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Thread: Geoffrey B. Small

  1. #881

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    Wow, the neckpoint is aligned with the armscye on this one! And the shoulder seam on the bias! amazing historical patterns Geoffrey!
    Tradition ist Bewahrung des Feuers und nicht Anbetung der Asche.

  2. #882

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    Geoffrey, please say that there'll be some of those trousers in Hostem...

  3. #883

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    Check Hostem Instagram - they've been showcasing a lot of GBS. There were some trousers if iirc.

  4. #884

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    ^ Thanks; good thought. Looks like another pair...will have to go see them in the flesh.

  5. #885

    Default 2 Pieces for Gotham fun when it gets hot now for Hotoveli

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    Thank you old, DNHT, t3hg0suazn...
    please note: for discussions on some of Hostem's delivery pieces, we are planning a presentation here later. For now though, I would like to show 2 more pieces from the Hotoveli delivery that I think are both interesting and great fun to create, and to wear - especially in New York when weather gets hot. The first uses some of our early recycle twin-set design techniques that we pioneered in the '90's which merged vastly different types of garments together into intriguing new metamorphoses that worked-in new combinations which at that time had never been seen or done before. Today, we apply these ideas to new fabric, cut and constructed from scratch, into the final idea instead of simply starting with existing used or vintage garments and merging them. The old way using recycling is far more efficient in many ways and sometimes easier to perform technically--but today we are making new garments from scratch far more than recycled ones for a wide range of reasons too numerous to get into right now. So here, we have a striking extreme handwork piece that we call a "shirt/jacket" which not only puts together two entirely different design patterns and garment construction technologies, but also merges two incredibly special super-artisan fabrics created only for us by Luigi Parisotto in Sarcedo and the Colombina family in Badoere... and represents a marvelous example of our unparalleled research, development and collaboration with the very best of 'Made in Italy' textile and component makers still working today.

    Now, for the few people out there who know something about making clothes, especially in prototype and sample quantities, you may appreciate the difficulties and challenges that this kind of sartorial merging of so many different elements: patterns, constructions, and materials into a single unified piece, might create and present to those who must try to make it. While our "Assemblage" Paris collection in 2014 raised this technology to unprecedented levels, this project as part of "Radicallissimo" marked our first attempts to work with a real totally handwoven fabric- which due to its own unique characteristics, presented a whole new set of sartorial working and practical challenges. This is not an easy piece to create, but in the end it is truly worth the effort, and we felt it was important to present and share it here exclusively on StyleZeitgeist.

    A Hotoveli exclusive for all of the U.S. and North America, the super limited edition RSS09 notch-lapel shirt/jacket design is one of only 3 pieces made by hand in the entire world- of which, just 2 pieces were created exclusively for Hotoveli in New York City...










    The RSS09's handmade shirt component was created by hand by
    combining our longer proportion fit and cut shirt from our medieval
    period research, and cut using a luxurious superlux stripe in Super
    120’s double-twist pure organic Venezia cotton shirting woven for us in
    Sarcedo, Italy by Luigi Parisotto...





    Then combined with a notch-lapel, single-breasted jacket shape cut and
    built in exclusive handwoven silk and linen fabric woven for us by the
    Colombo family at Tessitura Colombina in Badoere di Morgano, Treviso
    (see our post last fall on Examen Reginae to learn more), where it took
    a full day working on one of their original 18th century wooden looms,
    carefully kept and maintained for generations, to make enough cloth
    just to make a single one of these pieces...





    The components were then specially hand dyed and hand washed in a
    time consuming double-separated process to achieve their special
    color and patina effects, for extra aging and softness...





    Extensive hand stitch detail and finishing work and antique Venetian
    novelty weave linen and cotton trim were utilized to form the junction
    of the two hand built assemblies...





    In our first experience working with La Colombina's exquisite hand
    loomed work, and as the weave was significantly looser and more open
    than fabrics created on power looms, our top people in the sartoria
    expressed serious concerns about trying to execute either our signature
    handmade welt and besom pockets as well as our handmade buttonholes.
    Each of these operations required cutting the fabric and making extremely
    precise stitch work, and the possibility of the fabric yarns unraveling
    uncontrollably during the process could easily risk ruining the garment
    at that point. As the precious and narrow 90cm wide fabric piece had
    only arrived to our workrooms about a week before we had to present
    our collection in Paris, we decided that we did not have adequate time
    or fabric to research and test techniques to perform these operations,
    so we decided to eliminate putting the Colombina's beautiful work (and
    expensive that piece was costing us about 400 euros alone)- at risk
    and avoid welt pockets and buttonholes and use other appropriate
    sartorial options. Later as we developed the groundbreaking "Examen
    Reginae" collection for women, we were able to develop and master
    both handcut welt/besom pocket-making and handsewn buttonhole
    operations on totally hand-loomed fabrics and today, they are counted
    as yet another one of our extreme handmade clothing technologies of
    which we are alone in being able to perform beautifully, efficiently, and
    yes, profitably, in this industry. Another example of our growing sartorial
    supremacy that I must continue to emphasize, is totally unique in the
    world today. So in the end, for the RSS09, beautiful Italian metal
    "automatica" buttons were hand sewn to the piece using pure Bozzolo
    silk threads. Part of this decision was aesthetic, but another was
    practical...





    A phenomenal blood red and beige antique venetian linen and cotton
    lace was chosen to accent hemlines at shirt bodice and sleeve cuff in a
    clear, unmistakeably personalized manner that would immediately tip
    off any onlooker that this was no factory-made or common commercial
    fast-fashion or corporate-luxury brand garment...





    ditto the real mother-of-pearl buttons made for us in Padova on the
    sleeve cuffs...





    and naturally, the real hand sewn buttonholes (each one requires 8-10
    minutes to cut and sew) in luxurious pure silk Bozzolo Reale Milano
    Seta threads on the shirting cuffs...



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  6. #886

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    One of only three in the world. The RSS09 is created for someone clearly
    a world apart from the H&M, Net-A-Porter, and Barneys NY type of crowd.
    We cordially invite you to contact the store and begin to experience this
    amazing piece of extreme handmade technology and research in person.
    Next, a look at a super dress for summer in New York...

    .

  7. #887

    Default (continued from above: special pieces for Hotoveli)

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    Aspecial unlined superlight pure handkerchief linen version of the RSWD01
    handmade dress was also developed only for Hotoveli this season. It was such
    a nice idea for staying cool in Gotham heat, that we felt we had to show a bit
    of it here. The original design was created specially for the SS2016 “Examen
    Reginae” collection, perhaps the most extreme hand built collection ever
    presented in Paris for women’s ready to wear using an amazing "ricamo"
    embroidery cloth created for us in Milan fully-lined and backed in pure Como
    silk raso satin (see small photo inset right)...


    .................................................. ............



    For Hotoveli's special version, the dress design was cut in a pure deluxe linen
    handkerchief weight superlight suiting cloth woven for us exclusively by
    Luigi Parisotto in Sarcedo, Italy now the world’s most exclusive artisan cotton
    and linen mill specialist...











    Along with an elegant handcrafted matching detachable rose flower
    accessory pin design which we created in our workrooms, then
    individually hand dyed in our studios using a process that involves
    over 8 hours for each piece to achieve its special color and patina
    effects...










    The classic early 1920's low-waist art-deco influenced design also
    features an inverted pleated neckline, elegant side-pointed hems and
    extensive hand stitch taped hem seam finishing inside...





    and is combined with a pure linen handmade belt also created in our
    studios specially for the piece to be worn super-low at the hip as per
    the avant-gardiste styling of the period...















    This special version of the super limited edition RSWD01 handmade
    dress design is one of only 3 pieces created in the entire world, each
    one exclusively for Hotoveli in New York...





    Part of the extraordinary collection of pieces for women we have created
    for the store, and of which, along with the men's collection pieces, we
    cordially invite you to experience in person very soon.

    Thank you so much for reading.
    Best wishes,

    Geoffrey & the team


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  8. #888

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    My special order came in to Hotoveli the other day from Geoffrey. It is definitely a coat which will be with me forever! The feel of the linen is silky smooth. The handmade buttonholes are beautifully done. The lining story is a really nice touch which makes this piece even more unique. I had a specific arm length that I requested and Geoffrey was kind and understanding through the entire process. Both the mens & womens collection are magnificent and can only be fully appreciated by seeing and touching it in person. I highly suggest taking the time to look at the collection if you live or are just visiting New York. Nothing like it!
    Last edited by Cantara; 05-16-2016 at 02:41 PM.

  9. #889

    Default Thank you Cantara and the critical role of the great customer

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    Dear Cantara,
    Thank you so much for your super post, and your marvelous support of our work. It is a pleasure to make our clothes for you, and I do sincerely hope that we may earn the opportunity to continue to do so again in the future.

    When it comes to great clothes-making, people these days need to understand that it is truly a two-way process. A great clothes-maker or designer is only as good as his or her client allows them to be. Great clients not only facilitate, they contribute to great pieces and great work. They take the time and effort to learn as much as they can about the processes, materials, options and thinking behind design and maker. They learn to see the beauty and the possibilities of a creative process that is based upon knowledge, study and discipline, and they can be decisive and clear when they need to be. And above all else, they are respectful of what it takes to achieve the work by those who must perform it. Whether individual person or store owner, this is fundamental in getting great results.

    Nothing is worse than people who think that they can just flippantly snap their fingers and have someone "whip something up," when it comes to creating really genuine products on a personalized or exclusive basis for their wardrobe or their stores. As many on this forum and elsewhere view, and increasingly complain, about the problems of the market today and the accelerating deterioration of both design and product quality on offer in the fashion industry, it has to be pointed out that buyers and consumers share the responsibility as well in this process and for the situation as it stands.

    Great buyers and great customers not only achieve great results for themselves and their stores, they also play the key role in the survival or demise of true human creation in a world more and more dominated by corporations, robots, automation, and when that is not available- slavery, and the financial interests that believe in the elimination of the human factor in just about everything you can possibly think of.

    Nothing symbolizes this more today in our field than what we in our end of the industry label as the "Typical Fashion Buyer." Often the owner or head of a famous international designer boutique or store in some major city that carries all the right brands at just the right moment, these people invade the showrooms of Paris every season during fashion week. They use their tactics to impress, or terrorize, or harass, or abuse, designers and brands into working for them. They love to pose and act as cool, important, creative-artistic type people just like they think you want them to be to work for them or shop from them. But that is where the fakery begins. They really don't care about what you do. They are coming to you because they have seen you working in other people's stores, or they are followers of the media that is covering you at the moment. They are merchants in the lowliest form of the word. Nothing more. Anything they think they can sell, is what they buy. That's all they are about. They chase trends like there is no tomorrow. Because for them - there is no tomorrow. It's all about 'take the money and run.' They are the principal victims, hook-line-and-sinker... to the wasteful, unsustainable seasonal hamster-wheel of early delivery-or markdown-and-throw-away fashion system that is not only ruining the art and the business of fashion in the world, it is ruining our environment and our very ability as a species to survive on this planet for very much longer. But they are too stupid, stressed and selfish to see their folly or do anything about it. Because the fact is, they really don't care.

    And they carry this vibe with them into the showrooms. They make you feel uncomfortable. They never have respect for you, your work, or your people. They exert way too much pressure for a serious vendor making a genuine product to possibly provide his or her best work, and almost always- for such a small order amount - that to accept their demand, is to accept in the end, losing money or at the very least, making nothing at all. They flip through your rack and arrogantly refuse to put a single ounce of effort on their part to even do a little more than just view their job as "buy and sell." No learning. Definitely no listening. No study. No knowledge. No commitment of effort to raise the quality of their product offer, or the service and information they provide to their customer, nothing whatsoever. "Just the trends, please.. and if you can't deliver my fall/winter before August, or my spring/summer before January...I can't sell it without putting it all on markdown... my customers simply can't wait." You see, they really don't care. They just want to buy and sell, without any effort. Easy quick sales, that's it. The lowest common denominator. And when you try to tell them that some effort a little bit beyond sitting on your ass at a cash register in your store and parading around Paris like a hot-shot-celebrity-know-it-all-VIP is needed to work with a designer that is really making a genuine product that is redefining the value set of a rapidly growing new generation of customers for designer clothing today, well--- they don't want to hear it. For them, the phony sign they put up outside their store on the shingle that says they sell "genuine designers and genuine products" is all they think they need to fool you. Well, that's changing. More and more customers are getting informed and waking up. And after many decades in the game, we try to avoid these people like the plague. Every once in awhile though, inspite of our careful screening, they sneak into our showroom and fool us into working for them for a bit. But in the end, the truth always comes out. And we need to get rid of them. We have to, so that we can focus our precious and limited time, and work, on taking care of our real customers. We have no time for these fakers. With a maximum this year of maybe just about two thousand individual extreme handmade pieces of production, we simply cannot be for everybody, or every store, on the circuit.

    So when we say it is a pleasure to make our clothes for you Cantara, it means something very serious to us, and we mean it. We thank you again from the bottom of our hearts, and we thank Hotoveli and our other dedicated exclusive dealers around the world who have and are continuing to commit themselves to our work for making it all possible... and helping to keep the dream, and the art, and yes, the mission, of great-clothesmaking alive, and not only well---> but thriving.

    And on that note... this coming Thursday, we have been kindly invited to talk to the University of Venice about our work and our unique revolutionary approach to design, art and the business. Hope it goes well...

    Thank you as always for reading.
    Best wishes,

    Geoffrey







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  10. #890

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    Geoffrey, I'm wearing the black linen dress I purchased from Hotoveli to a wine tasting/dinner (french cuisine) tonight. It ideally fits the whimsy of the event and its stunning.

    Congrats on your flourishing success.

  11. #891

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    is it the one posted above? beautiful piece!!
    "AVANT GUARDE HIGHEST FASHION. NOW NOW this is it people, these are the brands no one fucking knows and people are like WTF. they do everything by hand in their freaking secret basement and shit."

    STYLEZEITGEIST MAGAZINE | BLOG

  12. #892

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    yes, the same dress. 2 of 3. If Geoffrey custom made it for me it couldnt have fit better.
    I wore it with the Guidi linen boots.

    turns out the tasting was french cuisine paired with wines from J. Hofstatter. I thought this was neat since Martin Hofstatter himself admired the dress and I his wine.

  13. #893

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    Quote Originally Posted by rider View Post
    yes, the same dress. 2 of 3. If Geoffrey custom made it for me it couldnt have fit better.
    I wore it with the Guidi linen boots.

    turns out the tasting was french cuisine paired with wines from J. Hofstatter. I thought this was neat since Martin Hofstatter himself admired the dress and I his wine.
    “You know,” he says, with a resilient smile, “it is a hard world for poets.”
    .................................................. .......................


    Zam Barrett Spring 2017 Now in stock

  14. #894

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    Hostem have received their SS16 collection. Really lovely as usual. I'm looking forward to Geoffrey' write up and featured descriptions.

  15. #895

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    Quote Originally Posted by Mojo1990 View Post
    Hostem have received their SS16 collection. Really lovely as usual. I'm looking forward to Geoffrey' write up and featured descriptions.
    Me too. I'm curious if you'll be giving us the same treatment for some of the items delivered to Japanese stores? I love the pieces with longer arms and smaller lapels (none of the New York stockists seems to regularly carry or maybe these just sell out faster?). This jacket in particular is stunning.


  16. #896

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    If I may ask, where are they selling that particular blazer? I've tried navigating my way through a few Japanese stores affiliated with GBS, but it gets quite tricky. If you could please give me a few links that would be much appreciated
    Last edited by Mojo1990; 05-31-2016 at 02:12 AM.

  17. #897

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    Had the opportunity to view the collections at Hotoveli and IF 2 weeks ago, looks terrific!

  18. #898

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    Quote Originally Posted by Mojo1990 View Post
    If I may ask, where are they selling that particular blazer? I've tried navigating my way through a few Japanese stores affiliated with GBS, but it gets quite tricky. If you could please give me a few links that would be much appreciated
    That photo is from Gullam's blog.

    http://gullam.jp/date/2016/05?cat=4

  19. #899

    Default A word about the media: fashion & otherwise

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    Dear Rider, Lowrey, Zamb, _AR, Mojo1990, jakubtoronto, applecrisp…

    Thanks so much for your kind words (and in Rider and Mojo's case your purchases!).
    You people are each very appreciated.



    Today, a note and post on media seems appropriate as the Associated Press, CNN and a pile of US corporate-backed media have magically proclaimed Hillary Clinton already the "presumptive" winner of the Democratic Party's presidential nomination before no less than six state primary elections across the country including California, have even taken place on this same day... in a far more tighter race than what they seem to want to admit to.



    Well, last week or so, I was asked by a magazine in London to answer some questions via email as part of an article they were doing on our recent delivery to Hostem with photos taken by Ryan Skelton. The angle of the piece was supposedly about slow design and sustainability issues of which we are well know to be leaders of. OK, so albeit the questions are all pretty lame, I write my answers and send them inside the deadline requested, and a few days later, the piece comes out in publication. You can view the piece yourself here:







    At first glance, I think it is alright, but somehow something doesn't ring straight to me. I decide go over it again. And whoa… more than half of what I wrote and sent them is not even there. Alright, I know editing is always needed in media, and even sometimes for an online publication though they have no costs of paper or printing etc.. So I am thinking that maybe this is OK--but upon closer examination, that is not at all the case here. What they took out was in fact very specific and calculated. Indeed, anything their advertisers might not feel good about. And as some of their advertisers are world leaders in unsustainability, pollution, and unethical practices, that might create some problems with what I really had to say to their questions.

    So for the record, exclusively here on StyleZeitgeist.com here is the interview published in full with my answers (yes, I must use the word here) uncensored….



    1.
    How do you feel about the current state of fashion?
    Was this line/your work a response to it?

    Fashion- are you kidding? Bad for the customer, bad for the worker, bad for society, and bad for the environment, fashion today remains one of the industrial age's biggest human failures. It is a massive human social and environmental disgrace. And now it's worse than ever. Our industry leads the world in slavery and ripping off the customer by making them poorer and poorer in a myriad of ways, and is currently ranked 2nd in the world among all industries in polluting and poisoning our world. The skill sets required to make clothes are getting scarcer and scarcer, as Yohji stated recently "we have less and less competition- 'clothing designer' is more and more rare…only 'stylists' working for big luxury brands to sell bags and accessories." The hypocrites on the sustainable fashion and ethical creation bandwagon are more numerous, phony and more damaging than ever. The epitome of this is the newest fashion rage in Paris, whom and which I will leave unnamed. We use DHL for shipping our work around the world to our clients, they are the best in their business, but they make a lousy t-shirt. In fact, they don't even make t-shirts, like the logo-slappers who don't make anything either. We are sick of it all, and of course, our work is a response to it. We only care about one single thing, showing the world what is still possible when people who really know how to make things (in this case, clothing) set out to make the best clothes in the world bar none. This results in providing unparalleled value to our customer, and as a result, neither they nor us need fashion any more. So, we really don't care….


    2.
    The industry has changed a lot since you started out over three decades ago. What have you learnt?
    What is different for you now? How is your work responding to the current state of the world?

    Sorry, but I cannot give you a complete answer to all of this and make it within your deadline. The biggest change over the past three decades is not in the industry, but in the world- it's being taken over by the "corporation." It's not just fashion and textiles, it's banking, transportation, energy, housing, consumer products, and in particular, government, and your industry: media. We are living in a period that will go down in human history when the nation-state gave way to the corporate-state, and ushered in a new era of feudalism, and a new inept but extremely powerful ruling class that is hurtling most of us towards extinction. In the 90's there used to be a huge middle class market for designer fashion, but that is all gone because the middle class is all gone, wiped out by the corporation which has concentrated its power and wealth to an increasingly fewer and fewer number of people at the top. So more and more, you had to choose between designing for poor people, designing for middle class people that don't exist any more and are becoming more and more closer to poor people, or designing for increasingly richer rich people. We saw the writing on the wall. The only way to save the craft and the art of our ancestors, was to do as was done throughout most of human history by most great and competent workpersons and artists… you work for rich people and build Ferraris or Tintoretto's. And if the world is going to be run by corporations, you form and build your own corporation in an effort first to protect you and your people from the incompetence that is running the world these days into the ground, and second, to perhaps influence things so that the world get run a little better than the status quo.


    3.
    Tell us about the many processes and fabrics that are in this collection? Where did you find them?
    How long did it take? How did you try and make it sustainable?

    We are the world leader in sustainable designer clothing going back decades, so it is impossible to explain all the processes and fabrics in such a short time to all of these questions which are so broad. I would suggest doing your homework on us first or being more specific with your questions. Our goal this season was to create the most extreme hand built men's and women's collections ever presented in Paris for ready to wear, and once again break the barriers in handmade clothing technology. And we did. While the somewhat classic appearance fooled both the superficially-minded buyer and the superficially-minded journalist - the collection we presented in Paris was a revolutionary one. And it sets a new standard in classic luxury tailored clothing for men and women that now challenges any major couture house in the world. There is now something better for this customer. And way cooler. And that customer is growing. And while the so-called luxury houses are busy buying and selling each other and trying to rebrand and relaunch one bogus "heritage brand concept" after another hiring, and firing one "stylist" after another- we are steadily and aggressively building a real, and new, heritage brand from scratch. A real one, with a real person behind it. And one that will be one of the greatest of this new century because it is not run by financiers or accountants, it is run by people with one singular vision- to make the best clothes in the world possible today by human beings, bar none.


    4.
    In what way did your collaboration with the Colombo family give you
    “a new approach to couture fabric and garment making”?
    How did you meet them? What makes the fabric special? What were you surprised to learn about their process? Where can it be seen in the collection?

    The rising costs of global transport and their subsequent greenhouse gas emissions is creating a new reason for work to travel less and less. Therefore, the sourcing and assemblies of product need to be performed as locally as possible. I came to Italy 16 years ago for one reason: to make and design the best clothes in the world. We have developed a unique network of the world’s most advanced industrial and artisanal suppliers for fabrics, components, accessories, threads and treatments. Across the entire spectrum of suppliers we have the world’s very best technical, cultural, and artistic working masters all within a maximum radius of 250 kilometers. Our exhaustive and constant research and efforts in this area led us to a chance encounter where I discovered the Colombo family who at that very moment
    were considering a return in their company to relaunch making totally hand woven fabrics in a special old room in their 19th century villa complex that was filled with authentic original wooden hand looms from the 1800's that had been dormant for almost half a century. Hand work requires no electricity, petroleum or machinery. It emits no carbon or methane into the atmosphere. It provides life skills and work to human beings and enables them to create garments and fabric autonomously with less dependency on a system with vastly diminishing resources (for example, one of us can execute a beautiful hand slip-stitch down a jacket front ourselves with just a needle, thread and know-how, far faster, less expensively, and more beautifully than the typical AMF machine system industrial alternative.) And it creates high value works that are beautiful, unique and meaningful in a multitude of ways. The return to handwork is also leading us to a new world of artistic perspectives and directions that we are continuously pursuing and experiencing as we increase this...

  20. #900

    Default (continued from above) a word about the media: fashion & otherwise

    ...new interpretation to maximize a very old application. For example, the relationship with the Colombo family began right off with nothing less than a revolution. You see, the Colombos don't just weave great fabric. They weave it by hand. All of it. On original 18th century looms that they have carefully kept and maintained for generations. And while it takes 2 days working on one of these looms to make enough cloth just to make a single suit, what can be done on those looms is simply another world when it comes to fabric. And as we stepped into this new world, it led us into an entirely new way of looking at things, and yes, making things, especially the prototypes for this new collection- which rises so much higher in time, skill and sartorial artistic excellence that it takes all other recent artisanal designer collections and their pieces, including our own, and simply leaves them back on the ground. And nothing represents that vision today more than the pieces that can be found in the new collection. They are totally new technology pieces- the most handworked collection ever done for a Paris ready to wear collection... again starting with the fabrics which were all totally hand woven on a series of original 18th century wooden hand looms that the family has maintained for centuries. This fabric took us into totally new territory for complexity of hand technologies. For example, it took 2 days of work for a person working on the hand loom to create enough fabric for a single 2-piece suit. To achieve the extraordinary dark colors we presented in Paris, after extensive trials and testing in our workrooms, we found we had to hand dye the fabrics not just once, but twice to get the yarns to go dark enough and hit the amazing patina and softness that was finally achieved. So another 2 full days due to double-hand dye baths were needed just to dye a single suit. Because the hand loom techniques result in looser weaves than with power looms, the fabric was also very different to work with in the sartoria (tailoring rooms), cutting had to be done much more delicately and carefully or the fabric will run and yarns will unravel quickly, our initial time studies indicate 2-3 times longer to cut a suit in this type of cloth, and at its already high price and value--we could not afford any mistakes. But the fabric story of the collection does not end there, there are also breakthrough artistic and technological examples from Fratelli Piacenza (founded in 1733 the oldest still running wool mill in the world) who provided us with the world's lightest 170gram per meter weight cashmere suiting in history and stunning organic fiber fabrics from Luigi Parisotto, and silk shirtings from Ratti and Serica della Marca, and original hand printed gold leaf fabrics used for the first time for clothing designs in almost a century from the legendary Mario Fortuny factory in Venice. The list goes on and on, you simply have to begin to visit one of our extraordinary dealers like Hostem in London and begin to explore a totally new experience in clothing and wardrobe design.


    5.
    Besides the textiles and processes, what did you want to convey aesthetically?
    How did the look of the clothes happen?

    We are the Ferrari of the industry. We have only one goal- to make the best handmade clothes in the world. That includes aesthetics. For the past 14 years, we have been steadily increasing the amounts of handwork involved in the creation of our pieces, and we can now state that the handmade component of our work is the highest in the designer industry bar none. Our focus has not been just to reproduce effects of “a day gone by,” but to look at, and arrive at, new and forward-looking applications of hand-work on modern 21st century life and design as we know it. Our unique position in the world avant-garde circuit in Paris for more than 20 years and our sartorial supremacy and extreme hand made technologies allow us to create and provide the most beautiful, comfortable and correct wardrobe concepts for our customers, who are generally, some of the smartest and best-dressed people on the planet. It also allows us to uniquely pursue our concept of long-term design, which puts a minimum target of 25 years useful life for every design we try to create for its owner. By being a leader at the Paris avant-garde level, we know well in advance where things are going aesthetically and can design as such to guarantee our client that he or she will be the coolest looking person in the room now and in the years and decades ahead. By building and investing ourselves to become the greatest modern tailoring house in the world, we are also able to build a product with that type of aesthetic that can also physically last that long. This is not a pipe-dream or just-hype-talk, we have many customers out there with pieces that we made for them 25 years ago or more, that they can still use and wear to prove it.

    6.
    What is the benefit of producing limited edition collections?
    Do you think fashion needs more of that?

    A recent study has come out that indicates that one-third of all clothing produced in the world is unsold. A ”29£" or ”2,990 yen" or “29,99 dollar or euro” article that steals its design from a Paris runway collection, promotes and uses slave labor and consumes a long chain of energy and resources and produces an equally long chain of greenhouse gas emissions in its production and delivery to the marketplace, fits poorly, uses uncomfortable plastic petrochemical fabric, looks cheap, and falls apart after only a month and several washings, and then needs to be replaced and repurchased again 5-10 times a year, and then ends up in an African landfill where its synthetic materials obstruct water flow, degrade topsoil and increase malaria growth or in the oceans all around the world where UK scientists have discovered now contain alarmingly high percentages of microscopic plastic particles most likely caused by our industry… is no bargain at all. It is a waste of money and one of the most expensive, wasteful and destructive things you can possibly do with your money. The business model is totally flawed. Reducing the amount and quantities of product and making things that last as long as possible is a tantamount to the new wardrobe philosophy for those of us who wish to avoid mass extinction of the human species within the next few decades. It takes a tremendous amount of skill, time and work to make a Geoffrey B. Small limited edition article, and it is financially and logistically impossible to over-distribute and over produce. Every piece must count for maker and wearer. If making clothing is going to cost more in the future, and it is, it must contain less waste, and that includes pieces that are over-produced on speculation using slave labor tactics and extravagant consumption of energy, water and natural resources. Micro-scale design and high value production specifically targeted to individual niche customers’ exact needs in exclusive and limited series is the logical sustainable, and humane, approach.


    7.
    How did your collaboration with Hostem come about?
    What are you favourite pieces in the collection?

    I met the people behind Hostem many years ago in Paris before they had started the store. At the time, they were working outside of London and began to explain their vision to open a new kind of designer clothing store in London. At first I was extremely skeptical, the industry at the time was rampant with an old-generation of tired, jaded and lazy but still powerful retailers, who were slaves (and still are) to the system of trendy consumerism, seasonal, disposable, early markdowns, short-term design thinking and a general devaluation of everything that we are about which impoverishes both wearer and maker of clothing. We were in the process of proposing and leading a new radical revolutionary approach that would start a paradigm shift in the industry from the Paris avant-garde level to the rest of the industry. And the one thing I remember about each of our encounters, was that they were listening carefully. They soon convinced me they were earnest and shared our philosophy. Any student of our game knows that a revolutionary designer needs revolutionary retailers who are able, willing and daring enough to carry the message and the idea and share it with the public and the community face to face and one to one on a daily basis and turn it into a major success. It's been seven years since Hostem opened in Shoreditch and we made our first clothes for their tiny store on the corner of Redchurch Street, the story of our collaboration is a remarkable one and will go down in the annals of the game as part of the beginning of a great rebirth of the tailoring Art in the modern world. As for the current collection, I have no single favorite. They are all examples of the maximum possible human attempt to hit the zen point of perfect balance, beauty, emotion and comfort within a set of defined parameters. Each one is a part of our Art. They are all different and each has a special story.


    So when it comes to corporate media in fashion or politics, don't ever believe that what you see is the whole story in any sense of the word. More often that not, it is a complete fabrication or coverup of what really is being said or going on.

    Thank you so much for reading. And thank you StyleZeitgeist for existing and providing the platform.

    Cheers,

    Geoffrey


    PS. and if you are in California, Montana, New Jersey, New Mexico, South Dakota or North Dakota, please make sure to get out and vote today. The future of the world may depend upon you. Thanks.

    .

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