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PostPosted: 07 Sep 2016, 06:59 
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In my youth a lot of my clothing irked me simply by virtue of extraneous detail, things like why can't you buy a pair of gym shorts without the brand name on the side?—or why aren't there ever any cheap windbreakers that are completely black? A common lament, I know. And a lot of my attraction to continues comes from the same motive force, a quite strong disdain for the unnecessary touch. You can sorta see which of the founding fellers (and definitely lady!) maintained that touch post-dissolution, to greater or lesser commercial effect.

If I can use these thoughts to segue to a related question, I've been eyeing some leather jackets lately, right now this one for example, and was wondering why almost none of you (if any?) ever sport carpe leathers? They're about as rare as light-hued lab coats round here. I haven't had the chance to handle one and don't fancy paying several hundred dollars just to do so, are they somehow wanting in comparison to the cloth jackets, or is it just a general antipathy to skins as against threads? Wouldn't ask except I'm not sure I can recall a single one from waywt, offhand, which gives me pause.

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PostPosted: 07 Sep 2016, 08:12 
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MJRH wrote:
In my youth a lot of my clothing irked me simply by virtue of extraneous detail, things like why can't you buy a pair of gym shorts without the brand name on the side?—or why aren't there ever any cheap windbreakers that are completely black? A common lament, I know. And a lot of my attraction to continues comes from the same motive force, a quite strong disdain for the unnecessary touch. You can sorta see which of the founding fellers (and definitely lady!) maintained that touch post-dissolution, to greater or lesser commercial effect.

If I can use these thoughts to segue to a related question, I've been eyeing some leather jackets lately, right now this one for example, and was wondering why almost none of you (if any?) ever sport carpe leathers? They're about as rare as light-hued lab coats round here. I haven't had the chance to handle one and don't fancy paying several hundred dollars just to do so, are they somehow wanting in comparison to the cloth jackets, or is it just a general antipathy to skins as against threads? Wouldn't ask except I'm not sure I can recall a single one from waywt, offhand, which gives me pause.


Can't speak as to why they don't crop up for others, but:

I would wear a light-toned labcoat if I could find one

I don't own any leather jackets at all, just... none really get me like fabric can

lots of old carpe leathers of Rakuten, last I checked, and pretty reasonable in price, some of them.


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PostPosted: 07 Sep 2016, 19:31 
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merz wrote:
in truth i have very little understanding of the business side when it comes to projects, garments and creators that we've been discussing here. i have always imagined that the work of the sort we're talking about is not commercially-viable, in the sense that a retail establishment is unlikely to move enough product at retail to adequately recoup the wholesale cost. Somewhere, at some point, someone has to be willing to absorb the cost. As a sometimes-consumer, I can say that I have not paid retail price for anything i own, and the same can be said for many of the work's biggest enthusiasts. Which is then to say that the people who paid that price, with respect to much of the Continues work inclusive of LUC, have been owners of retail establishments. Sometimes perhaps knowingly, and willing to support that work despite the understanding of it being unprofitable to carry. The proprietor of Maxfield in Los Angeles was certainly one of such people while he was involved in operating the establishment directly, and so was the proprietor of Sartorialoft. Many others I imagine as well, but my point here is a sort of archaic form of patronage between the creator and those willing to support their ability to create. I had wondered for some time if the result of the current climate, in which the luxury consumer seeks cheap-to-produce, instagram-friendly signifies of value, the relationship between creators working with support of a smaller audience seeking something else would become more personal. to some extent that is what happened, this forum being an example. more of us reading this, i am guessing, are personally acquainted with the people we're talking about here than not. but in the end i can't see there being interest enough to keep a regular business afloat, with garments put into production. It seems that those who have previously been involved in exploring outermost directions of clothing the body have since been seized by either indecision on what to progress towards, or grim determination to stay true to some underlying ideas/ideals informing their work in the first place.


there is for example centocose where being a dealer of designers of that kind is almost owner's hobby, so if you had ordered the ccp leather jacket you could secretly have got it at the best price in japan (about 390000 yen around 2009 for reference). for him ccp didn't have to be the chief breadwinner of the store, although he would be happy if it sells well. he has various brands and each brand seems to have its own role there.

on the other hand, as things still differ depending on places, there are such shops as lift who once did make a killing in negative fashion. especially united arrows used to be doing a serious buy with serious budget. not sure if luc was regarded as their bread and butter. but the amount they bought cannot make itself a joke. at least they were trying to make luc grow as cdiem did.

when cdiem was existent and being sold next to luc, maybe the role of luc was similar to that of CdG tricot standing by the first line, CdG. if so, stores should have wanted luc to be something that sells steadily.
and then, when cdiem was gone, luc's special project had come. explicitly uncouth, also entering into the cdiem price range, in comparison with the regular luc back then, as though the absence of cdiem had been compensated for to some extent. it was called o-project two years later at the second time round.
"signals" was the third collection from the project that was presented right after the last year of the original YY inc due to the worldwide economic turn for the worse.
of course the timing might have been all coincidence. but the three collections were a collabo project with lift. certainly a retailer's ideas were involved in there in some way or another.

that said, I didn't find it particularly dishonest. there used to be a logo luc was using earlier. signals felt closer to the image of the original logo. and when the project theme was infinity/eternity (O - looping - knitting), fragility in precision backed by tension, like an extremely sharp-pointed lead of a pencil or an extremely fine yarn featured on the whole knit that threatens the whole, seemed to be as proper as uncouthness in imperfection by which chance is loved. both are proper for the theme and are classic as the expression which infinity is left to.

for rei kawakubo, who is still a daring creator and an owner of many stores at the same time, the form of patronage mostly happens between her and the public as a consumer who has been paying the retail prices for the designs that nobody would buy otherwise.

"sartoria outdoor", probably a project that demanded the biggest support of the shop owners, was not only what the creating side wanted to do most eagerly but also what listened to the consuming side the most ever (you could specify even the shade of the buried materials).

stories of the past above
it will be good if we manage to let there be some place that doesn't care about business, fashion that doesn't care about fashion, or designers that negate fashion by means of fashion.

ended up with a random fashion thoughts post



susan sontag wrote:
it will remind us that there can be contradictions, sometimes irreducible conflicts, among the values we most cherish. (this is what is meant by "tragedy.") it will remind us of the "also" and "the something else."


Last edited by crouka on 08 Sep 2016, 18:25, edited 2 times in total.

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PostPosted: 07 Sep 2016, 19:40 
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MJRH, there are some types of leather we should be careful with, typically like cdiem horses, unless they are footwear. but the calf in that link you posted would be easy to pull off, even if it is in pants. just one thing though, many of the calf jackets in relatively good condition around the market today can be for women, because that's the majority of the latter production. or if you get to have pics of the seller whose size you know wearing the item, and then you like it, perhaps no problem regardless of whether womens or mens.


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PostPosted: 08 Sep 2016, 18:09 
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Thanks for the tips crouka, but even more for the random fashion thoughts post, I love glimpsing all the backstories to these brands!

fmc, what size are you? Image

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PostPosted: 09 Sep 2016, 03:34 
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MJRH wrote:
Thanks for the tips crouka, but even more for the random fashion thoughts post, I love glimpsing all the backstories to these brands!

fmc, what size are you? Image


Not sure if that would fit me, might be a bit small in the shoulders from the measurements given.

But I'm tempted, I would wear it.


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PostPosted: 09 Sep 2016, 04:50 
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I feel ya. I'm sorta wedged uncomfortably between 2 and 3. Each fits nicely, 90% of the time.

Laborious, eh? :|

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PostPosted: 09 Sep 2016, 19:34 
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MJRH wrote:
are they somehow wanting?


to put it *exaggeratedly*, while ccp is something to load with our own body, cdiem is something to throw over our shoulders. that is, cdiem is not meant to be closed. it may be closable and you can use its fastening system if you like. but it is made to be best opened. like a roadster. so after all it's about weather. you'd wear it a lot more when you have cool summer / mild winter.


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PostPosted: 10 Sep 2016, 03:01 
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(This entire time, if anyone has been wondering, I've been misreading the title as Luca Laurini AND other continues stuff, not Luca Luarini, continues+. Apologies for sullying LUC thread with leather talk.)

Thanks for the extra details crouka, yes at this point I have noted that Altieri has no love for closure, hah.

Back on-topic:

fashion weeks increasingly demonstrate the emergence of an arch-brand from the primordial soup of mimetic exchange among labels
@unnuunnu (via fucktheory)

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PostPosted: 10 Sep 2016, 03:45 
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crouka wrote:
to put it *exaggeratedly*, while ccp is something to load with our own body, cdiem is something to throw over our shoulders. that is, cdiem is not meant to be closed. it may be closable and you can use its fastening system if you like. but it is made to be best opened. like a roadster. so after all it's about weather. you'd wear it a lot more when you have cool summer / mild winter.


adding to this, my labcoat has loop closures running down which are too small for the corresponding button.
probably just an oversight but contributes to the point.


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PostPosted: 12 Sep 2016, 07:06 
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for lmaltieri FW2001


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PostPosted: 13 Sep 2016, 18:50 
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PostPosted: 13 Sep 2016, 18:52 
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PostPosted: 13 Sep 2016, 18:56 
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PostPosted: 13 Sep 2016, 18:58 
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PostPosted: 14 Sep 2016, 20:55 
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"Things that quicken the heart" caliber, about the detailing on the white shirt (broken needle effect?): this is not human handwriting, but there is the impression of human handwriting, as though the communicative meaning were stripped and all that remains is an "essence" of handwriting, its gestures, or... "handwriting-ness"... quick, where's FMC when you need him?


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PostPosted: 15 Sep 2016, 01:16 
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teenage-wristband wrote:
where's FMC when you need him?


Most likely somewhere with my phone turned off, tbh--that's where I usually seem to be when someone needs me. :lol:

that shirt is indeed heart-enlivening.


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PostPosted: 15 Sep 2016, 01:55 
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My first-ever purchase of any significant caliber was the two-button blazer with that same broken needle effect. It was my only winter jacket for a few seasons; it's been near to a decade, two patches and one redye and I still wear it. If that shirt is like the jacket, there's one broken tension line down the front of an arm, the front panel, the back of the other arm, and the back of the other panel. After three or four years, an interesting thing started to happen where the loose threads rubbed off and new tears started to form on different parts of the fabric, so it was like the newness of the main body of the fabric and the imperfection of the unwoven part slowly met halfway. Maybe I'll snitch my parents' camera next time I'm over to do it justice, my phone has all the resolution of a potato.

Quote:
Black is the most essential of all colors. Above all, if I may say so, it draws its excitement and vitality from deep and secret sources of health… One must admire black. Nothing can debauch it. It does not please the eyes and awakens no sensuality. It is an agent of the spirit far more than the fine color of the palette or the prism. Thus a good lithograph is more likely to be appreciated in a serious country, where inclement nature compels man to remain confined to his home, cultivating his own thoughts, that is the say in the countries of the north rather than those of the south, where the sun draws us outside ourselves and delights us. Lithography enjoys little esteem in France, except when it has been cheapened by the addition of color, which produces a different result, destroying its specific qualities so that it comes to resemble a cheap colored print.


Not everything there is correct, but Redon would totally rock continues if he were alive today.

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PostPosted: 16 Sep 2016, 19:42 
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^ yes looking forward to the pics

teenage-wristband wrote:
this is not human handwriting, but there is the impression of human handwriting, as though the communicative meaning were stripped and all that remains is an "essence" of handwriting, its gestures, or... "handwriting-ness"...

it is silent and hollow in the sense that it means nothing. perfect poesy only representative of letters.


a poem should not mean
but be

archibald macleish


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