Geoffrey B. Small

[Faust]

Geoffrey, excited to see what you cooked up!

[Pumpfish]

Geoffrey,

We don't see too many real trolls here.

Usually just handbags at dawn between competitive cognoscenti.

But this fella lives under a bridge.

[Mail-Moth]

Someone probably got bored. Seems to happen a lot recently.

[Geoffrey B. Small]

Ohhhhh....You're probably right Mail-moth



Guess it's time to get going and move things along now-
(and thanks rilu, mortal, faust and pumpfish by the way)
Coming up: time for some new work and pics...

[Geoffrey B. Small]

New Works : September 2012 (page 1)

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GEOFFREY B. SMALL
exclusively for stylezeitgeist.com
NEW WORKS : SEPTEMBER 2012







STARTING WITH THE YARNS, I began working with my friend in early November last year, the master Luigi Parisotto,
to push our collaboration on organic fabric design ever further, to new heights of quality and environmental sustainability.
While his family's one hundred-year expertise centers upon the best cotton and linen fibre weaving in Italy, I felt he and
his family had the skill and the talent to create incredible wool fabrications too. At my urging and through research and
work, we found a beautiful silk and cashmere fibre yarn that both of us believed could be the basis of something entirely
new for a collection of fabrics from which to build our new clothing collection for this fall and winter. Super soft to the touch,
and extremely receptive to hand dye colorations (if handled and applied in the right manner), we decided to combine it
with pure virgin wool yarns, and in some cases, an antique "fat" linen yarn in archives that is no longer going to be
produced anywhere in the world (to be covered in another story). Here are photo images (above) of the original first loom
tests in silk, cashmere and wool cut straight off Luigi Parisotto's loom in Sarcedo Vicenza; as well as a detail closeup
(below) of the silk and cashmere fibre yarns that form the basis of the exclusive fabrics made only in the world for us,
to be used in the new collection... as a testament to what people who can still work with their hands, under fair and
proper conditions, are still capable of doing in this world today.









FROM THE LOOM TO A CLOTH that I can actually use and put my name on: some people still don't get it yet, but one
of the reasons I intensely study history is simply to be a better designer. Because for example, as great a weaver as
Luigi Parisotto is, I will not permit him generally to send his work for me (unlike his other clients), to an industrial finishing
plant where chemical cleaning, sizing, and dyeing operations are performed that require wasteful large minimum
quantities of fabric to be produced and handled, consume vast amounts of energy, release equally vast amounts of
chemicals into the environment, and in the end render the fabrics almost about the same as any other- in terms of look,
feel and texture. You see, in textile design, after over 30 years in the field, I have found that fabric finishing is a very big
deal, artistically. So now to achieve fabric for our designs that no one else in the world can offer artistically or
otherwise, I prefer to do the finishing myself. For the past 12 years in Italy, we have been studying artisanal finishing
techniques, and much of our knowledge came from the research we did for our medieval collections such as "Back to
the Future", "Classe Dirigeant", and "Heroes of Another Gender". Fabric dyeing by hand was a serious thing in that time,
and serious business. In 12th and 13th century Florence for example, it was a cutting-edge high tech industry. There
were over 200 families and enterprises doing hand dye work in an intensely competitive atmosphere... where nobody
dared divulge any of their secret recipes from which they could create their unique and special effects on fabric. So
important was the medium, that you could immediately tell the social class level of an individual anywhere in Europe by
the color of the cloth he or she was wearing. In many cases, the dye work was more precious than the fabric itself and
even the garment. It is with this knowledge, and over a decade of hands-on field experience using it, that we were able
to fully expand upon the loom work performed by Luigi and his team with the yarns pictured above, and bring it to the
actual realization of a truly beautiful and wonderful new cloth design to make clothing with. A totally future-oriented cloth
created in the 21st century that is intended to last its owner for decades of use: made possible by sustainable artisanal
technologies developed by our civilization's ancestors over the past thousand years, and the few die-hard people left
who are still able to preserve, protect and maintain this culture, art and know-how today. So, for those who think the
historical part of our work is dull or boring, the point here is simple- without the history component, this fabric, including
the way it feels, breathes and looks, would not be possible...













TOWARDS A PIECE FOR A CUSTOMER: with so much at stake that goes
into just the realization of the cloth alone, no less attention can be paid to where our work is going, and who is going to
handle it. Years ago, unlike most of our esteemed colleagues and brands, we decided to stop chasing and dealing with
whatever the latest and most talked about "it" stores were that hung out their shingles with all the important "it-names"
of the moment that they carried. We became particularly wary of the merchant who becomes his or her own "star-celebrity"
and then slowly loses touch with what made them successful in the first place... simply, exceptional merchandise (based
on good old-fashioned 'get off your ass and out into the field' research) and service, not their own personal "now-always-
seen-behind-sunglasses" stardom, when they enter into a showroom or sit down at a runway show. You see, that is when
they begin to lose it. Basically, it's like the kid's tag game, when you become the "it", that's when everybody starts to run
away from you. Instead, we slowly began to look for, and cultivate a new type of visionary retailer that was going to
focus on product, quality, and impeccable personal service for our customer, not names. And we were going to be tough
about it. Our showroom way up on the fourth floor of an ecclectic building on the rue Saint Martin is legendary for being
odd, difficult to find, and physically challenging to finally get up all the stairs to. And for good reason. It takes at least
several seasons for a buyer in Paris to even know about us, and a few more to even see our collection, let alone get
near to ordering it. Why? I have my reasons, and they are many. One is because, in the first place, there is too much to
learn about our work and how we want to treat our customers (and everybody we are involved in working with) in a typical
quick-and-dirty showroom visit, to possibly get it right. "Get it right," means you need to create a new cultural-working
atmosphere, approach, and system that will be able to survive, stand up to, and yes, eventually defeat the corporate
barbarians that are out to destroy our art and our very livelihoods right now. And getting it right is also the key these days
to succeed in a very tough and difficult market that simply has no room for anything that smacks of mediocrity, fakery, or
sameness. Our commitment to providing long-term value to our customers, demands that we build long-term working
relationships with our suppliers and our retail partners. So, we must carefully choose and evaluate the selection and
commitment with every single retailer with whom our customers will ever have to deal with to get our work. We intend to
work with our retailers for a long time, and we know that they must be experts on knowing every detail and aspect of the
pieces we will build for them and their clientele, and be able to communicate, teach, and inform their staffs and their
customers about our work and the services we are capable of providing them. This requires an investment in time,
education and communication with our retail partners far above and beyond the norm of anything in the market. We are
not another designer fashion plat du jour. And our work today is like no other in the world. This must be clearly, and
effectively communicated, demonstrated and proven to the end line consumer by our retail partners in the field, each and
every time someone walks in their door. And few people in the world understand and recognize this better, than a quiet,
dedicated shopmaster in Paris named Kamille, for whom we built this jacket...

.

[Geoffrey B. Small]

New Works : September 2012 (page 2)

A JACKET FOR KAMILLE

-the result of a unique collaboration between designer and shopmaster,
a shopmaster who has steadily over the years built a loyal, well-educated, well-dressed clientele of real
Parisians at the local level, not the typical international industry professional fashionistas who form the vast
bulk of most of the city's "famous" designer shops' clientele... trend-shopping for their "samples" to send back
home and copy for their next collections. No, hers is a different kind of store, one that caters to serious real-life
people in a very big city and their serious ongoing and long-term wardrobe needs. This is a store about quality,
trust, and a unique personal style, not about trend or industry hype, or "hiding behind sunglasses."

And so, this jacket is designed and built accordingly-
It is a special version of the super limited edition NLWJ03 women's hand made jacket design and one of
only 3 pieces of its kind created in the entire world this season, each one exclusively for Kamille in Paris,
from our original modified 19th century pattern and cut in Luigi Parisotto's organic grezzo (untreated, with
absolutely no chemicals) superlux silk, cashmere and wool striped herringbone cloth woven exclusively for us
in Sarcedo Vicenza Italy. It was combined with a special lining story of jacquard weave Bemberg viscose and
cotton regimental stripes woven in Como Italy, then individually double hand-dyed in our studios in a
time-consuming process that required over 12 hours for each piece. The design also features a remarkable
real artisan button story of 4 large “double-design” buttons created in real horn and bone exclusively for us
by Cinzia and Claudio Fontana in Parma, Italy, real hand stitched buttonholes in pure silk Bozzolo Reale
Seta Milan thread (each one requires 8-10 minutes to cut and sew), and is hand-signed
and numbered by the designer.




















The special version of the NLWJ03 women's hand made jacket design is one of
a collection of very special works that we have just completed and are now arriving
exclusively at Kamille in Paris...








.

[Geoffrey B. Small]

New Works : September 2012 (page 3)

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OCWC01 4-button rounded-lapel single-breasted handmade coat.
One of only 3 pieces of its kind made in the entire world exclusively for Kamille in Paris from
our original relaxed body pattern and cut in a diagonal twill weave version of the very soft
luxurious organic silk, cashmere and wool fabric collection woven in Sarcedo Vicenza, Italy,
by Luigi Parisotto for us this season (see above). It was combined with special exquisite striped viscosa
jacquard weave linings from Como by Tessitura Mauri, and was all individually hand dyed in
our studios with a special process which took over 10 hours to reach the precise final color and
effect. The design also features elegant real olive wood buttons from Padova Italy, and real
hand stitched buttonholes (each one requires 8-10 minutes to cut and sew, over 40 minutes were
spent just on the buttonholes and button attachment for the single coat) in luxurious pure silk
Bozzolo Reale Milano Seta threads, plus generous seam allowances on all major seams which provide
alteration capability up to 2 sizes up or down for extended wearing life by its owner(s), and is
handsigned and numbered by the designer.






































.

[Geoffrey B. Small]

New Works : September 2012 (page 4)

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NLWS01 handmade long-shirt.
Two special versions of this super limited edition shirt design were created this season
exclusively for Kamille in Paris. The design features a removable top collar for a true “2-in-1”
design concept use for extra investment value, and was cut and made by hand using the special
superlux pure organic Venezia Super 120’s Double-Twist cotton shirting woven for us by
L. Parisotto and family in Sarcedo Vicenza Italy, and features a new longer proportion fit and
cut from our medieval period research combined with a unique single-button mid-century 1850's
inspired curved sleeve cuff design with extensive pleating details at the shoulder and back yoke
seams, real mother-of-pearl buttons made in Padova, and 14 hand sewn buttonholes with
pure silk Bozzolo Reale Seta Milan thread which require almost 2 and 1/2 hours of painstaking
expert work just to make the buttonholes for a single shirt. The piece was then specially dyed by
hand using English tea leaves for a subtle aged and mottled effect. Just 3 pieces in narrow
pinstripe weave, and 2 pieces in the classic bar stripe weave were made by hand for the world
this season, each exclusively for Kamille in Paris.
















































.

[Geoffrey B. Small]

New Works : September 2012 (page 5)

.

.

[Geoffrey B. Small]

New Works : September 2012 (page 6)

(continued from above)


GEOFFREY B. SMALL
exclusively for stylezeitgeist.com
NEW WORKS : SEPTEMBER 2012

PIACENZA ANGORA, CASHMERE & WOOL 3-PIECE SUIT
19th century cut jacket, waistcoat and suspender trouser created exclusively for
Kamille in Paris using an ultra-soft Fratelli Piacenza Cashgorissimo
angora, cashmere and wool herringbone cloth, hand dyed in our workrooms ( individual
suit piece details to follow). Shown with NLWS01 shirt (see above postings),
OCA01 handmade Piacenza angora, cashmere and wool cap, and hand made to order
calfskin derby by G. Rebesco for GBS Bespoke Shoes.









































.

[Geoffrey B. Small]

New Works : September 2012 (page 7)

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THE HAND DYED, 6-BUTTON NLWJ01 modified 19th century handmade jacket-
with working sleeve buttonhole surgeon cuffs was made by hand using a very special,
super-soft luxurious Piacenza ‘Cashgorissimo’ Angora, Cashmere and virgin wool dark
grey herringbone cloth fabric woven in Pollone Biella, Italy, by the oldest woolen mill in
the world and the world’s most respected cashmere fabric makers, Fratelli Piacenza 1733,
a special lining story of cotton regimental striped and Bemberg viscose antique striped deluxe
linings made for us in Como by Tessitura Mauri, one of Italy’s very best lining-cloth weavers,
a special mixed button story in real olive tree woods made for us in Padova Italy, and 14 hand-
sewn buttonholes in pure silk Bozzolo Milano Seta Reale threads which require at least 8-10 minutes
to create each one (over 2 and ½ hours were spent just on the buttonholes alone). The piece
was then hand dyed in our studios with a painstaking manual process which takes over 6 hours
for each piece to achieve its beautiful, and unique dark colorations and incredibly soft touch.
Only 3 pieces were made by hand in the entire world this season,
exclusively for Kamille in Paris.



































THIS SPECIAL VERSION of the super limited edition NLWJ05 waistcoat design is one of only
3 pieces made by hand in the entire world this season exclusively for Kamille in Paris.
It was made from our original 19th century modified pattern from our research, and cut
from a very soft luxurious Piacenza ‘Cashgorissimo’ Angora, Cashmere and virgin wool
dark grey herringbone cloth fabric woven in Pollone Biella, Italy, by the oldest woolen
mill in the world and the world’s most respected cashmere fabric makers, Fratelli
Piacenza 1733 Spa, and special floral print pure cotton linings from Como, all individually
hand dyed in our studios with a special process which takes over 6 hours for each piece to achieve
its beautiful and unique dark colorations and incredibly soft touch. The piece features remarkable
buttons in real olive wood made exclusively for us in Padova, and extensive handstitch
lapel and pocket detailing along with 6 real hand stitched and marked buttonholes (that require
at least 8-10 minutes to create each one) in luxurious pure silk Bozzolo Reale Milano Seta thread,
and hand stitched buttons.







.

[Geoffrey B. Small]

New Works : September 2012 (page 8)

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NLWP01 HANDMADE SUSPENDER TROUSER in super soft Piacenza angora, cashmere
and virgin wool herringbone cloth. Special cotton and hand cut vintage recycle garment leather
suspenders made by hand in our studios with authentic recycled vintage suspender buttons.
Front-closure buttons in real olive wood made for us in Padova Italy, 5 hand sewn and marked
buttonholes in pure silk Bozzolo Milano Seta Reale threads that require at least 8-10 minutes to
create each one. The piece was hand dyed in our studios requiring over 6 hours of expert work for
each piece to achieve its unique and beautiful dark colorations. Only 2 pieces made by hand in
the entire world this season, exclusively for Kamille in Paris.


































Many of the special pieces shown above for Kamille were individually handsigned
and numbered after these images were taken, and prior to shipment and delivery to Paris.


all materials in this presentation pages 1-8 c. copyright 2012
geoffrey b. small, all rights reserved worldwide.


Thank you for viewing.


Coming up soon

New Works : September 2012 part 2
"Worker's caps, 'Bondone' cotton, & 'Fat' linen"



.

[Faust]

Hats off, Geoffrey. Thanks for this!

[mortalveneer]

I'm drooling.

That three piece suit.

[Mail-Moth]

That coat. Those pants.
Oh my god.
My hands are shaking.