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PostPosted: 09 Dec 2013, 00:58 
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Recently picked up a beautiful O-Project felted scarf. 75% wool, 25% angora. Work of 2008, exclusive to Lift Tokyo.
My photos barely capture the amount of detail in this thing. It is absolutely gorgeous.
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PostPosted: 09 Dec 2013, 03:08 
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this really looks beautiful (as does your fit pic with it in the other thread!). the "organic" feel it has reminds me of my Y's scarf. this one looks almost as if something is growing from it and on it, but in a tender, quiet way.


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PostPosted: 09 Dec 2013, 17:22 
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Glad to see this thread happen. Though it isn't very interesting for me to talk about designers, this is referencing the last time i had experienced the sort of feeling that crouka is citing elsewhere, the sort of visceral desire to towards anyone's work, the entire body of it and the undercurrent of ideas that it represents. If i'm not mistaken, there was a thread that crouka had going on tFS concerning this project, with some images that not only illustrated the work itself but also some of the ideas and imagery that served as its foundation.

Iterating on established themes has become a regular feature in the work of former continued set. to some of them it seems to be a device for imposing certain outer bounds within which to operate. to others, an altogether more practical set of issues - working from old patterns, etc. Label under construction has always chosen the medium itself as the preferred carrier of its message, but the incremental iteration there has come to rely heavily upon the forms and methods developed for the o-project capsule and released in the spring of 2008. echoes of it appear in subsequent work very often, sometimes in re-creations of certain pieces. often in the treatments employed and the overall resulting appearance of (strictly organised on a technical level) unraveling disorder, though rarely to the degree seen in the original presentations. this is well exemplified in the piece david has posted above.

I have a set of images from a japanese shop that presented the collection, but these are quite small in size/low in their quality and detail. and detail is something crucial for the purposes of this thread, so perhaps those of you that may have additional resources from back then (crouka, this probably means you..) would contribute them for posterity and discussion as the thread grows. Some of us own bits and pieces from this project, so perhaps quality photos of the sort seen here will help provide some perspective on this work and its subsequent impact.

there were at one point many more images than what i have presented below. these had come from a japanese shop website courtesy KK via the other forum at an earlier time. I'm hoping that either more or, preferably, better images surface as a result of this thread being started. there is a number of construction methods, materials and treatments beginning with this experimental release.

for one, this is where the prominent use of recycled materials for the tailored pieces begins, seen with early tent jackets that feature salvaged tent/cape canvas, often retaining some features of original purpose like grommets and pulls. the tent jacket material is shown here in un-dyed canvas. also introduced for the first time are the j-shaped trousers, which had become a regular design to iterate upon for the main line over the next 3-4 years. thick bits of yarn are hooked into lengths of fine knit and subject to unven felting, resulting in varying density and organic, almost parasitic appearance that seems to be the idea behind this work. polyethylene-mixed yarn is used in irregular proportion with some of the knits, then subject to shape-destabilising heat treatments, warping and fusing materials. similarly, heat-reactive yarn mixes are combined using the hooked layering technique making a return from prominent use in 'continues' projects, resulting in a more controlled effect.

control is the distinguishing feature despite the apparent organic quality in aesthetic that carries over from earlier 'continues' work. the latter used treatments and fabrics aiding in an entropic process that sometimes seemed part of the appeal and maybe the pitch to some extent. o-project has that same feeling of entropy, yet most of the techniques it employs are stabilized to the point where they seem to be relatively unaffected after years of wear.


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PostPosted: 09 Dec 2013, 22:45 
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black o-project scarf and fused knit jumper details.

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oproject3.jpg


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PostPosted: 13 Dec 2013, 22:42 
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Attachment:
opoject.jpg

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oproject2.jpg


Thought to add two more images of the recycled tent canvas jacket in the undyed fabric. This particular cut was initially introduced with the o-project collection and iterated upon since, although the first version seems the most appealing, complete with the hidden placket and irregular stitches echoing its former existence as something quite different.

Though this is not a forum for buying or selling of things, i wanted to give anyone reading this a chance at picking this one up, as its presently on y!j


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PostPosted: 11 Jun 2014, 04:20 
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not necessarily limited to laurini's work, and I think i may find a better place for this collection of images, but
tentatively here. a lot of this sort of detail gets lost, so i figured there may be something to having a catalog of
these textures..

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PostPosted: 11 Jun 2014, 21:53 
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Such amazing textures, especially this first one. The way in which black bits disappear at some places... beautiful.


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PostPosted: 11 Jun 2014, 22:08 
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Some of this almost looks like braille patterns in cloth.


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PostPosted: 08 Jul 2014, 01:39 
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Does anyone have information on what may have inspired the repurposed military fabrics used? The military garments tend to be my absolute favorite and am just curious as to what may have influenced the decision to transform otherwise shabby and random fabrics into really fantastic jackets and pants. Or does anyone at least know what military they've been gathered from; if they're current or antique fabrics?

I have the high neck zip jacket from military sacks and it quickly became my favorite and most worn jacket I own.


Last edited by Tacet on 08 Feb 2015, 20:13, edited 1 time in total.

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PostPosted: 08 Jul 2014, 05:38 
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r, i understand your enthusiasm while i was sharing something fairly broad with the images i have posted, all of your questions are only a few stops short of comparing fabric codes. there are, i feel, other places where people would share your enthusiasm towards rigorous inquiry into craftsmanship far more than i can see it happening here. I'm sure you would agree?

to answer your question more, there have been a lot of different materials used and they have been of different vintage. some involve deadstock fabric meant for military use. some involve fabric used in tents or blankets, mess bags, flour and coffee sacks, with there having been a range of different tent materials used going back to the o-project collection.. but, again, can we take a small step back from all this?

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PostPosted: 08 Jul 2014, 06:33 
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Ya absolutely, sorry for bringing it up. I just thought if anyone would have extensive knowledge and insight on the collection they're most likely on here.

In effort to contribute, I took some photos of my jacket as best I could considering all I have is an old iphone. Military Jacket cold dyed in coal constructed from 1950s dead stock bread bags. 100% Cotton Underarm Panel, linen/flax: 41%, acetate: 41%, ramie: 9%. Has riri zippers and two external pockets. Extremely stiff and substantial, but lining makes it very comfortable to wear. Color ranges from sandy, in areas the dye did not soak in thoroughly, to a really dark charcoal-grey to various shades of grey-green. Texture is very knubby and coarse.


Zipped Open exposing lining:

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Fabric Shot and better representation of color (thanks graham):

Image


Last edited by Tacet on 08 Feb 2015, 21:53, edited 3 times in total.

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PostPosted: 15 Aug 2014, 03:00 
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Signals is an interesting project. I have no clue what the signal means though. Gaxxed cotton. Quite odd


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PostPosted: 05 Nov 2014, 06:07 
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there has been a lack of information lately, though i wonder how much of that is due to the sort of buys that make their way into stores in this conservative climate we've got going on. a number of shops going belly up, brick and mortar locations shuttering. this installation bit comes from sartorialoft, where it has been on display for some time now. Although it is not from the latest presentation last fall, the amount of insight provided is substantial.

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the work is broken down into elements and techniques, which are presented as sample knit panels and detailed descriptions of the techniques used, the types of fibers these techniques are best executed in and so forth. I've taken only a handful of photographs of the text provided, but hopefully will get a chance to capture the entire panel via archival scanner in the nearest future and have it up in this thread

material:
hairy and rough fibers

technical execution:
increases on the inside along
one edge. the increases run parallel along the inclined edge
by adding a technique called suspended stitches it is possible
to change the direction of the fabric. when the edges are stitched
together the fabric gains three-dimensional quality due to its complexity
the suspended stitch technique is rarely used

material:
fine plant fibers

technical execution
the use of increases on fine plant fibers (e.g: light cotton)
creates a strain on the yarn that may result in an unpleasant
shadow. the effect does not occur with hairy and rough fibers
(e.g: wool).. labe under construction has researched different
approaches to turn this shadow into an asset

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PostPosted: 05 Nov 2014, 15:01 
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thanks for sharing that merz; you're absolutely right that this stuff doesn't make it's way via the retailer to the wearer, which is a shame.

this makes for beautiful and technically interesting garments, but generally i'm more interested in luca's work as an expression of time - at it's best, those fabrics that simultaneously are decaying & newborn. somehow they manage to lose trail of any residual symbolism. 'pure'. maybe this is a relic of mrt_alt's work who has a predilection for creating loops (especially time). a lot of the other LUC stuff just sits on that spectrum of novel construction to trashy luxe knitwear as i think you once mentioned.

some images:


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o-project scarf & coat

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silk & vinyl knit

i'll eventually get some proper photos of this knit, i don't know how it was made but i think the knit was produced at equal tension all over and then heated until the vinyl contracted, creating plaques of tense vinyl.


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PostPosted: 06 Nov 2014, 02:37 
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there is more from the installation that i hope to get via the scans, but i think anteros had photographed much/most of the text so I'll be able to fill the missing pieces with images or transcribed info when its available.. this is kind of a construction elements glossary presented in visual form.. and i hope to be able to document it in greater detail soon.

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PostPosted: 29 Aug 2016, 18:18 
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please don't reproduce images outside of this thread thanks


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PostPosted: 29 Aug 2016, 20:52 
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cheers. i had one of those brochures that came with the project and wanted to scan it, but it went missing subsequently. signals was less interesting than the original o-project to me because the underlying idea provided more room for exploration of encoded messages than the way the project was ultimately realised. one of the things i remember wondering about at the time was why morse code was chosen instead of something like braile for instance, any number of other possibilities of encoding information within the material, making the medium the message.. seemed like an idea that figured into collective work since the seams encoded with messages and so on..

a friend went to visit the studio around the time this was being worked on and returned with stories about the pieces in development. somehow my mind extrapolated from that a lot more in ways of ideas than what came to be the finished product.

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PostPosted: 31 Aug 2016, 19:22 
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they have been internet-shy and we can immediately imagine some reasons. convenient but so overpowering that one can be made lost or even drowned. vastness and confusion, misleading and simplification, etc.
maybe they used morse code because it is a classic case of the obsolete, and speaking of sos, it is morse code. it can rescue one from drowning but never make one drown. it is scarce and so fragile that it draws out one's ability, receptiveness.

some want them to be aggressive and uncouth and don't like them when they are into fragility and precision. but the latter tends to be a bit more retailor friendly.
for instance, that cdiem calf shirt sold most in white over here despite being vulnerable. I saw the black one on sale (50%off) at united arrows.

on a different note, while things that sell vary depending on times, the best seller at lift in their total history is probably stephan schneider.


Last edited by crouka on 01 Sep 2016, 05:39, edited 1 time in total.

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PostPosted: 31 Aug 2016, 19:25 
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PostPosted: 03 Sep 2016, 05:15 
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crouka wrote:
some want them to be aggressive and uncouth and don't like them when they are into fragility and precision. but the latter tends to be a bit more retailor friendly.
for instance, that cdiem calf shirt sold most in white over here despite being vulnerable. I saw the black one on sale (50%off) at united arrows.

on a different note, while things that sell vary depending on times, the best seller at lift in their total history is probably stephan schneider.



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.

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