Geoffrey B. Small

[Geoffrey B. Small]

Thanks again to everyone,
Geoffrey & the team

[Mojo1990]

Dear Geoffrey,

I've been meaning to make an inquiry with regards to a few menswear pieces that were featured in the beautiful 'Onion' FW19/20 collection showcased in Paris. I seem to recall that a few stand alone pictures of the garments were taken at the Paris Showroom by Cathedral which were of particular interest. I'm curious to know if perhaps any stores will be carrying these pieces in the coming months. I have attached URL links to their respective looks for your kind consideration.

Striped Shirt:
https://www.instagram.com/p/Bs3ZVK5H...=10bsjdwx0s55r

Similar fabric featured inner shirt:
https://www.fashionmagazine.it/galle...6-detailp.jpeg

And this beautiful layering of shirt and vest:
https://www.sz-mag.com/wp-content/up...itgeist-38.jpg

Fortunately I own a pair of OCP09 trousers which I feel will compliment the striped fabric of the shirt featured in the first two links

[Geoffrey B. Small]

Dear Mojo1990,
Thanks very much for your post. Apologies to you for the long wait for a reply, we are unable to post anything due to record season and extreme work loads. Will briefly try to reply to your queries…for the striped shirt in your first 2 pictures linked above (DOS18) we made 12 pieces for the world. First two of these were delivered to Arts & Science in Aoyama. Eight pieces are now arriving at Cathedral in Osaka and Ginza (many are pre-booked), and the final 2 pieces have just been made for Liberte in Kobe and arriving next week. For the vest, unfortunately no dealers are carrying the DOJ15 this season. Five pieces of the shirt/jacket worn with the vest in your photo were made (DOS01) and have been delivered as follows: 1 piece for Persuade in Bilbao, 3 for Souterrain in Roppongi, 1 for Zovin in Shenzhen. Our Japanese dealers pre-book most of their pieces for their clients in advance before our deliveries arrive so please contact the above dealers asap to reserve or request availability. Thanks again for your post and support.

Best wishes, Geoffrey & the team

[Geoffrey B. Small]

COVERAGE is out of our Paris AW2019-20 men’s and women’s
collection shows in both Uomo and Donna Collezioni magazines.
We are pleased to post copies of the coverage here on our thread at StyleZeitgeist for members of the forum.
Collezioni is published in Italy and is the industry’s leading international runway coverage print publication.
Pieces from the GBS “The Onion” and “I am not sustainable” collections are now in-store
or arriving at exclusive authorized GBS dealers worldwide.*


With many thanks to everyone,
Geoffrey & the team

*Special collections available exclusively in the world at
L'Eclaireur in Paris, Hostem Archive at the Blue Mountain School in London, Darklands 6.0 in Berlin, Eth0s in Shanghai,
Ink in Hong Kong, Trois Pommes in Zurich, LeForm in Moscow, Persuade in Bilbao, Arts & Science in Aoyama, JS Luxe in Omotesando and Umeda,
Cathedral in Osake & Ginza, T.O. in Kochi, Souterrain in Roppongi, Provogue in Nagoya, Liberte in Kobe, Hues in Fukuoka, Gullam in Daikanyama, Carrefour in Jiyugaoka,
Ripe Ark in Utsunomiya, Atelier NY in New York, and Leisure Center in Vancouver.

[darkpyramid]

[/CENTER]
Thanks again to everyone,
Geoffrey & the team[/QUOTE]

just wondering for the details , really Mr Geoffrey i define your work as the algorithm of art & tailoring

[Nickefuge]

After touching every single GBS piece at Darklands I am convinced, one could take a nap in your clothes, wake up and still feel and look sharp. In my book, this is the biggest compliment garments can receive.

[Geoffrey B. Small]

Thank you so much Nickefuge and darkpyramid for your recent comments.


Of course, nothing would be possible without all the work that all of the people who are involved in the creation of GBS clothes contribute to each and every single piece. So I need to thank all of GBS’s employees, suppliers, and dealers worldwide for their work in building and distributing some of the world’s best clothes being made today. And thanks to all of our SZ readers for supporting our work and our mission along with each and every one of our customers whose purchases and investments help to keep the precious metier of extreme handmade technology alive with the human touch that our clothes are slowly earning recognition for, in more and more places.


We hope also that some people begin to understand the design side of our clothing more, which is no less important as our quality. In fact, our quality is an integral part of our design approach, which for 4 decades has aimed to be consistently positioned in the most advanced areas of clothing and design. We are still working on and holding that position more than ever today. And while our independent status and anti-corporate fashion stance has led mainstream fashion media and organizers to refuse to cover our shows and our work for decades, it has not stopped us from growing steadily over the years.


Nevertheless, we have paid a steep price for that independence in regards for being the first to launch a long list of concepts and ideas in Paris since 1993, and not getting credit for it. By refusing to cover our shows and our work, a relatively small circle of corporate-backed organizers and media continue to enable their backers to exploit, assimilate or simply ripoff research and development that our firm invested in and developed first, and then use the same powerful media circles to make them look like it was their invention and genius that did it . Sometimes it's a big corporate brand with it's “DJ” of the moment at the helm, other times more insidiously, it can be a young ambitious independent (more adept at schmoozing than really creating) that the corporate machine has their eye on for an acquisition or takeover. They can't buy us, but they can sure buy some youngster just out from some fancy college design program (pumped up by the same corporate machine circles) trying start in the game. And then they get their media friends to say the youngster invented the idea and everybody believes it. That's how the game works. Big companies need ideas in this business and don't like to pay for them. That means giving credit and paying the real designer who knows what it costs to do it. Why do all that when it's far more efficient to copy ideas and just use big media muscle to lie about where the ideas actually came from?


The practice has been systemic historically, and our firm has had to both witness it and survive it for years. It’s part of the price of actually being in the business of being first. You must first place all energy, resources and investment on the pure R&D, the science and the art— just to do it. You cannot dilute those things by focusing your work on hype, PR, marketing and grabbing the credit. You won't be able to be the one who does the thing first if you do that. And because of that, you lay yourself always open to copiers who have taken the alternative strategy that it doesn’t matter who did it first, what matters is who people think did it first based upon what info they are fed and what they know (which should be as little as possible). As long as they don’t look too hard, and you can muzzle people that really know the truth, nobody will know the difference. And nobody will care. Your big brand or company which is scaled up to sell and distribute more (because you do not have to focus on or pay for actually doing it) cleans up on market share, recognition and volume margins which can mean a lot of money in a very short time. You take that margin and you pour it into buying media to keep as many consumers and industry professionals as you possibly can as ill-informed as possible. And so it grows. Big fashion cannibalizes the source of the ideas it needs. As I get into discussions on other SZ threads about who started what, I may seem to get a bit emotional. Perhaps you would too, if you were in my shoes over the past 40 years, and seen what I have seen in this game.


Inspite of this, independent voices are still speaking these days at a critical time as a new generation is making itself present while being bombarded by mainstream media in a corporate-dominated internet. SZ is one of these voices, and why our firm is so committed to supporting it and participating on its forums. Another voice is fashion editor Pedro Canicoba and photographer Antonio Macarro who publish the beautiful design book known as Many of Them. For a decade, this duo based in Spain has been setting a new standard in print that emphasizes enormous depth of coverage along with Macarro’s consistently beautiful analog photography (using real film and processing- no digital) of many of the world’s leading independent designers and creators. Their magazine editions are literally books with an enormous number of pages, and their editorial quality has been steadily attracting all of the big luxury brands and houses as well, to their unique mix and perspective on art, design and fashion. Some of our most important stories and interviews have appeared in Many of Them over the years (you can find them in back copies of previous issues and some can also be seen on earlier postings here on the GBS thread). We are pleased and grateful to have been included on one of their latest edition’s covers, and in their new issue coverage just out now for 2019 with a photo essay by Antonio Macarro and Pedro Canicoba shot in Paris and an extensive interview discussion about our firm, its design position in the industry, role in teaching, first entry into Vicunya, and other things we have been up to. As a courtesy to SZ and its readers, the publishers of Many of Them have allowed me to share some of that coverage and interview with you here with many thanks…

[Geoffrey B. Small]

(continued from above)

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[Geoffrey B. Small]

(continued from above)
















































''..big corporations essentially
dictate how the fashion market
operates. How do you compete
with those brands, while still
being loyal to your own principles?''

“That’s the fundamental question. It’s
how we’ve existed and survived in
this metier for so long. Somehow, the
answer resides in finding a certain
position in the industry. Each designer
and each company has to find a niche,
and in that sense our role was never
about being big, but to be in the avant-
garde, to do research, to be the first.
So I think if somebody studied our
collections, they would realize we’ve
been pioneers in quite a number of
things.“


(See beginning of interview here)








Many Of Them is printed in Spain and distributed through specialty design and art book dealers worldwide.
You can order their books and find out more about them here: https://www.manyofthemmagazine.com/


Thanks for reading and Happy New Year.



Best wishes,
Geoffrey & the team





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[Geoffrey B. Small]

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.
.
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Sorry, still working on very, very big collection- no time to post anything more than this...

As always, SZ people who are in Paris Saturday are invited- hope to see you.
Contact Lionel asap for a place: fashiontherapy@free.fr
thanks to everyone, cheers Geoffrey

[Geoffrey B. Small]

.

Brilliant photo by Matthew Reeves now appearing on SZ mag's show coverage, of Ivan in Paris wearing the most expensive single piece presented in all of Paris men's fashion week- the extreme handmade new VA-2 100k full-optional Geoffrey B. Small accident dye III Fratelli Piacenza 1733 pure Vicunya handmade supercoat with Fontana bespoke diamond buttons at "just another boston guy" our tribute to the art and style of Ric Ocasek former band leader of the The Cars. The incredible "fabric of the gods" looks like it was printed but the effect was actually achieved with an amazing new ultra-extreme-precision-artisan process developed and performed by David Wild at the GBS workrooms in Cavarzere... further pushing GBS clothing art and technology to a level like nothing else in the world. With many thanks to everyone at SZ. View more of Matthew's shots of the show at the seasonal threads page here: http://bit.ly/2NJnQ2R

[lowrey]

Geoffrey, hope you are well my friend.

the collection looks fantastic and judging by some photos, a very big one!

I wish I'dbe there to see it in person.

[Geoffrey B. Small]

Dear Lowrey,
So nice to hear from you. Thanks for your kind comments. Hoping you are also very well. Wish you were there in person too, it was quite remarkable seeing everyone after the show... as next best thing - I am very pleased to present the official video of the show shot by Kris Dionisio. Show and collection were dedicated to Ric Ocasek of The Cars, I have added excerpts from our program notes given out at the show below the image link for anyone who wishes to know more about what went behind the collection...





"LAST season when I was in Paris for women’s week, I heard that Ric Ocasek had died, and I have been in flashback mode ever since. We used to see him and oftentimes Paulina, hanging out in the same nightclubs along Landsdowne Street when I was starting my career in Boston where I grew up. They were cool, quiet and kept to themselves. There was no flash or paparazzi or pr bullshit going on about them whatsoever. We all knew he was making it to the big time with his band, The Cars, and after awhile, their music was everywhere—becoming an emblematic sound of the 1980’s. And none of us would swoon or bother them out of respect. He was just another Boston guy. And in that old historical academic city where the American revolution started, we had a code of behaviour that you don’t make friends too easily, but when you do it, is for life. You don’t just say hi to people walking down the street if you don’t know them. You don’t convey any impression of being false or phony. So while we knew he was there, we always left him alone.
........But looking back, as Corey Seymour wrote in his obit story in September for Vogue “Think Ric Ocasek didn’t touch your life? Think again”- I think we took him for granted. Not only for the music, forget about that. Just ask anyone who was alive then, and play them a few tracks and they will remember how ubiquitous that sound was in their lives. It got so big and so mainstream--I lost interest in it. Forget about how well prepared he was before launching The Cars, he was 35 and had been working on that band for over decade— and how they churned out 4 Platinum albums in just about the same number of years. Forget about the fact that they were all extremely good players, real musicians who played their instruments live, over and over—and wrote their own songs—enough to compile an estimated 100 million dollars for themselves in rights and royalties.
........And forget about the fact that they built their own recording studios in the heart of Boston which not only allowed them to totally control their own music but became a hotbed of production for a whole new generation of other musical artists like Weezer, No Doubt, Suicide, Bad Brains, Guided by Voices, Brazilian Girls, Le Tigre, Bad Religion, the Cribs, D Generation, and Nada Surf. Ocasek and his colleagues Ben Orr, Elliot Easton, Greg Hawkes and David Robinson were total pros, and their enormous success in rock music was no accident at all. Ocasek was a control freak when it came to his art, controlling every aspect including the visual ones. And that is where this collection comes in. It’s dedicated to Ric Ocasek’s visual work, his look, his style and yes, his art. And it’s dedicated to the city at that time that I grew up in and started my own career in.
. ........Boston was an enigma then, a staid provincial city with 35 colleges and universities and an architecture that spanned history with modernity that had been spearheaded first by H.H Richardson and subsequently I.M. Pei who practically redesigned the city with his sharp angular lines and geometrical proportions from during the 1970’s. Before making his name with the Christian Science center, the Boston Public Library, the John F. Kennedy Center, the all-glass John Hancock tower and then all over the world (including the Louvre’s glass pyramid and underground structure), Pei first studied architecture in Boston at Harvard under the direction of Walter Gropius who founded the Bauhaus in the 1920’s. As the Nazis rose in power, he left for America and became the chair of the Architecture program at Harvard University where he worked for the rest of his life.
. ........Richardson, Gropius and Pei were all Boston guys too, and their design influence has been felt around the world. As a young music artist living in the city, it would be hard for Ocasek not to be influenced by their works. So it is not surprising that Ocasek showed a strong adherence to bold graphics, sharp angles and crystal clear proportions in how he dressed, and every aspect of not only the musical side but also the visual side of The Cars from the clothes looks and image of the band and its members, to stage and video sets and album covers. It was done so well that it appeared not to be controlled or calculated. But late in his life, Ocasek began to be recognized as an artist with a series of nationwide gallery exhibitions of his drawings, many of which were sketches or doodles that he had done during his music career, and to anyone viewing them it becomes crystal clear that the imagery of the The Cars in both sound and vision was no accident. And much of it revolved around its leader and his look. And what a look. For me, Ric Ocasek was one of the great dressers of all time. His work with his look needs to be recognized for that alone. The incredibly tall and lean silhouette, sharp shoulders and ink black hair in intriguing shapes with dark glasses often recalling Buddy Holly or Roy Orbison but updated for the new ’80’s was extraordinary. I know people always talk about Bowie, Lennon, Mick and many others, but Okasek needs to be recognized as well for his style.
. ........And that is a Boston thing too. There was a style movement going on there at that time. Murray Pearlstein’s emporium Louis Boston had a slew of sharp young guys working in the store that would later become big pros at the international brand level including Joseph Abboud, Bernie Gence, Giovanni Contradda, Gary Drinkwater, Randy Iserman, Arthur Jordan and Carmen Micciula. And while this writer never worked in that great store, he did spend a lot of time together with many of them, and all we talked about in those days was the new design, clothing and style that was happening in Europe at that time. We lived it and we breathed it with a passion that would take us beyond the city eventually to where we are today. There were some very creative people at John Dellaria the hair designer just before he moved to an up and coming neighborhood in New York called SoHo, who spearheaded a wild event called Hair Cares to raise money for aids patients in the beauty industry whom I spent time working with as well. So, when I heard the news that Ric Okasek had passed away, it brought back a lot of memories of the city I came from and its relatively unnoticed role in design in the world, and it inspired us to take a look at this far more than just music artist’s view on style at a time when the Cold War was coming to an end- and reinterpret it 40 years later for a time when the Cold War seems to have come right back into our lives." --excerpts from the program notes of the show

[Ahimsa]

Geoffrey B. Small F/W20 Men’s – "just another boston guy" on SZ-Mag

[Errantman]

[/URL]

God, I want this so badly. I'm LOVING that shirt.

Also, a question for you Mr. Small. I have one of your Floral F/W '18 silk shirts. I don't do dry cleaning, I'm more into handwashing most of my delicate shirts and pants/trousers that I own. Would that be a smart choice for the shirt I own? If so, what would be the best detergent or washer for such a shirt?

I use various The Laundress products for my cleaning. I've hand washed my various Archivio JM Ribot clothing and they have come off smooth and clean as hell without it messing the overall look, feel, and structure of them.

Thank you

[Geoffrey B. Small]

God, I want this so badly. I'm LOVING that shirt.

Also, a question for you Mr. Small. I have one of your Floral F/W '18 silk shirts. I don't do dry cleaning, I'm more into handwashing most of my delicate shirts and pants/trousers that I own. Would that be a smart choice for the shirt I own? If so, what would be the best detergent or washer for such a shirt?

I use various The Laundress products for my cleaning. I've hand washed my various Archivio JM Ribot clothing and they have come off smooth and clean as hell without it messing the overall look, feel, and structure of them.

Thank you

Dear Errantman, Thank you. Regarding your question on cleaning your shirt, would it be possible for you to let us know the precise model number of the shirt? All of our clothes have different washes, hand dyes or other treatments, so before we can give you a responsible answer we need to know exactly what piece you have. thanks, Geoffrey & the team

[Ahimsa]

View more on SZ-Mag
Photography: Matthew Reeves
Model: Matilde Canuti

[darkpyramid]

Congratulations for winning the covid 19 battle

Fast fashion suffer unexpected thing and sure they have to rearrange all their papers again, zara scored 0 sales in many countries for days and in middle east countries for weeks, even that is not the end of nightmare it's just the beginning

Always consider shopping is not human behavior it's culture!
For those who throw tons of garments in FFF retails then throw again by consumers in trash after just one use of them, they get hurt during covid 19, and they have to pay for that simply because they give a shit about professional fashion industry rules
Just i compared between Geoffrey B. Small fans when they asked Geoffrey about his health even asked about his team during covid 19 days and the consumers of zara, H&M...... etc which stop their purchases with don't giving a shit to FFF stores and sales men, staff... etc who loses their jobs by covid 19, exactly the same situation to the fast fashion kings who don't give a shit to their consumers and only thinking how to reduce their cost by releasing their employees and shut their stores till the covid 19 end

A deep look to Geoffrey B. Small, why his sales didn't hurt by covid 19,and why he didn't release some of his team to reduce the cost even his funding power by all logic methods is weaker than zara, H&M. as compared
The reason why Geoffrey B. Small survive from covid 19 sales down is the culture, the culture which he teaches it to his fans and the respect of his fans to him by the same thing (the culture)

Shopping in fashion is not mass stupid things throw to consumers for stupid cheap prices
Fast fashion lords thought that, and they sure of they vision by growing sales and profitability statistics till covid 19 come and destroy the false vision

Now they have again to turn their sights to Geoffrey B. Small fans and how by god they asked Geoffrey and his team to stay safe!
They now have to analyze the reason of this strong deep relation between Geoffrey as designer and his fans

Sure thing covid 19 will change the shopping methods, but it doesn't matter to continue in brick and mortar or converted to digital fashion era

Covid19 teaches them hard lesson, to survive with your business, you have to build your business by culture

One day this culture will protect your business exactly as Geoffrey B. Small approved that to the fast fashion lords