is that they make most of
       their sales this way. 25% discount on a product just like a product you love--just before
       Valentine's day? Sign me up.
    5. They aren't afraid to post reviews. Even critical ones.

No site is perfect, of course, and I hesitate to tell you that this one is. I'm sure there are
glitches and your mileage may vary. But the checkout is simple and the customer service,
while not trying to be Zappos, is pretty good too.

Penguin Magic, I just realized, follows all five of these rules as well. While the site is very
different in look and feel (and has a different audience), they're using the same principles.

The amazing thing to me is that none of this is particularly difficult to do, yet it's rare. The
state of the art of online retailing is moving very very slowly.

“Clothing are visible status goods. You can have very chic furniture in your own home, but only
friends and family see your home. Many more people see your car, your watch, your clothes. People
compete with clothes,” though Statman himself isn’t inclined to.

“I am a professor and I’m tenured,” he said. “I buy my clothes at Lands’ End. I have three suits with
stitching on the lapels. They look as if they’re bespoke and when I wear the suits, I suck in my tummy
and stick out my chest.”

His point: “You can feel good when you buy something new, but I think for men, at least in my case
and many others, it’s really not natural to go out looking for clothes. The last thing we want to do is
accompany the wife on a shopping trip. However, in an economy where the competition is fierce,
men do feel they have to pay more attention to how they present themselves.”

“It’s also not impossible that men are discovering what women have known all along — that buying
new clothes is psychologically rewarding and not a vast expense,” he added.

“From a psychological perspective, fashion is pleasurable. It’s a way to express a sense of hope. A
new shirt can change your mood. A new suit can give you confidence. A new pair of shoes makes you
look at life differently,” said Gobé. “Fashion is not an expensive way to feel good about yourself. At a
time when the economy is tough and people have lots of anxieties on their shoulders, there’s been a
big change in how men are looking at fashion.

―Don‘t underestimate men shopping online, even if they don‘t make the buy online. It‘s where
they can feel more comfortable exploring,‖ he said. ―Traditional shopping is not that
comfortable for men. Research shows it‘s not regarded as a priority.‖ With women, however,
―Shopping is totally pleasurable. It‘s a social happening, for joyful moments of discovery. I
don‘t think guys take their friends to buy suits.

―For most American men, fashion is not part of their vocabulary,‖ Gobé said. ―If you are with
a bunch of guys, no one says, ‗Yeah, I really love that tie‘ or, ‗Hey. That jacket fits really
well.‘ Men don‘t talk like that. In Europe, men are a lot more open with fashion. They can
have a fashion conversation. There is a real interest in fashion. In America, the whole of
men‘s fashion at large is not part of the conversation.‖



With all the talk of branded content and the best practices for branded blogs, a fashionable
girl, or guy, could get a little overwhelmed on how to approach branded content. We sat down
with ThisNext‗s CEO, Matt Edelman, to get his insights on how brands should approach
branded content when it comes to a brand‘s company blog.

Here are the three things we brands must consider, in Edelman‘s words:

1. Tell a story.

Brands are not natural story tellers in narrative form. They work tirelessly to tell stories
through marketing messages, advertisements, commercials and promotions, but writing
content in a narrative format is not usually an area where they have developed internal
expertise. To be successful at blogging, a brand needs to understand how to build a narrative –
a story – in which their consumers will take an interest. Well-written blogs connect with users
on an emotional level. A brand must do this in order for their blog content to matter to
consumers.

2. Develop a clear and consistent voice.

Brands typically think of themselves as having an ―identity,‖ but they don‘t always realize
they also have a voice. An identity is what the brand ―stands for‖ – it makes a consumer think
of certain values they associate with the brand. For example, Apple makes consumers think of
values such as high quality, creativity, etc. A ―voice‖ is something different – a voice makes a
consumer ―feel‖ something. Apple exhibits its voice brilliantly in its iPad commercials, which
make consumers feel happy, carefree, curious, etc. A blog without a voice – i.e. a blog that
only conveys a brand‘s identity – will not engage its readers.

3. Provide actionable content.

Brands are in the business of compelling consumers to act in a way that makes money for the
brand. That‘s both possible and essential in a blog. Consumers want to like what they take the
time to read, and they understand that a brand has products or services the consumer may find
interesting. Entertaining a consumer is not enough for branded content, as people find their
entertainment elsewhere. So, branded content needs to include an idea, advice or link that the
consumer can put to use, ideally right away. Otherwise the consumer will not come back for
more.

And luxury is the quintessential word at Gucci, where the designer seemed to depth charge each
product with excellence, making even a houndstooth-check bag look luscious rather than loud.
becomes more about the challenge of engineering such fabric forms than concerns about
which woman really wants her midsection to be the focal point of an outfit. And it seems less
important that the red carpet dreams of Elie Saab – all lace and crystal, beaded and encrusted
– are so unabashedly MGM, and more important that they clearly take so much effort, or what
you could think of as billable hours.

It is, after all, the workmanship (and workers) that has always been at the heart of couture; it‘s
the reason the clothes are so expensive and why people are willing to pay those prices. It just
hasn‘t always been so obvious – indeed, for a long time, it wasn‘t supposed to be, the work
was supposed to be invisible, so the perfection of certain garments seemed like magic. These
days, however, perhaps to justify its existence, couture seems to think it has to hit you in the
face: see what we can do!

At least most of the time; there are still dissenters, such as Valentino‘s team of Pier Paolo
Piccioli and Maria Grazia Chiuri, and Givenchy‘s Riccardo Tisci, all of whom believe couture
should be what Chiuri calls ―a private luxury‖. To that end, the most time-consuming,
complicated dresses at Valentino actually seemed the simplest: cream-coloured day dresses
with all-over diamond piping or open-ladder inserts tracing a seam (each pipe was rolled by
hand and individually attached); ditto Givenchy, where Tisci has abandoned catwalk shows in
favour of, yes, private presentations, and where the work in a dress that took 4,000 hours to
make – cream-on-beige matte sequins painting a winged, curve-hugging sheath on a single
piece of tulle – was visible only up close, as were the 28 layers of paper-thin chiffon that
made up a millefeuille neckline on another gown, flat at first and opening gradually as a
woman walks (the designer was inspired by Japanese butoh dancer Kazuo Ohno, and
origami).

Yet the net results at both shows were clothes that looked, somehow, ineffably, better – the
kind of better that most people would be hard-pressed to explain, just as they might not be
able to explain why a dress like that cost so much until they felt it on. And if why it isn‘t
obvious, in a world as noisy and full of distraction as this world, how can you trust consumers
to understand – or the number of consumers needed to keep the ateliers in business?

You can gamble, or you can settle on a middle ground. This is the approach of Jean Paul
Gaultier, who can cut a tuxedo jacket with indecipherable elegance but tends to mix his
understated expertise with the occasional Carmen Miranda ruffle and Barbra Streisand beaded
pyjama for look-at-me effect (this time he closed with a male bride – the androgynous It
person of the moment – and a cancan dancer). Also Karl Lagerfeld at Chanel, who alternated
eye-popping takes on contemporary life such as embroidered tulle jeans and beaded T-shirts
with heavier, more ornate crystal evening coats and sheath dresses, the first so feather-light
and delicate they seemed to float off the body, the second rooted in visible manual labour,
both to make and to wear. Those clothes are heavy.

Yet, though the first are the pieces for the connoisseur, the second have a purpose not to be
dismissed. In the end, this isn‘t just about aesthetics but supporting an atelier. After the past
two years, we all should be able to appreciate that.

)---------------------------------------------------------------------
Ouvert en 2010 à Soho, Min New York s’est vite imposé comme une jolie adresse du bien-
être et de la beauté pour homme. Loin de clichés, Min New York possède une très belle
sélection de produits et d’objets authentiques et rares. Comme le dit justement son


   “les gens n’ont pas besoin
fondateur,


de plus de nouveaux produits,
mais juste d’une sélection des
meilleurs”.                       Pour ne rien gâcher, l’endroit est très beau, parfaitement
dans l’esprit.

Opened in 2010 in Soho, New York Min soon became a pretty address wellness and beauty
for man. Far from clichés, Min New York has a fine selection of rare and authentic product. As
rightly says is founder, “People do not need more new products, but just a selection of the
best”. Nothing to spoil the place is very beautiful, perfectly in mind.
MiN New York
117 Crosby Street
New York, NY 10012

www.minnewyork.com

G.S.
View article...




While there’s more than a few labels who trade off their heritage, no longer making
products in the same place, there are some who stick to their guns. Inis Meáin is one such
company.

Inis Meáin the company was launched back in 1976 by Tarlach de Blácam. He originally went
to Inis Meáin to learn Gaelic. “It had changed very little then from the island so beautifully
described by the famous Irish playwright. J.M Synge in his 1907 classic “The Aran Islands”. I
loved the place and eventually fell in love with a native from here (my wife Áine) who was
living and working in Dublin then,” Tarlach says. He moved back in 1973, founding the
company three years later.

When asked about how he got started, Tarlach says “I became involved in community
development and in assisting to provide employment for local people and out of that grew
the knitting company. I learnt all I know about knitting along the way from producing basic
ethnic Arans for the souvenir market to developing more interesting designs and qualities by
delving into the rich local heritage and repertoire of knitting. Talking to elderly knitters and
looking at workwear sweaters and dresswear sweaters for men, women, boys and girls. We
started to export in the early eighties and found that we needed to offer new ideas in
quality, colour and style to keep our clients interested in our product. We introduced
machinery at different stages to enhance production but always remained faithful to our
roots and heritage.”

Despite the boom period that local production is now undergoing, there was a time when
making thing locally went through a rough patch. “In the first decade of the 21st century it
was very difficult. The crazy property boom swept Ireland and everybody wanted to work in
the construction industry that was paying huge wages. Lots of the knitwear industry in the
west of Ireland re-located to eastern Europe and elsewhere at that time. We made a
conscious decision to carry on in spite of difficulties finding people to work in our industry.
Things have changed now, our industry and trade is valued in Ireland again.”

A 16 person company, they currently make 350 garments per week, serving mostly
independents as opposed to high street stores. There are times when some Independents
get confused as to the actual location of the company (it’s one of three Aran islands, located
off Ireland). “A couple of years ago Inis Meáin was referred to in the Bergdorf Goodman (NY)
store catalogue as “an island off Scotland”. I sent the publicity director of BG a little map!
Similarly when Ireland is placed in the centre of a British promotion although we are not part
of the UK I am happy to point out that we are an independent republic with our own flag. I
think people appreciate accuracy and the bit of banter is just poking a little fun.”

Fabric wise, they use “British wool, Italian Cashmere/Wool, South American Baby Alpaca and
some Pima Cotton.” When asked why he felt there’s been an increased interest in Inis
Meáin, he said that it’s “Because we have been true to our roots and our heritage. We offer
beautiful quality with a history and a heritage, which is becoming more important than mass
brands to the more discerning buyer.”

“As I say above people are much more interested to find out now where and how the
garment was made and the quality of the yarn or fabric. This carries more added value than
over-hyped brands for more and more people. I keep telling people that INIS MEÁIN is really

      By that I mean we’re attempting
anti-fashion.

to offer an alternative to the big
fashion industry brands.”
View article...


In Paris, A New Friend Steps Up
January 26, 2011 5:36 pm
For a guy who paid his dues at Dior, Givenchy, and Marc Jacobs, Alexandre Mattiussi doesn‘t
have much time for directional fashion. ―It‘s a collection for real people,‖ he said in his Paris
studio. ―For my friends, who are my inspiration.‖ He was talking about the new label he‘s
debuting for Fall: AMI, French for ―friend.‖ He was so committed to the concept that his
debut presentation, staged in a local Paris watering hole during the menswear shows, confused
some of the editors who attended. It looked just like some guys hanging out in a bar, drinking.
That, the designer laughed, was exactly the point: ―Just a Friday night in Paris with the boys.‖

If those boys happened to be better dressed than most, all to the good. Mattiussi‘s collection,
which ranges from T-shirts through suiting and even formalwear, emphasizes the kind of
wearable, affordable pieces that made like-minded lines such as A.P.C. such a success.
Versions of the standards are all on offer—suiting separates, single- and double-breasted
coats, jeans, knits—though here distinguished by clever touches, like mixed fabrications.
They‘re more subdued than some of Paris menswear‘s louder gestures, but no less welcome
for that. Mattiussi‘s jean cuffs are lined in gray flannel; his wool hoodie boasts jersey sleeves.

Going forward, Mattiussi hopes to open his first shop in Paris in the next year. (In the
meantime, several big-ticket retailers have already been through the studio with an eye to
picking up the first collection.) At the shop, he‘ll invite pals to collaborate with him to design
limited-edition pieces—amité in action.

—Matthew Schneier
Photo: Courtesy of AMI

tags: Alexandre Mattiusi, AMI

I try to present myself well at work. I iron my shirts, shine my shoes, and try to match. Some
people may say, dress for the job you want. What‟s the PTO take? I work in a
khaki/polo/button down habitat. A suit would be too much. What are some nice styling‟s that
don‟t scream look at my new suit, but still out-class Dockers and a semi-old Ralph Lauren
polo.

Let‘s start with the bad news: you can‘t really wear a suit in a polos and Dockers business
casual environment. When you‘re doing business, you always want to look as good as you
can without seeming like a dick, and when everyone else is wearing polos, you‘ll look like a
dick in a suit (even with a tie). Unless you‘re meeting with clients that day, you‘ll stick out
like a sore thumb.

That doesn‘t mean you have to dress like the guy pictured above, though, and it sounds like
you‘re well on your way to a better look.

   1. No polos. Don’t wear a polo shirt anywhere you wouldn’t wear shorts. Playing tennis,
      weekend in the park, wear a polo, fine. Having a meeting? You can handle the five extra
      buttons and full sleeves on your shirt. (No short-sleeved dress shirts, either, but that should
      go without saying.)
   2. Don’t wear a tie without a jacket. This is the fast route to looking like you work at
      Blockbuster or maybe, at best, are a teller at Wells Fargo. Ties are meant to be worn with
      coats.
   3. Watch your fit. Most men wear casual pants like chinos way too long and way too baggy. A
      trim, clean fit in your pants is key. Buy them the right size and avoid pleats at all costs.
      Similarly, your shirt shouldn’t pool out around your waist. Buy a slim-fitting shirt, or take
      your shirt in to the tailor to get the waist taken in - it’ll cost $10 or $15 and make a huge
      difference. A button-down collar is a nice way to keep your collar in check if you’re not
      wearing a jacket.
   4. Wear good shoes. A great pair of shoes will take you from boring to sharp. No Kenneth Cole
      duckbilled b.s. No corrected-grain leather with a plastic-y finish. Rotate a couple pairs.
      Wear a belt that matches. No clunky rubber soles. You work in an office, not on a marathon
      team.
   5. Wear a sportcoat. Even a quiet pocket square if your office won’t think you’re totally insane.
      It shows that you care without showing anyone up, particularly since you won’t be wearing it
      around the office much anyway. A nice cashmere sweater won’t hurt in the winter, either.


                 focusing on the
We‘re essentially talking, here, about

fundamentals: wear quality clothes that
fit. Dress so that someone looking at
you would think you‘re someone who
they‘d trust to work with.
I saw your first video, and fell in love with the idea of buying raw denim. The problem I‟m
encountering, is I‟m not sure how to size them properly. I‟ve seen some manufacturers
recommend buying raw denim several inches larger in the waist and several inches longer in
the inseam, to allow for shrinkage. But, if I follow your advice for washing them in cold
water only when necessary, I think that will probably minimize the shrinkage, since I‟ll be
keeping them out of the dryer. My concern is, that if I follow the manufacturer
recommendation and buy them too long, then they‟ll never fit properly, unless I wash them
traditionally, and wash all the indigo right out of them.

This is important, so let‘s break it down.

First of all, some raw denim is Sanforized. This process, developed in the 1930s, more or less
eliminates shrinkage. So if you‘re buying Sanforized denim (it will typically be labeled), you
can buy your natural size (perhaps adding one inch in length) and you won‘t even need to pre-
soak.

The purpose of the soak is to shrink your jeans. If you‘re hoping to achieve maximum
contrast in your fading, you want to shrink first, because otherwise, after the first wash, all
your stress points will be in different places due to shrinking. We suggested turning the jeans
inside out and not agitating them to keep the dye in place while allowing the warm water and
drying to shrink the fabric.

Most non-Sanforized jeans will shrink an inch or two in the waist and two or three inches in
the inseam. Levis usually suggests buying Shrink-to-Fit 501s two inches too big in the waist
and three inches too long in the inseam. However, denim stretches over time, particularly
when its wet. Our recommendation for 501s is to go the usual 2-3‖ long in the inseam, but go
with a waistband size that fits comfortably but isn‘t too loose. Any shrink you get in the waist
will stretch out over the first couple of wearings.

If you‘re ever concerned that your jeans may shrink too tight, you can always put them on
when they‘re still a bit moist, and they‘ll stretch easily and dry to your exact size. Just be
careful not to sit in any chairs - not only will you transfer dye to the seat, you‘ll also stretch
out the knees of your jeans and make them puffy.

Of course, jean sizing is an inexact science. My natural waist is about 37.5‖, and I wear a 36
waist in Levis jeans, be they shrink-to-fit or pre-washed. My APC New Standards were sized
a ridiculous 34 - APCs are not only absurdly vanity sized, but also extremely stretch-prone.
Your best bet is to try before you buy and get some advice from a salesman who knows his
products.

Also of note: many jeans come sized only by waist. Unless you‘re extremely tall, these will
end up being a bit long for you. Take them to a tailor or alterationist and have them shortened
to the appropriate length after you‘ve soaked them. Have the tailor retain the original hem -
he won‘t be able to match the look on his own.
Well, the reviews are wack: don’t size up. I grabbed a tape measure, and found the waist is
true-to-size, and the leg opening is 8.5” (those of you who prefer a 7.5” opening know what
to do). In fact, given that the waist may stretch, you might want to a consider sizing down. I
don’t think of my legs as especially slim (it’s all those squats at the gym) and these have a
trim, but not tight fit in the thighs. The measurements and the rise mark them as a slim
straight akin to the Levi’s 514.

The razor itself was a vintage safety razor. Looking at it, I understood the allure. It is an
inventive and simple design. The razor takes a flat blade and arches it under a metal shield,
giving the blade both greater mechanical strength as well as a protective sheath that keeps you

safe. It's the kind of clear insight for which all designers and inventors strive:   beauty
in turning constraints into advantages.

The new craftsmanship

There's always been a bright line around the craftsperson, someone who takes real care and
produces work for the ages. Everyone else might be a hack, or a factory guy or a suit or a
drone, but a craftsperson was someone we could respect.

A craftsman might be a blacksmith or a carpenter, a visual artist or even a dedicated teacher.
Someone to look up to.

Perhaps we're entering a new age of craftsmanship, one where we can see craft in the way a
new business is devised, a sale is made or a website is coded. A craftsperson might be
particularly talented and connected in the way she deals with clients, or be able to meet
deadlines with alacrity.

Just because it's not in a crafts fair doesn't mean it didn't demand craft.
The Importance of Gray Pants

There are two essential casual pants: blue jeans and chinos.

For every other situation that doesn’t call for a suit, there is only one: gray wool.

Even more than the blue blazer, the gray pant is a staple of the well-dressed man. Virtually
every sportcoat will look well paired with gray pants. In fact, some suggest that if a sportcoat
doesn’t pair with gray pants, you shouldn’t bother buying it. Gray pants are a foundation:
they are the first pants you should buy, and probably the second and third, as well.

Truth be told, you will likely need more than one pair of gray pants. Flannel is the best fabric
for winter. It’s warmer, and it has been a favorite for decades because it wears and drapes
so well. In the summer months, you’ll need something lighter in weight - probably a worsted.
If you live somewhere genuinely hot, you should consider a pair in a very light weight wool
designed for hot weather, like a fresco.

The matter of styling is up to you. The current style tends toward a slim, flat-front pant. I
have a pair of Brunello Cucinelli flannels in this style, and they’re wonderful with a trim coat.
I also have a pair of Polo flannels that are notably wider in the leg, with double reverse
pleats, for when I’m feeling a little more classic. My worsteds are by Incotex, with some a
little wider than the others.

A mid-gray will be most versatile. Darker grays are a little more sober, but a little tougher to
pair. Lighter grays are in style at the moment, and can look quite elegant, but are a little less
serious-looking. Serious-looking, of course, is a good quality if you’re buying just one pair.

Gray pants are the garment that you’ll go to again and again. It is the rare outfit that
features a jacket, but not a suit that wouldn’t look great with a pair of mid-gray pants. Other
colors - like khaki or navy blue - should get in line well behind gray. Seriously: at least two,
maybe three or four pairs of gray pants before you buy any other color.

(Above pants, in charcoal gray, by Howard Yount)


View article...

Engineered Garments took its brand name from a pattern maker hired to draft the first round of
patterns. She claimed that the clothes were not designed but engineered due to the vast amount of
detailing involved in each garment, to which Daiki Suzuki agreed. Details from American sportswear,
outdoor clothing and military uniform are all included in the collection and give Engineered Garments
unique and practical detailing missing in much clothing today.

As Charles Eames once said: 'The details are not the details. They make the design.'

Mark Twain said: 'Clothes make the man. Naked people have little or no influence on society.' We
can't improve on that.

Wabi-sabi (??)-The Japanese concept of beauty that acknowledges three simple
realities:

                  Nothing lasts, nothing is finished and nothing is perfect.
――Kiddie couturiers‖ are perhaps the ultimate, inevitable result of a fashion culture that is obsessed
with youth… and a youth culture that is obsessed with fashion…But the fact that fashion has become a
field that is so easy for a tween to crack says a lot about how much the perception of a designer has
changed. The       allure of fashion is no longer the craft, but the flash.‖
To coincide with our in store launch event surrounding the Raf Simons archive this evening, we
                                                the pieces shown are
are pleased to offer you a selection of pieces now to order online.
all in very limited numbers and once they are gone they are
literally gone forever.

Buy less but better! Buy better, buy less!
Since 1905, these craftsmen have been piecing together Red Wing boots and shoes using the same
techniques, and four generations of shoemakers have been responsible for upholding Red Wing’s
standards of quality, durability, and style.

BLK DNM
Johan Lindeberg returns with a denim focused brand, mixing New York cool, Parisian chic and his Scandinavian
minimal roots-


Johan Lindeberg not only participated in making Diesel one of the hottest denim brands of the
90s through forward-thinking ad campaigns, but he also created the Swedish fashion brand
J.Lindeberg at the end of that decade. As such he helped build the powerful Scandinavian
aesthetic that we today take for granted. After leaving his own label in 2007, the bearded and
bespectacled designer began working with Justin Timberlake's William Rast label before, in
the summer of 2010, Lindeberg decided it was time to launch his own label again.

Cue BLK DNM. Now based in New York, Johan and his team has not only scaled down the
design operation and the fundamental aesthetic of the brand to a look that is essentially close
to what Lindeberg today wears himself (jeans, leather jackets, T-shirts, casual suits etc) but he
                                                    BLK
has also reconfigured the way he interacts with customers. Using
DNM.com as his flagship store, and only opening up a
handful of physical shops, the brand cuts out the expensive
retail middle man, and saves the customer money by
scrapping the mark up. Dazed sat down with Johan for a chat, and an exclusive
Behind-the-Scenes insight from the Martin Thurah-directed film that was created in
conjunction with BLK DNM's launch.

Dazed Digital: How did BLK DNM come about?
Johan Lindeberg: It started it eight months ago so it's all gone pretty fast! I woke up one
morning and felt I wanted to create something new for myself again. I worked with Justin
Timberlake and his William Rast label after leaving J.Lindeberg and it was a good exercise in
terms of working in the US. I learnt a lot from being around him, I was his personal stylist so
we went to the Grammys, Madonna gigs, music video recordings and so on...

DD: The brand is centred around its website shops
rather than physical stores - why?
Johan Lindeberg: It feels right to be digital, I'm tired
of trying to fit into other people's concept shops and
different floors in department stores, that's why
online is the main outlet for BLK DNM.
DD: Where did the name come from?
Johan Lindeberg: I like black denim, and I prefer brand names to generic, like American
Apparel and White Cube - so BLK DNM felt right. I also wanted it to be based in New York.
I've always lived and worked in different cities and now I just wanted to settle down here and
do it all in New York.

DD:Why based in New York, rather London or Stockholm?
Johan Lindeberg: I feel like a New Yorker now. The city is international and its style
mirrors that. I'm from Sweden and my style Scandinavian I suppose. It based on my intuition
because I really wanted to create something that I feel represent myself. The way BLK DNM
looks is how I've dressed for years.

DD: How do you feel about not working with J.Lindeberg any more?
Johan Lindeberg: It's quite nice not to use my own name, it's less restricting. I don't care
about not having my name as the brand name. I don't feel bitter or angry, I feel nothing when
I go past a J.Lindeberg shop, it's like another shop. It's given me creative freedom to work
with less people.

DD: How would you describe BLK DNM and its style?
Johan Lindeberg: It's downtown New York attitude with a Parisian chic twist. No seasons,
60 products and add on each month with no main collection or diffusion line. focused on the
products that I, and people around me, like. I have no retailer so I cut out the middle man and
that's why the prizes are reasonable. Thirty dollars for a T-shirt and around 140 for jeans. If
I'd sold them wholesale they would be 200 dollars but I don't have a mark up! I give that
money back to the consumers. But we do have a few more pricey items as well - we sell a
shearling cape that will set you back 2,000 dollars, for example... Jeans and tailored trousers,
but no chinos - don't like them! There's lots of leather jackets, no sportswear, and for girls the
style is just what I want girls to wear.

DD: The price point is very reasonable, how did you think in terms of brand
positioning?
Johan Lindeberg: It doesn't feel very modern to give a brand status because it costs lots of
money or because it's produced in a particular country. Consumers are too smart for that. I've
always liked taking the tougher path instead of following a specific pattern, which is probably
why Style.com called me a 'fashion anarchist'... I just think the culture of a brand, not the
price, should set the status of the label...

DD: Tell me about the film you did with Martin Thurah...
Johan Lindeberg: I was just tired of fashion shows, we did 10 shows in Milan and I've done
a few in New York. I was looking for a new way to introduce the brand, something that was
both interesting creative.

DD: How did you find him?
Johan Lindeberg: I had seen his film for Fever Ray's 'When I Grow Up'. We started emailing
and he's now done two films for us. The first film was about relationships... I had just split
from my wife so it made sense for me. It's about the difficulties of finding synergy with
another person and signing up to commitments. The second film is about being obsessed with
women...

DD: There's a magazine coming out as well...
Johan Lindeberg: Yeah, The first issue is called Gazette 1, and then there's number 2 of
course. It's the same with BLK DNM; we have jeans 1 and 2, leather jacket 1 and 2. The
shops are called Gallery 1 and Gallery 2 and so on... But anyway, I felt like doing a magazine
and it doesn't have any clothes in it, especially not any BLK DNM. The editor just to do Rebel
in Paris and she's curating Gazette by using artists, directors and photographers around us. It's
a poster magazine... slightly anarchistic... I'm old enough to remember Paris 1968 and the anti
Vietnam war movement, so I think all of that has inspired me.

DD: Do you have a favourite piece in the collection?
Johan Lindeberg: The biker jacket for girls and a look with tailored jacket and high-waisted
trousers. I think I'm more inspired to design womenswear than menswear at the moment. To
dress a woman is one of the most inspiring things I've ever done!
Renee‘s jeans are from The Jean Shop in New York City. The Jean Shop specializes is raw
selvage jeans, with an array of optional in-house custom finishing treatments. They source
all of their denim from Japan, where it is made using vintage shuttle
looms for a continuous weave. Basically, these guys know their stuff. And with it
so difficult to find raw jeans for women, we were very excited to be able
to choose from multiple women‘s cuts in their brand. Their beautiful retail shop is located in
the Meatpacking District (with a second in shop in Soho), but they ship all over. Check them
out at worldjeanshop.com.

Gordon is wearing Nudie‘s Thin Finns. The Nudie Jean Co. is a men‘s denim company
based in Gothenburg, Sweden. Don‘t to be discouraged, ladies, many of their slim fits look
great on women, too. All their jeans are made in Italy from denim fabric produced in Italy,
                            are an awesome, socially
Japan, Turkey, and the USA. Basically, they
responsible company that produces timeless style, envied
more and more with every wear. Read more about them at
nudiejeans.com.

We can‘t wait to see this project unfold!




―A superior chino. Simple, incredibly comfortable and well suited for the rain, grit and motion
of real life. A cotton twill upgraded with micro-denier nylon for durability, and elastane for a
four way stretch and true freedom of movement.‖ Outlier has been in pursuit of the perfect
pair of pants, and with a revisit to their drawing board, they‘ve created 60/30 Chino. Without
having to sacrifice quality nor comfort, they utilize their 60/30 cloth, a blend of cotton, micro-
denier nylon and elastane, to create a great look and maximize durability. With the addition of
key loops, a stash pocket and hidden front button these pants are available in Marine Blue and
Tan from Outlier.



FOMO —Fear of Missing Out                                                                  — is a

great motivator of human behavior, and I think a crucial key to understanding social software, and
why it works the way it does. Many people have studied the game mechanics that keep people
collecting things (points, trophies, check-ins, mayorships, kudos). Others have studied how the
neurochemistry that keeps us checking Facebook every five minutes is similar to the neurochemistry
fueling addiction. Social media has made us even more aware of the things we are missing out on.
You’re home alone, but watching your friends status updates tell of a great party happening
somewhere. You are aware of more parties than ever before. And, like gym memberships, adding
Bergman movies to your Netflix queue and piling up unread copies of the New Yorker, watching
these feeds gives you a sense that you’re participating, not missing out, even when you are.

LORO PIANA

Italian label Loro Piana has   a family history deeply seeded in the world of
fashion. For over six generations, Loro Piana has been the world's top cashmere and wool
supplier, making its mark as an authentic and exclusive luxury label.
While the brand has a strong reputation today, the company came
from small beginnings.

The Loro Piana family started as wool merchants in the 1800s, and in 1924 the brand we
know today was formally established. The haute couture industry was Loro Piano?s target
market since its origin, and generations of family members have catered to the sophisticated
client.


Since the brand?s inception, Loro Piana strives to make excellence their standard. Product
quality is of utmost importance, and the brand only uses the highest quality materials to
ensure comfort, style, and longevity. Loro Piana has expertly scoured the world to find the
best raw materials to work with, from Mongolian cashmere to merino wools from New
Zealand. The brand even has a special agreement with Peruvian campesi¤os in order to extract
Vicuna fibre, used for luxury fleece garments.
The product's quality is reflective of the Loro Piana customer. The luxury goods are practical,
wearable, and detailed. Loro Piana even offers a personalization service for formal clothing,
leather goods, knit and outerwear, for yacht owners and/or corporate gifting. The
personalization is an extra step that allows for customers who
seek only the best, to purchase an iconic, truly original piece.
With its Storm System®, Loro Piana has combined natural fibers with the most advanced
technology, thus giving rise to a generation of innovative fabrics that unite the natural thermal
and insulating properties of wool and cashmere with a high degree of protection against the
wind and rain.

A thin and extremely light micromolecular membrane is applied to the back of the cloth in
such a way as to make it resistant to water and wind while remaining perfectly breathable: i.e.
it protects the body while leaving it free to breathe. Furthermore, the special Rain System®
treatment makes drops of water simply slide off the cloth‘s surface.

Mark Twain said that Wagner wrote music that was better than it sounds.

It's an interesting way to think about marketing. Is your product better than it sounds, or does
it sound better than it is?

We call the first a discovery, something worthy of word of mouth. The second? Hype.

Kris Van Assche: There is no definition and that is exactly the reason why it is hard to be elegant. it
defers from person to person, it is about attitude rather than about what you wear. I guess a first
rule would be not to hide one’s personality behind an outfit. You can’t buy elegance.



Casual sophistication
Salvador Dali




                                                   Eccentric artist Salvador Dali believed that
one of the secrets to becoming a great painter was what he called ―slumber with a key.‖
―Slumber with a key‖ was an afternoon siesta designed to last no longer than a second. To
accomplish this micro nap, Dali recommended sitting in a chair with a heavy metal key
pressed between the thumb and forefinger of the left hand. A plate would be placed upside
down on the floor underneath the hand with the key. The moment Dali fell asleep, the key
would slip from his finger, clang the plate, and awaken him. Dali believed this tiny nap
―revivified‖ an artist‘s whole ―physical and physic being.‖

Dali said that he had learned the ―slumber with a key‖ trick from the Capuchin monks and
that other artists he knew also used it. Albert Einstein ―napped‖ this way as well, as have
other inventors and thinkers who believed this nap inspired their ideas and creativity. These
men were unknowingly taking advantage of what scientists today call the
―hypnogogic‖ nap, when the mind, before it reaches Stage 2 sleep, unlocks free
flowing creative thoughts. It‘s a topic interesting enough to warrant its own post!
As long as I’m offering thrifting pro tips, here’s another: watch out for licensed goods and
diffusion lines.

Beginning with Pierre Cardin in the 1970s, and continuing through the 90s, many luxury
brands licensed their names to lower-end manufacturers, and particularly menswear
manufacturers. This allowed them to profit from their name recognition without having to
run a complicated mass-market clothing business. Ultimately, though, it dramatically
devalued these brands in the eyes of consumers.

One of the great innovations of the LVMH empire was new strategies in protecting these
brands. Most luxury goods makers now offer “   diffusion lines          ,” which are associated
with the brand name but not identical. Think of Ralph Lauren Purple Label, Polo, Lauren and
Chaps, for example. Lauren is a licensed, low-end brand. Chaps was sold off completely years
ago and no longer even says Ralph Lauren on it. Each brand represents a different level of
quality, and they’re all tightly controlled by the mothership. Ralph Lauren even has a line
without its name on it - American Living - made just for a low end department store.

Bearing these arrangements in mind is essential when thrifting. Novice thrifters often crow
about hauls like the one above, which unfortunately is nothing to crow about. In the 1970s
and 80s, brands like Christian Dior, Pierre Cardin, Lanvin, Givenchy, and Yves Saint Laurent
focused on high-end womens clothing, licensing their name to lousy menswear
manufacturers who dragged them through the mud. If you find a find a piece with one of
these brand names, give yourself a reality check. Is it really a quality piece?

Many of these brands have, over the last ten years or so, gotten their menswear acts
together. The good stuff, though, remain extremely rare on thrift store racks. In my years of
thrifting, I’ve found only one piece by those brands that was of worthwhile quality - a Yves
Saint Laurent Rive Gauche blazer from the mid-2000s. It was beautiful, and the quality was
apparent when I touched it. I’ve seen literally thousands of pieces by the brands I
ennumerated that were utter crap.

Of course, this doesn’t mean you don’t have to consider diffusion lines, as well. Ermenegildo
Zegna Su Misura is one of the finest ready to wear clothing lines in the world. Z Zegna is a
line you might consider buying if you found a suit on discount for $300. Lauren is a Mervyn’s
brand, and Ralph Lauren Purple Label is worth the trip to Saks or Barney’s. It’s always
important to do a reality check before you buy.

You’ve been warned.

Despite denim’s dominance as mens legwear of choice, finding the ‘perfect pair’ is still a task
that eludes most. No one’s sure exactly why so many companies manage to get denim
wrong, but it’s better to focus on the few that are doing things the right way. And the New
York based Jean Shop are one such company.

Opening in April of 2003, the company were the very antithesis of the overly distressed and
embellished denim that was popular at the time. Headed by Eric Goldstein with Gene
Montesano and Barry Perlman, Jean Shop stocks denim alongside other parts that would
make up a rockabilly inspired wardrobe. While there has been a backlash against the nu-
workwear scene of late, Jean Shop have managed to stay just outside the realms of that
audience, appealing to them but not doing it to the detriment of their longer term
customers.

Despite their no frills approach (all denim costs $240 and comes in a variety of washes) they
do allow the customer to experiment with the denim at an extra cost. While they’re own
finishes vary from unwashed to light, they’re not terrified of a tie-dye finish - although any
prospective wearers should approach this with extreme caution.

Goldstein has worked in the denim industry for 20 years, helping to launch Ralph Lauren’s
RRL line and then working for the Gap, before eventually branching out and created the Jean
shop. Launching firstly in the meatpacking district, they’ve now opened up another store in
Soho as well as wholesaling to various stores, including the new counterpart to Net-a-porter,
Mr Porter.

In an interview with Mr Porter he explained why he started the company. “I started Jean Shop
because I could not find another jean in the marketplace that I really felt comfortable wearing,”
explains Mr Goldstein. “Most jeans were too fashion forward with stuff all over the back pockets
and very poor quality. Jean Shop jeans aren’t about that.” And, in a nutshell, that explains why the
company has attained the followers it has.

Tom Ford – fashion powerhouse, film mogul and old school romantic – is the cover star of the
spring/summer 2011 issue of Another Man. Alongside web exclusive images from Jeff Burton's shoot,
AnOther presents Tom Ford's five easy lessons in how to be a modern gentleman, taken from
Jefferson Hack's intimate conversation which appears in full in the issue.

1. You should put on the best version of yourself when you go out in the world because that is a
show of respect to the other people around you.

2. A gentleman today has to work. People who do not work are so boring and are usually bored. You
have to be passionate, you have to be engaged and you have to be contributing to the world.

3. Manners are very important and actually knowing when things are appropriate. I always open
doors for women, I carry their coat, I make sure that they're walking on the inside of the street.
Stand up when people arrive at and leave the dinner table.

4. Don't be pretentious or racist or sexist or judge people by their background.

5. A man should never wear shorts in the city. Flip-flops and shorts in the city are never appropriate.
Shorts should only be worn on the tennis court or on the beach.


Sartorial
The trifecta of competition:

Faster than the other guy. Faster to the market, faster to respond, faster to get the user up to
speed.

Better than the other guy. Better productivity, better story, better impact.

and More. More for your money. More choices. More care. More guts.

You have more competition than you did yesterday. I expect that trend will continue.

Over the past few years, tailoring expert Piombo has been making its mark on luxury men’s thanks to
a uniquely eccentric take on menswear. To find out more about this fascinating world of unusual
colors and rare fabrics, The New Yooxer met founder Massimo Piombo for an exclusive interview.
Just how did he manage to turn a typically Italian tradition into a profoundly universal reality?
While Piombo’s artful mix of luxurious fabrics and eclectic designs is somewhat reminiscent of a
master tailor’s charmingly quaint workshop, it is on thecorner.com that the Italian brand chose to
make its worldwide debut. It most certainly makes sense that such a cosmopolitan project would
now have a global presence, thus enabling men of all cultures and tastes to discover founder
Massimo Piombo’s unconventional take on classic tailoring. What are the secrets behind this unusual
style story? Mr Piombo’s great knowledge of the arts and his passion for travel for one; 19th century
French novelist Huysmans is frequently mentioned as a key influence, while the fabrics used for the
collections hail from the four corners of the planet, from Scottish wools to Indian cottons.

Acne mix beautifully-made wardrobe staples, with the occasional daring piece, like this sandal. The prove
that even the refined dresser should take some risks.

By adding innovative design details, Christopher Shannon takes his 80s and 90s sportswear inspiration, and
creates truly standout pieces. The triple-layered t-shirt is a definite highlight
The slim cargo pant is a key item in every man’s wardrobe. The fit is cleaner and more elegant than a
traditional cargo. It can be worn at the office with a great blazer, or on the weekends with a
cashmere knit and a polo.”

Initiative isn't given, you take it

The amazing thing is that unlike taking an apple or a chocolate bar, there's no loss to the rest
of us. After you take it, we all benefit.

There's one other thing you can take at work, easily and with approval: responsibility. In fact,
they sort of have to go together. One without the other is a mess.

Kitsuné’s first ready to wear collection was launched in spring/summer 2005 at the Paris venue Palais
de Tokyo. Defining the ‘new classic‘ with distinguished clothing for men and women of the highest
quality for everyday life.
Special care is given to the quality of the fabric and the tailoring of the garments – strategic sourcing
of factories that still embrace artisan methods for a durable and timeless product. Combining the
philosophy of tradition – with a modern attitude and shapes for clothing that lasts. Timeless-
elegance.

Founded in 2002, Kitsuné has gained considerable recognition over the past seven years for their
collaborations with APC, colette, Pierre Hardy, Petit Bateau, J.M. Weston; gaining recognition in the
designer clothing market in some of the most renowned boutiques worldwide: Bergdorf Goodman,
colette, Barney’s New York, Le Bon Marche, Dover Street Market, Isetan, 10 Corso Como, Lane
Crawford...

Kitsuné opened its first Paris flagship store in the Palais-Royal area in March 2008.
Boutique Kitsuné – 52, rue de Richelieu 75001 Paris

Atelier LaDurance is a small scaled, independent French denim label that has the passionate drive to
make top crafted products. Based
upon stylistic durability, emotion and magic. Articulating a well considered choice: ‘capitalising on qu
ality, instead of quantity’.

Compared to perfect: the price/value mismatch in content

"How's the wine?"

You really can't answer that question out of context. Compared to what? Compared to a
hundred dollar bottle? Not so good. Compared to any other $12 bottle... great!

"How was the hotel?"

"How's the service at the post office?"

In just about all the decisions we make, we consider the price. A shipper doesn't expect the
same level of service quality from a first class letter delivery than it does from an overnight
international courier service. Of course not.
And yet...

A quick analysis of the top 100 titles on Amazon (movies, books, music, doesn't matter what)
shows zero correlation between the price and the reviews. (I didn't do the math, but you're
welcome to... might be a good science fair entry). Try to imagine a similar disconnect if the
subject was cars or clothing...

For any other good or service, the value of a free alternative that was any good would be
infinite--free airplane tickets, free dinners at the cafe... When it comes to content, though, we
rarely compare the experience other content at a similar price. We compare it to perfect.

People walking out of the afternoon bargain matinee at the movies don't cut the film any slack
because it was half price. Critics piling on to a music video on YouTube never mention the
fact that HEY IT WAS FREE. There is no thrift store for content. Sure, we can get an old
movie for ninety-nine cents, but if we hate it, it doesn't matter how cheap it was. If we're
going to spend time, apparently, it better be perfect, the best there ever was, regardless of
price.

This isn't true for cars, potato chips, air travel, worker's comp insurance...

Consider people walking out of a concert where tickets might be being scalped for as much as
$1,000. That's $40 or more for each song played--are they considering the price when they're
evaluating the experience? There's a lot of nuance here... I'm certainly not arguing that
expensive is always better.

In fact, I do think it's probably true that a low price increases the negative feedback. That's
because a low price exposes the work to individuals that might not be raving fans.

Free is a valid marketing strategy. In fact it's almost impossible for an idea to have mass
impact without some sort of free (TV, radio, webpages, online videos... they're all free). At
the same time, it's not clear to me that cheaper content outperforms expensive in many areas.
As the marginal cost of delivering content drops to zero (all digital content meets this
definition), I think there are valid marketing reasons to do the opposite of what economists
expect.

Free gets you mass. Free, though, isn't always the price that will help you achieve your
goals.

Price is often a signalling mechanism, and perhaps nowhere more than in the area of content.
Free enables your idea to spread, price, on the other hand, signals individuals and often ends
                      Mass shouldn't always be the
up putting your idea in the right place.
goal. Impact may matter more.


Independent family run business!
Give away free backpack if order takes too
long to deliver
“We’re all faced throughout our lives with agonizing decisions, moral choices. Some are on a
grand scale, most of these choices are on lesser points. But we define ourselves by the
choices we have made. We are, in fact, the sum total of our choices. Events unfold so
unpredictably, so unfairly, Human happiness does not seem to be included in the design of
creation. it is only we, with our capacity to love that give meaning to the indifferent
universe. And yet, most human beings seem to have the ability to keep trying and even try
to find joy from simple things, like their family, their work, and from the hope that future
generations might understand more.” things, like their family, their work, and from the hope
that future generations might understand more.”

— Professor Levy played by Martin S. Bergmann, a New York University clinical professor in
psychology, in the movie Crimes and Misdemeanors (1989) by Woody Allen.

(Via QuoteVadis)



“The aesthetic quality of a product is integral to its usefulness because products used every day have
an effect on people and their well-being.”

- Dieter Rams


Excellent value for money
“Perfection must never be the goal because it can never be achieved. One who courts perfection
must fail, since we are all only human, but to achieve a nicety without appearing to have even tried is
another matter. It leads us to wonder what grand design might have been accomplished had the
effort been made. The nature of sprezzatura is deception.”

- G. Bruce Boyer, in Eminently Suitable




―Engage people with what they expect; it is what they are
able to discern and confirms their projections. It settles
them into predictable patterns of response, occupying their
minds while you wait for the extraordinary moment —
that which they cannot anticipate.‖
— Sun Tzu from ―The Art of War‖.
The problems that lower end brands like H&M have recently experienced have been
unexpected, to say the least; however the notion of buying a dress just for the purposes of a
Saturday night on the town seems fairly outdated. Quite simply, consumers are becoming
more aware of the value of 'investment pieces', particularly at a
time when being conscientious with your spending is a must.

'Eco brands are also set to make a big comeback, as the evidence is mounting that consumers
                   care more about where and when
associate eco with quality, and
their clothes are manufactured."

Spend your life doing what you love.
Be focused and disciplined.
Collaborate.

http://www.stevenandwilliam.com/newsite/site.html#about?id=values&ty1=non




―It’s unwise to pay too much, but it’s worse to pay too
little. When you pay too much, you lose a little money —
that is all. When you pay too little, you sometimes lose
everything, because the thing you bought was incapable of
doing the thing it was bought to do. The common law of
business balance prohibits paying a little and getting a lot
— it can’t be done. If you deal with the lowest bidder, it is
well to add something for the risk you run, and if you do
that you will have enough to pay for something better.‖
— Known as the Common Law of Business Balance often attributed to John Ruskin

fashion brands in particular, it’s important to maintain a high design aesthetic.

In the midst of the noisy fray of luxury fashion brands, Alaïa is the quiet exception. After all,
Tunisian-born Azzedine Alaïa’s eponymous brand does not hold seasonal fashion shows, is
rarely featured in fashion magazines, does not have a website and is certainly not concerning
itself with creating a Twitter handle to give short, timely updates of its goings-on.
Nonetheless, if this seems to suggest that all is quiet on the Alaïa front, one best think again
– the label, first founded in the 1970’s, remains to this day one of the most coveted brands
to fashion insiders.
Meticulous attention to construction and workmanship,
coupled with a refined understanding of the female form, are
the central tenets of Mr. Alaïa’s vision. His form-fitting designs belie his early years studying
sculpture at Tunis’ Ecole des Beaux Arts. Through the pondered use of exclusive materials
and signature techniques – from hidden boning and corsetry, to laser-cut snakeskin, the
softest kid leather, and Alaïa’s trademark double knit silk or wool jersey – the body is at
times compressed and flattened. The Alaïa color palette is classic and restrained, resulting in
the focus lingering on the incredible construction – ultimately completely enhancing the
wearer.

This expert interplay between the conservative, demure elements and those provocative
compressions and curve-fitting details inject an underlying tension to Mr. Alaïa’s work. In the
words of Joan-Juliet Buck, Mr. Alaïa’s aesthetic is that of “a sober, stern, highly sexual nun,”
and never     crosses the line into vulgarity.
The uncompromising  dedication to quality, innovation and creativity is
without question the driving force behind the Alaïa business. By ensuring that
product excellence always remains the focal point, Mr. Alaïa has consciously rejected valuing
success only as a measure of financial profit. This has allowed for the brand to remain very
true to itself, making seemingly unusual choices by today’s standards.

The recurrent theme which runs through these decisions seems to be a carefully


implemented “  brand inaccessibility                                           ”:

•    In an industry defined by the ubiquitous designer scrambling to complete his collection
ahead of a big, brassy catwalk show, Mr. Alaïa chooses not to join the fray. Instead, each
new collection is presented only to a small retinue of buyers and press, within the intimate
confines of the designers’ Marais atelier. Most tellingly, the presentation will only take place
once Mr. Alaïa deems it is ready – this past season, ten days after the last Paris week catwalk
show!



•     The way the Alaïa brand is distributed also reiterates this sense of inaccessibility. The
retail operation is limited to one gallery-like space on the raised ground floor of a quiet
Parisian street, discretely announced by a small “Alaïa” sign above the door. The space is
airy, scattered with large, visceral Julian Schnabel canvases among tidy monochromatic racks
of dresses and neat piles of shoe boxes against the wall – a far cry from cookie-cutter
custom-built fittings found in luxury flagships the world over.




•    Meanwhile, the    wholesale operation is limited to the upper-
echelons of luxury fashion retailers – such as 10 Corso Como in Milan, Browns in
London, or Bergdorf Goodman in New York. These are stores that carefully manage their
desirability, conveying a rarefied and exclusive world and casting themselves as eclectic
fashion curators of sorts.




•                    remains largely inaccessible to most,
       The Alaïa price-point
registering on average 30% higher than other designers.
Additionally, the Alaïa price architecture seems to be happily      devoid of “entry
level” price products, such as moderately priced wallets or perfume offerings
designed to entice the less-affluent luxury consumer.



•    Finally, marketing activities seem to be few and far between – both on and off-line.
While it is true that not all fashion brands invest in off-line advertising, the lack of even a
basic website reads like a clear statement of strategic intent – reserving Alaïa for those in
the know,

This strategy – if it can correctly be called that, as by all accounts it is simply the result of Mr.
Alaïa’s wish to control the integrity of his brand – aligns the Alaïa brand
more with purveyors of “hard luxury” such as luxury watchmakers and luxury car
manufacturers. Indeed, in 2008 Maison Azzedine Alaïa was part-acquired by Compagnie
Financiere Richemont, joining an impressive roster of hard luxury brands such as Jaeger-Le-
Coultre, Piaget and IWC Stauffhausen, as well as Chloe, Alfred Dunhill and recently, Net-a-
Porter.


In Alaïa’s case, it is particularly interesting to witness the “   hard luxury”
approach within a fashion company, given that many fashion brands have opted to go down
a more accessible path. Perhaps Alaïa’s example may give emerging fashion designers a
refreshing role model to follow in articulating their business plan?



Author: Ceci Guicciardi
Copy Editor: Gina Conforti


View article...

Made   and finished by hand
NOT Americana, stylish European feel, straight from the heart of Europe


“I’ve owned certain pieces of clothing for 25 or 30 years and I’ve also gotten rid of things
after a week. I think a wardrobe is much like a garden. It needs constant tending.”

Nick Wooster


At sélection officielle we sell trees!
Understated elegance
The Evolution Of Digital Media

Don’t mistake LinkedIn as a professional platform; think of it as another way to spread
your brand message. – @RachelleHoude

   1. When it comes to social media, all external content needs to remain consistent in order to
      have impact.
   2. Brands should be developing content to influence the conversation. Don’t just respond to
      what’s out there.
   3. The only way to drive engagement is to understand user actions. You must have all of the
      following: rss feeds, emailing list integration, and Facebook connect on your blog.
   4. Quality trumps quantity. While it’s important to be consistently part of the conversation,
      putting out quality information and knowledgeable content is what’s most important.
   5. Organic methods increase real user followers, not automated accounts. Don’t automate
      social media. Readers and followers want to feel engaged. Take the time to do some real
      time tweeting and commenting. It means a lot.
   6. Consider putting RSS feeds on each of your individual WordPress categories, not just home
      page. This allows your readers to follow specific topics of interest. They’ll appreciate it.
   7. Simple social formula: image + message + call to action + LINK = engagement!
   8. Rankings are becoming obsolete. What is more important is conversion rate optimization.
      This should be your focus.
   9. Social media is constantly evolving and improving upon itself. If your social media plan is 90
      days old, it’s too old.
   10. The minute you engage in a conversation with the consumer, your brand becomes alive.
       Remember, brands are not built on anonymous email blasts. You need to get personal.
   11. It is important to analyze, innovate and customize your branding strategies. Brands must
       think of ways to reinvent themselves to stay relevant. This makes it easier for fans to do
       same. Be sure to feed the ego, and align your brand with the feeling of being “cool”.
   12. Social media is the bridge between PR and marketing, and it requires dedicated staff. PR
       should not run social media or marketing. And remember, PR is digital and measurable in
       2011.
   13. As a brand, you need to know what bloggers are talking about and what they care about.
       They are influencers.
   14. To remain relevant and be part of the future of fashion, you have to learn about and utilize
       local and geo search.
   15. Once you “like” a page on Facebook, try to interact with the page early on and continue to
       do so. Otherwise, you won’t see updates from that page in your feed.
   16. To remain relevant, you should regularly like and comment on your own Facebook content.
       And don’t forget to always add photos, and engage with your readers.
   17. Always try to post on Facebook at 8 am, and then be sure to monitor the comments on the
       post for 30 minutes afterwards in order to respond and engage in real time.
   18. You can only post 1-3 times per day on Facebook, if you do more, they’ll hide you. It’s the
       80/20 rule: Promote your brand only 20% of the time, engage and inform 80% of the time.
   19. 98% of U.S. women ages 18-34 are on Facebook. Enough said.
   20. Facebook is rapidly evolving. It may be best to hold back a bit with your commerce strategy.
       This allows you to see where the pieces fall and come up with the best possible action to be
       taken.
   21. When you’re ready to implement your Facebook commerce strategy, there is no need to put
       your entire inventory in your store. Think pop-up shops! Brands doing this correctly include
       Bulgari, Chanel, and Heinz Tomato Ketchup UK.
   22. Offering “likes” in exchange for promotions has a low conversion rate. People still don’t
       know how to use the “like” function the way it should be used.
   23. Add like buttons to individual product pages to enable your followers to share specific
       products with their network and drive sales.
   24. Tweet with meaning! Sharing what was on your breakfast menu doesn’t really mean much,
       unless of course you’re a chef sharing an amazing recipe with followers who are true foodies!
   25. Try to only use 100-120 characters in your tweets. This helps your ability to be re-tweeted,
       leaving your followers a place to easily comment.
   26. Don’t use hashtags unless you really need to and don’t @ reply people unless you are
       responding to something they said. It’s SPAM.
   27. To conclude, there’s nothing wrong with making mistakes! Just remember: fail fast and
       course correct.

Blogger Camp Insights

Best Insight: What is you incentive behind blogging? Knowing your blogging goals will
help establish your direction & focus – @BagSnob

   1. It can’t always be about money. Remember you do this because you love it.
   2. Even if you’re working with your BEST FRIEND as your partner, make sure a contract is
      signed.
   3. Fashion is visual and emotional. This must be conveyed via your blog + through your brand.
   4. Every tweet is a press release. They all represent your brand.
   5. Spend your time building your brand before thinking about an agent. Be your biggest
      evangelist.
   6. There’s no specific platform that will make your blog successful.
Legalities of Fashionable Blogging

Best Insight: Get a good lawyer before getting a blogger agent. – @Macala of
@FashMarketing

   1. All blogs need contracts for all of their writers, including interns.
   2. If people sell/use your work for commercial gain, they must compensate you.
   3. If you publish untrue statements, statements that can cause damages to another person –
      you can be sued.
   4. Your name is everything, protect your name and register your trademark.
   5. If you’re a high profile blogger, it’s like being a celebrity, you are open to the same criticism
      as a public figure.
   6. When you turn your blog into commercial use and you are using other people’s work/photos,
      you are infringing on their rights.
   7. Always get things in writing when dealing with commerce or money; e-mail is not sufficient.
   8. On your own site, it’s good to have a terms of use and privacy policy. The terms of service of
      a site needs to be in the best interest of your brand.
   9. As a blogger, it’s your responsibility to read the terms of a website, otherwise you give away
      your rights.
   10. Copyright infringement? Write courtesy letter or contact ISP of the infringer and they will
       have to shut their site down within 24 hours.
   11. The minute you make money – everything changes.
   12. “I’m not interested in following the masses, I do Uduak.” – Proudly march to the beat of your
       own drum.
   13. There are three types of contracts you must have: business partners, work for hire and
       sponsors/advertisers.
   14. If someone sends you something (product/services) for review, always disclose it.
    15. Think about how you’re positioning you brand for investors (if you’re seeking them), you
        need to have a legitimate business with structure.
    16. In fashion, register your brand name the minute use it. As registered trademarks, they gives
        you far more rights.
    17. “The story behind the coral is one of my favorites. Remarkably superstitious people,
        the Neapolitans have many connections to this particular image that is unique only to
        the Bay of Naples.
    18.
          Ancient mythology holds that the rare Mediterranean red coral was born from the story of
          Perseus and Medusa. Legend has it that the brave Perseus rose to the occasion of slaying the
          Gorgon Medusa and delivered her head as a wedding gift to the King of Seriphos, who was to
          wed his mother. During his travels home, Perseus fell in love with the beautiful Andromeda,
          who he saw chained to a seaside rock, soon to be eaten by the evil sea-monster, Cetus. To
          prove his love and save her life, Perseus killed the terrible beast. As he sat on the bank of the
          water to wash his hands, Perseus laid down the sack with Medusa’s head next to him. The
          blood of her slain head dripped into the water and instantly transformed into what we know
          as Mediterranean red coral‚ forever a sign of good luck.
          And hence, the little lapel pin is our wish for good luck for every customer that owns one of
          our jackets.” - Agyesh Madan on Isaia’s red coral via HTTTGAP

any incidental differences in the material's pattern are a guarantee of the product's originality

New York brand rag & bone was founded by the British duo Mr Marcus Wainwright and Mr David
Neville in 2002. Mr Wainwright was a telecoms consultant and Mr Neville a banker before the pair
established their label, with the simple goal of producing well-made, understated clothes that the
designers themselves and their friends would want to wear. Although Mr Wainwright and Mr Neville
had no formal fashion training, they quickly became experts in producing functional, workwear-
inspired clothes with a strong emphasis on quality and fit, thanks to the time the pair spent in
Kentucky - where they learned directly from the traditional workwear and denim manufactures in
the area. Indeed, it was a quest for the perfect pair of jeans which initially spurred Mr Wainwright
into action, after he moved to New York in 2001 with his American girlfriend. Since the first men's
collection was launched in 2004, rag & bone has gone from strength to strength, with the designers
winning numerous awards and accolades, including the prestigious Menswear Designer of the Year
award from the Council of Fashion Designers of America last year.

It has ever been the chic rule of thumb not to advertise one's personal assets, but "stealth
wealth" truly caught on among the in-crowd in the years following the yuppie heyday, as a
more classy alternative to the hyped-up "loadsamoney" attitude. Designers such as Christian
Lacroix and Thierry Mugler, who had embodied the spirit of the flamboyant Eighties, gave
way to the simple, more minimal work of Prada and Helmut Lang.

"Prada's minimalism is followed like a Zen Buddhist religion by fashion acolytes," wrote the
International Herald Tribune's Suzy Menkes at the time. "The Prada philosophy fits the (fairly
expensive) bill for the Nineties shopper who aspires to be a connoisseur of good things, rather
than an avid consumer of status symbols."
"Prada may not make you look rich," Vogue declared in March 1995, "what could be more
vulgar than that? But it sure makes you feel it." And that is the new direction for fashion in
times of tightened belts and shallow pockets: the unobtrusive item recognised by a privileged
few and, therefore, with a much longer fashionable lifespan.

"Fashion is once again becoming something more artistic, and less commercial," Professor
Webb adds. "These products have a utilitarian moniker, but they're not necessarily what they
say they are on the tin."

Contemporary tradition, the ability to re-
interpret the heritage and excellence of the
sartorial tradition. To make it relevant for the
‘new gentleman’
Brand identities will be crafted around heritage and associations rather than a designer personality,
as we've seen at Hermes with its equestrian heritage and Prada with its relationship to the
contemporary art world.

"Dior will want to take a rest from someone who is a lightning rod and go for a designer more known
for what they turn out," Hanft says.

Milton Pedraza, chief executive of the Luxury Institute, a New York-based research firm, agrees. "The
more it is about the personality, the less it is about the product and the customer."

ISAIA of Napoli has remained ever-faithful to the prestigious art of Neapolitan sartorial tailoring, and
Isaia garments remain virtually unchanged since the 1930s. Completely handcrafted by master tailors
in Napoli, Italy.




"The 60 year-old Neapolitan menswear brand has carved out a niche for themselves amongst a bevy
of Italian luxury brands because of their commitment to these three C's. If this seems a bit traditional
for your tastes, don't worry, with Gianluca Isaia at the helm things are bound to be fun. The family
heir has done a brilliant job of bringing his secret of Naples across the pond, which has been very
warmly relieved in the land of oxford shirts and flannel suits. Despite the boldness of color and
pattern choices, Isaia always seems to make clothing that is masculine and refined.
While the fabric choice itself may be apparent at first glance, part of the Isaia experience is taking a
closer look. Neapolitan tailors pride themselves on their craftsmanship and attention to detail and
Isaia prides itself on having the best of the Neapolitan tailors. Whether it's the signature red
boutineer loop under the collar or the hand sewn, pleated, and padless shoulder that the great
craftsmen of Naples have perfected over the years, an Isaia garment is a real study in artistry so
much so that they can only press eight garments a day in their factory. Don't sleep on their shirts and
sportswear either. You can be sure that the same level of effort goes into all areas of the collection,
just give their shirts with a twisted sleevehead a try you'll notice the difference in comfort as soon as
you reach your hand up for the first time.
You will pay quite handsomely to add any Isaia garment to your collection, unfortunately. They offer
luxury, but like any brand that does so there is a luxury price-tag. However, when faced with
predicaments like this we like to consider the following: it is an investment. With such levels of
mastery in their contraction and fabric development, you are paying for something that will sit front
row and center in your closet for years to come. Don't be afraid of finding the perfect piece for you,
even if it is a little bit wild for an ordinary day at the office. "

 Isaia uses the very best fabric in the world with a floating, full canvas construction that allows the
chest piece to move with the body, resulting in a perfect fit. The soft rounded shoulder is an iconic
signature to Isaia suits and all sleeves are basted to allow the option of functional buttonholes.
Gianluca Isaia has earned a reputation as one of the world's finest clothing manufacturers. Isaia is
sold only in a select few of the very finest clothing stores in the United States as their premiere label:
Louis Boston, Wilkes Bashford, Bergdorf Goodman, Stanley Korshak, Neiman Marcus, Saks Fifth
Avenue, and others.

Suits usually cost between $3500 and $5500, Isaia of Napoli makes some of the finest handmade
suits and sportcoats in the world.

These suits are the top of the New ISAIA line, with tons of hand work and exclusive fabrics, not to be
confused, with the lesser quality Lines.

After perusing Web sites like IndiCustom.com and Z2JeansCo.com, I decided to design a
cropped skinny jean on MakeYourOwnJeans.com because the site offered that jean style and
appeared to have more features, like patches and zippers. (Note: In all these instances, I used a
personal e-mail address and credit card when ordering so the companies mentioned in this
article wouldn‘t know that I‘m a reporter.)

Hurdle No. 1: the site‘s design. It‘s cluttered and lacks 360-degree images and models, which
are key to the success of sites like Zappos and Net-a-Porter. Navigating
MakeYourOwnJeans.com was at times more exasperating than trying on jeans. This is a
problem with many design-your-own clothing sites, but it‘s glaring when customers are
evaluating denim style, weight and wash. Discerning the difference between ―posh‖ and
―body hugger‖ denims was like trying to tell the Olsen twins apart.

Then there was the matter of Lycra. How might my derrière benefit (or not) from 3 percent
Lycra? What about 2 percent? There was no way of knowing. That sort of thing should be
explained on the Web site.
Hurdle No. 2: taking measurements. This, of course, is critical. But the site needs clearer
instructions. A colleague and I had to go over them several times, and as veteran online
shoppers, we‘re not unfamiliar with measuring tape. We spent hours scrutinizing the site and
measuring my waist, thighs, hips, knees, inner and outer leg, and more. I‘ve had less invasive
doctor‘s appointments.

Yet it‘s crucial to be precise. There are no returns unless the measurements of the jeans you
receive differ from those you submitted.

The fun came when it was time to choose details like pocket style, thread color and
embroidery. All of the above come at an additional cost to the $50 price of the jeans. I added
zippers at the ankles ($10) and Levi‘s-like stitching on the back pockets ($2).

Multimedia




When I finally clicked a button to place the order, I was promptly informed that my credit
card was charged $3,462. A hot wave of panic surged through me along with words like
―idiot‖ and ―you‘re fired.‖ Moments later I realized it was 3,462 Indian rupees, about $77
(including shipping).

Hurdle No. 3: more measurements! Five days later, I received an e-mail from Make Your
Own Jeans asking me to reconfirm the outer leg length and, if possible, to provide the inseam
measurement, too. I wanted to scream. My more rational self, however, was impressed that
the company checked to make sure I wanted cropped jeans. I sent a note back and received a
near instantaneous reply. Points for customer service.

About two weeks later, the jeans arrived from Mumbai. They looked quite nice from the waist
to the thighs. But below the knees? Picture a denim Ace bandage. I ordered skinny jeans. I
received jeggings. The denim is thin, so the pocket lining showed through. Colleagues added
that they were turned off by the MetroCard-size label sewn onto the rear. The company offers
back pocket designs meant to resemble that of ―name‖ brands, but that label is a dead
giveaway that you are, in fact, not wearing designer jeans.

Some details were great, like the zippers and denim color. Yet I wish I had subtracted some
Lycra and added an inch to the knee measurement. The site says it will create the proper
―loosing‖ at the knees, but what I have is more aptly described as ―sausaging.‖

SWAG
What do customers, friends, the socially networked, users, neighbors, classmates, servers,
administrators, employees... maybe even brands... want?

notice me
like me
touch me
do what I say
miss me if I'm gone




What we’re looking at is strong, highly tailored and developed outerwear from the Seattle staple
brand.


Luxury is looking more like an industry than an elite association of craftsmen and couturiers
seeking to create meticulously made objets de luxe. There is no denying that in the last few
decades the luxury fashion industry has become, well, a fully-fledged business – where the
focus is just as much on mass-producing, marketing and merchandising than manufacturing
fine garments or accessories.

The once-gemütlich family-run, artisanal luxury masons of yore have transformed or been
swallowed up by tightly managed conglomerates, where expressions such as economies of
scale and vertical integration are the rallying-cry of the boardroom. The corresponding shift
that ensued has seen luxury goods, once the preserve of an extraordinarily rarefied few,
become akin to very expensive commodities, desired by the masses and ever more readily
accessible.

Indeed, the new luxury business model is predicated largely on a dual emphasis: on
desirability, as a result of harnessing the power of the luxury brand to seduce and attract
new customers into the fold; and on availability, as a result of both opening up distribution
channels to reach a larger population, and offering a price-point structure which allows
virtually anyone to buy into a piece of the luxury magic.

Brand extensions and entry level products have added further to this dimension of
accessibility in the luxury equation. Cosmetics, small leather goods, eyewear and soft
accessories have brought luxury to the reach of the many. Nonetheless, the paradox which
has resulted is unsustainable – surely, a $30, mass-produced, mass-distributed eau de
toilette is not luxury, however fabulous the accompanying advertising campaign?

Over the years, the luxury brand has risen to become a globally-recognized guarantee,
bestowing on the wearer attributes of distinction, discernment and power. Indeed, the
expression “spending power” exemplifies the semantics of luxury, where consumption is
inextricably linked with wealth and status. This makes for a heady and intoxicating mix – and
a cynic may argue, a marketer’s dream.

While the broadening scope of luxury may be an issue to some, what is perhaps more
insidious is the continued stubbornness in calling it luxury.

The word “luxury” is typically defined as describing products or services of a very high
standard, which above and beyond their functional utility give pleasure or comfort, are
difficult to obtain and bring the owner self-esteem. In economic terms, luxury goods are
classified as Verblen goods – that is, items for which demand increases in proportion to the
price.

While the economic phenomenon of masstige (or, “mass prestige” – a term intended to
capture how luxury has now become a mass phenomenon) is well-documented, the
linguistic aftermath of this phenomenon remains a problem. The term “luxury” has been so
indiscriminately bandied around – together with its other two ugly stepsisters, “exclusive”
and “limited edition” – to the point where, truly, words have lost meaning.

Recently, the municipal government of Beijing has banned all use of the word “luxury” in an
effort to placate the gap between rich and poor, and discourage “hedonism and spiritual
emptiness.” While I am not sure whether I can fully agree with the reasoning – after all, I
doubt very much that a sharp economic gap can be defined solely by the consumption of
luxury goods – I can only wryly smile at the effect, and wonder what would happen if all of
us luxury marketers had to suddenly drop the word “luxury” from our vocabulary?

Several high-end fashion brands seem to have begun to corner a niche best described as
“excellence” – where the focus seems distinctly on capitalizing on areas of expertise and
creating a transparent value proposition – stripped of the shackles of “luxury” semantics.
Shifting the focus away from luxury may prove to strategically be a very smart choice indeed.

Linguistically,   “excellence” seems to require more of a qualifier – for instance,
excellence in developing innovative fabric techniques, excellence in tailoring and cut,
excellence in creating novel prints, excellence in providing the fresh, modern woman of
today a viable work-to-evening wardrobe. In opening up the conversation to those unique
identity features that differentiate the brand, fashion marketers could find themselves
actually needing to dig deeper into what makes the particular brand special.

FLY STITCH DETAIL




The criss-cross stitch detailing on the inside of the fly is a detail that could easily have been
overlooked or simply left out in favour of saving cost or time. But Fallow don‘t think in such
terms.

What they care about is making their jeans in their way, and this one detail, in all of its neat
and elegant simplicity, sums up what ―their way‖ is all about.

SEAMS




Fallow were very specific when designing their jeans that the inside should not be an
afterthought. They wanted a pair of Fallow jeans to look neat and precise even when turned
inside out.

Inside, seams are neat and precise, the product of an ordered mind and a focused design
process.
I had a conversation with a group of people that worked in the luxury industry, as I do, and
almost everyone in the group prefaced their contributions to the dialogue with several
versions of “Luxury isn’t saving any lives…”

I happen to disagree.

Luxury is not saving lives in the traditional sense, but the above sentence concerns more
than just performing heart transplants and brain surgery. The statement is an implication
that the jobs we perform are somehow inferior to that of, say, a doctor. I am not suggesting
that we should have stylists going into the field side-by-side with medics to assist disaster
relief in third world countries. It is just that every individual person has his or her own role in
this world.

Many people in our business are especially focused on the mindset of the aspirational
consumer. This is because we are an enterprise built on a foundation of wealth and the
people who aspire to be wealthy. We are the front lines of this movement. We manufacture,
design, sell, and suggest what people not only want, but hope to have one day. This is a very
important cog in the machine of our society. The people at the top of the financial food
chain have made it there by:

a. Working hard in order to have a comfortable life.

b. Being born into wealth and working to maintain their existing comfortable life.

We provide this life not only for the affluent, but also in the minds of all of the hard working
people that desire to be there one day.

We also help provide individuals who are one step closer to their aspirations, be it financial
or otherwise, with the confidence to take the final leap. For example, a medical student
(poised to be very successful in his field) walks into a department store in preparation for
interviews with a number of illustrious hospitals in order to land the best residency he can.
This young man has the ability to effectively cut you open and replace one of your organs,
but when it comes to picking out a shirt-tie combination, his brilliance escapes him. At the
moment, the latter is most important because if he doesn’t feel confident on his interviews,
he may not get the job that will allow him to save lives in the most traditional sense. I know
that this perspective may be a stretch, but it is a very real scenario in the minds of many
people in the midst of getting married, walking a red carpet, or going for the career of their
dreams. Our roles are defined. We are here to motivate, inspire, and fuel those who aspire.
Not to mention, we make you look good.



Fashion Fridays is a weekly column where we celebrate the arrival of the weekend a bit early
by taking a break from the business side of things.
Stitched Up
In Bespoke | Tags:




Padding stitch at Richard James Bespoke

Padding stitch on a chest piece at Richard James Bespoke. It‘s done with basting cotton or,
occasionally, silk and is used to attach the dimet (the visible, soft black fabric) to the haircloth
and canvas and so give a suit coat structure. And it‘s also one of the first things that an
apprentice tailor learns to master.
Both basting cotton and silk are very fine and move easily and naturally. The stitches are
relatively long so they don‘t pull at the chest piece and cause bunching, which can show
through the cloth and spoil the cut of the suit.
                 We have received some month ago the Il "Bussetto" coin pouches.



        Il “Bussetto” is specialised in the production and distribution of small leather goods.



    The Il "Bussetto" craftsmen still use an ancient Italian technique which allows the creation of
                          complex objects without using any kind of seams.



The products are completely hand made and the time required to create them is very long; they have
  decided to follow the tradition because they think that the high quality and the originality of our
                 products are the points of strength and of distinction of the brand.




I’m now a sucker for high waist everything, but more specifically high waist denim. The
summer sun requires shorts and a high waist pair is just what the doctor ordered. I’ve
started amassing quite the collection as of late… For example, the printed shorts I received
in the mail from my little sister and a pair of regular dark wash denim shorts too that I can’t
seem to remove. Here’s why, you too, should embrace a great pair of high waist denim if you
haven’t already:

      Body Shaper: They act as a body shaper giving you a nice long and lean streamlined look
       from head to toe.
      Non-existent Muffin Top: Say goodbye to muffin tops – a high waist pant never fails to hide
       these.
      Cropped Tops: Notice the exploding myriad of cropped tops… They are perfect for pulling a
       high waist ensemble together.
      Bye, Bye Plumbers But: No longer do you have to worry about your undergarment of choice
       hanging out the back of your jeans when you sit down… Or, the even worse occurrence,
       plumbers butt.
      Slim Waist: We are women and, naturally, have pretty tiny mid sections which are otherwise
       hidden by baggy tops, but not with a high waist pair of denim. This will showcase your
       womanly figure with beauty and ease.
      Versatility: You always have the option of wearing a longer top with a high waist pair of
       denim and the best part about that is that extra material is like your own personal pair of
       spanx. A flowy top works best!
      Channel Your Inner Flower Child: The 70s were cool and even if you already enjoyed that
       decade thoroughly it can be a great throwback…
      50s Sophisticate: If you’re not into the whole flower child thing, you can button up in a more
       classic, sophisticated way that’s reminiscent of the 50s.
   Mens Wear: Only my favorite kind of dressing. If you fancy, you can just dress tres chic in
    masculine attire and a high waist pair of denim will help to give you that extra buttoned up,
    slightly masculine look.






   (via ―THE HIGHRIDER‖ ZIPPER FLY RAW SELVEDGE JEANS, HICKOREE‘S
    EXCLUSIVE :: HICKOREE‘S HARD GOODS)
   These are like the All-American New Standard, except for the deadstock WWII Swiss
    army bed linen pocketbags. Besides that, they‘re like something that would have been
    sold in the 40‘s.
        ““Italian brands have always had a huge presence in the US market, but right now you’re
        seeing a lot more interest in smaller artisanal manufacturers from Italy,” says Josh Peskowitz,
        style director of Park and Bond, an American based e-commerce site launching in September
        that will largely cater to this demand. “The way men are dressing in America is
        slowly but surely shifting away from the idea of Americana, and back to
        a focus on tailoring, and the use of tailoring in a casual context – which is
        what Italians do best. The idea of being dressed is becoming more important to the younger
        generation of American men. Their fathers may not have done it, but their grandfathers
        did.”” - Monocle
        -----------------------------------------------------------------

Once upon a time, luxury goods makers delivered individualised products to customers based on the
buyer‘s personal preferences, tastes and budget. It was a process that often involved a series of face-to-
face interactions between individual clients and the skilled artisans who would craft the goods. But as
mass production began to replace craft production as the dominant form of economic activity, the
voice of the individual customer was mostly removed from the equation at all but the highest levels of
the product pyramid. Indeed, Henry Ford, who is credited with inventing assembly line production,
once said: ―Any customer can have a car painted any colour that he wants so long as it is black.‖


But today, the rise of a new mode of production called ―mass customisation‖ promises to restore
individuality to the product design process. In a recent report entitled ―Mass Customisation is
(Finally) the Future of Products,‖ Forrester Research describes the process like this: ―Mass
customisation bifurcates the product experience of customers into two stages. First, the customer
participates in design by making choices around particular features. Second, the manufacturer
produces a unique built-to-order product for delivery to the customer.‖

The idea of mass customisation is not new. Joseph Pine published his seminal book Mass
Customisation back in 1993. And sportswear giant Nike first launched its highly successful mass
customisation platform Nike iD — allowing consumers to add a personalised look and feel to select
shoe models — back in 1999. But according to Forrester, many mass customisation strategies have
failed due to poor implementations, inability to manage cost and immature digital experiences.


Now, although only 6 percent of customers report having used a configurator (nikeid.com, for
example) to customise products, the research firm believes that ―mass customisation has finally hit an
inflection point,‖ for a couple of reasons: personalised digital experiences like Pandora and Facebook
are raising consumer expectations, while the configurators themselves — the digital tools consumers
use to visualize and build their products — are becoming cheaper, richer and easier to deploy.

For the luxury fashion industry, this represents a significant opportunity. ―People are tired of putting
up with the same thing being made en masse for the masses — this is particularly important for
fashion where every body is unique,‖ Joseph Pine told BoF. Indeed, when considered in the context of
widespread sizing unreliability — nicely documented in a New York Times piece entitled ―One Size
Fits Nobody‖ — mass customisation extends the promise of clothing that‘s perfectly designed to fit the
individual, at price points that are accessible to consumers who could never afford bespoke clothing.

But there is also another reason. On the one hand, purchasing luxury fashion is about being ―in
fashion‖ and participating in a group movement. But on the other hand, it‘s about expressing
uniqueness. In a 2009 paper entitled ―The Law, Culture and Economics Of Fashion,‖ authors C. Scott
Hemphill and Jeannie Suk called this behaviour ―differentiation and flocking.‖ It‘s a concept that Anna
Wintour captured particularly well in the August 2008 issue of Vogue, noting in her editor‘s letter that
what‘s admired in fashion is people simultaneously ―looking on-trend and beyond trend and totally
themselves.‖


In recent seasons, luxury fashion brands have launched customisation platforms like Louis Vuitton‘s
Mon Monogram, which lets consumers add personal initials and colours to the brand‘s bags, and
Prada Customize, which lets people add personal lettering to bags and configure their own shoes
and sunglasses. But while these brands offer only light aesthetic customisation, British luxury brand
Burberry has announced plans to go one step further, allowing true functional customisation. Last
November, at the IHT Luxury Conference, chief executive officer Angela Ahrendts and chief creative
officer Christopher Bailey revealed that the firm was launching an online initiative called Burberry
Bespoke that would give consumers the ability to order their own customised trench coats, selecting
styles, fabrics, colours, buttons, studs and other parameters. ―There will be more than 12 million
options,‖ said Bailey.

But with so many options, brands face what Barry Schwartz called the paradox of choice, which,
according to Forrester, can lead to abandoned efforts amongst consumers who fear that they might
make mistakes, or that the process will require too much work. Luxury brands, in particular, face
another hurdle: how can they ensure that the product being created is still in good taste?

Yet there‘s little doubt that mass customisation increases product differentiation and has the potential
to drive higher customer satisfaction with the promise of a product that‘s exactly what the customer
wants. A customised product also delivers a sense of accomplishment and personal value because the
consumer has played an important role in designing it.

Mass customisation also has operational benefits. When consumers order a customised product, they
pay for the product before it goes into production, limiting the need for firms to forecast demand and
hold inventory. ―Stop manufacturing in the hope of a future sale, holding that inventory for months,
and then selling it at a loss,‖ advised Pine. ―The savings on inventory and the increase in cash velocity
should more than cover any increase in unit costs,‖ he continued.


But luxury brands aren‘t the only ones launching mass customisation platforms. San Francisco bag
company Rickshaw invites consumers to customize an array of inexpensive messenger bags and
technology sleeves, while Denim Refinery lets people ―individualise‖ their old denim, breathing new
life into old goods and proving that mass customisation has applications at all levels of the market.


So how might luxury brands differentiate their offerings?


Back when craft production was the dominant economic activity, luxury goods makers offered their
clients more than a list of possible options from which they were to configure their own products.
Alongside an array of options, they offered expert advice that was tailored to the individual, with
whom they often had a personal relationship. Indeed, when a client went to a master craftsman,
product design was a collaborative process that usually got better over time.


For luxury brands, critical to the success of their mass customisation strategies is what Pine, Don
Peppers and Martha Rogers described in an important essay that appeared in the Harvard Business
Review back in 1995 as ―a learning relationship‖ between producer and consumers, ―an ongoing
connection that becomes smarter as the two interact with each other, collaborating to meet the
consumer‘s needs over time.‖


Yet luxury is not just about perfectly serving the needs of the client. According to J.N. Kapferer and V.
Bastien, authors of The Luxury Strategy, the luxury industry was born when artisans and
craftsmen stopped simply carrying out the commissions of their clients, and instead, surprised them
with their creativity: ―No longer was the craftsman prepared to go cap-in-hand to visit the client;
instead people went to see their latest collections, their new creations.‖

        Indeed, it‘s customisation platforms that have the ability to anticipate, and not just cater to,
        personal tastes in order to surprise consumers, as well as carry out their will, that may present
        the most potential for luxury fashion brands.

Every style is not for every one. The key is to find the style that fits not only the
body, but also the personality.
The Guerreisms List of 36 Things every man should do before dying.
You have become accustomed to seeing the images on the site, but should also
expect to read some gems from time to time. Recently I came across an Australian
Magazine (Men‘s Style) and their list of 69 must do things… So out of inspiration I
wrote my list before reading theirs … only to find that great minds think alike on
many things)


I present to you 36 things every gentleman should do before dying. Of course this
is not etched in stone (or in any particular order) and you may decide some don‘t
apply… the point is to create your list at some point and do your best to live it.

Because Street Style should never be just about street photos…


1. Travel to Paris, and New York.
These cities have a certain mystique about them… it‘s well deserved. Plan to visit
one (preferably both) and be sure to experience what makes those cities unique.
Side note - Real gentlemen don‘t do tour buses.

2. Master the omelet.
This is one of those things every man should learn. know how to create an omelet
and know how to find those hidden and forgotten items in your refrigerator.
Nothing goes better with that good morning kiss than that good morning breakfast.

3. Travel to a third world country.
Nothing will ground and humble you more than this experience. walk down a third
world street and take a moment to reflect on what‘s important in your life.

4. Get a manicure.
A real manicure and afterwards, might as well cater to your shoes - get an old
fashioned shoe shine outside while people watching.

5. Throw a real party.
I mean prepare every detail. from rolling the sliced turkey, to mixing the olives, to
slicing the french bread, to lighting the candles. Select the right music„ chill the
white and let breathe the red wine. Throw a white table cloth on the table and invite
the big boys.

6. Write a love letter.
A high school note doesn‘t count. Take time to write a real love letter to someone
deservant. No e-mail, no text, a hand written love letter that speaks from the soul.
(keep a copy for yourself, you‘ll be glad that you did in the future)

7. Establish a reputation
A gentleman, a scoundrel, a dandy, a lazy bum. People will perceive you a certain
way and there is power in perception. Hopefully you‘ll choose to present yourself
in a favorable way.


8. Give something away just because.
One day when someone tells you they like something you have, just give it to them
as a gift. it may be a book you‘re reading, your watch, your pen, the point is to
simply give away something simply because the person complimented you on it or
because they noticed it.

9. Fast for 3 days.
Not a juice fast where you fill your belly with sweet stuff, go 3 days only
consuming water. Take time to reflect on yourself, your life, and literally let the
inner you relax.

10. Give up something you enjoy.
Practice self control and decide to simply give up something you enjoy. be it soda,
a certain type of meat, candy, a tv show. The point is to practice self control, you‘ll
be fine… even a bit stronger.

11. Buy an Antique.
Take a day and search through an antique shop. Find a piece that you enjoy and add
it to your home. Find a piece that adds character to your home and you‘ll find it
may become one of your favorite things at home.

12. Repair a piece of furniture.
Now I don‘t mean go build you an elaborate cabinet with hidden compartments, or
putting together an piece from Ikea. Take the time to strip down a table, buff it,
refinish it. No need to make it a habit, but at least experience it once.

13. Play chess.
If you don‘t know how, learn… if you already know how, play it more often. Chess
is for the big boys, gentlemen don‘t play checkers.

14. Have a suit tailor made.
Pick out the material, discuss the process with your tailor, enjoy he measuring
process. While everyone can‘t afford a bespoke suit, this is one of life‘s guilty
pleasures you should make a point of experiencing.

15. Give away a keep sake.
Find an item, hold on to it for a while (maybe a coin, a token, a lucky pebble, a
money clip) then give it to a friend after you‘ve had it for a while.

16. Write a book.
Now everyone may not be able to do this, but everyone should at least try. Take
time to document something worth documenting.

17. Have a hobby.
Every gentleman should have at least 1 hobby. be it card collecting, stamp
collecting, pens, or watches. Nothing gives you as much peace of mind as sitting
home relaxing looking over what you‘ve taken time to gather.

18. Spend a quiet evening ALONE.
Cheese, wine and candlelight or a cold beer and pizza - learn to enjoy your own
company.

19. Vacation alone.
This one needs no explanation… ALONE.

20. Have a wall full of photos.
Select a section on your wall and frame photos of close friends, family and loved
ones in general. A picture paints a thousand words… a wall full of photos speaks
volumes of love.

21. Stay up all night working.
I‘m not talking about working the graveyard shift. Spend all night working on
something you enjoy, something you‘re passionate about. Then, look out the
window at daybreak before you go to bed.

22. Bid at an auction.
Don‘t just bid, WIN. it may be an item you may not cherish forever, the point is the
thrill of the win.

23. Strike up a conversation with someone you’re not attracted to.
Take the time to strike up a conversation with a woman on the merits of simply
making her smile. Not because you think she‘s beautiful, but simply because
making a stranger smile is a beautiful thing.

24. Celebrate your birthday.
Celebrate your birthday by giving something back to the world. It has allowed you
to see another year, why not give back… write a book, a poem, make it about what
you give, not what you get.

25. Buy a painting.
No litho, no generic painting, save up some money and buy an original.

26. Prepare a picnic.
Plan it, surprise her, and enjoy it.

27. Custom make a piece of jewelry.
Although you may think it may be too expensive, you‘d be surprised. Design a
piece and bring it to a jeweler. It‘ll have a special meaning and will be one of a
kind … like you.

28. Write yourself a note.
Write about the temperature, how you feel that day, your thoughts on love, life and
in general. Date it and tuck it away Come back to it a few years later (if you
remember where you hid it) and reread it.

29. Dance the Waltz.
At least (try it) once. You‘ll be surprised…. and the electric slide!

30. Write a thank you note.
Write a note to a close friend, a family member simply because. Let them know
what role they played in your life.

31. A Kodak moment.
Capture a special event on film. Time surely flies, but memories have a way of
lingering when captured.

32. Buy an Item with the intention of giving it away.
Save it for someone much younger and give it to them when they can appreciate it.

33. Volunteer for a good cause.
Invest one day in something you always wanted to support. giving back is golden.

34. Buy an elderly person lunch.
One day while you‘re buying yourself lunch, just turn around and offer… no, insist
on paying for the elderly person‘s lunch behind you.

35. See an opera, and/or play.
Dress the part.

36. It’s deeper than Fashion - Live with style..


+1. An anonymous person sent me a comment and corrected a few errors that
he/her found. This led me to add one more thing to the list.
Humble yourself when wrong, and acknowledge your mistake(s).
Thank you anonymous.

Never wear matching tie/bow tie and pocket square.

1. If it already comes as a set, where‘s the creativity? where‘s the style?
2. Finding a right combination is part of the expression of the individual.

3. There should be one color in common between the tie/ bow tie or shirt and the
pocket square.

4. Matching tie and pocket square is a sure sign of a style novice

Be Playful.

Be playful as in colors and in the small details. Sprezzatura is not something
everyone knows, understands and even less master it (I won‘t even define it here).
On someone young it sometimes presents itself as forced, however on the right
person it‘s the exclamation point behind the thought … ―yes, I‘ve got it and I have
nothing to prove!‖

"Our premium Goodyear Welted shoes continue to be made in England and take eight weeks to
produce. Some 130 skilled craftspeople, up to 75 shoe parts and approximately 200 different
operations are involved. Only the very highest quality materials are used. This film gives you a unique
insight into Loake and an intricate construction with origins that can be traced back over 300 years."
In Neapolitan dialect, there’s the expression “anema e core” or “heart and soul.” It’s what goes into
those suits. - Isaia
Find things that others have accepted as the status quo and make them significantly, noticably and
remarkably better
“E’ mane ’n cuollo m’e ponno mettere sulamente mugliereme e o’ sarto (I allow only my wife and my
tailor to touch me)”

- An old saying used by the gentry in Naples, Italy
Shops are like gatekeepers! They decide what reaches the consumer
Denham Social Jacket




Denham combines elements from a WW2 field jacket and a vintage motorcycle jacket to
create the Social. The new jacket is constructed from a waxed canvas shell made from British
Millerain and is finished with details like military twill panels and rifle-shoulder quilting that
was added to help with the strain of a messenger bag strap when worn across the chest. Link

Denham the Jeanmaker - 1st Edition
Passion and a penchant for special detail are what motivate Jason Denham. His signature style and
design vocabulary are clearly recognisable in each of his pieces. Inspired by traditional workwear from
the pre-denim era around 1840, the English designer developed the models VIRGIN CROSS BACK
and VIRGIN SKINNER. The jeans are made with particularly robust denim, manufactured on original
American Union Special machines with 13 stitches per inch.

The CROSSBACK fit was chosen in the much-loved 5-pocket cut with a tapered silhouette. A
sophisticated detail is the lengthened chinch back application with four buttons. The SKINNER jeans
are presented in a narrow tapered cut. Special highlight of both models from the VIRGIN collection are
the 7-point pockets whose design are based on the natural 7-point anatomy of the hand. Two points
flank the pocket opening whilst the star-shaped design of the pocket is fitted to the five fingers of the
hand. Fine Otaku details like the belt loops, embellished with decorative stitching, make this limited 1st
edition a much sought-after denim product.

This season available exclusively in the 14 oz. store in Berlin and the three Denham stores in
Amsterdam, Tokyo und London.




MCMXLVI                                                                = 1946
Seeing Italian History in Renato Ciardi




This is a jacket by Renato Ciardi, one of the many famous tailors in Naples, Italy. If you know
a little bit about the jacket, you can read a lot of the history of Neapolitan tailoring in the
garment. You see, Ciardi was trained under Angelo Blasi, who is this man.
In the early 20th century, Blasi was one of the most famous tailors in Naples, but not for
making the unstructured, soft shouldered Neapolitan cut we understand today. Instead, he
made his version of a British jacket - a structured coat with padded, narrow shoulders. You
can see it in the picture, in fact, though the particular jacket he‘s wearing doesn‘t have very
narrow shoulders. Still, the shoulders are squared off and you can tell that the jacket is not
terribly lean.

So how did the Renato Ciardi, an apprentice of Angelo Blasi, end up making this?
The jacket looks nothing like what Blasi would train someone in. The shoulders are unpadded
and sloping. It‘s much more ―natural looking‖ than Blasi‘s cut, conforming more to the
wearer‘s body and giving a soft, casual feel. It‘s also a bit trimmer in the body.

The answer is in Vincenzo Attolini, a contemporary of Angelo Blasi, who worked as the main
cutter at London House, a tailoring shop run by Gennaro Rubinacci. Where Blasi made a
Neapolitan version of a British suit, Attolini revolutionized the Neapolitan suit. He borrowed
a technique from Domenico Caraceni, a Roman tailor who was making suits with softer lines,
and brought it to Naples. Attolini took out all of the structure in the British jacket and made it
much more distinctive. Here‘s an example of one of his jackets.
This is the Neapolitan style - or some would even say Italian style - that we know today. It‘s
soft, unstructured, and feels very casual. The shoulders are also a bit extended, more so than
what Blasi used to cut. This style has been popularized by many other tailors, including those
that didn‘t train under Attolini. Renato Ciardi, in fact, is a perfect example. Here is a tailor
who was trained under the Italian-British style of Blasi, but ended up with an Attolini cut. In
the history of Italian tailoring, it‘s hard to name someone who casts a bigger shadow than
Vincenzo Attolini.

Check out Put This On tomorrow when I talk about this and many other issues with
Gianluca Migliarotti, the director of O‘Mast.
The small scale context means we can devote time and effort to
details that would not be possible in a mass produced context
We did. Not set out to make an expensive product, it's more a by-
product of using select materials using skilled crafstpeople and
construction techniques

BoF Exclusive | Dolce & Gabbana Talk Digital
Posted: 12 Jul 2011 05:32 AM PDT

MILAN, Italy — The Business of Fashion is pleased to share the first ever in-depth video interview
with Domenico Dolce and Stefano Gabbana, discussing the digital strategies that in 5 short years have
transformed D&G from a ―closed‖ brand to an ―open‖ brand, where digital is now intertwined into the
DNA, providing realtime, behind-the-scenes access via three separate Twitter accounts, a Facebook fan
page with more than 3 million fans, a slew of digital content initiatives including Swide.com, and a
new online store for the Dolce & Gabbana mainline that launches today.

Speaking exclusively to BoF founder Imran Amed at an interview recorded in June at London‘s
Mandarin Oriental Hotel, monsieurs Dolce and Gabbana speak candidly, not only about the way they
use digital technology in their business, but also how it has impacted their own lives, and how this has
changed the way they work with each other, and with their teams.


While other brands may get more kudos for their digital tactics, Dolce & Gabbana are careful to point
out that they were the first luxury fashion brand to have a mobile website (2004), the first to
livestream a fashion show (2005), and the first to live stream a fashion show on an iPhone (2009). In a
savvy PR move, D&G put bloggers in their front row in September 2009, mixing in Bryanboy and
Tommy Ton with Anna Wintour and Suzy Menkes, creating an image that will no doubt stand as visual
marker of a watershed season in fashion history.

At the core of this digital innovation is a culture that fosters risk-taking, something that has always
been a part of D&G, right back to the time when the business was set up as an entrepreneurial venture
in Milan just over 25 years ago. ―We are never satisfied,‖ explained Stefano Gabbana, ―maybe this is
the trick of always moving forward.‖


For his part, Domenico Dolce said that risk-taking is also enabled by the fact that D&G is a private
company, which can make decisions as it pleases. ―If we have an idea, we use it…we decide what [we]
want, when [we] want, in which way we want‖ to do things, he said.

―It‘s a new language,‖ continued Mr. Dolce, likening it to a time in the late 1970′s when the first
generation of Italian mega fashion brands of today, such as Armani and Versace, were just emerging.
―I think today is a very special moment in the fashion business.‖


RSS and email subscribers, please click here to watch the exclusive interview with Dolce & Gabbana
Articulating your preferred use case (what's it for?)

It's possible to open a can of paint with a $500 Kramer knife. Not likely, and certainly not a
market segment that's going to help Kramer's business flourish.

At many suburban libraries, the majority of patrons do nothing but 'rent' popular movies on
DVD. This isn't an efficient use of the space or the staff, but that doesn't make it any less
common.

Some non-profit organizations are organized to get donations in dollars and dimes, and while
they won't turn away a $50,000 bequest, it's not something they're focused on.

Every organization starts with a (usually unarticulated) use case. The founders imagine the
best use of their product or service, the situation that they're organized around. It can involve
answers to the following questions:

      How does someone find out about what you do?
      How much do they pay for it?
      When they're engaging with you in the very best way, what happens? What's accomplished?
      What do they do after they use it?
      How often do they return?

If you put a fancy restaurant on a fancy street, your use case doesn't involve nannies with a
few kids coming in for just a cup of coffee. On the other hand, that might be exactly what a
cafe down the street is hoping for.

If your blog is designed for regular readers and a thoughtful dialogue over time, then
generating traffic with linkbait, while possible, isn't going to make the blog work better.

There are two reasons to articulate your use case. First, it helps your staff, your designers,
your marketers and your sales force get on the same page about what they're building and
growing. And second, it might be unrealistic. You might be hoping for a market that's far
bigger than it is, or to solve a problem that's too easy (or too difficult).

When Apple designs a hardware device or a singer records an album, the question must be
asked, "What's this for?" Sure, people can run an accounting business with an iPad, or play
one particular song on the album at a party, but is that what it's for?

Many organizations will take any customer, any time, and bend and writhe to accomodate
money in whatever form it arrives. Other, happier organizations understand the benefit of
optimizing for a certain kind of interaction, and they have the guts to decline the part of the
market that doesn't want to use their tool/organization the way it was intended

You'll often be wrong about what the market is and what it wants. When that happens, time to
either shift your use case (and the way you're organized around it) or stick it out but be
prepared for a long, tough slog.
Articulating your preferred use case (what's it for?)

It's possible to open a can of paint with a $500 Kramer knife. Not likely, and certainly not a
market segment that's going to help Kramer's business flourish.

At many suburban libraries, the majority of patrons do nothing but 'rent' popular movies on
DVD. This isn't an efficient use of the space or the staff, but that doesn't make it any less
common.

Some non-profit organizations are organized to get donations in dollars and dimes, and while
they won't turn away a $50,000 bequest, it's not something they're focused on.

Every organization starts with a (usually unarticulated) use case. The founders imagine the
best use of their product or service, the situation that they're organized around. It can involve
answers to the following questions:

      How does someone find out about what you do?
      How much do they pay for it?
      When they're engaging with you in the very best way, what happens? What's accomplished?
      What do they do after they use it?
      How often do they return?

If you put a fancy restaurant on a fancy street, your use case doesn't involve nannies with a
few kids coming in for just a cup of coffee. On the other hand, that might be exactly what a
cafe down the street is hoping for.

If your blog is designed for regular readers and a thoughtful dialogue over time, then
generating traffic with linkbait, while possible, isn't going to make the blog work better.

There are two reasons to articulate your use case. First, it helps your staff, your designers,
your marketers and your sales force get on the same page about what they're building and
growing. And second, it might be unrealistic. You might be hoping for a market that's far
bigger than it is, or to solve a problem that's too easy (or too difficult).

When Apple designs a hardware device or a singer records an album, the question must be
asked, "What's this for?" Sure, people can run an accounting business with an iPad, or play
one particular song on the album at a party, but is that what it's for?

Many organizations will take any customer, any time, and bend and writhe to accomodate
money in whatever form it arrives. Other, happier organizations understand the benefit of
optimizing for a certain kind of interaction, and they have the guts to decline the part of the
market that doesn't want to use their tool/organization the way it was intended

You'll often be wrong about what the market is and what it wants. When that happens, time to
either shift your use case (and the way you're organized around it) or stick it out but be
prepared for a long, tough slog.

At a party last week a nice young man asked me what my top five tips would be for wearing
suits. It sounded like a nice practical question, so here we go:
1. Have a ready-to-wear suit altered
Most men that buy suits don‘t have them altered, but for £50-£100 you can make the suit look
twice as good and twice as expensive. Always put that money aside in your budget when
buying ready-to-wear. Make sure the neck and shoulders fit well when you try it on; don‘t
worry about the waist (trousers or jacket) or length of sleeves or legs. Then get all those
points altered - and make sure it‘s done by someone good, preferably a tailor, so the waist
adjustment is worked effectively into the chest and skirt.

2. Button your jacket
There‘s no point having a suit that fits if you don‘t button it up. When you‘re standing, it
should be buttoned. Always the waist button (top on a two-button suit, middle on a three-
button), never the bottom button and only the top if it‘s a three-button suit with no roll. As the
folks at Wilkes Bashford put it to me yesterday: remember ‗sometimes, always, never‘ when
looking down a three-button jacket.

3. Made to measure and bespoke is worth the money
In the UK you may find that a ready-to-wear suit costs around £400, made to measure is £600
and bespoke over £1000. Each one is worth that money in terms of how it will fit, aside from
questions of quality or longevity. Some body shapes get more out of MTM or bespoke, given
their lack of average proportions, but I maintain that it is worth the money for anyone. Spend
your money on these levels of fit rather than on bigger labels or more expensive cloths: a
bigger Super 100s number just means it‘s thinner.

4. Spend money on shoes
Whenever you see someone in a nice suit, the next thing you do is look down. And their shoes
nearly always disappoint. Too many sharp suits are worn with sharp (read pointy) shoes. This
is largely because cheap oxfords and derbys put men off and they don‘t think it‘s worth
spending hundreds of pounds on shoes. It is. Spend at least half the money you‘re spending on
your suit on a good pair of shoes. A bespoke suit deserves Edward Green, not Barker.

5. Have some colour, somewhere
If you don‘t like ties, that‘s fine. But for god‘s sake find a way to wear some colour
somewhere else. A pocket handkerchief, a cardigan, anything. There‘s nothing more
depressing that seeing a group of young men outside a pub where everyone is wearing a dark
suit, a blue shirt and plain shoes. You all look the same and you all look dull. Find another
way to introduce colour or, reconsider the tie. There are few enough excuses for a man to
wear coloured silk around his neck without fear of ostracism. Take advantage of it

Don’t be a casual fascist. A man needs to kick back in his own inimitable methodology. I always aim
to overdress rather than underdress. It looks like I have someplace better to go later.

So if you’re on the market for chinos, where can you turn? Here are some options. Note that
in the interest of sizing information, I’ve included what I wear for most of these. I’m a size 32
in most pants, but sometimes have to size down depending on the cut. It’s probably also
worth mentioning that I have an Asian booty that’s flatter than a flapjack, so take that into
account when gauging whether my reviews will be helpful for you.

       Uniqlo Vintage chino ($50): Uniqlo’s Vintage fit chino is a nice slim cut model with mid-
        century details - watch pocket, decent hardware, and a slight herringbonish finish.
    Unfortunately, they also have a low rise, which makes them not as good for tucking in shirts.
    Still, for $50, they’re not bad, and if you’re in New York City, you can pick one up at any of
    their stores. Uniqlo should also have a website up at some point, but details on the drop date
    are fuzzy. I wear a 32 in these.
   Brooks Brothers Milano Fit chinos ($95): Brooks has a popular slim fit chino. They’re a bit
    tapered, which make them good for slim men, but not much so for heavier guys (tapered
    pants can emphasize your waistline). The material is a smooth plain-weave, which gives them
    an “office” feel. I prefer slightly rougher twill models, personally, but it’s a matter of taste.
    Unfortunately, Brooks only has a terrible peach colored version left, but they’ll restock their
    other colors soon, so just keep an eye out. If you catch them at the beginning of their sales,
    you can nab one for as little as $60, but otherwise they’re about $100. I find these fit pretty
    true-to-size. I wear a 32 in these, but can also size down to 30 for a slightly slimmer fit.
   Rugby university chinos ($70): Rugby’s University model fits very well if you size down.
    Whereas I’m normally a 32 in most pants, I wear a 31 in Rugby’s. They’re slim and have a rise
    that just hits the waist. They have a slightly worn finish, which means the colors are a bit
    faded and the edges are very, very slightly distressed. Nothing really noticeable, but it’s
    there.
   Bill’s Khakis M3 chinos ($67): Bill’s Khakis has three models, but only the M3 is anything
    that’s remotely close to wearable. Even then, you’ll have to get these slightly tapered. That
    job shouldn’t run you more than $20, however. So why buy something that doesn’t
    immediately fit well off the rack? Because these are some of the best chinos you can have
    after some alterations, and when Sierra Trading Post has them for $65, they’re a steal.
    They’re superbly constructed and made from a traditional soft twill fabric that’s free of any
    pre-distressing. They also feature deep pockets (a detail many brands are cutting back on)
    and have a rise that actually sits on my waist (not “just hits it”). The slightly higher rise will
    allow you to tuck in your shirt without making your torso look unnaturally big. I recommend
    sizing down a bit, but not too much. I wear a 31 in Bill’s Khakis.
   Ralph Lauren Preston chinos ($75): These are a lot like Bill’s Khakis - great construction, but
    not terribly slim (these are “grown up” chinos in a very real sense). However, like Bill’s, they
    hold a lot of potential. They have a slightly higher rise than Bill’s, which I like, but the pockets
    aren’t as deep. You’ll need to size down quite a bit to get these to fit right. I go down as far as
    30 personally.
   J Crew chinos ($60-70): I’m not crazy about most of J Crew’s stuff, but I think they’re worth
    talking about since almost everyone has a J Crew store near them. J Crew has a few different
    models, but I’ll only speak of the Urban Slim Fit and Bowery. The Urban Slim Fit doesn’t work
    at all on me, but I could see them fitting well on someone with a lot of junk in the trunk. The
    Bowery is much better - pretty decent slim fit, even though the construction is clearly more
    mass market. The price isn’t bad, however, especially given how often J Crew holds sales. You
    could probably snag these for $40 if you waited for the right opportunity. If you do, I
    recommend sizing down. I wear a 30 in the Bowery.
   RRL Officer Chino ($185): RRL, a Ralph Lauren brand, has has a pair of selvedge twill chinos
    that wears like selvedge dehim jeans. They’re meant to be worn as such, too - wear them
    hard and don’t wash them often. Soon you’ll see fades like you would with selvedge jeans
    (though obviously more subtle because of the fabric). They also have nice details, such as
    double canvas waistband (which makes them sturdier) and a button fly (which won’t give you
    a weenie tent like zipper flys do). The fit is a lot slimmer, however, than other models you’ll
    read about here. Part of this is just the style, but part of it is also to get the fading you want.
    The cut is definitely not for everyone, but if you’re used to wearing slim selvedge
    denim jeans, then you might want to consider these. Size down and expect a little stretching
       (I wear a 31). You can buy them in most Ralph Lauren stores, but if you’re not close to one,
       you can phone an order in. RRL is also going to get a website up sometime next month, I
       hear.
      Left Field ($198): The nice folks at Left Field sent me a free pair of these to try on. They’re a
       slightly more workwear version of traditional chinos. The belt loops are big enough to
       accommodate belts meant for jeans; the stitching is slightly more rugged; and the pants have
       a slight “work pant” feel. Like with most workwear/ heritage brands, the quality here is
       heavily in the details. There is a chain-stitched waistband, Corozo button fly, and Japanese
       chambray pocket bags. The fabric for the pants themselves are a ringspun cotton Japanese
       twill. I could see these working well for someone who has a Americana/ heritage sensibility. I
       recommend going true-to-size on these, but note that they fit slightly big in the seat, so you
       should probably have something more than my non-existent Asian booty if you want to wear
       these well.
      Unis ($228): I know what you’re already thinking. $228 for chinos!? Part of the reason why
       these are so expensive is because they’re made in the USA (as Eunice Lee explained to
       someone in the comments section of Well-Spent). As a political economist, I’ll admit, I don’t
       care for these kind of “Made in the USA” appeals. For me, I just care about fit, styling, and
       quality, and all these counts, Unis’ Gio chinos are pretty nice. They’re slim without being
       overly so, have the perfect rise, and feature nice details such as a button fly and Corozo
       buttons. They have an unwashed version if you need something dressy, as well as a garment
       dyed rumpled version if you want something casual. I wear a 32 in these, but could also
       easily do a 30. If money is less of an object for you, I would definitely recommend these.
      Others: There are other highly celebrated chinos. Howard Yount and Albam come to mind,
       but I don’t have any experience with either of them. Incotex and Mabitex are also a favorite
       for many people, including me, but the fit, styling, and finish on them vary so much that it’s
       not possible to write a generalizable review. You can find them in the Buying and Selling
       section of Styleforum, eBay, Yoox, and Gilt. A word of warning on those, however - buying
       them can sometimes be a gamble since they vary so much. Caveat emptor.

Lastly, for those who might be wondering: what’s the difference between chinos and khakis?
For pedants, chino is the Spanish word for Chinese. The original material for these pants was
a Chinese twill cotton, so they were colloquially called chinos. Khaki is the Hinidi word for
“dust.” The original chinos, worn by the British Army, were dyed in a mulberry juice that
gave it a yellowish drab shade, now known as “khaki.” Thus, the correct term for these pants
is chinos, and khaki the sandy tan color they most often come in. But that’s pedantry; for the
most part, the two words are interchangeable.

Top 10 suit crimes

1. Eyewear
Avoid wearing sports sunglasses with a suit. It doesn’t make you look like a blues brother, it
makes you look like a PE teacher at a wedding.

2. Tags
Cut the manufacturers tag off the sleeve of your suit. It’s amazing how many people leave
them on. If you need to flash the label of your suit to prove its worthiness then you should
get a new tailor.
3. Buttons
If you don’t want to look like you are facing up for your first court appearance then don’t
button up all the buttons on you suit jacket. For a two button jacket only button the top
button. On a three button jacket, button the middle button always and the top button only
occasionally.

4. Walking to work
Unless you are channelling Jerry Seinfield, avoid wearing chunky white trainers with a suit. If
you want to exercise then wear a track suit.

5. Shoulders
Its not 1991 and you’re not a American footballer so don’t wear shoulder pads that are
overly thick with suit shoulders that are too wide. The shape of a suit’s shoulder is very
important, it dictates the suit’s cut and is the tailor’s signature.

Furthermore it’s the only part of the suit that can’t be altered, so make sure the shoulder is
right.

Trust your own instincts and don’t let the sales person’s flattery push you towards the wrong
shoulder.

6. Socks
With the exception of the occasional pleasing colour pop that can be achieved with the well
thought out use of a simple pair of plain bright socks (ie. Red), stick to socks within the grey,
navy or black family. Don’t wear bright striped socks, they won’t make you look like a dandy,
they’ll make you look like a twat whose girlfriend bought his socks.

7. Sleeves
A baggy sleeve looks sloppy and makes the whole suit look shapeless. The sleeves of your
jacket should provide enough room to be comfortable, but no more. Assuming your shirts
are the correct length, the suit’s sleeve should stop 1cm before the shirts cuff.

8. Pimpn’ Loafers
Pointy loafers in white/ light brown (or any colour for that matter) that turn up at the end
look awful.

When the sales person tells you “these are all the rage in Italy”, that usually means, we got
the stock really cheap because they stopped wearing these in Italy 5 years ago. If you are a
South American drug kingpin then I apologize.

Try to find a relatively plain pair of black lace ups for a navy/ grey suit.

9. Belts with suits - don’t do it
Belts with formal suits don’t work, especially when wearing a tie.

Instead use trousers with side adjusters. A belt breaks up the flow of the outfit, which results
in your legs looking shorter. They also create unnecessary bulk.
If you are going to wear a belt then please choose one that matches the color and material
of your shoes. Also choose a belt with a small, discrete buckle.

10. Don’t fart in a wet suit.

Brand as mythology

Just under the wire, L. Frank Baum's heirs have no copyright protection on The Wizard of Oz.
As a result, there are Broadway musicals, concordances, prequels, sequels and more. All of
which creates a rich, emotional universe (and makes the copyrighted movie even more
valuable).

Most of us remember the mythology stories they taught us in school (Zeus and Thor and the
rest of the comic-like heroes.) Myths allow us to project ourselves into their stories, to
imagine interactions that never took place, to take what's important to us and live it out
through the myth.

There are dozens, if not hundreds of entertainment mythological brands. James Bond and
Barbie, for example.

But it goes far behond that.

There's clearly a Google mythology and a Starbucks one was well. We feel differently about
brands like these than we do about, say Maxwell House or Random House.

Why do Santa and Ronald McDonald have a mythology but not Dave at Wendy's or the
Burger King?

Let's try the Wikipedia: Myths are narratives about divine or heroic beings, arranged in a
coherent system, passed down traditionally, and linked to the spiritual or religious life of a
community, endorsed by rulers or priests.

So, if I were trying to invent a mythic brand, I'd want to be sure that there was a story, not just
a product or a pile of facts. That story would promise (and deliver) an heroic outcome. And
there needs to be growth and mystery as well, so the user can fill in her own blanks.
Endorsement by a respected ruler or priest helps as well.

The key word, I think, is spiritual. Mythological brands make a spiritual connection with the
user, delivering something that we can't find on our own... or, at the very least, giving us a
slate we can use to write our own spirituality on.

People use a Dell. They are an Apple.

This can happen accidentally, but it often occurs on purpose. A brand can be deliberately
mythological, created to intentionally deliver the benefits of myth. Casinos in Las Vegas have
been trying to do this for decades (and usually failing). But talk to a Vegas cab driver about
Steve Wynn and you can see that it's been done at least once.
There's a mythology about Digg and about Wikipedia, but not about about.com. The
mysterious nature of rankings and scores and community ensures that, combined with the fact
that the first two have public figures at the helm... heroes.

It's easy to confuse publicity with mythology, but it doesn't work that way... there's no Zune
mythology, for example. It's also easy to assume that mythology will guarantee financial
success, but it didn't work for General Magic, a company which successfully leveraged the
heroic reputations of its founders, created a very hot IPO but failed to match the needs of the
larger market.

It did, on the other hand, work for Andersen's, an ice cream stand in Buffalo (!?) that has a
line every single day, even in January.

Hard to explain, difficult to bottle, probably worth the effort to pursue.

Quality of design: Thoughtfulness and processes that lead to user delight, that make it likely
that someone will seek out a product, pay extra for it or tell a friend.

Quality of manufacture: Removing any variation in tolerances that a user will notice or care
about.

In the case of the Civic, the quality of manufacture is clearly higher by any measure. The
manufacturing is more exact, the likelihood that the car will perform (or not perform) in a way
you don't expect is tiny.

On the other hand, we can probably agree that the design of the Bentley is more bespoke, luxurious
and worthy of comment

Consider what Phillip Crosby realized a generation ago: Quality is free.

It's cheaper to design marketing quality into the product than it is to advertise the product.

It's cheaper to design manufacturing quality into a factory than it is to inspect it in after the
product has already been built.

There are two reasons that quality of manufacture is diminishing in importance as a
competitive tool:

a. incremental advances in this sort of quality get increasingly more expensive. Going from
one defect in a thousand to one in a million is relatively cheap. Going from one in a million to
one in a billion, though, costs a fortune.

b. As manufacturing skills increase (and information about them is exchanged) it means that
your competition has as much ability to manufacture with quality as you do.

On the other hand, quality of design remains a fast-moving, judgment-based process where
supremacy is hard to reach and harder to maintain.
And yet organizations often focus obsessively on manufacturing quality. Easier to describe,
easier to measure, easier to take on as a group. It's essential, it's just not as important as it used
to be.


THE WORLD IS YOUR OYSTER




Richard James slim cut Japanese raw selvedge denim jeans

Peter Asquith of London W1 asked Richard how to best wear in raw denim jeans. “I’m
hearing different things,” he said.

“Wear them,” said Richard.
It’s a succinct, sensible piece of advice and, indeed, the most common answer we got when,
via Twitter, we threw the question open to all. But we were also presented with a few
interesting tricks and techniques, some of which we were familiar with and some of which
we weren’t:

1. Take a bucket of cold water. Add 110ml (1/2 cup) white vinegar and 65g (1/4 cup) salt
(optional). Mix and soak jeans for a couple of hours. Hang outside to dry to escape smell.
 Vinegar is a natural fabric softener. Go easy – very easy – on the washing.

2. Soak in water once and don’t wash them. (Which is all well and good until they begin to
smell a little ripe… See 3 and 5.)

3. Dry clean only. And not very often. (Not so environmentally friendly, but good for
retaining colour.)

4. Cycle in them. (From our experience this method works well, but can result in
pronounced, remarked upon pale shading in the bottom and crotch areas.)

5. Place them in the freezer overnight from time to time. (Kills bacteria, they say, and so
makes your unwashed jeans smell that little bit sweeter.)

6. Work out in your jeans. (Top tip for losing that initial full on stiffness.)

7. Curl up and read a book/watch TV in them. (Tried and tested slackers method.)

Thanks to ABCDENIM, RAWR DENIM and Chris Laverty of Clothes on Film for the super tips!

PS – Richard James slim cut raw selvedge denim jeans (above and below) are made in
Okayama, Japan from 16oz Japanese denim.

PPS – In a tizz about your trousers or suchlike? Why not let us know about it and see if
Richard can come to your rescue?
Pocket detail - Richard James slim cut Japanese raw selvedge denim jeans
Button detail - Richard James slim cut Japanese raw selvedge denim jeans
Selvage detail - Richard James slim cut Japanese raw selvedge denim jeans


View article...
1. Jeans are great. But wearing them every day is boring. Most importantly, you will never
let out the stylish man that lies within if you always wear jeans. Get some variety.

The jeans that you do wear should be a raw denim, starting indigo dark and relaxing into
true blue as you wear them, imprinting your own creases and folds. They are like good
shoes, and indeed most good clothes. They improve as they are worn and become more
personal.


2. The waist can be altered. When you try on a pair of trousers, it is instinctive to buy the
pair that fits on the waist. But it’s easier to alter the waist than the drop, thigh line or
anything else. So make sure the trousers are right everywhere else, and then get the waist
altered if you have to. This includes jeans – I don’t care what the denim heads say about the
chain stitch. Don’t get raw denim altered until after it’s been worn and washed, though.

3. The other pair of trousers you want is grey flannels (pictured top). Suit trousers, by which
you mean worsted wool, are too smart to work casually. They are smooth and sharp for a
reason. Chinos, or khakis, are a straight alternative to jeans: just as casual, workmanlike and
performing the same role in a off-duty wardrobe.

When you want something smarter than your old jeans, go for grey flannels. They can be cut
slim, with turn-ups, a low waist, flat front and a flapped rear pocket. In that guise they go
with fitted T-shirts as well as Oxford button-downs. They go with any knitwear you own. Go
out and buy a pair, or have some made.

4. Trousers take a lot less time and skill to make than a jacket. Yet they will often be a third
of the price from a bespoke tailor. So buy them off the peg and get them altered (waist,
length, narrowing leg), have them made to measure, or go to a cheaper tailor.

5. A beginner’s wardrobe should contain: indigo jeans, grey flannels, cream chinos and
brown moleskins. Then branch out into white cotton trousers (not jeans), khakis in earthy
colours, and corduroy (to avoid associations with your grandfather, see fit details in point
three).

Only at that point should you flirt with linen, gabardine and bright colours. The latter, in
particular, require a mastery of accessories and buckets of attitude to pull off. You may well
have developed those two during the previous, seven-stage trouser journey.


View article...

MoSCoW

MoSCoW is a technique of analysis allowing businesses to prioritize.

M – Must haves
These are the functionalities and content that must be represented in your digital strategy.

S – Should haves
The items that should be included only if it is reasonably possible.

C – Could haves
The items that could be integrated only if they do not negatively affect the above listed.

W – Would have
Desires. Items that a brand wants but cannot integrate now. Consider ‘would haves’ as an e-
commerce’s wish list; listing the items due for integration in the future.

While preparing your MoSCoW, please remember: you need less than you think.

One of the best menswear articles I’ve ever read is a three-part series on Neapolitan
tailoring by Filangieri. The piece was originally posted at Ask Andy about Clothes but it was
unfortunately lost when the forum’s servers crashed a few years ago. Luckily, some
obsessives saved it on their hard drives and every once in a while, you’ll see the article pop
up again for posterity on StyleForum.

We see some overlapping themes here from my interview with Gianluca Migliarotti - the
lineage of Italian men, going from the grandfather down to the grandson, being served by
the same tailor; the coffee one is greeted with when they first see the Maestro; the
beautifully patient process of bespoke tailoring; and, of course, the Old-World craftsmanship
that fascinates us in the first place.

The article ends a bit abruptly, unfortunately, but I guarantee you that this will be one of the
best articles about menswear you’ll ever come across. I plan to go to Naples sometime in
January and will write about my experience then. Hopefully I can come out with some words
as beautiful as Filangieri’s, but I doubt it.

(Note that the photos are taken from Christian Kerber)




PART 1 – THE FIRST VISIT

One of the true secrets of the elusive Neapolitan suit lies in its birthplace: the “sartoria”, the
quite and private tailor’s laboratory where every new dress project is envisioned by the
customer and created by the skilled hands of the Maestro.

Unlike their Savile Row colleagues, Neapolitan tailors don’t use to display suits and sport-
coats in street shop windows to showcase their product to the public.

They don’t need to lure their potential clientele because they’re already doing extremely
well with their current customers, and they don’t want to expand their small business
because they don’t want to compromise the unique quality of their craftsmanship by means
of outsourcing part of the suit-making process or employing apprentices that are still too
young to master the intricacies of the craft.

In Naples, bespoke fashion is first and foremost a matter of family tradition: many young
men are introduced to the pleasures of custom elegance by their fathers, and some tailors
are proud to serve up to three generations of gentlemen of the same ancestry: son, father
and grandfather. Other customers are introduced by friends, business associates or by other
members of the lively Neapolitan clothing artisans community (i.e. bespoke shirt-makers,
tie-makers and shoe-makers).

The best Neapolitan tailors run their small business in medium-sized apartments located in
one of the beautiful, historical palaces of the Chiaia and Toledo districts.

You enter the building’s courtyard, climb the old granite staircase (every ancient Neapolitan
palace has a large, dark granite staircase) and you are you are greeted by the Maestro
himself, usually wearing a tape measure around his neck.

You’re invited to have a seat in a comfortable armchair in the “salotto” (the room where the
tailor receives his customers) and he invariably asks you: “Ve site già pigliato o’ cafè? (Did
you already have a cup of coffee ?). It means that even if you’ve just had one on your way to
the “sartoria”, you’re still supposed to drink another “tazzulella” with the Maestro.

You start discussing a series of topics (usuall unrelated to the purpose of your visit, like food,
sports, politics etc.) until you express the wish to order a new suit.

That’s when you really have to open your heart to the Maestro, because he needs to know
everything about your project (cloth, color and every possible detail) and about your
personal style and tastes.



Unless you’re asking for something completely out of his standards (if that is the case he’s
going to refuse your order) he’s going to politely express his own ideas and suggestions, and
you better listen to him very carefully, because his advise is always straight to the point and
aimed at addressing the strong points and exposing the growth areas of your project.

Then he proceeds to show you the cloth. Not just the little samples that you’re usually
forced to choose from in so many tailor shops around the world, but entire, long pieces of
precious British or Italian fabric, that you get the chance to admire in their full glory under
the Neapolitan sun when the Maestro invites you to follow him outside, on the apartment’s
balcony.

Once you’ve made your decision, he takes your measurements and writes them down along
with his comments about your body type, including your evident and invisible physical
defects. But no first visit to a traditional Neapolitan “sartoria” can be complete without a
guided tour of the tailor’s laboratory.

You follow the Maestro in another room of his apartment, to the place where he and his
small team of artisans perform the art of turning ordinary (and some times extraordinary)
pieces of cloth into exquisite bespoke Neapolitan suits and sport-coats.

There’s no modern machinery in the laboratory room: everything is patiently handmade,
down to the invisible, crucial details that remain hidden inside the jacket and the pants and
that are of the utmost importance for the overall aplomb of the finished suit.

The thing that strikes you the most when you find yourself in the laboratory room of a
Neapolitan “sartoria” is the total absence of noise and women. The ladies are usually out of
the game because they are largely employed by the shirt-makers. As far as noises, all you get
to hear is the gentle sound of the tailors arms moving back and forward, up and down to
sew the cloth, the subdued sound of the heavy irons pressing the cloth on the boards and
the soft, whispering voices of the employees.

Their concentration and technical skills are unbelievable: they’re a breed of proud, exacting
craftsmen that live and work to keep alive a timeless tradition of excellence revered all over
the world.

As soon as you leave the building, you can’t wait for the Maestro to call you and invite you to
come back to the “sartoria” for your first fitting session.
PART 2 – THE FITTING SESSIONS

In Napoli, where the old masters of the trade are fastidious perfectionists, unwilling to
compromise their reputation to accommodate the schedule of their customers, fitting
sessions can really be like heaven and hell for the new bespoke aficionado.

While he yearns for his first custom suit to be completed and looks forward to wearing it as
soon as possible, he understands that fitting sessions are an essential part of his learning
curve, just like daily classes for a teenage student, and that he can’t skip them if he wants to
graduate to the highest level of masculine elegance.

But the long pauses between fitting sessions can be really frustrating for the new-comers
that grew up wearing nothing but RTW suits before they decided to go bespoke, because
they’re used to get instant satisfaction from their apparel purchases.

An old Neapolitan Maestro used to tell me that many potentially good customers are lost
forever to bespoke fashion because they give up too soon: they want a new fancy suit and
they want it bad, and when they realize that they can’t stand the long wait they revert to
buying their clothes off the rack.

It’s up to the wisdom of the tailor to do his best to ease the transition from RTW to bespoke
by keeping the waiting time for the first orders of his new customers to the bare minimum.

Frequent, close visits to the “sartoria” are the key to keep the new customers interested and
involved in the suit-making process, until they take delivery of their first suit. Then it’s up to
them to understand the difference between their old RTW garments and their new, glove-
fitting bespoke suits.

Five times out of ten, they’re hooked for the rest of their lives. Once the customer finds
himself at ease with the slow pace of the bespoke ritual, fitting sessions are no longer
viewed as a necessary annoyance, but as one of the real, hidden pleasures of the whole
“sartoria” experience.

You realize that you have direct control over the suit-making process, and it feels great. You
get the unique chance to discuss with the Maestro about the subtle intricacies of his craft,
and you have the chance to guide him according to your taste and personal style and to
benefit from his expert advise for the entire duration of the suit-making process.

Most Neapolitan tailors require that you report twice to their “sartoria” for fitting session.
Most of them will agree to have just one “prova” (fitting session) if you’re already an old
customer and they already cut a few good suits for you.

Some customers will even ask their tailor to have more than two fitting sessions, because
they want to follow every little step of the suit-making process or just because they love to
spend their time in the “sartoria” in the company of the tailor.

When everything is done and over, and the customer walks out of the “sartoria” with his
new purchase, the most important asset of his investment is not the new garment hanging
in the suit-bag: it’s the relationship that he established with the Maestro, it’s in the thousand
little things that he managed to learn about the tailor’s craft and in his new perception and
interpretation of his personal style.

But having the chance to influence the work of the Maestro means that you have to respect
his own style and artistic inclination, and you don’t have to force him and push him too far.
During the fitting sessions, you have to learn to “paint your picture” in the “framework” of
his sartorial style.

That’s the main reason why many dedicated aficionados don’t have just one provider. Their
“polygamy” is not based on a “playboy” approach to bespoke fashion. They understand that
the Maestro that turns out those flawless flannel chalk-stripe suits might not be able to cut
equally gorgeous tweed sport-coats. They undersatand that the pinched shoulder and large
lapels that are the distinctive trademark of some Neapolitan tailors might be totally
inappropriate in the case of relaxed, sweater-like fitting cashmere sport-coats.
If they want a summer linen suit with patch pockets, double stitching and a “light-as-a-
breeze” Mediterranean look, they know who’s door they’re supposed to knock on to get
their mission accomplished. There’s no such thing as a standardized, universal Neapolitan
style. Every tailor, even those who where trained by the same Maestro, evolved an
extremely personal interpretation of the Neapolitan cut and has every right to be proud of it.

Talking about fitting sessions, I would like to share a little hint of local history.

An old Maestro told me that many decades ago, when he was a young apprentice, most of
the best customers belonged to the old Bourbon aristocracy and they had a lot of time to
amuse themselves in the “sartoria” because they were not supposed to be personally
involved in any kind of professional occupation (labour belonged to the bourgeois middle
class and to the poor members of the working class). The affluent gentlemen of the high
Neapolitan society used to spend endless hours perfecting their exclusive wardrobes down
to the tiniest details, and they literally “trained” generations of tailors to work in a finical,
exacting manner and to seal into their bespoke suits the patrician allure and the appetite for
perfection of their aristocratic customers.

Many members of the Neapolitan gentry grew so affectionate to their custom tailors that
they used to say (of couse in Neapolitan dialect) : “E’ mane ’n cuollo m’e ponno mettere
sulamente mugliereme e o’ sarto” (“I allow only my wife and my tailor to touch me .”) That’s
how - through decades of countless, endless fitting sessions - the elusive, aristocratic style
that is known as the “Neapolitan cut” came to life.
PART 3 – INSPECTING THE NEAPOLITAN SUIT

As soon as the fitting sessions ritual is over, the Maestro proceeds to finalize the suit-making
process.

The sartorial finishing touches include some of the most important “ingredients” for the
ultimate Neapolitan “taste” of the garment.

The button-holes are patiently hand-sewn with a fine silk thread. In the Neapolitan bespoke
tradition, every one of them is hand-sewn, including the often forgotten suit trousers
button-holes. The four, small buttons on the jacket sleeves are low-sitting (read: very close
to the hand) and slightly overlapping, and even if all the sleeves button-holes are obviously
hand sewn, many Neapolitan tailors prefer to leave only the two buttons that are closer to
the hand open and working (of course, leaving them open or closed is up to every
gentleman’s personal interpretation of elegance). On the most informal Neapolitan sport-
coats (read: the ones with patched pockets and double-stitched seams), many Maestros
prefer to put just one button on the sleeves.
Then it’s time to shape the suit with a generous dose (read: a few hours) of manual ironing.
Special care is dedicated to ironing the most distinctive features of the coat: the collar and
the lapels, in order for their tri-dimensional, elusive contour to be “sealed” once and forever
in the jacket’s silhouette.

The collar is high and holds tightly to the neck: the old tailors use to say that “adda stà
azzeccat ’o cuollo” (it has to feel like it’s glued to the neck) and that “o’ culletto da’ giacca
napulitana è comme l’abbraccio ’e n’amico” (the collar of a Neapolitan jacket feels like the
arm of a friend around the neck).

The gorge is high and the lapels are large and soft.

On single breast coats, the lapels are usually shaped (by hand sewing the canvases and
manual ironing the finished garment) to roll down to the second button, in the sartorial style
that we call “due bottoni stirato – o strappato - a due” (three buttons rolled through).

If you turn the lapels of a bespoke Neapolitan coat and look behind them you’ll be really
amazed by the incredible amount of hand-stitching that keeps them together.

The shoulders are one of the trademark features of the Neapolitan suit: natural and
unstructured, with a minimal amount of pleating that usually shows only when the jacket
has seen some use and the fabric has “given” a little bit. Some Maestros like their coat’s
shoulders to look really soft, understated and “egg shaped” (“spalla cadente”), others prefer
the bolder, natural pitched shoulder look (“spalla insellata”). Another classic feature of the
Neapolitan shoulder is the backward oriented center seam: it helps the un-padded shoulder
to follow the natural curve of the man’s body and to hold tight to his arching lower neck and
shoulder.

The breast pocket is always cut in the typical “fishing boat” style (“taschino a barchettella”),
with minimal, but discernible differences between tailors, and it’s pretty wide and open-
mouthed by international standards.

The front quarters of the coat are divided by a long, continuous seam that is supposed to
enhance the elongating effect that has already been achieved by the roll of the lapels and by
the higher-than-usual waist-line.

The sleeves are cut high below the arms, taper to a narrow opening as they approach the
hands, and are custom shaped to arch and follow the natural forward curve of the arm.


View article...
This is an older article but I’ve always really liked it, and there’s a lot of insight in here thats
relevant regardless of when he said it.

1.
A lot of fashion houses design for the catwalk and not the street—then you see the clothes
on a regular guy and it’s a mess. Don’t disguise your personality behind labels; impose it on
the clothes.

2.
The most embarrassing thing a man can own is a disposable razor. They’re for women. And
speaking of grooming, there’s nothing less flattering than shaved legs.

3.
Wearing a pair of high-tops with a suit deconstructs the look, and that’s important. I like the
way high-tops and pants act together. It’s like the effect of rolled-up sleeves for your
trousers. Just make sure the socks match your sneakers, not the pants. If you like black high-
tops, wear black socks. White, white.

4.
I don’t really think I know a man who wouldn’t look good in black. Black is always good.
It’sthe basic.

5.
You can wear a white shirt to work, to dinner, to visit the grandmother, to the opera, on
vacation, at the beach. It’s the true get-away-with-anything item.

6.
There’s definitely an age limit for wearing leather pants, but not for wearing leather jackets.
A standout fashion leather jacket can look great on a young guy. And there are a lot of
suedes that men can get away with at any age.

7.
Don’t just copy an outfit. Look in the mirror and do a reality check. It’s all about making the
good match. You’ll know when something is right. And if you don’t, just walk down the
street: If people look away from you, then you know you’ve done something wrong.

8.
When I took over Dior Homme, I was warned. I knew it was going to be tough—but it was
worse. In life you need good friends, and at work you need a good team. There’s so much
drama in life and work that you can easily get lost. You need to keep a little distance from
everything.

9.
We’ve had beefy guys and we’ve had—well, skinny isn’t really the right word, it’s more
likescary. Now men should be athletic, healthy. Today it’s about having a balance in life—
having nice clothes, good food, and respecting your body.

10.
My grandmother told me there are two ways of living: You can either survive or you can really make
a life. There is eating and there is dining. She would always give that extra little effort, and I still
believe that is important—to make things more beautiful makes all the difference.
“Style is more character than clothes, more attitude than affluence. It’s you making visible your inner
self. So forget what you learned about appearance not counting; you can no longer afford to be
without style.”

- Hara Estroff Morano (via fecastleberry


The more you know
“dressing well is a long term commitment, a road full of pitfalls and short term temptations that must
be avoided on your way to excellence. Don’t scorn the blogosphere, it will be immensely helpful and
might introduce you to the piece that will be the staple of your wardrobe, but be very weary.”

Consumers and creators

Fifty years ago, the ratio was a million to one.

For every person on the news or on primetime, there were a million viewers.

The explosion of magazines brought the ratio to 100,000:1. If you wrote for a major
magazine, you were going to impact a lot of people. Most of us were consumers, not creators.

Cable TV and zines made it 10,000 to one. You could have a show about underwater
spearfishing or you could teach people to make hamburgers on donuts. The little star is born.
And now of course, when it's easy to have a blog, or an Youtube account or to push your
ideas to the world through social media, the ratio might be 100:1. For every person who sells
on Etsy, there are a hundred buyers. For every person who actively tweets, there are a hundred
people who mostly consume those tweets. For every hundred visitors to Squidoo, there is one
new person building pages.

What does the world look like when we get to the next zero?

There’s nowhere to run and nowhere to hide in these times of the Digital Age. If you are one
of the millions of people that have implemented social networking into their daily lives, it’s
safe to say that you may have the constant urge to share the thoughts, ideas and happenings
that go on throughout your day. It’s no different for the brands that campaign to captivate
our attention. Whether brand or consumer, we have all loosened our ties and let down our
hair to reveal who we are as people, communities and companies. In the book “Tactical
Transparency,” released by the International Association of Business Communicators, co-
authored by Shel Holtz and John C. Havens, the two writers share tips on the importance of
unconcealed communication. “We are in an era and atmosphere that demand greater
openness. You choose either to examine how your organization can work to embrace
transparency or you appear opaque and behind the times to your employees and customers.
Period.” In order to get settled in the glass house of transparency, we must discuss the sheer
communication between brand and consumer to consider the implications for lasting
relationships.

Authenticity Always Wins
There is no such thing as being a transparent brand without being authentic. Our brand
personalities are revealed with every message that is broadcasted. Audiences are sharp-
witted and can quickly sniff out who is real and who isn’t. There is a need in social media to
level with the consumer and divulge who you really are and what interests your brand. For
instance, the team at Kate Spade is always sharing the music most listened to in their offices.
Specific commonalities with which the consumer connects can in turn make them feel
emotionally invested in your brand.

Service Your Consumer
Any digital brand is going to experience technical difficulties. Allowing and encouraging
customers to comment on the likes or dislikes of your product(s), touch points and web
properties, shows that you invite suggestions so that you can grow to be a stronger brand
that values the consumer sentiment. Encouraging feedback is an even better way to let your
audience know, ‘Hey, we not only want to be here to service you, but I’m sure we can learn a
few things from you as well.’ Upon the re-launch of WWD’s website, Editor-in-Chief Edward
Nardoza’s wrote in the Editor’s Letter, “Anything in this evolving medium can be best
described as perpetual beta. We’re dependent on you to push us to improve each day.
Feedback is not only welcome, it’s essential.” The dialogue between brand and consumer
can resolve any confusion about your brand’s value and prove that you take customer
concerns seriously.

Let It All Hang Out
Be upfront and vulnerable. Opacity is for businesses of the past. Should there be any
controversy swirling around your brand, be honest and willing to talk about it directly with
the consumer, who deserves clarification. Topshop did a great job with this when the high
street retail chain was accused of photo-shopping a thin model for their e-commerce home
page. They took to Twitter to say, “After an article about one of our lovely models, we want
to say that we believe in healthy bodies for all girls, no matter what their size.” No one wants
to be left in the dark or ignored, especially not the community of consumers that rally
around your product – online and off. They should be treated no differently than your
superiors, with respect and disclosure.

Transparency is quite simple. It’s a piece of the social media puzzle that allows us to wrangle
together the people that want our goods and services and also want to be a part of our
brand culture, under an umbrella of honesty. When your brand lives comfortably in the glass
house of transparency, there are no rocks that can shatter your credibility.


View article...




"   Quality is not a luxury
Enjoy your visit.".
                                                                                               .


Ben Chestnut, founder of MailChimp shares his views on what it takes to create a creative
environment:
    1. Avoid rules. Avoid order. Don't just embrace chaos, but create a little bit of it.
        Constant change, from the top-down, keeps people nimble and flexible (and shows
        that you want constant change).
    2. Give yourself and your team permission to be creative. Permission to try something
        new, permission to fail, permission to embarrass yourself, permission to have crazy
        ideas.
    3. Hire weird people. Not just the tattoo'd and pierced-in-strange-places kind, but people
        from outside your industry who would approach problems in different ways than you
        and your normal competitors.
    4. Meetings are a necessary evil, but you can avoid the conference room and meet people
        in the halls, the water cooler, or their desks. Make meetings less about delegation and
        task management and more about cross-pollination of ideas (especially the weird
        ideas). This is a lot harder than centralized, top-down meetings. But this is your job --
        deal with it.
    5. Structure your company to be flexible. Creativity is often spontaneous, so the whole
        company needs to be able to pivot quickly and execute on them (see #1).
Three things clients and customers want

Not just the first one.

And not all three.
But you really need at least one.

1. Results. If you can offer a return on investment, an engineering solution, more sales, no tax
audits, a cute haircut, the fastest rollercoaster, a pristine beach, reliable insurance payouts at
the best price, peace of mind, productive consulting or any other measurable result, this is a
great place to start.

2. Thrills. More difficult to quantify but often as important, partners and customers respond
to heroism. We are amazed and drawn to over the top effort, incredible risk taking on our
behalf, the blood, sweat and tears that (rarely) comes from a great partner. A smart person
working harder on your behalf than you'd be willing to work--that's pretty compelling.

3. Ego. Is it nice to feel important? You bet. When you greet us at the door with a glass of
white wine, put our name in the lobby of the hotel, actually treat us better than anyone else
does (not just promise it, but do it)... This can get old really fast if you industrialize and
systemize it, though.

This explains why the local branch of the big insurance company has trouble growing. It's
hard for them to outdeliver the other guys when it comes to the cost effectiveness of their
policy (#1). They are unsuited from a personality and organizational point of view to do #2.
And they just can't scale the third.

Put just about any business with partners into this matrix and you see how it works. Book
publishing, for sure. Hairdressers. Spas. Even real estate.

The Ritz Carlton is all about #3, ego, right? And on a good day, there's a perception that the
guys at Apple are hellbent on amazing us yet again, delivering on #2, taking huge career and
corporate risks on our behalf. As soon as they stop doing that, the tribe will get bored.

(There's a variation of ego, #3, that comes from being in good company. This is what gets
people to sign up for Davos, or to choose ICM as their agent. Your ego is stroked by knowing
that only people as cool as you are part of this gig. Sort of the anti-Groucho opportunity. Nice
position, if you can get it, because it scales.).

It's tempting, particularly for a small business, to obsess about the first—results—to spend all
its time trying to prove that the ROI is higher, the brownies are tastier and the coaching is
more effective. You'd be amazed at how far you can go with the other two, if you commit to
doing it, not merely talking about it.

“Simplicity With A Beautiful Edge"
Golden Bear’s Tiburon Jacket in Cinnamon at Unionmade Goods

Corduroy under-collar and under-cuffs, leather locker loop and zipper pull, I like this more than the
original Harrington design.

I read a lot about rules for men, specifically on how to dress. There are some solid guidelines
but in general they come across as more than moderately pedantic. It seems like it’s
becoming this arms race to see who has the coolest gear and who has the best tailor.

All of these rules and absurd calls for authenticity are getting out of hand. Like every college
kid stunting on the quads in a soft shoulder cotton jacket is living like an Italian heir? Or the
kids in Redwings and 400 oz. denim aren’t walking to get iced coffees but actually on their
way to backbreaking and soul destroying work in factories that would make Upton Sinclair
shudder? On some level, in this modern day and age, it all is dress up.

I don’t get the growing seriousness of the menswear set these days. I know most of it is in
jest and we have FYMW to keep us all in check. (You best protect your neck…tie?) I mean,
tailored clothing is just as aspirational as workwear is nostalgic. Wearing a jacket with
handset shoulders, two inch cuff trousers, and the most Neapolitan of Neapolitan spread
collars to go to class with girls in juicy sweatpants doesn’t really make much more sense than
wearing workboots and denim to sit in a cubicle all day. But that doesn’t mean you
shouldn’t.

You wear it because you like it. Because you like the way you feel when you slip that soft
shoulder on and pull the silk around your neck. You like the feel of the leather that’s been
breaking in over the course of years as you pull your boots on. And you like that the fades,
tears, and patches on your jeans are from your life. Whether the tear is from the time you
narrowly avoided getting crushed by a diabolical primitive booby trap to pilfer a priceless
artifact or you just clumsily walked too close to the door jam and snagged your pants on it.

So no tips on how to be a man and no more pedantic lists of what every man should own or how
every man should dress.

Explained: Indigo Dye
We all remember learning about indigo in grade school - the bright blue color used for dyeing
cloth, and one of the seven colors of Sir Isaac Newton‘s rainbow. Indigo has been used as a
coloring agent since ancient times, and is best known for the distinctive color it gives to blue
jeans.




The Origins of Indigo:
Indigo is found naturally in tropical plants of the indigofera family, thought most of the
indigo used today is a synthetic variety. Indigo is produced today mainly for dyeing cotton
and for food coloring. You might see it on food packaging as ―Blue No. 2″.
The natural form of indigo is among the oldest dyes used to color textiles, and has a rich
tradition in clothing, design, and the arts in India, China, the United States and Latin America,
as well as ancient civilizations in Mesopotamia, Egypt, Greece, Rome, Peru, and Africa.
Indigo plants were first domesticated in India, which became the major hub for indigo
production and trade. India provided the main supply of dye to Europe as early as the Ancient
Greeks, who referred to the color as indikon or ―indian dye.‖
Because the dye had to travel on precarious overland routes from India into Europe and incur
tariffs from shipping merchants, indigo was expensive and difficult to acquire, which helped it
earn the nickname ―blue gold.‖ Wearing indigo blue clothing became a sign of wealth (as
opposed to now, as ―blue collar‖ refers to the working class), which is why one particular
shade is now known as ―royal blue‖.
Indigo continued to command a premium even through the Middle Ages, and many Western
European countries began to cultivate a similar plant called woad as an alternative. It wasn‘t
until Vasco de Gama discovered a trading route to India by sea that the price was greatly
reduced.
In the 1700s, many European powers began to cultivate true indigo in their territories in the
Carribean and North America. American plantation owners grew and sold indigo to England,
until British companies began buying indigo from India in accordance with their imperial
interests, and indigo fields were replaced with cotton crops.
The industry began to see radical change in 1878, when German chemist Adolf von Baeyer
(of Bayer Aspirin fame) perfected a process for synthetically manufacturing indigo dye,
which largely replaced plant dye by the turn of the 20th century.




Why is Indigo Best for Denim?
Indigo is perfect for dyeing cotton because it only partially penetrates into the fibers, lending
a rich surface color that does not affect the innermost parts of the fabric. Cloth dyed with
indigo turns a lighter color when worked or rubbed over time, and remains the preferred dye
to achieve the signature worn-in look of denim.
Indigo is not soluble in water, so it must be chemically changed to ―white indigo‖ for the
dyeing process. During manufacturing, cotton fibers are woven into ropes and dipped in
the white indigo saturated water. Once they are taken out of the water, the dye then reacts
with oxygen in the air and takes on its characteristic blue hue again.
Normally, the cotton yarns go through at least 4 to 8 ―dips‖, or passages through the dye bath.
The more dips, the darker the fabric. After the initial dyeing process, the ropes are washed or
additional chemicals are added to change the color of the yarns or improve the fastness of the
dye to the fibers. Once the dyeing process is complete, the yarns are woven into the cotton
cloth known as denim. While there are many ways to treat denim after it is woven, cut, and
sewn into the pair of jeans you see at your local boutique, the initial dyeing process accounts
for much of the variability in denim color.

Explained: Denim Artisans
Walking through any boutique or department store, it is easy to see that every pair of denim is
different, with variations in color, weight, pattern, stiffness and wear.

This is largely the work of specially trained denim artisans known in the industry as ―wash
developers‖. These skilled craftsmen hand process virtually all denim in the marketplace
today. Using a combination of specialized washing machines, hand held grinding tools with
metal burrs, sandpaper, and a variety of (somewhat environmentally friendly) chemicals, they
create, entirely by hand, what people know of as a denim ―wash‖.

For designers, the wash developers are one of the most crucial pieces of the denim design
puzzle. They work closely with the denim designer, who communicates exactly the look and
feel they are seeking for each piece. The artisans then take the constructed jeans and use their
knowledge and skills to create the final product and achieve the designer‘s vision. Without
them, we would all be wearing raw or ‗unwashed‘ denim, and everyone‘s product would look
pretty much the same.

Because the denim laundering process is so crucial to what we do, we took a couple of hours
during a recent trip to Washington, D.C. to stop by a laundry exhibit at the Smithsonian
Institution‘s National Museum of American History. The museum has used an actual home
from Ipswitch, Massachusetts to illustrate nearly 200 years of American History. As families
moved in and out, the town developed into a bustling industrial center. During the late 1800s,
one part of the home was occupied by an Irish immigrant named Catherine Lynch, who ran a
clothing laundering business. The exhibit details the difficult process of doing laundry in the
late 1800s through a number of intensive steps:

1. Soak the laundry overnight.

2. Scrub the laundry in hot lye suds. This was a physically demanding process of rubbing the
linens against a wash board to remove stains and filth. Lye is a corrosive alkaline powder;
while modern detergents have replaced lye with other, more effective, less harsh materials, it
is still used today in oven cleaner.
3. Boil white linens and cottons.

4. Rinse the clothing.

5. Rinse again with bluing powder. Because many stains could never fully be removed from
white cloth and left a grey or yellow tinge, bluing powder served as a light dye to make the
cloth appear whiter, even with the stains.

6. Dip in starch and hang to dry.

7. Iron the next day.




While laundry at home in 2011 is as simple as loading a machine, pouring detergent, and
pressing a button, the denim laundering process is closer to the laundering process of the
1800s, with several intensive steps to achieve the desired result.

Type 900 Logwood Dyed Blanket Lined Denim Jacket
I've been speaking with the kind and knowledgeable Mr. William Kroll, Founder/Designer of
Tender Co. quite a bit this last year, and I've learned a lot. Needless to say, I'm looking
forward to stocking some of his SS 12 pieces in shop next year. In the meantime, I've been
stuck on this Logwood dyed denim jacket. I was able to get a proper hands on and haven't
stopped thinking about it since. Available at Hickorees and with so many incredible details I
included most of them.

Details:
• 16oz Japanese blue-line selvedge denim
• Cut and sewn in Leicester, England
• Jacket has no shoulder seam; uninterrupted denim draped over the wearer's shoulders will
form to the contours of the body, becoming increasingly comfortable over time
• Box pleat at back adds room for movement across the shoulders
• Collar attached like vintage Levis "Type 1" jackets: in two passes, with only one row of
stitching visible on each side
• Sleeves constructed from one piece of denim, with double-folded cuffs
• Buckled selvedge straps at back for fit adjustment
• External map pocket and two waist pockets lined with English selvedge calico
• Lining is natural black "Jacob" sheep's wool, woven in England especially for Tender Co.
• Chest pocket on liner is flatlock stitched and attached at top corners with rivets
• Removable lining is attached with "braces buttons," usually used by Savile Row tailors to
attach suspenders to trousers
• Finished jackets are hand-dyed in Logwood vegetable dye from Mexico
• Though unsanforized, the jackets shrink during the dyeing process; expect minimal
shrinkage

Type 900 Logwood Dyed Blanket Lined Denim Jacket

Article by Darian Hocking

Twice as much doesn't always mean twice as much

How expensive do you think it is for a fast food chain to switch to sea salt on its french fries?
Even if we assert that sea salt costs twice as much as the competitor (dirt salt?), it's easy to see
that the impact on the cost of making each order of fries is tiny, since salt is probably 1% of
the cost of the item.

That means that upgrading a high-leverage component of your product might not have any
real impact on your costs. It just feels that way to the purchasing department.

On the other side of the 'twice' coin, you might discover that you're falling behind the
competition. So you spend twice as much on ads, or twice as much time on social media, or
devote twice as many of your resources to a problem.

The challenge, of course, is that twice as much of your time or money is irrelevant. Who cares
where you started? The correct comparison is to what the competition is investing, and how
well.

The conceptual model of pop-up retail is certainly not a new strategy in the brand and
product marketing playbook. Pop-up stores have been effectively employed by a number of
the world’s most recognizable brands. Most often they are used to introduce new product,
gauge consumer interests, and enhance exposure through cleverly placed, transitory
concept venues that are designed to generate buzz by creating an out of the ordinary brand
experience.

By nature both experiential and ephemeral, the pop-up concept forces a greater degree of
interactivity and imaginative engagement between brand and consumer because the
timetable to create memorable impressions is accelerated. The consumer desire to
experience a pop-up venue is fueled by time sensitivity and exclusive access to the brand.
Customers want the opportunity to experience a unique orchestration of art and commerce
available to a limited few, given time and space restrictions.

For these orchestrations to be staged and performed symphonically, however, brands must
invest extensive economic and operational resources in these intentionally limited interval
sprints designed to generate excitement among a limited consumer base able to experience
them. The persistent question among brand marketers continues to be how to most
effectively scale an innovative pop-up strategy to achieve maximum exposure impact. Enter
the mobile medium, and the introduction of a new, complimentary approach to pop-up
experiential marketing.

The essence of the pop-up experience is time sensitivity, location and exclusivity.

Breaking rules & bread with your hands..

    1. Rules are good - so learn them
    2. Breaking rules is better - so learn the rules to break them
    3. Understanding the context also helps - that is what & who you are dressing for
    4. Breaking rules should not be over analysed - as that is when it looks forced. The best rule
       breakers are effortless & instinctual
    5. CAPICHE!

Agave is a California lifestyle brand created and represented by friends, artisians and
passionate people who stand for courage, integrity and full self-expression.




I started Agave in 2002 with the mission "to design and produce the best tailored, most
beautiful and highest quality denim jeans, authentically sewn and hand finished exclusively in
California". Starting with humble roots from my living room in Topanga Canyon, and with
the help of Shinzo Suzuki, Dan Sullivan, brother Brad Shafer and wife Lauren Shafer, Agave
started with 8 jeans and I sold them by going store to store.

I also started Agave with ethical standards. I would only buy from, and sell to people I would
want to be friends with. I would only make products I would love to wear and would be
proud of. I would have fun every day and balance work with the needs of my family and my
health. I would treat people the way I would want to be treated and "do the right thing." I
would take care of my employees and give back to the community.

For the first three years I was the only employee. I did most everything myself, alternating
between designing jeans, making sales calls, and overseeing the manufacturing. Eventually I
moved Agave from my home to a small office in Santa Monica and hired my first employee.
Agave grew by word of mouth. At the request of a buyer, I designed our first knit top as the
"perfect jean tee" inspired by my rash guard I used for surfing. I expanded denim fits and
finishes and focused on Japanese denim and Supima cotton. Our women's collection was
launched in response to women that were wearing our men's jeans.

WE MAKE JEANS WITH A PASSIO

Our mission at Agave is to design and produce the best tailored, most beautiful and highest
quality denim jeans, authentically sewn and hand-finished, exclusively in California.

We spend every day making the jeans we love. We know exactly what it takes to do it right.
And since we‘re the boss, we never compromise.
Because the feel of the fabric is so important, we use long-staple cotton to give our denim the
duality of softness and strength. To ensure that each seam has the integrity of a selvage edge,
we weave our denim in small batches on small, vintage American shuttle looms. The
machines we use for sewing and the methods we use for construction are not convenient,
mainstream choices, they are our own deliberate decisions. Details, like washer burrs that
actually fasten through the fabric layers, bar tacks at stress points, fused belt loops, the extra
fabric inside the back pocket, and selvage tape to reinforce the brass zipper are some of the
finer points we use in construction.I started Agave in 2002 with the mission ―to design and
produce the best tailored, most beautiful and highest quality denim jeans, authentically sewn
and hand finished exclusively in California‖. Starting with humble roots from my living room
in Topanga Canyon, and with the help of Shinzo Suzuki, Dan Sullivan, brother Brad Shafer
and wife Lauren Shafer, Agave started with 8 jeans and I sold them by going store to store.I
also started Agave with ethical standards. I would only buy from, and sell to, people I would
want to be friends with. I would only make products I would love to wear and would be
proud of. I would try to have fun every day and balance work with the needs of my family
and my health. I would treat people the way I would want to be treated and ―do the right
thing‖. I would take good care of my employees and give back to the community.For the first
three years I was the only employee. I did most everything myself, alternating between
designing jeans, making sales calls and overseeing manufacturing. Eventually I moved from
my home to a small office in Santa Monica and hired our first employee. Agave grew by
word of mouth. At the request of a buyer, I designed our first knit top as ―the perfect jean
tee‖ which was inspired by my rash-guard used for surfing. I expanded denim fits and
finishes and focused on Japanese denim and Supima cotton. Our women‘s collection was
launched in response to women were wearing our men‘s jeans.

In 2006, my wife Lauren and I decided to move our family from Los Angeles to Portland,
Oregon (actually Southwest Washington) in order to provide a better life for our two sons
who were 10 and 12 years old and heading for junior high. For two years, I operated Agave
remotely from a single office in Vancouver, WA until we decided to set down permanent
family and business roots.

 In January 2009, just in time for the Great Recession, we completed construction of our
―state of the art‖ 24,000 square foot design and distribution center located on Interstate 5 in
Ridgefield, WA located 14 miles north of Portland. With pastoral views and adjacent to the
Ridgefield National Wildlife Preserve, Agave finally had a home.

 Over the past 8 years, Agave has become an amazing team of professionals and a wonderful
denim brand. From our brilliant production and customer service teams located in Los
Angeles, to our amazing administrative staff, world-class design team and fabulous
warehouse crew in Washington, to our best-in-industry sales executives located throughout
the United States, Canada and the UK, I have a lot to be thankful for and to be proud of.

For more information check out my blog - bluer than indigo.

~Jeff Shafer
                                                  AI
This Japanese character means both the color indigo and the plant, Chinese indigo. Literally
"blue that is bluer than indigo" although indigo dye is used to bring out the color blue. This
term used to admire a student who surpasses his teacher.




The knit is still made in the original factories that supplied the Army in WW11 and is hand finished
making each item unique.‖

             not ‘Look at me.’ I want to walk around
“The Céline woman is

London with no one taking notice of me at all, but with
this very nice sense that my clothes are the best
possible make, that they fit my body and my comfort
zone.”
- Phoebe Philo
So glad more people are realizing that for the money, 3sixteen is pound for pound the best
jean on the market.

putthison:
My Recommendation for Jeans: 3sixteens

APCs tend to be the standard recommendation for people looking to get their first pair of
quality jeans. In my experience, however, APCs aren’t terribly great. They stretch out much
more than other jeans, have poor stitching, and aren’t even built from Japanese denim. I
recently had a great conversation about this with Kiya Babzani, co-owner of Self Edge, one of
the leading denim shops in the world, about why APCs have become so popular, despite
their mediocre quality.

“APCs got into the scene really early and offered a raw selvedge jean with nothing on the
back pockets at a good price,” Kiya explained. “There are other brands but most of [them]
have a very Americana look to their branding. APCs were a crossroads between fashion and
classic *…+ a more simple, almost ‘fashion,’ look as opposed to a straight reproduction
vintage style look which was originally designed for workwear.”

Nowadays, however, we have more options in the sub-$200 price point, and for such buys, I
think 3sixteen’s jeans are the best that you can get. Unlike APCs, they’re actually made from
Japanese denim (specifically a 14.5 oz red-line selvedge denim woven at Kuroki Mills).

“The Japanese have mastered the art of producing denim, and textiles in general,” Kiya said.
“Their textile producing techniques date back further than most of the world, as they
produced extremely complex (even for today) fabrics for kimonos, which were dyed with the
most exotic dyes and woven on wooden looms.”

What’s so special about 3sixteen’s particular Japanese denim? For one, it’s woven
exclusively for them, which is rare for a company that isn’t the size of Levis or Gap. The
material is pure indigo dyed, with no sulfur, which gives the jeans a deeper blue color than
many other models you’ll find on the market. At the same time, there is minimal processing,
which allows the denim to retain some hairiness and prevents it from looking too sleek or
uniform. They also have an interesting weave. The 14.5oz weight gives the jeans some heft,
but the open eded weft yarns leave the jeans fairly soft on the inside. In short, the denim is
some of the most handsome I’ve seen and comfortable I’ve worn.

The best thing about the jeans, however, is the fit. While the company makes a slim tapered
model (ST-100x), I favor the straight legged (SL-100x). They have a respectable rise and a
flattering fit all around. If you like the fit of slim, but not skinny, trousers, you’ll probably like
the fit of the SL-100x.

You can get a pair from Self Edge for $195. They’ll hem your jeans with a traditional
chainstitch for free, which will give you a roping effect as your jeans age. That’s still a bit
pricey for many people, to be sure, but if you’re looking to get some quality jeans, I can’t
think of a better first buy.


View article...
Women view her as a role model: “A lot of them have told me, ‘Now that I’ve met you, I feel so

                                that when
liberated.’ ” Secret eccentrics, they have learned, Mrs. Apfel maintained, “


you don’t dress like everybody else, you
don’t have to think like everybody else.”

“Hermès and LVMH are at the two extremes of the culture and industry of luxury. We [at Hermès]
               We try to produce the most beautiful
are artisans and creative.

products in this industry. The artisans put their heart
and soul in the bag and when the client buys it, they
buy a bit of the ethic of Hermès. For six generations, the
same family has run Hermès. That has given this
company something no other company has. Our combat with
LVMH is not an economic fight, it’s a cultural fight. We try to do poetry and we get excellent
economic results. We must protect that.”

- Hermes CEO Patrick Thomas, on fighting the hostile takeover attempt by the luxury conglomerate
LVMH (Louis Vuitton Moet Hennessy). If you’re interested in learning more about the changes in the
luxury industry (and how Hermes has resisted them), check out the author of this article’s fascinating
book Deluxe: How Luxury Lost Its Luster.

“If I had never dropped out, I would have never dropped in on this calligraphy class, and
personal computers might not have the wonderful typography that they do. Of course it was
impossible to connect the dots looking forward when I was in college. But it was very, very
clear looking backwards ten years later. Again, you can’t connect the dots looking forward;
you can only connect them looking backwards. So you have to trust that the dots will
somehow connect in your future. You have to trust in something — your gut, destiny, life,
karma, whatever. This approach has never let me down, and it has made all the difference in
my life.”

– Steve Jobs

an audience member takes Jobs to task, angrily questioning his technical understanding and
telling Jobs that he doesn't know "what he's talking about."

Jobs responds calmly to the question, even going so far as to say, "People like this gentleman
are right." He apologizes for his mistakes in the past, acknowledges there will likely be more
mistakes in the future, and admits he does not have all the answers. However, he says, "We've
tried to come up with a strategy and vision for Apple--it started with:        'What
incredible benefits can we give the customer?' [And did] not
start with: 'Let's sit down with the engineers, and figure out what awesome technology we
have and then figure out how to market that.'"

Jobs goes on to cite the reaction consumers had when first seeing the laser printer. "People
went, 'Wow, yes!'" Jobs said. "That's where Apple has to get back to."



USERS not CUSTOMERS
   1. (niet sale + run away maar ze blijven het gebruiken)
   2. Build a user-first mindset in your company
   3. Make your products more valuable
   4. Make the right technology investments
   5. Turn users into customers
   5. Use bilateral customer service to keep customers happy
   6. Structure your business to meet user needs
   7. Attract and engage users




       This should be good news for the luxury industry. However, there are very few luxury
       fashion brands that cater exclusively to ultra high net-worth individuals – perhaps
       some niche couture houses, jewellers, etc. The majority of brands that offer hyper-
       luxury products are the big-names of this world – luxury for sure, but brands that
       nonetheless bank on demand for an awful lot of entry-level products to keep
       business going. The reality is that most luxury fashion brands may want to keep an
       eye on the markets and look to aspirational consumers, just as much as these
       revered high or ultra-high net-worth individuals, to contribute to their bottom line in
       this uncertain time.
The God Nick Sullivan answered this exact question in a piece he did for the Esquire How-To
Style Guide. In America, it has basically become a matter of semantics. But if you care so
much as to need a cheat sheet, you can break it down to it’s most basic elements as this:

      Blazer = patch-pockets; occasional gold or silver buttons.
      Sport coat = flap pockets and resembles the suit jacket but for the fact that it doesn’t come
       with matched pants and is more rustic and earthy (anything from tweed to cashmere) than
       the more formal suit jacket.

   I think in an editorial world driven by advertising dollars we have gotten “want” and
   “need” extremely convoluted. Things like slim cargos and quilted blazers have become
   “essentials” when some simple trousers and a topcoat will do.

   Mr. C. Benjamin Rucker.


How to Wash Jeans
Washing instruction for raw/dry denim & jeans (wash and care)

It is often a myth how denim products needs to be washed/treated. There is certainly no "right
way" but many different ways, depending on how you prefer your denims to look. Here are
some examples.




1. Denim enthusiast's way - Wear as long as possible, wash as less as possible

This is the most commonly used technique for denim enthusiasts. Wear rigid-raw dry jeans a
minimum of 6months (recommended) everyday, machine wash at 60c inside out without
washing powder/liquid, then wear it again for the next 3months, then wash by machine at 30c
(less colour fade at 30c than high temperature), dry it by hanging up in the shade where air is
flowing.




                                                                             <="" img="" alt=""
height="270" width="360">

* Picture left: 14.6oz jeans worn almost a year, two washes (one after 6months, another after a
year)

* Picture right: 13oz jeans worn 18months, six washes (one after 3months and every 3months
afterwards)
2. Japanese magazine way - Wear your jeans and take a bath with it

This was once introduced in a Japanese fashion magazine. Wear your denim for a few
months, the first wash is taking a bath with your jeans in lukewarm water and use a scrubbing
brush to create a colour fading effect (mostly the front thigh bit). Dry it by hanging up in the
shade where air is flowing.




3. Japanese denim mania way - Wear your jeans after "the first wash"

This technique is frequently used by many Japanese denim enthusiasts. Firstly, prepare
lukewarm water (between 35c and 45c) in a bucket and put the dry/raw jeans in it for 1hour-
2hours (Note 1: please bear in mind that jeans need to be submerged completely in the water.
The raw denim jeans contains air which make it float in the bucket. Note 2: Some people add
a table spoon of salt, or vinegar in this lukewarm water). Secondly, take the jeans out of the
bucket, wash it inside out at 40c without washing powder (please do not long-wash as this
damages the fibers of the denim). Dry it by hanging up in the shade where air is flowing.
Second wash is preferably after 3-9months of wear.




4. Natural looking way - Wear and wash as you like

Wash the jeans at 60c, dry it by hanging up in the direct sunlight (or tumble dry). This will
make it completely shrink (up to 1-2.5inchs) and the jeans will not be as heavily starched.
Wear and wash as you like. Please note, however, the jeans will not have the strong dense
coloured effect achieved in methods 1, 2 and 3.



The above four ways are often used to treat or how to wash dry/raw denims.

Allevol's favorite way is method 1. We wear jeans 4-6months. As soon as we see a break-in
effect, machine wash at 30c. After that, we wash our jeans at least every month.



What not to do with jeans / Not recommended

We do not recommend that you wear your jeans over a year without washing. Wearing too
long will cause the crotch part to become worn-out (sometimes making a hole), and also will
not have beautiful colour fade due to the accumulated dirt and oil (although, the longer you
wear it, the colour of the denim will fade beautifully in character).

It is also important not to use washing powder during the first wash.
Please wash your jeans separately, as indigo colour runs other washings.



Please see our Japanese denim here.
History of Dry/Raw selvedge denim

Dry (or Raw) selvedge denim is a fabric that used to be utilised for major denim
manufacturing companies in USA from the early 20th century (or even earlier) into the 80's,
for various denim products (jeans, jackets, shirts, curtains, tents, even aprons!).

Due to the high demand for jeans during the 70's and 80's, old shuttle looms were used to
produce selvedge denim fabrics, (29-32inch wide) about 50 meters a day per machine was
extremely time consuming and expensive.

Manufacturing companies shifted from these old shuttle looms to modern cost effective
projectile looms which are capable of making denim fabrics faster, as well as wider (60-
63inch)*, and sold the old shuttle looms to various Japanese companies.

It is a well known fact that the last red selvedge denim was manufactured sometime in the
early 80's (sometime between 1974-1986) prior to the Japanese selvedge denim boom started
in the beginning of 90s.
Japanese cotton industry and indigo fabrics

In Japan, the start of the textile and dyeing/colouring industry began in the Edo Period (mid
18th century). Okayama region became famous for producing/cultivating cotton and indigo
plants** in Meiji Era (mid 19th century), and is the birthplace for the Japanese denim/jeans
industry. There are many denim related companies based in Okayama from multinational
companies to small family mills, especially in Kojima (Kurashiki) as well as Ihara region and
Okayama has become the place for denim product designers.




Our Japanese raw denim jeans, made in Japan

Our passion is to create the very best denim products, produced with the finest materials,
hand-crafted by denim specialists in trusted traditional methods. Our selvedge raw denim
fabrics are made by old woven shuttle looms for natural fade, as well as excellent durability.
The jeans are made in Okayama, sewn by vintage Union machines for an authentic finish.

We are striving for creating the ultimate classic jeans by utilising only authentic Japanese
denim sourced and woven in Japan.



Please see our Japanese denim here.


*Wikipedia states that the new projectile looms make less durable fabrics, but we believe it
makes stronger fabrics with a less unique fading process.

**Indigo plants are also located in Tokushima and Kagawa prefecture in Shikoku, Japan.
On the other hand, this sign screams transparency and honesty. The farmer explained that on
days when the corn was picked that day, he erases the scribbles on the bottom of the sign, but
if the corn was picked just one day earlier, it's just not right to say 'fresh'. It's worth noting that
instead of having two signs, one for each condition, he uses his own hand to tell the truth,
quite vigorously. Guess who has the most popular corn stand in New York, even on days
when it is not, apparently, fresh?

The shirt


                   with careful stitching in place of any
The shirt is also made in Italy,
gluing or fusing. The material is 100% cotton and
mother-of-pearl buttons have been used. The relatively small collar
and fitted cut keep this shirt looking sharp and contemporary
"I ended up designing clothes that I wanted to wear myself and felt good in. Well-made, good
quality, simple cut, interesting fabric, easy to wear. No nonsense clothing"
Sir Paul Smith
The A.P.C. New Standard is a straight cut jean with a shallow rise, all sizes have a 36" leg as standard.
See below for measurements. For further information, check our Sizing Guide.

                   Rise        Thigh      Knee     Ankle

  29“ Waist          10“        10"        7.5"     6"

  30“ Waist          10“        10"        7.5"    6.5"

  31“ Waist          10“       10.25"       8"     6.75"

  32“ Waist       10.25“       10.5"      8.25"     7"

  33“ Waist       10.25“       10.5"      8.25"     7"

  34“ Waist        10.5“        11"       8.75"    7.5"

  36“ Waist          11"       11.5“        9“     7.5"

The New Chino is a regular fit, with a regular, slightly tapered leg. We would advise buying your
normal waist size. For further information, check our Sizing Guide.

              Waist        Inside Leg     Thigh    Ankle

   Small      15.5”           33"          11"     7.25"

 Medium        16”          33.25"        11.75"   7.75"

   Large      17.5”          33.5"         12“      8"

 X- Large     18.5”         33.75"         13“      8.5"

The Harris Tweed Blazer is a regular fit, we would advise buying your normal size, depending on the
fit you prefer. For further information, check our Sizing Guide.

              Pit to Pit     Back       Shoulder   Arm

  Small        19.75“        27.5“       16.5”     19”

 Medium          21“         27.5“        17”      19”

   Large         22"         28.5“       17.5”     19.5”
    X-Large       23"         29.25“     18”   19.5”

The Folk Slim Pant is a tailored fit, with a taper from the knee. We would advise buying your normal
size. For further information, check our Sizing Guide.

         Waist      Inside Leg         Thigh   Ankle

2        15.5”          30.5"          11.5"   6.75"

3        16.5”          30.5"          12.5"   7.5"

4         18”           30.5"          13“      8"

5        18.5”          31"            14“      8"




Most people want to get wacky when they get clothes made for them. It’s as if they suddenly
see this as a way to express their “style” via garish colours, patterns or details. In actuality,
they really should see this as an opportunity to get clothes that fit well and “move” with
them.

But in my opinion, get the basics first then start playing with patterns..

You don’t have to go bespoke or made-to-measure, but you do need to understand the basics
of your own balance, proportion, and context. This takes time and an acceptance of what you
really look like.


One Denim Jean

January 8th 10, 15:51 | Allan | Mark Westmoreland, One Denim


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Created by former Evisu and Levi‘s designer, Mark Westmoreland, One Denim is a jean
designed for true denim connoisseur, taking iconic features from all of the hallmark heritage
denim brands – Levi‘s, Lee, Boss of the Road, Stronghold and Wrangler – to create what is
possibly the best pair of jeans I have ever seen. Ultra exclusive, a mere 100 pairs of ‗One‘
jeans being sold and they will only be available from five retailers worldwide.

The end product of four years from Westmoreland, in conjunction with the Shiotoni brothers
of Japan, his mission was to create a supremely crafted yet simple denim jean which pooled
the knowledge of all the world‘s greatest jean makers.




Created from US cotton the 14oz denim is loop dyed and woven near Hiroshima at a family
run mil, it is crammed full of detail and is effectively a best-of denim. Details include:
•Rivets are ‗washer & burr‘ – an authentic piece of denim hardware – identified by the cotton
threads poking through the middle.
•‗X‘ stitched bar tacks on the back pockets are inspired by Lee.
•Pocket bags are 9 oz denim, inspired by Levi‘s first jean, the Nevada.
•The fly is one continuous piece, inspired by Boss of the Road denim.
•To keep things as pure as possible, all sewing has been done by a single stitch machine,
using cotton threads, with the exception of the belt loops which are from a twin needle.
• The waistband is one continuous stitch, tracking around the patch to the waistband – a
Japanese standard.
•The back seam and yoke have been hand finished to produce a ‗french seam‘ – a technically
brilliant finish that‘s rarely found in bulky fabrics.
•Arcuate stitching spells M W – the initials of designer Mark Westmoreland. •Slight knotting
might appear in the selvage – a sign of the loom used to weave the denim being re-set.
•The heart shaped fly button has been produced by a reproduction company based on a old
railway jacket button (that was originally used by Carhartt). Although only intended for the 20
pairs given away by the designer, it was loved so much by everyone who saw it that in the end
it ended up on every pair. The unusual back was a suggestion by the factory.
•And finally, all jeans are sold in an old U.S Mint coin bag, with a Japanese one yen in the
pocket.




After finishing at the factory, the jeans will be sent back to the UK for their unique finishing
touches which include each jean featuring hand stitching by the designer and special limited
leather patches (10 of each kind) which the purchasers can choose for themselves.
Jeans don‘t come any more special than this. If you would like to get your hands on a pair
you better get in contact with one of the suppliers, which include Oki-Ni, now.

“Fashion is the armour to survive the reality of everyday life. I don’t think you could do away with it.
It would be like doing away with civilization.”

- Bill Cunningham


S.N.S. Herning

Founded in 1931 in Jutland, Denmark, S.N.S Herning was the brainchild of Soren Nielsen
Skyt. Experimenting with knitting techniques to cater for Scandinavian fisherman in rough
weather, the original tenants of the company – that of functionality married with timeless
quality – are kept alive today by Skyt‘s three sons, who still work from the same mill in
Denmark. Adhering to a ‗less is more‘ mode of production, the brand produce approx. 2,500
sweaters per year, each of them hand-signed to highlight the heritage of this family run label.


Brandwashed (brainwashed)
Monoceros = constellatie, grieks voor eenhoorn

Great service is to luxury what words are to knowledge;

But quality of work can be expected only through personal satisfaction, dedication and enjoyment. In
our profession, precision and perfection are not a dispensible luxury, but a simple necessity. —
Niklaus Wirth

―The guys that follow me on blogs, and bloggers in general, are really interested in quality but
they‘re these 22 year old guys,‖ says Wooster. ―They‘re not interested in wearing a three-
piece suit with dress shoes the way their father might have. It‘s about appreciating the
handiwork that goes into a jacket and wearing it with a pair of shorts, sneakers, t-shirt,
whatever it might be.‖

In other words, the new installation featured brands that offer and reinterpret best-quality
staples, unique, exquisitely crafted pieces that give a nod to the past while incorporating
interesting touches and details that give a man personality and style.

PROJECT Wooster highlights this emerging theme by showcasing a mix of lifestyle brands
that epitomize not a celebration of personal style, but also the direction that fashion is headed.

The exhibit was comprised of stand-out fashion and accessory leaders across every category:
apparel, outwear, knits, leather goods, swim wear, intimates, cologne and formal and casual
attire.

Participating brands included:

- Albertus Swanepoel - Arc‘teryx Veilance - Barker Black - Blackman Cruz - Billy Reid -
Boglioli - Byredo Parfum - Dita Eyewear - Drumohr - DRx Romanelli - Duvetica - Globe-
Trotter - Grenson - Hamilton Shirts - Herno - Isaia - Levi‘s Vintage Clothing - JIM
McHUGH - Mackintosh - Miller‘s Oath - Nigel Cabourn - O‘Keeffe - Orlebar Brown -
Parabellum - Raif Adelberg - Raval & Knight - Stone Island - Todd Snyder - Trickers -
WANT Les Essentiels de la Vie - The White Briefs - Wolsey

Good design in my view takes the best from the past and transforms it into something fresh.
The dynamics and proportions of a great piece of contemporary design correspond in a
mysterious way with attitudes of the moment, as well as with tendencies in other fields of art
and design.
I like to think that I have taught Uniqlo how far a ―basics‖ company can go in the direction of
quality, style and modernity. For my part, I learned how to design the best possible collection
with limited resources.
My motto is: be yourself. My mother taught me that.

– Jill Sander


FEIT

FEIT was founded in 2005 as a response to a mass produced, bottom line driven industry. An
industry disconnected from the traditional art of shoe making.

FEIT is a small team of shoemakers trained in the art of traditional shoe making, coupled with
some of the finest tanneries in the world. All Feit shoes are made by hand.

In 2010 we opened up our factory and its services directly to our individual customers and
retailers throughout the world via our online platform - feitdirect.com

How FEIT Works
Each month we email images of our newest samples to our members who have 10 days to
request "MAKE ME A PAIR".

Each sample is subject to MAXIMUM CAPACITY - the maximum number of shoes that can
be made based on our material stock levels.

Once maximum capacity is reached, production begins.

If members respond well to the style but capacity remains, the REMAINING CAPACITY is
made available to the general public for Pre Order.

We hope you enjoy our products and process as much as we enjoy making them.

Join, Feit.

Tull and Josh Price

http://www.feitdirect.com

We try and make stuff that will look as good in 20 years as it does to day. Simple, classic, well made
garments. We do not aim for exclusivity, but we are well aware that are clothing is not for everyone.




*NEW Studio D'Artisan Jeans - 103 Hand                           Distressed 2nd
version
Brand : Studio D'Artisan
Price: $375.00




Studio D'Artisan SD-103U-2

Hand Distressed Model

15oz SDA Original Japanese selvage denim

6x6 Warp x Weft weave (the thickness of threads and yarns are measured in numbers, #0
being the thickest and decreasing in size with a higher number, therefore 6x6 indicates this
denim uses heavier than average #6 Indigo Warp threads and #6 Ecru Weft yarns which gives
the SD-103 it's heavy weight and dark color)

Pure Indigo

100% Cotton

Made In Japan
                                                                    Measurements are in inches:




** Measurements are based on averages taken from multiple pairs of the same size and style.
As these garments are made by hand, measurements may vary slightly for each individual
pair. Our posted measurements are meant as a guide to the overall fit and silhouette of the
garment. Please take this into consideration when choosing your size. Here is a visual guide
to how we measure our jeans.




(Click on pics
below)

                 Samurai Jeans - 15oz Regular Straight Fit (Texas Cotton)
                 Brand : Samurai Jeans
                 Price: $325.00


                 Samurai Jeans Relaxed Fit XX Ltd Ed

                 15 ounce Samurai Original Japanese selvage denim

                 Pure Indigo

                 Front pocket bags have an original Jacquard pattern interwoven with thin
                 Beige threads which reads "Shogyo Mujo" (諸行無常), a basic belief principle
                 that all things of this world are transient and impermanent; also translated as
                 "Everything is transient and always changing" or "All Things Change".

                 The rivets are made of copper with the underside of the front rivets reading
                 サムライ "Samurai" while the underside of the back rivets read "Shogyo Mujo"
                 (諸行無常).

                 Straight Leg

                 Raw Unwashed / Shrink with washing

                 100% Texas Cotton
Made In Japan


The S0510XX uses 100% Texas cotton which is famous for being a "rough"
cotton due to it's high amount of short fibers. Normally, the short fibers are
removed to make a smoother fabric, but Samurai adds more short cotton fibers
to make the yarn even rougher. The result is a yarn that is highly uneven in
size, making the woven fabric very "slubby" (irregular). Moreover, while
most jean manufacturers mix different cottons from various areas, Samurai
uses only 100% Texas cotton in the S0510XX. Even the thread is made of
100% Texas cotton. This creates a jean that captures the essence and spirit of
this tough Texas denim.

Like all Samurai jeans, the S0510XX uses 100% pure indigo with no fillers,
using the maximum amount of indigo that the yarn can hold. Weighing in at
15 ounces, Samurai also maximized the tension of the weave, so that after
washing, the denim actually becomes even more stiff and the weave even
tighter. This is only the second time Samurai has done this, resulting in a jean
with unprecedented "atari" (fading).


                                                                Measurements
                                                                are in inches and
                                                                before washing:




** Measurements are based on averages taken from multiple pairs of the same
size and style. As these garments are made by hand, measurements may vary
slightly for each individual pair. Our posted measurements are meant as a
guide to the overall fit and silhouette of the garment. Please take this into
consideration when choosing your size. Here is a visual guide to how we
measure our jeans.

Sizes 42-46 are an extra $35 ($360)
(Click on pics
below)

                 ***NEW The Real McCoy's Pants - M-65 Field Pants
                 "OG107"
                 Brand : The Real McCoy's
                 Price: $418.00


                 The Real McCoy's MP11003

                 M-65 Field Pants

                 Material / 100% Cotton

                 Color / Olive Green 107

                 Made In Japan

                 *All fabrics and trimmings are also Made in Japan and custom produced for
                 The Real McCoy's

                 Measurements are in inches:
                 (waist can be adjusted with the side pull tabs to fit a little smaller if needed)

                                    S      M       L

                 Waist            33.5     35      36.5

                 Front Rise       12.5     12.75   13

                 Back Rise        17.75    18      18.25

                 Upper Thigh      13.75    14.25   14.5

                 Knee             10.25    10.5    10.5

                 Leg Opening      10       10      10.25

                 Inseam           32.25    32.25   32.75
(Click on pics below)


                        ONLY 1 LEFT/ Moncler - Piquet Polo Shirt White
                        Brand : _ Sale Items
                        Price: $180.00
                        $135.00
                        You Save: 25.00%


                        ALL SALES FINAL, NO RETURNS


                        Moncler Piquet Polo Shirt White


                        Measurements are in inches:

                                              S           M       L

                        Neck                  15.5        16      16.5

                        Shoulder              16.25       16.5    17.5

                        Chest                 36          38      40.5

                        Arm Hole              9.5         9.75    10.25

                        Sleeve                7.5         7.5     7.5

                        Center Back           24.75       25.75   27

								
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