fun-frivolity-fantasy


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Apr 15, 2014
@ 5:10 pm
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373 notes

aestheti-cal:

more fashion here brother.

aestheti-cal:

more fashion here brother.

(Source: sselectism, via blanc-mode)


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Apr 15, 2014
@ 5:09 pm
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56 notes

aestheti-cal:

more fashion here brother.

aestheti-cal:

more fashion here brother.

(Source: sselectism)


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Apr 15, 2014
@ 5:08 pm
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39,991 notes

cheeekiki:

i want a boy to run through an art gallery with me

cheeekiki:

i want a boy to run through an art gallery with me

(Source: djolina, via la-noire-petite-mort)


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Apr 15, 2014
@ 5:08 pm
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54,293 notes

(Source: hirvioe, via la-noire-petite-mort)


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Apr 12, 2014
@ 3:34 pm
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1,182 notes


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Apr 12, 2014
@ 3:34 pm
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12,625 notes

9thspace:

zoom for the price

9thspace:

zoom for the price


Photoset

Apr 12, 2014
@ 3:29 pm
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16 notes

(via yourneighbour)


Photoset

Apr 12, 2014
@ 3:29 pm
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83 notes

nomanwalksalone:

We’re incredibly excited to start Stephan Schneider on No Man Walks Alone.  One of our favorite contemporary designers, with a sharp focus on incredible materials and fabrics.   The Spring/Summer 2014 collection brings us blocks, double-faced fabrics, crunchy knits and versatile, light pieces straddling the line between shirts and jackets.


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Apr 12, 2014
@ 3:29 pm
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24 notes

nomanwalksalone:


AN INTERVIEW WITH STEPHAN SCHNEIDER, PART 1
by Jasper L
Antwerp-based Stephan Schneider’s quiet, sophisticated collections are a No Man favorite. I talked to him about Floating Inflations, his collection for Spring/Summer 2014, and many other things, ranging from fabric design to his place in the fashion industry. It’s a two-parter, so don’t worry - there’s more to come.
Can you tell me about this collection, Floating Inflations?
For this season, what I liked a lot is that I could concentrate on what, to me, Stephan Schneider is like. And that’s, on one hand, a certain casualness, but still sophisticated, nothing ‘streetwear’ point-of view.
So if you ask me, ‘What are you the most happy about?’ That it’s a very, very typical collection for me. And it’s the essence of what, to me, really is Stephan Schneider in Spring-Summer.
One of the things that people who shop at No Man Walks Alone appreciate is most is the thought that goes into the fabric selection. How do you balance the production and hands-on side of your process with the silhouette and clothing design?
I think, on one hand, the most difficult point of my collections is that I never really work on a silhouette. I never draw silhouettes. In the Atelier, we never ever fit a trouser, even with a jacket. I tell you my secret - I shouldn’t! - we only work on single pieces, which means that for the look, a typical look, an outfit, perhaps Stephan Schneider is not really the strongest collection. 
On the other hand we can say it’s also the strongest part of the collection, because how many people these days really wear a whole outfit? And me, personally, if I see somebody wearing a whole outfit head-to-toe, in the same season, it looks a bit too…forced, a bit too made, it has not this spontaneous attitude. We wear separates these days, and I think to wear separates is also very charming and interesting. 
Read More

nomanwalksalone:

AN INTERVIEW WITH STEPHAN SCHNEIDER, PART 1

by Jasper L

Antwerp-based Stephan Schneider’s quiet, sophisticated collections are a No Man favorite. I talked to him about Floating Inflations, his collection for Spring/Summer 2014, and many other things, ranging from fabric design to his place in the fashion industry. It’s a two-parter, so don’t worry - there’s more to come.

Can you tell me about this collection, Floating Inflations?

For this season, what I liked a lot is that I could concentrate on what, to me, Stephan Schneider is like. And that’s, on one hand, a certain casualness, but still sophisticated, nothing ‘streetwear’ point-of view.

So if you ask me, ‘What are you the most happy about?’ That it’s a very, very typical collection for me. And it’s the essence of what, to me, really is Stephan Schneider in Spring-Summer.

One of the things that people who shop at No Man Walks Alone appreciate is most is the thought that goes into the fabric selection. How do you balance the production and hands-on side of your process with the silhouette and clothing design?

I think, on one hand, the most difficult point of my collections is that I never really work on a silhouette. I never draw silhouettes. In the Atelier, we never ever fit a trouser, even with a jacket. I tell you my secret - I shouldn’t! - we only work on single pieces, which means that for the look, a typical look, an outfit, perhaps Stephan Schneider is not really the strongest collection. 

On the other hand we can say it’s also the strongest part of the collection, because how many people these days really wear a whole outfit? And me, personally, if I see somebody wearing a whole outfit head-to-toe, in the same season, it looks a bit too…forced, a bit too made, it has not this spontaneous attitude. We wear separates these days, and I think to wear separates is also very charming and interesting. 

Read More


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Apr 12, 2014
@ 3:25 pm
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167 notes

putthison:

How Did This Fabric Get into My Shirt?
Although certain shirting fabrics and tweeds get a lot of attention, we often focus on the way a shirt or suit is made and styled vs what it’s made of. It’s an understandable choice: it’s easier to distinguish (especially in photos) between two shirts with different collar styles than similarly made shirts made of two different grades of blue oxford fabric. Likewise, “objective” measures of fabric quality and fabric origin rarely tell the whole story. People throw around “80s two ply” or “super 120s” like they’re the “dual overhead camshaft” of suit fabrics, and in a way that’s true, because i have no idea what a dual overhead camshaft is.
But whether patterned or plain, fabric is often the most distinctive component of your shirt or suit (I’m mostly talking about wovens here, knits are a slightly different beast). How the fabric comes to be a part of your garment depends a lot on where you’re buying your clothes. Essentially, no matter the brand or maker, your fabric has to be designed, then made, then cut and sewn into clothing.
Major Brands
Fashion giants make enough clothes that they can specify every aspect of the fabric they use from the mills they buy from, primarily in China. Ralph Lauren, for example, doesn’t own factories or make its manufacturing relationships public, but in 2008 it was estimated that 98 percent of the dollar value of Ralph Lauren clothing was made in China.
That doesn’t mean the fabric is low quality. Brands at that level employ fabric designers, and can order massive quantities exclusive to their brands or stores, and can specify fabric content, appearance, shrinkage, etc. down to the dye of a single yarn fragment. Although the work is outsourced, brands that produce the volume of clothing that the RLs of the world do control the process from fabric design to production to cut and sew. These brands will also often wash fabrics or constructed garments so they look their best on display in a store—how they fare once you get them home and wash them may be less of a concern.
Rare exceptions like Brunello Cucinelli are more vertically integrated—Cucinelli employs the designers, fabric mills, and manufacturers. The Cucinelli empire is reported to be a borderline ridiculous utopia.
Medium-sized Wholesale Brands
Name brands that offer tailoring (think Rag + Bone, Band of Outsiders type brands) don’t usually own the means of production either. They buy from makers like Southwick, or Samuelsohn, or Individualized Shirts (these makers, in turn, sometimes have their own lines… it can get confusing). These makers don’t produce their own fabric though—they source it from textile mills all over the world.
Much like retail buyers go to Pitti Uomo and other tradeshows, makers and designers go to textile tradeshows and visit mills where they’re presented with a menu of classic and newly designed fabrics. A maker selects fabrics and, in turn, might present a designer with samples of dozens of different fabrics, some varying a lot season to season, and some evergreens (like cotton oxford, or wool flannel) that wax and wane in popularity but are pretty much always available. In this way, a maker has a lot of say in what you’ll be wearing seasons in advance—they’re narrowing down the range of available fabrics. Who knows what horse blankets you’ve missed out on?
So, for example: a fabric designer working for a mill designs a plaid fabric, the mills markets it, a maker takes it back to the factory, and a designer selects the plaid. The selection goes back up the chain—assured of an order, the mill churns out the fabric, the maker buys it and sews the clothes, selling them to the designer, who sells to a retailer, who sells to you. These people all need to get paid, contributing to the retail cost to you.
This system is also one reason you’ll see the same fabric from several different lines—they may have their tailored clothes made in the same place, and all picked the same fabric. Depending on the mill, buying exclusive rights to a fabric could mean buying thousands of yards of fabric. Most “designers” do not design their own fabrics—it’s just not realistic. A notable exception is Stephan Schneider.
House Labels and Small Lines
In part because classic tailoring involves a relatively limited number of possibilities (jackets, shirts, pants), and design comes down to selecting details, sometimes the retail and design operations overlap. Stores like Winn Perry or Epaulet don’t have the economies of scale of mall brands, so they’re less likely to be able to specify far in advance exactly what they want their fabric to look like. Likewise, they don’t have the time or money to custom design fabrics. For some garments, these stores can go through the same basic process as the mid-tier brands, ordering from a menu at a maker’s factory. Makers and fabrics mills have minimum quantities they need to make in order to profit, so if a store can only afford to make a small run of garments, their options are somewhat limited.
On the flipside, these smaller labels have flexibility larger operations do not, and sometimes stumble on unusual, short-run fabrics that fit their needs perfectly. Many of these fabrics come from Japan, which exports a lot of fabric in this small-run arena, fabric then marketed by regional salesmen or jobbers in the US and elsewhere. They can then take this fabric to a manufacturer who does “CMT” (cut, make, and trim—you provide the fabric), and have the garment made. Sometimes this means you get access to a rad shirt in a fabric you’ll never see elsewhere. On the other hand, that exclusive limited edition shirt you’re coveting might only be limited because it’s made from a roll of fabric that didn’t sell, and so was never made in quantity.
Quality
What does this all mean for fabric quality? Not much, to be honest. For us consumers, quality is often the extent to which a fabric meets our needs and wants. Are you looking for lightweight or heavy fabric? Does the fabric wrinkle easily? (Is it intended to do so, or is it just not behaving?) Does it have a dry hand, or is it silky? (“Hand” is to fabric description what “mouthfeel” is to food writing.) Sometimes you want a very refined fabric, and sometimes you want a reassuringly scratchy tweed. Sometimes all that matters is that the gingham is the perfect scale.
I’ll have another post up soon discussing some of the technical language used to market fabric (super 120s included).
-Pete

putthison:

How Did This Fabric Get into My Shirt?

Although certain shirting fabrics and tweeds get a lot of attention, we often focus on the way a shirt or suit is made and styled vs what it’s made of. It’s an understandable choice: it’s easier to distinguish (especially in photos) between two shirts with different collar styles than similarly made shirts made of two different grades of blue oxford fabric. Likewise, “objective” measures of fabric quality and fabric origin rarely tell the whole story. People throw around “80s two ply” or “super 120s” like they’re the “dual overhead camshaft” of suit fabrics, and in a way that’s true, because i have no idea what a dual overhead camshaft is.

But whether patterned or plain, fabric is often the most distinctive component of your shirt or suit (I’m mostly talking about wovens here, knits are a slightly different beast). How the fabric comes to be a part of your garment depends a lot on where you’re buying your clothes. Essentially, no matter the brand or maker, your fabric has to be designed, then made, then cut and sewn into clothing.

Major Brands

Fashion giants make enough clothes that they can specify every aspect of the fabric they use from the mills they buy from, primarily in China. Ralph Lauren, for example, doesn’t own factories or make its manufacturing relationships public, but in 2008 it was estimated that 98 percent of the dollar value of Ralph Lauren clothing was made in China.

That doesn’t mean the fabric is low quality. Brands at that level employ fabric designers, and can order massive quantities exclusive to their brands or stores, and can specify fabric content, appearance, shrinkage, etc. down to the dye of a single yarn fragment. Although the work is outsourced, brands that produce the volume of clothing that the RLs of the world do control the process from fabric design to production to cut and sew. These brands will also often wash fabrics or constructed garments so they look their best on display in a store—how they fare once you get them home and wash them may be less of a concern.

Rare exceptions like Brunello Cucinelli are more vertically integrated—Cucinelli employs the designers, fabric mills, and manufacturers. The Cucinelli empire is reported to be a borderline ridiculous utopia.

Medium-sized Wholesale Brands

Name brands that offer tailoring (think Rag + Bone, Band of Outsiders type brands) don’t usually own the means of production either. They buy from makers like Southwick, or Samuelsohn, or Individualized Shirts (these makers, in turn, sometimes have their own lines… it can get confusing). These makers don’t produce their own fabric though—they source it from textile mills all over the world.

Much like retail buyers go to Pitti Uomo and other tradeshows, makers and designers go to textile tradeshows and visit mills where they’re presented with a menu of classic and newly designed fabrics. A maker selects fabrics and, in turn, might present a designer with samples of dozens of different fabrics, some varying a lot season to season, and some evergreens (like cotton oxford, or wool flannel) that wax and wane in popularity but are pretty much always available. In this way, a maker has a lot of say in what you’ll be wearing seasons in advance—they’re narrowing down the range of available fabrics. Who knows what horse blankets you’ve missed out on?

So, for example: a fabric designer working for a mill designs a plaid fabric, the mills markets it, a maker takes it back to the factory, and a designer selects the plaid. The selection goes back up the chain—assured of an order, the mill churns out the fabric, the maker buys it and sews the clothes, selling them to the designer, who sells to a retailer, who sells to you. These people all need to get paid, contributing to the retail cost to you.

This system is also one reason you’ll see the same fabric from several different lines—they may have their tailored clothes made in the same place, and all picked the same fabric. Depending on the mill, buying exclusive rights to a fabric could mean buying thousands of yards of fabric. Most “designers” do not design their own fabrics—it’s just not realistic. A notable exception is Stephan Schneider.

House Labels and Small Lines

In part because classic tailoring involves a relatively limited number of possibilities (jackets, shirts, pants), and design comes down to selecting details, sometimes the retail and design operations overlap. Stores like Winn Perry or Epaulet don’t have the economies of scale of mall brands, so they’re less likely to be able to specify far in advance exactly what they want their fabric to look like. Likewise, they don’t have the time or money to custom design fabrics. For some garments, these stores can go through the same basic process as the mid-tier brands, ordering from a menu at a maker’s factory. Makers and fabrics mills have minimum quantities they need to make in order to profit, so if a store can only afford to make a small run of garments, their options are somewhat limited.

On the flipside, these smaller labels have flexibility larger operations do not, and sometimes stumble on unusual, short-run fabrics that fit their needs perfectly. Many of these fabrics come from Japan, which exports a lot of fabric in this small-run arena, fabric then marketed by regional salesmen or jobbers in the US and elsewhere. They can then take this fabric to a manufacturer who does “CMT” (cut, make, and trim—you provide the fabric), and have the garment made. Sometimes this means you get access to a rad shirt in a fabric you’ll never see elsewhere. On the other hand, that exclusive limited edition shirt you’re coveting might only be limited because it’s made from a roll of fabric that didn’t sell, and so was never made in quantity.

Quality

What does this all mean for fabric quality? Not much, to be honest. For us consumers, quality is often the extent to which a fabric meets our needs and wants. Are you looking for lightweight or heavy fabric? Does the fabric wrinkle easily? (Is it intended to do so, or is it just not behaving?) Does it have a dry hand, or is it silky? (“Hand” is to fabric description what “mouthfeel” is to food writing.) Sometimes you want a very refined fabric, and sometimes you want a reassuringly scratchy tweed. Sometimes all that matters is that the gingham is the perfect scale.

I’ll have another post up soon discussing some of the technical language used to market fabric (super 120s included).

-Pete


Photoset

Apr 12, 2014
@ 3:23 pm
Permalink
173 notes

putthison:

Before They Were Nightclubs

Before they turned into pseudo-nightclubs, Abercrombie & Fitch stores used to be where adventurers and outdoorsmen would get their gear. Above are some rare images from 1913. Taken from the Museum of the City of New York’s archives, and found via my friend CrimsonSox. 


Photo

Apr 12, 2014
@ 3:23 pm
Permalink
57 notes

putthison:

eBay Roundup
Check out what Jesse and I found on eBay this week. If you’d like to dig up more auctions, try using our customized search links. We’ve made them for high-end suits, good suits, high-quality shirts and fine footwear. You can use eBay’s search filters to narrow the searches further (narrowing by size is a good start). 
Suits, sport coats, and blazers

Boglioli sport coat, 38
Green tweed, 40
Brown checked sport coat, 41
Brooks blazer, 43

Outerwear

Grey Engineered Garments jacket, various sizes
Barbour International, (36, 38)
Shipley & Halmos field jacket, S
Channel quilted wool jacket, S
Babour x To Ki To hooded hunter jacket, M (but fits like a small)
Barbour Bedale, 38
Post O’Alls beige jacket, S
Nigel Cabourn Aircraft jacket, M
Suede Ralph Lauren jacket, M
Margiela leather jacket, 40
Hunting Jacket Research vest, M
Barbour x To Ki To shirt jacket, M
Buzz Rickson deck jacket, 40
Flight suit, 40
APC flight jacket, L
Ralph Lauren cowboy jacket, L
Vintage Banana Republic coat, L
Barbour fishing jacket, 42
Barbour Galashields, XL
Engineered Garments parka, XL
Bearcat coat, 44
Burberry raincoat, 46


Sweaters and knits

Wings + Horns hoodie, S
Brooks Brothers Fair Isle sweater, L

Shirts and pants

Engineered Garments chambray, L
Seersucker pants, ~30
Madras shorts, 32
Rising Sun jeans, 34


Shoes

Brooks Brothers leather/tweed boots, 8.5
Alden suede longwings, 9
Ralph Lauren Chelsea boots, 9
Crockett & Jones cap toe oxfords, 9.5
Brooks Brothers shell cordovan tassel loafers, 9.5
GJ Cleverly penny loafers, 9.5 (pictured above)
Maison Martin Margiela GATs, 10
Turnbull & Asser paisley Prince Albert slippers, 10
Brooks Brothers cap toe oxfords, 10.5
Leffot suede chukkas, 10.5
Wings + Horns service boots, 11
Gieves & Hawkes buckshot Chlesea boots, 11
Alden shell cordovan penny loafers, 11.5
Alden suede penny loafers, 11.5
Ties

Black & white Ralph Lauren woven tie
Striped Ralph Lauren tie
Navy foulard


Bags, briefcases, and wallets

Mulholland bag
Brooks Black Fleece canvas bag
Valextra briefcase
Black briefcase

Misc.

Key cases (1, 2)
Blue cotton pocket square
Brooklyn Dodgers ballcap, 7 1/4
Braces
Red swim trunks, ~30
Mister Freedom watch cap
Cufflink box
Shoe trees
The History of Men’s Fashion
Old mac & cheese

If you want access to an extra roundup every week, exclusive to members, join Put This On’s Inside Track for just five bucks a month.

putthison:

eBay Roundup

Check out what Jesse and I found on eBay this week. If you’d like to dig up more auctions, try using our customized search links. We’ve made them for high-end suitsgood suitshigh-quality shirts and fine footwear. You can use eBay’s search filters to narrow the searches further (narrowing by size is a good start). 

Suits, sport coats, and blazers
Outerwear
Sweaters and knits
Shirts and pants
Bags, briefcases, and wallets
Misc.

Photoset

Apr 12, 2014
@ 3:07 pm
Permalink
462 notes

antonhelsinki:

Luciano Barbera @ Pitti Uomo 83°

Read More: http://antonhelsinki.blogspot.com


Photo

Apr 12, 2014
@ 3:06 pm
Permalink
40 notes

voxsart:

Suit And Polo Collar.
Clark Gable, 1941.

voxsart:

Suit And Polo Collar.

Clark Gable, 1941.


Photo

Apr 12, 2014
@ 3:04 pm
Permalink
185 notes

voxsart:

The Bow Tie Crowd.
Ian Fleming, 1961.

voxsart:

The Bow Tie Crowd.

Ian Fleming, 1961.